Pro Moviemaker Jan/Feb 2023 - Web

Welcome to the brand new issue of Pro Moviemaker magazine While many filmmakers may yearn for massive Hollywood-style budgets and the possibilities to maximise creativity that comes with it, but the reality is the life is very different for the vast majority of professional content creators. And that’s what we celebrate in the new issue of Pro Moviemaker magazine in two very different ways. Firstly we focus on the very best value new and used kit that make the wisest of buys in these tough economic times. And secondly we launch the first ever Pro Moviemaker Filmmaker of the year awards to shine the spotlight on the unsung heroes of the filmmaking world who create stunning work that is watched and enjoyed by millions. The visionaries who don’t equate low budget with anything less than original and innovative content. It’s all in your new Pro Moviemaker magazine, out now!

ARE YOU OUR FILMMAKER OF THE YEAR? Brand-new contest to honour the best in the business

@ProMoviemaker JANUARY/FEBRUARY 2023 £5.49

Full complement of matched Samyang lenses tried out AUTOFOCUS CINE PRIMES FIRST LOOK

BEST OF BRITISH What to look out for at London’s BSC Expo TOP-RATED KIT Our verdict on fresh zooms, wireless audio & more! ALSO INSIDE...


Panasonic S5 II, Fujifilm X-H2 and Canon EOS R7 and R10 prove a real steal


Master tricky moves as we showcase gimbals, jibs and sliders galore SMOOTH OPERATORS BUYERS’ GUIDE

Five of the latest affordable LEDs put to the test

WISE BUYS The new Panasonic Lumix S5 II offers incredible value for money

The ultimate magazine for next generation filmmakers

Editor in chief Adam Duckworth Deputy chief sub editor Matthew Winney Sub editor  Ben Gawne Editorial director Roger Payne EDITORIAL 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 MEDIA SUPPORTERS AND PARTNERS OF:

Even the most business-focused filmmaker can fall foul of the dreaded Gear Acquisition Syndrome, where there’s always some new bit of kit you absolutely must have. But in times of high inflation, it’s good to avoid going over the top when spending on equipment. If that sounds sensible, this is the issue for you. Instead of lots of high-end cinema cameras or flagship full-frame mirrorless tech, we focus on four stunning performers, with none costing more than two grand. And we’re finding out you can get an awful lot for your money right now. Nowhere is this more evident than in Panasonic’s new Lumix S5 II, which offers a brand-new full-frame sensor with on-sensor phase detection for the first time. This 6K camera is the first product of the renewed Leica-Panasonic alliance and the duo are certainly off to a flying start. We also get to grips with three cameras that prove the Super 35 sensor – often called APS-C in the photography world – is still a perfect size for filmmaking. The cameras and lenses are often a tad smaller, cheaper and lighter. Plus the choice of lenses is wider, with the whole gamut of cine primes available from decades ago right up to the modern day. With the Fujifilm X-H2 recording in 8K, a smaller sensor is hardly a hurdle to impressive resolution and quality. If you want to save even more money, we shoot with a pair of APS-C Canon mirrorless cameras that offer great performance for video, too. When it comes to spending wisely, our special lighting feature takes a look at four very different LED lights of massively varied spec, power, size and price. What brings them all together is that they are made by east Asian manufacturers at a far more attainable price than some of the big-name European and US brands. We also try out an affordable set of three autofocus video primes from Korean brand Samyang, as well as its first AF zooms – plus another great-value Tamron. Of course, we’re also featuring some seriously high-end kit on show at BSC Expo in London. But don’t let that fool you into thinking you must have the latest, priciest kit to shoot great work. Let 2023 be the year you choose your equipment wisely to produce the best and most creative films of your career.

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

JANUARY/FEBRUARY 2023 CONTENTS AGENDA 7 PANASONIC DROPS A STEALTH BOMB The murdered-out Panasonic Lumix S5 II X is the latest full-frame mirrorless camera designed for filmmakers. It is heavily based on the new S5 II, but with upgraded spec for video. 8 NANLITE REVAMPS LED RANGE Five models from the Nanlite Forza line of COB hard lights get a second-generation refresh – and Nikon’s expansion of its lenses for full-frame mirrorless continues with the Z 85mm f/1.2 S. 10 SONY REVEALS A WIDER STANDARD The standard zoom has been redefined, says Sony, as it reveals the ambitious 20-70mm f/4 G. Plus plans for the first 300mm prime to fit E-mount, Quasar launches a new remote app and Red goes live with 12 IT’S SHOWTIME IN LONDON The flagship show for filmmakers comes to Evolution London in Battersea Park. We take a look at some of the hottest new kit you’ll get to see at the annual BSC Expo. And don’t forget key networking events and seminars!




15 BRAND-NEW FILMMAKING CONTEST LAUNCHED Pro Moviemaker magazine’s inaugural Filmmaker of the Year Awards have been designed to shine a spotlight on unsung heroes of the filmmaking world who create stunning work that’s watched and enjoyed by millions. Enter now!


Don’t fall behind in the race for great lighting – check out our tests of the latest dazzling LEDs. We’ve got our hands on the freshest kit to hit the market in a whole host of categories – and at a range of prices and specs. 40 FUJIFILM’S 8K MIRRORLESS FOR 2K! The X-H2 brings a new level of resolution to a Super 35 camera at a surprisingly low price. We test it out and make the inevitable comparisons to its faster but pricier sibling – the X-H2S. Which is best for you?





The ultimate magazine for next generation filmmakers

48 CANON’S RF CAMERAS GO APS-C The professional-level EOS R7 and prosumer EOS R10 undercut the flagship full-frame range in Canon’s line of mirrorless machines. But can these cut-price cams cut it for professional filmmaking? 54 PHASE DETECTION AF COMES TO LUMIX Panasonic’s Lumix S5 II is the first camera release from the renewed alliance with legendary Leica – and boasts a whole load of new technology, plus a full-frame sensor. Is it finally a match for its rivals’ autofocus systems? 64 A NEW STYLE OF CINEMA LENS Samyang’s V-AF lenses offer all the benefits of cine primes, with the addition of autofocus to fit Sony full- frame cameras. We try out this novel idea to see if it works in the real world. 70 MINI TESTS: TOP KIT USED AND RATED We try out loads of the latest filmmaking equipment, including Sandisk’s new card reader and hub system, a rugged Samsung SSD, Tamron’s 20-40mm zoom, a wireless Godox audio system and much more. 78 BUYERS’ GUIDE: MOTION DEVICES Sliders, dollies, jibs, motion-control gizmos and motorised three-axis gimbals are pretty much stock-in- trade for the majority of professionals. Read on for our rundown of the coolest kit you can invest in. 78






TAKE THE WIDER VIEW A wallet-friendly ultra-wide zoom from Panasonic is here – the new Lumix S 14-28mm f/4-5.6 Macro that’s ideal for sweeping landscapes, with macro capability for close-up work. It will cost £880/$TBC when it goes on sale in February. The optic has 14 elements in ten groups including one aspherical ELD (extra-low dispersion), one aspherical, three ELD and one UHR (ultra-high refractive index) element. Aspherical lens elements enable sharp detail and incredibly smooth bokeh, while the three ELD lenses suppress chromatic aberration. It weighs just 345g/0.76lb and has a minimum focusing distance of 15cm/5.9in through its entire zoom range. For video, the lens has micro-step aperture control for smooth exposure changes as well as a mechanism to suppress focus breathing. The response and sweep of the manual focus ring can be adjusted. The lens boasts both a dust- and splash-resistant design with a fluorine coating applied to the front element to repel oil and water. There is a 77mm filter thread, too. The 14-28mm optic features the same overall length and position of control parts as other budget zoom lenses in Panasonic’s S range, the 20-60mm f/3.5-5.6 and 70-300mm f/4.5-5.6 Macro.

Panasonic drops a stealth bomb From its matte-finish body to its blackened badges, the murdered-out

Panasonic Lumix S5 II X is the latest full- frame mirrorless designed for filmmakers. It’s heavily based on the S5 II camera we test this issue, using the same newly developed 22.4-megapixel full-frame CMOS sensor and imaging engine, with hybrid phase detection autofocus for the first time. But it improves significantly on spec for making movies. Both the S5 II X and S5 II shoot internal 4:2:0 10-bit 6K in 3:2 and 5.9K in 16:9 at 30fps, plus 4:2:2 C4K and 4K at up to 60fps, with a low-profile heat management system that allows for unlimited recording times. But the X is also capable of recording all these formats in Apple ProRes internally up to 5.8K, as well as MOV and MP4 like the S5 II. The X’s recording rates reach 800Mbps as it shoots in All-Intra, where the S5 II tops out at 200Mbps since it’s limited to the Long GOP format. When switching to S&Q mode, the X can record in 4:2:2 10-bit, while the standard cam is limited to 4:2:0 – still in 10-bit. And a unique feature for full-frame mirrorless cameras is that the S5 II X can record to an external SSD drive via HDMI or USB. It also supports Apple ProRes Raw video output to Atomos monitor/ recorders. It seems the S5 II will be able to export its footage as Raw if users buy a firmware upgrade. The S5 II X offers both wired and wireless IP streaming and USB tethering, which are absent on the cheaper model.

DARK MATTER The blacked-out Lumix S5 II X looks cool and has improved spec for making movies, like Apple ProRes

The S5 II X is a higher-spec camera for filmmakers, yet only costs £2299/$2199 – not a ton more than the £1999/$1998 S5 II. The X model will go on sale in the spring, while the S5 II is on sale this month. Both include 14+ stop V-Log/V-Gamut colour, as well as a new real-time LUT function enabling grading LUTs to be uploaded to an SD card and directly applied in-camera rather than in post-production. Waveform monitoring, vectorscope and zebra pattern all feature, as well as 48kHz/24-bit audio recording from an external microphone, with high-res 96kHz/24-bit recording via external XLR microphones using an adapter. The cameras now have a full-size HDMI Type A terminal and high-speed USB 3.2 Gen 2, and wireless has been improved with 5GHz Wi-Fi joining 2.4GHz to provide speedy, stable communication with smart devices. There are two UHS-II card slots and the 2200mAh high-capacity battery can be recharged via mains or USB. Both cameras are dust and splash resistant.

“The S5 II X can record to an external SSD via HDMI – unique for full-frame cameras”




FAST PRIME FOR NIKON Z Nikon’s expansion of optics for full-frame mirrorless continues with the Z 85mm f/1.2 S fast prime currently under development. The lens is built for superior rendering performance as well as large and beautiful bokeh, says Nikon. No price or expected delivery date has been set. Also under development is the Z 26mm f/2.8, a very slim wide-angle prime lens designed for image makers who want the smallest and lightest lens for travelling.

Nanlite revamps Forza range Five models from the

The 500 II also has green-magenta control

Bluetooth, a quieter fan and an included 45° reflector. No US prices have yet been set. The £981 daylight 300 II and £1032 bicolour 300B II have new control units and green-magenta adjustment - a feature previously only found on high-end fixtures. There are four fan modes, including ‘Smart’ – which controls fan speed based on power settings. The controls are updated with side-access V-Mount plates and built-in power supply – and the yoke now has a one-sided lock and more adjustment.

Nanlite Forza line of COB hard lights get a second- generation refresh – and a new, high-powered bicolour light is making its debut. The Forza 60 II and 60B II, the larger 300 II and 300B II and powerful Forza 500 II all benefit from upgrades. Plus there’s the all-new Forza 500B II, a bicolour LED. The £300 daylight-only 60 II and £342 bicolour 60B II have expanded wireless remote control and are quieter. Both now have a locking DMX port, built-in

and a redesigned command unit – also with side-access V-Mount plates, a built-in power supply and the multi- adjustable yoke. The 500B II brings bicolour to the range, with tech that Nanlite developed when making the flagship Forza 720B. It also boasts improvements from the 500 II, but no prices have yet been set for the 500 series lights. We test the Forza 60B II in this issue’s lighting special.

March to the Big Apple The two-day Cine Gear Expo New York event will take place in Industry City, the production hub along the Brooklyn Upper Bay waterside, on 10-11 March. Both days will feature panels and educational series led by leaders in the field as well as a trade show. The historic Industry City complex in Sunset Park has become home to numerous motion picture technology companies – and is now poised to become New York’s preeminent filmmaking educational centre.

Mobile boost for Tamron glass

Seven of Tamron’s most popular lenses will benefit from a free firmware upgrade to enable compatibility with the newly released Android version of the Tamron Lens Utility app, as well as some bug fixes. Firmware v2.0 will make it possible for all Sony E-mount Tamron zooms to use the app to customise functions and focusing characteristics by connecting directly to an Android smartphone or tablet. The firmware update for the 20-40mm f/2.8, 50-400mm f/4.5-6.3, 28-75mm f/2.8 G2 and 35-150mm f/2-2.8 VXD is done via the USB-C port on the optic, connected to Tamron Lens Utility software. Other lenses such as the 150-500mm f/5-6.7 VXD benefit from improved AF tracking algorithms.




Sony aims to redefine the standard zoom

S ony claims it is ‘redefining the standard zoom’ with the introduction of the FE 20-70mm f/4 G. It boasts an ultra-wide focal length range in a compact, light full-frame lens with a constant f/4 aperture. Employing Sony’s latest lens design and XD (extreme dynamic) linear motor technology, the ultra-wide 20mm end of the range makes it possible to maintain a wide angle of view when shooting video with a 16:9 or 2.35:1 aspect ratio. The £1400/$1099 lens is designed with filmmaking in mind and uses new technology to reduce focus breathing as well as focus and axial shift when zooming. It’s also been carefully designed for quiet operation when shooting movies, with advanced XD linear motors and a newly developed aperture unit that dramatically reduces noise and vibration.

optical design corrects chromatic and spherical aberration across the whole zoom range. And coatings add flare and ghost resistance for contrast and clarity. There is a nine-blade circular aperture and optimally tuned spherical aberration, granting improved bokeh. The focus group is driven by two of Sony’s latest XD linear motors, providing high thrust for fast, quiet, low-vibration focus drive. Thrust efficiency has been significantly improved over previous models, resulting in up to 60% increase in autofocus speed – and since tracking performance has been improved in comparison to previous models, moving subjects are tracked with consistent reliability and precision. Independent focus, zoom and aperture rings feature, with an iris lock switch to prevent unwanted changes while shooting, plus two customisable focus hold buttons and a focus mode switch on the side. Even though this optic is an ultra wide-angle, it’s compatible with circular polarising filters. The FE 20-70mm f/4 G has a dust- and moisture-resistant design, and the front lens element features a fluorine coating that repels fingerprints, dust, water, oil and other contaminants.

Alpha cameras’ Active mode image stabilisation is highly effective at the ultra-wide 20mm end of the zoom range, while maintaining a wide angle of view. This is particularly useful for shooting smooth handheld footage while walking. The lens works with Alpha cameras to easily acquire accurate focus and smoothly track fast-moving subjects thanks to two high-thrust XD linear motors. Linear Response MF ensures the focus ring responds directly and linearly to subtle control when focusing manually, and an independent aperture ring offers direct, intuitive aperture control. Sony says the optic delivers stunning image quality and gorgeous bokeh thanks to two AA (advanced aspherical) elements, one aspherical element, three ELD (extra- low dispersion) glass elements and one ELD aspherical element. State-of-the-art

FINALLY, A 300MM PRIME IS ON THE WAY The first 300mm prime lens to fit E-mount cameras is on the way, as Sony announced OSS telephoto, with a target launch date in early 2024. It is due to sit alongside 400mm f/2.8 GM OSS and FE 600mm f/4 GM OSS, and will

feature the resolution and bokeh of Sony’s G Master flagship line of lenses.

other large-aperture super- telephoto lenses, like the FE

development of the long- awaited FE 300mm f/2.8 GM




Adobe dominates Sundance

SIGMA’S 10X SUPERZOOM Sigma has unveiled the world’s first 10x ultra-telephoto zoom for full-frame mirrorless cameras with the 60-600mm f/4.5-6.3 DG DN OS lens, which costs £2000/$1999. It’s part of the firm’s Sports line of lenses and has components made from magnesium to keep weight down. An unusual feature is Dual Action zoom, where the lens can be zoomed by rotating the ring or pushing the end of the lens. There is a focus limiter switch, and three AFL buttons on the body of the lens can be customised via the camera menu. The lens has an Arca-Swiss-compatible tripod socket, which can be removed and replaced with other fitments. The L-Mount version is compatible with Sigma 1.4x and 2.0x converters which work in AF. The mount connection, manual focus ring, zoom ring, switches, switch panel and exterior connection are all dust and splash resistant. And the front element features a water- and oil-repellent coating. Sigma’s commitment to filmmakers includes running Masterclass workshops in London this year. The next two are on 11 February and 26 May, are run by lecturer György László and cost £199. These are six- hour workshops about creating cinematic video with a DSLR or mirrorless camera, and covers technical knowledge as well as the essentials of directing and producing artistic films with basic equipment. sigma-masterclass-workshops-2023/

marks a 357% increase in Premiere Pro use from 2015. has also launched Camera to Cloud integration with Red V-Raptor cameras. Footage can now be transferred from set to folders without need for intermediate devices.

Adobe Premiere Pro and dominated films in the Sundance Film Festival, with 67% of entrants having used one of the programs. More than half of the films including Plan C , Going Varsity in Mariachi and Sometimes I Think About Dying used Premiere Pro as their primary piece of editing software. This

STAR ROLE FOR QUASAR APP Quasar Science has released a new lighting app to control its Double Rainbow and Rainbow 2 RGBX linear LED fixtures. StarCTRL is a free iOS app that allows control of colours and effects of up to seven Rainbow series lights from an iPhone or iPad. Using Bluetooth, StarCTRL quickly auto-

discovers all lights and will be ready to control them in seconds. Adjust intensity, colour temperature, hue, saturation and output from the Control tab. The Preset tab contains preconfigured colour settings and the FX tab controls built-in lighting effects.



AGENDA BSC EXPO PREVIEW EXPO IS GO! Evolution London’s BSC Expo marks the beginning of the

APUTURE Stand 117

With a reputation as an up-and- coming LED manufacturer with thousands of fans around the world, Aputure makes impressive lights at affordable prices. Founded in 2005 by a team of inspired filmmakers and videographers wanting to create high-quality content, Aputure is a fast-growing cinema technology company that’s designing and specialising in lighting and light modifiers. Look out for the LS 1200d Pro and Nova P600c LED lights. ARRI Stand 323 Arri will be showcasing its latest cameras and lighting, like the Arri Orbiter with new Orbiter Projection Optics 25° and 35°. The new Alexa 35 and Alexa Mini LF cameras will be on show with Arri Signature Prime and Signature Zoom lenses. Visit the booth and discover how vintage filmmaking techniques like dioptres can help you customise the look of Signature lenses. The most recent additions to Arri’s Camera Stabiliser System range, Trinity 2 and Artemis 2, will be available too. ARRI RENTAL Stand 418 Arri Rental is displaying its latest Heroes lens collection, comprising primes that allow instant detuning and T.One primes that retain contrast at T1.0, as well as a new fleet of Monochrome cameras covering 65mm, full-frame and Super 35 formats. From 16mm and Super 35 up to large format and 65mm with the Alexa 65, lens options include exclusive in-house optics, vintage glass rehoused in modern casings and state-of-the-art lenses from renowned manufacturers.

2023 show season B ritain’s flagship show for best cinematographers in the industry. Of course, it’s also an opportunity to check out lots of the latest equipment. From cameras and lenses to drones, lighting, rigs, software and everything you’d need to make your first – or next –blockbuster, BSC Expo is the place to be. It’s at Evolution London, a purpose-built events venue in the heart of Battersea Park. Easily accessible by rail and road, this is a highly convenient location to bring every level of the industry together. filmmakers, BSC Expo, is a place where students and those learning the ropes can pick the brains of the

The audience is made up of all parts of the production process – cameras, lighting, grip, DIT and post-production, together with the manufacturers and rental houses. And the event is networking-orientated, offering a great chance to meet associates and peers in a relaxed environment. There’s technical content and ever- popular seminars, in celebration of all things cinematography, film and TV. So, whether you’re interested in the latest gear, the greatest talks or simply doing some networking, you should get yourself down to Battersea Park. Register at . Now, let’s take a look at some exhibitors to check out.

ATOMOS Stand 127

Atomos will focus on its award- winning Connect range of devices and the Adobe Camera to Cloud (C2C) workflow. The Atomos range of network-enabled monitor/recorder devices includes Zato Connect, Atomos Connect for Ninja V and Ninja V+ and Shogun Connect. Used alongside Adobe’s powered C2C workflow, they allow

CAR-NIVAL TIME! From Mini-mounted arms to lighting and camera tech, BSC Expo has everything a filmmaking fan could want




workflow and archive solutions. From camera-recording media and peripherals, to on-set collaborative storage, secure asset archiving and media sharing through the cloud, the company provides a service to more than 70 countries worldwide. GRIP FACTORY MUNICH Stand 145 GFM manufactures dollies, cranes, sliders and camera support gear, priding itself on making products of only the highest standard. The engineering quality and innovation need to be seen to be believed. HAWK-WOODS Stand 413 Hawk-Woods shows off its newly released B-Lok batteries for Arri Alexa 35, with ‘the biggest capacity in the industry’, multiple outputs and all the safety features, straight 26v with 20A output and drop resistance. It will also display its flagship 7.2kg floor battery, MXB-880, with dual voltage, multiple XLR outputs and drop resistance. HOLDAN Stand 127 UK distributor Holdan will showcase its full range of on-camera monitor/ recorders and production monitors from Atomos, plus ultra-lightweight, high-performance Samyang Xeen Cine primes, including the 8K and full-frame Xeen Meister optics. Also featured are Hollyland for its audio equipment, Teradek’s wireless transmission workflow solutions, Orca’s premium equipment bags, not to mention Kondor Blue’s cages and accessories. IDX Stand 358 Battery giant IDX will be displaying its IPL Powerlink batteries and new charging solutions in the form of its unique D-Tap advanced, X-Tap socket and stacked charging. With batteries to suit everything from small cameras to the biggest cine or TV cams and lights, IDX has a huge range of power options. LCA Stand 133 LCA – Lights, Camera, Action - is a leading supplier of professional

equipment to the film, TV, video and photographic industries. This is a one-stop shop, supplying lighting, cables, filters, textiles, lamps and many other consumables. Its warehouse allows the company to hold a wide range of stock for immediate delivery, but it can also source specific items for dispatch as soon as possible. MARSHALL Stand 219 Marshall leapt out of the gates in the new year with a brand-new high- performance NDI|HX3 camera with up to UHD 4K/60p. The CV730-ND3 camera utilises brand-new NDI|HX3 codecs, significantly improving NDI performance over network in all three categories: better lossless video quality, lower latency and less bandwidth required. The CV730-ND3 achieves near full NDI (around 250Mbps) delivery with less bandwidth required (roughly 80Mbps) for NDI|HX3. NANGUANG Stand 446 Nanguang is a fast-growing company with an ever-expanding range of LED lighting solutions, offering professional quality but at great-value prices. Its Nanlite range includes powerful COB LEDs in a range of sizes, plus 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 such as softboxes and projector units. ROSCO LABORATORIES Stand 138 Rosco has been a leader in products for the film, television and broadcast industries since 1910. Its range now includes the innovative

LED lighting fixtures and backdrop solutions that will be on display at BSC Expo 2023. In particular, a new virtual production technology using a state-of-the-art LED wall will be featured – not to be missed! ROTOLIGHT Stand 440 Rotolight is an award-winning British manufacturer of LED lighting, delivering technologies designed to enhance the creative possibilities of cinematographers and filmmakers. On show will be the incredible Titan X1 and X2 panels, which have electronically adjustable diffusion. Plus, the latest and most advanced LED panels, the AEOS 2 Pro and Neo 3 Pro, will be there – as well as the popular Anova Pro 2. VOCAS SYSTEMS Stand 18 Vocas Products 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 are well-built, fit perfectly and give a big boost to camera handling. Also on the stand is co-exhibitor Casecart, which is showing off its revolutionary hard case and production cart in one. ZEISS Stand 319 Zeiss will display its extensive range of high-end cine lenses, including the wide-angle 15mm T1.8 – which completes the 14-lens Supreme Prime set. Attendees will also be able to get hands-on with the Supreme Prime Radiance family - known for its stunning blue flare capability - as well as CZ.2 full-frame Cinema Zooms and CP.3 cinematography lenses.

footage to be shared straight from set to off-site editors. BEBOB Stand 435 Bebob’s B-Mount batteries are a tremendous success. To meet demand for high-performance power supply in more applications, Bebob is introducing additions to its B-Mount portfolio at BSC Expo. Users of the Sony Venice 2 should check out the Coco Venice 2 battery plate. There will also be adapters for lighting and options to power B-Mount equipment via traditional V-Mount or Gold-Mount batteries. CORE SWX Stand 110 Look out for the Apex 360 battery system, designed to answer the call for onboard battery solutions to increase runtimes for high-powered LED lighting. Apex packs offer a 367Wh lithium-ion V-Mount solution capable of outputting up to 24A continuously. Apex is offered in a 14.8v pack suitable for most lights, plus a higher-voltage 29.6v variant. CVP The Mezzanine Floor CVP will once again showcase the latest production solutions, ably supported by the expert advice of its many technical consultants, product specialists and engineers.

Visitors will get to explore an interactive virtual production

stage, which demonstrates new tech and creative solutions for a range of applications, budgets and specifications. The popular Lens Bar is also back with a more extensive collection of new and vintage glass. GLOBAL DISTRIBUTION Stand 30 Global Distribution can talk you through acquisition, storage,




Our new contest honours the best work from current and next-generation filmmakers




T op-quality video is everywhere. But it’s not all about mass-market broadcasters, Hollywood movies or big-budget streaming services like Netflix or Amazon funding drama series. The vast majority is created by small, independent companies and individuals who continue to push the boundaries of creativity with much smaller budgets. With small teams, focused creatives and problem-solving at heart, the core of professional filmmaking around the globe is in creating commercial, editorial, marketing and social media films and shorts. This is having a huge impact on the way everyone consumes content. From YouTube and Vimeo to social media, live events and lots more, these growing platforms are packed with amazing work from gifted creatives who have been largely in the background. Until now. Pro Moviemaker magazine’s inaugural Filmmaker of the Year Awards are here to shine a spotlight on unsung heroes of the filmmaking world, who create stunning work watched and enjoyed by millions.

These are visionaries who don’t equate low budget with anything less than original and innovative content. While many filmmaking contests are out there, these often focus on full-length or short-form narrative drama films and documentaries. The Pro Moviemaker Filmmaker of the Year Awards go much further than this, with awards largely focused on excellence in the creation of content – long-form or short-form – in commercial categories. This includes promotional films, music videos, documentaries, marketing films, event coverage, sports, weddings, social media and YouTube. Simply put, if you are an established working professional filmmaker or just starting out on the ladder of making seriously good video, these awards are for you. Entrants – either individuals or part of a team – simply have to link to their chosen entry if it’s online, or submit their work directly. That’s because we want to make it as easy as possible for working filmmakers to get involved, rather than

LED THERE BE LIGHT Mastering lighting is a crucial skill many pro filmmakers need, and a key part of making standout work


Award-winning mega-retailer CVP is so much more than Britain’s leading cinematography, broadcast and TV equipment supplier. It’s a company that is investing in education and inspiration for filmmakers at all levels, as well as ensuring equipment is right for the customer. With live and virtual events, product demonstrations and education sessions, repairs, hire facilities and used or new kit, CVP is at the heart of the commercial filmmaking community. It’s not just buying the latest bit of hardware or software, but the services that keep the industry going are every bit as important to the lives of professional filmmakers. So it’s fitting that CVP is backing the inaugural Filmmaker of the Year Awards as title sponsor. CVP is staffed by experts who not only excel at making sure everyone gets incredible service when choosing gear, but also help filmmakers take the next step. When it comes to equipment, CVP not only has keen prices, but the biggest stock of kit – plus the chance to get up close and personal with gear pre-purchase. There is nothing quite like getting hands-on with a potential new camera, lens or accessory. To get a sense of how it feels and performs before you buy, CVP’s Newman House showroom in London has lots of the latest equipment – and its professionals are there to answer any questions. To book a demo, talk to one of CVP’s experts and explore the Newman House showroom, call +44 (0) 208 380 7400 , email or visit .

INDUSTRY GIANT CVP supports shows, events, workshops, seminars, education and more – and now our Filmmaker of the Year Awards




making you create and shoot bespoke content. Though there’s an open category where pretty much anything goes! During the forthcoming year, Pro Moviemaker will have a special focus on the categories, spotlighting entries that deserve special mention and widening the exposure of the awards and its entrants. A panel of experts will judge. So whether a film has had millions of views or not, it’s the idea and final piece that win. Creativity, ingenuity, originality and excellence of execution are key. The time has come to honour the incredible work of filmmakers from all around the world – at any stage of their careers. Entering is simple, so for a chance to be recognised by your peers and gain a marketing edge pitching to clients, enter the Filmmaker of the Year Awards now! Choose a category – or categories – that best suits your work and let the world see what you’ve been up to. “The time has come to honour the incredible work of filmmakers from all around the world – at any stage of their careers” Our aim is to have as little impact as possible on the lives of busy, working filmmakers. So entering is not a huge, involved process. All you have to do is email with the subject line ‘Filmmaker of the Year’. Include a link where we can watch the video online, such as YouTube or Vimeo, plus the password if it’s protected. Alternatively, send a link to a file so we can download it from a file sharing service like WeTransfer. Let us know if we have permission to link to the film on our website or social media, with any credits needed. In the email, please tell us the category or categories you want to enter your film into, what your role was and who the client was (if it was paid-for work). Plus, please write a paragraph or two giving context to the shoot: any challenges you faced and success your film has had. This is optional, but would help us understand the background surrounding your masterpiece!





The UK’s favourite rental house Hireacamera sponsors the commercial & corporate category – one of the most important for winning influence with paying clients. Not every filmmaker has all the equipment needed to shoot every project, especially as so many clients seem to arrange last-minute. That’s where Hireacamera is a great resource for commercial filmmakers. With a slick website that offers real-time booking and availability information on all kit, Hireacamera is a step ahead of its rivals. With cost-effective prices, fresh kit in stock and fully tested equipment, all rentals are delivered with the latest firmware installed and ready to shoot. Delivered and picked up fully insured by couriers direct to you, kit is protected in fitted cases and with all the accessories you might need.


This is the biggie - the main category for work commissioned by clients. From branded content to promotional videos or anything else in-between, if you shoot for paying customers then this is the one to enter. It could be commercials, branded video, sales videos, adverts or a package of plenty of different video-led media – for a single client or campaign. It’s up to you. Just choose your best, most stunning work and let’s see it!

This is always an area where creativity can be maximised, with seemingly no rules! So send us your weirdest and most wonderful work. Music videos are the place so many gifted filmmakers have cut their teeth – from Spike Jonze to David Fincher. It’s a field full of possibility, and we can’t wait to see what you’ve been involved in. Please apply with any sort of music video - from pop to rap, rock, choral, classical or any genre at all. We are not judging the track, just how the video adds to the whole creative package. MUSIC VIDEO VISUALS AS A VEHICLE FOR SONG



Drone, UAV, polecam, helicopter... if high-angle work is where you stand out, this is your category. Enter here if aerial camerawork is the sole content – or at least a major component – of your video. From standard drones to FPV shooting ‘impossible’ shots, let’s see what you have! AERIAL STUNNING VIEWS FROM ON HIGH

Social media video is no longer the sole domain of Instagrammers with iPhones, but serious business for pro filmmakers creating engaging, compelling content for clients taking their next steps. When it is time to take your own work to another level, lighting is a must-have – and Amaran is here to offer a range of incredible, great-value LED lights that prove stunning performers. The sister brand of Aputure, Amaran uses much of the same technology but often in smaller and more compact fixtures. There are COB hard lights, flexible light panels, light tubes as well as on-camera LED panels – plus its products accept the range of Aputure modifiers, too.


Action and sports capture is a unique challenge. But it’s much more than just quick-moving subjects – you need stories behind the competitors, equipment, organisers and lots more. This category will focus on the very best. And we expect to see some truly attention-grabbing footage and incredible stories told visually. ACTION & SPORTS FOR THE FASTEST MOVERS

So much innovative video work is created especially for social media, whether it be marketing campaigns or simply stunning content to help grow an audience. It’s a burgeoning field, but one that’s already seeing stellar results – and a thriving creative community. We want to see the pinnacle of your work. Everything from sub-one-minute vertical videos shot for Instagram Reels, Facebook, YouTube Shorts or TikTok to longer-length films for online platforms of all kinds.


If you’re a current student or recent graduate from the past two years, enter in this category with anything from commercial-style work to documentary, social media or narrative. It can be part of your coursework or a private project, shot for clients or friends – it doesn’t matter. We want to see the best video made by those just starting out.





This award is for best use of lighting – be it natural, ambient, artificial or a mixture. Its creative application makes a massive difference to the look of any project, so this award recognises control of light that has paid dividends.

The sign of a truly professional film with high production values often lies in the critical area of lighting. This is the magic ingredient that turns work from average to exceptional – the results that keep paying clients coming back for more. For professional-level lighting that is surprisingly affordable, Aputure leads the way with its range of LED fixtures formed to suit all needs. At the very high end is the hugely powerful LS 1200d Pro, good enough for Hollywood. But the brand also offers a range of smaller and more affordable COB lights, plus large and small light panels, tube lights, bulb lights and a selection of modifiers.


Wedding videos are more popular than ever, so we’re honouring the best and most creative entries in what can be a lucrative business if you get it right. It doesn’t matter what religion or type of ceremony. We want to see a film that shows the emotion of the day and captures a special moment in time, for a happy couple to treasure for decades to come.

For everything from narrative drama to documentaries, long or short films – whatever you like, anything goes! Whether commissioned or personal, here’s where any filmmaker can showcase their proudest work. It can be all your own, or where you worked as the lead filmmaker in a team. Show the world what you’ve been involved in! OPEN A SHOWCASE FOR CREATIVITY




An explosion of quality cinematography is apparent in so much content nowadays, with films and television dramas leading the way thanks to some truly breathtaking work. But it’s not limited to the big crews and budgets: so many small production companies and indie filmmakers are at work creating visually stunning images. This award shows off how cutting-edge cinematography is achieved for lower- budget productions, relying on clever technique rather than pure manpower. CINEMATOGRAPHY WHERE GIFTED WORK IS REWARDED The most creative work demands the highest quality possible – as well as full control over camera settings at a glance. And that’s where Atomos comes in with its range of monitor/recorders. From five-inch models to those suitable for cinema cameras, or large director-style monitors for on-set use, Atomos leads the way in unlocking top-quality output from the camera. With tools to help nail exposure, focus and creative looks, they are essential parts of every cinematographer’s workflow. Now with added functionality such as camera-to-cloud and connected workflows, Atomos is at the bleeding edge of what’s possible for the ultimate filmmaking experience.


It’s the heartland of so much original filmmaking. This is where storytelling and incredible visuals combine to create something special – and raise awareness of a subject to the world. This doesn’t have to be a hard- hitting documentary that breaks new ground on a social injustice or globally important political situation. It could equally be a local issue, or tell the tale of an artisan craftsperson. We’re looking for compelling stories, where the medium is a major contributing factor to its impact.


This award is for a highlight edit of any event coverage. It could be a product launch, gala, competition or even a road trip. If you shoot events and make compelling films for watching afterwards, this is for you! Show us your event edit and knock our socks off with your stunning imagination.




Teaching a viewer how to do something new is an essential modern filmmaking skill. This category is for those how-to videos we’ve all relied upon. Whether you were involved right from the start, writing a script through to final production for a client, or just involved in the actual filming – it doesn’t matter. Let the whole world see just how slick and professional a how-to or instructional video can be.

From VFX and green screen tech to clever solutions in-camera or on-set, we would love to recognise the best – and most ingenious – effects used in your work. VISUAL EFFECTS VISIONARY USE OF TECHNOLOGY

Roe Visual makes high-end LED display platforms thanks to carefully selected components, new tech and the in-depth technical knowledge of its engineers. Using LED panels instead of elaborate and costly sets, this new way of working is an ideal solution to create maximum flexibility for production teams. And it’s a bonus to actors, who get to work in a wonderfully immersive setting. Replacing the traditional green screen element of a virtual studio allows presenters and audience to see and interact with the content around them. This groundbreaking innovation is already having an influence on how broadcasts are delivered worldwide.




sessions to make sure the new generation gets to reach their full potential. CVP Education and CVPTV on YouTube offer insight and help that’s hard to get anywhere else. It’s a company always investing in the future – so a natural fit for this category.

CVP has always invested back to the industry, helping filmmakers take that next career step. As well as having the most clued- up staff to offer buying advice, Britain’s number one cinema equipment retailer also has lots of workshops, seminars, events, product demos and learning

For aspiring professionals or those in the first two years of a career, this is a crucial category. We want to see just how creative the future really is. This is an open class, so pretty much anything goes. It could be some creative short film you have shot as a student, newbie or aspiring professional. It could be a self-funded documentary, a pop video for a local band or even work as part of a bigger team on commercial projects. The choice is yours. We want to see creativity in visually stunning work from the thought leaders of tomorrow! FUTURE FILMMAKER BREEDING GROUND FOR TALENT


The booming area of live streaming covers everything from product launches to galas, religious ceremonies, fairs, sporting events and lots more. If it went out live, here’s where it belongs. Send us a link to the whole broadcast, or if you want to make a short highlights clip then that’s good, too; as long as it’s a straight edit of what was broadcast rather than with any extra production added. We want to see what the viewers saw!




It’s a massive, growing market – YouTube is taking over the planet for delivering video content. Although, if your series is on Vimeo or any other long-form sharing platform then that counts too! This category is for creative YouTubers producing engaging, well-shot and gorgeously produced content for their own channel – or a client’s.

It’s great having awesome visual footage and incredible audio, but it’s in the edit that a film is turned into a true work of art. In this category, any film is welcome as long as it highlights amazing editing skills. It could be in the cut, grading or more – show us your finest hour. EDITING CUTTING FOR ORIGINAL RESULTS


Every filmmaker knows audio is vital to the success of any project. This category is for films where the soundtrack, sound design or sound recording is well-executed and adds loads to the film. You could be a dedicated sound recordist or just have some incredible audio on a film you managed. We want to hear from you!

From a range of XLR shotgun mics to stereo and mono DSLR-type mics, Sennheiser is the master of capturing clear sound on all types of cameras and recorders. For many years, the brand has been a market leader in wireless audio mics and lavaliers, getting rid of the cables that can ruin a shoot. You’ll get awesome audio, every time.

When it comes to selecting the right equipment to ensure audio is captured perfectly, Sennheiser is the brand to choose. It boasts such a wide variety of professional-quality audio solutions.




MPB is the best way to bag a cinema optic that will give service for decades Holy grail lenses for less

C ameras come and go, but quality lenses pay back for years or even decades. And nowhere is this more true than in the holy grail of lenses – manual-focus cinema primes or zooms. These are the optics that have shot every major blockbuster and TV drama since the dawn of cinematography, and give very real advantages when shooting movies. These wonders of engineering and build quality offer lots of advantages over the AF primes that many filmmakers start with. Improvements include optical quality, faster maximum apertures, lack of focus breathing and axial shift when zooming, as well as click-less and consistent T stops. Ever wondered why your exposures at f/2.8 on one AF lens is different to the same settings on another? That’s because f/stops are based on a mathematical formula, whereas T stops are a measurement of the actual light hitting the sensor. Perhaps the greatest benefit of a cine optic is its feeling when manual focusing, as these lenses have a large focus throw that’s manually connected to the moving

elements inside the lens housing. This gives a far more controllable, tactile feel, instead of the fly-by-wire sensation of an AF lens. There are also often hard stops at each end of the focus scale, while AF lenses have focus rings that just keep on spinning round. And when using a follow-focus device, a cine prime is even better. It’s all these reasons why cinema lenses are often much more expensive than AF lenses new, but are also very hard to get hold of used. Most filmmakers hang onto their prized cine glass for years, enjoying the quality, look of the footage and feel when operating. However, used equipment powerhouse MPB is one of the very few places to have significant stocks of used cine lenses, and all are at keen prices compared to new. At the time of writing, there was a choice of 59 cinema primes and zooms in stock at MPB’s UK base. That’s a massive choice that you won’t find anywhere else. The stock currently includes cine lenses from 9mm to 300mm in focal length, from Canon, Sony, Zeiss, Fujinon, Sigma, Red,

NEWCOMER LENSES Irix might be a new player in the cinema lens market but MPB has regular stocks

“Perhaps the greatest benefit of a cine optic is its feeling when manual focusing, as these lenses have a large throw”



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