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to speak to whenever you need some assistance or advice. “I love camera gear, lenses and technology. Any time a new camera comes out, I am emailing Philip and saying, ‘Wow, this looks really cool.’ He will give me more information and we chat about it. It’s a really nice, personal relationship in that sense. “They’re always keen to help you get gear, and if they can work out a discount for you, they will,” he elaborates. “They’re also quite loyal, which is nice. You feel as if you are not just another customer; you are somebody they value.” Spearing might be using the same kit combo out with Pink again this summer for some potential dates – and is also looking to use SP3s on other projects in the future. “I’m going to be shooting a short film later on this year and we’re probably going to use my cinematographer friend’s RED V-RAPTOR for it. I’m looking forward to trying out these lenses with the RF mount, putting them onto a RED camera and seeing how well they can hold up in a narrative environment,” Spearing concludes.
Thanks to help from CVP, Spearing was confident in his choices to get the best shots
performing, the dancers, the crowd and more. I have to quickly move around the stadium and change lenses as fast as I can. Those two hours of the show are a sprint; you’re going non-stop and trying to get all these shots.” The FX6/SP3 combination is almost tailor-made for that style of shooting, and Spearing is hugely appreciative of the way CVP has worked with him to make it happen. “They know the industry very well – everyone is aware they’re the guys you go to because of their professionalism,” Spearing enthuses. “CVP is the top dog with their service and stock. They deal with everyone from individuals to huge companies, treating everyone equally. That’s a great service and I like that you always have someone (for me, it’s Philip)
reportage and on music videos. The differences are huge. While the day-to-day touring schedule does have a rhythm to it – load in, sound check, pre-gig build-up, performance, after-show, load out and travel – the opportunity to set up shots is limited. “When you’re doing a music video, it’s a lot more considered,” Spearing explains. “You can plan things and specific lighting set-ups, doing more considered shots. But I still like to do everything as cinematic as I can, that’s why I always want to have great lenses and ensure everything I do has that texture to it. “You just have to scale it back, being light and nimble. During the show, I have to run around; while in my head, I’m checking off the shots I need of Pink
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