Starsoftheshow! Here are the dozen coolest things we spotted at London’s BSC Expo
WORDS AND IMAGES ADAM DUCKWORTH
N ow firmly established as the first big show of the year, the BSC Expo brings together professional filmmakers and cinematographers to network, take part in seminars and workshops, and check out the latest kit. Although much of the kit was aimed at very high-end TV and cinema use, there was lots to see for independent filmmakers considering their next purchase or rental, or just checking out the incredible kit used by mega-budget filmmakers. Themove to full-frame cinema cameras, with lenses to match, was the biggest news at this year’s show, with many manufacturers showing off their top-end (albeit pricey) kit. 1 Star of the show for indie filmmakers was the Kinefinity Mavo LF camera, the most affordable full-frame cinema camera you can buy. Best of all, ProAv actually had stock of the lusted-after cam so you could buy one and walk away with it! Also on show was the range of Kinefinity-branded, large-format prime lenses to match. 2 If you wanted to go anamorphic for true cinema style, then German lens specialist P&S Technik was showing its
go at filming some macro with a Sony full- frame camera. 7 Getting your colours right is a crucial part of filmmaking. Demos on how to nail it using inexpensive X-Rite ColorCheckers and a BenQ screen runningDaVinci Resolve were hugely popular. 8 The award for the largest camera on showwent to theArri Alexamountedwitha huge Angénieux lens, and a mechanical rig to drive it via a steering wheel. 9 Zeiss had the only 135mm full-frame SupremePrime lens inthecountryspecially flown in fromGermany to make its UK debut. Mounted on the Sony Venice, it is as sharp as you’d expect from the optics experts at Zeiss. 10 If it’s great British lenses you’re after, Cooke delivered with a whole range of full- frame and full-frameplus lenses, including an 18mm S7/I mounted on an Arri Alexa LF. The brand also debuted two 50mm Anamorphic/i Full Frame Plus lenses, one standard and one with a special SF coating to create even more flare. 11 For when drones just won’t cut it... A rig of three RedMonstro 8K cameras with Cooke S4/I lenses mounted onto a huge carbon fibre five-axis Shotover gimbal for use on helicopters. 12 For a more realistic purchase, there was lots of grip, including these huge stands and a range of Magliner trolleys to transport them around on.
range of prime and zoom anamorphics, available to suit the largest format cameras in both 1.5x and 16:9 CinemaScope. 3 Of course, Sony had the ultimate accessory – a retro Citroën car fitted with a huge HDR monitor in the boot! It also had two full-frame Sony Venice cinema cameras mounted to it, one on the roof and one on a rig pointing through the driver’s window. The cost of the cameras and monitor far outweighs the cost of the classic French car, for sure. 4 Not all monitors are huge: SmallHD was showing off its latest range of on- camera screens, as well as the range of Focus Bolt wireless handheld monitors. 5 About as far from handheld as you can get was the Agito robot dolly system. Although this amazing robotic camera platformwith small caterpillar-style tracks looks more like some military bomb disposal device, using the firm’s own V-Con Pro stabiliser it actually carries an Arri film cinema camera. 6 Mega retailer CVP took over the whole mezzanine floor and brought its new-style ‘experience’ store to the show. You could try out lenses, talk to experts or evenhave a
“Therewas lotstoseefor independent filmmakers considering their next purchase or rental”
PRO MOVIEMAKER SPRING 2019
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