THE KIT

Most productions default to Sony or Canon systems, and for good reason. My kit reflects that logic, but with a clear division of labour.

The Canon C70 handles contexts where the camera needs to announce itself. Corporate work, branded productions, anything where a client is watching the shoot unfold and the presence of a proper cinema body is part of what they've paid for. It does what a professional camera is supposed to do, and it looks the part.

For everything requiring a more observational, naturalistic approach, I reach for Fujifilm. The X-H2S or X-S20 reads as a photographer's camera. That changes how people behave in front of it, and that changes what you can capture.

Discreet doesn't mean compromised. Fujifilm's open gate capability, ProRes RAW output via Atomos Ninja, and strong codec options mean the footage holds up at the highest delivery standards. I shoot stills and video interchangeably on the same body, a genuine hybrid workflow that suits the pace of modern production. The film simulations produce a straight-out-of-camera look that feels considered rather than clinical: less graded, more intentional images.

Two systems. Neither is a compromise.