Looking Back at Cine Gear 2018

Published on in Industry Announcements / Events

The 2018 version of Cine Gear has come and gone, but not before the camera and gear manufacturers released all kinds of new and exciting announcements about their products.  It was (as usual) a real toss up of where to even start, but here we go with some really interesting things to highlight from the show. 


One of the things I really admire about Sony is how they never do anything in a small way. Let’s go behind the scenes and get some insight directly from the source.

“VENICE was born from the voice of cinematographers,” said Peter Crithary, marketing manager for motion picture cameras, Sony Electronics. “Their voices continue to fuel the ongoing development of this powerful camera with the mission to make a real difference in their daily work. These new enhancements provide professionals more freedom to hone their craft, and also protects their investment."

This year at Cine Gear, Sony stayed true to form with some real eye-openers. Check these out: 

VENICE Version 2 firmware

Version 2 adds new features and capabilities specifically requested by production professionals to deliver more recording capability, customizable looks, exposure tools and greater lens freedom.

Some Version 2 firmware highlights include:

  • Dual base ISO – With 15+ stops of exposure latitude, VENICE will support high Base ISO of 2500 in addition to existing ISO of 500, taking full advantage of Sony’s unique sensor for superb low light performance with exceptional dynamic range from +6 stops to -9 stops as measured at 18% middle gray. Select FPS (off speed) – in individual frame increments, from 1 to 60.
  • Additional Imager modes V2.0 newly adds several Imager Modes, 25p in 6K Full-Frame, 25p in 4K 4:3 Anamorphic, 6K 17:9, 1.85:1 and 4K 6:5 Anamorphic imager modes.
  • User uploadable 3D LUTs users can customize their own looks and save them directly into the camera.
  • With wired LAN remote control users can remotely control and change key functions, including camera settings, FPS, shutter, EI, iris (Sony E-mount lens), rec start/stop, and built-in optical ND filters.
  • E-mount users can remove the PL mount and use a wide assortment of native E-mount lenses. This will be great for those who already have a lot of lenses in their inventory.

The VENICE Extension System

The VENICE Extension System is a Full-Frame tethered extension system allows the camera body to detach from the actual image sensor block with no degradation in image quality up to 20 feet apart.  These are the result of Sony’s long-standing collaboration with James Cameron’s Lightstorm Entertainment.

“This new tethering system is a perfect example of listening to our customers, gathering strong and consistent feedback, and then building that input into our product development,” added Crithary.

“The ‘Avatar’ sequels will be among the first feature films to use the new VENICE Extension System, but it also has tremendous potential for wider use with handheld stabilizers, drones, gimbals and remote mounting in confined places.”

Last but not least, Sony announced plans for an optional High Frame Rate upgrade. Sony is also announcing the details of a planned optional upgrade to support high frame rate – targeting speeds up to 60 fps in 6K, up to 90 fps in 4K, and up to 120 fps in 2K to be released in North America in the spring of 2019.



Creamsource Micro Colour

To me, this is a great addition to a solid lighting instrument line up. The Creamsource Micro Colour features calibrated red, green, blue and white LEDs (RGBW) as well as producing beautiful white light in any CCT from 2,200K to 15,000K, it also has green/magenta adjustment and can produce vivid, saturated colors. The LED engine has been crafted to provide exceptional white light color quality, with typical CRI and TLCI values above 95.

The Micro Colour has a 20-degree beam angle for maximum punch, fan-free cooling for silent operation, and is water resistant so it can be used in all weather (IP65 rated). These guys know how to build a solid instrument. It is lightweight rugged, quick to set up and its compact form factor means it can squeeze into small spaces on set a lot better than me.

The Micro Colour is available for immediate pre-order, with the first units scheduled to ship in July 2018.

ZEISS Supreme Primes

ZEISS showed off their new family of high-speed lenses for high-end film production. The ZEISS Supreme Prime lens family consists of 13 lenses with fixed focal lengths between 15 and 200 millimeters. The majority of these lenses provide an incredibly fast aperture of T1.5.

ZEISS Supreme Primes are designed to cover cinematic large format camera sensors and are compatible with all of the latest camera models, including the Sony Venice, ARRI Alexa LF, and RED Monstro. They provide a unique visual look due to their gentle sharpness, an aesthetic focus fall-off and a super rich bokeh. The lenses are extremely flexible and can be used equally well for narrative films, documentaries and everything in-between.

Weighing an average of 3.5 pounds, the ZEISS Supreme Primes are significantly lighter and smaller than comparable lenses on the market. ZEISS is responding to the desire of the camera operator for compact equipment that still meets the highest standards of quality and imagery. ZEISS Supreme Primes are designed to be rugged and reliable

Atomos Sumo19

At Cine Gear Expo Atomos announced the release of many new features for the Sumo19 HDR production monitor recorder. The release of AtomOS 9.1 for Sumo19 brings Quad ISO recording and on-screen selectable output switching, plus 5.7k ProRes RAW recording at up to 30fps with the Panasonic EVA1. In addition, full display of 5.7k images on-screen, automatic HDR detection on playback and a redesigned user interface are on offer. The same 5.7k ProRes RAW recording option will also be available as a free update for the Shogun Inferno 7" HDR monitor recorder in the coming days.


It just would not be Cine Gear if Panavision didn’t make a splash, and as usual — they did.  

Panavision introduced the Primo X lens series designed for use on drones and gimbals (anticipated in 2019) and the Ultra Vista series of 1.6x anamorphic optics covering the full height of the DXL’s sensor at an aspect ratio of 2.76:1 (also anticipated in 2019).

Panavision also showed its 8K Millennium DXL2 camera system, along with four new sets of large-format lenses, including the H Series spherical lenses, available now; the T1.4 PanaSpeed, which Panavision says will be the fastest large-format lens on the market when it becomes available.

Also at Cine Gear, Panavision introduced the LCND system. This is really cool ground breaking technology! It is a motorless, dynamically adjustable liquid crystal ND filter, or LCND, that’s said to adjust up to six stops (0.3, 0.6, 0.9, 1.2, 1.5, and 1.8) with a single click or ramp. The LCND system is scheduled for 2019.

That’s A Wrap

There you have it! A little taste of some of the great new things that were on display at this year's Cine Gear Expo. We will be back with more product and Cine Gear news to follow so be sure to check back often!

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About the Author

Mark Foley
Mark Foley
Mark J. Foley, MBA BA is an award-winning producer and director and the Technology Editor for ProductionHUB.com. He is on a mission to provide the best in new equipment reviews, along with exclusive analysis and interviews with the best, the brightest and most creative minds in the entertainment and production business. Have a suggestion for a review? Email Mark at mfoley@productionhub.com.

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