My equipment - noelhines

Sony FS7+ XDCA unit + PL mount + Metabones Speed Boosters

What's so great about the FS7?

Cinematic footage - In Log mode the camera can produce HDR (high dynamic range)  images.  That means beautiful filmic highlight roll off and details in the shadows.  LUTs can be used to easily produce beautifully graded images.  Alternatively one of my carefully crafted custom LUTs can be burnt in to the footage, giving instant cinematic images without the need for post processing.

The FS7 uses Sony's e-mount - This means the FS7 works with PL mount cine lenses or stills lenses (and some cine lenses) via speed boosters.  Speed boosters are  lens mount adaptors that utilise a diopter to bend all the light from a full frame lens onto the slightly smaller super 35mm sensor.  This makes full frame lenses a whole stop faster, even sharper and most importantly to me the correct field of view.  This is especially important when it comes to using lightweight zoom lenses that were originally designed for stills use.

It's very flexible for any kind of project - Records to a robust 10 bit codec at 4K 50p or HD up to 180fps as well as legacy formats such as MPEG50.  I've also purchased the XDCA unit, which allows the use of ProRes recording for those who are still editing on FCP7.  The XDCA-FS7 unit also enables timecode syncing of cameras for multi-camera, or working wirelessly with a sound recordist.  It can output 12 bit RAW but I prefer to provide the F55 for RAW jobs.


O'connor 1030B (100mm bowl)

Zoom Lenses


Sony Zeiss 17-50 f/1.8 (sharpest and fastest manual iris midrange zoom available)

(figures based on use with E to A mount speed booster - Lens is a Sony Zeiss 24-70 f/2.8)

Sigma 17-50 f/1.8  (Special purpose - Uncoated so flares like crazy, amazing if you like that sort of thing!)

(figures based on use with E to EF mount speed booster - Lens is a Sigma 24-70 f/2.8)

Sony 17-70 f/2.8-4

(Equivalent range and speed of a Canon 24-105 on a speed booster)

Canon 24-105 f/4 L

Angenieux 12-240 super 16mm cine (manual iris)


Tamron 50mm-150mm f/1.8 (The king of sit down interview lenses!)

(Figures based on use with E to A mount speed booster - Lens is a Tamron 70-200 f/2.8)

Nikon 70-200 f/2.8

Canon 100-400 4.5-5.6L (can also be used with speed booster for a 70-300 range)

Extreme wide:

Tokina 11-16 f/2.8 (can also be used with speed booster for a 9mm-11mm f/1.8)

This lens can be remote focused - Great for use on jibs or sliders

Prime Lenses:

Nikon Nikkor 100mm macro f/2.8 (manual, de-clicked iris)

Nikon Nikkor 50mm f/1.8 (manual, de-clicked iris)

Nikon Nikkor 28mm f/2.8 Nikon (manual, de-clicked iris)

Nikon Nikkor 24mm f/2.8 (manual, de-clicked iris)

Vivitar 35mm f/1.9 (manual, de-clicked iris)

Canon 50mm f/1.4 

Canon 80mm f/1.8

Lighting kit

2X Lowel Rifa EX88's - These amazing lights fold down to the size of a large umbrella,  but pop up reveal a meter square area of diffusion giving an amazingly soft elegant portrait light.  It's size creates stunning large square eye reflections helping people to look vibrant and sparkly eyed!  A square reflection looks like a window so it feels natural as opposed to a circle which is just seems weird.

Litepanels Astra 1X1's.  I have the V-Lock adaptor plate allowing me to run these powerful lights on my stackable flight safe PAG batteries.  The Astras are powerful enough to work with a softbox, which make them considerably more flattering than a naked panel.  I have one for each light.

I often cross hire additional lighting, track, cranes and other cameras via other local cameramen and rental facilities to suit almost any requirements.




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