G0 GLOBAL Red’s new Komodo-X has the latest shutter tech, but it’s what you film that counts
The ultimate magazine for next generation filmmakers
Editor in chief Adam Duckworth Chief sub editor Matthew Winney Sub editors Martin Puddifer, Minhaj Zia Editorial director Roger Payne EDITORIAL
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Sam Scott-Smith 01223 499457 samscott-smith@bright.uk.com Senior sales executive Claire Cornish 01223 499453 clairecornish@bright.uk.com DESIGN Design director Andy Jennings Magazine manager Lucy Woolcomb Senior designer Carl Golsby
Junior designer Hedzlynn Kamaruzzaman Junior designer and ad production Holly May PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:
It’s not what you’ve got, it’s what you do with it. In filmmaking, that means you can make great films even with basic equipment. We all know iPhones have been used to make movies, or even Apple’s own announcement videos. As a magazine packed with equipment, we are fully aware that lack of kit shouldn’t get in the way of making great work – if you don’t want shallow depth-of-field, low noise, fast frame rates for super slow-motion or incredible colours, that is. Now add to that list: verticals that stay vertical. It seems the next phase of sensor technology has reached to an affordable level with global shutters, as found in Red’s Komodo series and now in full-frame cameras thanks to the Sony A9 III. Instead of the wobbly ‘jello’ effect of bendy lines when panning or shooting from a moving vehicle, global shutters totally stop this obvious aberration. The Red and Sony aren’t the first cameras to have these expensive global shutters, but are the first to bring it to market in a package indie filmmakers can afford. While tech heads may be elated at this emerging technology, it’s not much use if audiences don’t engage with the content. If you are a camera operator on a big project, that’s probably down to the director or DOP, for example. But for many indie filmmaking companies and owner-operators, it’s vital to keep abreast of changes in visual trends. For example, the explosion of cinematically shot drama on streaming services has led to an expectation of a similar look in everything from TV shows to corporate films. Adobe has released its huge annual research document into emerging trends for 2024 that include such nebulous concepts as Calming Rhythms, Wonder and Joy, Dynamic Dimensions and The New Nostalgia. These are set to make the biggest visual impact in 2024, and we cover them in this issue. Of course, you can carry on regardless – happy your work will keep clients coming back for more. But if you do take some of these trends on board, you can set yourself away from rival filmmakers. You could tell clients about how these aesthetics will be introduced into your work since they are what influential audiences want, making you more commercially valuable. Many clients work in PR and marketing departments who thrive on trend forecasting like this. Understanding how these trends can be used in marketing films could be a way to boost your business significantly. That might mean some new kit – maybe with a global shutter – to set yourself even further ahead. Food for thought as we enter a new year…
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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