With costs spiralling and tightening budgets from clients, we take a look at how professional filmmakers can save equipment costs without compromising quality. We try a great-value Kinefinity cinema camera that costs a fraction of big-name brands, sets of lenses that don’t break the bank and some great accessories that perform way better than their low prices might suggest. Fujifilm and Canon take the wraps off their more affordable mirrorless cameras fitted with APS-C size sensors, and Sony shows off its new range of lenses suitable for its crop-sensor cameras. We also reveal a lighting kit from Rotolight, small monitor from SmallHD, Atomos monitor and a trio of gimbals. But in case money is no object for your big-budget productions, we also showcase the Arri Alexa 35 and the flagship tripod and head combo from OConnor.
FAN-TASTIC FUJIFILM! Hands on with the super-cool X-H2S
AWESOME AUDIO The kit you need to record in every scenario
EURO ZONE All-new Munich expo preview
www.promoviemaker.net
@ProMoviemaker JULY 2022 £5.49
Choosing the right set of sticks TRIPOD TRY-OUT BUYERS’ GUIDE
Canon expands APS-C line SmallHD’s streamlined monitor Trio of new glass from Sony Rotolight and Sumolight LED innovations From Atomos to Zato! The latest twin-mic wireless kit and intercom set for filmmakers
AND a thrifty motorised slider, as well as lighting from Nanlite & Godox
PLUS Affordable lenses that don’t give a low-budget performance
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 Sales director Sam Scott-Smith 01223 499457 samscott-smith@bright-publishing.com Senior sales executive Hannah Gurney 01223 499463 hannahgurney@bright-publishing.com DESIGN Design director Andy Jennings Design manager Alan Gray Senior designer Lucy Woolcomb Middleweight designer Emily Lancaster Designer and ad production Man-Wai Wong Junior designer Hedzlynn Kamaruzzaman PUBLISHING Managing directors Andy Brogden & Matt Pluck
VALUE ADDED The launch of the very capable, yet affordable Fujifilm X-H2S is so right for now
MEDIA SUPPORTERS AND PARTNERS OF:
With spiralling inflation, energy prices going through the roof and the incredible cost of fuel for your vehicle, nobody is immune to cost of living issues. From transport to get to a shoot – whether flying or driving – to food and maybe lodgings on location, electricity to charge kit and power your editing computers, mixed with a corresponding squeeze on budgets, it’s the perfect storm. Independent filmmakers need to carefully consider expenditure and see where savings can be made, especially on things that won’t directly impact the quality of work. After all, that’s what we get paid for, so it should be the last place to make cuts. Equipment is always key, so this issue we look at cost-effective alternatives to big-name kit, that can deliver exceptional results clients are willing to pay for. For example, nobody could ever really call the Kinefinity Mavo Edge 6K a ‘budget’ cinema camera, but it’s way cheaper than some of its rivals. Yet it is built to last and produces stunning footage. And the new Fujifilm X-H2S might not have a full-frame sensor, but is packed with technology to deliver incredible results. All for less than half the price of other flagship cameras. For lenses, we evaluate a set of AF primes from Sigma, super-fast cinema primes from Xeen, plus a trio of anamorphics from Sirui – all back-to-back on a shoot. Priced lower than big-brand or boutique manufacturers, you’re guaranteed value for money. While everyone would love to splurge on the ultimate OConnor tripod and head, there are lots of less expensive alternatives to get the job done. LED lights from Godox or Nanlite may not have the spec of an Arri Skypanel, but can still perform. And a decent mic from Rode’s less expensive range is hardly a hindrance. Slashing costs does not have to be about filming on your iPhone or buying 40-year- old Canon FD lenses off eBay. It’s about making informed choices, without the bailiffs knocking at the door. To be honest, if you can’t shoot pro-quality films on a Fujifilm X-H2S with Sigma prime lenses and a Joby mic, mounted on a Manfrotto tripod and using Nanlite LEDs, then it’s not the gear that’s at fault. It’s what you do with it that counts.
Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ
Pro Moviemaker is published monthly 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 where available or converted using the exchange rate on the day the magazine went to press.
ADAM DUCKWORTH, EDITOR IN CHIEF
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The ultimate magazine for next generation filmmakers
JULY 2022 CONTENTS
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AGENDA 6 FAN-TASTIC FUJIFILM X-H2S
We get hands-on with the incredible new mirrorless camera that includes an optional bolt-on cooling system and Wi-Fi transmitter. 10 CANON THINKS SMALLER A pair of affordable mirrorless cameras buck the trend for full-frame sensors, as they pack APS-C size chips – but both shoot in 4K. 12 SONY’S SUPER 35 SIBLINGS A trio of wide-angle lenses to fit Sony’s APS-C sensor cameras is big news for users of the more compact Alpha mirrorless system. 14 SMALLHD GOES BACK TO ITS ROOTS Monitor specialist strips back to basics with a compact camera-top screen – plus the latest from Tascam and Wooden Camera. 17 ROTOLIGHT’S BIG SOFTIE! The British lighting company unveils its new soft light solutions, and the humble spreader gets a long-overdue redesign by grip giant Matthews. 18 LEICA AND LUMIX MOVE CLOSER The bond between the German and Japanese companies gets stronger, while Red takes Nikon to task over its Raw recording format patent. 21 ALEXA, BRING ME A CAMERA A brand-new Arri camera and sensor are rare sights, so take a look at the all-new Alexa 35 that costs as much as a luxury sports car! 22 ATOMOS AIMS FOR SIMPLER STREAMING The Zato monitor is how the Aussie firm sees live broadcasting making it to the masses. Plus, a Wi-Fi wonder battery and free upgrade for the Lumix GH6. 24 DON’T GAMBLE ON ANY OLD GIMBAL! Two DJI RS 3 gimbals and a box-fresh Zhiyun Weebill 3 take three-axis stabilisers to a higher level – with a cavalcade of exciting tech.
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PREVIEW 26 GERMANY CALLING!
A stellar show for filmmakers is set to be a different kind of event. We preview the Euro Cine Expo at a very stylish venue in the heart of Munich.
GEAR 34 SORT YOUR SOUND
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Getting crystal-clear audio is key to successful edits, so we take a look at equipment that will help out even the most inexperienced sound recordist. 43 OPTICAL OPPORTUNITY You don’t need to spend a small fortune on big-name boutique lenses. We go on a shoot with three sets of excellent alternatives that perform incredibly well.
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The ultimate magazine for next generation filmmakers
56 KINEFINITY WISDOM The latest Mavo Edge 6K cinema camera is capable of producing results that will take your breath away. And it’s far more affordable than some brands. 66 MINI TESTS: WE USE AND RATE TOP GEAR A Sony twin-audio wireless system, Nanlite parabolic softbox, Godox tube light, four-person wireless intercom system, motorised slider and more – all put to the test. 76 BUYERS’ GUIDE: TRIPODS Everyone needs at least one support, but it’s nice to have several options for any situation. We browse some superb sets of sticks! 56
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AGENDA FUJIFILM
Not just for fanboys The new Fujifilm X-H2S is so much more than a bolt-on cooling system
WORDS ADAM DUCKWORTH
P acked with spec to make made to be fitted with an optional cooling fan to stop the sensor overheating. And this fan has divided opinion. Some say it’s a great idea for when the camera is used in high temperatures. Others believe it’s an admission from Fujifilm’s engineers that there is an overheating issue, so the camera should have come with a built-in fan and better cooling. After getting hands-on with a prototype for a few days, Pro Moviemaker is firmly in the first camp. The camera does not have a serious overheating problem at all in normal temperatures, even with the most data-intensive codecs. In ambient temperatures of around 20°C, we recorded in high-bit-rate 4K until the battery ran out at around 90 minutes. That’s not a camera with an overheating problem. professional filmmakers reach for their credit cards, the Fujifilm X-H2S breaks new ground, as it’s If you are shooting high-end codecs up to 40°C, Fujifilm says the fan will extend the time before overheating is a problem, from 15 to around 51 minutes. That makes it a sensible buy if you’ll be putting the £2499/$2499 camera under this kind of sweat. It’s not an essential purchase for everyone, even though the price is a reasonable £169/$199. The X-H2S is a brand-new flagship model with the highest performance in both stills and video in the history of Fujifilm’s popular X Series, largely thanks to a stacked, back-illuminated, 26.16-megapixel sensor. A stacked sensor is an expensive choice, but gives far better readout performance. This new X-Trans CMOS sensor is capable of reading signals four times faster than the previous model, and the X-Processor 5 manages to double processing speed. That leads to zero lag or blackout in the viewfinder, great low-light performance, fast autofocus, virtually no rolling shutter, as well as 40fps stills performance and a huge list of incredible video codecs. The camera now includes subject- recognition AF technology and can film 6.2K/30p and 4K/120p video, with lots
FAN-TASTIC FUJIFILM The brand-new X-H2S has a bolt-on fan and wireless transmitter – and brims with codec choice
of 4:2:2 10-bit options and even internal ProRes recording in three different quality levels. It will also output Raw files to a recorder – either in ProRes Raw to an Atomos, or Blackmagic Raw to one of that company’s devices. The X-H2S is the fifth generation of Fujifilm cameras with X-Trans sensor technology and the first APS-C sensor to use the latest stacked-layer structure. Coupled with the new processor, this boosts image resolution at low ISO and reduced noise at high ISO sensitivity in stills, with improved AF accuracy and speed, thanks to AI tech. For video, the processor enables filming 4:2:2 10-bit at up to 6.2K/30p and 4K/120p
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SPECIAL
HANDS ON WITH X-H2S
FIRST LOOK We’ve tried the X-H2S with all the accessories, and it’s a very impressive tool for pro filmmakers
Once you’ve been shooting with a stacked sensor, it’s hard to go back to a conventional CMOS. In recent times, we’ve been spoiled by the massive speed, wide codec choice and image quality increase that stacked sensor technology has brought to the Sony A9 and A1, Canon EOS R3 and Nikon Z 9. Now Fujifilm has brought it to an APS-C sensor and it has transformed the camera. It’s blazing fast shooting stills up to 40fps, with AF still working and no viewfinder lag. For video, it all but eliminates rolling shutter in most settings, improves the AF, and allows formats such as 4:2:2 10-bit in many configurations. These come in All-Intra or the more compressed Long GOP types, as well as ProRes. This can take up a lot of memory, but does provide data-rich files that are edit-ready. External Raw via full-size HDMI is present, if you want the ultimate file quality for extensive work in post. The camera we tried was a prototype, so chances are production versions will have even better quality. But resulting footage was very impressive. Featured are your choice of H.264 or H.265 files, in All-Intra compression or Long GOP, at a wide range of bit rates and bit depth at up to 720Mbps. The 6.2K files at 30p are detailed and sharp. These are shot Open Gate at 4:3, so you may want to crop to 16:1 or 17:1. It’s ideal for anamorphic shooting, although there’s no auto de-squeeze function in the camera. In 4K there are lots of frame rate, codec and compression options, including 4K up to 120p. At up to 60p, 4K is oversampled from the full 6.2K sensor. Go to 120p and it’s from a 30% crop with no audio, so not quite as good-quality. HD files reach 240p, but again, at the fastest rates there’s no audio. Files all have plenty of dynamic range – especially in F-Log2, where over 14 stops is a realistic claim. Noise is well-controlled in all settings up to ISO 6400. The X-H2S is capable, with impressive spec at a fine price considering the stacked sensor. We’ll test a full production version soon – read all about that next month.
mechanism, which offers up to a seven- stop advantage, thanks to the upgraded processor and an intriguing sensing control function. The camera inherits many design features from the current X-H1, such as a generous grip that works well with large lenses, an LCD display on the top panel to check settings, and a robust body to withstand professional use. The shutter button has been adjusted to improve its feel, with a stand-alone video recording button added to the top plate. Additionally, shutter durability is further enhanced, after withstanding 500,000 actuations in tests. In another first for Fujifilm, two different optional grips can be applied, both of which have a second set of control buttons for vertical shooting – and are dust and moisture resistant. They each take two of the standard Fujifilm NP-W235 batteries, to triple the shooting time when used alongside the camera battery. The standard VG-XH vertical battery grip costs £399/$399, while the second version is the file transmitter FT-XH grip, which comes in at £949/$999. This latter grip features wired LAN connectivity and high-speed wireless communications, ideal for FTP transfer by either wired or wireless LAN and USB smartphone tethering – and tethered shooting by the same method. Remote recording by wired/wireless LAN from Fujifilm’s own app allows up to four X-H2S cameras to be controlled at the same time.
and supports a variety of codecs, including Apple ProRes 422 HQ, 422 and 422 LT. When recording ProRes, the X-H2S also supports proxy recording. Another new feature is F-Log2 gamma, with dynamic range expanded up to 14+ stops. The existing Fujifilm F-Log colour setting is included, too. It also has lower power consumption, extending the maximum recording time to four hours in some settings, supporting a CFexpress Type B memory card and UHS-II SD card. Sensor readout speed during video recording has been improved to 1/180sec, suppressing rolling shutter effect. The EVF uses a high-resolution, 5.76-million-dot panel with magnification of 0.8x. This smooth viewfinder, with frame rate of approximately 120fps, offers improved subject tracking. And a 1.62-million-dot LCD monitor has a useful vari-angle design, so hinges out from the camera and can be twisted around. Subject-detection AF, developed with Deep Learning technology, is able to accurately detect and track human faces and eyes – but also animals, birds, cars, motorcycles, bicycles, aeroplanes and even trains. The X-H2S features an all-new, five-axis in-body image stabilisation “In 20°C, we recorded in high-bit-rate 4K until the battery ran out at around 90 minutes”
More information
fujifilm-x.com
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AGENDA FUJIFILM
SPECIAL
WHITE GOODS The 150-600mm lens offers an incredible reach, without a steep asking price
New glass ideal for X-H2S A s companions to the X-H2S, Fujifilm has taken the wraps off the XF18-120mm f/4 LM PZ WR and XF150-600mm f.5.6-8 R LM years of making broadcast and cine lenses to create this £899/$899 optic. It’s ideal for video, suppressing any change in angle of view during focusing and optical axis shift when zooming. It has a variable zoom/focus control
to effectively suppress spherical and chromatic aberration, plus distortion. Positioning of aspherical elements enables close-up work at the maximum magnification ratio of 0.2x, with minimum working distance of just 46cm/18.1in. The zoom employs Inner Focus, which drives the compact and lightweight focus lens group with a linear drive motor. Aperture drive control has been updated to suppress exposure shift linked to aperture adjustments. And the lens barrel is weather sealed in 13 places, ensuring dust and weather resistance. The £1899/$1999 150-600mm f/5.6-8 is equivalent to 229-914mm in the 35mm format and also supports teleconverters for even more range. Super-telephoto lenses are prone to image degradation with axial chromatic aberration, but this consists of 24 lens elements in 17 groups – including three ED and four Super ED elements – for sharp resolution across the entire zoom range. It doesn’t extend when zoomed, and weighs 1605g/3.5lb without lens hood, lens cap or tripod foot. AF is driven by a linear motor. HT-EBC coating, typically used on broadcast lenses, has been applied on all elements to achieve high transmittance and low reflectance. A matte silver body mitigates increased temperatures on hot days. Magnesium alloy is used for the internal frame that supports the lens structure, to keep weight low while remaining robust. Since the lens barrel is weather sealed in 19 places, dust and weather resistance is assured. The sensing and control system delivers five stops of optical image stabilisation. Controls include a focus preset button and focus limiter, to restrict the AF range. fujifilm-x.com
OIS WR zooms. One is a general-purpose standard, while the other is geared at sports and wildlife. Equivalent to 27-183mm in the 35mm format, the 18-120mm f/4 is a versatile 6.7x power zoom in a compact design. Fujifilm has taken its lens know-how from
ring and a button for constant zooming, like certain Fujinon broadcast lenses. The new zoom consists of 15 lens elements in 12 groups, including three aspherical and three ED elements,
POWER RANGER The 18-120mm zoom is an ideal all-round lens
THREE PRIMES ON XF ROADMAP A large-diameter mid-telephoto prime,
The compact prime series will have two additions. First is the standard XF30mm f/2.8 R Macro lens. Its compact and lightweight design makes it an ideal walkaround lens that focuses very close. Second is the XF8mm f/3.5 – the widest-angle prime XF lens. Both the 56mm and 30mm are due later this year, with the 8mm slated for 2023.
standard macro and ultra wide-angle prime have each been added to the Fujifilm XF lens roadmap, which will bring it up to a total of 42. Joining large-aperture primes made for ultimate image quality is the redesigned XF56mm f/1.2. Fujifilm already offers the XF56mm f/1.2 R, which will likely remain.
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AGENDA NEWS
Canon debuts APS-C mirrorless system
Two new EOS R cameras come with a Super 35-size sensor
C anon has unveiled its prices that undercut the latest in its flagship full-frame range. The R7 is £1349/$1499, with the R10 just £899/$979. The R7 is suited to wildlife and sports shooters who need the reach of a cropped sensor, as well as tracking autofocus. The R10 is an all-rounder with impressive spec. Both cameras record video in 4K/60p or 4K/30p, which is downsampled from 7K and 6K, respectively. This can be output at HDR PQ (4:2:2 10-bit) in-camera, or via HDMI. The EOS R7 includes an additional 4K/60p crop mode, to extend the reach even further – perfect for filming wildlife. Both cameras can record past an first APS-C EOS R system mirrorless cameras, the EOS R7 and EOS R10, at individual 30-minute clip limit, and shoot 4K/60p for up to an hour. The
EOS R7 also offers Canon Log 3 and Cinema Gamut for more flexibility in grading. The R7 combines IBIS with optical and Movie Digital IS for stabilisation, while the R10 uses data from lenses featuring optical IS to pair with its Movie Digital IS. For the first time in EOS cameras, the IS system is used to level the horizon when the ‘auto-level’ feature is enabled. It also compensates for vertical shake in the new panoramic or panning modes. Both feature deep learning and Dual Pixel CMOS AF II autofocus, with subjects including vehicles, animals and people, as well as precise head, face and eye detection. The cameras offer Touch and Drag AF, and the R7 is the first EOS R camera to provide a combined AF multi-controller and control wheel. For stills, the R7 and R10 have a mechanical shutter that rattles
SMART IDEA The latest EOS R technology, such as Wi-Fi control and easy file sharing via phone, is just part of the attraction of these new and very affordable 4K Canon mirrorless cameras
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NEWS
The RF-S 18-45mm f/4.5-6.3 IS STM – and RF-S 18-150mm f/3.5-6.3 IS STM for a longer reach – are RF-S lenses to match the latest APS-C Canons. The £320/$299 18-45mm is ideal for everyday shooting, as it’s compact and features a lens-retraction mechanism. It has manual focus override and STM for smooth movie autofocus. The £520/$499 18-150mm lens is ideal for getting close, with max magnification of 0.59x in MF modes. Working with IBIS in the EOS R7 and Movie Digital IS in the EOS R10, these lenses are equipped with Dynamic IS and in-lens optical image stabilisation. This enables a claimed seven stops of IS in the 18-150mm and half a stop less in the 18-45mm. The cameras accept full-frame RF lenses. With adapters, they can be used alongside EF and EF-S DSLR lenses. canon.co.uk LENS PAIRING OFFERS MORE APS-C CHOICE
through frames at 15fps, as well as a 30fps and 23fps electronic shutter. The EOS R7 offers a maximum of 1/8000sec mechanical shutter speed and 1/16,000sec electronic shutter. The 32.5- and 24.2-megapixel APS-C sensors record HEIF, Compact Raw and HDR modes, while the Digital Lens Optimiser automatically provides improved in-camera JPEGs as aberrations are automatically corrected. These compact units weigh just 612g and 429g each, with battery and card. There is a 2.36m dot electronic viewfinder and OVF view assist, with customisable dials and a vari-angle LCD screen. The R7 features a 1.15x magnification viewfinder and dual UHS-II slots. Each has Wi-Fi and Bluetooth, and a clean HDMI output. Both are fitted with the new multi-function accessory shoe that works perfectly with extras like wireless mics.
NEXT-GEN SONY SENSORS IN PTZ CAMS Two 20x HD PTZ cameras with high-speed motors, next-gen Sony video sensors and new processors were unveiled by Lumens. The VC-A51P has secure IP streaming and the VC-A51PN unit adds NDI HX for network production. Both feature high- sensitivity 1/2.8in, 2.16-megapixel Sony CMOS sensors, with wide dynamic range and 3D noise reduction. Advanced autofocus and auto white- balance algorithms are ideal for low light. The cameras have a new motorised mechanism for fluid, three-axis motion, which can pan and tilt 2.5 times faster than the previous generation.
Both have 3G-SDI and HDMI ports and multiple IP control and streaming protocols, including RTMPS and RTMP, to work with YouTube, Facebook or similar. mylumens.com
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AGENDA NEWS
CONTEMPORARY FUTURE VISION FOR SIGMA Japanese lens maker Sigma continues its mission to bring a more affordable and compact range of AF lenses to Sony and Panasonic mirrorless camera owners, with the launch of the 16-28mm f/2.8 DG DN Contemporary zoom. Built to fit full-frame L-Mount and E-mount cameras, it costs £749/$899, yet still includes five FLD and four aspherical lens elements. These reduce lateral and vertical chromatic aberrations that can lower image quality of ultra- wide lens designs. Both the focus and zoom actions are handled inside the lens, so the centre of gravity stays relatively constant – ideal on a gimbal. The compact optic weighs 450g/0.99lb and is 100.6mm/4in long, making it perfect for travelling. Bokeh is smooth, thanks to nine rounded diaphragm blades, and Sigma says there are innovations inside the lens barrel to counter ghosting and lens flare caused by internal reflections. A Super Multi- Layer Coating delivers punchy and high-contrast results – even in backlit conditions. Optical construction features 16 elements in 11 groups. The lens comes with a high-quality, petal- shaped lens hood and the filter thread is 72mm. This wide-angle zoom is built to pair perfectly with Sigma’s 28-70mm f/2.8 DG DN Contemporary zoom, as well as the seven primes from the series. sigma-imaging-uk.com
Sony’s Super 35 siblings A trio of wide-angle lenses to fit Sony’s APS-C sensor cameras is big news for
users of the more compact Alpha system, which has not seen a glut of new glass in recent times. The fresh releases are the E PZ 10-20mm f/4 G power zoom and two primes, a 15mm f/1.4 G and 11mm f/1.8. The £749/$750 10-20mm zoom is claimed to be the world’s smallest and lightest ultra wide-angle constant f/4 power zoom lens for APS-C/Super 35 cameras, weighing just 178g/0.39lb. The lens uses internal zoom and focus mechanisms, so it does not change in length when zooming or focusing. Three aspherical elements suppress field curvature and astigmatism. And the optical path includes two ED (extra-low dispersion) glass elements to subdue chromatic aberration. An ED aspherical element further contributes to high resolution, right to the image edge. A new electronic power zoom system offers adjustable zoom speed, ideal for shooting video. Controls include a focus ring, zoom ring and zoom lever, plus customisable focus hold button and focus mode switch. There’s also a 62mm filter thread. The £749/$750 15mm f/1.4 G lens offers a 35mm full-frame equivalent of a 22.5mm lens. It features one ED and one Super ED glass element. The ultra-wide 11mm f/1.8 lens gives a 35mm full-frame equivalent view of a 16.5mm lens, yet is designed for extremely
WIDE BOYS The new wide-angle Sony lenses are compact and light, ideal on a handheld gimbal
impressive resolution, smooth bokeh and rapid autofocus. This £499/$550 prime has three aspherical and three ED glass elements, in order to compensate for distortion, deliver corner-to-corner sharpness and suppress chromatic aberration and colour fringing. With a minimum focusing distance of 12cm/4.7in and maximum magnification of 0.2x, it can get really close to subjects. It weighs 181g/0.4lb and is only 57.5mm/2.26in long. Two advanced linear motors provide fast and quiet AF. Sony claims its latest lens technology greatly reduces focus breathing and angle-of-view changes for stable movies. Linear Response MF ensures the focus ring responds directly when focusing manually. There is a focus hold button and focus mode switch, which can be customised. All three are resistant to dust and moisture. sony.com
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PRO MOVIEMAKER
AGENDA NEWS
THAT SYNC-ING FEELING! Tascam’s Portacapture X8 will now wirelessly sync via Bluetooth with recently announced Atomos Connect devices, AtomX Sync or Ultrasync Blue timecode adapters. By adding the optional Tascam AK-BT1 dongle for the Portacapture X8, it allows eight-track recording using 192kHz/ 32-bit float technology with a wide array of video cameras, including DSLR and mirrorless models. Syncing via timecode helps editing by aligning files on a time basis, ideal for projects making use of multiple cameras or recorders. As the master timecode device, the Atomos Ultrasync Blue wireless adapter can sync any compatible camera and the Portacapture X8/ AK-BT1 using Atomos AirGlu connectivity. Wireless Bluetooth transmission has a range of up to 30m/98ft for up to six devices. This set-up can be expanded with the addition of the Atomos Ultrasync One, which offers the flexibility to function either as a transmitter timecode server or as a receiver client device. For production environments that feature either the Atomos Shogun Connect or Ninja V series to record and monitor on-set, the Atomos AtomX Sync is yet another possible solution. Mounted to the rear panel of either the Ninja V or V+, the AtomX Sync connects multiple devices, cameras and audio recorders using super-reliable, long-range RF wireless technology.
Small call to action SmallHD has taken the wraps off a lightweight, five-inch video monitor
It attaches via HDMI and has a combination battery plate, supporting Sony L-Series or Canon LP-E6 batteries. The monitor comes with a mini-to-full- size HDMI, micro-to-full-size HDMI and custom mount to fit a camera hotshoe. Tools include focus peaking, false colour and contrast adjustment for Log footage, but there is no anamorphic de-squeeze option or waveforms. smallhd.com
that features a streamlined version of its software. Called the Action 5, it offers a bright 2000-nit screen, with a simplified user interface and lightweight form factor that doesn’t break the bank. The monitor has an LCD touchscreen with 1000:1 contrast ratio, 1080p res, 440 PPI, Rec. 709 colour and advanced tools. US price is $329, but no UK price is set.
WOODEN IT BE GOOD Wooden Camera has redesigned its popular Ultra Arm. This can now move across three planes for greater range of motion, with additional room for accessories and more tension to stop things moving. The double ball clamp is sleeker, with articulation on an axis that’s not available on most arms. This redesigned clamp is included with every Universal Ultra Arm v2, which has 1/4-20in and 3/8-16in interchangeable knobs and non-slip rubber pads at each end. Four locating pins can be installed for a SmallHD or Arri accessory mount device. woodencamera.com
tascam.com atomos.com
SOFTBOX FITMENT IS A SNAP There’s a new DoPchoice Snapbag to fit Astera’s latest Hydra LED panel. The latest softbox features rugged DoPchoice material, which makes set-up easy and tool-free. It uses hook-and-loop fixings directly on the Astera fixture.
For further control, each unit comes with a selection of two front diffusion panels, which each quickly install to the front lip of the softbox. No prices have yet been announced. dopchoice.com
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AGENDA
NEWS
Finally a better spreader! Grip expert Matthews says it has built the first improved tripod spreader in 40 years. The new 3iSpreader has a leg up on the old products made for Ronford Baker and OConnor tubular metal tripods, as it’s a safer, smoother, better-balanced and more durable solution. The 3i eliminates
LASER SET TO STUN Sumolight’s Sumolaser is based on a class of laser emitters that work as a Daylight point-source, putting precision beams of light miles into the sky. At just 4.9kg/10.8lb, this rivals the output of traditional 18kW HMI Daylight sources weighing over ten times more. The Sumolaser is modular, with hexagonal units. While each may be controlled via DMX or touchscreen, they can be built into custom combo patterns. Quick-release connection lets multiple fixtures be combined into powerful arrays. Each Sumolaser produces a 3° beam angle, uniting to form a tight, single beam. As more are added, the width increases, but angle remains. With 6000K colour temperature, it draws 175W of power, yet outputs 150,000 lux at 100m/328ft. It is IP65-rated for indoor or outdoor use. No price has been set. sumolight.com
scratching and wobbling – common side effects of old-fashioned aluminium models that rest on the floor.
By raising it off the ground, it eliminates scrapes and the need for location mats. Three machined metal feet with rubber caps are bolted securely on to the tripod’s spikes. Once in place, the tripod rests on these rubber caps inches over the floor. The 3iSpreader connects the tripod feet with three quick-release pins. For uneven terrain, or to accommodate different heights, spreader segments adjust from closed at 38cm/15in to fully extended at 71cm/28in. The 3.85kg/8.5lb accessory has inner legs, centre pivot bracket and feet made of aircraft-grade aluminium. Bolts, handles, outer legs and fittings are stainless steel, zinc plate, neoprene or high-impact plastic; metal is coated with an elastomer thermoplastic polyurethane. It’s easy to grip, anti-reflective, scratch-resistant, non-corrosive and rust-resistant – safe to use even in fresh or salt water. No price has yet been revealed. msegrip.com
SUPPORT NETWORK The new 3iSpreader is a revolution for users of large tripods, says manufacturer Matthews. It works just as well on rough terrain as in the studio
ROTOLIGHT ROSTER GROWS Rotolight has unveiled the world’s first electronic diffusion accessory for its
Rotolight has revealed R90 and R120 softbox umbrellas. The 16-sided light-shapers come with removable one-stop outer and 0.5 inner baffle diffusion panels. These can be combined to create a 1.5-stop diffusion level, used individually, or removed for a variety of contrast levels. A high-quality, 40° fabric honeycomb grid is included. Combined with Rotolight’s universal Bowens/Elinchrom adapter, make use of any AEOS or NEO – or LED light with a 1/4in-20 thread. With a Bowens mount as standard, the 90cm/35.4in R90 and 120cm/47.2in R120 will fit many brands. Prices are £250/$269 for the R90, while the R120 is £290/$300. The SmartSoft box is £439/$499. rotolight.com
AEOS 2 LED, a new iOS and Android app to control its lights and a pair of parabolic softbox umbrellas that fit Bowens or Elinchrom mounts. The SmartSoft was first debuted in Rotolight’s Titan LED panel range, controlling diffusion electronically. This has now been adapted into a removable electronic softbox for AEOS 2 fixtures. The SmartSoft box is adjustable via the touchscreen display – or the all-new Rotolight app. Switch between lighting modes, remotely adjust colour, power, SFX and even more. You can also create custom groups and projects simultaneously on up to 20 lights.
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AGENDA NEWS
Leica and Lumix love-in as Nikon and Red feud L eica and Lumix have announced they will grow even closer to develop new technology, but Red has fired a warning shot to Nikon
over a potential patent infringement. Red filed a lawsuit against Nikon in California over its virtually lossless Raw compression system, saying Nikon’s new Z 9 mirrorless now shoots Raw internally after a new firmware upgrade, and this infringes its patent. Red has a history of legally protecting its innovations, including taking Sony to court in 2013 over a similar breach, fighting off a claim from Apple and preventing Kinefinity and Nokia from using its Raw recording technology. That is why Kinefinity dropped Raw from its cameras, Apple developed ProRes Raw and Sony cinema cameras only record Raw to a separate unit, not internally. Blackmagic cameras record BRAW, but this deploys a different way to de-mosaic information in-camera and in post. Some Canons shoot Raw internally, but it is believed this is following a deal with Red, as the American company now uses phase detection autofocus and Canon RF lens mounts on its newest cameras. Red’s action against Nikon states that its in-camera Raw is ‘likely to cause irreparable harm to Red, which cannot be adequately compensated by money damages, lost sales and profits, reduced business, and injury to its general reputation and industry standing’.
ALL SQUARE While Nikon and Red are at arms, Leica CEO Matthias Harsch and Panasonic Lumix chief Yosuke Yamane shake hands on an agreement that will see their companies work even closer together to develop future technology
technology and Panasonic’s video and digital know-how. The cooperation between Leica and Panasonic started in August 2000, initially for lenses on audio-visual equipment, but that expanded to digital cameras in 2001. In 2018, together with Sigma, the L-Mount Alliance was founded, where all three manufacturers use the same mount on their full-frame mirrorless cameras. When asked if there would be jointly branded cameras, a Panasonic statement said: “Leica and Lumix offer different products to different customers and will continue to develop their own products. “We will jointly invest in and develop key technologies, but will not sell the same products under each brand. Both companies have their own design, picture- making philosophy and software (UI), so the differentiation will be maintained.”
Nikon is using a system called TicoRaw. There has been no public response from either company as Pro Moviemaker went to press. At the opposite end of the spectrum is Panasonic and Leica. The two have announced an expanded cooperation, in a bid to develop technologies. This new alliance is called L² Technology, which symbolically uses the two capital letters of Leica and Lumix. Both companies will work on cameras, lenses and next-generation software – combining Leica’s optical and imaging
THE RODE TO PERFECTION “Red’s action against Nikon states its in-camera Raw is ‘likely to cause irreparable harm to Red’”
The RodeCaster Pro II has Bluetooth connectivity, with wide-band speech for ultra high-quality phone call integration and audio streaming, wireless monitoring and more. Dual USB-C interfaces connect two computers or mobile devices, and there are studio-grade Neutrik combo inputs for connecting microphones and instruments, plus Wi-Fi and Ethernet. The £699/$699 device has a 5.5-inch, high-definition touchscreen with haptic feedback and rotary encoder. rode.com
Rode has taken the wraps off the second-generation RodeCaster Pro II, now a fully integrated audio production studio offering features that have never been seen in a single console before. It combines stunning sound quality with ease of use and customisability. Ultra low-noise, high-gain Revolution preamps deliver top audio quality with onboard effects including reverb, echo, robot and pitch shifting. There are eight banks of eight pads for 64 unique actions to trigger sounds, voice effects, commands and mixer actions.
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NEWS
Arri raises the bar A rri’s Alexa 35 uses the company’s first new sensor in 12 years, to give 4.6K recording with a claimed 17 stops of dynamic range, even though it sticks to the Super 35 format. And before you start getting excited about whether this camera might be following Red’s lead and becoming more affordable – it isn’t. Body-only price is £73,965/$77,940.
KEY SPECIFICATIONS Sensor type: Super 35 format Arri ALEV 4 CMOS sensor with Bayer pattern array, 4608x3164 pixels Active image area: 4.6K 3:2 open gate: 4608x3164, 16:9: 4608x2592. 4K 16:9: 4096x2304, 2:1: 4096x2048. Dynamic range: 17 stops Recording formats: MXF/Arri Raw, ProRes 4444 XQ/4444/422 HQ Recording media: Codex Compact Drive 1TB or 2TB Dimensions (wxhxd):
152.5x147x203mm/8x6x5.8in (body with LPL lens mount) Weight: 2.9kg/6.4lb
The brand of choice for the Hollywood elite, Arri is a rental-only option for the vast majority of filmmakers who want to experience its legendary colour science. Previous Alexa models have been available in two flavours – one larger, fully specified, and the other smaller, but with trimmed functionality. Not so here. The Alexa 35 is small in size, but packs a punch. The ALEV 4 CMOS sensor offers native 4.6K at up to 120p. At 3:2 in open gate you have 4608x3164 pixels available. A Super 35 sensor broadens the range of lenses that can be used. Modern, vintage, anamorphic or spherical – they’re all at your disposal, with the 27.99x19.22mm sensor offering an imaging circle nearly 34mm in diameter. The expanded dynamic range is now 17 stops, with Arri claiming this is far wider than any other digital cinema camera. Sensitivity ranges from ISO 160 to 6400, with the native setting at ISO 800. There’s also an Enhanced Sensitivity Mode that can be applied when using ISO 2560 or 6400, to deliver cleaner, less granular footage – unless you’re going for that gritty, noisy look, of course. Allied to the sensor is a new image processor in the form of Reveal Color Science. This is built into the camera, but is also part of a wider suite of tools that will be available in third-party post-production solutions when processing Arri Raw files. Reveal includes an improved debayering algorithm for cleaner compositing, that converts the raw data into native RGB image data. It also offers a new colour engine for more accurate colour reproduction, wide gamut colour space for faster grading, LogC4 encoding to contain the increased dynamic range and LogC4
FRESH MEAT A brand-new Arri
sensor doesn’t come along very often, but that’s what’s in the Alexa 35
and increases grain, while F567 Clarity sharpens and deepens blacks. The Alexa 35 uses the same MVF-2 viewfinder as the Alexa Mini LF, but now offers HDR monitoring on top of SDR. Similarly, it supports 1TB and 2TB Codex Compact Drives. But there is a new display on the left side of the weather-resistant body that allows setting changes to be made without using the viewfinder. Further additions include a pre-recording capability, extra user buttons and advanced colour match, ensuring footage from multiple 35s looks consistent. A total of 19 recording formats are available, including in-camera downsampling and anamorphic de- squeezing options. Lens metadata can also be recorded in all common standards, which is output as real-time metadata to Arri’s plug-in for Unreal Engine. There are two independent SDI outputs, a sync port for Genlock, 12v and 24v power output connectors, and the same time and audio connectors as on the Mini LF. arri.com
LUTs for improved colour fidelity. All these developments are backwards compatible – footage captured on the Alexa 35 can be intercut with older Alexa or Amira footage, while Alexa LF/Mini LF Arri Raw files can use Reveal Color Science workflows. In practical terms, these advancements result in better skin tones, colour saturation and more accurate colour tracking when footage is heavily over or underexposed. The Alexa 35 is the first model to feature Arri Textures, enabling you to bake in specific grain and sharpness looks to footage, just as you would if choosing a particular film stock. Previous Arri models have had a default texture applied, but here the choice is yours. The K445 Default setting provides a clean, smooth look, whereas the G733 Nostalgic option softens
“The Alexa 35 is the first to feature Arri Textures, to bake in grain and sharpness to footage”
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AGENDA NEWS
Make the Zato connection
The five-inch Atomos Zato Connect is the second fully integrated device in the new range of connected monitors. It joins the seven-inch Atomos Shogun Connect, but is aimed at smaller cameras, and is at a much lower price. The £390/$400 Zato Connect is built to make live streaming and high-quality video conferencing more accessible, as it’s a compact, easy-to-use gateway to Atomos Cloud Studio. The device supports nearly all HDMI and USB sources and features Wi-Fi 5 and Gigabit Ethernet via USB-C, to ensure maximum network compatibility. In addition to streaming to Facebook Live, Twitch, YouTube and other social sites, the Zato Connect can enhance web conferencing. The device will convert HDMI sources to webcam signals, so they can be used with Microsoft Teams, Slack, Zoom and other conferencing software. The AtomOS Lite software contains all the essential tools to combine sources, record streams and overlay graphics, making the Zato easy to operate. Forthcoming updates will introduce support for additional Atomos Cloud Studio services. Zato Connect features a 1000-nit display, NP-F battery or USB-C PD power options, and a 3.5mm audio jack that can also be used to add microphone or line sources, which can be mixed with embedded audio from HDMI or USB. As well as the Zato and £1318/$1299 Shogun Connect devices, owners of Atomos Ninja V or V+ monitor/recorders can buy the £390/$399 Atomos Connect unit, which fits
GIMME FIVE Atomos hopes its new Zato Connect monitor will bring affordable, easy streaming to the masses and provide a gateway to its cloud offering
onto the back. It features a 12G SDI interface, AirGlu wireless timecode, multiple power options, plus Wi-Fi 6, network Gigabit Ethernet and Bluetooth LE capabilities. atomos.com
PRORES BOOST FOR LUMIX GH6 Panasonic has come good on its promise to release more functionality for the Lumix GH6, with a free firmware update coming on 5 July. Working with Atomos, the update enables the output of up to 5.8K/29.97p and C4K/119.88p Raw video over HDMI, recorded as Apple ProRes Raw on Ninja V and V+ devices. The update also unlocks internal recording in C4K and FHD up to 60p in ProRes 422 HQ and 422. panasonic.com
WI-FI WONDER BATTERY
The Anton/Bauer VCLX NM2 delivers 600Wh of consistent output at 14.4v, 28v and 48v, to drive high-power draw equipment. It has built-in Wi-Fi for remote monitoring. One XLR3 and two XLR4 connectors provide dual simultaneous high-current output, delivering consistent current up to 24A. Weighing 13.3kg/29.3lb, the new lighter battery is built from aluminium with moulded end caps and handle grip. Efficient thermal design with passive cooling means no fan noise, and the sealed case is water-resistant up to 21.8cm/8.5in. There is real-time onboard diagnostics via the 2.4in colour LCD screen, and the battery sends status information including capacity, cycle count, temperature and time-stamped reports via Wi-Fi. The VCLX NM2 costs $3990. antonbauer.com
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ZHIYUN THE LIGHT
Zhiyun has put the spotlight on its Weebill 3 Professional gimbal, which has a new design for improved ergonomics, a built-in microphone and fill light. The $499 Weebill 3’s design is called the Sling Mode 2.0, which has a new L-shape handle that’s more stable when self-standing, a wrist rest and repositioned sling grip. This is said to provide 40% more support to your wrist. Grip includes thumb buttons and mini control stick, plus a finger trigger and customisable wheel. The 1000-lumen fill light offers colour temperature adjustments. The built-in mic has forward- focused cardioid recording, with noise-cancelling functionality. Compared to the previous version, the Weebill 3 has an upgraded 7800mAh internal battery. The latest quick-release system includes a dual quick-release plate with embedded magnetic wrench. zhiyun-tech.com
DJI’s kick-RS gimbals!
sleep mode, so powering on and stowing away is much faster. There’s also no need for repetitive balancing, due to position memory via quick-release plates. The addition of a Bluetooth shutter button means it supports automatic connection, without the need for a cable. The £469 RS 3 weighs 1.3kg/2.8lb and has a 3kg/6.6lb payload. It features a 1.8- inch OLED touchscreen. A mode switch allows pan follow, pan and tilt follow and FPV modes to be set. There’s a new battery grip providing up to 12 hours of battery life, with PD fast charging at 18 watts. The £749 RS 3 Pro has all the new tech of the RS 3 model, but with arms made from one piece of carbon fibre, so it’s lighter and stronger. They have also been extended to allow cameras like the Sony FX6, Canon C70 and Red Komodo. The RS 3 Pro weighs 1.5kg/3.3lb, with a 4.5kg/10lb payload. RS 3 Pro uses the Ronin 4D’s advanced LiDAR technology to give automatic focusing assistance to manual lenses. It projects 43,200 ranging points within a 14-metre indoor area. The LiDAR rangefinder has a built-in camera to boost the computing power of ActiveTrack by more than 60 times. New DJI Transmission offers an amazing 6km/20,000ft range with low latency, which is a massive upgrade from traditional Wi-Fi transmission. Video is transmitted in 1080p/60fps and provides live audio monitoring at 16-bit 48kHz. A DFS band has been added on top of the traditional 2.4GHz and 5.8GHz settings, offering up to 23 channel options for interference-free transmission. A built-in frequency sweeper automatically scans for the best wireless channel, instantly switching when needed – users can also manually select a channel.
DJI has taken the wraps off two pro-level motorised gimbals, as well as its first independent wireless video transmission kit – combining reception, monitoring, control and recording in one unit. The DJI RS 3 and DJI RS 3 Pro stabilisers freshen up the Ronin series with a new automated axis lock system, 20% improvement in stabilisation performance and one-tap calibration. Key improvements on the gimbals are related to set-up speed. The redesigned axes-locking system works by simply turning on the device. The automated locks release and unfold the gimbal in seconds. Tapping the power button sends it into
RADIO, LIVE TRANSMISSION It’s a joy to monitor wirelessly
DJI’s seven-inch, 1500-nit High-Bright Remote Monitor includes an integrated receiver. The device supports one transmitter with multiple receivers. When used with RS 3 Pro, it can work as a gimbal and camera controller. The monitor has a built-in gyroscopic sensor that acts as a motion controller for the Pro. dji.com
DJI FRESH The new RS 3 and RS 3 Pro gimbals have lots of new features that make them quicker to balance
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PRO MOVIEMAKER
AGENDA EURO CINE EXPO PREVIEW
Zenith of Euro shows The continent’s latest expo makes use of the cool Kulturhalle to host a new type of filmmaking show WORDS ROGER PAYNE AND ADAM DUCKWORTH A brand-new show for filmmaking professionals bursts into life on 1-2 July, with the Euro Cine Expo in Munich, Germany – and it promises to deliver something different to the usual fare.
The city’s Zenith Kulturhalle venue has hosted gigs from the likes of Motörhead, Adele, The Prodigy and Oasis, but is now set to be filled with all the latest tech from across the industry. There are also outdoor spaces, bars and a programme of seminars, panel discussions and presentations. Highlights include conversations with three-time Academy Award-winning cinematographer Vittorio Storaro and renowned German DOP Armin Franzen. There is also a two-day workshop hosted by Arri and presentations from Sony, Kropac Media and Lightbridge, to name just a few. Entry is free to visitors; register now at eurocineexpo.com. Here’s a selection of companies at the show, to help you plan your visit.
SCHNEIDER-KREUZNACH STAND 308
ASTERA STAND 112
As a Munich-based brand, Astera has no reason to miss the show! It will be demonstrating its broad range of lights, from tubes – including the award-winning Titan Tube, developed with the help of cinematographers and gaffers – through to spotlights, as well as the diminutive, but versatile PixelBrick. If it’s battery-powered, remote-controlled lighting solutions you seek, look no further. astera-led.com
versions of Dulens Mini Primes and made to match the Iscorama style. That’s why the lenses are provided with an Iscospherical amber coating (A+) that creates particularly authentic flare. Selected accessories complete the set, which comes in a handy hard case. schneiderkreuznach.com
Schneider-Kreuznach will be showcasing its unique ISCO4all set, that combines three stand-alone spherical cine primes and an Iscorama anamorphic front adapter. Three compact Iscospherical A+ cine primes offer focal lengths of 43, 58 and 85mm and feature a 2.4 T stop. They are Schneider-Kreuznach
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