All Eyes on IBC 2016 for Cameras and Lenses Galore
COW Library : Cinematography : Tim Wilson : All Eyes on IBC 2016 for Cameras and Lenses Galore
What’s that you say? An IBC that’s not only relevant, but downright exhilarating?
This used to not be news, of course. However, in recent years, as NAB has aggressively positioned itself as “the” international show, IBC has too often become simply an opportunity for European audiences to see products already announced at NAB.
In 2016, however, the focus swings sharply to Amsterdam, especially when it comes to cameras and lenses. IBC 2016 is shaping up to be one of the most dramatic trade shows for cinematographers, broadcasters, and videographers in years.
What follows is just a pre-show introduction. Check back as this story is updated as the show unfolds in the coming week. Once the show is completed, we’ll also be circling back around to put the whole thing in context with releases for other parts of your workflow, but for now, here’s a look at cameras and lenses from Angénieux and ARRI to Zeiss (and Canon and Panasonic and RED and and and….)
Among the things missing from many of these early announcements: pricing and availability. We’ve posted the that we have so far, but please, as noted, check back as we continue to update this page with further details.
The Angénieux Type EZ Series features a pair of fast and light weight zoom lenses integrating an innovative modular design (Interchangeable Rear Optics IRO technology™) to cover S35 mmm and larger image formats.
The Angenieux Type EZ-1 is a standard zoom lens with a zoom factor of 3x. When configured for S35mm cameras, the focal range and aperture are set to 30-90mm F1.9 / T2. By exchanging the rear lens group, the lens becomes a 45-135mm F2.8 / T3 covering an image circle up to 46mm diagonal.
Angénieux Type EZ-1 S35mm (T 2)
The Angenieux Type EZ-2 is a wide zoom lens with a zoom factor of 2.7x. When configured for S35mm cameras, the focal range and aperture are set to 15-40mm F1.9 / T2. By exchanging the rear lens group, the lens becomes a 22-60mm F2.8 / T3 covering an image circle up to 46mm diagonal.
Look for delivery on these beginning in early 2017. More here.
ARRI has just announced that, now that development on the ALEXA SXT cameras (Super Xtended Technology) is completed, upgrades to all ALEXA XT EV, ALEXA XT Plus and ALEXA XT M cameras shipped in 2015 and 2016 are officially on their way.
In addition to the originally promised upgrade program of a free-of-charge upgrade to SXT in Munich, ARRI has equipped its service stations in London, Los Angeles, New York, Beijing, Hong Kong and Mumbai to perform the upgrade. For those who received their XT camera before 2015, a paid-for upgrade option to a full SXT is also available.
So what’s up with the Super Xtended Technology? Equipped with the powerful electronics and sophisticated image processing of the ALEXA 65, SXT cameras can manage more recording formats and handle more processor-intensive tasks such as calculating looks with 3D LUTs or color space conversions to Rec 2020, all in real time. More here.
The ALEXA SXT cameras also incorporate a new revised Codex recording engine, similar to the system that is built into the ALEXA 65, supporting data rates up to 20GB/s! ALEXA SXT cameras also have a new media bay, developed by Codex, that features adaptors for XR and SXR Capture Drives, SxS cards and CFast 2.0 cards. More here.
Just before IBC, Canon announced what may be the show’s biggest camera news: a new flagship series for their EOS Cinema line, the EOS C700, EOS C700 PL and EOS C700 GS PL Cinema Cameras.
The EOS C700 GS PL features a Super 35mm 4K sensor with a global shutter to enable the distortion-free capture of subjects moving at high speeds. In addition to supporting the earlier XF-AVC 2 recording format, the cameras also support Apple ProRes.
HDR? Yes: 15 stops of latitude. They also feature Canon’s proprietary Log Gammas (Canon Log3, Canon Log2 and Canon Log), and otherwise generally renowned color science.
Additionally, these cameras seamlessly integrate with Canon’s professional 4K displays (DP-V2420, DP-V2410 or DP-V1770) for on-set color management and review that conforms to SMPTE ST 2084 (6) standards of HDR display.
We’ve also got some more fun from Codex, who started to work with Canon on the EOS C500 camera. The combination actually made their way into space for the astounding IMAX/Disney movie A Beautiful Planet, lensed by cinematographer James Neihouse ASC. We've got a story about that here, as well as a lovely interview with Sarah Mason and Jake Essoe from The Harold and Maudecast that I was privileged to witness at the Cine Gear Expo.
This time, the optional Codex CDX-36150 recorder allows for high-speed 4.5K RAW recording at up to 100FPS, 4K RAW at up to 120FPS, 4K ProRes at up to 60FPS, 2K ProRes at up to 240FPS and XF-AVC at up to 60FPS.
Especially noteworthy for the new Cinema EOS C700 cameras is that they're the first Cinema EOS cameras to support anamorphic shooting, and full HD high-frame-rate recording at a maximum of 240 fps for super-smooth slo-mo.
The EOS C700 and EOS C700 PL are currently expected to go on sale in December 2016, while the EOS C700 GS PL is currently expected to go on sale in January 2017. The EOS C700 and EOS C700 PL will have a list of $35,000.00 each and the EOS C700 GS PL will have a list price of $38,000.00. More here.
For less than a tenth of that (list price of $3000), and available in September 2016, the Canon XC15 4K camcorder offers high-res, low-noise UHD in a compact, lightweight body design, measuring approximately 5.0 x 4.1 x 4.8 inches (WxHxD) and weighing a kilo or so, with a 10x optical zoom lens. Needless to say, a number of built-in looks help make this an ideal “B” camera to the EOS C700, C500, C300, and other Canon “A” cameras.
Worth noting: one improvement over the previous XC10 camcorder introduced in April 2015 is the XLR input for an external mic. More here.
Our friends over at AbelCine also put together a stellar overview of Canon’s IBC announcements that you'll want to check out for even more details, AND a terrific detail-laden video, presented forthwith.
BUT WAIT! THERE’S MORE!
In addition to news for cinematographers and videographers, Canon brought something for the broadcasters, the UHD-DIGISUPER 27, a high-optical-performance2 studio zoom lens for 4K UHD broadcast cameras employing 2/3-inch sensors.
The insane 6.5–180mm focal length range can actually be doubled via a built-in 2x extender, for a total focal length of 360mm! With, yes, full support for the recently standardized wider color gamut of UHD. More here.
You know what? There’s still more: the Canon EOS 7D MARK II Kit with wifi (got a deadline? Post those photos now!), the EOS 5D Mark IV and L-Series lenses, plus the aforementioned 4K monitors.
Details to follow on allllll this.
What’s old is new again! There’s no substitute for the look of Cooke Optics’ vintage Speed Panchro prime lenses from the 1920s-1960s.
Complete game changers when they were introduced around the time of the transition to the “talkies” and faster lenses were required, they offered unparalleled field of view and definition that have yet to be precisely matched -- but they’ve been getting harder to find, and once you find ‘em, you have to retrofit modern mounts.
The new Panchro Classics will bring back the original design, but with PL mounts for modern cameras. Early word on these has been nothing but enthusiastic. More here.
Leica M 0.8 lenses bring the iconic look and character of Leica’s legendary M glass directly to the world of moving pictures by making it easier than ever to work with these lenses in true cinema applications.
Leica M full frame lenses are another legacy favorite, albeit for “only” 60 years, but for some of the same reasons as the Panchros: a gorgeous, unique interpretation of light that choosy photographers have been unable to create any other way. While especially enterprising cinematographers have adapted the M series to cinema, the new Leica M 0.8 Lenses are specifically designed for cinematography.
Leica’s sister company CW Sonderoptic has selected five lenses for this series, choosing the fastest in each focal length. The lenses will be available individually or as a set and include: 21mm f/1.4, 24mm f/1.4, 28mm f/1.4, 35mm f/1.4 and the 50mm f/0.95 Noctilux.
The new Leica M 0.8 lens series
Like their photographic forebears, this series is designed for full frame (24x36mm) sensors and film stocks, such as RED’s Dragon 8K VistaVision, Sony’s a7 series and the Leica SL. They’re still classically compact in the Leica manner, which also makes them ideal for drone and gimbal applications.
Part of the way they can be so small is through the classic Leica M mount, which happens to nicely align with RED’s DSMC2 design for cameras including Scarlet, Epic, Weapon 6K, Weapon 8K VV and Helium 8K. Adapters are also available for Sony E and FZ mount cameras from the Sony A7 series up to the F55.
Look for all this to be hitting the street in early 2017, with prices ranging from €5300 for the 35mm to €12,000 for the 50mm f/0.95 Noctilux. More here.
Also in the running for hottest camera news at IBC 2016 is Panasonic’s “VariCam Pure”, a new cinema-ready version of the VariCam 35 at IBC 2016 featuring a jointly-developed Codex recorder capable of pure (get it?) uncompressed, 4K RAW acquisition.
It couples the existing VariCam 35 camera head with a new Codex V-RAW 2.0 recorder, attached directly to the back of the VariCam 35 camera head. As a result, the camera retains the same Super 35 sensor, 14+ stops of latitude and dual native 800/5000 ISO as the original VariCam 35.
Some of the juicy goodness that Codex brings to Panasonic’s party is pure (get it?), uncompressed RAW up to 120 fps onto the industry-standard Codex Capture Drive 2.0 media, as well as Panasonic VRAW, Apple ProRes and Avid DNxHR. Here are a couple of different perspectives on the partnership, via Panasonic and Codex.
In the meantime, there’s actually been a lot more going on with the VariCam LT Super 35mm Cinema Camera series as it continues to evolve: 5 packages in all now, including a brand new combination of a fully tricked-out camera, plus two AU-XP0512BG expressP2 memory cards and an AU-XPD1 expressP2 Card Reader. The 512GB expressP2 cards can record approximately 180 minutes of continuous 4K material at 24fps in the AVC-Intra4K422 codec.
Lots of software goodness for you too, including a firmware update that provides SD card recording of CDL/LUT, 1080p in AVC-Intra100 recording, and 1080/60i, 50i for ProRes HQ recording. Many more details here.
AND, not unlike Canon, Panasonic is also pushing very aggressively into high-performance, low-cost 4K camcording, with the first two models in its new UX series of professional 4K camcorders, the UX Premium Model AG-UX180 and the UX Standard Model AG-UX90. The UX180 and UX90 begin deliveries in December and November, respectively, with suggested list prices of $3,795 and $2,295.
AG-UX180 4K Pro Camcorder
We were just talking about Leica, and here we are again, with the newly-designed, fully integrated Leica Dicomar 4K compact lens with a wide 24mm angle (4K 24p, 17:9), the industry’s widest for an integrated lens camcorder.
On the sensor side, both models incorporate a 1.0-type (effective size) MOS sensor, and natively record to good ol’ MOV (QuickTime), MP4 and AVCHD file formats. When recording in FHD, variable frame rate (VFR) enables 10-step recording at 2-60fps. That there is a variety of variations of variability.
Many of the tricks you’d expect are here (optical image stabilization, intelligent autofocus, pre-record, etc.), but what jumped out to us is the way that the camcorder’s two SD card slots enable virtually unlimited (to 96GB) relay recording by simply changing SD cards.
Another feature that will make a huge difference in day-to-day use is a way to simplify access to the expansive plethora of features: 44 functions can be allocated to 13 user buttons. More here.
RED Digital Cinema
We’ll have a lot more details for you from RED soon, but, in a way, the big news is that they’re at IBC at all.
That is, after the announcement that RED would be bypassing NAB in favor of the Cine Gear Expo from here on out, there was some question whether they’d be skipping IBC as well – but no. They’re there, along with a boothful of partners including FOOLCOLOR, OFFHOLLYWOOD, RT Motion, Bright Tangerine, and Gates Underwater.
In tow: the full phalanx of the new RED DSMC2TM cameras – RED RAVEN™ 4.5K, SCARLET-W 5K, WEAPON® 6K and WEAPON 8K VV, as well as the limited edition white WEAPON 8K S35 featuring RED’s newest sensor, HELIUM™. This creates a unique opportunity for visitors to experience two industry-leading 8K sensors, RED DRAGON® VV and HELIUM S35, side-by-side.
For now, this is admittedly a bigger story for folks fortunate enough to be in Amsterdam, but we’ll bring you more details once some folks have had a chance to get their hands on this tech in person.
Also for now, we’ve got our eyes peeled for the WEAPON cameras upgraded to a RED DRAGON 8K VV sensor, boasting up to 75 fps at 8K resolution, 35 megapixel stills from motion, 300 fps at 2K resolution, and incredibly fast data speeds (up to 300 MB/s). More here.
Sigma may be the youngest company here besides RED, founded in “only” 1961, and whatever else you were expecting from IBC 2016, you better not tell me that you were expecting THIS: that a company whose lenses were previously available exclusively through (the now-merged) prosumer giants Wolf and Ritz would come out swinging with a serious set of cinema lenses aimed squarely at the world of budget-conscious digital cinema production.
The FF High Speed Prime Line lineup ranges from 20mm to 85mm, and all five lenses are T1.5. They are compatible with full-frame sensors and, while being more compact, Sigma claims that they can offer superior resolution than other high-end prime sets do.
FF Zoom Line is compatible with a full-frame image circle, making it ready for high-resolution shooting such as 6K - 8K.
The High Speed Zoom Line offers the constant aperture of T2 throughout the zoom range, and the optical performance is ready for high-resolution shooting such as 6K - 8K
Are these going to remake the world of high-end cinema optics? No, but they don’t have to. While pricing and availability have yet to be announced, if Sigma’s past is any indication, they’re potentially on the verge of changing the game by offering an exceptional value to people who’ve been looking for the door into affordable digital cinema production. More here.
With the new ZEISS Lightweight Zoom LWZ.3 21-100mm/T2.9-3.9 T, they’re running hard at the Super 35 crowd. How lightweight? Two kilos to cover the range of six primes.
One wouldn’t want to overstate the extent to which any zoom lens REPLACES primes (in practice, zooms are more typically used in some specific applications, and not others), nor would one want to rush to call EUR 9900 or $9900 “cheap”, but the fact is that this represents another very nice value for the budget-conscious shooter...including those budget-conscious shooters who prefer to rent their ARRI AMIRA cameras, to save money to buy lenses. More here.
ZEISS Lightweight Zoom LWZ.3 mounted on the ARRI AMIRI camera
Soooo….not a bad start for one small angle of IBC 2016, no?
There’s much, much to come, but we’ll end for now with some questions. What are you thinking about for your next cameras and lenses? Which of these companies now has your full attention? Who do want to hear more from? Anybody you’ve heard about that we’ve missed? Let us know what you’re finding out, and we’ll keep doing the same!