We focus on having first-rate video production equipment to achieve the best possible image quality for our clients while keeping an eye on their bottom line. Right now our flagship is a Sony PXW-FS7 XDCAM Super 35 Camera, capable of shooting 4K and Ultra High Definition (UHD) video. This is fantastic for interviews where the wide shot can also become a close-up shot in post, without sacrificing sharpness. We enhance this camera’s natural shallow depth-of-field with a Metabones Speedbooster adapter and full-frame 35mm lenses. The results are stunning.
Our older cameras are Sony’s highly acclaimed CineAlta digital cinema PMW-EX3 XDCAM EX, and Canon’s 5D Mark III DSLR. The Sony is great for quick and precise documentary work, or it can be outfitted with our RedRock M2 Encore Depth of Field Attachment and a set of Nikon prime lenses for a beautiful cinematic look. The Canon camera (sometimes we use two of them) also gives us beautiful cinematic shallow depth-of-filed and it does miracles in low light. And it’s so unobtrusive we shot a corporate video with it in Paraguay while looking like tourists.
We also have a cool Nebula 4200 5-axis gyroscopic camera stabilizer which makes hand-held shots as good as those shot with a Steadicam. We’ll soon start using a Sony A7s camera with this rig so that we can shoot everything in 4K. An added benefit of this camera will be that we can shoot in absolutely minimal light. (Others have shot with it in nothing but moonlight.)
We edit with Premiere Pro, running on a very beefy, custom-configured computer. A 42″ program monitor and a THX-certified sound system gives us the theater experience while a 4TB RAID array keeps multiple HD video streams flowing. But the real difference is Andy Linda, the man pushing the buttons, jumping between Premiere Pro, AfterEffects, Photoshop and a dozen other programs. Thirty five years in the business taught him a trick or two. Just keep in mind that if you engage him in a technical discussion, he loves to talk shop!
Bottom line: we are obsessive about quality and we own the gear and know how to use it to get the job done to our high standards. Whether it’s cameras, audio, lighting, a dolly, or a jib, we have the equipment in-house to keep your costs in check and our production schedule flexible.