The Profoto B30 has joined the flash inventory, available as a single head or as a location kit with two heads, two spare batteries, two chargers and an Air Remote. It is a battery monolight with 500 Ws of flash power and an 11 f-stop range, from 0.5 Ws up to full — adjustable in tenths of a stop. In practice that means one light covers everything from a whisper of fill on a face to a main source that holds its own against Mediterranean sun. Three lights in one body The B30 has three flash modes, and they are not marketing labels — each changes what the light actually does: Eco — the default. Recycles from 0.01 to 1.8 seconds, runs cooler, extends the life of the head. This is where the light sits on a normal shooting day. Boost — full power available on demand, recycling 0.01 to 2.1 seconds. Freeze — shortens the flash to 1/21,100 s (t0.5) to stop movement dead. Hair, water, fabric, a jump: this is the mode that makes them readable.

The Fujifilm GFX100 II has joined the camera department: 102 megapixels on a 43.8 × 32.9 mm sensor — 68% larger in area than full frame — supplied with two extra batteries and a double charger. For years, large format meant a trade. You got a rendering full frame cannot reproduce, and in exchange the subject had to stand still. The GFX100 II is the generation where that trade largely disappears. What changed The sensor reads out roughly twice as fast as the previous GFX100S. That single engineering change cascades through everything: 8 frames per second with the mechanical shutter, against 5 before Subject-detection autofocus built on deep learning, across 425 points — it tracks faces and eyes, but also animals, birds, cars, motorcycles and bicycles Base ISO 80 instead of 100, with wider dynamic range and cleaner shadows 5-axis in-body stabilisation, rated 8 stops A fashion editorial with movement, a campaign shot handheld, a portrait session where the subject is directed rather than posed — all of these are now possible at 102 megapixels. Files that survive the retouch The reason clients specify large format has not changed: 11648 × 8736 pixels, 16-bit RAW, and the tonal transition between focus and defocus that a smaller sensor renders differently. For a campaign that will be printed at scale, or graded hard in post, the file holds up to treatment that would break a full-frame original. Native ISO runs to 12,800 with usable results well beyond what a 102-megapixel sensor would suggest.

A 24-inch production monitor has joined the video department: the SmallHD Cine 24, a 4K high-bright display supplied with sunhood and V-mount adapter. The number that matters here is 1350 nits of sustained brightness. Not peak, not a marketing figure measured on a white square — sustained. It is roughly five times a normal editing monitor, and it is the reason SmallHD states the Cine 24 can be used outdoors without a viewing tent at all. Why brightness is the whole point here Anyone who has run a video village on the Amalfi Coast in July knows the problem. By eleven in the morning the client cannot see the frame, the director is squinting under a black cloth, and every creative decision quietly moves to "we'll look at it later". A tent goes up, it takes half an hour, and it blows over. At 1350 nits the image survives direct daylight. Decisions get made on set — on framing, on exposure, on whether the shot is finished — instead of being deferred to a screening days later. We supply the sunhood anyway, because on a white terrace at midday every bit of shading helps, but the monitor does not depend on it.

A battery generator has joined the power department: the VOLTAB PRO, with 21.9 kWh of stored energy and 10 kW of continuous output on 230 V, through one CEE 32 A and one CEE 16 A outlet. The specification that matters most on a set is not the capacity. It is under 40 dB — quieter than a normal conversation, and quiet enough to stand in the same room as the sound recordist. That single number is what separates a battery unit from a combustion generator, and it is usually what decides whether a location works at all.

The Nanlux Evoke 5000B has joined the lighting inventory, supplied with the 30° reflector. It is the first bi-colour LED spotlight at this power level to offer green/magenta adjustment, and it draws 5000 W on European mains. Output reaches 555,250 lux at one metre at 5600 K — illuminance approaching a 9 kW HMI or a 24 kW tungsten fixture, from a single unit with no ballast to rig separately and no warm-up. Colour you can put a number on The Nebula B4 light engine covers 2700 K to 6500 K with ±80 green/magenta adjustment across the whole range. Colour accuracy is CRI 97, TLCI 98, TM-30 Rf 96 / Rg 102. The green/magenta control is the part that matters on a mixed set. Bi-colour LEDs traditionally drift magenta in the middle of the range and green at the extremes; being able to correct that means the fixture can be matched to practicals, to daylight through a window, or to another manufacturer's lights — instead of being fixed in the grade. Dimming is continuous to 0.1% steps, and High-Speed Mode holds flicker-free output at up to 10,000 frames per second.

The Avenger B150-1 Strato Safe Crank Up Stand is a beast of a stand with exceptional performance can lift heavy loads up to 100 kg Maximum Height -610 cm

The B10Xs’ are both multipurpose. This means whether you’re shooting video or still, the B10X and B10X Plus can take it in their stride. They also include useful features like increased continuous light output from 2500lm to 3250lm compared to B10 and B10 Plus. That’s a 30% increase. And both the B10X and B10X Plus features faster recycling speeds than their predecessors. 

The Evoke 1200 delivers stunning levels of flicker free, controllable light, comparable to that of a 1.8kW PAR or 2.5kW HMI Fresnel. The ingenious design of the COB delivers extremely powerful, natural looking light.

Consistency is one of the key elements offered by the ZEISS Supreme Prime lenses: that means consistent coverage, color rendering, aperture, size, weight and ergonomics. All the lenses across the family cover sensors from Super 35 and smaller to full frame and beyond (FF+). The Supreme Prime lenses are color matched across the full range and most feature a fast T-stop of T1.5

A member of the ARRI M-Series, the M40 is a lens-less system that unifies the advantages of Fresnel and PAR fixtures. The unit is open face and thus very bright: around 30 % brighter than an AS40 in spot. Due to its unique, patented MAX Technology reflector, it is also focussable over a range of 18 to 52° Half Peak Angle. The M40 gives a remarkably even beam spread that casts crisp shadows over the whole focus range. The reflector characteristics is optimised for 4,000 W lamps, but can also be used with 2,500 W lamps