The Sony FX9 is a large format cinema camera that has built upon the success of the FS7.  This camera is a marked improvement from the FS7 and is a noticeable jump in sharpness and colour rendition .  Records 10-bit XAVC-i internally onto XQD cards or (with a future update) will be capable of outputting 14-bit RAW.

Recording DCI4k up to 60fps and HD up to 180fps, the Sony FS7 is the perfect balance of capability and economy on a wide range of projects.  Whether the project requires a stripped down camera for documentary use or a 'fully loaded' cinema camera; Every bracket and accessory has been carefully picked for reliability and flexibility.

Fixtures by Mole Richardson, Kinoflo and Arri.

Grip by Matthews and American Grip.

The Sony A7sii is the perfect B-camera to the Sony FS7.  With the same Slog3/s.gammut3.cine color space and UHD 4k recording internally, this camera can be mounted, rigged, hidden or flown many places that the FS7 can not.  David has spent hours with chip-charts, grey cards and models so that cutting between the A7sii and the FS7 is seamless whether recording in Slog or a ready-to-cut rec709 gamma.

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A complete switching solution for live-broadcast and live-stream shows.  Complete package includes h264 hardware encoder, broadcast monitors, cable package, HDSDI cross converters, audio preamps, broadcast limiters etc.

The Arriflex 16MB camera is a great tool to use on Music Videos and Artistic projects... Maybe not corporate interviews though.  This package includes 3x 400' mags, 2x 200' mags, Periscope viewfinder, Tobin Crystal motor, Standard Arri Motor, Angenieux 10x12B Lens and camera body.  Not to mention lots of other must-haves for film productions (Changing bag, Cores, Light Meter, Sachtler 18p CF)

When looking for the 'film look' as a style.  Small gauge emphasize film grain, jitter, lens aberrations.  Excellent for a nostalgic or gritty feel.  Various super8 camera packages available including Beaulieu 5008s and Canon 518SV.

These are great little lenses which feature 0.8 pitch focus and iris built into the lens and an EF mount on the back.

14mm T/3.1, 16mm T/2.2, 24mm T/1.5, 35mm T/1.5, 50mm T/1.5, 85mm T/1.5

Two lightening fast zoom lenses for Super35mm sensors feature a T2.0 speed and come in both 18-35mm and 50-100mm.  These are stock Sigma Art series zooms and include 0.8 pitch gears on the focus

Bartech Analog Follow Focus - Includes Handset, Analog BFD, Two Motor Cables, Heden Motor, P-tap Power, Sony RUN/STOP Cable.  Photo is incorrect, M-one motor is not included.

Teradek 500XT transmitter and receiver and a SmallHD Bolt 7" Monitor with an additional built in receiver.

The industry standard for Director/Client monitoring.  A REC709, broadcast quality monitor for High Definition Production.

A Classic.  It goes back and fourth smoothly and is only second to a full-sized Dolly.  This is a must on smaller productions or any time that a full-sized dolly will not fit.  I have had massive cameras on this system with excellent results - a tried and true work-horse.

The Ford E250 can hold a very comprehensive grip/LX package while still being able to park in a parkade!  Very easy to navigate in the city and can park in any regular parking spots while maximizing storage for equipment. Great for smaller shows that don't reserve tons of parking for truck/trailers or 16' cubies.

2000is and 7000is generators.  Industry standard generators for remote power, the 2000is is capable of providing one 20A circuit wherever it is needed while the 7000is provides two 20A circuits and a 30A circuit. These inverter-type generators produces a much more stable 120v 60hz and are ideal for sensitive electronics that should not be used with standard generators.

2x Gopros with all sorts of accessories.

This was a custom built rig from Transformer Grip in Edmonton.  It is very well made and capable of spinning medium sized cameras such as FS7, C300, 16mm Cameras and AF100.  Very unique and hard to find piece of support equipment.

Tired of those nice high-contrast lenses that are in focus across the whole frame?  Well occasionally so am I!  Sometimes we need to get a little creative and I love playing with different optics and creating completely un-reproducable and unique pictures with these lenses.  From old Soviet lenses, to adapting 1960's doc lenses to modern cameras or even lenses designed to look different - David has options for that dream sequence or music video!