FILMING-ONLY PRODUCTION SUPPORT
Raw footage your editor can actually build with.
Professional camera coverage for agencies, editors and in-house teams that already have their own post-production workflow.
We capture interviews, b-roll, events, processes, products and aerial footage to an agreed technical brief, then hand over organised material in the format your editor expects.
FILMING-ONLY PRODUCTION SUPPORT
PLANNED AROUND THE EDIT
BEFORE THE SHOOT
Send the edit specification, not just a shot list
Codec and resolution
Frame rate and picture profile
Audio requirements
Landscape, portrait or dual-format framing
Folder and naming requirements
FILMING PLANNED AROUND THE EDIT
Raw footage is only useful if the editor has the coverage to finish the story
Good raw footage is not simply a collection of attractive shots. Coverage, continuity, sound, eyelines, frame rates, picture profiles and the relationship between interviews and supporting material all affect what can be built later.
Most interview productions benefit from b-roll showing the people, workplace, products or processes being discussed. That gives the editor context, pacing choices and clean ways to cover changes inside an interview.
Where an agency or remote producer already has a treatment, questions or shot list, we can follow it closely and provide practical updates from location.
FILMING-ONLY PRODUCTION SUPPORT
Capture the material your editor is actually waiting for
The camera plan follows the intended edit, channels and technical requirements rather than collecting material without a defined use.
01 · INTERVIEWS
Interviews & corporate b-roll
Executive interviews, customer stories, staff contributions and presenter-led material recorded with clean sound and controlled lighting. Supporting shots show the organisation in action.
02 · EVENTS
Events & multi-camera capture
Speakers, panels, demonstrations, audience reactions and atmosphere can be supplied as isolated camera files with separate audio where required. Event filming →
03 · PROCESSES
Processes, products & locations
Tripod, handheld, gimbal and detail shots can document manufacturing, construction, services, property, demonstrations or day-to-day activity. Wide coverage and close details are planned together.
04 · AERIAL
Aerial & establishing footage
Where airspace, weather and permissions allow, aerial footage can add geography, scale and context. Ground and drone material can be matched for resolution, frame rate and colour workflow. Drone filming →
“Raw footage” needs defining before the shoot. Untouched camera originals and prepared unedited material are different services.
CHOOSE THE HANDOVER BEFORE FILMING
Two very different meanings of “raw footage”
Agreeing the distinction before filming avoids unexpected preparation work, storage problems and incompatible files.
OPTION 1
Camera originals
Files are copied exactly as recorded, retaining the original codec, picture profile, frame rate, audio and camera folder structure.
No editing, colour correction, audio processing, clip removal or renaming. This is usually the quickest handover for an established post-production workflow.
OPTION 2
Editor-ready footage
The material remains unedited, but it can be organised, renamed, synced with external audio, transcoded, colour-normalised or supplied with proxy files.
Preparation work is quoted separately. If you need a finished programme instead, use our post-production service.
TECHNICAL REQUIREMENTS BEFORE THE SHOOT
Confirm the settings before the cameras are configured
Your editor’s specification should be agreed in advance because some recording decisions cannot be repaired later.
01 · CAPTURE
Capture specification
• 4K UHD, HD or open-gate recording where available
• S-Log3, S-Cinetone or standard picture profile
• 25fps, 50fps, slow motion or project-specific frame rates
• Landscape, portrait or dual-format framing
• Multi-camera interviews and separately recorded audio
02 · DELIVERY
File & delivery specification
• Requested codec, resolution and colour workflow
• Camera, interview, scene, location or shoot-day folders
• Original card structure or agreed naming convention
• SSD, hard-drive or secure online transfer
• Checksums or duplicate copies where required
RAW-FOOTAGE FILMING QUESTIONS
Practical questions before the handover
For agencies, editors, producers and in-house teams commissioning filming without a full edit.
Can you match an existing camera or production specification?
Usually. Send the required camera, codec, resolution, frame rate, picture profile, audio and naming specification before the shoot. We will confirm what can be matched and flag any incompatibility in advance.
Can a remote producer direct the filming?
Yes, where connectivity and site rules allow. A producer can join a call to brief contributors, review framing and monitor progress. We can also work independently from supplied questions, shot lists and production notes.
Do we receive all of the recorded footage?
The agreed handover can include all camera originals from the commissioned shoot. Any exclusions, such as test recordings, accidental clips or confidential material, should be agreed before copying or preparation begins.
How are very large 4K files delivered?
Physical SSD or hard-drive delivery is often more practical for large productions. Smaller files may be transferred online. The client normally supplies or pays for the required drive, delivery and any duplicate backup.
How long do you keep a copy after delivery?
Retention should be agreed for the project. Raw footage can require substantial storage, so clients should verify their delivered copy promptly and maintain their own backups rather than assume indefinite archive storage.
Can you capture raw footage anywhere in the UK?
Yes. Quotations account for the location, crew, travel time, equipment and any overnight accommodation required. For multi-site assignments we can plan the route and shooting order around contributor and site availability.