Copy of Pro Moviemaker January/February 2022 - Web

It's the highlight of the year in the latest of Pro Moviemaker, as the winners in the annual Gear of the Year Awards are revealed. Voted for by thousands of working filmmakers, the awards honour the very best hardware, software and services – it’s the ‘Oscars’ of cameras, lenses, lighting and more! We look at what won and why, and put the Cinema Camera of the Year – the incredible Red Komodo 6K – through its paces now it has autofocus. There’s also a full test of the all-new Panasonic BS1H full-frame box camera, and we put lots of cool kit like the Zhiyun Weebill 2 Pro gimbal through its paces. With news on the latest developments in filmmaking equipment – including the radical DJI Ronin 4D, 8K Nikon Z 9, Sony Venice 2 and A7 IV – it’s packed with help, information, advice and loads of equipment to give you the vital edge. Pro Moviemaker magazine is the essential read for next-generation filmmakers.


The wild new drone with ProRes and dual cameras BIG-SENSOR MAVIC UNVEILED

SONY LAUNCH SPECTACULAR Two very different cameras, plus a fast zoom and phone!


JANUARY/FEBRUARY 2022 @ProMoviemaker £5.49

Power to the people: The V-Lock batteries and chargers you need New equipment from Samyang, Panasonic, Rode, Lee, Miller & IDX Tested: Zhiyun Weebill 2 Pro gimbal, a tiny 4K action cam, tripod kits & more

Is DJI’s combined gimbal and cinema cam the future? RADICALRONIN 4-AXIS SURPRISE

The Komodo 6K rules, as winners of the Pro Moviemaker awards are revealed

Nikon fights back with the high-spec Z 9 mirrorless ZED’S NOT DEAD... STACKED SPEC

First full test of the Panasonic Lumix BS1H BOX FRESH CUBE CAM

RED DEVIL When you boot up the Komodo, you see this skull. That’s worth the price alone...

The ultimate magazine for next generation filmmakers

Editor in chief Adam Duckworth Chief sub editor Alex Bell Sub editors Matthew Winney, Harriet Williams EDITORIAL ADVERTISING Group ad manager Sam Scott-Smith 01223 499457 Senior account manager Emma Stevens 01223 499462 DESIGN Design director Andy Jennings Design manager Alan Gray Senior designer Lucy Woolcomb Middleweight designer Emily Lancaster Designer Emma Di’Iuorio Designer and ad production Man-Wai Wong Junior designer Hedzlynn Kamaruzzaman PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:

It’s the most wonderful time of the year… no, not the festive season, but the announcement of the winners at the annual Pro Moviemaker Gear of the Year Awards. When the votes are counted, it’s always interesting to debate why people chose what they did. Votes sometimes go to the camera or bit of kit that’s been used for an extended period and is truly valued. Other times, people opt for a super-hot bit of new tech that might be their next purchase – often only just available or in short supply. Or, they go for a dreambuy that would be theirs if money were no object. Well, this year, the cinema camera that came out on top won by a huge margin. To some extent, it could be seen to tick all those potential vote-winning boxes. The Red Komodo has sold in as great a number as importers could get their hands on. I’ve spoken to – and done jobs alongside – some of the lucky owners whomanaged to get hold of one. Every single person has raved about it. For some, the most affordable Red ever is on their radar – and they will get one when their name ascends to the top of the waiting list. In these days of global supply chain issues, when arrival times are pushed back for everything – fromnew cars, motorbikes and bicycles, to the latest iPhones – being patient is the new normal. For others, Red remains the fantasy buy. The 6K Komodo is the camera that makes the Californian brandmore attainable than ever, and thanks to innovations like phase- detection autofocus and built-in audio recording, it can be used for muchmore than just slow, considered cinematic work. A dream camera that’s relatively affordable and functional for lots of different projects, is why the Red Komodo stood out. Even though it was against opposition like the Sony FX6, which is a sales smash. While the full-frame Sony A7S III, Panasonic S5 and Canon EOS R5 were among the front runners in the mirrorless category, it was the radical Blackmagic Pocket Cinema Camera 6K Pro that took the honours, despite its smaller Super 35 sensor. But its large screen and ergonomic build for moviemakers, rather than stills photographers, gave it that edge. Filmmakers value innovation, especially when it delivers in bucketloads. Of course, there are winners in a huge swathe of categories, and all of them are worth taking a look at when considering new kit or services – or even where to buy from. As much as the Pro Moviemaker Gear of the Year Awards honour the best products, it’s all about giving real filmmakers valued input fromother, like-minded professionals. So, if you do have spare cash after Christmas, then our award-winners would be great buys.

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

JANUARY/FEBRUARY 2022 CONTENTS AGENDA 6 THE RADICAL RONIN IS RELEASED It’s definitely the wildest product for years, as DJI unveils the four-axis gimbal, with a built-in cinema camera and wireless transmission system. 8 NIKON’S SPEEDY 8K MASTER STROKE Now it’s Nikon’s turn to reveal the spec of its brand-new, stacked-sensor flagship – and the 45.7-megapixel monster does not disappoint! 10 A SONY BUILT FOR HOLLYWOOD The Venice 2 is a return to the top for the CineAlta range, with an 8.6K sensor that can be swapped out for a 6K version when you need faster frame rates. 12 E-MOUNT MIRRORLESS EXPANDS Sony shows its ‘entry level’ full-frame camera, packed with the latest spec – plus, a lightweight version of its


venerable 70-200mm f/2.8 AF telezoom. 15 SAMYANG’S GOLDEN GREATS!

Korean optical giant goes all-out to celebrate its 50th anniversary, with a slew of new lenses – including its


first ever AF zoom to fit the FE-mount. 16 MILLER’S TRIPLE ART ATTACK!

The high-end tripod brand unveils three ArtX Naked fluid heads targeted at smaller and lighter cameras, such as DSLRs and mirrorless. 18 FILTER RIVALS REVEAL NEW GEAR Lee and Cokin go on the offensive, with two systems suitable for stills and video shooting. Plus, new Red V-Raptor kit and an upgrade for Rode software. 20 WIN A STREAMING CAMERA AND MIC One lucky reader will take home a high-quality Elgato Wave:3 mic and matching HD Facecamworth £350, in our great, free-to-enter competition.


The votes have been counted for the best equipment, software and service providers in the annual Pro Moviemaker Gear of the Year Awards 2021. Check out the worthy victors in the Oscars of filmmaking kit.



The world-famous IBC show at the huge RAI exhibition centre in Amsterdamwill happen in December, say organisers. Despite a fourth wave of Covid-19 in the Netherlands, the mega-event is scheduled to run both online and in real life.



The ultimate magazine for next generation filmmakers


The 6K wonder waltzed off with our Pro Moviemaker Gear of the Year accolade for best cinema camera. We take a look at why it’s so popular, and test out the phase detection AF system it now sports. 56 PANASONIC BOX CAM TESTED The full-frame Lumix BS1H uses the guts of the pioneering S1Hmirrorless camera in a box-style body, but is it any good for independent filmmakers? The Lumix cube goes under the Pro Moviemaker microscope. 66 MINI TESTS The Zhiyun Weebill 2 Pro motorised gimbal, some IDX V-Mount batteries, the revamped Sennheiser MKE 400 DSLR mic, the latest DJI Action 2 camera and two tripod self-levelling kits from 3 Legged Thing. 74 BUYERS’ GUIDE: BATTERIES/CHARGERS We explain what’s what in the bewildering world of battery and charger solutions, for all sorts of cameras and accessories. And we examine some of the best options to suit every user and budget.






A total package The fourth axis of stabilisation is just one highlight of DJI’s radical Ronin 4D D JI has torn up the rule book on filmmaking kit, with its Ronin 4D. It combines an all-new, full-frame cinema camera in

4K/120fps, while the Zenmuse X9-8K goes up to 8K/75fps. The 6K combo is £5999/$7199, while the 8K version is £9499/$11,499. Both record internally in H.264, ProRes or ProRes Raw. While using motorised gimbals has taken the filmmaking world by storm, allowing super-smooth handheld shots, these are all stabilised over three axes – pan, tilt and roll. But the Z-axis of vertical motion is not stabilised, so when traversing steps or just walking, the camera still jolts up and down. Only cinema-style Steadicams have offered this fourth-axis control until now. But the DJI Ronin 4D has active Z-axis control to eliminate vertical camera shake. This allows handheld use on stairways or uneven ground, and even sideways shots that replicate a smooth dolly movement. DJI has used its drone technology

a four-axis stabilisation system, LiDAR focusing system, and video transmission and control system in a single unit. Accepting full-frame lenses, there are two versions of the camera. The Zenmuse X9-6K supports up to 6K/60fps and

to keep things stable in every direction. There are downward and forward sensors, a built-in sensor to measure movement in all directions – and a barometer to DJI MOVES INTO AUDIO

NEXT GENERATION The revolutionary DJI Ronin 4D looks and performs like no other cinema camera ever

settings and monitor the strength of the signal. Recordings can be made separately via each channel, or combined for easy post-production. There is also a safety track recorded at -6dB, in case of sudden increases in volume. The receiver also has 14 hours of battery life – and USB-C, Lightning and TRS ports, so it works with most cameras, laptops and smart devices. The kit is stored inside a custom charging case, so one USB-C input can charge all components simultaneously. This case also means the units are always in sync with each other. DJI revealed its new Action 2 camera, too, included in our mini tests this issue.

Audio has never been high on DJI’s list of essentials. But the company has now launched the Action 2 mic system, which works with all cameras using a standard 3.5mm jack. Similar to the Rode Wireless Go II and Hollyland Lark 150, the £289/$329 kit comes with two small transmitters, each with built-in omnidirectional mics. These have internal storage and record up to 14 hours of audio. They have inputs for lav mics, so these small transmitters can be hidden and a lav mic plugged in. During normal use, the signal is sent back to the camera-mounted receiver at distances up to 250 metres. The compact receiver has a touchscreen to change

GET CARRIED AWAY Two small transmitters and a lightweight receiver fit into the portable charging case




WE ARE FAMILY The whole DJI ecosystem now includes the Ronin 4D cinema cam, as well as gimbals and pro-level drones

“Proving its credentials as a real cinematography tool, the Ronin 4D uses DJI transmission tech”

Proving its credentials as a real cinematography tool, the Ronin 4D uses DJI transmission technology and outputs a 1080p/60fps feed to remote monitors with transmission range of nearly 20,000ft. It also includes AES 256-bit encryption. In addition to 2.4GHz and 5.8GHz, this supports the DFS frequency band to improve signal stability and cut interference. This also enables multiple receivers with one transmitter, and allows users to switch feeds quickly between multiple Ronin 4Ds. The additional High-Bright Remote Monitor integrates a wireless video receiver into a 1500-nit, seven-inch screen, while the built-in gyro sensor turns the monitor into a motion controller for movement-based camera control. It can also connect to accessories like the Ronin 4D Hand Grips, DJI Master Wheels, or the new DJI Three-Channel Follow Focus. The cameras record to USB SSDs, CFexpress Type B cards and DJI’s own 1TB ProSSD drive. Audio is recorded via built- in microphones to support two-channel, 24-bit audio. There are two 3.5mm jacks on the body, and two XLR ports on the Expansion Plate for external mics. The Ronin 4D uses the same TB50 batteries as the Ronin 2 and Inspire 2 drone, which offers 2.5 hours of shooting. As it’s designed for extreme weather, the battery has auto-heating technology. The 6K version comes with Zenmuse X9-6K Gimbal Camera, LiDAR Range Finder, High-Bright Main Monitor, Hand Grips, Top Handle, battery and case; the 8K version adds a 1TB ProSSD. The £309/$399 4D Video Transmitter and £1139/$1699 High-Bright Remote Monitor are separate.

The cameras have built-in nine-stop physical ND filters, too. The X9 cameras are equipped with an interchangeable lens mount, allowing connection to DJI’s proprietary DL mount, Leica M-mount and others with short-flange focal distances, such as Sony E-mount. This allows use of fast lenses, anamorphics and even vintage manual lenses. A newly designed LiDAR Range Finder continuously generates precise laser measurements to help with focusing. It simultaneously casts over 43,000 ranging points reaching up to ten metres, locating subjects quickly and accurately, even in low light. Because LiDAR measures the distance to the subject without relying on surface textures or hunting for edges, it obtains a very fast focus speed. There is manual focus, autofocus and DJI’s Automated Manual Focus (AMF). In manual, a LiDARWaveform display gives fast, accurate focusing. Autofocus keeps the subject sharp, while Automated Manual Focus combines the best of both modes. It automatically rotates the focus wheel and follows the focus point, letting filmmakers intervene manually any time.

monitor air pressure changes while the camera moves. A new chipset fuels an intelligent image processing system: the CineCore 3.0. It delivers an internal 8K Raw codec designed for precise colour reproduction, low- latency monitoring and image processing. The new, full-frame Zenmuse X9 gimbal cameras have a dual-native ISO of 800/5000, and claim over 14 stops of dynamic range. The DJI Cinema Color System (DCCS) is said to deliver natural skin tones and consistency.

WI-FI WONDER The remote monitor unit, used here with hand grips, is extra




Nikon’s8Kmaster stroke N ikon may be the last of the major manufacturers to launch a flagship pro-level mirrorless camera, but the new Z 9 is here. The 45.7-megapixel, full-frame Z 9mirrorless camera sets a new standard for high-resolution video and superfast stills photography and 3D tracking to date, and shoots stills up to 120fps with full autofocus and exposure metering. However, this is from an 11-megapixel cropped section of the sensor. For full-frame stills, it matches record 8K, but only up to 30p. The 8K Nikon video footage at 30p can be recorded for approximately 125 minutes at a time, which Nikon says is the longest duration in mirrorless cameras. An upcoming firmware update will enable the recording

In some ways, it edges out the rival Sony A1 and Canon EOS R3 cameras. And with a body-only price of £5299/$5497, it undercuts the Sony by a cool £1200/$1000, while the Canon sits roughly midway at £5879/$5999. All three use the stacked image sensor, which brings pro-level stills performance to mirrorless cameras, and up until this year has been exclusive to Sony. The stacked sensor allows continuous real- time view without blackout – vital for fast-moving subjects. The Z 9 has a new, stacked, 45.7-megapixel full-frame CMOS sensor designed by Nikon and an ultra-fast processor. The company says it has the most sophisticated autofocus system

the 30fps of the Sony and Canon. The Nikon also does not have a mechanical shutter, but relies on an electronic one – unlike the Canon and Nikon that have both. Nikon obviously believes that, as the sensor readout is incredibly quick, the camera does not have any problems with rolling shutter artefacts, which are so often the bane of e-shutter cameras. However, doing away with it has affected flash sync speed. The Nikon manages 1/200sec, while the Sony can sync at 1/400sec, for example. In video spec, the Z 9 can record full- frame 8K in up to 60p and 4K up to 120p, as well as time-lapse movies in-camera. Both the Sony A1 and Canon EOS R5 can

of ProRes 422 HQ and Raw 8K video in 60p. Full AF/AE and eye detection AF is available while filming. However, it seems there is no 240fps video recording, as the specs top out at 120fps in HD and 4K. There is built-in N-Log and HDR recording, though. Nikon claims autofocus is more advanced than their rivals. The 493-point system includes 405 auto-area AF points – five times more than the Nikon Z 7 II – while ten AF-area modes let users optimise set-up for any shoot. Deep- learning AI allows simultaneous detection of up to nine subject types, including people, animals and motor sports.




Nikon revealed a range of new lenses, including the Nikkor Z 24-120mm f/4 S, an all-round optic at £1099/$1097. It offers good video performance with virtually no focus breathing, ensuring consistent framing when refocusing during recording. The special Arneo and Nano Crystal coatings combat ghosting and flare. The lens is sealed, protecting from dust and rain, and a fluorine coating on the front element repels dirt. Customisable controls feature a function button and control ring to assign roles based on user preference. Also new is the Nikkor Z 100- 400mm f/4.5-5.6 VR S, ideal for sports shooters at £2699/$2697. This lens is designed to focus quickly and quietly, for tracking fast-moving subjects. Powerful VR performance is equivalent to 5.5 stops. Minimum focus distance is 75cm at the wide- angle end, 98cm at full extension. Nikon has also unveiled the Mount Adapter FTZ II, costing £249/$250, which improves on the existing FTZ adapter. It supports 360 Nikon F-mount lenses, fromAI type onwards, with Z series cameras. The FTZ II can be used with vertical grip and various video accessories, allowing lenses to be changed without taking apart the camera from a tripod. Coming soon is the first Z mount super-telephoto prime lens – the Nikkor Z 400mm f/2.8 TC VR S, with a built-in 1.4x teleconverter. The lens will feature a new coating that delivers the highest anti-reflection performance in Nikon’s history. No price or details of availability have yet been announced. NEWLENSES LAUNCHED AS Z SYSTEM GROWS

“The 493-point autofocus system includes 405 auto-area points –five timesmore than the Z 7 II”

For stills, the Z 9 can capture over 1000 frames in full-resolution Raw at 20fps from one burst, and 120fps at around 11 megapixels in JPEG. Shutter speed goes up to 1/32,000sec, and the native ISO is 64- 25,600, extendable to 32-102,400. The Z 9 features the brightest 3000-nit electronic viewfinder display of any current camera. The Nikon has a four-axis vertical and horizontal tilting monitor, rather than a fully articulating screen. It is completely weather sealed and has a robust build quality for pro use. The camera records to a pair of CFexpress Type B cards, there is built-in Wi-Fi and Ethernet, as well as USB-C connection. Like the Canon EOS R3, the body shape is more akin to a pro-style DSLR with built-in vertical battery grip. This bulkier form has never been a big hit with filmmakers, but is great for photographers.

BIG BODY The new Nikon Z 9 looks more like a pro DSLR, as it has an integrated vertical grip to house a large battery




8.6KRawdeal forflagshipVenice Sony has revealed its new flagship cinema camera, the Venice 2. It’s an 8.6K full-frame that records Raw files internally, with a claimed dynamic range sensor has Dual Native ISO settings at 800 and 3200 to minimise noise. and 4444 come on both cameras, and ProRes 4444 XQ will arrive via a firmware upgrade. All ProRes is limited to 4K only, though. There is no XAVC codec.

Unlike the original camera that needed a recorder unit to store Raw files, the Venice 2 can record Raw or ProRes internally to the AXS card, which maxes out at 6.6Gbps. The Venice 2 6K still has the 500 and 2500 native ISO settings of the original, as it uses the same 24.8-megapixel sensor. The Raw files are in the X-OCN format, which gives 16-bit encoding for incredible detail. Three different versions of X-OCN are available, offering varying quality levels and file` sizes. ProRes 422 HQ

of 16 stops. A 6K version will also be available with the same sensor as the original camera. This Mark 2 version of the Venice finally allows the whole sensor block to be swapped for further upgrades, as was promised on the original in 2017. The new camera can now be used with its 8.6K sensor, or the original 6K sensor block, which supports higher frame rates. But you can’t just fit a new 8.6K sensor into the original Venice. The 8.6K camera has a new 8640x5760 pixel CMOS sensor, with approximately 50 megapixels – almost double the old camera. The Venice’s dual SxS slots are replaced by AXS memory, which will still be very expensive as it’s so fast. The Venice 2 has the same built-in optical ND system, instead of going to the electronically variable ND from the FX6 and FS5 II. The Venice 2 also sticks with the industry-standard PL lens mount, with Cooke/i Technology. But this can be simply removed, to reveal a lever lock E-mount. Sony E-mount lenses or DSLR lenses can be used with adapters. The sensor shoots in 3:2 ratio up to 8.6K/30p, or in 8.2K/60p for 16:9 or 17:9. Drop to a Super 35 crop and it shoots 90fps at 5.8K, while 120fps is available in 4K. The

The camera is very similar in design to the original Venice, which is really built for multi-crew cinema shoots with big budgets. No official price has been announced, although the flagship 8.6K version is rumoured to cost £45,000/$59,000 in Japan, so it will compete with high-end Arri and Red cameras for the TV and filmmarket.

BIG MONEY The new 8.6K Sony Venice 2 and its 6K sibling are designed for full-scale productions with huge budgets




Fast andwide Lumixglass

PNY’s new X-Pro 90 UHS-II SD cards now support 4K and 8K video, at 7680x4320 pixels – as they offer V90 Video Speed and UHS-II spec. UHS-II provides speeds of up to double those of UHS-I, by employing two rows of pins for data transfer. This allows transfers of up to 300MB/s sequential read and 280MB/s write – and a minimum sustained read and write speed of 90MB/s. The popular 128GB size card costs $130, but $78 64GB and $240 256GB versions are available. UK prices are not yet released. 8K UPGRADE FOR PNY SD CARDS A range of mini SSD hard drives for Atomos recorders has been revealed by Atomos and Nextorage. The Nextorage AtomX SSDminis have been designed to maximise performance in Atomos recorders. They are built to fit the compact media slot of the Ninja V and V+, as well as the Neon series. They can be adapted for use with the Sumo 19, Ninja Cast and Shogun Studio 2, too. The drive has a 550MB/s read and 500MB/s write speed, to record Apple ProRes Raw HQ 8K at 30fps and 4K at 120fps. A 500GB version is $229 and a 1TB $439. No UK prices yet. NEXT-GEN STORAGE IN ATOMOS SSD

Canon is bringing some of the features of the flagship EOS R3 mirrorless to its EOS R5, EOS R6 and EOS-1D X Mark III, via a free firmware update. On the EOS R5 and EOS R6 mirrorless cameras, the update improves recognition of subjects in autofocus, as vehicles can be selected as the main subject. This gives fast tracking of racing cars and bikes. The update also boosts the overall AF tracking of people, with improved eye and face detection – as well as adding body detection. AF detection in the EOS-1D X Mark III is ideal for winter sports, as there is improved head detection for subjects wearing goggles and helmets. R3 SPEC COMES TO HIGH-END CANONS Panasonic unveiled a large-aperture, wide-angle prime lens for its full-frame mirrorless cameras, the Lumix S 35mm f/1.8. It’s the fourth in the family of f/1.8 L-Mount primes, including the 85mm, 50mm and 24mm, and costs £580/$698. All the lenses feature a common size and position of control parts, so it is easy to change lenses quickly. The 35mm optic has 11 elements in nine groups, with three aspherical lenses and three ED lenses to suppress chromatic aberration. There’s a minimum focusing distance of 24cm/9.4in.

When using manual focus, a non- linear setting changes focus by a variable amount, according to the rotation speed of the focus ring. Sensitivity can be selected from 90° to 360° to fine-tune the feel. Panasonic says the design suppresses focus breathing, and there is a micro-step aperture control for smooth exposure change, making it ideal for video. It has a rugged, dust/splash-resistant design, the filter diameter is 67mm, weighs 295g, and there is a nine-blade circular aperture diaphragm.

Other updates include setting a customwhite-balance in Live View on the EOS R5 and R6, as well as improved FTP file transfer.





Entry level in all but spec!

The new FE 70-200mm f/2.8 GMOSS II zoom offers even better optical and AF performance than the current model. It is the world’s lightest constant aperture 70-200mm f/2.8 telephoto zoom– by a few grams. It is almost 30% lighter than the previous Sony model and has AF speed claimed to be four times faster with focus tracking. Zooming improved by 30% thanks to four XD (extreme dynamic) Linear Motors. The £2600/$2798 lens has two aspherical elements, including one XA (extreme aspherical). It also uses two ELD (extra-low dispersion) glass elements and two Super ED glass elements in order to significantly reduce chromatic aberration without colour bleeding. This lens includes an ED aspherical element in an Alpha system for the first time, suppressing both chromatic and spherical aberrations. The new lens is designed to reduce focus breathing, focus shift and axis shift when zooming. There are three customisable focus hold buttons, 90° apart around the lens body, for easy access. The aperture ring click-stops can be turned off for smooth, silent control when shooting movies. SONY TELEZOOM GOES ON A DIET

FOUR-MIDABLE Sony’s A7 IV is affordable and has lots of spec borrowed from the flagship A1 mirrorless camera

T he A7 IV might be the most basic full-frame Sony mirrorless camera. But now it has a 33-megapixel, back-illuminated sensor, the latest Bionz XR processor and advanced autofocus based on the flagship Alpha 1 – plus, the popular S-Cinetone gamma to deliver a rich, cinematic look. Costing £2399/$2498, it is designed for stills and video, with an ISO range from 50-204,800, and a claimed 15-stop dynamic range. Like the A7S III, it has a fully articulating screen, ideal for video. The A7 IV offers 4K/60p recording in Super 35 mode, and up to 4K/30p recording with 7K oversampling in

full-frame; HD recording goes as high as 120fps. There is also 10-bit 4:2:2 sampling to enable natural colour gradation, XAVC S-I intra-frame encoding for improved editing workflows, and XAVC HS for a more efficient H.265 Long GOP codec. Video in 4K/60p, 10-bit 4:2:2 can be continuously recorded for over an hour, thanks to the heat-dissipating structure. For the first time in the Alpha series, the new camera has Breathing Compensation, to combat focus breathing and maintain a consistent angle of view throughout focus changes on certain Sony lenses. There is five-axis image stabilisation built into the body, and ‘Active Mode’ image stabilisation helps to remove camera shake even more. There is a 3.0- type, 1.03m-dot vari-angle LCDmonitor, top-panel Rec button and high-capacity Z-series battery. With the same Bionz XR processor as the flagship A1, it delivers high-speed AF and continuous stills shooting at 10fps with AF/AE tracking. The AF system uses 759 phase-detection points that cover approximately 94% of the image area. Real-time Eye AF can now track bird and animal eyes for both still images and movies, in addition to humans. New to the Alpha series is a dual-layer mode dial, with a lower layer for selecting Still/Movie/S&Q video, and top layer for Auto/P/A/S/M and Memory Recall.

A CFexpress Type A compatible media slot supports cards with faster writing and clearance, but SD cards are also fine. The latest Sony is built to stream, and connects to its Imaging Edge Mobile app via Bluetooth; fast data transfer is possible by 5GHz/2.4GHz Wi-Fi. A range of new features support livestreaming and remote communication, without need for dedicated software. UVC (USB Video Class) and UAC (USB Audio Class) turn the A7 IV into a high-performance livestreaming camera when it is connected to a computer or smartphone.

BASICALLY BRILLIANT The ‘entry level’ full-frame Alpha is the perfect machine for filmmaking on a budget




Location innovation Thanks to the latest NAM range of LED fixtures, using lighting away from a studio setting is now easier and safer than ever – frompanels to tube lights, andmore

As a lighting supplier, Acebil has developed a portfolio of LED fixtures that cross the boundaries of traditional description. An example is the Bi Colour GP4000S. Unique in its class, weighing only 8kg, the GP4000S provides 220w of power, and can be charged by V-Lock battery. It has a massive colour temperature range of 2700-7000K, and built-in wireless control, too. In the package, there is a barn door set and reflective hood. This is a really powerful semi-soft light at only £582.50, plus VAT. Colour creativity The increase in popularity of tube lights has led to some incredible developments: the NAM RGBW Tube Light is a feature- rich example. It is colour-tunable with both CCT and HSI modes, and magenta and green tuning. RGBW colour mixing is at its core, with many built-in effects such as candle, TV and cop car. It has strong magnets for easy placement, a 1/4-inch mounting point, and can be controlled wirelessly from a free phone app. The range starts at £140, plus VAT.

Real-world filming Lighting on location has come a long way since the days of the seventies, when 800w Tungsten Redheads were the go-to choice. These were bright, didn’t weigh too much and had a small amount of focus. They lost most of their power through heat dissipation, and on many occasions we ended up with burnt fingers. The NAM Bolangte F series now offers much more functionality in an even smaller package. Still lightweight, you have the choice of 50w or 80w versions – equivalent to around 350w and 540w in Tungsten. The ability to focus is very useful, and the built-in dimmer prevents the need to reposition the light. One of the main benefits is the ability to power the lights using V-Lock batteries, perfect for location shooting. The range starts at £199, plus VAT, for the FC-500D. Hard or soft lighting? A small light source generally means a hard light, while a larger light source is usually soft. But is this true of the modern LED offerings today?

BRIGHT FUTURE The NAM range includes lots of full-colour RGBW options in many different types of fixture. All offer fantastic performance and incredible value for money at a range of price points

More information





Samyang’s goldengreats

S amyang has marked its 50th The AF 50mm f/1.4 FE II fast-aperture prime for full-frame Sony sensors is even more advanced than previous versions. Originally a manual focus lens specialist, Samyang expanded its line-up to include autofocus models in 2016, with 50mm and 14mm versions. The £599 50mm lens is said to be the smallest and lightest of the large-aperture standard 50mm lenses in Sony FE-mount – at just 88.9mm long and weighing 420g. anniversary with the launch of new lenses. These include an AF 50mm optic and its first ever zoom lens. It uses 11 lens elements in eight groups, including two aspherical and one ED optic. Samyang’s Linear STM Stepping Motor is quiet and gives accurate control of the focusing lens groups. The AF 50mm f/1.4 FE II uses a large- diameter, nine-bladed aperture for smooth background blur. Focus breathing is minimised for video shooting. There is a custom switch, which can be set so the aperture adjusts by rotating the focus ring. The minimum focal distance is just 40cm and it’s weather sealed.

T1.5, 35mm T1.5, 50mm T1.5, 85mm T1.5 and 135mm T2.2. The full-frame lenses come in Canon EF, Sony E, Nikon F, Canon M, Fujifilm X and MFT mounts. The updated MK2 series is an affordable set of cine lenses that are compact and ideal for handheld and gimbal shooting. The £564/$599 VDSLR 135mm T2.2 MK2 is only 122mm long and 866g. The lens has a de-clicked aperture, and focus gear rings with a long throw of over 195°. The new VDSLR MK2 series includes weather sealing, to protect the gap between the lens and camera mount – plus an updated nine-bladed aperture. All the MK2 models have a black and matte finish, with distance scales readable from both sides, as are focal lengths. Samyang is also set to release a £402 12mm f/2 X lens for Fujifim X-mount, the company’s first AF lens to fit the brand’s APS-C cameras.

The new zoom lens is the £828/$999 AF 24-70mm f/2.8 FE, designed for E-mount 35mm full-frame cameras. It’s optimised for video shooting, as it is parfocal, and the AF speed is carefully controlled during video recording. Linear manual focus matches the torque of the focus ring as closely as possible to that of a manual focus lens when shooting video. Samyang will also offer a Cine Kit of focus gearing, follow focus and tripod mount. The optical design is 17 elements in 14 groups, and there are nine diaphragm blades for natural bokeh. It also features the same custom switch to adjust aperture as the AF 50mm. The minimum focal distance is just 35cm, while weather sealing protects the lens from rain, snow and dust. Samyang has completed its VDSLR MK2 cine lens line-up, with the new 135mm T2.2 MK2. It joins the 14mm T3.1, 24mm

ZOOM CALL Samyang’s first non-prime lens is this 24-70mm


The Cinematography Pro feature uses Sony’s professional video camera technology to create a cinematic look. The eight different colour settings are inspired by the Sony’s Venice cinema camera, including a 21:9 recording ratio. The phone has a frosted glass back panel and matte finish, to make it feel like a real camera. It’s water and dust resistant and has a 4500mAh battery. Internal memory of 512GB can be boosted by using a microSD card, adding up to 1TB of extra space.

the frame) and real-time Eye AF and AF tracking. The Zeiss lens has an anti- reflective coating and dual aperture f/2.0-f/4.0, for good low-light performance. The phone also has a dedicated shutter button and can take 20fps stills with AF and AE. In addition to stereo microphones, the Xperia Pro-I features a built-in mono mic next to the main camera. Audio separation technology filters wind noise for both. Focus, exposure and white balance can be altered, even while shooting.

Hot on the heels of Sony’s radical Xperia Pro smartphone – that can be used as a monitor – comes the more affordable Xperia Pro-I. It is the first phone to use a large 1.0-type sensor and phase detection autofocus. For £1599/$1798, it has a 24mm Zeiss Tessar lens and shoots 12-bit Raw files. With 4K/120p video, it’s clearly designed for filmmakers. The 1.0-type Exmor RS sensor is the same as the RX100 VII, but optimised for smartphones. It uses a fast Bionz X mobile imaging processor, 315 phase- detection AF points (that cover 90% of





“Each ArtXNaked head uses a side-loading base plate formounting camera rigs fast” Miller’s triple Art attack!

The long-awaited DJI Mavic 3 drone has a better sensor, dual cameras, improved omnidirectional obstacle sensing, smarter flight modes and longer flight times. The folding drone also has a bigger sensor than ever, in the form of the 4/3 CMOS Hasselblad camera and 28x hybrid zoom. It can shoot 5.1K video at 50fps or C4K/120fps for super slow-motion footage. The flagship Mavic 3 Cine offers Apple ProRes 422 HQ encoding, with an internal 1TB SSD. DJI claims dynamic range of nearly 13 stops and shoots 10-bit D-Log colour. The new sensors now have a 200m range, while new batteries provide up to 46 minutes of flight time. The main lens is a 24mm, f/2.8 equivalent AF prime, while the second camera features 162mm lens with 28x hybrid zoom and aperture of f/4.4. The Mavic 3 costs £1879/$2199, while a kit including the Cine version is £4279/$4999. This comes with a more advanced controller, spare batteries, ND filters and more. BIG-SENSOR MAVIC GETS PRORES

High-end tripod brand Miller has unveiled its ArtX Naked series of fluid heads. They are designed with the technology of the larger CinX heads, and aimed at smaller, often lighter cameras – but can be rigged up with lots of accessories. The ArtX 3, ArtX 5 and ArtX 7 have payload capacities of 8kg/17.6lb, 10kg/22lb and 14kg/31lb, respectively, all with 16 positions of counterbalance. The ArtX 3 and 5 have four pan-and-tilt fluid drag positions, while the ArtX 7 has six. ArtX Naked heads are supplied as basic heads, then you choose a sliding platform, pan handle, mounting base and other accessories. Each uses a side-loading base plate for mounting camera rigs fast. Two sliding platforms are available. The Versa has a range of 105mm/4.13in and is reversible. The Miller

employs the plate from Air, DS and CX heads, with sliding range of 60mm/2.36in. They have a flat base, but may fit 75mm, 100mm and 150mm (or Mitchell base) adapters. Two mounting points for Arri fittings work with an attachment adapter.

X FACTOR Miller has three new fluid heads for varying payloads


The base comes with a shotgun mic. However, the connecting audio port can also support a range of wired pro mics. The £369/$369 gimbal has a built-in receiver, which pairs with the transmitter module for wireless control of cameras via Bluetooth. There is an interactive, 1.22in, full- colour touchscreen that enables adjustments to a range of settings – as well as follow speed.

The new pint-sized gimbal from Zhiyun comes with a built-in, 800-lumen light and microphone. The Crane M3 is the size of a 550ml water bottle, compatible with over 90% of mirrorless cameras, and has a quick- release design. There is easy connection to a professional microphone via an expansion base, which reduces the need for rebalancing. It also has upgraded motors compared to the current model.





Filter frenzy!

Rival filter giants Lee and Cokin have both revealed new filter systems for video and stills shooting. French firm Cokin has unveiled an NX-Series filter holder, to allow its popular range of 100mm filters to fit ultra-wide lenses with a focal length of 14mm or less. The holder is made from aluminium and compatible with Cokin Nuances Extreme filters, Nuances Clearsky and Infrared IR720, as well as Cokin Z-pro adapter rings in size L. The holder works for 100mm, 2mm thick filters made by other manufacturers, too. The NX-Series holders come in three sizes: 100mm for square filters, 143.5mm for Nuances Extreme graduated filters, and 50mm for grad filters from alternative companies. “Each Lee Elements has multilayer-coated optics and come in a black, aluminiumframe”

TWO TRIBES Lee goes round; for Cokin it’s hip to be square

There is also a dedicated polarising filter, which is placed closest to the lens and can be rotated using the adjustment wheel. A starter kit costs £220/$220. British firm Lee, part of cinema giants Panavision and best known for its large rectangular drop-in filters, has now unveiled a range of five, top-quality circular screw-in filters. Available in four standard sizes of 67mm, 72mm, 77mm and 82mm, the Lee

Elements are the Little Stopper (offering six stops of light reduction), Big Stopper (ten stops of reduction), CPL (circular polariser) and two densities of variable ND, providing two to five or six to nine stops. Each Lee Elements has multilayer- coated optics and come in a black, aluminium frame, with a knurled finish for grip. An 82mm VND filter costs £280.

Creative Solutions and Red have teamed up to launch a range of accessories for the V-Raptor 8K cinema cam. The first products include the DSMC Red Touch 7.0 LCD Monitor and V-Raptor Production Pack. The seven-inch monitor is powered by a single cable that locks into place via the Red Interface Module (RMI). It features a unique camera control user interface, powered by SmallHD’s PageOS 4 Operating System. The Production Pack is a fully integrated camera accessory system, to rig-out the body. The Production Pack and monitor are available for pre-order on Red’s website and through their global sellers. PIMPYOUR RAPTOR!


button, and one-click access to studio-quality audio processors. There are customisable sound pads and virtual channels for including remote guests, integrating streaming applications, adding music beds and more. The VideoMic NTG has a USB output. It joins Rode’s NT-USB Mini andWireless Go II as mics compatible for livestreaming.

Rode’s popular VideoMic NTG is the first shotgun mic to be fully compatible with the free podcasting and streaming software Rode Connect. The upgrade allows the mic to be used for recording professional-quality live streams, with up to four microphones connected to a single computer. The software features a digital mixer, complete with level controls, solo and mute




Totally tubular! The incredible Astera

T he Astera Titan Tube has taken the world of creative filmmaking by storm. It’s a high-tech LED tube that emits powerful, tunable white light, with ultra-high colour rendering. It also offers coloured light, which can be applied to individual pixels or the whole tube. That’s why it’s being used by so many visionary cinematographers to create everything from traditional, soft and flattering cinematic light, to fill lights on location; as well as spectacular installations for stage performances and other-worldly product launches! Instead of just lighting the subject, the multi-use Titan Tubes can be part of the shot – as they make ideal, fully controllable ‘practical’ lights. Or use as versatile light fixtures, which change colour and intensity at will. As they only weigh 1.35kg/3lb for 1035mm/40.7in tubes, and are 43mm/1.7in in diameter, they are easy to mount or join together with Astera’s lightweight grip accessories. But they can be used handheld, too, as props for dancers and performers. The tubes can be powered by mains or battery, and used indoors or outdoors, as they have an IP65 rating. Control them with the Astera App on your smart device, LED light that’s surfing a huge wave of success

BRIGHT FUTURE Titan Tubes are light and can be used for some stunning effects

or either wired or wireless DMX. This flexibility is why the Titan has established itself as the ultimate LED tube for any creative. It’s a clear winner of the lighting innovation category in the prestigious Pro Moviemaker Gear of the Year Awards. It’s the first Astera product made especially for the film and broadcast market, giving the highest level of performance and consistency. The tubes are optimised for ultra-high CRI/TLCI values at >96 and peak brightness, as well as excellent colour rendering from 3200- 6500K. Used in CCT mode, the range is a huge 1750-20,000K, while the light can be used as a full-spectrum RGB. Available in three lengths, the Titans can be controlled by the neat, built-in control panel, or wired with power and data through a single cable. With the internal battery, get up to 20 hours of continuous use; although, this reduces to one hour and 45 minutes if used at full power. But, with a maximum output of 785 lux at one metre, this is very, very bright. The batteries can be recharged fully in three hours. The flicker-free Titan Tubes now have Bluetooth Bridge technology, like Astera’s

Nyx Bulb, PixelBrick and AX9 fixtures. You can connect a smart device and control the Titan, along with the other Astera lights. Precise control is what the Titan Tubes are all about, as users quickly build programs out of colours and effects. Set them to wake up on schedule when production starts, and even give a visual and audible alarm. Opt to receive notifications from the Astera App if the tubes are moved during an event. With lighting this amazing, you don’t want to lose a tube to a potential thief, after all!

More information

TAKE CONTROL Amazing light installations are easy to set up and run, with the high-tech Astera Titan Tube system





WORTH £350

One lucky reader will take home a high-quality microphone and camera – ideal for vlogging, or even online video calls

Engineered by Austrian audio experts Lewitt, the mic has a condenser capsule with a tight cardioid polar pattern to capture speech precisely. It uses up to 24-bit/96kHz analogue to digital conversion for incredible detail. High-tech Clipguard technology makes distortion virtually impossible, while high-end circuitry ensures seamless sound transmission. When input levels peak, Clipguard instantly reroutes sound through a second signal path that runs at a lower volume. The result is clean audio output, no matter how loud you scream! There is a switchable low-cut filter to remove unwanted low-frequency noise, a 3.5mm headphone jack for zero-latency monitoring, and an internal pop filter to prevent plosive breath noise. A multi-function control dial changes gain, monitor volume and mic/PC mix. An adjustable desktop stand with boom arm adapter gives ultimate flexibility, while custom accessories include a shock mount, external pop filter and desktop stand extension rods. The mic plugs into your Mac or PC via a USB 2.0 port, so it’s as simple as possible. You’ll quickly be sounding good, as well as looking sharp, thanks to this awesome Elgato package. And you can win one for FREE!

Whether you are vlogging for fun, need to record high-quality audio direct to your computer, or want a far more professional look to your online Zoommeetings, this Elgato Wave:3 microphone and high- resolution Facecam are precisely what you need. And we’re giving one lucky Pro Moviemaker reader the chance to win this exact package, worth £350, in our free-to- enter competition. The heart of the system is the Elgato Facecam. It has studio-quality optics in a webcam engineered to make you look your best. The lens has eight all-glass elements, with a fast f/2.4 aperture and focal length equivalent of 24mm. Optimised for indoor use, it is designed for low noise. The sensor is a Sony CMOS unit with high-speed circuitry – this outputs uncompressed video in 1080HD at 60fps. And there’s an onboard memory to recall image settings when you use it on a different computer. The Facecam has a USB 3.0 interface to transfer low-latency video. A USB-C connector allows ultimate plug and play convenience on Windows or Macs. It can be clamped onto a monitor, or attached to a mount via a standard 1/4-inch thread. The camera allows you to go fully auto, or manually change settings, such as: field of view, brightness, saturation, contrast, shutter speed, exposure and colour temperature. Dynamic image processing makes you look good, by enhancing highlights and automatically correcting shadows. Colours are vibrant yet natural; whites and darks are balanced to maximise detail, while keeping noise minimal. Of course, top-quality audio is vital, so the Elgato Wave:3 is a broadcast-grade microphone that plugs directly into your set-up. It comes with mixing software to blend audio sources quickly and perfectly. The Wave Link app controls the Wave:3 and up to eight other audio sources. Add Wave Link as a master audio source in OBS Studio and you can take complete control of your workflow for livestreaming.

HOW TOWIN AN ELGATOWAVE:3 MIC AND FACECAM Just answer this simple question, then enter via our website at Question: What is the name of the technology that Elgato uses to avoid distortionwhen volume suddenly peaks?

STREAMING STARS The Elgato Facecam andWave:3 mic turn your desk into a pro-level broadcasting station

TERMS AND CONDITIONS: Entries must be received bymidnight, 8 February 2022, and the winner will be notified by email within seven days. The winner will be chosen at random from all the correct entries. This competition is only open to UK residents, aged 18 and over. Employees of Bright Publishing, the prize provider and their immediate families and agents may not enter. The prize must be taken as offered with no alternative. Entries not in accordance with these rules will be disqualified; by entering, competitors will be deemed to have agreed to be bound by these rules. In the event that the prize cannot be supplied, no liabilitywill attach to Bright Publishing. For the full terms and conditions, visit:



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