Definition Cine Gear 2019 preview special

ONES TO WATCH CINE GEAR 2019 THE MOVERS AND SHAKERS AT THE SHOW

OUR WINNERS REVEALED

W E LC O M E

BRIGHT PUBLISHING LTD, BRIGHT HOUSE, 82 HIGH STREET, SAWSTON, CAMBRIDGESHIRE CB22 3HJ UK EDITORIAL Editor Julian Mitchell 01223 492246 julianmitchell@bright-publishing.com Staff writer Chelsea Fearnley Chief sub editor Beth Fletcher Senior sub editor Siobhan Godwood Sub editor Felicity Evans Junior sub editor Elisha Young ADVERTISING Sales director Matt Snow 01223 499453 mattsnow@bright-publishing.com Sales manager Krishan Parmar 01223 499462 krishanparmar@bright-publishing.com Key accounts Nicki Mills 01223 499457 nickimills@bright-publishing.com DESIGN Design director Andy Jennings Designer Lucy Woolcomb Senior designer & production manager Flo Thomas Ad production & designer Man-Wai Wong PUBLISHING Managing directors Andy Brogden & Matt Pluck SOCIAL MEDIA Facebook @definitionmagazine Twitter @definitionmags Instagram @definitionmags MEDIA PARTNERS & SUPPORTERS OF

Come and see us on the Paramount Studios backlot at the Cine Gear Expo

WELCOME

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ello and welcome to another ‘themed’ digital Definition magazine. This time, we are previewing the fast-approaching Cine Gear Expo, being held on the Paramount Studios backlot in Los Angeles. Our preview of the gear appearing is all you need to plan and map out your time at this great show.

And there’s more. Inside these pages, we are giving you, our digital audience, a first look at the winners of our inaugural Tech Innovation Awards 2019. We are awarding these at the Cine Gear Expo, so keep an eye out for more details on our social media channels during the show. Also, remember there is still time to vote for the People’s Choice award on our website at definitionmagazine.com.

Look out for some new digital Definition titles, starting with a lens special next month, including embedded videos and links to find out more.

If you’re coming to Cine Gear Expo, please search us out on Booth 60B on the New York Street backlot and pick up your free magazine.

JULIAN MITCHELL EDITOR

Definition is published monthly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. Definition is a registered trademark of Bright Publishing Ltd. The advertisements published in Definition that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. Prices quoted in sterling, euros and US dollars are street prices, without tax, where available or converted using the exchange rate on the day the magazine went to press.

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WINNER STORIES AWA R D S

Finally, we have the results of our inaugural Tech Innovation Awards, here’s why we picked them over the other shortlisters W O R D S J U L I A N M I TC H E L L

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here is a danger in awarding prizes for products. There are inevitable comparisons to be concluded, and this is something we didn’t want to do with our first awards: the Definition Tech Innovation Awards. We wanted to dig a little deeper, and maybe reward research and development over marketing.

We also wanted to make our categories purposefully unfocussed. A category like Capture, for example, included Cooke’s /i Technology and Radiant Images AXA rigs, but it was Red’s Gemini sensor that won. Colour Science is not an individual product, but as part of a camera’s sensor cluster chain, it’s a huge tool.

Optics is perhaps our only clear category and long may it remain that way.

Codecs are a techy’s dream and this year has seen some major advances. Movement, again, is a wide choice, but look at the advances and you can’t really look past robotics. Playback is another category full of choices, but a 4K, 10-bit Teradek Bolt is hard to argue with.

For Virtual, we are only touching the surface of what will become available – keep your eyes on Arraiy. For Lighting, we wanted all the modern technology wrapped up in the best practical help for modern lighting design: Cineo Lighting and NBCUniversal fitted the bill.

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WINNER OF CAPTURE

RED DSMC2 GEMINI 5K S35 SENSOR The Red Gemini sensor was a surprise to the market when it was soft launched by the company last year. The headline feature was its low-light capability, and it’s another great product from wherever Red get its sensors. Red initially saw the market for Gemini as being a specialist one, but it was too good just for that.

As a comparison to the rest of the Red range, the Gemini offered superior lowlight performance to the Helium sensor.

The sensor is taller inside the DSMC2 brain, with a 30.72x18.0 mm size and a diagonal of 35.61mm, which only achieves 5K resolution compared to the Helium’s 8K resolution, but allows for greater anamorphic lens coverage than with the Helium or Red Dragon sensors.

However, for most people the 5K resolution is more than enough, as this resolution fully complies with broadcast 4K requirements, so is quite happy with drama and natural history programming.

The Gemini 5K S35’s party trick is the dual sensitivity modes – probably the reason for the name – which Red calls standard and low light modes.

Add 96fps at 5K, and you have a sensor performance that stands up against anything in the S35 market.

SHORTLIST Red DSMC2 Gemini 5K S35 sensor n Radiant Images AXA VR rigs nC ooke /i Technology n

WINNER OF COLOUR SCIENCE

PANAVISION LIGHT IRON COLOR 2 06

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Light Iron was a fast growing postproduction house specialising in digital intermediate, also reaching into the acquisition space with Outpost, its DIT mobile lab service. The Cioni brothers, Michael and Peter, have acute business sense and colour science knowledge from years of DI, which made them a perfect fit for Panavision, with an acquisition in 2015 as Panavision’s latest digital camera was fast approaching its launch.

What Light Iron was able to add to the Panavision DXL camera was an inbuilt colour science engine. It wanted to offer what you could achieve in a DI lab inside the camera when you shot. The idea was to offer similar colour tuning through the camera as Panavision offered through their lens tuning. Light Iron Color 2 deviates from traditional digital colour matrices by following in the footsteps of film stock philosophy, instead of direct replication of how colours look in nature.

Light Iron claims a revolutionary image mapping process, delivering a rich, cinematic look right out of the camera, with ‘film-like density, neutral shadows and natural skin tones’. But more than this, users of Panavision’s DXL2 camera now have something that Red Monstro 8K users don’t, as, apart from LiColor2, the cameras have the same sensor chain.

SHORTLIST n Panavision Light Iron Color 2 n Red Image Processing Pipeline [IPP2] n FilmLight Baselight v5

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WINNER OF OPTICS

ARRI RENTAL DNA LENSES The Arri DNA lens story is as much a credit to Arri Rental as it is to DOP Bradford Young when he shot Solo: A Star Wars Story.

Young was looking for a lens solution for the movie that would twin the Alexa 65 camera that he had decided on. He was happy to break some rules, saying: “It was more important that I was bearing witness to glass that I had literally never seen before, glass that had never been used on movies before. So we were really breaking rules – not shooting Panavision glass was one of those. Not shooting anamorphic, so that’s another rule broken.

Every day was like reinventing the wheel, but the format was at the mercy of the optics.”

Long story short, Arri Rental ramped up the R&D on its DNA range of glass to give Young what he wanted. Initially, he tried out a 50mm and realised this was the look he was looking for – even though it was still in modular form without a scale or ring, but with a XPL mount. Other lenses quickly followed and the rest is history. Arri isn’t saying exactly what vintage glass the DNA lenses use, but it is emphasising the customisation, with filmmakers able to achieve the look they want.

SHORTLIST n Arri DNA lenses n Fujinon Premista LF n Canon Sumire Prime LF

Arri is emphasising the customisation, with filmmakers able to achieve the look they want

WINNER OF CODECS

SONY X-OCN FOR VENICE

Raw recording – when treated and graded properly – makes the most wonderful images, but it also comes with some hefty logistical issues. The main ones being file size, cost and time.

With Sony’s X-OCN codec, a lot of these issues have changed.

X-OCN (eXtended tonal range Original Camera Negative) uses the 16-bit precision, but it moderates the bit rates. This, in turn, means you get much smaller file sizes than typical camera Raw, giving you fantastic tonal expression, longer record times, faster file transfers and hopefully saving you money in post-production.

One TB of 4K X-OCN at 24fps can record up to 168 minutes compared with 130 minutes for 1TB of Sony Raw. We tested this codec against Sony Raw, and from what we saw, we couldn’t tell them apart.

Like Raw, X-OCN doesn’t bake in your exposure index, colour space, LUTs, gamma etc. It captures these parameters as monitoring settings and is totally non-destructive, meaning you have amazing control and much better flexibility in postproduction. There are two flavours of X-OCN: the first being standard (ST) and the second, light (LT). X-OCN ST has 40% longer recording time and approximately 30% shorter file transfer time than Sony Raw. The advantages for X-OCN LT are greater still, with 136% longer recording time and roughly 59% shorter file transfer.

SHORTLIST n Sony X-OCN for Venice n Blackmagic Raw n Codex High Density Encoding

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WINNER OF MOVEMENT

MOTION IMPOSSIBLE AGITO This was a hard-fought category, but once you see the Motion Impossible Agito working, you realise you’re looking at the future of camera movement. The initial idea from the company was to design robotics that would replicate every camera movement that any piece of equipment can do. (The only limit would be extreme height.) Add to that, stabilisation and addons that allow all that in all terrains.

Modularity is a key component, as the Agito has been designed to work in many different scenarios, including stadiums, in the middle of fields, film sets, wildlife and much more. Motion Impossible has also designed a way of changing its ends to suit the shoot. You can easily change the wheels for track wheels, so you are able to go

onto standard track. Agito Sports will also follow magnetic track that is far quicker to lay down and is safe to use in stadiums.

But the future is trackless, and this will set your camera free. Traditionally dollies are used on tracks, but once you realise you don’t have to lay track, you won’t go back.

Agito wants to take out the variability of filmmaking – you have the beauty of instant repeatability in any situation.

SHORTLIST Motion Impossible Agito n Titan drone by HFS n Shotover B1 n

WINNER OF PLAYBACK

TERADEK BOLT 4K

Teradek’s big announcement at the recent NAB Show was the Bolt 4K: the industry’s first zero-delay 4K HDR wireless video transmitter. This is a great engineering achievement and changes the game for wireless camera comms. This is a full 10-bit 4:2:2 transmission up to 1500 feet.

There’s a whole new radio inside of the Bolt 4K, which means you’re getting about eight times more reliable signal than the previous generation managed.

There’s better image detail and colour reproduction and, uniquely, Teradek has put Bluetooth inside to synch with a new app for iOS. This has a 5 GHz spectrum

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analyser inside of the app, so you can see all the noise in the environment before you start transmitting and choose the channel with the least amount of interference.

You can also use the app to pair your transmitters and receivers, so you’re doing without a computer as you did before. The silicon that’s inside is from Amimon, which is used by Arri for its wireless camera.

Teradek, as part of Vitec, now owns the company, so will have this technology to itself, while still supplying to Arri.

SHORTLIST Teradek Bolt 4K n SmallHD Cine 7 n Atomos Shogun 7 n

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WINNER OF LIGHTING

CINEO LIGHTING AND NBCUNIVERSAL LIGHTBLADE EDGE SERIES

WINNER OF VIRTUAL

ARRAIY DEEPTRACK

It was very timely to include a Virtual category in our awards – and also timely that we came upon Arraiy when we were at NAB this year. We were, in fact, advised by VFX supervisor Kevin Baillie from Method Studios to seek out the company at the Pixotope stand. Arraiy’s camera tracking technology is called DeepTrack, which is just a part of its virtual products.

It’s a through-the-lens monocular tracking solution that is entirely 100% software based, just understanding the features and the textures of a scene. It calibrates the camera, which takes about 20 seconds, and then does some deep learning on the environment, whether that’s in the studio or in a sports environment outdoors. It can create a model over three to four hours, depending on what the scene is, and then you have a known geometry of every scene. You can then enable any camera that’s in that scene to camera track and to object track. The next thing Arraiy is developing is a segmentation rotoscoping solution, which essentially allows you to do Ultimatte-like green screen, but do it without a green screen – any type of flat field or brick wall, or anything with depth matting as well. Next year will be soft-object tracking.

The advances in lighting product design are one of the main reasons you go to big trade shows. For such a small industry, the speed of innovation is breathtaking. The range of lights that Cineo has designed with NBCUniversal are the winners of the lighting category, but there was a colossal amount of innovation to choose from. The LightBlade Edge modular fixtures are what Cineo calls ‘the ultimate creative lighting tools for motion picture and broadcast’. Cineo, which has a history of producing respected remote phosphor panels, has focussed on its collaboration with NBCUniversal for the LightBlade Edge modular fixtures.

The LightBlades are, as the name hints, in a similar form factor to fluorescent tubes, and can be banked to create a onekilowatt array that retains the individual tubes’ ability to mix colours and can create chasing effects, perhaps to simulate the pass of light for a studio-bound car interior. The LightBlade Edge fixtures offer a unique modular design. LightBlades are integrated into the mounting system to create the Edge 160 (two blade) and Edge 320 (four blade) fixtures, delivering 10,000 or 20,000 lumens. The LightBlades in the Edge fixture can be set to operate as an integrated light source, or they can operate independently for dynamic lighting effects.

SHORTLIST Cineo Lighting and NBCUniversal Edge Series n BB&S Area 48 Color n LiteGear LiteMat Spectrum n

SHORTLIST n Arraiy DeepTrack n Ncam Reality n MPC Genesis Virtual Production

DON’T FORGET! THE PEOPLE’S CHOICE AWARD IS STILL UP FOR GRABS. SEE WWW.DEFINITIONMAGAZINE.COM FOR DETAILS

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CINE GEAR EXPO 2019 SHOW PREVIEW

The SoCal trade show is once again upon us. Here’s our show preview WORDS CHELSE A FE ARNLE Y

GFM g-f-m.net Grip Factory Munich (GFM) has worked hard to become one of the leading providers in the design and production of high-end camera support equipment. This year, GFM returns to Paramount’s backlot with its simple yet elegant strap bracing kit.

On the stand, you will see the GF-8 Xten Camera Crane, GF-Slider System, GF-Iso Dampener, GFVibration Isolator, as well as other GFM rigs and jibs.

SONY sony.com Sony is showcasing its Venice 6K digital cinema camera, with enhanced High Frame Rate (HFR) capabilities from the version 4 firmware update, which is scheduled for release this summer.

Visitors will be able to test HFR capture at 120fps (4K 2.39:1) and 60fps (6K 3:2) in the booth, as well as view the beautiful HFR/ HDR short Daydream, created by Jon Joffin. There will also be a selection of Alpha and RX0 cameras to demonstrate their use in production environments, as well as the FS5 II, the FS7 II and the new FS7 II Build-up Kit. Throughout the two-day expo, Sony is presenting seminars on a variety of topics, such as efficient 16-bit workflow with X-OCN files and mixing cameras in documentary production. There is also a case study on TV show Dynasty, plus a screening of the Netflix film Wine Country, which was shot on the Venice.

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NBCUNIVERSAL & CINEO LIGHTING nbcuniversal.com & cineolighting.com NBCUniversal Lightblade and Cineo Lighting are debuting the latest model of their Standard series. The new Standard 480 has the same output, colour rending and saturated colour technology as the Standard 410, but with several innovations.

The most significant is the in-built touchscreen control environment. It simplifies local and remote operation, offering identical user control on mobile and tablet. Remote control is available via DMX/RDM, sACN/ArtNet, CRMX wireless and Bluetooth.

The Standard 480 supports single zone and patented multi-zone operation for advanced dynamic lighting effects, and several new applications will be available in coming months, including CIE colour pickers and effects recorders. The new NBCUniversal & Cineo Lighting LightBlade Edge fixtures will also be on display, combining a variable white spectrum, full-gamut colour and a suite of control options.

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SMALL HD smallhd.com SmallHD set the industry standard for monitors with the 702 Bright. It was the first seven-inch, full HD, daylight viewable on-camera monitor with a compact form factor.

Small HD will now display the next generation 702 Touch, with 50% more brightness and DCI-P3 colour reproduction.

The Cine 7 will also be on the stand, Small HD’s Teradek Bolt-integrated wireless monitoring system with 1800 NITs, 100% DCI-P3 colour, locking connectors and wired cinema camera control software upgrades.

Filmmakers can get the Cine 7 with a built-in Teradek transmitter and can change settings such as white-balance, shutter speed and record start/stop from the daylight viewable display. Meanwhile, the monitor can send lossless HD video in up to 500ft of range.

MOTION IMPOSSIBLE motion-impossible.com

DMG dmglumiere.com DMG Lumière by Rosco will be showcasing the Maxi Mix for the first time in Hollywood. Maxi Mix was designed as a hybrid LED soft light to be used in studios and on location shoots, and can be rigged as a fill or key light with its all-in-one on-board controls.

Mix technology is equipped with six exclusively designed Rosco LEDs. The bespoke LEDs have opened up a vast colour spectrum, and also contain verified Rosco gels.

QUASAR SCIENCE quasarscience.com Quasar Science returns to its roots as a pioneering motion picture-compatible LED light bulb manufacturer. The new and improved Filament LED light bulbs replicate real filaments by using LED diodes tightly packed along tiny substrates.

The six-watt A19 size Filament LED is flicker-free and compatible with most professional and consumer dimmers, and all Filament LED light bulbs can be switched between 5600 kelvins or 3000 kelvins for colour temperature accuracy.

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Founded in 2014 by award-winning cameraman Rob Drewett and experienced product designer Andy Nancollis, Motion Impossible creates innovative ways to move cameras in film.

At Cine Gear Expo, Motion Impossible is transforming Stand 6 into a mini pop-up studio, where visitors can test the Agito modular dolly system with the Shotover G1 gyro stabiliser attached to it.

Visitors can also experience the M-Pro remote dolly system driving around the renowned New York City street set. On it will be the company’s new Active Evo 360 gimbal, stabilising the new 11K Insta360 Titan. The M-Pro includes an upgraded drive system similar to what is found in the Agito.

On the Camadeus stand, just opposite, Motion Impossible, there is the Agito Trax on rails, and on the GSS stand, there is an unveiling of something never seen before, so keep your eyes peeled.

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IDX idx.com IDX will showcase the allnew PowerLink IPL series, its latest stackable battery solution for high-end cinema cameras. It includes two models: the IPL-98 & IPL150 with capacities of 96Wh and 143Wh respectively.

These models will include all of IDX’s latest technologies and features such as BMS, SMBus, D-Tap & USB. With the ability to link up to four IPL-98/ IPL-150 batteries, users can create a customisable capacity while drawing power from the last battery mounted.

With travel being part of most video productions, IDX has developed a fourchannel (2+2) simultaneous VL-4X V-Mount charger: compact, lightweight and convenient for those who already own IDX products.

The included AC adapter can also serve as a 90W DC power supply.

HAWK-WOODS hawkwoods.co.uk Hawk-Woods will be showcasing the new VL-MX8, an eight-channel mini V-Lok charger which allows for up to eight batteries to be charged in groups of four at 2.5A. Weighing just 2kg the VLMX8 is small and compact compared to other chargers on the market which are a similar size offering only four channels.

The VL-MX8 is designed to complement the Hawk-Wood V-Lok Mini batteries, while supporting most existing V-mount batteries. The charger is silent during operation and allows for heat to dissipate from vents.

TERADEK teradek.com Monitoring on set gets an update with the Teradek Bolt 4K; capable of transmitting uncompressed 2160P60 HDR video with zero delay on up to six receivers, it offers significantly improved image quality at 1080p and even lower resolutions.

Also on display is the Ace 500, an HDMI-only wireless monitoring system which features the same zero-delay wireless video of the Bolt range, without the extra software and hardware options.

New to Teradek RT is the CTRL.3, a three-axis wireless FIZ controller, and the MDR.X, an ultra-smart receiver. Both are part of Teradek RT’s new line of cuttingedge lens control products.

CINELAB LONDON cinelab.co.uk Cinelab is a comprehensive film laboratory and film facility in Europe, offering film processing, telecine, scanning, sound preparation services and film deliverables.

Services are also provided for archive and restoration projects and it is the only film lab in the world working in all feature film formats.

Its team of highly experienced film specialists will be coming to Cine Gear Expo to meet people in the industry and answer any film related questions, but to also learn and keep up with the latest innovations. Cinelab is renowned for providing excellent client service and attention to technical detail.

RIGHT The White Crow, directed By Ralph Fiennes, tells the incredible true story of Rudolf Nureyev. Cinelab London Services: 16mm film processing; telecine dailies; grading; sound syncing: final scans.

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SUMOLIGHT sumolight.com

CREAMSOURCE creamsource.com Creamsource, formerly known as Outsight, will showcase the recently launched SpaceX on stand S302. First seen at NAB 2019, the SpaceX is representing the first replacement to its traditional tungsten counterparts.

Featuring six powerful 1200w LED engines, in an ergonomic and lightweight form factor, it offers colour rendition with a CRI value of 95 from 3200K to 6500K, and full temperature adjustment from 2200K to 15,000K with a full stop green/magenta control.

Moreover, Creamsource will be demonstrating the award-winning Micro Colour unit, and will reveal a brand-new product that promises to shake the LED market with its processing power and price point.

Sumolight will spotlight its new Sumospace+ lighting fixture. With an improved design, it now features an internal passively cooled power supply with no moving parts. It has 90,000 lumens in a Super 3 configuration and 200,000 lumens in a Super 7 configuration.

Sumolight will also be displaying the Sumosnap, a screwless quick release for 16mm Spigot, which is built into the Sumospace+ by default. Its new 20Ëš lens set and battery option for the Sumospace+ will also be on the stand.

MARSHALL ELECTRONICS marshall-usa.com

BEBOB bebob.tv In keeping with the industry’s move toward lighter and more versatile gear, Bebob will introduce its ultra-compact Vmicro (V-Mount) and Amicro (Gold-Mount compatible) 14.4V battery packs. Both mount styles feature a choice of 43Wh and 147Wh versions.

On the side of each battery is a five-step LED power-remaining indicator. Below the power gauge is a button to wake up the battery, check the power status or activate the LED light, which can help filmmakers connect the battery to the plate on dark sets. The batteries also support power data protocol from Arri, Red and Sony cameras.

To complement the rest of the line, Bebob also unveils new pocket-size micro chargers and battery plates, power bars, adapters and hot swap adapters for maximum versatility. The Micro chargers are available as two-, four- and eight-channel simultaneous quick chargers, or a one-channel D-Tap quick charger.

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At Cine Gear Expo, Marshall Electronics will showcase the latest 4K monitors and compact camera solutions. The company will be highlighting its new V-R241-4K Master Confidence Monitor, which features a 24-inch UHD panel with wide-angle viewing for displaying images in up to 4K. It comes with waveform and vectorscope functions along with in-monitor displays (IMD/UMD), tally, text and timecode and includes 16-channel audio bars, closed captioning decoding and built-in speakers. The V-R241-4K supports SDI and HDMI and has multiple ports for control over Ethernet, RS422/485, RS232 and GPI.

S E T- U P | P R E V I E W ARRI arri.com Arri and Arri Rental will be showcasing their latest camera systems and lighting products at a combined stand at Cine Gear.

The must-see Alexa Mini LF has been making its way around the world and will be on site at the show.

Arri Rental’s DNA LF lenses, in combination with the Alexa Mini LF, will be another stand highlight. The DNA LF lenses can be customised or tuned to a filmmaker’s personal taste.

Winner of the iF Design Award 2019 and also on display, the Signature Prime lenses offer state of the art precision with an organic and emotional quality. Arri Lighting will be presenting Stellar, the intelligent lighting control app for a new level of control on set.

Of course, members of the SkyPanel family will be on display along with some Daylight fixtures and ballasts.

The newest additions to Arri’s Electronic Control System range and Pro Camera Accessories range will be on site along with the Camera Stabilizer Systems Trinity and Artemis.

OPERTEC opertec.tv Visit the Opertec stand at Cine Gear Expo to see the company’s newest developments, including its next generation telescopic camera cranes.

The Steel Boy 14 and Steel Boy 20 are light and easy to dismantle and reassemble and are ideal for use in large and small studios.

Opertec will also show the Arm, a fully stabilised boom which guarantees smooth and stable images on even rough terrain, as well as its full-range of Gyro-stabilised heads. The premier of the unique Telescopic Arm will also take place at the show.

PANTHER panther.tv Panther’s new S-Type dolly is continuing its tour of America, first in Las Vegas at NAB and now in Los Angeles at Cine Gear Expo. The S-Type dolly features a fully electro-mechanical system, wireless operation, detachable scissors arm, patented design with full-range technology, and unique flip-flop platform system.

The Panther Tower will also be on show. This electrically powered camera lifting system for cars is available in three different lengths up to 10ft/3m and can be operated with a standard wired handset or a waterproof wireless handset.

For even better car-shooting performances, you can see Panther’s stabilisation rigs; the Mini and Maxi Shock Absorber. The ISO Dampener also absorbs disturbing bumps, but horizontally. All parts can be combined and used with Mitchell connection, Scaffold Mounts and 130-150mm tubes.

Improvements on the Precision Mono Track system (new flat sleepers and sleepers for standard tube levelling) and Precision Levelling Track system (curved tracks now available) are also part of the show.

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LCA lcauk.com LCA is one of the leading suppliers of professional equipment to the film, TV, video and photographic industries. A one-stop shop for supplying lighting, grips, distribution, cables, filters, textiles, lamps and more.

The Gaffer Control will be on display at Cine Gear Expo, a year on from its initial release. Crafted by gaffers for gaffers, the controller is a compact and easy-to-use system that can connect to a series of lights to control them via Lumen radio. With more products using Wi-Fi networks on set, this isn’t something that has to fight for network.

A recent software update means that users can now build their own fixture library and fixture profiles, which can be stored online and shared with others. LCA will be on a stand with LiteGear, DoPchoice and Chroma-q.

LENS SPECIAL

All you need to know about large format glass

AVAILABLE ON THE ISSUU PLATFORM FROM 27 JUNE