UNIT STILL PHOTOGRAPHER… (In the Entertainment industry. What does Unit still photographer do?)

Unit Still Photography equipment / Photo Credit Brazos Valley Museum of Natural History Science.tamu.edu

UNIT STILL PHOTOGRAPHER… (In the Entertainment industry. What does Unit still photographer do?)

Bruce Bisbey…please follow me at: https://dumbdogproductionsllc.blogspot.com or https://www.facebook.com/DumbDogProductionsLLC/ thank you.

Unit Still Photographer

A unit still photographer, or simply still photographer, is a person who creates film stills, still photographic images specifically intended for use in the marketing and publicity of feature films in the motion picture industry and network television productions. Besides creating photographs for the promotion of a film, the still photographer contributes daily to the filming process by creating set stills. With these, the photographer is careful to record all details of cast wardrobe, set appearance and background. The director and assistants review these images frequently for continuity and matching of all stage aspects.

Cornel Lucas, a pioneer of film portraiture in the 1940s and 1950s, was the first still photographer to be awarded a BAFTA, in 1998, for work with the British Film Industry.

Uses in the industry

Using individual frames from film or recorded video material is not practical due to their relatively low quality. Much higher resolution images are therefore used. Typically, the end uses of these still photos include the film's theatrical release poster, DVD box artwork, the official web site photos, billboards, bus stop adverts, point-of-purchase displays, key art image sets released to the press and media, and other printed and online collateral materials.

Unit still photographers are also responsible for creating "photo props" and "set dressing images", the photos and images used on-camera to create various illusions such as forensic photos, crime drama booking photos, character driver's licenses, passport and I.D. photos, on-screen family photos, surveillance photos, computer screen displays, and any other image a producer may require in the course of a production.

In North America in particular, and some international locations, a unit still photographer must be a member of IATSE Local 600 International Cinematographers Guild in order to perform services on union productions and union studio lots and locations. The most prestigious of these unit still photographers are members of The Society of Motion Picture Still Photographers, an organization which promotes the work of those within the industry.

While often perceived as a "glamour" job for photographers, the reality is often long hours (70-plus hours per week) on remote locations under difficult and often extreme conditions. The unit still photographer often coordinates with the unit publicist, but physically works in close proximity to the film's camera crew, director and actors, and also in close proximity to the film's boom microphone operator. Unit still photographers go to great lengths to muffle the sound of their camera's motor drive and shutter to avoid distracting the actors, and to remain inaudible on the film's recorded dialogue soundtrack.

Typically, this is accomplished using a sound blimp, which is a sound-absorbing, foam-filled metal case in which the still camera body is fitted with a proprietary remote operation cable. This allows the camera to be activated and operated from a two-button (activation, focus and shutter release) exterior control. Limitations exist once the blimp is closed around the camera, as one can no longer access the cameras controls (f-number, shutter speed, ASA/ISO settings) or menu displays directly. The LCD display for reviewing the images will also be obscured in the closed position. This requires the photographer to make control selections in advance, and use with those settings until the take in progress has been "cut", making adjustments only between takes or set-ups. Unit still photographers in this field typically produce over 2000 marketable images per week for their major-studio clients. Still photography involves the use of alignment, positioning, and other techniques to capture the "money shot". Still-life photography is the depiction of inanimate subject matter, most typically a small grouping of objects that are either human-made or natural.

Since 2010, high-end DSLR cameras, which can be remotely controlled with mobile apps on smartphones and tablet computers, using the built-in 2-way Wi-Fi radio-controlled interface between the tablets and the DSLR camera, and offer internal active noise reduction technologies, have increased the ability of the unit still photographer to work quietly on the set.

Film Still

A film still (sometimes called a publicity still or a production still) is a photograph taken on or off the set of a movie or television program during production. These photographs are also taken in formal studio settings and venues of opportunity such as film stars' homes, film debut events, and commercial settings. The photos were taken by studio photographers for promotional purposes. Such stills consisted of posed portraits, used for public display or free fan handouts, which are sometimes autographed. They can also consist of posed or candid images taken on the set during production, and may include stars, crew members or directors at work.

The main purpose of such publicity stills is to help studios advertise and promote their new films and stars. Studios therefore send those photos along with press kits and free passes to as many movie-related publications as possible so as to gain free publicity. Such photos were then used by newspapers and magazines, for example, to write stories about the stars or the films themselves. Hence, the studio gains free publicity for its films, while the publication gains free stories for its readers.

Types

Shots can be taken as part of the filming or separately posed. During the course of filming, the still photographer takes shots of on-stage scenes. These photographs are called production stills. Another type of still generated during filming is the off-stage shot. The photographer takes these while actors are between takes, still in costume. Separately posed stills include a wide variety of shots. Many of these have self-explanatory designations: seasonal gag shots, leg art, fashion stills, commercial tie-ups, poster art, clinch shots (special posing for print advertising) candid’s (done normally with one source lighting—think snapshot) and in-costume studies (most economically done off-stage in a sound stage corner or more formally in a studio setting). By far the most popular of these many kinds of film stills are those portraying glamour, menace or gag interpretations.

Other separately posed images include “set” stills, make-up stills and wardrobe stills. These stills are used for matching from scene to scene, or for recreating a scene later for a re-take. All details of the set, the costume and the cast make-up have to be exact, and these stills serve as a useful resource to get that accomplished. Background “plates” or “stereos” (not a reference to stereoscopic 3D, but to large-format stereopticon 2D slide projection), another type of still, enable the studio to create location scenes without leaving the premises, thus reducing the ultimate cost of production.

Still Photographers

Movie still photography is considered a separate branch of movie making, that of marketing: "a still photographer usually works on set but is not directly involved in the making of a film. His role is to publicize, through his pictures, film and actors on magazines, newspapers and other media." Film producer and cinematographer Brian Dzyak explains that the group of people who work on a film are referred to as the "company" or "unit." Among the professionals who are assigned to the unit, one is a "unit still photographer," whose job is to take still photos that the studios will later use for marketing. They may take photos during rehearsals or while standing next to the cameraman during filming of takes. For glamour publicity stills, given out to the public and press to promote a particular star, "special shoots" are made in separate studios, containing controlled lighting, backgrounds, clothing and furnishings.

Although the still photographer shares a number of skills and functions with the cinematographer, their work is essentially very different. The cinematographer is concerned with filming short scenes that will later be edited into an entire movie. The still photographer is primarily concerned with capturing dramatic photos that will draw attention when used on posters, DVD covers, and advertising. Studios would therefore assign a still photographer to a production, and in some cases as many as five still photographers worked on the same film.

Purposes

The major and minor film studios have always used still photos of stars, typically in a posed portrait, to send to the media to create "a buzz" for both their stars and any new films they were appearing in. Studios "sent out tens of thousands of scene stills and portraits to newspapers, magazines, and fans each year. Such photographs were rarely marked with the photographer's name or with a credit line."

Accordingly, the studio publicity departments used the stills "to sell a product," namely, a "particular film or an individual actor or actress." The distinction is relevant: "While the scene stills and on-the-set candid shots would be used to sell the movie, the portraits could be used to introduce a would-be star to an international audience. . . . The portrait photographer's function was to create and sell the image created by a publicity department around the life and look of a real person." The photos portrayed a star "without a role to hide behind. . . [and the photographer] had to recognize the image which would serve as the essence of a lengthy publicity campaign, capturing it in a fraction of a second." The glamour close-up would become "Hollywood's principal contribution to still portraiture."

Beyond basic publicity purposes, film stills were given to the actors themselves to send, signed or unsigned, to their fans and fan clubs. At various special events, stars might bring along a stack of these studio photos to sign in the presence of admirers, much like book signings by authors today.

In addition, directors and casting directors involved with placing appropriate actors in the film roles still rely on film stills to help them recall the detailed looks of actors. This is similar to the way magazine or TV advertisers rely on stills taken of professional models. Typically, a film still included a separate profile sheet describing the physical details of the actor along with a brief bio. The directors would then collect their best choices and schedule interviews and auditions.

Sources, References & Credits: Google, Wikipedia, Wikihow, Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New York Film Academy, The Balance, The Numbers, Film Maker, TV Guide Magazine, Media Match, Quora, Creative Skill Set, Investopedia, Variety, No Film School, Daily Variety, The Film Agency, Best Sample Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Producers Guild of America, Film Connection, Entertainment Careers, Adhere Creative, In Deed, Glass Door, Pay Scale, Merriam-Webster, Job Monkey, Studio Binder, The Collective, Production Hub, The Producer's Business Handbook by John J. Lee Jr., Honathaner, Eve Light. The Complete Film Production Handbook, Brian Dzyak (2010). What I Really Want to Do on Set in Hollywood: A Guide to Real Jobs in the Film Industry, Larry Goldman (1983). The professional photographer: developing a successful career, Finola Kerrigan (2009). Film Marketing, "Still Photography in the Motion Picture Industry" by Ned Scott, Andrew Dawson; Sean Holmes (2 August 2012). Working in the Global Film and Television Industries: Creativity, Systems, Space, Patronage, IATSE Local 600 International Cinematographers Guild, The Society of Motion Picture Still Photographers

THIS ARTICLE IS FOR INFORMATIONAL PURPOSES ONLY. THE INFORMATION IS PROVIDED "AS IS" AND BRUCE BISBEY MAKES NO EXPRESS OR IMPLIED REPRESENTATIONS OR WARRANTIES, INCLUDING WARRANTIES OF PERFORMANCE, MERCHANTABILITY, AND FITNESS FOR A PARTICULAR PURPOSE, REGARDING THIS INFORMATION. BRUCE BISBEY DOES NOT GUARANTEE THE COMPLETENESS, ACCURACY OR TIMELINESS OF THIS INFORMATION. YOUR USE OF THIS INFORMATION IS AT YOUR OWN RISK. YOU ASSUME FULL RESPONSIBILITY AND RISK OF LOSS RESULTING FROM THE USE OF THIS INFORMATION. BRUCE BISBEY WILL NOT BE LIABLE FOR ANY DIRECT, SPECIAL, INDIRECT, INCIDENTAL, CONSEQUENTIAL OR PUNITIVE DAMAGES OR ANY OTHER DAMAGES WHATSOEVER, WHETHER IN AN ACTION BASED UPON A STATUTE, CONTRACT, TORT (INCLUDING, WITHOUT LIMITATION NEGLIGENCE) OR OTHERWISE, RELATING TO THE USE OF THIS INFORMATION.