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IBC 2014

IBC is the essential global meeting place for everyone engaged in creating, managing and delivering the future of electronic media and entertainment technology and content. Featuring an influential conference and world-class exhibition this year IBC 2014 attracted 55,092 attendees.

Brian-Cox-IBC-2014_300pxThe Key Note technology speech this year was given by Professor Brian Cox entitled ‘television’s expanding universe’. In which Cox outlined his concerns for young content consumers having so much on offer (i.e.24 hour gaming channels) that they would miss out on being exposed to ideas in the outside world. On the whole though he praised television, calling it “the most powerful medium in terms of influence”.

On the exhibition floor 4K acquisition and post production work flow continues to be the hot topic, but with news this year that BT Sport intend to launch a 4K sports channel next year the race for major technology manufacturers is certainly on.

Sony-PXW-FS7_300pxSony PXW-FS7

The Sony stand was a buzz with news of a new camera launched at the show called the Sony PXW-FS7. This camera is aimed at single operators looking to ‘pick up and go’ quickly, so would suit Documentary, Entertainment, Factual or non broadcast shows. Aimed at tempting away the current crop of Canon C300 users, the large imaging sensor, affordable XQD media cards and hot shoe mounted radio mics (no cables needed!) makes it a strong contender.

• 4K Super 35mm Exmor CMOS sensor

• E-mount lens mount system with capability to adapt to EF lenses

• Built-in Multi-Interface (MI) Shoe

• formats include XAVC, MPEG-2 HD 422 and, with an adaptor, ProRes 422 (by early 2015)

• Records onto XQD cards at a cost effective point compared to SxS media

The Sony PXW-FS7 is expected for as soon as October 2014

Sony also revisit existing cameras and recorders

Sony-PXW-X200_300pxSony released two more unexpected cameras at IBC 2014 in the form of the PXW-X200 and PXW-X500. Both of which follow on from the successful  PMW-200 and 500 respectively. The PXW-X200 three 1/2-type Exmor™ CMOS sensors compact XDCAM camcorder achieves high sensitivity and low noise recordings in Full HD XAVC Intra and XAVC Long GOP, as well as MPEG HD 422 50 Mbps MPEG HD 420 35 Mbps, MPEG IMX and DV.

The PXW-X200 also has a built-in wireless operation capability, and also offers remote control, file transfer, monitoring via smartphones and tablet devices, and soon to come streaming.

PMW-RX50_300pxThe PMW-RX50 mobile recorder plays and records Full HD XAVC Intra and XAVC Long GOP, as well as MPEG HD 422 50 Mbps, MPEG HD 420 35Mbps, MPEG IMX and DVCAM, making it the ideal companion deck for XAVC camcorders.

The recorder also has XLR audio input via a removable Audio Box. DC output is also provided for the CBK-WA100 mobile network 3G / 4G / LTE / wireless LAN adaptor.

 

Panasonic Varicam 35 and HS

Varicam35_250pxPanasonic showed the new Varicam to the IBC crowds for the first time as an outstanding solution for shooting either 35mm sensor projects or high speed ENG style shoots. Owners of the new Varicam systems can swap between large sensor PL mount front end or B4 mount 2/3″.

The new camera’s superb image handling in multiple formats including 4K, UHD, 2K and HD make it an unparalleled tool for high-end film making, and commercials and episodic production as well as live 4K events.

Live ingest for fixed rigs via Quadrus

Quadrus_300pxBeing a supplier of fixed rigs on shows such as Gogglebox, has us constantly on the look out for efficient, faster and more cost effective ways of ingesting footage from our fantastic remote heads. Quadrus showed their Ingest Machine which is a powerful and flexible multi-channel, multi-format recording software.

It can capture multiple SD/HD-SDI streams from live or deck sources directly to the Avid Unity ISIS and check-in to the Avid Interplay.

ARRI Amira to take over the world?

Amira-IBC-2014_300pxTalks on the ARRI stand were fascinating this year as not only did ARRI implement UHD into the already superb Amira, but also took on the notion of perhaps lower bit rates for long form UK TV productions. There is a strong desire for the Amira to shoot at 50 Mbps. AMIRA records Rec 709 or Log C images using ProRes LT, 422, 422HQ or 444 codecs. By recording to in-camera CFast 2.0 flash memory cards with super-quick data rates, the route into post production is made as simple as possible. With higher data rates than required by minimum HD spec it becomes a challenge for long form, high volume shooting schedules.

Exhibition a great success!

Forbidden-IBC-2014_350pxThis year’s exhibition floor was jam packed with eager visitors. Forbidden (creators of Forescene) had a busy time accommodating many visitors to their stand this year. Forscene itself had been re-skinned with an even friendlier and intuitive navigation and look, whilst solid partnerships were announced between Forbidden and transcription service Take 1 and the extremely helpful Timecode Buddy.

Forbidden have pushed the boundaries of ‘shooting for the cloud’ in the past year by working closely with Sony on implementation of the Sony CBK WA100 bolt on box, which enables sending proxy resolution files straight from a Sony camera to a Forscene cloud based account. This enables very fast turnaround and access to footage world wide within minutes of shooting.

 

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