Welcome to the latest issue of Pro Moviemaker magazine Full-frame may give truly amazing results but there’s nothing that can come close to the look, feel and cinematic style from an even larger sensor -m especially coupled with a stunning new cinema lens. That’s what we find out when we finally get to put the Fujifilm GFX Etern 55 to the test, fitted with one of Sigma’s latest Aizu primes. We also go head-to-head with the latest 33-megapixel Canons and a trio of lenses, try DJI’s brand new RS5 gimbal, check out the latest hardware and software and delve into what clients really want in 2026. And we catch up with some of the best entries as the CVP-backed Filmmaker of the Year contest hots up. All this, and more, is in the latest Pro Moviemaker magazine - out now.
FIRST LOOK AT THE STANDOUT ENTRIES The standard is high but there’s still time to enter our new-look talent contest
MARCH/APRIL 2026 www.promoviemaker.net
@ProMoviemaker £5.49
BRIGHT IDEAS
SHINE OF THE TIMES
ALSO IN THIS ISSUE: Your guide to the BSC Expo mega show Software showcase DJI’s RS 5 gimbal Shure audio & more
Our pick of the LEDs flooding the market
FIRST FULL TEST
WHY 55 IS THE NEW 35 AS FUJIFILM’S MIGHTY GFX ETERNA SCALES UP BIG SENSOR ENERGY
BUYERS’ GUIDE
VERTICAL TO VIRTUAL
BRAND BATTLE
The final word on bagfuls of super storage CASE CLOSED!
How clients have changed – and how you can stay ahead of the game 10 KEY TRENDS IN FILMMAKING
EOS R6 III and C50 tried and compared, plus a trio of elite lenses BIG CANON TEST FEST
The ultimate magazine for next generation filmmakers
Editor in chief Adam Duckworth Chief sub editor Matthew Winney Junior sub editors Tabitha John & Kezia Kurtz Editorial director Nicola Foley EDITORIAL ADVERTISING Sales director Sam Scott-Smith +44 (0)7875 711967 samscott-smith@bright.uk.com Sales manager Emma Stevens +44 (0)7376 665779 emmastevens@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 MEDIA SUPPORTERS AND PARTNERS OF:
BIG FUN The Fujifilm GFX Eterna 55 we test in this issue has a large sensor, but is size really important in 2026?
We live in a world where bigger is often assumed to be better. Bigger screens, bigger budgets and bigger specs. And in this issue, as we test Fujifilm’s GFX Eterna 55 with its enormous sensor, it is hard not to be impressed. The look is unmistakable. The images have a depth and clarity that feels different, almost tactile, thanks to that Sony-supplied sensor and the sheer amount of information it captures. The sensor story doesn’t stop there. Sony is reportedly developing a new 180- megapixel sensor of the same physical size as the one used in the Fujifilm GFX System, as well as cameras from Phase One and Hasselblad. Resize that down to a 35mm equivalent and you’re looking at around 110 megapixels. As confirmed tech-heads, we’re naturally excited for what the future of camera tech may bring: faster and bigger sensors, stacked designs, global shutters and rolling shutters that behave better than ever. These developments absolutely do enable new creative possibilities or at least remove old technical barriers. And let’s be honest, we all enjoy seeing what is possible when the limits are pushed. But there’s a reality check. Sony’s meagre 12-megapixel FX3 and A7S III continue to sell well, and keep producing stunning 4K images for everything from documentaries to commercial work and high-end branded content. This pairing is proof that sensor resolution alone is not the full story. Which brings us towards a slightly uncomfortable truth. In our feature this
issue on the latest trends in commercial filmmaking, more pixels and shallower depth-of-field don’t appear anywhere on the list of what clients actually want. Instead, clients talk about authenticity, clarity of message, emotional connection and trust. The spec sheet arms race is largely something filmmakers conduct with themselves. Audiences are now bombarded with flawlessly rendered visuals, increasingly powered by AI. Hyper-polished imagery is no longer special and is sometimes actively distrusted, which makes the new findings from an Adobe research paper especially telling. Audiences, it says, crave more than visuals. They want meaning – content that resonates, inspires and feels crafted with intent. That’s a striking message coming from a company pioneering AI-generated video through tools like Firefly. Even the brands building powerful creative technology understand that visual perfection alone doesn’t create connection. So by all means, enjoy the march of technology. Test the biggest sensors. Marvel at the resolution. Use the tools that excite you. But remember that we may already be past the point where cameras are the limiting factor in our work. The real differentiator now is judgement – knowing when not to use every last ounce of capability simply because it’s there. In a world where almost anything can look incredible, meaning is the new premium. And no sensor, however large, can capture that for you.
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
3
PROMOVIEMAKER.NET
The ultimate magazine for next generation filmmakers
MARCH/APRIL 2026 CONTENTS
18
AGENDA 6 APPLE AND ADOBE SOFTWARE SORT-OUT It’s all about the software. Apple goes to a subscription model for its new Creator Studio suite while Adobe renames the revamped Premiere, Baselite gets a boost, Avid amps up its NLE and Pulsar
offers streaming without the hardware. 8 DON’T WORRY, BE SNAPPY!
Instax goes full retro into super-short filmmaking with its Cinema model, which is aimed at the latest breed of content creators who want to print out their thumbnail snaps, while Telycam expands its PTZ ecosystem. 10 AIN’T NO STOPPING PLUS NOW Audio giant Shure unveils a big upgrade to its SLX wireless mic system with the Plus range, while Voxbox Pro evolves its interview hardware and MPTS goes for the creator market at London’s Olympia. 12 THE 8K CAMERA THAT JUST SHOOTS MONO Legendary German camera and lens brand Leica shows its compact, new Q3 with a fixed lens that only shoots in black & white. Plus there’s new glass from Nikon and Thypoch that won’t break the bank. 14 GET UP CLOSE WITH THE LAOWA MACRO Venus Optics gets Micro Four Thirds users in close proximity with its new Laowa 90mm lens; UK creatives take a stand on AI; Marshall amps up its range; OWC launches a mega drive; Insta360 gives webcams a quality boost and SmallHD pages the future with vertical framing software.
40
PREVIEWS 18 BATTERSEA POWERS BSC EXPO
It’s the first big trade show of the year as the British Society of Cinematographers takes over the Evolution centre on the banks of London’s River Thames. We take a look at what’s going on, from the hardware you can see on the exhibition floor to the workshops and seminars that will inspire you. 24 BACK TO BRUM You too will love The Photography & Video Show when it moves back to its Birmingham base at the NEC in March. Prepare for it to go big on things to do as well as kit to see. With all the latest tech hardware plus talks and the interactive Creator Zone, there is something for everyone.
AWARDS 28 FILMMAKER OF THE YEAR HOTS UP
The Pro Moviemaker Filmmaker of the Year competition is in full swing. The entries have started rolling in, so we look at a handful of the latest. There’s still time to enter these CVP-backed awards for commercial and student talent, so enter today!
28
4
PRO MOVIEMAKER
The ultimate magazine for next generation filmmakers
48
ACADEMY 40 YOU’RE SO HOT RIGHT NOW!
48 CANON MEGA-TEST PT 1: THE SIBLING CAMERAS We pit the latest EOS R6 III mirrorless against its cinema-style sibling, the EOS C50, to see which makes most sense in various production environments. They both share the same sensor but are aimed at very different users, as we find out... 56 CANON MEGA-TEST PT 2: THE OPTICS The Canon RF mount continues to flourish so we test and rate three essential lenses that could make up a sensible three-part kit but at a wide range of price points. Is the bigger-is-better movement over for the world of AF lenses? 60 HOPE SPRINGS ETERNA We get hands-on with the incredible new super-size Fujifilm GFX Eterna 55 and relish the most attainable way into large format cinematography. With the latest Sigma Aizu prime fitted, it’s a match made in heaven! 68 MINI TESTS: TOP KIT TESTED We get hands-on with a set of three close-up filters from Polarpro, the latest DJI RS 5 gimbal that uses auto tracking, a USB-C mic made for smartphone audio recording and an affordable LED projector attachment.
If you always do what you always did, then don’t be surprised if you get left behind. That’s the message we find as we take a look at what’s working in the new world of commercial filmmaking and how you can be ahead of the game in 2026.
GEAR 44 WHO MADE HUE?
The world of LED lighting continues to innovate with lots more power and colour options. We turn the spotlight on the latest and greatest fixtures from a wide range of manufacturers such as Amaran, Nanlux, Litepanels, Godox, Aputure, Neewer and more.
60
BUYERS’ GUIDE 76 IT’S AN OPEN-AND-SHUT CASE
There’s no one-size-fits-all when it comes to choosing the right bag or case for your kit. So, we take a look at some of the very best, from carry-on legal wheelie bags to mega-size holdalls that’ll swallow up your rigged-up cine cam.
5
PROMOVIEMAKER.NET
AGENDA
NEWS
The tech giant follows software rival Adobe with a new monthly subscription model A pple has been inspired by Adobe’s Creative Cloud software model with Apple Creator Studio, an all-in-one subscription that brings Final Cut Pro together with Logic Pro, Motion, Compressor and Pixelmator Pro plus new AI features and premium content in Keynote, Pages and Numbers. At £12.99/$12.99 per month or £129/ $129 per year, Creator Studio turns Final Cut Pro from a standalone editor into the centre of an integrated post-production ecosystem, and it also includes versions for iPads and iPhones. The standalone versions of the £300/$300 Final Cut Pro, £200/$200 Logic Pro, £50/$50 Motion, £50/$50 Compressor and £50/$50 Pixelmator Pro and £30/$30 Main Stage will still be offered, but will only work on MacOS desktops and laptops. A subscription to the full Studio model provides up to six members of your family access to the suite. There is discounted pricing for students and educators. If you already own a standalone Final Cut Pro, this will still be supported and upgraded for free. When Final Cut Pro X was launched in 2011, it cost just £99/$99
Apple bundles up Final Cut Pro
Maker tool uses AI to assemble quick edits automatically – a useful starting point for social cuts or fast client previews. Motion and Compressor are fully included in Creator Studio, encouraging filmmakers to lean harder into custom graphics, effects and delivery optimisation rather than rely on presets. Add Logic Pro for scoring and sound design and Creator Studio starts to resemble an end-to-end post suite rather than a bundle of apps. apple.com “Creator Studio starts to resemble an end-to-end post-production suite”
and has continued to be upgraded freely since then. With the new model, you can access other products in the bundle, such as Logic Pro, which is great for scores and sound design. The announcement coincides with a raft of upgrades to Final Cut Pro that are all about speed and discovery. Transcript Search lets you locate soundbites by just typing words rather than scrubbing timelines, while Visual Search allows you to find shots based on objects or actions across entire projects. Documentary and interview-heavy workflows stand to benefit immediately. Music-driven edits also get a boost. Beat Detection analyses music tracks and displays beats and bars directly in the timeline, making rhythm-based cutting far more intuitive. On iPad, the Montage
ACCESS ALL AREAS The subscription apps are made to work on tablets and phones as well as computers
STAYING AVID-LY AHEAD OF THE MIX
Avid has announced a series of faster and more connected audio workflows built for modern film and television production, with a particular focus on immersive formats, AI-assisted efficiency and deeper ecosystem integration. At the core of the updates is expanded, immersive audio support in the latest version of Pro Tools, so that it now enables workflows across Dolby Atmos, Sony 360 Reality Audio and UWA Audio Vivid within a single session. For productions working with multiple formats, it streamlines
delivery and reduces time spent managing parallel sessions. Pro Tools now includes AI-enhanced speech-to-text analysis for faster dialogue navigation, alongside Sound Flow macro support to automate repetitive tasks. These tools are specifically designed to accelerate workflows without removing creative control. Avid has also expanded its integrated partner ecosystem, allowing third-party tools and libraries to work more natively inside Pro Tools. For filmmakers, this
means fewer context switches between apps and faster access to sound libraries, instruments and processing tools during editorial and mix stages. avid.com
6
PRO MOVIEMAKER
SOFTWARE SPECIAL
NO MORE PRO AS ADOBE SMARTENS PREMIERE
Adobe has made a bold statement on the future of video editing with the name of its flagship NLE. Premiere Pro is now simply Premiere, reflecting a shift away from rigid ‘pro vs creator’ labels and towards a single, unified platform powered by intelligent tools. Unveiled ahead of Sundance Film Festival, where Adobe estimates around 85% of films were made using its tools, the new Premiere leads a major wave of AI-driven updates, with masking tools speeding up tasks such as rotoscoping and selective adjustments. Object Selection and Mask can now isolate complex subjects in seconds, while redesigned shape masks offer more precision for effects such as blurring, relighting or targeted colour work. Adobe’s collaborative AI ideation space, letting teams brainstorm visually and push concepts straight into the edit. A new Adobe Stock panel keeps editors in the creative flow, with access to more than 52 million assets without leaving the timeline. Premiere also secures tighter integration with Firefly Boards,
RED FACED The rebranded Adobe Premiere includes clever new features like mask overlays
variable font animation tools. Enhanced SVG import preserves editable vectors from Illustrator, so that it is easier to animate graphics with full fidelity. Alongside the tech updates, Adobe has reinforced its commitment to the community by announcing nearly $10 million of funding and donated products via its Film & TV Fund, plus a grant programme aimed at filmmakers integrating AI into their workflows. adobe.com
Motion design is also well served. An update to Adobe After Effects introduces native 3D parametric meshes, over 1300 free Substance 3D materials and expanded “The new Premiere leads a major wave of AI-driven updates”
Baselight v7, the update to Film Light’s colour grading and finishing system, has a strong focus on VFX-heavy post-production. The release introduces a generation of machine-learning tools, matte workflows and performance upgrades that help you work faster with precision. The Segment Anything Flexi Effect enables rapid, object-based matte creation, while improved channel selection and enhanced Matte Merge simplify the management of complex, layered mattes such as cryptomattes, and a Matte Refiner and updated Edge Filter recover fine details around hair and soft edges. Baselight v7 also expands options with depth-based grading tools, more flexible transitions and smarter conforming via Transform Matching. filmlight.ltd.uk ALL ABOUT THAT BASELIGHT
Pulsar is a new desktop-based software encoder from Repro made to replace traditional hardware encoders in live streams. Included with a Repro subscription, Pulsar runs on MacOS and Windows, with Linux support planned, and allows a single workstation to stream up to four simultaneous live video feeds. This speeds up post-production streaming by moving encoding entirely into software, reducing the need for external hardware and cabling. The initial release supports 8-bit SDR pipelines and is intended as a drop-in substitute for common hardware encoders, with higher bit depths and HDR support scheduled for future updates. It enables live streaming from tools including Avid Media Composer, Adobe Premiere and DaVinci Resolve, supporting real-time collaboration without complex infrastructure. reprostream.com STREAMING WITHOUT THE HARDWARE
7
PROMOVIEMAKER.NET
AGENDA
NEWS
Blockbuster moments from mini movies
There’s nothing Fujifilm loves more than a bit of retro fun with its cameras, and it is leaning fully into creative nostalgia with the launch of two new Instax products that blur the line between moving image, stills and instant prints. The new £330/$410 Instax Mini Evo Cinema is a three-in-one hybrid instant camera that lets creators shoot stills, record short videos of up to 15 seconds and choose a frame grab immediately, then print a physical photo using Instax Mini film via the free smartphone app. To give it full retro cred, the camera not only features a deep vertical grip, but also the Eras Dial. This applies visual styles designed to mimic the look of different film eras such as the grainy, pale tones of the thirties, the bold colours of the eighties and the sharp, rich imagery of the 2020s. There are ten available styles and, by rotating the dial to precisely adjust colour, contrast and noise, up to ten creative variations per era can be set. For the US release, the dial has been renamed the Gen Dial to avoid clashes with pop star Taylor Swift’s Eras project. Joining it is the £130/$170 Instax Mini Link+ smartphone printer, which builds on the Link range with enhanced creative modes and app features focused on lots of different styles. instax.co.uk
TELYCAM’S ALL-IN-ONE SWITCHER
converters or capture cards. Up to six video sources can be mixed at once, blending IP streams with two HDMI inputs up to 4K/60p and a USB-C input for hybrid set-ups. An integrated 8.8-inch touchscreen offers real-time preview, graphics, audio control and system configuration, while a browser-based web interface enables remote operation. Live production tools include preview, programme switching, picture-in-picture layouts, transitions
Telycam expands its PTZ ecosystem with the Mix One, an IP video switcher made specifically for PTZ-first production workflows. For podcasting, pro content creation and live streaming, the Mix One combines a video switcher, decoder, PTZ controller, encoder and monitor into a single compact unit. Designed around modern AV-over-IP standards, the Mix One supports NDI HX, SRT, RTMP and RTSP, letting creators work directly with low-latency IP video without external
and built-in graphics like titles and lower thirds. Mix One offers direct camera control via Visca, Visca over IP and NDI. Prices have not yet been revealed. telycam.com
8
PRO MOVIEMAKER
AGENDA
NEWS
Plus-size upgrade for Shure wireless
as the system can detect RF issues and seamlessly switch to a clean frequency without interrupting audio. AES-256 encryption ensures secure transmission, while newly integrated digital feedback reduction (DFR) helps maintain clear, intelligible sound in unpredictable acoustic spaces. For mobile crews, SLX-D+ adds Bluetooth connectivity for the first time in the range, enabling on-the- go monitoring and control via the Wireless Workbench Mobile app. Users can check battery status, manage gain, scan frequencies and adjust settings remotely. Backwards compatibility with existing SLX-D components, along with new dual receivers, make SLX-D+ a scalable upgrade path. Prices have not yet been confirmed. shure.com
Shure has upgraded its SLX-D wireless mic range with the SLX-D+ system, bringing more flexibility and remote control in demanding environments. The new SLX-D+ system has wide tuning across all components, with up to 138MHz of bandwidth. This means faster deployment, easier frequency coordination on location and less need to carry multiple systems when travelling to new regions. A key upgrade is the Showlink Ease, adapted from Shure’s flagship Axient Digital systems. Once paired, transmitters reconnect to receivers every time they power on, allowing remote RF set-up and parameter changes. For busy sets or ENG work, this removes the need to access talent to adjust settings mid-shoot. The automatic interference management increases reliability
EYE SEE YOU WITH NEW VOXBOX PRO
The Voxbox Pro MK3 is the latest evolution of Primelight Design’s down- the-lens interview system, designed for documentary shooters who want genuine eye contact. Direct-to-camera eyeline is one of the most effective ways to build intimacy on screen, and the Voxbox Pro MK3 delivers that connection using pure optics rather than software or displays. A precision beamsplitter and mirror system allows contributors to look straight into the lens while seeing the interviewer’s face reflected in the glass, creating natural performances that feel conversational. The newest version supports wider lenses down to 28mm, so it is easier to include more environmental context without sacrificing eye contact. A redesigned housing boosts rigging clearance on popular cinema cameras such as the Sony FX6 and an integrated dual-size filter tray allows ND, diffusion or creative filters to be placed directly at the lens plane. The Voxbox Pro MK3 mounts tool- free to standard 15mm rails or a light stand, and can be converted into a teleprompter using the included holder. Made from carbon-infused polymer,
it costs £1499/$1949. primelightdesign.com
CREATOR FOCUS AS MPTS GROWS There will be more focus on content creators in the Media Production & Technology Show (MPTS) in the Grand Hall at the Olympia in London on 13-14 May.
New features for 2026 include the launch of a Creator Hub spotlighting short-form video, creator-led business models and platform innovation. Post Production World Conference Europe will also make its debut, bringing high-level paid workshops to MPTS for the first time, while the SMPTE Media Technology Conference Europe expands. Registration is open now. mpts.london
MPTS 2026 marks a decade of innovation, collaboration and industry connection across broadcast, production and technology. There will be over 300 exhibitors, the latest hands-on technology and workflows and a free seminar programme.
10
PRO MOVIEMAKER
NEWS AGENDA Leica goes full mono If you need to record high-quality 8K black & white footage from a compact camera, Leica offers Q3 Monochrom, the second dedicated mono-only model in its Q series. The £5800/$7790, full-frame Q3 Monochrom is built around a 60-megapixel sensor that captures only luminance, not hue – resulting in extra sharpness, tonal depth and clarity you can’t get from colour filter sensors. With an ISO range from 100 to 200,000 and the fast but fixed Summilux 28mm f/1.7 ASPH lens, the camera excels in low light. It is built to produce rich, low-noise images with the nuanced textures and micro- contrast monochrome image makers prize. With no low-pass filter to soften the image, the camera records mono footage at up to C8K/30p resolution of 8192x4320 pixels in MP4 and MOV in H.264 and 265, as well as 24-bit ProRes to an SD card or externally via HDMI. In C4K it reaches 60p and in FHD 120p. The Q3 Monochrom stays true to the Q series silhouette, although with a more
90mm, macro capability down to 17cm and integration with the Leica Fotos app. With the sensor using Leica’s Triple Resolution Technology, it’s possible to get 60-, 36- or 18-megapixel stills capture with high dynamic range. leica.com
minimalist aesthetic. It has a matte black metal body, monochrome engravings and leatherette cover with no Leica red dot, a 5.76-megapixel OLED viewfinder, tilting touch display and hybrid AF system. Also featured are weather sealing rated to IP52, a digital zoom that reaches
HALLOWED BE THYPOCH
Inspired by the warmth of seventies optics, the Thypoch Ksana 21mm f/3.5 lens brings vintage character to a compact package ideal for handheld documentary filmmaking. At the heart of the look is Thypoch’s new Epoch Coating 73, designed to recreate the subtle bloom, gentle contrast and organic colour response associated with classic cinema glass. Highlights roll off smoothly, flares feel intentional rather than distracting and colours lean toward a softer, more filmic palette. These are all qualities increasingly prized by filmmakers looking to stand apart from ultra- sharp, AI-polished imagery. Weighing just 131g/0.29lb and measuring only 27mm/ 1.06in long, it’s ideal for gimbal work and discreet street filmmaking. The wide 21mm field of view and close focus capability opens up creative framing for detail shots and environmental storytelling. Available in Leica M-Mount only, the lens costs £419/$549 in black or silver. thypoch.com
Nikon has expanded its full-frame Z mount line-up with the launch of the £529/$547 24-105mm f/4-7.1, designed as a true everyday lens but lighter and more affordable than the £800/$997 24-120mm f/4 model. Weighing a mere 350g, it pairs well with compact full- frame bodies such as the Z 5II, creating a lightweight kit that’s easy to carry all day. One of the lens’s standout features is its close- up capability. With a 0.5x reproduction ratio and a minimum focusing distance of just 0.2m at the wide end, you can get in close. Fast, quiet autofocus driven by a stepping motor ensures smooth performance for both stills and video, while weather sealing adds reassurance when shooting outdoors. nikon.co.uk NIKON’S WALKAROUND WONDER
12
PRO MOVIEMAKER
AGENDA
NEWS
Mega drive is a pocket rocket
pace comfortably with high-bit-rate codecs, large photo libraries as well as demanding multi-stream workflows. The Envoy Ultra is practical and compact, bus-powered via an integrated Thunderbolt cable and runs silently thanks to a fanless aluminium enclosure. An IP67 rating means it is crushproof, dustproof and waterproof, good for location shoots. There is support for Macs, PCs, iPad Pro, Chromebooks and Surface devices, backed by official Thunderbolt 5 certification. Costs start at $450 for smaller capacities, with the 8TB model priced at $1700. No UK prices have been revealed.
Other World Computing (OWC) has introduced a world-first 8TB bus-powered Thunderbolt 5 portable SSD, expanding its Envoy Ultra range into workstation-class territory. Designed for speed, capacity and durability in a portable form, the new 8TB Envoy Ultra delivers rapid performance without external power or adapters. Thanks to Thunderbolt 5 connectivity, the Envoy Ultra offers transfer speeds over 6000MB/s, up to twice the performance of Thunderbolt 4 and USB4 devices while remaining backwards compatible with earlier Thunderbolt and USB-C systems. The result is external storage that keeps
WEBCAMS REINVENTED BY INSTA360
Consumer-camera giant Insta360 unveils the Link 2 Pro and Link 2C Pro, two AI-powered 4K webcams made to blur the line between webcams and full camera-and-mic set-ups. Aimed at streamers and creators, the models promise studio-grade visuals, usable audio and intelligent framing in a compact, desktop-friendly form. At the heart of both models is a large 1/1.3-inch sensor, paired with dual native ISO and advanced HDR, with support for 4K at up to 30fps. The £239/$250 Link 2 Pro has a two-axis gimbal for AI tracking, ideal for presenters who move around on camera. The £199/$200 Link 2C Pro’s design is fixed, better suited to desks, streaming rigs and conference rooms. A dual-microphone system blends beamforming with AI noise reduction, offering multiple pickup modes to suit solo speakers, group discussions or noisy environments. Integration with Elgato Stream Deck adds control for exposure, framing and presets – a welcome touch for live production. insta360.com
SHUTTLE ON STEROIDS
Raw, 12K workflows and stereoscopic VR. The X12 is a production shuttle, housed in a compact,
OWC is also expanding its Thunderblade X12 production shuttle RAID, doubling max capacity to 192TB. Built around Thunderbolt 5, the Thunderblade X12 is designed for the speed and scale of high-end production workflows. Using twelve 16TB NVMe M.2 SSDs, the Thunderblade X12 delivers up to 6600MB/s peak and nearly 6000MB/s sustained write speeds, so it is suitable for multicam 4K, 6K and 8K
fanless aluminium chassis and a custom hard-shell travel case. The 96TB is £18,400/ $17,000 and there is no 192TB price yet. owc.com
SMALLHD PAGES THE FUTURE
UI for vertical production, while expanded Camera Control adds Canon compatibility and dial-based control for key settings such as ISO, white-balance and shutter. There is also Downstream LUT support on 4K production monitors. smallhd.com
SmallHD rolled out a significant update to the PageOS software used in its monitors. Fleet Control allows crews to manage multiple monitors across a network, push LUTs and pages and keep configuration and colour aligned. The update embraces modern workflows with a Portrait Mode
14
PRO MOVIEMAKER
NEWS
Nikon has released a free firmware update for the ZR, which delivers a set of improvements for long-form and multicamera production. The headline upgrade extends maximum continuous recording time from 125 minutes to 360 minutes, which makes the ZR more suitable for documentaries. The update also adds timecode input via the external mic/line jack, while a Red-style file- naming system improves organisation on multicam shoots with Red cameras. Usability advances include expanded LUT import capacity (now up to 50), new exposure warning lines for Log recording and an energy-saving lamp option. nikon.co.uk LONGER TAKES FOR NIKON ZR
FOUR-MIDABLE DETAIL FROM MACRO LAOWA
Venus Optics has expanded its macro line-up with the release of the Laowa 90mm f/2.8 2x Ultra Macro APO in Micro Four Thirds mount, bringing one of its most specialised optics to MFT shooters for the first time. Previously available for full- frame mirrorless systems, the optic now combines its native 2x life-size magnification with the MFT sensor’s 2x crop factor, ultimately delivering a 4x full- frame-equivalent magnification without sacrificing resolution. The lens features a complex optical construction made of 13 elements in ten groups and uses an apochromatic (APO) design to suppress both longitudinal and lateral chromatic aberration, which ensures clean edges and high contrast even when shooting wide open at f/2.8. A nine-blade aperture also lets the lens double as a short-telephoto option for smooth background blur and a compressed 180mm-equivalent field of view for portraits. Optimised for modern MFT bodies, the lens includes electronic contacts for in-camera aperture control, EXIF data and improved stabilisation support. Internal focusing maintains a constant length at the 205mm minimum working distance, making it well suited to field macro work. It weighs around 540g and costs $449. No UK price has been revealed yet. venuslens.net
UK CREATIVES LOBBY FOR AI
A pressure group headed by the Association of Photographers (AOP) and four other creator-led organisations have lobbied policy- makers on generative AI’s impact on the UK’s creative industries. Acting via the Creators’ Rights Alliance, the groups launched a report titled Brave New World? Justice for Creators in the Age of Generative AI, calling for urgent legal protections for professional creators. Representing over 80,000 creators across photography, film, music, writing and performance, it argues that GenAI systems trained on copyrighted work without permission threaten visibility, livelihoods and sustainability. Data from the AOP shows sharp income declines, with less licensed and commissioned images year- on-year. Filmmakers face similar pressures as GenAI enters markets without clear regulation. AOP CEO Isabelle Doran says GenAI ‘mimics human originality’ while eroding creative identity and income. creatorsrightsalliance.org
MARSHALL AMPS UP RANGE
Marshall Electronics has expanded its IP camera line-up with the CV420-27X, a compact UHD model designed for IP-first, hybrid production environments. Built around an 8.5-megapixel sensor, the camera captures 3840x2160 UHD video at 60p, while also supporting a wide range of HD formats for simple integration into existing systems. The camera’s 27x optical zoom lens and strong low-light performance make it suitable for variable lighting conditions, from studios to live venues. Connectivity is firmly IP-centric, with HEVC encoding and secure SRT streaming over Ethernet. HDMI output with embedded stereo audio enables local monitoring alongside network distribution. Power, control and audio can all be delivered via
a single PoE connection, reducing cabling and simplifying installation. The CV420-27X is made to seamlessly slot into corporate AV, broadcast, live production and streaming workflows. The price hasn’t been revealed. marshall-usa.com
15
PROMOVIEMAKER.NET
CVP ADVERTISEMENT FEATURE
From showroom to show floor CVP connects real-world production solutions with expert advice, from its Fitzrovia base direct to the BSC Expo in Battersea Park
E urope’s largest independent company is doubling down with a pair of distinct touchpoints that invite filmmakers to step inside its world – not merely to see and get hands-on with the latest kit, but to understand how modern production fits together. Since opening its Fitzrovia showroom in 2023, CVP has created a permanent London base that now plays a central role during BSC. It’s here that visitors can get a relaxed introduction to the workflows, technologies and thinking that sit behind CVP’s reputation, before heading on to the bustle of the Expo itself. On the morning of Friday 13 February, CVP will welcome visitors into the Great Titchfield Street space for a pre-show experience that feels deliberately different from your traditional demo. Visitors can explore complete production solutions, spend time with CVP’s expert teams and see how emerging technologies, such as virtual production, can operate in real- world environments. reseller CVP is once again making BSC Expo more than just a show floor experience. This year, the Then comes the journey to the show itself. In true London style, CVP will be shuttling attendees to BSC Expo on classic red London buses, setting the tone for what’s sure to be a unique experience. At the Expo, CVP’s focus shifts toward services, support and conversations. It’s a chance to see the business behind the kit and understand how CVP supports productions long after purchase. Inside CVP Fitzrovia CVP Fitzrovia is more than a showroom. It’s a working environment designed to show how production workflows come together in practice – whether that’s for film, television, commercial, brand or in- house studio work. Visitors can explore: n Motion control and robotics, including the MRMC Cinebot Nano, Focusbug tracking tools and the new Noxon Mod Slider.
n Virtual production pipelines, featuring Absen LED panels as well as tracking solutions from Assimilate, Mo-Sys and RED Phantom Track. n Lighting and control, with Nanlux Evoke 600C and the latest Aputure systems demonstrated in practical set-ups. n Camera movement and support, including Atlas Sliders, MYT Works rigs, the DJI Ronin 2 and Ronin 4D, Steadicam Axis and Arri Trinity 2. n Audio and connectivity, with Deity microphones and Peplink networking for live and remote workflows. n Monitoring, showcased through a 28-screen video village including TVLogic and Eizo CG3100X displays. n Camera systems, from Arri Alexa 35 Xtreme and Sony Venice 2 to Canon, Red, DJI and Fujifilm Eterna platforms. n Lenses like the legendary Cooke SP3. Everything is presented within a workflow context – emphasising how tools integrate, teams collaborate and creativity thrives without unnecessary complexity.
SHOWSTOPPERS CVP’s annual takeover of BSC Expo’s Mezzanine floor will see loads of kit, including special displays of Angénieux cinema lenses
16
PRO MOVIEMAKER
CVP ADVERTISEMENT FEATURE
ROOM FOR MORE Try out the latest tech at CVP’s Fitzrovia flagship (above) before one of London’s red Routemaster buses ferries you to BSC Expo (right)
Expertise on the Mezzanine At the show, CVP continues its long- established Mezzanine floor takeover, bringing its full breadth of expertise, advice and infrastructure into the heart of BSC Expo. CVP supports filmmakers across cinematography, broadcast, television and content creation - and not simply with products, but with the systems and knowledge that make them work in practice. Joining CVP on the Mezzanine are key partners including Angénieux, showcasing its Optimo Ultra 12x, Optimo Ultra Compact, Optimo Prime and EZ- Series optics – and Canon, presenting its cinema camera range from the C50 and C80 through to the C400, alongside its VCM primes and hybrid zooms. At the centre of the stand sits the much- loved CVP Lens Bar, offering an unrivalled opportunity to test and compare lenses side-by-side on leading cine cameras. It’s a practical, judgement-free space designed to help creatives understand optical character, mechanics and pairing choices, because better decisions happen when you can see and feel the difference. CVP’s philosophy is simple: help creatives make better decisions, faster. equipment. It’s keen to foster confidence at every stage of the process. As a specialist in pro production tech, CVP combines its deep product range with real-world expertise, offering impartial advice aligned with the realities of modern filmmaking. More than supply CVP’s role extends beyond selling
At the core of this is the technical consultation offered by the company. CVP’s vastly experienced specialists work closely with cinematographers, production companies, broadcasters and educators to formulate complete solutions that balance creative ambition with technical requirements, operational efficiency and budget constraints. Not to mention its international showrooms provide hands-on access to equipment backed by dependable aftersales support. Manufacturer-accredited service centres deliver professional repairs for cameras, lenses and accessories, while tailored financial solutions help productions scale efficiently and plan long-term investment with confidence. Education is equally central. Through its workshops, demonstrations and knowledge-led sessions, CVP actively supports filmmakers in understanding new technologies, workflows and best practice – ensuring innovation is usable, not intimidating.
A smarter way into BSC Whether you start your BSC experience in Fitzrovia or on the Mezzanine, CVP’s message is consistent – it’s not about individual pieces of kit, but about how production works as a whole. From classic red buses to cutting-edge virtual pipelines, CVP’s presence at BSC Expo is an invitation to slow down, ask better questions and leave with clearer answers. For those navigating increasingly complex productions, it’s a refreshingly grounded way to experience the industry and a reminder that the right support can be just as important as the right camera.
“CVP will be shuttling attendees to BSC Expo on red London buses”
Learn more at cvp.com/events/bsc
17
PROMOVIEMAKER.NET
AGENDA BSC EXPO PREVIEW
T he world of filmmaking will converge at the British Society of Cinematographers’ annual Expo, from 13 to 14 February at its long-standing home, the Evolution centre in Battersea, London. Right on the banks of the river Thames, the popular show will welcome thousands of filmmakers for two days of hands-on kit demos, informative seminars and networking. Visitors can expect a look at the latest and greatest in cinematography, lighting and grip equipment across an exhibition floor that will be home to over 100 stands from leading companies. Lens lovers will find plenty to linger over this year, with a strong showing from a variety of optical specialists. Cooke and Zeiss will be there alongside newer and specialist players, ranging from innovators like Sigma to upstarts such as Sirui and Laowa. The Atlas Lens Co and DZOFilm will also be there, offering a broad spread of focal lengths, formats and characters, as well as Arken Optics, highlighting waterproof and shockproof solutions that are made for
extreme shooting environments. Lighting once again takes up a
significant share of the floor, with various fixtures and solutions from the likes of Aputure, Astera, Litepanels and Nanlux, while cameras, monitors and other on-set accessories are equally well represented. Major camera manufacturers including Sony, Arri and Blackmagic Design will be out in force, plus Red Digital Cinema will be showing off its V-Raptor XE for the first time at a show. These booths are joined by monitoring and workflow specialists such as SmallHD and Atomos, and you can check out accessories, power and rigging options from the likes of Wooden Camera, Tilta, Anton Bauer, Hawk-Woods, Teradek and more. Be sure to check out the Talent Bar. Hosted by the BSC Diversity, Equity and Inclusion Committee, it’s a space that lets filmmakers connect with each other in order to further their careers or chat with groups that provide advice and support on issues ranging from being a freelance parent to mental health concerns. In the new Joe Dunton Theatre, the BSC and patrons will host seminars across the two days, such as Virtual Production Gone Wrong, which will explore what happens when things go sideways on VP shoots and how solutions are found. Red will present The Secret to Shooting Action Scenes, as a panel of big-name DOPs reveal how they create the perfect action sequence.
City of lights From versatile LEDs to cameras, lenses and grip, the BSC Expo kit fest returns to London
a wide, tunable colour gamut and precise white-light control from 1800-20,000K. The Nova II 2x1 is the flagship model, delivering high output and colour accuracy, while the 1x1 offers similar performance in a more compact form factor. The Nova II 9°, a tight beam angle, produces a focused, high-intensity output suited to long-distance or highly controlled lighting scenarios. Also on display will be the Storm 700x, a powerful, tunable-white point-source LED fixture built around the advanced Blair light engine. It’s made to give super- accurate, cinematic white light, offering extensive G/M adjustment and impressive output from a relatively compact housing. ASTERA // Booth 341 Astera will be showing off its complete LED ecosystem including the Titan, Helios
There’s also the chance to catch The Cinematographers’ Signature, which will take a look at how each DOP adds their own unique stamp to a project. Below, you’ll find some of our highlights from this year’s show floor. We’ll see you in Battersea Park! STANDS TO CHECK OUT APUTURE // Booth 209 On display at the Aputure booth will be the Nova II 2x1 and 1x1 panels, alongside the more specialised Nova II 9°, which is designed for long-throw applications. It is Aputure’s next-gen LED panel tech, powered by the Blair-CG light engine to provide excellent spectral performance,
“Two days of hands-on kit demos, seminars and networking”
18
PRO MOVIEMAKER
BATTERSEA POWER Lighting and grip kit both outside and inside the halls is a trademark of the popular BSC Expo in London
Bluetooth and full Astera App integration. Offering the familiar Nyx Bulb workflow, Solabulb is compatible with Astera’s Power Station for external display and portable battery use. BLACKMAGIC DESIGN // Booth 352 Take the chance to learn more about the Blackmagic Ursa Cine platform, which includes both a 12K large format and the new 17K 65 digital cinema camera. They offer high-dynamic-range capture with interchangeable lens mounts, built-in storage and native cloud integration. Both feature Blackmagic’s unique RGBW sensor architecture that supports multiple resolutions and gives exceptional colour fidelity. That same RGBW sensor powers the Pyxis 12K, which offers 4, 8 and 12K acquisition, with frame rates up to 112fps and in-camera proxy recording.
The Ursa Cine Immersive, built for Apple Immersive Video and VR180, pushes into new territory with dual 8K per eye stereo capture, pixel-level sync and built- in calibration metadata, which reinforces Blackmagic Design’s role as a leader in next-generation image workflows. Also check out what’s new in DaVinci Resolve Studio, including AI-assisted tools such as Intellicut, Magic Mask and Dialogue Matcher, all helping you speed up editorial and finishing without compromising control. CVP // Mezzanine 7 Head up to the mezzanine to explore the CVP stand, which will feature a dedicated Lens Bar, partner zones with Angénieux and Canon, plus hands-on services including Pro Repairs and the Used Marketplace. Ahead of the expo,
and Hyperion Tubes, plus its Solabulb – the first wireless, zoomable, bulb-style fresnel designed for film, TV, live events and broadcast. Small enough to disappear into lamps, lanterns and architectural fixtures, Solabulb offers a 50W-equivalent output and industry-first 15-50° manual zoom, letting crews shift instantly from a crisp, controlled spot to a wide, atmospheric wash without swapping gear. Powered by Astera’s Titan RGBMA LED Engine, Solabulb’s integrated Par20 lens delivers rich colour rendering, excellent skin-tone accuracy and a cinematic fresnel beam. At just 15W, it produces an impressive 5228 lux at one metre for a set-ready punch. Its discreet footprint and IP44 construction make it as useful on location as in the studio. Solabulb includes the lightweight Solasnoot for added spill control, built-in Lumenradio CRMX,
19
PROMOVIEMAKER.NET
BSC EXPO PREVIEW AGENDA
CVP will also be hosting exclusive preview events at its Fitzrovia showroom. Taking place on the Friday morning prior to the main event, the sessions offer a relaxed opportunity to meet the team, explore the virtual production demo area and dive into a range of production workflows and technologies. Designed as open-house experiences, these previews let you get hands-on with the kit away from the hustle and bustle of the show floor – with a fleet of buses on hand to take you to the expo when you’re ready. FUJIFILM // Booth 121 Fujifilm will be giving the new GFX Eterna 55 cinema camera – complete with a 102- megapixel sensor from the GFX System – its debut at a UK show. And there will be a mix of lenses as well, such as the Premista full-frame zoom cine lenses, to showcase how Fujifilm can offer the complete solution of camera and lenses. GODOX // Mezzanine 1 Godox is expanding its professional-level continuous lighting – and the Knowled series includes the powerful MG2400Bi COB LED and Liteflow Cine Reflector range, as well as the F800R RGB Knowled Flexi Panel, Beamlight Max60 Parallel Reflector and the MS60Bi/R spotlight kit. The Knowled cinematic lighting ecosystem has all the tools filmmakers need for lighting’s key role in evoking emotion. From powerful COB lights to panel lights, tube lights and even hybrid fixtures that also work for stills, Godox has a huge range. HAWK-WOODS // Booth 413 Check out Hawk-Woods’ custom cable modulator that lets end users configure bespoke cables by selecting from a wide range of cine and broadcast connectors, HANDS-ON The show is not only a unique chance to get a feel for all the latest equipment in one place but also to chat to technical experts who give advice about the products on display
custom lengths, adding regulators and more. The team will also debut its compact 26V G-Lok batteries, marking Hawk- Woods’ first introduction to the G Mount battery market. The G-Lok batteries are available in 98 and 150Wh capacities, and are designed for modern broadcast and cine applications, featuring strengthened contact pins, premium cells and multi- directional D-Tap outputs. You can also get hands-on with the G-Lok dual voltage charger, which supports both 14.4V and 26V, not to mention the new Smart Audio battery range that is designed for mobile production and location sound. HOLDAN // Booth 107 Top UK distributor Holdan will show a huge range of kit from Samyang, Xeen, Studio Network Solutions, Kondor Blue, Orca, Mark Roberts Motion Control, Teradek and Angelbird. One of the big attractions will be Atomos’ on-camera monitor-recorders and production monitors. Atomos will be focusing on its Connect range of devices and the Adobe Camera to Cloud (C2C) workflow. Devices include the Ninja TX, Ninja TX Go, Shinobi 7 RX and Sumo. For fast-paced, professional workflows, these tools continue to be a staple on-set and in production environments worldwide. The team also teases a new release that they are keeping firmly under wraps for now… watch this space! HOLLYLAND // Booth 433 Hollyland will showcase its pro wireless communication and video transmission ecosystem, with a focus on solutions that are designed for film and TV workflows. Explore the Solidcom intercom line-up, including the Solidcom M1 Pro, C1 Pro and SE Pro, which provides scalable, full- duplex communication for crews ranging from small teams to complex multi- channel productions.
Wireless video transmission will be represented by the Cosmo and Pyro series, featuring Cosmo C2, Pyro S, Pyro 7 and Pyro 5, covering a range of production workflows, from compact set-ups to larger, multi-crew environments, with Vcore also on display for lightweight, mobile monitoring. The booth will also include a preview of Pyro 5 4K, plus an early look at Pyro Ultra, Hollyland’s upcoming flagship wireless video system. NANLUX/NANLITE // Booth 210 See Nanlux’s full-colour spotlights, the Evoke 150C and 600C, both of which have the Nebula C8 Colour Light Engine, offer the industry’s widest CCT range of 1000- 20,000K and feature an all-in-one design with an IP66-rated housing. Nanlux and its sibling brand Nanlite will show their wide range of LED lighting that offers professional quality at great prices. The Pavoslim range of LED panel lights is slim, robust and lightweight, while the Pavotube series of full-colour tube lights have flexible set-up options. With built- in batteries, it offers greater flexibility and portability for on-location shoots. The powerful Evoke 900C features the RGBLAC system to secure an ultra-wide CCT range and high luminance. With an IP55 rating, it can withstand harsh shooting environments. The powerful Evoke 2400B provides luminance equivalent to a 10K Tungsten or 4K HMI light. With IP55 protection for both the lamp head and power supply, it provides thorough protection in various production environments. “Dive into a range of production workflows and technologies”
21
PROMOVIEMAKER.NET
Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67 Page 68 Page 69 Page 70 Page 71 Page 72 Page 73 Page 74 Page 75 Page 76 Page 77 Page 78 Page 79 Page 80 Page 81 Page 82 Page 83 Page 84Powered by FlippingBook