Equipment rental is the primary scope. Personnel, vehicles, handover, delivery and bilingual coordination may be requested and are confirmed separately in writing for each project.
Documentary crews face gates, last-minute access changes, and long travel legs. Choose bodies like FX6/FX3 or compact cinema options when you need handheld stamina, and keep lens sets that jump between tight interiors and wide establishing shots. Audio redundancy—dual recording paths where possible—pays for itself when RF and room noise fight you.
Hotels, factories, and streets each punish different frequencies. Plan wind protection, plant mics when lavs are not culturally appropriate, and keep headphones the director trusts. Monitoring should help the team agree on performances without slowing subjects.
Pickup, delivery, transfers, returns, and commercial terms are confirmed in writing for each project.
Every production must comply with applicable laws, location permits, access rules and written project terms.
Direct answer
Documentary equipment should be selected around mobility, recording duration, available light, dependable sound, power, media and backup. Send the route, city, dates, interview or observational requirements and crew size so a practical package can be checked.
Send the production city, dates, equipment models or production purpose, quantities, accessories and pickup or delivery needs. Current availability and the final package are confirmed in writing.
No. The pages help build a request list. Model, version, quantity and availability are confirmed for the requested city and dates.
Yes. Share the camera positions, visual approach, audio needs and deliverables so the request can be checked as one production package.
