Behold the videographer

May 2024

Over the past decade, the term videographer has become a catch‑all description for anyone who creates video. Filmmaker Tom Chown reflects on how the role of the solo shooter has evolved, and why choosing the right approach still matters, more than the label.

I don’t often describe myself as a videographer, although many of our long‑standing clients recommend me as a “skilled videographer”, and that’s fine. I still enjoy picking up a camera, and I always will.

As a film-maker, when I self‑shoot I rarely work entirely alone.

The reality is that the amount of equipment we travel with usually exceeds what one person can reasonably carry, and shoots are almost always more productive and time‑efficient with an extra pair of hands.

So does the title really matter? Probably not, but hat does matter is understanding the skills required, whether from one individual or a small creative team, to deliver the brief properly.

Tom Chown filming a uniformed police officer beside a marked police vehicle with drone equipment on the ground in an outdoor field

Does size really matter?

Videographers are often perceived as one person setting up lights, monitoring sound, interviewing contributors and operating the camera at the same time, and that’s before post‑production even begins, with editing, grading, sound mixing and motion graphics.

Finding one individual who excels across all of these disciplines isn’t impossible, but it is a big ask.

Film crew operating a professional camera rig beside a blue bus as a hooded actor prepares for a scene

Production companies operate in many forms, from large in‑house teams to micro‑businesses like ours, supported by a trusted team of Producers, Directors, Camera Operators, Editors, Animators and Voiceover Artists. Working this way allows us to scale expertise to the brief, encouraging collaboration and creative depth without large overheads.

Storytelling always comes first

Whether working independently or as part of a small team, the constant is storytelling. Understanding the narrative, asking the right questions and crafting an authentic, concise story is what separates functional video from meaningful communications.

My own career has been shaped by changing professional expectations.

As technology has become more portable and accessible, individuals are often expected to do more, blending creative judgement, technical skill and editorial responsibility.

Video monitor displaying a close‑up of a smiling subject being prepared for filming in a busy environment

I learned this approach at the BBC over twenty years ago, when I was trained to produce, film and edit as part of the emergence of Video Journalism. That experience opened doors to stories I would never otherwise have been able to tell, and it continues to influence how we approach work today.

“No two briefs are the same, and honest conversations about scale, budget and objectives allow us to shape the right approach and deliver purpose‑led video content on time and on budget.”

Tom Chown

Filmmaker

Digitom

Back to the future

The term videographer dates back to 1945 in the United States, originally referring to a television cameraman. Its meaning evolved over time, later becoming a general term for someone who makes video recordings.

The shift felt slower in the UK, but with significant advances in technology, particularly as photography cameras began capturing high quality video, the line between photographer and filmmaker blurred, and the term videographer has become more widely adopted.

Behind‑the‑scenes view of a documentary interview setup with a monitor showing the subject and a camera operator filming in an art studio room

A moment for the camera geeks

The digital revolution has reshaped everything, as broadcast moved from analogue 4:3 formats to digital high definition and 4K, whilst photography leapt from 35mm film to digital SLRs.

In 2008, Nikon released the D90, one of the first cameras to deliver a more cinematic image using a 35mm sensor in a compact and affordable form.

A few years later, Sony bridged the gap further by combining broadcast functionality with Super 35mm image quality in the Sony NEX-FS100.

Suddenly, the tools allowed smaller teams to produce work that previously required much larger crews.

Choosing the right fit

Since 2010, Digitom has delivered communications, recruitment and learning and development films for national and global organisations across a wide range of sectors.

Approximately 45% to 50% percent of the UK’s film, TV and photography creative workforce is freelance, which has enabled us to build a flexible highly skilled core team, who’re experienced working across broadcast, advertising and branded content.

This approach allows us to assemble the right skills for each project.