[John Cummings]

I haven’t noticed a problem…is it a recall?

J Cummings
Cameralogic/Chicago
cameralogic.tv
HDX-900/HDW-730S/DXC-D50

[John Cummings]

“J Cummings, how did you make your transition?”

I have an old news reporter friend that was freelance producing corporate videos in milwaukee. Fed up with news, I sold my house, bought camera gear and took a u-haul from denver to milwaukee to freelance, with the idea of eventually ending up down the road in chicago. My old friend took me under his wing, gave me a few gigs, introduced me to a few people at the local production houses…and some of them took a chance and hired me to freelance. What I think got my foot in the door: A lot of traditional production shooters there struggled doing what I would call “high-quality” run and gun ENG-style work…I became sort of a go-to guy for that kind of work in that market. (A good example of how a perceived weakness can actually be a benefit to you…) Anyway, that kind of work got my foot in the door and allowed me the time I needed to get up to speed on different styles and techniques that I was never exposed to in news. I’m sure I can’t adequately describe to you how much I learned in the first few years after news. And boy, was it fun. Really.

It’s a small business we all work in. Example: Some of the show runners and executive producers on the national shows I shoot now used to produce newscasts in the very same newsroom I left. After 20 years in news, I know a lot of people, and many of those people are in a position to throw me work. It pays to keep in touch with your old co-workers and network, network, network. Google ’em, call them, send them a Christmas card.

No matter how good of a news editor you are, chances are you have a lot to learn. Accept and embrace that. I sure had a lot to learn when I left news, and I sucked it up and admitted it. But if you have real mojo, someone smart will recognize it. If you work well with others and are willing to listen, learn and yes, do what you’re told, a door will open. What happens after that is up to you and will determine whether you have a just a new job…or a whole new career.

J Cummings
Cameralogic/Chicago
cameralogic.tv
HDX-900/HDW-730S/DXC-D50

[John Cummings]

Hey Chris-

As a photographer, I also transitioned from news to freelance production, and all I had in the beginning was a reel of news stories.

The first thing I noticed when first started knocking on doors was that there seemed to be somewhat of a bias or stigma attached to people that come over from news. Especially from people that came from other, more traditional production backgrounds. Ironically, a decade later, I have met and worked with dozens of ex-newsies, many are quite successful and running their own shops with national shows and clients.

A few thoughts:

One, you can use that news reel to show prospective employers, but you need to explain the limitations of the genre and guide them to see your strengths: How well you work under pressure, how you can work fast and cleanly…and most importantly…your willingness to learn and take your skills to the next level.

Another idea while you’re in job-hunting mode is to hook up with like-minded people and produce a few “spec projects” like faux spots or corporate style promos to really show what you are capable of doing. Perhaps do a couple of small jobs for free. Add them to your reel, but be sure to identify them for what they are.

Lastly, look around for shops that are run by ex-news people. There are alot of them out there,and they might be more sympathetic to people like you that are making the move. These people often produce many projects that skew more toward a news style…like non-fiction or reality shows…work that will ease your transition into a new way of doing things. I know of one opening right now in Chicago for a company that produces shows like that.

I honestly think you would be better off making the switch working for someone else while you navigate the ends and outs of a new side of the business. All the while you will make new friends, meet new contacts and learn how to think and work differently. After time, you can begin to assess whether you have the skills, contacts and work to make the jump to freelancing, if that’s what you really want to do.

When I look back, making that jump from news was probably the most interesting and rewarding time of my career. Have fun and good luck.
School is about to begin…again!

J Cummings
Cameralogic/Chicago
cameralogic.tv
HDX-900/HDW-730S/DXC-D50

[John Cummings]

This is indeed a great conversation…and good therapy, too.

I wonder if the product reps read these harangues? If so, I wonder what they think?

J Cummings
Cameralogic/Chicago
cameralogic.tv
HDX-900/HDW-730S/DXC-D50

[John Cummings]

Funny, that Aja unit would be just dandy as a dockable recorder.

For anyone that doesn’t remember phones with cords, here’s a little history lesson: There is precedence for all this. Once upon a time, Sony, Panasonic and Ikegami all somehow agreed on a standard interface for dockable recorders. MII, DVCam and Betacam formats were all available as dockable recorders, and all these manufacturers produced dockable front ends (cameras) as well. You could actually mix and match! I’m sure there were licensing fees…just as there would probably be licensing involved with codecs like AVC flavors and Apple’s ProRes.
There were tradeoffs…most notably weight…the entire camera/recorder tended to be somewhat heavier than one piece cameras.

The point is that it was done once. So why not do it again? Electrically, all you are basically doing is passing power, HD-SDI, record contol and a little data through a standardized multi-pin connector. It’s not exactly rocket science.

Can it ever happen again?
I should live to be that old to see it.

J Cummings
Cameralogic/Chicago
cameralogic.tv
HDX-900/HDW-730S/DXC-D50

[John Cummings]

Hi Noah-

Backpack?

Unfortunately, my cameras spend about as much time on my shoulder as they do on a tripod. I do run and gun docs and reality. That means every square inch and pound matters. There’s no way that aja box is going to mount anywhere on a shouldered full-size camera, alongside a two-channel wireless link.

Too bad, it looks like a nice unit. Awesome features. Seems to skew more toward the studio shooter…I guess that’s to be expected considing its heritage.

J Cummings
Cameralogic/Chicago
cameralogic.tv
HDX-900/HDW-730S/DXC-D50

[John Cummings]

“AJA Ki Pro baby- nuff said.”

That’s a great box…for the studio. In the field, I need something small enough to co-exist with a wireless link also hanging from my camera.

The only product that I’ve seen that will do that is the Nanoflash.

J Cummings
Cameralogic/Chicago
cameralogic.tv
HDX-900/HDW-730S/DXC-D50

[John Cummings]

“I think all Panasonic has to do is use the same sensor as their GH1 SLR camera, combine it with AVC Intra, sell it for under $15K, and they’d have something.”

Exactly, Jeff.

And add in cinegamma and scene files, because in the little world I work in, I almost always have to do a look in-camera…most budgets don’t allow for a colorist or grading after the fact. The files need to be ready-to-edit, with attached audio, right out of the camera. I would love to have a larger chip for use with primes, but still have the option to downrez in the camera, change lens mounts (ala Scarlet) and throw a 2/3″ zoom on for run and gun work.
Imagine all that in a camera that goes from tripod to shoulder with a click…what a concept.

That would be a truly flexible system, and probably the only camera I would ever need. $15K sounds a tad optimistic, but I would gladly pay at least twice that for something that versatile. I might even deal with P2 for that…

Who could pull it off?

Canon would be the obvious choice to turn out a product like this, but it would be all plastic and look funky…and they’d screw it up with a bad viewfinder and weird dials, somehow.

Panasonic would be the best choice, but probably won’t because their camera scientists don’t seem to listen to anybody in the field, sales or marketing, especially here in the states.

Sony could easily do it, but they’d slap a gold cinealta badge on it and charge over a hundred grand for it.

It would be a wonderful opportunity for Ikegami to get back in the game…but sadly, like Elvis, they’ve left the building.

Maybe the Ray-Ban people are working on something…

J Cummings
Cameralogic/Chicago
cameralogic.tv
HDX-900/HDW-730S/DXC-D50

[John Cummings]

Thanks, Erich.
Of course, we’ve already bonded in earlier threads on many of the same issues. Love ya too, man.

I think this is funny, but I’m not sure how to read it:

“I think Panasonic should have shown an empty box at NAB with their logo and a 35mm lens mounted to it, “Price to be Determined”, “Delivery to be Determined”, just to give potential RED camera buyers pause.”

I would think quite a few Red owners would have peed their pants a little had they seen something like that at NAB.

Am I the only one here that thinks Panasonic could wipe the convention floor with a product like that? Of course, there’s still that P2 issue…

I dunno…for now, maybe I’ll just hang a Nano on my HDX and spit.

J Cummings
Cameralogic/Chicago
cameralogic.tv
HDX-900/HDW-730S/DXC-D50

[John Cummings]

Sorry…didn’t mean to sound snobbish.

But the question struck me funny…sorta like putting a wing on a Mazda and calling it a Lamborghini.

For the record, I want a Nano badly.

Zoom zoom.

J Cummings
Cameralogic/Chicago
cameralogic.tv
HDX-900/HDW-730S/DXC-D50