I attended IBC 2025 in Amsterdam this week, and the world’s largest annual event for transmission and entertainment technology did not disappoint.
A lot of new camera teams made their public debut in the show, from established names and fresh upstarts. The most prominent aspects included the Canon EOS C50, Fujifilm GFX Eternal 55 and Nikon ZR, in addition to lots of lenses, accessories and software.
In addition to having a practical experience with the first Nikon movie camera, the ZR, I had the opportunity to take a walk through the many corridors full of exhibitors, see what attracted the crowds and discovering some less known gems.
The following list is not exhaustive; There was simply not enough time to cover the entire show. If you were in IBC 2025 and you found another exciting camera technology that is not included below, let it know in the comments!
1. The rapid increase in Nikon ZR and Nikon in the video
Announced a few days before IBC, the Nikon ZR attracted many visitors, and rightly, the first Nikon movie camera has incredible video features for a tempting price of only $ 2,199.95 / £ 2,199.99 / AU $ 3,499.
I was already familiar with the level of compact and climate resistant enthusiastic level (see my first ZR impressions), but it was great to have another opportunity to play with the camera that offers a full -fledged 24MP frame sensor and partially stacked, a 6K 6K videos, a new red red color profile.
Only 18 months have passed since Nikon acquired a network, and since then he has been taking the world of assault video. I saw new Z-Mount red camera models in the show, including an XE Red V-RapTor Xe more affordable. New accessories were also exhibited, including the Smallrig cage kit that improves the handling of the ZR and a Tascam XLR adapter.
The future also seems brilliant: during the IBC, Nikon announced that he is developing dedicated film lenses. Be careful, Sony and Canon!
2. Fujifilm’s First Pro Cinema Camera, and is available to buy
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Another fresh model in the Fujifilm wine camera scene, with the new eternal GFX 55. There was the opportunity to be practical with the Middle Monster of Fujifilm, along with the new GF 32-90 mm T3.5 PZ PZ WR WR Cinema that was announced at the same time.
The eternal GFX 55 inherits a large amount of GFX100 II technology, which includes a 44×33 sensor of 102mp of full frame, an 8K video in a variety of formats that include the simulation color profiles of anamorphic film, dual dual and the simulation color profiles of Fujifilm film.
These powerful video features are placed in a new fleshy body of the Pro-Drafted Film, which inclines the scales at 4.41 pounds / 2 kg. It has twin screens that includes a 5-inch type of 6.22m-Dot with 2,000nit brightness, plus an incorporated electronic ND filter with a 2-7EV range.
In the Pro-End, usually the cameras with this type of characteristics and design set are available only for rent and not to buy, but unusually the eternal GFX 55 is available to buy: it costs $ 16,499 / £ 13,999, while the new 32-90 mm T3.5 lens costs $ 5,999.95 (UK / Australia Piting TB).
Since professional filmmakers can spend thousands of hiring equipment for each session, I can see the appeal when collecting the eternal; He could pay himself after some outbreaks.
3. Sony keeping it real with a world first
Sony released a new camcorder, the PXW-Z300 and is the first to deliver content credentials for the video. Nicknamed the “Transmission Chamber ready for authenticity of the world”, the homemade computer of Sony’s flagship hand -hand computer ensures credibility when embedding its session and signature details with a Sony certificate for metadata.
The content can be loaded in the cloud, the registered editions and the stations can put their own certificate in the files to verify that they are true, vital for the collection of news today.
As for the specifications, the PXW-Z300 presents 1/2 inch triple sensors, one for each one of red, blue and green, which offers a true 4K video up to 60 fps, and is fed by a Bionz XR processor and a AI processing unit for the follow-up of the subjects.
The lens has a 17x optical power zoom and has focus, zoom and iris rings, while a flexible arm for the chamber touch screen can be placed to shoot from practically angle, including the selfies. You can access live broadcast by means of a screen (removable) that is connected to the camera by V-Lock and controlled by its choice of the Android application.
We have a long way to go to establish authenticity standards throughout the industry, but Sony is one of the main names behind content credentials, demonstrated even more with its new PXW-Z300.
4. Canon turning the contraction ray in its series of film cameras
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Canon’s new EOS C50 also debuted in IBC. It was shown together with existing models such as EOS C70 and EOS C400, highlighting that it is the baby in the Canon movie the movie range.
However, unlike the Nikon ZR, EOS C50 approves connectivity and design in its compact body of 23.6 Oz / 670g of movie camera style. There are no less than four 1/4 inch assembly points for accessories, three registration buttons, 14 custom buttons for any of the 100 functions, time code terminal and full -size HDMI, as well as live transmission capabilities. The camera is inclined with a upper handle that has XLR inputs for pro-quality audio recording.
Canon has not slipped into video functions either. The C50 shoots a 7K video with the RAW and dual base internal iso option. Open door video recording features for the first time in a canon camera, approximately time. This is a mini wonder for fans of film cameras, and one that has access to an increasing number of RF assembly hybrid lenses, with new optics also on display.
5. Sigma lens quartet
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Sigma announced a quartet of impressive full frame lenses just before IBC, and I obtained my first practice each in the show. They are the travel lens of 35 mm F1.2 II, a travel lens of 20-200 mm f/3.5-6.3, a new 28-45 mm cinema lens and the main act, the 135 mm portrait monster F1.4. It was also the first opportunity to have the recent F1.8 17-40 mm for APS-C cameras.
I was impressed how Sigma has been able to qualify the 35 mm F1.2 II of the original and improve its management in all aspects, while apparently the optical quality of fine adjustment, the same can be said of the 17-40 mm F1.8 that effectively updates the 18-35 mm F1.8 classic.
Sigma has really been active in the delivery of world lenses and it is the users of Sony in particular who are benefiting given how these lenses are almost always thrown for the Sony electronic monkey.
6. GameChanging update for Davinci resolution in Blackmagic
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Blackmagic was calm on the hardware front, without new cameras in IBC 2025; Its most recent model is the 6K pyxis. What many compliments were winning among the attendees in the program, on the other hand, was an update of the Davinci resolve video edge software of Blackmagic.
The software is widely used in the transmission industry thanks to its color rating skills and the latest version finally Admits the RAW File format. That is great news for the productions that use any of the multiple cameras that depend on RAW prores, including DJI drones; Those files can now be edited directly in Davinci Resolve.
The Raw Prores support also nods the new iPhone 17 series: it is the highest quality video format that Apple’s last flagship phone shoots. We have already seen camera phones that are used in high -end productions such as director Danny Boyle’s 28 weeks later. With Davinci’s resolution available on the mobile with gross prore support, the possibilities of your iPhone’s professional productions are growing.
Blackmagic also showed me its new Muelle Pro Adapter, which “transforms its iPhone into a professional production camera with all the connections you need to build a personalized platform”, and admits the Blackmagic Application Camera for iPhone. As for connectivity, it has no less than HDMI for monitoring, microphone, headphones, genlock and multiple USB-C ports to connect external units and for continuous power.
7. Viltrox innovating with a new automatic approach adapter and Rakinon (Samyang) sizing (Samyang)
Viltrox has won me after a series of excellent lenses this year, especially given the attractive price they have, a cut compared to patented optics. Not convinced? Check out my Viltrox 35 mm f1.2 and 135 mm f1.8 revisions.
And while the Chinese lens manufacturer was showing four new lenses for its Air, Evo and Pro lines in IBC, it was a completely different Viltrox products shift head: a Nexus automatic approach adapter prototype.
The innovative adapter can match a Manual approach PL assembly cinema lens with a Sony electronic assembly chamber and unleash automatic chamber AI approach skills. Technically, we have seen this type of idea before, but Viltrox ascends with a seemingly powerful subject that tracks the automatic approach for those classic Mounted Mounting film lenses PL.
Delivery in the automatic approach for MR mounting cinema lenses are potentially huge news. I hope to have a play with a full production version of the adapter when it is ready. The product is still in its early stages, and we are not sure if it will be done for other lens supports.
I also had a quick conversation with Rokinon (Samyang), which showed a new line of compact movie lenses equipped with automatic ‘V-AF’ automatic approach to Sony E-Mount. Together with the XEEN XEEN film lens series, the fresh ‘V-AF’ line seemed positively small and included the V-AF 75 mm T1.9.
If this year’s show has something to do, the film camera team is evolving, going smaller, more convenient and, in some cases, much more affordable. It feels as if the camera without hybrid mirror and the movie camera team are convergent, and that is a future that I can support!
