The recent tech surge in our industry over the last 5 or so years has kept guys like me on our toes. Staying on top of trends in cameras, lenses and support gear can make your head spin. To me the most important feature of any piece of equipment is the way it feels in your hands and on your shoulder.

While all of today’s cameras boast impressive specs, I usually find the ergonomics lacking but I am really satisfied with both the look and the feel of the Sony FS7. It’s an intuitive machine that lets me put the camera on my shoulder and my eye in the eyepiece, and that opens the door to getting great, steady footage. Lens wise I’ve invested in lenses that are built for digital cinema production, not stills, and there is a huge difference. There is no 3rd party adapters needed, no “clicking” between f stops, and proper focus barrels that allow me to hit focus marks without the guesswork of stills lenses.  The Sony 18-110 zoom is the handheld workhorse that gives me the range I need to shoot verite all day and never have to stop down to change lenses, and if we need to get super wide I’ve got an 11-16 zoom. I also carry a full set of Veydra Mini Primes. They are a fast t2.2 and the images are just beautiful.

For tight spaces or gimbal work I offer a Panasonic Lumix GH4 package with native micro 4/3 zoom lenses covering the full range from wide to telephoto. This is a versatile 4k DSLR with a robust codec and features like zebras and focus assist that are geared toward shooting video.

When it comes to lighting and support gear I buy high end stuff that’s reliable, makes my job easier and makes the footage look great. Sachtler tripods, Ronin M gimbal, Kino Flo, Joker, Mole and LitePanels lighting, MyT Works 4’slider, and a full grip package. Everything packs neatly into a Dodge cargo van designed to unload quickly and efficiently. Depending on the job I can also provide additional crew, and my go to crew members are dedicated, experienced professionals who do great work and are a pleasure to be around.