The ultimate magazine for next generation filmmakers
Editor in chief Adam Duckworth Deputy chief sub editor Matthew Winney Sub editors Harriet Williams, Ben Gawne & Martin Puddifer Editorial director Roger Payne EDITORIAL ADVERTISING Sales director
Sam Scott-Smith 01223 499457 samscott-smith@bright.uk.com Sales manager Emma Stevens 01223 499462 emmastevens@bright.uk.com DESIGN Design director Andy Jennings Design manager Alan Gray Senior designer Lucy Woolcomb Designer Emma Di’Iuorio
NEW ENTERPRISE We might dream of being DOP on Star Trek, but shooting for the stars isn’t the only way to grow
Designer and ad production Man-Wai Wong Junior designer Hedzlynn Kamaruzzaman
PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:
It’s life, Jim, but not as we know it. Excuse the oblique (and actually incorrect) Star Trek reference, but it might well be time to boldly go into a whole new universe of filmmaking. That brave new world is moving on from everything being shot in beautiful, cinematic glory that’s polished to perfection. Instead, it’s focusing on effective livestreaming of events and launches where there is an increasing amount of money spent. It’s a place where the here and now trumps the exquisite work that’s been months in editing and grading. Where what’s important is capturing enough footage to tell a proper story, and getting it out to audiences in a professional way without amateurish glitches. Although you might think it’s highly illogical to move into a new area of business, the demand is there and growing. I’m not suggesting giving up on producing well-shot, beautifully lit footage altogether, though. Covering live events can result in even more shot planning, overcoming technical challenges and being as creative as possible – all while ensuring the narrative gets across to the right audience and keeps them watching with engaged storytelling. That will mean lots more cameras to cover more angles, so you always have a backup camera or prerecorded footage to cut to in case of a failure. You might need a director in charge of switching angles, some sort of talent with a roving mic and camera operator for the important interviews; as well as graphics, music, maybe even adverts; plus power and obviously a way to broadcast it to the world. And even though your cinema camera or mirrorless can be useful, it makes sense to buy the right kit, like a connected camcorder, which features in this issue. You could stick it out and refuse to change your business, preferring to chase the money from clients who still want super-slick promos, adverts or event highlights. But somehow, this feels a bit like professional photography a decade ago, where many refused to believe video was the future. So it might be time to take a long, hard look at your business and plan your next enterprise carefully. After all, change is the essential process of all existence, said that famous Vulcan philosopher Mr Spock.
Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ
Pro Moviemaker is published monthly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. ISSN number: 2045-3892. Pro Moviemaker is a registered trademark of Bright Publishing Ltd. The advertisements published in Pro Moviemaker that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. Prices quoted are street prices. In sterling they include VAT (unless otherwise stated), but US dollar prices are without local sales taxes. Prices are where available or converted using the exchange rate on the day the magazine went to press.
ADAM DUCKWORTH, EDITOR IN CHIEF
3
PROMOVIEMAKER.NET
Powered by FlippingBook