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Scott, Grant 
ORCID: 0000-0003-2882-1380
(2017)
Where are we now with the moving image?
Witness.
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Text
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Abstract
It would be difficult not to notice the proliferation of documentary based filmmaking over the past few years and it would be almost impossible to have not witnessed the rise of moving image content online. It is now nearly ten years since the launch of the Canon 5DMKII and the resulting ‘convergence’ conversations and debate, and now as I sit writing this in 2017 moving image functionality is an accepted aspect of most of our still cameras. Like it or not the moving image is part of the photographer’s world. The beginning of 2009 saw filmmakers – but very few photographers – energised by the possibilities the 5D MKII offered them, opportunities to uses lenses they previously could not afford, to get shots they previously could not get, to shoot in situations they previously could not film in and perhaps most importantly to tell stories they previously could not afford to tell. Skilled in the arts of narrative, audio capture, film editing and photography – many had studied photography as part of their creative education – filmmakers saw the new technology as a natural extension of their existing practice. Photographers did not.
| Item Type: | Article |
|---|---|
| Article Type: | Article |
| Related URLs: | |
| Subjects: | T Technology > TR Photography |
| Divisions: | Schools and Research Institutes > School of Creative Arts |
| Research Priority Areas: | Culture, Continuity, and Transformation Creative Practice and Theory |
| Depositing User: | Grant Scott |
| Date Deposited: | 04 Jul 2017 10:38 |
| Last Modified: | 31 Aug 2023 09:22 |
| URI: | https://eprints.glos.ac.uk/id/eprint/4707 |
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