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INTERVIEW: ROBBIE WALCOTT
Interview introduction:
Good Loco videography Sydney is proud to introduce our interview series ‘’Shooting
Stars’; a quick chat with some of Sydney’s best videographers, who have been kind
enough to pass on some tips on where to start when looking for videography
services.
Today, we’re fortunate enough to catch up with Robbie Walcott who is the Founder
and Director of RAAW Creative photography and videography services Sydney. The
company covers private and public events, and he also shoots music videos for one
of Australia’s fastest rising punk bands, Down For Tomorrow, who regularly feature
on the likes of ABC’s Rage and MTV.
Questions:
1. Thank you for taking the time to catch up with us at Good Loco videography
Sydney. We’ve touched on a brief introduction, but could you please tell us a
bit more about what you do exactly?
Well, as stated, RAAW Creative has up until now been predominantly a videography
and photography company, which for the last several years has created visual
content and assets for a variety of clients, ranging from musicians and artists,
corporate companies, and event work. With that said, I like to see myself as a
creative jack of all trades, where I strive to immerse myself in a variety of other visual
disciplines, including still and motion graphic design, cinematography (not to be
confused with videography), editorial film photography and directing.
2. When people are looking for the right videographer, what kind of things
should they be looking for and taking into consideration?
When looking for the right videographer, you should definitely take a look at their
portfolio and ask what work they’re interested in doing. Figure out if you’re
compatible, first and foremost. People often see videographers and photographers
as a malleable creative, who are comfortable and willing to shoot in any style, and
worse yet, believe they are capable of replicating high budget work for a fraction of
the price. This just simply isn’t the case. Find a videography service in Sydney that
suits the style you’re looking for, and whose budget also fits your own. Though, if you
really want a particular videographer but can’t quite afford them, try to avoid straight
undercutting and arrange to give them more work in the future, as well as more
creative freedom. Even offer to return an equal value service of your own. (As well
as what you can pay.) Videography services love nothing more than to be
appreciated for their style of work, trusting them with creative freedom, and adding
that incentive of ongoing work in the future.
3.What advice would you give to musicians when they are preparing to shoot a
music video?
The first piece of advice I’d give to musicians preparing for a music video is to allow
more time in pre-production than you think necessary, then add a few extra weeks.
Too often the film clip’s planning is severely overlooked, and everyone pays the price
when things don’t come together during production and post production. Secondly,
make sure the budget and exchange of services is understood by all parties. The
budget is key to execution. Whether it’s equipment hire, talent rates, location hire,
props, etc, your budget is what will be the difference between making and delivering
the clip you want and the clip you don’t. Thirdly, be less ambitious. If there is one
thing I’ve learned from making indie music videos over the last several years, it’s that
you and the band aren’t a big time production team (unless you are and have the
budget, resources and connections of course). Your music videos should only ever
be as big as you are as an artist. It’s nice to be ambitious, but it’s always better to
aim slightly lower and exceed expectations than it is to aim too high and fall short.
4. As you predominately work as an events photographer / videographer, have
you seen a significant downturn in business? If so, how have you pivoted in
the current climate?
The downturn in event work has been significant since the start of COVID-19. Over
the last few years I’d taken a step back from shooting private and venue events, as it
can be quite a vapid and draining experience, and instead began focusing on
shooting for individual artists and bands as their personal content creator. This type
of work was starting to really pick up pace, until the event side suddenly stopped due
to the pandemic. However, having a good rapport with the artists and clients you
work with is a great position to be in, as it allows you to work on other projects that
will be creatively mutually beneficial for both of you— such as press shots, music
videos, and other innovative and interesting content to keep the fans engaged.
Another upside to the current climate is how the additional spare time has allowed a
lot of creatives to improve on current and new skills. So while we may have lost work
and money in the interim, looking ahead we now all have a lot more to offer.
5. There’s a lot of companies who claim ‘best videography services Sydney’ on
their websites, but in your honest opinion, who are some of the most
promising people behind the lens in Sydney?
It’s hilarious to me that any company would make such a ludicrous and highly
subjective claim. It’s as laughable as claiming “best coffee in Sydney” if you’re a
cafe. Anything that’s based on taste, whether it be visual, audible or oral, cannot be
judged objectively as personal feelings, experiences and tastes are entirely
subjective. With that said, I’d recommend these Sydney based
videographers/videography companies I know and have worked with: Jono Le Grice,
Ollie Ritchie, Aaron Bull, Adam Krowitz, Yolo Media, Wilson Visuals, Jacob Thomas,
Brandon Lung, Paulo Fallone, Matthew Alexander Hill, Brennan Clody, Yeah Sure,
and Sam Evans. There are a lot out there! Competition is fierce, but almost always
collaborative and friendly.