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CASE STUDY


CALL IN THE EXPERTS W


ith so many cameras on the market, finding the right one for the job is


increasingly difficult. Just as the TV world was finding its feet with file-based workflows and HD delivery, manufacturers launched a range of cameras in 2011 that left heads spinning. These are exciting times for technological advancement but frightening for the produc- tion manager trying to fulfill a creative remit while keeping a tight rein on budgets. The wrong advice can lead to compatibility issues that could have monumental consequences. Crewing and facilities company S+O has been working to help productions avoid the pitfalls of working with file-based media since the early days of the move away from tape. S+O director and director of photography Olly Wiggins says he enjoys working in a collabo- rative way during the pre-production process. “We realised pretty early with tapeless shooting that we would need to take on a more advisory role for our clients,” says Wiggins. “They are dealing with the job in hand and don’t always have the time to take on board the technical ins and outs of the equipment they’re using, but it is important they feel informed in their choices. They cer- tainly can’t afford any nasty surprises further


Facilities companies are the first port of call for production managers in need of crew and equipment. With the range of cameras and technology now available, getting expert advice from the start is crucial


The Mad Bad Ad


Show: conversations about kit started early on


along the process. The beauty of the current range of cameras on the market is there’s one to suit every scenario and budget. But it’s important that the conversations happen early in the process to ensure the right cam- era is matched to the job.” Objective Productions production manager


Susi Hollins agrees: “The choice is now so much bigger, so rather than just booking a digi crew, or sending a self-shooter out with a Z1, it’s all about the look of the finished prod- uct and the broadcaster delivery specification, as well as any restrictions posed by your chosen post facilities company, and whether they can handle your specified workflow. “In this new era of more choice but smaller


HoFo Pro: cost-effective remote follow focus 44 | Broadcast TECH | January/February 2012


budgets, you rely on the facilities company to know what is available on the market and how to make it work for your production. I find the director is now working more closely with the DoP and facilities company to spec what they need – gone are the days of just leaving it up to the production manager to


book a two-man crew. Every last light is weighed up for what it can bring to the shoot and whether it will achieve the look required.” S+O recently worked with director team Chaplin and Forbes on a series of spoof commercials for new Channel 4 panel show


‘The relationship with the DoP now starts from the beginning of


the production process’ Lucy Forbes, director


The Mad Bad Ad Show. Conversations between S+O and the directors started early on in the production process as it was vital to get the right kit on the job to produce a commercial standard on a television budget. The equipment used included the Arri Alexa and a series of well-placed LED lights to add support to the limited lighting budget.


www.broadcastnow.co.uk/technology


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