IBC management prides itself on showcasing the latest cutting-edge technology in the electronic media industry. It couples a comprehensive exhibition covering all facets of today’s industry with a highly respected, peer-reviewed conference that helps to shape the way the industry will develop in the future. IBC attendees are also presented with a wealth of networking opportunities that take place in a professional and supportive environment.
Exhibitors will showcase a broad spectrum of products and services with tools for everything in the content creation/distribution process from preproduction, production and post to electronic distribution and archiving. With over 1,300 companies showing off their new wares and thousands of attendees, it’s easy to get overwhelmed as to who and what to see. Here’s a list of a few exhibitors you might want to check out.
Liz Cox, JVC’s European marketing communications manager, slipped us info about two new products the company will introduce at IBC this month. Firstly, there’s the flagship JVC ProHD camcorder line, the GY-HM790, which offers new features for both studio and ENG applications. Some of the features distinguishing this camera include a modular design that allows cleaner integration, and the use of 1/3-inch CCDs for a lighter, more compact form factor and better maneuverability. The GY-HM790 records to standard low-cost, SDHC media cards in ready-to-edit file formats for fast workflow, letting you drag and drop your footage directly into Apple Final Cut Pro (.mov) and other major NLE systems (.mp4).
JVC’s new cost-effective HD multi-format production DT-R Series monitors are professional screens with essential features for studio applications. The DT-R monitors feature IPS (In-Plane-Switching) LCD panels and 10-bit signal processing. The IPS panels deliver a high viewing angle (178°/178°) that Cox says is ideal for studio control operations. JVC will show 17- and 24-inch versions of the DT-R monitor with resolutions of 1366x768 pixels and 1920x1200 pixels, respectively.
Many of JVC’s products will be on display at their “Creation Van,” which will also feature the KM-H3000 digital production switcher and IF-2D3D1 3D image processor, delivering real-time monitoring of 3D content or real-time 2D-to-3D conversion. Finally, the company will show the new SR-HD1500 and SR-HD1250 Blu-ray disc and HDD recorders with a built-in hard disk drive for easy duplication and disc authoring without a PC.
According to Mole-Richardson’s Paul Royalty, in addition to showing its Tungsten Pars, MoleBeams, SpaceLites and DayLite Par range of HMI fixtures at IBC, the iconic lighting company will host its very first international product launch with the MoleLED family of products that previewed earlier this year at NAB. The MoleLED was designed with a global market in mind, incorporating a universal voltage AC/DC power supply and functions anywhere from 100 to 250 volts AC. The battery adapters are designed to work with any DC power supply from 10 to 48 volts (e.g. Anton Bauer, IDX and Cine Power), and both the fixture itself and its components are CE/RoHs compliant.
In addition to the MoleLED 12-Pack fixture, IBC attendees will also get a sneak peak at the MoleLED Single fixtures. These standalone LED modules come in both DayLite and Tungsten flavors. Because of their flexible, modular design, they can be used singly or daisy-chained together, and Mole plans to offer them in kits of 3, 6 and 12. “The MoleLEDs are perfect for car rigs, interviews, news desks or lecterns,” Royalty says. “These little LEDs have all the benefits of their big brother in a handheld package.”
Avid usually has something cool up its sleeve but, like a great poker player, tends to keep things close to the vest. We can tell you that there’s likely to be a juicy Avid announcement at IBC, but even offering bribes of spa days and gourmet chocolates failed to loosen the tongues of the company’s media-relations representatives in terms of any specific news.
Here’s what we can tell you about Avid’s IBC presence: In terms of existing products, Avid plans to showcase two existing products, Media Composer 5 and their Integrated Media Enterprise system. “Media Composer 5 editing software is the fastest and most cost-effective workflows for meeting today’s unique production challenges,” says Avid Spokeswoman Erica McCarthy. The recently launched software delivers native support for RED, QuickTime and Canon XF formats, plus a host of other capabilities like HD-RGB finishing and support for a low-cost, third-party monitoring solution.
The Avid Integrated Media Enterprise framework provides broadcast and post organizations with the flexibility and agility needed to find and manage media assets anytime, anywhere in order to adapt in today’s business climate. In a nutshell, this is a content creation, management and distribution ecosystem that incorporates a variety of tools to address a producer’s need to more effectively monetize their assets and promote deeper collaboration across every aspect of their business, according to Avid COO Kirk Arnold.
Avid’s technology presentations will include a demonstration of “anywhere” Web-based editing technology; native file-based workflows, such as RED, Canon 5D and 7D and ProRes; and Avid’s interoperability with third-party solutions.
EditShare specializes in collaborative editing solutions and developing both hardware and software tools for postproduction. The company will showcase several major product upgrades at IBC 2010. One of the most interesting developments is the announcement that EditShare is about to release the industry’s first large-scale,support for stereoscopic 3D.
Version 6 of the company’s storage system has a number of new features, including the ability to define user groups; optimized DPX workflows; full Mac OS X and Windows 7 compatibility; simplified media space management; support for solid-state drives and dual-port 10-gig cards; a new streamlined user interface; and much more.
Other EditShare products to be shown at IBC include the Ark backup and archiving solution; Flow media management tool to track assets across the production chain; and a major upgrade to the popular Geevs playout application. Geevs 5.0 adds a new sports application with multichannel, synchronized recording and playback for up to 16 cameras, plus seamless integration for Avid and Final Cut Pro editing workgroups.
MICRODOLLY HOLLYWOOD, manufacturer of precision-built, ultra-light camera jibs, dollies, mounts and remote pan/tilt heads, introduced its new Superslider Camera Dolly and Track System. This innovative new system can be quickly mounted onto any MICRODOLLY jib arm crane, with the track extending from 3 to 6, 9 or 12 feet, and a camera may be attached to either the jib or dolly in seconds. The dolly rides on custom-made wheels that are smooth, silent and weatherproof, and the system may be operated directly on the ground with leveling legs or supported by tripods at any height while carrying camera loads up to 45 pounds (20 kg). Built tough and weatherized, the Superslider folds for travel and comes in a ballistic-nylon, soft-case backpack.
NewTek first came to prominence in the late 1980s and early ’90s with its Video Toaster device for the now defunct Amiga computer. The company specializes in creating hardware products for things like video switching and graphics for a fraction of the size and price of traditional studio gear, while delivering broadcast caliber output. At IBC, NewTek will premiere the shipping version of its new TriCaster TCXD850 portable live-production system, the Maserati of the TriCaster product line that previewed at this year’s NAB.
The TCXD850 boasts a 22-channel HD/SD live-production switcher with redundant power and removable storage; 8 external sources and 8 virtual/mix channels; live HD virtual sets and advanced matte generation; overlay with rotation, positioning and scaling in 3D, plus animated effects; HD live streaming; increased media player capabilities; and multi-view monitoring of all inputs and outputs. The whole unit is compact and rack mountable (at 19-inches deep/7.25-inches in height/21.5-inches wide) with easy access to ports on the rear of the unit.
Element Technica has been building quite a reputation for themselves with their line of 3D camera rigs. According to the company’s spokesman, Joey Romero, 22 of the rigs were used to provide 3D coverage of the recent FIFA World Cup soccer competition in South Africa. And at this year’s NAB, the company premiered prototypes of their Pulsar and Neutron rigs. IBC attendees will be the first to see actual production units of these products.
Romero reports that based on feedback from NAB and cinematographers who have field-tested the rigs, significant changes were made to the Pulsar since the initial unveiling. Both rigs can be used in a handheld or Steadicam situation, and can be set up in either an under/over or side-by-side configuration. Romero adds that this variety of configurations gives the company’s rigs a distinct advantage in the marketplace. The Pulsar is designed to handle any number of cameras that use half-inch or one-third-inch imagers, including mid-sized and box-style digital cameras, like the Scarlet, EPIC, SI-2K, Sony EX3 and P1, mounted with any ENG-style lenses.
Other major products slated for IBC include Element Technica’s 3D I/O Module lens control system, which replaces the control box on all their rigs. The I/O Module lets you talk to several rigs, including third-party products from 3ality, and control the rig via its own interface. The I/O module also lets you plug in Element Technica’s lens control system, which Romero says is the first one on the market specifically designed to deal with the unique needs of stereoscopic cinematography, including systems optimized for either broadcast or cinematography applications.