CAMERAS

At the foundation of my gear are my three Sony cameras. I currently own an a6000, a5100, and NEX-VG30. All use the same E Mount lenses, so all of my glass can be changed between all three cameras. Each camera has it's own unique set of strengths: The VG30 excels at long video shoots where battery life, mounting stability, and extended recording times are necessary. The a6000 is my primary stills camera - small form factor, electronic viewfinder, tilting screen - but also captures beautiful video in full HD. The a5100 takes the place of the backup and 3rd angle multicam camera - not as full-featured as the other two, but it still captures the same excellent image. All three cameras can record in 1080p at 24, 30, or 60 fps.

 

LENSES

Lenses play a major part in videography - not only does the lens shape the way the image looks, but different types of shooting rely on different attributes of a lens. For event videography such as live concerts, performances, or plays, I rely on my Sony 18-200mm power zoom for close up detail and smooth zooms. Production filming, however, offers much more flexibility in camera placement, and so I tend to rely more heavily on my manual primes for shallow depth of field, excellent low-light performance, and beautiful character.
 
My lineup currently includes (in photos above from left to right): Sony 18-200mm f3.5-6.3, Sony 55-210mm f4.5-6.3, Sony 18-55mm f3.5-5.6, Minolta MD 50mm f1.7, Pentax M 50mm f1.4, Kalimar MC 28mm f2.8

AUDIO

While great visuals are stunning, they don't stand up by themselves - great audio is essential for an appealing piece of digital media.

For capturing clear, full audio while filming, I rely on my RØDE NTG3. Not only does it pick up a rich spectrum of sound, but it does so in a very direction pattern, ensuring that unwanted background noise is as inaudible as possible. For recording, I use a Zoom H5. It's small, rugged, captures audio at up to 96/24, and it's built-in XY capsule sounds surprisingly good.

For concerts and other music events, my matched pair of Royer R-101's are the first thing to get set up - these ribbon mics sound very natural and represent stringed instruments precisely, keeping the warmth without loosing the clarity.

For studio work, a pair of AT2020's, SM58's, and a range of audio equipment including the Ayre QA-9, TASCAM 16x08, and Mackie MCU ensure that audio needs are handled.

 

ACCESSORIES

Yes, the cameras and audio gear is exciting, but it's the support infrastructure that really allows the potential of the gear to be utilized. Shoulder mounts to hold a rig for interview, tripods for stable shots, a camera stabilizer for smooth movement - I'm always looking for new and exciting pieces of equipment to add to my collection. My current list of accessories includes a CAME TV Steadicam-type camera stabilizer, 7" FHD monitor, shoulder rig, follow focus, matte box, ND filter set, LED lights, 36" slider, fluid tripod head, and three tripods. 

What all that means is basically I have the gear to accomplish almost any shot that you're looking for. Of course if you have any questions about specific gear, feel free to contact me. And if there a specific piece of gear I don't have that's needed for a shot want, let's talk - I love getting new video toys!