Pro Moviemaker Winter 2019

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C NEWYEAR, NEWGEAR Revealed: stunning new cameras, lenses and accessories M Y CM MY CY CMY

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The update that transforms the mirrorless S1


Full-frame Sigma fp tested and rated



@ProMoviemaker £4.99



VOTE FOR THE BEST Have your say in our annual awards for top gear AWARDS

BUYERS’ GUIDE CASE STUDIES! All types of bags to suit all sizes of kit and budgets

Should you switch to the Atomos Shogun 7? The DSLR hits back with Canon’s EOS-1D X Mark III

Latest tech tested from Irix, Rotolight, Lexar and Sony


The ultimate magazine for next generation filmmakers

Editor in chief Adam Duckworth Staff writer Chelsea Fearnley Contributing editor Kingsley Singleton Chief sub editor Beth Fletcher Senior sub editor Siobhan Godwood Sub editor Felicity Evans Junior sub editor Elisha Young EDITORIAL ADVERTISING

Sales director Matt Snow 01223 499453 Advertising manager Krishan Parmar 01223 499462 DESIGN Design director Andy Jennings Design manager Alan Gray Designers Lucy Woolcomb, Man-Wai Wong, Bruce Richardson, Emily Lancaster & Emma Di’Iuorio PUBLISHING Managing directors Andy Brogden & Matt Pluck

It’s been the most wonderful time of the year if you’re an unashamed gearhead, like I am. A glut of new cameras that use 6K sensors (or very nearly as to make no discernible difference). The constant stride towards the ultimate quality thanks to Raw recording. Full-frame capture finally coming to cinema cameras in a marginally more affordable way. And real anamorphic shooting on a Netflix-approved camera, that just happens to be mirrorless and very affordable. I’ve been in the very privileged position to have tried all this new tech, and each one takes moviemaking kit to a new level. OK, like many, I don’t ever have to deliver films in 6K, but having that resolution is a bonus, as you can crop in significantly. Coming from a background as a pro still photographer, I’m already sold on the benefit of shooting Raw, as well as full-frame sensors for lower noise. And I’d love to afford a real anamorphic prime to shoot a project, even though my ham-fisted efforts to shoot with the ultra-wide CinemaScope format means I have a lot to learn when it comes to composition. As you can see from the frame grab at the top of this page when I tried out the new Panasonic S1H with an Atlas anamorphic lens. But for me, the biggest improvement in technology I have witnessed is the adoption of very clever, very high-tech autofocus in both the new full-frame Sony FX9 and Canon EOS C500 Mark II cinema cameras. Yes, I know real filmmakers use manual focus exclusively. Especially ones who can afford to hire professional focus pullers. That’s not me, then. I admit I have been spoiled by the clever systems that combine on-sensor phase detection, contrast detection and AI technology, as used in the latest mirrorless cameras. I scoffed at face detection and eye detection AF, until I used the latest versions and it blewmy mind. The same for intelligent focus tracking on moving subjects. But it’s not been available on vaguely affordable full-frame cinema cameras until now, thanks to the new Canon and Sony wondercams. And it’s not just me. I spoke to Brett Danton, a professional filmmaker with many high-end advertising clients in the motoring world, such as Jaguar Land Rover and Chevrolet. He used a 600mm f/4 lens wide open on the new Canon C500 Mark II to track a fast-moving car and it locked on better than any focus puller could. Of course, any auto system can get it wrong and it’s the job of a professional filmmaker to understand and learn when it will work, and when it won’t. Whether it’s the imminent arrival of working AF that excites you, or Raw, 6K, anamorphic or some of the other new technology, the message is clear: we are in a golden age of cameras that perform better than ever, and at more affordable price points. Enjoy the issue, and I hope you are inspired by all the latest new gear, which should allow you to express your creativity in storytelling even more.


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

Pro Moviemaker is published quarterly 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 but US dollar prices are without local sales taxes. Prices are where available or converted using the exchange rate on the day the magazine went to press.




The ultimate magazine for next generation filmmakers




The massive IBC show in Amsterdam saw lots of the latest new gear on show for the first time. From cameras to exotic lenses and lots more, check out the best! 8 SIGMA’S VINTAGE-LOOK PRIMES The brand new Classic primes hark back to the golden age of cinema with a soft and creamy look, and gold leaf lettering on the side. 1O BIG NEWS FROM SMALLHD The American monitor giant shows big new screens and a small camera-top LCD too. 12 NIKON’S FILMMAKING PACKAGE The powerful Z 6 mirrorless is now available in a kit that’s ideal for small production companies. 14 SONY’S FLAGSHIP MIRRORLESS After almost three years on sale, the speedy A9 sports camera gets an upgrade to make it even better and easier

to use. But does it go far enough? 16 CANON’S NEW BIG GUN

The professional DSLR is far from dead as the details of the EOS-1D X Mark III are revealed, with Raw video recording and even faster AF.




23 HAVE YOUR SAY ON THE BEST KIT The Pro Moviemaker Gear of the Year Awards honour the best hardware and software to make the lives of filmmakers easier and more productive. Check out the shortlist of the top gear, and vote for your choice in the world’s most prestigious awards for filmmaking equipment. 38 FIRST STEPS IN AFTER EFFECTS Top post-production house Soho Editors reveals howmastering Adobe’s industry-standard After Effects software can transform your filmwith cutting-edge motion graphics. And it’s not as difficult to get started as you might think. ACADEMY




The ultimate magazine for next generation filmmakers




46 CANON GOES FOR RAW POWER The new Canon EOS C500 Mark II takes the Raw Light format of the C200 and mixes in the high-bit rate codec of the C300 Mark II to

create a powerful full-frame cinema camera . 50 SONY’S FULL-FRAME CAMCORDER

With advanced autofocus and a 35mm sensor like the Alpha mirrorless cameras, plus the handling of the FS7 cinema camera, the new FX9 offers the best of both worlds. 56 BLACKMAGIC SUPERSTAR The Pocket Cinema Camera gets a 6K boost, a larger Super35-size sensor, Canon EF mount and stunning Raw capture. 64 THE PANASONIC MADE FOR FILMMAKING The S1H sets a new standard for mirrorless cameras with true cinema credentials like anamorphic shooting, 6K recording and Panasonic gives the all-rounder S1 an upgrade, with V-Log shooting and lots more mods to make it an even better buy. 70 THE MASTERMIND OF MIRRORLESS Meet the man who has championed the new breed of small cameras from the Panasonic G-series right through to the new S1H, in our It’s the world’s smallest full-frame mirrorless camera and it also shoots CinemaDNG Raw to its SD cards. The pocket-size Sigma fp is put through its paces and is shockingly good, especially in low light. 80 MINI TESTS We review great new kit including a new Atomos monitor that doubles as a switcher, Sony’s dual wireless mic solution, the Rotolight Titan X2 LED light panel, Irix cine lens and Lexar SSD. 91 BUYERS’ GUIDE: BAGS Take a look at our guide to some of the very best cases and bags to suit every type of camera kit. exclusive one-on-one interview. 74 SIGMA’S SMALL WONDER super-high bit rates for stunning quality. 68 S1 GETS THE CINE UPGRADE






Amsterdamshow stoppers!

Here are the coolest things we spotted at Europe’s biggest filmmaking show, the IBC in Holland I f you want to see the latest and greatest in the world of filmmaking, the annual IBC show at Amsterdam’s sprawling Rai Convention Centre is the place to be. It’s the biggest show in Europe catering for all aspect of filmmaking, from kit and rigs to broadcast trucks and television studios. Lots of professional filmmakers and cinematographers get together to participate in seminars and workshops, and check out the latest and greatest kit. Of course, there are lots of services and kit aimed at TV, broadcast and live streaming, but there is also a lot there for independent filmmakers. WORDS ADAM DUCKWORTH

in quality, a range of Leitz primes and zooms. The primes are available in 18- 180mm focal lengths, with all but the longest lens being a T1.8; the 180mm is T2. And for zooms, there are the 25- 75mm and 55-125mm T2.8 lenses. All these come in PL mount and LPL with the Cooke/i metadata interface. These cover the big, 46.5mm image circle for VistaVision-size, large-format cameras. Prices are on application.

Legendary German lens giant Leica had its full range of glass on show, at prices that are equally famous for being very expensive. There’s the range of M-mount primes called the M 0.8, from 21 to 90mm and based on M-mount photo lenses. The Thalia range comprises fully-specced cine primes from 24-180mm, for full-frame cameras that have a distinctly softer, characterful look. And, for the ultimate

Leica zooms target the same high-end market as the Fujinon Premista zooms, such as this 80-250mm T2.9-3.5 mounted on a Sony Venice full-frame camera. The lens stays at T2.9 until 200mm, then ramps up slowly to T3.5 at the long end. The price is around 40k, in U.S. dollars or pounds.

This year the biggest stars of the show were the new breed of high-resolution and full-frame cameras, from Sony FX9 to the Panasonic S1H, Blackmagic Pocket Cinema Camera 6K and Sigma fp. We have hands-on with all these stars in this issue, plus the Canon EOS C500 Mark II, which attracted the fans as it was displayed in a glass case with all its modular parts that turn it into a full broadcast camera.




Anamorphic shooting is all the rage, with cameras like Panasonic’s S1H leading the charge towards affordable yet capable capture for the CineVision format. If you fancy having a go, then you might like this P&S Technik 40-70mm Technovision Classic lens with a 1.5x anamorphic squeeze. Also available are a 70-200mm zoom, as well as 40, 50, 76, 100 and 135mm 1.5x anamorphic primes, all in PL or LPL mount. This 40-70mm costs £25,000/$31,625.

If you want the biggest and best camera crane, and money is no object, then take a look at this monster. It’s the Technocrane – developed over 20 years ago by cinematographer Horst Burbulla and now an industry staple. As well as being able to swing left and right it can also extend out as the arm is telescopic, can run on rails and be totally computer controlled.

The Creamsource SpaceX definitely looks like it’s come from another planet, with its six powerful LED lights arranged in a circle on the fixture itself. You can

adjust the beam from wide to punchy by fitting different optical lenses in front of each of the light fittings. Total power is 1200W, the temperature is adjustable from 3200-6500K, and the head weighs 18kg/40lbs. The Australian-made light costs £8491/$6500.

Marginally more affordable are the German-made IBE Optics Raptor Macro large format lenses, ideal for use on Alexa LF, Sony Venice or Red Monstro cameras, which take a PL mount. The lenses are designed to have a creamy bokeh and artistic look, and come in 60, 1000, 150 and 180mm focal lengths. They offer 1:1 macro close-focusing and all have a maximum T2.9 aperture. This 180mm lens costs £15,778/$17,515. If you don’t need the macro capability, there are now faster 40mm and 80mm T2.4 primes, also in PL mount. A full range of focal lengths will be revealed soon, as will prices.



AGENDA NEWS Sigma’s new take on a classic

GLASS FOR CANON EF-M Sigma has launched interchangeable lenses for the Canon EF-Mmount digital camera series with APS-C image sensors. The new Canon EF-Mmount models will feature a new control algorithm that optimises autofocus and data transmission. These lenses will be compatible with Servo AF and lens aberration correction. The line-up will include three prime lenses, 16mm, 30mm, and 56mm, with fast f/1.4 maximum apertures. The combination of optical design for video AF and the stepping motor enables smooth and quiet autofocus.

a uniquely smooth bokeh. And in a classy move, the ‘Classic’ script on the lens barrel is highlighted in real gold! There is a consistent T2.5 aperture across the line-up apart from at the extreme ends, as the 14mm and 135mm are T3.2. The lenses are compatible with the Cooke/i Technology metadata protocol which makes them ideal for use in VFX. This technology will also be available in new versions of PL-mount Sigma Cine Primes, while owners of existing versions of the lens can have theirs upgraded. All prices are yet to be confirmed.

The current trend for full-frame lenses that offer a unique, vintage aesthetic has been snatched by Japanese lens giant Sigma with its new FF Classic Prime series of lenses. Only sold as a complete set of ten in a PL mount, the Classic range is based on the optical design of the super-sharp Sigma Cine Primes. But instead of going all-out for ultimate resolution, the Classics incorporates more non-coated optical elements to offers a combination of low contrast and artistic flaring or ghosting in the image. Suitable for 8K shooting in large format, the fast lenses are also designed to create

XEEN HAS SEEN THE LIGHT Popular independent lens maker Samyang has revealed a lighter and more compact range of its Xeen cinema prime lenses. The new CF range lenses are the first full-frame cinema lenses to use the super-strong and light carbon fibre composite in the lens barrel. They also feature luminous scale markings in a new font to make them easier to read. The Xeen XF range uses the well-proven optical design of the current Xeen range and can support 8K and full- frame sensors. They will be available in PL, Sony E and Canon EF mounts. The lighter weight and smaller size means they will be more useful with drones and gimbals than the standard range, which will continue to be sold. The lenses feature a T1.5 aperture and 11-bladed diaphragms for smooth bokeh. The 24mm, 50mm and 85mm versions will be available at the end of 2019, with the 16mm and 35mmmodels during the first half of 2020. As an example of prices, the Xeen CF 50mm in a Sony E mount costs £1999/$2495 while the standard model costs £1699/$1495.




SmallHD’s Cine 7 on-camera touchscreen monitor can now control Red cameras via a new software upgrade. Camera menus appear as an overlay on the Cine 7 screen. In addition to standard parameters like white-balance, resolution and file name, the new software licence provides deep-level menu control, including output overlays, image pipeline modification and power settings. The £395/$500 Camera Control licence for Red DSMC2 cameras includes an active camera-control cable and software licence. For a limited time, every Cine 7 purchase will include the bundle free. With 1800 nits of brightness, 100% DCI-P3 colour and a 1920x1200 Teradek RTwireless follow-focus systems, and is available as either a stand-alone monitor, or with an integrated Teradek Bolt transmitter or receiver module. CINE 7 FOR RED resolution display, the Cine 7 monitor also integrates with

nit display with a 1million:1 contrast ratio. These monitors cover 114% of the DCI-P3 colour space, can be fully calibrated and offer advanced exposure tools. The Small4K Cine series features a fully updated release of SmallHD’s OS3 operating system, with a revamped user interface that includes exposure tools and workflows.

Camera-top monitor specialist SmallHD has revealed two new ranges of 4K HDR monitors in 13, 17 and 24 inches. The Small4K HDR Vision series is the flagship range, and like the more affordable Cine series uses 4K panels in rugged aluminium chassis, and includes four 12G-SDI inputs with loop-out. The ultra-accurate Vision HDR monitors are reference-grade and feature a 1000-

Snap to it!

Litepanels’ Sola. The barn doors slip into pockets inside the softbox, so the box can be rotated to any angle. It’s fast and easy to do, and the kit is easy to carry as it weighs just 700g/1.5lb. DoP Choice also offers matching 20°, 30°, 40° or 50° grids that snap together and fix to the front of the softbox. Prices vary.

Softboxes traditionally take time to set up and you need to buy different fitments for each of your lights. But German firmDoP Choice has come up with a universal-fit Snapbag, a snap- together softbox to fit LED fresnels, spots and other hard lights. The universal fitting is suitable for most lights that have five- to seven-inch barn doors, including Arri L5 and L7, and




Complete kit for moviemakers

Z 24-70mm f/4 S lens, Rode Video Mic Pro+, Moza Air 2 gimbal, Vimeo subscription and free online training. A forthcoming firmware update will support Apple’s ProRes Raw recording from the camera when using the Ninja V, giving maximum flexibility in grading. This firmware update will also work in the Z 7 mirrorless camera. Both the Z 6 and Z 7 now have LUT support for N-Log shooting, which is ideal for 10-bit recording over HDMI to an external monitor.

Filmmakers are finally being taken seriously by Nikon, which has introduced its first mirrorless moviemaking kit based around the Nikon Z 6. Costing £2639 UK only, the Essential Movie Kit features the Z 6 camera body, FTZ F-mount lens adapter, Atomos Ninja V recorder, two camera and two monitor batteries, chargers, HDMI lead and SmallRig quick-release camera cage with a top- mounting grip handle and magic arm. A US version of the kit came out earlier this year for $3995, but it also includes a

PRICEY NEW NIKKOR NOCT The ultimate fast lens for Nikon mirrorless cameras is the new Nikkor Z 58mm f/0.95 S Noct, which will cost a staggering £8300/$7996. Designed to echo the classic Nikon F-mount Noct, the new Z Noct is a ‘halo’ product to show off Nikon technology. It has a new optical design and two anti-reflection coatings – Arneo and Nano Crystal – to combat ghosting and flare. Aberration correction is improved by the precision large-diameter ground aspherical element and its high refractive index. A fluorine coating repels dust, dirt and moisture without affecting image quality. An OLED lens information panel displays aperture, focus distance and depth-of-field, while a control ring enables silent control of functions,

Nikonmirrorless expands

to be used. It uses SD cards and records for up to 30 minutes. There are 209 on-sensor AF points covering roughly 90% of the frame, a 100–51,200 ISO range and low-light autofocus down to -4 EV. It can record 4K/ UHDmovies at 30p and shoot 120fps slow- motion footage in Full HD with no crop factor. 4K time-lapse sequences can be created in-camera. The maximum bit rates are 144Mbps, recorded when shooting in UHD at 24, 25 or 30p as well as 100 or 120p in Full HD. There is no Log recording, but a flat picture profile is offered.

Nikon has revealed the Z 50, the first Z series APSC-format mirrorless camera, and two zoom lenses: the DX 16-50mm f/3.5- 6.3 VR and DX 50-250mm f/4.5-6.3 VR. Equipped with a 20.9-megapixel cropped sensor borrowed from the D500 DSLR, the £849/$857 Z 50 has features inherited from the Nikon Z 7 and Z 6 full-frame cameras, including the Z lens mount and the fast, wide Hybrid-AF autofocus system. The Z 50 also features a tilting touchscreen and eye-detection AF, and is fully compatible with the FTZ adapter, which allows F-mount Nikon DSLR lenses

including aperture and exposure compensation.





shutter very well. It still only records 8-bit 4:2:0 internally. The camera does now offer superior weather sealing, five-axis in-body stabilisation, a faster autofocus system, a newmechanical shutter and the body has been redesigned. The A9 had two card slots, but only one was the faster UHS-II spec. The new £4799/$4498 A9 Mark II has twin UHS-II slots, as well as a digital audio interface to work with Sony’s new mic systems.

The flagship mirrorless camera of the Sony range has been upgraded, but very few of the modifications will benefit filmmakers. The new Sony A9 Mark II is heavily based on the successful original A9, which has been on sale since spring 2017, but still lacks 10-bit video, video Raw or any Log settings. It retains the 20fps stills shooting with a blackout-free viewfinder, and uses the same 24.2-megapixel, full-frame stacked sensor of the original camera. This speedy sensor helps the camera combat rolling

The Red Hydrogen phone project looks like it has been axed following the retirement of the company’s founder and the driving force behind the project, Jim Jannard. The holographic phone was supposed to be the start of a newmodular camera system, but it was late to the market, had poor sales and the expected expansion modules never arrived. Jannard, who also founded sunglasses brand Oakley before starting Red, spent the last few years working on the phone project, but has now officially retired age 70. He says he is shutting down the Hydrogen project, although the phone remains on sale. Hydrogen to evaporate?


Olympus has celebrated 100 years in business with the launch of a new OM-D E-M5 Mark III mirrorless camera, which inherits many features from the flagship E-M1 series, but at a more affordable price. The camera has a 20.4-megapixel Micro Four Thirds CMOS sensor and the TruPic VIII image processor from the OM-D E-M1 Mark II. The new E-M5 Mark III records UHD or DCI 4K video at up to 30p and 1080p at 120fps, all while using the camera's advanced phase detection autofocus and image stabilisation system. The AF system features face and eye detection and 121 sensors. There’s a flat picture mode to maximise dynamic range with a LUT profile you can download from the website. The three- inch touchscreen articulates to aid video shooting. The new camera is dust and weather sealed and comes in either silver or black at £1099/$1199 for the body only, and £1399/$1799 with a 14-150mm f/4-5.6 II lens.




CanonDSLR goes Raw

AF system. For stills, it shoots at 16fps with the mechanical shutter or in Live View up to 20fps with the mechanical or electronic shutter. It will use twin CFexpress cards. It records 4K movies at 60p with 10-bit Canon Log internal recording, as well Raw for both movie and stills. There are no details of price or availability yet.

Canon has moved its flagship DSLR into cinema camera territory by revealing its forthcoming EOS- 1D X Mark III, which will be the first DSLR to record Raw video internally. It will also have 4K 4:2:2 10-bit video. The camera uses a new optional wireless file transmitter – the WFT-E9 – which is also compatible with Canon’s recently launched Cinema EOS C500 Mark II cinema camera, for easier network set-up to streamline workflow. The EOS-1D X Mark III has a new autofocus algorithm to improve stability and tracking with both optical viewfinder and Live View movie shooting. When using the optical viewfinder, the EOS-1D X Mark III makes use of a new autofocus sensor offering 28x the resolution in the centre of the sensor than the one in the EOS-1D X Mark II. In Live View, there are 525 AF areas using the Dual Pixel CMOS


Aussie mic giant Rode has revealed the latest in its line of popular NTG shotgun microphones, the NTG5. It has a totally new body compared to its predecessors, with circular acoustic ports replacing the long slots found in other mics. The £449/$499 NTG5 comes in a complete location recording kit, with the newWS10 windshield, separate foamwindshield, redesigned pistol grip, bag and everything else you might need to take it into the field right out of the box. It’s designed to be ideal for boom use, as it’s very light at 76g/0.17lb and short at just 203mm/8in. It offers a highly directional supercardioid polar pattern and smooth off-axis response.


The RF 70-200mm f/2.8L IS USMweighs 1070g/2.36lb and is 146mm/5.75in in length at its shortest – around 28% lighter and 27% shorter than the existing EF mount model. It is also the first Canon lens to support an electronic floating focus control that drives the two lens groups individually with Dual Nano USMmotors. It is also designed to have reduced focus breathing for video shooting. Canon also revealed a Bluetooth tripod grip and DM-E100 stereo mic aimed at vloggers who use compact cameras like the Canon G7X Mark III. Both cost £99/$129 each and should be on sale in December.

Two new lenses for Canon’s EOS R series – the RF 70-200mm f/2.8L IS USM and RF 85mm f/1.2L USM DS - will soon be in the shops, making the mirrorless system far more useable for professionals. The £2699/$2699 RF 70-200mm f/2.8L IS USM is the world's shortest and lightest full-frame lens of its type, while the £3249/$2999 RF 85mm f/1.2L USM DS is based on the existing 85mm lens, but is designed to give a soft bokeh look that is ideal for portraits. This does cut down on the light transfer when wide open, giving the shallow depth-of-field of an f/1.2 lens, but the light of only an f/2 lens or slower.



SENNHEISER ADVERTISEMENT FEATURE Perfect sound for beautifulmoments

Sennheiser’s microphone range is the gift that delivers incredible audio for all filmmakers I f your passion is capturing beautiful moments, the holiday season presents a wealth of opportunities. As well as recording stunning visuals

HEAVENLY SOUND WITHOUT SIDE EFFECTS MKE 400mini-shotgun on-camera microphone

with equipment that lets the videos of these special moments truly sparkle with excellent sound? From hobbyists to experienced professionals, using everything fromDSLR and mirrorless cameras through to professional cinema cameras, Sennheiser’s microphone range provides the perfect gift for all filmmakers. And it’s the gift that keeps on giving as sensational sound isn’t just for Christmas! Let’s take a look at some of the equipment that works for any time of the year.

If you only buy one mic to improve your audio on your DSLR or mirrorless camera, make it the MKE 400. It sits right on the hotshoe, or can be mounted to a boom or other stand if you like, thanks to its standard quarter to 20 threaded port in the base. Thanks to its compact size and good rejection of unwanted noise that comes from the side, this mini-shotgun microphone is ideal for recording your most beautiful moments. It gives perfectly levelled sound due to switchable sensitivity for long and short distances, so you can reduce your in-camera gain to eliminate background hum. It really makes a massive difference to the quality of your audio. And there’s even an integral shock mount to isolate the mic away from the noise you get while handling the camera. The MKE 400 might be small and compact, but is extremely robust thanks to an all-metal housing. The MSRP is priced at £169/$199.95. To improve your audio outdoors, you can also treat your MKE 400 to its own Christmas gift in the shape of the MZW 400 professional accessory kit. The kit comes with a hairy windshield, which will even withstand winter snow flurries! It also has a 3.5mm jack socket to XLR adapter, so you can use the mic on professional cameras or recorders with an XLR input. And the MSRP is just £33 /$39.95.

from this very special time of year, to truly capturing the magic of being there, great sound is crucial. There is nothing that lets a film down more than bad audio. Fortunately, it’s not difficult to get right if you choose the right equipment. As we head into the festive season, why not surprise your family and friends

THE EASY-TO-USE STEREO SOUND SOLUTION MKE 440 stereo on-camera microphone

camera angle. It’s ideal for DSLR and mirrorless as it plugs in via a standard mic socket. It’s very robust and compact thanks to an all-metal construction and comes with a suggested retail price of £289/$349.95, so it’s, relatively speaking, very affordable. And if you record outside, especially on a wintery day, and need to cut down on wind noise, the MZH 440 fur windshield is ideal for winter field recordings and costs just £41/$49.95 (MSRP).

Stereo sound is ideal for picking up audio from gatherings of people, as well as performances, such as a pantomimes, nativity plays or even bands cranking out the festive hits. And if you are recording something very loud, like a rock gig, then this mic is the ideal accompaniment as there is a three-level sensitivity adjustment and low-cut switch for perfectly levelled festive sound. The MKE 440 uses two matched mini shotgun mics to capture the audio you want while rejecting sound outside the




This microphone takes your audio recording to the next level, as it uses the professional XLR connections and its longer length picks up sound from the direction the camera is pointing in thanks to its high directivity. Superfluous noise from the sides and rear is hugely reduced. It’s ideal for camcorders – from all-in-one fixed-lens units through to the most advanced cinema cameras – as well as professional recording devices due to its XLR connections. It’s also the best way of recording superb, clear audio on a DLSR or mirrorless camera. To enable you to tailor the shotgun mic to your camera, order the KA 600 cable for cameras with mini-jack audio input, the KA 600i for smartphones with a mini-jack or a standard XLR cable for professional cameras. The MKE 600 can be battery powered for cameras that don’t offer phantom power, and there is a switchable low-cut filter to reduce wind noise. It comes with a foam windshield and shock mount, too. All for an MSRP of £249/$329.95. And if you go outside to record in winter, the MZH 600 is a combined foam windshield and hairy cover, which combats wind noise. The KA 600 and KA 600i connecting cables are £11/€13/$19.95 and the MZH 600 windshield £41/$69.95. FOR DEMANDING CINEMATOGRAPHY CHALLENGES MKE 600 shotgunmicrophone

“If you only buy onemic to improve your audio on your DSLR ormirrorless camera, make it theMKE 400”


distance from the smartphone. You don’t have to worry about keeping the phone near to the mic, as the audio is stored in the mic unit itself. It then automatically synchronises the audio with your smartphone video for bright, clear audio that is significantly better than when you use your device’s in-built mic. It’s ideal for vloggers and home videos, and provides up to four hours of recording from a single charge via the USB port. There’s a simple magnetic clip to fasten it to clothing and it costs just £169.99/$199.95 at MRSP.

Smart devices are capable of amazing results, but their great image quality is often let down by sub-par audio. But high-quality audio for your smartphone recordings are now easier than ever thanks to the revolutionary Sennheiser Memory Mic. The Memory Mic connects to your phone or tablet via Bluetooth, and works with a dedicated app, which is downloadable from the Apple App or Google Play stores. Then simply clip the lightweight mic to clothing and it records audio through its high-quality condenser capsule at any

ABOVE The Memory Mic is perfect for recording high-quality audio on your smartphone




FULL FOCUS ON FESTIVE FILMMAKING AVX digital wireless mic system For the ultimate in wireless audio for your professional cinema camera or recording device, the Sennheiser AVX digital wireless mic system is top of the must-have gift list. Pair it to your camera once and enjoy perfectly levelled sound for all recordings, whether during silent nights or at loud parties! The AVX unit plugs directly into the XLR audio input socket on your camera or recorder and uses phantom And the transmitter can be a lavalier mic plugged into a small body pack or a handheld reporter mic, or both. No need to worry about interference, as the AVX selects the best operating frequency automatically and inaudibly. It operates licence-free in the 1.9 GHz range. It’s perfect for cameras with an XLR socket, but can be used on DSLRs or mirrorless cameras that have a standard 3.5mm input jack, by using the included XLR to mini jack adapter. The kit comes with adapters for mounting the receiver to a hotshoe, too. Various sets let you choose between lavalier mic, handheld mic or both. The AVX-ME2 set is £589/$699 (MRSP) and the AVX-Combo set is £839/$999. power, so it switches on and off automatically with the camera.

For truly professional and cable-free recording, nothing beats a wireless audio system that lets you capture speech with incredible clarity. Put a lapel mic on your subject, or wear it yourself for vlogging, and then stream the audio signal direct to your mirrorless camera or DSLR for the ultimate in convenience and audio quality. And it doesn’t have to be expensive or complicated either – especially if you invest in the Sennheiser XS wireless digital mic system. Just plug it into the camera, pair it with the transmitter and you are instantly AN INSTANT CONNECTION XSWireless Digital mic system

ready for recording with one-touch ease of use. You won’t miss a single moment. It uses 2.4 GHz transmission for global, license-free operation, so you can use it anywhere around the world without worry of falling foul of local radio restrictions. And if you prefer to use this mic with your smartphone, a TRS to TRRS adapter will do the trick. Various sets provide the perfect equipment for the most common

applications. For example the XSW-D portable lavalier set is £289/$349.95 (MRSP).

Shaping the future of audio and creating unique sound experiences for customers is the aim that unites Sennheiser employees and partners worldwide. Founded in 1945, Sennheiser is one of the world’s leading manufacturers of headphones, loudspeakers, microphones and wireless transmission systems. Since 2013, Sennheiser has been managed by Daniel Sennheiser and Dr Andreas Sennheiser, the third generation of the family to run the company. ABOUT SENNHEISER

More information




WORTH £2900/ $3570

Sennheiser’s microphone range is the gift that delivers incredible audio for all filmmakers

The XSW-D Lavalier Set comes with an ME2-II clip-on mic, XSW-D transmitter and receiver, belt clip and charging cable. We’re giving away three, worth £289/$349.95 each. We’re also giving away three Memory Mic kits worth £169.99/$199.95 each, ideal for recording quality audio to your smart device thanks to its clever app. For wiredmics, you can win an XLR shotgun mic, the well-respected MKE 600 with windshield and cable worth £341/$438.90. Prizes also include an ultra-portable MKE 400 with professional accessory set worth £202/$239.90, and a stereo MKH 440 with windshield worth £173/$249.90. It’s the biggest prize bundle we have ever given away, and we will randomly pick from entrants that answer the question below correctly. Good luck!

Every filmmaker knows that top-quality audio is critical, and for excellent kit that’s robust, reliable, easy to use and delivers crystal-clear sound, German specialist Sennheiser is the name to go for. Although the company has a 74-year history, it’s at the cutting edge for what the modern filmmaker needs. We have teamed up with Sennheiser to give away prizes worth a total of £2931.97/£3577.40 to ten Pro Moviemaker readers. The star prize is a wireless AVX Combo Set worth £839/$999. The system fully self- configures and is ready to filmwithin seconds. Its ultra compact receiver fits directly into the XLR audio input of your camera or recording device, or via a mini jack adapter, and it features a bodypack transmitter with lavalier mic as well as a handheld mic plus accessories.

THE PRIZES!  1 x AVX Combo Set £839/$999  3 x XSW-D Lavalier Sets

£289/$349.95  3 x Memory Mic £169.99/$199.95 each

 1 x MKE 600 with windshield and XLR cable £341/$438.90  1 x MKH 440 with windshield £173/$249.90  1 x MKE 400 with professional accessory set £202/$239.90 Total value:  £2931.97/$3577.40

WIN SENNHEISER AUDIO EQUIPMENT Question: What’s the name of the Sennheiser recording device that connects to smart deviceswith its own app? Enter via our website at: Visit to find out more about the company’s remarkable line-up of audio products.





Have your say in the annual Pro Moviemaker Gear of the Year Awards, where the best kit is voted for by real filmmakers

T echnology continues to revolutionise our lives at every level, and there are few places where this is more obvious than in the world of professional filmmaking. Use of clever technology in well-designed and reliable equipment can really have a positive effect on the life of a working filmmaker. And rewarding the companies who are pushing the envelope by making truly impressive equipment and software is what the Pro Moviemaker Gear of the Year Awards are all about. Now in their third year, the awards are firmly established as the Oscars of filmmaking equipment, where only the best and most useful gear is honoured by the very people who use it – working professionals. Obviously the cameras themselves are often the biggest

part of the judging process. We’re calling on you to cast a vote in favour of the products that have made a significant difference to the way you work. Vote for the piece of kit that has opened up new possibilities or made life just a little bit easier for you and your business. Add your feedback to the mix and we’ll be reporting back in the next issue to let the world know who has come out on top in this battle of the best. And this year, we will be awarding six Editor’s Choice awards, too, for equipment we feel deserves special recognition in certain key categories. These are: mirrorless cameras, cinema cameras, audio, support, lighting and the special innovation category. Read on to find out what’s been shortlisted and please do vote and have your say!

film stars in the moviemaking process, and the past year has seen a glut of new launches in all the different categories as well as established gear continuing to give great service. But the cameras are far from the only products that can make a positive impact on the lives of working professional filmmakers. Lenses can make a huge difference to your work, as can everything else, from stabilisers and audio accessories to editing software. The editorial team and gear testers of Pro Moviemaker magazine have pulled together a shortlist of some of the best kit. Some is proven as workhorse equipment that simply delivers, others are new products already having a big impact. But it’s not just our opinion that counts; readers of Pro Moviemaker are the most vital

ABOVE From cameras and lenses to SSDs and mics, check out some of the kit shortlisted in our 2019 awards






SLRs  Canon EOS 5DMark IV  Canon EOS-1D XMark II

 Nikon D850  Sony A99 II


 Sony A7R IV  Sony A7 III  FujifilmX-T3  Olympus OM-D E-M1X  Panasonic Lumix S1  Canon EOS R  Nikon Z 6  Blackmagic Pocket Cinema Camera 4K

It’s been an incredible year for new cameras, with significant new models coming on to the market in the cinema camera, mirrorless and camcorder categories – all crucial kit for working professionals. Full-frame models continue to hit the market, with the benefits of a shallow depth-of-field and incredible low noise from their large sensors. And the race for even more resolution continues to grow, with 5.9K, 6K and even 8K models starting to make an impact. The choice of cameras is growing, especially in the hotbed of innovation that is the mirrorless market, with several exciting new cameras coming out in the past year as well as established models holding their own. Although there is no sign of the long-awaited Sony A7S III, the high-resolution A7R IV and great all-rounder A7 III have won lots of fans. Fujifilm’s Super35-sized X-T3 has also won hearts, even outperforming the X-H1 so-called flagship as a video machine. And fans of Micro Four Thirds cameras have the new

professional-spec Olympus OM-D E-M1X, with its solid build quality and great performance, as well as the Blackmagic Pocket Cinema Camera 4K. This is aimed squarely at filmmaking and records Raw files internally for the ultimate quality – the only camera in this category to do so. But it’s on new full-frame mirrorless cameras that much of the excitement has centred this year, and none more so than the Canon EOS R, Nikon Z 6 and Panasonic S1. All these offer immense spec for the price, and although you may need to invest in new lenses to fit, it feels like the start of a new dynasty from each of these manufacturers. For cinema cameras, there is an equally bewildering choice at a hugely different range of price points. At the very high end of the range comes the Red Monstro 8K VV, the dream buy of many cinematographers who want 8K performance from its huge 41mm wide sensor and can justify the £54,000/$54,500 for body only.

ABOVE 2019 has been a year of innovation in the market, from camcorders to mirrorless cameras


 JVC HC500  JVC HM180  Sony Z190  Sony Z280  Canon XF705

Cinema cameras  Blackmagic Ursa Mini Pro G2  Canon EOS C700FF  Canon EOS C200  RedMonstro 8K VV  Panasonic EVA1  Sony FS5 II  KinefinityMavo LF




“In the all-in-one camcorder category, there continue to be massive strides indevelopment”

crucially, a boost in live streaming capabilities take over. Canon’s XF705 has been a huge hit with its long list of improvements, as has Sony’s power-packed duo of the Z190 and Z280. Meanwhile JVC continues to make huge strides in streaming with its HC500 and HM180. Although there have been no major launches in the DSLR market this year, these cameras remain popular and the Canon EOS 5D Mark IV and 1-D X Mark II, as well as the Nikon D850 and Sony A99 Mark II, are worthy bits of kit. Vote for your favourite.

Pro G2 is a steal, considering its 5.9K performance and Raw recording options. And Raw – albeit Canon’s own Cinema Raw Light compressed codec – stars in Canon’s C200. And the Panasonic EVA1 and Sony FS5 II, which now comes with Raw output and high frame rates as standard, are hugely popular and affordable. Both are capable of incredible performance. And in the all-in-one camcorder category, there continue to be massive strides in development as higher resolution, bigger sensors, improved audio, better codec and

Coming in at a fraction of the cost of the Red is the Kinefinity Mavo LF, a Chinese-made, large- sensor stunner of a camera with the same modular concept as the Red. If you prefer a more traditional- shaped camera with full-frame performance and advanced autofocus, then the Canon C700FF could be the camera for you and is making a huge impact on high-end productions all round the globe. If you don’t need a full-frame sensor, then a Super35 cinema camera is an ideal buy and is available at far more affordable prices. The Blackmagic Ursa Mini





Zoom lenses  Zeiss LWZ.3 21-100mm T2.9-3.9  Sigma 18-35mm T2  Fujinon MKX18-55mm T2.9  Fujinon Premista28- 100mm T2.9  Sony FE 200-600mm f/5.6-6.3 G OSS  Tamron 17-28mm f/2.8  Canon RF 28-70mm f/2  Panasonic 24-105mm f/4  Nikon 24-70mm f/2.8 S Prime lenses  Zeiss CP.3 XD 50mm T2.1  Sigma Cine 40mm T1.5  Canon Sumire Prime CN-E50mm T1.3  Samyang 14mm f/2.8 Z  Tokina Firin 20mm f/2  Voigtlander 110mm f/2.5 Macro  Sony 600mm f/4 GM OSS  Irix 150mm T3 Cine lens Lens accessories  Vocas MB-256 matte box  Vocas Canon R-mount to PL adapter  Vocas 5-Axis Diopter  Fujinon OptMag TL-OMFF full-frame lens adapter  SLR Magic Anamorphot adapter  Formatt-Hitech Firecrest ND filter  Tiffen Natural ND filter  Tiffen DJI Osmo Action filters  Schneider-Kreuznach True Streak filter  Sigma 50mm f/1.4 Art  Canon RF 50mm f/1.2

LENSES “Invest in glass” is an old maxim, and it’s as relevant today as ever. Good lenses can last a lifetime, hold their value and best of all, make a huge difference to your films. And with the most popular cameras being mirrorless or cinema cameras with interchangeable lenses, a clued-up filmmaker can buy wisely

breathing, but DSLR or mirrorless style lenses can have advanced autofocus and image stabilisation. With emerging lens mounts such as Nikon Z, Leica L to fit Panasonic and Sigma, Canon R and Fujifilm X, there is a whole range of new optics coming on to the market. And some, like the Canon 28-70mm RF, have an incredibly fast f/2 maximum aperture. Canon has introduced the Sumire Prime range of lenses with a unique, vintage character; and unusually for Canon, they come in the cinema standard PL mount. Don’t forget the accessories that can make a big difference to your glass’s usability. Vocas has some great kit including the new 5-Axis Diopter adapter, as well as the MB- 256matte box. Filters are essential and youmight wish to vote for something fromTiffen, Schneider- Kreuznach or Formatt-Hitech, while the SLRMagic Anamorphot adapter gives the stylish cinemascope look at affordable money.

IMAGES A good lens will hold its value and make a world

of difference to your filmmaking

and use the lenses on a range of cameras with different mounts. Many love the look and feel of prime lenses, with the advantage of a fast maximum aperture to give a pleasing shallow depth-of-field effect when you want it. Primes can be autofocus, but many filmmakers love the feel of proper manual-focus cine lenses with their lack of focus breathing and precise focus control. And they can be very compact. Equally, many swear by zoom lenses for their framing flexibility despite their smaller maximum aperture. And they can replace a set of primes. Proper cine zooms are parfocal and have little focus





Tripod systems  Miller CX2 solo 75 3  Manfrotto 546GBwith Nitrotech N12 head  Manfrotto BeFree Live carbon  Manfrotto Hybrid 500  Sachtler Flowtech 100  Benro Video Tripod and BV10 head  Kenro Twin Tube Video  Vanguard Alta Pro 2 263CV Monopods  Manfrotto XPRO Four Section VideoMonopod  Libec HFMP  Benro A48 FDS4monopod kit  SteadicamAir 15  Camgear V10P  Libec TH-Z T

 Manfrotto 60cmcamslider  ProMedia Gear VS24 PMG- DUO  WaterbirdMS120 Pro Slider  Syrp SYRP-KIT-0020  Libec ALX S4  Kessler Cine Slider 3ft Rigs  Wooden Camera Shoulder Rig V2 premium (wooden grip)  Vocas Handheld rig  Shape FS5 Shoulder Mount  Zacuto Indie Recoil Rig  Hague PS Pro Steadymount  SmallRig Advanced Universal Shoulder Pad kit

Stabilisers/gimbals  Feiyutech AK2000  DJI Osmo Pocket  GlidecamHD-Pro  Zhiyun Crane Plus  GudsenMoza Air 2  Benro Reddog R1  DJI Ronin SC

 Vanguard VEO AM264TV  Kenro VideoMonopod kit

Sliders  Kenro Double Distance slider  Hague Reach 500  Ikan SLD-31


market this year at prices to suit all budgets. The DJI Ronin SC motorised gimbal is packed with tech at a price that’s shockingly affordable, while the humble slider gets a makeover with Kenro’s similarly great-value Double Distance slider. With top-notch kit from the likes of Miller, Manfrotto, Libec, Steadicam, Kessler, Vocas and lots more all making their mark, have your say on the best in the business.

A great camera and lens are only the start of the kit you need for stunning movies. How you move your camera, rig it up or keep it locked in place is a crucial part of filmmaking. Everything from sturdy tripods to the latest high-tech motorised gimbals, sliders and more, this is the kit that all professionals need to own. Innovation in these categories continues at a fierce pace with lots of new products hitting the

“How youmove your camera or keep it locked in place is a crucial part of filmmaking”



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