CVP ADVERTISEMENT FEATURE
Your questions answered by CVP experts Technical staff at the award-winning UK retailer are poised and ready to solve equipment woes
but it really depends on what you need as a professional. I would say coming from an FS7, you should probably go for the FX9. Like the FS7, it’s an incredibly versatile workhorse of a camera that can fit into so many different types of productions. The FX6 is far more limited, even though it does have its benefits. There is no easy answer. I suggest speaking to one of our sales team, so they can fully explain the differences and help you make a decision. Q. I want to mount my mirrorless camera to my car to do basic car-to-car tracking shots. What’s an affordable kit you’d recommend to get started? Is there any way of mounting my camera on my DJI RS 2 gimbal to keep things smooth? - Will Fairbairn, Aberdeen A. There are a couple of different ways to mount a camera in and on a car, with two common methods being the use of suction cups and high-strength magnets! Stability and safety are crucial, so what you need will depend on the camera and lens combination. Brands such as Hague and Rigwheels have great options that won’t break the bank. I would make sure to have some kind of safety cable set-up if you are rigging on the outside of the car. There are plenty of ways to mount your RS 2. DJI makes a kit for this exact reason, and brands such as Tilta and Rigwheels offer solutions for mounting an RS 2 onto the car, while also smoothing out vertical movements – for clean shooting. Q. There seems to be a wide difference in prices from high-end lav mics to budget ones. Will I really be able to notice a difference in audio quality if I upgrade from the Sennheiser mics my wireless kit came with? - Pete Spencer, London A. Yes!
highly detailed scenes. However, there will be scenes where a difference will be hard to spot between the two, so the best practice is to test out your camera in a few different scenarios. Q. I have been asked about livestreaming a mountain bike event that I normally shoot for a client with my four-camera crew. They also want a full-quality highlights edit afterwards – which is what we usually produce from our mirrorless camera set-up. It’s held on a location without mains power and Wi-Fi, as it’s in a forest. What’s the basic equipment I would need? - Gareth Irwin, Manchester A. This is very hard to recommend without knowing more detail. If you’ve shot the event with a four-person team before, but now need to livestream it, you need more crew first off. What kit you require will depend on how big the event is, what production value you want, how much budget you have to play with – and the level of data signal. The basic equipment would be a camera on a tripod, with a device that can push straight out to a streaming platform. There are so many of these on the market – and it’s a way for that device to connect to the internet. Past that, I would suggest getting in contact with our tech team, who will be able to assist with properly pulling a kit list together once they know the full details. Q. I shoot Sony and want to upgrade from my FS7. Naturally, I would go for the FX9, but the FX6 is virtually half the price. I never need more than 4K and shoot general commercial work for local clients. Is the FX9 worth the extra? - Reece Nicholls, Mansfield A. This question has a much longer answer than what we can convey in this medium,
Q. What’s the real-world difference between All-Intra and Long GOP, as I can’t detect any major variation when I look at footage? Are there specific times I should use one over the other? - Jake Preston, Cardiff A. Long GOP and All-Intra are two different, common types of video compression. All-Intra compresses the video solely using I frames, which record the entire image your camera is capturing and are individually compressed. This results in larger files than Long GOP, but they are normally much better to work with in post-production. Long GOP or IPB combines I frames, but uses P and B frames between them. These P and B frames record the differences in your image between the I frame before and after, not a true frame of your image. So, fewer entire video frames being captured results in smaller file sizes. This means that you can see a loss in detail when using Long GOP or IPB compression with CVP’s Newman House showroom is packed with the latest equipment for you to try out, and there’s always impartial advice from experts. Get hands on with all the latest accessories - from lenses to cages, rigging, monitors, batteries and more. To book a demo, talk to one of CVP’s experts and explore the Newman House showroom, call +44 (0) 208 380 7400, email demo@cvp.com or visit cvp.com BUILD YOUR PERFECT CAMERA WITH CVP
30
PRO MOVIEMAKER
Powered by FlippingBook