Jason Van Haverbeke is a New Orleans-based visual effects supervisor and veteran data wrangler with a career that started as a production assistant working in New Orleans. He has grown his career to include work on blockbusters such as The Marvel Avengers franchise, Dawn of the Planet of the Apes, and most recently as VFX Supervisor and Lead Data Wrangler on Disney+/Lucasfilm’s The Mandalorian. 

Today, Jason is opening up his VFX kit for us to discuss the on-set tools that enable him to make sure the creative vision for any shot has the hardware to match it.

Jason’s Camera Box rental inventory:

Cameras

• Canon 5D Mark III
• Canon EOS 6D
• Sony Alpha a7 II with 28-70mm lens

Jason, could you elaborate on which cameras you use for which type of shot, and which camera you gravitate towards using most frequently?

My Canon 5D Mark III is my workhorse. It’s always built out on a tripod with Nodal Pano head ready to capture HDRs, or with the quick change of a lens panos, plates, and stabilized high-quality sharp textures. The EOS 6D is my handheld quick reference camera, normally with my prime 24mm lens on (wide enough in tight shooting spaces to capture setups without too much distortion). I use this to capture camera setups, fast photogrammetry of props, actor makeup or wardrobe – truly anything in the moment that I feel could help (an) artist in post with accomplishing the shot. My Sony A7II is my witness camera and backup reference camera.

What do you like about the Canon Mark III as opposed to the newer Mark IV?

Let me start by saying both the Canon Mark III and Mark IV are great cameras and can do the job easily. For me, it’s just a preference. Set life, especially for a VFX team, is not always ideal. It’s hot, cold, raining, dusty, etc. You find yourself for hours away from cover, your gear cases. The window to capture what you need is tight and you have to be ready. The Mark III is a tank, it’s rugged and can survive these conditions. One fully charged battery can last all day with the camera always in standby mode, which means I can set my camera up and go. The file sizes aren’t as large, so the read/write time on cards doesn’t lag or need to catch up. And taking hundreds if not thousands of photos a day – those little extra seconds add up. For me, it’s all about time and being ready.  

When it comes to the combination of practicality, technical value, and budget, which camera has the best combination of all three?

For me, it’s my Canon Mark III. Again, it’s my workhorse and in a pinch could do an entire show with just that.

Lens

• Canon EF 50 mm 1:1.4
• Canon Macro EF 100 mm 1:2.8
• Canon EF 24mm 1:2.8 IS USM
• Canon EF 28mm 1:1.8
• Canon EF 35mm f/2 ($549)
• Sigma Fisheye 8mm f/3.5 EX DG Circular

You understandably carry an eclectic entourage of lenses with your cameras. This includes several sizes of wide-angle lenses made by Canon. Do you have a go-to?

Every lens in my kit serves a purpose. The 8mm (for) HDRs, the 100mm for textures and detail, 50mm: photobooth and panos. So I do not know if I have a true go-to, but I’d say the 8mm and 24mm are must-haves in your kit.

The “Nuts and Bolts”

• Nodal Ninja Advanced Rotator RD16-II
• Nodal Ninja Advanced Rotator RD5
• Nodal Ninja Lens Ring V2 for Sigma 8mm
• Nodal Ninja NN6
• Nodal Ninja adjustable tilt head 
• Nodal Ninja Rd3L EZ Leveler
• Manfrotto 055XPROB pro tripod (X2) 
• Manfrotto 322RC2 Joystick Head 
• 58mm CPL filter 
• 58mm UV filter
• 58mm Macro 3 filter optic panoramic tripod head
• Lacie 2TB external drive

Jason’s On-set Kit

• Apple 10.5 iPad Pro
• 10” 50/50 Chrome and Grey VFX Ball
• X-Rite Color Charts
• Leica Disto D2
• Allstar Performance digital Smart tool leveler 
• Bushnell 4x20mm Laser Rangefinder
• Bosch GLR825 laser distance measurer
• Service cart

Your on-set kit includes a diverse array of accessories each with a specified function relating to lighting, color, etc. Which of these do you find yourself utilizing most frequently, and which do you feel has the largest impact on your workflow in real-time?

Outside of the camera gear, the tool I use the most that is a must would be my Disto.  Being able to get fast accurate measurements without interfering with the shooting crew – not only is important but will turn you into a rock star. Not listed in my kit but some advice: make sure you keep a good old-fashion tape measure and notepad with pen in your kit.  Nothing will impact your workflow (more) than the limitations of gear, dead batteries, too bright/can’t see laser, etc. Having this as a backup – you can get the info and document it cause you won’t get a second chance. 

From a personal “I really love this” perspective – which tool do you find yourself treasuring each time you use, whether it’s for its efficiency or maybe something like, you just really enjoy using it?

Recently I purchased the new Bosch BLAZE 400-ft Outdoor Laser Distance Measurer.  It’s rugged, battery life is great, has a screen so I can measure long distances in daylight, built-in level, and a ton of other bells and whistles. Most important though is it won’t break the bank to add to your kit. I recommend looking into it or one similar.

Thanks to Jason Van Haverbeke for sharing his expertise and immersing us in the composition of his VFX kit. Jason is currently working in post-production on the fifth and final installment of the Indiana Jones franchise, Indiana Jones and the Dial of Destiny, which will release theatrically on June 30th, 2023.