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
EDITORIAL
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
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Sam Scott-Smith 01223 499457 samscott-smith@bright.uk.com Senior sales executive Claire Cornish 01223 499453 clairecornish@bright.uk.com 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.
ADAM DUCKWORTH, EDITOR IN CHIEF
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