lass="BodyText12">  Nisi, Polariser - Circular   Effects

Crystal prism, lens flare effect kit

  shooting kit
My kit at a glance

 

 

SONY FX9 Camera
6K 35mm Full-frame sensor for true 4K recording. S-Cinetone cinematic colour science.

 

 

SONY FX3 Camera
35mm Full-frame sensor 4:2:2 10bit or RAW 16bit, S-Cinetone cinematic colour science

 

 

SONY F5 Camera
Super35 4K sensor ,4:2:2 10bit . Comes with Pictor 20-55mm and 50-125mm Cine Zooms.

 

 

 

Pantom 65 Camera
Sensor is the same size as 5-perf 65mm motion picture film
. Panavision/CinemaScope ratio.

 

 

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

 

 

LENSES
Full-frame primes, PL Cine zooms, Anamorphics, Macro probe lens and B4 ENG zooms.

 

       

 

CAMERA MOVEMENT
DJI Air 2S Drone, DJI RS2 Gimbal, 4-meter jib, 4-Axis motion control, Easyrig Vario 5

 

 

SPECIALIST KIT
EyeDirect for direct address to camera, Laowa macro probe lens.

 

 

LIGHTING
From 20w to 1.2kW HMI, Kino Flo and LED Dedolights.

 

 

SOUND
Sanken COS 11D lapel mics, radio mics, reporter mics, high wind covers.

 

 

 

MONITORS
smallHD 5-inch, 7-inch and 17-inch,
Blackmagic Video Assist 12G HDR Recorder.

 

 

 

 

 

 

 

Shooting kit in detail

 

 

The Sony FX9 is a full-frame 6K sensor camera. Just like Sony's flagship Venice camera, the FX9 has a large-format full-frame sensor, which is over twice the frame size of Super 35mm, it's virtually the same size as the famous VistaVision widescreen film format.

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.

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

Features:
15+ stops of dynamic range approaches that of traditional motion picture film.
Dual base ISO, 800/4000
VENICE Colour science
4-Channel audio
Continuous high speed shooting up to 180 fps 7 times slower than real life
Full-frame 6K, 5K crop, 2K crop and S35

 


Sony FX3 Full-frame compact cinema camera

FX3 and FX9 cameras are part of Sony’s Cinema Line cameras. 
They both share the beautiful S-Cinetone picture profile based on the colour science of Sony VENICE, giving rich colour and natural skin tones that match other Cinema Line cameras without grading.

The FX3 records in 10-bit 4:2:2 internally in all modes and has no internal recording time limit.  Other features include Full 1:1 pixel readout without binning, up to 120 fps in 4K, 200 fps in HD, 4-channel audio recording and continuous autofocus up to 120fps.

 

 

Sony F5 super35 4K sensor camera.

 


The Phantom 65 image sensor is the same size as 5-perf 65mm motion picture film.  The camera comes with a set of 9 beautiful Pentax 67 medium format lenes that were built in the eighties.


 

 

Lenses

 

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
   

75x80mm

Nisi, Neutral Density ND 0.9, 1.8, 3.0
  Nisi, Neutral Density Graduated ND 0.9
6 Point star burst
  8 Point star burst
  +1 Split-field diopter
 

+2 Split-field diopter


 Camera support & movement

 

 

DRONE
DJI Air 2S drone with 1-inch CMOS Sensor recording up to 5.4K video resolution; an invaluable part of my tool kit.  I am CAA (Civil Aviation Authority) certified and fully insured for commercial operation.
I carry out a risk assessment, site survey and pre-flight check before each drone shoot.

GIMBAL
DJI RS 2 with Sony FX3 or A7 III Camera.

TERIS 4-METER JIB for RS 2 GIMBAL with SONY FX3 CAMERA
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

MOTION CONTROL
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 VARIO 5
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.

EYEDIRECT
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.

MATTE BOXES
Bright Tangerine VIV and Misfit Atom.

MANUAL FOLLOW FOCUS
Bright Tangerine Revolvr ATOM Cine and Zacuto Z-Drive.

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

LIGHT METER
Sekonic L-858D Speedmaster.

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

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

STUDIO / EFP DOLLY, VINTEN 3497-3G
Folding design with 5" (12.5 cm) wheels, cable guards and brakes.
Max payload 100kg (221 lbs)

JIB-2 LOSMANDY PORTA-JIB
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.

 

 

Monitors/recorders

 

 

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 thems.

1 x 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.

1 x smallHD 7-inch 702 Bright Field monitor, SDI / HDMI
On-camera daylight viewable full HD monitor, 1,000 NIT
DC or mains powered, waveform, vectorscope, peaking, picture zoom, LUTs, frame guides, audiometers, etc.

2 x smallHD 5.5-inch Focus On-camera Monitor, OLED & SDI
These OLED 1920×1080 on-camera monitors gives true blacks, is very sharp, has amazing contrast and a wide colour gamut.  Features high resolution Scopes, Waveform, False Colour, Focus Peaking, etc.

1 x Blackmagic Video Assist 7" 12G HDR Monitor-Recorder SDI / HDMI
Super bright 2,500 NIT full HD touchscreen monitor with built in ProRes and DNxHD recording in HD, UHD, 2K and 4K DCI.

Lighting

 

 

I own an extensive range of lighting equipment, ranging from tiny DLED3 dedolights, all the way up to big 1.2kW HMIs, Kino flo soft lights and RGBs. Please look at my dedicated lighting page on the top menu for a full list of lights.

 

Sound

 

 

 

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 I’m 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 wind cover
Sony Dual-Channel UWP-D Receiver and Transmitters
2 x Lapel mics - Sanken COS 11D      
3 x Lapel mics - Sony ECM-77B
2 x Reporter/desk mics - AKG D230 
2 x Reporter/desk mics - Sony F112  
2 x Camera mics, Audio-Technica 875R
1 x AKG P220 Studio condenser mic
2 x Headphones, Sennheiser HD-26 PRO
High wind covers for clip-on mics
K-Tek short boom pole with Boom Buddy
Mic stand with short boom arm.