Ever get clients asking for stills as well as video?

K

Kubicixfactor

Active member
I'm finding this happening more and more - turn up for a shoot and the client then asks for "a few photos". When I send a quote out for a job I always check if there's a requirement for photography and I arrange a photographer if it feels like it's justified - but I often get asked on the day and to be honest I find it a bit of a challenge to have to switch from video to stills (and back again) - it seems to interfere with my own workflow, almost like I have to do a complete mental reset when I pick up a still camera.

I'm curious if this is a common problem and how anyone else handles it. Perhaps for me it's an age thing :)
 
Really common problem and pretty much now expected by most of society for a videographer to also take photos (and sometimes vice-versa).

Even through clear communication, people don't understand why it's not a good idea for one person to do both. And, quite frankly, don't care when the intern could likely provide twice as many clips and photos on a phone, which might end up being used more than anything else.

Some jobs like weddings will always have photographers (that's been ingrained into minds for decades) - but run-and-gun, event coverage - general freelance work - many times will try to get the video guy doing stills.

There are union environments and very strict shoots where that would obviously never happen, but anywhere else, even after thorough communication, you might still get the, "Could you take a few quick pictures?".
 
It's not uncommon for some clients to ask for additional services after booking. This can create an inconvenience particularly when asking for those services during the shoot. To overcome this problem I have a statement on my invoice in Red color that states "Additional services requested will require a quote". To do a professional job capturing photos you need the right gear which includes proper lenses and lighting. That's why it's best to ask the client during initial communication before submitting a quote to see if they need any other services such as photography. This way you can get paid for it and you will also be better prepared for the job.
 
Some good points here, thanks both of you - yes it's not just about having a camera, it's everything that comes with it as well as having to stop and mentally reset to get an acceptable result. The most irritating are the ones who hang on your shoulder looking at the monitor and then say "can you just get a photo of that" :D

I've made a change to the covering note that I send out with quotes to point out that additional requirements may increase the cost.

NorBro, point re "vice-versa" - I went out for a stills job the other month and the client asked me to "shoot a few reels while you're here"....wanted them to be vertical as well...
 
Vertical is the new horizontal; a few years ago those conversations started popping up and there were mixed feelings about it, but it's best to default to vertical these days with anything related to socials (the 'reels' were probably IG reels).

A lot of the new mirorrless' have a vertical shooting mode so sometimes it's not too bad switching between the two modes, but the biggest problem is always the shutter speed.

Sometimes, for freelance b-roll, I just end up shooting with a higher shutter so I can take out better-looking stills from the footage and supply that. It's not the same but it works, and the change/more stutter in the motion in the video isn't even noticed (but might be in some situations).
 
I've been thinking about a C70 for a while now (well over a year, I do take my time). Good match to my existing kit and I can do vertical video with it. Great tip re the shutter speed and pulling frames, I'll try that next time and see if it makes life easier.

Personally I just don't like the look of vertical video (always feels to me like something is happening outside the frame that I can't see) but if it's what they want it's up to me to adapt.
 
It's funny because that was a common thought going from 4:3 to 16:9..."wow, there is so much more space on the sides to use."

Anything catches on and stays when hundreds of millions of young people use it so much and force the rest of the world to adapt, and then sometimes old becomes new again, and so on and so forth.
 
NorBro said:
It's funny because that was a common thought going from 4:3 to 16:9..."wow, there is so much more space on the sides to use."

Anything catches on and stays when hundreds of millions of young people use it so much and force the rest of the world to adapt, and then sometimes old becomes new again, and so on and so forth.
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That is what you call hipsters NorBro.
 
I came from photography. It is insulting to be on a job where Im not asked to do the photography.

'Do the photography' - well for a non repeatable action that might meaning directing another operator.

--

Most mid level folk are making the media needs of a client and today that is photography and video. Im all aboard with that and delivering a consistent image to maintain thier brand is what we are hear for.

But..
I wont 'grab' frames
I wont operate with two cameras at once

My opinion is that one cannot be a competent videographer/DOP/DP unless one has all the skills to light and frame the still image. Any decent videographer is a competent or more photographer.
 
morgan_moore said:
My opinion is that one cannot be a competent videographer/DOP/DP unless one has all the skills to light and frame the still image. Any decent videographer is a competent or more photographer.
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Totally disagree. Look, I understand that these days a TON of DPs were former still photogs. Goes along with the DSLR and mirrorless large sensor cameras being used to take video clips and all. But I’ve never been any sort of still photographer. I got my start working for TV stations after my TV production degree. I never used DSLR’s or mirrorless cameras. Only moved to large sensor cameras once they started making cinema versions (one of the first large sensor cameras I shot on was an OG Canon C300) and the first large sensor camera I ever owned was a FS100. And I know plenty like me that never were stills shooters and yet are good enough to be hired by large corporations and national networks all the time.

As for stills, if a client asks for them I pull some frame grabs from my 4k footage. Look, I know it’s not ideal and the shutter speed is usually lower than what a dedicated stills guy would do. But it’s a compromise solution. Just like stills guys shooting quick ‘reels’ with their shutter speed cranked up to 1/9999999’th of a second because they have no ND filter and want to shoot 1.4. They tell me it’s no big deal because the client can’t tell the difference. I’m not going to make a claim one way or another but my clients have always been happy with frame grabs (maybe given the last minute request they don’t expect much?) Regardless it’s often for Instagram post pictures and 4k frame grabs work fine for that. No it’s not ideal and probably insults purist stills photogs but I’m just repaying all the stills guys for shooting video with a shutter speed that could freeze a bullet in mid air. 🤣
 
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If one learned to be good at lighting and composition on a video camera then you were becoming good at stills.

Fundamentally any aggression (which is what i sense) is pointless.

The big success folk are not operators but those who build a look. Building a look in stills or motion is basically the same thing. A look is 90% art and subject and direction :)
 
Kubicixfactor said:
I'm finding this happening more and more - turn up for a shoot and the client then asks for "a few photos". When I send a quote out for a job I always check if there's a requirement for photography and I arrange a photographer if it feels like it's justified - but I often get asked on the day and to be honest I find it a bit of a challenge to have to switch from video to stills (and back again) - it seems to interfere with my own workflow, almost like I have to do a complete mental reset when I pick up a still camera.

I'm curious if this is a common problem and how anyone else handles it. Perhaps for me it's an age thing :)
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Sounds like you're doing it right by bringing it up in the quote/email and asking the appropriate questions about the client needs.

I find that most often when someone asks on the day if they can "just get a few stills" or "just get a few video clips" that the person who is asking tends to not have been involved in the entire process or may not have been involved in the quoting process.

That's where it's helpful I think to have a pre-production call with all of the appropriate parties, client, agency, etc., so everyone is on the same page.

I'll go over the schedule and the original quote if needed to make sure everyone knows what we're capturing on the day and when. This can be a helpful time to reiterate to everyone about what's NOT included as well. "Hey, just as an fyi for everyone, we're only bringing equipment to shoot video on this shoot, no stills cameras or strobes, etc. so we won't be capturing stills." or vice versa.

There's always one overzealous account exec or client person who shows up on the day and thinks it "would be great to just a few a little bit of xxxxx." At least if you've covered it a second or third time (initial quote, followup emails, pre-pro call) then there's other people there who have heard you say you're not doing that thing and can back you up.

And let's be honest, it's still going to happen anyway at most of the corporate level shoots.
 
"And let's be honest, it's still going to happen anyway at most of the corporate level shoots."

I think it shold happen.. and should be paid for.

Im happy to drive the look of the campaign across all media.

To clarify.. an operator may be needed in one or both diciplines. Or the timetable allow for slow progress.

Im not talking about juggling, grabbing 1/50th material or doing free work!
 
NorBro said:
you'd have to elaborate, IDK who and which part
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It's a bit complicated if you're unfamiliar to the word during 2010-2014. Hipsters tend to take something old that is no longer mainstream and make it uniquely there's. I think a good example of this is using vinyl records or riding old bicycles or wearing fedoras in 2010s. The example you're talking about is when they make use of getting CRT TVs and loving the old look of movies on 4:3. Essentially they love the look of VHS camcorder or MiniDV cam since it's so retro. That sort of thing. As opposed to going with what is mainstream that is 16:9 6k video.
 
morgan_moore said:
If one learned to be good at lighting and composition on a video camera then you were becoming good at stills.

Fundamentally any aggression (which is what i sense) is pointless.

The big success folk are not operators but those who build a look. Building a look in stills or motion is basically the same thing. A look is 90% art and subject and direction :)
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Not really. I can’t navigate my way around a mirrorless camera and its mountain of menus (with still functions which I have no idea about what any of them do) to save my life. I always have to laugh when stills shooters criticize the FX6 for its ‘complicated Sony menu system.’

Fundamentally, learning to be good at lighting and composition on a video camera is being good at lighting and composition on a video camera. It doesn’t mean I’m becoming good at stills. I am not very good at stills on the few occasions I’ve tried for family or whatever. There’s different compositions in stills, different aspect ratios and so on….no I don’t shoot vertical video and have never had a professional request to do so. Lots of still shooters doing ‘portrait mode’ and compositions on subjects much different than how I’d frame them in video….not surprising when the aspect ratio is different. Bracketing, HDR, strobes synched with shutter, so many things which I’m missing (and I know these are all a thing because they are in the menu’s of any mirrorless that a client has tried to get me to use as ‘just an extra angle’ camera 😂) Are the skill sets similar in some ways? Yeah they are but definitely different as well. You don’t worry about grabbing good ‘nat pops’ much in stills. And this notion that ‘any good DP was or is a good stills shooter’ is something I see a lot….and it usually comes from (surprise surprise) former stills shooters. I know everyone these days has an angle to sell themselves to clients but I just disagree. I know a ton of TV and broadcast shooters who are very good and don’t have a clue about stills. Just because I disagree with you doesn’t make it ‘pointless aggression.’ Just means I disagree with you. No aggression meant at all. I know it’s a lost art these days but agreeing to disagree can be a thing without aggression 🤣
 
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The menu in a stills camera..? I never opened it.. a hell pot as bad or worse than a FX6 :)

You shoot raw, which is like davinci but better.. and control iris shutter ISO and maybe white balance.. just like a video camera.. but you dont fight to keep 180 shutter. Easy.

Sure strobes taking some thinking.. but you get a 5khmi for $200 - no problem

Corporate portrait.? 135mm at f4 with an out of focus plant in the background.. the same as video!

But more importatn is the overall vision.. like glimmer backlight or corporate clean.. is a vision that applies to both diciplines.

Sorry to find you angry clearly that was not the case :)
 
morgan_moore said:
I think it shold happen.. and should be paid for.
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Agree with this - but the problems come about when someone expects to get the service delivered by one person (whether that's by the client intentionally ignoring the project scope quote/pre meets or just someone rocking up and asking for stills).

Personally I find it very difficult to switch from video to stills, which can risk degrading both areas because it's impossible to fully concentrate. I don't know if that's just me though... I come from a photography background so it should be second nature to pick up a camera.
 
Interesting timing on this thread, as I just returned from a shoot where I shot both stills and video.

However, we planned for it in advance and scheduled the day around doing both.

Needless to say, the shoot was successful because the planning, expectations and execution was shared by both me and the client. No surprises on the day of the shoot.
 
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