MOVIE MATTERS ASK THE EXPERTS
Our experts explain why you can shoot stills with cine lenses and look at the occasions when payingmore for a microphone is money well spent
MIC MATTERS
be additional technical benefits. These can include having highpass filters to reduce rumble, pads to reduce sensitivity to cope with louder sources, and longer barrels to give more directionality. With RØDE, for example, the more expensive NTG-3 and NTG-8 microphones – beyond sounding even more rich and detailed – are externally RF- biased. This makes them less susceptible to the audible effects of humidity and condensation. That may sound like a fringe benefit, but it is mission-critical if you are shooting in the great outdoors or, indeed, in damp indoor environments. A conventional capacitor mic in humid environments can start to produce audible crackling in its output signal, effectively ruining your recording. Faced with a shooting situation like that, an externally RF-biased microphone becomes worth its weight in gold – and most likely will give your recordings a richer, more pleasing tone while doing it. Alex Theakston, an expert in audio technology, is the creator of the Source Distribution YouTube channel with over 6 million views. www.rode.com
Alex Theakston is brand manager for RØDE Microphones in the UK
I want a new shotgun XLRmic but often the difference in price between the cheapest and most expensive in a manufacturer’s range is vast. What do you get for the extra money? There’s usually a significant tonal difference in terms of what you get for your money, which could be summed up as richer- sounding, more present, with lower noise, and without requiring additional EQ to get a polished result. These can make more expensive microphones capable of producing better results with lower-end microphone pre- amplifiers, especially as regards self-noise. You can still produce professional results at the more affordable end – remember, where a microphone is placed is far more important than what one you happen to have. So, buying a longer boompole or a better blimp may make a bigger difference! In the case of shotgun microphones, there may well
CINE LENS FOR STILLS?
ABOVE New to shooting cine? The Fujinon MK 18-55mm f/2.9 lens may be right for you and suits stills.
Marc Horner, marketing manager for Fujinon TV and Cine lenses in Europe
I’m shooting an increasing number ofmovies. If I buyadedicatedcinema lens can I still use it to shoot stills? The main differences between a dedicated cine lens and a stills lens is that the former has been designed to ensure that any changes you make to the focus, iris or focal length are as seamless as possible, allowing you to continue to filmwhile making these changes. The image quality itself doesn’t necessarily change so, yes, you can use one lens to shoot both. In fact, there are benefits to shooting stills with cine lenses. They are often parfocal, so you can zoom in, set focus, and then, as you zoom out, the original focus will be maintained. We ensure that the image quality captured by a pair of Fujinon MK zoom lens is comparable to the best prime lenses. The ‘look’ matches that of our range of PL-Mount Cine lenses, so any still or moving images shot will carry a classic, clean, cinematic look. They cover focal lengths from 18mm to 135mm at a constant T2.9 aperture in two identically sized lenses, each weighing less than a kilogram– perfect for your first dedicated cine glass.
Marc has been with Fujifilm almost 15 years. He deals with professional TV and Cine lenses, plus the newMK range. www.fujifilm.com
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PRO MOVIEMAKER AUTUMN 2018
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