The all-new Pro Moviemaker magazine is out now! Redesigned and refocused for the next generation of filmmakers and content creators, the all-new Pro Moviemaker magazine delivers more useful content than ever before. New sections covering business, production skills, equipment reviews and creator-focused content make it easier to find the information that matters most. Built around the way video is created, distributed and monetised today, the new magazine connects you to the products, services and expertise to help bring success.
NEW-LOOK MAGAZINE FOR MODERN FILMMAKERS
TOOLS OF THE TRADE The latest kit launches and trusted hands-on reviews
GEAR BUSINESS TECHNIQUE
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BUSINESS TIPS FOR A CREATOR From clients to content, how to build a career that actually works youtube special
THAT’S THE WAY
HOW TO GET INTO THE AMAZING WORLD OF ULTRA SLOW-MOTION THE EASY AF WAY TO SHOOT ANAMORPHIC ON A BUDGET +
Sony’s A7R VI nails sharper shots using artificial intelligence LIKE IT
July/August 2026
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welcome
THE NEW PRO MOVIEMAKER EMBRACES THE WIDER CREATOR ECONOMY
Editorial Editor in chief Adam Duckworth Editorial director Nicola Foley Chief sub editor Matthew Winney Senior sub editor Patrick Ward Junior sub editor Tabitha John Contributor Matty Graham Advertising Sales director Sam Scott-Smith +44 (0)7875 711967 samscott-smith@bright.uk.com Design Design director Andy Jennings Magazine design manager Lucy Woolcomb Senior designer Carl Golsby Junior designer and ad production Holly May Publishing Managing director Andy Brogden Operations director Saffron Osborn-Clay Subscriptions manager Becky Carse PPC and social manager Keith Murtagh
ake a look around this issue and you’ll notice things have changed. Marking the biggest relaunch in Pro Moviemaker ’s history, we have redesigned the magazine from the ground up to reflect the way filmmakers work today and anticipate
where the industry is heading tomorrow. When Pro Moviemaker launched, the worlds of commercial filmmaking, podcasting, live production and social media were different and more distinct. Today, the boundaries have all but disappeared. A wedding filmmaker will also produce social media content, a documentary shooter could be running a YouTube channel and a content creator may be using the same cameras, lighting and audio gear as a professional production company. The industry has evolved, and so have we. The new Pro Moviemaker remains dedicated to money-making filmmaking, but now embraces the wider creator economy and the growing number of professionals building careers through video. You’ll still find the trusted reviews, in-depth tests and buying advice that have always been at the heart of the magazine. But we’ve reorganised everything to make it easier to find the information that matters most to you. Our Agenda section will still keep you informed with the latest news, launches and developments from across the industry. However, the new Worklife section explores the business side of filmmaking, covering everything from attracting clients and increasing revenue to making smart investments in equipment and services. Academy focuses on practical skills, techniques and workflows for improving your craft, while Toolkit remains the core of the magazine, delivering the independent reviews and expert verdicts that help you make confident purchasing decisions. Finally, we’re excited to introduce Reel Time, a brand-new section dedicated to content creators, streamers, podcasters and video-first entrepreneurs who are moulding the future in their image. What ties all these sections together is a simple philosophy: helping you succeed. Welcome to the new Pro Moviemaker .
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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
Adam Duckworth Editor in chief
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Hybrid EOS looks forward Canon’s new R6 V is aimed at video-first shooting with 7K Raw, open gate recording
and fan cooling – all at a price that undercuts its R6 Mark III sibling.
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toolkit 59 Gear of the Year is go
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It’s the launch of our tenth annual Gear of the Year Awards, where readers vote for the top hardware, software and services. 74 Alpha, bravo! Sony shows you can have a high-resolution camera that’s also seriously fast with the new A7R VI mirrorless. 80 The frame rate strikes back Unless you have Hollywood-size budgets, superfast frame rates have stagnated – until now, with the 2000fps Pixboom. 86 Red dot resurrection Leica’s SL3 mirrorless has been largely overlooked for video, but a new firmware transforms this Bauhaus-style beauty. 88 Sound without stress Audio gear that’s designed to take the worry out of capturing sound. Check out the 32-bit float Tascam recorder and an Audio-Technica mic with a safety track.
43 Time for GoPro to go pro The action camera brand moves into mirrorless, Lumix shows its new 40mm prime and would you Leica new phone? 48 Meet your creator Daryl Walker is a master at capturing his outdoor adventures around the world. He talks life, social video content and success. 50 Smart set-up for YouTube Our choice of the best cameras, lenses, lighting and more for clued-up content creators and podcasters. 54 Fujifilm’s Instax mashup It’s the love child of an instant camera and Super 8 cine cam – but is this retro gizmo just for fun or can it be a serious bit of kit? 56 DJI’s pocket rocket We try the Osmo Pocket 4 gimbal cam and pair it with a Smallrig stabiliser to create a mini Steadicam on the cheap.
agenda 10 Kine’s mini cine stunner Chinese cinema camera upstart Kinefinity reveals its first mirrorless-style compact cine cam with top spec and low price that’s sure to make a huge impact. 12 Philips pro screen flip Philips expands its professional monitor range with high-resolution displays and connectivity, as Aputure updates its Sidus Link Pro lighting app. 14 Indie optic extravaganza Hot new glass from emerging lens brands like Laowa, Viltrox and Samyang. Plus, get cash off the superfast Experimental Optics 50mm f/0.75 prime. 16 World Cup of camera kit! Global imaging test brand TIPA unveils all the latest cameras, lenses, hardware and software that have scored winning goals in its annual awards.
academy 30
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worklife 20
Filmmaking champs named Finally, the judges have spoken in our CVP- backed Filmmaker of the Year competition, as the winners are revealed. 38 Easy AF anamorphics How the first autofocus lenses are making Cinemascope accessible, and how you can go widescreen on a budget.
the icon 90 Sony make believe The first in our new series celebrating great tech innovations spotlights the Sony FS7 cinema camcorder that made indie filmmakers’ dreams come true.
YouTube insider special Seven pages of incredible insight from three of YouTube’s leading lights. We hear from a government-approved strategist, a fast-growing content creator and an insider from the video streaming company itself, where the talk is all about platforms, plans, podcasts and professionalism.
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News and views from the video industry
With 7K Raw open gate recording, active cooling but no viewfinder, the Canon EOS R6 V is aimed at next-gen video shooters The creator’s EOS
anon’s £2400∕$2499 EOS R6 V has been designed from the ground up as a camera that prioritises filmmaking, streaming and creator workflows. It’s Canon’s answer to cameras such as the Sony ZV-E1
and full-frame Nikon ZR. At its core sits the same 32.5-megapixel full-frame sensor used in the EOS R6 Mark III and Cinema EOS C50, paired with Canon’s Digic X processor. But the way Canon has packaged that technology is what makes the EOS R6 V interesting. The camera completely ditches the electronic viewfinder. For many modern creators who shoot using rear screens, monitors or gimbals, it makes perfect sense. Removing the EVF has allowed Canon to build a smaller body while creating room for active cooling – arguably the camera’s biggest advantage. An internal fan allows much longer recording times, especially in 7K and 4K high-frame-rate modes. Canon claims effectively unlimited recording in many formats when cooling is enabled. The EOS R6 V shoots internal 7K Raw up to 60p, as well as open gate 7K using the full sensor area so footage can easily be reframed for horizontal, vertical or square delivery. There’s also oversampled 4K up to 60p, uncropped 4K∕120p slow motion and Full HD up to 180fps. Canon Log 2 and Canon Log 3 are included for serious grading workflows, while Raw output over HDMI gives even more flexibility. Autofocus remains one of Canon’s strongest assets. Dual Pixel CMOS AF II with subject recognition tracks humans, animals and vehicles. Face and eye tracking during video is particularly
What it is: Full-frame hybrid mirrorless with a 32.5-megapixel sensor shooting up to 7K Raw, 4K/120p and open gate Body: No EVF but has a zoom lever, vertical tripod socket and cooling fan Gamma choices: Via dedicated button Webcam use: Plug and play Memory: 1x CFexpress Type B, 1x SD
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Headlines | agenda
Lip service Canon has listened to modern content creators and gone all-out to build the ultimate camera with incredible video at an affordable price
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agenda | Headlines
strong, making the camera highly appealing for solo operators, vloggers and documentary shooters. It is clear that Canon has also leaned into creator ergonomics. There’s a front-facing record button, a tally lamp, vertical shooting support with a second tripod thread and customisable controls geared towards video operation. The fully articulating screen is responsive and bright, and the interface feels cleaner and more streamlined than many cinema-focused bodies. Canon claims up to 7.5 stops of IBIS, giving smooth handheld footage without relying entirely on digital correction such as in the EOS C50. Combined with lightweight RF lenses or Canon’s new RF 20-50mm f∕4L IS USM PZ lens launched alongside the body, the set-up is ideal for run-and-gun use. Of course, the EOS R6 V lacks a mechanical shutter and flash compatibility, so it is clearly a creator-first camera designed around video production. canon.co.uk
Power broker The new RF 20-50mm f/4L IS USM PZ is a
perfect companion for video-first users as it’s stabilised and has an internal power zoom
The power zoom era Canon’s RF 20-50mm f/4L IS USM PZ is the first full-frame RF L-series lens with built-in power zoom
esigned as the perfect partner for the new EOS R6 V, the new RF 20-50mm f∕4L IS USM PZ full-frame lens combines premium L-series optics with something Canon has never offered before on an RF lens – an
integrated internal power zoom. Unlike traditional zoom lenses that rely purely on manual movement, the RF 20-50mm features a built-in servo system for smooth, controlled focal length changes during filming. The zoom ring doubles as a manual zoom-by-wire control, giving creators the best of both worlds. The focal range itself is highly practical. Starting at a wide 20mm makes it ideal for handheld vlogging, interiors and establishing shots, while the 50mm long end offers more natural framing for interviews, portraits and product work. Canon has clearly focused heavily on video usability. Focus breathing is optically suppressed to prevent distracting framing shifts during focus pulls, while the Nano USM autofocus motor delivers fast, silent and highly accurate tracking. Despite the advanced technology, the lens remains compact at just 420g/ 0.93lb. Optical image stabilisation offers up to six stops of correction, increasing to eight stops when paired with compatible in-body stabilised cameras such as the EOS R6 V. To go along with the new EOS R6 V, Canon has also launched a range of accessories. The first is the £149∕$159 HG-200TBR tripod grip that comes with a remote control that can be used wirelessly and controls shutter, zoom, AF and recording. The £199∕$179 AD-M1 macro flash head adapter works with Canon’s Macro Twin Lite and various RF lenses to light close-ups.
Free tune-up for Canon range
Canon has released a fresh round of firmware updates for its EOS R-series mirrorless and Powershot cameras, adding new features and workflow improvements. Highlights include enhanced custom controls for the EOS R1 and EOS R5 Mark II, with four more colour temperature memory settings. There’s also improved wireless connectivity and new video grid display options, all available as free downloads. canon.co.uk
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agenda | Bulletin
inefinity has unveiled the new Vista – a palm-sized full-frame camera aimed squarely at indie filmmakers and creators.
At £2399∕$2499, the Vista is set to become a serious disruptor. As an affordable cinema camera, this places it in direct competition with cameras such as the Blackmagic Cinema Camera 6K, Canon EOS R6 V, Nikon ZR and Sony FX3. It has a full-frame 6K sensor with dual base ISO at 800 and 5120, giving 14 stops of dynamic range, and is capable of open gate 3:2 recording. There’s an optical low-pass filter to combat moiré, it has a compact aluminium body weighing just 610g∕1.3lb and comes with either active E, PL or the brand’s own Kine lens mounts. A four-inch OLED touchscreen, dual full-size 4K HDMI outputs and built-in 220GB SSD, alongside CFexpress Type B, also feature. Footage can be offloaded directly through USB-C or recorded to an external SSD simultaneously with the internal memory. Recording modes include 50fps in 17:9 at 6K and 4K, as well as 5.7K in 3:2 and 5K in 4:3. To go faster, there’s an S35 4K 17:9 mode at 100fps. Codecs include ProRes 422 in standard, HQ or LT versions as well as H.265. Colour choices include KineLog3 and support for Rec. 709, as well as 3D LUTs. The new Vista promises an entire range of practical production touches. Dual USB-C ports enable live streaming via a smartphone, plus there’s built- in stereo microphones, headphone monitoring, a 3.5mm mic input with timecode support and multiple rigging points located across the body. Kinefinity has also worked alongside Tilta to develop a dedicated ecosystem of accessories, which includes cages, handles and rigging options. proav.co.uk
Kine’s tiny cine titan
The new Kinefinity Vista packs full-frame 6K open gate recording and built-in SSD storage into one of the smallest and most affordable cinema cameras on the market
Audio’s next big thing Rode has unveiled its next-gen Rodelink II wireless unit alongside its revolutionary Sonaura MEMS (Micro- Electro-Mechanical Systems) mic tech. The Rodelink II is made for filmmakers, broadcasters and creators. It combines pro-grade UHF wireless transmission, dual- channel recording, onboard 32-bit float backup and timecode support in a rugged metal-bodied system. The breakthrough is Sonaura, a 4x5mm studio-grade MEMS microphone featuring 83dB signal-to-noise ratio and ultra low self-noise. Developed with Infineon, it promises broadcast-quality sound, exceptional durability and high resistance to RF interference. Sonaura could redefine compact audio capture for a new generation. rode.com
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Bulletin | agenda
Pyxis enters a new phase
One of the biggest criticisms of the Blackmagic Pyxis 6K has finally been addressed as a new firmware update adds phase detection autofocus. This brings continuous AF, face tracking and object tracking to the affordable cinema camera for the first time. The updated system now enables customisation of autofocus transition speed settings and assignable autofocus mode toggle to shortcut keys, as well as support for pausing continuous autofocus when holding down the focus button.
The camera’s live production capabilities have also been expanded with support for Blackmagic Cloud stream routing. This enables routing a live stream directly from the camera to a studio or distributing it simultaneously across multiple streaming platforms using Blackmagic Cloud. Blackmagic’s popular DaVinci Resolve has just got a full release of the latest version 21. It’s a big update with the inclusion of the new Photo page for stills and hybrid shooters. blackmagicdesign.com
Thypoch zooms into new territory as its Voyager 24-50mm f ∕ 2.8 is not only the company’s first autofocus optic but also the first full-frame autofocus zoom developed by a Chinese optical brand. Designed for Sony E-mount, the Voyager uses an internal zoom design to keep the lens the same physical length regardless of focal length, making it ideal for video use on gimbals. The optical formula is made up of 16 elements in 13 groups, including aspherical, ED and high-refractive index elements, as well as a ten-blade aperture for smooth bokeh. With support for Sony’s advanced Eye AF, continuous tracking autofocus and weather sealing throughout, the latest Voyager costs £586 ∕ $649. thypoch.com Voyager of discovery
The big time is beckoning for Sony as it has revealed development of the Rialto 65, a new 65mm-format image sensor block for its Venice 2 cinema camera, scheduled for release in 2027. It features a 53.75x35.83mm sensor capable of 9.6K open gate recording. Compatible with existing Venice 2 bodies, the system transforms the camera into a 65mm large format platform while retaining access to the Venice ecosystem. The sensor can be mounted directly to the camera or operated remotely via a cable. No prices have been released. sony.com Sony goes large
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agenda | Bulletin
Precision panels for post pros
Philips targets serious editors and creators with 5K screens
hilips is sharpening its focus on video and photo professionals with a range of Thunderbolt 4 monitors
coverage of 99.5% Adobe RGB and 99% DCI-P3 ensures the colour is accurate. Factory calibration with DeltaE<2 and Calman Ready support mean it’s built for precision. Add Display HDR 600 and Thunderbolt 4 with up to 96W power delivery, and it’s a strong option for clean, single-cable studio set-ups. For editors who need space as much as accuracy, the Philips 49B2U6903CH takes
a different approach. Its 49-inch 32:9 super-wide dual QHD panel is designed to replace multi-monitor configurations, making it ideal for timeline-heavy video work or collaborative editing. Features like Smart KVM and an integrated webcam with auto-framing also point to modern hybrid workflows. The prices have yet to be revealed. philips.co.uk
designed for colour-critical work. At the top of the line-up is the
Philips Brilliance 27E3U7903, a 27-inch 5K display aimed at high-end retouching and grading. With 5120x2880 resolution, it delivers lots of detail, while wide gamut
Aputure’s new Spotlight Mount II is an upgraded projector attachment designed to deliver brighter output and sharper beams of light. Compatible with Prolock and Bowens mount lights up to 800W, the new modifier uses a redesigned optical system to improve brightness and beam uniformity. A fully rotating barrel allows precise alignment of cuts and projections. The Spotlight Mount II supports four interchangeable lenses – 19°, 26°, 36° and a new ultra wide 50° option. It also accepts gobos in both metal and glass. It comes with a hard case and one lens, with additional lenses available separately. No prices have yet been revealed. Aputure has also updated its Sidus Link Pro 2.3 app, bringing new tools to iPad-based lighting control led by its 3D Visualizer, which lets users build scenes, place fixtures and preview lighting. aputure.com Aputure boosts output and control
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agenda | Bulletin
New indie cine glass Six incredible optics from independent brands all bring something new
f you want to get some truly unique lenses, then it’s the smaller independent brands that are coming through. By focusing on ultra fast primes, superwide zooms and even macro lenses, there is a huge and
growing choice. Here’s some of the latest classy glass.
Laowa powers perfect parfocals
Laowa’s new Axon series features the world’s first parfocal zoom super macro lenses. The 45mm f/2.8 Ultra Macro 1-5x APO and 17.5mm f/1.7 5-10x Ultra Macro APO are a mechanical breakthrough by maintaining a fixed working distance across the entire zoom range. This eliminates the need to physically reposition the camera when shifting magnification. By maintaining a constant gap between the lens and the subject, filmmakers can now zoom right through the range without the risk of casting shadows on subjects. Prices not yet released. venuslens.net
One L of a wide zoom
Samyang continues to build momentum in the L-Mount Alliance with the launch of its AF 14-24mm f/2.8 FE, developed in collaboration with Schneider-Kreuznach. Despite its fast constant f/2.8 aperture, the £1050 lens is just 89mm/3.5in long and 445g/0.98lb. An 18cm/7.1in minimum focusing distance allows for dramatic close-ups, while a standout feature is the 77mm front filter thread – rare on ultra wide zooms. lksamyang.com
Viltrox EVO-lution
Viltrox has expanded its EVO lens line with two full-frame primes, the AF 35mm f/1.8 and AF 55mm f/1.8 for Sony FE and Nikon Z mounts, designed with video-friendly handling. Both lenses use advanced 13-element optical designs featuring ED, HR and aspherical elements, but the headline feature is their new APO (apochromatic) correction. Traditionally reserved for premium optics, APO design dramatically reduces chromatic aberration and colour fringing for cleaner edges, more natural focus fall-off and sharper contrast. Both lenses feature autofocus stepping motors for quiet focusing, de-clickable aperture rings for video, weather sealing, USB-C firmware updates and a unified 58mm filter thread. The 35mm is £385/$395 and it’s £359/$370 for the 55mm. viltrox.com
Cash off the speediest prime
If you must own the fastest lens in the world, there’s good news, as the Experimental Optics 50mm f/0.75 is now at 20% off to celebrate ten years since its release. The lens now costs £2000, is available in M39 and Leica M-Mount and is best suited for use on mirrorless cameras with a helicoid adapter. The brand also makes an ultra thin 35mm f/2.7 full-frame pancake lens in the same mounts. The price has not been revealed. facebook.com/experimentaloptics
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Rode | advertisement feature
Sync and switch to video
Thanks to Rodecaster Sync, users of Rode’s popular audio consoles can add a Rodecaster Video Core and get a full multicam video workflow F or thousands of creators, the Rodecaster Pro II and Rodecaster Duo have become the centrepiece of their podcasting set-up as they provide professional-level audio mixing, recording, processing and control all in a simple and creator-friendly package. But as podcasting evolves into a video-first medium, many creators are keen to add professional video without rebuilding their studio or workflow from the ground up. Luckily, there’s an answer: deploying Rodecaster Sync software and a Rodecaster Video Core unit. Connect the Core to an existing Rodecaster Pro II or Duo with a single USB-C cable. Then, with just a push of a button, Rodecaster Sync transforms your audio-only set-up into a complete audio and video production studio. Instead of learning a whole new workflow, you can keep using the controls you already know while gaining professional video switching, recording and streaming capabilities. One unified control surface The clever part of Sync isn’t simply connecting two devices. It’s that the Rodecaster Pro II or Duo become the control centre for the entire production. The physical faders, mute buttons, Smart pads and touchscreen interface can now all be used to manage not only audio but also video functions across both units. And every input and output from both devices becomes available in a shared production environment, giving more I ∕ O options than ever before. In Sync mode, the two devices share a single nine-channel mixer that can be compiled from any input on either device. If you need additional microphone inputs, they are there. Triggering scene changes from Smart pads is no problem and there is no need for additional routing options on complex productions. All files are
Perfect podcasting The Rodecaster Video Core plugs into a Rodecaster Pro II or Duo console to create a powerful audio and video hub
USB-C connectivity further expands flexibility, supporting webcams, capture cards, Rode USB microphones and the vital connection to Rodecaster audio devices. Support for NDI networking takes things further still. Connected to a local network, the Video Core can send and receive NDI video streams. Using the free Rode Capture app, even an iPhone can become a wireless camera source, with both front and rear cameras available as independent feeds. Endless possibilities in your studio When Sync is activated, both devices share a unified nine-channel mixer that can combine inputs from across the entire system. Cameras, microphones, graphics, recordings and live streams can all be managed from a single ecosystem. For those invested in the Rodecaster platform, that’s the real story. The Video Core isn’t just another production device, it’s the upgrade that turns your audio podcast studio into a complete video broadcasting powerhouse.
recorded to the Rodecaster Video Core’s attached external hard drive, allowing you to access your video and audio in a single location – all made possible by Sync. For existing Rodecaster users, it feels less like expanding the system and more like unlocking capabilities that were already waiting inside the system. The engine behind the upgrade The Rodecaster Video Core provides the video production muscle that makes the workflow possible. Three HDMI inputs allow cameras, laptops and video sources to be connected, while a dedicated HDMI output provides monitoring. Users can build multicamera productions, switch between angles and create custom scenes containing graphics, media and overlays.
rode.com
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agenda | TIPA Awards
Global awards highlight the equipment that excels for hybrid shooters and video creators Top kit that delivers
ith more camera kit than ever promising cutting-edge features for video, separating innovation from marketing
video performance has now become across the industry. From flagship mirrorless bodies offering 8K recording, advanced codecs and improved heat management, to more accessible hybrid cameras delivering pro- level video features at lower price points, the winners reflect a clear shift. Video is no longer a bolt-on extra – it’s central to how modern cameras are designed. Autofocus systems optimised for video, better stabilisation, Log profiles and streamlined workflows all play a part.
These are tools built not just to capture footage but to fit seamlessly into fast- moving production environments. Big names like Canon, Sony, Nikon, Panasonic and Fujifilm continue to lead, but what matters most is how these cameras perform in the real world. With a total of 40 categories, you can read all about them on the Pro Moviemaker website or at tipa.com . Here, we highlight our choice of the winners – and the judges explain why they earned their place at the top.
noise is not easy. The TIPA World Awards offer a clearer picture – especially for filmmakers and hybrid shooters. Judged by an international panel of experienced editors, including Pro Moviemaker , the awards are based on hands-on testing and real-world use, not spec-sheet hype. And this year’s results underline just how important
Best full-frame expert camera Sony Alpha 7 V
What the judges said: “The Nikon ZR sets high standards with its innovation, reliability and performance in professional video production. It represents a big advancement in imaging technology, delivering exceptional 6K video resolution, 15+ stops of dynamic range in video and versatility for filmmakers and content creators. Its design, robust engineering and integration of advanced features empower users to capture cinematic footage with precision and confidence. The ZR sets a new benchmark for video camera performance.” Best advanced compact cinema camera Nikon ZR
What the judges said: “The Sony Alpha 7 V marks a redefinition of mirrorless camera excellence and capabilities. It offers class-leading autofocus driven by AI subject recognition, exceptional full-frame image quality and robust video performance in a compact, weather-sealed body. Video production is enhanced by refined codecs and advanced colour science, plus thermal management. With responsive handling, great reliability and seamless hybrid capability, the A7 V allows creators to work faster, smarter and with confidence in all genres.”
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TIPA Awards | agenda
Tamron 35-100mm f/2.8 Di III VXD
Our pick of the rest
Best full-frame superzoom lens Sigma 20-200mm f/3.5-6.3 DG Contemporary Best full-frame standard zoom lens Nikon Nikkor Z 24-70mm f/2.8 S II Best full-frame travel lens Tamron 35-100mm f/2.8 Di III VXD Best full-frame telephoto zoom lens Sony FE 50-150mm f/2 GM
Best content creator camera Canon Powershot V1 Best APS-C camera Fujifilm X-E5 Best full-frame advanced camera Nikon Z 5II Best full-frame expert camera Sony Alpha 7 V Best professional fixed-lens camera Sony RX1R III
Best professional cinema camera Fujifilm GFX Eterna 55
What the judges said: “This medium format cinema camera is designed to offer exceptional image quality. Built around Fujifilm’s large format sensor and colour science, it produces rich tonal gradation and dynamic range suitable for theatrical release and streaming content. The camera supports high-resolution recording, advanced codecs and flexible frame rates, giving cinematographers creative control. By combining medium format imaging with modern cinema workflow tools, the GFX Eterna 55 is a powerful platform for next-generation cinematic storytelling.”
Best macro lens Sony FE 100mm f/2.8 Macro GM OSS
Best APS-C compact camera Ricoh GR IV Best speciality lens Canon RF 7-14mm f/2.8-3.5L Fisheye STM Best full-frame telephoto prime lens Sigma 200mm f/2 DG OS Sports Best full-frame wide-angle zoom lens Tamron 16-30mm f/2.8 Di III VXD G2 Best full-frame wide-angle prime lens Sigma 35mm f/1.2 DG II Art
Best ultra macro lens Laowa Axon 1-5X & 5-10X Ultra Macro APO Best tilt-shift lens TTArtisan Tilt-Shift 17mm f/4.0 ASPH
Best action cam Insta360 Go Ultra
Best tripod Manfrotto One Photo
Best professional photo/ video monitor BenQ PD2770U Pro Monitor
Best hybrid full-frame camera What the judges said: Canon EOS R6 III
“The Canon EOS R6 III joins the new breed of hybrid cameras that offer both high-end stills and video recording. This full- frame camera sports impressive recording features thanks to its 32.5-megapixel semi-stacked sensor that can handle up to 7K/60p open gate video and up to 40fps stills, along with up to 8.5 stops of image stabilisation, an added advantage in both low-light and fast- action imagery. Given these robust specs and its revised handling and design, the Mark III has high appeal.”
Sigma 200mm f/2 DG OS Sports
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advertisement feature | Samsung
Storage under pressure
From live streams and social reels to multicam edits, fast delivery of content is crucial, and the Samsung Portable SSD T7 Shield is up to speed
Drive to survive The reliable Samsung Portable SSD T7 Shield comes in blue, beige and black with sizes from 1TB to 2TB, with a black 4TB version available too
F or modern filmmakers and content creators, the pressure doesn’t stop when filming ends. In many ways that’s when the real work begins, as today’s productions demand more than capturing great footage. Clients expect social clips almost instantly and live streams need to run without interruption. Highlight edits often have to be delivered rapidly when the event is barely over. And while all this is happening, creators are juggling huge amounts of footage from multiple cameras, all while trying not to lose a single file. That was the challenge facing producer Chris Elliott and his team during a major telecoms company event at Silverstone. The famous British Grand Prix venue was chosen to reflect the client’s focus on tech, speed and innovation. But for the crew,
this created a workflow challenge every bit as fast-paced as the racing itself. That’s where the Samsung Portable SSD T7 Shield became a key part of the workflow. No slowing down The event included a conference with guest speakers, a bustling trade show, Formula One simulators, showcase cars and passenger laps around the track in supercars. Elliott’s team had to shoot stills, capture video for social media reels, livestream presentations and produce a polished highlights package afterwards – and everything had to move quickly. “This was one of those jobs where production never really stops,” says Elliott. “You’re shooting, backing up, editing and delivering all at the same
time.” With a mixture of SDI-equipped camcorders, mirrorless and action cams gathering footage on the day, managing data efficiently became key. Any delays in transferring footage could lead to a bottleneck that slowed everything down. Rather than simply acting as a backup, the Samsung Portable SSD T7 Shield effectively became a mobile production hub on location. Footage from multiple cameras could be offloaded, reviewed and organised while the event was still on. Supporting USB 3.2 Gen 2, the portable drive offers sequential read speeds of up to 1050MB/s and write speeds up to 1000MB/s. In real-world use, that meant full camera cards could be dumped in minutes rather than holding up production while waiting for transfers to finish. For
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Samsung | advertisement feature
Read speed: Up to 1050MB/s Write speed: Up to 1000MB/s
Connectivity: USB 3.2 Gen 2 Durability:
IP65 rated (dust/water); shock resistant up to 3m Weight: 98g Dimensions: 88x59x13mm Capacities: 1TB, 2TB (blue, beige, black); 4TB (black only) Security: AES 256-bit hardware encryption, password protection via Samsung Magician Compatibility: Windows, MacOS, Android, SSD-enabled cameras Cables included: USB-C to C, USB-C to A
creators handling multiple deliverables under pressure, that kind of workflow advantage quickly becomes invaluable. Keep up with change Modern productions also generate far more data than they did a few years ago. Events often involve long-form coverage, vertical social content, behind-the- scenes clips, livestream assets and high- resolution photography all being captured simultaneously. Storage is no longer simply about archiving files safely but has become active production infrastructure. The Samsung Portable SSD T7 Shield’s compact design also makes it practical for a constantly moving crew. At just 98g and measuring 88mm long, 59mm wide and 13mm thick, it slips easily into a pocket or kitbag without adding bulk. And as it comes in sizes up to 4TB, it’s big enough for the most demanding jobs. Despite its size, it’s built for demanding real-world use, as productions are rarely clean studio environments. Gear is thrown into bags, knocked around in media rooms and exposed to unpredictable weather. With its IP65 water and dust resistance rating, shock resistance from drops up to three metres and a rugged elastomer exterior for extra protection, the Samsung Portable SSD T7 Shield is built to survive the kind of circumstances working productions regularly encounter. That combination of portability and ruggedness proved valuable at Silverstone, where the crew was constantly moving between indoor conference spaces, busy trade show areas and outdoor filming locations. For Elliott’s team, the result was a workflow that stayed fast, flexible and dependable throughout the event, all thanks to the staying power of the Samsung Portable SSD T7 Shield.
Micro SD is a mini marvel
When cameras shrink, they need small cards but can’t cut back on the level of storage. So when Elliott decided to use a gimbal camera that shoots up to 4K in 120fps for some quick-and-dirty video clips, the Samsung PRO Plus micro SD was the obvious choice. With a huge 1TB capacity, it fits right into the camera. And with a read speed of 180MB/s and write speed of 130MB/s, V30 rated for 4K capture, this proved perfect for storing lots of video and stills files. And as it comes with an SD adapter, the card was quickly removed and fitted into a standard card reader to back up all the files to the T7 Shield via Elliott’s computer.
Formula fun For coverage of a trade show and conference at Silverstone, the Samsung Portable SSD T7 Shield never missed a beat
samsung.com/uk/memory-storage/ all-memory-storage
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promoviemaker.net
worklife youtube special
the strategist
The relationship economy How Jordan Schwarzenberger believes creators must rethink YouTube, audience building and authenticity in an era of endless content
ordan Schwarzenberger is one of the UK’s most influential voices in the creator economy. He’s CEO and co- founder of Arcade, the management and
are still important, but on their own they are no longer enough to maintain attention. “A lot of creators are still living in 2016 to 2020,” he says. “They might only be doing one video a month, maybe that’s all they can produce, but that’s not enough any more. That long video alone is never going to take up enough share. People will forget.” Instead, Schwarzenberger believes creators must think more broadly – about building an ecosystem around their videos. “How can you build a world around your content?” he asks. “Your distribution strategy has to be multi-format and multi-platform.” That means clips, shorts, TikToks, podcasts, live streams, community posts and social media touchpoints all working together to keep creators visible in an increasingly crowded digital landscape. The streamers dominating younger audiences already understand this. Some spend extraordinary amounts purely on distribution. “Some of them are spending $100,000 or $150,000 a month on clips,” he says. “Because they know the streams are only going to be watched by a fraction of the people who see them every week.” The rise of TikTok accelerated this shift dramatically. Schwarzenberger describes it as the moment culture moved from being curated to personalised. “You went from editorial platforms distributing content to individual pieces of content finding audiences,” he says. “The individual piece of content is now what reaches people.” For creators, that means every upload effectively starts from zero. Followers help, but they no longer guarantee reach. Instead, creators constantly battle for attention inside algorithmic feeds built entirely around audience interest.
ventures company behind Europe’s biggest YouTube group the Sidemen, who have well over 100 million subscribers between them. He was chief creative officer at popular culture thought-leader YMU at just 20 years old. He’s the host of creator economy show Think Like A Creator, a Forbes 30 Under 30 presenter and a member of 10 Downing Street’s SME Council. And he’s still only 29. Changing careers after working at Vice and Ladbible, he is now focused on everything from attention spans and algorithms to AI fatigue and the future of authenticity. And he says modern creators are no longer competing with other channels but with every piece of content on the internet. “There was a time when uploading one polished YouTube video every few weeks was enough. Build an audience, gather subscribers and wait for the algorithm to do the rest. That world is gone,” he says. “You’re now competing with people’s interests rather than the creators they follow.” Behind the curtain Schwarzenberger’s mission is to help creators understand the modern attention economy and why audience behaviour has fundamentally changed. “Ten years ago, we maybe watched 100 things a week,” he explains. “Now, it’s probably 1000 pieces of content a week, or things in culture that you’re engaging with.” That explosion in content consumption changes everything for creators. Long-form YouTube videos
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July/August 2026
Jordan Schwarzenberger | case study
Game of phones From video watched on smart devices to laptops, long form or shorts, Jordan Schwarzenberger is the man in the know
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promoviemaker.net
case study | Jordan Schwarzenberger
broadcasters assume that success on YouTube can simply be manufactured with production budgets and TV thinking. “TV came from a captive audience,” he says. “You’d put content out and people would find it. That’s not how this works.” He sees YouTube as fundamentally different from traditional media because audiences expect a two-way relationship rather than a one-way broadcast. “Media 1.0 was one-way,” he says. “Media 2.0 is relationship-driven.” That explains why many brand deals still feel awkward online. Schwarzenberger has spent a number of years balancing the tension between editorial integrity and commercial partnerships, first in publishing and now in creator culture. “The most effective partnerships come from finding the sweet spot between what’s best for the audience and what’s best for the brand,” he says. Too often, brands still approach creators with outdated expectations. “Some briefs are terrible,” he laughs. “You instantly know it’s not going to work. Viewers can sense inauthenticity, especially younger audiences raised on Viewers can sense inauthenticity, especially younger audiences
While that sounds exhausting, Schwarzenberger believes it also creates opportunity. “YouTube is a relationship with your audience,” he continues. “That should be obvious, but people still miss it.” That relationship-first thinking sits at the centre of everything he and Arcade build around the Sidemen. The group’s enormous scale did not happen overnight. “They’ve served their audience for years for free,” he says. “There have been Sidemen Sundays since 2018 and they’ve barely missed one.” Consistency matters more than people realise. “The wealth creators have is a product of the relationship they’ve nurtured over time,” he says. “You become a business after that relationship exists. Not before.” The sweet spot That’s one reason Schwarzenberger becomes frustrated when traditional
creator-led media. And British creators especially hate selling things,” he says. “There isn’t naturally that expectation from audiences.” That means creators increasingly need to think like media companies – protecting audience trust while still building sustainable businesses. “My role is to find the sweet spot,” he says. “The creator understands the commercial goal and the brand needs something out of it. But you have to respect the audience.” Ten years in the making For newer creators, Schwarzenberger believes the biggest mistake is viewing YouTube as a money-making opportunity. “YouTube is a ten-year journey,” he says. “Everyone I know who has done really well has probably been doing it for around a decade.” He points to MrBeast, who made hundreds of videos before anything meaningful happened. “I think it was like 450 videos before it started working,” he says. “The creators who survive long enough to succeed are usually driven by
Jordan’s rules for winning at YouTube
Think multi-platform, not single uploads Build relationships before businesses Consistency beats occasional perfection Passion survives burnout Followers matter less than audience interest AI makes authenticity more valuable Start now, improve later
From all angles For podcasts, face- to-face interviews should be part of a strategy to grow both your audience and influence
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case study | Jordan Schwarzenberger
Side project The Sidemen has
become an internet phenomenon, with regular output across lots of channels
Consistency Sidemen Sundays have run for years with almost no missed uploads Multiple channels Main channel, second channels, clips and spin-offs create constant visibility Audience-first thinking Years of free entertainment built trust before major business expansion Community The audience feels part of the journey rather than simply viewers How the Sidemen stay front and centre “Personality and talent rise to the top,” he says. “That’s why I think this could become the golden age for creators.” For YouTubers who are navigating a constantly evolving creator landscape, Schwarzenberger’s message is at once brutally realistic, though also strangely optimistic. Success takes years, attention is fragmented and audiences are harder to hold than ever before. But at the same time, the barriers to entry have never been lower. “No one has an excuse not to start,” he concludes. And ultimately, that’s still what matters most. Not perfection, gear or algorithms – but relationships.
something deeper than money. You have to love it,” he says. “If you’re not doing it because you love it, you’ll burn out.” That passion-first mentality explains why so many successful creators are obsessive about niche interests or unusual subjects. “A lot of YouTubers are nerds,” he says. “They’re passionate about something and want to share it with the world. They don’t really care about the size of the audience and making money. That passion shines through and works.” Back to basics Sometimes, the simplest formats still work best. Schwarzenberger points to surprisingly low-budget examples where consistency and authenticity outperform expensive production. One unlikely case study is former politician Jacob Rees-Mogg. Although the production value is minimal, his voice and regularity of uploads created an audience. “He’s literally filming on his phone in his garden,” Schwarzenberger says. “No editing, just one take. But it’s consistent. It cost basically nothing. That shows there’s no excuse not to start.” It’s a refreshing concept: that the idea and connection are what stands out in
a creator landscape where production expectations can often feel overwhelming. High-end YouTube now includes cinema cameras, massive crews, LED stages and six-figure budgets. But Schwarzenberger insists creators should focus first on consistency, not polish. “Start and get going,” he says. “Learn what works.” He also believes audiences may start to move away from content that is overly polished. “Everyone’s burnt out by trash,” he says. “There is a pushback against oversaturation.” That backlash could create a huge opportunity for personality-led creators and filmmakers with authentic voices. “People are going back to analogue,” he says. “They’re getting rid of Apple Watches and wearing Casios.” To Schwarzenberger, that same shift is happening in content. As AI-generated material floods the internet, genuine personality may become more valuable than ever. “DIY creators are going to become more and more attractive as people get sick of hyper-polished AI.” Ironically, the future of content creation may be more human, not less. While AI is dominating the industry conversation, Schwarzenberger is far more interested in creators themselves.
Schwarzenberger insists creators should focus first on consistency, not polish
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worklife youtube special
the creator Building more than views Jessica Dante’s divine content proves longer videos, email lists and authentic storytelling matter more than ever
or years, many creators have simply chased views on their YouTube channels. Shorter videos, faster pacing,
Crucially, New York-born Dante says the focus shifted from maximising clicks to maximising value. “We create content for people who are coming to visit London,” she explains. “So we’re making very chunky videos – full videos that give a lot of information.” Those videos are not quick-hit social clips designed purely for reach. Instead, they are practical, detailed guides packed with useful advice. “Here are the top 25 things to see when you come to London. Here are the best experiences,” she says. “It’s a ton of value.” That usefulness creates something far more important than temporary spikes in traffic: real loyalty. The approach also reflects how YouTube itself has evolved. When Dante first started creating videos around ten years ago, short, punchy uploads dominated the platform.
“I was doing five-minute or eight- minute videos,” she says. “That worked really well. Today, the platform rewards something very different. The main game now is increasing watch time overall. We’re doing 20- to 30-minute videos every one to two weeks.” These longer edits are far more likely to be showcased on YouTube’s homepage and browse feeds rather than relying purely on search traffic. For creators, that changes production strategy and mindset. Longer videos need clearer structure, stronger storytelling and enough audience connection to keep viewers engaged for significant periods of time. A realistic plan Dante believes creators often overlook the most important question before starting any channel. “Can you realistically make this format for the next 52 weeks?” she asks, saying that it might sound simple, but she sees many creators build formats around ideas that are impossible to sustain. The answer will often come down to the practicalities of production. A simple educational format filmed at a desk might be sustainable for years; constant travel- heavy shoots in multiple countries may quickly become financially impossible. “You have to think about cost efficiency and your time,” she says. This practical business mindset shows that modern content creation is no longer simply about creativity but sustainability – and we’ve all heard horror stories of social media platforms suddenly cancelling channels. Dante believes too many creators still build their businesses around platforms they do not control. “One thing I wish I had done earlier was build an email list from the beginning,”
viral hooks and endless optimisation are designed to grab attention for just a few fleeting seconds before the algorithm moves on to the next thing. But according to Jessica Dante, founder of the hugely successful Love and London YouTube channel, the creator game has changed on a fundamental level. Views are important, she says. “However, to build a loyal audience, you have to be giving them something.” That mindset helped transform Love and London from a niche travel channel into a creator business with more than 50 million views, a thriving email audience and burgeoning digital products built around helping tourists navigate the city.
Layers of success The YouTube channel is key, but only one part of a complete money-making plan
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July/August 2026
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