Filmmaking Gear that made me MORE MONEY …



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Production sound kit
🔴 Caleb’s Setup:
Bag:
Field Recorder:
Boom Pole:
Shotgun Mic:
Shock Mount:
Power Bank:
USB-C Splitter:
USB-Hub:
Headphones:

Rode Wireless Go II:

Production Tool Kit
Think Tank Pouch:
Mini Gaff Tape:
Camera Multitool:
USB Multi Charger:
Cable Ties:
Travel Scissors:

My RED Komodo Rig Breakdown:…

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45 thoughts on “Filmmaking Gear that made me MORE MONEY …

  1. Love this vid! So helpful to know where to allocate budgets to rather than splurging on the newest 'hottest' product another youtuber has been paid to big up, especially as a film maker in a very similar position to yourself where every 'next step' I make is a very expensive and potentially risky move. Keep making awesome stuff man!

  2. you can always rent gear , and charge it extra is much cheaper than spending 10k on camera that will be oselite in few years ask for example 1500 for project ,with cine cam if they want it cheaper , 1200 with my dslr just like you dont need to have a car you can always get a taxi ,

  3. Hi Ryan. You have touched upon something in regards to customer expectations and confidence, which I think the mirrorless camera people like to pretend doesn't exist. Unfortunately, the issue of what gear you're using does, in fact, matter, with many clients these days. There are several jobs I know I can get, but I also understand if I show up for work with a dinky little, itsy-bitsy, mirrorless camera, then I will be laughed out of the room, or what's worse, I will create anxiety in the mind of a client who wonders why they're paying so much money for a guy who doesn't show up with a RED Cinema camera ? I know this may well sound ridiculous to many who read this, but I'm stating for the record clients go by name brands and reputations of gear, and using non-industry recognized gear will devalue your work in the minds of some clients. If you want those higher paying jobs, then show up with an URSA Mini Pro 12K or a RED camera. P.S. In regard to the Smallrig V Mount Batteries, the company's claim to the USB-C being able to deliver Power Delivery 3.0 Specifications is FALSE ! @ 65 Watts Max output, this fails to meet the PD 3.0 Standard of Max 20V @ 5 Amps or 100 Watts maximum output. 65 Watts is PD 2.0 Spec. 45 Watts is PD 1.0 spec. 65 Watts is NOT enough current to properly run and charge a MacBook Pro circa 2019 and later, since a full 100 Watts is required to run these Macs.

  4. I've worked in video production for 17 years. Clients have always hired me based on my work. The camera was irrelevant and the client didn't get to see it until after I have been hired and turned up to the gig.
    99% of clients don't even know what a RED is or how 'impressed' they should be. I think this is more about your insecurities than an actual issue in the industry.

  5. Any upcoming filmmaker trying to get into the film industry watching this, please disregard everything said here regarding sound, camera, and business acumen, hire a mixer that doesn't call the mix pre 6 line "industry standard" Convincing clients to not hire a sound mixer to pocket more cash (while using cheap pro-sumer gear) and cut someone out of a job is disgusting, and deeply harmful to the workers below the line(who took massive pay cuts during covid), gross. I don't even know where to start with a "DP", who is supposed to be a leader, advocating that ACs are not needed, truly parasitic, Referring fellow Operators and Crew and bringing them in on your gig will pay way more in networking than being a greedy ass clown working bottom of the barrel agency/new media gigs like this, I promise, believe in yourself, your skills, and uplift your fellow crewmembers and they will uplift you.

  6. god how useful this video is!!! thanks man, i watched whole video and i found that I knew about camera. please make more useful contents like this about alphabetic expressions of photography and Video camera. thanks a lot, subscribed

  7. bro, if you are on a production industry. you just rent all of them. you hirdd sound man with the gear. you doesnt need to have all of this. you even save more money buy renting compared to buy them with additional cost in mind such as upgrading them, storage, and taking care of them.

  8. Please for the love of god don’t show up to a big gig with anything that says rode lol. They are great for amateurs but their radio frequencies are being choked out by larger brands. Also the mix pre is in no way “Industry standard”. Bonus points for the ktek boom and rycote handle. Those are my fave brands. Don’t mean to be harsh but as a professional sound mixer it is difficult to let these things slide.

  9. Hi Ryan, loving your videos. Can you help? I’d like the same rig for my A7s3. So you have a list so I can just go and get it. I’m desperate to sort my rig out and this looks the best so far. Thanks

  10. Really good ideas and products thank you for highlighting them. I kinda agree about the big cinema camera rig for higher budget productions just for the sake of appearances but unless I was constantly shooting for such clients regularly I don’t think it’s a smart investment. It’s better to own and hone your craft on something like a mirrorless camera and then if you land a big client just rent a cinema camera. Camera lose value pretty quickly so it’s something to consider.

  11. I gotta give you a huge thumbs when you got to the line about 'it's not the brush, it's the artist' remark.
    I was onboard with this at first and certainly start here. But you really cannot be taken professionally seriously from untrained clients.

  12. Great video really liked your explanation of the business side and how you use the items you have really pointed out the benefit you get out of investing in certain equipment such as efficiency, ergonomics and also the art thanks heaps

  13. When it comes to the camera stuff, I completely agree with you. I own two Komodo‘s, and a dragon. But I have had clients that don’t care what I shoot it on, just as long as it looks good. One example, Guinness world records. in fact they asked me to shoot it on a Sony in 1080. Because of the nature of the shoot. I shot it on red and down res the files to 1080 ProRes. I didn’t get paid to shoot Red (red tax) but I know I would be able to move fast and have more flexibility. They were very happy and it was worth it the video now it’s sitting at 4.4 million views.

  14. This was amazing! Thanks for the business / production focused content! Would love to see a vid on lighting and backdrops / set design. Your thought process behind the vid you used as an example for the monitor e.g. Thank you for your vids, Ryan! They really helped me build my fulltime video production career and now they help me to scale it up 🙂

  15. That was a cool video I hope to own some gear like that one day! When you turn your small rig monitor upside down does it automatically adjust the picture to be upright? Or were you looking at an upside down image on your shoulder rig?

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