“Collaborate”.  That is my mantra and the one piece of advice I give to any still photographer who is thinking of getting into video.  Many photographers are overwhelmed at the prospect of having to learn new skills, like how to capture good audio and how to edit.  I tell them, even if they know these skill sets – they should collaborate with professionals in these areas, rather than to do it all themselves. It’s not impossible to work solo in video, depending on the job, but it’s definitely more difficult and sometimes counter productive. Simply put, a good crew will make you – and your productions look good.

Still photographers by nature are independent creatures, so the concept of working with a team is somewhat foreign.  Sure, we have all collaborated with art directors, stylists, hair and make up people and assistants, but with video the team you build becomes even more integral to the production.  These days a team can be anywhere from two people to twenty or even more.

I have always had a partner, even in my still photography business, so when I got into video I found that was an asset and an advantage. In the beginning my partner would shoot the still images on video productions and I shot the video.  On simple jobs, I would also “run sound” and do the edit.  As productions became more complex, we would hire good sound people and editors.  Some jobs needed bigger crews.  We quickly found that not only could we not “do it all” but that we shouldn’t on video productions because it was self-defeating. Many times the productions were taking longer with smaller crews.

So how does one find good sound people, grips (lighting), gaffers (electricians) and editors? There are many online resources these days – Craig’s List, Mandy’s and Production Hub to name a few.  I have also met great people at DSLR meet-ups, editing user groups and trade shows and conferences.

If a job is complex and the budget accommodates it – I hire a line producer to put a crew together for me.  That’s their job and they keep a file of good people that they draw upon on an as needed basis. I actually found the editor who worked on my film and was brilliant, by networking with an ASMP member who also works in both mediums. Personally, I think one of the biggest benefits of being a member of ASMP is the networking.

Technology has had a major impact on visual communications, which in turn has changed the way, we manage our businesses and produce jobs.  It’s more the norm these days to build crews as we need them, rather than to maintain large production teams full time. There are plenty of very good freelancers to draw from.  Not only will a good team make you and your productions look good – you’ll be learning at the same time.

Gail Mooney has recently finished her first feature film Opening Our Eyes.  You can see a trailer and find out more about this project at www.openingoureyesmovie.com

I started writing because I couldn’t sleep. I would wake up, tossing and turning over something negative or positive, keeping myself awake playing out the different scenarios in my head.  So, I would get out of bed and write about what was on my mind.

When I first thought that maybe some of my writings would be helpful to others, I decided to start a blog.  But I knew that I didn’t want to start a blog, unless I was committed to posting on it regularly.  I knew that was important in keeping an audience. You have to be committed to post regularly.

You also have to decide why you are writing the blog.  Many initiate blogs to create awareness of their brand.  If that were the case then one of your goals would be to drive traffic to your blog. You need to be strategic, use keywords in your writing and links and provide useful information.  You not only want to attract an audience – you want to keep them coming back.

I have two blogs now – my professional blog and a project blog that was started when my daughter and I traveled around the world making a documentary.  They are different from one in another by what they focus on, but yet very much the same as far as point of view. Blogs, or at least my blogs are more personal in nature.  My blogs give a reader or a potential client more insight into who I am.

If you are thinking of starting a blog, do it because you want to and you feel you have something to say.

• Be authentic
• Be regular
• Be strategic
• Be useful

 Gail Mooney has recently finished her first feature film Opening Our Eyes.  You can see a trailer and find out more about this project at www.openingoureyesmovie.com

I recently had the honor of having one of my still images on display in the Senate Rotunda in Washington DC.  It was one of eleven photographs in the Copyright Alliance exhibit,  “Recording Our History: Faces Behind the Camera“.

It was this portrait of blues drummer Sam Carr that I shot in 2001:

© Gail Mooney

At that time, I had just started shooting video. I wanted to combine both mediums in a personal project about the Delta blues musicians.  My plan was to shoot environmental still portraits and capture video interviews of the musicians talking about their music and growing up in the Delta during that time in America.

I spent weeks filling out every conceivable grant application and getting rejected every time.  I knew I needed to capture these stories soon and that they couldn’t wait.  The youngest musician was in his 70’s. Ultimately, I made it happen on my own dime – a bit slower than I wanted – but I made it happen. I have been rewarded financially and countless other ways. That was over ten years ago. It’s a lot easier now simply because of technology.

These days there seems to be a prevailing attitude of gloom and doom. We have an economy that can’t seem to turn itself around and we’re bombarded by change that’s 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 don’t need someone else to validate my ideas – and that is a powerful notion. There are no longer just a few gatekeepers with the keys to the kingdom. Technology has leveled the playing field.

Human beings will always have the need to communicate.  These days we can communicate globally and with ease.  An idea or creation can be shared around the world in a matter of minutes.  Think of the power in that and think of the opportunities it presents.

Gail Mooney has recently finished her first feature film Opening Our Eyes.  You can see a trailer and find out more about this project at www.openingoureyesmovie.com

When I started giving seminars about video for ASMP a few years back, video was a separate genre of “photography.” In fact, most didn’t even consider it a genre of photography at all, but rather a totally different skill set and craft.

Fast forward three years and video has infiltrated just about every photography market and genre, from editorial to architectural photography.  No longer a separate genre, video has become part of the photography business.

If you’re a photojournalist these days, you pretty much have to know how to shoot video, whether you shoot with a hybrid camera or a traditional video camera. Most publishing companies are demanding video for their online and mobile device editions of their publications.

Wedding shooters are now providing both video and still photography to their clients. Rather than compete for a piece of the photographic budget with a videographer who has been hired separately, or deal with the frustration of getting in each other’s way, the day of the wedding, savvy still photographers are handing both stills and video.  They may not shoot both mediums themselves, but they take care of both needs for their clients and coordinate those efforts.

Corporate photography has always been a big market for me.  In the glory days of glossy annual reports, I made a lot of money in the corporate photography genre.  These days, my corporate clients have shifted a lot of their dollars to video.  I can’t remember the last time that I shot for a corporate client that didn’t include a video component. I don’t let those dollars go elsewhere.  I provide solutions for both video and still photographic needs on the job.  My clients like it because it’s cost effective and it streamlines the workflow as well as unifies the “look” of the content.  It’s a win/win.

Video is rapidly becoming part of almost every photography market niche.  That’s not to say that still photography is passé, but rather to point out that a video component is becoming a standard in the overall business of photography.

When I think of the definition of what a  photographer will be in the future – I think of someone who is able to provide both stills and motion content and deliver their clients’ message with the whatever camera does that best.

Gail Mooney has recently finished her first feature film Opening Our Eyes. Watch the trailer and find out more about this project at: www.openingoureyesmovie.com

I’ve been a traveler since I was 19 years old. Not only have I spent a big part of my career shooting desirable destinations all over the world for magazines like National Geographic and Travel & Leisure, I’m also on the road a lot shooting for corporations, institutions and non-profits and speaking at conferences. I’ve recently returned from a trip around the world making a feature documentary.

Here a few tips I’ve learned over years of traveling with gear:

• Carnet – A carnet is like a bond on the “goods” that you bring into a country – like your professional photographic gear – that assures authorities that you will leave their country with the gear you brought in. I don’t always obtain a carnet – some countries don’t recognize them.  But if you do travel with a carnet, make sure the customs offices are open the necessary hours to accommodate your flight times.
• Baggage – I have elite status on Continental so as of right now, I don’t pay for my first two checked bags, and I’m allowed up to 70 lbs. in each.  After that every bag costs me $80 for each leg.   If I have 4-6 checked bags, which I often do for corporate shoots, it will cost me an additional $160 per bag, round trip.  That’s $320-$640 in excess baggage fees on top of the price of the ticket.  If I’m flying on an inexpensive ticket, it works out better for me to buy another ticket – essentially a seat for your camera bag.  Musicians do it all the time with instruments. The extra ticket comes with an additional two free (in my case) bags, saving money over paying the high excess bag charge.
• ScotteVest – I don’t like photo vests, but I love ScotteVest because when you are flying small planes and you can’t carry a camera bag on board – you can pack a whole lot of gear in your vest – even a laptop.
• Documents – Plan ahead.  Getting visas can take time.  Make sure you get the necessary documents to be able to “work” or shoot in certain countries.
• Money – Many third world countries still do business in cash. Some countries only accept new bills.  In Uganda, they would only take $20 bills printed after 2006.

Gail Mooney has recently finished her first feature film Opening Our Eyes. Watch the trailer and find out more about this project at: www.openingoureyesmovie.com

When I was a very young child and I couldn’t get to sleep at night (yes even then I found it hard to sleep) I used to play a game.  I’d pretend that there was a monster who lived under my bed and I would tease him by sticking my foot out from under the covers and then quickly pulling it back before he could grab it.  I suppose you could say I was testing my boundaries or that I was a weird little kid.

I’ve always had a vivid imagination with lots of schemes and dreams over the years.  The times in my life when I have been the most creative have been times when I never even considered there would be anything other than a positive outcome.  I was fearless, because I didn’t know any better.  Many times, I was so focused on the dream that was so clear in my mind that I never stopped and thought about what I didn’t know. And because I never questioned it – I just plowed ahead – once again testing my boundaries.

If all this sounds like crazy, impulsive behavior – then perhaps it is – but like I said, that is when I am my most creative – when I leave my fears behind. Whenever I’d get anxious over a decision that I needed to make or came to a crossroad in my life,  my dad used to ask me  “What’s the worst thing that could happen?” I’d think about that and I’d never really come up with an answer that had an outcome that was all that bad – or at least nothing that I didn’t think I could handle.

Test your boundaries. Be fearless. Believe in your dreams. Say, “yes”, instead of “no” more times. Ask “why not” instead of “why”.  Explore and play. Do things for the sake of doing – not for the money – not for the recognition – but for the pure joy of doing. Get away from the “noise” – don’t try to replicate it.  Don’t just listen to the “market” – listen to your self. Let go of the ego – be humble. Take a chance once in awhile instead of going with the sure bet.

Tease the monster under your bed.

Gail Mooney has recently finished her first feature film Opening Our Eyes.  You can see a trailer and find out more about this project at www.openingoureyesmovie.com

The post-production process for video is far different than it is for still photography. Most people think of post-production in video as “editing” and that’s certainly true to some extent, but the word “editing” in video production is far different than what that word means for still photography.

Editing is not just culling through the good and the bad clips and it isn’t just knowing particular software like Final Cut Pro or Adobe Premiere – it is crafting the story.  Sounds simple – and it is I suppose – if you know how to tell a story cinematically. Every cut and the timing of that cut plays a part in telling the story and moving the film along.

It doesn’t matter if you are working on a 15 second spot or a feature length documentary, the story or the message is the heart of what you are creating and if that is blurred or not clear – then I don’t care how beautiful your imagery is – you have failed to do what video excels at and that is “telling the story”.

Some post-production tips:

• Hire a professional editor – or trade services with one if you can’t afford one.  It makes all the difference in the world.  Professional editors know more than just how to use editing software – they are like a musical composer – creating the rhythm and feel of the piece with timing and juxtaposition.

• Do a very rough cut yourself – this forces you to look at everything you have shot and put it into the context of the story you are trying to tell.  You become a better shooter when editing your own material.  You discover exactly what you should have gotten in the field when you get into the editing room.

• Get all your assets in order – By this I mean gather any and all stock still images or footage, narrative, music, graphics etc.  This keeps you focused on the story.

• Force yourself to look at the “whole” without stopping to tweak – This is a tough one but it’s important to watch your piece in its entirety to get the sense of the whole story.  It’s tough because you’ll want to stop and tweak the audio or slide a clip one frame over – but try to watch it through at least once.  Then go back and tweak.

• Wear earphones when editing – It’s really the only way to listen for any volume changes or hisses and pops.

• Don’t wait until the day you need to ship your project out to compress it – We all push it to the eleventh hour but some things you just can’t hurry and that is compression for DVD’s or blu-ray or even a compressed file for upload.  Compression takes time.  And there is no one size fits all formula.  It’s the type of thing that you just have to test.  Leave time to do so.

• Use straight cuts – I hate it when I see lots of dissolves or these crazy transition effects.  I don’t want people to notice the cuts.  I like to keep them simple.  Everything means something in editing and something like dissolves generally means the passage of time – so if that’s not what you want to say – don’t use them.

• Music – Music is the backbone and the heart of any good piece.  I found when editing a feature length piece that I needed lots of music.  Even royalty free music adds up but it makes all the difference in the world.  It takes a lot of time to search for music.  It takes even more time to hire someone to compose an original score. Plan for it and budget it. Don’t use mainstream music unless you have licensed it.  If you plan to do that, you should also be prepared for the cost to license it.

• Hire a sound mixer. – Again professionally speaking, the sign of a non-professionally edited film is one where the sound wasn’t mixed.  And when played in a theater – you will hear the difference.  Actually, even when played on your computer, you’ll hear the difference. Audio is everything in video.

• Learn to love collaboration. – On my latest project I worked with an editor, a sound mixer, a graphic designer and professional musicians.  They all raised the bar on my film and made me look good.  Find a way to collaborate – trade services, make friends with other pros, raise money with crowd funding – find a way to work with professionals on your projects and it will make all the difference in the world.

Gail Mooney has recently finished her first feature film Opening Our Eyes.  You can see a trailer and find out more about this project at www.openingoureyesmovie.com

I hear it all the time from people who question the value of social media: “Have you ever made any money by being on Facebook or Twitter?” They are generally people who don’t quite understand the value of social media because they either expect an instant pay off or they are not willing to “share” – or both.

The key to getting the most out of social media is to share with others – not to sell – but to share and interact.  Out of that comes relationships and out of relationships come good things.  But social media is also a great tool for  “branding” oneself – for lack of a better way of putting it.  I know when I write a blog or post something on Facebook, I’m not only sharing my knowledge with others, but I’m sharing a bit of myself.  Just like when I first become friends with someone in the “real” world – it takes time to form a meaningful friendship – the same is true with social media.

The other question people have in regards to social media to ask for a concrete example of how social media has helped my business.  I will answer that question with a real case scenario of how I have utilized it for my current multi-platform documentary project Opening Our Eyes:

• Last Spring my daughter and I embarked on a 99-day journey around the globe to film people who were making a positive difference in the world. We used Facebook to find subjects on six continents for our film. Our request for subject suggestions went viral and before we knew it, we had more subjects than we could possibly cover in a 5-year period – let alone in 99 days.

• As we journeyed around the globe, we wrote a blog and uploaded podcasts and photos as people followed our travels vicariously.  We were building an audience for our film.

• When we returned from our trip, we launched a tease for the project on Kickstarter.com, a crowdfunding site.  We raised over $10,000, which enabled us to hire a professional editor.  We sent people links to our Kickstarter site via our blog, Facebook and Twitter and once again it went viral as people passed them along.

• I uploaded the trailer for the film on Vimeo and within less than two months time, it has been played in over 102 countries.  That’s more than half the countries in the world.

• People have connected with me from all parts of the world as awareness of this project has spread.  They have donated their time, their services, their talents, their money and their good wishes to our project because they believed in it and they wanted to be a part of it.  That collaboration alone has brought great value to this project, as well as to everyone’s life that has become a part of it.

When I started in this business over 30 years ago – I could only dream that this would be possible.  Social media has made it possible and “real”.  That is all the proof that I need.

Gail Mooney – creating storytelling still and motion imagery for new media http://www.kellymooney.com

I get asked this question all the time “How do I price video”.  First of all I need to state that I do not position myself as a DP or Camera Operator.  I want to take the lead on a project and handle the entire video production.  So when I talk about pricing video, I talk about how I price various aspects of a video production job.

As the producer, I charge an overall “creative fee” or “producer fee” for handling all aspects of the job from concept to creation.  In the markets I work in, primarily in the corporate and institutional sectors, I work directly with my client and handle the production rather than go through an intermediary like an ad agency or designer.  I take creative and fiscal control of the project.

So how do I come up with what I charge?

• When I am shooting both still images and motion for a client – I charge for them separately.  I do this because most of the time, I won’t be shooting both mediums on a job.  I’ve done it before and it’s self-defeating.  That’s one reason, but the other reason is that I deal with the licensing and usage differently.
• I base my fees on my cost of doing business as well as what the market will bear in my area for that type of job.  It’s easy to research your competition because many video production companies provide a rate sheet online.
• It’s fairly easy to find out typical rates for crew that you need to hire, whether it be an audio engineer or an editor. A seasoned editor will be able to give you a pretty good estimate on how many hours the edit will take depending on how many hours of footage you shoot.
• I charge for my gear whether I rent it or own it; it is fairly standard in the business of video production to include a “camera package” or “lighting package”.
• If I am asked for a bottom line price then I need to stipulate what that price does and does not include.  The client needs to understand that my camera package is priced based on using a Canon 5D Mark II and not a RED.
• Traditional union rates and rules only apply in traditional business models.  Technology has lowered the entry bar to video production but it has also created a demand for motion content – much of it coming from our existing still photography clients who are now asked by their bosses to fulfill video needs.  Don’t make the mistake of “giving the video” (or the stills) away. Each one of these mediums has their own and unique value to the client.
• I charge for creating the project and I grant usage for the project in its entirety.  It may be that I am hired to create an online web video for internal corporate use.  But if the client falls in love with that 1-minute video and wants me to cut it down to 15 sec. and use it in a broadcast spot – then I will charge not only for the new “cut” but also for the broadcast usage.

For those of you who become more of a hybrid and begin to offer your clients video as well as still imagery – don’t make the mistake of giving it away.  If you do, you will have lost your opportunity to state your value in that genre with your client.  Ask yourself – at what point will you be good enough to start charging that client for your motion work?  And who is going to determine that?

Pricing and estimating video is one part of the process. After the job has been awarded, I make sure I follow up with a SOW (Statement of Work) that is signed.  It includes all my terms and conditions, including payment terms, licensing and usage.

Gail Mooney – creating storytelling still and motion imagery for new media.  www.kellymooney.com

First let me say that I position myself as a producer and that I estimate on the entire video production. I do not hire myself out as a Director or Director of Photography or as a Camera Operator. Many times I may also direct and shoot a project but when a client comes to me and asks for an estimate, I estimate on the entire production from concept through creation.

With that said I estimate each video production much like I would estimate a still photography production except there are more components I need to consider. Essentially there are three major parts to every video production:
• Pre Production
• The Shoot
• Post Production

Within each of these parts I need to consider my costs as well as my fees. Below are some items that I consider when estimating on a video production job but certainly not limited to them as each job comes with its own particular needs.

• Producer or Creative Fee – this is my fee for producing the job. It does not include my fees for other aspects of the project that I may undertake such as shooting or directing. It also does not include any licensing or usage that may apply.
• Writer, storyboard creation
• Crew – DP and/or Camera Operator, Still Photographer, Audio Engineer, Gaffer, Grip, Assistants
• Casting, Talent, VO talent
• Make up, stylists
• Editor/Editing suite
• Graphics or motion graphics artist
• Stock footage, photography, illustrations and music needs
• Equipment – camera package and other camera needs – jibs, dollies, monitors, specialized needs like Steadicam or teleprompter with operator, lighting package
• Location needs, catering, travel logistics and expenses
• Insurance
• Exportation of product as files and/or hard media (DVD or Blu-Ray)

A lot of my clients want fixed price contracts. Rather than to be presented with estimated man-hours and billables, they are asking me for firm bottom line figures. For that to work and for me to protect myself, I need to make sure that I think of everything that a job will require and make sure these costs are reflected in the estimate. I also need to be clear with my client and include in the estimate a description of exactly what the project entails, what we are responsible for and what we are not responsible for.

Lastly in order to know how much to charge in the way of my fees and to estimate how many hours I will need to spend on a job, I rely on past jobs and proposals. I base my fees on both my cost of doing business – what I need to make a profit- as well as what the market will bare for this type of job in my area.

Gail Mooney – creating storytelling still and motion imagery for new media. www.kellymooney.com