THE DZOFILM LENSES have proved an ideal match FOR THE BLACKMAGIC POCKET CINEMA CAMERA 6K PRO”
Find out more about Maji at biscuitbunker.com Tom Neish, producer, Biscuit Bunker Charli Doherty, director charlidoherty.com Richard Jephcote, DOP richardjephcote.co.uk The rig was a mix of brands. I used SHAPE push-button handles for rapid adjustment and a light Tilta cage with top handle for the camera. The iFootage Magic Arms are rock solid for holding the monitor, quick to swap out and pack up. The DZOFILM 20-55mm T2.8 Pictor Zoom has a nice focal range to respond to unfolding action, so was an obvious choice to leave on the A cam. It’s heavy, but has a lot of character compared to the more clinical stills camera lens that would have been in the same budget range. There’s been great footage of the Grand Canyon in crisp detail, but ours is a human journey through this landscape. The DZOFILM lenses have proved an ideal match for the Blackmagic Pocket Cinema Camera 6K Pro, for a softer and less digital feel. The whole film simply looks stunning, which makes all those arduous days trekking truly worthwhile. Raw image. Codec compression ratios also become an important consideration when working on documentary films like Maji . We dropped down to 12:1 high compression on the Blackmagic Raw files for lengthy interviews, or to squeeze the last juice from a card at the end of a day. We’d then switch back to low compression for some beautiful B roll all in the same format, which is great for reacting in run-and-gun situations. Features like internal ND filters and quick power-up may sound very basic, but they are a must for responding to unfolding events in the moment.
AT THE CLIFF EDGE Endurance athlete Leo Gripari treks the Grand Canyon, captured by Blackmagic Pocket Cinema Cameras
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