Pro Moviemaker March/April 2023 - Web

Welcome to the brand new issue of Pro Moviemaker magazine If it’s the latest equipment for creating stunning films that you’re interested in, you’ve come to the right place! This issue we take a look at the huge range of new PTZ cameras that pack in as much tech as any mirrorless or cinema camera, as well as taking a look at the new gear from the BSC Expo in London. And we look forward to the hot new kit that will be unveiled at the NAB Show in Las Vegas.  We have a special feature on audio kit, a guide to independent lenses, a filmmaker who had to film the world’s most expensive stallions and lots more. With loads of tests on cameras and lenses, plus a look at the filming of the smash hit Clarkson’s Farm TV show, it’s all in your new Pro Moviemaker magazine, out now!

FILMMAKER OF THE YEAR HOTS UP! Hurry up! There’s still time to enter our new contest @ProMoviemaker

MARCH/APRIL 2023 £5.49

Take remote control with the hottest high-resolution robotic cameras

THE JOY OF SIX Canon’s great full-frame mirrorless EOS R6 II is an all-round star performer TOP KIT RATED We test a Sandisk SSD, Samyang follow focus, fast Sigma lens & more ALSO INSIDE...

A dozen dazzling audio products to boost your film soundtrack YOUR SOUND SOLUTIONS MIC DROP

Luscious lenses from the coolest independent brands INDIE OPTICS BUYERS’ GUIDE

MONO MASTERPIECE This screenshot from an entry in the Filmmaker of the Year Awards is truly stunning

The ultimate magazine for next generation filmmakers


Editor in chief Adam Duckworth Deputy chief sub editor Matthew Winney Sub editor  Ben Gawne

Junior sub editor  Lori Hodson Editorial director Roger Payne

ADVERTISING Sales director

Sam Scott-Smith 01223 499457 Sales manager Emma Stevens 01223 499462 DESIGN Design director Andy Jennings Design manager Alan Gray Senior designer Lucy Woolcomb Designer Emma Di’Iuorio

Designer and ad production Man-Wai Wong Junior designer Hedzlynn Kamaruzzaman PUBLISHING Managing directors Andy Brogden & Matt Pluck

You can tell that Pro Moviemaker is a magazine focused heavily towards the equipment and technology that’s used to create films. You only need to check out the cover of each issue to work this out – and our tests and news back it up, as we unashamedly report on fresh gear and how best to employ it. So much so that, sometimes, it’s easy to lose focus on how all these bits of kit are exploited in the commercial world. Thankfully, our new Pro Moviemaker Filmmaker of the Year Awards have put the creativity and innovation of our readership right at the forefront. I always knew our readers were producing some amazing content, but the quality and creativity has blown me away from the entries received so far. So often, scripted drama gets the most focus. From the Academy Awards and its big-money blockbusters, right the way down to local film festivals and their spotlight on short-form tales, narrative drama always hogs the limelight. After all, anything goes. But the real art of creativity in a professional context is to tell an innovative, visually stunning story – within a paying client’s constraints. Whether that’s promoting their brand, shooting a music video or documenting an event, commercial filmmakers have to work towards a client’s goal. That takes a lot of problem-solving, clever filming and inspirational editing to maximise the impact of the final result. Many of the candidates in our awards have done just that. In this issue, we highlight a handful of the early entrants that have impressed us. From incredible overhead shots of a prairie burn in the plains of the USA, to a documentary following a female adventurer attempting a solo marathon challenge in majestic but dangerous mountain ranges, or a pop music video in incredible locations with some stunning VFX work. We’ve even received a truly imaginative drama short set in a futuristic world where the cash-strapped can ‘sell’ years of their life for a big pile of money. Time is running out for you to get involved with the Filmmaker of the Year Awards, but I urge all our readers – from experienced professionals to next-generation creatives on the first rung of the career ladder – to enter. There are plenty of categories to choose from, and it’s very easy to do. Put yourself and your work out there, and you could end up with the recognition you deserve – plus a real boost to your marketing. And from a personal point of view, I’ll get to spend more hours checking out simply awesome work that’s truly inspirational.


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

Pro Moviemaker is published bimonthly 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




The annual BSC Expo bursts into life in London’s Battersea Park, packed to the rafters with the great and the good of cinematography. We were on hand to check out the show and bring you the hottest kit on offer. 9 A HOST OF NEW LENSES LAUNCHED Sony takes the wraps off its lightweight G Master 50mm prime AF optic, while Samyang shows off a fast 75mm prime to fit Fujifilm cameras, plus the first accessory for its V-AF line of cine primes. 10 PANALUX SHOWS ALLEGRA LED PANELS Incredible full-colour mega panels hit the scene, while Leica shows its new L-Mount primes and OM System has a new macro lens. Also check out the unique Gatorbuddy that grips onto V-Flats. 12 LIGHTING SPAT COMES TO AN END The tit-for-tat legal battle between Arri and Rotolight is finally over, while DJI shows off its palm-sized camera drone – and Nanlite unveils a second generation of Pavotubes in a range of sizes. 15 LIBEC ON A HIGH-FIBRE DIET Revolutionary tripod kit loses weight thanks to carbon fibre, Schneider-Kreuznach launches a new line of Classic ND filters, Rode upgrades its Rodecaster Pro II for easier streaming and Roland unveils a pro-level mixer. 16 CANON DROPS MORE MIRRORLESS CAMS The world’s lightest full-frame camera is among a list of fresh products from Canon. The EOS R8 is joined by the crop-sensor EOS R50, as well as two new RF mount lenses for filmmakers on a budget.



PREVIEW 2O TON UP FOR LEGENDARY TRADE SHOW NAB Show in Las Vegas reaches its 100th anniversary this year! We take a look at what’s going on in the massive convention centre and highlight some of the brands and products you need to know about.



A contest to honour the best in commercial filmmaking from all around the globe. The inaugural Pro Moviemaker Filmmaker of the Year Awards are in full swing; check out some of the submissions so far and make sure you get involved – entries close soon! CASE STUDY 35 FILMING THE WORLD’S PRICIEST STALLIONS David Spurdens was saddled with the job of filming race horses owned by one of the world’s richest men. No expense was spared as he used the finest Red and Canon kit to create incredibly evocative slow-motion footage.



The ultimate magazine for next generation filmmakers


Audio can be an Achilles heel for many filmmakers, as it’s an art often understood by few. We dig into a dozen stunning products that can take the pain out of capturing a super soundtrack. 50 BARGAIN 10K CINEMA CAMERA It might seem odd saying a camera that costs five figures is great value, but Canon has just lopped a serious amount of cash off its EOS C500 Mark II. We re-evaluate this full- frame beast and see if it’s worth the lower price. 54 THE NEXT GENERATION IS HERE Some of the biggest-selling cameras these days aren’t pricey cine cams, but the new, remote-controlled PTZ models. We take a look at this fast-emerging market and pick out some of the finest available. 62 BEST ALL-ROUND EOS MIRRORLESS? The Mark II version of the Canon EOS R6 is fine-tuned for filmmaking as well as shooting stills. We put it through its paces to see if it’s the ultimate full-frame mirrorless for hybrid shooters. 68 MINI TESTS: TOP KIT USED AND RATED We put a Sigma prime lens, feature-packed DJI dual- channel wireless mic kit, Samyang follow focus rig and radical Sandisk SSD system to the test, to see if they are worth splashing the cash on. 74 BUYERS’ GUIDE: INDIE LENSES You don’t have to stick to lenses made by your camera manufacturer. We examine independent-brand optics, from expensive cinema primes to full autofocus zooms that can set new standards of performance. 50





Party in the park The crowds gathered for BSC Expo in London’s famous Battersea Park

T housands of eager filmmakers were faced with lengthy queues to get into Britain’s flagship cinematography show, BSC Expo at Battersea Park on London’s south bank. The show was packed with independent production companies, professional filmmakers and students – who got to grips with lots of new equipment, networked with fellow creatives and attended a huge range of seminars on cinematography, film and TV production. Manufacturers with equipment to show ranged from the big names such as Arri, Sony, Red, Cooke, Zeiss, Panasonic, Fujifilm and Canon, right through to all the lighting and grip makers, as well as retailers, distributors, rental houses and even small start-ups offering a wide range of services and kit. Here’s some of the coolest things that caught our eye.

Marvel at Avenger’s new game Avenger’s latest super-strength light stand is the Buccaneer, which can hold a staggering 80kg/176lb payload and goes as high as 3m/9.8ft. There are dual crank handles to raise the stand, a mounting point for a lighting ballast and three swivelling, lockable wheels as well as transport cases for when it’s folded up. It costs £6999. Vocas slider system Dutch grip specialist Vocas showcased its popular follow focus accessories for the Sony Venice 2, FX9, FX6, Arri Alexa 35 and Red DSMC3 line, which has a new quick- release sliding top handle. The Vocas five-axis dioptre holder was a hit with showgoers, as it featured a range of funky seventies-style optics such as a kaleidoscope set. The holder takes standard 138mm filters.

Astera’s snappy softbox Portable Astera Hydrapanel LED lights can be joined together into four- or two-light panels and wirelessly synced with each other. Now, the beam itself can be made even softer with a Snapbag and matching Snapgrid to fit, made by DoPchoice. The softbox is fast to set up and straps to the Astera fixture. Flexible flaps move out the way when four lights are used, or cover the spaces if there’s fewer LED panels. CVP’s show of strength Mega-retailer CVP flexed its marketing muscles by once again taking over the entire mezzanine level of BSC Expo, and packing it with all the latest equipment and experts to talk kit and techniques. Star of the CVP show was a motorcycle on a turntable in an interactive virtual production stage.






VISUAL FEAST From a mega stand packed with kit and demos like CVP, to small upstarts like Ratworks showing off their wares, BSC Expo is a great place to be inspired and check out the latest in cinema tech




but pricey combo that has been used to shoot lots of Hollywood blockbusters and big-money TV streaming shows. And it’s certainly the sort of kit you wouldn’t be balancing on your shoulder, even if you could afford the near-£100k all-in price tag to own one. Bring me sunshine! Dedolight’s DPB70 surely takes the award for the coolest-looking light at the show. This fixture, with its industrial aesthetic, is the largest of Dedo’s parallel beam lights, and is powerful enough to simulate strong daylight. It weighs 49.8kg/110lb, so you’ll be needing a suitably beefy stand in order to hold it, too. You can also add gels and grids to alter the light output, if you want. The system costs £12,940, but you need to add around £2796 for the ballast.

Products include the Rat Grips, Rat Hat, Rat Wedge, Rat Cube, Rat Rocker and – unexpectedly – Frog Clips. A Vision in green Sporting lederhosen and traditional Bavarian clothing, there’s no doubting where the staff of Idea Vision come from. The German company makes a massive range of vibration-reducing mounts and accessories to fix cameras to cranes, cars, trolleys, trailers or other moving vehicles. One such product is the Hybris head, which fixes a DJI Ronin onto a trailer cart. Red’s showstopper Red cameras always manage to pull a crowd, and none more so than this beefy 8K V-Raptor XL with an incredible Fujinon 80-250mm T2.9-3.5 Premista zoom fitted on the front. It’s the sort of high-quality

Also on the Vocas stand was Casecart, a hard case that turns into a production cart. Sigma’s classic cine prime Indie lens maker Sigma showed off its new 65mm T2.5 cine prime, in both standard and classic optical styles. As most of Sigma’s cine lenses come from the stills- based Art photo range, there was no 65mm optic. This being a traditional cine length, the Japanese company has now built one. Its classic style gives a softer, vintage look thanks to its lack of internal lens coatings. The Rat pack When a company is called Ratworks, you know the products are going to be edgy. It deals in camera accessories and rigs that look a bit cooler than most, and showing them mounted to a well-used Arri Alexa camera suits its style.





SAMYANG’S SURPRISE LENS SUPPLEMENT The first added accessory built to fit the specially designed connector on the front of Samyang’s unique V-AF cine primes has been revealed as the £438 Manual Focus Adapter. No US price has been revealed. This new V-AF Manual Focus Adapter turns the autofocus V-AF series optics into fully manual-style cine lenses, with a large focus throw of 300° to allow more precise control when using a follow focus. The adapter uses a standard 0.8M gear pitch. With the MF adapter handling focusing, this frees up the ring to control aperture. The MF-AF switch also operates as the dedicated custom mode when the adapter is attached. The MF adapter is compatible with 95mm matte boxes and weighs a mere 150g/0.33lb – keeping it in line with the lightweight design of the V-AF system.

LIGHTWEIGHT TELE FOR FUJIFILM X Users of Fujifilm’s X Mount mirrorless cameras now have an additional lens to choose from as Samyang launches a lightweight autofocus optic; the AF 75mm f/1.8 X offers a full-frame equivalent focal length of 112.5mm. Weighing just 257g/0.57lb, it is light and compact – ideal on a gimbal. There are two HR (high-refractive) and three ED (extra-low dispersion) glass elements, but Samyang has avoided aspherical glass so that it can create refined and smooth bokeh. The AF 75mm f/1.8 X is ideal for video shooting with its new Preset Aperture Control function on the custom switch. This capability allows smoother control over depth-of-field, without noise or vibration, when shooting videos. The lens is weather sealed in five places and costs £474. No US price has been revealed.

Sony has launched a 50mm f/1.4 G Master prime – smaller, lighter and cheaper than its flagship f/1.2. Like all recent Sony G Master lenses, it is ideal for video thanks to an aperture ring that can be de-clicked for silent and seamless changes. It can be locked, with the aperture controlled by the camera. The lens uses a pair of XD linear focus motors claimed to make autofocus up to 1.9x faster than the original Sony Zeiss FE 50mm f/1.4 ZA launched nearly seven years ago. That lens is bigger, pricier and not as sharp as the new all-Sony version. The 50mm f/1.4 G Master has advanced optical construction with 14 elements in 11 groups, including two extreme aspherical and one extra-low dispersion element. An 11-bladed iris gives smooth bokeh and its minimum focus is 38cm/15in in manual focus mode, to give 0.18x maximum Sony’s Master stroke

does admit that the lens has some focus breathing issues, but is supported by Focus Breathing Correction, which crops footage to maintain the angle of view even as focus moves to infinity. The lens has a 67mm filter thread, is dust and moisture resistant, weighs 516g/ 1.14lb and costs £1499/$1298. The faster f/1.2 version costs £2099/$1998 and weighs 778g/1.7lb.

magnification. In AF, the minimum is 41cm/16.1in and maximum magnification is 0.16x. Linear Response MF ensures that the focus ring responds directly to subtle control when focusing manually. There are also two focus hold buttons and a focus mode switch, which can be customised and assigned to several other functions from the camera’s menus. Nano AR Coating II suppresses reflections – even in backlit scenes. Sony



AGENDA NEWS Panalux powers on

MACRO MASTERPIECE Get closer than ever with your Micro Four Thirds camera thanks to a new OM System lens. The M.Zuiko ED 90mm f/3.5 Macro IS Pro offers 2x magnification as standard, or 4x with the optional MC-20 teleconverter. It’s claimed there is no drop in quality between close focusing range and conventional subject distances. To suppress chromatic aberrations, the optic has 18 elements in 13 groups, including two super ED, four ED, one HR and one super HR element. Zuiko Extra-low Reflection Optical Coating reduces ghosting and flare, and a fluorine coating on the front element gives protection from dust and dirt. Five-axis image stabilisation works in tandem with an in-body system for up to seven stops of compensation. The lens has a manual focus clutch for speedy AF/manual switching, plus a function button. It weighs 453g/1lb

Rec. 709, Rec. 2020 and Esta 1.54, and allows a range of Lee gel emulations. Bicolour Allegra heads give 2700 to 6500K tunable white light output. All heads use Panalux DMX LED control units, which feature an on- board power supply and simple UI. Charged by mains or DC, each unit can control a number of head combinations via local control or wired and wireless DMX using the LumenRadio protocol. They boast flicker-free performance to 5000fps and minimal power draw.

Legendary lighting firm Panalux has launched its new Allegra family of LED heads and controllers. Available in full- colour or bicolour and a range of form factors from 2x1 to 4x2ft, they are light with a slim profile for easy rigging. Full-colour Allegra C LED heads use a light engine that produces a broad- spectrum CCT range of 1600-20,000K across a gamut 77% wider than Rec. 709. The unique eight-chip set includes five phosphors and three narrow-band RGB chips. This improves skin-tone rendering, enables gamut presets for

and costs £1299/$1500.


Grip expert Matthews’ Gatorbuddy helps move panels and V-Flats in the studio. It assists in forming instant walls and dividers, or can easily be equipped with a laptop or monitor for use as a workstation. A sturdy wheeled base has eight inserts with places for three screw-in aluminium Baby Risers. A slider knob accommodates width and angle adjustment of panels. Add a Junior Wall Plate for supporting a riser or V-Flat holder that easily modifies for varying angles. The unit measures 99x45.7x2.1cm/39x18x0.8in and weighs 12kg/26lb, costing $1349 (no UK price yet).

Leica’s prime new offerings

and 50mm cost £1950/$2195 and £1700/ $1895 respectively. Neither lens has image stabilisation, which Leica says was omitted to keep weight as low as possible. Since they are L-Mount, they also fit Sigma fp and Panasonic Lumix full-frame mirrorless cameras.

Two new compact and lightweight lenses have been added to the Leica SL mirrorless system – the Summicron-SL 35mm f/2 ASPH and 50mm f/2 ASPH. A linear direct-drive mechanism in both optics is claimed to offer fast and quiet AF performance, while aspherical elements ensure high-quality results. The 35mm




Revamp for Nanlite Pavotube system

LIGHTING FEUD ENDS A legal spat between lighting companies Arri and Rotolight over special effects patents is at an end following a landmark agreement. A joint statement from both companies read: “Arri has agreed to a settlement with Rotolight, relating to Rotolight’s cinematic special effects CineSFX patent portfolio in the US, UK and Europe. Arri no longer contests the validity of Rotolight’s patents and has withdrawn its inter partes review in the US accordingly. Simultaneously, Rotolight has withdrawn its US district patent court action against Arri. All Arri products will continue to be offered as always.” Arri’s challenge to Rotolight was launched September 2021, headed by lighting manager Ivo Ivanovski. Rotolight CEO Rod Aaron Gammons said: “Rotolight invests millions each year in R&D for lighting technology and innovation. “Infringing companies should now approach Rotolight directly, to secure a licensing agreement on reasonable commercial terms.” In addition to the settlement, Rotolight successfully defended two cases relating to the same CineSFX patents in the US brought against it by Vitec Production Solutions.

areas have increased, providing a longer beam. New barn door and grid accessories are required due to these larger illumination areas. Pavotube II 15C and 30C units both feature Bluetooth for direct control with the free Nanlink app, while built-in 2.4G allows control with an optional handheld remote. The bottom of an end cap houses the AC power input, plus a locking metal 3.5mm DMX/RDM port. A USB-C port is also built-in to add future firmware updates and fast-charge the battery. The Pavotube 15C kit costs £226/$219, while the 30C kit is £330/$319.

Nanlite has spruced up its Pavotube 15C and 30C into improved Mark II versions with larger illumination areas, wider CCT ranges, seamless diffusion, G/M adjustment, Bluetooth and 2.4G for wireless control and locking DMX ports. The Pavotube II 15C and 30C now have equal-sized compact end caps that minimise visual distractions on screen. Powerful built-in batteries evenly distribute weight, making these tubes easy to mount with the included clip. There is more than two hours of battery life at 100% brightness, but Pavotubes are often used at lower intensities. The runtimes will rise exponentially as you dim – four hours at 50% power and 9.5 hours at 10%, for example. The CCT range is expanded to 2700- 7500K and G/M shift can be altered by +/- 150. Diffusion has been improved, so individual LED diodes are entirely obscured. This allows the fixtures to appear like seamless shafts of light. These new lights are identical in size to the originals, but their illumination

VIEW TUBE Remodelled Nanlite Pavotubes have new end caps and offer a wider colour temperature range

MINIATURE NEWS FROM DJI DJI has unveiled the £339/$369 Mini 2 SE, a palm-sized camera drone weighing less than 249g. It’s exempt from regulations

DJI has also taken the wraps off the RS 3 Mini motorised gimbal. This weighs less than 800g/1.8lb, can carry up to 2kg/4.4lb, features Bluetooth shutter control, a new stabilisation algorithm, native horizontal/ vertical camera mounting, and a 1.4-inch colour touchscreen. It costs £339/$369.

in much of the world, the UK included. A 1/2.3-inch CMOS sensor films video at 2.7K and delivers photos at 12 megapixels. It supports up to 10km/6.2 miles of HD video transmission, with a maximum flight time of 31 minutes. The gimbal has a three-axis mechanical stabilisation system and the camera enables 4x digital zoom. In wind speeds of 24mph/10.7mps, the Mini can hover and keep stable.





Libec’s high-fibre diet When we tested the Libec HS-150M tripod kit, it’s fair to say we loved it but had one gripe – it was not the lightest set of sticks in the world. Now Libec has reacted by offering its models with carbon-fibre legs counterbalance knob is altered until the camera stays perfectly still wherever it’s pointed. The pan and tilt movements have three drag settings, as well as free movement – plus lock. The payload is up to 3kg/6.6lb.

that are around 20% lighter. The HS-150C and HS-150MC come with either floor or mid- level spreaders, and both cost £1320 – up on the aluminium versions by £215. No US prices have yet been set. We love the Libec tripods, as the HS system uses a simple counterbalancer that works for lighter mirrorless cameras. The legs have bowl-style adjusters to get everything level, and a Manfrotto-fit plate clicks onto the head. Then the

INFRARED UPGRADE TO SCHNEIDER ND s Schneider-Kreuznach has launched a new line of neutral density filters called Classic NDs, which will replace the current series. This includes eight ND filters with a range of ten stops, from 0.3 to 3.0. These consist of one special coated glass surface to deliver the highest colour accuracy at all stops and between batches. This enables filter stacking and reduces grading time. The new collection is coated for light from 380-780nm, effective from visible light up to the near-infrared spectrum to reduce infrared pollution. There’s also a multi-resistant, anti-reflection coating. No prices have been announced.

CARBON COPY The latest Libec tripods are the same design as before, but now lighter

INDUSTRIAL MIXER Roland’s new VR-120HD is a portable unit suitable for professional production

With ND

Roland aims to mix it up Roland’s new VR-120HD pro hybrid event mixer has six SDI and HDMI inputs, three SDI and HDMI outputs, 42-channel audio mixing, Get extensive audio and video I/O options, a large touchscreen and hands-on controls. This portable unit is ideal for mid-level productions and includes customisable


direct LAN and USB-C webcam streaming outputs, advanced automation and more. The VR-120HD is a direct streaming AV mixer, designed so a single operator can manage hybrid live and online productions without external gear or the staff to run it.

workflows, deep automation, remote PTZ camera control, one-touch macro sequencing, plus streaming over LAN and USB. It’s expected to retail for £5884/$6495.

Microphone maker Rode casts its net into the stream All-in-one audio kit for

Companion app Rode Central has been updated to mirror new configuration options, such as setting up advanced Aphex audio processing and Smart pads.

destinations, such as stream and chat applications, as well as the headphone mix. Improvements include the routing of voice effects, now applied to each individual channel in multitrack mode.

the levels of ten audio I/Os, including the headphone and monitor outputs, Bluetooth channel, on-board recording mix and three USB ports. This is useful for creating custom submixes for different audio

podcasters, the Rodecaster Pro II, has received a major firmware update for easier integration in streaming set- ups. New functionality allows independent adjustments for




Canon drops more mirrorless cams

One of the world’s lightest full-frame mirrorless cameras is among an array of new kit from Canon. The full-frame EOS R8 and crop-sensor EOS R50 are hybrids promising impressive images and video, accurate AF and remote connectivity. Weighing in at just 461g/1.02lb with battery and card, the EOS R8 houses the same 24.2-megapixel sensor and Digic X processor as the recently released R6 Mark II, though sits below it in the range. Many of the key specs are the same as its bigger brother, but there are a few absences too – most notably, no mechanical shutter or in-body image stabilisation. It does feature the same impressive Dual Pixel CMOS AF II autofocus system as the R6 Mark II and records still images at up to 40fps, although the battery life is a little shorter, there’s only one SD card slot and the EVF is smaller. The R8 captures video uncropped at up to 4K/60p with 6K oversampling, and creates slow motion in Full HD at 180p. It also offers Canon Log 3 colour for wider dynamic range. Described as more of an entry-level camera, the EOS R50 features Canon’s 24.2-megapixel APS-C sensor, Dual Pixel CMOS AF II autofocusing, can shoot at up to 15fps and has a vari-angle screen. 6K video is oversampled to deliver 4K/30p or Full HD at 120p, there’s digital image stabilisation and vertical shooting for social media. Both cameras support Wi-Fi and Bluetooth connectivity, pairing with a smartphone to share content and activate remote shooting. And each can double up as a webcam.

LIGHTWEIGHT LENSES FOR RF MOUNT Canon has announced two cost-effective RF mount optics: the RF 24-50mm f/4.5-6.3 IS STM and RF-S 55-210mm f/5-7.1 IS STM. Both are small and light, promising quiet

LIKE A FEATHER Canon’s slight EOS R8 is one of the lightest full-frame mirrorless cameras on the market

autofocus thanks to a stepper motor as well as minimal breathing. The lenses support image stabilisation with 4.5 stops. The EOS R8 will be available body only for £1699/$1499, with the R50 £789/$679 body only. Meanwhile, the RF 24-50mm and RF-S 55-210mm will be £379/$299 and £429/$349 respectively.

“Weighing just 461g, the EOS R8 houses the same sensor and processor as the recent R6 Mark II”



SAMSUNG ADVERTISEMENT FEATURE Shield of dreams When your goal is working on bigger assignments, you need a portable drive that won’t let you down, like the rugged Samsung Portable SSD T7 Shield

I t has taken a very short time for the career of British filmmaker Billy McGarry to take off. He started shooting short corporate videos for estate agents and restaurants, before moving on to promotional films for major international clients. Now, he’s doing what many commercial filmmakers dream of – narrative drama shorts and feature films. During that time, he’s had to constantly upgrade cameras, lenses and grips to keep up with the more demanding clients and longer days on-set in adverse weather conditions. McGarry admits one of the best upgrades he has made was going from mechanical hard drives to SSDs. That makes the Samsung Portable SSD T7 Shield his perfect storage solution, thanks to its compact size, fast speed and resistance to the elements in tough environments. “A few years ago, I saw a Samsung portable SSD being used by a colleague on location to transfer data after a shoot. I could scarcely believe how fast it was compared to my HDD drives,” says McGarry. “I did some investigating and very soon discovered the benefits of a SSD – no moving parts to go wrong and increased resistance against failure – I just knew I had to make the jump. “I’ve recently been using the new Samsung Portable SSD T7 Shield – and to say I’m impressed is an understatement.” It has proved invaluable, as McGarry is now working as a cinematographer and editor on a full-length film called The Miner’s Son for a leading production company. “This is the third film I’ve had the pleasure of working on for this company. For anyone that doesn’t know about the

UPGRADE TIME Working on bigger projects meant Billy McGarry needed some new kit, including a tough portable SSD

film industry, it’s pretty heavy going when shooting for small production companies. Shoots are fast-paced under tight deadlines and in some pretty tough conditions.” This is where the Samsung Portable SSD T7 Shield comes into its own. Its rugged aluminium body is good for heat dissipation – despite transferring so much data from full-frame cameras shooting in up to 8K. Its body has a rubber cover to provide drop protection up to 3m/9.8ft and it is water and dust resistant; rated to IP65. “In some scenes, we were in a working pit in Wales in -4°C, then other times at the seaside with all the salt air; later a scrap yard in the scorching summer of 2022 in 29°C,” explains McGarry. “I like to keep hard drives on me all the time on-set, so the gear needs to stand up

to whatever I throw at it. One of the things I love is its durability, I dropped it a few times and it easily withstood the knocks. “When running around transferring footage with lots of people moving on- set, accidents do happen. I was filming something back in 2021, when I dropped a mechanical hard drive and it broke; we had to have the data recovered, which took time and was expensive. “So, when I dropped the Samsung Portable SSD T7 Shield for the first time, I have to admit my heart skipped a beat. But it held up with no problems. It’s really durable, manages well in hot and cold weather – an issue with HDD mechanical drives – plus it is superfast!” When out filming, McGarry uses a state-of-the-art laptop with the latest Thunderbolt connections. Thanks to respective read and write speeds of up to 1050MB/s and 1000MB/s, the Samsung Portable SSD T7 Shield is almost ten times faster than many external HDDs, and Thunderbolt helps to achieve these incredible speeds.

“When I dropped the portable drive, my heart skipped a beat. But it held up with no problems”




“It used to take an hour – transferring a lot of footage is done in a matter of a few minutes now,” gushes McGarry. “It still impresses me to see just how rapid it is.” The portable drive comes plug-and- play ready for a Mac, but also with drivers for Mac and Windows, as well as software for setting a name and password to give you additional data security. It’s even compatible with Android smartphones. Included Samsung Magician software also monitors its health and allows you to change settings. Available in black at 4TB or black, blue and beige from 1TB to 2TB, the Samsung Portable SSD T7 Shield weighs 98g and is 88mm long and 13mm thick. It’s the perfect companion to any ambitious filmmaker, no matter what stage of their career.

More information portable-ssd/

TRANSFER WINDOW Back at base, moving data from the Samsung Portable SSD T7 Shield is rapid and totally silent




The NAB broadcast and filmmaking expo returns to Las Vegas, celebrating its 100th birthday Sin City centenary

T he world’s most gargantuan filmmaking, broadcast, media and entertainment show will mark its centenary in Las Vegas on 15-19 April – and it’s set to be a huge birthday party! The National Association of Broadcasters (NAB) event is said to be one of the world’s longest-running trade shows, packed with the very latest hardware and software. It started in 1923, the same year that Cecil B DeMille’s silent biblical epic The Ten Commandments became a mammoth commercial success. Since then, the event has grown exponentially and is about to open its doors to more than 1000 equipment companies, including at least 140 first-time exhibitors. As well as new products and trailblazing technologies, there are interactive exhibits and live demonstrations in the 575,000 sq ft of Las Vegas Convention Center’s halls.

Attendees can learn from the best in the business with a wide range of educational sessions, workshops and panel discussions covering every aspect of filmmaking, including post-production, cinematography, audio and special effects. The show is a real-life A to Z directory of film. From Aputure with its dazzling lighting solutions and Arri showing off the new Alexa 35, to Zeiss with its Supreme Primes sure to take centre stage – not to mention Zhiyun’s gimbals and lighting. Check out the latest V-Raptor XL from Red, the Venice 2 from Sony, DaVinci Resolve from Blackmagic Design, as well as the X-H2S mirrorless cameras and lots of high-end lenses from Fujifilm. Don’t gamble your luck and risk missing out on some of the coolest kit around in Las Vegas! Take a look at our pick of the stands to check out just some of the latest and greatest gear.

APUTURE Stand C5335

Aputure is a fast-emerging LED lighting manufacturer building impressive lights at affordable prices. Founded in 2013 by a team of inspired filmmakers and videographers, Aputure specialises in lighting and light modifiers. Look out for the super-bright LS 1200d Pro COB-style fixture and Nova P600c LED panel.




Stand C6325, N118LMR

Arri’s stand will have its latest products, such as the Orbiter and Alexa 35. Alexa Mini LF cameras will be on show too, along with Signature Prime and Signature Zoom lenses. Arri’s camera stabiliser systems, Trinity 2 and Artemis 2, will be available also.

ATOMOS Stand C4135

Atomos’ packed stand will focus on its award-winning Connect range and Adobe Camera to Cloud (C2C) workflow. Its network-enabled monitor/recorder devices, used with C2C, allow footage to be shared straight from set to off-site editors.

BEBOB Stand C6738

Bebob is introducing various additions to its B-Mount battery portfolio. Users of the Sony Venice 2 need to check out the Coco-Venice2 battery plate. There will be adapters for lighting and options to power B-Mount equipment via V-Mount or Gold Mount batteries.

BIRDDOG Stand C3319

CORE SWX Stand C5535

Birddog will show Network Device Interface (NDI) workflows for broadcasters, live event producers and post-production facilities. Its products are augmented with NDI, enabling video products to deliver and receive high-definition video over a computer network in a high- quality, low-latency manner.

Battery expert Core SWX will be showing a range of power solutions. Look out for the Apex 360 LV battery system, designed as an onboard battery solution to increase runtimes for high-powered LED lighting. The Apex packs a 367Wh lithium-ion V-Mount solution capable of outputting up to 24A continuously.

MARSHALL Stand C5520

Marshall’s high-performance CV730-ND3, with up to UHD (4K) at 60fps, is a PTZ star. Utilising brand-new NDI|HX3 codecs significantly improves NDI performance over network in lossless video quality, latency and bandwidth.





Roe Visual will showcase its LED screens for broadcast and film applications. Products will include the new Ruby 1.9BV2, a high-performance, broadcast-grade HD LED panel. Designed for use in film studios and virtual production, it offers cutting-edge LED design and technology, with high-speed components and true-to-content colour depiction. ROE VISUAL Stand C7119


Nanlite and Nanlux have an ever-expanding line-up of LED lighting, offering great value and professional quality. Nanlite’s range includes powerful COB LEDs, tube lights, bulb LEDs and LED panels. Look out for the super-bright Forza 720B and the full-colour Forza 60C, as well as a range of lighting modifiers.

ROTOLIGHT Stand C5546 Rotolight is an award-winning British manufacturer of LED lighting. On show will be the Titan X1 and X2 panels, which have electronically adjustable diffusion. Plus the latest AEOS 2 Pro and Neo 3 Pro LED panels will be there, alongside the Anova Pro 2.

VOCAS Stand C7149

Vocas will be showcasing its most popular accessories for cameras like the Sony Venice 2, FX9, FX6, Arri Alexa 35 and Red DSMC3 line. The rigs fit perfectly and give a big boost to camera handling, built to take the punishment of everyday use and designed for long-lasting service.


ZHIYUN Stand C7207

Sennheiser is one of the world’s leading manufacturers of headphones, microphones and wireless transmission systems. Look out for the slick, low-profile MKE200 and MKE400 DSLR-type mics, its XLR mics and wireless systems ideal for filmmakers – whatever camera they choose.

Zhiyun will be displaying its innovative collection of motorised gimbals, like the Weebill and Crane ranges, as well as the Smooth 5S, its new line of compact COB LED lights, the Molus X100 and G60, the Fiveray FR100C light stick and M40 pocket light. Two new pro gimbals will also be revealed.




TOUGH LOVE A stunning doc about long-distance runner Jenny Tough has stood out

T he launch of the Pro Moviemaker Filmmaker of the Year Awards has caused major waves in the industry, with creative filmmakers rushing to enter, and the wider community sitting up and taking notice of what’s going on. Our mission is to shine a light on the heroes of the filmmaking world who create stunning work enjoyed by millions. It’s not for big-budget TV and film crews, but for commercial and emerging creatives. The awards are focused on excellence in the creation of content, in commercial categories including documentaries, promotional films, music videos, marketing, event coverage, sports, weddings, social media and YouTube. We aim to honour the hard-working image makers who might not have huge budgets, but still go to extreme lengths to create original and innovative content. If you’re an established working filmmaker – or only just starting out on the ladder of making seriously good video content – these are for you. And winning an award will give you a marketing edge that could make a real difference. The awards will be judged by a panel of esteemed experts. They are open now, but will close on 30 May. Pick a category – or categories – that most suits your work and let the world see what you’ve been up to. Entering couldn’t be easier. Email with the subject ‘Filmmaker of the Year’. Include a link to the video, on YouTube or Vimeo for example, plus the password if it’s protected. Or send a link to download your film from a file-sharing service. In your email, tell us the category or categories you want to enter your film for, what your role was on the film and who the client was (if it was a paid-for project). It’s helpful if entrants write a paragraph or two, giving some context – challenges faced, success the film may have had. So, check out the categories and some of the entries so far – and get stuck in. Good luck!

Time to get moving, as the entries for our Filmmaker of the Year are flooding in!

ONE-STOP SHOP Awards backer CVP is the place to go to get your hands on equipment

CVP SUPPORTS THESE MAJOR NEW AWARDS CVP is a company that’s investing in education and inspiration for filmmakers at all levels, as well as ensuring equipment is right for every customer. That’s why the award-winning mega-retailer is more than Britain’s leading cinematography, broadcast and TV equipment supplier. It’s also why it’s ideal that CVP is backing the CVP SUPPORTS OUR MAJOR NEW AWARDS

inaugural Filmmaker of the Year awards as title sponsor. With live and virtual events, product demonstrations and education sessions, repairs, hire facilities, plus used and new kit, CVP is at the heart of the commercial filmmaking community. It’s not just buying the latest hardware or software – the services that keep the industry going are just as important to the lives of professional filmmakers, and that’s where CVP excels. CVP is staffed by experts who ensure everyone gets incredible service when choosing the right gear, and also helps filmmakers take the next step on their career path. To book a demo, talk to one of CVP’s experts or explore its London showrooms, call +44 (0) 208 380 7400 , email or visit .




It’s in the edit where a film is

truly turned into a great work of art. In this category, any sort of film is welcome, as long as it highlights some amazing editing skills. It could be in the cut, grading or more – show us your finest work.


take the viewer on a journey of discovery. These films might blow the whistle on a local, national or global injustice – or could be a celebration of something that deserves to be recognised. This award is for amazing stories told well, in which the visual medium is a major factor to the success of the film.

“The film dealt with not just the physical challenge, but also the personal one along the way. It was a very creative proposition,” says Summit Fever Media director, Matt Green. Matt’s partner Ellie has over ten years’ worth of experience in filmmaking and acted as the documentary’s producer, director and editor. “Ellie spent many days planning, researching, interviewing and editing. She created this deeply honest, awe-inspiring film that we’re very proud of.” The film premiered in November at the Kendal Mountain Festival and is currently screening at film festivals in the UK before a general release. Documentaries are a foundation of filmmaking, where storytelling and visuals

With a name like Jenny Tough, this is one person who seems to have been born to be resilient and not shy away from any challenge. Jenny is a talented endurance runner and cyclist. Her latest challenge is to run solo and unsupported across six mountain ranges on six continents. The job of documenting such a monumental achievement went to Summit Fever Media in the production Solo – a documentary film commissioned by Montane. And it’s an entry in our documentary class. Summit specialises in capturing raw, emotional narratives of human perseverance on remote expeditions and extreme endeavours in wild, inhospitable locations. So this British team was the ideal choice for the shoot.



Live streaming covers everything from product launches, houses of worship, fairs, sporting events and more. If it went out live, here’s where it belongs. We’d like to see either a link to the whole broadcast – or if you want to make a short highlights edit, then that’s good too.

For a highlights edit of any sort of event coverage. It could be a product launch, a gala, competition or even a road trip. If you shoot events and make compelling films for watching afterwards, this is for you!






Getting across a message to teach or help a viewer do something new is a key filmmaking skill. This is a category for those how-to videos that everyone uses nowadays. Let the world see just how slick and professional an instructional video can be.

For aspiring pros or those in the first two years of their careers, this is a category where we want to see the creativity in our industry’s exciting future. This is an open class, so pretty much anything goes. It could be a creative short film you’ve shot as a student, or your first ever commission. We want to see imagination and visually stunning work from the thought leaders of tomorrow!

CVP is more than Britain’s leading cinematography equipment supplier. It holds events, product demos and sessions to help new filmmakers reach their potential. With CVP Education and CVPTV offering insight and help that’s hard to get anywhere else, it’s a company that’s investing in the future of filmmaking – and a natural fit for this category.


The UK’s best-known rental house, Hireacamera is the sponsor of both the instructional and commercial & corporate categories in the Filmmaker of the Year Awards – two hugely important categories for professionals hoping to win influence with customers. Of course, not everyone has all the equipment needed to shoot every project. That’s where Hireacamera is an invaluable resource to commercial filmmakers. With a slick website offering real-time booking and availability information on all its kit, Hireacamera is a step ahead of its rivals. It offers cost-effective prices for the newest kit, fully tested – plus all rentals are delivered with the latest firmware installed and ready to shoot.

So often, making a great film is about solving problems and overcoming hurdles – not everything goes to plan. That was certainly the case for Steven Smith, a filmmaker who resides in Dallas, Texas. Commissioned to carry out a two- day shoot for an Escobar Cigars promo, Smith had lots of problems to solve on his way to making a successful film. First, he was injured in a car crash, and so was hopping around on one leg trying to film. Then the location that was rented for the shoot fell through, so a loft apartment was found on Airbnb at the last minute. The cigars didn’t arrive until the end of day one, which held everything up. And the dolly never showed, so Smith had to go fully handheld. “I had to use warp stabilisation in post to smooth things out,” he says. Shooting on a Blackmagic Pocket Cinema Camera 6K and a DJI Mavic Pro

for establishing shots, Smith directed and shot the film himself. “I edited it in Adobe Premiere Pro and Adobe After Effects for the lens flares. Overall, the video came out lovely,” he says. The finished commercial oozes glamour as our two heroes enjoy the finer things, being served whisky and cigars in a stunning location – all in Cinemascope super-wide format. It’s top work in our flagship category for commissioned projects. We are looking for branded content, promotional videos – anything that’s been shot for paying clients.

SMOKING HOT An advert for a cigar brand (right) is Steven Smith’s entry in commercial



THE STING A CGI jellyfish runs through the whole video for Snakes of Russia’s music entrant

We always knew this category would bring out incredible creativity – and the music video entry for the Snakes of Russia song Summoner is visually incredible and matches the otherworldly electronic music to perfection. It was directed by Kays Al-Atrakchi, and features composer Joseph Holiday taking charge of a massive MUSIC VIDEO BRINGING A SONG TO LIFE

the city and desert locations are epic, the interiors dark, moody and very Gothic. It’s a feast for the eyes and ears, with amazing special effects. This category is open to any sort of music video – pop, rap, rock, choral, classical or anything else. It’s not the music that’s being judged, but how the video adds to the whole creative package.

computerised music deck inside of a vast, candlelit building. But the star of the video is actor Daniel Nelson, as a dreamer who goes on a journey from city to desert to find the composer. All the time he is accompanied by a huge, computer-generated jellyfish, floating eerily. All shot in Cinemascope widescreen in monochrome,

Wedding films are becoming more popular than ever, and this category honours the best and most creative of the genre. It doesn’t matter what type of ceremony it is – we want to see a film that showcases the emotion of the day and captures a special moment in time for a happy couple to treasure and look back on. WEDDING RECORDING ROMANCE

ACTION & SPORT FOR THE FASTEST MOVERS Shooting action is a unique challenge, often with fast-moving subjects. But it’s so much more than this as there are stories behind the competitors, the equipment used, the organisers and lots more. We expect to see some truly attention-grabbing footage and incredible stories told visually.



Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67 Page 68 Page 69 Page 70 Page 71 Page 72 Page 73 Page 74 Page 75 Page 76 Page 77 Page 78 Page 79 Page 80 Page 81 Page 82 Page 83 Page 84

Powered by