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.
Music videos often mix slow-motion and real-time material. Align frame rates, shutter discipline, and monitoring so editorial does not fight your dailies. DJI RS-class stabilizers, sliders, and small dollies add energy when choreographed; cranes and jibs extend vocabulary for performance coverage.
Strobes and unmaintained practicals can surprise rolling shutters and motion cadence. Test early for flicker, especially when mixing LED, HMI, and venue house light. Keep wireless video paths honest about latency when talent relies on playback cues.
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
Music-video equipment planning starts with the visual treatment, shot list, location, movement, playback, lighting effects and delivery frame rates. Send those details with the city and dates so camera, lens, lighting, movement and monitoring can be checked as one package.
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.
