
In short: Stills on a video set need their own slot in the schedule, a light plan that works for both the camera and the stills, and a clear agreement on who can use the pictures and for what. Plan the stills at the same time as the video, keep them out of the camera's shots, and agree the usage in writing before anyone is photographed.
Stills and video on the same set compete for the same light, the same space and the same people. The way to get both is to plan them together, before the day, rather than to squeeze the photographer in at the end. Settle the time, the light and the permissions first, and the pictures will follow.
Plan the time before the day
Decide how much time the stills need and where it sits in the schedule. On a small shoot the usual answer is a short window between setups, or the last half hour of a setup where the camera is already in position. Put this on the call sheet, so the cast and the director know when they will be photographed.
Tell the director and the camera team what the stills need and why. Stills need one clean moment, while video needs the performance to repeat, so the two requests can clash. A short, agreed slot avoids most arguments.
Plan the light for both
A light set for video is not always right for a still. Video looks best with lights that stay on and hold their position, while a stills photographer may want a light moved, a flag added or a reflector closer. Ask the gaffer and the stills photographer to agree the plan together before the lights are set.
In a studio with no windows, every frame depends on the lights in the room. Test one frame of the stills setup on the monitor, and check that it still works after the video crew has adjusted the lamps.
Keep the stills out of the shot
A stills photographer chasing an angle can drift into the video frame without noticing. Agree a marked position for the stills camera, away from the video frame, and make sure the stills photographer does not move into a shot that is rolling. Anything in the video frame is a risk to the take.
Agree the permissions in writing
Before anyone is photographed, agree in writing what the pictures can be used for, where they can be published, how long they can be used and who holds them. This applies to the cast, the presenters and the people in the background of a location.
A verbal agreement made on the day is hard to prove later. The wording should come from your producer or a lawyer, not from the photographer's standard form.
Common mistakes
- Booking the stills photographer without a slot in the call sheet.
- Lighting the set for video, then changing it for the stills after the camera has gone to lunch.
- Letting the stills photographer into the video frame during a take.
- Taking pictures of people who have not agreed how the pictures will be used.
- Assuming the stills can be used for the same purpose as the video.
If you want stills and video from the same day, say so when you brief the studio. The light and the time can then be planned for both. Our guide to briefing a video shoot sets out what a brief should cover, and the BTS and EPK checklist covers the behind the scenes side.
Related guides
Questions we get asked
Can you shoot stills and video at the same time on a set?
Sometimes, but it takes planning. On a large drama a unit stills photographer works alongside the camera with a silent camera. On a small shoot the usual arrangement is a short window between setups or at the end of the day.
Do you need a permission to use stills from a video set?
Yes, in practice you need a written agreement that says what the pictures can be used for, where, and for how long. Agree it with the people in the pictures before the day, and take the advice of your producer or lawyer on the wording.
What is the difference between BTS and unit stills?
Behind the scenes (BTS) pictures show the making of the shoot for promotion. Unit stills are the photographs taken for the production itself, such as posters or publicity. The two can overlap, so agree which you are making before the day.
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