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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Mar 05 2011

A Unquie Vision of Capturing Sound: Michael Hersh by Richard Anderson

Category: Multimedia & VideoEthan G. Salwen @ 2:32 pm

Richard Anderson has proved that still photographers can bring a fresh vision to recording sound.

“The style I’m going for is clean, simple, moving,” Richard Anderson says of the videos he is creating for composer Michael Hersh. “I want to trigger the viewer’s emotions, if possible.”

It’s possible. Anderson proves this with his vision of Hersh’s “The Vanishing Pavilions, Book I, Movement 27.”

If I hadn’t been watching this piece with an eye on evaluating Anderson’s movie making skills, I would have never noticed them. And that’s the point: documenting a passionate composer-musician performing should be about the music and the musician, not the videography and editing.

I loved the way Anderson shared the art and philosophy of Christopher Cairns through video. I would have thought that capturing Hersh at the piano would have been much simpler. Not at all, Anderson made clear when we talked about his ongoing work with Hersh. Capturing professional-quality audio of a professional-level composer is no easy task.

Anderson recorded Hersh’s “Book I, Movement 27″ — as well as “Book I, Movement 6″ and “Book II, Movement 38″ — from three different angles using two cameras, with the help of an assistant, as he recorded Hersh playing each piece four or five times.

At least four takes were necessary to give Hersh enough audio tracks from which to select the best. These takes were also required to give Anderson the opportunity to photograph multiple angles, and to have enough footage to weave together in editing — to create a piece that visually helps trigger in us emotions evoked by the drama of the music and the passion of the musician.

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Feb 09 2011

FCE = 40D = Buy Final Cut Express

Category: Multimedia & Video, Technology InsightsEthan G. Salwen @ 9:12 am

If you work on a Mac and don’t have Apple’s Final Cut Pro (FCP) ($1,000) or Adobe Premiere ($800), please buy Apple’s Final Cut Express ($200) — as soon as you can.

Note: If you have any of these programs, or have a professional-level editing application installed on your PC — like Premiere — please stop reading.)

Note: If you are currently loving (or hating) Apple’s iMovie, definitely keep reading

Final Cut Express is 2.3 million times more powerful than iMovie, and working in it will teach you Final Cut Pro. Just buy it!

Final Cut Express is 2.3 million times more powerful than iMovie, and it will teach you Final Cut Pro. Just buy it!

On Photographers and Video Editing

In 2011, if  you are a serious photographer you are getting involved in creating motion content, whether you want to or not. I’m presuming you want to, and so sooner-than-later you will likely end up working with a high-end video editing program, like Final Cut Pro or Adobe Premier. Or as a director or producer, you be overseeing people working in such programs, so you’ll want to have an understanding of them.

Career issues aside, you will want to at least have the editing skills of your clients, such as Mac users using iMovie like gangbusters to produce home movies of all manner.

The Limitations of iMovie

When researching “Adventures in Motion,” a number of photographers tole me:

• The tools don’t matter — it’s about the story.

• Start out simple — use a program like iMovie, at first.

This is totally true, and I made a ton of little movie projects in iMovie, like “Milonga de Sal y Pimenta.” I had a blast, I learned a lot, but then I got totally stuck.

I won’t bore you with the technical limitations of iMovie, but trust me, they are very real, very frustrating. iMovie is geared to be so lighthearted that you just can’t force it to be serious. In iMovie I couldn’t even make a this simple movie or even this quick experiment.

For serious photographers, one of the biggest downfalls of iMovie is that it keeps you from progressing into the more complex aspects of editing that — actually — are very basic.

“FCE = 40D” Explained

The working title for this post was “Final Cut Express Rocks!” but I decided to go more cryptic, with “FCE = 40D,” which is shorthand for this non-techie analogy of why you should buy FCE:

Final Cut Express is exactly like the the Canon 40D, if you are currently working with a Canon ELPH point-and-shoot.

Think of it this way: You are making great images with your easy-to-use ELPH (iMovie), but you want to get more serious about your photography. So you realize it’s time to buy the Canon 5D Mark II (Final Cut Pro). However, even if you do have the extra $800 bucks for the 5D, the fact of the matter is that it’s overkill. What you need is is a used Canon 40D! (Final Cut Express)

Besides the fact that the 5D is video-enabled (which will actually distract you from learning SLR basics), from the point of view of still photography fundamentals, the 40D and the 5D are the same camera. They really are. There are tons of things you can do with the 40D that you can’t do with the ELPH, but there is nothing in still photography you can do with the 5D that you can’t do with the 40D.

So it is with Final Cut Express. If you working in iMovie, upgrade to FCE as soon as you can. From your point of view, it will just like working in Final Cut Pro — overwhelming and exciting.

My (Stupid) FCE Quandary

After I got held back by iMovie, I began a long, nueratic process of trying to compare FCP and FCE, not wanting Continue reading “FCE = 40D = Buy Final Cut Express”

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Dec 29 2010

Stick with the Blink, and 9 Other Critical Multimedia Editing Strategies

Category: Multimedia & VideoEthan G. Salwen @ 12:27 pm

AfterCapture Blog_101227_Stick with the Blink_1“Make edits with a purpose,” Eric Maierson advises in “MediaStorm’s 10 More Ways to Improve Your Multimedia Right Now.” After noting questions we should keep in mind to keep editing purposeful, Maierson shares nine other strategies that offer the best, most concise advice I’ve encountered for improving my multimedia editing.

Definitely check out Maierson’s post for invaluable editing insights.

Still No Rhythm, But At Least No Dissolves

To be honest, I don’t totally get what Maierson means by “edit rhythmically,” although it sounds really good and although I did check out the sample he suggested. (The “Town Bar” section of Driftless at the 1:37 mark.)

I do totally get “Delete all dissolves between images.” As Maierson explains:

The eye sees cuts. When we look from one object to another, we see a blink. We don’t see one object then dissolve to another. Remove all of your image dissolves and your work will improve immediately.

This was very nice to learn. I’ve been laying down stills into timelines, adding dissolves, I’m not really sure how to handle them. Thanks to Maierson I now know I’ll produce better projects by keeping it simple and just sticking with the blink.

P.S. — Eric Maierson Chimes in on Rhythm

Eric Maierson was nice enough to chime in and help me with my confusion over his suggestion to “edit rhythmically.” Definitely take a moment to read his fantastic comment below — very good stuff, which as he says, “sounds a bit oblique written out,” but which I am starting to see, hear and feel.

Maierson wants us to avoid the (boring) result of only editing to the beat, as in, “Da-da-da-da-da-da-da.” Instead, he says we should make “edits work around the other elements. That way you get a nice flow and the music of your edits sound more like da-badadum-da-badumdum-da-da.”

Yes, this does sound oblique (even more than in Mairson’s comment), but I did as Maierson suggested and went back to the 1:37 mark of the “Town Bar” section of Driftless, and I realized that, as he says, there are many more elements in play then I had thought. The visual cuts are on a beat, but not every beat, and musical phrases play out, waiting for the next, best beat for the cut — after a break in the the dialog.

This seems light years beyond my current editing abilities, but seeing, hearing and feeling the rhythm of the “Town Bar” edits is very exciting.

Thank you, Eric!!!

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Dec 09 2010

Luscious Inspiration from “Scattered Flurries”

Category: Multimedia & VideoEthan G. Salwen @ 12:08 pm

The value of signing up for email video suggestions from Vimeo hit home when the site served me up “Scattered Flurries” a couple weeks back. Ben Knight’s luscious, captivating video has remained prominent in my mind. Using an original soundtrack and careful editing of his stunning, snowy motion footage, Knight tells a story in a way that seems to resonate with the sensibilities of still photographers — especially in that almost every shot is powerful visual moment in itself.

One thing I’m learning watching videos suggested by Vimeo is that — derr! — the spectrum of possibilities in video shorts is so broad that most pieces defy easy definitions. For example, Knight’s piece seems to go beyond the scope of music motivational pieces, and yet it fits the definition.

More than anything, I serve you up “Scattered Flurries” because it seems ideal inspiration for how many still photographers might want to proceed, at least at first, with video: avoid dealing with sound; focus on capturing wonderful images; tell a story in the editing; avoid crew and major expenses.

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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 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 26 2010

Final Cut Express Newbie – Take Two – Very Basic B-Roll

Category: Creative Process, Multimedia & VideoEthan G. Salwen @ 7:58 am

Not only can you see one of the rooms in my home in Argentina in this video editing test but, gasp!, you can also see that I’ve actually figured out how to edit b-roll on top of one video/audio take. (”A-roll”?) The inability to perform this incredibly basic editing function in iMovie is what made me finally decide to buy Final Cut Express.

The reason I’m sharing this video with you (as I did my FCE compression test) is the same reason I’m posting these down-and-dirty experiments to YouTube: to help me get over my fear of new technologies, specifically in the realm of multimedia editing.

I over think way too much and often get stuck deep in the creative-technology mud. This time around I was about to get stuck with FCE, which looks like Final Cut Pro to me, and which made me want to crawl back to iMovie. I realized I could think and think and even practice and practice, but never make any substantial headway. What was called for was learning by engaging in quick, learn-one-skill projects and publishing them.

Sure, my tendency is to only share polished work, and sharing crappy experiments makes me go “gulp” in a very real way. What if someone actually sees this???

Yeah, what would happen? Nothing, I suppose, but thee real point is that I’ve noticed that photographers who share their experiments in a public manner advance much more quickly than those us who get stuck — over thinking and not creating, publishing, learning and moving forward.

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