Interviews and pieces to camera
Lit properly, framed cleanly, with sound that holds up. The everyday corporate booking.
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Video for PwC, Penfolds, Bunnings, FIFA, Coles, Sennheiser, Chartered Accountants Australia and New Zealand, the Australian Turf Club, Inglis, ABC Kids and the NSW Government. Our work has run on Seven, Nine and Network 10.
Cameras are good now. Almost anyone can buy one. What you're actually hiring is the person behind it, and whether they can hold a frame, read a room and make a nervous executive look relaxed.
Our operators came up through live news at Network Ten. Live means no second take, so they get it right the first time and they don't panic when the run sheet moves.
Most bookings are a half day or a full day. We arrive early, set up before your people walk in, and stay until the last shot is safe.
Lit properly, framed cleanly, with sound that holds up. The everyday corporate booking.
See corporate video →Stage, breakouts, roaming and the moments in between. Fast on the feet and unobtrusive in the room.
See event video →Matched to your lead camera so the two angles cut together without a fight in the edit.
The office, the floor, the product, the hands. The footage that makes an edit breathe.
Send the date, the location and the hours. We'll confirm availability and quote it fixed.
How we work
Five stages, all handled. You brief us once and give your feedback. We run the rest.
Tell us the goal, the audience and the deadline once. Jess turns it into a scope, a plan and a fixed quote, so you know what you are getting before anything is locked in.
We plan the shoot, script the messaging, build the shot lists and lock the call sheet before anyone films. Locations, talent and logistics are handled, and we coach anyone nervous about being on camera.
An experienced crew runs the day to the call sheet and settles people on camera fast. Broadcast-grade cameras, audio and lighting, with backups for the backups. We came up through live news, so calm under pressure is the default.
We edit and finish, then send the cut through Frame.io so you comment straight on the frame. Two rounds of changes are built in. Social cutdowns are planned from the start, so one shoot works everywhere.
You get the final files in the formats you need, ready to go across every channel. They are yours to keep, no strings, no chasing.
Every operator arrives with a full working kit, not just a body and a battery. If your job needs something specific, tell us and we'll bring it.
Most of the people we point a camera at do not want to be on camera. Executives, staff, customers. They're nervous, they're busy, and they've got a meeting after this.
Oscar has interviewed hundreds of people under broadcast deadlines. He talks to them like a person, gets the shot, and gets them back to their day. That's usually what the client remembers.
Our work
I’m really relaxed. Even at events I’m not at, I’m not worried at all. It’s set and forget.
They make our attendees feel comfortable on camera, and find ways to maximise the content on the day.
I had a partner, not a supplier. They were truly part of the team, across a four day, five week event.
Good to know
A half day is around four hours on the ground, a full day around eight. If you're shooting two or three interviews plus some b-roll, a full day is usually the honest answer.
Yes. Camera, glass, radio mics, lighting and support all come with them. You're booking a working unit, not just a pair of hands.
Yes, and we do it most weeks for panels, stage and multi-angle interviews. See multi-camera filming for how we set those up.
We can. Plenty of clients take the rushes and cut in house, and plenty leave it with us. Both are fine, just tell us up front so we shoot to suit.
We'll usually stay and finish it. Overtime is agreed on the day, never added quietly to the invoice afterwards.
Based in Sydney, filming across the CBD, North Sydney, Macquarie Park, Parramatta, the Inner West and beyond. We travel across NSW and interstate for the right job.
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