Pro Moviemaker May/June 2023 - Web

Welcome to the new issue of Pro Moviemaker magazine! It’s showtime in Sin City and we take a look at lots of amazing new equipment launched at the immense NAB Show in Las Vegas. From a shockingly affordable 12K Blackmagic camera that’s now Netflix approved, to lighting, grip, lenses and more, this issue is packed with loads of the latest tech. We’ve also got a special feature on some incredible new LED lights, tests on the 8K Sony mirrorless A7R V camera, lenses, audio equipment and loads more. It’s in your new Pro Moviemaker magazine, out now.

FILMMAKER OF THE YEAR LAST CALL! Entry deadline looms for our prestigious new awards @ProMoviemaker

MAY/JUNE 2023 £5.49

LONDON CALLING MPTS PREVIEW All you need to know about the Olympia tech show


Style and substance hit Sin City with stunning new cameras, lights and more

TOP-RATED GEAR We check out a motion control system, tripod, lenses and pair of high-end mics Why buying used or renting can make financial sense ALSO INSIDE... CASH-FLOW KINGS

Sony A7R V packs 61 megapixels but won’t break the bank HIGH RES FOR LESS CAMERA TEST

Small but effective lighting fixtures tried and tested THE LIGHT FANTASTIC COMPACT LEDS

The ultimate magazine for next generation filmmakers


Editor in chief Adam Duckworth Chief sub editor Matthew Winney Sub editor  Ben Gawne Junior sub editor  Lori Hodson Editorial director Roger Payne

ADVERTISING Sales director

Sam Scott-Smith 01223 499457 Sales manager Emma Stevens 01223 499462 DESIGN Design director Andy Jennings Design manager Alan Gray Senior designer Lucy Woolcomb Designer Emma Di’Iuorio

NO MOIRÉ The latest Blackmagic 12K camera combats nasty patterns with an optical filter that increases sharpness

Designer and ad production Man-Wai Wong Junior designer Hedzlynn Kamaruzzaman PUBLISHING Managing directors Andy Brogden & Matt Pluck

It used to be that big trade shows were where new cameras were unveiled. Not so much any more. Thanks to the internet and proliferation of camera rumour sites, many keen gear heads often already know what’s coming – or at least they think they do. So instead of launching new cameras at big shows like NAB in Las Vegas, where they can get lost in the white noise of such a massive event, many manufacturers let their cameras out weeks or even months before. That often means big shows can be a bit of a letdown, if you are there hoping for a brand-new camera or three. That was certainly the case this year, where none of the big names revealed anything buzzy in Sin City. In fact, the only real new camera was the Blackmagic Ursa Mini Pro 12K OLPF, and that’s hardly a revolutionary machine. It’s an updated version of the current 12K camera, but adds an optical low-pass filter to the Super 35 image sensor. This OLPF reduces artefacts such as moiré and aliasing, while preserving colour and critical image detail. The extra sharpness means it’s now certified for use in Netflix productions. And it’s also shockingly affordable, costing just £6522/$6385 – the same price as the non-OLPF camera. It’s difficult not to get excited about a cinema camera with a 12,288x6480 12K sensor and 14 stops of dynamic range. That means Blackmagic Raw plus oversampling from 12K to give incredible 8K and 4K footage. It can also shoot 60fps in 12K, 120fps in 8K and up to 240fps in 4K. But how many of us will benefit from 12K shooting and the resulting huge file sizes, especially in Raw? Away from the big stands are smaller booths packed with equipment that really will benefit independent filmmakers; the sort of kit that deserves mention. Grip giant Matthews showed a lot of cool and very functional products that will make the lives of gaffers so much easier and safer, for example. Creamsource displayed LNX lighting gear, for quickly assembling arrays of its Vortex lighting fixtures. It’s fast, safe and solves a real problem. Nanlux presented its massively powerful, yet affordable Evoke 900C COB light with RGBLAC colour chips. Angelbird had Sony-fit CFexpress Type A cards in 1TB sizes, Rode showcased loads of audio products and Amaran revealed 150c and 300c full-colour COB lights. These are a handful of innovations that will make a big difference to real-world filmmakers who have to make their kit pay for itself in short order. These creative people – and the products that help their lives – are the real stars of the show.


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.




The ultimate magazine for next generation filmmakers




The brand-new ZV-E1 is aimed at the video selfie brigade, but has the internals of the FX3 Cinema Line mirrorless and even more advanced AF, at a price that undercuts other Sony cams. Plus a new mega screen is revealed. 8 DJI FLIES IN CINEMA DRONE The latest UAV from Chinese brand DJI has a full-frame 8K movie camera and can record in CinemaDNG and Apple ProRes Raw. Plus, Nanlux brings RGBLAC six-colour lighting to its new Evoke 900C LED. 11 RODE REVEALS RAFT OF NEW KIT Aussie audio expert Rode rolls out its biggest swathe of fresh equipment and upgrades at NAB Show in Las Vegas. Plus Atomos links its connected monitor/recorders to Sony’s Ci Media Cloud. 12 SIGMA’S GENERATION Z LENSES Independent lens maker Sigma shows its trio of autofocus lenses to fit Nikon’s Z mount mirrorless cameras – but only those with APS-C sensors. And softbox maker It’s a creative, fun-filled 24-hour challenge in the historic UK city of Cambridge, and you can be there with us! Join Pro Moviemaker in this first-ever event, filled with video shoots and seminars. 16 CANON’S MIRRORLESS SUPERZOOM The only 100-300mm f/2.8 zoom designed for mirrorless cameras is being released by Canon in RF mount – but at a price to make your eyes water. Plus new products from sound specialist Sennheiser and lighting brand Amaran. 18 PRO MOVIEMAKER JOINS TIPA The world’s most prestigious body overseeing photo and video publications, the Technical Image Press Association, votes in Pro Moviemaker as a full member and reveals its top products of the year. DoPchoice shows its wares for light panels. 14 PHOTO VIDEO 24 ANNOUNCED



The world-famous Olympia venue hosts the Media Production and Technology Show, where the world of filmmaking gathers to show off hardware and software alongside seminars and workshops. We take a look at what’s going on and why you should be there.


It’s the final call for entries in the Pro Moviemaker Filmmaker of the Year Awards, a contest to honour the best in commercial video production from all around the globe. Check out some of the entries received so far and see how you can still get involved.



When you need to get your hands on some extra gear for a big job, or want to try something a little more exotic like a set of boutique cinema primes, it makes sense to rent. We take a look at the market and name some of the best bits of kit to hire. 45 SECOND-HAND SUPERSTARS With cash flow being king for small businesses, it makes sense to ensure every kit purchase offers genuine value. And there’s nothing like buying used to get the most for your money. We highlight top second-hand purchases and how to buy safely.




The ultimate magazine for next generation filmmakers


There never seems to be an end to innovative LED light fixtures. This issue, we try out some flat Aputure LEDs, two very different mini COBs from Zhiyun and a pair of

affordable units from Godox. 60 VIVA LA RESOLUTION!

The Mark V Sony A7R mirrorless camera packs a massive, 61-megapixel full-frame sensor and some of the latest autofocus tech to shame its official flagship stablemates. We put this 8K monster to the test. 66 MINI TESTS: TOP KIT USED AND RATED We try out Sigma prime lenses, a Tamron superzoom for Sony, a Syrp motion control system, a pair of high-end Rycote XLR mics and a Manfrotto tripod, to see what’s worth spending your money on. 78 BUYERS’ GUIDE: ROLLER BAGS Take the strain off your back by investing in a rolling case for your kit. We investigate a few of the best on the market, from hard cases for the ultimate in protection to soft-sided bags that can double up as backpacks.






Not just for vloggers! The new Sony ZV-E1 is so much more than a small full-frame mirrorless for the TikTok generation

S ony’s ZV-E1 is being touted as an interchangeable-lens vlogging camera, but is actually based around the full-frame sensor of the A7S III and FX3 in a smaller, lighter body. It retains the 12-megapixel, back- side illuminated CMOS Exmor R sensor of the two more expensive models – with 15+ stops of latitude – and uses the same Bionz XR image processing engine. It also adds the latest AI-based real- time recognition AF and real-time tracking for even better autofocus, as found in the Sony A7R V. But unlike that camera, which has a new flip-and-tilt screen, the ZV-E1 has a simple flip-out, vari-angle screen. It does undercut all the other full-frame Sony models, costing just £2349/$2198. Like the FX3, it does not have an EVF, so you have to use the monitor. Also, there’s no mechanical shutter, separate menu tab for Log profiles or Cine EI mode. It has just one SD card, instead of the twin CFexpress cards from the FX3 and A7S III. This limits it to less data-intensive codecs. None of the heat management of the FX3 is present, with runtimes limited by heat build-up to around an hour when shooting 4K/60p. It has a micro HDMI slot instead of full-size, but does have mic and headphone jacks, as well as Sony’s MI shoe for plugging in audio accessories. At launch, the camera can shoot up to 4K/60p, but Sony says it will be upgradable to 4K/120p soon. There are

ALL-ROUNDER The new ZV-E1 targets content creators, but has lots of tech from the FX3 and A7S III cameras

no details of whether this will be a free or paid upgrade. It will also unlock 240fps HD footage in the XAVC S format, up to 10x slow motion. High-quality 4K video can be recorded with full-frame readout at 10-bit 4:2:2, without the need for pixel binning. The ZV-E1 can record 10-bit 4:2:2 video internally when using Long GOP or All-Intra compression, supports internal intra-frame (All-I) recording and XAVC HS using the MPEG-H HEVC/H.265 codec. The camera does offer S-Gamut3.Cine/ S-Log3 and S-Gamut3/S-Log3, as well as S-Cinetone, five-axis optical IBIS. There is dynamic active stabilisation, which is claimed to be 30% more effective than the active mode of previous models. Showing its vlogger credentials, an intelligent three-capsule microphone with variable directivity and easy, stable smartphone connectivity is included. The standard ISO range extends from 80 to 102,400 for both stills and movies. The expanded range for stills is 40 to 409,600, and for movies it’s 80 to 409,600. A new feature is AI-based auto framing for video – ideal for recording interviews, music performances and cooking. Using AI-based subject recognition tech, this feature automatically crops the frame to keep the subject in a prominent position. Even without moving the camera, framing is continually adjusted to follow the

subject smoothly, which will also aid one-person shooting. The subject to be tracked may be selected via the camera’s touch-sensitive monitor or the Creators’ App on a smartphone. Breathing compensation suppresses image shifts while focusing to maintain a consistent angle of view. And Multiple Face Recognition automatically adjusts bokeh and focus on recognised faces when shooting group selfies or group portraits. A lever on the top of the grip controls compatible powered zoom lenses and also allows Clear Image Zoom to be used with unpowered zoom and prime lenses with less image degradation. In-camera time-lapse creation is possible, and USB PD supports fast charging. Its design is dust and moisture resistant, and the camera can livestream when connected to a computer or mobile.




APPY MEDIUM Made for use with a smartphone, this modern Sony lets you share content quickly and easily

FIRMWARE UPGRADE FOR COMPACT CAMS Sony’s FX3 and FX30 have earned a free firmware upgrade, adding DCI 4K in true 24fps, anamorphic de-squeeze and breathing compensation to fit the rest of the Cinema Line. The compact cameras can now shoot 17:9 ratio DCI 4K/24p in 4096x2160 with new All-Intra format XAVC S-I, anamorphic options of 1.3x and 2.0x, and focus breathing compensation on the full-frame FX3. This minimises shifts in the angle-of-view as the focus point moves, with further compensation available in post-production using Sony’s Catalyst Prepare/Browse and the Catalyst Prepare Plugin. It is also available on the Sony A7R V mirrorless camera we test this issue. But other high-end Sony mirrorless flagships like the A1 and A7S III don’t have the feature, which has caused some complaints from users of these cameras. Other new features for the FX3 and FX30 include the ability to switch from Standard Movie and S&Q Motion modes via the press of a button. File naming is now similar to high-end CineAlta cameras such as the FX9 and Venice. The update features smartphone connection and integrates with Sony’s new Creators’ Cloud platform and Creators’ App, a content transfer mobile app with camera-to-cloud functionality.

BIG-SCREEN BEAUTY A premium 30.5in 4K HDR professional monitor for critical colour grading, live production and post-production has been unveiled by Sony. The BVM-HX3110 has a dual-layer, anti-reflection LCD panel supporting a higher peak luminance of up to 4000cd/m² while maintaining deep blacks. Brighter specular highlights and a new optional fast pixel response mode are key features. It also provides a wider viewing angle, plus standard IP interface for SMPTE ST 2110 signals, to complement Sony’s Networked Live ecosystem. The BVM-HX310 remains available as a companion model to the BVM-HX3110, which is expected in November. The monitor incorporates waveform monitor/ vectorscope, false colour, focus assist, closed captioning, 3D LUT processing, and quad and side-by-side viewing modes.




Nanlux super-bright colour LED Nanlux brings RGBLAC colours to a new level with its Evoke 900C hard COB light source. It pumps out an incredible 12,940 lux at 3m when set to 5600K and using a 45° reflector at a rated output of 940W. The £4680/$4680 fixture adopts the advanced RGBLAC six-colour mixing system, adding lime, amber and cyan to traditional red, green and blue. This is not at the expense of colour accuracy, though, as CRI and TLCI are rated at 96. This light features green/magenta ±200 tunability, allowing accurate matching of other light sources. It has a 3.5-inch full-colour screen, with a four-button and three- knob design that makes tuning straightforward. There’s also a wired control port, compatible with DMX/ RDM, Art-Net/sACN, LumenRadio CRMX and the Nanlink app on any smart device. There’s also a USB port for firmware updates. Apart from CCT mode, the Evoke 900C has advanced HSI, RGBW, XY co-ordinates and Gel modes. It uses its own mount for light modifiers instead of a Bowens. There are 15 simulated lighting effects, and the entire unit is IP55 rated for weatherproof performance. The power supply comes with a quick release and can be mounted on a light stand or truss, while a 7.5m DC connection cable comes standard, with longer cables as optional extras. There’s a 15° offset design for the yoke to expand tilt adjustment range further. The fan has four settings – smart, high, low and off. Noise level is 25dBA in smart mode.

DJI recently unveiled its Inspire 3 drone, which has an integrated full-frame 8K cinema camera ideal for movie production. With a 161° ultra-wide FOV, night-vision and the latest transmission and control system, it’s DJI’s only cinema-grade drone, and supports Waypoint Pro and omnidirectional sensors for precision flight. It costs from £13,419/$16,499. The FPV camera, storage card slot, sensors and positioning antennae are integrated into the lightweight body. When the landing gear is lowered, the gimbal supports obstruction-free, 80° upward-angle shooting. Hot-swappable dual batteries provide a flight time up to 28 minutes, with a top speed of 94km/h, plus 8m/s ascent and descent speeds, and a dive speed of up to 10m/s. The drone uses the lightest ever full-frame Zenmuse X9-8K Air gimbal camera, featuring DJI’s latest image processing system, CineCore 3.0. This grants internal recording up to 8K/25p CinemaDNG and 8K/75p Apple ProRes Raw. In S&Q mode, there’s internal recording of up to 4K/120p ProRes Raw with no cropping. The camera has dual-native ISO and claims 14+ stops of dynamic range. At full-frame 30fps and below, it offers

EI 800/4000, supporting 24fps for film productions and 25fps for commercial and TV productions. Above 30fps, EI 320/1600 is available. The camera can be used with DJI’s 18mm f/2.8 ultra-wide lens, plus full- frame 24mm, 35mm and 50mm lenses, all capable of 8K capture. DJI Cinema Colour System (DCCS) allows the X9-8K Air to match ground- based cine cams such as the DJI Ronin 4D. The included 1TB SSD offers up to 1100MB/s write and 900MB/s read speeds, and can be connected directly to a computer via USB-C. All-new Waypoint Pro enables flight route and shot planning with a range of customised settings, offering repeatable flight routes with all preset parameters such as altitude, speed, gimbal angle and camera settings. The Spotlight Pro feature is based on powerful machine-learning algorithms and provides object recognition and tracking. This lets the pilot concentrate on flying as the camera stays focused on a subject. This system has a transmission range of up to 15km with one controller and up to 12km in dual-control mode. The 1080/60p live feed has an ultra-low latency of 90ms. And for the first time, 4K/30p live feeds are also supported with a reduced 5km transmission range. With dual-control mode, two remote controllers can now receive transmission and control links from the drone independently, so the pilot and gimbal operator can be at different positions on-set. The Inspire 3 comes with a seven- inch 1200-nit screen with up to six hours of runtime using an external hot-swappable battery.

PACKAGE DEAL The new DJI drone kit lets you shoot high-resolution 8K films in Raw format




Blackmagic URSA Mini Pro 12 K Introducing the world’s most advanced digital film camera!

Record to Blackmagic RAW Blackmagic RAW makes cinema quality 12-bit, 80 megapixel images at up to 60 frames a reality! Constant quality encoding options adapt compression to match the detail of the scene. Constant bitrate gives you the best possible images at a consistent file size. You can record to two cards simultaneously so you can shoot high frame rate 12K or 8K on CFast or UHS‑II cards. Fast and Flexible Post Production Shooting RAW in 12K preserves the deepest control of detail, exposure and color during post. Best of all, Blackmagic RAW is designed to accelerate 12K for post production, so it’s as easy to work with as standard HD or Ultra HD files. Blackmagic RAW stores metadata, lens data, white balance, digital slate information and custom LUTs to ensure consistency of image on set and in post.

URSA Mini Pro 12K is a revolution in digital film with a 12,288 x 6480 Super 35 sensor built into the award winning URSA Mini body. The combination of 80 megapixels, new color science and the flexibility of Blackmagic RAW makes working with 12K a reality. URSA Mini Pro 12K features an interchangeable PL mount, built in ND filters, dual CFast and UHS-II SD card recorders, USB-C expansion port and more. Digital Film in Extreme Resolution URSA Mini Pro 12K gives you the benefits of shooting with film including amazing detail, wide dynamic range and rich, full RGB color. Incredible definition around objects makes it ideal for working with green screen and VFX including compositing live action and CGI. Super sampling at 12K means you get better color and resolution at 8K as well as smooth antialiased edges. Cinematic 12K Super 35 Sensor The URSA Mini Pro 12K sensor has a resolution of 12,288 x 6480, 14 stops of dynamic range and a native ISO of 800. Featuring equal amounts of red, green and blue pixels, the sensor is optimized for images at multiple resolutions. You can shoot 12K at 60 fps or use in-sensor scaling to allow 8K or 4K RAW at up to 120 fps without cropping or changing your field of view.

Blackmagic URSA Mini Pro 12K US$6,385

Learn More!

Camera shown with optional accessories and lens.

AGENDA Rode’s seventh heaven in Sin City


Rode rolled out its biggest ever product announcement at NAB Show in Las Vegas, with seven new products and updates. This includes firmware updates for the Wireless Go II and Rodecaster Pro II, plus offerings like the Streamer X, Rodecaster Duo and Podmic USB, as well as accessories. An update for the Wireless Go II includes the ability to save on-board recordings as WAV files for easy transfer to a computer on-the-go, and start/stop

on-board recordings using the transmitter power button. A new charge case houses both transmitters and the receiver, and an integrated battery allows three recharges for up to 30 hours of continuous use. The Rodecaster Pro II will also get wireless connectivity from a firmware upgrade. This will allow any Rode Series IV wireless transmitter – including Wireless Go II and Wireless Me – to record directly to the Rodecaster Pro II. Brand new is the Streamer X, which combines a pro audio interface and video capture card in a compact, all-in-one streaming console. It features audio inputs for XLR and line-level devices, headsets and Rode wireless microphones, with a low-noise, high-gain preamp and powerful audio processor. Streaming is offered in 4K/30p and 2K/60p, and up to 2K/120p and 4K/60p pass-through. Two USB-C connections accommodate dual PC set-ups; four customisable smart pads allow instant triggering of sound or voice FX and other actions on a computer. The new Rodecaster Duo is a small, all- in-one audio solution for podcasters and

streamers, with the same features as the Pro II in a more compact form factor. It works perfectly with Rode’s Podmic USB: a versatile, broadcast-grade dynamic microphone for podcasting and streaming. With equal sound quality to the bestselling Podmic, it boasts XLR and USB connection. If you want to take your kit around with you, Rode’s latest backpack model is custom-designed for the Rodecaster series, including accessories and a 16in laptop. No prices have yet been revealed. “Streamer X combines an audio interface and video capture card in a compact console”

FRESH KIT The Rodecaster Pro II (above) and Podmic USB (top right) were just two of seven products revealed at NAB


Wooden it be nice! Wooden Camera has unveiled its new modular accessory system for the Sony FX3 and FX30 mirrorless cinema cameras. The basis is the L-Cage, which features lots of mounting points. The cage features Arca-Swiss mounting points on the underside,

a pair of 3/8in-16 - one on the top, one on the side – two 1/4in-20 on the side, and a removable HDMI cable clamp. The system top-plate features a cheese plate design that works in place of the standard Sony carry handle. This offers two 1/4in-20 and one 3/8in-16 accessory mounting points to integrate with the ultra handle system. A wraparound right cage grip offers four further mounting points and a pass-through cutaway for unobstructed battery swapping. Finally, the cheese plate attaches to the carry handle, which adds a coldshoe mounting point, and a new micro battery slide is available in Gold and V-Mount versions and comes with two D-Taps, a dual rod clamp and resettable 9A fuse. The whole system is $1482; no UK price has been set.

Atomos’ range of camera-mounted monitor-recorders will work with Sony’s new Ci Media Cloud directly from Atomos Cloud Studio in a new deal announced at NAB Show. With this, users can upload files directly to a folder in their Ci Workspace from any camera using Atomos Connect products, except for the entry-level Zato. Once uploaded, Ci transcodes and makes files available for preview. Files, proxies and clips can be delivered to post teams directly from Ci, avoiding duplicate copies and redundant rendering. Basic access to Sony’s Ci Media Cloud will be available through Atomos Cloud Studio. For just £5/$5 a month, up to five Atomos devices can be registered, all capable of uploading 1080p proxy files while recording locally. The integration is scheduled to be rolled out in mid-2023.



AGENDA NEWS Sigma’s Z mount trio

SOFT CHOICE FOR PANEL USERS DoPchoice now has a universal Snapbox to fit a variety of flat panel lights and sculpting tools for Sumomax and Kelvin Epos. The modifier for flat panel lights will fit Kino Flo Freestyle Air, Air Mini and Air Max, Litegear LiteMat 1, 2L and 4, and Exalux Ledzep 1x4 and 2x4 panels. A self-tightening Snap system allows fast mounting, and the smooth diffusion box mounts over the flat light panel frame and attaches to the fixture’s hook-and-loop fastening for light softening and diffusion. The Sumomax kit includes a Snapbag that straps directly to the light’s hexagonal housing, creating a circular 90cm/35.4in front. It features a reflector and skirt to modify spread and diffusion. To accessorise the Bowens-mount Kelvin Epos, DoPchoice’s Rabbit-Rounder adapter mounts an assortment of Snapbags, like DoPchoice’s rectangular Snapbags in small and medium sizes, 3ft and 5ft Octas, and lanterns. No prices have yet been set.

Japanese lens giant Sigma has revealed its first three lenses to fit Nikon Z mount mirrorless cameras. These wide-aperture optics from Sigma’s Contemporary series are for crop-sensor cameras like the Z 50 and Z fc, so full-frame models need to be used in APS-C mode. Said lenses are the 16, 30 and 56mm, which all have a maximum f/1.4 aperture and nine blades for smooth bokeh. The 16 and 56mm cost £449/$499 each, while the 30mm is £349/$399. The widest lens has the most complicated optical design, with 16 elements in 13 groups, and weighs the most at 420g/0.93lb. It has a 67mm filter thread and comes with a petal lens hood. The 56mm optic has a 55mm thread, weighs 295g/0.65lb and has ten elements in six groups, while the 30mm comes in lightest at 285g/0.63lb, with a simple nine elements in seven groups and 52mm filter

thread. Both have straight lens hoods. They are currently available in five other mounts – Sony E, Fujifilm X, Canon EF-M, Micro Four Thirds and Leica L. CROP-SENSOR RANGE EXPANDS

ZED HEAD The Nikon Z mount mirrorless series gets a wider choice of glass, as Sigma reveals its first trio to suit – but they are all APS-C versions

A brand-new 23mm lens from Sigma’s Contemporary range has a fast f/1.4 aperture and comes in Sony E, Fujifilm X and Leica L fitments. With 13 elements in ten groups, including three SLD and two aspherical, it is made to produce sharp images even in extreme backlit environments. Designed exclusively for APS-C mirrorless cameras, the lens has a compact, lightweight body weighing just 340g/0.75lb. It features a quiet, high-speed stepping AF motor and can be used with AF modes such as focus tracking and eye detection. A large focus ring enables fine-tuning of focus with Dynamic Manual Focus (DMF). The lens supports switching between non-linear and linear focusing when customised using the Sigma USB dock, for L-Mount only.

The £449/$549 lens comes with a petal-shaped lens hood, is dust- and splash-resistant and has a rounded, nine-blade iris.

Avid joins the cloud with Stream IO

While Adobe has, rival Avid now offers Stream IO, a flexible, software-based platform for production ingest and playout with a subscription model. It can be configured to ingest or play out IP streams and SDI streams, letting teams migrate from legacy workflows to cloud and IP. There is support for most popular video formats, codecs and resolutions. Avid Stream IO supports common production formats like SDI, compressed IP streams - SRT, RTMP, NDI – with SMPTE 2110 due later this year. It is compatible with 1080p, UHD and HDR content.




A FULL DAY OF FILMMAKING FUN! Join Pro Moviemaker in our creative 24-hour challenge from 3-4 June in historic Cambridge

I f you want a creative challenge alongside like-minded image makers that’s fun and rewarding, then join us in a unique 24-hour event called Photo Video 24 from 3-4 June in the beautiful city of Cambridge. Formerly Photo 24, the event has been rechristened to reflect the massive increase in hybrid content creation. It’s open to photographers, filmmakers – and fans of both. We’ll be based at the boutique Graduate hotel in the heart of Cambridge city centre, on the banks of the River Cam – which is bound to be filled with eager punters. It’s within easy walking distance of many of the main attractions and will also be a hive of activity itself throughout the weekend. Event sponsor MPB will be hosting a series of workshop sessions, plus you’ll have the chance to get your kit valued or hire some equipment. There’s a plethora of things to shoot and many an opportunity to learn from experts. Highlights include guided walks, each showcasing a particular location or type of architecture, plus we’ll have street workshops for those hoping to hone their urban skills. Walks will be arranged around sunrise and sunset, too, so you can make the most of the light. You can climb high above the city to get a bird’s-eye view of the astonishing architecture in one of the walks, or make

great natural landscapes in Grantchester, accompanied by an award-winning photographer and filmmaker. There’s a visit to nearby IWM Duxford for a themed portrait shoot with a Hawker Hurricane and model, chances to capture the Cambridge University Boat Club on a morning training session, Shakespearean actors treading the boards in dress rehearsals and lots more. You have to register to attend, but places are limited so make sure to do this soon – it’s first come, first served. Head to and follow the link to our Eventbrite page, where you’ll be able to book your place as well as sign up for various activities throughout the day. There’s a range of free and paid-for events over the 24-hour period to help you make the most of your time in the city. There will be awards for the best photos and movie shorts taken at the event, plus various fun challenges throughout the day and night! Everyone who comes will get a passport with tips, guides and challenges, plus if you complete the full 24 hours, we’ll give you a memento to remember your day. The Pro Moviemaker magazine team will be joined by the entire Photography News staff, along with members of the MPB team, to ensure you have a day to remember. Sign up now and we look forward to seeing you in June.




VISUAL VARSITY Cambridge has a host of stunning locations, including old colleges, churches, punting and lots of tourists MOVIEMAKER FOCUS AT THE GRADUATE

Pro Moviemaker editor in chief Adam Duckworth will be running a series of workshops at the Graduate Cambridge to help you get to grips with shooting video. Starting with the basics – for those new to shooting movies – later workshops will focus on more advanced filmmaking techniques and equipment plus a live edit of a short film, from ingesting files from the camera to a final edit. He’s there to answer any questions you have about video, from kit choice to technical questions and business advice. As a pro photographer who made the move to moviemaking, he’s in an ideal position to advise anyone thinking of widening their range. Also on site will be pro filmmaker David Spurdens, who will share his knowledge about using cinema cameras alongside mirrorless models, and why they can make so much sense. He’ll bring his fully rigged-up Red Komodo and V-Raptor to explain how to get the best out of them and what accessories you’ll need.

Adam Duckworth Editor in chief, Pro Moviemaker

David Spurdens DOP, RAPT TV




Amaran goes full colour Amaran has revealed its first full-colour COB lights – the 150c and 300c – which offer full RGBWW control and a standard Bowens S mount for modifiers. They use the same RGBWW “This turns the fixtures into powerful spotlights that can be

technology as the LS 600c Pro from sister brand Aputure. There is a wide colour CCT range of 2500-7500K with green-magenta adjustment and full HSI colour control. At 5600K, the 150c outputs 15,610 lux and 26,580 lux using their included Hyper Reflectors. A very quiet fan keeps things cool, but there are no battery options as these are mains-only lights. But they are very affordable, with the 150c at £393/$359 and 300c £623/$569.

used with shutters, lenses and gobos”

Amaran also revealed the Light Dome Mini SE softbox which weighs 0.73kg/1.61lbs and uses a quick-release system to assemble. It comes with a Bowens mount and has a deep parabolic design with a highly reflective inner lining – and is great value at £74/$69. Also new is the Amaran Spotlight SE, the brand’s first projection lens modifier, designed for the 150c and 300c. This £358/$335 unit uses a Bowens mount and is suitable for COB lights up to 300W. It turns the fixtures into powerful spotlights that can be used with its built-in shutters, different lenses and gobos.

Canon has revealed the first 100-300mm f/2.8 for mirrorless, something no rivals can offer. The RF zoom has a minimum focus distance of 1.8m with a 0.16x maximum magnification, and weighs 2.59kg – only 190g heavier than the EF 300mm f/2.8L fixed lens. But it’s not light on the wallet – it will cost £11,500/$9500. Compatible with Canon’s RF extenders, the 1.4x extender produces a 140-420mm f/4 lens. It’s Canon’s first professional super-telephoto RF lens with a customisable control ring and Fn button. It has a nine-blade circular aperture and new Image Stabiliser system, capable of 5.5 stops of stabilisation. As the first-ever Canon super-telephoto lens to feature a Dual Nano USM motor, it has two focusing groups that are controlled independently. The use of one fluorite lens and four UD lenses corrects chromatic aberration with little colour blurring, while a moulded-glass aspherical lens ensures image- wide high resolution. CANON’S RADICAL RF ZOOM

JUST OUT Amaran’s full-colour lights, a new softbox and a projector attachment

NEXT-GEN SENNHEISER Sennheiser has launched its fifth- generation Evolution Wireless systems. The EW-DP is a digital UHF wireless mic system with a new portable design and improved audio quality. At its heart is a compact, intelligent receiver that helps even novice users set up audio easily. The EW-DP EK receiver features a magnetic stacking system, and can be controlled remotely via the Smart Assist app. No prices have yet been confirmed.



AGENDA NEWS A TIPA OF THE HAT! W e’re honoured to announce that Pro Moviemaker magazine is to join the Technical Image Press Association, an esteemed organisation of the best publications in the photo and video field, published in print and online. These publications cover consumer, professional, business-to-business and fine art. Pro Moviemaker is voted to the prestigious Technical Image Press Association professional video camera (XA70/XA75). Fujifilm and Sony walked away with two each for best APS-C expert (X-T5) and best APS-C professional (X-H2S), and best full-frame professional (A7R V)

and best professional content creator (ZV-E1) respectively. Sony also took two lens awards, but it was Sigma that stood out with three wins, followed by Nikon and Tamron with a brace. Sigma’s success came in best wide-angle prime, best wide-angle zoom and best superzoom categories for the 24mm f/1.4 Art, 16- 28mm f/2.8 Contemporary and 60-600mm f/4.5-6.3 Sport. “The 2023 TIPA World Award winners have just been revealed after the general assembly in Barcelona”

Editors from member magazines in Europe, Asia, Australia and North and South America coalesce annually, making up a global panel of experts who have earned a reputation for their honest appraisal of imaging products. They then vote in the TIPA World Awards to name the best. The 2023 TIPA World Award winners have just been revealed following the general assembly in Barcelona. Cameras, lenses, software, accessories and services from across photo and video industries were voted on, with the winners in the 40 categories viewed as the cream of the industry. This time, Canon scooped three camera awards - best APS-C entry-level (EOS R50), best full-frame advanced (EOS R8) and best





STANDARD ZOOM LENS Sony FE 20-70mm f/4 G


TELEPHOTO ZOOM LENS Tamron 50-400mm f/4.5-6.3 Di III VC VXD


SUPERZOOM LENS  Sigma 60-600mm f/4.5-6.3 DG DN OS | Sports


CONTENT CREATOR LENS Tamron 20-40mm f/2.8 Di III VXD



PHOTO PAPER Hahnemühle Photo Rag 188 LayFlat

DJI Mini 3 Pro


STORAGE MEDIA  Lexar Professional CFexpress Type B Diamond Series

PHOTO CARDS Hahnemühle FineArt Photo Cards

FRAME DESIGN  WhiteWall Design Edition by Studio Besau-Marguerre


PHOTO LAB WhiteWall 3D wall art configurator



DESIGN & TECHNOLOGY | ColorScience Workflow | Fomanu AG



Picsart Photo Editor AI


VIDEO ACCESSORY Zhiyun Weebill 3







WORKFLOW PROVENANCE CONCEPT Adobe Content Authenticity Initiative (CAI)

WIDE-ANGLE PRIME LENS Sigma 24mm f/1.4 DG DN | Art

PHOTO SERVICE CEWE Photobook 100% recycled paper


Photopia Hamburg




PORTRAIT LENS Nikkor Z 85mm f/1.2 S

MACRO LENS AstrHori 28mm f/13 2X Macro Probe

WIDE-ANGLE ZOOM LENS  Sigma 16-28mm f/2.8 DG DN | Contemporary




CVP experts sort your kit queries

Q. I have always rented large Arri LED Skypanels for bigger shoots, but due to the prices of some of the more affordable brands, I was thinking of buying my own. What should I look out for? I want them to last, be robust and look professional. A. So many brands make for great options. If you are specifically after a panel light, check out the Aputure Nova fixtures and the Litepanels Gemini. Both offer a lot of what the Skypanels can do, look the part and are built to last. Q. I see Canon has launched a 100-300mm f/2.8 for mirrorless, which sounds like an ideal lens for me as I shoot lots of sport. But I have a Sony mirrorless and there’s nothing at all like it in E-mount, so I’m thinking of switching to Canon EOS R3 or R5 C. I shoot mainly video, but also some stills. Which do you recommend and why? A. Both the Canon EOS R3 and R5 C are powerful cameras in their own ways, with great features for both video and photo. The R3 is Canon’s flagship mirrorless for stills and is perfect for sports or anything fast-action, but it also offers some great video functionality with 6K Raw, frame rates up to 120p and Canon’s C-Log3 picture profile. The R5 C is more of a hybrid camera and tailored further towards video than the R3, with different ‘flavours’ of Raw video as well as better options for non-Raw codecs. It has a higher maximum resolution of 8K and slightly higher dynamic range, while also being a powerful stills camera. One thing to note is the R3’s superior LP-E19 battery. Britain’s number one filmmaking retailer is here to help you make the right choices

BEST OF BOTH WORLDS Canon’s flagship EOS R3 (above) is a hybrid with great spec, but the R5 C is more video-focused

Q. I love gimbals, but hate the set-up time. It always seems to take an age. What’s the fastest and easiest gimbal system to use? I shoot mirrorless, so don’t need anything too big. A. Every gimbal will have some set-up time, but the newer DJI systems reduce it with the addition of a few key features. The RS 3 Pro has axis locks which allow you to transport the gimbal safely without moving its position for transport. This means you can set it up for a particular configuration and leave it, which should help with set-up time next time you want to use it. There are positional numbers on each of the key tweakable balance parameters, which also helps. Q. Everyone is talking about virtual production, but I have used green screen for years and it works well. What is the real-world advantage of going virtual and is there a cost-effective way to try it out? I mainly shoot products for e-commerce. A. While the implementation of a virtual production set-up could be scalable to fit different budgets, the starting point might still be pricey, and it’s not always a practical replacement for green screen. While there are limitations, VP offers big advantages such as ambient lighting that interacts with subjects, a real-time view of the finished product in-camera, as well as reduced time needed in post-production.

HOT TOPIC Virtual production is a growing concern for filmmakers – but it may not be realistic for everyone





There is nothing quite like experiencing a real, hands-on test of any new equipment you’re thinking of purchasing. And it’s so important to check it out with accessories so you can get a genuine impression of what it’ll be like to work with. That’s one of the things that makes CVP so unique, as there is plenty of stock to try before you buy. CVP’s London showrooms feature vast quantities of great gear, and its experts are there to answer any questions. Get a real feel for how your potential purchase performs with any add-ons. To book a demo and talk to one of CVP’s experts, call +44 (0) 208 380 7400 , email or visit .

Email adamduckworth@ and leave it to us! Got a question for CVP’s experts?




Britain’s biggest video show is go!

A revamped Media Production and Technology Show bursts into life at the historic Olympia London on 10-11 May, and it’ll be packed with hot new hardware and software, plus seminars and workshops from top speakers in the world of film, TV and broadcast. Last year was the first rebranded MPTS following the acquisition of the BVE show in 2019, which was then closed down by Covid-19 until 2022. MPTS is the UK’s largest broadcast show that brings the creative and technical industries together. What used to be the Media Production Show now finds itself in even bigger halls as the Media Production and Technology Show. Not only can you find brand-new products from 300 exhibitors, but this tech extravaganza offers exclusive insights from more than 300 leading industry experts in one of the six theatre areas, covering production, audio, post, technology and virtual production. The Keynote Theatre is known for its headline speakers – and this year is no exception, with British screenwriter and film director Steven Knight CBE opening the event. The creator and writer of Peaky Blinders will discuss his career highlights to date and talk about his passion for bringing more productions to the West Midlands through his film and TV studio, Digbeth Loc. Other highlights include Ross Kemp ( Eastenders , Ultimate Force ), Allan Niblo ( Monsters , A Town Called Malice ), Danielle Ward ( Brassic ), broadcaster and podcaster Jackie Adedeji, Channel 5 news presenter Dan Walker and the former head of Amazon Studios in the UK, Georgia Brown. Key themes running throughout the programme include: next-generation talent and how to ensure the sector attracts young people starting their careers; the huge growth of virtual production, what it is and how to determine if it’s right for your next production; improving diversity and sustainability; the innovative technologies you can’t afford to ignore – and much more. Of course, the event offers great opportunities to mingle and network with like-minded filmmakers, too. Let’s take a look at some of the hot kit that will be at the show. The much-expanded MPTS is the UK’s largest broadcast expo – don’t miss out!


Check out the Aputure stand to see its Infinibar up close, in all three sizes. It’s an RGBWW LED that we test in this very issue. Individual bars may be seamlessly stacked together without any space between. Cinematographers can adopt a range of mounting positions – inverted, triangle or hexagonal, among others – to create a large, clean light source. The pixel bars are available in 1ft, 2ft and 4ft. Also on display will be the MC Pro, an upgraded RGBWW lensed mini LED panel light featuring LumenRadio CRMX and a durable IP65 construction. The powerful LS 1200d Pro COB LED hard light and Nova P600c panel flagship models will also be on show, plus the new LS 600c colour COB light.



CANON Stand F50

Canon will show how to capture live production through a multicam set-up, demonstrating the XC Protocol working across PTZ, fixed-lens camcorders and cinema cameras. If you’re searching for a Cine-Servo lens that meets both your cinema and broadcast requirements, the CN8x15 IAS S E1/P1 might be right for you. Check out the range of Cinema EOS cameras such as the C500 Mark II, C300 Mark III and hybrid EOS C70 and R5 C mirrorless full-frame camera. Canon’s cine lens range will feature, too, from CN-E primes to vintage-look Sumires.

Stop by the Brompton Technology stand to learn about the Tessera system – the processing solution for LED video walls, used on everything from global world tours to pioneering virtual production. Brompton is a specialist designer and manufacturer of cutting-edge rugged LED video processing products for the live events, film and broadcast industries. Since the emergence of green-screen replacement on sets, Brompton’s has been the processor of choice for many projects, working alongside industry leaders like Epic Games and Lux Machina. BROMPTON TECHNOLOGY Virtual Production Studios by 80six, H51

CVP Stand F75

CVP’s stand will be packed with the latest technology coupled with impartial expertise from its in- house technical consultants. Ask about the MYT Works Opti-Glide Compact - the first ever portable camera checkout experience. The British mega-retailer will offer visitors a showcase of the latest products and solutions. From lenses to cine cameras, motion devices to monitoring features, CVP will present kit from brands like Sony, Canon, Tribe7, Zeiss, Cooke, Leitz, DJI and many more besides. CVP is the place to get hands- on and compare hardware from a whole range of suppliers.



Stand G60, H50

Stand F20

Deity will display its Theos Digital Wireless, which uses a wideband UHF spectrum rather than the crowded 2.4GHz band. Frequencies span 550-960MHz and the device has swappable frequency ranges based on the user’s phone’s GPS/firmware update. Travel the world with one wireless microphone kit. Check out the amazing TC- SL1 wireless timecode slate, the world’s first Bluetooth-enabled smart slate that wirelessly stays in sync from up to 250ft away. Find a wide range of XLR and DSLR-style mics, and wireless kits on show.

Australian filmmaking behemoth Blackmagic will have tons on show, including the latest Ursa Mini Pro 12K OLPF, which is our cover star this issue. Also find the Ursa Broadcast G2, Atem Television Studio HD8 ISO and DaVinci Resolve 18, which just had a major revamp. There is a new option for vertical aspect ratio output in DaVinci Resolve 18.5. Users can now upload videos directly to TikTok using either the render preset in the Deliver page or the quick export dialog. The NLE also introduces dozens of tools, including four AI options, over 150 feature upgrades and major updates to the Cut page.



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 76 Page 77 Page 78 Page 79 Page 80 Page 81 Page 82 Page 83 Page 84

Powered by