Nate Galluppi's Dallas Gear Rundown: Every Camera, Lens, and Light in His Kit

Nate GalluppiJuly 20, 2026

TL;DR

Nate Galluppi has been our Managing DP in Dallas for years. Here is every single piece of gear in his kit — and the story behind why each one is there.

People ask me about my kit all the time. Usually it is right after they see me unload the truck and their eyes go wide. "You carry ALL of that?" Yes. Every piece earns its spot.

Here is the full rundown of what I roll with on a typical shoot day in Dallas — and why.

Cameras

My primary camera is the Sony FX9. Full-frame, dual base ISO, incredible color science, and the electronic variable ND is a lifesaver for run-and-gun work in Texas sun. When I am shooting interviews indoors and then stepping outside for B-roll 10 minutes later, I need a camera that can handle that transition without swapping filters or losing my settings. The FX9 does that better than anything else I have shot on.

My B-camera is the Sony FX3. Tiny, lightweight, and shoots the same color profile as the FX9 — so when I am cutting between the two, the footage matches. I use the FX3 for gimbal work, tight spaces, and any situation where a full-size cinema camera would be overkill or physically impossible.

Lenses

I carry a range that covers everything from wide establishing shots to tight interview close-ups:

Sony 16-35mm f/2.8 GM — My wide lens. Architectural interiors, establishing shots, and anything where I need to show the full scope of a location.
Sony 24-70mm f/2.8 GM II — The workhorse. This lens lives on the camera for 70% of the day. Versatile enough for interviews, B-roll, and walk-and-talks.
Sony 70-200mm f/2.8 GM II — Compression, shallow depth of field, and reach. Sports events, stage shots, and any time I need to isolate a subject from the background.
Zeiss Batis 85mm f/1.8 — My portrait lens. When the interview needs to look cinematic and the background needs to melt, this is what goes on.

Lighting

Texas has some of the best natural light in the country — and some of the harshest. My lighting kit is built to handle both:

Two Nanlite Forza 300B — Bi-color, powerful, and controllable. These are my key lights for interviews and my fill lights for larger setups. The 300 watt output means I can overpower window light when I need to.
One Nanlite Forza 60C — Full RGB for accent lighting and practicals. When the background needs a splash of brand color, this is the go-to.
Two Aputure Amaran 200d — Daylight-balanced workhorses for fill and background separation. Light, compact, and dead reliable.
Assorted modifiers: Softboxes, grids, diffusion frames, flags, and bounce boards. Shaping light is where craft lives — the fixtures are just the starting point.

Audio

Even though most of my multi-person shoots have a dedicated audio tech, I always carry a backup audio kit: Sennheiser wireless lavs, a shotgun mic, and a portable mixer. On one-man-band days, I am my own sound department, and there is nothing worse than getting back to the edit bay and discovering your audio is unusable.

Support & Movement

DJI RS3 Pro gimbal for stabilized movement. Sachtler tripod for interviews — rock solid, smooth pan and tilt. Slider for subtle reveals. And yes, the gear cart that has become my nemesis on carpeted hotel hallways.

Every piece in this kit has been field-tested on hundreds of shoots. Nothing is here because it looks good on a spec sheet — it is here because it solved a real problem on a real production day.