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IBC 2019

The rise of emotional storytelling

Stephen Hart Dyke
Stephen Hart Dyke

Product Marketing Manager, Canon Europe


Day four of IBC – my favourite event in the calendar – is well underway. Across the weekend we’ve seen the show tackle some of the industry’s biggest challenges from the rising demand of 8K, to the impact 5G will have on filmmaking. But as the industry evolves, one challenge that remains the same year-on-year is filmmakers figuring out how to shoot emotional and immersive storytelling.

Consumer demand for immersive viewing experiences is rising, resulting in all content from drama to documentary becoming more cinematic. With 4K mobile devices and TVs now mainstream, viewers expect to watch their favourite soap or the ‘most talked about’ murder documentary in the best resolution possible. What’s more – with the overwhelming amount of content at their fingertips – they want to be ‘moved’, otherwise they’ll move on to the next box set.

There are a number of factors that contribute to emotive storytelling – from quick tricks like using a dramatic soundtrack, to more advanced post-production editing but at immersive storytelling’s core is the kit used and it’s more obvious than ever at IBC – one of the world’s biggest broadcast and cinema trade events – that contemporary filmmakers have a plethora of kit options available to them to help achieve such content.

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EOS C500 Mark II on display at IBC 2019.

During the weekend we’ve been speaking to customers, prospects and media about our commitment to the industry – not only with the kit we have but our vision and strategy in the market. What it all comes down to is our DNA – which innovation sits at the heart of.

Unsurprisingly our recently launched EOS C500 Mark II has gained lots of attention at IBC. This modular camera is suitable for all types of filming – handheld, on a gimble, on a drone, Russian arm and more – and is able to internally record 5.9K Cinema RAW Light straight out of the box onto CFexpress cards with a proxy to SD. It’s configurable on set allowing cinematographers to swap mounts from EF to PL – so one minute they can shoot with an expressive PL mount Sumire Prime and then the next change to an EF telephoto lens for the next shot. Of course all while achieving a beautiful immersive, cinematic look with next-to-none smooth skin-tone and faithful colour reproduction.

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EOS C700 in front of a display of the making of Free Solo.

Documentary making in particular has seen a stratospheric rise in immersive, cinematic content - long gone are the days of talking heads on a bland background. An amazing example, and one which we are showcasing on our stand, is Jimmy Chin’s Oscar winning Free Solo. Faced with the ultimate test of endurance the production team were tasked to catch every nerve-wracking step, handgrip on the rockface and bead of sweat on climber Alex Honnold’s face while he climbed El Capitan's 900-metre vertical rock face in the Yosemite National Park. Pushing their physical and technical capabilities, dangling from rock climbing cables, they used an EOS C300 Mark II with Cinema Prime lenses allowing them to capture the intensity of the climb without fail.

Whether cinematographers are filming in a studio or on a rock face they need optically excellent kit that meets the quality demands expected from productions today, whilst also capturing the raw emotion. Canon exists to help cinematographers tell great stories which we believe should be at the heart of every production.

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The Canon stand at IBC 2019.

Are you trying to increase your emotional storytelling skills? Or maybe you’re lacking the kit to help you achieve your vision? If so, come and visit us at the Canon stand (Hall 12, Stand D60) to see our newly launched EOS C500 Mark II and full range of Sumire Prime lenses. If you’re unable to visit, check out our highlights of the show on @CanonEvents and @CanonEMEAPro.

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IBC 2019

The International Broadcasting Convention 2019