Broadcast quality video isn't using a consumer camcorder, but it still needn't cost a lot - Talent and experience are the essential ingredients.
Having experienced the very different worlds of high budget video shoots and small team 16mm documentaries, we have a thorough knowledge of what is necessary and what is superfluous, and how to foster the relationship that communicates what a client wants into media reality for a reasonable price.
We shoot in 16mm film, digi-beta, betacam SP and HD-cam, but we specialize in acquisition with pro equipment in the top value-for-money digital video formats: Pro-HDV and Pro-DV.
The video market has been riding a convergence of consumer equipment of increasingly higher quality and full-on professional equipment for much less cost every year. We have followed this bleeding edge voraciously, and positioned our own equipment package where we believe we can give you the best bang for your buck - current models ofnew technology professional material..
Currently we offer professional digital broadcast video in high definition (or standard definition) featuring the ground-breaking 3-chip, JVC GY-HD200 camera, with the upgraded 17x hi-end lens.
It's great lighting that makes a memorable picture though, our packages start with compact, efficient field lighting kits consisting of a softbox and a few fresnels, but we have well over a dozen specialized heads in house from a 2K Arri, down to 4 150watt peppers. We can set up small scenes in our studio, and set up cinematic lighting plots on location scaled to your needs.
Some say that spectacular audio will get you through a mediocre picture easier than the other way around. We don't care for mediocrity, so we haven't thoroughly tested that premise. We do have the highest quality wireless lavliere system available - simply because it is SO enabling not to fret over interference or inferior quality. Shotguns, wired lavalieres, stereo mics, music mics, voiceover mics? We got 'em.
The trick is in knowing what is right for the situation, and we understand field or studio capabilities which require less crew and get more and better work done in less time than traditional production houses that charge much more. (whew!)
In the end it is talented people who make a good product. I'd rather have Spielberg with a Pixelvision than a monkey with an IMAX covering MY projects.
The key to success is in years of field experience lighting sets and interviewing in depth, knowing when and how to get clear, natural audio, recognizing and achieving the objectives of a project, and maximizing available resources with complete coverage that will tell the story or recreate the experience for the viewer. It sounds challenging, but comes naturally with time.
Sean Adair's experience as a director of photography on hundreds of sets, and the producer and director of a wide variety of projects is the most valuable component of a productive shoot. His camera work has been shown in feature release films, on NBC specials, Bravo, PBS, Discovery, History channels. As a director and producer, he has documentary films and many corporate/industrial projects under his belt, a combination that has cross fertilized the documentation and presentation of reality.