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To keep this as concise as possible, I own and operate a RED Komodo cinema camera with multiple cine lenses, a Canon 1DXmkii with L-series lenses.

Lighting: I own an ARRI ST1 1000w Studio Fresnel for lighting exterior nights, (2) 4' 4 bank Kino Flo Tegras, a 2' Kino Flo Diva Light, and a Kino Flo Interview kit, as well as a Lightstorm 300x with gold mount battery mount for remote locations (with a Chimera Medium Pancake lantern modifier for interiors, and a 2x fresnel for a spot), Litepanels Astra 1x1 Soft Bi-Color LED, (4) Astera Titan Tubes capable of full-spectrum RGB and programmable lighting effects; for each of these lights I implement scrims/diffusion/flags necessary to obtain optimal desired lighting, I also own all necessary grip stands and supports for the entire lighting package.

Audio: (2) Sennheiser G4 wireless lav mic/receivers, (2) Sennheiser G3 wireless lav mic/receivers, Sennheiser MKH 416-P48U3 Moisture-Resistant Shotgun Microphone and boom pole for directional audio capture, all feeding into my Zoom F6 field recorder.

Tripod/Gimbal: Manfrotto 536 Carbon Fiber Tripod with 504HD fluid video head, DJI RS2 Gimbal with Tilta Advanced Ring Grip and Easy Rig Vario 5 vest

For lens specifics: I have a Laowa 24mm probe lens and a Canon 100mm f/2.8 Macro I use for detailed closeup work; I have a Tokina Cinema ATX 11-20mm T2.9 I use for exterior/establishing shots, a DZO 20-55mm T2.8 cine lens for medium/interview/documentary shots, a DZO 50-125mm T2.8 cine lens I use for close/extreme close up shots; I also have a Canon 70-200mm f/2.9L lens for action shots.

Variable ND: I have a Polar Pro base camp 3 Stage Matte box system with 2-9 stops VND, an 8 stop Graduated ND, Mist, Heavy Mist, Bluemorphic, Goldmorphic filters (for a stylized "anamorphic" effect)

Interviewing/directing: I believe my emotional intelligence has allowed me to be a gifted interviewer/director. I have shot documentaries, hosted live and broadcast television shows, and know how to exude the comfort and confidence necessary to create a relaxed environment for any interview subject to deliver their "best self"

Timelapses: I have a Syrp Genie II 3-axis kit with up to 5' of track with a motorized head for repeatable time-lapse moves (I also use this in conjunction with my DJI gimbal for 2 camera/1 cameraman interview setups.

A roll/B roll: main subject/details

High framerates: utilized for action to either be slowed down in post, or to provide "real life" look to footage (aka "non-cinematic")

Preferred post software: I prefer Davinci Resolve and have refined an efficient workflow from start to finish within that specific program, and I also have years of experience with Adobe Premiere, After Effects, as well as Final Cut, and Avid Media Composer

Digital Media management: I utilize a combination of DAM softwares of Frame.io and Adobe Experience Manager Assets to organize all assets within a project/company

Log/flat profile: typically I utilize the R3D color space afforded by my RED, shooting flat for maximum dynamic coloring options in post; I will shoot in the Rec709 color space should a faster turnaround be required

Music selection: I like to have an idea of the mood of the piece before shooting even takes place. If you want  a more dramatic piece, I would shoot longer/more stylized shots, which would be suited by a more dramatic soundtrack. Versus a snappier, more upbeat piece would have faster cuts, quicker camera movement, and a livlier soundtrack to match. It all depends on the target demographic at the end. Are we shooting for a Gen Z audience familiar with TikTok trending audio or a Millenial homebuyer seeking nostalgia?

Motion graphics: I utilize After Effects for most of my GFX (titles, lower thirds, pops of animation to highlight action, etc)

SEO: this is an ever-evolving beast and I constantly research latest and best SEO practices

Repurposing aspect ratios: with my RED I'm afforded the 6K full frame capture, so if I know beforehand that the piece will also be utilized for a vertical package, I will frame my subject accordingly to accommodate both horizontal and vertical deliverables. IF the content has already be shot, I utilize the "Smart Reframe" tool in Davinci Resolve and adjust the framing as necessary from there.

CTAs: I always suggest including CTAs in my promotional content, and handle their implementation in the scripting phase of pre-production.

WHEW!!! I hope the above demonstrates how I can help you attain your video production goals!!!

Cheers,
Nick

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by NICK
VITALE

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