We Went to Cine Gear. Here’s What Actually Happened.
Thirty years in, and Cine Gear Expo still earns it.
That’s not nothing. Most industry events peak around year four and spend the next two decades coasting on their own reputation. Cine Gear kept building. This year, members of The Los Angeles Film School production team made the trip to Universal Studios in Burbank for the 30th Anniversary — and walked away with gear calluses, a signed book, and a few conversations worth having.
It’s a Hands-On Show. We Used Our Hands.
Let’s be clear about what Cine Gear actually is, because “trade show” undersells it badly.
It’s hundreds of exhibitors spread across an active Hollywood backlot, with the gear powered on and the whole point being that you touch it. LED volume stages, robotic camera systems, lighting rigs, monitoring solutions — not behind glass, not in a demo reel, right in front of you and ready to be picked up, aimed, and figured out. We did exactly that.
If you’re the kind of person who reads the spec sheet and then needs to put your hands on it to actually know — Cine Gear is your event.
Roger Deakins Signed Our Book
There was a book signing. We stood in the line. We walked away with a signed copy and the particular feeling you get when you’re briefly in the orbit of someone whose work you’ve studied frame by frame.
Deakins has shaped the visual language of modern cinema in ways most cinematographers are still unpacking. Getting that close to that kind of career — even briefly, even in a signing line — is the kind of thing you don’t pretend isn’t a big deal.
It was a big deal.
We Ran Into One of Ours
Then there was the moment that felt distinctly LAFS.
We crossed paths with alumnus and cinematographer Brandon Trost — who’s gone on to shoot features including This Is The End and The Disaster Artist. Seeing a graduate working at that level is exactly the kind of reminder of what’s possible.
What Our People Said
Cine Gear attendee and LAFS alumnus Dan Adams didn’t overthink it:
“This is my first time coming to Cine Gear and this is probably one of the best events I’ve ever been to. Having the opportunity to immerse myself with the latest gear used in the industry, connect with multiple like-minded creatives, and doing so at Universal Studios felt like something out of a dream. I also enjoyed how fun and lively the space felt. The food was great. Everyone was here to have a good time, mingle, and learn about the industry and how it has technologically evolved. Also meeting Roger Deakins was a nice touch to finish it off. I’m so glad I came.”
Yes, There Was an AI Panel. Several, Actually.
Look — it’s 2026. You cannot attend an industry event without the AI conversation happening in at least four places simultaneously. Cine Gear was no exception.
Post-production tools, workflow automation, virtual production enhancements — the technology is genuinely moving fast and the show floor reflected that honestly. What was refreshing was the lack of panic in the room. The general consensus, from panels to hallway conversations: AI is a powerful tool in the hands of someone who already knows what they’re doing. It doesn’t replace the eye, the instinct, or the decision-making that makes a shot work.
That’s about the most sensible thing the industry has said about AI so far. We’ll take it.
Thirty Years. Still Worth the Trip.
Cine Gear at 30 is what a mature industry event looks like when it hasn’t gotten lazy — a place where working professionals and emerging creators share the same floor, the same gear, and occasionally the same food truck line.
We’ll be back next year.
Follow @lafilmschool on Instagram, photos, gear highlights, and footage from the show floor.