1. We welcome any feedback, questions or comments

Tag Archives: Education

The Time-Lapse Challenge

The looming and constant challenge in my niche market is how to explain to potential clients why I do what I do. It’s not the photography but the thinking and feeling that goes into each film I deliver that is the ultimate challenge to get across the great divide. I’ve found this approach helpful to many of clients:

photograph of a gravel pit made to look like a jigsaw puzzle

It’s Like A Jigsaw Puzzle

The main camera provides provides context. I refer to this as the master shot. It is the border, the outside piece that forms and defines the boundaries of your story. The rover days, (the ground-based time-lapse footage gathered with moving cameras) video footage and drone work are individual pieces that I fit together in order to make your story flow. These pieces can be fitted in a variety of ways: the order in which they appear, the amount, (in seconds) each section of footage runs, the speed at which a clip plays back, how the head and tail (beginning and end) of each clip is connected to the piece that came before and the piece that immediately follows.

photograph of Michael e. Stern, time-lapse photographer scouting a location

On location scouting for the best master camera spot and our agreed upon choice.

And the beauty is, this process isn’t fixed. One can always revisit the master movie file and move things around, change a jump cut to a dissolve, ramp up or slow down a clip, raise or lower a the audio level of a sound effect or music track. This is your prerogative as the client when viewing rough cuts, to ask that the puzzle be fitted together differently. Although the work is so thoroughly finessed by the time you see the film that little if any changes are necessary. But you have the option. That is my guarantee as the puzzle master, that it fits together as you desire.

After Effects CC 2015 interface

This interface screenshot is from After Effects. This is typical of my films, many little pieces adding up to a cohesive whole.

Time Lapse Narrative Talk

This week….

Screen Shot 2015-04-20 at 11.11.37 AM

why-Time Lapse?

I'm a huge fan of these helicopter POV's.

I’m a huge fan of these helicopter POV’s.

In the interest of furthering overall knowledge about the process of making short time lapse films (or narratives as I like to call them), the 3 distinct phases of production and why I like to make them, I’ve prepared an 18 minute presentation online.

Knowing none of us has that much continuous free time anymore (right?), I took the liberty of identifying 14 key points and making them into much shorter videos bits.

There’s a lot of great info contained within….time to watch!

why-Time Lapse?

Thanks for reading.

Michael
The Visual Sage

 

It’s The Little Things…

Personal Branding Matters…

Visual Sage Michael e. Stern

Last week I spent an evening with Kevin Susman of Storm Cellar and his WHYMATTERS #personalbranding Workshop. Kevin runs Storm Cellar and is a brand strategist, filmmaker and guy who does things for corporations. He has taken his corporate expertise and reformulated it into a personal branding program.

Why was I drawn to this? Number one reason: Kevin is a photography client, we became friends as a result, have kept in touch and I like to support my friends.

Secondly, I’m always looking for an edge when it comes to the self-employment game, especially since I’m in the photo industry which we all know is as easy as tying shoes to become successful in and thrive at…

I know marketing is important. I know identifying your potential clients is important. I know a strategy statement is important. I know tag lines are important. On my own I wasn’t able to drill down in profound ways to understand and integrate these important moving parts.

After Kevin’s workshop that is no longer the case. The presentation was concise and entertaining. The hands-on portion was the kicker for me. We had to interact with others in the group. This is where I/we were able to flesh out the mysteries of what the hell we were doing…

I found it extremely productive and the end result has given me a clearer path to the far side of my career. I’ve been in this game for 32+ years so I’m no neeb. But we all need a little help and this workshop was dope!

Cheers!

 

Michael
The Visual Sage

Partner With Good Products

Trying something new here…my first video promo/post where I’m discussing the merits of the eMotimo TB3 motion control unit.

Hope you find it useful:

Thanks for watching.

Michael

Reflection of Effort

Through consistent and tedious effort my SEO strategy is paying off. I’ve been getting calls for commercial and time lapse photography assignments in key areas I want to work during this phase of my life and career: portrait, time lapse, construction and event photography. (not necessarily in that order)

This assignment came in about a month ago: to time lapse trucks entering the Port of Long Beach’s Yusen Terminals. The idea was to measure when the heaviest and lightest traffic times occurred throughout a 20 hour cycle. The end time lapse film had to include a clock to help easily identify these key times. My camera had to be in a single, stationary position.

My client scoped out the location earlier and selected the perfect spot: inside, high, protected and with power. The only issue was reflections while shooting through glass. Here’s my solution: a Lenskirt and a black cloth on a C-stand.

TruckStops-7TruckStops-9Why have the extra black screen behind the camera? Years ago I learned the value of testing set ups before prior to a shoot. For this shoot I tested my camera, intervalometer and tripod. I allowed for reflections but not enough to prevent a reshoot. I then purchased the Lenskirt to eliminate the possibility of reflections for said reshoot. I bought this particular item because a colleague recommended it.

I needed to ensure (as much as possible), that reflections would not interfere with the content. I’m setting up for the test when I realized that the lens was going to be at an oblique angle to the glass and reflections could still be an issue. And I was correct. I mimicked my set up as closely as possible and lo and behold there were reflections even with the Lenskirt attached. The current version was designed assuming  lenses will be squared up to the glass, not at an oblique angle. I just heard from Aaron, the creator of the Lenskirt and he’s making a larger version for just this reason. Hooray!

Here’s an early frame pull prior to my 16 hour test:time lapse test shoot using a LenskirtThis cropped frame clearly shows the reflection of a basket and the wall behind it in the window. This problem was solved by adding the black cloth behind. So now on to the shoot. Once on location I cleaned the glass, set up my camera, doubled checked all connections, ran a few test frames, reset the Promote Control to begin 13+ hours hence, left and hoped for the best.

close up of Promote Controls intervalometerThe shoot went well except that outside dirt and the glass thickness caused additional issues that had to be dealt with in post:

time lapse frame pull from the Yusen Terminals night shootThe reflections being as prominent as they were surprised me. The dirt was unfortunate. If I could have arranged for a cleaning of the glass prior I would have. As I scrutinized the window during set up, I knew the dirt bunnies would be minimal and easy to remove.

Here’s the finished frame:

time lapse frame from the Yusen Terminals film

Lightroom’s spot removal tool and the sync function were invaluable in helping me build better content for this client. The larger issue here is that there are ways to get new business in the door and there are ways to successfully complete an assignment. Unknown things often happen on a shoot, success and failure change places easily and the agile and vigilant pro understand this.

As a buyer, that’s what you want in todays’ market.

The completed short film:

Thanks for reading.

Michael

Why Does It Cost So Much?

Money

 Why Does It cost so much? –or– Why don’t I own it?

 

Filed under, “If I had a nickel for every time I heard this….”

 Knowledge & Power

The education of commercial art buyers at the client direct level is awash in a sea of misinformation and self-appointed know-it-alls. Some days I see the advantage of having a personal firing squad.

 

Professional Photography costs X dollars because commercial licensing of intellectual property is a component of the service we sell.  Referring specifically to professional photography, we don’t make widgets. We don’t sell real estate. We don’t collect data and mine it for you. We do work on commission, we work at creating intellectual property in the form of visuals and it’s the intellectual property rights built into each and every photograph we build that provides us the ability to make a living wage. Licensing the use of intellectual property for your business or personal needs is part of our business model.

 

If one works in a situation where someone else carries the weight for you, (benefits, salary, retirement, etc.) then the idea of artists’ intellectual property rights may indeed be a mystery. Add in the costs of doing business, the need to make a reasonable profit and our pricing structure and you have our business model just about summed up.

 

It’s painful when we negotiate and end up not only having been denied our licensing rights, but maddening when those rights aren’t even acknowledged. It’s not a gift or an entitlement. It’s a right. Artists own their creative works unless they sign them away. It’s the creative-art-patent.

 

 Product vs. Expression

We do not create products. We create the expression of an idea. It’s custom designed to fit your needs and desires. If you’re willing to pay for it you can own our intellectual property rights by an outright purchase and transfer of our copyright. Not recommended of course due to the expense, but it ‘s available. I’ve sold it a few times in my career.

 

If you’re unable or unwilling to purchase our intellectual work outright then we’ll come to an agreement that let’s you license the portions you need and we’ll keep the rest. We’re then free (through our ingenuity and efforts) to look for other opportunities and revenue streams. Again, this is our business model.

 

When you purchase a home you are purchasing the property rights to that home and land. When you buy a DVD you own the physical disk but not its’ content. You’ve licensed the content for a specific use. Period. That intellectual property is the property of the creating party….movie studio or independent filmmaker.

 

I lose projects because ownership issues (my rights) drive costs past what seem like arbitrarily low budgets. Education about this issue is important to both sides so a mutually beneficial understanding is developed.

 

I’m not inflexible in my pricing either. I’ve adjusted with the state of the economy but it isn’t enough; a request for a quote came in: ten business professional headshots, retouched and ready to post online. The shoot was to be on location about 13 miles from my studio. I normally charge $600.00 a shot for volume jobs like this. But I wanted to see where the bottom was so I came in at the ridiculously low price of $95.00 a shot. I was crazy to let this quote out of my office but I needed to see where bottom was. But in fact I was too high! Some other knucklehead (dumber than me) low-balled the crap out of it after I already low-balled the crap out of it. That’s four low balls! And it wasn’t enough.

 

Now where’s that firing squad?

 

 And Yet There’s More

But it’s also something much more. More profound. More disturbing than at any other time in my career.

 

It’s the inability of individuals and businesses to accept that bargaining for these rights (or even the effort to understand and grasp the concept of ownership, licensing, copyright and associated costs) makes us crazy. Ready. Aim….

 

It costs more than you realize, or want to spend, or have been told is your budget to spend because it’s convenient not to think about what it takes to engage a professional who trades in the photographic arts.

 

The copyright law that protects every creative’s intellectual property rights includes photographers. And movie studios. And authors. And songwriters. And poets. And comedy acts. And TV shows. And professional sports leagues. We’re in good company and we aim to stay put.

 

So please listen when we tell you the proper way to license or purchase our intellectual property. It protects you from unauthorized use. If you use protected work that has been registered it gets expensive in a hurry.

 

But you know that right?

 Let’s Work Together

You don’t think I’m going to press my advantage if I catch you? Most likely I will. It’s about respect and acknowledgement of what our rights and protections are. Rights and protections we fight to keep in spite of what our government of the United States of Business tries to do. Daily. You have rights and protections that you want honored and enforced, company trademarks, patents and the like.

 

It’s a two-way street and today’s economic environment is no excuse for fostering an attitude that belittles the process, diminishes the relationship and adds to everyone’s stress level.

 

Thanks for reading.

 

Michael

Color Correction Primer & Stuff

I thought I’d offer something different in this post…one of my presentations about additive and subtractive color theories, 3-click color correction and a few odds and ends about printing a digital file.

There are more of these at my slideshare site.

I hope you find it useful.

Michael

Light Painting A Sunset

Twilight Magic

Twilight Magic

I’ve been testing a pan and tilt time lapse move I’ll be incorporating into a new film. It’s important to understand visually how the “move” looks and what result each pan and tilt setting delivers. As part of my preparation, I purchased a pan and tilt head that’s designed to be used with telescopes, tracking bodies in motion. It can be programmed to pan and tilt at varying speeds and thus my testing has incorporated a variety of subject matter and frame interval rates.

The image above is the end frame for one of the tests I did this past weekend in Palm Desert. It’s a Photoshop composite with 18 separate layers using the “Power Pop” light painting technique where a 580EXII flash is fired off manually 20-100 times and spread across 20-60 frames. It’s the signature look for the ending of certain time lapse narratives but it’s just one of the ways I build better photographs. It takes time, patience and creativity to build the assets, but you’re giving yourself flexibility and control over the process. Time well spent I say….just bring a jacket and a few snacks…

Why do I add an ending this complex vs. just having the scene fade to black? ? Because I want to do more than just a time lapse sequence. I want to have visual fun with the process in its’ entirety. Why should I limit myself to one thing during a shoot? Besides it’s the challenge of it that I find compelling….what can I do to finish this thing off? I know! A multiple exposure, light-painted landscape that’s illustrative in nature.

I’ve done so many of these now that I’ll be putting a new gallery up soon with this type of work. Stay tuned….

I’ll be posting the tests as I complete them. Be sure to click the “Videos/Experiments…” link above to enjoy my previous efforts.

In the meantime here’s what the Layers Panel looks like:

Panel

Let me know if I can answer any questions for you.

Michael