What Camera Gear Does Bryce Adams Director Of Photography Use?

After bingeing his behind-the-scenes reels and dissecting a few of his credit rolls, I got a pretty clear picture of what Bryce Adams gravitates toward when he's crafting that cinematic, tactile look. He often leans on ARRI gear as his backbone — think an ALEXA Mini or ALEXA Mini LF for narrative shoots where skin tones and latitude matter most. For tighter budgets or run-and-gun music-video days, he’ll swap in a RED KOMODO or a RED V-Raptor to keep the package small but still give him raw files he can push in color.

Lenses are where he really shapes mood. I’ve noticed a preference for Cooke S4/i and Zeiss Supremes when he wants clinical sharpness with pleasant roll-off, and he reaches for vintage anamorphics — often atlas or Hawk lenses — when the project calls for creamy flares and cinematic oval bokeh. He mixes primes and zooms depending on blocking, but primes are his go-to for controlled depth and texture. To accentuate highlights and soften digital edges he’ll toss in Black Pro-Mist or ND/softening filters from Tiffen.

His support and accessories read like a modern DP’s toolkit: Ronin 2 and Freefly systems for dynamic gimbals, a solid set of rails and a Tilta cage for handheld stability, and Teradek Bolts for clean wireless video on set. For focus pulling, I’ve seen both ARRI WCU-style wireless units and Nucleus-M setups depending on the grip team. On the monitoring side he uses Atomos recorders and high-bright field monitors for checks, and he shoots a lot of Log/RAW to preserve latitude — those files then head into DaVinci Resolve for grading.

Lighting and workflow round out his look. He favors ARRI Skypanels for controlled soft sources, Aputure 1200/600 for punchier LED work, and Kino Flos or practicals when he’s dialing flesh tones. Batteries and power are V-mount heavy, and he’s big on LUT-driven dailies so directors can preview the intended vibe on set. All told, his kit feels like the sweet spot between cinematic intention and practical mobility — it’s geared for storytelling without getting precious about gear. I always leave one of his BTS videos scribbling down lens choices and thinking about how to steal the next look for my own shoots.

When I dig into Bryce Adams’ kit from a different angle — more like a long-time indie filmmaker who notices recurring choices rather than cataloging every camera — what stands out is consistency in intent rather than brand loyalty. He opts for systems that give him flexibility: ARRI ALEXA bodies when the project needs skin-tone fidelity and highlight roll, RED bodies when he needs frame rates and raw pushing for stylized work, and Sony VENICE on larger studio jobs where sensor size and color science matter.

Lenses and glass are his language. He mixes Cooke and Zeiss primes for clean, dependable looks, and he isn’t shy about pulling out anamorphics when composition and flare become characters themselves. For lighting he balances modern LEDs like Skypanels and Aputure with traditional fixtures to maintain texture. His camera support — gimbals, drones, and a reliable follow-focus and wireless kit — lets him chase motion without sacrificing precision.

What I appreciate most is his workflow discipline: shoot LOG/RAW, use tasteful LUTs for on-set previews, and hand clean, organized media to a colorist who brings the final palette together. It’s less about flaunting rare gear and more about picking tools that serve the shot, and that pragmatic taste shows in the finished frames. That practical elegance is what keeps me watching his work over and over.