Pro Moviemaker October 2022 - Newsletter

CVP ADVERTISEMENT FEATURE GET HANDS-ON WITH YOUR PERFECT CAMERA BUILD There’s nothing like actually getting a hands-on feel for a new camera, lens or accessory – it’s so much better than just looking at spec sheets and photos. That’s where CVP comes in, letting you build your ideal camera with brand-new accessories and see how they work together before you make a big investment. The Newman House showroom is packed with the latest equipment for you to try out, and there’s always expert advice to be had from CVP’s staff – who are always more than happy to answer your questions. To book a demo, talk to one of CVP’s experts and explore the Newman House showroom, call +44 (0) 208 380 7400, email or visit Q. I want to invest in a set of cine primes. Just three or four to begin with, and maybe more later. What’s a budget brand that offers good long-term performance? I use full-frame Sony E-mount cameras. A. There are so many options in the budget cine lens space now, all with pros and cons. Some key brands are DZOFilm, Meike, Samyang and Dulens. They can all be bought as sets or individually, so pick out three or four to begin with and then grab more focal lengths as you need. We made a video comparing all of these, covering the images they produce and what you should consider before purchasing, at

“There are many ways to shape and regulate light in your scene, but the more you control it, the easier time your camera is going to have”

A. It’s not really a great idea to do this. Not only are you going to be filling up your memory cards faster, but if you keep your shutter at 1/240th of a second or 180°, shoot at 120fps and then speed it back up to 25fps in post, the motion blur will not look as you would want if you used the correct shutter for 25p. Of course, a high shutter speed can be a creative choice for a certain aesthetic – but for the vast majority of scenarios, such as an interview, this may look a bit weird. I would suggest just grabbing an ND if you want to go for a wider aperture in these scenes where you have too much light, and keep shooting interviews at 25p as you do now. Q. I use Panasonic GH5 mirrorless cameras. What are the best ways to really get a ‘cinematic’ look? Is it lens choice, lighting, LUTs? A. The idea of footage looking ‘cinematic’ is determined by quite a few variables, both technical and creative. A lot can go into giving something a filmic aesthetic, and while it can get very nuanced, the choice over lenses, lighting and colour processing play big roles. Without good lighting though, your lens won’t have anything to see and you also won’t have an image to post-process. There are many ways to shape and regulate light, but the more control you have, and the higher quality of light you produce, the easier time your camera is going to have in capturing the ‘look’ you want. Sadly though, there’s no quick or easy way to getting a cinematic look.

Q. I shoot on a Sony A7S III and often use S-Log3 when I’m in high-contrast situations. Should I just shoot in it all the time to make my post workflow easier? A. This really depends on how you want to work. There are plenty of people who shoot S-Log3 and use LUTs for faster turnaround in their projects. However, shooting with a regular profile like S-Cinetone definitely has its place in scenarios where you’re not worried about clipping your highlights. Why not try both and see what works best? Q. I often film action using 120fps so I can slow it down in post. When shooting interviews with the athletes afterwards, I change to 25fps. But as they are obviously not moving much, can I just record in 120fps? As well as making my life more simple, that would give me a faster shutter speed and wider aperture for a shallower depth-of-field, too.

Email adamduckworth@ and leave it to us! Got a question for CVP’s experts?



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