RSVIDEO.CA
videography &
video production
The Magic in the Glass:
Texture vs Precision.
If the camera is the brain, the lens is the eye. I don't believe in a 'one-size-fits-all' approach to filming. A high-energy dance competition requires the surgical precision of a Sony zoom, while a quiet elopement on the South Shore demands the soft, organic texture of a Cine Prime. My lens kit is built to give me the right 'voice' for every story.
The Rokinon Cine DS Primes: Texture & Character
When I want a project to feel like a movie, I reach for my Rokinon Cine DS Primes (24mm, 35mm, 50mm, 85mm).
Unlike standard photography lenses, these are built specifically for motion. They offer a unique, slightly vintage character that softens the "digital" edge of modern sensors, giving skin tones a beautiful, natural glow.
-
The Cine Advantage: These lenses feature "de-clicked" apertures and geared focus rings. This allows me to make buttery-smooth exposure adjustments and focus pulls mid-shot without any jarring clicks or shakes.
-
Consistency is Key: Every lens in this set is color-matched. Whether I’m shooting a wide landscape on the 24mm or a tight portrait on the 85mm, the colors remain identical, ensuring a seamless look across the entire film.
The Event Workhorses: Sigma & Sony Zooms
In fast-paced environments like the Halifax Convention Centre or a wedding ceremony, I don’t always have the luxury of "zooming with my feet."
Sigma 24-70mm f2.8 DG DN:
This is my "everything" lens. It’s razor-sharp and versatile enough to handle a wide-angle room shot and a medium-close interview without a lens change. It’s the lens that ensures I never miss a "blink-and-you-miss-it" moment.​
​
Sony 70-200mm F4 G OSS: This lens is my secret weapon for Dance Productions and sports videography. It allows me to stay at the back, out of the way of the audience and players, while still getting tight, intimate shots of the athletes' expressions. Capturing these distant shots also requires rock-solid stabilization on a fluid-head monopod. The compression of a 200mm lens "flattens" the background, making the subject pop in a way that feels incredibly high-end.
Understanding "Compression" and Why It Matters
One of the most common questions I get is: "Why does this look so much better than my phone?" The answer is often lens compression. When I use my 85mm Prime or the 70-200mm Zoom, I am physically compressing the space between the subject and the background. This creates that creamy, blurred background (bokeh) that keeps all the focus on you. It’s a technical choice that adds an immediate level of professionalism and "prestige" to your brand or event.
Manual Focus: The Professional Choice
While modern autofocus is incredible (and I use it when needed on the Sony FX3), I often choose to focus manually.
Why manual focus matters?
Manual focus allows me to lead the viewer’s eye. I can start a shot focused on a wedding ring and slowly "rack focus" to the bride’s face. That intentional movement is a hallmark of professional cinematography; It tells the viewer exactly where to look and adds a layer of storytelling that an automated system just can't replicate.
