Pro Moviemaker May-June 2021 - Web

For professional filmmakers everywhere, Pro Moviemaker magazine is your essential read as it crammed with useful help, information, advice and loads of equipment tests and news to give you the vital edge. This latest issue is packed with great kit, as test the Pocket Cinema Camera 6K Pro and take a look at the revised full-frame Sigma fp L camera. And a huge section focuses on remote working – on everything from remote cameras and lights to live streaming – to help you get to grips with the new way of working in this socially-distanced world. Plus there’s loads of kit such as lights, new cameras from Canon and Nikon and the consumer UAV that really could be the drone you’ve been looking for!

MAKE MONEY FROM MARRIAGES Filming weddings in a cinematic style can be truly lucrative

FIRMWARE FRENZY New updates bring more spec to Panasonic, Canon and Atomos kit

ONE L OF A CAMERA! How the tiny Sigma fp L packs a 61-megapixel punch


@ProMoviemaker £5.49

There’s nothing action-camera sized about the chunky new Pocket Cinema Camera 6K Pro

DJI’s hi-tech drone that’s small in price Sennheiser redefines its DSLR-style mic Litepanel’s super-bright 1x1 LED

TAKE CONTROL! From PTZ cameras to audio and video transmission and more, working well while socially distanced HOW TO MASTER REMOTEWORKING

The best camera bags and cases for getting out and about HAVE BAG, WILL TRAVEL BUYERS’ GUIDE

VIDEO VOODOO This clever Panasonic PTZ camera uses Sennheiser mics to single out the speaker, automatically focusing on them

The ultimate magazine for next generation filmmakers

Editor in chief Adam Duckworth Chief sub editor Alex Bell Sub editor Elisha Young Junior sub editor Jack Nason EDITORIAL ADVERTISING Group ad manager Sam Scott-Smith 01223 499457 Senior sales executive Jemma Farrell-Shaw DESIGN Design director Andy Jennings Design manager Alan Gray Senior designer Lucy Woolcomb Designer and ad production Man-Wai Wong PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:

Some filmmakers painstakingly select cameras and lenses for each individual job, not only considering the size, but the organic look and feel of the sensor, as well as how it might grade. Along with the contrast, bokeh and highlight fall-off of the chosen lenses, this all complements the visual landscape and feeling the director is trying to get across to the audience. And then, there’s the rest of us. Most independent filmmakers choose cameras that work for lots of different projects, and suitable lenses that fall into budget – not everyone is a Hollywood DOP. Yet we still have a great affinity to our kit. We carefully choose it for our needs and budget, as well as its suitability for the lenses we own or might buy. We develop a real relationship with it. I’ll be the first to admit that I’d love a Red with a set of Zeiss primes, even though it’s not the best tool for the work I do. I just want one. That leads me on to some of the cameras in this issue. Many of them are very different to the traditional and desirable modular cinema camera, such as Red, Arri, Sony or what have you. Blackmagic’s blatantly unpocketable Pocket Cinema Camera 6K Pro is a very large and odd-looking beast, especially if you bolt on the accessory battery grip and optional EVF. Yet it does a very fine job for some users. At the other end of the size scale, the tiny Sigma fp L has a full-frame 61-megapixel sensor. Tomake it more usable, there’s an EVF that bolts on to the side. While it’s packed with spec, it’s not a form factor that most filmmakers would probably dreamof owning or using – but it might be right for you. Strangest of all are the new breed of PTZ remote cameras, consistently the highest-selling cameras in recent years. New to this boomingmarket is Canon – its CR-X500 looks like a security camera, but costs £23,750/$22,000. And some of Panasonic’s PTZ range can now employ a system that uses Sennheiser mics to identify who is speaking, automatically focusing on, and tracking them, using face detection. All this is about as far away from choosing vintage-look lenses for their flare characteristics, of course. But the Covid-hit world is changing, and filmmakers who can offer top-quality remote solutions and streaming options are in a very good place. Youmight not use a PTZ camera to film your first feature-length blockbuster, but it could open up a new, potentially lucrative world of opportunities for filmmakers who think outside the box. The world will never return to pre-Covid normality, and those that can adapt will survive and thrive.

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 but US dollar prices are without local sales taxes. Prices are where available or converted using the exchange rate on the day the magazine went to press.




The ultimate magazine for next generation filmmakers

MAY/JUNE 2021 CONTENTS AGENDA 7 CANON AND NIKON STRIKE BACK Traditional front-runners in the photo market, Canon and Nikon hit back at Sony’s lead in the professional mirrorless video sector, with a pair of 8K cameras and some super-exotic pro lenses. 8 SENNHEISER’S SOUND SOLUTIONS The German audio giant’s hotshoe-fit mic is ideal for DSLRs and mirrorless cameras, plus a lav mic for smartphone vloggers. And we discover a range of low-budget, on-camera monitors. 10 FIRMWARE UPGRADES Free upgrades to the Canon EOS R5, R6 and EOS-1D X Mark III improve the video spec and reduce the file sizes of Raw for easier workflows. Panasonic’s S1 gets a boost, too. Plus, Samyang unveils its Tiny Series lens. 12 NEWS FROM ON HIGH Don’t buy a drone until you have checked out the impressive DJI Air 2S, with a large sensor that shoots 5.4K video. There’s a new style of powerbank and Sony’s plans for 4K 120fps Raw video output. 13 LET THERE BE LIGHT PANELS! LED pioneer Litepanels reveals the super-bright RGBWW 1x1 light, Zeiss unveils four newmembers of its vintage-look cinema prime series and Sony goes ultra-wide with a 14mm AF prime.




ACADEMY 16 HOW TO MAKE MONEY FROM WEDDINGS There’s been a revolution in wedding videos, with style-conscious brides wanting modern coverage of their big day. Here’s an in-depth look at how to shoot and present the finished film, the best ways of making serious money and top kit to invest in.




The ultimate magazine for next generation filmmakers



Social distancing, working remotely and live streaming have transformed everything in the past year. We examine the interesting and cutting-edge tech, helping you compete in this brave new world. 43 MINI TESTS We put some of the latest and greatest kit to the Pro Moviemaker test to see what works and what doesn’t. This issue, we try out the new Rode Wireless Go II audio system, a Peak Designs camera strap and a small LED light panel. 46 IT’S A KIND OF MAGIC! The Blackmagic Design Pocket Cinema Camera 6K Pro is a Super 35 big on filmmaking spec. More Raw recording options, a huge tilting touchscreen and an EVF make this The pocket-sized Sigma fp L now boasts a 61-megapixel sensor, phase detection autofocus and an optional EVF as part of a huge upgrade programme. But is it still just as good for video shooters? 54 BUYERS’ GUIDE: TRAVEL BAGS As lockdown eases and travel is back on the agenda, we get a feel for some of the cool cases and brilliant bags that can transport your precious kit in safety and style. Discover a solution for all cameras and budgets! a major upgrade on the previous model. 52 SENSOR UPGRADE FOR SIGMA






Nikon andCanon take aimat Sony

Canon has now revealed plans for its EOS R3, positioned between the EOS R5 mirrorless and EOS-1D X Mark III pro DSLR. The new camera emphasises AF performance and speed – and is designed for pro users. Like the Sony and Nikon, it uses a full-frame, stacked CMOS sensor with back-illuminated design. Canon says the sensor is its own concept, to produce less rolling shutter issues and offer continuous still-image shooting at speeds up to 30fps, with full Dual Pixel CMOS AF and autoexposure. The camera has Eye Control, meaning users can select the initial area for autofocus tracking by simply looking directly through viewfinder. With Eye Control and Servo AF activated, the camera focuses on, and tracks, moving subjects. When Face Detect + Tracking is active, the camera continues to follow moving subjects around the entire active AF area. It’s not certain if this is for stills only or video, or both. Like the Nikon Z 9, the Canon body is a one-piece design, with an integrated grip for dust resistance. There are no details of launch dates or prices for the new cameras at the time of writing.

Traditional camera market leaders Nikon and Canon have taken aim at Sony’s lead in the professional mirrorless market, revealing plans for new flagship cameras. Sony’s A1 set a new pro mirrorless standard when it was released – both in spec and price. It costs £6499/$6498, shooting 8K video and 30fps blackout- free photos from its 50.1-megapixel stacked sensor. However, Canon revealed it’s soon releasing the EOS R3. Meanwhile, Nikon announced the Z 9. Both cameras offer a surprisingly similar spec to the Sony, but housed in much more professional, DSLR-style larger bodies. Nikon was first to unveil a prototype of its Z 9, which, like the Sony, has an 8K stacked sensor, but the company has released few other details. As Nikon has used Sony sensors in the past, there is a chance Sony could be supplying the A1 sensor for this camera. An 8K sensor calls for more than 39-megapixels resolution, so this camera won’t be low-resolution, like the Sony A7S III. It was the first non-Sony camera to offer a stacked sensor, which is the key to very fast frame rates and blackout-free shooting.

BIG GUNS Anticipation is high for Nikon and Canon’s latest foray into the professional mirrorless market, with an exciting emphasis on design, performance and speed, but plenty more to be revealed

Canon’s foray into professional mirrorless cameras continues with three new RF mount lenses. The RF 100mm f/2.8L Macro IS USM lens is Canon’s first macro RF optic, but also the world’s first medium telephoto macro lens with a maximum magnification of 1.4x. The new lens features a spherical aberration (SA) control ring as well, allowing the appearance of the bokeh to be changed. The £1479/$1399 lens has optical image stabiliser with up to five stops of shake correction, and a customisable control There are also two new super-telephoto lenses: the Canon RF 400mm f/2.8L IS USM and Canon RF 600mm f/4L IS USM, which are both designed to be optically identical to the current EF versions. The RF 400mm lens costs £12,449/$11,999 and weighs 2.89kg/6.37lb, while the RF 600mm is priced at £13,409/$12,999 and weighs 3.09kg/6.8lb. PRO MIRRORLESS LENS RANGE GROWS ring that can be set to alter exposure compensation, shutter speed, aperture or ISO.




Sennheiser reinvents compactmicrophone

Audio expert Sennheiser has totally revamped its MKE 400 camera-top mic, throwing away the traditional design for this all-newmodel. It’s the big brother of the MKE 200, launched last year, and is ideal for use on smaller cameras like DLSRs, mirrorless, or even smartphones. Instead of the previous model’s long shotgun tube, the MKE 400 uses an acoustic interference tube, providing a super-cardioid polar pattern that cancels out distracting noise from the sides. The shock-mounted capsule is built to minimise handling noise, while the mic housing works as a standard windscreen. For outdoor use, a furry windshield is included. Meanwhile, a low-cut filter cuts low frequencies, such as the hum from air-conditioning systems or rumbles from the wind. There is also a three-step sensitivity switch that adjusts audio level, plus a headphone jack boasting eight-step volume control. The £179/$200 MKE 400 includes 3.5mm TRS and TRRS locking cables, and a coldshoe mount. A 1/4in-20 thread enables mounting to booms or other rigs.

Sennheiser’s new XS Lav is a high-quality lapel microphone that connects to mobile devices or computers. It’s ideal for podcasting, recording voiceovers or vlogging. The omnidirectional clip-on mic comes with a removable foamwindshield. It works for mobiles, powered by an optional TRRS connector costing £43/$50, or computers, with a USB-C connector for £52/$60. The £87/$100 XS Lav USB-C Mobile Kit comes with an additional Manfrotto mini tripod and smartphone clamp. NOWYOU’RE TALKING

Two AAA batteries power the microphone, providing up to 100 hours of use. When connected to DSLR or mirrorless bodies, the MKE 400 automatically powers on and off in tandemwith the camera. This feature also works efficiently with certain smartphones.

SOUND BUY The popular MKE 400 mic from Sennheiser has had a total redesign


A range of touchscreen monitors is coming to the UK market, with prices starting as low as £209 for a 5.5in model. The Desview brand now has an official distributor for its monitors and accessories, such as a £119 teleprompter. Made in China, the flagship £399 R7S is a seven-inch HDR monitor, including 3G-SDI and 4K HDMI input/output. A card slot also allows you to upload LUTs. It comes with a hotshoe, lens hood, bag, SD card and cables. Two NP-F batteries provide power. The newest model is the £279 R6, a 4K HDMI touchscreen monitor with 2800 nit of brightness. Its HDR functions include HLG and PQ mode. A cooling system usefully extends running time, plus there’s a headphone jack, coldshoe mount and SD card for uploading 3D LUTs.

It can be powered by E6 or NP-F batteries, while a V-Lock offers another power option via a D-Tap cable. Meanwhile, a power output socket means this can supply the juice to run a camera, too. The range also includes the £239 R7 and £259 R7P monitors, both equipped with seven-inch touchscreens. The more expensive version boasts HDR spec, enabling 3D LUTs, as well as a zoom function.



Advanced digital film camera with built in ND filters, HDR screen, and optional viewfinder! Introducing Blackmagic Pocket Cinema Camera 6 K Pro!

Built in Motorized ND Filters The 6K Pro model features high quality, motorized IR ND f ilters that let you quickly reduce the amount of light entering the camera. Designed to match the colorimetry and color science of the camera, the 2, 4 and 6 stop filters provide you with additional latitude even under harsh lighting. Settings can even be displayed as either an ND number, stop reduction or fraction on the LCD! Large 5" HDR LCDMonitor A large, bright 5 inch touchscreen makes it easy for you to frame shots and accurately focus. On screen overlays show status and record parameters, histogram, focus peaking indicators, levels, frame guides and more. The HDR display can be tilted up and down so it’s easy to monitor your shot from any position. Plus the 1500 nit display is ideal for use in bright sunlight!

Blackmagic Pocket Cinema Camera is better than a simple video camera because it has professional features allowing you to create the same “look”as Hollywood feature films. The combination of high dynamic range, great low light performance and Blackmagic RAW gives you feature film images. The new 6K Pro model adds ND filters, adjustable HDR display, a much larger NP-F570 battery and more! High Resolution Cinematic Digital Film Sensor! The Blackmagic Pocket Cinema Camera 6K Pro has a native resolution of 6144 x 3456. Whether you’re shooting in bright sunlight or almost no light, the 13 stops of dynamic range with dual gain ISO up to 25,600 provide stunning low noise images in all lighting conditions. Plus the Super 35 sensor allows shooting with shallower depth of f ield and anamorphic or EF photographic lenses. Multifunction Grip with Fingertip Controls! The multifunction handgrip features an ergonomic design that puts important functions such as ISO, WB and ND filter controls at your fingertips. The Blackmagic Pocket Cinema Camera features easy to reach recording and still buttons that are placed exactly where you expect, including user assignable function keys allowing buttons for high frame rate, focus zoom, false color and more.

Blackmagic Pocket Cinema Camera 6K Pro


Learn More!

*Camera shown with optional accessories and lens.


Freeupgrades for Canon trio

Canon has revealed a slew of free upgrades for the EOS R5 and R6 mirrorless cameras, as well as the EOS-1D X Mark III, which reduce the huge file sizes for video. The new firmware update enables a reduced file size for low bit rate Raw movies for the EOS R5 and EOS-1D X Mark III. And the R5 also gets a Canon Log 3 gamma curve for greater dynamic range, as used by all Canon’s Cinema EOS cameras. This feature is coming to the R6 and EOS-1D X Mark III in a future update. The latest upgrades also introduce a lower bit rate movie option, to create small, easily shareable video files. The R5 can now shoot Full HD in 120p, and filmmakers can also save camera settings to a memory card, which can be copied across to a different body. There is also the option to turn off the LCD monitor during shooting and use it for playback only, just like a DSLR. The R5 and R6 now get full manual support for RF lenses, allowing a manual override of the focus when shooting in Servo AF mode. The EOS-1D X Mark III and EOS R5 also get improvements to FTP transfer of files, and there is now support for software on Apple Mac computers that use the new Apple M1 processors. camera now outputs the same ProRes Raw as its big brother, the S1H, following free firmware updates to the camera and the Atomos Ninja V. It now records up to 5.9k ProRes Raw to a Ninja V monitor/recorder – and there is support for anamorphic Raw. It’s a great upgrade, meaning it’s now a stronger competitor to the newer, and cheaper, Panasonic Lumix S5. Meanwhile, the Ninja V allows you to monitor the Raw signal on its bright, 1000-nit HDR screen. There is touchscreen access to tools like waveforms, punch-in zoom and focus peaking, and it records the ProRes Raw on to a removable SSD drive for immediate editing. Atomos recently upgraded the Ninja V firmware to support ProRes Raw on Sony A1 and FX3 cameras, the Panasonic Lumix BGH1 and Sigma fp L. ProRes Raw is now fully supported in Final Cut Pro, Adobe Premiere Pro and Avid Media Composer, among others.

SAMYANG SHRINKS THE LENS! Korean lens maker Samyang has gone small time with its ‘Tiny Series’, which includes a new 24mm f/1.8 FE autofocus lens to fit full-frame Sony E-mount cameras. Weighing just 230g/8.1oz, the £460/$499 lens is only 71mm/2.8in long, despite using 11 lens elements in eight groups. It has a nine-bladed iris for smooth bokeh and a close focus distance of 190mm/7.48in. The construction includes two extra-low dispersion elements, three high-refractive index elements and two aspherical elements.

The Linear STM autofocus motor provides fast, quiet focusing, and the lens barrel has a custom function switch and focus hold button. However, the lens doesn’t offer image stabilisation. ATOMOS RAWBOOST FOR S SERIES LUMIX Panasonic’s S1 full-frame mirrorless




ATOMOS AND SONY GEAR UP FOR FAST 4K RAW Sony’s FX9 and FX6 cinema cameras are set to enable Raw 4K output up to 120p in a forthcoming firmware upgrade. A new version of the Atomos HDR Ninja V will convert files for editing. The FX9 firmware adds a 2x and 1.3x desqueeze function that displays a wide Cinemascope-style picture on a monitor, despite not being a true anamorphic shooting mode. The FX9 is also getting Cinemascope frame lines in the viewfinder, a Centre Scan mode for Super 16 lenses and B4 Lens support.

PORTABLE POWER FOR ALL Filmmaking kit used on location is no longer at the mercy of the closest plug socket. The Omnicharge Omni 20+ power bank, costing £145/$199, makes portable power a reality. It outputs 100WDC - ideal for cameras, as well as USB-C for lots of other tech – and is legal to carry on flights. It has two USB 3.0 ports, a single 60W USB-C input/output and an AC power outlet available in 120v or 230v. It charges or powers anything from a smart device tablet to a laptop, or even a DSLR, mirrorless and cinema camera. There’s also wireless charging for your phone. If you need more power, the Omni 20 USB-C+ adds an extra USB-C port, doubling the wattage and powering multiple devices.

DJI hits the heights withAir 2S drone

f/2.8 optic. It boasts 4x zoom at 4K/30fps, 6x at 2.7K/30fps, 4x at 2.7K/60fps, 6x at 1080p/60fps and 8x at 1080p/30fps. There is also 8GB of internal storage. Recording is in H.264 or H.265, plus there are three video colour profiles: normal (8-bit), D-Log (10-bit) or HLG (10-bit). The Air 2S has lots of programmed flight and image capture modes. This includes FocusTrack, where a subject is selected by drawing a square around it on the controlling mobile device. The drone can either create an autonomous flight path around the subject, track the subject as it moves, or keep the subject locked in the same position in the frame while the pilot flies the drone. The DJI Air 2S uses the Advanced Pilot Assistance System, allowing it to avoid obstacles.

Drone specialist DJI has revealed the compact Air 2S drone that offers a one-inch sensor, recording video up to 5.4K. The price even undercuts its big brother, the popular Mavic 2 Pro. The Air 2S costs £899/$999 and weighs just 595g/1.31lb. It has a 31-minute flight time, a range of 12km, shoots 20-megapixel photos and records 5.4K up to 30fps, 4K up to 60fps and 150Mbps from its one-inch sensor. The £1349/$1599 Mavic 2 Pro has the same size sensor, but weighs 907g/2lb and records 4K up to 30fps. Although it has the same maximum flight time, its range is 2km less. The only key area where the Mavic 2 Pro has an advantage is its omnidirectional obstacle sensing, while the Air 2S lacks sideways sensors. Nonetheless, it has sensors on the front, back, top and bottom. The DJI Air 2S also has a wider lens – the equivalent of a 22mm

PRETTY FLY The new DJI Air 2S drone is one of the most advanced on the market, mixing consumer aids with top-quality video and stills spec





A compact, yet fast ultra-wide angle lens for full-frame E-mount cameras is the newest member of Sony’s flagship G Master series. The FE 14mm f/1.8 GM has two extreme aspherical XA elements, maintaining high resolution, even in the corners. There are also two ED (Extra-low Dispersion) glass elements, plus one Super ED glass element for high contrast and precise rendering at all apertures, with virtually no chromatic aberration. Sony’s Nano AR Coating II subdues ghosting, too. Using two linear motors, focus is quiet, with minimal vibration – ideal for shooting video. The lens has a focus hold button, mode switch and focus ring – custom functions can be assigned to the focus hold button. The £1399/$1598 lens includes a rear filter holder that accepts standard sheet-type filters, it has a dust- and moisture-resistant design, and the front lens element features a fluorine coating to repel water and other contaminants. Plus, the rear element is fluorine coated to keep the surface clean when changing the rear filter. The lens also features a built-in petal hood to reduce flare and ghosting.

Zeiss vintage in Prime position

fall-off – reminiscent of vintage lenses. With an image circle diameter of 46.3mm, these compact full-frame lenses have eXtended Data (XD) metadata technology, providing frame-by-frame data on lens vignetting and distortion, in addition to the Cooke’s /i metadata. All lenses in the series have a uniform front diameter of 95mm and consistently positioned focus and aperture rings, and the average weight is 1.6kg/3.5lb. Lens prices are still to be announced, with them going on sale this autumn.

Zeiss has added four new lenses to its vintage-look Supreme Prime Radiance family, launched in 2019, making a total of 11 high-end cinema lenses. The new lenses are 18mm, 40mm, 65mm and 135mm - all with a fast maximum aperture of T1.5, ideal for low-light conditions. The Supreme Prime Radiance lenses offer consistent flares and have the latest Zeiss T* blue coating for a unique look, which the company says is characterised by a smooth transition between in-focus and out-of-focus areas, and elegant bokeh. They are very sharp, with a soft The Gemini range by Litepanels has a welcome addition, with this new 1x1 Hard RGBWWLED panel – pumping out more than 3000 lux at 10ft/3m. Like the rest of the Gemini range, the £1600/$2250 1x1 Hard produces full spectrumwhite light, as well as full RGB output and a range of 11 creative effects. Its compact and lightweight form weighs just 6kg/13.2lb, including yoke and power supply, and has a maximum draw of just 200W. It produces an output 20%brighter than a 200WHMI. Ultra Light and Domed diffusers are supplied as standard, and remote control is via DMX, RDM, wireless DMX and Bluetooth options. Like other Gemini units, it delivers flicker-free performance at any frame rate or shutter angle, with dimming from 100 to 0.1%.




Supersize sensor for epic results

The ‘beyond-large-format’ sensor GFX100S gives a unique look and perspective for monumental footage

F or truly lavish cinematic productions, larger sensors can deliver a unique perspective. That’s why the best filmmakers and cinematographers opt for the biggest sensors they can when shooting their majestic masterpieces. Nothing else will do. It’s all related to the unique perspective and depth-of-field you get with the large lenses, required to fill the acreage of an oversized sensor. Smaller-sensor cameras can approximate the shallow depth-of- field by using superfast lenses, but it’s impossible to fake the special combination of focal length, depth-of-field and bokeh that a larger-sized sensor produces. It’s not just for sweeping vistas, as this perspective has been deemed perfect for mid-length and portrait shots for decades. There’s just a certain look and feel to the images, giving them an iconic charm that oozes quality. In stills photography, these larger sensors have always been called ‘medium

If you need a camera that can also record incredibly high-resolution stills – good enough for global advertising campaigns to go along with your cinematic film– then there really is nothing else in its class. It is two very capable cameras in one body. The video spec is impressive, as the GFX100S records in stunning DCI 4K in real 23.98p/24p/25p or 29.97p at up to 400Mbps in 10-bit for up to 120minutes – all to an internal SD card. There are 4K and Full HD options, too, with a choice of All-Intra or Long GOP compression, H.264 and H.265 inMOV and H.264 inMP4. And if you want the ultimate in quality and flexibility in grading, the camera outputs 10-bit 4:2:2 or 12-bit video Raw to an external device like an Atomos Ninja V, which can record the signal in ProRes Raw, among other codecs. Although grading is obviously an option to put your own signature on the footage, the FujifilmGFX100S has 19 built-in Film Simulationmodes. These offer numerous creative options, andmany emulate some

format’ to distinguish them from the original 4x5in and 8x10in plate cameras. In filmmaking, Super 35 has been the norm for decades, and now 35mm full-frame sensors are havingmore of an impact. But the 43.8x32.9mm sensor of the new Fujifilm GFX100S is 1.7x bigger than that, which is what makes it so very special. While Hollywood DOPs might opt for a very pricey ARRI Alexa 65 or Alexa LF as their large-sensor main camera, these are big cinema cameras that need to be operated by a full crew. They also need a sizeable budget and space to be usable. In complete contrast, at £5499, the 4K GFX100S medium-format camera is not only a fraction of the cost, but has a body that’s actually smaller and lighter than some 35mmmirrorless cameras. It records 17:9 or 16:9 from the full width of the sensor, resulting in an imaging surface that is greater thanmany of the large-format cinema cameras. It’s a look made for big- screen cinema, but at a fraction of the cost.





FUJIFILMGFX100S Sensor size: 43.8x32.9mm resolution: DCI 4K/30p, FullHD60p Movie compression: All-Intra, LongGOP, uncompressed Formats: MOV,MPEG-4, F-Log, ProResRAW* Connections: USB-C,micro HDMI, 3.5mmheadphone, 3.5mm microphone, 2.5mmremote release, wireless, Bluetooth Storage: 2xUHS-II SDcards Dimensions (WxHxD): 150x104.2x87.2mm Weight: 900g including battery and memory card

Super 35mm 4-Perf Full Ap 24.89 x 18.67mm ( 31.1mm) GFX100/GFX100S 43.631 x 24.545mm ( 50.06mm) 16:9 4K

FF35 135 Still Film 36 x 24mm ( 43.3mm)

*ViaHDMI toAtomosNinja V

RED Weapon 8K VV 40.96 x 21.6mm ( 46.3mm)

TOP OF THE WORLD The new Fujifilm GFX100S sets new standards for large-sensor filmmaking, helping to create films with a look all of their own

“There’s just a certain look and feel to the images, giving theman iconic charmthat oozes quality”

Fujifilm also offers a growing range of 12 native AF GF lenses – three zooms and nine primes, plus a 1.4x converter. The latest star in the lens range is the GF80mm f/1.7 RWR, which gives incredibly shallow depth-of-field and beautiful bokeh when used wide open. And the GF45-100mm f/4 R LMOISWR lens is a popular all-round zoom. All the lenses have traditional iris rings and the speed (and therefore feel) of their focusingmotors can be customised for a more organic experience. There is also the benefit of AF when you want it. In a camera that produces such a unique, big-screen look, these AF lenses can be just a little too sharp. Softening the edges with one of the huge range of diffusion filters on the market works really well, especially when combined with a complementary grade setting or Film Simulationmode applied in-camera. With the GFX100S and Fujifilm lenses, you have the tools to create your best-ever work, giving you a creative edge at a price that is not out of this world.

of Fujifilm’s classic film emulsions, such as Eterna, Velvia, Provia and Acros, giving an evocative or nostalgic look straight out of camera. These can be customised to deliver a look that’s as unique as your vision. There is also support for 10-bit F-Log or Hybrid Log Gamma in the Rec. 2100 colour space for HDR. Where the compact GFX100S really scores over its cinema camera counterparts is in the latest technology designed to help image makers’ lives easier. There is in-body image stabilisation, providing up to six stops of five-axis stabilisation. Shooting in 4K from such a large sensor makes focusing critical, especially at wide apertures, and the GFX100S delivers the latest phase detection AF system, with an advanced Face and Eye Detection algorithm. You can even select which eye to focus on, and the rear touchscreen or focus lever lets you select and track one face, even in a crowd. There is continuous AF tracking for moving subjects, too. But if you wish to stick withmanual focus, then focus peaking helps confirmwhen everything is sharp. When it comes to the look of a finished film, lens choice is vital. The Fujifilm system scores here, as well, thanks to the GMount’s large, 65mmdiameter. A range of adapters allows cinematographers to fit some of the most unique, classic-look LPL or PLmount lenses. If you want to use Cooke or Arri glass, you can!

FLICK OF THE SWITCH A slider changes the camera from stills to movie mode, rather than having to dig through menus. There are also six custom settings

More information, email:





Couples want a focus on creativity and a cinematic look, so they can remember their big day fondly

WORDS ADAM DUCKWORTH IMAGES THE WEDDING FILMMAKERS E arning a living filming weddings is enough to frighten even the most hardened filmmaker. The pressure of the day – and the potential for

well shot in a contemporary, cinematic style. Nowadays, most are seeking a short and stylish film to share on social media. Consider it this way: there’s already an obvious story to tell – the romance of the whole wedding day, where certain key moments are guaranteed to bring out the whole gamut of emotions. From B-roll stuff of the expensive shoes and dress, documentary-style coverage with lots of candid moments and emotion, a tear-jerking ceremony in front of family, the solemnity of the vows, romantic shots of the happy couple, the fun and emotion of speeches, laughing guests, the expensive cars, the first dance, band, dancing, fireworks and more – a wedding day has the lot. All with everyone

the happy couple to make their feelings known on social media for anything less than perfection – is reason enough to stay away from shooting nuptials. If your experience of wedding films is 1980s-style videos shot by a sweaty man in a cheap grey suit with a camcorder, providing a four-hour snoozefest everyone is forced to watch afterwards, it’s enough to make anyone want to avoid the whole wedding industry. But it’s time to think again. Modern couples, brought up on high-budget TV series and films, typically want something




dressed up in their finest, often in amazing locations around the world. And for a film showing the day at its best, the couple will pay handsomely. Of course, that makes it all sound pretty simple. It goes without saying that you need the skills and experience to shoot fast-paced events under pressure – and the right kit, too. But you also need to set up a separate business, with a website and cool branding that reflects what you are offering. Then set prices, market yourself hard and get signed contracts in place. You’ll require proper insurance, because knocking over a vase in a stately home can be very costly. Don’t forget public liability insurance and employer’s liability insurance for anyone you hire recommended list. Also, talk to wedding photographers, who are often asked about recommendations for video shooters. Wedding fairs are a great way of meeting loads of local brides already getting married. But, you’ll need a decent-looking stand and large TV, as well as some nice marketing materials (like brochures) to give away. Manywedding fair operators insist you take out expensive advertising space in their publications, so you then get priority bookings. As with all marketing, you need to try it and see what works, before committing to a big spend. Once you get established, less and less marketing will be required, thanks to more referrals and word of mouth. The easiest way to get more wedding work is for a happy couple to show all their friends the final film to see what an amazing job you’ve done. If you deliver service of lasting value, clients will become advocates. Social media is the key to getting the message out, with Instagram the most popular option nowadays for weddings. But it takes work to run social media properly. You need a website that reflects your style, is easy to navigate and offers a rough idea of prices and packages. They don’t have to be costly, since there are lots of easy-to-use templated sites that can look really polished and effective. Awebsite doesn’t guarantee anyone will find it, so the general public have to be led there. You can spend lots on Google AdWords and search engine optimisation (SEO), plus wedding listings companies and more. All work, but it may be costly, as can print advertising in wedding magazines. Many filmmakers find the most cost- effective way of marketing is to approach local venues and try to get on their WORD OF MOUTH KEY TO SUCCESS

HERE COMES THE BRIDE Modern couples often want something shot in a contemporary, cinematic style, as well as content they can share on social media. Most important of all is to capture the emotions and candid moments from the big day




to help you. More insurance if you aim to use a drone, and professional indemnity insurance in case the couple don’t like what you shot and sue you for the cost of another wedding day. Yes, it does happen. You might require new accounting software to keep on top of orders, a vehicle insured for work use, backup cameras, batteries and hard drives. And the time, money and expertise to market yourself, set up meetings with couples to discuss their needs, visit venues and lots more. It’s a proper, grown-up business. It’s not just turning up in your jeans with your camera, tripod and mic. For small businesses, cash may be king, but cash flow is a killer. As a beginner wedding filmmaker, you’ll often be taking

“Youmight need new accounting software to keep on top of orders, a vehicle insured for work use, backup cameras, batteries and hard drives”

booking for weddings years in advance – which doesn’t help with the bills right now. Think about an upfront deposit, then payment in instalments. It’s vital before the day itself that you go through the details of timings and what is expected to happen. It’s a good idea to visit the ceremony and reception venue beforehand, ideally at the same time the couple are there, so you can observe

where the light will be. Talking through any filming restrictions with the vicar or reception manager means you can be mentally prepared, then scout several locations – considering where you could shoot if it rains or snows. Take lots and lots of fast cards, all preformatted and clearly marked with your name and a number. Keep them inside protective cases, on you at all times, and devise a system so you don’t reuse a card that’s already full. It’s a good idea to work with an assistant, who can take copies of your cards as soon as you remove them from the camera – just in case they fall out of your pocket or your jacket gets taken by a guest by mistake. On the day, get up in plenty of time and have a good breakfast. Take some drinks and food with you, too. Get the car fuelled up and the sat nav programmed, as you definitely don’t want to be late. And have a plan where you’re going to park! While a suit, shirt, tie and formal shoes look good, they can be sweaty and uncomfortable – choose smart, but functional clothing. Most importantly, don’t forget the safety of yourself and your kit. Thousands of pounds worth of unattended equipment at a wedding is a temptation to thieves. It should be a memorable day – just make sure it’s not for the wrong reasons!

GOLDEN HOUR It’s a good idea to visit the venue of the wedding beforehand, ideally at the same time as the couple. This means you can work out ideas for shots and get a feeling for what the light will be like on the day




1 Cameras and lenses Small and compact mirrorless cameras lead the way for ease of use, high-ISO performance, built-in image stabilisation and twin card slots. Take a look at the Sony A7S III, Panasonic S5, Canon EOS R5 or Nikon Z 6II. Speed and flexibility is important, so a fast aperture AF telezoom like a 70-200mm f/2.8, plus some fast primes, are an ideal combo. Even better if your camera has great phase detection AF, but don’t rule out cine primes. 2 Supports A compact, but sturdy video tripod is essential, although manywedding filmmakers prefer to use a monopod, as it takes up less room and can be quicker to use. Sliders also add to the production value – and a motorised gimbal is fast becoming a must-have for smooth shots, especially during the reception. If you have the necessary permissions and insurances, then a drone shot is something many couples want now– particularly if the venue is spectacular. 3 Audio Your in-camera mic just won’t cut it. Ideally, you would have a camera-mounted shotgun mic with a windmuff, such as the new Sennheiser MKE 400. But it’s also essential you capture the words at the speeches and usually the vows, too. It’s a great idea to use an omnidirectional lavmic on the vicar and groom to capture the vows, as this should also pick up what the bride is saying. These can be plugged into small recorders, or more often into bodypack transmitters to wirelessly send the signal to a camera or recorder. Look for something reliable and small, for example the Sennheiser XSWwireless kit. 4 Lights Many filmmakers find that working with lights at a wedding is just too time-consuming, preferring ambient light at all times. But a pocket-sized LED can be useful for just lifting shadows on a close-up shot, or picking out details on a wedding cake that’s in a gloomy corner of a reception room. TOP KIT FOR WEDDING FILMING








CASE STUDY: THEWEDDING FILMMAKERS ACOUPLE HAPPY SHOOTING HAPPY COUPLES! M arried couple Rachel and Adam Galwas work together as The Wedding Filmmakers – a luxury videography company based in London, but with clients all over the world.

“We can honestly say we love what we do!” affirms their slick-looking website, clearly aimed at the fashion-conscious bride of today. “We take pride in producing truly memorable wedding videos which tell the story of your wedding and the story of you as a couple in an artistic and beautiful way. As wedding videographers, we operate in a discreet manner, without interrupting the flow of your special day, capturing real moments as they unfold. We approach each wedding with fresh eyes and with the aim of creating a unique film and personal keepsake that you and your family will treasure forever.” And it definitely works. The Wedding Filmmakers have been building their business for almost a decade now. “We stumbled upon wedding videography by pure chance. Adam’s interest in filmmaking began at 14, filming extreme sports and documenting his travels abroad,” Rachel explains. “For many years I saw filmmaking as a hobby and decided to pursue a career in law, with video as a sideline income,” agrees Adam. “Colleagues started asking me to film their weddings and word spread, until it got to the point that I actually needed to quit my day job to cope with the workload. “I started to take it more seriously, and my passion for event filmmaking was ignited. Rachel assisted me on wedding shoots from the very start, and it wasn’t long before she was hooked, too. We made the decision to go into business together. Rachel’s background in design means she has a great eye for composition and framing. She is a natural creative, whereas I ammore technical and business-minded, so our skills are complementary.” The pair love travelling the world and being part of a momentous day for their customers. “It’s a cliche, but to be given the chance to capture some of the happiest days in our clients’ lives is a real privilege,” says Adam. “However, the most challenging side is the sheer volume of post- production work. It is a seasonal business, so the majority of our shoots take place between May and October. It can be difficult to keep on top of the editing during the busy season, as we do all of the post in-house. It can take anywhere from a few days for a single-day traditional wedding, to several

weeks for a large, multi-day wedding. Taking on too much work can easily lead to burnout, so we are careful to limit the number of commissions each year.” Too much business is not something new wedding filmmakers might suffer from. However, Adam and Rachel have that enviable problem thanks to developing their own style. Couples not only love it, but spread the good word, as Adam explains. “Wedding videos have changed significantly in recent years and the quality of work produced now is astounding. This increase in production value has improved the public perception of what we do and taken it from being an afterthought, to being as important as wedding photography.” While it’s true that Netflix and the age of social media has given couples high expectations for their wedding videography, Adam also hopes this market demand will give rise to a greater range of styles. But, as new companies enter the market, it’s also important not to be too influenced by what others are doing. “You naturally develop your own style with time, and clients will eventually seek you out because of your unique approach.” Equally, word-of-mouth referrals are huge in the wedding industry, and Adam explains the majority of his bookings come via recommendations from previous clients, wedding planners, venues and photographers. “Thankfully, this means that we spend very little on paid marketing, but we do keep our website portfolio and social media accounts DREAM TEAM It’s a real labour of love for wedding filmmakers Adam and Rachel Galwas – and they’re always developing their production style

“Wedding videos have changed significantly in recent years and the quality of work produced now is astounding”





up to date. Instagram has really helped us connect – and stay connected – with clients and industry colleagues, so we focus our attention on this.” Of course, it’s not all about a defined wedding style and savvy marketing – you have to be able to competently carry out the shoot under extreme pressure of time and changing light. You cannot be messing with unnecessary kit. The Wedding Filmmakers’ best advice is to simplify your approach and master the basics of documentary filmmaking, before investing in gadgets like gimbals and drones. Adam says: “By focusing on composition and utilising the available light to your advantage, you can produce amazing imagery with just a single camera and prime lens.” Audio is often overlooked, so taking the time to capture clean dialogue and ambient sound makes your work stand out. “We use a combination of Sanken COS- 11D lapel mics attached to TascamDR-10 recorders to capture audio during the ceremony, alongside a Zoom F6 recorder plugged directly into a sound desk to capture the speeches and entertainment at the reception. We also use an on-camera Rode Videomic Pro and Sony TX650 recorders to capture general ambient sound throughout the day. There is no room for error, so we try to have backup recordings wherever possible,” adds Adam. However, minimising the equipment you take to a wedding can prevent decision overload and force you to think more creatively. “We use Manfrotto 190XPROB tripods and XPRO monopods, a Zhiyun Crane 2 gimbal and Mavic Pro drone. But when the guest count is over 1000 people, we do hire a larger team, including dedicated jib and drone operators, to capture the grandeur.” These shots add to the production value, but it’s essential to always get oustanding images, as the best moments are often completely unplanned. “Rather than sticking to a fixed shot list, we prefer to capture the day organically as it unfolds. This means being observant and ready to anticipate moments before they happen. This is arguably the most difficult aspect of

“By focusing on composition and utilising the available light, you can produce amazing imagery”

As the couple capture hours of footage at each wedding, they also have to be mindful of bit rates. With experience, they’ve found settings that offer a good balance between image quality and file size. “On the A7S III, we use XAVC-S codec, shooting UHD 4K in 10-bit 4:2:2 at 200Mbps. On the A7 III it’s the same, except it can only do 8-bit 4:2:0 at 100Mbps. The post-production with wedding films is extensive, so keeping the process simple helps us deliver to the couple in a reasonable time frame.” Finished edits can vary depending on the type of wedding and the couple’s preferences, but the most common offering is a three- to five-minute highlights film, a 25-30 minute feature, and real-time multicamera edits of the ceremony and speeches. They often also produce a 60-second teaser film, cropped vertically for Instagram in 1350x1080. Everything is delivered digitally via a platform called Mediazilla. “Physical media has a limited lifespan, so we have found this to be the best way for our clients to future-proof their films. It also enables easy sharing with family and friends via a beautifully presented private portal,” says Adam. Filmmaking is a great industry to work in – especially as weddings are now hotting up following lots of Covid-based cancellations. And the pay is good, too! Adam concludes: “The weddings we film vary significantly in scope, so we tend to price on a bespoke basis. Our fees can range from a few thousand to five-figure sums, depending on the filming required and the crew size.” That does sound like a good business to be in!

the job and can take many years of practice to master,” explains Adam. For weddings, there are essentials you need to capture, such as the ceremony, speeches and the couple’s first dance. For these crucial snapshots, The Wedding Filmmakers utilise a wide-angle safety camera, allowing them to be creative with the additional cameras, without the worry of missing a moment. Using kit that is portable, quick to set up and intuitive is key for event filmmaking, as carrying heavy equipment slows you down, can be exhausting and may cause you to miss shots. Adam recommends mirrorless cameras, which have a compact size, but still shoot high-quality visuals. The duo use Sony A7 III and A7S III cameras for their compact form factor, amazing low-light performance and IBIS. “A large camera can look intimidating, but the Sony cameras enable us to blend in and capture emotional moments in a very intimate way,” says Adam, whose lenses include a Samyang 14mm T3.1 cinema, Voigtländer 40mm f/1.2 primes, a Zeiss 85mm f1.8 Batis AF prime, a Zeiss FE 16- 35mm f/4 and Sony 70-200mm f/2.8 G Master zooms. “For each scene, we try to capture a mix of wide, medium and close- up shots for maximum choice in editing.” The team deliver in 4K and often use some slowmotion. Adam says: “We have experimented with Log profiles in the past, but moved away from that to capture the look that we want in-camera. We use a modified version of Andrew Reid’s EOSHD Pro Colour V.4 profile, giving us a warm, relatively contrasty image straight out of camera, as well as sufficient dynamic range for most situations.”

PERFECT SLICE Portable LEDs are useful to boost lighting, for something like a wedding cake in a dimly lit corner



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