Pro Moviemaker August 2022 - Web

It’s the time of year when Pro Moviemaker magazine calls on you to tell the world what bit of kit – hardware or software – has made the difference to your life as a filmmaker. To single out  which accessory you can’t live without. Or what retailers or service provider can be relied on to make a massively positive benefit to you. It’s the launch of the sixth annual Pro Moviemaker Gear of the Year Awards, recognising greatness in this industry of ours. From genuine innovation in product design to delivering equipment that does what it’s supposed to with remarkable reliability and excellence, to the people and companies that we all rely on to keep the wheels turning.  Every product or service that wins a Pro Moviemaker award is voted for by professionals like you. So please check out the list of nominations and cast your vote as it will ultimately benefit us all. As always, Pro Moviemaker is packed with tests, information and advice plus latest news and real-world buying tips. We put the stunning new Fujifilm X-H2S through its paces, compare lots of the latest motorised gimbals and try out Blackmagic’s new Cloud services. We also look at lots of LED tube lights and delve into buying used kit safely.  Pro Moviemaker magazine is the essential monthly read for all filmmakers and the new issue is out now.

The totally tubular solution to your lighting woes LED THERE BE LIGHT!

Taking the fear out of buying used kit SAVE CASH ON GEAR

Ultra-modern motorised stabilisers put through their paces GIMBAL RULES @ProMoviemaker

AUGUST 2022 £5.49

Fujifilm X-H2S sets the standard for APS-C sensor mirrorless cameras SUPER 35 STUNNER FIRST FULL TEST

The remarkably affordable Z-fit super-telephoto NIKON’S NEW 400 BIG GLASS


Have your say in the world’s most prestigious recognition of filmmaking kit

How sharing projects via the cloud is easier than ever THE NEW WAY TO EDIT HI TECH!

Sigma and Tamron zooms every Sony owner should check out E-MOUNT INDIE GLASS RATED

Equipment from Blackmagic, Canon, Lexar, Hollyland and PNY A Nanlite LED bulb, Desview camera-top monitor, Rode’s podcaster and more put to the test

The ultimate magazine for next generation filmmakers

Editor in chief Adam Duckworth Chief sub editor Alex Bell Deputy chief sub editor Matthew Winney Sub editor Harriet Williams EDITORIAL ADVERTISING Sales director Sam Scott-Smith 01223 499457 Senior sales executive Hannah Gurney 01223 499463 DESIGN Design director Andy Jennings Design manager Alan Gray Senior designer Lucy Woolcomb Middleweight designer Emily Lancaster Designer and ad production Man-Wai Wong Junior designer Hedzlynn Kamaruzzaman PUBLISHING Managing directors Andy Brogden & Matt Pluck

TOP NOTCH Our awards are comprehensive and reflect the whole industry


What bit of kit – hardware or software – has made the difference to your life as a working filmmaker? What accessory could you not consider living without? Or which retailer or service provider can be relied on to benefit your business? Chances are, if you have a strong opinion on any of these questions, then like-minded filmmakers would find that incredibly useful to know. That’s where the sixth annual Pro Moviemaker Gear of the Year Awards come in. Right from their inception, these awards have sought to recognise greatness in this often disparate industry of ours. From genuine innovation in product design, through to delivering equipment that does what it’s supposed to with remarkable reliability and excellence, to the people and companies that we all rely on to keep the wheels turning. All these deserve recognition – not just for their own satisfaction, but to let other filmmakers know what is simply the best. Every product or service that wins a Pro Moviemaker award is voted for by professionals like you. That’s what makes them unique and delivers such a positive impact. The results can be surprising, but that’s often down to the differing needs of filmmaking professionals. For some, it’s all about a large-sensor cinema camera and vintage-style prime lenses to create the next blockbuster. For others, a small-sensor camcorder with a far-reaching zoom lens is top of the pile. Maybe you are a hybrid shooter, like me, who uses a mirrorless to shoot for clients increasingly looking for fast social media solutions? Perhaps you are an editor or colourist, so the latest software is a top priority? Or a lighting tech, all about LEDs? The beauty of the awards is that they are diverse, and you don’t have to vote in every category. Just cast your opinion in the sections where you know your stuff and want to express your favourites. This issue, we kick off our Pro Moviemaker Gear of the Year Awards for 2022 with a look at the not-very-shortlist of nominations. Some categories remain, but some are new – to reflect the fast-changing world we live in. Please go to our website and have your say – it will ultimately benefit us all.

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

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




The ultimate magazine for next generation filmmakers

AUGUST 2022 CONTENTS AGENDA 6 BLACKMAGIC’S STRIPPED-BACK 6K CAM The latest Pocket Cinema Camera is a more affordable version of the 6K Pro. Plus, Nikon reveals a 400mm prime and new crop-sensor vlogging mirrorless. 8 CANON’S WIDE-BOY DUO A pair of wide-angle lenses for crop-sensor mirrorless cameras. We also uncover how MPB is helping the next generation of filmmakers. 10 FORZA’S BICOLOUR BEAUTY Nanlite’s powerful 150B is a budget filmmaker’s dream. And discover dual-transmitter wireless recording by Hollyland, plus power solutions for the newest Arri.




It’s the award every company in the filmmaking industry would love to win, as it’s voted for by real professionals. Make your voice count, as we launch the Pro Moviemaker Gear of the Year Awards 2022.




We test out a trio of brand-new, three-axis gimbals and compare them to the popular Manfrotto system, as

we probe the hottest stabiliser technology. 44 CLOUD EDITING MADE EASY


Blackmagic’s cloud software and hardware is designed to bring collaborative editing to Resolve users. We try it out and see how simple it is to work.



The ultimate magazine for next generation filmmakers

49 CASH FLOW-FRIENDLY BUYS Purchasing pre-loved is the best way to save real money on equipment. Discover how to buy with confidence in what can be a scary marketplace. 52 FUJIFILM’S FINEST FOR FILMMAKERS The X-H2S is the best-ever X Mount camera for making movies, as well as shooting stills. After putting it under A camera-top monitor, Samsung memory card, E-mount zooms from Tamron and Sigma. Plus, a Rode podcaster, Nanlite LED bulb and more. 70 BUYERS’ GUIDE: LED TUBE LIGHTS They’re the hot new thing in filmmaking – and everyone wants at least one! Take a look at some of the finest LED tubes, at a range of sizes and prices. the microscope, we are very impressed! 61 MINI TESTS: TOP GEAR RATED







The magic kingdom grows!

B lackmagic Design’s brand-new Pocket Cinema 6K has been branded the G2. At £1659/$1995, it’s the mid-point between the 4K Micro Four Thirds model and flagship 6K Pro. Many of its features come from the 6K Pro, but to save money, the built-in ND filters are gone. G2 replaces the original Pocket Cinema 6K and is now fitted with a tilting touchscreen – not as bright as the Pro model – plus a larger NP-F570 battery and support for an optional electronic viewfinder. It has the latest Blackmagic Generation 5 colour science and retains the Super 35 HDR image sensor with 13 stops of dynamic range, dual native ISO and EF lens mount from the last model. Like the 6K Pro, it now features buttons above the LCD.

“It retains the Super 35 HDR sensor with 13 stops of dynamic range, dual native ISO and EF lens mount”

Made from carbon-fibre composite to keep weight low, the camera includes a multifunction handgrip with all controls for recording, ISO, white-balance and shutter angle. There are mini XLR audio inputs and on-screen focus and exposure tools, 3D LUTs, HDR, metadata entry, timecode, Blackmagic Raw settings and more. Overlays show status and record parameters, histogram, focus peaking indicators, levels and frame guides. With dual native ISO up to 25,600, this machine can shoot up to 60fps or 120fps windowed.

The G2 has an optional viewfinder – a 1280x960 colour OLED with built-in proximity sensor and four-element glass dioptre with -4 to +4 focus adjustment. The EVF joins via one connector, has 70° swivel and comes with four types of eyecup for left and right eyes. As well as large NP-F570 batteries, a locking DC power connector and included AC plug pack can power the camera and charge the battery simultaneously. A USB-C expansion port trickle-charges it, and the optional grip takes extra batteries, too. All models include a full version of DaVinci Resolve Studio software.

BLACK BEAUTY The Blackmagic Pocket Cinema Camera 6K G2 (top) has a tilting rear screen and bigger battery




Slimline super-tele

A balanced design keeps the centre of gravity closer to the camera body, making it easier to track, pan and stop smoothly. Nikon’s Nano Crystal coating reduces ghosting and flare, while Super ED, ED and SR glass control chromatic aberration from the centre to the edge of the image. L-Fn buttons and a silent control ring may be used for custom functions and the memory-set button saves focus distances. Weather sealing and a rubber gasket keep dirt and moisture out of all moving parts. Nikon’s fluorine coat makes it easy to wipe the front lens element clean.

Nikon’s march to making cost-effective lenses for its Z range of mirrorless cameras continues, with a new super-telephoto prime lens – the Z 400mm f/4.5 VR S. Costing a quite reasonable £3299/$3247, it’s designed to be lighter, more portable and cheaper than the flagship f/2.8, which is four times the price. Weighing a mere 1245g/2.7lb and with a total length of just 234.5mm/9.3in, its portable build means you can handhold this lens aided by in-lens optical VR. Synchro VR allows up to six stops of compensation when paired with the Z 9. The optic supports Z teleconverters, which can extend the reach to either 560mm or 800mm.

Nikon has made its play into the serious vlogger market, with the Z 30 mirrorless camera. This could be an ideal backup for professional filmmakers – as it accepts Z mount glass. It includes a DX-format, 20.9-megapixel sensor, which is roughly the same as APS-C, and records up to 125 minutes of footage with full-time AF. The £699/$707 Z 30 uses the full width of its sensor for recording, and audio quality is designed to be effective, thanks to the camera’s built-in stereo mic. Time-lapse, regular 4K/30p video or slow motion in Full HD at 120fps are all possible. Vibration Reduction keeps footage steady and the vari- angle touch-screen monitor is ideal for first-person vlogs. Eye- and animal-detection AF are there for stills and video. NIKON MAKES VLOGGING DEBUT


The Lexar Fly microSDXC card lets you capture and transfer Full HD and 4K UHD video with speeds up to 160MB/s read and 90MB/s write. It’s perfect for drones and action cameras. This card is rated Class 10, UHS Speed Class 3 (U3) and Video Speed Class 30 (V30), giving you stable write speed performance. A 64GB card costs £19; 128GB is £32; and 256GB £60. No US prices have yet been announced.




A short film about an old man reminiscing on his first date has won a team from Brighton’s Screen and Film School £250 each to spend at used gear expert MPB, which backed the contest. MPB worked with second-year students from the college on a creative brief, giving expert support and camera kit. The films were shown through MPB social media. Principal Itziar Leighton said: “We value our industry connections, for the insight and opportunities they provide to our students. MPB offered a unique chance to participate in a challenge that provided creative thinking and business acumen.” Pupils had to follow a project brief and pitch ideas to the MPB team, who then chose six groups. Shortlisted students attended pre-production meetings with MPB, where they received client feedback and mentoring before presenting the final projects. MPB offered access to camera kit and coaching throughout. A panel of lecturers from the school and staff from MPB judged the submissions, selecting one short film – A Moment in Time directed by Morgan Jones – as the winner, with two more highly commended. MPB backs student film contest

LIGHTS, CAMERA, ACTION Students from Brighton get to grips with some top kit – thanks to MPB

MPB’s Andy Lorton said: “Photography and videography have the power to change the world. Opening that to interpretation by students has been so much fun, as well as documenting the making of these films and sharing them with our audience.” Find the winning video on the MPB YouTube channel (


The 15-30mm ultra wide-angle zoom has 5.5 stops of OIS, increasing to seven with a suitable EOS R body. It weighs 390g/0.9lb with a compact, robust design. Macro capabilities mean 0.52x magnification, focusing as close as 13cm/5.1in in manual. Aspherical and precision elements and lens coatings feature, and a focus and lens control ring can be altered.

A pair of wide-angle lenses for Canon RF mirrorless cameras – a 24mm f/1.8 Macro and 15-30mm f/4.5-6.3 – have been revealed at just £720/$599 and £669/$549. They’re for full-frame, but work on Canon’s APS-C mirrorless too. Both lenses have built-in image stabilisation and use stepping motors for quick, quiet AF – ideal for video. The 24mm has a fast f/1.8 maximum aperture and circular, nine-blade build. At just 270g/0.6lb, the lens has minimum focusing distance of 14cm/5.5in to give 0.5x magnification. It also sports a customisable lens control ring, to allow fine-tuning of ISO, aperture, and to switch between AF types. There is a dedicated focus ring. With 11 elements in nine groups, the RF 24mm has Super Spectra Coating to prevent ghosting and flare, and a five- stop OIS. This increases to 6.5 stops of IS when alongside an EOS R series body featuring IBIS.

PNY’S BIG DEAL Memory card maker PNY has launched the EliteX-Pro range of USB-C 3.2 portable SSDs, offering up to 1600MB/s sequential read and 1500MB/s write speeds, respectively. These units are available in 500GB, 1TB, 2TB and 4TB capacities - the biggest the company has ever made. Drives are in durable aluminium housing, with data protection, USB Type C to C and C to A cables. The 500GB costs £95/$75; the biggest 4TB version is £594/$500.




Forza’s bicolour beauty

MORE POWER FOR ARRI ALEXA 35 Power expert Anton/Bauer has expanded its Dionic 26v line with B-Mount batteries, chargers and camera plates developed with Arri. Like its existing 26v Gold Mount Plus, native 26v B-Mount li-ion batteries offer up to 240Wh. The lighter and more compact Dionic range now includes 98Wh and 240Wh batteries and quad chargers, in B-Mount or Gold Mount Plus. The B-Mount series is built to drive high-power cine cameras like the Arri Alexa 35. It’s rapid, powering a 98Wh battery in around 90 minutes. Like other units in the Dionic range, the 26v B-Mounts feature a high-strength polycarbonate construction to protect cells from extreme heat, humidity and cold. HOLLYLAND’S LARK DE TRIOMPHE! The Hollyland Lark M1 brings pro dual-channel wireless recording to the masses, at just £149/$149. That’s around half the flagship Lark 150 kit. The M1 is a new wireless lav mic system with a tiny body and charging case. It uses Hollyland’s HearClear noise cancellation technology and has 200m/650ft line-of-sight range. Each Lark M1 transmitter has an omnidirectional mic that works up to 48kHz/16-bit. Noise cancellation filters out ambient sounds. The portable charging case juices up in 90 minutes, giving eight-hour runtime for each transmitter and the receiver. The former are smaller than a typical USB drive, while the case is about the size of a regular mouse. It comes with 3.5mm TRS-TRS cables for joining RX unit to camera – and 3.5mm TRS-TRRS for phones. With no 3.5mm input, there’s no way to use a wired lav mic.

Nanlite’s Forza family of LED COB lights grows with the 150B, a mobile bicolour spotlight with 170W power rating. Colour temperature is adjustable from 2700-6500K, remote connection is via 2.4G, Bluetooth, Nanlink App and DMX/RDM, plus lux at 1m with the standard reflector at 5600K. This gives an average TM-30 Fidelity Index rating of 93 Rf and 102 Rg, plus CRI of 96 and TLCI of 98. Its all-in-one design remains, with a metal, carbon-fibre body. A two-knob, one-button control keeps things simple. On top of a standard AC adapter, there’s an optional, handheld V-Mount battery grip. The Forza 150B has 12 built-in special effects, adjustable from the head or via Nanlink App. An FM mount is used for accessories, but a Bowens adapter comes in the kit – plus a sturdy carrying case. it has intelligent fan control. The £560/$539 unit weighs 1.56kg/3.44lb and outputs 23,130

LIGHTWEIGHT Carbon fibre is used in these Nanlite Forza 150B fixtures to keep mass down

SMART MOVE Remote control comes via a free app






Have your say in our annual awards special, honouring the ultimate filmmaking kit and services

T he Pro Moviemaker Gear of the Year Awards are recognised worldwide as the pinnacle of achievement for manufacturers of filmmaking hardware, software and services. These accolades are where the most innovative and excellent products, plus the brands behind them, are rightfully acknowledged – and the winners are chosen by professional filmmakers. It’s something special when equipment and services are recognised by the people who actually use them every day. After the lull of the global pandemic, there has been an emergence of a huge swathe of exciting, cutting-edge creations, along with the already-excellent gear that’s passed the test of time. Flagship categories are, as always, for cameras – and there have been

long and hard to compile a shortlist of the best kit and services on the market. But it’s you, the readers, who are the most vital part of the judging process. We’re calling on you to vote for the businesses that have made a significant difference to your work. Please go online and have your say in our easy and quick survey. You don’t have to participate in all categories, only the ones you have experience in – or an opinion in dire need of expressing. As in previous years, we will also give out six editor’s choice awards, for equipment we feel is thoroughly deserving of special recognition. These are in mirrorless camera, cinema camera, audio, support, lighting and special innovation. But the real winners are all decided by you!

some incredible launches. This year, we introduced a category for the best hybrid/crossover camera, to replace the dwindling DSLR shortlist. Cameras are not the only area where invention and quality shine through. Lenses, lights, stabilisers, memory cards, tripods and much more have been going through a technological revolution. That means new releases only get better year after year. Last time out, we added several fresh categories to honour service providers – rental houses and retailers of new and used equipment. They are so often the main point of contact between manufacturers and working professionals. These popular classes remain in 2022. The editorial team and gear testers of Pro Moviemaker have, once again, debated




CAMERAS If ever proof were needed that the biggest area of innovation has been in mirrorless cameras, you only have to look at our list of nominees in this category. It’s packed with products that have been launched in the past year or two, at most. This was the year of the superfast

sensor and phase detection AF, while the Micro Four Thirds Panasonic Lumix GH6 showed size isn’t everything, packed with high-spec codecs and super-quick frame rates. In the other direction, the Fujifilm GFX 50S II uses a huge medium format sensor to give a unique look to footage. Vote now and let the world know who deserves the accolade. This year, we have introduced a new category for hybrid/crossover cameras. It celebrates the latest machines that do something different to a standard mirrorless or pure cinema cam. For example, the Blackmagic Pocket Cinema Camera 6K Pro is obviously dubbed a cinema camera, with some of their features like built-in NDs, but is more like a pumped-up mirrorless designed solely for video. Or the Canon EOS C70 with its Super 35 sensor – officially the entry point to the Cinema EOS range, but in reality a very different sort of beast. Also included is the Canon EOS R5 C,

BIG BOYS Prime brands like Red, Canon and Panasonic are shortlisted in the cinema camera category

stacked sensor. Fujifilm, Canon, Nikon and OM System all joined Sony in using the groundbreaking tech. It brings faster AF, speedier frame rates, a real-time live view and fewer rolling shutter artefacts – and is what so many flagship models now feature. The Sony A1 and Nikon Z 9 lead the charge, with high megapixels and rapid frame rates. While the Canon EOS R3, Fujifilm X-H2S and OM System OM-1 sacrifice the best resolution for speedier stills and a lower price point. All are worthy nominees, deserving of your vote. For cameras with conventional CMOS sensors, the full-frame Canon EOS R5 was a hugely popular buy, as was the Sony A7 IV. Sigma’s quirky fp L got a whopping 61-megapixel




“This year, we have introduced a new category for hybrid or crossover cameras”


Canon EOS R3 Canon EOS R5 Canon EOS R7 Fujifilm X-H2S Fujifilm GFX 50S II Nikon Z 9 OM System OM-1 Panasonic Lumix GH6 Sigma fp L Sony A7S III Sony A7 IV Sony A1 Hybrid/crossover Blackmagic Pocket Cinema Camera 6K Pro Canon EOS C70 Canon EOS R5 C DJI Ronin 4D Lumens VC-A51P PTZ Marshall CV568 Panasonic Lumix BS1H Sony FX3 Camcorder Canon XF605 Canon XA55 JVC GY-HC550 Panasonic HC-X2000

which is heavily based on the EOS R5 mirrorless, but adds fan cooling and a full Cinema EOS user interface to make it perfect for filmmaking. In a similar vein, the Sony FX3 possesses the sensor and all the same tech as the A7S III, housed in a cinema-style body. And the Panasonic Lumix BS1H has the internals of the S1H mirrorless in a box-style body, with no viewfinder. Also in the hybrid/crossover category is the Lumens VC-A51P PTZ, reflecting the growing market for streaming and remote-control cameras. The Marshall CV568 is a remote cam too, but with a global shutter to eliminate rolling shutter. Most unusual of all must be the DJI Ronin 4D: a large-sensor cinema cam mounted to a four-axis gimbal, employing drone technology to keep things level and broadcast the video signal for miles. It’s the camera you never knew you needed – until you saw one. For the camcorder shortlist, live streaming is becoming more vital, with an ever-growing bank of connected kit. JVC’s GY-HC550 continued to fly off shelves, while Canon took the wraps off its XF605. Although it was cheaper than the

flagship XF705, it offers higher spec in many key features and is selling fast. Add machines from Panasonic and Sony, and it’s a growing group. In the cinema camera category, the Blackmagic Ursa Mini Pro 12K remains the highest-resolution camera you can buy – and is now even more affordable, thanks to a big price cut. It’s been a huge year for Red, as the Super 35 6K Komodo became one of the most sought-after devices on the planet. This popularity was thanks to its relatively attainable price, typical Red modular design and internal Red Raw codec, with Canon RF lens mount and phase detection AF. Then Red dropped a bombshell: the new V-Raptor, a full-frame 8K cinema camera employing some of the Komodo’s tech. It undercut the existing Red 8K full-frame range to a significant degree. Canon continued to shine, with the full-frame EOS C500 Mark II and its internal Raw Light recording, modular body and high-spec codecs. The cheaper EOS C300 Mark III has the same body and similar spec, but with a Super 35 sensor, using Dual Gain Output technology. Sony revealed the flagship Venice 2, while the FX9 and FX6 continued to be smash hits. The FX6, thanks to its performance and affordability, became the most-rented camera of the past year – and there are huge waiting lists to buy one. That makes it one of the prime contenders in the awards. Have your say and vote!

Sony PXW-Z190 Sony PXW-Z280 Sony HDC-F5500

Cinema camera Blackmagic Ursa Mini Pro 12K

Canon EOS C500 Mark II Canon EOS C300 Mark III Kinefinity Mavo Edge 6K Panasonic AU-EVA1

Red Komodo Red V-Raptor

BROAD SPECTRUM The radical DJI Ronin, OM System OM-1 and Sony PXW-Z280 are all worthy of places in the line-up

Sony FX6 Sony FX9

Sony Venice 2 Z Cam E2-S6




Zoom lens

With so many new mirrorless lens mounts, there’s been a bumper crop of glass coming to the market in the past year. And we always say that optics offer lasting value. Whether searching for an RF mount AF zoom for your Canon or Red, an affordable cine prime, flagship cinema zoom or even an anamorphic, there are awesome options at all price points. As even more mirrorless cameras hit the market, there are a plethora of new Canon RF, Leica L, Nikon Z and Sony E-mount lenses to choose from. Filmmakers can make use of these models to unlock all the features of the latest camera systems. And since clever autofocus mechanisms are very handy for filmmaking, AF lenses are being bought just as often as old-school manual optics. Sony’s 50mm f/1.2 G Master prime is incredibly sharp across the frame, with a de-clickable iris that’s perfect for us moviemakers. Mark II versions of Sony classic zooms – 24-70mm and 70-200mm f/2.8 G Masters – also have features like this. Tamron has been innovating with its 35-150mm optic that’s as quick as f/2 at the wide end, closing down to f/2.8 at the telephoto end. This is LENSES

Canon RF 14-35mm f/4L IS USM Canon RF 24-70mm f/2.8L IS USM

a massive zoom range and very fast aperture, which is why it’s selling like hot cakes. Canon’s newest AF zooms – the RF 14-35mm f/4L IS USM and 24-70mm f/2.8L IS USM – are very popular, bringing all the RF mount improvements, combined with top-tier image quality. And the latest Fujifilm XF 18-120mm f/4 LM PZ WR is a power zoom built for shooting video on the X-H2S mirrorless camera. Or, if you prefer something more traditional, the Fujifilm MK 18-55mm T2.9 is a cine-style manual optic, designed for its lack of focus breathing and axial shift when zooming. It’s a stunner of a lens. If money is no object, the new Canon CN-E 20-50mm T2.4 is a cine zoom lens for full-frame cameras, while the evergreen Zeiss LWZ.3 21-100mm T2.9-3.9 continues to top many people’s wish lists. And Sigma’s cine

Canon CN-E 20-50mm T2.4 Fujifilm MK 18-55mm T2.9 Fujifilm XF 18-120mm f/4 LM PZ WR Panasonic Leica DG Vario- Summilux 25-50mm f/1.7 ASPH Sony FE 24-70mm f/2.8 GM II Sony FE 70-200mm f/2.8 GM II Tamron 35-150mm f/2-2.8 Di III Zeiss LWZ.3 21-100mm T2.9-3.9 Prime lens Canon RF 50mm f/1.2L USM Fujifilm GF 80mm f/1.7 R WR Irix 150mm T3.0 Macro Irix 45mm T1.5 Nikon Z 800mm f/6.3 VR S Sigma 18-35mm T2 Cine Sigma 50-100mm T2 Cine Panasonic Lumix S 85mm f/1.8 Samyang AF 35mm f/1.4 FE II Samyang Xeen Meister 50mm T1.3 Schneider-Kreuznach Isco4all lenses Sigma 20mm f/2 DG DN Contemporary Sirui 50mm T2.9 1.6x Anamorphic Sony FE 50mm f/1.2 GM Zeiss CP.3 50mm T2.1 Zeiss Supreme Prime 15mm T1.8 Lens accessories Cokin Nuances Extreme filters Desview T3 teleprompter Formatt-Hitech Black Supermist Circle kit Formatt-Hitech Firecrest Ultra Cine Superslim kit Lee Proglass Cine IRND 2.1 Magic Video Box Schneider-Kreuznach True-Streak filters SmallRig Mini matte box Vocas five-axis dioptre holder Voxbox Pro

OPTICAL ACES From lens giants to filter heroes, this slew of big brands is leading the way in the world of glass

zooms – the 18-35mm and 50-100mm T2 – are consistently excellent. Competition in the

AF prime market is stiff, with incredible lenses like Canon’s RF 50mm f/1.2L USM and the




“Many filmmakers swear by manual prime lenses for creamy bokeh” Sigma 20mm f/2 Contemporary both worthy nominees. Fujifilm’s 80mm f/1.7 R WR is a top medium format choice – and the Nikon Z 800mm f/6.3 VR S is a fine super-telephoto. Many filmmakers swear by manual primes for the super-wide maximum aperture, creamy bokeh and tactile feel when focusing. Irix has two fantastic, well-priced primes on the shortlist. The 150mm T3.0 Macro and 45mm T1.5 offer handling innovation and top quality, Samyang’s Xeen Meister 50mm T1.3 puts the brand in a league of its own, while the Zeiss Supreme Prime 15mm T1.8 is a dream buy for any wannabe Oscar winner. Anamorphic lenses are still the holy grail for many. One of the best from the affordable Sirui range is the 50mm T2.9 1.6x Anamorphic, now built for full-frame cameras. And Schneider-Kreuznach’s new Isco4all is a unique solution, combining three spherical cine primes and an Iscorama anamorphic front adapter. We have a special category for accessories, too. A good matte box can be essential – and the SmallRig Mini is a great pro-style add-on. Filters are crucial, and this year has seen the prized Formatt-Hitech Black Supermist Circle kit joined by the Ultra Cine Superslim kit, ideal for smaller cameras. The ever-popular Schneider-Kreuznach True-Streak filters and Lee Proglass Cine IRND 2.1 are also nominated. These are simply stunning performers that plenty of professionals swear by. They are accompanied by good- value Cokin Nuances Extreme filters. Vocas always innovates – and its universal five-axis dioptre holder is a wonder of engineering that helps you focus much closer. Also in 2022, we’ve seen the launches of several hardware solutions to help filmmakers capture the increasingly popular right-down-the-lens style of interview. The Voxbox Pro and Magic Video Box are both great bits of kit and relative bargains – well worthy of a nomination. As is Desview’s T3 teleprompter, which enables you to use an iPad for presenting to camera.




And the award for best supporting role goes to… whichever brand made the biggest difference to your life! Although a tripod is essential, don’t forget to invest in a monopod, motorised gimbal, slider, rigs and other bits that keep footage smooth. Tripods are central to filmmaking kit. Some need a large, heavy unit to stabilise a cine camera. Others might require a much smaller set-up for a mirrorless rig or travel. Again, the Sachtler Flowtech75 remains a dream buy. It has flat, carbon-fibre legs and is speedy to set up, especially with Aktiv8T head. Sister brand Manfrotto has its own full-size range, and the 645 Fast Twin carbon tripod is light and remarkably quick. For a smaller option, the 190X aluminium has proved a worthy workhorse. British firm 3 Legged Thing has been a hit with filmmakers, thanks to the funky Tommy tripod with AirHed Cine head, while its Travis 2.0 is an equally popular, but simpler choice. The innovative build of Peak Design’s carbon-fibre Travel Tripod makes it incredibly compact. In monopods, the iFootage Cobra 2 C180 is a masterpiece of design. Perhaps most unusual is the Gudsen Moza Slypod Pro – a motorised kit that works as a slider or jib. For sliders, we raved about the Konova P1 KMS-S3 carbon-fibre slider. But you may prefer to cast a vote for the iFootage Shark Slider Nano or Kenro Double Distance. Rigs and cages are represented: the Red Komodo has seen a flurry of activity. None are more highly thought of than the Vocas full cage kit, although Tilta Professional also has plenty of fans. Movcam’s Kinefinity Mavo Edge kit is a quite wondrous product that allows two small batteries to power the camera while main batteries are changed. At the other end of the scale in size and price, the SmallRig Master Kit 3009 for Sony A7S III is a very popular and affordable cage. In the world of stabilisers, the Manfrotto 300XM is a clever remote control solution, while the DJI RS 3 and RS 3 Pro lift the tech to a whole new level. And the Zhiyun Weebill 3 Pro is a way to take the arm strain out of gimbals. Vote for your pick! SUPPORT

Tripod system 3 Legged Thing Tommy with AirHed Cine 3 Legged Thing Punks Travis 2.0 Benro A373FBS6Pro

Benro Rhino FRHN34CVX30 Kenro Twin Tube video kit Libec TH-Z Manfrotto 190X aluminium Manfrotto 645 Fast Twin carbon fibre Peak Design Travel Tripod carbon fibre Sachtler Flowtech75 MS with Aktiv8T head Sirui BCT-2203 Monopod iFootage Cobra 2 C180 Gudsen Moza Slypod Pro Libec TH-M kit Manfrotto Element MII Video Manfrotto XPro Slider/dolly Edelkrone SliderPLUS v5 Long Hague Powerslider 2 iFootage Shark Slider Nano bundle Kenro Double Distance Konova P1 KMS-S3 Manfrotto Magic Carpet Pro medium Motion Impossible Agito Rhino Carbon 24in Rig Movcam Kinefinity Mavo Edge kit SmallRig Master Kit 3009 for Sony A7S III Tilta Professional kit for Red Komodo Vocas full cage kit for Red Komodo Wooden Camera Pro camera four-section video Steadicam Air-25

ROCK SOLID From large tripods

to fluid heads, sliders and gimbals, these are some of the best bits of kit money can buy

cage for BMPCC 6K Pro Zacuto GH6 ACT Recoil Stabiliser/gimbal DJI RS 3 DJI RS 3 Pro Freefly Movi XL

Gudsen Moza Air 2 Manfrotto 300XM Zhiyun Crane-M2 S Zhiyun Weebill 3 Pro




The modern and fast workflow solution

A whole new way of easy editing is now here and affordable – thanks to Scan S uper-speedy computers – and the hard drives required to keep up with massive file sizes from high-res cameras – are hugely expensive. And that’s just for one user. If you have several people in a team, especially if they are socially distanced, the complexity and costs can spiral out of control. And if you need to hire more staff to produce a big project against deadlines, you can’t do it without buying or renting more costly kit – probably with an IT boffin to make it all work. Even if you can afford the gear, spec is often not even close to the performance of server-quality drives and GPUs needed to speed through 4K edits in real time. But there’s a new way of solving these issues, thanks to virtual technology pioneered by Disney animators Pixar, fine-tuned by tech firm NVIDIA, and now offered to filmmakers through business computing company Scan. Scan’s 3XS vGPU and Cloud Computing Solutions let you use your own computer through the internet to access a virtual, enterprise-level, PC workstation desktop. This gets you a ‘seat’ at one of Scan’s computers, which is faster and more capable than anything an independent production company could ever afford. Rent this monthly, from short-term quick-fix or last-minute project to a longer deal, and only pay for what you

“Scan’s systems are so rapid, what can take five minutes on a normal PC is handled in seconds”

Scan’s unique solution connects to the NVIDIA Omniverse project and RTX technology – a massive, multi-GPU platform developed for 3D simulation, with huge applications that can all link together. This platform enables creators to work collaboratively on 3D projects, all remotely and in real time. Footage can be ingested via a choice of several cloud-based options – including Scan’s own. As you work on an edit, share that screen with a remote colleague or client for instant feedback. No more waiting for it to render and exporting a rough edit to send by WeTransfer. It makes direct collaboration instant, saving lots of potential problems. That’s why it has been nominated for innovation of the year in the annual Pro Moviemaker Gear of the Year Awards. The winners are chosen by the public, so please cast your vote at

actually want. Scan monitors your current workflow and computing needs by using remote software – offering a solution to match. If you require more memory or faster GPUs for a limited time, Scan can turn them on quickly and you’re billed for their use. Scan’s systems are so rapid, what can take five minutes on a normal PC is handled in seconds, thanks to safe servers that cost around £70,000 each. Pricing is such that it can work out a more cost-effective monthly option than if you were to buy a basic computer. This will save both money and time – with no upfront costs.

VIRTUAL SANITY Scan’s computers are

designed for power-hungry 3D modelling programs, so video editing and sharing are incredibly quick

More information




ACCESSORIES These vital add-ons need to work properly every day to help get the job done. Going without reliable lights, memory cards, hard drives, monitors and software is impossible.

is one of the latest range of deeper cases that give great protection at a lighter weight. Other hard case options include the Manfrotto Pro Light Reloader Tough-55 Highlid. If you don’t want a solid hard case, but a lighter roller bag, it’s a good idea to look out for products especially designed for video. The Shimoda DV, Think Tank Video Rig 18 and Camrade Travelmate 360 are top examples. Going light with a holdall or backpack is often essential. So we’ve shortlisted kit like the stylish Peak Design Travel 45L backpack, ever-popular Lowepro Pro Trekker BP 450 AW II, Manfrotto Pro Light Flexloader L and Think Tank Video Workhorse 19. Some accessories make a big difference to the final footage

You must first effectively protect the kit and get it on location intact. Then, find a suitable bag that’s right for the gear you own and whatever you use it for, which can differ hugely from job to job. A resilient hard case could be the order of the day, to transport around a full cinema kit or load onto the hold of a plane. Other times, a backpack is necessary to travel light. There are so many bags and cases to choose from, offering different levels of protection, portability, security and waterproofing. If you want something as tough as possible, Peli has long been the gold standard. The Peli 1646 Air

EXTRA! EXTRA! Bags, lights, hard

drives, camera-top monitors and more – all are vital parts of filmmaking kit that deserve honouring

Roller/hard case Camrade Travelmate 360 Lowepro Photostream SP 200 Manfrotto Pro Light Reloader Tough-55 Highlid Peli 1646 Air Shimoda DV Tamrac Speedroller International Think Tank Logistics Manager 30 V2 Think Tank Video Rig 18 Backpack/holdall Lowepro Pro Trekker BP 450 AW II Lowepro Photosport Pro Manfrotto Pro Light Flexloader L Peak Design Travel 45L backpack Tenba Cineluxe 21 Hightop shoulder bag Tenba Fulton V2 all-weather backpack Think Tank Video Workhorse 19 Think Tank Video Tripod Manager 44 Monitor and/or recorders Atomos Ninja V+ Atomos Neon Atomos Shogun Connect

Atomos Zato Connect Blackmagic Video Assist

NAM Bolangte F Zylight F8-200 Bicolour Lighting innovation Airstar Neo Aputure Accent B7c RGBWW Astera Titan Tube Dedolight Neo Godox TL60 RGB NAM RGBW tube light Nanlite Pavobulb 10C Nanlite Pavotube II 15X Nanlite PJ-BM projection attachment Rotolight Smartsoft Sumolight Sumolaser Memory cards Angelbird 160GB AV Pro CFexpress SX Type B Angelbird 512GB AV Pro Quasar Science Double Rainbow CFexpress SE Type B Delkin Black 160GB CFexpress Type A Lexar Professional CFexpress Type B Diamond Nextorage AtomX SSDmini

Sandisk 128GB Extreme Pro CFexpress Type B

7in 12G HDR Desview R7S

Sony 160GB Tough CFexpress Type A External hard drives Adata HD830

DJI High-Bright Remote Monitor SmallHD Action 5 SmallHD Cine 18 4K TVLogic LVM-180A Amaran F22c Aputure Nova P600c Creamsource Vortex8 F&V K4000S Power Bicolour Litepanels Gemini 2x1 Hard Nanlite Mixpanel 150 Bicolour Rotolight Neo 3 Rotolight AEOS 2 Rotolight Titan X1 Sumolight Sumomax Zylight Go-Panel Hard lights Aputure LS 1200d Pro Astera AX9 Astera Pixelbrick Broncolor LED F160 Dedolight DLOBML2 Light & Motion Stella Pro CLx10 Nanlite Forza 500 Light panels

Blackmagic Cloud Store Lacie 1big Dock SSD Pro Lacie Mobile SSD Secure

Lacie Rugged SSD Pro Lexar SL200 2TB SSD OWC Envoy Pro Elektron Samsung Portable SSD X5 2TB Samsung Portable SSD T7 Shield 2TB Sandisk Professional G-Drive SSD Sandisk Professional G-RAID Shuttle 8 Sandisk Professional Pro-Blade Seagate Lyve Mobile Editing software Adobe Adobe Premiere Pro CC Apple Final Cut Pro X Avid Media Composer Blackmagic DaVinci

Prograde Digital CFexpress Type A

PNY X-Pro 90 UHS-II SD Samsung 512GB Pro Plus Sandisk 128GB Extreme Pro CFast 2.0

Resolve 18 Studio Open Broadcaster Software Studio




you produce. That’s certainly the case for camera-top monitors and monitor/recorders. These large screens offer handy features, like waveforms and false colour, to help nail exposure and frame exactly as you want. Many actually unlock more quality from the camera by allowing a higher bit rate or even Raw files to be outputted, and some are now connected devices for cloud workflow or live streaming. The most popular is the five-inch Atomos Ninja V+, which can be kitted up with accessories to make it a fully connected streaming device. And the Atomos Shogun Connect is a larger seven-inch version, with cloud and streaming tech built in. While the Atomos Zato Connect is a monitor designed to bring streaming to the masses at an affordable price. Blackmagic’s Video Assist 7in 12G HDR is a very capable unit that works for BRAW codecs. Take a look at the Desview R7S, SmallHD Action 5 or DJI High-Bright Remote Monitor with wireless onboard. One of the most important purchases that will immediately improve your work is to invest in lighting, where LED now rules the roost. Some are daylight, others bicolour, but evermore feature RGBWW functionality, so you can dial in any colour you like. Lots can be remotely controlled by an app.

Many filmmakers swear by LED panels to produce flattering light, but hard lights are seeing a huge resurgence – fuelled by the latest COB technology that seems to get more powerful all the time. Plenty of these are built to accept large modifiers, so give the best of both worlds – a hard, crisp light when needed, or gentle one when matched with a softbox. In the light panels class, Rotolight leads the tech drive again with its popular Titan X1, joined by smaller units in the shape of the new Neo 3 and AEOS 2 this year. Other popular panels you might wish to vote for include the Aputure Nova P600c and Litepanels Gemini 2x1 Hard – a soft light that can be made harder. For hard lights, it’s impossible to ignore the legendary Broncolor LED F160, by a brand that’s been a photographer favourite for decades. But the biggest news in COB lights is the huge, massively powerful Aputure LS 1200d Pro and Nanlite Forza 500. Both offer stunning “Hard lights have had a huge resurgence, fuelled by COB technology”

PANEL SHOW A large 2x1 LED light can make a massive difference to your films. This Litepanels Gemini Hard is one of the best





“For external hard drives, there’s no shortage of powerful products to consider”

for awards are the PNY X-Pro 90 UHS-II SD, Samsung 512GB Pro Plus microSD and Sandisk 128GB Extreme Pro CFast 2.0, so there’s a memory choice for all. For external hard drives – both portable and desktop – there’s no shortage of powerful products to consider. Samsung’s Portable SSD T7 Shield 2TB is a rugged drive, the fastest we have ever tested. But it’s a competitive market, as the Lacie Rugged SSD Pro Thunderbolt 3 is also blazing fast – not to mention the Sandisk Professional G-Drive SSD. For real innovation, look at the Sandisk Professional Pro-Blade system, which employs SSD drives and caddies to go from location to desktop seamlessly. And Seagate Lyve Mobile is a radical solution that uses rented drives on location, linked to cloud storage. It’s unique and will only grow in popularity as filmmakers get to grips with it. In the final category for editing software, usual candidates are the incredibly popular Adobe Premiere Pro CC, Apple Final Cut Pro X and the latest version of Blackmagic DaVinci Resolve 18 Studio. But you may wish to consider

performance and are affordable for what you get. In lighting innovation, lots of fresh ideas are once again bringing new and exciting possibilities to creative filmmakers everywhere. LED tube lights have taken off in a huge way. Many of them – at all kinds of price points and with different capabilities – make our shortlist. The Astera Titan Tube is a proven winner, but take a good look at the Quasar Science Double Rainbow, Nanlite Pavotube II 15X, Godox TL60 RGB and NAM RGBW tube lights, too. The Aputure Accent B7c RGBWW light bulb is once again nominated, as it replaces household bulbs to give a controlled practical light. The Airstar Neo is inflatable, while the Sumolight Sumolaser contains incredible power. You should also consider the Rotolight Smartsoft, which goes on the front of an LED and offers electronically adjustable diffusion. Very clever and seriously useful. Innovation can be found in memory cards and hard drives. These are put under increasing strain to keep up with escalating data rates of cameras or computers. With CFexpress Type A taking hold, the Sony Tough has been joined by the Delkin Black and Prograde Digital – all making the list. For the more common CFexpress Type B, Angelbird AV Pros, a Lexar Professional Diamond and Sandisk Extreme Pro are included. Also up

DATA CENTRES There's so much choice in media now, from Type A CFexpress cards to cloud-connected hard drives

Adobe’s – a beloved, cloud-based platform to help share work with other people in your team; or Open Broadcaster Software Studio, made especially for streaming. Times are changing, so cast your vote!





Awesome audio is crucial – and with the latest equipment, there is no need to struggle to get it right. Microphones are centre stage, but there are lots more products that deserve recognition. In the audio recorder/adapter category, there has been a lot of innovation around 32-bit float technology, where the range of audio captured is very wide. The Tascam Portacapture X8 is becoming a very popular example of this tech, although the Zoom F3 is a slimmed-down version that’s also getting a foothold with filmmakers. Alternatively, try the Beachtek DXA-Micro Pro+ for using XLR mics on just about any camera. The Panasonic DMW-XLR1E and Sony XLR-K3M XLR adapters do the same, with brand-specific benefits. For XLR mics, the Rode NTG5 is a favourite, joined by two from Sennheiser – the MKE 600 and MKH 416-P48U3. For DSLR-type mics, innovation continues apace with the Canon DM-E1D and Sony ECM-B1M. Joby has waded into the pro audio market, with the impressive Wavo Pro, while Sennheiser innovated with its compact MKE 400 and MKE 200. Rode has the new VideoMic Go II and VideoMic NTG. Wireless mic systems continue to develop. The Sound Devices A20-Mini is impressive, as are the Sennheiser AVX-MKE2 and XSW-D portable lavalier sets. A lot of launches have been for dual wireless kits. See the DJI Action 2, Hollyland Lark 150, Joby Wavo Air, Rode Wireless Go II, Saramonic Blink500 Pro and Sony UWP-D27.

Audio recorder/adapters Beachtek DXA-Micro Pro+ Panasonic DMW-XLR1E Saramonic SR-PAX1 Sony XLR-K3M Sound Devices MixPre-3 II recorder Tascam Portacapture X8 Zoom F3 Zoom H8 Microphone XLR Audio-Technica BP4029 Rode NTG5 Sanken CS-3e Sennheiser MKE 600 Sennheiser MKH 416-P48U3 Microphone DSLR Tascam DR-10L Tascam DR-70D Rode VideoMic Go II Rode VideoMic NTG Shure VP83F Lenshopper Wireless mics DJI Action 2 Hollyland Lark 150 Joby Wavo Air Rode Wireless Go II Saramonic Blink500 Pro Sennheiser AVX-MKE2 Sennheiser XSW-D portable lavalier set Sony UWP-D27 Dual Channel Sound Devices A20-Mini Azden SMX-30 Canon DM-E1D Joby Wavo Pro Sennheiser MKE 400 Sennheiser MKE 200 Sony ECM-B1M

SOUND CHECK From recorders to mics, wireless kits and more, there has been an abundance of audio innovation





Retailer of the year (new equipment)

AbelCine Adorama B&H

Cameraworld Cinegearpro CVP Park Cameras Pinknoise Systems ProAV Production Gear Samy’s Wex Wilkinson Cameras

SERVICES Right at the heart of the

Europe. Many of those nominated, however, are much smaller, giving very personal service to their loyal customers. Those like Pinknoise specialise in audio. Others are more general resellers that still offer lots of value-added extras to make the difference. Let the world know which retailer makes the biggest difference to you. In the category of rental houses, some smaller companies specialise in kit like lenses. Comparatively, there are full-size services able to offer enough to create your first-ever Hollywood film, including lighting trucks packed full of the latest gaffer gear. Do you prefer super-slick websites with real-time stock availability lists, or the human touch of a phone service? Which helps make your life easier? Have your say and cast your vote in the Pro Moviemaker Gear of the Year Awards 2022!

ADDED VALUE The best retailers and service providers do more than just sell products, but also give advice, repairs and hands-on support

moviemaking industry are the service providers all filmmakers rely on for advice, great service and after-sales support. These categories are designed to honour the very best in the business, who provide exemplary service and go the extra mile to keep pros out there and working. Two of the categories are for retailers – one for dealers specialising in new, and one for used equipment. The best don’t simply sell you things, but listen to your needs and offer technical help – perhaps a loan scheme, rental or fast repair – and have a direct line to manufacturers. These brands are a crucial part of the industry, wherever you live, so cast a vote to the company you believe deserves honouring for their incredible work. Some are very large, like CVP in the UK, B&H in the US or MPB with bases in the UK, US and

Retailer of the year (used equipment) Adorama B&H Cameraworld CVP Ffordes

KEH MPB Wex Rental houses Arri Rental

Broadcast Services Cameraworks Hireacamera Lenses for Hire LensPimp Panny Hire Pro Motion Hire Shoot Blue




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