FOR THE SILVER SCREEN The new
Sony FX30, complete with Super 35 sensor, promises seriously cinematic footage
The ultimate magazine for next generation filmmakers
Editor in chief Adam Duckworth Deputy chief sub editor Matthew Winney Sub editors Harriet Williams, Ben Gawne Editorial director Roger Payne EDITORIAL ADVERTISING Sales director Sam Scott-Smith 01223 499457 samscott-smith@bright.uk.com Senior sales executive Hannah Gurney 01223 499463 hannahgurney@bright.uk.com DESIGN Design director Andy Jennings Design manager Alan Gray Senior designer Lucy Woolcomb Middleweight designer Emily Lancaster Designer and ad production Man-Wai Wong Junior designers Hedzlynn Kamaruzzaman & Kieran Bitten PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:
We seem to be on the verge of the great resurgence in Super 35 sensors – the traditional ‘large’ sensor size, before full-frame caught everyone’s imagination. I have to admit, I have always been a disciple of ‘the bigger, the better’ when it comes to sensors. Having a background in stills, even in the dark ages of darkrooms and film, bigger was better. Medium format – 6x6cm, 6x7cm or even 6x4.5cm – was preferable to 35mm, as it offered finer detail and the unique look of longer-focal-length lenses. In the same way, 5x4in or 10x8in plate cameras were even better – but, of course, were also monsters! As grain in film got finer, 35mm took over as the standard size – a happy medium. When stills cameras went digital, the same rules applied, as 6x4.5cm medium format machines outperformed full-frame 35mm and APS-C – or Super 35, if you prefer. But now, as sensors have improved, 35mm is pretty much the accepted gold standard. In filmmaking, Super 35 has long been the established ‘large’ sensor size. Although, full-frame sensors from DSLRs and mirrorless cameras have led the charge to bigger sensors. Now, many cinema cameras have these large options. All for the same reasons as decades ago – higher resolution, lower ‘grain’ or noise and a unique look. While the latest blockbuster might be shot on large sensors, it will be projected on massive movie theatre screens. You don’t need anything that big, even for large-screen TVs and computer monitors to watch YouTube. In recent months, we have seen brand-new Super 35s launched from Fujifilm with the X-H2S and X-H2, plus Blackmagic’s Pocket Cinema Camera 6K. Even the Arri Alexa 35 uses a Super 35 sensor. The Red Komodo 6K is also a dream machine. And now Sony boasts the FX30, a sibling of the full-frame FX3 but with a new Super 35 sensor. I’ve had one for a few months and put it through its paces. Like every other camera tested at Pro Moviemaker , we spend a long time pixel-peeping at results to see how it performs. The verdict – it’s simply staggering. Apart from the Arri, all these choices are cheaper than full-frame rivals, with smaller and more affordable lenses. So, if you’re in the market for a new camera, don’t write off Super 35. It has a lot of advantages that might just suit your work.
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.
ADAM DUCKWORTH, EDITOR IN CHIEF
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