When it comes to the world of professional filmmaking, nothing comes close to Pro Moviemaker magazine which is packed with information, advice, equipment tests and guidance to help you and your business. This new issue is packed with great kit, as we reveal the winners in our annual Gear of the Year awards. We test the latest Red Komodo 6K cinema camera, and take a look at the all new tech in mirrorless from full-frame to crop-sensor. We check out lights, editing kit, drones, filters, lenses and more to help independent moviemakers everywhere.
The latest compact wonder cameras NEW-SCHOOL MIRRORLESS
All the kit you need for excellent edits VIDEOEDITING SPECIAL
Taking the drone exam to fly legally! FLIGHT SCHOOL
MARCH/APRIL 2021 @ProMoviemaker
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TESTED DRAGON SLAYER! WHYTHE KOMODO IS THE NEWBIG KAHUNAOF RED 6KCAMERAS
The new Canon camcorder – ideal for streaming Tested: Sirui 24mm anamorphic lens, the Hollyland Lark 150 audio system and a set of affordable diffusion filters
Our guide to the best portable LED panels LIGHTING ON LOCATION GEAR FOCUS
Shocking new-look cameras from Sony and Blackmagic HOTHYBRIDS BREAKCOVER LATEST TECH
IMAGE You don’t need a new Sony FX3 to fuel your creative juices, but it might help!
The ultimate magazine for next generation filmmakers
Editor in chief Adam Duckworth Chief sub editor Alex Bell Sub editor Elisha Young Junior sub editor Jack Nason EDITORIAL ADVERTISING Group ad manager Sam Scott-Smith 01223 499457 samscott-smith@bright-publishing.com Senior sales executive Jemma Farrell-Shaw jemmafarrell-shaw@bright-publishing.com DESIGN Design director Andy Jennings Design manager Alan Gray Senior designer Lucy Woolcomb Designer and ad production Man-Wai Wong PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:
It’s not about the gear, it’s what you do with it. Lies, all lies, of course. Having the right equipment to do the job properly is what marks out a professional filmmaker who has to get results every time, without fail. It’s no good turning up to a run-and-gun stealthy documentary in near darkness with a 12K cinema camera on your shoulder, complete with rig and rails, cine zoom lens, large matte box, LED light, wireless transmitter, huge batteries and a separate soundman with a blimp on the end of a boom. Or trying to shoot slow-motion close-ups of condensation running evocatively down a chilled beer bottle for a global TV ad, if you are using a three-chip HD camcorder with no tripod or lights. It just isn’t going to happen. Using the right gear is essential. However, it’s a minefield selecting the right bit of kit. It might not be your first rodeo, but it could well be your first time buying a specialist bit of kit. That’s where the Pro Moviemaker Gear of the Year Awards come in, where real, working filmmakers vote for the equipment they value, that has made a real difference to their lives. Go with any of our award-winners, and you can be sure of top-quality, proven kit. From the Sony A7S III to Blackmagic Ursa Mini Pro G2, Sigma 18-35mmT2 cine prime, Schneider-Kreuznach True-Streak filters, Manfrotto Gimbal 460, Sennheiser MKE 600 mic and Rode Videomic NTG, to Peli’s 1607 Air Case, Atomos Ninja Vmonitor/recorder and lots more, these are all worthy winners. And worthy of your hard-earned cash. While all of this equipment will give years of service, technology moves at such an incredible pace that, since our award nominations were issued, there has been a flurry of new kit launched. The Sony A1 mirrorless camera, with staggering 8K video spec and 30fps stills performance from its 50-megapixel sensor, has created a big splash. And the new Sony FX3, which takes the A7S III spec and houses it in a more cinema-style body, is also very exciting. As is the Blackmagic Pocket Cinema Camera 6K Pro, a mirrorless-style camera with a huge, five-inch rear monitor and built-in ND filters and optional EVF. Just when you think cameras have reached the pinnacle, then true innovation comes through to take things on evenmore. And, while you couldmanage with the filmmaking kit you have right now, there’s nothing like embracing the latest technology to help you get even better results – or make your life easier, enabling you to focus on creativity. As the world slowly starts to come out of the global pandemic and lockdown, the best filmmakers will use that pent-up frustration of the past year and channel it into creativity. And a new bit of gear might just fire up those juices evenmore.
Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ
Pro Moviemaker is published bimonthly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. ISSN number: 2045-3892. Pro Moviemaker is a registered trademark of Bright Publishing Ltd. The advertisements published in Pro Moviemaker that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. Prices quoted are street prices. In sterling they include VAT but US dollar prices are without local sales taxes. Prices are where available or converted using the exchange rate on the day the magazine went to press.
ADAM DUCKWORTH, EDITOR IN CHIEF
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The ultimate magazine for next generation filmmakers
MARCH/APRIL 2021 CONTENTS
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AGENDA 8 CANON’S STREAMING STAR
The compact, but powerful XA45 camcorder that’s perfect for streaming and broadcast finally goes on sale in Europe. Plus, Atomos reveals Ninja V compatibility for cinema cameras and Lexar launches big and speedy new SD cards. 12 SONY’S CINEMA LINE SURPRISE! Hot on the heels of the A7S III and A1 mirrorless cameras comes this latest hybrid of Sony’s mirrorless line. Part Alpha series and part FX cinema camera, the A-branded FX3 is a brave new concept.
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GOTY! 15 ALL HAIL THE BEST OF THE BEST!
The winners are announced in the annual Pro Moviemaker Gear of the Year Awards, where the very best hardware and software is honoured by real filmmakers.
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AERIAL 30 TESTING TIMES FOR DRONE USERS
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We take the new A2 CofC course and examine how to get legal permission to fly a consumer drone for commercial work. Discover how hard it is, what it costs and lots more implications you may not have considered. Plus, how to decode an airport weather report!
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The ultimate magazine for next generation filmmakers
GEAR 38 THE LATEST MIRRORLESS CAMERA TECH The world of mirrorless cameras has seen a flurry of new launches and upgraded tech. Check out our choices for filmmaking, from large-sensor and high-resolution monsters, to compact and affordable options. 42 LIGHTING ON LOCATION We take a look at the best lighting kit to take on location to give your films a real boost in production quality. From on-camera LEDs to larger light panels that can work on batteries – it’s a must-read. 48 MINI TESTS We put an affordable Sirui 24mm anamorphic lens through its paces, a Samsung SSD that’s ideal for monitor/recorders, a unique twin-mic audio system perfect for small cameras and a range of filters. 52 RED’S 6K SUPER-CAM! Always dreamed of owning a Red camera, but get put off by the high price and lack of decent autofocus? The new Komodo could be the answer to your dreams, and it has From software to hardware, monitors and calibration kit to keyboards and more, check out some of the best kit to help you make excellent edits. 52 a global shutter to stop the jello effect! 63 BUYERS’ GUIDE: EDITING KIT
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AGENDA NEWS
BIG UPGRADE FOR EXTREME MINI SWITCHERS
connections and multiple HDMI aux outputs.
A pair of more powerful models of Blackmagic’s AtemMini switcher now include eight inputs, four chroma
The AtemMini Extreme ISO model has an even more powerful recording engine that can record all eight inputs, plus the programme, for a total of nine streams. Both new models include a broadcast-quality streaming engine for live streaming to YouTube, Facebook, Twitter and more. The new switchers are also ideal for business presentations using Skype
keyers, 16-way multiview, two downstream keyers, two media players and more.
or Zoom, as users can switch up to eight video camera inputs, or connect a computer for PowerPoint slides or gaming consoles. The AtemMini Extreme is £922/ $995 and AtemMini Extreme ISO £1198/$1295, available now.
The new AtemMini Extreme and AtemMini Extreme ISO are much larger and feature-packed versions of the popular AtemMini live production switcher. The new models have a total of six independent DVEs, two USB
Pocket Camera goes fully Pro!
A new broadcast transmitter from Blackmagic includes a powerful H.264 encoder for live streaming to YouTube, Facebook, Twitter and other popular media players. It’s like a modern broadcast television transmitter for streaming The £467/$495 Web Presenter HD is a self-contained unit that includes a 12G-SDI input with down converter, to allow connection to HD or Ultra HD equipment for streaming in full 1080p video. It has a front panel with LCD and menus, USB webcam features, plus a unique monitoring output with audio meters, streaming status and full SDI, with embedded audio technical details. The built-in USB connections work like a webcam, so it’s easy to connect a computer and streaming software, Skype or Zoom. blackmagicdesign.com WEB STREAMING MADE EASY
fifth-generation, Gen 5 colour science as the high-end Ursa Mini Pro 12K. This allows for a new 12-bit gamma curve, designed to capture more colour data in the highlights and shadows. The camera has a 6144x3456 pixel Super 35 HDR image sensor with 13 stops of dynamic range, dual native ISO and the popular Canon EF lens mount, as well as twomini XLR audio inputs. Recording is up to 60fps in full resolution, or 120fps windowed using standard open file formats to avoid transcodingmedia. It records in industry-standard, 10-bit Apple ProRes in all formats up to 4K, or 12-bit Blackmagic Raw in all formats up to 6K. The 6K Pro costs £2255/$2495 and, like all Pocket Cinema Camera models, comes with a full version of DaVinci Resolve Studio software included.
Blackmagic’s popular Pocket Cinema Camera 6K has been upgraded to a ‘Pro’ model, which includes built-in ND filters, an adjustable HDR screen, improved colour science, a larger battery and optional viewfinder. The Promodel is the first mirrorless-style compact camera to include built-in ND filters. As a second boost for handling and ergonomics, the Pocket Cinema Camera 6K Pro supports an optional viewfinder. It has a 1280x960 colour OLED display, with a built-in proximity sensor and four-element glass diopter adjustment that varies from -4 to +4. A built-in digital focus chart ensures it’s easy to choose the right setting. The £510/$495 EVF slips on using a single connector, has a 70° swivel range and comes with four different types of eyecups for both left and right eyes. The large HDR touchscreen is now brighter at 1500 nits, and on-screen overlays show histograms, focus peaking, audio levels, frame guides andmore. What’s more, it now tilts. While the standard Pocket Cinema Camera 4K and 6Kmodels use removable LP-E6 type batteries, the 6K Promodel uses larger NP-F batteries and a locking DC power connector. The included AC plug pack can power the camera and charge the battery simultaneously, the USB-C expansion port can also trickle charge the battery, and an optional battery grip allows use of extra batteries. The 6K Promodel now has the same
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AGENDA NEWS
NINJA V KIT TARGETS CINEMA CAMERAS The Atomos Ninja V monitor-recorder now comes in a £990/$949 Pro kit,which enables it to be used as a Raw recorder on lots of cinema cameras that output via 12G SDI. That includes the Canon C300 Mark II, Panasonic Varicam LT and EVA1 and Sony FX6, as well as the Sony FX9 with the XDCA adapter. It also works with Red and Arri cameras, capturing time code. However, it does not work on Sony’s FS range, which need the larger Atomos Shogun. The Ninja V has revolutionised filmmaking with many mirrorless cameras, as it enables ProRes Raw recording via HDMI on the Panasonic Lumix S cameras, Sony A7 series, Nikon Z cameras and more. The new Pro kit includes the Ninja V, AtomX SDI module with activation for the new Raw functionality, HDMI to SDI cross conversion, along with the locking DC to
Lexar’s affordable new Professional 1066x SDXC UHS-I Silver Series memory cards offer speeds up to 160MB/s up to 512GB capacity. The Class 10 cards are ideal for 4K video as they are classed as UHS-I, UHS Speed Class 3 (U3) and Video Speed Class 30 (V30). They are also built to be water, shock, vibration and X-ray proof. Starting at £27/$18 for a 64GB model, the flagship 512GB is £156/$140. lexar.com LEXAR GOES BIGWITH SILVER SERIES
D-Tap cable to power from the camera’s battery. It also includes a sunhood. Ninja V owners will be able to upgrade their units with the £162/$199 AtomX SDI module and £70/$99 firmware activation key. There is also a new, free firmware for the Ninja V. This enables time-lapse sequences to be captured in a single video file in ProRes, ProRes Raw or Dnx via HDMI and SDI. And there are upgrades to improve communication with the Leica SL2S, Canon EOS-1DX Mk III and Z Cam cameras. atomos.com
Canon XA45 gets worldwide release
The long-awaited Canon XA45 4K camcorder is finally going on sale in Europe, thanks to demand from live streaming production companies who want a small camera capable of outputting via 3G-SDI. It is based on the current XA40, which omits SDI connectivity. It’s been a popular camera in the US since launch last year. The £1820/$1999 XA45 has a 1⁄2.3- inch type CMOS sensor and can record in 4K UHD or Full HD in XF-AVC, and MP4 codecs with a maximum bit rate of 160Mbps to SD cards. It’s a step up from the popular XA15 and XA11 cameras. In Full HDmode the XA45 offers 25p and 50p plus 50i, ideal for streaming and broadcast. Unlike the XA40, which has just HDMI output, the XA45 adds SDI for integration into multiple live streaming set-ups. The 20x optical zoom can also be
A detachable handle has two XLR connectors for external microphones, supporting two or four channel audio recording. It also has line, mic and 48V Phantom inputs and an on-board stereo microphone, plus a standard 3.5mm stereo jack plug which can also supply power to an external microphone. canon.com
boosted using a built-in 2x extender. There are three built-in image stabilisation modes to take out the shakes. To customise the look of the footage, image settings such as sharpness, saturation, skin detail and noise reduction can be adjusted. And assignable buttons can be set to operate functions such as zebra, peaking and markers.
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AGENDA NEWS
DJI’s speedy newdrone
Drone giant DJI has joined the market for first-person view (FPV) drones, launching a camera aircraft packed with unique technology. The model combines the FPV capability and high-speed performance of racing drones, the cinematic camera sweep plus safety and transmission technology of DJI consumer drones, with an innovative, single-handed motion controller. The latter accessory, an optional extra, allows the user to control the drone with simple hand movements. While many FPV drones are built from scratch, DJI is the first big player to release its own camera drone that the user controls wearing VR goggles. The drone, a pair of goggles and a remote controller may be key elements of the FPV experience, but the camera remains the crucial component, capturing 4K video at 60fps, using DJI’s electronic image stabilisation. Safety features include a new emergency brake and hover feature that makes flying safer for new users, as well as DJI’s GPS-based geofencing to advise pilots of airspace restrictions and
Manual mode offers full control, disabling sensors and hovering features. Sport mode retains the fast movements possible in Manual mode, and combines these with the key safety features fromNormal mode. The standard DJI FPV Combo includes the drone, remote controller 2, FPV Goggles V2, the required cables and one battery for £1249/$1299. The optional motion controller costs £139/$199. dji.com
automatically prevent drones from flying near high-risk locations, such as airports. The FPV also features DJI’s AirSense system to warn the user that planes or helicopters are nearby. In countries such as the UK, a visual observer must be present if the operator is flying with FPV goggles. In Normal mode, the DJI FPV hovers using GPS and its own sensors. Obstacle detection sensors on the front can be activated to warn when obstacles are near.
SIGMA’S WIDE-APERTURE MIRRORLESS ZOOM
Sigma has answered the call for a fast, yet affordable standard zoom for full-frame mirrorless cameras, with its new 28-70mm f/2.8 DG DN Contemporary lens. The optical design is based on the existing 24-70mm f/2.8 DG DN Art lens, but has a focal range starting at 28mm. It’s significantly smaller and lighter, there are fewer lens elements and it also costs a third less. The 28-70mm f/2.8 optic has a nine-bladed iris and 16 lens elements in 12 groups. There are three aspherical, two FLD and two SLD elements. Along with its anti-ghosting design, the use of Super Multi-Layer Coating and Nano Porous Coating controls flare for high-contrast results in backlit conditions. It also features a water- and oil-repellent coating on the front. It comes in Sony E-mount and Leica L-Mount, complete with a petal-style lens hood, and is on sale now for £760/$899. sigma-global.com
BECOME AN AVID FAN Avid has launched its own Edit On Demand as a subscription service, so teams can access secure post-production in the cloud. Edit On Demand was used by more than 60media companies during the pandemic, transitioning their teams to remote working. Due to its success, it has now been rolled out in full, enabling access to the AvidMedia Composer editing software and Avid Nexis cloud storage. Avid customers can log on to their account and configure an Edit On Demand subscription. Editors can use their laptop or mobile device to connect to a fully configured, virtualisedMedia Composer system and an Avid Nexis workspace in the cloud. avid.com
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NEWS
RYCOTE USES GITZO TECH FOR BOOMS developed with legendary tripod manufacturer Gitzo, combining cutting-edge tube and locking technology with noise-free sound expertise. Rycote is the world leader in shock and wind protection for audio on location, but has now added this microphone boom pole range to provide a fully integrated system. The lightweight poles guarantee minimum flex, even when fully extended, applying fast and secure twist-locking mechanisms. Both the 3/8in threaded male tip and rubberised bottom- end cap are removable to allow for internal cabling. The Rycote five-section, Rycote’s new premium range of carbon-fibre boom poles has been carbon-fibre microphone boom poles are available in three different lengths, each with a rated payload of 5kg/11.02lb. The Mic Boom Small is £290/£330, extending to 200cm/78.74in; Medium is £404/$460 and 330cm/129.92in; Large costs £465/$530 and extends to 420cm/165.35in. rycote.com
L-Mount Panasonic lens range grows The range of lenses to fit Panasonic’s full-frame mirrorless cameras has grown applications, or carabiner-style rigging clips for suspension. The balloon is illuminated by removable and interchangeable bi-colour or single-colour LED patches. Light temperature and intensity can be controlled via a wired or wireless DMX transmitter. airstar-light.com PUMP UP YOUR LIGHTING GAME Best known for its large, helium-inflated balloon lights, Airstar’s new Neo Film offers the same glare-free coverage in a much smaller design. Similar in concept to the company’s larger lights, Neo Film is also inflated with air, but this light uses a contained pressure system to maintain its tube shape and 240° diffusion angle. The balloon can be filled and capped in seconds. While the smallest unit weighs 476g/1.04lb, the largest tops the scales at just 1800g/3.9lb, making it easy to carry or hold for extended periods. Moreover, optional battery packs render the units portable. Available in lengths of 1.2m/3.9ft, 2.2m/7.2ft and 4.4m/14.4 ft, Neo Film can be handheld, used on a stand or suspended. A price has yet to be announced. Mounting options include durable handles, Velcro loops for truss and pipe
magnification of 0.5x at 300mm. The rounded aperture has an 11-bladed iris and the lens is protected against the elements. All Lumix S Series lenses have a mechanism that minimises focus breathing and suppresses focus shift during zooming. panasonic.com
again, with the Lumix S 70-300mm f/4.5-5.6 Macro OIS. Three more f/1.8 large-aperture lenses are set to launch, according to Panasonic’s lens road map: these are 24mm, 35mm and 50mm primes. The new 70-300mm f/4.5-5.6 Macro has high-speed, high-precision AF and Dual Image Stabilisation. It is set to cost £1260/$998 when it goes on sale in May. The optic has 17 lens elements in 11 groups, including one UED (ultra extra-low dispersion) lens, two ED (extra-low dispersion) lenses and one UHR (ultra-high refractive index) lens. The minimum focusing distance is 540mm/21.2in and the lens achieves a maximum
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AGENDA NEWS
The ultimate in audiokit
Australian audio expert Rode has totally revamped its Wireless GO system to include dual channel recording, extended range, internal recording to transmitter units and compatibility with cameras, as well as mobile devices and computers. Each £279/$299 kit now contains two transmitters and a single receiver, allowing capture of two sound sources simultaneously – ideal for recording interviews or two-person vlogs. The Wireless GO II features a 3.5mm analogue TRS output for cameras, plus a digital audio output via USB-C for smart devices and computers. The system also has on-board recording, as each transmitter can record more than 24 hours of audio to its internal memory as a backup recording. This feature is activated via the new Rode Central app, that gives access to firmware updates and advanced features such as activation of the safety channel. This records a second track at -20dB in case the main channel distorts. The award- winning VideoMic NTG and others will be able to use the app in future. The Wireless GO II can switch between mono and stereo modes, with a mute button and rechargeable lithium-ion batteries that last up to seven hours. rode.com
SONY’S COOL CINEMA SIBLING Take the guts of the popular Sony A7S III mirrorless camera, house it in a body that has mounting holes for accessories, remove the EVF, but add a cooling fan and obvious tally lights to let you know you are recording. And what you have is the basic spec of the new Sony FX3. It’s almost like a pair of non-identical twins. It’s a new camera that really does blur the lines between the mirrorless Alpha series and Sony’s Cinema Line. It even has badges that say both Alpha and Cinema Line. Coming in at £4199/$3898 – which is £400/$400 more than the A7S III – it is designed primarily for filmmakers, as it comes with a top handle that has full-size XLR audio inputs. The camera also has standard headphone and mic input jacks, too. The spec is identical to the A7S III in terms of the 4K sensor, codecs, frame
rates, phase-detection autofocus, vari-angle screen and stills photography spec, too. It does come standard with the S-Cinetone colour science, which was made available via a free firmware update to the A7S III a few days after the FX3 was launched. The ace up its sleeve is the cooling fan to extend the amount of time you can record in, before heat forces the camera to shut down. A menu allows the fan to always be set to on or off, or set to minimum or auto mode.
The body has three standard 1/4in- 20 threaded holes on the top and one on either side to attach accessories, so in theory you wouldn’t need to fit a cage to the FX3. And the rear controls are labelled with video-specific functions like zebra, peaking and focus magnifier. The top handle has professional-level audio controls and twin XLR inputs. But there is no EVF, not even as an optional extra. If you want a camera with an EVF, you need the A7S III. sony.com
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PRO MOVIEMAKER
SCHNEIDER-KREUZNACH ADVERTISEMENT FEATURE
Aflare for visuals Can you imagine capturing dazzling anamorphic flares with any lens you own? Well, now you can, thanks to Schneider-Kreuznach True-Streak Filters. Alan Stockdale has the lowdown M y work is very much based onmovement andmusic,” explains Alan Stockdale, the
creative behind Foundlight Productions. “Recently, this has been everything from capturing skateboarders in top-down lighting for moody shadows, to hauling an LED panel up a tree to filmdancers in the woods. And, 99%of the time, it’s just me. I come up with the concepts and do the pre- production, shoot, edit and sound design all by myself. I love the whole process.” Like many working filmmakers, Stockdale sets a high bar when it comes to kit, and holds on to even higher creative ambitions. For this fan-turned- ambassador, there are few products ranked so highly as the Schneider-Kreuznach True-Streak Filter. Simple in concept, yet nuanced in design, True-Streak emulates the lineal lens flares of cinema’s beloved anamorphic lenses. As well as traditional blue, lens flares can be captured in an array of colours, such as violet, gold and rainbow. “There was one particularly memorable music video where I was being wheeled around, shooting with the camera in an underslung position on a gimbal, using a 24mm lens with a 2mmblue True-Streak. I was still able to autofocus accurately between faces, even with the filter on, and the flares looked fantastic,” says Stockdale. “Streaks come and go naturally behind a backlit subject. You can tell it’s not a plug-in and hasn’t just been thrown on in post. It’s much closer in that sense to a
ABOVE Gorgeous flares appear naturally, offering more realistic results than computer-generated streaks, saving you lots of time in post BELOW Streaking lens flares can be significant and eye-catching, or smaller and more subtle, thanks to the various strengths of True-Streak filters available
because I like to keepmy rigs quite small andmanageable, so I can go handheld and manoeuvre around. The matte box that I use the most is actually just a small rubber design that clamps on to the lens, then you can pop a filter in there. It’s really light and doesn’t require any rods, so for that, the True-Streak is a perfect fit. “Operating this way, it’s much easier to put this small system and the True-Streak inmy bag, so it’s there in case I need it. There’s nothing extra and unnecessary involved – you can simply achieve that desirable anamorphic look using something muchmore accessible andmuch less expensive, but high-quality and rugged.” He concludes: “I really haven’t used another filter quite like this one. Quality is high. I’ve never experienced anything other than a consistent image corner to corner and the exact effect it’s been designed for. “I love all the Schneider-Kreuznach filters, but I definitely have a place inmy heart for the real ‘wow factor’ ones, like the True-Streak.”
true anamorphic lens. The effect is done in-camera and captured live on the lens, and that’s the beauty of it for me. You don’t have to spend ages tracking andmasking in and out flares if you want them to disappear – it’s just done and it’s there. It looks natural because it is natural.” The filters are available in strengths from 1mm to 4mm, so you can control of the length and intensity of the flare. They’re versatile in size, too – available in 4x4in, 4x5.65in, 6.6x6.6in and spherical options. “I’mnot a fan of huge matte boxes and I’mnot somebody who layers filter upon filter,” Stockdale explains. “Mostly, it’s
More information schneiderkreuznach.com/en
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AWARDS
THEWINNERS
Thousands of filmmakers have spoken… so welcome to the fourth annual ProMoviemaker Gear of the Year Awards TOP GEAR!
T here are literally thousands of filmmaking products you could spend your hard-earned cash on. Cameras, lenses, filters, tripods, hard drives, mics, bags, gimbals… the list goes on. But choosing the best from the bewildering choice available can be tough. That’s why we have the Pro Moviemaker Gear of the Year Awards, which are all about honouring the hardware and software we rely on so heavily. You can buy any of these award- winners with the confidence that they
to see what has been honoured, as established cameras are still popular. For the second year running, we’re also giving out six Editor’s Choice awards, for products we feel deserve special recognition in some key categories. These are featured alongside the products voted for by readers of Pro Moviemaker , who have cast their votes in favour of the products that are simply the best! Without further ado, it’s time to reveal the winners of the Pro Moviemaker Gear of the Year Awards…
have been given the thumbs-up by thousands of professional filmmakers, in what we like to think of as the Oscars of filmmaking gear. Certainly, technology and equipment continue to play a huge part in turning creative vision into a final film. That’s why reliable kit is essential for working filmmakers who use their gear every day to make a living. As you might expect, the focus tends to be on cameras, and although there have been lots of new models launched, you might be surprised
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AWARDS GEAR OF THE YEAR
Mirrorless
Sony A7S III Editor’s choice: Panasonic S5 DSLR Canon EOS-1D X Mark III Camcorder JVC HC500 Cinema camera Blackmagic Ursa Mini Pro 4.6K G2 Editor’s choice: Canon EOS C300 Mark III
CAMERAS It’s been a year like no other, both in terms of the global pandemic we’ve experienced and the sheer volume and quality of new camera releases. From full-frame cinema cameras like the Sony FX9 and Canon’s C500 Mark II, tomirrorless powerhouses such as the Panasonic S5, Sony
EDITOR’S CHOICE: CANON EOS C300 MARK III
Capable of shooting 10fps stills, it is an ideal hybrid camera for those who needmore than just the odd stills frame for thumbnails. It’s a great all-round camera, with impressive low-light performance, and even though you need the new CFexpress Type A cards to unlock the most data-hungry codecs, it also accepts fast SD cards, too. As for the DSLR category, it hasn’t really been a hotbed of innovation in recent years. Many professional filmmakers started out using DSLRs, but they’re highly unlikely to be used as a main camera nowadays. However, all of this changed last year after Canon unveiled the staggeringly good EOS-1D XMark III with spec that very few cameras canmatch. Originally launched as a camera to steal the thunder at the Tokyo Olympics, it’s the perfect stills camera for sports shooters, and it also boasts video spec that’s difficult to ignore. The rugged EOS-1D XMark III is our winner in the DSLR category this year. It offers deep-learning AF technology and 5.5K Raw video, and captures full-frame 4K/60p with Canon Log and H.265, or 5.5K Raw footage. Its 20.1-megapixel sensor is great in low light, with a maximum ISO of 102,400, which is expandable to 819,200. This DSLR delivers
The Canon EOS C300 Mark III is Editor’s Choice in the Cinema Camera category, as it uses a whole new body design, like the full-frame EOS C500 Mark II, but has a Super 35 4K DGO sensor and records in Cinema Raw Light. It offers high dynamic range and Dual Pixel CMOS AF, and delivers a high-resolution image with 16+ stops of latitude. It also has an impressive low-light capability, with improved low noise and ISO up to 102,400. There is five-axis electronic image stabilisation in the camera body, and intuitive touch focus operation with the 4.3-inch LCD monitor, as well as an improved focus control that recreates a natural focus pull. The EOS C300 Mark III also has an optional interchangeable lens mount, while dual card slots enable simultaneous internal recording of 4K Cinema Raw Light files (10/12-bit) or 4K XF-AVC files (4:2:2 10-bit) on to CFexpress cards. It’s a great do-everything camera.
A7S III, Blackmagic Pocket Cinema Camera 6K and FujifilmX-T4, there are somany great cameras packed with technology. Perhaps the most eagerly awaited camera for years, the Sony A7S III, finally hit the market, which came as a replacement for the A7S II that had proved a workhorse camera for somany. The new version is a huge leap ahead in spec and became an instant sell-out success. That’s why it’s the clear winner in the Mirrorless category. Although it lacks the internal Canon Raw Light recording and ultimate 8K resolution of the rival Canon EOS R5, it doesn’t have any overheating issues. It also has fast frame rates and internal 10-bit 4:2:2 recording in a range of flavours up to 4K/120p, all packed into a redesigned body with a flip-out screen. And the incredible in-body image stabilisation and impressive autofocus systemwork at all frame rates, right up to 240fps slow motion in HD.
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EDITOR’S CHOICE: PANASONIC S5 The Panasonic Lumix S5 is the Editor’s Choice mirrorless
HLG colour for easy HDR. And a dual native ISO sensor, which bases at 640 and 4000 ISO when shooting Log. There is also waveform monitoring, five-axis in-body image stabilisation, speedy 180fps HD recording and 10-bit internal video capture in a wide range of codecs. It’s a stunner at a great price.
The Lumix S5 has the same sensor as the flagship S1H, and while it’s true the S5 doesn’t have everything the S1H has, it still retains a huge amount of the spec and tools. It offers V-Log like the S1H and Panasonic Varicam cinema cameras, full LUT support and anamorphic shooting with an in-camera de-squeeze, plus
this year. It offers lots of the spec of the flagship
Panasonic S1H, but in a body that’s much smaller and at a more affordable price. For those who have been asking for a full-frame version of the legendary Panasonic GH5, this is it.
“The Blackmagic UrsaMini Pro G2 remains one of the best-performing andmost affordable cinema cameras”
range. It also uses Blackmagic Raw, which allows the camera to shoot in up to 300fps in some codecs. If you want full sensor 4.6K images, you can go as high as 120fps, while windowed 4K DCI and 4Kmaxes out at 150fps and windowed 2K DCI and 1080 HD gives the headline 300fps, all in Blackmagic Raw. One of the by-products of the lockdown has been the explosion in streaming, so it’s perhaps fitting that the award for the Camcorder category once again goes to JVC’s HC500. Although the Canon XF705 won a legion of fans thanks to its advanced technology, the far more affordable HC500 got themost votes.
outstanding dynamic range, all recorded to twin CFexpress cards. In the Cinema Camera category, there has been a flurry of new arrivals, such as the Canon EOS C500 Mark II and C300Mark III, as well as the Sony FX9. But proving you don’t need a full-frame sensor to be the new kid on the block, the Super 35 Blackmagic Ursa Mini Pro G2 takes the honours for a second consecutive year. That’s because it remains one of the best-performing, most affordable cinema cameras you can buy, with very fast frame rates and a 4.6K HDR image sensor that gives up to 15 stops of dynamic
It features a one-inch 4K CMOS sensor, plus a 20x lens with traditional three-ring control, a high-resolution viewfinder, it can record up to 12 stops of dynamic range, and there is HDR and HLG colour. It also records to SSDs in 10-bit ProRes 422 at 4K in 50/60p and offers class-leading connectivity, with live streaming, FTP file transfer and remote camera control – as you’d expect from JVC. It’s one company that really takes streaming seriously, and this award is clear proof this is working.
ABOVE The Sony A7S III, JVC HC500 and Blackmagic Ursa Mini Pro G2 are all winners this year
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SENNHEISER ADVERTISEMENT FEATURE IMAGES Mounted directly on-camera or on a more sizeable rig, the MKE 600 takes up little space, but offers massive potential when it comes to professional, highly directional sound
Shotgun accuracy
If outstanding audio quality is what you’re after, it’s best to opt for the shotgun approach, and few are held in such high regard as the Sennheiser MKE 600
I n video journalism, documentary, and even narrative filmmaking, there are countless requirements for highly precise sound. In those instances, the tried-and-tested tool for the job is the shotgun microphone. More advanced professional options such as the Sennheiser MKE 600, winner of the Microphone XLR category in our Gear of the Year 2020 Awards, offer the most potential. The MKE 600 itself provides supreme sound quality and a few other design features that make it a very worthy winner – one that’s been unmatched year after year according to our readers, who have crowned it the victor twice consecutively. For recording vocals, the MKE 600 is a strong choice, with pleasant speech reproduction and high intelligibility – in part, thanks to its quality across its entire 40Hz to 20kHz frequency response range. Naturally, any other sound is captured nicely in a full-bodied manner, too, particularly those in noisy environments. As a highly directional shotgun mic, the Sennheiser has great success in alleviating surrounding background noise. It’s as simple as pointing the microphone at whatever you wish to record, then letting the advanced design do the rest.
audio and an excellent physical design combined is a very appealing prospect. On this front, too, the MKE 600 excels. While the MKE 600 can accept phantom power from cameras that support it, it can also be powered by one standard AA battery. This offers approximately 150 hours of use. The microphone also includes a switch to deactivate the battery, ensuring those hours of use aren’t wasted when not in use. Finally, when the low battery LED lights up, there’s roughly eight hours of recording time left. Of course, battery power also opens the MKE 600 up to broader use, such as easy boommounting for varied workflows. Even more versatility comes by way of an additional KA 600 coiled cable, which joins an XLR-3 connector to a 3.5mm jack plug. All of this comes in a compact, yet rugged all-metal housing, for a product that’s made for year after year of professional use. At just £259, that’s a sound investment.
To go beyond the capabilities of just any shotgun, the MKE 600 has an additional, switchable low-cut filter, built to reduce handling and wind noise even further. While wind noise is less of an issue for shotguns than it is for other varieties of microphone, a foamwindshield is included as standard, offering a reduction of around 25dB. For the most challenging of outdoor environments, Sennheiser’s MZH 600 windshield is available as an optional extra, offering even greater degrees of protection. The ‘blimp’ basket windshield combines foam and a furry cover. Performance alone may not be enough to make an award winner, but quality ABOVE The MKE 600 is solidly built and made to deliver incredible sound for many years. It’s a well-proven product, valued by professional filmmakers worldwide
More information
sennheiser.com
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AWARDS
THEWINNERS
LENSES Investing in glass is a well-known maxim, and it works! Cameras tend to be upgraded far more often than lenses, so buying optics wisely is a key decision, as they can deliver for many years to come. As always, the lens categories were some of the most hotly
are very few affordable E-mount lenses on the market that are so wide, yet offer a distinctive look when shot wide open, thanks to the fast maximum aperture. Lens accessories can alsomake a huge difference to the look of your films, and this is certainly true for our runaway winner in the Lens Accessories category: the Schneider-Kreuznach True-Streak filter. The True-Streak filter is available in lots of different options designed to recreate the classic anamorphic streak effect, without the use of expensive anamorphic lenses. Traditionally, the blue True- Streak filters were used to create this effect, but Schneider also offers eight other colour options to choose from. The quality is unsurpassed and typical of the high calibre of Schneider-Kreuznach filters. Zoom lens Sigma 18-35mm T2 Cine Prime lens Tokina Firin 20mm f/2 FE AF Lens accessories Schneider-Kreuznach True-Streak filter
In the Prime Lens category, it was a real battle between two lenses very much at different ends of the market. In one corner was the evergreen Zeiss CP.3 XD 50mmT2.1 manual focus cinema prime, and in the other corner, the AF-equipped, budget-friendly Tokina Firin 20mm f/2 FE AF lens. Last year, the Zeiss took the honours, but this year the ProMoviemaker Award for Prime Lens goes to the Tokina Firin. It’s one of the few AF wide-angle primes for Sony E-mount and performs well for its price of just £599/$699. It is very portable, yet still has a high-quality, modern optical design necessary for such high-resolving cameras. The lens uses the same glass as Tokina’s 20mm f/2manual focus lens, but autofocuses using an ultrasonic motor. Where it does excel is optical quality, thanks to its use of two aspherical and three super-low dispersion elements, which cut down all types of distortion, as well as offering high resolving power. The colours are very natural and the images show good contrast. At very narrow apertures or even wide open, the details are excellent. It’s a lens you can use at any aperture you like without worrying toomuch about image degradation, even at the edge. There
contested. It’s a battleground where top-quality optics face up squarely to budget glass that offers incredible value for money. For the ultimate in flexibility and speed, a single zoom lens can replace a set of prime lenses, but this is often a compromise in terms of optical performance andmaximum aperture. That’s not the case for the winner in our ZoomLens category this year: the Sigma 18-35mmT2 Cine, which came first for a second consecutive year. Like any proper cine zoom, the Sigma is parfocal and has a very fast maximum aperture, virtually zero distortion and a total lack of focus breathing. The fast T2maximum aperturemeans it can replace primes, as it offers a shallow depth-of-field and stunning image quality. The images are high-resolution, crisp and contrasty, without being too ‘digital’. It controls flare well, has smooth bokeh, plus no obvious aberration or vignetting. The Sigma 18-35mmT2 is a stunning lens for filmmakers who want flexibility.
BELOW The victorious Sigma 18-35mm T2 zoom, Tokina 20mm E-mount prime and True-Streak filter
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AWARDS GEAR OF THE YEAR
SUPPORT For a great tripod at a reasonable price, you can’t go wrong with the Benro A373FBS6PRO. That’s why it won the vote in the Tripod category of the ProMoviemaker Awards.
anodised aluminiumdial to adjust the fluid drag on the pan axis and a large knob on the left side to adjust tilt. There are also independent pan and tilt locks, which are easy to get to and very obvious. The tilt range is a wide +90/-75° and the pan range is a full 360°. Monopods are increasingly popular and the winner of this category is the Manfrotto XPRO Four Section VideoMonopod. Rather than just being a simple monopod, the XPRO is a four-section aluminium monopod with a pro-quality fluid head on the top, plus Manfrotto’s Fluidtech base, which helps with smooth pans and tilts without having to reposition the base. There’s a quick-release plate on the head, and the legs use quick- adjust levers, just like some of the Manfrotto tripods. The head can be removed and the monopod bolted straight on to a camera. Monopods are ideal for use in tight spaces or when it just isn’t possible to use a full-size tripod.
Tripod system Benro A373FBS6PRO Editor’s choice: Sachtler 4585 Flowtech 75 Monopod Manfrotto XPRO Four Section Video Monopod Slider Libec ALX S4 Rig Vocas Sony FX9 Run and Gun Kit Stabiliser/gimbal Manfrotto Gimbal 460 Kit
There’s a lot of modern technology packed into this stylish-looking tripod kit, which pairs the A373F aluminium single-tube tripod with a 75mmhalf bowl fitting to the newest S6Pro head. The head is impressive and it boasts a five-step counterbalance system to keep your camera from tipping forwards or back, plus adjustable drag for pan and tilt with large and easy-to-use adjuster knobs. The camera plate is long to allow for easy adjustment and the pan bar can be fitted to the left or right. The tripod reaches a maximumheight of 163cm/64.2in, while the minimumheight is just 31cm/12.2in, which offers a real advantage. Very few tripods can get your kit this low. The S6Pro head offers a five-step counterbalance, there is a large
ABOVE The Benro A373FBS6PRO tripod is the winner in its class, as is the Manfrotto XPRO monopod that has a huge adjustment range
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The Sachtler Flowtech 75 takes top honours as winner of the Editor’s Choice award. It is a dream tripod purchase for serious filmmakers, who will appreciate its wide carbon-fibre tubes, which are designed to avoid twisting, but are still comfortable to carry on the shoulder. The tripod legs are held together magnetically, which means you can pull them out and splay themwide. Then there is a single locking lever on each leg at the top, near the head. You just undo these big levers, quickly raise the tripod to the height you want and fasten the locks up again. Operation is fast and easy, the tripod is super stable and is light for its size, making it a worthy addition to anyone’s kit. EDITOR’S CHOICE: SACHTLER 4585 FLOWTECH 75
“Italian brand Manfrotto alsowins with the Gimbal 460 Kit, which is ideal for larger cameras”
the parameters of the gimbal, but there’s also the free Manfrotto app, which can be used to change all the settings and remote operation. Sliders have remained very popular thanks to the beautifully controlled movement they provide. Many sliders offer hugely complicatedmotors and
And they are great for getting high-angle shots, too, with the Manfrotto going up to a maximum height of 203cm/79.9in. The Italian brand also wins the Stabiliser/Gimbal award with the Manfrotto Gimbal 460 Kit, a three- axis motorised gimbal stabiliser that has a 4.6kg/10lbmaximumpayload, making it ideal for larger cameras. The kit comes with a focus motor, underslung handle, quick- release plate, mini tripod and shutter-release cables. Everything you need to turn it from a basic, single-handed gimbal ideal for fast use, into a two-handed unit with a follow focus for more precise work. All in a light, custom-fitted carrying case with all the tools you need. The quick-release systemuses twomounting plates. There’s a built-in platform and removable top-plate, both with an Arca-Swiss fitting. The top-plate can be used to switch your camera between the gimbal and tripods with an Arca- Swiss head. This means you don’t have to rebalance the gimbal when mounting the camera back on. There is also a small touchscreen on the handle of the gimbal with obvious icons, allowing you to set the most-usedmodes such as pan, tilt, pan and tilt, or lockedmode. Swiping the screen opens other menus. There is also a large knob on the left of the unit to adjust pan or tilt movements, and rear joystick if you prefer to use that. A button on the front instantly resets the gimbal to its normal position. It’s easy to get up and running quickly. The touchscreen allows you to enter different modes directly, such as time-lapse or selfie mode, and also lets you set up nearly all
programmable movements that can create all sorts of cool effects, but for many, a simple and compact, fuss-free slider is all that’s needed. And the winner in this category definitely falls into that camp: the Libec ALX S4. It’s a light and compact slider that weighs just 1.4kg/3.1lb, yet takes a payload of up to 15kg/33lb. The rail length is 400mm/15.5in, so it’s not hugely long, but is just enough to give a simple slider shot when you need it. Similarly, rigging up a cinema camera can seem complicated with somany parts available. Dutch grip specialist Vocas has taken all the hard work out of sourcing parts by unveiling several kits for the Sony PXW-FX9. The Run and Gun Kit has the basics most people would need and it’s a winner in our awards. This kit uses some of the most popular Vocas accessories, featuring a 15mm compact base plate with a rubber shoulder pad and standard 15mm rails, and a V-Lock adapter plate. It’s precisely machined and fits perfectly to the camera. The kit bolts right on to the FX9’s all-metal chassis, giving a solid foundation where everything locks together as it should and doesn’t move.
ABOVE The Manfrotto Gimbal 460 can take a hefty payload and is easy to use
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AWARDS GEAR OF THE YEAR
AUDIO It’s been a big year for Australian audio expert Rode. Thanks to the company’s hard work, it has been recognised in two awards in our Audio category. The beautifully simple and effective Rode Wireless Go won the Wireless Mics award and the new Videomic NTG, designed to fit DSLR andmirrorless cameras, cleaned up in the DSLRmic category.
headphone level. The mic itself is shotgun style with a very directional super-cardioid polar pattern, and it uses the same acoustic design as the NTG5 XLRmic fromRode. One of the mic’s best features is the ‘safety channel’ option. This allows one track to be recorded at the level you have set, while a second track is recorded at the same time at -20dB. This means that if there is a sudden noise, you still have usable audio instead of it being distorted. The mic also has a selectable high-pass filter at 75 or 150Hz to filter out lower frequencies, such as hum from air conditioners and appliances. The NTG version has excellent clarity and picks up more bass for a more realistic sound. It is also very directional, cutting out unwanted noise from around the subject. “If there is a sudden noise, you still have usable audio instead of it being distorted”
The Shure VP83F is once again honoured in our awards, taking the Editor’s Choice for audio recorder/adapters. It works as a camera-top mic for audio into your camera, but also records directly to a microSD card inside the unit, so you have two versions of the audio to choose from. The sound is very natural and has a wide frequency range, and a three-position gain switch lets you compensate for different sources. A switchable low-cut filter reduces pickup of low frequency background noise and there’s an integrated Rycote Lyre shock mounting system to cut out mechanical noise. EDITOR’S CHOICE: SHURE VP83F
As well as on top of cameras, the Rode Videomic NTG can be used on smartphones, as a boommic, or as a USBmic for livestreaming or podcasting direct to your computer. And it even has a headphone socket. There is adjustable gain control and an auto-sensing output that automatically switches between TRS and TRRS to differentiate between cameras and phones, for example. The USB-C socket is used to charge the internal lithium battery, which lasts for up to 30 hours, and also provides the audio output to a computer for streaming. The mic comes with a Rycote Lyre shock mounting, with sliding rail to adjust the position, and a dB peak warning light, and the end of the mic has a nice, big stepless dial for changing the gain. This allows the level to be set for line, mic or
ABOVE The Shure VP83F is a mic and
BELOW The Tascam DR-701D recorder is feature-packed and will improve your sound recording unit in one package
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