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Friday, December 20, 2013

The Essentials

Top pros share the gear they can’t live without

Tyler Stableford

Think Tank Photo Speed Racer Bag. The thing I use all the time is the Think Tank Speed Racer hipbelt bag. I take out all the divider compartments and all the padding, and I just shove as many lenses and camera bodies as I can in there. I use them for skiing, climbing—any type of field shooting. They're super-versatile. If I need to carry a lot of gear on a quick shoot, I can carry it along with an avalanche pack for skiing in the backcountry. It just works well in all situations. I really use it for everything—climbs, coal mines, oil rigs. There's rarely a time when a Speed Racer isn't on my body.

Canon EOS-1D C. One camera that's with me now is the Canon EOS-1D C. It's essentially with us on every shoot for the main reason that we can shoot 1080p video at 60 fps, shoot 4K, and shoot full-frame stills, full res. So it's the most versatile camera out there for me. It's our go-to second camera. That's for both stills and video, since probably over half of my work is video now.

Peanut Butter CLIF Bars. I take them all over the world. Just food for surviving long days.

Sun Scout. A favorite app on my phone, Sun Scout tells you when and where the sun is going to rise and set, and how it tracks in the sky. On a scout day, I can stand in a position and figure out what's going to happen tomorrow, where the sun is going to go. Essentially, I can set up my shot in advance. So, on motion shoots, it's a big thing because of all the setup with equipment like cranes. It's great to know what the sun is going to do.

Ketch Rossi

RED EPIC DRAGON. It's my "GO2" camera. In life, we've learned to always compromise; choosing a camera is no different. However, when it comes to choose what to me is such an important tool, I carefully consider all reasoning for the purchase—what am I using the camera for, what are the most important aspects that such camera must deliver on, etc. In the past 30 years, I've used just about every camera ever made in the still photography world, and in recent years, I've ventured into what was always my final goal—filmmaking—and in this I needed a motion camera.

Now the new dilemma is that when thinking of only "ONE" camera to become my absolute "GO2" camera, I don't want to lose the capacity to shoot still images because, after all, it was through still photography that I've become who I've become in the acquisition of imagery. Yet now, what has priority is no longer still imagery, but motion imagery acquisition, and it needs to be of the highest quality, as to not only be as good as 35mm film, but surpass it, and be comparable to 65mm film.

That camera is the RED EPIC DRAGON, busting a 19-megapixel sensor, capable of shooting up to 100 frames per second in 6K. Not only can I shoot slow motion for narrative work, but I can use this incredible power to film a motion stream of 1 to 100 frames per second, and from there pull out my best still grabs to print, something that no other camera in the world can do, still or motion. It proves to be an invaluable tool when shooting fast-moving subjects of any kind, from natural events in nature, FX, sports, and allowing for capturing that perfect moment in a model's hair or dress movement, etc. The applications are infinite, really, with this kind of power.


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