Pro Moviemaker November/December 2021 - Web

Pro Moviemaker magazine is the essential read for professional filmmakers everywhere every issue we bring you the latest news, how-tos and lots of equipment tests along with real-world buying advice. The latest issue is packed with lots of the very latest equipment as a glut of manufacturers unveil their latest and greatest new gear. We try out the 8K cinema camera from Kinefinity, take a look at equipment to help you shoot the latest down-the-lens interviews and check out lots of different tripods in our special Buyers Guide. And it’s your final chance to vote in the annual Pro Moviemaker Gear of the Year awards. It’s the annual event to honour the very best in filmmaking hardware, software and services. Along with tests on lots of kit like the new Atomos Ninja V+ and an affordable matte box plus two very different monopods, it’s an essential read!

Motorised monopod, monitor, matte box & more tried out LOADS OFKIT PUTTOTHE TEST

AWESOME OPTICS Glass from Sigma, Tamron, Canon & Leica

INTERVIEW ESSENTIALS The bold new way of shooting talking heads

NOVEMBER/DECEMBER 2021 @ProMoviemaker £5.49

Hands-on with Panasonic’s full-frame BS1H BOXING CLEVER FIRST LOOK



9 772059 779015


Last chance to vote in Pro Moviemaker’s Gear of the Year Awards MAKEYOUR MIND UP! VOTE NOW

The EOS R3 is the mirrorless we’ve been waiting for CANON GOESPRO FULL SPEC

Fujifilm’s new medium format GFX Lacie’s affordable SSD drives Money-making stock market from Pond5

The ultimate magazine for next generation filmmakers

Editor in chief Adam Duckworth Chief sub editor Alex Bell Sub editors Matthew Winney, Harriet Williams EDITORIAL ADVERTISING Group ad manager Sam Scott-Smith 01223 499457 Senior account manager Emma Stevens 01223 499462 DESIGN Design director Andy Jennings Design manager Alan Gray Senior designer Lucy Woolcomb Middleweight designer Emily Lancaster Designer Emma Di’Iuorio Designer and ad production Man-Wai Wong Junior designer Hedzlynn Kamaruzzaman PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:

SPECIAL 8K The Kinefinity Mavo Edge 8K is just one of the new cameras that we’ve looked at this issue

Convergence was a buzzwordmore than a decade ago, when the Canon EOS 5DMark II brought HD video to a full-frame stills camera, allowing one image maker to shoot photos andmovies. Nowadays, convergence is as relevant as ever, because somany cameras borrow the best technology from each other. That hit home when putting together this issue of Pro Moviemaker , as a lot of very different cameras have been launched, yet they share many of the same innovations. The Kinefinity Mavo Edge 8K has a large, full-frame sensor – like the majority of the mirrorless and high-end cinema cameras from the big Japanese, European and American brands. US brand Red has launched its large-sensor 8K cinema camera: the V-Raptor. It is cheaper than its current 8K cam range. This beauty can record full Raw files internally, but now uses a Canon RF lens mount to enable on-sensor phase detection autofocus. Internal Raw shooting, plus this RF lens mount and AF technology, also stars in the professional full-frame Canonmirrorless camera, the EOS R3. This camera is packed with the latest tech, such as eye-controlled AF, blackout-free viewing and a very Sony-like multi-function hotshoe. It also features Canon’s legendary Dual Pixel CMOS AF. And that systemhas now found its way onto a Canon camcorder for the first time, including the awesome Eye-Detection AF, that makes somuch sense for ENG users. The new XF605 has a large 1.0-type sensor, 4K/60p 4:2:2 10-bit recording and 120p for slowmotion. Plus, it’s got in-body image stabilisation, dual SD card slots and lots of streaming options. When it comes to streaming, Marshall’s CV568Mini and compact CV368 Global Shutter Cameras are box-style and built for remote-control. Panasonic also followed a box camera design with its BS1H. But, instead of a smaller option, it uses the full- frame sensor of the S1H, which even got approval for Netflix movies. So, the BS1H can produce the very best in cinematic quality, up to 5.9K and 3.5K anamorphic, as well as outputting a Raw signal – all from a small unit built to be remotely controlled. That’s the performance you’d expect fromhigh-end cinema cameras! With such a huge choice of these new cameras, as well as the existing ranges from many manufacturers, it’s definitely a golden age for camera technology. Just pick wisely – and that’s why we are here to help, with honest insight and kit reviews. We’ve already tested some of the recently released equipment, which you can read about here. And you can bet we’ll be bringing you full tests of all the newest gear, as soon as we get our hands on it. Enjoy the issue.

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 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

NOVEMBER/DECEMBER 2021 CONTENTS AGENDA 6 THE 8K RED V-RAPTOR BREAKS COVER It’s the hottest new cinema camera from the legendary American brand. Shooting in 8K, it has advanced AF and is more affordable than any other flagship Red. 8 CANON FINALLY DETAILS THE EOS R3 Canon has been teasing the full-frame mirrorless for months – and it’s finally here. Check out the awesome spec of this stacked-sensor beauty! 10 IT’S A CAMCORDER CORKER The Canon XF605 might not officially be the firm’s camcorder flagship, but it has spec that surpasses


the others in its class – all at a great price. 12 PANASONIC IS BOXING CLEVER

It’s the new Lumix Cube box camera that uses the same sensor and spec as the Panasonic S1Hmirrorless flagship,

housed inside a small, yet potent body. 14 MIRRORLESS LENS FEST!

Check out the new, value-for-money glass for Nikon’s Z-series mirrorless and the Sigma super-telephoto. Plus, some disappointing news about the NAB expo in Las Vegas. 16 FUJIFILM HITS THE BIG TIME AGAIN Enter the world of large-sensor filmmaking with the GFX50S II. Manfrotto’s Move technology, a Lowepro bag, Tamron’s E-mount lens and more new kit. 18 MAKE MONEY FROM THE STOCK MARKET Pond5 reveals a great new way to make even more money from your stock video footage, plus some speedy memory cards and Marshall’s new cameras. 21 WIRELESS RANGE MASTER The Teradek Bolt wireless video transmission system gets a boost in range, ProGrade Digital launch a Sony-compatible memory card and Agile’s new future.

22 SPEEDY SSD DRIVES FROM LACIE A pair of high-performance SSD drives from hard drive expert Lacie, a fast Panasonic lens revealed and some top-value monitors from AOC. 24 TWO FRESH LEDS FOR ROTOLIGHT British lighting giant Rotolight takes the wraps off a pair of LED fixtures, Leica unveils a lens series in honour of a WWII hero and Roland reveals a new streamer.


Last chance to have your say and vote for the equipment, software and service providers in the annual Pro Moviemaker Gear of the Year Awards 2021. Check out the shortlist and cast your vote to decide who wins in the Oscars of filmmaking kit.



Think you know how to shoot talking-head interviews? It might be time to think again, as the new trend for down-the-lens shots is gathering pace. We look at why – and how to do it – and the cool equipment you should invest in.




The ultimate magazine for next generation filmmakers


We put loads of the latest kit to the Pro Moviemaker test each issue. This time, it’s the Atomos Ninja V+ monitor/ recorder, some cool cable keepers, a motorised hybrid slider, light monopod, matte box, Lexar SSD and more. 68 TO KINEFINTY AND BEYOND! The Chinese-made Mavo Edge 8K is put through its paces and passes with flying colours – thanks to awesome image quality, solid build and lots of high-tech design touches, setting it apart from its pricier rivals. 78 BUYERS’ GUIDE: TRIPODS It’s the most essential of filmmaking accessories and there’s such a wide choice, too. We take a look of some

of the very best tripods on the market to suit all different types of users, cameras and budgets.






Komodo gets a big brother Red’s 6K camera is joined by its new sibling, the V-Raptor 8K VV

R ed has revealed the V-Raptor 8K VV, a big brother to the Komodo Super 35 camera, and the first in the next-generation DSMC3 series. It features the highest dynamic range, fastest cinema-quality sensor scan time, cleanest shadows and highest frame rates of any camera in Red’s line-up. Perhaps the most interesting factor is the price, which undercuts not only similar high-end cameras from rival manufacturers, but also Red’s current DSMC2 series. Priced at £21,480/$24,500 for this limited-edition, all-white ST launch version, it’s around half the price of a 6K Sony Venice, 4.5K Arri Alexa Mini LF,

Red’s latest IPP2 workflow and colour management tools. Like the Komodo, the V-Raptor uses a new, integrated body. It offers professional I/O, including two 4K 12G-SDI outputs, XLR audio with phantom power capability via an adapter, and built-in USB-C interface. This allows for remote control, ethernet offload and more. The body is a compact and rugged unit, resistant to water and dust, which measures 152.4x108x108mm and weighs 1.83kg/4.03lb. A Canon RF lens mount has a locking mechanism, allowing on-sensor phase detection autofocus – a first in a large- sensor Red camera. Canon EF lenses can be used with a mount adapter, or other mounts with a suitable RF adapter.

the end of 2021. Red also announced a forthcoming XL camera body, ideally suited for studio configurations and high- end productions, will be released in 2022. The V-Raptor has a 35.4-megapixel CMOS sensor, measuring 40.96x21.6mm, with the ability to deliver 8K large format or 6K Super 35. It can shoot 8K full sensor at up to 120fps or 150fps with a 2.4:1 crop. It records 6K up to 160fps, or 200fps at 2.4:1. And in 2K 2.4:1, it shoots at an astounding 600fps, while still capturing over 17 stops of dynamic range. That’s faster than the Monstro at all settings. Like other cameras from the American company, the V-Raptor uses Red’s own Redcode Raw codec, allowing 16-bit Raw capture – and is perfectly compatible with

or Red’s own 8K Ranger Monstro. A standard black version will be available in larger quantities before




There is a newly designed and easy- to-navigate integrated display on the side of the camera, which allows for comprehensive control. This includes in-camera format selection, customised buttons and status updates. As with the Komodo 6K, the V-Raptor uses the new Redcode Raw settings of HQ, MQ and LQ to balance file size with quality. While the Komodo records to CFast 2.0 cards, the V-Raptor uses CFexpress to capture data rates of up to 800MB/s. The camera comes with a small fan to cool the sensor, an integrated Micro V-Mount battery plate, and wireless connectivity via the free Red Control app – which is available for both iOS and Android devices. While DSMC2 series cameras require the more expensive Redmag media, plus V-Mount plate and a back with I/O options – bumping up the price somewhat – the

V-Raptor model has all of these features as standard. But, much like the older series, you will need to budget for a monitor. There is a new £2760/$2750 DSMC3 Red Touch 7in LCDmonitor available to go with this latest camera, powered by SmallHD PageOS firmware. And there’s also the Wing Grip rig and Red-branded CFexpress media, which was developed in conjunction with Angelbird. A Starter Pack is available, including the newmonitor, a Pro CFexpress 660GB card and reader, two Wing Grips, and a Compact Dual V-Lock Charger. This can all be yours for £25,680/$28,500. Later this year, a Production Pack option will be available. This will include everything from the Starter Pack, plus an additional Pro CFexpress 660GB card, four Mini V-Lock 98Wh batteries, a top plate with battery adapter, an I/O expander module, top handle, quick-release tripod platform, side grips, DSMC3 Red 5-Pin to Dual XLR Adapter – and more. No prices have yet been revealed. An RF-PL mount adapter, with electronic ND filter, will also be out soon. Founder of Red, Jim Jannard, says: “We will be introducing yet another groundbreaking camera into the market. It is simply part of our DNA to continue the brand’s legacy of disrupting the industry, and providing filmmakers with the most advanced tools possible – to unleash their wildest creative ideas, without ever compromising.”

WHY IS RED SO REVERED BY FILMMAKERS? Californian brand Red is one of the pioneers of high-end cinema cameras, known for incredible colour science, high frame rates and use of Rawvideo for the ultimate quality. Started in 2006, Red launched the Red One 4K digital cinema camera. Two years later came the DSMC (Digital Still and Motion Camera) system, that allowed the same camera to be used to shoot feature films, TV shows, commercials and music videos – as well as stills for magazine covers like Vogue and Harper’s Bazaar . Nowadays, stills-and-video hybrid use is not common, as Reds are being used on some of the most-lauded movies and episodic series, including award-winners The Queen’s Gambit and Our Planet . Red’s current DSMC2 line-up offers four sensor options in full-frame and Super 35 sizes, from 5K to 8K. All cameras have a modular, compact and lightweight design. The Ranger system provides an integrated, all-in-one configuration with different sensor options. The Komodo 6K uses a global shutter sensor to eliminate rolling shutter issues. It is the cheapest ever Red, at £5940/$5995.

BIG BOY The new V-Raptor has a large sensor – and is made to be kitted up with accessories like the new DSMC3 Red monitor




Canon’s 6Kpro mirrorless

A fter months of teasing, Canon has finally unveiled the full details of its first truly pro-spec, full-frame mirrorless camera: the EOS R3. And, although focused towards sport and wildlife stills, it is also packed with filmmaking tech, meaning it’s the best in the range for making movies – as long as you don’t need 8K. It does shoot 6K/60p, though. The £5879/$5999 EOS R3 uses a fully pro-style body, with dual card slots and an integrated vertical grip, like the EOS-1 pro DSLR series. It has a brand-new, 24.1-megapixel, back-side illuminated stacked sensor for blackout-free shooting. And it’s the first camera manufacturer to follow Sony’s lead by using stacked technology. This gives a superfast sensor readout, enabling zero viewfinder blackout, fast frame rates in stills and video, and virtually no rolling shutter artefacts – along with quick autofocus and autoexposure. For stills, this new tech gives a shutter speed of up to 1/64,000sec, continuous shooting at up to 30fps, with AE and The long-awaited EOS R3 is finally revealed – and doesn’t disappoint Canon has revealed a pair of affordable lenses: the RF 16mm f/2.8 STM and RF 100-400mm f/5.6-8 IS USM. The £320/$299 RF 16mm f/2.8 STM is not a fisheye, but a very wide-angle prime – ideal for architecture, interiors or landscapes. It also has a 13cm/5.1in minimum focusing distance. A Stepper Motor (STM) ensures smooth focusing, and the control ring can be assigned to adjust focus manually, or adjust a variety of shooting settings. The £700/$649 RF 100-400mm f/5.6-8 IS USM long-range zoom features a modest maximum aperture range, to keep weight down.

as a new Flexible Zone. This allows users to select the size and shape of the Zone AF area – and it can focus in light as low as -7.5 EV. The camera offers not only two manual control joypads to select the AF point, but all-new Eye Control AF, too. This moves the focus point to where the photographer is looking in the viewfinder. However, it seems this does not work for video – which is a real shame. It also has five-axis in-body image stabilisation, which can combine with optical stabilisation in selected RF lenses, to offer shake resistance up to eight stops. For video use, the new camera does not have 8K shooting like the EOS R5, but does not have its overheating problems, either. The EOS R3 captures 6K/60p footage in Raw only, allowing exposure and white balance corrections post-capture. Two Raw settings are available: uncompressed

AF tracking – even when shooting Raw files. It also offers compatibility with both Canon and third-party flashes. Canon has introduced flicker detection and a high- frequency anti-flicker shooting mode, to correct unstable light and prevent banding, colour or exposure issues. Canon claims the EOS R3 is its fastest mirrorless for focusing, which takes just 0.03sec. It uses the latest version of Dual Pixel CMOS AF II with an improved deep learning algorithm, offering AF tracking for human and animal eye, body and face detection – as well as human head detection in both stills and videos. Designed with motor-sport shooters in mind, Canon has introduced a vehicle tracking function for motorbikes, open cockpit, GT and rally cars – with the ability to prioritise the vehicle or the driver’s helmet. Eye, face, head and body detection are now available in all AF modes, as well It has an updated Nano USM focusing motor. The image stabiliser works with coordinated IS for EOS R series bodies, up to six stops of correction. The lens features an ultra-low dispersion element to reduce colour fringing and chromatic aberrations. And an aspherical element helps boost sharpness and minimise distortion. It has an 88cm/33in minimum focusing distance at the 200mm position, and 0.41x maximummagnification at the 400mm end. It is also compatible with


the Extender RF 1.4x and RF 2x teleconverters for greater reach.




“The EOS R3 captures 6K/60p footage in Rawonly, allowing exposure andwhite balance corrections”

has instead partnered with Tascam to launch the CA-XLR2d-C adapter, which enables two-channel recording with XLR microphones. Hopefully, this means other manufacturers will be able to launch similar wireless audio products using the Multi-Function Shoe. The camera has Bluetooth 5.0, 5GHz Wi-Fi and a built-in Gigabit ethernet port for high-speed connection. It can be remotely controlled from a mobile device, using the Canon Camera Connect app – or with the Browser Remote function via ethernet connection. A new smartphone holder accessory for the EOS R3, the Smartphone Link AD- P1, allows an iOS or Android device to be mounted on top of the Multi-Function Shoe Adapter – and transmit images via a new app. The Canon Camera Connect app enables firmware to be updated via phone – a first for an EOS camera. Canon developed the blackout-free, 5.76 million dot electronic viewfinder, with low lag and refresh rate of up to 120fps – rivalling an optical viewfinder. The shutter lag can be reduced to 20ms – less than half that of a conventional camera, for near-instant capture. There is a high-resolution, vari-angle, 4.1 million dot touchscreen, which is ideal for video use. The camera uses the same

for maximum quality and compressed CRM for smaller files. To shoot in a non-Raw codec, the camera maxes out at 4K from the whole sensor. At up to 60p, this is oversampled from 6K for the highest quality. It can also record 4K/120p footage for slowmotion. Raw, and the fastest frame rates, can only be recorded to a CFexpress Type B card. The MP4 files are all 8-bit H.264, unless you choose Canon Log 3, then it can be set to 10-bit H.265 or 10-bit HDR PQ. There is no Raw output over HDMI, like there is on the EOS R5. To reduce the file size and speed up workflow, CRM or MP4 footage can be recorded in All-I, IPB or the smaller IPB light option. Dual card slots include a UHS-II SD card and a CFexpress slot to simultaneously record to both cards in MP4. The camera can record up to six hours of regular video, or 1.5 hours at high frame rates. Also following Sony’s lead is the all-newMulti-Function Shoe, which allows communication between the camera and accessories without use of a separate lead. This is compatible with the recently launched Directional Stereo Microphone DM-E1D, which is powered via this fresh innovation. While Sony keeps tight hold of its Multi Interface Shoe technology, Canon

LP-E19 battery as the EOS-1D X Mark II and Mark III. The EOS R3’s lightweight, dust- and water-resistant magnesium body is built for use in harsh conditions. Weather resistance can also be maintained when using existing Speedlites, by connecting them to the Multi-Function Shoe Adapter AD-E1. The EOS R3 also powers the new, compact Speedlite Transmitter ST-E10 through the Multi-Function Shoe.

PROFESSIONAL BODY The new Canon has some great features, including an integrated grip with vertical controls – much like the EOS-1 series of DSLR cameras – but also a fold-out screen that’s ideal for making movies





Next-generation XF camcorder

Canon’s new XF605 portable camcorder takes lots of features from the best cinema and mirrorless cameras, and packs them into a compact, all-in-one package – ideal for news gathering, event coverage and live streaming. At £4320/$4499, it’s miles cheaper, 10% smaller and 30% lighter than the flagship, £5999/$6999 XF705. And it has newer features in some key areas. The XF605 is the next generation in Canon’s XF series, with 4K 60p/50p 4:2:2 10-bit image quality and FHD up to 120p. It has a relatively large 1.0-type CMOS sensor, Digic DV7 processor, custom picture options, Canon Log 3 and user- created LUTs. It uses the same five-axis image stabilisation system found in Canon’s XF and XA series, for smooth handheld

footage. There are four IS options available – by combining settings in Standard, Dynamic and Powered IS – to be used in different shooting situations. The lens is a 15x optical f/2.8 zoom, with an equivalent 35mm focal length range of 25.5-382.5mm. There are three control rings and built-in ND filters, too. It can record in MP4, or XF-AVC in MXF for broadcast use. It has 12G SDI and HDMI outputs, and a high-sensitivity mode for use in extremely low light. The XF605 uses Canon’s Dual Pixel CMOS AF. This brings eye detection AF, and Canon’s EOS iTR AFX intelligent head detection and tracking functionality to the XF series for the first time. This is designed to maintain sharp focus on a subject, even if they turn away from the camera. A new

PRO CONNECTIONS With dual XLR inputs and a lot of I/O options, the new Canon is built for broadcast

direct-touch user interface allows quick selection of the target, as well as use of on-screen settings, menu navigation and playback control. The system is based on the latest version, as used in the EOS C70 cinema camera. The XF605 also has the newmulti- function accessory shoe, the same as the recently revealed EOS R3 flagship mirrorless camera. This accepts the CA- XLR2d-C high-definition microphone adapter from Tascam. The adapter makes it possible to assign XLR inputs to all four of the XF605’s audio channels, meaning greater flexibility when capturing sound. The camera can also record audio separately to a memory card, with a WAV file – ideal for using transcription or translation apps. The camcorder has IP live streaming that supports multiple protocols, remote control for multi-camera operation – alongside Canon’s PTZ range – and the addition of the UVC for simple webcam use via USB-C. Streaming is in HD, while for 4K you need to go with the XF705. With dual SD card slots and multiple filming options, it can simultaneously record different file formats, resolutions, colour sampling and proxies to separate cards. It is also possible for the image to be synchronously output to both 12G SDI and HDMI connections, which can be fed into any combination of monitors and broadcast systems, to support both live and pre-recorded workflows. The XF605 is compatible with Canon’s new Content Transfer Mobile (CTM) app, allowing editing of news metadata both pre- and post-capture. It enables footage to be imported from the camera to a smartphone, for instant transfer to broadcast station servers.

LIVE STAR The new Canon is the first XF camera with eye detection AF – great for live streaming


aberrations and other effects that diminish image quality. Weighing 2.94kg/6.48lb, the 10x optical zoom ranges from 16-160mm with a constant f/2.8 aperture. No price or availability details have been revealed.

High-resolution 8K production is the target market for Canon’s new 10x16 KAS S 1.25-inch broadcast lens. Equipped with special glass elements, such as fluorite, Hi-UD and wide-diameter aspherical, the 10x16 KAS S helps reduce chromatic aberrations, spherical



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URSA Mini Pro 12K is a revolution in digital film with a 12,288 x 6480 Super 35 sensor built into the award winning URSA Mini body. The combination of 80 megapixels, new color science and the flexibility of Blackmagic RAW makes working with 12K a reality. URSA Mini Pro 12K features an interchangeable PL mount, built in ND filters, dual CFast and UHS-II SD card recorders, USB-C expansion port andmore. Digital Film in Extreme Resolution URSA Mini Pro 12K gives you the benef its of shooting with f ilm including amazing detail, wide dynamic range and rich, full RGB color. Incredible definition around objects makes it ideal for working with green screen and VFX including compositing live action and CGI. Super sampling at 12K means you get better color and resolution at 8K as well as smooth antialiased edges. Cinematic 12K Super 35 Sensor The URSA Mini Pro 12K sensor has a resolution of 12,288 x 6480, 14 stops of dynamic range and a native ISO of 800. Featuring equal amounts of red, green and blue pixels, the sensor is optimized for images at multiple resolutions. You can shoot 12K at 60 fps or use in-sensor scaling to allow 8K or 4K RAW at up to 120 fps without cropping or changing your field of view.

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Lumix cube The new Panasonic BS1H box camera uses the same sensor tech as the legendary full- frame S1Hmirrorless

T ake the guts of the full-frame Panasonic Lumix S1H and repackage it into a modular, box-style camera, and you pretty much have the new Lumix BS1H. It uses the same 24-megapixel full-frame sensor with Dual Native ISO technology, can record in 6K, has impressive low-light performance, a wide dynamic range of 14+ stops, V-Log and more. The £2999 BS1H brings high connectivity for remote shooting or streaming. This allows the camera to be built-up as lean as possible for use in tight locations – or rigged up like a full cinema camera. Panasonic also claims there is a consistent look when the camera is mixed with the S1H or the BGH1 Micro Four Thirds box-style camera, to speed up post-processing. With a resolution of 6024x4016 pixels, the BS1H sensor uses an OLPF (Optical Low Pass Filter) to suppress moire and false colour. The Dual Native ISO technology chooses the optimal circuit, according to

optimum for colour, and achieves a colour space that is wider than BT.2020. In addition to HDR video recording, the camera records video with a designated gamma curve, compatible with BT.2100, and a user can now choose Hybrid Log Gamma (HLG) in Photo Style. This latest Lumix also provides real- time subject detection, with an advanced deep learning technology to set precise focus on the target subject – even if they are moving fast. V-Log or V709 is selectable on the external Live Viewmonitor through SDI during Raw output, too. Shooting assist functions – including V-Log View Assist, waveformmonitoring, vectorscope, luminance spot metering and zebra pattern – can be used during Raw output. For slowmotion, Variable Frame Rate enables recording of overcranked or undercranked video in C4K/4K to 60fps, and in FHD to 180fps. The minimum frame rate for quick motion video is 2fps. In addition, High Frame Rate video with sound is also recordable, even when using autofocus. The BS1H provides an IP live streaming, over a wired LAN. It can stream 4K/60p or

sensitivity, before gain processing. With signal processing by the Venus Engine, it delivers a maximum ISO of 51,200, with minimum noise. The camera can record in 6K/24p, 5.4K/30p in the 3:2 aspect ratio, or 5.9K/30p in 16:9. It also provides 10-bit 60p 4K/C4K HEVC video recording when using the image area equivalent to Super 35. The 4:2:2 10-bit 4K/30p is recordable in H.264 at its full area. The BS1H can output 4:2:2 10-bit 4K 60p/50p via HDMI. And thanks to excellent heat dispersion, there is unlimited video recording in a variety of formats, including 4:3 anamorphic mode. The aluminium and magnesium-alloy body dissipates heat well, and is built to be light and durable. There are also two options for Raw workflow. The box-fresh BS1H can output 5.9K, 4K or 3.5K anamorphic as 12-bit Raw video data, which can be saved as Apple ProRes Raw on the Atomos Ninja V, or Blackmagic Raw on the Blackmagic Video Assist 12G HDR monitor/recorder. The BS1H contains V-Log/V-Gamut capture to deliver a high dynamic range of more than 14 stops, as well as a wide colour gamut. This V-Gamut is the BS1H’s

NO RIG REQUIRED! The new Lumix BS1H has lots of mounting holes, so accessories bolt right on




“The Lumix also provides real-time subject detection, with an advanced deep learning technology to set precise focus on the target subject – even if they aremoving fast”

50p video in H.265. This uses half the bit rate, while keeping the image quality the same as H.264, or by using the same bit rate for higher quality. Streaming in 4K at low bit rate is possible, even where the bandwidth is not huge. In addition to a USB 3.1 Type-C connection, the BS1H is equipped with a 3G-SDI and HDMI Type-A terminal, which can be used for simultaneous output. Genlock In and Timecode In/Out functions allowmulti-angle synchronised video recording. When connected to LAN, Power over Ethernet+ (PoE+) protocol makes it easy to install as a single cable, which can power the camera and stream the live feed. The camera comes with a double SD card slot for backup or relay recording. And when used with Panasonic S series lenses, with image stabilisation, this works with the camera’s own IS for smoother shots. It also has tally lamps front and rear, a network connection lamp and five function buttons. There is a 3.5mm audio jack, and the camera is

compatible with Panasonic’s DMW-XLR1 XLR adapter. The camera can be remotely controlled via a basic generic unit with a 2.5mm jack. But 2.4GHz Wi-Fi connectivity and Bluetooth 4.2 allow wireless freedom, via the free Lumix Tether for Multicam and Lumix Sync apps.

BOXING CLEVER The new Lumix can be rigged up for different uses, with an XLR mic adapter and Ethernet, or a monitor on top

HANDS ONWITH THE BOX-FRESH LUMIX The new Panasonic BS1H arrived the daywe went to press on this issue of Pro Moviemaker,

to make it into the sort of camera you want – a bit like a mini Red cinema camera. It can be controlled via an app, but getting the app to work, you have to link a smartphone to it. So, as there is no LCD screen at all, you can’t do this until you plug in an external monitor to pair up a smartphone. After that, use a smartphone and the Lumix Sync app to see what you are changing, and what the camera is seeing. We preferred using the camera with an Atomos Ninja V, which just plugged into the HDMI – it worked instantly. The control dials then change settings, navigate menus and monitor the footage. If you use a recorder, it can make a copy to the camera’s internal memory cards. For handheld, you’d want to bolt on some sort of grip or top handle. It’s more useful as a tripod or gimbal-mounted camera, where its light weight and small form pay dividends. If you use the camera in manual mode, sadly there are no ISO, aperture and shutter speed dials, like you’d find on most cameras. The quick menu button lets you access and

but we managed to get a quick hands-on try-out with the camera. We already have experience with the MFT version, the BGH1 boxcam. And, like that camera, the new BS1H can be rigged up for a multitude of uses. But as it also has the immense, Netflix-quality output of the S1H, it can be pressed into action for the most high-end productions. It’s set up for streaming, of course, but it almost seems a bit of a waste to use a 6K full- frame camera for that. It’s far more useful being thought of as a modular cinema camera you can hide in tight places, then use remotely – or rig-up with monitors and a follow focus to turn into a ‘real’ cinema camera. The beauty is that it can be used for all these things. Prettymuch the only thing it isn’t great at, is as a walkaround hybrid ENG to shoot stills and video. The BS1H is essentially a cube with a lens mount on the front, a sensor inside and connectors on the back. You use the ¼-20 threaded holes to add the accessories you need

alter these settings, and others. It makes the camera slower to use than the conventional S1H. Essentially, it takes time to get used to the handling of a box camera with no external dials. The camera is powered by external batteries, which don’t come with the body. Or by the included AC adapter or Power over Ethernet+. We had a look at some sample footage and it was much like the S1H. That’s to say, it’s incredible quality, with natural colours and low noise. We’ll report all our findings in the next issue, when we’ve fully tested the camera.





Sigma’s sporty superstar

Lens pioneer Sigma has revealed the first in its Sports line, designed for full-frame mirrorless cameras: the £1200/$1499 150-600mm f/5-6.3 DG DN OS. As a sports lens, it has a rugged build quality and fast AF. It can be used with Sigma’s 1.4× and 2× L-Mount teleconverters, with AF effective up to 1200mm. The lens is also available in Sony E-mount. The AF is speedy and accurate, thanks to a high-precision magnetic sensor, combined with image stabilisation effective to approximately four stops. Its construction of 25 elements in 15 groups includes special types of high-performance glass, to ensure control of different aberrations. This gives images clear detail throughout the entire zoom range. The lens was designed with image quality in out-of-focus areas in mind – with beautiful bokeh and attractive compression. At the wide end, it has a minimum focusing distance of 58cm/22.8in. There is a focus limiter switch offering three-zone AF modification, which helps to speed up AF performance. On the L-Mount, it is possible to set a custom focusing limit via the Sigma USB dock. The lens also has three AFL buttons, to which you can assign various camera functions. A Zoom Torque switch lets you change the resistance of the zoom ring and lock it at the wide end, to eliminate zoom creep. On the lens body, there is a magnesium tripod socket attachable to an Arca-Swiss- type clamp. The foot is removable, replaceable with an optional lens foot or mounted on a monopod.

Users of Nikon mirrorless cameras have a new compact lens option: the Nikkor Z 40mm f/2. Costing just £249/$299, it’s a bright, standard prime lens with a natural angle of view – ideal for interviews and how-to videos. Without a big lens in their face, a subject should feel more comfortable, says Nikon. The wide Z mount combines with a large f/2 maximum aperture to deliver great low-light performance. The rounded, nine-blade aperture enables soft, natural-looking bokeh. The minimum focusing distance is just 29cm/11.4in. Focusing is fast, accurate and silent; perfect for video. Focus breathing is dramatically reduced – adjust without affecting the shot’s angle of view. The silent control ring governs focus, aperture, exposure compensation or ISO. And the lens is sealed, protecting it fromdust and water droplets. LIGHTWEIGHT NIKON Z MOUNT OPTIC


The NAB Show at Las Vegas in October has been cancelled, due to worries over safety during the pandemic. It has been moved to 23-27 April 2022. Chris Brown, fromorganisers the National Association of Broadcasters, said: “For more than a year we have worked tirelessly to bring our industry together safely in Las Vegas at NAB Show. Unfortunately, the pandemic and surge of the Delta variant has presented unexpected, insurmountable challenges for our global community. “With the best interest and safety of the industry as our priority, we can no longer effectively host the NAB Show this year.”

The lens body uses parts made of aluminium and TSC (Thermally Stable Composite) polycarbonate – which has a thermal expansion rate similar to that of aluminium. This ensures that the lens behaves consistently across a variety of

different temperatures.

EXTRA VALUE The large Sigma lens is supplied with a deep lens hood and tripod foot




Move it with Manfrotto

I talian tripod giant Manfrotto revealed its innovative Move quick-release modular ecosystem of components, aiming to slash set-up times for tripods, sliders and gimbals. The Move ecosystem is designed around a new lightweight base and quick-release plate. These can be fitted to best support systems with the standard 3/8in thread, and also features on Manfrotto’s new Gimbal 300X and Q6 ball head. Using the Move QR, a tripod head can be simply clicked into place on top of a tripod or slider, then snugged down with a twist lock for extra security. Typical prices are £83 for the Move QR catcher system, £92 for the base. So, tripods can be quickly coupled with sliders and different heads. The Manfrotto GimBoom can be paired with the new £612 Manfrotto Gimbal 300XM. This allows long, stabilised support with remote control, fully operated by a single user. The 300XM Gimbal’s detachable, modular construction can be separated, yet still communicate via Bluetooth. The gimbal head is also adaptable onto a completely separate support, such as a tripod or slider. It can also use a remote-controlled shooting station.

THUNDERBOLTS ARE GO! design and come in 55- and 70-litre sizes. Both are made to carry a full-frame mirrorless or DSLR camera with a 70-200mm f/2.8 lens, two additional lenses or a drone and accessories. Both bags carry hiking and camping essentials – such as a sleeping bag, tent, meals, jacket and poles. Each one is available with two sizes of shoulder straps and an array of straps that allow added modularity, with a range of accessory pouches. HIKE TIME THANKS TO LOWEPRO Legendary camera bag maker Lowepro has revealed the PhotoSport Pro range – two new backpacks designed to give the utmost protection and comfort for multi-day hikes. The backpacks have a durable all-weather

Additionally, Manfrotto has launched a new range of bags, ideal for filmmakers. The new Pro Light 2021 collection includes five backpacks in different sizes, as well as two Tough hard cases. These Tough cases are a carry-on size, with pre-cubed foam insert and a larger check-in sized rolling bag. There are some unique modular Tough accessories, that allow the cases to carry tripods or be used as backpacks.

Add up to two 4K or 8K displays to your editing suite with the OWC Thunderbolt Dual DisplayPort Adapter. All you need is a single Thunderbolt port on your laptop or iPad to plug it in, then stream high-resolution content to multiple monitors. It works on a single display up to 8K at 30Hz or higher, with DSC compatible for faster refresh rates. Dual display can be used at up to 4K at 60Hz, 4K at 144Hz with DSC, or 8K with DSC. It also works in HDR and supports multichannel, high-definition digital audio. Priced at $78, no UK price yet.

SPEEDY SET-UP The new Manfrotto Move system is built around a quick-release system, allowing easy changing of heads, tripods, sliders, gimbals and lots of other accessories with a standard thread




Tamron’s speedy Sony stunner T amron has finally revealed details of its long-awaited 35-150mm optic, which is the world’s first mirrorless zoom lens for Sony E-mount with a maximum the edges of the frame and reduce concentric circle bokeh. The filter size is 82mm.

The drive on the lens uses the VXD linear motor focus mechanism for high-speed, high-precision AF. It’s quiet, to benefit video. The lens comes with a connector port, which works in conjunction with Tamron Lens Utility software for customising lens functions and updating firmware. Tamron has also revealed the 28-75mm f/2.8 Di III VXD G2 as the successor of the 28-75mm f/2.8 Di III RXD. The £850/$899 lens has a new optical construction, with 17 elements in 15 groups. With two optimally-arranged LD and GM lens elements, image quality at wide-open apertures has been improved over its predecessor.

aperture of f/2. This does make the lens larger and heavier than normal zooms, and the f/2 closes down to f/2.8 at longer focal lengths. But, of course, it does cover a wide focal length range. The £1600/$1899 35-150mm f/2-2.8 Di III VXD weighs 1165g/2.57lb and is 159mm/6.2in long at 35mm. It extends when it’s zoomed. The minimum focus distance is 330mm/13in and there’s a nine- bladed aperture. The optical construction is 21 elements in 15 groups, with four LD (Low Dispersion) and three GM (Glass Moulded Aspherical) lens elements, which is claimed to achieve high image quality to

BIG BOY The new Tamron lens is not the most compact, but it’s fast LARGE FORMAT FOR LESS

like the original GFX50S, and you can still only record in H.264/MPEG-4 at 23.97p/24p/25p/29.97p. The onlymoviemaking improvement seems to be the extended recording time limit, which is now two hours. The camera has 19 of Fujifilm’s Film Simulation modes and there is a built-in mic and standard 3.5mm stereo input. There’s no onboard live streaming or webcam functionality. Connection is via a Micro HDMI and USB Type-C. The lens is designed for minimal focus breathing. There is no aperture ring or any switches on the barrel. Everything has to be controlled from the camera.

Get the large format look for less, with the new FujifilmGFX50S II. It’s gone on sale at £3499/$3999, or for £400/$500 more, you get a kit with the 35-70mm f/4.5-5.6 lens. Coming four years after the original GFX50, the newversion is smaller, lighter and more affordable. It also has in-body image stabilisation and the same 0.77x, 3.69m dot EVF as its GFX100S big brother. It also packs the same 51.4-megapixel sensor as the original, but now comes with the faster chip. This makes the camera quicker, with more responsive AF. There is an improved AF algorithm, and face and eye-detection is improved. The lack of great video spec is disappointing. This stays at FHD 30p





Rugged upgrade for Samsung micro cards Samsung has released new Pro Plus microSDmemory cards and a redesigned Evo Plus microSDmemory card range – ideal for 4K drones and gimbals, memory expansion and action cameras. The cards are more robust than ever, even ideal for extreme conditions. Improved reliability is down to two more layers of protection, allowing them to withstand water, extreme temperatures, X-rays, drops and magnetic impact. They come with a ten-year limited warranty. The new Pro Plus microSD cards have read and write speeds of up to 160MB/s and 120MB/s, and will be available in 128GB, 256GB and 512GB capacities. The Evo Plus microSD offers transfer speeds of up to 130MB/s, up to 1.3x faster than the previous version. These can be purchased in 64GB, 128GB, 256GB and 512GB capacities.

MAKE CASH FROM POND5 Pond5 has launched a new artist storefront, for filmmakers to showcase their work and licence it directly to promoting Pond5 content, with commission earned when something is bought by a referred customer. Artists

who participate are given an extra incentive whenever a referred user purchases their work. Pond5 claims it pays the best royalty rates in the stock industry: 40% for non-exclusive video and 60% for exclusives. With the updated refer and earn programme, filmmakers can share a unique referral link, opening up the potential to take home as much as 90% of the order value.

clients. Creators can set prices and earn up to 90% of the fee paid by customers. Pond5, the world’s largest marketplace for royalty-free stock video and music, says these storefronts give filmmakers more control. The site functions as a personal website, where contributors can provide context to their work by sharing experience, awards and accolades. Alongside this is the refer and earn programme, rewarding users for


Marshall’s newminiature CV568 and compact CV368 Global Shutter Cameras now come with genlock, making them ideal for broadcast, sports, news, esports or remote production. Both the CV568 and CV368 POV cameras use a 1/1.8-inch global shutter sensor with 25% larger pixel size, for ultra-fast, low-latency capture – even in low-light environments. Global shutter sensors are great for capturing fast action, without the skewed vertical lines experienced by conventional shutter sensors. The CV568 Miniature HD Camera has the same-size body as Marshall CV503 and CV506 versions, with rear panel protection, interchangeable M12 lenses, secure locking connections and remote adjust/match features.

into HD workflows already in sync (genlock), which enables seamless transition between cameras. Tri-level sync runs at higher frequency, making signal sync more accurate.

The CV368 Compact HD Camera follows the CV344 and CV346 bodies, with slightly larger CS mount lens type, and a variety of variable and fixed lenses available. The CV568 and CV368’s tri-level sync allows multiple cameras to be plugged





Teradek’s long-range Bolt fromthe blue!

T eradek’s new Bolt 4K 1500 TX 457m/1500ft. The zero-delay wireless video signal is 1080p up to 4K/30p in 10-bit 4K and HDR. The Bolt 4K Monitor Module 1500 TX and 1500 RX integrate with SmallHD Smart 7 monitors and the entire Bolt 4K series. The Bolt app for iOS and Android offers and RX wireless monitor modules give longer range than the 750 monitors, with coverage up to

remote control via a smart device, and supports Broadcast Mode to unlimited receivers. There’s wireless control for Arri cameras, coming to the Red Komodo soon. The RX monitor module includes a V-Mount or Gold Mount battery plate, and an integrated hardware connector for SmallHD Smart 7 monitors. It can receive metadata, timecode and start/stop flags frommost cameras.


ProGrade Digital has become the first company to rival Sony, by selling CFexpress Type A cards to fit the Sony A7S III and A1 mirrorless – and FX6 and FX3 cinema


cameras. They have the same read and write speeds of up to 800MB/s and 700MB/s. The ProGrade Digital CFexpress Type A Cobalt card is £240.50/$330 for the largest 160GB type. Sony’s version is £400/$398. CFexpress Type A cards are smaller than full-size SD, but bigger than microSD, and offer performance three times greater than the fastest UHS-II cards. ProGrade has been selling its own CFexpress Type A USB 3.2 Gen 2 high-speed reader since the summer.

Agile’s rugged ARC360 PTZ and ARC360 Lite PTZ cameras are now part of Mark Roberts Motion Control (MRMC), a Nikon company. The cameras use Sony Exmor sensors, with upgradeable electronics, and have proven pedigree in live sport, natural history and music broadcasts. MRMC will nowmanufacture the units for Agile, while the technology is ported into its own range – the MRMC ARC360 is expected to debut next year. Agile Remote Cameras’ weatherproofing and all-round rugged build are ideal for extreme conditions and demanding events.





Third fast Lumix lens revealed

TOP VALUE MONITORS FROM AOC Four affordable new displays from AOC come with USB-C connectivity for single-cable linking to laptops. This allows simultaneous transfer of a video signal, plus power and exchange data, to hard drives. The 32-inch AOC U32P2CA has native 4K resolution with 350-nit brightness, covering 119% sRGB, 97.3% Adobe RGB and 90.7%DCI-P3 colour. The stand has an opening for cables, and the monitor is equipped with a four-port USB 3.2 hub for keyboard and mouse. The 27-inch U27P2CA is also 4K, with IPS panel for sharpness. For QHD resolution, there is the 32-inch Q32P2CA and 27-inch Q27P2CA, which have a 75Hz refresh rate. Prices range from£290 to £450, depending on spec.

P anasonic has a new large aperture, wide-angle prime lens: the Lumix S 24mm. It’s the third in a series of four f/1.8 lenses for the full-frame L-Mount system, joining the 85mm and 50mm optics. A 35mm version is yet to be revealed. All lenses have size and control positions in common – and consistent filter size, aiding quick changes for use with rigs or gimbals. The £799/$898 24mm lens has 12 elements in 11 groups, including three aspherical, three ED (extra-low dispersion) and one UED (ultra extra-low dispersion) lens. Aspherical lenses give beautiful bokeh, while ED and UED lenses suppress chromatic aberration.

The sensitivity of the focus ring can be adjusted for improved video. There is micro-step aperture control for smooth exposure change, and it is designed for reduced focus breathing. The compact lens weighs just 310g/0.7lb, is dust- and splash-resistant, with a 67mm filter diameter and nine- blade circular diaphragm.


with Windows, Mac and iPad – and come with software for on-demand and scheduled backups, a one-month Adobe Creative Cloud All Apps plan, as well as Rescue Data Recovery Services. Both drives use USB 3.2 Gen 2 technology, and are compatible with USB-C or USB 3.0 computers and tablets; a cable is included. Both are lightweight, travel- size and shock-resistant.

Two new SSD external drives have been released by memory expert Lacie. The Mobile SSD Secure and the Portable SSD are available in sizes up to 2TB, with read speeds reaching 1050MB/s and write speeds of 1000MB/s. The Mobile SSD Secure comes equipped with added hardware encryption, including a lock/unlock feature in the Lacie Toolkit software. Both are compatible

same sizes for the Portable SSD are £110/$130, £180/$210 and £350/$370.

The Lacie Mobile SSD Secure costs £120/$130 for 500GB, £200/$220 for 1TB and £350/$380 for 2TB. The



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