Luminous Landscape Forum
Equipment & Techniques => Medium Format / Film / Digital Backs – and Large Sensor Photography => Topic started by: Juanito on November 28, 2016, 08:53:37 pm
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I'm contemplating moving to a new city and offering my services as a digital tech. Was wondering what the working pros are looking for in terms of capabilities and equipment. (I own an H5 40mp, Nikon D810, a retina MBP and the equipment and knowhow to tether it all together.)
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Coming from a former assistants POV, the most successful(both financially and socially) digital techs I have come across have the following traits(amongst others, but these are the primary ones that come to mind ATM):
-Full working knowledge of Capture One Pro, both for tethered capture as well as card import of files.
-OCD when it comes to data management. Like it's a religion...
-Personable, but knows how/when to shut up.
-Damn good knowledge of Canon/Nikon bodies, lenses, etc. Other companies like Sony are good to know too. MANY photographers don't know squat about their equipment, that's why they hire you.
-Have an actual understanding of light. I've worked for photographers who have had their asses saved big time because a DT noticed something important, or didn't hire an assistant to do the lighting because they don't know how to do it.
-Has assisting experience, and an understanding(to a small degree at least) of grip equipment. Not just how to put up a c-stand, but can they stand in for an assistant when that assistant takes a bathroom break during a fast-paced shoot and something needs to be built lickety split? This shit happens ALL the time.
-Has a head on their shoulders, not up their ass. Nothing worse(to me) when a DT thinks they're "G**" on a set, just because they run the computer.
-Believe in backups: for critical equipment, for files, and contacts(people). BACKUPS ARE LIFE
-Network network network. If people don't know who you are, you're gonna be sitting at home and not working.
-Have fun: don't be a hard ass that can't take a joke, or give one(at the appropriate time of course)
-Dan
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In my case they would be driving capture one so POCP would be great. If not I would want to make sure they know the program. After that I want a detail oriented team player, very professional with out being stiff. If they are providing gear, they obviously need to know it inside and out.
Sent from my iPhone using Tapatalk
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Thanks for the responses!
John
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In my case they would be driving capture one so POCP would be great.
The POCP he refers to can be found in your area here:
https://digitaltransitions.com/events-training/
COMP (which is more focused on C1 software than P1 hardware) is also a good option.
#BiasAlert - I teach COMP :)
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all of the above, plus be able to comp and do light retouching. you aren't expected to hand over actual retouched files but it helps to be able to throw something together on set for the client to see how things are working. back up back up back up.
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I have the H5 which I don't believe tethers with Phase One. I use Lightroom for tethering or the Hasselblad program if I have to. Thoughts?
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I have the H5 which I don't believe tethers with Phase One. I use Lightroom for tethering or the Hasselblad program if I have to. Thoughts?
Juanito,
That’s the thing, that everyone works differently with different equipment and expectations. Some people will use almost any camera, or software suite, sometimes multiples, so . . .
In todays world, I’d say be complete and professional.
Not that a dt should be a grip and a gaffer, or let other things get in their way, but the more you can do the more it’s appreciated, but that’s the way the world works.
We all appreciate people that give extra effort and work as a team.
The next thing is what everyone mentions, be crazy insane about protecting the files and understanding the photographers or dps’s workflow. Naming files, folders, having precise backups, etc. etc. Nothing is more frustrating than having a dt hand you three drives and they don’t match 100% exactly.
Remember who you work for.
Not that this pertains to you Juanito, cause I don’t know you but . . .
We are all on set to serve the client, but you work for the photographer/dp/producer. No yelling across the room, “Hey out of focus”, or tossing your business card out to the client(s). It’s not my studio’s role as photographer/producer to source crew for clients, or limit a crew members option to get new work. That’s not being paranoid, it’s just being respectful and trying to keep distractions low.
A friend of mine has the best quote, (this isn’t exact) but anyway . . . Photography is a team effort but except for clients is not a democracy. It’s not that the photographer or producer can’t and shouldn’t be respectful, but in the end, everything lands on them, hopefully when it’s good and especially if it’s not.
The dt is usually surrounded by clients and the last thing any photographer wants is to hear a dt tell a client their creative opinion while he/she is working it out. So if you see it going technically off track, collaborate with the photographer or producer first.
I guess I’m different because we furnish all of our own equipment and will give the dt extra time in pre pro to become accustom to it. We also go through what is expected and personally I want a dt to know every software suite from c1, lightroom, dpp photoshop, bridge, etc. That may seem like overkill, but I can give reasons as to why, though not on the inter web except if you can learn c-1 you can learn all the others quite easily.
In pre pro be honest to the photographer about what you need. Extra cables, batteries, enough cards for backup, clean computers, drives, chargers, everything in duplicate, sometimes triplicate.
Know the project, where the electrical power is coming from, whose responsible for generators, fuel, stingers. It’s always the 10 dollar cable, or something small that can derail the production, so preparation is king.
Prior to production, when we test a camera, motion or still, we go through a simulated disaster situation. We’ll shoot until the batteries die, or yank the tether in the middle of shooting, try to crash the computer, everything that can happen when you don’t expect it to happen.
Keep or try to keep one computer or I pad available to produce a jpeg that can be mailed out in the middle of a busy session anywhere. It’s rare not to have an AD or client ask if an image can be e-mailed back to their home base and there is a lot of ways to do this, but being prepared is close to the top of the list.
The dts we hire and continue to work with can make issues non issues. A good photographer will know and you’ll be the first on the list.
Now this one is easy, but be positive and upbeat. Projects start with high expectations and a great attitude goes a long way to keeping people at ease and confident.
The best compliment I get from client(s) is after a shoot is if they say, “wow you have a great team”.
IMO
BC
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I have the H5 which I don't believe tethers with Phase One. I use Lightroom for tethering or the Hasselblad program if I have to. Thoughts?
For Digitech you simply need C1.
Anytime there is a budget for DT, and that can run as low as $250 a day(not including camera) for a cart with monitors and computer and everything else that comes with it....Pro shooters will either have a MF or rent one for a bit of a budget shoot, and they will need C1.
Also, not all shooters know C1. The camera is not part of the DT deal...at least not often. As mentioned one of the key advantages would be to show the clients what the vision would look like. Sure all the other basics listed, which included a lot of other non basics that surely help. One other thing I can suggest is try and stage before you are live. Always test and do a stage setup to make sure all is working. The last thing you want to do is guess when doing DT work, or not have something you need.
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Juanito,
That’s the thing, that everyone works differently with different equipment and expectations. Some people will use almost any camera, or software suite, sometimes multiples, so . . .
In todays world, I’d say be complete and professional.
Not that a dt should be a grip and a gaffer, or let other things get in their way, but the more you can do the more it’s appreciated, but that’s the way the world works.
We all appreciate people that give extra effort and work as a team.
The next thing is what everyone mentions, be crazy insane about protecting the files and understanding the photographers or dps’s workflow. Naming files, folders, having precise backups, etc. etc. Nothing is more frustrating than having a dt hand you three drives and they don’t match 100% exactly.
Remember who you work for.
Not that this pertains to you Juanito, cause I don’t know you but . . .
We are all on set to serve the client, but you work for the photographer/dp/producer. No yelling across the room, “Hey out of focus”, or tossing your business card out to the client(s). It’s not my studio’s role as photographer/producer to source crew for clients, or limit a crew members option to get new work. That’s not being paranoid, it’s just being respectful and trying to keep distractions low.
A friend of mine has the best quote, (this isn’t exact) but anyway . . . Photography is a team effort but except for clients is not a democracy. It’s not that the photographer or producer can’t and shouldn’t be respectful, but in the end, everything lands on them, hopefully when it’s good and especially if it’s not.
The dt is usually surrounded by clients and the last thing any photographer wants is to hear a dt tell a client their creative opinion while he/she is working it out. So if you see it going technically off track, collaborate with the photographer or producer first.
I guess I’m different because we furnish all of our own equipment and will give the dt extra time in pre pro to become accustom to it. We also go through what is expected and personally I want a dt to know every software suite from c1, lightroom, dpp photoshop, bridge, etc. That may seem like overkill, but I can give reasons as to why, though not on the inter web except if you can learn c-1 you can learn all the others quite easily.
In pre pro be honest to the photographer about what you need. Extra cables, batteries, enough cards for backup, clean computers, drives, chargers, everything in duplicate, sometimes triplicate.
Know the project, where the electrical power is coming from, whose responsible for generators, fuel, stingers. It’s always the 10 dollar cable, or something small that can derail the production, so preparation is king.
Prior to production, when we test a camera, motion or still, we go through a simulated disaster situation. We’ll shoot until the batteries die, or yank the tether in the middle of shooting, try to crash the computer, everything that can happen when you don’t expect it to happen.
Keep or try to keep one computer or I pad available to produce a jpeg that can be mailed out in the middle of a busy session anywhere. It’s rare not to have an AD or client ask if an image can be e-mailed back to their home base and there is a lot of ways to do this, but being prepared is close to the top of the list.
The dts we hire and continue to work with can make issues non issues. A good photographer will know and you’ll be the first on the list.
Now this one is easy, but be positive and upbeat. Projects start with high expectations and a great attitude goes a long way to keeping people at ease and confident.
The best compliment I get from client(s) is after a shoot is if they say, “wow you have a great team”.
IMO
BC
Heere, heere!
Ditto!
Bravo!
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@ Juanito
I see that various people posted about Capture 1. Don't forget that this forum is somewhat weighted towards that particular software and that the photographers you will be working with may use the competition.
The rest of the comment is spot on, particularly the part about backups and disaster preparation.
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@ Juanito
I see that various people posted about Capture 1. Don't forget that this forum is somewhat weighted towards that particular software and that the photographers you will be working with may use the competition.
If anything the pro market in NYC, LA, and Miami is even more heavily weighted toward Capture One (as opposed to LR or Phocus) than this forum is. I'd estimate 90% of the rental house and multi-person shoots are Capture One based.
Don't take my word for it. Google "rental house" for your preferred city and tell them you want a camera, computer, and tech. Then tell them you don't have any preference for what software they will use for tethering and ask what they'll use.
Maybe other cities are different. I only have extensive personal experience with these three.
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Maybe other cities are different. I only have extensive personal experience with these three.
John resides in San Diego. Others, who may find this thread when looking for info, may reside anywhere on the planet.
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John resides in San Diego. Others, who may find this thread when looking for info, may reside anywhere on the planet.
John,
I looked at your two links and you have some very interesting and diverse work. Actually you can answer your own questions as well as anyone.
You're a good photographer, seem diverse, use your house as a studio and even an art gallery and developed a side business.
Not knowing you, it seems to me you would be a great resource, since you know lighting, post production and must have a strong work ethic.
So just ask yourself. Will you hire someone who says, sorry, I don't do Hasselblad, or pentax, or _______ I only work with C-1, or actually any answer rather than I don't know those cameras, but give me a day and I will.
Being adaptable is what our client's expect from us, so we expect the same from crew.
IMO
BC
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actually any answer rather than I don't know those cameras, but give me a day and I will.
Exactly. ;)
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John,
I looked at your two links and you have some very interesting and diverse work. Actually you can answer your own questions as well as anyone.
Thanks Russell. I've been a photographer for 26 years now and have shot pretty much everything under the sun - from editorial to big budget advertising to your sister's wedding in your mom's backyard. I understand how productions go down and the role of every member of the team. I've been the captain of most every shoot that I've been a part of, but as a tech, I know that my job is to make the photographer look like the best man/woman to touch a camera since Richard Avedon. I'm planning a move to NYC and would like to hire myself out as a digital tech who provides the camera and computer. I'm a turn key solution.
I know that this is a Phase heavy forum especially when you have a prominent voice like Doug Peterson often guiding the conversation. So, putting that aside, I'm just wondering how a tech with a Hasselblad and Nikon kit (and a ton of lighting and production skills) would play in Gotham. I put together a site and will be setting up meetings with producers next time I get into town. http://newyorkdigitaltech.com/ (http://newyorkdigitaltech.com/)
John
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Thanks Russell. I've been a photographer for 26 years now and have shot pretty much everything under the sun - from editorial to big budget advertising to your sister's wedding in your mom's backyard. I understand how productions go down and the role of every member of the team. I've been the captain of most every shoot that I've been a part of, but as a tech, I know that my job is to make the photographer look like the best man/woman to touch a camera since Richard Avedon. I'm planning a move to NYC and would like to hire myself out as a digital tech who provides the camera and computer. I'm a turn key solution.
I know that this is a Phase heavy forum especially when you have a prominent voice like Doug Peterson often guiding the conversation. So, putting that aside, I'm just wondering how a tech with a Hasselblad and Nikon kit (and a ton of lighting and production skills) would play in Gotham. I put together a site and will be setting up meetings with producers next time I get into town. http://newyorkdigitaltech.com/ (http://newyorkdigitaltech.com/)
John
John,
The world has changed in every direction. Not to be negative, because I'm not, but rental stages that previously only rented space, had assistants, some dits and equipment are now going head to head with photographers, ad agencies, design studios, content management companies with resource and price strategies. In other words they now compete on every level with their previous clients.
They wouldn't have dreamed of this 7 years ago.
I'm not saying a talented guy with some kit can't find his way in any market, but just be aware what your up against.
Actually since your multi talented you might want to look at one of these places for a start.
http://splashlight.com/#what
NY is a great city, lots of opportunities, but since your coming in new to the market be careful about renting out yourself and your gear. It's a tough place, so make sure you get paid.
IMO
BC
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I know that this is a Phase heavy forum especially when you have a prominent voice like Doug Peterson often guiding the conversation. So, putting that aside, I'm just wondering how a tech with a Hasselblad and Nikon kit (and a ton of lighting and production skills) would play in Gotham.
Look I get that you think I'm biased, and I'm very open about being so.
But if a digital tech in NYC isn't intimately familiar with Capture One they will be cutting out the vast majority of their potential clients. It's true that you don't have to appeal to everyone to have a highly successful business. In fact I know a few techs that do exceptionally well and only have one or two clients. But as nearly everyone in thread has stated: you really really should know C1 in and out.
I generally dislike car analogies, but imagine someone going into auto repair in a new city and deciding not to work on sedans and trucks. Can you do very well focusing in just hatchbacks? Sure, but why are you cutting out most of what potential clients use? As cooter points out, you also don't want to ignore hatchbacks - learn them all; but definitely learn the most common/expected tools.
The good news for you is there is a new version out today (Capture One 10, 10 new features (https://digitaltransitions.com/capture-one-10-the-10-best-features/)) so you can bleed on the cutting edge while learning it.
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I agree with everything in here about what's needed from a digi tech. And I would add:
- Besides C1, you should definitely know tethering to Lightroom and Phocus. It may be the case that rental houses predominantly have Phase backs, but I know many shooters who are entirely within the H system, myself included (H5D50). I love tethering to Phocus, and I find it maddening when I have to show the tech how to do certain things in the software, or when the tech doesn't know things they should (e.g., how to drop an overlay atop an image to mirror a client's layout).
- Have your own recipes and knowledge within each software/app for giving a visual bump to the images. One of my favorite techs has small tweaks he does to skintones within C1, for example.
- Be a computer geek in general. Know how to troubleshoot any problem that might arise, and have the gear on hand to solve it. When my old H3DII-39 wasn't getting enough power from the firewire tether, the tech knew that we should be using a powered firewire hub, and he had one with him.
- Beyond software, know the facts and foibles about the cameras you might be working with. For example, on my H5D, if you're tethering into a thunderbolt port via a Firewire 800 adapter, you should set the camera to draw power from the battery rather than the host/workstation. And if your main light is strobe, True Exposure should be set to off. Et cetera. Some photographers may not know these things about their own cameras. All techs should.
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I generally dislike car analogies, but imagine someone going into auto repair in a new city and deciding not to work on sedans and trucks. Can you do very well focusing in just hatchbacks? Sure, but why are you cutting out most of what potential clients use? As cooter points out, you also don't want to ignore hatchbacks - learn them all; but definitely learn the most common/expected tools.
It is quite amusing how well the car analogy works. Hatchbacks are the most common type of cars where I live. What's common in one place may be rare in the other and vice versa, in cars as in tethering software. ;)
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Hatchbacks are the most common type of cars where I live.
Where do you live?
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I'm contemplating moving to a new city and offering my services as a digital tech. Was wondering what the working pros are looking for in terms of capabilities and equipment. (I own an H5 40mp, Nikon D810, a retina MBP and the equipment and knowhow to tether it all together.)
I can offer no input as to the digitech question, but I like your work!
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I can offer no input as to the digitech question, but I like your work!
I agree...love your Neighbors project.
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Thanks for the kind words about my Neighbors project. I'm going to all 50 states with it. So far been to 28. Just received a commission to take the project to Alaska. Figured I'd jump into digital teching instead of commercial photography so that I can devote more of my time to my art practice. Here's a link to an article that ran in the Huffington Post on my project: http://www.huffingtonpost.com/entry/artist-photographs-diverse-american-neighbors-from-all-around-the-country_us_57978a6be4b0d3568f84940c
John