Events and conferences, Melbourne.
Coverage that follows the run sheet.

A graded photo library of the whole day, a highlights reel paced to the room, vertical cuts for LinkedIn and the socials, and a same day set of selects on the night. Long form session recordings when members or sponsors need the full record.

Everything is sized for the website, the debrief deck and social, and delivered through one link.

Yes, that is the whole point. I am a hybrid shooter, so the stills and the video come from the one person, the one day and the same moments. No second crew to brief, no two looks to reconcile.

A second operator is added only when two things you need are happening at once.

Most conferences land between six and ten hours, from the room set before doors to the last session. Gala nights and awards usually run four to six.

It is quoted against the run sheet rather than sold in blocks, so you are not paying for a half day that stops before the closing keynote.

Only when two things you need are happening at once. One operator covers a single stage program comfortably.

Concurrent breakouts, a backdrop that has to run continuously while the room is being covered, or a multi stage conference are the cases where a second pair of hands is the difference between coverage and gaps.

Yes. A graded set of twenty to forty stills on the night is the usual arrangement, and it is worth doing, because the recap post lands while people are still posting themselves.

A same day highlights cut is possible with an on site editor, which needs to be scoped in advance rather than asked for at four in the afternoon.

Full photo galleries inside five business days. The highlights reel is usually ten to fifteen, and long form session recordings land alongside it.

If a sponsor report or a members' newsletter has a date on it, say so at booking and the schedule is built backwards from that.

You get a commercial licence in perpetuity for your own marketing on every platform, with no media buyout, and your speakers and sponsors can share the frames they are in. Paid ads are scoped in from the start so there are no surprises.

I keep copyright and the right to show the work.

Yes, and for anything long form you should. A feed from the desk gives you the speaker's actual microphone instead of a room mic fighting the PA.

I will bring my own recorders and backup radio mics either way. Put me in touch with the AV supplier before the day and it takes five minutes on site.

No. Ballrooms, black box theatres and uplit conference rooms are the normal condition, not the exception.

The cameras handle low light well, and where flash would be intrusive during a session I shoot available light and take the flash frames during breaks and arrivals instead.

Send the date, the venue and the run sheet if you have one, and I come back with a scope and a quote within a couple of days. A deposit holds the date.

Conference season fills early, so the sooner the date is in, the better. Regional and interstate events are quoted with travel set out as its own line.