[by Gail Mooney]
Audio is everything with video. When shooting with a hybrid camera like the Canon 5D Mark II, never use the camera mic to capture your audio. Always use an external mic and either use with a pre-amp like a Beachtek or JuicedLink or capture the audio independently with a high quality digital recorder like the Samson H4n Zoom
Gail Mooney runs a video production company www.kellymooney.com.
[by Gail Mooney]
These days many still photographers are frustrated when their clients decide to take their own pictures or get photos from amateurs who take photos that are good enough. And sometimes “good enough” is not only good enough – it’s pretty good because technology has enabled just about anyone to take a reasonably good photograph.
Indeed technology has lowered the bar to the entry into the realm of professional photography. But any pro knows there is more to “making” a good photo than the actual execution of an image. There are many problems to solve, and there’s the matter of being able to consistently make good photos.
But I must tell you, over the past year I have seen still photographers exhibit the same attitude that they abhor in their clients when it comes to the medium of video. As more and more still photographers embrace video because of hybrid cameras like the Canon 5D Mark II, many fall victim to the same line of thinking and that is if they buy a “good” camera that shoots “HD” video – that’s all they need to throw out the “video shingle” and they’re in business.
The problem is they lose sight of some very important things:
1. Shooting motion requires a different thought process
2. Audio is everything
3. Post production is very different for video than for still images
4. Video is a collaborative process
So when I get a question from a still photographer as to “what is a good video camera?” – I bounce the question right back at them and say – when an amateur photographer asks you what still camera takes good pictures – what do you say? Most quickly get the analogy and realize that while they are pros in the still photography world – buying a video camera or an HDSLR doesn’t make them professional a videographer. Motion is a wonderful medium, but get to learn the craft because it’s more than just the camera.
Gail Mooney runs a video production company www.kellymooney.com.
[by Gail Mooney]
As still photographers move and expand into video because of the convergence of their tools, they often ask me about copyright, licensing and usage and how to apply that to video. Essentially they are trying to apply a licensing business model from their still photography and sometimes that doesn’t work in video production.
The biggest distinction between shooting video and shooting still images is that for the most part a video camera operator is just one of the many creative people involved in a video production. So unless the camera operator is also the producer and in charge of the entire production, including the hiring of the crew, they will be working in a “work for hire” situation. One video project can’t have every collaborator on a project maintaining ownership of their part of the whole.
Depending on the job and the market you work in will ultimately determine who will maintain ownership, copyright and control. Generally speaking the end client or video production company holds the copyright to the finished production. This is why I made a conscious decision when I got into video many years ago, to position myself as a producer and not “just” a content provider. I wanted to maintain creative control and ownership of my projects.
But even in still photography these days, I see more and more “work for hire” contracts, and in market sectors like editorial where that wasn’t the case just five years ago. Sometimes I feel that in our efforts to protect copyright laws, we end up fighting for that right for big corporate entities that in turn grab those rights from the creators through lopsided contracts.
Something to think about – maybe with news eyes. Perhaps we need to start thinking of ourselves as “publishers” rather than just content providers. It’s never been more possible to be a publisher, because distribution has been democratized by the web, giving all of us a pipeline to a global audience.
It’s time to look at our creative businesses with new eyes and not just on the creative part of the process – but the business part as well. I’d love to hear others’ thoughts and ideas on this topic.
[by Gail Mooney]
I talk to a lot of photographers these days when giving seminars on video. One thing I’ve been hearing a lot lately is that many photographers are collaborating with other creatives to expand their businesses and offer their clients more services.
Certainly one area still photographers are collaborating is in video production. Some have partnered with sound mixers, some with editors and some have set up production companies, positioning themselves as producers or directors and collaborating with all of the above.
Video production is all about collaboration because of the different roles and skill sets involved – camera operator, sound mixer, editor and scriptwriter. Coming from a still photography background, when I started shooting video, I set up a new business model as well. I was accustomed to owning my work as well as making all the creative decisions so I knew that I would need to position myself on the top rung of the ladder – as a video producer – if I wanted to maintain ownership and creative control. I also knew I either needed to learn new skills or collaborate with others that already had them – or both.
Still photographers by nature are extremely independent creatures and many times want to control everything – to a fault. The photographers that I have met recently who are thriving are the ones who have built new business models. They have built business models based on collaboration. One still shooter I spoke with not only has partnered with a professional videographer but has also started a photographic consortium made up of photographers who had served in the military. He targets clients who may benefit by hiring shooters with a military background.
Stop and think about the people you know right now who you can network with. Instead of being fearful of your competition – collaborate with the ones who may bring different strengths to your business and turn it into a win-win-win for you, your partners and your clients.
[by Gail Mooney]
Even if you hire a professional editor to bring polish to your video. Editing your own material makes you a better shooter. You quickly realize what you should have shot.
