IBC 2012: Evolution rather than revolution was the theme among delegates at this year’s IBC.

But despite the lack of surprises, Arri’s studio set-up for its well-established Alexa camera and the first showing of Sony’s 50Mbps 4:2:2 PMW-200 were among the kit that kept conversations buzzing.

  • Danny Dawson Hire manager, Alias Hire

“The only camera that mattered was Sony’s PMW-200. Arri’s Alexa multi-cam was great but, in terms of broadcast, it’s all about the PMW-200, which I have no doubt will be heavily used in the coming months.

“Also, the Drift mini-cam could rival the Go Pro. It’s not high-end but shoots HD at 25 or 30Fps or 60Fps at 720p.”

  • Jamie Allan Post-production consultant, Jigsaw

“I’m very excited about the Adobe Anywhere platform and where it takes their Creative Cloud.

“There are clear similarities between Anywhere and Avid Sphere, but I think they will address different markets - Sphere is suited to large corporate news and sports broadcast, whereas Anywhere is scalable for anyone.”

  • Duncan Payne Sales manager, Fineline Media Finance

“The rental market will love Sony’s new PMW-200 camcorder, which plugs the gap in its range for a small 50Mbps camcorder.

“Panasonic’s new lightweight shouldermount HPX600 camcorder is almost shipping, and at an ultracompetitive price for the spec, it should catch on.”

  • Jon Howarth Director, Shoot Blue

“One of the highlights was the optical fi bre adapter for the Arri Alexa.

“As well enabling fibre connectivity, it adds telemetry control, which is essential for live, multicamera production. Given the prevalence of digital 35mm camcorders in broadcast genres such as documentary, it’s perhaps surprising that none of the conventional system camera manufacturers has yet launched a large-sensor camera.”

  • Michael Byrne Sales consultant, WTS Broadcast

“The TVUPack Mini SE, which is the next incarnation of the TVUPack, is more than a stream-ing device; it can be part of an expanded post-production workflow by storing, encoding and sending files with metadata and time-code from a location to a remote server for editing.

“AJA’s Corvid Ultra is interesting because it gives flexibility that will be essential for 4K to really take hold.

“The processor supports 4K acquisitions while providing excellent quality scaling and conversion for existing workflows and delivery formats: It has the power needed to process 4K and maintain image quality as well as repurpose content for different resolutions.”

  • Peter Savage Managing director, Azule Finance

“The option for studio and OB productions to have the artistic Alexa look through the newly announced fibre remote takes a hugely popular camera into a new market.

“Also, Sony’s live 4K satellite stream with SES Astra was one of this show’s most talked-about innovations.”

  • Alain Lolliot Technical operations manager, Pro Motion Hire

“I shudder to think how popular the PMW-200 would have been had it been released before the Canon XF305.

“It hits all the HD broadcast delivery specs and is set to be the fi rst compact camcorder to be universally accepted for most HD programming.”

  • Tomas Vesely Director of projects and consultancy, Visual Unity

“One of the products which caught my eye was AJA’s Ki Pro Quad, a solid state recorder with Thunderbolt interface and monitoring outputs for a 4K workflow.

“Avid’s HD Native Thunderbolt Pro Tools HD mobile solution had impressively low latency and high channel count, while Media Alliance’s Picolo looks like an affordable, high-quality MAM solution.

“Snell’s KudosPro Series of high quality frame and standard converters are very affordable and I was impressed by TV Logic’s 17” XVM-175W HD reference monitor.”

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