Matt Wicker

Hi Guys, First and foremost I would like to say that I am a self confessed interloper here. I'm a 25year + veteran of high end stills advertising photography, and I'm now starting to shoot moving images. So you can take anything I say with a pinch of salt. This thread has been interesting, because as a photographer, guess what, I take pictures!!!!!! Do you know what I use to take pictures, tools, tools of every type that gets the job done. Do you get me? I'm very much enjoying crossing over to the moving image. And I'm going to follow my same idea from the stills side of things, and use some tools to get the job done. The biggest compliment I've had so far on my moving images was when a very respected art director saw some footage and said " thats beautiful composition and lighting, it looks very cinematic, fabulous". Now what should I call myself, because I'm used to being a photographer? Best Regards Matt Wicker PS: I'm thinking I am going to call myself what one of my favourite clients calls me. Matt Wicker, Light Poet!

Thanks Daniel, It's not often I get fully quoted!!! You've put it much more eloquently than I could have. Just to explain a little more though, it was the little things more than the basic plot that hit me so hard. The plot, so OK it's a film it has to have a story of sorts, but the details, the places. I still say it's powerful stuff. But the beauty of this and others like it, are it's ability to grab those closest to it the most, if you see what I mean. For example I really loved "8 Mile", but it didn't disturb me like Kidulthood did, because I don't come from Detroit. Don't get me wrong I love a good blockbuster or an intelligent Sci-Fi, or sometimes even some right old tosh if I just want a little light entertainment. However I really do think there is a lot of room for films that will hit a certain group right between the eyes in a realistic way. The down side to this is that the harder it hits the target group the more specialised it is the more it is likely to get slated by those it doesn't target. It doesn't mean the film is bad though. Personally I look forward to more of this kind of filmaking, some stuff suits global blockbuster, other stuff suits " Oh my god that could have been me" or "Wow I really relate to that" Can't have everything in one box though, ever tried as a kid to mix every colour in your paint box into one mind blowing fantastic new colour? for those that haven't you get a grey brown mush. I think that tells us something. Long live Individuality and diversity Matt

Hmmm, Very Interesting discussion, I'm a Londoner born and bred, I grew up on one of those council estates and thankfully escaped it. Just to put the record straight though. CHAV = Council Housed And Violent Well that's what I was led to believe. Moving on, I have just watched Kidulthood. The photography was beautiful and the soundtrack was spot on. I can honestly say it was possibly the scariest film I have ever seen. That's personal though because those places are my roots. However you can't blame everything on social environment or I would be just like one of the characters in the film! Not to be too contraversial, but I don't think buildings make slums and ghettos, people do. Anyway being an ardent brit film fan I loved it even though my palms were sweating thinking ***t that could have been me. Love this home grown gritty stuff, Kidulthood, Bullet Boy, Lock Stock.. Commitments etc, Just my twopence, take it with a pinch of salt PS one for all you brits, just watched the first part of Prime Suspect, the rough old comprehensive school was the one I attended!!

Hi Gang, Sorry but I have to chime in with Jim here. I am a stills photographer of 20+ years, film, chemistry, beautiful 10"x8" trans, grain, art, blah blah blah...... I have shot dig for the last 8 years, and whatever anyone says, my shiny new 33MP digi back looks the business, the image is incredible, it's happened to stills, it will happen to the moving image. Before I get flamed too much, film, both stills and moving will be around for a long time yet, after all it's down to personal choice etc, but don't knock digital, if it's development is on the same curve as pro stills a lot of people will be eating their words sooner rather than later. Bottom line is though, get over it people, they are all just tools!! my camera is bigger than yours, is all a bit sad at the end of the day. Use what's out there, embrace it, enjoy it, create!, don't get hung up on, film, dig, neg, pos, glass plates etc etc Just my Tuppence worth, but hey what do I know. Looking forward to another 20 years using whatever suits my needs. Matt

Yeah, I'm in too, I don't post too much but have learnt loads! Matt Wicker Stills Guy

Hi Guys, I am following this debarcle from an outsiders point of view, I am a stills guy making a foray into moving image land through client demand. This maybe a simplistic view, but what you movie guys are going through, well I have already been there done that and bought the T-Shirt stills wise. Whatever anyone says, you can't stop the tide coming in! 8 years ago, we were pioneers of digital stills capture with a cutting edge £70k, yes £70k!!! many dollars, 4k leaf DCB camera that captured through RGB filters, 2-3 years later came a Volare, Wow 6K through RGB filters, 3 years later, WOW an 11MP one shot, amazing, one year later a 22MP one shot that is just astounding, did I mention we just put our order in for a 33MP back That I can honestly say blows the socks off any film capture I have seen, and yes I am a film guy for 10+ years, moving image will go the same way, and probably quicker than you think, it sure happened with stills quicker than I thought. This kind of Tech seems to follow a log type curve, not a straight line. I agree the biggest challenge is capture and storage though. I wouldn't fancy catching my 100MB stills 24+ times a second at the moment that's for sure. But to everyone out there, don't rubbish the inevitable, film will always be around but commercially dig will be the future sooner than you think. Have a nice day Matt Wicker

Hi everybody, Am hoping someone could offer some buying advice here. I am looking to buy a Spyder type dolly and jib arm, new or used and would prefer to buy in the states and ship to UK as my £ buys some good $ at the moment, requirements are. Good quality, 2 Wheel Steer, 4 Wheel crab, Pneumatic Tyres/Wheels, must be able to take a jib. It is to be used in the studio only, on a good flat floor so no track required. What advantages does a centre column have over other configurations. Any thoughts or ideas greatly appreciated. Sorry if these are dumb questions, I am new to this. 20+ years of advertising stills photography behind me, but I now have 3 clients chasing for some moving imagery. Almost forgot Budget Approximately: Dolly $ 6,000, Jib Arm $ 1500 + Shipping+Import taxes Many Thanks

Thanks Dave, as they say "You Da Man" I guessed it was an obselite piece of kit. Again, Ta very much.

Hi People, Sorry if this is a bit trivial, but I would really like to find out who makes this particular piece of kit, so any ideas greatly appreciated. Many Thanks Matt PS: Sorry for the ropey pic, but it's all I have!

Hi People, I have just watched Angela's Ashes, and was blown away by the composition and colour pallette used throughout. Coming from a stills perspective I guess I'm wooed by beautiful compositions and top quality lighting set ups. For me this film just really hit the spot. What do you seasoned pros think? Also does anyone have any info on stock, techniques, effects, lighting etc pertaining to quite how this fabulous look was achieved. Thanking you all for your indulgence Matt Wicker

Wow! Some great replies there people, I wasn't sure if this topic held any merit but it has drawn a great range of opinions, and an even greater range of quotes. I especially liked the view that documenting the ordinary had value, when you think of it, stuff thrown out 50 years ago now adorns our antique shops and collecters fairs. It is natural to want to know where we have come from, in order to help figure out where we can go to. An Experiment Here is a photo I picked up at a jumble sale (along with some other very interesting movie Pix) does it interest anyone enough to to find out and tell me about it, as I know nothing about it's content.

Hi Guys, A strange question maybe, but how do you feel about you're work outliving you? The fact that, long after you depart this mortal coil, people will view the legacy of you're work. Do you ever think about this, does this in any way effect what you try and achieve. It is fascinating to think that maybe 50 or 100 years from now someone will still be viewing and discussing what you have contributed to. My brother was lucky enough to have made a big contribution to the film Gladiator, and it seems strange to both of us that long after we are gone people will watch films like this, and part of him will live on in some way! I hope you don't find this subject morbid, but I think maybe it is relavant to some of the reasons we are driven to want to produce material that is both creative and permanent. Anyway, what do you think?

Thanks David, Not one of my best, but it was to hand to illustrate a point. Still not quite sure when to chirp up with posts, as technically I'm still just one of those static image people!!! but I have been shoving lights about for the last twenty years so hopefully you guys won't maul Me too much :)

Wow! A topic I can actually contribute to, I am a complete newbie to the moving image hence me being in lurk mode most of the time. However stills is my bag, jewellery needs a mix of hard and soft light so the usual way is light with a very hard light source and then surround the object with as many plain white reflector boards as you can squeeze in. If you can get your'e boards in close enough and have your'e hard light a reasonable distance away the good old inverse square law will work in your'e favour and negate the need for too many extra lights. Buy some cheap plexiglass mirror tiles, cut them up and place liberally around for added sparkle. Good Luck

Hi Greg, How could I not give it a go after a post like that, seriously though, I firmly believe that if you want something bad enough and have enough conviction you can make it happen. I will keep up the stills work because I know that I can support myself doing that. I guess I am just the sort of person that always has a dream or aspiration or goal of some sort, it's why I get out of bed in the morning. As a boy the first art director I ever worked with had only one print on the wall of his office, it consisted of three words "Make It Happen" it said, that's what I always strive to do. I not too fussed if I go for something and it doesn't pan out, but what would bother me is to not have a go! Toodle Pip

I think there is a lot of talent on this little island of ours, problem is we just don't seem to embrace it like our friends across the pond do! it can be very frustrating. I mean at one time surely we were players: Ealing Studios, Shepperton Studios, Pinewood Studios...... What Happened? We have talent here, so what gives! Point in question my younger brother is an extreme Talent, and I mean world class, "Mill Film" closes down and he gets snapped up by "Industrial Light and Magic" he should be here working in the UK!!! Oh god , now look youv'e got me rambling, sorry folks I'll shut up now Thanks for listening

Hi Phil, Technically we are not a hire studio, but more and more I seem to fit someone in if we're quiet, like you say "Dry Earnings" but equally so if your'e not busy, The Clock Still Keeps On Ticking! We only tend to hire to video people, for simple stuff that isn't going to mess up the studio too much. I always seem to end up doing the lighting rig though, in some ways that's what sparked my question here in the first place. Although my partner and I are both Londoners born and bred we prefer the quiet life of the countryside. For the UK'ers out there we are just outside the city of Bath. Take Care

Hi Phil, Many thanks for telling it how it is, it's very much appreciated. The line "It's a wonderful time to join in the fun" was merely directed at technology. I would not have missed the digital revolution in stills for anything! and technology wise it is interesting times in the world of moving images as well. I wasn't thinking of ditching my stills, I havn't spent the last ten years building up my current studio and client base to throw it away. I was thinking more of the possibilities of branching out into some form of moving imagery. I am fortunate enough to have a 2k square foot drive in studio, 24ft infinety cove, 20ft floating cieling, £50k+ of lighting, and all the usual paraphenalia that comes with it. Unfortunately with all this comes big overheads, so I'm always looking for ways to diversify. The big problem I have is that I am a self confessed "Light Junkie", if I was sensible I would fill my unit with workers stamping out widgets and earn some real money. But I don't think I would be very happy, so my best shot is to keep fiddling with my lights and thinking of ways to keep me keeping on, if you get my drift. Again many thanks for your informative post, speaking to someone on the inside of these things is invaluable. I have invested my whole life in playing with light, and the scary thing is I don't know how to do anything else so I'm kind of stuck with it! Take Care, and let's hope for a renaisance in the value of Imagery.

Thanks for the positive feedback chaps. Your'e a chirpy lot, which is refreshing, sometimes stills can be a little insular, but you guys seem to have a real nice team spirit about you. Lots to think about etc, so I will listen and learn, hope you are OK with a stills man haunting the forums a bit. I still feel like a bit of an interloper here, as I am off of my normal territory, so bear with me if I ask something dumb! Many Thanks

It's a wonderful time to join in the fun. Hah.. Thanks Charlie, great insight there, I consider myself blessed that I have gone through stills from the age of Dev trays and 10"x8" plate cameras to digital backs and histograms. Boys and toys eh...Willwe ever learn!!!!

Hi David, Thanks for a swift reply, I guess commercials would be a much more natural progression for me, having been around advertising all my working life. I guess that I'm hoping, maybe sometimes you can teach an old dog new tricks.

Hi everybody, I am a stills advertising photographer of 20+ years experience, film and digital. Quite often some of my clients book my studio for a stills shoot, and then hire it straight away for a video shoot of the set we have just shot. On several occasions I have been asked to direct the lighting for the video and advise generally about light. Now all this is becoming very interesting. What are your'e thoughts on crossing over from a stills background to moving images, is it possible, what am I going to find the biggest hurdles. Or am I barking. Many thanks for your'e indulgence if you've read this far. PS: I will try and post a couple of my stills if that is of any interest!