02 / Live
Live director and vision mixer.
From a single camera stream to a twelve input 4K outside broadcast. I direct it, cut it, and bring the gear and the calm that keeps it on air.
02 / Live
From a single camera stream to a twelve input 4K outside broadcast. I direct it, cut it, and bring the gear and the calm that keeps it on air.
The rare part
I am one of a handful of operators in Australia running a full 4K pipeline for live production: Blackmagic Constellation 4K vision mixer, up to twelve inputs, IMAG, replay, comms, tally and live graphics, with 500 metres of SDI and wireless links to cover a real venue rather than a meeting room.
If the job is smaller, it scales down honestly. A single broadcast camera with a bonded encoder is often the right answer and I will say so.
Calling and cutting the show, with the shot list agreed before the doors open and a plan for when it changes.
LiveU and DEJERO for streams and live crosses where venue wifi cannot be trusted, which is most venues.
Up to twelve inputs with replay, tally, comms and IMAG to the room as well as the stream.
3D virtual production with Aximmetry and Unreal Engine for broadcast and events, which very few people in Sydney are set up for.
What I have learned, and keep learning
Not if something goes wrong. When.
Cables, connections, internet, a graphics machine that decides to crash at the top of the show. You can never be prepared enough, so I bring cameras and cameras, modems and more modems, and a plan for the moment the first one dies. The audience at home should never know which moment that was.
On air
Also
Broadcast grade camera mounted, floor and lectern prompters, run by someone who directs live, not an iPad on a stand. Scripts formatted and driven live so the presenter keeps eye contact and the timing holds. Available on its own or folded into the live day.
Live reel
0:58Multi-camera events, IMAG and vision mixing, cut from shows directed on the desk.
Also shot freelance
1:12Freelance camera and drone for a restaurant group, venue to plate in a single day.
0:47Freelance camera on a corporate partnership film for Commonwealth Bank.
Selected credits
Questions producers ask
Up to twelve inputs on the Blackmagic Constellation 4K, with replay, tally, comms, live graphics and IMAG to the room. Single camera with a bonded encoder at the other end of the scale, and I will tell you which one the job actually needs.
It usually is, which is why I do not rely on it. LiveU and DEJERO bonded cellular transmission for streams and live crosses, the same units used for The Morning Show crosses.
Either. I can direct and cut your crew, or bring operators, replay, graphics, PTZ and drone from the contractors I work with regularly, so the team scales to the show.
Yes. 3D virtual and augmented production with Aximmetry and Unreal Engine for broadcast and events, which very few people in Sydney are set up for.
Yes. Broadcast grade camera mounted, floor and lectern prompters, scripts formatted and driven live, on their own or folded into the live day.
Also
Availability & booking
Quickest way to get an answer is the phone. If I am on a shoot I will call you back the same day. Rates on request, and they depend on the day, the kit and where it is. Ring even if you are not sure it is my kind of job. Worst case you get a straight answer and the name of someone better suited.
Based at Sydney Olympic Park and Orange NSW. Available Australia wide and overseas. ABN held, fully insured, invoices as a contractor.