Los Angeles Cinematographer with Camera Packages – Frequently Asked Questions
Below are answers to common questions about the camera packages I provide on my shoots throughout Los Angeles, Orange County, and San Diego.
I work on a variety of productions throughout Los Angeles, Orange County, and Southern California, including:
• commercials
• branded content
• documentaries
• music videos
• direct response
• interviews
• corporate and social media content
Each project has different creative and technical needs, so the camera package and crew can be tailored to the scope of the production.
Yes.
A camera operator and a director of photography have different responsibilities on set, and their rates typically reflect those differences.
The director of photography is usually involved in pre-production conversations, planning, and creative discussions with the director and production team before the shoot.
Rates can vary depending on the scope of the production, crew size, and camera package requirements, and are usually discussed once the details of the shoot are known.
Although I love to shoot, I honestly also enjoy the collaboration involved in supporting other DPs.
There is no ego here.
Whether I’m hired as a cinematographer or as a gaffer, my goal is always the same: support you, production, and the team-and efficiently create great images.
Working with an owner-operator is often more efficient and cost-effective for production.
You get a very comprehensive camera package at a competitive price, often including many lenses and accessories that would otherwise be additional rental items.
Unless there is a special rig—such as the camera being mounted on the larger Ronin R2 (not the RS2), which requires the 1st AC to build and balance it—I usually prep the camera package myself, so production does not need to schedule or pay for a prep day.
The camera package is also delivered directly to set in my Ford Transit van, making logistics simple and eliminating the need for production to schedule or pay for a return day.
I own several professional cinema camera packages used across commercial, documentary, and branded productions, including:
• ARRI Alexa Mini LF
• ARRI Alexa Mini
• ARRI Amira
• Canon C50
• Canon R6 Mark II
• Panasonic Varicam 3700
These cameras cover a wide range of production needs, from large commercial productions to smaller documentary, interview, and branded content shoots.
My lens packages include Zeiss Supreme Primes, known for their cinematic look, sharpness, and consistency.
I pair them with Zeiss Compact Zooms.
For the Canon cameras, I have a full array of EF-mount L-series lenses.
Additional lenses and filters are available depending on the needs of the shoot, including probe lenses, diopters, and doublers.
Camera package accessories can include:
• On-board and director’s monitors as needed
• Media and batteries
• Teradek wireless video systems
• Wireless follow focus systems
• Microforce hand units and Heden zoom motors
• Matte boxes and filtration
• Tripods and hi-hat
The camera I use most often is the ARRI Alexa Mini LF. It’s widely used in commercial, documentary, and narrative production because of its exceptional image quality, dynamic range, and color science.
Depending on the needs of the shoot, I also regularly work with the ARRI Alexa Mini and ARRI Amira.
The Canon C50 and R6 Mark II are excellent choices when a smaller, lighter camera is needed so we can move quickly, or when using a lightweight gimbal such as the RS2. I often like to keep a DSLR on a gimbal on standby, something I can grab quickly for unexpected moments or shots that require a very lightweight setup.
The Canon C50 is new to my lineup and can shoot up to 7K RAW. I’m very excited about this camera! It’s exceptionally small, while still offering full-size XLR inputs and timecode inputs. Its autofocus is excellent, and I love the Canon look.
Camera package pricing varies depending on the camera system, lenses, accessories, and the scope of the production.
Because I own the equipment, I’m often able to offer very competitive package pricing.
My priority is making sure you have the right camera package for the shoot, regardless of your budget.
My camera packages are typically rented together with my services as a gaffer, operator, or cinematographer.
I do sometimes rent equipment to friends and colleagues, but generally not to people I don’t know.
Many production companies find it very convenient to combine their camera package and lighting package, which simplifies logistics, reduces the need to coordinate with multiple vendors, and helps the crew work more efficiently on set.
Because these are custom-built packages, everything has its place. Camera accessories are organized with custom-cut foam, and the lighting gear has dedicated positions on the lighting carts.
This organization allows the crew to set up faster, wrap faster, and work much more efficiently, which ultimately leads to better work on set.
It also saves production a tremendous amount of money, because I’m able to offer a package deal when camera and lighting are provided together.
Yes. We often work with very small crews, as today’s equipment allows smaller teams to accomplish quite a lot.
Usually, but not always.
On some smaller productions, it’s possible to work without an AC, particularly when working with cameras like the Canon C50 that have autofocus.
However, for more complex shoots—especially those involving cinema cameras, multiple lenses, wireless focus systems, or demanding shooting schedules—having a 1st AC is imperative.
A good AC is responsible for camera builds, lens changes, focus pulling, sometimes media management, and moving monitors, which allows the cinematographer to focus on lighting, composition, and the overall image.
Yes. On most productions I operate the camera myself, particularly on smaller crews and interview-based shoots.
On larger productions, or when the project requires complex camera movement, multiple cameras, or extensive handheld work, we may bring in a dedicated camera operator so I can focus on lighting, composition, and the overall visual approach.
For extensive handheld or highly mobile shoots, I’m also comfortable working with camera operators or lightweight rigs, depending on the needs of the production.
If the shoot is extensively handheld all day, it would be best to hire a dedicated camera operator.
Yes. I am a licensed FAA Part 107 drone pilot, and I own the DJI Mavic 4 Pro Creator Combo.
If complicated or extensive drone work is required, it may be best to hire a dedicated drone operator who specializes in aerial work.
However, for quick added aerial shots, I can often provide a great solution.
No, I do not download the footage.
Production should hire a data manager (data wrangler) to handle data transfers and backups, or a digital imaging technician (DIT) if the footage will be monitored and color timed on set.
These details can be discussed prior to the shoot depending on the scope of the production and the available budget.
Production should also provide the hard drives, typically including a master drive and a backup drive. We can discuss the best size of the drives prior to the shoot.
I live in Orange County, but most of my work as a cinematographer with camera packages takes place in Los Angeles, where I work as a local.
I regularly work throughout Southern California, including Orange County, Los Angeles, and surrounding areas.
Parts of San Diego are as close to me as many areas of Los Angeles, while other parts are much farther away, so it usually just depends on the exact location of the shoot.
Production schedules can change, so dates are typically held on a first hold basis until the project is confirmed.
If another production requests the same date, the original hold may receive a challenged hold and be asked to confirm or release the date.
When I have a challenged hold for a date you’re holding, I usually try to give you about three hours to make a decision or release the date.
If the date is released, it may then be offered to the next production requesting that day.
Production schedules can change, and I understand that flexibility is sometimes necessary.
Once a date has been reserved, cancellations within 48 hours of the scheduled shoot may incur a 50% cancellation fee, and cancellations within 24 hours may incur the full day rate, similar to common industry practices.
These cancellation terms typically apply to both labor and reserved equipment, since the date has been held for the production.
Details can always be discussed ahead of time so expectations are clear for everyone involved.
If you have additional questions, or if you’re planning an upcoming shoot and think I may be a good fit, please reach out and let’s talk about your project.