"BACKGROUND ACTION!"Those are the words that typically start a crowd of extras (actors hired to look the part of a generic crowd) moving, so they can get into motion before the main talent starts moving.While I won't be here to tell you about the life as a low-wage-earning-extra just hoping to make it, I am here to talk about something in the related industry.
A bit of history though: I started early, real early, Around 14 years old I started slinging a lens, first for in house production and eventually field. That led to news production, and eventually Public Relations. In my short time in video, I learned to cut on early non-linear systems, DVCam or MiniDV, as well as rudimentary A/B roll, BetaSP (once U-Matic. Just once). The concept of tapeless media, be it optical, flash, or spinning drives was all yet to be attainable by other than highest end of production (and even then, not as practical.
But besides capture tools, the solid practice of good light, clean audio, and solid timing were not light. It is what gave me the do things quickly (the 5PM broadcast rarely waits for anyone), often in a MacGuyver type of manner, safely...Eventually, budgets in the field of video got too tight, and I transitioned into a stills position of the firm I was with... ultimately that decision guided my ability to develop visuals and my college career. Currently, I study Advertising Photography, in a primarily stills-focused curriculum However in the posts to come, the transition back (fully or partially... to be decided) into video, or motion content creation is one that is being faced not just by myself, but the stills industry as a whole. And my intent is to not only document it, but chat about the tools, techniques, and challenges faced.
This post was written in cooperation of the Multiplatform Journalism Class at RIT.