UNMISSABLE TEST SPECIAL!
Panasonic, Tamron & Canon optics revealed LATEST LENS LAUNCHES
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SEPTEMBER/OCTOBER 2021 @ProMoviemaker www.promoviemaker.net
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Pro is a stunning combination
Sony’s flagship A1 and Xperia
deo and stills
– setting new standards for vi
The top-ten alternative lenses for mirrorless cameras CLASSY GLASS OPTICAL EXCELLENCE
How to save real money by purchasing pre-loved gear CASH-FLOW KINGS! BUSINESS ADVICE
Retro-style kit from Nikon and Sekonic JVC’s high-end PTZ streaming cameras Firmware boost for popular Canons
The ultimate magazine for next generation filmmakers
Editor in chief Adam Duckworth Chief sub editor Alex Bell Sub editors Elisha Young, Matthew Winney EDITORIAL ADVERTISING Group ad manager Sam Scott-Smith 01223 499457 email@example.com Senior account manager Emma Stevens 01223 499462 firstname.lastname@example.org DESIGN Design director Andy Jennings Design manager Alan Gray Senior designer Lucy Woolcomb Middleweight designer Emily Lancaster Designer Emma Di’Iuorio Designer and ad production Man-Wai Wong PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:
It’s always an exciting time when we launch the annual Pro Moviemaker Gear of the Year Awards – and for 2021 there has certainly been a glut of exciting new technological advancements in filmmaking equipment and software. These help creative image makers produce better films more easily, cheaper, faster and in higher quality. We’ve now got cameras that can fit in a pocket, yet shoot in 8K; affordable full-frame cinema cameras with advanced AF that can track subjects with accuracy the best focus pullers would be jealous of; and incredible lenses that are sharper and faster-focusing than ever before. There is certainly no shortage of innovation in all the other essential parts of a filmmaker’s arsenal. Tripods can be set up in no time, advancedmotorised gimbals are controlled from a smartphone, pocket-sized LED lights set to any colour of the rainbow, hard drives unlock with fingerprint technology, and wireless mic systems record to an internal memory, as well as the receiver. And there’s more, like clever software that improves the quality of your edits. This year, we’ve introduced new categories geared around service providers. These are the unsung heroes, often the main point of contact between filmmakers and equipment itself. They are a vital link in the chain, helping product designers understand demand – and guiding customers to the right bit of kit. Great dealers are somuchmore than just retailers who sell you a box of new toys. The very best offer not only great deals, but advice on what’s right for you – plus the vital backup that any working professional needs: repairs, servicing, access to upgrades or pro schemes, demo kit, part-exchanges, in-store or online courses… the list goes on. Some of these public-facing businesses import and distribute their own range, others focus on used gear. And some are rental houses, or include rental as a vital part of their offering. Many focus exclusively on training the next generation of filmmakers, and others include it as a part of their service. With such a crucial role in the filmmaking world, we thought it was time to honour the outstanding service providers. We’ve scoured the country for the best, and compiled a shortlist where promoviemakers can vote for who deserves singling out. Please get involved and cast your vote – tell us who is taking our industry to new heights.
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 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
The ultimate magazine for next generation filmmakers
SEPTEMBER/OCTOBER 2021 CONTENTS AGENDA 6 SOUND CHOICE FOR INTERNAL STORAGE Sound Devices has a radical mini transmitter, loudspeaker brand Genelec marks a special anniversary, while Tamron expands its range to users of Fujifilm cameras. 8 JVC REVEALS PTZ TRIO Streaming giant JVC announces three new high-end remote cameras, Hollyland has a new streaming switcher and big prizes are up for grabs, thanks to Zhiyun. 10 PANASONIC’S SPEEDY SUMMILUX The world’s first telephoto zoomwith a constant f/1.7 maximum aperture is released to fit MFT-mount cameras, Sekonic unveils a glittering gold, retro-style light meter and Canon offers free upgrades for EOS users. 12 NIKON GOES OLD SCHOOL A retro-fest fromNikon, as the crop-sensor Z fc mirrorless camera hits the market. Rode expand their accessory range. 16 THE ALPHA FOR VLOGGERS Sony debuts the first interchangeable-lens Alpha camera designed specifically for vloggers, with the all-new ZV-E10. But is it any use for ‘real’ filmmakers? 18 IT’S SHOWTIME AGAIN! As the world slowly re-emerges, trade shows are starting up again. Check out our preview to the Cine Gear Expo, NAB and The Photography and Video Show.
AWARDS 21 VOTE FOR THE GEAR OF THE YEAR!
It’s time once more to honour the best equipment, software and service providers, as we launch the Pro Moviemaker Gear of the Year Awards 2021. Check out the nominations and cast your vote to decide who wins these prestigious accolades.
The ultimate magazine for next generation filmmakers
GEAR 36 HOW TO SAVE MONEY ON KIT
Cash flow is vital to any filmmaking business. So, why not make the wise decision and go for used gear? We take a look at what’s hot and what’s not, how to get the best deals and the pitfalls you need to watch out for. 40 AWESOME OPTICAL OPTIONS Staying away from the typical ‘holy trinity’ of zooms can pay dividends when it comes to choosing lenses. Here are the ten best alternative optics you should consider when splashing out on glass. 52 MINI TESTS We put loads of kit to the Pro Moviemaker torture test each issue. This time it’s a huge G-Technology hard drive RAID, a dual monitor set-up for your laptop, a fast Sigma 35mm AF prime, a burly Manfrotto tripod, and budget camera-top field monitor fromDesview. 62 COVER STORY: SONY A1 FULL TEST Is the most expensive, full-frame mirrorless camera the perfect choice for your business – or is 50 megapixels overkill? Check out the A1, its matching Xperia Pro smart device and luscious 50mm prime lens.
BEST THINGS COME... The A20-Mini from Sound Devices is a transmitter with 64GB of internal storage
Maximum quality from SoundDevices A20-Mini
Sound Devices has unveiled the A20-Mini, a miniature transmitter offering internal 32-bit recording and full remote control via the A20-Remote app. It has a worldwide tuning range of 470-694MHz and is compatible with the A10 digital wireless system. There is 64GB of internal storage for more than 80 hours of recording in 48kHz, 32-bit float – a file format that allows the gain to be adjusted after recording, with zero loss in headroom or noise performance. Files can be transferred to a computer via USB-C, or converted to standard 24-bit files using the free D-Utility companion app for Mac and Windows.
Recordings and RF transmission offer 10Hz-20kHz audio bandwidth, and the recordings are synchronised by the internal time code generator. While most digital wireless systems require gain to be set at the transmitter, receiver and recorder, Sound Devices’ GainForward system allows gain, limiters and low-cut to be set directly on the firm’s mixer-recorder, with no loss in sound quality. The £2130/$2200 A20-Mini is sleek, rugged and water-resistant with rounded corners, powered by three AAA batteries or a rechargeable Sony NP-BX1 battery. sounddevices.com
CALIBRATE YOUR ROOM!
TAMRON EXPANDS TO FUJIFILM
Tamron is to launch its first lens in the Fujifilm X Mount, as well as Sony E-mount. The new Tamron 18-300mm f/3.5- 6.3 Di III-A VC VXD is the first all-in-one zoom lens for Sony and Fujifilm APS-C mirrorless cameras featuring a huge 16.6x zoom ratio. That’s the full- frame equivalent of 27-450mm. The lens focuses as close as 15cm/5.9in at the wide end, with a maximummagnification ratio of 1:2. It has Tamron’s Vibration Compensationmechanism and a 67mmfilter size, the same as other Tamron lenses for mirrorless cameras. No price or availability has yet been revealed. tamron.com
Professional loudspeaker brand
Genelec is marking the 15th anniversary of its popular GLM speaker manager software
with the introduction of GLM 4.1 (compatible with all Genelec Smart Active monitors and subwoofers). This update offers significant new features, thanks to the next-generation AutoCal 2 automatic room calibration algorithm, delivering a more precise frequency response in a fraction of the time previously possible. GLM 4.1 gives the user control over a room’s detrimental acoustic influences, producing mixes that translate consistently to other rooms and playback systems. GLM’s reference microphone kit allows room acoustics to be accurately analysed, after which each monitor and subwoofer can be calibrated automatically. genelec.com
JVC MAKES A MOVE INTO HIGH-END PTZ PRODUCTION Full remote control capabilities are via JVC’s RM-LP100 controller, KM- IP6000/4000 live IP production
Streaming pioneer JVC has unveiled three new PTZ remote cameras, designed for IP production. The new 4K KY-PZ400N and HD KY-PZ200N are equipped with NDI HX and SRT streaming, H.265/H.264/ MJPEG encoding, and VITC (Vertical Interval Timecode) multi-camera synchronisation. A third option, the new HD KY-PZ200, provides an economical solution, without NDI HX. All camera models are available in black or white, and include SRT, HTTP, RTSP, RTMP/RTMPS and standard protocols. With SRT open-source technology now becoming synonymous with JVC cameras, PTZ users benefit from continual firmware updates. The advanced streaming SRT technology adds automatic repeat request (ARQ) and forward error correction (FEC) to prevent signal loss. It also offers stream encryption for content protection.
suites, or other options from vMix, OBS Studio and NewTek. Equipped with a 4K 1/2.5-inch progressive scanning CMOS image sensor, the $2499 KY-PZ400N has a wide angle of view of approximately equivalent to 26.4mm, 0.5 lux of minimum illumination, and 16x digital/12x optical zoom. The $2000 KY-PZ200N and $1799 KY-PZ200 include an HD 1/2.8-inch progressive CMOS image sensor, as well as 20x optical zoom reaching out to 606.9mm equivalent. All three cameras have HDMI and 3G-SDI, RJ45 with PoE, RS232 and RS485 interfaces as standard. The KY-PZ400N is expected later this summer, while the KY-PZ200N and KY-PZ200 are scheduled for autumn. No UK prices have yet been announced. pro.jvc.com
Hollyland’s Streamix M1 is a new portable switcher capable of handling up to six video sources for a 1080p HD stream, while also providing connectivity via Wi-Fi or Ethernet. Connection to camera sources is via two SDIs, two HDMIs and a single RJ45 connector, plus support for streaming via mobile phone cameras through the Streamix app. The Streamix M1 also offers PTZ camera control via the RJ45 port. The switcher supports any RTMP platform, so you can stream to up to three platforms simultaneously, including Facebook, YouTube and Twitch. For areas with patchy or inconsistent connections, the Streamix M1 supports multiple bit rate options that can be tweaked according to available bandwidth and desired resolution. The unit has 256GB of ROM on board, allowing recording of the ongoing live programme while displaying saved videos on the feed. It costs $2999, but no UK price has yet been set. hollyland-tech.com Streamix six-camera solution STREAM IF YOU WANT MORE The Streamix M1 is a portable switcher, capable of streaming to up to three platforms simultaneously
BIG PRIZES IN ANNUAL SHORTVIDEO CONTEST
phones and a second for videos captured using a camera. The entry should be an original video no shorter than one minute, or 30 seconds for mobile phone videos, and must include an opening clip designated by the contest. To enter, just upload your entry by 20 October to YouTube with the tag #ZHIYUNAnnual ShortVideoContest2021. The overall winner picks up prizes worth $16,000, while there are plenty of goodies in the other categories. zhiyun-tech.com
Entries are now open for Zhiyun’s third Annual Short Video Contest 2021, which has $77,000 worth of prizes up for grabs for high-quality film submissions from all over the world. The contest has seen entries from 50 countries, including more than 10,000 video creators, with total views of over two billion. The categories are travelog, vlog, drama, documentary/humanities, creative videos and advertising/ promotional. This is split into two groups – one for films shot on mobile
ANGELBIRD ADVERTISEMENT FEATURE
Storage that gives youwings Angelbird engineers custommedia technology for leading manufacturers from the perspectives of creatives A ngelbird is one of those rare and unique companies that takes into consideration the needs of professionals. It understands that working at the upper echelon of film production involves taking risks – and those
Angelbird lives for adventure and design gear that can stand up to anything. Out of respect to its customers (and vocation), the company innovates with integrity, partnering with industry leaders such as Arri, Red and Atomos to create media solutions for cameras and recorders – ensuring the technology captures the moment. Angelbird takes the trust of patrons seriously, implementing practical design features and innovative engineering. Here are just a few products, developed for its partners.
don’t happen in the boardroom. Filmmakers might be out there in a monsoon, or riding shotgun on a highway chase to push the outer limits of artistic production. So, they require gear that’s going to keep up.
When working with an Arri camera, the word pro is taken to a whole other level. You’re likely surrounded by the best in the biz and will need your A-game. With so much to consider, from pulling frame lines to colour composition, it is not a moment to take risks or cut corners with generic media. That’s why Angelbird has developed an Arri-specific CFast memory card with custom firmwear to enhance recording performance. There’s an adaptive thermal management system, providing an added measure of security to protect card data from overheating or excessive vibration during extended shooting sessions. With a capacity for 256GB and sustained read speeds of 530MB/s and write speeds of 430MB/s, it is certified by Arri for its Alexa Mini and Amira cameras. The result is a solid onboard recording media in sync with your vision.
For the new Atomos Ninja V recording monitor, Angelbird has designed the AtomX SSDmini. It is 20% smaller than the average SSD to fit the small footprint of the Ninja V, but it can be used with Atomos’s whole range of Ninja and Shogun devices, plus – with the use of its AtomX CFast Adapter – the Sumo19, Sumo19m and Shogun Studio. Additionally, the AtomX SSDmini offers 500GB and 1TB of storage and has sustained read speeds of 540MB/s and write speeds of 500MB/s, captures CDNG up to 4K 30p, ProRes RawHQ 5.7K up to 30p, 4K 60p and 2K 240p, and supports Stable Stream technology. The SSD also comes with a Master Caddy II guide rail to ensure perfect docking to the SATA port and is built to last – it’s tough, low-profile, with great endurance to accompany filmmakers on creative pursuits. “The SSD comes with a Master Caddy II guide rail for perfect docking”
Through extensive testing and performance metrics, Angelbird developed the 512GB capacity Red CFast 2.0 card and Red CFast 2.0 Card Reader exclusively for the Komodo 6K camera. With built-in Stable Stream performance and sustained read speeds of 440MB/s and write speeds of 415MB/s, it can capture the full-frame 6K detail with unrivalled dynamic range throughout the entire capacity of the card. Built to withstand impact, moisture and extreme temperatures using Angelbird’s adaptive thermal system, the card is also X-ray and magnetic proof, supporting the versatile nature of this go-anywhere, do-anything compact camera.
Panasonic has revealed the world’s first telephoto zoom lens that boasts a large f/1.7 aperture throughout the entire 50-100mm zoom range. The Leica DG Vario-Summilux 25-50mm f/1.7 ASPH is designed for exceptionally high optical performance, and gives a 35mm equivalent of 50-100mm. The new £1800/$1798 lens is designed to pair perfectly with the 10-25mm f/1.7 version, already popular with MFT users. Comprising 16 elements in 11 groups, the optic features an aspherical lens and three ED (extra- low dispersion) lenses to suppress aberration. The use of aspherical lenses and the system’s optimum design mean it’s light and compact. For video, it has reduced focus breathing over the entire zoom range. There is near-silent operation, due to the inner focus drive system, while a stepless aperture ring and micro-step aperture drive system prevent issues when changing f-stops during filming. The focus ring is equipped with manual focus clutch for precision, and the lens switches between linear and non-linear settings. It has a rugged dust- and splash-resistant design, with filter diameter of 77mm. panasonic.com
SILENT SHOOTER The new Panasonic lens works quietly, thanks to its inner focus drive system
THE GOLDEN AGE IS HERE AGAIN!
units. Available in burgundy and rose gold, it comes in a Japanese lacquer box – cushioned for safe storage – with a special leather case and strap, plus 70th anniversary edition plate. It also contains a Lumisphere, Lumidisc, Lumigrid and high slide. Almost too nice to use! There’s no price yet, but to be in with a chance of getting one, register on the website. 70th.sekonic.com
If you were brought up in the era of film cameras, chances are you used a light meter that looked like this. While lots of cinematographers have moved on to digital meters, why not go back to the old school with this 70th anniversary, limited-edition meter from Sekonic? Based on the original 1956 version of the Studio Deluxe meter, this special edition L-398A is limited to 700
VIDEO UPGRADES FOR PRO CANONS
Canon has revealed free firmware updates for the EOS R5, EOS R6 and EOS-1D XMark III, to improve video performance. Already available in the EOS R5, the new firmware brings Canon Log 3 to the latter cameras, and dual-card recording to all three. Users can now record the same video file – resolution, fps and codec – to bothmemory cards. The update for the EOS-1D XMark III and EOS R5 also adds support for the new CFexpress VPG400 cards, for a minimum write speed of 400MB/s for 8K or Raw recording. The EOS R5 is compatible with Canon’s CN-E18-80mmT4.4 L IS KAS S and CN-E70-200mmT4.4 L IS KAS S Cine-servo zoom lenses, and external full-frame 8K ProRes Raw and 5K cropped ProRes Rawwhen linked to an Atomos Ninja V+ recorder. There’s now5K cropped ProRes Raw recordingwith the Atomos Ninja V. canon.com
DaVinci Resolve Speed Editor Introducing a new generation of fast editing by combining the cut page with a custom edit keyboard.
Intelligent Edit Modes Cut page editing functions are intelligent and take advantage of the speed of a keyboard. They use the ‘smart indicator’ in the timeline to work out where to insert, so you don’t always need to place in or out points to do an edit! Each time you edit, the cut page saves time by staying in the source tape. It’s much faster as you can keep browsing, throwing clips into the timeline! Sync Bin Multi-cam Editing The sync bin lets you do multi-cam editing by searching through all your media and showing you any matching clips to use as cutaways. It makes multi-cam editing fast! You can select cameras simply by pressing the number on the keyboard. Or you can hold down the camera number while spinning the search dial to paint the cutaway into the timeline directly! It’s so fast! DaVinci Resolve 17 �������������������������������������������������������������� Free DaVinci Resolve Studio 17 �������������������������������������� US$295 DaVinci Resolve Speed Editor ����������������������������� US$295
DaVinci Resolve Speed Editor is designed in conjunction with the cut page to make editing dramatically faster. You get physical controls that make the experience faster than software only editing. The machined metal search dial with soft rubber coating allows accurate search and positioning of the timeline. Plus trim keys allow the search dial to be used for live trimming, which is faster and more accurate! Search Dial Control The search dial is very large and has a weighted feel so it can be spun fast to move up and down the timeline quickly. However the search dial is more than this, simply press one of the trim buttons and it transforms into a large adjustment knob for real time, precise trimming! You can select various trim modes with your left hand and adjust the trim with your right. Source Tape for Scrolling Clips In the old days, editing using videotape had the advantage of all media being on a tape that could be scrolled up and down so you could see all your shots! Now the cut page has a modern version of the videotape called ‘source tape’. Simply push the source button and use the search dial to scroll through all the media in your project! Plus, the current clip is highlighted live in the bin!
Free DaVinci Resolve Speed Editor with purchase of DaVinci Resolve Studio17
Available for Mac, Windows and Linux
Nikongoes old-school Nikon has followed the lead of Fujifilm with a fully retro-styled camera, kept compact by using a cropped sensor. Similar to Fujifilm’s popular XT range of mirrorless cameras, the new Nikon Z fc uses the ‘DX’ format – actually APS-C. The look is inspired by the iconic Nikon FM2 SLR film camera from 1982. It’s Although primarily an homage to a stills camera, there is video recording in 4K UHD up to 30p without a crop, using the DX-sized image area. There is full-time AF for video recording, including The styling is all old-school SLR, with dials to control most functions. But in a nod to video use, the camera is the first of Nikon’s Z mirrorless range to have a vari- angle monitor. When this is rotated to the front, the camera automatically switches to selfie mode – ideal for vloggers. The camera body is £899/$957,
eye detection AF and animal detection AF. Slow-motion video is supported up to 120p in HD, Nikon’s Webcam Utility software enables the camera to be used as a webcam, and there is support for USB power delivery.
£1039/$1097 in a kit with the 16-50mm lens, or £1129/$1197 with the 28mm lens. nikon.com
accompanied by two newNikon heritage- styled lenses, the Z DX 16-50mm f/3.5-6.3 VR Silver Edition and Z 28mm f/2.8 SE.
Memory magnate Lexar has revealed the Professional CFexpress Type B Card Silver Series, for videographers who need fast speeds for 4K shooting. It features rapid performance of up to 1000MB/s read and 600MB/s write – and it’s backwards-compatible with select cameras using the older XQD cards. To pair with the cards, Lexar has revealed the £70/$70 Professional CFexpress Reader. It includes a 2-in-1 USB Type-C to USB Type-A cable and USB Type-C to USB Type-C cable for connection to PC, with plug-and-play functionality. Prices and availability have not yet been released. lexar.com LEXAR’S EXPRESS SOLUTION
Aussie audio expert Rode has introduced two new accessories: the Thread Adaptor and Tripod 2. At £19/$20, the former is a premium-quality universal adapter kit for mounting a range of devices on to any mic stand, boom pole, tripod or studio arm. It features 1/4, 3/8 and 5/8-inch adapters in an integrated set that can be configured to connect any standard thread to any standard mount. The £39/$39 Tripod 2 is ideal for affixing cameras, microphones and other accessories. Previously released as part of the Rode Vlogger Kit range, the Tripod 2 is now available as a standalone product. rode.com RODE ROLLS OUT AUDIO EXTRAS
MOUNT UP Rode’s new Thread Adaptor (far left) and Tripod 2 (left) are strong additions to any camera kit
ADVERTISEMENT FEATURE SENNHEISER Sennheiser’s six appeal! Half a dozen awesome audio products have been shortlisted for the Pro Moviemaker Gear of the Year Awards W hen it comes to recording crystal-clear audio to a huge array of different cameras and recording
top mics that can be used on mirrorless cameras, but also on cinema cameras and even smartphones. They are compact, light and offer incredible audio. Sennheiser’s latest MKE 200 and MKE 400 are two award nominees that deserve a place in every filmmaker’s bag. The most affordable and space- saving is the super-simple MKE 200 mic, designed not only to be an easy solution for small cameras and vloggers, but also coming with a second cable, so it can be used to give top-quality audio on smartphones. It might only be small, but it has a directional design to get rid of unwanted background noise, and internal shock mount to minimise handling noise. Inside is a layer of protective mesh to shelter it fromwind noise, and the mic also comes with a stretchy, furry shield for windy conditions. Being so small and light, it can
devices in a range of situations, then Sennheiser has you covered. That’s why an unprecedented six different Sennheiser products have been shortlisted in the prestigious Pro Moviemaker Gear of the Year Awards, across three different audio categories. From vloggers using mobile phones or small cameras, to professional DSLR or mirrorless cameras, right through to fully high-end cinema cameras with XLR inputs, wired or wireless, Sennheiser has you covered with a raft of high-tech, affordable sound solutions. Mics to make a difference At the heart of any audio system is the microphone. Of huge interest to indie filmmakers are the versatile camera-
even be left on a camera fitted to a gimbal. Using it is simplicity itself, as there are no external controls or battery. You just secure it to the camera’s hotshoe with the locking mount, then use one of the two coiled cables to plug it into your camera, phone or recorder. It does a great job of capturing high- quality audio and is remarkably good at beating wind noise. Weighing in at just 48g/0.1lb, it’s far better than relying on your camera’s internal mic. Above this in the range is the new Sennheiser MKE 400 – a modern replacement for the evergreen mini- shotgun MKE 400. The new version is a complete, ground-up redesign, and improves significantly on the older model. The MKE 400 is a compact, highly directional on-camera shotgun microphone, designed to isolate and enhance audio. Just like the MKE 200, it includes built-in wind protection and an integrated shock absorber, while offering more features to ensure the best possible recordings. There is a three-step sensitivity switch to allow the mic to provide distortion- free sound in any environment, and a switchable low-cut filter focuses audio on the most essential frequencies for clarity and speech. Interchangeable, 3.5mm AUDIO FOR ALL From the MKE 400 for DSLR/Ms (above), to the compact XSW kit beloved of vloggers (below left), Sennheiser has all bases covered
ADVERTISEMENT FEATURE SENNHEISER
AFFORDABLE EXCELLENCE Whether you want the AVX wireless kit (left), legendary MKE 600 XLR mic (above) or new MKE 200 (right), Sennheiser’s range offers top performance at a great price
and is ideal for cameras with an XLR socket, but can be used on DSLRs or mirrorless cameras that have a standard 3.5mm input jack thanks to the included adapter. The kit comes with adapters for mounting the receiver to a hotshoe, too. In terms of quality, it’s simply the best you can get. There are other options, such as the innovative Sennheiser Memory Mic – a small clip-on box that can fit on to a lapel or pocket, featuring an omnidirectional condenser capsule mic that’s designed to record the subject’s voice. It communicates with a smartphone via Bluetooth, but also comes with the ability to store up to four hours of audio internally. Once you’ve used the free app to start recording video on your smartphone and audio on the Memory Mic, you don’t need to maintain the Bluetooth connection between the mic and the phone. The subject could be way off in the distance while you’re filming them, and yet the mic would still pick up their voice. When paired again with the smartphone, the Memory Mic downloads its audio. The Memory Mic is internally powered and charged via USB cable, records 48kHz/16-bit audio and, despite its diminutive size, features up to four hours of battery life. It’s a game-changing accessory that’s ideal for vloggers and anyone who wants a fast, simple solution to recording audio wirelessly. It’s typical of Sennheiser’s quest to bring the best quality audio, as simply as possible, to all levels of filmmaker. From professional XLR devices, to mirrorless cameras and smartphones, Sennheiser has your sound sorted.
locking coiled cables offer compatibility with DSLRs, mirrorless cameras or mobile devices, and the mic comes with a furry windshield, too. A headphone output, with adjustable volume, allows you to monitor levels while recording. And clever technology means the compact 93.5g/0.21lb mic automatically powers on and off when connected to a DSLR or mirrorless camera. When it’s time to get really serious exemplary service for years, there’s the Sennheiser MKE 600 shotgun mic – which really does take audio to the next level. It uses full-size professional XLR connections, and its long length isolates about your sound, with a rugged professional product that will give sound thanks to its high directivity, rejecting noise from the sides and rear. It’s obviously ideal for bigger kit, like camcorders and cinema cameras, as well as professional recording devices, due to its XLR connections. But it’s also the very best way of recording incredibly clear audio to a DSLR or mirrorless, or even a smartphone, as cables are available to marry it to all cameras and devices. The MKE 600 can be battery-powered for cameras that don’t offer phantom power, and there is a switchable low-cut filter to reduce wind noise. It comes with a foamwindshield and shock mount, too. This shotgun mic was a clear winner in the XLR category last year, proving its enduring quality and reliability. Wireless wonders Sennheiser has always been at the cutting edge of wireless audio, from filmmaking, to huge stage and music productions.
There is no shortage of innovation to help filmmakers record sound without the hassle of long cables. Nothing beats a wireless audio system that lets you capture speech with incredible clarity. Put a lapel mic on your subject, or wear it yourself for vlogging, then stream the audio signal direct to your camera or recorder for the ultimate in convenience and quality. This doesn’t have to be expensive or complicated, if you use the Sennheiser XS Wireless Digital Mic System. Just plug it into the camera with the included cable, pair with the transmitter, and you are instantly ready for recording with one-touch ease of use. It uses 2.4GHz transmission for worldwide, licence-free operation. And if you prefer to use with a smartphone, a TRS to TRRS adapter will do the trick. Various sets provide the perfect equipment for the most common applications, but the XSW-D Portable Lavalier Set is an ideal kit for indie filmmakers – and is nominated in the Pro Moviemaker Gear of the Year Awards. For the ultimate in wireless audio for a professional cinema camera or recorders, the Sennheiser AVX Digital Wireless Mic System is a stunning buy, and the AVX-MKE2 kit is also shortlisted in the Awards. The rotatable AVX receiver plugs directly into the full-size XLR audio input socket on the camera or recorder – and has an integrated battery that can be recharged via USB. The transmitter can be a lavalier mic plugged into a small body pack or a handheld reporter mic. The AVX selects the best operating frequency automatically and inaudibly. It operates licence-free in the 1.9GHz range,
“Sennheiser has always been at the cutting edge of wireless audio, fromproductions, to filmmaking”
More information en-uk.sennheiser.com
CANON GOES EVENWIDER Fans of wide-angle zoom lenses for Canon mirrorless cameras will be pleased – the product giant has
combined lens and in-body image stabilisation for a seven-stop benefit. It shares the same 77mm filter thread and compact form factor with its RF 24-105mm f/4L IS USM and RF 70-200mm f/4L IS USM siblings. The 14-35mm lens uses three ultra- low dispersion and three aspherical glass-moulded lens elements – one of which is both. The rear design allows close focusing, reducing breathing to less than a third of the EF 16-35mm f/4L IS USM. Its Nano USM focus motor delivers fast, smooth, quiet AF, and the wide-angle, fixed f/4 aperture stays constant over the full focal length. canon.co.uk
revealed its widest RF lens to date: the 14-35mm f/4L IS USM. It completes Canon’s RF trinity of compact f/4 lenses, which together offer a focal range covering 14-200mm. With quiet autofocus, 5.5-stop optical image stabilisation, and incorporating aspherical and UD elements, the £1750/$1700 RF 14- 35mm f/4L is ideal for landscapes and architecture. It’s also great for vlogging, where filmmakers need a broad and stable field of view. Used with the Canon EOS R5 or EOS R6, the new lens takes advantage of
The Alpha for vloggers
interface via the Multi Interface (MI) Shoe, as well as a conventional mic jack and headphone jack. Audio output timing can also be set for live or lip sync. A face priority AE algorithm allows the camera to detect the subject’s face, and adjusts to ensure correct exposure. Internal 4K movie recording is via full pixel readout, without pixel binning, and the high-bit rate XAVC S codec records at 100Mbps in 4K. There is Hybrid Log-Gamma for HDR recording and S-Log3 settings. The optional GP-VPT2BT shooting grip with Wireless Remote Commander delivers one-handed shooting, with easy-to-access zoom, record and a customisable button. A recording lamp is fitted to the front face of the body for an indication of recording status. The camera can also be used as a high-quality webcam or live- streaming camera by connecting to a PC or smartphone, with no additional software needed. The new ZV-E10 will be available in August for £679/$698 – or £770/ $798 including the E PZ 16-50mm f/3.5-5.6 OSS power zoom lens. sony.co.uk
Sony has revealed its first Alpha series interchangeable-lens vlog camera, the new ZV-E10. Using a 24.2-megapixel APS-C Exmor CMOS sensor that can record in 4K, or up to 120p in FHD, its precise AF promises excellent tracking. To make it useful for vloggers, its side-opening vari-angle LCD screen allows the connection of external mics on top of the camera – and a newmode button easily changes between still, movie, slow and quick modes. A ‘Background Defocus’ mode can switch between a blurred and sharp background, and the ‘Product Showcase Setting’ allows the camera to automatically shift focus from the subject’s face to an object being highlighted. It has fast hybrid AF and eye AF for video, with real-time tracking, allowing the camera to track the subject’s face and eyes. AF transition speed and AF subject shift sensitivity can be customised, too. And the ZV-E10’s touch focus function allows you to set focus position by touching the screen. For audio, it has a directional three-capsule mic, and the ZV-E10 includes Sony’s latest digital audio
SHOOT SELFIES WITH SONY The ZV-E10’s vari-angle LCD screen makes it the perfect vlogging camera – and it has the specs to back it up
Vegas, LAand Birmingham!
As public events start once again, there are three international filmmaking expos open for business F or the latest and greatest in the world of filmmaking, you could always count on annual shows. Packed with people and kit – from “The Cine Gear Expo has amore relaxed,
cameras and rigs, to broadcast trucks and TV studios – they have been an industry standard worldwide. But, last year, the pandemic put paid to them all. Now they are back, some in different guises, and all with relevant Covid-19 protocols. They’re ideal places for professional filmmakers and cinematographers to get together for seminars and workshops, and check out some brand new gear. The first to throw open its doors is in the UK, in the form of The Video Show at Birmingham’s sprawling NEC from 18-21 September. It’s actually part of The Photography Show, a general consumer- focused expo, rather than a trade-style cinematography event. Withmany professional photographers making the switch to video, there are seminars from industry figureheads on how to fund your film, getting ahead in commercials or branded films, and marketing yourself. And a live stage will offer video seminars and demos on subjects such as lighting, audio and storytelling. Unusually for a video show, there are retailers on handwith superb offers on kit to take away with you. It’s also brimming with camera, lens and accessory manufacturers displaying their latest products. Just a few days later, the action changes continents, as the Cine Gear Expo kicks off at its new home of the Los Angeles Convention Center on 23-26 September. Until this year, the event was held on a backlot at Paramount Studios in Hollywood, with a focus on high-end TV and movie production. The predominantly outdoor location in the home of Hollywood movies has always given it a more relaxed, less corporate feel than many shows. And it draws the biggest names in cinematography, looking to check out the latest advances in shooting movies.
less corporate feel thanmany shows”
The transfer to the LA Convention Center may change the feel of the event, but it will still be a hubbub of precious knowledge. In fact, the final day is all about masterclasses, where you can learn from the best in the business. There are also film screenings, awards, a film contest and lots of networking events, while manufacturers – small and large – will line up to show their wares. But the biggie is a few weeks later, as the NAB Show returns to its spiritual home at the huge Las Vegas Convention Center from 9-13 October. No matter your place in the industry, this is where you get up close to the tools, technology and people to take your work to the next level. There are seminars, workshops, networking events and awards. But perhaps NAB’s biggest draw for indie filmmakers is when all the manufacturers wheel out their latest and shiniest equipment. You can get hands-on with the kit, talk to real experts for one-to- one advice, and compare products from different vendors. It’s a great place to check out cameras and lenses from the likes of Sony, Panasonic, Arri, Canon, Fujifilm, Blackmagic and more. For accessories, it’s often a perfect opportunity to find out what makes the newest equipment special. Try out lights from Aputure, listen to audio from Sennheiser, or head over to Sandisk for the new Professional range of G-Technology hard drive solutions. Investigate the latest tech – and see what it can do for your business. At all these shows, look out for Pro Moviemaker , of course –we’ll be there!
COME TOGETHER! There’s nothing quite like a show. Get your hands on the latest kit, enjoy expert insight and meet fellow filmmakers, whether it’s in the US or England
photographyshow.com cinegearexpo.com nabshow.com
GEAR OF THE YEAR
VOTE FOR THE…
It’s time to cast your vote in the annual ProMoviemaker Awards, celebrating the best kit and services
T he world might have gone through an 18-month period like no other, but there has been no shortage of new products and services to improve the lives of filmmakers. Times are tough for many businesses, so it’s vital to choose the best gear to give you and your clients the edge – and help drive creativity to brand new levels. The Pro Moviemaker Gear of the Year Awards are globally recognised as the Oscars of filmmaking kit, where the best and most innovative companies are honoured and recognised. The awards are in their fifth year, continuing to reward the finest gear, by the people who use it. There is no shortage of exciting products for moviemakers. We have seen staggering cameras launched, and
We’re calling on you to cast votes for the equipment and services that have made a significant difference in your world. Your vote is essential in deciding what should be acknowledged and commended, so please go online and have your say in our quick and easy survey. You don’t have to vote in all categories – just those you have experience in, or if you have a viewpoint to express. We also have six Editor’s Choice awards, for equipment we feel is thoroughly deserving of special mention. These are for the following categories: mirrorless cameras, cinema cameras, audio, support, lighting and special innovation. But the real winners are all voted for by you, so please get involved and have your say.
as always these are the flagship awards for many. But there has been excellence throughout the whole gamut of kit, from lenses to lights, stabilisers to software, and audio to accessories of all kinds. This year, we have added several categories to honour the service providers in our exciting and fast-paced industry. So rental houses, retailers, training services and educators are all being recognised for their indispensable roles. As you would expect, the editorial team and gear testers of Pro Moviemaker have debated long and hard – and brought together a shortlist of the best kit and services around. But it’s you, our expert readers, that take it on from here. You are the most integral part of the process.
GEAR OF THE YEAR AWARDS
everything fromMFT, right through to larger than full-frame. Panasonic’s MFT range continues to innovate, launching two very different cameras that wowed the world. The BHG1 box camera is a unique form-factor beauty that doesn’t come with a screen. But the GH5 II was the big launch, taking that popular range to even greater heights. It was a stellar year for Panasonic, as the Lumix S5 offered virtually all the tech of the flagship S1H, but in a smaller, lighter and cheaper body. Filmmakers loved them and they flew off the shelves. Sony’s long-awaited A7SMark III was also a huge sales success, with E-mount fans facing waiting lists. But queues were even longer for the new 50-megapixel, 8K A1 that, despite a high price tag, offers
The area of real innovation in recent years has beenmirrorless and cinema cameras – as well as camcorders, with increasing importance placed on streaming in the past 18months. But for the highest quality, it’s mirrorless and cinema cameras that continue to excite professional filmmakers. More full-frame models, in-camera Raw recording, and the race for resolution are the really hot topics among global camera manufacturers. While there have been no professional DSLR launches in the past year that have made a real impact on filmmaking, mirrorless cameras have really set the world alight. And it’s not just full-frame models – there have been huge innovations in cameras sporting
MOVIE MAGIC Have your say
on the year’s top camcorders and cinema cameras, from the likes of JVC, Panasonic and Canon
GEAR OF THE YEAR
“Sony’s long-awaited A7SMark III was a huge sales success, with E-mount fans facingwaiting lists”
Mirrorless Blackmagic Pocket Cinema Camera 6K Pro Canon EOS R5 FujifilmX-T4 FujifilmGFX100S Nikon Z 6 II Olympus OM-D E-M1 Mark III Panasonic Lumix BGH1 Panasonic Lumix S5 Panasonic Lumix GH5 II Sigma fp L Sony A7S III Sony A1 DSLR Canon EOS 5DMark IV Canon EOS-1D XMark III Nikon D6
for Red fans, too, as the Komodo 6K hit the market at a stunningly low price. It had the typical Redmodular design and internal Red Raw codec, but with a Canon RF lens mount and phase detection autofocus. Canon was hugely popular, thanks to the full-frame EOS C500 Mark II with internal Raw Light recording, a newmodular body and very high spec codecs. Not to mention the EOS C300Mark III, with the same body and very similar spec, using a new Super 35 sensor with radical Dual Gain Output technology – at a much lower price point. Then came Canon’s new entry- level cinema camera, the EOS C70, which essentially took over from the C100Mark II. The hybrid styling and incredible results – helped by Dual Pixel CMOS AF –won a lot of fans. Sony’s popular FX9 was followed by a little brother, the FX6, which brought a more affordable full- frame cinema camera tomarket, with its clever hybrid AF system, fast frame rates and affordable price. The FX3 might be thought of as a Sony A7S III in a different, more cinema- focused body, but delivered its own spec in a radical way. With camcorders, where live streaming is vital, there is more choice than ever. JVC’s pioneering HM180, HC550 and HC900 sold well, alongside Canon’s XF705 and new XA45. While Panasonic’s CX10, CX350 and X2000 offered a choice of spec to suit different users.
evenmore spec than A7S III – plus high resolution and fast frame rates. Along with its companion Xperia Pro smartphone, it’s a nigh unbeatable combination. Canon’s rival EOS R5 got firmware upgrades tomake it even better, and shooters loved its internal RawLight recording and 8K resolution. Sigma’s quirky fp L enjoyed a huge upgrade with a 61-megapixel sensor for even better stills, plus phase-detection AF. And its internal Raw recording is incredible in such a small and feature-packed camera. Add in Nikon’s Z 6 II, and it’s been a bumper year for full-frame mirrorless. Blackmagic’s Pocket Cinema Camera 6K Pro followed last year’s model with significant upgrades, like a tilting screen, 6K resolution and internal Raw recording. In the cinema camera category, the biggest gun was the Blackmagic Ursa Mini Pro 12K, offering the highest resolution in a package that is shockingly affordable. It was a huge year
OUTSIDE THE BOX
The Sigma fp L (bottom middle) and Red Komodo (bottom right) are full of new ideas to challenge the status quo
Nikon D780 Nikon D850
Canon XF705 Canon XA45 JVC GY-HM180 JVC GY-HC550 JVC GY-HC900
Panasonic AG-CX10 Panasonic AG-CX350 Panasonic HC-X2000
Sony PXW-Z190 Sony PXW-Z280
Cinema camera Blackmagic UrsaMini Pro 12K
Canon EOS C500Mark II Canon EOS C300Mark III Canon EOS C70 KinefinityMavo Edge 8K Panasonic EVA1 Panasonic VaricamLT Red Komodo 6K
Sony FX3 Sony FX6
AWARDS GEAR OF THE YEAR LENSES
Zoom lens Canon RF 14-35mm f/4 L IS USM
Canon CN-E 18-80mmT4.4 FujinonMK 18-55mmT2.9 Panasonic Lumix S Pro 70-200mm f/2.8 OIS Sigma 18-35mmT2 Cine Sigma 50-100mmT2 Cine Sony FE 12-24mm f/2.8 GM Tamron 70-180mm f/2.8 Di III VXD Zeiss LWZ.3 21-100mm T2.9-3.9 Prime lens Canon RF 50mm f/1.2L USM Canon CN-E50mmT1.3 FujifilmGF 80mm f/1.7 RWR Irix 150mmT3.0Macro Irix 45mmT1.5
just manual focus primes that are selling out. Lots of filmmakers are big fans of manual prime lenses for the unique look they can produce, tactile feel when focusing, and super-wide maximum aperture for creamy bokeh. But there are lots of AF primes offering fast focusing, too. Although many still love the feel of proper manual-focus cine lenses, plus a lack of focus breathing, certain AF primes are getting close in these areas. Sony’s latest 50mm f/1.2 G Master offers fast AF, incredible sharpness across the frame, and a de-clickable iris that’s better for moviemakers. But competition in the AF prime market is tough, with the likes of Canon’s RF 50mm f/1.2L USM and the Sigma 35mm f/1.2 DG DN Art L-Mount also offering superb performance. If it’s a cine prime that really floats your boat, then new brand
Always invest in the best glass you can afford. Cameras come and go, but great optics not only make a real difference to your work, but also offer lasting value – they can be used on lots of different cameras through your filmmaking career. Some can even have their mounts changed if you swap brands. Lenses offer real longevity. For many years, PL-mount cinema primes and zooms ruled the roost. Then came the DSLR revolution and interchangeable- lens digital cinema cameras, before Canon EF mount, as well as MFT, really got a foothold. Sony emerged with the E-mount across its whole range – from compact mirrorless, to high- end cinema cameras. Now, with even more full-frame mirrorless cameras hitting the market, there is a big change towards the Canon RF mount, Leica L-Mount and Nikon Z mount. The great switch to native mirrorless glass shows no sign of slowing down, as filmmakers are keen to get new lenses to unlock all the cool features of their cameras. And with AF becoming far more usable for filmmaking thanks to clever hybrid systems, it’s not
Nikon ZMC 105mm f/2.8 VR S Panasonic Lumix S 85mm f/1.8 Samyang 85mm f/1.4 FE Samyang Xeen CF 50mmT1.5 Sigma 35mm f/1.2 DGDN Art L-Mount
Sigma 35mm f/2 DGDN Contemporary L-Mount
CLOSE CONTROL Irix, Fujifilm and Zeiss make some truly stunning MF cine zoom and prime lenses
Sirui 75mm f/1.8 Anamorphic 1.33x
Sony FE 50mm f/1.2 GM Tokina Firin 100mm f/2.8 FEMacro Zeiss CP.3 35mmT2.1 Lens accessories Bright TangerineMisfit Atom matte box Formatt-Hitech Black Supermist Circle Kit Lee ProGlass Cine IRND 2.1 PolarPro Peter McKinnon VND Mist Edition II filter Schneider-Kreuznach True-Streak filter SigmaMount Converter MC-11 EOS to E
SmallRigMini Matte Box TiltaMB-T03Matte Box Vocas MFC-2S follow focus
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