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The award-winning UK retailer’s technical staff answer your questions about equipment, techniques and much more
and A7 IV. When we do multicam edits, we use a clapper on set to sync them via audio. Is there an easier way, such as using timecode? What kit would we need? – Eric Bronson, Liverpool A. A timecode system would do the trick. If you only want to sync cameras for post, I would grab a Tentacle Sync E for each camera you need synced, then use that system to sync your cameras together. Q. I’m a single-person shooter living in London and often use public transport. Is there a three-light kit I could invest in that I could take with me on the tube? I already have everything else in one wheelie case. – Pete Walker, Brixton A. There are a few options, but it depends on how large of a Peli case you could deal with solo! I’ve seen small COB LED light kits fitting in one Peli or bag, as well as flexible LED panels being used. It also depends on what you like to use to light your scene. I would recommend checking out the Aputure and Amaran kits, specifically the Amaran flex panels, as these are super-lightweight, so you will be able to easily carry around a few in a bag or Peli case. Q. My head says I should buy a Sony FX6 because it can do everything and is full-frame. My heart says I should get a Red Komodo, despite the smaller sensor. My lenses are all Canon EF mount that I use with adapters. Please tell me I’m not mad to go Red! – Mike Kneale, Manchester A. You aren’t mad. The FX6 is an incredibly versatile, workhorse camera that does have features and abilities that the Komodo doesn’t, but of course, the Komodo does have its pros over the FX6. If you’re looking at the Red Komodo because you currently can’t get an FX6, I would suggest checking out our YouTube video comparing the FX6, C70 and Komodo at youtu.be/cvptv
Q. I’d like to have a production monitor on set for my clients to see what’s being shot. But there is a huge difference in price between a BenQ monitor and something more high-end like a Swit or SmallHD. What benefits would I see in a more expensive unit? – Dave Miller, Bristol A. Regular and production monitors are designed for two very different workflows – and this is what justifies the price variation. Production monitors are usually built more robustly, to deal with the knocks they take while on set, and will be easier to power via common on-set solutions. They also normally have inputs and outputs that are tailored for production workflows that normal monitors will not, such as SDIs. They will also have monitoring tools that are crucial for certain jobs while on set. Lastly, some of the panels that production monitors use are much better when it comes to brightness and colour. Q. I use a variety of different LED lights in the studio and on location, from multiple manufacturers. I’m concerned that when I set a specific colour temperature on each of them, the results are slightly different. Is there any way of calibrating them or an easy way of making things match on set? – Josh Hanson, Cardiff A. The easiest way to do this is to get a spectrometer such as the Sekonic C800. This will allow you to measure the light coming out of your different fixtures and understand just how matched they are. You can then make a note of the differences needed to get them to match at a given temperature. If on a budget, you can rent a spectrometer quite easily. Alternatively, you could also do this with your camera, using a grey card and a controlled room.
EXPERIENCE YOUR PERFECT CAMERA BUILD WITH CVP If you want to build up your ideal camera, or get hands-on with all the latest accessories - from lenses to rigs, monitors and more – to see how they work together before you buy, then it has to be CVP. The Newman House showroom is packed with lots of the latest equipment for you to try, and there’s always genuinely impartial advice from CVP’s experts to answer your questions there on the spot. To book a demo, talk to one of CVP’s experts and explore the Newman House showroom, call +44 (0) 208 380 7400 , or email demo@cvp.com or visit cvp.com
Q. My small crew all shoots on Sony mirrorless cameras – a mix of A7S III
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