The FX6/SP3 combination is almost tailor-made for that style of shooting, and Spearing is hugely appreciative of the way CVP has worked with him to make it happen. “They know the industry very well – everyone is aware they’re the guys you go to because of their professionalism,” Spearing enthuses. “CVP is the top dog with their service and stock. They deal with everyone from individuals to huge companies, treating everyone equally. That’s a great service and I like that you always have someone (for me, it’s Philip) to speak to whenever you need assistance. “I love camera gear, lenses and technology, so any time a camera comes out, I’m emailing Philip and saying, ‘Wow, this looks really cool.’ He will give me more information and we chat about it. It’s a nice personal relationship in that sense. “They’re always keen to help you get gear, and if they can work out a discount for you, they will,” he elaborates. “They’re also quite loyal, which is nice. You feel as if you’re not just another customer; you’re somebody they value.” Spearing might be using the same kit combo out with Pink again this summer for some potential dates, and is also looking to use the SP3s on other projects. “I’m shooting a short film this year, which we’re probably going to shoot on my cinematographer friend’s Red V-Raptor. I’m looking forward to trying out these lenses with the RF mount, putting them onto a Red and seeing how they can hold up in a narrative environment,” he concludes.
which is the difference between using these compared to vintage lenses, where you can see it fall apart a bit. But when I was shooting with the audience for instance, and the light hits them, it looks beautiful. I have never seen the FX6 look this good.” Spearing worked extensively in the music industry, both in this style of reportage and on music videos. The differences are huge. While the day-to-day touring schedule does have a rhythm to it – load in, sound check, pre-gig build-up, performance, after-show, load out and travel – the opportunity to set up shots is limited. “When you’re doing a music video, it’s a lot more considered,” Spearing explains. “You can plan things and specific lighting set-ups, doing more considered shots. But I still like to do everything as cinematic as I can, that’s why I want to always have great lenses and ensure everything I do has that texture to it. “You just have to scale it back, being light and nimble. During the show, I have to run around while in my head, I’m checking off the shots I need of Pink performing, the dancers, the crowd and more. I have to quickly move around the stadium and change lenses as fast as I can. Those two hours of the show are a sprint; you’re going non-stop and trying to get all these shots.”
the 75mm and 100mm, settling with the 100mm in the end because there’s various shots of Pink when she’s down the runway – for that environment, they look amazing.” He did have some initial concerns the T2.4 lenses might prove to make some backstage footage slightly too dark, but reckons they managed to hold up extremely well. “Even when I pushed the ISO or exposure, they didn’t break up at all,
STAR OF THE SHOW Thanks to
help from CVP, Spearing was confident in his choices to get the best shots
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