Each year I enjoy attending IBC, one of the biggest and most important conferences for professional film equipment in the world. It takes place every September in Amsterdam.

It’s a real treat to visit Amsterdam, while getting a peek at all the new cameras and the innovations, seeing, touching and understanding firsthand what the next big thing is.

2013 was the year of the revolutionary MoVi that taught us a whole new cinematic language.

We didn’t know what to call it at first… was it a Dolly? A Steadicam? Perhaps a hand-held drone?

Today the MoVi is a well-known tool to most of us, and a cinematic device by every mean. In 2014 Sony’s FS7 just came out and became an overnight sensation. Sony had it going for them, managing to combine high picture quality, novelty ergonomics, and the right price. As of today, the FS7 is the most popular camera at the rental houses.

This year I was surprised to meet the innovations in a field considered relatively conservative – Lenses! For several years now, new cameras keep showing up, and it appears that it’s the lenses’ turn to renew and set the tone.

It took a while, but the lens manufactures are finally keeping pace, and adapting themselves to nowadays shooting. With lighter lenses, full frame lenses, interchangeable mounts (for different camera brands), and most important – cinematic lenses with the mechanics and optics of a film lens (how long can we keep using stills lenses…?).

We’ve figured out long ago that what really matters is the optics, rather than the camera you choose to shoot with.

The lens is a tool, an artistic mean, and a trademark.

Some of the new products are already available here at Glikson Camera Rental Israel, and some will arrive later on in 2017, so follow our website and Facebook for constant updates. We keep looking for the best solutions to make your shooting day as easy and spectacular as possible.

Angenieux EZ 15-40 / 30-90mm T2 Zoom Lenses

Angenieux is known as the best cinema zoom lenses manufacturer in the world. This year at 2016 IBC, Angenieux showcased two brand new zoom lenses, which I believe are going to be extremely popular. Cinema zoom lenses with T2 stop iris, is an impressive achievement!

From personal hands-on experience, I can assure you – these lenses are stunningly beautiful!

Apart from the unique Angenieux cinematic look, they have additional advantages: An interchangeable Mount between PL, EF and the Sony E-Mount, a full coverage of a super 35mm chip, and an optional optical adapter that will turn them into full frame lenses.

Shipping on April 2017, I can hardly wait… See Video.

ZEISS LWZ.3 21-100mm T2.9 – T3.9

A new Zeiss zoom lens with a focal length of 21 to 100mm! It’s very lightweight – weighing merely two kg. Plus, it has the mechanics of a film lens gears on all of the rings: iris, focus and zoom, and a big focus ring of 300 degrees. The only apparent shortcoming is that the iris closes from 2.9 to 3.9. Zeiss had created a unique solution to this by presenting the Gradient T-Stop, which changes in a linear, steady and gentle flow all along the zoom, as opposed to other zoom lenses, that normally keep the stop throughout most of the zoom, but close abruptly at the end of the zoom in.

Zeiss optic’s is fantastic, the 21-100mm focal length is a great range, so I believe it’s going to be a success story.

Arriving January 2017. See Video.

Leica M 0.8 Series Cine Lenses

I can hardly think of a stills photographer who doesn’t dream of shooting someday with Leica lenses. For over 60 years Leica lenses have been inspiring the world’s best photographers. There’s something simply exciting about the Leica look which is hard to put into words.  Now Leica have come up with a new lens series, completely adapted to film shooting, with zoom and focus rings. This isn’t re-housing we’re talking about here, these are brand new lenses. High speed lenses with F1.4, and the 50mm is the famous Noctilux F0.95! Being small and light, they make the perfect choice while working with gimbals to achieve that desired cinematic look.

The set includes: 50mm f/0.95 ,35mm f/1.4 ,28mm f/1.4 ,24mm f/1.4 ,21mm f/1.4

Due to arrive:2017. See Video.

Sony E PZ 18-110mm f/4 G

Sony too came up with a new zoom lens, with significant improvement: manual control of the zoom and focus rings, and 18-100mm focal length (Sony’s previous 28-135 simply wasn’t wide enough). Only the focus ring got a gear, but the stop remains at F4 all the way, and there’s no apparent ‘breathing’ in focus change. They’ve even managed to keep the back focus, promising the same focus point while zooming in and out on an object (unlike other stills lenses, which loose the focus). Being compact with internal stabilizer, it’s a high quality kit lens! See Video.

Tokina Cine Lenses – 35mm, 50mm, 85mm T1.5

Tokina presented three new high speed lenses: 35, 50 and 85 with T1.5. These are cinematic lenses, made for film shooting. They didn’t re-house existing lenses, but manufactured entirely new ones. All of them are 114mm in external diameter, the focus and iris rings are located exactly in the same location, making the follow focus workflow nice and easy. A 300 degrees focus ring, weighing about 2 kg each, and available at PL, Canon EF and Sony E mounts (unfortunately not interchangeable). Did we mention the T1.5 Iris!?

Tokina plans for come up with two other lenses: 18mm and 25mm… But we’ll have to wait patiently for them.

Zip Box – The World’s Lightest Matte box!

Wooden Camera’s Zip Box is the perfect solution for gimbal work and having to use a filter, without the extra weight of a matte box. The Zip Box is made of rubber and weighs just 100 grams! It fits one filter and suits various diameter lenses. Already available here at Glikson Camera Rental Israel.

Zoom F4 Multitrack Field Recorder

Zoom burst upon the scene when we first started shooting with DSLR cameras, and had to find solutions for separate sound recording. The Zoom H4N is their most popular recorder since its release. IBC 2016 saw the launch of the Zoom F4 Recorder, a four channel mixer with internal built in recorder. Four XLR channels, a separate physical dial for every channel (no digital dial on the menu), up to six channel recording, plus an extra stereo mix channel. It has all the features you would expect to find on a professional mixer, including timecode In/Out, and 48V+ phantom power output. The recorder offers recording on two SD cards simultaneously as a backup, or for splitting the channels. For example, you can record four separate channels for online sound editing on channels 1-4, and a stereo mix on channels 5 & 6 for the offline editing. The F4 is robust and made out of metal, making it completely suitable for outdoor field productions.

I’ve saved the best for last – its price. Only 650$! Similar recorders such as Sound Device’s cost about 4000$ and more… See Video.

Canon EOS C700

At first sight, it has everything we ever wanted a Canon camera to be able to do: Internal 4K recording, 180 FPS Slow Motion, and a dynamic range of 15 stops. So how come we’re not that excited by it? Had Canon released it two years ago, I have no doubt it would have been a smash hit, but today, their competitor, Sony, has similar cameras at a third of the price, so what’s the point? Canon aims high, trying to compete with high-end cameras like Arri and Red. Indeed the C700 abilities are not inferior to Arri’s or Red’s, but neither is the cost. It’s starting the price is 28.000$, not including essential supplements such as a handle, viewfinder and a remote control. See Video.

Canon 5D MarkIV

Such a thrill! The good old 5D is being reincarnated, and here it is – The 5D Mark 4. So what’s new? The prime innovation is the 4K recording, but it comes with a catch. The camera doesn’t shoot 4K in full frame, rather it crops the image by x1.64. It has up to 60FPS full HD slow motion, and in a lower resolution of 720, it shoots up to 120 FPS. Another new feature is the touch screen. Some will like it, some will not… All in all it’s an improvement on the Mark 3 in every parameter. But will it bring back all the videographers who have crossed over to Sony A7S? I’m not so sure… See Video.