IBC 2025 was truly landmark year for innovation in film and video production, and we can say that definitely since we’ve been covering the show for well over a decade. This year, we saw a focus on products that deliver high-end, cinematic quality in more compact and accessible packages. From new lighting and monitoring solutions to cameras and lenses that let you do more with less, the top products from IBC are all designed to simplify the creative process without compromising on professional performance.
The products that stood out the most were the ones that directly addressed the modern filmmaker’s need for flexibility, speed, and quality. We saw a new generation of gear that enables creators to achieve professional-grade results in agile, on-the-go scenarios. These aren’t just incremental updates; they are genuinely innovative tools that will redefine workflows and unlock new creative possibilities for storytellers everywhere.
Find out more about each below, all of which are also available for purchase at Filmtools.com
Aputure announces NOVA II 2×1
The new Aputure NOVA II 2×1 is a high-performance panel light featuring the innovative BLAIR-CG light engine, which allows for a wide range of tunable colors and CCT from 1,800K to 20,000K. Its “focus-then-blend” optical design delivers a narrow 35° direct beam that remains bright even when diffused, providing versatility for various lighting setups without color fringing. Additionally, the fixture boasts a quiet fan (40dB), a relatively low weight of 18kg, and an IP65 weather-resistant rating, making it a robust and adaptable tool for productions.
For filmmakers and productions, the NOVA II 2×1 represents a significant step forward in professional lighting. The extensive color tunability and wide CCT range offer unparalleled creative control, while the powerful and focused beam provides a solution for both direct, punchy lighting and softer, more diffused looks, all from a single fixture. The low noise level is crucial for on-set audio recording, and its durable, weather-resistant build ensures reliability in diverse shooting conditions. Additionally, the new QuickClip accessory system further enhances its utility by allowing for quick and easy light shaping with a variety of modifiers, streamlining the workflow on set and providing a comprehensive and flexible lighting solution for any production.
Read our full coverage here or check it out on Filmtools.com
Atomos introduces new Shinobi 7 RX monitor
The Atomos Shinobi 7 RX is a redesigned 7-inch HDR monitor that builds on the success of the original Shinobi 7 and Shinobi II monitors. It features a bright 2200nit screen and includes professional tools like histogram, waveform, and false color. A key addition is its new camera control functionality, which allows users to directly adjust camera settings like aperture, shutter speed, and ISO via a touch interface over a USB-C connection for a range of supported cameras. Furthermore, it now integrates with the Atomos TX-RX wireless system, allowing it to serve as a low-latency wireless monitor for on-set video village setups.
Perhaps most importantly, its camera control feature allows the camera operator to make crucial exposure adjustments directly from the monitor, streamlining the workflow and ensuring precise control. The addition of wireless video monitoring capabilities is a significant advantage, as it enables directors, clients, and other crew members to have their own dedicated, untethered monitors. This flexibility is especially valuable for dynamic and handheld shooting, giving the crew more freedom of movement while maintaining a clear and reliable view of the shot.
Read our full coverage here or check it out on Filmtools.com
New from Canon…the EOS C50 and the Canon Cine-Servo11-55mm T2.95-3.95
Canon had a lot to highlight at IBC, with the Canon EOS C50 literally taking center the stage. It’s a new, compact full-frame cinema camera that combines a highly portable design with professional features. It’s the first Canon cinema camera to offer 3:2 open-gate recording from its 7K sensor, enabling immense flexibility for reframing and adapting content for various formats, including vertical video. The camera records 7K RAW up to 60fps and high frame rates up to 180fps in 2K, backed by a dual-base ISO for excellent low-light performance. It includes essential professional features like XLR audio inputs, dual media slots for proxy recording, and Frame.io Camera-to-Cloud integration.
Designed to be a game-changer for agile shooting scenarios, its small form factor, combined with cinematic capabilities like 7K RAW recording and high frame rates, means creators don’t have to compromise between portability and image quality. This camera’s features are designed to streamline modern multi-platform and remote workflows, offering unprecedented creative freedom and on-set efficiency.
Not to be outdone, Canon also showed off the CINE-SERVO 11-55mm T2.95-3.95, which is a versatile zoom lens available in both RF and PL mount versions. Designed for Super 35mm sensors, it features a built-in 1.5x extender that expands its coverage to full-frame. The lens boasts an exceptionally wide 100-degree angle of view, a lightweight design, and a redesigned drive unit with fast focus and iris speed. It is also equipped with advanced features like Focus Breathing Compensation and a 16-bit absolute value encoder for precise positional data, which is crucial for virtual production environments.
The wide 11mm focal length is ideal for capturing expansive cinematic shots in tight spaces or grand, sweeping panoramics at live events. Its built-in extender provides the convenience of a longer zoom range without the need for a lens change, which is especially useful in fast-paced documentary, reality, and sports productions. The lens’s autofocus with the RF mount and metadata support (Cooke/i and Zeiss eXtended Data) with the PL mount simplify on-set workflows and integrate seamlessly into both live broadcasting and traditional filmmaking environments. Additionally, its lightweight build makes it an ideal option for handheld, mobile stabilization rigs, and jibs, allowing for dynamic camera movements without sacrificing image quality.
Read more about the C50 here or check it out on Filmtools.com
Read more about the CINE-SERVE 11-55mm T2.95-3.95 here or check it out on Filmtools.com
The New Nikon ZR Cinema Camera
The Nikon ZR is the company’s first full-frame cinema camera, co-developed with RED to deliver a compact, lightweight body packed with professional features. It introduces the new R3D NE RAW video file format, based on RED’s popular codec, offering 15+ stops of dynamic range and ensuring accurate color matching with RED’s cinema cameras for multi-cam shoots. The camera can record up to 6K/60p and also supports N-RAW and ProRes RAW formats. It features an impressive 4-inch DCI-P3 LCD, 7.5 stops of built-in image stabilization (IBIS), and the world’s first 32-bit float audio recording with its built-in mics and external microphone jack, which eliminates the need for on-location gain adjustments.
That integration with RED color science really is key, as it allows filmmakers to achieve a true cinematic look and seamlessly match footage with more expensive RED cameras. The 32-bit float audio recording is a major workflow advantage, providing worry-free sound capture and immense flexibility in post-production. The combination of a powerful sensor, robust internal RAW recording, and advanced features like IBIS and a bright, built-in monitor makes the ZR an incredibly versatile “run-and-gun” camera that doesn’t compromise on quality, making professional-grade video production attainable for a wider range of creators.
Read our full coverage here or check it out on Filmtools.com
Sigma showcases the Aizu Prime Line and AF Cine Line
Sigma has been excited about their two new cinema lens product lines for years now, but they were highlighted in an even bigger way at IBC 2025. The Aizu Prime Line is a high-end series of 12 prime lenses which are compatible with large format cameras and maintain a fast maximum aperture of T1.3 across all focal lengths. These lenses are designed to produce a rich, three-dimensional image with a unique balance of modern sharpness and organic softness. Additionally, Sigma debuted its first-ever cine lens series with autofocus capabilities, the AF Cine Line, which includes the 28-45mm T2 FF and 28-105mm T3 FF zooms.
These new lenses offer powerful and versatile options for a wide range of creative needs. The Aizu Prime Line’s consistent T1.3 aperture is a significant advantage, ensuring a shallow depth of field and excellent low-light performance across an entire set of lenses, which streamlines lighting and lens changes on set. The AF Cine Line is a groundbreaking development, as it combines the precision and build quality of cinema lenses with the speed and convenience of high-precision autofocus. Anyone solo shooting or any scenario where precise, fast focus is critical, will find them essential. They really do expand the creative possibilities for on-location and run-and-gun filmmaking that were previously difficult to achieve with manual-focus cinema lenses.
You can check out more about the Sigma AF Cine 28-45mm T2 FF (Feet) Sony E over on FIlmtools.com
Laowa Sunlight 2x FF Anamorphic Zoom Series
The Laowa Sunlight Series introduces the world’s first front anamorphic full-frame 2x anamorphic zooms, available in two lenses that span a combined range from 40mm to 135mm. These lenses feature a unique, compact, and lightweight front anamorphic design that produces the classic oval bokeh and stretched flares of a traditional anamorphic lens. They maintain a constant T4.5 aperture throughout the zoom range and are built with a parfocal design, ensuring that focus holds while zooming. The series is available for a variety of mounts, including ARRI PL by default and optional mounts for Canon RF, Nikon Z, Sony E, and L mount.
These lenses really do make the anamorphic look more accessible and practical. The compact and lightweight form factor enables dynamic shooting styles like handheld or gimbal work, which are often difficult with heavier anamorphic lenses. The parfocal design is a major benefit, allowing for seamless and creative shots like crash zooms or dolly zooms without needing to refocus. The constant T4.5 aperture provides consistent exposure, streamlining fast-paced shoots. If you’re looking to have the benefits of anamorphic capture in a more agile and affordable package, these lenses are for you.
Read our full coverage here or check it out on Filmtools.com