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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