Fear Follows Like a Shadow

This is really odd. The green screen trade in still or static photography is well developed and has been steadily growing over the last ten years. Weddings, conventions, special events, all of them have been incorporating green screen booths as possibilities in their plans. It makes money. Video could make money. A lot of money.

But the video green screen trade is in such infancy that I am now the expert, with conventional film producers running away from all of my emails and telephone calls asking if they would like to collaborate. I am, to use an ugly term, on the bleeding edge of this technology. The unspoken response seems to be: We don’t know this, we don’t know you, and we’re the experts. If we don’t know this, if we don’t know you, then it is worthless because we know everything and everyone of value in our trade. You are, and all of your strange ideas, worthless by extension.

What’s happening? With film, and like the still photography trade, most camera people have been using software to adjust things like white balance and exposure and color correction. They have not, for the most part, used software to bring out special effects or an artistic side to their work. They remain squarely within the traditional role of editing in film and stills. No matter how many years in the trade.

Which is fine if you want everything the same with no chance of developing any new ways of making money or gaining creative insights. And God no, never ask an outsider a question or ask for advice. Remain always the acolyte of the trade, as Adobe wants you to be.

Adobe has always kept their software so expensive and so difficult to use that anyone needing assistance in the graphic arts must go to someone paying their outrageous subscription fees every month. Like these professionals who won’t respond to my polite emails and calls. I pay these fees because I’m interested in different media and in film but very, very few hobbyists can afford to be an amateur graphic artist. I am discouraged that Adobe discourages the trade to young people coming along with their prices, can a young artist afford to learn this field?

Interestingly, the green screen trade in Hollywood has been around for over forty years. It’s just a process of adding and overlaying film tracks, much the way one does with adding and overlaying layers in Photoshop. Just watch the old Patty Duke Show or Counterpart on Amazon for something new.

There’s no CGI or A/I involved here or mainframe computers in the cloud. No. For the video below, just me, a ten year old computer, a consumer grade camcorder, software that costs less than a hundred bucks. And I’m old, 64, shouldn’t you youngsters be showing me this?

People run away from this like I represent everything they have run away their whole lives from: the shock of the new, creativity, the effort it will make a single mouse click or to watch two minutes of video that fascinates but repels because it represents something different and hence represents learning, that scourge of scourges, an acidic anathema; yeah it looks fun but I won’t take a chance on fun if its something I’d have to think about for two seconds. Besides, that rerun of Gilligan’s Island just came on.

Begone Ye; and don’t come back unless you bring something relatable to our dead mind and spirit. Like a Sony Walkman, a rotary phone or a six pack of Tab. As Hunter Thompson would say, “We don’t need your kind in Kentucky!”

About thomasfarley01

Freelance writer specializing in outdoor subjects, particularly rocks, gems and minerals.
This entry was posted in art, editing writing, graphic arts, organizing writing, Photography, revising writing, Uncategorized, video. Bookmark the permalink.

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