Learning and incorporating new technology into our workflow is a given. For Tyler Stableford, adding motion/live action to his skill set was also a welcome creative challenge. We caught up with him recently as he was driving from Montreal to New Hampshire to talk about his experience making the transition to photographer/director and the impact it has had on his career.
The transition began in 2009 while on assignment in Utah’s Moab Desert to shoot the new Canon5D Mark 2 campaign. Stills were the priority on the shoot, even with all the camera’s new video capabilities, but the experience got him thinking. So, on a pro bono shoot in Ethiopia the following month, he used the 5D to shoot his first film (still image above). From that point on, he set out to learn everything he could about filmmaking and how to integrate it into his workflow.
Tyler says the process was like “going to grad school in mid-career,” and it probably cost about as much. He decided to hire professional cinematographers to work with him and his crew to develop and refine all the necessary skills. Over time he also developed three rough scenarios to determine how he approaches a project based on the size and budget of the production. On a large shoot that encompasses film and stills, he takes on the the role of director and never really picks up a camera. He’ll hire an outside director of photography and still photographer to capture the story as he acts as the liaison between DP, photographer, talent, and additional production staff. With a moderate budget, he’ll assume either the role of photographer or DP. With a modest budget he assumes both roles, shooting with a DSLR and a production support staff to back him up, but Tyler says it is critical to have a frank discussion with clients about expectations. Time moves fast on set, and if beautiful natural light at sunset that only lasts about twenty minutes is your priority, you may have to sacrifice something else to get it. But whatever the budget, each production entails a lot of planning and detailed shot lists. Tyler’s recent blog post details what his own experiences have taught him about what it takes to be a top professional director. He clearly doesn’t believe in approaching a project organically.
At a time when the learning curve in photography had slowed for Tyler, film has energized his career. This is reflected in the fact that most of his projects now involve shooting both. He sees the complimentary aspects as well as the deep contrasts in each as vital to the process of storytelling. Video storytelling is about creating a narrative in deep, rich detail, while the singular iconic image can radiate energy all on its own. Film is much more of a collaborative process, and Tyler loves the role of director because it involves everything from storyboarding and scripting to interaction with post-production specialists in color grading, voice-over casting, and music composition, but especially the film editor. He loves seeing how a new set of eyes will take the raw footage in a completely unexpected direction.
When we asked him what a photographer should ask herself/himself before beginning to transition into the world of motion capture, his answer was, “Why wouldn’t I?” The only reason to think a photographer wouldn’t is that he or she is more at the end of the a career than mid-career, but he also adds that some photographers may not want to take on the role of DP with its own technical learning curve, in which case the skill set of a seasoned professional can still reasonably make the transition to director and hire the necessary crew. Unlike when he began the process in 2009, there are many more assistants, for example, who are versed in the necessary skills.
Tyler adds one other interesting piece of advice when it comes to assembling a production crew: look for individuals who not only have the technical skills, but who have strong verbal and communication skills as well. It is vital to establishing the narrative and keeping the focus because in the end, it’s all storytelling.