Pro Moviemaker January/February 2025 - Web

Welcome to the new issue of Pro Moviemaker magazine The brand new issue of Pro Moviemaker is out and is crammed with lots of news, reviews and tests of cameras, lenses, audio kit and more – everything to get your 2025 off to a flying start! And if ever there was a time to go big, it’s right now as the action hots up in the plus-size cinema camera category with an even greater choice of hardware. Fujifilm unveils its move into the market with the 102-megapixel GFX Eterna while Arri shows off its new Alexa 265 to go head-to-head with the Blackmagic Ursa 17K. We put the unfeasibly cheap Blackmagic Pyxis 6K to the test, check out the latest audio kit and highlight some of the latest innovations in hardware and software. And best of all, it’s time to kickstart our Filmmaker of the Year awards. Don’t miss it!

FILMMAKER OF THE YEAR IS GO! Entries open in the world’s biggest contest for commercial filmmaking

JANUARY/FEBRUARY 2025 www.promoviemaker.net @ProMoviemaker £5.49

Top third-party cinema optics to transform your films CLASSY GLASS INDIE LENSES

TESTED

HOW DOES BLACKMAGIC CONJURE UP A 6K RAW-SHOOTING CINEMA CAMERA FOR SUCH LITTLE MONEY?

Huge sensor stars in the first GFX for making movies FUJIFILM SURPRISE 102 MEGAPIXELS!

Our round-up of the coolest hard and soft cases IT’S IN THE BAG! BUYERS’ GUIDE

More AI in Sony’s A1 II Nikon’s compact Z 50II Canon’s hybrid lens trio Innovative LED lighting from Aputure and Godox Arri unveils slimmed-down Alexa 265 dream machine

The ultimate magazine for next generation filmmakers

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

‘URRY UP ARRI It’s taken a decade for a new 65mm Alexa and it’s still not on sale to mere mortals

It wasn’t long ago that a full-frame digital cinema camera was the stuff of dreams. Now, they’re widely available from manufacturers like Sony, Canon and Red – and at prices within the realms of affordability for many indie productions. Include mirrorless cameras and the options expand further with even lower costs. If you believe the magic bullet to recording filmic images lies in a full-frame sensor, lens choice and a wide aperture, you have no excuses any more. Of course, there’s always someone pushing boundaries even further – like Arri with the incredible Alexa 65, housing a mammoth 65mm sensor. It’s a camera with legendary status, used in projects like All Quiet on the Western Front , Barbie , Joker , Solo: A Star Wars Story and many more. The Alexa 65 has remained a rental-only option, with package costs hovering around $10,000 per day – well beyond the realms of mere mortals. It’s also a big unit, needing a proper multi-person crew and heavyweight gear to support and run it. But after a decade as top dog, Arri has unveiled its successor: the Alexa 265. This updated version is much smaller but, for now, it’s also being touted as a rental-only option. Indie crews now have access to plus-size options courtesy of Blackmagic and Fujifilm – two companies renowned for their competitive pricing. The Aussie brand’s new Ursa Cine 17K 65 boasts a 65mm RGBW sensor, offering 16 stops of dynamic range and built-in 8TB SSD storage. Priced from £27,966/$29,995, it can record over four hours of Blackmagic Raw in 17K resolution. Fujifilm has also weighed in with its first cinema camera: a prototype called the GFX Eterna. It features a large format 102-megapixel CMOS sensor, as seen in the GFX100 II mirrorless camera. It is expected to record 8K footage at 30p, 4K/60p in 4:2:2 10-bit and Full HD at 120p, along with hybrid phase detection autofocus. No price has been set, but both these cameras bring super-size cinematography within reach of a much wider group of filmmakers, including small crews and even solo operators. Although large sensors present challenges, such as ensuring the focus is bang on for every shot, they can deliver something very special. With talent and vision, there’s no excuse for creating anything less than a true cinematic masterpiece.

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

PROMOVIEMAKER.NET

The ultimate magazine for next generation filmmakers

JANUARY/FEBRUARY 2025 CONTENTS AGENDA 6 FUJIFILM REVEALS FIRST CINEMA CAMERA The maker of fine cinema lenses and mirrorless cameras has finally joined the cinema camera gang with the new GFX Eterna. And it’s a big-time entry, featuring a super- size sensor at its heart. 8 TAKE TWO FOR ARRI’S ALEXA 65 Arri’s decade-old Alexa 65 is finally getting a total rejig to become the Alexa 265. Still with a mammoth 65mm sensor, the rest of the camera is far smaller and lighter, yet remains a rental-only option. 1O CANON’S CLASSY NEW GLASS A trio of special hybrid lenses in the latest RF mount have been revealed by industry titan Canon. Ideal for the latest breed of cinema cameras like the EOS C400, the zoom and Even though Nikon does not have a dedicated cine camera or hybrid mirrorless, the brand has shown a tantalising glimpse into its future plans with a powerzoom cine lens in Z mount. 14 MARSHALL’S PTZ POWERHOUSE The latest PTZ cameras from US brand Marshall come in black or white and are made for IP streaming. Meanwhile, Tiffen reveals some glowing new filters and Venus unveils a super-compact wide lens. 16 SONY FLAGSHIP REWORKED Sony’s pioneering A1 is now available in Mark II guise, featuring ample AI tech while retaining the same full- frame sensor. It comes with a new 28-70mm lens with a fast f/2 aperture, making it the perfect standard zoom. two new primes are perfect for filmmaking. 12 NIKON REVEALS CINE GLASS

18 NEW RECRUITS TO APUTURE’S BLAIR FORCE The Aputure Storm range – featuring the Blair light engine for full white-spectrum light and colour-accurate dimming – grows with two new fixtures. Sigma’s slimline prime lenses are coming to Canon’s RF-S mount for crop-sensor cameras. 20 GODOX GOES COLOUR WITH FLEXIBLE LED s Godox has introduced a brand-new range of flexible LED light pads, available in various sizes and power outputs. Plus, rocker Yungblud is supporting next-generation creatives, while the Rise Woman of the Year is honoured in a glitzy ceremony celebrating diversity in filmmaking. 22 MORE OPTICAL OPTIONS FOR APS-C CANONS There’s a bigger choice of glass for users of Canon’s crop-sensor mirrorless cameras as indie lens brands Samyang and Tamron both unveil new models. Additionally, more on the Lexar SSD that raised a cool $1 million in crowdfunding.

AWARDS 25 MPB FILMMAKER OF THE YEAR 2025

It’s the world’s only contest purely aimed at commercial filmmakers – and the 2025 competition has launched now! Check out everything there is to know about MPB Filmmaker of the Year, including how you can enter your work in one of the many categories.

PRO MOVIEMAKER

The ultimate magazine for next generation filmmakers

GEAR 44 NEW SOUND GLORY

There’s always something novel in the world of audio equipment, but what’s worth buying? We check out the latest sound gear – everything from wireless audio to XLR kit and more. 50 THE A TO Z OF CINE LENSES Investing in lenses is always a sensible thing to do as they offer lasting value. But which is worth your hard-earned cash? We take a look at the latest and greatest manual cinema lenses at a wide range of budgets. 58 PYXIS GREATEST HIT Blackmagic’s new 6K cinema camera breaks new ground due to its tech and incredibly affordable price. We put the full-frame machine through its paces and marvel at the incredible footage it’s capable of achieving. 66 MINI TESTS: TOP KIT TRIED AND TESTED We try out the Peter McKinnon range of VND/PL filters from Polar Pro, Rode’s first video switcher, Fujifilm’s X-M5 mirrorless camera, as well as memory card solutions from Angelbird and Prograde Digital.

BUYERS’ GUIDE 74 CAMERA BAGS AND CASES

Take a look at the best and newest bags and cases for transporting your precious kit in safety and style. From hard cases to roller bags, messengers and more, it’s an open-and-shut case!

PROMOVIEMAKER.NET

AGENDA

NEWS

Yes, there will finally be a dedicated cinema camera from the Japanese imaging giant Fujifilm answers the Eterna question

W ith a long, successful background in making film stock, high-end cine and broadcast lenses and hybrid mirrorless cameras that shoot incredible-quality video, the obvious next step for Fujifilm has always been making dedicated cinema cameras. But the brand has always resisted the temptation. Now, Fujifilm has announced it is developing its first-ever filmmaking camera called the GFX Eterna, which was revealed at Japan’s Inter BEE show in November and is planned to go on sale in 2025. The clue to the sensor’s origin is in the ‘GFX’ moniker, which is from the brand’s range of medium format, hybrid mirrorless cameras. The GFX Eterna will feature a large format, 102-megapixel CMOS sensor, approximately 1.7 times larger than a 35mm sensor, and the high-speed image processing engine X-Processor 5. Both the sensor and processor are the latest technologies featured in the GFX100 II mirrorless camera we tested last year. Although there are no spec details for the GFX Eterna, the GFX100 II records 8K footage in 30p and 4K/60p in 4:2:2 10-bit captured internally, Full HD in 120p and boasts hybrid phase detection AF.

It’s the sheer size of the sensor that’s really impressive, the only way to get that super-cinematic blockbuster look. The GFX has the largest area of any sensor at 1441 sq mm, compared to the Arri Alexa 65, a rental-only camera that covers 1390 sq mm, while the new Blackmagic Ursa Cine 17K is 1183 sq mm. But the sensor shapes are different; Arri is the widest at 53.12x25.59mm for a 59.87mm diagonal. The Ursa is 50.8x23.3mm with a 55.9mm diagonal, while the Eterna measures in at 43.8x32.9mm for a 54.8mm diagonal. That’s largely academic as changing the aspect ratios means cropping, which affects the amount of sensor used. The GFX100 II offers a choice of different aspect ratios, including 35mm and Fujifilm’s Premista size, as well as anamorphic with different de-squeeze options. If you accept a 1.01x crop, it can shoot 5.8K in 2.35:1 anamorphic and 4K or DCI 4K at up to 60fps with internal recording in Apple ProRes HQ, 422 and LT, H.265 in 4:2:2 or 4:2:0 as well as H.264 in 4:2:0, all in a choice of All-Intra and Long GOP compressions. There are 5.4K anamorphic and 4K/DCI 4K options, including ProRes 422 Proxy for faster workflows in post. Raw files can even be exported to an Atomos recorder.

FUJIFILM’S HISTORY IN CINEMA Fujifilm has played an important role in Japan’s film industry over the past 90 years, starting with development of domestically produced positive film for movies. This expanded with the Eterna range of colour negative film, which gives its name both to the new camera and a low-saturation Film Simulation mode in existing mirrorless. The brand also launched the Premista and ZK Cabrio cine zoom lens series; high- end optics popular with cinematographers. In 2017, it introduced the groundbreaking GFX System of medium format mirrorless cameras. These have improved continually, especially in terms of video capability. fujifilm-x.com

PRO MOVIEMAKER

NEWS

As the GFX100 II already offers all these features, it’s likely these – and more options – will also be on the GFX Eterna. There might also be internal Raw capture, which the mirrorless doesn’t have. The GFX Eterna is likely to have lots of built-in connectivity for faster workflows. The GFX100 II already offers support for timecode sync with an Atomos Airglu Ultrasync Blue, native integration with Frame.io Camera to Cloud technology and wireless or Ethernet connectivity. The prototype GFX Eterna has HDMI, SDI, genlock, USB-C and Ethernet ports, as well as a remote control. For glass choice, there is already a whole range of native G Mount AF lenses designed primarily for stills, including the first medium format tilt-shift lenses for perspective correction, to extend depth- of-field or for creative use. Fujifilm is developing a 32-90mm GF powerzoom lens optimised for this G Mount camera, and an adapter from G to PL mount, so it can use the huge range of large format PL- mount lenses. Fujifilm says it will be conducting extensive field tests on the camera and lens, while expanding its product line-up to enhance the GFX System. There is no news on pricing or availability. ETERNA FLAME It’s been a long time coming but Fujifilm is finally getting ready to launch a cinema camera model. It will have built-in NDs too, for speedy use

COOKE BEFORE YOU LEAP If you are thinking of taking the big leap into super-sized-sensor cinematography, then legendary British lens maker Cooke may have just the glass you’re looking for. On the same day that Fujifilm revealed its first large format cinema camera,

This gives a horizontal angle of view ranging from 84.1-20.2° on the Alexa 65 and 80.5-19° on the upcoming Ursa Cine 17K 65. So a 30mm lens would replicate an angle of view slightly wider than the S8/i 21mm on a full-frame camera. Maximum T stops are T2.5, 2.8 and 2.9 for the various sizes, while the minimum is T22 for the whole range, which are relatively lightweight at 1.8-2.3kg. The series is the first 65mm- format range equipped with Cooke’s /i technology. Prices and availability will be announced in early 2025. cookeoptics.com

Cooke announced its entry into plus-size digital cinema with the Panchro 65/i lens series, specifically engineered for 65mm sensors. Cooke was an early supporter of larger format cinema and released limited runs of the Double Speed Panchros and Duopanchros in the early fifties to support both Vista Vision and 65mm film formats. As an increasing number of manufacturers embrace 65mm digital sensors, Cooke brings the signature Panchro look to larger formats. The series is inspired by the renowned Speed Panchro line, with aberrations uniquely integrated into the optical design. This Cooke Look enhances depth and dimensionality, especially in facial features and foreground- background separation. The Panchro 65/i will have 30, 40, 55, 75, 100 and 152mm versions.

PROMOVIEMAKER.NET

NEWS AGENDA Alexa, make this one smaller! Arri listens to its fans and makes a more compact 65mm camera T he legendary Alexa 65 is now not the only 65mm camera from Arri thanks to the introduction of the Alexa 265, which is a third of the The Alexa 265 uses a new generation of LogC4 workflow and 3D LUTs, recording Arriraw in camera to its Codex Compact Drive. Standard drive readers and docks

BETTER COLOURS REVEALED Arri is famed for its incredible colour fidelity and the Alexa 265’s images are processed using Arri Reveal Color Science, introduced in the Alexa 35 and also compatible with Arriraw images from the Alexa Mini LF. Reveal is a suite of image processing steps that help capture more accurate colours, with subtler tonal variations. Skin tones are rendered in a flattering, natural way, while highly saturated colours and challenging hues such as pastel shades are displayed with increased realism. All Alexa 265 and 35 cameras are super colour matched, which simplifies grading, and the 265’s advanced LED calibration streamlines VP and LED volume work. arri.com

can be used, as can Codex HDE (High Density Encoding), reducing file sizes by up to 40% without impacting image quality. On-set monitors can be set up in HD or UHD, displaying SDR or HDR or both. Arri is updating its SDK to ensure Alexa 265 images are compatible with all major third-party software tools. A unique feature of the Alexa 265 is its filter cartridge system, which allows special filter trays to slide in front of the sensor. Arri FSND filters from zero to ND2.7 in single-stop increments will be available with the Alexa 265 at launch, with more creative options in the works. An encoded chip on the filter tray relays information about the filter which can be seen on the user interface, also recorded in metadata for use on-set and in post.

size and weight. But like the original 65 at launch a decade ago, the new model is a rental-only product rather than battling for sales with the forthcoming Fujifilm GFX Eterna and Blackmagic Ursa Cine 17K. The new Alexa 265 is much smaller, as that’s what Arri users were calling for. Its revised 65mm sensor delivers higher image quality and dynamic range with better low-light performance. It borrows the LogC4 workflow, Reveal Color Science and accessories from Arri’s popular Alexa 35, which its body is also based on; despite containing a sensor three times larger, it’s only 4mm longer and 11mm wider. This design means the 265 is less than a third of the 65’s weight, coming in at 3.3kg against 10.5kg. It also takes advantage of Arri’s latest cooling and power management technologies. The new camera’s small size allows it to be used for shots that were impossible with the Alexa 65, such as with drones and stabilisers or in tight spaces. To make it faster to work with, boot-up time and power draw have both been improved, and compatibility with the Alexa 35 accessory set opens up more rigging options. Feedback from Alexa 65 users called for reduced size but with retention of the 6.5K resolution and large pixel pitch, as well as better dynamic range and improved low- light performance. The revised sensor does have increased dynamic range from 14 to 15 stops and sensitivity from 3200 to 6400 ISO, with crisper blacks, greater contrast and a lower noise floor. “The revised sensor has increased dynamic range from 14 to 15 stops and sensitivity from 3200 to 6400 ISO, with crisper blacks”

ALEXA 65 TAKE TWO It may have taken a decade, but Arri’s new 265 camera is smaller and much improved

PRO MOVIEMAKER

NEWS AGENDA Canon’s optical The new RF mount AF lenses are built with filmmaking at their core C anon’s full-scale move to the RF mount for its cinema range continues with three new hybrid lenses, which join its current

17 elements in 13 groups. The hybrid lens features an 82mm front filter. Like its 24-105mm sibling, the latest lens supports servo zoom control through optional powerzoom adapters, making it ideal for run-and-gun use or live streaming. The PZ-E2 or PZ-E2B adapters can be used by hand or remotely via Canon’s Camera Connect and EOS Utility apps, the Browser Remote function or over IP using Canon’s XC Protocol with compatible cameras. The PZ-E2B’s 20- pin interface is compatible with Canon’s Zoom Servo Grip for enhanced comfort and supports zoom/focus demands for more studio-based applications. The lens includes a built-in 5.5-stop Optical Image Stabiliser and an iris ring,

primes mirror the size and aperture range of the 35mm to help with fast rigging and lens changes. They’re ideal for the Canon EOS C70, C80 and C400 cameras, plus RF-fit Red cameras like the Komodo and V-Raptor models. The most popular of the new range is likely to be the £3449/$2999 RF 70- 200mm f/2.8L IS USM Z lens – ideal for news, documentary, sport and wildlife. It offers electronic parfocal performance and focus breathing suppression to maintain a consistent field of view when shooting movies – often the biggest issue when using lenses designed for stills. The lens boasts 18 elements in 15 groups, differing from the existing Canon RF 70-200mm f/2.8L, which has

pro-level L-series primes and zooms for the EOS R mirrorless system. The 70- 200mm f/2.8L IS USM Z, 50mm f/1.4L VCM and 24mm f/1.4L VCM lenses are packed with features for shooting video, such as a smooth-operation iris ring with an 11-bladed circular aperture, quick and accurate low-light performance as well as minimal focus breathing. The trio join the existing 24-105mm f/2.8 and 35mm f/1.4 hybrid Canon optics. Matching the size of the 24-105mm, the 70-200mm f/2.8 also shares its maximum aperture, while the 24mm and 50mm

FAMOUS FIVE The range of Canon RF-fit hybrid lenses grows as the 70-200mm, 50mm and 24mm join the 24- 105mm and 35mm

PRO MOVIEMAKER

NEWS

assault offering 32 clickless steps between full stops, along with a lock release switch for the Auto position to control the aperture from the camera body. Utilising internal zooming, the lens

its EF predecessor) – it offers a wide focal length ideal for landscapes, architecture, interiors and environmental portraits where context is key. The lens features two UD lenses, one aspherical element, plus Super Spectra, SWC and ASC coatings. It has a 67mm front filter thread and, like the 50mm, includes a rear filter mount. Both new primes have Nano USM and Voice Coil Motors for fast AF and near-silent operation. A water-resistant rubber mount keeps moisture out, while a fluorine coating on the front surface prevents dirt build-up. The lenses also include a dedicated Lens Control Ring, iris ring and customisation function. According to Canon, the optics are designed for minimal focus breathing and smooth focus. Like the zoom, they include a smooth iris ring with 32 clickless steps between stops, a lockable Auto setting and 11-blade circular apertures. canon.co.uk “Electronic parfocal performance and focus breathing suppression maintain a consistent field of view”

maintains a constant barrel length, which is better for rigging, weather resistance and operation. It also supports Canon’s optional 1.4x and 2x RF teleconverters to extend the focal length as needed. Optically, there are two Super UD lenses, one UD lens, three aspherical lenses, plus ASC and Super Spectra coatings. For the first time, it’s available with either Canon’s trademark white heat-resistant coating or a standard black finish for a stealthier look. The white version weighs 1115g, while the black is 5g lighter. With a diameter of 88.5mm and a length of 199mm, it’s compact in design. The £1539/$1399 RF 50mm f/1.4L VCM prime offers a versatile focal length with exceptional image quality and a natural angle of view. Ideal for low-light use, it’s perfect for reportage, weddings and event videos. At 580g, it’s 40% lighter than the RF 50mm f/1.2L USM, which is mainly designed for stills. It features two aspherical lens elements, a UD lens, Super Spectra and ASC coatings and pro- level weather sealing – and it measures 76.5x99.3mm, matching the 24mm. As for the £1679/$1499 RF 24mm f/1.4L VCM – weighing 515g (20% lighter than

VIRTUALLY PERFECT FOR APPLE HEADSETS A super-wide Canon stereo VR lens is designed to create 3D video for the latest crop of VR devices, including Apple Vision Pro headsets. The RF-S 7.8mm f/4 STM Dual lens offers a compact and affordable entry point to the world of spatial video and augmented reality. Although it has a very short focal length, it delivers a natural 63° field of view, closely mirroring human vision. Currently only compatible with the EOS R7 – although it will pair up with other crop- sensor Canon cameras in future – the lens creates content for viewing on high-end VR headsets, smartphones via VR glasses and handheld devices for printed images. Weighing only 130g, the £519/$449 lens features the STM AF system and is ideal for product reveals or walkthrough videos for real estate and hotels. The EOS VR Utility app will be updated to create spatial video for Apple Vision Pro headsets, enabling content captured on Canon EOS VR System products to be exported in the MV-HEVC codec when using a Mac computer.

VR FUR REAL The new lens produces two side- by-side images for easy use in all 3D video and still applications

PROMOVIEMAKER.NET

AGENDA

NEWS

Day of the Zed

picture control presets alter photos and videos in camera, and free access to Nikon Imaging Cloud enables exclusive Imaging Recipes and colour presets directly in camera. The Z 50II has a native ISO up to 51,200 for stills and 25,600 for video. The camera also offers 4K/30p footage oversampled from 5.6K or 4K/60p in crop mode, a 3.2-inch, vari-angle touchscreen, intelligent AF, electronic vibration reduction, plus sockets for an external stereo mic and headphones.

recognise and focus on nine different subject types and intelligently track even fast, unpredictable subject movement. It’s the first Nikon Z camera to include a product review mode, ideal for vloggers who want to smoothly shift focus to the items they’re showing in the foreground of a shot. It’s also the first Z camera to include a video self-timer that allows a delay before recording starts. A single cable connects the camera directly to smart devices for simple live streaming. To change the look of footage,

The new crop-sensor Z 50II is Nikon’s latest mirrorless camera aimed at budding content creators who want to step up from a smartphone to make video, vlogs and live streams. It also has some interesting technology that could be useful for more experienced filmmakers who want a budget camera body, as it costs just £849/$907. The compact Z 50II uses the same Expeed 7 image processor that powers the flagship Z 9 camera. It uses this computing power to automatically

NIKON JOINS THE CINEMA CLUB Nikon has announced the development of its first real cinema lens, the Nikkor Z 28- 135mm f/4 PZ. It’s a standard-zoom, full- frame optic compatible with the Z mount system on its mirrorless. However, it’s not a fully manual cine lens – it’s a hybrid standard zoom with a powerzoom feature. Nikon says it’s for efficient recording on documentaries and location work done by a solo videographer or small crew. No price or availability has yet been revealed. That lens was released in May 2015, so Nikon is close to a decade behind. What’s unusual is that Nikon doesn’t currently offer any cinema cameras that would suit a lens like this, but since the brand now owns cine pioneer Red, this could pave the way for a Nikon-branded cinema camera using Red know-how. It could also signal Red changing its Komodo

and V-Raptor series over to the Nikon Z lens mount; currently these cameras come with a Canon RF mount, which isn’t ideal. Nikon and Red have made no further announcements on potential link-ups in terms of new products. nikon.co.uk

The lens is strikingly similar to Sony’s FE PZ 28-135mm f/4 G OSS full-frame powerzoom lens that was initially paired up with Sony’s FS7 cinema camera and on subsequent FX6 and FX9 full-frame cams.

PRO MOVIEMAKER

NEWS AGENDA White and black IPs

The latest Marshall PTZ cameras – the white CV630-WI and black CV630-BI – offer 4K IP streaming, a 25x zoom lens and support the HEVC standard, making them ideal for live broadcasts, reality TV, concerts, corporate launches and more. With an eight-megapixel, 1/2.5-inch sensor, the latest CV630 cameras capture 3840x2160p video, with support for 1920x1080p, 1280x720p and 1920x1080i. Synchronous pan, tilt and zoom motors ensure smooth, silent camera movements, while the 25x optical zoom, ranging from 4.6mm to 120.5mm, provides a nearly 68° angle of view at its widest. Multiple simultaneous video streams are available via HDMI, 3G-SDI and triple- stream IP (H.265/H.264), with stereo audio on all outputs. PoE+ (Power over Ethernet) provides an economical and straightforward solution for installation, while a standard AC power supply is also included for flexibility in installation.

AIR MARSHALLS Available in two colours, the Marshall CV630 can use a traditional remote control or more advanced IP control

Onvif platforms. They’re also compatible with the Marshall VS-PTC-300 PTZ Camera Controller for quick adjustments with one-button dials and rocker control. The cameras are priced at £3234/$2449. marshall-usa.com

The cameras offer intuitive control over iris, shutter, white-balance, focus, pan/tilt speeds and more. They can be controlled via IR remote, networked video management software or RS-232/RS-422, supporting Visca, Visca over IP, Pelco and

VENUS NOT A TOY For one of the smallest ultra wide- angle lenses for full-frame cameras, check out the new Laowa 15mm f/5 Cookie FF from Venus Optics. This pancake-style lens weighs just 158g and offers a 110° angle of view. It features an auto aperture in Sony E and Nikon Z versions, while Canon RF, Leica L and M mounts offer full manual mode only. With a minimum focus distance of 12cm, the ten-point aperture design creates sunstar effects when shooting towards strong light with a narrow aperture. It has a 39mm filter thread, like many Leica M lenses, and costs £429/$399, available in all mounts. venuslens.net

GLOW YOUR MIND WITH TIFFEN! Tiffen’s new diffusion filters – Soft Glow, Black Soft Glow and Golden Glow – are designed to maintain contrast for a natural appearance, removing the sharpness and sterility of digital looks but still producing pleasing highlights. Available in eight grades, each set gives a hint of halation in the lighter strengths, with heavier versions offering a more pronounced effect, emitting a gentle glow from light sources. Black tones remain deep, and whites stay clean. There are also three variations made to give smooth skin tones and keep environments looking realistic, while adding a hint of atmosphere. The flagship Soft Glow filter works on most well-lit subjects, while the Black Soft Glows are especially useful for holding deep, dark areas of the frame without shifting colours. The Golden Glow gives a slight warming effect, especially useful for specular highlights. tiffen.com

PRO MOVIEMAKER

AGENDA

NEWS

Sony’s first G Master standard zoom with a constant f/2 aperture is the new FE 28-70mm f/2 GM, designed for low-light shooting and creating beautiful bokeh thanks to its 11-blade aperture. It boasts the latest technologies, including four XD (extreme dynamic) linear motors but is only 92.9x139.8mm and weighs 918g. The rival Canon RF 28-70mm f/2 L USM lens is much bigger and heavier at 103.8x139.8mm and 1430g. The £3049/$2898 E-mount lens focuses down to 0.38m/1.25ft throughout the zoom range, while Nano AR Coating II minimises flare and ghosting. The optics suppress internal reflections for flare resistance. Super ED (extra-low dispersion) and ED glass elements reduce chromatic aberration. The AF motors use Sony’s latest algorithm for full compatibility with the A1 II and A9 III’s high-speed continuous shooting. AF/AE tracking goes up to 120 frames per second, continued even while zooming. The lens is designed for minimal focus breathing, and rack focus and zoom effects can be used even at f/2 to create smooth, natural transitions while retaining critical focus for high- frame-rate 4K 120p/FHD 240p recording. It also supports breathing compensation and active mode image stabilisation with compatible Sony cameras. Control functions include Linear Response manual focus, adjustable zoom ring torque and an aperture ring with a click on/off switch. There are also two customisable focus hold buttons, an iris lock switch and an AF/MF switch. The filter diameter is 86mm, and the lens hood has a window to allow access to variable ND filters and polarisers. The body is weatherproofed by a fluorine coating on the front element that repels contaminants and makes cleaning easy. sony.com SONY’S FASTEST- EVER STANDARD ZOOM

A1 II driven with anti-AI deepfake tech!

person’s head and torso. It also tracks animals, birds, insects and vehicles. The new auto mode can recognise subject targets without specifying a subject mode. Upgraded in-body image stabilisation enables an improvement to 8.5 stops in the centre and seven stops at the periphery when shooting stills, as well as a newly supported dynamic active mode for video. The camera’s four-axis, 3.2-inch LCD monitor is just one of the design updates. There’s also an upgraded grip, altered placement of the shutter button, refined custom buttons as well as a deep, padded eyepiece cup option to replace the existing standard one. The A1 II now comes with a charger that juices up two Z batteries simultaneously in 155 minutes to full charge. An optional vertical grip offers additional support for vertical shooting and accepts two batteries. For a fast, real-time image transfer solution, the camera supports 2.5GBASE-T via wired LAN. Combined with Sony’s 5G portable data transmitter, files can be sent via high-speed 5G. Data can also be automatically transferred to Adobe Lightroom or Google Drive via Sony’s cloud storage service, Creators’ Cloud.

The flagship Sony mirrorless camera has been upgraded with an AI processing unit that brings advanced subject recognition plus compatibility with Sony’s Camera Authenticity software to combat manipulated imagery and AI-generated fakes. The A1 II retains the 50.1- megapixel full-frame sensor of the original A1 but claims to offer improved image clarity at mid-to-high sensitivities, plus an anti-distortion shutter. It inherits features from the recent A9 III sports camera, including stills pre-capture of up to one second and ergonomic design such as a fully articulating screen to replace the old tilt- only. A pleasant surprise is that it will cost £6299/$6498, which is slightly cheaper than the A1 at its launch in 2021. The AI II continues to be the ideal E-mount camera for both high-resolution stills and no- compromise video. It can shoot at up to 30fps blackout-free and track complex movements, with AF/AE calculations up to 120 times per second thanks to the stacked sensor technology. It retains 8K/30p and 4K/120p 10- bit video like its predecessor. The new AI processor offers advanced subject recognition

that includes human pose estimation to recognise a

PRO MOVIEMAKER

AGENDA

NEWS

New recruits to the Blair force

Aputure has expanded its Storm range with the 80c and 1000c colour LEDs, plus compact fresnel accessories to match. Featuring the new Blair-CG light engine with blue, lime, amber, indigo, red, cyan and green chips, the lights offer a wider colour spectrum than any other fixtures. The Storm 80c and Storm 1000c boast an extended colour temperature adjustment of 1800 to 20,000K CCT with 100% +/- green control, and can reach 90% of Rec. 2020 colour space, achieving saturated colours and accurate yellow. The calibrated indigo emitter improves the look of fluorescing materials, resulting in white light that closely matches natural daylight and tungsten. Designed with IP65 weather protection, the lights also include connectivity options such as Sidus Mesh, CRMX, DMX, sACN and Art-Net. The Storm 1000c is also equipped with a Prolock Bowens mount, a secure clamping design which keeps accessories held firmly in place and precisely aligned with the light engine. At just 1kg, the small yet powerful Storm 80c features a mini version of the Prolock, a removable yoke and 3/8in threaded mounting sockets. Power it using the included AC supply, an 11-19v battery or a 100W USB-C power bank. Its colour control functions include HSIC+, XY coordinates and gel modes. For the 1000c, the new CF12 Fresnel is a 12-inch lens with a dual-expanding,

The Storm 80c includes a reflector and small ball diffuser, with accessories like the CF4 Fresnel (15-40° dual-expanding lens) and CF4 Barn Doors (eight-leaf design and can hold a five-inch scrim). The Light Dome 40 is a small circular diffuser with a Mini Prolock mount. Diffusion options include the Light Dome 40 with a Mini Prolock mount and the Lantern 30, which has an adjustable skirt. The Storm 80c Handheld Bracket boasts a V-Mount plate, D-Tap cable and baby pin mount for yoke removal. aputure.com

multi-optic design while maintaining an even beam with no colour fringing across its 15-45° projection range. It also works with the Storm 1200x, LS 1200d Pro, LS 600c Pro and LS 600c Pro II. The CF12 Barn Doors are an eight-leaf design and can hold a 13-inch scrim. These mount to the CF12 Fresnel or use the Storm 1000c/1200x Barn Doors Adapter. Also new is the Storm 1000c/1200x Skid – a metal frame that attaches to the base of the light, raising it so the fresnel, barn doors and cable can be stored and mounted to the light.

SLIMLINE SIGMA PRIMES COME TO CANON Sigma’s compact f/1.4 Contemporary primes are coming soon to Canon RF mount, joining the Leica L, Sony E, Fujifilm X, Nikon Z and Canon EF-M mounts, plus the Micro Four Thirds fit. Designed for crop-sensor mirrorless systems, they are not ideal for full-frame or cinema cameras. Prices are £389/$489 for the 16mm, £479/$599 for the 23mm, £319/$369 for the 30mm and £419/$529 for the 56mm. The lenses have a control algorithm with AF drive and communication speed tailored for RF mount. Along with high- speed AF, they support servo AF and in-camera aberration correction. A rubber-sealed mount offers weather resistance. Sigma is one of the few manufacturers licensed to build Canon RF-fit lenses, but the deal is limited to crop-sensor cameras. The brand offers a mount conversion service for owners of lenses in other mounts to switch to Canon RF. sigmauk.com

PRO MOVIEMAKER

NEEWER ADVERTISEMENT FEATURE

Neewer’s compact powerhouse The full-colour HB80C is a versatile COB LED with a built-in battery and full remote control T ake your lighting game to bright new heights with Neewer’s compact HB80C full-colour COB LED. It might be small, but XY, Gel and Source Match for speedy adjustments to get the light just right. Its 18 creative effects can quickly add drama or simulate real-world light sources.

Despite all this impressive lighting power and tech, the latest Neewer is built for fast use on location. There’s a built-in 72Wh battery, giving up to 94 minutes of power. With USB-C PD 100W charging, the HB80C charges completely in two hours and allows simultaneous charging and use. The built-in fan offers three modes: mute reduces the max power to 45W for quiet running, regular is at 65W for balanced performance and booster is at 80W for max brightness when plugged into the charger. All settings can be changed via the colour screen and scroll knob or app control, enabling sync of multiple lights. With a Bowens mount for modifiers, the Neewer HB80C is an affordable, all-in-one, portable lighting solution.

it’s an 80W powerhouse for professional filmmakers and content creators on the go. Whether you’re shooting a street interview, filming a wedding or live streaming, the HB80C offers the flexibility and power you need to achieve stunning results. Thanks to its innovative light mixing cavity, the HB80C ensures smooth, balanced colour rendering across the spectrum with a 95+ CRI and 97+ TLCI for natural, lifelike hues. For white light, the range from warm 2500K to cool 7500K can suit any scene. It pumps out 3720 lux, which rises to 10,400 lux with the included reflector one metre away at 4400K, and the brightness is fully adjustable from zero to 100%. This handy fixture is equipped with lighting modes including CCT, HSI, RGBCW,

HANDS DOWN WINNER The HB80C is powerful, yet small enough to be used handheld on location

More information

neewer.com

PROMOVIEMAKER.NET

AGENDA

NEWS

YUNGBLUD’S WHEELS FOR YOUNG CREATIVES ON TOUR A custom-wrapped mega trailer used by rocker Yungblud is to tour the UK to promote Production Futures, an organisation founded to create opportunities for young people to train, network and develop careers in every sector of the film production industry. The deal is thanks to sustainable transport firm KB Event, which supports several event productions. The brand created the vehicle for the Bludfest music festival in Milton Keynes this year. The UK tour began in late November at Production Park, where visitors enjoyed panel discussions, advice from experts and workshops. productionfutures.com

WOMEN RISE UP TO GREATNESS An award-winning advocacy group for gender diversity in broadcast media technology has announced the winners of its 2024 awards. Rise received 424 nominations from across of 400 guests. A special recognition award went to Lesley McGilp of Red Bee Media for her work in sign language translation and access services. The Rise

Woman of the Year award for significant contributions to broadcasting went to Megan Mauck from NBCUniversal. For all the winners, go to risewib.com

the globe, with attendees from Australia, the US, the UK, Malaysia, France, Norway and Spain at the ceremony. Winners in 14 categories were celebrated in front

Godox goes colour with flexible LEDs

shaped air softbox offering a wide 180° beam angle. The F800R offers a 30% power boost and 20% weight reduction, including bend- resistant LEDs, an ultra-thin body and improved mounting for tight spaces. The IP54- rated mats are dust- and water-resistant, from the light head to the control box. The new full-colour series features a built-in Lumenradio module for wireless CRMX control, Bluetooth connectivity and on-board controls. The F400R and F800R also support Ethernet Art-Net and sACN, ideal for large-scale film and TV productions. Prices vary according to the site and kit configuration, with the 4x4ft F800R being £3040/$3290 for a single head kit, for example. godox.com

Godox has taken the wraps off a series of five flexible LED lighting mats that now offer full RGB colour. It’s the latest addition to the Knowled line, joining existing bicolour versions. Compared to mats of the same size, these versions are lighter and more powerful, with improvements in waterproofing. Five versions offer different power outputs, with the F100R, F200R, F200SR, F400R and F800R all featuring a colour temperature range from 1800 to 10,000K, adjustable G/M settings and multiple accessory options. They are flicker-free with a CRI of 96+ and TLCI of 97+. Accessories include softboxes with grids, pancake softboxes and even more. The FS200R can be paired with Air Tube - a detachable tube-

PRO MOVIEMAKER

AUDIO-TECHNICA ADVERTISEMENT FEATURE

Pushing the limits of speed and sound How Audio-Technica’s range of microphones brings MotoGP™’s roar to life W hen MotoGP™ – the Grand Prix motorcycle racing world championship – wanted to rev up the quality of its

audio to capture the roar of 220mph race bikes, mic maker Audio-Technica became the leader of the pack. With 20 Grand Prix held at race circuits during the 2024 season, MotoGP™’s media team wanted to boost the sound of the action to match that of its best- in-class in-house visual programming, which is delivered to 89 media partners worldwide. After auditioning various Audio-Technica microphone solutions toward the end of the 2018 race season, the pioneering Japanese company was the obvious choice from that moment on. MotoGP™ initially selected 265 Audio- Technica microphones, headsets and monitoring solutions – including 53 track feed microphones plus 76 interview and ENG camera microphones. It’s not just about capturing high-speed racing bikes, but crowd reaction, interviews and more. There was instant success for the ‘developed for sports broadcasting’ Audio-Technica BP28 and BP28L large- diaphragm shotgun microphones. Media technical director Daniel Laviña says: “We immediately noticed a major step change in track audio acquisition quality when the Audio-Technica shotguns were installed. threshold, they seem ideally suited to the sound of the race, and we can now have great-quality audio continuity between one camera position and the next.” And now, there are even more options that help the world’s most spectacular motorcycle series sound even better. BP3600 Immersive Audio Microphone The Audio-Technica BP3600 Immersive Audio Microphone is capable of capturing stable, three-dimensional sound beds at sporting events, concerts and movie sets. The development of the BP3600 included nearly three seasons of extensive prototype testing at MotoGP™, and it’s now a core audio component of the race series programme broadcasting. “With their exceptionally wide frequency response and high SPL

Technica also supports the post-race press conferences with its 3000 Series wireless systems. This crucial part of the race experience brings riders into viewers’ homes for unique race analysis, offering an authentic connection to the action. Audio-Technica recently released a short video featuring Rodrigo Thomaz – the company’s dedicated MotoGP™ project manager – giving a behind-the- scenes look at the 3000 Series in action. In the video, he highlights six interchangeable capsule options, which make the system ideal for use in high- pressure touring environments such as race press conferences. To view the video and learn more information about the Audio-Technica key features, including the quick- select backup frequency button and 3000 Series wireless system, visit: youtube.com/watch?v=wsSpd_TlMrs

The microphone features eight compact capsule assemblies with excellent high- frequency characteristics integrated into the body, all while remaining compact and lightweight enough for single-operator usability and easy set-up. Direct routing is also supported, eliminating the need for additional decoding or latency processing when using 5.1.4 channel speaker layouts. The BP3600’s modules extend from the body to form a cube with 15cm/5.9in between each microphone assembly. Each microphone assembly in the eight- channel, near-coincident array is equipped with a 12mm/0.47in hypercardioid capsule to produce ideally separated, discrete signals and deliver immersive audio experiences with ample spaciousness. When used in a typical 5.1.4 immersive scenario, the four upper microphone channels can be assigned to the upper speaker channels, and the four lower channels can be assigned to the lower speaker channels. This removes the need for additional decoding or latency processing during routing. 3000 Series wireless In addition to supplying microphones for the broadcast of MotoGP™ races, Audio-

More information audio-technica.com

PROMOVIEMAKER.NET

AGENDA

NEWS

Two new optics for crop-sensor Canons

light rain, snow and dust. No price has yet been set. For rival indie brand Tamron’s move into the RF-S market, the 11-20mm f/2.8 Di III-A RXD zoom offers wide-angle macro shooting at 11mm. Its minimum focusing distance is 15cm and maximum magnification ratio is 1:4. The lens uses an AF drive system with a quiet RXD (rapid extra- silent stepping drive) unit ideal for video. It’s water-resistant and has a fluorine coating to fend off fingermarks. Measuring just 84.2mm long and weighing 340g, it also has a manual AF/MF switch, and a connector port allows for firmware updates via Lens Utility software. A total of 12 elements in ten groups include two glass-moulded aspherical lens elements for maintaining high resolution. The lens also incorporates one ED and two LD (low dispersion) elements for suppressing aberrations. It will cost £649/$659. lksamyang.com tamron.com

Owners of crop-sensor Canon mirrorless cameras now have even more lens choices, as Samyang and Tamron both reveal their first lenses fitting the RF-S mount. Sigma already produces lenses to fit. Although no indie brands have yet been granted a licence to make RF-fit lenses to match with full-frame Canon mirrorless and cine cams like the C400, the RF-S glass does match perfectly with the EOS R7, R10 and R50. The lenses will fit full-frame EOS models, but then you have to shoot in APS-C crop. Samyang’s first-ever RF-S lens is the AF 12mm f/2 – the widest prime available in the RF-S line. Its expansive field of view and fast maximum aperture make it ideal for tight spaces and low light. At 57.2mm long and just 213g, its three extra-low dispersion (ED) elements and two aspherical lenses combat distortion and chromatic aberration. On one side of the lens is an AF/MF switch, while weather sealing protects from

MORE GLASS As options emerge for RF-S mount, Tamron has the 11-20mm f/2.8 (above) and Samyang a 12mm f/2 prime (right)

SAMYANG WEIGHS IN WITH 35MM PRIME Korean lens brand Samyang has launched the first lens in its new Prima series, the AF 35mm f/1.4 P FE, claimed to be the lightest AF lens of its type made for Sony E-mount cameras. The Prima range is the brand’s third generation of products designed to Weighing just 470g, its compact design is ideal for lightweight full-frame cameras like the Sony A7C II and ZV-E1. The optic’s minimum focusing distance is 30cm and it’s built to minimise focus breathing. It also boasts weather sealing and a USB port for firmware updates. lksamyang.com professional-grade quality without the premium cost (price to be released).

LEXAR’S MILLION-DOLLAR BABY More than £1m was raised to fund Lexar Professional’s Go Portable SSD SL400, with its matching hub providing extra storage for a smartphone, tablet or computer. It also enables video capture directly from a mobile phone, including Apple ProRes video at 4K/60p with an iPhone 16, 15 Pro or Pro Max. The thumb-sized SSD is available in up to 2TB, offers USB 3.2 Gen 2 performance, 1050MB/s read and 1000MB/s write speeds and an IP65 rating for dust and water resistance. The matching Lexar SSD hub has four USB-C ports to connect lights, a mic, a power supply and more. The 2TB SSD SL400 plus hub is £259/$349. It also comes in a 1TB version, with or without the hub. lexar.com

PRO MOVIEMAKER