Capturing the storm

Creating video for world- leading TVs requires worldleading equipment. World- renowned camera operator Alister Chapman brings with him Sony’s Venice camera, a full- frame, 6K camera. Loaded with a f ull- frame sensor capable of 15 stops of dynamic range, it’s perfect for creating the HDR video that shows Philips’ TVs off at their best. He also brings enough lenses to make a Hubble engineer green with envy. Everything from telephoto to wide- angle is covered, allowing Alister to cover superwide panoramas and threatening closeups.

The footage is shot with Philips TVs in mind — n ot just in terms of resolution, but also to get the absolute best out of the P5 processor and HDR+.

Stills photographer Dave Stevenson brings a similarly impressive pile of equipment. A p air of full- frame DSLRs and lenses cover mid- range telephoto, medium wideangle and an ultra wide- angle 14mm f/ 1.8 lens to allow him to shoot razor- sharp lightning images after nightfall. The star of the show ends up being his Hähnel lightning trigger. “I was worried I’d only come away with a handful of reasonable lightning pics,” he says. “As it happens I was getting dozens each time.”

Of course, without the right storm chasing kit, all the camera gear in the world won’t make the right film. The team runs a laptop, as well as a r adio to communicate with the car behind. A n ewly- purchased iPhone provides a connection to the internet as well as an ad- hoc wireless network for the rest of the team, while a p air of radios allow the two cars to stay in contact in critical situations.