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BSC Expo 2024 Review

Posted on Apr 25, 2024 by Pro Moviemaker

Parklife!

All the people, so many people… converged for the BSC Expo in London’s Battersea Park

For once, it wasn’t about the joggers who go round and round Battersea Park.

Instead, droves of creatives crammed into Britain’s flagship cinematography show where it’s all about Vorsprung durch Technik or ‘advancement through technology’ from 16 to 17 February. 

Blurring the lines between high-end cinematographers and indie production companies who do more commercial work, the show is consistently chock-full with the latest equipment and seminars on cinematography, film and TV production.

The biggest names in equipment – such as Red, Arri, Sony, Cooke, Canon, Zeiss, Panasonic and Fujifilm – all showed their wares and allowed potential customers a real hands-on experience with the kit plus a chance to quiz the experts. 

The floor was full with lighting and grip – plus distributors, rental houses and retailers like CVP, which showcased a massive range of equipment. And of course, Pro Moviemaker magazine was there too – along with our sister titles Definition and FEED – to meet filmmakers and attend the networking events.

But, we found plenty of time to check out the equipment on show; here’s just a small section of the gear we loved.

Vocas gets a grip on Sony

Dutch engineering expert Vocas loves to highlight its kit for the latest cameras, and BSC 2024 was no exception.

This time, the Sony Burano full-frame cinema camera came in for the full treatment with a mock-up showing a set of Vocas accessories – including a top handle with monitor mount, baseplate system and matte box.

Vocas also exhibited the latest version of its Casecart, a hard case that transforms into a production cart on set, which is proving massively popular. 

Aputure’s show of power

Though it has the Amaran and lower-end Aputure range of lights to suit most indie needs and budgets, Aputure also has high-end lights for the pros.

The Electro Storm CS15 is a full-colour COB LED pumping out light equivalent to an 1800W HMI. Armed with the F14 fresnel, it can be shaped to create incredible looks.

With sister brand Deity also showing its audio kit, the stand was full of impressed filmmakers.

Water show-stopper!

Chinese lighting brand Nanlux showed off its powerful full-colour Evoke 900C COB LED, which has true professional credentials as it was housed in a tank and sprayed with water constantly throughout the show – and it never missed a beat!

From its Nanlux pro-level products to the more affordable Nanlite range such as the Forza 720B and full-colour Forza 60C, the brand is making a big splash.

Plus, Nanlite Pavoslim panels – which we test this issue – were popular as well as the growing range of modifiers that offer great value for money.     

One-stop lens shop

One Stop Films revealed cabinets jam-packed with the glass it offers to give your next film that unique look.

These ranged from the latest Cooke SP3s and S8i full-frame optics to unusual lenses almost impossible to get hold of.

If you yearn for vintage Panavision anamorphics or rehoused Lomo lenses, Zeiss Master Primes, vintage Speed Panchros, Angénieux Optimos or Fujinon Premistas, One Stop Films is the place to be.

Red has the X factor

The Red stand is always crowded, and with this year’s show seeing the debut of the global shutter full-frame V-Raptor XL X, it was busier than usual as showgoers had a look in detail.

Equipped with a 30-95mm Cooke full-frame lens, the X model proved to be a dream combo. 

With the complete range of DSMC3 cameras and the affordable Komodo range also a huge part of Red’s offering, there was plenty to check out.

It’s a kind of magic

Blackmagic Design’s large booth area had a set which displayed the capability of its hardware and software for a complete end-to-end production workflow solution good enough for TV or high-end cinema use.

With its own monitors, mixers and more, it highlighted the benefit of a one-manufacturer solution for live broadcast.

Whether using its DaVinci Resolve software alongside the new full-frame Cinema Camera 6K shooting Blackmagic Raw, the demonstrated quality proved to be on par with Hollywood blockbusters as well.

On the right track

For the highest production values, there’s nothing that can compete with a real tracking vehicle to keep up with the action, driven by a high-precision driver or rider.

DLP Remotes presented just two of its silent electric vehicles – a motorbike and a car – that can be equipped with the latest stabilised remote heads.

Offering a range of Arri and DJI Ronin remote head options, it’s the ideal choice if your production needs some James Bond-style action capturing.

Call in the black ops

If you have a tracking vehicle,  remote head and a pricey Arri Alexa LF camera to bolt onto the end, then you’ll also need a motorised camera tower from Black-Tek.

It’s a vertical lifter for remote heads available in different sizes to give great control and several options for recording those once-in-a-lifetime shots.

The company also makes a range of vibration dampeners, control systems and car mounts to suit the heaviest cinema set-ups.

This feature as first published in the May/June 2024 issue of Pro Moviemaker.

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