THE FILMMAKER
JOCE Boissin
MANCHESTER, ENGLAND
I’ve always believed that the best wedding films aren’t made by having the newest or most expensive equipment – although I do love a bit of tech – but by having the quickest eyes.
Wedding moments happen fast. If I’m wrestling with a large camera cage or balancing a gimbal, I feel as though I’m missing the story. My gear is intentionally minimalist, designed to make life easier on the day and remove unnecessary decisions that might distract me from thinking creatively.
My shooting style is very static and heavily inspired by still photography. I want to focus on framing, composition and light rather than managing complicated equipment. Over time, I’ve trained myself to act as a “human tripod”, keeping my physical footprint small while capturing steady, deliberate and clean handheld frames.
As a solo shooter, my core kit has changed very little since my first wedding four years ago. The main addition has been a third camera body for secondary ceremony and speeches angles. For the rest of the day, I keep things streamlined: two cameras on a harness, normally paired with a 35mm and a 55mm lens.
At heart, I’m a documentary filmmaker capturing real, unprompted moments – but documentary doesn’t mean unplanned. I spend a significant amount of time preparing for each wedding, pre-visualising and planning specific shots. I’d still rather spend hours obsessing over the pacing of an edit than thinking about buying another lens, but I’ve gradually found a setup that lets me create cinema-like wedding films without bringing a full production crew.
A-CAM
SONY FX3
SONY 55MM F1.8 • SENNHEISER MKE 200
I was very lucky to pick up the Sony FX3 for my first paid wedding, before I had even gone full-time. It is an absolute powerhouse in low-light situations, and there is something about the image it produces that I haven’t quite been able to match with other cameras.
I shoot exclusively in S-Log3. Partly because I’m inconsistent with exposure, but also because I care deeply about the final look of my edits. Log recording is forgiving and gives me the flexibility to adjust individual shots in post so everything aligns when it comes to the final colour grade.
My rigging philosophy is deliberately minimal: no external monitor, no top handle and no cage. It is simply the camera, the 55mm lens and my on-camera microphone.
B-CAM
SONY A7 IV
SONY 35MM F1.8 OR SONY 85MM F1.8
I bought two A7 IV bodies so the entire camera set would be unified. Because all three cameras record 10-bit S-Log3, I can align the colours and overall image profile with the FX3 in post without making the grade unnecessarily complicated.
The B camera stays on my harness alongside the FX3 for most of the day. It runs either the 35mm or 85mm lens depending on the venue, the available space and the type of coverage I need.
C-CAM
SONY A7 IV
STATIC CEREMONY & SPEECHES CAMERA
The second A7 IV runs whichever focal length is not currently on the B camera. It is my dedicated “lock-it-and-leave-it” body, used exclusively as a static third angle during ceremonies and speeches.
Adding a third body has been the only major expansion of my core kit since I began filming weddings. It gives me extra coverage during the formal parts of the day without changing the minimal way I work everywhere else.
LENSES
SONY 35MM F1.8
ESTABLISHING SHOTS & CEREMONY BACK ANGLE
This is my go-to lens for establishing shots and the back angle during the ceremony. It gives me enough environmental context to tell the story of the space without creating the distracting feel of an ultra-wide lens.
SONY 55MM F1.8
PRIMARY A-CAM LENS
The 55mm stays attached to my FX3 for the vast majority of the wedding day. If I had to film an entire wedding using a single focal length, this would be the one.
SONY 85MM F1.8
CEREMONIES, SPEECHES & CANDIDS
The 85mm is my main lens for the “talking heads” of the day: ceremonies, speeches and occasional interviews. It compresses the background beautifully and keeps the viewer’s attention on the emotion of the person speaking.
Outside the formalities, I also use it during the drinks reception to capture candid guest reactions from a distance, and sometimes on the dance floor when the venue gives me enough room to step back.
AUDIO
SENNHEISER MKE 200
ON-CAMERA AUDIO
There isn’t much to say about the MKE 200 other than that it simply works. It is small, keeps the FX3 setup lightweight and captures the clean scratch audio and ambient venue sound I need without adding unnecessary bulk.
HOLLYLAND LARK MAX 2
COMBO 4 • SPEECHES AUDIO
I recently switched to the Hollyland system after years of using trusted Sony TX recorders, and it has been a complete game-changer for my peace of mind.
My main issue with standalone recorders was the constant anxiety of not being completely certain they were still recording after I walked away. Because the LARK MAX receiver sits on my camera, I can check it visually at any moment and confirm that I’m receiving clean audio. That feature alone makes the system worth the investment.
The transmitters also record internally in 32-bit float. I’m yet to encounter a genuine make-or-break use for 32-bit float at a wedding, particularly with the audio-repair tools now available in post, but it is still a useful safety net.
DRONE
DJI MINI 4 PRO
COMPACT DESTINATION-WEDDING DRONE
I upgraded to the Mini 4 Pro from the Mini 2, and it has been fantastic. The biggest benefit is the ability to record in D-Log, giving me the flexibility to match the aerial footage more closely with the S-Log3 footage from my cameras.
Its compact size also makes it easy to pack for destination weddings without adding another heavy equipment bag or creating unnecessary complications when travelling.
FILTERS
K&F CONCEPT ND2-400
VARIABLE ND FILTERS • FITTED TO EVERY LENS
Every lens has a variable ND filter attached throughout the wedding day. My creative approach is strict: I always shoot at f1.8 and never touch the aperture ring.
Maintaining that consistent look across every shot is an important part of my visual style. Because I film many destination weddings, I’m regularly working in harsh sunlight. Keeping an ND on every lens lets me adjust exposure quickly without changing the shutter speed or sacrificing the f1.8 aperture.
TIFFEN PRO-MIST 1/8
MIST FILTERS • FITTED TO EVERY CAMERA
To soften the digital image further, I use Tiffen Pro-Mist 1/8 filters across all three cameras. They take away a little of the clinical digital edge and give highlights a subtle, natural roll-off that feels closer to film stock straight out of the camera.
TRIPODS
SMALLRIG TRAVEL TRIPOD
QTY: 3 • COMPACT STATIC SUPPORT
I use the same compact SmallRig travel tripod for every setup. As a solo shooter covering destination weddings, keeping the kit lightweight and easy to move is essential.
They are compact enough to carry without slowing me down and reliably lock off my secondary ceremony and speeches angles. They aren’t elaborate, but they do exactly what I need.
CAMERA COOLING
ULANZI CAMERA COOLING FAN
USED ON BOTH SONY A7 IV BODIES
The A7 IV can overheat when pushed in hot climates, so I carry clip-on cooling fans that mount directly behind each camera.
They are small and inexpensive, but keep the cameras running smoothly during long ceremonies and remove the stress of a body shutting down in the middle of the vows.
CAMCORDER
JVC EVERIO GZ-HD10
DIGITAL CAMCORDER • DANCE-FLOOR FOOTAGE
This is a fun addition to the kit bag that I’ve recently started experimenting with. I only bring it out during the dance floor.
I’m still working out the ideal way to use the footage in my finished edits, but it has already produced some brilliant moments at the weddings where I’ve taken it.
