EXHIBITION & SEMINARS ISSUE 001 Europe's new EVENT focusing on the technology and art of Cinematography MUNICH • 1 - 2 JULY • 2022 // 1 - 2 JULI • 2022 • MÜNCHEN SH O GUIDEW Europe's new EVENT focusing on the technology and art of Cinematography MUNICH • 1 - 2 JULY • 2022 // 1 - 2 JULI • 2022 • MÜNCHEN SH O GUIDEW GUEST OF VITTORIOHONOUR:STORARO AIC ASC
MOUNT ANYWHERE, LIGHT ANYTHING Beam shaping with six included light modifiers and a large range of mounting options make HydraPanel more flexible than any other product in its class. The full-spectrum Titan LED Engine generates an impressive 1300 Lumen output while running on battery power for 1:45h. All packed into a solid watertight housing of just 600g weight and 166mm length. 17W LED POWER DRAW LIGHT MODIFIERS FOR FULLWIREDWIRELESSFLEXIBILITY+DMX ASTERA TITAN LED ENGINE HYDRA PANEL POWERED BY RGB+MINT+AMBER FULL SPECTRUM 1750K - 20000K WIDE CCT RANGE TLCI/CRI Ra ≥ 96 EXCELLENTfromRENDERINGCOLOR3.200Kto6.500K RGB, HSI, X,Y & FILTER GELS Foldable foot for setup on flat surfaces Cold Shoe for thirdparty accessories and to attach on cameras Babypin included for mounting on stands and via SuperClamp Combine units to build a bigger panel www.astera-led.com/hydrapanel Max. 20h WirelessDMX App IP65
Euro Cine Expo 2022 Showguide is a special publication from the team at Rascals who also publish Cinematography World. www.cinematography.world Rascals Publishing & Media Ltd! Red Lion Yard, Odd Down, Bath United Kingdom BA2 2PP Tel: +44 (0) 1428 746 375
Editor-in-Chief RON ronny@cinematography.worldPRINCE Special Consultant ALAN alan@cinematography.worldLOWNE
Editorial Assistant KIRSTY kirsty@cinematography.worldHAZLEWOOD Advertising Manager CLAIRE claire@cinematography.worldSAUNDERS
Natasha Block Hicks is an artist/designer/maker, who spent a decade as a freelance film and TV camera assistant, and indulges her love for cinema and cinematography through research and writing.
Michael Burns has covered film, broadcast, VFX, animation and interactive design, in print and online, for 20 years, for publications including IBC Daily,Digital Arts, TVB Europe and Broadcast Tech.
Wifi is available throughout the main hall. Please look for the network Z2206 and use the code Z1811Z1811. And, please remember to share your visit here today across our social platforms #eurocineexpo2022
Kirsty Hazlewood has over two decades of editorial experience in print/online publications, and is a regular contributor to folk/roots music website Spiral Earth.
We are certain that, like us, you are looking forward to the return of these in-person events. There is nothing that compares with the face-to-face, hands-on experience that shows like this deliver, with the opportunity to engage, network and re-establish Weconnections.thankeveryone
Birgit Heidsiek is an award-winning sustainability consultant, author, TEDx speaker and founder of the European Centre For Sustainability In The Media World (www. greenfilmshooting.net), which informs about eco-friendly film and media production.
Social Media & Communications KAZ PEARMAN kaz@cinematography.world Web Manager IAIN iain@cinematography.worldHAZLEWOOD
Geoffrey Macnab is a London-based film journalist/critic for The Independent, The I and Screen International. His books include J Arthur Rank And The British Film Industry and Stairways To Heaven: Rebuilding The British Film Industry.
who has supported Euro Cine Expo: our wonderful exhibitors who have come from around the world to present their products and services to you; the supporting industry associations, including BVK, IMAGO’s ITC, Focus Puller At Work, ACO and BVB; our speakers and panelists; our official media partner Cinematography World, and the other international publications who have helped to spread the message about Euro Cine Expo far and wide.
In between meetings and seminars, we have a range of food options located inside and outside the hall, and within the hall, on the raised stage area, we have a full-service bar.
Welcome to the first Euro Cine Expo, being held in Munich. We are delighted to be hosting this inaugural event in such a beautiful city, at a great time of year.
Euro Cine Expo has been over two years in the making, after launching the concept prepandemic with the event initially scheduled for June 2021. However, all good things come to those who wait, and we hope you will enjoy your time at the show.
On behalf of the Exhibitors, our Seminar Speakers and Presenters and the entire team that has made this all possible, we would like to extend a huge thank you for your time visiting Euro Cine Expo, and we hope you have a successful and enjoyable time.
Check our website www.eurocineexpo.com for news on future events.
WELCOME • EURO CINE EXPO SHOWGUIDE
Francesca Zerenghi is a cinematographer, creative, networker, educator and the founder of Cinegirl, which is aimed at empowering women and non-binary talent working in the film and TV industry.
EURO CINE EXPO SHOWGUIDE JULY 2022 03
CONTACT US News hello@cinematography.world Ad sales & Subscriptions +44 (0) 1428 746 377 Artwork artwork@cinematography.world +44 (0) 1428 746 375
Many thanks and best wishes!
Tiffany Aug is a 1st AC and has been pulling focus for 17 years. Her recent credits include: Curb Your Enthusiasm S9-11, Better Things S2-5 and Super Bowl LVI Halftime Show. Warwick Hempleman BVB IATSE left New York for Germany 32 years ago, and has worked all his life in motion picture production, mostly with grip equipment, with brief forays into technical theatre and television.
To help make the most of your time, please do take a few minutes to familiarise yourself with the layout and the location of our Exhibitors. There is a complete two-day seminar schedule where we are delighted to be hosting a headline speaker each day. The Exhibitors are showcasing some of the latest technologies that are being used in film and TV production today, and they are looking forward to sharing their knowledge and insights about their products with you.
This showguide will help you navigate your way around the show. Inside you will find the floor plan and venue map, the list of exhibitors, our seminar schedule, and some original articles which we hope you will find both informative and inspiring.
The venue plan will show you the location of the various segments of Euro Cine Expo together with that of the MotorWorld site. Whilst we want you to spend your day on-site at the expo and in the seminars, after hours, there are a host of other attractions to see, together with places to eat, drink and network with friends, both old and new. If you are attending on Friday 1st July, you are invited to join us for an after-Expo celebration from 6pm to 8pm in The Coal Bunker and the surrounding area.
Art Direction & Creative Kinda Stuff JAM CREATIVE tim@jamcreativestudios.comadam@jamcreativestudios.comSTUDIOS
THINGSGOOD COME
Ashleigh Ashley is a creative producer of TV, film, advertising and music promos, and a contributing writer at Cinegirl. She has a passion for stories that explore and celebrate the human condition, and strong advocates for diversity.
Rob, Claire and the Euro Cine Expo team
Subscriptions KENISHA kenisha@cinematography.worldSMITH
EDITORIAL TEAM Ron Prince has over three decades of experience in the film, TV, CGI and VFX industries, and has written about cinematography for 20 years. In 2014, he won the ARRI John Alcott Award from the BSC. He also runs the international content marketing and PR communications company Prince PR. Adriano Grilli BVB is a gaffer who has more than 20 years of experience in modulating light for storytelling purposes on film sets, as well as commercials and music videos. Ambar B Capoor has been a camera technician for 16 years. His recent credits include Adele Las Vegas, Post Malone Launch, Prisoner’s Daughter and Liger.
Motorworld Kesselhaus Kohlebunker Zenith
04 JULY 2022 EURO CINE SHOWGUIDE EURO CINE EXPO • AERIAL VIEW OF THE SHOW DrivershallKohlebunker
EURO CINE SHOWGUIDE JULY 2022 XX Supplying the film and broadcast industry with the latest innovations in lighting and accessories since 1999 EuroExpoCine stand 208 LCA - Lights, Camera, Action www.LCAlights.com Offices in Germany, France and UK Lighting Grip Power Distribution Cables Filter Textiles Lamps Consumables ActionLightsCamera EUROPEBERLINOFFICENOWOPEN
THANK YOU TO OUR INTERNATIONAL PARTNERS & SPONSORS
06 JULY 2022 EURO CINE EXPO SHOWGUIDE INDUSTRY & MEDIA PARTNERS
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IT’S ALL ABOUT e are proud to have the support of leading, international industry and media partners, and we thank them for helping to bring the inaugural Euro Cine Expo to the attention of all those involved in cinematography, film and television production, across Europe and around the world. Free copies of partner magazines and journals will be available to pick-up throughout the event. Future editions will carry exclusive Euro Cine Expo content, and, as the show moves forwards, we hope our collaborations with these partners will nurture even more growth and development of this European event for cine equipment/technology and the art of cinematography.
EURO CINE EXPO SHOWGUIDE JULY 2022 07 INDUSTRY & MEDIA PARTNERS TEAMWORK...
With 14 focal lengths from 15 mm to 200 mm, the ZEISS Supreme Prime lenses unite coverage up to Full Frame and beyond with high speed in a small, lightweight lens. Their look is characterized by a gentle sharpness and a very smooth transition between the in-focus and out-of-focus areas. The Supreme Primes give the creator absolute control over the image by revealing subtle nuanced details in deep shadows and bright highlights.
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EURO CINE EXPO SHOWGUIDE JULY 2022 09 CONTENTS • EURO CINE EXPO SHOWGUIDE 40 GREENER PRODUCTION 38 THE LIGHT FANTASTIC 28 DIVERSITY & INCLUSION 34 SPOTLIGHT 36 SMOOTH OPERATORS 03 WELCOME • FROM ROB & CLAIRE SAUNDERS 04 AERIAL VIEW • EURO CINE EXPO 2022 06 IT’S ALL ABOUT TEAMWORK • INDUSTRY PARTNERS 09 CONTENT • ISSUE 01 10 EVENTS • SEMINAR PROGRAMME 14 SPOTLIGHT • CVP – EXPANSION IN EUROPE 16 INDUSTRY LENS • EUROPE…THE NEW HOLLYWOOD? // “ALMOST EVERY EU COUNTRY OFFERS FINANCIAL INCENTIVES FOR INTERNATIONAL PRODUCERS” 18 EVENT SHOW • FLOOR PLAN 20 SHOW LISTINGS • EURO CINE EXPO EXHIBITORS 28 DIVERSITY & INCLUSION • SEEDS OF CHANGE // “WORKING FROM THE GROUND-UP TO PLANT NEW SEEDS OF HOPE” 30 FOCUS ON FOCUS PULLING • MAGIC RINGS 32 OVERVIEW • THE ZENITH COMPLEX // A UNIQUE VENUE FOR A UNIQUE EVENT 34 SPOTLIGHT • LIGHTING THE FUTURE // “CINEMATIC LIGHTING HAS COME A VERY LONG WAY” 36 SMOOTH OPERATORS • EYE OF THE BEHOLDER // “WE SEE IT FIRST” . . . “BEST SEAT IN THE HOUSE” 38 THE LIGHT FANTASTIC • GRIPS & BRIGHT SPARKS // “GAFFERS, SPARKS & GRIPS ARE FUNDAMENTAL TO VISUAL STORYTELLING” 40 GREENER PRODUCTION • FOR FOLK’S SAKE // “WE ALL NEED TO PLAY OUR PART IN HELPING PLANET EARTH”
EVENTS • SEMINAR PROGRAMME C inematography World has put together a lively, inspirational and unmissable seminar programme, that is free-of-charge for attendees, at Euro Cine Expo.
10 JULY 2022 EURO CINE EXPO SHOWGUIDE GUEST OF HONOUR:
&LISTENWATCH,LEARN
remasteringrestoringhimselfdedicatedVittoriorecentlyMosthastoand the films he shot for Bernardo Bertolucci – including The Conformist, Last Tango In Paris and The Last Emperor Vittorio will also be launching his exceptional, 300-page book titled “Storaro On Bertolucci’s Movies”, which provides a candid look at one of modern cinema’s most celebrated cinematographer-director workingThererelationships.willbealimited number of exclusive copies, signed Cineon-siteVittorio,byavailableatEuroExpo.
VITTORIO STORARO AIC ASC Legendary Italian cinematographer Vittorio Storaro AIC ASC, will join Euro Cine Expo 2022 live from Rome, as a Guest Of Honour.Ron Prince, editor-in-chief, Cinematography World, will be talking to the three-time Academy Award-winning cinematographer about his incredible life in filmmaking and stellar career spanning over six Vittoriodecades.is widely-regarded as one of the best and most influential cinematographers in cinema history, collaborating with directors such as Bernardo Bertolucci, Francis Ford Coppola, Warren Beatty, Woody Allen and Carlos Saura. He has received three Oscars for Best Cinematography for the films Apocalypse Now (1979), Reds (1981), and The Last Emperor (1987), and is one of three living persons to have won the prestigious award three times, the others being Robert Richardson ASC and Emmanuel Lubezki AMC ASC. Vittorio’s philosophy about colour and lighting is largely inspired by Johann Wolfgang von Goethe’s theory of colours, and focusses in part on the psychological effects that different colours have and the way in which colours influence our perceptions of different situations.
In a special session sponsored by Red Digital Cinema, Ron Prince, editor-in-chief, Cinematography World, will be joined in-conversation on-stage with renowned German cinematographer Armin Franzen. Armin will discuss his ground-breaking work as the DP on the hugely-popular drama series Das Boot (season 3, episodes 1 to 5) – produced through Bavaria Fiction for Sky, in partnership with Samsung – which he filmed in 8K using Red cameras, using Zeiss lenses, and the challenges that this incredibly highresolution format Cinematographically-speaking,created. the ten-part series will likely be remembered as an early adventure into end-to-end, 8K production, post and distribution, with Sky, in partnership with Samsung, taking a sizeable leap into the UHD future. Armin is an alumnus of the Filmakademie Baden Württemberg and Lodz Film School, in Poland, and his credits include Gladbeck (2018), Rammstein Deutschland (2019) and How To Sell Drugs Online (Fast) (2019). “Although I had my doubts about shooting Das Boot in 8K, I was extremely happy with the end result,” says Armin. “It was a great experience and it’s always good to learn something new. We are still in the early days of 8K, and content offerings are very limited. But if you have ever viewed immersive cinematic 8K content, especially paired with phenomenal audio, it is quite an experience.”
This page: DP Armin Franzen on the set of Das Boot S3, plus images from the series; Zeiss Supreme Prime; Birgit Heidsiek from Green Film Shooting
EURO
DP ARMIN FRANZEN ON SHOOTING
DP ARMIN FRANZEN ON SHOOTING DAS BOOT S3 IN 8K
DAS BOOT S3 IN 8K
We all need to look after Planet Earth. Cutting carbon emissions is crucial because it also means cutting costs, and energy-efficiency needs to become the green currency for the film and broadcast industry. Thanks to legal regulations and green taxonomy, sustainability will become the newDuringnormal.this session, moderated by Birgit Heidsiek, CEO of Green Film Shooting, the panelists will discuss how green requirements can be turned into solutions. Cinematographers, gaffers, production managers and producers can take a wide variety of measures to reduce their carbon footprints as well as their energy costs. Various companies, plus green start-ups, are already providing the film and media industry with eco-innovations. Energy-efficient LED lighting is a win-win situation for the environment as well as the budget, and reliable, clean, low-noise onset electric power supply from batteries and renewable sources is now ever more viable. Saving energy and avoiding waste also includes the careful use of materials. Recycling resources, refurbishing and rehousing high-end film equipment, such as vintage lenses, provides artistic advantages as well as environmentally friendly benefits. The circular economy will become a best practice for the film and broadcast industry.
SEMINAR PROGRAME • EVENTS CINE EXPO SHOWGUIDE JULY 2022 11
Opposite: (top) Apocalypse Now (1977); cinematographer Vittorio Storaro AIC ASC and Bernardo Bertolucci create a perfect shot for Before The Revolution (1963); Little Buddha (1994) ; Woody Allen and Vittorio on Cafè Society (2015) and new book cover images.
GREEN PANEL DISCUSSION
EVENTS • SEMINAR PROGRAMME
Change to make the industry more diverse and inclusive is happening. This session pays tribute to the incredible talent already out there working and creating some inspirational content – particularly after the pandemic, when the need to celebrate and share positive developments has beenFranmuch-needed.Zerenghi,editor of Cinegirl, will moderate a special session with guest speakers across all camera department roles, to discuss a range of important topics, that embrace diversity, inclusion, plus mental health and ininclude:Subjectswell-being.tobediscussedwhatittakestoworkthecameradepartment; how to maintain a work/life balance; what it takes to stay in the industry; and, making good career decisions.
At a special seminar session, Band Pro together with muchloved lens Angénieuxmanufacturerwillshowcase the complete, Full Frame Angénieux Optimo family of lenses –including the brand new Optimo Prime and Optimo Ultra Compact Zoom lenses, and the infinite possibilities of the IOP (Integrated Optical Palette) technology for create incredible, custom looks.
Band Pro has specialised in products and solutions for professional filmmakers and videographers for many years. Its long-standing partnerships with camera and lens-makers, mean that Band Pro has remained at the forefront of the newest developments in digital cinema.
The Optimo Prime series is part of Angénieux’s latest high-end lens collection and is the result of decades of proven experience and knowhow in high-precision optics and mechanics. Each lens in the 12-piece series (from 18mm to 200mm) is designed to be incredibly compact and lightweight, most of them at a fast T1.8. Based on cinematographer feedback, the series provides metadata (Cooke i/data, LDS) and unique userfeatures such as replaceable iris blade unit, internal glass optical element and rear filter.
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12 JULY 2022 EURO CINE EXPO SHOWGUIDE VIRTUAL PRODUCTION USING SONY VENICE & CRYSTAL LED WALL
Sponsored by Sony and Munich-based production house Kropac Media GmbH, this session will provide a fascinating insight into virtual production shooting with Sony Venice/Venice 2 cameras and Sony’s high-performance Crystal LED wall technology. Virtual production using LED walls is the latest innovation to sweep into the film industry – helping filmmakers to shoot at farflung locations and to create their VFX in-camera, but without weather problems and costs of travel, and the trouble lighting for blue or greenscreen.JoinSony and Berti Kropac, director50productionusingexperiencehisascinematographer,andhetalksaboutconsiderableofvirtualonovercommercials, corporate films and mediasocialclips.
SEMINAR PROGRAME • EVENTS EURO CINE EXPO SHOWGUIDE JULY 2022 13 JAKOB BALLINGER & THE EMOTIONAL PATH OF LIGHT IMAGO CINEMATOGRAPHYINTUITIONOFDISCUSSCOMMITTEETECHNICAL(ITC)THEPOWERKNOWLEDGE&FOR
Jakob, a former gaffer, wants to stimulate ideas and give inspiration to the lighting community in his seminars – and will talk about how the great masters of art can help you understand the fundamentals of lighting.Hebelieves we need to stay curious and concentrate on what really matters – humans and their emotions, and how to advance the art and craft lighting for storytelling today and the next generations to come.
”First came fire, then came light Then came feeling, then came sight.” (Lou Reed). This inspirational session, moderated by Jakob Ballinger, founder of Lightbridge, will investigate how to feel, see, communicate and use light for maximal emotional impact. Light has been used to enhance stories since humans felt the need to communicate feelings – although we can’t actually see light. We can only see light when it reflects off objects, and we can only create emotions if we feel the light that surrounds us.
Whether it’s pre-production meetings, dealing with VFX or colour grading, the role of the cinematographer still raises serious questions. Also, the digital age has given rise to fantastic tools and artistic possibilities, but there’s still confusion about numbers, such as pixel counts, and a common language to define the tools/processes and artistic wishes. Even preserving films is not so simple in this new world either.
Led by ITC c-chairs, Aleksej Berkovic RGC and Philippe Ros AFC, plus others joining live online, ITC will present its latest achievements and projects – including the photon path workflow diagram, approved by many manufacturers; the glossary of terms that is helping to unify manufacturers and camera/lighting technicians; plus a discussion about the power of knowledge and intuition in all creative aspects of cinematography.
Benoit and Niels join a whole network of administrators, warehouse operatives, drivers and technicians making it possible for CVP to bring its expertise and personalised attention closer to customers every day and to be nearer to the projects and provide quicker response times all-round.
GIVE US SOME DETAILS ABOUT CVP BELGIUM?
Benoit brings over 20 years of media industry experience to the role, most recently having spent the last ten years as sales and rental manager of the video department and Broadcast at TV Connections. He has a proven track record for setting up and developing sales divisions for businesses and has a deep understanding of the media production market.
VP, one of the UK’s leading production solutions providers, has opened new offices in Belgium. Read on to discover more about this ambitious and enterprising initiative from company MD Jon Fry.
CVP Belgium is based in Vilvoorde. The facility comprises 650sq/m dedicated to stocking the latest and most popular production equipment. Along with state-of-the-art technology, the new facility also incorporates an engineering department, with a large collection of spare parts stock, and they are dedicated to restoring equipment back to A1 condition. As a trusted partner, CVP is immensely proud of its manufacturer-approved, Authorised Service Centres and our team of specialist technicians whose wealth of knowledge, expertise and direct experience of production and testing, enables them to turnaround repairs and services faster, ensuring the down time on equipment is minimal.
We are committed to our European customers and our recent investment in Belgian facilities is testament to this. We want to ensure that we continue to deliver exceptional customer service, and our presence at the new Euro Cine Expo reinforces our commitment. We are
WHAT PUSHED YOU TO EXPAND INTO EUROPE?
Niels brings with him solid experience in film, TV, and camera sales having built and grown CameraTools.nl for 14 years, before working with ColourTools and finally bringing his knowledge and passion to CVP.
In 2021, CVP set up operations in Belgium as part of the company’s continued investment and expansion in Europe. Since then, we have invested significantly in new sales and warehouse infrastructure. Having a European facility not only enables the company to tackle the challenge of availability with its large local stock-holding across the UK and Belgium, but also improves delivery times and access to knowledgeable technical sales and support Customersadvisors.canalso access more competitive prices for their kit from mainland Europe, as CVP offers free shipping on EU orders over €1,000 and duty and VAT free prices. CVP Belgium provides a practical solution to the needs and challenges of European customers, removing their barriers to efficient and cost-effective productions.
There is much more in the pipeline for CVP Belgium, with a versatile demo facility accommodating a variety of events, workshops, and tests to create bespoke solutions, planned to open this summer.
AND HOW ABOUT THE TEAM RUNNING THE NEW BUSINESS?
SPOTLIGHT • CVP INEXPANSIONEUROPE
CVP offers a sales and support infrastructure delivering creative consultation, sales and financial advice, technical service provision and training. We use our unrivalled experience to listen to our customers, understand their needs and deliver the right solution with first-class service. As the exclusive dealer for many leading brands, CVP prides itself on its close relationships with key manufacturers including ARRI, Sony, Canon, RED, Panasonic and many, many more. We source and stock in excess of 40,000 product lines from global partners and have built an enviable reputation for being the go-to reseller for all acquisition equipment. Our warehouse stocking and delivery capabilities ensures quick access to the full production ecosystem – cameras, lenses, recording equipment, gimbals/stabilisation, drones, lighting, storage etc – anything to do with shooting TV, a ‘video’ or a film. This is backed up by staff with agnostic, in-depth knowledge of the equipment on offer providing the best solutions to meet customers’ needs.
Growing our teams and CVP’s presence across Europe has been a strategic priority since the opening of our facility in Belgium. This year, we appointed Benoit Foucault and Niels Lubbers into senior sales roles, based in Belgium and the Netherlands respectively.
We want to continue to deliver exceptional customer service 14 JULY 2022 EURO CINE EXPO SHOWGUIDE C
CVP is one of the largest independent resellers of production equipment for the media and entertainment sector with expertise specifically in TV, film and broadcast production, cinematography, professional video/audio and photography equipment. We have the largestavailable stock of production gear in Europe, as well as a state-of-the-art ProRepairs centre, which boasts a network of dedicated advisors and technical consultants.
WHAT CAN CUSTOMERS EXPECT IN TERMS OF PRODUCTS AND SERVICE?
TELL US MORE ABOUT CVP?
CVP is committed to making production equipment more accessible and affordable. With this commitment comes an on-going vow to continue to invest in new stock, facilities, and our team to ensure first class service is maintained. So you can expect new announcements about these in the short, mid and long terms. We will also continue to bring customers all the support required within the production ecosystem: whether that stems into asset finance (including leasing deals, refinancing, and bespoke arrangements), where CVP offers advice on all aspects of a solution or technology before, during or after purchase; or advising on aspects related to buying and selling used kit. At the centre of CVP’s future roadmap, it is our mission to draw on our experience, industry knowledge and leverage of partner relationships to focus on getting the best technology solutions and offering the best service to our customers. To connect with CVP’s team of experts, email: sales@cvp.com or call +32 2828 1111.
LOOKING FORWARDS, WHAT ARE CVP’S PLANS FOR VIRTUAL PRODUCTION?
AND FINALLY, WHAT’S NEXT FOR CVP?
The adoption of virtual production has takenoff over a short span of time, with pandemic conditions contributing to an exponential demand in the past two years. CVP has partnered with key companies such as Disguise, Ncam, TrackMen, ARRI and Roe Visual, to build and facilitate an ecosystem for customers looking to take virtual productions to the next level.
The company has an ethos of providing knowledge and expertise around the latest solutions, and with this commitment comes the promise of continuing to bring the latest in visualisation for film and broadcast applications, including developments in virtual production. Most recently, we curated an extensive, state-of-the-art virtual production stage during the 2022 Cannes Film Festival – marking a new milestone in virtual production’s expansion into the European film and television industry. The set up, like the one we showcased at the BSC Expo 2022, invited visitors to step into a virtual production volume and become fully-immersed in rich environments - all designed in Unreal Engine and Notch.
CVP will take centre stage at Euro Cine Expo 2022, with a unique showcase of the latest technology offering visitors an impressive display of the newest production solutions, along with renowned guidance and knowledge from the company’s technical experts.
• Opportunity to explore rigged in shoulder-mounted and handheld configurations • Display of CVP’s popular Lens Bar, featuring the largest display of new and used lenses; from brands such as Angenieux, ARRI, Atlas, Canon, Cooke, DZO, Fujinon, Leitz, Sigma, Tokina, Tribe7, Zeiss and more • Exhibition of 30 of the best monitors the industry currently offers. Featuring a range from 5” to 31”, all displayed side by side and synced via a video router to enable like for like comparison, the same image will be displayed simultaneously across all units
• Showcase of CVP’s brand new Fibre channel solutions that allow broadcast and studio production to integrate cine cameras into their workflow
• The most recent developments in motion control will be on display to allow visitors to explore the most suitable solution for specific needs - including wearables (Easyrig, Ready Rig, Tilta), remote heads / stabilisers (ARRI, DJI, Freefly Systems), grip (Flowcine, Movmax) as well as the new DJI Ronin 4D
Highlights at CVP during Euro Cine Expo 2022
This page: Benoit Foucault and Niels Lubbers, who are leading CVP’s business in Europe.
• Hands-on experience with the latest fully rigged cine-style cameras from leading manufacturers including ARRI’s new ALEXA 35 and Mini LF, Sony’s VENICE 2, FX9 and HDC F5500, RED’s V RAPTOR and KOMODO, Canon’s C300 MKIII and DJI Ronin 4D
Opposite: CVP managing director Jon Fry
EURO CINE EXPO SHOWGUIDE JULY 2022 15 SPOTLIGHT • CVP focussed on bringing the newest production solutions, alongside offering our renowned agnostic guidance and expertise from our technical experts.
Germany is one of the few major European filmmaking countries which doesn’t try to lure runaway production with strong fiscal incentives. Instead, the country offers modest rebates and is much going
A hunger for the audiovisual content has been fuelled yet further during the pandemic lockdowns.
Regional film funds and film commissions have also sprung up to service foreign productions – and often to invest in them too.
INDUSTRY LENS There is competition…co-operationmorethanbecause there
Jump back in time to Hollywood in the late 1950s. Concerns are mounting inside the major studios about the number of new films being shot far away in Europe.
“Labour unions contend that between 35 and 50 percent of feature films turned out by American producers are made abroad,” the New York Times reported on October 4 1959 as the volume of what were then called “runaway productions” began to soar. Hollywood epics such as Solomon And Sheba (1959, dir. King Vidor, DP Freddie Young OBE BSC), Ben-Hur (1959, dir. William Wyler, DP Robert L. Surtees ASC) and El Cid (1961, dir. Anthony Mann, DP Robert Krasker BSC ASC) were all filmed in Spain and Italy. There were obvious reasons for the studios to set up camp in Rome and Madrid. Sound stages were cheaper to hire. And, if you wanted to stage chariot races or epic battles, armies could be commandeered and extras could be recruited in theirFlashthousands.forward to the summer of 2022 and you find what British Film Commissioner Adrian Wootton calls, “an unprecedented production boom.” Post-pandemic, the demand for content seems unquenchable. The US studios and the streamers, Netflix, Amazon, HBO and Apple to the fore, are fuelling a massive growth in production activity. In the process, Europe has been turning into the new Hollywood and is now arguably the centre of global filmmaking. France, Italy, Spain and the UK are all in the top 10 markets worldwide by feature film production between 2017 and 2021. In spite of Covid, the UK has reported eyewatering statistics for inward investment production. The spend for film and high-end TV was at £5.64bn in 2021, as existing studios scrambled to expand their facilities, and plans were announced for massive new spaces. Whether it is Disney at Pinewood, Netflix and Amazon at Shepperton, or Warner Bros. at Leavesden, the major US entertainment companies have been ensconcing themselves in the UK on a long-term basis.
Industry observers have long talked about the “arms race” between countries in Europe competing to attract inward investment from the US majors and streamers. There is a lot of soft money floating around. Almost every EU territory with the slightest interest in film offers financial incentives for international producers. EU state aid rules are intended to ensure a level playing field, but some countries have increased their rebates so that foreign producers can claim back 40% or more of their eligible “spend” wherever they are shooting.
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Across the Channel, on mainland Europe, an (whereStudioslegendarylatebeenlevelssurgeextraordinaryinproductionhasalsounderway.InMay2022,theCinecittàinRome Ben-Hur was shot) announced to the trade press that
Even before Covid, though, the streamers had started to produce their own content, often in local languages. A production boom across Europe was already well underway.
16 JULY 2022 EURO CINE EXPO SHOWGUIDE
“Our feeling is that there was a traffic jam in production over the last two years, due to Covid,” suggests Bas van Der Ree, the Netherlands film commissioner since 2014, who was earlier this year elected chair of the Association Of Film Commissioners International.
Look around other major studios across Europe and it is a similar story. Long-established facilities, such as Bablesberg in Germany and Barrandov in the Czech Republic, remain very busy. Malta, famous for its water tanks, had hosted both the new Jurassic World: Dominion (dir. Colin Trevorrow, DP John Schwartzman ASC) movie and Ridley Scott’s Napoleon epic (DP Dariusz Wolksi ASC).
on
it was running at ”full occupancy” with a wide range of new film and TV series, everything from Angelina Joilie’s new feature Without Blood (DP Seamus McGarvey BSC ASC) to the latest art-house drama from Nanni Moretti, Il Sol Dell’Avvenire (DP Michele D’Attanasio), booked-in to shoot. A record 340 feature films were approved by the CNC in France in 2021, while German production spend reached a record high of €740mn in 2021 (source: European Audiovisual Laboratory).
“The production boom is nothing that should have surprised us. It is all about the evolution of the internet,” suggests Pavlína Žipková, national film commissioner at the Czech Film Commission. “Simply put, the global increase in audiovisual production is due to the development of the internet as an entertainment distribution channel leading from the producer directly to the consumer.” As she points out, 4.42 billion people, or more than half of the globe, now use the internet, and are looking for filmed content to stream.
HOLLYWOOD?THEEUROPE…NEW
By Geoffrey Macnab
When indie producers work for the streamers and studios, it’s generally on a gun-for-hire basis: they’re paid generously, but don’t own the underlining rights to the projects. That’s why many see it as vital to ensure that European producers don’t have to rely exclusively on their Hollywood patrons, but also make film and TV dramas on which they own the IP.
Striking this balance has always been a priority for Carlota Guerrero Bernaus, manager at Catalunya Film Commission. Like everywhere else, Catalonia has seen rates of production shoot up, but Catalan films themselves are now increasingly visible on the international stage. Director Carla Simon’s Alcarràs (DP Daniela Cajías AEC) won the Golden Bear in Berlin this year, while Albert Serra’s Pacifiction (DP Artur Tort) was one of the contenders for the Palme D’Or in Cannes.
Almost every EU territory offers financial incentives for international producers
“That’s not a bad thing in itself either – people have good things to do and can pay their rent,” Hartwig observes. The other side of this coin, though, is that costs are shooting up. The streamers are putting talent on longterm contracts. That takes them away from independent producers.
EURO CINE EXPO SHOWGUIDE JULY 2022 17 funding through the German Federal Film Fund and German Motion Picture Fund – but these are small by comparison with what is available elsewhere.
The streamers like HBO, Amazon and Netflix have shot their big international projects, for example Game Of Thrones prequel House Of Dragons, in Catalonia but they’ve also invested in local projects. For example, Marçal Forés’ Through My Window (DP Elías M. Félix) filmed and produced in Catalonia, is currently one of the most popular non English language titles on Netflix.
INDUSTRY LENS
Opposite: (clockwise from top) – a greenscreen set-up at Studio Babelsberg, Berlin; Sir Ridley’ Scott’s Napoleon; Through My Window; and Cinecittà Studios, Rome
“A big part of production for the streamers is also produced by independent German production companies,” agrees Simone Baumann, managing director of promotional outfit German Films. “That’s why on, one hand, they are benefiting. They have more projects, more turnover.” The downside is a looming skills shortage crisis. Equipment and studio space are both at a premium. In Germany, producers require a lead-time of at least a year on any new project to ensure they can find the facilities and personnel they need. Streamer production has become part of everyday life. The platforms’ overall production volume is large and gives many filmmakers long periods of work.
At the moment, as Europe begins to look more and more like the new Hollywood, there is obvious camaraderie between different filmmaking regions. There is enough work for everyone.
“I would say there is more cooperation than competition,” suggests Guerrero Bernau. “There is space for everyone because there is so much going on. We will see what happens if the andboomproductionslowsdownweneedto fight for projects. Now that there is an abundance of projects, I would say that we are all very good friends!”
“Recession, inflation, high energy and gasoline costs are having a significant impact on production costs. Fees are rising over-proportionally and supply is driving demand,” Hartwig adds. Almost every part of Europe is facing the same squeeze on resources. The challenge facing the region is how to service all those big US studio and streamer projects, whilst also ensuring local filmmakers have the resources to make their movies and build their businesses too.
This page: (clockwise from top) a street setting at Cinecittà Studios, Rome; Alcarràs; Pacifiction; two views of Studio Babelsberg, Berlin
Now, even without tax breaks as bait, Germany is attracting significant amounts of international production. “Word has spread that you can get very good skilled personnel in Germany, and there are great places to shoot good films in Germany,” points-out leading German producer Peter Hartwig, whose recent credits include the multi-award winning Netflix show System Crasher (DP Yunus Roy Imer)
Some within the German industry fret that the country is losing out to its neighbours as a result. Others, though, point to the chastening experience 20 years ago, when, around the year 2000, many German media companies went public on the shortlived Neuer Markt in Frankfurt – and Hollywood took advantage. There was a period when German money was financing a large number of US studio blockbusters, but without obvious benefit to the local industry. The German companies originally raised billions through their public offerings, which allowed investors generous tax write-offs, yet the system backfired disastrously – the companies posted massive losses and the Neuer Markt was soon closed down.
“It was commissioned by Netflix Spain and has travelled incredibly well globally,” Guerrero Bernaus points out. “So far, we’ve managed to balance between local and international production. It’s true that at certain periods, it is a bit tight, but we’ve been lucky enough to be able to help people make it up through the ranks of the production hierarchy…I am not saying it is super-easy, but we are managing.”AsEuropeadjusts to what is expected to be longterm production growth, new facilities are being built everywhere. Training initiatives are also being hatched. If enough is invested in research, talent development and better facilities now, public funders hope that local industries will become robust enough to survive when, and if, the inward investment dries-up. Major companies like LucasFilm and Warner Bros are prepared to invest in training programmes for the simple reason that it’s in their interest to do so.
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212 Aputure Address: De strubbenweg 15a, 1327GB, Almere, The Netherlands T: +31 (0) 36 202 2396 E: info.eu@aputure.com W: www.aputure.com S: aputure.europe/https://www.instagram.com/https://www.facebook.com/ aputure.europe company/aputure-europe/https://www.linkedin.com/
Bundesverband Beleuchtung und Kamerabuehne, e. V. (BVB)
WE’RE IN GREAT COMPANY
Address: Gruetzmuehlenweg 76 22339 Hamburg, DE T: +49 40 5391328 E: info@bvb-verband.de F: +49 40 539 13 29 W: www.bvb-verband.de
The company holds many patents and awards for advancements in battery –system technology including an Emmy® Award for Outstanding Achievement in Engineering Development and a Sci-Tech Academy Award®.
Ambient solutions help creating great film sound and save you valuable time in post-production since more than 30 years. We are mainly known for our highly accurate Lockit Timecode family and the extremely durable and lightweight QuickPole series of boom poles. Everything manufactured in Munich, Germany. 312 Anton/Bauer W: www.antonbauer.com
Address: c/o The Panavision Building, The Metropolitan Centre, Bristol Road, Greenford, Middlesex UB6 8GD T: 07905 612216 E: office@theaco.net W: www.theaco.net S: Facebook Theinstagram@theaco.netACO,AssociationofCamera
416 Betz-Tools GmbH
404 Backstage Equipment, Inc. Address: 8052 Lankershim Bl. North Hollywood, CA 91605 USA T: 1 (818) 504-6026 E: info@backstageweb.com F: 1 (818) 504-6180 W: behind-the-scenespecializedWecustomizedlargestindustryaccessoriesequipmentdesigningBackstagewww.backstageweb.comEquipmenthasbeenandmanufacturinghandlingcartsandfortheFilmandTelevisionsince1979.WearetheretailerspecializinginMaglinerproductsandaccessories.nowproduceoveronehundredcartsforvirtuallyeverycraft.324 Band Pro Munich GmbH Address: Max-Planck-Str. 6, 85609 Dornach b. München T: 0049 89 945 48 49 11 E: info@bandpro.de W: www.bandpro.de S: Instagram: bandpro_munich Facebook: @bandpro Band Pro Munich is specialized in products and solutions for professional filmmakers and videographers. Known for our long-running support for Sony cameras and being a premier CineAlta products reseller, we sell, distribute and support brands like Angenieux, IB/E Optics, SmallHD, Teradek, FXLion, Easyrig, OrcaBags, Inovativ, KupoGrip, Lightstar and more. 120 bebob factory GmbH Address: Höglwörther Str. 350, D-81379 München T: 49 (0)89/ 8563 485 0 E: info@bebob.de W: https://bebob.de/en/ or www.bebob.tv S: https://www.instagram.com/bebobbatteries/https://www.facebook.com/ bebobbatteries UCVDmlPpbNtM5-6yue2nCP2Q/https://www.youtube.com/channel/https://twitter.com/bebob_gear
Lighting manufacturer Aputure hit the scene in 2005 with the mission to create professional-grade equipment at an affordable price. Today, the company operates globally with offices in Europe, America and Asia, and is one of the fastest growing cinema technology companies, designing and specialising in high-end cinematic LED lighting solutions.
203 Association of Camera Operators
Anton/Bauer® is a leader in the design, manufacturing, and testing of mobile power systems for use in broadcast, film / video and adjacent markets. Its rugged systems can be adapted to just about any situation where reliable mobile power makes the difference. Whether on a movie set, on top of a mountain or on a sports field, Anton/Bauer mobile power systems consistently prove to have the highest quality and reliability available.
Astera - leading innovator in wireless LED lighting technology - highlights its just launched HydraPanel, a unique ‘pixel panel’ with numerous exclusive features plus other new products - PixelBrick, AX9 PowerPAR, AX2 PixelBar, the popular flagship Titan Tube family of products and the ingenious DoP Choice range of light-refining accessories. Booth 112.
For more than 25 years, bebob stands for premium camera accessories and proven quality „made in Germany“. The product portfolio includes V-Mount, B-Mount and Gold-Mount compatible Batteries, Chargers, Adapters and Hot Swap Adapters. Innovative solutions such as the ultra-compact Micro batteries or the CUBE 1200 support bebob’s excellent reputation.
208 betteries Address: Goerzallee 299, 14167 Berlin, Germany W: https://betteries.com S: upbetteriesbetteries.amps/https://www.instagram.com/company/betteries/https://www.linkedin.com/isaprofitforimpactstart-basedinGermany,thatupcycles batteries from electric vehicles into sustainable power systems to avert climate change and protect valuable resources – fully embracing the principles of a circular economy. betteries products are mobile, modular, multi-purpose and connected to the internet.
Address: Claude Lorrainstrasse 19, 81543 München E: info@anthrazit-design.com W: StartingBetz-Tools.comourbusiness when Steadicam was invented by Garrett Brown. Sales and Service of all professional Steadicam systems and accessories. Technology in Service of Creativity.
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112 Astera GmbH Address: Stahlgruberring 36, 81928 Munich, Germany T: +49.89.2155225-700 E: marketing@astera-led.com W: www.astera-led.com S: groups/asterausers/members/https://www.facebook.com/AsteraLEDTechnology/https://www.facebook.com/asteraofficial/?hl=enhttps://www.instagram.com/
Operators, ACO was established over 10 years ago to celebrate and promote the art and craft of the camera operator in the TV drama and feature film industry. It currently has over 250 members occupying various levels of membership. For more information please go to www.theaco.net 506 Ambient Address: Ambient Recording GmbH Schleissheimer Str. 181 80797 Munich / Germany T: +49 (0) 89 360 55 10-0 E: info@ambient.de W: https://ambient.de S: ambientrecording/https://www.instagram.com/
202 Black-Tek GmbH
220 ARRI Address: Herbert-Bayer-Str. 10, 80807 Munich, Germany T: +49 89 3809 1768 W: ARRIwww.arri.comandARRIRental are showcasing at booth 220. Highlights include the new ALEXA 35 camera, ALEXA Mini LF, ARRI Signature Prime and Zoom lenses, TRINITY 2, various Pro Camera accessories, Orbiter with its Docking Ring and new Fresnel lens, along with ARRI Rental’s ALEXA 65 B/W camera, ALFA, and Moviecam lenses.
SHOW LISTINGS
Address: Amselweg 4 D-82152 Krailling, Germany T: +49 89 89545520 E: Info@Black-Tek.com W: black-tek.com.visitoutTowerrigging.systemgripBlack-Tekwww.Black-Tek.comspecialisesinlightweightequipment.Oursuction-cupallowsfastandeasycarCombineitwiththeBlack-TekandbuiltyourownCameracarofthebox.Formoreinformationusonstand151orgotowww.004
420 Cinegreen GmbH Address: Zürich | Berlin T: +41 79 330 90 40 T: +49 172 610 55 77 E: info@cinegreen.com W: Cinegreenwww.cinegreen.come-generatorsprovide
Cinegirl is an independent digital magazine featuring an expansive galaxy of topics that talent working within the Film & TV Industry cares about. Female focused, not exclusive. It’s a place where Art, Lifestyle, Technology and Fashion are discussed with a squeeze of humour and open-mindedness.
Mobile 2. It’s BlueTooth compatibility connects the CINETAPE 2 to an iPhone, via the CineTape Air App. CEI products can be seen at the CaSu booth 501.
318 Cinema Gear Design and Catts Camera
Camera Support Granderath (CaSu) Address: Kistlerhofstr. 168 81379 München T: + 49 89 4521 9060 E: info@casu.tv W: www.casu.tv Camera Support Granderath (CaSu) is the distributor for Tuffpak tripod cases, Muraro light stands, Cinematography Electronics’ CineTapeMeasure, SolidGrip’s TwinDolly and CueScript teleprompters. Together with Prosup of the Netherlands, CaSu develops and distributes camera support/grip equipment such as the Tango Roller, EJib compact Jibarm, LapTop dolly and the Gimbal levelling head.
Cinegirl Address: London, United Kingdom E: S:W:info@cinegirl.netwww.cinegirl.net@cinegirlmag
Stopatservicecreatingmaker.productsdesignedForS:W:E:T:805161-303-444-8000Dylan@chimeralighting.comChimeralighting.comFacebook:ChimeraLightingInstagram:@chimeralightingover40years,ChimerahasandmanufacturedlightingfortheprofessionalimageHigh-qualitystandardsgointoeveryproducttoassurealonglife.ChimerasarehandcraftedourColoradoUSAheadquarters.bytoseeournewLightbanksand
absolute clean & silent power to run a complete set. 45kW & 90kW nominal power. 25kWh & 145kWh battery capacity. 100% green and future-proof. Meets all regulators standards. High power quality, easy to use, simple set-up. The future of clean & silent power.
We are a long established electronic design and manufacturing company based in the United Kingdom. Our design and manufacturing skills are backed by over 40 years of innovative design and trading in the Professional Broadcast and Film Industries.
With caligri we strive to bring products to the market, that are missed on film sets and simplify workflows. Quality, both in design and materials and high functionality is part of our philosophy.
Freelensing Cine: Optical adaptation system, which allows the universal use of any PL mount lens (spherical, fixed) in most of the digital cameras currently in use (ARRI MiniLF, Sony Venice, Red DSMC2 and Red Raptor, others are in work-in-progress) allowing parallel and perpendicular displacements to the focal plane, rotation of the optical centre and the combination of both movements, displacements and inclinations.
518 Cine Power International Address: Magnolia Lake Mamhead T: +44 (0)1626 888 433 E: diane@cinepower.com E: ben@cinepower.com W: www.cinepower.com S: facebook.com/Cine.Power. InternationalTwitter@CinePowerintInstagramcinepowerint
Ziele des BVB sind die Wahrung, Pflege und Förderung der beruflichen und wirtschaftlichen Interessen der nicht festangestellten Mitarbeiter von Beleuchtung und Kamerabühne. THE professional organization for Sparks and Grips in Germany.
501 ElectronicsCinematographyInc.
Cartoni designs, manufactures and markets highly professional support hardware and systems for the motion picture and television industries. The company prides itself on its engineering ability and leading technology, and is internationally recognised in the industry as a pre-eminent brand for camera support equipment.
Cameraman magazine) is the Spanish leading cinematography magazine, unique in Spanish language. Our magazine includes within its pages the richest and most visually interesting Spanish Films and also foreign productions-TV movies and commercials. We focus on the cinematography and the workflow used in every one of them, from shooting to post-production.504
309 Chrosziel GmbHCompany: Address: Klausnerring 6, 85551 Kirchheim near Munich T: +49 89 90 10 91 0 E: info@chrosziel.com W: www.chrosziel.com S: https://www.facebook.com/company/chrosziel-gmbhhttps://www.linkedin.com/ chrosziel https://www.instagram.com/https://twitter.com/Chrosziel
Manufactured in the UK, our wireless DMX products offer universal DMX light control systems specifically designed for the TV & film production industries.With thousands sold worldwide our SKYNODE series has fast become the industry standard and can be found on sets across the world from major blockbusters to smaller Netflix productions.
Delivered via both print and online platforms, Cinematography World embraces the global community of cinematographers and their collaborators involved in the art and craft of visual storytelling. It is our mission to broaden the scope and deepen the purpose of print, online and digital media to truly support, inspire and empower the collaborative community involved in making moving images.
Octas for the newest fixtures.
400 Core SWX Address: 91 Commercial St. Plainview, NY 11803 T: +1 (516) 595-7488 E: sales@coreswx.com F: +1 (516) 595-7492 W: https://coreswx.com/ S: @coreswx on Instagram, Twitter, YouTube, TikTok, Facebook Core SWX is a leader in batteries and charging solutions for the broadcast, cinema and professional video industries with flagship products, including the NEO and Helix line of batteries. Compatible with leading professional manufacturers, such as ARRI®, RED®, and more, Core stays ahead of the curve in a technology-driven era.
310 Cartoni Address: Via Giuseppe Mirri, 13 00159 – Rome (Italy) T: +39 06 43.82.002 E: cartoni@cartoni.com W: https://www.cartoni.com S: cartoni.camerasupports/https://www.facebook.com/
317 Chimera Lighting Address: 1067 Telleen Ave. Erie, CO
501 Cinematography World Address: Pinewood Film Studios, Pinewood Road, Over Heath, Bucks SL0 0NH E: news@cinematography.world S: cinematographyworldmag/https://www.instagram.com/CinematographyWorld1/https://www.facebook.com/https://twitter.com/Cinematog_ world company/cinematography-world/https://www.linkedin.com/
leading manufacturer of fine mechanical, optical and electronic products in the cinema and broadcast industry. Our products support the professional camera operators in the production and ensure reliable operation as well as robust technology. Quality, precision and reliability are the attributes that are associated with Chrosziel products.
S: https://bit.ly/3xBuNue
002 Cinelex Address: Unit 10, Sky Business Park, Eversley Way, Thorpe Industrial Estate, Egham, Surrey, TW20 8RF E: info@cinelex.tv T: +44 (0) 1784 450 506
314 Creative Solutions EMEA Address: Pinewood Studios, Pinewood Road Room 4, Iver Heath, Buckinghamshire SL0 0NH UK T: +1 855-205-5510 E: sales@cs.inc W: https://creativesolutions.io/ Headquartered in Southern California, USA, Creative Solutions Division, Inc. (CS) designs and manufactures premium
501 Camera Support Granderath (CaSu) Address: Kistlerhofstr. 168 81379 München T: + 49 89 4521 9060 E: info@casu.tv W: www.casu.tv Camera Support Granderath (CaSu) is the distributor for Tuffpak tripod cases, Muraro light stands, Cinematography Electronics’ CineTapeMeasure, SolidGrip’s TwinDolly and CueScript teleprompters. Together with Prosup of the Netherlands, CaSu develops and distributes camera support/grip equipment such as the Tango Roller, EJib compact Jibarm, LapTop dolly and the Gimbal levelling head.
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Chroszielchroszielisthe
504 caligri GmbH Address: Venloer Str. 247, 50823 Köln, Germany T: +49 (0) 221 986 527 25 E: info@caligri.com W: www.caligri.com S: Instagram caligri_ caligri_/?hl=dehttps://www.instagram.com/
Address: 5321 Derry Avenue, Suite G Agoura Hills, California 91301, USA T: (818) 706-3334 E: info@CinemaElec.com W: communicatescalculatestheCineTapeManufacturercomwww.CinematographyElectronics.ofthelegendarygoesnowwirelesswithnewCineTape2.ItcontinuouslythedistanceandwirelesslywithAIR
Camera and Light Magazine Address: Conde Duque 44, Madrid, Spain T: +34 696002940 E: carmen@cameraandlightmag.com W: Cameracom/https://www.cameraandlightmag.&LightMagazine(formerly
Established over 35 years ago, CVP is one of the leading resellers of production equipment for the Media and Entertainment sector in Europe. Its sales and support infrastructure deliver creative consultation, financial advice, technical service and training, and its unique showrooms provide a personalised ‘hands on’ environment to connect creative vision with the latest technology. With the largest available stock of new and used production gear across its facilities in the UK and Belgium, and a state-of-the art manufacturer approved ProRepairs centre which boasts a network of dedicated advisors and technical consultants, CVP is committed to delivering exceptional customer experience.
The Lens Data Translator is a versatile device that can record lens metadata for post production and stream it for virtual production. Any camera, any lens. 114 Dedo Weigert Film GmbH Address: Karl-Weinmair-Str. 10, D-80807 E:T:München+49-89-35616150dweigert@dedoweigertfilm.de W: www.dedoweigertfilm.de
• LED Lighting Boxes (VW + Colours)
• The MUSES of LIGHT (Variable CCT): large format, exceptional output performances and quality developed with Vittorio and Francesca Storaro. 208 DMG Luminere by ROSCO Address: Roscolab Limited, Blanchard Works, Kangley Bridge Road , Sydenham, London, SE26 5AQ, UK T: +44 (0)20 8659 2300 E: contact@rosco.com S: https://www.facebook.com/ RoscoLabs company/rosco/https://www.linkedin.com/
Address: Machtlfinger Str. 21, 81379 Munich, Germany T: +49 89 95 45 742 - 40 E: info@dopchoice.com F: +49 89 17 92 77 31 W: www.dopchoice.com S: Insta: @dopchoice www.facebook.com/dopchoice Linkedin DoPchoice YouTube DoPchoice DoPchoice is a leader in providing a fresh take on light refining accessories, creating more compact and lightweight lighting tools that are easier to use and faster to set-up - meeting today’s high demands on Representingset.over 60 manufacturers to provide an extensive range of SNAPBAGS and SNAPGRIDS DrivingPlates.com
DCS was founded in response to the need to simplify and unify on-set lens metadata generation and collection. DCS are proud to present the LDT.
304 Daylight Grip & Textiles Address: Unit 4 Agecroft Network Centre Lamplight Way Swinton Manchester M27 8UJ Tel 0161 351 6720 E: Phil@daylightgriptex.com W: www.daylightgriptex.com
are known for their utmost innovative design and features. Mounting monitors and hoods can now be done within seconds. All monitors are made for 24/7 operation and come with a 3 years warranty. Moore information about CueScript can be given at the CaSu booth 501.
222 CVP Address: Leuvensesteenweg 248EA, Vilvoorde, Belgium T: +32 2828 1111 E: Marketing@cvp.com W: cvp.com S: Instagram; instagram.com/cvpgroup/https://www. Facebook: facebook.com/cvptvhttps://www. LinkedIn: com/company/cvphttps://www.linkedin. Twitter: https://twitter.com/ cvpgroupYouTubeBOOTHyoutube.com/CVPTVhttps://www.222-THEMAINSTAGE
118 DCS Address: Unit 6 Wooburn Industrial Park Soho Crescent Wooburn Green HP10 T:United0PEKingdom+44(0)208895
306 DENZPräzisions-EntwicklungGmbH Address: Otto-Hahn-Str. 12-14, 85521
Founded in 1910, Rosco is a leader in products for the entertainment and film & television industries. Best known for lighting filters, the company offers product lines in more than a dozen categories, including DMG Lumiere LED fixtures, fog and haze machines, green & blue screen paint and backdrops for film, television and broadcast.
Daylight Grip & Textiles Ltd have serviced our industry since 2000. We design and manufacture a complete range of perfomance textiles for location lighting, photographic and entertainment industries. We also offer a full range of flags, scrims and eggcrates. To compliment the above we have designed individual bags for the same plus sand bags, scrim bags, stand bags etc.
Address: 3rd Floor, 120 Baker Street, London, W1U 6TU T: 020 3697 5737 E: contact@drivingplates.co.uk W: www.drivingplates.co.uk DrivingPlates.com is the World’s leading resource for high quality 360 ° driving plate production services and stock footage for VFX and LED. Our sample reel will be running throughout EuoCineExpo in the Theatre. Recent productions include: The Irishman, The Joker, Suspicion, Eurovision, Slow Horses, Stranger Things, Die Suche, The Crown.
312 DwarfConnection W: DwarfConnectionwww.dwarfconnection.comismanufacturer of FullHD, latency-free video transmission systems with QTAKE approved meta-data support. In combination with our smart monitoring solutions, we offer the perfect eco-system for all camera operators, rental houses and universities to have a reliable and straight forward workflow on set.
208 Creamsource Address: Outsight Pty Ltd, 2/49 Carrington Road, Marrickville, NSW 2204, AUSTRALIA T: (USA): +1 818 748 8401 (Sales / Rental) T: (Global): +1 818 748 8401 (Sales) T: (SYD): +61 2 9699 8688 (Head Office)
E: worldwide.lightingdesigningbeenAustralia-basedsales@creamsource.comCreamsourcehasanindustrypioneersince2005,andbuildinginnovativesolutionsthatpowerproductionsBypartneringwithsome of the best cinematographers, gaffers and rental companies in the industry, Creamsource leverages expert feedback to provide purpose-built lighting products that address complicated production challenges head-on.
Instagram: com/digital_camera_systems/https://www.instagram. Linkedin: company/digital-camera-system-https://uk.linkedin.com/ dcs
For focusing LED lights we introduce “Neo” system: one ballast controls up to 34 different light heads with unprecedented features. We also present Dedolight Lightstream - the worlds of reflected light into new product ranges, and in partnership with Prolycht we show an RGBACL focusing multicolor light.
210 DoPchoice
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010 cmotion GmbH Address: Wiedner Hauptstraße 135 / B3, 1050 Wien T: +43 1 78910 96 0 E: office@cmotion.eu W: www.cmotion.eu S: www.youtube.com/cmotionLCScmotionlcs/www.linkedin.com/company/www.facebook.com/cmotionLCSwww.instagram.com/cmotionlcs/
501 CueScript Ltd Address: Unit 15, 1st Quarter Business Park, Blenheim Road, Epsom, Surrey KT19 9QN UK T: +49 671-79 46 88 30 E: info@m-bucher.de W: CueScriptwww.cuescript.tvTeleprompters
Ottobrunn, Germany T: +49 89 6298660 E: office@denz-precision.com W: https://www.denz-precision.com S: facebook, Instagram DENZ manufactures high-end camera accessories for the video and film industry over 50 years. DENZ presents its high lights like the compact test projector PLC for full frame lenses, the director’s viewfinder OIC-FF for full frame lenses with PL-, LPL- or SP 70 mount. The latest products are the OIC FF Video Assist and the PLC – Portable lens checker MKIII. 319 De Sisti Lighting Address: Via Cancelliera, 10A – 00041 – Albano Laziale (Roma) - Italy T: +39 06902901 E: info@desisti.it W: www.desisti.it S: FB: desistilighting IG: desistilighting De Sisti is a leading manufacturer for Lighting & Rigging system in the professional industry. With attention to the environment, we have fitted all of our products with High Efficiency Solid State Sources. The offered range includes: • LED Fresnel & SOFTLIGHT with a patented system that guarantees exact Optical features & control (Tungsten, Daylight, variable CCT or VW+Colours) • LED Asymmetrical Cyclorama Lights (variable CCT or VW+Colours) • LED Space Light (variable CCT with +/- Green adjustment)
cine and broadcasting technologies used by production professionals in film, television, news, sports, live events, online streaming, medical, and other media enterprises. A subdivision of Videndum plc, CS is composed of Teradek, SmallHD, Wooden Camera and Lightstream whose products are available via branded websites and retail partners around the globe. More information can be found at www.cs.inc.
Celebrating 20 years in designing, developing, and supplying quality lens and camera control solutions to the global film and broadcast industry. Adapting quickly to market changes has helped cmotion become one of the world’s most respected lens and camera control manufacturers, synonymous with functionality, reliability, and ergonomic build quality.
6592 E: info@dcs.film W: dcs.film S: Facebook: com/digitalcamerasystems/https://www.facebook.
film-tv-video.de / Nonkonform Gmbh Address: Konradinstr. 3, 81543 Munich T: 089-238887-0 E: redaktion@nonkonform.com W: www.film-tv-video.de S: https://www.youtube.com/filmtvvideo.de/https://www.facebook.com/
Founded in 1992, K5600 has offices in Los Angeles, CA and Paris, France. Our mission is to create innovative lighting solutions for today’s production requirements, with a focus on HMI and LED Technology. Our fixtures are some of the lightest, brightest, and most versatile on the market.
EURO CINE EXPO SHOWGUIDE JULY 2022 23 SHOW LISTINGS
light brand built by LED technology company Rift Labs from Scandinavia with a proud history of developing award-winning LED products and solutions for the global market in video and photo since 2010. Light your story today. 214a KFX Technology Inc. Address: 141 Flushing Ave Building 77, Suite 1204 Brooklyn, NY, 11205 USA T: USA: +1 718 369 0289 E: sales@kfxtechnology.com W: www.kfxtechnology.com S: https://www.instagram.com/ kfxtechnology https://www.facebook.com/ Sincekfxtechnology2012,KFXTechnology has been a leader in remote technology for film and TV production, putting simplicity, reliability, and usability at the forefront of our design philosophy. We manufacturer “run-of-show” remote heads, slider motors, and customized equipment & applications for the most experienced camera operators worldwide.
204 K5600 Lighting Address: 475 rue de Flins – 78410 Bouafle - France T: +33.1.30.90.5600 E: info@k5600.eu W: www.k5600.eu
208 LCA Lights Camera Action Europe Address: Nonnendammallee 44, (Gebäude GB32), 13629 Berlin, Germany T: +49 30 726 10623 E: info@lcaeurope.com W: www.lcaeurope.com S: @lcalightscamera Instagram @lcauk.ltd Facebook
115 Lightpower GmbH Address: An der Talle 24-28, 33102 Paderborn, Germany T: +49 5251 14 32 0 E: info@lightpower.de W: www.lightpower.de S: www.youtube.com/user/twitter.com/lightpowergmbhgmbh/www.instagram.com/lightpower.lightpowergmbh/www.facebook.com/ lightpowergmbh www.linkedin.com/company/ Establishedlightpower-gmbhin1978,Lightpower has
318 Leitz Address: Am Leitz-Park 2 T: +49644220311900 E: cc@leitz-cine.com W: www.leitz-cine.com
312 FUJIFILM W: Fujifilmwww.fujifilm.comhasbeenworking on R&D, manufacturing and marketing of industrial optical devices including optical components of office equipment and projectors, in addition to a wide range of FUJINON lenses including 4K/8K compatible broadcast lenses and high-performance cine lenses. Fujifilms Premista series covers 46.3 mm image size (diagonal) large format sensors, as well as Super 35 sensors. Their optical performance achieves the highest level of Fujinon cine lenses, which rivals the performance of a prime lens.
FilmTVVideo onlinefilm-tv-video.decompany/film-tv-video/https://www.linkedin.com/https://twitter.com/film_tv_videoisaGermanspeakingplatform.Itoffersdailynews, reports, camera and software reviews, production reports, interviews, in depth articles about latest technology and much more. With a focus on technical and business-related content film-tv-video. de addresses and professionals in the area of production, post-production, and presentation.
501 IDX Technology Europe, Ltd Address: IDX Technology Europe, Ltd. Unit 9, Langley Park, Waterside Drive, Langley, Berkshire SL3 6AD, ENGLAND T: +44-1753-547692 104 Irix Lens E: info@irixlens.com W: www.irixlens.com S: IG: irixlens/https://www.instagram.com/ FB: TheforTheIrixlens/https://www.facebook.com/Irixbrandoffershigh-classopticsthefilmandphotographyindustries.newIrix21mmf/1.4lensis
another of the series of photographic lenses derived from the Cine line, so designed for a much more professional and demanding audience from the cinema market.
Ernst Leitz Wetzlar GmbH is one of the world’s leading premium cine lens manufacturers with their brand of ‘Leitz Cine Lenses’. Come see our exceptional full frame optics, including the stunning Leitz ZOOMS, high speed Leitz PRIMES, and the recently announced character-rich Leitz ELSIE prime lenses, all on display at the Euro Cine Expo.
313 Hawk-Woods LTD Address: Briscall House, Kingsnorth Ind Estate, Wotton Road, Ashford, Kent, TN23 6LN T: +44(0)1233 638715 E: jason@hawkwoods.com F: +44(0)1233 638747 W: www.hawkwoods.com S: hawkwoods_uk_ltd/https://www.instagram.com/ HawkWoods are a UK based power manufacturer with over 30 years’ experience and knowledge within the Film & Broadcast Industry, being well recognised worldwide for pioneering many original products since the early 90’s, our expert innovation continues to the present day.
Fiilex Address: 1689 Regatta Blvd, Richmond, CA 94804 T: (510) 620-5155 E: fiilex@fiilex.com S: fiilexled/https://www.instagram.com/ Mit hochwertigen, tagtäglichengutgroßedurchProdukteinternationalderFarb-LED-Fresnel-Scheinwerfernoutdoor-tauglichenhatsichUS-amerikanischeHerstellerFiilexeinenNamengemacht.DievonFiilexbestechensowohlexakteFarbdarstellungundHelligkeitalsauchdurchviele,durchdachteDetaillösungenfürdenEinsatz.407a
206 GMF Address: Fürholzenerstr. 1 , 85386 Eching, Germany T: +49 89 31901290 E: info@gripfactory.com W: www.gripfactory.com S: GFMgripfactorymunich/https://www.instagram.com/gfm_isaleadingmanufacturerof dollies, cranes, sliders, track and camera support equipment and are known for producing products of the highest quality. Great pride is taken in the constantly growing in house manufacturing as well as long term relationships with clients, suppliers and all those working in the field.
TikTok: https://www.tiktok.com/@ Kelvinkelvinlight.comisapremium
112 Kaiser Showtechnik Address: Steinerne Furt 88, D-86167 Augsburg, Germany T: 0821 - 480408 - 0 E: info@kaiser-showtechnik.de S: https://www.facebook.com/ KaiserShowtechnik 300 Kelvin Address: Sjøskogenveien 5, 1407 Vinterbro, Norway Telephone: +47 954 41 930 E: hello@kelvinlight.com W: https://www.kelvinlight.com/ S: Facebook: com/kelvinlightinghttps://www.facebook. Instagram: com/lightwithkelvinhttps://www.instagram. LinkedIn: com/company/kelvinlighthttps://www.linkedin. Youtube: gYHZehUQUkcYRVAcom/channel/UC41ZSw4-https://www.youtube.
LCA Lights, Camera, Action is a one stop shop for film and broadcast lighting, grip, power and distribution. Our new office and warehouse located in Berlin, supplies Europe with the latest in LED lighting including Creamsource, LiteGear, DMG Lumiere, Litepanels, Hudson Spider, as well as accessories, power and control from DoPchoice, LumenRadio, Gaffers Control, betteries and many more.
216 Lightbridge Address: Karl-Tornay-Gasse 38 / 6 T: +43 1 6091978 2 E: sales@thelightbridge.com W: thelightbridge.com S: thelightbridge/https://www.instagram.com/
We want to redefine the role of the light manufacturer by placing visionary artists at center stage. The CRLS Cine Reflectors are a proud manifestation of our collaborations on and off set with the professional lighting community. Because we believe that sharing great ideas will inspire even more great ideas.
102 Gyro Motion GmbH Address: Grünlandweg 17a, 85375, Neufahrn, Germany T: +4915752401542 E: sergey@gyromotion.net W: http://gyromotion.net/en S: FB: Gyromotion GmbH Insta : gyromotiongmbh Gyro Motion develops gyro-stabilised, camera support systems. The culmination of our experience is the Genesis, a 4-axis gyro-stabilised gimbal. We look forward to any professional operator dropping by our booth to get a taste for the Genesis. Come by and check us out.
416 MKV Address: MK-V Ωmega Ltd, Depleach Hall, Wilmslow Road, Cheadle, Cheshire, SK8 1DR, UK T: +44 (0) 161 850 0658 M: +44 (0) 7889 734307 E: manufacturerMK-Vinfo@mk-v.comisanaward-winningandsupplier of Bodyworn and Camera Tracking Vehicle mounted Stabilisation. Equipment for the Professional Film and Broadcast Industry.
116 Prolights
312 Litepanels W: Litepanelswww.litepanels.comwasfoundedin 2001 by five professional gaffers and engineers who pioneered LED lighting for motion pictures, television, and the audiovisual industry. Their Emmy® awardwinning technology has now been used on thousands of productions worldwide and is trusted by the world’s leading broadcast organisations. Litepanels continues to expand its suite of flickerfree, colour-accurate, fully dimmable soft lights that talent and lighting directors admire.
Address: Via Divisione Tridentina, 10 –36061 Bassano del Grappa (VI) -Italy T: +39 0424 809150 E: info@plaber.com W: www.plaber.com S: https://www.facebook.com/ HPRCcases https://www.instagram.com/hprc_ cases company/hprccaseshttps://www.linkedin.com/
MA Lighting International as master distributor is responsible for worldwide sales and marketing of the professional lighting control solutions of MA Lighting Technology. The current product range offers the grandMA3 series and the MA Network Switch. In the past MA has become well known for its grandMA2, grandMA and dot2 series.
100 PLABER | HPRC | CONECARTS |
518 Projects Department Ltd Address: 26 Woodlands Road, Camberley, Surrey, GU15 3NA, UK T: +441276 681423 E: info@projectsdepartment.com W: www.projectsdepartment.com S: https://www.facebook.com/ ProjectsDepartment
514 Movie Tech AG Address: Martin-Kollar-Str. 9, D-81829 T:München+49(0) 89 436 89 1 3 E: info@movietech.de W: www.movietech.de S: Instagram: movietech_ filmequipment
We are a specialist supplier of lighting for film and TV. As resellers for all the well known brands we are able to listen to your requirements and apply our 30+ years of experience to ensure we offer you the best solution. We also design and install TV studios.
208 Litegear Address: 4406 Vanowen St, Burbank, CA 91505, United States W: https://www.litegear.com S: https://www.instagram.com/LITEGEAR/https://www.facebook.com/
litegear LiteGear is an LED lighting company for professionals in Cinema, TV, and HD Video industries and a major supplier of a wide range of advanced motion picture LED lighting. The innovation and development of products, including LiteRibbon, LiteMat, and LiteTile continue to make a major impact on lighting worldwide.
According to its brand claim ‘Passion of Movement’, Panther designs and manufactures the complete range of professional dollies, cranes, tracks and camera support equipment to the film and television industry for more than 35 years. With new ideas and visions, Panther responds to market requests and needs, and continues to be a reliable partner to its clients all around the world.
Address: Am Bahnhof 19, 85653 AyingMunich, Germany T: (+49) 8095 - 71230 - 00 F: (+49) 8095 - 71230 - 99 W: www.panther.tv S: Facebook: @PantherDolly Instagram: @pantherfilmequipment
501 Muraro of Italy Address: Via dell’Artigianato 24 36023 Costozza di Longare (VI) Italy T: + 39.0444.9539.25 E: info@murarolightstand.com W: Muraromurarolightstand.commanufacturersallkinds of lighting support such as stands, clamps, spigots, Muralini clamps etc. so good that they come with a 5-year warranty. Muraro is also known for its customised solutions when it comes to special requests. Muraro products can be seen at the CaSu booth 501. 501 Nalpak Inc.
At this event we will be demonstrating more from our OS Products range featuring the new Dragonfly sled, OS Docking Bracket and also our renowned Jackal Rickshaw. This will also be partnered along with additional mechanical and electronic camera stabilising modifications and accessories. Also representing OS Products in Amsterdam.
304 Power Gems Address: Unit 1 Fairhills Trade Centre, Fairhills Road, Irlam, Manchester M44 6BA United Kingdom T: +44 161 776 7030 E: sales@powergems.com F: +44 161 776 7039 W: www.powergems.com
200 Optical Support Address: Unit 8 Crusader Industrial Estate, 167 Hermitage Rd, London N4 1LZ T: 020 7281 0999 E: info@opticalsupport.com W: opticalsupport.com S: Instagram: @opticalsupport
The HPRC line delivers custom solutions for both B2B and B2C industries, ensuring easy transportation and access to equipment in the safest way. ConeCarts are handling, protection and storage solutions. Carts perfect for industrial use and for the broadcasting sector. Alstora, protective storage boxes for home, professional and outdoor use.
115 Major Address: Lightpower GmbH, An der Talle 24-28, D-33102 Paderborn T: +49 5251 1432-0 E: sales@lightpower.de S: https://www.linkedin.com/lightpowergmbh/https://www.facebook.com/
115 MA Lighting Address: An der Talle 24-28, 33102 Paderborn, Germany E: sales@malighting.com T: +49 52 51 68 88 65 10 S: lighting_international/https://www.instagram.com/ma_gmbh/company/ma-lighting-international-https://www.linkedin.com/MALightingInt/https://www.facebook.com/
414 NANLUX/NANLITE Address: Zhanglin Section, 324 Highway, Dongli Chenghai Shantou City, Guangdong China T: +86-754-85751187 E: Reicok King - reicok@nanlite.com W: http://en.nanlite.com
418 PANTHER GmbH
Founded in 1992, as a Hi-Tech enterprise devoted to making professional LED lighting equipment for film and television production, NanGuang has been constantly innovating in the past 30 years, and currently has three registered brands: “NANLITE”, “NANLUX” and “NANLINK”. The product portfolio offers comprehensive coverage on the market from professional end to entry-level, including 1.2KW LED Spot Light, RGBWW Tube Light, wireless lighting control system and various compatible accessories.
ALSTORA
Power Gems are well-known in the TV and film industry for the design and supply of 1000 Hz high-speed HMI ballasts. Now we’ve expanded into the LED control market. Visit Stand 304. Let the Power Gems team demonstrate our full line of portable ballasts, competitively priced with realistic delivery times.
Address: Via A. Olivetti snc 04026 - Minturno (LT) ITALY T: +39 0771 72190 E: info@prolights.it W: www.prolights.it PROLIGHTS’ innovative range of LED soft lights includes the highly acclaimed EclPanel TWC, adopted by major Hollywood and Netflix studios. The Italian manufacturer will be debuting at ECE a compact, batterypowered fixture and an XL version of its flagship panel.
Address: 1267 Vernon Way El Cajon, CA 92020 USA T: +1 (619) 258-1200 E: service@nalpak.com W: Nalpaknalpak.comfounded in 1980 designed the legendary Tuffpak tripod cases with lifetime warranty. Protected and recessed handles make the case almost indestructible. Octagonally shaped and mostly equipped with wheels these tripod cases make cameramen’s life so much easier. Nalpak products can be seen at the CaSu booth 501.
company/lightpower-gmbh/
24 JULY 2022 EURO CINE EXPO SHOWGUIDE
Die Marke Major gehört zur Lightpower Unternehmensgruppe. Major Produkte wie Scheinwerfer, Stromverteiler, Kabel und Steckverbinder, Dimmer, RiggingProdukte und Sicherungsseile sind „Made in Germany“ und haben sich in der Vergangenheit bereits bei etlichen nationalen und internationalen Projekten bewährt. Unsere Produkte zeichnen sich durch ihre hohe Qualität für professionelle Anwendungen aus und entstehen in enger Zusammenarbeit mit unseren Kunden, um deren Anforderungen bestmöglich zu erfüllen.
MovieTech - grip equipment you can rely Sinceon!more than 25 years, MovieTech manufactures premium-quality grip Weequipment.proudly manufacture our camera support systems here in Munich for professional movie-makers around the world. Our product range reaches from dollies, camera cranes and track systems to remote heads.
SHOW LISTINGS developed into an internationally renowned distributor for professional stage lighting equipment. The company offers a unique product synergy together with a comprehensive package of services – in the theatre and television sectors as well as for live stage and all other areas of entertainment.
Since 30 years P+S stands for innovative products in the film industry and is well-known as a competent and professional partner in the market. Focused on the manufacture of high-quality anamorphic lenses like Evolution 2X and TECHNOVISION 1.5X specific lens solutions like Skater Scope and a wide range of rehousings complete our services.
501 ProSup Address: Nieuw Walden 102 1394 PE Nederhorst den Berg The Netherlands T: + 49 89 4521 9060 E: info@casu.tv W: www.casu.tv Prosup manufactures the “LapTop Dolly” - a foldaway dolly for track/ground inside a Peli case. The “EJib” - a compact, foldaway travel Jib. The Prosup “Tango Roller” comes with magnetic end stops. The “TED Tango” is the remote version of the Tango Roller. All Prosup products at booth 501. 202 Puhlmann Cine GmbH Address: Puhlmann Cine GmbH, Schaftlacher Str. 19, D-83703 Gmund a. Tegernsee, Germany T: +49 8021 5046161 M: +49 175 9363906 Skype: puhlmann.matthias E: mail@puhlmann.tv F: +44 161 776 7039 S: Instagram: @puhlmann.cine 002 REVOLT CleanTech Address: Unit 10, Sky Business Park, Eversley Way Thorpe Industrial Estate, Egham, Surrey, TW20 8RF T: +44 (0) 1784 450 506 E: info@octica.tv F: +44 161 776 7039
HIGH END CAMERA SUPPORT EQUIPMENT MADE BY GFM. GO TO → gripfactory.com © LUCASFILM LTD./gripfactorymunich @gfm_gripfactorymunich /gripfactorymunich MEET US AT IN MUNICH FROM 1 — 2 JULY 2022.
Unique knowledge in portable power & the need to reduce fossil fuel reliance, REVOLT CleanTech offer green power solutions specifically designed for Film, Broadcast & Events. With diesel/petrol generators no longer acceptable at many locations/studios, REVOLT offers battery powered alternatives, “Doubling-Down” on Green, incorporating “Second-Life” cell-packs carbon footprints are drastically reduced and environments further saved from landfill.
508 P+S TECHNIK Address: Siemensstr. 12 T: 0049 89 45098230 E: sales@pstechnik.de W: www.pstechnik.de S: https://www.facebook.com/pstechnik/https://www.instagram.com/ pstechnik company/pstechnikhttps://www.linkedin.com/https://twitter.com/pstechnik
EURO CINE EXPO SHOWGUIDE JULY 2022 25 SHOW LISTINGS
412 qinematiq GmbH Address: Millergasse 21/5, 1060 Vienna, T:Austria+43 1 595112111 E: info@qinemtatiq.com W: https://www.qinematiq.com/ S: https://www.facebook.com/qinematiq/https://www.instagram.com/ qinematiq
Qinematiq is an award winning developer and manufacturer of the most advanced range finders on the market. The Smart Ranger 2 combines two measurement methods to give the 1st AC the security he needs for even the most demanding shots. The Focus Buddy is an add-on for Cinetape and UDM. 312 Quasar Science W: www.quasarscience.com Quasar was started in 2012 in a dingy Gold Room on one of the oldest studio lots in Los Angeles, California by a group of I.A.T.S.E. Local 728 Studio Electrical Lighting Technicians. With over 100 years combined expertise in lighting movie sets, we decided once and for all that cable was heavy… and we endeavored to lift less of it! Quasar’s grassroots beginnings, and our dedication to lighting technicians and filmmakers all over the globe is what drives us to design workflow solutions for filmmakers of all kinds. 312 RED DIGITAL CINEMA Address: Pinewood Studios, Pinewood Road, Iver Heath, SL0 0NH Telephone: +44 1753 386585 E: RedEurope@red.com W: www.red.com S: https://twitter.com/red_cinemahttps://www.instagram.com/reddigitalcinema/https://www.youtube.com/user/ shotonred reddigitalcinema/https://www.facebook.com/ RED will bring its latest technology for hands-on demonstrations, including its new flagship V-RAPTOR, featuring an all-new multi-format sensor offering 6K/S35 to 8K/large format. Also on show will be the in-demand KOMODO system featuring a global shutter sensor that maintains RED’s high standard of image quality and dynamic-range.315 Riwit GmbH
Address: Im Gewerbepark A70, 93059 T:Regensburg+49941 20 000 520 E: office@riwit.de W: www.riwit.de S: php?id=100069250084092https://www.facebook.com/profile.distribution/https://www.instagram.com/riwit_
Germany,Riwithttps://twitter.com/RiwitGmbHgmbh-92031a232/https://www.linkedin.com/in/riwit-GmbH,basedinRegensburg,isadistributionfor
Manufactured in the UK, Rotolight products have pioneered numerous industry-first, patented technologies with over 50 granted patents, designs and trademarks around the world such as the first suite of cinematic lighting effects (CineSFX™) and the world’s first electronic diffusion technology (SmartSoft™). From the very first LEDs to offer the shoot what you see benefits of continuous lighting and High Speed Sync flash all-in-one, to the brightest 2×1 soft light ever made, Rotolight LEDs streamline the workflows of imagemakers across the world.
and filters always set standards in filmmaking. Developed and manufactured in Germany or the USA, their reputation is well-respected all over the world. At Euro Cine Expo, Schneider-Kreuznach presents ISCO4all - the first anamorphic/ spherical full frame set - as well as its broad cine filter collection.
Technocrane s. r. o. is the leading manufacturer of Telescopic Camera Cranes and remote controlled Camera Heads. With now over 600 cranes built, Technocrane has a proven history in the television and movie industry.
312 Teltec Address: Peter-Sander-Str. 41c, 55252 Mainz-Kastel, Germany T: +49 6134 58 448-0 E: sales@teltec.de E: marketing@teltec.de F: +49 6134 5844 8-99 W: https://teltec.de/ S: @teltecbroadcast Teltec is Europe’s largest supplier for broadcast and film technology. With 10 Offices and Showrooms and more than 50 Product Experts, Teltec represents all major manufacturers in the professional media industry and offers camera operators, broadcasters, universities, freelancers and industrial companies the best production technology and expert service.
26 JULY 2022 EURO CINE EXPO SHOWGUIDE SHOW LISTINGS
Tiffen is manufacturer of the world renowned Tiffen Filters for the film industry and continues to develop new and exciting filters.
Tiffen manufactures the Steadicam to a highly sophisticated level with the VOLT and modularity of the M-series. owel lighting is popular range of portable lights now all LED fittings.
transcontinentadeutschland
110 Tiffen International Ltd.
Die Transcontinenta GmbH ist ein Distributor für Deutschland und konzentriert ihre Aktivitäten und Marken auf verschiedene Zielgruppen und Märkte im Foto- und Videobereich. Dabei unterstützen wir unsere Kunden mit den besten Produkten der besten Marken des jeweiligen Segments.
410 Special Grip Hungary Kft. Address: 39 Pallag Street, H-2120 T:Dunakeszi+3670 322 6500 E: info@specialgrip.hu W: www.specialgrip.com S: Instagram: @specialgriphungary II Facebook: Special Grip Hungary Special Grip Hungary was founded by key grips, dolly grips and grips in 1999. The main goal of the company is to provide the best quality service not only equipment wise but crew wise too. From the smallest shoot to the biggest triple A title you can find the best equipment for your production ranging from dollies to the biggest cranes of the world to broadcast equipment.
316 Rotolight Group Ltd Address: Wooburn Green Industrial Park Unit 10, Thomas Road, High Wycombe Buckinghamshire, England HP10 0PE E: charlie@rotolight.com W: http://www.rotolight.com T: +44 (0)1753 422750
214 Ronford Baker Engineering Company Ltd Address: Unit 5 Kingley Park, Station Road, Kings Langley, Herts, WD4 8GW, UK T: +44 (0) 208 428 5941 E: info@ronfordbaker.co.uk W: Ronfordwww.ronfordbaker.co.ukBakeraremanufactures of academy award winning Fluid Heads and Tripods. The product range also includes Sliders, Billet Bazookas, Track, Beams, Grip Equipment, Transit Cases, and a new range of camera and video accessories.
115 Robert Juliat Address: 32, Rue de Beaumont 60530, Fresnoy-en-Thelle, FRANCE T: +33 (0)3 44 26 51 89
402 Sigma Address: 2-8-15 Kurigi, Asao-ku, Kawasaki-shi, Kanagawa 215-0033 W:T:Japan81-(0)44-989-7430
SolidGripSystems is a Dutch based manufacturer with its focus on traditional camera-movement. Our CenterFold BarTracks are very well received as well as our sustaining TwinDolly. We are working grips so we now your demands on grip-equipment.
408 SWIT Electronics Europe GmbH Address: Heerdterbuschstraße 10, 41460 Neuss, Germany T: +49 2131 6632331 E: info@swit-europe.com F: +49 2131 6632331 W: www.swit-europe.com S: SWIT=gmbh/company/swit-eletronics-europe-https://www.linkedin.com/SolutionswithInnovative
SWITTechnilogieswasfounded in 1996, specialised in developing and manufacturing broadcast and film industry products, including 4K/UHD camera/studio monitors, wireless video transmission, Pro-camera batteries, chargers and power solutions, on-camera lightings and studio lightings. Starting from 2016, SWIT Europe has been dedicated to serve European customers.
406 Transcontinenta GmbH Address: Dieter-Streng-Str. 7, 90766 T:Fürth0911 1147768 E: info@transcontinenta.de W: www.transcontinenta.de S: https://www.facebook.com/transcontinentadeutschland/https://www.instagram.com/
Robert Juliat ist eines der führenden und renommiertesten Unternehmen für den Theatermarkt. Seit mehreren Generationen im Familienbesitz hat sich der französische Hersteller der professionellen Bühnenbeleuchtung verschrieben. Dazu zählen insbesondere Verfolger-, Profil-, Fresnel- und PC-Scheinwerfer sowie Fluter. Der Innovationsgeist von Robert Juliat ist bis heute ungebrochen.
https://www.sigma-global.com/en/ 106 Solid Grip Systems Address: Emrikweg 27 – 2031BTT:Haarlem+3123 7370 368 E: onno@solidgripsystems.eu W: www.solidgripsystems.eu
from high-end cinema cameras to professional cameras including VENICE, FX9, FX6, etc. The new cinema camera VENICE 2 has a compact design, internal recording and the option for two different sensors: The new full-frame 8.6K sensor or the original 6K VENICE sensor.
professional video accessories of well-known brands like Atomos, Shape or Libec. Our dealer network covers the German-speaking region as well as Eastern Europe. Riwit offers the specialised trade extensive technical and sales support, marketing and logistics services.
322 Sony Europe B.V. Address: Deutschland,ZweigniederlassungKemperplatz1, 10785 T:Berlin0041 79 930 47 91 E: julienne.veer@sony.com W: Sony Professional - Products and Solutions To Redefine Your Business S: Sonycinealta?igshid=YmMyMTA2M2Y=https://instagram.com/sony.isofferingacameraline
Address: The Peter Lamont Building, Pinewood Studios, Pinewood Road, Iver Heath SL0 0NH T: +44 1753 783 960 E: robin.thwaites@tiffen.com W: www.tiffen.com S: Instagram: tiffencompany Facebook: The Tiffen Company; FlySteadicam
422 Outside Stand Technocrane s.r.o. Address: Podnikatelska 19, 30100, Pilsen, Czech Republic T: +420 377889111 E: info@supertechno.com F: +420 377889100 W: www.supertechno.com S: php?id=100057121434024https://www.facebook.com/profile.
502 Tesla Tech Address: H-1132, Budapest, Kresz Geza u. 29 1/6. T: +36-20-530-2731 E: info@TeslaTech.GmbH W: Teslawww.TeslaTech.GmbHTechofferscustomisable, professional, and reliable solutions for portable power distribution. We have redefined industry standards to enable filming without any electrical interruption and to fully protect the crew and equipment even in the case of extreme conditions. We design & build PDUs, cable drums, and cable assembly.
308 Schneider-Kreuznach Address: Ringstraße 132, 55543 Bad T:Kreuznach+49671 601 551 E: cine@schneiderkreuznach.com W: www.schneiderkreuznach.com/en/ cine-optics S: Schneider-KreuznachYoutube:@schneiderkreuznachcine@schneiderkreuznachcineInstagram:Facebook:Schneider-KreuznachCINElenses
MOTION PICTURE INDUSTRY SPECIFIC OFFERINGS
EURO CINE EXPO SHOWGUIDE JULY 2022 27 SHOW LISTINGS #POWER DISTRIBUTION UNITS #CABLE DRUMS #CABLE ASSEMBLY #DESIGN & BUILD SERVICES #ENGINEERING ADVISORY
SEE YOU AT EURO CINE EXPOSTAND2022#502
218 ZEISS Address: Carl-Zeiss-Strasse 22, 73433 Oberkochen, Germany E: cinematography@zeiss.com W: zeiss.com/cine S: instagram.com/ zeisscinematography facebook.com/ ZEISSCinematography cinematography/linkedin.com/showcase/zeiss-twitter.com/zeisscine Serving the artistic pursuit of cinematographers for more than 80 years, ZEISS has introduced the successful ZEISS Super Speed, ARRI/ ZEISS Ultra Prime, Master Prime, Master Anamorphic, ZEISS CP.2, CP.3 and CP.3 XD, Cinema Zoom CZ.2, Lightweight Zoom LWZ.3 and highly appreciated ZEISS Supreme Prime and Supreme Prime Radiance lenses.
What is the cost of a production shutdown for even a day due to electrical failures? We have redefined industry standards to enable filming without any electrical interruption and to fully protect the crew and equipment even in the case of extreme conditions. info@TeslaTech.GmbHwww.TeslaTech.GmbH 006 True Lens Services (TLS) Address: 19/20 Bank Terrace, Barwell, Leicester, LE9 8GG United Kingdom T: +44(0)1455 848411 E: sales@truelens.co.uk W: www.truelens.co.uk S: True@TrueLensServicesLensServicesareone of the UK’s largest lens rehousing and service providers and now recognised worldwide for their lens innovation with an unbeatable reputation in the design, manufacture, and servicing of filming lenses. 320 Vantage Film GmbH Address: Altstrasse 9, 92637 Weiden, Germany T: +49 961 634965-0 E: admin@vantagefilm.com W: https://www.vantagefilm.com/ S: Instagram: @vantagefilmofficial Facebook:@hawkanamorphicHawkAnamorphic by Vantage Film Vantage is a developer and manufacturer of film lenses and a full-service rental provider of camera equipment and film technology worldwide. Located in Weiden (HQ), Berlin, Leipzig, Prague, Paris, Brussels und Hawk Anamorphic Los Angeles, the company supports film and commercial productions all over the globe. 500 Vocas Address: Larenseweg 121, 1221 CL Hilversum, Netherlands T: +31 35 6233707 E: sales@vocas.nl W: www.vocas.com S: vocassystems/https://www.facebook.com/vocassystems/https://www.instagram.com/ Vocas is a manufacturer of camera accessories based in the Netherlands. Our mission is to provide innovative, high-quality and ergonomic accessories for film and video professionals. Typical Dutch design, made in Holland. 402 XineGear GmbH Address: Lützowstraße 102 – 104 10785 Berlin, Germany T: +49 (0)30 3464 61 750 E: info@xinegear.com F: +49 (0)30 3464 61 760 W: www.xinegear.com S: INSTAGRAM instagram.com/xinegear/-https://www. FACEBOOKGmbH-104279189995084facebook.com/Xinegear-https://www. TWITTER - https://twitter.com/ xinegearYOUTUBEyoutube.com/channel/UC7v1E_https://www. LINKEDINTSA8MERPIjc6FP0iw forXineGearcom/company/xinegear-gmbh/https://www.linkedin.GmbHiscertifieddealerRED,SONYCinemaLine,SIGMA lenses and many more well-known brands. The company is focusing onto the professional filmmaker market and offers personalized preand after sales support about Cine cameras, lenses and accessories for professional users in Germany and other countries. 115 zactrack GmbH Address: Schlosshoferstr. 4 / Stair. 7 / Top 1 1210 - Vienna, Austria T: +43-699-1414 8000 E: z.office@zactrack.com W: www.zactrack.com
BEST CONTRIBUTION TO CINEMATOGRAPHY AND EDUCATION
– Tom Watts (they/them)
Best known for working with Little Mix on their bold and bright promos and live sessions. Tom is not your average cinematographer. While many package their skills and sell them as workshops and masterclasses online (an excellent alternative revenue stream by the way), Tom often creates accessible bitesize tips on lighting for their Instagram stories. They are keen to help inspire and educate the future of the film industry, so the tips are inclusive and very easy to understand. On top of this open approach to sharing their work, Tom is a bold cinematographer. Someone who doesn’t shy away from harsh contrasts and stark shadow, boldly evident in short film Ruth made in collaboration with the ARRI Trinity team.
DIVERSITY & INCLUSION any of us are at capacity when it comes to “diversity” conversations. There are reams of articles, and seminars and workshops and training programmes, to reprogramme us all to be less biased. Every company has a policy and/or plan to make their section of the film industry more diverse.
M
SEEDS OF CHANGE
By Ashleigh Ashley, with additional reporting from Fran Zerenghi
When I say ‘It takes time’, I mean don’t be disheartened if the changes that need to happen don’t happen immediately. It’s taken 127 years of industry to get us into this mess, and I suspect it will take at least a few generations of positive action to get us out of it.
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The truth is, it depends who you ask! Some people have really positive stories, and you only have to watch a TV ad break to see more black faces, more women and more disabled people on-screen than ever before. Personally, I work behind the camera, and have just qualified for the BAFTA Elevate programme – a 2-year training and networking initiative for underrepresented professionals making moves in the film and TV industry. I’m excited to be surrounded by a diverse cohort of mostly women, who not only represent the change needed in individual demographics, but also people who have the power to bring new blood, untapped communities and fresh perspectives into the industry. There are, however, some who are still struggling to see and feel the effects of all this talk. Some who are immobilised by huge systematic issues that still see ‘ChangeTobeingdisabledethnicparents,neurodiverse,women,groupsandpeoplemarginalised.themIsay,takes time’. This is not a statement to pacify. I don’t mean ‘It takes time, so shut up and put up!’. When moved to, we each have a responsibility to scream and shout out; when faced with bigotry and discrimination we should shoot-up flares to illuminate all the people and places that need to do better!
To me, positive action to achieve true change involves maintaining a two-pronged attack. There are those of us who are destined to weed out bad attitudes; pulling up rotten roots with initiatives and schemes, legislation and talk. And there is a wave of people working from the ground-up to fertilise the soil and plant new seeds of hope and change. People who use their mediums, their voices and their actions to create change that we can tangibly see. With that in mind, Cinegirl would like to present (hypothetical) awards to a few seeding souls. Here is a handful of talent we believe deserve celebrating for blowingup stereotypes and pioneering ways to make the industry more diverse by taking up space. Yes, following in the footsteps of this year’s Brit Awards, we are dropping gendered categories and bypassing traditional recognitions to award talent we feel are making an impact with the very fibre of their work.
But talk is cheap, and what everyone wants to know is, are any of these schemes actually working? Are we being distracted by shallow gestures and good intentions, or are broadcasters, productions and platforms taking actions that will precipitate real change?
BEST MULTIMEDIA DIRECTOR –Anna Radchenko (she/her)
Best known for her experimental and avant-garde approach to short films, music videos, commercials, mixed media editorial projects and art installations. Anna is a potent creative in many disciplines, proving that in a multi-layered and multi sensory universe it is possible to be fantastic at more than one thing. Her film work is striking, her photographic work is provocative, and as the subject of many expressions of her art she divulges a real authentic humanity that empowers and inspires. We are especially excited by her depictions of elderly women at different stages of pregnancy. We are also inspired by the fact that she uses herself as the subject of much of her work... literally putting her own skin in the game.
“As a director of photography, my biggest motivation is telling authentic stories from overlooked places. When we watch a film, we are living an experience vicariously through the characters in the story. We are having an experience that we wouldn’t encounter in our day-today life. When you experience someone else’s life, through their eyes then it helps you develop empathy towards that unknown ‘other’. With empathy, ‘them’ becomes ‘us’.”
Lastly, we want to award some of the many platforms doing their thing to bring about change… Made In Her Image www.madeinherimage.org–Look Beyond The List www.lookbeyondthelist.com–
“I am privileged enough to have a space in the film industry and I’m happy to share it. We are a creative industry and creativity thrives under disruptive thinkers. We need people to come into our industry spaces, kick some tables over, eat all the canapés and shout, ‘This isn’t our story, it’s just your story.’
“I’m very open about being ADHD, autistic and queer in our industry. The reason I feel this is important is because, by unapologetically existing in a space as my authentic self, it is a sign to other people who don’t fit the current societal idea of ‘the norm’ that this space is also for them.
EURO CINE EXPO SHOWGUIDE JULY 2022 29
DIVERSITY & INCLUSION
Tom Watts – Cinematographer
The British Black List www.thebritishblacklist.co.uk–Disability Arts – www.disabilityarts.online Triplec – www.triplec.org.uk
Best known for The Big Narstie Show, Big Breakfast, and The Lateish Show With Mo Gilligan. Mo himself proclaims that he isn’t a poster boy for diversity. And his style of comedy certainly doesn’t play on racial stereotypes as much as it does on common social ones. By remaining true to his background and upbringing, equal parts of black Caribbean, British and Brixton, Mo has given a kinder, more sensitive look into black communities, especially highlighting the comic escapades of black men. It’s not a gimmick, and he doesn’t make a mockery of his community. He is a comic genius who is who he is, who his brothers are, who his family is. And the joke is...he’s just getting started!
DIVERGENT DESIGNER AWARD –Lauren Miller (she/her)
WELLBEING FACILITATOR AWARD –Leo Anna Thomas (they/them)
Women Behind The Camera www.womenbehindthecamera.co.uk–Cinematographinnen www.cinematographinnen.net–
Primetime – www.primetime.network Illuminatrix – www.illuminatrixdops.com IMAGO – www.imago.org Is the industry changing? It’s a fair question and I think we need regular, industry-wide reviews tracking our progress to keep us all accountable. But, taking a leaf from our Cinegirl Award Winners’ playbooks, perhaps a better question is: “What am I doing to change the industry?’. Perhaps real action is in the things we inadvertently do daily; the ways we integrate fairer strategies into our own work, measured by our own moral barometers. Perhaps if we were all brave-enough to push boundaries, and be our authentic selves, in the workplace we might actually make this dream a reality! I’m excited to see what you can all do!
MID-LIFETIME ACHIEVEMENT AWARD – Mo The Comedian (he/him)
SPECIAL MENTIONS
Best known for their change-making work in mental health awareness for the film and TV industry at Six Feet From The Spotlight. Leo is a creative genius in their own right, the true force behind mental health reform in the film and TV industry. I mean, imagine the gumption it takes to cajole us neurotic, creative, ambitious, goal-driven, borderline-obsessive industry folk into looking after ourselves, and into caring for each other. The mental health of on-screen talent is salaciously picked apart in the media, especially when someone is clearly struggling under the pressure of fame. But the plight of crew behind the camera has gone unnoticed for such a long time. Leo is truly one to watch.
Opposite: Anna Radchenko (photo courtesy of Anna Radchenko); This page: (top clockwise) – Lauren Miller (photo by Nic Roques); Leo Anna Thomas (photo courtesy of Leo Anna Thomas); cinematographer Tom Watts; and Mo The Comedian
Best known for costume design on The Athena and Top Boy, and most recently for the period drama Sanditon To a certain extent, Lauren just executes a brief. But when the briefs range from high-end fashion editorial to streetwear, from gritty East London vibes to historically-precise period pieces, you need a designer who can literally do it all. And do it with style and finesse. A mother, a powerhouse, who proves that you can’t judge a talent by their background.
WHAT DOES THE FOCUS PULLER DO?
WHAT IS IT LIKE TO WORK IN A CAMERA TEAM?
WHAT EXACTLY IS FPAW?
Tiffany: There’s a lot of teamwork involved in making a show of feature film – the words ‘crew’ and ‘team’ are synonyms, make no mistake. It is so important to have good communication and good teamwork on multiple levels on-set. You have to, of course, work well as a team –including dolly grip, camera operator, 1stAC and 2ndAC – but you also have to have the mentality to make sure everyone is OK, and has what they need to keep the ball rolling, so that you never hear those dreaded words “Waiting on camera!”. Working well doesn’t just mean everyone is capable of doing their individual jobs, it means they get along and contribute to the group in ways that blend well and bring out the best in the other members of the team. It’s a beautiful thing when you have a team that can anticipate each other and adjust and assist before it’s needed.
RINGSMAGIC
Tiffany: There are so many fun things you get to use as a focus puller these days. The elephant in the room, of course, is the camera itself. Outside of that, there’s a lot of neat accessories, like remote lens control systems (LCS). These are starting to become much more than that though, which makes right now an exciting time to be pulling focus. Systems now include not just the ability to control the lens remotely, but you also get some camera control as well, which is something that didn’t really exist until recently. There’s lots of speciality equipment too, like gimbals, remote heads and housings, you can play with too, depending on the project and what interests you, plus all sorts of apps that will help with the mathematics that go into being a focusTherepuller.are laser tape measures too, and at least three different kinds of range-finding technology being used on the camera these days. You can still find some 3D rigs working and will definitely find XR (eXtended reality) stages that you can learn the way your cinema camera will work in tandem a live-tracking virtual world for actors to move through.
If you’re interested in getting into the camera team and working as a 1stAC/focus puller, this Q&A with leading members of Focus Puller At Work (FPAW) gives you great insight into what’s needed. It is so important to have good communication and good teamwork on multiple levels on-set Camera systems are getting more and more sophisticated, but human focus pullers are here to stay!
Tiffany: FPAW is an acronym for the website FocusPullerAtWork.com. It’s an international collective of focus pullers and other industry professionals, providing a global resource for all-things about camera assisting. Being global means FPAW is a near 24/7 sounding-board for ACs to troubleshoot, brainstorm and share ideas. We’ve also recently partnered with some manufacturers like ARRI, Sony, and Teradek, in the form of manufacturerbased groups to give these companies direct access to the people working with their gear, and vice versa. There are a ton of great ideas floating around on the site. Anything from .STL files through to random asks about accessories, and opinion pieces about a focus puller’s life. There’s used equipment for sale, threads on common problems with equipment combinations and how to solve them. There’s even a focus puller podcast and a file-sharing area for charts, info sheets, and lens files.
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Ambar: The focus puller chooses where to direct the viewer’s attention by making certain things on the screen appear in focus, so your eye and attention are directed to that part of the picture. Oftentimes you can push the viewer to look at something that may be behind the main actor, or action, because that is more relevant to the storyline or script. Beyond that, the focus puller, or 1st AC as they are referred to in North America, is responsible for running the camera department. This means everything from finding the right crew for the job, prepping all the equipment beforehand, making sure you understand the camera technically, as well as being able to assemble all the various accessories that might been needed, and making everything works together seamlessly. In Asia, a focus puller and a 1st AC are actually two different people and the jobs are delineated along very strict line – the focus puller only pulls focus and the 1st AC deals with setting up the camera, etc.
By Tiffany Aug and Ambar B Capoor
WHAT EQUIPMENT DO YOU USE AS A FOCUS PULLER?
Ambar: Inside the set, it’s essential that the focus puller, operator, DP and director all understand what the scene is about and where we want the focus to be. Most of the times it’s fairly obvious from reading the script, but once in a while it may be ambiguous and it’s better to have the conversation prior to rolling the camera. There are times that you may see something during the first take where you feel ON FOCUS–PULLING
FOCUS
INSIDE AND OUTSIDE OF SET WHAT KIND OF COLLABORATING DO YOU DO?
HOW WOULD YOU SAY FOCUS PULLERS HELP TELL THE VISUAL STORY?
Both pages: a selection of shots of 1st ACs Tiffany Aug and Ambar Kapoor at work on-set
EURO CINE EXPO SHOWGUIDE JULY 2022 31 FOCUS ON FOCUS–PULLING
Ambar: As I mentioned, we are in charge of where the focus lands and also how long it takes for the focus to get there. Oftentimes we are placed in a situation where we have to nail a shot with no rehearsals and no marks.
I’m especially proud of the ARRI ECS group I built on Facebook, one of the biggest memberonly groups, that was officially-recognised by ARRI for having contributed to the community as the premier resource for people with questions about the WCU-4.
I do not use any focus assist devices like the focus bug, lightranger, etc., so for me it’s a matter of being absolutely 100% in-tune with the camera movement, relying on my years of experience and the gods of focus. But there is also a tremendous amount of satisfaction when you make a creative call to rack focus and you hear the director or DP come up to you and say, “Amazing! That was amazing!” Currently camera systems are getting more and more sophisticated with focus assist devices, but until the AI can make creative decisions, based on what they are seeing on the screen, what the script says (if there is a script) and what the mood is, human focus pullers are here to stay!
a focus throw or focus rack might tell the story better, and I will quietly mention it to the DP or director. 90% of the time they ask me to go ahead and do it, and 10% of the time they decline. It’s nice to be a part of the creative process and have an input. Off the set, I have built relationships with all the camera houses and some of the major manufacturers of cameras and lenses. This means that I am regularly invited to be a part of the prototype design, the testing process and the pre-launch of new products. I get to play with gear and give my input as a 1st AC before the product ever hits the market. Some of the things I have had the opportunity to play with before they ever got released are the ARRI 235 and 435ES, ARRI Alexa Mini and Mini LF cameras, Signature prime lenses, WCU-4 wireless lens controller, and more. Then there are all the resources that we have built for ourselves as a community like FPAW, discord groups, Reddit groups, and more. These are especially useful to be able to troubleshoot and brainstorm when you are stuck, having an on-set problem that requires an immediate solution, or just need some ideas on what kind of gear might solve a certain shot the DP wants to achieve.
Sometimes we may only get one take or two.
Tiffany: A recent use of focus I found interesting (mostly because it was very intentional) was in Joker (2019, Dir. Todd Phillips, DP Lawrence Sher ASC). Specifically, a shot that stayed with me was not the iconic stairwell shot used on all the promotions, but the interior stairwell shot when Arthur Fleck gets fired from his job and is leaving after punching a timeclock. He walks down a flight of stairs, stops at a sign that says, “Don’t forget to smile”, crosses out some of the words and dances down the rest of the stairs and out the door. The shot (at 38:39 into the film) is interesting to me because they kept the focus on the sign the entire time. I think another creative team would have chosen to follow focus to the bottom of the stairs and return to the sign to nail the idea home. But I liked it that this team let the symbolism speak for itself. The sign as well as the character dancing into the soft-focus mush of the background really is a metaphor for the character’s break from reality. Tiffany Aug, is a 1st AC and has been pulling focus for 17 years. Her recent credits include: Curb Your Enthusiasm S9-11, Better Things S2-5 and Super Bowl LVI Halftime Show.
Ambar B Capoor has been a camera technician for 16 years. His recent credits include Adele Las Vegas, Post Malone Launch, Prisoner’s Daughter and Liger.
WHAT ARE SOME EXAMPLES OF THE USE OF FOCUS IN STORYTELLING THAT INSPIRED YOU?
32 JULY 2022 EURO CINE EXPO SHOWGUIDE OVERVIEW A
The Kesselhaus was designed at the beginning of the last century by leading architects Theodor Fischer and Otto Ernst Schweizer. Its heavy steel frame construction, designed for a high load capacity, is still imposing today. As a power house, the Kesselhaus was the starting point for the rapid industrial and urban development of the entire district.
Motorworld München is located on the site of the former Deutsche Bahn railway repair shop in Munich-Freimann. Its centrepiece is the impressive listed Lokhalle where locomotives used to be repaired. With its gigantic dimensions – 185 metres long, 90 metres wide and 18 metres high – it is one of Europe’s largest self-supporting steel structure halls. Admission is free 365 days a year.
THE ZENITH KULTURHALL - EXHIBITOR HALL
The listed Zenith cultural hall, a former iron workshop, was built between 1916 and 1918 by order of King Ludwig III of Bavaria. Constructed by Krupp, this historic industrial building served various purposes through the decades, first as the press workshop of the Krupp cannon works, then as a boiler forge of the German Imperial Railways, and later as a locomotive repair shop of the Federal Railways and a suburban railway repair workshop.
Our seminar and presentation programme runs throughout the two days of the Expo, and is free-of-charge for attendees. Full details can be found on pages {what to what}. The prestigious Kesselhaus (Boiler House) was lovingly and elaborately converted into an event venue in 2007. Since then it has enjoyed great popularity – events, functions, company celebrations, as well as nationally and internationally renowned artists, bring back long-spent energy.
EVENTUNIQUEFORVENUEUNIQUEA
The fascinating Kohlebunker (Coal Bunker) event venue aesthetically combines history with modernity. The “post-war ruin”, which until 1995 served as a coal depot for the Federal Railways, has been a modern event location since April 2016.
The Zenith is a stunning venue in the vibrant city of Munich, Euro Cine Expo will make the most of its surroundings to create a unique experience, by hosting over 100 exhibitors from across Europe and beyond.
THE KOHLEBUNKER - NETWORKING AREA
By combining the stone walls built in 1915 with the modern glass construction, the building perfectly complements the charm of the entire historic Motorworld ensemble in Munich.
W elcome to Munich and to Euro Cine Expo!
The location of our inaugural Euro Cine Expo is the exclusive and unique Motorworld complex, where we hope you will be able to enjoy a relaxed and highly rewarding experience throughout the event.
After the show closes at 6pm on Friday, we invite all visitors and exhibitors to join a networking event hosted at The Kohlebunker from 6.008.00pm, where guests can kick back and enjoy tunes from our DJ, and grab refreshments from our bar and street food vendors. Everyone is welcome, so don’t miss this great opportunity to catch up with colleagues, socialise and network and make new connections.
Zenith, known as a concert and event hall far beyond Munich, is a jewel among the Munich event venues for events, shows, concerts, trade fairs and much more due to its special architectural features.
THE KESSELHAUS - SEMINAR THEATRE
DURING THE EVENT Euro Cine Expo is not just a trade exhibition, we are bringing together the European film & TV world, with networking opportunities, and the chance to share knowledge and build new connections. We have fantastic food vendors, bars and some very special entertainment planned for the Euroevenings!Cine Expo will have a festival feel throughout the day and into the evening. Street food vendors, outside exhibits and other exciting activities will be taking place during the event.
Do take the time to explore everything Motorworld has to offer, from diverse restaurants, bars and themed hotels to shops, galleries and of course cars, there is something to delight all visitors!
34 JULY 2022 EURO CINE EXPO SHOWGUIDE A s much a part of filmmaking as the camera, and with an even longer theatrical history, cinematic lighting has come a very long way. It’s not just about illuminating the subject so that a camera can capture it, the placement and shading of light are important, whilst colour can bring different emotions to the scene. “Visual storytelling is a creative process and an artform, and lighting is like painting on a canvas – a combination of using all the tools you have, and all the colours,” says Markus Zeiler, managing director, Europe & APAC for MBS Equipment. “Of course, you can always capture a naturally-lit environment, but even if you have the highest sensitivity cameras, there will always be an artform in using lighting.“It’s also about controlling the light,” he continues. “When I started in the industry, it was amazing to see how much actual effort was spent getting rid of environmental lighting, just to have a controlled environment; a black/negative fill is also a way of lighting. Since then it’s been moving away from brute force towards highquality, more controllable lighting”
SWITCHING OVER
Versatility is one of the watchwords for modern LED lighting, with fixtures appearing in ever more locations. Traditional HMI sources are powerful and used widely to simulate daylight, but they are expensive, run very hot, need expert handling and can’t be moved when they are on. Compare that to something like the ReFlex R15 from Cineo, a LED hard source that delivers over 90,000 lumens of colour-accurate digital lighting on less than 1500W and uses a proprietary technique known as ‘immersive cooling’ to manage the heat produced by the highoutput multi-diode light engine. You can also control the beam angle, and adjust the CCT from 2700 to 6500.
The switch, by the majority of productions, from using Tungsten and HMI lighting, via a dalliance with fluorescents, to today’s preference for LED sources has been comparatively rapid. When LEDs first started to make an appearance, there were problems with colour and flicker, as well as cost. Nowadays the quality of the LEDs is much higher. Some have high-speed LED drivers, such as Space Force from Chroma-Q, which offer adjustable PWM frequencies to provide flicker-free operation even for high-frame shooting. Big changes have also been seen in power usage, as this not only has an impact on cost but on the sustainability and carbon footprint of a production. Manufacturers are now offering LED alternatives to conventional space lights. These are compact, more flexible fixtures that produce the same amount of light as legacy sources, but with much lower power consumption. For example, the Creamsource SpaceX is a 1200W RGBW fixture that is equivalent to a 5K Tungsten, but has also seen such diverse applications as being used as a key light or as a practical. “SpaceX yields an incredible volume of light and is flicker-free for high-speed applications in excess of 5000fps,” says Creamsource CEO Tama Berkeljon. “Some of the unique capabilities of Creamsource fixtures lend themselves to very bespoke lighting effects, and we’ve seen this on a very large scale in films like Thor: Love And Thunder (2022, dir. Taika Waititi, DP Barry Idoine). Lighting innovators have also been working closely with camera manufacturers to match how the imaging sensor perceives the light and optimise the spectral response of the light to each camera. “There is also a rise in calibrated lights by some of the manufacturers like ARRI and others, where they use XY coordinates that can measure the light you have in the environment,” says Zeiler. “A few years ago, one of the big steps was fully-tuneable, multicolour light sources.” These advances have enabled gaffers and DPs to ‘dial-in’ the light settings to match the specific camera and/or the ambient lighting usedAson-set.wellas enhancing the process of lighting by saving time in setting everything up, Zeiler feels these systems also enhance creativity. “I believe that Orbiter (ARRI’s new, ultra-bright, tuneable and directional LED fixture) is going to be the Swiss Army knife for the industry: it’s really versatile and gives top-notch light quality,” he says.
SPOTLIGHT LIGHTING THE FUTURE
By Michael Burns
Many LED fixtures these days – the ReFlex R15 included – are capable of lightning effects and flash effects; some offer a whole battery of such SFX tools. Added to this, Bluetooth, WiFi and Ethernet are now being integrated into fixtures allowing lighting systems to be controlled remotely and even networked to offer an even greater advantage. Today’s advanced lighting systems allow lighting professionals to use a dimming console or iPad apps to interactively control saturation, colour, and intensity on-set, instantly applying adjustments to multiple instances of lighting in the network, whereas traditional lighting would require switching gels on each lamp head or replacing fixtures altogether.
LEDs can be configured not just as standard fixtures, but as pipe lighting, strips and flat surfaces such as mats. LiteRibbon from LiteGear, for example, is a strip of LED emitters on an adhesive-backed lightweight flexible material which was developed from
Production is booming. The demand for content, driven by the streaming giants, means that more films and high-end TV shows are being made than ever before. So there’s probably never been a better time to get into film lighting.
“A few years ago, MBS provided a huge lighting set-up for 1917 (2019, dir. Sam Mendes, DP Sir Roger Deakins CBE BSC ASC). There were 2MWs of old Maxi Brutes rigged up for the light shining into the environment, to provide the effect of a burning cathedral. So there’s definitely a need for Tungsten for something like that. It can’t yet be replaced by LEDs, but the trend is clear.”
“You need proper skin rendering and so on, so you need to have some film lighting on there,” says Zeiler. “Then there’s the calibration of the whole set so that what your camera sees is what you get. “It won’t replace everything,” he adds. “But it’s an option for filmmaking that is growing over time, especially once it gets more affordable, and especially once it gets more bulletproof.”
Lighting trainees help to set-up the equipment for filming, following the instructions of the best boy (the lighting coordinator, who can be any gender) and the sparks (lighting technicians). If you’re in the business long enough you can aspire to the position of gaffer or head of the lighting department. Gaffers work closely with the cinematographer to deliver the desired lighting on productions on location and in studios. They plan which lighting kit to use, how to position and transition it for each shoot and work with the line producer and best boy to hire and attain it.
This page: (clockwise from top) – ARRI Stellar intelligent light control in-use on-set, MBSE Aquabat; and Cineo ReFlex R15
LIGHT TRENDS
Lighting is like painting on a canvas special projects on JJ Abrams Star Trek (2009, DP Dan Mindel BSC ASC) to light the stairs of the Starship Enterprise, and on Marvel’s Iron Man sequels to create Tony Stark’s glowing chest panel.
EURO CINE EXPO SHOWGUIDE JULY 2022 35 SPOTLIGHT
Talking of trends, Zeiler observes there has been a move in the last few years from soft sources to hard lights but says the biggest changes are coming via virtual production. This is the use of LED screens, providing the background for a basic car rig through to full ‘volume’ smart stages
Zeiler predicts that as well as mainstream lighting developments, there will be more “spin-offs” – unique fixtures for special projects, manufactured in smaller quantities – coming into the market. “For example, at MBSE, technical director Steve Howard and his team developed the Aquabat, a fully-tuneable baton that can be used underwater, but also in rough environments,” he explains. “As the market evolves, I think there will be even more diversity in lighting equipment coming up.”
FANCY A CAREER IN LIGHTING?
If you want to know more, contact the International Cinema Lighting Society (ICLS). Founded in 2020 by gaffers Mike Bauman, Raffi Sanchez and Martin Smith, the ICLS came into existence during the Covid-19 pandemic as an informal way for the lighting community to stay in-touch while the world was shut down. Today, it’s a vibrant global society dedicated to knowledge, networking and professional growth for gaffers, rigging gaffers and console programmers. www.iclsociety.com
As well as providing content, LED walls are being used for illumination in some virtual productions, but it’s not likely to replace cinema lighting fixtures.
But despite the versatility of LED, it’s not ‘lights out’ for older sources just yet. “The majority of new purchases go in the direction of LED, but there are always demands for conventional lamps,” says Zeiler. “There are certain set-ups you can’t yet do with LEDs. For example, you can use a high-power Tungsten Fresnel, a 20kW, as a sunset. The gaffers and the DPs love it. It’s really difficult to replicate that quality of light on that power level with LED today.
Opposite: (clockwise from top) – ARRI Orbiter; Creamsoure Vortex being positioned on-set; and Creamsource SpaceX RBGAW fixture
“We must be part-DP, part-director and partticket-holder,” he continues, “sensitive to the needs of each.”
Featuring the voices of: Maceo Bishop, Lucy Bristow ACO, Mitch Dubin SOC ACO, Pauline Edwards SOC, Rodrigo Gutierrez ACO Associate BSC, Christopher T.J. McGuire SOC ACO GBCT, Chris Plevin ACO Associate BSC GBCT and Peter Robertson ACO SOC Associate BSC GBCT.
By Natasha Block Hicks I
Operators who can strike this balance may find that they are called back by DPs and directors for multiple future productions. Dubin, for example, has operated for Steven Spielberg and Janusz Kaminski on 18 features including Saving Private Ryan (1998), War Horse (2011) and The Post (2017), and Robertson has teamed-up with director Joe Wright and DP Seamus McGarvey ASC BSC on seven films to date, including Cyrano (2021), Anna Karenina (2012) and Atonement (2007), the latter often cited for Robertson’s award-winning five-anda-half-minute Steadicam shot set on Dunkirk Beach.
“Operators are the point of convergence, not only for the filmmakers but for the audience as well,” explains Maceo Bishop, who won a 2021 Creative Arts Emmy Award for Outstanding Technical Direction, Camerawork, Video Control for a Special for his operating on the Disney + film of Broadway production Hamilton (2020, dir. Thomas Kail, DP Declan Quinn ASC ISC).
“That way you’re not saying ‘hey… you’ when you need to discuss blocking,” she clarifies.
“One of the great privileges as an operator is to watch a performance come to life,” enthuses Peter Robertson, one of the ACO’s founders and its serving president since 2021. “You are the very first person to witness something that will touch someone’s heart,” echoes Rodrigo Gutierrez, another ACO founder and its first president from 2010 to 2012, who has recently collaborated with Robertson on HBO series The Nevers (2021). “There’s a special relationship between the camera operator and the actors,” elaborates Mitch Dubin, a joint-recipient of the SOC’s 2022 Camera Operator Of The Year In Film Award for his work on cine-musical extravaganza West Side Story (2021, dir. Steven Spielberg, DP Janusz Kaminski). “After the director calls cut, the first person that the actors see is the camera operator,” he continues. “I consider it part of my job to protect their performances.”
“You may have to stand in the rain and wind for a long time, to be rewarded with a cold meal in a soggy bit of cardboard,” laughs Chris Plevin, recently shooting in Iceland on The Northman (2022, dir. Robert Eggers, DP Jarin Blaschke).
EYE OF BEHOLDERTHE
“It’s important to introduce yourself to the cast so they know who you are, and you know them on a more personal level,” advises Pauline Edwards, joint recipient of the SOC’s 2022 Camera Operator
t is no accident that “We see it first” – the official motto of the Society Of Camera Operators (SOC), the USA-based organisation promoting and protecting the position of camera operators within the moving image industry – neatly compliments “Best seat in the house” – the unofficial motto of the equivalent UK-based institution, the Association of Camera Operators (ACO). The international membership of both organisations will readily admit that camera operating is a uniquely honoured position within the filmmaking engine.
Diplomatic Toolbag
“It’s a role of diplomacy,” states Robertson, “as an operator, I often say that you’re really a cooperator.” “I like to have a calm demeanour and positive attitude when I’m on-set,” adds Edwards, “plus I always pay attention because the minute you turn away something could’ve changed.”
To occupy a role at the gravitational centre of the camera and grip departments, which also acts as a gateway between the crew and the director of photography (DP), director and actors, requires a certain kind of personality.
An operator’s mellow outlook still needs to be underpinned by the kind of hardiness and stoicism required by a job that powers through extended hours and occasionally uncomfortable conditions.
The flip side is that a career in camera operating can take one to some of the most breath-taking landscapes and majestic metropolises on Earth.
You are the very first person to witness something that will touch someone’s heart
Of The Year In Television Award for her operating on Snowfall S4.E8. “Betrayal” (2021, dir. Alonso Alvarez, DP Eliot Rockett).
36 JULY 2022 EURO CINE EXPO SHOWGUIDE SMOOTH OPERATORS
“I love travelling,” states Lucy Bristow, a longtime collaborator with director Mike Leigh and DP Dick Pope BSC, and the first female camera operator to join the ACO in 2009, “a job where you get to see different parts of the world while you’re working is very appealing.”
“When I was on Artemis Fowl (2020, dir. Kenneth Branagh, DP Haris Zambarloukos BSC GSC),” confides Bristow, “I was asked to do a shot of Dame Judi Dench in a spaceship. The movement of the Technocrane had to make the spaceship look like it was whizzing through shot. I was absolutely bricking it!” With a shot successfully captured, high tension quickly turns to elation.
EURO CINE EXPO SHOWGUIDE JULY 2022 37 SMOOTH OPERATORS
“There is always something new to learn,” affirms Dubin, illustrating the fact that even operators with decades of experience may be faced with shots that test them. “It is exciting to have a bit of performance anxiety. Difficult shots get the blood pumping and the adrenaline flowing and that’s what makes it fun.”
“I realised that it was such a beautiful craft that I didn’t want to go anywhere else,” extols Gutierrez.
“In order to bring a creative workforce up to a certain standard, you have to invest in them and nurture them,” stresses Gutierrez. Individual camera operators also commonly invest in key items of kit that become part of the tools of their trade.
Artist and Engineer “The job of operator is essentially the same whatever the genre,” comments Plevin, “but there can be such variation within it, in terms of yourSomeinput.”directors and DPs give operators a great deal of creative control, while others are much more prescriptive. “Then the operator role becomes one of technical precision,” continues Plevin.
Tuning the Engine
Although some, like Bishop, may eventually leave operating to concentrate on cinematography, many others, whatever their ambitions when they entered the camera department, find their calling in the role of dedicated operator.
“That moment, where you’re the guy and you’ve managed to get the shot, that’s what you live for,” reveals Chris McGuire, winner of the SOC’s 2015 Camera Operator Of The Year In Television award for his work on True Detective S1 (2014, dir. Cary Joji Fukunaga, DP Adam Arkapaw ASC).
“You’re only as good as your crew will allow you to be,” reminds Plevin, citing the camaraderie of the crew as the oil that keeps the filmmaking engine purring.
“You feel part of a group of people who are working as one. I never get bored going to work, so I’m very lucky in that respect.”
This page: (clockwise from top) – Rodrigo Gutierrez ACO Associate BSC (centre) and crew shooting on The Nevers; Peter Robertson ACO SOC Associate BSC GBCT, with director Joe Wright, on the dolly, filming Anna Karenina; Chris McGuire working on Godzilla 2 (photo by Daniel McFadden); Lucy Bristow ACO on Peterloo with DP Dick Pope BSC and Mike Miller (photo by Simon Mein); and Pauline Edwards SOC lensing on Snowfall (photo by Alex Lim)
“You’d be mad not to train-up on Steadicam,” advises Bristow, “you’re going to find it much easier to get work. Steadicam and proficiency on the wheels are essential skills to have.”
Opposite: (l-r) operator Mitch Dubin SOC ACO filming on-the-shoulder on West Side Story; and operators Mitch Dubin SOC ACO and Maceo Bishop at the 35mm film cameras shooting Bridge Of Spies, for director Steven Spielberg
Some operators come from an engineering or technical background. Conversely many start their careers in photography or have art school training. Bristow, for instance, practises printmaking alongside her career. “I feel like I have a good eye for framing and composing,” she confides. “As the operator, you’ve got the energy and talent of the entire cast and crew concentrated through that camera lens.” Sometimes operators get to show-off their talents, for example in extended Steadicam single shot scenes or bombastic crane dives. However, by contrast, an operator’s skill may be considered great precisely because it is imperceptible to the viewer. “Most often the job is to be the unseen hand,” declares Bishop, “a quiet and precise guide into a dream world and back out again.”
“To me, Ronford Baker’s manufacturing is world-class,” offers Gutierrez, who owns a Ronford Baker fluid head among other items, “when I finish a job my kit gets serviced, cleaned, repaired, upgraded; whatever it needs to be kept in absolutely top condition.”
“I’m always looking to see what other operators have in their kit,” confides Edwards, who moved permanently into scripted TV drama operating four years ago, “I have a couple of small HD monitors, and my camera crew have also made custom parts to put the camera in positions that help me to achieve the shot.”
Stoking the Fire
“Operating is very physically demanding,” illustrates Robertson, “you end-up in the strangest and the most awkward positions. I’ve spent hours poking a camera through the back seat of a car or crouching in a bath.” Keeping fit and limber is an essential requirement. Robertson has discovered that a passion for windsurfing neatly compliments his day job. “It’s great for flexibility, balance and proprioception,” he says. Additional technical training for an upcoming operator is advantageous.
“Using the wheels isn’t necessarily instinctual,” warns Dubin, “it’s like rubbing your tummy and patting your head.” The ACO, SOC and UK organisation Women Behind the Camera (WBTC) all offer training workshops on topics such as camera stabilisation and operating on a Technocrane.
The work of the grip is focussed on supporting every camera position that the director and cinematographer want in their recipe for visual storytelling, whether that means the movement of the camera, following the actors, or just a fixed, locked-off view. The main tools that grips have to deal with include dollies, cranes, tripods, tracks, trusses and wood. Oh, and a good spirit-level, tape measure, pair of gloves and sturdy footwear.
The Grip Crew
They also need good communication and interpersonal skills, endurance, creativity and patience, as well as a high awareness of, and responsibility for, ensuring a safe working environment – film sets are, after all, industrial workplaces with electricity, water, heavy equipment, stunts and explosions.
Alternatively, a strong background in traditional manual trades – such as electrician, carpenter, mechanic, toolmaker, machinist – is useful. And make no mistake, the work can be very physically demanding, so being in reasonably-good physical condition is a must.
Nowadays the cinematographer can offer very special experiences for the audience during every film, thanks to the creative, well-planned and carefullyorchestrated support of grip and lighting crews.
The gaffer draws on a wide assortment of ‘paintbrushes’ for the purpose, including lamps, reflectors, stands, diffusions, gels, black fields and, of course, electricity, light meters, viewing glasses and gloves. And, as with the grips, members of the lighting team need the same communication and interpersonal skills, and attitudes towards creating a safe workplace.
In Germany there are training programmes available for media-related crew positions.
A good introductory one is “Fachkraft für Veranstaltungstechnik”. This three-year course GRIPS SPARKSBRIGHT&
By Warwick Hempleman BVB IATSE and Adriano Grilli BVB
The Lighting Crew
Getting Started So how can you get started and cultivate your skills, if you are in Germany? For those who are considering working as a member of the technical crew, that is, as an electrician/lighting technician or as a grip, there is not a defined path to working on-set.
The gaffer and their crew, the sparks, work to influence and lead the attentions and emotions of the audience through the directed use of illumination on behalf of the cinematographer. The less the light is noticed, the more successful it is in the final result, unless, of course, the director and DP are using light for a certain, spectacular purpose.
If you are interested in discovering more about imaginative thinking and unwritten secrets that go on behind-the-camera, which make the difference between a bland, unspiced frame and one that’s emotionally-charged and pepped-up, then you should take a look at what the gaffer, spark or grip do on-set. Their jobs are fundamental to filmmaking and visual storytelling.
THE LIGHT FANTASTIC
38 JULY 2022 EURO CINE EXPO SHOWGUIDE Imagine… presenting the hero’s story from a bird’s-eye-view… running close to them, smooth and silent like a panther… watching from the spooky darkness, like an owl… anticipating their every move. Welcome to moviemaking!
Curiously, in the highly-organised German labour market, the technical trades for film work are not recognised fields of employment (“anerkannte Beruf”), so there’s not an organised apprenticeship or trainee programme. So here are a few things that may be helpful to start you on your way.
Typical paths to getting yourself on-set start with working for an equipment rental house, a production company or a production facility, like a studio or a broadcaster. This will get you familiar with the protocols of working on-set and the specialised terminology. You will also gain some new acquaintances and friendships that will be important in helping you on the next step of your career.
As lighting and grip are extremely technical fields, with a very strong engineering component, a background in electrical engineering for electricians/sparks/gaffers, and mechanical engineering for grips, is highly useful. We aren’t suggesting a university degree, but a good practical understanding of the principles of these fields is truly necessary to move beyond being more than just a pair of hands on-set.
The BVB is the national organisation for set electricians and grips in Germany. It was founded over 30 years ago by a group of professionals who were frustrated with the lack of support and organisation in the film business in Germany. They resolved to work together to trade ideas and tips, and to provide a forum for increasing our skills levels and the awareness of the rights and responsibilities of our chosen field of work. It’s a struggle, but we are happy to help where we can.
The BVB is involved with creating and operating specific skills workshops, like some of the ones mentioned previously for aerial platforms, generators, and camera crane operators. As of 2022, a new workshop is being developed to address the green standards for production in Germany. These workshops are open to members and non-members alike. For more information about the BVB, please visit our booth, or write to info@bvb-verband.de www.bvb-verband.de
The equipment used by grips, gaffers and sparks is constantly evolving, especially in the last ten years. Digital image capture has allbut replaced chemically-processed film, and the advances in LED lighting, drones, remotecontrolled camera systems, multi-channel lighting arrays, and the latest trend for green filmmaking, make the existence of a trade organisation a necessity for members to keep up-to-date on all the latest technologies and working methods. At the same time, many tools and working methods have remained unchanged for decades.
At this point, various professional organisations, or “Berufsverbände”, step-in and are able to bridge some of the information gap between crew members, Ver.di and the BG ETEM.
Images: photos courtesy of Warwick Hempleman BVB IATSE and Adriano Grilli BVB
The BVB is a forum for increasing skills levels and awareness of rights and responsibilities
THE LIGHT FANTASTIC
There are, of course, professional organisations in Germany for the other departments in our business, and we communicate together as needed. Many of these groups were very actively involved in drafting and implementing the Covid-19 safe working practices in Germany. The document that came out, which was coordinated with the BG ETEM working group, was implemented months before the safe working practices plans in many other countries were completed. It continues to be revised as the pandemic continues.
BVB – Bundesverband Beleuchtung Und Kamerabühne, e V / National Organisation For Set Electricians And Grips In most other countries, the unions tend to take a proactive role over wages and qualityof-life issues, along with workplace safety and training. Good examples are the IATSE (North America) and BECTU (UK). But this is not the case in Germany. The production workplace in Germany is regulated by two separate entities: a union (Ver. di) and by a branch of the Berufsgenossenschaft (BG ETEM for the performing arts). Ver.di is solely concerned with the economics of working conditions (hours-per-day/week, turnaround times, travel, holiday pay and so on), and is not involved at all in actually training members. It also has no say in workplace safety. The Berufsgenossenschaft, or BG, is responsible for workplace safety in Germany. The specific branch of the BG that is responsible for film, television, stage and live events is the BG ETEM. Unfortunately, Ver.di and the BG ETEM do not coordinate their activities, leaving a great deal of risk and decision-making in the hands of the crew and production teams on any given project.
EURO CINE EXPO SHOWGUIDE JULY 2022 39 of instruction combines classroom tuition and working experience as a trainee (“Azubi”) culminating in a recognised certification as a sort of “all-rounder”. If you choose to go this route, be sure to find a programme that has a focus on film work, as there are also groups for trade shows, live events, audio, TV studio work and the like. An advanced qualification is the “Meister der Veranstaltungstechnik”. This is a more intensive, multi-year programme, and covers a great deal of material that is interesting, but for the newbie is not critically relevant. There are also safety certification courses on offer, for example for aerial platforms, camera cranes and generators. Some of these are required for more experienced crewmembers in order to ensure a safe working environment. Even so, the largest part of your knowledge will be acquired through learning by doing – solid hands-on experience. Once you’ve gotten on that first rung on the ladder, the next step might be work on a series as a “Praktikant” or trainee. It’s a paid position, and you’re considered a part of the crew to all intents and purposes. Once you can work with a crew, and find a group of people with whom you enjoy working (and vice versa), you’re pretty much on your way.
GREENER PRODUCTION W
A key topic is energy consumption, and energy-saving and energy-efficient solutions are in high demand. On-set energy requirements can be cut tremendously by using LEDs, which provide the advantages of energy efficiency, durability, flexibility and speed as well as the resulting compositional possibilities. Thanks to the lower energy consumption of light sources and the different thermodynamics of the LED system, less cooling power is needed by HVAC units in film and TV studios. Meanwhile many broadcasters throughout the world chose LED systems they invested in new studios. LED lights have also become more common on film sets. LedCyc9 panels produce background lighting which provide 30% more luminosity, while ARRI Sky Panels S60-C are used for cycloramas. Furthermore, ARRI developed the innovative Orbiter LED lighting system, which can function as a spot as well as a soft light. While the fromeasilyTheluminancetowastheondistributesSkyPanellightasurface,Orbiterdesignedoptimisedensity.Orbitercanbeconvertedasoftlighttospotlight, versatility that is often needed both on location and in the studio. Compared to an HMI daylight-balanced light, the Orbiter can be compared to the PocketPAR 400W, but it generates less heat and no ultraviolet radiation. “This is why it can be used for short distances and why it can achieve light intensity which is similar to the M8”, points out Ivo Ivanovski, ARRI’s general manager of the Lighting Division. According to DeSisti Lighting, LEDs consume about 90% less energy than halogen lamps, 70% less than fluorescence lamps, and 50% less than HMIs. The company’s goal is to optimise the efficiency of Fresnel lens systems using LED sources. The fixtures, designed using the intuition and ideas of Vittorio Storaro AIC ASC and Francesca Storaro and production skill of DeSisti - can be used instead of Tungsten and HMI. As an example Aurea (The Circle) 1980W can replace either an old 20K Halogen or a 12kW HMI. German company Astera, a manufacturer of battery-powered, remote-controlled LED lights, is experiencing an increasing demand from the media industry for portable lights that can be used to shoot films, commercials and music videos. Collaborative exchanges with gaffers and cinematographers led to the development of the award-winning Titan Tube, a film lighting tube with 72W total LED power that can be operated either by AC or DC power Due to their minimal power consumption and battery-operation options, LEDs provide advantages when shooting on locations that have no access to the main grid. Because the use of diesel generators has already been restricted in cities such as Berlin and Cologne, amongst many others around the world, film and TV productions need alternative energy solutions to power film shoots at multiple locations. One innovative solution is the hybrid battery generator that has been developed by the German company Polyma, which offered film productions the first mobile power bank as long ago as 2017. In the case of generators, the trend is towards hybrid solutions that replace classic diesel models. In order to bring the requirements of the film industry in line with the legal guidelines relating to noise and exhaust emissions, hybrid generators have been developed which combine a storage system with a diesel generator as backup.
40 JULY 2022 EURO CINE EXPO SHOWGUIDE FOR SAKEFOLK’S
LEDpowerrangeOfwhileHMIreplacespotlightLEDF14HPDeSisti580WFresnelcana1800Wopenface,theMusesLight–aofhighVari-Whitelighting
“Small and medium-load requirements will be covered by batteries; large loads by motors”, says Niels Maier, who developed the e all need to play our part in helping planet earth. Increasing energy bills, legal regulations as well as the green taxonomy, demand eco-friendly practices in the film and broadcast industry. And thankfully, cinematographers, gaffers, producers and production managers can take a broad variety of measures to reduce the carbon footprint and cut energy costs on their productions.
By Birgit Heidsiek
GREENER PRODUCTION Opposite: ARRI Orbiter on a film set; and a Lichthaus truck This page: (from top) Camcar reflectors (photo by Oliver Graff); Maier Bros’ Filmhybrid 100 (photo by Niels Maier); ARRI SkyPanel EURO CINE EXPO SHOWGUIDE
MB-Filmhybrid 100 with his Cologne-based equipment rental house Maier Bros. After the prototype of this hybrid generator has been used on productions such as Sky’s German neo-noir TV series, Babylon Berlin, the MBFilmhybrid 100 will be released in a limited series of six Meanwhilevehicles.Berlin-based Lichthaus created the Stage V Hybrid Green Shooting System, that provides up to 21kW of power from its battery storage. “In case more power is needed, the generator kicks in”, explains Mike Zimmermann, managing director at Lichthaus.
The German rental house Mobilespace is going to offer a hybrid battery truck with 100kW of output, enough to provide an independent power supply for set and base for larger film productions. “One battery load should last for at least one shooting day”, says Moritz Kromer, managing director at Mobilespace. “Instead of consuming about 150-litres of diesel per shooting day, the back-up needs only about 30-litres of diesel, which reduces carbon emissions by up to 80%.” A mobile and affordable solution for off-grid energy supplies is being offered by the Berlinbased company Betteries, which refurbishes used batteries from electric vehicles.
JULY 2022 41
A second lease of life is also granted to analogue lenses at Munich-based company P+S Technik, where eco-friendly practices are uppermost in the mind. “By rehousing, we extend the life span of a lens”, explains CEO Anna Piffl, who manages P+S Technik with Andreas Dasser. “Thanks to the digitisation of cinematography cameras, lenses that were originallydesigned for use with a reflex system in film cameras can now be repurposed.” By rehousing vintage lenses, P+S Technik enables cinematographers to reuse lenses from the analogue era that were designed to create special film looks. A classic among these vintage lenses is the Canon K-35 series, which were used on James Cameron’s sci-fi action franchise film Aliens (1986, DP Adria Biddle BSC). When designing a new housing, the technicians first examine the condition of the lens that will be rehoused for modern lens motors usage. Manufacturing the new housing follows the principle of ‘Repairing, Redesigning, Rehousing – Reusing’. The adaptation of the lens, as well as the production of the new housing mechanism, is done in-house. “The individual parts for the housing are produced in our lathe and mill shop”, explains Piffl. “The filings cut by the milling and threading machines are single-variety sorted and melted down again. The scrap metal, junk, and old parts are collected and separated for recycling.
The office, the assembly line, and the vast machine room, are all powered by in-house generated renewables. “In order to keep production costs down and to streamline our efforts, we developed several categories of housings whose components are compatible with various lenses. Our photovoltaic installation generates from 30,000 to 35,000kWh, which covers about a third of our energy consumption,” she adds.
“We give batteries from electric vehicles a second life in order to accelerate the transition to renewables and achieve scalable reductions of carbon emissions and scarce resources“, says Dr. Rainer Hönig, founder of the Berlin-based start-up. The Betteries system can store between 3kWh and 12 kWh of energy, it recharges quickly, and it has an output of up to 5kW of either direct (DC) or alternating current (AC). The modular design of the battery units permits them to be stacked either horizontally or vertically. But, looking after the planet and the idea of upcycling doesn’t just stop with energy.
The huge 182sq/m area of solar panels on the roof of the camera, lighting, and grip rental house has a system performance of 29.8kWp. The potential for solar power production will be further exploited in the future. “We’re planning another photovoltaic system of the same size, so that we can charge hybrid vehicles for our employees and have charging stations with solar power,” he concludes.
Images: (from top) – Camcar reflectors (photo by Oliver Graff); inside the P+S Technik factory; portable power from Betteries; P+S Technik rehoused 75mm Cooke lens
An increasing number of studios and film equipment rental houses are turning to photovoltaic systems. “We invested in a photovoltaic system with battery storage so that we can provide our entire company with self-generated solar power”, says Oliver Graff, who operates the camera, out of lighting, and grip rental house Camcar in Cologne and Dusseldorf. During the day, hybrid vehicles, among others, are charged with solar power. Thanks to its in-house electricity storage, which has a capacity of 12.6kWh, batteries can also be charged overnight by ecofriendly electricity from its photovoltaic roof. The energysaving solutions that CamCar offers for lighting include a broad range of LED lights that have both low-energy consumption and low-heat emission rates in relation to their brightness. When it comes to reflectors, Oliver Graff offers an ecofriendly solution.
42 JULY 2022 EURO CINE EXPO SHOWGUIDE GREENER PRODUCTION
“We’ve been purchasing cardboard reflectors from the Kohlschein Company for a long time,” he says. “The top layer of these lightweight, stable display boards is made of cardboard and a honeycomb core of craft paper, so that they are one-hundred percent recyclable.”
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