When I’m not shooting weddings, I’m usually working with my brother Joel (my partner in crime for BergsmaVisuals) on short video and film projects that fall under the category of “commercialized storytelling.” Regardless of how you feel about the merger of still and video in the new generation of cameras, it is no secret that Canon has completely changed the industry for guys like me. There is nothing quite like shooting full frame video at f/2.
If you aren’t sure about this, I invite you to watch a recent project from my very talented friends Max Kaiser and Chris Koser at Hand Crank Films here in Bellingham, WA. The project is an invitation for Google to consider using our community in their beta test of the Google Fiber service.
Joel spent the day working with Max and Chris on the shoot – and I had the opportunity to meet up with them at the final scene to shoot some “3rd cam” footage with the 5d and 135L. (I like to call it my sniper rig… pics to come soon). If you are familiar with this lens, you won’t miss it… If you don’t know this lens at all… Follow the Bokeh trail to find it. 
Coming Soon
The Aperture team has embraced this shift in the market in more ways than I think people realize, and I’d like to share some insights into what this means for a shooter who is constantly juggling between stills and video in my post workflow.
I’m on the road right now, so I will be updating this post later over the weekend with some more thoughts and screenshots of Aperture, Final Cut, and Color… Stay tuned.
by RW Boyer
Apr 01, 2010
Matthew – interesting thoughts, I used to some commercial video way back about 6 or 7 years ago. I really don’t see myself shooting a ton of video – it is not in my interest right now but I am curious…
I always found that making a really good cut was almost impossible without a bunch of cameras shooting. Even though I shot 99% staged – art directed – planned – scripted and acted stuff I sunk the cash to get 3 cameras. Trying to do it other ways was a waste of time and that was with re-takes, no matter how I planned the shoot.
Now for the big kicker – I shot ONE wedding – guess what – 3 cameras did okay but to get a cut that I really really wanted of a LIVE wedding I figured I needed 5.
Am I on crack – just too too wrapped up in making it look more “Hollywood”?
How do you event guys do it using the same camera for stills and video? I can see journalists – their video always looks like crap – well compared to a movie. I always figured the HD in camera w/ large Aperture lenses and big sensor mean’t fantastic quality/real movie look on the cheap for wedding guys. In my non-wedding-event guy mind I imagined buying 3 or 5 bodies on the cheap that were the same as I was using for stills and then having back-ups and lens’ compatibility – I never imagined using the same camera for both at the same event.
Curious
RB
by Joel Bergsma
Apr 07, 2010
Hey I’m Matt’s brother Joel – I’m actually going to make a post somewhat about this. (hopefully soon)
Generally for a live event I would prefer 2 Camera men that would float and 3 Cameras. One camera being lockdown on a tripod somewhere. The lockdown would assure I get the “safe” angle I need in case both camera men are moving at the same time.
That would be my preference – but you could easily get away with using just 2 cameras and one camera man. Most scripted stuff we only use one camera (2 if we have a time crunch)
As for using the same camera for stills and video at the same event. We would need a camera dedicated just for video. Because switching between the modes allows to much room for error and the possibility of missing a “moment.”
- Joel
by Kuljesh Datta
May 24, 2011
Whenever I initially commented I clicked on the ?Notify me any time new comments are added? checkbox and currently each and every time a comment is added I get four email messages with the same comment.