Gail Mooney

September 1, 2011

The Future of Photography

About 5 years ago while attending Photo Plus in NY, I noticed an interesting keynote talk on the docket entitled “The Future of Photography”. When I arrived at the Expo’s theater, there was a sign at the entrance “The Future of Photography” with the word CANCELLED written across it, in red. I laughed at the irony.

I think that was the first year that I spoke at Photo Plus and my topic was geared toward photographers who were thinking about moving into motion. It was the only seminar listed that was about video or multimedia. Yesterday, I received this year’s Photo Plus seminar line up. Not only was there an entire track devoted to video, but many of the other seminars had video components to them.

What I didn’t see though was anything in regard to the “business of video”. It got me thinking about the future of photography because for me the future will not define photography by the type of camera that is used. A “photographer” will have a much broader meaning than it does right now. Fast forward 5 years – a photographer will more than likely be defined, as someone who shoots both stills and video, or maybe even just shoots video and frames will be pulled from it later for stills. That is not a science fiction fantasy anymore – it’s real and it’s now.

If you think about it, if we continue to narrow our definition of what a photographer is by the type of camera he or she uses, it may be a big mistake from a business point of view. We separate ourselves from amateurs and hobbyists and call ourselves professionals not because we know how to use a camera – (these days pretty much everyone can and does – take reasonably good photographs) – but because photography is our sole means of financial support. That part is changing and professional photographers are supplementing their incomes by teaching or other things.

The word professional has always been a bit different in terms of photography as compared to other professions. There’s no test you need to pass or license to obtain to be a photographer. Just about anybody can take photos and sell them. So what does it mean to be a professional photographer? It certainly isn’t just about being able to take a beautiful photograph. For me it’s about sustainability. It’s about being able to make a living pursuing a craft that I love.

To sustain oneself these days as a professional photographer is to first acknowledge that it means you are a visual communicator – regardless of what type of images you are creating. It also means that you must maintain sound business practices in order to be profitable. I put a value on my time and more importantly on my vision. I’m grateful that I live at a time that allows me the capability of producing, creating and monetizing my own dreams without the need for validation or a commission. In fact, these days with lopsided contracts that are not written in the interests of the content creator, we are far better off producing and publishing our own projects and getting a better return as well.

I don’t have a crystal ball but I see a future that’s ripe with possibilities for all types of imagery.

August 24, 2011

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.

August 22, 2011

Somebody Should Do Something

Have you ever been in a situation or with a group of people when something is being discussed and someone says “somebody should do something”? It could be anything from a local school with a bully problem to helping victims of conflicts happening on the other side of the world. I hear that phrase too frequently. I used to say it myself. But the fact is the “somebody” is each one of us.

It seems like everyone is waiting for someone else to do something. There are some days it seems like people are in a stalled mood – everyone kind of waiting to “fix” things. There’s a lot of talk – the pundits on TV – the politicians – the short term capitalists – but nothing seems to be getting done.

I think people are basically “stuck” right now because everyone seems to be looking for that “one” perfect solution. We are so accustomed to thinking that way in our “made for TV culture” we overlook the ordinary simple things we all could be doing.

I’ve had a bit of a shift in my life over the last couple of years where I’ve really started being more conscious of my own actions and how those actions can affect my circle of influence. Just little things – but I know that the way to achieve any big goal is to break it down into little steps. One little thing I recently did was to design a simple cardboard DVD jacket for my film, rather than the traditional plastic case that DVD’s are packaged in. Committed people in grass roots groups like the Plastic Pollution Coalition, made me aware of the huge problem with plastics and our environment.

The thing I realize though is that “doing something” – anything – is better than waiting for someone else to make things right. It feels good and it’s addictive. It’s probably one of the few addictive things that are beneficial. And it’s empowering.

Go out and create your day.

August 19, 2011

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.

August 15, 2011August 15, 2011

Licensing and Music

Music is the heart of any film, tv show, commercial and just about any other type of “content” that delivers a message. Personally, I think that music is equally important to the visuals and dialog, in setting the feel and pace in any of those “products” I just mentioned. Imagine any of those things without music!

While working on the post production of a feature documentary recently, I became aware of just how important music was to the film and that I needed lots of it. In all I think we used over 53 pieces of music in a film that was 76 minutes long. And, I think we still could have used a little more in spots.

It’s amazing to me how many professional photographers don’t consider the licensing process when it comes to music. I’ve seen too many portfolio samples with “main stream” music that I know hasn’t been licensed because it’s prohibitively costly.
When you enter into the world of incorporating music into your creative projects and businesses be prepared to spend money and keep proper documentation. I learned a lot in this process and I’ll share with you some tips:

• Be prepared to spend money, especially if you are looking for broad rights. Even licensing royalty free music adds up if you want a mass market license. That would include everything from TV to a theatrical screenings to DVD’s and VOD, internationally.
• Even royalty free music in some cases comes with different tiers of licensing rights. One company I worked with www.neosounds.com had two options – Standard Licensing and Mass Market Licensing – the difference was that for TV broadcast, standard was national and mass market was worldwide.
• Make sure you keep all licensing agreements as well as any receipts for music – both electronically and printed copies. You will need this documentation. If you want to mass duplicate DVD’s – you will be asked for proof of licensing.
• Keep track of the music, the title, the publisher, the recording company, the artist, the songwriter as well as how much of the music was used (time) and where in the film. You’ll need all this info for your “cue sheet”. A cue sheet is basically a list of all the music that is used in a film in the order that it appears – with all the info above listed. If your film is accepted by a film festival they will ask for it.
• Don’t forget that most times you will need two licenses for a song. One is the “synchronization license” which is permission from the publisher to use the song and the other is the “master use license” which is permission from the recording company for a particular recording of that song.
• Apple Loops is “free” to use as long as you aren’t reselling just those clips as clips. But you’ll still need to download that license on the Apple website.

I’ve learned a lot over the last couple of months in what it really means to be a producer – at least in terms of what is needed to get a film off the ground after the “fun” part of creating it is over. But, while this type of work isn’t “fun” – I’ve grown by the process.

August 11, 2011

The D.I.Y. Age

The world is full of possibilities these days. In fact, for the individual and their “reach” globally – it’s staggering how many possibilities exist that didn’t just a couple of years ago.

We can not only create in a more affordable way with inexpensive equipment and leaner crews – we can also get our creations out to the world without the need for a publisher or a stock agency or a film distributor.

We can do all those things due to the exponential growth of technology. But we also need to recognize that all those possibilities come with a cost, in terms of dollars as well as man-hours. Each one of those possibilities takes time and money in order to become a reality.

Even the path to getting money or financing these days has changed because of crowd funding. But like anything else you need to stand out amongst the noise, so who knows how long this trend can sustain itself.

If you’re planning a personal project, keep in mind that you will need to not only create it but find a way to get it out there after completion. Expect to put time and money into:

•   Self – Publishing – this includes hiring a designer and researching self-publishing partners like www.lulu.com in the print publishing world. They also offer downloads. In the motion world, you have options like Amazon, iTunes and Netflix.
•   Marketing, PR and advertising – This is definitely an area where you will need money and expertise. Jon Reiss in his book “Think Outside the Box Office” suggests that it will take an investment for at least as much as you spent creating your film.
•   Crowd funding – The crowd funding sites provide you a portal if your project is accepted but you need to do the work as far as getting people to know about your project and fund it.
•   Bookings – Whether it is an exhibit or a movie or a lecture – you need someone to book venues for you. This could also mean finding sponsors.

The bottom line is really kind of an old fashioned notion in a high tech age and that is – the prize is out there is you’re willing to do the work.

August 6, 2011

Authenticity

It’s a humid, Saturday morning in the dog days of summer. There’s a dozen things I should be doing – paying the bills, doing the laundry, filling out film festival submissions and catching up on the endless little details that have consumed me with my film.

And yet, I write. I started writing about 7 years ago when I would wake up super early in the morning with my mind spinning with ideas and not allowing me to turn over and go back to sleep. So, I ‘d get out of bed and write about whatever was running through my mind at the time and I would put those thoughts out there in my blog. Colleen Wainwright is running a whole series of interviews with writers on her blog as part of a fund raiser and I was honored to be included.

In the beginning, I got a lot of encouragement from a friend who gave me the confidence to write more and I did. Some days the words would just pour out of me and many times, I’d see them quoted later in other people’s blogs and I couldn’t believe that I had written them – almost like an out of body experience. Now, writing has become a habit and a way for me to organize my thoughts and turn chaos into order and thus my dreams into realities.

Many people tell me that I’m incredibly open and honest. I’ve always found that interesting – the fact that was something to comment on – but at the same time feeling very flattered. If someone tells me that I’m the “real deal”, that’s about as high of a compliment that one can give me.

If “authenticity” comes across in my writing or in the visuals that I create, then I think that I’m must be doing something right, because I use my words and my images to connect with people and that really only happens when I’m being true to myself. I think people can sense that – it’s not something you can fake. You’re either genuine – or you’re not.

To be honest, because I am “genuine” and tend to “tell it like it is” – it has been a blessing and a curse – but I can’t seem to help myself. I’m a sucker for a good cause and I’m one to always strive for consensus as opposed to “getting my way” or motivated by a personal agenda. When, I’m on purpose and not driven by ego – good things happen – and like-minded people are “attracted” to me like little magnets in the universe.

Now, I’ll go do the laundry.

August 3, 2011

The Definition of Insanity

It’s been said that doing things over and over again the same way and expecting a different outcome is the definition of insanity. I’m not totally sure about that. I think it depends on what you are talking about and how it may affect other people.

I suppose that if one were to use the example of somebody who consistently breaks promises, yet still expects people to trust him/her – well, then that could support this theory. But, even so. I don’t think they are “insane” – I just think they are self-centered – they don’t consider how they affect others through their actions.

But, I look at this statement differently. I’ve learned that just because I make an attempt at something and it doesn’t succeed right away, it doesn’t necessarily mean that I’m insane to try again. Even if I don’t alter what I’m doing or how I approach it, it could succeed if I give it another chance. It could have been that my timing wasn’t right the first time around. If it’s something I believe in, I’ll be persistent in order to make it happen – no matter how many times I have to try. Doe this mean that because I WON’T give up and I keep trying – I’m insane? If that’s the definition of insanity then I’m insane.

Sometimes, it takes that one person, who is crazy enough to believe in their dream and make it a reality, that makes us take notice. You know the story of the overnight success and the years it took to get there. The world is full of people with stories like that – people who just keep trying and hoping for a different outcome – even though they may have failed a dozen times. But they didn’t really fail. It just wasn’t the right time.

Everything happens in its own time, when it’s meant to happen. Just because it didn’t work out the way you had hoped the first time – doesn’t mean you’re insane to keep trying and hoping for a different outcome. When you are true to your core and stick to your beliefs, the right people sense it and come into enter life because of it. But you have to be crazy enough to think it can happen.

July 26, 2011

Don’t Re-Invent Yourself

I’ve come to hate the expression “re-invent” yourself. It’s not only become a bit trite, but it’s caused a lot of unnecessary anxiety.

If one feels that they need to do a makeover, he/she is often coming from a place in one’s life where they feel they have failed. They may be at a low point in their life, either financially or emotionally and they have the desire to become someone else.

I’ve been thinking that perhaps we all have it wrong. I don’t think we need to abandon who we really are and try to become someone we aren’t. That never works. Creatively speaking, whenever I have approached my work as in need of a “makeover”, I have fallen victim to trends. We all do I suppose, in an effort to “look current”.

That may work for a while, at least financially speaking – but then again maybe not. I think my best work has come from my true self. It’s pure but it can be raw. It’s what I just can’t stop myself from doing. That is what resonates with others. I think that happens when I am very clear on my vision. It affects people in a primal, yet subtle way.

Maybe we shouldn’t try to re-invent ourselves. Maybe we should just listen to who we really are and trust that voice.

July 23, 2011July 24, 2011

More Stuff I Learned While Making a Movie

The day finally arrived – our first screening of Opening Our Eyes – a film that I have poured my heart and soul into over the last year and a half. Sounds like a cliché, but this project has consumed me in every way imaginable – good and bad.

As I looked up at the marquee of the State Theater in Traverse City, MI last Sunday morning, it hit me – we had done it. My daughter Erin and I had set out to make a film last Spring about people all over the world who were making it a better place – and we did it.

It was and will continue to be a lot of work – a lot more than I ever could have imagined. There have been some of the lowest of lows and the highest of highs along the way. There have been times of disappointment from unexpected sources and times of encouragement and support from remarkable people who came into my life because of this project.

I have learned so much since embarking on this journey – here are just a few things:

Believe in your dream. Lots of us have dreams but most of us don’t really believe in them. I think that makes all the difference as far as making your dream a reality – the ability to believe that your dream will happen. I have felt that this would happen from the first moment that I conceived the idea – I saw it – I heard it – This idea picked me – not the other way around.

Trust – I knew all along that for this film to be what I had envisioned it to be – I couldn’t do it alone. It could only succeed through the support of all the people who have contributed to this project from the beginning, whether by supporting it financially or just by being there for me to spring ideas off of. I really had to open myself up and trust that would happen – and it did. That’s not to say that I haven’t had my share of disappointments along the way, but I had to get past them and then learn to trust – again.

Work with people who share your vision. I used to think I could edit. but after working with my brilliant editor, Erik Freeland – now I just think I’m a hack. Finding Erik was a blessing. It’s not all that hard to find a good editor, but to find an editor who has the same drive and passion as I do for what this film is or can be – is a rare gift – and I know that. There have been a handful of times in my life, when this serendipity has happened and sometimes, I’ve been too busy to take notice – but this time, I not only took notice – I welcomed Erik’s vision. Because I was open to what Erik could bring to the film – it’s so much stronger.

Friends – As much as I know that I should never do anything for the sake of other people’s approval, there is always a part of me (my ego) that surfaces and seeks that approval or validation. Funny thing is that when you create something that is coming from such a sincere place in your own heart – a project that you’re so passionate about – people come into your life because of it. They are drawn in by your own enthusiasm. So when others, disappoint you or even take no notice at all – you realize their approval doesn’t really matter.
Chris Guillebeau has a wonderful blog post about this.

Feedback – One reason I had a couple of sneak previews this past week was to solicit feedback. When I get consumed with the mechanics of making a movie, especially the editing of the movie, I often get caught up in the nit picky stuff, (which is very important) but I need to step back and digest it as the overall movie. It’s tough when I’m so close to it, so I always solicit other’s input. I know I can’t accommodate everyone’s suggestions because I’d end up with a big mess if I tried. Some comments ring true and I may take them to heart, while other comments aren’t really along the same line of my thinking, so I discount them. Some people’s comments are brutal and cut deep, but after I get past the initial hurt, I realize sometimes, that the comments that cut deepest are the one’s that strike closest to the heart of the matter – and my inner voice takes notice.

Overcoming resistance – The most important thing of all. I did what I set out to do and that is to make a film that will motivate others and move them to action. During the first Q&A last week, a man stood up and thanked me for making the film. He told me that he hadn’t even intended to see a movie that morning – he had been looking at the posters announcing the lineup for the TC film festival this week and saw the marquee and came in. He told me that it changed his way of thinking – that it changed his life. And then he told me that I needed to screen this film for as many people as possible. That’s my ultimate goal – to share this film with others – and if one person in every audience reacts that way – well what more could I ask for?

This film may not be perfect and it may not be for everybody (certainly not the cynics), but I did something a lot of others never do – I executed my idea – rather than give myself lots of goods reasons why I couldn’t. I could cite plenty of reasons right now that could have or should have stopped me in my tracks. But I didn’t stop because I had such a strong belief in this dream – I saw it too clearly.

Whenever I pull back from my dreams and succumb to my own resistance, I stop and think about a line from a Joni Mitchell tune where she writes about old friends being “cynical and drunk and boring someone in some dark café”. I stop and I think about that. I sure don’t want to end up being one of those people who piss away their own life by passing judgment about other people’s efforts or causes. And then, I get out and do something. That’s how I’m making a difference.