Welcome to brand new issue of Pro Moviemaker magazine If a cinema camera has always on your must-buy list but the price has put you off, then you need to check out our tests of the latest Raw-shooting cameras from Nikon and Blackmagic. For less than the price of a flagship mirrorless camera, you could own the 12K-shooting full-frame Pyxis or could even buy two of Nikon’s red-hot ZR cameras! We put them both to the test. There’s the news on two mid-market mirrorless cameras from Canon and Soby that will go head-to-head in the sales war of 2026, plus loads of new hardware and software to get you up to speed on new tech. There are cash-saving tips on buying the best cameras right now, a mega section on how to make real money as a content creator. And we launch the Filmmaker of the Year contest. This, and more, is in the latest Pro Moviemaker magazine - out now.
YOUR SHOT AT GLORY STARTS NOW! Entries are open in our new-look contest for commercial filmmaking
JANUARY/FEBRUARY 2026 www.promoviemaker.net
@ProMoviemaker £5.49
BUYERS’ GUIDE
STORAGE WARS
SHOOT HAPPENS CONTENT CREATOR TOOLKIT Get the hardware, software and skills needed to become a complete creator
Hard drives, memory cards and SSDs to keep your files safe
THE NIKON ZR AND BLACKMAGIC PYXIS 12K BOTH SHOOT RAW AND ARE SHOCKINGLY AFFORDABLE FULL TESTS CUT-PRICE CINEMA CLUB
ALSO IN THIS ISSUE: Canon’s superfast
45mm prime Fujifilm’s compact X-T30 III Zhiyun, Harlowe, Nanlite, Aputure and Amaran LED lights Next-generation PTZ cams and much more
USED SPECIAL
It’s the ultimate mirrorless clash, as Sony’s A7 V faces the red-hot Canon EOS R6 III ALL-ROUNDERS REINVENTED RIVALS RELOADED
PRO GLASS
Everything there is to know about upgrading without overspending MAKE YOUR MONEY LAST
Laowa’s new perspective- control pair POWER SHIFT
MIDDLEWEIGHT CLASH Canon’s EOS R6 III will face Sony’s new A7 V in the latest battle of the mass- market mirrorless cameras
The ultimate magazine for next generation filmmakers
Editor in chief Adam Duckworth Chief sub editor Matthew Winney Junior sub editors Tabitha John & Kezia Kurtz Editorial director Nicola Foley EDITORIAL ADVERTISING Sales director Sam Scott-Smith +44 (0)7875 711967 samscott-smith@bright.uk.com Sales manager Emma Stevens +44 (0)7376 665779 emmastevens@bright.uk.com DESIGN Design director Andy Jennings Magazine design manager Lucy Woolcomb Senior designer Carl Golsby Graphic designer Hedzlynn Kamaruzzaman Junior designer and ad production Holly May PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:
highest overall resolution. Canon covers nearly 100% of the frame with AF points while Sony hits around 90%. Where Sony once crushed the competition in video, it now appears content with no open gate recording or internal Raw video. Canon’s R6 III offers more video formats such as internal Raw, but Nikon is even more aggressive with its new ZR and Panasonic’s latest partially stacked S1 II is king of the hybrids we’ve tested so far. The irony is that Sony now protects its higher-end lines by kneecapping its prosumer camera – exactly what Canon did for years. In terms of ergonomics, Sony’s new tilt-flip screen is good but its rear controls are cramped and its lens release placement is borderline booby-trapped. Canon gets the basics right in balance and simplicity – but where Sony does still annihilate its rivals is battery life. But the uncomfortable truth neither brand’s diehards want to admit is that the gap between them has never been smaller. The punchline is none of this should make anyone switch systems – not over these cameras, at least. With amazing and affordable full-frame hybrids from Sony, Canon, Nikon and Panasonic, you can’t really go wrong.
For years, Sony has strutted around the mirrorless market like a monarch. Each new full-frame Alpha release reset expectations and sent Canon, Nikon and Panasonic scurrying back to their R&D labs. Now the Sony A7 V has landed, the energy has changed. Canon, Nikon and Panasonic aren’t chasing any more – and Sony isn’t the obvious leader. The new A7 V is a great camera, and it sits in the crucial mirrorless mid-market where sales will be huge. It’s fast, clever, capable and polished. But it’s also the most conservative Alpha in years. Canon’s EOS R6 Mark III, meanwhile, isn’t just competitive but feels like what Sony would’ve released back when it was pushing the envelope every way it could. Sony’s big sensor pitch this time is ‘partially stacked’, a term that’s hazy at best. Nikon invented the phrase and didn’t explain it. Sony, who invented the phrase and technology of the fully ‘stacked’ sensor in 2017, has inherited the new moniker. What matters is a faster- reading sensor that boosts AF and frame rates and offers blackout-free viewing. The truth about these partially stacked sensors is nuanced. Canon says its sensor reads out faster while Sony’s gives more dynamic range at 14-bit and has the
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 (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
3
PROMOVIEMAKER.NET
The ultimate magazine for next generation filmmakers
JANUARY/FEBRUARY 2026 CONTENTS
AGENDA 6 CANON RELOADS THE EOS R6
It’s one of the most eagerly awaited full-frame mirrorless camera launches, as Canon’s mid-market EOS R6 III breaks cover – and it’s packed with high-end spec. Plus, we look at the company’s latest standard prime that’s available at a shockingly low price. 8 SONY SUPERCHARGES ITS A7 V The mighty Alpha series hits back at new competition from Canon and Nikon with the fifth-generation A7 that’s faster than ever before. But with no internal Raw or open gate, is it an own goal? 10 POWER UP YOUR NANLUX REFLECTORS If your high-powered LEDs don’t cut the mustard, these beam boosters amplify the power and give finer control. Plus, Harlowe’s newest lighting kit and next-gen PTZ cams from Marshall. 12 THE RODE TO CHEAPER PODCASTS The audio giant’s move into video podcasting continues with the Rodecaster Video S, its more compact control unit that’s both cheaper and easier to use. There’s also Laowa’s 200mm f/2 AF prime, the latest DJI action cam and diffusion accessories for Aputure lights.
38
14 CLASSIC FUJIFILM X-T30 UPGRADED Fujifilm wades in with its super-compact mirrorless X-T30 III, with a matching X Mount zoom, ideal for content creators. Leica’s Reporter- standard SL3 gets its battle gear on, while this Porsche sports car is
the ultimate accessory for well-heeled filmmakers. 16 THE ZOOM THAT’S MADE FOR AUDIO
The brand-new Podtrak P4next is the latest hardware from Zoom to make perfect audio for your podcasts as easy as possible. There is a Tascam XLR audio adapter to fit Nikon’s new ZR and an upgrade for Datacolor’s Spyderpro colour calibrator. 19 BRIGHT RAY OF LIGHT FROM AMARAN The Ray series is the latest family of great-value LED lights from Amaran. Benro sticks it to its rivals with a range of tripods made for hybrid shooters and filmmakers, while Zhiyun shows its super-bright yet highly portable X200 Molus fixture.
28
4
PRO MOVIEMAKER
The ultimate magazine for next generation filmmakers
ACADEMY 38 THE BLUEPRINT FOR CONTENT CREATORS We reveal the hardware, software and skills you need to make a serious living in this fast-growing sector of the entertainment industry. Follow our plan and you’ll soon be on your way to a lucrative content creation career.
GEAR
46 BE SAVVY AND SAVE MONEY ON KIT Splashing out on the very latest kit might not always be the best plan. We investigate how waiting for niggles to be ironed out, prices to drop and stock to hit the used market
might be the best plan of action. 50 PYXIS MAKES PERFECT
56
The 12K resolution, Raw-shooting Blackmagic Pyxis is one of the best cameras you can buy for cinema-style shooting, and it’s available at a shockingly low price. But have corners been cut to make it a bargain? We test it out. 56 RED ZED REDEMPTION Red, the legendary cinema camera icon, lends its know- how to Nikon in the collab ZR mirrorless – with stunning results at a very low price. We give the baby Zed cam a go and also try out Nikon’s first-ever cine zoom lens. 64 MINI TESTS: KIT TRIED AND RATED We get hands-on with two Laowa lenses that deliver perspective control to the mirrorless market, plus a superfast Sigma 135mm prime, DJI’s portable power station, Sony’s 24-50mm zoom and a Gitzo tripod kit. BUYERS’ GUIDE 70 MEMORY CARDS, SSD s AND HARD DRIVES It might not be the sexiest purchase but having fast, efficient and super-reliable storage is crucial for every filmmaker. We check out the memory cards, flash drives, portable SSDs and hard drives on offer. 70
46
21 SIRUI FOCUSES ON AF ANAMORPHICS The innovative lens manufacturer unveils the world’s first 1.33x full-frame anamorphic lens with autofocus that features a bright T1.8 aperture. Additionally, Canon fires off a warning shot with its pair of new PTZ cameras, while Tenba rolls in with the stylish Roadie camera case series. 23 MOTION CONTROL FOR YOU AND YOUR CREW! The motorised Zipr kit trolley that doubles up as a ride-on dolly or transport for you and a friend, Antigravity flies in with an 8K 360 drone, Polarpro reveals a series of close-up filters and Iris brings browser-control to all types of PTZ cameras. 24 VIDEO REVIEW OF THE ATOMOS NINJA TX GO Our editor in chief Adam Duckworth takes to YouTube to unbox Atomos’s new and more affordable connected monitor. We try it out in the studio and on location to see if it hits the sweet spot of performance and price. With a bright screen and camera control for many mirrorless models, this might be all you ever need. AWARDS 28 FILMMAKER OF THE YEAR CONTEST IS HERE! Backed by mega retailer CVP, the 2026 edition of Pro Moviemaker’s Filmmaker of the Year competition is officially underway. In this global contest, we showcase the stunning work of commercial and student talent as well as content creators. So don’t delay, if you’ve got something to show off to the world, enter today!
5
PROMOVIEMAKER.NET
AGENDA
NEWS
The third iteration of this hybrid powerhouse packs a new sensor with upgraded AF and 7K Raw video H ot on the heels of the EOS C50 hybrid cinema camera comes Canon’s new EOS R6 Mark III mirrorless. This uses the same sensor and retains the majority of its video spec, but adds in-body image stabilisation at a cheaper price. The £2799/$2800 newbie packs the newly developed 32.5-megapixel full- frame sensor build and is more focused toward stills than the £3299/$3899 C50. The R6 III has an electronic-shutter burst rate of up to 40fps and a huge buffer up to 150 Raw frames thanks to a CFexpress Type B card alongside an SD slot. A clever pre-continuous shooting mode captures 20 frames in full Raw, JPEG and HEIF before the shutter is pressed and can be activated via a simple shortcut button. As a true high-end hybrid, the R6 III offers 7K Raw Light video at up to 60fps, in a full-sensor open gate format, giving Canon reloads the R6
Autofocus has also received major upgrades. Canon’s Dual Pixel CMOS AF now brings in more refined subject recognition algorithms which track people, animals and vehicles, and supports pre-registrable faces for priority tracking. This a boon for wedding, sports and documentary shooters. More than that, the system is also designed to be just as effective in video as it is in stills.
more flexibility for cropping, stabilisation and output options for social media. Positioned between the older 24-megapixel EOS R6 Mark II and the high-end EOS R5 Mark II, this camera signals an intention from Canon to bridge the gap between photo and video in one body. The bump in resolution offers more cropping flexibility and image detail for stills and video, without sacrificing speed.
HOW THE R6 III OUTGUNS THE REST
pros – looking for versatility over ultra-high-end specs or cinema-only models, the R6 III may become a go-to recommendation. Of course, no camera is perfect. Some may question why the sensor isn’t stacked for pure speed or why it’s not dual base ISO, for example. But for what it offers – speed, reliability, hybrid workflow and a full feature set for stills and motion – the R6 III stands out as one of the most-rounded choices in the full-frame mirrorless field right now. If you’re a photographer who shoots video, or a filmmaker who still wants uncompromised stills capability, the R6 III deserves serious consideration. It balances the demands of both disciplines, delivers meaningful upgrades and positions itself as a future-proof hybrid tool for the creative. Canon is redefining what a mid- tier full-frame camera can do in the hybrid age.
The EOS R6 Mark III signals Canon’s acknowledgement that photography and videography are no longer separate silos and many creators expect a body that can do both. Well the new EOS delivers on this expectation with serious specs and functionality in just one package. Secondly, it offers massive upgrades in areas where its predecessor was already strong – resolution, autofocus and video – all wrapped up in a capable frame that doesn’t demand the flagship price tags of ultra-professional models. For many, it hits the sweet spot. It’s also a strategic move in Canon’s line-up. By upgrading the R6 series so aggressively, Canon ensures its mid-tier mirrorless block remains competitive against rivals such as the new Sony A7 V, Panasonic Lumix S1 II and Nikon’s Z series offerings. With many hybrid shooters – freelancers, content creators, wedding and event
6
PRO MOVIEMAKER
“Canon is redefining what a mid-tier full- frame camera can do in the hybrid age”
LATEST PRIME IS FAST AND AFFORDABLE
A new RF 45mm f/1.2 STM lens at a surprisingly low £479/$469, less than a quarter the price of the flagship 50mm f/1.2L USM optic, is bound to be a big seller for Canon users. Weighing just 346g/0.76lb, this is Canon’s lightest f/1.2 lens, features an AF stepping motor and nine-blade aperture for producing smooth bokeh. It’s the answer to those who’ve yearned after a fast standard lens, but have been put off by the huge bulk and sky-high price tag of models like the L-spec pro lens. However, the new optic has a lack of hardcore weather sealing, slower AF motors, a less complex optical design and nine aperture blades instead of ten. And the pro version focuses 5cm closer. But you still get the wafer-thin depth-of-field and blurry bokeh, as well as low-light performance and focus breathing correction compatibility, making it ideal for both stills and video. With a minimum focus distance of 45cm/17.7in and a 67mm filter thread, it’s a practical, everyday creative tool.
feel familiar to existing Canon shooters. The body maintains Canon’s strong build quality, weather sealing and intuitive controls, ensuring it works well in real-world, professional-use scenarios. It’s a do-it-all camera – high resolution and unashamedly stills-first but with uncompromised video spec – that is sure to be incredibly popular. canon.co.uk RAW POWER An expanded buffer can handle up to 150 Raw images in a single burst thanks to a CFexpress Type B card alongside an SD slot – twice the power of the R6 II
Additionally, oversampled 4K/60p, 4K/120p and Full HD in 180fps slow- motion options are supported. Canon also includes waveform monitoring, metadata tagging, HDMI output and improved stabilisation claimed to be up to 8.5 stops. Connectivity includes 2.4/5GHz Wi-Fi and Bluetooth 5.1, with a refined user interface and ergonomics that will
7
PROMOVIEMAKER.NET
AGENDA
NEWS
Sony supercharges its A7 V Fifth-generation Alpha 7 boasts a brand-new sensor with AI-powered AF
J ust as Canon was setting the filmmaking world alight with its all-rounder EOS R6 Mark III, Sony hit back with its rival A7 V, the long- awaited fifth-generation model that sits squarely in the middle of its full-frame mirrorless series. The £2799/$2898 Sony features a newly developed 33-megapixel, partially stacked Exmor RS CMOS sensor and the all-new Bionz XR2 processor with integrated AI acceleration for a leap in autofocus performance, shooting speed and video capability. Paired with the announcement of a new FE 28-70mm f/3.5-5.6 OSS II lens, Sony is positioning the A7 V as the definitive all- rounder for photographers, filmmakers and hybrid content creators. Sony’s upgraded AI processing unit inside the next-generation Bionz XR2 engine enables a claimed 30% increase in Real-time Recognition AF performance with 759 phase detection points covering 94% of the frame and sensitivity down to -4EV. While rival mid-range cameras offer a 24.5-megapixel semi-stacked sensor or a 33-megapixel conventional one, the new Sony is the only to offer a 33-megapixel semi-stacked sensor now offering 4.5x faster readout. This allows blackout-free stills bursts up to 30fps, complete with full AF/AE tracking in 14-bit Raw. Sony also introduces Pre-Capture, allowing the camera to record up to one second before the shutter is pressed. For video spec, the camera gets a major upgrade with new oversampled and high-speed video modes. There is 7K oversampled 4K/60p in full-frame mode, 4K/120p in APS-C crop mode, full pixel readout without binning, advanced Dynamic Active mode stabilisation and new AI-powered auto-framing. But there’s no open gate mode or internal Raw video. It has dual card slots, one CFexpress Type A and a second that takes a UHS-I/II SD card. Noise reduction and an improved internal mic deliver cleaner audio, while
better thermal design supports extended 4K recording without overheating. Sony has redesigned the A7 V’s ergonomics and workflow features, adding a four-axis multi-angle touchscreen, dual
USB-C ports, an improved grip with deeper finger holds, upgraded heat management for longer video sessions and battery life rated at approximately 630 shots. sony.com
MID-RANGE STANDARD ZOOM UNVEILED
and compact, it’s built to be an ideal everyday partner for hybrid shooters and costs £429/$448. It still features nine elements in eight groups, including a single ED element and a trio of aspherical lenses with a seven-bladed aperture. The camera and lens are built using 100% renewable energy due to Sony’s Road to Zero plan, with Original Blended Material packaging.
Sony has also launched the FE 28-70mm f/3.5- 5.6 OSS II, a refreshed standard zoom designed to keep pace with the A7 V’s high-speed burst rate. Key improvements include up to 120fps AF/AE tracking when paired with compatible bodies such as the A9 III, coordinated optical and in-body stabilisation, faster AF and reduced breathing with better zoom tracking. Lightweight
8
PRO MOVIEMAKER
AGENDA
NEWS
Beam boosters up the Lux
Nanlux has expanded its light-shaping ecosystem with the FE30 and BE55 Parallel Beam Reflectors, engineered to deliver higher brightness with a longer throw. While the two models are designed for different fixture families – the FE30 for FE/ FM mounts and the BE55 for BE/Bowens mounts up to 800W – both are portable, weather sealed and IP66 rated. Built for an 8° beam angle, the $225 FE30 and $665 BE55 create a highly concentrated, near-parallel beam. When paired with the Evoke 150C, the FE30 delivers over 12x the brightness of the bare light (5600K at 3m). With the Evoke 600C, the BE55 multiplies output by an impressive 23x (5600K at 5m). This punchy, focused illumination is ideal for long-throw applications or bouncing into reflectors to get soft, efficient lighting. The FE30 measures just 30cm and weighs 1.38kg, while the BE55 is 55cm and 5.56kg. An integrated internal grid and external snoot are included for more lighting options, and a sealed front cover prevents dust and insects from degrading performance over time. UK prices are yet to be confirmed. nanlux.com
Nanlite’s revamped £89/$89 Pavotube II 6CP packs serious power into a sleek 25cm tube. It is now 10% brighter, with a wider 2400-12,000K colour range and longer 78-minute battery life at full power. Its Nebula C4 light engine delivers NANLITE’S MINI MARVEL
accurate tones, while USB-C charging and app control make it very versatile. nanlite.com
HARLOWE, IS IT ME YOU’RE LIGHTING FOR? Harlowe has added to its LED lighting range with the full-spectrum powerhouse Pro 300 Spectra and the compact, travel-ready Max Air 40 lamp. punch, while a 96+ CRI/TLCI rating ensures faithful colour. Kit prices start at £1798/$1999.
The smaller Max Air 40 has the same 96+ colour accuracy, while its newly engineered, IP65-rated 54.72Wh battery is 35% thinner, and the detachable 23° focus lens can deliver up to 9x more brightness. Kits for the Max Air 40 start at £499/$549. harlowe.eu
The Pro 300 Spectra takes the build of the original Pro and supercharges it with RGBCW colour output, offering more than 36,000 colours plus a 1700-10,000K white-light range. Its 300W LED engine delivers serious
MARSHALL’S NEXT-GEN TRACKING CAMS The latest in Marshall’s CV600 PTZ camera series, the CV625 and CV612, make automated production smooth, sharp and reliable. The CV625 is Marshall’s first dual-sensor, dual-lens PTZ/ POV hybrid, capable of simultaneous close-ups, wide angles and advanced AI tracking. Its 25x zoom, 4K UHD output and dual- image awareness help the camera follow presenters naturally, even when zoomed tight. It offers picture-in-picture and multiple output formats such as HDMI, SDI, USB 3.0 and IP. The CV612 brings the same AI follow-and-frame ability to a more budget-friendly package. With a 12x zoom and pro-grade HD CMOS sensor, it’s ideal for live events. Prices are not yet confirmed. marshall-usa.com
10
PRO MOVIEMAKER
AGENDA
NEWS
APUTURE’S SMART AND FAST DIFFUSION Aputure has updated versions of two of its popular LED diffusion systems. The new Quick Domes are fast-assembly parabolic softboxes available in three sizes – 90, 60 and 40cm – that can be built or collapsed in seconds thanks to a robust, quick- click frame and integrated handle. The larger domes use a Bowens mount, while the 40cm employs a Mini Prolock mount for the Storm 80c. All have removable diffusion, a light control grid and a carry bag. The Storm 80c three-light kit now has the Quick Dome 40 as standard. The Infinimat line has also been upgraded with a new clear airbag design and interchangeable diffusers. Optional collapsible frames with swappable diffusers offer more versatility, and replacement airbags are available for current owners. Prices have not been released. aputure.com
Action stations as Osmo adds aperture control DJI’s Osmo Action 6 is a landmark action
slow motion and up to 32x intelligent super slow-motion. The introduction of 4K Custom mode allows creators to shoot once and crop for any platform, eliminating the need to reposition the camera for vertical or horizontal output. Stabilisation remains class-leading, and the camera also features 2x lossless zoom, new film tone profiles, subject tracking and portrait optimisation. The Action 6 costs from £329/$379, is waterproof to 20m, freeze-resistant to -20°C, boasts up to four hours of battery life with fast charging and has 50GB of internal storage. Audio gets an upgrade as it supports dual DJI mic transmitters and has improved three-mic onboard audio with intelligent wind reduction. dji.com
camera with a variable aperture lens and a new 1/1.1-inch square sensor for a leap in image quality. The star feature is the f/2-4 variable aperture, making it the first action camera to allow control of depth-of-field. It also improves low- light performance. In Auto mode the camera adapts to light conditions, but Starburst mode changes bright city lights into dramatic star patterns. Paired with DJI’s Macro Lens accessory, the camera can focus as close as 11cm to enable shallow-focus close-ups, something not previously possible on an action camera. The 1/1.1-inch sensor promises 13.5 stops of dynamic range and clean low- light footage, with support for 4K/120fps
LAOWA POWER It’s taken 21 years for any new 200mm f/2 AF lens to hit the market, and now there are two! Hot on the heels of the Sigma version, Laowa has revealed its own. The £2999/$3299 Sigma is made for mirrorless in Sony E and Leica L-Mount, while the $1799 full-frame Laowa 200mm f/2 AF FF comes in Sony E, Nikon Z and Canon EF for DSLR diehards. Mirrorless variants are $1999 – no UK price yet. The Laowa version is around 200g lighter and 30mm shorter than the Sigma and the mirrorless versions come with a built-in 43mm filter holder. The Sigma has a more advanced optical build and more iris blades for smoother bokeh. venuslens.net
THE RODE TO EASIER VIDEO PODCASTS Rode’s new Rodecaster Video
S is a compact, all-in-one production console that puts professional video and audio power into a
creator-friendly form factor and price. For £499/$499, it features three HDMI inputs, dual wireless mic receivers, two combo jacks with ultra-low-noise Revolution Preamps and high-end audio processing. It’s a cheaper and more basic version of the award- winning Rodecaster Video. The Video S handles recording, live switching and streaming to major platforms via Wi-Fi or Ethernet, with ISO recording to USB
drives. Intelligent auto-switching, a two-inch touchscreen and hands-on controls make production easy. You can input up to four NDI streams for streaming output and it can be added to a Rode audio podcasting system via USB-C ports or via the Rode Central software app. rode.com
12
PRO MOVIEMAKER
AGENDA
NEWS
LEICA SL3 REPORTER HAS BATTLE GEAR ON Leica’s new reporter-spec camera is a tougher, more rugged edition of its SL3 full-frame mirrorless that will develop a battle-scarred patina. It is coated in scratch-resistant dark
TIME TO PORSCHE YOUR LIMITS There’s a new dream purchase for filmmakers who love working at pace. It’s a purpose-made camera car by Porsche, developed from the company’s 718 Boxster S model. It’s designed to get close-ups of moving officially for sale, but they might make you one if you ask politely… porsche.com green paint and wrapped in aramid fibre for grip and protection against dust, abrasions and harsh environments. The minimalist design removes the red Leica badge, which helps the camera blend in. Inside, the SL3 Reporter has a 60.3-megapixel full-frame BSI CMOS sensor, fast autofocus and shoots 8K video. The Reporter is £6200/$7995, £301/$510 more than the standard version. leica-camera.com Classic style with latest tech cars on a track and was built by nine of Porsche’s engineering apprentices as part of a training project. It’s not
setting and three fully customisable film recipes that can be saved. The new camera supports 6.2K/30p 10-bit video and has enhanced image stabilisation for smooth handheld shooting. A tilting 1.62-million-dot LCD sadly isn’t fully articulated though. Also available as a £999/$1149 kit with the new Fujinon XC13-33mm f/3.5-6.3 OIS lens, the X-T30 III is perfect for everyday or travel photography and is a great gateway into serious photography. fujifilm-x.com
But the big news is the latest X-Processor 5 engine that’s now included. The result is double the image processing speed of its predecessor, improved power efficiency and autofocus driven by deep learning so that it can recognise faces, eyes, animals, vehicles and even drones. The body is identical except for some changes to the controls. The top-left dial is now a Film Simulation dial, like on the X-E5 and X-T50. This offers simulation modes with 20 options including Reala Ace and Nostalgic Neg, plus a custom
Fujifilm’s X-T30 III, the latest model in its X Series of APS-C mirrorless cameras, comes in black, silver and charcoal silver for an affordable £829/$999 body only, and is ideal for content creators. It offers decent upgrades to the Mark II version and promises high-end performance from a legendary sensor in a stylish body weighing just 329g/0.73lb. The camera continues Fujifilm’s tradition of mixing vintage design with its latest tech, featuring its long-proven 26.1-megapixel X-Trans CMOS 4 sensor.
THE SMALLEST AND LIGHTEST X-MOUNT ZOOM
At just 125g/0.28lb and 37.5mm/ 1.5in long, the new XC13-33mm f/3.5-6.3 OIS is the smallest and lightest zoom that Fujifilm has ever made for its X Series of mirrorless cameras. It blends image stabilisation and sharp optics in a compact design. Covering a 20-50mm
and three ED lenses. A minimum
focusing distance of 20.1cm/ 7.9in and 0.25x magnification are ideal for close-ups, while a four-stop Optical Image Stabilisation (OIS) system gets sharp handheld results, even in low light. A responsive internal focusing system powers the lens’ rapid autofocus, which clocks in at just 0.025 seconds.
equivalent focal range, the £329/$399 zoom has ten elements in nine groups, including four aspherical
14
PRO MOVIEMAKER
AGENDA
NEWS
The brand-new Podtrak P4next is a major evolution of Zoom’s portable podcasting recorders, which are packed with next- generation processing to make broadcast- quality production accessible anywhere. The £169/$180 recorder has four XLR inputs with high-gain preamps and up to +70dB of clean gain. Each input offers 48V phantom power, tone shaping, voice compression and AI-driven noise reduction that removes hum, traffic and ambient distractions while keeping speech natural. For large shows, the P4next can host up to five guests, including two remotely via USB, TRRS or an optional Bluetooth BTA-2 adapter. All four headphone outputs have their own volume control, and a built-in mix-minus system prevents echo and feedback during call-ins. To use it for a video podcast, it offers 48kHz/24-bit recording, mobile-video support and the important ability to send polished audio straight into a smartphone camera for social-ready clips – with no post-production required. The P4next also doubles as a USB-C multitrack audio interface, supporting PC, Mac, iOS and Android, making it useful for live streams. It has four programmable sound pads, voice-guided menus, micro SD recording up to 2TB and flexible power options with AA batteries, USB or AC. sound-service.eu Zoom’s pocket podcast studio
FLOAT ON BY
Zoom is making a splash with its Instamic Pro Plus C, the world’s smallest waterproof 32-bit float recorder. With IP67 waterproofing, 135dB SPL handling, Bluetooth, 4.5 hours of battery and a built-in timecode, it’s a pocket powerhouse. The mono costs £174/$180. The stereo version is £25/$20 more, but it doubles as a Bluetooth mic for action cameras and can wirelessly connect to the Insta360 camera series, the Garmin Virb Ultra 30 and the Go Pro Hero 12 and 13. zoomcorp.com
SPYDER UPGRADE
TASCAM PRO AUDIO FOR NIKON
Datacolor’s new Spyderpro software redefines display calibration with pro-level tools for photographers and filmmakers. It can now support ultra-bright 12,000- nit displays, 3D LUT export and side-by- side content simulation. Integration with the Lightcolor Meter ensures adaptive ambient calibration. Available now for
mini-jack input and phantom power support, creators can use shotgun, condenser, lavalier or line-level mics directly with the camera.
Tascam’s latest CA- XLR2d-N is a digital XLR mic adapter for Nikon’s ZR mirrorless camera. It connects via the camera’s accessory shoe, transmitting high-resolution sound through Tascam’s HDDA preamps and A/D converters. With two XLR/TRS combo jacks, a
At £526/$599, the mic includes auto level, limiter and
low-cut filter controls, plus a headphone
£249/$269 or as a free upgrade for current users. datacolor. com/spyderpro
output for real- time monitoring. audiologic.co.uk
16
PRO MOVIEMAKER
AGENDA NEWS
BENRO GOES FULL VIDEO
PAINT THE TOWN RED A new indigo emitter and better red and blue output give Amaran’s Rays a full and accurate hue
Benro is making serious waves in the video market with four new tripods aimed at moviemaking. For cinema cameras or heavier payloads there’s the aptly named £500/$449 Mammoth. This elite carbon-fibre beast supports up to 18kg while weighing 2.2kg itself. It features a removable 75mm levelling bowl to go with flat-base or half-ball heads. The maximum height is 196.8cm, but it can fold down to 49cm with its flip-lock legs, multiple leg angles and convertible rubber/spiked feet. The popular Rhino line has also now evolved for filmmakers, adapting the lightweight carbon- fibre originals with flip-lock legs. Each of the three models features reverse-folding legs for travel, a built-in levelling ball and rubber/spiked feet. One standout addition is the clever monopod conversion system. Just remove one leg and the centre column to create a monopod in seconds. Three models are available, costing £400-£450/$480-$529. benroeu.com
What a Ray to go!
Amaran’s exciting, new Ray series is a next-generation family of full- colour COB lights designed to deliver more power, better colour and smarter workflows in dramatically smaller packages. The four-model line-up – 60c, 120c, 360c and 660c – ranges from ultra-portable 60W units to 660W studio workhorses. All are built around Amaran’s new Omnicolor light engine. Omnicolor expands red and blue output and introduces an indigo emitter, producing a fuller and more accurate spectrum. That translates to cleaner whites, truer skin tones and colour reproduction that remains consistent. All Ray fixtures are IP54-rated, ideal for outdoor use. An NFC pairing system lets users add lights to the Amaran app instantly, and the Flowturn knob allows precision adjustments and rapid changes.
The 60c and 120c provide huge upgrades for run-and-gun creators, such as slimmer, lighter bodies, Bowens mounts, USB-C PD power and optional cable-free operation with the new Peak battery system. The 360c and 660c bring serious power with all-in-one monolight designs and optional DMX control. Prices start at £189/$189 for the 60c and reach £699/$699 for the 660c. amarancreators.com
BRIGHTNESS WITHOUT BULK
The unusual design of Zhiyun’s Molus range continues with its X200, available in both bicolour (2700-6500K) and RGB (2500-10,000K). They deliver 200W of output while weighing less than 830g, and are up to five times brighter than many lights of a similar size. Designed for rapid, one-person set- up, they have a V-Mount power option for cable-free operation. Modifiers
come in Bowens mount and there’s full Bluetooth wireless control to set power and different groups. With CRI of 95+, SSI of 85 (RGB) and expanded colour options up to 10,000K, Zhiyun’s brand-new Molus X200 offers exceptional colour accuracy. The bicolour version is £370/$369 and the RGB version is £470/$469. zhiyun-tech.com
19
PROMOVIEMAKER.NET
AGENDA NEWS
Sirui focuses on AF anamorphics
in lenses this portable. Weighing between 600 and 700g, they are small enough for gimbals, travel rigs and handheld work. Pricing starts at $799 for each. The improved AF system is smooth, fast and reliable, ideal for unpredictable run-and-gun shooting. A control switch toggles between AF and MF and a clearly marked focus scale ensures compatibility with follow focus and LiDAR systems for precise manual work. The new Astra lenses are available in Sony E-mount, Nikon Z mount and Leica L-Mount, in either classic blue or neutral streak flare options. sirui.com
Sirui is set to shake up the filmmaking industry with the launch of its Astra series, the world’s first full-frame 1.33x autofocus anamorphic lenses to feature a constant T1.8 aperture. After last year’s breakthrough Super 35 AF anamorphics, the new trio of 50, 75 and 100mm Astra lenses bring true cinematic scope to full-frame mirrorless systems, while remaining compact, light and affordable. Each lens produces the hallmark widescreen look, oval bokeh and horizontal flares of big-budget cinema. The constant T1.8 aperture unlocks low- light performance, while also enabling an ultra-shallow depth-of-field rarely seen
CANON’S NEXT-GEN PTZ Canon has strengthened its PTZ camera portfolio with two next- gen models, made to boost image quality, modern IP workflows and industry-standard integration. The CR-N400 and CR-N350 have upgraded processing, advanced connectivity and Canon’s own colour science for cinema-grade results from remote units. At the top of the range is the £5699/$5699 CR-N400, built for tough live conditions. Its Digic DV7 processor offers 4K/60p HDR imaging and a 20x optical zoom in 4K, reaching 40x in HD. Its pro interfaces include dual XLR audio, 12G-SDI, timecode and genlock. The £4099/$3999 CR-N350 brings many of the same imaging advances to a flexible, affordable form. Also driven by Digic DV7, it offers 4K/60p, HDR, 40x advanced zoom, enhanced auto-tracking and IP streaming. It also supports simultaneous horizontal and vertical output for hybrid events and social-first live productions. canon.co.uk
READY FOR THE BIG SCREEN The T1.8 aperture solidifies its stunning low-light performance
TENBA REINVENTS THE ROLLER
STORM PROOF YOUR CAMERA
Tenba’s new range of bags are made to conquer city streets and the great outdoors, so you won’t get stuck in the mud. The Roadie V2 collection offers the first rolling camera cases with backpack straps that fully attach or detach in under a minute. This turns the Roadie from a smooth-rolling case to a backpack ready for rough terrain. The roomy £495/$530 Roller 24 rolls over tough ground easily, thanks to its large-diameter, shock-absorbing wheels. And the standout £495/$550 Spinner Air Case V2 is virtually uncrushable, handling up to 240kg of pressure. tenba.com
You don’t need a Sony to use the company’s all-weather covers or super-telephoto soft carrying cases made for Alpha mirrorless. The rain cover shields camera and lenses in full operation. Its breathable,
quality fabric stops condensation in long shoots. It has a quick-fastening strap and folds into an integrated pouch. In black or white, the small is £150/$190 and the large is £150/$190. The conical soft cases for super-telephotos have an anti-drop internal strap, a large zip and multiple carrying options. Three sizes start at £150/$230. sony.com
21
PROMOVIEMAKER.NET
AGENDA NEWS
IRIS UNIFIES PTZ CONTROL
Iris, a cloud platform that transforms almost any PTZ camera into an intelligent, remotely operated production tool complete with AI automation, universal control and real-time collaboration has been launched. The Iris system is a universal, browser-based control which connects to more than 300 PTZ cameras, removing the need for hardware controllers or dedicated crews. For users with Iris-enabled cameras, the platform integrates directly into the camera firmware, connecting instantly to the cloud without adapters, converters or complex networking. AI automation is at the heart of the platform, offering intelligent tracking, real-time framing and automated adjustments to handle the repetitive technical work. It has support from leading manufacturers including Birddog, Lumens, Marshall and Z Cam. tryiris.ai
Zipr head with this Frankencart!
There’s a choice of 2WD long-range or 4WD off-road configurations, with puncture-proof tyres, regenerative braking, an IPX5 weather rating and a balanced low-deck chassis for stability under heavy loads. When the day wraps, the entire unit folds to half its size. By putting on a global filmmaker contest, the product’s manufacturer Zilr is now inviting creators to turn its AI-generated storyboard into the real launch film, shot by real crews in real environments. Winners receive a fully equipped Zipr kit to create their vision and get to keep the gear afterwards. With pre-orders open and deliveries beginning January 2026, the Zipr costs from $1499 with UK prices yet to be set. zilrpro.com
Sometimes the best product is something you never knew you needed until you see it. That might be the case for the Zipr e-powered kit cart, a foldable mobility system built to give crew a smoother ride. Designed for camera teams, lighting departments and every behind-the- scenes hero who moves loads of gear on long shoots, it offers a faster way to transport equipment and even personnel. Built to work on everything from studio floors to muddy fields, the Zipr carries a total payload of up to 300kg/661lb with a 183-litre cargo volume. Its intuitive ‘push, pull or ride’ design automatically changes modes the moment the control stem is repositioned, while optional dual seating opens the door for crew transport or track-free dolly shots.
Filter innovator Polarpro has recently unveiled a set of +2, +4 and +8 dioptres created in partnership with filmmaker Shortstache. Designed to help you move quickly from wide scenes to ultra-close macro-style shots, the Shift filters slash the minimum focus distance without needing to swap lenses. Each dioptre uses optical-grade glass with Polarpro’s Chroma Film technology to deliver colour neutrality. Available in Polarpro’s magnetic Helix Maglock system and traditional threaded mounts, every set comes with a travel case. US prices start from $150 depending on size and fit, but UK prices have not yet been set. polarpro.com SHIFT YOUR THINKING FOR CLOSE-UPS
8K 360° DRONE FLIES IN
The world’s first all-in-one 8K 360° drone has been launched by Antigravity. Called the A1, it is built around a headset-first design. Its Vision goggles feature pancake optics and dual micro-OLED displays that mirror the pilot’s head movement. Used with the Grip controller’s Freemotion Mode, users simply point to steer, making the A1 easier to learn than dual-stick systems. For seasoned FPV pilots, classic controls remain. A dual-lens 1/1.28-inch sensor captures every angle in 8K, so you can fly first, then frame later. Weighing just 249g, it is compliant with licence-
free regulations in most countries and has up to 39 minutes of flight. It also has automation, tracking and cinematic manoeuvre, with bundles starting from £1219/$1599. antigravity.tech
23
PROMOVIEMAKER.NET
VIDEO REVIEW AGENDA Go time as Atomos strikes the perfect balance VISIT THE YOUTUBE CHANNEL CLICK HERE T he Atomos Ninja line has long been a favourite among those who need high-quality monitoring and external ProRes With CFexpress recording, wireless connectivity and camera control for mirrorless shooters, we try out the new Ninja TX Go
or Raw capture. With the release of its new Ninja TX Go, the company takes a clever leap forward by delivering a lightweight five-inch recorder that borrows heavily from the flagship Ninja TX, but costs 25% less and is perfect for content creators. We unboxed the brand-new TX Go and put it through its paces both in the studio and on location to see how much performance Atomos could pack into this compact powerhouse. Straight out the box, the TX Go’s 1500- nit HDR touchscreen immediately stands out. It’s bright, crisp and a huge upgrade over most mirrorless camera displays. Alongside this great unit, Atomos includes aerials for wireless connectivity, a USB-C cable for camera control, brackets to take the strain off HDMI or USB-C cables and coloured tags to identify the device when multiple monitors are on-set. One of the biggest changes is the company’s new AtomOS Linux platform – and the difference is noticeable. Menu navigation is speedier, monitoring tools respond instantly and the whole interface feels cleaner, smoother and more intuitive than earlier Ninjas. “For solo operators, gimbal users or tight rig builds, the Atomos Ninja TX Go is a real quality- of-life revolution”
EXPERT UNBOXING Watch our editor in chief Adam Duckworth put the Ninja TX Go through its paces on YouTube
Recording options are where the TX Go shines. Every major codec – Apple ProRes, ProRes Raw, Avid DNx and H.265 – is pre- loaded with no licence fees. Better still, the unit records up to 6K Raw to CFexpress Type B cards: a massive improvement over the SSD caddies of many previous Ninjas. You can still plug in external USB-C SSDs if preferred, but CFexpress makes the TX Go far more portable and reliable.
Wireless connectivity is also good. With Camera to Cloud integration, Wi-Fi 6E and NDI 6 streaming it fits neatly into modern remote workflows. Upload takes directly to Atomosphere, Frame.io, Dropbox or Mavis while still shooting – ideal if you have a remote editor or tight turnaround. Camera control is where things step up. A recent firmware update brings full touchscreen control of supported cameras. Users can adjust exposure, ISO, aperture, shutter speed and start or stop recording directly from the Go. Touch-to-focus also works on compatible cameras. For solo operators, gimbal users or tight rig builds, the Go is a real quality-of-life revolution. To see the Ninja in action and check out our results, go to Pro Moviemaker ’s YouTube channel at youtube.com/@ promoviemaker9426 or follow the link from our website at promoviemaker.net
NINJA MOVES The Go uses a CFexpress card to store video files and now has camera control features on-board
24
PRO MOVIEMAKER
CVP ADVERTISEMENT FEATURE
Email adamduckworth @bright.uk.com and leave it to us!
Experts at CVP answer your tech questions The technical gurus at Britain’s award-winning retailer are here to help with your kit queries
I am keen to start doing some video podcasts for my own small video business and also to offer them to clients as a service. I have lights, cameras and audio kit but I’m unsure of the technical side of getting it out there. What gear will I need and how can I do it from a client’s location if they only have Wi-Fi? Bringing your camera and audio equipment together in a workflow that’s suitable for podcasting is dependent on quite a few factors, such as existing equipment, how many audio and video inputs will be used, whether there is a need for live switching and if you will have remote guests. If you reach out to our team, we can recommend a specific solution that works to your criteria.
26
PRO MOVIEMAKER
CVP ADVERTISEMENT FEATURE
A SPACE BUILT FOR CREATORS The CVP Creator Hub is a space to explore, experiment and be inspired. It’s built to be a hands-on, fully immersive environment for content creators. Whether you are into streaming, filmmaking, photography, podcasting or more, you’ll get practical time with the latest gear – configured in real-world environments – plus access to workshops and masterclasses as well as expert guidance from CVP’s technical specialists. To learn more, email creatorhub@cvp. com , call +44 (0) 208 380 7400 or visit cvp.com/ creatorhub. If you’d like to get a hands-on feel for a new bit of equipment and want to check it out with accessories for a genuine idea of what it’ll be like, then CVP is the place. To book a demo and talk to a CVP expert, email demo@cvp.com or visit cvp.com.
handle with professional audio inputs and control, an in-built fan for better thermal management and Canon’s easy-to-use Cinema EOS menu system. What’s the real-world difference between using wireless audio that’s The key difference between them is that 2.4Ghz radio mics are licence- free, making it an ideal option for when you’re travelling, whereas UHF channels will need a license to be used with each country often requiring its own channel 2.4GHz versus Digital UHF? licensing. The downside however of 2.4Ghz is that it is widely used, which can lead to potential interference from day-to-day devices. lots of E-mount lenses. I’m thinking of moving up to a cinema camera for the handling benefits. As the FX6 and FX9 are quite old now, would I be better jumping systems and using my lenses on something else with adapters? If so, what would you recommend? I do general commercial work. Sony FX6 may be old, it is still a widely praised camera that in many different ways stands up against other systems for its usability, features, lightweight operation, power management and more. If you are looking to step up in image quality and colour workflow, then moving to Red could be an option that allows you to keep your E-mount lenses due to their adoption of the Nikon Z mount, which can be adapted to Sony E with full electronic communication. It largely depends on what you need from the camera. While the I’ve been shooting on Sony mirrorless cameras and have
QUESTIONS ANSWERED Inside info on (anti-clockwise from left) setting up a video podcast; Nikon’s ZR mini-cine cam; wireless audio tech; Canon’s EOS C50
You can see our full tests and review at: youtube.com/watch?v=MebSiEDziHA
I’m interested in the Nikon ZR to use alongside my Red V-Raptor as a B
camera. I see it has a version of Redcode Raw, but will it really match my camera without too much work in post? Surely lenses will make a difference?
I’m a Canon shooter and considering either the new EOS R6 Mark III or the EOS C50, as they both use the same sensor. Is it worth spending extra on the cinema camera version and why? I don’t shoot super long takes so overheating has never been a problem. It depends what you need from the camera. The R6 III is a brilliant hybrid camera with a few advantages over the C50, such as in-body image stabilisation and an electronic viewfinder. Being a more video-first camera, the C50 does have video benefits though, such as simplified ergonomics, a top
When we got our hands on the Nikon ZR, one of the key things we tested
was an image and colour comparison to that and the V-Raptor, and we were pleasantly surprised with how closely they matched. Of course, they are not the same sensor so it won’t be a 100% match, but just getting it into the same image pipeline left us with little work in post to match them. We used the same lens across both cameras to get rid of any changes produced by lens characteristics.
27
PROMOVIEMAKER.NET
Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67 Page 68 Page 69 Page 70 Page 71 Page 72 Page 73 Page 74 Page 75 Page 76Powered by FlippingBook