Standard One-Camera Interview Package with Broadcast Camera: $950/day (Washington, DC)
Choose this package for doing interviews when you have an hour or more to set up and break down, and will be in one or two locations. This package provides more complex lighting options than then run-and-gun package.
An experienced shooter who knows how to shoot interviews and do good three-point lighting.
Our standard package includes ONE operator who handles lighting, audio, and video.
Panasonic HPX-2000 full-size HD camcorder with a wide angle HD lens. This camera can shoot for any broadcast standard: 1080/50i, 1080/60i, 720p30, 720p25, NTSC, PAL, and about 25 more modes. Tapeless workflow using Panasonic P2 cards for rapid ingest means that your footage can be on the air very quickly.
Tripod (or “sticks,” as we call them)
Media – as much P2 media as is needed
Panasonic HD 17″ Monitor
Two wireless lavalier mics and transmitters, with clips (generally used for interviews)
Two wired lav mics (as a backup, in case we are shooting in a building where radio transmissions are difficult)
One wired handheld mic (as a backup to the wireless system)
Standard package is limited to recording any TWO audio sources at once, and does NOT include a boom mic. If a boom mic and operator is needed, see our add-on section below.
Zylight Z90 on-camera LED light. We always like to have something quick to accomodate last minute changes.
We bring a kit that allows us to achieve a wide variety of looks — hard and soft — depending on what look you’re going for. If you have samples of the look you’re trying to achieve, please send them to us and we’ll figure out what lighting will work best. The standard lighting kit is enough to provide a variety of looks in a typical conference room or office.
qty 1 -Chimera Medium Softbox (36″ x 48″) – beautiful wrap around soft light source for flattering lighting. 500W or 1000W
qty 2 – Tota-Lites with umbrellas (500W or 750W) – more soft light sources
qty 3 – Fresnel Lights – for harder, more focused lighting. The hardness of the light is determined by the diffusion that is used. 1000W, 650W, 200W. These Fresnel lights are also good for use as “specials” — lights that help light particular items in the background of a shot to help provide depth and interest to a shot.
Gels, Diffusion, 6 light Stands, Sandbags, and Extension Cords (“stingers”) for all of the above.
Data Transfer and Backup
Includes use of a P2 card reader. After the shoot, we can plug in your laptop to our camera and transfer the raw P2 footage to your hard drive(s). Alternatively, if you’re in a rush to get home and don’t need the footage immediately, we can transfer the footage to an external hard drive and send it to you via express courier. If requested, we can also maintain a copy of your files on our system until you verify that all of the files have made it safely to your office.
Full Frame Sensor Camera (RED Scarlet or Canon 5D Mark 2/3)
If you want the 35mm full frame look with a blurred out background, upgrade to a RED Scarlet camera with a long lens (70-200mm Canon lens) or a Canon 5D Mark 2 or Mark 3.
Audio Engineer/Boom Operator, with mixer
Includes Audio Engineer, Shotgun Mic, Boom Pole, Mixer. Consider this for:
– situations where it is impossible or impractical to put a lav mic on someone
– when you have limited time with a high-profile individual and want the setup time to be as quick as possible
– when the interviewee may be wearing synthetics or silk which may cause too much rustling for the lav mics
– you want the sound quality of a high end shotgun microphone
– you want to use more than two audio sources at once
On-Site Editor/DIT with Portable Edit Suite
Great for footage that needs to go to air immediately. As we shoot, an editor is on site assembling footage and transmitting it back to your news room to go on air.
“Film and Fly” with a Hard Drive Recorder
Great for producers on tight schedules who need to catch a plane or train as soon as the shoot is over, and don’t want to wait for footage to transfer. At the end of the shoot, we hand you a hard drive and you go hop into your waiting cab. We use Sound Devices PIX 240i and Atmos Samurai recorders to record the footage directly into ProRes (which is instantly editable in Final Cut Pro) or DNxHD (which is instantly editable in Avid or Premiere). Of course, we also record to the P2 cards in the camera and keep a backup on our system until you confirm that all the footage made it safely back to your office.
Color Correction and Neutral Density Gels for Window Light
Great for incorporating windows and window light into your shot to give a place a more open feel. We can use gels to match the window light and our lights, and use neutral density gels so that the exposure inside and outside is similar. All of the gels that we use on our lights are included in the basic package price. However, if we start cutting large pieces of gels from our roll to gel windows, then we charge accordingly.
Helps speed up the setup and breakdown process.
Client iPad monitoring system
If you’ll have other producers or clients on set, we can provide a wireless monitoring system which will allow producers, directors, and clients to monitor the shot live from any iPad or iPhone on set.
Remote Monitoring from Anywhere in the World
Allows the camera feed to be streamed real-time to producers or clients located anywhere else in the world.
Remote Interviews with a Producer/Interviewer for Hire
Don’t have time to send an interviewer or producer to Washington DC? Our onsite producer/interviewer will meet with the interviewee, prep them, and ask the questions to them on your behalf. You watch a live feed of the interview from anywhere in the world and communicate with the interviewer through skype chat or directly into an earpiece, and direct the questioning.