DR I VE - I N MUS I C | SHOOT STORY
“Everyone here is a stills photographer as well as a filmmaker,” says Rupert, “and being able to test all sorts of lenses in this studio environment is an absolute treat. Added to that I’ve always liked the footage that those with a photographic background are capable of outputting, and I’ve found that skills learned in one discipline give you a good grounding in the other. “I’m also a big fan of prime lenses for filming work, but there is no doubt that zooms such as the Fujinon XK6x20 20-120mm T3.5 Cabrio are indispensable on those shoots where you have to be able to adapt quickly when there’s no time to change lenses. It’s great that the quality of optics such as these, mean that there’s little sacrifice and much gain in being ready for that instant interview with the owner of the £20 million Ferrari or an opportunity to film a 360˚ shot of a set on the cove with all the flexibility offered by a stunningly sharp 20X zoom.”
earnest with the EVA1, and to do this we’ll need to come up with a compact power solution.” FOCUSED ON CARS One of the sequences to be filmed for ‘Drive in Music’ featured a very special car, no less than Donald Campbell’s AC Aceca prototype, a three-year restoration job by the Jim Stokes Workshop, and again this involved the EVA1 and XK6x20 20-120mm T3 Cabrio combo being put to the test. It was a challenge passed with aplomb. “We shoot all the full car sequences with this set up,” says Rupert, “recording the footage at 5.7K Raw on the Eva1 direct to the Atomos Shogun Inferno HDR monitor/ recorder using the recorder’s 6G SDI connections.” The Shogun Inferno is also capable of supercharging the EVA1’s slow motion performance, since it can record the Raw output at up to 240fps direct to Apple ProRes or Avid DNxHR. Needless to say the results were stunning, and the outfit has thoroughly endeared itself to the whole team at Gun Hill Studios.
In terms of size, the lens is 114 × 226 mm, making it just a tiny bit larger than the Cabrio 19-90mm (114 x 223 mm), while its weight is 2.9kg, or 2.4kg with the servo unit removed. By using an EOS adaptor Rupert was able to match it with his Panasonic cameras to create a set up that was both nimble yet capable of stunning image quality. “It was really interesting to try this combination out,” says Rupert. “The XK6x20 worked exceptionally well with both the VariCam LT and the EVA1. It’s very smooth to operate and delivers really sharp footage, while its 20-120mm zoom range is extremely useful and practical. The Motordrive worked really well when the lens was paired with the VariCam and we’re looking forward to now testing this out in
MORE INFORMATION: www.gunhillstudios.com
OCTOBER 20 1 8 | DEF I N I T ION 29
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