Keeping up with new filming gear is a full-time job. A lot of people might say the best tool for a production is a great crew. They’re right, in a way. The right equipment won’t make the right video on its own. But they’re still important.
Your choice of kit depends on what you’re filming, who’s behind the camera, and of course your video production budget. Whether you’re filming a 15 second promo for TikTok or a glossy TV ad, a resourceful Producer and experienced crew will point you to the best kit for the job.
So which kit do professional filmmakers use? We’ve listed the usual suspects you’ll find on set, and we also reached out to some of our most trusted expert video freelancers to see what they’ve got to say.
Pick the right camera for the job
4K Super 35mm Cameras
We only film in 4K and are fans of the Super 35mm sensor. It’s good in low light, nails those slow-mo shots, and it’s hefty build gives us the stability we need. They also have high dynamic range that lets us control our picture quality.
For most jobs, this is our camera of choice. But it’s not the only good camera out there.
Sony FX6
“I’ve got my hands on a Sony FX6 owner-operator and absolutely love it. The picture quality is fantastic, whether you’re using S-LOG or Cinetone. It’s a real step up from the FS7 series. But remember, image quality also hugely depends on lighting, composition, and colour grading. The FX6’s auto-focus, 12,800 ISO capability, and the Clear Image Zoom feature are game changers, especially for documentary work.”
Neal Parsons
“It’s about matching the camera to the job. Most of the time, I’m reaching for my Sony FX6 with Sony G-Master Lenses. It’s 4K, has great colour depth, and is easy to handle in terms of size, batteries, and media usage. But I’ve recently upgraded to a Sony Burano. It’s pricier, but you get an 8.6k sensor, loads of lens options, and a stabilised sensor. That said, you don’t need to lug all that kit for a quick TikTok video.”
Ben Warburton
“I love working with the Sony FS7 or the newer FX9. They’re real workhorses that fit the bill for factual shooting, but they can also produce stunning images for master interviews with the right lens.”
Mark Fitches
Light up your video
Kino Flo soft lighting
For interviews, we use Kino Flo soft lighting. It sets the mood just right and makes our interviewee look their best. If we’re lighting up a whole set, we bring out the big guns: high-powered HMI lighting.
But sometimes we need to travel light. That’s when battery-powered LED lights can be an acceptable compromise.
“Thankfully, we’ve seen a flood of powerful single COB LED lights with Bowens mounts, typically used by photography lighting hitting the market. You can turn them into all sorts of lighting setups – parabolic domes, gem balls, fresnels, spotlights, and more. This means you can carry less kit without compromising on lighting options. No more dragging around massive, heavy, and hot HMI or tungsten lights.”
Jonnie Vacher
Steady does it
Gimbals are stabilising, three-axis pivots that create fluid camera movements. It makes it look like the camera is floating through the air. No shakes, no wobbles – just buttery-smooth footage that keeps you glued to the screen.
We use a mix of full-sized and handheld gimbals, depending on which camera we’re using. If we’re shooting with the Blackmagic, we’ll usually go for a handheld gimbal. But when we’re using our Super 35mm camera, we break out the full-sized version.
Through the lens
Again, depends on the shoot and creative brief. Which lens you use is chosen by the Producer and Director in pre-production. We’ll usually mix it up with both prime and zoom lenses. But what you use it for depends on what you want to shoot. For an interview video, for instance, it’s best to use a prime lens.
- Prime lenses: have fixed focal lengths and provide better image quality.
- Zoom lenses: lets you switch up our shots, without swapping lenses.
Get a grip
- Monopods: they’re flexible and can keep the camera stable midair.
- Tripods: help keep the camera still and fixed in one place.
- Jibs: work like a seesaw. They let us move the camera up and down in ways an individual operator can’t.
- Sliders and dollies: works like Jibs but moves horizontally.
Sounds good?
Our sound team uses a range of equipment, including:
- Boom mics: the big fluffy ones for capturing overall sound.
- Radio lapel mics: to capture individual voices.
- Multi-channel mixers: to make sure that audio quality is spot on, without any Wonky bass or treble.
A portable viewing experience
Directors, crew, and visiting clients need to see what’s happening on set. Good monitors are an important for that. We use wireless ones to make sure we always have a clear view of the goings-on without getting in the way of the action.
Everyday kit that makes a big difference
It’s not always about the fancy cameras and lights. Your everyday items like notebooks are just as important and helpful to film your video.
“My must-haves are practical and sometimes quirky. I always carry a Leatherman, T-Bar, Black Pro Mist filters (1/16th and 1/8th), a notepad, and my Camera Assisting Pouch. My Magliner/Rock N Roller Cart. Having a desk/storage space on set is absolutely worth every penny.”
Ben Warburton
We’ve seen some game changing filming tech recently. LED lighting and versatile cameras like the Sony FX6, FS7, FX9, and Burano, have shaken things up. Every filmmaker has their favourites, but one thing’s for sure: it’s all about finding the sweet spot between quality and practicality.
We’ve seen some game changing filming tech recently. LED lighting and versatile cameras like the Sony FX6, FS7, FX9, and Burano, have shaken things up. Every filmmaker has their favourites, but one thing’s for sure: it’s all about finding the sweet spot between quality and practicality.
Got a project in mind? Get in touch with our video production team. They’ll walk you through the process.
Written by Grace Dunsby, Producer at Definition.