MOTORCYCLEMASTERS CASE STUDY
ABOVE Jonty and his team find it’s crucial to have kit that can take the pace at motorsport events, and this includes being dust and water resistant.
No business can afford to stand still, as Jonty has proved so conclusively over the past few years, and by keeping an open mind on which kit to use the chance is there to step things up yet another notch. And aside fromgear, the essential requirement for a business of this kind, an empathy and deep understanding of the subject being filmed, is already firmly set in place. “Shootingmotorsport is something that everyone on the Future7Media team is comfortable with,” confirms Jonty. “Most of us ride, or have a riding background, which helps. From the outside it might look as if it’s all action, action, action, and in some ways it is. But it’s also about capturing the very best action – the stuff that people who ride will really take note of. Identifying what’s exciting, interesting and cool, is where understanding the sport helps, and we hope it’s what makes us special.”
a small turn and this canmake it difficult to focus accurately, but the focus pull on dedicated lenses is not so sensitive and it gives the operator the chance to achieve pinpoint accuracy. This will be particularly useful for interviews, when we’ll be able to frame a face and focus tightly on the eyes.” On the downside there will be a learning curve with anymove across, since still and cinema lenses operate differently: for example, apertures need to be set on the lens rather than the camera body, and for a camera operator relying on reactions it will take time for use of the new lenses to become intuitive. That’s something that will be resolved in due course as they’re usedmore, while the fact that the longer of the twoMK lenses zooms out only as far as 135mm isn’t seen as a problemby Jonty. “That’s plenty long enough for us and we’ll just get used to it andmove a little closer to the action,” he says. “Ultimately these two zooms have the potential to cover pretty much all the focal lengths we need, which is what makes them so interesting to us.”
“Inmany ways it’s about the aesthetics of working with optics that can give you more of a cinematic look, and that’s what theMK lenses will be able to offer us. They also have the obvious feel of products that are built to stand up to life on the road, which is verymuch what we’re looking for. We do a lot of air travel and the vibration that kit receives over time can loosen bolts and screws and do quite a lot of damage. “We’ve also been impressed by the features that are unique to cinema lenses, the fact that theMK pair are exactly the same size, weight andmaximumaperture with all of the gear rings located in the same places. This means that we could set up a rig where everything stays the same and you simply swap out the lens should you need to and then carry on. Both of theMK lenses have a nice weight and balance and it’s good that the feel will remain the same even when you swap themover. “The longer focus throw is another key benefit of cinema zooms. With still lenses there can be a big jump in focus with just
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SUMMER 2018 PRO MOVIEMAKER
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