Corporations, the government, and universities tend to own cameras and shoot a lot of content for themselves and their clients, citizens, and students. They need small files that integrate with their NLE and asset management software. Due to budgetary constraints they are often locked into workflows for a decade. Agencies and PR firms work on a per project basis. Depending on the client and of course their budget, they are able to choose cameras based on the storyboard. Agencies are flexible with workflow and choose post houses that can ingest pretty much anything. Then you have the broadcasters, this group is so visible that manufactures tailor cameras to their workflow then revise it later for everyone else. Production companies and independent camera operators live and die by their gear, with camera selections as large as their wallets and patience will allow.
Creative Camera Configuration to Support Every Workflow
August 26th, 2014 by Rebekah Toth BurnsIs Acquisition Up for Grabs?
August 14th, 2014 by Rebekah Toth BurnsWhen the video and digital cinema world talks about cameras we are often talking about a handful of manufactures: Sony, Panasonic, Canon, Arri, Red, Vision Research, and maybe JVC. Has anybody else noticed the trend of post production companies moving into manufacturing cameras? Ok so they don’t all come from post production but there seems to be more and more nontraditional camera manufactures these days.
NYC PR Firm Uses Sony PMWF55
July 24th, 2014 by Rebekah Toth BurnsA New York City public relations firm, Finn Partners, captured a new public school initiative with the Sony PMW F55. This required going into the classroom to record interviews and B-roll. Crews Control represented DP and contributing blogger Adam Shanker says this about his camera for this project. “Setting the F55 in HD in the MPEG 2 XDCAM mode we can have manageable file sizes while achieving high quality. The record format is 1920x1080P, frame rate of 29.97, with an angle shutter at 180 degrees. The HG gamma setting is set at number 3. The detail level is brought down to -7, and the aperture level to -10. I’ve got an OLED viewfinder and Arri bracket support for the viewfinder cable, an Arri top plate for mounting attachments, like the Sony DVF-L700 fly away Progressive LCD monitor. A Switchtronix Jet pack allows use of Anton Bauer batteries, and the base rig is Element Technica’s Micron with an Arri follow focus.”
10 Tips for Shooting Video in New York City
July 10th, 2014 by Rebekah Toth BurnsNew York City is consistently the most scheduled location for all of Crews Control’s video shoots worldwide. Manhattan is the busiest location of the five boroughs for corporate video productions.
10 Tips for Shooting Video in South America
June 26th, 2014 by Rebekah Toth BurnsSouth America contains a wide variety of landscapes, cultures, and languages. It is approximately 6,890,000 square miles and is home to 401 million people according to the Population Reference Bureau. Crews Control has long-standing relationships with video crews in most major cities all over South America including: Sao Paulo, Buenos Aires, Rio de Janeiro, Bogota, Lima, Santiago, and Caracas. Here is some advice for shooting video in South America from our local video crews and Crews Control’s experienced production team.
10 Troubleshooting Techniques for Video Professionals
June 19th, 2014 by Rebekah Toth BurnsWhen combining a creative vision and technology you will almost always get a challenge to solve. So many issues can be worked out with a little extra time spent in pre-production or a rolodex with the right contacts. Here are some popular troubleshooting techniques we hope these will ease your next production bump in the road.