Audio production
Studio facilities
Digital post-production
Analogue facilities
Encoding & duplication
IT Infrastructure

Electronic Field Production (EFP) covers the entire gamut of video, audio and still photography acquisition technologies that we employ when working outside (and sometimes inside) the studio environment. 

Video acquisition - HDCAM
Our primary HD digital video acquisition format is HDCAM, pioneered by Sony and still one of the most proven and robust production formats worldwide. We currently shoot with the Sony HDW-750P camera, which is fitted with both variable slow-shutter and picture-cache options, as well as the option for handling up to four separate simultaneous digital audio channels (plus analogue cue-track). We have a range of Canon broadcast TV zoom lenses, comprising the J17x7.7 and J22x8, as well as adaptors allowing us to employ many Canon FD prime lenses, including the fabulous 300mm f.2.8 telephoto lens for wildlife work. The camera has outputs for HD-SDI, SDI as well as composite video monitoring. The camera is fitted with a Chroszeil matte box system with Tilta III follow focus.

Besides on-board microphone and external feeds, the HDW-750P has an integral diversity wireless microphone receiver for which we have several transmitter and microphone options.

Most EFP work is shot on battery power using the PAG system, which offers up to six hours running on a single battery - depending on shooting conditions.

Video acquisition - HDV
As a backup unit or for simple assignments, we use the Sony HVR-Z1E fitted with optional wide angle and telephoto adapters and a Chroszeil matte box system. A Micron wireless microphone set can be mounted on this camera. The camera is equipped with a LAN remote zoom controller and a Genus mount plate adapter, allowing the camera to be mounted on any standard Sony VCT-12 tripod mount. This camera is packaged as a complete fly-away kit with all accessories (other than tripod) in a single flight case. The six Sony FP-970 batteries will each power this camcorder for about eight hours, giving superb endurance in the field.

Video acquisition - DLSR
Some projects can be shot using our Canon EOS 5D Mk.II system, offering the superb sensitivity and depth of field of a larger format sensor and Canon EF and FD prime lenses. Whilst we don't consider DSLR the optimal technology for heavy location shoots, it is an excellent approach to "one-shot-at-a-time" creativity such as music videos, commercials or special sequences for inclusion in our other productions.

Location audio
For information about our location audio facilities see "audio production"

Camera support & grip equipment
We use Vinten support equipment almost exclusively. Our stock includes a range of carbon-fibre legs with 100mm Arri-bowl mounts for Vinten Video 5, Video 10, and Cygnet post heads as well as aluminium or steel legs with 150mm Arri-bowl mounts for Vinten Dunlin LF heads and Vinten Swan post heads. (If you are a photographer and have never used a post head, it's worth the experience for stability and precision, although they are not portable enough for many assignments).

Besides standard and low tripods and hi-hats, we also have two dolly systems - the Vinten Tri-Track dolly (highly car-portable) and our own dolly for use with tracks. Both systems accommodate our Vinten Porta-Ped support system, which allows vertical air-balanced column movement when shooting (and can also be used without a dolly. For low angle dolly shots, the Porta-Ped may be replaced by a selection of banji-columns. For our studio we have three Vinten 3419 studio pedestals.

Additionally, for more ambitious projects, we have a versatile camera crane, based on the renowned Tulip design, which can move the camera and operator up to 5 metres above ground level and which accepts all our 150mm and 100mm heads. This crane may be mounted on hard or pneumatic rubber wheels, or alternatively, mounted in a pick-up truck (such as our Series III LWB Land Rover, for mobile location work. 

Location lighting equipment
For most assignments our on-camera, hand-held or tripod mounted LED panels can handle lighting requirements. For more demanding location set-ups we have a wide variety of standard, mains-powered incandescent (tungsten halogen) light sources, ranging from 800 w red-heads, 2 kw blondes, 1.6 kw soft lights to 1 kw, 2 kw and even 5 kw fresnel lanterns and softlights - for all of which we have a large stock of tripods and mounts as well as cabling and power distribution equipment for those locations where sufficient power is available.

Essential accessories
We have a large variety of accessories and ancillary equipment to complete the location package. These include mobile two-way radios for UHF, marine VHF and CB bands as appropriate to the country or location, repair tools and spare parts, battery lighting systems, a basic make-up kit, rain protection, PA, playback and public address systems, and a host of small gadgets that make working on location more comfortable and efficient.

Unit vehicles
Our standard EFP unit vehicle is a Land Rover Defender 110" Station wagon with ample space for equipment and up to six passengers including the driver. For transport of heavy grip equipment, lights and dollies, our Land Rover Series III 109" LWB truck and trailer is available. Both vehicles are equipped with 12 volt power distribution for production equipment. 

EFP Unit vehicle - Land Rover Defender 110

Casing and transport systems
Most of our EFP stock (with the exception of heavy grip, crane and lighting equipment, must be able to be packaged for optimal protection given the mode of transport dictated by the specific project and location. Without the right packaging, location equipment is subject to more damage or wear in transit than in actual use when filming.

For most location equipment, we have both soft bags and/or plastic Pelican cases (most suitable for working from home or with lightweight air travel) as well as heavier flight cases for harder freight conditions and when we hire equipment out to others. 

The choice of packaging is a balance between weight (and thus cost) and convenience on location. We pride ourselves in getting our gear there and back without damage.

Arrival Anchorage 2013

"Travelling light" Arrival in Anchorage, Alaska 2013

Health & Safety on location
It is important to consider possible risks to health and safety when filming on location. Our crews are equipped or will be equipped with relevant safety gear such as helmets, high-visibility vests and protective clothing. We work closely with our location hosts and partners to minimize risks. Our work at sea and in oil and gas industry environments has given us a clear understanding of the importance of health and safety - even in quite ordinary domestic or public locations closer to home.

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2017 Channel 6 Television Denmark
  14/12/2016 18:47

Channel 6 Television Denmark Foerlevvej 6, Mesing, DK-8660 Skanderborg, Denmark
Telephone +45 86 57 22 66 / Mobile +45 20 78 52 66
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