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 firstname.lastname@example.org Sales manager Emma Stevens 01223 499462 email@example.com 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.
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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
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