Nowadays I have been working a lot on commercials that use DSLR’s. As such, my initial toolbag purchase was catered towards that kind of work. digital is an easy delineation for me to make, it goes even deeper with the types of digital or film cameras and even types of work like commercial or features.įor me, I started out working heavily with the RED One on feature films. Do you plan to mostly work on commercials with HD cameras? Do you plan to help local art students shoot on 16mm film? Or are you absolutely crazy about shooting with the RED camera? It is important when first building a kit to cater to a general base of tools, but it is also important to question what kind of productions you will be working on. No matter how it is sliced, these two styles of shooting demand different styles of maintenance. One has a gate to check, one has a sensor to clean. One has many moving parts on the inside, the other remains mostly static. In the most basic sense, this comes down to digital versus film cameras. Just as a carpenter would use different saws for different types of wood, different cameras require different tools to maintain them. So after dozens of emails and questions about it, I’m going to show you what I have in my toolkit today and also give you advice on what I think you should have in yours. You know that part of your success in the industry depends on obtaining the right tools to do the job and you aren’t sure where to even begin.Īnd that’s why these questions get asked a lot.īut here’s the rub: every camera assistant will have different tools depending on how they work. That’s why it’s important to peak into what other camera assistants have to offer. If you are just starting out within the camera department, these are crucial questions.
“What should I have in my kit?” “What are the essential tools?” “Do I need to bring gear to set?”
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