ADVERTISEMENT FEATURE MPB Reality of TV Even broadcast production companies save money by turning to MPB for used cameras and lenses W hen you snuggle down in your armchair to watch a TV show from the BBC, ITV, Channel 4 or the
popular TV shows such as Grand Designs , The Apprentice , Escape to the Country and Great British Railway Journeys. Of course, many would think big shows like these would buy the newest, most high-resolution kit, but Morgan says the opposite is true. “Normally, productions hire in equipment when it’s needed,” he said. “But I’m out shooting at least a couple of days a week, so it makes lots of sense to buy the most-used equipment. “With the budget I had, I could have bought something new like a Sony FX6 or FX9, but would then have to make do with just one general-purpose zoom lens. So by buying used, I have a complete set-up with a whole range of lenses – allowing me to be far more creative.” Morgan went for the original Mark I Sony FS7 cinema camera, as he loves the shoulder-mount style of a cinema camera. And he also chose a trio of high-end Sony G Master lenses to match – the 12-24mm f/4, as well as 24-70mm and 70-200mm f/2.8 optics. Both these f/2.8 versions have since been refreshed into lighter and pricier Mark IIs, but Morgan is happy with the quality of the originals. With his budget, he also managed to buy a Sachtler carbon-fibre tripod with the FSB 8 Mark II head, and some mics from MPB. “It’s a total kit, so I’m ready to shoot any broadcast or documentary, all for the price of a single new camera and kit lens. Plus, the flexibility of zoom lenses going from 12mm to 200mm definitely improves the quality of what I shoot. Buying used means you get more for your money and can do more with it. It makes total sense to me.” The Sony FX9 is a full-frame camera with a 6K backside-illuminated sensor, as well as the latest phase-detection autofocus. In comparison, the FS7 is a
History Channel, there’s a chance it was filmed on some used equipment bought from MPB. Documentary cameraman, producer and director Steve Morgan is just one example of a broadcast professional that has been using a complete kit bought second-hand from the award-winning used gear experts. He’s shot for National Geographic and the Discovery Channel, and now does a lot of work for Fremantle’s production company Naked – which makes lots of
A full documentary set-up like Steve Morgan’s would cost far more if bought new. He paid under £7500 for his. Here’s what’s on the MPB website for sale right now: Sony FS7 camera : From £1329 to £2999, choice of nine Sony 70-200mm f/2.8 G Master : £1679 Sony 24-70mm f/2.8 G Master : £1339-1549, choice of 23 Sony 12-24mm f/2.8 G Master : £2069-2179, choice of two WHAT WOULD IT COST FOR KIT LIKE THIS?
SUPER SONY The FS7 might not be the newest camera, but it still records in 4K and is a great workhorse
Super 35 with the more basic contrast- detection AF, yet can still record in 4K. But even that is overkill, says Morgan. “For British broadcasters, I only need to shoot in HD. Some shoot in 4K so the rushes have more longevity, but I’m rarely asked for it. It’s not standard practice for most broadcasters. “Things like 6K or Raw files are overkill, and the production manager would not be happy if I supplied anything like that.” There’s a cost to massive files, in terms of time to ingest and edit them and to buy hard drives for storage. “Many post
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PRO MOVIEMAKER
Sachtler DV6 SB carbon tripod : £959
Rode NTG2 mic : £84-
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