Pro Moviemaker April 2022 - Web

A full-frame mirrorless R3 that feels the need for top speed HANDS-ONTEST: CANON’S RAPID EOS

The must-visit show returns – and it’s bigger than ever! LONDON’SBSC EXPO IS BACK

Be dazzled by the Quasar Rainbow 2 LED tube light HAVEWE GOT HUES FORYOU!

APRIL 2022

@ProMoviemaker £5.49



Sirui 50mm anamorphic and Xeen CF primes rated

Monster 1200mm AF prime and fast CFexpress memory

ional filmmaking

Movers and shakers in profess


The ultimate magazine for next generation filmmakers

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

MFT MAESTRO The Lumix GH6 is a great camera that deserves to succeed


There’s an old saying that you wait ages for a bus to come along, then two appear. Whether this oldmaxim rings true for a large swathe of current filmmakers is debatable, but it fits for Micro Four Thirds cameras. You wait ages for a new one, then two turn up in the same week: the Panasonic Lumix GH6 and OM SystemOlympus OM-1 . Up until now, all Micro Four Thirds cameras have been resolutely stuck at 20.4 megapixels. While many thought these all had the same Sony-made sensor, there are at least three different versions – they just happen to have the same number of megapixels. The OM-1 sticks at 20.4, and as you can tell from its stacked sensor, it’s made by Sony. It also has on-sensor phase detection AF, like previous OMmodels. But the Lumix GH6 has a new 25-megapixel sensor that remains absent of PDAF. Panasonic does not reveal whomakes its sensors. Of the two cameras, the Olympus is a fine videomachine in terms of spec, but very much aimed at stills. The Panasonic is a decent stills camera, but firmly aimed at filmmakers, with spec higher than just about anything else on the market. We’d all be rushing out to buy the GH6 right now, if you don’t mind a sensor that’s quarter the size of full-frame. It used to be that Micro Four Thirds cameras were littler, lighter and cheaper. You could forgive its smaller sensor and lesser performance at high ISO settings for this advantage. But now, full-frame cameras are available at the same size, weight and price. So, why would anyone go for anything else? Well, the lenses really are more compact and affordable, so there is still a cost and size benefit. And in-body image stabilisation is far better than any larger-sensor camera; often, you can get away without a tripod or gimbal. The GH6 offers high frame rates and a massive choice of codecs that nothing else matches – andmore advanced audio, too. It’s in great-looking footage that the GH6 shines, though. It’s no prince of darkness, but at 3200 ISO or below, images are stunning –with organic and natural colours. If you’re scared a smaller sensor can’t cut it, take a look at the results from the GH6. Bigger doesn’t always mean better. To borrow yet another well-known, but misquoted phrase, reports of the death of Micro Four Thirds are greatly exaggerated.

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

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






The ultimate magazine for next generation filmmakers

APRIL 2022 CONTENTS AGENDA 6 REBIRTH OF THE OLYMPUS OM-1 The new release from OM System is named after the legendary film camera of the seventies, but has a stacked image sensor for speedy video readout. 8 SIGMA’S STAIRWAY TO SEVEN! The popular lens brand reveals the seventh and final optic in its retro-style I series line-up. Plus, Delkin’s new CFexpress cards and a tripod called Tortoise. 10 BAZOOKA-LIKE CANON LENSES These 1200mm and 800mm RF mount primes are the longest AF lenses to fit on a Canon mirrorless, but come with a very large price tag.



It’s a return to real shows! London’s Battersea Evolution welcomes the BSC Expo – a gear extravaganza, packed with the freshest hardware and software.



We break down all the trends in professional filmmaking right now, to see how quickly things are changing – and how you can get involved.






The ultimate magazine for next generation filmmakers


The latest Lumix could be the camera to turn filmmakers back to the charms of smaller Micro Four Thirds sensors – it’s a stunning performer. 44 CANON’S SPEED KING We put the superfast EOS R3 mirrorless pro camera through its paces. But are fast frame rates and DSLR styling enough to usurp its more compact rivals? 5O XEEN IS BELIEVING! A full set of Samyang compact primes can cost less than a single optic from a big-name brand. Is a complete arsenal of lenses at such a low price really that good? 52 SIRUI’S AFFORDABLE ANAMORPHIC Budget brand reveals 50mm full-frame anamorphic glass to fit on the latest crop of mirrorless cameras, at a cost that doesn’t break the bank. 54 MINI TESTS: WE RATE TOP KIT The Pro Moviemaker team put loads of equipment under the microscope. This issue, it’s Joby audio kit, a Quasar tube light, Rode video mic and more. 70 BUYERS’ GUIDE: BAGS AND CASES We probe the next crop of well-proven hard and soft bags, ideal for taking your precious kit out on location. From

rucksacks to roller bags, check these out! 78 BUYERS’ GUIDE: LED LIGHTING

Nothing improves your movies quite like lighting. We study all the best LED options – from hard and soft panels, to multicoloured innovations.





RetroOlympus swansong

The last camera to bear the famous brand name is this new OM-1, but unlike its vintage namesake, it has great video spec W hen Olympus imaging was acquired by OMDigital Solutions last year, it was announced the Olympus

model number OM-1 pays homage to the film camera introduced 50 years ago. The new retro-styled OM-1 is a Micro Four Thirds format camera, with a 20-megapixel stacked BSI Live MOS sensor, working with a TruePic X image processor that is three times faster than any previous Olympus. This is the fourth manufacturer to jump on the stacked sensor bandwagon, following launches from Sony, Canon and Nikon. It gives very fast readout speed and blackout-free viewing, as well as improved high ISO performance and increased dynamic range. The top ISO speed is 25,600, expandable to 102,400. While the new Panasonic Lumix GH6 MFT camera is aimed squarely at filmmakers, the OM-1 is definitely targeting serious photographers, although it does offer excellent video spec. It can record in C4K or 4K at up to 60fps in

brand was dead and future products would be sold under the OM System name. However, its first camera does carry the Olympus badge for one last time. The “This is now the fourth manufacturer to jump on the stacked sensor bandwagon, following launches fromSony, Canon andNikon”

4:2:0 10-bit or 4:2:0 8-bit. Stick to HD and it reaches 240fps in 4:2:0 8-bit. It can also output C4K or

4K footage in 12-bit Raw to an external recorder, like an Atomos Ninja V, for 4:4:4 ProRes Raw. These clips will support white balance and ISO adjustment sliders in Apple Final Cut Pro, via an Atomos firmware update in the summer. Although there are no 4:2:2 10-bit internal recording options, and output is via a mini HDMI rather than a full-size connection. Enjoy built-in OM-Log Gamma and HLG for fast HDR work, while the OM-1 also offers an electronic internal ND with up to six stops of adjustment.

FLIPPING GREAT The new Olympus has a screen that articulates, so is ideal for video and vlogging

LENS DUO MADE FOR OM-1 AND BEYOND Two new lenses that meet the same IP53 weather-resistance standard as the OM-1 are the M.Zuiko Digital ED 12-40mm f/2.8 Pro II (£900/$999) and M.Zuiko Digital ED 40-150mm f/4 Pro (£800/899), that work perfectly down to -10°C. The 12-40mm f/2.8 has 14 elements in performance. Focusing is done with an MSC mechanism to give high-speed, silent AF, plus focusing is possible to 200mm/7.9in. The 40-150mm offers a really useful telezoom range – with a constant f/4 maximum aperture through its zoom range. That’s an 80-300mm equivalent in 35mm format. It weighs in at just 382g/0.84lb. Minimum focus is 700mm/27.6in. nine groups and includes one DSA element, to keep size down without compromising




SPECIFICATIONS Price: £2000/$2199 body only Sensor: 20.4-megapixel stacked BSI LiveMOS, 5184x3888 pixels Formats: C4K/4K 4096x2160 59.94/50/30/25/ 23.98pH.265 4:2:0 10-bit, H264 4:2:0 8-bit, HD to 240/200/119.88/100/ 59.94/50/30/25/23.98pH264 4:2:0 8-bit. C4K/4K 12-bit Rawoutput Processor: TruePix XDual Quad Core Lensmount: Micro Four Thirds Shutter: Mechanical 60-1/8000sec, Live Bulb, Live Time, Live Composite. Electronic 60-1/32,000sec Gamma: OM-Log 400, HLG Video tools: Peaking, zebras, histogram Stills drivemodes: Up to 10fps selectable 1-10fps; silent sequential shooting up to 20fps and 120fps (SH1) without blackout or 50fps (SH2). Pro Capture SH1 120fps, Pro Capture SH2 50fps Monitor: Three-inch vari-angle touch panel, 1.62mdots Viewfinder: 100%view, OLED 5.76mdots Focusing system: 1053 cross-type phase detection, 1053 contrast detect. AI Detection AF– cars/motorcycles, aircraft/helicopters, trains, birds, dogs/cats Stabilisation: Five-axis with up to 8EV benefit, fourmodes Weather resistance: Dust-, splash- and freeze-proof to IP53 rating Connectivity: USB-C, Wi-Fi, 3.5mm mini jackmic, 3.5mmheadphone, 2.5mmremote, microHDMI type D Built-inND: Six stop to ND64 Storage: 2x UHS-II SD Dimensions (wxhxd): 134.8x91.6x72.7mm/5.3x3.6x2.9in Weight: 599g/1.1lb body with battery and card The OM-1 is compact and light, but rugged, with the body meeting the IP53 dust- and splash-proof standard. It’s the world’s only IP53 camera system. The camera has dual SD UHS-II card slots, a sensor dust reduction system, new AE-L and AF-On buttons, electronic shutter flash sync at 1/100sec and a battery which can be trickle charged during use.

“The camera’s autofocus systemuses the world’s first Cross Quad Pixel AF, with 1053 phase detection points across the whole image frame – and AI detection using colour and contrast info”

Previous Olympus cameras have set new standards for image-stabilisation and the OM-1 is claimed to give up to 8EV of benefit, depending on the lens used. The camera’s autofocus system uses the world’s first Cross Quad Pixel AF, with 1053 phase detection points across the whole image frame. AI detection AF uses the four-direction phase detect data, including colour and contrast information, to give improved subject recognition, detection and tracking. It’s reportedly up to three times faster, and twice as accurate compared with existing Olympus cameras. Face/eye Priority AF is also improved. For action stills photographers, there is 50fps full-resolution, blackout-free shooting with AE/AF tracking. With fixed AE/AF this increases to 120fps. There is also a new EVF, with 5.76 million dot resolution.



AGENDA NEWS Shell out on a BenroTortoise

Benro’s Tortoise tripods are ideal for video use, with a self-levelling platform for mounting a choice of fluid heads. They have four-section legs; the £240 24CLV goes as high as 148.5cm/58.5in and handles a payload of 14kg/30.9lb, while the larger £260 34CLV reaches 153.5cm/60.4in and holds 20kg/44lb. Neither tripod has a central column, but they do incorporate twist-style leg locks for speedy use. Both come with a carry bag and set of spiked feet. As an accessory for a tripod/gimbal with 1/4in-20 mounting point, Benro’s Rama1 and Rama2 arms are designed to support monitors, mics and lights. Both take 10kg/22lb; the £50 Rama1 is 13cm long, while the £58 Rama2 is 24cm. Each arm has a central, lockable pivot point, while ball sockets allow for

SIGMA’SSTAIRWAY TO SEVEN The 20mm f/2 DG DN Contemporary optic from Sigma is an ultra-compact, wide-aperture prime lens for E-mount and L-Mount systems, costing just £650/$699. It’s the seventh and widest in the retro-style I series line-up. It uses 13 elements – including one FLD, one SLD and three aspherical – in 11 groups, has a nine-bladed, rounded iris and weighs 370g/0.82lb. Minimum aperture is f/22, closest focus 22cm/8.7in, and there’s a 62mm filter thread. The I series of lenses are all similarly designed, built to the same standards as Sigma Cine lenses, with a mechanical aperture ring, knurled metal components and matching lens hood. This newmodel has an AF stepping motor and is resistant to dust and moisture. Other lenses include 24mm, 35mm and 85mm f/2 versions, plus a 24mm f/3.5, as well as 90mm and 45mm f/2.8.

TORTOISE A LESSON By using a self-levelling platform, Benro’s latest tripods are ideal for video use easy positioning at each end. A coldshoe with 1/4in female thread is supplied alongside each model. US prices have not yet been announced.

NO D-RAMA! The new Benro Rama1 and Rama2 arms make it easy to connect accessories to just about anything


been tested in the Sony A1, A7S III, A7 IV, FX3 and FX6. Minimum sustained write speeds of 400MB/s are guaranteed. Delkin also offers a card reader for £89/ $80. In addition to a lifetime warranty, the cards have a premium 48-hour replacement guarantee: faulty units will be changed in two days, or over the counter at a dealer. Delkin will release a Power version soon with the same performance, but without the 48-hour deal.

Owners of Sony’s latest cameras have a third choice of CFexpress Type A memory card to choose from, along with Sony’s own brand and ProGrade Digital. Delkin’s new Black cards are available in 80GB and 160GB – the same as the other brands – with 880MB/s max read speed. The £199/ $196 80GB version writes at 730MB/s, while the £399/ $365 160GB card manages 790MB/s. Footage up to 8K at high frame rates and bit rates are the promise of these cards, which have



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Introducing DaVinci Resolve 17.4 Up to 5 times faster for 8K editing and grading on Apple Mac models with M 1 Pro and Max!

Highest Quality Pro Audio Effect Tools Fairlight audio now supports Steinberg VST3 audio plugins, giving access to more audio ef fects so you can create the perfect soundtrack. Plus, there are keyboard shortcuts or click and drag to reorder, move and duplicate effects in the Fairlight mixer. Single sided audio transitions are displayed as fades making it even easier to adjust ef fects. New Resolve FX A new Resolve FX called custom mixer allows you to combine effects and make adjustments to grades with finer control. Plus, a new 3D keyer adds the ability to make f iner adjustments to the key and matte f inesse settings. For DaVinci Resolve Studio, there’s a new film halation which adds glow or light reflection ef fects around high contrast edges for a more f ilmic look.

DaVinci Resolve 17.4 transforms the speed of DaVinci Resolve to work up to 5 times faster on the new Apple Mac models with the M1 Pro and M1 Max chips.This massive speed increase lets you play back, edit and grade 8K projects even faster, and work with up to 12 streams of 8K footage. It also adds Dropbox Replay integration, improved subtitling, automatic color management, audio plugins and more. Powerful New Edit Page Features The edit page now features better functionality for position curves in the timeline. You will also now be able to use DaVinci Resolve Speed Editor to switch between cameras in multicam clips on the edit page. Plus for subtitling, it includes automatic resizing of backgrounds and cursor placement, as well as nested timeline subtitle tracks now auto populating the main timeline. Faster and Simpler Color Management With greater support for automatic color management, it’s now faster and simpler to set up projects. Additionally, this update adds support for ACES 1.3, including gamut compression. This allows you to have a more accurate display of wide gamut images which allows you to be sure you are getting the best representation of the source image.

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AGENDA NEWS Big gun show fromCanon

With a ring USM dual power drive, high-speed CPU and optimised AF algorithm, these lenses provide fast, yet quiet autofocusing. Filters and hoods are the same across the range. A dust- and drip-proof design is used on the mount, switch and focus rings. To prevent oil, water or dust from sticking to the front of the lens, the front element is applied with a fluorine coating. Both optics also feature a highly-reflective infrared heat shield coating for UV weather resistance and to reduce the temperature of the lens body, to maintain image quality. The biggest obstacle is the price. The RF 800mm f/5.6L IS USM is £19,099/$16,999, with the 1200mm version £22,449/$19,999. They will be on sale in May.

If you want the longest AF lenses for mirrorless cameras, then Canon has the answer with the new super-telephoto RF 800mm f/5.6L IS USM and the RF 1200mm f/8L IS USM. These premium L-series RF lenses have a built-in Optical Image Stabiliser and are ideal for sport, wildlife, news gathering and surveillance. For something even more powerful, the RF 1.4x or RF 2x extenders are ideal, retaining both AF and IS function of the lenses. A new optical system enables a design that’s smaller and lighter than traditional, fast super-telephoto lenses and they are significantly reduced in size from their EF-mount counterparts. The 800mm f/5.6 is Canon’s lightest and shortest 800mm L-series lens, weighing just over 3.1kg. The 1200mm is the smallest lens of its size ever released. At 3.34kg, it is more than 13kg lighter and 30cm smaller than its predecessor, the EF 1200mm f/5.6. Of course, that lens is a stop faster. The image stabilisation system provides up to a 4.5-stop benefit on the 800mm prime and four stops on the 1200mm. Both models have a nine- blade circular aperture that can move in 1/8th steps, achieving smoother transition between apertures during video recording. Featuring Fluorite, Super UD and UD elements, these lenses are built for fine image resolution and excellent correction of chromatic aberration. New coatings combine with the improved lens design to minimise ghosting and flare. Even with the extra optics, the minimum focusing distance is 2.6m in the 800mm, and 4.3m in the 1200mm.

The Atomos Ninja V series will support Apple ProRes Raw over HDMI for the Olympus OM-1 and Panasonic GH6. The more powerful Ninja V+ supports the DCI 4K standard, at up to 120fps over HDMI on the GH6. Both Ninjas record DCI 4K at up to 60p. The OM-1, Ninja V and V+ will record 12-bit ProRes Raw at DCI 4K up to 60fps. ProRes Raw clips recorded from the OM-1 support white balance and ISO adjustment sliders in Apple Final Cut Pro. RAWSUPPORT FOR LATEST MFT LAUNCHES BEBOB DELUXE BATTERY OPTION German battery innovator Bebob has a complete range of new B-Mount batteries, chargers and adapters, which have 12V/24V multi-voltage capability. Bebob offers V-Mount and Gold-Mount adapters. Bebob’s new batteries include the B90cine with 86Wh capacity, the B155cine at 156Wh and B290cine with 285Wh. The B90cineHS and hot-swap adapter can be connected in series with other B-Mount batteries. This allows the total capacity to be increased, giving uninterrupted power when batteries are exchanged. The B-Mount interface also provides precise information about run and charging time. All have a twist D-Tap and USB-C connector. Like other Bebob units, new cells can be fitted when old ones degrade.





IT’S SHOWTIME! BSC EXPO 2022 After somany cancelled events due to the pandemic, the BSC Expo filmmaking spectacular is the first big one back on

I t seems like such a long time since the great and good of pro filmmaking got together in one place, to peruse the latest hardware and software, immerse themselves in inspirational seminars and mingle with like-minded creatives. Last time it happened was two years ago, at the prestigious BSC Expo in London’s Battersea Park, just a few weeks before the global pandemic hit. Now, the event is back again, albeit slightly later than usual in the calendar. With Covid-19 measures in place to keep everyone as safe as possible, the doors open on 7 April as a VIP preview day, while the show is open to all registrants on 8-9 April at the Battersea Evolution space in London. The show will be packed with some of the best companies in the business, with an audience of influential attendees from the world of TV, film and independent video production. Unlike some of the huge international mega-shows abroad, the BSC Expo is a much more close-knit and personal affair, and you can get nearer to the products and people you want to see.

You’ll have access to the latest Red Komodo and V-Raptor, as well as the Sony Venice 2 and a range of mirrorless cameras and camcorders. Canon will have the new XF605, its mirrorless range, and Cinema EOS cameras such as the C70, C300 Mark III and C500 Mark II. Fujifilm is showcasing its range of incredible cinema lenses, including the affordable MK cine zooms. And Panasonic unveils the GH6, its full-frame mirrorless S series cameras, as well as cinema and broadcast models like the EVA1 and Varicam. Of course, Blackmagic will present the 12K Ursa Mini Pro and its range of Pocket Cinema Cameras, switchers, DaVinci Resolve software and production hardware. While Kinefinity will be on the ProAV stand, along with a whole host of other kit to ogle – or even get your hands on. Anyone who is anyone will be there, and so should you! Register for free on the BSC Expo website. Then, take this guide with you, as we reveal some of the biggest brands and best new equipment to look out for. More info:




“Unlike some of the huge international mega-shows, the BSC Expo is amuch more close-knit and personal affair”

ROLL UP, ROLL UP! The BSC Expo is packed with everything – from the latest cameras, lenses and lights, to some incredible rigs, such as camera-carrying cars and stealthy, electric-powered motorcycles





2. CVP Committed to its ethos of providing a knowledge hub for the industry, CVP will once again occupy the mezzanine floor of BSC at Battersea Evolution. Visitors can enjoy a showcase of its latest solutions, along with renowned agnostic guidance from technical experts. In addition to its classic lens bar and cine, motion and monitoring features, CVP will present an extensive VP stage. It is partnered with Disguise, Ncam, TrackMen, Arri and GhostFrame technology represented by Roe Visual, to show off the latest visualisations. Other brands will include Red, Sony, Canon, Tribe7, Zeiss, Cooke, Angénieux and many more.

1. APUTURE Aputure may have only started in 2005, but its reputation as an up-and-coming LED lighting manufacturer has already led to thousands of fans around the world. Aputure Europe will show the recently released LS 1200d Pro and Nova P600c flagship models. The LS 1200d Pro features a 1200w COB and is the brightest light in the Aputure product line. It comes with three Bowens-mount Hyper Reflectors included. With its Narrow Hyper Reflector, the 1200d Pro can achieve an output of 83,100 lux at a distance of 3m/10ft. It uses LumenRadio CRMX and Art-Net/sACN via an etherCON connector, in addition to 5-pin DMX512 ports, in order to seamlessly integrate into any professional DMX interface. On top of that, the light is IP54-certified. The Nova P600c (above) is a 600W RGBWW LED soft light that builds on the foundation of the Nova P300c, with twice the output. By using a unique RGBWW chipset, the Nova strikes a balance between intense output and precision colour quality, capable of producing 2298+ lux at 3m/10ft (6500K), with a CCT range of 2000-10,000K. Included with every Nova P600c is an industry-standard LumenRadio CRMX, enabling it to interface with any CRMX wireless control system. Aputure will share its booth with sister brands Amaran and Deity Microphones.

3. VOCAS This award-winning Dutch manufacturer will display its innovative, high-quality and ergonomic camera accessories at the BSC Expo. Vocas designs both universal camera gear and dedicated accessories for particular cameras. Loads of new products are making their debuts at the show. One of these is the Vocas Level Marker, a clever tool that helps to properly align your camera with the horizon. There will also be a complete line-up of extremely popular

accessories for the Sony FX6 and FX9 – and for the Sony Venice 2, Red Komodo and V-Raptor.

4. CREAMSOURCE Creamsource offers a wide range of high-quality lights, including the flagship Vortex8, a 650w 2x1 LED. It’s built from precision-machined extrusions and high-strength die casting, as well as leading-edge technopolymer components and aerospace-grade sealing to make it IP65 water resistant. Crafted to produce a narrow beam angle and high light output, its colour science enables real-to-life reproduction of skin tones and colours, covering more area using fewer units. With outstanding connectivity and extensive expandable wireless options, Vortex8 has LumenRadio built-in, supports Ethernet, Bluetooth, TimoTwo, 5-pin DMX, Wi-Fi, USB Type A and has a Creamsource accessory port. The Vortex8 can be a hard or soft light, with the Creamsource Dome or DOP Choice Snapbag. SFX and colour gels are built-in.





6. MOTION IMPOSSIBLE Motion Impossible will demonstrate the latest incredible engineering solutions for its Agito camera movement system. It’s bound to have the crowd wowed! Broadcast bundles enable the high-precision and agile control of a tracked dolly, with new column-mounted camera heads. Magrax enables the Agito to follow a magnetic strip on a surface, under a carpet or embedded within a set. Operators lay the path, and the Agito will autonomously follow, while controlling the camera head and/or tower elevation. The Agito Column has been developed for heavier payloads and can support up to 50kg. Agito two-axis heads are based on the Egripment 205 and 306 Remote Heads. The first is a lightweight head providing smooth camera motion for payloads up to 10kg. The second is a larger andmore powerful head that manages accurate

movements up to 32kg.

5. HOLDAN Huge UK distributor Holdan will showcase a comprehensive range of on-camera monitor/recorders and production kit fromAtomos – and ultra-lightweight, high-performance Xeen Cine Primes fromSamyang, including the recently announced XeenMeisters. Plus, findmobile workstations from Inovativ and Core SWX batteries. There will be representatives from all four featured companies – Atomos, Core, Inovativ and Samyang – at the show, ready to answer any questions. Inovativ designs andmanufactures world-class mobile workstations, from light, compact travel carts, to complex studio-based units – capable of holding full DIT set-ups or cine and broadcast camera-rigging stations. BSC Expo is an opportunity for customers to get hands-on with the Voyager, Echo, Apollo and Deploy carts, as well as the Axis workstation, along with accessories that allow the carts to be customised for production. Renowned for robust build quality and high cell cycle count, Core SWX is a market leader in batteries and charging solutions for the broadcast, digital cinema and professional video industries. On offer are power solutions for hybrid mirrorless machines, current hungry cinema cameras – and everything between. Featured on the booth will be Powerbase Edge, Hypercore Neo, NanoMicro and Core’s latest release, the Maverick – a next-generation mobile power station. Other manufacturers on show include Teradek, with its wireless transmission solution, and Kondor Blue’s range of camera cages and accessories. DIT and post-production solutions will also be there, featuring Asus ProArt monitors, Sonnet’s DuoModo expansion system and Promise RAID storage.

7. HAWK-WOODS British manufacturer Hawk-Woods will unveil its newMXB-880 at the show: the first product designed within the Mini range of floor batteries. It has a sleek design that looks totally modern and professional. The MXB-880 has a durable handle that easily takes the weight from the battery when carried, and there are rubber end guards to protect from damage. The compact kit outputs 880w of power, but weighs only 7.2kg, almost a 25% reduction against the company’s previous floor batteries. This latest model incorporates a built-in charger, but you can still power via XLR4 connectors as a backup – so existing XB1 14v chargers are still usable. The MXB-880 features dual- voltage, with a pair of XLR4 14v

outputs and XLR 28v switched outputs. The battery features a display, in order to monitor the remaining runtime, and it turns off automatically when not in use.




8. ZEISS Tech giant Zeiss is to premiere its Supreme Prime 15mm lens. The fast T1.8 optic completed the family, renowned for outstanding quality, lightness and versatile look. With a 14-piece, high-end cine lens series – from 15 to 200mm and a maximum aperture of T1.5 to 2.2 – Zeiss covers the full range of focal lengths demanded by filmmakers around the world. “This 15mm is the final piece of the puzzle many cinematographers have been waiting for,” says Christophe Casenave, responsible for cinema products at Zeiss. The Supreme Prime 15 mm T1.8 will be tested for the first time at the show. Visitors can get hands-on with a wide range of high-end cine lenses, with the chance to test out the flaring of Supreme Prime Radiance optics in a purpose-built darkroom on the stand.

9. PAG British company PAG designs and manufactures innovative, high-end power solutions in aid of cinematography and broadcast. Its advanced battery technology is the PAGlink, a unique system of intelligent linking batteries. The newMini PAGlink system offers smaller, lighter batteries, in 50Wh and 99Wh capacities, and V-Mount and Gold Mount formats. These feature standard D-Tap outputs, as well as a USB output unit (2a 5v) that users can swap for others with Hirose, Lemo, D-Tap or 2.1mm connectors. This makes Mini PAGlink perfect for sourcing power to smaller 4K camcorders and their accessories, large format cameras, monitors and panel lights. Batteries of any rated capacity, in any state of charge, can be linked to provide juice, their capacities safely combined. Current can be drawn from each simultaneously, which increases the overall capability. PAG’s newmodular battery design makes servicing quicker and more economic. Individual modules, including the cell pack, can be replaced at authorised service centres around the world, while maintaining compliance with air safety standards. Reusing case parts, output modules and internal electronics contributes towards greater sustainability.

10. BEBOB Munich-based battery-maker Bebob is presenting a new portfolio of B-Mount products. The range all support multi-voltage – both 24v and the traditional 12v – so they work on more devices on-set. Four batteries are available, with the B90cine (86Wh), B155cine (156Wh) and B290cine (285Wh) among them. There’s the B90cineHS (HotSwap), too, which can be connected in series with other B-Mounts. Practical features include Bebob Twist D-Tap connection and a USB-C port. These newcomers support the manufacturer’s ‘re-celling’ programme, so can be fitted with new cells once old ones are past their best. Bebob also offers specific V-Mount and Gold Mount adapters – plus dual and quad chargers.

11. RED Red will bring its latest tech for hands-on demonstrations at the BSC Expo in London, including the flagship DSMC3 camera – the V-Raptor – which will be shown for the first time at a UK show. It features a multi-format sensor with in-camera selection, from 6K S35 to 8K large format. Also making its debut is the in-demand Komodo 6K camera system. With a box-style form factor of only 101.6mm, the Komodo features a breakthrough global shutter sensor measuring 27.03x14.26mm. This innovation maintains Red’s incredibly high

standard of image quality and dynamic range. Exhibit attendees will have the chance to dive into the power of Redcode at the booth’s clever workflow station.





We reveal the latest trends in filmmaking and how they can impact your work

T he world is a very different place in 2022, compared to just a few years ago. The global pandemic, massive supply chain issues, rising inflation and uncertain political futures mean there have been lots of unprecedented changes, in all sorts of ways. These shifts are set to be felt for many years. However, the business of professional filmmaking goes on in this fast-changing world. Fresh technology continues to set new standards, and client demands shift with those innovations – altering consumption patterns irrevocably. It was four years ago when Pro Moviemaker last took stock of what was hot and happening in the world of

“Fresh technology continues to set new standards, and client demands shift with those innovations – altering consumption patterns irrevocably”

recording, the more widespread use of streaming video, Raw video files and IGTV. Some of these are now everyday tech that is integrated into many businesses. So, what are the trends that are emerging, are about to explode or have already taken the industry by storm? Take a look at our ten key trends of 2022 – and see if any could transform your workflow.

filmmaking. Back then, we gushed about affordable, large-sensor digital cameras, small drones and action cameras that shot in 4K at 60fps. There was the increase in VR, and some affordable anamorphic lenses were coming onto the market – as well as LED lights taking over from the hot, Tungsten flesh-burners of old. Plus, we saw the rise of branded video, HDR





Many filmmakers today started their journey with a DSLR camera, such as the legendary EOS 5D Mark II. It may not have been the first DSLR capable of shooting video – that was a Nikon D90 in 2008, which had a cropped APS-C sensor. But the Canon was the first 35mm full-frame to offer HD video. Once a firmware upgrade removed many of its earlier limitations, it took the filmmaking world by storm. Suddenly, everyone could afford a large-sensor HD video camera capable of producing Hollywood-level results. The revolution had begun, but now the DSLR era is ending. Mirrorless cameras are superior for shooting video, as there is no flapping mirror mechanism to get in the way of the viewfinder; just a pure – albeit electronic – view of the world from the sensor, with real-time exposure simulation. The old lens mounts for DSLR cameras, some of which went back to the fifties, are too limited for the latest full-frame mirrorless wonder-cams. Larger lens mounts, with more electronic contacts for faster processing, mean quicker lenses and AF. Sony was first to abandon its DSLR-style A-mount, while the new Canon RF mount is on the latest Canon and Red cameras. Nikon has its Z mount and the Leica L-Mount is used on Leica, Sigma and Panasonic bodies. The smaller Micro Four Thirds mount is still used on Olympus and Panasonic cameras, which is fitting, as it was Panasonic that pioneered the way for video in even smaller cameras. A top exec recently revealed there will be no more flagship Canon DSLRs built, and no investment in EF lenses, which are fast becoming the ‘legacy’ option. With hybrid cameras like the Canon EOS C70, EOS R5 C, Panasonic S1H, Sony FX3 and A7S III leading the way for a new style of movie-focused small camera, it’s an exciting time.

NEWWAVE Nikon’s Z 9 is typical of the latest mirrorless pro cameras that mean an end to pro DSLRs

2. SPEEDIER PROCESSORS Do you feel the need for speed?

The best mirrorless cameras can now shoot in up to 8K, or 4K at 120p in high bit rates with full AF and AE, as well as C4K and 4K in a range of codecs. For speed merchants, 240fps is relatively commonplace in HD – even with full AF and AE working in glorious 10-bit. The new Panasonic GH6 even shoots in 300fps in HD. Some cameras allow you to record internally in ProRes, with a lot of H.264 or H.265 options, too. The tech revolution has also led to dual base ISO and dual gain sensors. Some sensors can read out in two ways – one for better images at lower ISO and one for less noise at higher settings – and you or the camera choose what’s best. Others read out at low and high ISO, and combine the footage for the best of both worlds. There has been a lot of development, and it pays to choose wisely to fit your needs.

Well, whatever you shoot, your camera does. Superfast processing – thanks to advanced electronics and clever sensor tech – leads to superior cameras. While stills photographers pixel-peep the fine detail of sensors, in filmmaking the limiting factor has been how fast the data can be read out without the camera melting. Faster read-outs mean less rolling shutter nastiness, real-time monitoring in the viewfinder and, ultimately, faster frame rates. Plus, the potential for higher resolution and an increase in codec options. That allows easier processing of Log files for maximum dynamic range – as 10-bit, 4:2:2 All- Intra files have lots more detail than the 8-bit 4:2:0 files of old. These files didn’t have much colour information anyway, so throwing some away by shooting Log wasn’t a great solution.

FAST COMPANY The new Panasonic GH6 has frame rates that older cameras just can‘t compete with

“A top exec revealed there will be nomore flagship DSLRs built, and no investment in EF lenses”




“The biggest issue with Rawhas always been the amount of data it uses”

3. NO LONGER A RAWDEAL Recording Raw files gives the

your NLE can handle Raw, as many have needed it transcoding into an editable format first. More time, computing power and drive space. But now, most NLEs have plug-ins that treat Raw files from popular cameras as native. If you desire to edit Redcode Raw files in Final Cut Pro X, for example, a free, downloadable plug-in means you can do it seamlessly – without having to resort to using Red’s processing software. Canon now has a less data- hungry codec inside many of its newest cameras, called Canon Raw Light. This has smaller file sizes and is faster to process. Braw is a compressed Raw format inside some Blackmagic cameras, too. If your camera doesn’t offer a ‘light’ Raw option, then many

ultimate quality and flexibility in processing, as it uses the best- quality information right off your camera sensor. It can be pushed around in post, where an accurate white balance is easily set and recovery of highlight and shadows are a mere cinch. If you need the fastest workflow for speedy turnaround, then Raw is not the best option, as it is not broadcast-ready. There must be some processing, which slows things down. The biggest issue with shooting in Raw has always been the vast amount of data it uses, which is a massive drain on hard drive space – not to mention the speed of the computer you need to edit the footage afterwards. That’s if

are capable of exporting Raw over HDMI or SDI to an external recorder, which can store it as Braw or Apple ProRes Raw. These files give flexibility of a Raw file, but in a smaller size and the benefits of a ready-to-edit format. While some of the adjustments of Raw were initially disabled, nowmost camera/ recorder options allow full tweaking of all settings. Raw is no longer a major headache.

RAW BUT READY The Red Komodo (top) comes with Raw built-in, while Sony cameras largely require an external recorder, then NLE work in post





There was a time when the choice of memory media was CF for pro DSLR cameras, SD for everything else, or hideously expensive proprietary media – like Redmag cards or Sony SXS – if you had to use a cinema camera or large camcorder. But with faster processing and more data than ever, the CF and standard SD cards are not good enough. Even when SDHC (for high capacity) came along in 2006, or SDXC (extra capacity) in 2011, these were soon outdated. Now, there’s SDUC for ultra capacity. Like SDXC, they have a UHS-II interface which allows speeds of up to 985MB/s transfer. Look out for Class 10 or V90-rated cards when recording in 4K or high frame rates. Thankfully, there are now other choices. One is the CFast. It replaced the original CF cards and uses a different PCI Express interface for transfers of up to 550MB/s. Then came XQD cards, used largely in Nikon and Sony cinema cameras, like the FS7, as well as the Panasonic S1H. Common transfer rates are 985MB/s. The latest cards are CFexpress, which are being touted as the successor to CFast and XQD. These come in three different physical sizes. Type A is the smallest and fits in some Sony cameras, with a data rate of up to 1GB/s. Type B is rated at 2GB/s and has the same dimensions and connections as XQD. It actually works in many XQD cameras. Type C is much larger and can reach 4GB/s, but no cameras use this type yet. One option is to record directly from the camera to a small SSD, which can be instantly read on your computer. Few cameras allow this currently, but the new Panasonic GH6 will, via a firmware upgrade.


SMART DEVICES Using the latest digital audio on compatible Sony mirrorless cameras has huge advantages

There have even been advances in camera-top mics. Developments include dual-channel recording with a standard track and a safety track at a lower dB, to avoid peaking if there is any sudden increase in audio. Some cameras have upped their audio recording game. For example, the Panasonic GH6 can record four-channel 48kHz or 96kHz 24-bit when an XLR microphone adapter is attached, or in two channels using a plug-in mic. One of the biggest advances is in recorders that can employ 32-bit float technology, capturing massive audio levels in a single recording. You could record everything from an almost-silent whisper to a Formula 1 car, without changing the gain – and still be able to use the audio without clipping, just by adjusting the levels in post. It’s like super-high dynamic range for sound. It sounds too good to be true, but compared to a 24-bit WAV file, a 32-bit float WAV has 770dB more headroom, and roughly the same below it. That’s a usable range of 1500dB, which is insane! Recorders that use 32- bit float include the Zoom F6 or F3 and MixPre-3 II from Sound Devices .

All filmmakers know just how crucial it is to get super sound, but few can afford a dedicated recordist. Luckily, there has been a boom in audio technology to make it easier than ever. If you are still just plugging in a basic camera-top mic via a conventional 3.5mm jack, you are missing out on a lot. The world has gone digital, and that includes audio. Digital audio that connects to the camera via a multi-pin hotshoe – instead of a plug-in cable – was pioneered by Sony, but is now on other cameras, including Canon. They can recognise an audio source is there, and the signal is directly transferred to the camera in digital form– so there is no loss of quality due to the analogue interface. You can also alter how directional the mic is, and usually connect more than one wireless transmitter to enable two-person interviews – always a big issue for filmmakers. Even if you don’t go for a dedicated digital system, there are far more options for dual-input wireless than ever before. Rode, Saramonic, DJI, Hollyland, Joby, Sony, Deity and others offer kits, and many are linked to apps so they can actually record internally, too.

EXPRESS DELIVERY The latest memory cards, like this 512GB Angelbird CFexpress Type B, give fast transfer rates and huge capacities





6 CLEVER GIMBALS It wasn’t that long ago we were bowled over by relatively small and affordable three- axis motorised gimbals. Instead of having to use weighted plates tomanually balance a mechanical unit, a quick balance was all that was needed before the motors took over. Steady footage was never easier. However, the latest crop of three-axis gimbals are smarter than ever before. The majority are now controlled by an app, which allows you to tweak settings for time-lapse, different modes such as pan, tilt, lock and follow, auto subject tracking and AF. The Manfrotto 300XM actually splits in two, so you canmount the gimbal head to a boom, for example, and control it from the separate handle. King of the clever gimbals is the radical DJI Ronin 4D. This has an all-new, full- frame cinema camera, a video transmission and control system in a single unit. It accepts full-frame lenses – there are 6K and 8K versions – and has built-in ND filters and, of course, the four-axis stabilisation system, instead of just pan, tilt and roll. The Z-axis of vertical motion is also stabilised on the Ronin, so when going up or down steps or just walking, the camera doesn’t jolt.

Not that long ago, LED lights were accused of being inconsistent in colour and not powerful enough to take over from the hot Tungsten and HMI lights. That quickly changed. These smaller and lighter fixtures spark into life instantly, and don’t need anywhere near the power of HMI lights with their huge ballast packs and generators. Flicker-free LEDs – wirelessly controlled via Wi-Fi or DMX – boomed, with all the big brands launching their own versions. First came Daylight-balanced or bi- colour LEDs to match to Daylight or Tungsten. Then came RGB, then RGBWW, signifying these lights could either have adjustable colour temperature and tint to produce white light, or be set to output any colour you like via a mix of red, green and blue. This means you can quickly use a full spectrum of colours to add impact to any scene. If you want SFX like paparazzi flashes, fake fire or police cars, they are available easily. The latest innovations include Rotolight’s electronically adjustable diffusion technology, softening light at the turn of a dial. RGBWW tube lights are the freshest tech to come from a wave of companies. Similar in form factor to the old Kino Flo tubes, which were often grouped together to form a bank of soft lights, RGBWW tubes have LEDs arranged in groups. Instead of the whole light being one colour, a rainbow can be illuminated along the length of the tube. By altering the colour of each of these groups, the ‘rainbow’ or colour can be made to ‘move’ along the length of the tube. It’s ideal to use in the frame itself – perfect for pop videos, for example. Or just set them as a standard light. It really is the ultimate in flexibility.

A newly designed LiDAR rangefinder continuously generates precise laser measurements. It simultaneously casts over 43,000 ranging points, up to tenmeters, locating subjects accurately, even in low- light. As LiDARmeasures the distance to the subject without relying on surface textures or edges, it obtains a very fast focus speed. Inmanual focus, there is a LiDAR waveformdisplay to allow fast focusing. Autofocus keeps a sharp hold on the subject, while automatedmanual focus combines the best of bothmodes to automatically rotate the focus wheel while following the focus point. It can turn any manual focus lens into a full AF lens. It’s a bit of a disservice to call the Ronin 4D a gimbal camera, as it’s somuchmore. INNOVATION STATION The world of camera stabilisation just gets more advanced with models like this Zhiyun

7. AF FOR ALL Manual focus is a filmmaking mainstay in pretty much every area, apart from ENG and events shooting. But now, effective AF is available in the vast majority of cameras, from camcorders and mirrorless, to high-end cinema. It really does work, and can be faster and more accurate than a veteran focus puller. Even Red, the last bastion of manual focus, now has on-sensor phase detection on its 6K Komodo and 8K V-Raptor, which use Canon RF mount lenses. Sony’s FX6 and FX9 cinema cameras also have high-tech PDAF. Canon, one of the leaders in autofocus tech with its Dual Pixel AF system, has an incredibly workable autofocus on camcorders, such as the XF605, mirrorless cameras and EOS cinema range. Only Panasonic and Blackmagic are dragging their heels in adopting

PDAF, sticking to contrast- detection AF systems. AF doesn’t work perfectly in all situations. It’s a tool that a filmmaker can use as and when needed. It’s a learning curve to understand when and how it works best. But once you’ve had a camera with eye detection tracking a talking head wide open at f/1.4, and every frame is sharp, it’s difficult to go back to managing without it.

HAND ME DOWN Canon’s XF605 has all the latest AF tech from

the mirrorless and cinema cameras

GO WITH THE FLO Tube lights with endless colour combinations are the latest essential accessory

“Effective AF is available in themajority of cameras, fromcamcorders andmirrorless, to high-end cinema”



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