Chase Jarvis brings us another great article by Corey Rich
I’m big-time stoked to bring to my blog a heavy hitter in the world of adventure storytelling. Corey Rich has done commercial work for everyone from Apple and Adidas to SI and Outside. He has an eagle eye for the shot, both for still and motion, and I’ve invited him here to give you all a little what-for on the topic of transition from still photography to motion film [hint: it ain't about hitting 'record' and letting the talent do all the work].
Why Corey? Not only is he a bad-ass at what he does, he’s also going to be instructing a three-day course at creativeLIVE next week [deets below].
Class is in session. Take it away, Corey.
So, you’re a still photographer shooting DSLR video for the first time? No offense, but you’re about to F— It Up.
The future of storytelling, for enthusiasts and professionals alike, is all about combining your still-image and video-capturing skills into a single dynamic narrative. Clients today don’t just want amazing pictures; they want amazing pictures AND amazing videos.
“No problem!” you think. “I’m a stoked-out photographer. I could nail the focus on a moving target at 200mm f/2.8, no tripod, blindfolded! I do exposure calculations in my sleep! What’s so hard about putting my camera on a tripod, sitting back and hitting the record button?”
Well, I’m here to tell you that you’re going to blow it. You will F— It Up (FIU)!
Sorry, but it’s true.
I was one of the most seasoned adventure and outdoor-lifestyle photographers in the business. And when the groundbreaking Nikon D90 (the first video-enabled DSLR camera) came to market, it changed my life. I immediately went out and purchased one, full of doe-eyed hope that becoming a filmmaker and director would be an easy transition.
Boy, was I wrong. Sure enough, capturing stunning motion footage, with great audio, all while making dynamic photographs, was as difficult as trying to hit a Mariano Rivera curve ball with a five iron.
Through a lot trial and error, not to mention working alongside some truly great filmmakers, I’ve learned a few things. Today I have more than a few successful still-and-motion productions under my belt, and I feel comfortable juggling the roles of photographer, filmmaker, and audio tech all at once—truly a three-ring circus act.
Now I’m here today to tell you, photographer gearing up for your first still- and motion production, why you’re going to FIU. And hopefully after reading this … you won’t.1) You’re going to run out of time.
You have a good sense for how long something should take. A trail-running shoot through morning mist? Two, three hours, tops, right? But when you add in the complexity of creating still images, capturing video and recording sound, inevitably your estimation of time will be way off. What you think will only take one hour will actually take three. By the time you’ve gotten your microphone levels adjusted, it’ll be noon and the opportunity will have evaporated along with the morning mist.
Solution: Multiply time estimates by three: If you think something will take one hour, plan on it taking three.