An Art Producer Shares Her Experiences With Combining Video and Stills On A Shoot

More and more, clients are requesting motion as part of their specs and still photographers are increasingly becoming part of the solution by acting as directors of more than just the still photography.  I thought it would be helpful to start a conversation with art producers about what they are seeing.  I reached out to freelancer art producer, Shena Hickman, who drew from her recent experiences on Rolex with her co-producers, Loris Vigiani and Barry King from Evoke Films in London,  and a few other jobs to answer my questions.  Thank you Shena!
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How many jobs are your producing right now that have motion in addition to print?  And, if not recently, what was a recent project you can share with us?
I recently co-produced (7) shoots which included both still + film content productions for Rolex. As well, I handled the preliminary estimate and production on a project to launch a flagship store for a client. The launch event encompassed event production, a still life photo shoot and  a video shoot with industry influencers. For the video shoot they will be filming interviews of the influencers and then taking their portraits.  It will also have an artist performance wrap party.

Are you finding that jobs are originating with stills and then adding motion?  Or, the other way around?
Of late most productions are equally scoped for both still and film needs. Clients are seeming to need both especially for social media use which is in such high demand now.

Do you find that most photographers now have the ability to incorporate motion into their productions?
Yes, more often then not photographers have the skill set to do both. With our changing industry I think it’s beneficial when they can do motion in addition to stills imagery. It truly keeps them current in the business.

If a photographer is going to include video in their production, do most shoot it in their own or hire a DP?
It really depending on the film scope of work, it’s complexity and turnaround time.

How does your client define Behind the Scenes Video?  And, do they understand the difference between a Behind the Scenes video and a video with a narrative and sound?
I really think the lines are blurred between the two. Especially since a behind the scenes video can be scripted, have sound/music and supers.  For a video with a narrative I think voice over would be included as well. Which to date I have not incorporated voice over in my behind the scenes video.

Do you ever find that your client wants video but they do not always know what they will use it for?  If so, how do you direct the photographer team?
Yes, in the past I have captured  behind the scenes film on my photo shoots with no media buy/end use determined. I’ve also going through considerable rounds of edit post shoot for ultimately the portion of project put on hold

Do you find that there is still a learning curve within the agency when it comes to motion?  How about the client?  And, are photographers able to adequately answer the questions an agency and client may have?
I find when producing motion most issues come up in editing of the film. Or the initial brief was to capture behind the scenes but in edit wanting a different approach. Also in editing it can come down to too many opinions weighing in on flow of edit, genre of music and supers.

Thank you Sheena!

Attention art producers: Please email me if you are interested in sharing your own experiences with combining motion and still shoots.

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