Pro Moviemaker May/June 2025 - Web

Welcome to the latest Pro Moviemaker magazine The brand new issue of Pro Moviemaker magazine is out now, packed with loads of the very latest hardware and software. And this issue is very much focused on the fast-emerging business and kit needs for the next-generation creatives who are making waves as ‘content creators’ and leading the rush towards video-led podcasts. In our feature The Rise of the Creator Economy’ we take a look at this changing landscape and how filmmakers are ideally placed to lead the charge into this brave new world. And our mega test of flagship mirrorless cameras is perfect for these emerging stars.

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Sony A1 II Sony A9 III DJI RS 4 Mini Nikon Z 9 Shure Movemic 88+ Canon EOS R1 ON TEST THIS ISSUE

NIKON SEES RED X FACTOR

LUMIX PHASE-R SET TO STUN Faster AF comes to Panasonic’s powerful high-res S1R II

The first global shutter X line cameras to use Z mount

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ULTIMATE FULL-FRAME KIT FOR FILMMAKERS AND CONTENT CREATORS

LIGHTING THE WAY BUYERS’ GUIDE

All the equipment you need and how to do it PERFECT PODCASTS FROM MIC TO MIX

The latest LEDs giving power and precision

The ultimate magazine for next generation filmmakers

Editor in chief Adam Duckworth Chief sub editor Matthew Winney Sub editors Zanna Buckland & Minhaj Zia Editorial director Roger Payne EDITORIAL ADVERTISING Sales director Sam Scott-Smith +44 (0)1223 499457 samscott-smith@bright.uk.com Sales manager Gabrielle Pitts +44 (0)1223 492244 gabriellepitts@bright.uk.com DESIGN Design director Andy Jennings Magazine design manager Lucy Woolcomb Senior designer Carl Golsby Junior designer and ad production Holly May PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:

Cut hours from editing time! Grade your footage without any knowledge of colour! Increase creative control! Generate B roll instantly! Yes folks, the future is here, and it’s going to make you happier, more profitable and more creative. All for the price of a subscription to Adobe’s new AI Firefly Video web application, now integrated with the brand’s fantastic Creative Cloud. On the surface, Firefly Video sounds incredible since it can generate videos from text prompts or images. You can even adjust the camera angles and add atmospheric components such as fire, smoke, dust particles and water. Currently, it’s in public beta and can create HD videos up to five seconds long using text descriptions or reference images. Adobe plans to enhance the app with faster processing and 4K support in the future. Eventually, there will be no limits on resolution or length. Plus, these AI-generated assets are legal for commercial use. Those nice people at Adobe have thought of everything, with Firefly drawing its influences from public domain and licensed material – ideal for brands and creative professionals. It’s the new age of sophisticated AI video production, designed to reduce tedium for video editors. Want the footage graded teal and orange but lack the skills? Just ask Firefly to do it. No need to hire a colourist, camera operator, scriptwriter, model, lighting kit or location. It can also cure creative blocks during scriptwriting and storyboarding, or even create pitches when looking for funding. It’s not only for quick TikTok videos of Volodymyr Zelensky giving Donald Trump a slap. With you and your laptop alone, you will be making fully funded,

PRETTY FLY The new Adobe Firefly Video app promises so much for creatives satisfied using AI-generated footage extend backgrounds or remove unwanted elements missed during filming. It’s likely to impact the lower end of the commercial market, where business owners might believe they can generate a realistic promotional video simply by letting a computer handle it. But there will always be a call for quality, bespoke and unique content that no amount of AI could ever produce. AI is just another tool that filmmakers should be aware of – and how it can help them make better films for clients who value what they do and have the budget to pay for it. You can’t hide from progress.

Oscar-worthy films in a jiffy. Of course, most professional

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

filmmakers would have no problem using AI to elongate shots by inserting new frames into footage – or applying advanced tracking and masking tools to

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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MAY/JUNE 2025 CONTENTS AGENDA 6 THE NEW MAGIC NUMBER FOR PYXIS The popular Blackmagic Pyxis gets a massive upgrade with the full-frame 12K sensor from the Ursa Cinema camera line. Plus, the Aussie giant reveals lots of new hardware and a big boost for DaVinci Resolve. 8 RED ALERT FOR NIKON’S FUTURE The first hardware tie-up between Red and its new owner Nikon sees a Z lens mount fitted to the Komodo-X and V-Raptor X, which could prove to be a lifeline for Nikon as a brand with a future in pro video. 1O LUMIX S1R II GETS 8K AND AF BOOST Panasonic’s next-generation Lumix S1R II full-frame mirrorless camera features phase detection AF and 8K/30p recording with up to 14 stops of dynamic range, plus internal ProRes Raw recording. 12 LARGER COVERAGE FOR SIGMA GLASS Sigma unveils a monster 300-600mm f/4 telephoto zoom that sits at a surprisingly low price point, plus a sleek, all-aluminium unibody BF camera that’s built to be fresh, simple and more intuitive than ever. 14 ZEISS RELAUNCHES OTUS PRIMES The legendary Zeiss Otus primes are back, and now available to fit mirrorless cameras in Sony E, Canon RF and Nikon Z fitments. Starting with 50mm f/1.4 and 85mm f/1.4, these are the first in the new ML family. Eizo unveils its 24.1-inch colour management monitor. 16 SONY’S WIDE AND LONG LENS DUO Sony reveals a 400-800mm super-telephoto zoom – the longest lens to fit onto its E-mount mirrorless and cinema cameras – plus, the FE 16mm f/1.8 G wide lens, built to offer high resolution while still being portable. 18 GO LARGE WITH FIXED-LENS FUJIFILM If you’ve yearned to shoot films on a genuine large format digital camera but have been put off by the cost and size of the kit, Fujifilm’s new GFX100RF is for you. That’s if you can manage with its fixed 35mm f/4 lens. 20 PANASONIC’S CX370 GOES LIVE Panasonic takes the wraps off its latest model in the Connect CX series of professional camcorders. The CX370 features 4K image quality and IP-based live production

PREVIEW 26 LONDON CALLING FOR OLYMPIA SHOW

The Media Production & Technology Show comes to one of the UK’s most historic venues – Olympia Grand Hall – where industry greats will give talks and seminars while all the best kit is displayed for a hands-on experience. We name some of the must-see hardware and software. AWARDS 34 FINAL CALL FOR MPB FILMMAKER OF THE YEAR We’re fast approaching the deadline for the MPB-backed Filmmaker of the Year Awards, which will honour the very best in creative filmmakers and production companies. Check out some of the entrants so far, and make sure you enter soon for your shot at glory!

capabilities in a compact, lightweight body. 23 NEW RANGE OF ATOMOS KIT

SPECIAL INVESTIGATION 45 NEXT-GENERATION VIDEO PRODUCTION

Monitor-recorder mogul Atomos branches out with the launch of a range of AI-enhanced PTZ cameras, as well as a new PTZ controller, high-end editing headphones and a wireless video system. The new Atomosphere cloud service is revealed.

There’s a brave new world out there of content creators using visual media to make a living and a name for themselves. We take an in-depth look at this fast-expanding global phenomenon, finding out what’s needed to give you the edge when shooting social media videos or branded content and creating a successful podcast.

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GEAR 55 FLAGSHIP MIRRORLESS WONDERCAMS! A new breed of flagship full-frame cameras has arrived, designed to be the very best for hybrid content shooters. We put Sony’s A1 II and A9 III, Canon’s EOS R1 and Nikon’s Z 9 through their paces to see which is really at the top of the pro pile. 68 MINI TESTS: TOP GEAR PUT TO THE TEST We test DJI’s new RS 4 Mini gimbal, a stereo wireless mic system from Shure, a speedy Samsung SSD, Hobolite’s LED lamp that thinks it’s a camera, Datacolor’s colour meter and a pack of trendy organiser pouches you can’t help but want! BUYERS’ GUIDE 78 THE HOTTEST IN COOL-RUNNING LEDS The world of COB LED lights is growing at an alarming rate, with loads of new products gunning to take the spotlight away from current fixtures. We explore a wide range of the newest and best-value performers on the market, all at various price points.

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Hollywood quality but indie budget The reworked Blackmagic Pyxis packs a 12K full-frame sensor without breaking the bank B lackmagic’s popular Pyxis cinema camera is now available with the 12K sensor from the Ursa Cine 12K LF, priced at just £5015/$5495 – less than half the cost – in a choice of L, PL or locking EF lens mounts. It uses the same body design as

also a classic Super 35-sized option to create an instant close-up version of a shot that fits seamlessly with open gate footage. Both Pyxis models can shoot in all standard resolutions and frame rates from HD up to DCI 4K and 6K, with 8K and 12K added on this latest model. The Pyxis 12K can shoot in all resolutions at full sensor size. Frame rates reach up to 40fps at 12,288x8040 3:2 open gate, 60fps at 12,288x5112 in a 2.4:1 ratio and 112fps at 4096x2160 4K. On the 6K model, the options include 36fps at 6048x4032 3:2 open gate or 60fps at 4096x2160 4K DCI. The built-in LCD is a four-inch, high- resolution HDR touchscreen, while the optional £310/$325 Pyxis Monitor is a 1500-nit, five-inch HDR touchscreen unit with full camera control. The camera matches to the optional £1606/$1865 Ursa Cine EVF, featuring a 1920x1080 colour OLED display with built-in proximity sensor and four-element glass dioptre. The Pyxis records internally to CFexpress cards or an external SSD via

MAKE THE ATEM SWITCH The second-generation Atem Mini Extreme ISO G2 features an expanded control panel, eight HDMI inputs, three the £2703/$3295 6K Pyxis, featuring a 12,288x8040 RGBW sensor with 16 stops of dynamic range, dual CFexpress media slots, 10G Ethernet and Blackmagic Cloud global sync. The camera’s aluminium body boasts various mounting points for accessory side plates, making it easy to configure for a wide range of uses – either stripped back for gimbals or fitted with handles, microphones or an SSD to record footage. With such a high-resolution sensor, there are plenty of image size options. Using the full area gives an open gate 3:2 image, ideal for reframing in post. The sensor also supports true 6:5 anamorphic without cropping for widescreen cinematic images in very high resolution. There’s

mic/line selectable and offer phantom power. Also new is the Atem Micro Camera Panel, a portable control unit with high-end broadcast controls for Atem switchers. The unit features a large joystick and physical buttons to adjust iris, pedestal, shutter, white- balance, master gain, RGB balance and more for up to eight cameras. This £629/$675 camera control panel also has an internal battery and connects via Bluetooth or USB-C.

includes balanced XLR input as well as a headphone socket for monitoring. This latest version can be used as a shared network disk using the 10G Ethernet port to the internal CFexpress memory card or an external USB disk. It’s a combined switcher and control panel, but can be used in a podcasting studio. For additional mics, the Atem Microphone Converter is capable of connecting via the MADI port, with four analogue inputs that are

HDMI outputs, multiview, a built-in streaming engine, a CFexpress media slot and Thunderbolt for record or playback. There is also 10G Ethernet for fast network storage access, XLR audio inputs, USB webcam, DVE, chroma key, media player and ISO recording of all eight video inputs – all for £2086/$2195. Atem Mini switchers allow you to produce multicamera livestreams for platforms like YouTube, supporting up to eight connected cameras or

inputs from a computer for Powerpoint slides or gaming consoles. There’s built-in picture-in-picture and a range of video effects. The switcher boasts three independent video outputs, and the built-in Thunderbolt connection enables live video capture and playback for real-time effects software or DaVinci Resolve live replays. The CFexpress card is also accessible over a network via 10G Ethernet. For audio, it

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TAKE THE FAST SHUTTLE

Shuttle 4K Pro is also a network storage device, able to share its media with remote editors. Designed for one-handed use, the body angles gently to let your hand rest on the search dial, with control buttons positioned beneath your fingertips. The HDR display includes buttons for playback, pause and record, plus a mini timeline for scrolling through clips. A HUD overlays information

The Blackmagic Hyperdeck Shuttle 4K Pro is a new live media player and master recorder with physical controls to search through media. It has a seven-inch LCD touchscreen for monitoring and scopes, too. It features 12G-SDI and HDMI for recording to Apple ProRes, DNx, H.264 and H.265 files in all video standards up to 2160p. With 10G Ethernet and internal M.2 SSD media, the £1554/$1645 Hyperdeck

such as timecode, media status and audio meters, and you can load and save 3D LUTs. Recording formats include DNx, Apple ProRes and H.264/5 when recording in NTSC, PAL, 720p, 1080p, 1080i, 1080PsF, as well as 2160p.

USB-C in 12-bit Blackmagic Raw for maximum quality, but also HD H.264 proxies to make it easy to upload to the cloud instantly or stream. The original footage is recorded for editing in post. When uploading to Blackmagic Cloud, an Apple or Android phone can be used for connection via mobile data through the USB-C port or via a wired Ethernet port. The Pyxis features a wide range of connections, including 12G-SDI out for monitoring, with support for HDR and Ultra HD output. An SDI3 display can be attached for on-set monitoring, with or without overlays showing camera status. SDI allows longer cable runs than HDMI, making it easier to reach monitors further away. Pyxis also supports RTMP and SRT streaming to YouTube, Facebook and more. Both the 6K and 12K models are compatible with the new Pro Handle and Pro Grip, which transform the camera into a flexible run-and-gun broadcast and documentary tool. The £1026/$1185 handle includes an integrated HD OLED viewfinder, stereo microphone, record start/stop and custom function buttons. The £126/$159 grip is for video production and includes a zoom rocker and hand strap. blackmagicdesign.com “The Pyxis records internally to CFexpress cards or to an external SSD via USB-C in 12-bit Blackmagic Raw”

A TON OF NEW FEATURES IN REVAMPED RESOLVE 20

The cut and edit pages introduce a dedicated keyframe editor and voiceover palettes, while AI Audio Assistant analyses the timeline audio and creates a professional audio mix. There are also fresh features in Blackmagic Cloud, where content appears as virtual clips and folders until used in a project. Users without a Blackmagic Cloud account can review projects in a Presentations folder. DaVinci Resolve 20 public beta is available now for free download.

A massive update adds more than 100 new features to DaVinci Resolve 20 – including AI tools, a keyframe editor, voiceover palettes, multi-layer compositing tools, plus chroma warp and a new version of Magic Mask. The AI tools include Intelliscript to create timelines based on a text script, Animated Subtitles to animate words as they are spoken, as well as Multicam Smartswitch to assemble a timeline with camera angles based on speaker detection.

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NEWS AGENDA Nikon’s Red redemption The first hardware collaboration could be cinema salvation for the Japanese brand F itting the latest Nikon Z lens mount to Red’s Komodo-X and V-Raptor X cameras is not just the first joint hardware tie-up between

of Sony lenses. The Nikon-mount Reds can also work with lenses to fit Leica L, Canon RF and Arri PL and LPL, with suitable adapters. That’s in addition to the fast- growing range of native Nikon Z mount lenses as well as legacy Nikkor F mount optics with an adapter that also maintains autofocus. The Z mount used on the new Reds is also a locking-style version to give precise fit, especially with heavier lenses. Although the current RF-fit Reds will still be available, the new Z mount versions allow filmmakers to use existing lenses on the latest Red cameras and take advantage of the brand’s legendary colour science and high-performance image-compression technology for incredible Raw files. The V-Raptor X is recognised for its low-light performance, huge dynamic range of around 20 stops, high frame rates and 8K VV global shutter sensor to eliminate rolling shutter image skewing. The Komodo-X boasts a 6K Super 35 global shutter sensor with a wide dynamic range

the two companies, but could prove to be a lifeline for Nikon as a brand with a future in professional video. That’s because the 55mm Z mount is the largest of the modern mirrorless-style mounts, with the shortest flange distance of 16mm. This means that, with suitable adapters, it can accept lenses from all other manufacturers’ mirrorless, DSLR or cinema ranges. Crucially, it opens the Red ecosystem up to filmmakers who own Sony E-mount glass – the most popular choice after the demise of Canon’s EF optics. With a very slim adapter, it means the new Red Super 35 Komodo-X and full- frame V-Raptor X cameras can not only accept Sony E lenses, but also use them in autofocus mode. For manual focus, there are more customisation options through Red’s own interface to alter the response

and high-speed performance in a compact form factor. It offers 6K recording at up to 80fps and 4K recording at up to 120fps. To use either of the Red Z cameras with PL lenses, there are two PL adapter packs; a standard version and a second that includes an electronic ND filter. Although it has now been a year since Nikon bought Californian cinema brand Red, this is their first joint hardware project. Red CEO Keiji Oishi says it’s the

SPEEDY 35MM PRIME FOR Z MOUNT Nikon has expanded its premium

It has Nikon’s most advanced anti-reflective coatings - Meso Amorphous, Arneo and Nano Crystal – to eliminate flare and ghosting even when backlit. Focus breathing is suppressed and linear focusing can be enabled for controlled manual focus pulling via the focus ring. The multi-focusing system offers precision and speed even when using an ultra-shallow depth-of-field, thanks to dual stepping motors. There are two customisable function buttons and the solid body is sealed at the barrel joints and buttons with a rubber gasket to fend off dust or moisture.

range of f/1.2 lenses with the addition of the Nikkor Z 35mm f/1.2 S. The £2899/$2797 lens is designed for smooth bokeh but with in-focus areas that are sharp and finely rendered, allowing subject isolation with a 3D sense of depth. The classic 35mm focal length prime is optimised for clarity of colour and contrast throughout the frame. Its 11-blade, rounded aperture and optical design of 17 elements in 15 groups with four ED and SR lens elements work together to counter light dispersion and prevent colour fringing and aberrations.

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capabilities. Red’s Komodo-X with a Z mount costs £6744/$6995 for body only, while the 8K VV large format V-Raptor X is £28,830/$29,995 – the same as the RF-fit versions. Red is also offering a paid- for service to convert RF versions of the V-Raptor X and Komodo-X cameras to Z fit, and there’s a trade-in programme for owners of older-generation Red cameras. nikon.co.uk red.com

first of a series of digital cinema cameras that combine Nikon and Red technologies. This is great news for Nikon, which was trailing behind Canon, Sony and Panasonic for serious filmmaking, as these brands produce a range of cinema cameras and camcorders. Although its full-frame Z 8 and Z 9 mirrorless offer great video spec, these new cine cams are Nikon’s first that offer serious spec with global shutter sensors, Red colour science and Raw video

PERFECT PAIRING Putting a Z mount on Red’s cameras opens up cinema cameras to a whole lot of lenses

NIKKOR GOES FULL CINE The Nikkor lens range from Nikon now includes the first full-frame Z lens specifically designed for video. The 28- 135mm f/4 PZ lens is built to resolve 8K footage and is light enough to shoot handheld. This £2499/$2600 lens fits the new Red cameras, as well full-frame Nikon Z mount models like the Z 9 and Z 8. It’s not a true cinema lens

of zoom speed, which can be assigned to the lens lever. It also offers position record and recall with linear manual focusing. The direction of the focus and zoom rings can be reversed. The lens is also sealed against dust and moisture, and can be controlled remotely. A special coating counters ghosting and flare, and focus breathing is suppressed. The minimum focus distance is 34cm/13.4in from 28 to 50mm and 57cm/22.4in at 135mm. The focus ring has 0.8M gear pitch for standard follow focus units. In AF, Nikon’s stepping motor (STM) delivers fast, quiet operation. The rectangular lens hood on the front has a filter window for adjusting 95mm filters while attached.

with full manual control, but a hybrid with autofocus and a servo zoom. It boasts a gimbal- friendly weight of just 1.21kg/ 2.67lb including the tripod collar, and is a compact, well- balanced optic. Zoom control includes ease-in/ease-out, which negates the need for an external motorised zoom unit. There are 11 different levels

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Next phase of Lumix

1080/60p wirelessly, or in 4K/30p via a smartphone USB port. As it’s Panasonic’s high-resolution

Panasonic has revealed its next-generation Lumix S1R II full-frame mirrorless camera featuring phase detection AF and the debut of 8K/30p recording with up to 14 stops of dynamic range, plus internal ProRes Raw recording. It’s the first of the flagship S1 range to benefit from Phase Hybrid AF and AI-driven tracking accuracy for recording people with refined real-time recognition. The S5 II and S5 II X models were the first Lumix full-frame cameras to make the move to the advanced AF system, so it’s been long overdue in the higher-end series. The S1R II uses a new 44.3-megapixel, BSI CMOS sensor which can capture 177-megapixel stills handheld in high-resolution mode. To make vertical shooting easier and boost battery power, the £2999/$3298 camera can be equipped with a £299/$348 battery grip. Also available will be a kit for £3799/$4597, which is the camera body with a 24-105mm f/4 macro lens. The popular open gate feature has been included, allowing video shooting in 6.4K at launch, but this will rise to 8.1K or 7.2K with a future firmware update. This latest Lumix supports internal recording of 5.8K in Apple ProRes Raw HQ or ProRes Raw to a CFexpress Type B card. Previously, Raw had to be output to an external recorder. It also offers C4K in 60p, downsampled from the full sensor resolution, 10-bit internal recording, V-Log and Panasonic V-Gamut. A new dynamic range expansion mode will offer 14 stops of range in V-Log, while a 13-stop mode reduces rolling shutter. Live stream will be supported in

mirrorless offering, the camera has great stills spec too, with high-speed continuous shooting at 40fps and AF tracking. A pre- burst mode starts taking pictures before the shutter is fully pressed.

The camera has an improved image stabilisation system offering up to an eight-stop shutter speed compensation and seven stops in the telephoto range with Dual IS 2, which uses a lens-based system in tandem with the IBIS. The video image stabilisation features cropless video distortion correction, reducing peripheral distortion while preserving the original angle of view. The newly designed body has a tilting and free-angle monitor, and the camera is compatible with the latest Lumix Lab smartphone app, enabling loading of LUTs directly into the camera as well as seamless smartphone integration and social media sharing. A new Lumix Flow app will be launched to improve workflows across short films, documentaries, music videos and corporate promotional videos. It will host a range of features, from storyboard creation to organisation of video files. It will also be possible to use a smartphone as an external monitor while shooting, allowing adjustments to be made to the camera via the mobile device.

FREE FIRMWARE UPDATE FOR PANASONICS

The Lumix S1R II also integrates with third-party software such as Frame.io for cloud-based workflows, and is the first Lumix to support tethering via Capture One. panasonic.com A free firmware update boosts the functions of the full-frame mirrorless Lumix S5 II and S5 II X, as well as Panasonic’s Micro Four Thirds mirrorless GH7 and G9 II cameras. All the cameras get compatibility with the Lumix Lab smartphone app, which supports remote shooting, shutter control and image transfer. The models that support Phase Hybrid AF receive improved subject detection that can now detect planes, trains and specific car and motorcycle parts. Displays can now handle up to three frame markers and there is MP4 Lite compatibility in open gate mode.

MANFROTTO GOES BLACK TO THE FUTURE

kits feature the XPro ball head for precise adjustments, while the video models include a fluid video head with a levelling column, ideal for mirrorless cameras and compact camcorders. The 055 video kits use a flat base and come as either a three-section aluminium tripod for £439/$439 or a four-section carbon-fibre version for £610/$649. manfrotto.com

Italian tripod giant Manfrotto is celebrating 50 years of the iconic 055 tripod with a fresh all-black range to include two new video kits, pairing the 055 tripod with a levelling column and 502 video head. The 055 has been the cornerstone of the Manfrotto tripod range for generations, and the new 055 models are available as photo or video kits with options in carbon fibre or aluminium. The photo

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Sigma’s super- size telezoom A unique 300-600mm lens will bring joy to Sony, Panasonic and Leica mirrorless owners

S igma’s mission to build high- quality lenses offering something different to other manufacturers continues with this monster of a telephoto zoom – at a surprisingly low price considering its speed and technology. The 300-600mm f/4 DG OS Sports lens fits Sony E and L-Mount mirrorless cameras and offers the image quality to rival prime lenses, making it ideal for sports or wildlife. Costing £5899/$5999, it’s a bargain compared to Sony’s G Master 600mm f/4 prime at £11,999/$12,998.

Sony’s closest alternative lens is the £1459/$1998 200-600mm, but its variable f/5.6-6.3 aperture makes it much slower and smaller. L-Mount brands Leica and Panasonic offer nothing remotely similar, while Canon’s RF 600mm f/4 prime costs £14,178/$12,999. With a constant f/4 aperture, the beefy Sigma 300-600mm delivers fast, precise AF via its High-response Linear Actuator (HLA) and 5.5 stops of optical stabilisation. It also boasts a magnesium alloy body, thermal insulation paint and customisable function control ring. Weighing 3970g/8.75lb and measuring 470mm/18.5in long with a 167mm/6.6in diameter, it’s slightly heavier than Sony’s 600mm f/4 prime (3040g/6.7lb) yet nearly the same size, despite being a zoom. The optical construction of 28 elements in 21 groups is designed to bring the centre of gravity towards the camera to improve the front-heavy weight balance. Seeing as the lens is designed to be used outdoors, weather proofing extends to the mount joints, manual focus ring, zoom ring, custom switches, control switches and exterior joints, which are all dust and splash resistant. The front element features a water- and oil-repellent coating, too.

SUPER-LONG SIGMA The mammoth 300-600mm dwarfs a Sony cam (above). Some controls are rear-mounted (left)

DO-IT-ALL SUPERZOOM

2025 CONTEMPORARY MAKEOVER The full range of Sigma I lenses

to fit full-frame mirrorless cameras has had a makeover with a new silver colour for L-Mount versions – ideal to match to the new BF camera. The nine-lens range now features updated black exteriors for L-Mount and Sony E-mount versions, with the 45mm version modified to accept the metal lens cap. There’s also an official name change to the Sigma DG Contemporary range, dropping the DN designation. Optical build is unchanged.

Sigma has revealed the world’s first mirrorless lens with an 18.8x zoom ratio, priced at £599/$699, for crop-sensor cameras in E, L, RF and X mounts. The 16-300mm DC OS Contemporary offers a wide-angle to super-telephoto zoom (equivalent to 25.6-480mm) in a compact, lightweight package. The trade-off is its variable aperture, ranging from f/3.5 to f/6.7. It has an HLA motor for fast, smooth AF and six stops of image stabilisation at the wide end, reducing to 4.5 stops at the telephoto end. The lens allows for close- ups, with a maximum magnification

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The tripod socket’s rotating mechanism uses bearings for smooth rotation with an optional click/de-click mechanism for each 90° angle. The tripod socket foot is compatible with Arca-Swiss clamps, but can easily be removed and replaced with different-fit tripod sockets. There is a drop-in holder for standard 40.5mm filters, but Sigma has developed a new drop-in circular polarising filter and variable ND filter that can be adjusted by up to seven stops while inside the lens. Sigma’s optic features a function ring with two selectable modes. In Focus Preset mode, turning the function ring left or right instantly shifts the focus to a pre- registered position. Option two is Power Focus, which adjusts focus at a constant speed – ideal for video, allowing for smooth focus shifts during shooting and minimal movement when handheld. The focusing speed has two adjustable levels. The lens boasts AFL buttons in four different locations, a focus mode switch, a focus limiter switch, a two-position stabilisation mode switch, as well as a custom mode switch. The L-Mount version of the lens is also compatible with 1.4x and 2x teleconverters. sigma-global.com “There is a drop-in holder for standard 40.5mm filters, but Sigma has a new drop- in circular polarising filter and variable ND”

STYLE FOR SMILES! Where most manufacturers tend to focus on the latest tech, then make mirrorless cameras that all have a similar look and feel, Sigma has made a statement with its new BF. With minimal controls and a

sleek, all-aluminium unibody that comes in silver or black, the new Sigma BF is built to be a fresh and simple mirrorless camera that’s more intuitive than ever. Featuring pressure-sensitive haptic buttons and dial, it is built to be a joy to use. That’s not to say it lacks in spec, as it boasts a 24-megapixel BSI full- frame sensor and phase detection AF with subject detection modes. There is 230GB of internal memory, capable of storing more than 2.5 hours of video at the highest-quality 6K setting, with the USB-C port offering fast charging and data- transfer speeds. The BF is the first camera to feature a true unibody for rigidity and a sleek look. Each camera is carved from a solid block of aluminium over seven hours, yet it costs just £1969/$1999. It is compatible with L-Mount lenses. The user interface features a completely new structure compared to conventional cameras, with main shooting settings stored on the live view screen, secondary settings in the optional menu and more detailed

options in the system menu. The default live view screen displays only the minimum information but can be adjusted to show no information, allowing full focus on composition and the subject. 6K video is supported in up to 30fps but goes up to 120fps in HD, with recording up to an hour on one charge. There is L-Log recording to maximise dynamic range. The camera also has a built-in mic for scratch audio, though an external mic and headphones can be used. There are 13 different colour modes built in, such as Teal and Orange, Powder Blue, Warm Gold, Rich, Calm and 709 Look. Of course, it’s unlikely to be your first choice for a workhorse camera, but as a stylish tool for L-Mount users, it’d be a cool camera to own.

ratio of 1:2 at 70mm, 1:3 at the wide end and 1:4 at the telephoto end. Its minimum close focusing distance is 17cm/6.7in at 16mm. The lens features a zoom lock switch at the wide end to prevent extension, is dust- and splash- resistant with a water-repellent coating and includes one FLD, four SLD and four aspherical elements. It’s designed to suppress focus breathing.

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Otus lifts Zeiss range

and portable design means the 50mm weighs 0.68kg/1.49lb, while the 85mm weighs 1.04kg/2.29lb. A blue sealing ring protects the camera-to-lens surface from dust and moisture, and additional seals provide protection against splashes. The lenses are both temperature resistant, working from -20 to +55°C. They have also undergone rigorous testing for mechanical, vibration and shock resistance. As per the original DSLR-fit Otus lenses, quality doesn’t come cheap. The 50mm is £2100/$2499 and the 85mm is £2350/$2999. zeiss.com

An aspherical design contributes to creating virtually distortion-free images, enhancing overall image quality. The Zeiss T* anti-reflective coating reduces reflections and flare, which improves clarity and colour accuracy. Otus ML lenses provide precise manual focus with a smooth metal focus ring that uses a precision helicoid drive. There is manual aperture control, equipped with a de-click function for seamless adjustments in video. The all-metal construction of the Otus range is designed for rugged reliability, but the relatively compact

The legendary Zeiss Otus range is back, and now available to fit mirrorless cameras in Sony E, Canon RF and Nikon Z fitments. Starting with 50mm f/1.4 and 85mm f/1.4 versions, these are the first in the new Otus ML family, manual focus lenses designed for the highest optical performance and precision mechanics. The Otus ML lenses are engineered to provide the well-known Zeiss look, characterised by sharpness, accurate colour reproduction and a 3D quality. The apochromatic lens design also ensures colour fidelity while minimising any chromatic aberrations.

The new 24.1in colour management monitor from Eizo has HDR support and a housing made from recycled plastic for increased sustainability. A successor to the Coloredge CG2420, the Coloredge CG2400S is the first monitor in the Japanese brand’s series to feature HDR workflow. Designed for video editing as well as photos, it features WUXGA 1920x1200 resolution with a typical contrast ratio of 1800:1, the highest in the Coloredge CG series. It produces true blacks to ensure shadows are rendered in high detail and is equipped with a retardation film to overcome colour distortion from optical shifts, allowing tones to retain their depth even when viewed from an angle. It supports hybrid log-gamma (HLG) transfer function EYE UP AN EIZO MONITOR

and perceptual quantisation (PQ) curves for editing and displaying HDR content. It also features USB-C input for connecting to PCs with a single cable. This multi-purpose connectivity supplies up to 70W of power to connected devices. The CG2400S has a built-in sensor with the proprietary Colornavigator 7 colour management software, with automatic calibration at designated times. This ensures it maintains colour accuracy over time. In video production workflows, Sync Signal automatically adjusts the monitor’s settings, like input range and colour format, according to video signal. It is quiet without a cooling fan and comes with a light-shielding hood. A price has not yet been revealed. eizoglobal.com

An adapter to allow the Sony Burano, Venice and Venice 2 cameras to fit Arri LPL lenses, including the Signature Primes, has been launched by Simmod Lens. This is made of brass and stainless steel for durability and precision. The adapter is set to Arri LPL specifications and includes shims for calibration. It features a positive locking mechanism, knurled locking ring for easy lens changes and an LPL port cap with an Apple Air Tag compartment for tracking gear. The adapter costs $689, but no UK price has yet been set. simmodlens.com SIMMOD’S SIGNATURE SONY SOLUTION

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Sony’s new FE 16mm f/1.8 G is a premium lens from the G series that’s built to offer high resolution while being highly portable, thanks to its compact, lightweight design. Costing £849/$798, this super-wide prime includes two AA (advanced aspherical) elements for high resolution at all apertures. One super ED (extra-low dispersion) glass element and three ED elements suppress chromatic aberration, and an optimised coating minimises flare and ghosting. This G lens produces stunning bokeh with its large f/1.8 maximum setting and 11-blade circular aperture. Close-up performance is improved by a minimum focus distance of 0.15m/0.5ft and max magnification of 0.25x when using AF. The use of aspherical lens elements means the lens is a compact 73.8x75mm/3x3in linear motors ensure fast, precise AF and tracking. The lens is also built to reduce focus breathing for smoother video footage. The breathing compensation function provided in compatible Alpha bodies is supported, while in-body Active Mode image stabilisation can make it easier to capture stable footage while walking. It accepts standard 67mm front filters and is easy to balance on a gimbal. A focus ring, focus hold button, focus mode switch, aperture ring and iris lock switch are provided, and alternative functions can be assigned to the focus hold button. The aperture ring provides manual control with a click that can be turned on and off. The dust- and moisture-resistant design with a fluorine front-element coating fends off the elements and adds durability. sony.com and weighs just 304g/0.67lb. Two XD (extreme dynamic) SUPER SONY G WIDE LENS

Sony unveils longest E-mount optic

Two precision linear motors drive the focus group, while tracking keeps up with the 120fps maximum stills burst speed of the A9 III. A three-position focus range switch can also be used to minimise hunting, and focus breathing is suppressed for movie shooting. It’s built to be tough for outdoor use, with durable components and a non-removable foot. When using a tripod, the tripod foot can be rotated for horizontal or vertical orientation. Three focus hold buttons sit at 90° increments around the barrel, and other functions can be assigned to them as needed. The weather-sealed design has a front element with a fluorine coating to repel contaminants, as well as a new hood design with a lock button and filter opening. Full-time DMF automatically engages manual focus when the focus ring is operated, so it’s easy to apply fine manual adjustments or change the focus entirely.

TELYCAM’S BROADCAST PTZ HAS PHASE DETECTION AF A new 4K PTZ camera from Telycam combines a one-inch sensor and advanced phase detection autofocus (PDAF) with plenty of connectivity options. The Explore is a broadcast- class PTZ designed to boost quality in live production due to its nine- megapixel Sony sensor, which enables 4K video at 60fps. The large sensor size gives a boost in low-light performance with reduced noise levels, plus a wide dynamic range. The camera’s advanced PDAF is fast and precise, and can track fast-moving subjects. It’s built to integrate into lots of workflows, with IP and AV outputs A 400-800mm super-telephoto zoom is the longest lens from Sony to fit onto its E-mount mirrorless and cinema cameras. The G series lens has a variable aperture of f/6.3-8, as well as optical image stabilisation. The £2549/$2898 lens is claimed to offer beautiful bokeh, as well as fast, precise and accurate autofocus. The inner zoom design minimises change in the centre of gravity, and the lens length doesn’t change. It’s also compatible with Sony’s 1.4x and 2x teleconverters, ideal for shooting wildlife, birds, sports and aircraft. This latest super-telephoto features smooth zoom ring rotation for precise zooming, but is designed to prevent accidental focal length changes. The FE 400-800mm has an 11-blade circular aperture, six extra-low dispersion (ED) glass elements to control chromatic aberration, as well as suppress flare and ghosting in backlit conditions.

including NDI high bandwidth, NDI HX3, 12G-SDI with genlock, HDMI and SFP+ connectivity. AI-powered auto tracking and 20x optical zoom are supported by FreeD protocol to integrate with AR or VR productions. There’s a built-in variable ND filter, local recording to a micro SD card, a 3.5mm analogue audio input, mini XLR audio input with phantom power and POE++ support for power. Prices haven’t yet been announced. telycam.com

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Large-sensor shooting goes compact

size allows for reframing, bringing you in closer when needed. The camera features a dedicated dial on the top rear for easy switching between nine aspect ratios, including 3:4 and 17:6. A lever on the front of the camera allows use of a digital teleconverter, which can be switched to 45mm (equivalent to 36mm in 35mm format), 63mm (equivalent to 50mm) and 80mm (equivalent to 63mm). Equipped with the high-speed image processing engine X-Processor 5, its CMOS II sensor has improved pixel structure and microlenses to provide both a wide dynamic range and low noise. Autofocus is the latest AI-based subject detection system for stills and video. A 3.15-inch, 2.1-million-dot, two- axis tilt LCD monitor features a new user interface, and a new surround view function displays areas outside the shooting frame in a semi-transparent or line format based on aspect ratio. This function can be switched using a lever while looking through the viewfinder, offering an OVF-like experience and making you aware of what’s happening outside the frame. By adopting a leaf shutter mechanism and using a fixed-lens design, the camera becomes more compact and enables flash photography at any shutter speed. The GFX100RF is also compatible with the Frame.io Camera to Cloud service, allowing video and stills files to be uploaded directly, speeding up workflow. fujifilm-x.com

Although primarily a stills-style camera, the video specs are impressive. It can shoot Apple ProRes 422, HEVC/H.265 and H.264 in All-Intra or Long GOP compression. The camera maxes out at DCI 4K at 30p with a bit rate of up to 720Mbps, or switch to HD for 60p slow motion. There’s also F-Log and F-Log2 for maximum dynamic range, XLR audio support and USB-C recording to an SSD, which is required for ProRes formats as they are too large for memory cards. Additionally, the camera features a built-in four-stop ND filter. The 35mm lens is equivalent to 28mm in 35mm format. Fujifilm’s approach is that, though the lens is fixed, the large sensor

For anyone who has dreamed of shooting films on a genuine large format digital camera, but has been deterred by the cost and size of the kit, Fujifilm has the answer. The GFX100RF weighs just 735g with a lens, costs £4699/$4899 and is capable of recording C4K video from its 102-megapixel high-speed CMOS sensor. But there is a catch: its 35mm f/4 lens is fixed, and it is designed to mimic a traditional-style rangefinder stills camera. This new GFX is a cross between the trendy X Series Fujifilm cameras that use an APS-C sensor, but is fitted with the same 43.8x32.9mm sensor found in the GFX100 range of cameras.

SIRUI JOINS THE L-MOUNT POSSE Users of L-Mount cameras will now have an even greater choice of optics as Sirui has become the ninth brand to offer lenses for L-Mount cameras, joining Leica, Leitz, Panasonic, Sigma, Samyang, Blackmagic, DJI and Astrodesign. The 51.6mm mount diameter ensures the lenses are compatible with both full-frame and Super 35 sensors, while a short 20mm flange distance allows for more-compact lenses, particularly in wide-angle focal lengths. The first Sirui AF lens to be

The mount was developed by Leica, and all lenses made for the different systems within the L-Mount Alliance can be used on all cameras without adapters.

offered in L-Mount will be the full-frame Aurora 85mm f/1.4, with further AF lenses to follow. l-mount.com

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Panasonic’s Connect 4K cam

The CX370 supports 12G-SDI output for streaming low-latency uncompressed 4K video, as well as simultaneous 4K via SDI-HDMI outputs. Its 24.5mm wide-angle zoom lens boasts 20x optical zoom and features face detection, auto-tracking AF and five-axis hybrid image stabilisation. Two balanced XLR inputs and a 3.5mm stereo mini-jack input enable support for up to four external mics, or line-level audio for four-channel, 24-bit LPCM audio recording. The AVC- Ultra (P2 MXF) format supports the File Transfer Protocol, enabling clips to be shared via a wired network, Wi-Fi or USB tethering through a mobile phone. Prices have not yet been released. panasonic.com

The Panasonic AG-CX370 is the latest addition to the Connect CX series of professional camcorders. It features 4K image quality and IP-based live production capabilities in a compact, lightweight camera. The CX370 delivers 4K/60p 10-bit MOV recording with an HEVC/H.265 codec. It also features a high-definition, high-sensitivity 1.0- type, 15-megapixel MOS sensor and hybrid log-gamma for HDR recording. For broadcast-quality tuning, there’s 16-axis independent colour correction. Also included is built-in NDI HX2 connectivity for IP-based transmissions and camera control. And the CX370 supports 4K direct streaming via RTMP, RTMPS and RTSP, plus next-generation, IP-based SRT protocols.

GO FOR A VENICE MINI BREAK

ND filters, including a clear version developed to perfectly match the Venice 2 system. To aid mounting and rigging, the connection cable between the Extension System Mini and Venice camera body features a thinner, flexible and detachable cable. There are also multiple mounting points. Place multiple units of the new Mini side by side for stereoscopic imaging, and use it to create VR content and VFX plates in arrays. sony.com

If your Sony Venice 2 is just too big to squeeze into small spaces or use on a gimbal, then the new Venice Extension System Mini is for you. It’s a unit with the same 8K sensor but 70% smaller than the existing Venice 2 Extension System. With a footprint the size of a typical smartphone, the new Mini is designed to be durable and used for handheld shots and extreme action where the highest quality is key. It features a custom drop-in ND cartridge system with nine glass

A 20mm ultra wide-angle lens is the fourth addition to Canon’s hybrid prime RF series, designed for creators who switch between photo and video. The £1919/$1699 RF 20mm f/1.4 L VCM features quiet, precise AF. It has dramatically reduced focus breathing compared to a non-VCM lens and a separate iris ring for movie shooting. The UD and Super UD elements and Blue Refractive (BR) optics also help reduce the colour bleeding that tends to occur with large-aperture lenses. canon.co.uk MORE HYBRID GLASS FROM CANON

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Atomos expands its product range

All models include NDI|HX3, support H.265, H.264 and MJPEG compression, and feature output options including HDMI, 3G-SDI, USB and IP streaming via RTSP, RTMP and ONVIF. Power over Ethernet (PoE+) support means a single cable can deliver power, video and control. Using industry-standard protocols and connections, the A-Eye series slots into existing multicamera workflows. Also new from the Australian brand is the $199 Studiosonic, professional wired over-ear headphones crafted for editing and professional-level monitoring. Instead of being built for listening to music, these provide true-to-source audio precision. Featuring 50mm high-resolution drivers and an ultra-wide frequency response of 10Hz-40kHz, the Studiosonic production headphones reveal the full range of audio without any artificial enhancements. With 105dB sensitivity and 30Ω impedance, the headphones are ideal for field recorders and mobile devices without requiring an external amplifier. The closed-back, over-ear design aids passive noise isolation, while ultra-soft memory foam earpads and a cushioned adjustable headband boost comfort.

The world’s best-known brand of monitor- recorders continues to branch out following the launch of AI-enhanced PTZ cameras, as well as a controller, headphones and wireless video system. The new Atomos A-Eye series makes multicamera production both simple and scalable, and is aimed at content and live event coverage by combining intelligent tracking with high-quality video. Top of the range is the $2299 4K-20X, a 4K model with a 1/1.8-inch UHD CMOS sensor and 20x optical zoom, built for large venues and pro multicamera productions. Below that sits the more compact $1899 4K-12X, featuring a 1/2.5-inch UHD CMOS sensor and 12x optical zoom, perfect for creators. For HD-only set-ups, the $1399 HD-20X offers a 1/2.8-inch CMOS sensor with 2.07 megapixels and 20x optical zoom. Also in the line-up is the $999 A-Eye Control, a dedicated remote-control hub that enables multicamera operation, preset switching and remote production over IP. With real-time AI-powered tracking and advanced PTZ motion (±170° pan and -30 to +90° tilt range), A-Eye cameras follow subjects with smooth, precise movement for optimal tracking.

The 180° swivel earcups support one-ear monitoring, and a detachable 2m coiled cable offers flexible movement. Plus, dual 3.5mm and 6.3mm jack plugs mean you can connect without adapters. Finally comes the new Atomos TX-RX wireless video transmitter and receiver system, which delivers low-latency HD-SDI and 4K HDMI video over 5G Wi-Fi transmission for wireless on-set monitoring. This allows video monitoring from camera to monitor, from monitor to monitor and even to a smart device. The TX-RX transmits a 4K/30p signal over HDMI and 1080/60p over SDI, with a range of up to 300m/985ft and latency as low as 0.06sec. Boasting SDI and HDMI outputs, the receiver enables use of multiple monitors at once. Supporting up to four receivers per transmitter, the TX-RX works for multicamera, multimonitor workflows. It can be powered by 9-16v DC input, USB-C at 5v/2A or standard NP-F batteries. The kit costs $599, although no UK prices have yet been set for any products. atomos.com

OH WHAT AN ATOMOSPHERE!

to allow filmmakers to register their devices, manage cloud storage, upload and share media and collaborate with clients. It’s designed to be fast, open and adaptable. Registered Atomos members receive a free Atomosphere Starter Plan, which includes 20GB of cloud storage. Owners of a cloud-connected Ninja or Shogun monitor-recorder can begin uploading video as it’s being captured by pairing it with their Atomosphere account.

The Atomosphere is a powerful, new cloud-based production ecosystem and membership platform that integrates with cloud-connected Atomos Ninja and Shogun monitor-recorders. It’s also designed to work with files from any camera or recorder, while supporting cloud-based file transfers for integration with any editing system or delivery platform. Atomosphere is part of a streamlined Atomos membership environment

Paid storage plans start from just $10 per month for 500GB, or a $159 annual plan for 1TB. No UK prices have been set.

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