After announcing the Nikon ZR last week, Nikon unveiled its new videocentric cinema camera to the public for the first time at the IBC 2025 Convention (a trade show for the cinematography and videography industry) in Amsterdam, Netherlands.

At the show, Digital Camera World was given an exclusive opportunity to put five questions to Nikon bigwigs Aihara Takashi (General Manager of UX Planning department in Nikon Imaging Business Unit) and Noriaki Mochimizo (ZR Project Manager).

While Nikon is usually tight-lipped about its plans for future products, the insiders did reveal that a new line of Nikkor Z Cinema lenses is in the works, and hinted at future developments for the Z Cinema line. Here’s what they had to say…

Don't miss our in-depth report on the launch of the Nikon ZR, and our first impressions of the camera in our hands-on review!

Love it or hate it, AI is becoming a key part of reliable autofocus (AF). It supports cameras and helps us capture sharp subjects, even in fast-moving action scenes (think of Canon's Dual Pixel Intelligent AF). Now, imagine an AI autofocus adapter from Viltrox – enabling better AF performance on lenses that don't quite nail AF – and maybe even giving older manual lenses AF functionality…

When Viltrox revealed its IBC 2025 lineup, it included four new lenses, a new tier Evo series, a new TTL flash… and the Nexus AI Autofocus Adapter. According to Viltrox's press release, it's "an innovative adapter integrating artificial intelligence to expand focusing capabilities."

Adapters aren't new; products like the E-Z AF and EF-FX offer electronic AF, but they don't feature AI-level tracking, recognition or predictive AF (at least, nothing that's clearly documented). The Nexus AI Autofocus Adapter has appeared in previous rumors so, for some, it might not be a total surprise.

Nexus AI Autofocus Adapter

Viltrox hasn't shared specs, images, or detailed info yet, so let's speculate on what this adapter might bring.

First, it sounds like it will improve AF speed and tracking – especially useful for photographing moving subjects and video. The key difference could be smarter AF logic – AI replacing simple mechanical or electronic relay systems.

This should translate to more consistent performance in challenging situations, like low light or fast motion, where AF speed, accuracy and quality often suffer. It might also combine hardware and software improvements to better handle lens quirks, like motor types or lens delay.

If so, this adapter could be a great choice for creators who work across different lens systems or use vintage lenses but want reliable autofocus.

Price & availability

Like the other new products, Viltrox hasn't announced pricing for the AI Autofocus Adapter yet – nor do we have anything in the way of availability timelines.

However, the fact that Viltrox is showcasing the adaptor at IBC 2025 suggests that it should be fairly far along in development – and no doubt there will be more information on the specifics as the show progresses.

If you're attending the IBC, you can see all of Viltrox's latest products in person at RAI Amsterdam, Hall 11, Booth A09, until September 15.

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At IBC 2025 in Amsterdam, Viltrox took the stage and introduced a fresh range of gear – designed to evaluate our photography and videography workflow without breaking the bank.

The spotlight includes a pro-level 50mm f/1.4, two lightweight ultra-wide Air lenses and a redesigned 85mm f/2 Evo. Alongside those, the new Z3 TTL flash brings a stylish approach to on-camera lighting.

Let's take a closer look at what's new – and who these releases are likely to appeal to.

Overview

Viltrox AF 50mm f/1.4 Pro

A fast, full-frame 50mm prime with a wide f/1.4 aperture. Ideal for low-light shooting, shallow depth of field and cinematic visuals. Whether you're shooting portraits, video interviews or night scenes, this lens is designed to deliver clean and professional-grade results – likely at a lower price than comparable OEM options.

Viltrox AF 9mm f/2.8 Air (APS-C) & AF 14mm f/4.0 Air (Full-frame)

Viltrox's Air series focuses on lightweight, compact builds for creators on the move. The 9mm offers ultra-wide framing in a small, fast package – a practical pick for vlogging, interiors or handheld video work. The 14mm brings wide-angle coverage for landscape, travel or architectural photography, all while staying minimal in size and weight.

Both lenses are designed for portability, without compromising optical performance – making them great for daily or travel use.

Viltrox AF 85mm f/2.0 Evo – the new Evo line

The Evo series marks a new chapter for Viltrox. The first in the line, the 85mm f/2.0 Evo, introduces a clean new design language, improved materials and updated optics.

This medium-telephoto prime is geared toward portrait and interview work, with a slightly slower aperture that keeps size and weight down. It's clearly made for creators who want solid image quality in a more manageable form factor. Viltrox seems to be aiming for a balance of style, comfort, and performance here.

Viltrox Z3 TTL Flash

The new Z3 TTL flash is a modern unit that is set to break from traditional flash design. Described by Viltrox as "mech-inspired", it's likely meant to pair visually with stylized rigs or setups.

It offers full TTL (through-the-lens) metering, which means accurate auto-exposure with compatible cameras – ideal for fast-paced shoots like weddings, events or documentary work.

Price & Availability

Viltrox hasn't announced pricing yet. That said, past launches give us a ballpark: budget-friendly lenses like the Viltrox AF 56mm f/1.7 launched at $169, while higher-end optics like the Viltrox AF 35mm f/1.2 Lab went up to $999.

Given the added features and new designs here – especially in the Pro and Evo line – some of the new gear may land in the mid-to-high price range. Still, Viltrox has a track record of undercutting OEM pricing.

Availability and timelines also haven't been shared, but the fact that Viltrox is showing the products at IBC 2025 suggests these are fairly far along in development.

And if you're attending the IBC, you can see all of Viltrox's latest products in person at RAI Amsterdam, Hall 11, Booth A09 from today until September 15.

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Thypoch is best known for its exquisitely built Simera lenses for Leica, a line it has recently expanded to cover more mounts, as well as its quirky collapsible Eureka lens. However, as recently teased on its Instagram channel, it looks like Thypoch is going in a new direction – Simera-C cinema lenses.

The company is yet to announce any further details on its new line of cine lenses. But I am currently at IBC 2024 in Amsterdam, where the biggest brands in the world of video production come to show off their latest wares, and I have managed to get my hands on not one but three of the new Simera-C cine lenses.

The three lenses on display are 28mm, 50mm and 75mm focal lengths. Like other Thypoch lenses they feel very well constructed, made from metal with geared focus and aperture rings. But the thing that struck me immediately was just how small they are compared to other cinema lenses.

This was perhaps as they were surrounded by a section of Dzofilm’s much larger cinema lens range (Dzofilm being Typoch’s parent company), but the Simera-C lenses look adorably compact and could be perfect for anyone looking for a more low-profile cine lens for a smaller setup.

While previous Simera lenses have all launched for the L-mount, before expanding to other formats, the lenses on display here are for Sony’s E-mount cameras. However, that isn’t to say these cine lenses won’t be available for other mounts at launch – or expand to other mounts later, as was the case with previous Simera lenses.

Below you can check out the official tease for the upcoming Simera-C lenses while we await more confirmation from Typoch.

Check out our guide for the best cine lenses for more options, and you might be interested in the best cinema cameras as well. 

Blackmagic Design has announced the pricing and availability of its latest cinematic powerhouse (and rival to the legendary Arri Alexa 65), the Ursa Cine 17K 65. Officially launched at IBC 2024 in Amsterdam, this revolutionary large format digital cinema camera is set to retail starting at a jaw-dropping $29,995! 

Which is a lot of money, no doubt, but not when you think of large format cinema. Featuring an unprecedented 65mm RGBW sensor, the Blackmagic Ursa Cine 17K 65 is designed to deliver breathtaking image quality and unparalleled integration into post-production workflows – specifically with DaVinci Resolve.

With its large format sensor boasting a resolution of 17,520 x 8,040 and 16 stops of dynamic range, the camera is poised to become a go-to for high-end cinema production. 

The RGBW architecture ensures accurate color reproduction by providing equal amounts of red, green, blue and white pixels, resulting in stunningly rich and detailed images. Offering compatibility with PL, LPL and (weirdly) Hasselblad lenses, the camera's versatility caters to a wide array of creative preferences.

The Ursa Cine 17K 65 also includes a massive 8TB of built-in high-performance storage, along with high-speed networking capabilities, allowing for efficient media uploads and real-time syncing to Blackmagic Cloud. With 12G-SDI outputs, 10G Ethernet and USB-C, the camera provides extensive connectivity options, while industry-standard Lemo and Fischer connectors enable seamless integration with external accessories including lens motors and focus controls.

In terms of usability, the camera is built with a lightweight yet robust magnesium alloy chassis, making it ideal for dynamic on-set work. A fold-out five-inch HDR touchscreen monitor and an assist station, with a secondary display, further enhance the production workflow, ensuring that crews can monitor and control the camera from multiple angles without the need for external monitors. For filmmakers requiring perfect focus, a dedicated focus puller mode adds to the camera's appeal.

The Ursa Cine 17K 65 also features Blackmagic RAW, optimized for 17K editing, with built-in tools for media transfer via the Blackmagic Media Dock. This ensures rapid post-production workflows and real-time editing within DaVinci Resolve, making the camera an all-in-one solution for filmmakers aiming for high-quality production from capture to post.

While the 17K 65 might be a massive stretch for most of us, it is remarkable to hear that such a camera is able to compete with the likes of the Arri Alexa 65 – which until today held the distinction of being one of the only 'real' production models that solo users could purchase in this format.

Indeed, with the Alexa 65 costing well in excess of $100,000, the $29,995 price tag of the Ursa 17K 65 makes it an 'affordable' option for those few solo filmmakers that want large format output – not only for feature films but also the capability to crop in-post after the fact. We are witnessing history in the making!

Pre-order at B&H (US) for $29,995

You might be interested in the best Blackmagic cameras, which are among the best cinema cameras you can buy. 

Film-making and video editing is a rewarding profession, but not everything about it is great at the moment. Budgets everywhere are tightening, teams are getting smaller, and the pressure to achieve more in less time and with fewer people is rising all the time. 

In this light, Adobe's big update to its flagship video editing software, Premiere Pro, will be of particular interest to anyone who hasn't gone home on time lately. Because it includes some useful new features aimed at improving overall workflow efficiency and, in particular, transforming the way video professionals deal with color. 

Launched ahead of IBC 2024, these updates are currently available in beta to subscribers and are expected to roll out in full this fall. Read on to find out what's changed.

No need for color grading

At the core of the update is a dramatically reimagined color management system, which bypasses the manual color-correction process entirely. 

Traditionally, video editors have relied on look-up tables (LUTs) to convert RAW and Log footage into usable color formats. However, Adobe's new system eliminates the need for LUTs, instead automatically transforming RAW and Log footage from "virtually any camera" into standard dynamic range (SDR) and high dynamic range (HDR) formats. 

This means, at least in theory, that video editors can begin working with color-graded footage right away, cutting out a major step in the process and saving everyone a lot of time and money.

The new color management system is built on the Academy Color Encoding System (ACEScct), an industry-standard color space used in Hollywood. This, Adobe says, ensures high-fidelity tone mapping, and broad compatibility across a wide range of devices and display technologies.

And this is just the start, explained Jason Druss from Adobe's product marketing team, during a presentation to journalists. "We're serious about color," he said, "and this new color management system is just the beginning of making professional color workflows more powerful and accessible for video editors, right inside Premiere Pro."

To make things as easy as possible for editors, Adobe has organized the new color management system around six "set-it-and-forget-it" presets, which let you toggle between traditional Rec.709 (for legacy projects) and the new ACEScct wide-gamut color space. 

The latter enables editors to work with a greater dynamic range and color depth, and is recommended for high-end video production and HDR content.

Notably, some of the most-used effects within Premiere Pro, including the Lumetri color panel, are now fully color-space aware. This means that adjustments to skin tones, highlights and shadows will be more accurate and smoother across different color profiles. And that should give you a bit more flexibility when you need to create a specific look or feel for a project.

New Properties Panel

As well as the color management system, Premiere Pro now has a new Properties panel, which has been created to help you complete tasks with less fiddling around and opening up of menus. 

This new, context-sensitive panel consolidates frequently used tools, effects and adjustments into a single location, saving you from having to navigate through multiple menus and panels to get stuff done. For example, you can now crop video clips directly within the Program Monitor. 

The panel also allows for batch adjustments, so you can apply changes to multiple clips or graphics simultaneously. This should speed things up a lot for anyone working with complex timelines or large volumes of footage.

At the presentation Anna Lehman, a designer on the Premiere Pro team, emphasized Adobe’s ongoing commitment to improving the software’s usability. "The Properties panel is contextual to your workflow," she explained, "so you don't have to navigate between all of those 20 plus panels in Premiere to find the controls that you need."

Performance enhancements and format support 

Away from the headline features, Adobe has also done work under the hood, to making Premiere Pro run faster on the latest computers. So it's further optimized the software to take advantage of hardware acceleration, which should means faster playback and smoother editing of high-resolution footage, especially for popular codecs like AVC and HEVC. Meanwhile, Adobe says that exports of ProRes files are now up to three times faster. 

Premiere Pro also now supports a wider range of native camera formats from manufacturers like Canon, Sony and RED. This should make it easier for editors to start working with RAW files directly in Premiere Pro, without the need for a lot of time-sucking transcoding .

Integration with Adobe’s other Creative Cloud applications has also moved forward in this new release. For instance, when you're working with After Effects via Dynamic Link, you should now notice more accurate color representation between the two applications; reducing the need for manual adjustments during final render.

New-look UI 

Alongside these functional improvements, Adobe has also given Premiere Pro’s UI a brand new look. The redesigned interface now offers two dark modes, a light mode, and a high-contrast accessibility mode. These new themes are designed to reduce eye strain and make staring at the screen more comfortable over time, which could be useful for anyone working lots of late nights.

The updated interface also includes cleaner typography and redesigned icons, improving the overall look and feel of the software while maintaining consistency with other Adobe Creative Cloud applications. These visual changes are pretty subtle on the whole, but effective all the same. In other words, you'll still recognize everything easily, but it should all look just a little nicer.

What’s next? 

Adobe’s latest update to Premiere Pro is interesting enough in itself. But it's also fascinating to hear the reasoning behind it, and what that means for the company's strategy for the next few years. 

In the presentation to journalists, Adobe's reps made it clear they understood what's happening in the real world with their software. Namely that, with the rapid rise of short-form content on platforms like TikTok and Instagram, video editors are under increasing pressure to produce high-quality content quickly and efficiently.

These new features aim to help with that. Looking ahead, Adobe plans to continue refining Premiere Pro’s color management capabilities and expand its integration with other Creative Cloud applications.

The company says it's actively seeking feedback from its user base to guide future updates and ensure that Premiere Pro remains a versatile and powerful tool for filmmakers and video editors of all skill levels.

See our rundown on the best video-editing software currently available

Canon has unveiled its latest addition to the Cinema EOS lineup – the EOS C80, a compact RF mount cinema camera designed for filmmakers and live production. Building on the success of previous models such as the EOS R5 C and EOS C70, the EOS C80 introduces a full-frame sensor in a form factor that balances portability with professional features.

At the heart of the EOS C80 is a full-frame stacked backside-illuminated (BSI) sensor. This sensor, first seen in the EOS C400, enables 6K recording with 16 stops of dynamic range, which Canon claims offers improved low-light sensitivity and minimal noise. The camera's triple base ISO settings (800, 3200, 12,800) provide flexibility for varying lighting conditions, and an auto-switching mode allows for smooth transitions between these ISO levels in changing environments.

Canon has equipped the EOS C80 with its Dual Pixel CMOS AF II system, which delivers some of the most advanced autofocus capabilities yet in a Canon cinema camera, with face, eye, and head tracking, as well as body and animal detection.

In terms of design, the EOS C80 maintains a compact form similar to the EOS C70, with ergonomic refinements for handheld shooting and gimbal use. A redesigned removable top handle and a brighter LCD panel improve usability in outdoor environments, while the new joystick design offers better control.

The camera also supports Canon's PL to RF mount adapter, expanding compatibility with industry-standard Arri PL mount cinema lenses. Connectivity features include built-in Wi-Fi and Ethernet for file transfer, remote control, and IP streaming, enhancing workflow efficiency. Additionally, real-time lens metadata capture and VR capabilities, in conjunction with Canon’s RF 5.2mm f/2.8L Dual Fisheye lens, open up new creative possibilities for virtual production.

The EOS C80 supports various recording formats, including 12-bit Cinema RAW Light and new MP4 formats such as XF-AVC S and XF-HEVC S, which provide high-quality 4K footage with manageable file sizes. These options aim to streamline the post-production process, making the camera suitable for a wide range of professional applications.

The Canon C80 will go on sale for $5,499/£5,339/AU$8,899, and should be available from the end of September in some major markets but in November in Australia. For anyone who can’t wait until then – Canon will showcase the EOS C80 at the IBC show in Amsterdam from September 13-16.

Atomos has revealed the new generation of Shogun monitors, the Atomos Shogun 7” HDR Monitor-Recorder 6K RAW and the Atomos Shogun Ultra 7” HDR Monitor-Recorder 8K RAW, scheduled for release in October 2023. 

Launched at IBC 2023, the new monitors are the successors of the much-loved original Shogun monitors that left a stamp on the industry by enhancing the creative workflow of filmmakers worldwide. The new monitors look set to continue the success of the previous models by boasting an array of improved features. 

• These are the best on-camera monitors right now

The Shogun and Shogun Ultra both sport a 7-inch display with 2,000 nits of brightness, offering complete visibility even on the brightest of days. Both monitors incorporate a host of connectivity options that include In-Out 12G-SDI, HDMI 2.0 In & Out, Wi-Fi, Ethernet, and AirGlu. When it comes to codecs, the monitors have an extensive selection that includes 6K Apple ProRes RAW (and 8K with Shogun Ultra), Apple ProRes, DNxHD, and H.265. 

Both monitors have local and cloud-based modes, offering more recording and workflow capabilities. The Local mode employs the recently revealed AtomOS 11 as its foundation and is packed with an extensive monitoring suite that incorporates tools such as RecordAssist, PlaybackAssist, ELZone, and Arri False Color. All this is conveniently pre-configured and ready to use, straight out of the box. 

Cloud mode offers a range of wireless and network capabilities, allowing for cloud-based workflow for camera-to-cloud and Atomos Edit. Atomos Cloud Studio ACS  offers further ability for remote collaboration and live production. Other capabilities include top-tier Wi-Fi, Ethernet, and AirGlu wireless synchronization technology.

The Shogun Ultra monitor takes things further by supporting Dual Record ProRes RAW / H.265 for Camera to Cloud. It also continues to impress by offering SDICine, providing automated matching of filenames, timecode synchronization, and record triggering compatibility with professional cameras from Arri, Canon, Red, and Sony SDI cameras.

The new monitors are scheduled to ship in October 2023 at the price of around $1,330 / £1,070 / AU$2,045 for the Atomos Shogun 7” HDR Monitor-Recorder 6K RAW, and $2,460 / £1,290 / AU$2,460 for the Atomos Shogun Ultra 7” HDR Monitor-Recorder 8K RAW.

Check out the best 8K and 6K cameras, which will benefit hugely from these new Shoguns. You might also be interested in the best cinema cameras and the best cameras for video. 

Canon has launched its first-ever cine lenses for its RF mirrorless lenses - and instead of starting with just one or two, Canon has unveiled no fewer than seven different lenses in the new series - which debut at IBC 2023 later this week.

Canon is not new to cinema lenses. It already makes seven CN-E lenses for the Canon EF SLR mount - and has a further seven lenses in its Sumire lens for the industry-standard Arri PL-mount. But now the seven primes have been reconfigured for the RF full-frame mount. This new CN-R range will be of particular interest to those using the two current RF-mount Cinema lenses in the Canon range - the EOS C70 and the EOS R5 C.

The seven lenses are a 14mm T3.1, 20mm T1.5, 24mm T1.5, 35mm T1.5, 50mm T1.3, 85mm T1.3, and a 135mm T2.2.

The lenses offer optical performance that is suitable for 8K productions, and feature geared rings for use with third-party follow focus rigs. The gear position, total length1, front diameter, filter diameter and focus rotation angle have been made consistent through the Prime Lens series to simplify the use of accessories.

All seven lenses feature 11-blade diaphragms and are said to have minimal focus breathing. The 12-pin RF-mount promotes efficient communication unlocking benefits like distortion correction in movie mode.

The first four of the lenses - the 20mm, 24mm, 35mm and 50mm - go on sale in Feburuary. With the following three arriving in the following months (see table above for exact launch dates). They are priced from $3,950 - $4,220 each.

• Pre-order the Canon CN-R Cinema Prime lenses at BHPhoto

The yearly IBC International Broadcasting Convention exhibition and conference is once again taking over the Amsterdam RAI in the Netherlands this week, hosting over 40,000 visitors from around the globe from 15-18 September.

Some of the biggest names in broadcast and imaging will be there at IBC 2023, including camera manufacturers like Arri, Blackmagic Design, Canon, Nikon, Fujifilm, Sony and Panasonic – along with software and accessory brands like Adobe, Atomos, Sigma and Toshiba. In all, IBC expects there will be 1,700 exhibitors this year from 170 different countries.

What is IBC 2023?

Billed as "the premier annual event for professionals engaged in the creation, management and delivery of entertainment", IBC is operated by a partnership of six leading international broadcast bodies: IABM, the IEEE Broadcast Technology Society,  the Institute of Engineering and Technology, the Royal Television Society, the Society for Broadcast Professionals, and SMPTE. 

In addition to its huge exhibition area, its comprehensive conference program encompasses everything from the technical side of broadcast technology to cinema screenings of the latest blockbusters. episodes with a panel by the production . In one session, Google will explore how AI can be used to improve content production and personalize audience experiences. And the keynote address, is being given Marco Tempest from NASA's Jet Propulsion Laboratory who is a thought leader in augmented reality (AR), and virtual reality (VR).

With 8K video having fast become a staple of cinematography discussion, and the rapid relevance of 5G in the broadcast and technology sector, we're expecting some very exciting things to find their way onto the show floor… 

IBC 2023 announcements & rumors

The show has not begun yet, but in the lead up, lots of major manufacturers are announcing new products that it will be unveiling to the public for the first time at IBC. These are the ones we have seen so far…

Canon

Canon is launching its first range of RF-mount cinema lenses at IBC 2023. There are seven different primes in the set - 14mm T3.1, 20mm T1.5, 24mm T1.5, 35mm T1.5, 50mm T1.3, 85mm T1.3, and a 135mm T2.2.

The focal lengths and maximum apertures are the same as those found on Canon's existing series of cine lenses for the EF and PL mounts - but the lenses have been remodelled to make them fully compatible with the full-frame RF mirrorless camera mount.
Read more...

Also new for Canon at the IBC show, is its cheapest PTZ camera to date. The indoor Canon CR-N100 offers 4K shooting and a 20x zoom range - on top of the remotely-operated pan-tilt motorized head. 

Additionally Canon is showing a PTZ control deck, that is capable of remotely controlling up to 200 PTZ cameras.
See more...

Sony

Sony is already teasing that they will be launching a new member of the CineAlta range that looks like it will be a successor or a sibling to the full-frame Sony Venice cinema camera. Called the Burano (named after one of the islands off Venice), this will be announced on September 12 at 10:00 EDT, 15:00 BST, and can be followed live  on the Sony camera YouTube channel
Read more...

Cooke Optics

Premium cine lens brand Cooke is introducing its most affordable and most lightweight range of lenses ever. At $4,500 each, they are a fraction of the price of its existing products, and are  designed to attract a new generation of cinematographers to the advantages of what has become known as The Cooke Look. The full SP3 range will include 25mm, 32mm, 50mm, 75mm, 100mm lenses - all with a maximum T2.4 iris openings, and with 9-bladed diaphragms.
Read more...

Nikon

Nikon subsidiary MRMC has already announced that it is launching its new SR-1 Camera Robot at the show. This remote-controlled pan-tilt head is designed to allow professional DSLR and mirrorless cameras to take pictures from positions they couldn't usually reach. Weighing in at just 4.7kg, it is one of the lightest robotic products that the British company has produced.
Read more...

Hollyland

Hollyland is best known for its microphones and audio products. But this year it is branching out in a new direction with the VenusLiv, a dedicated streaming camera. This has a built-in 3x optical zoom, and offers plug-and-play operation - thanks to UVC support, allowing it to be seen by your computer as a webcam, without the need for a capture card. A key selling point is the 5in touchcrreen, which can be used in vertical or horizontal format - allowing you to switch from TikTok to YouTube formats with ease.
Read more…

Fujifilm

With the Fujifilm X-Summit having just taken place in Stockholm, IBC will be one of the first places you can see its new Fujiflm GFX 100S camera, which offers 8K shooting at 30fps, and 1080P at 120fps. The 100 megapixel camera boasts 8-stop IBIS, a buffer that is twice the size of its predecessor, and a 8fps motordrive setting.
Read more...

We'll keep updating this page, adding more news and rumors as we here them in the lead-up to the show, and when the exhibition actually gets underway on September 15.

Read more:

Camera rumors: what new cameras are coming out this year?

IBC 2020, Europe's biggest event for broadcast imaging, has been cancelled due to the ongoing COVID-19 crisis.

Set to take place in Amsterdam from 11-14 September, the annual International Broadcasting Convention exhibition and conference traditionally hosts some 50,000 visitors from around the globe.

"It is crucial that IBC can deliver a safe and successful environment," wrote IBC CEO Michael Crimp. "However, as governments announce the route forward, it has become clear that a return to (a new) normal is unlikely to be achieved by September.

"It has also become evident, through our dialogue with the IBC community, that an early decision is preferential for the industry so it can plan for the future… With that in mind and based on what we know at this point, it is with a heavy heart IBC has made the difficult decision to cancel the IBC2020 show." 

Some of the biggest names in broadcast and imaging traditionally exhibit at IBC, including camera manufacturers like Canon, Nikon, Fujifilm, Sony and Panasonic, along with software and accessory brands like Adobe and SanDisk, and camera phone giants such as Samsung and Huawei. Some of the big products revealed at last year's show include the Rotolight Titan X2, Irix Cine 11mm T4.3 lens and Canon EOS C500 Mark II. 

The IBC website states that "IBC2020 IS GOING VIRTUAL", suggesting that the event – as many others have done, when cancelled or postponed by coronavirus – will take at least some online form. However, such plans have yet to be revealed. 

Michael Crimp's full statement follows:

I hope you are safe and well, as we continue to adapt to the changing world in which we find ourselves. Following on from my previous statement I wanted to give you an update on the developments and situation at IBC.

As previously outlined, the IBC team has been focused on assessing and developing appropriate plans for IBC2020 this September at the RAI Amsterdam. 

Within these plans it is crucial that IBC can deliver a safe and successful environment. However, as governments announce the route forward, it has become clear that a return to (a new) normal is unlikely to be achieved by September.

It has also become evident, through our dialogue with the IBC community, that an early decision is preferential for the industry so it can plan for the future. 

Right now, despite the best work of the IBC team and our Dutch colleagues, there are still many unknowns. Therefore, we cannot guarantee that we will be able to deliver a safe and valuable event to the quality expected of IBC.

It is also evident that important aspects of a large-scale event such as IBC will be greatly altered by social distancing, travel restrictions, masks etc. so much so that the spirit of IBC will be compromised.

With that in mind and based on what we know at this point, it is with a heavy heart IBC has made the difficult decision to cancel the IBC2020 show. You may have seen IBC and the IABM surveys on this topic. Evidence gathered from these IBC stakeholders helps to confirm this decision. 

Whilst this is hugely disappointing for us all, IBC will continue to play a vital role in supporting the industry to get back on track wherever we are able.

For more than 50 years, IBC has provided the central annual meeting place for the Media, Entertainment & Technology community. For example, over the coming months IBC will continue to engage with the industry through its digital platform IBC365. Details of our plans will follow soon.

Your views continue to help shape IBC.  If you have suggestions, questions or concerns regarding this decision and announcement please do not hesitate to contact us using our dedicated email address: use our dedicated email address statusupdates@ibc.org

My very best wishes to all of you during this time of unprecedented challenges and I look forward to welcoming you next year at IBC2021, in Amsterdam.

Read more: 

IBC 2019: news and launches from Europe's huge broadcasting expo
The best cinema cameras in 2020: stepping up to full scale filmmaking
The best cine lens for filmmakers in 2020

The yearly IBC – International Broadcasting Convention exhibition and conference is once again taking over the Amsterdam RAI in the Netherlands this week, hosting some 50,000 visitors from around the globe from 13-17 September.

Some of the biggest names in broadcast and imaging will be there at IBC 2019, including camera manufacturers like Canon, Nikon, Fujifilm, Sony and Panasonic, along with software and accessory brands like Adobe and SanDisk, and camera phone giants such as Samsung and Huawei. 

Hot on the heels of IFA 2019, we still expect some big new reveals and announcements to take place from the heart of Amsterdam.

What is IBC 2019?

Billed as "the premier annual event for professionals engaged in the creation, management and delivery of entertainment", IBC is operated by a partnership of six leading international broadcast bodies: IABM, the IEEE Broadcast Technology Society,  the Institute of Engineering and Technology, the Royal Television Society, the Society for Broadcast Professionals, and SMPTE. 

In addition to its huge exhibition area, its comprehensive conference program encompasses everything from the technical side of broadcast technology to cinema screenings of Game of Thrones episodes with a panel by the production team. 

With 6K video having fast become a staple of cinematography discussion, and the rapid relevance of 5G in the broadcast and technology sector, we're expecting some very exciting things to find their way onto the show floor… 

IBC 2019 announcements

Irix shows wide 11mm T4.3 Cine lens

Following on from the Irix Cine 150mm T3.0 Macro 1:1 lens, Irix is now introducing its second cinema lens. The ultra-wide-angle Irix Cine 11mm T4.3 is designed to work with full-frame sensors and will be available in Canon EF, Sony E, Micro Four Thirds and Arri PL mounts. Read the full story…

Viltrox shows three fast primes

Viltrox is to introduce three new prime lenses later this year. All three will be designed for APS-C sensored cameras, and will be available in Canon EOS EF-M, Fujifilm XF, and Sony E mounts. The three autofocus lenses will have focal lengths of 56mm, 33mm, and 23mm – and all of them will share the same fast f/1.4 maximum aperture with a nine-bladed iris. Read the full story...

Rotolight Titan X2

Unveiled to for the first time at IBC, the Rotolight Titan X2 is the first non circular light from the innovative British LED lighting specialist. With its industry-standard 2x1  rectangular shape it goes head on against models such as the Arri S60 and Litepanels Gemini. 

Claimed to be "the brightest 2x1 soft light ever made", the Titan X2 offers an unprecedented level of granular control over lighting properties such as diffusion, focus and spread. Some 16.7 million colors can be summoned and dialed-in on demand, removing the need for gels. 

The device also offers high speed sync flash for stills photographers, as well as a suite of cinematic lighting effects to improve workflow on cinema and video projects.

Godox S30 Focusing LED light

Godox showed off a new LED light that replicated the fresnel spotlight strobes of yesteryear. The Godox S30 Focusing LED controls the spread of light from spotlight to floodlight in order to help photographers and filmmakers create theatrical effects. It will be launched shortly with optional accessories - including SA-P Projection Attachment which is designed to give a hard circle of light, or to project patterns of light across the frame using patterned 'gobo' stencils.
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Nikon Z6 Essential Movie Kit

Nikon has unveiled it's all-in mirrorless moviemaking set-up: the Nikon Z6 Essential Movie Kit, built around the video-friendly 24.5MP full-frame 4K Nikon Z6 body. 

Comprising filmmaking essentials such as the Atomos Ninja V monitor, SmallRig camera cage and spare batteries, Nikon describes the Movie Kit as "providing the pure essentials to get rolling quickly, with all the core tools to make high-quality movies," while "leaving filmmakers free to customize further components to suit their personal preferences."

The Nikon Z6 Essential Movie Kit pairs nicely with the recently announced firmware that will make the Z6 and Z7 the first consumer cameras to officially support raw video output. 

Sigma fp

We've been fascinated by Sigma's full-frame mirrorless camera ever since it was announced, so were really pleased to finally get a Sigma fp review at the show.

The Sigma fp (which apparently stands for "fortissimo pianissimo") the new camera will feature a 24.6-megapixel sensor and it will use a classic Bayer color filter array, not Sigma's own multi-layer Foveon technology as we had originally believed the company to be working on.

Designed to be the smallest and lightest full frame mirrorless camera ever, it will take interchangeable L-Mount lenses (including three new L-Mount lenses launched at the same time as the Sigma fp) and is designed to break the pattern of current camera design. Sigma's idea is "how a camera can be", not conforming to current categories and hierarchies. 

New for IBC will be an additional converter for the L-mount lens roadmap that will allow PL-mount cinema lenses to be use on L-mount cameras, such as the Panasonic S1H, upcoming Leica SL2 and the Sigma fp. Sigma is already producing Canon EF and Sigma SA mount converters for the emerging L-mount family.

Blackmagic Design ATEM Mini

Fast on the back of launching the Blackmagic Pocket Cinema 6K camera, the innovative Australian company had a big presence at IBC. Our pick of the new products at the show is the ATEM Mini - a live production switcher that enables multi-camera switching when live streaming on YouTube or Facebook. This links up four cameras and comes with a selection of effects – and most importantly at a $295 price that will appeal to many vloggers. 

Read our full news story here.

Also launched at the show were two new video monitor/recorders. The Blackmagic Video Assist 12G units are designed to give you a better view of your image as you are filming, whilst recording your footage to the drive. There are 5in and 7in models available from $795.

Canon Cinema EOS C500 Mk II

IBC was the first showing of Canon's latest member of the Cinema EOS range. The Canon C500 Mark II offers 5.9K video and makes the switch from CFast memory cards to the recently introduced CFexpress cards. It will go on sale in December for £16,999.99  / $15,999.  See our full story...

Sirui 85mm f/1.4 & 50mm f/1.8 Anamorphic

Sirui unveiled two new lenses for mirroless cameras. The $400 Sirui 85mm f/1.4 ASPH is a manual focus full frame lens for Sony E-mount.  The 50mm f/1.8 Anamorphic lens is specifically designed for shooting video Sony E-mount (APS-C format), Fujifilm X-mount and Micro Four Thirds mount.
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Sigma Classic Cine lenses

Sigma already has an impressive range of cine lenses designed for use with professional cinema cameras - but at IBC it is introducing a new range of FF Classic Prime Line primes. These are designed to work with the ongoing move to shooting in 8K - and also offer full compatibility with Cooke i-Technology - which allows extended metadata to be recorded from the lens as the camera records.

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CFexpress cards take off!

The big news at IFA was the birth of a new memory card format. We had known that this super-fast format was in the wings for ages - but in Berlin Sandisk officially launched and put on sale the first CFexpress cards. At the same time, there or thereabouts, Canon launched the first camera to use this type of card with the unveiling of the Canon EOS C500 Mark II.

We hoped that other card manufacturers will release their CFexpress cards now...  Sony, Lexar, Delkin and Prograde Digital are already signed up and committed to the format. The one company that did join the CFexpress high-speed party was Austrian memory specialists Angelbird. Angelbird is releasing two different speeds of CFexpress cards, with four different capacities... including a one terabyte CFexpress card. It also unveiled a card reader for the new memory card format. Read more...

We also hoped we'd get announcements of firmware updates that will allow cameras with XQD cards to be adapted to use CFExpress. Companies with cameras that use XQD cards include Nikon, Panasonic, Sony and Phase One. But this did not materialize.

In the end, we only managed to get our hands on a Sandisk CFExpress card (see proof above!).

Sony FX9 and Sony Z750

The star announcement for Sony at the show was not the A7S III as we had hoped (see below), but for a new flagship XDCAM interchangeable lens video camera. The Sony FX9 features a full-frame sensor and can shoot in 6K. It borrows color science from the its top-end Venice camera (used to film the new Downton Abbey movie), but also inherits autofocus technology from the Sony Alpha mirrorless camera range.

Also making its first public outing was the Z750 flagship shoulder-mounted ENG camcorder that shoots 4K video using a triple 2/3in CMOS sensors.

Feiyu Tech Qing

Gimbal specialist Feiyu Tech was again showing off Qing – a motorized pan/tilt head that can take the weight of a full-frame DSLR. The exciting bit here is the remote control that has a built-in LCD screen for precise, smooth control of movements. There is also a body worn sensor that allows the Quing and your camera to track a vlogger as he or she moves during a recording. The availability of this item, and its price, have still yet to be finalised.

IBC 2019 rumors and predictions

Sony A7S III

Rumors are ricocheting all over the place about what Sony is up to next, with the Sony A9 II apparently set to be revealed in early October. The signs still point towards the Sony A7S III being announced before the end of the year – and with the A7S II being revealed at IBC 2016, we hoped that this could also happen again here. But this turned out not to be one of the new products it announced here. 

The closest thing to be revealed was a new E-mount cine widee-angle zoom - FE C 16-35mm T3.1 G - which will go on sale next year.

Sony's video-oriented A7S II is dearly in need of an update, with its aging 12.2MP sensor looking pretty creaky compared to the cutting-edge 24.2MP Panasonic S1H and 33MP Sharp 8K Video Camera. 

And of course, with Sony about to go all-on on 8K throughout its line of TVs and electronics, it would be nice to see it crack the 8K barrier with the A7S III…

Huawei Mate 30 Pro

We know that the Huawei Mate 30 will launch on 19 September in Munich, but there's a chance that the company will have the handset on show (perhaps by invitation only) at IBC 2019. 

Huawei has confirmed leaks that the camera phone will use its new Kirin 990 processor, which promises better 5G functionality and lower noise in its photos. And Huawei's HarmonyOS operating system might have some heavy lifting to do, since the Huawei Mate 30 and Mate 30 Pro are both rumored to be launching without Google support.

The phones will feature a circular quad-camera array and an extreme waterfall display – we can't wait to see what kind of sensors they're packing!

Samsung Galaxy S11

Samsung should have a big showing at IBC 2019, as the company has been behind some enormous imaging innovations recently. 

If you've been keeping up with the latest smartphone news, you'll know that it has announced the Samsung Isocell Bright HMX 108-megapixel image sensor. We know that this sensor will make its debut in a 108MP Xiaomi Mi handset, which will have the power of a medium format camera phone. 

However, the Samsung Galaxy S11 is also anticipated to feature the new sensor. The South Korean giant usually announces the S line in January but, given the seismic developments in smartphones this year, we wouldn't rule out seeing the S11 make a surprise appearance in Amsterdam.

We'll be keeping this page updated with the latest news, announcements and hands-ons throughout the course of the show. So make sure to check back over the rest of the week to see everything that happens, as it happens, at IBC 2019! 

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Sandisk showed its new monster one-terabyte SDXC card at IBC 2019 this weekend - the highest capacity SD-format card that the memory card specialist has launched to date. The card has twice the capacity of the existing largest 512GB card in its Extreme Pro range. 

The performance is the same as with the existing Sandisk Extreme Pro cards, with read speeds of up to 170MB/s, and write speeds of up to 90MB/s. But Sandisk tells us that this makes its new one terabyte version the fastest 1TB SD card currently available.  Lexar already sells a 1TB card, which was launched last year, but this offers a speed rating of 95MB card is available now and costs £478.99 in the UK, and $499.99 in the US.

Speed ratings are especially important for video. Maximum speed ratings are useful for stills photographers, but for video you need to know the maximum sustained speed, or 'class rating', as video is captured in real time and won't wait for your memory card to catch up!

Sandisk launched an Extreme 1TB microSD card earlier this year.

The new SD card was on show alongside the new format ultra-high-speed CFexpress cards that Sandisk has also just launched.

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