I’ve been testing GoPro’s Mission 1 Pro action camera for several weeks. While I’m not ready to assign a final score, I’ve uncovered a handful of insights that could help anyone thinking about buying one. I’ve put a variety of features through their paces, from the fresh slow‑motion mode to 50‑megapixel stills, and the camera has both impressed me and left me wanting more.
I can’t hand out a review rating yet because the unit I received was an early sample with unfinished software that doesn’t reflect the final product. The first camera even shipped with a pre‑production lens, which was swapped out on the second unit. So, although I’ve been able to evaluate several aspects, it would be unfair to base a full review on what I’ve seen so far.
Here’s what I can share.
**How much does the Mission 1 Pro cost?**
The Mission 1 Pro retails for $700. The base Mission 1, which shares the large sensor and new processor but lacks the slow‑motion capability, is priced at $500. At the top of the line sits the Mission 1 Pro ILS, featuring the same specs as my test unit but with an interchangeable micro‑four‑thirds lens mount – a first for GoPro. The ILS version, expected later this year, will also be $700. It’s the model I’m most excited about, and I’ll dive deeper into it later.
**Why is the Mission 1 Pro noteworthy?**
The camera sports a new GP3 image processor and a larger 1‑inch sensor. GoPro claims this delivers better dynamic range and low‑light performance. More importantly, it can capture video at a staggering 960 fps for ultra‑slow motion and record 8K open‑gate footage, using the entire sensor. All of this fits in a palm‑sized, fully waterproof body that doesn’t need a dive case.
**Is the slow‑motion performance good?**
On paper, absolutely. The 960 fps rate rivals dedicated slow‑motion rigs. However, there are limitations: the footage is limited to full‑HD resolution, so 4K or 8K projects would require upscaling, potentially sacrificing quality. The camera also records in short 10‑second bursts, so timing must be precise—you can’t leave it rolling for minutes and hope for a perfect shot. Still, those 10 seconds at 960 fps stretched to a 30 fps timeline yield about five minutes of slow‑motion video.
My go‑to slow‑motion speed is 240 fps, which the camera can deliver at 4K in its Log color profile for easier grading. Even at 240 fps, you get an 8× slow‑motion effect at 30 fps, outperforming what I can achieve with my Canon R5 or Blackmagic Cinema Camera 6K Pro.
**What does the overall video quality look like?**
I can’t give a definitive answer yet. The clips I’ve captured are a mixed bag. Auto white balance often veers toward unnatural hues, pushing me toward manual white balance for consistent color. The image processor sometimes over‑brightens shadows and pushes saturation, resulting in an HDR‑like look I wasn’t after. Shooting in the 10‑bit Log profile gives me more latitude in post‑production. Overall, the image quality feels solid but not dramatically better than the Hero 13 Pro it replaces. The biggest gains appear to target users who need advanced slow‑mo features.
Keep in mind I’ve applied at least four firmware updates during testing and only received the final production hardware a few days ago, so I haven’t been able to retest extensively across varied lighting conditions. It’s off to a promising start, but whether it justifies an upgrade will become clearer after more daylight and low‑light shooting.
**How do the still photos perform?**
So far, they’re adequate. The ultra‑wide lens sacrifices some fine detail, but for sweeping landscapes it works well. The camera shoots DNG raw, and I recommend using it—manual color control and the ability to recover shadow and highlight detail in Lightroom have been essential for me.
**Battery life?**
It’s still early to be certain, as software updates will affect power consumption. However, the new Enduro 2 battery feels robust. After a full day of shooting along Madeira’s levada trails, I still returned to my lodging with ample charge left.
**New accessories for the Mission 1 Pro?**
GoPro has introduced a camera cage with a detachable grip and a shutter‑button‑style trigger that fits into the cold‑shoe slot. It makes the tiny camera larger but easier to handle, more like a conventional compact camera. They’ve also announced wireless microphones that connect directly to the camera without external receivers, similar to DJI’s setup. I haven’t tried them yet, but they’ll likely be a must‑have for creators and vloggers.
**What about the interchangeable‑lens Mission 1 Pro ILS?**
This is the version that excites me most. While the base specs—especially the slow‑motion capabilities—are impressive, I’m not a fan of the fixed, super‑wide angle typical of traditional action cams. Those lenses are great for capturing massive fields of view when you strap the camera to your head or bike, but they don’t compete with conventional filmmaking.
Pair the body with a high‑quality micro‑four‑thirds lens from Panasonic, Olympus, or Voigtlander, and you get a versatile system with adjustable focal lengths, focus control, and shallow depth of field for cinematic bokeh—all in a body small enough to slip into a jacket pocket. I’m eager to spend more time with the ILS model and see if GoPro can truly step into the professional cinematography arena.
**Should you buy the GoPro Mission 1 Pro?**
I’m still early in my testing, but a few points are clear. The 960 fps slow‑motion headline is eye‑catching, yet its use case is fairly niche. I struggled to find compelling subjects and was only satisfied with a short clip of a pigeon flapping its wings. Consider whether that level of slow‑motion is essential for you, given its constraints.
Beyond slow‑mo, the overall image quality isn’t a massive leap from the Hero 13 series. If you already own a recent GoPro and primarily shoot 4K at standard frame rates (24, 30, 60 fps), the upgrade may feel incremental. However, if you’re moving up from an older model like the Hero 7, you’ll notice a quality boost.
The real excitement will arrive with the ILS version, when the larger sensor and slow‑motion prowess combine with interchangeable, professional‑grade lenses. Stay tuned for that development.
