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 samscott-smith@bright-publishing.com Senior account manager Emma Stevens 01223 499462 emmastevens@bright-publishing.com 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
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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.
ADAM DUCKWORTH, EDITOR IN CHIEF
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