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to set up and use rather than having to have a full crew on every shoot. “I think of it as the ‘Pyramid of Pain’ with the camera at the top of the pyramid,” he explains. “If you have a Red or Arri Alexa, you need bigger everything. Your tripod’s really heavy, your slider needs three people, your gimbal has to be huge. If you have something small, you can get away with smaller kit and a one-handed gimbal, for example. “A decade ago, you had to have a big cinema camera as Rawwas some rare and mystical thing and 4K was incredibly rare. So really at that point, Red was the only game in town for me.” In recent years, smaller cameras have become far more useable for professional work, with high resolution and great colour science meaning they canmake films of incredible quality. And recording to an external monitor such as the Atomos Ninja V not only brings a swathe of tools to
largest andmost expensive cinema cameras and a barrage of pricey primes. Using full-frame cameras like the 6K Panasonic Lumix S1Hmirrorless, and coaxing the last drop of quality out of it by recording to an Atomos Ninja V recorder, means he can shoot footage good enough for Hollywood films using kit that is far more portable. That allows him to be evenmore creative by working faster and with no restrictions that come with larger set-ups – something that paid dividends on the motorcycle shoot. “I’ve used all sorts of equipment through the years. And it never ceases to amaze me how the kit and the pace of change is utterly relentless,” he says. “It’s not just the resolution but the design of the cameras and what they can do. The frame rates, Log, HLG, all these things. It’s just constantly evolving.” Jim is thankful all that technology is being packed into smaller andmore convenient cameras, which are far quicker
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SPRING 2020 PRO MOVIEMAKER
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