Kinefinity Vista Teased at NAB 2026 – Sub-$3,000 Full-Frame 6K Open Gate in a Palm-Sized Body

by Nino LeitnerApril 22^nd, 2026

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At NAB 2026, Kinefinity is teasing the Vista, a compact full-frame 6K cinema camera with open gate recording, a built-in 240GB SSD, a 4-inch OLED touchscreen, and a Tilta-developed rigging ecosystem. The company expects the Vista to retail below $3,000, with full specifications and pricing scheduled to land around Cine Gear in June.

The Vista marks Kinefinity’s first new cinema camera since 2023, when the company launched the MAVO mark2 and MAVO mark2 LF. In conversation at the booth, Cathy from Kinefinity told us the Vista has been roughly two to three years in development, born from the observation that the market wanted something different from the traditional Kinefinity box: a smaller body with an integrated monitor, positioned at a price point that opens up considerably below the company’s existing lineup.

A box-style body built around a full-frame sensor

The Vista is a small aluminum box, roughly palm-sized, with a full-frame 6K sensor behind Kinefinity’s native KineMount. Kinefinity has not confirmed final resolutions or codecs, but the prototype menu shown at the booth listed a wide range of recording modes, including 6K open gate (6016×3984), 6K 17:9 (6016×3172), 6K 2.4:1 (6016×2520), 5.7K 3:2 (5760×3700), 6K UHD (5760×3240), 5.7K 2.4:1 (5760×2400), 5K 4:3 (5120×3700), and 5K DCI (5120×2700). The company has cautioned that these may not all survive into production firmware, but the spread of formats signals workflow flexibility that reaches from conventional 17:9 delivery into anamorphic and vertical aspect ratios.

The KineMount is one of the more persuasive arguments for the Vista system. Its short flange distance allows adapters to PL, LPL, active EF, and active E-mount, with the E-mount option preserving electronic iris and focus control for Sony glass. Kinefinity has confirmed that autofocus is not part of the Vista’s feature set, consistent with its positioning as a dedicated cinema camera, so even with the active E-mount adapter users should expect manual focus workflows with electronic iris pull. The mount itself is user-swappable via four screws, allowing operators to reconfigure the body between KineMount, PL, and E-mount as projects demand. On a camera this small, that optical flexibility matters: the Vista is clearly positioned to be paired with compact stills lenses, adapted cinema primes, or whatever happens to be in a one-person kit.

Despite the compact footprint, Kinefinity has engineered active cooling into the Vista. A small fan draws air through dedicated intake and exhaust vents on the body, with user-configurable fan speed settings that can be pushed up to 100% for hot-weather shoots. The camera’s overall power draw is rated at approximately seven watts, a figure that informs both the thermal headroom and the runtime claims for the NP-F battery. Internal sensor stabilization is not included, and operators will rely on external support or post-stabilization for heavier handheld work. Internal ND filters are also not part of the design, meaning users will need to budget for a matte box or screw-on solutions depending on their typical shooting environment.

I/O, media, and an internal 240GB SSD

Despite the footprint, Kinefinity has squeezed in an unusually complete set of connectors. There are two full-sized 4K HDMI outputs, a 3.5mm microphone input, a 3.5mm headphone jack, built-in stereo microphones, a speaker, and a 2-pin LEMO for power. Two USB-C ports round out the connectivity: one supports UAC audio for USB-C microphones, and both can be used for external recording or media offload, though Kinefinity positions the internal SSD and CFexpress slot as the primary capture media and has noted that external USB-C SSD recording has not been validated as a stable workflow. The 3.5mm jack also doubles as a timecode input for jam sync, adding useful multicam capability to an otherwise minimalist I/O layout. The absence of SDI will divide the professional audience, with some commenters already flagging it as a meaningful limitation for broadcast-adjacent workflows. The dual HDMI setup does at least allow simultaneous feeds to a monitor and to a recorder or wireless transmitter.

Media handling is where the Vista diverges meaningfully from other compact cameras in its price class. The camera records to a single CFexpress Type B slot, and it also includes a built-in 240GB SSD, meaning an operator can pick up the Vista with just a battery and a lens and start rolling with no external media loaded at all. Footage from the internal SSD offloads directly via USB-C.

Screen, controls, and rigging

The rear features a flip-out 4-inch OLED touchscreen rated at 800 nits, sitting above a control cluster that includes a red record button, three user-assignable function keys, and a navigation dial. Kinefinity says the user interface carries over from its current MAVO and MAVO Edge cameras, with refinements specific to this smaller form factor. The screen hinge appears optimized for vertical work when the camera is turned on its side, which tracks with Kinefinity’s framing of the Vista as well-suited to social and mobile-first deliverables.

For rigging, Kinefinity has partnered with Tilta on a full cage as well as smaller and larger side handles. The Vista body itself carries 12 1/4-20″ mounting points, which gives operators real freedom to attach EVFs, audio handles, magic arms, or wireless units without stacking multiple rigs. For power users, the company is also developing an Active Top Handle with two USB-C PD ports and a Sony NP-F battery plate, paired with a USB-C-to-LEMO adapter cable.

Kinefinity has also rethought how its EVF integrates with the Vista. The viewfinder draws power over USB-C directly from the camera, eliminating the external battery requirement that users of Kinefinity’s previous EVF solutions will be familiar with. Cathy explained that USB-C powering was chosen specifically to broaden compatibility across host cameras, rather than relying on a proprietary DC tap.

Power and battery strategy

A single Sony NP-F-style battery powers the camera, with Kinefinity claiming approximately 3 hours of live-view runtime from a single cell, supported by the camera’s modest seven-watt power draw. External DC power is available via the 2-pin LEMO. Using the forthcoming Active Top Handle would allow hot-swapping NP-F batteries and extending runtime on longer days, while also adding a more ergonomic top-grip for handheld operation.

What we don’t know yet

With no official sensor details released, several practical questions remain open. Rolling shutter performance, a critical data point for any camera expected to live on gimbals or do heavy handheld panning, has not been disclosed, and early hands-on impressions at the booth suggested the full-frame readout will likely sit in the range typical for a 6K full-frame sensor rather than matching the faster readouts of stacked designs. Dynamic range and low-light performance are similarly unconfirmed. We will, of course, run the Vista through our standard CineD Lab Test once a production unit becomes available.

Positioning-wise, the Vista enters territory that until recently was largely shaped by the Nikon ZR, the Sigma fp, and the Sony FX3 and FX30. Compared with those, the Vista offers an adaptable native cinema mount rather than a fixed hybrid mount, a dedicated cinema operating system, full-size HDMI rather than micro HDMI, and a 240GB internal SSD that none of its peers currently include. Whether those advantages translate into professional adoption will hinge on final image quality, codec choices, and how Kinefinity prices the production version against a market that has become significantly more crowded since the MAVO Edge first launched.

Pricing and availability

Kinefinity (website here) has not committed to a firm retail figure, but the company indicated that the Vista should retail below $3,000, making it the cheapest camera in its current system. The full announcement, including final specifications and confirmed pricing, is expected around Cine Gear in June, with shipping targeted one to two weeks after launch. Kinefinity has also signaled that it plans to run an offline event around Cine Gear, giving prospective users a chance to handle the Vista in person. That marks a noteworthy shift for a brand whose cameras have historically been difficult to try in person outside of trade shows. Kinefinity will continue showing the Vista prototype at NAB Show 2026 through April 22.

Does a sub-$3,000 full-frame 6K Kinefinity this small earn a spot in your kit, or are you waiting to see sensor specs and rolling shutter numbers first? Don’t hesitate to let us know in the comments below!