G-Raid – G Technology
Storage space is a key facet in my production chain. In essence, it contains important data that monetizes what I do best. Why people compromise on drive quality eludes me. I protect my investments, more importantly, my clients. And that’s why I use G-Technology drives. Portability is key, so units like the G-RAID, G-DRIVE Minis, G-MOBILE and the EV drives are always on location with me. The G-Connect is a complimentary device I provide for clients for streaming media. Back in the edit suite, you’ll find the EV dock, G-RAID & G-DRIVE Pro with Thunderbolt.
Letus – TAG baseplate
Letus have been a household name in the early days of the independent film making market with the introduction of their 35mm DOF
adapters, so it’s no surprise that they are still around making new &
innovative products. Letus Gear that I’ve included permanently in
my kit are the TAG baseplate system, their Quick Snap Lens
Support system, the Micro 4/3 to PL lens adapter and the AnamorphX range of adapters.
Cages and Z-Finders
For rigging director’s monitors, I use a self customed Zacuto Zwiss Cage (http://www.zacuto.com/meet-the-zwiss-cage). For loupes, nothing beats their Z-finders most cameras (http://store.zacuto.com/z-finder-products/) Their products are outstanding, rugged, reliable, and extremely modular. It’s kit that I completely trust & love, and it has served me well under every condition & environment.
Zeiss Lenses. The Rolls Royce of optics. My first buy was a 50mm F1.4 ZF lens. Let’s just say that the rest is history. Built & spec’ed with industry grade metal and pristine glass, images captured with Zeiss lenses are simply stunning. For me, there is no compromise. When I shoot, I want a set of Zeiss glass. My initial set consisted of their older but revered Contax primes, and I now own a complete set of DSLR ZF & Compact Cinema Primes CP2’s. Today, it’s almost unfeasible to think that I would shoot with anything else. For anyone serious about investing in great lenses, look no further, these guys are the epitome of German engineering at it’s best.
I’ve been a ProTools when they were still under the umbrella of Digidesign. I started on their legacy TDM systems when I was heavily entrenched into the world of audio pre & post production. Perhaps one of the very few companies at the time that developed software & hardware which allowed smaller & independent audio production houses accessibility to world class & professional editing standards. It’s impossible to deny today that ProTools have become a vital part of every workflow for major filmmaking & music businesses. I’ve utilized their sound editing DAW systems stemming from music records to sound design for film, and wouldn’t settle for anything else.