The Internet is loaded with articles on new gear or popular techniques. Everywhere you look, you will find some new unboxing video or review piece. Everyone promising that they will make you the photographer you have always wanted to be. Don’t get me wrong, I enjoy looking at fancy new equipment as much as the next guy -- and I have written a few of those articles myself -- but do all the toys and tricks help my career in the long run?
Articles written by Mike Pecci
I just got my hands on IKAN’s new Rayden Bi-Color LED kit, and man, it is a huge improvement from their last model! The lights are sturdier, the dials are stronger and easier to use, and the quality of light has improved drastically from the last series.
Strap yourself in, and get ready for a really dorky article on lighting. I promise to get only slightly technical and hopefully open your eyes to the amazing differences you get from the various options available to both motion and still photography.
All too often in our business, we are thrust into a job in which we either have no time for or cannot afford lighting tests. I find that these gigs force me to fall back on my old tricks and techniques. This can lead to the dangerous place of shooting stuff that all looks the same. Sure, you can try out new ideas on personal projects, but sometimes, the job calls for stuff that you don’t own or cannot afford to get. Usually, when planning a shoot, I have great theories and fantastic ideas on how to pull off a look. However, the idea of winging it in front of a client is stressful...
Creating a music video for a national act is one of the most intense tasks for a modern day filmmaker. Sure, the tools are more affordable, but declining budgets and insane turnaround times can turn your production into a sprint. Last month, my company, McFarland & Pecci, was tasked with creating two new music videos for the Grammy-nominated metal act, Killswitch Engage. My partner, Ian McFarland, and I drop everything when these guys call.