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 samscott-smith@bright-publishing.com Senior account manager Emma Stevens 01223 499462 emmastevens@bright-publishing.com 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.
ADAM DUCKWORTH, EDITOR IN CHIEF
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