Owner-operated, cinema-grade, and already built around how I shoot. For producers that means fewer rental line items, no compatibility surprises, and a camera package that walks on set with the person who directs the film.
The A-camera. Cinema sensor for commercial, documentary, and athlete work, and the body the custom water housing is built around.
Compact cinema body for B-cam, gimbal, and run-and-gun coverage, paired with Nikkor Z 24-70 and 14-24 zooms.
Matched cinema primes. Consistent color and mechanics across the set, built for repeatable looks from interview to action.
Fast zoom coverage from ultra-wide to portrait for documentary pace, aerial-matching wides, and tight turnarounds.
Purpose-built housing for the V-Raptor. The rig behind the water work: in the lineup, not on the boat. Water-safety planning included in how every water day is built.
Stabilized movement for both bodies without a dolly day on the budget.
Wireless focus with LiDAR assist, so single-operator days still hold critical focus on fast subjects.
Wireless video village. The director, client, and agency see what the lens sees, on the cliff or in the boat.
Fluid-head support rated for the full cinema build.
Aerial coverage flown by a licensed pilot with a Part 107 certificate, so brand productions fly legal. Aerials graded to cut with the ground package.
Bi-color point-source key. Interview setups, product tabletop, and daylight balancing without waiting on a grip truck.
Interview and field audio covered in-house for documentary and brand work; dedicated mixers brought in when the job calls for it.
This is the owned package, not a rental wishlist. When a project needs more, crane, helicopter and Shotover gimbal, bigger lighting, specialty rigs, I pull from the same rental and crew relationships I have shot with for years and scale to the job.
Gear list current · July 2026