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Drone special: News, features and inspiration Making sense of VR: Make money from the latest tech Buyers’ Guide: Ultimate kit for beating the weather Tested: Manfrotto tripod, Vocas rig and lots more
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WINTER 2018
OPINION by Adam Duckworth
FROM THE EDITOR
Welcome to the Winter issue of Pro Moviemaker, and as the year draws to an end it’s perhaps appropriate to look back at some of the developments that have taken place this year. The arrival of full-frame mirrorless models is reflected in the reviews we’re carrying out in this issue on the Nikon Z 7 and Canon EOS R, while I was also fortunate enough to attend the launch of the Panasonic S Series and to speak to imaging boss Yosuke Yamane to get a first-hand appraisal of where he sees this development going. In terms of trends then what about the move towards the CinemaScope look that’s so cinematic, but which can cost a fortune to achieve? We report in this issue on a new adapter from SLR Magic that, in tandem with Fujifilm’s MK lens pair, creates an affordable anamorphic set-up that could have great commercial value. VR is another area to have moved more towards the mainstream this year and I caught up with Vanishing Point, a Hollywood-based company that is pushing back the boundaries, while Drone Dudes up the road have just produced some exceptional aerial VR footage. Meanwhile Blackmagic’s Pocket Cinema Camera 4K, tested in this issue, is offering great value for money and we’re seeing how The Dreamers in Holland are already showing what this camera can do on location. All great advances: I can’t wait to see what the next 12 months will bring!
TERRY HOPE, EDITOR
MEDIA SUPPORTERS AND PARTNERS OF:
IS IT THE FINAL NAIL IN THE COFFIN FOR DSLR FILMMAKING? Unless you’ve been far too busy making films in recent months to notice what’s been happening in the world of camera technology, it probably hasn’t escaped you that there has been a glut of new mirrorless cameras launched that are ideal for filmmaking – to one degree or another. Canon, the brand that pioneered full-frame digital filmmaking a decade ago, wised up and revealed its full-frame mirrorless offering, the EOS R. Complete with all-new lens mount and new range of glass to fit. DSLR rivals Nikon also joined the party. The new Z 7 – which we test in this issue – and forthcoming Z 6 are also fullframe mirrorless with lots of video spec. And perhaps one of the biggest surprises was the announcement that Panasonic is also joining the full-frame party with its forthcoming S Series. These will use the lens mount from the Leica SL mirrorless full-framer, with Sigma joining in by making a range of lenses to fit. And then along comes Fujifilm with its stunning new X-T3 mirrorless camera with great video spec that outperforms its flagship X-H1. And Blackmagic proves there’s life in smaller sensors with its stunning and very affordable Pocket Cinema Camera 4K. We test both these in this issue, plus the Canon EOS R and Nikon Z 7. As a former DSLR stalwart, there’s no way back now. The flip-up mirror brings compromises that mirrorless cameras don’t have when shooting video. If you’re a hybrid shooter who also takes lots of stills, the new breed of mirrorless doesn’t fall behind DSLRs for the many photographers. It’s quite obvious which way product development is going. The time is right to switch to mirrorless.
The ultimate magazine for next generation filmmakers
EDITORIAL Editor in chief Adam Duckworth Editor Terry Hope Contributing editor Kingsley Singleton Chief sub editor Beth Fletcher Senior sub editor Siobhan Godwood Sub editor Felicity Evans 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, Emily Lancaster & 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 PANASONIC
FULL-FRAME REVOLUTION
Targeting the Pro
Terry Hope met Panasonic imaging boss Yosuke Yamane directly after the announcement of its full-frame mirrorless models. He asked about the target market for the new cameras WORDS TERRY HOPE
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osuke Yamane had the look of a man who knew the day had gone well. He’d recently stepped off the stage of a packed press conference having announced Panasonic’s first foray into full-frame mirrorless technology, and reception to the Lumix S Series had been resoundingly positive. Two cameras, the 47-megapixel Lumix S1R and 24-megapixel Lumix S1, had been announced, and while all the world had to look at for now were prototypes, the concept was clear. I was lucky enough to be able to grab some time with Mr Yamane to find out more about the launch and to get a feel for Panasonic’s aspirations moving forward. It was clear which sector the S1R and S1 would be targeting – very much the
high-end professional. But what had made the company consider this should be the primary target with the first models in this series, and how would they overcome the fact that there are already some very established players in this area? “We are prepared for this,” Mr Yamane told me. “The professional camera sector is controlled by some very well-known manufacturers, and Canon and Nikon DSLRs are very widely used. However, the reality is that there is now a very clear shift from SLRs to mirrorless models, and this is where we have an advantage. Ten years ago we were the first company to manufacture a mirrorless MFT camera, the Lumix DMC-G1, and we’ve been heavily involved ever since. “The advantages of mirrorless models are well understood and allow photographers and filmmakers to see what they’re achieving in real time and to access much more information in the viewfinder. In many ways the DSLR is now becoming outdated and mirrorless is the future.”
ABOVE Mr Yosuke Yamane recently announced the launch of Panasonic’s new venture into the world of full-frame mirrorless cameras, the S Series.
“The reality now is that there is a very clear shift from SLRs to mirrorless models, and this is where we have the advantage”
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PANASONIC
All well and good, but Mr Yamane acknowledges that Panasonic is seen as having a relatively short history in the photographic and filmmaking worlds, so did he think this might count against them? The answer was that if the products were good enough, the belief was that the audience would come, while the company is investing heavily in a support system for professionals that will ensure those on the top tier will have access to repair, servicing and loan facilities wherever they are working in the world. A high-profile sponsorship of the Wildlife Photographer of the Year Awards is now in place, ensuring the company is associated in a positive way with some amazing imagery. Traditional design When I first saw the design for the S1R I was struck by how traditional it looked. Given that mirrorless is very different technology to a DSLR there was no obvious reason why it should, for example, have a pentaprism-shaped design in front of the eyepiece, since the photographer/ filmmaker is getting a direct view from a miniature TV screen. I thought I might get a non-committal answer from Mr Yamane and his team, but instead they were refreshingly honest; it’s all to do with the need for continuity. “The way a camera looks is very important,” Mr Yamane told me, “and
those who use them as a tool to make their living form a very strong attachment to them. So we made the decision that even though the features inside would be evolving we would aim to make both the new cameras traditional in appearance. We also weren’t looking to make them compact or lightweight, because they are models aimed at the professional market and those who operate in these areas will be expecting a certain level of build quality and a substantial piece of equipment.” Both of the new cameras are designed to be hybrids, with a host of features on board that photographers will love while also delivering a headline-grabbing ability to shoot 4K footage at 60/50fps – being the first full-frame mirrorless cameras to come with that facility. The S1 is the model that will be of most interest to filmmakers. The anticipation is that this model will go head-to-head with the likes of the Sony A7 III and Nikon Z 6, and its 24-megapixel output will be plenty high enough to satisfy both stills and motion operators. At the time of launch, both of the new Panasonic models were some distance from being ready for the market, so details were on the hazy side, and there was no indication of what price points the cameras will sit at. When pressed on this, however, Mr Yamane did give a few hints, which once again supported Panasonic’s thinking that the quality of the new products is high
IMAGES The design of the S1R is quite traditional, with a pentaprism-shaped design in front of the eyepiece. .
enough that they won’t need to be sold on the back of being a budget alternative. “Pricing will be set at a point that is appropriate for products that are being designed to be used by the professional market,” I was told. So, no corners have been cut, the S1R and the S1 are premium products with a high build quality and a mouthwatering feature set, and they are being supported across the globe by a professional service arrangement. The stall has been set out and the hope from Panasonic is that the proposition will be strong enough to attract a new generation of users who now have more choice.
More information www.panasonic.com
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GEAR OF THE YEAR
Pro Moviemaker’s Gear of the Year Awards honour the best kit and are voted for by real filmmakers like YOU!
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ecognising the positive effect that well-designed and reliable equipment can have on the life of a working filmmaker is what the Pro Moviemaker Gear of the Year Awards are all about. While cameras are often the biggest film stars in the filmmaking process, they are by no means the only bits of kit that
make a huge impact. Everything from memory cards and storage devices to monitors, stabilisers, audio accessories and editing software can make a big difference. In the second annual Pro Moviemaker Gear of the Year awards, the editors of the magazine have pulled together a shortlist of some of the best kit around. But it’s not just our
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ABOVE From cameras and lenses to recorders and mics, check out some of the kit shortlisted in our awards.
opinion that counts; readers of Pro Moviemaker are part of the judging process. We’re calling on you to cast a vote in favour of the products that have made a significant difference to the way you work. Add your feedback to the mix and we’ll be reporting back in the next issue to let the world know who has come out on top in this battle of the best.
S U R O F E T VO
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CASE STUDY THE DREAMERS
WEDDING DAYS
SELLING THE DREAM Hugo van Dijke and Yaël Ovadia are collectively The Dreamers, a Netherlands-based outfit with a decidedly cinematic approach to wedding filmmaking that’s helping to change the market WORDS TERRY HOPE
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THE DREAMERS CASE STUDY
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e probably all have our own preconceptions of what a typical wedding video might be like, and it’s not likely to be complimentary. Almost certainly overlong, predictable, and featuring all the speeches. A dull watch for everyone but the primary characters, and quite possibly a little on the boring side even for them. A one-watch wonder. If that’s your impression then you’ve clearly not come across a production filmed by The Dreamers. This Dutchbased team comprising husband and wife Hugo van Dijke and Yaël Ovadia doesn’t do straightforward wedding day
documentaries; rather they treat each assignment as a one-off and embrace the differences and surprises that each brings in its wake. With a cinematic approach, the result has the feel of a mini feature film and it’s highly watchable, entertaining, inclusive and, ultimately, way closer in feel to the true spirit of the occasion. Much of the originality of approach can be put down to the fact that Hugo and Yaël came into this area of the business almost by accident and, without being hamstrung by the usual clichés, they intuitively developed an approach that felt natural. “Both Yaël and I were journalism students, with a minor in Storytelling and
a major in Media Productions,” says Hugo. “We strongly felt the need to gain some filmmaking experience outside of school, and we thought we’d do this by starting up a small company. People knew we were messing around with film and a family member asked if Yaël wanted to film their wedding. She said ‘sure, why not?’ and duly took on the job, without looking at any wedding films or doing a lot of prep. “She worked 18 hours that day and, when she called me afterwards, I was expecting to hear how horrible it had all been. But instead she was full of energy and was telling me how much fun she’d had. After we’d edited the film together and sent it over to the couple, they called us up in tears. This was a level of gratefulness we’d never experienced before: everything commercial we’d done was always just ‘alright, thanks’. We then knew that this might be something special for us and, six years on, here we are.” The big day The style The Dreamers offers sells itself, and most bookings arrive via word of mouth, work being viewed on social media and through Google searches. Recommendations also come from wedding planners. “One thing that really helps is to have a connection with the couple,” says Hugo. “If they like us, and we like them, it makes things so much easier. To have a client’s trust means we can be creative to the max, without them questioning our methods or intentions. After all, a couple is going to be spending more time with us on the wedding day than with their own parents. “We’re so used to shooting weddings now that we really don’t need to plan any more. All that we try to do beforehand is to make sure we have enough time at each location or event - we don’t want to be stressing because there’s only 15 minutes allowed for the preparations or the couple shoot. We always say that we like to maximise a minimal influence: that’s to say we give the couple advice where we can, but we try never to interfere.” Perhaps no more than 5% of the footage shot on the wedding day is anticipated, and this is almost always B-roll that will consist of such things as setting up a time or star lapse. Otherwise input might consist of suggesting to a bride where the best light might be, so that they get dressed in front of a beautiful large window as opposed to in the bathroom, and it helps to add a more cinematic feel. Much of what The Dreamers is looking for is emotional impact, that can’t be staged: a look a mother gives her daughter, a tear from dad, nervous looks before the ceremony. It’s footage that it’s not possible to plan for or fake and if it’s
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ACADEMY ACTION FILMMAKING
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ACTION FILMMAKING
ACTION STATIONS ACTION HERO
Having built a career as a top action photographer David Spurdens changed tack and moved sideways into filmmaking. It meant refocusing his entire approach and learning fresh motion capture skills WORDS & PICTURES DAVID SPURDENS
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he vast majority of my professional life has been spent capturing sports and action, but over the 38 years I’ve been involved I’ve had to reinvent myself a few times. I started out working as a stills photographer on a football magazine and worked my way up to national newspapers via a sports agency, shooting editorial images of top-flight events for publication and picking up a couple of international awards along the way. I’ve always loved the challenge that action provides. If you’ve done well then you can take pride in your achievements, but if your imagery isn’t up to scratch then you’ll know it and so will your client, and your relationship will sour quicker than a bottle of milk left in the sun. I like this state of being, the pressure of having to perform and produce when it matters, and even if clients now expect more for less it’s still an
edgy, fun and very fulfilling business to be in. It’s important in any career to know when the time is right to move on and, for me, this ultimately meant leaving editorial work behind and looking for commercial clients as well as shooting stock, while over the past ten years I’ve slowly but surely been building up my filmmaking skills. Now the moving image accounts for around 90% of my working life, and I’ve been able to make this journey thanks to the tools that have become available and the advances in such things as bandwidth, which has made it possible to transfer gigabytes globally in minutes or even seconds. It’s meant that I can work and communicate with my clients from anywhere in the world, and produce my footage using a small and lean team and without having to take the kitchen sink on location with me.
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MOVIE MATTERS MAKING SENSE OF VR BUSINESS TRENDS
THE ART OF TELLING STORIES
Filmmaking is filmmaking, whether it’s a traditional production or a piece destined for use in a VR context, and Vanishing Point Media has used its experience of the former to move across to the latter WORDS TERRY HOPE
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nnie Lukowski, one half of Hollywood-based Vanishing Point Media (VPM), is quick to respond when asked why she and business partner BJ Schwartz decided to make the brave move from conventional filmmaking to throw themselves into the embryonic, and far more unpredictable, world of 360° and VR production. “We did it because we’re insane masochists and were looking to combine all the problems of an independent production company with the headaches that come with a technology startup,” she tells me, with the straightest of straight faces. That’s a joke, right? Ok, yes it is but, as Annie reminds me, sometimes jokes are funny “because they have just that little element of truth about them…”
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The pair have made a lurch sideways into an area where there’s very little in the way of rules and regulations, simply because all of those involved to date are pioneers who are finding out the hard way what works and what doesn’t. But someone has to be first in, and by leading from the front VPM has established itself as one of the leading exponents of the VR revolution, and the reward has been some amazing cutting-edge commissions that have been a heady mix of enormous fun and the steepest of steep learning curves. “Honestly, we still very much consider ourselves filmmakers,” says Annie. “We just happen to be focusing on telling immersive stories in VR Head-Mounted Displays (HMDs) right now. BJ and I met at USC film school in Los Angeles where we were the exclusive members of a
IMAGES Annie Lukowski and BJ Schwartz took a brave leap into the unknown world of video production when they set up Vanishing Point Media.
two-person mutual admiration club, and yet, somehow, we never quite got to work together in a major way. After that we went our separate ways for a while before getting together to work on a feature script. “While that was in progress, we were contacted by a mutual friend – the
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MAKING SENSE OF VR
IMAGES The Insta360 Pro was pressed into service on a project for Conservation International, called My Africa, filmed in Kenya.
“As flawed and as limited as the tech was back in 2014, we instantly saw the huge potential for telling stories”
remarkable Shannon Gans of New Deal Studios - who wanted us to take a look at VR narrative and to consider collaborating with her on developing some serialised content for HMDs. As flawed and as limited as the tech was back in 2014, we instantly saw the huge potential for telling stories.” To make a long story short, Annie and BJ dived in head first, quickly
realising how much they had to learn before even trying to write a script for a VR experience. “The medium can have similarities to theatre and film,” says Annie, “while at other times it reminded us of classic radio programming. In short, it was a genuinely unique medium, so we needed to bank some hours with the technology to learn what kind of stories and storytelling would live well in an HMD. “The first stop was to buy an Oculus DK2 and try to use video games like Alien Isolation to brainstorm about framing and to explore emotional connection. Robots in that game will follow you around so we used that ‘feature’ to create primitive storyboards to share with each other. Obviously, that only went so far, and before long we found ourselves the owners of a ten-camera GoPro rig and a computer capable of stitching together small experiments in VR narrative.” In the filmmaking world things have a habit of developing their own momentum, and once word got out that Annie and BJ had a VR rig jobs organically started to come their way. Now a name was needed: “We knew the company would always be driven by tech just beyond the horizon,” says Annie, “so Vanishing Point Media seemed appropriate.”
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AERIAL FILMMAKER FRONTIER LAND
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FRONTIER LAND
A NEW REALITY
Los Angeles-based Drone Dudes is fully established as one of the world’s leading suppliers of aerial footage and is now adding VR recordings WORDS TERRY HOPE
I
f you ever needed evidence of the maturing of the drone industry, just look at the established top operators who not only deliver high quality commercial aerial footage on an everyday basis to an expanding client base, but also actively push back the frontiers as they look to the next big challenge. One of those at the forefront is California-based Drone Dudes, which has been conquering the skies since 2010. That’s a long time in drone years: eight years ago it was a very different world and the company’s founder, UAV pioneer Andrew Petersen, recalls just how tricky it was to realise the dream of getting a high quality camera up in the air. “I first started to think about having a flying camera when I was in Milford Sound in New Zealand,” he says. “There
were all these amazing waterfalls and it was beautiful and remote. I didn’t want to work out of a helicopter, so when I got back to LA I researched buying a ‘multirotor’, (what drones were called then). I ended up spending $10,000 on a Cinestar 8. “I went all in, thinking this is cool –I could see the benefit. I started by flying DSLR cameras with servo gimbals: really old technology that involved super DIY skills, with me having to hack and solder everything. My goal was to be able to fly a RED camera and, after spending so much money, I was so invested that I had no choice but to keep pushing ahead. “I started out using flight sims on a computer so that I could learn before flying for real. The Cinestar was the first multirotor drone I’d built and flown, and I was blown away by the fact that, after a
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GEAR BLACKMAGIC POCKET CINEMA CAMERA 4K TEST
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BLACKMAGIC POCKET CINEMA CAMERA 4K TEST
FIT FOR PURPOSE
Finally a mirrorless camera that really is designed for making movies above all else WORDS ADAM DUCKWORTH
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hile other companies might say they make a filmmaker-specific version of their mirrorless cameras, the reality is that they are largely just playing at it. Taking a camera clearly designed for stills and adding more features for movies doesn’t make the camera ideal for filming. There are still the handling quirks and often handicapped specs, in order to avoid cannibalising sales of their more expensive video cameras. In comparison, the Blackmagic Pocket Cinema Camera 4K really is designed solely for filmmaking, with specs that leave other wannabes lagging far behind. Features include a huge five-inch screen that means you can largely do away with an external monitor, and a USB-C output so you can record up to 12-bit to inexpensive external SSD drives. There’s a dual-native ISO for great low-light capture, and a claimed 13 stops of dynamic range to provide detailed HDR images. And there is a fullsize HDMI socket, a mini-XLR input with phantom power for prostyle mics, and an internal stereo mic that is genuinely useful thanks to decent preamps. But the unique selling point is that it can record up to DCI 4K at rates of up to 60fps in a variety of codecs, including different quality levels of CinemaDNG Raw and ProRes 422 to a CFast 2.0
SPECIFICATIONS Price: £1055/ $1295 body only Sensor: 18.96x 10mm Four Thirds Image stabiliser: None ISO range: 100-25,600. 400 and 3200 Dual Native Dynamic range: 13 stops LCD: 3in LCD touch screen, 1920x1080 Viewfinder: None Auto focus: Contrast detect Recording format: DCI 4K 4096x 2160, 4K 3840x2160, HD 1920x1080. 480Mbps and 120Mbps. 60p/ 59.94p/ 50p/ 30p/ 29.97p/ 25p/ 24p/ 23.98p. 120p in windowed HD. Codecs: CinemaDNG Raw, CinemaDNG Raw 3.1, CinemaDNG Raw 4.1, ProRes 422 HQ, LT, Proxy Connectivity: USB-C, HDMI, mini XLR, 3.5mm stereo input for mic and timecode, Bluetooth Storage: 1x CFast, 1x SD UHS-II slot Dimensions (WxHxD): 178.1x96x85.5mm / 7.01x3.78x3.34in Weight: 722g/ 1.59lb with battery and card
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GEAR FUJIFILM X-T3 TEST
FUJIFILM X-T3
THE ALTERNATIVE FLAGSHIP Fujifilm’s new X-T3 may sit below the X-H1 in the range, but outperforms it for video shooting WORDS AND IMAGES ADAM DUCKWORTH
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f you’ve recently bought Fujifilm’s flagship X-H1 specifically for its performance as a video camera, it’s time to look away now. The new X-T3 is the first of Fujifilm’s range to benefit from a new sensor and processor that makes it outperform anything else in the range for both stills and video shooting. It may not have in-body stabilisation and the reinforced lens mount and body construction of the X-H1, which costs around 25% more, but it is an improved camera in every other way. Although its performance as a stills camera is much improved
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compared to the current X-T2 and X-H1, it’s in video capability where the new X-T3 shines, with truly stunning spec that puts it among the very best mirrorless cameras. Mate it to Fujifilm’s cinema glass and an external recorder, and you have an incredible bit of Super35 pro video kit for not a lot of money. It can capture DCI and UHD 4K video in 60p and output 10-bit 4:2:2 files to an external recorder or capture 10-bit 4:2:0 internally using the H.265 codec at 200Mbps – that’s double the bit rate of the older cameras. There is also a less data-hungry H.264 codec, too.
ABOVE The new X-T3’s video capability is where it shines, putting it among the best mirrorless cameras.
SPECIFICATIONS Price: £1349/ $1499 Sensor: 26.1-megapixel X-Trans BSI CMOS, APS-C Recording formats: DCI 4K at 24/30/60p up to 400Mbps, Full HD at 24/30/60/120p up to 200Mbps. MOV, All-intra/ Long GOP. F-Log, Hybrid Log Gamma to come via Firmware update. 4:2:2 10-bit via HDMI to external recorder ISO: 160 to 12,800; expandable 80 to 51,200 Autofocus points: 425 phase detect/contrast detect Shutter type: Focal plane mechanical, plus electronic Max stills frame rate: 30fps with 1.25x crop electronic shutter; 11fps mechanical shutter LCD: 3in 1.04 million dots, articulating touchscreen Image stabilisation: None Interface: Bluetooth, USB-C, micro HDMI Storage: 2 x SD UHS-II card slots Dimensions (WxHxD): 132.5x92.8x58.8mm/ 5.2x3.7x2.3in Weight: 539g/1.19lb (including battery and card)
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FUJIFILM X-T3 TEST The only other mirrorless cameras to record 10-bit internally are the Panasonic GH5 and GH5S, which are rightly heralded as two of the best mirrorless cameras for video use. The Fujifilm one can also output its 4K 60p 4:2:2 10-bit signal via HDMI and simultaneously record 4K 60p 4:2:0 10-bit to its internal SD card for an instant backup. The Fujifilm can also record F-Log footage internally with a minimum ISO of 640 and a firmware update will see Hybrid Log Gamma coming later this year, which is ideal for fast HDR workflow. The camera has microphone and headphone sockets, with a flap that can be removed for when the camera is on a rig, rather than just getting in the way. It shows Fujifilm has become very serious about making a camera for professional filmmakers. On the older X-T2, the only way to get a headphone socket was to add on the extra battery grip, which gave an increase in recording time but added to bulk and expense. In UHD or DCI 4K video at 60p, there is a slight 1.18x crop of the sensor. At 30p or below, the X-T3 records oversampled video using the full width of the sensor and you have a choice of All-Intra or Long GOP compression at up to 400Mbps, which needs a fast V60-spec SD card. In 1080p HD, it records at up to 120fps for super slow motion, but there is a 1.29x crop. Much of these speed improvements are thanks to the faster internal processor, which also gives a big improvement in rolling shutter performance. It’s hardly noticeable until really provoked and is certainly better than any other Fujifilm cameras and many mirrorless rivals, too. The AF in video mode is very good, as well, using phase detection
“It performed admirably when we used the camera to shoot the Goodwood Revival festival”
LEFT It locked on to racing cars and bikes well and, in darkened rooms around the track, nailed focus quickly.
points to make it quicker and more reliable, with usable face tracking, although serious video shooters will stick to manual focus and use peaking, of course. For this, there is also a punch-in to check focus feature and adjustable zebras help nail exposure. But to avoid the AF at all is to miss out on some of the benefits of the latest technology. It can acquire focus quickly and hold it on fast-moving subjects. It performed admirably when we used the camera to shoot the Goodwood Revival motor sport festival. It locked on to racing cars and bikes well and, in darkened rooms around the track, nailed focus quickly and precisely. It’s claimed to focus in light levels as low as -3EV and there’s no reason to question this. And thanks to the touchscreen, you can tap to focus and it’s nearfoolproof. There are options for choosing which parts of the screen are active, to prevent your nose accidentally pushing on the screen and changing the focus point when you’re using the viewfinder. The era of usable AF for video is here, as long as you understand when it will work for you and when it’s best to stick to manual. The three-way tilting LCD touchscreen doesn’t fully articulate, though – something the selfie generation will miss. But in a nod to serious users, the EVF dioptre adjustment wheel is now lockable to avoid
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GEAR NIKON Z 7 TEST
FILMMAKERS’ FRIEND
SIMPLY ZEE BEST? Nikon’s first full-frame mirrorless offers impressive video spec WORDS & IMAGES KINGSLEY SINGLETON
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ikon is taking filmmakers seriously with the launch of its full-frame mirrorless system, the Z Series, with a new lens mount featured on two identically-sized bodies (the Z 6 and Z 7) with differing innards. The Z 7 can be thought of as a mirrorless D850 – a DSLR camera we loved for its full-chip 4K video with no cropping. The Z 7 has a 45.7-megapixel sensor with no optical low pass filter, 9fps burst mode for stills, 493-point AF system, 64-25,600 ISO range and 4K video at 30/25/24p with no cropping. It also shoots in HD at up to 120fps.
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Also launched are three Z Nikkor lenses: a 24-70mm f/4, a 35mm f/1.8, and a 50mm f/1.8, with more promised for 2019 and beyond. There’s also an FTZ mount adapter, which allows you to fit any F-Mount lens to the new bodies. It’s obvious Nikon has chased the legions of its DSLR owners who were waiting for a serious mirrorless camera, rather than chasing pure filmmakers. For users of Nikon DSLRs, the Z Series is an obvious upgrade, especially for shooting video. The Z 7 body is small, but not so much so to be fiddly. The grip is good, though for my hands the body feels a bit
ABOVE Have Nikon finally found the way to filmmakers’ hearts with the small, light mirrorless Z 7?
short, losing grip from the lower fingers. This was exacerbated when shooting with my 70-200mm f/2.8E mounted via the FTZ adapter as it’s just too front heavy to be comfortable handheld. Weightwise, it’s a great improvement. As a Nikon user, I was quite at home with the new control layout, but it did take some mental adjustment. Due to the small body but large screen, there are no buttons on the rear left or front left of the camera. The on/off button is around the shutter button, and the ISO and exposure compensation buttons are in the same position as all of Nikon’s recent bodies.
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NIKON Z 7 TEST “Due to the small body but large screen, there are no buttons on the rear left or front left of the camera”
SPECIFICATIONS Price: £3399/$3397 body only Sensor: 45.7-megapixel BSI CMOS full-frame sensor Image stabiliser: Five-axis sensor shift ISO range: 64-25,600, expandable to 32-102,400 Shutter speeds: 30secs to 1/8000sec plus B LCD: 3.2in touchscreen, 100% frame coverage Viewfinder: 3.6m dot EVF Auto focus: 493 phase detect points in single AF covering 90% of the image area – usable in singlepoint, pinpoint, dynamic area, wide area, auto area Recording format: 4K UHD 3840x2190 30p/ 25p/ 24p. HD 1920x1080 120p/100p/ 60p/ 50p/ 30p/ 25p/ 24p Connectivity: Wi-Fi, Bluetooth, HDMI-C, USB-C Storage: 1x XQD slot Dimensions (WxHxD): 134x100.5x67.5mm/ 5.3x4.0x2.7in Weight: 585g/ 1.29lb body only
The buttons themselves are large and nicely raised from the body, and nothing’s a stretch. Pretty soon I was using them ‘blind’, just like my regular body. But there are fewer of them, so controls need to be mapped to function buttons or added to the on-screen ‘i’ menu. For instance, rather than having the AF control on the front left of the body, it defaults to one of two paddle-like buttons on the right by the lens mount. These can be used alone or with the control dials and can be customised for up to 22 options, so there’s plenty of scope to map your most used functions. Six other body controls can be reassigned, and some upcoming lenses will have customisable buttons on them, too. The focusing ring on the new lenses can be customised to other functions as well – setting it to exposure compensation works really well, but you could set it to aperture control (the only downside being it has no feedback ‘bumps’). Turning to the EVF, it’s right up there with the best around. There’s no smearing even in low light, lots of detail, and the frame rate is sufficiently high to make you half think it’s optical. The spell does occasionally get broken, though,
ABOVE For both stills and video, the Z 7’s versatile AF is one of its strongest and most attractive features.
BELOW The layout will be familiar to Nikon users, but the smaller size might be an issue for some.
as I did get a bit of eye strain after extended shooting, but that’s to be expected. The only real problem I had with the EVF was in the speed it turns on. By default this is done as you move it up to your eye, but I found the best part of a second of lag broke up my shooting a bit. The placement of the sensor also means you can turn it on accidentally until you get more used to it. The battery usage is still not as good as some mirrorless or DSLR competitors, but it’s certainly not a problem. Equally, the single XQD card slot posed no problems day to day (though cost of XQD media is still a lot more than SD cards). For stills, the Z 7’s AF performance is a real eye-opener, though not without room for improvement. With a little tinkering in terms of the AF area size, and shooting in continuous AF, I found the Z 7 was nailing most shots, even of dogs running towards me. Otherwise, I found it highly accurate, even in very dim conditions, and there’s a low light AF mode you can switch to if it is struggling. The AF area is highly adaptable from very wide to a pinpoint across 493 areas and it covers 90% of the frame. The area was quick and easy to adjust using the Z 7’s rear control stick. There’s face detection, but no eye detection. Comparing stills image performance against the D850,
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GEAR GROUP TEST WHICH DRIVE?
LOCATION DRIVES Find the perfect portable hard drive with a range of options covering speed, size, space and security WORDS KINGSLEY SINGLETON
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hether you want to back up footage in the field or edit movies on the fly, you’re going to need a firstclass portable hard drive. And while you’ll most likely already have a selection of drives, with file sizes always on the rise and many videographers now using multiple cameras, both the space and the speed you need should be routinely reassessed. That’s why we’ve brought together a selection of the latest models in this month’s group test. This selection offers a range of specs so all needs are covered, from those who need masses of storage on location to those who need the fastest transfer speeds. And many of the drives are rugged enough to stand up to water, dust and accidental drops as well.
If you need the fastest connections, a solid state drive (SSD) is the way to go, and when combined with a Thunderbolt 3 connection you’ll get huge speeds. Solid state drives with a USB 3.1 Gen 2 connection are still very fast, though – certainly enough to edit 4K video without problems. They are backwards compatible with USB 3.1 Gen 1, USB 3.0 and USB 2.0, but your connection speed is limited by the slowest of the links in the chain, so don’t expect a USB 3.1 SSD to perform wonders on an old laptop with 2.0 ports. Traditional hard disk drives (HDDs) are slower, but offer lots more storage for your money, so if you don’t need to edit off the drive they can be a more cost-effective option. And with lots of space you can mirror your backups for greater security.
SONY PSZ-RA PRO FIELD DRIVE 12TB £589.85/$750
www.sony.com
If you need huge amounts of portable storage, say when shooting an extended event or using lots of cameras, Sony offers a great solution in the shape of its Pro Field drives. These are hard disk drives (HDDs) so you can’t expect solid-state speed levels, but there’s masses of capacity with models from 4TB to 12TB, and as RAID devices you can use the total of the storage (RAID 0) or mirror it (RAID 1). You’re unlikely to run out of space, and it’s a lot easier than chasing multiple smaller drives about your desktop after the event. Unlike most drives of the size, the Pro Field models also offer a good level of shock resistance. There are internal and external dampers, allowing the unit to run while there’s vibration, such as
“Many of the drives stand up to water, dust and drops” 102
from a running car or generator, and a robust carry case with handle. It can operate from 5°C to 40°C, so might need some additional protection if you’re planning to use it in extreme conditions, but it can be stored from -20°C to +60°C. Unlike the other drives covered here it also needs a power supply as it’s not bus-powered. At 156x100x241mm and weighing 2.9kg, it’s not small or light, but that’s not its job. It comes with a three-year guarantee. The drive uses both USB 3.1 Gen 1 and two Thunderbolt 2
connections so you shouldn’t be short of connection options, including chaining several drives if required. Top speeds should hit 440MB/s, though this falls to 360MB/s with 8TB/12TB models; best speeds are reached in the RAID 0 configuration (a 1TB file should transfer in less than an hour). It can be used with large-capacity SxS PRO+ D Series memory cards. PRO MOVIEMAKER RATING: 9/10 Pros: Huge storage, rugged and well priced Cons: Needs power
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GROUP TEST
SONY SL-E1 960GB EXTERNAL SSD £429.00/$288.84
www.sony.com
Sony’s SL-E1 960GB external solid state drive is one of three that the company produces in the same series; there are also 240GB and 480GB versions, but the highest capacity gives you an element of future-proofing, and fewer worries about running out of space if you’re working on location for long periods of time. The SL-E1 uses a USB 3.1 Gen 2 interface with a USB Type C connection, and transfer rates are up to 540MB/s read and 520MB/s write, so you should experience little if any slowdown in your editing and backing up. A USB Type-C to Standard-A cable is included. A small LED oversees transfer if you don’t have a screen. The SL-E1 is very small and light, amongst the smallest and lightest in the group; it weighs only 50g/1.8oz and measures 47x11x80mm, making it feel
like a thick business card. With a pleasingly curved edge, it’s definitely pocket-friendly. It makes no bold claims of durability, but like any solid state drive the fact that it uses flash memory and has no moving parts means it has a much better chance
of withstanding shocks than a traditional spinning disk. The body is clean and simple, and made of aluminium for durability and to act as a heat sink; it also has a corrugated finish that definitely makes it more grippable and stops the drive looking grubby with fingerprints; on the downside, you may find assorted dust and crumbs collecting within the grooves and needing a brush to remove them. There’s no plug protector for the USB port, either. The drive is compatible with Macs and PCs, as well as Android devices, and can be set up to password-protect selected partitions but leave some areas open for less vital files. PRO MOVIEMAKER RATING: 8/10 Pros: Good speed, compact and light, plenty of capacity Cons: Limited toughness
SANDISK 2TB EXTREME PORTABLE SSD £549.99/$379.99
www.sandisk.com
The Sandisk Extreme Portable SSD’s design screams ‘on the move’, with its built-in loop letting you attach it to your bag or clothing. It looks as much like a piece of outdoor gear as a mobile hard drive, and that’s backed up by its ‘extreme’ build (it’s water and dust resistant to an IP55 standard). Testing this we gave it a bit of a splash with water from a shower head, dried it and it functioned as normal. There’s no rubber plug to the USB C connector though, so you wouldn’t want to get that too clogged up. It’ll also withstand drops of up to two metres onto a hard surface, and has an operating temperature of 0 to 45°C. This toughness doesn’t mean increased size and weight, though: the Extreme Portable SSD measures just 96.5x50.8x7.6mm/ 3.8x2.0x0.3in, so no larger
than a mobile phone, and it fits easily in most pockets. It weighs 38.9g/0.086lb, so it’s not noticeable at all in your bag or pocket. The Extreme Portable SSD uses a USB 3.1 Gen 2 connection and can hit a maximum read speed of 550MB/s, and comes with a Type-C to Type-C cable; if you’re using a machine without Type-C connections, there’s a Type-C to Type-A adapter included. The drive is pre-formatted as exFAT, so it can be plugged straight into a Windows or MacOS machine, and the SecureAccess encryption allows files to be password protected. The 2TB version will give you plenty of space to play with – for instance around 65 hours of 4K 30fps video footage – but it also comes in 250GB, 500GB and 1TB version. A three-year warranty is included.
PRO MOVIEMAKER RATING: 9/10 Pros: Tough, small, light, fast, high capacity and reasonable price Cons: Not many
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GEAR MINI TESTS
Our round-up of the great kit we’ve tested in this issue includes a new flexible camera rig, a curved monitor and a set of professional headphones WORDS ADAM DUCKWORTH, JULIAN MITCHELL AND TERRY HOPE
VOCAS FLEXIBLE CAMERA RIG FCR15 PRO KIT £1694/$2180
www.vocas.com
When kit is labelled ‘universal’ or ‘one size fits all’, often it should come with a warning that it’ll be a compromise, won’t actually fit properly or do a good job. That’s definitely not the case with the Vocas Flexible Camera Rig Pro Kit. Designed to fit cameras from DSLRs and mirrorless right up to cinema cameras, the new Vocas FCR-15 Pro kit is intelligently designed and easy to adjust. You can change the position of the shoulder pad using a parallelogramstyle system of joints, there’s an Arca-compatible sliding camera plate, moveable and optional counterbalance weight and lots of options for mounting the top handle, viewfinder or mounting any accessories. You can customise the rig for most cameras, and how you want to use or hold them. The Pro kit consists of Vocas’ standard Flexible Camera Rig FCR-15, a top handle, rear rails bracket, a 1kg/2.2lb counterweight for 15mm rails and the leather handgrip kit. It can be stripped
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RIGHT The Vocas Pro Kit is genuinely adaptable to a full range of different cameras.
BELOW The kit comes with a follow focus and a counterweight.
down for smaller cameras, or fully rigged up with the counterweight on the back for shooting in an offset position. The clamps hold everything in place solidly without any slippage. And there’s even a nice Allen key included that has its own slot and is held in place by a couple of magnets. So you’re never left hunting around for an Allen key. Many of the connectors have beautifully-machined quick-lock levers, such as the ones that help you adjust the shoulder pad which is attached to the rig via an extender to a vertical 19mm tube. Just opening the quick lock lets you set the shoulder pad in lots of different positions. It can be used directly underneath the rig for a comfortable shoulder set-up, or as a chest support. It can also be set around 100mm further back for larger cameras with viewfinders, and its angle can be altered too. If you’re using an external monitor or EVF, the shoulder pad can be set in an offset position, too. And these quick lock levers enable you to expand and collapse the rig really quickly. There’s an optional 15mm clamping block that can be mounted to the back of rig, so you can mount any standard 15mm rail
SPECIFICATIONS Components as tested: Vocas Flexible Camera Rig FCR-15 Pro kit Material: Aluminium, cork, rubber, stainless steel Camera mounting points: 2, ¼” and ⅜” Bar system: 15mm Weight: 2.92kg/6.43lb
accessory such as a battery, recorder, monitor or counterweight. The Vocas rig might not be at the bargain end of the market but will last for years, and is adjustable for filmmakers who not only swop between different cameras now but will still be good for future camera purchases. AD. PRO MOVIEMAKER RATING: 8/10 Truly great kit that fits many different types of cameras Pros: Quality build, ease of adjustability for different cameras Cons: Not the cheapest, weight can be an issue
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MINI TESTS
SAMSUNG C43J890 43” CURVED MONITOR £980/$899
SENNHEISER HD-300 PRO HEADPHONES £169/$199.95 en-uk.sennheiser.com
www.samsung.com
Samsung’s new curved monitors are scientifically proven to be better for you but it’s the cool factor that will get you first. Apart from the looks, there is some science behind the new curved screens. Research by Seoul National University Hospital found that Samsung’s curved monitors were more effective in reducing eyestrain than its flat monitors. Interestingly the greater the curvature of the monitor’s screen, the more effective it proved in reducing eyestrain. Samsung’s C43J890 is a 43-inch LCD monitor with LED backlight with an aspect ratio of 32:10 and a resolution of 3840x1200. The LCD screen is a VA type as opposed to IPS. VA screens are optimised for looking at head-on, where IPS screens can still be seen at high angles of view. VA screens also have better contrast and black uniformity. An aspect ratio like this with a resolution like this doesn’t ring any format bells (4K is 4160x2160 at 16:9 generally) so with so much real estate, it’s all about what you do with the space. The C43J890 provides features like its Picture by Picture (PBP) and Picture in Picture (PIP). And you can choose between your device’s native aspect ratio or use the whole 3840x1200. Multiple inputs encourage you to have your viewing window and timeline on the same screen at the same size as you’re used to when editing, for example. Inputs are dominated by USB Type-C with three ports just for Type-C connections – one just for PC connection. These give you data and power and also with the right adapters access to DP and HDMI devices. Other USB ports can talk to USB A-C devices. Others include HDMI, DP and audio.
SPECIFICATIONS Screen: 110.2cm/43.4in curved, 1052x328mm active display Aspect ratio: 32:10 Brightness: 250cd/m2
ABOVE The curvature of the new monitors means users are less likely to suffer eyestrain.
Refresh rate: 120Hz Connections: 2x EA USB-C, 3x USB, 2x HDMI, display port, headphone socket Dimension (WxHxD): 1063x525x314mm/ 41.85x20.67x12.36in Weight: 13g/28.66lb
There are four buttons on the front panel which will shortcut your way around and also present a menu with the options. Three buttons together are shortcuts to finding a signal source, initiating PIP and PBP and switching which USB connectors you want. The solitary button is more of a jog wheel where you can access setting, PIP/ PBP, source and the off button. The picture menu is your standard deep dive in to brightness, contrast, sharpness and colour changes with what Samsung call Magic Bright. There’s also an Eye Saver Mode which will lessen blue light levels. Flat screens will soon look so uncool once we all migrate to something curvier like this great Samsung screen. JM. PRO MOVIEMAKER RATING: 8/10 It’s not HDR but offers lots of real estate for a decent price Pros: Curved screens are better for you, large size Cons: No support for HDR, needs a lot of room
New from Sennheiser is the HD-300 PRO, a set of specialist monitoring headphones. This is Sennheiser’s top-ofthe-range offering for those who take audio seriously. They’re ultra-comfortable, thanks to new padding material and split headband padding that removes pressure from the sensitive area of the head. They have also been given a new fork design that ensures contact pressure is evenly distributed over the entire ear pad, for efficient sealing against outside noise. They’re also robust. You have the choice between a ¼in and ⅛in connector, the larger one screwing over the top of the smaller. Sound quality is excellent; you can hear every nuance of what you’re recording, even if ambient sound is distracting. TH PRO MOVIEMAKER RATING: 9/10 Pros: Specialist piece of kit for a very reasonable price Cons: Costs more than conventional set of headphones SPECIFICATIONS Driver Type: Dynamic Frequency Response: 6Hz to 25kHz Sensitivity: 108dB at 1kHz Impedance: 64 Ohms Maximum Sound Pressure: 123dB at 1kHz Maximum Power Handling: 500mW Audio Connector: ⅛in (3.5 mm) TRS Straight Adapter: ¼in (6.3 mm) TRS
“Curved monitors are scientifically proven to be better for you, but it’s the looks that will get you first”
Cable length: 1.5m/4.92’ Weight: 297g/10.48oz
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GEAR BUYERS’ GUIDE
ULTIMATE KIT FOR...
RAINY DAY FILMMAKERS
As we head into winter we take a look at some of the best gear out there for filmmakers who have no option but to carry on working in the great outdoors – no matter what the conditions WORDS LAURA JEACOCKE
1. TRIPOD: MANFROTTO COMPACT LIGHT TRIPOD £40/$60
www.manfrotto.com
A decent compromise between a mini and a full-size tripod is achieved by the Compact Light from Manfrotto. Weighing just over 800g but reaching a maximum height of 130cm, it’s the perfect size for outdoor shooting, and being flexible and lightweight it’s exactly the kind of tripod you want should you get caught in a sudden downpour. The built-in ball head and single adjustment knob means that any small camera can easily be locked into place and used within seconds. Although it only supports up to 1.5kg, when paired with the Olympus Tough TG-5 that’s quite enough. The Compact Light is also made from aluminium so it doesn’t mind the rain. Great value for money, this nifty little tripod is light and compact for quick transport, easy to use and practical in the rain. A brilliant addition to any low-budget weatherproof kit.
BUDGET MINDED GREAT VALUE KIT THAT DOES THE JOB
If your job as a filmmaker involves you working on location, then sooner or later you’re going to have to brave conditions that are less than perfect, from torrential rain and howling wind to snow and ice. As a professional you know you’ll still be expected to come back with great footage while, from a personal point of view, you won’t want to be putting your precious gear in peril – so what’s to be done? The answer, of course, is to invest in kit that comes with a degree of weatherproofing, or in bags and weatherproof covers that can protect gear that doesn’t take kindly to a dousing. With the weather in many places very unpredictable, this Buyer’s Guide reveals kit that can help you withstand anything the great outdoors throws at you, including trusty tripods, rugged hard drives, waterproof cameras and floating bags - this is your go-to list for gear that goes the distance. To make things even easier we’ve also sorted the kit into three different price brackets. Budget Minded: equipment for those just starting out or strapped for cash (but either way still demanding highlevel results); Pro Performers is the next level up, home to workhorse kit that is consistently reliable and full of handy features, while producing some incredible results. And if you’re looking to splash out on your weatherproof gear then look to the Dream Buys section, where you’ll find a range of high-end, professional kit that won’t give up until you do.
2. STORAGE: LACIE RUGGED RAID £285/$320
www.lacie.com
LaCie is one of the most trusted, go-to brands around when it comes to keeping data safe. As part of the company’s Rugged series, the Rugged Raid offers some of the best protection available when it comes to all-weather, extreme environments. The bumper and cap means it can survive a five-foot fall and one ton of pressure, and it has an IP54-rating for water and dust protection. With a thunderbolt and USB 3.0 connection, the Rugged Raid has speeds of up to 240MB/s and 4TB of storage. It also has two internal drives, so if one fails you can still access your data from the other. Not only do you want safety from the weather, but also from theft; the Rugged Raid has both password protection and AES 256-bit encryption, so it offers security in every sense of the word.
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BUYERS’ GUIDE
4. CAMERA: OLYMPUS TOUGH TG-5 £379/$399
3. EXTRA: DARK SKY WEATHER APP Free www.darksky.com
The importance of knowing what the weather will do is completely underestimated on shoots. The last thing you want is to be caught out by a rainstorm or sudden windy conditions, and Dark Sky’s weather app could help you to avoid nasty surprises. Best of all, it’s free. With detailed, hyperlocal forecasts, this app can give up-tothe-minute forecasts that even tell you exactly where storms are heading, locally and globally. It can tell you when rain will stop or start, wind speeds, temperatures, visibility, humidity, cloud cover, pressure, UV index and sunset or sunrise times, and even shows past temperatures. It’s completely customisable, too, thanks to a whole list of possible notifications that can warn you when a certain change in weather will occur. This app is one of the first and most important steps in making sure your gear stays dry.
www.olympus.com
An unexpected front runner in the search for a weatherproof camera comes from Olympus, with the Tough TG-5. This compact camera is fully waterproof down to an impressive 15 metres, meaning you can shoot with it in heavy rain, on rapids or even when snorkelling. It has anti-fog dual-pane glass, is freeze-proof to -10ºC and crushproof to 100kg, and can also withstand a fall of 2.1 metres. Not only can this camera cope in all kinds of weather but its new 12-megapixel sensor and ISO 100-12,800 range improves its performance in low light conditions. The Tough TG-5 can capture both 4K and Raw still footage, and has a 4x zoom lens with a decent aperture of f/2-4.9. The modified body allows the camera to be easily operated even if you’re wearing gloves, with added control dials for easy and quick use. It also boasts WiFi connectivity, enabling the transfer of field sensor data such as compass bearing, temperature and pressure to a smartphone, while there is also a massive range of accessories available, such as underwater cases and fisheye converters.
5. BAG: SEALLINE DISCOVERY VIEW DRY BAG £20-£40/$30-$50 www.seallinegear.com
SealLine’s products, although not specifically meant for camera kits, are legendary amongst those who are regulars in the outdoor world. Their waterproof dry bags and protective cases, designed primarily for kayakers, receive recognition from all kinds of industries that face regular contact with water. PurgeAir valves are one of SealLine’s unique trademarked technologies and these help the bag to fully compress after sealing, making it more durable than other fabric membranes. Colour coded bottoms and transparent material makes organisation and quick access easy, perfect for stressful outdoor shoots when the weather is playing against you. The PVC-free bags are available in capacities of five, ten, 20 and 30 litres. Great for storing smaller items, keep kit dry when you’re out facing the elements.
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