Senior Art Producer, Cali Capodici Offers Insights On Working On Motion Projects

As the industry continues to change, motion and video have become ever more popular on sets where photography used to be alone.  While still images are still a mainstay, it’s important to look ahead at where the industry is headed.  Our Senior Art Producer friend Cali Capodici, from DigitasHealth LifeBrands,  has been kind enough to answer some questions from her personal experience working with motion over the years and offers some awesome advice.

How many jobs are your producing right now that have motion in addition to print?
I would say 85% of the jobs I do have motion added in some capacity; whether we are shooting alongside TV production, capturing “moving portraits“ or shooting BTS. It is very rare these days to ever do a production that is JUST for print. Every job I do is for multiple platforms, especially digital.

Are you finding that jobs are originating with stills and then adding motion?  Or, the other way around?
I would say it’s 50/50. If my clients start out with just shooting stills they almost always ask to include video in some variation.

Do you find that most photographers now have the ability to incorporate motion into their productions? 
Yes, I almost never hire someone else to do the video, which I prefer. Since stills are the main focus I want the photographer to feel 100% comfortable with who we are working with to capture video. Unless it is a shoot for TV & stills, we will work side by side with the motion production company.

If a photographer is going to include video in their production, do most shoot it in their own or hire a DP?
It depends and is pretty split down the middle. Some will do it themselves & some will hire a DP. I don’t usually dictate how they handle it because the photographers that I am hiring are people and artists that I trust implicitly. I know they will do whatever is best for the final product and the overall vision of the campaign.

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? 
This is a great question; some clients don’t always understand the difference so we try to educate them on shooting video for commercial use vs. BTS vs. moving portraits. It’s our job as their partner to ensure they have clear understanding of what the assets are and how covered they are for the usage that they are requiring.

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, all the time! When that happens we have our Creative Director brainstorm ways that the video could potentially be used and share with the client. Once we have sign off or a loose idea our CD will provide direction to the photographer & their team. I don’t ever want to step on set without having some sort of an idea of how this will be utilized.

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? 
We have motion producers that are really knowledgeable in this field. If anything, I find that I am still green when it comes to shooting video, the requirements, the terminology and process. Since we have been shooting more and more I am learning quickly which is great because it makes me more well rounded as a producer. My photographers either have clear understanding of the video that we need to capture or someone on their team does. Like I said, I trust the photographer I work with that they won’t lead me in the wrong direction. That’s the beauty of what I do, I get to work with amazing, talented artists who happen to be really nice humans!

Thank you Jimi Stine for help with the post.

2 thoughts on “Senior Art Producer, Cali Capodici Offers Insights On Working On Motion Projects

  1. Video changes the dynamic of a still shoot. It takes more time and requires a different thought process. There will be fewer stills, but the trade off is video content. Or the video will dominate and stills will become less developed and the poor stepchild. What the Art Buyers expectations are in dealing with this would be a helpful discussion.
    In addition, a few thoughts on what the expectations are regarding additional fees and expenses when video is added to a still shot, would also be welcome and relevant insights.

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