Videographer Chad Summers. Picture: Supplied
We all see stuff. But it’s how you look at things that changes perceptions. Camera operators and directors of photography, create the visual eye candy that TV and cinema audiences become immersed in.
A picture might tell a thousand words, but a moving image spins a million sentences. And videographer Chad Summers is living his dream.
A cameraman who’s been on adventures around the world, it’s been a journey to get there. And for these self-made pictures man, it’s been a lifelong ambition.
“In the time where kids rode bicycles without helmets and Robocop was all the rage, I was the kid who idolised Arnold Schwarzenegger. I even styled my hair like him,” says Summers.
The movies of his childhood, including classics like The Terminator and the rag-doll horror Chucky, were his first introduction to the magic of film. But before the camera became his trade, he wanted to be an actor.
His initial dive into performing saw him participate in school productions and landing roles in radio ads and TV shows. “Remember Dumani the Magic School Bus? Warty the Warthog and I were inseparable,” he says.
But it wasn’t just about acting. He and his friends started making their own “movies”, first as simple plays and then using camcorders. But he didn’t end up studying cinematography. He went to varsity and studied audio and postproduction instead. But fate had another thing coming.
“In my final year, there was this class on basic video editing. That was the moment I realised I had a stronger affinity for visuals than audio,” he says. This Eureka moment, and a birthday gift, a Sony handycam from his mother, set him on a path that would see him filming stories from Joburg to South Sudan.
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In a very short space of time, Summer’s childhood passion ran full circle back to the genesis of his passion – making moving pictures. He left audio behind and has never looked back.
“Telling people’s stories through my lens,” he says, is what he lives for. “Perception is subjective. When I bridge that gap through my visuals, that’s pure power to me.” But getting the perfect visual is about stress and toil. While people might think that TV and film are all glamour, Summers says it’s more sweat than starry eyes.
“Set life is tough, long hours and pressure. But a dedicated crew can turn that around. It’s about those laughs and moments we share,” he says. And it’s not just about the good times. Work behind the camera can be dangerous.
Summers recalls: “There was an incident at a studio when a lighting rigger fell from a considerable height and was seriously injured. It was a stark reminder of the risks involved in our line of work.” Despite the challenges and cautions, the joys of the job are unparalleled.
Chad has had the privilege of shooting in unique locations.
“My time in South Sudan was challenging and humbling. Hearing tales of kids in wars and the struggles they endured made me count my blessings.”
It’s also a rapidly evolving world – from the years of actual film, through to video and bulky, heavy equipment to today’s versatile and lightweight hi-tech gear.
“Technology has made life easier. But it’s also intensified competition. Today, with people even using cellphones to shoot, anyone can produce decent imagery. What differentiates you is your unique vision,” he says.
And that is what will save creatives like Summers from AI replacements despite technology heading in the direction that futurists predicted, creating visuals from spoken or typed language inputs.
“There’s emotion behind shots. While artificial intelligence may replicate some aspects of my job, the heart and soul behind a scene? That’s irreplaceable.”
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