Welcome to the bumper issue of Pro Moviemaker magazine It’s Awards season in the brand new issue of Pro Moviemaker magazine as we reveal the winners of the MPB Filmmaker of the Year Awards and also launch our next big campaign - our Gear of the Year Awards which are now open for voting. And if it’s gear you’re a fan of, you’ve come to the right place as we reveal brand new cameras from Sony, Panasonic, Fujifilm, OM System and Telycam plus a staggering 14 new cine lenses from Sigma as well as glass from Son, Laowa, Canon and more. With tests on Blackmagic’s Ursa Cine 12K LF, a 300-600mm zoom, SSD desk drives and kit to rig up your mirrorless cam, it’s an essential read and out now.
FILMMAKER OF THE YEAR WINNERS REVEALED Top talent honoured in our global contest
JULY/AUGUST 2025 @ProMoviemaker www.promoviemaker.net £5.49
Loads of the latest hardware to tempt solo shooters SHUTTER UP AND TAKE MY MONEY! CREATOR KIT
The FX2 is the baby of the full-frame Cinema Line MY LITTLE SONY SPECIAL FX
Have your say in our poll to find the greatest gear MAKE YOUR VOICE COUNT VOTE NOW
BLACKMAGIC URSA CINE 12K LF MIXES LARGE-SENSOR IMAGE QUALITY WITH TOP VALUE
Wraps off two Panasonic cams with hot AF tech LUMIX AT THE DOUBLE NEW PHASE
The powerful drone with a 100-megapixel camera PROP LIFTERS OF THE WORLD DJI MAVIC 4 PRO
The ultimate magazine for next generation filmmakers
Editor in chief Adam Duckworth Chief sub editor Matthew Winney Sub editors Zanna Buckland & Minhaj Zia Editorial director Nicola Foley EDITORIAL ADVERTISING Sales director Sam Scott-Smith +44 (0)787 5711967 samscott-smith@bright.uk.com DESIGN Design director Andy Jennings Magazine design manager Lucy Woolcomb Senior designer Carl Golsby Junior designer Hedzlynn Kamaruzzaman Junior designer and ad production Holly May PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:
All the gear and plenty of ideas – that’s our take on the filmmaking world right now. In this issue, we reveal the winners of the MPB Filmmaker of the Year and launch our next big campaign: the 2025 Pro Moviemaker Gear of the Year Awards, now open for voting. Once more, we’re asking you, our knowledgeable readers, to have your say on the kit that delivers. From cameras and lenses to lights, software and support gear, this is your chance to help crown the best in the business – the tools and services that make our creative lives more productive, more precise and ultimately more possible. These awards are a rare thing in today’s tech-saturated world as they are truly independent, voted for by real working filmmakers: just pure industry insight from the people who live and breathe the craft. You know better than anyone that good gear doesn’t just look good in a press release – it has to perform under pressure, day in, day out, in challenging locations and unpredictable conditions. And in 2025, with so much choice at every budget level, the competition is fiercer than ever. But gear, of course, is only half the story. That’s why in this issue, as a perfect balance to the hardware love-in, we’re proud to showcase our Filmmaker of the Year competition. It’s a celebration of the real magic – what you actually create with the kit. From seasoned professionals working on high-end productions to first-time student directors making short films on shoestring budgets, this is where the best ideas shine. And what an incredible response we had this year. Today’s filmmakers are proving that access to advanced tools, once the preserve of elite studios, is finally translating into better, bolder work across the board. Affordable cameras, pro-grade lights and high-quality audio kit are no longer barriers to entry – they’re launchpads for creativity. And when used with purpose, skill and a compelling vision, even modest set-ups can produce extraordinary results. So whether you’re here to vote for your favourite kit, or to be inspired by some of the most exciting filmmaking talent working today, this issue has something for you. It’s a reminder that while gear matters – and let’s face it, we all love a bit of tech – it’s the ideas, the execution and the passion behind the lens that truly move audiences. Here’s to great gear, great stories and the people who bring them together.
Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ
Pro Moviemaker is published bimonthly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. ISSN number: 2045-3892. Pro Moviemaker is a registered trademark of Bright Publishing Ltd. The advertisements published in Pro Moviemaker that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. Prices quoted are street prices. In sterling they include VAT (unless otherwise stated), but US dollar prices are without local sales taxes. Prices are where available or converted using the exchange rate on the day the magazine went to press.
ADAM DUCKWORTH, EDITOR IN CHIEF
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JULY/AUGUST 2025 CONTENTS
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AGENDA 6 A NEW PHASE FOR LUMIX DUO
Panasonic continues to introduce its latest autofocus tech to its S1 range of full-frame mirrorless cameras with the
new S1 II and S1 II E. Plus the new fast zoom. 8 SONY’S AFFORDABLE CINE CAM
The FX2 widens the appeal of the Cinema Line by adding more stills features. It’s the cheapest full-frame camera in the range and the first with a tiltable EVF. 10 SUPERZOOM PUSHES LENS TECH It’s the first zoom lens to offer a wide 50-150mm range with a constant f/2 aperture that threatens to make primes a thing of the past. 12 RAISE YOUR GLASS WITH SIGMA It’s a massive day for the Japanese lens brand, as it unveils a dozen cinema primes with a T1.3 aperture and a pair of cine zooms that feature AF technology. 14 TORQUE KING IN THE AIR A powerful new motor stars in DJI’s Mavic 4 Pro drone, which houses a 100-megapixel Hasselblad camera for ultimate quality. Also, Sennheiser shows off single-mic Profile Wireless kit and Laowa launches a macro lens. 16 WHAT’S NEW IN THE ATOMOSPHERE Aussie monitor-recorder pioneer Atomos unveils a new CEO and his plans for a future that includes a wider product range, including the brand’s first mic. 18 NANLITE’S CUTTING-EDGE IMAGE The latest projection attachment from Nanlite brings super-sharp images to all Bowens-fit lights. Meanwhile, Godox showcases four lighting launches.
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20 AMARAN ON THE EDGE OF BRILLIANCE It’s a slim new look for Amaran’s Verge and Verge Max LEDs – designed to take up less room on-set. Astera hits the mark with its Quikpunch spotlight fixture. 22 PROFOTO LED RANGE EXPANDS The high-end photo lighting brand presents three high-tech LEDs, including two full-colour versions, plus Laowa reveals a radical super-wide zoom and the Sidus Link App gets a makeover. 24 OM SYSTEM TAKES A WALK ON THE WILD SIDE! The latest OM-5 Mark II is designed for outdoor and travel work, Fujifilm reveals its retro cam made for vertical shooting, Signiant solves Raw cloud workflow and Resolve gets more than 100 new tricks. 26 CONTENT CREATOR SPECIAL There’s a glut of products perfect for solo shooters and vloggers – including compact lenses from Canon and Tamron – plus a budget Shinobi monitor and bags galore!
PREVIEW 30 LIGHTS, CAMERAS, TRACTION!
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The best hardware on the planet comes to Munich’s Motorworld in the fourth annual Euro Cine Expo. We take a look at what’s going on and pick out the hottest kit to get your hands on.
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AWARDS SPECIAL 32 TIPA NAMES ITS TOP TEN CAMERAS The Technical Image Press Association (TIPA) that represents the finest imaging magazines on the planet – including Pro Moviemaker – names its choice of cameras in a wide range of categories. 34 CELEBRATING FILMMAKING TALENT The results of the MPB-backed Filmmaker of the Year are here! Check out who won what and read about their incredible work in our annual contest to honour the cream of the crop in creative talent! 49 VOTE FOR THE GEAR YOU LOVE It’s time to launch the Pro Moviemaker Gear of the Year Awards, which recognise the very best equipment, software and services in the industry. These are decided by reader votes, so have your say now! GEAR 68 BLACKMAGIC’S CINE HEAVYWEIGHT With a 12K large format sensor and a build to survive years of hard use, Blackmagic’s Ursa Cine 12K LF is put through its paces, along with a set of Tokina cine glass. Should you
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splash out on this high-resolution mega cam? 76 MINI TESTS: KIT USED AND RATED
This issue, we try out the massive Sigma 300-600mm f/4 zoom lens, perfect for capturing wildlife, plus the 8TB SSD Desk Drive from Sandisk, a Smallrig kit to mount a gimbal cam to your mirrorless and a trio of monitor mounts.
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Two next-gen Lumix S1 II models deliver flagship AF at lower resolution Panasonic doubles down on phase detection
T he second generation of full- frame Panasonic mirrorless cameras continues to grow, with two new models joining the high-resolution Lumix S1R II that was launched recently. That model shoots 8K video and was the first of the flagship S1 range to benefit from Phase Hybrid AF and AI-driven tracking accuracy. The new Lumix S1 II and Lumix S1 II E, on the other hand, are lower-resolution versions but also have the phase detection AF, as well as some new technology. Of most interest to filmmakers will be the S1 II which, at £2899/$3198, is just £100/$100 less than the flagship S1R II and has a modest 24.1-megapixel sensor. But this is a superfast, partially stacked CMOS sensor powered by an advanced- generation Venus Engine, enabling fast
based on the older Lumix S5 II, offers 6K/30p open gate video recording and more than 14 stops of dynamic range in V-Log with 30fps high-speed continuous stills shooting. Its stripped-back spec means it is cheaper, at £2399/$2498. The S1 II E also has a new Cinemascope video format in 2.4:1, available in various frame rates, including 60p, without cropping. Common between both these new S1 cameras is the Phase Hybrid AF system, which boasts improved eye and face detection and AI-driven tracking accuracy for people, plus the addition of AF recognition for urban sports, to capture breakdancing, skateboarding and parkour. There is improved in-body image stabilisation of up to eight stops, and the newly developed cropless EIS video distortion correction stabilises without
readout speeds improved and processing power. It is capable of 4K/120p and 5.1K/ 60p video and provides up to 15 stops of dynamic range, internal Apple ProRes Raw recording, high-speed 70fps continuous shooting, as well as the highly regarded open gate shooting modes. The new Dynamic Range Boost mode gives up to 15 stops of range in V-Log, but only at frame rates below 30p. By setting Boost to on, it allows a slower readout for greater dynamic range. Turning it off reduces dynamic range but increases sensor readout to allow more frame rate choices and fewer rolling shutter artefacts. This means the S1R II remains king of high resolution for stills and video, while the S1 II offers faster operation and far higher stills frame rates. The new S1 II E has a different 24.2-megapixel sensor
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NEWS
FIRMWARE BOOST COMING FOR S1R II A free firmware update for the
Panasonic Lumix S1R II will bring advanced features from the latest S1 II models, as well as providing compatibility with the latest S series lenses and updates to the Lumix Flow and Lumix Lab apps. Coming to the camera will be 8.1K and 7.2K (3:2) open gate recording, and Raw video can be output via HDMI for external recording. The paid-for Arri LogC3 gamma will be compatible and, for stills, HEIF recording in 4:2:0 10-bit format will be adopted. Urban sports recognition will also be added to the existing human detection capabilities for eyes, faces and bodies, while frame aspect ratio options will be expanded from ten to 17. There will be direct transfers from the CFexpress Type B or SD memory card to an external SSD, plus extra support for recording proxy files to the internal memory card during HDMI Raw video data output. ZOOM IS A SLIMLINE TONIC A compact, yet fast standard lens is the ideal new companion to Panasonic’s full-frame mirrorless range. The Lumix S 24-60mm f/2.8 is a do-everything option, costing just £899/$898. It’s designed as a small, lighter and cheaper version of the Lumix S Pro 24-70mm f/2.8. The Pro has a wider zoom range and 11 aperture blades, rather than the nine in the new optic, but costs double. With 18 elements in 16 groups, the Pro version weighs 935g/2.06lb and is 140mm/5.51in long. The new 24-60mm lens has 14 elements in 12 groups, is a lot lighter at 544g/1.2lb and just 99.9mm/3.93in long. When paired with select Lumix S cameras, including the S1 II, S1 II FRESH LUMIX
The camera will also be compatible with timecode synchronisation via Bluetooth, which will work with DJI gimbals as well. For more details about the changes, visit panasonic.com
cropping the angle of view. Arri LogC3 gamma is also available for the first time for the S series, but this is a paid upgrade. Both cameras support 5.8K/30p and C4K/60p Apple ProRes Raw and HQ W internally, recorded to a CFexpress Type B card. A second card slot accepts SD media. As well as a 5.76-million-dot electronic viewfinder, there is a 1.84-million-dot tilt and free-angle monitor, and both cameras include a mechanical shutter mechanism rated for up to 400,000 cycles, as well as an electronic shutter. Stills files now work with Capture One software, while there is full compatibility with Frame.io for cloud sharing and collaboration. The cameras also support the Lumix Lab app to simplify the transfer of media to smartphones and the editing process, for quick social media sharing. “Common between both new S1 cameras is the new Phase Hybrid AF with improved eye and face detection”
E, S1R II, S5 II, S5 II X and S9, the Hybrid Zoom function can digitally extend focal length up to 187mm. This lens will be the first from Panasonic to use a dual-function focus ring, which can be reassigned to control aperture or exposure compensation, or be reversed to achieve a custom feel. Manual focus is supported during zooming, allowing smooth subject transitions, and there’s a choice of linear mode for mechanical-style consistency or non-linear mode for responsive, speed-based focus shifts. The lens is dust-, splash- and freeze-resistant too. Its minimum focusing distance is 19cm, with a maximum magnification of 0.3x.
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My little Sony The FX2 is the entry level to Sony’s thoroughbred full-frame Cinema Line
S ony’s FX2 is the new entry point to the full-frame Cinema Line, but is the first in the range specifically designed for hybrid shooters who want a top-spec video-first camera that also shoots high-resolution stills. While its FX3 and FX30 siblings share a very similar body with a flat-top design and built-in mounting points, the FX2 has a high-resolution 3.68-million-dot tiltable EVF as well as a vari-angle 3.0- type touchscreen LCD. That makes the body slightly thicker. It uses the 33-megapixel back-side illuminated Exmor R sensor from the Sony A7 IV mirrorless offering 10fps continuous shooting of stills and most of the stills and video spec from that camera. But a new function allows photos to be taken while recording video, as well as capture of still images in Log mode. So the camera can be used as a high-res stills camera, a capable video camera or both, rather than just offering a basic stills mode to capture thumbnails for example. The sensor is claimed to record more than 15 stops of latitude using S-Log3 in video. It also has Dual Base ISO in S-Log3 of 800 and 4000, but ISO sensitivity for video can be expanded up to 102,400, making it good for low light. The camera also supports multiple recording formats and records in 4:2:2 10-bit All-Intra plus XAVC S-I DCI 4K at 24p, among others. Shoot video for up to 13 hours in 4K/60p, thanks to an internal cooling fan and body designed for effective heat dissipation; that’s just as long as you have enough power and memory space. It takes one CFexpress Type A card and one SD. Like the other FX line cameras, it can also be used with the optional Sony XLR handle for improved audio. The FX2 offers variable frame rates, allowing up to 60fps in 4K – that’s for a
There are also tally lamps and a customisable ‘Big6’ home screen, which displays frequently used parameters such as fps, ISO, shutter speed or angle, Look presets, white-balance or iris. And for vertical content shot 16:9 for social media, the FX2 also has vertical information displayed while shooting. An HDMI Type A terminal is capable of outputting up to 4K/60p 4:2:2 10-bit video, but the only way of recording 4.7K 16-bit Raw files is to plug in an external monitor-recorder. For data transfer and remote control, the FX2 supports dual- band Wi-Fi in 2.4GHz and 5GHz, as well as wired LAN via an adapter. A USB-C port enables 10Gbps data transfers and supports USB Power Delivery (PD), while built-in USB and network streaming support enables live broadcasting and remote production workflows. pro.sony/cinemaline
maximum 2.5x slow motion – but this is from a cropped APS-C slice of the sensor. In full-frame 4K, you are limited to 30p. In Full HD, it will manage as high as 120fps for up to 5x slow motion. The camera supports Log shooting in Cine EI, Cine EI Quick and Flexible ISO modes, and users can import up to 16 user LUTs for an on- camera preview in video. S-Cinetone gamma is the default, along with a range of Picture Profile and Creative Look presets, as well as anamorphic de- squeeze in 1.3x and 2x. The FX2 comes with Active Mode and Dynamic Active Mode image stabilisation, a first for Cinema Line cameras. An AI processor is for autofocus only, bringing real-time subject recognition AF with improved accuracy for human subjects, although its intelligent recognition extends to animals, birds, vehicles and insects, plus an auto mode.
WHICH IS BEST FOR YOU: FX2, FX3 OR FX30?
The £2699/$2698 FX2 sits between the full- frame £3579/$3898 FX3 and crop-sensor £1599/$1798 FX30 in terms of price and spec, with a similar cine-style body and controls, although the FX2 has a separate Movie/Still mode selector and some elements from Sony’s Venice cameras. While the FX30 has a 26-megapixel APS-C sensor, the full-frame FX2 has a 33-megapixel version and the FX3 just 12 megapixels as it is produced to be a 4K camera. The FX3 oversamples its 7K sensor to produce 4K in full-frame or from a 4.6K crop of the sensor in 60fps, as it has to use APS-C mode. In comparison, the FX3 and FX30 can record in 4K/120p with a slight crop and up to 240fps in HD for super slow-motion. Of course,
the FX3 is full-frame but the FX30 APS-C crop. As the FX3 is designed with a low pixel count, it excels in low light and its ISO goes as high as 409,600 with Dual Base ISO at 800/12,800. Where the FX3 excels in low light and high frame rates, the FX2 is more pedestrian for video but far better for stills, with a tilting EVF and improved IBIS. Content creators love this.
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Sony stretches the limits of zoom technology Sony has revealed a superfast standard professional zoom with a wide focal length range and a shockingly fast constant f/2
FAST TIMES Sony’s G Master 50- 150mm has a bright f/2 aperture through the whole range
aperture, built to replace a whole set of primes. The FE 50-150mm f/2 GM is the world’s first lens that goes from 50mm to a 150mm maximum focal length, all at f/2 aperture. The price is £3799/$3898. Part of Sony’s acclaimed G Master series, it has advanced XA, ED and Super ED optics in its 19-element, 17-group design. The famed G Master bokeh comes courtesy of an 11-blade aperture and close focusing capability. It has fast and silent AF due to four XD linear motors, and can shoot stills at 120fps on Sony’s A9 III sports camera. A floating focus mechanism maintains high image quality throughout the focusing range, for matched sharpness from infinity to the 40cm/15.7in minimum distance at the wide end; 74cm/29.1in at the tele end.
The lens weighs 1340g/2.9lb, with much of the weight at the rear of the lens for a balanced design that promotes more comfortable handheld use. There are two programmable focus hold buttons and a focus mode switch. The front lens element also has a fluorine coating that serves to repel water, oil and other contaminants. The front filter thread is 95mm in diameter. Nano AR Coating II keeps flare and ghosting in check and there is a robust dust- and moisture-resistant design. sony.com
The internal focusing design promotes quicker focusing speeds and maintains lens length during use. The internal zoom also maintains overall lens length during use, as well as keeping consistent centre of gravity for smoother gimbal or tripod shooting. Focus breathing has been minimised optically, and the lens supports Sony’s Breathing Compensation in select cameras to eliminate the angle of view shifts while changing the zoom position. The manual aperture ring can be de-clicked for smooth, silent switching, while zoom smoothness can be adjusted for more precise handling.
HUSH-HUSH UPGRADE FOR POPULAR FX3 The FX3 hybrid mirrorless camera has had a sneaky upgrade from Sony to include a brand-new, higher-res screen. Officially, Sony hasn’t issued any details of the model – dubbed the FX3a – but it has appeared on several retailer websites. The main change is that the LCD panel resolution now has 2,359,296 and infrared remote-control light- receiving element. It is believed the change happened because the original screen became unavailable from Sony’s supplier, so a new, improved version was sourced. The FX3 was announced in February 2021, so is relatively old in the Sony line-up but is still very popular; hence the decision to quietly upgrade the camera, as there is no sign of a new model yet. dots compared to the 1,440,000 dots on the older model. Sony has also removed the NFC functionality
INSTA360 LAUNCHES NEW FLAGSHIP Insta360 has unveiled its newest flagship 360° action cam: the X5. It has larger dual 1/1.28in image sensors and a new Triple AI Chip system, supporting 8K 360° video at 30fps. Pure Video, a dedicated low-light mode, is designed to enhance performance in darker settings through AI-driven noise reduction and dynamic range optimisation. The device is waterproof up to 15m and includes a replaceable lens system, letting users swap out damaged lenses. A built-in wind guard and updated audio processing improve sound recording. insta360.com
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NEWS AGENDA Raise your glass Sigma’s latest Aizu prime lenses set a new standard for fast cine optics A brand-new line of fast, full- frame cinema primes with T1.3 apertures across the board has been unveiled by Sigma. The
Aizu prime line is a full set of large format cinema lenses that boast a matching T1.3 aperture across all focal lengths – a first in full-frame cine optics. The full range will feature 12 lenses from 18mm to 125mm, but initial roll-out includes eight core optics: 25mm, 27mm, 32mm, 35mm, 40mm, 50mm, 65mm and 75mm. These will be followed by 18mm, 21mm, 100mm and 125mm versions. All lenses cover a 46.3mm image circle, making them fully compatible with full- frame and large format systems such as Arri Alexa LF and Vista Vision. Built from the ground up for filmmaking, these deliver rich texture, sharpness and what Sigma calls an ‘organic, naturally soft look’. Each of the first lenses feature a PL or E-mount, a 95mm front diameter and lengths between 125mm and 128.8mm. Weight ranges from 1.6kg to 1.7kg in PL mount. Despite their speed, the lenses are compact, ideal for handheld and gimbals. The Aizu primes – named after the location in Japan – promise minimal distortion and reduced focus breathing. Close focus distances range from 0.31m to 0.73m for close-up work. The lenses are fully manual and support Zeiss eXtended Data for real-time metadata, distortion and shading correction. The eight core lenses will be available from August; availability and full specs for the remaining lenses will follow later. No prices have yet been confirmed.
PRIME POSITION The new Aizu range will start with these eight optics, but four more will follow. All have a wide T1.3 maximum aperture and are made in Japan
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AUTOFOCUS COMES TO SIGMA CINE ZOOM LINE
They are based on the 28-45mm f/1.8 DG DN Art and 28-105mm f/2.8 DG DN Art optics, which we have tested to deliver crisp resolution, soft bokeh and strong flare control across all focal lengths and focus distances. The new lenses are made at Sigma’s Aizu factory in Japan using cutting-edge manufacturing processes. The lenses offer limited focus rotation, clickless aperture rings and 0.8M pitch gears for full compatibility with follow focus rigs and pro cine set-ups. A key innovation is Sigma’s High-response Linear Actuator, enabling fast, near-silent AF with strong subject tracking – ideal for gimbal, handheld or documentary work. Pricing for the new prime and zoom lenses is yet to be announced. sigmauk.com
As pro filmmakers embrace AF but still crave the control of manual cine glass, Sigma has revealed two new cinema lenses that blur the boundaries between stills and movies. The brand is developing two new full-frame cinema zoom lenses – the 28-45mm T2 FF and the 28–105mm T3 FF – as part of its all-new AF Cine Line. These form the company’s first AF-enabled lens series designed specifically for cinema. Sony and Nikon already have similar lenses, but these are servo zooms with slower maximum apertures. Launching in November, the lenses will be available in L-Mount and E-mount versions. Sigma admits that, unlike the Aizu primes, these are modelled after Art lens optical performance with professional cinema mechanics and advanced AF technology.
“All lenses cover a 46.3mm image circle, making them fully compatible with full-frame and large format systems such as Arri Alexa LF and Vista Vision”
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DJI drone packs 100-megapixel camera
range of up to 16 stops. The medium tele and tele cameras offer dynamic ranges of 14 and 13 stops respectively. Both the Hasselblad and the medium tele camera support 4K/120fps recording, while the tele cam records in 4K/100fps. With all three featuring 10-bit D-Log, D-Log M and HLG profiles, consistent colour reproduction is ensured. The base Mavic 4 Pro costs from £1879/$2699, while the 512GB Creator Combo is £3209/$4649 with built-in 512GB high-speed storage, DJI RC Pro 2 remote controller and more accessories. dji.com
for clean low-light filming, while also rendering ten-ray starburst effects. Equipped with a 48-megapixel 1/1.3in sensor and f/2.8 aperture, the 70mm medium tele camera delivers enhanced image quality due to its new image processing engine. Powered by a 50-megapixel 1/1.5in sensor and a wide f/2.8 aperture, the 168mm tele camera uses an optimised gimbal algorithm tailored for telephoto aerial work. While all three cameras support 4K/60fps HDR video, the Hasselblad main camera goes further by including 6K/60fps HDR footage with a dynamic
The DJI Mavic 4 Pro drone features a new 100-megapixel Hasselblad camera sensor plus two other large CMOS sensor cams housed in a radical new gimbal with 360° rotation, a 51-minute maximum flight time, improved obstacle sensing and 30km HD video transmission. The triple-camera system has focal lengths equivalent to 28, 70 and 168mm. All three cameras boast Dual Native ISO and Raw stacking of up to five still frames. The main 4/3 CMOS Hasselblad camera supports Hasselblad Natural Colour Solution (HNCS) for colour fidelity. An f/2 to f/11 aperture allows
SENNHEISER’S SINGLE SOUND SOLUTION
an external lav mic or used to create a wireless boom. The Profile Wireless has an operating time of up to seven hours, and 16GB of memory for up to 30 hours of internal recording. For 32- bit float recording, the mic combines the audio signals of the two A/D converters inside the mics to create a single 32-bit float audio stream. To use 24-bit recording due to its lower memory requirement, the 32-bit function can be deactivated in favour of a safety channel mode. This outputs a 6dB version of the audio in addition to the original sound level to help protect against clipping. sennheiser.com
Sennheiser has launched a single- channel version of its Profile Wireless 2.4GHz all-in-one microphone and wireless kit. It comes with a second USB charging cable instead of the charging bar of the two-channel version launched in 2024. This new £169/$199 version is aimed at solo creators, allowing for later expansion by adding the Profile Wireless two-channel receiver. A 32-bit float firmware update for all Profile Wireless systems is available free. Like the two-channel version, the solo system is easy to set up, as no app is required. It can be used on cameras, with smartphones and computers, and can be combined with
LAOWA’S LATEST LENS GETS YOU UP CLOSE The new Laowa 15mm f/4.5 wide-angle macro lens has a 0.5x magnification ratio to allow unique macro shots at a minimum focusing distance of 12.9cm. No UK price has been set, but this full- frame optic costs $399 in the US. The optical design is optimised for that’s ideal for architecture, landscapes or even vlogging. The manual focus lens is lightweight at just 308g/0.68lb and has five aperture blades, resulting in a ten-point sunstar for a unique look. Auto aperture is available for Sony E,
Nikon Z and Canon EF mounts, so can be adjusted from the camera. The chip also allows recording of metadata in EXIF.
excellent distortion control, so it works equally well close up or at a distance
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All change at the top of Atomos
SMALL (BIG) THINKING FROM MATTHEWS Matthews has introduced its Microgrip Master Rigging Kit, an ultra-compact, precision-engineered system for mounting lights, cameras and a wide range of accessories. It’s a comprehensive set of tools that’s ideal for smaller equipment. Included in the case are two styles of rigging plate, a new-style Microgrip Head with dual 3/8in-16 holes for rod mounting and a low- profile knob to guarantee a secure grip in tighter spaces. Also included is the 3/8in-16 Micro Pin with an undercut for added safety, tapped with a 1/4in-20 thread to suit industry-standard gear. The 148-piece kit also includes two Mini Matthellinis, drop ceiling scissor clips, 3/8in-16 rods, magnets, baby pins, BM1 bulb mounts, hanging safety cables and a variety of bolts and nuts. No price has been set yet. msegrip.com
Aussie brand renowned for its monitor- recorders has announced another change at the top with Atomos chief operating officer Peter Barber appointed CEO. He takes over from Atomos co-founder Jeromy Young, who will remain as a non-executive director. Barber has 30 years of experience in the industry and is a co-founder of Blackmagic Design. His move comes after a period of restructuring within Atomos that has seen the launch of several new product lines. This includes the Atomosphere cloud platform, A-Eye PTZ cameras, a TX-RX wireless video broadcast system and its Studiosonic pro-grade headphones. This diversification is due to core products such as the Ninja and Shogun monitor-recorders coming up against increasing competition, since many manufacturers now offer internal Raw recording in their cameras. With global economic uncertainty and US tariffs, Atomos had to make big changes. Young, who founded Atomos in 2010, brought professional monitoring and recording to indie filmmakers. In 2021, he retired from his CEO role due to financial pressures. After board-level changes, Young returned in 2024. New CEO Barber joined Atomos in February 2024, and has played a critical role in the company’s recent initiatives. Barber said: “I don’t underestimate the challenges that lie ahead, including
shifting market dynamics and external factors such as fluctuating tariffs in the US. However, the work we’ve done over the past year to rebuild and restructure the company has laid down a strong foundation for the future. We’re creating a more agile, resilient organisation that’s better positioned to navigate change and seize new opportunities. Atomos has the extraordinary opportunity to expand into new markets, drive broader innovation and build on its proud history of pioneering technology in the video production and content creation spaces. Young said: “It has been an incredible journey co-founding and leading Atomos through growth and transformation on the global technology stage, and taking the company public. I’m proud of what we’ve achieved together over the years. I brought Peter into Atomos knowing he would bring fresh ideas, deep industry experience and strong leadership to take the company into its next phase.” atomos.com
SUPER SONIC MIC FOR WIRED OR WIRELESS USE
and the USB-C output is great for connecting the mic directly to a computer either for podcasts or live streaming. The microphone incorporates a 75Hz low-cut filter and a 150Hz high-cut filter to minimise unwanted noise, a high-frequency boost to improve clarity and manual gain control for precise adjustments. An integrated OLED screen provides real-time monitoring. The mic is supplied with a 2.4GHz receiver. Latency is less than 20ms and the working range is up to 100m with line of sight. The Atomos Studiosonic costs £259/$349 and is available for preorder.
Atomos’ Studiosonic Shotgun Mic is a compact yet powerful mic with wireless capability using the included receiver box, as well as wired. It works with cameras, recording devices and computers via USB-C. Its dual-mode design operates over 2.4GHz or via a direct USB-C digital audio connection with the locking USB-C connector. And a high- quality, 48kHz/24-bit supercardioid design isolates voices even in noisy environments. Unusually for a shotgun mic, it has an internal battery that recharges via USB-C. A full charge is capable of powering the device for up to eight hours in wireless mode or 50 hours wired. The mic has analogue and digital outputs,
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Nanlite zoom projects a cutting-edge image
The system includes a built-in gobo holder which is compatible with standard M-size gobos, adjustable shutters and a gel frame. Four gobos are included, with optional gobo sets and an 18-blade iris diaphragm also available. It’s made from high-thermal-conductivity aluminium alloy and composite materials for heat resistance. It costs $389, but a UK price has not yet been revealed. nanlite.com
spotlights, as well as compatible models from other brands. It allows beam angle adjustment by rotating the lens barrel, without removing gobos or shutters. This simplifies set-ups, enabling creative transitions between medium and wide beam coverage. High-precision aspherical optics, anti-reflective coatings and a matte-finish inner barrel minimise chromatic aberrations and stray patterns, resulting in sharp, colour-accurate light.
Nanlite has expanded its light-shaping options with a Bowens mount zoom lens for LED hard lights, the 25-45° compact projection attachment. It’s designed to create precise pools of light and can be zoomed to different beam angles. Weighing in at 2.68kg/5.91lb, the lens is light enough to be mounted directly onto Bowens mount LEDs under 800W without need of an additional yoke or bracket. This includes Nanlite’s own
GODOX’S AWESOME FOURSOME STUNS SHOW
screw bulb for use as a practical. Modifiers include mini softboxes, fresnels, filters and projectors. The new Adjustable Diffusion AD33 panel can be switched from hard to ultra-soft light using a control stick, remote control or CRMX. While the AM1600R is a 1600W 4x8ft or 8x8ft inflatable LED mat panel with a softbox design for diffused light and easy overhead rigging. godox.com
Godox gave sneak peeks of its new electric diffusion panel, MS60 compact LEDs, 1600W inflatable light panel and 5000W MG6KBi bicolour COB LED to showgoers at London’s MPTS exhibition. The new MG6K is the brand’s highest-output COB yet, with an improved CCT range. It joins the Knowled series, which includes the MG1200Bi, with the same robust build and G-mount. At the other
EIZO’S BRIGHTER MONITOR FOR GREAT GRADING This Eizo CG3100X monitor is both environmentally friendly and grade-ready. The Color Edge unit is a 30.5in colour management monitor designed for high-end post-production workflows and joins the brand’s 4K line-up. The new screen delivers DCI 4K resolution (4096x2160) and HDR workflows with a peak brightness of 500 cd per sq m – up from 350 cd per sq m of the previous model. The monitor supports PQ and HLG gamma, and its 1800:1 contrast ratio ensures rich blacks and detailed shadows. The monitor is compatible with the latest HDMI standards to support 12-bit signal handling and high-speed compressed video. Calibration is fully integrated using Eizo’s Color Navigator 7 software and an internal sensor – eliminating the need for third-party devices. The CG3100X also uses over 85% recycled plastic in its construction. A price has not yet been revealed. eizoglobal.com
end of the scale are the MS60R and MS60Bi, compact 60W COB heads the size of drinks cans to fit into tight spaces. Options for power are mains, battery or E27
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The edge of brilliance Amaran has gone super-slim with its new Verge and Verge Max bicolour edge-lit panel lights, designed for compact home studios or creators working from a desk. The Verge is a rectangular panel that’s just 3.6cm thick and features front-facing physical controls to make adjusting settings mid-shoot a cinch. For full wireless flexibility, it also integrates with the Amaran app and Stream Deck plugin, allowing real-time brightness and colour temperature tweaks at the touch of a button. Certified safe for prolonged use without eye strain, the Verge features an edge-lit design that delivers soft, low- glare light. It wraps naturally around the face, enhancing skin tones without harsh shadows or flicker. Expanding the tech to a larger 55cm panel, the Verge Max offers the feel of full COB-and-softbox performance in a footprint just 10% of the depth. It includes a built-in display, front dials and multiple mounting options – from 360° desk clamps to standard 5/8in baby pin stands via an optional adapter. Pricing starts at $79 for the Verge and $259 for the Verge Max kit – UK pricing is yet to be confirmed. amarancreators.com
ASTERA QUIKPUNCH HITS THE MARK
Astera’s Quikpunch is a battery-powered LED PAR spotlight with a five-inch fresnel lens, building on the success of the three-inch Quikspot. It offers increased power output and beam control, and is the first spotlight to combine an LED PAR with fresnel optical quality in the same wireless fixture. The Quikpunch outputs a high-intensity spotlight beam or a wide, soft wash to light large surfaces. It produces a clean, single-shadow look without colour shift or light spill. As Astera’s most energy-efficient spotlight, it offers a peak output of 8000 lux at 3m using only 75W, delivering the same punch as a traditional 650W tungsten fresnel. The built-in battery provides up to 4.5 hours of runtime at full output. It uses Astera’s Titan LED Engine and RGBMA colour science to provides a 13-60° zoom range. It can emulate the traditional, retro look of tungsten fresnels by using the optional Edge Softener filter. It can be controlled via Astera’s wireless ecosystem, including the Astera app, built-in Lumenradio CRMX, UHF, Bluetooth and infrared remote. It also supports wired 5-pin XLR in/out for wired DMX/RDM. astera-led.com
ENTRY-LEVEL RF ZOOM Canon’s new RF 75-300mm f/4-5.6 is a lightweight and easy-to-use telephoto zoom lens that’s perfect for nature and sports work, particularly in decent light. The lens boasts a large between sharp subjects and blurred backgrounds. This classic, entry-level
full-frame 75-300mm lens can be used on any RF mount camera, though paired with an APS-C body such as the EOS R100 it delivers a 120- 480mm effective range. The lens weighs 507g/1.1lb and measures a compact 146.1mm/5.8in when it’s retracted. It’s one of the lightest lenses in its class, and has Super Spectra coating to reduce ghosting and flare. canon.co.uk
zoom ring that requires little more than a quarter of a turn to run through the entire zoom range, which aids fast crops on animals. At 300mm, it’s possible to get as close as 1.5m to fill the frame with detail. The long zoom and wide, seven-blade aperture ensure superb separation
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BRITISH DUO TOP GLOBAL GONGS Two Brits have beaten 7500 rivals to take top honours in a global contest to find next-generation talent. Juliet Klottrup and Hayder Hoozeer were both victorious in the Sony Future Filmmaker Awards, the results of which have been announced in a ceremony in Hollywood. Klottrup won the non-fiction texture enhances the film’s exploration of time, tradition and belonging. The student category was won by a duo – Hoozeer and German Franz Böhm – who collaborated on their film during their time studying at the National Film and Television School. Their work, Rock Paper Scissors ,
category for Travelling Home , where an English Romany traveller reflects on his heritage and the annual pilgrimage to the Appleby Horse Fair. It was shot on 16mm film; judges said the analogue
is based on the true story of a father and son in a war zone hospital facing life-or-death choices as their hideout becomes increasingly compromised. sonyfuturefilmmakerawards.com
PROFOTO PRIORITISES POWER AND COLOUR Hot on the heels of the L1600D daylight COB LED light, legendary lighting brand Profoto continues to expand in the cinema market with three new powerful fixtures. These are the LP2000C soft light panel and two point-source units, the L600C and L600D. Each one is designed to deliver high power-to-weight performance and feature Profoto’s compact HydroCTech cooling system to prevent overheating. Profoto says its new LP2000C is the world’s brightest full-colour soft light panel, outputting 2000W from its compact 27kg/59.5lb body. Its Profoto Core LED engine ensures very high colour fidelity and soft, even illumination across the whole panel. It’s built to be light enough to allow for single-operator rigging. The L600C is a 600W, full-colour point-source LED. Weighing a mere 6.1kg/13.5lb, it offers compatibility with more than 55 Profoto modifiers such as beauty dishes, softboxes and barn doors. The all-in-one design also eliminates the need for external ballasts or cabling. Completing the trio, the L600D is a daylight-balanced point-source LED offering 600W of output and high electrical efficiency, converting 95% of energy into usable light. With a compact 5.9kg/13lb build, it’s an ideal partner for the more powerful, daylight-only L1600D. Get the L600C for £3600/$3995, the L600D for £2700/$2995 and the LP2000C for £11,400/$12,995. profoto.com
Easy wider Laowa’s new 8-15mm T2.9 FF Zoom Fisheye Cine lens for full-frame cameras gives an ultra-wide 180° field of view and distinctive curvature, with a look that changes significantly depending on the focal length. At 8mm, it produces a circular fisheye effect with a
180° angle of view; ideal for VR content, 360° panoramas and surreal narrative sequences. At 15mm, it transitions to a full-frame rectangular fisheye, filling the sensor with a wide, curved perspective that has very obvious, bold distortion. It costs $1399 in the US, and Laowa has also released an f/2.8 stills version which costs $699. No UK prices have yet been set. laowacine.com
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SIDUS LINK APP IS NOW SMARTER AND FASTER
and manage both Wi-Fi and Ethernet connections remotely. A new Sidus BT View mode supports Bluetooth-only workflows, providing full control over lights while isolating cues to avoid interference in CRMX set-ups. There is also a new tiered subscription system. The Pro plan enables one DMX/CRMX universe, cue sequencing, diagram master and Magic FX tools, while Max allows four universes and greater cue control. No prices have yet been revealed. Several core features – like auto patching and firmware updates – remain free. aputure.com
The Sidus Link Pro lighting control app has benefitted from a powerful upgrade, now optimised for iPad. Designed to deliver console-level performance without the complexity, the new v2.0 introduces time-saving features and an intuitive interface aimed at professionals using Aputure and Amaran LEDs, although it works with any DMX- or CRMX-compatible fixture. At the heart of the update is auto patching and auto configuration, slashing set-up time by automatically adding and configuring lights. No manual DMX addressing or profile selection is needed, and it’s now possible to complete a 30- light set-up in seconds. Additional updates include precise 0.1%
NEW TELYCAM PTZ USES BROADCAST-SPEC SENSOR Telycam’s new Explore XE is a powerful 4K PTZ camera designed with broadcast- class quality and capabilities. Featuring a one-inch Sony sensor, phase detection AF and 20x optical zoom, the XE offers the premium performance of Telycam’s flagship Explore broadcast camera in a model tailored for the connectivity and budget requirements of live streaming. It features a wide array of outputs, with 4K/60p over HDMI or NDI HX3 and 4K/30p over USB-C. A 3G-SDI interface outputs 1080/60p video scaled from the 4K image. External audio sources can be brought into the camera from a mini XLR input with phantom power or a 3.5mm analogue input. Price hasn’t yet been set. telycam.com
dimming, advanced pixel- level control and expanded real-time feedback through Sidus Four integration. Users can now monitor port connectivity, receive power loss notifications
If you have issues making your dialogue sound as good as it can, Nugen Audio is coming to the rescue with its new speech intelligibility plug-in called Dialog Check. This is a mono, stereo and multichannel dialogue clarity meter, which provides an objective measure of speech audio intelligibility. It’s great for use in film, television and podcasting. The software takes into account language, dialect, enunciation, reverb and effects, speech loudness and background noise, helping to identify the sections of speech that might be difficult for listeners to understand. It features more than a dozen interface tools, such as the integrated real-time bar meter and history graph. It can also help in pre-production to assess different mic configurations, performance styles and room set-ups. nugenaudio.com SORT YOUR AUDIO WITH NUGEN
AT 8MM
AT 15MM
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New OM-5 is built for the wild The new OM-5 Mark II from OM System is
and has adopted the menu system from the flagship OM-1. The camera is available in either black, silver or a limited-edition sand beige to reinforce its use as an outdoor camera. The OM-5 Mark II is IP53-rated splash proof, dust proof and freeze-resistant to -10°C. A dedicated computational photography (CP) button gives faster access to tools like HDR, Live ND and focus stacking. It is compatible with the OM Image Share mobile app and OM Workspace editing software. omsystem.com
Standout features include improved five-axis image stabilisation of up to 7.5 stops and a new USB-C port, for charging via power bank when out in the field. For filmmakers, the OM-5 Mark II now includes a tally lamp and OM-Cinema Video Profiles, as well as Log, designed to offer a more cinematic look. It can capture C4K video in 24p, or 4K in up to 30p. In FHD, it can record up to 60p in All-Intra codec up to 202Mbps and in S&Q mode can shoot up to 120fps. It also shoots time-lapse movies and has a 1.4x digital teleconverter. The camera offers focus peaking and a grid overlay,
engineered for outdoor image makers who want durability in a lightweight camera. This second-gen OM-5 delivers upgrades in handling, connectivity and creative control, retaining its Micro Four Thirds format with a 20.4-megapixel sensor. The £1099 body has been redesigned with a new grip for better ergonomics and more secure handling, especially useful during handheld shoots in unpredictable environments. At just 370g/0.82lb body only, the OM-5 Mark II is truly one of the lightest and most travel-friendly cameras in its class.
SIGNIANT SOLVES RAW CAMERA TO CLOUD Signiant’s latest innovation aims to reshape how high-res Raw files can be used in a cloud-based workflow. Its workflow enables real-time transfer of footage – including ultra-high-res Raw files from the Blackmagic Ursa Cine 12K LF while the camera is still rolling. destination and is instantly accessible through the Signiant Media Engine, allowing teams to view 4K, 8K or 12K Raw footage with proxyless playback in a standard web browser. There’s no need for transcoding, downloading or dedicated software. The Media Engine also includes metadata-based search. signiant.com The platform securely streams video and metadata from on-set to any cloud
STUDIO MATCHMAKER The Studio Finder is a unique referral network connecting creatives with studio space. As the brainchild of former studio production executive Emma Norris, the platform links filmmakers directly with carefully vetted spaces. Not only does it help creatives secure appropriate venues, it also offers professional studios greater visibility by joining the network. thestudiofinder.com
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HERE COMES THE GRAIN AGAIN Fujifilm’s retro streak continues with the launch of the X half, a compact camera that takes its design cues from old-school, half-frame film cameras.
That’s where the good news ends for filmmakers. The lens is a fixed 10.8mm f/2.8 – equivalent to 32mm full-frame – and video tops out at just 1080p in 24fps, in 8-bit 4:2:0 at 50Mbps, and there’s no stabilisation. It can be overcranked to 48fps for half-speed slow motion. It’s not made for pro workflows, but leans into analogue-style fun to inspire social media shooters. It has features like Film Camera mode, which mimics manual film advance and hides playback until your roll is ‘finished’. There’s also a clever two-in-one mode, allowing two still images or
It allows you to dial in Grain Effect to create film-like textures. And it’s certainly aimed at social-first content creators based on the default vertical orientation of its 18-megapixel sensor. Both its rear screen and viewfinder are aligned for 3:4 portrait shooting. Yet the inclusion of a one-inch back-side illuminated sensor means there’s decent imaging potential, comparable to Sony’s RX100 VII.
movies to be paired into one composition in camera, plus filmic filters like Light Leak, Halation and Expired Film digitally recreate retro aesthetics. At £699/$849, it’s a bit of fun for content creators and nostalgic shooters looking for a fresh creative outlet. fujifilm-x.com
SMART FEATURES FOR PTZ AND CINEMA EOS A new suite of firmware updates for Canon’s PTZ and Cinema EOS cameras boosts performance, flexibility and control. PTZ models including the CR-N700, CR-N500, CR-N300, CR-N100 and CR-X300 now offer enhanced live streaming with better SRT and RTMP support, automatic reconnection and auto transmission on power-up. The CR-N300 and CR-N100 also gain improved teleconferencing via IP control in USB mode. A major upgrade to Canon’s auto- tracking technology now enables multi-subject tracking and enhanced tracking of fast-moving subjects. Face orientation-based composition and a new Area Zoom function add even greater automation and control. Firmware updates for the Cinema EOS C400 and EOS C80 add distortion correction for Cinema Raw Light playback, CV Protocol support for VP and an expanded 256 user LUT slots. Digital IS can now be paused during recording, and the C400 gains hybrid AF with manual lens control. The RC- IP1000 controller and Multi-Camera Control iOS app also have upgrades. canon.co.uk
DAVINCI RESOLVE 20 BRINGS OVER 100 FRESH FEATURES
The Studio version adds a range of AI-powered tools, such as Intelliscript for transcription, Animated Subtitles, AI Multicam Smartswitch and an AI Audio Assistant. It includes updates to Magic Mask and depth map functions. It also supports multiple GPUs, HDR, 4K+ output, immersive audio and remote rendering. Fusion 20 sees improvements too, with deep image compositing, multi- layer pipelining for OpenEXR and PSD, a vector warping toolset and updated stereoscopic 3D and Text+ features. blackmagicdesign.com
Blackmagic has officially released the final version of DaVinci Resolve 20 and Fusion 20, just two months after its initial beta – marking the fastest turnaround in the software’s history. DaVinci Resolve 20 introduces more than 100 new features, including keyframe editing enhancements, a revamped voiceover palette, multi- layer compositing tools and advanced optical flow vector controls. There’s also a safe trimming mode, improved Text+ graphic layout, chroma colour warp grading and a powerful new Multitext tool.
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