Note: This gear list is somewhat outdated since we now have so many different cameras we use on shoots, and a lot more lighting options. If you need someone to do ENG style shooting for you in Washington DC, please contact us and we’ll provide you with what we think is the best gear for your requirements and budget.
Our Washington DC ENG Interview packages are designed to be relatively mobile, while still getting footage that is suitable for network broadcast.
Standard ENG Shooter Package with Broadcast Camera: (Washington, DC)
Choose this package for: Run-and-Gun interviewing, vox pops, standups, one camera interviews
An experienced shooter who knows how to shoot B-roll, interviews, standups, and establishing shots; who is able to shoot, run audio, and do three point lighting. Is able to operate a full-size broadcast camera shoulder-mounted for run-and-gun interviews.
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
Two wireless lavalier mics and transmitter, with clips (generally used for interviews)
Handheld wireless mic (for run-and-gun vox pops, reporter standups, or when there is too much ambient noise to effectively use a lav mic)
One wired lav mic (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.
Our standard package includes a powerful on-camera light, the Zylight Z90, which is quick, simple, and can be quickly adjusted to any color temperature just by adjusting a dial. It will blend in with any mixed lighting scenario, and can provide fill lighting for daylight or interior shots, and plenty of light for nighttime shooting.
Data Transfer and Backup
After the shoot, we can go to someplace we can sit down and 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 you
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.
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. In addition to recording to the camera’s internal P2 cards, we also record everything to a hard drive in either Pro Res (if you’re editing on Final Cut Pro), or DnXHD (if you’re editing in Avid or Premiere). At the end of the shoot, you simply take the drive with you and get on your way.