they are no nonsense, they stick around. You pump them on and then they stay stuck.

Then we’ve got one Magic Arm and one Super Clamp which has been really good as well, really versatile; and Micro Ball Heads just to give us the full range of movement for framing interesting shots inside and out.

Ed: And you haven’t had any bits fall off yet?

James: Shit no – no, it’s been absolutely brilliant.

Ed: What about the suction caps … surely they must come off at the end of the day?

James: No, absolutely not. We had one stuck in the middle of the windscreen, it hasn’t moved in three days, and we’ve had the car airborne – Marc Ellis has been thrashing the car and the gear’s been spot on. We’ve had another suction cap permanently fixed to the outside front driver’s door to get shots and we’ve left that on there for three days, and it’s just stuck like shit to a blanket!

Ed: Well I don’t want to know what you do at home, but surely, you haven’t hung the EX1 off that?

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MARCH 2011 Vol 167

Extreme Rigs We are in the offices of Panavision in Auckland with Tim Timlin and Tim’s got a couple of guests. These boys look as though they’re used to the outdoors, they’re both in jandals and slightly furry – there’s freelance director James McDonald and freelance cameraman Dan Frost.

Ed: Now Dan’s the camera-man and James, you’re sort of the organiser of this event I believe? What’s the event?

James: It’s a Toyota event t o ce l eb r a te t he 60 t h anniversary of Land Cruiser and it’s the “FJ Cruiser Top to Bottom Journey”. Toyota’s challenged Marc Ellis to drive the new FJ Cruiser from Cape Reinga to Bluff off-road. It’s a Leftfield production for Ric Salizzo.

Ed: That’s a big challenge and I’m sure we’ll see that on our screens or on the Internet very soon, but we’re not here because of Marc Ellis, we’re here actually because you’ve got some pretty clever kit that has helped you support the cameras. Tell us all?

James: Well, we’re shooting it on a combination of Sony EX1 as our main camera but also a couple of GoPros to clip on around the car internally and externally to get interesting shots to help us to cut the clips. So we came and saw Tim for the Manfrotto gear to give us that sort of flexibility to attach the cameras to the car and to get interesting angles.

Ed: And so what sort of kit did you find?

James: A whole shop full really. The trick for us was, how do we attach it? Dan knows the Manfrotto gear well, so we came to Panavision to see Tim to get suction caps that are going to hack the weight of potentially the EX1, but essentially the GoPro cameras. So we came here and we’ve scored – we bought a couple of Manfrotto suction caps, the big units like the teacup saucer size –

James, Tim and Dan.

James: We have, but we haven’t shot off it yet! It holds the EX1 but we haven’t actually trialled it yet. The GoPro does come with some really rudimentary clamps and suction caps, but they just don’t give you the flexibility. They’re really tinny and plastic and they wouldn’t hack it on our trip, so we came straight into Panavision to get the “no nonsense” top of the line Manfortto gear.

Ed: Is there anything that you would like extra that you haven’t been able to get, or Manfrotto hasn’t made?

James: No I mean it’s “so far, so good” but this clamp here, we’ve only got one of those and that’s really versatile. The suction caps take a wee bit of setting up and you have to have some clear space and something solid … whereas the clamps are very quick to reposition and it’s all about capturing different interesting shots with the GoPros.

Ed: I guess you’ve got to have pretty clean paintwork and no logos and that sort of thing underneath it?

James: Yes, clean space and quite a bit of clear flat appropriate surface, like glass or metal on the panel to actually secure it and it takes a wee while, but the Super Clamp is really versatile.

Ed: Do you guys actually work together on other productions?

James: Yes, a lot of what we do is video that’s going directly to Facebook and to YouTube … working with customers to create online campaigns for them, basically just doing the media content for those campaigns.

Ed: Okay, so the gear – you’ve obviously outlaid a lot, even with Tim’s huge discounts that he offers, so at the end of this, do you just trash it, or do you think you’ll find some other uses for it?

James: No, it just adds strings to our bow for the next job. You know, Dan comes as a cameraman or a cameraman/editor, so he comes in with his laptop, we have this gear, and it just comes free of charge from now on. Just as an XD cameraman comes with all his lights and kit, so now we do as well, with options to do minicams and that sort of thing.

Ed: And other highly dangerous productions?

James: We’ll take on anything!

Ed: That’s a good name for a company isn’t it – “Highly Dangerous Productions”?

James: It could be.

Ed: And Dan, your choice of camera?

Dan: We chose the GoPros just because they’re pretty bullet-proof and you can put them into almost any situation – underwater, in the sand, mud – and they just keep going. And if they don’t, they’re pretty cheap and you can replace them. So that’s why we chose those.

Ed: And the EX1 … I understand you might have actually preferred its bigger brother?

Dan: We wanted a small size camera, but we have struggled with the EX1 viewfinder. The LCD viewfinder was the only option we had, and you can’t look through the eyecup, so that was pretty testing just with the bright lights of the beach and outdoors.

Ed: Well we have suggested that you wear a burqa?

Dan: Yes, that’s a possibility. I’d just need a guide then.

Ed: But you’re happy with the pictures that you’re getting out of it?

Page Page 2

more on page 6

The magic arm on a Super Clamp.

A letter from Christchurch. March 4th 2011 The devastation from the 6.3 Earthquake on February 22nd has impacted on not only the heart of our industry in Canterbury, but the network of our industry in New Zealand and abroad. We have lost colleagues, friends and workmates. All the major Broadcasters, Production houses, Service centres and Education facilities have been affected, some closed, most relocated and still doing their core business. The influx of News crews from all over New Zealand and the World reminds us of two important points; we are a part of a Hungry Global Market, and we are family. The network that unites us has strengthened these bonds. We personally grieve for the family we have lost and have to report publicly the details. Our lost colleagues at CTV, our regional Broadcaster, have surviving work-mates still out reporting on all aspects of this tragedy. They work alongside local and national News crews with professional commitment. Today, Friday the 4th March, is Red and Black day, and I wear these colours today with pride and compassion for our lost family; with humility and thanks for the unbelievable support which has surged into Canterbury from all over New Zealand and abroad. Over the next months and years the individual and collective stories from this event will reinforce the resolve of our local Broadcast family to rebuild and strengthen our industry. On behalf of all the Christchurch Broadcast family I thank everyone for your calls, offers of help and continuing support, as we prepare to rebuild our beautiful City. Today is my birthday; today is Christchurch’s birthday. Mike Symes

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travels with us in a Pelican case that we got from Tim. You’ve seen the airborne shot – all our equipment’s in the back of that truck that’s airborne … you know the MacBook Pro’s in there with our hard drives, all the cameras, so basically we came to Tim and got this Pelican case and then just got more Pelican cases to put everything else in, and then it all goes into one big case and keeps it all safe.

Ed: But for those of us who are not Facebook followers, we might actually see this on TV sometime if the networks come to the party?

Dan: Yes, there’s a chance that that’s going to happen. Whether it’s a half hour or an hour we’re not too sure, but we’ll be shooting for probably 20 days, so we’re pretty sure we should have enough good footage after that time.

Ed: Is that your responsibility or James’?

Page Page 6

Dan: No, that’s James’ but we did a three day test run, started at the Cape and got back to Auckland, and we probably could have made an hour doco out of that. Marc’s great talent and there’s some pretty interesting characters up North …

Ed: But all credit to Manfrotto and Tim?

Dan: Oh Manfrotto have been amazing eh … like James was saying, the GoPros come with all their own mounts and things, but the Manfrotto stuff’s just so robust and it just bends and twists anyway you want it and stays clamped on for days – and quickly, yes, we’ve never had a lot of time because we were travelling a long way every day, so it was just jump out, change a shot and hit

Dan: Yes the pictures that come out, once you get the hang of it, it’s a really nice picture – it’s quite stunning. So we’ll just decide whether we persevere with it or maybe look at the EX3. That’s an option.

Ed: Or have both?

Dan: Yeah maybe both, but size is kind of the problem. We don’t have a lot of space because we’re going to be travelling for three weeks. There like four of us per car, we haven’t got a lot of luggage space, so everything’s small and strong.

Ed: So you’re doing the whole thing with one main camera?

Dan: Yes, one main camera. What we’re doing is putting out 2 or 3 clips a night to Facebook and YouTube so it’s pretty rough and ready type stuff. It’s just get out there and shoot it and get it back to the editor and we’re ingesting as we drive. We’ve got a MacBook Pro that

“record” and race off and 10 minutes down the road do the same thing. Just keep changing our angles. Tim’s been good getting us all the right stuff and suggesting the right things and giving us some good discounts!

Ed: So come and talk to Tim! Tim it sounds as though it’s your turn now, what do you think of these boys, are they as good as they think you are?

Tim: Oh I think they really are. It’s always great fun when people come in wanting to do some sort of project like this and they talk to me. I like to find out what they’re trying to do and then I’m able to suggest various solutions that could work for them.

With Manfrotto, they have an amazing system of accessories and clamps and spigots and various things that you need to put together in the right way, so there’s many combinations you can use for a particular project. Of course, you’ve got to know how to put it together and fortunately, I’ve been working with Manfrotto for many years and I’m very familiar with the system, so I’m generally able to come up with something that’s going to work quickly and efficiently.

Ed: Have the guys broken any of your gear yet, or their gear rather, because they’ve bought it haven’t they?

Tim: They’ve bought it, yes. No, they haven’t broken anything, I don’t expect that they would, I don’t expect the gear to break at all. It’s more gratifying to hear that it’s working effectively and doing the job they wanted it to do, and that’s really good to hear. A lot of our suction caps and rig get used in reality shows like Highway Patrol that sort of thing. Most of the time they’re inside vehicles, on the windscreens and stuff, but this is really interesting to see when it’s connected to the outside of the vehicle and moved around as quickly as they need it to go.

That Super Clamp, which is the sort of basis of the system, has been around for maybe 30 years or more. Somehow Lino Manfrotto, who started the system, realised that you needed other things besides light stands – just support gear, etc and it’s amazing how versatile all these things have turned out to be.

Ed: So they bought the Manfrotto gear from you, the Pelican case – it sounds as though they’re up for an EX3 Tim?

Tim: It does.

Page

NZVN

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Lots of suck with these babies.

Canon Cake We are at A2Z in Auckland where there’s a bit of a party tonight. There’s a couple of cakes been cut – one of them for Rex Milton. Ed: Rex, this is a truly remarkable birthday cake – is this a special birthday for somebody? Rex: No, just a regular birthday, but still one I’d rather forget! Ed: It hasn’t got a “6” in it has it? Rex: It could do … oh, all right, it does. Ed: 46! Fantastic. But it wasn’t just your birthday? Rex: Yes, that’s right, it was Geoff Andrews from Moving Media yesterday, mine today ( February 23rd ) and then Richard Everitt’s (from Techtel Australia) on Thursday, so it seemed appropriate as we were having a Canon do, to have a Canon lens cake. Ed: Well as one of the key resellers of Canon product it’s only proper … but it’s a shame you had to cut it? Rex: It tastes good though and it was an opportunity to invite people along for a few drinks, nibbles, some sushi and birthday cake. Ed: I see you’ve rearranged your showroom a bit? Rex: Yes, we’ve rearranged items and focused on product areas and product groups. We will also expand back into the warehouse a bit to give us a bit more space. Products like bags and tripods take a lot of space to display. Ed: Well there are a lot of products here Rex? Rex: Yes and it takes a bit of keeping up-to-date with. We try to limit our products so that we can focus on them and represent the suppliers that we do represent as best we can. Ed: I guess that’s a political decision isn’t it – do you go with one particular supplier with a large product range, or do you cover a few bases and have a number of brands? I see, for example, in bags you’ve got Kata and that’s it? Rex: For the direct products we import, we tend to stick to that one brand – like the Miller tripods, the Kata bags, the Nanuk cases, the Lowel lights. With locally supplied products, Sony and Canon cameras, monitors, headphones, microphones, media and our accessory range we do deal in multiple brands. Canon lenses are different – they are our only lens brand. Our priority is to offer non-conflicting brands and products, but sometimes customers do want a specific brand, then we get them what they want. Ed: So then you can offer the best prices to customers because you’re the sole distributor of certain products, but in other areas where every man and his dog has a go, you’re there, you’re competitive? Rex: Yes that‘s true, we are always competitive and provide backup support with everything we sell, but we also work with the other resellers to ensure that we offer them a good price on those products we import, so they too can do the best for their customers. We try to work with the other resellers … the industry’s too small, we all know each other, and we enjoy working with each other. Ed: So you think it’s pretty important to have a good relationship amongst resellers? Rex: Certainly, we buy off them as well … it works well between us. While I was sipping my beer waiting for my next victim, I happened to look over the A2Z accessory wall and immediately found two things that I thought “Wow, I

need one of those.” The first one is a 90 degree HDMI adapter and I’ve had the problem with plugging an HDMI cable into my TV where the wire goes totally at the wrong angle, so for $12.50 it’s an absolute bargain.

The second one is actually a choice of USB card readers. These are either mini ones that just look like a big USB stick but have slots for various sized cards in them, so you just plug that into one of the slots and stick the card of your choice into it and away it goes; or the other one is a slightly larger one with a cable and that’s got lots of different ports on it which pretty well takes every possible card. So come and check out the A2Z accessory wall, I’m sure you’ll find something that you like too.

Next I spoke with someone else having a good time, although the Canon lens cake wasn’t for him specifically – John McInerney from Canon Australia.

Ed: Now John, you’re not just at A2Z, you are in fact in New Zealand visiting many users of Canon lenses?

John: Absolutely, I arrived in Wellington and went with David from A2Z to Avalon, the TAB and Rocket Rentals – and I came to realise that, from the point of view of Canon lenses in the New Zealand market, we’ve got a fair bit of work to do.

Ed: What, people aren’t happy?

John: No, no, the people who have the lenses are very happy, but I picked up a feeling that there are some perceptions, from people looking to buy a television lens, that the Canons (a) are too expensive; and (b) it’s difficult to get them serviced. Those are two very negative points that have been addressed.

Ed: So where do you think this perception has come from?

John: I think it’s come from …

Page Page 12

Rex and John and cake.

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Ed: A lack of awareness? John: Yes … but I think it’s come from a long time ago – when I say “a long time ago” it’s certainly before Canon Australia started sending reps over to look at the market and work out how we could improve our market share. Ed: There’s a good number of people I’ve spoken to, who purchased their lenses on the Internet because they look at the prices here, they look at the prices on the Web and say “It’s much cheaper to buy my lens and bring it in myself.”

John: That’s true. The point there is that, when they buy a lens down that avenue, they are not buying any support whatsoever. They’re on their own. Once the lens arrives and they fit it on the camera, if it works out of the box, that’s great; and if it works out of the box, it will probably work fine until they have an accident with it.

Ed: But one would expect that a brand new Canon lens costing a lot of money would work straight out of the box?

John: Yes that’s true, but you must admit that you can buy a lot of product these days that has come out of the box and there will be something missed – something that’s maybe not quite what you want, not quite doing what you want. If you’d bought that product locally, you could go straight back and say “Hang on a minute, this doesn’t seem to be quite right” and you could get a solution straight away.

Ed: But there’s always been the thought out there that there is a price value for that … there is a value in having a local supplier, but it is a percentage or a dollar value. If the item is so much cheaper overseas, it’s actually worth the risk?

John: Oh sure, depending on what that value is.

Ed: So that’s what you’re trying to address at the moment?

John: If it’s thousands, then absolutely, you would have to really seriously consider it.

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Page Page 14

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loaner while it’s being serviced or while it’s being repaired. But if I buy it off the Internet I can’t do that, and then I’m going to have to pay at least $250 a day for a lens to get me by while mine’s being fixed, and there goes my purchase saving – I’ve quickly lost it.”

Ed: The figures I’ve heard bandied around are in the 10-15% mark … that if it’s over 10-15% more expensive locally, then it’s worth taking the risk. Is this a figure that you’re addressing with your pricing?

John: No, that’s not what I’m saying. What I’m saying is that, in the past, the price of a Canon lens in New Zealand was far more expensive than the price of a Fujinon lens, by far. And I’m talking about 4-5 years ago. So a lot of people went down the Fuji path because of that – and rightly so. That cost Canon a huge market share in New Zealand. People buy a lens with a five year write-down period – at least – sometimes even more. So that means you’re not going to see that person for another five years, they’re happy, they’ve got their lens and they’ll use it for five years.

Ed: Another factor is that cameras are coming down in cost, but the lenses aren’t coming down in the same ratio, so in fact, when you’re looking at some of the newer cameras, the lens has become the most expensive part of them?

John: Certainly, without a shadow of a doubt. That’s why both Canon and Fujinon introduced a low cost range. In the Canon, it’s the GC range and in the Fuji, it’s the XJ range and those lenses are built to a price point so they can go onto that level of camera and the customer finds the prices palatable for those cameras. It’s marginally cheaper than the camera, so it’s a price point they’re building to, and I’ve got to say from both manufacturers, optically excellent. The cost saving is in the build, not in the optics.

Ed: But that can’t be the only way that you’re proposing to make Canon more competitive in the New Zealand market? What else have you got in mind?

John: I’ve got in mind to improve the cost to the customer from the dealer significantly – at least to where it matches the competition. What I’m talking about is the perception in the market that’s been there for a lot of years, but the people that have bought Canon lenses are very happy. I really think now the end user’s getting a price on a Fuji lens and a Canon lens and they’re pretty close.

Ed: How have you addressed the support issue?

John: We’ve addressed that two ways. One is Chris Clapham, the service technician from Canon in Auckland and secondly, Nick Elworthy at El-Tech in Wellington, so now we have two recognised service agents. So both issues are addressed and now it’s only a matter of getting that information into the marketplace and putting customers’ minds at rest that there are no more service issues. But it takes time you know, for a broadcast product, it’s not like it’s on television and advertising every night or whatever. It’s a lot of word of mouth, and the A2Z guys are definitely doing a fantastic job to get the word around, so hopefully we’ll see it turn around a bit.

Ed: And we’ll save up the release of any new models and new things for NAB … I’m sure there’ll be something coming from Canon?

John: To be perfectly honest with you, I know absolutely nothing – and I never do. It’s a funny thing, I could speculate with you all night, but when I go to NAB, that’s when I find out if we’ve got new product, and if we do, what it is.

Page

NZVN

Page 16

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Shhhhh … record quietly! A recent presentation by Rycote in Auckland brought out the glitterati of New Zealand’s audio people ( see photograph ) to hear what Stefano Pucello from Rycote in the UK had to say. I held my applause and questions ‘till the end.

Ed: Stefano, one of the things I must say that impressed me is that you are obviously passionate about the products you make and sell and that you are proud to make them in the UK?

Stefano: Yes absolutely. I’m very passionate about Rycote product because it is a quality product that here in the 21st century is still produced in the UK; the material is all sourced in the UK and there is just one item ( the fluffy fabric ) that we source abroad, and that’s just because of quality reasons. But, apart from that, everything is still sourced and assembled in the UK.

Ed: Other countries can make wonderful products – I mean, Italians are very good at lots of things – but I guess the question is that you can be assured of the quality if you make it yourself on-site?

Stefano: Yes that’s right. Rycote has been in business for over 40 years and since the beginning, the people have been involved – people like John Gozzard who created Rycote, he was himself a sound recordist, so he knew what problems people were encountering during windy days. This knowledge has been passed down and with over 40 years of experience has made Rycote a symbol of excellence in the audio field.

Ed: And you’ve had a long association with Syntec I understand. They were your first overseas dealer beginning in 1976?

Stefano: Yes – I joined Rycote last year in January, so I’ve been in the family for just over one year now. I was told the story that Bob came to England with his father and they signed the contract in London and came back to Australia with the Rycote distribution deal in their pockets. So it’s been a long established relationship and I have to say that for me just over this last year, things with Syntec are going from strength to strength.

Ed: Now, one of the key statements that you led this presentation with was one by somebody not associated with Rycote.

Stefano: Yes, the CEO of General Electric who said “innovate or die.” You know you can actually stay doing

the things that you’ve been doing for 40 years without any changes. I mean change is good, but more than change is the evolution of something that is already good but could actually be improved.

Ed: Yes, but you make a very good product, and that product should be long lasting. I’m sure there are people who have had your windshield for 20 years and they wouldn’t think it’s necessary to change? Stefano: Well absolutely, I mean the quality’s always been good, but technology has advanced, and that technology allows us to create an advancement to products that are 20 years old, because that is the life-cycle ( if not more ) of a Rycote windshield. Ed: I saw the two examples you gave of a windshield – the one that you made 20 years ago, and the one today – not only is the today’s one smaller, it’s obviously lighter but it also has much greater noise reduction qualities?

Page Page 21

Stefano steps up to the mic.

Ed: That’s a good thing. Another innovation that I thought “this is something that I’ve only seen with Rycote”, was the Connbox, and again this fits in with the whole theory of mechanical isolation.

Stefano: Noise is also transmitted through the cable so, if you start to tap on the cable, that vibration will actually go through to your microphone and therefore your sound is going to be affected. What Rycote has done, is to actually provide this Connbox that acts as a kind of a transition point, an anchor point, so your XLR cable goes into this device and then it isolates the sound by then having a smaller cable going to be connected to your microphone. So by doing that, as I said, you reduce drastically the noise that comes through your cable.

Ed: Just going away from microphones for a moment, another innovation, and a very clever device, your Quick Lock boom pole?

Stefano: Quick Lock is something that’s been granted patent just now. The locking system is

Stefano: Yes, and again one of the main achieve-ments in the last 4-5 years is the change in the suspension from elastic to the Lyre technology. Basically, it is the material involved. It’s got that “memory factor”, it’s virtually indestructible. It’s not only going to replace elastics but, at the same time, another thing that Rycote does very well, is creating a universal solution, so these clips are universal in the sense that they accommodate microphones between 19-25mm in terms of diameter. So, something that again differentiates us from the rest.

Ed: That’s an honest statement, that there is still a place for an elastic support, but they’re very tricky to fix and maintain – you have to replace them once they stretch. The Lyre technology really has 99% replaced that?

Stefano: We actually replace the elastics even in the stereo suspension now. Going back to the difference between elastics and Lyres, the actual performance due to mechanical isolation is absolutely improved with the use of this technology. It’s an example of Rycote philosophy to always enhance, innovate the original product and make it better all the time.

Ed: It’s certainly obvious to me that elastics might be fine in a still situation, but as soon as you try and move the microphone around ( especially on the end of a boom pole ) then they start to fall down, and that’s where the Lyres really come into their own?

Stefano: The Lyre allows the microphone to have the movement in this kind of direction …

Ed: Stefano’s moving his finger backwards and forwards in my direction at this point, demonstrating the movement of a microphone in a Lyre!

Stefano: But what it basically prevents is the microphone to go right or left, or downwards. That is something that you really have to prevent.

Ed: In other words, it stops it banging against the side of the windshield?

Stefano: Well more than that is also you don’t actually want a microphone to go in the right or left direction, or downwards. You want the microphone to actually go back and forward as we said a second ago with my finger, but you don’t want any other movements. So that is what the Lyre technology allows you to do.

Ed: You’ve said that one size of Lyre clip will take a wide range of microphone diameter which is of huge value for people who have different sized microphones, but what about weight ranges of microphone? I notice that you’ve got Lyres of different colour? Is that so they look pretty or …?

Stefano: There is a colour code related to flexibility. The red one is very flexible; the black one is standard and then there is the very heavy one and that is the grey one. With very lightweight microphones, you don’t need to use a heavy flexibility Lyre; you would use a Lyre with the flexibility according to the weight of the microphone.

Ed: I guess that’s why it’s important to purchase this product through a recognised dealer, because they can tell you which would be the best combination for your set-up?

Stefano: Yes absolutely … at the same time, our website allows you to find the compatible product with your mic. So there is a very good microphone search that allows you to input the microphones that you’ve got, and it comes up with all the products that fit the microphones, or your portable recorder, or your camera, with products about Rycote.

Ed: It’s just that NZ Video News readers like to actually purchase their products from dealers in New Zealand, so we do support the dealers here … but in fact, you don’t sell anything online?

Stefano: Our website is just a platform for the distributor, for the end user, to actually get information that they need, and there is a section “where to buy” that actually tells you the dealers or the distributors in each country worldwide.

Page Page 22

Lyre mount for mic—Connbox links the cables.

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innovative in respect of the standard one where you have to really screw it in and it could take a bit of time. The locking system that Rycote has developed is basically a very quick release that you just click one side and click the other side and that allows the boom pole to be fitting very well in the other side of the section. It comes in two different materials – aluminium and carbon fibre and two different lengths.

Ed: To finish us off, a Rycote product that’s been around now for a number of years is a little universal camera kit. Now this doesn’t actually come with a camera, but it is the whole microphone support and wind noise reduction system?

Stefano: Yes, it’s a one-stop solution for the videographer. The Lyre suspension, which we call InVision Video, is universal covering 19-25mm diameter microphones but, because microphones have different lengths and you need to protect the port where the capsule is, the wind covers come in sizes of 10, 12, 14 and 18cm.

The kit comes also with 2 or 3 very innovative acces-sories. One is the hot shoe extension. It creates a bridge on the hot shoe that you’ve got on your camera, and allows you to put more accessories on the top. It comes with a camera clamp adapter that allows you to have InVision Video mounted on the clamp.

Another accessory is a boom pole adapter. You can remove one part of InVision Video and, with the screw on the boom pole adapter, you can use that on the top of your boom pole. It comes with a Miniscreen that is the first layer of wind protection and the Miniscreen Wind-jammer that is the second

layer of protection. Both together will give you up to 36 decibels better performance in terms of wind reduction.

Ed: But I’ve heard that some people say “oh, there’s too much in here, I don’t need all of that, I just need the wind protection” but in fact the price …?

Stefano: Exactly. With this kit, it’s better to go for the ultimate package because, first of all, if you buy the parts individually, it’s going to cost you much more, but also, what it’s offering you, it gives you more versatility than buying just for this kind of application, just wind protection. So in that respect, my answer to that is to try it and you will be amazed by the versatility and the result that you’re going to have with all those little accessories.

Ed: You might not need those accessories now with the camera that you’ve got, but later …?

Stefano: Yes – maybe you don’t realise at the moment that you need them but, for instance, one of those little accessories, the hot shoe extension, is one of the most sold items in the whole range of Rycote products in the United States. The kit price is really amazing considering all the components.

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The Rycote website is at <www.rycote.com>

Page

NZVN

Page 25

The Rycote evening’s attendees.

Hamilton Freelancing Overlooking the majestic Waikato River is the home of Greg Penniket. It is raining in Hamilton today, but that’s all right, it grows the grass which feeds the cows who make the milk which eventually trickles down to us all as income. Greg’s been around quite a while in this industry and I guess most people know him as a freelance cameraman.

Ed: Would that be right Greg?

Greg: Absolutely … 1971 NZBC cadet, three months doing mail rounds in Broadcasting Head Office, three months sound assisting, three months editing assisting, three months camera assist, and then on the road shooting 16mm black and white negative.

Ed: So you’re almost into the league of the “old dogs” meaning that perhaps one day, we’ll get a tale from you? Anyway, some of that time was spent in Sydney, but now you’re in Hamilton looking after the local market or do you go wider afield?

Greg: Pretty much just the local market. I’m doing a good amount of work for Maori TV, a little for TVNZ, a little bit for TV3, and even sometimes Prime.

Ed: So that’s stringer work?

Greg: Yes, I do stringer work mainly. I have been looking at producing my own programmes again, and maybe doing a bit of corporate stuff like I used to do in Australia. I had 5½ years on the staff of the NZBC, then TV One and then freelance for TV2 before I went to Australia, and I was also working in Hamilton when we had HNTV One with their own 10 minutes of regional news. I miss that. Since television’s got competition with commercial TV stations, we’ve had a national broadcaster that doesn’t really reflect the regional areas. We used to have five local breakouts in the news in the old days, so it made Hamilton feel like they were watching some of their own stories in their own area. There was Auckland, Hamilton, Wellington, Christchurch, Dunedin – so you had an hour of news and 10 minutes of that news was local. I really miss that era, I think it was a good touch … a bit like having a local newspaper that has the world news on it of course, but features a lot of local content.

Ed: Well, we’ll send Rick an email … but going back to the stringer theme, I see that you’ve got a Toyota Aeras van out there with tinted windows. You find this is a perfect vehicle for your “run and gun” activities?

Greg: It’s a great production vehicle all round – it’s really good for doing tracking shots, it’s four wheel drive, it’s very comfortable inside, it’s nice and plush, it’s like a luxury van. You can shoot out through the

Page Page 26

roof, out each side, the doors slide back and lock into place; you can shoot out the tail; you can even set up in the rear if you’re doing secretive filming and you don’t want someone to know you’re filming them!

Ed: Tell us a little more about the life of a stringer … do you wait at home with your phone by your side for a call, or how does it work?

Greg: Oh that’s the beauty of having a mobile phone – I’ve been through the era ( when I was in Sydney ) where you would sit at home waiting for the phone to ring, then going to beepers and pagers and then mobile phones; everything’s in the van.

Ed: So really you are on 24hr call for TV stations?

Greg: I used to be – I used to do a lot of news work, that was sort of like the “bread and butter” but

I’ve had five years of open heart surgery, so I sort of dropped out of that scene! But if someone calls, and they need me in a hurry, sure, I just go.

Ed: So in actual fact you’ve slowed down over the years – you’re not doing as much as you used to do, but you’re still enjoying it?

Greg: It’s an absolute passion since the age of seven. I have slowed down though, yeah, five years of in and out of hospital meant that clients did go elsewhere, and I understand that. There are a lot of young guys coming on now and things have changed.

When I started in film, the camera was 40 years old! Nowadays, you’d be hard pressed to have a video camera that’s more than about five years old and they’re so much cheaper, easier and more accessible. The comparisons of shooting film – you had to know your exposures and such – you don’t have to do that with a lot of the cameras nowadays. Like we’re watching what was happening in Cairo and people have got their mobiles phones up, they ring CNN, hold their

Greg has kit and is ready to go.

phone up and there’s live satellite footage going out, but it’s from a frigging mobile phone and the person’s doing it for free!

Ed: Yes, so why would they pay a stringer?

Greg: Exactly – things are changing dramatically.

Ed: Okay, now I “Googled” you to prepare myself for this interview and I found you on the list of NZCREWS. You’re a member of NZCREWS and have been for a while?

Greg: As soon as I found out about them I applied and joined. Over in Australia, we had a group and I always like to be a member of whatever, but what Yves Simard’s doing is great, it’s really good for the industry and it was really needed from what I hear.

Ed: So what are the benefits that you gain from it?

Greg: I do pick up a little bit of work through being a member, but I think the camaraderie is really good. Yves organised the XDCAM move and through that I met Clive Canon at Sony and he’s an absolute gem. I trust Sony appreciate how important he is, because it’s been magic. It means I can get a good idea of how the industry operates here again, because I was away for 25 years in Aussie.

Ed: Okay, so that’s what you get out, what do you put back into NZCREWS?

Greg: I guess I’m a bit guilty of not putting much back in at all, because Yves does have a lot of other good things too, like online forums where the guys can talk about things, and I guess I’ve been really guilty of being a user, not a contributor. I’ve learnt more than I’ve put back, that’s for sure.

Ed: Aaaah well time for a change. What about the young folks out there … have you ever taken on an apprentice, or given advice to younger members?

Greg: Absolutely. I sort of see my role in terms of “paying back” as passing on my knowledge … I’m quite proud, you know, I’ve trained up a few guys over in Australia. They started off as my assistants and then, if they were interested in audio, they got into that. There are two guys in Australia who are fulltime freelance audio guys now.

And in terms of camera … well last year I was training up a young lady who was just out of school, in camera, edit and sound ( basically the industry ) and she’s heading off to Australia in about a month.

Ed: While we’re on cameras, your camera of choice … you said you were part of the great NZCREWS purchase of the Sony XDCAM but of course now that’s a bit “old hat”, that’s standard definition …

Greg: Yeah, that was only five years ago!

Ed: Cameras do change – have you still got that camera?

Greg: Oh heck yeah, it’s beautiful technology. When I first got it, I couldn’t believe the contrast ratio that it would handle compared to the SP Betacam I had before that.

Ed: So there’s been no call from your clients to say “Well, we’d like HD”?

Greg: I’ve got the 530P and, while it’s not HD, I guess realistically, when you consider the quality that’s coming out of it, it’s sort of like the lower end of HD really.

Ed: So you’re still standard def, you have been for a number of years, even though HD has been around almost that length of time – do you want to go HD?

Greg: I’d love to be HD; if I could afford it I would. And it’s not because clients ask for it, I actually haven’t had any call for HD, but I have, all of my life, always liked high quality technology, because I am a collector, an archivist and I love to pull out Super 8 movies, Standard 8 movies, and transfer them.

I love documentaries – that’s what I like – and if you can document in high definition, and there’s a difference … I do find though that even some directors who are new to it, they don’t understand the technology. They say “How come you charge so much money when you’ve got a standard definition camera and I’ve got these other young guys here, they’ve got high definition cameras, and they’re going to charge half of what you charge?” And I’m going well, wait a minute, my lens on my camera ( even today ) costs 7 or 8 times what their so-called “HD camera” cost – just the lens; and then you’ve got the camera head, you’ve got things like contrast ratio and compression rates and such, and they all make a difference, and they don’t understand that.

Actually, sorry, I had one client ask if I had high definition. It was for a corporate, and the reason he was using high definition was that we were shooting green screen and it meant that you could just chuck the talent up in front of the green screen, shoot it as wide as possible, and then he’d just crop out the different framing that he wanted when he was doing the edit later.

So if he wanted to chop the interview up, he could chop it up and have like a jump cut, but it didn’t look so bad,

Page Page 28

because they’d cut to a close-up of the head and from a wide shot it looked like you’d just cut to a close-up; and he’d just crop that in the edit suite later, because it was HD. What they were outputting was DV or even on the Internet through YouTube, you wouldn’t know that there was any quality change on those sorts of formats. But for me, I want HD, not for those sort of facilities, but because in future generations, it’s the highest possible quality, and I really do love that New Zealand’s embraced the newer technologies all the way through, because when I left New Zealand I had colour film

experience, and we were transmitting in colour. When I got to Australia, they were still shooting in black and white, and they weren’t transmitting in colour, so in quite a few areas New Zealand has been a leader in technology and I was really pleased when TVNZ embraced going to XD.

Ed: That’s another point you made about going to XD – when NZCREWS went XDCAM, there wasn’t actually a call from the clients to go XDCAM?

Greg: No. It was pretty hard for about 18 months-2 years when I had to “parallel shoot.” I had my SP Betacam because TVNZ was still calling for SP Betacam, and through Yves’ hard work, and taking around a Sony XDCAM playback unit, he introduced XDCAM into

the workflow for a lot of the production houses – and good on him. I mean, any walls that came up, Yves was able to “Well, okay, that’s not really a problem, here’s what we’ll do” and show them the value of going not just to a new record format, but the new technology in the camera head as well.

Ed: So you think there’s also a mission out there for somebody to take on educating the producers and the production environment, that HD is not an all-encompassing wonderful thing. There are lots of flavours of HD and just like you say with standard

Page Page 30

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definition, a lot depends on your lens, a lot depends on the processing within the camera, as well as the cameraperson?

Greg: Yes, that’s what’s hard to get across to directors sometimes, unless they have been around for a while and they appreciate what the cameraman can input.

I think in terms of feature films, the director knows which DOP is going to have a big input and will specify that same DOP on all of their movies, because they work as a team. But there are some who don’t know much about technology and just believe that high definition is the highest definition so it’s got to be good. It’s sort of like having a refrigerator and saying “oh I’ve got a great refrigerator, it keeps food preserved perfectly”, but if you put a rotten fish in there it’s still going to come out as a rotten fish.

Okay, you’ve got an HD recorder, but if you don’t have a good camera head and a good lens, you’re just having a high definition copy of crap! It’s so frustrating sometimes to have to try and educate people around that.

Ed: So, given an unlimited budget, what’s your Christmas wish for a high definition camera?

Greg: I’ve stuck with Sony all the way through and with my dealings with Clive, I feel like I’m part of a family and if perchance there was a problem, it would be gone in a flash. I’ve been a Sony man all the way through I’m sorry.

Ed: I must state here that this is not a “paid-by-Sony” interview! I have an elevated place on the moral high-ground to maintain Greg.

Greg: Yes … I’m sorry.

Ed: But what you said is the reality, isn’t it. If you come across somebody or some company in this industry that you trust, you stay with them?

Greg: I always have, and sometimes, if I pay a bit more, I don’t mind if I know that it’s going to save me in the long term, because if I do have a problem, I know it’s going to get dealt with in a nice way – friendly and quickly, and that’s worth more than saving a few dollars initially.

If you go and buy a cheap car and it breaks down and you miss a job, well … so I make sure I get a brand new battery for my van regularly; I make sure I have good tyres on it all the time and likewise with the camera. If you’ve got people who know you’re freelance, you can’t just put the camera down and grab another one from the storeroom; it’s important to have a good support network behind you – people who you trust.

Ed: To finish us off, you say you’re interested in postproduction, that you’re dabbling with editing – this is something that you’ve just learnt yourself or did you learn from the film days?

Greg: I’ve always loved the process of making film … well videos, programmes, yes – particularly documentaries – and I used to go back to the NZBC late

Page Page 32

How not to draw attention to what’s in the back.

at night ( with the chief editor’s approval ) and cut up my own stuff. I learnt more about being a cameraman by editing, because then I’d know what I needed to make the damn thing work. So I felt like Spielberg and most of those guys … they were editors and they got a better idea of how to direct something if they knew what they needed for the edit. So I think probably editing is really the most important and key point for filmmaking, because our best directors, cameramen, everything will come from the knowledge of what’s required when you get down to edit.

So I always did cut film … I guess I’ve been a little bit slower when it’s come to nonlinear editing, because it’s not like just sitting down at a bench and cutting the film. You have all these millions of options; if you don’t like this one, you just click “Save” and if you find you do like it, you can go back to it later. I guess that’s sort of a drawback in a way too, because then suddenly, you can do all these dissolves and whiz-bang things, whereas if you were doing it on film, you had to decide straight off, have an idea of what it was going to look

like in your head, because you couldn’t actually see it on the screen. But nowadays, you can say to your client “Well do you like it looking this way, or do you like it looking that way” and then they go “Oh my God, I’ve got all those options” and so the edit process can take a lot longer.

Ed: A lot more discipline in film days?

Greg: There was a lot more discipline, and that’s what I think is missing nowadays because the kids in TV schools see that they have incredible options. Rather than thinking it through before they shoot, they can come back to the edit and work out what they want to do once they get there …

Ed: And “fix it in post”?

Greg: Yes, that’s terrible, and that is what it’s like for some people. I think it’s so much better to have planned it out in your head before you go there. Then the only changes you make in the field would be if the story is changing a bit, then you go with the flow. But at least have an idea of what you want to say before you open your mouth. NZVN

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