The Brief
London production company Blonde needed local production support in Spain for a pharmaceutical documentary commissioned by AstraZeneca. The shoot centred on a COPD patient at home in Bilbao, combining interview video production with observational b-roll of her daily routine.
Three things mattered: small crew, calm atmosphere on the day, and footage that would cut with a parallel shoot running in the UK.
The Challenge
The subject was not a professional interviewee. She was naturally shy, spoke only Spanish, and had never worked with a camera crew before, let alone an international one.
Getting footage that felt real rather than performed in that situation is not a kit problem. It is a people problem. The crew had to be built around that.
How We Set Up the Team
Our local crew
- 1 bilingual English/Spanish producer: lead on set, translator, and the person who kept the subject comfortable throughout the day
- 1 lighting camera operator
- 1 sound recordist
- 1 production assistant
Our video equipment
- Sony FX6 – primary interview camera
- Sony FX3 – handheld and gimbal work for b-roll
- Cinema lenses
- Tripod support and handheld gimbal rig
- Professional sound recording package
- Lightweight practical lighting – low footprint for domestic interiors
What Made This Work
The bilingual producer did more than translate. She set the pace of the day, read the room between setups, and managed the conversation between the subject and the UK creative team so nothing got lost or misread. On a shoot like this, that role is not background support. It is the reason the interview works at all.
The camera package stayed small on purpose. Four people in the room, no heavy rigging, nothing repositioned between setups. The lighting gave the operators what they needed without making the living room feel like a set.
B-roll covered the inside of the home and the streets around it in Bilbao and the Basque Country: daily routines, movement, the kind of detail that shows what a chronic condition actually looks like day to day. No direction, no reconstruction.
The two-camera Sony setup matched Blonde’s UK footage on every technical spec. That was the requirement. It was met.