Here’s the FDTimes slideshow of IBC 2012 highlights.
IBC was bigger than ever. The RAI convention halls seemed to be bursting at the seams, spilling into a tented village in front and back. Software and post attracted the most crowds. Hall 11, home to cameras, lenses, lights and production equipment, was less thronged–probably because Photokina and Cinec were scheduled in the following weeks.
3D was less abundant. 4K was prevalent. Sony rolled out their new 84″ 4K LED TV (XBR-84X900), yours for only $24,999.99. The images on this display were immersive and amazingly lifelike, dare I say, 3D-like without the 3D. Sony also transmitted 4K live via satellite, and projected F65 demos in their booth and on the big screen. My favorite was Philippe Ros’ Bot Trilogy, which ably demonstrated F65 resolution (Eco Bot nature scenes), low light sensitivity (Montmartre steps night exterior in available light, girl stalked not by a red balloon, but by a camera drone bot), and skin tones (Love Bot, two lovely women). How refreshing: camera tests with a twist and good stories, not to mention great cinematography demonstrating the latest equipment.
Canon showed a prototype 4K computer monitor, and their new C500 camera.
JP Beauviala appeared, in person, with Aaton Penelope Delta in the Angenieux booth. The cat on shoulder was definitely back, with a bright optical viewfinder, a wonderfully innovative moving sensor (piezo 1 micron mechanical shifting for double resolution and random pattern) and a mechanical “comb” to reduce ISO by 3 stops without glass. Penelope definitely looks like an Aaton: she has that je ne sais quoi JP design look–a combination of Jules Verne, a Nautilus DS, and hailed at IBC as still the only digital camera that is completely comfortable to hand hold.
IBC was the prelude to an anamorphic feast at Cinec: ARRI and ZEISS introduced working prototypes of a new 50 mm Master Anamorphic. As the show closed, Angenieux announced anamorphic zooms to be shown at NAB 2013. Two weeks later, at Cinec, Vantage rolled out new front anamorphic zooms and Vantage Vintage ’74 Hawks, and Scorpio showed prototype primes. So far, ARRI Alexa Studio and Plus 4:3 are the only major players for shooting digital anamorphic. Presumably, more will follow with full 4:3 sensors. Until then, shooting 4:3 motion picture film (yes, film) might remain the high-end 4K+ choice as the anamorphic future-proof format.
ZEISS had new Compact Prime and Compact Zoom lenses, including the 28-80 T2.9. It’s small, light, and covers full frame 24 x 36 mm. Keep an eye out on this still photography format, because it encompasses so much more, including 4:3 anamorphic, and makes use of many more lenses.
Schneider’s new Cine Xenar prime lenses, take 3, got it right.
Codex Digital announced compatibility with Sony F65 and SRMemory cards. That’s good news for comfortable production-to-post file management.
Transvideo was joined by Preston Cinema Systems and Cinematography Electronics, all demonstrating how lens data could be shared by the three systems.
Innovative accessories abounded: Bebob baseplates, rigs, cages, supports; Andy Subratie’s Bright Tangerine dream matteboxes; Vocas wooden handgrips, matte boxes, cages; Chrosziel Cage Project; OConnor O-Focus…
We’ll go into further details in the coming days.