Renee Ward’s column LA Job Search Examiner over at Examiner.com features Filmakr creator George Spyros commenting on the history and ways in which high quality low cost cameras are disrupting the film/video job market.
George touches on the string of cameras from the late 1990s through the late 2000s that lead the charge away from film and toward the digital cinematography revolution; he shares some insights on the changing professional landscape over the past several years and what lead him to create the Filmakr app after strapping together a Nokia cellphone and LED light using gaffers tape. There’s also good job advice and perspectives including in the commentary from others working in the field.
Another downside is that a good percentage of the people making up the glut of shooters are not good cinematographers. Not just from a technical standpoint, but because they don’t have the eye or ability to make creative decisions on the spot. A lot of this lower budget videography requires being able to make the image very aesthetic on-the-fly responding to the existing light or by using limited gear. Low end videography used to follow the TV news look: interlaced video feel, not very creative compositions, camera shooting from the shoulder, lots of close-ups, etc. It was called ENG or Electronic News Gathering. As the name implies, you weren’t really required to create the image, rather you were just “gathering” some shots. Since the advent of the game-changing Panasonic DVX 100 with its film look video, through HD camera with 35mm lens adapters and ultimately Canon DSLR cameras with removable prime lenses, this type of production resembles something more akin to making pretty, short little films, or perhaps EFP (Electronic Field Production).
Professional projects created with Filmakr