Miller Video's San Francisco edit suite - HD & 4k

Miller Video & Film has been providing production and post production services to the San Francisco Bay Area production community since 1991. Located in downtown  San Francisco, the company's facilities are located just 2 blocks from the waterfront .

 

Miller Video & Film's facilities include AVID Media Composer and Final Cut Pro edit bays. Our main edit suite is  400 square feet and can easily seat 6 or more people very comfortably. Our machine room houses lots of broadcast quality gear including Sony HDCAM, Sony HDCAM SR , Sony Digital Beta cam , Sony Beta cam SP , Panasonic DVCproHD, Panasonic DVCpro-50 , Sony HDV, DVD authoring and DVD Duplication. Our edit systems handle standard definition as well as uncompressed High Definition (HDTV) . In addition, high end standards conversion using Snell & Wilcox with Motion Compensation and Teranex . (See our Standard Conversions page for more info.)

 

In addition to our editing and dubbing services, we also provide rentals for Avid Media Composer, Final Cut Pro systems, as well as studio deck rentals and hard drive systems, such as high throughput drive arrays for HD bandwidth.

 

We also provide media conversion which allows us to convert most formats into internet playable media files such asQuickTime , Windows Media , and Real Player. We also encode for Bluray's and DVD's in both PAL and NTSC and can create interactive DVD menus in both formats.

 

Miller Video & Film's clients include Lucasfilm, MCI, Autodesk, Pixar, NBC, Harris Digital, Tippet Studio, and Dr. John Grey, author of Men are from Mars, Women are from Venus.

 

Please give us a call to find out what we can do for you.

Miller Video & Film has been providing production and post services to the Bay Area for 25 years.

 

CLIENTS

 

Lucasfilm

WorldCom

AutoDesk

Apple

Pixar

NBC

Harris Digital

Dr. John Gray (Men are From Mars...)

 

SERVICES

 

Post:

Bluray & DVD authoring

Broadcast Rentals

Edit Suite

Post Production Services

Whether it's on-line finishing or off-line editing, Miller Video & Film offers a wide range of choices for post production editing. For standard definition projects we rely on the industry standard for quality in our AVID Adrenalines and for standard definition and high definition we use Final Cut Pro HD 7 on Ultra fast Mac Pros with high speed drive arrays. All the systems we offer are mobile but are also available in our deluxe edit suite, designed with client comfort and usability in mind. With our sophisticated edit bay to MCR interface, we can route any machine to our edit bay quickly and easily. Clients benefit from skilled technicians capable of accommodating almost any technical need on the fly.

 

Aside from being a full blown editing facility, Miller Video & Film can also offer an endless array of format conversions, tape or digital. We also have high quality standards conversion capabilities for NTSC projects with content headed overseas and for conforming tapes in PAL format to your NTSC project. All equipment we use meets broadcast standards and includes HDCAM, Digital Beta cam, Beta SP, DVCAM among others. Have a tape and you can't play it or don't know what it is? Just ask... chances are we can handle it and get it into a format you can use.

POST PRODUCTION SERVICES

 

• Standards Conversion

•  Deck Rentals

• Final Cut Rentals

• AVID Rentals

• Premiere Rentals

• Editorial

• Video Transfer

• Online Editing

• Edit Suite Rental

• Bluray & DVD authoring

• Quality Control Reports for Broadcast

HDCAM SR DECK  SRW-5500

PANASONIC HD1400A

HDCAM DECK  F-500

Need to layoff your show to Digi-Beta? We can it bring right to your front door... and if you need it we'll set it up for you as well. Decks, Edit systems, monitors , hard drive arrays, all at your disposal. From the time we walk in your door we can have a functioning AVID or Final Cut up and running in around and hour. All our edit systems come with fully configured audio and video patch bays and multiple video and audio harnesses to accommodate any deck or peripheral configuration you need. All systems present themselves with a pleasing visual aesthetic for client-friendly environments and can be installed with a minimum footprint in mind. With all our rental equipment comes the quality assurance of qualified tech support by phone or on-site if needed.

RENTAL EQUIPMENT  EDIT SYSTEMS

• AVID Adrenaline Mobile Edit System

• FinalCut Pro HD Mobile Edit System

 

HD DECKS

• Sony HDCAM HDW-F500

• Panasonic D5 AJ-HD3700b

• Sony HDCAM SR SRW-5500

• Panasonic DVCProHD HD-1400

• Sony HDV HVR-1500A

• JVC HDV BR-HD50U

• Sony XDCAM PDW-U1

 

STANDARDS CONVERSION - SD & HD

• Sony NTSC Digital Betacam DVW-A500

• Sony PAL Digital Betacam DVW-A500P

• Sony NTSC DVCAM DSR-1500

• Sony NTSC DVCAM DSR-45

• Sony PAL DVCAM DSR-45

• Sony Betacam UVW-1800 (PAL/NTSC)

• Sony Betacam BVW-70 (NTSC)

 

DISPLAYS & MEASUREMENT

• AJA HDP DVI to HDMI Converters

• AJA Gen10 Tri-Sync Generators

• Tektronix WFM-300 Waveform/Vectorscope

• Leader LV7700 Multi-format Waveform/Vector Scope

• Pioneer PRV-LX1 DVD Recorder

• JVC DT-V24 SDI/Component LCD Display

• Videotek DL-850HD SDI Legalizer

• Videotek DL-810SD SDI Legalizer

 

AVID EDIT SYSTEMS TO GO

• Drive Arrays stripe for Uncompressed Bandwidth

• Mackie Mixer

• Full Range Audio Monitors

• (2) 24" LCD Displays

 (1) 24" SDI  Monitor

 

 

FINAL CUT & PREMIERE SYSTEMS TO GO

• FinalCut Pro

• Premiere

• Drive Arrays stripe for Uncompressed Bandwidth

• Mackie Mixer

• Full Range Audio Monitors

• (2) 24" LCD Displays

• (1) 24" SDI  Monitor

 

STANDARDS CONVERSION - SD & HD

• HD & SD (NTSC & PAL)

• FRAME SIZE CONVERSION

• FRAME RATE CONVERSIONS

• ENCODEING CONVERSIONS

 

MEDIA CONVERSIONS

• Teranex

• Snell Wilcox w/Motion Compensation

• Frame Rate Conversions

 

PROTOOLS AUDIO MIXING

• ProTools for video mixing

• Souind EFX Library

• Neumann Speaker system for accurate sound

 

TEL: 415.898.9998

Miller Video & Film Production Services

 

Miller Video & Film has been providing production and post production services to the San Francisco Bay Area production community since 1991. Located in the prestigious San Francisco Presidio , the company's facilities are located within one of the city's largest parks. We are next door to the San Francisco Film Centre which includes edit facilities, production companies, and the San Francisco Film Society . And just a few blocks away is the new Lucas Film Digital Arts Center(LDAC) . And with all that going on, you might think parking is a problem, but in fact there is a huge parking lot with more than 1000 free parking spaces that are always available. All within 2 miles of the Golden Gate Bridge , Miller Video & Film's facilities are luxurious and comfortable.

 

 

Miller Video & Film's facilities include AVID Media Composer and Final Cut Pro edit bays. Our main edit suite is over 400 square feet and can easily seat 6 or more people very comfortably. Our machine room houses lots of broadcast quality gear including Sony HDCAM, Sony HDCAM SR , Sony Digital Beta cam , Sony Beta cam SP , Panasonic DVCproHD, Panasonic DVCpro-50 , Sony HDV, DVD authoring and DVD Duplication. Our edit systems handle standard definition as well as uncompressed High Definition (HDTV) . In addition, high end standards conversion gear can convert from NTSC to PAL and vice versa using Snell & Wilcox with Motion Compensation . (See our Standard Conversions page for more info.)

 

In addition to our editing and dubbing services, we also provide rentals for Avid Adrenaline & Media Composer, Final Cut Pro systems, as well as studio deck rentals and hard drive systems, such as high throughput drive arrays for HD bandwidth.

 

We also provide media conversion which allows us to convert most formats into internet playable media files such asQuickTime , Windows Media , and Real Player. We also encode for DVD's in both PAL and NTSC and can create interactive DVD menus in both formats.

 

Miller Video & Film's clients include Lucasfilm, MCI, Autodesk, Pixar, NBC, Harris Digital, Tippet Studio, The Orphanage, and Dr. John Grey, author of Men are from Mars, Women are from Venus.

 

Please give us a call to find out what we can do for you.

POST PRODUCTION SERVICES

 

• Standards Conversion

• Video Deck Rentals

• Final Cut Rentals

• AVID Rentals

• Editorial

• Video Transfer

• Online Editing

• Quality Control

• Edit Suite Rental

• DVD Duplication

• Blu-Ray

 

Post Production Services

Whether it's on-line finishing or off-line editing, Miller Video & Film offers a wide range of choices for post production editing. For standard definition projects we rely on the industry standard for quality in our AVID Adrenalines and for standard definition and high definition we use Final Cut Pro HD 7 on Ultra fast Mac Pros with high speed drive arrays. All the systems we offer are mobile but are also available in our deluxe edit suite, designed with client comfort and usability in mind. With our sophisticated edit bay to MCR interface, we can route any machine to our edit bay quickly and easily. Clients benefit from skilled technicians capable of accommodating almost any technical need on the fly.

 

Aside from being a full blown editing facility, Miller Video & Film can also offer an endless array of format conversions, tape or digital. We also have high quality standards conversion capabilities for NTSC projects with content headed overseas and for conforming tapes in PAL format to your NTSC project. All equipment we use meets broadcast standards and includes HDCAM, Digital Beta cam, Beta SP, DVCAM among others. Have a tape and you can't play it or don't know what it is? Just ask... chances are we can handle it and get it into a format you can use.

RENTAL EQUIPMENT

 

EDIT SYSTEMS

• AVID Adrenaline Mobile Edit System

• FinalCut Pro HD Mobile Edit System

 

HD DECKS

• Sony HDCAM HDW-F500

• Panasonic D5 AJ-HD3700b

• Sony HDCAM SR SRW-5500

• Panasonic DVCProHD HD-1400

• Sony HDV HVR-1500A

• JVC HDV BR-HD50U

• Sony XDCAM PDW-U1

 

Standard Definition

• Sony NTSC Digital Betacam DVW-A500

• Sony PAL Digital Betacam DVW-A500P

• Sony NTSC DVCAM DSR-1500

• Sony NTSC DVCAM DSR-45

• Sony PAL DVCAM DSR-45

• Sony Betacam UVW-1800 (PAL/NTSC)

• Sony Betacam BVW-70 (NTSC)

 

Displays, Converters and Measurement Equipment

• AJA HDP DVI to HDMI Converters

• AJA Gen10 Tri-Sync Generators

• Tektronix WFM-300 Waveform/Vectorscope

• Leader LV7700 Multi-format Waveform/Vector Scope

• Pioneer PRV-LX1 DVD Recorder

• JVC DT-V24 SDI/Component LCD Display

• Videotek DL-850HD SDI Legalizer

• Videotek DL-810SD SDI Legalizer

 

 

RENTALS

Need to layoff your show to Digi-Beta? We can it bring right to your front door... and if you need it we'll set it up for you as well. Decks, Edit systems, monitors , hard drive arrays, all at your disposal. From the time we walk in your door we can have a functioning AVID or Final Cut up and running in around and hour. All our edit systems come with fully configured audio and video patch bays and multiple video and audio harnesses to accommodate any deck or peripheral configuration you need. All systems present themselves with a pleasing visual aesthetic for client-friendly environments and can be installed with a minimum footprint in mind. With all our rental equipment comes the quality assurance of qualified tech support by phone or on-site if needed.

Avids To Go

 

AVID ADRENALINE DNX HD INCLUDES:

• AVID Adrenaline w/ DNX HD

• Full Component/SDI Patchbays

• Drive Arrays stripe for Uncompressed Bandwidth

• Mackie Mixer

• Full Range Audio Monitors

• (2) 24" LCD Displays

• (1) 24" SDI Edit/Client Monitor

• Workstation Desk

 

ALL SYSTEMS HD, NTSC SD or PAL SD Compatible

 

FINAL CUT PRO HD INCLUDES:

• FinalCut Pro Studio Suite Version 7

• Full Component/SDI Patchbays

• Drive Arrays stripe for Uncompressed Bandwidth

• Mackie Mixer

• Full Range Audio Monitors

• (2) 24" LCD Displays

• (1) 24" SDI Edit/Client Monitor

• Workstation Desk

 

ALL SYSTEMS HD, NTSC SD or PAL SD Compatible

 

Avids To Go

 

AVID Media Composer Adrenaline systems feature fully integrated video and audio patchbays, VHS recorder, realtime DVD recorder, mixer, broadcast quality NTSC and PAL monitoring, Dual LCD Displays, professional speakers, workstation desk and a wide range of decks which include Digital Beta cam, Beta SP, DVCAM, etc. This system rolls into any edit suite or MCR and in easily interfaced with equipment and machines on-site. Multiple drive configurations, including firewire, SATA Arrays and SCSI LVD Media Docks, available upon request.

 

The Final Cut Pro 7 HD systems feature fully integrated video and audio patchbays, Mackie Mixer, Broadcast quality monitoring, Dual LCD Displays, professional speakers, workstation desk and a wide range of decks which include Digital Beta cam, Beta SP, DVCAM, HDCAM, DVCPROHD and HDV. This system rolls into any edit suite or MCR and in easily interfaced with equipment and machines on-site. Multiple drive configurations, including firewire, SATA Arrays and SCSI LVD Media Docks, as well as VHS recorder, realtime DVD recorder, available upon request.

 

All systems are completely mobile and fully configurable according to needs. Seasoned technicians setup and test systems onsite and are available for tech support throughout the rental period. Whether it's an add-on edit suite in your facility or a edit-on-the-fly setup at a hotel or video shoot, Miller Video & Film is an all in one mobile edit solution. Here is a list of clients who have trusted Miller Video & Film, time and again, to deliver quality equipment and service.

HDCam SR Rentals

 

 

Sony HDCAM-SR format is the high end of High Definition television. Models include SRW-5000, SRW-5500, and the SRW-5800. This VTR also allows recording and playback of the well-proven HDCAM format. Applications range from HDTV to digital cinematography. Key features include high-quality 1080i, 1080PsF, or 720P recording and playback, a wide array of internal format conversions, including 4:4:4 to 4:2:2, legacy playback of Digital Beta cam tape formats.

 

Cross conversion in HD High Definition is also possible using HDCAM-SR ability to convert 1080 to 720. This is useful in transferring HDCAM, HDCAM-SR to other HD formats like Panasonic D5, Panasonic DVCproHD, and Sony HDV. 3:2 pull down can also be managed in cross conversions.

 

The SRW-5800 HDCAM-SR Studio Recorder is equipped with the same key features as SRW-5500 and SRW-5000 recorders in the series. This deck records 1920 x 1080 resolution 10bit HD signals using MPEG-4 Studio Profile with visually loss-less compression. Video data rate is 440Mbps and 880Mbps is also possible with HKSR-5803HQ option. 12 channels of 24-bit discrete uncompressed audio can be recorded. Multiple frame rates are supported i.e. 1080 23.98/24/25/29.97/30PsF, 50/59.94/60i and 720 50/59.94P. 1080 50P and 59.94P are also supported with HKSR-5803HQ by using double speed recording mode. RGB4:4:4 signals can be recorded and played back with option cards. The HKSR-5803SQ supports 4:4:4 SQ mode only and the HKSR-5803HQ supports both 4:4:4 SQ and HQ mode. By using HKSR-5802 option, it can playback HDCAM and Digital Beta cam tapes. Up-conversion output is possible when playback Digital Beta cam tapes. HKSR-5001 format converter option for SRW-5000 and SRW-5500 can be used for SRW-5800, too. This versatile format converter allows 2-3 pull down and 1080i or 1080PsF to 720P conversion or vice versa. Color space conversion between 4:4:4 and 4:2:2 is possible as well. HKSR-5803HQ option enables X2 transfer of Video, Audio and Timecode to specified server in 1080 50i (25PsF), 60i (30PsF), 24PsF and 720 50/59.94P over HD-SDI dual link by using 880Mbps mode.

 

Here are some of the features:

 

1080 recording and playback at multiple frame rates: 23.98PsF, 24PsF, 25PsF, 29.97PsF, 50i, 59.94i in HDCAM and HDCAM-SR formats.

 720P recording and playback (HDCAM-SR only)

Switchable 4:4:4/4:2:2 recording

High quality MPEG-4 studio profile compression

High quality audio recording: 12 channels, 24-bit audio at 48kHz in the HDCAM-SR format

 

Internal format conversion including up and down conversion, 4:4:4 to 4:2:2 conversion. 10 bit 4:2:2 and 4:4:4 recording. 12 x 24 bit audio channels. Down conversion and cross conversion to 4:2:2 and SDI.

 

Playback of Digital Beta cam format tapes

Long recording time on a single cassette of up to 155 minutes at 1080/24PsF

Frame accurate insert and assemble editing

Dynamic tracking playback

Dynamic Motion Control (DMC) playback

Pre-read editing

Confidence playback

Selectable picture modes including squeeze, letter box and edge crop

Audio output channel routing: can route audio to any HD-SDI or SDI output

Dual-sync operation

Off-speed playback capability

Built-in tele-file read/write capability

Metadata handling

 

GENERAL THINGS TO KNOW ABOUT HD

 

The 720 formats, used with DVCPro HD and D5, are all progressive. The 1080 formats, which include HDCAM, D5, and DVCPro HD, are capable of both progressive and interlaced frame types, depending on the frame rate and format you choose.?

 

Unlike NTSC, or PAL Standard definition formats, HD outputs it's image in square pixels instead of rectangular pixels. Some HD formats sample internally using rectangular pixels but resample on output to square pixels. This is done to effectively compress the signal in order to save space.

 

Another method of space saving is luminance and chrominance sub-sampling. For instance, DV uses a 4:1:1? color sampling scheme. The first digit represents a full sampling of luminance, i.e. the 4 means that luminance is sampled once for every pixel in the image. The second and third digit represent a %25 sub-sampling of chrominance, Cr and Cb respectively, meaning color components are sampled with every 4th luminance sample on each horizontal line. With HDCAM, for instance, 3:1:1 means that luma is sampled horizontally at three quarters of the full luminance sampling rate and chrominance is sampled at 1/4 of the full chrominance sampling rate on the Cr and Cb channels.

 

Quantization, as it refers to pixel sampling, is another way in which space is saved on recorded tape formats. HDCAM uses 8bits per pixel to store on tape but upsamples on output in order to accommodate full 10bit streams. D5 and HDCAM SR are capable of recording 10bit streams to tape.

 

Sony HDCAM is capable of 1080 resolution at frame rates of 23.98, 24p, 25p, 29.97, 50i, 59.94i and 60i. The codec stores video at 1440 x 1080(non-square pixels) and is unsampled to 1920 x 1080 using an 8bit DCT compressed 3:1:1 recording, which breaks down to a compression value of 4.4:1. Though it stores in 8bit, it handles 10bit input and output with a recorded video bitrate of 144Mbits. It uses 4 channels of AES/EBU 20-bit/48khz audio and supports Dolby E surround sound using using existing audio channels.

 

HDCAM SR uses a higher particle density tape stock and records with an increased bitrate of 440Mbit/s. It produces a 4:4:4: RGB recording with 10bit input and output. HDCAMSR uses a MPEG-4 compression scheme and expands the audio capability to 12 channels at 48khz/24bit.

 

Unlike formats such as DVC Pro, HDCAM and HDCAM SR do not share tape stock compatibility. Sony differentiates the stock by using an orange lid for HDCAM and a Cyan lid for HDCAM SR.

 

DVCPro HD(A.K.A. D7-HD) is a Panasonic HD format that uses the same tape stock as DVCPro running at a faster transport speed. It does 720/60p and 1080/60i, and will soon support 1080/24p.

 

A derivative format called Varicam uses the DVCPro HD codec to create a varible framerate, from 4 to 60fps, to create rapid or slow motion effects used in film. It can also be used to shoot in 24p, thus approximating the "look" of film. An important thing to remember is that the transport speed of the tape does not change but instead still runs at 60fps and creates duplicated frames and flags them for identification on output. Programs like Final Cut Pro can identify these flags and remove them, hence creating a true varible frame rate clip. In the case of a 24fps tape, it is essentially like a reverse telecine. Varicam is only available in 720p.

 

DVC Pro HD uses 6.7:1 compression and encodes using 4:2:2 color sampling. DVCProHD streams at a native bitrate of 100Mbits, and supports 10-bit input and output with up to 8 channels of audio. Like HDCAM, DVCPro HD uses a prefiltering process that takes a 720p source and stores it at 960 x 720 and a 1080 source and stores it at 1280 x 1080(1440 x 1080 for 50i) and unsamples the video to full resolution on playback. DVCPro HD can also be recorded to cameras supporting the P2 card(PCMCIA), which can then be imported into systems such as Final Cut for editing, all without the use of tape.

 

A common source of confusion is with tape stock. Since DVCPro tape can be used with DVCPro, DVCPro50 and DVCPro HD, the running times printed on the tape apply differently. Panasonic has three different color codings for tape stock to help with figuring out tape run times. Yellow is for DVCPro. If you have a yellow tape and it says 66/33, then you'll get 66 minutes with the DVCPro format and 33 minutes with the DVCPro50 format. You can also use this tape for DVCProHD, however, keep in mind DVCProHD uses 4x the amount of space as DVCPro thus you will only have 16.5 minutes of run time. A blue lid signifies DVCPro50 and the run time printed on the tape will be for DVCPro 50. This time you will get twice as much run time if you record DVCPro and half as much run time with DVCPro HD. The red lid identifies? the the run time printed on the tape as a DVCProHD run time and, of course, the math works in reverse when recording DVC Pro and DVC Pro 50.

 

HDV is a prosumer format which records highly compressed MPEG-2 on a mini DV tape. The interframe-compressed MPEG-2 streams at 19Mbits per second for 720p and 25 Mbps for 1080i. 384 Kbps MPEG-1 Layer 2 stereo audio is used for during encoding. The interframe encoding is good for storing high quality video at a lower bitrate but makes it more difficult to edit.

 

The method of compression uses a GOP, or group of pictures. This means a series of I-frames(intra-frames) and B and P(bi-directional predictive and predictive) frames encode as much as 12 to 15 video frames into 1 GOP. Since predictive frames cannot be decoded individually, the entire GOP must be decoded in order to edit those frames. Editing on GOP boundaries is possible without decoding, but limits editing accuracy. Complex transitions are prone to artifacting and fair better if the Mpeg-2 is decoded first, posing an additional inconvenience. Just to belabor the point, HDV footage also tends to cause editing systems to work harder as independent cells have to be continually rebuilt by the NLE when cuts are made.

 

The interframe compression method also increases the impact of dropouts or errors in the bit stream. This is because of the error or dropout will effect all frames in the GOP. Unfortunately, this is just an accepted drawback of the format.

 

All this said, programs such as Final Cut 5 have developed their software to edit HDV with only a few hang-ups. Apple's Intermediate Codec, though requiring much more drive space, transcodes the HDV format to an intermediate format. It helps maintain quality and system efficiency while editing in Final Cut.

 

Understanding HDV's response to light and motion is important to producing good results with minimal artifacts. Recent films and TV shows have established work-flows when handling and shooting HDV to minimize incident. It should be noted, however, that many broadcasters only accept HDV in a limited capacity and likely only with prior consent.

STANDARDS CONVERSION

 

TRANSFER/CONVERSION SERVICES

 

• SD Standards Conversion via ALCHEMIST with Phase Correlated Motion Compensation

• HD to SD Downconversions via HDCAM, HDCAM SR, DVCProHD and HDV as well as file based sources.

• DVD Duplication Services

• DVD Authoring from any file or tape format.

• "Slow PAL" HD Framerate conversions going from 23.98 to 50i/25psf or 25psf to 23.98/59.94i.

 

ALCHEMIST STANDARDS CONVERSION

• Phase Correlated Motion Compensation

• CleanCuts™ for precision editing

• ARC for High Quality Aspect Ratio Conversion

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Edit Suite Rentals

 

Whether it's on-line finishing or off-line editing, Miller Video & Film offers a wide range of choices for post production editing. For standard definition and high definition projects we rely on the industry standard for quality in our AVID Adrenalines and Final Cut Pro 7 on Ultra fast Mac Pros with high speed drive arrays.

 

All the systems we offer are mobile but are also available in our deluxe edit suite, designed with client comfort and usability in mind. With our sophisticated edit bay to MCR interface, we can route any machine to our edit bay quickly and easily. Clients benefit from skilled technicians capable of accommodating almost any technical need on the fly.

 

Quality editors can be provided to fit the specific need of the project. Be it straight cutting or graphic/effect intensive work, we have long list of trusted editors covering a vast range of experience. In addition, our extensive resources make it possible to assemble a wide variety of professionals such as camera operators, producers and other crew, for video shoots and production teams. Our clients have come to count on us for our service in handling projects that include TV commercials, corporate videos, web video content, music videos and feature films.

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