Upon independent films, production stills in many cases

Upon independent films, production stills in many cases are an after thought and the company allots limited funds and output time to fulfill this requirement. It is most unfortunate, as photos invariably is an integral part of any marketing campaign as well as the driving force that promotes the movie via advertising, print editorials, and the web. Without vivid and enticing visuals, a good film can falter at the box office because the open is not drawn to its story, typically the characters, or the players. In addition, with no strong commitment by the producers, the labors of cast and team go unheralded and the film's genuine potential unrealized.

Time and cost are the obvious excuses for neglecting image requirements, but the real culprit may be the lack of knowledge about the needs and the prospects that exist for quality production photos. By clarifying these needs, a budget and schedule can be compiled that may deliver the essential shots and do thus in an economical and effective approach. With this commitment, key shots can be pre-determined, and adequate time can be coordinated for their photography. Through the process, production stills become part of total budget and more importantly, a part of the particular shooting schedule.

The need for photos covers a wide spectrum. The primary concern should be to create awareness for the film. A second objective is to fulfill the distribution deliverables. Other objectives include promoting the talents of participants be they traders, creative team, cast or staff. Other needs include documenting the production, creating reference photos, and generating goodwill with backers, vendors, and dignitaries. Each of these needs comes into play throughout different phases of the production.

ENHANCEMENT &amp; PRE-PRODUCTION

During pre-production, position photos are most useful in disseminating information to the various department mind. Not everyone on the production group can be involved in scouting process. Site scouts will usually provide photos, but the director may request additional images with varying perspectives and/or took pictures of at various times of the day. The availability designer may also want reference photographs to assess needs in modifying plus dressing the location. Early look-see photographs help with equipment staging and strategies. Each department head uses these location photos to create their the main story and a set of prints or possibly a CD can help eliminate costly holds off and problems due to miscommunications.

Check photos of special make-up or perhaps intricate costumes may also be required. Right here again, the production team uses these images to exchange information and recommendations. Such photos help solicit articles or blog posts relating to fashion trends and makeup. Miniatures and special props may also be necessary for coordination and approval. Reference photographs are useful in this respect and intricate lighting and perspectives may require a skilled professional photographer. These photos are also helpful in making stories about behind-the-scenes techniques for the particular industry's numerous tech magazines.

Through the development and pre-production phase, brand new elements come into the mix. People signing investment and distribution deals are good photo ops as are photos of new people added to the creative workforce. Almost all these newsworthy events involve folks and a photo attached to the report adds strength the news item. These types of news items may include start associated with production notices, additions of presented cast members, or an conjunction with the production team. Being picked up by the trades or by the entertainment-media can be greatly improve with a good photo These types of photos, normally head shots or even portraits, should be in color, clear of distracting background, (gray background will be preferred) and if digital, provided in a high-resolution (300 dpi or more) jpg format. Poses should strengthen status of position, or part portrayed in the production. Photo identification in addition to captions are an important part of these submittals and include referenced to the name of the news release, and/or the date and writer assigned to the article.

News stories break with very little warning so it is imperative to have photos meeting the above criteria on data file and ready for quick dissemination. This kind of news stories have a narrow window of opportunity and if news outlets have to await proper photos, it is likely they will be agreeable with somebody else's story. Obtaining or even shooting these photos after the simple fact usually interrupts company operation when ever time is at a premium. Likewise, the majority of company principles see little price in such photos until it is too overdue and their moment to shine leaves them in the dust. Therefore, by booking these photo sessions early on, there exists little intrusion into their work schedule. Additionally, if they are scheduled on the same day, set up time can be reduced and if need be, a makeup artist can be appointed.

PRINCIPLE PHOTOGRAPHY

The bulk of the nonetheless photographer's work will come during the blast itself. Photos in this phase get caught in the following categories: scenes, behind-the-scenes, marketing and advertising shots, editorial, and goodwill. The primary objective of production stills is always to promote the film, its famous actors, and key production people. The techniques and target venues will vary with regards to the different categories. Here again, planning will reduce costs.

Most of the stills taken during the shoot will be of celebrities performing various scenes, shots consumed during rehearsals or during real takes. When using a SRL camera, a "blimp" housing is use to silence the sound of the shutter. This housing silences the sound of the mechanical shutter and the advance motor about film cameras. On point &amp; shot digital cameras, there is neither of such devices and thus a blimp is not really required. On the more expensive SLR cams, the mechanical shutter/mirror mechanism, through quiet, still is objectionable and requires a new blimp. This is not necessary with digital camera models if the indicator beeps are quietened. These blimps, manufactured by Jacobson Digicam in North Hollywood, are the recognized silencing device and can cost as much as expert cameras when including lens housings.

Unit still photographers require reliable camera and equipment to withstand the heavy workload. On an average independent production, let us say twenty times, a still photographer may take 2150 to 3500 pictures of the motion picture. That is about 100-170 a day or 5-10 per setup. That is a lot of wear and tear on a camera.

Scene Photos. The best stills are those that show the actors in dramatic or activity oriented shots. Each photo need to tell part of the story in such a way that a number of photos would depict key interactions, story elements, as well as plot tips. They should sell the film by simply creating little vignettes that intrigue viewers and pull them in learning more about the film. They tell the story of the film.

Nevertheless, there is a problem in documenting only the director's vision. Film and video employ numerous images, motion, and rapport of cuts to relate the storyline. A photo must do the same with merely one image. The director's blocking in addition to composition do not always bring out the true essence of the scene when relegated to a single frame. In these scenarios, reposition the actors for a fact story-telling photos. This requires rearranging typically the expressions, blocking, and even timing to get optimum affect. Thus, a good development still can sometimes be a compilation of a scene rather than an extracted structure from the film. When there is a publicist assigned to the film, he or she can aid select and set up these photos. However, such re-staging can often obstruct the flow of the production, both equally creatively and logistically. Thus, diligently plan and implement these photos with considerable economy. One must always do not forget that the highest priority for the production phase is to film the director's vision in the most creative and economical way.

In framing and crafting these shots, one must look at the end usage. Newspaper and article photos of movie action usually tend to lean more toward the smaller frame sizes. Frame sizes of approximately one 5 x 2. 2, or perhaps 3. 0 x 4. 6th are common, and photos cluttered by using too much information will not meet publication standards. Choice photos are those that will show motion, emotion, relationships, together with clearly depict a vital element of the storyplot. Thus, the majority of photos will be moderate or close shots and less amount long shots. A mixture of directory and horizontal framing is highly recommended to give flexibility to story styles.

On the set, the still photographer's best vantage point is usually beside the camera. However, this is the having their nests area for many production people who are the camera operator, focus puller, home, and script supervisor. The lighting director (gaffer) may also want to see the outcome of his work. As such, it is struggle to get a good position, especially if you have to use a tripod. If one will get too far away from the camera, this distorts sight lines and blocking. Wiggling between people, especially those who have no vested role in the scene turns into a constant hassle. The best way to handle this arrangement is to work out an arrangement with the assistant director so that you happen to be assured of a prime spot for the reason that close to the camera as possible. Work out this particular arrangement early in the production and coordinate with the production manager, director plus script supervisor. In this way, other throw and crew members know not to encroach on these areas.

One other consideration on the set is sufficient and properly balanced lighting. Lights for print photography differs right from motion picture photography in that in print, the lighting ratios are lower together with illumination fill lights make the themes more appealing. Some still photographers work with a bounce flash for fill while some position a light with diffusion. This sort of light and stand should be in stand by for such uses in addition to electrical cable and power. In so doing, this minimizes intrusions and holds off.

If possible, avoid cluttered or distracting backgrounds. If you cannot, separate the subjects from the background using depth of industry. Subjects within the depth of discipline would be in focus while cloudy those outside that range. Utilize the device where you have scenic backgrounds or even a background made up of atmospheric characters. Once the entire landscape has to be in sudden focus, a small aperture and longer exposure times may require use of a new tripod.

Behind-the-scenes shots are those that tell the story of the production alone. This is the crew in action, the cast preparing, or the logistics of the capture. It could also include set construction, site dressing, or the mechanics behind a horrible stunt. Photos help illustrate these stories and bring the reader in the world of filmmaking. These photos can also be useful in depicting particularly large set pieces or intricate action sequences.

Film magazines prefer these kinds of images as they help illustrate the filmmaking process and bring the reader straight into this magical world. These photos also help feed the curiosity of movie fans wanting to know more about their favorite celebrities or rising newcomers. A named actor relaxing in addition to being himself has considerable advertising capital and by encouraging such protection, these small investments will pay away from later during the film's release circuit.

Another use of behind the scene's photography is to share technical information about the filmmaking process. There are numerous publications devoted to this objective and with photographs; such stories have a good probability of reaching the reading public. Web sites and even newspapers also fall into this category as possible outlets.

Marketing Stills. To market a film properly, visuals are required and images are the primary source. Advertising, paper prints, promotional literature and DVD field covers are the primary uses for these types of visuals. On low-budget films, pictures are the most economical way to create these visuals. Computer graphic courses such as Photo Shop manipulate the photos to fit the needs of the marketing campaign. One problem in this phase of still photography is that at the time when the celebrities are readily available for such a session, simply no definitive concept or marketing strategy will be in place. The film may be in post-production or distribution pick-up prior to marketing strategies are set. By then it would be a prohibited expense to resurrect needed elements.

Usually by then, celebrities, costumes, locations, and sets are not available. Thus, it is important to project different strategies that might work for said motion picture and shoot images fulfilling the ideas. The producers, director, in addition to writer, as well as the publicist should have type into what options require policy. If a distributor has already picked up typically the film, then their marketing division should also have input.

For effortlessly manipulation, these photos should be opportunity against a plain background and done in moves and lighting style indicative from the genre of the movie. To expand to poster size or if the billboard campaign is planned, a huge format film camera or an 10mp or higher digital camera should be used. These photo sessions could be performed on the set however; greater control will be possible if done away from production shoot. One should try for the consensus as to which concepts plus strategies to attempt. This will help reduce several directives thrown at the actors. Cartel photos should represent the project's single most promotable element. They must be photos that quickly tell the story of the film. Single images work best as a cluster or grouping regarding images is confusing and distracts attention from any one theme. If the movie has major stars, afterward key art might consist of a new "floating-head" design to capitalize on the audience's attraction to the film's leading actor.

Editorials about participates within the film also require photos. Editorials focus more on someone's personal daily life and the film is only a minor subject. Larger publications normally furnish their very own photographer but local magazines plus weekly newspapers may not have the spending plan to hire one. Thus, the unit still photographer supplies the photos for such articles, which will likely be part meeting and part expos. The style is just like fashion and glamour; however, it will depend on the thrust of the piece. Catching the personality of the subject matter in natural settings lends extensive flavor to such layouts.

Goodwill Photos. In almost every production, companies offer you services and products free or well under the going rate. Others grease the wheels and help facilitate the production in some way. Merchants and homeowners inconvenienced, distributors providing cost reducing deals, or perhaps local dignitaries opening doors. All these people have helped in some way to make the production move more smoothly. Photos of these people with the stars or crew members are an effective ways of expressing gratitude. Even retain headshots of the stars can be a pleasant goodwill gesture.

Unique locations in addition to product placement situations Los Angeles Photography may also demand photos. Product manufacturers and the supplier may incorporate these photos into mutual marketing campaigns. Likewise, visiting friends and family of cast and crew may possibly ask for a few pictures. There will end up being a call for "souvenir" and "portfolio" shots by the cast and crew as well as the crew group photo. Typically all photo requests are generally serviced free of charge. However, on low-budget characteristics this expense can easily get out of hand. Thus, establish restrictions or minimum early on such as a two shot bare minimum.

Goodwill photos can provide considerable PR advantage and while the expense may seem extravagant, it scores points far past its cost. By placing this price in the budget and reproduction limitations clearly communicated, then it should not become an issue later on.

Part II, of the article covers items such things as record always keeping, photographer rates and expense categories.