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
3
PROMOVIEMAKER.NET
Powered by FlippingBook