Definition June 2023 - web

Technology, technology, technology abounds in the June edition! There are in-depth features on optical trickery and monitors, as well as a production focus on the latest iteration of The Invisible Man – made with three robots. A round-up of the newest and most popular kit on show at NAB also awaits. Get reading!


Printed in the UK


The concealment of The Invisible Man, like you’ve never seen him before

Burning questions

How did they do that? The smoke and mirrors of optical trickery explained inside

The key to a bright future Lighting innovations debated by those in the know

How C.J. Tudor’s story was adapted for the small screen

BRIGHT PUBLISHING LTD Bright House, 82 High Street, Sawston, Cambridgeshire, CB22 3HJ, UK EDITORIAL EDITORIAL DIRECTOR Roger Payne ACTING EDITOR Robert Shepherd CHIEF SUB EDITOR Matthew Winney SUB EDITOR Ben Gawne JUNIOR SUB EDITOR Lori Hodson CONTRIBUTORS Phil Rhodes, Katie Kasperson ADVERTISING SALES MANAGER Emma Stevens 01223 499462 | +447376 665779 DESIGN DESIGN DIRECTOR Andy Jennings DESIGNER AND AD PRODUCTION Man-Wai Wong DESIGNER Emma Di’Iuorio JUNIOR DESIGNER Hedzlynn Kamaruzzaman PUBLISHING MANAGING DIRECTORS Andy Brogden & Matt Pluck Definition is published monthly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge, CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. Definition is a registered trademark of Bright Publishing Ltd. The advertisements published in Definition that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. Prices quoted in sterling, euros and US dollars are street prices, without tax, where available or converted using the exchange rate on the day the magazine went to press. SALES DIRECTOR Sam Scott-Smith 01223 499457


WHAT’S AT STAKE Folk horror galore, as we talk The Burning Girls with series DOP Dale Elena McCready


I t’s the June edition – and that means Cine Gear Expo LA 2023 has arrived. Sandwiched between its New York (March) and Atlanta (October) siblings, the event returns to The Studios at Paramount after a brief stay at the Los Angeles Convention Center. Read our preview on page 24 to find out more. Additionally, we have a review of the NAB Show from April, the unmissable trade event that showcased the latest and greatest technology in the film industry. See who displayed what and learn about all the groundbreaking advancements. Staying with tech, several gear features can be found in this issue, spotlighting monitors, grip gear and optical trickery – along with a round table on lighting.

Last but not least, we have some thrilling production stories for your perusal. First off, we speak with the cinematographer on the upcoming Paramount+ series The Burning Girls (an adaptation of the CJ Tudor book) on page eight. And if that’s not quite enough, you can read all about a brand-new – and quite different – take on H. G. Wells’ The Invisible Man … all two minutes of it. Enjoy the issue.



@definitionmags @definitionmagazine



3. JUNE 2023


WHAT HAPPENED IN VEGAS The Definition team travelled to the Mojave Desert for the 100th NAB Show and got a read on the current industry trends

08 THE HEAT IS ON Adapting C.J. Tudor’s book, The Burning Girls , into a series for Paramount+ 16 SUPPORT FOR SECTOR SAVES THOUSANDS OF JOBS An independent report details how the government’s Covid-19 support scheme rescued key productions

24 THE MAIN EVENT Cine Gear’s LA Expo returns to its traditional home 31 REVEALED BY ROBOTS The Invisible Man – but like you’ve never ‘seen’ him before 44 THE MAGIC OF MONITORS Get a new view of your cinematography 51 100 YEARS OF INNOVATION A recap of NAB Show’s centennial event 56 OPTICAL TRICKERY The world of filters and in-camera effects 64 GETTING A GRIP An ode to every set’s unsung hero and their bag of tricks 71 CAMERA LISTINGS Our favourite cameras on the market

BIG SCREEN If you can’t see what you’re shooting, how can you expect good results? Our monitor guide is here to help


5. JUNE 2023


WATCH THE THRONE Our favourite spoilt siblings scrap it out one last time for a seat at the corporate top table


has amassed a dedicated following due to its skilful blend of Shakespearean drama and biting satire, often communicated with simple gestures or razor-sharp put downs. Season 4’s pivotal third episode includes a memorable 27-minute scene shot on a boat, where the Roy kids react to a call from Shiv’s husband and head of ATN Tom Wambsgans (no spoilers!). The bitter saga will conclude on 28 May.

It’s back for the last time! The eagerly awaited premiere of Succession ’s fourth and final season on 26 March left drama aficionados eager to find out who would ultimately take on the role of CEO at Waystar Royco. Inspired by Australian media magnate Rupert Murdoch and his six children – and often cited as one of the best serial dramas ever made – the Emmy and Golden Globe-dominating HBO show



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Cinematographer behind the eagerly anticipated series The Burning Girls talks VFX, screens and night shoots in the country The heat is on PRODUCTION. THE BURNING GIRLS

WORDS. Robert Shepherd IMAGES.  Buccaneer Media, Paramount+ & Joss Barratt

I f The Burning Girls isn’t a disconcerting enough title, it was considerably more unnerving to find out that the CJ Tudor novel on which the Paramount+ series is based was inspired by real-life events. Adapted for the small screen by Hans Rosenfeldt, the six-part series, shot at studios in west London and on location in Buckinghamshire and east Sussex, tells the story of a reverend and her daughter seeking a fresh start in a sleepy Sussex village called Chapel Croft. They soon discover their new local is haunted by its dark history and ancient superstitions. For Dale Elena McCready BSC NZCS, cinematographer on the production, the job offer couldn’t possibly have come at a better time. “The script came through to my agent,” she says. “I was going to do two blocks of The Witcher last year, but there was a clash of schedules. That meant the second half of my contract opened up and this script piqued my interest. I’m a big fan of genre stories in general and have often worked on genre television and film. It’s my interest in general – as a viewer and as a reader – so it was something that I was excited to do.”



TWIN TROUBLE The Burning Girls’ ode to The Shining’s terrifying twins is a creepy motif

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LOCAL TALENT British acting royalty make up the cast, from The Last Kingdom’s David Dawson (left) to The Whale’s Samantha Morton (right)

McCready isn’t necessarily your typical cinematographer – she chooses projects primarily by the quality of the script, as well as whether it appeals as a viewer. What’s more, she likes a combination of being directed and being given the space to come up with her own ideas. “I work in-between the extremes of being told what to do and being given carte blanche to varying degrees, depending on the director and the people involved,” McCready continues. “I sat down with the director Charles Martin and we went through the script together and talked about the scenes. We broke them down in our prep process and set up what we saw in our mind’s eye, going back and forth quite a lot, designing the shots. Charles had ideas – so did I.” When McCready first began reading the script, she wrote notes about shots. “That’s quite unusual, but it jumped out as a visual script,” she says. “I could see and hear it quickly. So, I came to the party with a lot of ideas. But there’s a process of negotiation, where the two of us discuss any ideas and see if they fit the flow of the script because it’s part of the journey. You’re not just trying to make a bunch of snazzy shots, you want it to flow so the audience is pulled through the story in the right way.” Despite the fact that it’s a creepy horror-thriller shot in modern times, the

“I work in-between the extremes of being told what to do and being given carte blanche to varying degrees, depending on the people involved”

team agreed that virtual production was barely required at all. “We didn’t really use virtual production in the series, but there was some comping and green-screen work,” McCready continues. “We did discuss it, but there was very little need for a virtual shoot. We talked about it for some car material because I’ve used it in two different ways – the classic 3D-generated background version a la The Mandalorian , but also as a poor man’s process replacement where you do driving material, but the LED screen is much better than a rear projection screen, for example. You get better quality shooting someone against the LED volume.” Blue screen versus green screen remains a debate, so McCready explains why one was used over the other. “When we were shooting on film, we were shooting on blue screens. As digital formats came out, we tended to favour green screens for the main reason that in the green channel of the video there is so much more information,” she

KEEPING THINGS STEADY DOP Dale Elena McCready on location filming The Burning Girls in rural England



explains. “So you get a lot more detail and less compression hidden in there. Whereas, the blue channel might have a lot of compression you don’t see until you go to key it and then it breaks down. More recently, I noticed VFX supervisors asking for blue again, as the spill can look more natural and digital cameras are better.” SCREEN TIME McCready explains how the series carried blue and green screens, so it depended on the VFX supervisor to see which was the most appropriate option. “If I’m lighting with blue light, I’ll generally use a green screen,” she says. “For night scenes, for example when we’re doing moonlight and things like that, we had the option of both and went with green if we were outside.” Nevertheless, there wasn’t an enormous amount of keying material required in the series, but there was a lot of VFX comping on top of doubles, stand-ins or performance that’s going to be further enhanced in post-production – as opposed to keying someone into a background that isn’t there.

ADAPT AND THRIVE The series attempts to capture the unsettling English landscape of CJ Tudor’s bestselling book

Raw file because the cameras only shoot Raw really,” she adds. “For other cameras, like Arri and the Sony Venice, if you want to shoot Raw it’s an option, but sometimes you are pushed into not shooting that option because it might be slightly more expensive in terms of storage. Using Red, I know I’m going to get that Raw file “More recently, I noticed VFX supervisors asking for blue again – the spill can look more natural”

In fact, there are some heavy VFX elements to the script, which McCready says relied on excellent execution. “We spoke with a few companies and Automatik VFX won the contract,” she reveals. “I’ve shot a lot of VFX, so I’m quite experienced with different backgrounds and knowing just what’s needed. In general, Automatik was quite interested in working on top of the real footage and real performances, then creating our characters.” Over the last few years, McCready has employed all sorts of cameras. More recently, Red cameras have cropped up regularly for high-end television – this is for multiple reasons. “The fact that I get a

FULL COVERAGE A Red V-Raptor 8K with Tribe7 Blackwing7 lenses made up the shooting kit for certain sections – helped out with a lightweight stabilisation set-up

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and get the most options for the colourist and producer in post.” McCready opted for the V-Raptor 8K due to its Vista Vision large format sensor. “The camera can do 8K and 120fps without any compromises to the format,” she continues. “Physically, it’s also a very small camera, so it ticks every box for me. The fact it’s little means I can use smaller equipment to move it, put it on cheaper devices (gimbals etc) – except I still get Making The Burning Girls required depictions of various eras, such as the nineties and modern day, so McCready had to choose her kit accordingly. “The modern material with Samantha Morton benefited from the larger 8K VV sensor in that it enhanced the separation “The camera moves in a considered way, leaning heavily on the language of thrillers” all the frame rate options.” PAST AND PRESENT

FIRE AND BRIMSTONE Taking advantage of Britain’s grisly history, The Burning Girls flits between time periods to glorious effect

of subject over background. The camera was moved in a considered way, leaning heavily on the language of thrillers and suspense films to build tension. For this, we shot on Tribe7 Blackwing7 lenses.” For the nineties scenes, McCready wanted it to feel alive and reflect the characters in the period: mainly teenagers. “We went for a Super 35, more vibrant handheld feel, with some added grain for a stylised look. I could use the

small Red Komodo camera, which is tiny and natively 6K Super 35. Or I could use the Red Raptor cropped to 6K mode. We used Canon Sumire lenses for all the nineties shots.” A combination of the Komodo and entry-level accessories helped McCready achieve a cinematic effect. “We had a Steadicam-style unit with lightweight, cheap gimbal support, the Tilta Float and DJI RS 2 gimbal for the smaller camera,” she asserts. “It gave a unique and flexible visual style for particular characters.” For exterior shots, McCready and team had space to play with. “There was a chapel set built out on location which was an existing house for the vicarage,” she says. “It was a big, open landscape and there was a huge amount of night material to deal with. We wanted to do high-speed frame rates, so needed flexibility in our shooting directions. The trickiest thing was getting the lighting rig planned and set. It was a rural location, so the challenge was getting big machines on a field – ensuring they didn’t fall over – and being able to spin around and shoot quickly over few nights. We came up with a good solution with my gaffer Stuart King… and I was very pleased.” The Burning Girls is slated to release on Paramount+ later this year



Industry briefings


equivalent amount of money without the intervention. Culture secretary Lucy Frazer said screen industries are an “economic powerhouse and we should be proud that the UK is firmly established” as one of the best places in the world to create blockbuster content. “When the pandemic threatened success we stepped in to protect jobs, keep cameras rolling and ensure producers could keep making the exceptional content the UK is famous for,” she added. “The Film and TV Restart Scheme protected productions, supported jobs, contributed to our economy and entertained audiences across the world.” John McVay, chief executive of Pact, a screen industry trade body, added: “The swift actions of the UK government to set up the PRS at a time of unprecedented crisis” showed that public funds could be effectively used to support a key economic and cultural industry. “The PRS saved many small British production businesses while supporting significant employment,” he said. “More importantly, it ensured the public continued to enjoy great British programmes and films.” Marsh Commercial is currently processing outstanding claims. The final figures will be released this year once all claims are resolved.

The Film and TV Production Restart Scheme (PRS) assisted productions struggling to get pandemic-related insurance, before ending last spring. The report by Nordicity & Saffery Champness found that over two years the scheme had created 37,100 cast roles, 63,500 crew positions and sustained 48,500 full-time jobs. Among the productions benefitting from the scheme were Good Luck To You, Leo Grande and Peaky Blinders . Thanks to effective management of Covid-19 risks during production, film and TV companies kept costs to the government at just £19.6 million. According to a survey conducted on producers, the scheme has been beneficial for the growth of the sectors. On average, 73% of registered productions would not have been capable of spending the The UK government’s Covid-19 production scheme supported over 1200 productions and boosted the country’s economy by £2.25 billion since its launch in July 2020, according to an independent report

ARwall secures funding ARwall, the XR technology enterprise who contributed to Disney’s Muppets Haunted Mansion – resulting in an Emmy win – has secured funds for broadening enterprise and introducing products in SaaS, mobile, cloud and AI. The expansion arises after a series of triumphs in patent litigation concerning virtual production. ARwall has inked a strategic collaboration with Doublevision, a San Francisco mobile app developer. Investors include Tech Coast Angels Fund III; former president at Digital Domain, Debra Fine; plus investor and partner at Radar Pictures and Edge Case Capital Partners, Jason Moskowitz. ARwall will use the funding to expand XR filmmaking technology into key markets, including education and corporate micro studios, in 2023.

BIG BACKINGS Extended reality is a hot topic, and ARwall’s funding will get the show on the road




STREAMONIX AND ATOMOS TEAM UP Atomos and Streamonix have announced a collaboration to develop a new real-time streaming project. They will work under a memorandum of understanding to test and deploy a next-generation, real-time streaming project, connecting Atomos Cloud Studio to Streamonix Media Streaming Federation (MSF) test network. The MSF will behave as a one-to-many accelerator and delivery utility for Atomos Cloud Studio streams, using the Streamonix Cloud-to-MSF interface. The MSF will span selected global locations, transmitting live HD and 4K video streams from the Atomos Cloud with sub- one-second latency. This will highlight the ultra-low-latency, ultra-high-bit-rate streaming capabilities of Streamonix, and will demonstrate its suitability for global, real-time streaming applications such as live broadcasts, as well as large- scale ProRes Raw production file transfers.

Animatrik Film Design and NantStudios have joined forces to offer advanced performance- capture services in Culver City, Los Angeles County. NantStudios, known for its virtual production ecosystem, has invested in its technology-driven creative hub in LA for domestic and international productions. This partnership combines Animatrik’s

expertise in performance capture with NantStudios’ technical capabilities to offer an advanced performance-capture stage and post-process pipeline. Performance-capture technology is at the heart of films such as Avatar: The Way of Water , Avengers: Endgame and Ready Player One , along with games including God of War Ragnarök. “It’s exciting to be partnering with NantStudios on our latest venture,” says Brett Ineson, president of Animatrik Studios. “By joining their existing services and location and bringing our expertise on board, we can offer one of the most advanced performance- capture stages and post-process pipelines in the world.” The stage is now open and taking bookings, leveraging commercial partnerships within the NantWorks ecosystem of companies to offer fully integrated services including performance capture, real-time art asset creation and LED in-camera visual effects.

UP AND RUNNING The dynamic duo have opened advanced facilities in a joint venture

IN THE ACTION Animatrik and NantStudios are offering their services in the heart of Culver City, CA

Multi-million-pound Netflix film studio development edges closer Ashford International Film Studios has taken a major step forward with a loan of £50 million from Ashford Borough Council to develop the old Newtown Works. Plans include reusing Grade II listed railway sheds and workshops at the site, with Netflix and Amazon among the producers considering using studio space. The UK film sector is projected to require two million sq ft of new studio space and 10,000 new employees in five years. Council director of finance and economy Ben Lockwood hailed the project as an opportunity to transform a dormant brownfield site with historical significance into a thriving hub of economic activity. “This scheme, subject to an amended planning consent for the studio and workshop space, with a reputable studio operator secured and with the council’s support, together with the successful Levelling Up funding bid, provides a once-in-a- generation opportunity to redevelop this nationally significant railway heritage site into a thriving economic driver," he said. The studios are expected to boost investment and employment opportunities in the area, with 240,000 sq ft of studio space, a 120-bed hotel and 300 residential apartments.





London VFX house Union has established its first international satellite studio in Montréal. The studio was set up in a renovated industrial facility, Le Nordelec, situated between Griffintown and Pointe-Saint-Charles. Union has started recruitment for various technical, creative and production roles at all levels, to expand its Canadian team. Adam Gascoyne and Tim Caplan founded the company in 2008 and it has collaborated with renowned Oscar and Bafta- winning directors such as Martin McDonagh, Danny Boyle, Sam Mendes and Stephen Frears on projects ranging from period dramas to dystopian fantasies. “Adam and I have backgrounds at bigger VFX studios and our plan with Union was to build a BIG NAME PRODUCTIONS Recruitment has begun at Union’s newest facility, allowing for local talent to get involved in Montréal

VFX company that had all the best bits from our experiences, with the benefits and personability of an independent studio,” Caplan said. “Over the last 15 years we’ve definitely achieved this in London and, with the ongoing upturn in film and TV projects globally, the time is right to do the same in another region.” He added that Union “decided on Montréal pre-pandemic” seeing the city as a “perfect place, ideally positioned to work with clients across multiple time zones, with an incredible pool of local VFX talent and a generous tax relief system”. Since 2020, the company has made significant investments to enhance its CG team and has also successfully delivered VFX for numerous projects including, For All Mankind , The Irregulars , Operation Mincemeat , The Wheel of Time , Moon Knight , Pennyworth and award-winning The Banshees of Inisherin .

Alec Baldwin will no longer face criminal charges for the tragic shooting on the set of Rust in October 2021, which resulted in the death of Halyna Hutchins. The actor, who was accused of two counts of involuntary manslaughter, has been cleared of wrongdoing. The decision to drop charges is a surprise, as a trial was set to begin in May. A statement by New Mexico special prosecutors Kari Morrissey and Jason Lewis said that “over the last few days... new facts were revealed” which require further investigation. “This decision doesn’t absolve Mr Baldwin of criminal

culpability, charges may be refiled... Our follow-up

investigation will remain active and ongoing.” Filming of Rust resumed 20 April.

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FUNDING FOR FILM Hit series, Vigil, was directed by James Strong of Strong Film & Television



Preece is a producer of Casualty and Sister Boniface Mysteries while Tombs has held management and commissioning roles at leading firms such as the BBC, Viacom CBS and UKTV. The sum was undisclosed.

The news was confirmed at the MIPTV conference in Cannes, mid-April. Strong has directed a range of hit TV shows including award-winning BBC series Vigil and ITV’s crime thriller Liar .

Studiocanal has invested in UK production company Strong Film & Television which is led by Broadchurch director James Strong, executive producer Loretta Preece and managing director, Matt Tombs.

Netflix will invest $2.5 billion in South Korea over the next four years to produce Korean TV series, movies and unscripted shows, doubling its investment in the market since 2016. The announcement was made following a meeting between Ted Sarandos, Netflix’s co-CEO, and South Korean President Yoon Suk-yeol, during a state trip to Washington. The Asian leader welcomed the investment, regarding it as a significant opportunity for Netflix and South Korea’s content industry, aiming to enhance cultural exports. "We have great confidence that the Korean creative industry will continue to tell great stories," Sarandos said in a statement, naming Netflix’s global hits by South Korean creators, such as Squid Game, The Glory and Physical: 100. Squid Game remains one of Netflix’s most-watched series of all time, with 1.65 billion hours of streaming in the first 28 days.

Warner Bros. Discovery has announced the launch of its upcoming streaming service on 23 May, incorporating content from both HBO Max and Discovery+. The service will be known as ‘Max’ and will initially debut in the US, followed by Latin America later this year and the rest of the world in 2024. The company is aiming to prevail in the streaming market by vying against tough competition from giants like Netflix and Disney. However, Warner Bros. Discovery is also stressing the significance of financial Warner Bros. Discovery launches Max streaming service rigour, which leads to a drop in the priority of attaining more streaming subscribers. This poses a dilemma of quality versus quantity, with the firm attempting to navigate both ends of the spectrum. “Max is where consumers can finally say, ‘here’s a service that not only has something for everybody in my household, but something great for everybody’,” said JB Perrette, president and CEO of global streaming and games, during a presentation introducing Max in Burbank, California.

French live production company, AMP Visual TV, has selected Sony equipment as the core switcher for its next generation of premium fleet vehicles in anticipation of the major sporting tournaments in 2023 and 2024. Sony’s latest Modular Live System MLS-X1, launched at IBC 2022, is a modular and scalable platform designed to suit flexible deployment models. Alongside the MLS-X1, AMP Visual TV has invested in 50 HDC-3500 cameras and nine PVM-X1800 monitors to furnish the new trucks. Va-va-voom!

The modularity of the MLS-X1 enables the new trucks to cater for many set-ups, contributing to the company’s business and sustainability goals.

EXCELLENT EXPORTS More fantastic content from South Korea on the horizon

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Stories in Motion winners announced The future of filmmaking has been revealed: industry leaders announced winners of Canon’s Stories in Motion competition. Created to encourage and celebrate emerging talent in filmmaking, young people aged 18-25 were eligible to enter with short films telling a compelling story. The contest received a phenomenal number of entries from across the UK and Ireland and the winners were selected by an expert committee of cinematographers, marketing experts, photographers and colourists including Elisa Iannacone, Tania Freimuth and Jake Ratcliffe. Winners were as below: DOCUMENTARY WINNER: Daniel Simpkins, Farm Life MUSIC VIDEO WINNER: Luis Hindman, Just Come With Me Tonight SCRIPTED SHORT WINNER: Chas Harrington, Red Room A ceremony for the for the winners and nominees was hosted by Alex Zane at the Everyman Theatre Broadgate, where Zane also presented a fourth and final prize to grand prize winner Daniel Simpkins for Farm Life . Winners received goodies including a Canon EOS C70 and RF 24-70mm f/2.8L lens, a £500 gift voucher for CVP and the chance to shadow an award-winning filmmaker. For more on the contest, head to Canon’s website.

NEW RELEASE Indiana Jones and The Dial of Destiny premieres at the Cannes Film Festival, mid May


Six female directors are also on the shortlist, which include France’s Catherine Breillat with L’Été Dernier and Austria’s Jessica Hausner with Club Zero . The Palme d’Or has only been awarded to two women to date – Jane Campion for The Piano in 1993 and Julia Ducournau for Titane in 2021. Outside the main competition, Johnny Depp’s first film since his defamation trial with Amber Heard will screen – a French film, Jeanne Du Barry , directed by Maïwenn. Meanwhile, the final instalment from the Indiana Jones franchise, The Dial Of Destiny , will premiere at Cannes, along with a special tribute to the career of Harrison Ford, who plays the titular character. Elsewhere, there will also be a new film from Martin Scorsese, Killers Of The Flower Moon , starring Robert De Niro and Leonardo DiCaprio, about the murders of Osage Native Americans in the 1920s.

Films from Wes Anderson and Ken Loach will be among those striving for top honours at Cannes Film Festival, with a record number of female directors shortlisted. There will be 19 contenders competing for the event’s most coveted prize, the Palme d’Or, in a “competition that will mix young filmmakers competing for the first time with veterans whose names and works we know,” festival organisers said. Known for his eccentric art style, Anderson will debut Asteroid City on the Côte d’Azur – a film about the transformative events that occurred at an annual junior stargazer convention in 1955, starring Tom Hanks and Margot Robbie. British filmmaker Loach will premiere The Old Oak , a film about Syrian refugees settling in an old mining town in the UK.

Force-d out The National Trust has cancelled the filming of the new Star Wars spin-off series Andor in a quarry in Dorset due to concerns of rockfalls and landslips. The second series was set to feature scenes shot at Winspit Quarry, near Worth Matravers, where filming took place for the first series earlier this year. However, the quarry has been closed indefinitely after the National Trust deemed the site unsafe for filming. The quarry has previously been used as a filming location for Doctor Who and the Disney film John Carter .

UNSTABLE GROUND Safety is the main concern as filming is cancelled for Andor



F resh from a triumphant return to the Big Apple in March, Cine Gear Expo is primed for its flagship event in the City of Angels in June. The second in-person event since the pandemic, the expo is returning to its home of Paramount Pictures Studios after spending 2022 at its temporary home; the Los Angeles Convention Center. Although last year’s venue did not detract from the event, Juliane Grosso, co-founder and director, Cine Gear Expo, explains how pleased she is to be back. “Cine Gear and Paramount Studios have a long-standing partnership dating back to the early years of the expo,” she explains. “It has been mutually beneficial and helped cement the show’s reputation as a must-attend event for anyone in film and video production. On the other hand, Paramount Studios benefits from the publicity that comes with hosting such a prestigious event on their lot. The expo provides an opportunity for industry professionals to see the latest technology and equipment in action, while providing a platform for companies to showcase their products to potential customers.” Cine Gear LA’s return to its spiritual home has not been lost on the punters. “With a welcome return to its rightful location at the Paramount Studios, Cine Gear is truly geared to our industry,

Cine Gear LA Expo is sandwiched between the more localised New York and Atlanta attractions – but for the world of cinematography, this is the big draw The main event

WORDS. Robert Shepherd, Katie Kasperson & Phil Rhodes IMAGES. Cine Gear Expo



providing an informal atmosphere over a weekend located where industry professionals actually work, rather than a generic convention centre for many industries,” says Marc Dando, chief design officer, Codex and Pix. “With the past year returning to near normal footfall, we look forward to seeing more of our partners and clients, and welcoming new interests.” While some events are still finding their feet post-pandemic – working out whether they introduce a hybrid model for the foreseeable future – Cine Gear has expanded in all areas. “The LA event is expected to be bigger than ever; we have continued our annual show in Atlanta and most recently returned to New York with a successful show and great reviews,” Grosso says. “The festival side is certainly going to expand going forward. Thanks to our on-air events, we are looking to attract a completely different audience from a production side; film buyers, executive producers and production companies.” GETTING BIGGER To give you an idea of how much the expo has grown, the inaugural event was founded in 1996 and officially incorporated in 1998 by Karl Kresser and Grosso, both working with Otto Nemenz at the time. It was held at Paramount Studios and featured about six exhibitors. With over 300 exhibitors in 2019, and now at 225+ and growing with a month to go, the show has transformed into a vibrant, interactive event focusing on the art and technology of filmmaking. What sets the LA expo apart is the “unique vibe and DNA” it possesses. “There’s no other show where you have so many production professionals in the same place at the same time – even people

“We are excited about the educational and festival features of this year’s event, including brand-new premier seminars”

who are working come after their shift,” she explains. “We anticipate a record turnout and have already seen an increase in the number of exhibitors. Additionally, we are excited about the educational and festival features of this year’s event, including brand-new premier seminars, annual masterclasses and the student film competition. We look forward to seeing old friends and making new ones.” Carey Duffy, director of product experience at Cooke Optics says Cine Gear offers “a unique opportunity” for filmmakers and cinematographers to connect with industry leaders and view the latest gear and technology. The expo’s dedication to the film and video production industry makes it an ideal place to network and explore new products and services. “We are looking forward to connecting with professionals and showcasing our lenses, including the much-anticipated latest additions to our S8/i FF lens series,” he says. “The event

creates a brilliant opportunity to discuss innovations and allows us to build connections with potential customers.” Of course, Cine Gear Expo not only features exhibits, but also numerous opportunities for education and growth. Industry luminaries lead seminars, panels and workshops covering a diverse range of topics, from cutting-edge camera and lighting techniques to business and legal challenges facing the industry. Every year, the event offers masterclasses on industry skills and highlights current technological advancements. “As virtual production continues to rapidly evolve, filmmakers are discovering new ways to create cinematic virtual scenes with greater creative control and on-set collaboration,” Grosso says. “Given the significance of this emerging field of production, Cine Gear Expo has decided to introduce a masterclass focused on virtual production. Alongside the annual and in-demand lighting masterclass taught by top experts in the industry, this new addition is expected to generate significant interest and provide insights into a new area of filmmaking.” Cine Gear is not resting on its laurels, either. With NY, LA and Atlanta firmly established, growth is always on the agenda – so much so that the organisers are keen to explore new locations. “We are always open and looking for opportunities around the world,” Grosso says. “Cine Gear Expo has become one of the largest and most important events for film and video professionals and is known worldwide.” Cine Gear LA Expo 2023 will take place from 1-4 June

GEARING UP The major expo has come back home and is nearly ready to go

25. JUNE 2023


ANTON/BAUER BOOTH 118 The future of sustainable film production from Anton/Bauer will be exclusively unveiled at the event. Its VCLX NM2 block battery delivers reliable power at 14.4v, 28v and 48v for high-current cameras and lights. The 2.4-inch colour LCD monitors the runtime, charge time and active power draw, while VCLX smart technology maximises efficiency. It is made of anodised aluminium, has passive cooling and includes fleet management software for real-time diagnostics.

APUTURE S1506, S1511

RIGGING OPTIONS Creamsource’s LNX mounting system will be on display at Cine Gear LA

Aputure will show its Infinibar, an adaptable RGBWW LED that can be seamlessly stacked together. A range of mounting positions can be adopted – inverted, triangle or hexagonal, among others – to create a large, clean light source to suit. The pixel bars are available in 1ft, 2ft and 4ft.

Arri Rental will showcase its latest exclusive products, including the new Heroes lens collection, comprising Look primes – featuring a third lens ring for instant detuning – and T.1 primes that retain sharpness and contrast at T1.0. The new fleet of Arri Rental Monochrome cameras will also be represented.

the professional video industry, will display its new Renegade series of power stations at Cine Gear LA. They are the culmination of years of research and development to deliver high-capacity, high-current output and exceptional- quality lithium-based power solutions, with incredible versatility for the cinema and lighting industries. The series features three models: the Renegade, Renegade XL and Renegade XL 48. The Renegade is a 777Wh lithium-iron- phosphate, four-power station delivering 15v, 28v and 48v simultaneously with up to a 1200W output. The two Renegade XL models are 1376Wh, Li-Ion power stations. The Renegade XL-1 can deliver 15v, 28v or 48v. If you are in need of a lighting- focused option, the Renegade XL48 variant has got you covered with its dual 48v, 15A outputs.



Arri and Arri Rental will be exhibiting on the same stand, each with its own focus. Arri is highlighting Orbiter and its complementary optics, plus its LED portfolio – all in action in a film-set application. Visitors can experience how Arri’s sophisticated IP-based LED lights – in combination with camera systems – deliver cinematic images and efficient workflow synergies. Its flagship large- format cinematography cameras, the Alexa 35 and the Alexa Mini LF, are also featured along with a workflow station focusing on reveal colour science.

Astera will showcase its entire range of lighting solutions and accessories. There will be a focus on the recently launched Hydrapanel; a lightweight, highly flexible 1300-lumen LED panel, achieving exceptional colour mixing and dimming via the integrated Titan LED engine. Maximising flexibility, its compact, robust IP65 casing incorporates six snap-on light modifiers, a range of mounting solutions and dual wired/wireless operation.


Creamsource will demonstrate its portfolio of best-in-class lighting solutions, including their flagship Vortex Series, SpaceX and Micro fixtures. On display will be a blindingly impressive array of Vortex8 lights rigged together by the new LNX mounting system. The arrival of LNX introduces a streamlined way for rigging gaffers to connect multiple Vortex fixtures. With a series of purpose-built clamps and pins; rigging and cabling is faster and, most importantly, safer for operators and anyone under the rig. Build as small as two or multiple units, the only limit is the ability to lift the rig. Experience the latest CreamOS firmware upgrades for the Vortex series. Now fully supported with CRMX2


NEW KIT Arri ZMU-4 zoom electronic control unit with interchangeable radio modules

Brompton Tech’s Truelight technology delivers high-quality lighting from LED panels with extra emitters – offering accurate, calibrated colours. It provides unprecedented improvement and control to the limited spectral output from RGB panels that can create unnatural skin tones. CORE SWX BOOTH 32 Core SWX, a leading provider of batteries and charging solutions for

27. JUNE 2023


and with additional control via DMX, users can get more creative with effects. Reduced Zone DMX modes allow you to operate the light with two or four pixels in split, bars and grid configurations.

Agito Sports, Tower, Column & Magtrax and Agito Sim, plus showcasing emerging technology. The Agito has been designed to be versatile, catering to various filming needs and scenarios. It has been over a year since Magtrax was released and it has been production proven – in World’s Strongest Man, the 94th & 95th Academy Awards, Giants Live, UFC Vegas, H&M commercials, the Commonwealth Games, Burberry Fashion Show, a Coldplay concert in Buenos Aires, the Elton John tour and many other live events and productions. Agito Sim is Motion Impossible’s first Cineverse powered pre- release application for creating interactive Agito configurations, using Unreal Engine. It Includes a built-in training game for operating the Agito and Arri SRH-360 camera head.


Deity will showcase its Theos Digital Wireless, which uses a wideband UHF spectrum rather than the crowded 2.4GHz band. Frequencies span between 550-960MHz and the device features swappable frequency ranges based on your phone’s GPS, allowing users to move from country to country with one mic kit. LITEPANELS AND QUASAR SCIENCE BOOTH S1512 The Litepanels Gemini 2x1 Hard LED panel produces up to 23,000 lux of cinematic lighting and offers full RGBWW output with special effects. It has a 20° beam and a soft 100° wash, with perfect skin-tone rendering and no colour shift or flicker. The fixture is lightweight at 25.3lbs and includes integrated DMX and CRMX for efficient control during rigging. The Quasar Science Double Rainbow (RR) Linear LED light has two rows of high-fidelity RGBX pixels for vibrant colour and bright white light. The RGBX Spectral Science Colour Engine provides over a billion colours with a natural control experience. It includes wireless and wired data connections, AC/DC inputs and an Ossium mounting system. , MOTION IMPOSSIBLE BOOTH 100B Motion Impossible will be demonstrating

QUALITY ILLUMINATION Nanlux will showcase its powerful Dyno 650C/1200C soft-panel light

favourite focus and exposure tools alongside camera-to-cloud capability.,


SUMOLIGHT BOOTH S2700 Stop by to see the Sumomax full RGBWW lighting fixture which can integrate seamlessly with the expandable VFX LED wall; Sumosky. The latter is a full RGBWW, pixel-mapping LED wall that can expand to 40ft high by 300ft wide – popular for its quick installation.

Nanlux will showcase its whole range of LED fixtures for larger-scale productions. Leading the family will be the Evoke 1200B Bi-colour LED Spot Light and its daylight balanced sibling. Both lights feature 1200W power draw and can be comparable to a 1.8kW PAR or 2.5kW HMI Fresnel. Making the party more colourful will be the Dyno 650C/1200C RGBWW soft panel lights, boasting a variety of colour modes such as HSI, RGBW, Gel and XY coordinates. Nanlite will cover the demands for prosumers and content creators with its Forza and Pavotube line-ups. Forza 720/720B can take care of every specific requirement in terms of power all the way up to 800W, while the Pavotube II X series complement with its colour capabilities, making the set-up more complete and versatile. The Forza 60C LED hard light – powered by a RGBLAC six-colour system – has built upon the strengths of classic Forza 60/60B, with hardware and colour fidelity improved considerably. Special mention goes to the new bunch of second- generation Forza and Pavotube C series released with great improvements.


Zeiss Cinematography will be back on the Paramount lot, showing its latest assortment of lenses and VFX technology for you to demo. Zeiss is also pleased to be sponsoring a screening of the HBO Camera Assessment Series for 2023. Zeiss’ cine lenses were the exclusive choice for this project and were chosen for their consistent look across all cameras tested. Make sure to be on hand to see this screening at 5pm, Saturday 3 June in the Paramount Theater.


Sigma and Atomos have got together to pair the world’s smallest and lightest full-frame camera with the ultimate portable video monitor and recorder. The Sigma fp platform is being bundled in North America with Atomos’ Ninja V and Atomos Connect combo to provide a highly mobile film rig, with all your

PLANET-FRIENDLY POWER Anton/Bauer’s newest stackable and super-efficient battery is being revealed

29. JUNE 2023


Revealed by robots

NO FAKERY Using advanced robotic technology rather than post-production magic made the ‘invisible’ movements more convincing

T he concept of The Invisible Man, a character first introduced in HG Wells’ 1897 novel of the same name, has been a source of fascination for many years. Just the thought of a human who can become unseen, and the potential consequences of such power, has captivated audiences in various forms of media for decades. From adaptations in film and television to video games and even comic books, the concept of invisibility continues to be a popular theme in pop culture. The original film adaptation of The Invisible Man was released in 1933, directed by James Whale and starring Claude Rains as the titular character. This was groundbreaking for its time, known for its special effects and dark, suspenseful storytelling. Yet, despite its success, the technology available at the time meant many of the scenes that could have been dynamic remained stagnant or limited in their execution. Fast-forward to today and the technology available to filmmakers is unrecognisable compared to 1933.

The most recent remake (of note) is the 2020 version, in which Elisabeth Moss takes the lead as a woman who suspects she is being stalked and psychologically manipulated by her supposedly dead former partner (played by Oliver Jackson- Cohen), who has now obtained the power to turn invisible. Audiences are set to welcome another version. But before you question why we need another adaptation, the latest take on the sci-fi story sees 6 Degrees Romania and MRMC partner up to create a rather different approach. For starters, the duration of the entire film is more like that of a trailer. “At the moment, the movie is around the two-minute mark,” explains director Damian Groves. “We don’t have an exact length yet as we’re still working on the post. We filmed everything at 75 frames and intend to work on the complete length, so we have maximum flexibility for time remapping the single shot.” The rationale behind the decision was to make it as accessible as possible to 2023’s audiences.

The Invisible Man has had lots of iterations over the years, but nothing quite like this one

WORDS. Robert Shepherd IMAGES. Dorian Culmer & Oana Olariu

31. JUNE 2023

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