GROUP TEST: VR MICROPHONES
Kit to record sound for your 360 films
SPRING 2019 £4.99
BLACKMAGIC GOES RAW
The latest high-quality codec probed, rated and explained
SOUND ADVICE
Easy step-by-step guide to audio in Final Cut Pro X
@ProMoviemaker www.promoviemaker.net
Drones: News and stories from the skies! Tested: Atomos Ninja V, DJI Osmo Pocket, Sony SSD & Sigma 40mm lens Buyersʼ Guide to Motion: Sliders, dollies, tripods, jibs, cranes, gimbals, UAVs & more
EVERYBODY STREAM!
Ultimate guide to live streaming for maximum profit TESTED
MIRRORLESS MARVELS!
• The full-frame Panasonic S series! • Nikon gets serious about filmmaking
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TOP GEAR
SIMPLY THE BEST!
Winners named in our annual kit awards
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SPRING 2019
OPINION by Adam Duckworth
FROM THE EDITOR
Welcome to the spring issue of Pro Moviemaker and, as the days grow longer, it’s a time to be optimistic and look ahead at some of the exciting opportunities that are around us at the moment. One of the biggest growth areas right now is streaming, which is why we’re taking a deeper look into this sector. There are plenty of reasons why filmmakers should be exploring the potential that’s on offer. For a start, if you’ve got filmmaking skills, then the chances are you’ll already be ahead of the game where streaming is concerned – and you’ll probably have both the skills and the gear to start you on your way. There are extra things you’ll need to learn, of course, but the technology is evolving – it’s becoming simpler and cheaper to get involved and clients are queueing up for the service. We’ve spoken to those leading the way. We’ve also tried and tested some excellent streaming products. In this issue, you’ll also find the results of our Gear of the Year Awards, voted for by you, the readers, and are a celebration of the best products of 2018. Thank you to everyone who took part. It’s great to see so much innovation going on and to deliver plaudits where they are deserved. It’s all helping to drive this business to ever greater heights and that’s something we should be cheering from the rooftops.
TERRY HOPE, EDITOR
MEDIA SUPPORTERS AND PARTNERS OF: The ultimate magazine for next generation filmmakers
EDITORIAL Editor in chief Adam Duckworth Editor Terry Hope Features writer Chelsea Fearnley Contributing editor Kingsley Singleton Chief sub editor Beth Fletcher Senior sub editor Siobhan Godwood Sub editor Felicity Evans Junior sub editor Elisha Young
TIME TO ABANDON YOUR CINEMATIC OBSESSION? Shooting full-on Hollywood-style cinematic films is the goal of many modern filmmakers. Large sensor cameras, ultra-shallow depth-offield from fast glass, sliders, gimbals, drones, then a bit of orange-and-teal grading is the sure-fire way to style nirvana. A generation of more clued-up viewers, used to the high production values of films and TV shows on Netflix and Amazon Prime, expect this level of polish on pretty much everything they watch. Of course, all this is much more affordable and attainable to independent filmmakers nowadays. You only have to browse our Gear of the Year winners to see just how much amazing kit is available. However, there is a big wave of viewers, and therefore clients, that value speed and reality over style. Facebook Live, YouTube Live and even InstaTV are all about immediacy and the buzz of seeing something in real time. We are living in times where a quick-and-dirty iPhone behind-the-scenes video of a shoot will get ten-fold the views on Facebook if it’s live compared to the finished and polished final film. I speak from first-hand experience here. Clients are increasingly demanding real-time livestreaming of their big events, with better footage than iPhone videos shot by their intern. That may get them views, but it doesn’t reflect well on their brand. However, they don’t need full cinematic productions. Professional filmmakers have to be in the position to offer this, since it’s what the market is demanding. Of course, if your niche is beautiful, cinematic wedding films, then you may not wish to dip a toe into live streaming. But for a general-purpose freelance filmmakers with commercial clients, it makes sense to investigate streaming now. It may not win you an Oscar, but it could certainly help your bank account!
ADVERTISING Sales director Matt Snow 01223 499453 mattsnow@bright-publishing.com Advertising manager Krishan Parmar 01223 499462 krishanparmar@bright-publishing.com DESIGN Design director Andy Jennings Design manager Alan Gray Designers Lucy Woolcomb, Laura Bryant & Mark George PUBLISHING Managing directors Andy Brogden & Matt Pluck
Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ Pro Moviemaker is published quarterly 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 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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AGENDA I KNOW THIS MUCH
I KNOW THIS MUCH:
DEEYAH KHAN
Documentary filmmaker Deeyah Khan learnt her craft on the back of discovering stories she felt compelled to tell. For her latest project, she put her own safety on the line to achieve a unique insight WORDS TERRY HOPE
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he technological developments in the filmmaking world over the past decade have made it more affordable and easier than ever to get involved. More than this, these advancements have also had the effect of opening up and democratising the whole sector. It’s meant that people who are not trained filmmakers, but strongly feel they have a story they need to tell, now have the opportunity to do exactly that. At the same time, there are a multitude of platforms opening that are prepared to showcase such work. This was the background that allowed Norwegian British documentary film director, human rights activist and UNESCO Goodwill Ambassador, Deeyah Khan, to make her first production, Banaz: A Love Story, in 2012. Documenting the so-called honour killing of a British Kurdish woman, the film went on to win an Emmy, a Peabody Award and a
nomination from the Royal Television Society, despite Khan having no previous filmmaking experience. White Right: Meeting the Enemy, the latest film by her production company, Fuuse, won a prestigious Rory Peck Award and saw Khan head to America in the wake of the Trump victory to meet people who openly advocate race hate. The filming included her attending the fateful neo-Nazi Unite the Right rally in Charlottesville in August 2017, which saw the death of a counter-protester. Throughout filming, Khan placed herself in a series of highly vulnerable positions as she sought to understand the thought processes of those who embrace far-right extremism and see her as the ‘enemy’. We met in the aftermath of her Rory Peck award to talk more about her work and how she’s used the medium to further her human rights campaigns.
“I’d experienced hate and even death threats. I felt I had to live my life and no longer be afraid”
IMAGES As a beginner filmmaker, Khan used the Sony FS5 and FS7, because they are lightweight and intuitive to use
I’m not a journalist, I’m an activist Films are my passion and my obsession. I’d reached a point in my life where I’d experienced a lot of hate and even death threats. I felt I had to decide to live my life and no longer be afraid. At that time, I came across the story of Banaz Mahmod. She was a young British Kurdish woman who was murdered by her family in a so-called honour killing after she fell in love with someone they didn’t approve of. It was a difficult story to tell and I had to spend years gaining the trust and cooperation of the police officers involved, but I felt I had to do it. I’d never operated a camera before, but I bought myself a Sony and a copy of Final Cut Pro and assembled a team that would help me. I explained to them at the time I couldn’t pay them, but they were happy to be involved anyway. What makes an individual do something radical? My second film was Jihad: A Story of the Others. It was about why some young western Muslims embrace violent extremism and go abroad to fight wars, and why, in some cases, they come to reject it. I was interested in what their motivation was. What would cause a 17-year-old to feel they needed to become a martyr to achieve redemption? Of course, there are psychological issues involved – the film looked at how these movements fulfil certain needs for these guys.
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I KNOW THIS MUCH
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AWARDS
Thousands of professional filmmakers took the time to vote in our latest Gear of the Year Awards. The results are now in, as we celebrate some of the very best products on the market
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ur Gear of the Year Awards continue to go from strength to strength, and thousands of you took up the invitation to get involved. Such is the strength of the market right now that even achieving a place on our shortlist was an achievement; to come out on top of the pile speaks volumes for the product involved. We’ve had your verdict on everything from the best of the current crop of
cinema cameras through to lenses, microphones, bags and more. There were some clear winners, a few surprises, the verification of the continued excellence of certain key brands and the arrival of a few new players, and overall it was very satisfying to have the input of working professionals who are, after all, at the sharp end of the business and in the best position of all to pass judgement.
IMAGES From cameras and lenses to recorders and mics, check out some of the kit shortlisted in our awards
This business continues to be fast moving and exciting and there will no doubt be some strong contenders for our next set of awards. In the meantime, however, this is a snapshot of the best of the best as things stood at the end of 2018 – and many congratulations to all of those manufacturers who have been honoured and who have given us such a great set of tools to work with!
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ACADEMY ULTIMATE GUIDE
STREAMING
GET SET TO BROADCAST!
Streaming has come of age and it presents a host of opportunities to filmmakers that are switched on to its possibilities WORDS TERRY HOPE 30
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ULTIMATE GUIDE
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treaming is all around us, whether we’re pulling up the latest mustsee series on Netflix, logging on to a webinar or YouTube channel that interests us, or watching a live sporting event. It’s become a part of our everyday lives – largely on the back of advancing technology and the huge increase in download speeds to desktops and mobile. As with so many things connected to modern filmmaking, streaming started as an option only available to those who had the wherewithal and budget to hire out the required equipment. This would have been a version of a full-scale outside broadcast set-up, complete with a truck fitted with a satellite dish. Even so, there were those, such as film production company, Cherryduck, who were ahead of the game (see our case study on Cherryduck on p41) and offered facilities ten years ago, plus forward-looking clients. Over that time, things have moved quickly. The arrival of live streaming on social media platforms over the past couple of years was instrumental in democratising the whole area. Now, pretty much anyone can get involved at any level, but, crucially, it’s not just a case of being able to get content out there; it’s also very much about the quality of that content. In this respect, experienced filmmakers have a crucial advantage: they already have the gear and expertise required to produce a professional-looking production. All they need to do to get involved is pick up the additional streaming skills necessary to get footage out there. The list of things that streaming can deliver is increasing all the time and, in many ways, it’s an opportunity for those with imagination to create their own openings. Sporting events – even relatively small events – can be livestreamed to a specialist audience for a subscription fee. Or even things like gigs by a popular band. A promoter might get a few thousand spectators in for a non-league football match, with another couple of hundred people paying maybe £10-15/$13-20 for the chance to tune in from the comfort of home, while the same scenario applies if a small venue sells out for a band and offers those that can’t get tickets the chance to still savour the atmosphere. Maybe you could livestream from a wedding if it’s big enough, meaning friends and family from around the world could feel as if they were part of it. Increasingly, there’s also major commercial interest. Any
company launching a product can share the press launch with the widest possible audience, while multinational companies can now involve their staff from around the world in virtual conferences and presentations. There’s also the opportunity to edit and archive live footage. A resource is created that can be stored online and accessed by interested parties, prolonging the life and reach of the broadcast. Tantalisingly, access to streaming is now open to everyone and it’s possible, via the likes of Facebook and YouTube, to stream to a live audience from nothing more advanced than your smartphone. It costs almost nothing and quality for online viewing is acceptable (depending on which smartphone you are working with and how advanced your filmmaking skills are). It’s just a case of finding an audience and something that’s engaging enough for people to feel the urge to tune in. Man in the middle One man who saw the opportunity and has been involved heavily in the streaming revolution for many years is freelance vision mixer, Simon Malone. Having originally fallen into the industry almost by accident, he’s now hugely in demand for his skills at mounting and managing the coverage of live events. He’s the man many turn to for help when unsure of this sector’s ground rules. “Those that already have filmmaking skills have a huge advantage . They have what’s required to make a success of streaming,” he says. “They have much of the equipment – such as cameras, lenses, support, lighting and audio equipment – already and will know how it all works. That’s maybe 80% of what’s required, but there is still a lot you need to know to bring a live production together in a professional way. You might need to feel the burn of something going wrong before you come to someone like me, but my job is to make sure everything runs smoothly and looks professional from start to finish.” The ease of streaming has proved to be the downfall of many, since companies might look at something online and become convinced it’s simple to join in. Malone explains: “A lot of it is down to programmes such as Ant & Dec’s Saturday Night Takeaway, which look unscripted and just ‘happen’ in front of the cameras. This relaxed kind of production relies hugely on the skills of the presenters and it’s all rehearsed
“Those that already have filmmaking skills have a huge advantage. They have what’s required” SPRING 2019 PRO MOVIEMAKER
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ACADEMY POST-PRODUCTION
SOUNDS GOOD
AUDIO MADE EASY IN FINAL CUT PRO X Rory Cantwell, founder of post-production agency Soho Editors, looks at how Final Cut Pro X handles audio, delivering a host of creative possibilities and access to a massive array of third-party plug-ins WORDS RORY CANTWELL
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ne of the things I love most about Final Cut Pro X is the way it performs with audio and how incredibly responsive and accurate it is. When you’re trying to find that certain frequency of sound to either eradicate or enhance, it’s effortless. Equipped with the core toolset the task requires, the program offers limitless creative
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possibilities, with great filters and a massive array of third-party plug-ins available. As an editor, audio is about responsiveness and feedback. If you’re trying to find that exact moment when one word ends and another begins, you need accuracy, clarity and control – and Final Cut Pro X delivers on all three counts.
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POST-PRODUCTION “Sounds should be experienced, not noticed, and ‘soft cuts’ help us to achieve this” LEFT By selecting Dialogue, Effects or Music, you can greatly enhance your results
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Organising to optimise your audio experience 1 Right from the start, Final Cut Pro X invites you to categorise the type of audio you’re importing by assigning it with a ‘Role’. By selecting what is Dialogue, Effects or Music appropriately, this greatly enhances what is achievable in lots of clever ways. You can assign a Role type at any time, but the earlier you do it in the process the better – especially if you intend to use Roles in your workflow. 2 Equally useful, you can also get Final Cut Pro X to automatically address issues and problems with an audio file, even before you add it to your timeline. Just tick ‘analyse and fix audio problems’, ‘Separate mono and group stereo audio’, or ‘Remove silent channels’ and the work is done. 3 Once imported, any audio can be further examined and enhanced by selecting it and then performing the same operation from the ‘Enhancement’ menu under the viewer window. 4 Once your material has been analysed, you can select and modify Loudness, Noise Removal and Hum Removal in the Inspector window to achieve the best result. Before you start editing, it’s always a good idea to fix any obvious audio issues, to avoid having to subsequently fix them multiple times within your timeline.
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RIGHT Select and modify Loudness, Noise Removal and Hum Removal for the best results
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Best practice 5 6 As a rule, if I can add fades to the start and end of an audio clip I will. Sound should be experienced, not noticed, and these ‘soft cuts’ help us to achieve this. Simply click on the little grey node that appears whenever you hover near the edge of any audio clip and drag into the body of the clip. Once fades are added, you can rightclick on the handle and choose from a selection of different fade types. Setting audio levels 7 8 Click on the Show/Hide Meters button to display them. These are needed to monitor audio levels and to establish a good dynamic range between the quietest and the loudest sounds in our mix.
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ACADEMY BLACKMAGIC RAW RAW MAGIC?
BLACKMAGIC’S RAW RESPONSE The Aussie camera firm hits back at criticism about CinemaDNG with its very own Raw standard WORDS ADAM GARSTONE
H
ot on the heels of Apple and Atomos revealing the ProRes Raw format, Blackmagic has released a new Raw format for its cameras. Blackmagic Raw (BRAW) is a compressed format in the company’s cameras, alongside the CinemaDNG – a format that has not been universally applauded. CinemaDNG has a couple of issues that cause problems in post-production. First, when you roll the camera, it produces a folder full of files – each file being a frame of the clip. Some post-production tools – including Blackmagic’s own DaVinci Resolve – can understand this structure, but plenty can’t. The second issue is one inherent in Raw files. The data in a Raw file comes straight from the camera sensor, so whatever you are using to view those images must understand something about the sensor and how to convert the data into usable video. Again, all this processing is built into DaVinci Resolve, but few other software packages produce acceptable quality pictures.
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“It’s fairly straightforward to come up with a format that contains all the frames in a single file” ABOVE If you are comfortable working with DaVinci Resolve then using it for Blackmagic Raw files is simple and speedy
So, Blackmagic set out to solve these issues – and a few more besides... Of course, it’s fairly straightforward to come up with a format that contains all the clip’s frames in a single file. Similarly, file format can currently embed metadata that tells the decoding software about the characteristics of the camera sensor. But the engineers at Blackmagic realised that they had an opportunity to introduce even more additional benefits. Traditionally, decoding Raw files is slow – mostly because of the complexity required to de-Bayer the sensor data. The sensor has a matrix of red, green and blue pixels – usually with twice as many green pixels as red and blue, because our eyes are more sensitive to the green part of the
spectrum. This means you have to ‘invent’ blue and red pixels to combine with each green pixel to produce the final output. In fact, there are myriad techniques used to make the final image look as good as possible – and they all tax the capabilities of even the fastest computers. Blackmagic’s approach is to have the new Raw file format contain partially decoded information. There aren’t any technical details available at the moment, but it sounds very clever indeed. As well as simplifying the decoding task, Blackmagic’s software decoder uses the special instructions available in modern CPUs and GPU acceleration to speed up playback. The upshot is that BRAW will play
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BLACKMAGIC RAW LEFT The incredibly affordable Ursa Mini Pro is made even better as it will have Blackmagic’s own BRAW Raw codec added as well as conventional CinemaDNG
back quite happily on a MacBook Pro with no hardware decoder boards or external GPUs. I even tried it on a 2015 MacBook Pro with absolutely no issues at all. To encourage other software manufacturers to support its Raw files, Blackmagic has released a software developer’s kit on Mac, Windows and Linux. BRAW is compressed with two options: the first produces a constant bit rate (CBR) and offers compressions of 3:1, 5:1, 8:1 and 12:1. The second is a variable bit rate with two settings. Q0 reduces data to between about 20% and 50% of uncompressed, while the Q5 setting gives a reduction of around 8% to 20%. Compression sounds like a bad idea, but it’s generally better done on the sensor data than on 4:2:2 image data, which has already been processed heavily. You need twice as much compression on 4:2:2 data as you do with Raw, plus you will have introduced more artefacts by de-Bayering and then compressing. In practice, even with the 12:1, CBR codec compression artefacts are very hard to spot in real-world images. I’m told that Blackmagic may introduce some higher compression ratios in the future, but as it stands I would be happy with 12:1 for general shooting – it produces very manageable file sizes. The variable bit rate codecs are also excellent. Hypothetically, Q0 may produce a data rate that is faster than the recording media can cope with. When using this setting, don’t even think about using the SD card slots (though they are fine for 8:1 or 12:1 CBR). With decent CFast cards, this is only likely if you are shooting 4.6K
“I even tried it on a 2015 MacBook Pro with no issues at all” at 60fps. The camera still lets you select Q0 at high frame rates, so it’s up to you to decide whether you want to take the risk. Personally, I think that’s the right decision. If the action can be repeated, why not try Q0? If it can’t, stick to Q5 or CBR. Blackmagic’s URSA Mini Pro has always been capable of producing excellent images with CinemaDNG, but you had to work to get the best result. The new BRAW simplifies the workflow. Images look great with minimal work in DaVinci Resolve and, of course, you have lots of flexibility
once you are in the grade. CinemaDNG is still an available option on the camera, but I can’t see why you would ever use it. As well as the metadata contained in the Raw file itself, any software built with the Blackmagic technology will be able to generate and process sidecar metadata files. Opening a Raw clip in this software will automatically create the sidecar file, which stores details of, and modifications to, the Raw settings that you make. For instance, perhaps you change the ISO. The Raw file still contains the ISO information from the camera at the time of shooting, but the value in the sidecar file will take precedence in any Blackmagic Raw-enabled software. So, if you make a change, that change will be seen when the clip is opened again in DaVinci Resolve. It’s non-destructive, of course. Interestingly, if you shoot Ultra HD at 25fps at compressions of 5:1 or higher, you can record on to a Class 10 U1 SDHC card. You might, for instance, shoot all the general rushes on cheap SD cards, and keep a couple of more expensive CFast cards for slomo. The URSA Mini Pro has a toggle switch to change between card types, so both can be loaded in the camera. Image quality with all the codec settings is excellent. With a well-lit, bright scene it is hard to tell the difference between the compression levels – they all seem to produce equally great results. However, when you get a situation where there is shadow detail that needs to be brought up in the grade – and that may be why you are shooting BRAW in the first place – the compression setting you choose will have some impact. Q5 compression shows more noise in the shadows than Q0, though (oddly) the sensor’s fixed pattern noise was more obvious in Q0, as perhaps the raising of the overall noise floor in Q5 masks the
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AERIAL FILMMAKER XXX XXX XXX
LIGHT UP THE SKY
NIGHT RIDER
Just when you thought you’d seen it all in terms of drone footage, along comes an innovative ‘aerial DP’ like Tim Sessler, who has used his vast experience to perfect the technique of flying at night WORDS TERRY HOPE
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e’ve now become accustomed to seeing sweeping and expertly contrived drone footage, even in low-budget films, that even a few short years ago would have been unimaginable. But the thing about creative people is that they’re never content to accept the status quo and they’re always looking to push on that bit further. So it is that Tim Sessler, having made his reputation on the back of flying the higherend heavy-duty craft that are employed by big-budget Hollywood film producers, decided to pursue the idea of flying drones at night and lighting up his subjects from the sky. It’s worth pointing out that this wasn’t an idea that came from nowhere. It’s one that’s developed over the years as Tim has mastered his craft and slowly but surely become an aerial
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specialist that people would turn to when the requirement arose for this kind of footage. “I started out as a commercial DP,” he says, “but I now call myself an aerial DP since this is the line of work I undertake the most. It can be a mixture of things: sometimes I just DP ‘normal’ commercials, sometimes the aerial component might be part of the job that I’m shooting or it could be that I’m solely responsible for the aerials of much larger projects. “That said, there are some projects that are UAV only, for example the work I recently carried out on the indie feature We the Animals. Other shoots might be helicopter only, and I was recently aerial DP on the NYC scenes for the Hollywood feature 17 Bridges. Due to the location and the kind of coverage we were looking for, a drone wouldn’t have worked.
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DRONES IN THE DARK
“The beauty of the business I’m in is that there are so many tools available for me to use these days, whether it be a Twinstar with Shotover or a Freefly ALTA 8 with MoVI Pro. They are all amazing and each has its own strengths.” Tim first started flying drones back in 2012, after being inspired by fellow filmmaker, Nick Wolcott, who had started his own aerial production company the year before. To Tim’s amazement, Nick was flying a Cinestar 8 capable of carrying a Canon 5D Mark III and, although he’d encountered hexacopters and octocopters before, his experience up to that point had been that they never seemed to fly particularly well and results were poor. “Heavy lift drones of that period were far from ‘out of the box ready to fly’,” Sessler recalls. “You had to get involved and solder boards, programme and tune the flight controller before you could think of flying. It seemed super sketchy to fly $100,000-plus camera packages on home-built drones and RC electronics that were meant for hobbyist usage instead of high-end professional use. “The release of the Freefly MoVI M10 in 2013 was, in my opinion, the real game
changer that allowed much more stable footage. Since that time, the technology has rapidly evolved and, with the release of the Freefly Alta 6, Alta 8 and then the MoVI Pro, reliability and results have kept getting better.” The Freefly ALTA 8 is Sessler’s workhorse and, although he does fly the Inspire 2 and Mavic 2 Pro, he sees them as very different tools. “To me, a drone doesn’t replace traditional helicopter aerial cinematography,” he says. “Where they shine is in low altitude, close proximity flights in places where a helicopter and Shotover could not get. “I don’t like to use the large drones for ‘high and wide’ shots. The small DJI drones on the other hand come into their own when it comes to long-range flights, as well as faster and higher moves, more akin to traditional helicopter work. The Mavic 2 Pro is also a great tool to scout, and I’ve even used it to pre-viz dolly shots in rugged terrain or to shoot references for a low-altitude helicopter shot.” Pushing the boundaries Sessler first visited New York in 2010. He fell in love with the city and moved there
“To me, a drone is not there to replace traditional helicopter aerial cinematography”
IMAGES Everything changed for Sessler when changes in the law meant it became legal to fly drones after sunset
with his wife three years later. While he found it an exciting and exhilarating place to be an aerial filmmaker, it came with its own set of challenges, particularly since drones have been banned from flying there completely. Equally difficult to manage was his growing desire to fly beyond sunset, something that was likewise illegal anywhere in the US for many years. Finally, on the back of the new FAA 107 regulations that were brought in during 2017, the law was changed, but there were still a lot of hurdles to clear before flying at night could become a commercial reality. “Flying UAVs at night has always been an issue,” Sessler explains. “For the longest time it was not legal to fly
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GEAR SONY Z190/Z280 POWERFUL PAIR
Popular broadcast and streaming camcorder range enjoys tech update WORDS & IMAGES ADAM DUCKWORTH
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ot every filmmaker in the world wants the faff of a large-sensor camera and interchangeable, superfast lenses that provide the cinematic-style ideal for dramatic productions. Shallow depth-offield may look very Hollywood, but when you miss the focus of a news event, then it’s all for nothing. For broadcasting, streaming, ENG use
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and fast-paced work, an all-inone camcorder is often the way to go. Sharp footage wins every time. That’s not to say the potential buyer of a camera like this wants to compromise on image quality or the latest innovations, which can make a real difference to a camera’s usability in terms of both capture and delivery of footage. It’s easy to believe that
ABOVE The Sony Z190 and Z280 are the first cameras in the world to offer 4K from a three-chip set-up
the majority of manufacturers have focussed their development on cinema camera ranges while the camcorders have been left behind. And in some cases, that’s true. Sony has poured all of its cinema know-how into two smallchip camcorders, unveiling a pair of Z cameras that are hailed as the first in the world to offer 4K from a three-chip set-up.
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Instead of using a larger sensor to combat noise at high ISO, a three-chip camera uses three smaller sensors to separately record the red, green and blue information, which is then digitally combined to create a final image. This gives a vastly improved image quality and lower noise than using just one sensor of the same size. And it’s how manufacturers can get great quality from smaller sensors, which helps to create a greater depth-of-field. The new Sony Z280 and Z190 cameras may be the first threechip camcorders to offer 4K but have different sensor sizes. The Z280 is the top-of-the-range model and has half-inch CMOS sensors, while the more affordable Z190 is almost half the price and has third-inch CMOS chips and a lower spec, as you’d expect. It’s also slightly more compact and lighter. But in many ways, they are both similar cameras and obviously designed by the same team that built Sony’s big-selling FS5 and FS7 cinema cameras. If you come from using either of these, then you’ll have no problem at all getting to grips with the Z cameras, as they share many of the same controls. The left side of the camera bodies have all the typical Sony controls, like menu buttons, lots of user-assignable buttons, push AF and proper audio control dials. Both have two record buttons – one on top and one on the handgrip. It’s a shame there’s not a third on the left side of the
Z280 RIGHT The left side of the cameras have typical Sony controls, like user-assignable buttons and audio control dials
Z190
Z280
body, which would make it more useful when on a tripod. The menu system in both cameras is also derived from the FS series, which means that if you are used to Sony then you will have no issue getting to grips with it. If you’re coming from another brand, then you’ll probably find it complicated and a bit fiddly. Both cameras also have the variable ND filter system that was introduced on the FS5 and FS7 Mark II, and it is a glorious invention. In addition to hard stops of ND, the variable ND can be adjusted using a dial wheel or set to auto. What this means is that you can keep your shutter speed and
RIGHT The Z190 is slightly more compact and lighter than it’s more expensive counterpart, the Z280
“Both have two record buttons – one on top and one on the handigrip. It’s a shame there’s not a third on the left side”
Z190
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GEAR NIKON Z 6
HYBRID HERO
Nikon’s Z 6 isn’t just the company’s entry-level mirrorless camera – it’s a real hybrid with plenty to please filmmakers
ABOVE The Z 6’s form factor means that it’s comfortable to hold, even one-handed, and the layout is intuitive
WORDS KINGSLEY SINGLETON
N
ikon’s big push into mirrorless kicked off in autumn, when it announced the full-frame Z 6 and Z 7 and several lenses. The Z 7 was available pretty much at launch, but while it offered decent video features, it’s the recently released Z 6 that should make videographers sit up and take notice. The Z 6 is simply a more capable video camera all round and can be seen as a true hybrid model – equally adept at stills and movies. While the Z 7 sports a highresolution 45.7-megapixel chip with no optical low-pass filter and is aimed at ultimate stills quality, the Z 6 has a 24.5-megapixel chip with a low-pass filter to cut moiré. The resolution is still respectable and gives beautifully sharp stills, but most importantly it allows a full read of the sensor, so there isn’t any cropping or pixel binning to compromise quality. While the range of formats is the same as on the Z 7, and not dissimilar to what you’d get on most mirrorless cameras (4K 30p at the top end), the quality of the footage is better and you don’t miss out on field of view. You can record 8-bit footage internally, but connect to an external device like an Atomos drive and you’ll get 10-bit 4:2:2 N-Log for improved dynamic range and control in grading. Even without Log, the flat picture mode gives easily editable
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footage with a decent lift in dynamic range. But that’s not all: Nikon has revealed an upcoming firmware update will allow support for the ProRes Raw codec via HDMI output as well as N-Log, though you will need an Atomos Ninja V to output that. On top of that, Nikon announced a ‘filmmakers kit’ for the Z 6. Along with the body, you get a 24-70mm f/4 S lens, FTZ lens adapter, Atomos Ninja V 4K HDR recording monitor, Rode VideoMic Pro+, MOZA Air 2 three-axis handheld gimbal stabiliser, an extra battery and HDMI cable. It all points to a very serious commitment to making the Z 6 a compelling choice for videographers, – and hybrid shooters even more so. The Z 6 also has decent slowmotion options, though the highest 120p frame rate is limited to 1080p
SPECIFICATIONS Price: Z 6 body £2099/$1996; Z 6 with 24-70mm f/4 kit £2699/$2,596; Z 6 with FTZ adapter £2199 / $2,246; Z 6 with 24-70mm and FTZ adapter £2799/$2,846 Sensor: 24.5-megapixel BSI full-frame CMOS sensor, 35.9x23.9mm, 6048x4024px Image stabiliser: Five-axis sensor shift ISO range: 100-51,200 (expandable to ISO 50-204,800 equivalent) Shutter speeds: 30secs-1/8000sec LCD: 3.2in touchscreen 2.1m dot tilting, 100% frame coverage Viewfinder: 3.7m-dot EVF
BELOW The Z 6 offers face-tracking AF and will soon have eye AF via a firmware update. There’s also adjustable tracking speed and touch AF
Autofocus: 273 phase detect points in single AF covering 90% of image area – usable in singlepoint, pinpoint, dynamic area, wide area, auto area Recording format: 4K UHD 3840x2190 30 / 25 / 24p. 1920x1080: 120 / 100 / 60 / 50 / 30 / 25 / 24p Connectivity: Wi-Fi, Bluetooth, HDMI-C, USB-C Storage: 1 x XQD CFexpress slot Dimensions (WxHxD): 134x100.5x67.5mm/ 5.3x4x2.7in Weight: 585g/1.29lb body only
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NIKON Z 6
“The Z 6 is simply a more a capable video camera all round than the Z 7. A true hybrid model” resolution. Still, you have some control, either shooting regular 120p footage, or letting the camera export to a 4x or 5x slow-motion file. For time-lapse, there’s the option to create a full HD movie in-camera, but if you want 4K, it’s an intervalometer and software job. Not so bad, as it’s all part of the editing process, anyway. For comparison, the Z 7 does a 4K timelapse in-camera, but this doesn’t outweigh the Z 6’s obvious advantages for video. Video AF is pretty good and the options like face tracking work well enough to allow panning and tracking shots, so you can keep the subject in focus through a range of
movements. The aforementioned update will also add eye-tracking AF, which should be a very welcome addition for close up or wide aperture work. AF tracking speed can be adjusted and the Z 6’s screen offers touch AF to pull from one subject to another. This works fine, though of course you need a light touch to avoid moving the camera. There’s also focus peaking in manual focus and there are some good options to tweak the colour and intensity of the peak depending how you like to work. Focus pulling via the Z series lenses is a bit of a chore because the ring is digital and, therefore, less precise.
RIGHT Focus peaking is clear and easy to use both on the monitor and via the EVF. There are plenty of options to customise it, too
BELOW The rear LCD is excellent, with the only downside being that it doesn’t swivel
In-camera stabilisation is a big addition for Nikon and the fiveaxis system here works very well. It’s a bit jerky if you’re walking the camera, but it’s better than shooting without – though no match for a proper gimbal or stabilised support. Other video-friendly options on the Z 6 include timecoding and highlight zebras, though I could only get the latter when focus peaking was off. Handling wise, the Z 6 is about as good as a hybrid camera can get. It’s identical in form to the Z 7, which is to say it fits very comfortably in the hand thanks to a large grip and rear thumb pad. There’s no difference in button layout and nothing sits awkwardly under your thumb as they do on some other mirrorless bodies. Layout is intuitive and very close to Nikon DSLRs, so it’s perfect as a crossover camera. The movie-rec button and switch to movie mode sit right under the forefinger and thumb, which is perfect.
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GEAR MINI TESTS
Our round-up of great kit we’ve tested in this issue includes a pocket-sized steady cam, two new SSDs, lots of new lenses and a professional roller bag WORDS ADAM DUCKWORTH, TERRY HOPE, KINGSLEY SINGLETON & WILL CHEUNG
DJI OSMO POCKET £329/ $349
dji.com
If you’ve spotted the tiny new DJI Osmo Pocket but dismissed it alongside GoPro-style action cameras as little more than a consumer toy of no use to serious professional work, then it might be time to take another look. Of course, it’s not a full-spec Steadicam or motorised gimbal that will allow you to fit cameras – from mirrorless wonders to cinema cams – and record movie-style smooth shots. It also has lots of consumer faff that a serious filmmaker would probably never need or want – like stitching together three rows of three stills for super panoramas, active face tracking ideal for vloggers shooting selfies or using the dedicated app to automatically edit together videos and stills, add music and apply Instagram-style filters, before uploading to social media. That is real consumer stuff. Fun, though. Instead, think of it as a ridiculously portable, motorised, three-axis gimbal camera. One that not only fits in your pocket, but also shoots supersteady 4K footage at 60fps and full HD at 120fps to a microSD card for you to edit later. There is a significant crop in 120fps HD, but no crop in 4K at 60fps. I often shoot motor sport, so I frequently have a camera with a telephoto zoom mounted to my tripod. Or, if I want to shoot close-
Sensor: 1/2.3in CMOS, 12 megapixel Video formats: 4K Ultra HD: 3840×2160 24 / 25 / 30 / 48 / 50 / 60p. FHD: 1920×1080 24 / 25 / 30 / 48 / 50 / 60 / 120p, MP4, MOV Bit rate: 100 Mbps ISO range: 100-3200 Aperture: f/2 Shutter speed: 8-1/8000secs Memory card: MicroSD Charging time: 73 minutes with a 10W charger Operating time: 140 minutes in 1080p/30fps Dimension (LxD): 121.9x36.9x28.6mm/4.8x1.5x1.1in Weight: 116g/0.26lb
RIGHT As the name would suggest, the Osmo Pocket is small and portable
“Think of it as a ridiculously portable, motorised, threeaxis gimbal camera” 84
SPECIFICATIONS
ups, a mirrorless camera with a wide lens on a motorised five-axis gimbal that’s ideal for B roll. Of course, you can’t carry both these set-ups and they take time to set up and balance. Fine for bigger crews or shooting scripted work, but for run-and-gun, documentary-style work, it’s too slow to have both at the same time. With the new tiny Osmo, it slips into the pocket and can be quickly whipped out for some quick-anddirty footage that might not have the ultimate quality and controllability of a full-frame or Super35 camera, but is still detailed, bright and remarkably stable. The tiny sensor means it struggles in low light, but for half-decent light, the footage is very impressive, considering it’s from a camera with a small sensor and lens. There is even a Log-style D-Cinelike look that attempts to squeeze in more dynamic range and
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MINI TESTS
is designed to be ideal for tweaking in post. This is not yet available but will be in a free firmware update soon. With the new GoPro Hero7 offering incredible image stabilisation and a more rugged build, it has its fans. But the motorised stability of the DJI compared to the digital image stabilisation of the GoPro, which crops the image, is in a different league. And the DJI offers a wide field of view rather than the extreme super-wide that gives the GoPro its unique look that not everyone wants. The DJI has an internal battery that’s charged via USB and provides around two hours of filming in 4K. You can charge it from your laptop, a mains-style USB adapter or even a phone-style battery power pack. The camera has a one-inch touchscreen that you use to change settings and see the image – it’s very small but does give a useful approximation. The DJI Osmo Pocket has its own dedicated DJI Mimo app, which means you can use your phone to see a bigger image, tap to focus and set face tracking and have more professional controls. The Osmo comes with a choice of two adapters (for iPhone and Android) that your phone plugs into. This makes it a bit unwieldy though,
ABOVE Using the dedicated DJI Mimo app, your phone can be used as a bigger screen
especially on big phones like an iPhone XS Max. A better option is to splash out on the accessory Wi-Fi unit that plugs into the bottom of the DJI and links to your phone via Bluetooth. Of course, you then have to juggle two bits of kit, but it means you can control the camera remotely with ease. Controlling the Osmo is simplicity itself, as it only has two buttons. One is the on/off button, which also allows you to toggle through settings. The other is the Rec On button or shutter release, if you are shooting stills. The app lets you set frame rate, white-balance, exposure, ISO and shutter speed. If you disconnect the phone, the settings remain until you change them, but no control over aperture means no cinematicstyle shallow depth-of-field. You get a wide-angle view with lots in focus. ND filters would help and are available, but we didn’t get a chance to test them. You can also set anti-flicker, a histogram, change the focus move from single shot to continuous, have overexposure warnings and set a grid on the screen to aid composition. To move the camera up or down, you just push it with your fingers
into the desired position, or you can use the tiny touchscreen and move it from there – if your digits are small enough. It’s basic but it works. The DJI Osmo Pocket comes with a tiny microphone that works surprisingly well for its size, but of course is very limited in control. It just sets itself automatically, or you can set one of three audio levels, but is quite badly affected by wind noise. There is also no way of simply plugging in a better mic, but you can use DJI’s USB-C connector that has an input for a 3.5mm mic jack. If you understand the limitations of what the DJI Osmo Pocket can do – and the huge benefit of having a tiny stabilised camera in your pocket at all times to catch footage other cameras might miss – then it’s a great bit of kit. And, especially for the price, it makes a great addition to your armoury of gear. AD PRO MOVIEMAKER RATING: 9/10 It’s an incredibly small camera that packs a real punch for filmmakers who want B roll gimbal shots Pros: Tiny size and image quality in good light Cons: No Wi-Fi built in, tiny screen, no tripod mount
EXPANSION KIT IS A MUST-HAVE ACCESSORY You can just use the DJI Osmo Pocket right out of the box, but the £99/$109 expansion kit makes it so much more useable, it should be considered an essential purchase. First, it comes with a 32GB Samsung Evo microSD card and the plug-in Wi-Fi base unit that means you can use the app wirelessly on your phone. The Osmo Pocket can’t be fixed to a tripod or other mount, but the expansion kit comes with an accessory mount that
clips around the outside and lets you use standard GoPro-fit accessories like tripod mounts, helmet mounts and more. The best part is the controller wheel that plugs into the camera and allows you to use a thumbwheel to move the camera in either tilt or pan motions. This makes it much more useable as a real gimbal. Accessories such as waterproof housings and a variety of cases are also available to make the camera useful for many applications.
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GEAR BUYERS’ GUIDE
ULTIMATE KIT FOR...
MOTION Camera motion can be one of the most expressive tools available to a filmmaker – you just need the right equipment WORDS CHELSEA FEARNLEY
1. BAG: MANFROTTO OFFROAD STUNT BACKPACK £119/$165
www.manfrotto.co.uk
The Manfrotto Offroad Stunt backpack comes with removable internal protective pouches so you can carry up to three action cameras and a compact system camera, as well as your personal gear. Interchangeable dividers inside the pouches also make this backpack compatible with GoPro, and you can get more action shots by utilising the connection mount on the shoulder harness or the pole on the back. It’s weatherproof and heavy-duty, so you don’t need to worry about your gear during any outing. Great for when you’re gliding down the mountain slopes of the Alps or scaling the side of Everest.
Moving the camera for dramatic effect is not new. In fact, it was first seen in the form of panning in the 1903 film, The Great Train Robbery. The camera shows a train moving into shot and then pans to the left to show bandits fleeing from it. Camera motion has come a long way since then: there are many more techniques, and the equipment to help you achieve them has greatly evolved. Moving the camera can alter the relationship between the subject, frame and shape the viewer’s perspective of space and time, and control delivery of narrative information. We’ve sorted the best dollies, sliders, gimbals, tripods and more into three different price brackets: • BUDGET MINDED: Equipment for those who are just starting out or strapped for cash. • PRO PERFORMERS: Workhorse equipment that is consistently reliable and full of handy features. • DREAM BUYS: High-end, professional equipment that won’t give up until you do.
2. SLIDER: HAGUE S800 CAMSLIDE CAMERA SLIDER £99.50/$129.60
www.haguecamerasupports.com
The Hague S800 Camslide is a classic slider that’s ideal for those wanting to film motion on a budget. It has a traditional-style single rail made of high-quality aluminium, and is 800mm in length. This size provides a great range of movement, but is still practical for travelling with. It has adjustable end supports, which can be folded up for transit, and high-quality roller bearings. These ensure smoother movements across your slider shots, regardless of the surface. On top of the carriage is a standard 3/8in screw, to which a ball head or video head can be attached, and in the centre of the rail there are ¼in and 3/8in threaded holes so it can be attached directly to a tripod. There are bonus ¼in and 3/8in holes at either ends of the rail, too, so it can be attached to two tripods if required. It’s suitable for camera set-ups that weigh up to 3kg. Overall, this slider offers filmmakers on a budget a versatile, portable piece of kit that will add polish to their work. It’s lightweight, but heavy on performance.
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BUDGET MINDED 3. DRONE: DJI SPARK CONTROLLER COMBO £449/$399
www.dji.com
This affordable, compact and highperformance drone from global drone leader DJI features all the company’s signature technology in a small and affordable package. The Spark drone can be controlled using only your hand – which may just be the closest you’ll ever get to becoming a Jedi. The Controller Combi kit also comes with a controller unit, which accepts a smartphone. The drone has a two-axis mechanical gimbal for shake-free, smooth and detailed shots. The f/2.6 wide-angle lens with a 25mm equivalent focal length gives you sharp and vivid images, with little colour aberration and distortion. It features a 1/2.3in CMOS sensor, which enables stabilised video at 1080p and stills at 12mp. Spark includes Sphere, Horizontal and Vertical shooting modes, with the addition of two new modes: Pano and ShallowFocus.
BUDGET MINDED GREAT VALUE KIT THAT DOES THE JOB
5. STABILISER: SEVENOAK SK-W02N LEVELCAM MINI STABILISER £59.99/$77.56 www.sevenoak.biz
4. TRIPOD: MANFROTTO 190 GO! £389.95/$399.99
www.manfrotto.co.uk
Made from carbon fibre, the 190 Go! is the lightest and most stable tripod from Manfrotto’s 190 range. Featuring an M-lock system to adjust the legs, it can be set up in seconds, and can be engaged or disengaged with a single 90-degree rotation. The M-lock system is also highly ergonomic, and ensures precise movements and high stability, even with heavy loads. The legs can be set to independent positions, making it easier to set up on rough ground or in tight spaces. All in all, the 190 Go! may stretch your budget ever so slightly, but with its combination of light weight, strength and versatility, it’s absolutely worth it.
The Sevenoak SK-W02N Levelcam Mini Stabiliser is designed to reduce shake and stabilise movement. It’s lightweight, compact, and can carry camcorders up to 1kg in weight. Made from aluminium, it features a comfort grip handle, built-in spirit level, and rubberised camera plate and mount. It uses up to four adjustable counterweights and a super-smooth and flexible gimbal. The SK-W02N is one of the most affordable and reliable stabilisers on the market and compares well with top-of-the-line Steadicams, so is a great addition to any kitbag.
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