Best in show: IBC 2024 highlights

It’s September, so that means IBC. This year, some of us opted for a more considered way to attend. British Cinematographer had the honour of being invited aboard The Flint Green Line, a unique networking event designed for media professionals. This  experience took place on a Eurostar carriage, transformed into a hub for collaboration and dialogue, all while heading to IBC 2024.

The event was supported by sponsors such as Ateliere Creative Technologies, Broadpeak, Climate EQ, Genelec, Greening of Streaming, Humans Not Robots, IBC, Norsk by Id3as, Storj, and VMI. Departing London’s St. Pancras Station on Thursday 12 September, at precisely 11:04 am—no delays, at least not on the way out—the journey provided attendees with an eco-friendly route to Amsterdam and a rare afternoon of networking. Among like-minded professionals, discussions naturally gravitated towards sustainability and the future of media production.

Carefully planned, The Flint Green Line embodied the growing emphasis on aligning industry progress with environmental responsibility. It wasn’t just about travel but fostering meaningful exchanges, uniting professionals eager to reduce their carbon footprints. By the time they arrived in Amsterdam, participants had not only made valuable connections but also strengthened their collective commitment to a more sustainable media future. Thank you to Neal Romanek and Neil Howman of The Flint for making it possible.

GOING DAM BUSTERS

IBC says that 45,085 attendees from 170 countries gathered in the Dutch capital, focusing on media innovation and technology advancements. This year’s event saw an increase of over 2,000 visitors compared to the previous year. Additionally, the number of exhibitors rose to more than 1,350, up by 100 from 2023.

At the RAI, numerous key players in the cinematography industry showcased their latest innovations, with stands offering demonstrations of cutting-edge products designed for film, broadcast, and digital media.

Grass Valley launched a trio of switcher products: the K-Frame VXP Video Processing Frame, the Karrera V2 Switcher Control Panel, and Sport Producer X. These new innovations were designed to address the evolving needs of low-to-mid tier production environments, offering industry-leading functionality, flexibility, and efficiency.

Meanwhile, AJA Video Systems, creator of video and audio equipment for post-production, just rolled out the OG-ColorBox, blending its established ColorBox colour management with a sleek openGear form factor. The new device, alongside the ColorBox v3.0 update, delivers ultra-low latency and high-density 4K/UltraHD HDR WCG video processing. It’s packed with extensive HDR/WCG conversion options, spot-on colour correction, and custom LUT processing for live production. From tweaking specialty cameras to real-time SDR/HDR magic, this powerhouse has professionals covered. AJA president Nick Rashby gave journalists a tasty preview over lunch, walking them through the OG-ColorBox’s key features.

SCREEN TIME

Atomos, developer of high-quality video monitors and recorders that enhance camera performance and streamline video production, had a strong presence as ever, boosted with the return of its co-founder and CEO, Jeromy Young. Known for its monitor/recorder technology, the company presented its updated lineup, including the  Shinobi II Monitor, which was launched in July.

“It’s been doing very well – the big deal is it’s a brighter monitor, it’s thinner and it’s got camera control,” explained marketing director Steve Wise. “The one thing we were asked about on the original Shinobi was ‘give us camera control’. The USB-C port on the back allows us to control six camera brands, including Sony and Panasonic. New for the show is the added support for Nikon and Fujifim.”

BEHIND THE LENS

Canon introduced the EOS C400 cinema camera, which comes equipped with a large sensor and built-in features tailored for live production. These include time code generation and compatibility with RF-mount lenses. It works seamlessly with the updated CN7 x 17 lens. Meanwhile, the EOS C80 is a compact camera, also featuring a native RF-mount and a full-frame, back-illuminated stacked CMOS sensor, designed specifically for use in live sports coverage, including pitchside and mobile settings. With a 6K full-frame sensor, the C80 shares many of the C400’s capabilities, such as triple base ISO, ensuring excellent performance in low-light conditions. Both the EOS C400 and C80 excel at capturing high-quality footage in darker environments, like nighttime sports events.

STORAGE

Storage companies were prominently featured, including cloud giant Dropbox and Seagate Technology. Known for its hard disk drives (HDDs), solid-state drives (SSDs), and a variety of data storage solutions, the latter’s s Mark B. Anderson, manager of the channel systems & solutions sales team, was on the stand.

“We’re here to showcase our new technologies under our Mosaic brand for storage, which utilises HAMR—the next generation of hard drive technology enabling much higher densities and greater storage capacity per drive,” he said. “We have a 30 terabyte drive on display that isn’t on the market yet, but we expect to reach up to 60 terabytes by 2028.”

FRIEND RE-UNITED

The event also attracted some of the best-known directors of photography and camera operators. Veteran cinematographer Rodney Masters ASC was on the Nanlux stand, where he extolled the virtues of LED lights. At the Astera booth, the LunaShade took centre was showcased. Inspired by James Friend ASC BSC, this accessory provides precise control over the directionality and quality of light from the LunaBulb. Friend himself was on hand to discuss the LunaShade and its features.

VIRTUAL PRODUCTION 

Sony’s Virtual Production (VP) demonstration was led by Yasuharu Nomura, the head of VP at Sony. He showcased how the latest advancements in virtual production are reshaping the landscape of filmmaking. VP technology has evolved to offer filmmakers an unprecedented ability to combine physical and digital environments in real time, transforming the creative process. This demonstration emphasised how directors and cinematographers can utilise this technology to visualize scenes on set, integrating both CGI and live-action footage seamlessly. Sony’s innovations in LED wall technology and camera tracking solutions were particularly impressive, promising greater flexibility in achieving complex shots without compromising quality. Nomura emphasised the creative potential this brings to the industry, reducing production costs while expanding the visual possibilities available to filmmakers​.

PANEL DISCUSSIONS 

The panel discussions at IBC 2024 provided an in-depth look into the current and future trends shaping the industry. A key theme was the increasing role of artificial intelligence and machine learning in media production. The panels also delved into the evolving business models in media, especially with the rise of streaming platforms and shifts in content consumption patterns. Discussions centered around how companies are adapting to constant technological disruption and transforming their strategies to meet the growing demand for personalised and on-demand content​.

It’s been a challenging year with many in the industry still facing unemployment. However, the vibrant atmosphere at the RAI showcased the resilience and optimism driving the sector forward. That’s a wrap for IBC 2024—here’s to IBC 2025!