The State of Professional Video in Portland, OR - My Personal Perspective

I’m going to try something a little different with this post. I can only speak from my own experience, and I know it might be very different for others. If you are considering making Portland the next stop in your videography career, make sure to talk to as many other video professionals as possible.

Portland is truly one-of-a-kind, especially when it comes to access to nature. Whether you're into hiking, backpacking, kayaking, skiing, or snowshoeing, the opportunities are practically at your doorstep (side note: I was featured on Redfin’s Things to Do article for new residents of Portland, OR. Check out the blog article here!). That was a big part of why I decided to move here almost a decade ago, and it’s kept me here ever since.

But I get it—if outdoor adventures aren’t your thing, and you’re not willing to trade a bit of your paycheck for this kind of lifestyle, you might find more lucrative opportunities in a "Tier 1" market. My colleagues who work in those cities seem to make several times what I do. But for me, the trade-off has been worth it.

The reality is that we only have two Fortune 500 companies with headquarters in this state. To put that in perspective, there were probably three times more Fortune 500 HQs in the business park where I used to work in Virginia. To make a living as a creative in PDX, I feel like you have be willing to take on mix of clients that includes small businesses and startups — and be prepared to adjust your pricing accordingly.

That said, there is work to be found, as long as you’re willing to hustle and have some savings to fall back on when work is thin. The videography market, in particular, has felt a bit over-saturated these past few years. But now, with AI technology advancing, some videographers are shifting gears and exploring new career paths, which is helping keep those of us still working afloat.

Of course, there’s still the standard corporate, wedding, and real estate video work available, as you’d expect in any populated metropolitan area. Videographers who specialize in those areas never seem to have a hard time finding work.

But there are also a few niches here that stand out.

For example, if you can break into the sportswear industry with a focus on commercial production, there’s potential to do really well. Companies like Nike, Adidas, Columbia, and Keen often work with local agencies and local talent.

There’s an area south of Portland informally called the ‘Silicon Forest’, and there are some companies doing some interesting work in tech here. These companies have been a staple of my clientele throughout the years and I’ve been fortunate to foster many great working relationships in this area.

Activism has become synonymous with Portland and unsurprisingly, the city is also home to many great nonprofits, always on the lookout for fresh, compelling video content.

If you’re open to traveling, you might find that there’s a real need for professional videographers in places like Salem, Eugene, or Medford. I’ve personally been contacted many times about work in those areas of the state.

There is some high-end commercial work happening in Portland too. The key crew roles are brought in from places like LA or NYC, but you might be able to find work as a grip or gaffer.

Narrative filmmaking, on the other hand, seems to be a tough nut to crack here, at least if you are trying to make a full-time living at it. That being said, there’s a thriving and supportive independent film scene here. There are plenty of talented and friendly folks eager to collaborate on a film project with you—just don’t expect much in the way of financial compensation.

So, that’s my take. This city may not be for everyone, but it works for me. Maybe it will work for you too!

A Great Digital "Super8" Camera - The Lumix FZ47

My beloved FZ47 rides again. This time it came with us on a weekend trip to Astoria, OR.

This camera is an excellent contender for achieving a Super 8mm aesthetic. The sensor is almost the exact same width as a frame of Super 8 film. The camera only captures 29.97 which works well in a 15fps sequence. The CCD offers global shutter as well as a long, fixed Leica lens. The camera can even capture 640x380 for a true 4:3 experience. It works well with a pistol grip and the tiny electronic viewfinder is not unlike that on some Super 8mm cameras.

I think it might be the most “fun” camera that I own. Highly recommended.

Tiffen Soft FX Filters


These days, it seems like a lot of people are using Black Pro Mist filters. If I’m honest, I’ve never been into the look. It makes my eyes work harder to focus, rather than allowing my brain to accept that the world in the video I am watching is a little softer and a little more mysterious. I realize that that is a highly subjective statement.

But that’s not say that filters don’t add something. I’ve been some research and liked what I was seeing from Tiffen Soft FX filters, so I purchased a set of three (Soft FX1, FX2, and FX3) and put them on trusty Nikkor primes and set up a moody scene to see what I would get.

Rather than using higher strength filters with higher focal lengths, I was surprised to find that I really liked Soft FX2 best at all three focal lengths. Soft FX1 is barely noticeable, and Soft FX3 is a little too dreamy, but Soft FX2 is just the right balance of sharpness, mystery, and a little additional halation around the point source without being overwhelming. At least to my eye.

It’s hard to view in this gallery view. You may have better luck opening each image in a new tab and clicking between them.

My first roll of motion picture film

My first roll of motion picture film ever, shot two months ago during our visit to the Painted Hills. This is something I’ve wanted to do since I was twelve but it always seemed out of reach. No longer!

This shoot was spontaneous and unplanned. We’d camped nearby so that we could catch sunrise over the Painted Hills. Joanna wanted coffee, so I decided to grab my new, untested camera not knowing if it would even deliver an image. Since the sun was rising so quickly, I relied on the 40+ y/o auto-exposure and it (amazingly) worked like a charm. 2.5 minutes of film sure does go by quickly! I enjoyed the experience and the unique look that this process delivers.

Elmo Super 110R with Kodak Vision3 50D
Processed by CineLab
Scanned in 2K HDR by Gamma Ray Digital

How affordable is shooting film in 2021?

I have been enjoying still photography on film a lot lately, but I’ve never shot motion picture film. Now that cameras can be had for relatively little money, I wanted to get a sense of the true costs of development and scanning, and how the formats compare based on cost.

This is by no means an exhaustive list. It is just to get a sense of what is available, and how much it costs. I picked a baseline Kodak stock that every dealer should have. There are also quite a few different businesses that can develop motion picture film, undoubtedly offering variations in quality, service, promotions, and bulk rates.

With that in mind, here’s how I broke it down:

SUPER-8

Kodak Vision3 50D Color Negative Film, 50ft (2:46 of “recording” time at 24fps)

  • B&H: $31.95/cart + shipping

  • Adorama: $35.94/cart + shipping

  • FilmPhotographyStore.com: $32.99/cart + shipping

  • NW Film Center: $29/cart (local, pick up only)

  • Pro8mm: $76.26/cart + (package deal; includes processing and 2K scan; free shipping with Amazon Prime)

Processing & 2K Scan

  • Cinelab: $45 + shipping

  • NW Film Center: $52 (1080 only; local pickup only)

  • Yale Film and Video: $125 + shipping

  • FilmPhotographyStore.com: $55.00 + shipping

  • Pro8mm: $76.26 + shipping (package deal; includes film and one-way development shipping)

Most affordable: NW Film Center (local, so no shipping charges) = $81/cart with no shipping ($29.28/minute)

If you’re not local to Portland, then buying Pro8mm’s 50’ S8 cart from Amazon seems like the lowest price: $76.26 + return shipping. If we guess $8 for return shipping, then that’s $84.26 ($30.46/minute).

16MM/SUPER-16

Kodak Vision3 50D Color Negative Film, 100ft (2:45 of “recording” time at 24fps)

  • B&H: $49.95 (free shipping)

  • Adorama: $52.95 (free shipping)

  • FilmPhotographyStore.com: $53.99 + shipping

  • NW Film Center: $45 (local, pick up only)

  • Pro8mm: $125 + shipping (package deal; includes film and one-way development shipping)

Processing & 2K Scan

  • Cinelab: $65 + shipping (1080P; 2K Log is $115)

  • NW Film Center: $53 (1080 only; local pickup only)

  • Yale Film and Video: $125 + shipping

  • FilmPhotographyStore.com: $80.00 + shipping

  • Pro8mm: $125 + shipping (package deal; includes film and one-way development shipping)

Most affordable: Again, the NW Film Center (local, no shipping charges) = $98/roll with no shipping ($35.64/minute). EDIT: I’ve since learned that NW Film Center is sending film off to CineLab and Spectra, probably to help people take advantage of batch discounts.

If you’re not local to Portland, then buying film from B&H and developing at Cinelab comes to $114.95 + shipping. If shipping is $16, then the total cost would be $130.95 ($75.60/minute). For 3-4 dollars more, Pro8mm offers a 2K Log scan, which in my opinion would be the better deal.

Feel free to check my math, and let me know if there are any other resources that i should be thinking about here.

The big surprise for me is that at their lowest prices, developing and scanning 16mm film is only about 20% more expensive than Super8. It’s really not that much of a difference for the increase in resolution of 16mm. You can always order a 4K scan of your Super8 film to close the gap a little but once you factor in a 4K scan, 16mm actually costs quite a bit less.

There is another format that I learned about that can bring bigger cost savings: Double Super 8mm. With a format that stacks S8 exposures on 16mm film, you can get down to a little under $20/minute if you take advantage of Pro8mm’s package deal (apparently we have them to thank for pushing Kodak to bring this older format back). But this pricing only happens with their 100’ film package, and most of the DS8 cameras available shoot only 33’ of film. The ones that do shoot 100’ of film are quite pricey and would probably only make sense for dedicated super 8 filmmakers who shoot enough film to recoup these upfront costs.