High End Video Production | Another Brother
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Video Production | Another Brother

HIGH END VIDEO PRODUCTION

 
 
 
 

POWERED BY

 
 
 
 
 
 
 
 
 
 

Video equipment

In our studio we have a large collection of the best video production equipment for high end productions. At the same time, we put great effort into being efficient and quick on our feet. Making a video production doesn’t always call for the biggest rigs. This is our line up:

Cameras:

RED Epic W Helium 8K with EF/PL-mount: Our go-to in most situations. Great video and postproduction quality. This is our second RED camera since the MX, and it is stepping up the resolution from 4K to 8K (massive step), och frame rates up to 240 fps. The sensor gives us better colors and our new screen/handle setup makes this configuration much more portable. Overall a BEAST.
RED Epic MX with EF/PL-mount: Our first RED camera, good enough for TV commercials but is lacking in picture quality for our current needs. It filmed 4K video in RED raw.
Sony FS7: The Sony FS7 is a camera that somewhat falls between the chairs video production wise, at least on our part. It isn’t small enough to be a pure run’n’gun camera, but if we want better quality we already have the RED camera. However, it is easily the highest quality of the Sony Video Production line up, and a fantastic camera if you don’t have the budget for real professional equipment.
Sony FS5: When we got the FS7 we were super happy with it, but when the smaller Sony FS5 came out we quickly diverted to that instead and bought 2 of them. It is a lot smaller and lighter than the FS7 with perfect handheld features like variable ND and a better handle. We purchased the license with allows you to film RAW 4k video together with an external monitor. The video quality is not as good as the FS7 but we believe it is a perfect camera for all round filming, event video, slow motion (it films 200 fps in 1080p) and multi-camera setups. It is also a good camera for live production, has XLR-inputs, and small enough to fit on most gimbals, which is a great help for car productions.
Sony A7sIII: The whole Sony A7s-series is our absolute favorite cameras when it comes to gimbal production and videos for festivals like Ultra Music Festival and Tomorrowland. It is very small as a DSLR, but has excellent video quality and can film some slow motion while it has amazing low light performance. All the cameras in the series are amazing, so we will always be updated with the latest ones.
Sony A7rIII:
The R-series is very similar to the S-series, but the Sony A7r is more niched for still photography. It takes over 40 MP pictures which is insane, and the pictures look amazing. Which is why our brother Oskar Bakke uses this series as his main setup.
Sony FS700:
Ah, the good ol’ faithful. Not a camera we use anymore, but it deserves a spot in the roster since it was one of the first perfect cameras out there. It had slow motion, good image quality and was easy to use. This was definitely the camera that got us hooked on Sony in the first place.
Canon C300: Another faithful video camera. It didn’t shoot slow motion video which was a bummer, but it had kickass sound inputs and image quality.
GoPro Action Cams: Our beloved GoPros. Goes anywhere you can reach and can take a real beating. During our almost 10 years of video production and over 300 GoPro productions, we’ve been able to break two. One was dropped from the top of a cliff and one was run over by Sebastien Loebs 2 cm metal tyre studs.

Lenses:

Canon 16-200 mm primes and zooms, Macro 100: Canons lenses were the best in the business for video production the last 10 years. However, we feel that they have lost their edge to for example Sony
Sony 18-200 mm primes and zooms: Sony’s lenses have started performing exceptionally in line with their cameras getting better autofocus and smart features. This has meant that we have started using more and more of Sony’s professional video lenses lineup.
Arri, Angenieux, Canon Primes: During bigger video productions we often use bigger lenses from more niched brands. These lenses are much more rigid and are often cinema compatible, although most often a lot heavier.

Gimbals:

DJI Ronin: Our first DJI Ronin, takes on most video cameras but can become extremely heavy. Was a given item in our production setup before, but has gotten its place taken away by smaller or better functioning generations.
DJI Ronin M: The original Ronins little brother has become our day to day daily warrior. It’s size makes traveling so much easier, and the batteries, weight and functionality of it is ages better than the predecessor. It takes on the Sony FS5’s and the Sony A7s’s.
DJI Ronin 2: The new version of the original Ronin which is much lighter and easier to use. Although it is about the size of a small house we use it for car rigs and when we need to rig the RED on a gimbal.
GoPro Karma Grip: Although their drone wasn’t a hit, GoPro managed to create a small gimbal which absolutely does the trick for GoPro video production. It’s always packed with our gear.

Drones:

DJI S900: Our big boy drone. In the beginning, when drones were new in the production world, we were the pioneers of the drone world and got the S900 hexacopter drone. Since then, the world of drones have evolved, but we still have the S900 if the need arises.
DJI Inspire 1 + 2: The DJI Inspire was the real revolution in drone production, featuring a 4K internal camera and a ready to fly drone already assembled. Although DJI have come up with simpler solutions, these two are still in our production arsenal.
DJI Mavic Pro: Our daily little droney. It small, strong and can be in the air for over 20 minutes. Got excellent video quality for it’s size and is just everything a traveling filmmaker wants to have. 10/10 so far.

Extreme Video Production setups

Since we started producing videos with Red Bull, Betsafe and Jon Olsson, we have probably done more extreme shoots than any other production company. Fast cars, helicopters and crazy stunts is a daily routine, but to be in charge of the video production behind it, we need to have some extra tricks up our sleeves. These are some of the extreme rigs we can use in our productions:

Helicopters:

We often shoot from helicopters when the terrain is too hard to conquer on ground or we need to be faster than whatever crazy thing we are shooting. We fly with turbine driven helicopters where we open or unmount the side doors for us to hang out of with safety harnesses.

Crane Car:

When there is a need to film cars from multiple angles we often go with the XCorpion crane car with the corresponding crew:

 
Volvo V8 XCorpion
 

Car Setups:

If we need a smaller rig than the XCorpion we use magnet mounted gimbal mounts for recular cars. These can be mounted on the roof, hood or side of the car, as well as inside the trunk.

Cable Cam:

If there is a need to do the same camera movement multiple times during a shoot it is often good to use a cable cam that is secured between to static points

Production Studio

Our studio in Stockholm is 200 m2 and hosts editing suites, backdrops and recording possibilities. We are spending the majority of our time here so make sure to stop by when you have the chance for unlimited Red Bull and life advice.

Production Partners

In order to be able to deliver the magnitude of services that we do, we have production partners for some of the services we do not have in house:

Music:

NEIKED Collective: A global hitmaking collective who has been our friends for a long time. They produce music and sounds for ur whenever we need some extra oumph.

Still Photography:

Oskar Bakke: One of the OG Brothers. One of the world’s best car photographers.

Equipment:

Ljud & Bildmedia: Our go-to in rental equipment.

Graphics & animation:

Goodmotion: Goodmotion has been our production partner for almost three years, making graphics and animations

Sound Production:

Lillasyster Produktion: Jakob at lillasyster is a beast when it comes to sound production.

Live Production:

Cloud Production: Ulric is a technical genius which we consult for all kinds of weird live solutions and crazy remote broadcast techniques.

Updated 2018-09-13