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Tuesday, February 12, 2013

Ketch Rossi: Evolution

Ketch Rossi has transitioned from a pure still photographer to a *Cinephotographer, and his latest projects are visually gripping, multimedia philanthropic endeavors

This Article Features Photo Zoom
DPP: Do you light differently when giving priority to stills or motion?

Ketch Rossi: Ever since I evolved into the use of a single camera for both motion and still work via frame grab extraction, I have further evolved in the way I light my scenes, taking into consideration what I need from that image, for both motion and still needs, insuring that I preserve the feeling for each given scene accordingly to its particular needs to tell the story. I make sure that I don't have to spend hours in post to correct what I could have done on set in a couple of extra steps. I Photoshop my own work; it gives me more appreciation for my own time. You absolutely need to light accordingly, which is different than just lighting for motion, as motion goes by you while a still image—in this case, a frame grab—sits there in front of you, to observe and criticize every pixel. Since most of what I do involves beautiful ladies, I wouldn't want them not looking at their best, and neither do I want to spend hours in Photoshop.

I've evolved so much in frame-grabbing from the motion stream that I couldn't ever go back to still photography alone, plus all my models love it, too; they feel like posing actresses, no longer just models, and every single one so far has preferred working in this way with continuous lighting versus flash, and so have the clients.

DPP: How are you working with shutter speeds?

Ketch Rossi: Same as in still photography, there are needs for different shutter speeds, and with the RED EPIC, I use a range of shutter angles, from 45 degrees all the way to 360 degrees, depending on what I'm looking to capture, from crisper images with less motion blur to ghosting effects in between frames. Here plays the importance of the motion material versus the frame grabs I might need to pull from the footage, in which case I would give priority to one or the other and adjust the shutter accordingly.
I was always making imaginary movies, or snapping a photo, freezing a moment through that mirror. So, at the first moment that I could afford a camera, I bought one. It was after I left home and got a job in a restaurant kitchen washing pots and peeling potatoes.
DPP: What's your workflow in terms of shooting still and motion of the same project?

Ketch Rossi: The workflow really depends on which one has the priority. If motion is the priority, then it's easier to light it up like a movie, but if stills have the priority, then more work is needed. If, however, both are equally important, then I need to do more takes, as I repeat some takes and change both the shutter and the frame rates, as well as add or change some of the angles on the lighting. This becomes more difficult if I'm shooting in 3D, which demands the use of a wider focal length, while for portraits I always use long focal lengths, my favorite being the 100mm, so in this case, I'll need to do all the above, plus lens changes, or simply have an additional camera to shoot for the stills.

In general, I set up the scene, light it and shoot it, then in post I work on the R3D original RAW files until the very end, never rendering my work until I'm completely done with post, same as you would do with any RAW image coming from any camera.

DPP: Talk about your Carly project.


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