Procam Crew... Experience Counts

For over 20 years Procam Television has been offering bespoke filming equipment packages and unbiased broadcast advice for large and small scale productions.

Our crew are the ‘hidden’ talent behind the scenes of some of the UK’s most-watched programmes. They are professional, enthusiastic individuals with vast TV industry knowledge and expertise.

Procam use some of the UK’s leading talent - from a pool of freelance and in-house crew.

Often crew are the face of Procam Television. We are extremely fussy about who we hire. We check their previous experience to ensure they deliver on every shoot.

With this in mind it is important that anyone who represents us is not only a proven professional in their field – they also need to have the desire and passion to work with a production to achieve the best possible results.

We can provide

Camera: DOP, Cameraman, Camera Assistant, Minicam Specialists

Lights: Lighting Director, Gaffer, Spark, Lighting Technician, Lighting Engineer

Sound: Sound Supervisor, Sound Recordist, Boom Operators

Grip: Jimmy Jib & Operator, Steadicam & Operator, Autocue & Operator, Grip

Specialist: DIT / Data Wrangler

and... Vision Mixer, Make Up (with kit), Driver/Location Assistant

Procam Television prides itself on being more than a broadcast hire facility, all of our equipment is fully tested before leaving the building as well as on return, this ensures the kit is rigorously maintained. We don’t believe in hiring to you from the shelf. All our kit room staff are aspiring crew and understand your needs on set, this is always kept in mind when we are prepping your equipment. Should something fail we will replace the item as quickly as possible. Our first priority is to keep you shooting, wherever you are, whatever you need…

• Full Project Management service available, get us involved in pre production planning
• Workflow Management including in house DITs
• Crew supplied from one cameraman to fully staffed studio crew
• Crew supplied on shows such as Made In Chelsea, Peep Show, Derren Brown, Geordie Shore, The Voice, The Incredible Mr Goodwin, The Great British Bake Off and much more…
• CV’s supplied on request

Praise for Procam Television’s crew:

‘I was lucky enough to have the support of Procam Television’s camera & sound crew with me on the camera team working on a very large job in a very difficult environment, the Jordanian desert. Our DIT or Data Wrangler was totally committed and utterly superb. At no time did he cause concern or give rise to any worry that our rushes were in the best of hands. A true asset to the team. The Camera Operator was simply unbelievable in his total unerring and energetic response to the daily challenges thrown at him. A master of his craft you could say. He managed a small camera team with the confidence, humour and skill of someone who has been doing his job for years and years. I honestly believe this production would have faltered if I had not had this crew member from Procam by my side as a trusted companion. Procam should be congratulated for the selection process that brings stars to their team!’

– Chris Yacoubian, DoP

‘I found both the DoP and sound guy very friendly and knowledgeable. I thoroughly enjoyed working with them and would definitely work with them again, but I would also recommend them to anyone else wanting a camera crew’

– BBC

Praise for Procam Television:

‘My vision for the show was to create a series (The incredible Mr Goodwin) that looked as expensive and as filmic as possible. But this came with a challenge as this could undermine the stunts making them feel unbelievable. So I chose to cover the majority of stunts with a live, handheld documentary feel to balance this and capture the spectacular reality of the performances.

The next challenge was how to achieve this high-end look on our limited budget - answer? Turn to Procam! Their commitment to excellence and quality, and their highly experienced assistants were essential to solving it and getting the job done.

This show was made before the F5 and F55 was released, so the decision of which format to use was not straight forward, after much consultation with MD John Brennan, I chose to shoot on the F3 cameras with PL glass and Pix240s, their ungainly bulk proved a worthwhile burden as their image quality and cinematic look was fantastic’

– Jon Richards, Director