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Associate field guide

Video associate shooting and delivery guidelines

For Orange Photography conference, interview, and event video assignments. Capture standards, on-site handoff, and delivery of camera originals and edited drafts through the project’s shared Google Drive folder.

Keynote on a branded conference stage

The project brief and client requirements set the final scope whenever they specify different settings or deliverables.

The capture defaults below are operating recommendations for associates. The current project brief, client specifications, and producer direction take precedence.

Required for every assignment

  • Record clean, stable footage and usable audio.
  • Capture enough coverage to tell the story.
  • Upload every original media card and audio file to the designated shared Drive folder.
  • Verify the upload before clearing cards.
  • Put requested edits and review drafts in the Drive draft folder.

01 · Before the event

Arrive with the brief, the access, and the kit confirmed

Read the brief

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 who approves drafts.

Confirm Drive access

Confirm the project’s shared Google Drive folder and that you can upload to it before arriving. Ask the producer for the link if it is missing. Do not use a personal Drive or send raw files by email or text.

Check your kit

Cameras, lenses, media, batteries, chargers, audio recorders, microphones, headphones, tripods, cables, and requested lighting. Format media only after confirming it is backed up and empty.

Coordinate coverage

Agree with other camera operators and the producer on coverage zones, interview setup, camera matching, and who is responsible for media upload.

02 · Capture settings

Default settings when the brief is silent

Follow the project brief first. If it does not specify settings, use these defaults when your camera supports them. Keep settings consistent across cameras and operators so the editor can match footage cleanly.

Item Default recommendation Field notes
Resolution UHD 4K (3840 × 2160) Use the requested delivery format if specified. Do not up-res lower-resolution footage.
Frame rate 29.97 fps for standard event coverage Choose one project-wide rate. Use 23.98/24 fps only when requested or agreed in the brief.
Shutter About 1/60 sec at 29.97 fps Keep motion natural. For 59.94 fps slow motion, use about 1/120 sec and capture it intentionally.
Color / codec Highest practical camera-original quality; 10-bit when available Use Log only when requested and you can expose it correctly. Do not mix Log and standard profiles without telling the producer.
Audio 48 kHz; 24-bit WAV where available Monitor with closed-back headphones. Record a backup track for interviews and stage audio when practical.
White balance Set manually for each lighting condition Avoid Auto WB shifts during a shot. Recheck after moving between rooms or changing light.
Orientation Landscape as the primary format Capture vertical versions only when requested; leave safe space around subjects and key action.
0 sec
Hold each shot 8–10 seconds, with a steady start and finish
0 sec
Room tone recorded for every interview
0 cameras
For stationary speakers: a locked wide and a tight angle
0 kHz
24-bit WAV audio where available

03 · On-site shooting standards

Coverage the editor can actually cut

  • Capture establishing wides, medium coverage, close details, audience reactions, speakers, sponsor and environmental branding, registration, networking, demonstrations, and transitions. Hold each shot long enough to edit, generally 8–10 seconds, with a steady start and finish.
  • Prioritize the moments and people named in the brief. Capture clean, unobstructed views of signage and branding, but do not let 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 complete 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.
  • Frame interviews at eye level with clean backgrounds, comfortable headroom, and room in the direction of the subject’s gaze. Check wardrobe, reflections, background movement, 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 each interview. Ask the subject to pause before and after each answer; record room tone for 30 seconds.
  • For panels or keynotes, record a clean audio feed when available and test it before the session begins. Capture audience questions and the speaker’s response. For multi-camera sessions, match frame rate, white balance, exposure, and picture profile; sync with timecode or a visible/audio clap at the start.
  • Avoid blocking attendee sightlines or interfering with event staff. Respect posted restrictions and producer instructions for VIPs, private meetings, and no-recording areas.
  • 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 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.
  • 1080p is acceptable if the assignment is limited to recording stationary speaker presentations, unless the project brief or client requires 4K. Match both cameras to the same resolution and frame rate.

04 · Media handling and Google Drive delivery

Every original, in the shared folder, verified

Upload all raw camera originals and recorded audio to the project’s shared Google Drive folder: every camera clip, separate audio, and any relevant camera or sound notes. Do not deliver only selects, proxies, or a finished export when originals were recorded.

01_RAW_VIDEO / Cam A, Cam B

Original camera files, preserving camera folder structure when practical.

02_RAW_AUDIO

Separate recorder files, board feeds, and room tone.

03_NOTES

Camera log, interview list, take notes, sync notes, and any known gaps or technical issues.

04_DRAFTS

Requested edit drafts, review exports, and a brief note describing the version.

05_FINAL

Approved final exports only, when you are assigned final delivery.

06_PROJECT_FILES

Editing project files, graphics, captions, and linked media, only when editing is part of your assignment.

Upload rules

  • Use the folder structure the producer provides. If none exists, create subfolders with the labels above inside the assigned project folder. Do not create a new top-level shared folder without coordination.
  • Preserve original filenames and camera folders. If files need descriptive labels, add a camera log or rename only exported edits. Never rename or alter original media in a way that breaks relinking.
  • Upload after each event day when possible, and within the delivery window in the call sheet. Keep the original cards until the upload finishes and a spot check confirms files open and clip counts look complete. Do not format cards until the producer confirms the backup plan or the normal backup procedure is complete.
  • When the upload is complete, message the producer with the Drive folder path, what you uploaded, any files still pending, and any technical issues. Do not rely on a Drive notification alone as the handoff.

05 · Editing and draft delivery

Drafts live in 04_DRAFTS, numbered

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

Review export filename

Client_Event_Deliverable_v01_YYYY-MM-DD_REVIEW.mp4

Name and version every export

Name review exports consistently: Client_Event_Deliverable_v01_YYYY-MM-DD_REVIEW.mp4. Increment the version for each new review export; do not overwrite a prior 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 the filename and Drive description as REVIEW or DRAFT until the producer approves it.

Include a short handoff note stating the version, what changed, any open questions, and whether any footage, music, graphics, or captions are still temporary. Keep edit 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 and upload the next numbered version. Deliver final exports to 05_FINAL only when assigned or approved.

06 · File naming and delivery checklist

Before you call it done

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.

Source alignment

These guidelines reflect Orange’s conference and video materials, which describe a mix of highlight and documentary coverage, event b-roll and interviews, multi-camera panel and interview recordings, and a library of content for different marketing uses. The capture defaults are operating recommendations for associates; the current project brief, client specifications, and producer direction take precedence.