All constructive comments, sorry to miss your profile
The old school and new school collide!
We/I am talking about integrating video into the business of a mid level corporate or journalistic stills photographer, probably by learning the skill of shooting web clips in the nature of 3 mins or less as a new skill or an addition to a photo shoot
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http://dslr4real.tv/index.php?option=com_zoo&task=item&item_id=6&Itemid=1)
Im not talking about how TV/Features are made
No, the site is totally anonymous, no authoring credit at all.Ok.fair enough the design is 'under construction'
The last posting ‘economics’;
You’d prefer the extra person to a director/journalist that then does sound ?
Firstly you’ve misunderstood, or are simple ignorant of, an important difference with a “crew” there are the technical crew (cameras/sound/lighting/DITs etc), creatives(art director/scene hands/chippies/make up/costume etc) and production (director/journalist/PA/Producer etc). Even on a very small crew that remains an important distinction and the relationship between the production and the other departments is best thought of as client/supplier, not as part of 'the crew’. On a small shoot you might well get the director to help carry some kit between set ups, but asking them to look after the sound is a no no.
Sound is simply far too important to be left to non-specialists. Im am learning video from a BBC VJ who directs shoots and edits and does sound - total solo operator as are a lot of lower end corp video shooters and still shooters
My suggestion or thought is that rather than learning to be a 'total solo operator' that teaming up with a journalist/director (person of new unknown title - part of MY team) who can do sound and interviews is a good thing, while doubling the hourly rate for the client I think it would provide better value to the client because more would be done faster and better
How about ‘Gear - when to stop’ ?
The opening line sums it up; “All the gear, no idea” and you explain well why that’s true.
I guess you’ve never actually seen a Technocrane, let alone used one.My suggestion is that the photographer should learn to shoot, probably basic set ups with sticks and maybe handheld before going down the gear route and buying all the sliders and suchlike chatted about on the fora like C5d
Learning to shoot is more important owning fancy gear especially fancy gear that is hard to move without a crew, who must be paid for which make the business offer less competitive or profitable
Technochrane - I was joking - but yes I have been involved set (as stills tog) where one was used, it was the new attenbro sky 3d thing 2XRED - it is of course the last thing a still photographer shooting some video will probably ever use
or ‘Peaking’
You’ve clearly not used any serious cameras that do have proper viewfinders with peaking options. They are absolutely invaluable, but you do need to know how to use it properly. On an HDC300 with a HDVF-EL100 viewfinder there are about 15 different parameters you need to understand to set the viewfinder peaking up appropriately.I dont know those cameras but I guess they are 2/3 chip, I use peaking on my Sony EX1 but suggest that it is fairly useless when shooting a S35 or FF35 chip DSLR camera at wider apertures that the low budget minimal lighting shooter will be using
I believe that operating a vista vision or S35 camera without a focus puller was virutally unheard of before DSLRs so suggest that many people with a (1/3 or 2/3) video background dont know jack about pulling focus on a DSLR
This thread (and my site) are about DSLR shooting
I can assure you that a 7d with a 720p SmallHD will enable you to evaluate focus far more effectively than a 480p marshal with peaking (or the shortly to be released EVFs) which is the main rival monitor in the sub $1000 DSLR monitor market
Its good to talk, the most interesting thing is that (and I am sorry to jack Erics thread) one must enter the world of motion (from stills photography) with a clear idea of why/what one is doing or trying to create, im not making movies or suchlike Im developing a skill for web clips - I guess many still photographers are in the same boat because that is what our clients want
have a look at my solo operator DLSR reel
and have a think about whether I am clueless with these cameras or whether still photographers can bring strong images to lo budget productions that will change the way everything is done
Maybe Eric would elaborate on what he is trying to create and we can advise using our different knowledge bases; mine as a stills photographer expanding his business by shooting motion with a DSLR and you with your extensive and admirable production experience
SMM
