The ultimate magazine for next generation filmmakers
EDITORIAL
Editor in chief Adam Duckworth Chief sub editor Alex Bell
Deputy chief sub editor Matthew Winney Sub editors Harriet Williams, Ben Gawne Editorial director Roger Payne
ADVERTISING Sales director
Sam Scott-Smith 01223 499457 samscott-smith@bright.uk.com Senior sales executive Hannah Gurney 01223 499463 hannahgurney@bright.uk.com DESIGN Design director Andy Jennings Design manager Alan Gray Senior designer Lucy Woolcomb Middleweight designer Emily Lancaster
Designer and ad production Man-Wai Wong Junior designers Hedzlynn Kamaruzzaman & Kieran Bitten PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:
The pages of Pro Moviemaker are always packed with the latest, greatest hardware and software. But this issue, there is more than ever before, as we not only cover equipment launches from IBC and The Photography Show and The Video Show, but also the results of our Gear of the Year Awards. Yes, we all know movies can – and have – been shot on an iPhone, but when it comes to working professionally, having the right kit deliver every time is crucial. It’s essential for having happy clients, a good reputation and keeping money coming into the bank. That doesn’t always require rushing out and buying the newest bit of bling as soon as it hits the market. It often means working out what you need and why, then matching it to the right equipment. Not everyone has Netflix-level funds, and we always try to reflect that in the cameras and kit we feature. Take the Gear of the Year Awards, for example. Our winning cameras range from a very affordable Micro Four Thirds mirrorless, to a four-year-old camcorder, plus a couple of Red cameras – all at very different price points. Lens winners include a zoom from super-premium brand Zeiss and optic from fast-growing Korean brand Samyang. It is telling that two of our awards go to cloud services in what are usually hardware- based categories. The times, they are a-changin’. That also rang true at the big filmmaking shows, where there was a definite reduction in camera launches – partly driven by supply issues for things like computer chips, but also because the days of each generation being far superior to the last have all but gone. Emerging now are even more cloud-based services and platforms, for everything from remote storage of files to collaborative, real-time editing over the internet, camera-to-cloud services and, of course, live streaming. The pandemic accelerated demand for streaming of just about everything, enforcing a trend to remote working that has largely continued – as has the explosion of technology and services to make it all happen. It feels like we are on the cusp of something huge for independent filmmakers everywhere, as this tech matures and becomes more affordable. We’re in for an exciting ride!
Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ
Pro Moviemaker is published monthly 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 (unless otherwise stated), 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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