The new Pro Moviemaker magazine is out now! The latest issue of Pro Moviemaker is packed with essential kit, inspiration plus practical advice and business tops for working filmmakers and content creators. We put the hugely anticipated Sony FX5 through a full real-world test, get hands-on with Canon’s video-focused EOS R6 V and meet talented filmmakers to discover the techniques behind their work. Plus, learn how to take control of colour on set, explore the latest cameras, lenses, lighting and production gear, and discover the new technology changing the way we shoot, edit and create.
NEW-LOOK MAGAZINE FOR CONTENT CREATORS
A robotic gimbal and cinematic colour come to Honor phone THE ARRI SMARTPHONE
GEAR BUSINESS TECHNIQUE
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How a wildlife content creator turned her hobby into a business FROM PASSION TO REEL MONEY
Sony’s edgy new FX5 boasts open gate, Raw and super-speed 4K! THE NEW REBEL cinema with attitude
HUE GOT THIS, AS WE REVEAL THE ULTIMATE COLOUR CHEAT SHEET THE STACKED AND LOADED CANON R6 V IS PUT TO THE TEST
Sep/Oct 2026
£5.99
Internal Raw shouldn’t be just an exotic flagship feature any more ith the new Sony FX5 we test this issue finally marking the last major manufacturer to offer compressed internal Raw recording, it’s a major milestone moment for serious cameras, heralding a huge leap forward in image quality and control. And now comes news that the patent that kept lots of manufacturers away from Raw has been thrown out by a Japanese court. Few patents have had such a profound effect on cameras as Red’s protection around its compressed internal Raw recording technology. For almost two decades, it influenced what manufacturers could put inside their cameras and forced others to fork out for licences or move towards alternative codecs or external recorders. Ultimately, it became part of the intellectual-property empire Nikon acquired when it bought Red, which makes recent events in Japan deliciously ironic. Panasonic successfully challenged key claims in Red’s compressed Raw patent, with Japan’s Intellectual Property High Court upholding the invalidation. Nikon therefore found itself defending a patent it had once fought against before buying Red. You really couldn’t make it up. Before we declare Raw independence, however, there’s an important reality check. This ruling concerns Japan, not Red’s entire international patent portfolio, and other rights and licensing agreements don’t suddenly disappear. The patent was heading towards expiry in 2028 anyway. But the significance goes beyond one courtroom decision. Red transformed digital cinema, making compressed Raw practical at a time when uncompressed alternatives created enormous headaches. Yet its patents also shaped – and therefore restricted - what its competitors could offer in their own camera ranges. That’s why I hope this decision represents the beginning of a more open era and a step forward in the control filmmakers have over how their images look. Modern mirrorless and cinema cameras have processing power and storage speeds unimaginable when the Red One arrived in 2007. Internal Raw shouldn’t be just an exotic flagship feature any more. For filmmakers who want maximum flexibility, it now looks like it will become another recording choice alongside efficient, high-quality conventional codecs. And that’s something to celebrate.
Editorial Editor in chief Adam Duckworth Editorial director Nicola Foley Chief sub editor Matthew Winney Senior sub editor Patrick Ward Sub editor Chris Young Junior sub editor Tabitha John Contributor Matty Graham Advertising Sales director Sam Scott-Smith +44 (0)7875 711967 samscott-smith@bright.uk.com Design Design director Andy Jennings Magazine design manager Lucy Jeffery Senior designer Carl Golsby Junior designer and ad production Holly May Publishing Managing director Andy Brogden Operations director Saffron Osborn-Clay Subscriptions manager Becky Carse PPC and social manager Keith Murtagh
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Pro Moviemaker is published bimonthly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. ISSN number: 2045-3892. Pro Moviemaker is a registered trademark of Bright Publishing Ltd. The advertisements published in Pro Moviemaker that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. Prices quoted are street prices. In sterling they include VAT (unless otherwise stated), but US dollar prices are without local sales taxes. Prices are where available or converted using the exchange rate on the day the magazine went to press.
Adam Duckworth
Adam Duckworth Editor in chief
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18 Big on the small stuff contents agenda 6 X-rated secret sauce
Sony’s FX5 is a big step forward, but look beneath the skin and its stacked sensor, processor and AI reveal A7R VI family ties.
Macro creator Jamie Rosencrans reveals how curiosity, authenticity and the tiny world beneath helped build her massive audience. 23 Wish you were gear The superzoom Sony that does it all, Lowepro’s fourth-gen backpack, Peak Design’s camera plate, plus a foot-operated monopod.
worklife 8 Seeing is deceiving
Jack Cotlevski still shoots with cameras, lenses, lights and a full crew. But some of his most spectacular finished images never existed on-set. 12 I’ll be Amster-damned! From cinema cameras, lenses and lighting to AI and cloud production, here’s the tech worth hunting down at the IBC Show in Holland.
28 Canon fires a video volley Canon’s EOS R6 V shares its DNA with the mirrorless R6 III and C50 cinema cameras, but puts video creators firmly first. 34 Synth you’ve been gone Retro looks meet electro royalty as Panasonic’s Lumix L10 gets a workout shooting synth-pop pioneer Gary Numan.
academy 40
Welcome to the new wave Blur it, shake it, rough it up and embrace the chaos. The hottest filmmaking trends prove technical perfection isn’t always the best option. 48 Never mind the backups Raidy or not, the world of data storage is changing fast – from increasingly speedy memory cards to SSDs, large-capacity hard drives and the cloud. 52 Colour with confidence Meters, charts and calibration tools take the guesswork out of colour, helping you turn accurate light into creative looks.
toolkit 58
Shop, in the name of love! Time to flash the cash and splurge on some lovely new kit from the likes of Westcott, Godox, Tamron, Philips, Megadap and more. 62 Gear of the Year closes soon It’s the last chance to make your feelings known and vote in the Pro Moviemaker Gear of the Year Awards – but you’ll need to be quick! 64 Shut up and Five Forget the specifications and the social- media hype. We put Sony’s remarkable FX5 to work both on a real studio shoot and out on location, revealing the things that really matter about this cine marvel.
38 Tech it to the limit
From robotic smartphones and T1 glass to wireless mics and AI software, meet the innovations pushing boundaries.
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72 Shoot Leica boss
the icon 82 Full-frame, full circle
The SL3-P combines serious 8K video, 40fps stills and Leica luxury. We discover whether that famous red dot is worth it. 76 Dual for your loving The Neewer FS60B is a bicolour LED that proves you don’t need big lights or a huge budget to create lighting magic. 78 Aperture for seduction You’ll fall in love with these fast f/1.4 Sirui primes for the beautiful bokeh and unique rendering they produce. 81 Don’t bling me down Manfrotto’s Uncover backpacks don’t show off that they house expensive camera kit, but offer serious protection.
Canon’s EOS 5D series kick-started the full-frame DSLR filmmaking revolution, but the Mark IV was its final act.
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Could the innovative new Sony FX5 have a little bit more in common with the high-res A7R VI than first appears? Sensor-tive information
arlier this year, Pro Moviemaker said that where Sony cameras once crushed the competition in video spec, the tech giant
multi-angle touchscreen, but a new 5K sensor that shoots open gate, 4K⁄120p, full 4K cropped to Super 35 and anamorphic. Perhaps the biggest news is that it is Sony’s first camera like this to jump on the Raw bandwagon, with three distinct Raw files that it can store internally to the fast CFexpress Type A cards. Instead of double base ISO settings, it has three. And a dual gain option where it reads the sensor twice, at low and high gain settings, and combines both into one low-noise video. Where the FX3 had no EVF, there is an optional one for the FX5. And bolting on the new XLR handle brings 32-bit float internal capture. There is false colour, waveforms and the full menu system of the Cine Alta range, which adds some key capabilities. All for £4699⁄$4898 right now, and a firmware upgrade will unlock 240fps in 4K and more open gate options. But what’s of interest for future Sony cameras is that internet camera testers are proclaiming that the FX5 and A7R VI actually use versions of the same sensor. While Sony has not responded to this, the sensor of the Sony FX5 has half of the stated pixels in its length and width relative to that of the Sony A7R VI mirrorless. This has led to the assumption that it is using four photosites for each pixel of resolution, a configuration similar to how many of Sony’s cameras and even smartphones work. If true, this is a sensor sensation, with cutting-edge tech that allows it to be the ultimate high-res and high-speed hybrid camera or a Raw-shooting video powerhouse. Even if not, the A7R VI and FX5 show Sony is back to innovating and driving the agenda again. To see if it lives up to the hype, check out our first test of the new Sony FX5 in this issue. sony.com
appeared to be content with not being the innovator or keeping up with rivals. With none of its sub-25-grand cameras offering internal Raw, open gate, 32-bit float audio or fast frame rates in high quality, Sony was resting on its laurels. Apart from the A9 III with its global-shutter sensor to banish the ‘jello effect’ of skewed verticals and smash through the flash sync barrier. But this camera doesn’t appear to have fired up the imagination of filmmakers and creators. Things have definitely changed, and fast. This summer came the Sony A7R VI, finally merging the worlds of ultra detailed stills, pro-quality video and genuine speed into one body. The star is its new 66.8-megapixel full-frame stacked Exmor RS sensor paired with a Bionz XR2 processor. That unlocks blackout-free stills at up to 30fps and reduced rolling shutter. Hot on its heels is the new FX5, a huge leap forward from the FX3 that has been the 4K sales star for five years. The FX5 has a similar body, but now uses the same larger battery of the A7R VI and a stacked 16.6-megapixel sensor with the Bionz XR2 processor and integrated AI. That means it not only has the majority of the A7R VI’s clever AI autofocus tech and
Same but different The new FX5 looks similar to the FX3 but is boosted by a stacked sensor that might not be quite as new as it seems...
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worklife Real-world business for pro filmmakers
Hybrid power Jack Cotlevski’s workflow combines carefully captured footage with AI-constructed imagery – and here’s how he does it Words Jack Cotlevski, director of Chroma Films
ybrid cinema isn’t about replacing filmmaking with a computer. It’s about using conventional filmmaking for the
problem of the perfect light disappearing – the sky turns white or it rains on the one day the location and talent are available. Computer construction of the scene gives another option. And then there is something I call presentation movement. Imagine an orbit around a static subject whose only purpose is to reveal the scene. Traditionally, that could require a drone and its operator, securing permissions and potentially another shooting day. I distinguish that from movement which contains information. If movement is part of the performance or story, I capture it. If movement simply presents something to the viewer, I consider whether it can be constructed. That’s where hybrid production can be economically interesting. The savings can fall on some of the most expensive elements while reality remains precisely where the audience needs it. The importance of a plan The difference between convincing hybrid cinema and a collection of disconnected elements is usually decided before the shoot. I create a plan in three columns. The first is what stays real, the second is what will be constructed, but the third is the crucial one: how they will work together. If I intend to construct movement between two camera positions, I need to capture both at the same focal length and camera height. If I’m putting a real performer into a constructed environment, I need to shoot them in a way that allows a clean extraction. That influences the background, lighting, framing and lens choice. Ignore these considerations until post and you’re immediately fighting your own footage. The light comes from the wrong direction. You haven’t left enough room in the composition. The second
things it does brilliantly, then using image construction for the things it does better. I still arrive on-set with essentially the same equipment I would have brought ten years ago: cameras, lenses, tripod, lights, diffusion, flags, cables, colour chart, slate and monitor. There is still a crew, we still spend time setting up and I’m still just as tired when we wrap. Yet when you watch the finished film, you may see things none of those tools ever recorded. Perhaps it’s a sunset that didn’t happen on the day. Maybe the city continues beyond the buildings actually at location. Sometimes an entire moving sequence grows from a couple of photographs. It’s not camera vs computer Discussion around generative imagery often becomes unnecessarily binary: either you shoot something or generate it. Make cinema or make something else, for example. Reject the technology completely and you potentially lose a valuable production tool. But believe they can replace everything that happens on- set and you risk discovering that your beautifully generated film has no truth or emotional connection. The camera and image construction aren’t competing to do the same job, as they solve different problems. The useful question is, which tool solves each particular shot best? There are things I nearly always want to capture for real. The first is human performance. A face, glance, gesture, breath or the fraction of a second somebody takes before delivering a line contains an extraordinary amount of information.
Humans are incredibly sensitive to other humans. You can construct something that appears superficially correct but get the rhythm wrong. The audience may not consciously identify what’s wrong, but they simply won’t feel it. Then there is the product itself, particularly in commercial work. A client knows their product’s shape, materials, colour and finish because they see it every day. Change something subtly and they may not be able to explain precisely what is incorrect, but they’ll know it doesn’t look right. The same applies to recognisable architecture and locations. Reconstruct a company’s headquarters and make it objectively more beautiful, but if the owner doesn’t recognise the building, it’s a fail. None of that is about taking a moral position on what’s ‘real’. It’s really about understanding what an audience and a client notices. Those are the things I protect. Build the impossible Some problems are much better suited to AI-constructed images. Scale is an obvious one. Perhaps the shot requires an enormous set, expensive travel or a location that simply doesn’t exist. Then there’s the light and weather conditions. Every filmmaker knows the
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Case study | worklife
Opening doors Footage filmed conventionally mixes with AI-generated
work in this true hybrid workflow
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worklife | Case study
angle that you suddenly realise you need simply doesn’t exist. You don’t then have hybrid cinema. You have filmed footage and constructed imagery with a highly visible join between them. Old tools with new importance This hybrid way of working hasn’t made traditional equipment less important to me and, in some cases, it’s done the opposite. My tripod has become more important. If I’m going to construct movement between captured frames later, an unstable starting point makes life harder. The colour chart has become important again. Nobody reliably remembers the precise colour of a scene they lit three weeks earlier, and consistency becomes crucial when you’re integrating different elements. Lighting decisions change too. I love hard side light and beautifully defined shadows, but they’re difficult to reproduce convincingly in a constructed layer. Sometimes the best lighting isn’t simply the most beautiful thing I can create on-set – it’s the beautiful light I know I can reproduce throughout the finished image. And I’ve developed one habit of shooting clean plates everywhere. Before the set fills with people and equipment, I’ll lock off the camera and record the location without anyone in the frame. I might not know yet how I’ll use those images. If I don’t use them, they’ve cost nothing. If I later discover I need a plate I didn’t shoot, the The fashionable AI-generation platform of today could be overtaken within months
cost could be a return trip – assuming that returning is even possible. Is it filmmaking? Somebody always asks if it’s really filmmaking. But models, matte paintings, rear projection, partial sets and digital visual effects all exist because filmmakers wanted to show audiences things they simply couldn’t shoot. Every generation has debated whether new techniques somehow make the result less authentic. If a constructed shot serves the story, communication or emotion of the film, the technique has done its job. If the shot exists to demonstrate how clever the technology is, you’ve made a technology demo. There’s another important element – and that’s the client. I explain my proposed approach before a job is commissioned, not afterwards. My treatment identifies what will remain captured and what I intend to construct. That gives the client confidence and protects the production. Of course, the individual technologies used will change incredibly quickly. The fashionable AI-generation platform of today could be overtaken within months, which is one reason I don’t build my process around a particular piece of software. The decisions underneath it won’t date nearly so quickly. Define the function before producing anything, protect the elements that need to be truthful, capture material with the finished result already in mind, then integrate the elements until the joins disappear. And, most importantly, be prepared to reject something technically impressive when it doesn’t serve the film. Hybrid cinema isn’t about giving up the camera. It’s about knowing, shot by shot, what needs to be captured and what can be constructed – while making sure you’re still the person making that decision.
How to FRAME your hybrid shot
Jack Cotlevski’s five-stage method for combining captured and constructed imagery. F for FUNCTION Start with ‘why’. What does the shot need to communicate and which elements absolutely need to be real? Make that decision before reaching for either camera or computer. R for RECORD Don’t simply shoot and assume you’ll fix or extend it later. Capture the best possible foundation for construction, considering camera position, focal length, lighting, clean backgrounds and matching frames. A for AUGMENTATION Add only what the captured image needs. Extend locations, change conditions, create scale or construct presentation movement rather than automatically generating an entirely new image. M for MERGE This is where hybrid succeeds or fails. Match colour, direction and quality of light, texture, perspective, scale and sound until captured and constructed elements feel like one image. E for EVALUATION I don’t ask whether something looks impressive or demonstrates what the technology can do. I ask whether it makes the film better.
Jack of all trades Mixing work shot on real cameras with computer-generated footage takes planning
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September/October 2026
Blackmagic PYXIS 12 K Get URSA Cine’s large format sensor with 16 stops of dynamic range recording into Blackmagic RAW!
Large Format Cinematic Digital Film Sensor Blackmagic PYXIS 12K features a large full frame sensor with a native resolution of 12288 x 8040. That’s almost three times larger than a Super 35 sensor and lets you shoot with a shallow depth of field or use anamorphic lenses uncropped for a true cinematic look. This amazing sensor combined with Blackmagic color science gives you the same quality as the most expensive digital cinema cameras. Blackmagic RAW Fueled Image Capture Blackmagic RAW is a revolutionary format designed to capture and preserve the quality of the sensor data from your camera. It also saves camera settings as metadata so you can set ISO, white balance and exposure in camera or override them later while editing, all without any loss of quality! Blackmagic RAW files are also small and fast to use making them easy to work with.
Introducing the next generation customizable cinema camera! It features an extremely versatile design that lets you build the perfect camera rig for your production! You get a full frame 36 x 24mm 12K sensor with wide dynamic range and a built in optical low pass filter that’s been designed to perfectly match the sensor. Plus there are 3 models available in either EF, PL or L-Mount. Designed for Maximum Customizability With multiple mounting points and accessory side plates, it’s easy to configure Blackmagic PYXIS into the camera you need it to be! PYXIS’ compact body is made from precision CNC machined aerospace aluminum, which means it is lightweight yet very strong. You can easily mount it on a range of camera rigs such as cranes, gimbals or drones! Get the “Hollywood Look” with Digital Film Blackmagic PYXIS has the professional features you need for feature film, television programming and documentaries, however now this same quality can be used to create cinematic content for social media, YouTube videos and more. Imagine shooting with large format digital film on low budget independent films, TV commercials or even corporate video!
Blackmagic PYXIS 12K From US$5,255
Main image shows camera with optional accessories and lens. Price excludes US duty. www.blackmagicdesign.com
Learn More!
worklife | IBC preview
IBC the future! Find all the latest kit, trailblazing tech for filmmakers of all levels and more at the annual Amsterdam show
rom cinema cameras and glass to lighting, audio to AI, streaming and cloud workflows, the IBC mega
exhibitors in 14 halls and an expected 45,000 visitors together for four days of technology, talks and serious shoe-leather punishment. Although much of the huge show remains focused on large-scale media production, there’s an enormous amount for indie filmmakers, production companies and content creators too. The kit we want to see For many visitors, the attraction is the latest gear. IBC falls at an important point in the industry’s launch calendar, so the world’s manufacturers frequently show products for the first time. And there is no shortage of camera brands at the event. Sony, Canon, Nikon, Panasonic, Blackmagic, Fujifilm and Red will all have their latest technology on display, making IBC one of the rare opportunities to compare a huge range of systems under one roof. Then there’s glass. Sigma, Fujinon, Irix, Zeiss and Samyang, among others, will be showing their latest optics. And lighting has become an increasingly important part of IBC, with the likes of Aputure, Godox and Nanlite among those displaying the latest LED fixtures and control systems.
show is where every strand of modern content creation comes together. And for a look at some big toys, there’s also a world of broadcast trucks, infrastructure, TV networks and technologies carrying price tags that require several layers of corporate approval. But as the lines between filmmaking, live streaming, content creation and broadcast have become increasingly blurred, Amsterdam’s IBC Show has evolved with them. A solo creator can livestream to an audience that once required a television network to reach. A tiny production company can collaborate internationally using the cloud. Cinema cameras shoot material destined for everything from theatrical screens to TikTok, while AI is rapidly finding its way into editing, audio, grading and production workflows. That is why IBC has become increasingly relevant. This year returns to Amsterdam’s RAI exhibition halls from 11 to 14 September, bringing around 1300
There’s an enormous amount for indie filmmakers and content creators
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IBC preview | worklife
Our pick of the exhibitors you must check out
Get ahead of the curve IBC is the place to be. It’s packed with virtual reality tech, colossal displays of hardware, plus talks from industry leaders
Amaran Stand 11.C27
The focus for Amaran at IBC 2026 is to showcase solutions for on-the-go, desktop and home studio creators, with the booth separated into three different areas of hardware and expertise. Check out its range of accessible, high-quality lighting tools.
Aputure Stand 11.B22
Aputure will show off its growing ecosystem of lighting solutions for location and studio. There will be demonstrations showing how the Nova and Storm series integrate seamlessly with Sidus Link Pro to deliver intelligent, network-based lighting control. Among the highlights on display is the new Storm CS32, Aputure’s latest high-output fixture for demanding productions.
production, cloud collaboration and content delivery. Get hands-on with the latest Ninja monitor-recorders, Shinobi field monitors, the powerful Sumo Pro- 19 and Shogun AV-19 production systems, A-Eye PTZ cameras and controllers,
Studiosonic audio solutions and Atomosphere cloud workflows.
Blackmagic Design
Astera Stand 12.G53
Stand 7.C49
B lackmagic Design brings its latest digital cameras and workflows to IBC 2026, with a focus on large format cinematography. Following a firmware update, the Pyxis 6K is joined by the Cinema Camera 6K with phase detection autofocus, continuous autofocus and face and object detection, along with controls for autofocus transition speed and focus behaviour. The update also adds Blackmagic Cloud Streaming, four-channel audio recording and pre-recording.
Astera will spotlight the Quik and Bulb ranges of super-creative lighting. The Quikbeam, Quikspot and powerful Quikpunch all offer built-in wireless CRMX and Astera App control. The Bulb family includes Lunabulb, Nyx Bulb and Solabulb. The stand also features other Astera fixtures, including the Tube range and Pluto with the Projection Lens, turning the wireless fresnel into a profile spotlight.
Add monitors, tripods, gimbals, audio, wireless video and practically every other accessory imaginable and it’s easy to lose several hours in a single hall. More than hardware Perhaps the biggest change at IBC, however, is what’s happening away from traditional production kit. The modern filmmaker’s workflow includes editing, colour, storage, collaboration and delivery. Companies such as Adobe, Blackmagic, Atomos and Avid will be demonstrating tools covering editing, collaboration, graphics and cloud production, while OWC, Synology, Quantum and SNS are among the storage specialists tackling the rapidly growing mountain of data generated by modern cameras. Inevitably, AI will be everywhere. The main IBC conference puts artificial intelligence firmly in the spotlight, alongside changing commercial models, audience behaviour and the transformation of sports broadcasting. More than 600 speakers are scheduled across stages throughout the show, so it’s perfectly possible to spend four days learning without attending the main conference at all. We pick out some of the key booths and highlight the fresh gear they’re boasting. ibc.org
Atomos Stand 7.B19
Godox Stand 12.H38
Atomos will be demonstrating its most comprehensive production ecosystem to date, spanning acquisition, live
Godox has become a lighting equipment expert and innovator for filmmakers
Know your kit Atomos monitor- recorders (top) and Godox high-output LEDs (pictured) are among the crowd
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worklife | IBC preview
and content creators. Check out its range, including the latest PL600RF and PL1200RF. Each powered by Godox’s latest Palette Lab full-spectrum colour engine, these fixtures deliver accurate colour reproduction, improved spectral consistency and enhanced skin tones.
Glass act Sigma offers AF primes and zooms, plus cine glass to tempt
Hawk-Woods
Stand 12.H15
British battery innovator Hawk-Woods will show its complete G-Lok range, including the original 26V cells and the new 14.4V Mini G-Lok models. The Mini G-Lok batteries are designed around the same principle Hawk- Woods is known for: delivering reliable power in a smaller, lighter and more travel- friendly form. The team will also showcase the Hybrid G-Lok Chargers.
Sennheiser
Aizu prime line, a full set of 12 large format cinema lenses from 18mm to 125mm. All cover a 46.3mm image circle, ideal with full-frame and larger format systems.
Stand 8.D50
Sennheiser will be showing its huge range of audio kit for filmmakers and creators, such as the time-served camera-mount EW-DP mic systems, which are ideal for on-site interviews and news coverage. The rugged MKH 8000 RF condenser microphone series for sophisticated audio capture will also feature, as will the Profile Wireless system.
Sony Stand 13.A10, 13.D201, 2.G111
Sony is back with a huge showcase of innovations, including the FX5 Cinema Line camera and the Rialto 65, an image sensor block expanding the Venice 2 to 65mm format, plus the SRG-AS10 PTZ auto- framing camera. Also find audio kit, lenses and monitors to get hands-on with.
Neewer Stand 12.A35
If you are looking for great-value kit that just works, Neewer will have a full range of hardware for videography and content creation on its stand. From LED lighting and flashes to camera accessories, audio solutions and smartphone filmmaking gear, visit the Neewer booth to experience the latest product launches and catch hands- on demonstrations.
Sigma Stand 12.C19
Videndum Stand 13.A05
Japanese brand Sigma creates unique lenses, from AF optics for mirrorless cameras to cine primes and zooms that share design features with its range of famed Art prime lenses. Look out for the
The highlight of the Videndum stand will be the Manfrotto One tripod range, made for hybrid content creators who demand top-quality video and stills support in one. In the booth will be products from Autocue, Avenger, Litepanels, Sachtler, SmallHD, Wooden Camera and lots more.
Hybrid hero Videndum brings a massive swathe of brands to the show, but this Manfrotto is the One to see!
Vocas Stand 12.D21
Dutch manufacturer Vocas designs and builds high-quality engineered camera products that always fit and work like a dream. There’s a mix of universal and dedicated accessories for specific cameras. Look for the MB-260 Compact Mattebox, EL-40 Eyepiece Loupe, follow focus systems, camera rigging systems, baseplates, shoulder rigs, camera cages, lens support, top handles and more.
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advertisement feature | Samsung
Driven to perform Shooting 42 vehicles leaves no room for delays or data loss, as the Samsung Portable SSD T7 Shield proves itself to be the perfect production hub
Having relied on Samsung memory for years, Freeman chose the Samsung Portable SSD T7 Shield as it combines speed, reliability and ruggedness yet is tough enough to survive on location. Using the portable drive as the central backup hub, full camera cards were transferred via USB 3.2 Gen 2 at sequential read speeds of up to 1050MB/s and write speeds of up to 1000MB/s. That meant footage could be backed up almost immediately, with rushes quickly available. “The speed changes everything,” says Freeman. “As soon as a card came out of a camera it went straight onto the Samsung Portable SSD T7 Shield through the laptop. Within minutes we’d backed it up, reviewed the footage with the client and even started
hen you are responsible for capturing one of the biggest automotive comparison tests of the year, there are no second
chances. A total of 42 different vehicles, multiple camera systems, presenters, interviews, tracking shots and magazine photography all have to come together over the course of a single week. With such a tightly planned production, every minute counts and every file matters. That is exactly why Gary Freeman built the entire workflow around the Samsung Portable SSD T7 Shield. “On a production like this, storage isn’t just somewhere to put footage,” he explains. “It becomes the centre of the whole workflow. If that slows down, everything slows down.”
Pro-tection For use on high-stakes jobs, the rubber-covered portable drive is a safe choice
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Samsung | advertisement feature
Sky’s the limit for super-size microSD The latest drones generate astonishing amounts of high-resolution footage, so using slow memory cards simply isn’t an option. For this vehicle shoot, the team relied on the Samsung PRO Plus microSD,
additional confidence when working across multiple computers. Compatibility is another strength. The portable drive works across Windows and MacOS and is supplied with both USB-C to USB-C and USB-C to USB-A cables, making it ready to connect straight from the box without hunting for adapters. For Freeman, that is just what pro equipment should do. By the end of the week, the tiny PSSD had become the production’s unseen hero. While cameras, drones and lenses captured all the attention, the Samsung Portable SSD T7 Shield quietly kept every shoot moving, with every file protected and every client left fully confident. Sometimes the most important piece of kit on-set isn’t the one capturing the images – it is the one making sure you never lose them. once the drone lands. Supplied with a full-size SD adapter, it can be plugged directly into laptops or card readers, helping footage move quickly into the production workflow. The Samsung card kept recording reliably, and when it was time to transfer footage to the Samsung Portable SSD T7 Shield, it happened quickly so production kept moving. For filmmakers, speed on location isn’t just about cameras – it’s about every part of the workflow.
single time. That’s exactly what the Samsung Portable SSD T7 Shield did.” The portable drive’s physical design proved just as valuable as its performance. At only 98g and measuring 88x59x13mm, it disappears into a pocket while remaining tough enough for demanding location work. Its IP65 rating protects against water and dust, while the aluminium core and rubberised exterior provide drop protection from heights of up to three metres – ideal when constantly changing locations. Storage size was never an issue. With high-speed USB 3.2 Gen 2 connectivity and capacities up to 4TB, the portable drive has ample space for transferring and storing large video files, including high-resolution 4K and 8K footage. Security is equally important when working on commercial productions. The portable drive features AES 256- bit hardware encryption, with optional password protection managed through Samsung Magician software. The same software provides drive health monitoring and performance information, providing a card built to handle demanding 4K recording without missing a beat. Available in capacities up to 1TB, the V30-rated card delivers read speeds of up to 180MB/s and write speeds of up to 130MB/s, making it fast enough for high- quality video capture and rapid offloading
Location station With the Samsung Portable SSD T7 Shield plugged into a laptop, the base station for the shoot was truly portable
cutting social clips. Nobody was left waiting around for us to finish.” The production generated huge quantities of data. Mirrorless cameras captured high-resolution stills, 6K cinema cameras recorded intensive BRAW video, while drone footage added yet another format to the mix. “The fact it just works with everything is a massive advantage,” says Freeman. Pulling its weight The assignment itself was equally demanding. Freeman was covering the Caravan and Motorhome Club Towcar of the Year competition, documenting 42 vehicles from leading car manufacturers. Alongside action video and photography, the production included vehicle-to-vehicle tracking sequences, presenter pieces to camera, interviews, cover photography and detailed exterior and interior imagery. Every shot had to be safely backed up before moving on to the next vehicle. “You shouldn’t really notice storage,” Freeman says. “It should just work every
samsung.com/uk/memory-storage/ all-memory-storage
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The creators’ guide to content that connects
Meet your creator: Jamie Rosencrans
Wildlife lover Jamie Rosencrans creates big, impactful content from the up-close world of nature. With a massive social media following, she is a creator who puts authenticity front and centre
Words Matty Graham
amie Rosencrans has built a huge online following by revealing the extraordinary world hidden beneath our feet.
I was discovering through my camera lens because it was blowing my mind. The turning point came when sharing that work started opening doors I could never have imagined – becoming an OM System Ambassador, travelling the world photographing tiny wildlife and then being approached to write my book Tiny Nature . What type of content has connected most strongly with your audience and why do you think it worked? My super-abstract macro photography. Maybe my irreverent, slightly dark sense of humour as well. I also get to know my followers, chat with them and appreciate the art they create, too. I give advice if I’m asked, and I’ve made so many friends. My Instagram is essentially an art gallery dedicated to the weird alien universe that plays such a major role in our ecosystem. Now and then I’ll sprinkle a little science in my content or tell the story behind a photograph, but the images have always come first. I think people connect with that sense of wonder. They’re seeing something that feels familiar, but also incredibly abstract and new. How has your approach to making videos changed since you first started? I’ve become much less concerned about how they’re made. These days I film most of my videos on my Pixel because it’s always with me. I call it lazy content creation. I’ve learned that viewers respond to the story and the subject far more than whether something was filmed on expensive, polished equipment. Some of my sleek, professionally shot videos have barely been seen, while my grainy phone footage has reached millions. That has taught me not to overthink it.
Through stunning macro photography and authentic storytelling, she has proved that creativity and curiosity matter far more than expensive equipment or chasing social media trends. We caught up with the OM System Ambassador, author of Tiny Nature and creator behind @this_forest_floor to discover how she built her audience, the lessons every aspiring creator can learn and why she ignores the algorithm. At what point did you realise that content creation could become a real career? I never set out to become a content creator. I just wanted to share the unseen world
Profile Instagram: @this_forest_floor Website: thisforestfloor.com
What is your process for transforming an idea into finished content? It’s very organic. I don’t have a content calendar or a production plan. I spend time in nature when the conditions are right for what I’m in the mood to photograph. Then I photograph whatever captures my imagination, edit the images and, if I feel like it’s amazing, I’ll turn them into a Reel or a post. I honestly don’t think anyone truly knows. If they did, we would all have viral posts every week. Macro photography naturally sparks curiosity because people are seeing a hidden world they may not know exists, and everyone is desperate for something new and interesting. There’s a huge amount of luck involved, at least for me. Sometimes a post takes off, sometimes it doesn’t. I’ve stopped trying to predict why. What is it that makes people stop scrolling and actually watch?
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Meet your creator | reel time
All the small things By focusing on close-ups of the hidden details in nature, Jamie Rosencrans has built a niche that stands out
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reel time | Meet your creator
How important is personality compared to production quality in 2026? Authenticity matters far more than perfect production. People connect with genuine enthusiasm. I would rather watch someone who is passionate about what they’re sharing than someone who has produced a flawless video they clearly don’t care about or one that feels like another overdone, trendy and click-baity Reel. No thanks! What is your workflow like? Are you still a solo creator or working with a team? I’m a solo creator. I photograph, edit, write, film, manage my social media and respond to my community myself. I enjoy having that direct connection with the people who follow my work. I wrote my book, I shot and edited the photos, I designed my website. My book was published by Quarto, however, and they did heaps of work designing the layout and are amazing, so I would be remiss not to shout them out. If somebody was to start creating content tomorrow, what would your advice to them be? Create what you love. I genuinely think there’s an element of luck in finding your audience, so you may as well enjoy the journey. If you’re creating something that excites you, the right people will eventually find it. And if they don’t, you’ve still spent your time making something meaningful.
Seeing is believing Get close enough and even the smallest creatures and plants reveal breathtaking complexity, with every tiny facet contributing to incredible natural designs
What camera, lighting or audio kit do you rely on most for your work? For my photography, I rely on my OM System macro kit. I use the OM-1 Mark II and the 90mm f⁄3.5 Macro IS Pro lens. Religiously. I use a Cygnustech diffuser with a Godox V860III-O TTL flash speedlight or just natural light. For video, it’s usually just my phone camera because it’s quick, convenient and always in my pocket. I’ve found it makes very little difference to how content performs, so I would rather spend my energy creating than worrying about carrying and setting up the gear. What is one investment you’ve made that genuinely changed the game for you? Time spent outdoors. More than any camera or lens, it’s the countless hours exploring forests and slowing down enough to really notice what’s around me. To learn what grows and hatches – and where and when – what the rain brings, what a drought does. You can’t buy experience, curiosity or patience, and those have shaped my photography far more than any piece of equipment. Although, my OM System camera and lens combo is absolutely boss.
How do you balance creating for the algorithm with creating content that you really care about? I don’t balance it because I don’t create for the algorithm. I genuinely don’t pay much attention to it other than being annoyed by the ever-increasing sameness of everything. I post when I want, share what excites me and hope it finds the people who’ll appreciate it. Life’s too short to spend it trying to work out what Instagram has determined is worthy of reach this week. I personally find all of the trends deeply cringe, and I refuse to play the game. My 126,000 followers is fine. Five hundred followers would be fine. I’m here to make art, make friends and be inspired. What is the biggest mistake you see new creators making? Trying to create for everyone instead of creating something they genuinely love. If you focus on making work you’re proud of, you’ll enjoy the process regardless of the numbers. But I’m sure there are lots of people following trends and getting boatloads of followers. I’m just not into it. My content is so incredibly niche that my expectations have always been low to non-existent.
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On the radar | reel time
SENSOR 20.1-megapixel, 1in BSI
VIDEO 4K/120p with sensor crop, or 4K/60p in 4:2:2 10-bit
LENS Zeiss Vario-Sonnar T* f/2.4-4, 24- 600mm equivalent
AUTOFOCUS AI-powered with subject detection and tracking
Zoom with a view
Everything everywhere all at once Forget choosing lenses, Sony’s RX10 V packs a 24mm wide to 600mm telephoto zoom
ust when you thought every serious content creator was destined to spend life lugging around a backpack full of
lenses, Sony has revived a simple idea: why not bolt them all onto one camera? The new RX10 V is the fifth generation of the brand’s do-everything camera, and its party trick remains an extraordinary Zeiss Vario-Sonnar T* f⁄2.4-4 zoom, equivalent to 24-600mm. That’s everything from landscapes and groups to sport and distant wildlife without removing a lens, exposing a sensor to dust or wondering why you left the 400mm at home. But Sony hasn’t simply dusted off the old RX10 formula. The new model brings much of the clever technology developed for its latest Alpha cameras. Its 20.1-megapixel, one-inch stacked Exmor RS sensor is paired with a Bionz XR processor and AI-powered Real- time Recognition AF, giving it far more sophisticated subject detection and tracking. It can also record video up to 4K⁄120p and hammer away stills at up to 30fps with AF⁄AE tracking and no viewfinder blackout. There is a larger Quad-VGA OLED EVF, Alpha-inspired controls and grip, plus Sony has fitted the bigger NP-FZ100 battery that
Roar deal The incredible zoom range of the Sony RX10 V makes it perfect for wildlife shooting and it’s compact enough to be a take-anywhere camera
boosts endurance to around 630 shots, more than 50% better than its predecessor. The RX10 V isn’t going to tempt everyone away from a full-frame mirrorless and a bag full of premium glass. But for anyone who
would rather shoot than change lenses, 24-600mm in one package remains a very persuasive and affordable option at £2200⁄$2298. sony.com
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On the radar | reel time
Bag to the future The popular Lowepro Fastpack bags get a fourth-generation update Fast track
owepro has unveiled its
and abrasion resistance comes from updated materials, with up to 78% recycled fabric used across the range. Lockable zips, organiser pockets and travel- friendly designs complete the update. The compact BP 150 AW IV is £99⁄$140, mid-sized BP 250 AW IV is £124⁄$170 and larger BP 450 AW IV is £139⁄$190. lowepro.com How Lowe can you go? The evergreen Fastpack series has a fresh look, but retains side-opening access to kit
fourth-generation Fastpack collection,
updating the popular backpack series for creators who need fast access on the move. The Fastpack IV retains its signature side-opening camera compartment but adds a redesigned full back-panel opening and adaptable dual- compartment interior that converts into a conventional daypack. Improved weather
The flight stuff The Think Tank Airport series has been redesigned to squeeze serious camera kits into airline-friendly luggage. The four-model range gains tougher materials, improved harnesses and smarter organisation, with laptop and tablet storage moved to a rear- access panel on most models. New internal dividers separate camera kit from travel essentials, while zipped side pockets secure tripods or bottles. Capacities range from the 26L Airport Essentials, which accommodates up to five lenses, to the 41L Airport Accelerator, capable of swallowing a 600mm f⁄4. There is also an Airport Essentials Rolling Backpack, combining 80mm wheels with deployable shoulder straps when the going gets rough. thinktank.com
Rigged and ready for Peak action The humble camera L-bracket has had a total rethink with Peak Design’s new Field Bracket. It’s a modular system with a camera-specific recycled-aluminium baseplate that uses the new Field Latch mechanism, allowing its upright section to be attached, removed or repositioned in seconds without tools. That’s handy for switching to portrait tripod shooting or making room for cables. Optional modules include a Cheese Plate for mounting monitors, microphones and lights, plus a Hand Strap and ingenious Beacon Finder Tag tracker that hides inside the Arca-compatible plate. Prices start at £93⁄$125, with versions for selected Sony, Canon, Nikon, Fujifilm and Leica cameras. peakdesign.com
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On the radar | reel time
Pan handling A quick press of the pedal and the three- legged tripod base is locked into position
Pole position
Step on and a twist of the wrist gets the Benro ready to roll Pedal to the metal
enro’s new Supadupa Black Diamond carbon-fibre monopod offers fast action thanks to all- metal twist locks and a unique
smooth panning without having to lift or reposition. For outdoor terrain, it can be swapped for the supplied spike foot. The monopod costs £150⁄$140. Add the base pedal foot (see below) for fast control. The £100⁄$100 Benro Minimax is a smaller and more portable monopod, weighing just 0.36kg⁄0.79lb while
foot-operated base. The travel-friendly monopod alone weighs in at 0.5kg⁄1.1lb yet can support payloads up to 40kg⁄88lb. Its six-section design extends to 165cm⁄65.7in but folds down to just 42cm⁄16.5in, while the twist locks and a CNC-machined aluminium flip lock allow rapid, one-handed height adjustment. At the bottom, a rotating rubber foot incorporates a V-shaped bearing, allowing
supporting up to 20kg⁄44lb. With a collapsed length of just 37cm⁄14.6in, the carbon-
fibre Minimax extends to 163cm⁄64in thanks to its seven-section design. benro.com
It’s all about that base - no trouble
pedal and it instantly locks at 90° to hold the monopod upright on flat ground. Another tap releases it again, while an adjustable tension control determines how freely it moves. The three legs spread to 54cm, with two stop positions providing different footprints. Machined cutouts reduce weight, while rubber feet provide grip.
An ideal accessory for any monopod that uses a standard 3/8in-16 thread is Benro’s new £95/$100 VT4 Monopod Base, which adds three-legged stability without sacrificing freedom of movement. Its clever feature is a foot-operated pedal. While tracking action, the articulated ball allows smooth movement, but press the
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