Pro Moviemaker July/August 2024 - Web

Welcome to the bumper issue of Pro Moviemaker magazine If you are a lover of filmmaking kit then the latest issue of Pro Moviemaker magazine is seventh heaven, featuring seven new cameras and the latest equipment to help take your business to the next level. Canon reveals its brand new EOS C400, a Raw-shooting machine with an RF lens mount. Then there’s the Blackmagic Ursa Cine 12K and Pxyis plus Fujifilm’s X-T50 mirrorless and the GFX100 that makes large-format filmmaking more attainable. And Panasonic unveils its S9 and GH7 with 32-bit float audio. The issue is packed with lots of news about the latest equipment and tests of kit and the winners in our Filmmaker of the Year Awards, we test the new Ziess Nano primes and it’s time to reveal the nominations in the prestigious Gear of the Year Awards. All in Pro Moviemaker, out now.

FILMMAKER OF THE YEAR THE WINNERS! We reveal the best of the best in this year’s global contest


@ProMoviemaker £5.49

Give your movies the edge with top-value cine glass OPTIC VERVE LENS FEST

Sony’s hot PTZ camera and compact zoom Ace pair of Sachtler tripod heads Powerful new Nanlites

SHOW STOPPERS Highlights from London’s huge MPTS plus our preview of Euro Cine Expo

6K Cinema EOS C400 takes aim at its rivals PLUS Panasonic GH7 | Blackmagic Pyxis & Ursa Cine 12K | Fujifilm GFX100S II

Nominations are in, so cast your vote for the ultimate equipment GEAR OF THE YEAR IS GO! POLLING DAY

The ultimate phone set-up from Aussie audio juggernaut RODE GOES MOBILE MIC DROP

The ultimate magazine for next generation filmmakers

Editor in chief Adam Duckworth Chief sub editor Matthew Winney Sub editor Minhaj Zia Junior sub editor Molly Constanti Editorial director Roger Payne EDITORIAL ADVERTISING Sales director Sam Scott-Smith +44 (0)1223 499457 Sales manager Gabrielle Pitts +44 (0)1223 492244 DESIGN Design director Andy Jennings

CAM DRAM So much new technology has arrived all at once! And a lot of it is very affordable

Magazine design manager Lucy Woolcomb Junior designer Hedzlynn Kamaruzzaman Junior designer and ad production Holly May PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:

It’s been one of the most exciting times for tech-heads in a long while, as there has been a real glut of truly impressive new cameras at price points that seem to be coming ever lower despite fast-rising spec. Of course, we all complain about the cost of living and doing business always going up, and clients’ budgets seemingly shrinking just as fast. But now it seems that high- end cameras are becoming slightly more affordable, with features we could have only dreamed of in recent years. That’s not just in full-frame mirrorless, where the majority of development seems to have been focused as manufacturers go all-out to persuade amateur photographers to throw away their DSLRs and invest in the future. (And it goes without saying that you shouldn’t stash your old kit in a cupboard, but get cash from it by selling it to a reputable used specialist like MPB!) In fact, the big news for filmmakers is not about full-frame mirrorless developments, but cinema camera, ‘medium format’ mirrorless and even Micro Four Thirds launches. Panasonic pioneered mirrorless cameras for video use and has always packed loads of spec for moviemaking into its offerings. The new Micro Four Thirds Lumix GH7 delivers that, with 32-bit float audio, ProRes Raw internal shooting and Arri colour science. Fujifilm’s launches include the Super 35 X-T50 mirrorless, but more importantly, a more affordable version of its GFX100 that opens up large format filmmaking to a much wider range of potential buyers. Blackmagic has made serious waves with two new cameras, the Ursa Cine 12K and Pyxis. The high-res Ursa now has a full-frame sensor and, despite that, is reasonably attainable. But the full-frame 6K Pyxis looks like the bargain of the century, as this next- generation digital film camera comes with a choice of L, PL or Locking EF lens mounts and costs from just £2910/$2995. It shoots Raw, but does not have the best AF system. Ticking all those boxes is the new Canon EOS C400, complete with a stacked 6K sensor with triple base ISO, internal 6K/60p Raw shooting and latest-generation AF – all for £7799/$7999. It’s a perfect reminder of the fast-paced change in filmmaking technology, just as we launch our 2024 Gear of the Year Awards, where your vote counts. As a perfect antidote to all that technology, we also showcase just how amazing Pro Moviemaker readers are by revealing the winners of our Filmmaker of the Year Awards. It’s a testament that ‘all the gear but no idea’ doesn’t apply to so many professional and student filmmakers. It’s so refreshing to see how more affordable camera technology is being put to great use with some stunning work. Enjoy the issue.

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

JULY/AUGUST 2024 CONTENTS AGENDA 6 WRAPS OFF CANON’S NEW C400 It’s been a long time since Canon revealed an all-new Cinema EOS camera, but the wait is now over. The C400 is here – and what a stunner it is! 8 THE BLACKMAGIC CINEMA DUO The Aussie manufacturer pulls out two surprises in the shape of the ridiculously high-resolution, full-frame Ursa Cine 12K and shockingly affordable Pyxis 6K. 1O RODE’S LATEST AUDIO UNVEILED Three Rode products are coming to a retailer near you, including the Interview Pro wireless reporter mic and two new gadgets to rig up your smartphone for video. 12 EOS FLAGSHIP IS ON THE WAY There has never been an official professional Canon mirrorless flagship, but there will be soon. The EOS R1 is under final development now and will be on sale this year. 14 SUPER-SIZE SENSOR FOR THE MASSES Always wanted to shoot on plus-sized sensors but haven’t got Hollywood blockbuster levels of funding? Fear not, as Fujifilm launches its GFX100S II and fresh lenses. 16 SONY’S FIRMWARE GAFFE The long-awaited update for the A1 and A7s III falls flat on its face, as Sony is forced to withdraw the firmware following customer complaints. 18 SKELETON CREW FOR AI-TECH PTZ Sony’s integrated-lens PTZ uses artificial intelligence to recognise and track a subject’s skeleton – as well as their head, face and clothing. 20 SHOW STOPPERS AT OLYMPIA Check out the Media Production and Technology Show from a historic London landmark as the UK’s creative and tech industries meet, greet and reveal kit.



23 ARRI STYLE COMES TO LUMIX Panasonic’s Lumix GH7 proves there’s still life in Micro Four Thirds cameras – especially when they can record ProRes Raw and employ Arri colour science. 25 PANASONIC’S COLOURFUL S9 The latest full-frame Lumix comes in a choice of colours, but don’t let that fool you - it’s packed with serious filmmaking technology. 26 BATTERY POWER FOR NANLITE LEDS Budget lighting expert Nanlite reveals two palm-sized spotlights ideal for use on location, with USB power or V-Mount battery options. 28 UPGRADES FOR APUTURE FIXTURES Even more power comes to the LS 600c Pro, and the Infinibars go wider for more coverage. Plus, Sigma reveals its superfast 28-45mm f/1.8 zoom for full-frame mirrorless. 30 A TIPA OF THE HAT TO TOP KIT! The Sony A9 III bags a major gong at the annual Technical Image Press Association World Awards, which now includes Pro Moviemaker magazine on the panel. See what won and why in our special report.





The ultimate magazine for next generation filmmakers

PREVIEW 32 GERMANY CALLING FOR GEAR FEST The super-funky Motorworld exhibition space plays host to Euro Cine Expo, which promises to be a massive Glasto-like experience for creatives. There will be new kit and lots of networking at this fast-growing annual event. AWARDS 34 FILMMAKERS OF THE YEAR REVEALED It’s the announcements everyone has been waiting for, as the second annual Pro Moviemaker Filmmaker of the Year winners are revealed. With entrants from around the world shooting everything from drama with Hollywood stars to pop videos, it’s a mega climax! 51 THE OSCARS OF FILMMAKING KIT! The 2024 Gear of the Year Awards are finally underway, as we unveil the nominations in all the crucial categories. But the winners come from reader votes, so please do have your say by selecting the most indispensable equipment. Your industry needs you! There’s nothing like a real cinema lens to boost your work to even higher levels. We study everything from the latest glass to some tried-and-tested performers – and put the brand-new Zeiss Nano primes to the test. 84 MINI TESTS: LOADS OF KIT RATED It’s a bumper issue for reviews as we try box-fresh gear on for size. There’s two full-frame lenses from Sigma – the 50mm f/1.2 and 24-70mm f/2.8 – as well as Sony’s mighty 300mm telephoto, a tripod and mega backpack. GEAR 75 CINE PRIME LENS SPECIAL







Canon’s mid-range flagship The all-new C400 sits in the centre of the EOS Cinema range but has specs to shame its siblings

A fter almost five years without a new full-frame cinema camera, Canon has taken the wraps off the all-new EOS C400. This is complete with a stacked 6K sensor with triple base ISO, RF lens mount and internal 6K/60p Raw shooting, as well as 4K/120p in high-quality 4:2:2 10-bit plus the latest-generation AF. Perhaps the biggest surprise is the price – just £7799/$7999. That’s a tad cheaper than the Super 35 EOS C300 Mark III and £1300/$2000 less than the full-frame C500 Mark II, yet it sits in between these cameras in the range – both of which were launched pre-2020 and use the old EF mount.

The new C400 takes advantage of the larger RF mount, but is also compatible with a £1599/$1599 Canon RF/ PL mount adapter to make it suitable for cinematographers. Canon’s only other RF mount cinema cameras are the Super 35 EOS C70 hybrid and full-frame EOS R5 C, which is a more filmmaking-orientated version of the R5 mirrorless. Without an RF-fit, full-frame cinema camera in its line, Canon was in danger of being left behind by the likes of Red which offers its Komodo and V-Raptor series with an RF mount. Of course, Red is now owned by rival Nikon, so that must have niggled Canon. At the heart of the camera is a new 6K full-frame back-side illuminated stacked sensor that holds some similarities with the sensor in the EOS R3 sports mirrorless camera. Unlike other Cinema EOS cams, the C400 does not use a Dual Gain Output (DGO) sensor but is the first to offer three native ISOs. You can manually choose the native ISOs or set Auto mode. When shooting in C-Log 2, 3 or Cinema Raw Lite, base ISO settings are 800, 3200 and 6400. Change to Canon 709, BT. 709 Wide DR, PQ or HLG and it’s ISO 400, 1600 or 6400. In standard BT. 709 it’s ISO 160, 640 or 2500. The C400 is claimed to have 16 stops of dynamic range, a stop more than the C500 Mark II and equal to the C300 Mark III with its DGO sensor. And oversampling from the 6K image capture can produce high-resolution C4K. The new camera can shoot in Canon’s 12-bit Cinema Raw Light in LT/ST/HQ flavours up to 6K/60p, 4K Raw up to 120p and 2K Raw to 180p. The edit-ready 4:2:2

10-bit XF-AVC and all-new MP4-based XF-AVC S and XF-HEVC S formats offer up to 120p with no crop. All these options are recorded to the camera’s CFexpress Type B slot with sub-recording and proxy options available to the SD slot, which allows for simultaneous recording even when shooting Raw. The files are

ideal for broadcast workflows with professional filename and metadata support. To make it an ideal production camera as well as a cinema camera and ENG machine, there is support

for genlock, return input and 12-pin lens terminal, ideal for live multicam productions. Also find mini-XLR audio inputs, DIN connectors for timecode, 12G-SDI and 3G-SDI monitor outputs, full-size HDMI output, built-in Wi-Fi connectivity and Ethernet. The cam also features SRT protocol for IP streaming. The 38.4x20.2mm sensor uses the Digic DV7 processor, same as the slightly larger C500 Mark II and C300 Mark III. The C400’s sensor uses two layers of circuitry stacked together, which hugely increases the speed at which the sensor can send data to its processor – and offers huge advantages in autofocus. That means it’s the first Cinema EOS to use Canon’s Dual Pixel CMOS AF II, providing 100% coverage across the sensor plane, face/eye/body tracking and animal detection and tracking.

BRING OUT THE GIMBAL Relatively light weight means the new Canon will work on most stabilisers




FOUR-MIDABLE! The new Canon EOS C400 boasts all the latest must-have spec in an affordable package that will have its rivals worried

Canon’s RF 35mm f/1.4L VCM is the brand’s first hybrid lens built for both stills and video as it’s the only RF prime with a dedicated iris ring. It boasts an 11-blade aperture for smooth out-of-focus areas and minimal focus breathing when pulling focus. The optic also accepts front and rear filters. Its Nano USM focus motor, along with Voice Coil Motor tech, delivers fast, precise focusing. Custom modes can be set on the dedicated control ring and function button. The £1819/$1499 lens uses high-end, L-series housing with a fluorine coating to repel dirt. It’s lighter than its EF mount predecessor and has aspherical and UD elements, with Super Spectra and ASC to reduce flare and ghosting. FAST PRIME IDEAL FOR FILMMAKING

The latest cine lens from Canon adds to the Cine-Servo line, but is now in an RF mount to improve communication with cameras such as the EOS C400. This has improved AF, distortion correction and metadata output. The CN7x17 KAS T lens comes in either RF mount or PL, which supports Cooke /i Technology and Zeiss eXtended Data, with correction for distortion and shading. A new servo drive unit improves focus and iris speed, enables focus breathing compensation and includes a USB-C connector for remote control and copying drive unit configurations. This 7x optical zoom has a 17-120mm focal length and 11 iris blades to produce softly diffused highlights. The lens will cost $23,850 when it hits the shops in October, but no UK price has yet been set. SERVO-CHARGE YOUR WORKFLOW

“It is the first Cinema EOS to use Canon’s Dual Pixel CMOS AF II, providing 100% coverage”

so you can attach the Tascam XLR mic adapter which passes the sound directly to the camera without a cable. This allows for four-channel audio recording with the mini-XLR inputs or 3.5mm stereo jack. Canon is also releasing a free firmware update for the EOS C300 Mark III, adding 12-bit Cinema Raw Light formats in LT, ST and HQ, as well as an Auto ISO feature.

An electronically controlled ND system offers two-, four- and six-stop support, but can be extended to ten stops. It also has a new 3.5-inch, 2.76-million-dot touchscreen LCD monitor but no loupe. There is a new handle unit and an LCD attachment unit that connects to the camera using a USB-C cable. The top handle has Canon’s Multi-Function Shoe,



NEWS AGENDA Away with the Pyxis! Blackmagic’s

newest cinema camera could be an affordable entry point into the full- frame Raw field

Owning a full-frame cinema camera that records 6K Raw footage internally has been a pipe dream for many due to the limited choice and high price of cameras. But the new Blackmagic Pyxis changes all that, as this next-generation digital film camera comes with a choice of L-Mount, PL or locking EF lens mounts and costs just £2910/$2995. It is being heralded as the easiest full- frame cinema camera to rig up, thanks to its box design that’s made from aerospace aluminium with multiple mounting points and accessory side plates. An included SSD plate provides a mount to attach a USB-C drive for recording, or a mobile phone for live streaming. The camera has the same 36x24mm, 6048x4032 pixel sensor with dual native ISO up to 25,600 that we recently tested in the Blackmagic Cinema Camera 6K, offering 13 stops of dynamic range. Also present on the body are dual CFexpress media slots for recording codecs such as Blackmagic Raw – and these will sync media with Blackmagic’s Cloud platform. Lots of frame choices are offered, including open gate 3:2, which allows for reframing in post-production. This makes it ideal for anamorphic shooting. The sensor caters for true 6:5 anamorphic without cropping, too, for widescreen cinematic images in high resolution. The Pyxis can shoot in all standard resolutions and frame rates from HD

MAGIC TOUCH The full-frame sensor from the Blackmagic 6K camera now comes in a conventional video-style body

swappable and a USB-C expansion port allows recording direct to external flash media disks or an SSD. The Pyxis also produces HD H.264 proxies in real time, making it easy to share media in minutes by uploading to the Blackmagic Cloud by using the latest Apple or Android phones via mobile data. Wired Ethernet is also possible via a port. The camera supports the optional Blackmagic Ursa Cine EVF for shooting outdoors. This has a 1920x1080 colour OLED display with built-in proximity sensor as well as four-element glass dioptre adjustment. A 12G-SDI output is included for monitoring, with support for HDR and Ultra HD output. So an SDI display can be used on-set for monitoring, with or without overlays that show camera info and status. SDI allows for far longer cable runs than HDMI, making it easier to reach monitors positioned further away on-set. The Pyxis features a streaming engine that supports RTMP and SRT for YouTube, Facebook, X and more. The camera also has mini XLR inputs

up to DCI 4K and 6K, as well as stills at 24.6 megapixels. It records to 36fps at 6048x4032 3:2 open gate or 60fps at 6048x2520 2.4:1 and 4096x2160 DCI 4K. For higher frame rates, the sensor can be windowed to shoot up to 100fps at 2112x1184 – a Super 16 crop. The built-in LCD is a four-inch-tall, high-resolution HDR touchscreen with 1500 nits of brightness, so there should be no need for an external monitor. The camera design gives important functions such as ISO, white-balance and shutter speed both touchscreen and physical controls. A row of three function buttons may be customised, and the controls can be locked to avoid accidentally changing settings during a shot. Recording in Blackmagic Raw allows precise control of detail, exposure and colour during post-production. The two CFexpress card recorders are hot-

“The Pyxis can shoot in all standard resolutions and frame rates from HD up to DCI 4K and 6K, as well as stills at 24.6 megapixels”

with 48v phantom power and accepts BP-U batteries.




12K URSA GOES LARGE The highest-resolution cinema camera available on the market now comes with a full-frame sensor to bring a massive boost in image quality and produce an even more cinematic look. Blackmagic’s Ursa Cine 12K has a 36x24mm sensor, offers 16 stops of dynamic range and allows Blackmagic Raw sync to DaVinci Resolve. The full sensor area gives a 3:2 open gate image and enables anamorphic shooting for delivery in a range of aspect ratios with 1.3, 1.5, 1.6, 1.66, 1.8 and 2x de-squeeze factors. Shooting 4K, 8K or 12K using the entire sensor without cropping retains the full field of view offered by the lens. There are also 9K Super 35 4-perf, 3-perf and 2-perf modes for full compatibility with classic cinema lenses.

hours of Blackmagic Raw footage in 12K or 20 hours in 4K. The optional Blackmagic Media Module CF can be used, and has dual CFexpress slots. The Ursa Cine includes an optical low- pass filter with updated IR filtering that improves far-red colour response. The camera supports creating a small H.264 proxy file in addition to the original media when recording, so the proxy can upload to Blackmagic Cloud within seconds. Built- in streaming supports RTMP and SRT to major platforms or directly to clients via Ethernet, high-speed Wi-Fi or mobile data. An 8-pin Lemo power connector at the back of the camera works with both 24v and 12v power supplies. It comes with a 250W power supply and B-Mount battery plate to accept a wide range of batteries from manufacturers such as IDX, Blueshape, Core SWX, Bebob and more. A rugged Peli case with custom foam cutouts is included. The PL lens mount comes preinstalled on the camera, as well as an interchangeable locking EF mount. The kit includes a top handle, antennae for high-speed Wi-Fi, baseplate, 24v power supply and B-Mount battery plate.

The camera features interchangeable PL, LPL, Hasselblad and EF lens mounts with contact pins to read lens metadata, Lemo and Fischer connections and 8TB of high- performance built-in storage. It also has high-speed networking for media upload and syncing to Blackmagic Cloud, and costs £14,442/$14,995. Its brand-new sensor has significantly larger photosites compared to the older model, leading to lower noise and 16 stops of dynamic range. Its unique RGBW architecture provides equal amounts of red, green and blue pixels to deliver rich colours at all resolutions. It shoots up to 80fps in 12K, 144fps at 8K and 240fps at 4K. Made for high-end work, the body is built with a magnesium alloy chassis and lightweight carbon-fibre polycarbonate composite skin. Also included are 12G‑SDI out, 10G Ethernet, USB-C and XLR audio.

The fold-out monitor has a large five- inch HDR touchscreen on one side and an external colour status LCD on the other. On the right side of the camera, there’s a dedicated assist station with a second five- inch HDR touchscreen which allows crew to work around the camera without needing external monitors. There’s also a dedicated focus puller’s mode. Camera power is provided by a standard 24v 8-pin Lemo connection, and there’s an additional 2-pin Lemo 12v connection at the rear for lower-voltage accessories. Blackmagic Raw files store camera metadata, lens data, white-balance, digital slate information and custom LUTs to ensure consistency on-set and through post-production. Recording to the included Blackmagic Media Module 8TB allows four

BIG BOY The flagship Ursa already offered 12K resolution but now comes with a larger full-frame sensor

“Made for high-end work, the body is built with a magnesium alloy chassis”






Internal shock mounting of the capsule ensures minimal handling noise, with an internal pop filter for reducing plosives, plus it includes a windshield for recording outdoors. The Australian audio giant has also unveiled two new products for smartphone video shooters, including the Phone Cage, which has 33 mounting threads and five coldshoe slots to build a full mobile videography rig. The £109/$120 Phone Cage uses a powerful magnetic mounting disc for attaching any Magsafe iPhone or compatible smartphone case or accessory. Cable slots make it easy to keep accessories tidy. An ergonomic grip aids handheld filming and its attachment points make it easy to mount on tripods or desk mounts. Finally, the £80/$90 Rode Magnetic Mount is a system for attaching microphones, lights and other accessories to any Magsafe iPhone or Magsafe-compatible smartphone case or accessory. It has the same strong magnet as the Phone Cage for attaching to a mobile and comes with three removable arms: coldshoe arms for shooting in landscape or portrait, plus a long arm with 1/4-inch thread for mounting on a tripod, handle or desktop arm.

Rode’s Interview Pro is a broadcast- quality, handheld reporter mic for use with any Rode Series IV wireless system, including the Wireless Pro, Wireless Me and Wireless Go II. It can send the audio signal to a camera, smartphone, computer or the Rodecaster Pro II, Rodecaster Duo and Streamer X just like an XLR microphone, making it ideal for podcasting or streaming. The Interview Pro uses Rode’s 2.4GHz digital transmission with 128-bit encryption for stable wireless audio at a range up to 200m with clear line of sight, but is optimised for close-range use. This £249/$249 mic features a pro-grade condenser capsule for rich, detailed voice reproduction. And its omnidirectional polar pattern makes it very forgiving when it comes to mic placement, meaning it’s perfect for interviews. Rode’s Gain Assist technology includes intelligent algorithms for automatically controlling the mic’s audio levels on the fly to minimise clipping. It also features 32-bit float on-board recording, with 32GB of internal memory offering 40 hours of recording time, and a dedicated button for stopping and starting recording. So there’s always a clean backup of audio and the Interview Pro can be used as a stand-alone field recorder.

Benro has released a trio of carbon-fibre tripods in its heavy-duty Mammoth series, which all feature a quick-levelling 75mm platform to fit a bowl head. Independently locking, three-stop adjustable legs work well for low shooting angles and there’s a choice of rubber or spiked feet. The tripods each weigh 2.25kg. First, the three-section TMTH43C is priced at £390/$330 and supports up to 25kg, while the £360/$300, three-section TMTH33C and £380/$320, four-section TMTH34C hold up to 18kg. These models have three built-in threads for mounting accessories like microphones, monitors or lights. Benro’s Mammoth family grows larger





Canon flagship on the way

Canon has revealed it’s in the final stages of developing the EOS R1 – a full-frame mirrorless camera and the first flagship model for the EOS R system. Equipped with an RF mount and mooted for 2024 release, the EOS R1 is aimed at pro image makers and brings together Canon’s latest technology and performance with the durability and reliability sought in a flagship model. Canon claims that the camera will dramatically improve the performance of both stills and video in a range of fields including sports, news reporting and video production. Canon tends to release a new professional flagship every four years to coincide with the Olympics. This year, the Olympics is in Paris starting on 26 July,

and it’s highly likely the camera will be used there by Canon Ambassadors. It is already being tested in the field at many international sports events. The EOS R1 will house a newly developed image processor called Digic Accelerator, in addition to the existing Digic X. This system, composed of these processors and a new CMOS sensor, allows enormous volumes of data to be processed rapidly – and should deliver speed, video spec and autofocus advancements. By combining the image processing system and deep-learning technology, Canon says the EOS R1 has achieved high-speed and high-accuracy subject recognition. Subject tracking accuracy has been improved so that, for team

sporting events in which multiple subjects intersect, the target subject can continually be tracked even if another player passes directly in front of them. In addition, the Action Priority AF function recognises subject movement by rapidly analysing the subject’s status. In moments during a game when it proves difficult to predict what will happen, this function automatically determines the player performing a certain action – such as shooting a ball – as the main subject and instantly shifts the AF frame. An upgraded noise-reduction function, which has previously been developed and improved as part of the software for PCs, will also feature. There is no definite launch date or price yet. No news has been released concerning whether Nikon will launch a new flagship to rival the Canon. But Sony, which put its superfast A9 III global shutter mirrorless camera on sale recently, is believed to be working on a new A1 Mark II to launch this year. It’s likely to have a global shutter to reach incredible speeds and frame rates, offer flash sync at all shutter speeds and eliminate rolling shutter.

IT’S A LIGHT, BUT NOT AS WE KNOW IT This gizmo may look just like a trendy retro-style camera, but it’s actually the latest funky LED light from style-led brand Hobolite. The Hobolite Iris, a well as offering precise dimming from 1 to 100%. PD charging juices up the built-in 3.7v 2000mAh 7.4Wh rechargeable lithium-

polymer battery. After 500 cycles of charging and discharging, the battery capacity can still maintain 60%. At full power, a charge will last for two hours. Alter settings with the high-contrast LCD screen, or use the free Hobolite app via a smart device. Different accessory kits are available, such as the £59/$59 Color Gel Filter Essentials Pack. The £99/$99 Optical Modifier Kit features an aperture ring, fresnel lens and what Hobolite calls its Magic Lens, which can be rotated and retracted to create some unique looks.

pocket-sized portable continuous light with a weather-resistant aluminium body, has a definite retro aesthetic. The Iris offers light output that can be altered from a focused beam to a wide glow to give different looks quickly. The £99/$99 standard kit has an adjustable lens which can change the beam angle from 20 to 45° and boost the brightness by up to six times. Accessories such as the included frosted dome fix on with magnets and soften the output. With its colour range of 2700-6500K, the light is calibrated to achieve high and accurate CRI and TLCI ratings of 96+, as





Super-size sensor for the masses

distortion caused by misalignment of the pupil to achieve high visibility when using the viewfinder. A much-improved feature is the AI- driven autofocus with intelligent subject detection. The camera features a tracking AF function during video recording. In addition to face and eye AF, it also detects animals, birds, cars, motorcycles, bicycles, planes, trains, insects and drones. This incorporates an AF prediction algorithm, surpassing the motion tracking abilities of previous models and enabling superior performance in fast-moving scenes. When using AF-C+Wide/Tracking AF, users can easily specify the subject to be tracked by touching the screen, even when there are multiple subjects. The redesigned IBIS system gives up to eight stops of anti-shake performance – ideal for low-light conditions. The body

8K/30p, largely due to its use of CFexpress Type B instead of the slower SD media of the S-model. It is still a big upgrade over the previous GFX100S, which could only record internally in H.265/H.264 at a bit rate of up to 400Mbps. The GFX100S II also offers recording in ProRes Raw and Blackmagic Raw over HDMI to an external recorder, and F-Log2 gamma gives a claimed 13 stops of dynamic range. When recording, simultaneous monitoring via HDMI with any of the camera’s internal Film Simulation colour settings is possible. And the new GFX100S II integrates with for uploading directly to the cloud without the need for any accessories. The camera also has an improved 5.76-million-dot, high-resolution EVF with a high magnification ratio of 0.84x. The EVF suppresses image drift and

Fujifilm has made super-size filmmaking even more affordable with a new addition to its mirrorless GFX System, the GFX100S II. Costing £4999/$4999, it uses the same 102-megapixel sensor and X-Processor 5 imaging engine as the recent GFX100 II, but is lighter and £2000/$2500 cheaper. With a 43.8x32.9mm sensor – roughly 1.7x bigger than 35mm full-frame – the GFX100S II brings the unique, cinematic look of over-sized sensors within reach of indie filmmakers. Of course, offering such a saving over the GFX100 II means some spec has to go and this is largely in the video capability. The GFX100S II can record up to C4K/30p in 4:2:0 10-bit H.265 All-Intra internally at up to 720Mbps, and up to 4K/30p in ProRes 4:2:2 HQ and LT 10-bit, but only over USB-C to an external SSD. In comparison, the GFX100 II can record in 4K/60p and


range – and the electronic shutter can be set to 1/180,000sec. For wireless connectivity, the X-T50 has Camera to Cloud technology in addition to conventional Wi-Fi and Bluetooth. You can use the camera’s built-in Wi-Fi or Ethernet LAN connection to deliver H.264 video proxies. The camera is also available as a kit with the new 16-50mm f/2.8-4.8 lens for £1649/$1799. This optic is available separately for £699/$699 – and it’s an ideal standard zoom covering a focal range equivalent to 24-76mm in 35mm format. The XF16-50mm f/2.8-4.8 R LM WR weighs just 240g/0.53lb and is the lightest XF zoom. It is weather resistant and works at temperatures as low as -10°C. It also has a close-up capability equivalent to half-size macro photography in 35mm format.

The Super 35 sensor from the Fujifilm X-H2 can now be found in the smaller and cheaper X-T50 mirrorless camera. Weighing 438g/0.96lb, the retro- style camera has a 40.2-megapixel X-Trans CMOS sensor, high-speed X-Processor 5 and five-axis in- body image stabilisation to give an improvement of up to seven stops. The £1299/$1399 camera records up to 6.2K/30p internally in 10-bit as well as 4K/60p and 240p in FHD. It also boasts AI-assisted AF and a dedicated Film Simulation dial. The high-resolution sensor enables new 1.4x and 2x digital teleconverter modes for extra reach. The updated autofocus algorithm – which employs AI – improves subject detection and tracking performance. The base ISO of 125 is adopted as the normal sensitivity instead of being in the extended sensitivity




maintains the same overall design and dimensions as its predecessor, measuring around 150x104x87mm and weighing just 883g/1.95lb. This will be the lightest model in the 102-megapixel GFX System and its small form factor makes it ideal for use on gimbals or drones. The camera is built for ultimate image quality and offers ISO 80 to be used within the normal sensitivity range. Fujifilm says the improved microlens of the new sensor increases the efficiency of light utilisation at the edge of the sensor, giving a boost to image quality and AF accuracy. The GFX100S II includes 20 Film Simulation modes, including Reala Ace, which combines faithful colour reproduction and high-contrast tonality. For stills, the camera also includes a Pixel Shift Multi-Shot feature, which enables 4x resolution and improved colour

“An improved feature is the AI-driven autofocus with intelligent subject detection” reproduction. This function employs the IBIS system to shift the sensor by 0.5 pixels at a time and shoot 16 Raw images in quick succession. Dedicated Pixel Shift Combiner software is used to merge the files and create a 400-megapixel image. By changing the controls to combine four Raw files shot by shifting one pixel at a time, an image of approximately 100 million pixels can be generated.

FAR OUT FUJIFILM PRIME The longest telephoto lens to fit Fujifilm’s GFX System is the new GF500mm f/5.6 R LM OIS WR, which is equivalent to 396mm in 35mm format. When combined with the GF1.4X TC WR teleconverter, it gives the view of a 700mm lens, which is equivalent to 554mm in 35mm. Priced at £3499/$3499, the lens uses 21 elements in 14 groups, with two Super ED and five ED, to suppress chromatic aberration specific to a super-telephoto. The lens weighs 1375g/3.03lb, which is much lower than conventional large format telephoto lenses. A weather-resistant build withstands temperatures down to -10°C. It’s sealed at 18 points on the lens barrel, and the front element is coated with fluorine for the purposes of water-repellency and anti- smudge. The optic offers a six-stop image stabilisation performance. An internal focus system uses a linear motor for fast and silent autofocus with a minimum delay of 0.31 seconds. There is a Focus Preset button and a Focus Limiter, allowing the lens range to be restricted to avoid unnecessary hunting. This can effectively shorten AF time when photographing a subject 5m away or more. A Focus Control button at the front edge of the lens barrel is customisable.






and Sony’s firmware upgrades are back online. Rival manufacturer Panasonic has issued a firmware update for the Lumix S5 II and S5 II X which adds integration with Adobe’s platform to enable automatic upload, backup and sharing via the cloud using a Wi-Fi or USB connection. This firmware also aids autofocus, with real-time recognition capabilities for animals, cars and motorcycles. Also included is an upgrade to the image stabilisation system, with a mode for more extreme movements, plus a perspective distortion correction feature which reduces the effects of distortion from wide lenses.

Long-awaited major firmware updates for Sony’s A1 and A7S III mirrorless cameras were designed to bring lens breathing compensation, fresh menus, a boost to AF, improved in-body image stabilisation for certain lenses and better compatibility with cloud services. Unfortunately, these updates were blighted by problems upon release. Version 2.0 for the A1 and 3.0 for the A7S III were quickly withdrawn after various users found multiple glitches that caused cameras to lock up or not perform as described. These updates were intended to bring some of the newest technology that already exists in Sony’s newer but lower-model cameras to the flagship models. Fixes have now been sorted

Canon has started to release its stranglehold on RF mount by allowing Sigma to launch six new lenses in said mount – but only for APS-C cameras such as the EOS R7 and R10. Sigma claims the lenses have been designed specifically for the Canon RF mount to ensure quick autofocus and in-camera image stabilisation. Each lens includes a rubber seal to improve weather resistance. These RF-fit Sigma lenses can be mounted on full-frame cameras, but there will be vignetting so the sensor size must be set to APS-C. The announced optics are the 18- 50mm f/2.8 DC DN, 10-18mm f/2.8 DC DN, 16mm f/1.4 DC DN, 23mm f/1.4 DC DN, 30mm f/1.4 DC DN and 56mm f/1.4 DC DN from the Contemporary range. SIGMA TO BUILD CANON RF FIT LENSES

Sandisk’s 4TB surprise

Sandisk Professional has expanded its range of desktop hard drives with the 24TB enterprise-class 7200RPM Ultrastar, made to keep up with 8K and VR workflows. For more space, the Ultrastar Transporter offers up to 368TB of NVMe SSD performance. While the Ultrastar Data102 JBOD Platform’s tech reduces heat and vibration by up to 62%.

Sandisk has recently revealed a massive 4TB SD card as well as next-generation SD Express and microSD Express cards in 128GB and 256GB capacities, claimed to achieve transfer speeds up to 4.4x faster than previous models. The big daddy is the 4TB Sandisk Extreme Pro SDUC UHS-I card, but you can also find the 2TB Extreme Pro SDXC UHS-I and microSDXC UHS-I memory cards.





PTZ cam tracks your skeleton!

in 4K/60p. Oversampling from a 5K image captures high-resolution 4K video, and it also supports 4K HDR. There is a 20x optical zoom, and a digital zoom providing 30x in 4K or 40x in Full HD. It has a built-in unique electronic variable ND filter from 1/4 to 1/128 stops. The BRC-AM7 offers ITU709, 709tone, S-Cinetone and S-Log3 gamma choices, genlock terminals and is compatible with Sony’s master set-up units and remote- control panels. Power is via an XLR 4-pin connector or supports PoE++ . The camera features 12G-SDI and HDMI outputs, as well as 3G-SDI for monitor output. For audio, there are two channels of XLR 3-pin connectors and a 3.5mm stereo input. For streaming, the BRC-AM7 supports SRT, RTMP, RTSP, NDI and optical fibre

Sony’s new flagship integrated lens PTZ camera, the BRC-AM7, can automatically track moving subjects thanks to the latest AI technology, using subject detection AF based on the person’s skeleton, head, face and clothing. This feature will be coming to more new Sony models in spring 2025. This camera is claimed to be the world’s smallest and lightest integrated lens PTZ model, measuring 168.7mm/6.64in wide, 225.2mm/8.37in in height and 192.3mm/ 7.57in deep, with a weight of only 3.7kg/ 8.16lb. This means it can be used in tight spaces where larger PTZ units won’t fit. The BRC-AM7 is designed to work alongside Sony’s professional camera ecosystem, providing full compatibility and easy colour matching. It uses a 1.0- type 4K stacked Exmor RS CMOS image sensor and Bionz XR processing to record

for remote production over IP networks. It is also compatible with Visca over IP, S700PTP protocol, CGI and IP Tally for remote production as well as the FreeD protocol for augmented reality (AR) and virtual reality (VR). No price has yet been revealed by Sony.


Like its predecessor, the Cube 1200/700 has an integrated charger and can be fully juiced up in eight hours. It can also be used as a mains adapter, providing up to 150W of output power. As with all batteries in the Bebob collection, the old cells in the Cube 1200/700 can be replaced with new ones when their capacity decreases. No price has yet been set.

The Bebob Cube 1200 li-ion block battery now comes in a more powerful version, the Cube 1200/700. With a maximum load of 700W at a capacity of 1140Wh and voltages of 14.4/24/48v, this bigger version is still compact at under 9kg. The new Cube has three 12v outputs – one D-Tap and two XLR, two 24v XLR outputs and a 48v XLR output with cable compensation. There are also two 5v USB outputs.

A new wide-angle zoom to fit Sony E-mount is designed to be compact, but has a limited range compared to its current 16-35mm f/2.8 sibling. The Sony 16-25mm f/2.8 G costs £1198/ $1198, almost half the price of its bigger brother. It weighs in at just 409g/0.9lb and has a 67mm filter thread, against the 547g/1.2lb and 82mm thread of the latest 16-35mm II. The new 16-25mm has 16 lens elements in 13 groups with three ED (extra-low dispersion) and four aspherical elements, including one ED aspherical lens. And an 11-bladed, rounded aperture promises smooth bokeh. Autofocus is from two linear motors for speed and precision while reducing noise, meaning it’s ideal for smooth tracking even at 240fps. The lens has a focus hold button, lockable aperture ring and is dust- and moisture-resistant, featuring a fluorine coating on the front element to repel contaminants. Compact wide zoom for E-mount





Britain’s biggest video show grows! The crowds packed in for MPTS in London’s historic Olympia exhibition hall

largest broadcast show. There were big queues outside to get in and see more than 300 exhibitors, plus industry experts, in one of the eight theatre areas covering production, audio, post, technology and virtual production. With TV and post-production part of the show’s key focus, there were plenty of debates about virtual production and AI in the various hardware and software offerings. Moving from audio to video podcasting was also a key agenda topic. But there was also lots of kit to attract indie production companies, including the first public showing in the UK of the latest Blackmagic cinema cameras, the 6K Pyxis and 12K Ursa Cine, as well as monitors and other post-production hardware. Atomos was displaying its Ninja Phone, which turns the latest iPhone 15 into an

Bringing the creative and technical industries together under the ornate roof of Olympia London’s exhibition centre, the Media Production and Technology Show (MPTS) drew bustling crowds who flocked to see the latest hardware and software, check out seminars from top speakers and network with fellow pros. Following the acquisition of BVE in 2019, which was then forced by Covid-19 to postpone until 2022, MPTS has now firmly cemented its place as the UK’s

on-camera streaming monitor, plus the latest Ninja and Shogun Ultra monitors. Nanlite showcased new lighting equipment such as the FS-150B bicolour COB light, as well as new sizes in its popular Pavoslim flat panel range. Panasonic was showcasing its Lumix S5 II and S5 II X full-frame mirrorless models, as well as the BGH1 box camera rigged up with a side handle and monitor to turn it into a mini cinema camera. A splash of colour came from Peli, which has transformed its traditional black cases into funky colours like pink, and released a special range of air travel- friendly 1535 Air cases covered in limited edition wrap. With only 21 up for sale at £426 each, you’d best be quick and head to the website if you want one! Peli will also be offering custom-designed wraps, so get in touch if you want your cases to

“There were plenty of debates about virtual production and AI”

stand out from the crowd.

THE GREAT EXHIBITION MPTS 2024 was crammed with fresh equipment, such as Godox’s range of high-end COB lights





Arri style comes to Panasonic

HOW THE LUT UPGRADE WORKS Paying an additional $200 for a Software Upgrade Key allows use of Arri’s LogC3, a well- loved colour look. This means the GH7 should match with Arri’s digital cinema cameras, making it an ideal B cam in larger shoots. cars, motorcycles, trains and planes. The sensor doesn’t have a low-pass filter since moiré is removed through intelligent detail processing from its updated Venus Engine. This has twice the power of previous generations, which enables 240fps variable frame rate footage. The fast sensor readout limits rolling shutter distortion. A CFexpress Type B card can record 5.7K Apple ProRes 422 HQ and ProRes Raw HQ, or the SD slot can capture up Just when you thought development of Micro Four Thirds cameras had stalled, Panasonic launches the flagship Lumix GH7. This beast packs in 32-bit float audio with an optional audio interface, internal ProRes Raw recording, phase detection autofocus and the ability to use Arri’s LogC3 gamma. It uses a new 25.2-megapixel, back- side illuminated CMOS sensor and offers unlimited 4K/60p 4:2:2 10-bit internal recording thanks to a cooling fan, plus 5.7K/60p, 4K/120p and 240fps in FHD, ProRes Raw internal capture and more than 13 stops of dynamic range. Frame. io Camera to Cloud compatibility allows proxy videos to be uploaded directly for sharing or editing. Autofocus remains active up to 200fps. The camera allows open gate recording, so one shot can be cropped in post for all social media platforms in different aspect ratios. There is a custom Real Time LUT function and the GH7 shoots Apple ProRes 422 HQ and ProRes 422 internally. It offers vastly improved AF thanks to phase detection autofocus with recognition for people, animals, The option to use Arri LogC3 is only available when shooting in ProRes 422, ProRes 422 HQ and All-Intra codecs. You can’t use Arri LogC3 when recording in ProRes Raw, as that can only be done in V-Log. Once the footage is recorded in Arri LogC3, the footage can be converted using the Arri Look Library, which contains 871 styles to

SD card slot records up to 600Mbps when using UHS-II U3 Class 10 SD cards. Both video and stills can be recorded to an external SSD connected via USB-C. The in-body, sensor-shift, five-axis image stabilisation offers 7.5 stops of boost and works with Panasonic lens OIS, but there is a slight crop. By using the optional DMW-XLR2 adapter, 32-bit float audio is available. The massive range can be fully adjusted in post without degradation in quality. The GH7 streams directly via Wi-Fi, USB tethering or wired Ethernet LAN. It supports up to UHD 4K/59.94p via wired LAN using RTP/RTSP. A three-inch, free-angle, 1.84-million-dot LCD tilts toward the shooter, enabling high and low angles; this has an improved locking mechanism. The 3.68-million-dot OLED viewfinder has 0.76x magnification for bright, eye-level monitoring. A 3.5mm headphone jack is located on the side of the camera. The GH7 costs £1999/$2198 body only or £2499/$2798 with a Leica 12-60mm f/2.8-4 lens. you to output the Arri Look according to the desired colour space in SDR and HDR. Arri LogC3 recording also works for the GH6 in the same way as the GH7 by using the same Software Upgrade Key, with the exception of the Real Time LUT function which is not available on the older model. Obviously, the LUT doesn’t magically turn the GH7 into a perfect match for the Arri as it doesn’t have the same dynamic range. The base ISO when shooting in Arri LogC3 is 320, as opposed to 500 when shooting V-Log. This is because the LogC3 curve was designed for cameras with a higher dynamic range. So, to avoid excessive noise, it’s best not to underexpose the footage.

to 10-bit 4K/120p footage. The GH7 still has the ability to record high bit rates and unlimited recording times regardless of the codec, resolution or frame rate. Shooting in V-Log and V-Gamut gives 12+ stops of dynamic range, increasing to 13+ stops by using Dynamic Range Boost mode, available for recording up to 60fps. One circuit uses ISO 800 for strong colour saturation while maintaining highlight detail, while ISO 2000 captures shadows. The final image is a composite created inside the camera. This new Lumix also supports 12- bit Raw video output in 5.7K, C4K and anamorphic 5.8K, or 4.4K via HDMI to an Atomos Ninja V recorder in ProRes Raw. Profiles for up to ten anamorphic lenses can be stored and footage de-squeezed from 1.3x, 1.33x, 1.5x, 1.8x or 2x. Simultaneous internal and external recording via the HDMI is also possible. And the dual card slots provide options depending on bit rate. The CFexpress is needed for Apple ProRes Raw and 422 HQ plus 800Mbps 4:2:2 10-bit All-Intra. The

choose from. It is also possible to store the LUT package for Rec. 709 conversion

in the LUT Library of the GH7, and then combine it with the Real Time LUT function to capture videos with Arri LUTs straight out of camera. By using the LUT package, you can convert the colour space of many display devices, allowing



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