EURO KIT FEST!
All the best fixed focal length optics for mirrorless cameras BUYERS’ GUIDE: PRIME LENS SPECIAL
Hands-on with the very latest COB lights HARD CORE LEDS
What to look out for at the mega IBC show in Amsterdam
SEPTEMBER 2022 £5.49
The C200 cinema camera makes an incredible pre-loved buy CANON’S RAW POWERHOUSE USED FOCUS
Great-value glass that really performs AWESOME IRIX LENSES TRIED AND RATED
CAST YOUR VOTE NOW MAGIC NUMBER AWARDS The second-generation 6K Blackmagic Pocket Cinema Camera hits the sweet spot TESTED
The truly oustanding 35-150mm everyone is talking about TAMRON SUPERZOOM
Astera’s HydraPanel LED lights and a SmallRig mount for DJI’s Action cam put through their paces Cool new tech from Sigma and Rotolight
It’s the Oscars of filmmaking kit, so have your say
FLY-BY SHOOTING There’s another reason to splurge on the DJI Mavic 3 drone, as it is now C1 certified
The ultimate magazine for next generation filmmakers
Editor in chief Adam Duckworth Chief sub editor Alex Bell Deputy chief sub editor Matthew Winney Sub editor Harriet Williams EDITORIAL ADVERTISING Sales director Sam Scott-Smith 01223 499457 firstname.lastname@example.org Senior sales executive Hannah Gurney 01223 499463 email@example.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:
Among all the fresh and sexy camera and lighting equipment this issue is packed with, there’s one news story about EU legislation that might just have more of an impact on independent filmmakers. It’s nestled inside our Agenda section – on page 13 to be exact. Now, normally any story about new laws, licensing and European-wide legislation is a panacea for insomnia. No creative person likes to read through rules and regulations. But this fine print might just unlock more creativity for a whole swathe of video-shooters who use drones. In years gone by, anyone flying a drone for commercial gain – and that means editorial use as well – had to take a lengthy and expensive course to do so. Every flight meant filling in logs and doing risk assessments, slowing down the whole process. In recent years, legislation changed, so that anyone who flew a drone of 250g or more had to do a short course – many of which were online – and take an exam to get the right certificate. You had to register your drone and pay commercial insurance, too. But it meant most filmmakers could then get the paperwork, qualifications and insurance to fly legally without too much expense or time. However, nobody made a drone to fit into these new categories. So older, ‘legacy’ drones were limited to not flying within 50 metres of people or 150 metres of buildings. You might have the certificate to prove you are allowed to get closer, but nobody made the category of drone to allow you to do it. Of course, many people did, and we can’t condone that. But drone leader DJI has managed to get its new Mavic 3 certified as the first in the C1 class, if you upgrade the firmware, which is free. So finally, if you have the right drone and the correct paperwork, you can now legally fly next to buildings and people – although not over huge crowds. It opens up new, creative opportunities for filmmakers to get even more incredible shots. Unfortunately, rogues will still ignore the law and fly over people with any drone, have no permissions or insurance, and claim ignorance if they are caught. But at least now, there is a way to fly legally with an affordable drone – and others will follow suit.
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 where available or converted using the exchange rate on the day the magazine went to press.
ADAM DUCKWORTH, EDITOR IN CHIEF
The ultimate magazine for next generation filmmakers
SEPTEMBER 2022 CONTENTS AGENDA 6 WOODEN ACCESSORIES FOR YOUR SET Take a look at a new range of products made from natural timber, so you can be sustainable in your work. Plus, Tiffen goes small with some fresh filters and discover how your short film could win an Oscar! 8 WOMEN’S FILM CHALLENGE RETURNS A crew of 180 filmmakers joined forces to write, film and produce six short films in 84 hours, scouting locations for shoots around New York. Also, Rotolight’s free app and Tamron shows off a zoom. 10 SIGMA’S ART DUO LAUNCHED Two fast, wide primes for mirrorless cameras hit the market, offering incredible image quality and optics. Plus, the desktop gizmo to speed up your post in all the best-known NLEs. 13 ZEEPROMPT IS FAST AND EASY A new carbon-fibre teleprompter comes with its own bespoke screen. See how DJI’s Mavic 3 has got the upper hand over rival drones, now it has C1 class approval, and delve into the LED light made for cycloramas.
AWARDS 16 TIME TO CAST YOUR VOTE!
The annual Pro Moviemaker Gear of the Year Awards is in full swing, but there is still time to have your say and let the world know your preferred choice of kit. It’s a simple online questionnaire and you don’t need to register.
PREVIEW 30 IBC MAKES ITS RETURN!
Europe’s biggest show for filmmakers is back after two years away. We guide you through the extravaganza being held at the RAI in Amsterdam, highlighting what’s going to be hot for you to peruse. GEAR 36 COB A LOAD OF THESE! The latest ‘chip on board’ LED lights are taking the world by storm, so we try four brand-new Nanlites. We also check out some of the best from rival brands and get to grips with light modifiers. 50 IT’S A KIND OF MAGIC Blackmagic Design’s Pocket Cinema Camera 6K G2 is a massive upgrade to the existing 6K ‘standard’ model, keeping the same Super 35 sensor, but adding a whole lot more. How does it perform? 58 PRIME LENSES YOU CAN AFFORD Irix decided to take a different approach to the cine lens market, in a bid to stand out against its more established – and expensive – competition. We used a pair of its fixed-focal-length primes, with impressive results.
The ultimate magazine for next generation filmmakers
62 USED FOCUS: CANON EOS C200 In the first of a new series looking at great second-hand buys, we zone in on the groundbreaking Canon Cinema EOS C200 that shoots Raw internally – for not a huge amount of money. 66 MINI TESTS: WE USE AND RATE TOP GEAR A set of four Astera HydraPanel LEDs, the incredible Tamron 35-150mm f/2-2.8 superzoom, and a cool SmallRig mount to upgrade your DJI Action 2 camera are all put to the test. 74 BUYERS’ GUIDE: MIRRORLESS PRIMES From manufacturers’ own autofocus lenses, to third-party alternatives, along with manual focus cinema lenses – we get up close and personal with some of the gorgeous glass you can mount to your compact camera.
CAN YOUR SHORT WIN AN OSCAR? If you think you have made a short film good enough to win an Academy Award, now’s your chance to get it to Tinseltown. Entries are being accepted for the 32nd Annual Florida Film Festival on 14-23 April. The festival is one of only a handful worldwide where the winners of the Grand Jury Award in all three shorts categories – live action, animation and documentary – automatically qualify to the Oscars. Filmmakers can submit entries at floridafilmfestival.com through Film Freeway. Categories include short films, documentary films, international films and narrative features. The regular deadline is 11 November 2022. floridafilmfestival.com
Wooden you know it - eco-friendly supports!
Discover Setgear, a British firm started by an experienced cameraman supplying a range of useful on-set tools made predominantly of wood. All are built from FSC-certified birch ply, hand built and finished with linseed oil. Setgear’s most popular product is the H-Plate – a modern remake of the old ‘top hat’, which serves as a solid base to build any camera up without it tipping over. It fits a Ronford-Baker quick-release plate, among others. It is designed to sit on a mag-liner trolley or any steady surface. The X-Stand quickly assembles to provide a rest for your camera to keep it off the floor in-between handheld filming. Strategically placed cut-outs enable cables or rods to fit through. Setgear also manufacturers apple boxes in UK and American sizes. As well as the timber kit, the company has a range of lav mic concealers in round
and teardrop shape, that are precision fit for various Sanken, Rode, Shure and Sony mics. Their low profile means they lie flat under clothing, are flexible, lightweight and durable. setgear.co.uk
TIFFEN HITS THE SMALL TIME! Tiffen is introducing 39mm round filters to fit the growing number of lenses from Leica and Fujifilm. The first in the line-up is Tiffen’s Black Pro-Mist, which gives delicate control of highlight flares. It comes in strengths of 1/8, 1/4, 1/2, one and two, for $65. Also available is a round 39mm UV Protector filter at $11 and a Circular Polariser for $20. No UK prices yet. Tiffen’s professional filters are made from optical glass, with water- and scratch-proof multi-coating. tiffen.com
FIRMWARE ROAD MAP FOR DJI RONIN 4D
The radical DJI Ronin 4D has recently benefitted from a free firmware upgrade, yet a second upgrade is said to be imminent. The latest firmware had a slew of improvements, including anamorphic de-squeeze, independent 1080p/60fps HDMI recording to the High-Bright monitor and three-channel follow focus. The forthcoming upgrade will add ProRes 422 LT codec, 3.5mm time code input, clean HDMI video output and support of third-party monitors for sync recording and timecode sync. dji.com
VMI ADVERTISEMENT FEATURE
A company with a conscience VMI is so much more than a major camera rental house – it is leading the filmmaking industry into a healthier and greener future
W hen it comes to choosing a rental company for your filmmaking equipment, there’s a big selection, so it pays to make an informed decision about which one to go with. Many offer a wide range of equipment, but few take their responsibilities to their staff and the environment as seriously as VMI. It’s here that VMI really stands out as something special and truly unique. With bases in London and Bristol, VMI specialises in hiring quality digital camera packages for TV drama, features, documentary, natural history, commercials and corporate productions, having supplied equipment on 14 drama series in 2021 alone. It stocks every 4K+ camera format – from Sony FX6, RED Komodo and Canon C300 Mk III to Sony Venice, RED V-Raptor and ARRI Mini LF, as well as specialist cameras like the Phantom VEO-4K super slow-motion (capable of 1000fps in 4K RAW) and Canon ME20F-SH, which has an extraordinary super low-light rating of 4m ASA. Plus, it offers lenses, lighting, grip and sound equipment to be a one-stop shop. VMI has been a certified living wage employer since 2019, and last year made a commitment to be an entirely net zero company by 2030. It’s just the latest step in VMI’s 20-year effort to reduce its impact on the environment. The firm’s huge efforts on sustainability, and wider influence on the rental industry
ELECTRIFYING VMEDIA is VMI’s media and battery hire facility, pictured here with its BMW electric delivery vehicle
“When you rent from VMI, you know you are dealing with informed, professional people”
to help bring about lasting environmental measures, won VMI the Hero of Net Zero award, presented at the COP26 climate summit by the UK government. More than 160 businesses entered the competition, making a commitment at the UK Business Climate Hub to achieve net zero by 2030, 20 years ahead of the government’s climate goals. VMI won over the judges for taking responsibility for the environmental impact of the whole rental sector, spreading the sustainability message as founding members of Bectu’s Film For Future group. “We pride ourselves on having very strong values of being a fair, equitable company and a good, responsible employer and were recognised as being one of the UK’s top 100 Greatest Places to Work earlier this year,” said Barry Bassett, VMI’s Managing Director. The company, which started in 1979, has been recognised for excellence by winning many awards over the years. This included Park Royal Business Of The Year 2022. As a recognised Investors in People company, VMI supports ongoing training
and development for all staff. So, when you rent from VMI, you know you are dealing with informed, professional people, with not only equipment know-how, but a commitment to a long-term future for filmmaking and the environment. With solar panels and EV charging bays installed at both buildings, investment in developing diverse young filmmaking talent, choosing to bank only with ethical financial institutions, in-office recycling, and even a move to vegetarian meals for its people, VMI is genuinely a company with a conscience. That’s why it’s no surprise it has been nominated for a service accolade in the Pro Moviemaker Gear of the Year Awards.
WINNING TEAM Yet another award for VMI – a major rental house that is leading the way as an environmentally conscious and responsible employer
Women’s Weekend Film Challenge returns
A crew of 180 filmmakers joined forces to produce six short films from 11-14 August, as part of the Women’s Weekend Film Challenge in New York. Participants wrote, shot and edited films in 84 hours, scouting locations for shoots around the city. The WWFC was set up to address the lack of women and non-binary people behind the camera and on-screen. This was its fifth film challenge event, and the first since the pandemic forced productions across the country to shut down. Previous challenges – three in New York and one in LA – saw more than 700 attendees make 30 short films, screened at more than 90 film festivals. Almost 600 applied to fill every role of production – from gaffers and sound mixers to writers and actors. Organisers placed the lucky 180 into crews, ensuring each team had the talent they needed.
GROUP WORK New York hosted the unique workshop weekend, where six films were created from writing through to production
“Our community was hungry for this after Covid-19 shut down production,” said organiser Tracy Sayre. “This is our first in-person programme since, and the record-breaking number of submissions we received shows how much interest there is in networking with a diverse group of women and non-binary filmmakers.” Equipment, software, insurance and funding was provided by the likes of Zeiss, Sony, Arri, AbelCine and more. womensweekendfilmchallenge.com
“Almost 600 applied to fill every role – from gaffers and sound mixers to writers and actors”
TAMRON’S WIDER SUPERZOOM Tamron is almost finished developing an ultra-telephoto mirrorless zoom for Sony E-mount full-frame cameras: the 50-400mm f/4.5-6.3 Di III VC VXD. With an 8x zoom ratio starting at 50mm, it’s the same size as classic 100-400mm zooms, with a wider angle of view. It is 18.3cm/7.2in long and weighs 1155g/2.55lb, with a quiet VXD linear motor focus mechanism and IS. Providing up to half-size magnification during close focus, it is 25cm/9.8in at the 50mm end. Filter size is 67mm to match other Tamrons. The lens also features a port to enable dedicated Tamron Lens Utility software for customising lens functions. It should be available in late autumn; no prices have been set. transcontinenta.co.uk
FREE UPGRADE Owners of two of the latest Rotolights can now control them via the smartphone app
APPY DAYS AT ROTOLIGHT
found on the latest generation of Rotolights, meaning users can choose from 16.7 million colours, create custom presets, access key features and recall most-used settings. This is ideal for when the light fixture is inside a modifier, or is awkward to access on-set. rotolight.com
Rotolight has launched a new app for its latest Neo 3 and AEOS 2 lights. The free app works on iOS and Android tablets and phones, allowing you to employ your device to adjust kelvin, brightness, HSI, gels, flash settings and SFX – on up to 20 lights. It features a virtual replica of the touchscreen
Wild at Art
Sigma has expanded its legendary Art lens range with two fast primes just for mirrorless – the 20mm f/1.4 DG DN and 24mm f/1.4 DG DN. They join the 35mm and 85mm f/1.4 models in the line. The new lenses are designed to have both very sharp optics and superb build quality, and come in Sony E and Leica L mounts. The 20mm costs £859/$899 and the 24mm £779/$799. The wider lens has 17 elements in 15 groups, including two super-low dispersion (SLD) elements and three aspherical elements, including a pair of double-sided aspherical elements. That optical construction is totally different to the DSLR-fit version. It has an 11-bladed, rounded aperture, a minimum focusing distance of 230mm/9.1in and 82mm front thread. The E-mount version of the lens measures 87.8mm/3.5in diameter and 113.2mm/4.5in long and weighs 630g/1.39lb. For use in very cold weather, the 20mm lens has a Lens Heater Retainer. The 24mm version has 17 elements in 14 groups, including two ‘F’ low- dispersion (FLD) elements, one super-low
dispersion (SLD) element and four aspherical elements. There is a minimum focusing distance of 250mm/9.9in, a rear filter holder and 72mm filter thread. The Sony-fit version is 75.7mm/3in diameter by 97.5mm/3.8 length, weighing just 510g/1.12lb. Both lenses are dust- and splash-resistant, and the Sony’s AF assist functions. The aperture ring can be de-clicked with a dedicated switch. Sigma uses an array of coatings, including its Nano Porous Coating (NPC) and a water- and oil-repellent coating. Other features include a focus mode switch, a rear filter holder and new Manual Focus Lock (MFL) switch. sigma-global.com autofocus system is driven via a stepping motor, which makes it compatible with all
“The new lenses are designed to have both very sharp optics and superb build quality”
NO SWEAT A heating attachment stops fogging
POST-HASTE WITH TOURBOX
For editing, these can be set to zooming in and out of the timeline, navigating on a custom speed and playback. It works well for grading and audio editing. TourBox Neo supports Windows 7 or higher, and macOS 10.10 or higher, and costs £145/$169. transcontinenta.co.uk
The TourBox Neo is a new desktop custom controller to speed up colour grading and video post-production, but can also be used for photo editing, as well as graphic designs. It works together with your existing keyboard, mouse or graphic tablet and connects to your computer via USB-C or USB-A. It has buttons that you
can assign to various functions in software such as Final Cut Pro X, DaVinci Resolve, plus Adobe’s suite of Premiere Pro, After Effects, Photoshop, Lightroom, Illustrator, Camera Raw and others. It has three
assignable dials and 11 buttons in seven different sizes.
PLAY IT LEFT HANO The Neo works with graphic tablets
Simply Zee best teleprompter!
with HDMI and VGA inputs, plus a built-in text-reverse feature. The screen has 1000:1 contrast ratio and is powered from mains with the included power unit or via optional D-Tap 7-24VDC. ZeePrompt has developed its own Windows and macOS applications to run the monitor, although it can also display PowerPoint presentations. The whole kit weighs just 1.5kg/3.3lb, launch price is £1674/$1982 and it comes with a 10m HDMI cable. zeeprompt.com
A lightweight teleprompter made of carbon fibre called the ZeePrompt has been launched by British manufacturer PrimeLight Design. It’s fast to set up, has a simple one-piece design and comes with user-friendly prompting software. The kit can be assembled in ten seconds without tools, says the manufacturer. It fits to 15mm rods or a light stand, and 12in beam-splitter glass folds into the unit for transportation. Instead of using a smartphone or tablet, the ZeePrompt comes with an integrated 10.1in monitor
DJI MAVIC 3 GETS THE WORLD’S FIRST C1 APPROVAL The Mavic 3 from DJI is the first drone to get a C1 certificate under the new European drone regulation. Once upgraded to C1-compatible firmware, filmmakers will be able to fly in the A1 open category. There will be no need to pass the complex and costly A2 Remote Pilot Certificate exam from January 2024. It means the Mavic 3 could be flown in environments previously restricted, unless special permission was granted after an often lengthy administrative process. The main difference between operating the Mavic 3 series with a C1 certificate and any other drone is that you can fly over people – although not large crowds – and buildings, instead of remaining a minimum of 50m from people and 150m from buildings. Any drone pilot with an A1/A3 proof of competence basic drone licence will be permitted to fly a C1 drone, instead of taking the more expensive and involved Remote Pilot Certificate. To be C1 legal, the Mavic 3 series had to meet some new criteria. Its noise levels couldn’t exceed 83db, and when ActiveTrack Intelligent Flight Mode is activated for filming people or objects, the distance from the person/object is limited to 50m. Beyond that, ActiveTrack will have to be disabled. The LEDs at the front arms of the drone will blink by default when it is on, and auxiliary LEDs have to flash when in flight. An A1/A3 proof of competence basic drone certificate will remain essential for all drones weighing 250g or more. dji.com
Spanish company Velvet launched its Cyc range of RGBW LEDs, designed to evenly light a cyclorama or infinity cove. Each horizontal bar can be controlled alone. Unlike conventional panoramic lights, the vertical beam angle in these Velvet Cyc fixtures may be changed by simply adjusting the angle of each SMOOTH LIKE VELVET
row. One single row of lights can reach heights of up to 7m/23ft. velvetlight.tv
CVP ADVERTISEMENT FEATURE
CVP solves your filmmaking problems
The award-winning UK retailer’s technical staff answer your questions about equipment, techniques and much more
and A7 IV. When we do multicam edits, we use a clapper on set to sync them via audio. Is there an easier way, such as using timecode? What kit would we need? – Eric Bronson, Liverpool A. A timecode system would do the trick. If you only want to sync cameras for post, I would grab a Tentacle Sync E for each camera you need synced, then use that system to sync your cameras together. Q. I’m a single-person shooter living in London and often use public transport. Is there a three-light kit I could invest in that I could take with me on the tube? I already have everything else in one wheelie case. – Pete Walker, Brixton A. There are a few options, but it depends on how large of a Peli case you could deal with solo! I’ve seen small COB LED light kits fitting in one Peli or bag, as well as flexible LED panels being used. It also depends on what you like to use to light your scene. I would recommend checking out the Aputure and Amaran kits, specifically the Amaran flex panels, as these are super-lightweight, so you will be able to easily carry around a few in a bag or Peli case. Q. My head says I should buy a Sony FX6 because it can do everything and is full-frame. My heart says I should get a Red Komodo, despite the smaller sensor. My lenses are all Canon EF mount that I use with adapters. Please tell me I’m not mad to go Red! – Mike Kneale, Manchester A. You aren’t mad. The FX6 is an incredibly versatile, workhorse camera that does have features and abilities that the Komodo doesn’t, but of course, the Komodo does have its pros over the FX6. If you’re looking at the Red Komodo because you currently can’t get an FX6, I would suggest checking out our YouTube video comparing the FX6, C70 and Komodo at youtu.be/cvptv
Q. I’d like to have a production monitor on set for my clients to see what’s being shot. But there is a huge difference in price between a BenQ monitor and something more high-end like a Swit or SmallHD. What benefits would I see in a more expensive unit? – Dave Miller, Bristol A. Regular and production monitors are designed for two very different workflows – and this is what justifies the price variation. Production monitors are usually built more robustly, to deal with the knocks they take while on set, and will be easier to power via common on-set solutions. They also normally have inputs and outputs that are tailored for production workflows that normal monitors will not, such as SDIs. They will also have monitoring tools that are crucial for certain jobs while on set. Lastly, some of the panels that production monitors use are much better when it comes to brightness and colour. Q. I use a variety of different LED lights in the studio and on location, from multiple manufacturers. I’m concerned that when I set a specific colour temperature on each of them, the results are slightly different. Is there any way of calibrating them or an easy way of making things match on set? – Josh Hanson, Cardiff A. The easiest way to do this is to get a spectrometer such as the Sekonic C800. This will allow you to measure the light coming out of your different fixtures and understand just how matched they are. You can then make a note of the differences needed to get them to match at a given temperature. If on a budget, you can rent a spectrometer quite easily. Alternatively, you could also do this with your camera, using a grey card and a controlled room.
EXPERIENCE YOUR PERFECT CAMERA BUILD WITH CVP If you want to build up your ideal camera, or get hands-on with all the latest accessories - from lenses to rigs, monitors and more – to see how they work together before you buy, then it has to be CVP. The Newman House showroom is packed with lots of the latest equipment for you to try, and there’s always genuinely impartial advice from CVP’s experts to answer your questions there on the spot. To book a demo, talk to one of CVP’s experts and explore the Newman House showroom, call +44 (0) 208 380 7400 , or email firstname.lastname@example.org or visit cvp.com
Q. My small crew all shoots on Sony mirrorless cameras – a mix of A7S III
Email adamduckworth@bright- publishing and leave it to us! Got a question for CVP’s experts?
AWARDS GEAR OF THE YEAR
STILL TIME TO VOTE FOR YOUR…
Let the world know your favourite kit in our prestigious awards, recognising the very best equipment and services
I t’s time for you to cast your vote in the annual Pro Moviemaker Gear of the Year Awards, which close on 12 September. Starting six years ago, these accolades are globally recognised as a major achievement for manufacturers of filmmaking hardware, software and services. It’s an honour where innovation is recognised, as winners are voted for by professional filmmakers. As always, the categories are often changed to reflect the look of the market. This year we have introduced an award for best hybrid/crossover camera to replace the stagnant DSLR category.
Pro Moviemaker magazine to form the real judging panel. We are calling on you to cast a vote for the equipment and services that have made a significant difference to your work or life. Please go online and have your say in our quick and easy survey. You don’t have to vote in all categories – just the ones you want to. We will also have six editor’s choice awards, for equipment we feel is deserving of special recognition. These are in the categories of mirrorless cameras, cinema cameras, audio, support, lighting and special innovation. Vote now!
Lenses, lights, filters, stabilisers, memory cards, tripods and more have all been going through a period of innovation, which makes these products better every year. And competition for the accolades is greater than ever. In last year’s awards, we added categories to honour rental houses and retailers of new and used equipment, which are often the main conduit between manufacturers and filmmakers – these remain in 2022. Our team of gear testers have compiled a shortlist of the best filmmaking kit and companies. Now, it’s down to readers of
GEAR OF THE YEAR
The radical DJI Ronin 4D is a large-sensor cinema camera mounted to a four-axis gimbal. It uses drone technology to keep things level and broadcast the video signal for miles.
This year, the need for speed has seen the biggest revolution in mirrorless cameras, as stacked sensor technology was used in bodies from Canon, Nikon, Fujifilm and Sony. Frame rates increased, as did focus speed – this meant an end to rolling shutter issues of badly skewed verticals in panned shots. The Nikon Z 9 and Sony A1 opted for high megapixels and fast frame rates, while the Canon EOS R3, Fujifilm X-H2S and OM System OM-1 went for lower resolution to bring the price down. Canon’s full-frame EOS R5 was popular, as was the Sony A7 IV, while Sigma’s fp L got a 61-megapixel sensor. In the Micro Four Thirds world, the long-awaited Panasonic Lumix GH6 packed in high specs. Our newly unveiled hybrid/ crossover category is for the latest cameras that mix different technologies – so not just a standard mirrorless or pure cinema camera. The Blackmagic Pocket Cinema Camera 6K Pro has cine features like built-in NDs, but is more like a large mirrorless designed solely for video. Or the Canon EOS C70, a Super 35-size unit that’s the entry-level cinema EOS camera, but is very different to the rest of that line. Also, the Canon EOS R5 C is heavily based on the EOS R5 mirrorless, but adds fan cooling and a full cinema EOS user interface. Sony’s FX3 features a sensor from the A7S III, but in a more cine-style body. And the Panasonic Lumix BS1H uses the internals of the S1H mirrorless camera in a box-style body with no viewfinder.
In the cinema camera class, the Blackmagic Ursa Mini Pro 12K is shortlisted for its incredible resolution, while Red’s Super 35 6K Komodo became a huge hit, thanks to a more affordable price. The US firm also revealed the V-Raptor, a full-frame 8K cinema camera that is cheaper than Red’s existing 8K full-frame range. Canon’s EOS C500 Mark II and C300 Mark III both share the same body and very similar spec. The C500 uses a full-frame sensor, while C300 has a new Super 35 sensor with Dual Gain Output. Sony’s flagship Venice 2 got Hollywood excited, while FX9 and FX6 full-frame cinema cameras continue to be in short supply. In the camcorder list, streaming growth continues. The classy JVC GY-HC550 remained popular, joined by Canon’s XF605.
Canon EOS R3 Canon EOS R5 Canon EOS R7 Fujifilm X-H2S Fujifilm GFX 50S II Nikon Z 9 OM System OM-1 Panasonic Lumix GH6 Sigma fp L Sony A7S III Sony A7 IV Sony A1 Hybrid/crossover Blackmagic Pocket Cinema Camera 6K Pro Canon EOS C70 Canon EOS R5 C DJI Ronin 4D Lumens VC-A51P PTZ Marshall CV568 Panasonic Lumix BS1H Sony FX3 Camcorder Canon XF605 Canon XA55 JVC GY-HC550 Panasonic HC-X2000
RACE TIME Speed has been the name of the game for many of this year’s star releases, but it’s up to you to vote
Sony PXW-Z190 Sony PXW-Z280 Sony HDC-F5500
Cinema camera Blackmagic Ursa Mini Pro 12K
Canon EOS C500 Mark II Canon EOS C300 Mark III Kinefinity Mavo Edge 6K Panasonic AU-EVA1
Red Komodo Red V-Raptor
Sony FX6 Sony FX9
Sony Venice 2 Z Cam E2-S6
GEAR OF THE YEAR AWARDS
Canon RF 14-35mm f/4L IS USM Canon RF 24-70mm f/2.8L IS USM
Canon CN-E 20-50mm T2.4 Fujifilm MK 18-55mm T2.9 Fujifilm XF 18-120mm f/4 LM PZ WR Panasonic Leica DG Vario- Summilux 25-50mm f/1.7 ASPH Sony FE 24-70mm f/2.8 GM II Sony FE 70-200mm f/2.8 GM II Tamron 35-150mm f/2-2.8 Di III Zeiss LWZ.3 21-100mm T2.9-3.9 Prime lens Canon RF 50mm f/1.2L USM Fujifilm GF 80mm f/1.7 R WR Irix 150mm T3.0 Macro Irix 45mm T1.5 Nikon Z 800mm f/6.3 VR S Sigma 18-35mm T2 Cine Sigma 50-100mm T2 Cine Panasonic Lumix S 85mm f/1.8 Samyang AF 35mm f/1.4 FE II Samyang Xeen Meister 50mm T1.3 Schneider-Kreuznach Isco4all lenses Sigma 20mm f/2 DG DN Contemporary Sirui 50mm T2.9 1.6x Anamorphic Sony FE 50mm f/1.2 GM Zeiss CP.3 50mm T2.1 Zeiss Supreme Prime 15mm T1.8 Lens accessories Cokin Nuances Extreme filters Desview T3 teleprompter Formatt-Hitech Black Supermist Circle kit Formatt-Hitech Firecrest Ultra Cine Superslim kit Lee Proglass Cine IRND 2.1 Magic Video Box Schneider-Kreuznach True-Streak filters SmallRig Mini matte box Vocas five-axis dioptre holder Voxbox Pro including two kits from Formatt- Hitech. The popular Schneider- Kreuznach True-Streak filter and Lee Proglass Cine IRND 2.1 are also nominated, joined by the Cokin Nuances Extreme Filters. The Vocas universal five-axis diopter holder helps you focus much closer. For the right-down-the-lens style of interview, the Voxbox Pro and Magic Video Box are great.
cameras, while the Zeiss LWZ.3 21-100mm T2.9-3.9 continues to impress. Sigma’s 18-35mm and 50-100mm T2 cine zooms are consistently excellent. In the AF prime market, Canon’s RF 50mm f/1.2L USM and the Sigma 20mm f/2 Contemporary are stunning, as well as the Fujifilm 80mm f/1.7 R WR GF for medium format and the Nikon Z 800mm f/6.3 VR S super-telephoto. Also, take a look at Sony’s 50mm f/1.2 G Master prime, which is incredibly sharp and – like most of Sony’s newer G Master range – has a de-clickable iris. Many filmmakers love manual prime lenses for their fast apertures and smooth feel when focusing. The Irix 150mm T3.0 Macro and 45mm T1.5 offer handling innovations. Samyang Xeen Meister 50mm T1.3 or Zeiss 15mm T1.8 Supreme Prime take performance to a new level. Anamorphic lenses are still coveted and the affordable Sirui 50mm T2.9 Anamorphic 1.6x is now built for full-frame cameras. Schneider-Kreuznach’s new ISCO4all lenses are three stand-alone cine primes and an anamorphic front adapter. There’s also a category for accessories, such as the affordable SmallRig Mini matte box, and filters
Wider, longer, faster, brighter, lighter. Just when you think there couldn’t be any great improvements in optical technology, manufacturers continue to innovate. Once again, lenses to fit mirrorless cameras are booming – and there are plenty of new Canon RF, Leica L, Nikon Z and Sony E-mount pieces from the marques themselves, alongside third-party indie brands. As intelligent AF systems for filmmaking gain ground all the time, autofocus lenses are being bought as often as cinema-style manual optics. There are new Mark II versions of both Sony zooms – the 24-70mm and 70-200mm f/2.8 G Masters – that have a de-clickable iris. Tamron has been innovating with its 35-150mm zoom that is as fast as f/2 at the wide end, closing down to f/2.8 at the telephoto end. Canon’s new AF zooms – the RF 14-35mm f/4 L IS USM and 24-70mm f/2.8L IS USM – are very popular. And the latest Fujifilm XF 18-120mm f/4 LM PZ WR is a power zoom that’s built for shooting video on the X-H2S mirrorless camera. The Fujifilm MK 18- 55mm T2.9 is a cine-style manual zoom designed to minimise focus breathing and axial shift. The Canon CN-E 20-50mm T2.4 is a zoom cine lens for full-frame
Great glass from the likes of Sony and Fujifilm are shortlisted, so have your say and vote
GEAR OF THE YEAR
SUPPORT From tripods to monopods, gimbals, sliders, rigs and other bits of
Tripod system 3 Legged Thing Tommy with AirHed Cine 3 Legged Thing Punks Travis 2.0 Benro A373FBS6Pro
equipment to keep footage smooth, these are hotly contested categories, always packed with innovation. The tripod is the heart of most filmmakers’ kit, and are available in a huge range of sizes, styles and prices. The Sachtler Flowtech75 tripod is nominated once more, as it has flat carbon-fibre legs and is fast to set up when combined with the Aktiv8T head. Manfrotto has its own full-size range built for speedy functionality, and the 645 Fast carbon tripod is light and quick to use. For a less expensive option, the 190X aluminium is well-regarded. Design-led British firm 3 Legged Thing has nominations for the Tommy tripod with AirHed Cine head, while its Travis 2.0 is an affordable and simpler option. Peak Design’s Travel Tripod carbon fibre is very compact. In monopods, the iFootage Cobra 2 C180 is a design gem that works flawlessly. Gudsen Moza Slypod Pro is a motorised monopod that can be used as a slider or jib. For sliders, check out the carbon- fibre Konova P1 KMS-S3, iFootage Shark Nano bundle slider or Kenro Double Distance slider. All offer clever solutions. When it comes to rigs and cages, the hugely popular Komodo kits nominated include the Vocas full cage and Tilta Professional. The Movcam kit for the Kinefinity Mavo Edge allows two small batteries to power the camera, while the main batteries are changed. Or for a lighter weight, see SmallRig’s Master Kit 3009 for Sony A7S III. In the booming category of motorised stabilisers, the Manfrotto 300XM offers a unique remote- control solution, while the DJI RS 3 and RS 3 Pro elevate the class. The Zhiyun Weebill 3 takes the arm strain out of using a gimbal.
Benro Rhino FRHN34CVX30 Kenro Twin Tube video kit Libec TH-Z Manfrotto 190X aluminium Manfrotto 645 Fast Twin carbon fibre Peak Design Travel Tripod carbon fibre Sachtler Flowtech75 MS with Aktiv8T head Sirui BCT-2203 Monopod iFootage Cobra 2 C180 Gudsen Moza Slypod Pro Libec TH-M kit Manfrotto Element MII Video Manfrotto XPro Slider/dolly Edelkrone SliderPLUS v5 Long Hague Powerslider 2 iFootage Shark Slider Nano bundle Kenro Double Distance Konova P1 KMS-S3 Manfrotto Magic Carpet Pro medium Motion Impossible Agito Rhino Carbon 24in Rig Movcam Kinefinity Mavo Edge kit SmallRig Master Kit 3009 for Sony A7S III Tilta Professional kit for Red Komodo Vocas full cage kit for Red Komodo Wooden Camera Pro camera four-section video Steadicam Air-25
SOLID BUYS Motorised gimbals, sliders and tripods are essential
cage for BMPCC 6K Pro Zacuto GH6 ACT Recoil Stabiliser/gimbal DJI RS 3 DJI RS 3 Pro Freefly Movi XL
“The tripod is the heart of most filmmakers’ kits”
Gudsen Moza Air 2 Manfrotto 300XM Zhiyun Crane-M2 S Zhiyun Weebill 3 Pro
AWARDS GEAR OF THE YEAR
ACCESSORIES From bags to lighting, memory cards, hard drives, monitors and software, these are the essential buys all filmmakers need.
Tube, Quasar Science Double Rainbow, Nanlite Pavotube II 15X, Godox TL60 RGB and NAM RGBW tube lights. The Aputure Accent B7c RGBWW bulb replaces household options to give a controlled practical light. The Airstar Neo is inflatable, while the Sumolight Sumolaser offers immense power. Rotolight Smartsoft goes on the front of an LED and provides electronically adjustable diffusion. In the memory card and hard drive class, Sony 160GB Tough CFexpress Type A has been joined by Delkin, Prograde Digital and Angelbird options. For the more common Type B CFexpress, shortlisted are Angelbird 512GB AV Pro SE, Lexar Professional Type B Diamond and Sandisk 128GB Extreme Pro CFexpress. Also shortlisted are PNY X-Pro 90 UHS-II SD, Samsung 512GB Pro Plus microSD and Sandisk 128GB Extreme Pro CFast 2.0. For external hard drives – both portable and desktop – there is no shortage of powerful products to be considered. Samsung Portable SSD T7 Shield 2TB is a rugged drive
is a monitor designed to bring streaming to the masses. Blackmagic’s Video Assist 7in 12G HDR is a very capable unit and can be used for BRAW codecs. And check out the SmallHD Action 5, or new DJI High-Bright Remote Monitor that has wireless built-in, to receive a signal from the camera at a distance. Lighting is always critical and LEDs now dominate. Some are daylight, others bicolour, but many increasingly have RGBWW functionality – dial in any colour. Many can be controlled by DMX or even an app. Hard lights have had a huge resurgence, thanks to the latest COB technology. Most of these lights accept large modifiers, so you can create soft lighting when used with a softbox. In the light panels class, Rotolight’s Titan X1 is now joined by the smaller Neo 3 and AEOS 2. Other popular panels are the Aputure Nova P600c and Litepanels Gemini 2x1 Hard. For hard lights, the legendary Broncolor LED F160 continues to deliver. But the big news in COB tech has been the huge Aputure LS 1200d Pro and the Nanlite Forza 500. In the lighting innovation category, there are lots of products that have a huge impact on films. LED tube lights are really popular. Take a look at the Astera Titan
For bags and cases, if you want the ultimate protection, then Peli leads the way. The 1646 Air is one of the latest range of deeper cases that offers amazing protection at a lighter weight than some rivals. Another hard case option is the Manfrotto Pro Light Reloader Tough-55 Highlid. For a less cumbersome roller, the Shimoda DV, Think Tank Video Rig 18 and Camrade Travelmate 360 are built for filmmakers. Alternatively, some shoots call for a smaller bag that can be flung over your shoulder. Our shortlist – including the Peak Design Travel 45L backpack, Manfrotto Pro Light Flexloader L backpack and Think Tank Video Workhorse 19 – contains some great examples. On-camera monitors and monitor/recorders offer large screens, with features like waveforms and false colour to help get those shots right every time. Many can even unlock more quality from your camera, by allowing either a higher bit rate or for Raw files to be outputted – and some are compatible with cloud workflows or live streaming. The most popular is the five- inch Atomos Ninja V+, which can now be kitted up with accessories to make it a streaming device. The Atomos Shogun Connect is a larger, seven-inch version that has all the cloud and streaming tech built-in. And the new Atomos Zato Connect
OPEN AND SHUT CASE Lowepro bags and Nanlite tube lights are just some of the well-proven gear nominated in this year’s awards
GEAR OF THE YEAR
that’s blazing fast. The Sandisk Professional G-Drive SSD is also very quick. The innovative Sandisk Professional Pro-Blade system employs SSD drives and caddies to go seamlessly from location to desktop. And Seagate’s Lyve Mobile is a new system that uses rented drives on location linked to cloud storage. In the category for editing software, nominees include Adobe Premiere Pro CC, Apple Final Cut Pro X and the latest version of Blackmagic DaVinci Resolve 18 Studio. But you might also wish to consider Adobe’s new Frame.io cloud-based platform to help share your work – or Open Broadcaster Software Studio.
MIXED BAG From wireless streaming hardware to memory cards and lighting, vote for your pick of the add-ons
Atomos Shogun Connect Atomos Zato Connect Blackmagic Video Assist
Nanlite Forza 500 NAM Bolangte F Zylight F8-200 Bicolour Lighting innovation Airstar Neo Aputure Accent B7c RGBWW Astera Titan Tube Dedolight Neo Godox TL60 RGB NAM RGBW tube light Nanlite Pavobulb 10C Nanlite Pavotube II 15X Nanlite PJ-BM projection attachment Rotolight Smartsoft Sumolight Sumolaser Memory cards Angelbird 160GB AV Pro CFexpress SX Type B Angelbird 512GB AV Pro Quasar Science Double Rainbow
Sandisk 128GB Extreme Pro CFast 2.0 Sandisk 128GB Extreme Pro CFexpress Type B
Roller/hard case Camrade Travelmate 360 Lowepro Photostream SP 200
7in 12G HDR Desview R7S
Sony 160GB Tough CFexpress Type A External hard drives Adata HD830
Manfrotto Pro Light Reloader Tough-55 Highlid
DJI High-Bright Remote Monitor SmallHD Action 5 SmallHD Cine 18 4K TVLogic LVM-180A Amaran F22c Aputure Nova P600c Creamsource Vortex8 F&V K4000S Power Bicolour Litepanels Gemini 2x1 Hard Nanlite Mixpanel 150 Bicolour Rotolight Neo 3 Rotolight AEOS 2 Rotolight Titan X1 Sumolight Sumomax Zylight Go-Panel Hard lights Aputure LS 1200d Pro Astera AX9 Astera Pixelbrick Broncolor LED F160 Dedolight DLOBML2 Light & Motion Stella Pro CLx10 Light panels
Peli 1646 Air Shimoda DV Tamrac Speedroller International Think Tank Logistics Manager 30 V2 Think Tank Video Rig 18 Backpack/holdall Lowepro Pro Trekker BP 450 AW II Lowepro Photosport Pro Manfrotto Pro Light Flexloader L Peak Design Travel 45L backpack Tenba Cineluxe 21 Hightop shoulder bag Tenba Fulton V2 all-weather backpack Think Tank Video Workhorse 19 Think Tank Video Tripod Manager 44 Monitor and/or recorders Atomos Ninja V+ Atomos Neon
Blackmagic Cloud Store Lacie 1big Dock SSD Pro Lacie Mobile SSD Secure
Lacie Rugged SSD Pro Lexar SL200 2TB SSD OWC Envoy Pro Elektron Samsung Portable SSD T7 Shield 2TB Sandisk Professional G-Drive SSD Sandisk Professional G-RAID Shuttle 8 Sandisk Professional Pro-Blade Seagate Lyve Mobile Editing software Adobe Frame.io Adobe Premiere Pro CC Apple Final Cut Pro X Avid Media Composer Blackmagic DaVinci
CFexpress SE Type B Delkin Black 160GB CFexpress Type A Lexar Professional
CFexpress Type B Diamond Nextorage AtomX SSDmini
Prograde Digital CFexpress Type A
Resolve 18 Studio Open Broadcaster Software Studio
PNY X-Pro 90 UHS-II SD Samsung 512GB Pro Plus
AWARDS GEAR OF THE YEAR
Audio recorder/adapters Beachtek DXA-Micro Pro+ Panasonic DMW-XLR1E Saramonic SR-PAX1 Sony XLR-K3M Sound Devices MixPre-3 II recorder Tascam Portacapture X8 Zoom F3 Zoom H8 Microphone XLR Audio-Technica BP4029 Rode NTG5 Sanken CS-3e Sennheiser MKE 600 Sennheiser MKH 416-P48U3 Microphone DSLR Tascam DR-10L Tascam DR-70D Rode VideoMic Go II Rode VideoMic NTG Sennheiser MKE 200 Sennheiser MKE 400 Shure VP83F Lenshopper Sony ECM-B1M Wireless mics DJI Action 2 Hollyland Lark 150 Joby Wavo Air Rode Wireless Go II Saramonic Blink500 Pro Sennheiser AVX-MKE2 Sennheiser XSW-D portable lavalier set Sony UWP-D27 Dual Channel Sound Devices A20-Mini Azden SMX-30 Canon DM-E1D Joby Wavo Pro
AUDIO Getting serious about sound is something that marks out a true professional. Ruin the audio and your film is unsalvageable. Luckily, manufacturers continue to launch better products every year. Everyone needs a high-quality microphone. Shortlisted are some of the very best XLR, DSLR and lavalier mics, audio recorders and wireless kits. In the audio recorder/adapter category, radical 32-bit float technology has seen a flurry of products change the lives of filmmakers. These devices capture a range of audio so wide that you don’t even need to set levels. It’s like super-high dynamic range for your sound. The Tascam Portacapture X8 is incredibly popular, thanks to affordability and ease of use, although the Zoom F3 is a slimmed-down version that’s also in demand. Beachtek’s DXA-Micro Pro+ lets you use quality XLR mics on any camera, while Panasonic DMW-XLR1E and Sony XLR-K3M adapters do the same, with brand- specific benefits like connection via multi-interface shoe.
For XLR mics, the Rode NTG5 is joined by two classics from Sennheiser, the MKE 600 and MKH 416-P48U3. For DSLR, the Canon DM-E1D and Sony ECM- B1M use multi-interface hotshoe technology to get rid of wires. Joby has entered the audio market with the noise-cancelling Wavo Pro DSLR mic. Sennheiser has the compact MKE 200 and MKE 400, while Rode’s new Wireless mic systems continue to boom. The Sound Devices A20- Mini is an impressive performer, but so it should be; this is really high-end kit, with a price to match. The Sennheiser AVX-MKE2 and XSW-D portable lavalier set each continue to deliver excellent results at a lower cost. Many two-transmitter wireless kits have launched, enabling easy recording of two talking heads at once – via a single receiver. Check out the DJI Action 2, Hollyland Lark 150, Joby Wavo Air, Rode Wireless Go II, Saramonic Blink500 Pro and Sony UWP-D27 – which doesn’t even need a lead to plug into suitable Sony cameras. VideoMic Go II and popular VideoMic NTG both feature.
SOUND SUPERSTARS Canon’s wireless mic, Tascam’s recorder, the DJI Action 2 kit and Azden mic are all worthy kit
GEAR OF THE YEAR
Retailer of the year (new equipment)
AbelCine Adorama B&H
Cameraworld Cinegearpro CVP Park Cameras Pinknoise Systems ProAV Production Gear Samy’s Wex Wilkinson Cameras
Retailer of the year (used equipment) Adorama B&H Cameraworld CVP Ffordes
KEH MPB Wex Rental houses Arri Rental
In the rental house category, find lens specialists and companies offering enough kit to create a complete Hollywood film. Rent generators, trucks packed full of gaffer gear and all the high-end cameras and lenses you could possibly need. We have websites with real-time stock availability lists, or a totally personalised service. Some even focus on sustainability and saving the planet. Please cast your vote in our prestigious awards!
Awards for services are designed to recognise businesses that provide outstanding support, to keep pro filmmakers working. Two are for retailers – one for dealers specialising in new, and one for used equipment. The very best don’t just sell new kit, but offer add-ons like workshops and seminars, one-to-one technical help, loans or demo schemes, rental or repair. Some of our nominations are the largest retailers – like CVP in the UK, B&H in the US, or MPB with bases in the UK, US and Europe. Many of the nominations are much smaller, but give very personal service. Some specialise in one area; others are more general resellers. Which retailer makes the biggest difference to you and your working life? Have your say!
Broadcast Services Cameraworks Hireacamera Lenses for Hire LensPimp Panny Hire Pro Motion Hire Shoot Blue
FRONT LINE Retailers and rental houses are the main point of contact many filmmakers have with the industry, so are vital
PROMOVIEMAKER.NETPage 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 84
Powered by FlippingBook