Pro Moviemaker September/October 2023 - Web

Welcome to the new issue of Pro Moviemaker magazine If you thought Nikon was dead in the water for filmmaking and Sony had pretty much abandoned its Super35 line of mirrorless cameras, it’s time to think again. This issue we get to grips with the Nikon Z 8 and the Sony A6700, both of which are the newest and by far greatest bits of filmmaking kit in their own specific niches. They are both very different, but do an equally good job in their own way.  In a packed issue, we take a look at some of the nominees in the annual Gea of the Year awards, test loads of cool LED lights and lots more. It’s in the latest Pro Moviemaker magazine, out now, as well as lots more useful tips, equipment tests and a preview to the mega IBC show.


LITTLE LEDS Five of the best pocket-sized lights put through their paces SMALL OF DUTY

From fast AF to manual cine glass, these standard zooms can do it all ONE-LENS WONDERS @ProMoviemaker


MINI TESTS We assess a fast Sigma wide-angle prime lens, Zhiyun gimbal , Sennheiser wireless kit, Samsung SSD , Falcam’s QR system and more

SUPER 35 SENSATION Sony’s A6700 crams the latest tech into a compact body FIRST TEST

le full-frame Z 8

spotlight with the incredib

Nikon finally returns to the



Vote now in the world’s most prestigious video equipment accolades STAND UP AND BE COUNTED

All you need to know about the massive Amsterdam show RED-HOT DUTCH

SONY STUNNER After so many years without any major upgrades for smaller APS-C mirrorless cameras, the Sony A6700 and 70-200mm f/4 lens combo is a real winner

The ultimate magazine for next generation filmmakers


Editor in chief Adam Duckworth Chief sub editor Matthew Winney Sub editor  Ben Gawne Junior sub editor  Lori Hodson Editorial director Roger Payne Contributor Lee Renwick

ADVERTISING Sales director

Sam Scott-Smith 01223 499457 Senior sales executive Claire Cornish 01223 499453 DESIGN Design director Andy Jennings Design manager Alan Gray Senior designer Lucy Woolcomb

Designer and ad production Emma Di’Iuorio Junior designer Hedzlynn Kamaruzzaman PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:

Putting together this issue was a blast from the past as I got to grips with the latest versions of two very different camera lines I used to know incredibly well. That’s the Nikon Z 8 and the Sony A6700, both the newest and by far greatest bits of filmmaking kit in their own specific niches. A full-frame mirrorless from Nikon and a crop-sensor Alpha series from Sony – both very different, doing an equally good job in their own ways. Starting with the Nikon, it’s definitely a camera that should put the brand back on the map for making movies; an affordable, do-it-all machine with a massive choice of codecs in the form factor filmmakers demand. It’s about time. After all, Nikon launched the first video-capable DSLR back in the day, but then lost the lead almost immediately to Canon. Maybe Nikon didn’t have the conviction to pursue the filmmaking market, so Canon ploughed ahead with the EOS 5D Mark II and grew a full line of cinema cameras and mirrorless machines. Now Nikon is definitely back, but the brand is still hanging onto its photography roots with handling and controls favouring stills shooters. It’s like Nikon hasn’t quite yet made the final leap by omitting things like a fully articulating screen, shutter angle, active cooling or a multi-interface hotshoe to accept dedicated audio. But the Nikon Z 8 remains a stunner for image makers who shoot stills and video. I was a Nikon user for decades as a stills photographer, before heading into video thanks to the addition of a Canon system. Eventually, I was lured in by the small form of the A6300 – not as good for stills as a dedicated pro DSLR, but a useful all-rounder. The A6700 is the latest version of that camera and is so much more advanced and capable. It’s hard to justify why most filmmakers would need more. What made me ditch Nikon was the Sony A9, as its fast frame rates and full-frame stacked sensor made it perfect. The A6700 doesn’t have that, but the reality is that most professionals don’t need the speed. I shoot motorcycle racing – stills and video - so I do. With the Nikon Z 8 now boasting a stacked sensor for speed, as well as cameras from Sony, Canon and Fujifilm, the choice of kit is wide. With Nikon’s return to form and Sony re-investing in its crop-sensor Alpha range, there is an even better choice of cameras. We’ve never had it so good.

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

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




The ultimate magazine for next generation filmmakers

SEPTEMBER/OCTOBER 2023 CONTENTS AGENDA 6 GO FULL WIRELESS FOR SOUND Sony reveals the world’s first shotgun microphone with eight selectable audio recording modes. With four mic capsules and unique digital processing, it connects to compatible cameras with no need for cables. 8 APUTURE’S STORM WARNING If you want powerful lights, Aputure has you covered with a 2600W bicolour LED and a 1500W version that puts out full colour. Check out the Electro Storm range and some brand new modifiers, too. 11 PALM-SIZED POWERHOUSE LIGHT Zhiyun reveals the palm-sized Molus LED, which puts out 200W of power but can be tweaked to output a staggering 300W for ultimate illumination. And Tamron reveals the blueprint for its new 70-180mm f/2.8 zoom. 12 ACTION STATIONS FROM DJI A brand-new drone with extended flight time and a large- sensor action camera are just two of the recent products revealed by DJI that are ideal for filmmakers on the go. There’s also a fresh video transmission system. 16 NEW LOOK FOR NINJA MONITORS Atomos has revealed the latest generation of its hugely popular Ninja line of camera-mounted monitor/recorders – the Ninja and Ninja Ultra. Both feature the completely overhauled operating system AtomOS 11.






It’s the biggest show in Europe for filmmaking: IBC throws open its doors at the huge RAI centre in Amsterdam, 15-18 September. We take a gander at what’s going on and pick out the top tech to watch for.


The annual awards to honour the very best hardware and software in the industry are in full swing, with the votes flooding in! Check out our shortlist and have your say by voting for the kit you feel is worthy of recognition – and has made a difference to your work.




The ultimate magazine for next generation filmmakers


Compact LED panels might not have the power to light up a huge scene but can be useful for many other purposes. We inspect the latest in LED technology from Aputure, Rotolight, Zhiyun, Astera and Rosco. 52 CROP-SENSOR SONY STUNNER The A6700 could be the camera that converts Sony users back to the traditional Super 35 sensor size, especially when it’s available at such a good price. We try it out alongside the brand-new 70-200mm f/4 lens. 58 NIKON’S SAVING GRACE The new Z 8 is the greatest ever Nikon camera for hybrid shooters who make a significant amount of films but need incredible stills, too. Smaller, lighter and cheaper than the On the testing table this month are a wide Sigma prime for crop-sensor cameras, a Sennheiser wireless audio kit, a speedy Samsung SSD, some funky Falcam camera cage products and a Manfrotto dolly – plus even more! 78 BUYERS’ GUIDE: STANDARD ZOOMS A wide-to-telephoto zoom is a mainstay of moviemaker kitbags, as it’s flexible and portable compared to a set of primes. These are some of the best and brightest from a wide range of manufacturers. flagship Z 9, it could be the brand’s saviour. 64 MINI TESTS: TOP GEAR RATED





Advanced audio is cable-free

Sony’s new ECM-M1 is the world’s first shotgun microphone with eight selectable audio recording modes. With four mic capsules and unique digital processing, it offers a variety of pickup modes and connects to Sony cameras without cables. All polar patterns are selected by a locking dial on the rear. Settings include omnidirectional, superdirectional and a traditional shotgun-style ultradirectional mode, which captures targeted sound from the front and suppresses other sounds. This is perfect for interviews and selfie shooting where the subject is always in front of the microphone. The £349/$348 ECM-M1 features a noise filter for reducing background noise and a low-cut filter for minimising vibration and low-frequency hum. These

filters are implemented through digital signal processing, reducing the need for complex post-processing. The mic also supports four-channel recording for compatible Sony cameras, allowing for an omnidirectional safety track while the main recording focuses on selected directivity. Compact and lightweight in form, the ECM-M1 attaches to Sony cameras via the multi-interface shoe for direct power and audio connections without the need for extra cables or batteries. The audio signal is directly transferred to the camera in digital form to avoid degradation of the signal. There is also a switch that provides compatibility with a wide range of cameras using an analogue interface.


If you have trouble telling your Duclos Blackwing primes apart, you need to put a ring on it! Engraved Blackwing ID Rings come in silver, gold and red for £50/$65.

Streaming goes to Hollyland

SPOTLIGHT ON SCHNEIDER’S SPECIAL OPTICAL FILTERS Legendary lens maker Schneider-Kreuznach has revealed new spot dioptre filters to give a dreamy, cinematic look to your footage. With a plain, polished area of either 25 or 50mm in the centre, these special-use filters produce sharp images in the middle and an out-of-focus zone towards the edges of the frame. The effect is controllable from subtle to strong, depending on the dioptre’s strength, the diameter of the plain area and the focal length of the lens. Schneider- Kreuznach offers six variants: plain areas of 25 and 50mm combined with dioptre strengths of either +1/2, +1 or +2. They are produced as 138mm drop-in filter cells for use in compatible matte boxes.

computer via USB-C. There’s a five-inch touchscreen and colour-calibration software to ensure natural colours. The sensor is made by Sony. The VenusLiv has a 3.5mm mic jack, HDMI connections and USB-C 2.0 digital audio interface to connect to Hollyland’s Lark C1 or Lark Max wireless audio systems.

Hollyland has revealed its first-ever camera designed for streaming to YouTube, Facebook and many other social media platforms. The VenusLiv does not need an external capture card and has been designed to stream high-quality content via a user-friendly interface. It offers full control over exposure, ISO, white-balance and aperture, features hybrid AF and can shoot horizontal or vertical video. The camera streams in the popular RTMP protocol, and connects via Wi-Fi or LAN port. Or plug it straight into a



Advanced digital film camera with built in ND filters, HDR screen, and optional viewfinder! Introducing Blackmagic Pocket Cinema Camera 6 K Pro!

Built in Motorized ND Filters The 6K Pro model features high quality, motorized IR ND filters that let you quickly reduce the amount of light entering the camera. Designed to match the colorimetry and color science of the camera, the 2, 4 and 6 stop filters provide you with additional latitude even under harsh lighting. Settings can even be displayed as either an ND number, stop reduction or fraction on the LCD! Large 5" HDR LCD Monitor A large, bright 5 inch touchscreen makes it easy for you to frame shots and accurately focus. On screen overlays show status and record parameters, histogram, focus peaking indicators, levels, frame guides and more. The HDR display can be tilted up and down so it’s easy to monitor your shot from any position. Plus the 1500 nit display is ideal for use in bright sunlight!

Blackmagic Pocket Cinema Camera is better than a simple video camera because it has professional features allowing you to create the same “look” as Hollywood feature films. The combination of high dynamic range, great low light performance and Blackmagic RAW gives you feature film images. The new 6K Pro model adds ND filters, adjustable HDR display, a much larger NP-F570 battery and more! High Resolution Cinematic Digital Film Sensor! The Blackmagic Pocket Cinema Camera 6K Pro has a native resolution of 6144 x 3456. Whether you’re shooting in bright sunlight or almost no light, the 13 stops of dynamic range with dual gain ISO up to 25,600 provide stunning low noise images in all lighting conditions. Plus the Super 35 sensor allows shooting with shallower depth of field and anamorphic or EF photographic lenses. Multifunction Grip with Fingertip Controls! The multifunction handgrip features an ergonomic design that puts important functions such as ISO, WB and ND filter controls at your fingertips. The Blackmagic Pocket Cinema Camera features easy to reach recording and still buttons that are placed exactly where you expect, including user assignable function keys allowing buttons for high frame rate, focus zoom, false color and more.

Blackmagic Pocket Cinema Camera 6K Pro


Learn More!

Camera shown with optional accessories and lens.



Aputure’s super storm

Fast-growing lighting brand Aputure continues its inroads into the high-end filmmaking market with a glut of fresh products, including a 2600W bicolour LED, a 1500W full-colour version and modifiers to suit both. The new Electro Storm XT26 is one of the most powerful COB lights to hit the market. It’s a 2600W point-source LED with white CCT and tint control. It has dual accessory mounts, professional connectivity, G/M tint adjustment, advanced liquid-cooling technology as well as an IP65 dust- and water-resistant construction. At full power, the Electro Storm XT26 approaches the brightness of industry- standard 12,000W tungsten fresnels and 4000W HMIs. It features a powerful chipset built to maintain accurate colour throughout its CCT range, from 2700-

6500K with a green-magenta colour correction of +/- 0.05dUV shift between 3000-6000K. It has the universal Bowens mount and all-new electronic A-Mount – Aputure’s latest innovation to give stability to the heaviest modifiers. At launch, there are three new A-Mount Reflectors in 20, 35 and 50° sizes plus the new 14-inch Aputure F14 Fresnel. The A-Mount communicates data for colour accuracy and motorised focus control. There’s also an optional motorised yoke allowing smooth remote operation of pan and tilt adjustments. Connectivity includes Sidus Link app control, wireless DMX via the latest LumenRadio TimoTwo CRMX chipset, Art-Net and sACN via etherCON, plus 16-bit 5-pin DMX512 in/out. A heatsink that uses liquid-cooling technology stops the fixture overheating. Power is by AC or battery via dual 48v inputs. Meanwhile, the new Electro Storm CS15 is a 1500W full-colour point-source LED fixture which also features dual accessory mounts, professional connectivity, high SSI colour quality and an IP65 dust- and water- resistant construction. It’s comparable in power to 1800W HMIs and is currently the most powerful, colour-accurate open-face full-colour point-source COB you can buy. Much like the COB S series announced by sister brand Amaran, the Electro Storm CS15 features the same re-engineered dual-blue LED chipset. It achieves a high spectral reproduction with an ultra-high SSI (tungsten) of 89+ and SSI (D56) of 86+. The CS15 works with optional motorised yoke and has a liquid-cooled heat sink. No prices have yet been set.

MODIFIERS BOOST POWER AND CONTROL Both of the latest Aputure lights marry up perfectly with the new F14 Fresnel, an electronic A-Mount modifier with a 350mm/14-inch diameter lens and a motorised 18-45° spot/flood beam. The beam can be adjusted using the control knob and display screen, or remotely via the Sidus Link app or DMX controls. The ability to remotely control the beam angle via Sidus Link will be available in a future update. If the power of the Electro Storm XT26 and CS15 isn’t enough, the weather-resistant F14 Fresnel amplifies light output, providing a quality only achievable with large fresnels. The F14 also includes a detachable yoke for balance and ergonomics when mounting the fixture to a stand, plus a safety chain. When used in conjunction with the included sled for the Electro Storm CS15 and XT26, the fresnel and fixture can be placed on flat surfaces. Aputure’s previous high-power flagship LEDs – the LS 600d and 1200d Lightstorm range – as well as the brand-new Electro Storm CS15 and XT26, marry up to a new Bowens-mount projector spotlight. This is built to bring advanced control to the highest-output Bowens-mount point- source fixtures, transforming them into powerful spotlights with further reach and even, shapeable output. And it is designed to provide a 60% increase in brightness compared to the original Aputure Spotlight. The Max has three lens options – 19, 36 and 50° angles covering projection from a tighter beam to a wide angle. The new Spotlight Max is designed to produce an illumination circle with even edge-to-edge light distribution and minimal edge fringing. Four internal leaf shutters shape the beam for sharp cuts and precision lighting control. For further light manipulation, the optional dual-layer Spotlight Max Iris can quickly change the illumination circle without needing to swap lenses out. And an included rotatable gobo holder is compatible with A-size and B-size steel or glass gobos. The Spotlight Max has a detachable yoke and is compatible with ETC projection lenses using a Spotlight Max ETC adapter.

LET THERE BE LIGHT Aputure releases high-powered COB lights as well as the A-Mount modifier, maximising lighting strength and allowing high levels of artistic control





Palm-sized powerhouse

A new COB light that fits into the palm of your hand can put out a staggering 300W of power for short bursts, even though it is nominally rated at a potent 200W. The bicolour Zhiyun Molus changes from normal mode to Max Extreme mode at the push of a button. And its smaller sibling, the new Fiveray V60 LED light wand, has a similar trick up its sleeve – from 60W to blasting 100W once the Max Extreme setting is used. The stylish, £369/$379 Zhiyun Molus G200 is a powerful yet portable 200W COB LED light, weighing 2.21kg/4.87lb and measuring 127x67.5x225mm/ 5x2.66x8.86in. It comes with a separate controller equipped with two interactive buttons and a display screen making it quick to set lighting functions and effects, plus five preset dimming levels. Colour temperature ranges from 2700-6500K and, at peak brightness, the G200 offers 9460 lux without a reflector and 61,500 lux with Zhiyun’s standard reflector at 1m. In Max

ZHIYUN NEWBIES The Fiveray V60 wand (above) and powerful Molus G200 (below left) pack a punch

app, and there is also support for Bluetooth Mesh networking. The £199/$199 Fiveray V60 light wand is similar to the more powerful Fiveray F100 and is 448x53x53mm/16.8x.2.4x2.4in and 891g/2lb in weight. Included is a small display screen to change settings. This has a colour temperature range of 2700-6500K, plus a TLCI of ≥98 and CRI of ≥96. There are built-in effects like SOS, TV, broken light bulb, candle, lightning and fire. Similarly to the Molus G200, Music mode syncs with the beat. It is powered from DC power with USB charging and, when plugged into a power supply, Max mode can be activated to boost from 60W to 100W.

85,800 lux respectively. In Max mode, the fan is louder and the colour temperature is 4300K, but there is no maximum runtime. In ambient temperatures over 30°C, Max mode is disabled. The Molus G200 has a CRI of ≥95 and a TLCI of ≥97 for accurate colours. There are three lighting modes. In normal mode, turn on the light and adjust brightness to desired levels, while Live mode automatically turns it on as soon as it’s powered up. And finally, Music mode syncs your lighting along with music beats. The fan-cooled G200 comes with a stand with a 180° adjustable arm as well as a universal lighting umbrella slot. The light is compatible with Bowens-mount accessories and via Zhiyun’s ZY Vega

Extreme mode, the Zhiyun Molus G200 offers 13,800 lux and

Tamron has revealed it is working on the final development of a refreshed version of the popular 70-180mm f/2.8 Di III VC VXD zoom lens made for Sony E-mount full-frame mirrorless cameras. The 70-180mm f/2.8 Di III VC VXD G2 now includes Tamron’s own Vibration Compensation (VC) mechanism and the optical design has been revamped. The close focus distance has also reduced to 30cm/11.8in at the wide end compared to the first-generation 85cm/33.5in. It has Tamron’s Voice-coil eXtreme-torque Drive (VXD) linear-motor focus mechanism for high-speed, high- precision autofocus in stills or video. The Tamron Lens Utility and Lens Utility Mobile apps are also compatible, allowing functions to be customised. The new design improves scratch resistance and is just 156.5mm/6.16in long and weighs only 855g/1.88lb. TAMRON TEMPTS WITH NEW ZOOM

It has a 67mm filter size, much like most Tamron lenses for mirrorless cameras. No price is set yet.




Action stations from DJI

AIR, HELLO! The new DJI Air 3 drone has twin cameras shooting up to 4K/ 60p and flies for a max of 46 minutes

DJI Air 3 is the first drone of the Air series that supports 2.7K vertical video shooting in 9:16 – ideal for social media. The Air 3 now features omnidirectional obstacle sensing as used in more high-end drones. This allows the aircraft to detect obstacles in every direction via fisheye sensor lenses at the front and back, plus binocular lenses towards the ground. When a hazard is sensed, the drone can avoid and smoothly bypass it. A next-generation video transmission system endows the DJI Air 3 with the ability to work at distances up to 20km/12.4 miles and even improves transmission stability to avoid a stuttered live view. It supports up to 1080/60p live feeds, and a higher frame rate ensures a much smoother viewing experience. A 5.1GHz frequency band has been added for Europe to improve transmission performance. Intelligent features include FocusTrack, which keeps the subject in the centre of the frame, and QuickShot, which automatically performs camera movements such as Circle and Asteroid. Night mode allows 4K/30p clean footage in low-light environments and Hyperlapse offers four sub-modes including Circle and Waypoint. Waypoint flights are available on the Air series for the first time. The user can plan flight routes and shooting actions in advance to complex camera movements. Optional extras include ND8/16/32/64 filters, a USB-C fast-charge power adapter and a portable car charger.

Similar to earlier Osmo cameras, the Action 4 has a magnetic quick-release design and native vertical shooting for social media. There are dual touchscreens and it can withstand water depths of up to 18m/59ft without a case. The camera has three built-in mics and a port for external microphones. Plus, it livestreams using Wi- Fi or a phone’s hotspot. Kits are currently available from £379/$399. To get a higher angle, the DJI Air 3 drone has dual primary cameras – an f/1.7 wide- angle 24mm equivalent and a 3x medium telephoto camera equivalent to 70mm with a maximum f/2.8 aperture. Both cameras have 1/1.3-inch CMOS sensors that record 48-megapixel photos and 4K/60p HDR video. The flight time has been doubled from the older Air 2 model and is now 46 minutes, plus there’s a new battery

A brand-new drone with an extended flight time and a large-sensor action camera are the latest products to be revealed by DJI for filmmaking on the go. The Osmo Action 4 has a 1/1.3-inch image sensor, fast maximum f/2.8 aperture and great low-light performance due to its 2.4μm-equivalent pixel size. It can shoot 4K/120p and provides a 155° ultra-wide field of view. The 10-bit D-Log M colour mode gives a wide dynamic range while an advanced colour temperature sensor ensures accurate white-balance and tonal reproduction. Claimed battery life is 2.5 hours and its fast-charging capability ensures you’re ready to shoot quickly – just 18 minutes brings the battery up to 80% charge. Its freeze-resistant design also withstands temperatures down to -20°C/-4°F.

charging hub, except it weighs just 720g/1.59lb. Kits start at £962/$1099. The cameras have dual native ISO for direct output of 4K/60p video in HDR and up to 4K/100p in standard colours. Both cameras support 10-bit D-Log M for wide dynamic range and 10-bit HLG colour modes. The

HIGH TECH The DJI Air 3 can sense obstacles in all directions to avoid costly crashes




All DJI’s latest products are on show in a dedicated concept store located in the centre of Birmingham. The new 230 sq m store opened in August and is found at 2-6 Corporation Street, offering hobbyist and professional products from DJI and sister brand Hasselblad. Open seven days a week, DJI has its action cameras, drones and gimbals while Hasselblad’s cameras include the X2D 100C, 907X 50C and X1D II 50C. FLAGSHIP STORE OPENS IN BRUM


as Arri and Red. Shooting information such as filename, timecode, recording trigger, camera settings and optical information can be transmitted from the receiver to monitors. The Standard Combo costs £1979/$2499 and includes the Video Transmitter, Video Receiver, two batteries, a charging hub plus cables and battery adapters. The Video Receiver alone is £1139/$1699. Meanwhile, the High-Bright Remote Monitor includes a built-in receiver and image processing chip similar to the Ronin 4D’s. The monitor offers features for receiving, monitoring, controlling and recording; with tools such as safe zone, frame guide, zebra stripes, false colour, custom 3D LUTs and more. It also has a microSD card slot for independent recording of 1080/60p H.264 live feeds. The monitor synchronises recording with the camera, enabling convenient proxy editing. The system marries up with DJI’s wide range of pro-level accessories. By connecting the Video Transmitter and the RS Focus Motor to the LiDAR Range Finder, it allows independent lens calibration and AF even with a manual lens on an RS 3 Pro gimbal. It’s also possible to use the Ronin 4D Hand Grips to connect to this set-up, allowing LiDAR waveform technology for precise manual focusing.

DJI has expanded its high-end wireless video transmitter and receiver system with two new packages for extended- range stability and low-latency signals. The DJI Transmission series now offers a High-Bright Monitor Combo and Standard Combo. The High-Bright choice integrates reception, monitoring, recording and control into one package, while the Standard version additionally supports metadata transmissions via SDI and the output of fractional frame rates – ideal for production monitors. The Standard Combo also supports one transmitter with multiple receivers in two transmission modes. In broadcast mode, an unlimited number of receivers simultaneously output real-time feeds – perfect for large crews. It offers easy camera index switching and real-time display of bit rate and video codecs. For advanced control options, the High-Bright Remote Monitor and Video Receiver can be switched over to Mirror Control Mode, allowing integration with DJI Master Wheels and other devices. This enables remote control of Ronin 2 and RS 3 Pro gimbals and camera focus. The DJI Video Receiver houses dual 3G-SDI ports and an HDMI 1.4 Type A port – all enabling 1080/60p videos. Now, the unit can support camera metadata transmission via SDI, offering compatibility with cinema cameras such

SPLASHDOWN DJI’s new Osmo Action 4 camera has twin screens and can withstand water depths up to 18m/59ft without any extra housing




Chasing the golden hour

When you need the speed to back up your files as glorious light is fading, the Samsung Portable SSD T7 Shield is more than up to the task

TOUGH STUFF The portable drive was put through some serious tests, including sand and dirt in a forest shoot and extreme time pressure when filming a historic building




S peed isn’t the most obvious hurdle when shooting a creative film of a historic building that has been there for almost 500 years. But when Dominic Danson was tasked with showing off the historic Madingley Hall in Cambridge, he quickly realised a drone was required to capture the golden hour of gloriously warm, early evening sun. He’d have less than an hour to get all the shots he needed, or else consistency would go right out of the window. He had to work fast and light, with total speed and reliability from his equipment to get it done in time and without failure. “I wanted to shoot at golden hour for that fantastic light, so spent a couple of evenings planning to make sure I knew when the sun would set, where it would travel, and what sides of the buildings would be in light and shade,” Danson says. “I had about 50 minutes of consistent light, then a little leeway either side where I could get away with colour grading to match. “My kit was simple so I could move around the location quickly given such a tight shooting schedule, which is why the Samsung Portable SSD T7 Shield proved perfect for fast backups on location.” Getting high-quality footage was essential, as the aim was to cut several different videos. “One was for Madingley Hall’s channels, one for my film company Twelve Noon Films to showcase the project, use clips in a dedicated drone reel and also upload a selection to stock video websites.” That’s a lot of footage in a tight window. Danson chose to film with an ultra- portable and lightweight drone, but this gives limited flight time as it needs to land regularly for battery changes. He managed to record an impressive 55.2GB, all recorded safely to the portable drive on location. “Fast copying was critical,” insists Danson. “I was backing up each time the drone came in for a battery swap. I edited directly off the Samsung Portable SSD T7 Shield connected to a laptop, with no noticeable drops in speed. Read and write speeds were consistently fast, even for files bigger than 1GB, so I could put together a rush reel of the Madingley Hall shoot quickly and efficiently.” Even though he used a laptop designed for ultimate portability rather than speed, the Samsung Portable SSD T7 Shield comes

“What’s fantastic for me is the 4TB capacity in such a small package”

plug-and-play ready, with Thunderbolt connection giving read and write speeds of up to 1050MB/s and 1000MB/s . That’s around ten times the speed of most external HDDs. And it’s easily quick enough to edit directly from the portable drive, even in high-bit-rate 4K on location. But one creative shoot with the portable drive wasn’t enough for Danson. Although trained as a journalist, his first love has always been filmmaking, completing a successful transition to working in the visual arts. He shoots a lot, which is one of the reasons he’s fallen for the 4TB version of the Samsung Portable SSD T7 Shield. “What’s fantastic for me is the 4TB capacity in such a small package. I work on multiple projects from a single portable drive – with backups elsewhere, of course – and don’t worry about space. I have an interview shoot across three days coming up with nine different interview sessions, and the portable drive will be perfect for that,” he beams. With someone so busy, it’s no surprise that Danson is not the most gentle on his equipment. After the Madingley Hall shoot, he went on location in Thetford Forest. The Samsung Portable SSD T7 Shield was put to the test in wet, sandy conditions where a lot of data was backed up. “I recorded 182GB of ProRes Raw footage and it copied over in seven minutes,” says Danson. That’s a lot of info in a short time – a test for the small, silent portable drive. It has tough aluminium casing for heat dissipation, which helps avoid overheating. The body has a rubber cover to provide drop protection up to 3m – and is IP65-rated for water and dust resistance. “Its form factor is great - especially for run-and-gun shoots,” says Danson of the Samsung Portable SSD T7 Shield, which weighs just 98g, is 88mm long and 13mm

thick. That’s smaller and lighter than most smartphones, and it can also be used on an Android phone with a USB-C connection. “I could comfortably fit it in my pocket or a side pocket of my kitbag without being intrusive. It’s easy to grip, which is fantastic when you’re in a rush or in bad weather.” For added data security, the portable drive has AES 256-bit hardware encryption and even lets you set a name and password. Plus Samsung Magician software monitors its health and allows you to tweak settings. Samsung’s Portable SSD T7 Shield is fast, holds lots of content securely and comes ready for Mac and PC. This is a thoroughly modern portable drive, even when filming ancient buildings.


The Samsung Portable SSD T7 Shield 4TB has been nominated for the external hard drive category in the Pro Moviemaker Gear of the Year Awards, which recognise the very best equipment. The Samsung 256GB PRO Endurance microSD is also shortlisted in the memory card class, too. Winners are voted for by filmmaking professionals. So, to cast your vote, go to and follow the Gear of the Year link.

More information portable-ssd/

HALL IS WELL Fast-fading light gave a short window of time to shoot – but the Samsung portable drive coped admirably




Atomos reveals new Ninja range

Aussie monitor giant Atomos has taken the wraps off the latest of its hugely popular Ninja line of camera-mounted monitor/ recorders – Ninja and Ninja Ultra. Both new models have the completely overhauled operating system, AtomOS 11. It is designed to be cleaner and faster, and delivers a host of new features including: EL Zone exposure referenced colourised image view, Arri false colour and new scheduled playback and recording tools. Both models sport a distinctive camo- coloured polycarbonate body and include more codecs as standard, such as 6K ProRes Raw, ProRes, DNxHD/HR and H.265 – previously available as paid only. The latest £629/$599 Ninja is the base model that has a five-inch HDR screen, records ProRes Raw and connects to any camera via HDMI – targeted primarily at owners of DSLR and mirrorless cameras. While the flagship £809/$799 Ninja Ultra gets the most out of camera-to- cloud technology, ideal for cinematic workflows with the Atomos Connect system. It can record up to 8K and full- quality files in ProRes Raw up to 4K/60p, while simultaneously recording HD/60p to H.265. The device supports automatic matching filenames, timecode and record triggering on Arri, Canon and Red cameras – more will be supported soon. The Ninja Ultra’s new 4K camera-to- cloud mode lets you record and upload higher-bit-rate H.265 video in faster frame rates. As H.265 files are half the size


A fresh desktop app called AtomX Cast combines with firmware for the Atomos Ninja V and Ninja V+ monitor/recorders, providing a whole new control panel. When you combine a Ninja V or V+ and AtomX Cast unit, it becomes a stand-alone switcher, multiview monitor and broadcast- quality recorder. All Ninja Cast’s functions are replicated in app, and all settings and changes are applied instantly. Available for Mac or PC, the app gives users more screen real estate to work with and unlocks even more functionality such as AI-assisted automatic colour matching. By aligning camera inputs using one as a reference, it accurately fixes the problem of differently colour-balanced camera feeds.

of H.264 media, they are small enough for camera-to-cloud workflows but good enough for immediate use on social media, sports reporting or news gathering. Adding an Atomos Connect expansion module to either a Ninja or a Ninja Ultra enables Atomos RemoteView – a new technology that lets you share live views from the Atomos screen with other Atomos monitors – as well as Apple products – wirelessly. So you can monitor what’s happening on-set and remote users can take a real-time look through any connected camera that’s taking the shot. For Ninja Ultra, the Atomos Connect module provides a lower latency, higher throughput and the latest Wi-Fi 6E. Both Ninjas are backwards-compatible with their predecessors, the Ninja V and Ninja V+, so all Atomos and third-party accessories can still be used. STYLE SURPRISE The bodies of the Atomos Ninja and Ninja Ultra now have a new finish to set them apart




The Atomos range forms a crucial part of a connected workflow More than monitors

F or the latest crop of cameras offering incredible resolution, an external monitor makes sense. It’s the accessory every filmmaker should own. The larger view, bright screen, monitoring tools such as waveforms, false colour and anamorphic options give professionals all the extras many cameras don’t have. Historically, Atomos has led the way with its award-winning range – especially as cutting-edge tech such as the Atomos Ninja V+ makes it possible to record 8K ProRes RAW and superfast 4K/120p footage from compatible cameras. With HDR monitoring and RAW recording, this five-inch monitor allows cameras to output over HDMI, which unlocks 10-bit performance and extends recording times. Atomos’ modular ecosystem enables users of select cameras to extend the Ninja’s functionality by adding the AtomX Cast module. This turns the device into a flexible HDMI switcher, multiview monitor and high-quality recorder. The Ninja V+ is part of a whole family of network-connected monitors and monitor/recorders, bringing cloud- based workflows to everyone. Adding the Atomos Connect unit will transform any camera into an integrated device for cloud-based production work, giving you a 12G-SDI interface, AirGlu wireless timecode, multiple power options, plus Wi-Fi 6, Ethernet and Bluetooth LE. It’s not alone in the connected Atomos family – the Shogun Connect has a larger, brighter screen, with 12G-SDI, Ethernet and Wi-Fi built-in. STANDOUT SUMO Atomos doesn’t stop with camera-mounted monitors. The rugged Sumo 19SE is the perfect monitor for on-set and on-location shoots. Record ProRes RAW up to 6K/30p, get four independent inputs and live switching on this 19-inch, 1200 nit monitor.

INTERCONNECTED The Atomos ecosystem enables Camera to Cloud workflows for almost all cameras

“The full-resolution files record to the SSD and a proxy version uploads to the cloud via Wi-Fi”

getting edited content to social media platforms sharpish. And since the Zato doesn’t record ProRes or DNx, there is no hero file relinking in the workflow. Any Atomos network-enabled device can also livestream with free support to deliver content directly to Facebook Live, Twitch, YouTube and more. Some clever recent innovations include a cloud-based editing system, Atomos Edit, integration with Sony’s Ci Media Cloud, support for Apple ProRes RAW plug-ins plus wireless or wired NDI transmission. Atomos now offers a device and workflow solution for filmmakers at all levels. With the latest cloud services, the ecosystem makes it easy to share media, collaborate with remote team members or increase production value.

The most accessible option is the Zato Connect, which can make virtually any HDMI camera or webcam compatible with Camera to Cloud. All three Atomos products – the Ninja V+, Shogun Connect and Zato Connect – are shortlisted in the Pro Moviemaker Gear of the Year Awards. At the heart of this latest technology is Atomos Cloud Studio, a suite of services that includes cloud and live streaming. It offers live video production over the internet to allow real-time collaboration and is perfect alongside Camera to Cloud, which uploads files from Atomos Connect devices to platforms such as from Adobe. Such a streamlined system means filmmakers don’t need to offload cards during production, as a low-resolution version of the footage instantly uploads to the cloud. Atomos’ Connected devices record two files with matching filenames, timecode and metadata simultaneously. The full- resolution version is recorded to the SSD in the unit and a low-bandwidth proxy version is uploaded to the cloud via Wi-Fi or Ethernet. These files can be edited remotely and the low-res versions replaced by high-res for final outputting. The Zato uploads a copy of the fixed- bit-rate H.264 file recorded to an SD card directly to – which is ideal for

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Equipment experts at CVP answer your questions The mega retailer gets its in-house gurus to help you along the path to new-kit nirvana

Q. I have a mixed bag of E-mount lenses for my Sony cameras, an FX6 and A7S III. Some are quite old and others new. Is there an easy way to test them for sharpness across the frame and whether they are focusing correctly or are back focusing? I use a mix of auto and manual focus. A. The best way to test sharpness across the frame is with a resolution chart, but these can be costly. An affordable, but less accurate way of doing this is by using something with high detail like a newspaper; just make sure the surface is flat and perfectly parallel with the sensor. If you are worried that your lenses are out and not back focusing, you can always reach out to our ProRepairs team. Q. I see the new Sony A6700 has focus mapping. How does this work, and is it really useful for run-and-gun filmmaking or too distracting? A. Sony’s unique focus-mapping tool can be found in its latest mirrorless cameras. It maps areas of your image in either blue or red depending on whether it’s closer or further away from your plane of focus. Areas further away are mapped to a blue colour and areas closer are mapped red – everything in focus is left unmapped. It’s an interesting development, but a tool like focus peaking might be a clearer solution, especially when running and gunning. Q. I have a set of Samyang Xeen cine lenses in Canon EF mount and I’m keen on buying a Red Komodo. What is a good lens adapter to buy and what functions could I retain? Will any of the AF assistance functions work, like Focus Guide? A. A key benefit of adapting EF to RF is the option to buy an adapter with inbuilt

ND filters, such as those offered by Canon and KipperTie. They also offer clear pass-through adapters with both options passing through electronic functionality. The Komodo has its own set of focus guides like sharpening and peaking, but as the Xeens are manual focus only, you will not have any AF features. Q. There’s so much fuss about camera- to-cloud, but I often shoot outside events where there is no internet and not great cellular coverage. Is there anything that would work to get my files from the camera to cloud so a remote editor can start working on them? A. Most camera-to-cloud workflows, like Atomos Connect and, rely on a solid internet connection. If you are in a rural area with no cellular coverage, you would have to look at a solution that provides satellite coverage, like Starlink. While you can achieve better speeds and latency in remote areas with something like that, it can be a very costly service. Q. I sold my Sony FS7 but kept the 28- 135mm G lens it came with – to use on the A7R V mirrorless I have ordered. Will it work with all the advanced AF functions on the mirrorless camera? A. Sony’s 28-135mm G lens is a little dated now, and while it is still compatible with current advancements in AF technology, it will not perform as well as more modern Sony E-mount lenses.

OLD GLASS The Sony FS7 with the 28-135mm f/4 G OSS (right) was a great combination but there are better lenses for more modern cameras. The Sony A6700 (below) features a new focus- mapping setting

TESTING TIMES A newspaper spread and a colour chart is a good way to examine your lenses for issues




“Camera-to-cloud workflows rely on a solid internet connection”


CLOUD BUSTING New tech like this Atomos Ninja V+ on a Ninja Cast (above) makes streaming easy. A Red Komodo (left) can work with lots of different lenses if you use the right adapter

CVP’s London showrooms have lots of the latest equipment, and experts are there to answer any queries on the latest kit. There’s a huge benefit to having hands-on experience of any new bit of equipment you’re thinking of buying, and it’s so important to check it out with accessories. That’s just one key difference making CVP a leader for filmmakers, and is why the company has again been nominated in the Pro Moviemaker Gear of the Year awards. Vote for CVP at – follow the ‘Gear of the Year’ link to make your choices known. To book a demo and talk to one of CVP’s experts, call +44 (0) 208 380 7400 , email or visit

Email adamduckworth@ and leave it to us! Got a question for CVP’s experts?




Don’t miss out on the IBC super show in Amsterdam for the most up-to-date hardware and software – plus some inspirational speakers THE DUTCH ANGLE

AMARAN Stand 11.B22

The latest 150c and 300c COB lights are Amaran’s first full- colour 150W and 300W RGBWW LEDs. They each feature Bowens mounts, integrated controls and consistent outputs. Also check out Spotlight SE, Amaran’s first projection lens modifier for Bowens-mount point-source fixtures. It transforms any COB LED with up to 300W of output into a very powerful spotlight, producing an even, shapeable output using built-in shutters, lens options, gobos and an optional iris accessory.

I f you are serious about filmmaking, you should make a concerted effort to check out the massive IBC show at the vast RAI exhibition halls in Amsterdam on 15-18 September. With an estimated 40,000 attendees, the event brings together the broadcast, entertainment and technology sectors to examine the trends and tools shaping the future of the industry. As well as a large equipment exhibition, there’s a paid-for conference filled with keynotes, talks, technical papers and networking opportunities, as well as the Innovation Awards and Social Impact Awards. Much of this will be around transformative technology and shifting business models, which IBC organisers say their research shows are the most

pressing trends, issues, opportunities and challenges today. Find keynote speeches from Emmy award-winning producer Evan Shapiro, Michael Wise of Universal Pictures, Anthony Guarino from Paramount and Ralph Lee, CEO at BBC Studios Productions. Plus lots of other talks, panels and demos across the whole site. If you’re interested in checking out some hardware and software, there are more than 1000 exhibitors spread across 13 halls. For real gearheads, a great place to start is in Hall 12, which will house lots of companies showcasing cameras, lighting, lenses and more. To help plan your visit, we’re revealing must-see stands from top exhibitors at the forthcoming mega show.



Stand 11.B22 APUTURE

Aputure continues to launch some of the most powerful COB lights for high-end pros as well as indie filmmakers. See the renowned LS 1200d Pro point-source COB, Nova P600c RGBWW soft light panel, the MT Pro and MC Pro. Don’t miss the Electro Storm XT26, which is one of the most powerful COB lights on the market. It’s a 2600W point-source LED with white CCT and tint control. And the Electro Storm CS15 is its 1500W full-colour stablemate. Also check out the Aputure Infinibar, an RGBWW LED strip of lights where individual bars can be fixed together without any space between them.


ASTERA Stand 12.G44

Stand 12.F94


Powerhouse UK brand Hawk-Woods has been recognised worldwide for the pioneering battery technology in its original products ever since the early nineties. The mainstays are camera batteries, chargers and power adapters as well as cables and bespoke products. On the stand at IBC will be the Hawk-Woods Mini X-Boxx floor battery, a compact and lightweight battery box with impressive features and power. Despite its compact size, it packs a power capacity of 880Wh. One of the standout features of the X-Boxx Mini is the refined graphical display, allowing users to monitor their power usage in detail.

Astera is a specialist in battery- powered, remote-controlled LED lights, and its products are hugely popular in the film and event lighting industries. The latest Astera fixtures are from the new fresnel LED range, which has introduced the compact Plutofresnel as well as the larger Leofresnel. The Plutofresnel achieves the equivalent output of a 300W tungsten fresnel and the Leofresnel achieves an output equivalent to 1000W – while using only 250W. Both lights offer a beam angle ranging from 15° to 60° without any colour fringing. Also keep an eye out for the award-winning Titan Tube, as well as the versatile Pixelbrick and Hydrapanel range.

Head over to the Grip Factory Munich stand to check out its latest innovations, such as the GF-Primo Ultra. This is a big leap forward from the current GF-Primo Dolly, combining conventional and crab steering. Additionally, the GFM team will be showcasing the versatile and modular GF-Mod Jib, plus the GF-Turtle Base, GF-Slider System and much more.

ATOMOS Stand 11.D25

The Atomos stand will not only have a range of the latest hardware but will also host live presentations on camera-to-cloud workflows, remote live production, online editing and collaboration, publishing to social media and an in-depth overview of the new AtomOS 11, with guest speakers from Adobe and Assimilate. Camera-to-cloud workflows with the Connect range of monitor/recorders will be centre stage with Atomos Edit, a browser-based, collaborative video editor. And the latest Ninja and Ninja Ultra monitors will be on hand, too.



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