SHOWRENTAL has recently acquired new Grass Valley LDX 180 Super35 system cameras, as part of an expansion of its camera setup.
When we looked at expanding our camera setup, the requirement was straightforward. We wanted more flexibility in how we shape the look of the tory we’re shaping, but without changing how we run productions.
That is what led us to the LDX 180. It gives us a way to introduce a more cinematic look, while staying within the same workflows the operators know and we already rely on.
Bringing More Depth into Live Production
The main difference for us is the Super 35 sensor. It gives a different sense of depth compared to a typical 2/3″ broadcast camera. Subjects separate more naturally from the background, and you can lead the viewer’s eyes without changing how the production is set up.
In our day-to-day work, that matters most in concerts, shows and corporate events. These are environments where the viewer’s attention needs to be directed very clearly. The LDX 180 helps us achieve that without adding complexity or post-production workflows.
Reliability Still Comes First
At the same time, none of this works if the system is not stable in a live environment.
The LDX 180 gives us UHD and HDR as a baseline, so we can maintain consistent image quality across different lighting conditions. Color matching across cameras is predictable, which is critical in multi-camera productions, and managed intuitively via Creative Grading.
It’s global shutter was also an important point for us. Fast movements and light effects are part of almost every production we do. Avoiding artifacts in those situations makes a real difference. You want to tell an immersive visual story, not distract the viewer with artefacts. The same applies to LED stages, where its optical low-pass filter helps reduce moiré without additional work on our side.
Keeping the Workflow Flexible
We’ve also added the LDX C135, which solves a more practical issue. There are always positions where a standard camera will not fit. With a compact unit, we can easily add those angles, whether on cranes, rails, or remote heads.
What matters is that these shots integrate cleanly. There is no visible difference in look and image quality, so we can use them without having to treat them differently.
From a workflow perspective, the move toward IP is already ongoing for us. Support for SMPTE ST 2110 and JPEG XS means the system fits into that direction. With the CCS-ONE, the Camera Control Service we can also adjust all of the cameras simultaneously during the production itself. That gives us more control over the final result while we are live, not afterwards.
Overall, this was not about adding a new type of production. It was about extending what we already do, with more control over how the image looks, and without compromising the way we work.
