Cameras
Camera – Red Scarlet-X
March 2012, added to roster. Canon Mount & PL mount.
On-Set Red Rocket DIT station available. Walk away ready to edit with ProRes or Avid files.
Available Lenses:
Canon EF Mount F2.8 – Tokina 11-16mm, Canon 24-70mm, Canon 70-200mm
PL Mount – Red Pro Primes T1.8 – 18mm, 25mm, 35mm, 50mm, 85mm, 100mm.
Camera – Arri Alexa
September 2011. Records to SxS cards, ProRes as REC709 or Log-C, PL mount. Working on my Billy Bob.
Available Lenses:
Red Pro Primes T1.8 – 18mm, 25mm, 35mm, 50mm, 85mm, 100mm.
Camera – Sony FS100
June 24 2011, added to roster. Records to SDHC cards, PL mount.
Amazing little package, two carry on backpacks, two check bags, a one person documentary film crew.
In the first 6 months I have flown to Japan, Hong Kong, Thailand, Michigan, Indiana, Illinois, Nevada, Iowa and New York. Camera can shoot 60fps slomo at 1920×1080. One generic 970 battery powers the camera all day!
Available Lenses:
Canon EF Mount F2.8 – Tokina 11-16mm, Canon 24-70mm, Canon 70-200mm
PL Mount – Red Pro Primes T1.8 – 18mm, 25mm, 35mm, 50mm, 85mm, 100mm.
Camera – Sony F3
May 2011, shot my first 30 minute show on the F3. Camera body and SxS media must be sourced from a LA area rental house. I have all the support gear.
Available Lenses:
Red Pro Primes T1.8 – 18mm, 25mm, 35mm, 50mm, 85mm, 100mm.
Camera – Canon 7D
The only time in my career when everyone passes the camera rig and says “hey is that a 7D or 5D?” A random stop at In-and-Out starts a conversation, moms at the park, every actor on planet Earth.
Available Lenses:
7D w PL adapter – Red Pro Primes T1.8 – 18mm, 25mm, 35mm, 50mm, 85mm, 100mm.
Canon F2.8 – 24-70mm, 70-200mm.
Camera – Red ONE with MX Sensor
The Red One has become my preferred imaging tool for the majority of current projects. I shot my first commercial project with the Red on January 2, 2008. The first year and a half was a real struggle, lack of low cost optics, availability, post production inconsistency, terrible performance in 3200k light. All of which is now in the distant past. ISO800 and outstanding low noise images even with 3200k light.
Lenses:
Red Pro Primes T1.4 – 18mm, 25mm, 35mm, 50mm, 85mm, 100mm. Red 300mm, Red 18-50mm.
Camera – Panasonic HPX3700 “Varicam”
My first project with this camera was as an AC on a few national spots for Mimi’s Cafe. I was never a fan of the DVCPRO-HD codec and pixel size, and 960×720 was too significant of a resolution compromise. This camera has AVC Intra codec and 1920×1080 full raster image capture which solves those two issues. The film gamma options and knee range / highlight rolloff is very impressive.
Camera – Sony F900R “Cinealta”
Still a very relevant and current camera. When you need to walk away with tape and an image that is ready for air, HDCAM is the industry standard. I shot my first job on this camera, as DP, for a loan brokerage company. The 900R we used was one of the first in the US, which resulted in some industry press for me.
Camera – Canon 5D Mark II
Fantastic tool for tabletop, product, lifestlye and interviews. I’ve worked out a simple setup for 2 person doc size crew, recoding audio on-board. Or double system with smart slate for slightly larger jobs. As of May 2010 I have over 10 national commercials running, all captured on the 5DII. Take a look at these interviews as an example of a 2 person crew, 3 lights, and a 4 hour day in one location. FairTax
Camera – Panasonic HDX900
I shot the Look Daggers MV as well as some regional tv spots and industrials with this camera. Very popular with the broadcast and cable networks and reality tv.
Camera – Panasonic Varicam
Getting near it’s end of life but still in use in broadcast TV, very popular in broadcast sports.