Welcome to LensVid Talk episode 51! NAB 2026 is behind us, and we had a little bit of perspective regarding the many announcements made at the show. In this week’s episode, we dive into some massive industry news and an absolute tidal wave of new glass and camera announcements. We kick things off with a look at GoPro’s ambitious and unexpected new “MISSION” camera lineup—including a massive, Micro Four Thirds mount pro variant—before diving into Kinefinity’s tiny new 6K Vista cube camera, and the industry-shaking news of ARRI’s acquisition by the Riedel Group.
From there, it’s a massive round-up of new optics, featuring ultra-fast and wide glass from NiSi, game-changing constant-working-distance super macros and high-end broadcast zooms from Laowa, and extensive cine and anamorphic line expansions from Sirui and DZOFILM. Finally, we look at the rising wave of Chinese autofocus glass with Thypoch’s impressive new compact zoom and Viltrox’s highly affordable, high-performance EVO APO primes. Let’s get into it!
This LensVid Talk was recorded in May 2026
GoPro Unveils the MISSION 1 Camera Lineup
GoPro has officially announced an entirely new lineup of premium cameras called the MISSION 1 series, operating alongside their traditional HERO line and targeted squarely at filmmakers and creators. The series consists of three models sharing a newly developed GP3 processor and a 50-megapixel 1-inch sensor capable of shooting up to 8K video in a 4:3 Open Gate format with up to 14 stops of dynamic range. While the MISSION 1 and MISSION 1 Pro utilize built-in fixed lenses, the flagship MISSION 1 Pro ILS (Integrated Lens System) introduces an interchangeable Micro Four Thirds mount (with no autofocus support at launch). The new, larger form factor weighs in at 208g to accommodate significantly overhauled thermal management and an updated 2150mAh Enduro 2 battery that delivers more than 5 hours of continuous 1080p30 recording. Audio capabilities have also taken a professional leap, offering 4 built-in microphones with support for 32-bit float internal audio, Bluetooth 5.3 for wireless headsets, and a USB-C port that accepts external microphones or GoPro’s newly announced companion dual wireless microphone system. The fixed-lens models are scheduled to ship in late May 2026, while the interchangeable-lens Pro ILS variant is slated for a Q3 (September) 2026 release.
Pricing for the ILS camera bodies has not yet been finalized.
Kinefinity Shows Off Tiny Vista 6K Cube Camera
Kinefinity gave filmmakers a first look at its upcoming “Personal Cinema Camera,” the Kinefinity Vista 6K, packed into an incredibly compact cube-style chassis that weighs just 610 grams without a battery. The camera features a full-frame sensor capable of shooting 6K Open Gate video in a 3:2 aspect ratio up to 50fps (and Super35 4K up to 100fps) with a dual native ISO of 800/5120 and 14 stops of dynamic range. For monitoring, Kinefinity has integrated a unique 4-inch, 6:5 ratio Retina OLED touchscreen that pumps out 700 nits of brightness and flips/rotates 360 degrees, allowing the user to view the full 3:2 image while keeping technical UI elements nicely organized in the spaces above and below. Storage is handled via a hybrid dual-recording setup consisting of a 220GB–240GB internal SSD alongside a single CFexpress Type B card slot, with offloading available via full-speed USB-C. Despite the pocket-sized 101x87x65mm footprint, the body sports a generous I/O array, including dual full-sized HDMI outputs, locked DC power inputs, and 12 distinct 1/4″-20 mounting points. It runs efficiently on a single standard Sony NP-F style battery for up to 3 hours and features a user-interchangeable mount system allowing quick swaps between active E-mount, native PL, and EF mounts.
The camera carries an MSRP of $2,499 (with early bird pricing starting at $1,999) and is expected to officially ship in the summer of 2026.
Kinefinity Active Top Handle Prototype
Alongside their new camera, Kinefinity also previewed a prototype of their upcoming Active Top Handle, designed to add robust power and mounting options to compact camera builds. The handle attaches securely to the camera body using a standard NATO rail lock mechanism and features integrated dual USB-C ports for passing through high-speed data or power. To help keep the overall camera rig compact and balanced, the handle is powered by a standard Sony NP-F style battery that mounts directly onto a slot located at the rear of the grip.
The unit is currently tracking toward a final retail price of around $200 once it moves past the prototyping phase.
ARRI Acquired by Riedel Communications
In a major piece of industry news, the premium German camera and lighting manufacturer ARRI has been acquired by Thomas Riedel, the founder and owner of Riedel Communications and the Riedel Group. This historic acquisition brings an end to ARRI’s 109-year run as an independently family-owned business, placing it under the umbrella of a global giant famous for live broadcast infrastructure and high-speed data networks. Despite the change in ownership, ARRI will continue to run its day-to-day operations independently, its existing corporate management team will remain in place, and the global headquarters will stay in Munich, Germany. The move is designed to forge a massive strategic pipeline between cinema-grade image capture and real-time live broadcasting infrastructure—as seen with the recent launch of the ARRI ALEXA 35 Live system—signaling heavily accelerated research and development into cloud production pipelines, networked camera workflows, and IP-based on-set data management.
NiSi 65 Prime 16mm T2.9 Large Format Lens
NiSi has officially stepped into the massive sensor arena with the introduction of the NiSi 65 Prime 16mm T2.9, a compact and lightweight ultra-wide cinema lens built specifically to cover giant imaging sensors. Boasting an expansive 65mm image circle, the lens easily illuminates massive formats like the ARRI ALEXA 65/265 and the FUJIFILM GFX ETERNA 55 all the way to the corners without vignetting. Despite its massive coverage area and an immersive 122-degree diagonal field of view, the lens remains highly portable for drone, gimbal, and handheld configurations, weighing just 846 grams with a standard 95mm front diameter. The optical construction focuses heavily on edge-to-edge sharpness while minimizing chromatic aberration and geometric distortion. Built strictly for professional workflows, it features a native PL mount, 0.8 MOD geared rings, a long 300-degree focus rotation throw, a 10-blade aperture mechanism, and luminescent markings for dark sets.
The lens is currently available for purchase at a retail price of $2,800.
NiSi T1.0 50mm Large Format Prime Lens
Expanding its high-end optical solutions, NiSi also gave filmmakers a first look at the massive NiSi 50mm T1.0, an ultra-fast large-format prime lens built for ultra-low light shooting and razor-thin depth of field. The lens features a wide 46mm image circle, making it a perfect match for large sensors like the FUJIFILM GFX ETERNA 55 and the Blackmagic URSA Cine 17K 65mm. This is a very large and heavy piece of glass, weighing in at 2.29 kg, and it features a long, precise 300-degree focus throw along with a specialized 18-blade aperture design for perfectly round bokeh even when stopped down. Built natively with an LPL mount to handle the weight and optical alignment securelyץ
The lens is scheduled to become available in August 2026 for a retail price of $2,800.
Laowa Axon Ultra Macro Primes (45mm and 17.5mm)
Laowa has introduced a highly unique duo of specialized macro cinema lenses: the Axon 45mm f/2.8 Ultra Macro 1–5x APO and the Axon 17.5mm f/1.7 Ultra Macro 5–10x APO. Unlike traditional extreme macro lenses that require you to constantly move the camera forward or backward to adjust your magnification, these lenses are designed with separate, independent zoom and focus rings. Most importantly, the front element of the lens does not extend during operation, meaning the physical working distance between the front of your glass and your subject stays completely constant as you change magnification.
The standard photo-oriented versions are priced at $500, while the specialized Cine-housed versions will retail for $1,500.
Laowa Ultima High-End Broadcast Zooms
Laowa is pushing aggressively into the heavy-duty production market with the announcement of two premium, parfocal broadcast zoom lenses: the Ultima 25-180mm T3.8 FF and the Ultima 25-600mm T4 S35. These massive, heavy-duty cinema optics are designed to maintain perfect focus across their entire massive zoom ranges, catering to high-end broadcast, wildlife, and live event productions.
The Full Frame 25-180mm T3.8 variant is slated to retail for $17,000, while the extreme-reach Super35 25-600mm T4 variant will carry a retail price of $30,000.
Sirui Expands VP-1 Full Frame Cine Series
Sirui is expanding its existing VP-1 Full Frame Cine lineup with the introduction of three new focal lengths to complement the 24mm, 35mm, and 50mm T1.4 lenses launched in 2025. The three new additions include a 15mm T1.6 Ultra-Wide, a 75mm T1.4 Medium Telephoto, and a specialized 150mm T4.0 Macro lens that offers a 1.5x magnification ratio. The lenses are scheduled for official release in the second half of 2026.
While official pricing for these new additions has not yet been set, the existing primes in the VP-1 family currently retail for a highly accessible $650 each.
Sirui IronStar Anamorphic Telephoto Primes
In addition to their spherical lenses, Sirui is also growing its anamorphic ecosystem by expanding the IronStar Anamorphic Series with three new telephoto prime focal lengths: a 75mm, a 100mm, and a 135mm lens, featuring fast maximum apertures ranging from T1.9 to T2.8. All three lenses feature a large 46mm image circle to easily cover full-frame sensors, weigh right around 1 kg, and come standard with an interchangeable PL/EF mount system alongside a user-adjustable back-focus mechanism. Filmmakers can purchase the lenses with either classic blue flares or neutral flares depending on their stylistic preferences.
The telephoto trio will be available in the second half of 2026, with pricing expected to sit at around $1,200 per lens.
DZOFILM Arcana 1.5x Anamorphic T2.1 Series
DZOFILM has launched a brand new cinema family called the Arcana 1.5x Anamorphic T2.1 Series, offering a unique hybrid look that blends a modern 1.5x squeeze ratio with the distinct oval bokeh patterns typically associated with traditional 2x anamorphic lenses. The initial release of the line includes three focal lengths: a 28mm T2.1, a 40mm T2.1, and a 75mm T2.1. Each lens features a rugged native PL mount, a compact and lightweight build weighing roughly 700 grams, and a clean, distinctive matte silver/grey outer housing finish.
The Arcana primes are priced at $1,100 per lens or $2900 for the set.
Thypoch Voyager 24-50mm f/2.8 AF Zoom Lens
Thypoch has made a notable technical breakthrough with the Voyager 24-50mm f/2.8 AF, marking the world’s first full-frame autofocus zoom lens to be produced by a Chinese manufacturer. The lens relies on an internal zoom mechanism—meaning the physical length of the lens barrel does not expand when changing focal lengths—and packs a 10-blade aperture design for smooth background rendering. Despite its fast, constant f/2.8 aperture and built-in autofocus motors, the lens remains incredibly compact and lightweight at just 432 grams, utilizing a standard 67mm front filter thread.
The Voyager zoom is priced competitively at $650.
Viltrox EVO APO Autofocus Primes (35mm and 55mm)
Viltrox has expanded its optical lineup with a new line of high-performance, budget-friendly autofocus glass: the AF 35mm f/1.8 EVO and the AF 55mm f/1.8 EVO. Dubbed by the company as “Affordable APO” options, these primes feature advanced apochromatic optical designs to aggressively eliminate chromatic aberrations and color fringing, paired with fast, internal autofocus tracking motors.
Viltrox has priced these high-performance lenses very aggressively, listing the 35mm f/1.8 EVO at $370 and the 55mm f/1.8 EVO at $370.
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Iddo Genuth 
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