hybrid – Page 3 – Journeys of a Hybrid

September 30, 2011September 30, 2011

Resources, Sharing and Good Karma

I love the time we are living in. If there is anything I want to find out about – and I do mean anything – and I can get “connected” online – I have access to a universe of information. For someone like me who always has a hundred questions running through my mind – it’s like the “time of Aquarius” – only better.

This morning I was poking around ASMP’s CameraCake, a cool new social bookmarking site. It’s kind of like getting references to all sorts of interesting people, ideas and services from your colleagues. I posted a link to a great new online magazine that I had heard about from friend, David Sanger on Facebook.

So, now that information and link to Once Magazine will be shared with a lot more photographers and motion shooters than if it just appeared on my blog. Why all this sharing? I don’t know, but I do know that when you give, you get more in return and on many levels.

I spent two years, giving seminars for ASMP about transitioning to video. In those two years, I got a lot of emails with questions from photographers as they added motion to their businesses and I hope I answered each and everyone. I’ve also shared a lot of info about video on this blog . That’s why I started it and titled it “Journeys of a Hybrid”, almost 3 years ago – it was a journey for all of us. I’ve recently started offering seminars in The Business of Video, because I see there is a hole to fill. There’s plenty of “HDSLR” workshops out there, but rarely do any provide practical business models and/or guidance that speaks to the new media opportunities that are opening up in the hybrid area.

Giving seminars doesn’t provide me a living but it does help me in a business sense because by providing knowledge to my competition and people just starting out, I am helping all of us to sustain a decent living, working in a creative trade.

I also like to share because it makes me feel good. I’ll be speaking at the PACA conference on Oct. 22nd, in New York. ASPP asked me to talk about my film, Opening Our Eyes in a seminar entitled “Passion to Profitable Distribution”. I’m delighted to do that because there’s nothing I like doing more than talking about what we as creatives are capable of doing and the global reach we have as individuals. It’s an empowering time.

I’ll close with one small request and that is to share this link to our recently launched
campaign for Opening Our Eyes on IndieGoGo. The film is finished and is already making a difference, but we need to give it a push in order to “get it out there” and to be seen.

As Marian Kramer, one of our subjects said “We just have to shine each other up.”

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.

July 7, 2011July 7, 2011

Ten Things I Learned While Making a Movie With a DSLR

1. It will take twice as long as you think. This is especially true if you have a limited budget. With a limited budget comes a smaller crew and therefore you need to do a lot more of the work yourself – if you can.
2. It will take more money than you think. Everything adds up. There are a lot of costs in post-production – licensing music is a big one and a feature film needs lots of music – and having the sound professionally mixed, makes all the difference and is well worth the money – so anticipate that cost.
3. If you need to transcode files for your editing application – then make that the first thing you do. In fact, I used the Log and Transfer plug-in on Final Cut Pro to do a pre-edit on all my clips as well as add metadata to the files.
4. Hire a professional editor. Smartest thing I did. I raised funds on Kickstarter so that I could hire a pro. I know how to edit – or at least I thought I did – till I worked with a professional editor. My editor crafted the story and cut it like a musical composition with beautiful timing and rhythm.
5. You will need twice the memory or drives than you thought you would. Even, when working with a professional editor – in fact because I was collaborating with an editor, we had duplicate projects and media on 3 – 2 terabyte drives each!
6. Stay focused on the story. Don’t even go into the editing room without a clear idea of what story you want to tell.
7. Define your target audience. Iit’s important, especially in terms of how you want to craft the story and the rhythm of the piece.
8. Plan ahead as far as screenings or putting content online. Many film festivals have strict guidelines about previous screenings, premiers etc. I wanted to show my film on a big screen, but I couldn’t have it open to the public or charge money, so I opted to have an “invitation only” event and called it a “sneak preview”. Test screenings are done all the time with studios. It gives you a chance to get feedback.
9. Utilize social media. Have a website for the film and a fan page on Facebook.
10. Don’t try to be what you’re not. And don’t try to be all things to all people in your film. Stay true to your vision. Push yourself to try new things. Go with your gut.

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.

May 10, 2011

Top Five Tips For Photographers Moving into Motion

The last post I wrote was titled The Top 5 Mistakes Photographers Making Moving From Stills to Motion.
Why is it anytime I use the word mistake in the title of a post, it goes viral? Is it because we take comfort in knowing that other people make mistakes? Or is it that we know we can learn from others’ mistakes?

I think it’s a bit of both. But I also think that if one takes comfort in knowing potential pitfalls, then they may be more likely to take chances creatively and push their own limits.

In this post, I decided that I’d spin it in another direction – toward the positive – and dish out some tips for photographers moving into motion.

•   Understand where the new opportunities are. Don’t try to compete in traditional markets like broadcast spots right away. Many new opportunities are with your still photography clients who you already have a relationship with. They might be new to motion also and need to produce a video. Ask.
•   Don’t do everything yourself. You’ll need a good team. Video has a lot of facets and you can’t do everything yourself, especially when you’re still learning. Find good audio people and editors you can work with.
•   Think differently – Shoot in sequences. Think how you will get into and out of a shot when you’re shooting, putting the story together in your head.
•   Shoot and move – Shoot a lot of b-roll. Cover at least 3 angles on everything with a variety of focal lengths. Get wide, medium, tight and close-up shots. You’ll be glad you did in the editing room.
•   Make a production schedule – And make sure you get your client to sign off after certain parts of the process – after the shoot – and throughout the edit.

May 6, 2011May 6, 2011

Top 5 Mistakes Photographers Make Moving From Stills to Motion

1.   Give it away – One of the best opportunities that still photographers have when expanding their businesses with video is to offer their new services to their existing clients. I hear from so many still photographers who squash this opportunity from the start by throwing in the video clips for free because they are still learning. First of all, I’m not a fan of learning on the job, but more importantly if you give your new skills away because you’re still learning, then the question is “At what point will you be good enough or have learned enough to charge for it?” Who decides that you or your client?
2.   Audio is an afterthought – Capturing good audio is more important than making a great image. If a viewer cannot understand the dialog, they will walk away. Don’t make audio an afterthought. Hire a good sound person.
3.   Position themselves as “just” a shooter – If you position yourself as just a camera person, then you will not only lose a lot of creative control, but you will leave money on the table by not making a profit on the other aspects of a video production. I position myself as a producer. That’s not to say that I don’t also shoot a job, but I oversee the entire production and charge accordingly for pulling together all the pieces.
4.   Don’t collaborate – Get over the one man band, solo creature model and surround yourself with a crew of experts that will make you look good. Build a team of editors, sound mixers, motion graphics artists etc.
5.   Forget about the story – Every good product, including commercial videos have a great story. You can have the best production values in the world, but if you don’t tell a good story, it will not resonate with your audience or your client.

May 4, 2011

Change

Change Who likes change? Other than needing a change of scenery every now and then, change is usually tough to take. I grew up with change. My family moved 10 times before I got out of high school.

Gail in kindergarten — Kindergarten, Chicago, IL

I was always the “new kid”. (Hint: I’m in the second to last row. I was also the “tall kid” even in Kindergarten)

No, my dad wasn’t in the military and we weren’t on the lam – he was just climbing the corporate ladder. He’d get promoted or there would be a new sibling and we’d move to a bigger house or he’d get promoted and transferred and we’d move to a totally different place leaving our friends and familiarities behind.

I’m not complaining, nor saying that I feel slighted by having that constant change in my life. It was the life I knew and I suppose I always looked at it with open eyes and curiosity about what was next to come. Of course, if I thought about the friends and sometimes family that I was leaving behind, it made it much harder.

Perhaps growing up in a constant state of change made me more flexible in dealing with all the changes affecting my business these days. Both still photography and video production have been profoundly changed by a bad economy and technology. Kind of like a double whammy. At least with technology the sword cuts both ways and also provides opportunities. It’s usually during the tough times when the economy is bad when innovation happens. Sometimes people just have to be forced to make changes in their lives, even if what they have been doing hasn’t been working. I was asked to speak at Cal Poly on the theme The Role of Mass Communication and Media Technology in Today’s Global Economy: A Multidiscipline Approach. Specifically, they wanted me to talk about how I was using technology to communicate in a global market. I started thinking about how this past year I had vigorously embraced new tools and a new business model, integrated with the Internet and social media to create a mixed media project that will ultimately result in a feature film, a book, an e-book and maybe even an exhibition. I didn’t have a big team behind me, nor did I have a lot of money. We had a two-person crew- myself and my daughter, an editor and my husband working the PR, the social media and the back support. We raised some money on Kickstarter with the help of our backers and we’ve had musicians offer us their music and talents to our film. We are extremely grateful for all of the support worldwide and it could never have happened without advances in technology.

The fact is that we live in such an amazing time where something like this is even possible. It is a time of empowerment for the individual. Technology is democratizing and is leveling the playing field especially in terms of distribution. The locks are gone and the gates to distribution are open and affordable. Within a month of uploading the trailer to my film on Vimeo, it has been played in 95 countries – that’s almost ½ the countries in the world. What a staggering thought in terms of mass communication!

Going forward my ultimate plan at this point in time is to distribute the film through iTunes or Netflix and DVD’s through Amazon. More importantly, I would like to set up 100’s of screenings in communities all over America – maybe even all over the world – and use the film to move people to action. Kind of like a grass roots effort to motivate people to make a difference in their communities. Imagine what kind of an effect that would have if it spread virally through the world. Just Imagine.

April 27, 2011April 27, 2011

Validation No Longer Necessary

There seems to be a prevailing attitude of doom and gloom. We have an economy that can’t seem to turn itself around and we’re bombarded by change that technology continues to thrust upon us. We’re scared to death of the unknown and nobody seems to know what to do next and how to make any money doing it.

Yet, I’ve never been more hopeful in my life. Why? Because I no longer need someone else to validate my ideas – and that is a powerful notion. Those of us in the communication business seem to be particularly fearful. Some believe that the “news” business is dying because print publications – newspapers and magazines are folding every week. But the “news” business is not dying – it’s just being delivered in another way – electronically and globally. There are no longer just a few gatekeepers with a lock on the playing field.

Human beings are social animals and we will always have the need to communicate with each other. These days we can communicate with one another globally. An idea or creation can be shared around the world in a matter of minutes. Think of the power in that and think of how we can use that power and the opportunities it presents. I could digress into a discussion on the ethics of this thought but I’d like to focus more on the reach and influence that each one of us has in creating awareness.

Many of us get enamored with the latest devices that enable us to deliver and receive information with speed and ease. As technology’s exponential growth continues to change our lives in every way imaginable, we will constantly be incorporating and upgrading new gadgets and devices as part of our lives. We need to be mindful that these “toys” are merely enablers and that each one of us can use these tools to create and distribute our words, images, designs and ideas across the planet.

I think that we as creative’s or journalists underestimate ourselves sometimes. Perhaps because we chose professions that aren’t lucrative – at least in terms of money. However, what one is paid doesn’t necessarily correlate with one’s worth. We live in a time now where we can use our creative skills to really make a difference and to tell the stories that we feel need to be told. Mass communication has been democratized. We no longer need the traditional gatekeepers to validate our ideas.

I never would have dreamed that I would be able to circumvent the globe, create a documentary with only one other person in my crew – my daughter and then distribute it internationally. I never imagined that I would have the power to create awareness on a global level like I did when I uploaded my trailer to Vimeo. In a little more than a week’s time people in over 72 countries had played that video. Now in less than a month’s time, that trailer has been played in almost half the countries on the planet. Staggering thought.

This was not a commissioned project by a network or a motion picture studio. If I had waited for that – it never would have happened. I assigned myself. I was able to fund it by using my airline points, hotel rewards and doing trades with manufacturers for equipment. I also successfully raised money via Kickstarter a crowd funding site that made it possible for me to hire a professional editor. My daughter and I have been building an audience for our film since we started blogging about our journey. Our readers got more and more engaged as they followed us on our 99-day adventure around the world. They spread the word through Facebook and Twitter and via their own blogs and pretty soon word of our project spread virally. That was precisely our goal. To use our tools and skills to create a film about the change makers of our world so that others would be inspired and motivated as to what they can do.

I often think about how things in my life and in history would have been different if we had the Internet when I was growing up. For starters it would have had a huge effect on the Civil Rights Movement of the 60’s and the Vietnam War. But everything happens in its own time and when it is meant to happen. Change can be scary or it can be embraced and sometimes both at the same time.

Never stop dreaming. Never stop learning. Always listen to that inner voice. Then use the means and the tools of the day to do the dance you are meant to do.

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