Event
coverage.

Live events are unforgiving. There is no second take, the lighting was designed for the room rather than the camera, and the moment that matters most usually happens with no warning. Covering events well is a discipline separate from narrative work, and it is built on anticipation rather than setup.

Recent coverage includes full pageant production and HBCU homecoming across Baltimore — both delivered as recap films rather than raw footage dumps.

What's included

• Pre-event walkthrough — run of show, key moments, lighting conditions and sightlines
• Multi-camera coverage — Sony FX30 and Canon R6 Mark II with fast glass for low-light rooms
• Stabilised movement via gimbal for crowd, arrivals and atmosphere
• Audio capture from the board or on-camera depending on the venue
• Recap edit cut to tempo — typically 60–180 seconds
• Optional full-length programme edit and social cutdowns
• Photography available alongside video from the same operator

Turnaround

Standard recap delivery is seven to ten days. A same-week teaser cut for social is available and is usually worth it — event momentum decays fast, and a recap that lands three weeks later reaches a fraction of the audience it would have on the Monday.

Lighting reality

Most event venues are lit for the room, not for camera. Stage washes shift colour mid-programme, ballrooms sit several stops under, and mixed sources fight each other constantly. The fix is fast glass, a body that holds up at high ISO, and a colourist who was in the room. All three come standard here.

Common questions