My kit list



SONY FX9 Cinema Camera
6K 35mm Full-frame sensor for true 4K recording
S-Cinetone cinematic colour science
60 fps in 4K, 180 fps in full HD



SONY FX3 Cinema Camera
35mm Full-frame sensor 4:2:2 10bit or RAW 16bit
S-Cinetone cinematic colour science
120 fps in 4K,
280 fps in full HD



SONY A7 III Camera
4K Full-frame camera
Sony FX9 S-Cinetone matched.



Phantom 65 Gold high-speed camera,
EyeDirect for direct address into the lens of the camera. Laowa 24mm probe lens for a bug-eye filming perspective



Focal lengths from 16mm to 600mm  
Cine zooms, full-frame primes, macro probe lens,
anamorphics and modified vintage lenses.



Ronin DJI RS2 Gimbal, 4-meter Teris jib
Rhino 4-Axis motion control on 42/24-inch rails
Easyrig Vario 5, Dolly & track




HMIs from 200w to 1.2kW
Large surface soft lights and Kino Flo
LED Dedolights



Radio mics, reporter mics and high wind covers 
FX9 camera has four audio channels.



5-inch, 7-inch, 17-inch
SmallHD Daylight & OLED
Blackmagic Video Assist 7" 12G HDR Recorder




Sony FX9

The Sony FX9 is a full-frame 6K sensor camera.  Frame size and image quality from the FX9 goes way beyond the limits of conventional Super 35mm sensors.  Just like Sony's flagship Venice camera, the FX9 has a large-format full-frame 17:9 sensor, which is over twice the frame size of Super 35mm, it's virtually the same size as the famous VistaVision widescreen film format.  When shooting with large format image sensors the wide end is something really special.  For example, a 35mm lens on a full frame camera has the same angle of view as a 24mm on Super35 but with the depth of field of a 35mm


True 4K recording
Most 4K-sensor cameras use a single Bayer Array sensor, which does not deliver a true 4K picture. Although these cameras record in 4K, the available resolution from a Beyer sensor camera is actually around 3K.  The FX9 is a 6K camera which down samples images in-camera to 4K, so the actual FX9 recorded resolution is true 4K.  If your delivery requirement is standard HD, then the camera can be switched to HD, but that 6K sensor still provides spectacular over-sampled pictures with visibly superior colour, texture and detail.

The huge ‘Exmor R’ full-frame sensor captures a much wider background than S35. 
For example, if use a 50mm lens on a full-frame camera and a super35 camera to shoot a medium close up of something, when I match the frame sizes so the subject is the same size on each camera, the full-frame camera shows much more of the background than the Super35 camera.

5K Crop
Ful-frame 5K crop mode allows the FX9 to capture 83% of the full-frame up to 60fps

Venice film look
The default look of the FX9 is S-Cinetone which is based on the colour science of the Venice cinema camera.

Dual ISO
The sensitivity that captures the best images is called Native ISO.  The FX9 has Dual Native ISO, so depending on light levels; I can use the low 800 ISO for normal shooting or high 4,000 ISO for low light shooting.  So rather than cranking up the camera sensitivity in low light by adding gain, switching to the higher sensitivity produces significantly cleaner images; it’s like having two optimised cameras in one body. 

15+ stops of dynamic range approaches that of traditional motion picture film.
Dual base ISO, 800/4000
VENICE Colour science
4-Channel audio
Built in Wi-Fi transmission for image monitoring
Continuous high speed shooting up to 180 fps 7 times slower than real life
Full-frame 6K, 5K crop, 2K crop and S35
Lens lever lock e-mount.

The FX9 is an extremely sophisticated camera and different from the FS7 in almost every aspect.



Sony F5

The Sony F5 is a super35 4K sensor camera.

The F5 delivers a shallow depth of field that we've all seen in the cinemas for many years, the foreground is in focus the background is immediately out of focus.

With an impressive fourteen stops of latitude, the whole picture is reproduced in a very natural way with lots of details in the dark areas with great highlight handling. 

Comes with Pictor 20-55mm PL Mount Cine Zoom and Sony B4 adaptor so it can be used with traditional ENG Zoom lenses.


14 stops of latitude
Low-light sensitivity with a base of ISO 2000
Extremely low noise in the blacks
Continuous high speed shooting up to 120 fps 5 times slower than real life
S35 and Super 16 crop
PL Lens mount.

Comes with







Sony A7 III

The Sony A7 III is a full-frame 4K sensor camera that really comes to life when paired with the new Ronin S2 Pro gimbal.

24.2-megapixel Exmor R sensor for shooting at high ISO without noise concerns. Captures 6K footage from the full-frame sensor is downscaled from 6K into 4K. Shoots S-Log3 with up to 14 stops dynamic range and slow motion up to 120 fps in full HD.  Camera has built in 5-axis stabilisation.

5-inch Small HD daylight viewable.

Sony XLR Adapter   
Adds two XLR inputs for pro microphones and precision level control into the Sony A7 III camera.

HDMI to HD-SDI Converter
Converters 1080/25p into 1080/50i for connection to SDI feed points and satellite trucks.





Cine Zoom Set  
20-55mm DZOFiLM Pictor lens, PL mount, T2.8  
50-125mm DZOFiLM Pictor lens, PL mount, T2.8  
Full-frame Primes  
20mm Sony G, Wide-angle, f1.8  
35mm Zeiss Sonnar, Medium-wide-angle, f2.8  
50mm Zeiss Planar, Standard, f1.4  
85mm Sony G, Medium-telephoto, classic portrait, f1.4  
135mm Sony G Master, telephoto, classic portrait, f2.8  
Full-frame Zooms  
16-35mm Sony G Master, Ultra wide-angle, f2.8  
24-105mm Sony G, Wide-angle to short-telephoto, f4  
28-135mm Sony G, Wide-angle to telephoto, f4  
70-300mm Sony G, Medium to long telephoto, f4.5-5.6  
200-600mm Sony G, Long to super-telephoto, f5.6-6.3  
Anamorphic Primes 2.4:1 CinemaScope/Panavision Ratio
24mm Sirui, f2.8 1.33x
35mm Sirui, f1.8 1.33x
50mm Sirui, f1.8 1.33x
75mm Sirui, f1.8 1.33x
Diopter set +0.5, +1, +2, +4, +10
Split diopters +1, +2
Achromatic diopters +2, +3.5
Speciality Lenses
24mm Laowa, macro probe lens, 2:1 magnification, PL mount, f14
Tilt/shift 80mm Zeiss Jena, Biometar, medium format lens, f2.8
Vintage Primes Year
35mm Konica, Hexanon AR, f3.5 1973
40mm Konica, Hexanon AR, f1.8 1979
35mm Carl Zeiss Jena, Flektogon, f2.8 1976
50mm Industar, 50-2, f3.5 1973
58mm Helios, 44-2, f2 1968
75mm Componar, Schneider-Kreuznach, f3.5 1968
85mm Ross, Homocentric, Eastman Kodak iris/shutter, f6.8 1915


Optical filters


Panavision 4x5.65"

Tiffen Glimmerglass set
  Tiffen Black Pro-mist set


Tiffen Ultra Pol Polariser - Linear
  Schneider NDs

138mm Round

Schneider Tru-Pol Polariser


Schneider +1 Split-Field Diopter Lens
  Schneider +2 Split-Field Diopter Lens
  Tiffen Star 8 point, 2mm
  Tiffen Star 6 point, 4mm


Nisi Neutral Density ND 3.0
  Nisi Neutral Density ND 1.5
  Nisi Neutral Density ND 0.9
  Nisi Neutral Density Graduated ND 0.9
  Nisi Polariser - Circular

Crystal prism, lens flare effect kit

  6 Point star burst
  8 Point star burst
  +1 Split-field diopter
  +2 Split-field diopter


 Camera support & movement


Used specifically with the DJI RS 2 gimbal, pan, tilt, camera, etc. is controlled remotely from the rear of the telescopic carbon fibre jib.
Max rise and fall of 4m
Supports up to 10 kg

Ronin DJI RS 2 Pro
for Sony A7 III Camera

Rhino 4-Axis motion control slider for automated moves on 42 or 24-inch rails.  Great for interview B-Roll, also works beautifully with my macro-probe lens.

Easyrig relieves strain on back, neck and shoulders.  It’s not a camera stabiliser, but footage looks like a blend between steadicam and a hand held look. It’s perfectly suited to handheld reality shooting, documentary or music promo.

The Eye Direct System allows a person to look directly into the lens of the camera and see the interviewer at the same time. Direct address makes viewers feel a more intimate connection to contributors who seem to be confiding in them ‘directly’ instead of looking off-camera at the interviewer/producer.  I have modified this Eyedirect to mount directly onto the cameras matte box rods, so unlike the original mount, setup time is now super fast.

Bright Tangerine VIV and Misfit Atom.

Bright Tangerine Revolvr ATOM Cine and Zacuto Z-Drive.

PD Movie Remote Air 4 focus system, works up to 100m.

Sekonic L-858D Speedmaster.

O'Connor 1030D, Miller CX18, Sachtler FSB8, Miller Air

Wally-Dolly with 4m of seamless alloy track and lowboy attachment. 
Super smooth, lightweight and quick to set up.

Folding design with 5" (12.5 cm) wheels, cable guards and foot operated brakes.
Max payload 100kg (221 lbs)

This jib gives maximum stability with a rise and fall of almost 6-foot.  The under-slung fluid head allows front jib operation, so the camera can be moved all the way to the ground; which isn’t achievable with traditional top-slung fluid heads.  Its unique telescopic design allows it to be used in confined areas. 
Max rise and fall of 1.73m
Supports up to 18kg of camera and fluid head.






Although lenses are one of the most important elements of a camera, just as important are monitors.

I've been a fan of SmallHD monitors since I first saw them at NAB many years ago, you really have to see the image quality yourself to appreciate them. I have four SmallHD monitors.

smallHD 17-inch PX3 Bright Reference Grade Monitor SDI / HDMI (17.7W-48W)
The PX3 is a 17-inch high precision monitor with incredible colour accuracy and wide colour gamut display covering 100% of the DCI-P3 colour space for cinema; which is well beyond the rec709 broadcast space.  SDI or HDMI with an amazing viewing angle, mains or DC powered, C-stand mountable, waveform, vectorscope, HDR preview, 3D LUTs, frame guides and 8 audiometers.

smallHD 7
-inch 702 Bright Field monitor, SDI / HDMI (11W)
The Small HD 702 Bright is a new breed of on-camera daylight viewable full HD monitors.
DC or mains powered, waveform, vectorscope, peaking, picture zoom, LUTs, frame guides, audiometers, etc.

smallHD 5.5-inch Focus On-camera Monitor, OLED, SDI (5.76W)
This OLED 1920×1080 on-camera monitor gives true blacks, is very sharp, has amazing contrast and a wide colour gamut.  Features high resolution Scopes, Waveform, False Colour, Focus Peaking, etc.

smallHD 5-inch Focus On-camera Monitor, LCD HDMI, (5.04W)
Battery powered on camera, touch screen daylight viewable LCD monitor that also powers my Sony A7 III camera. This monitor has everything that the bigger Small HD monitors have, waveform, vectorscope, peaking, picture zoom, LUTs, frame guides, audiometers, etc.

Blackmagic Video Assist 7" 12G HDR Monitor-Recorder SDI / HDMI
Full HD touchscreen monitor with built in ProRes and DNxHD recording in HD, UHD, 2K and 4K DCI.





I take great care to assure my audio levels are within recommended broadcast standards, with peaks between -18 to -20db BBC Peak levels should not exceed -10db. EBU (PAL countries)- tone of 1 Khz @ -18dbfs.

If Iím to film in chaotic environments with several of people and you're expectation is to capture great audio on the fly, then it's really advantageous to have a separate sound recordist with a mixer and boom pole. 

My radio mic frequencies are UK legal - TV-channel 33-41, 566,025-630,000 MHz

Sound kit consists of:

Sennheiser 416 microphone in Rycote
Sony Dual-Channel UWP-D Receiver and Transmitters.  
2 x Lapel mics - Sanken COS 11D      
3 x Lapel mics - Sony ECM-77
2 x Reporter/desk mics - AKG D 230 
2 x Reporter/desk mics - Sony F112  
1 x Reporter/desk mic - Bayer M58
1 x AKG P220 Studio condenser microphone
2 x Sennheiser HD-26 PRO headphones
High wind covers for clip-on mics
K-Tek short boom pole with Boom Buddy
Mic stand with short boom arm.