How Video Has Helped My Still Photography Business

After a slow spell, which I can’t say I ever get used to after 30 plus years of freelancing, the phone started ringing.  The calls were all in regards to still photography assignments.  Having been a still photographer for most of my life, that wasn’t unusual, but what was interesting was that I beat out my competition – other still photographers – because I knew video.

Times have sure changed. When I started exploring the medium of video, over 15 years ago, I didn’t abandon my still photography – I simply added another skill set.  Most of my clients over the years have hired me to shoot one or the other, and sometimes both.  But what I see happening now is that as print moves to electronic delivery, my still photographic clients are also looking for a “photographer” that can shoot video components on a still photography assignment.  They need multimedia content for mobile devices and online platforms that cry out for movement and sound.

I don’t think of myself as a “still photographer” or a “videographer”.  First of all, I absolutely hate the word videographer because it smacks of a dated notion of what video used to be.  I think of myself as an “imaging professional” or sometimes a “new media producer” or sometimes just a “storyteller” because that’s what I do – I tell a client’s story, or deliver their message to their targeting audience.  I don’t define myself by the tool I use.

With convergence happening not only in the cameras we shoot with but in the media we create, I will opt for the “tool” or camera(s) that enable me to tell the story I need to tell, in the best way possible.  I’ve been thinking that way since I first forayed into video.  It’s nice to know that now my clients are thinking that way too.

Polishing a Trailer

A trailer can attract someone to see your film or not.  It can determine if a film lives or dies. I just got back from Hawaii.  I had been visiting and working with my friend PF Bentley in Molokai and PF was color grading my trailer, balancing the audio and creating new title graphics.  I had been wanting to do that ever since I made the trailer over 2 years ago, but I didn’t have the know how, nor the proper software to do it.

Here are the BEFORE and AFTER versions of the trailer. These clips only illustrate the before and after in terms of color grading. PF also changed the title slates as well as greatly improved the audio, but these clips only show the “after” results as far as those changes.

Generally, a good trailer will peak your interest and make you want to see the film. But sometimes a trailer makes you feel like you’ve already seen the best parts of the movie, and that’s not good.  Trailers set the tone of the film.  They tease and introduce us to the characters and a bit of the story.  Thrillers evoke suspense with fast cuts while romantic love story trailers let shots linger on the screen.  Choice of music is integral to setting the tone, pace and rhythm of the trailer.  All these things combined is what makes a great trailer.

There are editors who specialize and only edit trailers.  Editing a trailer is different than editing the full film.  You don’t need to be concerned with explaining the whole story of the film. You need to tease the audience and make people want to see more. I have gone through a few variations of this trailer since the initial cut, each time shaving off a bit of time on it’s length. This latest revision was just to give the trailer more polish, smooth out the color and sound and create better graphics.  Overall it has made the trailer look more “movie” like and less like a video.

The best way to learn about making trailers is to watch a lot of them.  It’s pretty easy to find trailers online.  You can watch them on a film’s website or on a site like moviefone.com.  Check them out – It’s a great way to see first hand what makes a great trailer.

The Love and Angst of Learning

I don’t think there has ever been a point in my life when there wasn’t something that I didn’t want to learn about.  I’m just a very curious person who has an insatiable desire to learn. I’ve been learning about filmmaking over the last two years and I am addicted to learn more.  I am realizing that I have always thought in a cinematic way.  As a photographer, I saw my stories as films – a pagination of images – combining to form the story in my mind’s eye. I am so intrigued right now with the craft and structure of screen writing, and want to learn more.  I have a story in my head that I want to “get out” and I see the visual elements playing out in my head.  Now, I’m starting to “hear” the story and the words and I want to learn how to craft those elements into the beginning of a screenplay.

Last Christmas, I got the Rosetta Stone course for Spanish.  When I was traveling with Erin in South America, she became my translator and I was really frustrated that I couldn’t understand the language, so I vowed to learn Spanish.  I’ve been trying to squeeze in the time to learn electronically, but it’s so hard for me.  Languages have always been difficult for me – even English.  Really the only way to learn a language is to immerse your self into it.  I try to tune into conversations when I hear Spanish being spoken and make feeble attempts to participate.  Slowly, I’m getting better but I doubt I will ever be able to roll my r’s.  I have found though that when I “relax” and imagine myself as someone who is fluent in the language, I do much better.  The same thing happened when I was in New Zealand last fall and I got on an ATV vehicle for the first time.  I just pictured myself as being one with the machine and I did just fine.

Lately, I’ve been teaching myself editing with Adobe Premiere.  With Final Cut Pro going to a completely different program, I wanted to expand and learn Premiere.  But, what really prompted me to learn is that I will be going to China for a month, to teach Chinese journalists how to “tell stories in motion”.  I knew I needed to learn an editing application that was cross-platformed and Adobe Premiere was the obvious choice.  Learning Premiere has been easy, especially with Lynda.com. I am such a big fan of Lynda.com. Of course, knowing how to edit helps.  Essentially it’s not much different than Final Cut.  Things are named differently, but the basics are the same.  There are also a lot of things that I love, especially the easier integration with other Adobe products like After Effects, Photoshop and Bridge.  Now the Adobe Suite has a screenwriting application, Story. Could that be the nudge needed to follow through on the screenplay that’s beginning to play out in my head?

So, my learning path continues. But I’m also playing my part by passing along what I know.  Things have a way of coming full circle.

The Problem With (Most) Video/Motion Workshops

This has been something that has been weighing on my mind for months now – ever since the seemingly “overnight sensation” of people giving video workshops as well as the growing number of still photographers that are feeling the need to take these workshops.

The biggest problem that I see with all the video/motion workshops that are out there is that they oversimplify video production and take the approach that the single independent still photographer can learn and do it all – produce, operate the camera, capture good audio and manage the post-production and edit.  I suppose to be fair – while it may be true that the independent still shooter can learn all facets of video production, that is not the best approach as far as setting up a viable business model for a video production company.

Video is a collaborative medium.  While I may be able take just about any video production from soup to nuts single handedly – I know that the production would suffer if I did.  I learned a long time ago to build a team of good sound people, editors and even camera operators that I can draw on to hire on a need be basis.  They make the production and me look good and that’s what keeps my clients coming back.  It also allows my business to grow because I can take on more projects. If I’m not entrenched in all aspects of the production. It frees me up to start production on another project while still in post-production of a previous project.  If you are a one-man band, you not only don’t have this option but you actually make yourself look small in the process.

Video and motion have many facets to them.  I advocate that the best business models are when one positions themselves at the top of the content creation ladder by overseeing the production of the whole and hiring the appropriate crew that will facilitate the process.  By recognizing the differences between this business model and the “solo” model that most independent photographers work under, you’ll have a much better shot of maintaining ownership of your work and creative vision as well as having the potential to grow your business beyond your own singular capabilities.

The other problem with workshops that over simplify the process of video production by promising that you will be up and running after a one day workshop is that they are centered around learning the gear and the software which changes by the month.  If you learn just the gear du jour and not focus on the business of video production you will be in competition with other independent dabblers and that’s a quick way to the poor house in terms of sustainability.

A week doesn’t go by when I don’t get at least a dozen calls or emails from still photographers who feel they need to get into video and are overwhelmed by the learning curve.  I tell them that the best thing they can do is NOT to try and learn all these skills themselves and that in fact that will only delay their entry into the video production, business if that is what they are after.  A better way is to keep your focus on your vision, apply that to a sustainable business model that will incorporate video and collaborate with others who will make you look good and help you grow your business.

There Are No Prince Charmings or Overnight Successes

I think we all buy into a lot of crap in our American culture – in a lot of cultures actually.

Let’s start with “Prince Charming”. Young girls grow up believing in the fantasy that there is ”the ideal man” out there who is perfect in every way. And young boys grow up with their own version of this fairytale.  It’s really too bad because it’s all those flaws and differences that make us all human and drive us all crazy, that are the very things we should embrace. In our expectations for perfection and our intolerance for less, we often see only the “blemishes” or the cons and overlook the overall person.  We fail to see that it is all of those things that go into the make up of a person’s character. It took my husband and I many years to figure out that the very things that annoyed us about one another – our differences – made us stronger as a couple.

There is no such thing as an “overnight success”.  We believe that because in our culture we only hear about the successes.  For some reason we don’t look at the big picture and everything that led to that recognition. Success is an interesting concept to me anyway.  Many people define it by winning or attaining financial wealth.  Ultimately, it’s defined by a final destination rather than the journey.  Is it really about the final destination? If so how does one determine if only one win is enough or how much money is enough?

Talk to anyone who has risen to celebrity status and they will talk about the ups and the downs and the constantly evolving journey. A lot of musicians, who have had big hits and have gotten rave reviews, don’t always get the same glory the 2nd, 3rd or 4th time around. Their careers are made up of the highs and the lows and everything inbetween.

I’ve had my share of highs and lows.  Last week I got my rejection notice from the Sundance Film Festival for my film, Opening Our Eyes.  Rather than be despondent about it, I will frame this email rejection as a reminder to myself that I entered and had the courage to try.  There were over 11,000 entries and only 16 documentaries will be shown this year. I am proud to be in this 99%. This rejection is but one of many that I’ve had over the years of my career.  I’ve certainly had more rejections than I’ve had successes, but the failures have only made the successes that much sweeter.

This film in particular has been an evolving journey for me – with no destination in sight.  While it may never be a “success” in terms of how some people define that word, for me it has already brought many unexpected rewards to my life. For example,  I’ve just returned from Sao Brazil, Brazil where I had been invited to do a TEDx talk. It was one of those weekends that gave me great hope for the future as I dialoged with amazing people who were doing extraordinary things with their lives and for the lives of others.  The next evening I was given the opportunity to screen my film at MIS, a beautiful museum in Sao Paulo.  During the Q&A, a man asked me if making this film had changed my life.  I didn’t have to give it a second thought before I answered “yes and it continues to do so in amazing ways.”

I will continue to embrace the entire journey – the lows as well as the highs.

Five Top Tips for Emerging Photographers

I talk to a lot of young aspiring photographers these days and invariably I am asked, “What advice would you give someone who is just starting their career in photography? – Is there a future? – Can I make a living?”

I don’t have a crystal ball but I do have 35 years of experience behind me but yet the enthusiasm and outlook of a 25 year old.  I remind myself of what I learned from my mentors when I was just starting out. One mentor, who shaped my career, was art director Adrian Taylor of Travel & Leisure Magazine. Adrian taught me a lot – about magazines, about the story, about style and taste and most importantly he gave me the confidence to believe in myself.  Adrian gave two young, naïve photographers, my partner and myself a chance and in return – we always gave it our all every time we set out to shoot a story.

With that said, I would not be where I am today if it had not been for mentors like Adrian Taylor and my greatest joy at this point in my life is to pay that forward to photographers just starting their careers.

• Learn video – Video is no longer a “specialty niche” or in fact a separate genre at all.  In the very near future – which is already upon us – a photographer will need to know how to shoot both stills and motion – or partner with someone who does.
• Stay true to what your inner voice is telling you.  For example, if your passion is to be a photojournalist, don’t listen to people who are telling you that photojournalism is dead and that newspapers are a thing of the past.  While “printed” newspapers may be dying out – journalism and photojournalism is not.  Don’t let others’ dogma determine what your path should be.
• Collaborate with your peers.  When I was first starting out, photographers kept their clients, their techniques and their ideas to themselves.  But I have found that whenever I have collaborated with others – we all push the bar to the next level – each bringing their own strong suits to the project.  As a subject of my film Opening Our Eyes told me “We’ve got to shine each other up.”
• You don’t need the validation of others to proceed with your idea and make it into a tangible plan and product.  As far as publishing and/or distribution is concerned – the gates to the kingdom are open and the kingdom is the entire world.  We are living in a time of empowerment for the individual and for a content creator that is profound.  If you are willing to do the work – the rewards are bountiful.
• Act on the ideas that don’t go away.  It’s easy to let resistance sabotage you.  Resistance comes from many places – your loved ones, friends, your peers – but mostly yourself.  Stop talking yourself out of ideas and start acting on the ones that just won’t quit you.

I have made my work my pleasure in my life.  I have always found it difficult to separate the two.  When you feel that – you’ll know you are on the right path.

What to do When in a Slump

There are all types of slumps – creative, financial, relationship and personal. I’m sure there are others, but those are what come to mind – I’ve experienced all of them. I think that comes with living the kind of life I lead. There are times when it seems like I’m on a never ending roller coaster ride with lots of ups and lots of downs. The one thing I try to do when I’m in whatever kind of slump I’m experiencing,  is to focus on the areas that seem to be working in my life.  I’ve learned to take the bitter with the sweet.

Here’s some other remedies I have found that help get me out of a slump:

• GET OUT – I mean that literally as well as figuratively. I break the pattern of what I am doing that doesn’t seem to be working and “get out” of that place. I also literally – get out – I change my environs – I get together with friends.
• TRY SOMETHING NEW – I do something that I may have been thinking about, but I usually talk myself out of with every rational reason I shouldn’t do it. So, I follow my irrational instincts.
• WALK AWAY – This is especially true when you are dealing with something technical and you just don’t “get it”. There have been days when I have struggled with something that wasn’t working – like when editing in Final Cut Pro – and I need to give myself some time away from the problem. But this only works if you aren’t up against a tight deadline. I try not to force a learning curve into situations with tight deadlines.
•  FOCUS ON WHAT IS GOING RIGHT – There is always something to be grateful for – focus on that.
• BE STILL – I think this is perhaps the most important remedy that I have learned to embrace and that is – to give something time and not  force it. If something is meant to happen then it will – and in its own time.

Every one of these “remedies” is pretty much centered around the same thing,  and that is to recognize that there will always be slumps in one way or another – but they will make those sweet times that much sweeter.

Top 5 Business Mistakes Photographers Make With Video

In the last couple of years in the photography world, it seems like everyone is scrambling to learn video.  In particular, still photographers are jumping into this “genre” because their hybrid cameras have the capability of shooting motion.

There are hundreds of seminars teaching the gear, but few point out the differences, when it comes to the “business of video”.

Here’s 5 mistakes I see still photographers make when they leap into motion:

• 1.  They throw in video as part of the deal and don’t charge for it.  I hear about this a lot.  A client and photographer are on a still shoot and the clients sees that the photographer is shooting with a hybrid camera and asks the photographer to shoot some video clips.  The photographer obliges because he/she can and the money is left on the table.  Remember when still photography went digital and photographers became the labs but didn’t charge for the post-production?
• 2.  They don’t update and upgrade their insurance policies.  Video production shoots are not covered on most still photographer’s policies.  Be prepared for a jump in what you need to spend on insurance to be adequately covered on video production jobs.
• 3.  They don’t consider the ramifications when they are working with SAG or AFTRA talent and they are asked to also shoot some video of the talent on the job.  This crosses the line as far as the unions are considered.  While it may be OK for SAG/AFTRA talent to work on a “still” set – when you go into video mode – it’s not OK.
• 4. They think of themselves as just shooters.  This is typical and is fine in the still photographic world, but in the collaborative world of video production, a shooter is a hired gun with no ownership in the intellectual property.  I like to position myself higher up the ladder as a producer and maintain control over the job and the content.
• 5.  They look at video as a separate genre.  That’s changing radically as video is no longer a separate niche and genre, but part of almost every photography market from editorial to architecture. Even ad agencies are starting to merge their motion and still departments.

Conversation with Director/Editor Erik Freeland

I was extremely fortunate that Erik Freeland of Springhouse Films was the editor on our film Opening Our Eyes.  I learned a lot from Erik through our collaboration.  I thought I would share some of Erik’s insights about the art of editing.

What makes a good editor?

Knowing a little bit about everything. Art history, popular culture, physics, linguistics, music… it gives you more points of reference for understanding and presenting the story. Attention to detail is very important because in the end, nothing goes unnoticed by the audience. I guess I’d have to say patience is tremendously important –– even though computers do amazing things, editing is at its core a tedious process.

We all seem to wear more than one hat these days – do you? If so do those skill sets complement each other and how?

I started in this business as an editor but really wanted to have more control over the material I was editing. I’ve have been fortunate to be able to also have a career as a director. Understanding those two disciplines and knowing what is possible in each allows me to visualize the editing process more during the shoot.

I know from editing projects myself, it has made me a better shooter. For still photographers who may not want to edit their own projects – what tips can you give to them about shooting video and motion?

Don’t cut too soon. Be patient and let a shot evolve.

When shooting a scene or a moment in time, think of it as different framings: the wide establishing shot, a medium shot of the main action or subject and little details that can serve as cutaways to prolong the scene or intercut the other shots while masking breaks in continuity.

Plan your movement of the camera and commit to it. When you start a pan, resist the temptation to reframe the shot mid-move. Keep it moving for long enough to make the shot usable in the edit and cut only if it really falls apart.

Keep in mind how much footage you are shooting vis a vis what you will want to end up with. You don’t want to miss anything important but a lot of redundant footage can really be a liability in your edit.

What does a well-edited film mean to you?

Many things. I think first and foremost, it’s about clear storytelling. It shouldn’t be confusing and leave the viewer behind. The editing shouldn’t stylistically overpower the story. Secondly, the rhythm of the cutting should help move the film and should be sympathetic to its tone. Third, it should move you, surprise you, change your mind, do something… I suppose I could say the same things are equally important in directing a film.

As an editor, you can have a lot of influence over the meaning and arc of a story. How much influence should an editor have? Does it depend on the director?

An editor should exercise as much as they can… without upsetting the collaborative balance. Everyone involved in the film should influence it to the best of their ability. Otherwise, their contribution to the process is short-changed. Of course, every working relationship is different and some are less collaborative.

What makes a good director?

I think some of the same qualities that make a good editor are part of a being good director. Knowing a little bit about everything as a director for instance, allows you to tell many types of stories and immerse yourself in the subject matter. Attention to detail, multi-tasking capabilities, being able to verbally communicate about visuals are of course all important skills. There is also a balance between focus and objectivity. A good director is fused with the film –– totally absorbed in every detail. At the same time, they have to be able to look at it and all decisions objectively and from a distance, almost like the eventual viewer.

What makes a good story?

Characters you care about, conflict and location, location, location…

What’s more difficult – editing a 2 minute piece for the web or a feature length film?

Hmmm, that’s a hard one. Kind of like asking which is better night or day.

Does editing have trends? Maybe you can point out a couple of examples of style over the years.

OK, first I don’t profess to be a film historian but I try to keep up on things. I tend to watch the films I like the most over and over. Technology has certainly created trends in film editing and directing. Advancements in keying technologies, motion tracking and motion capture as well as realistic CGI environments are but some of the major trends that have changed the way films look and are edited. Probably the closest things to trends specific to editing have been related to timing and pacing. The time-lapse of “Koyaanisqatsi” in the early 80’s, the repetition and multiple outcomes of “Run Lola Run” and the quick cutting shorthand jump-cuts and time-compression in Guy Ritchie’s films like “Snatch” have all had a huge influence over the editing of their time.

The Movie “One Sheet”

If I thought that by finishing my film, I was done – I was sorely mistaken.  My work has just begun.  What would have been the point of putting my heart and soul into a film for the past year and a half, if no one sees it? That means there’s a lot more work on my part, getting it out there – distributing it, marketing it and promoting it.  All that takes time, money and expertise.

I’ve been reading Jon Resiss’ book “Think Outside the Box Office” – “The Ultimate Guide to Film Distribution and Marketing for the Digital Era”.  It’s become my bible. For starters, it lays out what a filmmaker needs to do to get their film out there, create an audience and make money.

In terms of publicity, every film needs a good press kit, which should include:
•    One Sheet – with tag line
•    Synopses – long and short
•    Cast and Crew Bios
•    Director’s statement or interview
•    Production stills and video interviews for the electronic press kit.
•    Production stories – something interesting about the making of the film.
•    Technical specs

When I first heard the term “one sheet”, I wasn’t quite sure what that was.  It’s pretty much what it says it is – a one-sheet piece of paper describing your film, but it it’s concise with provocative visuals and a catchy “tag line”, designed to peak interest, whether it is with the press or the movie going public.

A “one sheet” can also be what most of us call movie posters.  They are essentially the same thing – a one sheet with imagery and text to capture someone’s attention.   Some movie one sheets are works of art in their own right and become collectibles.  Think of some of the best ones that you have seen over the years.

Sounds like it should be fun – coming up with a “one sheet” for the movie, but even though I have a lot of great content for a “one sheet”, I don’t have the skills needed to create a composite for a movie poster. There are people who just design movie posters – that’s their niche.

I’ve learned a lot in the process of making a film.  The most important thing, I’ve learned is to make relationships and collaborate with others who can bring their expertise to the project.  It’s not only a rewarding process, but it raises the bar on the final outcome.