How to Build the Perfect Two-Camera Setup for Corporate Video Shoots
When it comes to corporate video production, having a reliable two-camera setup can be the difference between a simple talking-head video and a polished, cinematic interview that feels like a brand film.
At Bunker Hill Media, we shoot interviews every week for corporate clients, brand stories, testimonials, and a whole bunch of other types of video. What I can tell you is our go-to setup has been the Sony FX6 and Sony FX3. These two cameras are a dream team: cinematic quality, reliable autofocus, matching color science, and easy workflow integration.
Here’s exactly how we build our two-camera setup for professional interviews, plus a few tips to help your next dual camera video shoot look its absolute best.
Camera 1: The Sony FX6 (A-Cam)
The FX6 is our workhorse. It’s the A-cam and the foundation of every corporate interview we shoot.
We typically use it on a tripod or dolly as our framed, static main shot, capturing the clean, professional angle you’d expect in corporate content.
Lens choice:
Most often: Sony 24–105mm f/4 G OSS
Occasionally: Sony 70–200mm f/2.8 GM OSS II for tight, cinematic compression
The FX6’s full-frame sensor gives us exceptional depth, sharpness, and flexibility in post-production. The built-in variable ND filter is a lifesaver on mixed lighting setups, and its dual native ISO (800 and 12,800) means we can work in any environment without losing detail or color accuracy.
For interviews, we almost always shoot in S-Cinetone, which delivers a natural skin tone straight out of camera, perfect for corporate storytelling.
Camera 2: The Sony FX3 (B-Cam)
The FX3 complements the FX6 perfectly. It’s smaller, lighter, and easier to position making it ideal for capturing a second angle that adds depth and dimension to the conversation.
We typically use the FX3 on a slider, handheld rig, or tripod, framed at a slight angle from the A-cam. This shot is great for cutting between moments, creating pacing and visual interest.
Lens choice:
Most often: Sony 16–35mm f/2.8 GM for a wider, immersive look
Occasionally: Sony FE 35mm f/1.4 GM for beautiful background separation and intimacy
Both cameras are color-matched in Cine EI, so we can seamlessly blend the footage in post.
Lighting the Set: Simple, Soft, and Clean
Lighting makes or breaks a corporate interview. Our typical setup follows a three-light configuration:
Key light: A Aputure 300D II or Nanlite Forza 300, diffused through a large softbox or umbrella.
Fill light: A Aputure 120D II or Nanlite FS-200 to gently balance shadows on the opposite side.
Hair/back light: A smaller LED (like the Aputure Amaran 60x) for subtle separation from the background.
The goal? Soft, even light with depth.
Corporate subjects should look natural and confident, not overlit or “studio flat.”
Matching Color and Exposure Between Cameras
Even with two Sony Cinema Line cameras, consistency is everything. Here’s how we match them:
White balance: Manually set both cameras to the same Kelvin temperature (usually between 5000–5600K).
Picture profile: Use Cine EI or S-Log3 on both (never mix profiles.
Exposure: Match zebra levels and waveform readings, not just what looks right on screen.
Framing: Keep one camera slightly tighter (medium close-up) and one slightly wider (medium shot) to avoid awkward cuts.
This approach keeps your footage seamless in post, and the end result feels like one cohesive visual narrative — not two different cameras fighting for attention.
Audio Setup: Clean Dialogue Every Time
We record audio redundantly (because we’ve all been there).
Primary: A Sennheiser MKH 416 shotgun mic on a boom, recorded into the FX6 via XLR.
Backup (and we usually don’t do this): A Rode Wireless Go II lavalier, discreetly clipped to the talent.
Always monitor both mics and set levels conservatively clean audio is more valuable than a slightly brighter picture.
Why the FX6 + FX3 Combo Works So Well
The FX6 and FX3 are built on the same foundation, the Sony Cinema Line ecosystem. This means they share sensors, color science, and workflow.
Both have full-frame sensors for cinematic depth.
Both shoot 10-bit 4:2:2 internally.
Both perform incredibly well in low light.
And they’re easy to rig, travel with, and match in post.
That’s why we rely on this combo for nearly every corporate video production in Boston we take on. It’s compact, efficient, and delivers beautiful results without overcomplication.
Final Thoughts
A great two-camera setup isn’t about doubling your gear, it’s about doubling your storytelling options.
Whether we’re filming a CEO interview downtown or a brand story in a warehouse, this FX6 and FX3 combo gives us the flexibility to capture the conversation in a way that feels natural, cinematic, and elevated.
If you’re planning a corporate video shoot in Boston, investing in a proper two-camera setup (and a team that knows how to use it) can make all the difference between “good enough” and “exceptional.”
About Bunker Hill Media
Bunker Hill Media is a Boston video production company specializing in corporate video production, brand storytelling, and professional videography services across New England. Our small but mighty team brings cinematic quality and a storytelling-first approach to every project we take on.
