Comments on: Is This the Wedding Video Every Event Photographer Should Fear

By: Gene DiPaula

Gene DiPaula — Thu, 18 Aug 2011 14:23:06 +0000

I have used the RED One for commercial work but still use an HVX200 for events. In my opinion, the RED One is overkill for weddings. A future alternative like Scarlett may be OK, but it is my understanding that RED is shifting their focus from affordable, high-end to moderately priced, high-end, so in my market, the prices I can get don’t justify the investment. In some markets, I think it is possible.
The ability of the operator is ultimately what determines the quality of the event video – same with the still photographer. That being said, I would never want to try to replace the photographer – although I have shot weddings where there wasn’t a professional photographer. But video brings something completely different to the table and I’d like to keep my focus on my area of expertise, not pulling stills from 4K or 5K files.
I am getting asked more and more if I am able to do this by people who are trying to avoid the cost of both a photographer and a videographer.

By: Adam Sjoberg

Adam Sjoberg — Thu, 28 Jul 2011 19:50:26 +0000

It’s personal taste, but regardless of the incredible quality of the picture, I don’t love the vision for the RED wedding film itself. At the end of the day, no matter how high the quality of production, it’s all about the storyteller’s creative vision… and you can’t buy that. Additionally, most people are going to view a wedding film online and a 5d will do just fine – though I get the whole idea of questioning the need for photography when you have 5k stills. I guess I just feel like there’s a different approach when you’re taking a photo then when you’re shooting video and ultimately you’re going to get the most powerful stills when you’re not just gliding around the scene shooting video and instead are focusing on finding that decisive moment.

Also – are we sure this is the first RED wedding video? I’m doubtful.

By: Kristian Anderson

Kristian Anderson — Wed, 27 Jul 2011 22:44:14 +0000

I think the point is being lost on most. A RED shooting a wedding, or any other event, is a two birds, one stone scenario. Anyone who finds themselves in possession of a RED Epic (for example) has some idea of what they’re doing. They’re not just “point and shoot” cowboys. In my hands is an Epic, I shoot at 120fps. I capture everything. I then take the footage and edit a video, export beautiful stills and we’re done. Lighting and framing are a given, you know this if you own an Epic.

I definitely think there’s going to be a new market opening up for this kind of thing. Even more so when Scarlet arrives and you have a fixed lens with outstanding auto-focus abilities in an even smaller package.

This is a tipping point. Evolution. Time to adapt.

By: Ron Dawson

Ron Dawson — Wed, 27 Jul 2011 11:45:35 +0000

In reply to Duane. Thanks for the comment Duane. I'm the biggest proponent there is of story over gear. But as I commented in my reply to Evro, the point wasn't about the level of subjective artistry. My post is about the ability to pull high quality still from such a wedding video. Quality high enough to print large canvases.

By: Ron Dawson

Ron Dawson — Wed, 27 Jul 2011 11:43:12 +0000

In reply to Evro Moudanidis.

Thanks for the comment Evro. You brought the topic back to my main point. It wasn’t about the artistry and the importance of that. It was the practicality of now being able to pull viable stills from a camera that would rival the quality of a traditionally shot still. Because of the “line skipping” aspect of DSLR video, stills from those are great for the web and maybe even smaller prints. But if you wanted 24×36 canvas or similar, it would fall short.

The one point about the RED is that you don’t have to buy it. I would guess that many people who shoot on RED don’t actually own it, but rent it. But with rental rates easily surpassing $1,000 per camera (by the time you factor in lenses, drives, etc.) the point remains the same. You have best be getting paid 35mm money if you’re going to do it consistently.

By: Duane

Duane — Tue, 26 Jul 2011 23:43:01 +0000

Yeah… Stillmotion stuff destroys this RED wedding video. It’s all about story, Gucci camera’s might as well be point and shoot wind-ups without out shot composition and story to back them up… perfect example above, unimpressed.

By: Evro Moudanidis

Evro Moudanidis — Tue, 26 Jul 2011 22:01:44 +0000

Remote triggered flash & monkeys with cameras aside, I think the point people are missing here is that capturing so many frames per/second, gives you the ability to pick that one amazing exposure over the limited frames (moments) a still photographer can capture with the hit of a shutter button (as educated as their guess may be.) This is like the wedding photographer who machine guns every scene using the spray & pray method but better! We’ve been pulling frames from our videos for our blog for years. DSLR video has demystified photography for wedding film-makers who are now more aware of ambient light and posing techniques. Film-makers are leading the charge and I think its only natural that the 2 disciplines will eventually merge.

I would have to concur with Ron however, that unless you’re charging enough to justify the investment, using a Red One to shoot weddings is serious overkill. The other problem I see, is the way in which technology gets superseded so quickly these days, with a camera’s value dropping down so quickly (Panasonic AF100 is a great example.) To me, it doesn’t make good business sense to invest $20K+ on a camera system just so you can say you shoot weddings on a Red; just like those that jumped on the 3D weddings bandwagon last year, there is definitely an element of “we were the first” marketing in there 😉

By: Nathan Lee Bush

Nathan Lee Bush — Tue, 26 Jul 2011 18:10:43 +0000

Went a little overboard with the slow motion there

By: David

David — Tue, 26 Jul 2011 18:09:34 +0000

In reply to Ron Dawson. Ron, I am pretty sure that Ansel Adams would kick my butt with a Canon G9 (or a kodak brownie for that matter). No mistake for talent. My point is that not the equipment but GENERALLY the level of vision that someone with a person who carries a T2i and someone with a RED. David

By: Nicholas

Nicholas — Tue, 26 Jul 2011 15:40:10 +0000

Photographers don’t have to fear anything because great photography is not about the camera you use but about artistic lighting & being mobile. The photographers that work along side me at weddings create masterpieces with off camera flash which film can’t compare to. The photographer can be at more than one place the filmmaker needs to be on a tripod and slow moving. You don’t want 300 photos per second you want a single moment artistically composed & captured. As a photographer/filmmaker I appreciate the two very different approaches required for each field.