I can take the R5 on any job I'm commissioned for. If someone wants me to shoot pet photography, the camera's AF doesn't break a sweat. If someone wants me to cover sport, the 20fps electronic shutter speed makes mincemeat of it. If someone wants extra-high resolution for gallery or archival work, the 45MP image sensor gives me all the detail I need. If I'm filming content for a brand or business, I have future-proof 8K DCI RAW if I want it.

Capturing quality content nowadays is not only about your skills, but also about the quality of your resources. Your choice of camera can make or break your project. I know what you’re thinking, it’s a 2 year old camera and the C70 just came out. But let me tell you this is one of the best cameras I’ve ever used. For just about £3,889 you can get 4k 60FPS footage, with 13-stops of dynamic range, all captured in RAW Light on to an internal CF card. For the majority of my work this is the best option for me.

The Mavic 2 Pro remains one of the best drones you can buy, although it's now been overshadowed by the arrival of the DJI Air 2S. The Air 2S brings significant size and weight savings, and these give it the edge over this older model. But if you need features like variable aperture, the Mavic 2 Pro is still worth considering – and its 20MP, 1-Inch sensor is capable of shooting some of the best 4K video and raw stills you'll get from a consumer drone.

The Magic Carpet Pro is a slider system designed for bigger camera packages. The sliding carriage itself includes a flywheel system that you can turn on or off, and also a quick release for the entire tripod head. Both of these are amazing features. The track has an ingenious internally locking system that makes for "infinite track," with less complication than joining the normal magic carpet. Of course, it's easier to join because it's both beefier and more expensive, but this is one area where extra hardware feels worth it.

Motion Control in video and timelapse have never been this accessible until the Syrp Genie II. The unit is simple to use and so compact you can fit it in your backpack. Genie II Linear has been designed to be adapted and it can add Motion Control to just about anything, including Sliders, Dollies, Cable Cams and your next DIY project. The Genie II is aimed at full-time timelapse shooters and filmmakers that want to invest in reliable gear that can deal with rough weather conditions and that can handle a few years of daily use.

Right out of the box, you notice the Ronin-S’s amazing build quality. It feels solid and well designed, and it has ergonomic grips on the handle for easy one-handed use. The smart phone application and the gimbals stabilisation algorithm is far superior to other gimbals on the market. A major part of deciding which system will work best for you is payload capacity. The Ronin-S will take 3.6kg and is ideal for filmmakers, and professionals who use bigger DSLR and mirrorless cameras and who gravitate towards more ambitions lens and shootings setups.

I have been using this bag for about 18 months now and in my opinion there is still no better bag on the market. The backpack is super versatile for both photographers and videographers. I carry with me a 15” Mac Book Pro, a Canon C200 with 50mm f1.2 lens attached, a Canon EOS R5 with 35mm f1.8 lens attached, a 24mm f1.4 lens, 100mm f2.8 lens, EF to RF lens adapter, Sennheiser EW G4 Radio Mic, Rode NTG3B Shotgun Mic, Atmos Shinobi Monitor, Tilta MB-T15 Matte Box, Teenage Engineering AiAiAi Headphones, Hard Card Case and bits of grip and tools.

There are a few reasons you might want to add a matte box to your camera rig. First of all, they’re perfect for holding cinema-quality filters. Next, they can work as a lens shield that prevents flares from unwanted sunlight. And finally, well, they make you look wicked professional. The kit includes the Mini Matte Box, top french flag, 15mm single rod support attachment, and four lens adapter rings (82mm, 77mm, 67mm, and 72mm). The Mini Matte Box is a lightweight 140g, affordable solution for filmmakers using DSLR and mirrorless style cameras.

This shoulder mount is compatible with Sony VCT-14 tripod adapter plates. I know, I don’t have a VCT-14 adapter either. I bought this for my Canon C200 as this is the best shoulder mount SmallRig make and its really well made. It has a Manfrotto 501 quick release plate which can be moved back and forth to distribute camera weight and can be switched over to a tripod swiftly. I’ve added a SmallRig Extension Arm with Arri Rosette 1870 for camera control relocation and Arri Rosette 1870 SmallRig NATO arm to hold the monitor in front.

Made specifically for the Mavic 2 Pro. This set includes ND4, ND8, ND16, and ND32 Filters, allowing 1/4, 1/8, 1/16, and 1/32 of incoming light through respectively, equal to 2/3/4/5-stop filters. These high-quality, light reducing ND filters reduce the amount of light coming into the sensor, giving you more control of the camera's aperture, exposure time, and sensor sensitivity settings. A precise snap-joint design ensures a reliable fit and lens seal during flight. Four filter options offer you more freedom in controlling aperture and shutter, giving you more exposure choices for your photography.

Although this is not an L series lens the image quality on the RF 35mm F1.8 is surprisingly very good. This lens produces beautiful bokeh, with out-of-focus elements looking smooth and creamy. I bought this lens primarily for use on my Ronin S Gimbal as its the smallest RF lens produced in size and weight. I was also looking for a hobby lens, something I could take everywhere, holiday, macro, street photography. The lens is one of the most versatile and fun lenses I’ve ever used. It’s kind of like a Swiss Army pocket knife. While it’s probably not the best lens for any one thing, it does a lot of things well. This lens really can do it all.

Some might think it funny to use a macro lens for videography. Macro lenses are built for close-ups. Right? They have a narrow band of focus that is razor sharp which is perfect for photographing bugs. However, back this lens a few feet from the subject and it becomes the best lens for broll and even interviews. The image stabilisation of the Macro lens is great for hand-held shots and the tight focus allows for some unique camera angles. You can get really close and see all those amazing details or back it off a bit and enjoy the buttery bokeh, either way the 100mm gives a vastly different look then the normal lenses I use for broll.

I just love this lens. I’ve owned it for about 5 years now and it’s the lens that lives on my Canon C200. It’s small which helps if fit it on camera in the bag, it’s very sharp and it’s super bright at F1.2. This lens has some serious Bokeh and it’s just so smooth, silky, creamy and like butter, very cinematic. I try my best to shoot everything I can on this lens, although that does get tricky with the C200 crop. It’s optics are very similar to the Canon 50mm Cine Prime which cost over double the price, but it has auto focus and it’s much lighter.

For ‘run and gun’ scenarios I use the Sigma 18-35mm Zoom on my Canon C200. The lens is sharp and is great in low light at f1.8 all the way through the focal length, which means you’ll not have to worry if your shoot takes you inside suddenly. The lens is built like a tank, it has a fixed barrel and the focus ring is arguably smother than a Canon lens. The down side is there is no IS and the auto focus is quite noisy. But I don’t really notice the lack of IS at this focal length and mainly I use manual focus for this kind of shoot. You can not really beat this for the price vs quality.

The Canon EF 24mm f/1.4L II USM Lens is, without question, Canon's best-performing (optically and physically) and best-built 24mm autofocus lens. It is also Canon's widest angle lens with an aperture wider than f/2.8 - a full 2 stops wider than all wider angle Canon lenses. Prior to the 24 L II's introduction, I rarely used a 24mm prime lens. I did not feel the image quality wide open was acceptable. This lens is wide enough to show a wide angle perspective - emphasising the foreground subject, but retaining the background and creating a sense of presence.