Welcome to the latest issue of Pro Moviemaker magazine In the run up to Europe’s biggest show for filmmaking hardware and software, it’s no surprise Pro Moviemaker magazine is packed with new cameras, lenses, lighting audio kit and more. Canon reveals two brand new mirrorless cameras in the shape of the new flagship EOS R1 and the more filmmaking-biased R5 Mark II, while Sony upgrades its vlogger cam ZV-E10 II. We get our hands on the Sony Z200 camcorder that’s made for live streaming, and the super-compact Panasonic Lumix S9. And there’s new audio kit from Diety, Shure and Rode plus lighting latest from Nanlite, Aputure, Amaran and Godox. The issue is rammed with all the latest equipment, plus tests of kit and the latest in our Gear of the Year Awards. All in Pro Moviemaker, out now.
TRUE RADIO FREEDOM The latest and greatest wireless audio systems
Cool-running LED lights to use in your shots PRACTICALLY PERFECT
Our Gear of the Year Awards are hotting up LAST CHANCE TO VOTE!
SEPTEMBER/OCTOBER 2024 www.promoviemaker.net
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IBC SPECIAL
THE SHOW-STOPPING HARDWARE COMING YOUR WAY
The compact Lumix with a dedicated LUT button is all about choosing colour WE CARE A LUT! PANA VISION
Atomos Shinobi monitor Marshall PTZ camera Wireless video transmitters from DJI and Hollyland Sony vlogging favourite
Rated this issue: Sigma’s super-bright zoom, Blackmagic editing panel, Zoom’s Essential recorders, Rode audio latest TRIED AND TESTED HANDS-ON
The ultimate magazine for next generation filmmakers
Editor in chief Adam Duckworth Chief sub editor Matthew Winney Sub editors Jim Blackstock, Minhaj Zia Editorial director Roger Payne EDITORIAL ADVERTISING Sales director Sam Scott-Smith +44 (0)1223 499457 samscott-smith@bright.uk.com Sales manager Gabrielle Pitts +44 (0)1223 492244 gabriellepitts@bright.uk.com DESIGN Design director Andy Jennings
Magazine design manager Lucy Woolcomb Junior designer Hedzlynn Kamaruzzaman Junior designer and ad production Holly May PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:
In these times of ever-tightening budgets, the temptation is to save money whenever possible. For example, when it comes to memory cards, it can be tempting to go for a no- name brand – they look like the real deal and claim a great spec at a very low price after all. That’s what suckered me into buying a little-known Type A CFexpress card. Proven brands like Sony, Angelbird, Lexar, Delkin and more now make the once- elusive Type A cards which fit in many of Sony’s newest cameras. That has attracted several no-name brands to flog cards at such ridiculously knock-down prices, it seems too good to be true. And it is. I was tempted to buy one of these via a certain massive international online seller, saving a seriously large £700/$895 compared to Sony’s own card. I tested it before using it on a real job. But when it really counted and I managed to grab a quick interview with an important person, it went wrong. Five files were all inexplicably missing from the card. The camera identified the glitch and had switched to the second card, yet that key interview and B roll was missing. Disaster. Yes, I know I should have recorded a backup copy to card B, but with the price of cards so high I didn’t have the capacity. I then spent two days net surfing for solutions, buying and trying all sorts of rescue software. No luck. I contacted the card manufacturer in China, which said it didn’t have rescue software but if I sent it back they would try to rescue the precious files. By then, my deadline would have been long gone. They did offer me discount on a replacement card, though. I declined. I eventually gave up, returned it to the vendor claiming it was faulty and was offered a seemingly non-negotiable refund of 26% less than I paid for it. The reason? It was now available cheaper – although not by 26%. Customer reviews have been disabled on that product, too, so I couldn’t get the word out. So that’s several days of my life wasted, my footage lost, I’m down in cash for rescue software and have only the partial refund. Lesson learnt. Episodes like these are what make our Gear of the Year Awards so important, as the winners are voted for by working filmmakers with real-world experience. There is certainly no room for the maker of my dodgy card in the shortlist. Only the best kit wins a place in these prestigious awards. So please vote for the kit you trust to let the world know what’s top-notch and worthy of professional use. You’re doing yourself and fellow image makers a real service.
Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ
Pro Moviemaker is published bimonthly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. ISSN number: 2045-3892. Pro Moviemaker is a registered trademark of Bright Publishing Ltd. The advertisements published in Pro Moviemaker that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. Prices quoted are street prices. In sterling they include VAT (unless otherwise stated), but US dollar prices are without local sales taxes. Prices are where available or converted using the exchange rate on the day the magazine went to press.
ADAM DUCKWORTH, EDITOR IN CHIEF
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The ultimate magazine for next generation filmmakers
SEPTEMBER/OCTOBER 2024 CONTENTS
AGENDA 6 CANON’S NEW EOS R FLAGSHIP
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Canon has finally revealed its first genuine pro-level mirrorless cameras: the EOS R1, along with a new EOS R5 Mark II, which might be a better fit for the majority of professional filmmakers. 8 WIRELESS WONDERS The market for wireless video transmitters grows with not one but two brand-new offerings – both from China. DJI shows its low-latency Transmission system, while Hollyland has its latest Pyro tech kit. 1O SONY’S VLOGGING CAM REDUX The popular ZV-E10 mirrorless camera beloved by vloggers gets a makeover in the latest Mark II version. Plus, Atomos announced its new Shinobi II monitor that’s brighter and offers full camera control. 12 DEITY CALLS SHOTGUN Two XLR shotgun mics are revealed by fast-growing audio name Deity. Tamron teases its superzoom lens, Avid improves its software and Marshall amps up its PTZ camera range. 14 THANK GODOX FOR BRINGING THE LIGHT If you want a lot of lighting power, Godox has the solution with a collection of LED fixtures targeting the broadcast market. Also, Benro shows its latest traditional-style video tripod kits. 16 A FANCY TOP FOR YOUR APPLE BOX Your on-set apple box is naked unless you splash out on a nifty cover that turns it into a comfy seat. Blackmagic brings out more tricks for its camera smartphone app and Evoke spotlights get a new projector accessory.
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19 NANLUX’S ENORMOUS COB LIGHT Nanlux sets a new standard for LED lights with its 5000B Evoke bicolour fixture. Additionally, Aputure boosts its CRMX remote control lighting system with the Sidus Four transmitter node. 20 MEET OUR FILMMAKER OF THE YEAR Jonny Lewis scooped the prestigious title in our annual filmmaking competition. Get to know more about the man himself – and what makes his work so compelling – as he finally gets his hands on the Pro Moviemaker contest winner’s trophy.
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PREVIEW 22 GOING DUTCH AT IBC SHOW
It’s Europe’s biggest and most renowned show for filmmaking professionals. Join us as we explore the highlights of the IBC Show at Amsterdam’s RAI exhibition hall and pick out the incredible kit you need to take a good look at.
AWARDS 30 FINAL CALL FOR GEAR OF THE YEAR!
The Pro Moviemaker Gear of the Year Awards are hotting up as votes come flooding in. Since the winners are determined by readers, make sure your voice is heard by selecting the best hardware, software and services. Get voting now!
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The ultimate magazine for next generation filmmakers
GEAR 44 GO WIRELESS FOR SOUND
A wire-free audio system is a key part of a filmmaker’s arsenal, and the tech is improving all the time. We look at what’s hot, from the latest kit to tried-and-tested brands. 52 GET YOURSELF CONNECTED Sony’s latest pro-level camcorder now has a bigger sensor, AI, a massive zoom range and great AF. We get to grips with the hot Z200 to see if its bigger sensor is better. 58 PANASONIC’S PINT-SIZED POWERHOUSE The Lumix S9 may be compact but has a full-frame sensor and the latest AF. We find out if this is a must-buy, carry- around compact camera that can create filmic results. 60 THE ART AND SCIENCE OF INTERVIEWS If you want to shoot talking head interviews in a modern style, you’ll need certain accessories to make it work. Check out a new down-the-lens option, the Voxbox Air. 62 MINI TESTS: KIT TRIED AND RATED Sigma’s superfast f/1.8 zoom, DJI’s powerful RS 4 Pro gimbal, Zoom’s Essential audio recorders, a Blackmagic editing panel, Rode handheld mic and smartphone rigs. 74 BUYERS’ GUIDE: PRACTICAL LIGHTS These lighting options aren’t for hiding away behind the camera – they’re stylish solutions that look good in your shots. From Amaran to Rotolight, we round up the best.
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NEWS AGENDA Canon raises
its game Two new high-end EOS R models make their debuts to coincide with the Paris Olympics C anon’s traditional plan of launching its flagship models to coincide with the Olympic Games every four years continues with
There is also the option to register specific faces and track and prioritise them consistently over other players. Action priority identifies common action poses in basketball, football and volleyball, identifying and tracking the main subject. Eye control AF now features in the EOS R5 Mark II and is also found in the EOS R1. This is twice as good as the EOS R3 in both models and includes a higher-pixel-count sensor, larger eye detection area and an updated detection algorithm allowing an instinctive way to select a subject to track in a complex scene. Each camera offers new sensors, resulting in faster shooting speeds and sensor readout with a 40% reduction of rolling shutter in the EOS R1 compared to the EOS R3. Canon claims that this puts it on the same level as the mechanical shutter in the EOS-1D X Mark III. There is a claimed 60% reduction in rolling shutter on the EOS R5 Mark II. A new pre-continuous stills shooting function offers up to 20 frames on the EOS R1 and 15 frames on the EOS R5 Mark II. These will come in HEIF/JPEG or Raw format at any frame rate before the shutter is pressed. Since they have stacked sensors, both cameras feature blackout-free viewfinders, with the EOS
the 24-megapixel EOS R1 pro camera. It’s also joined by a higher-resolution EOS R5 Mark II that now features a stacked 45-megapixel sensor for speed, as well as 8K movie performance. The £6999/$6299 EOS R1 is Canon’s first-ever 1-series mirrorless flagship, heralding the official end of the EOS 1 SLR range. This came out in 1989 as a film camera, then went digital with the EOS-1D in 2001. Both new cameras have what Canon calls the Accelerated Capture platform, comprising a new processor – the Digic Accelerator – and the high-performance Digic X image processor and new high- speed image sensors. The Digic Accelerator is made to support the large volume of data as well as deep-learning AI technologies. It has been built to improve autofocus, continuous shooting and image quality. The EOS R1 and £4499/$4299 EOS R5 Mark II feature the latest version of Dual Pixel Intelligent CMOS AF that’s ideal for sport. This includes the ability to track subjects by identifying the face and upper bodies of players and avoiding obstacles.
R1 at 9.44 million dots and the EOS R5 Mark II offering twice the brightness of the EOS R5. Both models are claimed to have improved stills quality with in-camera image upscaling and noise reduction, providing an additional four times resolution or reduced noise in camera when using JPEG or HEIF formats. The pair also boast a claimed 8.5 stops of image stabilisation. Video spec is crucial While Canon’s 1-series of professional DSLR cameras may have always offered excellent video performance, the move to mirrorless sees a further improvement in movie performance demanded by image makers nowadays. The EOS R1 and EOS R5 Mark II each offer video in 12-bit Raw recorded to the memory card internally, as well as Cinema EOS Movie Recording formats such as XF- AVC-S and XF-HEVC-S alongside C-Log2 and 3 with proxy video recording, as well as four-channel audio. The two cameras are even able to record high-resolution stills and Full HD video simultaneously, with the option to record externally via the HDMI Type A ports present on both. This can offer something new and useful to hybrid shooters who want stills as well as video. There is in-body Wi-Fi6E/11ax 6GHz, making the new duo the first EOS series cameras to provide this level of transfer speed. Additionally, the EOS R1 supports 2.5Gbps Ethernet connectivity and dual- threaded FTP in the body, while the EOS R5 Mark II provides 2.5Gbps Ethernet via an optional grip.
BODY CONSCIOUS The EOS R1 has a pro DSLR-style body (left) while the R5 Mark II is smaller and easier to rig (right)
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What’s special on the EOS R1? The EOS R1 has Canon’s most advanced autofocus yet, with a cross-type system. This means it works in tough conditions such as when shooting through a tennis net, picking out smaller subjects and locking on to vertical detail. This latest technology uses a completely new Dual Pixel CMOS AF sensor arrangement in which individual divisions of pixels are rotated by 90° for autofocus tracking sensitivity along both the vertical and horizontal axes. Canon’s new camera offers 40fps stills using the silent electronic shutter with AF tracking and 20 frames of pre- continuous shooting. A relatively modest 24.2-megapixel, back-side illuminated stacked sensor is designed for speed and low noise. Although a 96-megapixel file can be created in camera with deep- learning and image upscaling. Flash sync speed now goes up to 1/400 sec. The EOS R1 offers 6K at 60fps or C4K at 120fps, along with Full HD at 240fps.
“The EOS R1 and EOS R5 Mark II offer video in 12- bit Raw recorded to the memory card internally, as well as Cinema EOS Movie Recording formats”
Additionally, the EOS R5 Mark II offers 8K/60p resolution from the full width of the sensor and 12-bit Raw recording internally, along with 4K video at up to 120p with sound. There is a new £549/$399 Cooling Fan Grip specifically designed to prevent the overheating problems that plagued the original EOS R5. Canon lanched the fan-equipped R5 C, but there is no news as to whether a more video-centric version of the new camera will be launched. The camera uses a higher-performance LP-E6P battery and includes a brighter, fog-resistant viewfinder. The R5 Mark II has features like a waveform monitor, false colour and zebra display.
It features a newly designed weather- resistant body with renewed outer texture and integrated vertical grip. The EVF has an anti-fog design and wide viewfinder eyepiece – and the new two-stage AF-ON button allows the instant activation of two programmable functions. The high-res option The EOS R5 Mark II offers higher- res video in a body more suitable for professional filmmaking as it’s smaller. For stills, the electronic shutter is capable of 30fps with low rolling shutter in the 15-frame, pre-continuous shooting mode. Advanced image upscaling can achieve up to 180-megapixel shots.
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AGENDA
NEWS
HOLLYLAND’S PYRO TECHNICS Hollyland’s most recent wireless video monitoring system melds a transmitter, receiver and seven-inch monitor into one compact, robust device. The Pyro has a range of up to 400m/1300ft with a low latency of only 60ms for a responsive monitoring of video in up to 4K/30p. A complete compact monitoring and transmission device, the Pyro 7 forms part of Hollyland’s new Pyro series, which also includes the SDI- and HDMI-equipped connect one transmitter to four receivers – and customisable shortcut keys provide convenient dual-camera monitoring. The upgraded HollyOS offers improved image analysis capabilities and allows for bulk video file export via SD card. With Hollyland’s Auto Dual-Band Hopping technology, the Pyro system Pyro S and HDMI-only Pyro H. The Pyro 7 can simultaneously operates on both 2.4GHz and 5GHz bands, generating the optimal frequency for an uninterrupted signal. The Pyro H, S and 7 are all compatible with each other, but the H transmitter’s HDMI input and loop out allow a camera to send video to other receivers while monitoring the view from the loop out port to an external screen. The Pyro 7 supports HDMI and SDI input, output and loop out. The Pyro 7 costs $699, while a Pyro Video Transmission and Monitoring Kit is $1299. No UK prices have been announced. hollyland.com
DJI peddles pro video transmitter
software on processor chips handling most of the load, it boasts a minimal latency of just 35ms. The SDR Transmission system supports remote control over the camera, allowing users to display or adjust aperture, shutter, ISO and trigger recording through an app. The receiver can connect to monitors via SDI or HDMI as well as smartphones and tablets via USB-C or Wi-Fi. Using Wi-Fi allows for dual- channel monitoring without need of additional receivers. The system can also transmit metadata. Charging is via USB-C, but it can be powered directly by a DJI RS 4 Pro, DJI RS 4 or DJI RS 3 Pro when mounted and used together, eliminating the need for a separate battery. On their own, the transmitter and receiver use industry-standard NP-F batteries. Each unit weighs 145g/0.31lb and the antenna folds down, so it’s easy to store. dji.com
Days after a shock announcement it was launching into the cycling market with a high-end electric mountain bike – and at a price to undercut its established rivals – DJI revealed a wireless video transmission system that brings elevated specs to a more affordable price point, ideal for indie production companies. The DJI SDR Transmission Combo is designed to bring stable, high-quality video transmission to small sets as it’s portable and costs just £519/$549. It uses DJI’s own technology for long-range transmission of footage in up to 1080/60p up to 20Mbps from up to 3km/1.8 miles away. Called SDR – software-defined radio – the tech employs a tri-band system with automatic frequency- hopping to transmit from the camera to an unlimited number of receivers or mobile devices, even in built-up environments where conventional consumer Wi-Fi could fail. With
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Vlog days aren’t over The new ZV-E10 II is the second generation of Sony’s top-selling ZV-E10 mirrorless that’s beloved by vloggers and YouTubers. It maintains all the features content creators loved about the original, such as Creative Looks, Product Showcase Setting, Background Defocus and the vari- angle screen. New is some of the internal hardware, with an upgraded APS-C 26-megapixel Exmor R CMOS sensor and the Bionz XR image processing engine. Other updates include improved autofocus, a Cinematic Vlog Setting, a new vertical format user interface, upgraded large-capacity battery and improved connectivity for live streaming and data transfer. It is compact and lightweight, weighing 377g/0.83lb. The ZV-E10 II has two key functions designed to produce premium-looking content straight out of camera: Creative Looks and Cinematic Vlog Setting. When shooting videos or stills, the footage can be enhanced by selecting from ten Creative Look options including Vivid, Film, Soft Highkey, Black & White and Sepia. Each can be customised and up to six personal custom styles saved directly to the camera for easy reuse. Cinematic Vlog automatically adjusts aspect ratio, frame rate and AF transition speed to the optimal settings for a more cinematic style. Footage can then be tweaked using looks like S-Cinetone. The ZV-E10 II features 759-point phase detection AF with real-time eye AF for humans, animals and birds. And 5.6K oversampling compresses a vast amount of information into highly detailed 4K footage at up to 60p or 120p in XAVC-S Full HD.
On-screen sliders on the Shinobi II can alter aperture, shutter speed, ISO and white-balance. Monitoring tools include histogram, waveform, false colour, zebra, focus peaking and zoom. The body is 30% thinner than the original and weighs 210g; it also includes locking cable connectors for HDMI and USB ports. The camera can be powered from the Shinobi II with PD in and out. An intuitive touchscreen is 50% brighter than its predecessor and supports 10-bit HDR video and photo monitoring with zero latency. It will cost £354/$349. atomos.com Also new is the Sony E PZ 16-50mm f/3.5-5.6 OSS II lens, a compact APS-C powerzoom available separately or as part of the ZV-E10 II lens kit. The upgraded kit lens offers improved AF compared to the first-gen version. With a range equivalent to 24-75mm on a 35mm full-frame equivalent, it has four aspherical elements and one ED (extra- low dispersion) element. A 25cm/9.8in minimum focusing distance at the wide end means it can get close. The lens retracts to 31.3mm/1.25in, weighs 107g/0.24lb and supports in-body breathing compensation to minimise shifts in angle of view while racking focusing. The Sony ZV-E10 II costs £950/$998, while the E PZ 16-50mm f/3.5-5.6 OSS II is £290/$298. Or save some money and get the body-and-lens kit for £1050/$1098. sony.com
The Atomos Shinobi II is a slim, five- inch, 1500-nit HDR unit which doesn’t record but is a high-quality monitor. It now features a brighter HDR screen and camera control thanks to a USB-C port. The monitor is all-new, designed for modern mirrorless cameras with HDR or SDR video workflows. At launch, the Shinobi II will control most Canon, Panasonic and Sony mirrorless cameras over USB-C, and Z Cam E2 models through a serial cable. Firmware Active Mode electronic image stabilisation uses a precision gyroscope and advanced algorithm to accurately measure and compensate for camera shake, even when shooting 4K. And use of the popular, large-capacity Z battery (NP-FZ100) allows continuous recording for up to 195 minutes per charge. Time-lapse sequences can be created in camera and the exposure interval can be set from 1 to 60 secs. An on-board three-capsule microphone with selectable directivity captures clear and high-quality audio. Users can select Auto or choose from Front, Rear or All Directions for the audio directivity depending on the environment. The camera comes with a windscreen to reduce wind noise when shooting in breezy conditions, and has Sony’s Multi Interface Shoe to enable direct connection to an external microphone.
BRIGHTER SHINOBI IS BACK
updates will add support for Fujifilm, Nikon, OM System and Sigma.
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AGENDA NEWS
Deity’s shotgun approach
on axis for each individual. This makes the 78g S-Mic 3 perfect for reality TV or documentaries. The shorter, lighter S-Mic 3S costs £359/$349 and weighs just 44g. It isn’t as directional so is better for when there’s less off-axis noise, or portability and a smaller rig are bigger issues. With a 130dB SPL rating, both mics ensure recordings remain distortion-free, from quiet dialogue to explosions. Each comes with a foam windshield and mic clip in a wooden box to highlight that they are premium quality. Also launching is the £154/$149 ASM2 Pro Kit, a new shock mount system that’s been designed in a collaboration between Deity and Radius Windshields. This is an all-in-one solution that includes a boom pole mount, handheld grip and lightweight XLR jumper cable compatible with all 19-25mm mics. It is built to deliver isolation from movement, handling noise and other vibrations when booming a mic. Deity is also launching the £179/$185, 2.6m/8.5ft carbon-fibre Boom Pole as well as the W01 and W02 faux fur windshields for the S-Mic 3 and 3S models at £26/$25 each. These are backward compatible with the S-Mic 2 and S-Mic 2S. deitymic.com
Fast-growing pro audio expert Deity has revealed a pair of new high-end, lightweight XLR shotgun mics called the S-Mic 3 and S-Mic 3S that boast broadcast-quality sound. Made using advanced CNC machining technology, each microphone is cut from aircraft- grade aluminium for durability without compromising weight. The two microphones are now up to 70% lighter than the older S-Mic 2 models and made to match their audio performance, minimising off-axis noise even in challenging environments. Very low circuit noise of 12dB-A means they capture every sound with precision. As they are both high-sensitivity mics, less gain is needed so the sound output is clean. With so much radio frequency interference nowadays, the £410/$399 S-Mic 3 is built to resist interference in any environment. A weather-resistant design means both units are capable of operating in up to 95% humidity without compromising sound quality. The S-Mic 3 delivers a smooth tone and minimal off-axis colouration, ideal for dialogue or ambient sounds. This mic has a sweet spot cone of around 45° which allows capture of a conversation between people without being directly
TAMRON LENS ALMOST DOES IT ALL With a massive 10.7x zoom range, Tamron’s new 28-300mm f/4-7.1 Di III VC VXD promises to be a lens that just about does it all when used on Sony E-mount full-frame mirrorless or cinema cameras. Not only that, it’s light at 610g/1.3lb, small at 126mm/5in long and relatively easy on the wallet at £880/$899. Of course, the price you pay for all that is the modest maximum aperture which changes while zooming in, so you won’t be getting wafer-thin depth- of-field. This is where faster lenses or primes come in. As a walkaround lens, it’s got lots of clever features such as Tamron’s VXD (Voice-coil eXtreme-torque Drive) linear motor focusing mechanism, and VC (Vibration Compensation) technology that’s ideal for shooting handheld at 300mm or in low light.
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MARSHALL AMPS UP PTZ RANGE Marshall’s latest PTZ camera can track, follow and frame presenters automatically with AI facial learning. With advanced tracking, it learns the prime subject and won’t lose them USB-C while outputting via SDI and HDMI, making it an ideal solution to stream live to YouTube, Livestream, Facebook or Twitch.
The PTZ features a pan rotation of 170°, tilt of -/+90° as well as variable pan-and-tilt and preset speeds. Set- up and manual control are available via Ethernet Network, RS-232 3-wire and USB-C interfaces. One Ethernet (CAT) cable installation with PoE+ simplifies set-up and operation. Its control interface includes RS- 232, Visca, Pelco, Visca-over-IP and Onvif protocols as well as LAN control. Also included is a handheld IR remote control. marshall-usa.com
when other people enter the shot. The CV612 possesses a 12x optical and 15x digital zoom, offering a 4.1- 49.2mm focal length to give a 6.6- 70.3° field of view. It’s built around a professional-grade, two-megapixel 1/2.8in HD CMOS sensor. Available in black or white, the CV612 has an interface that offers simultaneous 3G-SDI, HDMI, RTSP streaming and USB 3.0 Type C outputs. It can stream HEVC directly from the camera over IP (RTSP) or
AN AVID IMPROVER OF TECH! The latest version of Avid’s video editing software Media Composer includes the new Transcript Tool, enhanced compatibility with audio production software Pro Tools and expanded compatibility with Huddle Avid’s cloud service for real-time collaborative editing. The new Transcript Tool allows Media Composer now supports sub-frame automation for volume and audio pan. Pro Tools can export Media Composer-compatible session files that preserve metadata. Using Avid Huddle, editors can
A minimum focus distance of just 19cm/7.5in gives a magnification ratio of 1:2.8 at the wide end. It also features a Focus Set button and connection port for Tamron Lens Utility software so you can alter settings and update firmware. The lens is moisture-resistant with a protective fluorine coating on the front element, constructed with XLD and LD elements and a nine-bladed aperture. There’s a 67mm front filter thread, focus lock and zoom lock mechanism. tamron.com
stream the output of Media Composer directly to collaborators connected via Teams, allowing for real-time reviews and time-stamped annotations. Time- based text comments can be imported back into Media Composer as markers. avid.com
editors to jump to specific moments in a clip based on spoken phrases, editing directly from selections in the transcript into the timeline.
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AGENDA NEWS
Godox targets broadcasters
Godox Light app, and daisy-chain power configurations. It comes with a fresnel accessory lens, allowing the beam angle to be adjusted from 15-60° for spotlight effects, and the matching, non-reflective barn doors provide further light control. All are part of the Godox Broadcast Lighting Series and deliver 120W or 200W of flicker-free, full-power output. CRI values reach 96+ and TLCI 97/98+. godox.com
metre. They also support daisy-chained power but also have a V-Mount battery option, making them ideal on location. Bi models offer a range of 3200-5600K while D models are 5600K only. The F7-120D/Bi is designed for precise control of lights within a studio or indoor environment and pumps out up to 71,100 lux at one metre. Like the panel lights, it supports multiple wireless control methods such as Bluetooth using the
Powerful lights designed for high-end production or broadcast use have been released by Godox. The new line includes the F7-120D/Bi, a COB fresnel fixture, plus P120D/Bi and P200Bi LED panels. The 24x16in P200Bi is a 180W soft panel light designed for studio use and supports daisy-chained mains power. The 12x16in P120D/Bi models use detachable diffusers to adjust light quality and output up to 4720 lux at one
TRAD STYLE FOR BENRO PAIR Benro’s newest tripod duo are
designed to be portable yet ultra- stable and can handle payloads of 6.8kg/15lb so are ideal for rigged- up mirrorless or compact cinema cameras yet are very affordable. These trad-style tripods use classic twist locks on the legs to get a height range of 75cm/29.5in to 156cm/61.6in for the £180/$160 KH25PC and 87.5cm/34.5in to 184.5cm/72.6in for the £200/$200 KH26PC. The updated quick-release plate features strong spring-loaded locator pins to lock the camera down, while a traditional VHS pin and sliding main
JUPIO ADDS FUJIFILM AND LUMIX SUPPORT The ability to charge three batteries at once has made the Jupio Tri-Charge a popular buy for users of Canon LP-E6, Sony NP- FZ100 and Nikon EN-EL15 batteries. Now the unit is available to charge the popular Fujifilm NP-W235 and Panasonic BLK22 batteries at £130/$130. It not only houses and charges camera batteries, but includes storage for SDHC, micro SDHC and CFexpress cards. Cells are simultaneously charged by the single, included cable with any USB-C Power Delivery (PD) charger. Four orange LEDs indicate the charge status of each battery. And as it’s a USB-C connection, the Jupio Prime Tri-Charge can also be used as a handy power bank. jupio.com
camera thread enable balance adjustments. The new Benro QR15C plate fits both KH25PC and KH26PC heads, as well as Benro S and S Pro heads. The smaller tripod has retractable spiked feet, while the larger sticks have removable, non-slip rubber feet over twin spiked feet. benro.com
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WHAT EVERY STYLISH BOX IS WEARING Is your studio apple box looking a bit too naked? Then here’s the product you never knew you needed – the Apple Box Topper. It’s a cushioned add-on that instantly converts a traditional apple box used as a stool into ‘a superior on-set seat’, claims its manufacturer Matthews, which adds its own-branded webbing and fabrics. Matthews says the Apple Box Topper is the pinnacle of portable pillows, designed to fit over a 12x8in full-sized apple box and adding a four-inch-thick cushion. A fitted skirt keeps the seat in place. It has stain-resistant black Cordura fabric with orange accents, as well as side pockets for the on-set essentials – all this for a trifling $47. No UK price has been set. msegrip.com
Project a brighter image
focus by pushing the lens barrel, the zoom ring design of the Nanlite Projection Attachment offers greater precision. And the 90° rotatable lens barrel adjusts the angle of the beam without the need to move the shutter or gobo. The body is aluminium alloy and nylon, making it strong while keeping the weight under 12kg. The 15° offset design of the yoke allows for a larger downward angle on a light stand while keeping it stable. Each shutter can be adjusted independently and an 18-bladed iris creates a rounded beam. Sliding the built-in rod adjusts the beam size. Four gobos are included, along with a gel frame, and it comes in a fitted flight case. nanlux.com
The Evoke series of Nanlux LED spotlights now has a matching projection attachment that can be used for accurate zooming, focusing, cutting and gobo projection thanks to precision optics. This £1590/$1590 NL Mount Projection Attachment 15-30° produces a powerful, controlled beam with minimum extraneous light leaks when mounted to the Evoke 900C, 1200, 1200B and 2400B COB LEDs. It delivers up to 7.5 times the illuminance compared to the bare light, thanks to the lens’ high- efficiency, aspherical optical design. With a beam angle adjustment from 15° to 30°, this zoom system enables control of the illumination spread without moving the light. Compared to other lenses which
MORE MAGIC FOR CAMERA APP Blackmagic’s free Camera app now has support for remotely controlling and monitoring multiple iPhones at the same same time, enabling you to synchronise so they begin and end recording simultaneously. The update adds support
for Apple silicon-based iPad Pros. There’s now support for capture up to 100fps in HD on the iPhone 15 Pro, and a new option allows selection of multiple clips to copy or delete all at once. blackmagicdesign.com
time. View all cameras in a multi view with a wired or Wi-Fi network, enabling the control of zoom, focus, white- balance, frame rate, shutter angle or lens selection. This can be changed on a single camera or all at the
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AGENDA
NEWS
LIGHT IS RIGHT FOR VOCAS A light base plate designed to fit a huge variety of camera brands and models has been launched by Dutch grip specialist Vocas. The Lightweight Base Plate fits everything from DSLR and mirrorless cameras up to cinema cameras to convert them into shoulder-mounted set-ups ideal for run-and-gun filmmaking. The kit comes with a magnetically onto VCT-14-style quick-release plates. There are lots of 3/8in and 1/4in threaded holes on the bottom of the plate, making it possible to mount to any tripod system – as well as plenty of industry-standard mounting points to allow a range of accessories to be fitted. The height-adjustable 15mm front rails are built to accept most matte boxes, lens motors or follow-focus systems. vocas.com attached shoulder pad in either a soft or regular fit and it can be mounted directly
Aputure’s gone upmarket with the Sidus Four lighting control system that supports transmission of up to eight lighting universes at the same time: four wireless CRMX and four wired DMX – and even more can be added. The £2453/$2490 control unit is hot on the heels of the Sidus One, an entry-level CRMX transmitter with a built-in wireless router to connect DMX, CRMX, sACN, Art-Net and Bluetooth Mesh. And the Sidus Link Pro offers wireless DMX control for the lighting app. The new Sidus Four has a five-inch colour-coded display for an instant view of the entire network’s status, plus system set-up and troubleshooting. It has IP65 dust and water resistance, a range of 800m/2625ft with dual-band antennae, and operates on 2.4GHz for CRMX and 5.8GHz for Wi-Fi to avoid interference issues. Power comes from a V-Mount battery and 80-minute backup unit. The Sidus Four transmitter comes with four male- to-male DMX adapters, five antennae for CRMX and Wi-Fi, a 3/8in baby pin receiver with an anti-twist screw and universal power adapter, all in a case. aputure.com Sidus is Aputure’s missing link
NAN MORE POWERFUL! Nanlux has revealed it is developing the brightest bicolour COB light to rival the large HMIs still used in many high-end productions. The new Evoke 5000B will offer an astonishingly bright 5000W of light with an IP65 rating so it can be used safely in bad weather. It will have a colour temperature range of 2700-6500K, a green-magenta adjustment of +/-80 and will be compatible with the Evoke accessories that currently fit the 2400B light. It’s expected to launch at the start of 2025, but no price has yet been announced. nanlux.com
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PROMOVIEMAKER.NET
AGENDA NEWS
Post production Jonny Lewis gave up his work delivering mail and is now Pro Moviemaker’s Filmmaker of the Year
It’s a contemporary way of reaching a global audience for a gallery that sells contemporary art. But it’s something the owners of the gallery, father Mike and son Jay, have been doing for almost 20 years, building up a unique archive of interviews with artists. Finding a skilled and sympathetic filmmaker to join director Jay, as well as a presenter to head up the filming staff, was where Lewis came in. He’s a perfect fit. It’s a long way from where he started, working as a postman in his native South Wales. “I carried on doing that part- time for a few years while I was taking a documentary film course at Newport University,” he reveals. “I ended up in Swansea making videos for museums and galleries. When I saw this job, it sounded more my thing, doing documentary work. I moved here eight years ago!” As you might expect, lots of artists work in interesting studio spaces. Lewis loves
When asked for advice he would give to emerging professionals, Pro Moviemaker ’s Filmmaker of the Year 2024 Jonny Lewis is clear: “It’s all about learning how to tell stories, much more than the technical side of the camera and sound,” he says. “Keep practising, keep filming and doing your own storytelling. The gear isn’t quite so important since most cameras are amazing now.” What makes Lewis such a successful commercial filmmaker is that he produces sensitive documentary films which are stylish yet natural, and ultimately engage with the audience. He creates intimate portraits of some of the most creative artists on the planet, shot on location in their own studios. It’s very obvious he has a love for people and telling their tales. The films are not obvious sales pitches for the gallery which employs him – the Goldmark Gallery in Uppingham on the edge of Britain’s smallest county, Rutland.
Filmmaker of the Year honours independent filmmaking companies and individuals who show incredible creativity without massive budgets – but with masses of passion. Each January, we launch the contest for long-form or short-form content in commercial categories including promotional films, documentaries, music videos, social media and more. Watch out for it in 2025 – you’ve got to be in it to win it! ARE YOU OUR NEXT WINNER? to film there using the natural light, with help from LED soft panels for talking-head interview pieces. The most important thing is capturing the moment and the stories – and there is no chance for a retake. Lewis’ primary camera is a Sony A7S III used with either a Sony 24-70mm f/2.8 G Master zoom or one of Fujifilm’s MK Series cinema zoom lenses. These were bought for use on the team’s Sony FS7, but that’s been sold to make way for a full-frame FX6. To capture audio, Lewis has a Sennheiser lapel mic and wireless transmission system. On top of the camera sits a shotgun mic, capturing a scratch track or second recording in case of any wireless issues. The camera outputs ProRes to an Atomos Ninja V monitor-recorder and is edited on Mac Studio computers running Final Cut Pro X, DaVinci Resolve and Premiere Pro – depending on who’s doing the editing. But Lewis is not fixated on the kit. “I just like to tell good stories. The art is amazing – and seeing artists do their thing is incredible. I love to tell how these people have struggled and become world famous,” he says.
TROPHY TIME Jonny Lewis is presented with his award by Pro Moviemaker’s Adam Duckworth at the Goldmark Gallery
“What makes Lewis such a successful commercial filmmaker is that he produces sensitive documentary films which are stylish yet natural”
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AGENDA
IBC PREVIEW
THE GREAT EXHIBITION
The massive IBC Show in Amsterdam is more than just a trade show; it’s a festival of inspiration for all filmmakers I f you only attend one show in Europe this year, make it this one. The IBC Show is held at the mammoth RAI in Amsterdam for four days and is not only packed with the latest hardware and software, but is full of inspiration and innovation as well. In addition to the gigantic trade show, there’s a conference that focuses on three major areas: transformative tech, shifting business models and people and purpose. It is packed with industry-leading experts tackling the ever-changing shape of media and entertainment. From capture to streaming and broadcast, there is a lot to inspire anyone in the industry at all levels. And with artificial intelligence continuing to be a hot topic, there is a new AI Tech Zone in Hall 14 where real- world use of AI is brought to life. With awards, film premieres and lots of opportunities for networking, it’s a hub of filmmaking creativity and runs from 13 to 16 September. For the latest innovations in hardware and software, there are more than 1000 exhibitors spread across 13 halls. To help you plan your trip, we’ve taken a look at a selection of the stands from some of the top exhibitors at the show.
Stand 11.B22 APUTURE
As well as its recently announced Sidus Four lighting control unit, Aputure promises to launch at least one new product at IBC and show off its current range of lights. Make sure you check out the LS 1200d Pro 1200W point-source COB, Nova P600c 600W RGBWW soft light panel, the MT Pro and MC Pro and Electro Storm XT26, one of the most powerful COB lights to hit the market: this is a 2600W point-source LED with white CCT and tint control. And the new Electro Storm CS15 is a 1500W full- colour point-source LED fixture. Also check out the RGBWW LED strip Aputure Infinibar and Infinimat.
AMARAN Stand 11.B22
Amaran is the brand for content creators, compared to sister company Aputure which focuses more on professional filmmakers. But these more-affordable lights have lots of the latest tech in an easy-to-use package. Make sure you check out the new Amaran mobile and desktop app for content creators that makes wireless lighting control even more simple, intuitive and powerful. Creators on the move can now access the app via any iOS or Android device, while studio creators can control the Amaran app via MacOS or Windows systems already powering their workflow. It offers intuitive control over Amaran and Aputure devices.
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PRO MOVIEMAKER
IBC PREVIEW
ATOMOS Stand 11.D25
The Atomos stand will not only have a range of monitors but also the new Ninja Phone, which turns an iPhone into a high-end 10-bit HDR recorder, monitor and streamer for pro video cameras or other HDMI-equipped devices. The HDMI to USB-C video converter and co- processor converts the HDMI video signal in real time into 10-bit Apple ProRes, which is passed over USB-C to compatible Apple devices. The ProRes-encoded video can be stored on the iPhone or simultaneously transcoded to 10-bit H.265 for live streaming via the iPhone’s built-in 5G and Wi-Fi 6E connectivity. It clips on to an iPhone 15 Pro and Pro Max.
DEITY MICROPHONES
Stand 8.D85
Deity has a growing range of wired and wireless mics, plus the unique TC-SL1 wireless timecode slate, a Bluetooth-enabled smart slate that wirelessly stays in sync from up to 250ft away. Check out the Theos Digital Wireless Microphone System, which uses a wideband UHF spectrum rather than the common 2.4GHz band. Frequencies range from 550-960MHz and it can change frequency ranges based on location from your smartphone GPS. The newest hardware on show will be two high-end, lightweight XLR shotgun mics; the S-Mic 3 and S-Mic 3S. These are lighter than the older S-Mic 2 models, without giving up audio performance. Very low circuit noise means they capture sound with precision for natural audio. As they both are high-sensitivity mics, less gain is needed so the sound output is very clean.
ASTERA Stand 12.F55
Astera will showcase its extensive range of LED-based lights. Front and centre will be the innovative new Lunabulb, which looks like a conventional light bulb but internally is driven by Astera’s TitanLED engine to provide full-colour light and wireless control. The only LED-based bulb with inbuilt CRMX, the Lunabulb is available with an E26, E27 and B22 fitting and screws directly into a mains bulb socket. The brand will also have its other LED lights such as the Hydrapanels and Pixelbricks on display, as well as COB lights and modifiers for them.
Audio-Technica has been producing high-performance audio technology for over 60 years and is a world leader in top-quality microphones, headphones, wireless systems and mixers. It’s the audio kit used by Dorna Sports for the MotoGP motorcycle racing series with a live TV audience of over 400 million every year, so you know it’s good stuff. Take a look at the Audio- Technica BP4029 mic, used on camera for recording distant sounds thanks to excellent off-axis noise rejection. It excels at picking up natural ambience without colouration or distortion. Stand 8.D46 AUDIO-TECHNICA
The full-frame Ursa Cine 12K and Pyxis 6K will be front and centre of the Blackmagic stand. The Ursa Cine 12K features a new sensor with larger photosites for 16 stops of dynamic range, interchangeable PL, LPL and EF lens mounts, and industry-standard Lemo and Fischer connections. It also incorporates 8TB of built-in storage and high-speed networking for media upload and syncing to Blackmagic Cloud. The affordable Pyxis 6K offers a versatile, box-style design to allow custom builds to make the perfect camera rig. It features a full-frame 6K sensor with a built-in optical low-pass filter. Available in EF, PL or L-Mount, the camera uses CFexpress media and Ethernet for sharing to the Blackmagic Cloud. BLACKMAGIC DESIGN Stands 6.MS5, 7.C49
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AGENDA IBC PREVIEW
CANON Stands 11.C40-41, 10.HR
The 24-megapixel EOS R1 pro camera is joined by the EOS R5 Mark II, which now features a stacked 45-megapixel sensor for speed, not to mention 8K movie performance. Both the new cameras have what Canon calls the Accelerated Capture platform comprising a new processor – the Digic Accelerator – along with the well-known high-performance Digic X image processor and new high-speed image sensors.
One of the giants of filmmaking, Canon will have a huge range of its hardware on display. But the highlights of the stand will be all three new cameras – the C400 cinema camera plus new mirrorless EOS R1 and R5 Mark II. The all-new EOS C400 has a stacked 6K sensor with triple base ISO, RF lens mount and internal 6K/60p Raw shooting as well as 4K/120p in high- quality 4:2:2 10-bit, plus the latest- generation AF.
NANLUX/NANLITE
KENRO Stand 12.H69
Stand 12.F42
The Nanlux and Nanlite brands both boast a large selection of LED lights at great prices. Nanlite’s range includes powerful COB LEDs, tube lights, bulbs and LED panels. At IBC, the next generation of panel lights – the Nanlite Alien 150C and 300C – will be on show. With a futuristic design, the new Aliens are designed to be compact yet sturdy, featuring an advanced colour mixing system, improved low-end dimming, heads with IP55 rating, multiple power options including V-Mount batteries and efficient cooling technology. These lights are versatile tools suitable for ENG, sports, drama, live production and cinematography, providing speedy set-up and reliable performance.
Kenro will be showing a wide range of kit, like its collection of pro tripods and monopods. But it’s likely to be the range of LED lights that gets the most attention. The Smart Lite range includes the latest flagship Bi-Colour Compact LED COB Light, which offers adjustable colour, has a high CRI and flicker-free performance. And take a look at Kenro’s RGB pixel tube lights, available in 1ft, 2ft and 4ft lengths. These feature customisable RGB colours, allowing creation of dynamic lighting effects.
SARAMONIC
Stand 12.A66 HAWK-WOODS
Stand 8.C45
Saramonic is famed for innovative audio kit, but is launching the Wi Talk 9 Series intercom headset system. This uses Saramonic’s Clear Talk noise cancellation and dual antennae to deliver high-quality, full-duplex voice calls over long distances. Supporting multi-person hands- free operation without the need for a hub, the Saramonic Wi Talk 9 offers enhanced flexibility and great value for money, whether you’re filming a blockbuster or covering an event.
Hawk-Woods’ battery technology products are not only reliable and robust, but also user-friendly. The range includes batteries, chargers and power adapters. On the stand will be the Mini X-Boxx Floor Battery, a compact and lightweight battery box. Despite its size, it packs a power capacity of 880Wh. One of the standout features of the Mini X-Boxx is the refined graphic display allowing users to monitor their power usage.
GODOX Stand 12.H38
Look at the TIPA award-winning MG1200Bi, which features full power draw across colour temperatures from 2800-6500K with CRI and TLCI ratings of 96. Control is on-unit via four buttons and a control knob, or wireless via 2.4GHz and a Bluetooth app. A 45° reflector is included, as is an 8m power cable and high-power fan.
Godox is expanding quickly into professional-level continuous lighting and the Knowled series is leading the way. This cinematic lighting ecosystem has all the tools filmmakers need. From powerful COB lights to panel lights, tube lights and even hybrid fixtures that work for stills as well as movies, there is a huge selection.
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