At most, I’m a still photographer, but that’s enough for me. I know that if I work with stills for the rest of my life, I will never fully crack the code. That’s intriguing to me. That’s challenging. I know that every day is unique. If I return to the same street corner in Puerto Natales every day for a year, I know I won’t see the same thing twice, so how could I ever exhaust still photography? At the same time, filmmaking is on my to-do list—not because I want to, but because I’m asked to. This reality dates back to just before the pandemic, when I was asked to create motion content.
Most people asking for motion content don’t make motion content.
This isn’t a knock on them, it’s just not part of their job. And everyone has a phone and typically makes some sort of motion content all day long. Videos of themselves, their kids, their meals, their travels, etc. Post, post, post, post. So, when it comes to making an actual film, how hard can it be? Just use your phone, right? People also watch YouTube and the endless number of films selling “iPhone filmmaking,” so easy that a child can do it. All of this nonsense tricks people into believing filmmaking is easy, or a solo operation, no matter the ask. These same people get tricked into thinking that just because a YouTuber has 100,000+ subscribers, they must be a great photographer. Wrong.
A decade ago, I was sent sample footage and films and asked if I could produce something similar. “Yes,” I replied. “With a crew.” “What do you mean a crew?” was the reply. I said, “All the samples you sent me were done by film crews—meaning producer, sound person, editor, and camera operator.” “No,” came the reply. “One of those people is a solo traveler.” “No,” I said. “That person is lying because I know their camera operator.” I know, how shocking that a YouTuber could be running a life built around a total facade.
So, what’s my take on filmmaking?
It’s a total fu%$%%$ nightmare. In short, that’s it. Filmmaking takes HUGE amounts of time. I would say the ratio is at least 10:1. You need 10 minutes of footage to make one minute of edit. It’s probably way more, but I suck at math. You also need equipment. In my case, this means several mirrorless bodies, lenses, ND filters, mics, tripods, etc, all of which need to magically appear with no budget. Oh, and don’t forget all the storage you need to archive 4k footage, which also needs to materialize with no invoice. What’s next, you ask? Oh, just one of my favorite parts: the software. Editing software is pure hell. I use Premiere, which I barely know how to use. DaVinci is better, I know this, but you need a degree from NASA to figure it out. And these programs change ALL THE TIME. This time I’ll go 3:1. Three hours in the edit bay for every hour in the field. Remember, this is EASY.
The best film anyone has made about me, at least in recent years, was the film done by Wayfarer Vans. They sent Michael, a full-time filmmaker, who spent THREE DAYS with me. Michael is a real filmmaker. Legit. He shot for three days. His wife was also here, and although she didn’t film, she was integral to logistics, driving the support vehicle, etc. She’s super cool, by the way, and is a wonderful blogger/websiter. After the filming was complete, it required an additional several months before the edit was finished. Months, people, months. The result is a beautiful film. But there is no skirting around the lift required. (And yes, I LOVE my van.)
So, where does this leave us? Right in the middle of the quagmire. I’m tasked with creating motion content, and in fact, this was just increased earlier this week. More motion on Uncle Danno’s plate. What do I have going for me? I think I know how to tell a story. What’s working against me? The technical side, which isn’t insurmountable, but man, do I loathe all things technical. I’m also limited by time. This coming week, I need to make a film about a local artist. At most, I will have two hours. I already know it will be a situation requiring every single piece of footage I shoot. My limited equipment, which isn’t THAT limited, will direct how this film gets made. (one set of mics) Then comes the “Blurbification,” of the result. This isn’t bad, it’s just what’s required when making things for a brand. I can get away with anything on my channels, but not so when the logo is applied.
But here’s the thing. That darn challenge. I love being challenged. Heck, I love falling flat on my face. I think it’s funny. I’ve been doing it my entire life. This is just the latest chapter. Do I want to be a filmmaker? No. Not at all, but do I like the challenge of making something semi-decent to get some point across? Yes. Do I like working alone? Yes, it’s the only way I want to work, but does this impact the quality of what I’m doing? Yep. Without a doubt. Am I okay with that? Yep. Give and take, baby.
Most of the best still photographers I know just do stills. Some will also fly a drone, but they aren’t cutting films. They are just delivering a bit of drone footage. To do stills well, you need to just do stills. No one can do two things at once to the best of their ability. One side will suffer. Most dual-threat people are content creators, not photographers. Big difference, although finding people who know the difference is becoming more difficult. I do know still photographers who work with a crew to cover the motion side. This seems to work just fine, but it also requires more budget. So, expect to see more footage from me. Some here, some there. I’m hoping it will improve, but who am I kidding? Either way, I’ll enjoy the process.
Comments 18
You need a crew.
Author
Hahahahahaha, you are EXACTLY right!
“So, when it comes to making an actual film, how hard can it be? Just use your phone, right?”
This is so true, I love explaining to people who say this that even the stuff online that looks like it was made with the phone or in the spur of the moment is often the result of a monster budget, months of strategy meetings, and massive production teams.
Author
No clue. This same thing happened when digital cameras arrived. Anyone can do it! Except they forgot the “learn photography,” part.
I can really appreciate this post Dan. Video skills are tricky that’s for sure.
Best advice I heard from a photographer turned filmmaker (she edits her husband’s wedding films): “Stay the Fuck Still.” Said with a midlands British accent.
Words to live by.
Author
I can see the benefit of that. You and I both know, if we are doing two things at once, both will suffer.
The influencers who fib and say it’s all done just by them drive me nuts! It totally sets the wrong expectation! And it’s staggering how much destinations and tour operators (my industry) give them for very, very little in return… I literally got asked today whether I also did video. I said nope. Just stills. I think people are losing sight of the power of still photography – where there is space for the viewer to inject themselves into the experience.
Author
Yep, they want it all. The solo traveler thing is out of control. It’s fraud perpetrated on entire bases of people. My guess is some of them know and play along anyway, while others have zero idea they are being conned. It speaks volumes about the humans behind these operations. Anything for a like.
I absolutely feel you. I am a photographer, in the twilight years for sure, the embers of my shutter going grey. I was mostly a unit stills photographer for BBC and ITV. Drama’s, entertainment and documentary. My job was to photograph the shows and cast and the pictures used in newspapers, magazines and latterly websites. Also on dramas, sales brochures for Cannes and MIP. As video got more accessible, I was asked to shoot EPK’s (Electronic Press Kit) in the early days these were used as DVD sales tools and DVD extras, remember those? Budgets were always far too low, which meant I was a solo operator. Having worked for years in TV I had a basic knowledge of shooting moving pictures and sound recording, so it wasn’t entirely alien to me. But, it was very stressful and taxing. In any given drama, I had to interview the key cast, heads of departments, director, producers, writer (s) and music score writer.. In addition to this, I had to shoot key wide shots of significant scenes or scenes in which the cast had referred. So, when I shot interviews, I had to try and find a suitable location that was quiet, no noises off and also was near enough to set that the cast member didn’t have to stray too far. Mic up, frame up, then move away from the camera to get the right eye line and ask the questions, all the time just hoping the camera was still running and the audio was OK. As far as editing goes, I used up a substantial chunk of the budget to hire an editor because I was nowhere near competent enough. Then you have to get approval of the cut, not from one producer, but three, and all three had different changes. It wasn’t until I’d make a few of these that I realised I had to limit the amount of changes, otherwise it got stupid, back and forth with various edits. It was without doubt the most stressful job I’ve ever had and I would never do it again without at least a sound recordist and one other camera operator. Proper video needs to be a collaborative affair. To think you can be an operator and a sound recordist with equal skill is wrong. You simply cannot justifiably do both jobs at once.
Author
One of the best film editors I know saw me and blurted out, “I know what you are thinking Milnor, that you can do all this by yourself….wrong!” These all in one jobs sound hellish. And the client doesn’t seem to know what they are losing out on.
I agree with you. I am a stills photographer. Even after 5 decades, I learn something new every day. Part of my love of photography is I never stop learning as there is always a new challenge. While working on a long term project on my father, who survived 8 Nazi forced labor camps, I traveled to 19 camps in Poland, Germany and the Czech Republic. I only photographed with Tri-x and my Rolleiflex 2.8F.
I also created moving pictures, to eventually make a documentary on my project. It took me 8 years to edit the piece, write the dialogue, create voiceover with a professional sound editor, add music and create a 59 minute piece to accompany the stills. Making something of quality takes time, years in fact. And, without the pro sound editor, my project would remain in the amateur category.
Author
That sounds about right Hannah. It takes…TIME. The 19 camps is impressive, but knowing you, par for the course. Above and beyond what most people would be willing to do.
I was fortunate to be able to do some cool projects in the early(ish) days of websites. It was pre-iPad, and executives at media companies knew they had to be online, but didn’t really want to be. But the Olympics came to Canada, so they turned on the money hose to get ready for the Games, including a big web build out. I was hired as a web producer, having covered some sports, and even two years of X Games.
Of course, our jobs weren’t unionized. The TV and radio guys thought we were nuts and being taken advantage of (they were right) and quickly the web producer role evolved over the next year or two to require the ability to write text, shoot and edit photos, shoot and edit video, write code, be a social media whiz, oh, and record and edit a podcast too please. The work was seen as glamorous, so you were competing for jobs against fresh grads who were willing to do it for less.
I took things in a different direction, focused on a smaller skill set, and grumbled like an old cranky guy about how bad the material being produced by “web producers” was after my time in those roles. I’ve moved onto yet another career, and despite being someone who loves being a generalist, I also know that you have to pick one thing, maybe two. That’s it. Otherwise you’re like a slim skim of peanut butter – too thin to be any good at all.
Author
Ever since the introduction of digital, it’s been a race to the bottom. Same stuff happening today. Watching people consume AI slop is unreal, and watching brands settle for awful fakeness is never fun, but man do they keep doing it.
Hi Dan, off topic but can you post a link to the vid where you talk about film box speed please? I can’t find it and need to refresh my old brain matter!
Author
Maybe this? https://youtu.be/kOdRj8o557k?si=maO2kAlyxvR4PQIU
That’s the one thanks, pack of Tim-Tams to you 🙂
Author
I’d run through a wall for those.