Filmmaker vs. Videographer
I love words… so I choose them very carefully. When my lifelong passion for filmmaking evolved into a side-hustle, then into a full-time career, I had to squarely confront the question of identity.
What’s the difference between a filmmaker and a videographer? Just ask the savvy couples I met with yesterday at a large wedding show in Kingston, Ontario. They already seem to know the most important parts of this distinction. You can skip to the conclusion if you’re not digging the historical context.
Videographer is a traditional term in that seems to have emerged from a time when technology was evolving to the point where creating motion picture media was possible without the encumbrances of a full studio. Portable recording gear (which I both sold and used throughout the late ‘80s) did for video creators what portable photography gear did for image makers earlier in the 1900s. Hence, the “cameraman” was liberated from the studio realm and freed into the world with a new moniker: Videographer. This gloriously gender-free term became the staple of the wedding industry… until recently.
Enter the filmmaker. Just as the concept of a camera operator broke free of studio wires, cables, ceiling lighting, and other bric-a-brac, the filmmaker has left behind the heaviest requirements of job specialization in the film industry. Instead of being tied to busloads of specialists (see any movie credits for details) a modern filmmaker has the option to gain skills in colour grading, impactful visual editing, soundtrack development and more. The creative control in the hands of a modern independent filmmaker is astonishing… and accessible like never before.
In the 1980s, I was a videographer. I have fond memories of my first wedding “gig”. A distant acquaintance approached me and asked if I would shoot his sister’s wedding. I received the princely sum of $50 and all of the perogies I could eat. At the end of the night I opened up my camcorder and handed over the tape. Done and dusted. While denizens of the 21st century might think this rather crude, having an actual recording of a live event in 1989 was higher level stuff. The cameras were the modern equivalent of $7000 when adjusted for inflation. Not far off each of my current cameras, in fact.
In the 2020s, I’m a filmmaker. I’ve never stopped making films but somewhere along the way I as an individual have gained control over the editing, audio mixing and higher “art” of making video assets. The recording formats evolved from VHS and Beta through 8mm, MiniDV, SD and even non-media dependent recording systems that are described in software terms rather than hardware. Some might philosophically see the end of this format arms race in livestreaming. Ironically, this harkens back to the very beginnings of television, doesn’t it?
Gripping conclusion:
Circling back to the question, the videographer of today will:
set up at the venue on the big day
record the event to the best of their abilities using a decent camera
cut together a good record of the day’s proceedings.
In my experience, those still calling themselves videographers:
may or may not be full-time producers of video assets.
may or may not be charging enough to invest in the latest equipment. Lighting and audio conditions will push the limits of older equipment.
may or may not continue to develop their skills to meet the demand of educated modern audiences. Styles change in everything from ties to teacups. Wedding films are no different. A modern approach using classical skills is usually the best futureproofing one can offer.
Couples who hire a videographer sometimes think they’ve hired a filmmaker and here’s what they may find missing in the end. The best filmmakers:
engage with their clients well in advance of the event
are great listeners
are strong commuicators
are curious about the wedding details in advance
work well with wedding planners, co-ordinators and venue hosts
work well with photographers
are unobtrusive, yet offer guidance when needed
are flexible and adaptable to evolving plans
are experienced (with events, with people, technology)
are driven to create media that everyone is proud of
In addition to these humanistic skills, the best filmmakers:
buy and maintain a range of professional equipment that works well in challenging lighting/audio conditions
charge enough for their services to maintain innovative professional equipment
work tirelessly toward the best film according to their deeper knowledge of their client
pay for ad-free hosting and sharing of the media assets
offer only licensed music as unlicensed music leads to frustration and deletion on most sharing platforms
And, finally, professional filmmakers view their work as their legacy. Selecting a creator who truly enjoys filmmaking will influence the outcome of the project. When it comes to a once-in-a-lifetime wedding event, it’s comforting to know that the person behind the camera can truly see the big picture.
