Mr & Mrs Brewer wedding video

Below is a wedding video that I have done during my early time as a up an coming videographer.

My future career goals is to find a career as camera operator or video editor for a production company or news station.

If that does not work out for me I am going to pursue a career as a videographer doing wedding and special events until have build my name up enough to venture off into doing commercials, dance recitals, graduations or even travel doing wedding in other states.

Unit Stills Photography

Good afternoon everyone, today I am coming to talk to you about Unit Stills Photographer according to Creative skill set.

Unit Stills Photographers take the photographs of film sets or studio shoots that are used to create the press and publicity for feature films.

When used well, these images can contribute to a film’s success. Unit Stills Photographers usually work on set, recording scenes from the film; alternatively, they may be required to set up photographs in the style of the film in a studio environment.

Many stars have a clause written into their contracts enabling them to ‘kill’ any images of themselves which they do not approve; the bigger the star, the greater the ‘kill factor’, which can be as high as 75%. Unit Stills Photographers must be prepared for the rejection of what they may think is their best work.

Unit Stills Photographers work on a freelance basis, employed by producers, film PR companies, film sales agents or distributors. They usually combine unit stills work with a variety of other professional photography (portraiture, travel, beauty, editorial, film festivals and special events).

The hours are long and they often spend considerable periods of time away from home.

On medium-sized films, they are usually employed for at least 15 days; they run through the shooting schedule with the film PR to decide on the best days to visit the set. On big budget films, they may be required to be on set every day.

Unit Stills Photographers position themselves as close to the film camera as possible, and shoot every scene in detail using a piece of equipment called a Blimp, which houses the stills camera and cuts out any noise it might make.

Once their work is completed, all the images are sent to the sales company, distributor, film PR or publicist, which then use them for the press and adverting campaign.

Have you thought about what it takes to be a Unit Stills Photographer? Please share your comments with me and others because I have more to share tomorrow.


Sound Recordist

Good evening everyone, today I am coming to talk to you about Sound Recordist according to Creative skill set.

Sound Recordists (also known as Production Mixers) record sound on location or in a studio, usually in synchronization with the camera, to enable the highest quality ‘real’ sound to be recorded at the time of filming.

They monitor the quality of the sound recording through headphones and work closely with the DirectorBoom Operatorand sometimes the Sound Editor, often using multiple microphones.

Jobs in sound generally fall into two areas: production sound and post production sound. Sound Recordists/Production Mixers work in production sound.

It is their job to set up talkback communication between production staff, presenters and artists and other communication systems such as ‘live’ links by landline, microwave link or satellite. They also record sound effects and atmosphere tracks.

Sound Recordists/Production Mixers may work on a wide range of single or multi-camera shoots, and their duties can vary considerably. Depending on the scale of the production, they may work closely with the Director and Producer at the planning stage to clarify technical requirements and budgets.

They are responsible for producing the final sound mix, so they directly supervise the Sound Assistants and Boom Operators. Sometimes, they also manage the rest of the sound crew. They may also occasionally operate the boom themselves. They often have to supervise frontline maintenance in order to keep the production on track.


Have you thought about what it takes to be a Sound Recordist? Please share your comments with me and others because I have more to share tomorrow.

Vision Mixer

Good evening everyone, today I am coming to talk to you about Vision Mixer according to Creative skill set.


Vision Mixers edit programmes live (as they are being transmitted or recorded), using a variety of transition methods, such as cuts, mixes, wipes and frame manipulation. They join together images from various visual sources, including cameras, video tape recorders (VTR Machines), graphic generators and digital video effects (DVEs). They are the Director‘s ‘second pair of eyes’ in the gallery.

Vision Mixers work on programmes that are either transmitted live, recorded as live, or pre-recorded in a multi-camera environment in studios or during Outside Broadcasts (OBs). On studio-based programmes, Vision Mixers work in the production gallery, on OBs they are based in the mobile production gallery in the OB vehicle.

In pre-production for a news, current affairs or light entertainment programming, Vision Mixers work from running orders, usually prepared by Producers, which outline the premise of the programme, and detail the shot requirements. They then work closely with Directors to interpret the script, discussing which transitions are required from shot to shot, whether and when visual effects and/or graphics should be used, and suggesting alternatives where certain transitions are impossible.

Vision Mixers must be aware of the capabilities and limitations of different vision mixing desks, and suggest ways of using them to fulfil the Director’s vision for each production.

During recording or live transmission, Vision Mixers work with the Director to visually create the programme. Vision Mixers must be able to multitask, as they may be required to cut from shot to shot during a live interview at the same time as listening to the Producer’s instructions to the Director about the next item to be transmitted, at the same time as setting up the next transition on the effects bank, at the same time as listening to the Production Assistant’s countdown to the next item.

As running orders on news programmes can change by the second, Vision Mixers must be able to react quickly and accurately to rapidly changing demands. They often work from more than one visual source, for example when adding graphics with the required name, location and date, to relevant shots.

On some light entertainment, and all sitcoms, soaps and drama, Vision Mixers use rehearsals to practice the required transitions, and where appropriate to suggest alternatives to Directors. They make detailed notes on the camera script about transition types, graphics and technical effects.

On music programming, Vision Mixers are given more leeway and must cut to the music or beat, or to a musical score, particularly when working on classical music productions. On live productions, they are required to react quickly when problems arise, for example by cutting to another suitable camera source smoothly and calmly.

On especially complicated productions, particularly in light entertainment, two vision mixers may work together: one vision mixing, the other operating all other equipment, such as Stills Store, DVE, hard disc/VT play-ins.


Have you thought about what it takes to be a Vision Mixer? Please share your comments with me and others because I have more to share tomorrow.

Camera Assistant (Portable Single Camera)

Good morning everyone, today I am coming to talk to you about Camera Assistant (Portable Single Camera) according to Creative skill set.

Camera Assistants offer general support to the camera department, carrying out simple tasks such as collecting camera equipment from a hire company, and delivering messages to the production office. There are two main types of Camera Assistant, Second Camera Assistants and First Camera Assistants.

Second Camera Assistants have specific responsibilities involving camera maintenance and film or tape stock control. On productions shot on film, they load and unload the camera magazine (a removable section of the camera that houses each roll of film) and ensure that the correct stock (type of film) is used. They also charge camera batteries and ensure that other camera accessories are ready (standing by) in case the Director of Photography (DoP or DP) or Camera Operator requests them.

Second Camera Assistants are also responsible for the clapperboard and write daily camera reports, logging how much film has been shot, which shots are on each roll of film, and any special processing instructions, or the numbers of tapes used, and time-code details. They may also take the daily rushes (unedited material) to the laboratory or hand them over to the production office.

First Camera Assistants (Focus Pullers) give more hands-on support to Camera Operators and DPs. They calculate the correct focus settings for each shot and all other camera variables. They prepare the camera and adjust it during filming so as to keep specific parts of the shot in focus (known as ‘pulling focus’). Throughout each shooting day, they also check and store (‘wrap’) the camera kit.

On documentaries or factual programmers, the camera department is much smaller than on film shoots, usually only involving a Lighting Cameraperson or Camera Operator and a Camera Assistant. Camera Assistants offer support to the Lighting Cameraperson or Camera Operator by preparing and labelling tapes and other materials, maintaining and preparing camera accessories and lighting equipment, and assisting with camera operation.

Have you thought about what it takes to be a Camera Assistant (Portable Single Camera)? Please share your comments with me and others because I have more to share tomorrow.

Boom Operator (TV)

Good evening everyone, today I am coming to talk to you about Boom Operator (TV) according to Creative skillset.

TV Boom Operators control the long boom arm, either handheld or dolly-mounted (on wheels) with the microphone attached, maneuvering it as close to the action as possible without getting it in shot, in order to achieve the best quality sound recording. They work on location and in the studio, under the supervision of the Sound Supervisor or Sound Recordist.

Jobs in sound generally fall into two areas: production sound and post production sound. Boom Operators work in production sound.

They may have to learn the script in order to anticipate lines and to move the boom arm accordingly. They are responsible for fitting radio microphones to artists, for placing microphones appropriately for a required shot, and for keeping Sound Recordists informed of changes on the set. Depending on the scale of the production, Boom Operators may also have to make simple recordings and undertake basic repairs.

Boom operating is not only about positioning microphones or following the instructions of the Sound Recordist. It also involves accurately hearing sound, knowing what the camera is shooting, understanding camera lenses and focal lengths. An understanding of basic lighting techniques is necessary to understand how to avoid casting boom and microphone shadows on artists and set. Knowledge of lens sizes and camera angles is required in order to understand the frame limits and to keep the microphone as close as possible to the artists, but clear of the picture.

You won’t need a qualification to be a TV Boom Operator. However, it is vital to be able to show a strong interest in sound and an understanding of its physical properties.

Courses are available throughout the UK, including City & Guilds qualifications, BTEC National Certificates and Diplomas, foundation degrees and first degrees, and postgraduate degrees and diplomas. Relevant subjects include audio and recording technology, sound engineering, music technology, film and TV production, and media production (sound recording).

Have you thought about what it takes to be a Boom Operator (TV)? Please share your comments with me and others because I have more to share tomorrow.