The Canon EF 24-70mm f/2.8L has been a very topical issue for blimp makers and users alike. The second version (and current) 24-70mm f/2.8L was released in 2012 and is a massive step up in optical performance for this workhorse of a lens. Because of the fact that this new version is physically longer when...
Ernie Malik (via IMDB) is a highly regarded film publicist. He has worked on major motion picture projects including the Shawshank Redemption, The Green Mile, Terry Gilliam’s Twelve Monkeys and more recently the Chronicles of Narnia: Voyage of the Dawn Treader and The Green Lantern. I had the pleasure of being introduced to Ernie while...
your blog is just so rich in information, i’ve spent the last week addicted to it! Thank you for sharing :)
I don’t like to write about negatives without a positive spin. Here’s a list of ways I see film makers doing their show an injustice through poor marketing practices with examples of shows that I think epitomise success in avoiding those pitfalls. Start as you mean to finish – Have you observed what big shows...
I consider behind the scenes stills of the crew (including the actors) to be integral to my role as on set photographer. These images will always be useful as part of the press kit for a savvy publicist who’s working angles of marketing around the crew working on the project. These are also great keepsakes...
As a production stills photographer you end up shooting a lot of images in a given shoot day. Some photographers will regularly shoot over 800 images a day. These days, I generally shoot between 300 and 400 images but this will increase or decrease depending on the amount of action being shot. Its a compulsive...
How has your process changed since this was written.
Hi Danno, Good question. I’ve just updated the article with my current practices as at November 2016. Thanks for your interest!
Hey, just finished reading all of these articles. Thank you so much for your time and some really invaluable information! Just curious, you never mention what all files you send out when you deliver. Are you sending your work as all RAW files (revised with added Look from Lightroom) or are you including added JPEG files for each as well…? Also, how long do you generally keep your own backups of your photos from a film before deleting to clear space for future films?
I tend to deliver RAW (native camera files or Adobe DNG conversions) and Jpegs. Usually the client will specify what they want and how they want the files. If not, I deliver both, if only to reduce the need for them coming back to me down the line for different versions.
As for archiving, I have a Network Attached Storage Drive (NAS) that I store all backups on and incrementally enlarge with further storage as necessary. I keep the files forever, although I have started deleting all images that I rejected during the pick/reject phase of my processing.
Hi Angus, I mainly shoot for magazines and company commercial stuff. I had a problem with Dropbox when they tried to take over my Mac. It took me ages to get it off my computer. They didn’t want to let go. I have been using We Transfer for several years now and it’s never failed me. Just thought I would mention that. Cheers Tony Timmington
