NAB 2026 in Las Vegas is in the rearview mirror, and even by NAB standards, this one was loaded. We had cinema cameras going all-in on broadcast, action cameras finally going cinema, anamorphic primes getting smaller and faster, monitors becoming entire video villages, and one of the biggest acquisitions in pro video this decade. We have already covered most of the individual stories on the site, but enough of you have asked for one place to see it all that we figured a brand-by-brand recap was overdue. Strap in. This is going to be long, but worth it.
Blackmagic Design
Blackmagic was, in our opinion, the brand of the show. The headline product is the URSA Cine 12K LF 100G, which takes the URSA Cine 12K LF and adds 100 gigabit Ethernet for SMPTE 2110 broadcast at frame rates up to 440fps live. That is wild. It also gets a Studio Viewfinder and a B4 lens mount option, transforming what was a pure cinema body into something that can roll into a sports truck on day one. It ships in Q3 2026 for $8,995, which is somehow still reasonable for what it does. There is also a URSA Cine Immersive 100G version aimed at Apple Vision Pro production.
On the software side, DaVinci Resolve 21 went into public beta with a brand-new Photo page, IntelliSearch AI content search, CineFocus point-of-focus adjustment, and a long list of editing and color tweaks. Beta 2 dropped a few weeks later with bug fixes and improved RAW handling. And then there is Fairlight Live, a free software audio mixer that runs on commodity hardware and is going to absolutely change small live productions for indie creators.
If you want the full Blackmagic story in one go, this is a great walk through Fairlight Live, Resolve 21, and the URSA Cine 12K LF 100G.
Canon
Canon used NAB 2026 to flex on broadcast. The CINE-SERVO 40-1200mm T5.0-10.8 launched as the longest cinema zoom ever, with a built-in 1.5x extender that pushes it to 1800mm. It also moves to a native RF mount option, which means Dual Pixel CMOS AF II on the EOS C400, C80, C70, C50, and R5 C. It is $79,999, ships in September, and is squarely aimed at sports and wildlife rental houses. We do not need to tell you that you are not buying this with your tax return.
Alongside the lens, Canon rolled out a chunky firmware update for the entire Cinema EOS lineup, focused on live production, streaming reliability, and remote operation. There was also a new MS-510 SPAD-sensor low-light camera that is more security-meets-cinema than traditional cinema, but worth keeping an eye on for documentary work in extreme low light. And on the lens side, the RF 14mm f/1.4 L VCM and a new RF fisheye zoom both got a soft launch alongside an unusually busy April.
For a great walk through the 40-1200mm and the broadcast-focused firmware story, this one is solid.
Atomos
Atomos had two huge stories this NAB. The first is the Sumo PRO-19, a 19-inch 4K HDR monitor recorder switcher that does multi-cam ISO recording up to four 1080p60 streams simultaneously, runs ProRes RAW, includes camera control and camera-to-cloud, and basically replaces a video village rack with one box. It is $2,899 and ships in early June. There is also a Shogun AV-19 monitor and a new A-Eye Controller Pro for AI-driven PTZ work, plus a USB4 CFexpress card reader for fast offloads.
The other story, which we will be talking about for the rest of 2026, is that Atomos acquired Flanders Scientific. Yes, FSI, the reference monitor company. That puts color-accurate broadcast and DI monitoring under the same roof as the Ninja and Sumo lines, and it is going to reshape how on-set monitoring is sold and supported. Whether that turns into deeper integration or just a stronger product portfolio, we do not know yet, but the implications are enormous.
This is the cleanest single-video tour of the Atomos NAB booth we found.
GoPro
GoPro showed up to NAB 2026 not as the action camera company but as a cinema camera company, and we are still slightly stunned. The MISSION 1 series consists of the MISSION 1, MISSION 1 PRO, and MISSION 1 PRO ILS. The PRO ILS has an interchangeable lens system, the entire lineup uses a new GP3 processor, and the PRO does 8K60 in 16:9, 8K30 open gate, 4K up to 240fps, and 1080p at 960fps in burst mode. There is a 1-inch sensor and an MFT mount option on the ILS. This is GoPro genuinely competing with FX3-style hybrid bodies, not just a beefier Hero.
Pricing leaked at around $699 to $999 depending on configuration, with the PRO available in a $499-with-subscription tier as well. GoPro picked up three top industry awards at the show for the lineup, which tells you that we are not the only ones who think this is real. If you have been waiting for an actual cinema-spec camera that is shaped like a GoPro and weighs nothing, this is the year.
Insta360
Insta360 used NAB 2026 to tease the Luna Pro and Luna Ultra, a new pocket camera series co-engineered with Leica that is gunning directly for the DJI Pocket 4 Pro. We are talking 1-inch sensor, f/1.8 aperture, 14 stops of dynamic range, 10-bit iLog, a 20-60mm zoom on the Ultra, and dual-camera arrangements that we have not fully had clarified because the firmware is locked down. Hands-on previews from select creators dropped after the show, and the early read is that this is the most credible Pocket competitor anyone has built.
There was also a new Mic Pro, an early preview of a Micro Four Thirds Insta360 leaked before the show, and the Antigravity A1 360-FPV drone partnership. Between the Luna and the X6 360 camera, Insta360 is starting to feel less like a niche player and more like the third pole of small cameras alongside DJI and GoPro.
RED
RED stayed quiet on hardware and instead pushed firmware. V-RAPTOR XE Firmware 2.2 added broadcast-focused features including SMPTE 2110, live cut output, and tighter integration with switcher workflows. RED has been steadily turning the V-RAPTOR family into a viable broadcast camera, and 2.2 is the most aggressive step yet. There were no new bodies announced, but the V-RAPTOR XE roadmap continues to look like RED's answer to URSA Cine on the live side.
Lenses: Sigma, DZOFilm, Blazar, Tamron, Canon
This was a year for cinema and hybrid lenses. DZOFilm's Arcana 1.5x anamorphic primes got proper hands-on time, with three focal lengths (32mm, 45mm, 75mm) at T2.1, all under 700 grams, and a 2x-style bokeh from a 1.5x squeeze. Blazar showed off the Talon 1.5x AF anamorphic primes, which are the first autofocus anamorphics in their class and a genuine signal that anamorphic is finally going mainstream.
Sigma announced the AF Cine 28-105mm T3 FF for full-frame cinema, the kind of zoom indie features and documentaries are going to live on for the next five years. Tamron rolled out the 25-200mm f/2.8-5.6 G2 for Sony E and the 35-100mm f/2.8 for Sony and Nikon, both confirmed for 2026 release. And Canon's new RF 14mm f/1.4 L VCM is a reminder that fast wide primes are not done yet.
Here is a great look at the new DZOFilm Arcana primes if you want to see the squeeze and bokeh in motion.
DJI and the Rest
DJI did not have a traditional NAB presence, but the run of announcements around the show was relentless. The Pocket 4 launched in mid-April, the Mic Mini 2 dropped on April 28 with ten color faceplates and a teased Mic Mini 2S coming this summer, and the Osmo Mobile 8P got a global launch teaser dated for May 7. Panasonic showed off Lumix S firmware updates and the Lumix ZS300 travel compact. Fujifilm was unusually quiet on cameras but Leitz Cine confirmed the Hektor full-frame prime line is coming to G-mount, which is a huge deal for GFX shooters.
What This All Means
If we had to boil NAB 2026 down to three storylines, they would be: cinema cameras becoming broadcast cameras (Blackmagic, Canon, RED), broadcast brands going hybrid creator (Atomos, Canon, Panasonic), and small cameras getting embarrassingly capable (GoPro, Insta360, DJI). The line between cinema gear and creator gear has not just blurred. It has effectively disappeared. The same camera body can shoot a feature one week and a livestream the next. The same anamorphic prime fits in a Peli case half the size of last year's. And the same color-grading software now does photo work too.
We are going to be unpacking individual products from this show for months. What was your favorite NAB 2026 announcement, and what did you wish the brands had done that they did not? Drop us a note and let us know.