Tag: Convergence

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Video and Social Media – A Great Partnership

Facebook hit one billion video views last month. There are four times as many video views as actual Facebook members. That’s astounding. It also speaks volumes about how much video has become a part of our lives. With Facebook, people are sending video messages to “friends” without sharing them globally on You Tube or other video host sites. http://tiny.cc/v3d8K. Social networkers can also embed their Facebook videos on other web sites or blogs.

But if you think one billion video views in a month’s time is amazing, then you’ll be stunned to hear that YouTube gets over one billion views in a day!

And let’s not forget the new iphoneG3 that is not only a display tool for video, but a tool that can create video content as well. And this is not one of the new hybrid still cameras that also shoots video files – it’s a phone!

So between the new tools that create video content, coupled with the new tools that allow us to share video content, video is becoming a new “norm” in how we communicate. And with these new tools it has become easier for the consumer to use video to communicate. Does that mean video professionals should feel threatened. Not at all. To me it means that because video is becoming the new “norm” there is more and more of a demand for it. And that means that for my clients who have only worked in print before, are now finding a need to deliver their message in video to consumers who have come to expect it. And that’s good for me and my business.

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Utilizing the Tools – Convergence of Video and Photography

Every once in awhile I see a blog or a video that really strikes a chord. Today I saw a video that caught my attention for all the right reasons. It was a video that was produced by a photographer Alexx Henry demonstrating how he used technology in a new way to create a One Sheet, commonly referred to as a movie poster.

He had an idea to make the typically static movie poster, come to life with motion. His ultimate goal was to shoot the movie poster and have it appear like a still photograph in his customary style – but with the surprise of coming alive with motion. He chose as his tool the amazing HD video camera, THE RED. But first he needed to do some testing and to sell the idea to his client. For that he used the hybrid camera, the Canon 5D Mark II. He also needed to use hot lights. Because he was shooting motion, he couldn’t use flash. He chose to use HMI lights to get the same look and feel of the lighting style he brings to his still photographs.

Watch the video – it will give you more insight into his project. I loved his last statement. “A great photographer once told me that if you deliver exactly what a client expects, you aren’t doing your job”. He not only delivered the “surprise” he was looking for, but then some.

http://bit.ly/IFsje

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Colliding Worlds of Print and Video

The cover of Esquire Magazine’s June issue was shot with video! Now that’s convergence. Granted it was shot with THE RED camera, a high end HD video camera that shoots at 4K, but nevertheless it’s a sign of what’s to come. http://tiny.cc/MEmwI

When Canon and Nikon came out with their first generation of hybrid cameras the divide between stills and motion became much narrower. They still have a way to go to please filmmakers and high end video shooters but it sent a signal to where the camera manufacturers are heading. Some complaints from the Indie filmmakers have been that the camera shoots in 30p instead of the standard 24fps that filmmakers use. More importantly they don’t like the fact that you can’t shoot video in manual mode – only in auto mode. And audio is extremely limiting – but filmmakers capture their audio independently so that is only an issue for someone who shoots documentaries or a news shooter.

But back to THE RED. This is a high end HD camera that can be modified to meet many needs because of it’s an a la carte building process. But for around $25,000 you have a camera that shoots 4K and just 5 years ago, you couldn’t touch a camera like that for under $100,000. Because it’s a camera that you can build on – you can trick it out and easily spend that kind of money, but you don’t have to.

This has certainly changed how commercials are shot as well as some major TV shows. I’ve heard some art directors have taken frame grabs to satisfy their print needs. It’s not just “good enough” anymore – it’s just as good or better than an image from a still 35mm camera. Art directors are now scrolling through mov files to find just the right “moment”.

I remember years ago, 1982 to be exact when Lenny Skutnik dove into the frozen Potomac River to rescue people from the Air Florida crash. The news crews captured the moment on video and that moment won a Pulitzer prize in the still photography category. People questioned whether taking a “moment” from a running video camera was fair play to receive a Pulitzer for a “still image”. At the time, the quality was poor but nevertheless – it captured “the” moment.

And now magazine covers shot with video cameras – wow – what’s next?