Pro Moviemaker July/August 2023 - Newsletter

Welcome to the new issue of Pro Moviemaker magazine It’s awards season at Pro Moviemaker magazine, because for the first time we have not one but two of our major projects in one issue. We’re kicking off our annual Gear of the Year Awards, where the best products and services are honoured. And the winners are decided by you, the readers of Pro Moviemaker magazine. Plus we reveal the winners in our new Filmmaker of the Year Awards, showcasing creative work done by real-world filmmakers and independent production companies in delivering stunning content for adverts, social media, promotional videos and more.  It’s in your new Pro Moviemaker magazine, out now, as well as lots more useful tips, equipment tests and inspiration.

TOP TALENT HONOURED Meet the inspirational winners of our Filmmaker of the Year contest

@ProMoviemaker JULY/AUGUST 2023 £5.49

GREAT GEAR We try out a Zhiyun gimbal, super-wide Sigma lens, Audeze cans, Manfrotto case, Leofoto tripod and even more

Cool cameras from Red, Nikon, Canon, Sony and Fujifilm NEW METAL FIRST LOOK

Funky Hobolites are more than simply style HIPSTER LIGHT LED TEST


9 772059 779015

Murdered-out Panasonic Lumix S5 II X is a new dark horse mirrorless

The accessories you need for super sound AUDIO EXTRAS BUYERS’ GUIDE

Have your say in the world’s top honours for filmmaking kit MAKE YOUR VOICE HEARD VOTE NOW

AWARDS SEASON Filmmaker of the Year has seen lots of creative entries, often with kit featured in our Gear of the Year Awards!

The ultimate magazine for next generation filmmakers


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

ADVERTISING Sales director

Sam Scott-Smith 01223 499457 Sales manager Emma Stevens 01223 499462 DESIGN Design director Andy Jennings Design manager Alan Gray Senior designer Lucy Woolcomb

Designer and ad production Man-Wai Wong Junior designer Hedzlynn Kamaruzzaman PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:

It’s definitely awards season at Pro Moviemaker magazine. For the first time we have not one but two of our major projects in one issue. We’re kicking off our annual Gear of the Year Awards, where the best products and services are honoured. After debating long and hard about what and who should be shortlisted, we present the nominations for all categories. Winners are decided by you, the readers of Pro Moviemaker . All you have to do is head to our website, , and vote for the products and services that you think deserve recognition. You don’t have to vote in every category, just have your say in the ones you want to – or have some sort of expertise in. The best feedback for manufacturers, distributors, retailers, rental houses and more will be if you’ve had first- hand experience of the nomination – and then cast your vote. Singing the praises of the companies and people makes a real difference, and it’s what makes our awards unique. They’re the ones everyone in the industry wants to win. Talking of praising the people doing great things, this issue we reveal the victorious entrants of our new Pro Moviemaker Filmmaker of the Year Awards. The big-budget Hollywood types and TV moguls have their Oscars, Baftas and National Television Awards, where they can slap each other on the back for making amazing films with massive budgets – often using the highest-pedigree actors in the world and the most renowned scriptwriters, editors and more. However, we thought it was time to honour the amazing creativity of real-world filmmakers and independent production companies, delivering stunning content for adverts, social media, promotional videos and anything else that isn’t a wannabe Oscar nomination – often done on a shoestring budget with a tiny crew and under extreme time constraints. A can-do attitude, problem-solving and an eye for creativity under pressure really pay dividends here. You only have to look at the winners to see their amazing level of imagination, planning and execution. I’m proud Pro Moviemaker magazine is doing its bit to put a spotlight on these deserving people and products. It’s time to sing out the unsung heroes of kit, services and the art and craft of filmmaking itself.

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

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





The ultimate magazine for next generation filmmakers



The latest full-frame mirrorless camera uses the same stacked sensor and technology as Nikon’s flagship Z 9, but in a smaller and cheaper body. We take a look at the new Z 8, a Nikkor lens, DJI drone and Wooden Camera rig. 8 RED UPGRADES THE KOMODO 6K Its size and price might have gone up, but the new Red Super 35 Komodo-X packs in a lot more – such as faster frame rates and loads of connection options. Plus, Canon The excellent X-S20 is a compact and light mirrorless designed especially for filmmakers and vloggers. Fujifilm also reveals its super-wide 8mm lens in X Mount and a brand-new smartphone control app. 12 SONY SHOWS A MEGA-SIZED CARD shows its new baby EOS R mirrorless camera. 10 FUJIFILM GOES FOR X-S TECH If you want an even bigger CFexpress Type A card to fit your Sony mirrorless or cinema camera, then you need to see this beauty, packing almost 2TB of space. Sony also launches the updated ZV-1 II vlogging camera. 14 WE SURVIVED PHOTO VIDEO 24 Pro Moviemaker made it through the first-ever 24-hour fimmaking and photo challenge held in the historic city of Cambridge. And lots of our readers did too, enjoying various shoots, workshops and seminars.




The show must go on as Munich hosts the Euro Cine Expo, with lots of hardware, software, networking opportunities and masterclasses. We take a look at what’s going on and talk about the best tech on the stands.


Entries for the inaugural Pro Moviemaker Filmmaker of the Year Awards have been judged and the winners named! Check out who won our contest to honour the best in commercial video production from around the globe. 39 GEAR OF THE YEAR 2023 LAUNCHED It’s the annual awards recognising the pinnacle of products – both hardware and software – plus service providers that make a great difference to the industry. We reveal the shortlist; now it’s up to you to have your say.



One man’s mission was to record the thunderous and dramatic audio of polar glaciers calving. With the Arctic warming faster than anywhere else on the planet, glacial erosion is a big worry – Thomas Rex Beverly captures the sound of nature in action.




The ultimate magazine for next generation filmmakers


The super-hip Hobolites not only look good, but are made from high-quality materials and packed with innovative technology. We got to try the flagship 300W Pro light and its range of accessories. 62 BLACK TO THE FUTURE Panasonic took its popular Lumix S5 II, blacked out all the logos and created the X model just for filmmakers. With a massive range of internal codecs, including ProRes, the S5 II X is a fantastic all-round camera for not a lot of cash. 68 MINI TESTS: GEAR USED AND RATED We try a super-wide Sigma prime lens, Manfrotto case, Leofoto carbon-fibre tripod, brand-new Zhiyun gimbal, Astera softbox, Sandisk Professional SSD and the coolest headphones that’ll make your sound editing even sharper. 78 BUYERS’ GUIDE: AUDIO ACCESSORIES You might have a range of microphones, but you need the optional extras to make the most of them. We look at loads of equipment including wireless kits, wind muffs, a boom pole, charging cases and much more.






Nikon’s great Z 8!

When Nikon launched its full-frame flagship mirrorless Z 9 camera, it offered incredible stills and video spec thanks to its stacked sensor and huge range of internal codecs – including Raw. While it has been a smash hit with professional stills shooters, its large pro DSLR-style body won very few fans with filmmakers, who are used to smaller-bodied cameras for fitting on rigs and gimbals. It’s taken more than a year, but Nikon has now revealed its new Z 8, which is not only lighter and cheaper than the Z 9, but uses a smaller body without an integrated vertical grip. It also includes most of the Z 9’s features including the same sensor, codecs and intelligent AF. At 910g/2lb and £3995/$3997, the Z 8 body is 30% smaller than the Z 9 and 15% smaller than the D850 DSLR. It will now balance on any rig and most gimbals. The Z 8 has a 45.7-megapixel full- frame sensor that gives an 8.3K native video resolution, with the same stacked CMOS sensor and Expeed 7 processor as the Z 9. Video can be recorded in-camera 12-bit Raw up to 8.3K/60p or 4.1K/120p, as well as 10-bit HLG video for HDR and 8K/60p internally for up to 90 minutes. The body still has pro-grade weather sealing and the same cold tolerance as

Nikon’s flagship D6 and Z 9 cameras. It’s also the first Nikon mirrorless camera to feature two USB-C ports, which makes it possible to transfer files while charging. However, unlike the Z 9 which has two CFexpress Type B slots, the Z 8 only has one plus an SD slot. Its video spec tops out at 8K or 4K and it can shoot 12-bit Raw footage in-camera and in Nikon’s NRAW files, half the size of a ProRes Raw HQ file. In-camera Full HD proxy files are created when shooting internal 8.3K NRAW or 4.1K ProRes Raw HQ. It can record 10-bit ProRes 422 HQ internally, too. The choice of ProRes, H.265 4:2:2 10- bit, ProRes Raw and NRAW is unique to Nikon after the company settled a dispute with rivals Red, which claimed the internal compressed Raw violated its patent. In ProRes, there is the option of SDR or N-Log gamma, where the base ISO is 800. Nikon’s new camera can record every resolution and frame rate in 10-bit 4:2:2, but it’s limited to 120fps, as there are no 240fps options even in 1080p HD. There are no variable frame rate or anamorphic options though, and no way of loading or using LUTs – there’s no timecode either. The stacked CMOS sensor is claimed to be designed by Nikon, but uses technology pioneered by Sony. Nikon says it has the world’s fastest scanning speed, which combines with the electronic shutter to virtually eliminate rolling shutter distortion. The sensor offers a native ISO range of 64-25,600 (expandable to 32-102,400) and combines with the quick processor to give lightning-fast focusing, smooth video and high burst speeds. The processor handles AF and AE calculations at high speed, and separately processes dual-streamed data from the sensor. One stream will record images to the memory card, while the other is for uninterrupted viewing with a real-time, blackout-free viewfinder. There’s also a four-axis tilting touchscreen monitor, separate display interfaces for video and stills, and the menus rotate if shooting vertically. The stacked sensor also allows phase detection AF to offer tracking for people,

FAST PRIME FOR CROP NIKONS Nikon has revealed the first prime lens for its cropped-sensor mirrorless cameras. Known as DX format in Nikon-speak, the Nikkor Z DX 24mm f/1.7 is fast, compact and a great performer in low light. Weighing just 135g, the £289 optic gives an angle of view equivalent to 36mm on a full-frame camera. It has a short 0.18m minimum focus distance and provides natural-looking bokeh. Autofocus is quick and quiet as it’s powered by a quiet stepping motor. Focus breathing is suppressed, too, claims Nikon. The lens has a dust- and drip-resistant build and comes with a lens hood that accepts 46mm filters.

dogs, cats, birds, cars, motorcycles, bicycles, trains and aeroplanes. Subject detection and AF work down to -9 EV for video and stills. For shooting stills – burst speeds go up to 120fps with full AF/AE and no viewfinder blackout. There is an optional vertical battery grip with Nikon’s new Power Battery Pack MB-N12, which can be used as a grip for vertical shooting or to counterbalance telephoto lenses.

GRATEFUL EIGHT Filmmakers wanted a smaller version of the Nikon Z 9. The new Z 8 is just that – and it’s cheaper




DJI FLAGSHIP FLIES FOR LONGER An all-new video transmission set- up, more efficient battery system and payload expansion capabilities feature in the DJI Matrice 350 RTK. The upgraded flagship drone is more adaptable, safe and efficient. miles. This is due to a transceiver system that intelligently selects two optimal antennae, while four antennae receive signals simultaneously. The IP rating has been improved to IP55 and the

screen, the option of dual operator mode and an operating time of up to six hours with a standard external battery. The M350 RTK supports Zenmuse H20 Series cameras, which have a four- sensor system of zoom, wide and thermal cameras plus a laser rangefinder. Other options include the Zenmuse P1 with a full-frame sensor and interchangeable fixed-focus lenses, on a three-axis gimbal. Kits start at £11,600/$12,460.

FPV camera provides better navigation for safer night flights. The M350 RTK incorporates a multi-layered redundancy design in aircraft and sensor systems for confident operation in harsh conditions. It comes with the DJI RC Plus controller, which has a bright seven-inch

With its 55-minute maximum flight time, the M350 RTK boasts a payload capacity of 2.7kg/5.96lb. The new DJI O3 Enterprise Transmission has triple- channel 1080p HD live feeds and a transmission distance of 20km/12.4

WOODEN TREATMENT FOR LATEST ARRI Wooden Camera’s new Elite system for the Arri Alexa 35 is a series of camera cage components designed for a flexible set- up, compatible with industry-standard accessories made by Arri. A low-profile baseplate is designed so the centre of gravity is as low as possible with shoulder pads or other accessories attached. There’s a 15mm rod bracket and adapter plate allowing attachment of the Arri CCH-5 handle to the top-plate. The accessory plate kit is a mini cheese plate and a dual rod bracket that attaches to the top of the Arri Power Distribution Module. Taking the Wooden theme, the Ultra The kit includes a modular three-piece top-plate with a bolt pattern allowing rod brackets and accessories to be mounted anywhere on top of the camera body. The assembly comes with rod brackets and an antenna guard. Also available is a pair of side rails with a DLC-coated stainless steel rosette, low-profile forward-facing 3/8in- 16 mounting point, sensor plane mark and swing-out tape hook. Handle system features non-slip handles with durable hardwood inserts and comes with 24 colour rings for a funky look! The kit costs $2612. No UK price yet.



NEWS AGENDA Komodo has the X factor

Komodo, but features completely new sensor architecture, with an updated pixel design to improve detail and colour in the shadows. Red claims over 16.5 stops of dynamic range. Colour is controlled through Red’s IPP2 image-processing pipeline and the camera supports 33x33x33 3D LUTs. The biggest benefit for many will be the higher frame rates, as the Komodo-X can record 6K in 17:9 at 80fps, 4K up to 120fps and 240fps in 2K 17:9. The original camera maxed out at 6K/40p 17:9 in Redcode HQ, MQ and L, 4K/60p and 2K/120p. The new camera has the same Redcode settings, plus an ELQ format. A key reason the Komodo-X can record higher frame rates is that it uses CFexpress Type B cards instead of CFast 2.0 like the original Komodo. The new camera can record in 6K 17:9 (6144x3240), 2:1, 2.4:1, 16:9 and 1:1; and in anamorphic, 2x, 1.8x, 1.6x, 1.5x, 1.3x and 1.25x formats. In 4K it goes to 60p in ProRes 4:4:4:4 XQ, 80p in ProRes 4:4:4:4 and 120p in 4:4:2 HQ, 4:4:2 LT and 4:4:2. While the Komodo has a standard Canon RF mount, the X’s lens mount is an upgraded locking system. It can support legacy Canon EF lenses with full electronic communication via an adapter. The camera also accepts Red’s new RF-to-PL mount, allowing use of PL mount lenses, which grant the benefit of allowing NDs and other filters. Furthermore, the RF-to- PL with Electronic ND Filter Adapter Pack uses the same electronic ND control as the company’s flagship V-Raptor XL. That pack includes a clear filter and an electronic ND with a 2-7 stop range.

The 6K Red Komodo gets an upgrade, with an all-new sensor giving increased dynamic range, plus lots of faster frame rates – all in a bigger body with more connections built in. The original 6K Komodo continues at £6120/$5995, alongside the new Komodo-X, which gets a significant price hike to £10,140/$9995. However, it’s not as simple as just a sensor change and a price increase; the Komodo-X also gains a micro V-Lock connection to allow for attachment of pro batteries without additional connections. The original Komodo has slots for two BP-9 batteries – use of V-Lock requires extra accessories. Furthermore, the Komodo-X is compatible with the upcoming Red Pro I/O Module, which provides auxiliary power and hooks up to full-size V-Lock and Gold Mount batteries. The X model also has an integrated six-pin DC-in port, and is compatible with Red’s seven-inch LCD monitor, the DSMC3, which attaches directly and takes power, data and video signal to and from the camera. This monitor doesn’t fit onto the original Komodo. Both cameras have a single 12G-SDI output but there’s now a USB-C port as well as a five-pin LEMO input for external audio. Wi-Fi camera control is possible through the interchangeable antenna that fits onto the SMA connection. Genlock, timecode in, GPIO and CTRL RS-232 are also available via the nine-pin Ext port. Wired control is possible with the Komodo Adapter via USB-C or Gigabit Ethernet, which also allows camera control and a live video preview feed. The X’s Super 35 Global Shutter CMOS sensor is the same 19.9-megapixel resolution and 27.03x14.26mm size as the

“The biggest benefit for many will be the higher frame rates”




BIG BROTHER The Komodo-X builds on the success of its predecessor, adding significant upgrades to a slightly larger body

CANON’S BABY EOS R A budget-priced addition to Canon’s EOS R mirrorless collection targets content creators who want something compact. The EOS R100 body with an RF-S 18-45mm lens costs £670/$599 and features a 24.1-megapixel APS-C

with the Canon Connect App to allow for remote shooting, and there’s Wi-Fi and Bluetooth connectivity. The EOS R100 weighs in at 356g in total, features a five-pin hotshoe, a 2.36m-dot EVF with 60fps refresh rate, as well as a three-inch fixed LCD with 1.04m-dot resolution. Also revealed is the RF 28mm f/2.8 STM pancake lens, which weighs just 120g and measures 24.7mm in length, making it Canon’s smallest and lightest RF lens yet. It has a combined focus and control ring, a focus/control switch and costs £345/$299.

sensor with Dual Pixel CMOS CF, a Digic 8 processor and 4K/25p video, with Full HD up to 60p or HD to 120p. There’s built-in Movie Digital IS, plus Vertical Movies and a Movie Digest function, where the camera creates two- to four-second video clips every time a shot is taken and then compiles these into a motion sequence. Compatibility is offered POWERSHOT FOR VLOGGERS Canon’s new Powershot V10 is a lightweight and easy-to-use vlogging camera that combines high-quality microphones with a built-in stand. It is designed to produce shake-free 4K UHD movie recording with background blur. The vertical body is an entirely new design for Canon and features a large one-inch CMOS sensor capable of 4K video and stills shooting. To give an easy choice of looks straight out of camera, there are 14 colour filter effects as well as Smooth Skin mode. Movie Digital IS mode helps avoid camera shake. The £430/$429 camera can shoot in portrait and landscape and record up to an hour of continuous video. It has two mics for stereo recording and a third for background noise reduction. On top of the electronic wind filter, there are physical windshields that can be attached.

It features precise control, with 1/4, 1/3 or full-stop increments. The thickness of these filters are carefully paired with the camera to ensure no back-focus shifts when switching between the two. ND can then be controlled via the integrated buttons on the electronic filter, the on- board LCD, the DSMC3 seven-inch LCD, Red Control or any other Red-compatible remote control system. The adapter supports Cooke/i lens communication and record triggering, and also includes both a set of Komodo Side Ribs and Adapter Support brackets. The camera comes in black only. A limited-edition white version was offered at launch – but this sold out instantly. Red has also released a significant firmware update for the original Komodo, adding the ability to record in ELQ R3D, a boost in AF performance, accelerometer and gyro data for R3D, timecode and support for Prograde media cards.

There’s a two-inch LCD touchscreen and the camera is compatible with the Canon Camera Connect app, so you can transfer video to a smartphone via Wi-Fi. HDMI and USB-C ports allow for easy transfers to a PC and use as a webcam.



AGENDA NEWS Fujifilm boosts X-S mirrorless

combined with an Atomos HDMI monitor/ recorder, Raw video can be recorded as 12- bit Apple ProRes Raw at resolutions up to 6.2K/29.97fps. With a Blackmagic Design Video Assist 12G, Raw can be recorded as Blackmagic Raw at the same resolution and speed. The camera also features a 3.5mm microphone/earphone jack and new vlog mode, which makes it easy to produce content when the camera is combined with the optional tripod grip, TG-BT1. The X-S20 comes with 19 different Film Simulation modes including Nostalgic Neg, with high saturation and soft tonality. There is a 2.36-million-dot EVF with 0.62x magnification as well as a 1.84-million- dot rear LCD vari-angle monitor. A USB-C cable connects the camera to a computer to use as a webcam without other software. Film Simulation modes are available even during live streaming or online meetings.

Fujifilm’s new X-S20 is a compact and lightweight mirrorless packed with video spec, designed for filmmakers or vloggers on the move. It features AI-based subject detection autofocus and records 6.2K/30p video, with a high-capacity battery that means the camera can take around 800 still frames. The £1249/$1300 X-S20 has a back- side illuminated 26.1-megapixel X-Trans CMOS 4 cropped sensor and high-speed X-Processor 5 image processing engine. The body, weighing just 491g, has five- axis in-body image stabilisation that offers up to a seven-stop advantage. The subject detection AF can recognise animals, birds, cars, motorcycles, planes and drones and offers AF performance equivalent to the Fujifilm X-T5. There is support for recording 6.2K/30p 4:2:2 10-bit video internally as well as 4K/60p and 1080 at 240p. F-Log2 recording expands the dynamic range to more than 13 stops. And when


A brand-new smartphone app to use with GFX System and X Series cameras is free to download from Fujifilm. The XApp connects a Wi-Fi-capable camera with a smartphone for remote shooting, image transfer and viewing. Features such as Wireless communication, stability and speed have all been improved compared the previous Fujifilm Camera Remote app. During a shoot, users can check the live view on a phone or tablet and operate the camera remotely. A new backup/restore function allows settings to be saved in-app and applied back to the camera. Favourite commands for different shooting situations can be managed, and settings uploaded to multiple cameras of the same model for multicamera shooting.

WIDEST EVER FUJINON An ultra-wide XF 8mm f/2.5 R WR is the latest Fujinon lens for X Series cameras, equivalent to 12mm in the 35mm format and coming in at £799/$799. It has a viewing angle of 121° diagonally and 112° horizontally. The new lens has a 62mm

and it is capable of operating in temperatures as low as -10°C. The front lens element is applied with fluorine coating to repel water.

filter thread and internally there are 12 lens elements across nine groups, including three aspherical elements and two ED elements to control lens distortion, spherical aberration and astigmatism. The inner focus system achieves a rapid AF speed and works in conjunction with the phase detection systems. The lens is just 52.8mm long and weighs 215g. Its lens barrel is weather sealed in ten places for dust- and weather-resistance




Blackmagic URSA Mini Pro 12 K Introducing the world’s most advanced digital film camera!

Record to Blackmagic RAW Blackmagic RAW makes cinema quality 12-bit, 80 megapixel images at up to 60 frames a reality! Constant quality encoding options adapt compression to match the detail of the scene. Constant bitrate gives you the best possible images at a consistent file size. You can record to two cards simultaneously so you can shoot high frame rate 12K or 8K on CFast or UHS‑II cards. Fast and Flexible Post Production Shooting RAW in 12K preserves the deepest control of detail, exposure and color during post. Best of all, Blackmagic RAW is designed to accelerate 12K for post production, so it’s as easy to work with as standard HD or Ultra HD files. Blackmagic RAW stores metadata, lens data, white balance, digital slate information and custom LUTs to ensure consistency of image on set and in post.

URSA Mini Pro 12K is a revolution in digital film with a 12,288 x 6480 Super 35 sensor built into the award winning URSA Mini body. The combination of 80 megapixels, new color science and the flexibility of Blackmagic RAW makes working with 12K a reality. URSA Mini Pro 12K features an interchangeable PL mount, built in ND filters, dual CFast and UHS-II SD card recorders, USB-C expansion port and more. Digital Film in Extreme Resolution URSA Mini Pro 12K gives you the benefits of shooting with film including amazing detail, wide dynamic range and rich, full RGB color. Incredible definition around objects makes it ideal for working with green screen and VFX including compositing live action and CGI. Super sampling at 12K means you get better color and resolution at 8K as well as smooth antialiased edges. Cinematic 12K Super 35 Sensor The URSA Mini Pro 12K sensor has a resolution of 12,288 x 6480, 14 stops of dynamic range and a native ISO of 800. Featuring equal amounts of red, green and blue pixels, the sensor is optimized for images at multiple resolutions. You can shoot 12K at 60 fps or use in-sensor scaling to allow 8K or 4K RAW at up to 120 fps without cropping or changing your field of view.

Blackmagic URSA Mini Pro 12K US$6,385

Learn More!

Camera shown with optional accessories and lens.


Sony reveals mega cards!

STORAGE FOR DAYS Memory card technology has come a long way. With Sony providing an astonishing 1920GB card to fit a range of its cameras, as well as the smaller but still huge 960GB, you won’t run out of space any time soon Meanwhile, file naming is now the same as high-end CineAlta cameras such as the FX9 and Venice range. An update to the Venice 2, version 2.1, will improve the zoom to fit function in 3:2 aspect ratio and zoom to fit 2.39:1 for 3:2 image modes will also be added. A second update is planned for early 2024 and will include a new frame line generator, enhanced high-frame-rate anamorphic modes, as well as improved functionality for live events. FIRMWARE BOOST FOR CINE CAMERAS The popular Sony FX6 and Venice 2 cinema cameras are set to benefit from free firmware updates this summer. FX6 version 4.0 adds a de-squeeze function for anamorphic lenses, with options including 1.3x and 2x. The de- squeeze ratio can be set for HDMI output image as well as the image displayed in the viewfinder. Autofocus will also be added in slow and quick (S&Q) mode, for frame rates of 7fps or higher. While Cine EI Quick support for FX6 version 4.0 is set to offer the same production workflow as Cinema Line cameras, including the FX30 and FX3.

Sony’s new CFexpress Type A memory cards are now available in sizes up to virtually 2TB, but will cost a staggering £1550/$1399 – or £860/$750 for the smaller version. The new CEA-M1920T and CEA-960T conform to CFexpress 2.0 and VPG200 standards and offer massive 1920GB and 960GB capacities respectively. The VPG200 rating guarantees fast and stable video recording without dropped frames at 200MB/s for an extended period – even when recording XAVC S-I 4K footage and high bit rates. The cards are resistant to bending and drop impact and feature dust and moisture sealing. Type A memory cards are half the size of Type B, and even smaller than SD cards. They fit the Sony A1, A7S III, FX6 and FX9. The cards are made from alloy for superior heat transmission, long-term stability and reliable operation when recording large volumes of data. Sony’s free desktop application, Media Scan Utility, diagnoses the state of flash memory in the cards, and Memory Card File Rescue recovers accidentally deleted image data. Raw still images and 4K movie data are supported.

ECO-FRIENDLY ZV-1 UPDATE Sony’s second-gen ZV-1 II vlogging camera backs up the manufacturer’s claim of focusing The touchscreen has been overhauled, too. Sony says the

built-in mic offers more flexibility for vloggers since it records audio from the front of the camera, to the rear, or in all directions. A deadcat windshield can be slipped into the ZV-1 II’s hotshoe. It is compatible with Sony’s ECM-B10 accessory shotgun microphone, but there’s no headphone jack. There is no in-body stabilisation system using a floating sensor, but there is digital IS built in. The camera costs £870/$898 with an extra £170/$138 for the optional wireless grip.

on sustainability as it recycles most of the features from the original camera, including its one-inch 20-megapixel Exmor RS CMOS sensor which can record in 4K/30p. To boost its eco-friendly credentials, Sony now omits a mains charger or USB-C cable. With the camera virtually the same size and weight as the older ZV-1, the change is its optical zoom. The built-in f/1.8 lens is now 18- 50mm instead of 24-70mm, and so is better for selfie vlogging.




CLOCKING ON Photo Video 24 went through a full day and night in Cambridge

NO SLEEP ’TIL BOATIN’ A pack of filmmakers, content creators and photographers toughed it out over a scorching weekend in June for a full 24 hours around the city of Cambridge, in a unique event called Photo Video 24. The event – formerly known as Photo 24 and hosted in London – has been renamed to reflect the massive increase in video and See what Pro Moviemaker readers got up to during our 24-hour creative challenge in historic Cambridge – including a fun film shoot on the Cam Pro Moviemaker editor in chief Adam Duckworth gave seminars on everything from video basics to advanced work, and even a live edit in Final Cut Pro X on the big screens. Meanwhile, MPB-backed YouTuber Courtney Victoria was a smash hit, talking about growing and monetising her landscape photography channel. Punters went on guided walks

an exclusive shoot with Cambridge Boat Club on a morning training session. There are awards for the best photos and movie shorts taken at the event, as well as various fun challenges that were set throughout – and the winners will be revealed soon! Everyone who stayed for the full 24 hours got a commemorative T-shirt to prove they went the distance. If it looks like fun, it was! Make sure you sign up for next year’s event to avoid missing out. “Some climbed high above the city to get a bird’s-eye view”

moved to the historic university city. The boutique Graduate Hotel on the banks of the River Cam in the heart of Cambridge was the headquarters for the event, which saw seminars and workshops as well as filming opportunities. There was free gourmet ice cream courtesy of event sponsor MPB, who acted as the host and provided refreshments, snacks, beanbags for a bit of sleep and a range of goodies for all. MPB also gave camera advice, loaned kit and was a cheerleader for the fun.

showcasing particular locations or types of architecture, including the historic colleges; plus street workshops and walks at sunrise and sunset made the most of the light. Some climbed high above the city to get a bird’s-eye view in a special trip up Great St Mary’s Church tower, recorded natural landscapes in Grantchester Meadows accompanied by an award- winning filmmaker, had a private view of Shakespearean actors in rehearsals, or had




Sachtler’s one-two knockout! The combination of the flowtech 75 tripod and aktiv 8T head is the stuff of champions W hen it comes to tripods and

They’re bang on spec for filmmakers with a variety of camera systems. Quick set-up is not just about the legs, but also preparing and installing the head – the aktiv 8T can be mounted to the tripod with SpeedSwap and levelled with SpeedLevel tech in record time. The head mounts to the legs with a single lever lock, rather than

heads, it’s rare for genuinely new and revolutionary tech to come along and disrupt the market. Yet that’s exactly what Sachtler has done, first with the flowtech® 75 carbon-fibre tripod, then again by teaming it up with aktiv™ 8T head. Many satisfied buyers agree the combo is the best system around, with the fastest set-up time. The legs are held together by magnets, so you need a little bit of force to pull them out then splay them wide. Unclamp the leg locks that are placed at the very top, raise the tripod to the level you want then just snap the locks closed again. It’s incredibly easy and convenient. Instead of large, single round legs or two smaller rounds legs like most tripods, the flowtech uses large, carbon-fibre profiles that are designed not only to twist less but also be far more comfortable for carrying on the shoulder. It’s details like this that make a real difference in everyday use. There are rubber feet that fit over the spiked feet, and these are easily clipped off using a quick-release fastener. The removable, adjustable mid-level spreader is good for setting up on flat ground, while on rough ground, taking it off means the legs can be angled independently of each other. The spreader also affects the maximum and minimum heights you can raise the tripod to. The legs only weigh 2.9kg/6.4lb, but can support a payload of up to 20kg/44lb.

screwing onto a large thread then locked down with a grub screw. It just drops onto the tripod and clicks into place on the quick- release adapter. Then, using the same lever lock, it’s free to move around and quickly levelled off; aktiv fluid heads feature the unique

SpeedSwap system, allowing lightning- fast camera swaps from a tripod to a slider without missing a beat. This unique set-up means you never have to reach under the bowl to fasten and unfasten a large tie down. The flowtech’s maximum leg height is 157cm/61.8in and, when combined with aktiv head, the legs can go flat to the ground. For the majority of cases, this means you don’t need baby legs to get those very low-angle shots. The head has an illuminated prism bubble making it easy to level, day or night. Sachtler offers five versions of the head to take different payloads, and the aktiv 8T can handle up to 12kg/26.5lb. With 15 steps of counterbalance and seven steps of pan and tilt drag adjustment, it’s suitable

for most cine cameras, even mounted with accessories. Sachtler is famous for smooth drag performance, so there is no compromise on smooth moves.

More information

BUILT FOR SPEED The Sachtler aktiv and flowtech combination is fast to set up and can go flat to the ground, giving you unique new angles

VOTE FOR US! The flowtech 75 with aktiv 8T head won its class in the 2022 Pro Moviemaker Gear of the Year Awards and has been nominated again in 2023. It’s still unique and packed with tech to make camera operators’ lives easier. So please head to to vote for what we think is the greatest tripod-head combo at any price.




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

Your kit queries sorted by CVP’s experts

Making the right gear choices is easy thanks to Britain’s number one filmmaking retailer

become a more versatile option for those looking to shoot high-motion subjects. The Komodo-X also runs on micro V-Mount batteries without the need for an adapter, which is a more versatile, higher-capacity battery option commonly used across equipment on set. There is also support for the DSMC3 seven-inch touch monitor with the Komodo-X, a key solution for monitoring and camera control that leaves the SDI available for other devices. There are also better connections for IP workflows and an updated media type that is used across Red’s DSMC3 cameras. Q. I need a new tripod for use on almost everything. I’ve never spent more than £500 on a tripod and head and have been pretty happy. What are the advantages of going for something more expensive? And how much do I need to spend to really notice a difference to my old Manfrotto?

solution of batteries and charger. What do I need to consider? A. A lot of this will depend on the fixtures/ outputs of your lights. It might be tricky to find a cost-effective solution that is reliable and will offer a consistent output. A recommendation we would make would be the Ecoflow Delta Mini, an 882Wh portable power station that has two mains outlets, four USB outputs and can be charged in 90 minutes, which is quicker than four V-Mount batteries. It’s a more cost-effective solution than buying reliable V-Mount batteries for all your lights. Q. I’ve seen the specs, but what are the key real-world advantages of the Red Komodo-X over the standard model – as it’s significantly more expensive? A. There are a few key advantages to the Komodo-X, with the first being the increased frame rates. With those being double that of the regular Komodo, it has

Q. I couldn’t make it to CVP’s lens summit but I am interested in anamorphic lenses and aspect ratios. I shoot on a range of full-frame Sony E-mount cameras, what are the best affordable options and what squeeze ratio should I be looking for? A. What squeeze factor you get will come down to what deliverable aspect ratio you want to end up with. On the budget end you have lenses from Sirui and Laowa, before moving up to something from the likes of Vazen, or Schneider’s re-released Iscorama 54. Most Sony full-frame E-mount cameras have some kind of anamorphic support, but this is a pretty new thing for these models so options are limited. An external monitor with de-squeeze support might be required. Q. I have a mix of Aputure and Nanlite COBs, and Falcon Eyes and Rotolight LED light panels. To power them I’m looking for a cost-effective V-Mount battery





CVP is unique as there is lots of stock on hand to try before you buy. The London showrooms have the latest equipment and experts are there to answer any questions. There is nothing quite like having a real, hands-on feel for any new bit of equipment you’re considering. It’s so important to check it out with accessories, so you can get a genuine impression of what it’ll be like to work with. That’s just one thing making CVP the leader for filmmakers – we’ve been nominated in the Pro Moviemaker Gear of the Year Awards once more! Please vote for CVP by going to and following the ‘Gear of the Year’ link. To book a demo and talk to one of CVP’s experts, call +44 (0) 208 380 7400, email or visit

A. Tripod systems range from anywhere between £100 to more than £20,000, but all serve a key purpose - to give you stabilised pan-and-tilt camera movement. A good tripod head is where you want to invest most of your money, as this is what will provide you stable movement, good counter-balance features and all-round reliability as well as serviceability. There are systems featuring carbon-fibre legs, such as the Sachtler Flowtechs, which are incredibly lightweight, strong and quick to set up – making them very pleasant to use on location. A key factor determining spend is the weight of your camera system, with heavier rigs requiring more robust tripods to ensure a stable and balanced set-up. Q. I struggle matching the colours in the edit between footage shot on various cameras and lenses. What’s the best and easiest way to match colours? A. Accurately matching the image from different cameras can take some experience to get right, but shooting a colour chart is the best place to start. That way you have a common reference to work from, which some tools, such as DaVinci Resolve, can use to normalise your shot. There are plug-ins like CineMatch that can help do a lot of the heavy lifting for you.

“Matching the image from different cameras can take experience”

GAMMA RAYS When working on large productions, careful colour management is a vital part of the workflow. Large batteries like Bebob’s B155Cine (below) will power lots of accessories, and a solid tripod like Sachtler’s Flowtech (top right) is a must




The incredible Motorworld exhibition halls are home to Euro Cine Expo, a show dedicated to filmmaking and networking in style MOTOR ON TO MUNICH

A fter the success of the inaugural Euro Cine Expo last year, this different sort of show has expanded and grown even bigger for 2023. Packed with filmmaking professionals in a cool venue in Munich, it is more than just a trade show of hardware and software. The venue for the show is a concert and event hall called Motorworld, which has three huge halls and an on-site hotel with exclusive studio apartments where you can drive your car right into the room! Of course, the expo will have all the latest tech from across the industry and a comprehensive programme of discussions and presentations. There are indoor and outdoor spaces – and bars – to allow the great and good of cinematography, TV and film to relax, mingle and network – plus after-show parties on the Friday and Saturday nights. A highlight of the show is James Friend ASC BSC, who recently won an Oscar for the epic All Quiet on the Western Front on the opening day. Instead of talking about his experiences, he’ll be doing a live demonstration of how to light a set – all in the style of his Academy Award-winning film. We discuss some of the companies at the show so you can plan your visit. Entry is free so register now!

HOME BASE The giant Motorworld venue is the home of Euro Cine Expo, comprising three large halls and lots more

“There are indoor and outdoor spaces to allow the great and good to network”

There’s no shortage of innovation at Amaran with the latest 150c and 300c COB lights – the brand’s first full-colour 150W and 300W RGBWW LEDs. They have a Bowens mount, integrated controls and high-quality output. Also look out for Spotlight SE, Amaran’s first projection lens modifier. The compact optical modifier for Bowens-mount point-source fixtures transforms any COB LED up to 300W into a powerful spotlight, extending the reach and producing an even, shapable output via shutters, lens options, gobos and an optional Iris accessory. AMARAN Stand number 5-040

Stand number 5-040 APUTURE

Aputure offers a hands-on experience with fixtures such as the renowned LS 1200d Pro 1200W point-source COB, Nova P600c 600W RGBWW soft light panel, the MT Pro and MC Pro practical lights – and maybe even a new powerhouse promised to challenge the competition on the next level. Also check out the Aputure Infinibar up close in all three sizes. This is an RGBWW LED strip of lights where individual bars can be fixed together without any space between them.



CORE SWX Stand number 5-045

Stand number 2-027 HAWK-WOODS

Hawk-Woods will showcase its X-Boxx Mini Floor Battery. This compact, lightweight battery offers impressive features and capabilities, while the design is smaller and lighter than its predecessors and competitors, making it portable without compromise on capacity or performance. Despite its size, it packs a punch with a capacity of 880Wh. A standout feature of the X-Boxx Mini is the refined display, allowing users to monitor power usage with ease.

Core SWX will display its Renegade power stations. These are versatile, high-capacity, high-current lithium- based power solutions for cinema and lighting. The Renegade is a 777Wh, LIFEPO4 power station delivering 15v, 28v and 48v simultaneously with up to 1200W output. The two Renegade XL models are 1376Wh li-ion power stations, while the RNG-XL1 can deliver 15v, 28v or 48v – making it a versatile power source for various cinema equipment.


Stand number 5-020

The latest showstopper from Astera is the new fresnel LED range with the introduction of the compact Plutofresnel and larger Leofresnel. The Plutofresnel achieves the equivalent of a 300W tungsten fresnel while drawing only 80W, and the Leofresnel achieves an output equivalent to 1000W while using only 250W. Both lights offer a beam angle ranging from 15° to 60° without any colour fringing. Based not far from the Euro Cine venue, the Astera crew will be demonstrating its broad range of lights, including the award-winning Titan Tube, spotlights and the diminutive but versatile Pixelbrick and Hydrapanel ranges.


Stand number 4-003

Camera-to-cloud workflows with the Connect range of network-enabled monitor/recorders are central to the Atomos stand, reducing time between shooting and post-production. New for the show will be C2C integration with Sony Ci Media and a first look at Atomos Edit: a browser-based,

collaborative video editor. Both are part of Atomos Cloud Studio: online services augmenting Atomos’ physical products.


Stand number TBC

Canon will demonstrate live production capture through a multicam set up with the XC Protocol, across PTZ cameras, fixed lens camcorders and cine cameras. If you’re searching for a Cine-Servo lens for cinema and broadcast, the CN8x15 IAS S E1/P1 might be right for you. Check out Cinema EOS cameras such as the C500 Mark II, C300 Mark III and the hybrid EOS C70 and R5 C mirrorless full-frame camera. There will be lots of Canon’s cine lens range, from CN-E primes to Sumires for a more vintage look.


Stand number 5-040

Learn about the Deity Theos Digital Wireless Microphone System, which uses a wideband UHF spectrum rather than the crowded 2.4GHz band. Frequencies span between 550-960MHz. It also features swappable frequency ranges based on your phone’s GPS, so you can move countries with one kit. Also check out the TC-1 wireless timecode slate, which is the world’s first Bluetooth-enabled smart slate that wirelessly stays in sync from up to 250ft away.

Stand number 4-029/031 BLACKMAGIC DESIGN

Australian filmmaking giant Blackmagic Design will show its latest kit: the Ursa Mini Pro 12K OLPF cinema camera promising incredibly sharp images without moiré and approved for Netflix. Also see the Atem 4 M/E Constellation 4K, a new Ultra HD model of the Atem Constellation family with 40x 12G-SDI standard converted inputs, supporting standards up to Ultra HD 2160p60. Finally, find out about DaVinci Resolve 18.5’s massive update with AI tools and 150+ new features, like additions to the cut page editing toolset, Resolve FX, enhanced fusion and Fairlight audio mix automation.






FUJIFILM Stand number TBC

Stand number 4-011

Fujifilm has a huge heritage making high-end equipment, including its X Series. The current flagship X-H2S uses a Super 35 stacked sensor. This fifth-generation, 26.16-megapixel X-Trans sensor, powered by the new X-Processor 5, is so powerful it allows a blackout-free viewfinder with no detectable lag, improved resolution at low ISO, reduced noise at high ISO, improved AF accuracy and speed thanks to AI tech and on- sensor phase detection.

The Dutch accessory manufacturer provides innovative, high-quality ergonomic rigs and engineered camera products – both universal and dedicated accessories. Check out the Level Marker – a tool that helps correctly align your camera’s horizon – alongside new add-ons for the Sony Venice 2 and Red V-Raptor, among others. Its booth will have the complete line-up of popular

One of the originators of powerful LED panels for filmmaking, Litepanels Stand number TBC LITEPANELS

accessories for the Sony FX6, PXW-FX9 and Red Komodo.

continues to deliver impressive products. Take a special look at the Litepanels Gemini 2x1. This RGBWW LED light source lets you dial in any colour, as well as white with full hue, saturation and intensity control. There is wired or wireless DMX remote control and the fixture can be battery powered.


Stand number 2-017/021

British-based Transcontinenta heads to Euro Cine for the first time with a range of equipment from massive brands. Take a look at Angelbird memory, Hollyland audio solutions as well as gimbals and lights from Zhiyun. Plus Tamron lenses, Peak Design bags and tripods, Velbon tripods and Lexar memory products.


LED lighting specialist Nanlite and its high-end sister brand Nanlux will be showing a massive range of products – from incredibly affordable LED COB lights and panels to hugely powerful, high-end units for big productions. Nanlux brings RGBLAC colours to a new level with its Evoke 900C COB light. It gives an incredible 12,940 lux at 3m when set to 5600K, using a 45° reflector at an output of 940W. It adopts the advanced RGBLAC six-colour mixing system, adding lime, amber and cyan to the base of primary red, green and blue. The CRI/TLCI are rated 96. Stand number 2-009 NANLITE/NANLUX

Stand number 1-015

Schneider-Kreuznach will show its unique Isco4all set that combines three stand-alone spherical cine primes and an Iscorama anamorphic front adapter. The three compact Iscospherical A+ cine primes offer focal lengths of 43, 58 and 85mm and feature a 2.4 T stop. An Iscospherical Amber-Coating (A+) gives authentic flare. Select accessories complete the set in a hard case. The brand will also display its cinema prime lenses and filters.


VIDENDUM Stand number TBC

Stand number 1-006

The Zeiss range of high-end lenses have been used in the film industry for more than 80 years and awarded three technical Oscars. The range on show includes the Lightweight Zoom LWZ.3 for Super 35 as well as the Compact Prime CP.3 and CP.3 XD, Cinema Zoom CZ.2, Supreme Prime and Supreme Prime Radiance for Super 35, full-frame and bigger. Take a look at the Supreme Prime Radiance family, known for stunning blue flares. Not to mention the new Cincraft Mapper VFX studio software service that provides frame-accurate lens distortion and shading data.

Videndum is the relatively new name of a massive global provider of premium products that have been around for years. Its brands include Anton Bauer, Autocue, Autoscript, Litepanels, OConnor, Manfrotto, Quasar Science, Sachtler, SmallHD, Teradek, Vinten and Wooden Camera. The company designs and manufactures camera supports, video transmission systems and monitors, livestreaming solutions, robotic camera systems, prompters, LED lighting, mobile power, backgrounds and motion control, audio capture and noise-reduction equipment.



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

Powered by