My Number One Reading Recommendation

[by Gail Mooney]

#1  Reading recommendation:
From Still to Motion by Richard Harrington – Peachpit Press

Harrington has written 27 books on everything from Photoshop tips to Final Cut Pro and other software applications.  In his current book “From Still to Motion” he documents a field case study creating a video with the hybrid camera Canon 5D Mark II.  This book is a must have for any still photographer who is thinking of moving into motion.

Gail Mooney runs a video production company www.kellymooney.com.

Using Video to Promote Photography

[by Gail Mooney]

Video is the hot topic these days. You’d think it was a new thing. But there’s nothing new about video – it’s been around almost as long as TV. What is new is that broadband has made online video viewing integral to the Internet experience.

In the last year alone we’ve seen an explosion of video viewing and sharing on social networking sites. Advertisers are shifting their marketing dollars to the Web and online ads are booming. Why? Because marketers know that the consumer is going online to see and hear more about the products they are thinking of buying. It’s one thing for a potential customer to see a static image accompanied by text and quite another to see a product in use and demonstrated, or to hear the story behind a company. Online Web videos can be linked and shared and are searchable, providing more possibilities for potential customers or clients to find you and what your company offers.

If you run a video production company, it’s a no-brainer that you’ll want to use video samples to promote your business. But video is also effective for promoting all types of businesses, including still photography. You can import your still images into some type of non-linear editing system like Final Cut Pro, add a narrative track and/or music and create a video promo of your work for online viewing. This promo can also be uploaded to a mobile device giving you the ability to show your work to potential clients in a quick and interesting fashion, anywhere, anytime. Better than your typical “elevator speech” when someone asks “What do you do?”

Another very effective way to market and promote your photography business is to create a behind-the-scenes video. Everyone loves a story and this is a great way to tell people about your company as well as provide more information about yourself and how you work.

Gail Mooney runs a still photography and video production company with her partner Thomas Kelly at www.kellymooney.com. Gail share more on this topic here.

Copyright and Video

[by Gail Mooney]

As still photographers move and expand into video because of the convergence of their tools, they often ask me about copyright, licensing and usage and how to apply that to video. Essentially they are trying to apply a licensing business model from their still photography and sometimes that doesn’t work in video production.

The biggest distinction between shooting video and shooting still images is that for the most part a video camera operator is just one of the many creative people involved in a video production. So unless the camera operator is also the producer and in charge of the entire production, including the hiring of the crew, they will be working in a “work for hire” situation. One video project can’t have every collaborator on a project maintaining ownership of their part of the whole.

Depending on the job and the market you work in will ultimately determine who will maintain ownership, copyright and control. Generally speaking the end client or video production company holds the copyright to the finished production. This is why I made a conscious decision when I got into video many years ago, to position myself as a producer and not “just” a content provider. I wanted to maintain creative control and ownership of my projects.

But even in still photography these days, I see more and more “work for hire” contracts, and in market sectors like editorial where that wasn’t the case just five years ago. Sometimes I feel that in our efforts to protect copyright laws, we end up fighting for that right for big corporate entities that in turn grab those rights from the creators through lopsided contracts.

Something to think about – maybe with news eyes. Perhaps we need to start thinking of ourselves as “publishers” rather than just content providers. It’s never been more possible to be a publisher, because distribution has been democratized by the web, giving all of us a pipeline to a global audience.

It’s time to look at our creative businesses with new eyes and not just on the creative part of the process – but the business part as well. I’d love to hear others’ thoughts and ideas on this topic.

Unlikely Parnerships

[by Gail Mooney]

Got a call a while back from a guy selling training seminars for NAB Post Production conferences. I have been a past attendee and the training they provide is top notch. I’ve never attended a poorly taught seminar – the instructors know their stuff and know how to teach it.

I mentioned to this guy that I give seminars for the ASMP to still photographers who are contemplating adding video to their skill set and that I always link to his company, Future Media Concepts in my resources PDF. He asked if I’d send him that link to Future Media Concepts and I did. The next day I got an email from him with links to a band’s “original” music, knowing that I frequently license music as a part of my role as a video producer. But the interesting part of his email was a query about doing a motion “photo essay”. Quite interesting and we plan to talk.

Not sure what will come out of this but the point is we were both open to possibilities and unlikely partnerships. That’s a good thing and to my experience has always turned into a win/win. Be open to all kinds of possibilities and take notice when they present themselves.

Network

[by Gail Mooney]

Network with your peers and others.    For example: If you are interested in getting into video production, get to know creatives who are already involved – sound mixers, camera operators, editors, writers etc.  Go to trade events and meet ups like Final Cut Pro meet ups to network with editors or trade shows where sound mixers and camera operators gather.  Your business grows and so do you. Video is a collaborative effort – surround yourself with people who will make you look good.

Collaborating

[by Gail Mooney]

I talk to a lot of photographers these days when giving seminars on video. One thing I’ve been hearing a lot lately is that many photographers are collaborating with other creatives to expand their businesses and offer their clients more services.

Certainly one area still photographers are collaborating is in video production. Some have partnered with sound mixers, some with editors and some have set up production companies, positioning themselves as producers or directors and collaborating with all of the above.

Video production is all about collaboration because of the different roles and skill sets involved – camera operator, sound mixer, editor and scriptwriter. Coming from a still photography background, when I started shooting video, I set up a new business model as well. I was accustomed to owning my work as well as making all the creative decisions so I knew that I would need to position myself on the top rung of the ladder – as a video producer – if I wanted to maintain ownership and creative control. I also knew I either needed to learn new skills or collaborate with others that already had them – or both.

Still photographers by nature are extremely independent creatures and many times want to control everything – to a fault. The photographers that I have met recently who are thriving are the ones who have built new business models. They have built business models based on collaboration. One still shooter I spoke with not only has partnered with a professional videographer but has also started a photographic consortium made up of photographers who had served in the military. He targets clients who may benefit by hiring shooters with a military background.

Stop and think about the people you know right now who you can network with. Instead of being fearful of your competition – collaborate with the ones who may bring different strengths to your business and turn it into a win-win-win for you, your partners and your clients.

Learn to Edit

[by Gail Mooney]

Even if you hire a professional editor to bring polish to your video. Editing your own material makes you a better shooter. You quickly realize what you should have shot.

Video Quick Tip

[by Gail Mooney]

Watch TV commercials with the sound off. You’ll quickly see how the footage was cut together in the editing room.

Defining Yourself By Your Vision – Not The Camera

[by Gail Mooney]

I’ve been giving quite a few presentations lately for ASMP – “Should I Be Thinking About Video”.  One thing I’m finding is that there are always a couple of people in the audience who think that buying a DSLR hybrid camera will get them in the business of video production.  Part of that perception comes from the way camera manufacturers are marketing these “HD” cameras and part of that comes from photographers wanting to believe that these hybrids will allow them to compete in the world of commercial video production.

The simple fact is – these DSLR’s have lowered the bar on the entry level into video production – and you may find yourself competing with every other still photographer (pro or amateur) that has $2800 to spend. People tend to lose sight of the fact that shooting video is not the same mind set as shooting still images.  I think differently when I shoot video.  I see differently and I communicate the message or story through this motion medium using the best tool toward that end. While I too love that shallow depth of field that you get when shooting with a DLSR, the image is just one part of the video production process.  You are also defining your vision through sound and the art of editing.

The problem is if we define ours by our tools – then we are diminishing the value of our creativity or our vision in the process.  We aren’t placing the value on what is unique in all of us – our vision. At the same time we’re placing too much value on the tool – in this case the camera.  As technology accelerates the production of more sophisticated cameras that are cheaper and easier to use – and we’ve placed our value on being the technician – we’re in big trouble.  Because ultimately anyone with a vision who has the “ability” to realize that vision, can put together a crew of technicians to facilitate their vision or idea – and do it cheaper these days because of technology.  And there’s nothing wrong with that.

Professional photographers get defensive when a potential client places no value on what is unique about them (their vision) and approaches them with the attitude that if you won’t work for the prices they dictate – they will just find another photographer.  But what they are really saying is that they feel that they can “just” find another camera operator. The problem is that these photographers haven’t presented their vision and because of that they are perceived as being interchangeable. That’s not a good place to be and never will be.  And for that reason when a professional still photographer comes to me and says that they are interested in getting into video and asks the question “What video camera should I buy?” I gently tell them – well sometimes not so gently tell them – it’s not about the camera.

How does one define what they are?  Great question that has a lot of answers, as it should.  Technology is amazing – but it’s the human part of the process that excites me because we’re all so different in how we see.

The Business of Video Production

[by Gail Mooney]

The “business” of video production encompasses a lot of things – one being good paperwork.  From the initial estimate on a job, through the final invoice along with obtaining the necessary releases – good paperwork is essential for a profitable business.

I keep a database of past SOWs (Statement of Work) to use as references. While every job is different, I use these archived SOWs as a starting point. Another great starting point when putting together an estimate is to use the estimating form online at the AICP (American Independent Commercial Producers) website.

In addition to estimating the costs of crew, equipment, location needs, pre-production and post-production, I include clearly payment and licensing terms as well as a schedule of workflow and completion dates.

Terms – Here is where I state rights and  “usage” of the finished product – where will it be used and for how long.  I also clearly spell out payment terms, cancellations and provide an accurate description of exactly what I’m going to deliver.

For Example:

• 5 minute web video.
• One day shoot on location at………….includes 2 interviews and b-roll.
• Post production – edit will include x amount of still images, voiceover narrative track and music. Logos and graphics to be provided by client.
• Payment – one third upon signed SOW (Statement of Work)  – one third after shoot –balance due upon delivery of final product.
• Cancellation terms and change fees.
• One rough cut and final cut included. Additional changes are billed hourly at $………
• Licensing and usage terms. Web usage for 2 years. No Broadcast rights.
• Schedule – This is extremely important in video production – a schedule where the client signs off on each phase of the project. This is critical so if the client delays things on their end – it’s clearly understood that the rest of the schedule gets extended in terms of deadline dates.  Otherwise if your client’s boss has an unexpected out of town trip come up and you need to wait for his/her approval – you won’t be left with half the time you need on your end to deliver the final product.

Continued Convergence

[by Gail Mooney]

My thoughts on the future – in a word convergence.  I see continued convergence with the tools we use as visual communicators – still cameras and video cameras becoming one and the same.  And with that, the convergence of the two industries – still photography becoming part of larger production companies that will facilitate the video/motion needs of a client, as well as their still photographic needs.  This may be done with one camera, a high-end video camera, fully capable of producing high quality “frame grabs” that will be delivered to clients for their still image needs. I think we’ve only begun to see hybrid cameras being developed by the manufacturers.

As society continues to move more and more to an electronic platform and away from print as a means for communication, we will expect more than static imagery.  We will expect sound and movement.  And as technology enables the electronic pipeline to deliver information faster and seamlessly, the Internet will become our primary source for information.

The good news is that the Internet is open to all – a conduit for the democratization of communication.  But is this really true?  Or, will the information that we get be ranked by entities like Google?  Will this ultimately effect the distribution of what information we get as a society?  Those are the questions that run through my head and should be in everyone’s psyche.  Because if or when the Internet becomes our primary means of communication we must be diligent in keeping it open. We must be the watchdogs now to make sure that control isn’t secured by the few who are making the rules in their favor.
You can’t put the genie back in the bottle.

I think there will always be print, just like movies were still made when TV came along.  But it will be a niche in a greater array of visual platforms.  It may become something more high end, something that is meant to be kept, rather than be recycled at the end of the day.

My thoughts on the future are just that – thoughts and speculations.  It’s anybody’s guess really what the future holds.  But we are all creating the future now with the choices we make and let others make for us.

Are You Thinking About a Video Camera Purchase?

[by Gail Mooney]

Before you decide on which video camera to buy, work backwards and make sure your editing software and platform will be compatible.  Check out these compatibility charts from Adobe and Apple.

‘Tis the Season …

[by Gail Mooney]

When my daughter was a young child she always used to draw a picture for our Christmas card.  Most times they were quite abstract and if we hadn’t titled her illustrations and written a Christmas greeting, the receiver might not have known it was a holiday card at all.  As she got older and her artistic ability improved, the cards became less abstract but still had the charm and the whimsy of a child.

Putting together these cards used to take a lot of time and wasn’t cheap.  We had to bring the original drawings to a prepress house for scanning and printing.  These days it’s a snap and I could get them done in house in less than a day’s time.

My daughter just graduated from college and is on her own now so we’ve had to come up with new ideas for holiday cards but to this day I still get comments from art directors who received those holiday cards so many years ago.

Time Saving Tips For Shooting and Editing Video

[by Gail Mooney]

The Shoot

• Have a plan – When I first started learning video at the Platypus Workshop, we weren’t even allowed near the camera until we could articulate our “commitment” or our story in a concise, one paragraph statement.
• Make a shot list if appropriate – If you go into a shoot with a list of shots that you want to walk away with, you will work more efficiently as well as make sure you’ve covered what you need to.  But always allow room for the unexpected by letting serendipity happen.
• Shoot tighter – this will happen naturally if you have a shot list
• Avoid lengthy interviews – you’ll be glad you did in the editing room.
• Have the edit in mind when shooting – you’ll shoot more efficiently and you’ll already be laying out the story for the edit.

The Edit

• Gather all assets before you start – I make sure that I prep and import all the content I will be using in my edit – still photos, logs, graphics, music, media. That way I don’t have to leave my editing application once I begin the edit. This helps me stay focused on the story.
• Organize your media – I separate my interview clips, b-roll, music, still photos etc. into separate bins.
• Make good log notes when capturing or importing your video clips – this will help you quickly find and select the clips you need.
• Edit your best clips and place them on separate tracks – I usually scrub through my material, selecting the best interviews, b-roll and live action and put them on different tracks.  Then I can pick the clips appropriate to that point in the story when working on the overall story track.
• Determine the length of the piece and set in and out points – I frequently will create my “start” and my “finish” and then work on the middle of the piece.
• Lay down the narrative or voiceover first – I generally lay down my audio track whether it is a voiceover narrative or interviews.  This is what drives my story.  Then I lay down the visuals.
• Get your rough cut down first – I lay down my story first – before I even begin to color correct, adjust exposure, sweeten the audio or move still images.
• Feel the piece – Every piece has it’s own feel and pace that drives it.  Make sure that you achieve what you’re after in telling the story before polishing for the final cut.
• Get away from the computer – Sometimes we need to take a break in an effort to ultimately save time.  I find when I walk away from the technology and let the story move in my head and then go back to the edit – I ultimately save time in the long run because I don’t get bogged down in the technical details.

It is Quick Tip Week …

[by Gail Mooney]

Make sure that when you take a class – like Final Cut Pro – that you have a project to work on. Even if it’s a project that’s self proposed – it will let you immediately apply your new knowledge in a real way.  Otherwise, the information you hear tends to go in one ear and out the other very quickly.

Tips for Shooting on Location

[by Gail Mooney]

I’ve been shooting “on location” for over 30 years.  That’s all I do – location shoots.  Each job and location vary greatly, and that is the challenge of location shooting. So the key is to be prepared for a variety of issues, problems and challenges that you may encounter on location.

Here’s a typical pre-production list of needs that I work from:

• Travel arrangements – Arranging for flights, rental cars, hotel rooms, carnets, visas
• Crew – finding and lining up assistants, sound guys, additional shooters, stylists, hair/makeup
• Talent – casting
• Special Job needs – rental equipment, backgrounds, generators
• Permits – many times a location requires a permit like shooting on the streets of NYC
• Insurance – I always call the building management prior to a shoot to ask them if I need to name them on my insurance policy.  Many times I need to add them to the policy for that time period and add additional coverage.
• Talk to my client and/or subjects in advance and prepare them for what we’ll be doing – what equipment we’ll be bringing in – how long our setup will take
• Prepare a solid shoot list – this helps make the shoot efficient as well as keeps you on track so that you get all the shots you need
• If shooting outside – find your location geographically and what may be around it – which way does it face etc.
• If shooting inside – find out about any shortcomings they may have as far as power supply or lack of.  I’ve actually shot in fairly new commercial skyscrapers in NYC where we thought we were covering ourselves as far as plugging into different circuits – only to find out that we weren’t – after the circuit blew and left the Board standing in the dark!  So now I always have a building electrician standing by.

Ultimately I try to think of everything I may need on location before I ever get there.  A client once said to me “the more I see you worry about the details – the more I know that I don’t have to and that you’ve got it covered.”

Top Ten Blogs I Read and Recommend

[by Gail Mooney]

• Copyblogger – great tips on writing
• WSJ.com: The Middle Seat Terminal – Wall Street Journal’s blog on travel
• Philip Bloom’s blog about video and filmmaking
• CNet Digital Media News – blog about digital media
• Guy LeCharles Gonzalez – marketing blog
• Seth Godin’s blog about marketing
• Mac Video News – current news in the video world
• Fresh DV – all about digital video
• Your Life is a Trip – travel and life

Video Editing Tips

[by Gail Mooney]

• Be organized – gather and import all your assets (video, audio, stills, logos and other graphics) into editing system before you start the actual edit.
• Make transcripts of the interviews.  I like exacting paper transcripts with all the “ums” and “you knows” included.  That way if I’m looking at the paper transcript I get the “true” picture of what was said.
• Choose your soundbites from the actual video – not the from the paper transcript.  It may look good on paper but might not have been delivered well.
• Start and end with your strongest visuals.
• Don’t always tell the story in a chronological or linear way.
• Avoid “jump cuts” – For example: If you cut a “talking head” clip – and put them back to back in the editing timeline without covering the “cut” up with b-roll (other video) then the “talking head” will “jump” where the cuts were made.
• Cut on the action.
• Feel the pace – editing is all about pacing and that’s just something you have to feel. Like a musical composition with highs and lows.
• Don’t use the same clips more than once.
• Always keep your focus on the story – take out anything that’s not relevant to telling that story.  And that may mean some footage that’s near and dear to your heart because of what you went through to get it.

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