News from the International Broadcasting Convention 2017


Taking place in Amsterdam every September, IBC attracts more than 50,000 attendees from at least 170 countries. Along with NAB in April, IBC is a major venue for manufacturers to announce and release new gear, while giving many potential users a chance to see and touch the new gear, as well as ask questions one-on-one with the equipment technicians. So, even though manufacturers are keeping fewer and fewer surprises for the actual show, we at B&H wanted to bring you IBC-related announcements to keep you up to date with what is happening in the pro video world.

Panasonic EVA1

Panasonic teased the world in April, at NAB, with a mockup of the camera hidden by a cloth drape. Then in June, we were able to announce that the camera did indeed exist, and what it would be called. But only now has Panasonic begun showing the camera to the public—a 5.7K dual ISO sensor with an EF mount recording 4K internally to SD cards. For those of you holding your breath, Panasonic expects the EVA1 to be available for purchase at the end of October, but you just might want to preorder yours now.


Though the official release date was September 5, the Flowtech 75 MS carbon fiber legs are being shown at IBC. Touted as a completely new design, the set of legs feature a 75mm bowl and can be used with or without the mid-level spreader. What makes these legs so notably different from every other set of legs is the design of the leg structure, which bestows tremendous torsional stability in a tripod that weighs less than 7 pounds, but supports up to 44. The legs may be light in weight, but they do not twist, as other lightweight tripod legs are prone to do. Plus, a single lever lock at the top of each leg enables you to extend or collapse each leg individually without having to bend to the ground to loosen the bottom section. And as a “just one more thing” feature, the legs can work as you would expect cinema/video tripod legs to work, using a spreader, or you can remove the mid-level spreader and use the legs’ three independent locking positions, the lowest of which allows you to get the legs 10" off the ground, while still being rock-solid steady. Flowtech is available as either Sachtler or Vinten.


Introducing what Fujinon calls the world’s smallest and lightest 4K broadcast lens for 2/3" cameras. The UA24x7.8 has a length of approximately 8.7". It is a 24x zoom lens with a focal-length range of 7.8 to 187mm. It should be available in January 2018.


The Gemini is Litepanels’ new 2 x 1 softlight. LED based, as you would expect, the light features tungsten- and daylight-balanced LEDs, as well as green fine-tuning capability. The Gemini softlights have been used on professional productions and, after successfully weathering their test of fire, Litepanels is showing them to the public at IBC. Featuring three working modes—CCT, HIS, and Gel mode—the Gemini can be used as a simple softlight with a color temperature of 2700 to 6000K with green adjustment. You can also enter HSI mode to adjust hue, saturation, and intensity directly on the fixture, while Gel mode enables creating the effect of adding a physical gel to the light for color control, without adding a gel. DMX512 control is incorporated into the fixture, enabling adjustment remotely instead of having to locally adjust the unit. This is a big time saver when using multiple fixtures and having to adjust their parameters—no more climbing into a grid and adjusting each light by hand. With 97 CRI daylight, and 99 CRI Tungsten, plus minus green control, DMX512, and full flicker-free dimming, expect the Gemini to make a big splash.


For-A continues to support 4K, with high-end switchers for broadcast and Hi-Speed 4K cameras. Making its IBC debut is the HVS-490 HD/UHD 4K switcher, ideal for mobile productions and live event venues. It’s available in 40 input/18 output, 36 input/20 output, or 32 input/32 output units in HD and 10 input/6 output, 9 input/6 output, or 8 input/7 output configurations. The HVS-490 incorporates 16 channels of 2.5 DVE as standard. For-A’s FT-ONE-LS-12G, the latest high-speed full 4K camera in its FT-ONE series. It supports full 4K shooting at up to 500 fps or 1200 fps in HD, and is well suited for low-light level recording, even at high-speed.

Convergent Design

Announcing just a few days ahead of IBC, Convergent Design presents not one, not two, but three multi-camera recorders. The Element 1, Element 2, and Element 3 fit different niches but keep a consistent design style and functionality. The Element 1 is a multi-camera recorder for HD. It supports recording from four cameras through four HDMI inputs and features a single HD output. It features a jog wheel, matched filename/timecode/CODEC/start frame functionality and supports network file transfer over GigE. The Element 2 supports four HD camera inputs (HDMI), and has all the features of the Element 1, but adds switcher capability and a luma keyer for lower thirds/logo overlays, and a second HDMI output. The Element 3 Supports four camera inputs and incorporates four 12-G SDI inputs, two 4K HDMI inputs, two 12-G SDI and two 4K HDMI outputs. Slightly larger than the Element 1 and 2, it accepts two SSD drives instead of one, and features all the functionality of the Element 2, but adds an extra M/E engine and 4K/UHD60p support.


To little surprise and much fanfare, Sony lifted the veil from its full-frame Venice cinema camera. This 6K-capable camera is purpose-built for cinema production. The 3:2 aspect-ratio sensor can be cropped down to fit different formats, depending on the production. Its industry-standard PL mount is situated on top of an E-mount, so nearly any kind of lens can be used, and electronic communication with compatible E-mount lenses allows for proper operation. With the separately available R7 recorder and AXSM media, the Venice will be able to record 16-bit linear raw files for smooth gradients and impressive color depth.


The company known for introducing small, yet incredibly functional, monitors is going to be showing off its new 17" DCI-P3 monitor. But wait. Didn’t SmallHD already release one of those? Yes, it did—this one, the 1703-P3X, happens to have a higher brightness output of 900 cd/m2 as opposed to the 400 cd/m2 of the existing 1703-P3. This makes the new P3X more suitable for field work in areas with lots of ambient light. All the great things about the 1703 series is still there, such as the Page Builder OS, monitoring tools, sturdy construction, and color accuracy. This one is sure to be a hit, so keep an eye on the B&H website for more information on pricing and availability.


ARRI made a big impression, quite literally, at IBC this year with its new S360-C SkyPanel. The S360-C has an illuminating surface measuring more than 50 x 34", a surface area more than 5.8 times larger than that of the ARRI S60. This light packs some punch, and features interchangeable diffusion panels that are available in lite, standard, and heavy. An intensifier panel is also available that makes this soft light 50% brighter, expanding its capabilities and usefulness. But raw power is not what the S360-C is about, it achieves more than 85% of the color spectrum supported by REC 2020, while having a color-temperature range of 2800 to 10,000. Features include plus/minus green control, hue, saturation, RGBW mixing, digital gels, and source matching.

Still what is most noticeable is the sheer size of the fixtures output. And with such a large surface to work with, ARRI the light effects the SKyPanel family is capable of just become significantly grander. So, not only is the S360 a beautiful large soft source light, but you can use it to create realistic lighting effects such as fire, police lights, and lightning, just to name a few. Although the Fixture may seem large for a softlight you can mount on a stand or hang from a grid, ARRI has worked hard to limit its weight, and keep it from becoming cumbersome. The fixture features a carbon fiber yoke to cut down on the weight, and despite its power and brightness—more than 5,000 Lux at 9.8' with tungsten color temp and standard diffusion—the fixture is less than 8” deep. To tame this beast and bring it under your control, the remote fits neatly into a docking space and attaches magnetically, or you can connect the remote to the fixture with a USB cable.

We're pretty excited about some of these new products! Are you? Tell us why, in the Comments section, below.