Welcome to the new issue of Pro Moviemaker magazine The new issue of Pro Moviemaker magazine is a very special one as we take a look at what filmmakers really can do to become a little bit more sustainable, reduce the impact of the industry on the environment and cut costs, too. The big expenditure most should really evaluate is buying the latest new equipment as it can be a fast-depreciating liability that’s not used for many hours per week. We take a look at whether buying a used, older-generation camera or renting the latest wonder-cam or lens should be your go-to strategy for kit, and reveal the best gear to consider. It’s time to go green and keep it lean! Plus new cameras from Leica and Blackmagic, glass from Zeiss, Laowa, Sigma and Tokina plus tripods, teleprompters drones and lots more.
WILL YOU BE OUR FILMMAKER OF THE YEAR? The world’s number one contest for commercial creators hots up
MARCH/APRIL 2025
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OPTICAL MATTERS
Zeiss cine zooms, Canon RF-fit Sigma primes, Tokina’s vintage style, Laowa’s tilt-shift macro and more SMART OF GLASS
RAW RECRUIT
The German brand’s first serious camera for moviemaking LEICA VIRGIN
HOW TO SPEND WISELY WITH INNOVATIVE CHOICES IN THE NEW AGE OF SUSTAINABLE FILMMAKING GREEN SCENE Rode’s Wireless Go kit, the DJI Neo selfie drone and a high-end Profoto LED light are all under the microscope TRIED & TESTED HANDS-ON
Our round-up of the latest teleprompters RIGHT ON CUE BUYERS’ GUIDE
SPOTLIGHT!
HIGH LIFE
Serious video-friendly sticks to suit all needs and budgets TRIPOD SHOWCASE
The latest UAVs revealed and put to the test DRONE FEST!
GEAR HEAD Everyone loves a huge slew of the latest kit, but working leaner has its benefits
The ultimate magazine for next generation filmmakers
Editor in chief Adam Duckworth Chief sub editor Matthew Winney Sub editors Jim Blackstock, Zanna Buckland & Minhaj Zia Editorial director Roger Payne EDITORIAL ADVERTISING Sales director Sam Scott-Smith +44 (0)1223 499457 samscott-smith@bright.uk.com Sales manager Gabrielle Pitts +44 (0)1223 492244 gabriellepitts@bright.uk.com DESIGN Design director Andy Jennings Magazine design manager Lucy Woolcomb Senior designer Carl Golsby Junior designer Hedzlynn Kamaruzzaman Junior designer and ad production Holly May PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:
You don’t need to be an environmental activist like Greta Thunberg to do your bit for saving the planet. Even if you’re tired of hearing about climate change and sustainability, cutting waste simply makes sense for everybody: it saves you money and helps others. In this issue, we’re looking at what independent filmmakers and production companies can do to become a little bit greener. But don’t worry – we’re not here to lecture you about the irony of buying fresh avocados for lunch flown from the other side of the world on a gas-guzzling jet, or the environmental cost of mining lithium for electric car batteries charged by fossil fuel-powered power stations. Instead, we’re sticking to work-related solutions. Most owner-operators already run lean operations out of necessity, especially compared to Hollywood blockbusters with massive crews and endless kit jetting around the world. Most of us are already forced to run tight businesses with low expenses and minimal travel. Zoom or Teams video conferences have become the norm when talking to clients or crew. However, one major filmmaking expenditure is equipment. While fresh cameras, lenses or lights might help you tap into new markets, if this is just for an incremental upgrade, it’s worth considering whether dropping cash on new kit is the best thing to do. After all, the equipment will not be an asset, but a depreciating liability that needs insuring and maintaining – even though it might not be used for many hours per week. If you can get away with older-generation kit or find a used version of a current camera, you’ll be saving yourself some money. If you really do have a genuine need for the latest wonder cam or lens, investigate renting it as a first option. That way, it’ll be fresh, fully charged and ready to go. Either way, getting rid of your old equipment and cascading it down to the next generation of creatives not only frees up cash, but helps the talent of the future. What’s clear is that there is no magic-bullet solution which suits everyone. So we’re taking a look at the best options for you, what and where to buy used, as well as what would make an ideal rental choice right now.
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.
ADAM DUCKWORTH, EDITOR IN CHIEF
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The ultimate magazine for next generation filmmakers
MARCH/APRIL 2025 CONTENTS
AGENDA 6 MATRICE DRONE DUO LIFT OFF
DJI’s latest flagship all-in-one drones elevate the game for high-resolution work. There’s also a brilliant vlogging drone and a solution for FPV pilots to access DJI’s latest camera and transmission tech. 8 ZEISS ZOOMS IN WITH A VINTAGE LOOK Users of the Supreme Radiance range of primes can now choose from three zoom lenses offering the same distinctive Zeiss look. Meanwhile, Sigma launches new optics for crop-sensor Canon mirrorless cameras. 1O JUST LEICA LUMIX? Legendary German camera maker Leica reveals its first full-frame mirrorless with serious filmmaking cred – the chunky SL3-S. It’s based on Panasonic’s S5 II, but has its own solid build and improved viewfinder. 12 LARGER COVERAGE FOR TOKINA GLASS Japanese lens maker Tokina reveals even more prime lenses in its high-end Vista-P series, offering an old- school, swirly bokeh at the image edges but bite-sharp The fast-growing Chinese brand shows off its unique new tilt-shift macro glass, a range of four anamorphic primes and even a new probe zoom lens that’s on the way – all with affordable price tags. 16 CANON’S APP FOR PERFECT HUES A revolutionary app simplifies colour-matching across camera brands, exclusively for Canon’s PTZ flagship. Meanwhile, Nanlite unfurls the curtains on parabolic softboxes, while DPA introduces fast connection solutions. centre. Plus, Lexar drops lots of fast memory. 14 WHAT A LAOWA, LAOWA LENSES!
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18 PANASONIC’S FOUR-SOME CAMCORDERS A set of four 4K camcorders to suit all budgets and users is revealed by Panasonic, along with an upgraded flagship PTZ camera for fully remote workflows. Plus, Blackmagic’s more affordable 12K cinema camera and
a new remote controller for PTZ cameras from Birddog. 22 THE COOLEST SHOW COMES TO TOWN
If you’re a fan of high-end cinematography and want to check out the latest kit and rub shoulders with the greats of the industry, head to Battersea Park for the annual BSC Expo. We go over the programme and point out the kit not to be missed. 26 DOCKLAND MOVE FOR CONSUMER SHOW The Photography & Video Show moves from its Birmingham home to the east end of London at the Excel centre for 2025, where there is a packed list of speakers, seminars and how-tos, as well as loads of equipment to see. The CreatorCon is perfect for aspiring YouTubers. AWARDS 30 MPB FILMMAKER OF THE YEAR 2025 HOTS UP The entries are flooding in for the world’s only contest purely aimed at commercial filmmakers. We look at the categories and focus on some of the entrants making this year’s competition one of the best. There’s still time for you to enter!
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The ultimate magazine for next generation filmmakers
GEAR 45 PLANET-FRIENDLY PRODUCTION
The filmmaking industry is taking the move to a more sustainable future more seriously than ever. We observe how indie production companies can do their bit and check out some of the best ways to get your hands on kit. 58 MINI TESTS: TOP KIT TRIED AND RATED We try the DJI Neo drone – more than just a toy, it’s a speedy and user-friendly UAV that will add to your films. The first LED from Profoto gets a workout, along with Rode’s latest Wireless Go and two Calibrite products. 66 TRIPODS UNDER THE SPOTLIGHT The old three-legged friend is a mainstay of filmmaking, but not all are created equal. With a huge range of prices and specs, we highlight the best tripods you should consider investing in.
BUYERS’ GUIDE 70 RIGHT ON CUE!
Every serious filmmaker will need a way of helping a presenter get their words out right at some point in their career. We put the spotlight on a range of teleprompter products for when it’s time for heads to talk.
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EYES IN THE SKIES The new flagship DJI all-in-one drones are the Matrice 4T and 4E, fully equipped with lots of sensors and multiple cameras
DJI’s new flagship UAVs use AI technology to fly safer Matrice drones elevate the game
T he Matrice 4 series is the new compact flagship of DJI’s enterprise drone series. The new Matrice 4T and Matrice 4E are intelligent, multi-sensor UAVs (unmanned aerial vehicles) with advanced smart detection and laser rangefinder measurement. A new AI platform and improved positioning sensors mean the Matrice series will be safer and more reliable than ever, DJI claims. Both drones are largely designed for emergency response teams or safety inspections, and feature three cameras. Both the £5910/$7299 4T model and £3940/$4799 Matrice 4E have a 70mm f/2.8 lens illuminating a 48-megapixel, 1/1.3-inch CMOS sensor plus a 168mm f/2.8 telephoto allied to a 48-megapixel, 1/1.5-inch CMOS sensor to get in close to the action. In addition, both models have a 24mm wide lens, the 4T model using a
definition, low-light fisheye lenses to allow for automatic obstacle avoidance, intelligent rerouting and safe return in urban low-light environments. In case of fog, haze or high humidity, the Electronic Dehaze function improves imaging clarity. The range of new accessories includes the AL1 Spotlight, to illuminate subjects up to 100 metres away. The AS1 Speaker delivers powerful audio up to 300 metres and reaching 114 decibels at one metre. The Multifunctional Station is a base station that offers improved positioning accuracy and extends image transmission. For fast take-offs and return-to-home functionality, there’s vision-assist in five directions, plus downwards, so the drone can fly without a GNSS signal.
faster f/1.7 version with a 48-megapixel, 1/1.3-inch CMOS sensor. The 4E version has a slower, f/2.8 lens and 20-megapixel, 4/3 CMOS sensor with a mechanical shutter. This allows high-speed aerial surveying from multiple angles as the drone supports rapid 0.5-second interval shooting and mapping of flight speeds up to 21 metres per second. With Smart 3D Capture, precise mapping routes can be generated on the remote controller. It can also display virtual space routes and waypoint photos. Both drones also have infrared thermal cameras that support high-res mode up to 1280x1024 pixels, while an auxiliary light can illuminate objects 100 metres away. Their laser rangefinders can measure distances of up to 1800 metres. A key upgrade to the Matrice 4 series is in night mode, thanks to their larger- aperture lenses and intelligent low-light capabilities. They also have six high-
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DJI TECH COMES TO THIRD-PARTY FPV AIRCRAFT
and lightest 4K digital-video transmission solution available for FPV drone users. It offers a maximum transmission distance of 10km with 20ms latency. The Pro version’s dual-antenna design improves the transmission distance to 15km, with latency of 15ms. It also automatically selects the most stable frequency to ensure there is no signal drop. The O4 Air Unit Series uses H.265 encoding, supporting transmission at 1080p/200fps regardless of flight speed or environment. Rock Steady stabilisation allows smooth
If you want to bring DJI’s transmission, camera and control know-how to boost your own FPV drone, the new O4 Air Unit lets you do just that. It’s a lightweight digital video transmitter with impressive range, ultra-low latency and crisp video from its camera’s 1/2-inch image sensor. Although the transmission tops out at 4K/60p, the sensor is capable of recording 4K in 120fps. It also supports 10-bit D-Log M colour mode for wide dynamic range, and a 155° ultra-wide field of view. The O4 Air Unit is the smallest
video and it is compatible with Gyroflow software for offline post-stabilisation. Both models support Canvas Mode and Betaflight OSD to customise real-time data and layout on the goggles’ screen, enhancing flight control. The unit is compatible with DJI Avata 2’s ND Filters Set, and there is a micro SD card slot which offers expanded storage. The O4 Air Unit Series is compatible with DJI’s Goggles 2, 3, N3 and Integra, and FPV Remote Controller 2 and 3. The standard unit is £99/$109; the Pro version is £209/$229.
“The O4 Air Unit Pro’s dual- antenna design improves the transmission distance to 15km offering latency of 15ms”
FLIPPING WONDERFUL! The new DJI Flip is the Chinese brand’s HDR video is recorded in 4K/60p while super slow-motion can be
first drone to feature foldable, full- coverage propeller guards for safety. It’s a new series of all-in-one vlog camera drones which weigh just under 249g, so don’t require certification to fly. It’s equipped with a 49-megapixel, 1/1.3-inch CMOS sensor that captures 4K video and stills, and combines the flying ease of the cheaper Neo with the camera quality of the advanced Mini. The palm-sized unit doesn’t need a separate controller. The Mode button offers a choice of six different intelligent shooting modes; Dronie, Circle, Rocket, Spotlight, Helix and Boomerang, while AI subject tracking keeps subjects in the frame. The camera features dual native ISO, a fast f/1.7 aperture lens and up to 4x zoom. DJI’s next-gen Smart Photo technology combines HDR imaging and scene recognition for automatic image enhancement.
recorded at 4K/100fps in 10-bit D-Log M colour mode. The 4:3 aspect ratio sensor provides enough space for vertical crops while maintaining a 2.7K resolution; ideal for social media. There are four hyper-lapse options to capture time-lapse footage at up to 4K horizontally or 2.7K vertically. Panorama mode supports 180°, wide angle, vertical and sphere panoramic photos with different Focus Track options for moving subjects. The Flip offers up to 31 minutes of flight time, while 3D infrared sensing supports automatic braking to avoid crashes, even at night. The £369/$439 Flip kit comes with the RC-N3 controller, but the RC2 remote, the DJI Fly app or voice control can also be used. The O4 video transmission supports up to 13km of 1080p/60fps video transmission.
FOLD-OUT FUN The DJI Flip is a selfie drone that looks like no other when folded, but packs a 4K camera on board
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WIDE SIGMA DUO FOR CANON RF The first of Sigma’s compact f/1.4 Contemporary primes to fit Canon RF mount are on sale now. The 16mm costs £389/$489 while the 23mm is £479/$599. They will soon be joined by the 30mm at £319/$369 and the 56mm at £419/$529. The 405g 16mm lens uses 16 elements in 13 groups, including three FLD, two SLD and two aspherical elements. It has a 25cm/9.8in minimum focus and a nine- bladed aperture. The 345g 23mm lens differs with 13 elements in ten groups, three SLD and two aspherical elements. Both share a 25cm minimum focus and nine-bladed aperture, though. The 23mm features a 52mm filter thread, while the 16mm uses a 67mm. Available in Leica L, Sony E, Fujifilm X, Nikon Z, Canon EF-M and Micro Four Thirds fits, the lenses are only for crop- sensor cameras. If used on full-frame, the camera must be set to APS-C mode. The Contemporary series blends good optical performance with a fast maximum aperture and lightweight design. Although they may look like manual focus optics, they offer AF, with the new versions featuring AF drive and communication speed developed specifically for Canon RF. sigma-global.com
Zoom in on Zeiss Radiance Users of the Zeiss Supreme Prime Radiance range who need zoom lenses to match can now call on the Supreme Zoom Radiance set, which includes three high-end cine zooms in 15-30mm, 28-80mm and 70-200mm. Featuring the same blue lens coating as the primes, these lenses deliver a similar look, with consistent flares and a warmer colour rendition. The Supreme Radiance zooms and primes add texture and atmosphere to a scene by controlling artistic flares in a reproducible way when focused light is aimed down the lens barrel. While zooming, the shape of the Radiance flares uniquely changes in shot, providing even more creative options. These lenses offer gentle sharpness, combined with an aesthetic focus fall- off, a very shallow depth-of-field and smooth bokeh. The look has a warmer colour rendition compared to standard coated lenses. The Supreme Zoom Radiances feature consistent positions for the iris, focus and zoom rings, along with a front diameter of 114mm for easy changes between Supreme Prime and Zoom lenses. Compact in design, the zoom lenses weigh just 3.18kg/7.01lb. Equipped with Zeiss eXtended Data technology, the lenses provide data on lens vignetting and distortion, in addition to standard metadata via the Cooke /i technology protocol. This speeds up workflows, particularly for VFX and virtual production. Prices are yet to be announced. zeiss.com
TIME FOR TIFFEN! Tiffen’s new Fusion range combines diffusion, variable ND and circular polariser in one filter. The range includes the well-known Black Pro Mist and Glimmerglass softening effects with a VND or circular polariser. This eliminates filter stacking, which can cause vignetting. According to Tiffen, the Fusion range offers deeper, more vibrant colours.
The filters come in two densities and multiple sizes. The Black Pro-Mist + VND (1/4 or 1 densities) and Glimmerglass + VND (1/2 or 2) are available in 58mm, 67mm, 77mm and 82mm. The Black Pro-Mist + CPL (1/4 or 1) and Glimmerglass + CPL (1/2 or 2) come in these sizes, plus 49mm, 52mm, 55mm and 62mm. tiffen.com
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AGENDA NEWS
Just Leica Lumix? The rugged SL3-S mirrorless shares a lot of technology with Panasonic’s S5 II X
I f you come from a filmmaking background, then the cameras you are most likely to lust after are Arri or Red. But for stills photographers, Leica has always been the dream purchase, with incredible build quality and price. The company also makes some supreme cinema glass, such as the Elsie series. Its M-System rangefinder manual focus cameras do not offer video and are very much old-school Leica in design and high prices. However, the German-made brand does have a full-frame mirrorless range designed in conjunction with Panasonic and boasts lots of high-end video spec. The latest Leica is the SL3-S, which uses L-Mount glass and is the fastest ever in the SL series in terms of autofocus, Wi-Fi connectivity and stills frame rates. And at £4500/$5295, it’s reasonably priced when you consider its spec and build quality. It’s actually cheaper than the current Leica SL3 model, which has a 60-megapixel sensor and can record in 8K. The new camera is a result of the L2 Technology partnership announced in 2022, through which Leica and Panasonic are jointly developing new technologies. It’s very clear that the SL3-S uses the 24-megapixel BSI CMOS full-frame sensor from the Panasonic S5 II X model, including its phase detection autofocus. In terms of video, both offer 6K open gate at up to 30p or 4K/60p if you use an APS-C crop.
Open gate uses the whole sensor to give flexibility in post in terms of crops, so that both vertical and horizontal edits can be made from the same clip. It’s also a good format for adding image stabilisation, as this uses a slight crop. Other options include 5.8K ProRes 422 HQ or 4K/60p without time limits, recorded to a CFexpress card. There’s a second slot for an SD card. For higher quality, 5.9K Raw at up to 30p or 4.1K Raw from an APS-C crop can be output over the full-size HDMI port to a recorder like an Atomos. Frame rates top out at 120fps, but only in HD. Footage can also be recorded to an SSD using the camera’s USB-C port and there is also a timecode interface for synchronising video and audio between multiple cameras in post. Colour choices include L-Log for maximum dynamic range. It’s in the design that the Leica stands apart from the Lumix. The menu is quite different to Panasonic’s and the camera’s solid metal body has IP54 certification to fend off the elements, while the 0.76x viewfinder contains an optical system of high-end Leica glass lenses. It displays the subject in 120fps at a resolution of 5.76 million pixels. In comparison, the S5 II X has a 3.86-million-pixel, 0.78x viewfinder. The SL3-S screen is also marginally bigger with higher resolution. It’s a tilting 3.2- inch screen with 2.3 million dots. The Leica is also the heavier model at 852g, versus 740g for the Panasonic.
CAMERA TO CLOUD COMING SOON Just like several recent Panasonics, the SL3-S will soon be able to upload footage directly to Adobe’s Frame.io platform. The log-in details are stored in the camera for a Wi-Fi network, then stills and video can be sent directly to a folder in Frame.io for storage or to allow others to see and edit the work simultaneously. Adobe has recently improved integration between Frame.io and its other cloud- based applications, such as Lightroom. Alternatively, Bluetooth and Wi-Fi enable speedy connection to the Leica Fotos app, where Raw DNG images can be transferred in full resolution. As a certified Apple Made for iPhone accessory, the SL3-S can be connected directly to iPhones using USB-C. Another first for Leica’s SL-System is featuring content credential technology, which embeds secure metadata to verify image authenticity. leica-camera.com
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CFEXPRESS DELIVERY FROM LEXAR Lexar has gone speed crazy with new CFexpress 4.0 cards, plus card readers, a modular docking station and compatible SSD to suit too. The new CFexpress 4.0 cards come in Type A for Sony and the more universal Type B fit, with twice the speed of CFexpress 2.0. The flagship Diamond series features read speeds of up to 3700MB/s and write speeds of up to 3400MB/s, ideal for 8K Raw video. The Gold cards can read at 3600MB/s and write at 3300MB/s, with capacities of up to 4TB. The Silver series supports 8K Raw video recording and sustained write speeds of 2600MB/s. All cards are protected against dust, drops and extreme temperatures, and prices vary according to type, speed and capacity. Lexar’s Professional Workflow six- bay docking station accepts portable SSDs for backup to multiple drives simultaneously, and a variety of card readers to offload footage. Thunderbolt 4 connectivity supports 40Gbps transfer speeds and 8K displays. Its aluminium enclosure dissipates heat with a built-in fan, and has USB-C and USB-A ports. There is also support for the latest CFexpress Type B 4.0, Type A 4.0, SD and micro SD cards. New Lexar 4.0 readers for dual-slot SD UHS-II and micro SD UHS-II cards allow simultaneous upload of two cards with transfer speeds up to 312MB/s. Type A 4.0 delivers read and write speeds of up to 1800MB/s and 1650MB/s respectively, while Type B 4.0 supports speeds up to 40Gbps. The Lexar Professional Workflow Portable SSD, in 2TB and 4TB sizes, offers speeds of up to 2000MB/s read and write and has an IP68 rating against dust and water. The Workflow dock costs £500/$600. The card readers cost from $50 and SSD from $300; UK prices to be confirmed. lexar.com
P FOR PERFECT The new 21mm and 29mm Tokinas give a vintage look
Larger coverage for Tokina glass
but are significantly re-engineered inside. Moving the placement of the lens elements has increased air- to-glass distance on hard-to-reach elements to deliberately introduce a much stronger spherical distortion. Essentially, this detunes the lenses to add distinctive character. The images are also lower contrast due to the increased distance in air- to-glass surfaces. A distortion effect will be most noticeable when using Vista Vision or full-frame cameras, but the effect can be lessened if Super 35 or smaller formats are used. The Vista-P series of lenses are available brand new and already fully modified when purchased, or as a viable upgrade for the existing Vista prime lenses, which must be returned to Tokina in Japan for modification. All Vista lenses have image circles with a 46.7mm area of definition, a 114mm front diameter and nine-blade iris. They come in PL, LPL, Sony E, EF or Micro Four Thirds mounts. Both new models cost $8999, with UK prices yet to be set. tokina-cinema.co.uk
Tokina has expanded its Vista-P series with the addition of new 21mm and 29mm T1.5 cine lenses for large format coverage. These optics offer a unique, vintage character combined with a fast aperture and resolution that exceeds traditional vintage glass. They join the existing Vista-P series to form a complete set of 11 lenses that share the same T1.5 T stop and cover Vista Vision-sized sensors. The complete range now includes 18, 21, 25, 29, 35, 40, 50, 65, 85, 100 and 135mm lenses. All the lenses 35mm and above have an area of definition that’s ideal for larger formats. The images produced by the Vista-P optics have a distinctive style. At the edge of the frame, the look is similar to vintage glass like the Helios-44 or Petzval, with a swirl-type distortion favoured for portraits, but incredibly high resolution in the central area. All the lenses have virtually no breathing, and the T1.5 maximum guarantees excellent separation between the subject and background when required. The Vista-P series lenses look similar to the existing Vista versions,
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ADVERTISEMENT FEATURE NEEWER Redefining outdoor filmmaking
The Neewer F700 is a big and bright external monitor that excels even in harsh sunlight N eewer’s seven-inch F700 monitor display not only works indoors in low light, but its range of cutting- edge features make it the obvious
For fast grading, the newest Neewer monitor offers real-time 3D LUT support. Capable of loading up to 60 LUTs via SD card, the F700 ensures consistent colour grading, providing a seamless transition from on-set preview to post-production. Supporting 4K HDMI input/output, the F700 handles UHD formats effortlessly. Whether it’s 3840x2160p at 30Hz or 4096x2160p at 24Hz, it accommodates high-resolution footage with precision. Practicality on-set From a mains adapter to USB Type C inputs and NP-F series battery compatibility, the F700 ensures uninterrupted power. Its DC output can even act as a dummy battery for your camera, extending its runtime during critical moments. Intuitive controls, touch functionality and advanced monitoring tools such as waveforms and vectorscope make the
choice for outdoors on the sunniest days. It combines 2000-nit brightness with intelligent light adjustment, resulting in clear visuals in harsh light – no sunshade required. Perfect for on the go, this monitor also offers a useful real-time preview. The brilliant choice The F700’s Full HD IPS screen is stunning. With 1920x1080 resolution, a 1000:1 contrast ratio and 10-bit colour depth, it offers vivid colour reproduction via its Rec. 709 gamut. Every detail is crisp, and an ultra-wide 160° viewing angle lets all the crew monitor shots. Equipped with smart light-sensing, it alters screen brightness to the environment. In intense sun or low light, this optimises comfort and visibility, reducing eye strain.
F700 a filmmaker’s dream. It delivers uncompromising quality with deep blacks, vibrant colours and sharp details to elevate every frame. The Neewer F700 can be your window to smoother production.
More information
neewer.com
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WIDESCREEN WONDERS The Nanomorph anamorphics are some of the new Laowa glass
It’s a Laowa lens fest! L aowa continues to expand its unique lens offerings, including large format anamorphic options, tilt-shift macro optics and a new Arri Alexa LF 4.5K in open gate mode. Its 1.5x compression produces a 2.66:1 aspect ratio on a 16:9 sensor after de-squeezing, delivering a more pronounced anamorphic and cinematic look compared to 1.33x anamorphic lenses. Providing signature anamorphic The fast-growing optics expert launches glut of new glass
image quality that stands up well on big screens, even wide open. Since the lenses are not 1.8x or 2x versions, they remain relatively compact, so work for handheld rigs, gimbals and drones. Designed with minimal focus breathing, they come with a choice of amber, blue or silver flare coatings. The Nanomorph LF series has a 270° focus throw for precise adjustments and includes a built-in back focus mechanism They come in Arri PL mount, but the interchangeable mount system allows users to buy optional mounts to fit different cameras.
probe lens made for ultimate close-ups. As the flagship series, the Nanomorph LF 1.5x T2.9 Anamorphics make up an affordable line-up of three pro-grade lenses for large format and full-frame cameras. Priced at $1499 each or $5399 for a four-lens set of 32, 42, 55 and 85mm, UK pricing has yet to be announced. The Nanomorph LF series offers full- format sensor coverage with its 44.71mm image circle, ideal for cameras like the
characteristics, the lenses offer a smooth, organic focus roll-off in the background. Unlike other anamorphic lenses, where bokeh may shift from centre to edge and appear distorted, Laowa claims its lenses give greater uniformity across the frame. The Nanomorph LFs offer excellent edge distortion control, delivering sharp
TILT-SHIFT MACRO FOR ALL!
cameras, though tilt is limited to ±10° and shift to ±8mm. The 55mm lens has 14 elements in 11 groups and the 100mm lens uses 13 elements in ten groups for sharp, detailed images with minimal vignetting and optical distortion. With a 77mm front filter thread, there is also a built- in lens support compatible with the Arca-Swiss system, plus a dual rotation system for separate tilt- shift adjustments. As the originator of the renowned 24mm probe lens, Laowa is also close
Laowa has achieved what no camera manufacturer has by creating 55mm and 100mm f/2.8 lenses with tilt-shift capabilities and 1:1 macro magnification, designed for full-frame cameras in Sony E, Canon RF, Nikon Z and L-Mount. The lenses provide a ±10° tilt and ±12mm shift, enabling manipulation of the focal plane to correct perspective distortions, extend depth-of-field or create the creative small- world effect. Both of these lenses are compatible with medium format Fujifilm GFX System
to releasing a new zoom probe lens. It will go as wide as 15mm with a 2.3x zoom range, and is promised to be parfocal. It will also allow a 35° tilt view with up to 2x magnification. Duclos is also working on its own probe zoom lens – an 18-28mm T8. venuslens.net
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Nanlite has introduced a new Rapid series of softboxes that offer quicker set-up and collapse. The Rapid 90 and 120 parabolic softboxes feature a quick-latch speed ring with excellent structural rigidity. The softboxes come with a Bowens mount for compatibility with most COB light fixtures. Two durable nylon diffusers are included – standard and light – to control the look of the beam. The interior of each softbox has reflective fabric to intensify the light, reducing light loss and minimising colour shift. An eggcrate is included to control the direction and spread of the light. The Rapid 90 and 120 cost $179 and $199 respectively, and each one includes a carrying bag. No UK prices have been set yet. nanlite.com RAPID RESPONSE FROM NANLITE
Canon colour app for faster PTZ workflow
management. Without it, accurate colour matching of cameras for broadcast can take days, but the app cuts this down to around five minutes per camera. This means the CR-N700 can be used in conjunction with a huge range of third-party cameras, as well as other Canon models. Hopefully, Canon will open this up to other cameras and Mac computers to provide an easy solution for matching colours at speed, for all users. canon.co.uk
Canon has launched a free app to match colours between cameras, though it currently only works to fine-tune the CR-N700 broadcast PTZ camera – and only on PCs, not Mac computers. The Camera Colour Matching Application works by capturing colour charts from any make or model of camera. It then generates a 3D LUT which can be imported into Canon’s high-end PTZ model. It’s easy to use, even by operators who aren’t familiar with colour DPA Microphones’ latest launch features a new locking mechanism and compact design, compatible with various wireless systems through its Micro Lock connector system. Building on its current Micro Dot connector, the updated version is smaller and more robust. DPA also offers an adapter to make it easier to switch wireless systems without having to replace microphones due to an older connector. The Micro Lock features a newly designed locking mechanism that’s quick and easy, yet offers an extra layer of protection against accidental disconnection. The connector has a solid metal body, while improved
JUST CONNECT WITH DPA
SIMMOD TAKES FIVE Simmod Lens is launching five specialised divisions to provide innovative solutions for filmmakers. These will focus on developing high-performance electronic products, bespoke solutions for new camera models, enhancements for camera set-ups, AI production software and creative cinematic lighting tools. Founded by award-winning cinematographer Ron Sim in 2017, the company works with industry professionals to ensure products meet the demands of modern filmmaking. It produces precision products such as follow focus gears, filters and lens adapters from its headquarters. simmodlens.com
electrical design gives more stability and reliability of signals. DPA will introduce the Micro Lock with its omnidirectional miniature mics and passive adapters first, followed by the cardioid variants. DPA’s active connectors, cables and associated options will also be updated. dpamicrophones.com
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AGENDA NEWS
Get yourself connected Four new camcorders make it easier to shoot high-quality footage and broadcast it quickly P anasonic Connect’s new series of four 4K/60p 10-bit professional camcorders have been developed for location filming and to get
PANASONIC UPGRADES ITS PTZ FLAGSHIP The successor to the popular Panasonic AW-UE150 has recently been revealed as the £10,750/$9995 AW-UE150AW/AK 4K PTZ camera. The UE150AW/AK supports the NDI High Bandwidth protocol, enabling easy IP- based, low-latency 4K video transmission. This is in addition to support for SRT and NDI HX2 protocols, ensuring consistent performance in unstable conditions. It is also compatible with 12G-SDI, 2x 3G-SDI, HDMI and fibre output formats. This enables integration into a variety of on-site production systems, great for both remote production and live streaming. Equipped with a high-sensitivity 1.0-type 4K MOS sensor, Panasonic’s UE150AW/AK has a wide-angle lens, 20x optical zoom and built-in auto-tracking functionality. An optical low-pass filter (OLPF) reduces luminance and colour moiré when filming monitors or LED walls, while HDR and HLG compatibility delivers a full range of colours. The Optical Image Stabiliser is improved, minimising shake during pan and tilt, and upgraded synchronisation of pan, tilt and zoom presets creates smoother operation. It is compatible with Panasonic’s AK- HRP1010GJ and HRP1015GJ remote panels for colour matching with studio cameras, ideal for broadcast set-ups. panasonic.com
environment, without the need for external converters. The CX20 and CX18 support RTMP, allowing content to be streamed live directly to social media platforms and video-sharing sites, such as YouTube. The cameras have improved high- resolution OLED viewfinders with larger eyecups, USB-C ports for more rapid data transfers and power delivery, plus low-bit- rate recording for FHD and MP4 shooting, supporting 28Mbps, 24Mbps and 20Mbps. Low-speed zoom control is 2.8x slower than prior models – and all have improved network functionality, supporting 5GHz Wi-Fi and USB tethering, as well as Ethernet and wired LAN connectivity. The improved mobile app enables remote control of camera settings and lenses, a longer-life, compact battery and high-resolution, 3.5-inch touchscreen. There are SD card slots, allowing for simultaneous backup recording. The design of all four models enables heat to be dispersed from the front panel thanks to a slimline fan. The CX20 and CX18 include Panasonic’s VW-HU1 handle unit, featuring a two-channel XLR audio input and control, plus an adjustable LED light for shooting in low-light conditions. All four camcorders support multiple bit rates and formats. When configured for 10-bit recording with an HDMI output, each model delivers 4K/60p 4:2:2 output with an external recorder. Additionally, the camcorders support MOV, MP4 and AVCHD formats, while the CX20 also supports the P2 MXF workflow.
the footage out to the world quickly. The higher-end £2894/$2575 AG-CX20 and £2274/$TBA AG-CX18 models, and the £1449/$1699 HC-X1600 and £1099/$1299 HC-X1200 camcorders, all feature fresh optics with a lightweight chassis design. Each one has an integrated 25mm wide angle to 600mm telephoto zoom lens, with two manual control rings. All four cameras feature optical and electronic image stabilisation to correct camera shake through five axes, including rotational blurring. And each one provides snappy focusing and tracking with face detection that maintains precise focusing and exposure for subjects. The CX20 model supports Full HD live streaming through IP-based SRT protocol, with the CX20 and CX18 both delivering simultaneous SDI/HDMI outputs. Also supported for these cameras is NDI HX2 IP connectivity for high-quality, low-latency live streaming in a network “The improved mobile app enables remote control of camera settings and lenses”
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NEWS
SPELLBINDING SAVINGS FOR BLACKMAGIC’S URSA 12K
A customisable body-only version of the Blackmagic Ursa Cine 12K LF has been unveiled for £7014/$6995. It keeps the £15,030/$14,995 Ursa Cine 12K’s features but excludes many of its accessories, to allow filmmakers to customise their own spec camera. Absent are shoulder mounts, handles, some lens mounts, battery plates, power supply, lenses and the high-capacity 8TB media module. Not every shooter requires all these, and Blackmagic owners may already have them. All are available as extras. While the 8TB media module is not in the cheaper version, it does have dual CFexpress card slots. The LF body model has an EF lens mount installed as standard. blackmagicdesign.com
WINGING IT? NOT WITH BIRDDOG’S CONTROLLER Birddog’s KBD Controller is the next generation of PTZ keyboard, designed with a rugged, ergonomic build and a large screen displaying up to four cameras at once. The streamlined menu provides integrates with mixers like Tricaster or vMix, showing the live camera right on the keyboard. With tactile feedback for camera switching, it’ s intuitive and comfortable for extended use. include easier access, configuration and joystick calibration. The screen lets you monitor up to four cameras at once or focus on one in full-screen mode. You can set up a camera and copy settings to another of the same model (only Birddog X series). birddog.tv direct access to essentials like camera pairing, while its built-in tally display The Birddog KBD adapts to any set- up with NDI, Visca, Onvif, RS-232 and RS-422 connectivity. Improvements
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PROMOVIEMAKER.NET
SAMSUNG ADVERTISEMENT FEATURE
From audio to visual The Samsung Portable SSD T9 sounds like the perfect partner for a podcast launching into the video space W hen a podcast for fans of singer Morrissey wanted to expand into video with higher production values
for its growing global audience, it was a chance to build a flashy new permanent set and kit it out with top-quality lighting, audio, camera and computer equipment. And of course, one of the most crucial products is a drive for safely storing the results of all that hard work. The cutting- edge Samsung Portable SSD T9 was the obvious choice since it offers incredible speed to keep up with high-resolution files, holding up to 4TB of data. Accidents can happen in all kinds of shooting scenarios, even when filming a podcast. Thankfully, the durable portable drive can withstand any drops of up to three metres. Not to mention its dotted, non-slip rubber finish doesn’t just look stylish but it also gives extra grip. The podcast is the brainchild of the team that publishes the Morrissey Mercury fanzine: newspaper journalist George and super-fan Chris. They use their Morrissey and Wine show to discuss everything from the world of Morrissey and The Smiths. There are news stories, reactions, opinions and chat from guests – many of whom have worked with the singer in his often-controversial career. The charming man charged with putting together the whole production is Gary Freeman, a self-confessed tech addict who admits he always thoroughly researches every bit of kit he chooses to use. His latest camera of choice is a powerful, high-end cinema cam known
for its high-quality Raw files and the ability to write directly to an external portable drive via USB-C. “Samsung portable drives are highly recommended for this set-up; I use the Samsung Portable SSD T5 and T7 Touch as they are fast, safe and reliable,” he says. “When I got the chance to try the Samsung Portable SSD T9, I had confidence – and I’ve been proven right. I’ve had no issues at all with any of the footage. It’s the one for me!” Using portable drives as direct storage media from the camera is a game changer for those with the latest generation of cameras that support this capability. It streamlines the filming process by eliminating the need to record footage onto one storage device and then transfer to a PSSD via a laptop. With the footage already safely stored, the workflow
NAND IN GLOVE The Samsung Portable SSD T9 uses Nand technology for fast and safe storage – ideal for a video podcast
becomes faster, with one less step and fewer things to go wrong. The Samsung Portable SSD T9 features the latest USB 3.2 Gen 2x2 interface and comes with a choice of two cables – one to connect to a USB-C or Thunderbolt drive and a second for legacy USB-A devices. With the USB-C connection to a high- end camera, the connection is instant and totally hassle-free,” says Freeman. “As the Samsung Portable SSD T9 can work at speeds of up to 2000MB/s, that’s faster than my camera can record Raw files, so there’s no waiting for footage to download.” This is also good for future- proofing, as the portable drive should still be more than up to the job, even if data output from cameras increases. It’s due to the Samsung Portable SSD T9 offering the latest technology, with the hardware and firmware developed exclusively by Samsung for data-rich
“To ensure there is a light that never goes out, the portable drive only consumes 0.67W idle power and peak power up to 7.3W when connected via USB-C, which helps reduce heat build-up”
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SAMSUNG ADVERTISEMENT FEATURE
To ensure there is a light that never goes out, the portable drive only consumes 0.67W idle power and peak power up to 7.3W when connected via USB-C, which helps reduce heat build-up. When using the Samsung Portable SSD T9 on a laptop, battery life is extended by more than 30 minutes compared to rival products.* When it comes to security, you can set an AES 256-bit encrypted password to prevent anyone from accessing the files. Plus, the portable drive features Samsung Magician software, which offers performance benchmarking, security functions, firmware updates and a health- status check in real time, as well as data migration, PSSD software and a card- authentication tool. Since it uses a dedicated PCB rather than a standard M.2 SSD, it’s compatible with various devices including PCs, mobile phones, televisions, game consoles and
professional applications. Innovations like Samsung’s Turbowrite technology enable a 180GB buffer size. This means maximum performance is maintained for longer when transferring large files or editing video directly off the portable drive. Handling such large files at speed could potentially lead to heat-related issues, especially as the 14mm-thin Samsung Portable SSD T9 is just 88x60mm in footprint and weighs only 122g. But by using the latest thermal materials including silicon and aluminium, as well as low power consumption, this keeps the portable drive cool. It also means the portable drive can withstand temperatures as low as -40°C and as high as 85°C during use. It maintains skin temperatures below 60°C in controlled conditions – such as during heat management and safety tests – complying with the IEC 62368-1 standard.
cameras. PSSD take a bow, as Morrissey might say. *Power consumption results are based on Samsung internal testing, conducted under controlled conditions. Idle status is defined as eight minutes without I/O operations.
More information samsung.com/uk/memory-storage/ portable-ssd/
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AGENDA BSC EXPO PREVIEW
Lights, camera, innovation!
B ritain’s annual flagship show for cinematography and television production returns to Evolution London – a purpose-built venue in the heart of Battersea Park on the banks of the Thames. Running from 14 to 15 February, BSC Expo welcomes students, newcomers and professionals eager to learn from top cinematographers and broadcast figureheads. There’s an impressive list of seminars, workshops and networking events – plus the chance to see the latest kit, get hands-on and quiz experts on what makes it so good. The cameras and lenses may take the spotlight, but the show also features lighting, rigs, software and everything you need – whether you’re creating a YouTube video or a Hollywood blockbuster. With easy links via road or rail, make sure you register for your free ticket at bscexpo.com. Let’s take a look at some of the exhibitors in attendance. BSC Expo returns to Battersea Park for even more cutting-edge hardware, software and inspirational speakers
BIG TIME Some of the kit on show at BSC Expo is so large that it needs to be displayed in the car park outside!
ASTERA Stand 158
APUTURE Stand 209
Aputure will be showing off its Storm 80c and 1000c LED lights, featuring the Blair- CG light engine. These colour COB lights deliver accuracy and boast an extended white light adjustment of 1800-20,000K CCT with 100% +/- green control. The new Blair-CG light engine is the most tunable colour light ever produced in an LED, offering the greatest range and highest accuracy. All Storm lights – including the 1200x – feature IP65 weather protection and professional connectivity options. Make sure you also check out the Aputure Infinimat, a full-colour, pixel- controllable, weather-proof solution with infinite expandability and multiple sizes. aputure.com
Renowned for its battery- powered, remote-controlled LED lights, Astera integrates
cutting-edge design with practical functionality to meet the needs of lighting professionals. Its portfolio includes wireless LEDs with great performance and flexibility. Innovations like the Quikspot and Lunabulb, Plutofresnel and Leofresnel series will be on show in London. The Astera Lunabulb merges the traditional appearance of an incandescent bulb with the TitanLED engine, offering full- colour and wireless control. astera-led.com
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ARRI Stand 323
Arri, a leading manufacturer of camera and lighting systems for the film, broadcast, media and entertainment industries, boasts a worldwide distribution and service network. The brand will showcase its latest camera and lighting products, including the new Ensō Prime lenses. These have been designed to produce beautiful, natural images across all lighting conditions and perform reliably in diverse shooting environments, allowing users to focus on their best work by going with the creative flow. The event also marks the debut of Arri’s new Alexa 265. arri.com
CORE SWX
Stand TBC CANON
Stand 110
Canon will be displaying its professional imaging technologies for film and television production workflows. The company will be showcasing its full cine lens and camera range, including the latest releases such as the versatile EOS C400 and the lightweight EOS C80, that share the same image sensor. You can also get hands-on with the full RF Hybrid lens range. The team will be demonstrating how Canon’s lenses and Cinema EOS range work together to deliver exceptional image quality and versatility for virtual production. Find cinema cameras, mirrorless models and PTZ units on display – something for every professional filmmaker. canon.co.uk
Core SWX’s Hypercore Neo, Helix Max, Nano X Micro and Renegade series are built to provide the power and support necessary to bring even the most ambitious visions to life. Whether you’re capturing stunning footage of nature’s beauty or creating the next big blockbuster, Core SWX has the answer. coreswx.com
CVP
Mezzanine Floor M007
The Mezzanine level at BSC Expo will once again be dominated by CVP’s traditional mega-stand, which brings a full showcase of the latest and greatest products. Attendees can expect expert, impartial advice from the company’s team of many technical consultants, product specialists and engineers. Visitors can also explore the popular Pro Repairs and Used Marketplace features, as well as get hands-on with all the newest equipment from a massive range of manufacturers to suit a wide range of budgets. cvp.com
BLACKMAGIC
Stand 352
Blackmagic will be showing demos of its Ursa Cine 12K LF and Pyxis 6K cameras, alongside DaVinci Resolve 19. This offers seamless camera-to-cloud workflows, empowering teams to work more efficiently from shoot to post. The Ursa Cine 12K is built for high-end production, featuring a large format RGBW sensor with 16 stops of dynamic range, interchangeable mounts (PL, LPL, EF) and pro-grade Lemo and Fischer connections. It offers 8TB of built-in storage, high-speed networking for media offloading and 5G connectivity for live syncing to Blackmagic Cloud. The Pyxis 6K offers flexibility with a compact design, featuring a full-frame 6K sensor, built-in optical low-pass filter and dual CFexpress card recorders. It also comes with EF, PL or L-Mount lens options and includes proxy recording, like the Ursa. blackmagicdesign.com
BEBOB Stand 426
Bebob will showcase its portfolio, including V-Mount, B-Mount and Gold Mount-compatible batteries, micro batteries, chargers, adapters and hot-swap adapters. Highlights include the compact Vmicro and Amicro batteries, plus the Cube 1200 – a multi-voltage lithium- ion battery with 1176Wh capacity and built-in charger. The B-Mount interface – developed in collaboration with Arri – has been a sales success since its launch. bebob.de/en
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