Pro Moviemaker March 2022 - Web

The latest issue of Pro Moviemaker magazine gets to grips with a brand new concept in camera technology – the DJI Ronin 4D. It’s a cinema camera, four-axis gimbal that uses drone technology, a long-range wireless transmitter and a laser-guided AF system to work with any manual focus lens We also try out the latest XF605 4K camcorder that sets the blueprint for all future Canon ENG and events camcorders, plus we test lots of kit including two travel tripods, three mirrorless lenses, new audio kit and RGBWW lights, cine filters, a novel motorised gimbal and lots more. There’s lots of news on the hottest new filmmaking equipment such as the Canon EOS R5 C, Joby range of pro audio kit, a 400mm f/2.8 Nikon Z lens, revamped Rode Video Mic Go II and we look at sets of cine prime lenses to suit all budgets. As always, Pro Moviemaker has lots of information, advice and loads of equipment to help next-generation filmmakers. Every issue brings latest news, how-tos and lots of equipment tests along with real-world buying advice.

The XF605 camcorder is a dream for events and news TESTED: MAYTHE 4K BEWITHYOU

Our masterclass in shooting essential extra footage BRILLIANT B-ROLL

How using cloud services can streamline your work HEAVENLY TECHNOLOGY

MARCH 2022 www.promoviemaker.net

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FIRST LOOK Why you’ll be a fan of the mirrorless R5 C that thinks it’s a Cinema EOS cam SUPERCOOLCANON

Rated: Two Canon RF lenses, a fast Sony zoom, light tripods, cine filter kit, remote-control gimbal and lots more

We put the most unusual pro camera ever through its paces ROBO-CAM! DJI RONIN

The right kit to make recording two talking heads much easier DOUBLE-UP SIMPLICITY AUDIO ADVICE

Cutting-edge LEDs to help you create the latest looks FASHIONABLY LIGHT! NEWGEAR ROUND-UP

EYE-OPENER The DJI Ronin 4D is a new concept in cameras

The ultimate magazine for next generation filmmakers

Editor in chief Adam Duckworth Chief sub editor Alex Bell Sub editors Matthew Winney, Harriet Williams EDITORIAL ADVERTISING Group ad manager Sam Scott-Smith 01223 499457 samscott-smith@bright-publishing.com Senior account manager Emma Stevens 01223 499462 emmastevens@bright-publishing.com DESIGN Design director Andy Jennings Design manager Alan Gray Senior designer Lucy Woolcomb Middleweight designer Emily Lancaster Designer and ad production Man-Wai Wong Junior designer Hedzlynn Kamaruzzaman PUBLISHING Managing directors Andy Brogden & Matt Pluck

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Has it ever struck you just how similar in spec most cameras are to their rivals? Althoughmanufacturers point out the unique advantages of their latest products, they are usually just a step ahead, rather than a major leap. Whether you’re talking full-frame mirrorless, cinema cameras or even ENG-style camcorders, there is a never-ending quest for the upper hand in spec. If a big new technology is universally praised, then rivals find some way of leapfrogging it with something similar or ‘better’. Firstly, it was Full HD recording, then 4K, and now 6K or 8K. Sensors have grown fromone inch-type to Super 35, full-frame and even bigger. Frame rates have gone from24fps to 240fps. Dynamic range has increased, as has bit rate and bit depth. Focus has shifted frommanual to hybrid on-sensor phase or contrast detection. Yet the differences betweenmodels from various manufacturers remain slim. However, these similarities make it easy to buy with confidence, as you can feel safe that you’re purchasing exactly the right kit for your requirements. Then, along comes one renegade manufacturer that does something so totally different and unique, it causes shock waves. DJI’s new Ronin 4D is an interchangeable- lens, Raw-recording, full-frame 6K or 8K cinema camera, mounted to a four-axis gimbal, that uses drone technology to keep it level and beam its signal miles away. It deploys lasers to turn any manual focus lens into a full autofocus optic, and the Ronin can lock onto a subject and automatically follow its movements. Now that’s a real seismic shift in filmmaking – and it’s technology that DJI is uniquely placed to build. The company has vast experience in gimbals, drones and cameras, thanks to subsidiary company Hasselblad. Nobody else has all these areas of expertise in-house, so are unlikely tomake anything similar in a hurry. Therein lies a potential problem: general acceptance by filmmakers. Currently, most use mirrorless, cinema cams or camcorders – not hybrid Franken-cameras like the DJI Ronin 4D. It is simply incomparable to other units. DJI has a big task ahead in proving its worth to a world of potential consumers, largely content with their current camera kits. But it’s a fresh way of thinking and should be applauded. Read all about the radical Ronin in this issue. Hopefully you will be enlightened, andmaybe even tempted to try something totally new.

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 where available or converted using the exchange rate on the day the magazine went to press.

ADAM DUCKWORTH, EDITOR IN CHIEF

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The ultimate magazine for next generation filmmakers

MARCH 2022 CONTENTS AGENDA 6 THE CANON EOS MADE FOR MOVIES The EOS R5 gets a full makeover for filmmaking, with the ‘C’ model having a built-in fan to stop overheating and new user-interface for video. 8 RODE REVAMPS ITS NO-FUSS MIC The popular VideoMic Go gets an upgrade, with lots of fresh technology, plus Sachtler’s beefy tripod head, while Atomos gives a boost to the Sony FX6. 10 WAVO GOODBYE TO AWFUL AUDIO! Joby unveils a slew of mic and wireless kit suitable for all content creators, while Roland goes mobile mad for live streaming and Angelbird shows its newmemory cards. 12 NIKON SPORTS TELEPHOTO PRIME A brand-new Zmount 400mm f/2.8 telezoom fromNikon makes an ideal partner for the Z 9mirrorless camera, plus a 32-bit float Zoom recorder and Sigma film contest results. Make sure you bring your A-game to shooting B-roll, as it’s a crucial part of a quality production. Here are top tips on how to capture stunning footage. 22 THE GO-TWO SOUND SOLUTION Recording two interviewees at once is easier than ever, thanks to impressive hardware and software. We highlight some of the best bits you can buy. 28 GET YOUR HEAD IN THE CLOUD! How using cloud-based technology can make a massive difference to your business. From editing to storage, and even hardware itself – all virtual. ACADEMY 14 HOW TO SHOOT GREAT B-ROLL

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The ultimate magazine for next generation filmmakers

GEAR 32 LIGHT FANTASTIC

We put some funky LED fixtures to the test, to see how RGBWW technology can have a huge effect on the look of your film productions. 42 GENRE BLENDER! It’s like nothing we’ve ever tested before, as the DJI Ronin 4D combines a large-sensor cinema camera with a four- axis gimbal, long-distance wireless transmitter, and a laser-activated AF system that works on MF lenses. 52 CANON XF605 TESTED Meet the very latest generation of 4K camcorder, using an abundance of tech from Canon’s mirrorless and cinema cameras in an all-in-one body, that ENG and event shooters will just love. 59 MINI TEST SPECIAL A record ten pages dedicated to kit reviews, from a pair of compact tripods to a Sony telezoom, two Canon RF mount mirrorless lenses, a QR system for tripod heads, a unique motorised gimbal and lots more. 74 BUYERS’ GUIDE: CINE LENS SETS Nothing says ‘professional filmmaker’ more than a matched set of cine primes. We look at what a range of manufacturers are offering – from exotic, full-frame, vintage-style optics to the more affordable options.

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AGENDA NEWS

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Canon’s 8K full-frame cinemamirrorless The EOS R5 gets a moviemaker overhaul, with a ton of spec ideal for hybrid shooters T here is now an 8K full-frame mirrorless camera from Canon aimed specifically at filmmakers: the new EOS R5 C. It’s heavily

Shooting in 8K video gives four times the resolution of 4K video, so it makes massive crops to 4K a reality without losing detail. It can record high frame rate video up to 120fps, at 4K resolution in 4:2:2 10-bit, without cropping the sensor. That’s great for fast-paced action, and when the camera is paired with a gimbal or drone. Canon’s Dual Pixel CMOS AF still functions, even in high frame rates, and the EOS R5 C stores audio as a separate file from video, eliminating the need for distinct audio recording in fast frame rates. It’s the first Canon camera to record internal 8K (8192x4320 pixels) 60p Cinema Raw Light, the same codec as the EOS C300 Mark III and C500 Mark II. This captures the full dynamic range of the sensor and provides more data, perfect for grading and HDR – but in a smaller file size than full Cinema Raw. Cinema Raw Light now has three modes: RawHQ for highest quality, Raw

based on the current EOS R5 and retains that camera’s full photo spec. But the C-model has added cinema features, such as a fan-cooled sensor to stop the overheating that plagued the EOS R5 when shooting high-data video, plus timecode and a multi-interface shoe for easy audio. There is now no time limit for recording on this new £4500/$4499 cam. It still uses the EOS R5’s full-frame CMOS sensor, Digic X processor and the RF lens mount, to record 8K video and 45-megapixel stills at burst speeds up to 20 frames per second. Officially part of the Canon Cinema EOS system, the EOS R5 C can capture internal 8K/30p Raw recording – and up to 8K/60p, but only when using an external power source. There is not a time limit on any video recording.

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ST for standard quality, and Raw LT for light recording at the smallest file size. All three modes are 12-bit, regardless of frame rate. The camera can shoot in the popular 10-bit XF-AVC format up to 810Mbps and up to 8K in MP4 format – great for quicker delivery with minimal post work. The EOS R5 C also supports Raw output via HDMI for ProRes Raw recording, with a compatible external recorder like the Atomos Ninja V+. This enables ProRes Raw at up to 8K/30p. Proxy data can be simultaneously recorded to an SD card in-camera, helping to provide a fast and lower-resolution copy for speedy workflow. The camera supports HDR via PQ and HLG, as well as Canon Log 3 gamma for a wide dynamic range. The Dual Pixel CMOS AF system has eye AF and EOS iTR AFX settings. This technology tracks people’s eyes in real time, and can even follow their head as they look away from the camera. Working in combination with the optical IS in compatible lenses, the EOS R5 C also features electronic image stabilisation for smooth handheld footage. Two card slots – a CFexpress 2.0 Type B and UHS-II SD card slot – allow simultaneous recording options. Different formats, resolutions and bit depths can be recorded to each card at the same time for more flexible workflows. The EOS R5 C has the same Multi- Function Shoe found on the EOS R3 and XF605. This directly connects to, and powers, accessories such as Canon’s stereo microphone, a Speedlite 470EX-AI flash and Tascam’s CA-XLR2d adapter, for up to four-channel digital audio. “The EOS R5 C can capture internal 8K/30p Raw recording– and up to 8K/60p, but only when using an external power source”

CINEMA CHOICE If you shoot mostly stills and some video, the EOS R5 is the way to go. But if you focus largely on video, the new R5 C is the natural option – it offers so much more cinematography spec and comes at a great price

It also has a dedicated timecode in/out terminal for integrating into a professional multi-camera crew. Canon’s Content Transfer Mobile app allows fast and easy FTP file transfers and the editing of metadata, ideal for news. Also present is 5GHz and 2.4GHz Wi-Fi and Bluetooth. There are 13 assignable buttons for customisation on the weather-resistant body, a 3.2-inch vari-angle LCD and 5.76 million dot viewfinder – like the EOS R5. This model has two menus for stills and video. Choose stills and you get the usual EOS R interface; select cine and the very different Cinema EOS menus appear. ISO range is 100-51,200, expandable to 102,400. In stills mode, there is high-speed continuous shooting of up to 12fps using the camera’s mechanical shutter mode – and up to 20fps in silent electronic shutter mode. With 1053 Automatic AF zones, the camera can track the whole body, face or eyes of cats, dogs and birds with animal detection. And it offers vehicle subject detection for racing cars and motorcycles. canon.co.uk

FIRMWARE BOOST FOR EOS C70 The Canon EOS C70 will get a free firmware update that adds 12-bit Cinema Raw Light recording. The latest version has Raw Light LT 4K recording and XF-AVC proxy recording to support this. Also new are Frame and Interval options, like stop-frame animation and time-lapse video. And the camera has greater compatibility with 12 further lenses when using the Mount Adapter EF-EOS R 0.71x. This gives full optical correction, metadata and autofocus support when fitting EF mount lenses. In associationwith

FAN-TASTIC Cooling is no problem on the EOS R5 C, thanks to these vents and a built-in cooling system; a timecode port aids multi-cam shoots. Twin card slots handle internal memory duties – one is CFexpress Type B and the other SD

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AGENDA NEWS Rode revamps lightweight shotgun

Aussie audio leader Rode has revamped its popular camera-top VideoMic Go shotgun mic to the Mark II version. It offers great sound quality, while being very simple to use – and a few new tricks make it more versatile. It uses the latest acoustic design, first introduced with the VideoMic NTG and NTG5 shotgun microphones, for rich

and full-bodied sound. This can be outputted via a 3.5mm TRS output for cameras and USB-C for smartphones, tablets and computers. It weighs just 89g/0.2lb, uses no

batteries and has no external switches or controls – keeping things simple. When used in USB mode, the 3.5mm port functions as a headphone output for zero-latency audio monitoring and playback – turning the VideoMic Go II into a fully-featured USB mic. It’s ideal for use with compact cameras, smartphone recording rigs or as a desktop USB microphone. It comes with a professional-grade shock mount and windshield, and has a rugged all-metal body. Connecting the £99/$99 VideoMic Go II to a smartphone, tablet or computer via USB delivers features via the Rode app suite. Rode Central is a desktop and mobile companion app, that gives access to a high-pass filter, high-frequency boost, pad and complete control over the input and headphone output level. Rode Connect is the company’s free podcasting and streaming software, while the Reporter app for iOS and Android devices gives pro-level recording on smartphones. Rode has also released a single set version of the Wireless Go II microphone system, offering the same form factor and features, but with one transmitter instead of two. Since its release, the Wireless Go II has been upgraded several times, with firmware and software updates unlocking compatibility with Rode Connect software. This makes it the first wireless mic system of its kind to be fully integrated with podcasting software. Also added is a standalone recording function, turning the Wireless Go II into a standalone field recorder rode.com

GO-GETTER Rode’s VideoMic Go II uses the latest audio technology from the firm’s NTG5 and VideoMic NTG mics for even better sound quality – and it now has USB-C

Sachtler has beefed up its range of Aktiv fluid heads, with the new 10T, 12T and 14T accepting heavier payloads of up to 16kg/35.3lb. The revolutionary heads – which won in the Pro Moviemaker Gear of the Year Awards 2021 – use quick-release technology to allow operators to mount, level and lock the head in seconds. And switch quickly from tripod, slider or handheld. The Aktiv12T and 14T heads have a greater payload range and more counterbalance steps than the DV 12 and Video 15 heads. All the Aktiv heads feature 15 steps of counterbalance and seven steps of drag. The 100mm range starts at £2150/$2688. sachtler.com HEAVY-DUTY SACHTLER

DUAL RAWOPTION FOR SONY FX6

Both the recorders allow Sony’s FX3 and FX6 to use HDMI, with resolutions up to 4.2K and 60fps. The Ninja V+ Pro Kit comes with an SDI module, which also enables Raw support for 4K up to 120fps. atomos.com

Sony’s FX6 full-frame cinema camera will be able to record ProRes Raw over HDMI to the Atomos Ninja V and Ninja V+ monitor/recorders, due to a forthcoming firmware update. It’s the first time a camera can use both SDI and HDMI Raw recording options.

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AGENDA NEWS Joby joins the pro audio ranks

A range of flagship audio kits have been unveiled by Joby – its Wavo line has five brand new products. Most interesting to professionals is the £258/$299 Wavo Pro, a shotgun mic equipped with an intelligent hybrid analogue/digital system to power onboard active noise reduction using Rycote technology. There’s also an integrated second 3.5mmmic input. It’s designed to pair with the latest in mirrorless camera hardware, to deliver broadcast-level audio. A sound management app for iOS and Android connects via Bluetooth. It provides real-time, remote monitoring of sound input, independent dual-mode EQ and customised, shareable audio set-ups. A second mic input allows easy interviews or dual-channel recording. There’s an onboard -10dB safe track, mono or dual-channel recording, while auto power mode switches the mic on or off automatically, along with the camera. The mid-range Wavo Pro DS is around $50 cheaper and has many of the same features, but a simpler interface. The £215/$249 Wavo Air is an instant- pairing wireless microphone kit. It comes with double transmitters, two lavalier mics, and cable adapters for both cameras and phones. Long-range wireless capture lets you record up to 50m/164ft away. The Wavo Lav Pro is a £69/$80 pro- grade lavalier mic that works with the Wavo Pro or other systems. A pro-grade capsule and included foamwindscreen help to create crisp audio, and remove vocal plosives or soft wind. A 2.5m cable connects to the Wavo Lav Pro, which has a 3.5mm TRS connector. joby.com Roland’s AeroCaster is a user-friendly system for creating a wireless multi- camera streaming set-up. It consists of the AeroCaster VRC-01 hardware control surface, the AeroCaster Live app for iPad and the AeroCaster Camera app for iOS and Android mobile devices. The £273/$295 AeroCaster system can switch wireless camera feeds from smartphones and tablets, plus screen shares from computers and mobile devices. The system supports up to four wireless devices at once. Roland’s video technology is available for adding graphics, titles,

ANGELBIRDS SWOOP IN A new pair of Angelbird CFexpress Pro Type B media cards support 8K Raw video. They offer different speeds and sizes, despite both costing £185/$180. The AV SE model is 512GB, while the SX is 160GB. The AV Pro CFexpress SE has a write speed of 800MB/s, while the SX version boasts 1480MB/s. Both have the same maximum read speed of 1785MB/s. They come with a three-year warranty and Angelbird’s data-recovery service. The £81/$80 CFexpress Type B card reader processes data using a USB-C 3.2 Gen 2x2 20Gbps connection logic, also compatible with any Thunderbolt 3/4 cable. transcontinenta.co.uk

GOOD JOBY New audio gear includes the Wavo Pro shotgun mic with noise-cancelling technology (top) and the Wavo Air wireless system (above)

ROLAND SIMPLIFIESWIRELESS STREAMING FROM SMARTPHONES

video clips, photos and more. Operation is quick and intuitive, with a direct streaming connection to YouTube, Facebook Live, Twitch and custom RTMP channels over Wi-Fi or 4G/5G cellular networks. proav.roland.com

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AGENDA NEWS

Zoomin on the F3 recorder The new pocket-sized F3 field recorder from Zoom has two XLR inputs and can record 32-bit float in WAV format. The F3 is equipped with two AD converters – one for low gain and one for high, which suits both loud and quiet sounds. The 32-bit float WAV format is ideal when sound levels suddenly increase, or there’s no way of monitoring audio and adjusting levels.

SIGMA FILM FESTIVAL WINNERS ANNOUNCED An evocative short about a man reliving his youth through old vinyls has won top prize in the Sigma60 Film Festival. The competition, which invited UK creators to enter a film under 60 seconds with no spoken word, was judged by Pro Moviemaker editor AdamDuckworth, pro filmmaker Alex James and Sigma’s cine specialist Sam Smith. The winner, Better With Age by James Edward Kilpatrick, Jack Morris, Mike Regan and Josh Bamford, won a Sigma 18-35mm T2 High Speed Zoom Cine Lens. Second was Night Feed , a horror short by William Allum. Soshal Des Stance by James Sonfield – about cycling through deserted streets in lockdown – came third. Check out the top three films at the website below. Sigma UK also announced that, for each camera and lens sold in 2022, a tree will be planted in partnership with Eden Reforestation Projects. And every time a camera or lens is registered for a free extended warranty, a second will be planted. sigma-imaging-uk.com

AA batteries, an optional AC adapter or USB powerbank. Charge when using AA batteries can last up to eight hours. It records to microSDHC cards with a capacity of up to 1TB. Remote control is managed with a smartphone app and Bluetooth. There is timecode compatible with Timecode Systems UltraSync Blue and the optional BTA-1 Bluetooth adapter. No price has yet been revealed. zoomcorp.com

It includes a headphone out and a line out, and can be powered by two

WINNING FORMULA The Zoom F3 recorder is very small, yet uses the powerful new 32-bit float WAV format

SHOWGETS GO-AHEAD The Media Production & Technology Show is back and will be held at London’s iconic Olympia on 11 to 12 May. There will be a theatre dedicated to technology in broadcast and media, plus a new AV theatre for multimedia presentations. The event will have a seminar programme covering all aspects of broadcast, content creation and technology – including audio, remote production, lighting, post, sports broadcasting, training and more. The Technology Theatre brings together leading experts, speaking across a variety of high-tech topics, while the Audio Theatre will show the latest trends and innovations in sound, ADR, dubbing and mixing, location sound, music composition, podcasting and sound restoration. mediaproductionshow.com

Nikon’s potent Z 9 mirrorless will finally get the superfast telephoto glass needed to be taken seriously as a sports and wildlife camera. Newly launched is the Nikkor Z 400mm f/2.8 TC VR S, with built-in 1.4x teleconverter. The £13,499/$13,997 optic is the first Z lens to adopt Nikon’s Silky Swift VCM focusing system, using optical encoder for fast AF, with snappy subject acquisition and tracking. It’s In-lens vibration reduction gives a 5.5-stop advantage, even with built-in teleconverter activated; and Synchro VR works with the Z 9. ED, Super ED and SR glass will counter aberrations, and fluorine coating protects the front element. nikon.co.uk SPORTS LENS BOOST FOR NIKON Z SERIES

also the first Z lens to feature Nikon’s Meso Amorphous Coat, offering high anti-reflection performance, with smaller-than-nano particles. The lens is fully sealed around moving parts and its centre of gravity is towards the rear for stable handling. Controls can be customised, including assigning functions to the Fn ring.

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JOBY ADVERTISEMENT FEATURE

JOBY’s hi-fifive Super sound for all content creators: that’s the goal of the newWavo range of audio equipment

OBY’s latest mission is to banish woeful audio forever, thanks to its brand-new range of easy-to-use, innovative microphones and wireless systems under the Wavo brand. Whether it’s professional on-camera mics, or innovative solutions for podcasters and gamers, the plan is to bring help to the estimated 40million people whomonetise their social media content. Here, great audio is a critical component of success. JOBY, makers of the famous GorillaPod system, now has a professional-grade mic called the Wavo Pro that produces broadcast-quality sound. This flagship shotgunmic has an intelligent hybrid analogue/digital system. The ANR, a technology that incrementally reduces noise in your recordings, has been developed by JOBY, with the support of the Rycote team. A simple soundmanagement app for iOS and Android devices offers real-timemonitoring of sound input, plus dual-mode EQ and customised, shareable set-ups. It records a -10db safe track in case of sudden noise increase. And there’s a second 3.5mm input, to allow an additional mic to be plugged in for dual-channel recording – ideal for Q&A interview set-ups. To avoid the battery running flat, or recording with the sound still turned off, auto power mode switches the mic on or off automatically together with the camera. Front and back LEDS signal that audio is on and working. If you don’t need the bells and whistles of the Wavo Pro, but want great recording

as simply as possible, a mid-range mic called the Wavo Pro DS has most of the innovative features with a more simple, plug-and-play interface. Bothmodels have safe track function, plus USB-C socket for charging or to enable it to be plugged into a computer for live streaming. For easy wireless audio, the Wavo Air is an instant-pairingmicrophone kit that comes with double transmitters for interviews, two lavalier mics, and cable adapters for both cameras and smartphones. Long-range capture using the robust 2.4GHz wireless technology lets you record up to 50m/164ft away. The compact units use a unique JOBY mounting system that offers magnetic mount lanyard, belt clip or coldshoe mount, GorillaPod leg clip andmany more options. Also new is the Wavo Lav Pro, JOBY’s first truly, top-of-the-line lavalier mic that works with the Wavo Pro or other systems. A pro-grade capsule comes with foam windscreen and creates a crisp, warm tone that removes plosives and light wind noise. A high-quality 2.5m cable links to the Wavo Lav Pro, which has a 3.5mmTRS connector. The Wavo Pod is a large-diaphragm, USB condenser microphone for audio streamers. It has the versatility of both cardioid and omnidirectional pickup patterns, with 24-bit/48kHz high-res sampling rates. Included are a zero-latency headphone monitoring 3.5mm jack, volume and gain knob with one-click integratedmute, pop filter and desk stand. It also comes with an adapter to easily connect to any boom arm. Whether podcaster or pro filmmaker, it’s time toWavo goodbye to complicated audio gear with JOBY’s selection of innovative, great-value recording equipment. “The plan is to bring help to the estimated 40million people who monetise their social media content” LISTEN TO THIS (Down from top right) With the new Wavo Pro, Wavo Air wireless kit, Wavo Pod and Wavo Pro DS, as well as the new Wavo Lav Pro (bottom left), Joby now has a full range of top-quality sound equipment to suit all users

More information

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ACADEMY SECONDARY SHOTS

How to bring your A-game to shooting extra footage HOW-TO SPECIAL B-ROLL WITH IT

WORDS ADAM DUCKWORTH

PRO MOVIEMAKER

SECONDARY SHOTS

I t might be called B-roll and typically used in three-second bursts, but it’s absolutely crucial in order to make A-grade films. B-roll is the extra footage used to enhance the real story – the A-roll, that is. The A is the main subject of the scene or narrative, while the B-roll is additional imagery that can establish the tone, characters or setting. More simply, it provides extra footage for the editors to break things up and change pace. That includes being able to cover up inevitable mistakes. Far from an afterthought, it’s often what transforms a film from being an amateurish recording to something far slicker and more professional. It’s where you can get really creative, as alternative angles, different lenses, funky camera moves, extreme close-ups and drone shots can move the visuals of your story on to new heights. Some B-roll clips are so important, they’re pretty much as essential as A-roll – such as an establishing shot, close-ups

edit, as it can add a lot of interest and hide awkward cuts. Remember, B-roll is not for showing off your flashiest moves – unless they add to the story – but to contextualise the setting or tone. It can help transitions between shots, or be used as cutaways with a voiceover. And it doesn’t have to be video. Graphics, charts, animation, old photos – all can be valuable when helping to tell the story. Some lucky filmmakers have a second unit to shoot B-roll, allowing them to record the A-roll simultaneously. Most don’t, so have to do it themselves, before or after the main footage. And never be tempted to put it off, as things will change, and the opportunity could be gone. When you are faced with producing B-roll shots, it’s useful to have a go-to list. It won’t work in every case, but if you run out of ideas, don’t panic – have a go at shooting a few of our favourite ten B-roll bankers. Remember, variety is the ultimate key to success.

of details or candids. It can also include archive or stock footage that you would never be able to shoot as part of the actual film. Need a very short drone snippet of downtown New York at twilight? Or tropical fish on a coral reef? Or a sunrise time-lapse over the Yosemite Valley? Don’t think about shooting it yourself... hunt down stock footage instead. When shooting your own B-roll, the golden rule is that you can never have enough. Keep on rolling around every scene, as you’ll never know what comes in useful. Of course, the best plan is to draw up an essential shot list, but an experienced filmmaker will always record more than this. Don’t just focus on one angle. A fresh viewpoint with a different lens can give more visual interest to the scene. Look from down low, up high, with a super- wide lens close-up, or from afar with a long lens. Even from afar with a wide lens! Do focus pulls, shoot some extreme close- ups of details. It’s all valuable stuff in the

KEEP ON ROLLING Alternative angles and viewpoints can add a huge amount to your film’s production value, so make sure you go along for the ride when you can!

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SECONDARY SHOTS

1 The establishing shot It could be a dramatic drone shot, or a cropped wide shot on a wide or long lens. It helps set the scene, and also the time, weather and feel of the project. A quiet village on a sunny day is very different to a neon-lit city street outside a busy nightclub, for example. 2 The establishing object A useful tool is to go from a wide shot to close-up detail – to tell the story of where you are. This could be a tight shot of ballet shoes, or a boxer putting bandages on. Perhaps a road sign, trees bending over in the wind, or a car key turning on an ignition. Entrances and exits of where you are can also be useful. 3 The establishing reveal Instead of going with a straight wide shot of the subject, try a camera move. Have foreground interest obscuring the subject, then slowly move the camera to reveal everything. Ideal for a slider, a motorised gimbal or even a jib. Movement works wonders, if used correctly. 4 Reaction shot It could be a crowd cheering for a goal or groaning in defeat, or a single person laughing at another’s jokes. It could even be a staged ‘noddy’ shot to show an interviewer agreeing with a talking head. Or maybe just the reaction between two people talking.

5 Unscripted clip Always try to shoot candid-type footage of your subject. This can be laid over the top of some dialogue, to build up a wider story and add visual interest. Interview a blacksmith and show the subject hammering some metal. But also get B-roll of the person moving things around their shop, stoking the fire, putting their gloves on or anything they would normally do – this gives a fuller picture of the environment. 6 Slow is good A bit of slowmotion can add a lot to the production values of your shots, so give it a try if the subject suits. For action, wildlife, sports and all forms of fast movement, it’s an obvious thing to do. Overcrank your camera and go for it. In fact, you could shoot almost all of your B-roll at faster frame rates, in case you want to slow it down in post. If shooting at 25fps for PAL, try a minimum 50fps. Or go up to 120, 180, or even 240fps if your camera can handle it. For a bar scene, an ice cube dropping into a glass in slow motion can work.

“Always try to shoot candid-type footage of your subject. This can be laid over the top of some dialogue, to build up a wider story”

AT THE DOUBLE A slow-motion, silhouette shot of a high-flying dirt biker in the Qatar desert is atmospheric and sets the scene for a stylish short film

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7 Just move it! As we’re shooting movies, it’s good to think about movement. If the camera is locked down and there’s some movement in the frame, that’s usually a positive. Conversely, stillness can work to create tension, as the viewer is waiting for something to happen. But if there is no action and you’re not shooting a still scene for effect, shifting the camera can be a great idea. Try panning or tilting. Or using a slider, especially when revealing something important. A jib can work well, too. 8 Reallymove it! Transporting the camera a short distance is good, but you can think bigger! Use a drone, or an FPV drone for a unique angle. Try mounting your camera – or a small action cam– to a car, motorbike or bicycle. This can give a great POV shot – but always consider safety first!

9 Tracking tips

Big film crews have dollies on tracks, huge Russian Arm camera stabilisers, cameras on zip wires, motorbikes with platforms controlled remotely, extending arm cranes, or even someone on a Segway or skateboard, rolling alongside the subject for ‘tracking’ shots. With a motorised gimbal, you have access to a hugely mobile camera that takes the shakes out of your footage. Walk behind or in front of your subject, use it like a dolly, or place it on the end of a monopod for very low or high shots. Another consideration is mounting it to your own vehicle using a commercial mounting kit – and only drive on private land with permission! 10 Camera tricks There’s a time and place for a focus pull, and B-roll is usually where it works well. While lots of people use slow motion, consider very low frame rates for some blurry motion. Try a time-lapse or motion lapse, if you have the luxury of the right kit and time to do it. If your gimbal has the Inception -style 360° roll function, try a shot with it. It might work, it might not. Or, put your gimbal on a tripod and control it remotely, moving it during the shot. If you don’t try, you’ll never know!

“Have a skateboard rolling alongside for tracking shots”

SMOKING BARREL For an unusual look, try the Inception-style shot by holding your gimbal horizontally and spinning the camera through 360°. It won’t work for every film, but can add something a bit different when used at the right time

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Marshall’s POV The electronics experts at Marshall discuss the benefits of global shutter cameras in sports production P oint of View (POV) cameras are used in all types of production. The intention is to provide the viewer with an immersive

performance in fast-paced action, racing and movement – reducing motion blur, lean or distortion within the field of view. Global shutter sensors perform better in these environments, as all pixels are exposed simultaneously. A good example of this is evident when capturing spinning propellers on a plane, or the swing of a bat or golf club. The image can appear warped or bent. Global shutters are designed to capture this type of movement completely, instead of rolling through it, enabling a ‘freeze frame’ truer to what a human eye would see. Also, where a large display might be in the background, global shutter cameras will remove the rolling effect seen on screen. Sequential Image Capture Rolling shutter sensors scan through an image in sequence (usually top to bottom). These cameras are a good option for more traditional image capture, with typical motion within the field of view. Filming a speaker, singer or esports athlete isn’t as likely to contain superfast movement. In these scenarios, the rolling shutter sensor will have less noise and a wider dynamic range, while generating less heat. This has, historically, been a less expensive option than taking the global shutter path. But, they can sometimes cause warping, leaning or motion blur – in extreme cases, a global shutter should still be considered.

POV is a mainstay The unique ability to remotely adjust POV cameras from back in the control room has become even more relevant in today’s landscape of social distancing and reduced on-site staff numbers. A smaller team can capture the same quantity of camera angles throughout a venue, track or set as before. The ability to adjust, paint and match the cameras – easily and remotely – is now commonplace in video production. Marshall Electronics offers a superb range of cameras – and sensors – that can match the requirements of any POV production. It recently launched its CV568 and CV368 global shutter cameras with genlock. These POV models offer an impressive 1/1.8- inch Sony sensor with global shutter – as well as 25% larger pixel sizes – resulting in crystal-clear, low-latency capture even in low-light environments. And Marshall cameras offer frame rates of 23.98, 24, 25, 30, 50, 59.94 and 60fps. The CV568 miniature HD camera is built into the same-sized body as CV503 and CV506 cameras. It has rear-panel protection, interchangeable M12 lenses, secure locking connections and remote adjust/match features. The CV368 compact HD follows the design of CV344 and CV346 cameras, with slightly larger CS mount lens types and a range of variable and fixed options. But the similarity stops there, as both models pack a larger, more powerful global shutter sensor with genlock (signal-sync), producing crystal- clear images at affordable price points. “The ability to adjust, paint andmatch cameras – easily and remotely – is now commonplace”

experience, observing from that unique perspective. They can capture a reaction on a subject’s face, or witness an event, stunt or scene that would be too dangerous to capture in-person. Some key characteristics of POVs are their discreet size, durable builds and affordable prices, while still maintaining an image quality similar to larger-format cameras also in the production. Important features include the ability to remotely adjust and match cameras, as environments change and light fluctuates. Another factor is the sensor type and lens flexibility. Is it built around a rolling shutter or global shutter? The difference between the two can be quite drastic, pertaining to how the sensor scans the field of view. One is not better than the other, each has benefits and trade-offs, and both have a purpose in video production. Simultaneous Image Capture Global shutter camera sensors are nothing new to the production industry. When customers are challenged to capture faster motion – with cameras mounted in cars or motorcycles, for example – anomalies become more of a difficulty. This form of image capture improves

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V for VistaVision! The new V-Raptor means a large format 8K Red camera is more affordable than ever I f you’ve always yearned for a Red camera with large format VistaVision sensor – like so many high-end film productions employ – but the price cameras, the V-Raptor features an anti- aliasing filter to counter moiré, but unlike DSMC2 cameras, it isn’t user-changeable. The V-Raptor shows no sign of aliasing or magenta orb/dot pattern artefacts on skin.

has been out of your league, the V-Raptor is big news. It’s a sub-£20,000 cinema camera that captures incredible high frame rates in a compact body, with some rather unique features. That’s serious money, but considering what it can do and the market it’s aimed at, the price is incredible – certainly next to contemporaries such as the Red Ranger Monstro, which costs nearly double. We’ve had a Stormtrooper V-Raptor for a while now, and have managed to shoot a range of different projects with it. Although our RAIDs haven’t appreciated the massive data increase filming in 8K. We’ve shot studio B-roll with it – plus a ton of creative stuff with an array of different lenses – but haven’t had the DSMC3 monitor. This is a key accessory, unless you have a Cine 7 or Indie 7, with which the camera can now be controlled,

The shutter is a conventional rolling type, unlike the Komodo with its global shutter. Red claims the V-Raptor sensor has half the readout speed of the Monstro at just 8ms. That’s incredibly low for a large sensor, and we found it hard to reproduce any rolling shutter artefacts. The V-Raptor features a cooling system with a huge heat sink, decent-sized fan and thermoelectric exchanger – to keep the sensor at a constant temperature – along with decent cooling vents. Since we started shooting with the camera, Red released a new de-Bayer firmware for decoding R3D Raw files, which has improved the image drastically. The files look much cleaner, with far fewer de-Bayer artefacts. With the V-Raptor absent of a dual base ISO sensor, it limits chroma noise

too. We used the SmallHD Cine 7 as our primary monitor. JUST PURR-FECT The Red is at home with small RF lenses to heavyweights (top). The files can be easily graded (above) That glorious sensor The all-new sensor is the same size as the Monstro at 40.96x21.60mm, giving it an effective pixel count of 8192x4320 – roughly 35 megapixels. Red claims 17+ stops of dynamic range, which is the same as the Monstro. The default ISO is 800, with a range of 250-12,800. Like Red’s previous

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reduction in-camera at high ISO, to preserve image quality and allow for more precise noise reduction processing in post. One of the most impressive features is its high frame rate capabilities. In 8K, it can capture 120fps in 17:9 and 150fps in a 2.4:1. As you step down the resolution, the camera windows the sensor. In 2K, it captures 480fps in 17:9 and 600fps in 2.4:1; and up to 1000fps in a 4K 8:1 crop mode. The quality of slow-motion footage is fantastic, and the V-Raptor features both pre-record – ideal for wildlife and action – and time-lapse recording. Red Raw The 16-bit R3D is the most powerful Raw codec out there, as it leaves decompression and de-Bayer for post. Settings like ISO, colour space, gamma and white balance may be altered non-destructively. The V-Raptor now uses HQ, MQ and LQ for high, medium and low quality, respectively. This simplification does give advanced users fewer options, though. For a simpler workflow, capture in 4K or 2K up to 120fps in ProRes 4444 XQ, 4444, 422 HQ, 422 and LT. For certain settings, you can record R3D and ProRes 422 HQ, 422 or LT simultaneously, depending on which CFexpress Type B card you have. Locked in The V-Raptor uses Canon’s RF mount: the same as the Red Komodo, but with a locking mechanism. And it features the same phase detection autofocus

FLAMING GOOD! Despite not having a dual ISO sensor, the V-Raptor performs well in low light, thanks to sensor size (above). Lots of control buttons on both sides, plus professional I/O options, make the Red a dream to use on set (below)

be releasing their own DSMC3 five-pin to dual XLR adapter. To power the camera, a mini V-Lock plate is built-in, and Red will be making an adapter plate for larger batteries, if these are preferred. Our tests show a 150Wh battery with Red monitor attached will last about two hours. Red has also developed a mobile app, compatible with the Komodo and V-Raptor, available free via the Apple and Google Play stores. As well as controlling a camera over Wi-Fi, it’s also possible to monitor your image with a little bit of a delay. The V-Raptor does feature a USB-C output, to which a smartphone can be directly connected – and it provides a lag- free preview via the Red Control app. This is probably the best free camera control app ever, both well-featured and really useful. Is it for you? The Red V-Raptor lives up to the hype, but whether it’s the right tool to invest in will be down to your style of film production. If you’re after 8K Monstro image quality, industry-leading internal Raw, fantastic frame rate options in a compact body and an incredible price point, the V-Raptor could be an amazing option.

introduced with the Komodo. Performance is great, but hopefully Red can develop some kind of advanced tracking system– that would make it an absolute dream for action sports filmmakers. The camera can shoot a selection of anamorphic formats. Choose from a combination of resolutions, aspect ratios and de-squeezes. However, there are no internal ND filters. Although an XL version of the V-Raptor should offer them– which Red has said is coming in 2022. The short- flange RF mount allows use of mount adapters with ND systems built-in, for when you want to use longer flange lenses, such as EF or PL. Sound advice There is an internal microphone and a five-pin input for audio. So, you can use accessories like the Wooden Camera A-Box or Beachtek DXA-Alexa breakout to get full-size XLR inputs. Red will also

“The 16-bit R3D is themost powerful Raw codec out there, as it leaves decompression for post”

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TALKING HEADS THE GO-TWO AUDIO SOLUTION!

Recording a pair of interviewees into one cam is now somuch easier – thanks to new tech

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W ireless radio mics have between mics and cameras. On everything, from lapel mics to handheld reporter mics and shotguns on booms, just plug in a wireless transmitter and beam the signal to a receiver in your camera or recorder. Using an omnidirectional or cardioid lav mic, a talking head can move around unencumbered by a trailing XLR cable. But, attempting to record two people at once –maybe an interviewer and interviewee transformed the working lives of filmmakers. We can finally break free from long cables – can be a nightmare. It often calls for two totally separate systems recorded independently, or combined with a two- into-one adapter cable or mini mixer. This adds complexity and risks something

going horribly wrong. Along with the boom of smaller cameras and vlogging, though, there is now a range of smaller, integrated solutions. And even camera manufacturers are getting into the market. Sony was first, with its UWP-D wireless system, which works via Sony’s multi- interface shoe. The dedicated receiver unit fits on the camera, and communication is via the clever hotshoe – no cables needed. The camera automatically takes its audio feed from the UWP-D and the camera battery can power it, too. There are also options to plug the receiver into the camera via a conventional cable. The URX-P03D dual wireless kit costs £1242/$1365. This accepts signals from two distinct transmitters, which it records on different channels and outputs both

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“Rode’s incredibly compactWireless Go IImic is typical of the latest breed of two-mic wireless systems that workwith every camera”

separately to your camera, via the MI shoe or using a pair of XLR leads. The receiver has a third input for another mic – that could be a lav mic, small stereo mic or ambient sounds. Sony also has a range of all-digital UWP-D transmitters and receivers that are even more compact, made for the latest digital audio systems inside more recent Sony models. Canon is also jumping on the scene, with its own multi-interface shoe on the EOS R3 and R5 C mirrorless cameras – and XF605 camcorder. There is no Canon two-mic wireless option yet, but that will come. The legendary brand is currently working with Tascam for a dual XLR input accessory that uses the shoe. Rode’s incredibly compact Wireless Go II mic is typical of the latest breed of two-mic wireless systems that work with every camera. The package includes two transmitters with built-in mics, internal recording and an extended wireless range. These communicate with a single, camera-top receiver. The £245/$299 Wireless Go II transmitters have their own integrated, broadcast-quality lav mic built in – or you can plug in an external lav. The kit also comes with windjammers that bayonet onto each transmitter mic. All units come in sync with each other, but it’s easy to re-sync. A button on the unit cycles through gain settings, and

SOUND SIMPLIFIED Setting up audio kit to record two separate talking heads used to be a pain – but the latest breed of wireless systems make it easier than ever, due to some clever innovations

a small LCD display shows levels and peaking for both channels. The Wireless Go II features a standard 3.5mm analogue TRS output cable for cameras, plus a digital audio output via USB-C for smartphones and computers. Both channels can be combined into a single one, or kept separate for more control. On-board recording manages seven hours of uncompressed audio to each transmitter’s internal memory as a backup. This feature is set via the Rode app, as are firmware updates and activation of a safety channel. Batteries last up to seven hours, with a recharge time of around two hours. In terms of reliability over a long distance,

CLEVER TECH Sony’s dual wireless system (left) connects to the camera via a multi-interface shoe, instead of pesky cables

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