San Diego's Award-Winning Video Production Company for 35 Years
For the opening to a Sports Illustrated Sportsman of the Year television special, renowned golfer Phil Mickelson addresses the camera. For this shot we used a Sony F-900 High Definition Camcorder mounted on a 25 foot jib arm for long time client Intersport of Chicago.
“It takes a village to make good television”. This is the behind the scenes view during taping of Titleist’s Golf Fitness Academy. Many large and small decisions and adjustments add up to a program that appears to the audience as if it “just happened”.
Great outdoor lighting utilizes a combination of artificial and natural light sources. During this production for The Golf Channel and Titleist the sun is reflected from both hard reflector boards, a large reflective cloth panel, as well as daylight balanced continuous light source HMI production lamps.
It still amazes me with how much stuff it takes to make good television. Wide shot of one of our setups for The Golf Fitness Academy by Titleist. If you start taking things away however, quality suffers.
Definitely one of the coolest shoots we’ve done. For The Golf Channel’s production of “Breaking 90”, we flew out to the aircraft carrier Abraham Lincoln for two days and a night to chronicle the show’s subject Juston Cooper during his “normal” life. Working around the tight quarters of an aircraft carrier is a challenge, but the “coolness” factor of the shoot made it easier. Pictured left to right are Dean Reinmuth, Justin Cooper, Jeff Landie, Bob Sloan, and Jay Kossof, producer for the Golf Channel.
One of the elements we enjoy about working with our corporate clients is the opportunity it gives us to learn about their industries. We serve major accounts to the fullest by drilling down into their company until we have a core understanding of what is at the true heart of their company and it’s processes.
Camera movement adds visual interest and production value. For this industrial film we employ a “doorway dolly”, (yes, it fits through a door). The doorway dolly is one of the least expensive, easily deployable and repeatable means of getting the camera moving.
Productions large and small all have commensurate amounts of necessary administration that require skill and organization. Turning a garage into her office, associate producer Janie Brown keeps track of scripts, budgets, schedules, locations, props, cast, and crew for a series of industrial films and DVD’s.
For multiple camera shoots, each camera must be monitored for proper video levels and matching color. Jeff Landie of Sloan Productions uses his extensive notes about different cameras to make this job easier. Multi-camera camcorder production is a production style that Sloan Productions specializes in.
Using fundamental tools for lighting a scene yields a more deliberate and artful picture as opposed to the “light it up and look at the monitor” approach. Jeff Landie of Sloan Productions uses a light meter to determine the key to fill to backlight ratio.
