Set up quickly
Compact cameras and powerful small LED lights reduce the time spent loading in and building the set.
Video Production Equipment at Dream Engine
You do not need to choose the cameras, lenses, lights or microphones yourself. Tell us what needs to be filmed and what the location is like. We will plan the equipment and crew around the job.
Our equipment approach
Professional equipment without taking over the room
We use high-end cameras, lighting and sound equipment in a compact setup that lets us work quickly and keep disruption to a minimum.
Much of our filming happens in offices, hospitals, universities and working facilities. Bringing the biggest kit possible would slow the day down and get in the way. We bring the gear the job needs, set it up neatly and keep the footprint as small as practical.
Built for a productive filming day
The equipment needs to help us make the video, not become the centre of attention. Our standard setup is designed around the way businesses actually work.
Move between rooms
A smaller kit helps us film several interviews and supporting shots across a workplace without rebuilding everything from scratch.
Keep the workplace running
We keep stands, cases and cables under control, protect access and avoid occupying more space than we need.
Our regular kit covers most corporate filming. We add specialist equipment when it solves a particular problem or helps us create a planned shot.
Sony FX6 and FX3 cameras
The Sony FX6 is our main camera for interviews and controlled production work. It gives us the image quality, professional connections and built-in controls we need while remaining compact enough for an office shoot.
The smaller Sony FX3 works well as a second interview angle, on a camera stabiliser or in a tight location. Using cameras from the same Sony Cinema Line also helps the pictures match when we cut between them.
We can record in 4K and work to an agency or post-production specification when one is supplied. The camera choice is part of the production plan, so clients do not need to compare models themselves.
Sony G Master lenses
We carry a range of Sony G Master lenses and choose them around the room, the shot and the amount of movement. A wider lens may be needed in a small meeting room. A longer lens can create a clean interview background or let us film activity without standing in the middle of it.
For most clients, the useful question is not which lens has been selected. It is whether we can get the right framing, keep the person looking natural and move through the shot list efficiently. That is what guides the choice.
Compact lights and large softboxes
We use Aputure and amaran LED lighting, including compact Halo lights, because they give us a lot of light from a small unit. They are easier to place in offices and confined rooms, and they help us move quickly when the schedule includes several locations.
For interviews, we often pair the lights with large softboxes. The larger light source produces soft, flattering light on a person’s face. We then control the spill so the light does not wash over screens, walls or other parts of the background.
We also work with daylight coming through windows and the practical lighting already in the room. The aim is a polished result that still looks like the real workplace.
Clear dialogue and properly monitored sound
For interviews, our first choice is normally a shotgun microphone positioned on a boom just outside the frame. It gives us clear, natural dialogue without attaching a microphone to the person on camera.
We mainly use Sennheiser wireless lapel microphones for run-and-gun filming, documentary coverage and situations where the person needs to move freely. The microphone choice depends on the action, the location and how much control we have over the shot.
We monitor the sound throughout the take and, where useful, record a second source as backup. We deal with air conditioning, traffic, clothing noise and other problems while we are still on location.
See how we plan sound recording for more demanding productions.
The rest of the standard production kit
Cameras, lenses, lighting and microphones are only part of the setup. We also bring the support equipment needed to keep the filming stable, efficient and safe.
Tripods and camera stabilisers
Tripods give interviews and formal shots a stable base. A camera stabiliser lets us follow someone through a workplace or create a smooth moving shot without laying track.
Sliders
A compact slider creates a short, controlled move for products, machinery, documents and detail shots. It adds movement without requiring a large grip setup.
Autocue
For scripted presentations, we can add an autocue so the presenter can read while looking directly into the lens. See how we use autocue in a Dream Engine production.
Drone filming
A drone can establish the scale and setting of a building, facility, property or construction site. We plan the aerial footage with the ground filming. Read about how we plan drone footage.
Equipment with a reason
We choose the tool for the shot
A camera stabiliser is useful when we need to follow a person. A slider is better for a short, precise move. A locked tripod is often the right choice for an interview.
We do not add equipment just to make the crew look impressive. Each item needs to improve the shot, make the day run better or reduce risk. If a simpler setup will do the job properly, that is what we will recommend.
Filming in an office or active workplace
Most locations are not purpose-built studios. We plan for the real room, the people using it and the amount of time available.
Before the filming day we check
- Access, parking and the route from the vehicle to the room
- Room size and where the interviewee, cameras and lights can go
- Windows, changing daylight and reflections from screens or glass
- Air conditioning, traffic and other sources of noise
- Power, room bookings and when the workplace needs to return to normal
Compact when we can be, larger when the idea needs it
The standard kit is right for most corporate productions. For a commercial, brand film or planned camera move, we can bring in specialist equipment and the crew needed to operate it.
Larger productions
Dollies, jibs, cranes and specialist equipment
Some productions need more than our regular camera, lighting and sound package. We can arrange dollies, track, jibs, cranes, specialist lenses, larger lighting and grip equipment, additional monitoring or other equipment required by the treatment.
We plan this during pre-production and include it clearly in the quote. Specialist gear may also require an additional operator or grip. We only add it where the shot or production requirements justify the extra cost and setup time.
This flexible approach means a two-person interview crew stays small and agile, while a TV commercial production can scale up properly.
Clear production scope
What is included in the quote
Standard kit
The normal camera, lens, lighting, sound and support equipment required for the agreed shoot is listed as part of the production scope.
Extra cameras and crew
If the job needs another camera angle, operator, sound recordist, lighting technician or grip, we show that separately.
Specialist equipment
Drone, autocue, dolly, track, crane, jib, studio or other hired equipment is identified before approval, with any additional crew requirement.
Backup and media
We bring the batteries and recording media needed for the planned day, monitor the recordings and manage the footage through the agreed post-production workflow.
Frequently asked questions
Video production equipment
Do I need to choose the cameras or equipment?
No. Tell us what needs to be filmed, where it will happen and how the finished video will be used. We will recommend the camera, lighting, sound and support equipment needed for the job.
What cameras does Dream Engine use?
Our regular camera kit includes Sony FX6 and FX3 Cinema Line cameras with Sony G Master lenses. We use the FX6 as a principal interview and production camera, with the compact FX3 available for a second angle, stabilised movement and tighter locations.
Is standard filming equipment included in the quote?
Yes. The normal camera, lighting, sound and support kit for the agreed shoot is included in the production scope. If the job needs specialist hired equipment or extra crew, we identify that separately before you approve the quote.
Can you film in a small meeting room?
Usually. Our compact cameras and LED lights are well suited to office filming. We still need enough space for safe stands, suitable framing and a workable background, so photographs or a quick location check can help us plan the setup.
How long does an interview setup take?
A well-lit, carefully composed interview normally takes 45 minutes to one hour to set up properly. That gives us time to position the camera, shape the light, control the background and check the sound. Difficult rooms or more complex setups can take longer.
When do you recommend two cameras?
A second camera gives the editor another angle and can make it easier to shorten or rearrange an interview cleanly. We recommend it when the extra coverage will help the final edit or when there is no opportunity to repeat the interview.
Can you arrange specialist equipment?
Yes. We can arrange equipment such as autocue, drone, track and dolly, jibs, cranes, specialist lenses, larger lighting and additional monitoring. We include the equipment, hire period and any extra operator in the quote.
Can you work to our agency or broadcaster specification?
Yes. Send us the camera, sound, frame rate, resolution, colour and delivery requirements before the shoot. We will confirm the equipment and workflow needed to meet them.
Tell us what and where you need to film
Share the location, people involved, planned content and final delivery requirements. We will recommend the crew and equipment needed without making the setup larger than it needs to be.
