You need to be tenacious.
Tenacious, ambitious and then there's reckless.
You have to go with wherever the story's going to lead you. You have to tell story
truthfully, to tell it honestly. The story's only going to present itself once,
so you've got to make sure that you grab it when it presents itself,
otherwise, it's gone.
I like doing news and I like doing factual because it's real.
The types of films that I make, we work with a really pared back team. We can't go
travelling with 15-20 bags of kit, so every bit of kit, every camera, every lens,
every accessory, really has to matter. I make sure that I've got a kit back ready
to go when you can just run out the door and be on a train within five or ten minutes.
You don't know when a huge story is going to unfold.
Just because you're making gritty film in
difficult circumstances, doesn't mean that you
can't make a beautiful-looking film. What you need is a tiny camera
that will just bust out a lot of really good shots being really difficult scenario.
The XF405 for a small camera has brilliant picture quality. It's got the 4k capabilities.
The ND is really easy to reach, it's just a simple flick of a button.
I've got a 1-inch sensor which is fantastic, the depth of field for cinematic image.
30 times advanced zoom is an essential feature. It's going to
allow you to get those images, those initial images as quickly as possible,
that unfolding event in the cam.
It really ups the game in terms of
run-and-gun cameras.
The face tracking feature is very accurate.
It saves you having to go over and do multiple takes,
You can just get it right the first time.
News is a fast-moving environment, you've got to get there before other people,
before the competition. The FTP feature allows me to feed footage back,
while the story is still hot, still fresh.
The most amazing stories are frequently
in the most innocuous locations.
How can I make that location really seen to and orders. It really tests your
creativity to their absolute max. I need a camera that's a good compromise
between features and newsgathering, so you can plug into live broadcast gear to
satellite, that gives you the capability to be able to go live, which is a must-have.
I shoot a lot handheld, so to be able to have
that small camera with the
stabilization inbuilt it's brilliant. I can still shoot at the end of my zoom lens
and get a really good, steady shot.
I'm used to using large sensor cameras with high quality fine lenses
and it gets beautiful, soft looks. Actually, I can get that same
look with this camera, so I can get very narrow depth of field with the
lights twinkling in the background. It's really satisfying.
You've got the opportunity to make news look good. Take it. Do it.
Those images are going to draw the audience in when they're flicking the television or when
they're scrolling through on social media. You want them to stop and look at your story.
You kind of owe it to the contributors, they're taking part, they're letting you
into their lives, and I think it's hugely important to get good sound and good images.
I'm always weary that I've never told this story before and I always want to
do the best that I possibly can. We are the eyes and ears for the watching public,
and that's a huge responsibility.
It is the best job in the world. Brilliant.