Major Update To The Gear Section
I started the gear section on this blog in 2008, and I haven’t done that much updating to it since.
Needless to say: the gear that has become available since the 5D MKII was launched has virtually exploded and created and entirely new market. I’ve used most of it – and today I’m publishing a list of what I have come to rely on for all of my HDDSLR productions: This is a list of gear that I USE on a regular basis – along with some more “specialized” items that I use once or twice a year but always yield incredibly unique results.
You can go to see this new section on the My Gear Section on the top left menu of this blog.
It’s a pretty extensive list and will continue to grow with time. Right now we’re already put up over 100 items so far – it’s taken 3 of us more than a month to put this together for you. My goal is to make this one of the the most comprehensive gear lists on any personal blog out there. I also want to make sure that I do more than just publish a list gear. I’m going to do my best to explain how and why I use each piece of gear, and to give visual examples whenever possible.
So here’s what I’ve done:
1. I’ve listed each piece of kit along with a photograph of it, and I’ve organized the gear within nine categories.
2. I’ve listed the manufacturer’s specs from their sites – and linked directly to those sites so that you can find more out from them.
3. I’ve added a list of comments as to WHY I have come to choose each product – and I’ve done my best to speak to each piece of gear’s strengths and weaknesses (every piece of gear has BOTH!)
4. I’ve added links for you to purchase this gear from two popular retailers (Adorama and B&H.)
5. As I find more time – I will include more photographs and/or videos that demonstrate how each of these pieces of gear is used. Expect the list to continue to grow as new products are released and I get a chance to work with them on future productions.
Here is a video that I put together recently that shows how I’ve come to include many of these pieces of gear in an actual production – this is something that I will be looking to as often as I can. I think it’s the best way for me to discuss the uses of each piece of kit:
[vimeo video_id=”14250282″ width=”700″ height=”394″ title=”Yes” byline=”Yes” portrait=”No” autoplay=”No” loop=”No” color=”00adef”]
One important note: This past week – I was shooting the Phantom HD Gold camera at 600 fps, with Cooke s4 lenses, a J.L. Fisher Dolly, a Motion Control rig and 225,000 Watts of power – with close to 100 people on a series of commercial shoots in Vancouver. The cost of gear we used was well into the millions of dollars. Never lose sight of the fact that while some of the gear listed in the My Gear section is expensive – it’s still a fraction of what the gear one needed to use with larger/heavier cameras just a few years ago (before HDDSLRs existed.)
As many of you know – I work on both large and small productions. The list I’m publishing is one that I have come to trust for my HDDSLR productions. The idea here is to share with you the gear that is not only the “best of breed” – but also gear that is accessible to everyone. This is gear that you can invest in and use long term.
Also – just because this gear exists: doesn’t mean you NEED it. You can do some pretty amazing things with a bare 5D and an old school still lens. However as your expectations for a “higher production” value grow (and if they ever do… they don’t have to) you’ll find that some of this gear can become pretty essential.
Another very important point is that everyone out there has their unique budgets (big and small) and everyone has different needs. Trying to put a list together of gear that works for EVERYONE is close to impossible as far as I am concerned.
So my goal is to put all of the gear that I use regularly – and not withhold some of the cooler/more expensive toys back, for fear of scaring people off. Never forget that in still photography and especially in the world of film/video – the costs of things and the degree of sophistication varies INCREDIBLY. The sky is literally the limit in terms of cost. Most cinema gear is produced in significantly smaller quantities – at times still assembled by hand – and as a result the cost of gear can skyrocket relative to still camera equipment which is relatively mass produced.
For example, the gear that we were using last week in Vancouver can only be rented for the most part – and a $40K lens or $200K camera is the norm.
You may also notice that some of the pieces of gear listed may at first appear to do very much the same thing. While many are indeed somewhat redundant – is each unique in what it does (and how) and I’m going to do my best to flesh that out for you.
I use four different types of sliders for example – and I’ve made a point of not playing favorites and instead listed them all: I’ve listed them individually and explained why I use some at times and others for different jobs.
You should also expect another section soon: One that will have me put together different “packages” for different types of filmmakers with specific needs and/or budgets.
As you can imagine – these sections can take a lot of time to put together – so check back in a few weeks.
Lastly – you will notice that many of the pieces of gear are produced by this blog’s “supporters.” As I mentioned earlier – this is quite a natural progression – as I only asked the companies who’s gear I use regularly to become supporters of this blog.
I hope you enjoy this new section of the blog – and look forward to hearing your comments. Please keep in mind that this is the gear that I use – and that there may very well be “better” gear out there – or gear that “you prefer.” Please feel free to share your thoughts in the comment sections within each category so that we can all learn more from one another and share experiences.
ok, so Stu calls you a gear fetishist and you answer with this… even if this is a coordinated ad stunt, it is just hilarious (and of course very useful, thanks a lot)
Vincent Laforet Reply:
August 30th, 2010 at 6:08 am
@Samuel Hurtado, Glad that you see the “useful” part 😉
Thanks very much for posting this. One might argue that there’s already too much focus on gear on DSLR blogs, but what I find especially interesting is that, instead of just posting dry technical details, you explain why you use certain things in certain situations, along with the pros and cons. I consider myself somewhat of a gear minimalist, and this kind of information helps to find out in when it might actually be useful to consider buying or renting a new piece of gear.
Vincent Laforet Reply:
August 30th, 2010 at 6:08 am
@Armand Dijcks, That was my goal – so I’m very glad to hear it. Just because a piece of gear doesn’t mean you need to have/use it! That being said – it’s good to know it exist for WHEN you DO need it!
Vincent,
I got a kick out of your Phantom picure. OConnor head, Cinemag, Cook zoom, and a piece of corrugated plastic for the LCD hood. I do the same thing with my Marshall. At least somethings scales!
That was a great video!! Thank you for sharing! how much would a rig like that cost overall? Roundabout? And is there one online store that has all the pieces?
PS> Nice Breitling!
I really found this video very helpful, thank you for taking the time to do this for us.
Thanks for the great breakdown of your equipment!!!
I have to bring some light onto a company you mentioned, View Factor. I really think the ViewFactor cage is a great product and I know we all need something like this. But, I must be extremely honest here. For you Vincent it’s easy. Of course they need guys like you and Bloom for marketing (you will get completely different and a very bais experience from them.) But, they are a horrible horrible company. For some strange reason they have no clue about business 101 regarding customer service and support. It took well over a year to get the remote follow focus unit after prepaying them and hearing endless promisses over and over of it’s release each week (for over a year) and still, to date, they have never completed the product. Over 2 years later, they seemed to have abandoned their remote focus unit to work on the cage and other products without any notice what so ever. They refuse to listen to their customers over and over again. They just don’t get it.
Just a warning to anyone considering pre-purchasing ViewFactor products. Based on experience, anything they claim such as release dates is never accurate what so ever. And try getting them to respond to emails, post updates on their site, send out a news letter to their customers regarding updates or even answer their phones. There are a couple of other cages coming out on the market and I would strongly suggest looking into them since these people understand more about customer support than ViewFactor. Just check into their typically outdated forums on their site to understand how many people are extremely dissatisfied. You can keep taking money for products you can’t support but eventually it will catch up with you, View Factor.
J jay Reply:
August 30th, 2010 at 4:48 pm
@Tom,
I hear ya!
Although I have not purchased anything from them, I was strongly considering the cage. I have had my bouts with these start up video/dslr companies. This year alone, I’ve purchased from, redrock, small hd, focus enhancements, zacuto, and so on.
Some of these guys will make errors with shipping and expect you to pay. Upgrade firmware that removes features with out notice, and general claims that products will perform and simply don’t. Out of this the only company I can say that goes out of the their way to satisfy a customer is small hd. Redrock’s customer had driven me to go zacuto, because of customer support. Whats with these guys not providing any phone support? Seems like a new wave to save a dime. Out n out, if these guys had a store front they would be in deep end.
Nice selection of gear, I can see the purpose and flexibility gained with each choice. The one option that I have a question about is the Zeiss zoom. With the 1.6 crop factor of the 7D, it seems like you would be somewhat limited on wide shots that are often part of run & gun shooting. Was the fact that this was successful due to the nature of your shoot?
Thanks for all the info you’ve been providing.
JW Lee Reply:
August 30th, 2010 at 11:08 am
@JW Lee, Oops, should have done more research before posting this, I thought the lens was a 45-155 (doh!), but if it’s the LWZ.2 15.5-45 then I see the wisdom of this choice.
Vincent,
The gear section is GREAT – many thanks. Quick question – are you using Aperture 3? You were a high profile user of the early versions – still the workflow of choice?
Thanks!
Gear Porn! Yeah Baby!
J.Wawro Reply:
August 30th, 2010 at 5:03 pm
@Checking it out, Gear Porn… LOL…. So true
Wow, this is a great resource and my goto place of daily gear dreams!
Thank you a lot for sharing.
When do we get to see some of you Phantom footage?
Great, thanks! But what do you use for audio? How/can you use an XLR with a 5D?
The eyepiece really sets up the rig and makes using a DSLR for video a lot more manageable. Great video, thanks
Great vid, thank you…just wonder how to buy a O’Cornor o-grips, i went to their website but they don’t provide direct online store. Thank you
Ali Reply:
August 31st, 2010 at 8:35 am
@Co.D,
please go to the Distribution portion of our website:
http://www.ocon.com/distribution.html
we have a dealer locator that’ll help you find your local OConnor dealer; you can also email sales@ocon.com or use the contact us form on the wepage.
you can also call our main office in Burbank: +1 818 847 8666 (select Jim Davis for sales)
with kind regards,
Ali
Brand Manager – OConnor
Really great writeup Vince, but… Where-is-my-super-technocrane?
Very much appreciated Vince. so cool to see how much toys you got to play with 🙂
thanks!
Pepijn
This is an amazing post (and video) and is going in the bookmarks. I can’t afford any of it now, but a few years ago I would have loved to find such a post. Of course, the 7D wasn’t out then, either. But, it’s amazing what can be purchased at a relatively cheap price now for what can essentially be compared to top-notch video from anywhere. Anyway, thanks for putting such a post together.
How do you camera, connect the monitor to the camera, and how do you connect 2 of them? In addition, the EVF and the monitor or mounted on cage but with what?
Thanks in advance.
You connect the camera to the monitor with an HDMI cable, but how do you connect both the monitor and the EVF?
Ken Reply:
September 13th, 2010 at 6:02 pm
@Joan, blackmagic box splits the signal.
really informative video, but most of all, I like the use of the Samurai Champloo music there, that’s clutch
As always, awesome. But why (in god’s name) didn’t you just go with a Sony F900 and use a 5D for detail shots. As a producer, I would always want my shooters to have the smallest number of widgets possible.
Bryant Reply:
September 2nd, 2010 at 9:20 pm
@H to the IMMO, While all of the little things add up, I doubt what is attached to the camera to make it function like an f900 adds up 75k to purchase one. Heck even $14,000 for a two week rental really puts a dent in that as well. Just sayin.
H to the IMMO Reply:
September 7th, 2010 at 2:07 pm
It’s the Great Recession, and the Olympics and World Cup are in the rear-view mirror.
So… you can rent a dependable, broadcaster-approved HD camera for 1/10th of the price quoted above. Especially for a pilot with what I presume is a bankable name! You could probably convince a struggling rental house (there are many) to give you the camera for free with an agreement to use their gear if the series gets picked up.
I think it’s irresponsible for aspiring shooters to think of this as a viable option. The 5D makes a great b-camera. Especially for time-lapse shots. But you’re potentially limiting broadcast partners and your sanity by taking this route.
One final quibble… the choice of a 7D is (in my view, of course) bananas crazy. You get less of the benefit (sensor size) with only a slight reduction in the associated headaches.
So, all I see here is that the producer of this pilot has taken an unnecessary gamble. Maybe you can sell the HDSLR angle as ‘sexy’, plug ‘House’ and 24 and whatnot. But my guess is that 2 cardinal rules were broken here.
1. Never use your own money (development $ exists for a reason)
2. Know the broadcaster’s criteria for BEFORE you start shooting (I had a commissioning editor for a SD (!) channel express grave concerns about HDSLR footage).
So so very cool… Thanks alot for sharing. I was looking into getting the GoPro, i think now i’ll go for it after that recommendation..
Dear Vincent,
Look, I’ve always been more into still photography, but since I started to read your blog, I have been rather amazed by HDSLR’s, and all the things you can do with them. That said, I am quite new to this, so I have a bunch of questions that probably would seem quite ignorant to any HDSLR filmmaker.
So, to start with, I don’t really understand the focus system. From what I’ve seen, you either control it with the manual pull focus, or you mount motors and another person pulls focus while seeing the image on a remote screen. But, how do you use the gear system on Canon lenses (that don’t have any gear rings on), and why can’t you just use the camera’s auto-focus?
Since I know nothing about video, I have no idea about the formats. So, I am curious about the difference between HDMI and HDSDI, and why exactly you would want to convert one to the other.
Lastly, I would like to know how you connect the monitor, the EVF, and the wireless transmiter to the camera. If it were only one accessory, I would (correct me if I am wrong) connect it with an HDMI cable, but how do you connect the three at once?
Many thanks in advance,
Pau
Ken Reply:
September 13th, 2010 at 6:23 pm
@Pau, a follow focus connects to gear rings that you mount to the focus ring on the lens. Yes, you use the hdmi out on the 5D. Vincent is using a blackmagic box to split that into the SDI etc which feeds the various monitors/transmitters. Most pro monitors use HDSDI connections, hence the need to convert. HDMI is a crappy connection, even for consumer standards; not because of quality of picture but because of security/stability of the connector.
Pau Reply:
September 14th, 2010 at 1:27 pm
@Ken, Thanks a lot! So HDMI is no good, so we convert to SDI. But I looked at the Blackmagic and it only had two outputs. So can you connect the EVF, the monitor, and the Boxx transmiter? Also, how would you connect the motors, the EVF, the monitor, the Blackmagic, and the Boxx, to the cage, when it only has three connections? Lastly, what motors are the best, or do you recomend; and what brand makes the gear rings?
Thanks in advance,
Pau
Ken Reply:
September 14th, 2010 at 9:25 pm
@Pau, Good point. My guess is that he doesn’t use all three at the same time. When he has a guy pulling focus remotely, he’s probably not using the EVF. Unless he has another splitter somewhere…
I don’t have a motorized follow focus, so can’t give any recommendations there. Typically, the manufacturer of the ff will also make the rings, sized for different lens diameters. check out the redrock micro stuff for example.
Pau Reply:
September 15th, 2010 at 8:14 am
@Ken, I guess that you wouldn’t use an EVF if you were on a steadicam, for example, while you would need wireless view. I asked a question before, but you didn’t answer it, and I am curious: The Viewfinder cage only has three accesory outputs, so how would you power any motors, the monitor, the EVF, the Boxx, and the Blackmagic?
Thanks in advance,
Pau
Ken Reply:
September 15th, 2010 at 2:22 pm
@Pau, Not sure on that one. Vincent would have to answer that question.
Hey Vince, who was your focus puller in Vancouver?
Vincent,
I was lucky enough to catch your seminar the Canon Expo in New York. I’m a senior at NYU for Photo & Imaging. I intended to ask you this question afterward but you were mobbed and I didn’t want to waste your time.
It was really great to hear a bit about your career history but the one thing I’ve noticed is always missing from a talk like that is the specific steps for breaking into the industry. Granted there’s no set path or ladder like many industries (internship –> entry level position, and so on and so forth) … but I was wondering if you had any advice for a student like me — where do we even begin? Give ourselves assignments? Work for a photographer? Do guys like you even have interns or students on hand?
Any advice would be greatly appreciated!
Best,
– MG
I have never left a comment thought I check your blog
atleast once a week for the past couple of months now.
So being that your gear guide just helped me tremendously,
I guess I just wanted to say thanks.
Really great writeup Vince, but… Where-is-my-super-technocrane?
Question: Do you use the Zeiss lenses for stills? What kind of difference do they make?
Ollie
I am a photographer who has a video background and am really excited to use my Canon 5D Mark II to do some fusion videos for my wedding and portrait clients. Question: “What stabilizer do you recommend if any?”
Vincent,
What were you using at 2:45 to pull remote focus? Was it the new RR iPhone adapter?
–Ken
I’m curious to see how you integrated the Gopro in your shot. Is there anywhere we can see that?
hi Vincent, i am a photographer who will me shooting for a ceramic tile company run by a friend of mine. We are shootind splashes of water hitting a female model, now my friend also wants to do a tv comercial and she just got quotation from a director who is planning to shoot with the Phantom camera to stop motion, she is very worried because just in lighting rental there is $20.000 per day rate apart from camera renta, is this posible?? thank you very much
Vincent Laforet Reply:
September 21st, 2010 at 11:03 pm
@jp merchan, I just shot a commercial where we lit an entire street exterior w/ $35,000 worth of lighting w/ snow (i.e. lots of light reflected back up) and we were at f2 at 600 fps. We has 220,000 watts of power. Granted that was to light an entire street – but if the director wants some depth of field – than the quote is not as ludicrous as it may seem… you need a tremendous amount of light to shoot at high speeds.
Vincent, can you please tell me how big your crew was on the Italy shoot.
Thanks.
Aniez Reply:
December 25th, 2012 at 1:03 am
Tony – Hi Jonas! You are sooooo gietfd! Thank you for sharing your thoughts and vision to us with such sincerity and humbleness. We’re are all very lucky.I’m in love with the subtle colours you apply and would be thrilled to learn more about how to achieve such results.Looking forward to seeing a movie from you one day!
I really found this video very helpful, thank you for taking the time to do this for us.
thanks mode how are you
Thanks very much for posting this. One might argue that there’s already too much focus on gear on DSLR blogs, but what I find especially interesting is that, instead of just posting dry technical details, you explain why you use certain things in certain situations, along with the pros and cons. I consider myself somewhat of a gear minimalist, and this kind of information helps to find out in when it might actually be useful to consider buying or renting a new piece of gear.
@Mechalith: That’s what I was thinking too. It seems like War would be a strangler if anything. Or if we go with self mutiliation then a soldier going on suicide missions rather than going home.
Dear Vincent
How did you adjust aperture with these kits?
Thanks. David.
thanks good arshive
thanks good arshive
How did you adjust aperture with these kits?
Vincent Laforet Reply:
August 5th, 2011 at 12:32 pm
Via the RED Epic mount – full control from the camera just as you would w/ your Canon camera… digital readout etc.
How did you adjust aperture with these kits?