“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.

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.

Positive Change From and Beyond Technology

When “Opening our Eyes” is completed, I have no doubt that many will hold it up as an example of the amazing possibilities of DSLR movie making.

The trailer alone — created from still, video and audio captured by a two-member team working in six continents while traveling to 17 countries in three months on a shoestring budget — is testament to the possibilities of DSLR video. But Mooney makes it clear it’s not about the technology; it’s about the story, and the drive to tell the story.

In this case of “Opening Our Eyes,” more than ever before in her three-decade career of making images, Mooney’s desire to tell the story is fueled by her desire to make a difference. Her goal for the film is to inspire viewers to create positive change in their own communities by highlighting the impact that her subjects are making in theirs.

Although Mooney makes it clear that “Opening Our Eyes” is not about the technology, there’s no getting around the fact that the project also is very much about the. One clear example is in how Mooney used technology to help her refine this trailer for “Opening Our Eyes.” First, she shared an earlier version with select colleagues on Vimeo, using password protection to keep it private. After receiving feedback, she refined.

This was possible thanks to the affordable cost of the digital editing process (basically the only cost is time) plus the incredible possibilities of international distribution technology (free). These advances in technology allowed Mooney to create this trailer in way that simply was not possible when she began video production a decade ago.

Woman in remote village in northern Thailand. She waits to see Dr. David Marnaw at his makeshift clinic.

Collaboration Goes Viral

The technology also allows Mooney involve her audience in an ongoing editing process that is interactive and fluid. The trailer is not an afterthought to an already-created movie, but rather part of Mooney’s evolving vision of a story that is still coming together.

“At a certain point in the process, I wanted to share the trailer with others to get feedback,” Mooney explains. “We live in an age when this is possible, so I uploaded a couple of variations of the trailer to Vimeo and sent out links to a small circle of people that I knew.” More polished and not password protected, these trailers are the ones that have gone viral.

“My ‘contacts’ on Vimeo also get access and notification to videos when I upload them,” Mooney says. “The people who received the link were a diverse group; I didn’t want to just solicit the opinions of other filmmakers, but hear from all sorts of people from different demographics.” These people shared the trailer links and Mooney notes that because of the “power of sharing and social media it spread all over the world.”

Mooney told me that, as the mechanisms of social media churn invisibly to distribute her movie trailer all over the world, the positive comments she is receiving are giving her a profoundly deep sense of satisfaction. However, she added that “I have a feeling that this will continue to bring rewards to me and a lot of other people. I believe that with all my heart.”

Evening prayers at the Kopila Valley Childrens Home, Surkhet, Nepal.

Being On Purpose in a World of Frictionless Delivery

This is a theme that Mooney has shared with me many times, since before leaving on her trip to after her return, and when I had the chance to interview her in Buenos Aires during the trip. She has repeatedly talked about the amazing, surprising value that has already come from her project. One of the most profound rewards, she says, is that she has reconnected with the roots of why she became a photographer. She is feeling a greater sense of what she calls “being on purpose.”

“The response to publishing my trailer,” Mooney said yesterday, “has also reinforced the notion that we all have access to incredible tools now that enable us to create our own films, books, music CDs and that we do not have to rely on others to validate our ideas and dreams.”

“It’s not just a powerful notion, it’s a real possibility,” Mooney said. “It takes away some of the fears that come from needing others to sanction what we do. As excited as I was when I first started shooting motion 12 years ago, I’m even more excited now about the possibilities in frictionless delivery of our creations — whether it be an e-book, a musical download or a trailer to a film.”

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NOTE: To be notified of when “Opening Our Eyes” is available for purchase (scheduled for Summer 2011), email Gail Mooney at gail@kellymooney.com with the subject line “Opening Our Eyes DVD”.

“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.

“Behind The Veil” highlights the amazing potential of a multimedia reporting. Grounded in the thoughtful reporting Jessica Leeder, of “The Globe and Mail”, and built around ten videos of Afghan women sharing their plights, “Behind The Veil” depends heavily on Lerner’s images. Featured during Leeder’s voice-over, her photographs paint a broad visual picture of the topic in a way that brilliantly compliments the videos and Leeder’s reporting.

I have not yet investigated the story behind the creation of “Behind the Veil” but I’m fairly sure that Lerner made her images independently of this project, and before the project was even conceived. I say this because I heard Lerner speak about her work in Afghanistan last October at PhotoPlus, and I’ve seen a number of the images in her online portfolio. Just as important, many of Lerner’s images document moments before Afghan woman’s rights began to be abused more severely — to levels that Leeder helps illustrate are arguably worse than when the Taliban ruled the country.

Take at least a quick look at “Behind The Veil” to better understand an important story, to see multimedia harnessed to its full potential, and to respect the important photojournalism created by Lerner.

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.

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 they had a chance to explore and share their own thoughts. And I’m pretty sure I didn’t cause Mooney too much grief in editing.

Shutting Up in Daily Life

For all you strong, silent types, this next observation will seem obvious. But for those of you, who like me, talk, talk, talk, I want to suggest, as I have, trying to apply Mooney’s shutting up advice to regular old daily life.

I have found myself — during phone interviews and chats with friends and strangers — trying to shut up more than every before. To my delightful surprise, I have found that people have a lot more to say that I had assumed. Just when I think someone is done with a thought and is about to peter out, I wait, and try to wait a bit more. And sure enough, they almost alway add another a gem or two.

Silence is Golden — For Hearing Others

I guess that for 37 years — I’m 38 and started talking at one — I have simply been wrong. I have thought that quiet people need encouragement to talk, and have encouraged them with question after question. But as I am seeing, it’s simply that most people don’t have what my mother used to call “oral diarrhea,” as I do. For these people — the majority, I suppose — being quiet gives them a chance to fill the silence.

So thank you, Mooney! Not only have you given me a critical tool for helping with my audio interviews, you have helped me to become a better listener, which is also to say, a better person.

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.

“The wide shot is the establishing shot, the medium shot clearly shows the subject, and the close-ups give us the ‘wow’ factor,” Price explains. She uses all of these to her storytelling advantage throughout “Shackleton’s Historic Hut.”

Even though it’s only five minutes, “Shackleton’s Historic Hut” asks a lot from Web viewers with short, fickle attention spans. Price holds our interest by presenting as much information as many, slower-paced TV documentaries would in a half hour.

Not only do get to know three different women working in Antarctica — seeing them at work and clearly feeling their passions for their jobs — but Price also weaves into her reporting a unique vision of early Antarctic exploration.

One of Price’s subjects, Jana Stefan, a conservator for the Antarctic Heritage Trust, says, “What we’re doing is keeping [the hut] around so that future people can get the feeling that we get when we walk inside the hut, and feel the ambiance and feel what it would have been like to be the explorers down here.”

Thanks to her excellent use of wide, medium and close-up shots, what Price is doing is helping us feel what it would be like to visit Shackleton’s historic hut. And we don’t even have to leave the warmth of our computer stations. Very cool.

More “Cool” Videos from Price

To see more of Price’s Antarctica reporting, visit her “AntarcticPortraits” YouTube channel.

“This” lead me to Wu’s “Adventures with Craig” blog post, which features his latest video, “Captain Craig,” a project which required Wu to head into uncharted waters with Final Cut Pro. “This is the first time I’ve edited anything with Final Cut Pro and Motion,” Wu notes in his post, and asks us cut him some slack regarding aspects of his video that might need improvement.

Cut some slack? Huh??? The piece is great –  successful in terms of what might be considered “traditional multimedia journalism,” but which also focuses on the more “cinematic experience” that Ian Shive told me about.

Dangerous, Uncharted, Satisfying Waters

My sense is that Wu is not getting paid for this project, but it doesn’t really matter. “On the job” doesn’t have to mean “getting paid by a client” — especially when we take the job at hand seriously, and approach it with professionalism, as Wu certainly has.

Last week Wu told me that, three years into his multimedia learning curve, taking on Final Cut Pro has been a real bear (or shark?) of a task. But Wu dove into the depths of FCP nonetheless, and has emerged (hopefully not too shell shocked [get the corny pun?]), clearly having improved his underwater, multimedia storytelling abilities.

The key to Wu’s success is that he remained focused on telling a story he is passionate about, and which he is eager to share with a wide audience through Web publication.

In Wu’s movie, Captain Craig de Wit explains that he first ventured into the uncharted waters of the Eastern Fields of Papua New Guinea in 1989 to satisfy his long-time curiosity.

“It’s a long way out to sea,” DeWit says, “It’s in a restricted area. You can’t get there very easily. Dangerous waters. Uncharted. . .In fact, the first time we went out there we didn’t even have a GPS system, so we had to do dead reckoning.”

Dangerous, uncharted waters? Sounds like what many of us, are facing as we move forward with multimedia/video. But as Wu’s latest multimedia piece proves, combining media intelligently can clearly result in a sum that is much greater than the parts.

I say that the connection to Argentina’s revolution (and ultimate independence) is appropriate because of all the photographers I know personally, without a doubt, Gail Mooney is the most revolutionary- and independent-minded.

Since I introduced “Opening Our Eyes” in March, the project has taken much fuller shape. You can get a good sense of the trip at the main website. Keep in mind that a year ago Mooney hadn’t even thought up this trip. From initial concept to flying out of Newark airport today, Mooney and Kelly have orchestrated all details of this massive undertaking in only a little over six months.

Be sure to also check out “Journeys of a Hybrid”, Mooney’s excellent blog full of insights — from the personal and creative to the technical and business side — from a photographer who has lived her life to the fullest, and who seems to be just warming up.

Mooney, who has been in the business for 33 years, has focused primarily on still photographic coverage of travel assignments for magazines. However, she has also worked plenty in the commercial realm in partnership with her husband, Tom Kelly.

Mooney not only made a smooth transition to digital photography, but she is one of the new bread photographers who is fully embracing the possibilities of video and, just as fully, the exciting possibilities of Web publication and social media.

Good Lu. . .

Besides alerting you to Mooney’s departure (”hybrid” still/motion image-making storytellers are sure to find inspiration from her project), the driving force behind writing this post was to publicly say “Good luck, Gail!” However, wishing Mooney good luck seems a bit odd.

In forging the life that she has wanted to live, Mooney has never seemed to rely on luck. “I do really on serendipity,” she to told me yesterday, when I touched base with her by phone. Mooney has talked to me many times about serendipity, especially in regard to how she allows this force to help the stories she is covering to unfold organically, and in different directions then she might originally imagine.

Mooney’s comfort with serendipity will no doubt be a key to her success on this storytelling trip of a lifetime. As she reports in her “Departure Day” post: “Ultimately, we will be interviewing and filming 10 different people on 5 continents.”

What’s fascinating is how Mooney and Kelly will evolve the story as it unfolds, connecting each new subject to the previous in a way that reveals itself in a manner that no script can predict.

The Blessed Web

There are a number of reasons this trip is unique for Mooney — from traveling with her daughter and recording in still and video with a dSLR to covering so many individual stories on such a huge geographical scope. However, I cannot ignore that at the heart of the nature of this trip lies the new possibilities in media, a.k.a., Web 2.0 and Social Media.

Mooney free to create and publish at will. She has told me that it is the ability to publish video to global audience at basically no cost is what makes the possibilities in video truly exciting. It is not, according to Mooney and as many photographers seem to think, that dSLRs can capture HD video. Mooney has been capturing motion for years — first with 16- and 35mm, then with digital — but with each passing day she sees more distribution opportunities.

These opportunities allow Mooney to fly off today sure that she will be able to win an audience for the move she creates with her daughter, although she is not limited in worry exactly what this audience will be.

Beyond distribution, it is important to realize that the very evolution of Mooney’s thinking about and planning for this trip has taken form via the social media efforts that she has been engaged in. Although even just yesterday she mentioned missing the quality of hand-written, post-delivered letters, she clearly has been able to harness the power of developing technologies without losing site of what has always interested her most: connecting on the one-to-one level, learning about people and places and sharing what she has learned with her storytelling.

Lucky Us: A Great Writer

Yesterday, Mooney told me that almost everyone she has told about her journey expresses a “I-wish-I-could-do-that!” kind of jealousy. Well, I’m not jealous of Mooney’s journey, but I must confess to being just a bit jealous of her writing abilities.

More than once Mooney has commented on the fact that she is not a writer, and wished she had greater skills in this area. Well, she really doesn’t need them. She is a damn good writer, and she is one of the few people I know who can quickly communicate in writing as naturally and fluidly as she does in speech. And this is the key to what makes her blogs and her writing (about her life, her subjects and the craft and business of photography) so engaging.

Mooney has already proved herself a savvy, enticing blogger with her “Journeys of a Hybrid”, which no doubt helped get her in shape for “Opening Our Eyes.” Now that she is in great writing shape — and somewhere over the Atlantic en route to her first stop in Entebbe, Uganda — it’s nice to know that, with her characteristic drive to share the rich life she is living, Mooney will be keeping us updated on her adventures at “Opening Our Eyes.”