Pro Moviemaker November/December 2023 - Web

Welcome to the new bumper issue of Pro Moviemaker magazine If you are a gear head then you’ll love the new issue of Pro Moviemaker as it’s packed with lots and lots of equipment. Some is brand new – like the Sony Burano cinema camera, Panasonic G9 II mirrorless and affordable Cooke cine prime lenses.  Other gear has been tried and tested by us, such as the 102-megapixel Fujifilm GFX100 II and LED lights from Amaran, Zhiyun and Godox as well as wireless audio from Rode and Hollyland. Other kit has been used and voted for by thousands of working filmmakers in the annual Gear of the Year Awards. We have more test reviews and news of kit in this bumper issue than ever before It’s in the latest Pro Moviemaker magazine, out now, as well as lots more useful tips, equipment tests and even a guide to Xmas gifts Yule really want!

All the hottest new equipment revealed SHOW STOPPERS

A Datacolor tool for true hues COLOUR SORTED!


An annual list of the coolest kit in our festive gift special GEAR YULE WANT! @ProMoviemaker



ON TEST THIS ISSUE Rode Wireless Pro mics, 3 Legged Thing monopods, Samsung SSD T9, Hollyland Lark Max audio kit, Amaran LED, Atomos Zato monitor, Pergear CFexpress card and more besides

Time to go large with full-frame cinema cams from Sony and Blackmagic that won’t break the bank

The Fujifilm GFX100 II with the super-size sensor HIT THE BIG TIME VIDEO STAR


Results are in for our prestigious video kit awards SIMPLY THE BEST WINNERS REVEALED

Compact COB light that pumps out a staggering 300W ZHIYUN IS BELIEVING

MKE 600 The right direction £259

Some scenes demand absolute audio precision, and the MKE 600 shotgun mic delivers. It offers high directivity, recording pristine sound from the direction it’s pointed, while effectively attenuating surrounding noise.

XSW-D Portable Lav Mobile Kit Freedom to create £289

The Sennheiser XSW-D Portable Lav Mobile Kit is no ordinary wireless mic. It boasts seamless usability and exceptional sound quality, anywhere, anytime. The kit contains all components necessary for smartphone video recording.

HD 25 Stay connected £129

A great pair of headphones can’t go overlooked, and the iconic HD 25 sets the professional standard. They’re light, rugged and ready to provide the level of audio quality needed to monitor in the most challenging environments.

MKE 400 £179 As far as on-camera microphones go, the MKE 400 strikes the perfect balance. It’s compact, highly directional and designed to capture crisp audio detail. For an added touch of creative class, this shotgun features a built-in windscreen.

MKH 416 £879 When the environment gets tough, only a few mics are equipped to cut it. That’s where the MKH 416 comes in. This interference tube mic captures broadcast-quality sound and offers rugged moisture-resistance – ideal for pro productions.

EW-DP ME2 SET £619 For UHF wireless needs, look no further than the EW-DP ME2 SET. This highly portable kit is purpose-built for filmmakers. It provides robust connectivity and Smart Notification troubleshooting for seamless use.

AVX-ME2 SET £659 For the easiest wireless audio solution possible, the AVX-ME2 SET comes equipped with self-configuring digital transmission. Radio set-up is eliminated, leaving more time for production. Sound quality itself remains top notch.

HD 280 PRO £87 Specifically designed with in-field monitoring in mind, the HD 280 PRO headphones boast a robust construction and much- needed noise isolation. With a considered modular build, they’re sure to meet any user’s demands.

HD 300 PRO £179 Modelled on the absolute audio precision of the HD 250 Linear headphones, the HD 300 PRO succeeds a true legend. The new system delivers the neutral, high-fidelity sound professionals expect, facilitating finely crafted productions.

Perfect sound for the holiday season

Choose the perfect gift for any filmmaker, vlogger or podcaster, from Sennheiser’s range of top-quality audio tools

What’s exceptional video without the sound to match? Well-handled audio shouldn’t be reserved for the pros, and it all begins with an expertly made mic that’s right for the job. Sennheiser’s suite of options includes everything a creative could need for taking their work to the next level. Explore microphones designed for on-the-go vlogging, studio shoots and everything in between – plus headphones to monitor the magic. So, when you’re shopping for the creative in your life this festive season, consider the gift of great sound.

GEAR FEST Just some of the massive range of equipment we take a look at in this issue

The ultimate magazine for next generation filmmakers

Editor in chief Adam Duckworth Chief sub editor Matthew Winney Sub editors  Ben Gawne, Martin Puddifer Editorial director Roger Payne Contributor Lee Renwick EDITORIAL

ADVERTISING Sales director

Sam Scott-Smith 01223 499457 Senior sales executive Claire Cornish 01223 499453 DESIGN Design director Andy Jennings Design manager Alan Gray Senior designer Lucy Woolcomb

Junior designer Hedzlynn Kamaruzzaman Junior designer and ad production Holly May PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:

We make no apologies that this issue of Pro Moviemaker is packed with equipment. Some is brand new – like the Sony Burano, Panasonic Lumix G9 II and affordable Cooke cine prime lenses – direct from Europe’s biggest filmmaking show in the Netherlands. Other gear has been tried and tested by us, like the Fujifilm GFX100 II, lights from Amaran, Zhiyun and Godox, plus wireless audio from Rode and Hollyland. Yet more has been used and voted for by thousands of working filmmakers in our annual Gear of the Year Awards. We have more reviews and kit news in this bumper issue than ever before. It’s not that the equipment we use is the only thing that matters. With a half-decent camera and lens, audio set-up and an understanding of light, any competent filmmaker is well on the way to making a decent-looking and sounding movie. Everyone knows it’s always the story that counts, after all. Capturing it beautifully does help, though. Letting you know what equipment is out there and how it can help you make better films is a key mission of Pro Moviemaker magazine. That includes showcasing the latest technology that could open up new avenues with clients whose needs are changing fast. For example, a high-end cine camera might open up Raw workflow for better-looking films in the grade. It might offer 8K resolution for more cropping options, higher frame rates for super slow-motion or improved low-light performance. New lenses might give you more reach or a unique look to set your work apart – as can filters. But nowadays, it could suit your business more to invest in faster delivery of content – even as far as going live or getting a real-time view of your work for editing later. In this issue, we try the accessibly priced Atomos Zato Connect monitor, which offers an easy way to livestream and even edit remotely in the cloud while the shoot is going on. Or look at a camera like Fujifilm’s GFX100 II, with its super-large sensor for high-end cinematic work, which also offers built-in connectivity to services like Adobe’s network to enable camera-to-cloud workflows. Even our Gear of the Year Awards now feature a category for the fastest-growing camera sector: PTZs. These high-quality cameras fit in places that would normally be out of bounds, but are also perfect for live broadcast and streaming. The world of visual content is evolving and we hope this issue demonstrates the massive spectrum of equipment available to help professional image makers deliver even better work – whether that’s a movie using the award-winning Arri Alexa 35 or a live broadcast with a Birddog PTZ camera.

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

Pro Moviemaker is published bimonthly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. ISSN number: 2045-3892. Pro Moviemaker is a registered trademark of Bright Publishing Ltd. The advertisements published in Pro Moviemaker that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. Prices quoted are street prices. In sterling they include VAT (unless otherwise stated), but US dollar prices are without local sales taxes. Prices are where available or converted using the exchange rate on the day the magazine went to press.





The ultimate magazine for next generation filmmakers



Sony unveils its Burano cinema camera. This boasts a sensor to match the colour science of the flagship Venice 2, but is designed for single-camera operators and small crews at half the cost. 8 COMPACT FULL-FRAME ALPHA DUO Two new full-frame mirrorless cameras have joined Sony’s more compact A7C range: the 33-megapixel A7C II and 61-megapixel A7C R, which houses the sensor from the A7R V. 1O BLACKMAGIC HITS THE BIG TIME AT LAST Blackmagic has finally adopted a full-frame sensor for its more affordable cameras. The Cinema Camera 6K has 13 stops of dynamic range, L-Mount and dual native ISO up to 25,600. 12 PANASONIC DETECTS A NEW PHASE The Lumix G9 II is the first camera in Panasonic’s Micro Four Thirds range to feature phase detection autofocus thanks to a speedy new 25.2-megapixel Live MOS sensor and fast processor. 15 THE COOKE LOOK NOW COSTS LESS British lens maker Cooke Optics has launched its most attainable lenses ever with the SP3 prime series for full- frame mirrorless cameras, bringing a cinematic look to the videography market. 16 ULTRA UPGRADE FOR ATOMOS Atomos has taken the wraps off its next generation of seven-inch camera-mounted monitor/recorders: the Shogun and Shogun Ultra. Plus word from Teradek and Schneider-Kreuznach’s recent releases. 17 WIN A SENNHEISER SHOTGUN MIC All professional filmmakers need a shotgun XLR mic and Sennheiser makes some of the best. You could win one of its legendary MKH 416 microphones in our free-to-enter competition – just answer one simple question!


18 CANON RF MOUNT COMES TO CINE GLASS Canon has unveiled two full-frame cine prime lens ranges based on its existing CN-E optics and PL mount Sumires. The sets are the first cinema lenses to use the larger RF mount. 20 NEWER ANOVA GETS GREEN LIGHT One of the LED lights that helped establish Rotolight as a powerhouse player in filmmaking, the Anova Pro, is to benefit from a full refresh. The Anova Pro 3 is an all-weather, 1x1 LED light, boasting a custom- designed LED optic system. 24 NANLITE FC MOVES UP A DIVISION Nanlite’s latest FC series bicolour spotlights have lightweight heads with built-in controls and separate power adapters, plus plenty of features usually only found on more advanced lights. 26 BACK IN BLACK FOR RETRO NIKON The full-frame Nikon Z f boasts a retro look and mechanical controls, but with lots of technology from the Z 8 and Z 9 mirrorless cameras. Though sadly, not their 46-megapixel stacked sensor. 28 A WEE GRAM UNDER THE LAW FOR DJI DRONE DJI’s Mini 4 Pro weighs 249g and has omnidirectional obstacle sensing and Advanced Pilot Assistance Systems, with automatic braking and obstacle bypass technology for maximum safety. 31 SUPER-TELEPHOTO GLASS GOES ON A DIET The dream of a relatively affordable Nikon 600mm prime in Z mount is now a reality – and it’s the lightest super-telephoto ever thanks to Phase Fresnel lens technology.





The ultimate magazine for next generation filmmakers

BUYERS’ GUIDE 36 TOP GIFTS YULE LOVE FOR XMAS! Don’t fret about what to spend money on this festive season. We’ve made a list and checked it twice, rounding up a sparkling array of fantastic kit at a range of prices from mild to wild! AWARDS 47 GEAR OF THE YEAR WINNERS ANNOUNCED Thousands of votes have been cast in our annual awards to honour the best hardware and software in the industry. Check out which products and services have been named as victors in these prestigious accolades. GEAR 66 GET YOUR COLOURS RIGHT EVERY TIME One of the biggest headaches for all filmmakers is getting colours accurate, especially when different cameras and lighting are used. We try out Datacolor’s inexpensive solution to end those hue blues forever. 70 BIG AND BEAUTIFUL FUJIFILM GFX The 102-megapixel mirrorless GFX100 II has one of the biggest sensors in filmmaking yet won’t break the bank. Is this the ultimate camera for high-end image makers who shoot stills as well as video? 76 MINI TEST FEST: LOADS OF KIT RATED We try out a bumper crop of products including LED lights from Zhiyun, Godox and Aputure, audio kit from Rode and Hollyland, bags made by Tenba and Shimoda, a Samsung SSD, two 3 Legged Thing monopods and more! 70




Sony’s half-price mini Venice

algorithm using technology from the Alpha mirrorless series, the Burano cuts out the shakes when using an E or PL mount lens. An electronic variable ND filter ranges from 0.6 to 2.1, allowing control of depth- of-field with a set iris while the camera adjusts the ND. Using an E-mount lens allows use of Fast Hybrid AF, which combines the benefits of phase and contrast detection. It’s also compatible with subject recognition AF using AI, and an E-mount lens will further reduce the weight and size of the camera. All the Burano’s menu buttons are positioned on the camera operator’s side, with tally lamps in three locations to make it easier for a crew to check shooting status. The 3.5-inch multi-function LCD monitor may be used as a viewfinder for touch focus or menu control. The Burano also comes equipped with optional T-handle, viewfinder arm, two three-pin XLR audio inputs and a headphone terminal. The camera supports multiple internal recording formats, like the new XAVC H for 8K, which uses the MPEG-H HEVC/H.265 high-compression efficiency codec. Other recording formats include XAVC and X-OCN LT. X-OCN is Sony’s original compressed Raw format which captures information shot with 16-bit linear data, giving more freedom for colour grading. X-OCN LT reduces file transfer time and storage size load, making post-production workflows more efficient than standard Raw.

The new Sony Burano cinema camera has a sensor that matches the colour science of the flagship Venice 2, but is designed for small crews and costs half as much. It’s the world’s first digital cine camera with a PL mount to feature in-body image stabilisation. And by removing the PL lens mount, the camera can be used with Sony E-mount optics, which support fast hybrid AF and subject recognition AF. A super-thin electronically variable ND filter structure comes alongside the optical image stabilisation system. At £25,791/$25,000, it’s not exactly cheap, but is half the price of the Sony Venice 2 which has established itself as one of the go-to cameras for high-budget, multi-crew productions. The Burano has an 8.6K full-frame sensor that shares most of the Venice 2’s specifications, enabling it to work alongside the pricier camera. Its sensor features dual base ISO of 800 and 3200, and 16 stops of dynamic range. Like all cameras in Sony’s full-frame Cinema Line, the Burano can shoot in full- frame or Super 35, and has a de-squeeze function for anamorphic lenses. It records up to 8K at 30p, 6K at 60p or 4K at 120p. The relatively compact and lightweight body is 32mm shorter and 1.4kg lighter than the Venice 2, but is still housed in a rugged magnesium chassis. Thanks to a recently developed image stabilisation mechanism and control

Files are recorded to two CFexpress Type B memory card slots and supports VPG400, which can sustain high-bit-rate writing of video data, including X-OCN LT 8K. Sony will release compatible CFexpress Type B memory cards, in 1920 and 960GB sizes. Log recording modes include S-Gamut3 and S-Gamut.Cine, which exceed BT.2020 and DCI-P3 gammas, and there’s genlock. Four new cinematic looks feature: Warm, Cool, Vintage and Teal and Orange, in addition to supporting standard S709 and 709 (800%) LUTs. Sony will soon be releasing the optional GP-VR100 Grip Remote Control to control the zoom lever and recording start/stop button, particularly useful in solo set-ups. Support for the S700 protocol over Ethernet is coming, plus a 1.5x de-squeeze display function with an anamorphic lens. It works with the just-launched Monitor & Control app, part of Sony Creators’ Cloud. This can be used with other Sony cinema cameras like the FX3 and FX30. SONY STUNNER Promising colours just like the legendary Venice 2, the Sony Burano is a far more accessible price





Live streaming is being simplified by Sony, which has revealed a new remote production unit for high-quality video transmission using 5G mobile phone networks, plus a software switcher that can be used on location or via the cloud. It’s part of a widespread upgrade to Sony’s Networked Live ecosystem of products, services and partners to make sharing faster, easier and more reliable. The CBK-RPU7 remote production unit comes with Sony’s ultra-low- latency HEVC codec and its small form factor lets it fit onto cinema cameras, broadcast units or camcorders using a V-Lock battery mount. It connects to the camera via SDI and is ideal for 5G networks, and also suitable for wired networks with limited bandwidth.

The M2L-X can be employed as stand-alone software – that’s either in a virtual private cloud (VPC) environment or on-premises. Subsequently, it can be operated through its GUI, the ICP-X series of control panels or even through third-party controllers such as Stream Deck from Elegato. Sony has also revealed SDI capability for the MLS-X1 scalable live production switcher. Now, Sony Networked Live users can transition from an all-SDI workflow to mixed SDI-IP, and onto pure IP environments.

In a production environment, the CBK-RPU7 encoder is paired with the NXL-ME80 for decoding. This Media Edge Processor for WAN transport was the first product to include Sony’s new HEVC ultra-low-latency encoding which combines a high compression ratio and very low latency. The M2L-X software-based switcher expands the interface of Sony’s existing M2 Live cloud-based switcher, allowing video/audio switching, graphic insertion and other functions to be performed remotely during live broadcasts.

LIVE AND KICKING Using the new CBK-RPU7 remote production unit (top) and M2L-X switcher (above) is a fast way to stream from pro cameras


performance throughout the zoom range; its minimum shooting distance is 0.22m and maximum shooting magnification 0.32x. Sony’s original Nano AR Coating II suppresses ghosting and flares even with a strong light source in frame. The lens includes the latest XD (extreme dynamic) linear motors for speedy, quiet AF that is suitable for movies, and is up to twice as fast as conventional models. A fluorine coating is applied to the front lens, so dirt can be removed without damaging the glass, while the design is dust and splash proof. At £2400/$2298, it offers operability and reliability for comfortable shooting of stills and movies.

A smaller, lighter version of Sony’s flagship wide-angle zoom lens is now more video-friendly, with an aperture ring, reduced focus breathing during shooting, plus suppression of the centre of gravity’s movement during zooming – ideal for gimbal use. The Sony G Master FE 16-35mm f/2.8 GM also has two focus hold buttons that can be assigned from the camera body. It is the world’s smallest and lightest wide-angle zoom with a total length of 111.5mm and a weight of 547g – 20% lighter than the previous model. With a new optical design that makes use of a precision XA (extreme aspherical) lens, the 16-35mm zoom offers improved close-up




Compact choice for Sony mirrorless Two full-frame mirrorless cameras have joined Sony’s more compact A7C range, the new 33-megapixel A7C II and 61-megapixel A7C R which uses the A7R V’s sensor. The cameras are just 12cm wide, 7cm high and 6cm deep, weighing 513g. Both models are equipped with the same AI processing unit and Bionz XR processors found in Sony’s latest cameras such as the A7R V. There’s Real-time Recognition AF which recognises a wide variety of subjects plus five-axis in-body image stabilisation provides a seven-step shooting advantage when capturing stills. In terms of movies, both models support 4:2:2 10-bit video recording up to 4K/60p and have popular S-Cinetone colour science for a cinematic look straight out of camera. In video mode, both have Active Mode in-body image stabilisation, AI-based auto-framing and digital audio interface support as found in the A6700 we tested in the last issue. The £2100/$2198 A7C II features a back- side illuminated Exmor R CMOS sensor and comes in 22% lighter and 45% smaller than the A7 IV. The standard ISO range from 100 to 51,200 for both still images and movies can be expanded to 50-204,800 for stills. The £3200/$2998 A7C R uses the same sensor as the A7R V but is 29% lighter and 53% smaller. The standard ISO sensitivity ranges from 100 to 32,000 for stills and movies, with 50-102,400 possible for stills. Pixel Shift Multi Shooting features on the R, taking multiple images and combining them in post for 240-megapixel stills. In terms of video resolution and codecs, the A7C II and A7C R each record in 4K. There is recording for full-frame, 4K/60p video in 10-bit 4:2:2 using the XAVC S-I

format at bit rates up to 600Mbps. External recording at 4K/60p via the full-size HDMI port allows 16-bit Raw output to be used with compatible devices for conversion to ProRes Raw. Simultaneous internal 4K recording is feasible, too. In Full HD, 120fps recording enables up to 5x slow motion. Both record in S-Log3, which supports a wide latitude of more than 14 stops. In Log mode, user-imported LUTs can be displayed on the camera monitor. For straight-out-of-camera options, S-Cinetone is joined by a set of Creative Looks, which change the look and feel of video and still images. Both have touchscreen vari-angle LCD monitors, front dials for customising functions, dedicated photo/movie/S&Q switch dials and high-res XGA viewfinders. Each camera is compatible with the Sony Creators’ app. Easily upload videos and still images to a cloud service, allowing remote camera operation and image transfer from the camera to mobile devices. They are kind to the environment, with bodies made from recycled materials.


Both the A7C II and A7C R are equipped with the same AI processing unit as the pricier, larger A7R V which offers pose estimation technology to capture and track subjects accurately. On top of the existing people and animal tracking from the A7C series, it now recognises birds, insects, cars, trains and planes. Covering 79% of the full-frame image, or 100% of the APS-C cropped area, a Fast Hybrid AF system has a 693-phase- detection-point grid with sensitivity down to -4EV. This focusing system is available for all recording modes, both video and stills. In video shooting, Real-time Eye AF is fully supported for subject detection and tracking of human, animal and birds’ eyes. There is also Focus Map, a new method of visualising depth-of-field that functions in a similar way to peaking, with an overlay of the scene indicating which parts are in front of and behind the focus point. AF Assist, borrowed from the FX6, lets you switch to manual focus control for adjusting focus position when working with AF. This is a quick way to shift selective focus between subjects in a scene while recording. A unique solution to compensate for how certain lenses perform when racking focus, focus breathing compensation smooths focus transitions and maintains a consistent field of view when changing focus position during a shot. This will crop into the image slightly and correct for any detected shifts in composition.

MINI MARVELS The A7C cameras might be small, but they pack in a lot of tech and boast large sensors




Blackmagic goes full-frame

and vintage optics. The large, 51.6mm diameter of L-Mount works with full- frame Leica, Panasonic and Sigma lenses. There is a choice of resolution from HD up to DCI 4K and 6K, as well as 24.6-megapixel stills. It will record 6K up to 36fps at 6048x4032 3:2 open gate, or 60fps at 6048x2520 2.4:1, plus 60fps at 4096x2160 for 4K DCI. For higher frame rates it shoots up to 100fps at 2112x1184 in a Super 16 crop. For true anamorphic 6:5 recording, the camera goes as high as 4.8K/24p at 4838x4032. And there’s 120fps in 1080HD. Recording is to a CFexpress card or via a USB-C expansion port for an external SSD. CFexpress media also can record full-resolution, 12-bit Blackmagic Raw files. More than an hour of full-resolution 6K images can be recorded onto a single 256GB CFexpress card. The camera has a large and bright five-inch HDR touchscreen with screen overlays that show recording settings, histogram, focus peaking, levels, frame guides and more. 3D LUTs can be used for monitoring shots with the desired look. The LCD monitor can be tilted up by 180° and down by 47°. This is an HDR display with 1500 nits of brightness.

Blackmagic has finally produced a full- frame model in its affordable camera range – the Cinema Camera 6K, which has 13 stops of dynamic range, L-Mount lens compatibility and dual-native ISO up to 25,600 with recording to CFexpress cards. It also allows simultaneous Blackmagic Raw and H.264 proxy recording for cloud workflows, and costs just £2539/$2595. The new camera is based on the Blackmagic Pocket Cinema Cameras and can use accessories from the range. But it now has a 24x36mm 6K sensor and a built-in optical low-pass filter to cut down moire. The native 6048x4032 resolution grants a shallow depth-of-field and the use of anamorphic lenses uncropped for a true cinematic look. There’s dual native ISO up to 25,600 for impressive low-noise images, and frame rates go to 36fps at full-sensor resolution or 120fps windowed. Using the full area of the sensor gives a unique open gate 3:2 image, or true 6:5 anamorphic without cropping. There’s also a classic Super 35-sized window on the sensor to create an instant close-up version of any shot. The camera now takes L-Mount lenses, and thanks to a short flange distance of only 20mm, it has compatibility with new The super-compact Blackmagic Micro Studio Camera 4K G2i live production camera has an upgraded 4K sensor and 12G-SDI. The new model retains the small body design of the original model, but has been upgraded with a 4K sensor, now with 13 stops of dynamic range and dual native ISO up to 25,600, for improved low-light performance. It has 12G-SDI, for operation up to 2160/60p, and a new USB-C expansion port for recording Blackmagic Raw to external SSDs – as well as network control via Ethernet adapters. The £978/$995 camera retains the MFT lens mount and cinematic colour science. It’s possible to control the built- in colour corrector and lens using the SDI and HDMI connections. It also includes

There is also an optional EVF with a 1280x960 colour OLED display. It has a built-in proximity sensor and four- element glass dioptre. The camera uses the popular, high-capacity NP-F570 batteries. A locking DC power connector is provided, and the included AC plug pack can power the camera or charge the battery when the camera is not in use. The USB-C expansion port can also trickle-charge the battery, and there’s an optional battery grip that allows extra batteries to be fitted so you can film for longer between charges. BIG BOY The Blackmagic Pocket Cinema Camera was never a small camera – so there was plenty of room to fit in a full-frame sensor and larger lens mount


The distinctive rugged housing has a tough magnesium-alloy core in a body that’s not much larger than the lens mount itself. Buttons on the front are for quick access to the settings menu and triggering recording. The 4K sensor combines with Blackmagic generation 5 colour science, which can even be tweaked from the switcher. Blackmagic Micro Studio

Cameras feature HDMI, so are ideal for switchers such as ATEM Mini. The HDMI supports video, tally, control and record trigger for a broadcast-style workflow. The 12G-SDI connects to SDI-based switchers like the ATEM Constellation. There’s a 12G-SDI connection for camera video, and one for program return.

The program return also includes tally, talkback and remote camera control. Power options include a 12V DC locking connector so the cable won’t be accidentally pulled out. The camera also accepts LP-E6 batteries or V-Lock batteries using an adapter.

Log gamma, allowing a cinematic, colour-corrected look in camera.





Give your iPhone the feel of a Blackmagic camera with a free new app. Blackmagic Camera app is based on the same operating system as the firm’s award-winning digital film cameras. And support for Blackmagic Cloud allows creators to share media with editors around the world instantly. Like a professional camera, the app allows adjustment of settings such as frame rate, shutter angle, white balance and ISO. The ability to record directly to Blackmagic Cloud in industry-standard, 10-bit Apple ProRes files up to 4K allows real-time collaboration on DaVinci Resolve projects. Users can tap any item and change settings without searching through menus. The HUD shows status and recording parameters, histogram, focus peaking, levels, frame guides and more. The record tab allows control over video resolution and recording format, including ProRes or H.264 and H.265. Anamorphic de-squeeze and lens correction settings can also be set. Audio options include VU or PPM audio meters and AAC, IEEE Float and PCM formats. There are also professional monitoring tools such as zebras and focus assist, while 3D LUTs can be added to recreate film looks on the go.

SDI COMES TO 4K STUDIO CAMERA The new Blackmagic Studio Camera 4K Plus G2 adds 12G-SDI, allowing compatibility with switchers such as ATEM Constellation. The new model also adds support for remote camera control over networks via REST APIs and headset talkback via 3.5mm jack. The camera retains the same 4K sensor with 13 stops of dynamic The seven-inch viewfinder makes it ideal for broadcast news, sports and conferences, and the large bright display has side handles plus a touch screen, as well as physical controls that make it easy to track shots and comfortable to use for long periods. Thanks to the new talkback

connection, the switcher operator can now communicate with camera operators during live events. And the high-speed USB-C port allows recording to external disks or can control the camera via a network – or connect it to other accessories. Adding a USB-C to Ethernet adapter gives control via REST APIs.

range, MFT lens mount and all-in- one design of the previous model, and costs £1319/$1345. With ISO up to 25,600, it also has features including tally, camera control, built-in colour corrector, talkback, Blackmagic Raw recording to USB and live streaming.




Lightweight Lumix enters a new phase

The Lumix G9 II is the first camera in Panasonic’s Micro Four Thirds range to feature phase detection autofocus thanks to a speedy new 25.2-megapixel Live MOS sensor and processor that also enables high-bit-rate video. A 779-point AF system combines Panasonic’s subject recognition tech with phase detection for accurate focus and high-speed tracking of fast-moving subjects. AI-powered algorithms recognise cars, motorcycles and animal eyes. The £1699/$1898 mirrorless camera is capable of 4:2:0 10-bit recording in 5.8K at a 4:3 ratio from the full sensor, while 5.7K in 17:9 enables framing options for various social media formats. There is also 4:2:0 10-bit C4K/4K in up to 120p. Apple ProRes 422 recording is included, which delivers high image quality at low compression, reducing the load on the computer during post-production, and allows editing without transcoding. The dynamic range is claimed to be more than 13 stops when using V-Log/V-Gamut and Dynamic Range Boost settings. A Frame Indicator function surrounds the image frame with a red border during recording, while the Frame Marker lets you record with frame guides to replicate the angle of view when cropping in post. This simplifies conversion from anamorphic videos to vertical videos for social media. Vertical Position Info detects the orientation of the video. You can select whether or not to add the vertical position video information from the menu. Advanced Focus Transition shifts the focus point automatically at a constant speed for precise in-focus to out-of-focus points, creating a smooth rack focus effect. V-Log has been pre-installed and is used to capture a flat and neutral gamma curve. An equivalent 13+ stops of dynamic range

ANIMAL FRIENDLY The Lumix G9 II can recognise your pet’s eyes thanks to new AF

while Active IS corrects for camera shake when shooting on the move. The 3.68m-dot OLED EVF offers 0.8x magnification with a smooth 60fps or 120fps refresh rate. A large, three-inch, 1.84m-dot LCD is bright, with clear means for live view shooting as well as playback and menu navigation. The touchscreen has a free-angle design to suit working from high, low and front-facing angles. There are dual UHS-II SD memory cards, while a USB Type C port allows for video recording to an SSD drive as well as high-speed in-camera battery charging. A full-size HDMI Type A port is found within the dust- and splash-resistant magnesium alloy body, a 2.5mm port can be used with the optional DMW-RS2 Remote Shutter, and 3.5mm microphone and headphone jacks are included. Panasonic’s optional XLR microphone adapter provides XLR inputs and physical controls through a hotshoe connection. An optional DMW-BG1 battery grip is equipped with an eight-direction joystick compatible with the G9 II, S5 II and S5 II X.

provides accurate control of colour data in post, as well as seamless editing with footage shot using Varicam models. With the Lumix G9 II, recording and playback are supported using an external SSD via USB. You also gain the ability to record ProRes 422 HQ and 4:2:2 10-bit All-Intra directly to an SSD, combining portability and high capacity for improved data backup and post-processing efficiency. Real Time LUT recording streamlines workflow and colour grading, with support for Cube, VLT and TXT formats for V-Log View Assist in real time to approximate the final look of footage. Dual IS 2 takes away the shakes as it combines the eight-stop-rated, five-axis sensor-shift image stabilisation with two-axis stabilisation of compatible Lumix lenses that feature OIS. With adapted optics, you can manually select whether to use in- camera sensor-shift image stabilisation or the lens’ optical stabilisation. Designed for video use, Boost IS is a digital stabilisation technology that gives a steady shot when the camera is not moving,

ZOOM NEWCOMER DUO Two fresh lenses are ideal for Panasonic’s Micro Four Thirds cameras, including the G9 II. Made with Leica, the 35-100mm f/2.8 is a large-aperture telephoto zoom, while the 100-400mm f/4-6.3 II ASPH is a super-telephoto lens compatible with a teleconverter for life-size macro shooting. The smaller is the equivalent of a 70- 200mm f/2.8 zoom: a filmmaker favourite. This £1099/$1148 optic has two ED (extra- low dispersion) and one UED (ultra extra-

low dispersion) lenses, plus Nano Surface Coating to help eliminate unwanted light inside and ensure clear, natural colours with little ghosting or flare. The £1499/$1598 100-400mm f/4-6.3 equates to a 200-800mm, ideal for wildlife and sport. It houses one aspherical, two ED (extra-low dispersion) and one UED (ultra extra-low dispersion) lens for detailed and textured high-res, high-contrast images.





The Cooke Look for less Cooke Optics has launched its most affordable lenses ever, with the SP3 prime series for full-frame mirrorless cameras bringing a cinematic look to the videography market. with the trademark dimensionality and contrast performance that renders faces with remarkable skin tone and character, this is the trademark ‘Cooke Look’. They also feature specialised cinematic optical coatings that ensure control of flare. Cooke CEO Tim Pugh said: “The

The SP3s are Cooke’s lightest lenses, weighing in at between 500g/1.10lb and 690g/1.52lb including lens mount, making them practical for gimbals and drones. The lenses feature a dual focus scale in metric and imperial markings, and the focus and iris mechanics are consistent to allow for fast lens changes while maintaining focus and iris motor positions. Each has a nine- bladed iris for smooth bokeh. The SP3 range costs £3250/$4500 for a single lens and £15,400/$21,375 for the complete set of five in a heavy-duty case. Cooke lenses have been used since the birth of cinema and are still the most sought-after glass, as cinematographers love the unique aesthetic. These SP3 full- frame primes offer outstanding definition and resolution yet feature fall-off towards the edges of frame, which is a key factor in the famous cinematic look achieved by the legendary Speed Panchros. Together

British-based Cooke’s SP3 is based on its Speed Panchro, one of the most influential lenses in film history, with a design that’s optimised optically and mechanically to retain the legendary ‘Cooke Look’. This T2.4 collection features five focal lengths, a choice of user-changeable mounts and is small and lightweight, yet with a solid construction built to last. The range has 25, 32, 50, 75 and 100mm focal lengths, which each come with Sony E-mount installed, while Canon RF mounts will be available soon. Early purchasers can get a set of RF mounts at no extra cost. L-Mount is available at launch as an accessory part and Leica M-Mount will also be introduced next year.

imaging market has long been viewed as ‘videography’ and ‘cinematography’, with associated differences particularly evident in budgets and hardware. These boundaries are now blurring with massive improvements in the quality of mid-market camera performance. Consequently, the creative optical possibilities in this area are widening. This democratisation means we can offer truly cinematic glass to the pro- video market at an accessible price point and with camera mount flexibility.” Recent productions The Batman , Little Women and The Irishman all used Cookes.

SIGMA HAS THE X FACTOR Indie lens maker Sigma has revealed two lenses from its Contemporary range to fit Fujifilm X Mount: the 100- 400mm f/5-6.3 DG DN OS telephoto zoom for £900/ $949 and 23mm f/1.4 DC DN prime at £450/$549. Both have been in Sony E and Leica L-Mount for some time, but the X Mounts do differ. The telephoto zoom offers an equivalent focal range of Due to differences in camera software between X Mount and full-frame Sony E-mount or Leica L-Mount systems, the AF/MF switch and AF-L button are replaced with an AF function setting switch and an AF function button. The switch changes the function button between AF and AF-L modes. The 23mm prime has 13

SAFARI, SO GOOD These Sigma X Mount optics are ideal for low light or distant subjects

elements in ten groups, and is the fourth in Sigma’s APS-C Contemporary series, joining the 16mm, 30mm and 56mm versions – which all have fast f/1.4 apertures.

150-600mm on APS-C Fujifilm cameras. And the optimisation for an APS-C sensor means that image stabilisation has been increased from four to five stops.




Shogun gets the Ultra treatment Atomos has taken the wraps off its next generation of seven-inch camera- mounted monitor-recorders: the Shogun and Shogun Ultra.

ULTRA UPGRADES The seven-inch Atomos Shogun range gets a full redesign with a brand-new OS

Hot on the heels of the new Ninja models, both Shoguns have a new operating system – AtomOS 11 – which delivers features including EL Zone exposure-referenced colourised images, Arri False Colour and new scheduled playback and recording tools. The new Shoguns include more codecs as standard, with 6K Apple ProRes Raw and 8K on the Ultra, plus Apple ProRes, DNxHD and H.265, which was previously only an optional extra. Because Shogun has 12G-SDI and HDMI inputs and outputs, it can be used for cross conversion, unlike a Ninja fitted with Atomos Connect. The Shogun also has more power options, with an NP battery slot and integrated 2.1mm locking jack DC input socket. The Shogun Ultra is ideal for use with cinema cameras and can record full-quality files in Apple ProRes Raw up to 4K/60p, while at the same time recording HD/60p to H.265 and supporting automatic matching filenames, timecode and record triggers from many popular models of Arri, Canon, Red and Sony cameras.

The Shogun Ultra also features lower-latency cloud connectivity and higher throughput, thanks to integration with Wi-Fi 6E. Essentially, the Ninja and Shogun offer the same performance, but the Ninja range has a five-inch, 1000-nit screen, versus the Shogun’s seven- inch, 2000-nit – and the Shogun has integrated cloud connectivity, while the Ninja needs a modular accessory. An AtomOS 11 update will also be free to existing Shogun Connect users.

Both the £1029/$999 Shogun and £1199/$1199 Shogun Ultra have the new 4K camera-to-cloud mode that lets you record and upload much higher-quality H.265 video with higher frame rates. The files are suitable for camera-to-cloud workflows, but also high enough quality for immediate use on social media, sport broadcasting or news gathering. Both Shogun units can use Atomos RemoteView, allowing you to share live views from your Atomos screen with other Atomos monitors, as well as with iPads, Macs and Apple TVs wirelessly.

LIGHTNING-FAST BOLT FOR EUROPE Europe, including the UK, has approved the 6GHz frequency band in Teradek’s Bolt 6 Series of video broadcast units. Bolt 6 users can use the 6GHz frequency with a free update, while retaining compatibility with Bolt 4K systems in 5GHz. Bolt 6, the industry’s only 6GHz solution, has 12 new 40MHz channels in the new UNII-5 band. This is in addition to industry-standard 5GHz channels used by Bolt 4K systems, doubling the available frequencies. That reduces signal congestion and ups the number of transmitters that can co-exist. The Bolt 6 also includes new algorithms and troubleshooting tools, and can be controlled over Bluetooth with the Bolt App for iOS and Android, which offers a built-in software spectrum analyser.

GET THE CLOSE-UP WITH SCHNEIDER’S OPTICAL FILTER Schneider-Kreuznach revealed the second filter in its new creative dioptre range. It presents the new Full Dioptre in drop-in 138mm/4.5in or screw-in 95mm diameter, allowing you to shoot macro imagery without the need for a matte box. The filter is available in strengths +1/4, +1/2, +1 and +2, which all decrease your minimum-focus distance without the need for a dedicated macro lens. It’s very useful when using vintage, anamorphic or zoom lenses, which often don’t have very close minimum-focus distances. No prices have yet been announced.






WORTH £879/ $999

One lucky winner will receive a pro-quality MKH 416 shotgun mic from audio expert Sennheiser W hen it comes to choosing a top-quality XLR mic that not only delivers superb clarity but will work for years, pro impeccable speech reproduction and high intelligibility, thanks to quality across its entire 40Hz to 20kHz frequency range. It’s a highly directional mic due to

filmmakers rely on Sennheiser. Even in the fast-changing world of audio technology, the tried-and-tested MKH 416 is what switched-on creatives want. That’s why it’s been nominated for best XLR mic in the Pro Moviemaker Gear of the Year Awards! This superb shotgun mic proves that great sound quality and incredible build are what most independent filmmakers demand – and the MKH 416 delivers. It is highly praised for recording vocals, like interviews or conversation, with

its advanced interference tube principle, as well as a supercardioid/lobar polar pattern which isolates sound and rejects noise from the sides. Compact dimensions of 19x250mm allow this portable unit to go with you wherever your shooting leads – perfect for OB applications. This is a legendary microphone every serious filmmaker should have.

HOW TO WIN A SENNHEISER MKH 416 MIC Question: In which category has the Sennheiser MKH 416 been nominated for a Gear of the Year award? Enter via our website at Visit to find out more about Sennheiser mics

TERMS AND CONDITIONS: Entries must be received by midnight, 3 December 2023, and the winners will be notified by email within seven days. Winners will be chosen at random from all the correct entries. This competition is only open to UK residents aged 18 and over. Employees of Bright Publishing, the prize provider and their immediate families and agents may not enter. The prize must be taken as offered with no alternative. Entries not in accordance with these rules will be disqualified; by entering, competitors will be deemed to have agreed to be bound by these rules. In the event that the prize cannot be supplied, no liability will attach to Bright Publishing. For the full terms and conditions, visit:




Cinema glass comes to RF mount Canon has cemented its filmmaking future camera. This hints that Canon’s next- generation cinema line will use the RF

with the RF mount, by unveiling two sets of full-frame cine primes, based on the existing EF mount CN-E lenses and PL-mount Sumire Primes. The seven new lenses are Canon’s first cinema lenses equipped with the large RF mount, offering high-speed communication between the lens and camera body. The lenses are called CN-R and there will initially be a 14mm T3.1, a 20, 24 and 35mm T1.5, a 50 and 85mm T1.3 plus a 135mm T2.2. More focal length options will become available in the future. The optics are fully compatible with the current EOS C70 and EOS R5C RF cinema cameras, but can be used on any RF mount

mount – the C300 Mark III and C500 Mark II use EF mount, while the C700 FF uses EF or PL mount lenses. These new lenses will also be compatible with Red’s Komodo and V-Raptor range. The CN-R lenses offer control of magnification, correction for chromatic and distortion aberration, peripheral light correction plus a dual-pixel focus guide via the camera body. Canon claims the primes have exceptional optical performance, excellent colour reproduction and are suitable for use with 4K and 8K cameras. This is thanks to optimal positioning of large-diameter

aspherical lens elements as well as lens elements with anomalous dispersion glass. The 11 aperture blades grant a shallow depth-of-field and natural round blurring of out-of-focus areas. The optics offer minimal focus breathing and are colour matched for a consistent look. There’s a unified design across the series with a 114mm front diameter, and consistent gear position of the focus ring, lens diameter and rotation angle for speedy changes without resetting accessories like matte boxes or follow-focus systems. A knurled surface near the mount allows the lens to be gripped without adjusting focus when attaching and detaching. UK prices are £4200/$3950 for the 135mm, £3700/$3950 for the 85, 50 and 35mm, £4100/$4220 for the 24 and 20mm and £4380/$4220 for the 14mm. RED REDEMPTION The RF mount system was lacking a proper set of cinema prime lenses until this new Canon range was revealed


The camera is compatible with Canon’s Auto Tracking app as an add- on application, enabling the camera to automatically track a speaker without the intervention of a camera operator. The camera also supports the Multi- Camera Management app that enables configuring, management and monitoring of up to 200 cameras. In-built protocol support includes Canon XC2, RTMP3/RTMPS, RTP/RTSP, NDI|HX4 and SRT5, and there’s HDMI and USB-C connectivity. The RC-IP1000 is a powerful broadcast PTZ controller, designed to work with all Canon’s high-end PTZ models and compatible with both IP and serial communication to access and control PTZ cameras remotely. The input monitoring feature enables users to view their feeds on the controller’s seven-inch LCD screen.

4K/30p PTZ camera is the sixth model in the PTZ line-up designed for high- quality video and easy integration into a multi-camera system. It works perfectly with Canon’s RC-IP1000 PTZ controller for broadcast and live events, along with a new Multi-camera Management Application to manage the workflow of multiple PTZ cameras. The CR-N100 has a 1/2.3-type 4K CMOS sensor, Digic DV6 processor and 20x optical zoom. It includes four different ‘scene modes’ – Portrait, Sports, Low-light and Spotlight – so is ideal for inexperienced users. The hybrid autofocus system combines contrast AF with external phase- detection AF, face detection and tracking, to ensure fast and accurate focusing even in low light.

There is IP video and input monitoring of up to 200 cameras, with HDMI output, 12G-SDI in/out, Serial RJ45, LAN/POE+, two USB ports and two GPIO D-Sub. No UK prices have been set but the USA pricing is $1999 for the CR-N100. The controller is £5499/$4999.




Newer Anova on the way

One of the LEDs that helped establish Rotolight as a powerhouse player in filmmaking is about to benefit from a full refresh. The Anova Pro 3 is an all- weather, 1x1 light, boasting a custom- designed LED optic system. It includes a range of industry-first features to bring versatility for filmmakers and hybrid stills and video shooters.

will go live on the top crowdfunding platform Kickstarter. The latest Pro 3 is the fifth generation in the popular Anova series and has been developed from 12 years of user feedback and R&D, including feedback from productions by Amazon Studios, Netflix, BBC and ITV.

The latest has IP65 weather resistance, native full-power V-Lock operation, a touchscreen display, a ‘Magic eye’ optical light sensor, control via app and built-in LumenRadio CRMX. It’s highly versatile at home, on location or in the studio. Early versions were shown at IBC in September, while full details are due to be revealed in October – when the light

The Anova Pro 3 is claimed to have a best-in-class output of more than 22,000 lux, which equates to more than twice the output of both previous generations of Anova lights and even the latest Rotolight AEOS 2 Pro. Fujinon Duvo gets more portable

The Fujinon HZK 24-300mm is a new PL mount lens in the Duvo series, designed to bring a cinematic look to broadcast lenses. A dual-format lens, supporting Super 35 and full-frame sensors with the 1.5 expander engaged, it’s ideal for live sporting events, music concerts, documentaries and wildlife cinematography. The lens has a maximum aperture of T2.9. Where cine lenses are optimised for shooting scripted production, the Duvo has a 12.5x zoom covering 24-300mm; a built-in expander alters focal length to 36-450mm. It is compact and lightweight at 270.5mm long and weighs 2.95kg. The lens can be operated in the same style as a broadcast lens using zoom and focus demands, and can be deployed for shoulder-mounted operation or on a Steadicam. With the use of large-diameter aspherical elements and Super ED

lenses, aberration is controlled while ghosting, lens flare and colour bleeding are suppressed. Maximum aperture is T2.9 at the wide-angle end despite being a high-magnification lens. This enables filming in low-light conditions, such as indoor concerts and evening sporting events. Out-of-focus areas naturally fall out of focus from the focal plane into the background. This produces a highly sought-after cinematic look with beautiful textures and bokeh, allowing the storyteller to naturally draw the attention of the viewer to the in-focus subject. Automatic control of focus breathing features, while Remote Back Focus enables flange focal distance control from the camera for precise adjustment. It is compatible with the Zeiss eXtended Data system based on the open /i Technology standard to


Tamron’s new 70- 180mm f/2.8 zoom for full-frame Sony mirrorless cameras is the smallest lens of its type and has now been officially released, costing £1329/$1299. The 70-180mm f/2.8 Di III VC VXD G2 boasts fresh features including Tamron’s Vibration Compensation. The optical design has been revamped compared to the first-generation version and the

minimum focusing distance at the wide end has been reduced to 0.3m/11.8in. The lens employs Tamron’s Voice-coil eXtreme-torque Drive linear motor focus mechanism for fast, accurate autofocus with stills or video. This brand-new 70-180mm f/2.8 G2 zoom also supports both the dedicated Tamron Lens Utility and Tamron Lens Utility Mobile apps to customise functions.

allow recording of lens metadata as well as distortion

and shading corrections.

A 14-100mm Duvo will follow. No prices have yet been announced.



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