CASE STUDY MOTORCYCLEMASTERS
being capable of shooting Full HD footage exposure, with a choice of frame rates plus audio and compression control. Meanwhile an HDMI output allows high definition playback of footage and images. There is also a number of Canon L lenses in the kit list, including a 70-200mm f/4, 50mm f/1.2, 17-40mm f/4 and 16-35mm f/4. “We own all of our gear, rather than renting in as and when wemight need it,” says Jonty. “This means that we need to acquire gear that will earn its keep. As a photographer I learnedmany years ago that it’s easy to get caught up in buying gear that you think you need, rather than gear that you do need, gear that earns youmoney. I hadmore lenses than I knewwhat to do with at one point, and then soldmost of them, keeping just the ones that you would find in a classic photojournalist’s survival kit. It’s similar with our video equipment: we have two Sony FS7s, two Sony A7S, tripod, stabiliser, mics, drone, lenses: just the essentials.” Inmany ways the argument for zooms in filmmaking is already over, since the amount of dust andmud flying around during an event makes it sensible to keep lens changes to aminimum, ruling out primes inmany instances. “We never zoom
“We never zoomduring filming, it’s just not how we like towork. The human eye can’t zoom, sowe try and keep an aesthetic that’s true to that”
during filming, it’s just not howwe like to work,” says Jonty. “The human eye can’t zoom, so we try and keep an aesthetic that’s true to that. We go for more of a documentary style, so we leave the zooming to the broadcast cameras and TV crews. We would typically fix a still zoomat 100mm, 135mmor 200mm, and using lenses that allow us to get tighter on the action, without physically needing to get closer is a big help. It’s safer as well. “Equally important, however, is the way that zooms cut down on the amount of gear we need to carry around with us. We know the focal lengths that work for us and we use those prettymuch without exception. Fewer lenses, but the right lenses, means more Future7Media’s camera operator, has been working with the Fujifilm cinema zoom pair, theMK 18-55mmand 50-135mmT2.9, and these are being looked at as potentially valuable additions to stock. “Working outdoors in all-weather we know that our Canon lenses perform,” says Jonty. “However, as filmmaking becomes ever more important to us we also realise that we have to invest to stay ahead of the game and we’re currently at the crossroads of carrying on as we are, happy with photo lenses, or moving over to dedicated cinema lenses. freedom tomove around easily.” Most recently Philippe Teixeira,
ABOVE AND LEFT Philippe Teixeira gets to grips with the Fujifilm MK cinema lenses.
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PRO MOVIEMAKER SUMMER 2018
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