Welcome to the brand new Pro Moviemaker magazine The latest Pro Moviemaker magazine is out now and it’s a packed issue, bursting with camera tests, kit reviews and news of the latest and greatest equipment. There’s the brand new flagship Sony camcorder that is the first to bring anti-deepfake technology to video, as well as stunning 4K image quality from its new sensor. And also from Sony, there’s the surprise rebirth of the RX1R compact after a decade of no changes, mods to the Burano and a new high-end XLR mic. We have a content creator special, tests of three cameras and a wirelss audio guide. And there’s new glass from emerging brand Apsara, Arri reveals its new super-speedy Alexa 35 flagship plus kit from Atomos, Aputure, Amaran and Audio-Technica. It’s a class A issue!
FULL TEST: ARRI STYLES The Lumix with colour from the legendary cinema giant
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Sony RX1R III compact camera Atomos Ninja TX Lenses from Sigma, Samyang, Laowa and new brand Apsara Aputure LEDs
A NEW BREED It’s time to take a
serious look at why content creators are proving successful – and how you can fit in
The ultimate magazine for next generation filmmakers
EDITORIAL
Editor in chief Adam Duckworth Chief sub editor Matthew Winney Sub editor Zanna Buckland Editorial director Nicola Foley Contributor Ben Gawne
ADVERTISING Sales director Sam Scott-Smith +44 (0)787 5711967 samscott-smith@bright.uk.com Account manager Kurran Jagpal +44 (0)1223 492244 kurranjagpal@bright.uk.com DESIGN Design director Andy Jennings Magazine design manager Lucy Woolcomb Ad production Holly May PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:
with or without your help. They’re filming online courses, branded documentaries, behind-the-scenes series and product launches. They’re building six-figure followings – and sometimes six-figure incomes – without needing a single gatekeeper’s permission. The platform is the boss now, and the platform demands consistency, speed and a good story. Filmmakers have the edge in craft, no question. But creators are winning in agility. They understand that storytelling doesn’t just belong at 24p with a Netflix- approved camera. It lives in Reels, Shorts, live streams and behind-the-scenes breakdowns. It’s vertical, horizontal, Raw or cinematic – whatever gets the message across and resonates with a niche audience. To thrive, filmmakers need to stop seeing creators as amateurs and start seeing them as entrepreneurs, then follow suit. If you’ve got skills, use them. Partner with creators. Sell what you know. Build a newsletter. Launch a course. Make some behind-the-scenes content of your own. Monetise your experience. You can either wait for the phone to ring or start building something of your own. The tools are cheaper, the barriers lower and the stakes higher – and the creator economy doesn’t wait for anyone. So create, collaborate or get left behind. Whatever you do, don’t stand still.
There was once a time when content creation was a hobby at best, and many of us winced at the utterance of those two words. It was something that untrained youngsters dabbled in, shooting on smartphones or low-spec mirrorless cameras to get social media likes as if they were currency. But that era is over: content creation has become a profession. The line between traditional filmmaker and creator has blurred beyond recognition. Camera operators, editors and DOPs are finding themselves outpaced not by rivals with bigger crews, but by creators with sharper strategies, smaller kits and direct-to-fan income streams. The playing field has changed, and the winners aren’t necessarily the most experienced, but most adaptable. The creator economy isn’t just a trend any more, it’s a market worth billions – and is growing fast. Today’s top creators aren’t just filming themselves. They are writing, producing, editing, publishing, marketing, monetising and building entire businesses in the space where social media meets cinema, and many of them are doing it all solo. So what does that reality mean for professional filmmakers? Opportunity, if you’re paying attention. Irrelevance, if you’re not. Because right now, thousands of creators are growing their audiences, revenue streams and personal brands
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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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The ultimate magazine for next generation filmmakers
SEPTEMBER/OCTOBER 2025 CONTENTS AGENDA 6 ANTI-DEEPFAKE TECH COMES TO VIDEO The latest Sony flagship pro camcorder comes armed with a bright new 4K sensor and built-in software to authenticate real footage and weed out fake news. 8 SONY’S SIGNATURE COMPACT IS BACK Reports of the death of the RX1R have been exaggerated, as the new Mark III version makes a surprise entrance. But is it too late – and too expensive – in today’s market? 10 QUANTUM LEAP FOR SMALLHD It’s a leap of faith for the monitor maker as a 27in screen hits the street. Also, Samyang reveals a pair of primes in E-mount and news from PTZ brand Telycam. 11 AI WANT TO BREAK FREE Adobe releases a powerful update to its Firefly artificial intelligence video production suite, Accsoon launches a budget monitor and Netflix says yes to Ursa. 13 LEGENDARY LAOWA LENS RETURNS Big day for fans of the super-wide 12mm Zero-D optic as the latest version is launched. Plus, PL mount comes to Laowa’s 10mm cine lens and fresh glass from Apsara. 14 HAZE OF GLORY Kenro’s fog machine brings atmosphere to your shots, Park Cameras is on the move, Sony updates its Burano and Quick Link panels power live production. 16 NITS A LONG WAY TO THE TOP Atomos unveils its seriously bright five-inch Ninja TX monitor, and the latest Parallel Beam modifier adds loads
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20 FORTY MINUTES (OR SO) WITH OUR FOTY WINNER This year’s Filmmaker of the Year Dominic Danson makes his way to the Pro Moviemaker offices to receive his award. We hear from the man himself about his career so far – and what’s to come.
PREVIEW 22 GOING DUTCH FOR ALL THE TECH LATEST
of throw to Aputure’s Storm LED lights. 19 ARRI’S XTREME-LY FAST ALEXA
It’s the biggest filmmaking and broadcast show in the world – the IBC exhibition gets ready to open its doors in Amsterdam. We preview the best bits, including some new kit coming our way. AWARDS 28 GEAR OF THE YEAR: STILL TIME TO CAST YOUR VOTE! The Pro Moviemaker Gear of the Year Awards are in full swing, but it’s your votes that determine the winners. So check out the shortlists and have your say before it’s too late! CONTENT CREATOR SPECIAL . 40 THE RISE OF THE PROFESSIONAL CREATOR Being a content creator is now a serious job that can earn you proper money. We survey the market and see how filmmakers can leverage their skills to cash in. 46 BLAME IT ON THE FUJI We take the retro-stylish Fujifilm X-E5 for a spin to see if this trendy compact camera is a worthwhile purchase for any style-conscious content creators out there.
The camera brand that many yearn for upgrades its most popular model with a speedy sensor, Marshall announces its latest broadcast-quality camera and a new Sony shotgun mic aims to topple Sennheiser.
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50 0MG IT’S THE NEW OM-5 OM System’s Micro Four Thirds camera designed for the great outdoors is put to the test to assess its video and stills credentials for vloggers and creators. 52 THE LIGHT FANTASTIC Top-class lighting isn’t solely the domain of high-end pros. We check out affordable LEDs suitable for vlogging or on-the-move shooting. 55 BEST SUPPORTING ROLE The latest tripods for stills and video from Manfrotto and Peak Design, plus a hybrid Benro fluid tripod head that won’t break the bank. 57 SMARTPHONE SUPERSTARS These accessories will help you get the best out of your smart device, from high-end audio to a super-smooth gimbal and a monitoring solution for Android. GEAR 58 PANASONIC’S BEST-EVER HYBRID It’s been a long time coming, but the full-frame Lumix line finally has a stunning stills and video performer in the form of the S1 II mirrorless. Here’s our verdict. 64 MINI TESTS: KIT USED AND RATED We try the superfast APS-C standard zoom from Sigma, an immersive eight-microphone beauty from Audio-Technica and storage from Sandisk and Western Digital. 70 BUYERS’ GUIDE: WIRELESS AUDIO A rundown of remote sound options from the biggest and best brands, such as Sennheiser, Rode, Audio-Technica, Saramonic, Deity, DJI, Shure and Hollyland.
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Smart shooter from Sony The flagship Z300 camcorder boasts AI and cloud-first features, plus anti-fake technology S ony’s new flagship handheld camcorder in its XDCAM line-up is designed for professionals working in news, broadcast, events and
documentary production. The PXW-Z300 features three 1/2in 4K CMOS Exmor R sensors and Sony’s Bionz XR image processing engine, also found in the brand’s Alpha and FX series cameras. It’s paired with a dedicated AI processor, enabling precise subject recognition based on eye, face, skeletal structure and posture. The AF maintains tracking even when a subject turns away or is wearing a mask; an auto-framing mode dynamically adjusts composition. One of the Z300’s headline features is its ability to embed digital signatures directly into video files – it’s the first camcorder in the world to do so. Built on the C2PA (Coalition for Content Provenance and Authenticity) standard, this tech helps verify authenticity in journalism and documentary work.
The camera supports up to 4K/60p 10-bit 4:2:2 recording in XAVC Intra and Long GOP, alongside broadcast-friendly MPEG HD422 and MP4 proxies encoded in HEVC. It features a 17x optical zoom lens with a constant f/1.9 aperture and three independent rings for focus, zoom and
iris control. A digital extender offers 1.5x zoom in 4K and up to 4x zoom in HD, with the promise of minimal quality loss. Sony has also enhanced its ergonomics and usability by adding a new flexible LCD arm that holds the monitor and adjusts on three axes, much like many of its higher- end cinema cameras. A high-brightness, 3.5-inch screen with 2.76 million dots is ideal for both shoulder-mount shooting and waist-level monitoring. Connectivity is central to the Z300, as it supports live streaming via RTMP, RTMPS and SRT, and content can be transferred over Wi-Fi, 5G or wired LAN. The camera integrates with Sony’s C3 Portal and Ci Media Cloud for real-time file sharing and remote editing. It also supports the PDT-FP1 data transmitter via the new side V-Mount attachment, great for transmitting from the field without additional rigging. The camera accepts up to four channels of audio with XLR inputs and Sony’s Multi Interface Shoe. It will also support proxy four-channel audio in a future firmware update. Gamma choices include S-Cinetone, ITU709, 709tone, HLG profiles – and LUTs can be imported. Sony’s Monitor & Control mobile app enables remote operation and multicam control. It’s expected to begin shipping in autumn, with pricing to be confirmed. sony.com
“The Sony Z300 has the ability to embed digital has the ability to embed digital signatures directly into video files – it’s the first camcorder in the world to do so”
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VISION ON The viewfinder of the old Z280 is gone, replaced by a screen on an articulating arm that’s better for on-the-shoulder work
HOW THE Z300 STACKS UP AGAINST 4K RIVALS
Sony PXW-Z280 The Z280 remains a workhorse with a similar 3-CMOS 1/2-inch sensor and SDI/HDMI outputs, but the Z300 surpasses it with its Bionz XR, AI capabilities and improved LCD and cloud integration. The Z280 will stay in the range – for now.
JVC GY-HC550 With a one-inch sensor, 4K/60p and advanced IP workflow tools like built-in FTP and streaming, the GY-HC550 is strong for live events. JVC’s cam focuses on network versatility, but doesn’t match the PXW-Z300’s AI or recording formats.
Panasonic AG-CX350 A lightweight one-inch camcorder with HLG HDR, HEVC 10-bit 4:2:2 recording and 20x zoom. It includes RTMP/RTSP streaming and NDI/HX1 output, though doesn’t offer the same level of AF intelligence or signature authentication.
Canon XF605 Canon’s XF605 features a one- inch sensor, 15x optical zoom, 4K/60p recording and Canon Log 3 gamma. It lacks the AI-assisted tracking of the Sony but excels in colour, and has a solid streaming feature set with IP integration.
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SPEEDY UPGRADE FOR TYPE A CARDS Sony has expanded its professional media line-up with two new rapid CFexpress Type A memory cards. Available in 1920GB and 960GB sizes, these next-generation cards provide ultra-fast read and write speeds for data-intensive Cinema Line and Alpha mirrorless cameras. Compatible with the latest CFexpress 4.0 standard, the cards boast read speeds exceeding 1800MB/s – more than twice the speed of Sony’s previous generation – ensuring superfast data transfers for reduced turnaround time in post. They have VPG400 (Video Performance Guarantee) certification, so they maintain stable 400MB/s minimum write speeds. This makes them perfect for capturing long-form 4K video, high-resolution Raw stills and continuous high-speed bursts without dropped frames. The cards are supported by Sony’s new £149/$150 MRW-G3 Type A card reader, which will unlock their full potential by enabling fast data transfers. The larger card is £1019/$950 and the smaller £629/$585 – similar prices to the older, slower versions. They are built to withstand professional use with resistance to heat, shock and heavy workloads.
Shock return for cult compact
plus S-Cinetone, user LUTs and active image stabilisation. The fixed Zeiss Sonnar T* 35mm f/2 lens remains, but the new model adds Step Crop Shooting. Users can toggle between 35, 50 and 70mm framing digitally when shooting stills. Thanks to Raw’s resolution and flexibility, crop can be reselected in post. It also has built-in macro, with 20cm/7.9in minimum focus distance and 0.26x magnification, using a dedicated ring on the lens. Other updates include 12 customisable Creative Looks, a 2.36-million- dot OLED EVF, larger battery and compact 498g body. But the rear screen is fixed – not ideal for video. At such a high price – at least in the US, thanks to tariffs – the RX1R III enters a competitive premium field, rivalling Fujifilm’s GFX100RF and Leica’s Q3 in price and prestige. sony.com
After almost a decade, Sony decided the time was right to revive the cult RX1R fixed-lens compact camera with pro-level specs, improved AF, a high-resolution sensor and fast image processing – and a high price to match, as it costs £4199/$5098. The Sony RX1R III features a 61-megapixel full-frame Exmor R CMOS sensor and is powered by the latest Bionz XR processor with a dedicated AI unit. That’s the same sensor resolution and processing as found in Sony’s top-end A7R V model, but that costs £3327/$4200 body only. This new tech enables advanced autofocus with 693 phase detection points covering 78% of the frame, ensuring high performance for both stills and 4K/30p, 10-bit video. Other video spec is significantly lower than the A7R V, with the RX1R III offering no 8K, but there is 120fps HD in 8-bit
CAMERA VERIFY TO FIGHT FAKE VIDEO
Powerful new Sony Camera Verify will soon be adapted for video footage – so filmmakers can embed authenticity data directly into their footage to help combat AI fakery and content tampering. Already in beta for stills, it’s part of Sony’s Camera Authenticity Solution. It embeds secure C2PA (Coalition for Content Provenance and Authenticity) digital signatures and Sony’s proprietary 3D depth metadata at the moment of capture. For photojournalists and media professionals, this helps prove their images haven’t been tampered with – and now video shooters are next in line.
Set to launch later this year, Camera Verify for video will generate secure URLs that show the authenticity status of a clip via a dedicated image validation platform. Video professionals will be able to share trusted links with newsrooms, clients or social platforms – as clear evidence that footage was captured in-camera and hasn’t been altered. Sony’s goal is increased protection against the rising tide of AI-generated misinformation. Its Digital Signature licence for stills is already available on some cameras via Creators’ Cloud, and will expand to video formats too.
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SmallHD makes a Quantum leap
Building on the foundations of the Quantum 32 launched last year, the SmallHD Quantum 27 offers the same cutting-edge display technology in a smaller and more versatile chassis, ideal for multi-monitor set-ups. The new model continues the partnership with Samsung Display, using quantum-dot OLED panels that directly emit narrow-spectrum RGB light evenly in every direction. This delivers uniform luminance of up to 1000 nits, extends colour gamut to 99% of DCI-P3 and enables a wide viewing angle of up to 60°. Consistent colour reproduction across the entire screen allows for more accurate calibration. The Quantum 27 is optimised for professional use by offering features such as a robust handle and feet, plus a universal 100mm Vesa mount and Arca rail on the back for easy mounting. This monitor includes dials for tactile control and is 3kg/6lb lighter than the 32. Power features include a pair of two-pin Lemo, USB-C and USB-A power
wizard with Calman integration. SmallHD’s next update will include new features such as a multiview to compare multiple inputs, colour pipes and LUTs, plus Wi-Fi adapter support for control. smallhd.com
outputs. It’s also compatible with Gold Mount or V-Mount battery brackets. Industry-standard PageOS software powers the monitors, which feature exposure tools like EL zone, waveform, vectorscope and monitor calibration
ELGATO STREAM DECK MEETS TELYCAM
Deck’s interface. It’s compatible with the full Stream Deck line-up, from the compact Mini to the rack-mountable Studio. Using the new plug-in, presets, auto-tracking and image adjustments can be assigned to LCD buttons, streamlining operation for fast-paced productions. It’s a major productivity boost for content creators, educators, worship teams and broadcast pros alike. Telycam’s PTZs include the new Explore XE 4K, which boasts a one-inch sensor and phase detection AF, and the Vision+ series, aimed at delivering high performance for pro AV. telycam.com
Telycam has unveiled a new plug-in that can integrate its professional PTZ cameras with Elgato’s Stream Deck controllers, for faster and more precise live video production. Now available via Elgato Marketplace, the free plug-in enables the control of a wide range of camera functions – such as white-balance, pan, tilt, zoom, exposure and focus – direct from Stream
SAMYANG PRIMES SONY USERS Samyang has expanded its affordable Prima Series with two new autofocus lenses for
of 0.33x, making it ideal for landscapes, street, travel and everyday vlogging. On APS-C cameras, it delivers a 24mm equivalent field of view with 0.5x macro. Meanwhile, the £348/ $449 AF 85mm is targeted at portrait shooters, delivering smooth, shallow depth-of- field and beautiful bokeh. At 272g, this is the lightest in its class, with three ED elements and a nine-blade aperture. Both lenses feature a compact industrial design that uses Samyang’s high- strength engineering plastic, updated grip texture and USB-C for firmware updates, no docking station required. holdan.co.uk
Sony: the AF 16mm f/2.8 P FE and AF 85mm f/1.8 P FE. These lightweight optics are designed for stills and video shooters, offering strong performance in a compact and affordable package. This launch completes the Prima trio, joining the previously released 35mm f/1.4 to form a versatile set covering ultra-wide, standard and portrait focal lengths. The £348/$449 AF 16mm is a super-lightweight wide-angle optic weighing just 207g. It features a close minimum focus of 0.12m and semi-macro capability
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Accsoon’s affordable M7 monitors
Chinese brand Accsoon has launched its long-awaited Cine View M7 and M7 Pro monitors, unveiled in prototype form at the NAB Show earlier this year. These all-new, seven-inch touchscreen monitors pack high-end features into rugged, compact bodies at competitive prices. The Cine View M7 Pro is priced at $899 and the M7 at $799. UK prices have not yet been revealed. The M7 Pro includes built-in long- range wireless video reception using Accsoon dual-band transmission tech. It will also soon support transmission to other monitors, receivers or mobile devices running the See app. The M7 shares the same core performance, minus the wireless features. Both models have premium laminated displays with 1920x1080 resolution, 1000-nit brightness and factory calibration for accurate Rec. 709 colour. Touchscreen camera control is currently in beta testing for select Sony mirrorless cameras, with aperture, ISO, shutter speed and white-balance
ADOBE UPDATE REFINES AI VIDEO PRODUCTION Adobe’s update to its Firefly software brings advanced AI video tools to speed up workflows and give more creative control. The update delivers improvements to motion fidelity, smarter video generation and a range of tools to cut down editing time. At its heart is a refined video generation model that creates more natural movement, lifelike transitions and atmospheric realism. With Composition Reference, editors can upload a clip and generate new footage which retains the same structure and visual rhythm – great for storyboarding, reworking past projects or building series content. New Style Presets let users apply unique visual styles – from anime to claymation – at a single click. And Keyframe Cropping enables the generation of full scenes based on just a beginning and end frame. Firefly has also added a Generate Sound Effects tool to create custom audio through text prompts or voice control, as well as text to avatar (beta), which can turn scripts into narrated videos with virtual on- screen presenters. The new Enhance Prompt rewrites vague inputs into more targeted ones, helping creators get better footage on the first try. adobe.com
adjustments available from the monitor. More camera models will follow. Housed in aluminium with Gorilla Glass Victus screens, the monitors run a custom Android OS for future expandability and fast performance. Monitoring tools include waveform, vectorscope, zebras, false colour and histogram, all customisable. Accsoon has also prioritised pro LUT workflows. Users can import, apply or burn LUTs in real time, use the monitors as LUT boxes or preview footage in log. On-board recording of 4K H.264 or H.265 files to SD card, SSD or USB drive is supported. Both monitors offer HDMI and SDI I/O, Bluetooth audio, dual NP-F slots and cloud-enabled uploads. accsoon.com
NETFLIX THUMBS UP FOR FLAGSHIP URSA Blackmagic’s Ursa Cine 17K 65 large format digital film camera has been added to Netflix’s list of approved cameras. The list specifies the necessary capture requirements to qualify as an approved camera for the streamer, such as resolution, dynamic range, workflow compatibility and more. Netflix requires 90% of a programme’s final total runtime to be filmed on approved cameras. The list already includes the Blackmagic Design Ursa Mini Pro 4.6K G2, Ursa Mini Pro 12K OLPF and Ursa Cine 12K LF among its approved systems. blackmagicdesign.com
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NEWS AGENDA Legendary Laowa 12mm reborn
The widest non-fisheye lens you can buy has now been redesigned for mirrorless. A new version of Laowa’s iconic 12mm f/2.8 Zero-D full-frame lens has been remade as a Lite version, which is smaller, lighter and now adds autofocus support for Sony E and Nikon Z mounts. Retaining the ultra-wide 122° field of view and distortion-free design, the Laowa 12mm Lite also keeps the fast f/2.8 aperture. Despite the wide angle, straight lines remain straight, which is useful for interiors and cityscapes, where distortion can ruin a composition. It’s also built to be sharp – even into the corners – with excellent control of chromatic aberration. The lens is compact, and the E-mount AF version weighs just 377g, making it ideal for handheld use or on gimbals, plus it has a built-in 72mm front filter thread. A unique feature is the choice between five- or 14-blade aperture options for sunstar rendering. The five-blade version creates a striking ten-point sunstar effect. It’s priced at $699, with no UK price confirmed yet. venuslens.net
STAR PERFORMER The extreme non-fisheye lens from Laowa comes with a choice of aperture blades, including the five-blade version that gives ten-flare sunstars
PL MOUNT COMES TO 10MM CINE LENS FOR ARRI AND RED USERS
thread. Its 46.31mm image circle fully covers Vista Vision sensors too, while any chromatic aberration is kept tightly in check, giving clean, cinematic results. The lens is also available in LPL, Canon RF, Sony E, Nikon Z and L mounts. The PL mount is $1699, but no UK prices have been revealed. laowacine.com
The ultra-wide rectilinear 10mm full-frame lens just got even more useful, as Laowa has added a PL mount to its T2.9 Zero-D VV Cine optic, opening it up to a wider range of high-end cine cameras. Known for its extreme 130.3° field of view, it now integrates with industry workhorses like the Arri Alexa LF and Red V-Raptor 8K VV.
Weighing just 640g, the 10mm T2.9 lens is ideal for handheld rigs, drones or gimbals, and features a close minimum focus of just 12cm. Its beautiful bokeh makes it a tool for creative, unique close-ups with dramatic perspective. Other pro features include a 113° focus throw, 0.8M gear pitch and a standard 77mm front filter
RETRO RENDERING FROM APSARA OPTICS The new Apsara cine lenses produce a vintage look with rugged mechanics and modified Sirui components – and they’re surprisingly outside diameter and 77mm filter threads for compatibility with standard rigs.
The Prestige Series is a PL and LPL mount line of five cine primes – 24mm to 100mm – with macro capability. The lenses cover up to 65mm sensors and offer a consistent cinematic look with minimal focus breathing, rich bokeh and flattering colour rendition. They also feature 95mm outside diameter fronts and robust all-metal barrels. Manufactured with Sirui and calibrated in Simmod’s new ISO-standard facility, every lens is tuned for optical character and mechanical precision. Sales will support non- profit Apsara Academy, fostering filmmaking in underserved communities. UK prices have not yet been set. simmodlens.com/apsara
affordable, starting from $849. Apsara’s two ranges, Lumière and Prestige, are the brainchild of Simmod Lens founder Ron Sim. The Lumière Series comprises four fast, compact T1.4 primes – 24, 35, 50 and 75mm – optimised for mirrorless mounts like Sony E, Canon RF, Nikon Z and L-Mount. Despite their small size, these cover everything from full-frame to Vista Vision and even Alexa LF Open Gate. They deliver creamy skin tones, subtle highlight halation and painterly focus fall-off. Unique to the Lumière Series is an illuminated lens marking system for visibility in low light. The lenses are built with 80mm
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Quick Link panels to help power live production
FREE HARDWARE SWAP BOOSTS BURANO A free replacement infrared (IR) cut filter improves colour reproduction under strong lighting conditions, including sunlight, on the high-end Sony Burano cinema camera. The filter will be fitted to all Burano owners in Sony service centres worldwide at no cost. The camera’s firmware will also be upgraded to Version 2.0, to include new recording formats such as a 3.8K full- frame crop up to 120fps, Super 35 1.9K up to 240fps and Super 35 4:3 mode. Other improvements include the 1.8x de-squeeze setting and additional high frame rates. The firmware update will also include proxy for 24fps recording, as well as monitoring improvements. Burano units with a protrusion on the upper part of the front optical filter component already have the new IR cut filter – no further replacement is required. sony.com
The Studio Pro Proton is aimed at mobile, compact set- ups. It has 54 buttons – 27 fully programmable – plus a tactile T-Bar, DB25 tally support and rugged anodised aluminium construction. At just 1.5kg/3.3lb, it’s ideal for houses of worship, schools, podcasts and remote productions. The flagship Studio Pro Fusion offers 113 buttons – 80 configurable – a 5.5in touchscreen, 4D joystick for PTZ camera control and a high- precision T-Bar with LED feedback. Its robust features suit larger studios, government AV teams, esports and live events. quicklink.tv
New Studio Pro Proton and Fusion panels offer user-friendly tools to manage multicamera productions, from solo streamers to worldwide broadcasters. Quick Link’s new panels are professional-grade tools designed to simplify and supercharge live productions for a wide range of users. Both kinds of panel integrate with Quick Link’s Studio Pro platform, and are powered by the Bitfocus Companion control engine. They also support over 600 third-party devices, giving users flexibility in managing cameras, lighting, audio and media playback from a single intelligent interface.
MEET THE FOGFATHER Create atmosphere in your product shots with Kenro’s new Smart Lite Handheld Fog Machine, a compact 30W unit designed to deliver cinematic scenes on the move. At 390g, the lightweight machine is a truly portable package. Being powered by a built- in 2550mAh battery allows for wireless, cable-free
PARK JUST ROUND THE CORNER Park Cameras has opened the doors to its new central London store at 34 Rathbone Place – just 130m from its previous location. The move has given the retailer a chance to build a fresh, purpose-designed space that enhances the in-store experience. Backed by major brands including Canon, Fujifilm, Nikon and Sony, the store brings more interactive displays and a wider selection of gear, from cameras and lenses to lighting, gimbals, tripods and bags. parkcameras.com
The free accessory kit includes interchangeable nozzles and tubes, a 60ml bottle of fog fluid and a carry case. Smart features like auto shut-off after ten minutes help prevent overheating and protect internal components. The machine costs £170, and two 60ml refills cost £11. kenro.co.uk
operation both in the studio and on location. It produces a fine, safe VG/PG-based mist at a rate of 20 cubic metres per minute. The unit is easy to charge up between jobs with USB-C, and hands-free operation is enabled by the included remote control.
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Beam me up Aputure! The Storm Parallel Beam 70 is a specialist modifier from Aputure designed to deliver an intense, ultra-narrow 5° shaft of light – perfect for lighting scenes from a distance or shaping dramatic highlights. Storm XT52 high-output LED, but is also compatible with other Aputure fixtures, such as the Electro Storm XT26 and CS15. This unique design projects a highly
dramatic shafts of light through smoke- filled rooms. The tight 5° angle gives total control over spill and intensity, making it especially useful on large sets, exteriors or for stylised commercial work. It attaches via the Aputure Mount, and an optional rolling hard flight case is available. It costs $2250, but no UK price has been announced yet. aputure.com
directional beam without the distortions or fuzzy shadows that can occur with traditional lenses or fresnels. It’s ideal for simulating sunlight through windows, being used with bounce panels like Lightbridge CRLS or cutting
Built around a Cassegrain system that uses concave and convex mirrors to focus the light, the Storm Parallel Beam 70 is optimised for peak efficiency at ten metres and beyond. It’s specifically tuned for the
Aputure has revealed that it’s working on its brightest and most advanced panel light yet – the Nova II. It will be the first panel style to feature the company’s cutting-edge BLAIR-CG light engine. Previously available only in the flagship Storm 80c and 1000c fixtures, BLAIR-CG delivers superior white light and a massive range of tunable colours. This leap in technology allows the Nova II to do things like instantly turn a white wall into a flawless green screen. The Nova II will be officially launched at IBC 2025 in Amsterdam. PANEL POWER BOOST PLANNED
ATOMOS UNVEILS ALL-NEW NINJA TX
will be delivered wirelessly. Its 1500- nit touchscreen is 50% brighter than previous models, and hosts waveforms, EL zone, vectorscope and focus aids. The £999/$999 Ninja TX supports Apple ProRes including Raw, Avid DNx and H.264/H.265 codecs with no extra licences needed. Resolutions scale up to 8K/30p, 4K/60p and 1080/120p, depending on camera output. The Ninja TX is cloud-ready, enabling direct uploads to Frame.io, Dropbox and Atomosphere, where 20GB of free storage is included. It can also stream via NDI 6 or HX3 and record with full timecode sync via Bluetooth or RF. atomos.com
Atomos has reinvented its popular five- inch Ninja monitor-recorder by adding some serious pro features in a compact, cloud-connected unit. Unlike previous Ninja models, the Ninja TX includes both 12G-SDI and HDMI 2.0 I/O, plus integrated Wi-Fi 6E, Bluetooth and Atomos Air Glu timecode technology. It now also supports ultra- fast CFexpress Type B media for Raw recording and captures directly to USB-C drives. Dual ports allow for simultaneous accessory connections or power options, while a secure new cable locking system ensures robust field use. The Linux-based AtomOS delivers faster response, and firmware updates
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AGENDA
NEWS
Xtreme-ly fast Arri Alexa
The legendary Arri Alexa 35 has received a major upgrade to the Xtreme version, with a suite of powerful features such as frame rates up to 660fps, significantly longer pre-roll and an Arricore codec designed for greater post-production flexibility at lower data rates. Thanks to a more powerful processor and faster internal memory, the new Alexa 35 Xtreme can now shoot up to 330fps while maintaining a full 17 stops of dynamic range. The new Sensor Overdrive mode unlocks up to 660fps at 11 stops, reducing the need for a dedicated high- speed camera on-set. The camera also introduces Arricore, a new RGB codec that preserves full post-production flexibility while lowering data rates. Exposure, white-balance and tint are not baked in. Pre-recording times are now five times longer – up to 30 seconds of 4.6K open gate ProRes 4444 at 24fps or five minutes in ProRes 422 HQ HD. The Alexa 35 Xtreme also brings improved Wi-Fi connectivity, including support for 5GHz bands, mesh
for existing users. The £13,740 upgrade will be available at Arri service centres, starting immediately. Pricing for new kits will remain in line with current Alexa 35 models – around £44,000/$54,590, depending on exchange rates. arri.com
networking, as well as auto-reconnect to known networks. Power consumption is reduced by 10% and the camera remains fully compatible with Arri’s existing accessories, mounts and Codex drives. Arri will offer the Alexa 35 Xtreme as a new camera system or as an upgrade
MARSHALL’S BIG REVEAL
video up to 1080/60p, with support for all standard HD formats. The camera supports NDI HX2 and HX3 protocols, allowing high-quality, low-latency video transmission over IP networks with preserved frame accuracy and synchronisation. Simultaneous output via 3G/HD-SDI, HDMI and stereo audio embedding provides flexibility for hybrid productions. marshall-usa.com
Marshall’s latest CV355- 27X-ND3 is a compact, yet powerful broadcast- quality camera with an impressive 27x optical zoom block. Offering focal lengths from 5.56-150mm, it covers a horizontal angle of view from a wide 60° down to just 3.2° – perfect for everything from wide venue coverage to long- range close-ups. Housed within is a pro-grade 8.5-megapixel sensor that can record HD
SHOTGUN TAKES AIM AT SENNHEISER
The market-leading Sennheiser MKH 416 shotgun mic will be coming under fire from Sony’s new ECM-778, a premium on-camera and boom-mounted mic. The ECM-778 is more compact than the £839/$849 Sennheiser, but more expensive at £930/$1199. It’s built to deliver exceptional clarity, rich tonal depth and high directivity. At just 176mm/6.9in long and 102g/0.22lb, the ECM-778 features a newly developed capsule and precision-machined brass acoustic tube, working alongside a new electronic circuit board. Sony says the result is detailed, immersive sound with excellent separation from ambient noise, even in acoustically challenging environments. A built-in low-cut filter helps tame wind and handling noise. Two windshields – foam and fur – are included. sony.co.uk
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AGENDA
NEWS
Forty and fabulous How his YouTube series Forty Minutes With put Dominic Danson on top in our annual Filmmaker of the Year contest D ominic Danson isn’t chasing the algorithm. While the rest of the online video world scrambles to keep things short, fast and
it delivers high-end results with a small, yet agile crew. From branded content and commercial case studies to award- winning shorts and YouTube originals, his work is a masterclass in modern indie filmmaking: self-led and polished. That’s why he was a clear winner in the YouTuber category of our annual awards, and why he was chosen as the overall MPB Filmmaker of the Year. The judges were blown away by his interview show that feels more broadcast-ready than most actual broadcast content. “The show is produced to a proper TV standard,” begins Danson. “That’s very deliberate – we wanted it to be pick- up ready for streamers.” The series is a showcase of what he does best, capturing real people and telling stories with clarity, empathy and polish. Though officially launched in 2022, the pair had been honing their craft behind the scenes for years. “We’d built up a bank of work just from interview-based content we’d done professionally. We just thought – let’s back ourselves and create our own thing.” And they did just that, launching new films just weeks after their daughter was born. “Apparently, having a baby and starting a business in the same year
“No clickbait cuts or viral gimmicks – just broadcast-ready conversations, crafted with intent” wasn’t stressful enough,” he jokes. But the momentum has never ceased. From their Suffolk base, they have travelled all over the UK and Europe – including London, Ireland, Germany and the Netherlands – to shoot various projects. Their niche is well-defined interviews and case studies with cinematic qualities. “A lot of our clients want something really specific and can’t afford to get it wrong,” says Danson. “So instead of hiring a local generalist, they hire us – the interview people – and we handle the whole thing. We travel light, shoot smart and bring it all home to work on post.” They own the majority of the gear they use, including Sony A7S III and FX30 cameras for most projects, occasionally stepping up to Red or combining formats where needed. Forty Minutes With was shot mainly on Red with Sigma cine lenses, but Danson’s eye is firmly on Blackmagic for future episodes. “I’d love to shoot an entire season on Blackmagic,” he says. “We’ve made moves to see if we can make that happen. I just want that consistency, and the in-camera image is beautiful.” His approach to editing is equally considered. Like many others, he’s made the jump from Adobe Premiere to DaVinci Resolve. “It’s just better. Everything’s in one place now – editing, grading, audio, even AI features like voice isolation and auto mix. It’s all there. I still use Adobe After Effects for motion graphics, but for everything else DaVinci is home.” As a filmmaker who started out making showreels for drama school grads, then narrative fiction, doing zero-budget 48- hour film competitions, Danson admits he
snackable, he’s been leaning hard in the other direction – slower, more spacious and deeply human. His YouTube series Forty Minutes With is a long-form, sit- down interview show that gives smart people the time and space to really say something. No clickbait cuts or viral gimmicks – just beautifully lit, broadcast- ready conversations, crafted with intent. It’s a format that’s resonating with audiences, clients and industry insiders alike. Built from a decade of interview experience and a meticulous approach to independent production, Forty Minutes With is the culmination of a journey that started with journalism, traversed drama school, weathered a financial crash and then, eventually, wound its way through showreel production, marketing and a self-taught education in filmmaking. Now, with a homegrown production company – Twelve Noon Films – he runs alongside his wife Jo, 41-year-old Danson is carving out a niche as a director and interviewer who understands story and structure. Like so many indie productions,
SETS APPEAL A great location, lit to perfection, was the stunning scene for the series of award-winning interviews
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NEWS
KEEP DANSON! Dominic Danson was presented with his award by editor in chief Adam Duckworth at Pro Moviemaker’s offices
MPB BACKS FILMMAKING TALENT Used kit specialist MPB is the official title sponsor of Filmmaker of the Year 2025 – a fitting partnership, as the brand champions new and emerging filmmakers. MPB is the world’s largest platform for buying, selling and trading used photo and video gear, making high-end equipment more accessible and more sustainable. With offices in the UK, US and Europe, MPB stocks a wide range of lenses, cinema cameras, mirrorless systems, camcorders and accessories – and it’s all professionally inspected, photographed and graded before going live on its streamlined website. Customers can buy or sell confidently, and know exactly what they’re getting – or how much they’re getting for their kit. By backing Filmmaker of the Year, MPB demonstrates its commitment to new talent and a sustainable industry.
everything. When the story, visuals and commitment all align, it just works.” Story is everything for Danson. “If there’s no story, it doesn’t matter how nice it looks. You can have amazing sound, perfect colour and gorgeous visuals, but if there’s no substance it’s just fluff. A good story is what holds attention.” The goal now is to fund and create more episodes of Forty Minutes With , potentially make the leap into documentary and continue working in branded storytelling. “There are so many stories out there – from real people and companies – that haven’t been told. That’s the stuff I love. Fiction is great, but real life is weirder, funnier and more emotional.” Despite Danson’s modesty, there’s no hiding how much the award means to him. “Everyone says it’s not about awards and, sure, it is about the work. But honestly, it’s really nice. It’s validation – not just for me, but the kind of content we believe in. Getting it from Pro Moviemaker , which understands the industry inside-out, that’s huge.” With a unique tone, cinematic craft and a belief in letting people speak for themselves, Danson proves that longer, more thoughtful content is still relevant. In this age of scrollable soundbites and 30-second TikToks, that’s something truly worth celebrating.
loves short films. “But interviews let you dig deeper into people and ideas,” he says. It’s that authenticity, that subtle confidence in the subject matter, that makes Forty Minutes With so compelling. “I genuinely think long-form content is about to make a comeback. We’ve been trained to consume everything in two- minute bursts, but the more that happens, the more people are going to crave real conversations. Stuff that breathes.” It helps that the team takes production values seriously – using Aputure lights, mics from Rode, Comica and Hollyland, plus Atomos monitors and recorders to maximise quality without unnecessary complexity. AF lenses such as the Sony FE 85mm f/1.4 GM keep solo shooting practical. “You don’t need a massive crew,” he explains. “If you understand your gear, you can get beautiful results with a small, smart team. That’s what Forty Minutes With is built on.” Even with their professional output, the passion projects haven’t stopped. His previous film I Am Nowhere – a haunting, beautifully shot short written by Samuel Adams and lensed by their go-to DOP Jake Davies – is proof of that, and won our Future Filmmaker award two years ago. “It hit a nerve,” says Danson. “It was made for peanuts, but everyone brought
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IBC PREVIEW AGENDA Global gear gathering
All eyes on Amsterdam, as the mega IBC exhibition will showcase all the latest kit for filmmakers at any level W ant to get up close and personal with the latest new kit and be inspired by experts from around the world? Get yourself to IBC 2025 in the Netherlands. It’s the world’s
Sony will have a huge range of its very latest hardware, with lots of experts to answer any questions on filming, image capture, audio and post- production. Camera fans will love the Burano full-frame cine cam and newly released, pro- level PXW-Z300 camcorder. Find the comprehensive Cinema Line range of cameras, as well as premium professional reference monitors, plus the FR7 full-frame PTZ camera and FX6, FX3, FX2 and FX30 models. Also, check out the massive range of lenses, such as Sony’s 50-150mm f/2 zoom. SONY STANDS 13.A10, 13.D01
You’ll discover real-world hardware and software fit for compact crews, and have opportunities to test rigs and compare solutions side-by-side. Conferences and conversation panels include sessions from industry leaders such as WPP, Warner Bros, BBC R&D and Roku, who discuss AI in media, streaming strategies and future content models. It’s the place where indie creativity meets industry power. It’s all held at the RAI Amsterdam Convention Center, which is particularly well connected thanks to nearby airports, ferry ports and fast, efficient railways – you could even go Dutch by cycling there! Entry is free, but some of the conferences do have a charge. We pick out some key trade stands and highlight a selection of the hot new gear they’ll be showcasing. show.ibc.org
premier broadcast and media-tech show, attracting more than 45,000 attendees in creative, tech and business communities. It’s not just for big studios, either. Independent filmmakers can gain access to breakthroughs in camera technology, post-production, streaming platforms, virtual production, workflows, AI tools and much more. Don’t miss some great chances to learn from, network and meet potential collaborators or mentors. The show floor is home to more than 1350 exhibitors across 14 themed halls, exhibiting gear from indie-friendly cameras, gimbals and audio tools to LED volumes and post-production systems.
MOVIEMAKER HEAVEN At IBC, you can get your hands on all the latest kit, mingle with fellow industry pros and attend insightful discussions
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IBC PREVIEW
ASTERA STAND 12.F33
VIDENDUM STAND 13.A05
Astera will be showing its new battery-powered Quikpunch, featuring an LED PAR with the optical quality of a fresnel in a wireless fixture – a world first. This outputs a high-intensity spotlight or a wide, soft beam to light large surfaces without colour shift or light spill. Astera will display its LED-based lights. Seek out the innovative Lunabulb – it looks like a light bulb, but is driven by Astera’s Titan LED engine to provide full-colour light and wireless control.
Videndum distributes premium products such as Anton/Bauer, Autocue, Litepanels, Manfrotto, Sachtler, Teradek and lots more. The range of kit on show will include tripods, video transmission systems and monitors, smartphone accessories, livestreaming solutions, robotic camera systems, prompters, LED lighting, mobile power, bags, motion control, audio capture and One tripod range (pictured), which are tools for hybrid content creators who demand a top-quality video and stills support all in one. noise reduction equipment. Brand new is the Manfrotto
Get a close-up look at Blackmagic’s popular Pyxis cinema camera, now available with the 12K sensor from the Ursa Cine 12K LF and coming with a choice of L-Mount, PL or locking EF lens mounts. It uses the same body design as the 6K Pyxis, with an RGBW sensor offering 16 stops of dynamic range, dual CFexpress media slots and Blackmagic Cloud global sync. The aluminium body has lots of mounting points for accessory side plates, so it’s easy to configure for different uses. BLACKMAGIC DESIGN STANDS 3.A51, 3.MS35, 7.C49
VOCAS STAND 12.F40
Dutch manufacturer Vocas designs and builds high- quality rigs and engineered camera products that always fit and work like a dream. There’s a mix of universal and dedicated accessories for specific cameras. Universal accessories include matte boxes, follow focus systems and dioptre holders, with specialised accessories made for brands such as Arri, Sony, Canon and Red. Look out for the Lightweight Base Plate. This Base Plate
If you only visit one stand to lust over its high-end cameras, then hotfoot it to Red RED DIGITAL CINEMA STAND 11.C20a
is camera-agnostic and therefore compatible with a variety of camera brands and models.
Digital Cinema. Check out the full-frame V-Raptor XL 8K VV, as well as the Super 35 Komodo 6K global shutter camera that brings innovative engineering to filmmakers at all levels of content creation. As Nikon now owns Red, take a look at the V-Raptor and Komodo versions with the incredibly large Nikon Z mount, which opens up the system to lots of other lenses via a range of manual and AF adapters.
ATOMOS STAND 9.C05
The Atomos stand will be giving an international debut to the new Ninja TX, which is much more than a monitor-recorder – now a compact, cloud-connected unit. The Ninja TX includes 12G-SDI, HDMI 2.0 I/O, Wi- Fi 6E, Bluetooth and Atomos Airglu timecode technology, as well as CFexpress Type B media for Raw recording. Its 1500-nit touchscreen is brighter than previous models and hosts waveforms, EL Zone, vectorscope and focus aids. The Ninja is also cloud-ready, enabling direct uploads to Dropbox and Atomosphere, plus streaming.
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