I own most of the camera equipment that I use on my shoots. It’s all been customized to allow high end cinema cameras to fit into lightweight minimal crew documentary setups. My go to is an Alexa Mini LF on an Easyrig Vario5 with the Stabil Arm. I love a handheld flow, and this set-up allows for that aesthetic, while keeping me nimble, and keeping the shots fairly smooth. I don’t think unnecessary camera shake should ever be added to handheld. I have a custom lens mount allowing me to use my super compact 8 lens vintage Canon FD set. I have all the fastest most sought after versions including the famed aspherical lenses that the k35s were based on. I have a couple Angenieux Cine Zooms, but I really prefer working with prime lenses, even in a doc environment.
I like to shoot wide open and through various diffusion filters for a dreamy look. I use a Mini Papi pre-amp with some custom cabling from Gotham Sound in NYC to allow me to run a shotgun mic directly into camera while keeping everything small and light. This is again for classic doc set-up to always have sound right at the camera, because you never know what will happen when. I also use Tilta NucleasM hand grips to wirelessly pull my own focus. This again just allows me to stay nimble, in the moment, and follow the action as it happens. I still prefer to have an AC but I often use them as a second operator, or even a tech to allow me to quickly switch between gimbal set-ups, car mounts, drone, water housing, or lighting an interview.
I have a few audio engineers I work well with in this fast streamlined way. We all work together in every aspect not getting overly caught up in departmentalization.
