SIRUI Vision Prime 1 Full-Frame Lineup – Three New Focal Lengths Added

by Alexandra ThompsonApril 22^nd, 2026

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SIRUI has expanded its Vision Prime 1 (VP1) full-frame cine lens lineup at NAB 2026 with three new focal lengths: a 15mm T1.6 wide-angle, a 75mm T1.4, and a 150mm T4 macro with 1.5x magnification. All three retain the series’ signature user-interchangeable mount system, shipping with Sony E, Canon RF, Nikon Z, and Leica L mounts in the box, and are priced at $649 per lens.

The new focal lengths bring the total Vision Prime 1 roster to six, joining the 24mm, 35mm, and 50mm T1.4 primes that SIRUI first introduced in early 2025 (see our original VP1 announcement coverage for the full background). At the SIRUI booth at NAB 2026, we spoke with Sonny Liu, Manager at SIRUI, about where the new lenses fit, what their optical character is supposed to be, and how the set is positioned for filmmakers working across multiple camera platforms.

A 15mm T1.6 for the wide end

The 15mm fills a gap that was previously covered only down to 24mm within the series. It opens up at T1.6, a third of a stop slower than the T1.4 primes in the rest of the lineup, but still fast by ultrawide standards. SIRUI positions it for landscape and wide-angle work, though the T1.6 aperture and full-frame coverage naturally extend its usefulness to narrative interiors, establishing shots, and run-and-gun documentary applications where a fast ultrawide makes a meaningful difference in low light.

The difference in field of view between 15mm and 24mm on full-frame is significant, roughly 25° wider on the diagonal, which in practical terms means a very different visual language rather than a minor adjustment. If you are already invested in the existing VP1 set, the 15mm adds a genuinely distinct perspective rather than incremental coverage.

75mm T1.4 for mid-telephoto work

The 75mm is the only one of the three new lenses that matches the T1.4 maximum aperture of the original 24mm, 35mm, and 50mm primes, which lets you shoot the set wide open and switch lenses without rebalancing exposure.

For anyone building out the VP1 set as a primary narrative kit, the 75mm is arguably the most predictable of the three new additions. It extends the existing trio into comfortable close-up territory without a dramatic optical or aperture shift, and because it shares the same T1.4 maximum aperture as the 24mm, 35mm, and 50mm, exposure and look continuity across the set should remain straightforward.

A 150mm T4 macro with 1.5x magnification

The 150mm is the most unusual lens of the three. It is noticeably slower at T4, longer physically than the rest of the series, and includes a 1.5x macro capability, which Sonny described at the booth as particularly useful for close-up items, detailed shots, and product or insert work.

A 1.5:1 reproduction ratio is meaningful – the image projected onto the sensor is 1.5x the actual size of the subject, which sits in true macro territory rather than the marketing-speak “macro” label applied to many standard primes. Combined with 150mm of focal length, the lens opens up commercial, product, and tabletop workflows where staying back from the subject while still filling the frame is essential.

At T4, the macro is clearly not a low-light lens, but that is a common trade-off for dedicated macro designs, and in close-up work, the shallow depth of field comes more from magnification than from aperture.

User-interchangeable mounts, in the box

One of the central selling points of the VP1 lineup has always been the user-interchangeable mount system, and it carries through unchanged on the three new lenses. Each one ships from the factory with a Sony E mount installed, and the box also includes the remaining three mount modules: Canon RF, Nikon Z, and Leica L. Sonny confirmed at the booth that this applies to single-lens purchases as well, not just kit sets.

The swap itself is straightforward. Four screws at the rear release the mount, the module lifts off, the replacement drops in, and the screws go back. Sonny suggested the whole process takes around 30 seconds per lens. For rental houses, owner-operators moving between Sony, Canon, Nikon, and Panasonic/L-mount ecosystems, or anyone who anticipates changing camera platforms, this remains one of the most practical features in the current generation of affordable full-frame primes. It is also one of the reasons SIRUI’s 2025 entry into the L-Mount Alliance mattered beyond the headline.

Look, character, and intended use

Sonny described the VP1 series as deliberately balanced rather than stylized, with good center sharpness and some roll-off toward the edges, an optical profile SIRUI considers suitable for both narrative and commercial work. The original three primes are built around ED glass, high-refractive index (HRI) elements, and three aspherical elements per lens, and share a 67mm front filter thread, 72mm outer diameter, identical ring placement, and weights in the 500 to 600g (17.6 to 21.1 oz) range. The 15mm and 75mm appear to follow the same physical template based on the booth units, while the 150mm is visibly longer. All six lenses are available in either black or metal gray finish, the latter aimed at matching cameras like Sony’s FX line.

Price and availability

According to Sonny, the existing VP1 lenses (24mm, 35mm, and 50mm T1.4) are currently priced at $599 each, while the three new additions carry a price of $649 per lens. Both the existing and the new focal lengths are offered as three-lens sets that include the mount modules, and SIRUI has indicated that the new focal lengths are expected to become officially available in the second half of 2026. For more information, please visit the SIRUI Vision Prime 1 product page.

Is the 150mm macro the most interesting addition here, or does the 15mm T1.6 win your vote? Don’t hesitate to let us know in the comments below!