Pro Moviemaker Sept/Oct 2020 - Web

It's all about the latest and great new equipment in the new issue of Pro Moviemaker magazine. We’ve got to grips with the incredible new Canon R5 and Sony A7S III full-frame mirrorless cameras, and the Fujifilm X-T4 APS-C cam. Plus we go in-depth into Canon’s radical new EOS C70 – a new take on a hybrid cinema camera. With special new features on lighting, audio and lenses, it’s essential reading for all professional independent filmmakers.

Why it’s time to take a long look at seriously good glass THE CINE LENS ADVANTAGE!

How your business can survive the pandemic COPING WITH COVID

How to eliminate unwanted wind noise THE SOUND OF SILENCE


@ProMoviemaker £5.49

THE NEW HYBRID Canon’s EOS C70 is a radical take on the cinema camera FIRST LOOK

Canon EOS R5, Sony A7S III &

Fujifilm X-T4 tested New kit from Rode, G-Technology, PolarPro and Sirui put through its paces



Create flattering footage with our how-to guide SECRETS OF SOFT LIGHTING ACADEMY

Keep your kit safe in one of our top-rated bags

The ultimate magazine for next generation filmmakers

Editor in chief Adam Duckworth Contributor Lee Renwick Chief sub editor Beth Fletcher Sub editor Elisha Young EDITORIAL ADVERTISING Group ad manager Sam Scott-Smith 01223 499457 Senior sales executive Jemma Farrell-Shaw DESIGN Design director Andy Jennings Design manager Alan Gray Designers Lucy Woolcomb, Man-Wai Wong, Emma Di’Iuorio and Emily Lancaster PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:

IMAGE It’s great to finally get back outside and start filming, like Percy Dean with his Blackmagic Ursa

Got much spare cash floating around for some new camera kit at the moment? For many independent filmmakers, the answer to that is definitely no. The global Covid-19 pandemic, which some thought would be over in a couple of weeks – or a month at worst – continues to rumble on. No sign of a vaccine or cure, second waves being talked about, confusion at who and why you should isolate from and whether you should wear a mask. People furious that it’s all a big government conspiracy to take away civil liberties. Yes, it’s been a strange time. One of the biggest impacts has been on business, especially for people in the creative industries who are often self-employed freelancers. While the majority of employed workers got some decent furlough money and a cut in their expenditure thanks to no commuting costs or even credit card and mortgage payment holidays, it was very different for many involved in filmmaking. TV and film production stopped, while small and medium-sized businesses cut back on marketing. It’s been a financial disaster for many. Yet creative people are nothing but creative! Instead of crying into empty piggy banks, the tough got going. Making time to plan and execute those personal projects that have always been on the back-burner, keeping close links with clients and even helping themwith their Zoom calls and Facebook Live videos, changing business practices, looking very closely at costs, branching out into new areas of business and lots more. Like even reading the manuals for your kit to ensure you know exactly how to get the best out of it. Never waste a crisis, as one of our filmmakers says in this month’s Round Table feature. And now, as things start to improve and businesses wake up and start spending money on marketing again, it is forward-thinking people who will have the upper hand, with leaner operations, potentially multiple revenue streams and the desire to start being truly creative once more though some awesome films. When the cash starts rolling in, then it might be time to invest in some of the most exciting new cameras that have hit the market for a long time with spec that is incredible at the price. The mirrorless market is booming and widening, with cameras at all prices and specs to suit all needs. This issue, we test new cameras from Canon, Sony, Panasonic and Fujifilm and all of them are bursting with filmmaking spec. If you’ve come this far and are still surviving, then better times should be ahead. Different times, maybe. But one where filmmakers will be out doing the things they love and armed with kit that performs better than anyone could have imagined.

Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ

Pro Moviemaker is published quarterly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. ISSN number: 2045-3892. Pro Moviemaker is a registered trademark of Bright Publishing Ltd. The advertisements published in Pro Moviemaker that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. Prices quoted are street prices. In sterling they include VAT but US dollar prices are without local sales taxes. Prices are where available or converted using the exchange rate on the day the magazine went to press.




The ultimate magazine for next generation filmmakers



6 NIKON’S BARGAIN MIRRORLESS! A new affordable full-frame member of the Z family has been revealed, with some mid-price lenses and teleconverters to match. Plus Samyang VDSLR glass and a Manfrotto gimbal. 8 PRORES RAW FOR MORE! Apple’s ProRes Raw format comes to even more cameras from Fujifilm, Sigma and Sony. Plus the Porsche-designed monitor and a cool $1 million filmmaking contest. 12 CANON’S BRAND-NEW HYBRID A first look at the new Canon EOS C70 cinema camera, which packs a Super 35 sensor, 16+ stops of dynamic range and cutting-edge tech into a compact body. 16 GEARFEST 2020 With no physical camera shows this year, this is a look at all the hottest new filmmaking equipment from lots of the major manufacturers and smaller independent gear makers.





26 ROUND TABLE: COPING WITH COVID We talk to six very different filmmaking professionals to find out the real impacts of coronavirus, how they have coped and how they plan to do things differently in the future.


32 THE SOUND OF SILENCE Getting it right at the recording stage is the key to cutting wind noise in your audio recordings rather than fixing it in post. We take a look at how to do it and some cool kit that can help you.


34 THE CINE GLASS ADVANTAGE How purpose-built cinema lenses can make a big difference not only to how you operate, but the actual look of your films. We investigate primes and zooms to suit all budgets.



The ultimate magazine for next generation filmmakers



39 FOCUS ON SOFT LIGHTING How soft, diffuse lighting can add a classy touch to your films. In our new section, we cover how to do it right, what gear you should buy and when you should use it.


44 MINI TESTS We test out some great new equipment, including the incredibly flashy new variable ND filter designed by a famous YouTuber, a burly Sirui tripod, a high-tech G-Technology SSD drive and the latest Rode mic for your mirrorless camera. 50 SONY’S LATECOMING LEGEND It’s been a long wait for the successor to the A7S II, but now the Mark III is here and set to make the Alpha line of filmmaking-dedicated cameras even more popular. 54 RETRO STYLE BUT ALL MOD CONS The Fujifilm X-T4 might look like an old-school stills camera, but it has lots of filmmaking potential and is the best APS-C mirrorless camera we have ever tested. 58 KING OF DETAIL With a staggering 8K sensor, the new Canon EOS R5 is the highest-resolving mirrorless camera on the market. But all that resolution comes at a price in terms of usability. 62 BUYERS’ GUIDE: BAGS We take a look at some of the best bags to carry your equipment in. From super-protective hard cases to roller bags and stylish messengers for mirrorless vloggers, we showcase the best.





Nikon’s affordable full-framer

A newmember of the Z series family has been unveiled, plus a short and light zoom lens tomatch

ikon has introduced a new entry-level full-frame camera to the Nikon Z mirrorless family, the

£1719/$1696 Z 5, which comes in a kit with a highly portable new Z 24-50mm f/4-6.3 lens to match. It’s the shortest and lightest full-frame mirrorless zoom lens to fit the Z series. Sitting below the Nikon Z 7 and Z 6, the Nikon Z 5 shoots 4K movies with its full-frame 24.3-megapixel CMOS sensor. It has Nikon’s 273-point Hybrid AF system with eye detection for humans and animals, the same 36.9 million dot EVF as the Z 6 and Z 7 and dual UHS-II SD card slots. The camera can also be powered via USB 2.0 – ideal for long time-lapse sequences. The camera has a five-axis vibration reduction, and its magnesium-alloy body is sealed to keep dust and moisture out. There is a tilting touchscreen offering touch control to focus and shoot, and it has built-in Wi-Fi and Bluetooth connectivity for remote monitoring and camera control. The new Nikkor Z 24-50mm f/4-6.3 is a compact, retractable design that uses 52mm filters, ED glass and aspherical lens elements to minimise distortion throughout the zoom range and there is a customisable control ring for aperture control, exposure compensation or ISO adjustments. The minimum focus is 35cm/13.8in throughout the zoom range, and the lens is said to have quiet focusing and reduced focus breathing to make it more suitable for video use.

“The camera has a five-axis vibration reduction, and its magnesium-alloy body is sealed ”


There are also firmware updates for the APS-C Nikon Z 50 mirrorless and full-frame Z 7 and Nikon Z 6 mirrorless cams. The Z 50 update includes the addition of animal detection AF support and improved subject tracking, as well as support for the new 1.4x and 2.0x teleconverters, which is also in the update for the full-frame cameras.

Manymirrorless and digital SLR cameras from Nikon will be able to be used as webcams thanks to a newversion ofWebcam Utility software, compatible withWindows computers only. Nikon users simply need to install the Beta version of theWebcam Utility software to a PC and connect the compatible Nikon camera body via a USB cable. It is compatible with Z 7, Z 6, Z 5 and Z 50 mirrorless cameras, plus D6, D850, D780, D500, D7500 and D5600 DSLRs.




EXTEND YOUR Z LENS REACH As there are no super-long Z mount telephotos on sale yet, Nikon has introduced two teleconverters. The Z TC-1.4x gives 40%more reach, but cuts down light by one stop, and the Z TC- 2.0x doubles the focal length and reduces light by two stops. The first lens to be compatible with these teleconverters is the Z 70-200mm f/2.8 VR S, but as the Z lens line-up expands, more lenses will be compatible. Both teleconverters are sealed to keep out dust and moisture and are treated with Nikon’s fluorine coat to repel dirt from the lens elements. The 1.4x costs £549/$547 and the 2x costs £599/$596.

Upgrade to Samyang’s VDSLR lens range

lenses makes them perfect for handheld and gimbal shooting. The VDSLR 50mm T1.5 MK2 is only 7.47cm long and weighs just 525.8g. All four lenses have aspherical lens elements to reduce spherical and optical aberration, and the 50mm model also has a hybrid aspherical lens element. The new nine aperture blades are designed to give a smoother bokeh and you can also create 18-ray starburst highlights by stopping down to small apertures. The MK2 series now includes weather sealing to protects the most vulnerable gap between the lens and camera mount.

Samyang has updated its affordable and compact range of cine lenses to fit DSLR and mirrorless cameras, with the new VDSLR MK2 series initially comprising the four most-used focal lengths: 24mm T1.5, 35mm T1.5, 50mm T1.5 and 85mm T1.5. A 14mm T3.1 MK2 will be launched next year. The new models now have weather sealing, nine aperture blades and their focal lengths and scales are visible from both sides. They are available in Canon EF, Sony E, Canon RF, Nikon F, Canon M, Fuji X and MFT, all with full- frame coverage. The lenses all have a long-focus throw of over 130° for precise control, and a de-clicked aperture ring. The compact size of Samyang’s VDSLR

More information

MANFROTTO KEEPS ON MOVING! Tripod giant Manfrotto is moving into motorised gimbals with two different-sized three-axis models. Both have LCD touchscreen controls to adjust camera settings, as well as a quick-action button that instantly triggers functions like time-lapse, vertical shooting for social media and selfie mode. The gimbals come with a quick- switches between a single handle and an underslung position. It also comes in a Pro Kit version, which features a follow focus. The larger £529/$579 Gimbal 460 Kit has a maximum payload of 4.6kg/ 10.1lb. The Gimbal Pro Kit version comes with a follow focus and a remote controller, which essentially turns the gimbal into a fully remote-operated video head. Both gimbals work with the new Manfrotto GimBoom, which can extend

release plate design compatible with the Arca-Swiss standard and feature three-axis independent locking for fast calibration when changing setups. The £349/$399 Gimbal 220 Kit is aimed at mirrorless camera set- ups, features a maximum payload of 2.2kg/4.9lb and a detachable arm that

the handheld range of the gimbals by up to 3.5 metres. The £185/$189 GimBoom is made from carbon fibre for light weight.





$1 million is up for grabs in the world’s biggest short film

competition, My Rode Reel. In its seventh year, Rode has upped the ante with the biggest cash prize ever offered in a short film competition. Over the last six years, more than 16,000 films have been submitted to the competition from94 countries, with over $3.5million awarded in prizes. The top three films for each of the competition categories win a share of the $1 million cash prize pool, except for the major prize, the judges’ choice, which has one prize of $200,000. There are five genre categories (drama, comedy, action, special categories (judges’ choice, people’s choice, sound design, young filmmaker and best Chinese film). A total of 28 filmmakers will win a share in the prize money. Rode is also giving away a prize pack to the winners of the ten categories. These are loaded with gear from the world’s leading filmmaking brands, so the total prize pool is more than $1.5million. To enter, make a three-minute short film and a three-minute behind-the-scenes showing a Rode product. Entries close 7 October. documentary, animation and behind-the-scenes) and five

ProRes Raw for large-sensor cameras

Raw. Both ProRes Raw and the less compressed ProRes RawHQ are supported. ProRes Raw is supported in Final Cut Pro X, Adobe Premiere and Grass Valley Edius, along with a collection of other apps, including Colorfront and FilmLight Baselight. For the first time in a Sony mirrorless camera, there is also a 10-bit 4:2:2 HDMI video output option, which can be externally recorded as 10-bit 4:2:2 Log or Rec. 709 video at up to 4K/60p into ProRes or DNx codecs.

A pre-release Beta firmware to enable ProRes Raw output to Atomos monitors has been launched for the FujifilmGFX 100 and Sigma fp, as well as a forthcoming launch for the new Sony A7S III. The Beta firmware enables 12-bit 4K Apple ProRes Raw recording with the medium format GFX 100. And the full-frame Sigma camera allows shooting at up to DCI 4K/24p, UHD 4K/30p and HD/120p directly from the camera’s sensor. For the Sony, it will allow Raw recording at up to 4K/60p via HDMI to the Ninja V HDRmonitor-recorder. The data-rich 16-bit linear Raw output of the Alpha 7S III is compressed and recorded in the Ninja V as 12-bit ProRes

More information

THE MORE AFFORDABLE PORSCHE A Porsche-designed, 31.5in 4K monitor for just £829/$1085 is the latest new screen from display specialist AOC. The U32U1 has a 10-bit IPS panel with 4K resolution and Vesa Display HDR 600 certification. The monitor has picked up a prestigious Red Dot Design Award. The display covers 135% of the sRGB, 100% of the AdobeRGB and 98% of the DCI-P3 colour spaces, which makes it an ideal choice for video professionals. As well as a DisplayPort 1.4 connector, this monitor also features an HDMI 2.0, a USB-C port and a USB 3.2 hub. The USB-C connection is ideal for transferring high-resolution video from a laptop. USB power delivery can simultaneously charge the laptop battery with up to 65W of power, and the USB 3.2 data transmission ensures lightning-fast data transfer.



Next generation URSA Mini Pro with Super 35 4.6K HDR sensor, 15 stops of dynamic range and shooting up to 300 fps!

Introducing URSA Mini Pro 4.6K G2, a professional digital film camera that combines incredible 4.6K image quality with the features and controls of a traditional broadcast camera! The secondgenerationURSAMini Pro features fully redesigned electronics and a new Super 35mm 4.6K HDR image sensor that combine to give you much higher frame rate shooting. You also get built in ND filters, an interchangeable lens mount, Blackmagic RAW support, and both dual CFast and SD UHS‑II card recorders for capturing images at up to 300 frames per second! There’s even a USB‑C expansion port that lets you record directly to flash drives or SSD disks for even longer recording times!

Blackmagic URSA Mini Pro 4.6K G2 ����� US$5,995 *

Learn More!

*SRP is Exclusive of VAT. Prices subject to change. Viewfinder, lens and accessories shown can be purchased separately.


PRIZE VALUE £87/ $99 .95

Find out all about Sennheiser’s newmini microphone and be in with a chance of getting your hands on one!

German audio giant Sennheiser is known for one thing above all else: outstanding quality products. And its new addition, the Sennheiser MKE 200, is no different. The new portable powerhouse puts professional audio at your disposal no matter how you choose to shoot. The mini mic is designed for on-camera use with DSLRs, mirrorless cameras and even mobile devices, adding clean, crisp recording to any workflow. With its directional design, the MKE 200 targets your subject while reducing unwanted background noise. Handling noise – a common issue with many on- camera mics – is reduced significantly thanks to an internal shock mount. Wind noise is also far less of an issue thanks to an integrated layer of protective mesh and a furry windshield, which is included. The MKE 200’s compact, battery-free body isn’t just stylish, but lightweight, making it an ideal partner for virtually any

HOW TO ENTER Visit before 12 November and answer the below question. Terms and conditions apply. Question: WhichMKE 200 feature helps reduce handlingnoise? Options: A. Furry windshield. B. Internal

camera. The mic comes with a 3.5mm TRS cable for cameras and a 3.5mm TRRS cable for mobile devices. We’ve teamed up with Sennheiser to give three away, worth £87/$99.95 each, to three lucky readers. See right for details about how you could get your hands on one of these amazing mics!

shockmount. C. Protectivemesh

Visit to find out more about its remarkable line-up of audio products.




Canon reinvents the hybrid The EOS C70 is the first cinema camera to use the newmirrorless RF lens mount

T he company that shook up the world of digital filmmaking with its EOS 5DMark III DSLRmore than a decade ago hopes to do the same for the world of cinema cameras with the new EOS C70. It’s being pitched by Canon as the first of a new breed of hybrid cameras aimed at users of mirrorless cameras who are making the move up to full-time filmmaking. Hitting the shops at the end of November, it uses lots of mirrorless-style ergonomics and technology, including the latest RF lens mount, and adds inmany of the features that make cinema cameras such an ideal solution for shooting video. That includes built-in ND filters, XLR inputs and large batteries for extended shooting without any overheating issues, for 4K 4:2:2 10-bit recording to internal SD cards in the XF-AVC and MP4 format. As Canon continues to move into higher frame rates that have been the domain of rivals companies like Sony and Blackmagic, it shoots H.264 Long GOP 4:2:2 10-bit up to 120fps in 4K and 180fps in 2K Super 16 cropped mode. In the highest quality H.264 Intra codec, it records 4:2:2 10-bit up to 30fps in 4K and 60fps in 2K. There is no Raw capture, though. In all recording settings up to 120fps, there is Dual Pixel CMOS AF support and audio recording. The £4800 camera features the same Super 35 Dual Gain Output sensor from the recent £10,500/$11,000 EOS C300 Mark III and can deliver the same 16+ stops of dynamic range, says Canon. That’s thanks to the DGO sensor, DIGIC DV 7 processor and colour profiles including C-Log 2 and 3, plus HDR. And Wide DRmaximises dynamic range when non-Log settings are used for a faster workflow. The EOS C70 is the first Cinema EOS camera to use the EOS iTR AFX Intelligent Tracking and Recognition autofocus system seen in the EOS R5. This uses

IMAGE The Canon EOS C70 is aimed at mirrorless users who want to become full-time filmmakers




Some manufacturers use Dual Native ISO sensors where, by using two different circuits, a single sensor can have its ‘base’ ISO at two different levels. The lower ‘base’ is used at lower ISO settings, then as the gain creeps up, the second higher ‘base’ setting comes in. Canon’s Dual Gain Output (DGO) sensor is totally different as it works at all ISO levels to give a boost in quality at all settings, and is ideal for HDR. Each pixel on the sensor is read out with two different amplification levels – one high for control of noise in darker parts of the scene, and one low for better saturation and detail in brighter areas. These signals are then electronically combined to make a single image. The result is a very high dynamic range of up to 16+ stops on both the cameras that use the DGO technology, the EOS C300 Mark III and the EOS C70. HOWTHE DUAL GAIN OUTPUT SENSORWORKS




a face and head detection algorithm developed using deep-learning technology and works in conjunction with face detection AF. This improves the reliability of focusing and subject tracking, and is designed to keep focus on a person’s face, even if they turn away. The Dual Pixel CMOS AF has touchscreen controls that can be used to select an object, which is then tracked, with AF points covering 80% of the frame vertically and horizontally. The EOS C70 is also the first of the cinema line to have Auto ISO and a dedicated vertical shooting mode, ideal for social media. The body looks like a pumped-up DSLR or mirrorless camera, and has 13 assignable buttons, a multifunction hand grip, professional input/output terminals including HDMI and two mini XLR terminals for audio. There is a fan ventilation system to prevent overheating. “There is a new user interface, like the C300 Mark III and C500 Mark II, and touchscreen menus for everything,” says Canon’s product marketing specialist

ABOVE The Canon EOS C70 body has 13 assignable buttons, a multifunction hand grip and professional inputs/outputs


David Parry. “But in the hand it feels like a traditional EOS camera with a rear joystick. And all the controls can be customised. It uses BP-A series cinema camera batteries that can last for around 2.5 hours of continuous shooting.” The more compact size of the camera is partly due to use of the Canon RF mount, which has a short flange back compared to EF lenses. The EOS C70 is the smallest and lightest in Canon’s Cinema EOS line-up, and the first to use the RF mount. The RF mount allows Canon to build faster, more high-tech lenses such as the 28-70mm f/2.0 standard zoom and 15-35mm f/2.8 IS lens. The RF mount has 12 contacts to the body, which provide more power to lenses and allow the camera and lens to communicate ten times faster than on EF lenses. These advantages mean there is a good chance RF lenses will be fitted to more Canon cinema cameras in the future.

XF-AVCH.264 Intra: C4K and 4K 4:2:2 10-bit 410Mbps up to 30p; 2K andHD 4:2:2 10-bit 310/ 160Mbps up to 60p XF-AVCH.264 Long GOP: C4K and 4K 4:2:2 10-bit 260/ 160Mbps up to 60p; 2K andHD 4:2:2 10-bit 50Mbps up to 60p XF-AVCH.264 Long GOPHFR: C4K and 4K 4:2:2 10-bit up to 120p, 2K andHD 4:2:2 10-bit up to 180p XF-AVC Proxy H.264 Long GOP: 2K andHD 4:2:0 8-bit 35/24Mbps up to 60p MP4H.265 Long GOP: C4K and 4K 4:2:2 10-bit 225Mbps up to 60p MP4H.265 Long GOPHFR: C4K and 4K 4:2:2 10-bit up to 120p, 2K andHD 4:2:2 10-bit up to 180p MP4H.264 Long GOP: C4K and 4K 4:2:0 8-bit 150Mbps up to 60 MP4H.264 Long GOPHFR: C4K and 4K 4:2:0 8-bit up to 120p, 2K andHD 4:2:0 8-bit up to 180p

“In the hand it feels like a traditional EOS camera with a rear joystick and customisable controls”




WHERE THE EOS C70 SITS IN THE CANON CINEMA RANGE The new EOS C70 is the third new Cinema EOS model from Canon in a year and is the entry-level camera in the Cinema EOS range. But it offers much higher spec than the EOS C100 Mark II that officially sits above it. The C100 Mark II has a very different body shape, similar to the C200, which Canon now seems to be moving away from. The C300 Mark III and C500 Mark II share a new-style modular body. The C100 Mark II has an 8.3-megapixel Super 35 CMOS sensor, but only records in HD. Above that is the C200, which shoots in 4K and offers Canon Raw Light recording for ultimate quality. But its internal XF-AVC codec is the relatively unpopular 4:2:0 8-bit, which is significantly lower quality than the EOS C70. There is no built-in five-axis on- sensor image stabilisation, though. So to keep things shake-free, the EOS C70 uses Combination IS, which brings together the Optical IS in RF lenses and the digital IS in the camera body. The communication capability between the lens and the camera also unlocks additional features such as the ability to display the object distance on the camera’s LCDmonitor. The camera will take all Canon’s EF lenses via the RF adapter that has been on sale since the full-frame mirrorless range was launched. But there is also a new lens mount adapter called the EF-EOS R 0.71x, which optically converts any EF lens to a full-frame equivalent focal length, as well as an increased light transmission of approximately one stop – similar to the Metabones Speed Booster adapter

Above that is the Super 35 C300 Mark III, which has the same sensor and many of the recording options of the EOS C70, although the bigger camera has higher bit rates and does shoot Cinema Raw Light. It also has built-in image stabilisation and more professional connections, such as 12G-SDI. The lens mount can also be changed from Canon EF to PL or B4 mounts. Then comes the big jump to full-frame and the C500 Mark II and C700 FF above that, which is designed for larger TV-style productions. that has been popular for several years. So, for example, Canon’s 300mm f/4 EF telephoto lens, when used with the EF-EOS R adapter, would give a field of view equivalent to 300mm if it was used on a full-frame camera, but offer a maximum aperture of f/2.8. If it was used with the conventional EF-EOS R adapter on the EOS C70, it would give the angle of view equivalent to 450mm and retain its maximum aperture of f/4. The Canon adapter has full communication between the EF lens and camera body, providing autofocus, peripheral illumination and chromatic aberration correction. The camera records to dual high-speed UHS-II SDmedia. And, for the first time in a Cinema EOS camera, it is now possible to record different formats, resolutions and bit depths on each media card slot. “At 1.1kg, the C70 is ideal for mobile, fast-paced shooting. It is great for events, or even as a B camera to an EOS C300Mark III or C500Mark II,” says Parry. “There’s even false colour monitoring and anamorphic support. And if you want to shoot stills, you can take 8-megapixel photos, too.”

“At 1.1kg, the C70 is ideal formobile, fast-paced shooting. It’s great for events, or as a B camera”

More information





There may be no physical trade shows due to Covid-19, but there’s plenty of new products hitting the market



In the new era of high-resolution movie production, the arrival of reasonably priced, high-performance digital cinema cameras has changed the standard of what makes an excellent product in the industry and has expanded the freedom and potential of movie production. At the same time, when it comes to cine lenses, price and brand recognition are still often taken as proof of performance, which ends up being proportional to the production budget. In contrast to consumer products, professional cinema equipment is by its nature difficult to manufacture in volume, in turn causing lens R&D and innovations in manufacturing technology to lag behind progress in cameras. But Sigma is different. Responding to the demanding requirements for lenses in the era of ultra- high megapixel stills photography, Sigma has developed the technologies required to produce high-performance lenses in volume. They have what it takes to offer a new solution to the cine lens market. SIGMA Revolutionary lenses for high-resolution digital cinematography

“The Sigma Cine lens line-up covers everything fromwide angle to telephoto”

The Sigma Cine lens line-up covers everything fromwide angle to telephoto. Full-frame prime lenses are 14mm T2, 20mm T1.5, 24mm T1.5, 28mm T1.5, 35mm T1.5, 40mm T1.5, 50mm T1.5, 85mm T1.5, 105mm T1.5 and 135mm T2. The Super35 high-speed zoom lenses are 18-35mm T2 and 50-100mm T2, and the full-frame zoom lens is the 24-35mm T2.2 Compatibility has been confirmed with each brand of cinema camera, with three different mounts to pick from– PL, EF and E.




G-TECHNOLOGY ArmorLock delivers next-gen security and simplicity for the media industry

The Fujinon Premista 19-45mm T2.9 is the thirdmodel to join the Premista series of zoom lenses for cinema cameras that support large format sensors and film. Just like the Premista 28-100mm and 80- 250mm, this lens produces images with natural and beautiful bokeh, outstanding high resolution, accurate colour rendition and controllable flare withminimal ghosting. The Premista 19-45mm shows little distortion throughout the zoom range. Like the rest of the Premista series, the new lens supports Cooke /i technology and Zeiss eXtended Data, which allow lens metadata to be recorded during shooting. The lens combines large-diameter aspherical lens elements, with Fujifilm’s unique zooming system to deliver superior resolution by effectively correcting issues such as chromatic aberration. It produces an image circle with 46.3mmdiameter, supporting all current large format sensors and film. It’s also been designed to show minimal distortion, even when shooting at wide-angle focal lengths. A 13-blade design forms a near- perfect circular aperture, which produces natural, beautiful bokeh. Cutting-edge optical design and Fujifilm’s unique coating process have been adopted tominimise ghosts and control flares tomaintain good contrast, maximising the dynamic range of light being captured by the camera. Fujifilm’s unique coatings also maintain a neutral cinematic colour tone that matches with other Premista, Premier and Cabrio lenses. FUJIFILM Big andwide withFujinonPremista full-frame zoom

The platform is the next stage of evolution in encrypted storage. It was designed from scratch over several years and pushes the boundaries of state- of-the-art security techniques, while maintaining ease-of-use. The first product with this technology, the new G-Technology ArmorLock encrypted NVMe SSD, delivers a high- performance, high-grade security storage solution for creators in the media industry. With the ArmorLock app, users can unlock the device with their phone, using face recognition, a fingerprint, or the phone’s passcode, ensuring lost passwords don’t cause missed deadlines. The SSD provides encryption without getting in the way of the workflow by enabling collaboration without the need to tape PINs to the drive. The next-gen security in ArmorLock devices also enables teams to authorise remote users before sharing the drives using messaging and email services – especially important for collaborative workflows that require safe shipping of content between physical locations.

Facing the threat of hijacked media files and leaked films, studios are demanding a better way to protect critical content. Data is the essential competitive advantage and encryption has become mandatory to protect it. While much of the focus is on cloud security, data often remains vulnerable on portable storage devices. Filmmakers also need to be able to capture, preserve and access their data at scale and at speed. G-Technology believes the world needs new technologies to enable data privacy without hampering data availability, which is why the ArmorLock security platformwas built. SONY Sony A7C and zoom set new standards for mirrorless Sony A7C full-frame mirrorless camera and matching FE 28-60mm F4-5.6 zoom lens make a small yet powerful package. The A7C is one of the world’s smallest and lightest full-frame cameras, featuring advanced AF and 4K video capabilities. When paired with the small and light FE 28-60mm F4- 5.6 standard zoom lens, it maximises portability without sacrificing any of the power of full-frame imaging. The A7C features a 24.2-megapixel 35mm full-frame back-illuminated Exmor R CMOS sensor and BIONZ X image-processing engine, offering 15-stop dynamic range and high-speed image data processing. Measuring 124x71x59.7mm and weighing 509g/18oz, the A7C is a similar size and weight to an APS-C camera, weighing only 1%more than the A6600. The A7C has an upgraded five-axis in-body stabilisation system and shutter unit, while the NP-FZ100 battery provides helps capture 740 images when using the LCDmonitor. Full-frame, full-pixel readout without the need for pixel binning

makes it possible to capture more than twice the amount of data required for 4K video, which is then oversampled to produce high-quality 4K footage. In addition, the A7C supports HDR, HLG and S-Log/S-Gamut profiles and high- speed full HD recording at 120fps. It also features real-time eye AF and touch tracking functionality. A digital audio interface has been added to the camera’s Multi-Interface Shoe, allowing the ECM-B1M Shotgun Microphone or XLR-K3M XLR Adapter Kit to be connected to input digital audio signals directly to the MI shoe for cleaner, clearer audio recordings.




Samyang has revealed the latest addition to its Tiny Series lens range, with the AF 35mm f/1.8 FE – a fast-aperture, wide- angle, prime lens, optimised for use with full-frame Sony E-mount cameras. The lens provides outstanding corner-to- corner image quality, even wide open at F1.8 and its quiet autofocus and tenacious tracking performance make it a great choice for stills and video shooting. Its small size also makes it well-suited for use with APS-C camera bodies, where it offers a 52.5mm equivalent focal length. The optical construction includes two aspherical elements to correct aberration and deliver high-resolution throughout the entire image frame. The nine-blade circular aperture enables beautiful bokeh. It is not only important how accurately and quickly autofocus allows you to capture images, but how quiet and smooth it is. Thanks to the Linear STM Stepping Motor, a larger and heavier focus lens group can be controlled more quickly, quietly and precisely. SAMYANG Compact 35mm prime for full-frame Sony mirrorless cameras

PELI Lightweight Peli Air Cases get even more air space!

‘n’ Pluck foam for protection against impact, vibration and shock. The Peli Air range is hugely popular and there are now 16 sizes available. Newmodels of deeper Air Cases now include the 1556 and 1626, both featuring the press-and-pull latches. The addition of these case sizes offers more customer choice and options for equipment protection. Many of the Air Cases, along with Peli Protector and Storm Cases, have the option of a Trekpak insert. This is a simple and versatile divider, designed specifically to fit Peli cases. The divider sections are light, strong and almost impossible to tear. The unique pin system allows for flexible adjustment of the dividers as the contents of the case move around or change. Trekpak allows the user to optimise the space, while maximising protection.

The Peli Air Case range has been expanded with the addition of the 1745 case, designed for long equipment, such as tripods. Peli Air Cases are waterproof and crushproof, and offer additional sizes to the Peli Protector and Peli Storm lines. Engineered to maintain the same level of durability as the classic Peli cases, the weight of the Air Cases has been reduced by up to 40%. The range is also constructed of lightweight HPX2 resin, the next generation of Peli’s proprietary formula that rebounds from stress without breaking. The 1745 long case features press- and-pull latches to keep the lid firmly closed during transit, but to open easily on arrival, while stainless steel bearing wheels are built in for easy transportation of heavier loads. The case is 1118mm long, 426mmwide and 206mm deep and is available with Pick

POCKET FILMS Let The Camera Map guide you to suppliers of top gear

community. A new updated version of the site launches in October. To help point producers toward The Camera Map website, a printed pocket guide is published as a companion to the website. As well as listing 60-plus key companies with their contact details, The Camera Map pocket guide has a fold-out map to help visualise the location of these companies. The 2020 edition pocket guide is out now. The Camera Map joins two other niche directories by Pocket Films – The Studio Map, a directory of film and TV studios (, and Screening Room Map, the leading directory of screening venues in the UK, New York and LA (

Finding a comprehensive list of UK camera suppliers is not straightforward and can involve searching online sources and offline directories. A newcomer to the list of resources is The Camera Map, a website and printed guide that aims to bring all camera supply companies into one place.

The Camera Map aims to provide a dedicated, camera-only resource, for the UK industry and give users a location- specific, map-based directory so they can find the right camera supplier wherever they are based. At the heart of The Camera Map is

the website, thecameramap. com. This has a growing list of companies that make up the three fundamental elements of the camera supply chain: hire, sales and manufacturers. The publisher, Pocket Films, is on a mission to strip away the distractions of more traditional production directories, leaving a clear path to finding the right camera supplier for the production




Atomos has enabled Raw recording at up to 4K/60p via HDMI from Sony’s new A7S full-frame mirrorless camera to the Ninja V HDR monitor-recorder. The Ninja V can record its full dynamic range in Apple ProRes Raw for maximum detail and latitude in post-production. The Raw files are optimal for HDR finishing, or for greater flexibility in SDR. Images are recorded directly to affordable AtomX SSDmini or other compatible SSD drives. Raw video can also be captured on the Ninja V at the same time as compressed video is recorded internally to memory card on the A7S III. The data-rich 16-bit linear Raw output of the A7S III is compressed and recorded in the Ninja V as 12-bit ProRes Raw at up to 4K/60p. One key benefit, especially in low light, is that the ProRes Raw files allow you to take fine control ATOMOS 4K/60p ProRes Raw to Sony A7S III is enabled

COOKE OPTICS Cooke highlights technology for full-frame shooting Cooke Optics /i technology enables new technical solutions to the age-old problem of keeping focus while shooting full-frame. The shallow depth-of-field look has been a significant driver in the rise of productions using the format. However, keeping the narrow plane of focus is a significant challenge on set for cinematographers and focus pullers, especially in situations where both the subjects and the camera are moving. The market-leading solution for providing a quick visual measurement is the Cinetape, from Cinematography Electronics, which provides a numerical reading showing the distance between the camera’s film plane and the subject at a glance. Now in its second iteration, the Cinetape 2 is smaller and lighter than ever before, and has recently been joined by a dedicated /i Lens Display box that reads critical metadata information from /i technology equipped lenses, and displays the combined data on a multicoloured bar graph display for an even quicker depth-of-field reference. The result is a quick and simple system that helps ensure with a single glance that the focus plane is where it should be, saving time and increasing efficiency on set. It also highlights the many workflows both on set and in post that can leverage /i technology and why it has established itself as the de facto lens metadata system place.

of how noise reduction and sharpening is applied to images, tuning these precisely for each shot.

CREAMSOURCE Water-resistant cinema lighting is nowwithin reach Creamsource has revealed its new flagship Vortex8 light, a 650w high power 2x1 LED. It features world-class engineering, from precision-machined extrusions and high-strength die casting to leading-edge technopolymer components and aerospace-grade sealing technologies. The result is an IP65-rated, water-resistant fixture that has eliminated external power supplies to simplify rigging and cabling. Crafted to produce a narrow beam angle and high light output, its punchiness and colour science enable real-to-life reproduction of skin tones and colours, while covering more area with fewer units. With outstanding connectivity and extensive expandable wireless options, Vortex8 ships with LumenRadio built-in and supports Ethernet, Bluetooth, TimoTwo, 5 Pin DMX, Wi-Fi, USB type-A and Creamsource Accessory port. A versatile 2x1 RGBW systemwith CCT ranging from 2200K to 15000K, the Vortex8 can be used as a hard punch light to bounce or push through diffusion, or as a creamy soft light with the Creamsource Dome or DoPchoice Snapbag. Effects and colour gels are built into the latest CreamOS architecture in addition to a range of new features wrapped into a new, intuitive user interface.




Speedy and safe! G-Technology’s range of SSD hard drives not only brings new levels of speed for the latest cameras, but security, too

W ith the never-ending rush towards even better video quality, 4K is the new norm, while 6K, 8K and even 12K are already here. Mix in Raw video files, ProRes in all its flavours (including 12-bit Raw), 4:2:2 10-bit recording, All-Intra codecs and sensors that seem to get bigger with each generation of cameras; it adds up to a huge increase in data that all needs to be ingested, stored safely and accessed at speed with total reliability. Losing any of the footage would be a disaster, with a real, immediate financial impact and prettymuch irreparable damage to reputations. That’s why storing a backup of your data on-set is a crucial part of workflow, and the need for hard drives that are designed for location work. With the huge cost of large productions, time is crucial and expensive, so the speed of ingesting footage frommultiple cameras can be a real issue – especially if a director or client demands viewing rushes, or even editing on location. “If there are 50 people on a large set, 49 of them could be sat around doing nothing waiting for the DIT to download the footage from cameras,” says G-Technology’s Ruben Dennewaldt. “Having very fast drives that downloadmuch quicker are a huge saving in time, which, of course, means money.”

For quick, robust drives, G-Technology has the answer with its range of solutions that use flash-based SSD inside. Compared to traditional mechanical HDD drives, these have nomoving parts, so are less vulnerable to impacts or vibration, and they are silent, smaller and significantly faster. And with capacity of SSD-based drives increasing all the time at more affordable prices, having a full SSD-based workflow from location to edit is now a very real prospect. Many of the world’s top cinematographers trust G-Technology’s safe and speedy storage solutions – especially the rugged, portable SSD drives that need no external power. They plug into a laptop or desktop computer and simply work * . And you can edit footage direct from the drive and play it back in high resolution. The G-DRIVEMobile SSD has the fast USB-3.1 Gen 2 connection, compatible with USB-C, USB-3.0 and Thunderbolt 3 computers. And with a transfer rate of up to 560MB/s ** , it offers speed of performance much faster than is currently achievable by HDDs. Available in 500GB, 1TB and 2TB versions from£114.99 (RRP), the G-DRIVE Mobile SSD fends off tough conditions in the field, as the SSD is housed in an insulated custom enclosure held inside a tough aluminium core to help cooling. The G-DRIVEMobile SSD has IP67 water and dust resistance, has drop protection *** for

IMAGES G-Technology offers a range of SSD drives to suit to suit a range of budgets and speed requirements

“The ArmorLock Security Platform makes things easy and convenient to use”




“Storing a backup of your data on-set is a crucial part of every professional’s workflow”

ABOVE The G-Technology ArmorLock SSD uses an app to unlock its contents, making it more easy and convenient to use than remembering passwords. As it’s an SSD, it has no moving parts, making it less vulnerable to impacts or vibration

portable storage devices. But filmmakers need to be able to capture, preserve and access their data at scale and at speed, and not just rely on passwords to access files. “The ArmorLock Security Platform makes things easy and convenient, as instead of using passwords, it relies on the fingerprint or face-recognition technology everyone has nowadays to unlock their smartphone,” says Dennewaldt. Currently available on Apple iOS with Android coming soon, the first product to use this advanced technology is the newG-Technology ArmorLock encrypted NVMe SSD in a 2TB size for £559.99 (RRP). With the free ArmorLock app, users unlock the device with their phone. The ArmorLock mobile and desktop apps can also configure andmanage multiple drives and users to control who has access. This is important for workflows that require safe shipping of content between physical locations, as remote users can be authorised before sharing the drives using a range of popular messaging and email services. And of course, the drive is fast, with a read and write speed of 1000MB/s ** , and has the crush, drop and IP67 dust and water resistance G-Technology is famous for. Showing a total commitment to working filmmakers, G-Technology now also offers its unique G-SPEED Shuttle transportable RAID storage systemwith

up to three metres and a crush resistance of up to 454kg/1000lb. For even faster performance, G-DRIVE Mobile Pro SSD comes in 500GB, 1TB and 2TB versions from£265.99 (RRP), and uses the newest version of Thunderbolt 3 and a quicker PCIe drive for continuous transfer rates of up to 2800MB/s ** . This incredible speed allows you to edit multistream8K footage at full-frame rate and transfer up to 1TB of data in around sevenminutes or less. The G-DRIVEMobile Pro SSD has the highest-quality components, with a shock- resistant case that can withstand a three- metre drop *** and has a crush resistance of 454kg/1000lb. Like the G-DRIVEMobile SSD, there’s a five-year warranty. Although there are several vendors who sell flash technology, G-Technology is part of Western Digital, which is one of the very few to not only manufacture the drive itself and the internal controller, but also have a huge teamof engineers to develop the firmware for an fully-optimised, integrated solution. This huge investment in technology has allowed G-Technology to offer the revolutionary new ArmorLock Encrypted NVMe SSD portable drive with next-generation security and simplicity specifically for the media industry. Digital assets are the lifeblood of the creative industries, so protecting this critical content has become crucial in

Thunderbolt 3 technology. This four-bay system is a compact and transportable design, so you can edit multicamera footage – from fast frame rates to HDR and even Raw – in real time on-location or back in the studio. Available in 8TB, 16TB and 32TB sizes from £4685.99 (RRP), it offers transfer rates up to 2800MB/s ** and the largest productions can even daisy- chain five additional devices thanks to the dual Thunderbolt 3 ports. With RAID 0,1,5,10 and 50 built in, it is a versatile and flexible storage solution for the most discerning productions who have a high demand for speed and security. G-Technology provides all-around solutions for easy-to-use, high- performance and high-grade secure storage solutions. * OS compatibility for ArmorLock: Mac 10.1.2+ Windows 10 +. ** As used for transfer rate or interface, megabyte per second (MB/s) = one million bytes per second. Performance will vary depending on hardware and software components and configurations. *** On a carpeted concrete floor.

More information:



Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67 Page 68

Powered by