I can supply up to four cameras, all using the Sony S-Cinetone picture profile; they match beautifully.
The Sony FX9 has a full-frame 6K sensor which down samples in-camera to capture true 4K images up to DCI 4K (4096x2160)
The default look of the FX9 is S-Cinetone which is based on the colour science of the VENICE cinema camera. It has continuous high-speed shooting up to 180 fps which is seven times slower than real life. Scan modes: Full-frame 6K, Fu
The FX6 has a full-frame native 4K sensor with impressive light-gathering capability. Real-time Eye and Face detection gives precise focusing up to 120 frames per second in 4K or 240 fps in HD. S-Cinetone is inherited from the development of the FX9 and gives rich colour and natural skin tones without grading.
Comes with super-fast 1TB CFexpress Type A memory cards. The FX6 also outputs 16-bit RAW to an external recorder (Ninja +) capturing images up to DCI 4K (4096x2160)
Just like my FX9 and FX6 cameras, the FX3 uses the highly regarded S-Cinetone which delivers wonderful healthy-looking skin tones without post-production grading; all three cameras match beautifully. The sensor captures 10-bit 4:2:2 images with no internal recording time limit. The FX3 has slow-motion with autofocus up to 120 frames per second in 4K (240 frames in HD) plus anamorphic desqueeze monitoring.
16-bit RAW output is available over HDMI to an external recorder (Ninja +) capturing images up to 4672 x 2628 which exceeds DCI-4K resolution.
It's 20x optical zoom has similar range to ENG camera lenses. S-Cinetone base look makes colour-matching to Sony FX9, FX6, FX3 Cinema Line cameras easy. Shoots up to 4K HDR and captures up to 120fps in 4K and at 240fps in HD with high-speed autofocus.
Primes
50mm Sony G Master, f1.4 85mm 7artisans, f1.8 25mm DZO, Vespid, T2.1, VistaVision 50mm DZO, Vespid, T2.1, VistaVision 75mm DZO, Vespid, T2.1, VistaVision 90mm DZO, Vespid, T2.8 Macro 1:1 VistaVision 125mm DZO, Vespid, T2.1, VistaVision Zooms 16-35mm Sony G Master, Ultra-wide to wide, f2.8 20-70mm Sony G, Super-wide to medium telephoto, f4 70-200mm Sony G Master Mk II, Medium to long tele, f2.8 Stabilized 60-600mm Sigma DG DN OS I Sports, f4.5-6.3 Stabilized Anamorphic Lens Set (1.5x Squeeze)
These full-frame scope lenses have the same widescreen ratio as the famous Ultra Panavision 70 format of 2.76:1
33mm Blazar, Remus, T1.8, 45mm Blazar, Remus, T2, 65mm Blazar, Remus, T2, 100mm Blazar, Remus, T2.8, Diopters, Full +0.5, +1, +2 Diopters, Split +2 Special Purpose Lenses 24mm Laowa, macro probe lens, (2x) f/14 80mm Tilt/shift Zeiss Jena, Biometar, medium format lens, f2.8 90mm DZO, Vespid, 1.5:1 macro T2.8 Legacy Broadcast ENG lenses Canon J20ax8B4 20x zoom with servo Canon J9ax5.2B4
9x zoom with servo Originally made for bayonet mount 2/3" ENG cameras, these broadcast lenses can now be used with an optical adaptor between the lens and FX9 camera. The adaptor stretches the 2/3” image circle slightly to fill the super16 2K center scan of the FX9 camera. Vintage Lenses 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 180mm Carl Zeiss Jena DDR Sonnar, f2.8 Medium Format 1965
Although lenses are one of the most important elements of a camera, just as important are my monitors.
1 x smallHD 5-inch Ultra 5 Super Bright On-camera Monitor (100% DCI-P3)
3,000 NIT daylight viewable full HD monitor with 3G-SDI & HDMI in and out with cross conversion.
Touchscreen display and all the usual pro tools: waveform, LUTs, anamorphic de-squeeze, audiometers, etc.1 x smallHD 5-inch Cine 5 On-camera Monitor (100% DCI-P3)
2,000 NIT daylight viewable full HD monitor with 3G-SDI & HDMI in and out with cross conversion.
Touchscreen display and all the usual pro tools: waveform, LUTs, anamorphic de-squeeze, audiometers, etc.1 x smallHD 17-inch 1703 PX3 Bright Reference Grade Monitor (100% DCI-P3)
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. Superb viewing angle, mains or DC powered, C-stand mountable, waveform, vectorscope, HDR preview, 3D LUTs, frame guides, anamorphic de-squeeze and 8 audiometers, SDI / HDMI in and out.1 x Atomos Ninja V+ 5-inch On-camera Monitor Recorder
1,000 NITs, Recording up to 4.2K ProRes RAW at 60fps with12G SDI in and out.
It has all the usual pro tools: waveform, LUTs, anamorphic de-squeeze, audiometers, etc.
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 book a 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:
1 x Sennheiser MKH50 super cardioid mic
2 x Sony UWP-D Lapel radio mics
2 x DGI Mic 2 radio mics, lapel or stick
2 x Lapel mics - Sanken COS 11D
3 x Lapel mics - Sony ECM-77B
4 x Reporter/desk mics
1 x Camera mic, Stereo - Sony ECM-MS2
2 x Camera mics, Audio Technica AT875R
2 x Headphones, Sennheiser HD-26 PRO
Rycote wind covers
K-Tek short boom pole with Boom Buddy
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.GIMBAL
DJI RS 2 with Tilta Ring Grip and EasyRig Vest.EASYRIG MINIMAX WITH STABIL LIGHT
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.DRONE
DJI Mini 3 PRO drone with 1/1.3-inch 48mp CEMOS sensor, recording up to 150 Mbps in 4K 3840×2160 The Mini 3 PRO comes with all the accessories and experience required to capture great footage. I am insured and CAA (Civil Aviation Authority) certified. Being lighter than 250g, I can fly this drone almost anywhere within CAA guidelines. I carry out a risk assessment/site survey and pre-flight check before each drone shoot.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.TERIS 4-METER JIB for RS 2 GIMBAL with SONY A7M3 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 4mFOLLOW FOCUS, MANUAL
Bright Tangerine Revolvr ATOM Cine, and Zacuto Z-Drive.FOLLOW FOCUS, WIRELESS
PD Movie Remote Air 4 focus system, works up to 100m.TRIPODS / HEADS
O'Connor 1030D, Sachtler FSB8, Miller CX18, Leofoto LS-324CEX with gimbal head, Teris TS150CF, Teris TSN6CFSTUDIO / EFP DOLLY
Teris TSD-30 Folding design with cable guards and brakes.
Max payload 100kg (221 lbs)TRACK & DOLLY
Wally-Dolly with 4m of seamless alloy track and low-boy attachment.
Super smooth, lightweight and quick to set up.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.
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.
