Video Shooting and Delivery Guidelines

Associate field guide

Use this guide for Orange Photography conference, interview, and event video assignments. It covers capture standards, on-site handoff, and delivery of camera originals and edit drafts through the project’s shared Google Drive folder. The project brief and client requirements take precedence whenever they specify different settings or deliverables.

For every assignment: Capture clean, stable footage and usable audio; cover the priority moments; upload all raw assets to the assigned shared Drive folder; verify the upload before clearing cards; and upload requested edit drafts to the Drive draft folder.

1. Before the event

• Read the call sheet and video brief. Confirm deliverables, run of show, priority people and moments, aspect ratios, frame rate, audio plan, interview questions, brand requirements, deadlines, and draft approver.
• Confirm the project’s shared Google Drive folder and your upload access before arriving. Ask the producer for the folder or access if it is missing. Do not use a personal Drive or deliver raw files only by email or text.
• Check cameras, lenses, media, batteries, chargers, audio recorders, microphones, headphones, tripods or monopods, cables, and requested lighting.
• Coordinate coverage zones, interview setup, camera matching, and media upload responsibilities with the producer and other operators.

2. Capture settings

Follow the project brief first. If it does not specify settings, use these defaults when your equipment supports them. Keep settings consistent across cameras and operators.

3. On-site shooting standards

Build a useful range of coverage

• Capture establishing wides, medium coverage, close details, audience reactions, speakers, sponsor and environmental branding, registration, networking, demonstrations, and transitions. Hold shots for about 8–10 seconds with a steady start and finish.
• Prioritize the people and moments named in the brief. Capture clean views of signage and branding without letting logos dominate every shot.
• For highlight videos, collect visual details and human moments that support the event’s message. For documentary or chronological deliverables, cover the full requested session and preserve the sequence.
• Move deliberately. Avoid unnecessary pans, zooms, focus hunts, exposure changes, and repeated start-stop clips. Use a tripod or monopod for long sessions, interviews, and locked-off angles.

Interviews and presentations

• Frame interviews at eye level with a clean background, comfortable headroom, and room in the direction of the subject’s gaze. Check reflections, background movement, wardrobe, and visible brand elements.
• Use a lavalier microphone as the primary source and a boom or recorder feed as backup when available. Listen before and during the interview. Ask subjects to pause before and after each answer, and record 30 seconds of room tone.
• For panels or keynotes, test a clean audio feed before the session. Capture audience questions and the speaker’s response. Match frame rate, white balance, exposure, and picture profile across cameras; sync with timecode or a visible and audible clap at the start.
• Avoid blocking attendee sightlines or interfering with event staff. Follow posted restrictions and producer instructions for VIPs, private meetings, and no-recording areas.

Stationary speaker coverage

• When the assignment calls for a stationary speaker, use two cameras when available: a locked wide shot that keeps the full speaking area in frame as the safety angle, and a tighter medium or close shot of the speaker. Keep both cameras recording throughout the presentation so the editor can cut between angles without gaps.
• Place cameras so the wide angle shows the speaker, podium or stage context, and any important presentation screen without blocking attendees. Keep the tight angle steady on the speaker and avoid unnecessary reframing during key remarks.
• Match both cameras’ frame rate, resolution, shutter, white balance, exposure, and picture profile. Focus each camera before the session and check the frame periodically without interrupting recording.
• Record scratch audio in-camera on both cameras, even when using a house or external audio feed. At the start, make a visible and audible clap or slate in both views; use timecode sync when available. Confirm audio is present on both files and note the external audio source and any sync issues for the editor.
• If the assignment is limited to recording stationary speaker presentations (especially full day coverage), 1080p is acceptable unless the project brief or client requires 4K. Match both cameras to the same resolution and frame rate.

4. Media handling and Google Drive delivery

Upload all raw camera originals and recorded audio to the shared Google Drive folder assigned to the project. Include every recorded camera clip, separate audio, and relevant camera or sound notes. Do not deliver only selects, proxies, or finished exports when originals were recorded.

• Use the folder structure provided by the producer. If none exists, create these subfolders inside the assigned project folder. Do not create a new top-level shared folder without coordination.
• Preserve original filenames and camera folders. Add descriptive labels in a camera log; do not rename source files in a way that breaks relinking.
• Upload after each event day when possible and within the call sheet’s delivery window. Keep original cards until the upload finishes and a spot check confirms files open and clip counts look complete. Do not format cards until the backup plan is confirmed.
• If the connection is too slow, storage is insufficient, an upload fails, or access is blocked, tell the producer promptly. Keep the media safe and available; do not substitute a personal cloud account.
• When upload is complete, message the producer with the Drive folder path, what you uploaded, any pending files, and any technical issues.

5. Editing and draft delivery

When editing is part of your assignment, upload review drafts to the project’s shared Google Drive folder in 04_DRAFTS. Do not send the only draft by email, messaging app, or a private file-transfer link.

• Name review exports consistently: Client_Event_Deliverable_v01_YYYY-MM-DD_REVIEW.mp4. Increment the version for each new review export; do not overwrite an earlier draft.
• Unless the brief specifies otherwise, export an H.264 MP4 at the requested resolution and frame rate, with clear dialogue and no offline media. Mark it REVIEW or DRAFT until the producer approves it.
• Include a short handoff note stating the version, what changed, open questions, and whether any footage, music, graphics, or captions are temporary. Put project files and linked assets in 06_PROJECT_FILES when requested.
• Do not treat comments or a draft upload as final approval. Make revisions through the producer’s feedback. Deliver final exports to 05_FINAL only when assigned or approved.

6. File naming and delivery checklist

For exported edits and notes, use Client_Event_Deliverable_Camera-or-Version_Date. Use simple names without special characters. Keep source camera filenames intact.

• ☐ Brief and Drive access confirmed before the shoot.
• ☐ Camera and audio settings match the brief and are consistent across operators.
• ☐ Priority speakers, sessions, event details, and required brand elements are covered.
• ☐ All camera originals and separate audio are uploaded to the assigned shared Drive folder.
• ☐ Uploads are checked; original media remains safe until backup is confirmed.
• ☐ Camera log and technical notes are included when useful.
• ☐ If editing was requested, the review draft is in 04_DRAFTS with a versioned filename and handoff note.
• ☐ Producer has been notified that the upload is complete and knows about any missing or pending files.