WINTER 2019
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 mattsnow@bright-publishing.com Advertising manager Krishan Parmar 01223 499462 krishanparmar@bright-publishing.com 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.
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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.
ADAM DUCKWORTH, EDITOR IN CHIEF
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WINTER 2019 PRO MOVIEMAKER
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