I grew up in a family business that was all about cameras and I’ve been a freelance Director of Photography since the 1980s.I have always welcomed advancements in the technology. I started on Film, so imagine the changes I’ve had to embrace over the years? There’s hardly a job goes by that I don’t learn something new!
NEW: RED RAPTOR 8K VV/6K S35 Dual Format Camera with Octomas Accessories.
NEW: Astera – 2x Titan & 2x Helios tubes in a soft case – for flying. App controlled full RGB and FX lights
Here’s a rough idea of what I have, but please contact me for the full list.
THE HEART OF THE SYSTEM
The RED Raptor 8K VV/6K S35. with its dual format sensor and high frame rates is state-of-the art.
120 fps at 8K 17:9 (8192 x 4320), 150 fps at 8K 2.4:1 (8192 x 3456)
140 fps at 7K 17:9 (7168 x 3780), 175 fps at 7K 2.4:1 (7168 x 3024)
160 fps at 6K 17:9 (6144 x 3240), 200 fps at 6K 2.4:1 (6144 x 2592)
192 fps at 5K 17:9 (5120 x 2700), 240 fps at 5K 2.4:1 (5120 x 2160)
240 fps at 4K 17:9 (4096 x 2160), 300 fps at 4K 2.4:1 (4096 x 1728)
As the RED Raptor doesn’t have any built-in ND filtering, I use the KipperTie Strata. Quick and simple.
At 5K, with dual native ISOs (800 & 3200), the RED Gemini has one of the very best sensors around today. The Ranger body is so easy to use straight out of the box – an amazing tool to have in my arsenal.
175 fps at 5K Full Height 1.7:1 (5120 x 3000)
96 fps at 5K Full Format (5120 x 2700)
120 fps at 5K 2.4:1 (5120 x 2160)
120 fps at 4K Full Format (4096 x 2160)
150 fps at 4K 2.4:1 (4096 x 1728)
150 fps at 3K Full Format (3072 x 1620)
200 fps at 3K 2.4:1 (3072 x 1296)
240 fps at 2K Full Format (2048 x 1080)
300 fps at 2K 2.4:1 (2048 x 864)
Again the RED Gemini Ranger has no built-in ND filtering, so I use the KipperTie Revolva. A behind-the-lens ND filter system that is really quick to operate.
GRIP EQUIPMENT
Camera movement has always been important in film-making and there are now many innovative ways of achieving this.
I have the MOVI Pro, EASY RIG Vario 5 with SERENE ARM and PUPPETEER, ProSup TangoSlider (100mm & 150mm) with Under-Sling Bracket, Ronin RS 3 Pro Gimbal and Wally Dolly. Yes, I am still using a Wally Dolly! It’s a great way to move the camera if the floor is level and flat.
Also, I have chosen these as the best options to fly around the world without too much excess baggage!
My MOVI Pro has had a number of functional upgrades from companies like Ignite Digi. These include:
Battery Adapters that take two DJI TB50 batteries for a much-extended battery life.
Tilt Cage Offsets to take bigger payloads and Counterweight Mounts to help with bigger camera/lens packages.
I also have MOVI Wheels – 3 axis, MIMIC, Bush Pilot and Redrock SLS Lens Motors.
I can control everything remotely when the MOVI is on a crane or being used by an Operator.
Just a quick note here – I don’t fly Drone myself. I do, however, fly Dual Ops.
THE ALL IMPORTANT GLASS!
There are many great lenses around today, and lens technology has moved on so quickly over the last few years.
I do a lot of work with the Canon CN-20 (50-1000mm) and recently I’ve been using the Fujinon Premistas, Zeiss Supremes and the Angenieux EZs – wonderful lenses.
The core lenses that I own are listed below:
SIGMA Art 14mm T2 PL FF Cine Prime
SIGMA Art 28mm T1.5 PL FF Cine Prime
SIGMA Art 18-35mm T2 PL S35 Cine Zoom – The fastest, most compact zoom around with gorgeous optics. I love this lens.
SIGMA Art 50-100mm T2 PL S35 Cine Zoom – another absolute beauty from SIGMA.
GL OPTICS Canon 70-200mm T2.8 PL S35 Cine Zoom – one of the sharpest zooms around.
LAOWA 24mm Macro Probe Lens PL FF – an amazing lens that can give you a bug’s eye view of the world!
TOKINA 100mm Cinema ATX Macro PL FF Prime.
Century Micro-NIKKOR 200mm Macro T4 PL FF Prime with Nikon No.4T – 3.9 Dioptre close-up attachment. Stunning classic old macro lens – sharp as a tack. They don’t make them like this anymore!
Canon FD 300mm T2.8 PL FF lens + x2 adapter (600mm). Another classic Canon FD lens modified by the much missed Optex.
LAOWA 12mm Zero-D FF Cine Prime PL – a truly amazing lens.
LAOWA 25mm 5X Ultra Macro EF – another truly amazing but much misunderstood macro lens. It took me a while to get my head around this lens too, but it is capable of some of the most incredible macro shots I’ve seen.
TIMELAPSES - Static, Motion Controlled and Holy Grail (Day-Night-Day)
I have been shooting Digital Timelapses since 2007.
Before that, we would shoot on film with a 35mm Cine Camera, an intervalometer and a light meter.
I have even shot 3D Timelapses using my Hurricane Mirror Rig
The 2020 Lockdown gave me a chance to refine my Timelapse Kit and practice some new techniques. I now have one of the lightest and most effective Camera/Motion Slider setups you can find.
Here are the basics of that kit:
Nikon Z7 Mirrorless Camera with ZTF Mount (up to 8K Timelapses)
Nikon Z6 Mirrorless Camera with ZTF Mount (up to 6K Timelapses)
SIGMA Art 14mm 1:1.8 DG Lens
SIGMA Art 20mm 1:1.4 DG Lens
Zeiss 21mm Distagon ZF Lens
Zeiss 25mm Distagon ZF Lens
LRTimelapse Pro 3 Timer Intervalometer
SLIDER – MOTION CONTROL
Black Forest Motion PINE R Motion Controller
Black Forest Motion Carbon Fibre Slider – 1m
Black Forest Motion 19:1 & 14:1 Stepper Motors
Black Forest Motion Single Axis PAN Motor
2x Gitzo GT4543LS Series 4 Tripods & Ball Heads
Edelkrone motion control Slider & Target Module
LIGHTING, FX & SOUND
NEW: Astera – 2x Titan & 2x Helios tubes in a soft case for easy transport. Full RGB and FX lights controlled from an app.
I have a range of LED lighting equipment that is both Battery or Mains powered and can handle most situations.
For FX I have a Smoke Machine and 6’x4′ Blue Screen.
I have a small Sound Kit for basic interviews and actuality.
Please contact me if you need more details.
3D RIG
Although primarily built for 3D work, this rig is also useful for shooting scenes in two frame sizes, or two different camera speeds, from exactly the same angle.
Hurricane 3D Mirror Rig with Bolster Bracket. This rig will take anything from a DSLRs to a RED Monstros.
Tranvideo CineMonitorHD 3DView S 3D setup Monitor