Walking into the RAI in Amsterdam this year, I felt something I wasn’t sure I’d find, a positive vibe. The last few years have been tough across the industry, but at IBC 2025 there was a sense that people are coping, adapting, and still pushing forward. Exhibitors and filmmakers all seemed to share the same energy, cautious optimism mixed with excitement.
Cameras
On the camera side, there was a lot to talk about. One of my highlights was being invited to an exclusive launch event for Fujifilm’s GFX Eterna 55 at the Eye Filmmuseum. Seeing this camera unveiled up close, surrounded by cinematographers and Fujifilm experts, was a rare treat. It felt more like an intimate gathering of filmmakers than just another product demo. The GFX Eterna 55 itself impressed me, a large format cinema camera that opens new creative doors. It was even honored with a Best of Show award.
Canon’s EOS C50 also stood out to me, compact, with 7K RAW recording in a body so small. It introduces full frame 3:2 open gate recording, a first in Canon’s Cinema EOS line. I could see this becoming a workhorse for documentaries that need both flexibility and image quality.
Nikon surprised me with the ZR. For a brand that many of us associate more with still photography, it was encouraging to see them dive into cinema, especially now that Nikon has acquired RED Digital Cinema. The ZR is their first Z Cinema camera, designed in partnership with RED, and includes features like the new R3D NE RAW codec, 6K at 60 fps internal RAW, 15 stops of dynamic range, dual base ISOs, and 32 bit float audio. It also received recognition as one of the Best of Show cameras.
Z-Cam also deserves mention. Their cameras were used by Fraser Taggart on Mission: Impossible – The Final Reckoning for hard mounted shots, aerials, and other coverage where space, weight, and compactness mattered. They were used especially in the biplane sequences, often in custom rigs or housings. Their smaller footprints gave Taggart’s team flexibility in placing cameras in tight or airborne positions, while still matching up with the look of the Sony Venice main cameras.
Then there was Pixboom’s Spark, a high speed global shutter camera capable of 1,000 fps at 4K. It is great to see such high speed capabilities at an accessible price point. For me, it felt like one of those disruptive tools that could end up on sets where previously slow motion was out of reach. It received a Best of Show mention.
Lighting
As much as I love cameras, I always gravitate toward lighting. This year was especially interesting because ARRI was absent from the show floor. For so many years their booth was the anchor point at IBC, so it felt a little strange not to see their presence in their usual spot. Instead, Nanlux stepped in and took over ARRI’s longstanding space, a symbolic shift.
Nanlux previewed a new Matrix line, not yet released, asking for feedback from the crowd. Their Evoke 600C and 150C, both built around the Nebula C8 engine, were also on show, offering improved color accuracy and output. These fixtures picked up a Best of Show award.
Astera impressed me with their SolaBulb, a tiny practical bulb with a zoomable beam and full Astera control, a clever tool that immediately feels useful on set. It was named CineD’s Best of Show in lighting. They also earned a TV Tech award for the QuikPunch, proving once again their knack for elegant solutions.
Aputure was buzzing as usual, showcasing their NOVA II panels. While they did not claim an official Best of Show this time, the panels drew plenty of attention. The new BLAIR CG light engine brings color capabilities I am eager to try out in the field.
Godox, meanwhile, continues to mature its pro line. Their KNOWLED MG4K and MG4KR fixtures are compact yet powerful, with precise control that makes them feel ready for higher end productions.
People
What I love about IBC is that it is not only about the products, it is about the people. This year, the sense of community was stronger than ever. The generous dinners hosted by Nanlux, Astera, and CVP were a reminder that our industry is built on relationships as much as equipment. Sitting down over good food and drinks with colleagues from across the world, sharing experiences and stories, felt every bit as valuable as any new product launch.
Final thoughts
Walking out of the halls at the end of the show, I kept thinking about the industry. Yes, ARRI’s absence was a little sad. Still, the vibe was not just about shiny new products, it was about the people. Conversations with cinematographers, gaffers, and brand reps carried a message, ”we are still here, we are still passionate, moving forward”. As a cinematographer, that is exactly the kind of inspiration I needed.
