My Gear
People ask me what I shoot on more than they ask me anything else, so here it is, all of it, in one place. Some of this I bought and some of it brands sent me to review. Either way I have actually used all of it on real jobs, and whenever something falls out of my kit it moves down to the bottom of the page instead of quietly disappearing like it never happened.
It is still filling out. I am adding the rest of my kit over the next little while, so if something you are looking for is not here yet, check back.
Some of the links on this page are affiliate links, which means I earn a commission if you buy through them, at no extra cost to you. As an Amazon Associate I earn from qualifying purchases. I only list gear I actually use.
Last updated 08/10/2026
Nothing matches that.
Cameras
Sony a7S III
The body that got a whole lot of us onto Sony in the first place, and years later it is still the one I reach for whenever the light gets genuinely bad. It just does not care how dark the room is.
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Sony FX3
Take the a7S III, give it active cooling, XLR audio on the top handle, and no recording limit, and you get this. Whenever I need to hit record and stop worrying, it's this one.
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Sony FX5
I put this thing in direct Texas sun recording 5K open gate RAW at almost two gigabits a second and tried everything I could think of to make it overheat. The body hit 135 degrees and it never flinched.
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Sony FX30
Super 35 sensor, so it is not the low light monster the full frame bodies are, but it is by far the cheapest way into the Cinema Line and it takes the same lenses.
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Lenses
Sony FE 135mm f1.8 GM
My favorite telephoto for close up footage, and I own both 70-200s, so that is not a small thing to say. One focal length, one aperture, and it is gorgeous at both.
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Sony FE 50mm f1.4 GM
If I had to sell everything and keep one lens, it would probably be this one. Sharp wide open, and noticeably lighter than you expect a 1.4 to be.
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Sony FE 24mm f1.4 GM
Wide enough for rooms where you physically cannot back up any further, and still fast enough to throw the background away. That combination is rarer than it sounds.
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Sony FE 70-200mm f4 G
The one that comes with me whenever I know I am gonna be on my feet all day. You give up a stop against the 2.8 and save a serious amount of weight, and most days that is the right trade.
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Sony FE 70-200mm f2.8 GM II
Whenever you are stuck at the back of a room and walking closer is not an option, this is what gets you there. The second version is dramatically lighter than the original, which matters more than the spec sheet makes it sound.
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Camera Support
DJI RS4 Pro
Everything the RS3 Pro was already good at, plus it flips from horizontal to vertical in about ten seconds. Whenever a couple asks for vertical clips they can post that same night, those ten seconds are the entire difference.
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Audio Gear
Kondor Blue x WhoisMatt Audio Pack
The three cables I actually bring to every wedding, XLR, quarter inch, and RCA, plus a pouch to keep them together, so whenever the DJ hands you something you were not expecting you are already covered. I made these with Kondor Blue, which means balanced cable, six feet each, and a lifetime warranty.
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Rode Wireless Pro
Both transmitters record 32 bit float internally, so even whenever the wireless link does something stupid mid ceremony, the file is still sitting there on the mic. The locking lav jacks sound like a small thing right up until somebody yanks one.
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Deity PR-2
32 bit float recording in something roughly the size of a lighter. It means you stop setting levels and start just hitting record, which sounds like a small thing until the one time it saves you.
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Zoom F3
Also 32 bit float, but this is the one I trust whenever the audio genuinely cannot fail. Two channels, proper preamps, and it just quietly does its job.
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Tascam DR-10L Pro
A lav and a 32 bit float recorder in one little box that clips straight onto somebody. No wireless link to drop out, because there is no wireless link.
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Reception Lighting Gear
Zhiyun Molus X100
I went hunting for one light that could cover everything I do, weddings and YouTube and commercial work, and this is the one that stuck. It is a proper COB light that still fits in a pocket, which is the whole reason it actually comes with me instead of living in the car.
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Manfrotto 5001B Nano Light Stand
Folds down to almost nothing, weighs almost nothing, costs almost nothing. Not the stand for a heavy fixture in wind, but for small lights it is hard to beat.
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Drones & Aerial Gear
SkyRover X1
DJI is getting harder to actually buy in America thanks to the import restrictions, and this is the one I would grab instead. It shoots 4K up to 100 frames in 10 bit, it has 360 degree obstacle avoidance, and whenever you film in SR-Log you get a genuinely gradeable image out of a drone this small.
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Antigravity A1
An 8K 360 camera on a drone, which means you fly first and frame the shot later in post. On a wedding day you get about two minutes in the air before the ceremony starts, so not having to nail the gimbal move in the moment is worth an awful lot.
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Computer & Editing
Amazon Basics USB Computer Speakers
USB powered, plug and play, and about as cheap as a speaker gets. These are not for mixing audio, they are for everything else you need to hear while you work, and for that they have never given me a reason to think about them.
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ASUS ProArt PA32QCV 6K
I spent a year editing 6K footage on a 5K monitor and letting it downscale every single time, which bothered me more than it probably should have. This is the fix, and finally seeing the footage at the resolution it was actually shot at is nicer than it sounds.
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Dell UltraSharp U3226Q
An anti glare OLED that calibrates itself, which I did not know I wanted until I stopped having to think about it ever again. It ain't cheap, but it checks basically every box I have for editing and grading, and you can game on it too.
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Dell UltraSharp U4025QW
Ultrawides always used to mean giving up resolution to get the width, and this is the one where that stopped being true. A really long horizontal timeline is exactly what an ultrawide is for, and I daily drove this thing for a long stretch.
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Dell UltraSharp U5226KW
Fifty two inches of ultrawide, which is a ridiculous thing to put on a desk, and after a week I did not want to go back. A timeline this long stops feeling like a timeline and starts feeling like furniture.
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MacBook Air M5
Fanless, completely silent, and it handles a 4K timeline far better than a machine this thin has any business doing. For most people getting started this is the honest answer.
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MacBook Pro 14-inch, M5 Pro
This is the best bang for your buck of the whole lineup, and the one I point people toward whenever they ask which MacBook to get for editing.
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MacBook Pro 14-inch, M5 Max
Genuine overkill unless you are actually working in 6K or 8K. If that is you though, it chews through footage that makes other machines sit and think about it.
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Windows PCs for Editing
Dell Pro Max 16 Premium
The Windows laptop I would actually edit on. The Blackwell generation added 4:2:2 encode and decode, which is the part that matters whenever you are cutting footage straight off a camera, and the OLED panel measured so color accurate out of the box that calibrating it barely changed anything.
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MSI GeForce RTX 5080 Ventus 3X OC White
16GB of GDDR7, which is the number that actually matters whenever you have noise reduction running on a 4K timeline in Resolve. The Ventus cooler stays quiet enough that it is not a problem sitting on the same desk you record voiceover at.
Check current priceDell Premium 16
The XPS 16 under Dell's new naming, and still the Windows laptop that comes closest to a MacBook Pro on build and screen. Intel Ultra 7 with 32GB of memory is the configuration you want whenever you are editing on it rather than just answering email.
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Bags & Cases
Think Tank Retrospective 30 V2.0
A canvas shoulder bag that holds a body with a lens on it plus a second body, and it does not read as a camera bag, which matters more than you would think whenever you are walking it through a hotel lobby. The flap has sound silencers so you can open it mid ceremony without the whole back row turning around.
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Think Tank Airport International V3.0
A rolling carry on built to the international bin size rather than the domestic one, which is the entire point, because gate checking a bag with your cameras in it is not something you want to do twice. Locking zippers and a cable for whenever it has to sit in a hotel room without you.
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Pelican 1535Air
The hard case for whenever the gear is going to be handled by somebody who has no idea what is inside it. Carry on sized and wheeled, and the TrekPak dividers mean you cut the layout to your own kit instead of tearing chunks out of foam.
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Pelican 1450
A smaller hard case for the things that would genuinely ruin your week to lose, so lenses, recorders, batteries. Waterproof and crushproof, and small enough that it can just live in the car.
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