Pro Moviemaker December 2022 - Web

Welcome to the latest issue of Pro Moviemaker magazine Get away from the doom and gloom of inflation and escalating costs, as the latest issue of Pro Moviemaker explores a booming area of business for professional filmmakers and looks at a sensible way of slashing costs on kit purchases. Live streaming of niche content such as product launches and events is a growing market, and we look at how to do it as well as testing out the brand new Panasonic X2 camcorder that’s ideal for the job.  We also focus on why buying used kit could be the way forward in these cash-strapped times, and   there are lots of tests on essential equipment, plus advice on how to thrive in 2023. It’s all in your new Pro Moviemaker magazine, out now!


Audio kit to bring clarity to your films NEW SOUND GLORY

Top tripods to suit all budgets YOU ME AT STICKS!

’Tis the season to spend lolly... @ProMoviemaker

DECEMBER 2022 £5.49


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New cameras from Sony, Canon & Fujifilm The sharpest zoom we’ve ever seen! Latest LED lights put through their paces ALSO INSIDE...

Why connected camcorders are the best choice for live coverage PLUS a full test of Panasonic’s excellent X2

Super second-hand bargains you can’t afford to miss PRE-LOVED SPECTACULAR CASH-SAVING TIPS

Make sure you check out the truly terrific FS7 Mark II SONY’S SUPER 35 CINE CAM USED FOCUS

MKE 200 £87 ​Upgrading your video blogging audio is just one microphone away – Sennheiser’s MKE 200 brings presence to your voice, while features like a built-in windscreen and shock mount keep your recordings sounding cleaner than ever before.

MKE 400 £179 ​If you’re searching for that perfect on-camera microphone, look no further! The MKE 400 is a compact, highly directional, on-camera shotgun microphone designed to isolate and enhance the audio for your video, and comes with built-in windscreen and shock mount.

MKE 600 £259 ​Even the most demanding filming challenges can be handled with an MKE 600 shotgun mic. Thanks to its high directivity, it picks up sounds from the direction in which the camera is pointing and effectively attenuates noise from the sides.

MKE 440 £309 ​Prefer stereo sound? The MKE 440 on-camera stereo mic has two aligned and matched mini shotgun mics, so it captures the natural audio you want and rejects off-axis noise.

MKH 416 £879 ​A classic – Sennheiser’s MKH 416 moisture-resistant interference tube microphone lets you capture superb broadcast-level audio in demanding conditions. Ideal for your next professional film, TV, or location recording.

XS Lav USB-C £52 ​Whether connected to a computer or a mobile device with a USB-C port, with XS Lav USB-C you can record yourself simply and effectively, helping you instantly produce better content.

XS Wireless Portable Lav Mobile Kit £249

MK 4 + MKS 4 £259 + £85 ​With the typical warm sound of a studio condenser mic, the MK 4 is a great all-rounder for podcasting and voice-overs, as well as for recording vocals and instruments. It delivers fantastic sound quality, while still being an affordable choice for home recording.

​Designed for vloggers, content creators and streamers on the go, the Sennheiser XSW-D Portable Lav Mobile Kit includes everything you need to get high-quality audio into your smartphone videos.

MD 421-II £349 ​One of the best-known microphones in the world, the cardioid MD 421’s full-bodied sound and five-position bass control make it an excellent choice for most instruments, as well as group vocals and radio or television broadcasting.

HD 25 £129 ​Great sound, super-rugged and lightweight! The iconic HD 25 is one of the most widely used headphones among professionals. It’s ideal for any professional monitoring environment.

HD 280 PRO £61 ​The HD 280 PRO monitoring headphones boast extremely robust construction combined with the sound quality, modular design, and excellent noise isolation you need in the field.

HD 300 PRO £179 ​Modelled on the precise sound reproduction of the legendary HD 250 Linear headphones, the HD 300 PRO delivers a neutral, high-resolution working sound, at the same level of precision you apply to your production. Its sound pattern remains delicate and accurate in every application.

Give the gift of great sound Sennheiser’s outstanding audio solutions for videographers, vloggers and podcasters are the ideal gift for the creatives looking to add exceptional sound to their video

When you’re buying for anyone with a passion for video or filmmaking, it’s hard to know where to start. However, many creatives focused on honing their visual artistry – and camera and lens collections! – often overlook the extent to which great sound can bring their work to life and take their content to the next level. From mobile kits for vlogging, to shotgun mics for the most demanding environments, to a convenient digital wireless lavalier for crystal-clear dialogue, audio specialist Sennheiser has some perfect suggestions for giving a gift that resonates this festive season.

The ultimate magazine for next generation filmmakers

Editor in chief Adam Duckworth Deputy chief sub editor Matthew Winney Sub editors  Harriet Williams, Ben Gawne & Martin Puddifer Editorial director Roger Payne EDITORIAL ADVERTISING Sales director

Sam Scott-Smith 01223 499457 Sales manager Emma Stevens 01223 499462 DESIGN Design director Andy Jennings Design manager Alan Gray Senior designer Lucy Woolcomb Designer Emma Di’Iuorio

NEW ENTERPRISE We might dream of being DOP on Star Trek, but shooting for the stars isn’t the only way to grow

Designer and ad production Man-Wai Wong Junior designer Hedzlynn Kamaruzzaman

PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:

It’s life, Jim, but not as we know it. Excuse the oblique (and actually incorrect) Star Trek reference, but it might well be time to boldly go into a whole new universe of filmmaking. That brave new world is moving on from everything being shot in beautiful, cinematic glory that’s polished to perfection. Instead, it’s focusing on effective livestreaming of events and launches where there is an increasing amount of money spent. It’s a place where the here and now trumps the exquisite work that’s been months in editing and grading. Where what’s important is capturing enough footage to tell a proper story, and getting it out to audiences in a professional way without amateurish glitches. Although you might think it’s highly illogical to move into a new area of business, the demand is there and growing. I’m not suggesting giving up on producing well-shot, beautifully lit footage altogether, though. Covering live events can result in even more shot planning, overcoming technical challenges and being as creative as possible – all while ensuring the narrative gets across to the right audience and keeps them watching with engaged storytelling. That will mean lots more cameras to cover more angles, so you always have a backup camera or prerecorded footage to cut to in case of a failure. You might need a director in charge of switching angles, some sort of talent with a roving mic and camera operator for the important interviews; as well as graphics, music, maybe even adverts; plus power and obviously a way to broadcast it to the world. And even though your cinema camera or mirrorless can be useful, it makes sense to buy the right kit, like a connected camcorder, which features in this issue. You could stick it out and refuse to change your business, preferring to chase the money from clients who still want super-slick promos, adverts or event highlights. But somehow, this feels a bit like professional photography a decade ago, where many refused to believe video was the future. So it might be time to take a long, hard look at your business and plan your next enterprise carefully. After all, change is the essential process of all existence, said that famous Vulcan philosopher Mr Spock.

Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ

Pro Moviemaker is published monthly 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.





The ultimate magazine for next generation filmmakers



The Alpha 7R V packs Sony’s highest-resolution sensor and offers several more advanced features than the flagship A1. The new camera has 61-megapixel stills, 8K movie output, a new four-axis multi-angle monitor and much more. 8 SPEED UPGRADE FOR CANON CAM Canon’s EOS R6 Mark II offers 40fps stills shooting, a boost in low-light AF and video capture in up to 6K Raw. It uses a 24.2-megapixel CMOS full-frame sensor, with next-generation Dual Pixel CMOS AF II. 10 OM-5 RETRO IS NOT FOR SHAKING! OM System has launched the lightweight, retro-style OM-5 with a Micro Four Thirds, 20.4-megapixel sensor that shoots 4K/30p with no time limits. And it now has a 7.5-stop improvement in shake reduction. 12 FUJIFILM’S FIFTH-GENERATION X-T The popular X-T4 has been upgraded to the 6.2K X-T5, complete with its old-school looks and controls. But underneath is a potent APS-C camera that records incredible video in 4:2:2 10-bit. 14 NIKON SHOWS SUPER-TELEPHOTO Professional Nikon Z users at the World Cup hit the stadia of Qatar armed with the new 600mm f/4 telephoto with a built-in 1.4x converter, to get even closer to the action. Take a look at a brand-new softbox for large light panels like the Arri Skypanel, a mounting solution to fix LED bulb lights and a kit packed with Lowel’s XL LED soft lights. Also discover a more attainable DJI Mavic drone. 18 BUDGET-SPANNING LENS RELEASES An affordable 18-50mm Sigma zoom sits at one end of the market, while the 19-40mm Cooke Varotal full-frame is right up the other! Plus, how vertical video editing comes of age as it’s added to DaVinci Resolve. Plus, Nikon reveals a Z 9 update and new grip. 16 GET A GRIP ON YOUR LIGHTING




Don’t risk Santa missing you out this festive season – why not select a celebratory treat from our list of cool pressies? From lights and audio to lenses and filters, there’s plenty to keep you amused on Christmas Day!


Every filmmaker needs to master audio recording to make successful movies. So we reveal the best, most budget-friendly products on the market right now to help you nail that soundtrack as easily as possible. 35 BEYOND YOUR WILDEST STREAMS! Covering live events is a massive and growing area of the market - one any videomaker should keep an eye on. Explore the finest camcorders that make streaming simple, with a full test of the new Panasonic HC-X2 all-in-one camera.





The ultimate magazine for next generation filmmakers

42 SECOND-HAND SUCCESS! Don’t fall victim to the newer-is-always-better mentality, as going pre-loved might be the best way to run a filmmaking business. We examine some current used buys that make total sense. 48 USED FOCUS: SONY FS7 II The Mark II version of this Super 35 cine camera is the best of its breed – and still a stunning 4K performer. We look at its pros and cons, advising on what to watch for when splashing out on this popular Sony. 53 MINI TESTS: TOP KIT USED AND RATED We try out a pair of the latest lights from Rotolight and see if they can handle the rigours of working life. Then, we study the sharpest-ever Sony standard zoom and test a very affordable Nanlite COB LED. 61 BUYERS’ GUIDE: FULL-SIZE TRIPODS These are some of the best tripod kits to bring stability to your work. Available in a vast array of both sizes and budgets, we showcase a selection of great-value and top-performing sticks.




AGENDA NEWS New Year’s resolution from Sony

The Alpha 7R V includes Sony’s highest- resolution sensor and offers several more advanced features than the flagship A1 – which costs around 50% more. The new £3999/$3898 A7R V offers 61-megapixel stills, 8K movie output, Sony’s most effective eight-step image stabilisation and a new four-axis multi-angle monitor. It features next-generation AF with advanced subject recognition thanks to an AI processor. The AI uses deep learning about human poses to improve AF accuracy, and subject recognition includes vehicles and insects. All this helps the A7R V’s real- time focus tracking, with a faster and more precise wide-area AF system. The flagship £6499/$6498 A1 doesn’t have the new AI processor – so can’t get these upgrades through firmware. When recording video, the A7R V has real-time eye AF for subject detection and tracking of human, animal and birds’ eyes. The new focus map function is a unique way of visualising depth-of-field in a similar way to peaking. This uses a multicoloured overlay of the scene that indicates which parts are in front of and behind the focus point depending on the aperture. Carried over from the FX6 cine camera is the AF Assist feature, which lets you switch over to manual focus to adjust focus position. This is a quick way to shift selective focus while recording. There’s also a new feature to improve how certain lenses perform when racking focus, as focus breathing compensation maintains a consistent field of view during a shot. This mode crops into the image slightly, but is now compatible with selected E-mount lenses. The new camera includes full-time direct manual focus and focus bracketing to allow for focus-stacked images. It’s the

The A7R V has upgraded Pixel Shift Multi Shooting for stills, which uses the in-body image stabilisation system to capture multiple pixel-shifted images that can then be composited to achieve massive- resolution captures. Using Imaging Edge Desktop, 16-image composite stills have roughly the equivalent of a 241-megapixel image. The A7R V also offers lossless Raw stills and selectable Raw image sizes. A new four-axis multi-angle LCD is based on a conventional tilting monitor, but with side-opening vari-angle flexibility – and there’s an electronic viewfinder with 9.44 million dots. The A7R V also includes two CFexpress Type A slots compatible with SDXC cards. There is also a menu system with touch control. Updated connectivity means files can be transferred at high speed over Wi-Fi, or a wired SuperSpeed USB 10Gbps connection via the USB-C port. And there’s USB streaming support at up to 4K. The camera has improved heat dissipation for extended recordings and an upgraded dust- and moisture-resistant design – so it’s great for outdoor shoots.

first in the R series to use the Bionz XR image-processing engine, which provides sensitivity settings from ISO 100-32,000 for both stills and movies and a wide dynamic range – with 15 stops for stills. For video, the A7R V records in 8K/24p and 4K oversampled from 6.2K with no pixel binning, with MPEG-H HEVC/H.265 codecs, All-Intra and 10-bit 4:2:2. At 8K/24p and 4K/60p there’s a crop of 1.2x in 10-bit 4:2:2. With no crop, it can do 4K at 30/25/24fps and 1080/120p. It can also output 16-bit Raw and offers S-Cinetone profile. That’s impressive, but the A1 still aces it with 8K/30p 10-bit 4:2:2 XAVC HS video, oversampled from 8.6K. The flagship also records in 4K/120p 10-bit 4:2:2, plus 240fps in 1080 HD resolution, and exports 16-bit Raw video over HDMI.

“The focus map function visualises depth-of-field in a similar way to peaking, using a multicoloured overlay to indicate what’s in and out of focus”




HOW THE A7R V AND A1 COMPARE Sensor: The A7R V has a 61-megapixel back- side illuminated CMOS sensor, while the A1 has a 50-megapixel back-side illuminated stacked CMOS sensor. Video: The A7R V records 8K/24p and 4K/60p cropped to 1.2x in 10-bit 4:2:2. At full-frame, the max is 4K/30p and 1080/120p. It has breathing compensation and focus map. The A1 offers 8K/30p 10-bit 4:2:2 with 8.6K oversampling, plus 4K/120p in 10-bit 4:2:2, and HD/240fps. Both cameras offer 16-bit Raw video output over HDMI. Autofocus: The Sony A1 has 759 on-sensor phase detection points covering 92% of the image area. AF refreshes 120 times per second. The A7R V has AI that enables the recognition of more subjects than the A1. IBIS: Both cameras have five-axis image stabilisation, with the A1 offering 5.5 stops of compensation, while the A7R V has eight. Screen: The A7R V has a new four-axis, 3.2in, 2095K-dot screen. It can flip to the side and rotate to the front. The A1 screen is a 3.0in LCD with 1440K dots. Pixel Shift Multi Shooting: The A1 multi- shot mode combines 16 different images into a single 199-megapixel image – and you can use flash in each picture. The A7R V’s multi-shot results in an image of 241 megapixels, but you can’t use flash. Design: The A7R V’s exposure compensation dial is unmarked and does not display EV values like on the A1. That’s because this dial can be customised. There is a stills/movie/ S&Q dial under the shooting mode dial, so the camera recalls the menu settings for each mode. Drive/focus mode dials feature on the left of the A1’s top panel. The A7R V doesn’t have this; its one-touch Rec button has been moved to the top-plate, replaced by a slightly larger C1 custom button.

PRIME PIXELS If you want a Sony to shoot 8K video that’s a lot more affordable than the flagship A1, the A7R V is the one

GREEN LIGHT FROM JAPANESE GIANT It’s the first time for a camera launch that Sony is trumpeting sustainability credentials in the building of the product as well as the packaging. “Measures have been taken to reduce the environmental footprint of this product from development to supply chain, production and packaging. Recyclable plastics were used partially for this camera body, and manufacturing takes place at a facility using renewable energy,” says the official information. Sony also says it’s working towards the use of plastic-free packaging materials, while plant-based, non-woven fabrics are used for product bags.




Speed boost for new full-frame EOS R6 Canon’s new EOS R6 Mark II offers

One of the biggest physical changes on the camera is a dedicated stills/movies switch, which is just one of several improvements to aid video shooters. The Q menu has a different interface that’s more video-orientated, and there are a range of aspect ratio markers, both horizontal and vertical. A false colour display helps judge exposure, and it’s possible to buffer and prerecord video for three or five seconds before hitting the Rec button. There is HDR support and Canon Log 3 for maximum dynamic range. When used with supported lenses, the EOS R6 Mark II also uses focus-breathing correction like some of the latest Sony cameras. In terms of autofocus, the R6 Mark II has improved deep-learning artificial intelligence, recognising people, vehicles (which now includes aircraft and trains) and animals (which has been updated to recognise horses and zebras). The type of

record 4K/60p for up to 40 minutes using the full sensor width and up to 50 minutes in APS-C mode. There are no time restrictions when shooting at slower frame rates like 4K/30p. Canon cameras have never been leaders in very high frame rates – and again the R6 Mark II doesn’t offer 4K/120p. But it can shoot 180fps in HD, where the older camera was limited to 120fps. Full HD footage is not oversampled, so there will be some loss in quality. Canon claims recording times of over an hour in any HD frame rates are possible. The camera also supports a ProRes Raw video workflow when paired with a compatible Atomos monitor/recorder. This includes 6K Raw video using the entire sensor width or 3.7K Raw video using an APS-C crop. It can simultaneously record HD proxy files internally when outputting Raw externally.

ultra-fast 40fps stills shooting, a boost in low-light AF and video capture in up to 6K Raw. It uses the same Digic X processor technology from the EOS R5 and the original R6, but with a new 24.2-megapixel CMOS full-frame sensor, with next-generation Dual Pixel CMOS AF II. The camera will cost £2779/$2499 body only or £3999/$3599 with the RF 24-105mm f/4L IS USM lens. The body is little changed from the two- year-old R6. This camera could capture 4K/60p video but with a 1.07x crop from the full width of the sensor, while videos oversampled UHD 4K/60p using the entire width of the sensor and it’s also possible to get 4K/60p from an APS-C crop. The Mark I camera contained some overheating problems, but Canon claims you can were capped at 30 minutes per clip. Now, the new model can capture




CANON BACKING FOR AESTHETICA FILM FESTIVAL Canon ambassador and advocate for human rights, Elisa Iannacone, held a masterclass called ‘Exploring Ethics and Cinematography’ as part of Canon’s support for the Aesthetica Short Film Festival in York. As well as showing the full range of EOS kit, there were workshops and masterclass sessions throughout the event – on topics from the best camera set-up for interviews to the professional autofocus system. This is a high-profile festival, showing off 30 films and helping filmmakers qualify for the Baftas. CLASSIC 135MM TELEPHOTO FOR RF MOUNT The evergreen 135mm telephoto makes a return, this time for Canon’s RF mount. The RF135mm f/1.8L IS USM costs £2599/$2099 and is built to produce beautiful bokeh. Using the latest in-lens image stabilisation, coupled with in-body IS, it gives up to an eight-stop reduction in shake. The construction includes 17 elements in 12 groups, including three ultra-low dispersion (UD) elements. It has a minimum focusing distance of 70cm/27.6in, uses a nine- bladed aperture and has an 82mm front filter thread. Canon’s Air Sphere Coating reduces flares and ghosting. There is a control ring in front of the focus ring that can be customised to adjust settings such as aperture or ISO. The lens measures 130mm/5.1in in length with 89mm/3.5in diameter and weighs in at 935g/2lb.

“A false colour display helps to judge exposure, and it’s possible to buffer and prerecord video for three or five seconds before hitting the Rec button”

this roll using Digital Photo Professional software, or in-camera, and saved as individual JPEG, HEIF or Raw files. With updated Bluetooth v5 and 5GHz Wi-Fi, the camera can be connected to a smartphone and networks allowing high-speed file sharing and FTP transfer. The camera can be remotely controlled using the revamped Camera Connect and EOS Utility apps, tethered to a PC, Mac or smartphone via Wi-Fi or high-speed USB-C. It can also function as a webcam. The EOS R6 Mark II features Canon’s multi-function shoe, allowing intelligent accessories such as XLR adapters to be employed without cables – and, in some cases, batteries. A high-resolution, 3.69-million-dot EVF refreshes at 120fps and the weather- sealed camera is also compatible with the same LP-E6 batteries and battery grip as the EOS R6.

subject to be detected may be set in the menu, or there is a new auto option. With advance eye tracking, users can specify which eye is given focus priority. When eyes can’t be detected, the camera focuses on the face in shot instead. The EOS R6 Mark II boasts up to an eight-stop image stabiliser, using the combined IS of optical and in-body. For stills shooting, the R6 Mark II is Canon’s fastest EOS, as it shoots continuously at up to 40fps with the electronic shutter and up to 12fps mechanically. The new sensor reduces rolling shutter, although it’s unlikely to be as well controlled as the flagship EOS R3 model, which has a stacked sensor. There is a half-second pre-shooting in Raw burst mode for stills, which shoots continuously at 30fps for up to 191 frames, recording every image in a single CR3 file. Individual images can be extracted from




OMG it’s the new OM-5!

The OM-5 can record internally in DCI 4K/24p and in UHD 4K up to 30p. In Full HD, the maximum frame rate is 120fps for slow motion. In 4K, videos are recorded in H.264/MOV/MPEG-4 AVC with a maximum bit rate of 237Mbps in DCI 4K and 102Mbps in UHD 4K. There’s no 10-bit 4:2:2 option as the camera maxes out at 8-bit 4:2:0 recording. It supports OM-Log for maximum dynamic range and a new vertical video mode shoots in a 9:16 aspect ratio for easy integration with social media. There’s also a built-in Live ND filter that goes to four stops, but it seems this is only available for photos, not video. There is also no zebra pattern to help exposure, but it does offer a clean HDMI out signal. With IP53 rating, the OM-5 is dust and splash proof down to -10°C. There’s also a three-inch, 1.04m-dot vari-angle touchscreen and 2.36m-dot OLED EVF. It uses BLS-50 lithium-ion batteries that will do around 310 pictures, but the USB-AC adapter charges during use. An optional battery grip is available.

The camera company formerly known as Olympus – now under new ownership and called OM System – launched the lightweight, retro-style OM-5 with a Micro Four Thirds, 20.4-megapixel sensor that shoots 4K/30p with no time limits. Due to the smaller sensor, image stabilisation has always been incredible on OM cameras – and the new OM-5 claims a 7.5-stop improvement when used with a compatible Olympus lens, or 6.5 stops with any optic. It costs just £1200/$1200 body only, so is definitely one of the most affordable hybrid mirrorless cameras. As it weighs only 366g/0.81lb for the body, it’s also one of the lightest and just 125.3x85.2x49.7mm/4.9x3.4x2in in size. The camera uses a similar sensor to the OM-1 but with the slightly slower TruePic IX processor, which allows stills to be shot at 30fps. The OM-5’s autofocus system combines 121 phase-detection points and 121 contrast-detection points, and has both face and eye detection AF, upgraded from the older OM-branded camera.

“The OM-5 can record in DCI 4K at 24p, but in Full HD the maximum frame rate is 120fps”

LIGHT BRIGADE If you want to keep your kit as compact as possible, the OM-5 will be right up your street

HOW TO GET CONNECTED The OM-5 has an unusual mix of connections as there is a micro HDMI output, micro USB input/output, 3.5mm TRS stereo mic input, 2.5mm sub-mini control port for remote controls and a single SD card slot – but there is not a headphone jack. Buyers are encouraged to get the external LS-P5 linear PCM recorder to capture audio. This allows you to monitor audio via the recorder’s headphone jack, and the Slate Tone feature is available for synchronisation in the edit. The camera has built-in Wi-Fi and Bluetooth to allow fast and easy image sharing – and the OM-5 can be controlled remotely from a linked smartphone. There’s also UVC/UAC webcam support, so the camera can be used as a plug- and-play webcam with any computer via USB.




Fujifilm retains retro style for X-T5

records an expanded dynamic range of over 13 stops. When combined with an Atomos monitor/recorder via HDMI, Raw video can be recorded as 12-bit Apple ProRes Raw at up to 6.2K in 29.97fps. When combined with a Blackmagic Design Video Assist 12G, the video can be recorded as Blackmagic Raw at up to 6.2K/29.97fps. The X-T5 comes with 19 Film Simulation modes, including Nostalgic Neg, which offers high saturation and soft tonality. It also supports HEIF format, delivering 10-bit image quality in files up to 30% smaller than standard JPEGs. Subject-detection AF, based on deep- learning tech, detects animals, birds, cars, motorcycles, planes and trains with AI. The sensor has phase-detection pixels, said to result in improved AF-S focus, and an improved AF prediction algorithm offers stable focusing when in AF-C mode. With a 3.69-million-dot EVF and 0.8x magnification, parallax and distortion suppression are also improved – and the weather-sealed body weighs 557g/1.23lb.

high-speed image processing engine X-Processor 5, housed in a compact body that’s smaller and lighter than the X-T4. It offers five-axis IBIS up to seven stops, a standard sensitivity of ISO 125, a 1/180,000sec max shutter speed and Pixel Shift Multi-Shot mode. The camera inherits the X-T series’ signature centre viewfinder, and there’s a 1.84-million-dot three-way tilting LCD screen. For video, the max resolution of 6.2K can be recorded internally at 30p in 4:2:2 10-bit colour, but there’s a 1.23x crop. 4K HQ mode uses 6.2K oversampling for fantastic quality 4K video. Like the X-H2, the X-T5 can capture 4K/60p from the full width of its sensor, but not using all the available pixels. The internal ProRes modes of the X-H2 are also missing, along with any of the options that require use of a CFexpress card. That’s because the X-T5 writes to a pair of UHS-II SD cards. It can shoot 6.2K/30p video for 90 minutes, or 4K/60p for 60 minutes at 25°C/ 77°F. There’s also support for shooting with F-Log2, which

Although it shares the 40.2-megapixel APS-C sensor and speedy processor of the X-H2 that we test this issue, the new Fujifilm X-T5 sticks with the old-school design and controls that made the series popular. Instead of a standard PASM top dial like the H2, the T5 has ISO, shutter speed and exposure compensation dials – available in black or silver for a retro look. It produces the same image quality for stills as the X-H2, but is downgraded for video use. Unlike the X-H2, it doesn't offer 8K video, it has a smaller buffer, uses slower memory cards and has a lower- spec EVF. It doesn't have full-size HDMI or 3.5mm headphone sockets, and doesn't support the X-H2’s external cooling fan or vertical grips – one of which can make it into a camera-to-cloud connected device. But at £1699/$1699, it is marginally cheaper than the £1899/$1999 X-H2. What it does come with is a USB-C to 3.5mm adapter for headphones, and a micro HDMI socket. It features the latest fifth-generation back-side illuminated X-Trans CMOS 5 HR sensor and the

TOO COOL FOR OLD SCHOOL The Fujifilm X-T5 styling is straight from the history books




If you relish the retro looks of the new X-T5 then you might be interested in this steampunk-style video cage and rig. Costing just £165/$169, the SmallRig Retro Handheld Cage has a distressed look with a hand- stitched cowhide leather grip and funky shutter button adapter. It has an HDMI/USB-C cable clamp, retro-style top-handle with coldshoe mount and hotshoe cover with a spirit level. Punk is not dead! GET THE STEAMPUNK LOOK

MACRO LENS IS THE NEW STANDARD Fujifilm’s new XF30mm f/2.8 R LM WR Macro is a standard prime with a focal length equivalent to 46mm in the 35mm format. It offers improved close-up performance, capable of macro photography at 1:1 magnification. It’s constructed with 11 elements in nine groups, including three aspherical and two ED. Minimum shooting distance is just 10cm/3.9in. As X Series cameras use APS-C sensors, subjects are photographed 1.5 times larger than on a full-frame equivalent. With an internal focus system – a linear motor driving the focusing elements – this lens delivers fast and accurate AF. Operation is quiet and smooth, even for close-ups. At £599/$599, it weighs 195g/0.43lb and is 69.5mm/2.73in long. The lens barrel is weather sealed in nine places, so it’s dust- and weather-resistant and works in temperatures as low as -10°C.




BIG BOY Serious pro sport and wildlife shooters will be overjoyed now that Nikon has revealed a Z mount 600mm lens with built-in extender

Get yourself a massive tele!

While a massive lens, the centre of gravity is positioned in the middle of the tripod foot for easier balancing. There is full weather sealing, and the optic is compact enough to fit in a kitbag that will suit most cabin-baggage requirements perfectly well. The lens is designed for sharpness across the frame, even when shooting wide open. Bokeh is smooth and rounded. Customisable functions can be assigned to the Fn ring, as well as to the Fn buttons, focus ring and silent control ring. Focus distances can be assigned to the memory- set button.

GRIPPING STUFF The Remote Grip MC-N10 is a new accessory for moviemakers to control Nikon mirrorless cameras. All main video settings can be managed via buttons set into the grip. Functions include those normally controlled by the camera’s rear buttons, as well as settings assigned to the camera’s dials or Fn buttons. An Arri-standard rosette fitting allows for quick changes in position. It weighs 310g with two AA batteries that work for up to 12 hours, and communicates with the camera via USB-C. The price is £439/$427. Nikon heads further into the pro sports ranks with the £15,499/$15,497 Nikkor Z 600mm f/4 TC VR S super-telephoto lens, which comes with a built-in 1.4x converter to take the focal length up to 840mm. The Silky Swift focusing system delivers fast and quiet autofocus thanks to a voice coil motor and an optical ABS encoder, which accurately detects and communicates lens position. Nikon’s anti- reflective Meso Amorphous Coat combats ghosting and flare. A fluorine coating protects the front element from rough conditions. Powerful in-lens VR offers up to 5.5 stops of compensation.

IT’S FIRMWARE FEVER FOR Z 9 Nikon’s flagship mirrorless, the Z 9, has new firmware that includes high-frequency flicker reduction and Hi-Res Zoom in video. This enables zooming to extend the telephoto range, whatever the lens. New stills features include the addition of high-speed continuous shooting at approximately 60fps in DX-format. The firmware upgrade also offers improved playback. The upgrade increases the number of buttons that may be set for custom control and extends the customisable functions. Images and the i menu can be displayed in vertical orientation during playback mode and new image-size options for DX-format have been added. Other improvements include an extended AF low-light limit and reduction of shifting focus position to a foreground obstacle that briefly obscures the intended subject.





WORTH £308/ $350

One lucky winner will receive a pro-quality shotgun mic and monitoring cans from audio expert Sennheiser

can provide distortion-free sound in any environment. And a switchable low-cut filter focuses in on the best frequencies for clarity and speech. It comes with an interchangeable, 3.5mm locking coiled cable, so it’s compatible with camcorders, cinema cameras, DSLR and mirrorless cameras – not to mention mobile devices. A

Quality sound is crucial to any project. That means shotgun mics and monitoring headphones are essential. That’s where audio expert Sennheiser comes in, with its range of professional sound solutions. This month, we are giving away an MKE 400 shotgun mic worth £179/$200 and HD 25

HOW TO WIN A SENNHEISER MKE 400 AND HD 25 Question: How many sensitivity settings does the MKE 400 have? A. One B. Two C. Three Enter via our website at Visit to find out more about Sennheiser products

headphones worth £129/$150 in this free-to-enter competition. One lucky reader will get both the mic and the cans, just by answering the question on the right of the page. The MKE 400 is a compact and highly directional on- camera shotgun microphone designed to isolate audio. It features a supercardioid polar pattern, providing focus and detail while rejecting unwanted off-axis noise. This microphone brings presence and clarity to all your recordings.

headphone output also allows you to directly monitor levels while recording. For that, you need rugged yet lightweight headphones – and Sennheiser offers the perfect solution in the form of the HD 25. An adjustable and padded headband makes these cans fit just about any head, while closed-back earcups and thick on-ear cushions block out unwanted ambient noise while providing comfort for hours of use. So they

are ideal for the edit suite, too. With a 1.5m/57in cable and both 1/8in and 1/4in adapters, they’ll come in handy on all manner of shoots. Simply answer the question for a chance to win the mic and the headphones!

Including built-in wind protection and integrated shock absorption, the MKE 400 also comes with a fluffy windjammer for blustery weather. There’s a three-step sensitivity switch to set the levels, so that the MKE 400

TERMS AND CONDITIONS: Entries must be received by midnight, 2 February 2023, and the winners will be notified by email within seven days. Winners will be chosen at random from all the correct entries. This competition is only open to UK residents aged 18 and over. Employees of Bright Publishing, the prize provider and their immediate families and agents may not enter. The prize must be taken as offered with no alternative. Entries not in accordance with these rules will be disqualified; by entering, competitors will be deemed to have agreed to be bound by these rules. In the event that the prize cannot be supplied, no liability will attach to Bright Publishing. For the full terms and conditions, visit:




FORCE OF RABBIT! Softbox maker DoPchoice has gone extra-large with its new Fat-Rabbit mounting solution for large softlights. The system allows use of the 8ft Double-Hex and 6x5ft Snapbag softboxes to create soft and flattering light, while corner adapters may be moved into three different positions, avoiding interference with the yoke and frame. The Double-Hex Snapbag is an 8ft diameter softbox in a hexagonal shape, offering quick set-up and a highly reflective interior to even out illumination while maximising output. The design includes telescoping internal rods while the system folds down into a carry bag. Fat-Rabbit will also support the new 6x5ft Snapbag. Two new 40° grids easily attach to both new large Snapbags. These stretch across the Snapbag fronts for instant directional lighting. LOWEL BEHOLD!

YET ANOTHER LIGHT-BULB MOMENT Mounting the latest battery-powered LED bulbs can be a problem if there isn’t a suitable screw-in mount, so Matthews has revealed the new BM1 Bulb Mount kit. This features four Bulb Mounts made of lightweight, matte-black, moulded nylon with a standard lamp socket thread to hold one E26/E27 medium LED bulb. At the other end, a standard 1/4in-20 female threaded insert is ready to accept a Micro Grip pin, Micro Grip rod and more. Included are two threaded Micro Grip pins for use with 5/8in receivers and a Micro Grip rod for a 3/8in receiver. A Scissor Clamp makes for easy mounting from drop ceilings. The kit also comes with a 66mm/ 2.6in rubber-coated disc magnet.

Lowel Blender XL LED softlights are now available in a complete three-light kit with stands, umbrellas and switchable power unit in a single case. Up to four times the brightness of traditional 1x1 panels, each compact 98 CRI/99 TLCI light has a full range of colour temperature adjustments included. Each Blender light features 12 cool white and 12 warm white LEDs with individual 45° optical lenses. Dual knobs mix these white channels to blend colour temperature and dimming. For softer light, a drop-in diffuser is also contained in the kit. A price for the unit has not yet been revealed.

Drone giant DJI has revealed the new Mavic 3 Classic, which is based on the current Mavic 3 but omits the telephoto lens to bring the price down to £1399/$1599. The Mavic 3 Classic features the same 4/3 CMOS 20-megapixel camera, 46-minute maximum flight time and O3+ transmission system as the original £1729/$2049 Mavic 3 drone. As it’s compatible with existing RC Pro, RC and RC-N1 remotes, it is available as a drone-only for filmmakers who The drone captures up to 5.1K/50p, 4K/60p and 1080p/60p using H.264 and H.265 encoders, plus 4K/120p and 1080 HD at 200fps for slow motion. Its 24mm equivalent focal length lens opens to f/2.8. Stripped-back Mavic is a classic already have these controllers. The Classic is available in kits with a choice of remote controllers, as well as extra batteries, a charging hub, car charger, spare propellers and more.




Sigma expands its Contemporary range

The 18-50mm f/2.8 DC DN Contemporary zoom is now the fourth in Sigma’s growing range to fit Fujifilm X Mount cameras. It joins the 16mm f/1.4, 30mm f/1.4 and 56mm f/1.4 primes as an accessible option, designed to be as portable as possible. These X Mount lenses use a control algorithm to improve AF drive and communication. The new model also supports Continuous AF and in-camera correction of aberration, with a rubber-sealed mount to keep out nasty weather, too. The £430/$549 18-50mm f/2.8 is ideal as an upgrade to a standard kit lens for Fujifilm cameras with APS-C sensors. It gives a full-frame equivalent zoom range of 27-75mm, with edge-to-edge sharpness owing to an optical design of 13 elements in ten groups, including one special low dispersion (SLD) and three aspherical elements. A minimum focusing distance of 12.1cm/4.8in and maximum magnification of 1:2.8 feature. Weighing 285g/0.63in and measuring 76.8mm/3in in length, the 18-50mm is the smallest and lightest in its class, balancing well with mirrorless bodies.

COMPACT KING The latest Sigma zoom offers great value and is an ideal partner for Fujifilm cameras

COOKE OF REVELATION Cooke has revealed a 19-40mm wide zoom in its Varotal/i FF range, joining the 30-95mm and 85-215mm zooms launched at the end of 2021. Price has yet to be revealed, but for comparison the other zooms in the series cost around £45,600/$54,900 each! All the lenses deliver the famed ‘Cooke Look’, offering natural, flattering skin tone and character, and match footage shot on the Cooke S8/i FF and S7/i FF primes. The new 19-40mm lens is lighter than its zoom siblings, weighing 3.5kg/7.7lb, with a close focus of 320mm/12.6in.

VERTICAL VIDEO COMES TO DAVINCI RESOLVE A major new update to Blackmagic’s DaVinci Resolve provides support for editing vertical video resolutions for TikTok, Snapchat and Instagram, plus automatic locking of individual timelines for multi-user collaboration. This free update adds DaVinci AI voice Fairlight grid support has also been added, allowing clips to be positioned based on timecode or musical tempo. And projects imported from the Atem Mini ISO are easier to edit, with audio now attaching to video clips.

DaVinci Resolve 18.1 applies support for Dolby Vision 5.1.0 cinema trims, to adjust brightness levels of high dynamic range images. There are also performance improvements throughout.

isolation tools to remove loud, undesirable sounds from voice recordings in the cut, edit and Fairlight audio pages, as well as vector keyframing for Fairlight automation curve editing.




ALL-ACTION A large cinema camera and lens combo works perfectly with a slider to introduce some smooth motion CVP experts answer your questions

Have a problem with kit or how to use it? The staff at Britain’s number one retailer are here to help

also benefit anyone working in a more run-and-gun set-up. A slider provides precise and locked-off movement that will be more stable than a gimbal, but also more linear. Many sliders offer the added benefit of programming repeat movements. With the right equipment, a gimbal may also be used as a stabilised remote head that can then be mounted in various locations. But what is right for you will ultimately depend on the shots you need to capture. Q. I’m definitely more of a telephoto zoom lens shooter than wide-angle, and use a Sony 70-200mm f/2.8 on my A7S III. Is there a cinema-style, all-manual-focus version of this I could upgrade to that offers a more precise focus feel with a consistent T stop? A. There are a few options that will most likely require you to get an adapter from the likes of Canon, DZOFilm and Zeiss, but here are some things worth thinking about past the positives you’ve mentioned. For instance – if you are used to shooting handheld with an optically stabilised 70- 200mm, you will definitely want support for a cine lens as it will most likely not have stabilisation built-in. It also might be larger and heavier, which again means you would want to upgrade your support equipment to deal with the extra weight and size. Q. I regularly get asked for vertical video footage for social media. I always shoot in the traditional horizontal shape and then crop the footage in my NLE. Should I shoot in 4K then ‘throw away’ the end of the frames so it isn’t too much of a hit to resolution? Or does it not matter as it’s only for phones and tablets anyway? Also,

Q. I often see ‘10-bit 4:2:2’ and ‘8-bit 4:2:0’ being used when choosing what video format to shoot in. But what does it really mean and will I notice a difference? A. When we talk about 8-bit versus 10-bit in this context, it’s referring to the image’s colour depth. A 10-bit image can present 1024 colours per channel as opposed to the 256 colours per channel of 8-bit, which will become noticeable in footage where you have smooth gradients of colour like in skies, or when grading your image in post. The 4:2:2 or 4:2:0 figures represent chroma subsampling, which is to do with how analogue signals from your sensor are encoded into pixels – 4:2:2 is a higher sample rate, so more pixels will end up with unique chroma information. This results in greater flexibility in post, as well as better green screening results. Q. I want to get basic movement into my videos, but don’t know whether to get a slider or motorised gimbal. Surely a gimbal is more useful since it can be used like a slider, and for lots of other moves? A. It depends on what you are shooting. A gimbal will give you more freedom to ‘travel’ with your movements and will

are there any monitors that can show a vertical overlay to help me with framing when shooting? A. If you are delivering vertical footage for mobile, then shooting 4K 16:9 will still provide the resolution required when cropping to 9:16. Many monitors feature frame guides that will help you compose your shot for this, such as the Atomos Ninja V as well as most SmallHD units. There is a benefit to shooting vertically, though. Depending on what you film with, there are plenty of solutions to help mount your camera this way. Shooting vertically means you are still utilising the full resolution of your sensor, which will provide a higher-quality downscaled final video – or even room to reframe the finished shot in post.

GOING GREEN How do you effectively light a big background ready for keying out later?




GET UP CLOSE AND PERSONAL WITH GEAR AT CVP Nothing quite compares to getting hands- on with a potential new camera, optic or even an accessory. It gives you the chance to get a feel for how your prospective buy handles and performs before you pull the trigger on making that investment. CVP’s Newman House showroom in London has lots of the latest equipment, alongside experts who can answer all your questions. To book a demo, talk to one of CVP’s experts and explore the Newman House showroom, call +44 (0) 208 380 7400, email – or visit

“A slider provides precise, locked-off movement that will be more stable than a gimbal”

Email adamduckworth@ and leave it to us! Got a question for CVP’s experts?

Q. How do I light a green screen with the minimum number of lights? Could it be done with just two lights, and what other kit might I need? A. The key to lighting a green screen is to make sure the lighting is even, avoiding any hotspots or dark areas as well as shadows on the backdrop. A soft light source will be best for this, and if you have two lights, then one either side of the green screen should work nicely. Just

make sure they are of the same colour temperature. If you have a hard light source, acquire a softbox or some sort of diffusion to help with even illumination. The addition of an eggcrate grid on your diffusion will also minimise any light spilling onto the subject and the surrounding environment.







Sleigh the gift-giving game by choosing these classy Christmas presents, bound to get a round of Santa-pplause






I t always pays dividends to think outside of the box when it comes to Christmas gifts; nobody really wants more socks or smellies under the tree. Make Xmas 2022 one to remember by giving pressies so awesome it will be love at frost sight. Whether you keep getting asked what you’d really like to have for Christmas or just want to treat yo’elf to something special, take a look at our list of ice-cool kit that you won’t be regifting by Boxing Day. 1 Astera Titan Tube £684/$850 The Titan Tube is a high-tech LED that emits powerful, tunable white light with ultra- high colour rendering, as well as coloured light which can be applied to individual pixels or the whole tube. As it only weighs 1.35kg/3lb for a 1035mm/40.7in long tube, and is in diameter, it’s nice and easy to mount. 2 Core SWX Mach 4 Micro £1589/$1449 Core SWX’s Mach series of battery chargers can juice up four 98Wh packs in about 100 minutes. And the latest Mach 4 Micro boasts features such as Adaptive Charge Control, which uses Core SWX’s new technology to improve battery longevity by up to 30% over the life of the pack. 3 Peak Design Slide Strap £50/$55 The innovative Peak Design flagship camera strap is low profile, adjustable, rapid to connect and configurable to your gear. It can be worn as a sling, around the neck or on the shoulder. Its dual quick adjusters provide instant modification and the Anchor Link system keeps the camera locked in place. 4 Atomos Ninja V+ £630/$799 The Atomos Ninja V+ can be used as a monitor/recorder for 10-bit capture and ProRes Raw recording from 30 different cameras via HDMI. Plus,

it opens up streaming and connected devices as part of a cloud-based workflow, by adding the Atomos Connect unit. It can handle 8K ProRes Raw and 4K/120p footage. 5 Prime Light Design Voxbox Pro Mark II £1650/$2095 Voxbox Pro, now in Mark II guise, is a mirror box that’s positioned in front of the lens. It allows filmmakers to shoot down-the-lens interviews while maintaining eye contact between the interviewer and the subject. This kit comes in a hard case and can be left fully assembled for rapid use. 6 Zeiss CP.3 18mm EF T2.9 £4600/$5290 Zeiss’ compact CP.3 range offers high-contrast, rich blacks and more saturated colours, without any nasty glares or flares – thanks to advanced coatings, painted lens rims and light traps. The CP.3 range is available in 15mm, 18mm, 21mm, 25mm, 28mm, 35mm, 50mm, 85mm, 100mm and 135mm. 7 MPB Price varies Savvy filmmakers are switching on to the massive benefits of trusting all their equipment needs to used gear specialist MPB. It’s a successful cinema and photo equipment retailer staffed by experts. So, if you’ve always dreamed of a Canon Cinema EOS camera, for example, it’s more affordable than ever from MPB. 8 Zhiyun Fiveray F100 tube light £182/$149 Zhiyun moves into pro lighting with its Fiveray F100 tube light, which has lots of accessories. Weighing just 950g/2.1lb, the F100 has accurate colour rendition and reaches 20,708 lux at its 100W maximum power. A frosted coating gives diffused light and there are six creative lighting effects.






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