Power distribution cables with CEE connectors for film lighting, ranging from 16mm² (63A) to 120mm² (125A), featuring tinned copper conductors and reinforced neoprene jacketing.
Feeder cables are made of tinned copper conductors with EPDM rubber insulation and a reinforced neoprene outer jacket for mechanical durability. Standard versions: 16 mm² (63A), 25 mm² (80A), 50 mm² (100A), and 120 mm² (125A). The cables are equipped with CEE connectors (16A to 125A) according to IEC 60309 with phase rotation protection. Temperature range: -25°C to +60°C, bending radius at least ten times the cable diameter.
Variants include single-core individual cables for distribution systems, multi-core round cables for mobile applications, and flat ribbon cables (Socapex multicore) with 6x2.5 mm² for smaller loads up to 2.5 kW.
In 1958, the French company Socapex developed the first standardized film cables for Nouvelle Vague productions. In 1963, Arri introduced the CEE standard for German film sets. The breakthrough came in 1975 with Osram's HMI technology, which required cables with higher current capacities.
Modern developments: Halogen-free cables from 1995 onwards, LED-optimized versions with reduced cross-sections since 2010, hybrid data cables for DMX control since 2015.
On "Blade Runner 2049" (2017), electricians laid over 2 km of feeder cable for exterior shots in Budapest to power 18 kW ArriMax spotlights. "The Revenant" (2015) used 95 mm² cables over a distance of 300 meters for 12 kW HMIs in the Canadian wilderness.
Typical workflow: Cable lengths are calculated in advance (voltage drop max. 3%), cables are laid using cable carts, grounding is ensured via separate PE conductors. Advantage: High flexibility in spotlight positioning. Disadvantage: Weight (25 mm² cable weighs 1.8 kg/m), laying effort.
Distinction from extension cords: Feeder cables are for permanent installation and long distances, extension cords are for spontaneous connections under 50 meters. Schuko cables are only suitable up to 3.5 kW, CEE16A up to 11 kW, and above that exclusively feeder cables.
Modern alternative: Powercon systems from Neutrik for LED panels up to 3.5 kW with locking connectors. Studios are increasingly using permanently installed busbar systems instead of mobile cables.
Ich plane Speisekabel-Routen bereits beim Location-Scouting mit, da sie meine Kamerafahrten beeinflussen – ein 120 mm²-Kabel für einen 18K HMI kann ich nicht mal eben umhängen. Bei Steadicam-Aufnahmen lasse ich grundsätzlich 5 Meter Puffer zu den Kabeln, da das Gewicht von 2,5 kg pro Meter beim Darüberstolpern Equipment zerstören kann.
Speisekabel definieren den Radius meiner Lichtgestaltung – wenn der 12K HMI nur 200 Meter vom Generator entfernt stehen kann, beeinflusst das meine Einstellungsgrößen bei Nachtaußenaufnahmen. Ich lasse mir vom Elektromeister immer die Kabellängen bestätigen, bevor ich finale Shot-Listen erstelle, da nachträgliche Änderungen Drehtage kosten.
Ein 50-Meter-Set aus 95 mm²-Kabeln kostet 2.500 Euro, wiegt 180 kg und benötigt einen 3,5-Tonner für Transport – das kalkuliere ich bei Location-Drehs mit großen HMIs separat. Der Verlegeaufwand beträgt 45 Minuten für 100 Meter bei zwei Elektrikern, deshalb plane ich Speisekabel-intensive Drehtage mit verlängerten Rüstzeiten.
1. Zu welchem Department gehört „Speisekabel"?
2. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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