The latest Pro Moviemaker magazine is out now The brand new issue of Pro Moviemaker has landed and it’s packed with the gear, skills and insight you need to stay ahead in a rapidly evolving industry. From cutting-edge hardware and software to real-world techniques, we’ve got you covered. Right now, one of the biggest shifts is the explosion of video podcasting, and we dive into how filmmakers are perfectly placed to capitalise on this booming market. We also break down how to get your colour spot-on every time – no guesswork required. And don’t forget, this is your final chance to enter our prestigious Filmmaker of the Year Awards. If you’ve been thinking about it, now’s the moment!
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London calling for the show where gear meets great ideas OLYMPIA GAMES MPTS E-NOUGH ALREADY! LUMIX TEST Why the Panasonic S1 IIE has everything you really need
PREMIUM CONTENT
Create cinematic video podcasts with the right gear, techniques and workflow
Canon’s super-wide lenses Sigma glass on test DJI 8K 360° drone Stripped-back Atomos Ninja Amaran’s Halo effect Laowa shifts focus
The ultimate magazine for next generation filmmakers
Editor in chief Adam Duckworth Chief sub editor Matthew Winney Junior sub editors Tabitha John & Kezia Kurtz Editorial director Nicola Foley EDITORIAL ADVERTISING Sales director Sam Scott-Smith +44 (0)7875 711967 samscott-smith@bright.uk.com Sales manager Emma Stevens +44 (0)7376 665779 emmastevens@bright.uk.com DESIGN Design director Andy Jennings Magazine design manager Lucy Woolcomb Senior designer Carl Golsby Graphic designer Hedzlynn Kamaruzzaman Junior designer and ad production Holly May PUBLISHING Managing director Andy Brogden MEDIA SUPPORTERS AND PARTNERS OF:
This must be seen as an opportunity. Creative businesses have to evolve, and so must we here at Pro Moviemaker . Next issue marks a major step forward. We’re relaunching the magazine as a bold platform designed to reflect the changing reality of contemporary video production. This means a broader, more inclusive direction that reflects the full spectrum of today’s video creators; a cleaner, more modern design that makes the magazine easier to read and more visually inspiring. Look forward to more pages packed with insight, reviews and practical knowledge. One brand-new section will be dedicated to the booming content creator economy, from YouTube and podcasting to social video. We will also be fostering a stronger digital presence, with expanded online content, newsletters and videos to support how audiences consume information today. At its core, our mission hasn’t changed. Every issue will still focus on the tools you use, the skills you need and the business of making a living. In an ever-shifting world, those fundamentals matter more than ever. As the industry moves forward, so will we – staying true to what matters while embracing what’s next. Enjoy this issue, and here’s to a brighter future.
Not only have we just lived through a global pandemic that reshaped how we work and communicate, but we are now navigating a world of increasing economic uncertainty, shifting trade policies and ongoing conflicts. These aren’t distant headlines. They ripple through every industry, including ours. Filmmaking is tied to global supply chains, tech trends and the cost of doing business. Right now, even something as simple as storage is affected. Not long ago we marked World Backup Day, and it’s fitting we’re seeing a surge in demand for SSDs and hard drives from AI companies buying in vast quantities to power machine-learning infrastructure. Prices are climbing fast and showing no signs of ever coming back down. It’s a reminder the tools we rely on are part of a much bigger ecosystem. Sony has even stopped making memory cards due to a shortage of semiconductors. Change is everywhere and our industry is no exception. Even the definition of a filmmaker has changed. It’s no longer just indie directors and big-budget production crews working on long-form projects. Today’s industry is powered by content creators, small production companies, hybrid shooters and digital entrepreneurs.
Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ
Pro Moviemaker is published bimonthly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. ISSN number: 2045-3892. Pro Moviemaker is a registered trademark of Bright Publishing Ltd. The advertisements published in Pro Moviemaker that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. Prices quoted are street prices. In sterling they include VAT (unless otherwise stated), but US dollar prices are without local sales taxes. Prices are where available or converted using the exchange rate on the day the magazine went to press.
ADAM DUCKWORTH, EDITOR IN CHIEF
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The ultimate magazine for next generation filmmakers
MAY/JUNE 2026 CONTENTS
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AGENDA 6 EASY WIDER FROM CANON LENS DUO
If you use Canon RF lenses and love extreme wide-angle glass, you’re in luck! We tell you about two optics that have just hit the market – one a funky zoom and the other a sharp prime. Plus Zeiss unveils some expensive but classy cine primes. 8 NIKON REINVENTS ITS PRO TELEZOOM Nikon gives its ever-popular 70-200mm f/2.8 a total revamp with a new S-Line of glass, made for both stills and video. OM System reveals a star of a camera for the night skies, and Bebob launches a deluxe battery. 10 TAMRON PUSHES THE LIMITS AS STANDARD The fast standard zoom gets a boost with the Tamron f/2.8 that reaches from 35 to 100mm. Sigma unveils a second AF cine lens, the 35-105mm T3, and Gutek adds more colour to its range of hard, protective camera cases. 12 SAY HALO TO A GOOD BUY Amaran shines the spotlight on a whole new range of powerful yet affordable LED lights that use COB technology. Nanlux offers cash-saving bundles on its Evoke lights, while there’s now a Shure way to employ pro XLR audio on any imaging device.
14 STRIPPED-BACK NINJA KEEPS COSTS LOW A brand new five-inch monitor/ recorder from Atomos removes some of the high-end streaming features of the Go and TX versions, but is significantly cheaper. Astera launches its Quikbeam light for fast and easy use in small spaces on-set. 16 DRONES FROM DJI DJI aims for the sky with the Avata 360, which enters the 360° capture drone market, Lens Link opens up filmmaking possibilities with its remote control capabilities and PTZ Optics introduces a browser-based control platform to ease workflows. 19 THE 35MM PRIME IS BACK IN THE LIMELIGHT Once a key lens in any kit, the 35mm prime is having a resurgence with versions from high-end brand Zeiss and the more attainable Samyang. Audio-Technica shows off its first compact mics for a decade and Marshall rides in with new POV cams. 20 THE LATEST SHIFT-HOT LENS FROM LAOWA Laowa’s ultra-wide 17mm lens offers full tilt-shift functionality on full-frame mirrorless cameras, Leica’s new boss promises more innovation to come and Aputure boosts the power and precision of its lights with a projector attachment. 64
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ACADEMY 44 PERFECT PODCASTING MADE EASY
The world is going podcast crazy, and this could be a great source of income for filmmakers who make the daunting transition into content creation. We reveal how you can leverage your skills – and your kit – to succeed in this emerging, lucrative arena. 52 GET YOUR COLOURS RIGHT EVERY TIME It’s vital to nail colour on every job, but can seem like a technical minefield, particularly when it’s not your speciality. Take a look at the kit and techniques you need to ensure accurate hues and white-balance, from capture through to final delivery. GEAR 58 THE LUMIX THAT MAKES PERFECT SENSE Panasonic’s latest flagship camera range is ideal for hybrid stills and video work, with their incredible sensors and brand- new bodies. But the S1 IIE keeps costs down by using old-school sensor tech. We check it out to see if it’s up to handling pro work. 64 MINI TESTS: TOP KIT TRIED AND TESTED We get hands-on with the latest superfast Sigma wide lenses, the 35mm f/1.4 Art for full-frame and 15mm f/1.4 for cropped sensors, modular rigging system from 3 Legged Thing and a special-purpose bag from Think Tank. BUYERS’ GUIDE 70 INVESTIGATING ALTERNATIVE LIGHTING OPTIONS While powerful COB LEDs are the go-to for many filmmakers, other types of lights can be just as useful and even offer something extra. We check out a range of options from tubes to flat panels and more. You might be pleasantly surprised if you branch out.
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PREVIEW 24 OLYMPIA-SIZED INNOVATION IN THE CITY Britain’s premier filmmaking and tech show celebrates its tenth anniversary at the famous London venue. We preview the Media Production and Technology Show and single out some of the must-see seminars, talks and equipment. AWARDS 30 FINAL CALL FOR FILMMAKER OF THE YEAR The rush to meet the deadline is on as Pro Moviemaker Filmmaker of the Year nears its closing date. We highlight some of the entries and tell you how to get involved in the world’s number-one competition for commercial films.
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SKATER JOY From a typical circular fisheye style (right) to a super-wide frame filler, the Canon zoom handles it all
Stunning RF-fit lenses offer wide apertures, precision and distinctive visual character Canon lens duo go ultra wide
fisheye lenses, the new RF design is wider, faster and lighter while delivering better edge-to-edge image quality. A drop-in filter system allows the use of circular polarising and variable ND filters, and a close focusing distance of 0.15m/5.9in encourages exaggerated compositions. Quiet STM autofocus, focus breathing suppression and support for 2D 180° VR workflows also make the lens well suited to creative video production. The RF 14mm f/1.4L VCM is a rectilinear ultra-wide prime designed for maximum sharpness and speed. Featuring an f/1.4 aperture and a 114° diagonal angle of view, it’s suited to expansive landscapes,
C anon has expanded its pro-level RF lens range with the launch of two new ultra-wide L-series lenses. The £1719/$1899 RF 7-14mm f/2.8-3.5L Fisheye STM and the £2399/2599 RF 14mm f/1.4L VCM deliver fast apertures, compact designs and advanced optical performance, while offering markedly different approaches to wide-angle shots. two distinct looks. It gives a circular fisheye image at 7mm but if you zoom in to 14mm you will get a frame-filling 180° diagonal fisheye. Use it on an APS-C camera or crop your full-frame and you get dramatic diagonal fisheye results. Building on the legacy of Canon’s EF SPECIAL EDITION MARKS THREE DECADES OF POWERSHOTS architecture and interiors. Advanced aspheric, UD, BR and fluorite elements deliver superb image quality across the frame, even wide open. And an 11-blade circular aperture delivers cinematic bokeh and 22-point starburst effects. At 578g/1.3lb, the 14mm prime boasts the durability expected of the professional The 7-14mm is the world’s first fisheye zoom lens to deliver a 190° angle of view. On full-frame EOS R cameras, it produces
Across three decades, the range has evolved from straightforward point-and-shoot models into advanced compacts aimed at enthusiasts, professionals and content creators. The Powershot line has introduced key milestones, including lens-based Image Stabilisation in the Powershot Pro90 IS, Raw capture in the G series and integrated active cooling in the Powershot V1 to support extended 4K recording.
year anniversary logo on the body. It comes in a bespoke presentation box, and retains the one- inch stacked CMOS sensor with 20.1 megapixels and a bright 4.2x optical zoom lens. Now officially claiming to be designed with creators in mind, the G7 X Mark III continues to combine strong stills performance with video- focused features such as its dedicated Video Blog shooting mode.
Canon is marking the 30-year anniversary of its Powershot compact range with the launch of a special anniversary edition G7 X Mark III. Priced at £860/$1299, the limited model celebrates the range that helped bring high-quality digital imaging to a wide audience though sadly offers no technical upgrades. Instead is a limited graphite-coloured finish, a twill-patterned front ring and a dedicated 30-
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AATMA BOY! This new family of Zeiss lenses ooze classic character but stay consistent across all focal lengths
CLASSIC SOUL FOR PRICEY PRIMES
Zeiss analysed the characteristics cinematographers loved in historic designs and reinterpreted them in a new optical formula. The result is a style that emphasises softly rendered skin tones, low contrast and smooth focus transitions, alongside a rich, ‘soap-bubble’ bokeh effect. Despite the image signature, the lenses follow Zeiss’ modern cinema standards with consistent size, weight and gear positioning. The lenses also feature Zeiss eXtended Data (XD) technology and integrate with the Zeiss Cincraft ecosystem, offering detailed lens metadata for visual effects, camera tracking and virtual production workflows. zeiss.com
Zeiss has unveiled its new Aatma series of full-frame cinema primes, designed to combine the expressive character of classic lenses with the consistency and workflow integration required for modern filmmaking. This new range includes nine lenses covering focal lengths from 18mm to 135mm, all with a fast T1.5 aperture. The set has been developed to evoke the distinctive look of some of Zeiss’ most beloved legacy optics while incorporating contemporary optical engineering and mechanical design. But brace yourself for the price – each lens is a cool £19,115/$20,950. The name Aatma is derived from the Sanskrit word meaning ‘soul’. Instead of recreating vintage glass directly,
“The new RF design is faster and lighter with improved quality” L-series, while hybrid features such as smooth autofocus and a dedicated iris ring make it capable of professional video work. The manual aperture ring has a de-click switch to make silent iris changes. Focus breathing is well controlled, helping to maintain a consistent composition and field of view when racking focus. A linear focus motor is designed to give intuitive manual focus control. The large front elements mean these lenses aren’t matched with other Canon Hybrid series primes, which share a 67mm front filter ring and general size for ease in rigging and working with multiple lenses. canon.co.uk
BOKEH FACE These pricey primes are built to deliver amazing out-of-focus areas with a smooth look
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OM-3 ASTRO SHOOTS FOR THE STARS If you love stars then try OM System’s OM-3 Astro, a mirrorless camera for capturing red nebulae and deep-sky detail in stills and video. Based on the Micro Four Thirds OM-3 platform, the £1899/$3499 Astro model has a specially tuned IR-cut filter positioned in front of the sensor, delivering approximately 100% transmission of H-alpha wavelengths – a key aspect of nebula imaging. This allows improved capture of red emission nebulae, which are often difficult to reproduce accurately. The camera combines a back-illuminated stacked Live MOS sensor with the Truepic X image processor and customised colour profile controls. Dedicated custom modes are preset for stacking astrophotography, starry landscapes and handheld night shooting. Built-in features like Starry Sky AF, Live Composite, Night Vision Mode and USB power delivery support long-duration night shooting. Compatible with M.Zuiko lenses and mountable to telescopes via Micro Four Thirds adapters, the OM-3 Astro is available on a made-to-order basis. Optional body mount filters for light pollution suppression and soft star effects are also available separately. omsystem.com
Nikon’s pro telezoom reborn The Z series’ flagship 70-200mm is much lighter and faster to focus N ikon’s Z 70-200mm f/2.8 VR S II is a second-generation upgrade to one of its most important zooms. Designed for both stills and
frame. Nikon’s Silky Swift voice coil motors power the autofocus system, delivering AF speeds up to 3.5x faster than the previous version while reducing noise by 50%. Focus tracking during zooming has also been refined. The optical formula uses fewer elements for greater sharpness, smoother bokeh and better anti- glare performance. Dual-sided aspherical elements, Super ED and SR glass, plus Meso Amorphous and Arneo coatings add to higher image quality and reduced weight. Further additions include a removable tripod collar with Arca-Swiss foot, a de-clickable control ring for silent aperture adjustment, professional-grade weather sealing and a lens hood with filter window to change variable ND or polarisers. nikon.co.uk
video, the refreshed S-Line lens introduces big improvements in weight, autofocus performance, stabilisation and ergonomics. Weighing 998g/2.2lb, the new £2999/$3197 lens is 362g/0.8lb lighter than its predecessor and 12mm/0.5in shorter, improving balance for handheld shooting and gimbal work. Its internal zoom design keeps the centre of gravity consistent when changing focal lengths, making it good for video. Stabilisation is up to six stops of in-lens Vibration Reduction, with Synchro VR available when paired with compatible Z cameras for enhanced stability across the
BEBOB POWERS UP WITH NEXT-GEN BATTERIES German battery specialist Bebob has
communication protocols, enabling seamless compatibility with cameras from Sony, Arri, Blackmagic, Red and Fujifilm. The batteries offer up to 200W continuous output, include a D-Tap connection and feature a five-step LED display showing charge status and battery health. Additions such as stackable storage design and an integrated flashlight add further convenience on-set. The VmicroC range is available now, starting at £325/$358 for the V45microC version. bebob.tv
expanded its popular Vmicro line-up with a new generation of compact V-Mount batteries. The VmicroC series introduces five models ranging from 43Wh to 238Wh, offering high- capacity power in a lightweight form factor suited to mobile shooting. A key upgrade is USB-C PD3 support for both input and output, allowing filmmakers to charge the batteries or power accessories
without needing dedicated chargers. The batteries also feature automatic
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NEXT IN AF CINE LINE FOR SIGMA Sigma is expanding its AF Cine line with the launch of the 28-105mm T3 FF, a full-frame cinema zoom that blends professional cine mechanics with fast, reliable autofocus. This lens becomes the second model in Sigma’s AF Cine line-up, following the earlier Sigma AF Cine 28-45mm T2 zoom. The range aims to bridge the gap between traditional manual focus cinema lenses and the growing demand for autofocus in modern film production. The 28-105mm T3 FF covers one of the most useful focal ranges, stretching from a moderately wide angle to a short telephoto. That makes it suited to everything from handheld documentary shooting and corporate production to narrative work and gimbal-based filmmaking. It draws on Sigma’s 28-105mm f/2.8 DG DN Art stills lens, adapting its design to meet the needs of cine production. The result is high resolution across the frame, pleasing bokeh and control over flare and ghosting throughout the zoom range. Autofocus powered by Sigma’s HLA (High-response Linear Actuator) motor is incorporated. This system is designed to deliver fast and accurate tracking while remaining near silent, making it suitable for run-and-gun, action sequences and documentaries where manual focusing can be hard. The lens will be available in E-mount and L-Mount at $3399. sigmauk.com
Tamron takes it further Tamron has launched a £799/$899 35- 100mm f/2.8 lens that extends the reach of most standard zooms. The 35-100mm f/2.8 Di III VXD fits full-frame Sony E and Nikon Z mounts, is 119.2mm/4.7in long and weighs 565g/1.2lb. The optical construction comprises to deliver soft, attractive bokeh to help subjects stand out. Autofocus is driven by Tamron’s VXD linear motor mechanism, offering fast, precise performance for portraits and moving subjects. A minimum focusing distance of 22cm/8.7in at the wide end enables creative close-ups. The lens features moisture-resistant
15 elements in 13 groups, including XLD, LD and GM elements to control chromatic aberration and maintain sharpness through the whole zoom range. Tamron’s BBAR-G2 coating reduces flare and ghosting from backlit scenes, while the design is built
sealing and a fluorine-coated front element that repels water and oil. A unified 67mm filter thread matches many of Tamron’s mirrorless zooms for easier filter sharing.
PLUG-IN LINK FOR WIRELESS LENS CONTROL
Full wireless control of compatible Tamron lenses is coming to smartphones via the Tamron Link, a compact Bluetooth 5.4 adapter. Plugging directly into the lens’ USB-C port, the device works with Tamron Lens Utility Mobile Version 5.0, available for both iOS and Android. It allows remote adjustment of focus and aperture settings, setting of focus and iris markers, focus rotation angle and more. The £59/$50 gizmo works with 17 Tamron lenses. tamron.com
GUTEK COLOURS UP ITS CASES
Gutek has expanded its T-Series Protector Case line-up with yellow and azure blue versions of the T-230 and T-300. The £132/$135 T-230 and £192/$195 T-300 cases combine lightweight construction with durability. The cases are built from modified polypropylene with a flame-retardant V-2 rating. Their design, inspired by the strength of a tortoise shell, maximises
internal volume while keeping the weight low. The T-230 offers a 23L interior, while the wheeled T-300 provides a 30L interior capacity and remains carry-on compatible for most airlines. Both cases feature IP67-rated protection against dust and water, along with press- pull latches, stainless steel lock holes and an automatic waterproof purge valve. gutek.com
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Filmmakers and podcasters can capture studio-quality dialogue SHURE WAY TO USE XLR ON PHONES almost anywhere with Shure’s new MVX2U Gen 2 digital audio interface, a compact single-channel device designed to make professional XLR microphones easier to use with phones, tablets and laptops. The travel-friendly interface allows users to connect broadcast- The £138/$139 interface provides up to 60dB of clean gain and 48V phantom power, allowing it to drive both dynamic and condenser microphones without requiring an external preamp. Where the latest version improves on the original is in its built-in digital signal processing. Features such as Auto-Level Mode, a real-time denoiser and Shure’s Digital Popper Stopper help maintain consistent dialogue levels while reducing background noise and plosives. The onboard processing runs with quality microphones directly to their recording device via USB-C. zero latency and remembers the user’s last settings, making it easy to maintain a consistent sound whenever switching between devices. You can fine-tune EQ, compression and limiting via Shure’s Motiv desktop and mobile apps, which work across iOS, Android and computers. A built-in 3.5mm headphone output allows zero- latency monitoring, while a tricolour LED confirms connection status. shure.com
You had me at Halo! LED brand Amaran unveils a new budget COB range
A maran has expanded its creator-focused lighting range with the launch of the Halo series, a new family of bicolour COB fixtures designed to make studio lighting more accessible than ever. The five-light line-up ranges from the Halo 60x (63W) to the high-output Halo 600x (610W), giving filmmakers the flexibility to scale their lighting set-ups as their productions grow. The full range includes the Halo 60x, 100x, 200x, 300x and 600x, each offering increasing levels of output while maintaining consistent colour quality and simple controls. Designed for environments such as livestream spaces, YouTube set-ups and small production studios, the Halo lights prioritise usability. Every model has dual control knobs for brightness and colour temperature, allowing fast adjustments without navigating complicated menus. Output levels range from 3270 lux at one metre for the Halo 60x up to
32,500 lux for the flagship Halo 600x, delivering more power than the previous Amaran COB S series. Despite the added performance, the fixtures are compact, making them easier to integrate into smaller creator spaces. The Halo 60x and 100x models can be powered via USB-C PD, allowing set-ups using portable power sources. The 200x, 300x and 600x models feature integrated power supplies, simplifying studio installations with a single mains cable. All Halo fixtures support DMX control via USB-C, making them easy to integrate into lighting set-ups. Built-in NFC pairing allows users to add lights to the Amaran mobile app for wireless control. With an 85° beam angle, the Halo lights are designed to fill softboxes evenly and work with Amaran’s growing ecosystem of modifiers. Prices range from £120 for the Halo 60x to £459 for the flagship Halo 600x. amarancreators.com
NANLUX BUNDLES EVOKE KITS
temperature range with ±200 green- magenta adjustment. Output reaches over 22,000 lux at one metre with the 45° reflector, while colour performance is rated at CRI/TLCI 98/98. The fixture remains portable thanks to its magnesium alloy housing and IP66 weather sealing makes it suitable for outdoor or run-and-gun productions. nanlux.com
Nanlux now offers two and three- light Evoke 150C kits at $2450 and $3690 which are ideal for broadcast, corporate and creator applications. Everything fits into a custom hard roller case, including stands and modifiers, fresnel lenses and the new Rapid 60 softbox. Powered by Nanlux’s Nebula C8 eight-colour light engine, the Evoke 150C delivers a 1000-20,000K colour
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Stripped-back Ninja for the masses
The Atomos Ninja Raw is a five-inch HDR monitor-recorder designed to bring high- end acquisition and monitoring tools to a wider range of filmmakers and content creators. It’s similar to the Ninja TX and Ninja TX Go, but uses a wired connection instead of wireless streaming and camera- to-cloud connectivity like the TX models. With its 1500-nit HDR touchscreen, the Ninja Raw records directly from a camera’s sensor over HDMI in Apple ProRes and ProRes Raw, capturing up to 6K/30p to CFexpress Type B media or USB-C drives for fast, flexible workflows. Supporting a wide range of codecs including ProRes Raw HQ, ProRes LT and
ProRes 422, the device integrates with editing platforms such as DaVinci Resolve, Adobe Premiere Pro and Final Cut Pro. It also doubles as a production hub, offering USB-C camera control over settings like ISO, shutter speed, aperture and white- balance on supported cameras. A suite of tools is built in, including EL Zone false colour, waveform, focus peaking and vectorscope, alongside features such as Onion Skin overlay for frame alignment. With dual USB-C ports, multiple power options and a rugged build, the Ninja Raw is designed for both studio and run-and-gun shooting, priced at £718/$699. atomos.com
At the other end of the scale from the compact Ninja Raw is the new Shogun AV-19, a rack-mountable 19-inch 4K HDR monitor-recorder-switcher designed for live streaming, broadcast and video village workflows that costs £2039/$2099. Built into a rugged chassis, the AV-19 blends multicamera switching, recording and advanced monitoring into a single unit suited for studio racks, flight cases and outside broadcast set-ups. It can record up to four SDI camera feeds, alongside a fifth program output, making it ideal for multicam productions. At its core is a large, colour-accurate 4K HDR DCI-P3 display. The system supports recording in Apple ProRes, ProRes Raw and Avid DNx codecs, with up to 10-bit 4:2:2 quality and resolutions reaching 8K/30p. In terms of connectivity, it includes NDI HX3 over Ethernet alongside SDI, HDMI and professional XLR audio inputs with phantom power. It also features built-in monitoring tools like EL Zone false colour, waveform, focus peaking and quad-view to provide full control. BIG-SCREEN SHOGUN MADE FOR MULTICAM RECORDING
BEAM ME UP QUIK, ASTERA!
batteries, multiple charging options including USB-C and docks, and built-in Power over Ethernet (PoE) for combined power and data over a single cable. The fixture supports sACN and Art-Net, with compatibility for standard PoE networks. Powered by Astera’s Titan LED Engine, it offers consistent RGBMA colour output, matching with other Astera lights. It offers IP65 weather- resistance, wireless control options, as well as larger kits for bigger productions. A single light costs $725; UK prices are yet to be confirmed. astera.com
Astera has unveiled the Quikbeam, an LED fresnel spotlight that blends portability with output, offering the power of a 200W tungsten equivalent. The new light offers 13° to 60° zoom adjustment, with an extra mode that pushes output beyond the standard narrow setting for increased centre intensity. This makes it well suited to precise uplighting, accents and feature highlighting, echoing the classic role of traditional inkie fixtures. With a small footprint – measuring just 136x120mm and weighing 1.6kg – the Quikbeam features swappable
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Filmmaking goes full circle
over distances up to 20km. Combined with omnidirectional obstacle sensing and integrated propeller guards, this is intended to support safe flight in complex environments. A suite of intelligent tools enhances usability, including Activetrack 360°, FPV mode and Spotlight Free. These enable dynamic tracking and smooth camera moves with minimal input. Footage can be reframed and edited in DJI Fly or DJI Studio, with features like Virtual Gimbal enabling full control over perspective after capture. The Avata 360 is positioned as a tool for creators looking to combine aerial, FPV and 360° workflows in a single compact system. Kits with a drone and RC 2 controller start from £639/$719. dji.com
DJI has made its move into the 360° drone market with the Avata 360, its latest flagship that’s built to combine immersive FPV flying with high-end 360° capture, giving the ability to shoot everything in a single take and reframe later in post. At its core is a one-inch-equivalent imaging system capable of recording 8K/60p HDR 360° video and capturing detailed 120-megapixel stills. With large 2.4μm pixels designed to give wide dynamic range, the drone is built to handle challenging lighting conditions while delivering rich detail. A secondary single-lens mode offers more traditional shooting at 4K/60p. The Avata 360 is powered by DJI’s O4+ video transmission system, which provides live feeds at up to 1080p/60p
Reliable remote control of lenses at long distances is one of the biggest challenges on large sets, or when using cranes. DCS aims to solve that with Lens Link, a handset designed to extend the range of Preston lens control systems without changing how crews work. Rather than replacing established set-ups, Lens Link works alongside them, pairing a handheld unit with an on-camera receiver such as the DCS Bridge or LDT-V2. It supports both True Wireless mode, delivering up to 2km range in ideal conditions, and a Remote mode that uses Ethernet or fibre to push control distances even further while keeping a stable wireless link close to camera. Using sub Wi-Fi frequencies, Lens Link is built for low-latency performance in congested RF environments. With Preston compatibility and Arri LCS and Tilta support on the way, it offers a production-ready solution for £7200. US prices are yet to be set. dcs.film LENS LINK FOR THE BIGGEST SETS
BETTER WORKFLOWS FROM PTZ OPTICS
Breaking into the industry is one of the biggest challenges for filmmakers and visual storytellers. An initiative from Nikon, Getty Images and the Black Collective of Media in Sport will give 12 selected creatives from underrepresented communities access to masterclasses, mentorship and real-world experience across news, sport and entertainment. nikon.co.uk (BCOMS) aims to change that. A year-long Media Academy NIKON BACKS EMERGING VISUAL STORYTELLERS
Smarter and more automated video workflows are part of PTZ Optics’ latest vision for intelligent production. At its core is the combination of Move 4K PTZ cameras and Horizon, a browser-based control platform designed to simplify and centralise camera operation. The system enables remote control, AI-driven tracking and automated multicamera workflows without the need for dedicated hardware. Horizon allows users to manage cameras from anywhere, while continuous software updates add new features over time. It has uses across broadcast, sport and pro AV, including voice tracking,
auto-framing, real-time monitoring and fully IP-based production set-ups. PTZ Optics has also revealed it will be releasing an all-new broadcast camera featuring a one-inch sensor, 4K/60p output, genlock and timecode. ptzoptics.com
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H ot on the heels of the 35mm f/1.4 Sigma prime we test this issue comes two brand-new versions. Zeiss has the 35mm f/1.4 in its legendary Otus range of manual focus lenses while Samyang goes AF with its Prima Series version. At the high end, the Zeiss Otus ML model is a premium, all-manual lens designed for precision, control and cinematic rendering. Available for Sony E, Canon RF and Nikon Z mounts, the 35mm joins the 50mm and 85mm lenses, offering a versatile focal length suited to documentary, travel and narrative filmmaking. The 35mm strikes a balance between environmental context and subject isolation. The German-made lens features a ten-blade iris for smooth bokeh. A Zeiss Distagon optical design, combined with aspherical elements, helps minimise distortion and chromatic aberration, while the signature coating reduces flare and enhances contrast. Designed firmly with filmmakers in mind, the lens Two new lenses hit the market, but with very different technologies
WIDE BOYS The manual Zeiss 35mm joins the Otus family while Samyang’s (below) is AF
The 35mm prime has its moment!
includes a precise manual focus mechanism with long throw, allowing accurate, repeatable focus pulls. A de- clickable aperture ring also supports smooth exposure changes for video. It costs £2050/$2299. Korean brand Samyang’s new 35mm f/1.8 P FE prime is a new addition to the autofocus Prima Series. It builds on the 35mm f/1.4 P
FE from 2024, followed by the 16mm f/2.8 and 85mm f/1.8 last year. Each lens has a compact, lightweight form factor with reliable optical performance. The 35mm boasts a fast aperture, strong low-light capability and smooth, natural bokeh for subject separation. Its optical design has ten elements, including
aspherical and XHR elements, helping maintain sharpness while controlling aberrations too. For video shooters, the inclusion of Linear STM II autofocus guarantees fast, accurate and near-silent focusing. Samyang’s UMC II coating also helps reduce flare and ghosting, improving contrast in challenging lighting. The price of the AF 35mm f/1.8 P FE has not yet been revealed. zeiss.com lksamyang.com
COMPACT MICS WITH PRO FEATURES
Marshall has expanded its POV camera range with the launch of the CV320 and CV520, two compact models designed for broadcast and live production. Both cameras feature a 2.12-megapixel 1/2.86-inch sensor, delivering Full HD up to 60fps over 3G-SDI and IP simultaneously, making them well suited to hybrid production set-ups. They offer support for RTSP, RTMP and SRT streaming, alongside H.264 and HEVC codecs. The CV320 offers CS and C lens mounts, giving control over field of view and optical performance, while the CV520 uses an M12 mount with a fixed wide-angle lens. Both cameras include PoE MARSHALL BOOSTS POV OPTIONS
Audio-Technica has launched two new on-camera shotgun microphones, the ATV-SG1 and ATV- SG1LE. They are the
first models in the new ATV series: Audio-Technica for video content creators. These focus on analogue acoustic design and sound quality that aims to stand up to the standards of professional sound engineers. The flagship £175/$249 SG1 offers dual-channel recording with a -6dB safety track or simultaneous shotgun and wireless lavalier input, all recorded into a camera’s stereo input. Both models have a 100mm directional acoustic tube and a newly designed 14mm diaphragm. Built-in shock mounts reduce handling noise, while RF shielding prevents interference. The more compact £85/$119 SG1LE simplifies operation while retaining strong audio performance. audio-technica.com
power, remote control via Visca and web GUI. Prices have not yet been announced. marshall-usa.com
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AGENDA
NEWS
Shift happens as Laowa tilts its focus
LEICA’S INCOMING CEO TO PUSH INNOVATION
Laowa has unveiled an ultra-wide lens, the 17mm f/4 Zero-D Tilt-Shift, as a more capable big brother to the 17mm f/4 Zero-D Shift we tested just recently. Designed to give users more precise control over perspective and focus, both lenses offer a wide 104° field of view and are built around Laowa’s very own Zero-D (zero distortion) technology. This design makes sure straight lines remain true without needing digital correction, which is useful for architectural, real estate and visual effects work where geometric accuracy is critical. While the shift-only model offers ±11mm shift, the tilt-shift version provides ±12mm shift and tilt control, which helps eliminate keystone distortion in camera and maintain full resolution without the need for post-processing. An expanded image circle facilitates use on larger sensors, with up to ±8mm shift on medium format. The tilt function enables precise focus plane control, from extending depth-of-field across a scene to
Leica has appointed Andreas Voll as its new CEO, effective 1 April. He brings experience in premium technology and brand development, and it’s a change that signals Leica’s renewed focus on digital imaging technologies. Voll succeeds Matthias Harsch, who led Leica between 2017 and 2026 and oversaw its expansion beyond traditional photography. For filmmakers and content creators, the key shifts lie in Leica’s plans to expand digital and imaging solutions, to continue developing premium optical and camera systems and to deepen partnerships in advanced optics and mobile imaging, areas increasingly relevant to hybrid and video workflows. Leica will maintain its precision engineering and high-end production while pursuing digital transformation. leica.com
creating stylised miniature effects. A 360° rotation mechanism supports multi-shot stitching, while a 14- blade aperture delivers smoother bokeh and refined highlights. With a 25cm close focus distance, 86mm filter thread and Arca-Swiss mount support, the latest Laowa lenses are solidly built for pro use. The tilt-only version is £1049/$999 while the tilt-shift is £1269/$1249. venuslens.net
LAOWA POWER The latest 17mm lens offers tilt and shift movements for technical image correction as well as creative effects
Aputure’s Spotlight Mount II is an upgraded ellipsoidal projector made to deliver sharper beams and brighter output. Compatible with Prolock- and Bowens-mount lights up to 800W, it uses a redesigned optical system to improve beam uniformity and brightness. A fully rotating barrel facilitates precise alignment of cuts and projections. The model supports four interchangeable lenses: 19, 26, 36 and a new ultra-wide 50° option. It also accepts B-size gobos in metal and glass, expanding the range of textures, patterns and effects available. At a similar size and weight to its predecessor, it stays practical for location work. No UK prices are out yet, but for $629, it comes with a hard case and one lens. Extra lenses are separate. aputure.com APUTURE BOOSTS OUTPUT AND PRECISION
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CVP ADVERTISEMENT FEATURE
Elevate your podcast to grow your audience
As we prepare for The Podcast Show, marketing manager Joe Cannon tells us how CVP empowers podcasters to take their video-first shows to the next level
T he world of podcasting is as an exclusively audio experience, social media and on-demand platforms have supercharged podcasting into a far more immersive, video-first experience. Drawing in media professionals from far and wide, The Podcast Show ( thepodcastshowlondon.com ) will take place on 20-21 May at the Business Design Centre in Islington, London. CVP is one of the most anticipated attendees and can be found at stand B11. “Given CVP’s long history as a reseller of high-end cinema and broadcast production equipment, visitors might be surprised to see us front and centre,” explains CVP’s Joe Cannon. “But with video and multicamera navigating its most important evolution since the medium’s inception. While they started
is about understanding how each piece of equipment can support solo creators or small teams, giving visitors the opportunity to engage with technology directly and learn about how workflow decisions impact the final product.” Visitors to CVP’s stand will find a wide range of equipment from leading brands such as Canon, Sony, Blackmagic, Shure and Rode, and for an area often overlooked by those new to video podcasting: lighting. “Just like any photography or filming environment, understanding and applying key lighting principles is what will make your podcast shine. Good lighting is what transforms an image from looking flat and boring into something with dimension and depth, even in small or challenging spaces. It helps draw your viewers’ attention to the subject and set a consistent visual tone.”
production now central to podcasts, we are ideally placed to bring our tried-and- tested knowledge to a new audience. Our stand shows modern production workflow in action, demonstrating scalable solutions creators can apply to their own content.” First up is a multicamera live set that will offer hands-on exploration of how a high-end video podcast production works. Visitors can step onto the set to see how multiple angles are framed and different sensor sizes and colour sciences interact within a single production. Complementing this immersive set is a technical workflow bench, where CVP experts demonstrate the path of a signal: from camera output into a video switcher, and from studio microphones into an audio mixer, before combining all of it for live- switched delivery. Cannon adds: “This
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CVP ADVERTISEMENT FEATURE
“When a podcast looks professional, the audience is likely to perceive the host as a credible expert”
CLICK HERE TO HEAR ABOUT NEW EVENTS
SHOW AND TELL At The Podcast Show, CVP will highlight how the right equipment and workflow improves content and engages your viewers for longer watch times
piece of kit to a complete multicamera studio fit-out. The Creator Hub also runs ongoing events that provide hands-on guidance, helping creators navigate complex workflows, enhance production values and thrive in the rapidly growing video podcasting landscape. Come 20-21 May, The Podcast Show will give attendees the opportunity to meet CVP experts. Whether you want to witness an interactive panel discussion, ask tech questions, test and try kit or finally make an investment in your own production, stand B11 should be your port of call.
CVP represents multiple lighting brands, many of which will feature on its stand at The Podcast Show, giving creators the chance to see the difference for themselves. Of course, the rise of video-first podcasting is central to why this hands- on approach matters. While traditional audio-only podcasts took a long time to really take off, the proliferation of social platforms such as TikTok, Instagram Reels and YouTube Shorts has breathed new life into the industry. By filming a podcast, creators generate hours of high-quality visual assets that can then be sliced into bite-sized vertical content. As Cannon explains, there is a clear benefit to doing the job properly. “High production value cultivates a sense of authority. When a podcast looks like a professional broadcast, the audience is much more likely to perceive the host as a credible expert.” Video podcasting has pulled into the fast lane and shows no signs of slowing
down, with media giants such as Netflix even expanding their podcast offerings. There are opportunities for creators of all kinds to reach audiences across multiple social media platforms. A well- produced, video-first podcast can act as a 24/7 advert, amplifying content in ways traditional marketing strategies struggle to match. While The Podcast Show is a great place to see this expertise in action, CVP’s very own Creator Hub remains the perfect permanent hands-on resource for pro podcasters. Located on Charlotte Street in London, the Creator Hub is more than a showroom – it’s an interactive space equipped with cutting-edge lighting, audio and video gear. Creators can test and compare equipment to understand not just how it works but how it can make their workflow more efficient and their productions more visually compelling. CVP’s technical consultants are on hand for brand-agnostic advice, from a single
More information
cvp.com
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AGENDA MPTS PREVIEW
The Media Production and Technology Show is Britain’s top event to see the process and people behind movies, TV shows and podcasts T he UK’s largest filmmaking show celebrates its first decade in May by returning to London’s Olympia with a showcase of the latest media, production and broadcast technology, plus a packed schedule of panel discussions. With more than 300 exhibitors, the Media Production and Technology Show is expected to attract upwards of 13,000 professionals, and the organisers promise a host of new show features to explore. Debuting in 2026 is the Creator Hub, dedicated to the booming creator economy and spotlighting short-form video, influencer marketing and monetisation. There’s a brand-new live podcast studio to explore, investigating the latest trends in on-demand content and giving a behind- the-scenes look at podcast production. There’s also an expanded SMPTE Conference this year, serving up keynote presentations, hands-on sessions and interactive panel discussions with various industry heavyweights. And the popular Post Production World Conference is back alongside the main event, with
a programme covering motion graphics, VFX and more, hosted in partnership with Future Media Conferences. Predictably, artificial intelligence is set to be a hot topic at this year’s event. In the AI Media Zone, there are sessions on Adobe Firefly for video production, AI ethics and copyright issues and how AI has moved beyond experimentation and into everyday production workflows. A key session to look out for is: ‘The AI Shift: Where Does the Media Industry Go Next?’ This brings together experts from BBC R&D, Ofcom, Uncanny Harry AI and Digital Catapult for a panel that shares how industry leaders are integrating AI responsibly, managing risk and using artificial intelligence strategically. Another highlight is sure to be ‘UK Production: State of the Nation’, which will take a frank look at the media landscape following a turbulent few years, and you can also hear from Bafta about the ‘Spark Campaign: A Roadmap for Clean Power in the Industry by 2030’.
Farnborough and Warner Bros Leavesden will discuss services for the creator economy, while cinematographer Alister Chapman will speak on the rise of small cameras. Other talks to check out on the production front include ‘Getting to Greenlight: How TV Shows Are Funded Today’, ‘Open to Work: Reinventing Skills for a Changing Industry’, ‘Uncovering the Truth: The UK Documentary Boom’ and ‘Virtual Production: Hype vs Reality’. Here’s a taster of what to look out for on the show floor, which will be packed with the latest hardware and software. mediaproductionshow.com AMARAN F20 Pay a visit to Amaran, a company lighting the way for the next generation of creators. Whether you’re filming in a home studio, vlogging on the move or turning any space into your canvas, Amaran has a great range
LED THERE BE LIGHT MPTS is the place to see LED panels such as Amaran’s affordable Pano 60c model
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OLYMPIA TECH FEST The London venue will be packed with top kit to try, plus seminars and workshops from the best in the business
review and collaboration across editorial and finishing teams. blackmagicdesign.com
CANON F50 Canon will be showcasing how to capture live production via a multicam set-up, demonstrating the XC Protocol working across PTZ cameras, cinema cameras and fixed-lens camcorders. Also on show will be Canon’s Flex Zoom Cine lenses and Cinema EOS range as well as the EOS C50 hybrid cinema camera that uses RF mount glass. And for content creators, there will be mirrorless cameras such as the EOS R6 III and EOS R50V, ideal for vlogging. canon.co.uk
of lighting fixtures to help take content to the next level. amarancreators.com
MOVIEMAKING MAGIC The incredible Blackmagic cinema camera range is well worth checking out at MPTS
BLACKMAGIC DESIGN H50
also happy to help out with technical tips, repairs and service queries. CVP’s team will host two seminars during the event, sharing their industry expertise alongside some of their partners. cvp.com GODOX H53 Godox has built a strong reputation for delivering innovative, cost-effective lighting solutions for filmmakers and
Blackmagic Design’s booth will span production, live workflows and post. For production, the focus is on the Pyxis 12K, which combines high-resolution capture with in-camera proxy recording. For live work, the Atem Mini Extreme ISO G2 targets podcasting and streaming applications, while Blackmagic will also highlight collaborative workflows in DaVinci Resolve Studio, with Blackmagic Cloud supporting shared projects, remote
CVP H40
There is always plenty to discover at CVP’s stand, the UK and Europe’s largest professional video broadcast and cine solutions provider. As well as getting hands-on with cutting-edge gear, the team can offer unbiased advice to help you spend your money wisely, and are
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