So began Mike Gurley, the NW Canon rep, on what still photographers confront in switching to video. ASMP/NW presented a panel presentation on DSLR video for still shooters, and what it looks like now. DSLR video is radically transforming the landscape in ways no one anticipated. “I don't think Canon had a clue what they stepped in,” says Mike.
The panel represented the range of current applications of video: newspaper shooters, wedding videography, corporate, feature film, equipment gurus. Joshua Trujillo, the last man standing at the Seattle PI, actually had his hands on a pre-production 5D, which reflects Canon's original intent for the camera as a tool for journalists. He showed work from a nighttime police patrol, pure run and gun style. And the frame grabs from the footage that were good enough for web and AP.
Casey Warren, of Mindcastle Studios, is doing wedding work that is remarkably cheese-free, and is producing scary-good same-day edits. The production quality of his “instant” videos is stunning. His is the first wedding video work I've seen that isn't drenched in cloying sentiment, and is actually attentive to the sensibility of the couple and the families. I'm going to watch them all and steal the good bits. You should too.
John Jeffcoat showed one of his MTV $5 Cover documentaries, work you couldn't do any other way except with the new cameras. “The 5D files (at ISO 5000) were too clean, I had to grit them up in Magic Bullet.”
Bob Peterson talked about what he learned as a director from others who knew more than he did on how to structure scene changes. Kevin Kruff remarked on the ability to leverage your current clients into video work. You don't have to switch careers and client bases. I concur; it's the tactic I'm pursuing in my switch. Marty Oppenheimer reminded us that old school technique is still king. The cameras aren't replacing the need for production quality and production quality tools.
It was one of the best ASMP panels I've been to in years. Good on them.