WINTER 2018
OPINION by Adam Duckworth
FROM THE EDITOR
Unless you’ve been far too busy making films in recent months to notice what’s been happening in the world of camera technology, it probably hasn’t escaped you that there has been a glut of new mirrorless cameras launched that are ideal for filmmaking – to one degree or another. Canon, the brand that pioneered full-frame digital filmmaking a decade ago, wised up and revealed its full-frame mirrorless offering, the EOS R. Complete with all-new lens mount and new range of glass to fit. DSLR rivals Nikon also joined the party. The new Z 7 – which we test in this issue – and forthcoming Z 6 are also full- frame mirrorless with lots of video spec. And perhaps one of the biggest surprises was the announcement that Panasonic is also joining the full-frame party with its forthcoming S Series. These will use the lens mount from the Leica SL mirrorless full-framer, with Sigma joining in by making a range of lenses to fit. And then along comes Fujifilm with its stunning new X-T3 mirrorless camera with great video spec that outperforms its flagship X-H1. And Blackmagic proves there’s life in smaller sensors with its stunning and very affordable Pocket Cinema Camera 4K. We test both these in this issue, plus the Canon EOS R and Nikon Z 7. As a former DSLR stalwart, there’s no way back now. The flip-up mirror brings compromises that mirrorless cameras don’t have when shooting video. If you’re a hybrid shooter who also takes lots of stills, the new breed of mirrorless doesn’t fall behind DSLRs for the many photographers. It’s quite obvious which way product development is going. The time is right to switch to mirrorless. IS IT THE FINAL NAIL IN THE COFFIN FOR DSLR FILMMAKING?
Welcome to the Winter issue of Pro Moviemaker , and as the year draws to an end it’s perhaps appropriate to look back at some of the developments that have taken place this year. The arrival of full-frame mirrorless models is reflected in the reviews we’re carrying out in this issue on the Nikon Z 7 and Canon EOS R, while I was also fortunate enough to attend the launch of the Panasonic S Series and to speak to imaging boss Yosuke Yamane to get a first-hand appraisal of where he sees this development going. In terms of trends then what about the move towards the CinemaScope look that’s so cinematic, but which can cost a fortune to achieve? We report in this issue on a new adapter from SLR Magic that, in tandemwith Fujifilm’s MK lens pair, creates an affordable anamorphic set-up that could have great commercial value. VR is another area to have moved more towards the mainstream this year and I caught up with Vanishing Point, a Hollywood-based company that is pushing back the boundaries, while Drone Dudes up the road have just produced some exceptional aerial VR footage. Meanwhile Blackmagic’s Pocket Cinema Camera 4K, tested in this issue, is offering great value for money and we’re seeing how The Dreamers in Holland are already showing what this camera can do on location. All great advances: I can’t wait to see what the next 12 months will bring!
TERRY HOPE, EDITOR
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Pro Moviemaker is published quarterly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without priorwritten 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 includeVAT but US dollar prices are without local sales taxes. Prices are where available or converted using the exchange rate on the day the magazine went to press.
ADAM DUCKWORTH, EDITOR IN CHIEF
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WINTER 2018 PRO MOVIEMAKER
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