As with most productions, a corporate video’s budget will determine what gear you can use. Let’s take a look at some camera options.
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Videographers often find themselves in the world of corporate video because the work is consistent, and it’s cumulative — the bigger the brands you work with, the bigger the pay. As you climb the corporate ladder, you will eventually need more crew members for each production. You will also need to upgrade your equipment — starting with a bigger and better camera.
However, camera selection will always depend on the length and budget of each project — no matter how big your team gets. Some businesses just want a 30-second spot for their Facebook page, which doesn’t require a Ursa Mini. Knowing how to navigate the gear selection for this type of work can be tricky, especially if you’re nervous about whipping the credit card. So, let’s consider these cameras for different types of corporate projects.
If you’re just starting out, the a6500 is an excellent introduction into the world of videography, due to its user-friendly interface and auto-focus capabilities. If you’re going to be working with clients in their buildings filming B-roll or covering a live event, save yourself the stress of trying to catch focus or put together a stable rig on the fly. Spend some time instead becoming familiar with the Sony a7s and an a6500. The a6500 is an admirable full-frame camera that is reasonably priced for the quality you’ll get.
The current frontrunner for anybody shooting daily content for YouTube is the Lumix GH5. This camera is perfect for anybody working jobs that demand quick turnarounds and last-minute recording. Because of its user-friendly interface and rotatable screen, you can work with the placement and composition of your shots to whatever degree you need. One reason the GH5 has been such a hit could be the 20.3 MP MOS sensor that captures 4K at up to 60fps. The camera is a sturdy, weather-resistant beast that’s a perfect fit for gritty, low-budget shoots that look professionally cinematic.
One of the year’s hottest cameras to make its way into feature-film lineups is the Canon C200. The C200 has been behind full-length narrative and documentary projects, and it’s no surprise why. If you’ve shot with the C300 in the past (or any Canon DSLR), you already know the interface and what to expect from the images you capture. As far as choosing lenses go, the form factor for the camera is accessible enough to offer a wide range of possibilities. So don’t let the location or limitations of the project determine your rig; figure out how you want the project to look and know what lenses you need to ask for (or purchase yourself).
Black Magic Ursa Mini Pro
So, if you’ll be shooting projects for clients with huge expectations (and the budgets to match), this is the camera to consider. This camera carries a pretty hefty price tag, but you’re definitely getting what you pay for. It’s a beast to carry around, so make sure you get the necessary stabilization rigs and cases to adequately transport the camera (if you’re shooting solo).
The camera also features a built in neutral density filter, more specifically a four-wheel filter. So, if you’re shooting a documentary-style video while covering an event, you’re ready if the lighting and exposure changes drastically without notice. In addition to this versatility, you also get lens options. If you’re dealing with a business that wants to provide certain gear or demand a specific look, the lenses and cost effective mounts this camera accommodates is simply wonderful.
Whichever camera you decide to go with, just remember the image is only as good as the story — and the editing, and the color grade, and the music. The camera is just one small step in the process of making something special that will keep keep bigger and bigger clients coming your way. If you’re in the business of editing your projects as well, check our curated playlists of royalty-free music to use in your work. For corporate-style motion graphics, check out Rocketstock’s stacked collection of transitions, lower-thirds, and titles.