Pro Moviemaker Summer 2020 Web

New Olympus OM-D E-M1 Mark III faces its big brother E-M1X DOES SIZE MATTER?

Stunning new EOS C300 Mark III & EOS R5 CANON COMEBACK

The ultimate codec gains even more ground RAWPOWER REVOLUTION

Our guide to hard drives and cards MEMORY MASTERS

SUMMER 2020

@ProMoviemaker www.promoviemaker.net £5.49

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SPECIAL FX! OURVERDICTON SONY’SADVANCED FULL-FRAME FX9 CINEMACAMERA

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12-PAGE SPECIAL

ULTIMATE CRASH COURSE IN LIVESTREAMING FOR FILMMAKERS

AUDIO SPECIAL SOUND ADVICE How to choose and use great audio kit

The latest LED lighting gear to suit all budgets LETTHERE BE LIGHT BUYERS’ GUIDE

ANAMORPHIC MADE EASY TESTED & RATED

Latest optics from Sigma & Tamron New kit fromVocas, Broncolor, Manfrotto & Blackmagic tested!

Cinemascope for all with a budget lens

SUMMER 2020

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 Elisha Young and Felicity Evans EDITORIAL ADVERTISING Group ad manager Sam Scott-Smith 01223 499457 samscott-smith@bright-publishing.com Senior sales executive Jemma Farrell-Shaw jemmafarrell-shaw@bright-publishing.com DESIGN Design director Andy Jennings Design manager Alan Gray Designers Lucy Woolcomb, Man-Wai Wong, Emma Di’Iuorio and Emily Lancaster PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:

Superfast broadband and 5G wireless communications – the ubiquity of smart devices and the insatiable appetite for real-time information and entertainment means the world of producing and distributing video content is changing at an alarming rate. Movie theatres and scheduled TV broadcasters have already been impacted hard by streaming giants likeNetflix andAmazonPrime. Lots of sporting and livemusic events have been bypassing the conventional TV channel distribution model and streaming their own content. More small andmedium-sized companies – the heartland of clients for professional filmmakers who produce top-quality promotional videos – are using streaming services. Everything from new product launches to Q&A sessions with key personnel are being streamed live to their growing, connected audiences. And with the global Covid-19 pandemic and lockdown, there is a fast-growing demand for streaming. Everything from exercise classes to education, houses of worship to niche product vendors. Everyone wants to broadcast their message to the world. Some are happy with a smartphone and web connection, using Facebook Live to get their poorly lit, crackly audio and amateur content out. But many companies and organisations are quickly realising a live video streamed by an intern with a handheld iPhone isn’t the best way to get their message across. They want something more professional tobetter represent their brands, and filmmakers are ina prime position to offer these services. But how do you actually go about setting up and producing successful live streaming? What hardware do you need to take things beyond a single iPhone into something clients will pay serious money for? What software do you need to master? How about multicamera set-ups? And how do you do it out on location, with no internet access or mains power on tap? These are the questions we tackle in our special guide to streaming, showing how a clued-up filmmaker can offer a potentially lucrative new service. And while you may have to forget thenotionof beautifully shot cinematic narratives, offeringprofessional multicamera streaming could be a key way of building your business. The world has changed and, because of the global pandemic, there is more need than ever for people and companies to get their messages out without face-to-face contact. Filmmakers can be part of this solution. So read on to find out how!

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

ProMoviemaker is published quarterly by Bright Publishing Ltd, Bright House, 82High Street, Sawston, CambridgeCB22 3HJ. No part of thismagazine can be usedwithout prior written permission of Bright Publishing Ltd. ISSNnumber: 2045-3892. ProMoviemaker is a registered trademark of Bright Publishing Ltd. The advertisements published in Pro Moviemaker that have beenwritten, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd andmay not be reproducedwithout thewritten 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 arewithout local sales taxes. Prices arewhere available or converted using the exchange rate on the day themagazinewent to press.

ADAM DUCKWORTH, EDITOR IN CHIEF

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SUMMER 2020 PRO MOVIEMAKER

The ultimate magazine for next generation filmmakers

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SUMMER 2020 CONTENTS

AGENDA

6 CANON GOES OFF! The company that revolutionised digital filmmaking is back with a bang thanks to the new EOS C300 Mark III cinema camera, EOS R5 mirrorless cam and EOS-1D X Mark III DSLR. 8 L-MOUNT GATHERS PACE Raw power comes to the L-Mount flagship cameras from Panasonic and Sigma. Plus, Sigma reveals its new L-Mount glass and Panasonic shows the latest G100 vlogging cam. 1O FIRMWARE BOOST FOR PRO FLAGSHIPS Sony, Canon and Panasonic full-frame cameras get a free boost with new firmware, plus ProRes Raw comes to Windows PCs and Tamron unveils a fast new telezoom.

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ACADEMY

14 STREAMING SPECIAL! It’s the ultimate guide in how to add streaming to your business for professional filmmakers. The hardware you need, the software you must learn and how to get your new live masterpiece broadcast out into the world. 34 SOUND ADVICE We take a look at the audio equipment you need to tackle every situation. From shotgun and lav mics to windjammers, blimps and wireless systems.

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PRO MOVIEMAKER SUMMER 2020

The ultimate magazine for next generation filmmakers

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GEAR

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40 SONY’S SPECIAL FX! Full test of the feature-packed full-frame cinema camera from Sony: the radical new FX9. Packed with stunning AF technology, is it right for your business? 48 LITTLE V LARGE Olympus has two mirrorless OM-D cameras that share much of the same filmmaking technology: the super-compact E-M1 Mark III and the pro-spec E-M1X. Which is best? 58 MINI TESTS We review some great new kit including the incredibly affordable anamorphic lens, a Vocas rig for the Sony FX9, a Blackmagic monitor/recorder, LaCie Rugged SSD, Sirui tripod, Bron LED light, Irix super-wide cinema lens and more. 68 LET THERE BE LIGHT! We take a look at some of the best LED lighting on the market and what you should be investing in for maximum impact. 72 BUYERS’ GUIDE: MEMORY It’s small, but is totally crucial to your filmmaking. We check out hot new products, from desktop to portable hard drives, memory cards and more.

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SUMMER 2020 PRO MOVIEMAKER

AGENDA NEWS

Canon firesback!

The brand that brought the DSLR to HD filmmaking unveils its flagship Super 35 cinema camera for indie filmmakers Canon’s fightback against rival Sony continues with what looks like the ultimate Super 35 cinema camera for indie filmmakers: the EOS C300 Mark III, Canon’s first camera with a brand-new dual gain sensor. Armed with a DGO (Dual Gain Output) HDR sensor that exceeds 16 stops of dynamic range, the new C300 has a newmodular design and can record up to 120fps in 4K Cinema Raw Light or XF-AVC. For DGO, each pixel on the sensor is read out with two different amplification levels – one high and one low – which is then combined tomake a single image. The higher amplification read-out captures clean details in darker areas, while the lower amplification read-out captures details in brighter areas. When combined, the image has a very high dynamic range. Maximum dynamic range is when shooting at ISO 800 in Canon Log 2. In Canon Log 3, it drops to 14 stops. However, DGO doesn’t work when shooting at frame rates faster than 60p in Super 35 4K. The new camera records internally to a pair of CFexpress cards, allowing 4K Cinema Raw Light for post-production flexibility and quality. For faster workflow, there is XF-AVC at 4K DCI and UHD at 4:2:2 10-bit, as well as 2K and Full HD. XF-AVC codecs options are ALL-I or Long GOP to give high compression for faster workflow andlongerrecordingtimes.Whenrecording 2K or Full HD in Super 35, the full 4K sensor is used, then the recording is downsampled for higher quality. The new C300 Mark III inherits the modular design from the recently released EOS C500 Mark II, and both cameras share the same body. The new C300 can be configured using two optional Expansion

Units (EU-V1 and EU-V2), which add extra connection terminals. The lens mount can be changed between EF, PL and EF Cinema Lock mounts using normal hand tools rather than having to send the camera back to Canon. It also uses the newer Digic V7 processor, as found in the C500 Mark II full-frame cinema camera. Like the rest of the Cinema EOS range, the new camera has Dual Pixel CMOS AF and, like the C500 Mark II, has built- in electronic image stabilisation, an electronically controlled ND filter system and built-in anamorphic desqueeze. The camera is on sale this summer for £10,500/$10,999. Canon has also launched free firmware updates for its Cinema EOS cameras.ImprovementsincludeaddingXF- AVC Long GOP and XF-AVC Proxy formats to the EOS C500 Mark II and simultaneous HDMI and SDI output with the EOS C200.

• New Super 35 4K CMOS DGO (Dual Gain Output) sensor • 16+ stops of dynamic range • 4K Cinema Raw Light 10-bit or 12-bit • 2K Raw recording in Super 16 Crop, 10-bit or 12-bit • XF-AVC (MXF) recording, 4:2:2 10-bit ALL-I or LongGOP • Up to 120P 4K RAWor XF-AVC recording, up to 180p in Super 16 crop 2K/FHD. • User changeable lens mount (EF, PL or EF Cinema Lock) • Flexible, modular design with optional expansion modules and EVF EOS C300 MARK III KEY FEATURES

“The new camera records internally to a pair of CFexpress cards, allowing 4K Cinema Raw Light”

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PRO MOVIEMAKER SUMMER 2020

NEWS

THE NEWKING OF MIRRORLESS?

resolutions and frame rates, and there is five-axis image stabilisation, which combines lens IS and camera IBIS. The EOS R5 also supports advanced animal AF, which recognises dogs, cats and birds. And for stills shooters, it can capture images at 12fps using the mechanical shutter and 20fps via the electronic shutter. The EOS R5 also supports automatic transfer of images to the image.canon cloud platform. There is no price or final spec available yet, as Canon is still finalising details of the production camera and, of course, the worldwide Covid-19 pandemic has affected supply chains.

With internal 8K Raw video recording, Canon’s forthcoming EOS R5 full-frame mirrorless camera sets a new standard in terms of filmmaking spec. It records non-cropped 8K recorded internally at up to 29.97fps in either Raw or 4:2:2 10- bit H.265 in Canon Log or HDR PQ. For fans of fast frame rates, it’s also capable of non-cropped internal 4K up to 119.88fps in 4:2:2 10-bit H.265 in Canon Log or HDR PQ. But strangely, if you output via HDMI, the frame rate maxes out at 59.94fps. The camera records to dual card slots, one CFexpress and one SD UHS-II. Canon’s Dual Pixel AF system is available in all video modes at all

ABOVE The new Canon EOS C300 Mark III is Canon’s first camera with a dual gain sensor. It has a modular design and can record up to 120fps in 4K Cinema Raw Light and XF-AVC

BackontopforCanon Despite being the company that pioneered HD video from DLSRs with its full-frame EOS 5D Mark II, then introduced the Cinema EOS range, in recent years Canon has been overtaken by Sony for 12-bit Raw video internal recording to twinCFExpress cards, and records uncropped 4K/60p with Canon Log in 10-bit 4:2:2 that gives up 12 stops of dynamic range. Thanks to its new full-frame

sensor and fast processor, the EOS- 1D X Mark III can record video as 12- bit CRM files at 5.5K (5472x2886), allowing very detailed oversampled 4K footage. DCI 4K recording is possible using the full sensor area or in a cropped mode, while 5.5K Raw uses the full width of the sensor. It’s the first Canon DSLR to supportfive-axisimagestabilisation although this doesn’t work when shooting Raw. The camera also uses Canon’s Dual Pixel CMOS autofocus in 4K and Rawmode, apart from at 50/60p except in crop 4K mode.

professional filmmaking. The mirrorless A7 range and the bestselling FS7 have seen Sony take the lead, with Panasonic’s mirrorless GH5 and S1 range raising the bar in terms of spec. Now Canon is in prime position in many categories, thanks to its new EOS R5 full-frame mirrorless camera, and in cinema cameras with its Super 35 C300 Mark III and full- frame C500 Mark II. And where it is a clear leader once again is inDLSRs, with the EOS-1D X Mark III. The £6500/$6500 pro DSLR has 5.5K

More information

canon.co.uk

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SUMMER 2020 PRO MOVIEMAKER

AGENDA NEWS

Rawpower for Panasonic and Sigma

Firmware upgrades bring new levels of performance to L-Mount flagships

sensor. It’s also the world’s firstmirrorless camera to record Raw over HDMI video in HD at 120fps for super-slowmotion. There are lots of other tweaks to the camera with the latest firmware. It supports creation and playback of cinemagraphs, CinemaDNG footage and HDR. It also now allows still capture during live view and movie shooting in Cine or Director’s Viewfinder mode and camera movement control is now compatible with a Zhiyun Weebill-S gimbal. But it’s the Raw power that will make the biggest difference to many. The fp now supports DCI 4K 12-bit/HDMI Raw output, Raw over HDMI recording with Atomos Ninja V and Blackmagic Raw codec over HDMI with Blackmagic Video Assist 12G. Both the Atomos and Blackmagicmonitors must be running the latest firmware. Other changes to the Sigma fp include support for Dual Base ISO of ISO 100 and ISO 3200, improvement to AF performance, exposure accuracy and image quality. There is now support for CinemaDNG at 25p and 29.97fps in UHD 12-bit, CinemaDNG at 100fps inFHD12-bit and119.88fps inFHD 8-bit and 10-bit. Other changes include tweaks to handling, bug fixes and the introduction of time code generation. Panasonic’s firmware enables the output of maximum 5.9K/29.97p and 59.94p 4K Raw video to the Atomos Ninja V and saves it as Apple ProRes Raw. The 5.9K output is in 16:9 and is from the full area of the sensor, but the 4K output is 17:9 from a Super 35-size crop. There is

Full-frame mirrorless cameras from Sigma and Panasonic aimed squarely at filmmakers have been given a free performance boost thanks to firmware upgrades that include recording ProRes Raw via HDMI to an external Atomos recorder. Panasonic’s S1H and the diminutive Sigma fp have both been upgraded in a bid to squeeze even more quality from their full-frame sensors. When used with an Atomos Ninja V monitor/recorder, both cameras can now output Raw via HDMI. The Sigma firmware is available nowand the Panasonic upgrade very soon. In terms of the Sigma, the fp and Ninja V combination will record Apple ProRes Raw at up to DCI 4K/24p or UHD 4K/30p directly from the camera’s full-frame

ABOVE Free updates to Sigma and Panasonic full-frame cameras mean they can now record ProRes Raw via HDMI to an external Atomos recorder also 3.5K output at up to 50p in 4:3 to allow full anamorphic capture with a suitable lens. And V-Log or Rec. 709 is selectable on live viewmonitor during Raw output, as well as wave formmonitor, vectorscope, luminance spot meter and zebra pattern. There are lots of detail changes with the new firmware, such as Creative Video mode, plus it is now possible to disable the operation of starting/stopping video recording by pressing a shutter button, the noise reduction in V-Log has been expanded suppress ghosting and it’s now possible to assign functions to the Fn buttons of Sigma L-Mount interchangeable lenses. We have spent several months testing with a beta version of the Panasonic firmware and will bring a full review of shooting the S1HwithRaw in the next issue of Pro Moviemaker. sigma-imaging-uk.com panasonic.com/uk

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PRO MOVIEMAKER SUMMER 2020

NEWS

Sigma widens L-Mount range The popular and fast Sigma 16mm f/1.4 DC DN, 30mm f/1.4 DC DN and 56mm f/1.4 DC DN Contemporary

2011 teleconverters are designed exclusively for use with Sigma L-Mount lenses, with the TC-1411 increasing focal length of the lens by 1.4x, and the TC-2011 by 2x. The new teleconverters have a dust- and splash-proof construction comparable to that of Sigma’s rugged Sports lens line-up. And there is a new 100-400mm F5-6.3 DG DN OS Contemporary ultra-telephoto zoom lens designed exclusively for full- frame mirrorless cameras. Costing £900/$949, it is available in L-Mount, as well as to fit Sony E-mount cameras. sigma-imaging-uk.com

lenses are now available in L-Mount, in addition to Sony E-mount, Canon EF-Mmount and Micro Four Thirds systems. The 16mm costs £400/$449, the 30mm £270/$339 and the 56mm £349/ $479, so are very affordable. These L-Mount primes offer high-speed autofocus and are fully compatible with AF-C mode, in-camera image stabilisation and in-camera aberration correction and are ideal for Sigma, Panasonic S series and Leica L cameras. Sigma’s new £370/$399 TC-1411 and £400/$429 TC-

Panasonic’s latest mirrorless camera, the Lumix G100, is specially designed for vloggers with a super lightweight and compact body and some radical new technology aimed at improving audio – always the trickiest thing for inexperienced filmmakers to get right. The G100 uses an MFT-sized 20.3-megapixel MOS sensor without a low-pass filter to record 4K or Full HD with ISO that goes to ISO 25,600. And there’s a five-axis hybrid image stabiliser to keep the shakes at bay. For high-quality audio, the G100 includes the OZO Audio by Nokia sound system, the first mirrorless camera to offer this next-level technology. Three internal microphones record audio, and the G100 detects where the sound is coming from, automatically switching to the most appropriate sound recording VLOGGERS’ DELIGHT!

for video recording and photo shooting. For more serious filmmaking, there are slow and fast motion modes, time-lapse and stop motion animation and V-Log L recording for maximum dynamic range. The G100 can also be used as a webcam or for live streaming. Weighing just 412g with its 12-32mm kit lens, the G100 has a three-inch, free-angle touchscreen and 3.68 million dot viewfinder. It’s available from the end of July at £590/$600 body only, £680/$698 for 12-32mm lens kit, or £720/$748 for lens and tripod grip. Until August 31, UK customers can buy a G100 body or lens kit and get a free tripod grip. panasonic.com/uk

pattern for the situation. It’s designed so vloggers don’t need a separate external mic, but one can be used if required. For vloggers, there is Video Selfie mode, which starts when the monitor is rotated forward, and a new tripod grip can be added to make it even easier to hold the camera while recording. Connecting with the camera via USB, the tripod grip can be used to start and stop video recording, or release the shutter. It has Bluetooth and Wi-Fi connectivity, with a dedicated upload button to transfer videos and photos to a smartphone ready for sharing on social networks. The free Lumix Sync app for iOS and Android allows you to use a smartphone as a remote controller

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SUMMER 2020 PRO MOVIEMAKER

AGENDA NEWS

Fujifilm goes supersize! Fujifilm’s GFX100 is now the first medium

over HDMI. The format gives enormous latitude,making it ideal forHDRworkflows. Both ProRes Raw, and less compressed ProRes Raw HQ, are supported. ProRes Raw is supported in Final Cut Pro X, Adobe Premiere and Grass Valley Edius, along with Assimilate Scratch, Colorfront and FilmLight Baselight. The firmware also expands the GFX100’s USB control, giving more options over the camera’s settings when shooting tethered, and allowing remote control of various camera features when mounted on a drone or gimbal. Face and eye detection AF is improved, as is the performance of phase detection AF in low light. New focus bracketing options have also been added, and GFX100 gains the Classic Neg and Eterna Bleach Bypass Film Simulations. fujifilm-x.com

format Raw video camera that you can actually buy, as rivals are purely rental only. Following a firmware update, it now allows the GFX100 to output 4K Raw video via HDMI and there will be a second update fromAtomos that will allow its Ninja V monitor/recorder to readand convert it into 12-bit 4K ProRes Raw. The Fujifilm sensor is a 100-megapixel 4:3 ratio CMOS sensor that’s 44x33mm and is bigger than the rental-only Arri Alexa 65 in 16:9mode. The GFX100’s sensor is bigger than all the far more expensive large- sensor cameras like the Sony Venice, Red Monstro, Arri Alexa LF and Mini LF, but is significantly cheaper at £9999/$9999. The Ninja V will record Fujifilm video at up to 4K/30p in 12-bit Apple ProRes Raw, which will give the unique look and depth- of-field you can only get with a large sensor and correspondingly longer focal length lens. This format is optimal for HDR finishingor togivegreater flexibility inpost for standard Rec. 709 productions. The Ninja V allows cinematographers to view the GFX100 Raw signal in HDR in a choice of HLG and PQ formats, or use Fujifilm’s F-Log profile. The Ninja adds pro tools like waveforms and focus peaking. Alternatively, the Ninja V can also record 10-bit 422 ProRes and DNx video up to 4K/60p from the HDMI output of the GFX100. All files are recorded to AtomX SSDmini SATA drives in the Ninja V. ProResRaw is nowbecoming established as the new standard for Raw video capture, with Fujifilm becoming the fifth major company to announce support for Raw

ZOOM CONTROL FOR FUJINON PREMISTA

The Premista Motor Bracket kit is manufactured by Duclos Lenses, specifically for the Fujinon 28-100mm and 80-250mm Premista zoom lenses, and hits the market at £858/$795. The kit includes an adjustable eccentric ring to achieve the perfect mesh between the zoom gear and the motor. Installation is quick and requires no modification to the original lens. The motor bracket kit is designed, machined from billet 6061 aluminium, and assembled in California. The design provides a robust mounting point for the Heden M26T and CM55 zoom

motors while adding minimal weight to the camera package. A zoom gear extension segment keeps the motor as close to the lens as possible without interfering with other components. ducloslenses.com

Many filmmakers have relied on SanDisk Extreme Pro memory cards for years, and now the range has expanded to a portable SSD, which boasts transfer speeds of up to 1050MB/s. It has a rugged case and is available in a large capacity of up to 2TB. To protect against the against the elements, the unit has a forged aluminium body with a durable silicon rubber coating for impact resistance. It has IP55 rating for water and dust resistance, and comes with a five-year warranty. The SanDisk Extreme Pro is compatible with both PCs and Macs, plus USB-C and A connectors. A 1TB drive costs £200/$200. westerndigital.com SANDISK BRINGS EXTREME TO SSD

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PRO MOVIEMAKER SUMMER 2020

NEWS

Sony helps filmmakers though Covid-19

vice-president. “This community’s success is vital to our own, which is why we have decided to implement these supportmeasures intheir timeofneed.” There will be financial contribution to videographers and camera operators engaged in sports, filmmaking and scripted television, and commercial production. Sony will be making donations via the Sports Video Group,

complimentary maintenance services for those using Sony cameras. “Sony has always worked closely withthecreativecommunity, byhelping them pursue high-quality content creation,” said Hiroshi Kawano, Sony’s

Sony will support the global creative industry as part of its $100 million Sony Global Relief Fund for Covid-19. The support includes financial contributions for videographers, cinematographers and camera operators, as well as

International Cinematographer Guild, the American Society of

Cinematography, the International federation of Cinematographers and Japanese Society of Cinematographers. pro.sony.eu

X-Rite drives a great deal

HOYA GOES ROUND FOR ND FILTERS Filter giant Hoya has

Sort your colours and get a free Verbatim 1TB hard drive is the latest summer offer from X-Rite. Running until 30 September, you get the deal if you buy an X-Rite i1Display Pro, i1Display Pro Plus, i1 ColorChecker Photo Kit, i1 ColorChecker Pro Photo Kit, i1 ColorChecker Filmmaker Kit, i1Studio, i1Photo Pro 3 or i1Photo Pro 3 Plus from xritephoto.eu or from selected resellers. The portable 1TB Verbatim hard drive is Mac and PC

neutral colour balance, and have anti-reflection and water-repellent coatings. There is a slim rotating frame, for precise positioning of the graduated ND area and a marker on the rim, showing the point of deepest density. There is a choice of ND16 and ND32, in 77mm and 82mm sizes, and prices start from £110/$137. intro2020.co.uk

revealed a series of screw- in graduated ND filters to help retain sky detail while not affecting foregrounds. Unlike most ND grad filters, which are square and require filter holders, Hoya’s ProND Graduated filters are the round, screw- in type, use high-quality optical glass, are compact and easy to carry. They are claimed to offer completely

compatible, USB 3.0 and USB 2.0 compatible and has a two- year warranty. xpdistribution.com

THE REVOLUTIONARY REVORING

thread sizes between 37-49mm, 46-62mm or 67-82mm, accommodating either 52mm, 67mm or 82mm screw-in filters. A second type of Revoring is the variable neutral density and circular polariser combination filter. It offers a range of ND3 to ND1000, which equates to 1.5-10 stops of light control. In 82mm size, a Revoring costs £52/$40 or £245/ $199 for the combination ND and circular polariser. phototeq.com

Instead of carrying lots of filters or step-up rings to fit multiple lenses, the new Revoring expands to fit a range of lenses so you only need to carry one filter size. It uses tough retractable blades and comes in sizes to fit any lens with filter

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SUMMER 2020 PRO MOVIEMAKER

AGENDA NEWS

Firmwareboostforpro-specflagships Flagship cameras from Sony, Canon and Panasonic have had free firmware

Canon’s firmware update for the 1D X Mark III addresses a lock-up issue when the electronic level is set to ‘Show’ in the viewfinder and the shutter or AF-On button is pressed. A 23.98p frame rate option has been added in Full HD and 4K, and Canon has improved communication speed when connected via wired LAN and added a remote browser function. Panasonic has released an update for its S1 and S1R full-frame mirrorless cameras, adding support for ProGrade Digital CFexpress Type-B cards up to 325GB. The firmware also adds a new 50p/25p frame rate options when using NTSC. Panasonic has also disabled the DeleteAll touchcontrol optioninplayback mode. Now only the cursor buttons can be used to delete all media. sony.co.uk canon.co.uk panasonic.com/uk

upgrades to boost their use for filmmakers or improve handling. Sony’s firmware update for the A9 Mark II mirrorless camera has the biggest number of changes. This includes a Hi Frequency Flicker function that helps reduce the impact of flickering of artificial light sources by more finely adjusting the shutter speed. And there is a great new function that closes the shutter blinds when you turn off the camera tominimise the chance of dust getting on the image sensor when you change the lens. There is now also the ability to assign the face/eye priority autofocus setting to a custom key, along with updates to the Remote Camera Tool function, improved FTP transfers and other improvements to improve the overall stability of the camera, according to Sony.

Telezoomcompletes Tamron set

It has a minimum focusing distance of 270mm/10.6in at 70mm and the iris has nine blades. Like Tamron’s 17-28mm f/2.8 Di III RXD, the barrel extends while zooming. However, the 17-28mm f/2.8 Di III RXD has internal zoom, so the length of the lens does not change. All RXD lenses use a stepping motor for the autofocus system, which is fully compatible with Sony’s AF system. Tamron also has 20mm, 24mm and 35mm f/2.8 prime lenses in a Sony mount. The new 70-180mm lens is available in May 14 for £1349/$1199. tamron.eu/uk transcontinenta.co.uk

A new 70-180mm f/2.8 telephoto zoom lensmeans Tamron nowhas a complete set of fast zoom lenses to fit full-frame Sony E-mount cameras – the first manufacturer to offer a set to rival the own-brand G Master lenses, but at a big cost saving. The new 70-180mm f/2.8 Di III VXD has 19 elements in 14 groups, including extra- low dispersion, low dispersion, glass- moulded aspherical and hybrid aspherical lens elements. It’s also coated to suppress ghosting and flare. It’s light and compact, measuring 149mm/5.9in in length with an 81mm/ 3.2in diameter, while weighing just 810g/ 1.79lb, with a 67mm filter thread.

Apple’s ProRes Raw has finally been released for Windows computers, meaning it works with Adobe programs like After Effects, Media Encoder, Premiere Pro and Premiere Rush. The update is a beta release, but a full release will be available soon. Users have to be part of the Adobe beta programme to get access to the update. To access the beta app, users have to navigate to their Creative Cloud browser, and there is a section for Beta Apps. You need Windows 10 64-bit to use the beta, but Apple doesn’t specify any other hardware requirements. support.apple.com PRORES RAW COMES TO WINDOWS PC

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PRO MOVIEMAKER SUMMER 2020

ACADEMY HOWTOWEBCAST

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PRO MOVIEMAKER SUMMER 2020

HOWTOWEBCAST

TECH MASTERCLASS

Move your filmmaking business into the fast lane by adding live broadcasting to your portfolio the easy way F rom Amazon Prime and Netflix to social media, live streaming video content is everywhere nowadays – fuelled by the huge increase in content for various organisations, you are in pole position to step in as the filmmaking expert who can shoot and stream events. WORDS ADAM DUCKWORTH

It’s not just being able to actually get content out there, it’s about the quality of that content. Filmmakers already have the majority of gear – cameras, lenses, support, lighting and audio equipment – and the expertise required to produce a professional-looking production. But suddenly, the need for wafer-thin shallow depth-of-field from large-sensor cameras, anamorphic lenses, Log and LUTs are not front of mind. Instead, it’s multicamera set-ups and live switching between them, on-screen graphics and reliable Wi-Fi that are more important. As is getting everything in sharp focus, rather than self-congratulating about wonderful bokeh and cinematic focus pulls. It’s far more like being a live TV news broadcaster than a Hollywood filmmaker. And that takes new skills to learn, some different kit and a desire to do something new that clients might actually be willing to pay for. So take a dive into the world of live broadcasting for filmmakers in the Pro Moviemaker guide to streaming, from the very basics to the more advanced. In our 11-point plan for streaming success, we take a look at some of the kit you might need, and check out some of the basic software and technical skills you should be looking at mastering.

download speeds to desktop computers, smart TVs and mobiles. And while many may dream of making the next big- budget blockbuster, the reality is that for the independent filmmakers, many of their existing clients are looking to get their message out across via YouTube, Vimeo, Periscope and Facebook Live. And the global Covid-19 pandemic has only accelerated this demand. Withmillions of people being ordered to stay at home and keep a safe distance from others to avoid infection, the demand for live broadcast of just about anything you could think of – from religious services to new product launches, fitness and business coaching – is going through the roof. Andwhen the coronavirus nightmare comes to an end, it’s highly unlikely things will return to the old version of ‘normal’. Personalised live streaming of niche content will be here to stay, and many clients will search for more professional services rather than social media-based streamers. Many may have dipped a toe in the water with their social media intern waving an iPhone around for a Facebook Live broadcast, but there has quickly been the realisation that this doesn’t represent a brand in a professional manner. If you already make corporate films and branded

“Personalised live streaming of niche content will be here to stay”

LEFT This fun motorbike race was livestreamed for client Red Bull. If you master streaming, there are lots of opportunities

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1. THE BASICS FOR FREE

Presuming you own a smartphone and have Wi-Fi or a reliable 4G connection, then you can stream right now without any extra cost. The two most popular streaming outlets are Facebook Live and YouTube Live, and all you need to do is log on to those apps and follow the instructions on screen. It’s as simple as that, and you’ll be broadcasting your message within seconds. And Facebook or YouTube saves the broadcast so anyone can watch it again later. This simplicity, of course, can be a bit of a problem as some clients think that’s all there is to it. Zero cost and hassle or planning, but also very low quality. It’s a single, often wobbly, handheld camera with awful audio, and you can’t add any graphics. And you won’t have the footage to edit properly later. It’s not hard to make this footage better, though, by simply using a smartphone mount on a tripod to take out the wobbles and adding a proper mic. This makes a huge difference to audio quality, which is often the biggest let-down, just as innormal filmmaking. There are several adapters that allow you to plug a decent mic into an iPhone socket that are ideal for a single mic. Or use a mic designed for the job. The Sennheiser ClipMic Digital is a lav mic that plugs right into an iPhone, while Zoom’s iQ6 X/Y and iQ7 Mid-Side both have two adjustable mics, while the Shure MV88 has a stereo and directional pickup. Saramonic has a range of options, from the basic SmartMic that plugs into most phones to the stereo version specially for Apple smart devices. There is also a range of mic adapters withUSB-C connections, a SmartMixer (which is a lightweight audio mixer for phones) and the SmartRig+ Di, which has a two-channel audio interface that can provide 48V phantom power for XLR mics, yet plugs into your iPhone. Rode has a whole range of options, such as VideoMic series, which is a directional mic available for Apple phones or other smart devices, a Lavalier Go mic, i-XY stereo mic ideal for music performances or i-XLR, which lets you use a professional XLR mic in an iOS smartphone. “There are several adapters that allow you to plug a decentmic into aniPhonesocketthatare ideal for a singlemic”

IMAGES Using your smartphone and some audio kit, you can start your streaming right away

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One alternative for easy streaming is to invest in a 1080p live streamMevo Start or 4K Mevo Plus streaming camera. These cameras wirelessly link to your iPhone, which not only acts as the streaming device – via Wi-Fi or cellular - but also lets you control the camera from its own app. There are basic audio inputs or a built-inmic, and the camera has a wide-angle 150° lens. Epiphan Webcaster X2, so you can plug in your camcorder via HDMI and it streams directly to your Facebook Live or YouTube accounts as it comes preconfigured with their settings. It can also plug in via Ethernet. It’s simple, but is ideally for things like webcams rather than professional streaming. You can use a simple HDMI switcher to connect more than one camera to the Webcaster, but many don’t work properly for video from cameras. And audio is a problem as the switcher takes video and audio from each connected camera, where you might want to stick with a single, specified mic. 2. INVEST IN A SMALL STREAMING SYSTEM The 4K Mevo streams in HD, but can record in 4K to a MicroSD card for editing later. The cameras also stream to more than just Facebook Live and YouTube, and are ideal to plug into

But it’s always an issue to have more than one person talking, so something like Rode’s SC6-L Mobile Interview Kit is ideal as it’s a small box that plugs into an Apple iPhone’s Lightning socket. It has tiny wired SmartLav+ lapel microphones and a further socket into which a set of headphones can be plugged for monitoring. It’s controlledby the freeRode Reporter app, which lets you configure record modes and adjust the mic pre gain. If you are using your phone or tablet to stream to Facebook or YouTube Live, or any of the other platforms, any of these audio solutions will transform the sound into something far more professional.

a computer. They can be especially useful as a backup camera or wide- view/general-view camera for multicamera streams. If you just want to use the Mevo to offer basic single-camera streaming, then you can invest in the Mevo app, which dovetails with Vimeo for streaming. There are overlay graphics, livestreaming to multiple destinations, loads of stats so you can see who has been watching, and a lot of storage on Vimeo, where your streams are held. Alternatively, you can buy Wi-Fi web streaming devices such as the

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“If you want to stick with your built-in webcam, it’s a good idea to improve the audio. There are lots of mics that can be used”

3. SIMPLE STREAMING VIAYOUR COMPUTER Panasonic UE4, which supports 4K

audiomixers you can buy, which takes four XLR inputs and lets you mix the levels for each. So you can mix lav mics, radio mics and stereo ambient mics, if you like. Then output the overall result to your computer via USB. Alternatively, for a single-mic set-up, you can plug in one of the newer breed of USB mics, such as the tabletop-style Rode Podcaster, NT-USB or NT-USB Mini, which are high-quality studio mics ideal for voice-overs or podcasting. You can even use the NT-USB on an iOS device using the Apple Camera Connection Kit. If all this seems like a lot of trouble and complication just to stream to Facebook or YouTube using your computer’s own webcam, then you’re right – it is. It’s far better touse amoreprofessional camera.

To provide more control, streaming from your desktop or laptop computer can also be free to Facebook or YouTube, and just as simple. Alternatively, other free wide- audience platforms include Instagram, Twitch or WeChat. Many people are now using private or secure-audience streaming services like Zoom, Skype or GoToMeeting, or solutions built into larger programs like Google Hangouts or Microsoft Teams. Or you can even monetise content on Patreon, BoxCast, Twitch, Vimeo or YouTube. All these use the same technology and, at the basic level, use your computer’s own webcam and mic, so again quality isn’t great. But there are ways to improve it. One very simple option is to use a Zoom Q2n-4K, which is a combined mic, recorder and 4K streaming camera all built into one small unit. Its quality is way better than built-in webcams, plus it actually records the whole session to a memory card and it can be plugged directly into a laptop or iOS device for instant livestreaming to Facebook, YouTube or the like. And, of course, you have the advantage of having the footage and audio to edit later. Its lens is super wide with a 150° viewing angle. There are professional upgrade options for webcams, such as the £1170/$995

recording or HD and has a 111° wide-angle lens. It can be controlled in terms of pan, tilt and zoom via USB and works as a USB webcam or as a streaming camera over a Wi-Fi network. If you want to stick with your built-in webcam, it’s a good idea to improve the audio. There are lots of mics that can be used, especially if you buy an inexpensive 3.5mm jack-to-USB adapter or a suitable headphone and mic splitter cable for use on the latest Apple MacBook Pro laptops. Just plug in a mic designed for a DLSR or mirrorless camera, or one designed primarily for podcasting, and the audio will be improved. Chances are you will need to up the gain on your mic. If you have a recorder like a Zoom, then you can plug your DSLR mic into that and then plug that right into your laptop. And if it’s one of the bigger Zooms, like an H4N Pro or H6, you can plug XLR mics into it, too, as it acts like an analogue-to-digital converter using its own preamps. So you can use any mic you already own, and mix them on the Zoom. Of course, you can buy separate audio mixers if you plan to mix the audio from several mics. The £549/$599 Rode Rodecaster Pro integrated podcast studio is one of the easiest and best streaming

IMAGES Zoom makes a range of kit ideal for streaming, from its all-in-one Q2n camera and recorder to the H6 pro recorder

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Any pro worth their salt will want to use a professional-style camera rather than a webcam, for the quality and look you can get from a larger sensor. But it’s not as simple as plugging your mirrorless wonder cam or camcorder into your laptop and streaming, as the camera will output a high-resolution signal while streaming requires a low data rate 720p HD. So you’ll need an internet broadcasting device or encoder – or a more basic HDMI capture card – to turn your camera signal into something a computer can stream. AJAmakes the £432/$345 U-Tap encoder in both HDMI and SDI versions and Blackmagic offers the £450/$495 H.264 Pro Recorder/Encoder with SDI and HDMI. If you want to go bargain basement, a basic web streaming capture card costs half that and lets you plug in anHDMI lead from your camera, then your computer sees the device as a USB camera. But many devices like these are built for gamers anddon’tworkperfectlywithhigh- resolution cameras. And if, for example, 4. USING A ‘PROPER’ CAMERA

ABOVE Blackmagic Design has lots of cost-effective kit to help you stream, such as this Teranex Mini

you’re inputting audio separately, then there is often a delay between the audio signal and thevideosignal of up toa second. In that case, you’dneed some dedicated live software in order to set a delay to audio so it matches up with the video signal. It’s better to invest in dedicated pro equipment that gives you more for your money, like the £699/$699 Datavideo NVS-33 video encoder or £455/$495 Blackmagic Web Presenter, both of which take an input froman HDMI or SDI camera. It can be as simple as plugging your camera into the encoder box, thenplugging thedevice intoyour computer’sUSBsocket. Your computer sees the device as a USB camera, and you can stream instantly.

To get started capturing, you need to add source inputs – which can be from a Blackmagic Web Presenter – your computer’s webcam and separate audio inputs if you have them. You can then mix between them – disabling camera audio if you’re using a separate mic. You can also set scenes for things like opening credits, welcome screens etc. You then key in the settings for where you want to stream to, including bit rate. These are found in whatever streaming service you are going to use, such as YouTube. And you’re ready to stream. If there is a delay between your audio and video picture, OBS lets you adjust it so it matches. It’s a powerful program and one you should learn the basics of to get the best out of your streaming. Other options include Telestream Wirecast, which is a live production software that lets you switch between cameras, add transitions and effects, mix audio and output to any major streaming service. This works on a subscription model. And XSplit Broadcaster is a popular audio and videomixing software, but is Windows only. The Blackmagic Web Presenter includes 12G-SDI and HDMI 2.0 inputs with support for all formats up to 2K/60p. There’s also an SDI output so you can record a full- resolution master for editing afterwards. You also get balanced XLR audio inputs for connecting professional microphones, along with RCA hi-fi inputs for connecting iPhones and other audio sources. If you add on the £79/$85 Teranex Mini Smart Panel, it turns the Blackmagic Web Presenter into a broadcast-quality two-input live production switcher. The panel adds push button controls and an LCD screen, so you can swap between two live cameras. But, of course, it’s difficult to monitor this compared to a proper switcher with separate monitor screens. TheBlackmagicWebPresenter isabetter set-upfor asimple, single livecamera input and a second input such as a slide show or pre-prepared video on a computer linked via HDMI. Then you can switch between them, complete with built-in dissolves.

“It’s better to invest in dedicated pro equipment that gives youmore for your money”

5. MASTER THE SOFTWARE

Facebook Live, YouTube Live and Zoom are popular because they are so simple and user-friendly, but they offer a lack of control that professional filmmakers would want – especially if they are selling the service to clients. The first step into more professional results is to get to grips with software. If you only want to stream on YouTube or Facebook, but want to add transitions, captions or lower-thirds themes, inexpensive software such as justbroadcaster.com is ideal. But OBS (Open Broadcaster Software) Studio is probably the most popular software, as it’s free and works on Windows, Mac and Linux. From there, you can broadcast your stream to many of the streaming services such as Twitch or Livestream, as well as YouTube, Facebook or Vimeo. Download OBS from obsproject.com, and run the auto-configuration wizard, which automatically tests your system and finds settings that your PC can handle, including streaming or recording, resolution, bit rate, encoding capabilities and streaming providers.

ABOVE Mastering some new software like OBS Studio will really boost your streaming game

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7. GET SERIOUS ABOUT MULTIPLE CAMERAS you want as the live broadcast. You can preview each camera before you to switch to it individually, though. If you want

One or two cameras are fine, but for a truly professional production, it would be best to run multiple cameras. Of course, many of the units built for this are for TV use and are therefore expensive. The Telestream Wirecast Gear all-in-one system is at the bottomend, and is around six grand, while the Livestream Studio and Livestream Production Switcher or Epiphan Pearl-2 can do 4K livestreaming, switching and recording to an internal hard drive with up to six video sources. Or a 16-input Newtek Tricaster TC1, which is a top-line unit good enough for TV broadcast, but costs over 20 grand. A popular choice is a Blackmagic Atem, and the latest of the range is the affordable £275/$295 AtemMini, which can handle up to four HDMI inputs from cameras, and the brand-new £654/$595 AtemMini Pro, which has even more features. The Mini has a two-channel audio mixer and can go straight into your computer for streaming via a webcam-out socket, so essentially your computer ‘sees’ it as a webcam. The Mini Pro has farmore output options, such as the recording of streaming data to USB flash drives and direct streaming output via Ethernet and HDMI. For larger productions, you could move up to the Atem Television Studio HD for £899/$995, which is an eight-channel SDI and HDMI switcher with ten-channel audio mixing and a small screen on the front. You then connect your computer to the Atemusing an Ethernet cable orWi-Fi, and use the Atem software on your screen as the switching software. ThebiggerAtem units are very sensitive to frame rates and resolutions, so all your input cameras need to be the set to the same. You may have to use a separate format converter device if you use different cameras that can’t be set tomatch. But theMini automaticallyscales video inputs to make things easier. However, the cheaper AtemMini doesn’t have multiple camera viewing outputs, so you can’t have a screen with all the outputs and select the one

multicamera view, you need the bigger and pricier units. This multiview function is now available on the AtemMini Pro if you plug it into an external monitor via HDMI. The AtemMini range also lets you store up to 20 preset images for you to switch to, such as holding pages or titles. For graphics, you can do that in your streaming software such as OBS, but you can also upload them to the AtemMini as PNG files with a transparent background. Other options include the Roland V-1HD, which has four HDMI inputs, a full 12-channel audio mixer and two HDMI outputs, all for £899/$995. Roland has a whole range of similar models at different prices and specs. Of course, managing multiple cameras is not much of an issue if you’re in a nice, warmstudio or indoor locationwith plenty of power sockets and reliable Wi-Fi for steaming. You will need to invest in some lengthy cables and gaffer tape to make sure everything is safe, and then factor in the time to set it all up. You need to ensure all your cameras are set to the same white-balance and manage exposure carefully. And ideally you want some way of talking to your camera operators during the shoot to direct them. Some of the very high-end systems have this talkback feature built in, but most don’t. Planning, communication and fallback options are crucial. Don’t forget: when broadcasting live, there are no second chances. “For a truly professional production, it would be best to run multiple cameras”

6. PICK YOUR STREAMING PLATFORM

Although Facebook Live and YouTube are the most popular

wide-broadcast sites, the biggest player in professional streaming is Livestream, which is owned by Vimeo. Livestream is just one of the companies that you can sign up to that will provide the technology to take your video signal and broadcast it on the net. Livestream can handle massive events with over one million simultaneous viewers, and can stream to computers, tablets and phones at the same time. It can also handle the front end, which allows your audience to log in and watch the footage either for free or paid for. And for a working professional, that could be something to add to your services for clients. For example, sporting events or music performances can be streamed live to a specialist audience for a subscription or one- off fee. Your client can share the revenue with you, or pay you a fee for providing the service. You could charge for livestreaming a wedding, for example, password-protected so only invited guests from around the world could watch. And now many companies want to launch products and services to a worldwide audience, for which they will pay handsomely for professional results. And you can also edit the live footage afterwards into something more slick, so the content can live on and be hosted for all to see. Pick the right streaming platform and there are lots of business opportunities.

ABOVE The Blackmagic Design Atem series is one of the best units for easy streaming and is very affordable

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