Pro Moviemaker October 2022 - Newsletter

It’s a triple helping of the latest and greatest filmmaking equipment in this month’s jam-packed Pro Moviemaker magazine. There is all the very latest gear that had its international debut at the IBC show, Europe’s biggest show for filmmakers, back at RAI centre in Amsterdam after two years away due to the pandemic.  Then we went to The Photography Show and The Video Show at the NEC in Birmingham to bring you even more of the hottest gear launches. And it’s also the issue where the winners in the annual Pro Moviemaker Gear of the Year Awards are revealed. It’s the Oscars of Equipment, where innovation and excellence is rewarded by real filmmakers who cast the votes.  Not only that, we get hands on with the new Sony FX30 mini cinema camera, look at the latest battery and charger technology on the market, test two new speedy Sigma wide-angle lenses, and put the Atomos Shogun Connect through its paces.  And we meet the go-to filmmaker for extreme sports and get him to spill the beans on how he does it. It’s the must-read magazine for all filmmakers and the new issue is out now.

FIRST LOOK: SONY’S SUPER 35 SURPRISE Hands-on with the impressive FX30 mini cinema camera

DYNAMIC PANASONIC The overlooked EVA1 is a brilliant used bargain

POWER STATION Best battery brands money can buy @ProMoviemaker

OCTOBER 2022 £5.49

All the hot new launches from two major exhibitions SHOW STOPPERS FRESH KIT

On location with the go-to filmmaker for extreme sports and lots more…

Two quick AF lenses that are super sharp SIGMA WIDES TESTED

The Shogun Connect opens up a world of cloud workflows WHAT AN ATOMOS-PHERE RATED

are revealed

The winners of our Gear of the Year Awards AND we put the champion cameras

through their paces

The ultimate magazine for next generation filmmakers


Editor in chief Adam Duckworth Chief sub editor Alex Bell

Deputy chief sub editor Matthew Winney Sub editors Harriet Williams, Ben Gawne Editorial director Roger Payne

ADVERTISING Sales director

Sam Scott-Smith 01223 499457 Senior sales executive Hannah Gurney 01223 499463 DESIGN Design director Andy Jennings Design manager Alan Gray Senior designer Lucy Woolcomb Middleweight designer Emily Lancaster

Designer and ad production Man-Wai Wong Junior designers Hedzlynn Kamaruzzaman & Kieran Bitten PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:

The pages of Pro Moviemaker are always packed with the latest, greatest hardware and software. But this issue, there is more than ever before, as we not only cover equipment launches from IBC and The Photography Show and The Video Show, but also the results of our Gear of the Year Awards. Yes, we all know movies can – and have – been shot on an iPhone, but when it comes to working professionally, having the right kit deliver every time is crucial. It’s essential for having happy clients, a good reputation and keeping money coming into the bank. That doesn’t always require rushing out and buying the newest bit of bling as soon as it hits the market. It often means working out what you need and why, then matching it to the right equipment. Not everyone has Netflix-level funds, and we always try to reflect that in the cameras and kit we feature. Take the Gear of the Year Awards, for example. Our winning cameras range from a very affordable Micro Four Thirds mirrorless, to a four-year-old camcorder, plus a couple of Red cameras – all at very different price points. Lens winners include a zoom from super-premium brand Zeiss and optic from fast-growing Korean brand Samyang. It is telling that two of our awards go to cloud services in what are usually hardware- based categories. The times, they are a-changin’. That also rang true at the big filmmaking shows, where there was a definite reduction in camera launches – partly driven by supply issues for things like computer chips, but also because the days of each generation being far superior to the last have all but gone. Emerging now are even more cloud-based services and platforms, for everything from remote storage of files to collaborative, real-time editing over the internet, camera-to-cloud services and, of course, live streaming. The pandemic accelerated demand for streaming of just about everything, enforcing a trend to remote working that has largely continued – as has the explosion of technology and services to make it all happen. It feels like we are on the cusp of something huge for independent filmmakers everywhere, as this tech matures and becomes more affordable. We’re in for an exciting ride!

Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ

Pro Moviemaker is published monthly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. ISSN number: 2045-3892. Pro Moviemaker is a registered trademark of Bright Publishing Ltd. The advertisements published in Pro Moviemaker that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. Prices quoted are street prices. In sterling they include VAT (unless otherwise stated), but US dollar prices are without local sales taxes. Prices are where available or converted using the exchange rate on the day the magazine went to press.





The ultimate magazine for next generation filmmakers

OCTOBER 2022 CONTENTS SHOW SPECIAL 7 IT’S FINALLY SHOWTIME! After far too long away, the massive IBC expo in Amsterdam and The Photography Show and The Video Show in Birmingham throw open their doors. 8 FUJIFILM FOR FINE DETAIL Hot on the heels of the amazing X-H2S mirrorless camera comes its bigger sibling, complete with a high-resolution Super 35 sensor for 8K video. 10 SMALLHD SHOWS THREE NEW MONITORS Screen specialist unveils a trio of five-inch touchscreens, plus the latest 65mm cinema prime lens from Sigma and The new Teradek Bolt 6 series that uses 6GHz for interruption-free transmission, along with the Tiffen Steadimate-RS gimbal accessory and a mini Red! 14 THERE IS LIFE ON MARS! This Hollyland wireless video transmission system is out of this world, along with a Nikon Z mount lens from Tamron and storage news from Seagate and PNY. 16 PANASONIC’S 4K CAMCORDER DUO First look at the latest high-resolution camcorders and a new Lumix 18mm lens. Also check out the Ovide monitor built with technology from Convergent Design. 18 FAMOUS FIVE FROM CANON A swathe of new camcorders packed with streaming tech have been released. Discover a powerful PTZ camera with advanced Dual Pixel CMOS autofocus. 20 CINE-SERVO LENS UNVEILED The CN8x15 with an EF mount, an expansion unit for Cinema EOS and a 27in professional reference monitor. some light-control grids from DoPchoice. 12 BOLT-ON WIRELESS BOOST


23 A NEW SORT OF CINEMA PRIME Samyang reveals an autofocus lens set for filmmaking, Lacie shows off new hard drives and Movietech unveils the 4x4 Dolly with four-wheel steering. 24 FULL-FRAME COMES TO PTZ Sony’s latest PTZ camera uses a big chip and E-mount lenses for a real cinematic look. 26 NANLITE’S AFFORDABLE COB LIGHT The low-priced bicolour LED, plus a Mammoth tripod from Benro and Tenba’s military range. 28 LIBEC AND RELAX HS tripod system brings all the features usually reserved for larger cameras down to mirrorless-size rigs, as well as Saramonic’s latest audio equipment.



The popular cine range gets a new entry-level mirrorless camera – the FX30. Complete with a Super 35 sensor and a body made for filmmaking, we’ve had a hands-on with the most affordable of Sony’s high-end range.



The ultimate magazine for next generation filmmakers


The votes are in, so it’s time to reveal the winners in our prestigious Pro Moviemaker Gear of the Year Awards 2022. From cameras and lenses to accessories and service providers, these are the best of the best! CASE STUDY 58 ACTION HERO On location with the extreme sport filmmaker who is always chasing the best surfers, skaters and snowboarders around the globe. This Super 35 cine camera is often overlooked, but makes a fantastic second-hand buy. It’s a great performer and uses the Canon EF mount. 72 MINI TESTS: TOP GEAR USED AND RATED Prepare to want these two new Sigma wide-angle lenses, as they’re fast and sharp! Plus, we put the Atomos Shogun Connect through its paces. GEAR 64 USED FOCUS: PANASONIC EVA1 76 BUYERS’ GUIDE: BATTERIES & CHARGERS We take a look at some of the best power solutions for your cameras, lights and accessories from a range of top-level manufacturers. 58






Take a look at all the latest hardware and software releases from IBC and The Photography and Video Show

I t’s been a long time coming, but Europe finally got not one, but two major shows for the filmmaking community. IBC at the RAI Amsterdam was followed by The Photography and Video Show at the NEC, Birmingham. Pro Moviemaker was at both to check out the latest kit, catching seminars and workshops on emerging trends. IBC is vast, with much of it aimed at the TV and broadcast industries – a bit out of the major areas of interest for most independent filmmaking production companies. But there are still many halls packed with the latest gear – from cameras and lenses to lights, bags, gimbals, drones and lots more. A lot of the buzz was surrounding the cloud, as companies like Sony,

Adobe, Atomos, Blackmagic and more highlighted how collaborative editing and camera-to-cloud services are becoming ever more realistic and affordable propositions for smaller indie outfits. There were lots of product launches, such as Fujifilm’s X-H2 mirrorless camera, Libec’s latest HS-150M tripod, Sigma’s 65mm cine lens, SmallHD monitors, Teradek’s new wireless video system – plus streaming camcorders galore from Panasonic and Canon. While the filmmaking element of The Photography and Video Show is not the biggest, it continues to grow with new kit revealed from the likes of Nanlite and more. So check out our mega guide to all that’s hot from the show floors!



NEWS Fujifilm’s 8K superstar Hot on the heels of the 26-megapixel

and 15fps using the mechanical shutter. Quite incredibly, the fastest shutter speed when using the electronic shutter is 1/180,000sec. The X-H2 features the same internal codecs as its sibling, with a choice of Apple ProRes 422 HQ, 422 and 422 LT. When recording ProRes, the X-H2 supports proxy recording to reduce the stress on computers editing 8K footage. When recording externally via HDMI to a compatible Atomos or Blackmagic, 12-bit Raw video output can be recorded as Apple ProRes Raw or Blackmagic Raw in up to 8K at 29.97fps or 4K at 60p. Internally, 8K movies can be recorded to the CFexpress card at 30p in 4:2:2 10-bit colour. The X-H2 has a heat-dissipating design the same as the X-H2S, to enable recording 8K/30p video for approximately 160 minutes. The X-H2 supports F-Log and F-Log2 gamma, which records expanded dynamic range of more than 13 stops. The X-H2 has 3.33 million phase detection AF points - more than the X-H2S with 2.16 million - but its performance is not at the same level as the X-H2S, which has the

X-H2S, with its superfast stacked sensor, comes Fujifilm’s new high-resolution X-H2. Its 40.2-megapixel sensor means it is designed for 8K video. Both cameras use Super 35-size sensors: the fifth- generation X-Trans CMOS. The cameras look virtually identical and share many of the same features, such as the incredibly quick X-Processor 5, a 5.76-million-dot EVF and use of CFexpress Type B and SD UHS-II card slots. The X-H2 uses the same battery and is also compatible with the optional battery grip and file transmitter grip for the X-H2S, plus a cooling fan to prevent overheating when shooting video. Overall, the X-H2S is the speed king, with very low rolling shutter, stills frame rates up to 40fps, 120p video in 4K with a crop – or 60p without – and a maximum video resolution of 6.3K open gate. The X-H2 is a higher-resolution camera that shoots 8K video and 40-megapixel still images. That’s the highest-resolution APS-C mirrorless on the market. The X-H2 can capture stills at 20fps blackout-free with the electronic shutter WIDE ZOOM FOR MEDIUM FORMAT

ANOTHER LOOK The shape of the components has been updated

and to accommodate the internal zoom system, ensuring the lens length is constant, which is ideal for video. The lens barrel is weather-sealed in 12 places to ensure dust/weather resistance and the front lens element has a fluorine coating for protection. AF is fast and silent, and there’s an 82mm filter thread.

aspherical element and three ED elements. The optic uses Fujifilm’s Nano-GI coating to combat ghosting, has a minimum focusing distance of 35cm and only weighs 725g/1.6lb. Magnesium alloy is used around the lens mount to make it light and robust. The shape of components has been updated to keep the mount area slim

Fujifilm’s GFX medium format system now has a GF20-35mm f/4 R WR ultra- wide zoom lens, equivalent to 16-28mm in the 35mm format. It is suitable for all GFX cameras, including high-resolution 100-megapixel models. The £2349/$2499 lens is constructed from 14 elements in ten groups, with three aspherical elements, one ED




faster stacked sensor. Both cameras are equipped with the X-Processor 5, which features subject detection AF that’s based on deep-learning technology. This detects and tracks a range of subjects including animals and trains. As the new high-resolution sensor has a greater number of phase detection pixels, this is said to improve AF-S focus on a subject, essential for sharp 8K video. The X-H2 is also the first Fujifilm X Series camera to have a Pixel Shift Multi- Shot mode that results in 160-megapixel images. In this mode, 20 shots are taken then merged in Fujifilm’s Pixel Shift Combiner software. A five-axis in-body image stabilisation system provides up to seven stops of compensation. And the X-H2 is equipped with a high-definition 5.76-million-dot EVF with 0.8x magnification. It boasts a smooth refresh frame rate of 120fps. The body design is the same as the X-H2S, with 79 weather-sealed points. The camera costs £1899/$1999 (body only), which is cheaper than the lower- resolution X-H2S at £2499/$2499 as it includes the dearer stacked sensor. “The X-H2 is the first Fujifilm X Series camera to have a Pixel Shift Multi-Shot mode, for 160-megapixel images”

FAST COMPANY FOR X CAMERAS Fujifilm has taken the wraps off a new version of its XF56mm f/1.2 R WR short telephoto, with a reduction in minimum

Focus noise when shooting has been reduced thanks to a bearing mechanism that reduces friction when the AF motor is driving lens elements. The focusing unit is three times the weight of the unit used in the previous-generation 56mm f/1.2. A stronger actuation system had to be built to keep AF speedy and accurate. Minimum focusing distance is reduced to 50cm/19.7in, 20cm/7.9in shorter than previous models. Aspherical elements are also processed at higher precision levels. Weighing 445g/0.98lb and measuring 76mm/2.99in long, the front element is coated with fluorine to repel water and offer protection against stains.

focusing distance, but an increase in image-resolving performance and rendering of out-of-focus background. That makes it ideal for the new X-H2. The £999/$999 lens has 13 elements, including two aspherical and one ED in eight groups to reduce chromatic aberration and coma. It has a 67mm filter thread and is sealed at nine points. The 56mm focal length is equivalent to 85mm in the 35mm format, often claimed to be the perfect portrait lens. It has 11 rounded aperture blades for smooth bokeh.




Five go live from SmallHD

SmallHD has revealed its Smart 5 monitor series, comprising the Ultra 5, Cine 5 and Indie 5 touchscreen displays. Including two additional wireless versions of the Ultra 5, these compact five-inch monitors are all powered by the PageOS 5 software toolkit, which includes exposure assist functions, waveforms and false colour. This series was designed with the same quality and functionality of SmallHD’s seven-inch Smart 7 and Ultrabright Series. They give full camera control for Arri, Red and Sony Venice. Ultra, Cine and Indie Smart 5 monitors provide three tiers of brightness and physical control options to match a range of on-set workflows. All have multi-touch interfaces, but the Cine 5 adds a joystick and back button control, and the 3000-nit Ultra 5 offers extra customisable function buttons. Each aluminium body monitor has multiple mounting points. The £2280/$2199 Ultra 5’s touchscreen has front-facing physical buttons, for maximum control in cold weather while wearing gloves. It has a brightness level of 3000 nits, two 3G-SDI ports and two HDMI 2.0 sockets, an Ethernet port for optional Arri and Sony Venice camera control, a locking power connector and a locking five-pin USB for Red camera control. SmallHD and Teradek have joined forces to integrate the new Bolt 6 wireless SIGMA TURNS 65 A 65mm cine lens is being introduced by Sigma, in both its full-frame High Speed line as a T1.5 and also a T.2.5 optic in the vintage-style Classic range. Both share an optical design, but the Classic optic uses uncoated lens elements for a low-contrast image with beautiful flare and ghosting effects. The Classic lens only comes in PL fit with /i Technology built in, while the standard prime also comes in Canon EF and Sony E-mount options. No prices have yet been announced. The lenses use nine rounded diaphragm blades, have a minimum close focus of 65cm/28in and an 86mm filter thread. The PL mount versions are 120.6mm/4.8in long, but weights haven’t been revealed.

The £1658/$1599 Cine 5 combines a touchscreen with a side-mounted joystick and back button, 2000 nits of brightness, 3G-SDI, HDMI 2.0 and a five-pin locking USB for Red camera control. The £1347/$1299 Indie 5 offers a touchscreen-only interface, providing 1000 nits of brightness, 3G-SDI HDMI 2.0 and a micro USB for Red camera control. GOING OFF THE GRID DoPchoice has introduced light modifiers for Astera and Prolights. For Prolights’ ECL Softlinear, there’s a 50° Snapgrid, plus a 40° Snapgrid for Prolights’ EclPanel TWCXL. The 40° Snapgrid slips on the EclPanel via elastic straps for instant light control. DoPchoice will soon offer the new Fat-Rabbit Frame and 8ft Double-Hex Snapbag for this fixture. DoPchoice also has a range of light modifiers for the Astera HydraPanel.

technology into the Ultra 5 monitor, creating the Ultra 5 Bolt 6 RX 750 and Ultra 5 Bolt 6 TX 750. These have 6GHz connectivity, eliminating the need for additional cables or batteries. RX monitors are available with integrated Gold or V-Mount power, and all Ultra 5 wireless monitors are fully compatible with Bolt 4K devices over the 5GHz band.

A focal length of 65mm is relatively uncommon and marks the 11th optic in Sigma’s cine prime range. Until now, standard cine primes have been available individually, but the Classic range only as a set of ten. Sigma will now sell these individually.




MOST AFFORDABLE RED EVER! For the filmmaker who has everything comes the Red V-Raptor camera, featuring mini V-Mount battery plate, interchangeable PL lens mount and cine lens for £267/$299. Or buy it with three lenses for £517/$579. Sadly, it’s just a desk toy from Revar Cine. It’s machined from solid aluminium and is so finely detailed that it’s been approved by Red boss Jarred Land.

Bolt-on wireless boost Teradek’s new Bolt 6 Series is a zero-delay wireless video system that uses 6GHz transmission in high-traffic environments while remaining compatible with the current Bolt 4K BB3 ecosystem. The Bolt 6 XT offers the most upgrades within the Bolt 6 family, including a redesigned form factor that’s smaller, lighter and up to 50% quieter than its Bolt 4K counterpart. Bolt 6 will also feature an integrated five-pin USB for easy camera control set-up.

The Bolt 6 employs the newly available 6GHz frequency band, in addition to the industry-standard 5GHz, reducing signal congestion. A Bolt 6 device will pair with a Bolt 4K unit on 5GHz bands. However, a Bolt 6 TX/RX combination is required for full 6GHz connectivity. All models include a long-range mode and an SDI tool to check cable integrity. Bolt 6 Max units also feature integrated flexible H antennae for longevity.

The Bolt 6 LT is a compact, lightweight solution with a 750-5000ft range like the Bolt 4K LT, and operates on the 12 U-NII 5 channels like the rest of the Bolt 6 line. It also comes in an HDMI-only version. Bolt 6 Monitor Modules offer ranges of 750-1500ft and integrate into SmallHD Smart 7 Series monitors, just like their Bolt 4K counterparts.

STEADY TIME FOR NEW TIFFEN RS The Tiffen Steadimate-RS is designed to turn the DJI RS 2, RS 3 and RS 3 Pro motorised gimbals into full, four-axis Steadicams. This new system converts a DJI gimbal into a body-worn stabiliser. It works by attaching a new mechanical gimbal and bearing to the 1/4in-20 mounting holes of the DJI products’ Nato ports, along with a weighted gimbal post extension with tunable balance adjustment. The system is completed by the choice of a spring arm and vest combination, available in 6.8kg/15lb or 13.6kg/30lb load capacity. The Steadimate-RS gimbal collar/yoke and weighted base is available separately – to use with an existing Steadicam system – for a total of £345/$395.


will instantly be uploaded to Sony’s C3 Portal once filming finishes. Prism Flex is a tabletop H.264/H.265 encoder/decoder that provides live and point-to-point streaming to any destination in up to 4K HDR. Serv 4K is an all-in-one production streaming solution with a simplified interface to manage 4K HDR images in real time. This is the second integration between Sony and Teradek, following a file upload linkage from Teradek’s encoders to Sony’s Ci Media Cloud.

Sony’s cloud-based C3 Portal now fully integrates with Teradek’s Prism Flex and Serv 4K. C3 Portal is a camera-to-cloud service designed for professional newsgathering and natively integrates with Teradek’s 4K HDR encoding solutions. Files can be uploaded from Sony’s cameras on location to the edit suite using the C3 Portal through Teradek’s encoders. Teradek devices will automatically detect when the camera is recording, triggering a local recording on the encoder that




Hollyland’s life with Mars

Hollyland has showcased its Mars 4K UHD wireless video transmission system, plus the new Mars M1 monitor, an all-in-one wireless transmitter, receiver and monitor. The £707/$699 Mars 4K wireless video transmission system supports 4K UHD video at 30fps and is compatible with 1080p. Its HDMI input supports up to 3840x2160 at 30p, while SDI input allows 23.98, 29.97 and 59.94p, with output from the receiver’s HDMI and SDI port. A dual-core codec chip is capable of data rates from 8-20Mbps, with 12Mbps as the default. It offers a range of 150m/450ft and latency of 0.06sec. Power supply options include DC and USB-C chargers. Mars M1 is an all-in-one transmitter, receiver and low-latency monitor priced at £563/$549. The bright, 5.5-inch LCD touchscreen supports Rec. 709, professional colour calibration and temperature adjustment, and comes with five 3D LUT presets. It has the same range as the Mars 4K and latency of 0.08sec. The Mars M1 supports 4K/30fps HDMI input and output, SDI input, and DC power out for external devices, plus a USB-C interface. Functions include 4x zoom, focus assist, exposure assist and waveform display. This brand-new device works with the Mars 4K, Mars 300 Pro, Mars 400S Pro and forthcoming Mars Pro/4K series.

SEAGATE POWERS THE CLOUD Seagate has launched its next-generation Exos X storage arrays to provide incredible efficiency for


Tamron has launched the 70-300mm f/4.5-6.3 Di III RXD as its first lens to fit Nikon Z mount. The £699/$699 lens features a moisture-resistant construction, anti-reflection coating and can be used with the dedicated Tamron Lens Utility software. It is 148mm/5.9in long with a max diameter of 77mm and weighs 545g/1.2lb. Optical construction is 15 elements in ten groups – and the AF stepping motor is quiet.

private clouds. The Exos X is an enterprise-class storage infrastructure offering double the performance of the previous generation, as well as enhanced enterprise-class durability. The system also incorporates Seagate’s Adapt erasure coding solution, along with its self- healing storage technology called ADR, to protect stored data more effectively. A new controller, engineered and built by Seagate, enables performance up to 725,000 I/O per second at 1ms latency, with sequential read speeds up to 12GB/s and write speeds reaching 10GB/s.

PNY ELITE-LEVEL MEMORY Memory card specialist PNY has a new line of high- performance Class 10 U3 V60 UHS-II SD cards. With read speeds of 180MB/s, a minimum sustained write speed of 60MB/s and transfer speeds of up to 280MB/s, the EliteX-Pro60 SD cards can keep up with 4K video. They are waterproof and magnet proof, impervious to X-rays and aren’t damaged by being dropped. Starting at $33, the PNY EliteX-Pro60 SD cards are available in three capacities: 128, 256 and 512GB.




Panasonic’s new 4K camcorder duo

Panasonic has launched two new professional 4K camcorders with 1.0-type sensors, ideal for news, interviews, event broadcast and streaming. stabilisation and high-speed AF with face detection. The HC-X2 costs £2879/$3199 and the HC-X20 £2249/$2600. Both cameras record internally to dual SD memory cards in 4:2:2 10-bit 4K at up to 30p, but also have super slow- motion at up to 120fps and variable frame rate from 2-60fps. Plus, there is HEVC The HC-X2 and HC-X20 have a 20x optical zoom, five-axis image recording for more efficient storage. Each model includes simultaneous display on the LCD monitor and electronic viewfinder, triple manual control rings on the lens, XLR audio input terminals, ND filters and built-in Wi-Fi. The HC-X2 also offers HLG and V-Log recording for 4K HDR content, as well as Ethernet connectivity and simultaneous SDI/HDMI output and HD livestreaming capabilities via a range of protocols. Its integrated lens ranges from 24.5- 490mm telephoto, while digital zoom allows 24x zoom in 4K and 32x zoom in FHD. There is face detection AF/AE and a precise focus lens drive for focusing speed and tracking performance. The LCD monitor can be touched to activate subject tracking with colour recognition. The HC-X2 and HC-X20 feature a hybrid system, in which optical and electronic image stabilisation work together to detect and correct camera shake across five axes – including rotational blurring. This enables smooth panning and steady handheld shooting, even at 20x zoom. With 15.03 megapixels, the 1.0-type MOS sensor offers 3840x2160 recording with zero cropping. The camcorders support a wide range of bit rates and formats. For internal recording, there is UHD at 29.98p/25p and FHD up to 59.97p/50p in 4:2:2 10-bit, while UHD 60p 4:2:2 10-bit can be recorded externally via HDMI. HEVC recording in Long GOP, 10- bit 4:2:0 and MOV is available in 59.97p at 200Mbps. Files are MOV, MP4 and AVCHD.

STREAMING SIBLINGS The HC-X2 (above) shares plenty of spec with the HC-X20 (top right) but also has Ethernet connectivity and SDI output

viewfinder can be used simultaneously. The displays offer Focus Assist functions including Expand, Peaking and Area mode. There are 14 customisable buttons – nine on the body and five on the LCD touch panel. The integrated ND filter has four settings (Clear, 1/4, 1/16 and 1/64). The included battery has been designed to sit within the camera body shape, rather than protrude from the unit. It provides long, continuous shooting times: approximately three hours and 50 minutes on the HC-X2 and four hours and 25 minutes for the HC-X20. Two switchable XLR inputs support +48v phantom power. Audio can also be recorded in 24-bit linear PCM (MOV), 16- bit AAC (MP4) or Dolby Audio (AVCHD). Both cameras offer image adjustment functions, including Soft Skin to automatically adjust and smooth skin tones, 16-axis independent colour correction to allow colour matching for multiple cameras and 8-Mode Gamma, which offers eight gamma presets.

High Dynamic Range is available on the HC-X2 through its Hybrid Log Gamma mode – or shoot in 13-stop V-Log mode for maximum range. Built-in Wi-Fi makes connectivity easy, with a free app enabling remote camera operation using tablets and smartphones. The HC-X2 is equipped with Ethernet, ideal for a highly stable livestreaming set- up, while the HC-X20 can be connected to a wired LAN through its optional USB Ethernet adapter. FHD live streaming uses RTSP/RTP/RTMP/RTMPS protocols, and allows for direct broadcast to platforms like Facebook and YouTube. The HC- X2’s USB tethering function allows live streaming via 5G smartphones. A 3.5in, 2760K-dot LCD touchscreen monitor and 2360K-dot tiltable OLED

“Built-in Wi-Fi makes connectivity easy, with a free app enabling remote camera operation”






Ovide’s Koko monitor/recorder uses its own video assist system, but incorporates Convergent Design’s recorder tech. It has assist functions to work with cinema cameras from the likes of Arri, Sony, Red and Canon. The Koko has a ten-inch touchscreen, records on removable SSDs, has six 12G-SDI in/out sockets, USB-C connectivity, audio in/out and Ethernet connection. It’s a hardware solution that needs no additional software to offer automatic metadata capture, clip database, histogram, waveform, focus assist, zebra and false colour. The Ovide Koko records up to four cameras in 1080/60p and is powered by V-Mount, Gold Mount or B-Mount batteries.

A new 18mm ultra wide-angle prime with a fast f/1.8 aperture has been launched by Panasonic, to fit its range of full-frame Lumix S Series cameras, costing £799. This compact and light optic is the fifth high-speed f/1.8 Lumix L-Mount lens. All five f/1.8 lenses – the 85, 50, 35, 24 and 18mm – are uniform in size and position of controls. This makes them ideal for use on a gimbal or in a rig, where fast set-up is essential. The lens has 13 elements in 12 groups, including three aspherical, three ED, one UED and one UHR lens. The three ED lenses suppress chromatic aberration, while a circular nine-bladed aperture provides smooth bokeh. The Lumix S 18mm f/1.8 works both smoothly and silently with the camera’s fast AF system, reading the sensor at a maximum of 240fps. Manually, the focus is shifted by a variable amount according to the speed of rotation of the focusing ring – or can be set to shift by a specific amount according to the angle of rotation of the focusing ring. Degree of focus shift can be selected from 90° to 360° in 30° increments. The optic is designed to suppress focus breathing and has micro-step iris control for smooth exposure changes. The dust and splash-proof design allows use in harsh conditions, down to -10°C.


The platform is ideal for venues, corporate events or art installations. Prism Zero is straightforward and connects directly with all Avolites Titan lighting consoles via NDI.

Avolites has released its new stand- alone video display application Prism Zero, to simplify complex video design and integration. It expands the range of live production tools, alongside significant upgrades to Prism Player.



NEWS Famous five from Canon Five new camcorders have been unveiled

“All of these camcorders are capable of recording in 4K and streaming in HD via a USB-C connection” manageable codec of MP4 4K UHD 150Mbps at 25p – which is the largest codec the HF G70 can shoot. The four pro camcorders also have an infrared mode to capture high-quality footage in the dark, plus two XLR audio inputs with 48v phantom power and four-channel linear PCM to set the recording level and input sensitivity. Plenty of connectivity options are available through the range, for fast transmission of high-resolution video. They can all stream HD video in UVC via USB-C, and all five models also feature HDMI output with simultaneous backup and relay recording via dual SD cards, with the XA65 and XA75 offering an additional 3G-SDI output. The XA75 costs £2720/$2999 and the XA70 £2180/$2499, while the XA65 is £2090/$2299 and the XA60 £1540/$1799. The HF G70 is priced at £1089/$1249.

by Canon – four professional models in the XA60, 65, 70 and 75 as well as the prosumer HF G70 (which is called the Legria in Europe or Vixia in the US). All of these cameras are capable of recording in 4K and streaming in HD via a USB-C connection. They have advanced AF with face detection functionality and MP4 recording. The four professional models also feature the XF-AVC codec to support broadcast applications. Powered by the Digic DV6 image processor and using 1/2.3in and 1.0in CMOS sensors respectively, the XA60/65 and XA70/75 camcorders are capable of shooting 4K UHD and Full HD images. They use oversampling for the best quality when shooting HD. Matching up to the professionals in sensor quality, the HF G70 also has a 1/2.3-type CMOS and can shoot in 4K UHD and Full HD with oversampling. The XA60/65 and HF G70 offer 20x optical zoom, whereas it’s 15x for the XA70/75. All four professional models support 40x digital zoom, which totals 800x in the XA60/65 and 600x in the XA70/75. The HF G70 has 20x digital zoom – 400x all in. All five use a new, fold-out 3.5in touchscreen LCD monitor – and they have the same high-res EVF, giving you a choice of framing methods. With Dual Pixel CMOS AF, the XA70/75 models are capable of fast and accurate focusing, which couples with the Dual Pixel focus guide for manual control. The XA60/65 and HF G70, meanwhile, employ an advanced hybrid AF system. All five offer adjustable focusing speeds, controlled via the LCD display using touch to focus. The entire range of camcorders feature manual focus, which may be set by the focus/zoom ring (or the control ring on the XA70/75 lens), and all include five- axis image stabilisation to ensure shake- free footage. Either the XA60/65 or 70/75 will fit well into professional workflows, whether capturing XF-AVC 4K UHD 160Mbps at 25p for broadcast, or a smaller, more




DUAL PIXEL AF COMES TO PTZ Canon has launched the CR-N700 – a

Canon’s XC protocol allows integration of the CR-N700 alongside other Canon Cinema EOS cameras. It’s even possible to match your shots to other Canon cameras, using Canon Log 3 and Wide DR settings. Connections include 12G-SDI and 3G-SDI, HDMI or IP (PoE++) and dual XLR audio inputs. With the crop function, two separate feeds can be taken from the CR-N700. A zoomed-in part of the 4K frame can be output separately in Full HD to allow switching between the wide and tight shot – giving you two feeds for the price of one camera. The advanced drive mechanism enables movements as precise as 0.1° per second, ideal for shooting repeat passes or complex shots, and the CR- N700 is compatible with both Canon’s RC-IP100 controller and Remote Camera Control Application – plus selected third-party controllers.

4K/60p, 4:2:2 10-bit PTZ camera with 12G-SDI connectivity, ideal for pro studio, broadcast and live productions. It’s the first PTZ to feature intelligent Dual Pixel AF from such cameras as the EOS C70 and XF605. Featuring a 1.0-inch type CMOS sensor and Digic DV7 processor for streaming 4K/60p over the internet, it has 15x optical zoom (up to 30x advanced in Full HD) and 20x digital. This robotic camera system has image stabilisation and features a night mode, allowing use in near darkness thanks to an in-built IR cut filter. Plus, there’s support for HDR formats in either PQ or HLG. A first for Canon PTZs, the CR-N700 has Dual Pixel CMOS AF technology with advanced EOS iTR AF X. This deep-learning autofocus can lock onto a subject’s head and track them as they move – even when they’ve turned away. Eye detection AF focuses on a subject’s pupils for even greater precision, while face priority will only activate AF when a face enters frame. The CR-N700 supports multiple protocols including SRT and NDI|HX for 4K streams, while FreeD enables synergy with virtual productions.


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huge new range of camcorders at different prices and specs to suit many scenarios




FIRMWARE UPGRADES CURRENT CAMERAS A firmware update for both the Canon EOS C500 Mark II and EOS C300 Mark III enables both cameras to be better used within live production environments. Implementing XC protocol for integration into multicamera shoots and supporting direct control via Canon’s RC-IP100 and Ethernet connections, this firmware hugely boosts the capabilities of each machine when used in live broadcast scenarios. It also supplies AF when shooting 120p/100p plus face detection during slow and fast shooting modes. And all four audio channels can now be monitored in the on-screen meter displays. Canon has also included a firmware update for the XF605 camcorder to better enable remote and live production. As above, it adds XC protocol, four-channel audio monitoring and improvements to face detection AF in both fast and slow motion shooting. The v1.0.1.1 firmware also introduces a new 4K Intra 60p/50p option alongside XF- AVC Intra 410Mbps, and gives support for vertical shooting – making it a perfect addition to any broadcast production.

Cine lens tops glut of new products

Canon’s new products include the CN8x15 IAS S E1/P1 Cine-Servo lens, the DP-V2730 27in 4K professional reference display and a modular expansion unit for the EOS C500 Mark II and C300 Mark III. The CN8x15 lens fits Super 35 cameras, is ideal for cinema and broadcast scenarios and able to support 8K productions. It has a focal range of 15-120mm, extendable to 180mm via the built-in 1.5x extender. This lens features an 11-blade iris, and Canon’s warm colour science lets it match the existing range of cinema optics. Supporting EF mount communication and advanced metadata capture with support for Cooke /i Technology, this is the first Cine-Servo lens to enable Zeiss “The CN8x15 fits Super 35 cameras, ideal for cinema and broadcast”

eXtended Data communication using the PL mount. It’s available as EF and PL, with a removable servo motor drive unit. The EU-V3 is a modular expansion unit, compatible with the EOS C500 Mark II and C300 Mark III to support multicamera and live productions. It has an SDI return feature, allowing real-time monitoring of live feeds from a production switcher – and enables Ethernet tally support using XC protocol. The new DP-V2730 is an advanced 4K HDR monitor with 1000cd/m² full- screen peak brightness and Canon’s local dimming technology giving an ultra-low black level of 0.001cd/m². It has a 27in screen which achieves Dolby Vision certification and Grade1A in EBU Tech3320 standards. The DP-V2730 also features a catalogue of monitoring tools suited to professional productions and advanced workflows. With an HDMI input and 12G-SDI terminals – four ins and five outs capable of delivering 4K/60p 4:2:2 10-bit or 4K/30p 4:4:4 12-bit signals – the monitor can also be linked to a computer or smart device plus multiple Canon Displays (via LAN) with the Remote Control Web UI. This touch-optimised interface provides live image viewing, detailed signal information and direct control over inputs, monitoring tools and settings.

Four-way SDI input switching will be available via an optional paid upgrade. This will send an output feed to an additional monitor, external recorder or for live streaming.

WIDESCREEN The Canon 4K HDR monitor now comes in a larger 27in size (left)




Samyang reveals AF cine primes

Samyang says its new range of V-AF Cine Primes are the world’s first AF cine lenses. The initial optic from this new line-up is the V-AF 75mm T1.9, while 20, 24, 35 and 45mm versions will follow before the end of 2023. These small, lightweight lenses come in Sony E-mount, but don’t feature a manual aperture ring or any focus and aperture markings. However, they do have a unified form factor and are colour matched, according to Samyang. Every single model in the collection is 73x70mm, weighing less than 300g, meaning there is no need to reset equipment when changing lenses. They have a tally lamp located on the front and side, to indicate when video is being recorded. The new V-AF series supports resolutions up to 8K and all optics include nine aperture blades, for natural-looking bokeh. Each lens has a custom switch – and a button enabling access to video-specific functions, such as Focus Save. Samyang also unveiled the Xeen CF 135mm T2.2 lens, for PL, Canon EF and Sony E-mount full-frame cameras.

Movietech’s 4x4 Dolly is a lightweight doorway dolly with two- and four-wheel steering. By lifting and lowering the push bar, it switches steering mode, making it far easier to move in small spaces. A tough, stainless steel gear should ensure reliability for years. Both handlebar and push bar can be mounted on either end of the dolly, which has attachment points for accessories like seat arms and tripod adapters. New quick-release pins enable short set-up times. The dolly allows a tool-free switch from pneumatic wheels to track wheels. WELL, HELLO DOLLY!

A GLASS ABOVE The V-AF 75mm is an AF lens designed for video (top). The Xeen 135mm is the newest cine prime (above)


Software for on-demand and scheduled backups are featured with the drives, which also come with a one-month Adobe Creative Cloud All Apps plan. In addition, there’s a three- year warranty and rescue data recovery service. The Mobile Drive Secure adds a layer of data safety. Both use USB-C tech and are compatible with USB-C and USB 3.0 computers. The Mobile Drive Secure starts at £100/$99 for 2TB and the Mobile Drive from £75/$75 for 1TB.

Lacie’s mobile hard drive range now includes the Mobile Drive and Mobile Drive Secure. The HDDs come in an all-new design made of recycled aluminium and plastic, with recycled cardboard packaging, to improve its sustainability. The drives provide up to 5TB of storage and offer compatibility with PC, Mac, iPad and USB-C, without the need for reformatting. One-click auto backup makes file storage easy, and USB-C 130MB/s file transfers are fast.




Sony’s bigger sensor PTZ cam Sony’s new FR7 is the world’s first PTZ camera to combine a full-frame image sensor and changeable E-mount lenses. The camera has a back-side illuminated, 35mm full-frame CMOS sensor with approximately 10.3 effective megapixels and a dynamic range of over 15 stops. The £11,347/$9699 camera is designed for low noise thanks to the Exmor R sensor – which can reach as high as ISO 409,600 – and recording is possible up to 4K/120p for slow motion. Colour choices include S-Cinetone for natural skin tones straight from camera. In Cine EI mode, sensitivity can be set to either ISO 800 or 12,800 and supports S-Log3 gamma, wide S-Gamut3 and S-Gamut3.Cine colour spaces. There’s a new app which allows remote control of pan, tilt, zoom, focus, record, playback and all camera settings from a tablet or computer’s web browser. Multicamera monitoring is also enabled, allowing several cameras to be viewed remotely on one device – or for multiple devices to view the output from a single camera. The FR7 is compatible with Sony’s RM-IP500 remote controller, which can take control of up to 100 PTZ cameras and provide joystick-controlled pan, tilt and zoom operation. Pan and tilt speed can be continuously varied from 0.02° to 60° per second. You can record 100 positional presets and use Ethernet S700 protocol.

TRIPLE-PLAN FOR THE FUTURE Connected Content Acquisition programs form its blueprint for the future of media. Creators’ Cloud is an upcoming production Sony says its new Creators’ Cloud, Networked Live and platform for content creation, acquisition and distribution, from all networks to all devices. Networked Live is a project with Nevion to accelerate the movement of workflows to fully remote productions. Connected Content Acquisition is Sony’s plan to reinforce the connective capabilities of its cameras, so users can do more with their content at the point of acquisition. The new FR7 PTZ camera is the first major launch as part of this project.

The Fast Hybrid AF and PTZ rig combine to focus on static or fast- moving subjects over a wide area, even when a shallow depth-of-field is used. Touch Tracking can be used to initiate autofocus with real-time tracking on the desired subject – or directly on your subject’s eyes using Eye AF. There’s a built-in electronic variable ND filter for remote exposure control, and the Auto ND function keeps exposure constant to match changing light. externally via the SDI. There are also dual media slots supporting CFexpress Type A and SDXC memory cards – plus HDMI Type A connections, 12G-SDI slots and an XLR mic input. Camera control, power supply and video or audio transfer can all be carried out via a single LAN cable. This connector supports streaming protocols including RTSP, SRT and NDI|HX for working in an IP-based workflow. The FR7 can be powered from an external PoE++ device via a standard network cable, eliminating the need for separate power cabling. Timecode and genlock are featured, plus red/green tally lights. The FR7 allows internal XAVC recording and can output to Raw

UPGRADES FOR VENICE FLOOD IN Sony’s flagship Venice 2 cinema camera gets upgraded with new firmware and the Venice Extension System 2 – a tethered solution allowing the camera body to detach from the sensor block using a 3m or 12m cable. With this, the body can be used on gimbals, cranes or tight sets. The £18,053/$18,999 Extension System is equipped with a tilt/roll sensor on the head that records motion as metadata for use in post. With higher recording speeds and sync functions for working with LED walls, the new firmware also enables embedding LUT and CDL data in clips. On top of this, there are new monitor-out functions – like zoom- to-fit for anamorphic lenses – and the ability to move the recording status indicator on the screen.





Benro revealed a new behemoth: a heavy- duty, four-section, carbon-fibre tripod, featuring a quick-levelling 75mm bowl ideal for video heads: meet the Mammoth. It has quick-action twist-leg locks to rapidly alter the height from 14cm/5.5in to 160cm/63in. Low shooting angles are made possible by independently locking, three-stop adjustable legs. This £370/ $350 tripod comes with rubber feet that can be unscrewed and replaced with an included spiked option. It also has three built-in 3/8in accessory mounting holes. The tripod weighs 2.25kg/4.97lb, with a maximum payload of 25kg/55.1lb. A perfect match for the Mammoth is an innovative two-way head with eight- stop counterbalance pan and tilt drag adjustment. Benro’s WH15 Wildlife head has an ergonomically designed handle, and quickly extends and locks easily. The

ARMY FATIGUE IN AXIS RANGE Tenba has gone for military- grade protection with the release of the Axis v2 bag line. The three largest versions offer three-point camera access, meaning the bag doesn’t need to be removed to gain entry. The range uses Multicam Black fabric, an airflow harness and auto-adjusting straps. Reflective webbing allows for expandability when combined with Tenba accessories. A laptop sleeve, trolley strap and removable rain cover are all included. The Tenba Axis v2 also has a hidden pocket compatible with Apple Airtag or Tile Bluetooth trackers. Prices start from £65/$80 for a four- litre toploader and go up to £250/$300.

£600/$700 WH15 supports up to 15kg/33lb payloads and uses an Arca-Swiss plate with quick-release clamp. Plus, it has built-in accessory mounts.

SIZE UP The new Mammoth carbon-fibre tripod and WH15 head are an ideal combination for bigger camera rigs and lenses

Nanlite’s most affordable bicolour COB

Nanlite gave show-goers a sneak peek of its forthcoming bicolour FS-60B studio LED COB light prior to its official launch. The compact fixture comes with a correspondingly small price of just £186/$179 - a bargain that should see lots sold. The light has a CCT range of 2700-6500K and weighs just 850g/1.87lbs. Its all-in-one design means you only need to plug the included power cable into the mains – and its neat 247x134x87mm/9.72x5.28x3.34in size makes it easy to fit into tight spots. The FS-60B emits 13,360 lux of 5600K daylight-balanced light at 1m, with CRI and TLCI ratings of 96 and 97. One knob controls the dimming and another adjusts colour temperature, and settings are displayed on a 1.3in OLED. With Bluetooth built-in, users can opt to work via a free smartphone app for iOS and Android. Equally, there is 2.4G wireless for compatibility with Nanlite’s WS-RS-C2 remote. Play around with the 12 built-in practical effects, customised via the app. This latest light uses Nanlite’s small FM mount, but a Bowens-mount adapter is included.





Giving power to the people, Libec’s HS tripod line brings the counterbalance system usually meant for larger cinema cameras down to lighter mirrorless and DSLR machines. Based on popular Libec RS tripods and heads, the HS series is a brand-new collection. Freshly designed fluid heads with user-friendly features – such as the Perfect Balance System – enable cameras to be precisely balanced at any tilt angle you choose. These heads feature an advanced drag mechanism with smooth pan and tilt movements and improved backlash control. Plus, there’s a counterbalance meter, easy-snap on/off QR plate and an accessory port. The HS series has four fluid head models, each designed with a wide counterbalance range. The base model H15 is made to achieve seamless

balance with even the lightest mirrorless cameras, from a range of 0.8kg/1.7lb to 2kg/4.4lb. The biggest will handle 4.5kg/9.9lb to 10.5kg/23.1lb. Tripod legs start with the HS-150, while the flagship HS-450 comes with a floor- or mid-level spreader and can handle a payload of 12kg/26.5lb. The HS-150 with an H15 head costs $1009.

LIBEC FOR ALL The new HS tripod system brings high-end spec to every size of camera, from small to massive


Saramonic’s SR-MV2000 USB studio mic employs large-diaphragm cardioid technology to add rounded sound to voice-overs, broadcasts, live streams and podcasts. The £76/$71 mic is a plug-and-play solution for computers and mobile devices. It offers a range of mounting options, from a magnetic tabletop stand to a 5/8in mount for a boom arm and 3/8in adapter. An integrated 360° swing allows for quick adjustments. An input level control button also doubles as the mute key, and there’s a 3.5mm headphone output with volume control. Handily, users can switch between real-time monitoring of the recording app to latency-free mic monitoring. The mic includes both USB-A and USB-C output, but an optional adapter is needed for Apple Lightning connections.

Saramonic’s tri-pattern shotgun mic To suit a range of different subjects, Saramonic’s Vmic Mini S is a compact shotgun condenser microphone with three polar patterns. Each is selectable by a dial. There’s ASMR, which is cardioid with a focused directional pickup – ideal for quiet subjects. The second mode is 120°, also cardioid, with a wide directional pickup. Finally, 360° is omnidirectional for a more immersive sound. The £80/$89 mic is small and light, featuring integrated shock and shoe mounts with a 1/4in-20 thread that rotates 360°. It doesn’t use battery power and connects with the included 3.5mm TRS or TRRS cables. A 3.5mm headphone output enables monitoring when using smart devices or computers. Complete with a foam windscreen, it comes with a windshield and case.



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