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Ask CVP’s experts! The technical staff at the award-winning UK retailer answer your questions on equipment and more
fantastic compressed format that plays back exceptionally well on lesser-spec workstations.
Q. I’m currently using a Sony A7S III and shoot a lot of action sport, coupled with regular commercial work. I’m thinking of getting another A7S III as a backup/second camera or maybe a Sony FX6. What are the pros/ cons of each and will I notice an improvement in image quality? - Harv Beardsell, Leicester A. The A7S III and FX6 share the same sensor, but you can turn off noise reduction on the FX6 so you can control the level of it in post, which some people may prefer. Otherwise, the image is going to be identical if you shoot the exact same subject under the same light, with the same lens and same camera settings. The big difference is in the body. The FX6 is a camera designed to shoot video first. It has much more control over your key settings physically, has more video- specific menu and control options, and also looks more professional to clients when you walk on set. Q. I work on fitness videos for clients who want very high quality. I use a Sony A7S III and shoot in 4K in 4:2:2 10-bit All-I. But it fills up memory cards so fast. Can I record onto an SSD or perhaps a monitor/recorder like an Atomos and A. Recording to an SSD is not possible on the A7S III, but is on some other cameras. But recording externally to a monitor/ recorder like the Atomos Ninja V is possible and does have some benefits. The A7S III has really great internal format options, but using a Ninja V alongside it allows you to capture ProRes Raw, ProRes or DNX to the SSD on the monitor. Just bear in mind, depending on what format you choose, you can fill up these SSDs quickly! However, capturing in ProRes Raw will allow for more processing flexibility in post if your workflow allows it, and ProRes provides a keep the codec the same? - John Owen, Northampton
Q. I’ve never cleaned my camera’s sensor, but it’s looking a bit grubby now. Is this something I can do myself without too much worry of damage? - Richard Lawman, Essex A. While possible to clean it yourself, sending it to a professional service centre – like we have in house – will provide you with a stress-free experience and peace of mind that a pro has worked on your camera. Doing this yourself can be daunting, especially if it’s your first time. Sensors are incredibly delicate and expensive to repair if damaged. Q. A client keeps asking for vertical videos for social media. Should I shoot vertically or in the usual landscape orientation and crop in post? Is there any equipment I can buy to help? - David Willett, Kent A. Pulling vertical compositions out of landscape shots can be done, but you will most likely be compromising one of the formats. Shooting vertical allows you to deliver exactly what you frame, while delivering better-looking imagery as you don’t have to waste resolution on delivery. Lots of cameras will not feature the ability to mount vertically without the addition of a cage, but some do, like the Sony FX3 and Canon EOS C70. However, a cage provides a more secure rig, plus you can mount more accessories, like a monitor, which is handy for shooting vertically. Q. My variable ND filter always seems to add a colour cast. Are there any that don’t? - Will McGarry, Kent A. Unfortunately, because variable NDs use two polarised pieces of glass to achieve their variable ND goodness, this means that every single one is susceptible to cross-polarisation artefacts. This can
result in weird image artefacts and colour casts. Some perform better than others, but if you really want as little colour cast as possible, you’ll need to pay up for the more expensive Vari NDs – or go for single-strength NDs which perform far better. NDs are an area of the market where you really get what you pay for!
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