Some aspects we like to consider before starting any project include the turnaround time from shoot to delivery; how the media is processed, transported and backed up; plus how much time is required in Post Production to turn the show around and be ready for broadcast. By carefully analysing these aspects, we can select the most suitable equipment and workflow for the project.

Camera and lens selection are pivotal to the success of such productions. The Sony FR-7 is one of our favourites because it allows us to capture intimate moments while maintaining cinematic quality we expect from cameras like the Sony FX6 and FX9.

Depending on the project’s needs, we can rig up to 100 cameras to enable capture of every moment across various coverage areas. The small footprint of the Fixed Rig infrastructure enables productions to be more flexible in choice of location and allows for greater latitude for producers to capture the magic moments that are ultimately identified as gold material for the storylines.

Our control room is custom-built in readiness to capture footage in-camera or on servers depending on the client’s needs. Pronology mRes systems are deployed for each project to capture live streams of content and deliver directly to Post. A wide range of codecs and frame rates are on offer using this technology.

Some smaller productions need to squeeze into areas with limited space available, i.e. a carport or back office. Additionally, some spaces only come with limited air-conditioning, plus the infrastructure is required to be very close to the operators during the shoot where nearby fan noise could be a problem. Ray Martin added, “Our Engineers designed the server rack to suit such conditions. They streamlined the processing of the servers and introduced specialised airflow technology that allowed for optimum operation in warm areas and greatly reduced the fan noise to a whisper. Thus making a harmonious control room environment for everybody”.

In summary, we believe that there is a significant difference before and after using Fixed Rig systems. Productions benefit from the increased volume of footage that the cameras can capture to help construct a compelling story in real time. This is made possible by the less intrusive nature of these setups, which can sometimes make the talent forget that they are being filmed.

Throughout the series, we hid several Sony ILME-FR7 cameras within various props. The impressive light sensitivity of the Sony FR7 allowed us to use tinted glass without needing a TV lighting rig, preserving the natural light in settings like cafes, nail salons, and teppanyaki restaurants. This ensured the “marks” felt they were entering normal establishments.

We controlled, monitored, and recorded the Sony FR7s from small rooms near the filming area, often no larger than a staff room or storage space. Each shoot had unique needs and obstacles, but our compact and mobile setup even enabled filming in multiple locations in one day. Our team included 2 Hot Head Operators, an Engineer, Audio, EP, and Director. This small footprint was crucial for shooting in tight environments. CETS designed a tailored solution considering mobility, footprint, quick deployment, and streamlined delivery into Post with Pronology mRes. 

Delivering a project like The Inspired Unemployed’s (Impractical) Jokers challenged our team to be as creative as possible in creating a flawless setup that captured every detail but was discreet enough to avoid alerting people. This was possible thanks to the effort our team always puts into any challenge they are presented with.