WA I T I NG FOR SMI TH | MUS IC
line having the base stop of f/2.8 or more, I decided to go with these. Now it was down to Joseph to source them. The cameras also came from Joseph, who owned four; Location Lighting had another couple; Tash Zund, one of Joseph’s assistants, had one; and Hireacamera. com were able to provide three. The lenses came from Hireacamera, the Flash Centre in London, Fat Llama (which is a peer-to- peer lending service) and Cameraworks in Islington, they included three 7-14mm f/2.8, four 12-40mm f/2.8, two 40-150mm f/2.8 and two 25mm f/1.2. We also had two Canon 100mm Macros, as we were unable to source the Olympus Macros. ENTER THE 6K It was at this point, Joseph let me know he could get me a couple of the new 6K BMPCC with an EOS mount. Well, you don’t say no to that kind of offer, so we had two of those as well. Due to the camera mount and the size of the sensor, I opted for Canon L glass. Of course, I would rather stay all Olympus, but in this case, it wasn’t an option. They wouldn’t cover the Super 35 sensor. Capture was done straight to Samsung SSDs.
Kevin Godley had something slightly different in mind, and asked me if we could shoot this on ten plus cameras, all in one take
IMAGES Artist Harry Lloyd surrounded by Blackmagic Pocket Cinema cameras
DECEMBER 20 1 9 | DEF I N I T ION 25
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