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NL Mount
G Mount
A Mount
Bowens Mount
Profoto Mount
The Problem
Big lights got brighter.
Soft light didn't keep up.
Today's point-source LEDs push HMI-level output — 600W, 1200W, and beyond. But the moment you shape that power, the trouble starts.
Put a bare reflector on the head and the shadows go hard and busy. Even the fixture makers admit it: a high-output head is too hard alone, and it takes a large, well-built modifier to soften the shadow transition without killing your output.
So we started from what high-output work actually needs:
Reach for high-output heads.
Soften the light while still sending it where you need it, so a big head keeps the punch you paid for.
Structure for repeated rig-ups.
Frame, fabric and rigging points built to be set up and struck again and again on location.
Compatibility across mounts.
Mount adapters for Aputure, Nanlux, Godox, Profoto and Bowens (sold separately) — change the light, keep the softbox.
SMDV CINE considers all three together: reach for high-output lights, structure for repeated setups, and broad mount compatibility.
Light Shaping
Shape it further.
Diffusers set the softness. The grid sets where the light lands.
Deep or Wide decides the base beam. The diffusers and grid then let you refine it on set — without changing the modifier.
01 · Diffusers
Balance softness and output.
CINE is not built to chase peak output alone. The diffuser configuration decides where the system sits between concentrated output and wide, soft light — measured on CINE 120, on axis.
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Maximum output
Softbox only
When concentration and maximum usable output matter most.
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Balanced
+ Inner diffuser
A middle point between the focusing character and softer quality.
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Softest
+ Inner + front diffuser
When you want softer shadow edges.
Photos: CINE 70 · Figures: CINE 120, on-axis illuminance
One CINE system, three light characters — selected on set, not bought separately.
02 · Grid
Control where the light lands.
Without a grid, light spreads onto the backdrop and surroundings. The grid cuts the light heading toward the background and sides, making it easier to separate subject and background brightness.
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CINE 70 · inner + front diffuser
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Why 8cm
The depth cinema asks for.
Shallow softbox grids let angled light slip through. CINE grids are cut to 8cm — the depth film crews ask for — so off-axis light is caught inside the cells instead of reaching the set.
Softness stays
The grid trims the spread, not the diffused quality of the light.
Cleaner frames
Less spill on backdrops, walls and nearby talent, so each light can be set on its own.
03 · Mounting
Pops open. Fits in seconds.
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One-touch pop-up diffusers
Spring-steel frames snap open taut in a second and twist back down just as fast.
* Deep type CINE 50 · 70 · 90 · 120
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Hook-and-loop grid mount
The grid fastens around the rim, so it goes on and off without taking the softbox down.
Spring-frame pop-up front and inner diffusers come with Deep type CINE 50, 70, 90 and 120. CINE 150 and 180 come with fabric diffusers.
Two reflector shapes. One system.
The same converging design comes in two characters — Deep for a focused beam with reach, Wide for a broad, enveloping wrap. Choose the shape that fits the shot.
Focused beam · 55–99°
Deep Type · CINE 50 / 70 / 90 / 120
Focused. Controlled.
A deep, converging reflector gathers light and sends it forward — soft light that still reaches, and stays where you put it.
More reach from the same head
CINE 50: up to 2.8× the center illuminance of Octa Softbox 60cm — both measured without diffusers.
Tight spill control
Light stays on the subject — add the 8cm cinema grid for even more control.
A size for every head
Four sizes and 55°–99° beam angles, from compact LEDs to 5,000W-class fixtures.
Wide wrap · 111–118°
Wide Type · CINE 150 / 180
Wide. Enveloping.
A broader 24-sided reflector wraps large subjects in soft, even light with a gentle, natural falloff.
Big, even coverage
111°–118° beam angles fill full-body shots, groups and wide sets.
Softer falloff
Smooth transitions from highlight to shadow — flattering on faces and products alike.
Rounder catchlight
A 24-sided frame, closer to a true circle, for a natural reflection in the eyes.
* One-touch pop-up diffuser frames: Deep type CINE 50–120 only. CINE 150 · 180 come with fabric diffusers.
Soft Light With Reach
Focused, Not Just Diffused
A softbox that gathers light instead of throwing it away.
A conventional softbox spreads light in every direction — soft, yes, but inefficient, and hard to place with intention.
SMDV Cine is engineered at a converging angle. It keeps the softness a cinematographer wants, while directing that light toward the subject rather than bleeding it across the room. You get soft light with reach, shape, and control — the qualities a bare softbox gives up.
Soft where it lands. Focused where it counts.
Optical Performance
How much difference does it make?
We measured it — the same fixture at the same output, with and without CINE, and side by side with Octa Softbox 60cm.
To document the real optical behaviour of the series, SMDV ran side-by-side comparisons on identical fixtures and measured on-axis illuminance at 1–5 m. Every figure below comes from those measurements.
2.8×
Higher center intensity
CINE 50 vs. Octa Softbox 60cm · both without diffusers
5.9×
Higher center intensity
CINE 50 vs. bare Nanlite FC-300
2.3×
Higher center intensity
CINE 120 vs. bare Nanlite Forza 500
All comparisons are made within a single test: same fixture, same output setting, same measurement geometry. Figures are illuminance (lux) at a point on axis — not total luminous flux.
Small size. Strong focus.
Up to 2.8× higher center intensity
CINE 50 and Octa Softbox 60cm measured on the same Nanlite FC-300 at 100% / 5500 K, both with diffusion removed — so the comparison reflects each softbox's own reflective and focusing behaviour.
CINE 50
54,367 lx
center, 1 m
Octa Softbox 60cm
19,167 lx
center, 1 m
See the full test data
Distance curves · CINE 120 ·
beam spread · color · test conditions
See the full test data
Distance curves · CINE 120 · beam spread · color · test conditions
CINE 50 vs. Octa Softbox 60cm
| Distance | CINE 50 | Octa 60cm | Ratio |
|---|---|---|---|
| 1 m | 54,367 lx | 19,167 lx | 2.84× |
| 2 m | 12,500 lx | 4,596 lx | 2.72× |
| 3 m | 5,083 lx | 2,167 lx | 2.35× |
| 4 m | 2,840 lx | 1,203 lx | 2.36× |
| 5 m | 1,790 lx | 809 lx | 2.21× |
CINE 50 maintains approximately 2.2–2.8× the center illuminance of Octa Softbox 60cm across the 1–5 m range.
CINE 50 vs. bare Nanlite FC-300
| Distance | CINE 50 | Bare FC-300 | Ratio |
|---|---|---|---|
| 1 m | 54,367 lx | 9,153 lx | 5.94× |
| 2 m | 12,500 lx | 2,290 lx | 5.46× |
| 3 m | 5,083 lx | 1,010 lx | 5.03× |
| 5 m | 1,790 lx | 404 lx | 4.43× |
CINE 120 vs. bare Forza 500
| Distance | CINE 120 | Bare Forza 500 | Ratio |
|---|---|---|---|
| 2 m | 11,633 lx | 4,960 lx | 2.35× |
| 3 m | 6,270 lx | 2,700 lx | 2.32× |
Beam spread and color
| Measurement | CINE | Octa |
|---|---|---|
| Center at 3 m | 5,083 lx | 2,167 lx |
| 1 m off axis | 1,050 lx | 1,140 lx |
| Off-axis / center | 21% | 53% |
CINE 50 color rendering: Ra 97.2–97.3 at 1–5 m. CINE 120: Ra 95.5–96.0 under its test conditions.
Test conditions: CINE 50 with Nanlite FC-300; CINE 120 with Nanlite Forza 500. Each comparison uses the same fixture and output settings within that test. Measurements represent on-axis illuminance, not total luminous flux.
In-house Fabric
Our own fabric, inside and out.
CINE's fabrics are not sourced off the shelf. SMDV developed both layers in-house, specifically for the demands of high-output cinema light.
INNER FABRIC PHOTO
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Embossed reflective interior
Every dot is a tiny reflector.
The interior is covered in a fine embossed pattern. Instead of a flat surface that bounces light one way, each raised point catches the source and returns it from many angles — so more of your fixture's output comes back out of the box, and it comes out looking better.
More light reflected
The embossed surface sends more of the source forward instead of losing it inside the box.
A more beautiful glow
Light is broken into countless fine highlights, giving the source a rich, luminous quality and a clean, pleasing catchlight.
Smoother, more even spread
Multi-angle reflection blends the light before it leaves the box, avoiding harsh hot spots.
OUTER FABRIC PHOTO
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Woven black exterior
Built to keep light in.
A dense, textured black weave wraps the frame, keeping light inside the modifier where it belongs and standing up to the repeated rig-ups of real production work.
Light-tight
No glow bleeding through the body — light leaves only through the front.
Made for the floor
A tough woven surface that handles rigging, folding and transport, shoot after shoot.
HIGH OUTPUT PHOTO
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Ready for 5,000W-class fixtures
Built for High Output
CINE 70–180: up to 5,000W LED · CINE 50: up to 2,600W LED
Made for today's high-output LEDs.
SMDV CINE is engineered to take 5,000W-class LED fixtures.
Its frame and fabric are built to hold their shape under serious heat and output — so you can put your biggest head inside and shape that power instead of fighting it.
If you own a high-output light, this is the modifier that finally lets it breathe.
One softbox, many lighting systems
Change your light.
Keep your softbox.
Switching fixture brands normally means re-buying modifiers. With CINE the softbox stays — you change the adapter. Purpose-built mounts, machined aluminium, no stacked third-party rings and no light leaks.
Select a system
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Buy the softbox once. Add an adapter for whatever you light with next.
* Mount adapters are sold separately.
Storage
Pack it fast.
Find it faster.
Every CINE folds into its own storage bag — with a lid that comes off completely and a color label that tells you the size before you open it.
Fully detachable lid
Unzip the lid and lift it off. Load and unload from the top with nothing flapping in the way.
Side handle
A second handle on the left end makes it easy to stand the bag up or pull it from a cart.
Color size label
A hook-and-loop label in each size's color — readable from across the room.
Square, rigid form
The square bag stands upright on the floor and is rigid enough to protect the softbox inside from knocks.
Storage bag
Lid comes off completely
Open the zip all the way round and the lid lifts away as one piece.
Left-side handle
Grab the end handle to tip the bag upright. The card window above it shows what's inside.
Hook-and-loop label
The size label has a hook-and-loop back. It attaches to the top of the lid and peels off when needed.
Accessories
Diffuser pouch
Folded diffusers go into their own dedicated pouch.
Grid case
The grid packs into its own case, with a model card slotted into the front window.
Color-coded labels
One color per size — from bag to diffuser.
Each size has its own color, used on both the bag label and the diffuser labels. On diffuser labels, the stripes tell you the layer: one stripe for inner, two for front (CINE 50–120).
Color by size
Bag labels
Proven on real sets
Designed on Set, Not in a Spec Sheet
Developed in-house by SMDV — shaped by working cinematographers' feedback.
Cine didn't start in a lab. SMDV listened to working cinematographers describe what frustrated them on real jobs — and built every fix into the design.
When the big fixtures shipped, they came bundled with reflectors — and those reflectors carry a segmented, faceted inner surface. On the subject, that texture prints as a messy, broken shadow. They wanted a clean, soft source instead. The softbox they needed didn't exist.
So SMDV developed it in-house, from the first sketch — every decision measured against what actually happens on a set, not what looks good on paper.
On location — the modifier rigged and adjusted mid-setup, where every design decision was tested.
Rugged by choice. Fast by design.
Cine is built tough on purpose. It carries a little extra weight so it can hold up shoot after shoot, season after season.
Rounder light.
50 & 70 use a 16-sided frame; 90 and up use 24 sides — closer to a true circle, for a more natural catchlight and falloff.
Safety built in.
Four D-ring anchor points per unit, each rated to 35 kgf tensile strength — rigging security a rental house can trust overhead.
One speed ring size.
Every CINE uses the same 19.5cm speed ring, so mount adapters carry across sizes.
Easy setup & pack-down
A gentle pull. A simple press.
Gently lift each rib first, then press the top of the lever to open. To fold, lift the rib first, then press the bottom of the lever. No heavy force needed.
Press top to open
Press bottom to fold
The Lineup
SMDV CINE Lineup
Find the right size for your light.
Deep
CINE 50
View →
Deep
CINE 70
View →
Deep
CINE 90
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Deep
CINE 120
View →
Wide
CINE 150
View →
Wide
CINE 180
View →Specifications
| Size | Type | Frame | Beam Angle | Reflector Depth | Weight | Folded Size |
|---|---|---|---|---|---|---|
| 50 | Deep | 16-sided | 55° | 54 cm | 2.14 kg | 62 cm |
| 70 | Deep | 16-sided | 77° | 62 cm | 2.38 kg | 72 cm |
| 90 | Deep | 24-sided | 86° | 68 cm | 3.26 kg | 82 cm |
| 120 | Deep | 24-sided | 99° | 75 cm | 4.02 kg | 97 cm |
| 150 | Wide | 24-sided | 111° | 70 cm | 4.06 kg | 107 cm |
| 180 | Wide | 24-sided | 118° | 82 cm | 4.96 kg | 122 cm |
* Weight refers to the body only — front diffusion, inner diffusion, and mount adapter are not included.
Common to all CINE sizes
Compatible Light Source
Up to 5,000 W LED
* CINE 50: up to 2,600 W LED
D-Ring Tensile Strength
35 kgf
Speed Ring Diameter
19.5 cm
Adapters available for Aputure, Nanlux, Godox, Profoto, and Bowens mounts. (Adapters sold separately)
Made in Korea. Precision light shaping since 2003.
SMDV has engineered light modifiers since 2003 — with patented mechanisms and a manufacturing standard built for professionals who can't afford failure on set. Cine is the culmination of that experience, aimed squarely at the demands of the modern cinema floor.
