We use the Nikon D3s for video capture, along with the Nikon D90 and Nikon D300s. The Nikon D3 is the body we used most often for still imaging, although we also use the aforementioned cameras. We also frequently use the Nikon D700. It has the same imaging capabilities as the Nikon D3, in a smaller body. It is perfect for feature shooting.
The Nikon D3x has also become one of our favorite cameras. The files are incredible and are great to have in portrait and landscape situations.
We use a wide range of Nikkor glass. We always carry with us:
AF-S 14-24 mm f/2.8 ED
AF-S DX 10-24mm f/3.5-4.5G ED
AF-S 17-35mm f/2.8D IF-ED
AF-S 50mm f/1.4G
AF-S Micro 60mm f/2.8G ED
AF-S 24-70mm f/2.8G ED
AF-S 70-200mm f/2.8G ED VR II
AF-S VR 200mm f/2G IF-ED
AF-S VR 300mm f/2.8G IF-ED
AF-S 400mm f/2.8G ED VR
AF-S 600mm f/4G ED VR
The Nikon Creative Lighting System is also superb. We use the Speedlight SB-900s all the time along with the Wireless Speedlight Commander SU-800. Our friend Joe McNally has written a great book, Hot Shoe Diaries, about using these guys.
The Manfrotto 504 Fluid Head with the 536 Legs is our favorite tripod/head combination to use for long, heavy glass. We put everything from a Nikon 200 f2 to a 600 f4 on this tripod.
Itʼs strong enough to hold the heavy glass, but fluid for easy video movement.
If weʼre shooting stills with long glass we always support the lens with a GM5541 monopod.
We use the Manfrotto 529B Hi Hat for all our low angle, long lens needs. Itʼs small, but sturdy.
We use the Manfotto 516 Pro Video Head on top of the Hi Hat. This head is big enough to support long glass, but fluid for video motion.
We frequently use Manfrotto super clamps when setting up remotes, audio and lighting
gear. We use the C1575B Avenger Super Clamp and the 035 X Super Clamp Inox.
Our workhorse tripod is the Manfrotto 536 with the Manfrotto 526 HDV fluid head.
We also use the Manfrotto 196 Mini Bras Articule+Barrette with the Super Clamps. The
clamps give you more room to work when placing cameras in tight places.
When setting up remotes, as you can see in the Kentucky Derby multimedia, we use these clamps in tandem with 482 Micro Ball Head and the 410 Junior Geared Head. To trigger the remotes we use the PocketWizard MultiMAX along with remote cords.
For music video production, and broadcast interviews we use the Atlas HD camera slider made by Cinevate. We put the camera into the Cinevate DSLR rig and attach the Titan Mattebox. This in effect makes the D3s function and feel like a cinema camera. The slider system works hand in glove with the Manfrotto fluid heads to give us a very smooth way to move the camera through the scene.
For our storage needs on the road we use Lacie Rugged hard drives. They allow us to work quickly and efficiently. The Ruggeds are compact and extremely reliable. They allow us to take our editing studio on the road. When we get back to our offices in Jacksonville, Fl, we migrate everything to the Lacie 4Big Quadra drives. Ultimately everything gets moved to our Apple X-serve, X-san raids.
All of our computers and software are Apple. Our on-the-road studio consists of two 17-inch macbook pros complete with Final Cut Studio, Aperture, and all iLife and iWork components. The new technology in computers coupled with the advancement in the camera bodies allows us to create high-end multimedia productions from anywhere in the world, whether we are on our office in Jacksonville or on assignment abroad.
We use the Elinchrome lighting system for almost all of our lighting needs. The Ranger
RX Speed AS along with the Ranger A Speed-Head are durable lights for traveling and
produce powerful and versatile light.
Many of our on site portraits, we use the Ranger RX RingFlash 1500.
For studio portraits, we frequently use the EL Octa 190 cm, the EL Strip 33x175 cm and the EL Recta 72x175 cm.
Our new favorite portable lighting system is the Ranger Quadra AS by Elinchrome. It is small and light weight but produces the beautiful soft light Elinchrome has always been known for.
And with the Reflector Adapter RQ-EL, we can put any of our large, Elinchrome soft boxes on the Quadra. This gives us a huge variety of lighting capabilities.
We frequently use the Rotalux Softbox OCta 135 cm with the Quadras. It is lighter than the EL Octa 190 cm but creates an equally beautiful light.
Elinchrome also has an easy and space efficient solution for triggering multiple Ranger RXs with the EL-Skyport System.
For video lighting we use the Chimera Triolet Convertible Omni-directional Light along with the Single/Dual Axis Stand Adapters, the OctaPlus light bank and the Junior PLUS light bank.
For lighting support we use the Manfrotto support system. The Avenger A480 Baby Steel Stacker Stands for most of our travel. They made of steel so they are very strong which is important when you are setting up a portrait in an uncontrolled setting, like in a windy field in Nebraska or a beach in Florida.
We also use the Avenger A700 Junior Boom Stand by Manfrotto. This gives us versatility by allowing us to lift a light above a subject.
For on-site, natural lighting, we use Lastolite TriGrip Reflectors. They fit easily into a backpack and are easy to unfold and break down.
All of our bags are made by Kata. They are strong and efficient. Our favorite backpacks for traveling are the DR-467 and the RL-302.
Some larger backpacks we use when we are in the field are the HB-207 and the BP-502. They are ideal for backpack journalism.
For waistpacks we use the W-92 and the W-94.
Kataʼs OC-97 is our dream tripod and lighting support bag.
We make all of our prints on various types of Red River Paper.
