For more than two decades our team members have worked on thousands of sit down interviews. We appreciate the thoughtful process of shaping, coloring, and filtering light that flatters the talent while establishing a comfortable vibe that centers their needs.
Our team is comfortable with the two (or a third, and fourth) camera strategy that has become a standard in the industry. To add production value we often utilize a motorized slider to provide smooth dynamic movement to the second angle. To reduce costs and to take advantage of down time while the cameras are rolling, our supporting crew members (i.e. Gaffer, Assistant Camera) are trained in the fundamentals of audio mixing for these controlled scenarios, and they’re prepared to run standard audio through professional mics and broadcast field-mixers (Lavalier on Channel 1, Boom Microphone on channel 2).
Initial client questions that inform the pre-production process for interview preparation:
What is the client looking for from the final edited project, and how will it be used? How long will the edited piece be? How much b-roll will be incorporated?
Should the lighting have some drama through contrast, or is the final goal to emphasize the softness associated with beauty lighting?
Will the interviewee be looking off camera? If this interview is being cut with others in a larger project do we need to make sure the eyeline is on a specific side of the camera?
Does the talent have a hard out? A preferred side of the face?
Does the location require a Certificate of Insurance (COI) and if so what are the requirements/preferred-language (usually provided in the form of a PDF)?
Where is the freight entrance?
Actors & Luminaries
VH1 Behind the Music
Al Roker Entertainment
Sarah Jessica Parker
Philip Seymour Hoffman
Neil Patrick Harris
Fred "Mr" Rogers
Lin Manuel Miranda
Most commercial production houses will approach a 3-camera interview with a strategy that leads to an expansive crew of siloed specialists, causing the bottom line budget to rapidly expand. Through careful planning and the curation of dynamic crew members who wear multiple hats, we will help you to deliver the highest possible video content without the highest possible budget.
Initial questions to inform the pre-production conversation for multi-camera shoots:
Is the location interior or exterior, how is it oriented to the sun, and at what time(s) will the cameras be rolling?
How many people will be on camera at any given time?
How much time do we have from setup to rolltime?
Do we have access to chairs with varying heights?
Should the lavaliers being hidden or neatly dressed?
For multi-day shoots is there any onset security to enable us to leave some equipment in place?
We love working in production because of the extraordinary access it provides to interesting people speaking passionately about their area of expertise. From the most seasoned CEOs addressing the advantages of their infrastructural stack, to small business owners sharing the micro sagas of their journey, we love the opportunity to tell their stories. Besides the primary interview footage, we gather dynamic B-roll animating their subject matter, incorporating pristine wild-sound when the edit calls for a more immersive portrait.
Initial questions that inform the pre-production process for shoots involving interviews and B-Roll:
Will the final edit use the interview footage mostly as voice over, utilizing b-roll and other content to cover the rest?
How long should answers be, and what level of detail will help the final edit?
If the footage is being cut into a longer piece, how will it be incorporated and are there any references videos/images to ensure the looks are consistent?
When it comes to B-roll, what are the variables affecting our ability to gather the best and most dynamic footage?
Selected Business Collaborators
Ernst and Young
Leaders and Executives
Kenneth I. Chenault
Beauty & Behind the Scenes
We love working in show business, and continue to draw inspiration from the high degree of craft brought by those working behind and in front of the camera. We approach behind the scenes video as an opportunity to tell the story of a shoot (photo, or motion-picture) through the intimate collaborative relationship between talent and the creative departments helping to make them look their best.
Members of our team have been working on photo sets as videographers and BTS specialists for more than a decade, and in the fashion industry since the late 90's. We've been honored to have access to some of the most exclusive sets in the industry (including Steven Meisel's) because we understand how to capture the best video while centering the needs of the photographer and their team. We tailor our equipment package to the level of access and sensitivity of all creative leads--utilizing longer lenses when a lighter footprint is preferred, or bringing lights and audio when we'll be delivering interview footage in the final coverage plan.
Initial questions that inform the pre-production process for BTS preparation:
How will the video documentation be used? What kind of story needs to be told?
Should the camera work be active, to express energy, slower to emphasize elegance, or somewhere in between?
Who is the talent’s onset-representative and what level of access has been agreed to ahead of time?
How many looks are planned for the day, and which locations will we be using for each?
Is the lighting continuous?
Is the photographer, or any other department heads, uncomfortable being on camera?
Can we set all strobe work lights to maximum brightness?
Art + Commerce
Models & Actors
Non-profits deserve nice things, and our creative team will work with you to craft a production plan to leverage your organization's limited communications resources. Our team includes communicators with decades of experience as activists in social movements and as staff and consultants to nonprofits. We know firsthand the importance of well-produced video for fundraising, advocacy, and programing. Together, we partner to tell your story as only you can, at a quality and value only we can deliver.
Initial questions that inform the pre-production process for mission-driven pre-production:
What is the organizations communications goals for this video project?
What kinds of digital assets does the organization have in its archive?
If the communications team has already developed the project internally, how do you see these video assets coming together in their final form?
Do any of the final assets need to be optimized for a particular social media platform?
How are these videos incorporated into the larger strategy for the organization's programming?
Cooperative Economics Alliance of New York City ~ CEANYC
The Icarus Project
Showing Up for Racial Justice New York City ~ SURJ NYC
American Museum of Natural History ~ AMNH
Hearing Health Foundation
The Capital Institute
Occupy and Global Justice Movements
99% Bat Signal, November 17, 2011
Recording conversations and performances in front of a live audience can be more technically-nuanced than one might assume. When you add a livestream element, additional factors need to be taken into account beyond a typical production plan.
Our strategy for success starts in the planning process that begins in pre-production. Members of our team always wear multiple hats, enabling us to work with, or without a house audio technician. Event lighting usually requires theatrical fixtures with the lensing to illuminate from afar. Some locations have specific insurance requirements. We’re familiar with these and other nuances that require thoughtful consideration, and have experience working with clients who may not have a technical background. We’ll work with you and your team to help understand the implications of each production-variable, ensuring a smooth event for the live and online audience alike.
Initial questions that inform the pre-production process for event coverage:
How many cameras will be required and where can they be situated? The cameras may need to be raised above the crowd to ensure an ideal sightline.
How many speakers will be participating throughout the event, and how many speakers will be on stage at one time?
Will the event speakers be using a house PA system? If so, can the house provide a line-level board feed appropriate for video recording purposes?
For Livestream: Is it possible to have access to an ethernet connection in proximity to one of the camera’s locations? Does the venue provide a technician during the setup time to ensure the quality of this connection? What social media platform will we be streaming to? Should the livestream include any lower-third/chyron graphics, if so can the proper names, titles and any social media accounts for event participants be provided ahead of time? Will there be a powerpoint presentation with slides that should be broadcast and can the deck be provided ahead of time?
What kind of lighting does the venue provide and can it be adjusted to suit our needs? If not lighting can be included in the production package. In this case, production will require either one 20 amp outlet (standard for a kitchen or bathroom), or two 15 amp outlets.
What kind of insurance does the venue require, if any? Is there a PDF document outlining the specific requirements from the real estate management company? This may include general liability and proof of workers compensation, both of which can be provided, but keep in mind turnaround time typically is 24-48 hours.
Showing Up for Racial Justice (SURJ) NYC
Cooperative Economics Alliance of New York City ~ CEANYC
The MacDowell Colony
Home Shopping Network ~ HSN
The Times Center
The New School
The Bell House
Art in General
Location Audio Mixing
Some projects simply require a professional sound person with all the expected professional chops, who is fun to work with, and appropriate with talent. We know finding an individual with a proper balance of all three attributes is difficult to find, often leading to unnecessary compromise. No more!
Across the services we provide, our clients trust us to navigate a broad spectrum of locations and on-set-vibes, from the most exclusive and high end, to remote locations around the globe. We’re familiar with multi-camera setups, recording a stereo mix simultaneous to individual tracks, timecode workflows, and running multiple wireless systems without interference. You have the benefit of our experience working on a wide range of projects, from capturing audio amid the unique challenges of a US military base in Kuwait or in an operating theatre for open heart surgery, to A-list celebrity interviews.
We’ve also begun working in the exploding podcast industry as producers and audio technicians (reflected in the 44,100 kHz setting on the mixer/recorder above). Examples can be provided upon request.
Standard questions for location audio-mixing:
- How many cameras will be on location, will I be wired directly, or recording on the mixer?
- For Timecode: I work with the Tentacle Sync boxes, is the camera person prepared to for me to attach the box to the camera rig? What frame rate is the project working with? Does the editor require a specific file naming protocol? Do the cameras require a wireless tether, with a stereo mix recorded to "tape"?
- Does anyone on the production team require (ie. the Director) a Clearcom headset to monitor production audio?
- How many wireless systems are required for the production overall?
Canon EOS 5Ds
GoPro Hero4 Black
LENSES & ACCESSORIES
Fujinon MK Cine Zoom T2.9 18-55mm
Fujinon MK Cine Zoom T2.9 50-135mm
Vocas 256 Clip on Matte Box
Vocas 114mm - 85mm Step Down Ring
4x4” Neutral Density .3
4x4” Black Pro Mist 1/8
4x4” Black Pro Mist 1/4
4x4” Circular True Polarizer
Vocas MFC-2S Cine Follow Focus System w/palm rest
Zeiss 85mm f/1.4 T* ZF.2 Lens
Zeiss 50mm f/1.4 T* ZF.2 Lens
Zeiss 35mm f/1.4 T* ZF.2 Lens
Zeiss Milvus 21mm f/2.8 ZF.2 Lens
Canon EF 24-105mm f/4L IS Lens
Canon EF 70-200mm f/2.8L Lens
Metabones (Canon) EF - (Sony) E Mount T Adapter
Metabones (Nikon) F - (Sony) E Mount T Adapter
4x Nikon F- (Canon) EOS Lens Adapter
7" Marshall Field Monitor
2x Sony 64gb XQD G series Card
2x Sony 128gb XQD G series Card
10x Sandisk SD Cards, 32-64GB
10x Sandisk CF Cards, 32-64GB
3x Sandisk 64GB Micro SDX
Sachtler 100mm Flowtech Legs w/FSB 15 Fluid Head
Vocas FS7 Baseplate
Zacuto Z- Grips V3
Gitzo G-1258 Mountaineer Legs
2x Slik Pro 700DX Tripod Legs
Manfrotto 502 Flat Base Head
Rhino Slider 42" Rods and Sled
Rhino Motion & Arc
Rhino 24" Carbon Fiber Rods
50' HD-SDI RG6 BNC Cable - Blue
100' HD-SDI RG6 BNC Cable - Black
Porta-Brace Carry Case CC-FS7
Grip & Electric
2x LitePanel Astra Bi-Color 1x1 - AC, or Battery Power (Gold Mount)
2x ARRI LoCaster
2x ARRI 150w Fresnel
2x Source Four jr
LitePanel LUMA On-Cam LED Panel
Flexfill Reflector Silver/White
2x 1x1 SnapBag for Astra - Chimera
2x SnapBag Cloth Set - Diffusion Kit
2x Short Arms
3x Black ARRI Stands
2x LitePanel Kit Stands
POWER & DISTRIBUTION
Swistronics Core 3 Stud Jetpack - FS7
2x Anton Bauer Digital 90 Batteries
2x Anton Bauer Digital 150 Batteries
7x 25' Extension Cords
4x 100' Extension Cords
5x Canon Batteries LP-E6 - 5Ds
3x Canon Batteries BP-955 - C100
3x Atomos Batteries ATB2600 - Ninja
3x Pearstone NP-F770 - Marshall
2x Lithium Ion NP-L7S - SD 633
32x Panasonic Rechargable Batteries
Hawk-Woods power adapter
Hirose Power Cable - SD 633
Hirose Power Cable - Wireless
12V DC In-Line Power Supply - SD 633
1x 4L Dromedary Bag - Sandbag
3x 6L Dromedary Bag - Sandbag
Remin Kartmaster HD-500
Pelican 1620 Case
Pelican 1510 Carry On Case
Nalpak Tuffpack Hard Tripod Case
Sound Devices 633 Recorder/Mixer
Sound Devices MixPre-D 2-Ch Mixer
3x Lectrosonic UCR401 - Transmitter
3x Lectrosonic SMD - Receiver
Sennheiser MKH 60 P 48 Boom Mic
4x Sanken COS-11sPT Lavalier Mic
1x Countryman Lavalier Mic
3x Shure SM7B Vocal Mic w/Stands for Podcasts
CABLES & ACCESSORIES
2x Tentacle Sync E Timecode Box
PSC Breakaway Cable
2x Lectro Power Cables
Sony MDR-7506 Headphones
Rycote Softee Zeppelin
Rycote Softee + Mount
Remote Audio Adapt-A-Pak LT
Wireless Transmitter Body Pouch
K-Tek Carbon Boom Pole
Boom Pole Hook
Orca OR-30 Audio Bag - SD 633