|My Shooting Kit|
The Sony FX9 is a large format full-frame 6K sensor camera which is over twice the frame size of Super 35mm, it's virtually the same size as the famous VistaVision widescreen film format. The default look of the FX9 is S-Cinetone which is based on the colour science of the VENICE cinema camera.
True 4K Recording
FX3 and FX9 cameras are part of Sony’s Cinema Line cameras.
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.
Still incredibly popular, the Sony F5 is a super35 4K sensor camera with outstanding image quality. The F5 has a great track record as a go to camera for documentaries, music promos and ENG. Comes with two Pictor cine zoom lenses, 20-55mm and 50-125mm.
The Phantom 65 is a 10-megapixel uncompressed 4K Digital cinema camera, capable of shooting frame rates up to 150fps. Its super large image sensor is the same size as 5-perf 65mm motion picture film. One of the main attractions of shooting in the huge 65mm format, is giving the audience a more intimate experience by being able to get close on a subject whilst maintaining a wider field of view. For example, a 50mm lens on the Phantom camera has angle of view of a 25mm lens on Super 35mm camera. Put simply, the lens sees wider but still has the shallower depth of file of a 50mm. The camera comes with a set of 9 beautiful Pentax 67 medium format lenes that were built in the eighties.
|Panavision 4x5.65"||Tiffen, Glimmerglass set|
|Tiffen, Black Pro-mist set|
|Tiffen, Ultra Pol Polariser - Linear|
|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|
|Nisi, Polariser - Circular|
|Effects||Crystal prism, lens flare effect kit|
|6 Point star burst|
|8 Point star burst|
|+1 Split-field diopter|
|+2 Split-field diopter|
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
|Camera movement & support|
|My Green Policy|
I am BAFTA's Albert, Sustainable Production trained. Albert is the leading authority on environmental sustainability for film and television.
The majority of my shoots are lit with the Dedolight Lightstream system. Working with Lightstream has reduced my lighting carbon footprint by approximately 75% Lightstream splits the beam from just one light source and sends it to several reflectors, making multiple new light sources.
I use rechargeable batteries instead of single use alkaline batteries in radio mics, etc.
I endeavour to book hotels with eco-friendly initiatives and sustainable hotel practices that are as close to filming the locations as possible.
|Health & Safety|
|I hold a Creative Industries Safety Passport, approved by IOSH the Institution of Occupational Safety & Health.|
|I am CAA (Civil Aviation Authority) certified and fully insured for commercial drone operation. I carry out a risk assessment, site survey and pre-flight check before each drone flight/shoot.|