To get stills on a video shoot without slowing the crew, bring the stills photographer onto the creative call and the scout, then let them work beside the DP and direct the talent while the camera gets a new card, battery or lens. The photographer asks for bigger changes, like lighting, props or wardrobe, before it's their turn.
Production promises me time with the talent, and that window shrinks when video wants one more take. I'm based in Orlando and have shot stills alongside video for Humana, Experience Kissimmee, Holiday Inn Club Vacations and on a CarePlus GIF shoot.
Where does the photographer stand for stills on a video shoot?
On a video shoot, I'm usually behind the DP or right next to him, out of the talent's eye-line if possible, with the understanding that we're working in tandem.
Either I coordinate my movements with him before the shot, or I leave a step or two between us so I can react to how he moves.
How does a stills photographer direct talent between takes?
A stills photographer directs talent between takes by stepping in while the camera gets a new card, battery or lens, explaining what stills need, and giving them a scenario to act through.
If something great is happening and I know we'll move on too quickly for me to capture it, I'll make sure the DP knows I'd like to shoot the setup before we move on. I've never had one say no.
When I step in, I briefly explain how my needs differ from video's. They don't need to move as fast. I may direct them exactly how I want them, because time is short and I can't move around much, nor can they, due to motion blur. And when it calls for it, on the smile scale, make the smiles a 7 and not a 12. Not everyone has to be smiling like it's rainbows and sunshine.
How do you direct a crowd for stills when video has the set?
To direct a crowd for stills, you have to be loud and show them you're in control. Usually that means simply yelling, but not angrily. Showing them you have a concrete plan usually snaps them into place.
On a Humana image library shoot in Orlando, we had paid talent and extras on a set of tall high school bleachers. Video had placed everyone where they needed them for their shot. My shot needed a slightly different angle, so I quickly had the background talent rearranged until the bleachers looked completely full.
A 12x12 scrim was diffusing the light on the main talent. The sun was rising fast, so I had the grips move the scrim to stay in line with the talent.
By then the crowd was a little sweaty and ready for snack time. So I jumped up on the ladder and ran them through several play-by-plays, Bob Costas style: their team scored, then a fumble, then a 2-point conversion attempt to win the game, and more. They went from enthused to heartbroken to expectant.
They nailed it.
What happens when video asks for one more take?
When the DP or director keeps asking for repeat takes, or I hear the timeline getting tight, I tell the 1st AD or the producer that I'll need time. That time with the talent oftentimes dictates the quality of the pictures, as I covered in shooting stills behind a DP.
One more take means 5. I'm guilty of it too. Sometimes "one more" is just a trick to get a little more out of the talent.
If my shot will need bigger changes, like lighting, props or wardrobe, I bring them up before my turn comes so we can get them in place ASAP.
[IMAGE: Brian's pick]
Do stills need to cover every setup?
No. Sometimes I judge a scene by how much it matters to the client. If it doesn't seem like a key one, a cutaway for example, I'll propose to the agency or production company that I skip it to give more time to video.
I use that time to show the client what I've shot so far and regroup with my assistants, PA or digi-tech to plan what we're tackling next. Not a wasted minute on set.
How do you add unit stills to a video shoot before the day?
Adding stills to a video shoot usually starts on the creative call. I join it to get the low-down on the job, understand what they need, answer questions and give my 2 cents on what I'll need to be successful. I'm usually on the scout too.
Depending on the size of the production, it's usually the 1st AD or the producer I work with. Sometimes I talk creative with the agency's Art Director (AD) or Creative Director (CD), if the production company is OK with it. The producer or 1st AD usually introduces me to the client for those conversations. (They want less to deal with anyway!)
[IMAGE: Brian's pick]
Common questions
Where does a stills photographer stand on a video shoot?
Out of the talent's eye-line if possible, usually behind or beside the DP. I either coordinate my moves with him before the shot or stay a step or two back so I can react.
When does a stills photographer direct the talent?
When video needs to make a pit stop with the 1st AC, or at other opportune moments. I step in, say what stills need and give the talent a scenario.
Should the stills photographer be on the creative call and the scout?
Usually, yes. It's where I learn the job and tell the team what stills will need before the shoot day.
Does the stills photographer have to shoot every setup?
No. If a scene isn't key for the client, like a cutaway, I'll offer to skip it so video gets more time.
Final Thought
The time production promises for stills shrinks once the takes add up. So bring your stills photographer onto the creative call and the scout, before the shoot day. Have a video shoot on the books? Here's how I work unit stills alongside video. Drop me a line from there!