Brought to you by:

  • AJA Video Systems
  • ARRI
  • Canon
  • LiveU
  • Marshall
  • ZEISS
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By: Mark Foley, Technology Editor of ProductionHUB

It seems as though the IBC Show gets bigger each year with more exhibitors, press conferences, and of course, more attendees. New technologies and new gear are being introduced and coming to the production world at a faster pace than ever before. With that in mind, we wanted to dig in and talk about just a few of the must-see new gear and emerging technologies at IBC 2019. 

Canon (12.D60)

I love game changers, and boy has Canon just changed the game. Just in time for IBC, Canon has unleashed the C500 Mark ll. With a ton of new features and updates, the C500 Mark ll will be turning heads and filling the Canon stand. There are some great new features that I can’t wait to try out. Features such as a 5.9K Full-Frame CMOS sensor, user-changeable lens mounts, electronic image stabilization, internal cinema RAW light recording and the new DIGIC DV 7 Image Processor. 

The EOS C500 Mark II features a 5.9K full-frame sensor with 60p recording 5.9K and 4K (2K recording at 120p) and 15 stops of dynamic range. Also, the newly introduced DIGIC DV 7 image processor allows for a better and more efficient recording of 4K and HDR.  Cinema Raw Light helps to cut data size to about one-third to one-fifth of a Cinema RAW file, without losing grading flexibility. 

But here's also what I think is a really big deal, and I give Canon a lot of credit for this step. For the first time with a Canon camera, users can change the lens mount themselves without the assistance from a Canon service center. Customers can purchase the EOS C500 Mark II with a standard EF mount and then have the option to purchase either EF-lock or PL mounts allowing the user to decide camera/lens combination. Can’t wait to shoot with this bad boy.

ARRI (12.F21)

ARRI Professional Camera Accessories for the Canon C500 Mark II bring the camera full circle. If I am buying or leasing the Canon Mark ll, I am giving the ARRI Accessories a lot of attention. Of course, the reputation that ARRI has for precision products is way beyond the curve. I'm not even sure why these workpieces are even called accessories. I would want all of them when I get the camera. 

  • Shoulder Mount: Yes if you want to go handheld, I want this mount. Looks pretty comfortable for the long haul. Yes, handheld.
  • Bridge Plate Adapter: Exactly as the name implies, allowing you to start building up the kit.
  • Cheese Plate Allowing you to customize your set up and where you want to put extras that you use.
  • Rods and Slider Adapter: I always love this particular set up, since it allows for a front to back camera movement especially if you have large lenses, a matte box,  monitor, focus control or other attachments to get on there. Gives me more confidence about the balance of my setups.

 

Marshall Electronics (12.D20)

What's not to love about new gear? Marshall Electronics has an excellent reputation as innovators in the POV camera space. Let’s not forget that they also make awesome monitors too! But let's get back and talk about the latest Marshall cameras that will be shown at IBC.

Marshall's next-generation HD camera line is the new CV506 HD Miniature Camera, which offers simultaneous 3GSDI and HDMI options, flexibility, and great value in a tiny form factor. The CV506 delivers ultra-crisp, clear progressive HD video up to 1920x1080p at 60/59/50fps and interlaced 1920x1080i at 60/59.94/50fps. With interchangeable lenses and remote adjustability for matching with other cameras, the CV506 is suitable for a range of professional workflows as it can capture detailed shots while maintaining an ultra-discreet point-of-view perspective without sacrificing versatility or convenience.

The new CV506 serves as an upgrade over the Marshall CV505, with a 30 percent larger sensor for a better picture, color depth, and low light performance, along with an improved housing design. Other upgrades include the new CV503, an upgrade of the best-selling CV502 model, the CV344, an upgrade of the CV343 and the CV346, an upgrade of the CV345. This new line of updated cameras include all frame rates in one model. Also, newly added stereo audio inputs and 23.98 fps for television and cinema production is now standard on all models. The upgraded POV camera line also features a new body style with locking I/O connections and the addition of white clip and pedestal control with remote image adjustment capability.  

LiveU (3.B62) 

At IBC 2019, LiveU will present its portfolio of 5G-enabled solutions for live newsgathering and sports coverage. 

LiveU’s LU600 4K HEVC portable transmission solution offers video with extreme bandwidth efficiency. The LU600’s latest HEVC 4K-SDI edition facilitates professional 4Kp50/60 streaming for production, supporting VR and 360 applications. 


LU300 HEVC unit is for live streaming.  The LU300 HEVC solution is a smaller field unit for high-quality video-on-the-go. The LU300 can also serve as a standalone video encoder or be used as a LiveU Data Bridge mobile hotspot for general connectivity in the field. 


1U 4K HEVC rackmount, LU610 4K HEVC is for vehicles and fixed locations. This encoder is based on LiveU’s LU600 4K HEVC technology, offers a hybrid solution for SNG trucks, point-to-point, and point-to-multipoint distribution. 


Also at IBC 2019 LiveU will be showing Remote At-Home Production applications for sports and live event producers, including:


  • Tally Light: Bringing the live studio experience to the field. This new tool enables field reporters to know instantly when they’re live on air via a red-light indicator connected to a LiveU unit 

  • LiveU Graphics is a professional cloud production tool for adding graphics to live streams. Users can select from ready-to-use graphic templates or create their own design and stream directly to any social media or CDN. 

  • LiveU Control – enabling remote control of LiveU units via 
smartphones 
With the measurement of end-to-end delay, LiveU's Remote At-Home Production allows more events to be covered with simplified logistics. Multi-camera live events can be produced from a centralized studio control room instead of on-site production and satellite trucks.

Creamsource (12.D39)

Creamsource will be unveiling some innovative lighting instruments and updates for the first time in Europe, on the Lights Camera Action (LCA) Stand #12.D39 at IBC2019. 

SpaceX LED engines, with 1200W of LED power, provides an output equivalent to  5K tungsten. With an optional optic set, SpaceX’s output can be boosted to nearly double intensity. 

SpaceX offers color rendition with a typical CRI of 95 from 3,200K to 6,500K, and full-color temperature adjustment from 2,200K to 15,000K, complete with a full stop of green/magenta control. 

Creamsource will also demonstrate the Micro Colour unit at IBC2019. The LED engine has been crafted to provide high white light color quality, with typical CR and TLCI values above 95. 

Also new for IBC 2019, Creamsource will be demonstrating brand new lighting effects such as Fire, Emergency Lights and Party on the Creamsource Micro Colour, with fully customizable pre-sets.

BRIGHTTANGERINE (Hall 12 Booth E69)

In collaboration with Canon, BRIGHTTANGERINE is introducing the Left Field Cage. The left Field Cage forms a load-bearing chassis for the Canon EOS C500 Mark II, removing physical stress from the camera. Move the camera from the tripod to handheld shooting with the new Open•UP quick release system The new Canon EOS C500 Mark II Left Field Cage features a new, patented Open•UP quick release system that lets the operator slide, lock and vertically release quickly, without any risk of the camera coming off. The quick-release system securely works with any ARRI compatible dovetail, even those that are out of spec. The cage has been specifically designed to let camera operators or assistants effortlessly handle the camera, even when using gloves.

Broadcast Pix (7.C53)

Broadcast Pixis launching RadioPix™, an integrated production system for visual radio applications, at IBC2019. Built for radio studios using fixed or PTZ cameras, RadioPix features a dedicated user interface designed for easy setup and operation of dynamic yet automated video-follow-audio productions.

Using Broadcast Pix’s advanced macros, RadioPix can roll clips and animations, add or remove titles, select camera presets, and execute picture-in-picture compositions based on the active microphone. Also, users can set conditions to avoid camera changes for one-word comments (or coughs) and create dynamic camera moves. The host can also override the automated system using a smartphone, tablet, or laptop.

Cartoni (12.E30)

 

Contrary to popular belief, one tripod size does not fit all productions. I don't care what your producer tells you. Sometimes you need to move quick, other times you need some heavy-duty support so everything doesn't come crashing down. 

This is where I think Cartoni has moved into a good space by offering options to videographers based on their needs. Pretty smart. First off let's look at the Cartoni RED LOCK, a lighter tripod that I think would be in consideration by shooters with DSLRs or cameras like the JVC ConnectCam, Sony FS-7s, or the new Panasonic AG-CX350. The RED LOCK tripod is a light two-stage aluminum tripod capable of extremely high and extremely low shots, reducing the need for baby leg tripods.  The RED LOCK tripod can also accommodate 75mm and 100mm set-ups by simply changing the inner composite ring.

RED LOCK Tripod Specifications:

Weight

3 kg (6.6 lbs)

3 kg (6.6 lbs)

Capacity (Payload)

60 kg (132 lbs)

60 kg (132 lbs)

Max Height

153 cm (60 in)

153 cm (60 in)

Minimum Height

50 cm (19 in)

50 cm (19 in)

Folded Height

77 cm (30 cm)

77 cm (30 cm)

Bowl

75 mm

100 mm

In addition to the Red Lock, Cartoni is also introducing the MAXIMA 5.0 at 2019 IBC. I wanted to include the MAXIMA 5.0 because if you are going to do a heavy-duty shoot don't you want heavy-duty support? Think support for Sony Venice, ARRI ALEXA LF, Panasonic Varicam, Canon C700. Now add a big and beautiful lens like a Zeiss Prime and you have a big set up. The MAXIMA 5.0 handles payloads from zero to 50 kg, with balance throughout the 180° tilt range. The continuous fluid drag system allows close to freewheeling to consistent drag. 

Weight

13 kg (28.6 lbs)

Maximum Payload Capacity

50 kg (110 lbs)

Pan Range

360°

Tilt Range

+/- 90°

Counterbalance

Continuous

Fluid Drag

Continuous

Base

Flat Mitchell / 150 mm

Temperature Range

-40/+60°C


I just think it is great that shooters can have a choice in what they want to use when out on a shoot. I need to be confident that my tripod will do what it was designed to do. Bravo, Cartoni!

Cooke Optics (12.D10)

 

When I saw that Cooke was introducing two new offerings at IBC 2019 in Full Frame and Anamorphic, I couldn't have been more excited for professionals who make their living shooting beautiful pictures. I know I want to see the S7/i Full Frame Plus T2.0 16mm prime lens paired with the Sony VENICE or the ARRI ALEXA LF. These cameras make great images already and adding and a Cooke Prime?  There is no doubt in my mind that the images to be created will be crazy good. Here are the two new offerings from Cooke.

The new S7/i Full Frame Plus T2.0 16mm prime lens is currently the widest focal length lens in the S7/i range of lenses, designed for shooting Full Frame — including up to at least the full sensor area of the RED Weapon 8K (46.31mm image circle), as well as the Sony VENICE full-frame digital motion picture camera system and the ARRI ALEXA LF large format camera system. 

The new Anamorphic/i 135mm Full Frame Plus T2.3 joins the Anamorphic/i prime lens range bringing The Cooke Look to large format productions with anamorphic characteristics, including flare and oval bokeh. 

Switching gears, lets’s get into what I think is the most important areas of production today. 4k, 6k and 8k are a reality and dealing with these huge files and data flows will require post houses and distribution channels to think ahead or be left behind. Here are just a few of the companies that are working on solutions now and for the future. Did I tell you I heard somebody say 16K? Not kidding.

Cobalt Digital (10.B44)

Cobalt Product highlights will include its new decoders and encoders, RIST Main Profile, bi-directional SDR/HDR conversion solution for live production, and new multiviewers and distribution amplifiers. Plus, the company will debut a new 12G openGear router and RIST gateway solution.

The new 9992-DEC Series of HEVC/AVC/MPEG-2 decoders for openGear frames will be introduced at the show. Like the company’s 9992-ENC series of encoders, the flexible 9992-DEC features pay-as-you-go licensing, so users only pay for required features when needed.  The 9992-DEC supports up to 4K resolution and offers audio decoding capabilities. The series also includes the 9992-2DEC dual-channel decoder, as well as the 9992-DEC-4K-HEVC with single-channel 4K or dual-channel 2K and support for H.265.

New advancements in HDR at the show include a complete HDR workflow within Cobalt’s 9904-UDX-4K up/down/cross converter. Utilizing Technicolor’s suite of HDR tools, which can be bundled into a single ordering option, the 9904 can generate dynamic metadata when converting from HDR to SDR and back to HDR, preserving the full HDR picture information. 

Quantum (7.B07)

 

The Quantum F-Series is a high-performance, highly available and reliable storage array designed for studio editing, rendering, and other performance-intensive workloads for large unstructured data sets. 

The Quantum F-Series uses NVMe flash drives for ultra-fast reads and writes and to support a huge amount of parallel processing. Also, F-Series uses the latest RDMA networking technology to provide direct access between workstations and the NVMe storage devices, to provide predictable, ultra-fast network performance. Lastly, both the software and hardware architecture are designed to be highly available. 

Relative to traditional SSD and HDD storage arrays, the Quantum F-Series is orders of magnitude faster, enables users to move from Fibre Channel SAN infrastructures to Ethernet infrastructures without giving up performance, and gains back racks of data center space. 

Signiant (14.B23)

Signiant Inc will introduce new capabilities to its SDCX (Software-Defined Content Exchange) SaaS platform to simplify secure content exchange between companies. These capabilities will first appear in the company’s newest product, Signiant JetTM

Jet was designed to replace scripted FTP with a faster, more reliable and more secure alternative. It is built on Signiant's SDCX SaaS platform, which also underpins the company's Media Shuttle solution. 

At IBC 2019, Jet will include new content exchange capabilities, offering a secure cloud handshake mechanism that simplifies intercompany transfers. The new functionality enables Jet customers to make storage endpoints private, discoverable or discoverable only to select partners in their supply chain. Via a simple, secure web interface, companies can request a connection with a partner. Once both sides accept, specific jobs can be configured and mutually approved to allow for secure, automated transfers between the companies. 

Those are just a small sample of all the great things to look for at IBC 2019. Of course, we will continue to keep a close watch as we were told more product announcements are coming up before and during the show. Stay tuned!

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