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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Nov 10 2010

Vimeo Emails Serve Up Daily Multimedia Inspiration

Category: Multimedia & Video, Online ResourcesEthan G. Salwen @ 6:22 am

To learn multimedia and video, we have to look at the stuff. Vimeo.com makes it easy with optional, daily email notifications. On your Vimeo.com page (no fee, don’t even need to upload videos), select “Edit your profile,” go to “Notifications” and check the desired boxes. So simple.

AfterCapture Blog_101110_Vimeo Inspiration

Sure, sure, we see video all time. And yes, since beginning to play with multimedia I’ve begun to pay much more conscientious attention to movies, TV, and commercials. But as photographers we also really need to be looking at shorter pieces, pieces made on low budgets, pieces made by photographers, pieces that are offbeat, fresh, geared for Web 2.0. and so. . .Vimeo is very promising for daily inspiration.

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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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Sep 23 2010

Adventures in Motion — The Article

ACBlog_100900_adventures_in_motion_salwen_currents_fall2010“The ability to easily distribute video to a worldwide audience via the web is the third factor that has dramatically opened up possibilities in motion for still photographers,” I write in “Adventures in Motion: Nature photographers get serious about capturing video and producing multimedia.” Factor One, I explain, is that hi-def digital video capture has recently become so affordable. Even more critical, Factor Two occurred “in the late 1990s when professional video editing software began to run on the same computers photographers used for their digital still photography.” With this brief historical background, in “Adventures in Motion,” which I wrote for NANPA’s Currents magazine, I dive into a deeply-researched piece in which I attempt to inspire photographers to embrace multimedia and video, and to provide some fundamental advice for doing so smartly.

To get a taste of the scope of “Adventures in Motion,” check out the article’s subheads: “New Frontiers in Video Capture, Editing and Distribution,” “Proceed with Excitement and Respect,” “Having Fun and Learning By Sharing,” “Understanding New Paradigms in Publishing,” “Taking On Video Editing One Step at a Time,” “Listen Up: Sound Is King,” “It’s All About the Story,” and “Beyond the Million-Dollar Question.”

Sounds like good stuff, no? Well, if I succeed with “Adventures in Motion,” it is because I was able to bring to life the experiences the visionary, multimedia-embracing nature photographers who informed this piece: Rob Sheppard, Eric Cheng, Ian Shive, Tony Wu, Ralph Clevenger and Mary Lynn Price.

I deeply thank all of these photographers. During hours of interviews, each one shared their unique perspectives with passion and patience. They also provided invaluable feedback on drafts of the article. While their experiences differ, I was pleased to discover that they are all very much on the same page in terms of what matters for still photographers moving into motion.

Currents’ editor Niki Barrie is the unsung hero behind “Adventures in Motion.” Not only did she assign the article, but she performed some major hand-holding as I worked to refine my mess of a first draft from more than 10,000 words down to less than 4,000. Thanks, Niki!

Check It Out! — A Resource Worth Sharing With Colleagues?

I encourage you to give “Adventures in Motion” a read. Even if you well beyond “newbie” status in your adventures in motion, my hope is that you will find a resource worth sharing with colleagues.

Sooooooo?

I know you’re the opinionated type, so please share your opinionated response to “Adventures in Motion” — in a comment below. More than “Good job!” or “That sucked!”, I encourage you to enter the dialog with your experiences. Expand on what I got right, correct what I got wrong, share any critical advice I left out, pose a question that was raised, or respond to any questions raised below.

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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 08 2010

Christopher Cairns on the Value of Music and Friendship for Visual Artists

Category: Multimedia & Video, PhotographersEthan G. Salwen @ 12:34 pm

Christopher Cairns says his sculpture transmits an impeding sense of disaster that is born out of his attitudes about modern life. Cairns, who relies heavily on music for inspiration, also notes, “The detachment of the contemporary culture from classical music and serious jazz is a disaster.” Regarding the value of friendship, Cairns says, “Part of being an artist is to try to find other people that you can share feelings and ideas with.”

Cairns’ sculpture is powerfully evocative and his sentiments about music and friendship in relationship to the visual artist’s life will be of interest to photographers. Although I can share all this about Cairns, I only know the artist through this five-minute video created by Richard Anderson. This speaks to the incredible storytelling power of documentary shorts. It is also reason to applaud Anderson for taking a great leap forward in his video-making pursuits.

Last month I reported that Anderson was just getting started in video by learning multimedia techniques by experimenting playfully. His latest creation, a personal project, proves that Anderson is getting great results — fast.

Check it out this video for inspiration from both Cairns and Anderson. Take particular note of how Anderson puts his photographer’s eye to excellent use. His framing of Cairns among his sculptures is fantastic and not typical of standard documentary interviews. And Anderson’s still images make wonderful b-roll that clearly reveal Cairns’ vision of impending disaster.

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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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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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Aug 23 2010

Final Cut Express Newbie – Take One – Video Compression for YouTube

Category: Multimedia & Video, Technology InsightsEthan G. Salwen @ 11:39 am

After all my worrying, I finally buy Final Cut Express and to my virgin eyes the program looks just like Final Cut Pro — totally intimidating! To get beyond this I force myself to avoid all the possibilities and think about the most basic task I want to accomplish. Answer: Upload video footage from my Canon G9 to YouTube.

This past weekend I grabbed my G9 and pretty quickly had this:

Clearly this sucks. Horrible compression from hell. Worse than “dumb” iMovie would help me produce. However, I have succeeded in getting the footage in and out of FCE and on YouTube fast, and that was the point.

For “Take II” (below) I referred to a FCE tutorial on Lynda.com, and found some help on how/where to compress for broadband, getting this:

Not bad at all, but I wanted to see if I could find better, “ideal” settings I could use.

I found clear, awesome instructions on best HD compression for YouTube in Final Cut Express/iMovie from BIGlittleBROTHER in his awesome YouTube tutorial. I wasn’t shooting HD, but I thought I’d give it a try, and got “Take III”: Continue reading “Final Cut Express Newbie – Take One – Video Compression for YouTube”

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