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
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