It starts in the room
Final Post, the facility I founded and continue to invest in, runs on Baselight for the grade, Avid for the edit, world class storage to keep every frame safe, and a calibrated Flanders monitor and surround sound room to master it all properly.
That standard doesn't stay in the suite — it's the same one that shapes the camera, sound, and lighting kit I carry into the field, wherever a story takes me.
Both halves are connected by the same pursuit: gear chosen so it never gets in the way, so nothing stands between the story and doing right by the people who trusted us with it.
COLOUR
Precision Grading, Built for the Screen It’s Meant For
Every project is graded in a calibrated, acoustically treated room on a 65″ HDR mastering monitor — so what you see here is what audiences see, wherever it plays.
We match the tool to the job, not the other way around:
- Baselight for creative colour grading — the depth and control to shape a story’s look with intent.
- Nucoda for restoration — frame-by-frame precision when the material demands it.
- DaVinci Resolve for online and finishing — fast, reliable delivery without cutting corners.
Full surround sound monitoring rounds out the room, so picture and sound are judged together, exactly as they’ll be experienced.
EDIT
And When It Comes to the Edit
For long-form work, I lean on Avid Media Composer — it’s the one built for the punishment of huge footage counts, real collaborative editing, and slotting cleanly into bigger facility workflows. When a project has scale, Avid just holds up.
Resolve, FCPX, and Premiere are all on hand too — not as afterthoughts, but because handovers happen, collaborators have their own workflows, and finishing shouldn’t care what timeline it started life in.
facility
Documentary shooting kit
Capturing stories cinematically.
My gear is chosen for one thing: capturing cinematic images and sound when conditions are working against you. Faraway locations, unpredictable access, situations that aren’t exactly safe — the kit has to keep up without slowing me down.
That means quick to deploy, flexible enough to adapt on the fly, and reliable when there’s no second take. If the story demands I go somewhere difficult to get the shot, the gear shouldn’t be the reason I can’t.
camera kit
CAMERA BODIES
- ZCAM F6 full frame 6k camera
- ZCAM E2 MFT 4k camera
(PL Mount / EF Mount) - Leica Q3
LENSES
- Ancient Optics Phenix 28-70 T2.7 Cine Zoom
- Fast Vintage Nikkor cine-modded set 15/18/24/35/55/58/85/105 / 135mm
- Sigma 18-35 F1.8 Zoom
- Tokina 11-20mm Zoom
ACESSORIES
- SmallHD Cine & ATOMOS Ninja V monitors
- Sachtler + Miller Fluid Head Tripod
- Bright Tangerine mattebox + vND
- Tilta mini follow focus
- V-Mount power system
- Tilta Nucleus Nano wireless follow focus
- DJI Directors Wireless video TX&RX kit
Download producer ready kit list here.
audio kit
- Sound Devices MixPre-6 II recorder
- Schoeps MiniCMIT Boom Mic
- CINELA cosi Blimp Windshield
- ZOOM F3 for ORTF Ambient recording
- RODE GO 2 Wireless System
- 3m Carbon Boom Pole
- AKG Studio Headphones
- In-Ear monitors
light kit
- Westcott 1’x1′ LED Mat (grid + diffuser)
- Westcott 4×8 frame (Neg fill / 1 stop diff / reflector)
- Westcott Flexifill kit
- Sunswatter 4×6 diffuser
- C-Stands
- Shot Bags
- Boom poles / Clamps / Suction Mounts