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
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.

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
Scan modes: Full-frame 6K - Full frame crop 5K - Super35 4K - Super16 2K


 

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.


 

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.

 

  Lenses

 

S35 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 Prime Set for 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
Achromatic diopters +2, +3.5
Split diopters +1, +2
Special Purpose Lenses
24mm Laowa, macro probe lens, 2:1 magnification, PL mount, f/14
80mm Tilt/shift Zeiss Jena, Biometar, medium format lens, f2.8
   
Legacy Broadcast ENG lenses
Canon J20ax8B4 20x zoom with servo
Canon J9ax5.2B4
9x zoom with servo
Originally made for bayonet mount 2/3" cameras, these broadcast lenses can be used with an optical adaptor between the lens and camera to stretch the 2/3” image circle to fill super 35 or 2K center scan.

Medium format lens set for Phantom 65 Camera


35mm f/4.9 SMC Pentax
45mm f/4 SMC Pentax
55mm f/4 SMC Pentax
90mm f/2.8 SMC Pentax
105mm f/2.4 SMC Pentax
135mm f/4 SMC Penatx 67
150mm f/2.8 Takumar 6x7
165mm f/2.8 SMC Pentax 67
200mm f/4 Takumar 6x7
Adapter Pentax 67 to Sony E-Mount
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
  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
 
  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 them.

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.

  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
1 x Sony Dual-Channel UWP-D Receive 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.

 
  Camera movement & support

 

 

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 low-boy 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.

 

 
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.