Welcome to the new issue of Pro Moviemaker magazine It’s time to get your hands on the biggest issue of Pro Moviemaker of the year, packed with all the latest hardware and software from Europe’s No.1 show, IBC in Amsterdam. As well as just seeing and having a brief hands-on with the kit in those massive exhibition halls, we managed to get hold of Canon’s new full-frame cinema duo, the C80 and C400, for some serious back-to-back testing to let you know which is best for you. This duo sets the blueprint for all Canon’s future C-series cameras as they have the latest RF-mount lens, shoot Raw internally and have incredible AF. The whole issue is packed with news and views on all the most important equipment, we probe PTZ kit and test some great-value LED lights. And it’s time to reveal the winners in our annual Gear of the Year Awards. It’s an issue not to be missed
We’ve made a list and checked it twice! FESTIVE GEAR FEST
TRIED AND TESTED Sennheiser wireless & Sigma’s speedy zoom
REMOTE CONTROL Complete round-up of PTZ cameras and kit
www.promoviemaker.net @ProMoviemaker NOVEMBER/DECEMBER 2024
£5.49
LEADING LIGHTS
Great-value LEDs from Kenro and Neewer PLUS launches by Nanlite, Aputure and Amaran COB ON A BUDGET
WIN! DATACOLOR SPYDER KIT WORTH £349
AF boost for Lumix S5, Fujifilm’s compact X-M5 mirrorless, Nikon & Red link-up latest, ultra-big SmallHD, 32-bit Tascam field recorder, primes from Cooke, Arri and Laowa
IT’S THE ULTIMATE COMEBACK AS WE TEST CANON’S INCREDIBLE NEW FULL-FRAME CINEMA EOS RANGE
Blackmagic’s latest Ursa sets resolution record EDGE OF 17 SUPER-SIZE SENSOR
All the results from our video equipment mega-awards AND THE WINNERS ARE… BEST OF THE BEST!
ACTION MAN Is this person a real filmmaker? If he’s making films, then he is!
The ultimate magazine for next generation filmmakers
Editor in chief Adam Duckworth Chief sub editor Matthew Winney Sub editors Zanna Buckland, Chris Young and Minhaj Zia Editorial director Roger Payne EDITORIAL ADVERTISING Sales director Sam Scott-Smith +44 (0)1223 499457 samscott-smith@bright.uk.com Sales manager Gabrielle Pitts +44 (0)1223 492244 gabriellepitts@bright.uk.com DESIGN Design director Andy Jennings Magazine design manager Lucy Woolcomb Senior designer Carl Golsby Junior designer Hedzlynn Kamaruzzaman Junior designer and ad production Holly May PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:
The great thing about this industry is that there are no major barriers to entry – anyone can buy an affordable camera and set themselves up as a professional filmmaker after watching a few YouTube how-to videos. Conversely, you could say that this is actually a massive problem for the industry… which of these opinions you lean towards is probably dependent on your experience, training and even age. But it’s surely a great thing that affordable technology and access to free online training attracts newbies to the field, driven by the huge spike in demand for video content and a growing audience of consumers. From long- to short-form, vertical videos versus instant gratification, these are all the kinds of content that businesses are paying for right now. For those who have spent years at film school, then been out in the world honing your craft, you’re likely to be disparaging of this new breed. You might complain that they come in with scant or no technical knowledge and no backup plans for when things go wrong on a shoot, then undercut prices massively while, ultimately, video quality plummets. Not in terms of resolution – even phones can shoot in 4K now – but in lighting, composition, editing, grading and storytelling. It’s not even the ‘all the gear but no idea’ brigade, as many of these wannabes have older mirrorless kit and lenses to go along with their latest action cameras, drones and iPhones. Everything is shot at 24p with wide open apertures deemed ‘cinematic’, and LUTs bought from their favourite YouTube influencers slapped on in Capcut. It’s all posted on the only media platform that counts – Instagram – before any serious filmmaker has actually downloaded from their memory cards. The truth is that this industry does have room for everyone. Newbies who haven’t had the opportunity to go to film school aren’t any less passionate about learning how and why to do things. In my experience, many newer-generation filmmakers do want to be educated and progress. We all had to start somewhere, and nowadays the steep learning curve is more manageable than ever to those with determination. Equally, in a world that demands faster, snappier edits clients are willing to pay for, the old school should adapt rather than reminiscing about how things used to be. Decades ago, it was harder to get started making films; there were way fewer clients and it was extremely difficult to get your work out there. Now, being able to welcome one and all to filmmaking is something that should be celebrated. And with that, enjoy the issue.
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
3
PROMOVIEMAKER.NET
14
The ultimate magazine for next generation filmmakers
NOVEMBER/DECEMBER 2024 CONTENTS
AGENDA 6 BLACKMAGIC RAISES THE BAR
Meet the new Ursa Cine 17K 65, a large format, digital film camera with a 65mm RGBW sensor that costs a fraction of the price of anything similar by the likes of Arri. Plus, a new camera app and Pyxis HDR touchscreen monitor. 8 LIDAR TECH BOOSTS LUMIX S5D Panasonic’s launch of the Lumix S5D includes improved compatibility with DJI’s LiDAR autofocus tech. Additional performance enhancements such as wide dynamic range demonstrate the company’s commitment to excellence. 1O ONE FOR FANS OF FUJIFILM The new X-M5 mirrorless camera comes with a fan accessory to help prevent overheating in extended video shoots. The brand has also updated its popular standard zoom and reveals its latest super-telephoto lens. 12 NEW NIKON NOVELTIES Red Digital Cinema has developed a selection of free LUTs and filmmaking initiatives in collaboration with its new owner. Other Nikon updates include a lightweight Nikkor prime and Frame.io compatibility for the Mobileair app. 14 SMALLHD MAKES A SPLASH The portable, ten-inch Ultra 10 smart production monitor from SmallHD and Teradek’s CTRL.5 lens control handset are both must-have accessories. Also, Sony comments on sustainability in the media and entertainment sector. 16 32-BIT FLOAT FOR MINI TASCAM The compact, high-resolution FR-AV2 field recorder is useful for working on location and offers remote control features. Plus, a custom rig by Wooden Camera to service the Canon C80, with impressive levels of customisability.
10
19 TOO MANY COOKES DON’T SPOIL THE PLOT The legendary British lens maker’s SP3 mirrorless prime range is filled out with the addition of an 18mm T2.4 lens. Arri unveils its more compact and affordable prime lenses, while Laowa reveals its set of anamorphic cinema primes with adjustable flare modules. 20 DJI ENTERS THE TWILIGHT DRONE! The Air 3S is a lightweight drone that takes high-quality images and can fly at nightfall, featuring a one-inch CMOS primary camera, nightscape obstacle sensing and Smart Return to Home functionality. DJI has more options for all users with the super-light Neo and Osmo Action Pro 5. 22 FASTER CALIBRATION FOR SHINOBI II MONITOR There’s a simple way to accurately calibrate the new Atomos Shinobi II monitor as it now has built-in test patterns for certain devices. Just plug the probe into a computer and use Atomos software to generate a test pattern. See a fresh cine lens from Tokina and speedy Samsung SSD too. 24 THE BLAIR CHIPS PROJECT WITH APUTURE The Aputure Storm 1200x light uses a brand-new Blair light engine for full white-spectrum light and colour-accurate dimming. Amaran compact LEDs pilot new features like the Ace Lock quick-release mount and the Pavoslim from Nanlite shows just how thin a light panel can go. 26 MEET OUR WEDDING FILMMAKERS OF THE YEAR Say hello to the winners of the wedding class in our annual filmmaking competition and learn about how adventurous couples are heading north of the border to have their nuptials (and even elopements) recorded in a cinematic style among dramatic landscapes. 28 A SELECTION OF THE BEST ON SHOW AT IBC 2024 Take a look at eight sensational new products on display at the mega IBC filmmaking show in Amsterdam. Scan the QR codes to be taken to video overviews and demos of the kit and see the hottest tech from companies like Atomos, IDX, Vocas, Audio-Technica and Astera.
6
4
PRO MOVIEMAKER
35
The ultimate magazine for next generation filmmakers
AWARDS 35 GEAR OF THE YEAR WINNERS REVEALED! The results of the eighth annual Pro Moviemaker Gear of the Year Awards are presented here! Determined by reader votes, check out the winners, comprising the very best in hardware, software and services. Don’t even think about buying new kit until you’ve read this!
GEAR 60 CANON’S CINE CAM BLUEPRINT
The very latest Canon Cinema EOS C80 and C400 aren’t just new cameras from one of the world’s biggest brands, they’re trendsetters leading the way in full-frame, RF- mount cinema cameras. 72 AFFORDABLE LED LIGHTS RATED You can spend a small fortune on the biggest and best professional LED lighting – but you don’t have to. We find great-value COB systems from Neewer and Kenro, then put them through their paces in a real studio shoot. 78 FESTIVE TREATS FOR ONE AND ALL! It’s the season for giving – or for treating yourself to some new kit. We showcase lots of lovely filmmaking- related products that would make fantastic presents to go under the tree for Christmas morning. 84 MINI TESTS: TOP KIT, TRIED AND VERIFIED We get our hands on the brand-new Sennheiser Profile Wireless audio system that’s truly unique, plus Sigma’s speedy 28-105mm f/2.8 standard zoom, an affordable Zoom recorder and Datacolor’s colour-matching kit.
BUYERS’ GUIDE 92 REMOTE CONTROL PTZ CAMERAS
28
Have a sneak peek into the latest and greatest camera and controller technology in the rapidly growing field of pan- tilt-zooms, made for remote recording.
72
5
PROMOVIEMAKER.NET
NEWS AGENDA 17 is the magic number The latest Blackmagic Ursa Cine camera packs in a massive 17K resolution on its huge 65mm sensor B lackmagic is always on a mission to build cameras that rival the best from boutique manufacturers at far cheaper
Alternatively, the optional Media Module CF has dual CFexpress slots. There is also support for creating small H.264 proxy files in addition to the original camera media when recording. These can upload to Blackmagic Cloud in seconds so that media is available for editing in real time. The ability to transfer media directly into DaVinci Resolve’s media bin as editors has never been possible before. The camera can also livestream with a built-in system that supports RTMP and SRT protocols to major platforms or clients. The Ursa Cine can be used with the optional Cine EVF which is a 1920x1080 colour OLED display with a built-in
side of the fold-out monitor has a large five-inch HDR touchscreen and the other an external colour status LCD. On the right side of the camera there’s a dedicated assist station with a second HDR touchscreen, as well as a focus puller’s mode. The Ursa Cine uses Blackmagic’s own Raw files to store its metadata, lens data, white-balance, digital slate information and custom LUTs to ensure consistency throughout post-production. It also has an optical low-pass filter with updated IR filtering to boost the red colour response for next-level image fidelity. This is the first digital film camera with ultra-fast, high-capability Cloud Store technology built in. High-speed internal memory allows users to directly access files over high-speed 10G Ethernet.
prices. This is the case with the new Ursa Cine 17K 65 which is a large format digital film camera with a 65mm RGBW sensor that costs from £27,966/$29,995 – far from cheap but a fraction of the cost of anything similar by the likes of Arri. The incredible new Ursa offers 16 stops of dynamic range and Blackmagic Raw syncing to DaVinci Resolve for total integration into the post-production workflow. The 17,520x8040 sensor has larger photosites for lower noise and increased dynamic range, interchangeable PL, LPL and Hasselblad lens mounts as well as industry-standard Lemo and Fischer connections. It also comes with 8TB of SSD storage built in to capture over four hours of Blackmagic Raw in 17K using the full 65mm sensor, or up to 20 hours in 4K. The camera also includes high-speed
proximity sensor and four- element glass dioptre for a wide focus adjustment.
networking for media uploads and syncing to Blackmagic Cloud. The larger sensor builds on the technology of Ursa Mini Pro 12K, which has a unique RGBW architecture that provides equal numbers of red, green and blue pixels. This delivers rich colours at all resolutions and, with its large sensor, cinematic images due to the shallow depth- of-field. The body is a robust magnesium alloy chassis and lightweight carbon-
fibre polycarbonate composite skin and has 12G‑SDI out, 10G Ethernet, USB-C and XLR audio. The lens mount options all have contact pins to read lens metadata for faster post-production. One
BIG TIME Massive sensor and resolution comes to Blackmagic with this 17K monster!
6
PRO MOVIEMAKER
NEWS
THIS IS THE ANDROID APP YOU’RE LOOKING FOR An update to the Android version of the Blackmagic Camera app adds support for recording timecode with clips for quick post-production synchronisation of video and audio. This also allows recordings from multiple cameras to be used in multicam edits with timecode syncs. The free update also adds anamorphic de-squeeze functionality and lens correction settings as well as support for off-speed and time-lapse recording. Users of Pixel 6, 7, 8 and 9 phones will now be able to record at higher frame rates, including 120fps and 240fps at 720p and 120fps at 1080p. The app now works on Xiaomi
CONSTELLATIONS’ STARRING ROLE A free update adds Visca over IP control for PTZ cameras on all Blackmagic Atem Switcher Constellation models, audio mapping on all Constellation HD models, plus customisable multiview borders. The update enables control of up to 100 PTZ cameras with the IP address of each camera. It added new multiview and Supersource features for the HD and 4K versions. It provides support for 30 and 60fps formats in HD, UHD and 8K for Atem Constellation 8K. These advances mean it can control the latest generation of PTZ cameras and camera heads, perfect for tracking people walking on stage or zooming in on speakers. On HD versions, audio mapping allows manual routing of audio channels from all SDI inputs to embedded audio channels in SDI video outputs, which enables use of a range of audio sources. There is also now Supersource border colour customisation on the Atem Constellation HD and 4K. Supersource is available on 2 M/E, 4 M/E and 8K models, giving customers four extra DVE layers and a background layer that all appear to the switcher as an additional input source.
13T, Samsung Flip 5 or 6 and Fold 5 or 6 phones. The iPhone version also works on all the latest models.
NO ANDROID VOID The popular Blackmagic app is now upgraded for non-Apple phone users
KEEP AN EYE ON THE PYXIS
In keeping with the affordability of the Blackmagic Pyxis cinema camera, the company now offers a bright five-inch HDR touchscreen, with camera control and multiple mounting points, for just £323/$295. Its remote or on-camera mounting options make it ideal for additional monitoring and control, perfect for use when rigging
or accessories block the Pyxis’ internal display. Multiple mounting points make it easy to attach it directly to the camera as a large viewfinder or to a rig for easier focusing and framing. The 1500-nit high-brightness screen works well even in strong sunlight. It comes with a removable sunshade that can fold up to protect the monitor. The machined metal design of the Pyxis Monitor is strong, for daily professional use, and matches the industrial design of the Pyxis and Ursa Cine cameras.
When recording, the monitor has a bright tally light. Three buttons on the unit are used to access zebra, focus assist and false colour and they can be customised to other functions. The unit connects to the camera using a single USB-C cable to provide the video signal with power and camera control. This cable has locking screws at both ends for safety. The screen allows access to metadata settings and for entering
digital slate info or loading custom 3D LUTs onto the camera. It works with any 1/4in-20 mounts and supports industry-standard 1/4in- 20 locating pins. In addition to standard mounting options, the monitor is made available with accompanying precision mounts designed to be used on Blackmagic’s Pyxis and Ursa Cine cameras. blackmagicdesign.com
7
PROMOVIEMAKER.NET
NEWS AGENDA Autofocus boost for Lumix S5D
30p/25p 4:2:0 8-bit internal recording. In addition to C4K recording, the S5D is capable of Raw video data output to a compatible Atomos device over HDMI at 5.9K in 29.97p/25p, 4.1K in 59.94p/50p and anamorphic 3.5K in 60p/50p. The Lumix S5D delivers 14+ stops of dynamic range like Panasonic’s cinema cameras, using the colour science of the Varicam line-up and V-Log/V-Gamut. A perfect match for full-frame Lumix or other compact L-Mount cameras, the Panasonic Lumix S 18-40mm f/4.5-6.3 lens weighs just 155g/0.34lb and measures 67.9x40.9mm/2.7x1.6in. Panasonic claims it’s the world’s smallest full-frame zoom. Its 18mm super-wide angle is ideal for vlogging or getting a lot of a scene in-shot. The closest focus distance is 0.15m/0.49ft on the dust-, splash- and freeze-resistant design that has a fluorine coating to repel fingerprints. It’s designed for photo and video use and to suppress focus breathing. The Lumix S5D is £1399 for the kit with the new 18-40mm f/4.5-6.3 lens or £1799 including the 28-200mm f/4-7.1. No US prices have been announced yet. The 18- 40mm lens costs £519/$498. panasonic.com
Panasonic’s commitment to improving its full-frame mirrorless cameras that don’t have the latest phase detection autofocus sees the launch of the Lumix S5D that adds compatibility with DJI’s LiDAR AF system. Based on the Lumix S5, the refreshed model pairs with the DJI LiDAR Range Finder module and DJI RS 3 Pro gimbal for focusing that improves on the standard camera’s contrast detection. This sends information on distance measurements from the LiDAR unit to the camera via USB, with the camera driving focus. No extra focus motor is required, allowing easier handling, a more compact size and no need for lens calibration adjustments. Thanks to LiDAR’s high-speed 43,200 ranging points within distances up to 14m/46ft, this drives fast AF even in low-light conditions. The Lumix S5D retains the earlier model’s 24.2-megapixel CMOS sensor, which has wide dynamic range and high sensitivity performance, with a maximum ISO of 51,200 from Dual Native ISO tech. The camera is capable of 4K 60p/50p 4:2:0 10-bit and 4K 30p/25p 4:2:2 10-bit internal recording for up to 30 minutes. It outputs 4K 60p/50p in 4:2:2 10-bit via HDMI and there’s no time limit for 4K
PANASONIC BOXES CLEVER WITH ONE-TWO HIT
The multi-purpose box camera line from Panasonic has been boosted with the new full-frame AW-UB50 and AW-UB10, which has a Micro Four Thirds sensor. They are similar to the DC-BGH1 and DC- BS1H in terms of design and video specs but have better connectivity. All of these box-style cameras are based on Lumix mirrorless technology and are easy to rig up in tight spaces or for handheld shooting with a gimbal. But the new versions are also more suited to uses such as corporate and education video production, as well as broadcasting and live entertainment. Both support all common IP protocols, such as Panasonic’s AW control protocol and RTP, RTSP, RTMPS, SRT and NDI HX2. The AW-UB50 is ideal for cinematic video, featuring a shallower depth-of- field due to the larger sensor. Both use real-time recognition AF technology to enable automatic identification of a subject and keep sharp focus.
BOXING DAY It’s all about added connections on the latest range of box cameras from Panasonic
8
PRO MOVIEMAKER
NEWS
FULL-FRAME FIRMWARE FRENZY A host of firmware updates are coming to Panasonic’s full-frame mirrorless Lumix S9, S5 II, S5 II X and Micro Four Thirds mirrorless G9 II camera – all for free. On the S9 – now available in white as well as black, red, green and blue - there will be options to record without time limits, multiple frame markers and a boost to the AF system with enhanced subject detection, including aircraft, trains and specific parts of motor vehicles. Expanded compatibility with the Lumix Lab smartphone app includes remote shooting, shutter remote control and the ability to transfer images. Leica Monochrom photo style has been added to the S5 II and S5 II X. These, plus the G9II, can now use Lumix Lab. All three Lumix models can now use the Panasonic DMW-XLR2 microphone adapter. A 5GHz Wi-Fi frequency has been added to the existing 2.4GHz option and real-time LUTs can now be assigned to the Fn button.
They feature Dual Native ISO and V-Log gamma for low noise and wide dynamic range with 3G-SDI out, HDMI Type A, LAN terminal, TC in/out, genlock in and USB-C input/output interfaces. The LAN terminal is Power over Ethernet (PoE) compatible, with video transmission, control and power delivered via a single cable. When linked with remote camera systems on the same network, the AW- UB50 and AW-UB10 are fully compatible with Panasonic’s AK-HRP1010GJ remote operation panel. Future support with the AW-RP150GJ remote camera controller and Panasonic live switchers is planned for the two box cameras. Panasonic has also built in the ability to implement future support for IP-based transmission standards such as NDI HX2 for more flexible video production, with distribution using streaming services and the construction of IP-based systems. No UK or US prices have yet been revealed for these models.
AUTO FRAMING COMES TO PTZ Advanced auto framing is coming to Panasonic’s PTZ system with a paid-for plug-in for the Media Production Suite software. The technology will be offered free on the flagship AW-UE160W/K PTZ camera via firmware. The upgrade will also add the functionality to the AW-UE150W/K, AW- UE100W/K and AW-UE80W/K to support multicamera set-up. The system uses auto tracking, image recognition and natural auto framing for following a defined subject. Facial recognition tech enables framing for specified individuals.
9
PROMOVIEMAKER.NET
AGENDA NEWS
For Fujifilm fans
The retro-styled camera weighs 355g with dimensions of 111.9x66.6x38mm and records to an SD card. For the first time in a Fujifilm camera, there are three built-in microphones and a choice of four microphone directions: surround, front, back or front and back. It also features a noise reduction function, ideal for eliminating background hum. Bit rates of 8Mbps and 25Mbps allow faster transfers to devices, making social media uploads quicker. The camera costs £799/$799 for the body only, with the fan available separately for £169/$199.
sensor. It records video in 6.2K/30p open gate in 4:2:2 10-bit, as well as 4K at up to 60p for slow motion. Subject detection AF powered by AI is included– ideal for tracking animals, birds, vehicles, bicycles, planes, trains, insects and drones. A predictive algorithm provides tracking capabilities for moving subjects and precise autofocus in low- contrast environments. The X-M5 also boasts digital image stabilisation and Vlog mode, while a 9:16 Short Movie option makes it simple to shoot vertical videos for vlogging.
You’re sure to be a fanboy or fangirl of Fujifilm’s new X-M5 mirrorless camera, as it can be fitted with an accessory fan to prevent overheating. Heat buildup can be an issue in smaller cameras that can record high resolutions – so it’s a great idea to use the optional cooling fan, which attaches to the rear panel. Power is supplied to the fan via a direct connection on the camera body. Available in a choice of black or silver, the X-M5 uses Fujifilm’s fifth-generation processing on its 26-megapixel, APS-C, back-side illuminated X-Trans CMOS 4
LONGEST LENS FOR X MOUNT The latest Fujinon XF500mm f/5.6 R LM OIS WR for X Mount
UPGRADE TO FAST STANDARD ZOOM
to 700mm – the 35mm equivalent of a huge 1067mm. Using the 2x converter instead provides a true 1000mm lens, comparable to 1524mm in full-frame format. It features a 5.5-stop Optical Image Stabilisation system and 21 elements in 14 groups, including two Super ED and five ED lenses. The lens costs £2899/$2999, with converters at £369/$449 each. fujifilm-x.com
cameras is the equivalent to using a 762mm lens in 35mm format, making it ideal for filming wildlife or aircraft. Its relatively fast maximum aperture makes it versatile in various lighting conditions. The lens also boasts a light and compact design, weighing 1335g/2.9lb. Combined with the 1.4x teleconverter XF1.4X TC WR, the XF500mm extends
The Fujinon XF16-55mm f/2.8 R LM WR II is the lighter successor to the brand’s popular large-aperture standard zoom lens and is now the flagship model in the XF line- up. Coming in at 37% lighter, a new lens configuration boosts imaging performance across the zoom range. As a bonus for video shooters, the aperture ring can be set to clickless operation for smoother exposure changes and is built to reduce focus breathing. Equivalent to a 24-85mm lens on full-frame cameras, the 410g/0.9lb Mark II features an 11-group, 16-element design with four aspherical, one Super ED and three ED lenses. The minimum focusing distance is 30cm/11.8in across the entire zoom range, allowing for close-up work with a maximum magnification of 0.21x. This £1149/$1199 zoom is resistant to dust, water and cold thanks to 12 sealing points on the lens body, with a fluorine coating on the front element for water resistance.
10
PRO MOVIEMAKER
AGENDA
NEWS
Make your Nikon see Red
While the filmmaking world is made to wait for
The first joint projects between Red Digital Cinema and its new owner Nikon include a selection of free LUTs, as well as a filmmaking initiative alongside the University of Southern California School of Cinematic Arts.
any new jointly made hardware, Nikon has released Creative LUTs and a Technical LUT designed in collaboration with Red. These LUTs are for grading
balanced colours and a subtle contrast, as well as rendering skin tone naturally. Film Bias Bleach Bypass offers a high-contrast and desaturated look to produce footage with a harsh and faded feel, while Film Bias Offset also delivers a filmlike warmth and softness by applying a unique blend of colour correction and contrast adjustment. The second tie-up between the Japanese and American brands sees them donate an assortment of mirrorless and cinema cameras, as well as lenses. The equipment includes Red Komodo and Komodo-X cameras, multiple Nikon Z 6III units and Nikon Z lenses. All Nikon Z 6III models have recently been updated with a feature called Content Credentials, which is based on the standards set by the Coalition for Content Provenance and Authenticity (C2PA). It’s designed to help protect the authenticity of users’ work.
video footage recorded in N-Log with Nikon mirrorless cameras. The free downloads also work on external monitors to confirm a close-to-finished look while shooting on location. The Creative LUTs are claimed to apply the essence of Red’s colour science to Nikon video workflows. This should help if Nikon and Red cameras are used together on the same shoot. These looks include Achromic: a low-contrast monochrome for a soft and classical feel. Film Bias provides
a filmlike warmth and texture with
Z LENS BACK IN PRIME POSITION
NX IS IN THE FRAME
nine-bladed diaphragm creates a natural, circular bokeh for a pleasing out-of-focus rendition. Also, breathing is effectively suppressed to minimise the
The Nikkor 50mm f/1.4 prime lens has been redesigned for the Z series mirrorless cameras, priced at just £499/$447. It joins the recently released Z 35mm f/1.4 prime as a modern take on popular classic lenses. The new nifty 50
Nikon’s NX Mobileair app, which enables high-speed image delivery without a computer, will soon be compatible with Adobe’s creative
angle-of-view shift when adjusting focus. Ideal for video, the lens operates silently with stepping motors and features a clickless control ring. It’s weather sealed for resistance to both dust and water.
collaboration platform Frame.io. A new version of NX Mobileair is currently in development and will support Frame.io’s Camera to Cloud feature, facilitating automatic video file uploads. nikon.co.uk
measures approximately 74.5x86.5mm/2.9x 3.4in and weighs 415g/0.91lb. It boasts a minimum focusing distance of 0.27m/10.6in, while a
12
PRO MOVIEMAKER
AGENDA NEWS
HOW GREEN IS YOUR FUTURE? Research into employers’ approaches to sustainability for the M&E industry in Europe reveals that, in the majority of cases, changes are being driven by employees demanding action rather than customers. A report commissioned by Sony sheds light on how seriously companies are moving to become more environmentally conscious, but also highlights the barriers to further, more significant change. Although only 40% of respondents felt businesses cared about being seen as more sustainable, nearly three- quarters have implemented changes to reduce their environmental impact. Of these stated initiatives, the most common consisted of cutting out unnecessary travel, reducing the head count of staff on-site and changing operations while on location. A total of 46% of respondents said that the financial investment required to improve sustainability was the biggest barrier. Cost was also noted by half of respondents to be the reason their company is not actively reducing its environmental footprint. While more than half of people (52%) said that sustainability is sometimes considered in the existing procurement and buying processes, 55% also said that cost is generally considered more important than how sustainable a piece of equipment is. Perhaps more surprisingly, Sony’s research found that industry culture and behaviour was the second biggest barrier for both the wider industry and individual companies becoming more active in being sustainable. Sony’s Olivier Bovis said: “It’s clear that, for the industry to better address environmental challenges, businesses need to invest more into their own sustainability practices.” Full report: pro.sony.com/eu
SmallHD grows even bigger!
lock. The 6G-SDI inputs allow ingest and pass-through of 4K/30p video for critical focus detail with true 1:1 pixel zoom on the 1920x1200 screen. Internal Bolt 6 antennae on RX models make this the first ten-inch Bolt-integrated monitor, with dual 2-pin connectors to power accessories, a pogo connector for cine battery power pass-through, ports for locking HDMI, Lemo 5-pin locking USB, a full-sized SD card slot and a 3.5mm headphone jack. Several 1/4in-20 mounting points and CS pinhole standard ensure compatibility with Arri and SmallHD spacing. A new built-in Wi-Fi 6 module allows direct connectivity to cameras and network-connected configuration via SmallHD’s Fleet Control application. smallhd.com
SmallHD’s new Ultra 10 is a portable, ten-inch smart production monitor with up to 2000 nits of brightness, touchscreen camera control, Wi-Fi 6 connectivity, user-customisable dials, 6G-SDI architecture and an IP54 weather rating – all in a slender, highly mobile form factor. It also has optional integration with Bolt 4K and 6 wireless video systems from Teradek. The Ultra 10 is the largest ultra-bright monitor ever made by SmallHD, with sturdy multi-function rotary knobs, 6G-SDI architecture for modern video workflows and an optional Camera ID and Tally Light module for multicamera switching in studio mode. It’s powered by the same technology that drives SmallHD’s 4K production monitors, with colour accuracy, a joystick and slide TERADEK SHIFTS CONTROL Teradek’s new CTRL.5 has been revealed: a customisable lens-control handset with its own operating system that evolved from sister company SmallHD’s PageOS series. At the heart of the RT wireless lens-control system, it combines an ultra-bright five- inch SmallHD display with the CTRL.OS operating system. Users can select lenses mapped to pre- printed focus rings for rapid changes with a new graphic-rich tool. Saved configurations can be accessed via the touchscreen or one of 11 programmable user buttons. Hardware features include an adjustable friction knob, interference-resistant FHSS 2.4GHz wireless and interchangeable custom grips.
Users can customise functions such as digital marks, automatic calculations, focus scaling, pointer-colour customisation, axis lock and metric/imperial unit selection. Future integrations will include Wi-Fi camera control for Red cameras, expanded customisations from third-party rangefinder systems and more. No price has been revealed yet. teradek.com
14
PRO MOVIEMAKER
AGENDA NEWS
The new Tascam FR-AV2 is a compact, high-resolution, two-channel field recorder with timecode synchronisation, dual analogue-to-digital converter tech and up to 32-bit float resolution. By using dual ADCs, recordings are captured with greater dynamic range and detail, making it virtually impossible to clip a recording. When editing audio recorded in 32-bit float, quiet passages can be raised while louder parts are lowered without introducing additional noise. The FR-AV2 is unique – no other recorder of its size on the market supports 192kHz audio capture and the Ultra HDDA preamps give stellar clarity and resolution. Tascam’s field recorder floats in
SMALL BOY Despite its compact size, the new Tascam FR-AV2 has XLR inputs and 32-bit float tech
Atomos’ Ultrasync Blue products. When used in conjunction with the free Tascam Recorder Connect app, up to five devices can be remotely controlled from an iOS or Android device. The unit has a two-inch colour LCD and can be used as a USB audio interface, with two inputs and outputs via the USB-C port. tascam.eu
The new £369/$399 Tascam can be monitored wirelessly via earbuds or headphones with the optional £54/$59 AK-BT2 Bluetooth adapter. The recorder can generate timecode as well as receiving and synchronising timecode from other devices, including Jamsync. The Bluetooth adapter also supports wireless timecode syncing with
WHO WOODEN WANT A C80 RIG? The new Canon EOS C80 has already been fitted up with a custom Elite Accessory System rig from Wooden Camera to improve its handling.
a stripped-down Core Accessory System, allowing use of the native Canon carry handle and a range of accessories for building a fully customised set-up. The unique top-plate design enables the plate’s back portion to be removed, giving access to the hot hoe. The Elite kit costs £1677/$1799. woodencamera.com
New design features include the two- piece top-plate, camera-specific Arca riser plate, Nato side rail, Canon 1/4in- 20 ridge plate and Gold and V-Mount battery slide power options. It also adds
USED KIT GIANT MPB GROWS IN EUROPE
to make sustainable choices, including helping to lower carbon emissions. MPB’s latest annual filing saw a record revenue of £137 million and a growth rate of 40%. More than 65% of its revenue is now generated outside the UK and MPB’s recent expansions suggest this growth will only continue. The retailer also backs many creative causes. The 70:15:40 Project, initiated by MPB in 2023, aimed to address the underrepresentation of women, trans and non-binary people in UK imaging. The company is supporting the finalists’ exhibition at The Handbag Factory in Vauxhall, London from 22 November to 3 December. mpb.com
Award-winning used equipment retailer MPB is expanding into Ireland, Austria, Italy and Belgium to add to its current UK, USA, Dutch and German bases. Buyers and sellers in Ireland now have access to a regional version of the MPB platform. There is a second German-language version for Austria, French and Dutch versions for Belgium and a French-language platform. This increases MPB’s global reach to a total of ten markets. MPB is fully committed to making photo and video kit more accessible and affordable, in a way that’s good for both people and the planet. By bringing its circular business model to new markets, MPB enables more visual storytellers
16
PRO MOVIEMAKER
NEWS
Never too many Cookes! Legendary British lens maker Cooke has added an 18mm T2.4 lens to its SP3 mirrorless prime range. Based on the brand’s famous Speed Panchro, the SP3 series is a cheaper and more compact set of lenses that still boast the unique cinematic Cooke Look. The addition of the 18mm now brings the SP3 set to six full-frame lenses. With a close focus of just 12.3cm and a weight of 688g, it is ideal for gimbals or drones. With a front diameter of 82mm and a filter thread size of 77mm, all SP3 lenses come in E-mount, allowing buyers to choose a second mount free of charge in RF, L or M-Mount options. The SP3 18mm costs £3600/$4970 and includes a new case for the full six- lens set, priced at £18,850/$25,995. A three-lens set with 25, 50 and 100mm versions costs £9250/$12,800.
FLARE ON DEMAND Venus Optics has introduced the Laowa Proteus Flex 2X series – a set of anamorphic cine lenses with interchangeable flare modules. Each lens includes amber, silver, blue and clear options to change the colour of the horizontal flares typical of anamorphic glass. The clear version reduces flares and reflections, while a new lens coating reduces streaking, even in sunlight. The Proteus Flex series comes in 28, 35, 45, 60, 85 and 100mm versions – all with T2 maximum apertures – which are made to have great optical quality and organic fall-off. These lenses provide the classic widescreen anamorphic character with a modern design. Flare modules are easy to install, screw-locking into the main Proteus Flex body without needing further optical calibration after swapping. The lenses cost £9869/$9999 each or £24,669/$24,9999 for a three-lens set of either 28, 45 and 85mm – or 35, 50 and 100mm. laowacine.com
ARRI’S CONVERTIBLE PRIMES
yet for the Vintage Elements kit and no US prices for individual lenses. In comparison to its flagship lenses, the Enso range is cheaper and more compact. The six-lens Signature Prime set is $167,470 for example. Most Arri users rent their kit. The Enso lenses offer fast apertures: T2.8 for the 10.5 and 250mm, T2.5 for the 14 and 150mm and T2.1 for the rest. The 250mm can extend to 350 or 500mm with optional 1.4x and 2x extenders. All lenses have a consistent 95mm front diameter, identical gear ring positions and include Cooke/i lens
Arri has followed Zeiss and Cooke by launching its own range of lightweight and compact lenses cheaper than its flagship ranges. The Enso Prime line features 14 lenses ranging from 10.5 to 250mm, tunable for different looks. A Vintage Elements kit includes rear filters in various strengths, allowing you to adjust out-of-focus highlights and alter the image appearance at the centre and edges of the frame. The biggest hurdle is the price – which is £81,333/$86,940 for the six- lens kit of the 18, 24, 32, 47, 75 and 105mm – plus $6650 for the Vintage Elements kit. Individual lenses will cost from £12,205 for 21, 28, 40 or 58mm versions to £24,512 for the 250mm. No UK prices are available
communication, which records metadata even when using the Elements accessories. arri.com
19
PROMOVIEMAKER.NET
AGENDA
NEWS
The twilight drone The DJI Air 3S, a lightweight
DJI HAS SEEN THE LIGHT If you’ve always fancied a drone for some quick B roll footage but were put off by having to learn lots of new skills and pass an exam, then DJI’s new featherweight Neo might be the drone for you. Neo, DJI’s lightest, most against mishaps. To fly, simply press one button to select the shooting mode. Neo automatically does
the rest without any remote control and returns to the user’s palm after shooting. AI algorithms follow the subject within the frame, so it’s ideal for shooting cycling, running or skateboarding shots. The Neo can also be paired with the DJI Fly app on a smartphone or with DJI’s own remote controllers, RC Motion devices and Goggles. It can even be voice operated. With its 22GB of internal storage, it can save up to 40 minutes of 4K/30fps video or 55 minutes of 1080p/60fps video and can transfer this footage via Wi-Fi.
compact drone yet, doesn’t need a remote control. At just 135g, you don’t need a CAA/ FAA certificate to fly it and the basic drone and battery costs just £169/$199. The drone can be launched and landed on the palm of your hand, features AI subject tracking to shoot 4K ultra- stabilised video and has a flight time of up to 18 mins. It’ll fly indoors or out, with full-coverage propeller guards for some protection
a more advanced video encoding compression
drone aimed at improved image quality and flying at nightfall, uses a one-inch CMOS primary camera and 70mm medium telephoto camera. The drone features nightscape obstacle sensing and precise, next-gen Smart Return to Home to ensure safety even in the dark. Both cameras on the Air 3S have up to 14 stops of dynamic range and the primary camera has a 50-megapixel sensor and 24mm lens supporting both 4K/60fps HDR and 4K/120fps video as well as 10-bit D-Log M colour. The secondary 70mm medium tele camera has a 3x optical zoom with compressed depth-of-field. With its 48-megapixel, 1/1.3-inch CMOS sensor, it supports the same video specs and colour modes as the primary camera for consistent footage. Even in normal colour mode, the cameras can record 10-bit using H.265 encoding to a maximum ISO of 12,800. In D-Log M and HLG colour modes, the maximum ISO is 3200. Compared with the previous-generation DJI Air 3, the new Air 3S uses
algorithm, which reduces the size of video files by 30% without compromising image quality. The Air 3S is the first DJI drone to feature forward- facing LiDAR as well as downward infrared time- of-flight sensors and six vision sensors – two each at the front, rear and bottom – for omnidirectional obstacle sensing even at nighttime. For even safer flying, the drone memorises flight paths when there is enough light to ensure a safe return to and from locations without satellite signal. The DJI Air 3S features Activetrack 360° to keep any subject in frame, and a new subject focusing feature keeps it in sharp focus during manual flight or when it moves off centre. A single battery provides up to 45 minutes of flight time and DJI’s O4 HD video transmission tech allows for 10-bit, 1080p/60fps transmission at up to 20km/12.4 miles. The Air 3S has 42GB of built-in storage and costs £959/$1099 for the basic package. Larger kits are also available.
TAKE THAT, GOPRO!
Action camera market leader GoPro is under attack from DJI, as its new Osmo Action 5 Pro delivers industry-first professional features, including a groundbreaking 13.5- stop dynamic range and excellent low-light performance. With a four-hour battery life, the Osmo Action 5 Pro features a larger 1/1.3-inch sensor with a 2.4μm pixel size. Images can be captured in 10-bit D-Log M and viewed on hybrid log-gamma, high-brightness displays. It can shoot low-light video at 4K/60fps and Super Night mode uses AI noise reduction for cleaner footage. The new DJI is the first action camera to offer built- in subject centring and tracking – detecting the subject and dynamically adjusting the composition to keep them centred in every frame. It is waterproof to 20m without a case and the built-in colour temperature sensor captures true-to-life hues under the sea. It also has a pressure gauge to record depth, duration and altitude data to ensure the user’s safety. It costs from £329/$349. dji.com
20
PRO MOVIEMAKER
AGENDA
NEWS
Fast calibration comes to the new Shinobi
such as the Calibrite Display Plus HL. All that’s necessary now is to connect the device to Atomos via USB-C and follow the on-screen instructions. It’s a quick and easy way to ensure your external monitor shows accurate colours and you can even save a calibration report to your SD card. The £354/$349 Shinobi II is a slim, five-inch, 1500-nit HDR monitor with a major update: Touch to Focus for selected cameras, along with Arri False Colour and EL Zone colourised exposure modes. When it was launched in July, it could control the most recent cameras from Canon, Panasonic and Sony over USB-C, plus Z Cam E2 models through a serial cable. The new firmware adds camera control support for Fujifilm and Nikon. The ability to set the camera’s focus point directly via the touchscreen interface has also been added. Cameras compatible with the Touch to Focus feature are the Canon EOS R6 Mark II, Panasonic S5 II or S5 II X, Sony A7 IV, A7S III or ZV-E10 II, and Fujifilm GFX100 II or X-S20.
A simple way to accurately calibrate the new Atomos Shinobi II monitor is one of its biggest benefits that many potential buyers might have overlooked. Though it has always been possible to calibrate for accurate colours on Atomos
monitors, this involved buying a relatively rare USB-to-LANC cable, plugging the probe into a computer and using Atomos software to generate a test pattern. The Shinobi II now has built-in test patterns for certain calibration devices,
atomos.com calibrite.com
GET CLOSE WITH TOKINA
SAMSUNG’S SPEEDY NEW SSD
Tokina’s latest cine lens, capable of covering full- frame sensors, is the Cinema Vista 100mm T2.9 Macro that offers true 1:1 macro performance. It has a minimum focus distance of 30cm/11.8in and a large definition area of 46.7mm, so it easily covers full-frame and Vista Vision sensors. Featuring minimised lens breathing and a nine-blade iris for smoother bokeh, the lens has an all-metal body and threaded lens support. It weighs 1.3kg/2.9lb, with an 85mm front diameter and 82mm filter thread. The geared focus and iris rings are smooth and well-damped, with a long focus throw for accuracy. Like other Tokina Vista
heat shield minimises overheating to allow 73% higher efficiency. This 4TB model has an industry-leading random read speed of 1050K input/ output operations per second (IOPS) and 1400K for random write, rivalling SSDs with DRAM. It’s an optimal solution for AI tasks requiring high performance. The 1/2/4TB models cost £106/£179/£327 each. samsung.com/ssd
Need a speed boost for your computer to keep up with ever-growing file sizes? Samsung’s new 990 Evo Plus SSD boasts PCIe 4.0 support and the latest NAND technology. Its sequential read speeds can reach up to 7250MB/s and write speeds up to 6300MB/s. It’s up to 50% faster than the previous 990 Evo due to its eighth-generation V-NAND tech and 5nm controller. A nickel-coated
lenses, its interchangeable mount could be exchanged with PL, Canon EF, Sony E or Micro Four Thirds versions. As of yet, no price has been announced. tokina-cinema.co.uk
22
PRO MOVIEMAKER
AGENDA NEWS
ACE UP AMARAN’S SLEEVE
Runtime is up to four hours and 40 minutes in silent mode and 70 minutes in standard, with a recharge time of zero to 90% in 40 minutes. Designed for ease of use, the lights feature a simplified coloured menu screen and allow users to create custom shortcuts. Common settings such as CCT, FX or boost mode are accessed via double-click or long press. The Amaran lights are also available in a travel kit, with a light control grid and mini tripod in a carry case. Accessories are mounted via a magnetic front, which can handle a dome diffuser or grid. On the back of the light is a magnet to attach to metal surfaces. The Amaran Ace 25x and 25c can be transformed into a portable power bank to juice up other compact lights, cameras or a phone via the USB-C PD charging port. amaran.com
As Aputure continues to go more high-end with its lighting kit, sister brand Amaran is heading towards more cost-effective and portable units, such as its new Ace 25x and 25c. These bicolour and full-colour compact LEDs are claimed to pack double the brightness of similarly sized lights at 32W. These compact LEDs are the first to use Amaran’s Ace Lock quick- release mount, which is designed to snap the light onto a camera or tripod in less than a second. This is a more efficient and secure system than screwing the light onto a stand, as it uses the speedy Ace Lock to Cold Shoe adapter. The optical design allows the £70/$69 Ace 25x to output up to 6320 lux, while the £100/$99 25c colour model delivers 4440 lux at 0.5m at 5600K. Available in charcoal, white, silver, pink and green, they’re perfect for trendy content creators.
PAVOSLIM SERIES GETS BIGGER The latest in Nanlite’s Pavoslim LED light panel range is the 240CL, a 4x1 RGBWW model with a powerful 240W output. Weighing just 3.62kg/7.98lb, it uses optical lenses for four times the output of similar products, delivering 21,030 lux at 1m/3.3ft. It’s elongated and slim 2.35cm/1in shape makes it ideal for tight spaces or low ceilings. Made from aluminium alloy, the fixture offers great heat dissipation with a large multi-row heat sink on the rear. Every part of the Pavoslim is built for rapid set-up, including both a universal and baby pin holder for tilt adjustment, a quick- release clamp that can be snapped on the control unit and a pre-installed softbox. The £1750/$1750 Pavoslim 240CL offers a CCT range of 2700-7500K with green- magenta adjustment. It has five lighting modes and excellent colour reproduction across CCT, HSI, RGB, gel and effect modes. Effects include flash, pulse, storm, police car, TV, paparazzi, candle, disco, bad bulb, firework, explosion and welding. Settings can be adjusted via the control unit, while the Nanlink App and DMX console enable remote control and more precise adjustments. It can be powered by AC, DC or V-Mount batteries. nanlite.com
Aputure’s Blair chips project
lux at 1m/3.3ft when deployed with the included 45° reflector. The complete CCT range spans from 2500K to 10,000K, surpassing traditional bicolour lights. There is also an extended 100% +/- green control for enhanced accuracy – a first in a 1200W light. Equipped with a Prolock Bowens mount, the 1200x accepts modifiers like a fresnel, soft light, projector or hard open- face par. Its IP65 rating ensures weather resistance – and it supports CRMX, DMX and Bluetooth connectivity, while the Sidus Link and Sidus Link Pro apps enable integration into multi-light workflows. It is supplied with the power control box, cables and wide-angle reflector in a rolling soft case for £3066/$2990. aputure.com
The 1200x is the first light in Aputure’s Storm range to use a brand-new Blair light engine with blue, lime, amber, indigo and red LED chips to make full white-spectrum light, with an ultra-wide CCT range and colour-accurate dimming. This powerful COB delivers a better- quality white light aided by the calibrated indigo LEDs, which enhance fluorescing materials. The resulting output is closer to natural daylight and prevents black objects, especially textiles, from taking on a false purple hue. The Blair light engine uses an efficient mix of flicker-free emitters, balancing their output throughout the CCT range, so the Storm 1200x is a similar brightness at 3200K as it is at 5600K. It’s also seriously powerful; at 5600K, the output is 202,500
24
PRO MOVIEMAKER
Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67 Page 68 Page 69 Page 70 Page 71 Page 72 Page 73 Page 74 Page 75 Page 76 Page 77 Page 78 Page 79 Page 80 Page 81 Page 82 Page 83 Page 84 Page 85 Page 86 Page 87 Page 88 Page 89 Page 90 Page 91 Page 92 Page 93 Page 94 Page 95 Page 96 Page 97 Page 98 Page 99 Page 100 Page 101 Page 102Powered by FlippingBook