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
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