Apr 07 2011

Eye-Opening Insights from Gail Mooney: A Still-Video Hybrid Movie Trailer Goes Viral

Category: Business & Marketing, Creative Process, PhotographersEthan G. Salwen @ 12:07 pm

“Working on this trailer was one of the hardest things I’ve ever done,” Gail Mooney told me yesterday. “The shorter the piece, the harder it is for me to edit, and it probably is for most people. I needed to cut to the essence of the story yet not give away too much. I needed to create interest by what I didn’t tell the viewer.”

One thing this wonderful, interest-grabbing trailer doesn’t tell the viewer is incredible passion, energy and innovation Mooney has put into transforming her personal movie project, “Opening Our Eyes,” from the tiny tickle of an idea into a massive, tangible reality.

Created in partnership with her daughter, Erin Kelly, Mooney shares much of her passion — behind the scenes triumphs, frustrations and the technical and creative nuts and bolts of making a movie  — through her blogging on the “Opening Our Eyes” website, as well as on Journeys of a Hybrid, where for two years Mooney has been dishing up practical advice and motivation for photographers moving into motion.

Thanks to Mooney’s enthusiastic, adept use of social media, as of yesterday, a week after she posted it, Mooney’s trailer has already been viewed by 1,142 people in 62 countries.

“I realize in the YouTube playing field — of babies biting fingers and cats playing pianos — these type of stats are nothing in the viral world,” Mooney observed. “But they are amazing when you consider what it is.”

Indeed. What it is, at least in part, is a passionate visual communicator — who started her career long before the advent of digital imaging and the Web — sharing a personal project with more than a thousand eager viewers in 62 countries.

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Boy with eggs at Camino Abierto, Carlos Keen, Argentina.

The Possibilities in Passion

In a Hybrids blog post last week, Mooney wrote, “When you are convinced that you have the ability to make the impossible possible, then you will put your dreams into action. You will take that chance, and by doing so you are creating your own reality instead of reacting to what others have created for you, which may not be in your best interests.”

There are many people who share this kind of positive sentiment: make your dreams happen with positive thinking. It’s a sentiment that often rubs me the wrong way. It often feels hollow, oversimplifying the immense challenges we all face in life. Regardless of what a Nike ad campaign might say, many of us can’t “Just Do It.” Desire is not enough.

What makes Mooney’s “make the impossible possible” sentiment attractive is that it is grounded in the example of how she lives her life. She struggles, she strives, she overcomes. Yes, she does it. But she never “just” does it.

In her blogging over the past two years Mooney has become increasingly open and honest, sharing her personal struggles. She never complains of simply vents, but she lets us see that a great deal of her making the (seemingly) impossible possible depends on her never given up, even when the (seemingly) possible feels impossible.

In wonderful posts related to her experiences with “Opening Our Eyes,” Mooney shows us how she gets deeply inspired but then has serious doubts but that she still takes big chances anyway. She remains open to learning from diverse sources as she struggles with technical and creative challenges. And although she experiences many moments of sasisfied success, she also  experiences extreme let downs. The common thread — what’s truly important — is that she keeps on going and actively makes things happen.

Viola Majewska with horse at her hippotherapy stable located outside Warsaw, Poland.

Viola Majewska with horse at her hippotherapy stable located outside Warsaw, Poland.

Positive Change From and Beyond Technology

When “Opening our Eyes” is completed, I have no doubt Continue reading “Eye-Opening Insights from Gail Mooney: A Still-Video Hybrid Movie Trailer Goes Viral”

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Jan 12 2011

In 2011, Is There Such Thing as a Still (Only) Photographer?

Category: ViewpointEthan G. Salwen @ 7:11 pm

In this interview, Gail Mooney explains that at the Professional Photography Teleseminar she will be speaking to “photographers who think they might be interested in moving into motion.” Interviewer Adam of RETV jumps in and says:

Which is just about every photographer out there right now because it is such a huge movement. I mean, it’s very similar to when we switched over from film to digital. You know, you’ve got everyone out there right now trying to pick up a camera and shoot motion because the clients are asking for it.

I had never thought of the move into motion as being analogous to the switch from film to electronic capture and, in many ways, the shift seems to be a more massive one. After all, we’ve come to accept that a “still film photographer” and “still digital photographer” are, fundamentally, one and the same. On the other hand, a “still photographer only” and “still photographer and videographer” — which is how Mooney defines herself — are totally different creatures.

Sure, it’s possible that not every photographer is currently moving into motion as Adam suggests (and this blog assumes). But those photographers not at least interested in the potential of motion seem as rarefied as, say, a 1995-era photographer who insisted on only photographing with black-and-white film using an 11 x 14 view camera.

“Drop the Digital from Photography” Chase Jarvis blogged in November, asking, “Isn’t it time we implore the rest of the world to assimilate the term ‘digital photography’ back into ‘photography’ as a whole?”

As 2011 gets rolling, almost everyone who buys a new point-and-shoot camera or cell phone gains the ability to capture motion, and will so so comfortably. Given this, isn’t it becoming ridiculous, and perhaps self-limiting, to talk about “still photographers”?

I think that each photographer needs to define what his speciality is and what types of image making most interests him. But aren’t we getting to a point when saying “I’m a still photographer” is like saying, if even unintentionally, “I’m against the possibilities of motion”?

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Oct 29 2010

Make a Pledge to “Opening Our Eyes” — To Support, Learn, Feel Real Good

Category: Business & Marketing, Photographers, ViewpointEthan G. Salwen @ 1:46 pm

AfterCapture Blog_101029_Kickstarter_1I just pledged $25 to Gail Mooney and Erin Kelly’s “Opening Our Eyes” documentary film project, and here’s three reasons you might want to:

#1. “Opening Our Eyes” is a great, worthy personal project.

#2. You’ll get a copy of the movie on DVD when completed. Sweet!

#3. This will give you a chance to see in action Kickstarter, a really cool site for funding creative projects that you very well might want to put into action one day. (And if you pledge to Mooney and Kelly, don’t you think they’ll pledge to you?)

To pledge $25, go here.

And hey, if you can’t afford the (potential) $25 donation, no worries. Just pledge a dollar! It can really help! As Mooney explains in her latest “Hybrid” blog post:

This past weekend I launched the project on Kickstarter.  Kickstarter is a website that posts creative projects for the purposes of finding funds. It’s a perfect example of crowd funding where one can donate anywhere from $1 to $10,000 to the project of their choice, and in the process make someone’s idea come to life.

I launched Opening Our Eyes on Thursday and within 3 days we reached 30 % of our goal. We still have a long way to go and have another 71 days to get fully funded.  The way Kickstarter works is that if you don’t get funded 100%, then all bets are off and you don’t receive anything.

I love this! This means I’m not just handing over $25 bucks to Mooney and Kelly. It means I’m donating $25 to a super project only if the team can raise $7,500. I’m not sure exactly why this is so attractive, but it is. Perhaps it means that I’m part of something big. Itt also means that Mooney and Kelly might be able to use my little pledge to leverage much bigger donnations, which is really cool.

AfterCapture Blog_101029_Kickstarter_2

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Oct 20 2010

Using Multimedia to Sell Yourself (Not Your Images)

Category: Business & Marketing, Multimedia & VideoEthan G. Salwen @ 3:16 pm

“You need to tell them who you are,” Lauren M. Rabaino suggests in her post yesterday at 10,000 Words, in which she is highlighting the importance of applying multimedia skills in non-multimedia jobs. Here, she is specifically talking about the importance of entrepreneurs (read: all photographers) selling themselves to clients with multimedia storytelling.

Photographers are doing an amazing job at harnessing multimedia to highlight their work, but how many (and how creatively?) are photographers using multimedia to sell themselves — entrepreneurial style?

Here are four example of photographers using multimedia to help sell themselves to potential clients. What’s cool is that this self-promotion was either an after thought (#1) or not a thought at all (#2, #3 and #4), but all do the trick — meeting the 2.0 reality of potential clients wanting to identify a cool, like-minded image maker to work with, not just someone who makes cool images.

#1. This video features Ian Shive:

Amazing multimedia, wonderfully highlights his work, but also really shows you want this guy is about. Not surprisingly, he’s told me that he’s gotten amazing attention (and business) from this series.

#2. This video features Gail Mooney:

Amazing multimedia journalism, this is just a rough that Mooney quickly slapped together after her travels for “Opening Our Eyes.” Yes, it wonderfully teases us with the quality of her work (we want to see more!), but it also shows Mooney up close and personal — something you’d never see in a portfolio-only piece. Mooney has told me that every time she has shown this teaser she gets amazing interest in her project, and that her viewers are most interested in what she has to say on camera.

#3. This video features Peter Krogh:

OK, this is not amazing multimedia, nor does it seem to be a super sales device, but I actually think it is. In this world of 2.0 sharing, we get to see super photo nerdy Krogh in a less photo-nerdy moment, sharing a bit of his life, showing us who he is, helping us imagine him out camping in his van, letting us know that Zippy Lives!

#4. This video features Mary Lynn Price:

If you can make a fun, excellent, educational multimedia piece that features you, and starts off you with you mostly naked, well. . . I think you’re doing a great self promotion sales job, even if wasn’t your intention.

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Oct 15 2010

The Hybrid “DSLR” — One Camera Type With Many Names

Category: Multimedia & Video, Technology Insights, ViewpointEthan G. Salwen @ 5:26 pm

AfterCapture Blog_101015_DSLR Naming 2_1Silly me! There I thought that a DSLR that captures video must have one simple, standard name, and that I just didn’t know what it is. Thus my post on the topic in which I look at the overlapping use of “HDSLR,” “HD DSLR” and “DSLR video.” The comments I received from a number of savvy photographers made it clear that one simple, standard name does not exist, and that it might be better that way, at least for now.

Tony Wu wrote that “The discussion/debate never crossed my mind,” and he isn’t too worried about the question. Eric Chen wrote that the question is an “outdated discussion,” as nearly every DSLR captures video, and “it would be suicide for someone to produce a new SLR that isn’t ‘D’ or ‘HD’ or ‘ViD.’” His suggestion: “Drop the silly prefixes! I just use ‘SLR.’”

Ian Shive seems to agree about dropping prefixes, except to perhaps add an “F” to film SLRS — as in FSLR — and thereby making it clear that an SLR that is called an SLR is really a DSLR. Interesting idea.

“Let’s call it what it is; a VSLR,” wrote Ralph Clevenger. “A video single lens reflex camera, or video-capable single lens reflex.” Not only does this make the most sense, Clevenger believes, but he also notes that it rolls of the tongue real nice. In an email to me said that Brooks Institute, where he teaches, will be adopting this name. The VSLR. It does roll off the tongue nicely, and Clevenger makes good sense, but could there be a risk to insisting (as I was) that there must be one label when one label does not exist?

Richard Anderson (who likes “DSLR” and thinks, like Richard Harrington and PhotoCineNews, that it is best to simply talk about “DSLR video”, for clarity and avoiding additional prefixes) points out that “When it comes to terminology, there is no single George Bush-like ‘decider’”, and notes that “as soon as DP Review starts a forum called ‘HDSLR’ or ‘Video SLR,’ then the term will start to congeal.”

Before “It” Congeals

It seems clear that sooner than later all photographers (not working with antiques) will be using SLRs that are DSLRs and that all DSLRs will capture video and sound. Therefore, it seems possible (and sensible?) that SLRs that happen to be D (or V or H or HD) will come to be know simply as SLRs. This would be nice. But, of cousre, another term might congeal as a set standard. Who knows, but in the meantime I suggest:

#1: Don’t think about this topic as much as I have! As Gail Mooney puts it: “I’m much more interested in what the camera does [sic] than what it’s called.” In other words, she’s using her DSLR (or whatever it’s called) rather than debating about what to call it. Good for her!

#2: Consider what name makes sense to you, and stick by it. I still believe that professionalism and calling things by their best names go hand and hand. With this post and my previous one on this topic you are more than equipped to make a quick, intelligent naming decision for yourself.

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Oct 05 2010

It’s Called an “HDSLR”, Not an “HD DSLR” — Really!, I think

Category: Multimedia & Video, Technology Insights, The IndustryEthan G. Salwen @ 5:25 pm

“I love my new acoustic electromagnetic induction guitar.”

– Professional musician confused about nomenclature.

AfterCapture Blog_101005_HDSLR_1What’s in a name? Sometimes nothing. But when it comes to photographic professionalism, using correct terms is just part of the job. I made up the quote above to illustrate this point. Wouldn’t it be ridiculous if a professional musician didn’t know the name of his instrument? Well, it seems that an analogous situation is plaguing the photography world.

Throughout a recent article I wrote on multimedia and video I refer to “HD DSLRs,” as I have a number of times in this blog. Of course I’m referring to hybrid cameras that, like the Canon 5D Mark II, record both still and video. Sure you know what I’m talking about, but are you aware that this kind of camera is not called an “HD DSLR”? I haven’t known, which is a major oops.

It is called an “HDSLR,” and nothing else would make sense — at least, I’m pretty sure.

“It is a DSLR and not a HD DSLR!” is a brief, clear blog post on Canon5DTips in which “admin” shares his pet peeve about people incorrectly calling an “HDSLR” an “HD DSLR”; explains why it’s called an “HDSLR”; and asks us to “Pass the word.”

Passing the HDSLR Word

Here’s the heart of what “admin” explains:

• SLR = “single lens reflex” camera.

• DSLR = “digital single lens reflex” camera.

• HDSLR = “hybrid digital single lens reflex” camera, as in hybrid still-video capture.

• HD DSLR = a mistake that got introduced somewhere along the line, with “HD” representing “high definition,” which does not make sense because, as “admin” explains: #1. “DSLR already produced high definition images,” and #2, “[The name] does not say anything about the video capability of the camera.”

Makes perfect sense to me. So from now on I’m going to call it an “HDSLR,” and I’m going to ask you to do the same.

Not So HD Fast

I’d love to end this post here, with confidence, but I’ve been doing a bunch of poking around on the Web to confirm that “HDSLR” is as correct as I think. I’ve ended up pretty confused, only 99% sure “HDSLR” is right. Even if it is right I’m not sure what the “H” is stands for.

Why All the HD Confusion?

AfterCapture Blog_101005_HDSLR_2If you do a  search on “HD DSLR” or “HD-DSLR” you will get a lot of results from a lot of professional sources. Many pros clearly think that an HDSLR is really called an “HD DSLR,” just as I did until Friday. I’m assuming that these people are just making a mistake, not giving the matter much thought. And yet, some of these sources are quite influential in the industry. I also can’t ignore the fact that six experts proofed my article filled with “HD DSLR,” and no one commented on this apparent error. Either it’s not an error or it’s one that is quickly getting accepted as either an alternate to “HDSLR,” or as the correct name itself. I suppose there’s a slight chance the two things refer to two different kinds of cameras, but I really doubt that.

I turned to PhotoCineNews to see what term this well-respected site’s authors are using. It was clear that the folks writing for PhotoCineNews know that an HDSLR is an HDSLR and not an HD DSLR. When writers don’t Continue reading “It’s Called an “HDSLR”, Not an “HD DSLR” — Really!, I think”

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Sep 10 2010

The Value of Shutting Up

Category: In-Camera Techniques, Multimedia & Video, ViewpointEthan G. Salwen @ 11:30 am

AC_Blog_100910_Shut Up_1More than once Gail Mooney has advised photographers new to video to shut up when recording audio interviews. I got the point — I thought. If we are not quite, in general, or jump to quickly to the the next question we risk making a mess of our audio files, making editing a real bitch, possibly losing precious soundbites. That made sense. But I’ve discovered that Mooney’s advice actually is much more deeply valuable than had thought.

When Mooney was here in Buenos Aires finishing up her “Opening Our Eyes” reporting, she invited me to help her and Erin Kelly (her daughter/project partner) with one on their interviews. My job: to help with translating. Mooney gave me a quick prep talk before the interviewing, insisting that I shut up as much as possible, and advised me to nod my head, make eye contact and try to encourage further talking — on the subject’s part — by not doing any talking on my part.

If you’ve ever met or been interviewed by me, you’ll know that one of the hardest things for me to do is shut up. I talk, talk, talk, talk.

But then, on location interviewing Maria Eugenia Cuyas, with Mooney working the camera and Erin and I asking the questions, I saw the value of shutting up in action. It wasn’t — as I had thought — just about not jumping on top of the interviewees final words. It was about eliciting much more interesting, expansive answers by using the power of silence.

A Chance to Shut Up for The Master

On Mooney and Erin’s last day in Buenos Aires, I was honored to have the chance to interview them both. That’s right, in the “making-of” video short Mooney created on returning home, she and Erin are responding to my questions — and even more, to my silence. They had tons on their mind, and just needed a little prompting.

The more silent I forced myself to be, the more Continue reading “The Value of Shutting Up”

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Sep 06 2010

Fast & Smart Video Editing with Gail Mooney

Category: Creative Process, Multimedia & Video, Workflow & DAMEthan G. Salwen @ 11:45 am

AfterCapture_Blog_100906_Mooney on Editing_1There’s no right or wrong way to edit video, says Gail Mooney. Nonetheless, Mooney clearly knows great ways to get a quality video out the door fast, as proved by the video featured in my last post. As soon as I saw it go live — less than 48 hours after Mooney returned home from the road — I shot Mooney an email asking her how the hell she did it so fast. Her answer:

“When pinched for time, the trick I’ve learned is that it helps to listen carefully and remember the good soundbites. Then you go looking for them, rather than having to scroll through everything.

“After I found the soundbites I wanted, I laid them out in a timeline and slept on it.  Came in this morning with a fresh mind, I cut out 60%.  From there it was easy: I just needed to hide my cuts with relevant b-roll (didn’t even look for the best) and color correct the clips to match (sort of). Really down and dirty and certainly not polished, but I wanted to get it out for the ASMP Best of 2010 online issue.”

OK. Good fast and smart answers for fast and smart video editing. But I wanted some clarification, and I figured that Mooney would have answers that would of interest to all you Faithful Readers who are trying to improve your video editing skills. Here are my follow-up questions and Mooney’s responses, which she gave me permission to publish, “bad work habits and all.”

Q: To remember the good sound bites, do you note timing or use some aid to locate them easily?

AfterCapture_Blog_100906_Mooney on Editing_2A: I rely on my memory and make mental notes when I am doing the interview.  The real zingers stand out.  But I do try to make a notation on my question list as far as at what point in the interview the remarks were made.  Looking at my watch – not very scientific but it gets me in the ballpark.  If I were working with a crew – I’d have someone keeping track of this by writing down the time code on the digital recorder or camera.  However, that is one big shortcoming of the Canon 5D Mark II – no time code!

Q: Can you clarify “go look for them, not having to scroll”? Are you saying you ONLY listened at first, not watching as well? And what do you mean, exactly, about not having to “scroll” through all?

A: Every “camera file” is a QuickTime file that I can Continue reading “Fast & Smart Video Editing with Gail Mooney”

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Sep 02 2010

Opening Our Eyes: They’re Back!

Category: Creative Process, Multimedia & Video, PhotographersEthan G. Salwen @ 3:29 pm

Feels like just a few weeks ago that I was announcing “They’re Off!” — referring to the departure of mother-daughter documentary film-making team Gail Mooney and Erin Kelly. Well, it was actually the end of May, and since then Mooney and Kelly have had one hell of an adventure. Arriving back home only yesterday, Mooney proves her amazing video editing skills and gives us all a great taste of “Opening Our Eyes” with this wonderful behind-the-scenes short.

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Aug 31 2010

Learing on the Job, Or Not?

Category: Business & Marketing, Creative Process, Multimedia & VideoEthan G. Salwen @ 1:53 pm

“I’m not sure I’d agree with you as far as learning multimedia on the job,” Gail Mooney commented to one of my recent posts. I’m glad she brought the point up. In writing about the new multimedia project I have taken on for Human Rights Watch, I wrote: “Photographers can learn multimedia skills on the job,” and explained that thinking this way is what allowed me to take a leap and offer HRW services requiring skills I am still learning.

Learning on the job can mean taking a calculated leap, with plenty of support - like this woman boarding a train in Lima, Peru.

Learning on the job can mean taking a calculated leap, with plenty of support - like this woman boarding a train in Lima, Peru.

I think that Mooney and I are probably really on the same page, and simply looking at the fine line between offering services we are not capable of delivering professionally and offering services out of our skill range but that we know we can deliver. When it comes to still photographers offering video and multimedia services, we can do this by outsourcing services or, more specific to my point, knowing through experience that we can learn the skills called for — before and during the job.

Not Pro Cake Baking

It would be an unprofessional disaster if I sold professional services to bake a wedding cake this weekend. I just couldn’t do it. But regarding my offering multimedia services to HRW, there are a few thing to consider that put this “learning on the job” in a different category:

  • I studied multimedia in college pretty seriously, making a polished project that was used by the United States Post Office for public education. (Yes, the technlogy was very, very different.)
  • I’ve been playing around with modern multimedia, learning some skills and — just as important — identifying the many skills I still have to learn.
  • I’ve been interviewing numerous photographers over past three years on the topic, processing their advice by writng articles.
  • Many of these photographers have become friends and have made it clear that they will support me when I need help with my own projects.
  • When I pitched the project to HRW, I made it very clear that this would be a relatively simple project, fundamentally using the skills I already have (if not yet at the most professional levels).
  • I was honest and direct with HRW that I would be learning on the job, and that we would need to consider this in terms of both project timeline and our working relationship.

Learning on the Job IS Professionalism

None of these points are to argue with Gail Mooney. She’s been working very, very hard for more than a decade on her film-making skills and she’s still learning. This must be respected. It is why I wrote a post about how hard it is to make movies, in which I encouraged photographers to Continue reading “Learing on the Job, Or Not?”

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