Pro Moviemaker May 2022 - Web

New Apple computer returns to editing glory EASYPC: MAC IS BACK!

Multicamera livestream broadcasting made easy THE OLD SWITCHEROO!

The unmissable NAB & MPTS gear fests return TO BOLDLY SHOW! @ProMoviemaker

MAY 2022 £5.49


9 772059 779015



Full-frame video powerhouse marks a new beginning for Nikon DAWN OFTHE ZED! FULL TEST Making smooth camera moves SLIDERWAY TECH-NIQUE

Film festival support for Ukraine Sony’s wide-angle power zoom

The ultimate magazine for next generation filmmakers

Editor in chief Adam Duckworth Chief sub editor Alex Bell Sub editors Matthew Winney, Harriet Williams EDITORIAL ADVERTISING Group ad manager Sam Scott-Smith 01223 499457 Senior account manager Emma Stevens 01223 499462 DESIGN Design director Andy Jennings Design manager Alan Gray Senior designer Lucy Woolcomb Middleweight designer Emily Lancaster Designer and ad production Man-Wai Wong Junior designer Hedzlynn Kamaruzzaman PUBLISHING Managing directors Andy Brogden & Matt Pluck

KIT FEST! Having all the right gear can allow you to make an even better film


This magazine is unashamedly focused on the hardware and software needed to create the films that make us money. While you can shoot on a smartphone, few of us want to. There is somuch excellent equipment on the market that canmake our jobs easier, it’s common sense to use it if you can afford it. A friend of mine is a filmmaker and we often work together. But when it comes to purchasing gear, we are at opposite ends of the spectrum. He diligently researches all potential buys, but is often overcome with analysis paralysis. So, he ends up with nothing, preferring to wait for the improved, next-generation version to come out –which he will then find a reason to also not buy. He owns a Nikon D4 and D800 DSLR that I sold to him almost a decade ago. He edits video on a G5 Mac computer tower he bought in 2004, cobbled together with SSDs and hacked software. He said the first Mac Pro was too expensive back in 2007. Then, the 2013 ‘dustbin’ Mac Pro came out, but he didn’t like that it couldn’t be upgraded. When the 2019Mac Pro launched that could be upgraded... he waited again. The Mac Studio arrived, which we feature this month, offering performance like the Mac Pro – but far cheaper. However, with no user-changeable drives inside, he’s decided to hang fire. So, he plods on and complains how long it takes to render 4K 4:2:2 10-bit footage from the Sony cameras he regularly rents. It’s not even a money issue – he drives a Porsche 911. On the other hand, I had a Mac G4, Intel Mac Pro, dustbinMac Pro, iMac Pro, and have now ordered a Mac Studio. Since the D4 and D800, I’ve gone through D4s, D810, various Canons, then Sony cinema cameras andmirrorless, A7R versions one to four, A7S II, A9, and now A7S III and A1. I’ve certainly spent more on kit, but soldmy used gear to MPB. If you consider my pal’s rental costs and courier bills, then it’s not massively different. I’ve never had to turn a job down as I didn’t have the right kit. I’d rather have something that has lots more features I need now, and worry about potential upgrades when new kit comes out. Whichever camp you fall into, this issue is packed full of the equipment to inspire or help your research!

Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ

Pro Moviemaker is published monthly 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 where available or converted using the exchange rate on the day the magazine went to press.





The ultimate magazine for next generation filmmakers




A new power zoomwide-angle lens, a broadcast/ streaming camera with a big sensor and an E-mount Samyang lens make it a big month for Sony fans. 8 FILMMAKERS HONOUR UKRAINE The Vilnius International Film Festival salutes Ukraine with a range of special events. Plus, the softbox for your The high-tech Chinese company launches its all-new flagship Matrice drone, complete with an autonomous base station and see-in-the-dark camera. 13 RODE REVEALS FIRST HEADPHONES Aussie company famed for its microphones moves into the headphone market, thanks to the NTH-100 cans. We also report on Nanlite Projector lenses and Cooke’s new glass. 15 WORLD TOUR NANGUANG STYLE The booming lighting manufacturer takes its wares around the globe to celebrate a milestone birthday, while Hollyland unveils headset intercoms for film sets. tube lights and a grown-up backpack. 10 DJI’S ENTERPRISE STAR SHIP



All the action centres on Las Vegas and London, as the NAB andMPTS shows prepare to throw open their doors. So, we take a look at the hottest new filmmaking hardware you’re likely to see there, or at your local dealer.


How to perfect silky-smooth camera movements, coupled with our guide to some of the best equipment you should invest in to become a master of motion. 42 RENTAL INVESTIGATION Why hiring kit rather than buying outright can be a sound business decision, as we get up close and personal with the UK’s award-winning rental service, Hireacamera. 44 STREAMING SIMPLIFIED Setting upmulticambroadcasts needn’t be difficult nor break the bank – just follow our guide to cost-effective

live switching technology. 50 THE MAC IS BACK


The new Apple Mac Studio computer has filmmakers excited. We check it out and assess the best hardware options tomake the most of this powerhouse PC.



The ultimate magazine for next generation filmmakers

GEAR 58 MINI TESTS: WE USE AND RATE TOP KIT The tiny, but powerful Samsung microSD cards, a rugged hard drive, an affordable teleprompter and stylish bag are put to the test this month. 62 NIKON’S ULTIMATE CAMERA The legendary company finally has a flagship mirrorless to rival the very best, as we run the speedy Z 9 camera through its paces. 7O SONY OR NIKON: WHICH IS BEST? We take the Sony A1 and Nikon Z 9 on a commercial stills-and-video motorcycle sports shoot, to see which has the upper hand for hybrid image makers. 74 ARE YOU XPERIANCED? The pricey Sony smartphone offers the big sensor from its compact cameras and Zeiss lenses, but what is it like for shooting video and stills? 76 BUYERS’ GUIDE: SHOTGUN MICS A decent microphone is a must for filmmaking work. We examine some of the best shotgun mics on the market, and accessories to improve your audio even more. 62





GIMBAL READY The new full-frame Sony is very small and light, ideal when size really matters

Power to the people! The new 16-35mmSony lens delivers zoom technology that’s ideal for mirrorless and cinema cameras

S ony’s popular 16-35mm E-mount zoom lens has had a total revamp, now including a power zoom function that’s perfect for video. This is the world’s lightest full-frame, wide-angle power zoom lens with a constant f/4 aperture. The overall barrel length remains the same while focusing and zooming, so the FE PZ 16-35mm f/4 G is ideal for vlogging and filmmaking. The lens has two AA (advanced aspherical) elements, a standard aspherical, one Super ED (extra-low dispersion), one ED glass and one ED aspherical element. Using AA in an advanced optical design gives improved close-up performance throughout the zoom range. Minimum focusing distance is 280mm/11in at 16mm and 240mm/9.4in at 35mm, with maximummagnification of 0.23x. An optimised coating is

“For the first time in an Alpha lens, Sony uses six XD linearmotors for both focus and zoomdrive”

Linear response MF ensures that the focus ring responds directly and linearly to subtle control when focusing manually. An aperture ring makes manual aperture control fast and direct. The lens weighs a mere 353g/0.77lb – that’s around 30% down compared to the current version – and is just 80.5x88.1mm/3.16x3.47in in size, with a filter diameter of 72mm. As mentioned, length is constant. It has a dust- and moisture-resistant design, coupled with a fluorine front-element coating. And all this for £1299/$1198.

employed, in order to suppress flare and ghosting. For the first time in an Alpha lens, Sony uses six XD linear motors for both focus and zoom drive, resulting in fast response and smooth operation. It features technology that reduces focus breathing, as well as focus and axial shift when zooming. Aperture operation is also extremely quiet. A zoom lever with variable speed makes executing super-slow, constant-speed zooms incredibly easy. Power zoom minimises camera shake, and users can customise the zoom ring direction.




SAMYANG PRIME REDESIGNED FOR VIDEO Samyang has unveiled a second- generation 35mm f/1.4 autofocus prime for full-frame Sony E-mount cameras, that is now improved for video shooting. The AF 35mm f/1.4 FE II lens has a focus hold button – to keep the lens locked to that focusing distance – and custom switch. This can be set to allow silent adjustment of the aperture by rotating the focus ring. More functions will be added with future firmware updates. The lens has two aspherical elements and Samyang’s advanced coating, to maintain image clarity. A Linear Stepping Motor provides fast, precise, quiet AF and tracking. Compared to the previous AF 35mm f/1.4 FE, this version is optimised for video shooting, by minimising vibration and noise. A nine-blade circular aperture is designed to render soft background bokeh. The minimum focal distance is just 29cm/11.4in, it weighs 659g/1.45lb and has a 67mm front filter. A micro-patterned rubber focus ring offers improved grip and weather sealing, to protect from light rain, snow and dust.


Sony remote control panels and Sony’s SR Live for HDR workflow with HLG and S-Log3. This quickly establishes it as an efficient HDR live production workflow globally. A new viewfinder slide mechanism manages to minimise the camera operator’s body movements while panning. Sliding the viewfinder closer to the axis of tripod rotation reduces the change of viewing angle for the operator, so is ideal for use in tight environments, such as tracked dollies or stadium platforms. To stop vignetting – especially with longer lenses – the ARIA (Automatic Restoration of Illumination Attenuation) system automatically compensates to keep the brightness even across the whole frame, when shooting with a supported lens. The first use of the 5.25kg/11.57lb camera is set for the Montreux Jazz Festival in Switzerland in July.

Sony has answered the call for a more cinematic look for live production events, with the HDC-F5500. It shoots 4K HDR footage using a Super 35 global shutter sensor. The large sensor size allows for a shallow depth-of-field and better low-light performance, while the global shutter prevents rolling distortion and flash banding – great for music gigs that adopt fast-moving LED laser lights or live studio environments with LED walls. It has a motorised, eight-step ND filter adopted from Sony’s Venice cinema camera. And the F5500 has a very wide colour gamut, with support for S-Gamut3/S-Gamut3.Cine, BT.2020 and HLG, making it primed and ready for future technologies. The new camera integrates with Sony’s IP Live Production system and is perfect for remote production, thanks to integration with an IP extension adapter. It is easy to adapt in existing workflows, as it’s fully compatible with

BIG RIG The trend towards a cinematic look in live event production has seen Sony build this beauty





Ukraine honoured at Vilniusfilmfestival

After two years off due to the pandemic, the Vilnius International Film Festival bounced back with live screenings of 90 feature films and 51 shorts, by filmmakers from 56 countries. The Lithuanian festival boycotted all Russian filmmakers, replacing their productions with Ukrainian projects from recent years. War refugees from Ukraine were invited to see films free, and many were translated or dubbed in Ukrainian specifically for them. Ukraine’s blue and yellow colours were displayed on screens, while the main hall of the event – the Lithuanian National Opera and Ballet Theatre, one of the most prestigious cultural spaces in the country – was dressed in sunflowers. TERADEK’S GALAXY QUEST! The flagship 4K HDR encoder/decoder from Teradek is good enough for Nasa, and definitely suitable for more terrestrial live streaming. The Prism Flex is the successor to Teradek’s Cube line of hardware, which delivers secure, low-latency streaming. Prism Flex’s compact, low-power design and 12G-SDI and HDMI I/O make it easy to integrate into live production workflows. There is onboard recording, store and forward functionality, plus monitoring options for viewing streaming content, with latency over WAN as low as 300ms on Apple TV, macOS and iOS.

Astera’s Helios and Titan Tube lights are even more useful, thanks to a new range of lightweight modifiers from DoPchoice. Triple Tube Snapbags come fully assembled, with light-intensifying interiors that boost output by more than 50%. Diffusion can be fitted across the front to soften the light further. Three Astera tubes fit, secured with hook and loop straps. The whole system or Triple Tube Array can be rigged up with or without the Snapbag. Single and double alternatives are also available. The Helios Snapbag measures 61x53.5x23cm/24x21.1x9.1in and weighs 1.35kg/3lb. For three Titan/AX1 Tubes, the Snapbag weighs 1.4kg/3.1lb and is 112x52.5x31.5cm/44.1x20.7x12.4in. The new Tenba DNA 16 DSLR Backpack fits loads of kit, and has a stealthy look which doesn’t shout out that there might be expensive equipment inside. With a cavernous 16-litre capacity, it can accommodate a mirrorless cam and lots of lenses, as well as a laptop and water bottle or compact tripod. It comes with a rain cover, and a slot on the back lets you stack it on a roller bag, for easy transport when you don’t want to wear it. The bag weighs 1.36kg/3lb, costs £190/$230 and comes in black or navy blue. TENBA’S BIG BOY BACKPACK

Prism Flex enables colour-accurate 4K HDR video streaming in AVC or HEVC, with 10-bit 4:2:2 support. When paired with Teradek’s Core cloud platform, it lets users manage, archive, monitor and distribute streams simultaneously – and remotely.




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Introducing DaVinci Resolve 17.4 Up to 5 times faster for 8K editing and grading on Apple Mac models with M 1 Pro and Max!

Highest Quality Pro Audio Effect Tools Fairlight audio now supports Steinberg VST3 audio plugins, giving access to more audio ef fects so you can create the perfect soundtrack. Plus, there are keyboard shortcuts or click and drag to reorder, move and duplicate effects in the Fairlight mixer. Single sided audio transitions are displayed as fades making it even easier to adjust ef fects. New Resolve FX A new Resolve FX called custom mixer allows you to combine effects and make adjustments to grades with finer control. Plus, a new 3D keyer adds the ability to make f iner adjustments to the key and matte f inesse settings. For DaVinci Resolve Studio, there’s a new film halation which adds glow or light reflection ef fects around high contrast edges for a more f ilmic look.

DaVinci Resolve 17.4 transforms the speed of DaVinci Resolve to work up to 5 times faster on the new Apple Mac models with the M1 Pro and M1 Max chips.This massive speed increase lets you play back, edit and grade 8K projects even faster, and work with up to 12 streams of 8K footage. It also adds Dropbox Replay integration, improved subtitling, automatic color management, audio plugins and more. Powerful New Edit Page Features The edit page now features better functionality for position curves in the timeline. You will also now be able to use DaVinci Resolve Speed Editor to switch between cameras in multicam clips on the edit page. Plus for subtitling, it includes automatic resizing of backgrounds and cursor placement, as well as nested timeline subtitle tracks now auto populating the main timeline. Faster and Simpler Color Management With greater support for automatic color management, it’s now faster and simpler to set up projects. Additionally, this update adds support for ACES 1.3, including gamut compression. This allows you to have a more accurate display of wide gamut images which allows you to be sure you are getting the best representation of the source image.

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AGENDA NEWS Star ship enterprise

D JI has taken drone tech a step further with an all-in-one, enterprise-class solution: a new flagship drone, plus autonomous docking/recharging station. The drone is the DJI Matrice 30, made to integrate with DJI FlightHub 2 fleet management cloud software – and there’s the radical DJI Dock, too. This is built for emergency teams and surveying, rather than creative filmmaking. The Matrice 30 is small enough to fit in a backpack, integrating multiple high-performance sensors into a single- camera payload. Operated by a redesigned remote control, it runs on upgraded Pilot 2 software. The M30 offers increased power and capability for professional users – while its compact size makes it ideal for easy transportation and fast set-up. The M30 has a 48-megapixel, 1/2in CMOS sensor zoom camera, with 5-16x optical and 200x digital zoom, and a

NEXT-GENERATION DRONE The enterprise-class Matrice 30 (above) is DJI’s latest flagship UAV, and there’s a range of new extras, like the autonomous base station (below left) and weather-sealed remote control (bottom) 12-megapixel wide-angle camera. It can shoot 8K photos, 4K/30fps video, and has a laser rangefinder that can give the precise coordinates of objects up to 1200m away. There is also the M30T, which features an additional radiometric thermal camera. With IP55 ingress protection, the M30 is usable in heavy rain, high winds, high altitudes – even in icy and snowy conditions and extreme temperatures, from -20°C to 50°C. The DJI M30 delivers an improved, first-person-view pilot camera for low- light conditions, built-in redundancies and backup systems, three-propeller emergency landing and six-way obstacle avoidance sensors. Its four-antennae OcuSync 3 Enterprise transmission ensures strong redundancy, and it supports LTE link backup, in the face of complex terrain and working conditions. Unlike other commercial drones, the 3.8kg/8.3lb M30 has a foldable, lightweight design. Its self-heating TB30 battery can support at least 400 charge cycles and allows a 41-minute flight time. The smart BS30 case recharges from 20% to 90% in 30 minutes. To avoid the footage being stolen, AES encryption protects all the photos, videos


The Zenmuse H20N is a new camera with a hybrid sensor that includes night vision camera, hybrid zoom thermal imaging and laser rangefinder. It can be used with DJI’s M300 RTK drone. This ultra low-illumination, starlight- grade night vision camera can capture footage clearly even in darkness, down to 0.0001 lux. The camera has a 20x hybrid optical zoom, 640x512 resolution thermal imaging, 2-8x optical zoom and laser rangefinder with 1200m range. It costs £12,720/$12,999.

and flight logs that get stored on the drone’s microSD card by a security code. The drone has an RC Plus remote controller with a seven-inch HD screen that is IP54-certified, so it can be used in heavy rain. This RC has six hours of screen-on time, an internal battery and swappable external battery with ports for microSD card, USB Type C, HDMI and 4G connectivity. DJI Dock is an autonomous docking station, ideal for programmed flights in remote areas. The M30 drone is stored inside the station and can then take off, controlled by DJI’s FlightHub 2 software. Once the drone lands back on the dock after filming, it recharges automatically in 25 minutes. It’s really aimed at rescue services or surveyors, but could be used for filmmakers wanting to do hyper-lapse work over extended periods. The DJI Dock needs to be fixed on the ground, connected to a power supply and the internet. It has built-in antennae, a weather station and ultra wide-angle surveillance cameras. An M30 basic package is £7918/$9942, while the dock’s price isn’t yet available.

“TheM30 offers increased power, endurance and capability – its sizemakes for easy transportation”





Nanlite has unveiled two Projection Attachments in both 19° and 36° versions, compatible with the Bowens S-type mounts found on many COB-style LED lights. The projectors intensify the light, and can be used with shutters, gels and gobos to create many different patterns. The optical system includes an aspherical lens to correct aberration, while an anti-reflective coating gives the projected images a real sharp edge. These units are made of nylon, keeping them cool during operation. For £620/$629, the Projection Attachment comes in a case with lots of gobos and accessories. PROJECTING A PRO IMAGE

Rode’s in the can Mic maker Rode is moving into the headband has a locking system for a custom fit that doesn’t slip.

headphone market, with the £149/$149 NTH-100 professional over-ear cans. Ideal for editing rather than just listening to music, these are stylishly designed to give a neutral sound with superior comfort. Custom-matched drivers deliver an accurate frequency response and low distortion, ideal for critical listening. The acoustic construction is optimised for

The NTH-100s feature custom-matched, 40mmdynamic drivers and a custom voice coil, with a four-layer, ultra-high-tension aluminium alloy core, coupled to an ultra- stiff, triple-layer diaphragm. With attachments on both earcups, the cable can be positioned wherever comfortable. Each pair comes with a 2.4m/7ft 10in straight black cable,

exceptional detail and clarity. Unique ergonomic earcups, with memory foam cushions, give excellent noise isolation and have CoolTech gel for reducing fatigue in long editing sessions. The earcup and headband cushions are made from Alcantara for comfort, and the fully adjustable

with 1.2m/3ft 11in pink, green, orange and blue leads available separately. There is also a storage pouch, 3.5mm to 1/4in adapter for professional audio equipment, and set of coloured ID rings for cable identification.


The design produces a near telecentric output of the light rays, which is efficient for sensors. This produces smooth, spherical bokeh and minimal colour fringing. No prices currently, but contact the company to pre-order a set.

The S8/i is designed to create more realistic and film-like images, with spherical lenses for digital motion capture, offering an organic feel and clean bokeh. Cooke engineers focused on optimising the contrast to suit the resolution of digital cameras.

Cooke’s speedy new set of S8/i FF lenses have an all-spherical design and T1.4 throughout, currently in 25mm, 32mm, 40mm, 50mm, 75mm, 100mm and 135mm focal lengths. A further nine lenses will join the full-frame range later this year.





World tour, Nanguang style! Specialist LED lighting companies Nanlux, Nanlite and Nanlink are commemorating 30 years of manufacturing professional lighting equipment for the film, TV and photo industries – and are going on a world tour to celebrate. Parent company Nanguang will be

showcasing all the latest equipment at the biggest filmmaking events. This started at the BSC Expo in London, then it’s on to ShowBiz Expo in Los Angeles, IBC in Amsterdam and NAB in Las Vegas. Established in 1992 as Guangdong Nanguang Photo and Video Systems, the company was an LED innovator, and launched a total of three spin-off brands. It now employs over 900 staff at a state- of the-art design and manufacturing facility, turning out more than one million products per year. Among the releases created by an in-house technical team to coincide with the anniversary, are the new Pavo Tube II 15X, 30X and 60X fixtures. This is a range of versatile, feature-packed RGBWW LED tube lights with studio-quality output. The Pavo Tubes join the just-launched Evoke 1200, which delivers stunning levels of illumination, whether as a powerful Fresnel, controllable spotlight or natural soft source. Both the Evoke and Pavo Tube II line up alongside the Dyno series of high-output, yet beautifully soft panel lights. Released a year ago, this has already established itself in-studio and on location.

INTERCOM IDEAL FOR LOCATION FILMING Hollyland’s Solidcom C1 is a wireless intercom headset system, perfect for filmmaking teams to communicate with each other on location, up to distances of 300m/1000ft. This headset-based set-up boasts up to ten hours of battery life, and is hands-free. It requires no beltpacks and operates without a base station. The directional mic automatically mutes when the boom is raised. Each headset weighs only 168g, and is ready to use, pairing up right out of the box. A kit of four headsets costs £911/$999.

THIRTYWORK Nanguang is taking its latest kit – like this Evoke 1200 LED light – around the globe, as a celebration of its milestone anniversary


files. But it limits project mastering and output to Ultra HD resolutions or lower. DaVinci Resolve 17 only supports one processing GPU on Windows and Linux, and two on the latest Mac Pro. If you need support for many GPUs, 4K output, motion blur, temporal and spatial noise reduction, de-interlacing, HDR tools and camera tracker, you must invest in Studio at £225/$295.

The latest DaVinci Resolve is the first NLE with support for NRAW, as used in the Z 9 we test this issue. Revamped software offers presets for Sony IMF renders and improved stability for 3D renders in Fusion, on Apple Mac models with M1 Max processors. New 17.4.6 software has better audio proxy handling and Vimeo credential recognition, and improved stability for HDR controls on Apple silicon models. Also addressed are audio issues with proxies for non-48kHz clips, audio artefacts rendering Sony XAVC formats and a context menu issue for clips with cached effects, among others. The free version of DaVinci Resolve 17 includes the same processing as the paid-for Studio version and can handle unlimited-resolution media





TAKE TO THE STANDS Expo-nential growth! After no shows for two years, big events are back in business –with NAB in Las Vegas andMPTS in London

T he two biggest filmmaking pandemic in 2020 and last year. NAB Show in Las Vegas runs from 23-27 April, while the revamped MPTS will be at the historic Olympia London on 11-12 May. Each is brimming with the latest hardware and software, plus seminars from the great and good of film, TV and broadcast. shows in the US and UK make welcome returns for 2022, after both were axed due to the global Vegas, baby! Get yourself to America’s glitziest city for the National Association of Broadcasters’ huge mega-show at the giant Las Vegas Convention Center. Jump on the monorail that stops at many of the large casino/ hotels, and it takes you right to the door. The show is so big, you need a few days just to get around the massive space, which has been expanded to the brand- newWest Hall for 2022. Every aspect of filmmaking is in Vegas. From cameras, lenses and kit, to huge TV and broadcast solutions, the entire ecosystem of media production is on hand. Whole pavilions are purposefully dedicated to emerging technologies, as well as vast stands from all the main equipment suppliers.

The main stage includes some of the biggest names, holding informative talks, such as rapper/TV presenter Nick Cannon, actor Jim Gaffigan and NBC news anchor Lester Holt. NAB’s conference rooms host industry titans speaking on everything, from cameras to the future of cinema, podcasting and remote collaboration. London calling It’s a new look and name for the big London show. Following the acquisition of BVE in 2019, MPTS is the UK’s largest broadcast show that brings the creative and technical together. Now the Media, Production and Technology show, its mission is to connect experts across all aspects of content creation, including the latest advancements in audio, remote production, lighting, post, sports broadcasting, training and much more. The show not only has many products from 200 exhibitors, but offers exclusive insight from 150 leading experts in one of the seven theatre areas. Both deliver opportunities tomingle and network with like-minded creators. Let’s take a look at the hot kit you could see.




SHOW BUSINESS NAB and MPTS might be on different sides of the Atlantic, but both offer a huge range of talks, workshops and seminars – plus the chance to get your hands on the latest equipment and put it through its paces





2. VOCAS This high-tech Dutch company will be showcasing its innovative and ergonomic products, built for many of the latest cameras. Vocas designs universal accessories, as well as dedicated extras for specific cameras – and there will be lots of new products to enjoy. One of these accessories is the Vocas Level Marker, a clever tool which helps to properly align your camera with the horizon. There will also be a complete line-up of popular add-ons for the Sony FX6 and FX9, and new products to assist the Sony Venice 2, Red Komodo and V-Raptor. 3. BROMPTON TECHNOLOGY Brompton Technology is a specialist designer and manufacturer of rugged LED video processing tech for live events, film and broadcast. Established in 2012 in West London, its products have been used on tours of global acts like U2 and Metallica, and long-term installations such as the BT Tower Infoband in London, not to mention many film, TV and studio projects using virtual production. Since the emergence of green screen on sets, Brompton has been the processor of choice for many, working alongside industry leaders like Epic Games, Lux Machina and High Res. Tessera LED processors are also used in various digital studios, thanks to their performance creating seamless screens for camera.

1. ROTOLIGHT Rotolight is a British manufacturer, designing innovative LED products for the motion picture and photographic industries. The company will showcase the award-winning Titans, known for their touch-screen interface, RGBWW, CineSFX and SmartSoft diffusion. Rotolight has been used by acclaimed DOPs such as Denson Baker ( Ophelia , The Luminaries , Victoria , Get Out ), exclusively lighting The Colour Room in 2021, as well as featuring on the most recent Ghostbusters film. Saving time on-set with an easy-to-use interface and full-colour touch-screen display allows you to effortlessly access key features, quick-start icons, and ten user-customisable presets, to achieve the exact colour you want quickly. Featuring the world’s first electronic diffusion technology, SmartSoft alters diffusion, focus and spread, without the need for gels. The lights also have High Speed Sync RGB flash, built-in wireless connectivity (Bluetooth/W-DMX) and class-leading energy efficiency.

4. PELI PRODUCTS The legendary Peli range of super-protective hard cases are ideal for all types of film and broadcast equipment. They are watertight, dust proof and crush proof, and produced in over 70 sizes. Significant investment has been made in protective packaging services, specifically tailored to fit equipment. Precision-engineered foam ensures protection from drops, knocks and vibration. These bespoke inserts optimise the space and are ideal for sensitive, fragile kit such as cameras, audio and lighting kit. The team of Peli specialists will be on hand at MPTS, available to discuss individual requirements. Peli Products UK celebrates its 30th anniversary this year, and now has a foam engineering division in Dorset for designing and manufacturing custom inserts.





6. ZEISS Zeiss will have a huge selection of top-quality lenses on show, as well as the new Supreme Prime 15mm. The fast T1.8 optic joins the range, which is famed for quality, lightness and a versatile look. With its 14-piece, high-end cine lens series ranging from 15 to 200mm and a maximum aperture of T1.5 to T2.2, Zeiss covers a full spectrum of focal lengths. Visitors can get to grips with high-end cine lenses, Compact Primes and optics designed for mirrorless cameras.

5. RED DIGITAL CINEMA Cool camera brand Red will bring its latest technology, including the flagship DSMC3 V-Raptor. This has an all-new multi-format sensor, with the ability to make in-camera selection from 6K Super 35 to 8K large format. Also on show will be the Komodo 6K camera system. With a box-style form factor of only 101.6mm, the Komodo features a breakthrough global shutter sensor, which measures 27.03x14.26mm and maintains Red’s ultra-high standard of image quality and dynamic range. The power of Redcode Raw files will be demonstrated at their fullest in an innovative workflow station.

7. CVP British mega-retailer CVP is giving visitors a showcase of the latest production solutions, along with agnostic guidance and expertise from technical experts. On top of its lens bar and cine, motion and monitoring features, CVP will present gear from brands like Red, Sony, Canon, Tribe7, Zeiss, Cooke, Angénieux, Leitz, Blackmagic Design, DJI and more. For expert advice, and to compare much of the latest hardware from a whole range of suppliers, CVP is the place to go.

9. HAWK-WOODS British battery specialist Hawk-Woods will showcase its latest MXB-880, the first in the newMini range of floor batteries. It has a sleek design and durable handle that can easily cope with the weight from the battery when carried. Rubber end guards protect it from damage. The compact MXB-880 outputs 880W of power, but weighs only 7kg, almost a 25%weight reduction compared to Hawk-Woods’ previous floor batteries. This model incorporates a built-in charger, but still powers via XLR4 connectors as a backup, so existing XB1 14v chargers remain usable. The MXB-880 features dual voltage with two XLR4 14v outputs and two XLR 28v switched

outputs. In order to monitor remaining

8. BEBOB Make a beeline for Bebob to see the latest B-Mount batteries, chargers and adapters. The new series has batteries that support both 24v and the traditional 12v. This means they work on more devices on-set. Four different B-Mount batteries are available – from the B90cine with 86Wh capacity, to the B155cine (156Wh) and B290cine (285Wh). The B90cineHS can be connected in series with other B-Mount batteries. All have Bebob’s twist D-Tap connection and a USB-C port. And the B-Mount newcomers support the battery manufacturer’s ‘Re-celling’ programme, so can be fitted with fresh cells. Bebob also offers V-Mount and Gold-Mount adapters, and dual or quad chargers.

runtime, the MXB-880 features a display, which turns off automatically when it’s not in use. The company is also developing a lighting version of the MXB-880 and expect to reveal it in late 2022.





10. HOLDAN Big UK distributor Holdan will display ultra-lightweight, high-performance Xeen cine prime lenses from Samyang, including the recently announced Xeen Meisters. Plus, it will host mobile workstations from Inovativ, Core SWX batteries, as well as the latest Atomos products. Inovativ manufactures mobile workstations, from compact travel carts to complex studio-based units capable of holding a wide variety of kit; and full DIT set-ups to cine and broadcast camera rigging stations. Voyager, Echo, Apollo and Deploy carts and the Axis workstation will be on hand, along with accessories that fully customise the carts for production. Renowned for robust build quality and high cell cycle count, Core SWX is a market leader in batteries and charging solutions for the broadcast, digital cinema and professional video industries. Power solutions for everything, from mirrorless to cinema cameras – and everything in-between – are on show. Other manufacturers include Teradek, with its wireless transmission solution, and Kondor Blue’s selection of camera cages and accessories. DIT and post-production solutions will also be present, featuring Asus ProArt monitors, Sonnet’s DuoModo expansion system and Promise RAID storage.

11. PAG PAG manufactures high-end camera power solutions for film and broadcast. The firm’s most advanced tech is PAGlink, a unique system of linking batteries. Mini PAGlink offers smaller, lighter batteries, in 50Wh and 99Wh capacities, and V-Mount and Gold Mount formats. They feature standard D-Tap outputs, and a USB unit that users can swap out for those with Hirose, Lemo, D-Tap or 2.1mm connectors. Mini PAGlink is ideal for small 4K camcorders and add-ons, large format cameras, monitors and panel lights. PAG’s modular design makes servicing quicker and more economic. Individual modules, with cell-pack, can be replaced at authorised centres worldwide.

13. CREAMSOURCE The Creamsource Vortex4 is a 1x1ft, 325W high-powered LED for film, with a narrow beam angle of 20° and CCT range from 2200-15,000K. It can be a hard punch light to bounce or push through diffusion, or creamy soft light. As an extension of the Vortex system, it offers seamless integration with the well-established Vortex8, for easily expanded lighting configurations. Built with durability in mind, the Vortex4 features world-class engineering, mixing precision-machined extrusions and high-strength die casting with leading-edge technopolymer components and aerospace-grade sealing. The result is an IP65-rated, water-resistant fixture that takes on effects machines and extreme dust, while integrated internal power simplifies rigging and cabling.

12. MOTION IMPOSSIBL E Motion Impossible always pulls a crowd, thanks to innovative engineering solutions for moving the camera, especially the Agito system. It enables high-precision control of a tracked dolly with new column-mounted camera heads. Magrax lets the Agito follow a magnetic strip on any surface: the Agito tracks it, while controlling the head and tower elevation. And the Agito Column has been developed for heavier payloads up to 50kg. Agito two-axis heads are based on the Egripment 205 and 306 Remote Heads. The first is a lightweight head, providing smooth camera motion up to 10kg. The second is a larger and more powerful head, for those up to 32kg.





15. SONY Sony will display its massive array of video tech, from image and audio capture to on-set and post monitoring. A hotly anticipated addition is the Venice 2 cinema cam. Building on its predecessor, this offers compact design, sensors: the full-frame 8.6K or original 6K. It inherits features from the original, like colour science, Dual Base ISO and eight stops of built- in ND filters. Look out for demonstrations of on-set workflow with Pomfort Livegrade. You’ll also explore Sony’s full Cinema Line range. Experience the Venice Rialto extension system, discover the FX9’s anamorphic mode and try a selection of renowned Alpha lenses. See the BVM-HX310, and the 4K HDR PVM-X series of on-set monitors and location sound internal recording and a choice of two recording systems. And catch stunning footage captured with the Venice 2 in Rob Hardy’s film, Venezia , which screens during the show.

14. ROE VISUAL Roe Visual makes high-end LED display platforms thanks to carefully selected components, the latest technology and in-depth technical knowledge of its engineers. Using LED panels instead of elaborate and costly set designs, this way of working is an ideal solution to create maximum flexibility for production teams making last-minute set changes. And it’s a bonus for actors, who work in immersive settings rather than against a green screen. Replacing the traditional green screen element of a virtual studio allows presenters and audience to see and interact with the content around them. This groundbreaking technology is already having a huge influence on how broadcasts are delivered across the globe.

16. ATOMOS Australian company Atomos offers a blistering collection of monitoring solutions that have taken the world by storm. Its HDMI- and SDI-compatible camera-top monitor/recorders such as the Ninja V+, Shogun 7 and Shinobi are hugely popular, as they give incredible clarity and improve a camera’s output. In many cases, external recording also affords the chance to use ProRes Raw for maximum quality. The large Sumo and Neon ranges offer an in-studio solution. And the Ninja V, Shogun 7 and Sumo can all be used as live switchers thanks to clever accessories like the Ninja AtomX Cast module. With mounts, timecode sync devices, memory and more, head over and see some of the best kit around.

17. APUTURE One of the fastest-growing LED lighting brands, Aputure boasts innovative and cost-effective products such as the recently released Light Storm 1200d Pro and Nova P600c flagship models. The LS 1200d Pro features a 1200W COB and is the brightest light Aputure makes, also coming with three Bowens-mount Hyper Reflectors. It uses LumenRadio CRMX and Art-Net/sACN via an etherCON connector, in addition to 5-pin DMX512 ports, to integrate into a DMX interface. On top of that, the light is IP54 certified. The Nova P600c is a 600W RGBWW LED soft light that builds on the foundation of the Nova P300c, with double the output. By using a unique RGBWW chipset, the Nova balances intensity with precision colour quality, capable of producing 2298+ lux at 3m/10ft (6500K), with a CCT range of 2000-10,000K.






The latest filmmaking equipment you should definitely take a look at


W hether or not you make it to one of the big camera shows to get hands-on with the hottest kit, there is so much that’s new and improved for filmmakers to check out. Stunning cameras, lenses, audio kits and more are finally coming into stock, as the planet continues its recovery from the pandemic. So, here’s Pro Moviemaker ’s crash course in the latest and greatest kit. Cinema cameras At the top of the tree for most filmmakers is a real cinema camera, with large sensor and insane quality. Red is the brand that many lust after, and for good reason. The results are excellent – especially if you stick to Red’s own Raw files. The newest member of the family is the V-Raptor 8K VV: the first

in the next-generation DSMC3 series. It features the highest dynamic range, fastest cinema-quality sensor scan time, cleanest shadows and highest frame rates of any camera in Red’s line-up. Most interesting of all is the price, which undercuts not only similar high-end cameras from rival manufacturers, but also Red’s current DSMC2 series. Priced at £21,480/$24,500 for the limited-edition, all-white ST launch version, that’s around half the price of the Red Ranger Monstro 8K which it replaces. The V-Raptor features a 35.4-megapixel CMOS sensor that measures 40.96x21.60mm, with the ability to shoot 8K large format or 6K Super 35. More affordable is the 6K Komodo that has phase detection autofocus with Canon RF

“At the top of the tree for most filmmakers is a real cinema camera, with large sensor and insane quality”




RED-EMPTION The brilliant V-Raptor brings full-frame 8K performance to a slightly more affordable level





lenses. There are none of the rolling shutter issues that blight others in this price range. You get no wobbly lines in footage from the Komodo as it has a global shutter, so fast whip pans are not a problem. Compared to other, pricier Reds in the older DSMC2 range, it actually has more technology. The Super 35 Komodo is attainable for £5940/$5995. Chinese brand Kinefinity has revealed its newMavo Edge 6K camera with full-frame 3:2 CMOS sensor, at a price point of £10,194/$9999. It has dual native ISO of 800 and 5120, an internal E-ND filter and dual SSDmedia slots. It can record Apple ProRes 4444/XQ and uncompressed Raw. Sony also has a fresh flagship, the Venice 2 – an 8.6K full-frame camera that records Raw files internally, with claimed dynamic range of 16 stops. A 6K version will also be available soon, with the same sensor as the original camera. Mirrorless Perhaps the biggest news in the mirrorless world is the Canon EOS

R5 C, a hybrid cinema camera which combines the filmmaking features of the Cinema EOS range with the EOS R system’s photo capabilities. It is based on the current EOS R5, but has a fan to stop overheating, as well as a timecode function. Like the EOS R5, it shares a full-frame CMOS sensor, Digic X processor and the RF mount, with 8K video capture and 45-megapixel still photo capture at burst speeds While the Sony A1, Nikon Z 9 and Canon EOS R3 steal the limelight as incredible stills-and-video cameras that are made for speed, it’s the Panasonic GH6 that has really been targeted at filmmakers. It possesses a massive number of codec options, a brand-new sensor that packs in up to 20fps. A multi-interface hotshoe takes accessories like Tascam’s XLR audio unit.

more resolution than any other Micro Four Thirds chip, internal ProRes recording – and all the tools a filmmaker requires. This Lumix costs £1999/$2198 body only, which makes it one of the most affordable video-focused flagship cameras on the market. XF605 camcorder has a plethora of features from the best cinema and mirrorless cameras in the world. It’s an all-in-one package that’s perfect for ENG, events and live streaming. At £4319/$4499, it is cheaper than the official XF705 flagship, as well as being a useful 10% smaller and 30% lighter. The XF605 is the first in the Camcorders Canon’s compact and portable newest generation of Canon’s XF series, and has more advanced features in some key areas. It boasts 4K 60p/50p 4:2:2 10-bit image quality, and FHD up to 120p high frame rate. The camcorder has a relatively large 1.0-type CMOS sensor and Digic DV 7 processor, custom picture options including HDR (HLG/PQ), Canon Log 3 – and you can upload your own LUTs. Hybrid The DJI Ronin 4D really is a hybrid, as it features a completely fresh full-frame cinema camera and video transmission and control system in a single unit – all married to a four-axis gimbal. It accepts full-frame lenses, with 6K and 8K versions and built-in ND filters. Of course, the stabilisation system is something to behold.

CHINESE TECH The new Mavo Edge

6K (above left) and DJI Ronin 4D (above) offer full-frame quality and truly innovative features

ON TARGET The Canon XF605 is an amazing performer at a great price – and will sell

very well to events and ENG shooters




Instead of just pan, tilt and roll, the Z-axis of vertical motion is also stabilised on the Ronin, so when going up or down steps, or just walking, the camera doesn’t jolt up and down. A newly designed LiDAR rangefinder continuously generates precise laser measurements to help focusing. In manual focus, there is a LiDAR waveform display, making things fast and accurate. It turns any manual focus lens into a full AF, if you want it to. But it’s a bit of a disservice to call the Ronin 4D a camera – it’s much more than that. Lenses Lots of camera manufacturers have new glass, but the biggest of all are the Canon super-telephoto RF 800mm f/5.6L IS USM and the RF 1200mm f/8L IS USM. These premium L-series lenses have a built-in image stabiliser and are ideal for sport, wildlife, news gathering and surveillance. The 800mm lens is £19,099/$16,999 and the 1200mm £22,449/$19,999. Zeiss also released its new Supreme Prime 15mm T1.8 optic, completing that family of premium prime lenses. Audio The latest 32-bit float technology is the biggest development in audio,


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Recorders that use 32-bit float include the Tascam Portacapture X8, Zoom F6 or F3 and the MixPre-3 II from Sound Devices. Dual-input wireless systems are booming, with Rode, Saramonic, DJI, Hollyland, Joby, Sony and Deity each offering two-transmitter kits. These make it a cinch to record a pair of interviewees to just one recording device. Many of the latest audio kits are linked to apps, so they can record internally, too. Lighting Flicker-free LEDs – especially COB- style hard lights and the latest tube lights – are all in vogue. Many offer a full spectrum of colours and SFX, like paparazzi flashes, fake fire or police cars. Rotolight’s latest Neo 3 and AEOS 2 set new standards in technology for smaller lights, sharing many of the features from the firm’s award-winning Titan range. For affordable RGBWW tube LEDs, check out the PavoTube series fromNanlite and Quasar Science Rainbow lights.

as it can capture a massive range of levels in one recording. It is possible to record nearly everything, from an almost-silent whisper to full-on rock gig, without changing the gain – and still be able to use the audio without clipping, just by adjusting the levels in post. It’s like super-high dynamic range for your sound. It has to be heard to be believed.

LITTLE AND LARGE From enormous Canon lenses to compact Joby audio kits, there’s new equipment galore

BRIT POP The wide range of LEDs from Rotolight continue to sell well, thanks to a slew of fresh features

“Many LED lights offer a full spectrumof colours and SFX, like paparazzi flashes, fake fire or police cars”



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