Manufacturers have responded by delivering new optics that have a more achievable price point
interest in filmmaking manufacturers have responded by delivering new optics that have a more achievable price point. Fujifilm, for example, has delivered a matched pair of MK cinematic zooms that collectively cover the zoom range of 18-135mm, and for a combined price of around £7000/$8000, which is massively below what a dedicated lens of this type would once have cost. However there are also other Fujifilm cinema zooms that have recently joined the range, one of the most intriguing being the XK6x20 20-120mm T3.5 Cabrio. Whilst commanding a price of around £13,500/$13,500, this optic still costs considerably less than some of its closest rivals, and it comes with an impressive feature set that includes a detachable servo drive that can be removed to accept industry standard cine motors and matte boxes. There is also LDS and /i metadata compatibility if you want to record the position information of zoom, iris and focus for computer animation and other uses.
and delivers Dual Native ISOs of 800 and 2,500, which allows you to film in just about any lighting environment. What I really like about it, however, is its footprint, which is really small, and that helps a lot. For example, if I’m trying to look inside a car to get a close up of the steering wheel then it’s compact enough to enable me to do that.” The filming of Drive-In Music is usually carried out using three cameras, either three EVA1s or possibly two EVA1s and a VariCam LT. “We like to shoot with two cameras that are fitted with primes and one that’s partnered with a zoom,” says Rupert. “Every episode of this series is being shot like a movie with no presenter between the audience and the talent, and we often need the flexibility of a zoom so that we’re ready to re-frame quickly to grab those impromptu special moments.” Until recently the specialist cinema zooms available have been ultra-expensive, to the point where, for many, they would have been purely rental items. However, things have moved on over the past few years, and with the mushrooming of
versatility and quality of the brand that will be set up there, but an exciting recent development has seen Gun Hill Studios working on a show entitled Drive-In Music . “It’s an original and ground-breaking hybrid show,” says Rupert, “that combines two of man’s greatest passions, namely motors and music. The show is set in a drive-in and the charge for parking is a performance in the cove. Breaking artists mingle with unusual vehicles and speak candidly about what drives their creativity and passion.” The fast moving nature of the production relies on camera set-ups that are ergonomic and easy to handle. After a long search Rupert settled on the Panasonic AU- EVA1, which is used alongside a Panasonic VariCam LT, and he’s been delighted with the performance the camera has offered him and his team. “For the price – around £6000/$7345 – it’s incredibly well specified,” he says. “It offers a robust and wide codec range, and features a 5.7K Super 35mm sized sensor that can capture up to 14-stops of latitude
28 DEF I N I T ION | OCTOBER 20 1 8
Powered by FlippingBook