Pro Moviemaker March/April 2024 - Web

Welcome to the latest issue of Pro Moviemaker magazine In the new issue of Pro Moviemaker magazine, the focus is on the massive range of independent-brand lenses that can give a very real edge to your films, and do it for many years. We take a look at the world of super-quality primes and zooms designed for cinema use, many with adjustable and replaceable mounts and try the new Cooke SP3s. The whole issue is brimming with lots of the latest equipment and tests including special investigation into all the audio kit you need, lots of teleprompters and a pair of full-pixel light tunes from Nanlite. We also look at some of the entries for the second annual Filmmaker of the Year Awards and see some incredible work. With lots of advice, news, reviews of accessories and all the latest and greatest equipment, Pro Moviemaker is out now.

FILMMAKER OF THE YEAR FRENZY We spotlight some super entries so far in our global contest


@ProMoviemaker £5.49

8K cinema cam and mini gimbal will take away your shakes LAST NIGHT A DJI SAVED MY STRIFE GEAR NEWS

Revamp for the flagship OM System MFT camera OM-1 REDUX OMG!

ON TEST THIS ISSUE Nanlite’s latest LED pixel tubes, bargain Smallrig mini tripod head, plus a Blackmagic mobile app that’s totally FREE!


We showcase the best in autocue technology HAVEN’T GOT A CUE? BUYERS’ GUIDE

The juiciest, most need-to-know info from the BSC Expo and Photography & Video Show SHOWING OFF PREVIEW

The latest, greatest kit to complete your pro moviemaking set-up AUDIO ESSENTIALS SOUND SENSE

The ultimate magazine for next generation filmmakers

Editor in chief Adam Duckworth Chief sub editor Matthew Winney Sub editors Jim Blackstock, Minhaj Zia Editorial director Roger Payne EDITORIAL

ADVERTISING Sales director

Sam Scott-Smith 01223 499457 DESIGN Design director Andy Jennings Magazine manager Lucy Woolcomb Senior designer Carl Golsby Junior designer and ad production Holly May PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:

SETS APPEAL Is this your dream job, or is it not in your genre?

Ever considered what type of filmmaker you are? Not which distinct cinematographic oeuvre you fit into – the Agnes Varda school of poetry and rhythmic storytelling or the humanist genre like Vittorio De Sica. It is said there are only two types – one who says they are going to make a film and one who actually does it. In professional filmmaking, there are certainly different types of operator. In the past few weeks, I have worked closely with current cliques of professionals who are all very different, at various points in their careers and technical abilities. Yet all have the mission of earning a crust while making great films for customers. It’s a huge generalisation, but from my ad-hoc research the first group is what I’ll call the New Media Savants. For them, it’s all about Insta fame, shooting vertical videos and smashing out fast edits with flashy transitions to the cool tunes Instagram lets you use for free. This ‘free’ mentality extends to using editing software on free trial for a month then re-registering with another email to get another month; they often run out of battery power and memory cards on shoots. Many are Generation Z – but not all. The second group is the Time-Served Tradesmen. Often they have well-established careers in image making, perhaps come from a stills background but chased the dollars into filming when clients asked for it. They possess decent kit, understand lighting and audio, have backup plans and spare gear on hand in case of kit failure. They are good with clients – which is why they are still doing what they do. Largely Generation X and late Millennials, they often look down on the New Media Savants. Then there are the Aspiring Aesthetes who dream of directing or being DOPs, selecting Cooke special flare lenses and Arri cameras solely for the unique look. They know the A-Z of great directors from Allen to Zemeckis and covet jobs on scripted dramas, even though they might actually earn from making adverts for dog food. Likely film school students of any age, they look down on Time-Served Tradesmen and New Media Savants. But this world of visual storytelling is a great mixing pot of age, experience and interest that all complement each other. The Aspiring Aesthete could bring their artistic vision to adverts. The New Media Savant can teach the Time-Served Tradesman all about the needs of modern clients and making do with what they have. While the Time-Served Tradesman is a master of professional practices, relationships and understanding a brief. That’s what makes filmmaking such a great industry: there’s a place for any creative with a vision, a camera and a plan.

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

MARCH/APRIL 2024 CONTENTS AGENDA 6 RADICAL RONIN GETS 8K TREATMENT The DJI Ronin 4D-8K receives an upgrade to 8K and faster frame rates, while its pocket-size sibling now features a much larger one-inch CMOS sensor than its predecessor, along with a two-inch rotatable touchscreen. 8 L-MOUNT LUMIX LENS IS MINI MACRO Panasonic’s new Lumix 100mm f/2.8 Macro is the world’s smallest and lightest medium-telephoto prime close-up lens. Plus, OWC’s new Thunderblade production drive is the fastest shuttle and edit RAID SSD on the market. 1O UPGRADE FOR RETRO-COOL OM-1 MARK II It’s farewell to the Olympus name as the new OM-1 mirrorless is finally branded as the OM System OM-1 Mark II. The new pro flagship has a stacked Micro Four Thirds sensor and some subtle video improvements. 11 NIKON TECH TAKES ON FAKE NEWS Nikon aims to combat misinformation by implementing a new image-provenance function in its cameras. It’s designed to protect the imaging industry from any Red continues to lead by releasing the first large format cinema cameras with a global shutter. The new V-Raptor X 8K VV and V-Raptor XL X 8K VV cameras can shoot up to 120fps in 8K, with extended highlight protection. 14 SMALL BUT PACKED WITH FEATURES SmallHD’s new flagship Ultra 7 is a durable and super- bright monitor in the Smart 7 Series and can be ordered with internal integration with Teradek’s Bolt 6 wireless platform – but at a cost. falsification or unauthorised use of images. 12 BIG REDS GET THE X FACTOR



PREVIEWS 16 GET READY FOR LONDON’S BSC BONANZA It’s time to make plans to visit Britain’s biggest trade show for cinematography and TV production, the BSC Expo held at Evolution London. There’s a huge list of seminars, workshops and networking events, plus all the latest equipment. 22 PHOTO & VIDEO SHOWTIME IN BIRMINGHAM For current or aspiring filmmakers looking to fine-tune your craft – or pick up some valuable tips to make your business more profitable – the Photography & Video Show is the place to be on 16-19 March. It’s chock-full of gear, as well as expert masterclasses sure to inspire.



Entries are flooding in as we seek the best creative talent in the world of commercial indie filmmaking. From branded content to commercials, music videos to YouTubers, the second annual Filmmaker of the Year Awards are on now. It’s easy to enter!



The ultimate magazine for next generation filmmakers


A deep dive into the latest audio kit launches, along with proven bestsellers to help you get kitted up. From mics to recorders, a bunch of wireless options, boom poles and more – it’s all here. 53 INDIE LENS INVESTIGATION Independent-brand, third-party lenses open up a whole world of high-quality primes and zooms to give your work a distinctive look. We check out what’s best and test a full set of Cooke’s new SP3 primes. 64 MINI TESTS: TOP NEW KIT RATED We try a twin-pack of Nanlite Pavotube II 30XRs on a shoot with exotic cars, then size up the smallest and lightest video tripod head ever. We also put the new Blackmagic Camera app through its paces. Using a teleprompter can take hours off your filming time and make editing so much faster and more natural. But, there is a wide gulf in prices from the cheapest to most expensive. We navigate the autocue minefield. 53 BUYERS’ GUIDE 68 WHICH TELEPROMPTER IS BEST?






8K upgrade for radical Ronin

representation. Delivering more than 14 stops of dynamic range, D-Log curve is said to align with Arri cinema camera colour and supports the ACES workflow. The camera preserves delicate and natural transitions in highlight areas, making it the ideal choice for colour grading flexibility. The Academy Color Encoding System (ACES) is a standard set by the Academy of Motion Picture Arts and Sciences to ensure colour accuracy across equipment. ACES is now certified for DJI’s Ronin 4D, Inspire 3 drone and the Zenmuse X7 camera. The Ronin 4D-8K combo includes the body, a Zenmuse X9-8K gimbal camera, a DJI DL PZ 17-28mm T3.0 ASPH lens, a 1TB SSD and mount, handgrips, top handle, a High-Bright Remote Monitor, battery, LiDAR Range Finder and Raw licence key. The Zenmuse X9-8K gimbal camera is also available separately for £2599/$3599.

allow autofocus on manual lenses and Automated Manual Focus (AMF) by using the innovative LiDAR focusing system. The camera also offers the new DJI Cinema Color Science (DCCS), claimed to deliver natural skin tones that are accurate and aesthetically pleasing, even in complex light conditions. The DCCS colour engine boasts a new algorithm, high-bit-depth colour and tone, and LUT processing modules for precise adjustments. The sensor is DJI’s own design and uses the Cinecore image-processing platform, developed by DJI to deliver high-quality digital intermediates for post-production. Cinecore supports up to 8K videos in codecs such as Apple ProRes Raw, ProRes 422 HQ, H.264 as well as – to match the Inspire 3 drone – CinemaDNG. The D-Gamut colour space is optimised for richer green colouring and skin tone

The DJI Ronin 4D-8K is a new version of the wild-looking Ronin 4D. It is an all-in-one system with an 8K full-frame sensor that shoots in Raw, takes manual focus lenses and turns them into AF versions, features a four-axis stabiliser and built-in image transmission. And at £11,038/$12,838 for the whole kit, it’s a lot of equipment for the money. The Ronin 4D-8K can shoot in 8K at 60fps in the 17:9 format and 4K in 120fps. If you choose 2.39:1 for Cinemascope, this increases to 8K in 75fps. It uses an 800/4000 dual-native ISO sensor with up to 14.7 stops of dynamic range. Nine-stop physical ND filters are built- in for precise exposure control without colour shifts associated with variable NDs. The lens mount is interchangeable between DJI’s own DL mount as well as Sony E, Arri PL and Leica L and M. These





WHAT’S DIFFERENT TO THE 6K MODEL? The original Ronin 4D had a 6K full-frame sensor, while the new model is 8K and offers frame rates up to 8K/75p in 2.39:1. The 6K model tops out at 6K/60p in 2.39:1 or 50p in 17:9. Both can manage 120p in 4K, but the 8K remains full-frame at this speed while the 6K model uses a Super 35 area of the sensor. Both offer the same H.274, ProRes Raw and ProRes 422 HQ codecs, except the 6K also has 4444 XQ and 422 LT for a more compressed option. The native ISO is 800/5000 while the 8K model has a 320/1600 default ISO. With dynamic range expansion, this changes to 800/4000 and provides 14.7 stops of dynamic range. The 6K model has 14.3 stops. The 8K camera comes with a Raw licence key for CinemaDNG, too, which is £899/$979 for the 6K. The newer camera also comes with a 1TB SSD and mount, £810/$1028 extra on the older version. The effective resolution of the new camera is 44.7 megapixels, while on the 6K, it’s 24.1. The 8K has the Flex body system, where the camera can be moved away from the main body by up to two metres using a cable. This is £829/$949 extra for the 6K version. The £5659/$6799 6K is now roughly half the price of the 8K, though doesn’t come with a lens. The 8K comes with the new X9-8K gimbal camera and 17- 28mm lens, costing £2599/$3599 and £1339/$1539 respectively. Owners of the 6K can upgrade their cameras with this.

POCKET ROCKET! The new DJI Osmo Pocket 3 is a pocket-sized gimbal camera that now features a much larger one-inch CMOS sensor than its predecessor, along with a two- inch rotatable touchscreen. It shoots in 4K/120fps with three-axis mechanical stabilisation and an array of intelligent features, making it perfect for fast use when you don’t have time to set up a full-size camera on a gimbal. The Osmo Pocket 3 offers 10-bit D-Log M and 10-bit HLG colour modes for HDR footage. Its OLED rotatable touchscreen is twice the size of the older model and the camera has fast focusing, thanks to a new phase detection AF system. Activetrack 6.0 offers multiple follow modes, including face auto-detect and dynamic framing. The built-in three-mic array reduces wind noise and captures omnidirectional stereo sound. And compatibility with the DJI Mic 2 allows for fast, two-person recording for interviews and live streams. It can be charged to 80% in just 16 minutes and, when fully charged, record up to 116 minutes of 4K/60fps footage, or up to 166 minutes in 1080p/24fps. Livestream in high definition or set the unit up as a webcam. A built-in timecode function streamlines post-production. Accessories include a Black Mist Filter, wide-angle lens which expands the field of view to 108° and a magnetic ND filter set. The camera costs £489/$519 with kits available from £619/$669.





CLEVER IPHONE MODULE FROM KONDOR BLUE Apple’s iPhone 15 Pro and Pro Max have opened up a new world for shooting high-res video thanks to USB-C ProRes recording, and Kondor Blue’s latest innovation makes them even more useful. These new £86/$99 Recording Modules were designed by Kondor Blue, in collaboration with memory specialist Angelbird, to allow video to be stored on CFexpress or SD cards instead of clogging up the phone’s memory. Recording Modules are compatible with Magsafe and can be directly connected to the iPhone 15 Pro and Pro Max or a Magsafe-compatible case. The SD Module requires cards that are at least 220MB/s or faster to fully support the iPhone resolution and frame rates. The magnet connection is strong and rubber pads provide additional friction to keep the module in place while avoiding any damage to the iPhone’s glass back. The module can also be mounted via 1/4in-20 on the back and has male/female Arri- style 3mm anti-twist options. The module isn’t limited to simply iPhones, as it can also be used with any camera capable of USB-C recording. Additionally, it doubles as the card reader when offloading footage. For rigging, Kondor Blue offers a Cold Shoe Arri Mount Adapter that makes for a solid and simple way to attach the module to a camera.

OWC’S SUPERFAST SSD STORAGE The new Thunderblade production drive is claimed to be the speediest shuttle and editing RAID SSD on the market. The OWC Thunderblade X8 takes performance to new heights with up to 2949MB/s real-world speed and up to 16% more capacity and efficiency in RAID 5. Designed for great portability with an Compact close-up glass for L-Mount Panasonic’s Lumix 100mm f/2.8 Macro is the world’s smallest and lightest medium-telephoto prime close-up lens. Costing £999/$998, this full-frame L-Mount optic weighs 298g/0.66lb and is 82mm/3.2in long with an external diameter of 73.6mm/2.9in. The latest Lumix has a new optical design of 13 elements in 11 groups, with three aspherical, as well as a rounded, nine-bladed aperture for smooth bokeh. An updated focus mechanism gives a speedy tracking performance with fast and precise autofocus. The minimum focusing distance is 20.4cm/8in and the front takes 67mm screw-in filters. A mode switch swaps between manual and auto focusing, and a focus range selector features three distinct settings. The lens is dust- and splash-resistant. In addition to shooting close-up, life-size images with its 100mm focal length, the lens has a fast f/2.8 aperture – ideal for flattering headshots. In a major benefit for video, it operates silently thanks to a newly developed Dual Phase linear motor. Focus breathing is suppressed and micro-step aperture control offers smooth exposure changes. Choose between linear or non-linear focus ring settings.

integrated cooling system, Thunderblade is at home either on-set, in the edit suite or transported between shoots in its ballistic hard-shell case. Before each Thunderblade is shipped, it undergoes a rigorous multi-hour ‘burn- in’ performance certification to ensure it arrives ready for use. Up to eight NVMe M.2 SSDs give up to 32TB storage, and there’s software to

create, monitor and manage advanced RAID sets. The Thunderbolt port allows daisy- chaining of five additional Thunderbolt devices or a USB-C device or display. It comes in 8TB, 16TB or 32TB capacities, starting at £1900/$1750.




Retro-style OM-1 comes into its own It’s a final farewell to the Olympus

animals and humans. Also improved is the auto white-balance algorithm for precise colour reproduction. The OM System OM-1 Mark II features up to 8.5 stops of five-axis in-body image stabilisation and has an IP53-class splash- and dust-proof design, built to operate down to -10°C. The camera has improved grip surfaces for vertical video support, with UVC/UAC connections to PCs for webcam use. Other video specs aren’t a huge improvement, unfortunately. The OM-1 Mark II shoots 10-bit H.265 internally, with OM-Log 400 gamma for maximum dynamic range. Although full video specs have yet to be revealed, it will match the OM-1 and can record in C4K at up to 60fps in 4:2:0 10-bit or 4:2:0 8-bit, or HD in 240fps in 4:2:0 8-bit. It can also output C4K in 12-bit Raw to an external recorder like an Atomos Ninja. Optional accessories include the HLD-10 Power Battery Holder and RM- WR1 Wireless Remote Control. The OM Workspace image-editing software and OM Capture software offer advanced features and camera control. The OM-1 Mark II costs £2200/ $2399 or £2700/ £3000 with a 12- 40mm f/2.8 kit lens.

name as the OM-1 mirrorless is finally branded as the OM System OM-1 Mark II. Back in 2022 when the OM-1 was the first launch from new owner OM Digital Solutions, it was announced that the pro flagship would be the final to carry the Olympus brand, but the new version still carries the iconic OM-1 model number. The new 4K camera has key upgrades from the Olympus OM-1, but uses the same 20-megapixel stacked BSI Live MOS sensor working with a Truepic X image processor. The stacked sensor gives blackout-free viewing ideal for sports and action. Enhanced memory enables a higher number of sequential stills at up to 120fps with AF disabled, or 50fps with AF tracking. The brand-new Micro Four Thirds camera is the first to offer a Live GND (graduated ND) function, which uses AI to replicate the effects of a graduated ND filter. This allows filter steps of ND2, 4 or 8, and with a soft, medium or hard edge to be applied in real time through the EVF or rear LCD. But it seems this may be for still photos only. The camera, like the older model, boasts built-in ND filters with up to six stops of adjustment. Subject detection AF is improved, as it’s developed from deep-learning technology that recognises cars, birds,

OM SYSTEM EXPANDS A super-telephoto zoom to give incredible reach is the perfect partner for the new OM System OM-1 Mark II. The Zuiko ED 150-600mm f/5.0-6.3 IS gives a 35mm equivalent of a 300- 1200mm lens, so is ideal for sports and wildlife. In combination with the optional 2x Teleconverter MC-20, it goes to 2400mm equivalent. Compatible with five-axis sync image stabilisation when used in conjunction with the OM-1 Mark II, the lens provides up to seven stops of improvement. Independently, it offers up to six stops. The £2400/$2700 optic also boasts IPX1 splash- and dust-proof performance – and has a fluorine coating to fend off the elements. This super-optic has customisable zoom-ring torque settings, allowing for adjustments between Smooth (S) and Tight (T) modes through the Zoom Torque/Lock switch. Using Lock (L) mode secures the lens at the wide-angle end, preventing the zoom from extending while carrying. Additionally, there are switches for focus limiter, focus mode, IS (image stabilisation) as well as a customisable lens function button. It has a closest focusing distance of 56cm at the wide-angle end and 280cm at the telephoto end. At the opposite end of the scale is the new 9-18mm f/4.0-5.6 II, with a 35mm equivalent of 18-36mm. It is the lightest and most compact option among three Zuiko ultra wide-angle zoom lenses, perfect for travel. But the variable maximum aperture may bother some. It costs £600/ £700.




Danish tech powers Canon controller

Canon’s new PTZ controller has been developed in collaboration with world-renowned Danish manufacturer Skaarhoj and is fully compatible with broadcast-level products from its range. Exclusively designed for Canon, the RC-SK5 works from entry-level broadcast to live events and integrates Canon XC protocol with a pro- quality joystick, zoom rocker and control dials. It can control a multicamera workflow with PTZ cameras and Canon camcorders via an IP network. An additional paid licence opens further features and enables integration of the RC-SK5 with devices from different manufacturers.


Nikon is aiming to combat fake news by implementing a new image-provenance function in its cameras. This is designed to protect the imaging industry from any falsification or unauthorised use of images, although it’s not clear whether this will work on video files. And it’s all thanks to the latest electronic watermarking technology. Nikon is developing a feature that generates images with embedded watermark data directly within the camera system. This means that – even if the standard C2PA metadata is deleted – information will remain with the original image. Following a deal with Agence France-Presse (AFP), the news agency will attach information such as sources and origin from the moment the image is captured, which cannot be changed or deleted.

GET YOUR HEAD IN SONY’S CLOUD Sony’s Ci Media Cloud has been revised to make it more suitable for small businesses, with a new desktop file-transfer app and improved Dolby Atmos audio file support. The cloud-based solution allows

users to capture, back up, review and run streamlined post-production workflows. Ci’s latest Business Plan is an addition to the Free, Pro and Team online plans, along with the custom Enterprise and Enterprise+ offerings. Aimed at independent creators or teams, this online subscription option is a step up from the introductory Team subscription. This costs $249 monthly for

1TB of active and 4TB of archive storage with 500GB of monthly data transfers. No UK price has been announced.

MO-SYS OFFERS FREE LENS DATA Mo-Sys is making its Lens File

camera is crucial. Traditionally, this required starting with a paid library lens file and painstakingly tweaking that to match the real- world lens. Now, we’re removing that barrier to entry.” Mo-Sys, an expert in virtual and remote production, is developing its Lens Tweaker tool to streamline lens matching.

Library free for virtual production users, who can tap into a growing pool of files. It’s hoped users will also upload their own files to create a massive, collaborative resource. “Accurate lens simulation is the cornerstone of VP,” said Mo-Sys CEO Michael Geissler. “Each lens has its own unique properties and replicating that within the virtual




Big Reds go global

RIGGED UP Red V-Raptor X models can be bought body only or part of a production kit

The cameras can capture 8K full sensor at up to 120fps (150fps at 2.4:1), 6K up to 160fps (200fps at 2.4:1) and 2K (2.4:1) at an incredible 600fps. As with the other cameras in Red’s ecosystem, these use the proprietary Redcode Raw codec, for 16-bit Raw recording that uses Red’s IPP2 workflow and colour management tools. “Ever since our sensor team cracked the code for a no-compromise global shutter sensor design in the original Komodo, customers have been pushing us to bring our global shutter technology to our large format sensors, and today we are happy to deliver,” said Red’s president, Jarred Land. “Creating a global shutter sensor while maintaining dynamic range is almost impossible. Then, on top of that is the addition of an optional Extended Highlights mode. This shows we are pushing image processing far past the limits that were once believed and exceeding 20 stops of dynamic range.” Red is offering upgrade programs for current V-Raptor and V-Raptor XL owners. It costs $12,500 for both V-Raptor 8K VV and V-Raptor XL 8K VV owners to make the move to the newest versions. No UK trade- up price has yet been announced.

US camera pioneer Red continues to push the boundaries of technology by releasing the first large format cinema cameras to use a global shutter. The new V-Raptor X 8K VV and V-Raptor XL X 8K VV cameras use Red Global Vision tech to shoot up to 120fps in 8K, with extended highlight protection for more dynamic range and improved phase detection autofocus. The cameras retain the dynamic range, low-light performance, resolution options, high frame rates and form factor of the V-Raptor predecessors, claims Red. This is despite global shutter sensors being known for reducing dynamic range. The £30,480/$29,995 V-Raptor X and £45,720/$44,995 V-Raptor XL X systems also offer increased exposure times and improved audio performance. Red says Extended Highlights mode allows the camera to retain colour and detail in extreme highlights like never before, providing even softer and more subtle highlight roll-off and an overall dynamic range of more than 20 stops. And Phantom Track dual capture streamlines any virtual production environment that employs Ghostframe or frame remapping, capturing distinct R3D clips per LED wall

view, while allowing monitoring of either view live on-set over each SDI. The V-Raptor X compact body is built with the same design and form factor as the original V-Raptor platform, but with newly engineered audio preamps and an optimised sensor cavity claimed to improve contrast. The V-Raptor X has two 12G SDI connectors, a locking Canon RF-fit lens mount and it records to CFexpress Type B media for up to 800Mbps formats such as 8K at 120fps. The V-Raptor XL X has been designed to support high-end TV and motion-picture productions, or any filmmakers requiring an all-in-one solution. This XL version features dual-voltage battery support that’s compatible with both 14v and 26v V-Lock or Gold Mount options. There is also a built-in electronic ND in 1/4-, 1/3- and full-stop increments. “Extended Highlights mode allows 20 stops of dynamic range”

PIMP YOUR RAPTOR Red has also announced a slate of new

accessories including the Red Compact EVF Pack and V-Raptor Advanced V-Lock Plus and Gold Mount Adapter Plus battery adapters. The Red Compact EVF Pack, which costs $4950 in comparison to the EVF on its own at $3450, is a single-cable monitor to fit all DSMC3 camera systems. This system features a 1080p micro-OLED display and user-assignable buttons to access tools such as peaking and magnify. Buttons are also assignable for

power and auxiliary outputs. This allows the camera to be powered by external sources and used as a power source for accessories. UK prices for these have not yet been revealed.

controlling camera settings such as ISO, frame rate and white-balance. The $1768 Advanced Adapter Plus will be sold with the V-Raptor Tactical Top Plate and has all-new features like a six-pin DC-IN port for continuous




SUPER-WIDE VIEW FOR UNDER A GRAND The latest Philips monitor has a massive 124cm/48.8in curved screen with 5120x1440 Double QHD resolution for extra-wide viewing on a single monitor. The £960 49B2U6900CH has a five-megapixel auto-framing webcam as well as noise-cancelling microphone and a Busylight which tells others whether you are available for conference calls.

Pressing the control key three times switches between sources without having to dig into menus when using two PCs. USB-C connectivity allows charging of external devices via USB PD up to 100W as well as transferring video or data. The curved Vesa Display HDR 400 screen has Low Blue Mode with flicker-free technology and a height-adjustable stand.

Time for Tiffen Tiffen has launched pro- quality lens filters for DJI’s

Osmo 3 gimbal camera. Each combines neutral density and polarisation in a single glass element to reduce shutter speed and minimise glare in bright and reflective conditions. The kit includes an ND8/PL with three-stop reduction, the four-stop- reducing ND16/PL and the ND/PL32 which cuts the light by five stops. They are made from 4K high-definition glass with a waterproof/anti-scratch coating and come in a case for £79/$79.

Roland’s flagship V-600UHD and V-160HD video switchers have had a free firmware upgrade with more input/output frame-rate options, user-button customisations as well as support for a PGM/AUX select function for the main output. Additional new features for the V-160HD include AUX bus extensions plus video monitoring and switching on the V-160HD Remote app for iPad. Loudness Auto Gain and Adaptive Noise Reduction PTZ control functions are now assignable via a USB numeric keypad. Major firmware updates for the VR-120HD and VR-6HD are also planned for release this year. FREE ROLAND GIFT

THE BEST OF SMALL TIME SmallHD’s new flagship Ultra 7 is a durable and super-bright monitor in the Smart 7 Series. It features a next- generation platform powered by the same technology that drives SmallHD’s 4K production monitors and integrates with Teradek’s Bolt 6 wireless platform. The Ultra 7’s colour-accurate touchscreen or joystick. Large, tactile buttons have customisable functions. This is SmallHD’s first IP-certified monitor at IP53, signifying liquid and dust protection. A sealed heat-management system allows operating temperatures from 0 to 40°C. Its machined chassis is strengthened by raised edges and silicone bumpers fend off impacts. The standard £2921/$2999 Ultra 7

be available in Bolt 6 LT 750 and 1500 models. Ultra 7 RX kits come with handles, a padded strap and Wooden Camera micro battery plate for Gold, V-Mount or B-Mount. An integrated Ethernet and 5-pin USB port enables camera-control options for Arri, Red and Sony Venice cameras.

touchscreen can display up to 2300 nits of brightness while 6G-SDI inputs allow ingest and passthrough of up to 4K/30p videos, for accurate detail up close. Dual 2-pin connectors enable output power for accessories, while the software can be controlled through

can be purchased with a fully integrated Teradek Bolt 6 transmitter or receiver inside from £4497/$4499. The integrated wireless monitors feature a new, rugged antenna cap to reduce damage and will




Battersea Park sets the stage for the BSC Expo, heralding the start of the UK’s 2024 filmmaking showcase season DESTINATION LONDON

T he sentiment ‘tired of London, tired of life’ penned by Samuel Johnson (sort of) nearly 250 years ago still rings true today. For filmmakers, the allure of Britain’s flagship show for cinematography and TV production, the BSC Expo, remains irresistible. Hosted at Evolution London, a purpose-built event venue nestled in Battersea Park along the banks of the River Thames, this event promises an enriching experience for students, newcomers and seasoned industry professionals alike. Scheduled for 16-17 February, the expo offers attendees the opportunity to learn from cinematographers and broadcast executives through a diverse array of seminars, workshops and networking events. But for many, the main attraction lies in exploring the latest equipment and getting hands-on with it. From cameras and lenses to lighting, rigs, software and everything else needed for your next blockbuster, the best of the best is on show at the BSC Expo. Register for your free ticket at Let’s look at some top exhibitors at the show.

Aputure is a fast-growing lighting company making impressive LED fixtures at affordable prices. Its sister brand Amaran offers more reasonably priced versions of many of its popular COB fixtures. Look out for the LS 1200d Pro and Nova P600c LED lights, as well as the powerful Electro Storm series. The brand also owns Deity audio kit, which will be on show; keep your eyes peeled for the Theos wireless system. APUTURE Stand 117

ARRI Stand 323

Arri is showcasing its latest camera and lighting products. Taking centre stage this year is the new Skypanel X LED solution – it’s an all-weather, modular system configurable to different sizes and offers native soft and hard light technology. Don’t miss Arri’s 4K Super 35 camera, the Alexa 35. Delivering 2.5 stops more dynamic range, better low-light performance and richer colours with its new colour science, the camera is an ideal match for Signature Prime and Signature Zoom lenses.

BEBOB Stand 124

German battery giant Bebob will be showing its B-Mount units, which have been a sales smash thanks to reliable technology and lasting power. They are well-built and come at a great price. The latest range of B-Mount cells and chargers will be on display at the BSC Expo. Sony Venice 2 users should check out the Coco- Venice. There will also be adapters for lighting and options to power B-Mount equipment via traditional V-Mount or Gold Mount batteries.




Blackmagic will have its latest kit on show, including the Ursa Mini Pro 12K OLPF cinema camera, offering incredibly sharp images without moiré which are Netflix- approved. The full-frame Cinema Camera 6K, plus many broadcast display. Try out the latest version of DaVinci Resolve, with the basic version being for all users. Or, try the more powerful Studio version. units and switchers from the ATEM range, will also be on

Join Canon on Stand 341 to discover professional imaging technologies for future-proofing film and TV production workflows. The team will be showcasing how Canon’s Flex Zoom cine lenses and Cinema EOS range work together to deliver exceptional image quality and versatility for virtual production. Cinema cameras, mirrorless and PTZ units will all be on display. Take a look at the EOS R5 C mirrorless camera made for filmmaking, as well as the C70 Super 35 hybrid cinema camera that uses RF mount glass. CANON Stand 341

CVP will once again take over the Mezzanine level of the BSC Expo, bringing a full show of the newest production solutions, supported by the expert impartial advice of its technical consultants, product specialists and engineers. Visitors can explore an interactive virtual production stage designed to demonstrate the latest technology and creative solutions which appeal to a range of applications, budgets and specifications. The popular Lens Bar is back with a more extensive collection of new and vintage glass. Mezzanine Floor: M007 CVP

Stand 110 CORE SWX

Stand 435 DZOFILM

Core SWX provides reliable and innovative battery and charging solutions to professionals in the broadcast, digital cinema and professional video industries. Tune in for the Apex 360 LV, delivering an on-board battery solution to increase runtimes for high-powered LED lighting. The Apex packs offer a 367Wh lithium-ion V-Mount solution outputting up to 24A continuously. Apex is offered in a 14.8v pack suitable for most lights, plus a higher voltage 29.6v variant.

For quality lenses that transform the look of your next big project, make sure you get to the DZOFilm stand for the Catta, Vespid and Pictor primes and zooms, as well as the Pavo anamorphic 2x options. The brand is focused on designing professional, easy-to-use cine optics for filmmakers. The control rings are perfectly damped and boast a wonderful tactile feel when either focusing or zooming.





Hawk-Woods will flex its range of products, including batteries, chargers and power adapters – all essential for the production of television, film and digital media. Offering dependable power sources in the most demanding environments, advanced battery technologies like lithium- ion keep the wheels of the film industry turning. Look out for V-Lock batteries for the Arri Alexa 35, with multiple outputs and all the safety features, straight 26v with 20A output and drop resistance. It will also display its flagship floor battery, MXB-880, with dual voltage, multiple XLR outputs and only weighing 7.2kg. HAWK-WOODS Stand 413 Global Distribution can talk you through acquisition, storage, workflow and archive solutions every project needs. 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. Check out the latest range of Lacie hard drive and SSD solutions – fast and reliable for use in the edit suite or on- set, as well as Seagate drives and Angelbird memory cards.

Stand 121 FUJIFILM

Fujifilm will be showing off its premium range of Fujinon lenses alongside the newest mirrorless digital cameras. For the first time in the UK, the HZK24-300mm PL mount zoom lens will be on hand. Also on the stand, find the full range of Premista series lenses. The industry-leading GFX100 II mirrorless will also be at the show, with its 102-million pixels. Also find the latest fifth-generation X Series camera, the X-H2S, with its open gate 6.2K shooting and ultra-low rolling shutter.

IDX/LIBEC Stand 358

GODOX Stand M001

IDX will be presenting its IPL Powerlink batteries and charging solutions with its unique D-Tap advanced, X-Tap socket and stacked charging. With batteries to suit everything from small cameras to large cinema cams, TV cameras and lights, IDX has a range of options. Libec will also showcase the HS-150MC tripod, the ideal solution to perfectly balance your mirrorless camera. Equipped with a continuous counterbalance range of 0.8 to 2kg and carbon-fibre legs, this is a rigid, lightweight, high-performance tripod weighing under 5kg.

Godox’s Knowled series stands as a testament to its commitment of elevating the standards of production. With lighting playing such a pivotal role in shaping narratives and evoking emotions, the Knowled cinematic lighting ecosystem has all the tools filmmakers need. From powerful COBs to panel tube lights and even hybrid fixtures that work for stills as well as movies, Godox has a huge range to discover. Holdan will highlight its complete range of kit from Samyang, Xeen, Studio Network Solutions, Kondor Blue and Orca to name just a few. But the star of the stand will be Atomos on-camera and cloud monitor/recorders and production monitors. The brand will focus on its Connect range of devices and the Adobe C2C workflow. The range of network-enabled monitor/recorder devices includes Zato Connect, Atomos Connect for Ninja V and Ninja V+ and Shogun Connect. HOLDAN Stand 127



IRIX Stand 440


Nanlux and Nanlite are owned by Nanguang, a fast-growing company with an ever-expanding range of LED lighting solutions that offer professional quality at great prices. Its Nanlite range includes powerful COB LEDs in various sizes plus tube lights, bulb LEDs and LED panels. Don’t miss the powerful Nanlux Evoke 900C and, from the Nanlite range, the Forza 720B, full-colour Forza 60C as well as a selection of lighting modifiers such as softboxes and projector units.

For great quality and incredible value, the Irix range of cine lenses are available with Canon RF, Canon EF, Sony E, Nikon Z, Leica L, Fujifilm X, Arri P, and Micro Four Thirds mounts. They offer round-aperture blades for smooth bokeh and speedy apertures for shallow depth-of-field. All Irix lenses have similar dimensions and weight, allowing easy lens swaps without changing the rest of your set-up. The products are built with a magnetic mounting system, which lets you to connect accessories such as magnetic filters.


Stand 22

Showgoers will want to see the latest generation of cinema cameras setting new standards in performance with uncompromised quality, versatility and efficiency in any environment from Red. Discover the seamless and efficient workflow of Redcode Raw, which has been designed to optimise the post- production process, enhance productivity and maximise creativity in content creation. Check out the exciting Komodo and V-Raptor ranges, including the new X model and all DSMC3 cameras.

Stand 111 SIGMA

Sigma is one of the world’s leading manufacturers of high- performance photo and video equipment, with over 50 stills lenses and 25 cine lenses in a range of mounts, as well as two full-frame cameras. On the stand this year at the BSC Expo is a selection of cine and stills lenses to try out in a range of mounts, in addition to the fp series of cameras, mount converters and many other accessories available. Catch the Classic Primes for a vintage look and feel, too.


Stand 138

Rosco has been a leader in products for the film, television and broadcast industries since 1910. The range now includes innovative LED lighting fixtures and backdrops, plus virtual production tech using an LED wall. Also on show will be the DMG Lion LED fresnel. This powerful, 13in device utilises cutting-edge technology to replicate the look and feel of a classic tungsten fresnel, but with the versatility LED technology provides. DMG Dash pocket LEDs and the LED kit, which contains eight fully accessorised fixtures, will also be present.

Get up close to Rotolight’s new Anova Pro 3; the all-weather 1x1 production LED light. It boasts a custom-designed LED optic system and a whole range of industry-first features. These include an IP65 rating, native battery power and a patented Magic Eye optical light sensor built into the front face of the light, allowing you to measure and match to any Kelvin or HSI colour – eliminating the need for a light meter and enabling filmmakers to easily balance lights on-set. Stand 118 ROTOLIGHT





Stand 105 VIDENDUM

Videndum is the parent company offering brands like Manfrotto, Sachtler, Litepanels, Autocue, Anton/Bauer, OConnor, Quasar Science and many more. Keep an eye out for Litepanels’ latest innovations. The popular Astra series includes daylight, tungsten, bicolour, soft and bifocus – delivering high-quality white light in lightweight, tough and dependable fixtures. Plus, the powerful Gemini series produces high-output, cinematic lighting with more creative options than ever. Don’t miss the popular Sachtler range of tripods and fluid heads that offer fast, stable and seamless movement.

SONY Stand 247

Visitors to the Sony stand can talk to its experts all about filming on-set, image capture, audio and post-production, with looks at the Burano full-frame cinema camera and Crystal virtual production LED screen. Also explore the full Cinema Line range along with the BVM-HX3110, a premium professional reference monitor with a Sony-designed dual layer anti-reflection LCD. Sony will also be previewing the Venice 2 firmware update and cameras, including the FR7 full-frame PTZ camera plus the FX6, FX3 and FX30.


Vocas Products will be displaying its universal camera accessories and specialised extras for specific models. Look out for the latest for the Sony Burano as well as a complete line-up of kits for the Sony FX6, FX9, Venice 2, Red V-Raptor, V-Raptor X and more. The rigs are well-built, fit perfectly and give a big boost to camera handling. They are designed and built in Europe and always come with great quality and a precise fit.

Stand 319 ZEISS

Zeiss will display its range of high-end cine lenses, from the CP.3 cinematography lenses to the Supreme Prime Radiance family, famous for its stunning blue flare capability. Don’t miss the wide-angle 15mm T1.8 lens, which completes the 14-lens Supreme Prime set. Attendees will be able to get hands-on with the CZ.2 full-frame Cinema Zooms as well as the CP.3 cinematography lenses. Whether you’re shooting a commercial where exquisite colour rendition and high contrast are key, or a dramatic scene in low-light situations for a feature film, Zeiss has a solution.





Get up close and personal with the latest video equipment and learn from industry giants in the Photography & Video Show at the NEC

T he Photography & Video Show is the largest event of its kind in the UK and Europe, aimed at photographers, videographers and content creators. It is so much more than a trade show packed with the latest equipment, as there are 350 seminars, how-to demonstrations and business advice workshops for professionals. If you are a current or aspiring filmmaker who wants to fine-tune your craft, pick up some valuable tips to make your business more profitable or be inspired to do your best work, the Photography & Video Show is the place to be on 16-19 March at Birmingham’s NEC exhibition centre. With fantastic transport links to Birmingham Airport next door, it’s an event that’s not to be missed, and tickets are on sale now. Pro photographers, filmmakers, content creators and image-making industry representatives can apply for free entry. The event brings together more than 250 brands on the exhibition floor,

including global names such as Canon, Nikon, Sony, Fujifilm, Panasonic Lumix and OM System. Video experts like Rode, Sennheiser, Amaran, Hollyland, Nanlite, Rycote, Saramonic, Zhiyun and Zoom are also there. Many exhibitors will offer exclusive show promotions and offers, the chance to get hands-on with the newest tech and quiz the experts with great deals on equipment from a range of retailers. This year, access to stage and theatre programmes in the exhibition hall is free to all showgoers, who can check out a great line-up of speakers. The show’s six stages feature well-respected image makers and industry professionals from across the world, inspiring the audience with stories, live demos and tutorials. The Masterclass series will offer more in-depth insight for those looking to turn pro or who already work in the industry, plus workshop sessions with headline speakers. These cost extra though. An international line-up of speakers includes Donatella Nicolini, a renowned

Italian celebrity photographer, speaker and educator who was recognised as one of the ‘100 Successful Women of 2023’ by Forbes Italia . UK-based image maker, filmmaker, author and speaker Sean Tucker has told visual stories for individuals, NGOs and multinational corporations across over 20 countries. He has extensive experience as a solo filmmaker and photographer, creating impactful projects with meaningful messages. Sean shares his philosophy for the creative life, which he details in his book The Meaning in the Making . Though the show has plenty of stills exhibitors and speakers, there’s plenty for filmmakers to see and do with equipment and lots of inspiring presenters. Find beginner masterclasses in video, with talks from filmmaker Jenny Alice on choosing the right kit, DOP Rick Bronks on capturing great audio, and Ian Sayers sharing his step-by-step guide to video editing plus a class on visual storytelling. Turning pro masterclasses give tips for transitioning into moviemaking. The Pro Lounge Live is a place where small group discussions will coax out

FEELING BLUE? Get ready to be inspired, as many of the live demonstrations get super creative



“The Pro Lounge Live is a place where small group discussions will coax out advice about the world of professional filmmaking”

For the latest about video and film production – from the art of storytelling to choosing and using the right kit, capturing the essential audio and video editing – head to the In Motion Studio. Speakers include Jim Marks, who made the change from high-end stills photographer to in- demand DOP on both ads and feature films. At 11.30am on 17 March, he’ll be talking about hybrid filmmaking – making the switch to movies. At 3pm on 16 March, Pro Moviemaker editor in chief Adam Duckworth will be presenting a session called Demystifying Video Technology. This presentation is about understanding the tech settings such as codecs, shooting in Log, high-speed frame rates, Raw files and more. This session aims to take the technobabble out of shooting video – or, at least, make it more simple to understand. MASTERING MOTION

fundamental advice about the world of pro filmmaking. Working professionals can get access to the Pro Lounge for a sit down, a drink and to relax, network or meet colleagues. The Creator stage features filmmaker Harrison Emmanuel, content creator Jimmy Cheng, YouTuber Evan Edinger and many more, discussing everything from vlogging to building a business on YouTube. Finally, James Hoffmann, who runs one of the world’s biggest YouTube channels about coffee, will be talking about how he built his empire. GOING LIVE It’s stills and video kit galore – and many trade stands even put on practical sessions



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