All of my equipment is top-of-the-line — the same gear used on $100M Hollywood features. Renting this same equipment separately from a gear house would cost upwards of $600 a day.

At the heart of the operation is the amazing Sound Devices 788T 8-channel portable hard-disk recorder — powerful enough for a studio feature but portable enough for run-and-gun applications.

The 788T's spectacular mic preamps deliver full, crisp, noise-free audio. The unit's automatic file-naming convention means no more searching through DAT tapes or globs of files with names like "file01.wav". At the end of the day I can deliver files clearly labeled by scene and take number, saving you hours or days in post-production.

If needed, I can deliver a reference line to the camera or video village and/or provide headphones for the director to monitor.

My main boom mic is the industry-standard Sennheiser 416. It's mounted on a Rycote shockmount on top of a K-Tek carbon-fiber boom pole with an internal cable. The system's light weight and excellent shockmounting mean a less-fatigued boom operator, fewer boom hits muddying the dialog track, and fewer boom dip-ins ruining the shot.

Rounding out the boom package is a Rycote wind kit with foam windscreen, blimp, and dead cat. Light layers mean I can choose the most appropriate amount of wind suppression for a given situation and preserve the best sound quality. I've used this system to record in 60mph winds without a problem.

I also own a matched pair of Audio Technica AT4041 cardioid condeser mics, perfect for recording stereo FX or ambiences, or as a boom mic for dialog in certain situations where the short shotgun isn't appropriate.

I own four complete wireless lavalier microphone systems. Two high-end kits each include a Sanken COS-11D — another industry standard for film and video applications. It's the best-sounding lavalier mic in the world, but its tiny size allows it to be hidden easily on an actor, prop, or piece of set.

The Lectrosonics SM Digital Hybrid Wireless® transmitter is similarly small and easy to hide, but coupled with the Lectrosonics UCR411a, it forms an interference-free digital link over an impressively long range. If you are used to cheap wireless systems and the problems they cause, you will be very impressed with the pristine quality of the audio that arrives at the recorder with the Lectrosonics systems.

I own two additional wireless systems for multi-character scenes or for wireless monitoring for the boom operator and/or video village.

In addition, I have miscellaneous odds and ends collected over the course of 20 years — mics, cables, batteries, stands, headphones, adapters, etc. — that let me do my job quickly and efficiently and with maximum flexibility to adapt to any situation.