Unit Stills Photographer
http://filmescape.com/on-set-photography-tips-for-getting-the-best-images-that-will-sell-your-film
http://creativeskillset.org/job_roles/399_unit_stills_photographer
https://fstoppers.com/portraits/interview-film-set-photographer-niko-tavernise-3169
Unit Stills Photographer
What do they do?
What skills do they need?
How to become one?
Blimp
11. Crew and BTS for Social Media
http://creativeskillset.org/job_roles/399_unit_stills_photographer
https://fstoppers.com/portraits/interview-film-set-photographer-niko-tavernise-3169
Unit Stills Photographer
What do they do?
- takes photographs on the set, which are then used to create the press and publicity for feature films
- (sometimes) they set up photographs in the style of the film in a studio environment
- Unit Stills Photographers work on a freelance basis, employed by producers, film PR companies, film sales agents or distributors
- They may be responsible for other photographical events associated with the certain film
- (sometimes) they are required to be on set every day
- They are located next to the camera and shoot every scene in detail using a Blimp, which houses the stills camera and cuts out any noise it might make
What skills do they need?
- have the knowledge of photo-chemical and digital processes, and of all camera equipment
- have a good sense of visual composition and perspective
- kowing how to use digitalsoftwares and hot to manipulate an image
- be understanding and sesitive when working with actors
- be able to give up on a work
- be adaptable and patient
- pay close attention to detail
- be organised
- be able to work quickly under pressure
- have excellent communication skills
- understand the relevant health and safety legislation and procedures
How to become one?
- there is no qualification needed
- you may attend media courses such as media or photography
- before getting in, you can start with fashion or editorial photography
Blimp
▼△
Tips on taking stills:
http://filmescape.com/on-set-photography-tips-for-getting-the-best-images-that-will-sell-your-film
1. Understand that this is not art… pictures should look like the movie.
They must look like a film. They must sell it and make it feel like watching that particular film. They must work along side with the theme, colour, lighting, mood and tone of the film.
2. Get THE killer Image
There will be only one or two images that will be used for posters and other advertisment for a film. Therefore it is important to take as many photos as it is possible. It is important to capture the slightes facial expression, movement, tension or action. It is hard to plan a good shot in that enviroment. It is better to take lots, and then choose from them.
3. Get the supporting image
Try to have two different photographs to show the film from all its important perspectives. For example a hero on one photo an a villian on the second one.
4. And then another ten in the same vein
Make sure you have lots, and that lots is good. It is important to have backups as it will be sold to many people and places who will coldly judge the photogrpahs and choose the nes they like the most.
5. Get the star looking like a star
If there is someone very important on the set and people will most likely want to watch it because of them, it is important to have a good shot of them.
6. Images that are not overly cropped
http://filmescape.com/on-set-photography-tips-for-getting-the-best-images-that-will-sell-your-film
1. Understand that this is not art… pictures should look like the movie.
They must look like a film. They must sell it and make it feel like watching that particular film. They must work along side with the theme, colour, lighting, mood and tone of the film.
2. Get THE killer Image
There will be only one or two images that will be used for posters and other advertisment for a film. Therefore it is important to take as many photos as it is possible. It is important to capture the slightes facial expression, movement, tension or action. It is hard to plan a good shot in that enviroment. It is better to take lots, and then choose from them.
3. Get the supporting image
Try to have two different photographs to show the film from all its important perspectives. For example a hero on one photo an a villian on the second one.
4. And then another ten in the same vein
Make sure you have lots, and that lots is good. It is important to have backups as it will be sold to many people and places who will coldly judge the photogrpahs and choose the nes they like the most.
5. Get the star looking like a star
If there is someone very important on the set and people will most likely want to watch it because of them, it is important to have a good shot of them.
6. Images that are not overly cropped
Do not edit to harshly. Do not crop either. Let the designer do it.
7. Only people
7. Only people
Focus on the actors, their body langage and facial expressions.
8. No flash photography
8. No flash photography
It will kill the mood and tone.
9. Portraits of the lead cast
9. Portraits of the lead cast
Get the main cast in their costume, as it may be used for future posters.
10. Director in action
10. Director in action
Some of the photos will be used for festivals and online. Thereofre it is nit to get photos of the crew making the film.
11. Crew and BTS for Social Media
It is good to take some behind the scenes shoots.
12. Don’t wait
Never think that you can take a photo later. There will not be the same chance again. The photos must be taken now and then.
Niko Tavernise
http://www.nikotavernise.com/index.html
I have looked at his work as an example of stills photographer and I really liked his style. As much as it reflects the mood and one of all of the films, I still see the very same style that goes throughout all of his photogrpahs.
He focuses a lot on the light and interesting angles. He also takes lots of low angle shots, which almost seems like we are taken inside the film. It becomes more powerful than us and we have no choice but look at the photogrpah and feel what it is trying to show us.
With our production I probably will not be able to experiment as much, but I will try to take photos from differet angles and make them more dynamic, so people who will recive them as pledges can feel like they were there with us.
12. Don’t wait
Never think that you can take a photo later. There will not be the same chance again. The photos must be taken now and then.
Niko Tavernise
http://www.nikotavernise.com/index.html
I have looked at his work as an example of stills photographer and I really liked his style. As much as it reflects the mood and one of all of the films, I still see the very same style that goes throughout all of his photogrpahs.
He focuses a lot on the light and interesting angles. He also takes lots of low angle shots, which almost seems like we are taken inside the film. It becomes more powerful than us and we have no choice but look at the photogrpah and feel what it is trying to show us.
With our production I probably will not be able to experiment as much, but I will try to take photos from differet angles and make them more dynamic, so people who will recive them as pledges can feel like they were there with us.
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