Jump to content

Stills to Moving


Matt Wicker

Recommended Posts

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!

Link to comment
Share on other sites

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.

Link to comment
Share on other sites

Mr. Mullen is correct about brushing up on your cinematography skills, the transition requires a depth of knowledge specific to the tools required for motion picture. I first worked as an AC then moved over to the still world, first as an assistant - then a shooter. I am now back working as a cinematographer (but not turning down still jobs either!). The trick is having an understanding of the various tools required for each job. While composition and lighting are essential for both skill sets, they are executed quite differently dependant upon whether you are shooting stills or motion. I would suggest contacting a motion picture camera rental house and asking if you could observe an AC prepping a camera(s). Learn your tools for the craft. Contact a lab, many of them have free seminars on various processing techniques. Also, with the advent of new technology, you're gonna have to learn those tools too!! Film hadn't really changed much, the chemistry got better, but the frame has been pulled in front of the gate the same way for decades - now, there is a new world of equipment and techniques. It's a wonderful time to join in the fun.

Charlie Gruet

DP

LA-DC

Link to comment
Share on other sites

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!!!!

Link to comment
Share on other sites

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

Link to comment
Share on other sites

  • Premium Member

I'm just in the process of doing it myself and there is a lot to learn about cinematography,

digital cinematography,video. I believe a good solid foundation is required in basic photog-

raphy though. My photography business is centered around portraiture,weddings,some com-

mercial. My commercial work usually involves being directed by an ad agency rep.,they re-

quire a shoot exactly as they specify. I still will do shoots for models(portfolios) but my time

for that is somewhat limited. I also do corporate annual report photography and this often in-

volves(enviromental portraits)on location. I do my own digital photography(digital darkroom)

and b&w in the darkroom,all my color work is sent out to labs now. I have done my own color

darkroom but now I do not have enough time to do color darkroom. So here I am at 8am EST

studying cinematography and doing research on forum. I am leaning more towards the indep-

endent aspect of filmmaking, I will actually write,produce,direct,photograph my own productions.

I 'll be in NYC monday,tuesday taking orientation from rental facility on cine lenses and cameras.

My girlfriend is a film school graduate and when she's not shooting and I'm not shooting we go to

the movies,go out to eat,and study some more together. At 58 years old I tell myself that I should

just stick to stills,not work so hard. I can't do it,I just keep on,I can't let go because I simply love

it all too much. So if I can do it,you can do it! My favorite stills work is that of on location doing en-

vironmental portraits. I still use 4X5 camera for commercial work and would love to have a digital

back for my Linhof but cannot justify cost right now. To add to all this I'm also a medical professional.

 

Greg Gross

Link to comment
Share on other sites

  • Premium Member

Hi,

 

I once saw an HD production which had been shot by a stills guy which looked like absolute dross, but that's just one example.

 

By the way, "It's a wonderful time to join in the fun" is either sarcasm or insanity. The film industry in the UK has, quite literally, never been in a worse position. Government tax initiatives have just been cut and several long-running imports (which you would not be working on anyway) have wound up. Even the next Bond isn't being shot here. It may not seem like this has any impact on what you're looking at, but it does - there's an unmistakable hierarchy from features down to industrials, and when there's no features, the feature crews drop down to high end ads and promos and it is not possible to compete with them. Start posting on Shooting People tomorrow and you'll be lucky to do three quality freebies a year, let alone call it a job. I am not joking.

 

The reason that the people on this forum as chirpy is that they're mainly Americans, where slipping into a position on a film crew is comparatively - and I stress comparatively - effortless. Filmmaking in the US is a business, whereas here it's a fringe artform and it's funded, or rather more usually not funded, to match. Although again it may not seem important to your aspirations, that strata of employment is near-unbreakable. You will not, except in the most exceptional circumstances, find yourself suddenly invited to work with the established crews; there are about three sets of really serious feature crews in the UK and they are each a unit more integral than any union could enforce. The non-insularity you see is a purely American phenomenon; everyone in the UK is more than aware that the only reason they've got a job is that nobody else has taken it from them.

 

I'm not trying to tell you not to try, but whatever you do, don't burn any bridges regarding your stills career because it will take a sea change in the way the UK film "industry" works for it to be a practical career choice. Beware of the advice of Americans; anyone in the US will have a very different impression of the workability of this career than anyone in the UK. They certainly won't tell you it's easy, but there seems to be a sort of assumption that it's possible in the US, which simply does not apply here. Most of the best film and TV people in London, as I've said before, are waiting tables in Hoxton Square.

 

Do it as a sideline when you can get it, but it's not really a way to make a living.

 

Phil

Link to comment
Share on other sites

  • Premium Member

Okay Phil,

Your point is well taken sir. I understand exactly what you are saying. I wish it was a better

situation for you guys in U.K.. I think with filmmaking you either give up,quit,or just keep on

keeping on. The only possibility for me is that of being an independent filmmaker, I could never

put up with producers,directors,assistant directors. I would end up kicking their asses off the set

and we both know where that would lead. My grandmother once told me "Now Greg no matter

what Ed tells you,you stay away from that god awful film business." I would say "okay grammy"

and run out the door to skip another day of school and play with my Kodak cameras. I could be

perfectly happy making my own films and viewing on my own projector, and even re-editing them

once a week; every week until the day I die. I definitely have Cassavetes's blood in me. Phil, how

many times in this business though do you hear about the guy that against all odds makes it? By

god young man you know,it still happens every once and a while. It would only take once for an

assistant director to treat one of my crew badly and bam...bam...bam, I'd be out of a job. This is

really a heartbreaking business,this business of filmmaking,and lots of hard,hard work,always sol-

ving problems that to some are not important. Maybe fifteen minutes of fame comes along,one thing

for sure,the bills will arrive in the mail. "CUT" Hey Phil if you get a chance look in AC on page 37,

picture bottom of page. Do you know who that director is behind the viewfinder(director's finder)?

Now there is a guy who just kept keeping on! What do they call them things directors look through?

 

Greg Gross

Link to comment
Share on other sites

  • Premium Member

Hi,

 

> how many times in this business though do you hear about the guy that against all odds makes it

 

By definition, everyone who's involved made it against all the odds, so it's not terrbly surprising, really.

 

And I don't take AC.

 

Phil

Link to comment
Share on other sites

Phil,

I was the one who wrote "it's a wonderful time to join in the fun." Perhaps there is a bit of insanity laced within that statement. Cold calling and mailing out reels isn't necessarily fun. I must admit it was not until I read your reply that I realized that our photographer friend was from the UK. I know nothing of the business over there, so, yes everything I said was in reference to cinematography work in the US. Are you fortunate to have worked in both the UK and the US? Because I would love hear more about the differences.

 

In regards to my first post, the "fun" part is that anyone can be a filmmaker now. Granted, 90% of the films made may be awful but you can still have fun while doing it. Things are changing - technology and programming - and no matter where you are from, and what your profession is, you can be involved. There are film festivals in practically every city throughout the world, and, also a multitude of websites for the exhibition of your project.

 

Positive encouragement, in this situation, was to take away the fear that some people exhibit when they try something new. Especially when it involves something as important as your career.

Link to comment
Share on other sites

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.

Link to comment
Share on other sites

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

Link to comment
Share on other sites

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

Link to comment
Share on other sites

  • Premium Member

Hi,

 

Someone said:

 

> I was thinking of returning to the UK later this year!

 

That would be a bit silly, wouldn't it?

 

Someone else said:

 

> I think there is a lot of talent on this little island of ours

 

Maybe once there was, but abilities like that have to be trained, and we haven't been seriously training feature filmmakers for more than twenty years.

 

> it can be very frustrating.

 

You don't say.

 

> I mean at one time surely we were players: Ealing Studios, Shepperton Studios, Pinewood Studios......

> What Happened?

 

Cessation of the Eady Levy, big changes to cinema ownership and distribution deals, progressive Americanisation of world culture, massive increase in the quality of American filmmaking.

 

> Oh god , now look youv'e got me rambling,

 

Great, can I join in?

 

Oh bugger, I already have.

 

- Phil

Link to comment
Share on other sites

  • Premium Member

The WickerMan,

You are in control of your destiny,take charge. Must you be famous? Do you really want

to make films? Are you quitting so soon? I'm not trying to be a smart ass. Why don't you

shoot a short film. Produce it,direct it,photograph it,edit it. I almost forgot,first of all write

it. After you've done all this see how you feel about it. Play all the filmmaking roles out and

see how you feel afterwards. Hell,the real fun hasn't even started yet. If you really take ch-

arge,do some acting in your own film,direct yourself. When you are all finished take it to Sund-

Dance. I'm just trying to stimulate your thinking process here. If it doesn't make it then do an-

other film and take it to the next Sun Dance. Keep on Keeping on! You are in control don't let

me or anybody influence you to quit or give up. Good Luck,and Good Evening to you and all the

ships at sea.

 

Greg Gross

Link to comment
Share on other sites

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

Link to comment
Share on other sites

  • Premium Member

My grandmother called filmmaking a heartbreaking business and told me to stay

away from it. She said if I did get involved be prepared to except its ups and downs

but mostly its downs. I finance my filmmaking through my photography business and

my job as a medical professional. I spend the least time I can in medicine. Once in Viet-

nam(1967) I laid in the mud,pinned down,hopeless with the choice of staying there in the

mud helpless,or getting up on my feet and moving out. Well I got up and moved out and

got my squad up and moving. I brought myself and my entire squad back to Oakland,CA

all purple hearts and bronze stars. Since that day I've never stopped getting up and mov-

ing out. You and I as stills photographers will approach cinematography from a different

point of view than guys from film school because we have a complete background in pho-

tography. Its not really hard for us to learn what they know and the funny thing is some of

them think we are at a disadvantage. Well don't buy it!! I don't know about you but I'm used

to mixing all kinds of light sources and balancing that light towards one type. This is not a bad

skill to have. Film I'm sure is one area we have an edge especially if we are darkroom orien-

ted. Basically then you just just have to learn the films available for filmmaking and for me

thats going to be super 16mm. For low light you only have 500 ASA to go to and you can push

it two stops if you have to. The Kodak website is great for the basis of film used for filmmaking.

Then you can pick the brains of people who are shooting film. You can study here on the forum

and you have the posts here from David Mullen ASC which are a source of information with in-

tegrity. On monday and tuesday I'll be in NYC taking orientation from rental facility on cine lenses

and cameras thay have available. I know you and I both will probably not like someone operating

camera for us,but we'll have to learn to live with it. I can't think of anything that would be better

than directing the photography and operating the camera also!!! I have to find a film operator for

my crew and I'll have him teach me film loading etc.,care of the camera. I've already had a course

on the camera but it was too brief,not enough hands on,shot small amounts of short ends. I also did

test shooting on 16mm(not super) the whole month of october for a film I want to shoot. In this case

I did all of the camera operating with an Arri 16mm. I wore a Panavision t-shirt and shot with an Arri

camera. My heart and mind were really thinking about the Panavision 16mm camera but I was unable

to line one up. My blood type is Cassavetes. My girlfriend is a film school graduate and wouldn't you

know it she's an Arri lover,this does cause indegestion at times. I do like the looks of that 235 they

have though. I've read about its use in some recent films. In "The Island" they put handlebars on the

235 and plowed through the action with it. Of course its 35mm,too bad you can't shoot super 16 with

it.

 

Greg Gross

Link to comment
Share on other sites

Hi everyone. My first post.... but a long time reader.

I work as a loader (2nd AC) in the UK industry and from reading these posts you would get the impression that there's no work here.

Admittedly it's not fantastic but it's still pretty good at the moment. A few examples:

The Bond may have gone abroad but both the main unit and the action unit have taken English camera crews for the 'A' cameras. And from the experiences of recent films abroad (where there has been major trouble with local crews leading to UK camera crews getting drafted in) it's expected that lots of us will get a shout once Bond settles in Prague.

 

Harry Potter kicks off in Feb with 2 units shooting for 6 months, all out of Leavseden.

 

Kenneth Branagh's shooting an Opera at the moment in Shepperton.

 

The sequal to Elizabeth (The Golden Age) starts in April. 2 cameras shooting in the UK and Prague (Yes, British crews do travel to these places to shoot)

 

Tim Burton's got a new picture coming up to be lit by Phillip Rousselot again.

 

And these are only the big films. There are many smaller productions out there and from what I hear, the commercials are picking up.

The new tax breaks coming online from April will see a further boost with things really picking up from September onwards.

 

Lots of my colleagues are starting to get calls and it looks like it could be a busy year, hopefully a full return to a 'proper' sustainable industry.

 

It's true that the sudden withdrawal of tax break support shook the industry up badly. It wasn't necessarily the withdrawal but the way in which it was done (overnight with no warning!). Time will tell whether or not the current set up is conducive to growth.

 

But our industry here has of some of the best technicians in the world. When I work with big American DP's they are always impressed with our crews although they are a little surprised at our wages! Now that's an area that needs to be addressed... ;)

Link to comment
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
×
×
  • Create New...