Ever since we teased our DJI RS 2 rig, our inbox has been flood­ed with ques­tions about what grip we’re pair­ing with the Canon C70. In this Youtube video, you’ll find a full run­down on how we use the Sony FS7 grip to make the per­fect gim­bal rig out of this unlike­ly pair.

This com­bo has quick­ly become our go-to set­up for com­mer­cial and wed­ding cin­e­matog­ra­phy, quick­ly replac­ing our Movi Pro and C300 Mark III.

Today on the edu­ca­tion­al YouTube, we tack­le our trav­el gear bag. Since we first post­ed our Hawaii trav­el video last year, we’ve received a ton of ques­tions on what cam­eras we bring and what our setups look like and, see­ing as we just recent­ly post­ed our Por­tu­gal film, it seemed like the per­fect time to make a video high­light­ing just that. con­tin­ue read­ing »

One ques­tion we’re always asked is how we get our Canon C100 and C200 footage to look so good. Well, while there’s no secret for­mu­la or hack, today on the Youtube, we tack­le the best in-camera tools that will help shoot­ers achieve incred­i­ble Canon Cin­e­ma footage. It all comes down to under­stand­ing the lim­i­ta­tions of your cam­era and cap­tur­ing a bal­anced image that will grade beau­ti­ful­ly in post. See what we mean in the video above.

Last Novem­ber, we got a crazy idea: let’s get a MōVI PRO. It was a thought that came from what was a bit of a frus­trat­ing year with the MōVI M5. Our rig was grow­ing and the more cables and acces­sories we added, the more we pushed the weight lim­its of the M5, and the more it fought us when try­ing to exe­cute com­plex movements.

In this video, we talk about our expe­ri­ence with the MōVI PRO so far — what we like, what we don’t and how it fares against it’s lit­tle, old­er broth­er from the same moth­er. con­tin­ue read­ing »

Today on the Youtube edu­ca­tion chan­nel, we tack­le a ques­tion we get asked all the time: what’s in our gear bag? The sim­ple answer is: a lot. We bring a huge arse­nal of equip­ment to every project we work on, not just because we find it eas­i­er to have every pos­si­ble tool avail­able to us but because redun­dan­cy is cru­cial and hav­ing back­up cam­eras, lens­es, recorders, etc, can save you when you’re out in the field. As wed­ding cin­e­matog­ra­phers, find­ing a case that could accom­mo­date all these cam­eras, lens­es and acces­sories was a key part of devel­op­ing a faster shoot­ing work­flow while stay­ing orga­nized dur­ing hec­tic shoot days. con­tin­ue read­ing »

Today on the Youtube edu­ca­tion chan­nel, we talk about our favourite lens­es and how we use them. Lens­es are prob­a­bly the best and most impor­tant invest­ment any cin­e­matog­ra­ph­er can make. While its sim­plest role is to focus the light from a scene onto the cam­era sen­sor, a good lens will sig­nif­i­cant­ly reduce flare and inter­nal reflec­tions, min­i­mize dis­tor­tion and chro­mat­ic aber­ra­tion, all while boost­ing colour and con­trast. Best of all? While your cam­era body may only last 2–3 years, good glass bare­ly depre­ci­ates and, if cared for prop­er­ly, there’s no rea­son why a lens shouldn’t last for 20 years or more. con­tin­ue read­ing »

In our lat­est video on our Youtube edu­ca­tion chan­nel, we take a look at the Man­frot­to MVMXPRO500US Video Mono­pod — the Swiss Army knife of wed­ding videog­ra­phy. As doc­u­men­tary cin­e­matog­ra­phers, we shoot in dras­ti­cal­ly chang­ing envi­ron­ments and con­stant­ly need to change our angles and shoot­ing height. The Man­frot­to PRO500 lets us do just that, quick­ly and eas­i­ly — giv­ing us a tool capa­ble of achiev­ing beau­ti­ful move­ment and a small footprint.
con­tin­ue read­ing »

Like a lot of film­mak­ers out there, when we first saw Vin­cent Lafore­t’s behind-the-scenes video show­cas­ing Freefly Sys­tem’s Movi M10, we were very excit­ed. A tool that uses motors to sta­bi­lize a cam­era on a 3‑axis gim­bal? Yep, that’s pret­ty cool, but what real­ly made it rev­o­lu­tion­ary was its design. You did­n’t need a vest to oper­ate it, and it was­n’t cum­ber­some, or long, or wide. It was actu­al­ly a pret­ty small set­up, and when we saw the oper­a­tors pass the rig through hula-hoops, dip it close to the ground, and hop on roller blades in one take, we all knew the game had been changed.