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: LAOWA 24mm Macro Probe Lens PL FF
Here’s a rough idea of what I have, but please contact me for the full list.
THE HEART OF THE SYSTEM
At 5K, with a dual native ISO, the RED Ranger Gemini has one of the very best sensors around today. The new Ranger body is so much easier to use – an amazing tool to have in my arsenal.
Within two weeks of buying my RED Ranger Gemini, I took it up an active volcano! It was exposed to Sulphurous Gases and Volcanic Ash, and then on to a Turtle nesting beach where it got covered in sand.
When it was serviced after that job, it had absolutely no reported issues at all. You can’t get a better recommendation than that.
As the RED Ranger Gemini doesn’t have any built-in ND filtering, I use the KipperTie Revolva. A behind-the-lens ND filter system that is really quick to operate. An absolute game-changer!
I also have a RED Dragon 6K which I’ve had for some time – it’s still a beautiful camera! I use it on my MOVI Pro, as a second camera or as a spare body.
I have two SONY FS7s, a MkI & a MkII. They have been the workhorses of my documentary work since being released.
I love the variable ND system on the MkII – so beautiful to use. You really can just select your stop/depth of field and then ND down to a correct exposure.
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), Ronin S 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, 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 and the Angenieux EZs – wonderful lenses.
The core lenses that I own are listed below:
SIGMA Art 14mm T2 PL FF Cine Prime
GL OPTICS 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.
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)
Nikon D810 DSLR Camera Body (up to 6K Timelapses)
SIGMA Art 14mm 1:1.8 DG Lens
Zeiss 25mm Distagon ZF Lens
Zeiss 21mm Distagon ZF Lens
AF-S Nikkor 28-300mm 1:3.5-5.6G Lens
2x LRTimelapse Pro Timer Intervalometers
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
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.
CAMERAS IN WATER
Although I’m a qualified Diver, I’m happy to leave the underwater stuff to the specialists.
I do, however, have a number of tools that will get a camera into the water or on a boat in a very rough sea.
IKELITE Underwater Housing and Dome Port for Sony A7SII with 21mm Lens (60m). I also have a long Boom Pole that attaches and makes it a very effective 4K PoleCam.
MEIKON Surf housing and Dome Port for A7SII with 21mm Lens (40m). If you’re in a small boat with the likelihood of a rough sea where a bigger camera is hard to protect, this is a really good option. (As in the Boat / Submersible picture)
EWA-MARINE Splash-bag for FS7 (10m). A quick and easy option to get an FS7 into the water.
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