ROUND-UP•EURO CINE EXPO 2022

SHOWSTOPPERS . . .

Reporting by Christine Gebhard, Gerd Voigt–Müller, Birgit Heidsiek and Dylan Bruce.

The inaugural Euro Cine Expo took place in Munich on 1st and 2nd July 2022. During the two days of the exhibition, where 2,800 visitors registered to attend, over 100 exhibitors from countries around the world presented their latest innovative technologies for cinematography and filmmaking.

The exhibition itself, at the Zenith, near MotorWorld, was complemented by an extensive programme of seminars and panel discussions, taking place in the adjacent Kesselhaus, during which leading cinematographers – including triple Oscar-winner Vittorio Storaro AIC ASC and leading German DP Armin Franzen – plus technology and industry experts passed on their incredible knowledge and inspiring insights. The nearby Kohlebunker hosted networking events.

Euro Cine Expo will return next year, and dates for the second edition of Europe’ leading expo for cinematography will be announced soon. Here are some of the highlights from the 2022 edition... and see Shooting Gallery for Euro Cine Expo 2022 extras!

CAMERA, LENS AND GRIP:

ARRI:

Little surprise that Munich-HQ’s ARRI was one of the big draws at the new. The focus at the booth was, of course, on the new Alexa 35 camera. This S35 camera offers 4K resolution and is equipped with a newly-developed sensor in 4:3 aspect ratio.

In addition to high image quality at 4K and 120 fps, ARRI highlights the Alexa 35’s new camera’s 17 stops of dynamic range, as well as its high ISO sensitivity up to 6,400 ASA and Enhanced Sensitivity mode, which is said to allow for a clean image even in low light.

What many customers find particularly impressive is the rich colour reproduction provided by the camera’s new Reveal Color Science. ARRI itself is confident that the new camera, including filmic textures, will delight filmmakers with exceptionally natural, cinematic-looking images. Ease-of-use, robust design, new accessories and a completely new mechanical support system round out the new Alexa 35 platform.

ARRI’s other new product offerings included Trinity and Artemis stabiliser systems. ARRI has completely redesigned these and was showing version 2 of each system. A quick and easy upgrade allows the purely-mechanical Artemis 2 to be transformed into the hybrid Trinity 2, which adds electronic stabilisation for even more movement and perspective.

About 80-percent of the second-generation systems’ components are shared between Trinity 2 and Artemis 2, illustrating ARRI’s modular approach. However, the new modular system has been redesigned down to the smallest details and now offers improvements in camera motion, connectivity, power management, user interface, balance options and product longevity, ARRI elaborates.

BAND PRO:

Among other things, Band Pro showcased new products from Angénieux and presented the Optimo Ultra Compact 37-102 zoom lens, which recently became available.

Angénieux also has Optimo Primes in its line-up; according to the manufacturer, they capture the “distinctive Angénieux look” in a complete prime lens set. The complete set of these full-frame prime lenses includes 12 lenses that are fast at T 1.8.

The manufacturer has developed a very special innovation for this series with the ‘Integrated Optical Palette Technology (IOP)’. IOP allows some lens elements to be exchanged, including the rear filter. This means that rental houses can adapt the lenses for their customers’ particularly demanding productions - and ultimately they can take the whole thing to the extreme with special, completely customised filters. Currently, the three aperture elements Triangle, Oval and Nine Blade Iris are available for IOP, as well as a Vintage Rear Filter. Further elements are to follow successively.

BVB (BUNDESVERBAND BELEUCHTUNG & KAMERABÜHNE):

As the national organisation for set electricians, gaffers and grips in Germany, the BVB (Bundesverband Beleuchtung & Kamerabühne) works closely with other industry associations to support education and training for its members, so they can knowledgeably handle the latest technological advances in the field.

A new trend on-set is the use of telescoping forklifts, which are being increasingly used in addition to cherrypickers. In order to make sure that these machines are operated only by qualified staff, the BVB financially supports its members in on-going vocational training.

The association has also amended the contracts of lighting technicians so that they may not be held responsible for the electro-technical security of the entire set. Most recently, the BVB is developing a workshop that deals with the new requirements for green film production.

CVP:

Having just opened its new facility in Belgium, to cater for customers across Europe, CVP took over the main stage at the Expo, and put on a tremendous, handson display of the newest production technologies. Camera solutions included those from leading manufacturers such as Sony’s Venice 2, FX9 and HDC F5500, ARRI Mini LF, Red’s V Raptor and Komodo, Canon‘s C300 MKIII and DJI Ronin 4D.

The CVP Lens Bar featured an impressive display of new and used lenses from brands such as Angénieux, ARRI, Atlas, Canon, Cooke, DZO, Fujinon, Leitz, Sigma, Tokina, Tribe7 and Zeiss. The monitor wall display allowed attendees to view over 30 of the best monitors the industry currently offers, ranging from 5” to 31”, all displayed side-by-side and synced with the same imagery via a video router to enable like-for-like comparison.

CVP has also collated the most recent developments in camera moving gear including wearables, such as Easyrig, Ready Rig, Tilta, remote heads / stabilisers from ARRI, DJI, Freefly Systems and, grip kit in the form on Flowcine and Movmax, as well as the new DJI Ronin 4D.

LEITZ:

The renowned lensmaker announced Elsie, a new series of full-frame fixed focal lengths in 2021. The name of the series is a reverence to Elsie Kuehn-Leitz, a philanthropist, patron, lawyer and daughter of Ernst Leitz II. The Elsie Primes offer high optical quality that doesn’t quite match that manufacturer’s top-of-the-line Thalia series, but the Elsies are less expensive and also smaller and lighter.

Leitz covers a focal length range of 15 to 150 mm with the Elsie series. Leitz has announced a total of twelve Elsie lenses, and the first seven are scheduled for launch this year. Rainer Hercher, Leitz’s managing director, emphasises that the lenses feature T 2.1 almost across the board, deviating only in the extreme focal lengths.

Designed and manufactured in Germany, the Elsie lenses feature a warm look and high resolution for which other Leitz lenses are known, according to the manufacturer.

Offered with an LPL mount, the Elsie lenses support Cooke/i and LDS-2 lens interfaces, and are designed for the lower flange depth of the LPL standard, which allows for greater design flexibility and higher performance without taking mechanical or optical properties to extremes. Leitz says the lenses are nearing delivery.

GFM – GRIP FACTORY MUNICH:

Munich-based GFM presented several interesting innovations and revisions to existing products, which, according to the manufacturer, are constantly being incorporated into the product range.

For its cranes, GFM now offers The Swivel, which provides a smooth, quick change of camera position from high-to-low or bottom-to-top in seconds.The Primo Dolly has been significantly improved and can also be supplemented with the new Swivel. This means the Primo Dolly can now be used in an even more versatile way.

Another highlight was the Slider system, which features enormous stability. The modular system can be used largely without tools, and can easily support even the heaviest camera set-ups and move them smoothly across the slider. The slider is available in eight lengths and its modularity allows it to be used in countless setups. It is also quiet, smooth and stable. The interchangeable rails are drilled with 3/8” holes spaced 1” apart, allowing for easy attachment of accessories. The slider is relatively lowprofile and can also be used extremely low, even directly on the ground.

PANTHER:

Munich-based grip developer, Panther, showed several products from the range, including the S-Type dolly, which is powered by an electric motor. Among several other features, it is characterised by the fact that it can easily be driven directly on rails, and it is not necessary to lift it onto the rail. Various wheels allow clean dolly rides with low rolling resistance.

With Easy Rider, Panther has developed a vehicle that can be used in the standard Rickshaw version, which is operated manually. Using another module, it is possible to turn it into a vehicle reminiscent of a trike, powered by low-noise electric motors. In this mode, the operator can accelerate the ride by thumb lever, or even change the direction of travel. There are various add-on parts and conversion options. The Easy Rider can also be moved quite quickly at 30km/h if required.

The manufacturer has completely overhauled the Panther Tower, which now offers a whole new dynamic. With electrically driven rides and remote control, the tower is particularly well suited for dynamic car shots with a remote head.

P+S TECHNIK:

RED DIGITAL CINEMA:

The company showed the V-Raptor XL, a new model of this 8K camera, at the Teltec and Xinegear booths. The V-Raptor XL uses the same 8K VV sensor as the V-Raptor, but is slightly larger, offers additional I/O and internal ND filters.

Thanks to the 8K multi-format sensor, it’s possible to shoot in 8K with the camera or create S35 footage in 6K as well. This makes the camera tremendously versatile. The camera’s sensor offers a dynamic range of over 17 stops. In addition, the camera can record Redcode Raw, which means you can record 16-bit Raw and use the appropriate Red workflow for it.

Unfortunately, the V-Raptor XL could not be seen in operation at the Euro Cine Expo, it was only shown behind glass. The naked body of this camera is priced at $39,500 US dollars (for comparison: the basic version of the V-Raptor costs €23,950 euros). In a ready-to-shoot version, the V-Raptor XL is to be offered at a price below €50,000 euros.

P+S Technik has added the Technovision 1.5x series of Anamorphic lenses to its lineup, offering the special, classic look of Technovision lenses from the 1970s. In addition to the five focal lengths already available (40, 50, 75, 100 and 135 mm), P+S Technik showed two new telephoto lenses: a 150 mm with T2.5 and a 200 mm with T3.2.

In addition, a second series will join the already available lenses of this series: Technovision AproXima.

The special feature of the Anamorphic AproXimas is that the minimum object distance has been minimised for these lenses: objects that come within a minimum distance of 457.2 mm (1ft, 6inches) of the plane of focus of the respective camera can still be focused. In the case of the 100 mm lens in the Technovision AproXima series, this is two hand widths in front of the foremost lens.

According to P+S, the Anamorphic elements are placed at the front of all Technovision lenses, creating a unique anamorphic bokeh. High contrast and intentional flares define the character of this lens series. The AproXimas will go on sale at a list price of €25,800 euros each. Focal lengths of 40, 50, 75 and 100 mm will be manufactured, and the first units should become available in three to four months.

RONFORD-BAKER:

The Academy Award-winning manufacturer of tripods and fluid heads, relies on its philosophy of designing durable products. The Ronford Baker Heavy Duty Tripod, with a telescoping 4-tube design, has not changed much since its development in the early 1970s, but it has been improved with a new foot casting and a larger spike.

The internationally-patented Billet Bazooka provides a stable build platform, but cameras like the Sony PMW-F55, the Alexa, and the Red Epic still need a solid head. The Atlas, a completely new design for a tripod head with a patented counterbalance system, is suitable for camera packages weighing up to 50Kg. It incorporates 15 stages of fluid power, and both pan and tilt can go into ‘free’ mode. The Atlas40 Fluid Head offers seven stages of fluid power, whilst the new modular Atlas7 Fluid Head has a third axis set-up with a roll-over wheel.

SCHNEIDER KREUZNACH:

Schneider Kreuznach used the stage of Euro Cine Expo to present Isco4all, a set for Anamorphic and spherical shots. With the lens set and the corresponding Anamorphic adapter, it is possible to quickly and easily turn spherical cine lenses into Anamorphic lenses.

Stand-alone spherical cine lenses are combined with a matching Anamorphic front adapter. The Iscorama 54 CU-1.5x adapter is the modern remake of a classic – with upgrades such as a 0.8 gear ring and an improved close-up range of 1.4m. The three compact cine lenses called Iscosphericals A+ with focal lengths of 43, 58 and 85 mm and a T-stop of 2.4, make up one part of the set. You get a special amber coating (A+) that produces very nice flares and complements well the vintage look of the Iscorama 54 CU-1.5x adapter. The set is available with EF mount and retails for around 6,000 euros.

SONY:

Over at the Sony stand, there were a host of new products, including the muchanticipated Sony Venice 2, FX line of cinema cameras, plus some newer lenses in the G-series range.

Being Sony’s first expo in Germany for a long time, they were keen to put on a show for the visitors. This was quickly achieved, with Sony being the only stand to present a small, virtual production stage.

With a set built in the fashion of a coffee shop, Sony showed the impressive capabilities of their B-series Crystal LED wall. This is a virtual wall that features a 1.58mm-1.26mm pixel pitch, an anti-reflection matte finish and higher brightness than it’s C-series counterpart, in order to showcase astonishingly realistic images with a wide colour gamut. Visitors were invited to operate the original Sony Venice, with the Crystal LED Wall proving its ability to work with transparent and reflective elements, something greenscreen has historically struggled with.

TIFFEN:

As a leading American manufacturer of photographic filters, The Tiffen Company received an Academy Award for technical achievements for its production of high-quality, durable, laminated colour filters for cinematography. Among the latest developments were the DJI Mavic 3 filters that enable drone pilots to enhance their images.

Another new product was the innovative Rifa LED solution that gives new life to legacy Rifa EX lights by updating them with the new state-of-the-art LED Bulb and Diffuser.

“You can keep your unit and convert it to LED“, says Danny Hallet, director of sales for professional markets. “The Rifa LED Bulb Retrofit allows legacy Rifa 55, Rifa 66 and Rifa 88 lights to be repurposed at a low cost with the latest LED technology. Saving you from reinvesting in new lights and providing a path forward for a price that is similar to the cost of a few traditional Tungsten bulbs. Plus, the LED bulb provides a much longer life.”

VANTAGE FILM:

This international developer and manufacturer of film lenses and full-service rental provider of camera equipment and film technology, is producing optical tools to complement its wide range of Anamorphic and spherical lenses. The Vantage One T1 spherical lens series is now available in nine focal lengths from 15.5mm to 120mm. The Hawk lenses are designed to enable filmmakers to translate their artistic visions into compelling visual statements.

Precisely-cemented optical filters and perfectly calibrated diopters, built with high-index Ohara glass, are available in every grade and size. The original Vantage BlueVision adds the distinctive blue horizontal streak, whilst maintaining sharpness in the entire image. The colourtransition within the streak is very natural and mimics the coating flares of older American anamorphic lenses. Designed by the Hawk optical laboratories, the original Vantage Bethke filters refract light in unusual ways. Well worth a look!

ZEISS:

Zeiss introduced a new 15-mm lens, the latest member of the Supreme Prime family. At T 1.8, it is very fast and completes the series, whose individual lenses are known for their light weight and a versatile look.

Zeiss now covers focal lengths from 15 to 200 mm with a maximum aperture of T1.5 to T2.2 with its 14-piece Supreme family. The new 15mm lens adds an extreme wide-angle fixed focal length to the lineup and offers and a maximum aperture of T1.8.

The manufacturer describes its Supreme Primes as having a “cinematic look” characterised by subtle and harmonious focus and warm and soft bokeh. The Supreme lenses are very popular. For example, cinematographers Armin Franzen and David Higgs relied on this Zeiss lens series in the third season of the Sky series “Das Boot”.

Another Zeiss innovation that could be seen at the booth was the CinCraft Mapper. Behind this is a digital service that provides frame-accurate lens distortion and vignetting data for the VFX industry. This data is essential for digital compositing and matchmoving to achieve the most realistic and accurate results. Usually, so-called lens grids have to be recorded and processed to obtain this data. This is time-consuming and also error-prone. CinCraft Mapper now provides this data directly based on the metadata (lens type, focus distance, aperture) of the respective shot - with just a few clicks. Lost clip metadata can also be easily re-entered. This means a general simplification and acceleration of the entire compositing and matchmoving process.

POWER:

CINEGREEN:

The Swiss-German company CineGreen premiered NXTGEN 25 and 145 mobile power solutions, based on Li-Ion battery technology. Whilst diesel generators on-set are polluting the planet by burning fossil fuels for lighting, base camps and catering, the CineGreen power unit is charged with electrical energy from the grid. It runs silently without producing fumes or heat and can even be operated indoors. The system, having already been successfully used by the construction industry in Switzerland, provides a stable power source with 25kWh and 145kWh and can be fully-charged in four hours.

“Due to its technical infrastructure, the unit can even cope with 150% overload because of the power distribution to the cells”, stressed Maher Maleh, founder of CineGreen Germany. Whilst diesel generators always produce a certain output, the battery solutions only provide the power which is actually needed. “This is an economic advantage because the system saves about 30% on energy” added Dr. Krzystof Drabik, Techno Economic Advisor.

LIGHTING:

APUTURE:

In Aputure’s Light Storm range, the 1200D Pro was showcased in a four-light array. This array is currently unreleased, but with four 1200W daylight LED heads, each capable of producing 83,100 lux at 3m with the narrow hyper reflector, it is guaranteed to pack a punch. The relatively new 1200D Pro is optimised for professional productions where powerful, high end LED’s are a must-have.

The Amaran line, which is more focused on prosumer content creators, the T2C and T4C LED tubes were popular at the show. These tubes support RGBWW colour tuning, as well as integration into Aputure’s Sidus Link wireless ecosystem.

Finally, the new Aputure MT Pro was in prize place at the front of the Aputure stand. This light is an entirely new addition to Aputure’s LED tube family. It provides 7W RGBWW full-colour output, with 36 individually controllable pixels and a 105-minute battery life at maximum power. It also includes Lumenradio CRMX control for ultimate adaptability.

POWER GEMS:

Power Gems showcased a range of HMI ballasts. The portfolio included a lightweight, 12/18K, high-speed ballast that can operate any lamp in the range from 6kW through to 18kW, with 300Hz operation as standard.

“Most clients still work with HMIs”, said Patrick McGuane, director of sales at the company, which serves clients all around the world, including the big studios in Hollywood. “We look at the prior wattage of all available LED products. It is a competitive marketplace, but Asian products tend to really stop at 500W. At 600W, we are alone because the design starts to get a bit more complicated.“

Among the latest innovations is a new controller which is designed for LED fixtures. The PWM40 is a combined 3kW power supply and 40-channel LED driver for sound stage use. “We offer full-service, and we can do repairs too if required”, emphasised McGuane. Power Gems holds large stocks of factory replacement parts and spare PCBs if needed.

SWIT:

Worldwide manufacturer of broadcast and film-industry products, presented its ‘Solutions With Innovative Technology’ that cover monitor, wireless transmission, battery and lighting product lines. Among the new products was the B-mount, a new battery interface standard endorsed by ARRI.

SWIT has developed a series of B-mount power systems. This includes the B-mount battery, B-mount fast charger, and the B-mount hot-swap plates for ARRI’s Alexa SXT/LF/65 and Alexa Mini/Mini LF cameras. Thanks to the B-mount hot-swap plate for the Alexa SXT/LF/65, the camera doesn’t need to be switched-off while the battery is being charged. The latest innovations include new DV batteries with USB-C and the normal 12V D-Tap, which can be used to power laptops, tablets and smart phones.

ARRI:

Along with the Alexa 35 camera, another highlight at the ARRI booth was a new Fresnel lens for ARRI’s Orbiter LED projector. The Orbiter Fresnel lens is a useful addition to the Orbiter open-face lenses already available in 15°, 30° and 60°. The new stepped lens produces a precise circle of light with a soft shadow. The light output is comparable to that of ARRI’s L10 L-Series and True Blue ST2/3 fixtures with 2000W incandescent lamps. A few days after the show, ARRI also introduced new software for the Orbiter: LiOS 2. New modes and features now enable closer collaboration between the headlamp and camera.

ASTERA:

Asteras showcased the new HydraPanel. This is a 17W beam-shaping, portable panel light that features RGB Mint+Amber colour tuning. It features six lighting modifiers and a large range of mounting options. The full-spectrum Titan LED Engine generates an impressive 1300 Lumen output whilst running on battery power for just under two hours. Furthermore, it is built in a solid waterproof housing. You can combine up to four of these panels, providing individual control of over six segments per panel. An exciting new LED solution, the HydraPanel has just started shipping having only been launched in May 2022.

Alongside the HydraPanel were the ever-popular Astera Tubes, featuring the three sizes; Helios, Titan and Hyperion. The new tubes now contain Bluetooth Bridge, a technology that Astera has integrated into products such as the NYX Bulb, PixelBrick and AX9. This allows you to connect your phone or tablet directly to the tube, without the need for an Astera Box.

CHIMERA:

Standing tall at the Chimera stand was the DayLite Octa 7, a huge seven-foot octadome with a soft silver interior. This octadome has been handcrafted at Chimera’s HQ in Colorado and provides a brilliant soft light option for powerful HMI’s including the M18 and M40. The vents built into the octadome allow for efficient internal cooling for a 4KW fixture and it is compatible with Quarts / DayLite OP Rings. It comes with the options of full, half and quarter diffusion. The DayLite Octa 7 is shipping now. Alongside this new product was the time-tested Panel Frames and the Dinkum System’s brand.

DE SISTI:

The Rome based lighting company presented the “Muses Of Light”, a collection of visually striking bi-colour LED lamps. This family of LEDs was designed in collaboration with renowned cinematographer Vittorio Storaro AIC ASC, his daughter and architect Francesca Storaro, and De Sisti. This partnership is based on the ten geometrical shapes, following the concept of analogy between Primary Elements and Geometric Forms, from One to All.

Notably, the final LED fixture in the series is the Aurea (The Circle), which is an incredibly powerful 2,400W LED lamp that features a narrow beam angle of 11 degrees. The combination of power and a narrow beam makes it the perfect fixture to use with mirrors and reflectors. Alongside this, a range of Vari-White/full colour fresnel and soft lights are introduced, widening De Sisti’s arsenal of fixtures.

DEDO WEIGERT:

A new line of LED hard lights were on show. These LEDs cleverly feature one model of ballast for each wattage of lamp, building upon the design of the classic Tungsten Dedolight heads. The 90W Bicolour DLED7N-BI was popular amongst visitors, featuring a linear and exponential dimming curve that goes as low as 0.1%.

Containing the new Neo-colour LED technology was the SETDLED7N-C+ lamp head. This is a cutting-edge RGB, Amber, Cyan and Lime LED hard light. It features extreme colour accuracy and utilises Dedolight’s long-standing precision optics. Dedolight caters its products to a wide range of audiences, including professional film sets, commercial lighting and infrared lamp heads for the police force.

DOP CHOICE:

The new, aptly-named Fat Rabbit was a real eye catcher. Currently unreleased, this is DoPchoice’s largest softbox yet with 12 sides. It fits comfortably over LED fixtures as large as the ARRI Skypanel S360. The modular design of this soft box allows for a range of diffusion textiles with a number of sides to fit the Fat Rabbit. This is done by adjusting the poles and velcro tabs in the soft box itself. DoPChoice also showcases its new Rabbit Rounder Universal mounting system, which allows you to mount a variety of DoPchoice Snapbags, Octas and Lanterns to a range of fixtures with the industry standard Bowens Mount.

K5600 LIGHTING:

K5600 Lighting, a company that focuses on high-quality, bi-colour LED and HMI Units, presented its popular Alpha LED Line. Notably, the unreleased Spacebeam a300/a800 adapter was rigged at the stand. This system concentrates the beam of an Alpha LED 300W or an Alpha 800W HMI to a three-degree angle, multiplying the output of the lamp up to four times. This results in an impressive 78,000 lux at three meters with the 300W Alpha LED. All the LED units have their own 300W ballast, however you can also run four on a 1200W ballast.

The company’s most popular kit, the Joker 800, drew lots of attention. These Jokers are found on a vast array of professional film sets and come available in three forms; Bug, Beamer and Zoom. Cleverly, the Joker LED and HMI fixtures share the same accessories, allowing for plenty of flexibility.

THE LIGHTBRIDGE:

The Light Bridge stand was consistently busy, with the company showing some new features in its renowned CRLS kits. The 2.0 version of the GO Kit comes with a pair of extra mounting pins, extending the grip options, and allowing you to rig additional mirrors in a variety of ways. The C-Drive, C-Move and C-Go kits were all lined-up at the stand. The effect of the mirrors was cleverly depicted with a miniature living-room set. With a selection of tiny mirrors you could play with, visitor’s were able to get an idea of the different reflective strengths and the changes in light they create.

The CRLS kits are rented out to a wide range of productions, including prosumer and professional. The company often sees the C-Drive and C-Move kits being personally bought by cinematographers due to their endless versatility.

NANLUX & NANLITE:

Nanlux were showcasing a range of their trustworthy, powerful LED fixtures. This included the Dyno 1200Cs and 650Cs. These soft lights have a variety of colour modes, such as HSI, RGBW, Gels and XY options. Alongside the soft lights was the popular Evoke 1200, a powerful 1.2kW daylight LED COB, comparable to that of 1.8kW PAR or 2.5kW HMI Fresnel.

Alongside these fixtures was the newer TK line. Perfect for TV, film and broadcast applications, these slimline LED soft-lights are energy-efficient and have a low-profile panel design. They are available as a compact 160W and 280W 2700K - 7500K bi-colour fixture or a more powerful 240W and 450W daylight unit.

With Nanlux covering the larger scale productions, Nanlite offer LED fixtures for the prosumer and content-creator audiences. Only a few weeks old is the Pavo Tube T8 - 7X. This is an LED tube with all the RGBWW features of the Pavotube II’s, but in a much lighter format. Alongside this was the brand new Forza 60C, an LED hard light equipped with an RGBLAC six-colour system. It has built on the strengths on the 60 and 60B with hardware and colour fidelity improved considerably.

LCA – LIGHTS CAMERA ACTION:

LCA is expanding, with outlets across Europe, and a real eye-catcher at the stand was the new Auroris overhead lighting fixture by LiteGear. This full-colour, modular LED light source combines high-quality colour rendition and precision control. It is built with 24 large format pixels, creating a pixel-mappable source that can cover a 100-square foot area with just one fixture. Available for pre-order, it comes in square and rectangular components. The 3m x 3m Auroris X is ideal for overhead rigs, whilst the newer, unreleased, 1.5m x 3m Auroris V is perfect for floor-supported lighting setups and smaller overhead rigs.

The renowned Australian company, Creamsource were also showcasing their new LNX system, a rigging solution to mix any variety of its Vortex panels into a larger system consisting of multiple panels. The LNX system is a baseplate with pins on one side and rail clamp on the other, allowing for exceptional modularity and safety.

PROLIGHTS:

Prolights had an impressive host of lighting fixtures on display. Popular was the EclPanel TWC, a compact 2x1 LED soft light that provides a beautiful, wide source of soft and precise colours. It allows for quick and accurate local adjustment of light through three rotatory knobs with three fully-featured modes: CCT with +/- green shift, HSI for total control of hue, saturation, and intensity and FX mode to access the onboard pixel cinema effects. This soft light comes with a wide range of filters and modifiers. The panel format now comes in a smaller compact design in the EclNanoPanel, as well as an unreleased larger format. Prolights caters to both high-end film and TV productions such as Bridgerton and James Bond, as well as theatre and music events.

ROTOLIGHT:

At the Rotolight stand, visitors were very impressed with how lightweight the AEOS 2 was without any compromise in power and durability. Also, the popular Titan X2 now features the new SmartSoft technology. This allows one to electronically adjust the light’s diffusion, focus and spread without the need for gels. Consequently, it was no surprise that people were excited for the debut of the SmartSoftBox diffuser for the AEOS 2 at the Euro Cine Expo. Rotolights have been used in productions such as Ozark, Ghostbusters: Afterlife, Dancing on Ice and 2022 Netflix Movie, Boo!