I read somewhere that a recent episode of the TV show “House” was shot entirely with the Canon 5D Mark II. A dozen thoughts ran through my head – Who would have thought that a prime time TV show would be shot with a still camera? – Isn’t it amazing what technology has made possible? With a big production budget, why did they choose this camera? Did they back it up – just in case?
But the biggest thought that ran through my head was that this article oversimplifies the production process and leads you to believe that now just about anyone with a few thousand dollars can become a DP on a prime time TV show. In other words – when talking just about the camera, things get taken out of context.
What about the fact that they most likely had dozens of these hybrid cameras on set, with a crew of hundreds? Or that the sound guys were capturing the audio with tens of thousands of dollars worth of sophisticated equipment. And then of course there is the post-production aspect where the file from the camera gets tweaked, modified and enhanced by professional colorists.
I think many times still photographers overlook the fact that there is a lot more to a large scale production than just the shoot and the camera. And most of the time it goes way beyond the capabilities and role of the individual photographer who is used to working in a solo manner as opposed to collaboration.
Don’t get me wrong, there is a big part of me that absolutely loves my 5D and my 7D. It allows me to deliver a motion product with a stunning visual. But after shooting motion for 11 years, in addition to my 35 years shooting stills – I know that not only do I need to think differently when I shoot in motion but I also need to collaborate with others to be able to fulfill the needs of the production.
So when you hear that an entire movie was shot with the 5D – think beyond the camera.
These days video is a hot topic amongst still photographers and has been for over a year. But there’s nothing new about video so what’s the big deal?
For starters the camera manufacturers came out with the hybrids so as still photographers bought new “still cameras”, they also got a camera with video capabilities. At the same time, the publishing business is changing rapidly. Print is giving way to electronic delivery via iPhones, iPads, cell phones and the web. So you’ve got what you call a changing paradigm.
Is video a trend – no not in my mind. It’s just another medium to communicate in. When you have a message to deliver that needs motion and sound – video is the right choice. Does that mean still photography is dead. Absolutely not and neither is print.
Will still camera manufacturers lead the way in the next wave of “video cameras” with hi res images. My guess is no and that’s because traditional video camera manufacturers like Panasonic have already rolled out video cameras with large chips – and with good audio capture capabilities without work arounds like the hybrids.
Nobody can predict the future but I don’t think it takes a crystal ball to see that video isn’t just a hot topic for the moment or a trend, but has become a way that we get our news, our products pitched to us and our stories told.
I woke up at 4 AM this morning after only a few hours of sleep – my body going through some major jet lag after over 22 hours of flying from Sydney, Australia to New York City via Los Angeles. Yesterday, my full day back, was spent taking care of essentials – like getting my gear to Canon for a full check up and cleaning,
Gear for my first go round.
and a visit to the Apple Genius Bar because my new laptop seems to have a living organism living behind the monitor which shrinks and grows depending on the climate I’m in, and of course taking care of my own personal needs.
As I lay awake in the pre-dawn hours, my mind was spinning with thoughts on what I had to get done before heading to South America on Saturday for the second leg of our documentary Opening Our Eyes. I have only 4 days to recuperate, rest up and gear up for the next leg. The bad part is, I’ve only got 4 days – the good part is, I have those 4 days, and can approach the second leg of this journey with the advantage of having a fresh experience in the field to draw from and make some changes in terms of gear I’m taking on the next leg. More importantly, because my turn around is short, I’m able to stay focused and remain in the mindset of the project.
So as I go over the gear that I brought on my first leg with lessons learned in my head and prepare for the next stint, I’ll share my thoughts with you:
• A good tripod is critical – if you don’t have a decent tripod for video, you can’t get fluid movement, so don’t even try. A locked down shot is better than a jerky shot in motion. I needed to travel light with all the flights that I faced, so I went for a carbon tripod with a fluid head that would fit in a suitcase to eliminate the need for another check on bag. So, for this next leg, I’m seriously thinking of taking my larger tripod because I don’t have as many flights where excess baggage charges could mount up.
• You can never have enough batteries when shooting with a DSLR workflow and by that I mean everything from the camera batteries (and buy lots of them if you can find them for the Canon 5D and 7D) to the expendables for the DT454 JuicedLink audio preamp, which takes 9 volts to the Samson H4N Zoom which takes AA’s. By the way, speaking of batteries, don’t make the mistake I made once by not powering the H4N Zoom off before changing the batteries. The manual mentions that by doing so, files can get corrupted. A couple of my audio files did get corrupted – the information was there, but it couldn’t be read.
• I’m leaving my over priced Nikon to Canon lens converter, along with my old Nikon glass at home – I never used them – never felt the need for what I was shooting.
• I want to get more attachments for my GoPro Hero Cam because there are so many ways to use this camera – it’s amazing and I’m having a ball thinking of all the possibilities in how I can use it. The Hero cam will always be part of my gear kit.
• Always check what audio cords you’ll be needing. I embarrassed to say that I carried around my wireless kit but couldn’t use it with the Zoom because I needed a mini to male XLR cord and didn’t have it.
• Take 10-20% more memory storage than you think you will need when you’re shooting video. Video is a memory glut. I had been warned by some people that the Lacie Rugged hard drives that I were taking with me, didn’t have a very good track record – but as I write this, my content backups from my Lacie Rugged drives ( over 2000 gigabytes (doubled) ) are transferring to my desktop OWC terabyte drives and seem to be fine so the Lacies did their job. However, they are bulky and I’m going to be getting a couple of 500 gig drives that are more compact. Any suggestions for compact firewire external drives?
• Wish I bought the follow focus with my Zacuto rig. It’s expensive but would have been a real added bonus for visually highlighting one of the beauties of these cameras – the depth of field range that they have.
• Also wish I had a portable dolly like the Indislider but just couldn’t fit it in this trip. As it was, there were some items that I didn’t need to take and will be leaving behind this next leg.
• Wish I brought more mini tools – screwdrivers, allan wrenches etc.
• My Blackberry Tour Verizon phone blew me away. Even when I was in the northern hill tribe villages of Thailand, staying in a bamboo hut without electricity and plumbing – I was able to get my email on my phone! I’m impressed Verizon – I really am. Finding electricity to charge my phone was another matter.
• I could not have survived the 30 flights circling around the world i if I didn’t have my iPod. Thanks Apple.
Feel free to comment and share your thoughts of what has or hasn’t worked for you in the field and you can save me from making potential mistakes as I take on my next leg of this Journey August 7th. We are first headed to the Amazon area of Peru and then down to Buenos Aires, Argentina – again two diverse areas in terms of culture and climate.
After two solid months of intensive shooting a documentary – shooting both stills and video with two DSLR cameras, the Canon 5D Mark II and 7D, I can honestly say working with these hybrids is not easy. And it certainly isn’t fast, especially if you are working in a small crew as we are.
Yes, the visual is stunning but I can’t help but think how many moments I may have missed that I probably would have gotten if I had been shooting with a video camera. When shooting motion, I have a constant mantra running through my head and that is “shoot and move”. That’s because you need a lot of footage at the end of the day and you need to edit your film. I’m not talking about working with a neatly storyboarded script and a Hollywood crew. I’m talking about working lean and mean and in a somewhat discreet way that is in order when shooting a documentary.
That really hit me last night while shooting on the streets of Sydney, Australia. My subject that I’m focusing on here is Paul Moulds from Oasis, which is a youth support network dealing with homeless street kids. I needed to hit the streets at night and knew that I not only had to be sensitive to the situations that I’d be shooting but also alert to the dangers. I’m positioning myself with a lot of expensive gear in tough neighborhoods where drugs and violence rule.
If ever before I needed to shoot and move and act quickly and keep a third eye out for any lurking danger. No time to stress on the importance of the perfection of the visual. I needed to get in close to the action – make sure my audio was being captured sufficiently and get the story. So even though I can tell you that my visual will be beautiful and lacking “noise” in the blacks – I probably would have gotten better and more meaningful coverage with a video camera.
I’m sure there will be plenty of you who will argue that there are journalists embedded in war zones with these cameras. And of course there’s Vincent LaFloret’s brilliant cinematic night films. But for me, I think there are times when I could have reacted faster with a video camera. And so I think – what’s more important – the resolution or the story?
“The historical priorities that have served our company so well — great content, best-in-class magazines, key client relationships – remain the cornerstone of what we do, but we need to move beyond the magazine,” said Mr. Townsend, who remains CEO, in the statement.”
Wow – so one of the biggest publishing companies is realizing that electronic delivery and the internet isn’t an afterthought or an add on to their print pubs. That would have been unheard of just 2 years ago, but with the proliferation of mobile devices, including the iphone, ipad and other “i” devices, we really are seeing a shift in the way we communicate.
Photographers should definitely take notice of this and understand that they need to think differently themselves. Imagery and workflow that worked in the print world just isn’t going to fly in the world of “i” devices. You need to think and see differently when creating for electronic devices that are capable of showcasing still images, video and sound. And it’s no longer sufficient to just regurgitate still imagery for the web or pick up a hybrid camera and switch into live mode and shoot video that will adequately convey a message in motion. It goes beyond the tool – it’s thinking, seeing and anticipating in motion. After 11 years of shooting motion and over 30 years of shooting still images, my mind seamlessly makes the switch a hundred times a day between thinking and seeing in “moments in time” or “time in motion”. It’s a bit analogous to being fluent in a foreign language when you find yourself thinking in the language rather than needing to do the translations anymore in your head.
Many still shooters who are just beginning to shoot video are so consumed with the technical aspects of the tool, they forget that they need to think and shoot differently when shooting video. I see a lot of people moving the camera, rather than letting movement take place in front of the camera. And I see a lot of independent clips shot and then put together in a video timeline, but with no connection to one another or unity in a sequence. Basically, a slide show of video clips – but not a story sequence.
It takes time to get to the point where you think in motion, especially if you’ve been a still shooter for many years. My instincts are now that I know when to pick up the right tool – a video camera or a still camera, rather than choose the tool without meaning to the subject that I will be shooting. I choose the tool that will best communicate the message.
The best advice I can give to still shooters who want to move into video is for them to stop compartmentalizing the two mediums. Don’t define yourself as a videographer or a still shooter that does sports or weddings or commercial work. As print gives way to electronic delivery, our clients need to communicate in a different way and we need to be creative in delivering their message and choose the best tool that will do that. If we can think like that then there is true convergence – not only with our tools but the way we think.
It’s no wonder that publishing houses are hiring shooters with skills entrenched in both mediums. They need creative’s who think differently – not just in moments in time or time in motion, but a true blend that only a hybrid shooter can deliver. That’s my best advice that I can offer to people just starting out as photographers or videographers – don’t separate the two – become a hybrid and learn to communicate creatively with the right tool at the right time.
I see a lot of confusion and misconceptions amongst still photographers as they embrace video using the DSLR camera. For many audio is an after thought which is a big mistake because audio is much more important than the visual. Unless you’re just laying down still images or video clips to music then you have to be able to capture good sound. Some things to consider and remember.
1. You’ll never get good sound with the camera microphone – only use the camera mic for reference audio.
2. Don’t buy a camera that won’t let you use external microphones – unless you will be capturing your audio separately and syncing it later in post.
3. If “running and gunning” – you can probably get away with using a mic mounted on the camera as long as you are close to your audio source. You can either use a mic with a mini plug and connect it to the camera OR you can run the mic via an xlr cord to a mixer like a JuicedLink or a Beachtek, which is much better, rendering a cleaner audio capture.
4. For interviews, most likely you won’t want your camera to be extremely close to your subject. So you won’t want to use a mic mounted on the camera – it’s too far away. I rig a shotgun mic on a boom stand and I also use a lav on the subject and run both into my camera if I’m using a traditional video camera or into my JuicedLink mixer if I want to capture the sound on the same card as the audio.
5. When using a DSLR camera, capturing your audio separately with a digital recorder is ideal. I use a Samson H4N Zoom that not only has a built in dual stereo mic but two XLR inputs. I run my shotgun mic and lav mic into the Zoom and then sync the sound later in post with software called Plural Eyes. Make sure you keep the audio on in the camera as well to use as a reference for syncing later on.
6. When using a device like the zoom that has a built in mic – remember that even though this is a quality mic – you MUST get the mic in close to your sound – no more than a foot away. I prefer not to use this mic but rather a shotgun because a shotgun is more focused and won’t pick up a lot of the ambient noise.
7. Use headphones. Don’t just look at your meters – wear headphones and make sure that you are getting quality sound. You could be picking up interference or static.
8. Always consider your audio even for your b-roll – you need some audio – even if you only intend it as ambient background sound.
9. I only use a wireless system when I need to. In cities like New York you can get a lot of interference on the frequencies. Always go wired if you can. And if you find yourself needing a wireless system, spend the money to get a system that has a good range.
10. Be quiet and tell your crew to be quiet as well. You never know when you’ll want to use the audio – even if you think you won’t need it.
It’s been only 5 months since I stood on top of a 10 foot frozen wave of Lake Superior in the Upper Peninsula of Michigan. Seems like a lifetime ago. I couldn’t be further from that wave, both literally and figuratively speaking.
Lake Superior, Upper Peninsula, Michigan
As I stood on the crest of that frozen wave, in utter silence with no one in sight for miles, I reflected on the human spirit in this remote part of the world. The sun was setting and I was fearful of slipping into a crevice but yet drawn to the glow of the setting sun – feeling hopeful for the future.
I am in Jaipur, India right now with the temperatures nearing the 100 mark and the humidity level the same. But it seems hotter because everything here in India seems intensified on every level. I’ve been on the road for close to 2 months now and have traversed a variety of climates, cultures, joys and heartbreaks. It’s been easy, hard and everything in between.
In creating this documentary “Opening Our Eyes” I have challenged myself in every way I know how. Just shooting a documentary with an HDSLR system, on a slim budget and with a two-person crew is a feat in itself. But this documentary is taking us around the world and putting us in touch with the less fortunate of our planet. It’s humbling, heartbreaking, exhausting, yet somehow a boost to my inner spirit – that same spirit I wrote about back in February when isolated and alone on that 10 ft. frozen wave.
How I crave those frigid temperatures and the utter silence of tranquility. Space is a luxury in India with billions of people competing for it. Such an intriguing culture but one that is beyond demanding of all that a body and soul has to give. I draw on my inner strength and my people that came before me who taught me well about struggles and endurance as well as compassion for those who are less fortunate.
My eyes have been opened these past two months in so many ways and so I think unknowingly I chose the perfect title for this film. To experience and see the extremes of the human condition across the globe has broadened my perspective and put things into balance. What seemed so important just a few months ago, seems so trivial today.
And so it goes as I complete this journey in a few months time. Off to another climate and culture with my eyes opening wider as I go along.
Everyone these days seem obsessed with the tools. The blogosphere is full of tech talk but few mention the art of storytelling. Without that, we are left with technique with no apparent message – or one that is weak at best.
When I think about it, the videos and photographs
School girl in Surkhet, Nepal
that really resonate with me and stay with me for any length of time are not examples of shifting depth of field or low light marvel, but rather pieces that have touched me because of the story that they tell.
The story that we have to tell is also one facet of video making where we can stand out as being truly unique. Our stories are our songs where we reveal a part of ourselves. If our films are solely portfolios of technique and examples of what our tools can achieve, then we do not separate ourselves from our competition. We can all buy the same gear, gadgets and gizmos and with that run the risk of being button pushers.
I suggest that we all work backwards. That we define the message that we want to communicate and then choose the right tool that will appropriately fill that need. In order to do that, we need to step back and experience life itself. See what the world has to offer, discover our passions and have something worth talking about before we even begin to pick up a camera – whatever camera that may be.
Technically, I began working on my latest documentary, “Opening Our Eyes” about 7 months ago when the idea came to me. I had just seen Robert Frank’s show “The Americans” at the Met in New York City with a friend of mine and I commented to him that I was really yearning to get back to my beginnings and take a visual road trip.
Even though I had spent a lifetime traveling and shooting assignments for editorial and corporate clients, I never lost sight of my passion to explore with my camera.
Gail at Red Square, Moscow
In the beginning, my explorations were through the lens of my still camera but when I started shooting motion about ten years ago, my tool of choice became a video camera and with that came self assigned documentaries.
It had been two years since my last passion project “Freedom Riders” and I was itching to start another. My daughter had just graduated from college, I was an emptynester and pretty much free to do as I pleased. I had accumulated over 300,000 airline miles, thousands of hotel award points and another 300,000 plus American Express points. I didn’t know what I was saving them for but it seemed like a good time to use them. So, I made a decision to take a trip around the world. I felt like I still had the energy and stamina to take on such a journey but something was missing – I needed a purpose.
The Idea
I have always been interested in the “common man” as opposed to the celebrity and the simple story that resonates in a viral way. I’m intrigued by people who go up against all odds, to right a wrong or fight for a cause and never give up. I usually side with the underdogs and am inspired by the Cinderella stories. And so after that day at the Met, an idea was born and that was to shine a spotlight on 6 people on 6 different continents who were making a positive difference in the world because it was their calling to do so.
Of course coming up with an idea is the easy part and many times those great ideas seem to drift away with time as one gets caught up in daily work and life. But this idea wasn’t going away – I knew it was the right time for me to bring these stories to life. My goal was to create individual videos about each of these people that would combine together as a feature documentary. My hope was that the film would not only create awareness of my subjects’ efforts, but also motivate others to create change.
The Pre-Production and Facilitation
Next came the hard part – making it a reality and the first step was figuring out how I would fund it. After working on 2 other self-assigned passion projects, I knew one thing and that is that it’s really hard to sell an idea. When I was in the planning stages of The Delta Bluesmen, I spent a lot of time applying for grant money and seeking funds from a variety of sources to no avail. I finally got frustrated and decided to self fund the project even though it meant taking it a bit slower and doing more of the work myself. My critics thought I was crazy to tackle a short film by myself and self fund it but I stuck to it and created a piece I’m proud of and which has brought many rewards to my life. So with that experience behind me, I took another leap of faith on my latest project and started the planning process. But perhaps most importantly, I focused on the fact that the positive aspects of working on a self-funded project is that it would be the way I wanted it to be – not compromised for the wrong reasons.
My first order of business was to send out a query to everyone I knew as well as use social media to find my subjects. My first subject was a given – a local young woman my daughter went to high school with, Maggie Doyne,
Maggie and some of her children
who opted not to trek off to college after high school. Instead she wound up in Nepal and built a home for orphaned children. She’s 23 years old now, has 30 children in her home and is in the process of building a school. Then my daughter Erin, expressed interest in working on this project with me. She knew she’s need to leave quit her job, sublet her apartment and say goodbye to her boyfriend for 3 months – but she wanted to be part of it. And so we became a duo and with that the project really took off with her support and help.
Since the project was self-funded, I had to be extremely creative with the budget – or lack thereof. So after nailing down our subjects across the globe, we started to plan the logistics –airline tickets, hotel rooms, visas, vaccinations and of course equipment needs. From January to May, I spent countless hours booking reward tickets with 14 airlines for 29 flights – a round the world itinerary with extra local hops thrown in. I’ve arranged for 99 nights of accommodations, staying with friends, friend of friends, using reward points, paying for budget hotels and bartering for other rooms. I had to bite the bullet and pay large sums for our vaccinations and visas and budget for our meals. Most importantly, I needed to purchase new gear because my intent was to shoot this project with the HDSLR cameras. I knew I wanted to shoot stills and video and also knew that I had to travel lean and mean so this seemed like the best solution. You can read more about the gear here.
The Execution
We are about one third through the shoot and have worked on 3 continents. The scheduling has turned out to be brilliant – we work hard and exhaust ourselves for chunks of time – anywhere from a week to ten days and then have a few days to recoup, catch up on sleep, write in our blogs, or just sightsee and take some still snapshots along the way. We’ve had a couple mother/daughter disagreements but for the most part we are having the time of our life and seeing the world. At this point we sometimes forget which currency we are using or what the exchange rate is or what our room number is but in the process of creating a film, we have built a lifetime of memories.
We have also created an audience who tune into our project blog religiously and follow our journeyas we go along. But something remarkable is happening and that is evident in the comments we are getting. We are opening people’s eyes though our travels and our writings. We have connected our audience with our subjects and their endeavors and are building a global community. It has been truly inspirational meeting and working with our subjects and there are days that my heart is full to bursting and confirms my belief in this project.
Post-Production
When we return in September, my first priority will be to edit the videos that I promised in barter arrangements. And hopefully at the end of the month, I will begin the edit. It will most likely take me a month just to log and transcode the footage and sync the audio in the situations where it was captured independently. I’m confident in my editing abilities but I would love to work with a pro. So if there is a pro out there reading this who would love to get involved in a fabulous documentary – I’d love to hear from you.
Distribution
Not really thinking about this part right now other than to use social media and perhaps itunes and Amazon to distribute it. But I have faith in this project and something tells me that this will take on a life of its own. It’s a feel good story and we’ve already gotten a lot of support and interest.
At any rate it’s the trip of a lifetime and I’m taking it with my daughter so I’ve already been blessed.
I’ve been working quite a bit lately with both the Canon 5D Mark II and the Canon 7D, shooting video. I’ve been shooting video with traditional video cameras for the last 11 years so I wasn’t in the dark as to how to shoot motion. But I’m not ashamed to say that I’ve made my share of mistakes with these hybrids.
Here are a few to watch out for:
Don’t forget about audio. So many still photographers forget the importance of audio and then what they are left with are a bunch of video clips with lousy or unusable sound.
Don’t capture audio with the camera mic. You’ll never get good sound if you do. I also stay away from plugging in an external mic with the mini stereo plug.
Don’t turn off the camera mic when using an independent audio recorder. It’s always good to have the audio recorded to cards through the camera to use as a reference when syncing the sound later in post.
Don’t discount reading the manuals. A lot of shooters think since they are coming from a photographic background, they don’t need to read the manuals. There are big differences when shooting video – make sure you read the manuals about some of the nuances and avoid making stupid mistakes.
Don’t shoot video like a still photographer. Remember video is time in motion – so let motion play out in the camera. Let subjects move in and out of your frame. Let the camera roll – don’t shoot moments in time.
Don’t forget about the story and sequencing. I usually see the big picture when I’m shooting. I think about the finished completed movie in my mind’s eye so when I’m shooting I’m always thinking about what is coming next – where will I go from this shot – where did I come from. If you don’t think like this then you’ll have a disconnected mess that won’t be easy to edit.
Don’t be sneaky. These cameras look and are still cameras. Don’t deceive people into thinking that you’re not shooting video and/or sound.
Get it right in camera. Unlike still photographs, video doesn’t do as well when it’s over manipulated or corrected in post, especially when trying to crop or enlarge the image.
Don’t skimp on you shots. When shooting b-roll video – you’ll need lots of it to tell the story in post. Shoot different focal lengths as well as angles for variety to cut to.
10. Don’t shoot verticals. I know, I know there will be some of you that will disagree with me but if you want a vertical – don’t turn the camera sideways – crop the vertical in post. A contradiction perhaps to #9 you say. Well there are always exceptions.
was shot entirely with the Canon 5D Mark II. A dozen thoughts ran through my head – Who would have thought that a prime time TV show would be shot with a still camera? – Isn’t it amazing what technology has made possible? With a big production budget, why did they choose this camera? Did they back it up – just in case?
Journeys of a Hybrid 