Category: In The Field

ARRI has recently unveiled the ALEXA 265: a brand-new 65mm camera designed for compact shooting without sacrifices to image quality. One of the practical applications that ARRI used to demonstrate the power and versatility of the ALEXA 265 was a car shoot with cinematographer Krystian Winszewski, shooting some classic Ford GT40 sports cars.

We had lent the team our flagship Prodigy Air Deflector for the shoot, having collaborated with Winszewski before. With the production taking place at the Wroughton Science and Innovation Park in Swindon, the Prodigy didn’t have to travel far from our Surrey base.

Jon Wetherall, the 1st Assistant Cameraman for the project, caught up with us after the shoot to discuss the particulars of capturing sports cars, and what it was like working with this brand-new cinema camera.

“The new ALEXA 265 is an absolute powerhouse. As with most ARRI cameras, it remains simple and intuitive to use due to ARRI’s commitment to consistent design and user-friendly interfaces. It’s really remarkable that they got the 65mm sensor in such a small and lightweight body – a fantastic camera to work with!”
– Jon Wetherall

Shooting racing footage like this is a challenge even with cameras as powerful as the ALEXA 265, as there are a lot of moving parts – literally. Wetherall explained just some of the factors that they have to consider when creating fast-moving car content:

“There are numerous challenges to tackle, including properly rigging the cameras, maintaining stable wireless signals, and working in the cramped confines of the tracking vehicle — where, as the focus puller, I’m often stationed in the boot. The cars rarely maintain a consistent distance, constantly moving closer and farther away.

This forces me to make quick, strategic decisions about which part of the car to keep in focus — sometimes it’s the driver, other times it’s the nose or another critical element of the vehicle. Also, knowing what is happening around you, as we were shooting multiple cars, it’s not always clear where the next car is until it appears in the frame, so trying to judge when and where to change focus isn’t easy.”
– Jon Wetherall

For those unfamiliar with the Prodigy, it is our bespoke lens-clearing solution, designed to keep your image free of interference. Our patented system uses compressed air fired at over 300mph; blasting away moisture, dust and debris from your camera’s front element.

Fortunately, Britain’s notoriously unpredictable weather didn’t spoil the shoot; but Winszewski and Wetherall still needed to protect their shots from stray dirt kicked up by the speeding cars. Though we primarily market it as a rain deflector for extreme conditions, this is another crucial way in which the Prodigy protects your visuals.

“Knowing that the Prodigy is mounted on the front of the lens provides peace of mind, as it significantly reduces the need to constantly clean the lens from dust, dirt, or debris. This not only saves time on set but also minimises the risk of scratching or damaging the lens.”
– Jon Wetherall

As the ALEXA 265 and its accompanying anamorphic lenses were shuttled from Steadicam to low-loader and even to a drone, the Prodigy was on-hand to insure against interference in every shot.

Though the ALEXA 265 is a rental-exclusive, you can keep a Prodigy Air Deflector for yourself using the link below.

Try Before You Buy

Alternatively, several rental houses stock the Prodigy Air Deflector, so you can take it out as and when you need it. If you want to test the protective power of the Prodigy, here is a list of our affiliated dealers across Europe and the USA:

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Project Zero is a carbon-neutral documentary exploring the effects of our shifting climate from Pole to Pole. Recently, that journey took them to Iceland: enduring the highest Highlands to the lowest temperatures.

As we recently explored in Alex Stone’s Castle Crozier project, extreme conditions necessitate reliable gear – especially when you have to carry it all on horseback, or your own back. The Project Zero team turned to Bright Tangerine for help, taking a number of our best camera accessories on their Icelandic expedition. We caught up with them to explore their process for this odyssey.

Words by Kitalé Wilson. Images by Dom Gould, Kitalé Wilson and Vincent Tran.

Documentary filmmaking is undergoing a revolution: shifting toward more immersive and emotionally resonant storytelling. These narratives have the power to transport audiences, placing them directly into the heart of real-life experiences. But this movement demands a new level of adaptability and intention from cinematographers and their teams. To tell moving stories, we need to move—physically, emotionally, and creatively—staying present and prepared for whatever the story demands.

I’ve never consciously analysed my approach to shooting documentaries, as most of it has been a gradual progression shaped by trial, error, and plenty of exploration. But on a recent shoot in Iceland, working alongside my frequent collaborator Dom Gould, we decided to take a step back and reflect on how we approach filmmaking. As emerging filmmakers contributing to the growing movement of vérité-driven cinematic stories, we felt it was the perfect time to evaluate and refine our process.

Here are some of our thoughts, lessons, and—at times—ramblings about what it takes to bring these stories to life.

Enter with Intention

Documentary filmmaking is an ever-evolving journey, especially when faced with the unpredictability of extreme environments. Whether braving icy tundra or scorching deserts, entering each shoot with clear intention is vital. By focusing on the story’s heart and trusting your preparation, you create space for authentic, unplanned moments that bring your narrative to life. Bright Tangerine gear is designed to support this approach: offering reliable tools that perform under pressure, so that you can focus on capturing the extraordinary.

Every shoot begins with crafting a brief visual mantra to guide our cinematography. This mantra becomes our compass – printed on small, pocket-sized laminate cards for easy reference. Each day, the entire creative team reviews this mantra: reflecting on whether we remain aligned with the shoot’s initial direction. It’s a simple yet powerful ritual that fosters unity and ensures that the visuals stay true to the story’s core, no matter the challenges we face on set.

Capturing Tone and Emotion

Unlike commercial or narrative shoots, documentary filmmaking rarely relies on detailed storyboards. Instead, Dom and I craft extensive visual boards categorised by the tone and energy of each shot rather than technical terms like “close” or “wide.” This approach was key during a recent shoot in Iceland, where we implemented the concept of “Energy Matching.” By aligning our cinematography with the emotional intensity of each moment—whether stepping into a gale-force storm to amplify tension or pulling back for a locked-off shot to evoke scale and peace—we invited viewers to experience the journey through our subjects’ eyes. The KASBAH Ātman Shoulder Rig was indispensable, allowing seamless transitions from shoulder-mounted immediacy to tripod stability, ensuring every shot served the story.

Efficiency in the Field

Efficiency is paramount in the field, where every second counts. For this documentary we were inspired to approach it with a more ‘shoot-to-cut’ ethos: an idea encouraged by renowned documentarian Werner Herzog. We kept our camera rig lean and purposeful – relying on the increased usability of the FX6 Plate Mk II and Mini Axl Arm. Gear selection plays a huge role, and the Misfit Kick Mk II allows us to quickly change filters and keep rolling, even in tough conditions. Staying organised is equally crucial: nothing derails a shoot faster than losing precious time searching for misplaced equipment. I’m exceptionally good at the searching part, still working on the organisation. At the end of each day, we dedicate 15 minutes to cleaning and organising our gear – to ensure we’re ready for the next.

Efficiency might seem like a term that is at odds with crafting a beautiful and life-filled story. But the two go hand in hand – technical limitations when shooting build creative freedom. A common mistake among budding filmmakers is carrying an overload of options. No matter the shoot, I rarely use more than three to four lenses for a scene, even if I have a larger set available. By deciding on focal lengths and their purposes beforehand, transitions become second nature. Need a wide shot? The 35mm is ready to go. Stepping in for a Photogénie close up? We have the 20mm already. This approach simplifies the workflow, keeping the focus on storytelling rather than technical hurdles.

The wonderful thing about art is that there is no blueprint. The thoughts and practices shared above are simply our individual findings—by no means a definitive guide. Break them, adapt them, or reengineer them to fit your own creative process. But above all else, let your approach always serve the story. Because in the end, it’s the story that moves us, connects us, and reminds us why we pick up the camera in the first place.

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One of the best practices to learn early is to invest in the best gear: for the sake of your shoot and yourself. But as a film student, that top-shelf quality is so often out of reach. When DOP Will Carswell reached out to borrow a Bright Tangerine product for an upcoming shoot, we were happy to help. 

Carswell and his fellow Film Production undergraduates at the University of Salford embarked on a project exploring life in the canal community, following a couple delivering fuel to the various houseboats that reside on the Manchester Ship Canal. They shot for nine hours as the team followed a day in the life of their subjects.

With few convenient places to mount a tripod, the team relied mostly on handheld footage. In order to maximise convenience and comfort for the long shoot, Carswell turned to the KASBAH Ātman Shoulder Rig.

“We filmed from 8am to 5pm, which required a shoulder rig that could offer comfort for hours due to our long shooting sequences, where breaks weren’t always feasible. The Bright Tangerine KASBAH Ātman Universal Shoulder Rig met these needs and was very comfortable to use: minimising strain on my body and enabling me to capture shots that would likely be unattainable with a different shoulder rig.”
– Will Carswell

Using a minimal run-and-gun setup with the Canon C200, paired with Sigma’s 24-70mm and 70-200mm f/2.8 Art lenses, Carswell’s setup was lighter than most – but by no means was it featherweight. Just as equally as you can pick up harmless habits as a film student, poor-quality gear can lead to harmful ones. The Ātman’s light build ensures a steady balance of weight, and the ergonomic resin-matrix shoulder pad helps contour to your arm muscles. This allowed Carswell to focus on his shots, not his shoulder.

Though the documentary has moved from the cut to the cutting room, you can check out some of the behind-the-scenes shots of the Ātman in action here:

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Even on a good day, filmmaking is an industry fraught with challenges. Every stage of every setup can have dozens of issues – and that’s without factoring in the environment. We caught up with Alex Stone: a Manchester-based creative, whose Castle Crozier project has pushed our gear – including the Prodigy Air Deflector – to the limit. He has just returned from his latest recce in a remote Norwegian town in preparation for shooting his passion project.

Castle Crozier is an ambitious endeavour: a long-form multimedia biopic – consisting of a miniseries, a book and a short film – that tell the infamous tale of the Terra Nova expedition to Antarctica led by Captain Robert Falcon Scott.

I’ve been a filmmaker for many years now, and I specialised somewhat in outdoor filmmaking. My production company is part of the Outdoor Industries Association, and at one of their annual events, the key speaker was a polar explorer – Ben Saunders – who tried to retrace the steps of Captain Scott’s expedition. Nobody had attempted what he did – walking to the pole and back from the coast of Antarctica, but he and a friend did that.

Ironically, they got pretty much as far as Scott did before having to radio in supplies. So even with modern gear and technology, they would have suffered the same fate as Scott.

Though most are at least passingly aware of the story, the true scope and impact of the Scott Expedition is still not widely known – something Alex wants to change.

It occurred to me that I knew a little bit about Scott – he was that guy that went to the Pole, died coming back – but I didn’t really know much more than that. I think that’s pretty much the extent of most people’s knowledge, but as an outdoorsman, I felt like I owed it to him.

I meant to understand better the achievements that he and his team set out to do. And even just reading the Wikipedia article on the expedition, it was very quickly evident that there is so much. These are absolutely insane tales of human endurance in the face of overwhelming odds. And they’ve just been overshadowed by Scott’s untimely fate. I think that’s what set me off: I just thought that people needed to know about this and I wanted to share those stories.

I never set out to be a director or a writer. I’m a cinematographer, but I wasn’t going to wait around for someone else to start the project and by chance ask me if I want to shoot it or anything like that. I was compelled to tell that story.

It has been four years since Alex embarked on this journey, and progress has been steady. This most recent recce was his fourth, focused on shooting the location’s landscape and stress-testing the cameras. Filmmaking is an endurance sport, as the saying goes, and even the most seasoned shooters can’t simply pick up the camera and create a multi-hour epic. Before the series and book, Stone’s first project under the Castle Crozier umbrella is a short film: focusing on the first part of the 1911 excursion, which was appropriately dubbed The Worst Journey in the World by one of the survivors, Apsley Cherry-Garrard. Stone plans to shoot the short in February 2025.

I’ve already booked the cast and crew’s flights, and they’re non-refundable, so I’ve got to make it happen one way or the other [laughs]. I’m still trying to finalise all of the pre-prod, get the last few props finished, all that kind of stuff, ready for February when we go out there for real and do the shoot.

The flights are to Norway, as the film is shooting in the country’s highest town: Finse. You may recognise Finse from The Empire Strikes Back, where it doubled as the location of Echo Base on the icy planet of Hoth. It also has a tie to Scott’s cinematic history, as it has already served as the stand-in for Antarctica in the 1948 adaptation Scott of the Antarctic. Those are some big snowshoes to fill – and wouldn’t it just be easier to shoot on a soundstage?

I don’t think that the project warrants undertaking if you’re not going to do it for real. It doesn’t convey the enormity of the journey. It could be done on a green screen or in a studio, but I think audiences will tell that it’s fake.

If you take actors into these conditions – granted, it’s not as cold as the true story – but it’s cold enough that they don’t need to act cold. I think that goes a long way for getting the production value up.

It sets both a precedent and a challenge for Alex and his team in modern times. Though digital cameras with fewer mechanical components don’t need to be acclimatised to conditions as film cameras of old did; the shoot still threatens to wreck Stone’s essential camera gear. It has been a learning curve, with Stone walking away from every location scout with something new to consider.

Every trip I’ve been on has been more than worth the expense getting out here. Being out on site in the actual conditions really helps you work out what kit works and what doesn’t – and what sort of concessions or accommodations you need to make. The grease in lenses gets very thick, so the zooms and the focus rings get very hard to turn in the cold – but it’s true for any grease, say, in a tripod or even your viewfinder bracket.

Every time you go, you learn a bit more and learn how to do things better, what works, what doesn’t. And you push yourself a bit more. I think every trip I’ve been out there, I’ve gone further and got colder and really pushed the limits of both the kit and myself, because I know that I’m going to be doing that and more on the actual shoot.

Follow the Castle Crozier project’s progress on Patreon

Shop the Prodigy Air Deflector, Axl EVF Mount and the LeftField 3 range today.

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The Florida Panthers, ice hockey champions and holders of the coveted Stanley Cup, are any content creator’s dream team. As the reigning champions, you not only get to shoot high-profile trophy winners, but the trophies themselves. So when DP Bill Kerner and his crew set out to shoot promotional content for this top team, they turned to Bright Tangerine to help construct their rig. We caught up with Joe Nicklo, camera operator for the shoot, to hear how our products supported them to create the perfect camera setup.

Shooting on the RED Komodo with an ARRI Alura Fujinon 18-80mm T/2.6 lens, the team’s heavy camera-lens combo needed to be securely supported. Nicklo explained what he used – and why he needed to use it:

“I chose to go with Bright Tangerine products to build out this camera package because I know that I can trust their quality and durability.

Using heavy, expensive glass means that I need to support that lens — and with the Komodo having a native RF mount, I needed to use the Metabones PL adapter. The Bright Tangerine Support Bracket for the PL adapter ensured that there was no play or wiggle in the lens mount. Taking the support a step further, I went with the Bright Tangerine Marr 19mm Lens Support. I also used the Kasbah handle to provide additional grip for controlling the camera on the O’Connor head.

Rounding out the rest of the camera build was a Misfit Kick matte box with a 135mm Frame Safe Adapter, the BT cage and baseplate system with 19mm studio drumsticks and my trusty Titan Arm to support the Small HD monitor.“

– Joe Nicklo, Driven Films

The shoot was part of the Panthers’ promotion for the upcoming season, to be used as part of the team’s video content for home games and broadcasts. Kerner and the team shot short-form video of top team members such as Sam Reinhart, Aleksander Barkov and Sergei Bobrovsky; as well as the Stanley Cup itself.

Behind-the-scenes images courtesy of Joe Nicklo, Driven Films.

Check out the final promo and some still frames from the shoot below:

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