Brompton
The industry-standard LED processor for film and TV virtual production. ColourScience, HDR pipeline, frame-perfect sync. If it's on a major VP stage, it's running Brompton.
Tested and Manifested The names we trust.
Cineva works with equipment from the brands trusted on professional sets around the world.
Our LED, playback, lighting, rigging, control, and support systems are chosen for reliability, serviceability, and real production use. These are the tools proven on demanding stages, tours, broadcasts, and film sets, which means crews can focus on the shot instead of wondering whether the gear will keep up.
LED Processing
The processor is the difference between a wall that looks like a wall and a wall that holds up on camera. We run the line the major virtual production stages run.
LED Panels
Volume-grade panels at the pixel pitch the shot demands. Camera-calibrated. Spare panels and ribbons on the truck.
ROE Visual
The wall most major virtual production stages are built from. Black Pearl, Ruby BP. Camera-grade, calibrated, supported.
Infiled
Volume-grade panels at the right pitch for the shot. Strong fit for stages with bespoke wall builds and tighter budgets.
Media Servers
The playback layer between content and wall. Calibrated colour pipeline, frame-accurate sync, DIT-compatible signal flow.
disguise
The dominant server for virtual production. xR workflow, RenderStream, frame-accurate sync. Industry standard for in-camera VFX.
Resolume
Software-based playback. Lighter weight than disguise but capable — the right tool for content-driven shows and corporate work.
ArKaos MediaMaster
Reliable workhorse for broadcast and corporate AV. Strong DMX integration when the lighting console drives the content.
Lighting: LED Fixtures
Tubes, panels, practicals. The fixtures that go in-frame.
Astera
Titan Tubes, NYX Bulbs, HYDRAPANEL FP6. THE film-set favourite for tube lights and battery-powered practicals. If a DP asks for tubes, they mean Astera.
Chroma-Q
Color Force II, Studio Force, Space Force OCTO. Phosphor LED workhorses for studio fill and broadcast key.
Portman Lights
P2 HEXALINE. Vintage-style LED bulbs and tubes — the right look when the shot needs a practical that reads as a practical.
Lighting: Theatrical & Conventional
Followspots, ellipsoidals, the gear theatre and broadcast LDs trained on.
ETC
Source Four, Eos console family. Theatre and broadcast control standard. The fixture-and-console pairing most stage LDs trained on.
Altman Lighting
US theatrical heritage. Conventional fixtures and theatre-grade gear when the spec asks for traditional.
PATT 2013
Retro 750W tungsten softlight in spun aluminium. The vintage-broadcast look — soft, warm, in-frame practical. Built by ROBE, seen on Paul McCartney, X Factor, and Graham Norton.
Lighting: Moving Lights
Movers, profiles, washes, beams. The fixtures programmers cue and DPs trust.
ROBE
Czech-built movers. MegaPointe, Esprite LED, FORTE LED, iFORTE IP65, Spiider, LEDBeam 150 / 350, RoboSpot. The workhorse mover line on most broadcast stages.
Ayrton
French. Rivale Profile, Mistral TC. Premium top-end for high-end film and broadcast.
Martin Professional
MAC Aura XB. Legacy broadcast and concert standard, still working on Toronto's stages.
Chauvet Professional
ROUGE OUTCAST 2X Wash, COLOR STRIKE M. Strong mid-range fixtures and IP-rated builds for outdoor and exterior shots.
Elation Professional
Chorus Line 8 LED Strip, Platinum Beam 5R Extreme. Solid all-rounder for beam and pixel work.
Vari-Lite
VL2600 Wash. Concert and broadcast legacy — the mover line a lot of LDs grew up programming.
GLP
German-engineered. Impression X4 Bar 10 and Bar 20. Pixel-bar workhorses for stage and festival.
ACME
GEMINI. Budget-conscious moving head where the spec calls for volume over hero.
Lighting Control
The console between the LD and every fixture on the rig. One name does the work.
MA Lighting
grandMA3 Full-Size, Light, Compact XT. The console programmers grew up on. Global broadcast, concert, and theatre standard.
Atmospherics
Haze, fog, and smoke. The atmosphere that holds the beam.
MDG
Canadian-made fog and haze for film and broadcast. ATMe. The atmospherics line most DPs accept on a working set.
Reel EFX
DF-50 dyna-fog. Film standard for set haze that doesn't trigger smoke detectors.
Ultratec
Radiance hazers. Theatre and concert duty when the gag needs body.
Antari
Affordable broad workhorses. The right call when the gag is the gag, not the brand.
Don't see what you need?
Apex's full inventory ↗ backs Cineva. If it's broadcast-grade and rentable in Toronto, we either have it or we know who does.
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