Videomaker – Learn video production and editing, camera reviews › Forums › General › Video and Film Discussion › The Video Production Business – Who are the players?
May 16, 2012 at 8:03 PM #43376
May 16, 2012 at 9:31 PM #182037EarlCMember
Hey John, I see nothing here but a blank square. What happened? Also, check out this link that might parallel your intended thought.http://www.videomaker.com/community/forums/topic/active-vs-inactive-forum-members
May 17, 2012 at 2:13 PM #182038birdcatParticipant
Hi John – Welcome as a host
Question I have is what version of player do you mean?
1) Player = Major force in the industry – Trendsetters
2) Player = One who plays clients for fools – The ones who make it difficult for us all
May 17, 2012 at 3:03 PM #182039
I am embarrassed that my posting efforts disappeared betweenmy PC and the forum, so here is take 2. Essentially, I am initiating a seriesof discussions on the business of video production. I am doing this to satisfymy own curiosity and hopefully the results will be of interest to both veteransand aspiring “Vidi-Entrepreneurs”
Who are the players is a question posed to get a handle onwhat the total scope of the video production market is in terms of dollars and whoare the players in this market ( Breaking down the various markets, i.e.feature film, television, advertising, etc. by type of company and what ittakes to participate in that market ) Videomaker has a wealth of archivearticles and community members and I am reaching out to everyone to tacklethis. I will be looking for a place to post the findings so that the results ofour efforts can continue to serve as a reference. Thanks in advance to all whoparticipate.
May 17, 2012 at 3:04 PM #182040
I guess the first thing I need to tackle is how do I get the posting to work, sorry.
May 17, 2012 at 4:21 PM #182041EarlCMember
Pretty much any of the trade magazines, such as Computer Graphics World, can key video enthusiasts in on who the “players” are in the bigger picture. Any of us who keep up with Hollywood, bollywood, or that guy down in New Zealand who loves the RED cameras, will recognize Weta, ILM and a host of other BIG PLAYERS.
DreamWorks, Pixlar, BlueSky, Illumination Entertainment (think The Lorax) is the tip of an iceberg that includes extensive operations in the U.K., Canada, Australia, and New York, Los Angeles and Atlanta, and a slew of boutiques, small shops and more.
Then there’s the big meets with SIGGRAPH, the FMX Conference in Germany and numerous electronics, technical and industry-related shows that are held annually in Las Vegas. Not to mention all the BIG NAME film festivals like Cannes and the one sponsored by that Redford guy who likes to play the dying hero in his movies.
These are the occupiers of the stratosphere where the air is thin, the demands for excellence not only require the best minds (left or right brains), the most money and the highest levels of expertise, and where the majority of us here can only hope to brush the clothes of in passing.
For the rest of us there’s smaller dreams but dreams nonetheless. Many here probably DO aspire to get into one of the smaller fringe shops that deal with top flight animation, location shooting, scouting, heck even bringing Spielberg. Lucas, Jackson or Cameron their morning coffee or juice.
I suspect the majority of us here don’t even bother. We read about these people, places and projects and imagine “what if” then pick up our rigs and go cover a youth sports event, school play, cheerleading or band competition, wedding or funeral. We edit the results, deliver the product, collect our checks and move on.
We drool over the latest technological marvel in camera, lens, editing system or animation, sometimes even scrape up the funds necessary to possess one or more of the things we drool over.
My perception is we’re mostly working stiffs, determined creatives, aggressive small businesspeople who manage to carve a small niche in one or more areas of the independent professional video services provider pie. We read Videomaker magazine, participate in forum questions and suggest cameras, editing systems, audio problems/gear and lighting situations ad nauseum.
We LOVE video, from extreme sports and our GoPro units, to multiple camera shoots at local events from weddings to surfing, racing or volleyball championships. Some of us get lucky, others bully our way to the top and many, many more simply ride whatever video vehicle stops for the thumb.
I enjoy doing event video. I enjoy producing personal stories, documentaries and the occasional community event for special holidays like Easter, July 4th and Memorial Day. I’ve established a solid market niche for myself in the funeral, memorial and montage arena … enough that I even, GASP, occasionally experience cash flow.
At my age I don’t presume to have the drive, ambition or desire to once again plod or plunge my way to the top of the animation, feature film or ENG worlds. I’ll save that for the young people who have HUGE dreams, know no limitations and dare dream to be at the top of the game in whatever segment of video they chose to pursue.
May 17, 2012 at 7:18 PM #182042JackWolcottParticipant
I’ll go at an answer from a different angle. For me, the “players” are the producer/client — that is, the person who is going to put up the money for the “production” and the business managers of the production company who sort out the details of how the production will be handled and how much it will cost.
Then there are, for want of a better term, the “technical artists” — the director, camera operators, field audio people, editors, colorists, sound engineers, etc.
There’s the performing artists, the “talent,” whether it’s a talking head for a web ad, actors in a performance, or men and women doing there thing on a job site. Finally there is the audience.
Unlike Hollywood, where many of the “technical artists” are highly specialized, unionized individuals, in small production businesses these roles are often rolled into one: the owner, who sets up lights and audio, shoots, edits and handles the subtleties of post production.
I’ve worked in both high end operations, where each artist does a single job, and in small-business operations in which I’ve handled every aspect of the business including acting in commercials. Each situation is different and for me each has its own rewards.
What I find most rewarding running a small business is being able to take a client’s rough idea and develop it into a finished product.
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