I have used all of the following gear, some I own, some has come from rental companies.
As soon as the C300 was announced from Canon, I put in my order for one. Super 35 mm chip full broadcast spec HD. Great camera that solves all of the issues inherent with DSLR shooting.
After owning a Sony F900 and a DVCAM 450 I was keen to try something new. I had used the 5d mark2 several times and fell in love with large sensor cameras. As soon as the 7d came out I had to get one.
Redrock Cinema Rig
The redrock rig converts the 7d / 5d from a stills camera into a usable video rig. It has a separate follow focus unit and you can mount an external HD monitor for correct focusing. This is essential for any handheld work especially with shallow depth of field. The rig can be mounted on a tripod, saving time when switching between shoulder and tripod. I use a scaled down version of this for handheld work with the Canon C300, which you can see more of here.
Miller Arrow Tripod
Good fluid head on this tripod. Same design as Satchler similar to the V18 or V20, although slightly cheaper. This is a full size tripod, which I find useful even when shooting DSLR as the weight soon mounts up when you start adding large lenses, shoulder rigs or sliders. This tripod is easily strong enough to deal with that kind of pay load.
Miller DS20 Tripod
This is a very light weigh tripod with thin carbon fiber legs, perfect for run and gun shoots. The head is still very good and can handle a payload of up to 10kg. Can also shoot from a very low position, which makes it very useful to have around.
Glidetrack Hybrid Slider HD (1 meter)
Sliders or "pocket dollies" are a great addition to the HDSLR and C300 kit. They sit on flat surfaces, at ground level, or on the tripod head making them much quicker to set up than traditional dollies.
This one uses a combination of sliding and rolling barrings, for smooth and quiet moves.
Canon EF 70-200mm 2.8 L
This is a great lens to use: really fast 2.8 through the range, good optics, very sharp. It is a great interview lens for TV work as you don't have to be too close to the subject, making them feel uncomfortable. It also has plenty of range, so you can switch between, wides, tights and mids in the interview, making the editor's job easier.
Canon EF 24-105mm 4 L
I have a slightly strange relationship with this lens, on the one hand it is has a bigger range than any other lens in the Canon EOS range (4.38) which makes it ideal for run and gun, but at f4 it is slower than I would like. If you shoot quick turn around, run and gun shoots, then this is a must have. It is rock solid and weather sealed as you would expect from an L series, and best of all it is imaged stabilized. As for me, I don't own one, as I'd prefer to shoot at 2.8f and just put up with changing lenses more often.
Canon EF 24-70mm 2.8 L
This is another essential bit of kit (together with the 16-35 and 70-200). Rugged lens, nice and sharp, fast at 2.8f through the range. Unfortuneately these lenses aren't imaged stabilized, but you can't have it all.
Canon EFs 17-55mm 2.8
Great all rounder. 2.8 through the range, so fast, nice depth of field and good in low light. This is part of the EF-S range meaning it is built for cameras with a crop factor of 1.6 and higher. This will work great on a 7d and will just about work on a Canon C300 / C100 but won't work on Full frame 5ds etc.
This lens is part of the essential package if you are shooting on a full frame camera such as a Canon 5D, 1D etc. 2.8f through the range. Good solid wide angle.
Sigma 18-35mm 1.8f
An insainly fast zoom lens that came out pretty recently. I haven't every seen a zoom lens as fast as 1.8 before, and I am fairly sure this is because they don't exist. These lenses are aimed at cameras with Super 35 sized sensors, so if you are shooting on a 1d or a 5d full frame camera, then this one isn't for you.
The fastest and sharpest ultra wide lens for the Canon 7d or Canon C300. Great for shooting impressive interior shots of grand buildings or wide establishing GVs when it is impossible to get far way enough for the building to fill the frame.
If there is one prime lens that you absolutely have to have it is a 50mm. These also tend to be really good value for money, possible because they are so popular that they manage to sell lots of them, I don't know, but anyway for a small amount of money you can get yourself a really nice fast 50mm lens. Once you have a 50mm, you'll want a 35mm and so on and so on - it is an expensive addiction, but a good one.
Canon EF 50mm 1.8f
As far as value for money goes, this lens is pretty exceptional. At 1.8 it is still plenty fast enough for shooting video to my mind (although I own a 1.4 I pretty much always stop it down a bit and don't shoot much wider than f2. The only downside of the lens is the manual focus ring. I am sure it is fine for photography, but if you want to shoot video and you can afford it, I think it is better to pay a bit more and get the f1.4 below.
Canon EF 50 mm 1.4
Beautiful looking lens when you need really shallow depth of field. Fantastic bokeh, which it is really highly rated for despite its very reasonable price. Macro facility is also pretty decent, so great for getting close detail.
Canon EF 35 mm 1.4
I love shooting on a 35mm lens, particulary on a Super 35mm chip camera like the C300/7d/Sony F5 etc. I find it has a great field of vision for handheld work. As in the examples above, there are a couple of options here, depending on how much you want to splash out.
Canon EF 35 mm f2
This is a cheaper and slightly slower version of the lens above. Very similar in build quality to the 50mm 1.4 that Canon make.
Canon Extender 2x
This extender doubles canon L series lenses meaning the 70-200mm lens becomes a 140-400 mm lens. (When considering the crop factor of 1.6 on the Canon C300 this makes the maximum focal length of 640mm). This light and small, so a useful addition to most shoots. The only down side is losing 2 stops of light. I always have this in my lens box, just in case.
Canon Macro Extension
A really handy extension to have for extreme detail and close up shots.
Carl Ziess Compact Primes
These are great lenses in a very tough housing. On the plus side they are manufactured for filming using, unlike stills lenses which are obviously aimed soley for people taking photos. The plusses of these lenses are numerous: they have an iris ring, a large focus throw, acurate distance markers (great when you have a focus puller) and they are available in EOS or PL mount. Read more about Manual iris lenses
These are great lenses, however, it is worth being aware of a couple of things, 1) they are pretty heavy compaired to stills lenses, so if you do a lot of handheld work with a small camera, it could be an issue. 2) The focus throw is huge, this is a good thing in certain situations as it makes acurate focusing easier, although in some situations it can be difficult to pull from infinity to macro whilst shooting hand held.
Carl Ziess ZF lenses
These lenses are great in my opinion. They have the same glass as the much more expensive CP2 range above, but in a cheaper lighter housing. Ziess lenses are increadibly sharp, have great colour rendition and are very well housed for a stills lens. There are two options to consider here, either the ZE EOS mount, which focus the "normal" canon way, or the ZF Nikon mount which focus the other "Nikon" way. The great thing about the Nikon mount is that they have a manual iris on the lens. The only thing is whether you can adjust to focusing the Nikon way.
Leica R 35mm F2 Summicron
I love this lens, it has fantastic optical quality, regarded by some to be the best stills lens out there. Has a distinctive look slightly different to more modern lenses. These lenses are pretty tricky to get hold of and can be found in a few specialist shops, or on ebay.
Lensbaby Composer Pro Sweet 35
Interesting effects lens, great fun to use. The font element can be tilted and swiveled to dramatically alter the focal plane. With the composer pro you can remove the effect lens at the front and add in different effects, such as fish eye.
TV logic 5.6
This is an amazing little monitor: incredibly light weight, battery powered and really high res at a full 1080 HD.
MO VFM 056 Monitor case for TV Logic
5.6 inches is a little on the small side for a director monitor, but for many situations it works out really well. I bought this portabrace bag and use my 5.6 monitor as a director monitor when shooting in confined spaces. It has even been down a London sewer, and still kept the monitor in good condition.
Small HD AC 7
I have used Small HD monitors many times and really like them. I ended up buying a TV Logic monitor myself as at that time I couldn't find a UK distributor, that said if you are based in the US, I would definitely look at Small HD. Not only are the monitors good, but there is a very useful range of accssories that go with them.
Zacuto Z Finder
Ideal for situations that require a small light weight camera rig.
More monitor and EVF comparisons here
Diva Lite 400
2ft 4 bank kino flo lights with day light and tungsten bulbs. Great soft light with a fader - perfect for interview set ups, quick and easy to use.
This is my go to key light for interviews, and has been for years. I have had this thrown on and off planes, into cars etc etc for years and it is still working great.
Dedo Light Kit
Dedo Lights with faders. Great for pinpointing interesting areas with accurate spot lighting. Good for hair lights or fill for an interview. Small and lightweight. Great for travelling.
NB If you buy the variety with power outputs attached to each lights in the UK, these will not work in the USA with 210V, so choose carefully.
Redhead Light Kit
Tungsten lighting kit. These things never break, I have had mine for years and they were pretty old when I bought them. Mine are 800w which is way more powerful than I usually need. Arri do a massive variety of lights with different power wattages.
Felini Click - Tecpro
This small light panel clicks onto the top of the camera for a great little top light. It has a fader switch so you can control exactly how much light you need. So much better than the old pag light.
MK 416 Boom Mic
Sennheiser MKH 416 mic extra XLR and windcovers. Also comes with lightweight carbon fiber boom pole.
Easy to use, decent range.
ECM tie mic
Reliable mic, great for setup interviews.
Records up to 4 channels on SD card. I rarely use mine now, but it is an essential bit of kit if you shoot with DSLRs
I typically fly quite a bit with work, so have hard cases for most of my gear. Peli cases are great for protecting equipment, and I also a few camera bags for carting lenses around in.
Peli case 1650
This is a great case, which I use to store huge amounts of kit it. It is a bit of a beast, so you have to be careful if packing it for a flight as you can easily over fill it and then have trouble with the weight. It is great for just throwing everything in and having one case to work from. It also has a good strong handle and wheels, making it easy to move around. As you can see from the inside shot I have a C300 camera, together with a monitor, redrock rig, and lots of lenses, batteries etc, and it all fits in pretty well.
Peli Storm IM2700
Smaller than the 1650, this comes without wheels and is a good size without being too heavy.
Lowe pro back packs
I have had one of these for years and it is still going strong. The paded deviders can be moved around when you change your kit or buy new lenses. They also come with great little pockets and pouches for things like batteries and cards. Although back packs are often useful as they are easy to carry about, my only issue with them as you have to lie them flat on the ground before you open them, unlike over the shouler messanger type bags. (My lowe pro also has a comparment for a computer, good if you also edit or need something to store footage on).
Lowe pro bag
When I first got my Canon C300 it took me a while to find a bag I could fit it in that wasn't huge. This is great as it is just big enough to fit the camera in with a lens on. There are also side pockets for lenses which you can arrange to suit your kit.