Profile: Dennis Lennie
We really tested the FS100E’s performance and found that it handled well, offering the form factor of a small DSLR but with all the video controls of an EX1
large sensor HDSLR cameras, was blown away by its performance. “I called James up and told him ‘we have this exciting new camera with Super 35mm sensor and video controls – let’s see what we can do with it’,” recalls Lennie. The result was music video Vertigo, shot in just
48 hours. “The FS100E records AVCHD, but don’t be fooled. It packs a very big punch. We shot in very low, mostly natural light, to really test the camera’s performance and found that it handled well, offering the form factor of a small DSLR but with all the familiar video controls of an EX1.” As Lennie, who runs courses on HDSLR,
explains in many ways it can be a false economy. “The body may be less expensive but you need to spend at least another £1k to configure it for video. And then you have all the professional shortcomings such as moire and aliasing – which can be difficult and expensive to correct.” Other drawbacks include the lack of professional audio connectivity and 12 minute record times. “In my opinion it’s an operational nightmare and the love affair with HDSLR video is well and truly over.” But the emergence of 35mm sensor cameras capable of producing a cinematic look doesn’t mean
that life has suddenly got easier for filmmakers. In many ways it’s got more complicated, which is where F-Stop Academy comes. “The reality is that if you don’t use the right lenses you don’t get that 35mm look, just as you have to move the camera in the right way or use sound right or think about storytelling techniques to get that cinematic production value that we all love.” At F-Stop, Lennie explains
acquisition as the seven steps light
the process of takes from
subject matter to camera. “It’s all about getting the best possible image, taking advantage of lighting, camera filters, how you physically move the camera using steadicam, tracks or jibs and then how you record the image and process it.” Lennie
development
concludes; “The today is that
key to camera the whole process
is more modular and accessible. You can use the FS100E to get an amazing cinema-quality camera, or if you need more options you can go up a gear to the PMW-F3 for more professional HD/SDI output and S-Log capability.” “With Sony it’s all about modularity. We all
shoot in different situations requiring different set ups – there’s no one size fits all any more.”
Summer 2011 theproducer
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