Marc Levy is a Director, Producer, Cinematographer, and Editor who co-owns Indigenous Films, which makes documentary and commercial projects all over the world. Recent work includes an Emmy-nominated series for NFL Network called “Undrafted”, a robust slate of intimate sports and culture documentaries for Red Bull, ESPN 30 for 30’s, and well as commercial projects for Toyota, Dell, Subaru, AOL, Intel, and The Honest Company.
Indigenous Films is a duo (Levy is joined by Marc Salomon) that specializes in documentaries, features, and commercials. To see Indigenous’ work, visit their website.
KWIPPED recently asked Marc of Indigenous Films –a KWIPPED supplier—what tools they love to use for filmmaking. Levy’s list is quite impressive, ranging from high dollar items to less expensive ones. Each piece of equipment Indigenous Films chooses is uniquely tailored to their needs and experiences and expands the imagination of filmmaking.
In this post, Marc highlights each of his picks and discusses what makes them special!
Indigenous Films’ Filmmaking Toolbox
“We [Indigenous Films] love it because it’s the perfect camera for so much of what we do—documentary content shot in a cinematic style. This camera shoots up to 180 frames per second internally, has a ton of latitude (which means it produces a film-like image) and unlike many cameras that have similar capabilities, it is built for rugged run n’ gun shooting, with XLR inputs, TC in and out, and every other broadcast input/output capability a doc shooter would need. Our F5 has been all over the world, from Los Angeles to Tahiti to Japan.”
“As directors who feel that the visual story is integral to a well-told story, it is imperative that we see what we’re shooting at all times, whether or not we’re the ones behind the camera. The Teradek Bolt Pro enables us to do just that, without being tethered by cables. Whether we’re shooting an NFL game, a big-wave surf session, or an emotional personal moment, we get to experience all of it first-hand (even if we’re not in the same room as the cameraman), which means we get to make sure we’re keeping a pulse on the story.”
“Shooting projects around the world, our main focus is to capture the story as intimately and personally as possible. With this in mind, we travel light, and we shoot light. Much of the time, we’re single camera/single operator, with everything we need fitting into one backpack. The two lenses that we use more than any other are the Canon 24-70mm f/2.8 II and the Canon 70-200mm f/2.8 II IS. These lenses are crisp, bold, elegant, and easy to operate. We pull our focus by hand, without the need for bulky follow focus kits getting in the way, and they yield imagery that, in many ways, is superior to images produced on lenses that cost 8 times as much.”
Do you agree with Marc’s choices, or do you disagree? Let us know in the comments!
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