Light, again, shines at Cine Gear Expo

Cine Gear Expo

With over 20 top lighting-makers on the scene, it is fair to say that lights are on at Cine Gear Expo, again. LED lighting leads the herd, with new solutions shining in LA, like the Remote Phosphor Pipes from Denmark’s BB&S Lighting.

Light is essential for all of us, and light is essential for storytelling. No wonder, then, that light, in different shapes and colours, is one of the highlights (!) of each new edition of Cine Gear Expo. We wrote about LED being king in 2015’s edition, this time, again, LED is to be seen everywhere on the show floor.

Panel lights from names as ARRI SkyPanels, Fluotec Cinelight, Ikan’s new Lyra and Rayden, Magic Gadgets, and Litepanels’ Astra are available for visitors to check. But there is much more. Mole-Richardson expands its LED Fresnel line with the Tener that sets a new standard for high output from a single source LED. Cush Light shows a new line of LED Flex fixtures and the new Blind Spot Tile makes its American debut. ETC introduces Source FWRD, a time and energy-saving LED upgrade to its popular Source Four ellipsoidal fixtures. LEDsfilm offers a family of hard LED lights up to 10,000W.

Cine Gear Expo

From Denmark comes BB&S Lighting, presenting the first Remote Phosphor Pipes, in 1-inch diameter by 1′, 2′, 3′ or 4′ long stand-alone units, or Pipeline 4-Bank, 3′ and 4′ systems–all with a TLCI over 95. And there is even a special light for drones, the Stella Pro 5000d ultra-powerful aerial light from Light & Motion already mentionned here at ProVideo Coalition. That’s a compact 5000-lumen light which is remotely controlled from the drone controller providing on/off and smooth transitional dimming.

At Cine Gear Expo there are even choices when it comes to modifying the light. The Rag Place is showing the Snapgrid and Snapbag which soften and help direct LED lights. Los Angeles Rag House debuts the RiteRig Soft Box that can be custom fit to any location or budget. K5600 Lighting will show the KURVE 3 parabolic umbrella (3′, 4.5′, and a 6′ version) that works with their existing Joker HMI’s and others. Chimera will also be on hand with an array of softboxes. So much light, so little time!

Cine Gear Expo

Besides all that light there is all the other gear that makes cine Gear Expo what it is: this year nearly 300 equipment vendors show both their time-honored and new innovations. Camera makers responded to filmmaker’s input, and one example comes from ARRI, with its new documentary-style AMIRA and the groundbreaking ALEXA XT. Sony will exhibit its range of widely used digital motion picture cameras, professional workflow solutions including the new R7 portable memory recorder capturing 4K at 120fps, the latest professional and consumer digital imaging technologies and the complete lens to the living room High Dynamic Range product family including the newest professional HDR monitors and 4K UHD TVs.

Blackmagic Design will demo its Micro Cinema Camera and URSA Mini 4.6K digital film cameras, as well as the new Blackmagic URSA Studio Viewfinder. Streamlined workflow and high image quality are features Panasonic will emphasize when showing its new Cinema VariCam LT. Canon will show its new, lightweight ME200S-SH multi-purpose camera for live HD broadcasts, production and surveillance, featuring Dual Pixel CMOS AF on a Super 35mm sensor. Pro8mm will showcase its classic professional Super8 50th anniversary edition, designed for C-mount lenses. For 360? interactive video fans, Kodak’s PIXPRO SP360 4K VR camera will be on hand.

Cine Gear Expo

Anamorphic lenses are, apparently, making a digital camera comeback. Besides the presentation of the new Panavision DXL, Cine Gear Expo will have lens vendors offering anamorphic solutions. Angenieux will unveil its Long Range Anamorphic Optimo 44-440 A2S zoom and in Servicevision’s booth, visitors can see the Scorpio Anamorphic 2x 138-400mm T4 Zoom lens. P+S Technik will showcase a 35-70mm Cinemascope zoom for 16:9 and Full Frame sensors.

Lens-makers are also adding to their prime lens families. Schneider Kreuznach will extend its full-frame Xenon FF-Prime lens line with an 18mm. CW Sonderoptic introduces two new lenses in the Leica Summicron-C cine lineup, the highly anticipated 40mm T2.0 and 15mm T2.0. Fujinon will show its 20×120 Cabrio/T3.5 (XK6x20) zoom lens. Rokinon Cine will introduce DS and XEEN Professional Cine Lens systems. And Tokina will premier its Cinema ATX 11-16mm T/3.0 PL mount and 100mm T/2.9 Cinema macro lens.

Cine Gear Expo

Cine Gear’s aisles and stages will be packed with new ways of adding production value with camera support. Benro offers new, affordable BV4 Pro and BV6 tripod kits. Chapman/Leonard Studio Equipment will showcase the all-new compact CL Mini Remote Head, COBRA VT 22-61 camera dolly and the Miniscope 5 & 7 on the versatile Mini Base. Adding new functionality to its Cool-Rigs, Cool Lux will debut a Shift Baseplate. Servicevision will present the new Scorpio Stabilized Head. Matthews will be on hand with grip gear and the new Infinity Arm that can mount everything from a GoPro to a fully dressed out cine camera. Filmotechnic USA and Camera Car Systems will show the unique camera angles made possible by their Flight Head Mini working with Supra Cam. To get shots from as low as an inch and a half off the ground, Swerv will demo its Camera Luge. And Tiffen will show a new Steadicam Fawcett Exovest semi-rigid exoskeletal vest.

These are some of the reasons to visit, June 3 and 4, Paramount Studios, in Hollywood. With major screenings, filmmaker panel discussions, groundbreaking techniques and new equipment premiers that are sure to influence the filmmaking industry, Cine Gear Expo, a show started in 1996 – yes, that’s 20 years ago – is the place to see the latest gear.

Flanders Scientific BoxIO at Cine Gear Expo

BoxIO at Cine Gear Expo

First presented at NAB 2016, the BoxIO offers some unique capabilities like frame capture support, real-time LUT updates, and dual channel operation. BoxIO is available in three different models to suit different budgets and needs.

Flanders Scientific announced that BoxIO Utility is now also available as a free download for both Mac and PC. This application allows users to load 1D and 3D LUTs, control mode and input settings, set network preferences, and grab full resolution reference stills from BoxIO with or without LUT applied. Reference stills can be saved as full resolution .JPG or .BMP files.

BoxIO at Cine Gear Expo

It should be noted that the utilities available for download require the newest firmware versions for FSI Monitors and BoxIO and may have limited functionality based on the monitor model. Flanders indicates that some units may respond to commands quicker than others and that users should be patient when sending commands and follow the instructions regarding how to download and run the Utility.

Another surprise regarding the BoxIO family from Flanders Scientific is the fact that the BoxIO is supported in Pomfort’s LiveGrade Pro official release (version 3.5.1). Single-channel operation and reference frame capture are both enabled in this release. LiveGrade Pro will support dual-channel use in the near future. This dual-channel use will be showcased in beta at FSI’s CineGear Expo booth in Hollywood. Dual-channel operation in LiveGrade Pro will, according to Flanders Scientific, support both realtime LUT manipulation and frame capture with each channel addressable as a separate LUT device.

BoxIO at Cine Gear Expo

In single-channel mode BoxIO allows you to load 16 separate 33 side cubes. In dual-channel mode BoxIO operates like two independent LUT devices allowing you to load 32 independent 17 side cubes, 16 per channel. Additionally, when using BoxIO for 4K over Dual 3Gbps SDI a 33 side cube can be used. The free BoxIO utility allows you to switch between these modes and stored LUTs very quickly.

Millennium DXL at Cine Gear Expo 2016

Panavision Millennium DXL

The Millennium DXL Camera will be rented exclusively through Panavision and will be available in early 2017. Working prototypes and a demo reel will be on display at the Panavision and Light Iron booth at Cine Gear Expo, June 2-4 in Hollywood.

The new large-format camera from Panavision, DXL, is, according to the company, a revolutionary breakthrough in image acquisition and workflow, developed through an unprecedented combination of best-in-class contributions from RED, Light Iron and Panavision.

According to Kim Snyder, President and CEO of Panavision, DXL is offered in response to heightened demand for large-format cinematography. “Our unparalleled fleet of large format and anamorphic lenses has been extremely popular in this resurgence of large format capture, and with the Millennium DXL, cinematographers now can capture more than 20-megapixels of true 4K anamorphic pictures.”

Panavision Millennium DXL

At the core of DXL is a proprietary image mapping process called Light Iron Color, which provides a unique, cinematic look directly out of the camera. Light Iron Color integrates seamlessly with DXL’s ultra-high resolution sensor, a new 8K imager manufactured by RED Digital Cinema, and with Panavision’s large format lenses. The camera body was designed with ergonomics and temperature management in mind: its mid-size form factor is extra lightweight, yet allows for an airflow system that dissipates heat more quietly than compact competitors. DXL also has built-in, crew-friendly, modular accessories to improve versatility and quick changeovers during production.

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“Our streamlined workflow includes simultaneous recording of 4K proxy files – ProRes or DNx -alongside the 8K RAW files,” states Michael Cioni, DXL Product Director and President of Light Iron. “This creates a direct-to-edit workflow with the NLE of your choice. Using efficient SSD media, the cost of capturing 8K files with DXL is more economical than using third-party recorders on lower resolution cameras. Light Iron Color and our Panavised Outpost Systems provide a workflow for DXL that can be easily adopted for shooting large format photography.”

Panavision Millennium DXL

“What is exciting,” adds Cioni, “is that cinematographers will notice how 8K acquisition creates images that are smoother, not sharper. With a full frame 35-megapixel imager, DXL provides a super-sampled image, much like large format still photography, so that its smoothness is retained whether you finish in 4K, 2K, or HD.”

Jarred Land, President of RED Digital Cinema, notes that the collaboration with Panavision marks “the next step forward for the industry. RED pushed the motion picture industry into file-based RAW image capture a decade ago, but Panavision has been renowned for their optics and engineering for more than 60 years. Together with Panavision and Light Iron, we’re shaping the future of large format cinematography.” Snyder concludes, “Panavision’s mission is to provide our customers with leading-edge tools and technologies that enable them to achieve their creative vision, and the Millennium DXL is a platform that allows us to expand the ways in which we can do just that. I am very excited about the next phase of our Company’s growth and cannot wait to present all of the products and ideas that we are developing.”

Exciting is a term that comes to mind when looking at the images showing the DXL. If you’re in the Los Angeles area, don’0t miss the chance to see the camera live at Cine Gear Expo. It’s probably one of the multiple good reasons to visit the show.