THE FILMMAKER
STEVIE WEIR
GLASGOW, SCOTLAND
I have used just about every camera manufacturer in the last 2-3 years – from the fx3 through to the medium format GFX. Massive cine lenses and tiny vintage Zeiss sonars but understanding the type of film I want to make – the aspects of the footage and the audio that I want to make those films has led me to look more at what Independent Documentary film makers use and how they use it rather than perhaps the transfer from the wedding photo space to videography.
Creators like Mark Bone or Curren Sheldon (both have amazing YouTube channels) produce amazing high end work and being able to starting bringing these external influences to the wedding space has been loads of fun – I’m not creating Vice documentary by any stretch but I am having loads of fun doing what I’m doing! Its important to me that I can produce the same result in any situation from the Isle of Skye to the City centre and be able to jump on a plane and take (mostly) the same kit.
There are many benefits to having a super small, discreet camera setup. I have shot like that in the past and really enjoyed it (my back certainly preferred it!).
Honestly though, I do feel like my footage—and especially my audio—really benefit from this “indie documentary” setup. I feel very strongly that it’s me and my approach that make a couple, and the wedding day as a whole, feel comfortable, not the size of the camera doing that work. Are my films better as a result? Who can say, really? But I certainly enjoy the work.
As anyone who knows me will tell you, my kit is always in a state of flux. I work best when I’m excited and enthusiastic about the gear (what can I say—I’m a gearhead!), so I’m constantly swapping bits and bobs in and out. As soon as there’s something new that I think could improve my workflow or the films I create, I’ll probably be tempted to give it a try.
A-CAM
CANON C50
CANON RF 24-105 f2.8L RF IS
nisi swift jetmag PRO VND KIT 1-9 stop (inc Black MIST)
I’ve made some significant changes to my kit this season, with the biggest being that I’m now shooting the Canon C50 as my A-camera all day.
I absolutely love the image that Canon cameras produce in C-Log 2, and the C50 solves a few of the issues I had when using the R5 II and R6 III as my main cameras.
First, anyone who has shot Canon (or watched a Peter McKinnon video!) will know about the infamous IBIS corner wobble at wider focal lengths. It’s not a look I enjoy. The C50 doesn’t have physical IBIS—instead it uses Canon’s much-improved digital stabilisation—so those corner wobbles are completely gone.
The other big advantage, especially with the recent hot weather, is that the C50 is part of Canon’s Cinema EOS range, so it has built-in cooling fans. That means no overheating worries, whether I’m filming destination weddings abroad or spending the day shooting in full sun here in the UK.
For my main lens, I use the Canon RF 24-105mm f/2.8L IS USM Z. Its optical image stabilisation works brilliantly alongside the camera’s digital stabilisation, giving me handheld footage that feels natural while still allowing me to achieve very steady, almost locked-off shots.
This is also the first season I’ve fully committed to autofocus, which is quite a change for me. Previously I’d always shot with manual cine, vintage or Zeiss lenses, but Canon’s autofocus has reached the point where I’m happy to trust it for weddings.
On the front of the lens, I use the NiSi Swift VND system with the Black Mist filter. It just takes the clinical edge off the sharpness of the 24-105mm and gives the image a slightly softer, more organic feel. The only real downside to the lens is its size—it’s certainly not the most discreet setup.
The Portkeys LH5pII Monitor was honestly the only option I found that supported the C50’s camera control functionality. Thankfully it’s bright, reliable, and has done everything I’ve needed without complaint.
The camera is built around the Tilta cage system, which gives me plenty of mounting points while adding a bit of protection from the inevitable knocks that come with wedding days. I’m also using the MID49 rail mount, which is designed specifically for the C50’s audio handle and provides a really clean way to mount the monitor.
Power comes from V-mount batteries, and I’ll typically go through three over the course of a wedding day, usually topping one up during dinner if needed. The only thing I don’t love about the setup is the size and weight of the V-mounts, especially when I’m travelling, but for the battery life and reliability they provide, it’s a compromise I’m happy to make.
B-CAM
CANON R6III
Sigma 24-70 2.8 EF
Breakthrough filters vnd
The B cam (I mostly shoot a 2 camera set up now) is the R6III currently paired with the Sigma 24-70 2.8 EF – I like the look of this lens and as its EF mount I can use my Canon drop in filter EF to RF adaptor. I use a third party VND from breakthrough filters which is my all time favourite VND and way better than the canon one that comes with the unit.
LENSES
CANON RF 24-105 f2.8L RF IS
A-Cam
nisi swift jet pro mag VND KIT 1-9 stop (inc Black MIST)
SIGMA 24-70 f2.8 EF
LEICA SUMMILUX 50mm f1.4
1959 reissue
M-Mount
LIGHT LENS LAB 35mm f1.4
double aspherical
m-mount
The Leica M mount lenses are a bit of a secret weapon – they are tiny, can be adapted to pretty much any mount and are super fast at 1.4. Shooting the 2.8 zooms does sometime leave me not too much room for low light stuff so having these tiny lenses in the bag means that I can use them for any lowlight stuff and also they produce just stunning flares so for dancing footage look amazing – they really scratch that itch I have for lenses that look amazing and unique, something that the modern autofocus glass doesn’t do. I need to figure out a ND situation for them so that I can start using them for portraits etc – I always travel with my Leica M6 film camera as well so they pull double duty.
SOUND
Sennhiser MKE600
ON-CAMERA AUDIO
HOLLYLAND LARK MAX 2
QTY:6 – CEREMONY & SPEECHES AUDIO
SONY TX660
QTY:6 – CEREMONY & SPEECHES AUDIO
TENTACLE SYNC E
QTY:2 -LAV MICS WITH TIMECODE
ZOOM F3
FIELD RECORDER FOR AUDIO DESK FEEDS
RooDogs
QTY:4 – wind noise reducers for sony tx660 mics
My sound setup is exciting this year! Being able to use the audio top handle a proper XLR shotgun mic has been a game changer. Splitting the left and right channel going into the camera means I have an in built safety track of the scratch audio (no more clipping during confetti, entrances or dancing!) and the audio coming from this set up is the best I have ever captured onboard and will be a huge benefit to my films.
For ceremony and speeches I use a mix of (mainly) the hollylands (please god make a white one!) I rarely use them to broadcast to the camera but I do control and lock them from the RX unit that I have attached to the top handle. The TX’s are a classic and still get used in a rush or when I have more than 4 speakers (I double mic EVERYONE) The TX is still the default to attach to PA mic’s for speeches. RooDogs for the win.
The Tenacle syncs I use for elopements when the weather is bad – Being able to tape them under clothing protects them from the wind and rain and I have had amazing audio from outdoor weddings with 40mph gusts of wind on Skye. Timecode is on my radar for this year but I’ll need to hit up Alex from Molehill Media for some tips!
Not pictured but I also occasionally use a Zoom F3 field recorder if there is an audio team or I know I can get a feed.
DRONE
dji mini 5 pro
under 250g
1-inch 50MP CMOS sensor
Everyone needs a drone! Not pictured but we all know what they look like.
accessories
ulanzi zero tripod
QTY:2 – compact travel tripod
I have two of these Ulanzi tripods, they pack in a carry on for destination weddings and I use them at every wedding.
peak design slide strap
fast adjustable camera strap
Game changer for stability and long days – I now hand hold during ceremony and speeches so having the strap makes it possible.
