This report discusses changes in camera technology, editing and production tools, and provides insight into how those changes have impacted, and will continue to impact, those who work in this segment of our industry. The 4A’s wishes to offer special thanks to Steve Kalalian, President of Industrial Color, for his contribution in the preparation of this document. 

Introduction

This report provides a snapshot of recent trends and opportunities in advertising photo production stemming from quantum advances in digital capture technology. Over the past several years, camera manufacturers have released still cameras that can also capture HD (high definition) video (e.g., Red One and Phantom). The quality and accessibility of the new cameras have enabled photographers to take on motion projects, and directors to capture still images from motion shoots. The ability to capture both still and video with one camera has long been a goal of advertisers and producers of content. Today, this is not only possible—it is in full swing with every form of content being shot on such DSMC devices (digital still and motion cameras). There are several major reasons why this is happening.

Camera Technology

Similar to the desktop publishing revolution of the 80s and 90s, and the digital photo revolution of the last decade, digital video is currently undergoing its own revolution. Sensor technology is enabling very fast capture rates at high quality and at large file size, allowing for quality print files for every frame of video. This new technology allows dual format content from a single-capture device. These DMSC cameras produce a high-quality video and can be used in every media from feature films to broadcast and Web.

New Media Formats, Vehicles and Distribution

Almost all of today’s display devices can play multimedia content. Accordingly, content producers are challenged to meet consumer expectations of greater access on more media devices. Web and electronic formats continue to proliferate, and high-speed broadband and wireless technologies, such as G3 and G4, are further enabling this multimedia explosion.

Better Editing and Production Tools

Video and sound editing is rapidly moving from expensive propriety systems and large production facilities to the desktop. Affordable hardware and software such as Apple’s Final Cut Studio are enabling high-end, edited multimedia content to be created quickly and inexpensively. Final Cut Studio’s suite of applications cover every aspect of high-end editing from color grading, professional sound editing, motion graphics and compression engines for every format (from HD broadcast to mobile video). The talent pool is expanding exponentially as the programs become easier to use and more robust.

Cost Savings

Companies face tremendous pressure to create more multimedia content at less cost. Technological advances across the board are providing substantial costs savings, faster production times and increased creative expression. Photo producers are able to leverage the high costs of shoot production by adding HD video capture to the still shoot. For a fraction of the overall still shoot budget, producers capture moving content for all media. As a result, photographers can shoot and direct primary video capture during their still shoots. Photo shoots can be costly, depending on the locations, sets, and talent involved. By adding an HD video capture team to the budget, producers can leverage the still shoot production costs and gain hours of video content for use in media, including generating stills for print.

Brave New World for Photographers

A challenging economy, coupled with a massive shift to Web and video, has resulted in an especially challenging year for photographers. Historically, few photographers shot video, and many had no plans to delve into the medium in the near term. Some clients, however, began to realize the potential to produce primary video content during still shoots, and started to request that photographers provide this service. Photographers with video experience and the teams needed to support video production were better prepared to accommodate these requests and, by mid-year, many photo reps, producers and photographers began to shoot video and create motion reels. This transition continues to accelerate.

The learning curve can be steep, as the world of motion involves a host of generally unfamiliar artistic and technical parameters. Planning and storyboarding, developing cinematic styles, working with continuous light, managing editing, color grading, recording sound, and delivering compressed formats, must all be considered. Moving from a world of capturing the moment in an instant to delivering seconds and minutes of compelling motion can be easy for some and difficult for others.

Video Capture Roles on Set

Some of the roles that a photographer may encounter on a set are provided below.

• Director of Photography (DP, a.k.a. cinematographer): The director of photography (DP) directs the camera and lighting crews working on a film and is responsible for achieving artistic and technical decisions related to the image. On still shoots, this is usually the photographer, or a hired DP, depending on the complexity and scope of the shoot. One of the first issues to be decided is what role the photographer plays. Some act as directors, some as camera operators; others follow the lead of the art director and some take on a creative leadership role. There are many factors and ways that the shot can happen. In addition, it is important to understand what the photographer is delivering. Sometimes, the photographer may simply deliver the raw shoot on a drive at the end, or may handle everything including the still and video editing. If stills are to be pulled from the video, post often goes in two distinct directions—the still images are selected from video frames and go through traditional print production workflows while the video is edited on a separate track.
• Camera Operator (CO): The camera operator is a person who operates a film or video camera for the purpose of recording motion. The operator is responsible for physically operating the camera and maintaining composition throughout a given scene or shot. In narrative filmmaking, the camera operator will collaborate with the director of photography, actors and crew to make technical and creative decisions. In this setting, a camera operator is part of a camera crew consisting of the director of photography and one or more camera assistants. In documentary style filmmaking and news, the camera operator is often called on to film unfolding, unscripted events. The operator may or may not be working in collaboration with a director or producer.
• Digital Technician (a.k.a. digital imaging technician or DIT): The digital technician works with the DP and Camera Operator to help achieve the highest image quality and creative goals in an efficient manner, including setting up, calibrating and maintaining the hardware and software systems, monitors, color management, adjusting color settings, file processing, file delivery and backup. The Digital Technician’s responsibility also includes checking and reporting on focus and image integrity. With a high-end video capture package, you should expect to need a camera operator and digital tech. If sound is required, a third tech will be needed.
• Production Sound Mixer: A production sound mixer, location sound engineer, or sound mixer, is the member of a film crew responsible for recording all sound and sound effects on set during the photography of a motion picture, for future inclusion in the finished product, or for reference to be used by sound designers and sound effects editors. This requires choice and deployment of microphones, choice of recording media and mixing of audio signals in real time.

Conclusion

The reasons why video will continue to proliferate into the future are many. HD video is inexpensive and accessible on the consumer and professional level. Editing software is also inexpensive, intuitive, rapidly improving and becoming more integrated across media platforms for seamless integration with motion graphics, CGI (computer-generated imagery), sound and other effects. Display manufacturers are developing thinner and more economically sound products, and mobile continues to advance with an explosion in smart devices such as the iPhone and Droid products. The future is now.

About the Author

Steve Kalalian, President of Industrial Color, has been on the forefront of the digital imaging, photography and post-production industries since he founded Industrial Color Brands in 1991.

For more information on DMSC services, such as the RED One Camera, please contact Steve Kalalian, 32 Avenue of the Americas, 22^nd Floor, New York, NY 10013 , (212) 334-4667, fax (212) 334-5106, steve@industrialcolor.com.