The ‘hybrid image practitioner’ in Hong Kong; a critical review of technological developments and their impact on simultaneous creation of still and moving images

The simultaneous gathering of still and moving images by the same professional (the hybrid image practitioner) is defined as a newly emerging role that has subsumed the skillsets and knowledge of the still and moving image practitioners to produce both from a new and unique viewpoint. This process has the potential to encompass dual roles through the use of new technology for the production of media content in a wide range of productions. Whilst the proof-of-concept of this approach has been promising, the viability of practice and the demand on practitioners is still not clear.

The primary aim of this project was to examine why, how and if practitioners and industry are producing both still and moving images within the same production with a particular focus and overview on the impact of lighting and technological change. To achieve this a mixed methods methodology gathered data across a questionnaire, interviews and case study.

Care was taken to ensure ethical practices, including anonymity and privacy of all participants, and to avoid researcher bias where possible throughout the project. With this in place the three data sources allowed a deep and triangulated insight into the process of change in the industry using qualitative and quantitative data gathered in the questionnaire, interviews and case study. This was then used to investigate the extent of change present in practice and the range of influences in the workplace affecting that change.

This project is the first doctoral research to investigate hybrid image production in Hong Kong. Data analysis led to findings and conclusions in practice and theory regarding hybrid image gathering. A new type of professional was proposed as a result – the hybrid image practitioner. A new concept for considering lighting practice was proposed and the use of assemblage theory as part of a conceptual framework for practitioner research was examined. This was illustrated with an assemblage of the hybrid image practitioner produced through the projects data and integration of theory. These areas led to a proposal for future research into an integration of still and moving image theory, and additional research into the aesthetics of hybrid image production.

The value of auto ethnographic research in periods of change, where other forms of data gathering may not be accessible, was used effectively through the project’s changing nature as a result of the pandemic and social change in Hong Kong following the 2019 protests and ensuing legislative changes.

Primary findings in industry practice showed the significant impact of LED light sources and smartphones on image gathering and creative lighting for hybrid image production. A secondary finding regarding practice was the significant lack of lighting knowledge and use by new practitioners. Thirdly, the research showed that still and moving image professionals and industry in Hong Kong maintain a distinct separation of still and moving image gathering. This is a significant concern and perception would need to change before hybrid image production can become more effective.