Event Filmmaking + Event Photography = Convergence
This blog post is intended not only for event filmmakers and photographers, but all industry vendors and clients, who are interested in the current revolutionary changes in our world of photo and video.
The walls are tumbling down. The lines are becoming blurred. More and more photographers are adding video services to their line of products, and more and more videographers (filmmakers) are adding photography. What does this all mean?
The rush to do this accelerated when the Canon 5D MkII was introduced.
This is a 35mm DSLR that also shoots beautiful video images, better than any other videocamera on the market. Photographers started to salivate, thinking they could now add an additional revenue stream and become millionaires. Not to mention, if they sold video, then they would not have to work alongside a filmmaker who was vying for the same shot. Win-win!
On the other side of the fence, filmmakers (videographers), now shaking in their boots because photographers typically see the client first, were scrambling to see if they could exclusively team up with a photographer, or started to think about offering photography as a service.
So this seems to be the state of the industry as I write this. Here are my thoughts on this matter…
What photographers did not realize, or, are just now realizing, is that making movies is just not that easy. It is not simply an add on! It takes years of perfecting, and requires passion of the medium and 100% focus of your artistry. Just because you understand composition and light does not mean you can tell a compelling story manipulating moving images. One of the top photographers in the world proved this point when he proudly displayed a video he shot, on his blog. It was really poorly done, and instantly became a huge joke within the filmmaking community. Meanwhile his still images were simply outstanding!
I attended the WPPI (Wedding Photographers International) convention earlier this year and there was an enormous buzz amongst photographers, eager to add filmmaking services. Since then I have seen the initial excitement die off, as soon as these already busy photographers, discovered the workflow involved in making an event film. It’s not just filming moving images, but it also involves processing, editing, color grading and outputting (authoring) to a delivery medium (DVD). Hours and hours of post-production. That definitely scared a few people off! I would suggest photographers look to established filmmakers for collaboration, and not try to do everything themselves, or at least get educated by attending conventions like WEVA, ReFrame and InFocus, or independent workshops put on by the creme of the crop event filmmakers such as Joshua Smith, Still Motion ,The Von Lanken’s, Jeff Wright, to name a few. I might even put one together again if i can just find the time!
On the other side of the fence I recently attended a couple of those filmmaking conventions, WEVA & ReFrame. Filmmakers were abuzz about taking a still image from video and printing it, thus ultimately eliminating the need for photographers at events. The results look really good, and are getting better with every new camera release. In fact recently, a national publication (Maxim?) printed their cover from a video still taken from the Red camera.
So, what I can perhaps foresee in the future is less and less photography will be needed at the event party. I don’t think a still image from video can replace a gifted photographer composing a family portrait, manipulated with just the right amount of light… just yet. However, I can see a photo album of exciting candid moments all taken from the filmmaker (videographer), sitting on the client’s coffee table.
Interesting times. I love photography. I love taking stills, non professionally though. I think I am pretty decent. See below (pro photographers are probably laughing at me now). However the thought of actually posing images at an event and dealing with the photography workflow is simply something I have no desire to do.
Some early adopters of Convergence (fusion) have done it very well. My friend Robert Evans springs to mind. He had the foresight to collaborate with a very gifted filmmaker, Curt Apanovich, thus promoting and combining two legitimate art forms for their clients. This for me was the winning combination. Something I would like to do, if I could find the right photographer who might be interested in collaboration.
So at some point in the future I would love to offer photography to my clients, I just have not figured out the best way yet. But as convergence continues to become part of our reality…I will!
November 4th, 2009 at 11:54 pm
The biggest issue with doing both is that you will burn many bridges when it comes to networking. Not necessarily because wedding professionals are cut throat, but because we simply have to survive and our income can change dramatically from year to year without notice.
I recommend many great photographers in my area when clients book and they haven’t hired one yet, but I would never dream of recommending a photographer who offered video services as well. The client has no loyalty towards me. And they have no obligation to inform the photographers that i referred them. So a studio who offers video is going to try and get that video business as well. Why would I recommend a wedding professional who is essentially my competition?
November 5th, 2009 at 12:14 am
I had a situation this year where I was hired to second shoot a wedding as a photographer and was also hired by the same couple to create a wedding film. They hired me to capture video based on the recommendation of the photographer. I had no intentions of doing both since there was a conflict of interest, but the photographer re-assured me that she wouldn’t have a problem with it. So I decided to give it a try. I figured it would put this whole idea of fusion to the test.
What I ultimately discovered is that just because the same camera can do both, doesn’t mean the same camera setup can do both or that the same photographer should do both. Not only are there special moments that force a decision – stills or video – there are also different lighting situations, camera settings, and lens choices that just don’t work for both – especially in lower lighting.
When shooting video at the reception I wanted the camera to have an attached LED video light and an external microphone for sound. For stills I wanted the same camera to have my 550Ex in the hot-shoe instead of a continuous light source and my choice of shutter speeds and aperture would need to be different to reflect the addition of the speedlight. Bouncing back and forth is nearly impossible, at least in lower-light situations.
It ended up being the most frustrating day of shooting I have ever had, and I will never agree to do both again. I did end up with some great footage and decent stills – but what I captured for stills was only acceptable because I was second shooting.
From a usability standpoint, it is great to have a camera that can do both. But the reality is you’d have to be a fool to attempt it.
If you were being hired strictly as a photographer then you could definitely use the dual nature of these cameras to capture some video throughout the day to help enhance your slideshow and surprise your client – or vice versa. This is where I think Fusion is best used. As a supplement to what you already do.
November 5th, 2009 at 12:37 am
Ron, thanks for leaving a comment but I think you are missing the point here. I am recommending that photographers do what they do best, and collaborate with an event filmmaker. Or go out and get educated in filmmaking.
Trying to do both with the same camera on the event day is completely ridiculous. Why did you try that? I don’t care how talented you might be. You have just reinforced my point that photographers need to get educated if they want to try and shoot moving images! Choose your focus. One or the other!
November 5th, 2009 at 8:18 am
Mr. Robin, good point and well thought out. I hope you are right in your views of the outcome of this “convergence”, good phrase; I’m so tired of fusion. I was with you at WPPI and felt the reluctance and excitement of this. The ones I talked to showed minor interest in it. As we all know this has been a tough year for us all, photographers included. When things return to normal they might put this back on their plate and re-consider it.
As far as Kenny’s remarks, if I started offering photography I think my photographer friends would still refer me, as long as they have already signed a contract with them. The reason? The photographer will expect referrals for photography from us when we can’t accommodate it. This entire industry boils down to referrals, keep them flowing and all is good.
November 5th, 2009 at 12:07 pm
Hi David, this is a great read, lots of insight.
I do know about the RED Maxim shoot. When people start shooting weddings/events with the RED, I’d like to see an updated blog about this! Obviously, you’ll have all the pixels you’ll need for great prints. That’s when I think this “convergence” will be a huge topic!
By the way, where can one find this video that this top photographer posted? I’m very curious to see it.
November 5th, 2009 at 12:54 pm
Hi David – I completely agree. I decided to write about my situation in hopes that my stupidity in trying to do both would act as a ‘warning’ to others who my be thinking they can do it. You can’t. I won’t go as far as to say that you can’t be a filmmaker and a photographer. You surely can, but it takes devotion, training, and of course picking one – or the other – for a particular event.
November 11th, 2009 at 1:53 pm
David-
I agree with you, in that collaboration is key in order to succeed and to grow. This is especially true if it’s someone’s hope to expand into new, uncharted territories such as this. I recently experienced this as I was using our 5d to try and shoot some stills at a networking event. I threw on a 580ex and starting snapping away. I look at my first batch of photos and they looked terrible! I couldn’t quite figure out how to take full advantage of the flash and I was puzzled by how different the images were coming out using the same settings I had used for video.
The next day I had a shoot with a photographer who I’ve worked with on several occasions and have a strong working relationship with. I explained the story to her, asked for a few tips and she was happy to help. I took that advice and applied it the next time I was shooting photos, and it made all the difference.
Long story short, I’ve only been in this industry a short time but it’s already pretty clear to me that the animosity between photogs and filmmakers isn’t helping anyone. By working with each other, and developing a RELATIONSHIP with every photographer you work with will only end up helping both in the long run and can only help advance our industry further.