Pro Moviemaker May/June 2024 - Web

Welcome to the new issue of Pro Moviemaker magazine The new issue of Pro Moviemaker magazine is out now, and is packed with the best hardware, tests and business advice for independent filmmakers. To suit all budgets, this issue we put the incredible but pricey new Sony Burano 8K cinema camera through its paces, as well as DJI’s new pocket-size gimbal camera and take a look how to save cash by buying used and lighting at a massive range of price points. The issue is packed with lots of news about the latest equipment and tests of kit from editing software to lenses and much more. For inspiration, check out some of the entries for the second annual Filmmaker of the Year Awards, and we focus on how to break into podcasting. It’s all in Pro Moviemaker, out now.

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LED there be light as we showcase cool-running kit in all sizes and prices LUX ETERNAL ILLUMINATION

FIRST TEST BURANO BLISS! The Raw-shooting 8K Sony cinema camera that Hollywood loves

Nanlux’s new motorised fresnel Sony’s superb standard zoom DJI’s Osmo Pocket 3 tested Red sells up to Nikon THE ZEISS IS RIGHT Legendary German lens maker reveals its latest superfast, affordable primes



9 772059 779015

in our must-have

Kit you should consider


guide to successful pod


THE FUTURE’S ORANGE Not for Nikon, as it’s definitely a Red letter day

The ultimate magazine for next generation filmmakers

Editor in chief Adam Duckworth Chief sub editor Matthew Winney Sub editor Minhaj Zia Junior sub editor Molly Constanti Editorial director Roger Payne EDITORIAL

ADVERTISING Sales director

Sam Scott-Smith 01223 499457 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:

Nikon might not have a long and deep history in the world of filmmaking compared to some manufacturers. But to photographers, it has been one of the best-known brands for more than 60 years – ever since it put a 35mm SLR in the hands of photojournalists with the launch of the F model in 1959. With many of today’s next-generation filmmakers coming from a stills background rather than TV or film school, Nikon has been very important. That includes me. As a former stills shooter, I upheld Nikon as one of the premier brands – certainly in the world of 35mm photography. In my pro career shooting stills, I swapped allegiances between Canon and Nikon several times, usually driven by my employers’ choices. The pair leapfrogged each other in terms of camera technology many times – and often I did the same. I was a confirmed Nikonian when I was tempted to shoot video on DSLR, so ran a separate Canon set-up for movies. Nikon was the first mover into video for its DSLRs with the D90, but Canon took the ball and ran with it. After that, Nikon never really wrestled that mantle back. When Nikon finally got serious about full-frame mirrorless cameras and launched the Z 6 and Z 7, it looked like it was too little, too late. With Canon already in the lead with its video camera tech, hybrid Cinema EOS series and move into full-frame mirrorless – as well as its range of cine lenses – the future looked ominous for Nikon. Then came the Z 9 and Z 8, which are fantastic. But with so many people already wedded to decades of Canon, or even Sony now, it was always going to be tough for Nikon to catch up. But, as has recently been announced, Nikon is the new owner of Red. This means that the company will have access to Red’s incredible cinema know-how, including its patent on compressed Raw files, as well as colour science. And instead of having to buy sensor technology from rivals like Sony – which would never sell its latest advancements – Red could potentially lead with sensors in Nikons. Reds could come with Nikon mounts, and a whole new range of Nikkor cinema glass should surely follow. We could even see a Nikon-branded range of cinema cameras and camcorders using Red tech. Although not impossible, it’s unlikely Nikon will put its name on Red cameras, preferring to have the US brand running as a flagship cinema line. Nobody knows exactly what this will mean to both brands, but from a Nikon standpoint, it has to be a very real lifeline that’s seen the industry sit up and take notice.

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.




The ultimate magazine for next generation filmmakers




The show season kicked off in style at the BSC Expo in London’s Battersea Park. We checked out the latest equipment on display, including the Red V-Raptor XL X and its global shutter – fitted with a Cooke zoom. 8 IT’S THE INDIE 500! Sigma takes the wraps off an affordable 500mm prime lens perfect for independent filmmakers. Plus, Dopchoice launches its inflatable softbox and Zeiss shows its latest Nano Primes made for mirrorless. 1O OSCAR TREATMENT FOR UNI STUDENTS Some lucky filmmaking students from the University of Derby got to work with Academy Award winner John Stephenson on a pop video. Also, Saramonic upgrades its Take a look at the new Vortex light panels from artisan LED brand Creamsource. Sony gives an alternative to the standard zoom with the new 24-50mm f/2.8 and shows off a portable transmitter for its cameras. 14 RED GETS AN INJECTION OF YELLOW US cinema camera brand Red reveals it has been bought out by Japanese optical giant Nikon in a landmark deal. Will we see Red cameras with Nikon’s yellow logo and fitted with a Z mount? 17 POWERED FRESNEL FROM NANLUX Chinese lighting expert Nanlux continues to move upmarket with a motorised fresnel lens attachment for its blindingly bright 2400B LED spotlight. Seemo’s new 4K HDMI adapter turns your iPhone into a monitor. popular Blink500 wireless audio kit. 12 CREAM OF THE LED CROP





Britain’s largest filmmaking and TV production show, MPTS, is coming to London’s famous Olympia venue in central London. Get a sneak peek at the latest gear set to dazzle attendees – it’s essential

prep before you head to those hallowed halls. 24 HOLLYWOOD IS CALLING YOU!

The historic Warner Bros Studios hosts the best trade show in California – Cine Gear Expo. Set amid the street sets, indoor sound stages and theatres of the iconic studios, right in the true home of cinema, we take a look at what’s going on under the LA sun.


It’s the last chance to get your entry in for the second annual Pro Moviemaker Filmmaker of the Year Awards, as we honour the best talent in the world of commercial filmmaking. It’s easy to enter; you don’t have to shoot anything new. Do it right now!




The ultimate magazine for next generation filmmakers

GEAR 43 LED LIGHTS TO SUIT ALL BUDGETS There’s no one-size-fits-all for an effective LED lighting set-up in terms of power, features, size and price. We take a look at some of the very best buys to suit a wide range of uses at a huge variety of costs. 54 USED KIT THAT‘LL MAKE YOU CASH There’s an innumerable quantity of used equipment on the market, offering a compelling blend of affordability and performance for many years. We reveal our pick of the gear worthy of your money – and how to buy it. 58 SONY’S BRILLIANT BURANO It’s hardly the cheapest option, but Sony’s incredible 8K cinema camera offers a sensor and performance to match the legendary Venice 2, but at a much more accessible We try out DJI’s Osmo Pocket 3 mini camera gimbal and dual wireless mic kit, Nanlite’s slimline light panels, a fast fisheye from Sigma, a portable smoke machine and a rival to the established NLE editing programs. BUYERS’ GUIDE 76 WHICH PODCAST KIT DO YOU NEED? The world has gone mad for audio and video podcasts, so you need to get in on the action. We delve into the hows and whys, while spotlighting the kit you need to get a foothold in this lucrative market. 58 price. We test the Raw-shooting super-cam. 64 MINI TESTS: LOADS OF KIT RATED





All the people, so many people… converged for the BSC Expo in London’s Battersea Park

F or once, it wasn’t about the joggers who go round and round Battersea Park. Instead, droves of creatives crammed into Britain’s flagship cinematography show where it’s all about Vorsprung durch Technik or ‘advancement through technology’ from 16 to 17 February. Blurring the lines between high-end cinematographers and indie production companies who do more commercial work, the show is consistently chock-full with the latest equipment and seminars on cinematography, film and TV production. The biggest names in equipment – such as Red, Arri, Sony, Cooke, Canon, Zeiss,

Panasonic and Fujifilm – all showed their wares and allowed potential customers a real hands-on experience with the kit plus a chance to quiz the experts. The floor was full with lighting and grip – plus distributors, rental houses and retailers like CVP, which showcased a massive range of equipment. And of course, Pro Moviemaker magazine was there too – along with our sister titles Definition and FEED – to meet filmmakers and attend the networking events. But, we found plenty of time to check out the equipment on show; here’s just a small section of the gear we loved.

Water show-stopper! Chinese lighting brand Nanlux showed off its powerful full- colour Evoke 900C COB LED, which has true professional credentials as it was housed in a tank and sprayed with water constantly throughout the show – and it never missed a beat! From its Nanlux pro-level products to the more affordable Nanlite range such as the Forza 720B and full-colour Forza 60C, the brand is making a big splash. Plus, Nanlite Pavoslim panels – which we test this issue – were popular as well as the growing range of modifiers that offer great value for money.

Vocas gets a grip on Sony Dutch engineering expert Vocas loves to highlight its kit for the latest cameras, and BSC 2024 was no exception. This time, the Sony Burano full-frame cinema camera came in for the full treatment with a mock-up showing a set of Vocas accessories – including a top handle with monitor mount, baseplate system and matte box. Vocas also exhibited the latest version of its Casecart, a hard case that transforms into a production cart on set, which is proving massively popular.

Aputure’s show of power Though it has the Amaran and lower-end Aputure range of lights to suit most indie needs and budgets, Aputure also has high-end lights for the pros. The Electro Storm CS15 is a full- colour COB LED pumping out light equivalent to an 1800W HMI. Armed with the F14 fresnel, it can be shaped to create incredible looks. With sister brand Deity also showing its audio kit, the stand was full of impressed filmmakers.



Red has the X factor The Red stand is always crowded, and with this year’s show seeing the debut of the global shutter full-frame V-Raptor XL X, it was busier than usual as showgoers had a look in detail. Equipped with a 30-95mm Cooke full-frame lens, the X model proved to be a dream combo. With the complete range of DSMC3 cameras and the affordable Komodo range also a huge part of Red’s offering, there was plenty to check out.

It’s a kind of magic Blackmagic Design’s large booth area had a set which displayed the capability of its hardware and software for a complete end-to-end production workflow solution good enough for TV or high-end cinema use. With its own monitors, mixers and more, it highlighted the benefit of a one-manufacturer solution for live broadcast. Whether using its DaVinci Resolve software alongside the new full-frame Cinema Camera 6K shooting Blackmagic Raw, the demonstrated quality proved to be on par with Hollywood blockbusters as well.

Call in the black ops If you have a tracking vehicle,

remote head and a pricey Arri Alexa LF camera to bolt onto the end, then you’ll also need a motorised camera tower from Black-Tek. It’s a vertical lifter for remote heads available in different sizes to give great control and several options for recording those once-in-a-lifetime shots. The company also makes a range of vibration dampeners, control systems and car mounts to suit the heaviest cinema set-ups.

On the right track For the highest production values, there’s nothing that can compete with a real tracking vehicle to keep up with the action, driven by a high- precision driver or rider. DLP Remotes presented just two of its silent electric vehicles – a motorbike and a car – that can be equipped with the latest stabilised remote heads. Offering a range of Arri and DJI Ronin remote head options, it’s the ideal choice if your production needs some James Bond-style action capturing.

One-stop lens shop One Stop Films revealed cabinets jam-packed with the glass it offers to give your next film that unique look. These ranged from the latest Cooke SP3s and S8i full-frame optics to unusual lenses almost impossible to get hold of. If you yearn for vintage Panavision anamorphics or rehoused Lomo lenses, Zeiss Master Primes, vintage Speed Panchros, Angénieux Optimos or Fujinon Premistas, One Stop Films is the place to be.




Fast response from Zeiss Hot on the heels of the Cooke SP3 lenses designed for mirrorless cameras comes the new Nano Primes from rival high-end lens maker Zeiss. Instead of a range of five T2.4 lenses, these offerings are the first high- speed T1.5 cine lenses made specifically for mirrorless full-frame cameras.

the lens uses convex low-dispersion elements towards the front of the lens barrel. These also keep chromatic and axial aberrations to a minimum. Flare and ghosting are prevented by refractive lenses, ideal for when shooting in backlit environments, such as sporting arenas or concerts. The focus motor delivers fast, accurate and near-silent autofocus which far outperforms traditional stepping motors. The lens also features two optical stabilisation modes: Mode 1 can be used for all types of shooting to reduce unwanted shake, while Mode 2 employs Sigma’s intelligent algorithm for smoother panning shots. Regardless of the lens’ orientation, the stabilisation is effective for both vertical and diagonal movement, without interfering with the panning motion. The L-Mount version is compatible with Sigma’s 1.4x and 2.0x teleconverters, but the Sony version isn’t – and Sigma has no plans to build any . Dopchoice has launched its inflatable Snapbag Airglow to fit most 2x1 LED fixtures. It inflates to create booklight- style illumination, which is soft and indirect. Unlike a typical front-facing softbox, the Airglow creates a 45° triangular bounce, with the back wall pushing light out of the opposite side. The back wall can be swapped from Ultra Bounce to Hard Silver Diffusion for punchier illumination. Once fitted to the panel, the Snapbag Airglow can be used either horizontally or vertically. It is lightweight and quick to set up, eliminating the need for extra stands and leaving a smaller footprint. No price has been revealed. THE BENEFITS OF INFLATION

Initially available in Sony E-mount, the Nano lenses are a compact, lightweight design available in 18mm, 24mm, 35mm, 50mm, 75mm and 100mm. That’s a similar range to the Cookes with the addition of a super-wide 18mm version. Zeiss developed the optical design to deliver an extremely shallow depth-of- field, even in the wide-angle range, with ‘elegant bokeh and a harmonious focus fall-off’, aided by a 12-bladed aperture. The look can be combined with the high-end lenses of the Supreme Prime family, ideal for B and C cameras in larger productions. There is a consistent positioning of the focus and iris rings across all focal lengths for quick lens changes. The calibrated focus scales are easy to read, and a long 280° focus rotation aids precise focus pulling.

The iris ring features 90° rotation and a non-linear scale to enable fine adjustment. An electronic interface records metadata such as focal length, focus distance and aperture. Extra lens data for distortion and vignetting is available in the Zeiss Cincraft ecosystem for post-production. The Primes can change their mounts to fit various lenses. They can be as a complete set with a lens case at £24,000/$25,950 or individually from £4200/$4990.

IT’S THE INDIE 500! The latest lens from Sigma is an

affordable super telephoto for full- frame mirrorless cameras in Sony E or Leica L-Mount. The 500mm f/5.6 DG DN OS is from Sigma’s speedy Sports range, costing £2779/$2999 – making it a tempting choice for independent filmmakers. It is compact and lightweight for such a long lens, featuring Sigma’s high-speed HLA motor for fast and precise autofocus along with five stops of effective stabilisation. Special low-dispersion glass elements and precision-engineered TSC (thermally stable composite) materials reduce the lens’ overall size to 234.6mm/9.2in and weight to 1370g/3.02lb for the L-Mount version, significantly reducing size and weight over the previous Sigma 500mm f/4 lens for DSLRs. But, the new optic is a full stop slower. The weather-resistant lens comes equipped with a focus limiter switch, a de-clickable and lockable aperture ring, detachable tripod socket plus a custom mode switch. To reduce the size of the lens without lowering optical quality,




Students get the Oscar treatment Students from the University of Derby have been blazing a trail for equality in the film industry, working with Academy Award- winning film director John Stephenson and female trio Remember Monday on their new music video. With females taking several key roles,

the students worked on the video for the UK pop-country trio, made up of Lauren Byrne, Holly-Anne Hull and Charlotte Steele. The band appeared on The Voice in 2019, went viral on TikTok singing in empty car parks during lockdown and supported Billy Joel at his concert in Hyde Park last year. The University of Derby’s film production programme leader Tom Craig enlisted the support of Stephenson – who is widely recognised for his work on films like Babe , The English Patient , Five Children and It plus Interlude in Prague – to direct the video on location at Longford Hall Farm in Derbyshire. Craig said: “The band’s commitment to female empowerment is a central theme in their music. In line with this, they specifically requested strong female representation in the crew.” Women are still under-represented in several areas of the film industry according to San Diego State University’s annual report, which finds that women comprised only 22% of directors, writers, producers, editors and cinematographers on the top 250 grossing films of 2023, with just 16% working as directors.

reminding me of the raw passion that drives the filmmaking process. It’s certainly invigorating to see such talent and dedication in the next generation of talented filmmakers.”

Stephenson further elaborated: “The shoot was a refreshing and inspiring experience. The students’ creativity, enthusiasm and fresh perspectives brought a unique energy to the project,


Sound specialist Saramonic has upgraded the popular Blink500 B2 wireless audio kit with the Blink500 B2+, costing just £129/$129 for a twin-mic kit that comes with a single receiver, all in the charging case. Featuring USB-C, lightning connector, 3.5mm TRS and TRRS connectors, it fits with most cameras and smart devices. Using the single receiver, the device can feed the signal to two recording devices at the same time – ideal for streaming on two platforms or capturing backup recordings. Battery life is also improved; the

system can now record for up to 20 hours, while the charging case provides one full cycle of recharge to extend the time up to a whopping 40 hours. The Blink500 B2+ microphone system comes with a two-level noise reduction function and low-cut filter. There is also a selectable Mono, Stereo, and Safety Track output.

The MGW Diamond-H 4K HDMI encoder is the latest HEVC encoder and decoder, offering smooth integration and power over Ethernet support to eliminate the need for extra power sources. The Diamond-H is a portable 4K HDMI unit which can encode up to four channels from two HDMI inputs and also has HDMI loop through connectivity. It is ideal for broadcast, education and sports venues as it meets the growing demand for 4K video encoding, while delivering low-latency delivery of high-quality video in an efficient, compact form-factor. A POLISHED DIAMOND PERFORMER




Sony sets a new standard

Vortex line beyond the Vortex8 and Vortex4 hard panels with the Vortex8 Soft and Vortex4 Soft. These are high- output soft panels designed with the same RRGBBW colour engine, build quality and user interface. Also new is the Vortex24, providing 1950W of lighting power with a 20° beam angle. Its 24-pixel zones allow for maximum creative control for complex effects. The Soft panels were developed for efficiency as a native soft light, delivering full-spectrum, high-output light right out of the box. The 650W Vortex8 and 325W Vortex4 can work with diffusers or open-face and be mixed with Vortex hard panels using LNX, Creamsource Multi Yokes or other mounting systems. A 48v DC power allows use with batteries on location, while an IP65 rating fends off even the worst of the weather. Sony’s new FE 24-50mm f/2.8 G optic is designed to be small and lightweight, but comes with a smaller zoom range compared to the regular 24-70mm version as a result. Priced at £1149/$1098, it’s cheaper than the 24-70mm f/2.8 and boasts a 67mm front filter, a maximum diameter of 74.8mm/2.9in, a length of 92.3mm/3.6in and weighs just 440g/0.97lb. Its minimum focusing distance is 18cm/7.1in. Crafted for compactness without sacrificing optical quality, the lens has 16 elements in 13 groups, including four aspherical lenses and two ED glass pieces to reduce chromatic aberration. Its 11-blade circular aperture ensures soft and smooth bokeh. With a dual linear motor AF system, it offers swift, precise and silent focusing. Plus, it supports high-speed continuous shooting up to 120fps with AF/ AE tracking for the A9 III camera. In video, AF tracking is available for 4K/120p and FHD to 240p, supporting in- body active mode image stabilisation. It is also compatible with the focus breathing compensation on the latest Sony camera bodies. The lens has a customisable focus hold button, aperture ring, aperture click on/off switch and focus mode switch. It’s designed to be dust- and moisture-proof, with a fluorine coating to repel dirt from the front lens surface.

A dedicated portable data transmitter for Sony cameras allows high-speed, low-latency video and still image data transport over 5G networks. The wireless PDT-FP1 delivers broadcast-quality stills and video outdoors or indoors, where Wi-Fi connection is unavailable. A unique antennae structure supports a range of domestic, international and stand-alone 5G networks. The portable data transmitter has a 6.1-inch OLED display and a cooling fan. It also comes with an HDMI input, a LAN port, a USB-C port as well as a charging terminal. You can use it as a modem to transfer media to any FTP destination or with Sony Creators’ Cloud for Enterprise app to transfer media to Sony Cloud services. Live streaming is also possible using RTMP or a direct stream to a YouTube channel. NO WI-FI? NO PROBLEM…

NEW GLASS Sony hopes the compact size of the 24-50mm f/2.8 lens will be ideal for filmmakers looking to keep their kit as small and light as possible

“The AF system uses two linear motors for speed and precision”

Cream of the LED crop Artisan LED lighting brand Creamsource has expanded its flagship

The $4500 Vortex8 Soft puts out 2240 lux at 3m when set to 5600K, while the $2300 Vortex4 Soft outputs 1180 lux. The beam angle is 110° and the light source is RRGBBW, which is red and deep red, green, blue and royal blue, plus white. The punchy Vortex24 offers 27,560 lux and is much larger. Drawing 1950W power, it is suitable for standard circuits and includes a House Power setting for 15A circuit operation. It is equipped with dual Ethernet ports with a built-in Gigabit switch, enabling single-cable runs and daisy-chaining of units for array management and control with protocols like sACN. The $16,500 Vortex24 enables fast swaps of diffusers and accessories with a front latch system and includes a medium flat diffuser for light softening. No UK prices have been announced for the lights, which will ship in summer.




Nikon has bought out Red in a move that has rocked the filmmaking industry. The agreement with Nikon to buy 100% of the company was reached with Red’s founder Jim Jannard and president Jarred Land. The partnership blends Nikon’s expertise in product development, image processing, optical technology and user interface, with Red’s digital cinema cameras know-how and award-winning Raw technologies. It’s therefore likely the Red brand will continue as a stand- alone but wholly-owned subsidiary of Nikon, opening the door for the Japanese company to expand into the high-end cinema market. Red has always been at the forefront of digital cinema, introducing industry-defining cameras such as the original Red One 4K to the latest 8K V-Raptor X, all powered by its patented Redcode Raw – a compressed Raw format. Recently, Nikon and Red ended up in litigation after the Nikon Z 9 included an internal compressed Raw codec. While details remain undisclosed, this development may stem from a settlement following the litigation. Both companies have remained tight-lipped about the implications for their respective brands, but Nikon’s statement said: “Nikon will leverage this acquisition to expand the fast-growing professional digital cinema camera market, building on both companies’ business foundations and networks, promising an exciting future of product development.” Nikon goes Red!

RED NOT DEAD Nikon is the new owner of Red but the brand is set to continue as a wholly-owned subsidiary

The current Red Komodo and V-Raptor come with Canon RF mounts and phase detection AF believed to be part of a deal, allowing Canon to use compressed Canon Raw Light in its high-end cameras. The next generation of Red cameras could come with a Nikon Z mount and Nikon AF technology – and Nikon mirrorless cameras with a version of Redcode Raw. Of course, it could open a new cinema line of Nikon cameras to bring it on track with rival Canon, which has high-end cinema cameras as well as more affordable Cinema EOS options. While Canon offers a huge range of cinema prime and zoom lenses in RF and even PL mounts, Nikon only offers its latest Z mount glass in photo-style AF housings. It would make sense for Nikon to branch into the world of cinema lenses.

With a vested interest in Raw output technology as its monitors convert the signal to Apple ProRes Raw, Aussie firm Atomos is hailing Nikon’s acquisition of Red as great news for the industry. CEO Jeromy Young expressed: “I am absolutely convinced this new move will result in an explosion of innovation. “Nikon were one of the first companies to give a clean HDMI feed from their DSLRs, helping us to give birth to the Ninja monitor- recorder. It is thanks to their belief and co-operation that Atomos has become the strong brand it is today.” Atomos already has a history of co-operating with Red on establishing Raw video as a new standard in digital production workflows. “I can’t wait to see what the combined talents of the two teams comes up with. Nikon’s expertise, along with Red’s understanding of compression technology and colour science, can only be good news for digital cinematography.” ATOMOS PRAISES NEW DEAL

The full-frame mirrorless Z 9 and Z 8 are giving Nikon a major foothold in filmmaking, having received major free firmware upgrades. The Z 8 gets many upgraded features already found in the Z 9 and new Z f retro camera. For improved skin tones, both Z 8 and Z 9 models get the new Skin Softening and Portrait Impression Balance functions, plus the Rich Tone Portrait Picture Control. Auto Capture allows you to specify the start date, time and duration of a shoot – reducing battery consumption. A lower-speed option has been added to High-Speed Frame Capture+ for continuous shooting. Manual focusing is also possible with maximum aperture live view in manual focus mode. UPGRADES FOR Z FLAGSHIPS

OLD GUARD Jeromy Young is back in charge at Atomos and welcomes the Nikon/Red deal




A new superzoom for Nikon’s mirrorless Z mount is designed to be a lightweight, all-rounder, reaching from wide angle to super telephoto. The Nikkor Z 28-400mm f/4-8 VR packs a 14.2x range into a compact and lightweight body, weighing just 725g/1.6lb and costing £1399/$1296.95. It offers five stops of built-in optical vibration reduction or 5.5 stops when the lens is attached to a Nikon Z camera with Synchro VR capability. The lens uses Nikon’s fast and quiet stepping motor for AF, with minimum focus distances of just 0.2m/7.8in at 28mm, and 1.2m/47.2in at 400mm. To fend off the elements, the optic is sealed around the mount and comes with a square-shaped lens hood which can be inverted to save space when storing the lens. Z MOUNT SUPERZOOM


streaming on iOS devices via the free Accsoon SEE app. It supports various resolutions and frame rates, including 2160p at up to 30fps, 1080p up to 60fps and 720p up to 60fps. Recorded 4K video is saved directly to the device’s camera roll in H.264 format at up to 20Mbps – where it can be shared via iMessage, Airdrop, WhatsApp, Messenger or email – serving as a convenient backup to the main footage captured on the camera. The updated SEE app uses the touch interface of iOS devices to allow focus checking, viewing LUTs, de-squeeze of anamorphic video or displaying waveforms, zebras, grids and audio levels. It has an integrated SD card reader, working with USB-C iOS devices. Weighing just 115.7g, it comes with a clamp for iPhones and a cold shoe mount, all for £165/$179

Accsoon’s Seemo 4K HDMI adapter turns your iPhone or iPad into an on-camera monitor with 4K livestreaming capabilities to major platforms. It enables lightweight 4K recording directly to the device’s camera roll, offering better resolution for focus checking when zoomed in. Other upgrades include vertical video mode for social media, Secure Reliable Transport (SRT) for high-end live streamers, LUTs for rapid editing and the option to add a calibration LUT for precise monitoring on your iPad or iPhone. Since the Seemo and iOS device are linked by a cable, it leaves both the Wi-Fi and data connections of the smart device free for connection to the internet for streaming or uploading. The Seemo 4K takes and encodes HDMI output from the camera for seamless display, recording and

Power to the fresnel

It weighs 10kg/22.1lb and measures 430x490x330mm, or 16.9x19.3x1in. The lens can be controlled by the main menu on the unit itself or remotely by the Nanlink app, DMX or wired controller. It can also be operated manually. Equipped with the equivalent to a 10,000W Tungsten light or 4K HMI, the Evoke 2400B can be powered from a household mains socket and provides a green- magenta shift across its 2700- 6500K CCT range. No UK price has been revealed yet.

Nanlux has recently revealed the new motorised fresnel lens for the powerful Evoke 2400B bicolour LED spotlight. This cutting-edge NL- mount optic – called the FL-35E – features remote control as well as a motorised zoom range from 15-46°, providing precise beam angle control and illumination of 75,700 lux at 3m/9.8ft when set to 5600K at 15°. The fresnel includes rotating barn doors for more control, but these aren’t motorised. With an IP55 weather-resistant rating, the $1190 FL-35E is suitable for use in harsh environments.




Get ready for the UK’s largest show for creative filmmaking in a legendary London location OLYMPIA’S CINEMATIC CELEBRATION

L ondon’s famous Olympia is one of Britain’s greatest exhibition halls. Every year, it gets even more exciting for filmmakers as it’s packed with the latest hardware and software, along with seminars and workshops from top speakers. That’s the Media Production & Technology Show, this time on 15-16 May 2024. Rebranded as MPTS two years ago, following the acquisition of BVE in 2019, it’s the UK’s largest filmmaking show that brings the creative and technical sides of the industry together. The event is not only for high-end TV and film production, but also independent filmmakers. It hosts top products from 300 exhibitors and insight from more than 300 leading industry experts in one of the six theatre areas covering production, audio, post, technology and virtual production. The Keynote Theatre always has terrific talks where attendees can learn about the hottest industry trends and get inspired by creatives who have worked on some of the year’s biggest films and TV shows. This year, speakers include Chemmy Alcott, the four-time Winter Olympian and TV presenter, talking about creating great sporting content; TV presenter Dan Snow on his History Hit podcast; Philip Martin, director of Scoop – a ripped-from-the-

headlines drama made for Netflix starring Gillian Anderson, Rufus Sewell, Billie Piper and Keeley Hawes. Don’t miss a production masterclass on hit show Mr Bates vs The Post Office . This will feature director James Strong, exec producer Patrick Spence, producer Chris Clough and a former sub-postmistress, Jo Hamilton. It’s sure to be a highlight. New this year is the AI Forum, where the impact of artificial intelligence will be discussed along with how this rapidly developing tech can be embraced to drive creativity and benefit the industry. The AI Forum at MPTS is packed full of practical insight, opinions and recommendations, as well as interactive workshops covering pre-production, post and distribution. Topics will include how to develop an effective AI strategy, the impact of AI on post-production workflows, how to ensure the workforce is ready for AI and using generative AI in the art of storytelling. Also launching this year in partnership with SMPTE UK, the Media Technology Conference is an industry-leading event that will take place as part of the Media Production & Technology Show. Designed to bring together senior figures in tech as well as experts in the field of broadcasting and innovation, the two-day conference offers an essential

platform to assist with networking, knowledge sharing and exploring the latest trends and innovations. Access to the Leaders Day on 15 May is by invitation only, but day two of the event is open to all show attendees. Finally, as always, the show offers great opportunities to mingle and network with like-minded filmmakers – and to check out the latest equipment. Of course, Pro Moviemaker magazine, along with our sister titles Definition and FEED , will be there too. But for hardware, let’s take a look at some of the hottest kit that will be at the show.


Take a look at its Infinibars: RGBWW LED bars that stack seamlessly without any space between them. Sister brand Amaran offers even cheaper versions of many of its popular COB lights which will also be under the spotlight.

Aputure cemented its place with professional filmmakers with the LS 1200d Pro and Nova P600c LED lights – and these are joined by the powerful Electro Storm line. Make sure to check them out along with a line of modifiers and lots more.



A powerhouse of the battery world, German firm Bebob will be showing its V-Mount, B-Mount and Gold Mount batteries, micro batteries, chargers, and adapters. Solutions include compact Vmicro and Amicro batteries or the Cube 1200, a multi- voltage li-ion unit with a capacity of 1176Wh and built-in charger. Sony Venice 2 users should check out the Coco-Venice2. Find adapters for lighting and options to power B-Mount equipment via traditional V-Mount or Gold-Mount batteries. BEBOB Stand G20

The thrust of Canon’s stand is showcasing how to capture live production through a multicam set-up, demonstrating the XC Protocol across PTZ cameras, fixed-lens camcorders and cine cams. Look out for Canon’s Flex Zoom cine lenses and Cinema EOS selection as well as the C70 Super 35 hybrid cinema camera that employs RF mount glass. CANON Stand F50

The incredible, high-resolution Ursa Mini Pro 12K OLPF cine camera, which offers incredibly sharp images without moiré and is approved for Netflix, will be centre stage on Blackmagic Design’s stand. Also find the full-frame Cinema Camera 6K, plus broadcast units and switchers from the Atem range. Visitors can try out the latest version of DaVinci Resolve – both the free, more basic and the more powerful Studio version. Stand H50 BLACKMAGIC DESIGN The Theos Digital Wireless, which uses a wideband UHF spectrum rather than the crowded 2.4GHz band, will be a popular audio exhibit on Deity’s stand. Frequencies span 550 and 960MHz and the Theos has swappable frequency ranges based on the user’s phone GPS, so you can travel with one wireless microphone kit. Check out the TC-SL1 wireless timecode slate, the world’s first Bluetooth-enabled smart slate that wirelessly stays in sync up to 250ft away. The brand will also show off a range of XLR- and DSLR-style mics, plus wireless kits. DEITY MICROPHONES Stand F20


CVP Stand C45

Stand H65

As a specialist in acquisition, storage, workflow and archive solutions for the media and entertainment industry, Global Distribution can talk visitors through camera recording media and peripherals, on-set collaborative storage, secure asset archiving and media sharing through the cloud. There will be a wide variety of equipment on show, such as the latest range of Lacie hard drive and SSD solutions, as well as Seagate drives and Angelbird memory cards.

CVP will showcase new production solutions, supported by the expert impartial advice of its technical consultants, product specialists and engineers. As the UK and Europe’s largest professional video broadcast and cine solutions provider, CVP’s staff offer knowledge and expertise from consultation and purchase to repair and service – and everything in between. Visitors will have the opportunity to get hands on with a selection of the latest equipment from a wide range of manufacturers such as Red, Sony, Canon, Zeiss, Cooke, Leitz, Blackmagic Design and many more.





LUMIX Stand H40

firmware upgrades improves them even further. Ask Panasonic’s expert staff about the new proxy recording capabilities, which also allow the S5 II X to output its full-res files to an external SSD. There’s now built-in compatibility and new AF settings specifically for cars, motorcycles and animals’ eyes.

Panasonic’s Lumix mirrorless camera range, including the GH6, G9 II, S1H, BGH1 and BS1H models, will be on display as well as the X2000 and X2 camcorders. But the star attractions will be the S5 II and S5 II X which have hybrid phase detection AF, active IS and four-channel audio. A very recent announcement that these two full-frame cameras will both get free, major

HAWK-WOODS Stand D10 Hawk-Woods has 30 years of experience within the industry, and is recognised around the world for pioneering a vast range of original products

Holdan is one of the UK’s top distributors and will be showcasing flagship brands such as Atomos, Birddog, Inovativ, Samyang, Xeen, Blackmagic, SNS, Panasonic, Kondor Blue, Datavideo, Epiphan, MRMC, Hollyland, Roland and Sonnet Technologies. One of its stars will be Atomos’ on-camera and cloud monitor/recorders. Holdan’s experts and specialists from manufacturers will be available to answer any questions about 4K, HDR, NDI, IP and wireless production. HOLDAN Stand G60

for camera operators, sound recordists and lighting engineers. From camera batteries, chargers and power adapters to cables and bespoke extras, Hawk-Woods offers dependable power sources. Look for B-Lok batteries for Arri Alexa 35, with multiple outputs and all the safety features, straight 26v with 20A output and drop resistance. It will display its flagship floor battery, MXB-880, with dual voltage and multiple XLR outputs at a weight of 7.2kg.

Nanlux and Nanlite – both owned by fast-growing Chinese lighting company Nanguang – have a wide range of LED lights that offer pro quality at great prices. The Nanlite name includes powerful COB LEDs in various sizes as well as tubes, bulbs and panels ideal for indie production. Watch out for the powerful Nanlux Evoke 2400B and, from the Nanlite range, the Forza 720B and full-colour Forza 60C, plus all kinds of light modifiers such as softboxes and projector units. NANLUX & NANLITE Stand F72

NIKON Stand C55

Nikon’s place in pro filmmaking is now at the forefront following the release of the Z 8 and Z 9 full- frame mirrorless cameras – and the Japanese company has just bought US high-end cine camera maker Red. Nikon will be displaying its array of mirrorless cameras and legendary Nikkor lenses, many now available in the larger Z mount. With some incredibly fast AF primes as well as zoom lenses, Nikon is looking at becoming a major player in the filmmaking market.


metering and correction, content acquisition or playout, Nugen has your needs covered. Reflecting the real-world production experience of Nugen Audio’s team, the company’s products make it easier to deliver high-quality, compliant audio while saving time, reducing costs and preserving the creative process.

Nugen is famed for its advanced audio solutions when you are ready to take your soundtracks to the next level. Its tools for audio analysis, loudness metering, mixing/mastering and tracking are used every day all around the world by the world’s top names in broadcast, post and music production. Whether it’s surround upmixing, end-to-end loudness management,






RODE Stand F60

Roe makes high-end LED display platforms thanks to carefully selected components, fresh technology and the in- depth technical knowledge of its engineers. Replacing the traditional green screen element of a virtual studio allows presenters and audience to see and interact with the content around them. This groundbreaking technology is already having a huge influence on how broadcasts are delivered across the globe.

Rode produces industry-leading broadcast, podcast, on-camera and wireless microphones and accessories for film, video and audio production. A huge choice of award- winning systems will be available to try – and product experts will be on hand to answer all your questions. Look out for the on-camera mics like the Videomic NTG, as well as the Wireless Go range of super-compact wireless transmitters and receivers – plus the high-end XLR range which includes the NTG5.


Peli’s watertight, crushproof cases and rugged packaging solutions will be on display at MPTS along with the Air range, which is now available in 20 sizes and many colour choices. New press and pull latches have recently been introduced and are being rolled out across the range. Peli Cases are used extensively by broadcast industry professionals, such as documentary TV camera operator Jonathan Young, in many dangerous locations throughout the world, including war-torn Afghanistan and Gaza. “Peli cases are fundamental for me on trips like this. Broken kit on arrival means no filming. Hail the Peli cases!” he says. Check them out at Olympia.


Microphones, wireless kits, headphones and audio accessories will be on demo at Olympia. View the legendary Sennheiser MKE 600 XLR mic, which offers amazing audio in a compact package built to last for decades. The MKE 400 is a stylish mic made for DSLR and mirrorless cameras with a standard jack plug. It gives stunning sound even in windy conditions, thanks in part to a unique, built- in shock mount. For truly pro-quality wireless audio, check out everything from plug-and-play units to the high-end kit the brand is known for.

SONY Stand J50

The latest Sony Burano 8K cinema camera, tested in this issue, will be a crowd-puller on the Sony stand. The full Cinema Line will be on show, as well as the BVM-HX3110, a premium professional reference monitor with dual-layer anti-reflection LCD. Also see the Venice 2 flagship cine cam, FR7 full-frame PTZ cam as well as the FX6, FX3 and FX30. Visitors can talk to experts about on-set filming, image capture, audio and post-production, including the recently announced Crystal LED screen for virtual production.


Videndum designs, manufactures and distributes camera supports, video transmission systems and monitors, livestreaming solutions, smartphone accessories, robotic camera systems, prompters, LED lighting, mobile power, bags, backgrounds and motion control, audio capture and noise reduction kit. Brands include Anton Bauer, Autocue, Autoscript, Litepanels, OConnor, Quasar Science, Sachtler, SmallHD, Teradek, Vinten and Wooden Camera. Look out for the popular Sachtler range of tripods and fluid heads, including the latest generation of its popular Ace fluid head systems. The new cost-effective Ace M Mk II and Ace XL Mk II feature smooth Sachtler drag and multi-step counterbalance.




Warner Tinseltown treat?

Head to Warner Bros Studios to see the very best of filmmaking gear at Cine Gear Expo H ollywood is the spiritual home of cinema – and once again, one of the industry’s premier motion picture pioneers opens its doors to the Cine Gear Expo. This year, the show will be hosted at the historic Warner Bros Studios in Burbank, California from 6-9 June. And it’s going to be a hugely important show. The industry finally starts to get back to a sense of a normality after the American actors’ union went on strike for four months last year over a labour dispute with the Alliance of Motion Picture and Television Producers. It also focused on streaming and use of AI in films. It’s fitting the first major California- based show after the strike ended is at such an important location. Established over 100 years ago, the iconic studio is home to many cultural icons, from classics like The Jazz Singer , Casablanca , Looney

THAT’S NOT ALL, FOLKS It’s not just the latest kit at Cine Gear Expo, but lots of seminars and workshops too







and seminars from 7-8 June. The Cine Gear Awards ceremony and reception, from 8pm on 7 June, is a must-attend event to rub shoulders with the best talent. The final day is packed with lighting masterclasses so you can learn from the cream of the cinematography crop. Cine Gear Expo – which began at Paramount Studios in 1996, where it was also held last year – started with just six exhibitors. Now with over 300, it attracts an audience of thousands. Many exhibitors are manufacturers of the latest equipment, including cameras and lenses. But, there are also several full-service rental houses who can supply almost everything for your next film – whether it’s a big-budget blockbuster or smaller indie production. If you need grip or equipment, you can find various suppliers at the show. Additionally, specialist companies offer costumes, props, courier services, lighting, post-production, aerial filming and much more. Registration for Cine Gear LA Expo is free and open until 29 May.

Tunes , Rebel Without a Cause and My Fair Lady , to current award-winners like Barbie . The 110-acre main lot has 29 sound stages and 11 exterior sets, offering a range of production rentals and services – from set building right through to post-production. As a fitting backdrop for the Cine Gear Expo, show visitors can enjoy outdoor booths on Warner Bros Midwest and French Streets, former home to The Music Man , Bonnie and Clyde and Gilmore Girls . Indoors, the Friends and Young Sheldon stages will house booths filled with the latest tech from camera, lens, lighting and grip manufacturers. As the studio offers state-of-the-art venues like the Steven J Ross Theater, this will be home to Cine Gear’s film contest and screenings, presentations, educational panels, masterclasses as well as talks from legendary and emerging filmmakers. With so much of the film industry this close, the networking and mingling are second to none – all under the Californian sun. The Expo opens with the film contest on Thursday 6 June, with regular exhibits

LA LA LAND Outdoor stalls, indoor exhibits, filmmaking contests and networking make the event a must-attend



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