4K multi-camera
production
for festivals.

It includes the camera plan design, the crew (director, operators, CCU, production assistant), the OB van or video rack, intercom, fibre cabling and the feed delivered in whatever format the LED screens, streaming or broadcast need. If the event calls for it, we add cablecam and drones within the same production, with no third party to coordinate.

Yes. We send a programme feed to the screens and one or more independent outputs for streaming or recording, with the treatment each destination needs: screens call for a different pace and shot sizes from a broadcast.

Blackmagic URSA Broadcast G2 with Blackmagic CCU as the production cameras, with long-zoom broadcast lenses when the venue demands it. For lightweight positions and cutaways we use Sony FX3 with DJI transmission. All the kit is our own.

It depends on the stage and the audience size. A medium-sized stage can be covered with 4 to 6 well-chosen positions; a big festival main stage usually needs 8 to 12, plus cablecam and drone. What matters isn't the number, it's that each position adds a shot the others don't have.

Yes, and that's the norm on tour. We read the rider, check it against what the venue really allows and propose the configuration that meets it without inflating the budget. When the artist brings their own director, we provide the technical package and fit in.