pmm-ULTIMATE-GUIDE-TO-STREAMING-MockUp

ULTIMATE GUIDE TO… TESTED: SONYZ190& Z280 CANON XF705 JVC HC500 MARSHALLCV380-CS STREAMING! HOW TO DO IT, THE KIT YOU NEED AND LOTS MORE

GIG GUIDE 10-PAGE SPECIAL

SOUND ADVICE BUYERS’ GUIDE

How to use an Atomos

How one music venue now streams its concerts

Your guide to the right audio equipment to buy

Shogun 7 as a mini TV studio

PRO MOVIEMAKER ULTIMATE GUIDE TO STREAMING

WELCOME!

CONTENTS

Super-fast 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 like Netflix and Amazon Prime. Lots of sporting and live music events have been bypassing the conventional TV channel distribution model and streaming their own content. More small and medium-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 to better represent their brands, and filmmakers are in a 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 multi-camera 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 the notion of beautifully-shot cinematic narratives, offering professional multi-camera 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!

6 SPOTLIGHT ON NEW PANASONICS Built-in LED lights are a new feature on a brace of new camcorders from Panasonic that bring big-camera technology to pint-sized kit. 8 THE DSLR STRIKES BACK Canon takes the wraps off the professional- level EOS-1D X Mark III that sets new standards for video performance from a stills- based camera. 1O NEWS FROM NIKON Mirrorless technology comes to the new D780, plus new lenses launched for Z and F-mount cameras. 12 FINGERPRINT TECH IS HERE! For the ultimate in security, a fingerprint reader makes your data safer than ever on Samsung’s latest hard drives. Plus new Cooke lenses and a retro-style bag. 14 IT’S SHOWTIME! The BSC Expo comes to London and lots of lovely new kit gets its first public airing.

The ultimate magazine for next generation filmmakers

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

ADAM DUCKWORTH, EDITOR IN CHIEF

ULTIMATE GUIDE TO STREAMING PRO MOVIEMAKER

MARSHALL CV380-CS GEAR

MARSHALL CV380-CS

STREAMING STEALTH! The Marshall CV380-CS is an unobtrusive camera that can live broadcast events in glorious 4K I f all you dream of is a large cinema camera with fast prime lenses to create a wonderfully cinematic wafer- thin depth-of-field, then look away now. The new Marshall CV380-CS will unashamedly offer none of those things. own a whole arsenal of compatible glass for, as the screw-threaded CS/C lens mount is more commonly found on 8mm and 16mm movie cameras in the 1/3-inch, ½-inch, 2/3-inch, 1-inch, and 4/3-inch WORDS ADAM DUCKWORTH

bracket kit for £205/$270. Or you can mount the camera to a flexible arm or magic arm. These kits are the giveaway that this really isn’t a conventional handheld movie camera, or a GoPro-style action camera, despite its small size. It’s really aimed at being put in a fixed position to record whatever is in front of it, with its short focal length giving a very wide depth-of- field. Its prime use is for things like reality TV shows, sporting events or houses of worship, or maybe as an in-car camera. It just sits in place and records what’s there. There is no screen, so it’s definitely not a handheld camera. But that’s not to say it’s basic. It outputs its signal through a professional- style single 6G BNC output with 6G/3G/ HD-SDI capability, and also outputs simultaneously via a full-size HDMI. So one output could be a 4K live feed to a switcher, and the HDMI to another external monitor. To remotely control the camera, you can either use the RS485 port or the included menu joystick on a breakout- cable. Matching the camera to a PC, you download the free camera control

video formats. It’s also used for CCTV security cameras and scientific cameras. We tested the camera with a fixed 3.9mm f/2.0 optic, which is a basic lens where you just set the focus manually then check all is sharp. Marshall offers a whole range of lenses, from 2.3mm fisheye glass at £48/$65 to a 15-50mm f/1.5 auto-iris Fujinon zoom at a still very reasonable £205/$275. The camera offers DC auto-iris plug-in ability, so with a lens like the Fujinon it will change iris to keep your exposure spot on. You can even buy a pack of six lenses in a case for £175/$235, which come in focal lengths of 2.3mm, 2.8mm, 6mm, 8mm, 12mm and 16mm. The camera has a conventional tripod thread on both the top and bottom, so can be fitted to a normal tripod plate or mini tripod. Marshall also has accessories for different mount options, such as an anti- vibration bracket in light carbon fibre for just £16/$25, or a complete wall mounting

But if you are plunging headfirst into the kind of livestreaming that’s being increasingly asked for by clued-up clients with marketing budget to spend, then a camera like this may well be your next purchase. The Marshall CV380-CS is a compact, true 4K camera built around an 8.5-megapixel, 1/2.5-inch sensor that delivers crisp footage in 4096x2160p. It takes interchangeable lenses thanks to its CS/C lens mount, and there are plenty of inexpensive options available in this fitting. It might not be a lens mount that the majority of independent filmmakers will

“The Marshall CV380-CS is a compact, true 4K camera built around an 8.5-megapixel, 1/2.5-inch sensor”

LEFT The camera outputs its signal through a single 6G BNC output with 6G/3G/HD-SDI capability, and also outputs simultaneously via a full-size HDMI

PRO MOVIEMAKER ULTIMATE GUIDE TO STREAMING

MARSHALL CV380-CS

SPECIFICATIONS Price: £1558/$1399 body only Sensor Size: 8.5 megapixels, 1/2.5in, 4:2:2 Formats: 4K 4096x2160p, 3840x2160p, UHD 3840x2160p @ 30/29.97/25/24/23.98fps HD (Progressive): 1080p/720p @ 60/ 59.94/50/30/29.97/25/24/23.98fps HD (Interlaced): 1920x1080i @ 60/ 59.94/50fps Focus: Manual Lens Mount: CS/C-mount for varifocal or fixed lenses Screen: None Controls: Remote adjust and match through RS485 (Visca) or OSD menu joystick Adjustments: White-balance/gain/ pedestal (blacks)/exposure/gamma Audio: TRS stereo audio inputs, mic and line level Connectivity: 6G-SDI (single BNC), HDMI 1.4 outputs Dimensions (WxHxD): 72x64x64mm/2.8x2.5x2.5in Marshall has been making compact, mini-cameras with pro SDI sockets for several years, but the CV380-CS is the first of its cameras to record in UHD which makes it a more future-proof buy. And with a USB socket to upgrade firmware in future, it should give years of service. It’s a basic, small camera with no external controls but shoots 4K Performance: 8 From a small sensor and basic lens, the results are surprising Handling: 8 One you’ve got the remote set up it works well Value for Money: 8 It’s not cheap but is built to last and is rugged PRO MOVIEMAKER RATING: 8/10 Adds real production value to your live stream Pros: A rugged 4K camera that’s tiny with pro-spec SDI Cons: Needs an external power supply and screen to be usable HOW IT RATES Features: 7

there are vents to stop it overheating, which means there is no weatherproofing. You’d need a cover for external use. Compared to other similar-style Marshall cameras, the body has been redesigned to make it even more durable; the rear now has two protruding wings to protect the rear connectors. If you were to use the SDI port, HDMI socket, multi- functional I/O and iris control, it would be easy to knock one of the connections out. This new design helps prevent this.

software which gives a wide range of adjustment settings. The nomenclature shows Marshall’s TV background as you can adjust paint (red/blue), gain, pedestal (blacks), gamma, and the more conventional white-balance and exposure. As the camera shoots in 4K, it’s good for capturing a very wide scene and then you can crop in to give an HD view, if you need it. The body of the CV380-CS is solidly made from metal, rather than plastic. And

ABOVE The Marshall CV380-CS takes interchangeable lenses thanks to its CS/C lens mount

THE VERDICT For small production companies looking at

bigger units can’t. And with a variety of ways to control the camera, such as via a remote laptop or using a cable plugged into a monitor, it’s pretty easy to use and can be rigged in different ways. There are plenty of lenses and accessories available for the camera at inexpensive prices, too. Essentially it’s a professional TV-style mini camera that shoots in 4K and would be a great addition to any livestreamed event. And at the price, there is very little competition.

getting into multi-camera livestreaming, it makes lots of sense to have a mix of handheld cameras used by cameramen and some fixed cameras to switch to when the mobile cameras are on the move. If you’re recording a sporting event for example, a fixed camera like the Marshall could be left in place pointed at the winners’ podium and switched to when needed. Or left in place to show a wide general view of the location – ideal for when graphics are being used. With the camera being so small, it can be put in places

More information

marshall-usa.com

ULTIMATE GUIDE TO STREAMING PRO MOVIEMAKER

GEAR CANON XF705

CANON XF705

The successful XF range of broadcast and streaming cameras is joined by the high-resolution XF705 CANON’S CAMCORDER FLAGSHIP

SPECIFICATIONS Price: £6999/ $6999

Sensor: 1.0-type CMOS, 13.4 megapixels, Dual DIGIC DV6 processor Formats: 4K and HD, XF- HEVC 4:2:2 10-bit H.265, XF- AVC 4:2:0 8-bit H.264 Picture settings: Normal, BT. 709, BT. 2020, Canon Log 3, HLG, Wide DR. Frame rates: 60/ 50/ 30/ 25p Lens: 15x optical, 30x digital zoom. 8.3-124.5mm/f/2.8-4.5 (equivalent to 25.5-382.5mm) Focus: Dual Pixel CMOS AF Image stabilisation: Optical and in-body ND: 3-stage optical ND Output: HDMI, 12G-SDI Shutter range: 1/2-1/2000sec (50p) Dynamic Range: 12 stops in Canon Log 3 or Wide DR Screen: 10.1cm/4-inch LCD capacitive touch panel Audio: Integrated microphones, 2x XLR inputs with phantom power support Dimensions (WxHxD): 191x258x433mm/7.5x10.2x17in Weight: 2660g/5.86lb depending on region Storage: 2x SDXC slots

WORDS JULIAN MITCHELL

tops out at 160Mbps, and it worked well. HEVC stands for High Efficiency Video Coding, which is the way 4K is compressed for delivery to homes. Our 64GB Lexar cards gave us around 110 minutes in 4K from the two SD card slots on the side of the body in the 160Mbps mode. You can shoot with Canon’s XF- AVC codec if you’re not quite ready for 4K UHD, but resolution and quality is down to HD with a 4:2:0 8-bit signal. As you can choose 1920x1080 using the HEVC option, you shouldn’t really need XF-AVC. The only reason would be if your NLE couldn’t deal with the new HEVC codec, which initially might be a problem. Canon is using a 1.0-type CMOS

ABOVE The XF705 improves on features of the XF305, such as HDR, new-style grip and shoulder pad

PRO MOVIEMAKER ULTIMATE GUIDE TO STREAMING

sensor and DIGIC DV6 processor to deal with the extra processing needed for the big jump in resolution and other data-hungry processing. The body also has some large air intakes to keep things cool, but ours was a pre-production model so this might change when you order yours. Arguably, with this new 1.0-type sensor you can start experimenting with depth-of-field to a certain degree, especially when you use the monitor’s touchscreen to focus – another box ticked. You can also consider the XF705 as a possible back-up for some of the larger sensor cameras. In front of the sensor is a fixed L-series Canon lens with a 15x optical zoom range, and a maximum aperture of f/2.8 that drops to f/4.5 at longer zoom settings. The wide-angle is equivalent to 25.5mm and the telephoto is equivalent to a lengthy 382.5mm. There is also five-axis image stabilisation, including the well-known Powered IS, which tries to simulate a tripod mode and

does a pretty good job of it. This lovely L lens has three independent control rings with end stops to ensure the camcorder has a decent level of manual control. This lens is one of the truly standout features of the XF705 and, as it has done before, Canon has sought advice from broadcasters and cinematographers on the design of this camera. The lens handling is where this is most obvious. The focus ring can be used as a true manual control with a calibrated scale and end stops. However, if you press a button and turn the lens barrel behind the focusing ring, the calibrated scale disappears and the focusing ring becomes an ‘endless encoder’, with both manual and auto-focus. If you want to use the lens ring as a zoom ring instead of the rocker, there is a simple slider control directly behind it. While on the subject of autofocus, the XF705 features Canon’s amazing, wonderful and unique Dual Pixel autofocus. This system is so brilliant it’s persuaded many an anti-autofocus shooter to

use it. On the XF705, this provides the normal accurate and fast autofocus with touch focus control, face-detection AF and object tracking. You also get a graphical guide to support accurate focusing when making manual adjustments. The attention to detail isn’t limited to the lens controls. There are plenty of dedicated buttons for zebra, peaking, image stabilisation and so on – all well placed and logical. You also get a motor-driven

BELOW Bright, intuitive menus make navigating the XF705’s controls a breeze

“Canon has sought advice from broadcasters and cinematographers on the design of this camera”

ULTIMATE GUIDE TO STREAMING PRO MOVIEMAKER

GEAR CANON XF705

C anon’s XF range has always been great for workhorse cameras – the form factor of fixed lens and multiple buttons is a busy shooter’s dream. We’ve loved the way they compressed footage at high rates with accessible codecs, and stored the resulting MXF files on nice, freely available, relatively cheap media – this time SD cards instead of CompactFlash. The latest model is the XF705, with improvements that are totally predictable but nonetheless impressive. Using the XF-HEVC codec you can now shoot UHD 3840x2160 at 50p and in 4:2:2 10-bit to SD cards. We used Lexar 1000x SD cards, which can record up to 150 MB/s, while the XF705 tops out at 160Mbps, and it worked well. HEVC stands for High Efficiency Video Coding, which is the way 4K is compressed for delivery to homes. Our 64GB Lexar cards gave us around 110 minutes in 4K from the two SD card slots on the side of the body in the 160Mbps mode. You can shoot with Canon’s XF- AVC codec if you’re not quite ready for 4K UHD, but resolution and quality is down to HD with a 4:2:0 8-bit signal. As you can choose 1920x1080 using the HEVC option, you shouldn’t really need XF-AVC. The only reason would be if your NLE couldn’t deal with the new HEVC codec, which initially might be a problem. Canon is using a 1.0-type CMOS sensor and DIGIC DV6 processor to deal with the extra processing needed for the big jump in resolution and other data-hungry processing. The body also has some large air intakes to keep things cool, but ours was a pre-production model so this might change when you order yours. Arguably, with this new 1.0-type sensor you can start experimenting

“The Dual Pixel AF has turned many a manual focus traditionalist into an autofocus evangelist”

THE VERDICT

HOW IT RATES Features: 9 Canon knows what working filmmakers really need, and has built a camera to suit Performance: 8 The new internal codec is a big improvement, and the 4K 10-bit 4:2:2 is a stunner Handling: 9 It’s built for ease of use and it shows. All the controls are where they should be Value formoney: 8 Expensive for a fixed-lens camcorder but it does offer lots of spec and performance OVERALL RATING: 9/10 As a documentary camera it delivers on all counts, with great AF, stunning image quality, a great lens and ease of use Pros: Canon’s best camcorder, with 4K and HDR ready to go Cons: No super slow motion and lack of H.265 support at the moment

A do-it-all camera with the benefits of a long and fast zoom, high bitrate 4K output, easy streaming technology and instant HDR footage. With a 1.0-type sensor you’re not going to get wafer-thin depth-of-field, but you can get decent bokeh and, of course, a very modern, high-resolution camcorder that is ideal for run- and-gun filming, documentaries or event coverage. The Dual Pixel AF is a stunner, especially if you’ve never used it before. It’s turned many a manual focus traditionalist into an autofocus evangelist. At £6999 it’s not cheap, but is a solid workhorse packed with the latest technology, and should provide great service for years. One slight let-down is the frame rate: at 50/60fps it gives just half speed while many rivals offer 100 or 120fps. But it’s one of the first pro cameras to offer the H.265 codec which gives space- saving for 4K files, along with HDR options built on, so you’ll be relatively future-proofed as these formats become more popular.

BELOW Items in the box include shoulder pad, lens hood and barrier, battery pack and charger, mic holder, eye cup and shoulder strap

More information

canon.com

PRO MOVIEMAKER ULTIMATE GUIDE TO STREAMING

ULTIMATE GUIDE TO STREAMING PRO MOVIEMAKER

PRO MOVIEMAKER ULTIMATE GUIDE TO STREAMING

Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10

promoviemaker.net