The IBC 2026 show floor was packed with significant camera and virtual production launches — from pocket-sized wireless mics to full-frame 6K cinema cameras, and tools that blur the line between physical and virtual sets.
Sony FX5: Open Gate in a compact body
Sony unveiled the FX5, the first of its Cinema Line cameras to support Open Gate shooting and in-camera recording in X-OCN, Sony’s proprietary Raw format.
The camera can shoot 5K at up to 60fps, 4K at 120fps, and HD at 240fps. It sits between the existing FX3 and FX6, but unlike the FX3, the FX5 is a video-only camera. It uses a newly developed full-frame, fully stacked CMOS image sensor and a new high-speed image processing engine.
When shooting in S-Log3, it achieves 15+ stops of dynamic range and offers three base ISOs: 800, 4000, and 12800. It supports 3:2 full-pixel readout across the entire sensor area for Open Gate shooting, alongside 17:9, 16:9, and Super 35mm image scan modes.
Other features include AI-driven subject recognition and real-time tracking autofocus, Auto Tracing White Balance, anamorphic desqueeze, and five-axis optical image stabilization. Audio recording is supported at up to 96kHz, 32-bit float with four audio channels when using the new XLR handle.
Kinefinity Vista: 6K in 610g
Kinefinity introduced the Vista Personal Cinema Camera — a compact full-frame 6K open-gate cinema camera in a 610g body. According to the company, it is designed to deliver “a complete, reliable cinema camera experience in the smallest possible form factor.”
The 6K 3:2 CMOS sensor provides native anamorphic support, with dual native ISO (800 and 5120). It supports both built-in and custom 3D LUTs with optional LUT burn-in for a consistent workflow from acquisition through final delivery.
For recording, Vista offers H.265 Max, High and Normal bitrate options alongside ProRes 422 HQ, all recorded in QuickTime (.mov) format. It supports up to 6K 50fps in full-frame mode and 4K 100fps in super 35 mode. It includes a 220GB internal SSD for immediate recording without the need for external media, although there is also a CFexpress Type B slot.
There is a 4in articulating 700-nit OLED display optimised to display the complete open gate image, for accurate framing and focus evaluation. Measuring 101x87x65mm, Vista is machined from aviation-grade aluminium alloy, with an active low-noise cooling system.
DJI Mic Mini 2S: First mini wireless mic with internal recording
DJI expanded into wireless audio with the Mic Mini 2S — the company’s first mini wireless microphone with internal recording. It handles unpredictable acoustics with 32-bit float recording and two levels of AI-powered noise cancellation.
Support for 32-bit float recording gives greater flexibility in post-production, capturing a wider dynamic range from faint whispers to sudden roars without clipping. AI noise cancellation adapts to different recording conditions: Basic mode reduces indoor background sounds such as fans, air conditioning, and reverb, while Strong mode cuts through more aggressive outdoor noise to keep speech clear.
Each transmitter has 14.5GB of storage, providing up to 28 hours of recording in the default 24-bit mode. A single receiver can connect to four transmitters simultaneously for discussions and small-group productions.
Spline’s Flynn: Real-time camera tracking
French visual engineering studio Spline developed Flynn, a real-time camera tracking system for film, live broadcast, and AR/XR production. Mounted directly on the camera, Flynn requires no additional installation on set.
It uses natural features in the environment as references and delivers high-frequency 6DoF data with genlock and timecode, compatible with Unreal Engine and existing AR/XR workflows. The system can be used indoors or outdoors, on a fixed stage or on the move, including with cranes, Steadicams, and shoulder rigs.
One of its first uses was The Incredible Shrinking Man (2025), where it delivered real-time tracking data for scale-change effects in combination with a motion-control robot across more than 250 shots. Spline is now offering Flynn as a full service solution, including hardware, training, operators, and post-production support.
Telycam’s Explore PTZ cameras
The latest additions to Telycam’s broadcast-class Explore series of PTZ cameras — the Explore 100, 300, and 500 — offer improved performance with advanced features including new brushless DC motors and 3-axis synchronisation, designed to reduce robotic movement and deliver fluid, natural camera motion during filming.
The 300 and 500 have Sony 4/3in sensors and 20x optical zoom, with Hybrid AF for improved low-light performance and fast, accurate autofocus. Both use an optical low-pass filter to minimise moiré effects when shooting in front of LED walls, making them suitable for virtual production. The Explore 100 combines a 1/1.8in sensor with 30x optical zoom as a lower-cost entry point to broadcast-grade PTZ capture.
NHK’s scene-adaptive camera
Japan Broadcasting Corporation (NHK) showcased a prototype of a scene-adaptive camera that dynamically adjusts imaging parameters in each shooting area. Drawing a lot of interest, the technology provides improved dynamic range and frame rate as it can control the shooting mode locally according to the luminance and movements of subjects.
“It’s a prototype, but it is the first 4K camera that can adjust within each frame,” said Kanda Kikufumi, Director of Science & Technology Research Laboratories at NHK. “It can adjust frame range, exposure, and make adjustments in frame.”
NHK does not manufacture products on a commercial scale and is looking for collaborations to develop the scene-adaptive concept further.
Marshall Electronics CV574-WP: All-IP 4K PoV
Marshall Electronics’ new all-IP 4K PoV camera, the CV574-WP, boasts an IP67-rated weatherproof design for outdoor use. It supports NDI|HX3, NDI|HX2, RTSP, and RTMP streaming protocols, as well as efficient H.264 and HEVC encoding and secure SRT streaming over Ethernet.
It has an interchangeable M12 lens mount that comes with a high-quality 4.0mm lens with a 77° horizontal angle of view. Built around an 8.46MP Type 1/2.8 sensor, it can output up to 3840x2160p60 video over IP, or up to 1080p50/60 for NDI|HX.
DZOFilm’s Arles zoom lenses
Two zoom lenses are the latest addition to the Arles series from DZOFilm. Both are full-frame T2.6 models, with focal ranges of 25-75mm and 65-180mm, with a practical 65-75mm overlap zone for seamless multi-camera matching. The T2.6 constant aperture across both zooms offers consistent exposure throughout the range.
The lenses are colour-matched to the Arles Primes, using the same coating formula that suppresses flare and ghosting. They use high-resolution optics featuring seven ED elements and five high-refractive-index elements, with parfocal design and near-zero focus breathing at wide angles. Lightweight and gimbal-friendly at approximately 1.8kg, the zooms are fully compatible with Arles Prime accessories.
DZOFilm’s full cinema lens ecosystem includes 11 Arles Primes (14mm to 180mm), six ultra-compact T1.9 Vespid Prime 2 series, three Arcana 1.5x Anamorphic primes, and the X-Tract probe zoom series.
I am Luca Berton, AI and Cloud Advisor. I work at the intersection of cloud security, platform engineering, and enterprise AI deployments. Book a consultation.