Technical Specifications

Because PVP films aim to follow professional pipelines in both production and post-production, cameras need to be able to shoot in formats conducive to advanced color grading workflows. This means they should have the capability to capture 4k, 10 bit footage in LOG. It also helps if the camera has support for external displays and can mount accessories such as monitors and audio recorders either directly to the body or with the addition of a cage. As of now, the Studio Art department does not rent cameras with these capabilities so they come from students. Members of the current Board own a Sony fx6 and a Blackmagic Pocket Cinema Camera 4k which productions can use. Some gear may be procured for specific productions. For Flightless Birds, a crew member had access to a DJI Inspire 3 drone which was used to capture cinema quality aerial footage.

Historically, the majority of sound recording equipment has come from Studio Art. Our go-to field recording setup is a Sennheiser MKE 600 fed into a MixPre III audio recorder. The boom will typically be mounted on a boom pole and when shooting exteriors, be screened inside a RODE blimp windscreen. Often, subjects will also be miced with a Sennheiser sk100 G4 wireless lavalier and transmitter.

Grip and lighting equipment typically comes from both Studio Art and students' personal inventories. Past productions made use of several Godox full RGBW panel lights, and lights from Aputure. Additionally, we have access to c-stands, lighting modifiers, and rigging equipment. In terms of stabilization, we have fluid head tripods in abundance, gimbals, sliders, jibs, and shoulder rigs.

The specific editing software used will depend on the editor and what they are comfortable with. With that in mind, the software must be capable of supporting frequent timeline exports for multiple editors, colorists, and sound designers, timecode burn in, and a high volume of footage. We highly recommend either Adobe Premiere Pro or Davinci Resolve.

Davinci Resolve is the standard for color grading.

For sound design, we prefer Pro Tools, Davinci Resolve Fairlight, or Studio One. 

Composers should use whatever program they are comfortable with, although it must support video import.