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 samscott-smith@bright.uk.com Senior sales executive Claire Cornish 01223 499453 clairecornish@bright.uk.com 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 Frame.io 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.
ADAM DUCKWORTH, EDITOR IN CHIEF
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