Convergence – Page 3 – Journeys of a Hybrid

September 14, 2011September 14, 2011

Status Quo, Fear and Other Stupid Human Tricks

I went to my town meeting last night. It was a typical “town meeting” where everyone needed to be “right”, and no one was winning. A citizen came up to the mic during the public hearing session and made a statement that really resonated with me. He said “ No one ever wants to change the status quo It’s human nature not to want change. Everyone has their little power centers that they want to hold onto”.

I had a flashback that brought me back to a smoke filled room of dirty dishes with leftover remnants of brown rice and a whole lot of people having the same old discussion of how we all needed to stop “ the War” and change the world. That was almost 40 years ago but I’ll remember like it was yesterday when a “freak” came in and said “Why doesn’t somebody f……. do something? You’re all just sitting around and talking – like the status quo”

Photo Source Mr. Snodgrass

To be honest, I don’t think there is a status quo. Nothing ever stays the same. You either move forward or drop back, but there is no stepping in place. It’s not sustainable. And that’s nothing new – it’s always been true – but never more than today due to the exponential rise in technology. And it has never been more true in regards to the state of the photographic industry. I see so many photographers paralyzed by their own fears of taking a risk and thinking outside their own boxes.

Few people overcome their fear of change and rise to the occasion of “doing something” as opposed to reacting to something. Most plod along, feeling no control over their destiny – letting fate take its course. A lot of photographers are just hoping to “ride it out” until there is nothing left of their businesses.

Every once in a while, somebody makes a bold move and looks at “change” as an opportunity. History proves me right. If you look back through time, you will see a pattern. At the most pivotal times of change – the cream always rises to the top – and the sludge gets left behind – on the bottom.

As far as the photography industry – I think it’s time to decide if we are ready to “embrace” change and rise to the top or die a slow death. But we have to start seeing the opportunities that always come with change.

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 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 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 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.

June 23, 2011

The NON Convergence of Still Photography and Video

Many people, myself included have written about the convergence of stills and video. In fact ever since Vincent LaFloret paved the way, shooting video in a cinematic way with the Canon Eos 5D Mark II, it seems like every still photographer wants to shoot video with a DSLR . At the same time, high end “video cameras” – not still cameras that also shoot video – but a high end camera like the RED is capable of capturing stunning stills from frame grabs and they aren’t just good enough – they’re great.

I suppose in this sense one could argue that there is not only a convergence of our tools – meaning a camera that is capable of shooting high quality video and still images – but that it also may mean – the end of still photography. I don’t have a crystal ball but if one defines a still image as a “moment in time” then still photography will never go away. If you have a camera that shoots hi res video and can pick and choose the exact frame that fits your still image needs – then we need to realize that this is a convergence of our “tools” not the the end of creating still imagery.

I love to point out the differences of still photography and video because for me, and many others who shoot both still photographs and video, we think differently when shooting these mediums.

A still image is a moment in time.
Video is time in motion
A still image is one that is meant to linger on – where one can take pause
Motion imagery is made up of a variety of shots and sequences
Video provides more information – there’s sound and movement
Still images leave more for viewer interpretation
Still images deliver a message visually
Video delivers a message utilizing sight and sound

Everyone of these differences requires us to put our minds in a different place. When shooting video, I need to think about what shot will come before and what shot will come after the shot I’m about to shoot. I have to think that way or I won’t have the goods to cut with in the editing room. The message or story gets crafted further in post production with music and interviews and each element plays its part in the feel and arc of the story.

When I’m shooting still images, I must tell the story in that one frame and timing is everything – it’s the “decisive moment”. So, one must ask is it the same – is it even fair – to grab that “moment in time” from a video clip where the camera operator didn’t make a conscious decision when shooting that decisive moment ?

The point is with everyone talking about “convergence” and taking that to mean the demise of still photography – I have to wonder. Is it the end of still photography? Personally, I don’t think so. I think that it merely means a convergence of the tools – not what we create with those tools.

June 17, 2011June 17, 2011

The Making of a Movie with a DSLR

It’s been a wild ride since I first began this journey of making a feature film with a DSLR camera – in my case, the Canon Eos 5D Mark II. I had already completed three short documentaries to date – all made with traditional video cameras from my first Canon XL-1 to my current HD Sony EX-1. But this time I was heading out on a 99-day journey around the globe, with my 23 year old daughter in search of ordinary people on six continents, who were making a difference in the world, and we had to pack light.

We were “the crew” – the two of us. We had to work efficiently and with gear that would fit into two backpacks and would endure the adventure as we traveled to 17 different countries on 30 flights. I also wanted to shoot both still images and motion, so I opted for the DSLR solution. Of course, I was enchanted by the “big chip” and the cinematic look of these cameras, but I was also thinking of my gear in practical terms – how I was traveling – how I would be shooting – and of course the desired outcome.

So with my daughter “running sound”, doing the interviews with our subjects, shooting still images, and navigating us through the subway systems in Moscow and Buenos Aires, and me taking care of all the logistics and shooting both video and stills, we came back 99 days later with almost 3000 gigabytes of content – that’s approx. 150 hours of footage and 5000 still image captures!

I wasn’t mentally prepared for what came next and that was 2 intensive months on my part ingesting all the content into my editing system, transcoding and adding metadata to the files and culling through hours of interview soundbites until I had cut it down to three . It was grueling and my winter months were spent putting in 14 hour days – 7 days a week. I was overwhelmed, yet somehow driven by some force. It was a lot of work, it was tedious and it was daunting – but yet it was my passion and somehow this inexplicable “force” got me through it.

I raised money along the way through crowd funding on Kickstarter and with that, I hired an editor. After I handed the project off to my editor, Erik Freeland of Springhouse Films, there was a huge sigh of relief on my part. I knew the post production had a long way to go but, I also knew that I had to let it go for a while and step back. Working with Erik has been amazing in itself and he has brought enormous value to this project and film. I have learned a lot from his insights and his talents in knowing how to” tell a story”, and we are finally coming to the completion of this film. Or at least in getting the “first cut” done for a sneak preview on July 17th, at the State Theater in Traverse City, Michigan. The screening is by invitation only and if you would like to attend, just drop me an email at gail@openingoureyes.net and tell me how many people would like to attend.

Since I first dreamed up this project in the final days of 2009, to the departure of our trip in the Spring of 2010, to where we are now, it has been a continual journey on every level imaginable. And I have had many angels working on my behalf – my husband Tom Kelly who has been the “wind beneath my wings” and without his support none of this would have been possible, my extended family who have been amused over the years with my schemes and dreams, my dear friends Angel Burns and Ally Raye who have believed in me and this project and have made incredibly exciting things happen for this film. (I’m not quite ready to divulge some of those exciting things publicly, just yet), Maria Grillo and Jason Harvey at The Grillo Group who have been so giving with their time and talents and created all the graphic design for the film’s release, and so many other “angels” who have helped me with foreign translations, been financial backers, helped me spread the word globally, and every person who was there for me when I needed support and encouragement. I am deeply grateful to have all these people in my life.

We live in an empowering time. When I began my career as a still photographer, over 30 years ago, I never would have imagined doing any of this. In fact just two years ago, none of this would have been possible. Our dreams are as big as we want them to be. I have seen this dream clearly from the start and each day I get closer and closer to seeing it become a reality.

Watch the Trailer

May 25, 2011

A Year Ago Today – The Beginning of Our Documentary and the DSLR

It was exactly a year ago today that I left with my daughter on a 99-day journey around the world to create a documentary about people on six continents who were making a difference in the world. I was not new to video or documentaries, having shot motion for over twelve years and completing three short films. But this was big – not in the sense of “big production” or “big crew” or certainly not “big budget” – it wasn’t any of those things but it was indeed BIG.

I had no idea how big it turned out to be. The trip in itself was almost the easy part, although don’t get me wrong – it was arduous on every level. What was overwhelming was taking the project from idea to completion. Had I known how overwhelming it has been at times, I may have reconsidered – or at the very least had a bigger crew.

The crew was my daughter and myself. I shot video. She shot stills. She interviewed the subjects and ran sound. I operated the camera and shot B-Roll. She research, scheduled and pre-interviewed the subjects and I worked on all the logistics – travel, travel needs and gear. I thought about gear long and hard and decided to go with the hybrid cameras, in my case the Canon 5D Mark II and the Canon 7D. I wanted to capture both stills and video, but I didn’t want to bring two separate camera systems, so I chose the hybrids. I have written a lot about the gear but the all time most popular post I wrote was about my gear for this 99-day journey.

We returned in September with over 150 hours of footage and over 5000 still images. Wow! Talk about overwhelming. I spent 2 solid months of my winter getting the footage into a manageable rough timeline – or at least the sound bites. I handed it off to my editor Erik Freeland of Springhouse Films and he hopes to get me his rough cut this weekend. I’ve had many conversations with Erik over the past month or so about the story(s) and the arc of the film and he truly understands how to tell a story. I am extremely grateful that I was able to hire a professional editor and it never would have been possible, without my successful run with Kickstarter.

I have been working a lot in the back scenes with distribution options and I am thrilled with what I am finding. This is the time for “the documentary”. It’s possible with small budgets and crews to make a powerful film that can be seen in hundreds of various venues well past the big screen movie houses and film festivals. It’s an amazing time for “the individual” and what can be accomplished because of technology. That’s another blog for another time though.

I’m headed to California this afternoon to speak at Cal Poly tomorrow evening. Join me if you’re in the area. For old time’s sake, I took my Eagle Creek bag – which I had circumvented the globe with. It seemed like the right thing to do.

May 23, 2011

The “Real” Cost of Shooting Video With the DSLR

There was an interesting thread on ASMP’s video listservlast week. It started when a still photographer asked if a particular

DSLR camera would help him get into the game – of video.

Jan Allklier, a Seattle based photographer, shooting both stills and motion summed it up:

“If you simply want to ‘explore the medium’ a hybrid DSLR may well be the right ROI, although it really will only give you a flavor for moving images, not the workflow of professional moving image production, which encompasses a wide range all the way from feature film, to corporate work, to webisodes for small business; and many tools and skills well beyond the image capture device at hand.”

Kevin Kamin, Minneapolis based shooter, reminds us that it’s not just about the camera (or tool), but about the story:

“I understand why some photographers are looking to expand into video, it’s definitely doable, but I believe there is a tremendous underestimation of what is required to do so. I feel like video is being perceived as simply moving photographs-95% of the videos I’ve seen on commercial photographer’s website are not at a professional level (most feel like overly long, clunky, rough cuts that lack sophistication and a clarity of message). They say that ‘people who are good with a hammer tend to think everything is a nail’ So along that idea, many  of the videos feel like videos made by photographers, who haven’t fully grasped the spirit of the medium. People can enjoy a still photograph for a minute or  two, if it is compelling and engaging, but if you have three seconds of video footage that doesn’t move the story or lingers 15 frames too long, you just lost your viewer no matter how pretty it looks. Photography functions differently  within time based media.   Storytelling is the core of video. “

And Chuck Fadely, of the Miami Herald, connects the dots for us, first by passing along a link to Shane Hurlbut Visuals blog that lists the “standard” movie making rental gear for DSLR video. More importantly, Chuck reminds us that shooting motion is a skill set. It’s a different way of seeing and shooting.

“The hardest thing about video for a still photographer is learning to shoot in a totally different way. You’ve got to learn to shoot in sequences, with transitions. It takes years to overcome the habits you’ve built up as a still photog — like reframing, adjusting exposure, following action — which are death in video.   I was a news and feature photog with several decades of experience, with extensive lighting skills, good technical ability, and a knack for learning new stuff. I switched over to video full time and it was shocking how little transferred over. Video is a different beast.”

This was one of the easiest blog posts that I’ve ever written and maybe the most beneficial for readers. It brings up another important point and that is how much we can learn from each other. When I started shooting motion back in the mid ‘90’s – there really weren’t any listservs or social media forums where my peers were so forthcoming with information.

When people ask me why I’m so giving and sharing with my knowledge, I always tell them that I get back so much more than I give. What a great time to be alive.