The one good bit of news during this Pandemic is the ability of companies like Camberwell Studios in London to upgrade their studios to accommodate social distancing and many other new regulations brought about by the Pandemic.

Like you, we are keen to re-open our green screen studios and get on with the business of filming. We have thought through the issues as we understand them and have conducted a full review of our procedures and facilities to enable this.

We believe we can take in bookings provided we exercise caution, practise common sense and follow the guidelines.

We will not risk being a place of virus transmission. With that in mind, we have written this guide on how t film safely at Camberwell Studios during the coronavirus pandemic,

Our objective is to provide a clean and safe space for our clients to film. To do that we will work with each client individually to mitigate risks for their shoot and create a specific Covid-19 Risk Assessment for them. 

The client is responsible for the safe running of their production within the hired studio spaces. This includes ensuring that all production crew follow guidelines within the common areas. 

• The key to managing risk is the management of people in the studios and keeping the studios deep cleaned before, during and after each shoot, for which we are instigating a new and rigorous regime.
• Within our entire facility, we can accommodate shoots of up to 15-20 people, depending on what is being filmed and how you go about it. (In normal times we have coped with up to 45 people).
• Everyone must wear facemasks in common areas at all time.
• We have the space to separate out different functions and the flexibility to provide more time for the shoot to set up and operate throughout the day.
• We do have some ‘pinch points’ within the facility where care must be taken not to bump into each other: notably the entrance, the door into Studio 1, five metres of the corridor and the restrooms. We will manage this with signage, yellow tape and common sense (“anyone there?”).

Although we have two green screen studios, we will only take one exclusive booking per day.

When the situation allows and we can take two shoots, we will continue to implement strict safety procedures and make sure both productions know and are satisfied their safety requirements can be met. Staggered start times are one obvious way to mitigate this.

The following site plan shows the studio layout and will be the basis for the Risk Assessment. Teams will be assigned areas. The production schedule will manage their entry into and around the studio.

Our process starts with the Production Lead arriving first, to be briefed on how the studios have been set up, how people should be managed within the space and how to liaise with us throughout the day. We will require the PL to sign-off that the studios meet the requirement.

Before entering Camberwell Studios all production crew, clients and talent must:

• Wait for the PL and Camberwell Studios staff to register and check them into the building
• Be signed off against the production supplied crew list
• Hand sanitise
• Get temperature taken on entry and again at 2 pm. If someone has a high temperature they cannot enter the building (the PL should arrange for their safe passage home).
• Wear a coloured sticker in common view showing they have been through this process.
• All members of the client team, including talent, must not leave and return to the premises during the shoot. It will be its own lockdown area and the PL must make arrangements to ensure that this is understood and adhered to.
• We have a private outside space at the rear where people can take phone calls, have a cigarette, relax.
• Should anyone need to leave and return, the PL will inform Camberwell Studios and the entry process will be repeated.

PPE – All Production crew and clients must wear facemasks in the common areas on site. We also recommend that facemasks are worn all the time, including on set where practicably possible.

Hand Washing and Sanitising – Paper Towels, sanitizing soap and gel will be provided for the use of all.

Restrooms – Everyone using the toilet facilities MUST follow the hygiene procedures shown on posters. When they use the toilet they must put the seat down – then flush – wait 1 min and lift the lid and spray the toilet bowl with Dettol spray. Put the lid down. We have separated the toilets for Men and Women.

Equipment – if you hire equipment from a third party we will require a statement from the third party, in advance of delivery, stating that the kit has been hygienically cleaned before entering the studio. If you are using owner/operators we need to know but wouldn’t require the same statement. (You might depending on whether others will handle their equipment). If you hire lights from us we will provide this statement.

Shoot Rubbish must be gathered and placed in the provided bin. At the end of the day, the rubbish must be tied up and placed outside – we will show you where.

Catering – Deliveroo/Uber Eats etc seems the way forward.  The PL must liaise with Camberwell Studios to confirm catering requirements and timings.  Designated areas will be allocated for all catering and refreshment use.  Disposable cutlery and crockery only.

Drinking-Water and Refreshments All drinking vessels must be labelled for individual use.  Please ensure your team understands this and you make appropriate arrangements to provide appropriate disposable/reusable cups, mugs, cans, bottles.

Deliveries – often clients arrange for Amazon type deliveries (not kit and grip) to come directly to the studious ahead of the shoot. This is still OK with the following conditions:

• Let the Delivery driver know they must not enter the building beyond the signs we have put in place
• The package must be clearly marked with the Shoot Name. Make sure you use a consistent name that we know.
• You must let us know when and how many parcels to expect.
• We will place parcel(s) in a black bin bag awaiting your arrival. We will not open or inspect them

Finally – if anyone on your shoot subsequently reports they have Covid-19 symptoms in the three days after, we ask and would expect you to tell us immediately. If and when a government app for smartphones is made available we would consider making it mandatory for shoots here. It isn’t our favourite idea but for the sake of all filmmakers (and everyone else) concerned it seems common sense. What do you think?   

For all your video production needs in Scotland, get in touch with Small Video Productions

Always the same just as you mention a quick release for boom poles another one gets flagged up. The Gator Frameworks Quick Release Microphone Attachment is all of £11.66 plus vat a lot better value for money in these hard times.

For all your video production needs in Scotland, get in touch with Small Video Productions

During this Pandemic £77 would seem a small amount of money to spend for your own and the presenters safety.

A lot of presenters are for obvious reasons are using boom poles at the moment but as everyone who uses these tools knows only too well what a pain in the butt it is to screw and unscrew the gun mic, hence the quick release from Rycote.

What amazes me is the lack of twin radio mics being used in these live reports. When I worked for news I had a minimum of 2 radio mics. One lapel mic and one short shotgun with a transmitter and or boom pole.

In the above situation you can eliminate the lag of the question and answer if the presenter wore a lapel mic.

Here is a video of this bit of kit brought out during 2018 from Rycote which would eliminate the need to screw and unscrew a short shotgun mic for interview use. I do get the point that the boom is being used for social distancing.

For all your video production needs in Scotland, get in touch with Small Video Productions

I bought this mic for a job which never materialised and has never been used. Selling it for £60 ono plus postage and tracking. Still in the original box, sells for £136 from WEX.

As usual email me at smallvideo@me.com if you are interested.

Accept PayPal or direct payment into my bank account.

Designed for handheld interview and presentation applications, the Reporter features an omnidirectional dynamic capsule that is designed to allow the user freedom of use, without the technique related issues typical of directional end-address microphones.

Additionally its frequency response has been specially tailored for voice reproduction, to maximise intelligibility and deliver crisp, clear results in almost any condition.

The microphone features a durable die-cast aluminium alloy body coated in a discrete matte black anti-glare finish. An innovative multi-layer mesh basket protects the microphone from environmental noise without the need for a bulky and distracting foam wind shield.

It is supplied with a removable microphone ‘flag’ that can accommodate high-visibility branding.

For all your video production needs in Scotland, get in touch with Small Video Productions

Eurovision Song Contest is one of the most viewed broadcast based events, with more than 200 million people watching the Grand Final around the world. This live television production is highly sophisticated and features some of the highest production values in modern broadcasting. Many of the complicated shots and camera movements are programmed by computer. However, there are the shots that only can be achieved by a human being, and that are the closeup dynamic Steadicam shots. Those shots are based on planned and improvised camera movements which are performed by the most skilled Steadicam operators.  There is a zero tolerance for cinematography related glitches, which means that the best operators are selected for the job. This is the 2018 Eurovision production behind the scenes.

For all your video production needs in Scotland, get in touch with Small Video Productions

Sony FX9 full-frame cinema camera was introduced in 2019 and Sony was promoting the camera as a combination of FS7’s form factor and VENICE colour science.

When releasing the FX9, Sony also announced the camera will receive important firmware updates in the future that will unlock some features of the camera.

Version 2.0 of FX9 firmware supports 4K 60p/50p recording through oversampling from a 5K cropped area of 6K full-frame sensor. The 5K cropped area will be about 122% larger than the super35 crop mode.

Version 2.0 also enables the output of a 4K 16-bit RAW signal to an external recorder with the optional XDCA-FX9 accessory. This additional bit depth beyond the camera’s internal 10-bit recording is suitable for projects requiring more intensive post-production.

For all your video production needs in Scotland, get in touch with Small Video Productions

Firstly this is my own Panasonic HC-X2000, not one borrowed from Panasonic, so what I say in this review are my own opinions.

I had a GH5S that to be honest did not match my three GH5 cameras nor did it allow you to transfer the camera settings which was the final nail in its coffin, not to mention not having an OIS in camera was a very poor design feature.

I traded the GH5S plus 2 lenses and paid WEX £10 to complete the deal. The annoying part of the GH5 is not being able to use a servo zoom with a decent range, hence the attraction of the Panasonic HC-X2000.

The first thing I did was match the HC-X2000 to my GH5 and choosing SCENE FILE F2 called FLU, I changed it to ORC (One Roving Cook) a program I produce regularly for YouTube.

I tried CINE D and CINE V on both cameras but still prefer Like 709 (REC 709) on the GH5 and FLU on the X2000.

Chris had a great idea, rather than mess about with the matrix why not not set a value in the RB gain WB function.

Setting this B GAIN AWB A to -8 means that if I use the Panasonic GH5 and set my AW to ChA it should be a lot closer to the GH5 in colour.

Enough of the technical stuff here is the final version of my Lockdown video review of the Panasonic HC-X2000

For all your video production needs in Scotland, get in touch with Small Video Productions

In Glasgow City Centre filming with the Panasonic HC-X2000 at 30dBs recording 4K 50p 200Mbps. 30dBs I hear you cry…this is not 30dBs as you know it, Panasonic have produced some amazing magic in this wee camcorder and 30dBs is now usable.

Fortunately Panasonic decided to give us a mounting point on the handle for my magic arm, holding my iPhone 11 Pro in order to film the LCD screen. I was going to use the DJI Osmo Action but it was far too wide.

I hope to get the review out this Friday morning.

For all your video production needs in Scotland, get in touch with Small Video Productions

In 2012 I bought the Canon C300 and it was worth every penny…the pictures this camera produces are truly stunning. The C300 was only 1080p and back in 2012 4K was not an option for me personally.

Eight years later Canon announce the C300 Mk3 now with 4K at 120fps.

Тhе lаtеѕt аddіtіоn tо thе Сіnеmа ЕОЅ rаngе оffеrѕ thе ultіmаtе іn Ѕuреr 35mm 4К іmаgеrу. Wіth а nеw ѕеnѕоr орtіmіѕеd fоr НDR асquіѕіtіоn, соmрrеhеnѕіvе rесоrdіng fоrmаtѕ uѕіng bоth соmрrеѕѕеd аnd Rаw соdесѕ, аn іnduѕtrу-lеаdіng аutоfосuѕ аnd іnсrеdіblе nеw hіgh-frаmеrаtе rесоrdіng іn 4К, thе С300 Мk 3 іѕ thе реrfесt tооl fоr brоаdсаѕt, dосumеntаrу аnd nаrrаtіvе fіlmmаkіng рrоduсtіоnѕ. Тhе nехt gеnеrаtіоn ЕОЅ С300 Маrk ІІІ іnсоrроrаtеѕ Саnоn’ѕ nеwlу dеvеlореd 4К Ѕuреr 35mm DGО ѕеnѕоr, wіth 4К 120Р ѕlоw mоtіоn, Ніgh Dуnаmіс Rаngе аnd Duаl Ріхеl СМОЅ АF іntо thе ѕаmе bоdу аѕ thе ЕОЅ С500 Маrk ІІ.

Frame rates…4K in 25P/30P/50P/60P & 4K 120fps in Super 35mm, 2K/HD in 25P/30P/50P/60P & 120fps in Super 35mm, 2K/HD in 180fps in Super 16mm.

For all your video production needs in Scotland, get in touch with Small Video Productions

Due to COVID-19 all this years major video shows have been cancelled so Cinema 5D decided to produce a “Virtual Show” and I think it works very well.

Here is a sample of the new 499 euro kit from SWIT…

www.cinema5d.com

For all your video production needs in Scotland, get in touch with Small Video Productions