Kit, picked by what you’re shooting.
Nobody hires “grip and diffusion” — they hire what a wedding, an interview or a product shoot actually needs. These are real kits from our own inventory, with the reasoning behind every choice and the honest day rate for the lot. Take one as it stands, or use it as a starting point and we’ll adjust.
Wedding film kit
A wedding is the least forgiving shoot there is: no second takes, brutal mixed lighting, and fourteen hours between the haldi and the last dance. This kit is built around that — a low-light body as the A-camera, a second body so you never miss a reaction, fast glass, and a gimbal for the entries and the couple shoot.
Event & party coverage kit
Party coverage rewards speed and a small footprint over specification. You're moving through a crowded room, the light changes every few metres, and the best material is unposed — so the kit has to be light enough to keep rolling and good enough in low light that you're never forced to stop.
Corporate & interview kit
Interview work is the opposite of event work: you control everything, so the bar is higher. The subject sits still, the light is yours to build, and the audio has to be clean because a talking head lives or dies on whether it sounds professional. This kit is specced for that control.
Product & e-commerce kit
Product work is won on consistency. Marketplace listings need every shot to match — same white, same angle, same exposure across a hundred SKUs — and that comes from controlled, repeatable light rather than a clever camera. This kit is built around resolution, a true macro, and light you can shape precisely and set back up identically tomorrow.
Music video kit
Music videos are where look matters more than coverage. There's no dialogue to protect and no ceremony you can't miss — so the budget goes into things that change the image itself. Anamorphic glass and full-spectrum colour do more for a music video than any sensor upgrade, and we keep both.
Real estate & hotel kit
Property work has one job: make a space feel larger, brighter and more inviting than a phone photo makes it look. That means genuinely wide glass, smooth movement through the space, and enough control over mixed interior light that rooms don't come out orange in one corner and blue in another.
Not sure what you need?
Tell us what you’re shooting, where, and for how long. We shoot ourselves, so we’ll tell you what genuinely matters for that job — including where you can take something out of the list.