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.

Factors in Pricing Multimedia Projects

[by Paula Lerner]

Pricing a multimedia project is not unlike pricing a still photography shoot:  usage is the key factor.  As a parallel example for a stills only assignment, I would price a shoot for photo usage in a hospital brochure or a university view book quite differently than I would price a print ad shoot for a consumer product — different usage requirements fall into different pricing categories.

When writing a project proposal for multimedia, take the usage into consideration when you come up with a base price for the project.  Your Assignment Agreement should spell out what usage is included, along with specifics of how many hours of production time, how many iterations of the feature are included, out-of-pocket expenses, and so on.  Anything above or beyond that agreement incurs additional charges, and this should be discussed with the client up front.  That way if they keep sending you back to tinker with the audio or images, they know that they will incur additional costs and you will be compensated.

Keeping good time logs to track the work you do is important.  I use a simple excel spread sheet to log the total hours I’m spending, and what I spend them doing.  This serves two purposes:

1.    I have records to use to make sure I will bill the client for anything over and above the original agreement;
2.    I have good records to use to estimate the next project.

If you are doing your first project and don’t know how long things will take you, go out and produce a project on your own to get a sense of it.  Yes, there will be a learning curve and hopefully you will get faster as you get more experience (just like with stills), but at least you will have a starting point.

In addition, it is a good idea to find out what it costs in your neighborhood to job out any piece of the project.  This is basic research:  make some calls to production houses or independent producers and see what it would cost to hire someone.  This will educate you as to what the market will bear in your region, and will help you develop a network of contacts should you need help.  Whether you do the production work yourself or hire someone else to do it, you want to make sure there is enough money in your budget to cover it.

Why Multimedia Is the Future of Photography

[by Jay Kinghorn]

As the mobile phone begins to replace the television and personal computer as the primary screen for interfacing with the Internet, and print continues to decline in popularity, this shift will impact the way photographers create photographs. While a two-page magazine spread can contain a rich array of subtle tones and fine details, the relatively low resolution screen of a computer or a mobile device cannot. To have impact on a small screen, a photograph must be tightly composed, cleanly lit and catch the viewer’s attention immediately.

Unfortunately, these small screens remove much of the subtlety that makes photography such a powerful medium. To bypass the limitations of the small screen, my guess is photographers will adapt to the technological limitations of mobile screens by using a series of images to tell a story, instead of relying on a single, all-encompassing photo.

Photographers who take time to rethink their compositions, lighting and visual storytelling options will be better suited to succeed in all mediums, regardless of the twists and turns technology throws at us.

Think Different

[by Thomas Werner]

Think of video as more than documentary or an interview; think about how you can use video to create physical and emotional space, architecture, think of ways to immerse people, control their experience. Begin to use video in more ways than just a moving version of your still imagery. Get one step ahead of the game in video instead of playing catch-up for the next ten years.

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.

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.

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.

Still Only Still?

[By Leslie Burns-Dell'Acqua]

Do you shoot motion or have you already decided to define yourself only as a still photographer?

If you aren’t doing motion, why aren’t you? Self-defining as still only, without even trying on the new medium, seems like stifling your creativity. It’s a new world and the technological barriers are dropping. You can shoot video with an iPhone now, and the “real” equipment is totally accessible. And targets are eating it up when still photographers use it in their marketing, even if they aren’t hiring a ton of still photographers to shoot motion, yet.

Yet.*

This is your chance to play with the medium. It’s a new tool for you and that frees you up to experiment. There are no expectations on you. So make some art. Make lots of really, incredibly, painfully bad motion stuff and don’t worry about it. Remember some of the totally pretentious and/or self-absorbed, well, crap you made in art school? Sure, now you think back to some of those projects and groan, but remember how incredibly exciting it was to make that stuff? Find that place again. Laugh at yourself and get self-absorbed and pretentious a bit. Try it all on and see if you want to wear the new title: motion photographer.

That excitement you felt as an art student was your young creative soul trying to find its way out. You can do that again. You will find your visual voice somewhere in all that, if you open yourself up to it.

But the only way to get there is to do it. And just like any medium, you may play and work and curse and labor  and laugh and wonder and make some good stuff, and then realize it just isn’t the right tool for you. And that is fine.

But when you get the chance to explore a new medium that is a natural fit to what you are already doing in so many ways, it doesn’t make any sense not at least to give it a shot.

At the worst, you will learn how to make better “behind the scenes” vids to promote your business. At best, you will find that all this time you were really a motion photographer who was just waiting to come out.

______

*More and more are getting work in both media, however. I expect this will only increase in the near future.

What Camera Should I Buy?

[By Gail Mooney]

If I had a dollar for everytime someone asked me what camera they should buy – I could retire.  These days I get a lot of “what video camera should I buy?”  That question is almost impossible to answer without more information.  So I usually reply with my own onslaught of questions “What are you going to be shooting?”, “What editing software will you be using?,” “Are you concerned about getting natural sound” or will you be using the “video” and not the “audio” from the camera?” And, of course the big question. “What’s your budget?”

One thing that complicates making a choice in video cameras is that unlike still cameras – video cameras shoot different types of files – mpeg2, native quicktime, HDV, AVCHD.  In addition some shoot to tape, some shoot to cards and some shoot to discs.  Then of course there’s the basic consideration of SD or HD.  And not all HD files are alike.  Sounds confusing and overwhelming doesn’t it?  And it can be so my advice is always to work backwards.

Start by identifying the type of shoots you’ll be doing – corporate interviews or beautiful imagery intended to be shown to a music track.  Where will it be shown?  Broadcast? Web? DVD’s?  And how will you edit it? What platform? What editing software? To help guide you with selecting the right camera for the editing software you have or intend to purchase I have come across some great links to compatablity charts. Adobe Premiere and Final Cut Pro. This is a great place to start to see if that reasonably priced prosumer camera that outputs AVCHD files will work with the prosumer version of the editing program you have or will you have to purchase the full pro program.  I have seen lots of posts on listservs with people who need help editing files from the camera they just bought and loosing a lot of time in the process, not to mention the frustration they put themselves through.

My advice is to make a pros and cons list before you even look at cameras.  That way you won’t be overwhelmed by the tools – but will choose the tool that is the right tool and the “means to your end.”

Mindmovies

[By Sean Kernan]

When I was 23 I did a film script for Dylan Thomas’ A Child’s Christmas in Wales. It was easy. I just sat down with the words, and watched the visuals that unreeled in my mind. Then I wrote them down. (Getting it produced was another matter, and ultimately I did not, but I didn’t care.)

Recently I started working with multimedia and video. The piece was about African boxers, and it came out OK. At least, people said they liked it.

Then I showed it to a friend who is an Academy Award winning producer and director. Different response. He asked me things like, “What did you feel in the middle of this work? These people? How did you feel when you were with them?” (In fact it had been a bit scary, I said.) “That’s interesting. Where is that in your video?”

This response was much better than praise. So now I’m re-cutting it. In this new form it is a bit jumpy, kind of like I was when I did the work.

For the first version I had let myself be driven by my idea of what a video should look like, which was kind of fluid and bland. (Maybe I’ve been working in advertising too long.) And the software took me to that very easily.

Now I have begun a new project, and this time I’ve started by playing it out in my mind’s eye, working with what was there rather than smoothing it into something that looks like a well-made video.

I’m reminded that, in spite of what my second grade teacher thought, gazing into space is a great way to start creative projects.

The Problem with Hybrids and the New Business Model

[By Gail Mooney]

I can’t tell you how many phone calls I have received in the last month from photographers complaining that their clients are asking if they shoot video and their frustration in having to say “no.” A sign of the times as the demand for video increases.

But what’s most disturbing to me are the still photographers who tell me that they’re going to buy one of the “hybrid” cameras that shoot video to be able to accommodate their client’s video needs.  And worse yet, the common thought process is to “throw in” the “video clips” that they shot with the same camera they create the stills with instead of establishing the value in that video footage and pricing it accordingly. Add to this the fact that there are currently no pricing or usage standards for video in terms of the still photographic industry.  So while we have a “convergence” taking place with the “tools,” too many are not considering  how to make this viable in business.

It reminds me of when photographers first went digital – throwing in the postproduction and setting the “new standard”.  Dumb move but a precedent was set. The problem is when you do that with video; you are missing the opportunity to create value with a new skill set that also includes the pre and postproduction. And with video – it’s the postproduction end of things that can either be costly for you or an area you can make additional revenue. If you just hand over the “clips,” you’ll be leaving dollars on the table.

I see a poorly thought out business model of shooting “video” being driven by the tool and the still camera manufacturers and I see it as a quick way to the poor house. The manufacturers are playing to the prosumer market, but as a professional you cannot afford to do this. Right now you may think – it’s no big deal – I’ll just throw the camera in “video” mode and shoot a few seconds.  But what will happen when your client expects you to then do something with that footage – like edit it?  Be prepared to hire an editor or invest in expensive editing software and a learning curve to go with it.

So, don’t be a short-term thinker and “just” throw in or discount the video clips – because you will soon be replaced by the next latest greatest technology instead of adding a new skill set and real value to your business. Keep a keen eye on the future and create a new business model along with buying your new camera.

In Multimedia, Audio Comes Before Pictures

[by Paula Lerner]

One thing that many still photographers may not realize when creating a narrative audio slide show is that the audio comes before the pictures.  I recently had the opportunity to spend time with friends and colleagues at the annual meeting of Aurora Photos, my agency, where I had many interesting conversations about multimedia.  I noticed that some photographers new to multimedia didn’t realize the importance of audio, and that this is in fact where you start the workflow, not end it.

Unless I am creating a simple slideshow accompanied by music, or am doing something non-narrative that uses ambient sound together with images, when developing a narrative multimedia piece I start with the audio.  I cannot emphasize this strongly enough:   the audio drives the story, not the pictures.  This doesn’t mean that the photos are unimportant.  But it does mean that you must start with the audio to create the narrative script.

When I am developing a 2-3 minute profile feature, the first thing I do is record an audio interview with the subject, which typically lasts about an hour.  I have that interview transcribed for reference, and then edit that hour down to 2-3 minutes.  Once that is completed, I send it off to the client for approval.  If needed at that point I will do additional iterations, but only after the audio line is approved do I begin to photograph.  Once the audio track is laid down, I know exactly what scenes and topics I need to visually illustrate.  Trying to photograph before I have this completed is a much less efficient way of working, and usually results in much more time wasted producing photos that will end up on the proverbial cutting room floor.

There have been occasions when the logistics of a project required me to photograph before the edited audio was completed, but even in those situations I always tried to at least do the interview prior to photographing.  That way I knew the overall content of the subject’s story, and thus knew what I would need to illustrate.  So just because we are photographers and are focused on the visuals, we can’t forget that the audio is critical.  Get the audio first, and then go get some killer pictures to bring it to life.

Vertical TV Sets

Have you ever seen a vertical TV?  I haven’t, but I wonder with the hybrid cameras that look like still cameras and shoot video, will we all be turning our TV’s on end?

The point is that just because the camera shoots video, doesn’t mean the operator will be thinking like a video shooter.  As one who still shoots in both mediums – still photography and video – I have to turn a switch in my head when I switch gears.

Shooting still images are “moments in time.” Shooting video is “time in motion.” You must think more in sequences when shooting video – each one having a beginning, middle and end.  In addition, these independent “clips” need to be edited together to create a story.  When I get into a shot – I need to think about how I will get out of that shot – or what will come next in the story line.

You also need to shoot a lot more when producing video.  You need to “shoot and move” – covering different angles and different focal lengths within those angles. You need a variety of wide, medium and long shots – AND close-ups.  One quickly understands why when you go to edit the piece.  In fact, editing your own material will make you a better shooter.

So when you pick up your new camera that also shoots video – make sure you flip that switch in your head and think differently because it is a different medium.  Otherwise, you’ll be turning your 52″ inch TV set on end.

Multimedia Made (Relatively) Easy

If you’re looking for a way to produce a simple audio slide show (stills combined with either music or an ambient sound/interview track) that is fairly straightforward and does not require extensive training, look into a program called SoundSlides.  Labeling itself as “Ridiculously Simple Storytelling,” it is just that.  I have been producing multimedia for three years now, and for the first two and a half I produced everything in SoundSlides.  With it I was able to deliver professional, plug-and-play features to my clients.

Created in the late 1990s by former photojournalist Joe Weiss, SoundSlides is basically an easy to use Flash template for photographers.  You import an audio file plus a folder of JPEGs, and arrange the images on a time line as you see fit. Hit export, and SoundSlides creates a folder (named “publish-to-web”) that you can easily upload to the web.

If you want to get your feet wet in producing multimedia, or if you have a fairly simple presentation you want to create, SoundSlides is a great way to go.  One limitation is that if you have a feature that is longer than 2-3 minutes which uses more than 40-50 images, the interface can get crowded and harder to use.  Also, if you want complete manual control, it is not the best software choice.  I migrated to Final Cut Pro recently for these reasons, but Final Cut has a significantly steep and off-putting learning curve.  SoundSlides can be learned and used much more quickly, and is designed specifically for producing audio slide shows (no video).  Plus, its inexpensive ($39.95 or $69.95, depending on which version you choose), and has an online community of users that are generally helpful.  I am in no way associated or affiliated with this product, just a happy user.

Some examples of features created with SoundSlides published online:
The Photographer: The Making of a Graphic Novel
Jazz 2009 Tales
Under One Roof

Using Headphones

When shooting video where the audio is also important – always wear headphones.  The camera meters might indicate that you are getting sound (visually) but it might not be good clean sound.  Headphones are important.

Video Quick Tip on a Budget

Overusing the zoom feature of a video camera is the sign of an amateur.  But there are times when you want to make a camera move.  If I’m in a location where I can put my hands on a wheel chair, I find it makes a handy device – kind of like a portable poor man’s dolly or steady cam.  You can usually enlist an interested bystander to push you while you roll the camera.  Shopping carts can also come in handy.

Interviews

Whether you’re doing a multimedia piece or a video you will no doubt be doing interviews.  So this entry will provide you with some tips for getting better interviews.

Number one rule of course is that your audio capture must be good.  Make sure your microphone is no more than a foot from your subject.  Make sure you monitor the sound or at least your sound check by wearing headphones.  You might think you are getting sound by looking at the meter on your camera – but you don’t know if it’s good.  There could be a buzz or interference that without monitoring through headphones – you’d never know.

Pick a suitable location – sitting someone next to a fountain for instance would quickly make your viewer head for the bathroom.

Make a list of questions – but don’t be afraid to depart from that list.  Many times my best questions were sparked by an answer that my subject had just given.  For instance if my subject has just mentioned that there was a tragedy in their family that turned their life around – your next question should be a follow up to that.

Don’t ask questions that have yes and no answers.

Many times you won’t use your voice so the audience won’t hear the questions.  Instruct your subject to paraphrase the question while giving their answer.

Keep quiet – direct them by the nod of your head – instead of giving verbal recognition.

Don’t step on your subject’s line.  Give a pause after they finish answering a question.  That pause will give you “air” and will help you in the editing room.  But more importantly, people are uncomfortable with pauses and tend to keep talking.  Many good soundbites have come from me waiting.

Like my dad used to say – let your ears do more of the work.

Prepping Images for Multimedia and Video

I am often asked the question about the best way to prep still images for a “motion” project. Like anything else there are differences in opinion as to color space, size and type of file. With that said – here is how I prep my still photos in Photoshop.

1. Size images between 2100 and 2600 pixels. Remember everything ends ups as a horizontal on a TV screen. So these dimensions are for images that are horizontal. Vertical or square images will be smaller. There are preset sizes for film and video as well. I size them larger than need be so that I can zoom in or out or pan and scan Ken Burns style.
2. 72 Res because they will be seen on monitors
3. Color space – I use Srgb
4. Pixel Aspect ratio – photoshop images have square pixels – NTSC monitors are non-square. You have to change your pixel aspect ratio. Again there are presets in the pixel aspect ratio box.
5. Don’t sharpen images
6. Some people use de-interlace filter – test and see what you like best.
7. Export as jpeg or tiff if you want to save with layers.
8. Images with fine lines seem to jitter on the screen.

Test for yourself and see what recipe you like. Different treatments work depending on your likes and what editing platform you are using. But I try to do all my prep work before I import anything in my editing system which is Final Cut Pro.

Audio is Everything in Video

The biggest surprise (not that it should be) when still photographers start to shoot in a video format is how important audio is.  I can’t stress this enough.  Your audience can tolerate a poor visual – but never bad audio.  If they can’t hear and understand what someone is saying – they turn it off.

So some tips and thoughts on getting good audio.

1.    Always use a camera that has the ability to accept external mics.
2.    Monitor your sound with earphones – you might be able to see the meter on your camera indicating that you’re getting sound, but without earphones you’ll never know if it’s “good” sound or just noise.
3.    Listen to your environment – is there a radio on?  Are there fans on or airconditioning?  Is the refrigerator humming?  Then control your environment from an audio perspective – turn off fans, radios and unplug the refrigerator.  One trick I use to remember to plug the fridge back in when I leave is to put my car keys inside – I can’t leave without them so it’s a great reminder.  People tend to get a bit upset when you leave their refrigerator unplugged.
4.    Don’t talk while the camera is running and make sure your crew isn’t chatty as well.  You might think that you won’t be using the audio – but why put handcuffs on and rule out that possibility because you didn’t get good sound.

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