How to prepare for being on camera-- beyond the outfit

Sitting down with a client last week I was asked a question I hadn't heard in a while.... It surprised me because it seemed based on an antiquated notion of technology.  And at the same time it made me realize that it was one of the most common questions I get-- even if it was only every couple of months.

What should I wear?

Well, concerns about "fine patterns and checkers" have disappeared with the advent of HD and 4K, but our expectations about what makes for a strong interview, presentation, or pitch has increased immensely.  Seeing people on camera is so common place, that we instantly recognize shortcomings... white shirts, haggard eyes, rambling sentences.  How to prepare for being on camera has evolved beyond what to wear. I've compiled a list of my best advice over at Hurricane Images Inc Blog.  Head over and check it out....

Going Pro: It's a wrap

Ian Robin Walker

Okay, clearly it's been a long time since I posted to this series, and the reason is largely about success.  While I do hope/plan/aspire to continue with the odd post on videography/photography business, product reviews, and technique, for now I'm putting a peg in this topic.  You can also check my other (even slower moving) blog at Hurricane Images Inc.  This is a client facing blog-- rather than this peer facing blog-- and there's a lot you can borrow from that.

I wrote that the end of this series is due to the success of my own process of turning pro.  I mean this in an "in progress" kind of way.  Since jettisoning my regular employment four months ago, I've been working continuously.  I've not consistently earned what I need each month-- I don't expect that to happen for another eight months-- but earnings have exceeded expectations this first trimester... even as turn-around times have proved painfully longer than expected.  My projects have included small jobs for big companies like BitDefender, Silicon Valley Air Experts, and The California Department of Public Health, and large jobs for small outfits like Davis Properties and Rocket Interview.  Balancing 45 hour work weeks with raising an infant (and keeping my sanity) has pushed writing projects like this to the side.

I started this post with a picture of yours truly, though, which is pretty unlike me.  Why?  It's a reminder that ultimately you  are your brand.  If you look at some of the most successful media producers out there-- from Philip Bloom to Casey Neistat to (one of my personal favorites) Brandon Li-- you realize how distinctive their personal style is.  Not just their artwork, but their personalities and how they put themselves forward.  Everyone, regardless of where they are in their career, should reevaluate their online presence and branding every six months.  This includes cleaning up the website, checking that you're still appearing on other sites and searches, and retooling your communications.  So if you're bored right now, get to it.

Going Pro: Client Journeys - The Unexpected Call

One of the best-- though unnerving-- pieces of advice for new videographers/photographers is to make a pitch to your day job or a current associate, be that a hobby or a related businesses.  The bottom line is that every organization can benefit from a video, and people who know you will (hopefully) trust you.

I was lucky.  I didn't have to pitch my day job; they approached me to create a video and it was no small project.  They wanted a 4 part series on the statewide program, complete with a mini-narrative (or extended role play).  It took months to plan, weeks to shoot, and I'm still working on translations for them.  It didn't pay well by an independent contractor standard, but it did by a regular employment scale.

But that wasn't the Unexpected Call.  That call came from Hilton Worldwide.  They didn't want a commercial or even an in-house industrial; a senior Vice President was celebrating his 50th anniversary (and likely retirement due to illness), and they wanted a "thank-you" video from his colleagues and staff who were spread out across the U.S.  The video wasn't something they had planned on, either; it was a last minute addition, and it needed to be organized and edited in three weeks.  They wanted staff to film themselves-- using phones or cameras or whatever was available.  They also wanted it to be clever, humorous, and heartfelt.

I had no idea why an international company based outside of LA would cold-call me in the SF Bay.  He said he liked my website (really? the one with five videos?) and I didn't ask any questions.  He also said there wasn't a budget for this, but he wanted to see what it would cost to edit the staff contributions.  We talked about how many staff would contribute; I asked about general themes he thought we should cover; he told me a little about the Vice President, Greg.  I quoted him $1200.  It wasn't a living wage, really, but it wasn't embarrassingly cheap, either.

The next day I sent him filming guidelines for the staff, and based on our discussion, eight questions for them to answer, based on themes about Greg's personal style, computer style, driving technique, etc.  Everyone was to answer three of the eight questions, plus a statement about "one thing they appreciated about Greg."  I set up a Dropbox account for the incoming footage.  A week later, the files started to arrive.

As you can imagine, it was a hot mess.  Footage was shot on iPhones, in offices, in hotel lobbies, conference centers, vertical for Christ sake.  Airplanes roared in the background.  The President of Hilton Worldwide had his professionally done.  The 15 on-camera interviews ballooned to over 20.  Everyone had to be included.

Greg had started as a valet, and I found some archival footage of the Hilton where he worked; I organized the clips around the three major "questions."  And then I edited to the bone. Instead of fighting the bad and inconsistent quality of the footage, I went with it... allowing it to help shape the flow of the video.  

Rather than share the draft video with my client, I shared how I was structuring the piece.  After 10 days, I produced a draft for his review.  It was rough-hewn, a visual jumble tied together with playfulness, and audio earache to the refined.  He loved it.  I don't recall a single suggestion.  They played it at the 50th Anniversary, and the audience fell out; Greg and his family were deeply touched.

My client sent an email, introducing me to four new Hilton owners in the SF Bay (Hilton is a franchise), recommending me.  New businesses hasn't come from that-- at least not yet-- but I appreciated it as a sincere compliment.

Five months later I received an email from my client.  Greg has passed away from the illness that forced his retirement.  They played the video at his memorial.

Going Pro: Conversations about taking it to the next level

Photographer Ming Thein recently posted a discussion on his blog about the process of turning pro.  If you don't know him, his architectural photography is quietly phenomenal, with a subtle Miksang influence and flawless post production technique.  He writes a good blog, too.

www.HurricaneImagesInc.com

For a unique perspective he shares this post with Robin Wong, a photog who's mid-stream in his journey of turning pro, and together they reflect on both the pitfalls and the tricks to being successful.  On point that can't be emphasized enough is how to think about and manage cash flow. 

"The reality is that most material work tends to be planned anywhere from one to six months in advance, and some clients may not pay for a month or two after that – which means your cash flow cycle should really be six months to a year once everything is stable."

An even bigger take-away in the piece is using smaller short-term jobs with quicker turnaround with the larger "meat" of your work.  This can sometimes mean taking on jobs that don't typify your work.  Ming may take the job, but he doesn't add it to his portfolio.

"Everything I’ve done up to this point has that question at the heart of it: is it core to what I want to shoot and what I want to be as a photographer? If no, unless I really, really need the money, I don’t do the job – and even then, I don’t tell anybody about it. So the answer is – let’s call it ‘identity building’ – must happen directly or indirectly, all the time. In practical terms, this means 3-4 hours a day answering email, making content for the site, maintaining the other social media channels (FB, IG, Twitter) etc. And that’s of course on top of the actual shooting and admin and logistics."

It's a long read, but a good one for anyone thinking about the leap.

Do you really cut on the blink?

Celebrated film editor Walter Murch famously said that you should almost always cut on the actor’s blink; and less famously explained that you never cut on the actual blink, but sometimes before and only when it made sense for other reasons.  What I’ve never heard explained is why that technique so often works: it’s because unlike people in daily life, people on camera usually blink intentionally.
 

For actors, dialogue and physical movement are both considered actions. Script analysis reveals each character's objective, and the various actions they take to obtain their goal.  They speak in order to reach their goal, to convince another character do something.  Actors will identify the beats (or sub actions) that determined when an action is complete.  The action, for example, may be to intimidate the other person.  They'll accomplish this by probing their vulnerabilities, insinuating that harm might come to them, and escalating to a blunt threat.  Each sub-action (probe, insinuate, threaten) is a beat that makes up the action, and they'll only give up on a sub-action when it's clear their not reaching their objective.  They’ll push through each beat with 100% intensity until its done.  Then they’ll blink.  It's a divider, a rest, before they begin their next action.  The actor’s “beat,” therefore often coincide with cuts.  What this means is that you can often predict when an actor will blink just by analyzing the script for beats.  Though you'd never want to edit so blindly, you could almost edit without watching the actor at all.

Actors are trained to do analyze beats and actions (Stanislavsky is the most famous teacher of this technique), but non-actors also do a gentler version of action-blink when they know a camera is pointed their direction.  People tend to become more directed on camera.  No one wants to ramble or fumble or stare meaninglessly into space.  So they make sure there’s a reason for everything they say.  An action.

A blink is a “rest” on several levels: resting the eyes, arresting the action.  As editors, though, we often want to keep forward motion of the action, which is another reason why cutting just before the blink works.  It keeps the action moving at top pace.  What’s fascinating (and rarely seen in movies) is when an actor blinks as an action, rather than a rest.  Takeshi Kitano in Merry Christmas Mr. Lawrence is a wonderful example of that, in a film that's getting a second life of sorts.  Next time you watch a movie, look at when the actor blinks, what it means, and why the editor chose to cut or not cut.

Going Pro: Facebook or Twitter? Or Instagram? Or Tumblr?

The only social media tool I advocate for one hundred percent is blogging.  Which, of course, isn’t really a social media platform at all.  Which is probably why it's so useful.  It allows you to target your audience and craft a detailed message and a precise brand over time.  So even if you only post monthly, write a blog.

But what about the rest?  What follows is just my opinion and anyone who tells you they know the right answer is just a dingbat.  And take everything I write with a grain of salt because I’m not a social media type of person.  On a personal level I shy away from these services, engaging with them as little as possible even as I use them as a professional. 

For business purposes, I am not a fan of Facebook.  Yes, Facebook is by far the most popular social media platform;  according to the PEW Research Center, nearly 70% of Americans have a Facebook page with higher earners being more likely to participate.  Yes, Facebook is second only to Google in advertising buys.  But it’s really social, and that's a problem for businesses.  It’s for your friends, and it’s a clumsy tool for getting out a brand or message.  You may have "Liked" a business of Facebook, but do you really visit their page on a weekly or even monthly basis?  I visit my favorite blogs daily.  That's engagement.  Facebook will also filter out posts that are targeted to potential clients; unless you pay for a boosted post, they’ll never see them.  Because you don’t have a relationship with them.  To me, this is a bad communication model, dependent on paid advertising which is exactly the opposite of what people engage on Facebook to see.  Facebook is a good tool for events.  This is because you're reaching out to your friends and distant friends and really not a friend but somehow you got connected friends.  My theatre production company has a page and we use it for every production, posting rehearsal notes, images, and events.  Hurricane Images Inc. has a page and I completely ignore it. 

Instagram is the next most popular medium, trailing at roughly 30% of Americans.  I like Instagram for its quick engagement and because it is a visual medium.  It’s one of the tools I use, though I don’t dedicate much time to it.  That’s because you can’t really control who you’re talking to, and you can’t provide a whole lot of information about yourself or your service.  You can generate a feel about your company, but you can’t direct it to you customers or be specific about who you are.  If you use it, have fun, and curate your posts/images ruthlessly to make sure they are your finest.  As with many things, there are a rare number of individuals who have managed to parlay Instagram activity into business success, but unless you love using Instagram it's a poor investment.

 

Twitter.  Twitter's numbers are surprisingly low given its status as a social media tool.  Roughly 20% of Americans use it, with the highest engagement being among 18-29 year olds.  Which may or may not be your client.  Twitter should be a better tool than it is (and perhaps I'll figure out how to use it more effectively).  It allows you to post images, link to video, and deliver a pithy message.  The problem is that you can't control your geographic target, and most production companies end up tweeting about things that only interest other production companies... not their clients.  Twitter distills one of the essential problems of social media as a marketing tool:  you end up posting about your activities and your interests.  Your reader is "you."

 

LinkedIn is not one of the social media platforms people talk about when discussing social media marketing, but you absolutely should be engaged here.  Twenty-five percent of adults use LinkedIn, making it a rival of Instagram in terms of reach, and they use it specifically for businesses.  The challenge is figuring out how to be social on LinkedIn.  It takes more work.  You should participate in groups, be sparing (as in monthly) with your updates, praise and highlight your clients, and write carefully crafted articles and responses.  No one wants to hear about you every day, which is its own type of blessing.

 

My bottom line is this:  Blog and use LinkedIn.  Look for ways to link the two.  Use one other type of social media largely for fun.  Don't try to engage on all of the platforms, it's too time-consuming.  Pick 2-3 and do it well.

Going Pro: Client Journeys - Promotional Video

As a part of this series I’m describing a few of my early client journeys in time-condensed form. Clients arrive at your doorstep in different ways—and when you’re just starting out, that’s give you time to develop your approach, and hone your skills.

Going Pro: Meeting the Paparazzi

It’s sounds idiotic when you say it out loud, but so much of pregnancy, having a child, is nothing like you imagined from books and movies.  The first sonogram, for instance, isn’t done on a Vaseline-smeared belly eagerly looking for fingers and toes.  That comes later.  It comes now, as a matter of fact.  And it isn’t a quick snapshot.  It’s a paparazzi affair that takes 25 minutes, photographing from every conceivable angle, measuring everything that can be discerned.  The technician is part photog, part judo master—manipulating the belly (and the little one inside) for the best shots.  And they say the photographer should never touch the model.  

It’s as exciting from Mom and Dad as it appears in the movies, but in a different way.  That little heartbeat has been with us for months, so the sense of life-- the reality of the change to come has been ever present.  But the blurry, mysterious images on the screen convey a glimpse of the future, a first contact via a strange language of abstract shapes and barely recognizable features.  We're worlds apart, and we've been signaling our presence to each other through rubs, kicks, and soft voices.  But until now we've been speaking across a galaxy.  And this brings us closer.

Another unexpected reality:  having a child is work:  from the medications to the constant doctor’s visits to the classes… and reading up on the side.  It seems impossible to get anything else done, which I guess is a good prelude to parenthood itself.  How will I get anything done once he/she is here?

Going Pro: Client Journeys

Clients arrive at your doorstep in unexpected ways—when you’re just starting out, the variance is even greater.  The professionalism of your clients, the types of products, and the trajectory of the process varies wildly.  As a new company, that’s a good thing.  You need to develop your approach to working with clients, as well as define your strengths and weaknesses.  But the arrival-- and sometimes departure-- of clients can be mystifying and stressful.  We expect the process to unfold a certain way, and it often doesn't.

 

So as a part of this series I’ll present a few of my early client journeys in time-condensed form, from initial contact to conclusion. 

If you’ve been following these posts, you’ll notice that I’ve already included a couple client journeys: my first “client” was imaginary… a promotional video for Schools for Africa that still features prominently in my portfolio.  My second client was a pro bono piece for a non-profit.

Going Pro: Unapologetic Construction

Some time ago I read  that you should never apologize for inactivity on your blog.  You don't owe your readers a post; there's no invisible contract.  And I agree, though it's awfully hard to do sometimes.  Like not returning a phone call from a friend, you feel guilty.

So what's up with the last three weeks?  In a word: crazytown.  I've been creating a sound design for a theatre festival, shooting and editing a commercial for one client and a Kickstarter video for another, wrapping up that other pesky job, and building a small production studio in our yard.  The last was a job that was supposed to take 3-4 days but took two weeks.  Two weeks in which I couldn't efficiently set up my equipment; two weeks where everything outside my home was covered in dust.

The interior floors and paint still need to be don; plus whatever small photo/video studio elements need to be built it.

It's been 90 hour weeks.  With the studio unavailable to me I missed my Kickstarter video deadline by two days and the still images for the video commercial by five days.  It's the first time I've ever missed a deadline.  So when do you apologize for inactivity?  I sure apologized to them for missing the deadlines.  I provided an encouraging update on what had been accomplished thus far, explained my situation clearly without annoying details, set a new deadline for the final delivery.

Hopefully I'm back on track now.

Going Pro: Ceci N'est Pas Mon Blog

This is not my blog.  Not Hurricane Images’s blog.  The blog belongs to Hurricane Images, but it is not our blog, which you can find here in its nascent form.

Why isn’t this my blog?  Because you are not my client.  My number one rule for posting on Hurricane Images’s blog is that the content is for my clients and potential clients.  So many photographers and videographers post info for their peers—which is great, and often more enjoyable for the writer… and it can even help with raising your website’s SEO.  But it’s not an effective marketing approach.  If you want your blog to be a marketing tool, write for your clients.

Blogs aren’t simply a marketing tool, though.  They are the product that needs to be marketed.  There are tens of thousands of photographer-bloggers.  Maybe thirty of the top writers are easily discovered via search engines and the like.  The bottom thirty-thousand writers feel like they’re toiling in obscure darkness, read only by trolling bots.  If you’re going to go to the trouble of writing, promote your work.  Cross market your blog.  Announce it on your website, Facebook page, Twitter, or whatever other social media platforms you use.  Visit forums and (when appropriate) let people know you’ve talked about that issue on your blog.  List your blog on your email signature. 

Keep track of which posts get the most visits (almost all blogging platforms offer this).  Let the most popular items guide your blog, but not dictate its direction.  Gear review is often the most read posts on this blog, but I use them sparingly because that's not what I want to be known for.  From time to time, re-publish your top posts.

A few tips to keep in mind.

• Content is king; make good content
• Reference and link to your web pages often
• Link to other folks good works, too.  You can summarize if you credit and link.  
• Don't have your image right at the top of your page.  It looks great but search engines can't read them.  
• When you link, use the title of the page as the link (rather than writing “here”); it’s better SEO optimization
• Optimize your images; they should have titles and company name
• Post frequently – twice weekly or more in the beginning
• If you post infrequently (less than weekly) disable the auto date function. 
• Never apologize for not posting frequently; you don’t owe your reader anything beyond good content
• If someone engages/comments, engage back.  Immediately.

Going Pro: My Two Rules of Marketing

Levi Strauss Volunteer Day

Personal contact is immeasurably better than any form of virtual contact.  Personal is face-to-face, not over the phone—which is still enormously better than email, mailer, or social media.  Personal contact is hard, that’s why it’s effective.  Fewer people are doing it, which is one of the reasons its more productive.  More importantly, big ticket items like video—which start as intangibles—require a lot of trust.  You may be able to build that through your website, but only if they get there.  By email it’s virtually impossible.  

So how do you make personal contacts?  Visit your local chamber of commerce.  Participate in Meet-ups.  Go to conferences if your niche has them.  Cold visit rather than cold-call businesses.  If it sounds terrifying it’s because it is.  No pain no gain.  Keep track of who you contact and the outcome; spreadsheets are great for this.

My second rule of marketing applies to the virtual contacts: Do less well.  Don’t engage in all of the platforms unless you you've got a marketing team (in case, why are you reading this blog?).  Pick three.  This goes for blogs, Twitter, Facebook, Instagram, Vine, Flickr… but also newsletters, forums, and your website.  Choose a medium that you actually enjoy and commit.  I’ll get in depth on what it means to “do well” in next couple of posts.

But by now it should go without saying that whatever platform you choose you should engage in it from your audience’s perspective.  In other words, don’t join a forum for cinematographers; join a forum for wedding planners, or new entrepreneurs, or colleges.

Going Pro: Two Cash Flow Tools to Rule Them All

I’ve managed to track my finances with just two simple budget planning forms: a Budget Sheet, and a Cash Flow sheet.  Both can be easily done in Excel.

The Budget Sheet is designed to show income, both real and potential.

Date is obvious.

Paid is money that has actually come in, now in the bank.

Promised is money that I have a contract for, so it’s real.  They’ve put 30% down.

Expenses is a summary of my monthly expenses. I transfer lump sums twice a month as if it was a paycheck.

Actual is what my bank account should show.

#Mos is how many months of working capital is in the bank

Notes is to explain the change. I also use “Comments” in each field as necessary

Possibilities are project under discussion but without a contract.  

The Cashflow is a more detailed, expressive way to track the #Mos column above.   

The first column has the starting balance for each month, HI (Hurricane Images) Confirmed Income, Potential Income, Expenses Payroll, Expenses Business, Total Expenses.  Your expenses should be the same each month, letting you predict the future.

 

The trick here is to update the chart monthly to show exactly how much would be in the bank if no new funds came in.  This makes it easier to predict when you’ll be in financial trouble, and when to breathe easy.  As you can see, this snapshot in time tells me I'll be broke in January if no new funds/projects are completed.

Going Pro: How Much to Charge?

Moroccan Olive Seller

There are a lot of “cost of doing business” calculators (here, for example) and even more advice on the subject.  In my experience, they tend to be over-complicated and cost-heavy by design, almost as if they want to discourage you from starting your business.  They ask for the total cost of items (like your phone, internet, car, and “home office”) that you might also use in your personal life, driving up the budget, and put unrealistic estimates into the purchase of new equipment, etc.  When you’re starting out, don’t buy new equipment.  If you don’t own it, rent it.  These calculations are guesswork until you have several months of real costs for comparison, making the term “calculator” a bit nonsensical. 

Turkish Market

If You Don't Own It, Rent It

 

But there’s also a faulty premise behind the calculator.  The idea is that you’ll divide these costs by the number of working days or projects.  So if you’re a wedding photographer who expects to shoot 24 weddings in a year, you’ll divide your costs ($40K) by the number of weddings: 24 weddings at $1650 each. The implication is that if you fall behind on the number of weddings, you increase the cost of each one.  So if you’ve only shot six weddings in six months, you’ll need to up your rate to $5,000.  Which is ridiculous.  Not because it's a lot of money, but because your cost of doing business has very little to do with the market rate or what you’re worth. 

Shark skin in Hong Kong Market

My approach has been simpler.  You simply need to know your average monthly expenditure.  If that’s $4k, than you need to earn a grand a week, or $250 a day.  On average.  Which means that you need to bill for the days, weeks—but hopefully not months—that you’re not working.  This is essentially a mark-up on your time.  A cup of coffee costs around 20 cents, but they’ll charge $1.50 to cover rent, employees, insurance, etc.  You’re doing the same. For the time being, my ideal mark-up is 250%.  So if the project takes a ($1k) week, I’ll need to charge $2500.  That’s my short-term goal.  But it’s not what I charged in the beginning.  When I first opened shop, if the job took a week, I charged roughly a grand.  This meant two things: First, that I was less expensive than my competition; and second, that I would eventually go broke because I wasn’t continuously employed.  That’s where my extra working capital comes in.  I intentionally planned to underachieve for the first six months.  During that time I would prioritize building a client base, portfolio, and skill set—and slowly… slowly build up towards my ideal rate.

Going Pro: Working Capital-- How Much?

Jorg Gray Luxury Watch

When you’re thinking about starting a production company, odds, are your most pressing question is “how much working capital do I need to start my company?”  The obvious answer is that there is no magic number.  But there is a framework for thinking about working capital that can help you find the right number for you. 

Let me define my terms: “working capital” is my total monthly expenditures—both in life and for the company.  This includes the life bits like rent, food, internet, and gas; and the business bits like insurance, advertising, and depreciation.  I don’t include equipment costs in this figure, or set-up costs for company (things like website design, etc.).  I started with my kit pretty much intact, and I wasn't planning on buying anything in the near future.  If this was a watch shop, I had all of my necessary inventory, right down to the “Open” sign on the front door.

But video production isn’t like selling watches.  You need to factor in the turn-around time, from contract signing to final product.  If you shoot weddings, you may sign the contract a year in advance of the big day.  You need to make sure you’re in still in business when the wedding cake is cut.  (A more technical term for turn-around is cash flow.)  Turn-around time is project variable—some of my video projects wrap in under a month, others can go six before the final payment is made.  Personally, I decided my average turn-around time was 3 months. This means I need to have at least 3 months of working capital above my safety level.  Or panic point.

Media production also differs from a sporting goods store because the cost a wrist band is fixed; if you paid a fifty dollars for it, you can’t sell it for $49.99.  In media production you can (and probably should) charge less than a living wage on your first projects in order to build your resume and make connections.  A good rule of thumb to remember is that there are no "1-time discounts."  If you charge a client $500 for a video, that client will always expect his videos to cost $500.  You can charge the next client a thousand, but this one is pretty much set.  And that’s the path I took: my fee was above my physical costs for a project but below a living wage. Then I over-delivered on each product, and increased my rate for the next client.  I made exceptions to the “charge more” rule when the project was something I really wanted because of what it would do for my resume.

There's no such thing as a one-time discount

Since I began my production company as a part-time endeavor, I had the advantage of not starting at “day one” in terms of getting the word out and making connections.  I still had plenty to do, though, so I considered myself to be one month old as a company. Starting part-time, also gave me a better sense of my turn-around time, and how much I might immediately charge/earn for projects.  I could predict how much my monthly income would be in the beginning, how long it would take to finish a project (and thus charge more for the next one), and better predict how quickly my income my increase.  Remember, if your turn-around time is three months, your first month of income arrives in the fourth month of your company.

Find Your Panic Point

Which brings me back to my panic point.  If it takes three months to successfully make your first dollar, then it takes about three months before you know you’re not going to make that dollar.  If you have three months of working capital and the first project pays out in three months and one week, your business failed before it got started.  If, say, you have six months of working capital in the bank, then you'll have three months left when the first project pays out.  That three month mark I call the panic point.  But only having three months would mean I would always be living at my panic point.  That might be technically possible to maintain, but it really sucks to be on the edge of the abyss all the time.  And there's no wiggle room in case of emergency.  What you need is extra working capital to take the pressure off and allow for some degree of “failure.”  I set my goal at nine months of working capital in the bank.  I successfully overshot my mark: I opened shop with eleven months.

Let’s compare these estimates with national statistics:  Half of new businesses close in the first 2 years; 90% close within ten.  Those frightening figures are somewhat leavened by the fact that not all businesses close due to failure. Some are bought out; others just move on or retire. Six months of working capital is the most common recommendation for new businesses, and 12 months tends to be the longer, or outside recommendations.  Most businesses start with 3-6 months of working capital… and of course the majority of these are likely to be  the ones that close within 2 years.  “Service” types of companies, those that work from home, and those without employees tend to have less working capital to start, but don’t have a better survival rates.  70% of businesses start with less than $25,000 in working capital. Try to be in the 30% that has more. After researching the statistics, I decided I would have at least 9 months of working capital (which for me was more than $25K).

Save don't borrow

Best practices for starting a new company:

1.       Create working capital through saving not borrowing

2.       Start small and build up

3.    If the work you do in your studio can't pay for at least the studio, work from home.

3.       Track your finances studiously

4.       Establish yourself as an LLC or corporation to protect your personal finances

5.       Be a woman. Seriously, studies show women spend less on their businesses and are more likely to succeed in turning a small biz into a larger one

Strange tidbit of the day:  having too much working capital is also listing as a contributor to business failure.

Going Pro: Pro Bono - The Response

Day 45

The Watershed Project responded to my email. They’re excited to work with me. Their 20^th anniversary is coming up, so the timing of my pitch was excellent. It’s a bit of good luck-- but one’s odds improve just by playing the game. Ain’t no luck sitting on the bench.

Day 53

I had coffee with the Executive Director of the Watershed Project. We’ve known each other for years (she was hired on staff when I was on the board of directors), but were never close. We talked concept for the video. For the 20^th anniversary they wanted to emphasize how the organization touched people across the lifespan. We wanted to focus on people’s stories, so the video would consist of quick interviews. And instead of having people introduce themselves by name, we’d have them say how old they were. The questions would be designed to elicit how the Watershed Project had opened their eyes to their community.

Day 61

My first day of shooting. At an elementary school. Whoa, Nelly, that was a handful. I captured some good background footage of the classroom and instructors, but the conditions were a disaster for interviews. I got 12 kids at once. In an outdoor hallway. They were nine. (In the end, only one clip made the final cut.)

After the elementary school I filmed student interviews in a classroom, interviews in the field, three school field trips, five staff on site. As you can imagine, the hours for this pro bono project racked up quickly. What quickly became apparent is that I didn’t have quite the right gear—especially in the audio department—for this type of on the fly, one-man shooting. I needed wireless mics (I ended up purchasing the budget Saramonic), and a faster system for set-up.

What I didn't know was that the creation of this video would take 10 months due to a variety of reasons, some of which included my own distraction.  That taught me a couple of lessons as well:  First, these types of shoots can (and often should) take several months; don't try to rush it in a weekend because it's a freebie.  Second, commit to your pro bono projects with the same integrity that you would for a well-paid gig.  

 And I learned on my feet about the craft of story-telling, the quirks of my camera, how to get better footage on the fly, etc., etc., etc. 

 

Going Pro: Pro Bono in Your Portfolio?

Day 48:

I reached out to The Watershed Project today to pitch a pro-bono project.  There’s a never-ending debate among the photography/videography community about whether one should ever do pro bono.  In my view, those that are unequivocally against either have no business sense or are desperate about their bottom line.  They argue that your product is worth more, and/or that freebies steal business from legitimate professionals.  Both statements are overly broad.  At the beginning of your career, your expertise/product is worth exactly $50 (in my case it was $25 and a pair of ugly sandals—my first “paid” photography gig.)  And customers who are willing to bet hours of their time on someone with no experience are definitely not in a financial place where they could pay a small-yet-reasonable fee for a more sure thing.  Many clients who want pro bono can’t pay much more than zero, and those who can have such poor sense that you don’t want to hire on as their Creative.  So should you ever do pro bono work?  When you’re starting out—hell yes.  When you’re established—from time to time for a worthy project.

Theyyam Ceremony - Kerela - Hurricane Images Inc.

Here’s the question: if you were going to spend $6,000 on a video for your company, how many sample videos would you want to see before you felt comfortable trusting that company?  Two?  Six?  Twelve?  Six is probably how many I’d watch, but I get bored easily.  How many samples would you want to see if they were exactly the type of video you wanted for your company? That number is more like two or three.  But even three videos is a lot of pro bono work if you don’t have other videos that are close to that “perfect example.” If you're just starting out, you may need to invest in more than one pro bono offer.  I started with one, with the expectation that my first paid jobs may not be exactly in my niche.

#1 Takeaway: Make the damn pitch

A couple of years back I had a long-standing relationship with The Watershed Project (I was on their Board, actually), which gave me both some credibility and a familiarity.  The Executive Director left the company in the intervening years, but the new head had been on staff when I was on the Board, so I wasn’t starting from scratch.  Since my goal was to work with non-profits, they were an excellent choice for pro bono; the work we created would be almost exactly what my “real” clients would want.  Creating a video for them would help establish my niche expertise.  And if you remember from my earlier confession-- I was not a polished filmmaker.  This video would be a learning project as well as a resume builder.

Theyyam Ceremony - Kerela - Hurricane Images Inc.

So what was my pro bono pitch?  Here’s my email.

Hi --,

Hello from your former Board Member.   And congrats on the directorship-- I seem to be a little behind the times.  When did you take over the helm?  That's exciting and wonderful.

I've been working on a new project that I thought might be helpful for TWP's fundraising activities.  I still work part time as a health educator and community engagement coordinator, but two years ago I started working professionally as a photographer with the rest of my time.  Then about 9 months ago I started getting a number of requests to produce video for companies.  As I thought more about how I wanted to develop that side of the business, I realized that I really wanted to work with clients from the non-profit world.  Video is going to be increasingly important for organizations-- for fundraising, education, and awareness.  But the clients that are hiring me aren't exactly the type I'd like to focus on.

So I wanted to offer my video services to TWP free of charge for a project.  It's an organization I'm personally invested in, you do great work, and it's an opportunity for me create a product that's a perfect example of the work I'd like to focus on.  I thought that creating a fundraising-focused video for Bubbles and Bivalves might be one opportunity; I'm certainly open to anything that might be useful to TWP (such as a more general "this is TWP" video).

Is this something that might be of interest?

You can examples of my work at www.hurricaneimagesinc.com.

All the best,
 

So what works about this email, and what doesn’t?  Obviously, it’s specific to the organization and our previous relationship. That’s a strength.  I intentionally made the video as unpretentious as possible.  I didn’t sing my own praises or say what a great video they would get.  In fact, I highlighted both my relative inexperience, and my inability to get exactly the type of clients I wanted.  Why?  Why would I want to present myself as less than brilliant?

Let’s be real.  Most companies are struggling to some extent, trying to reach a higher level.  Non-profits are almost all struggling.  So I knew she’d be able to identify with the difficulty in reaching the right clients, right donors to sustain one’s work.  Even though I was a former board member, I figured she would have some suspicions about my motives.  Is this really pro bono?  What was a getting out of it?  I made it clear-- I wanted to work with a different type of client.  I also reckoned that it was better to lower expectations before she saw my samples, rather than raise them.  Maybe I’m being unnecessarily humble, but I think that’s generally a wise idea.  

The number one take away:  just write that damn email.  Make your pitch.

The number two take away:  be as human as possible.  That means not being perfect.  Set aside your ambitions, your agenda, and consider the situation from their angle.

Just found us?  You can find the beginning of our series here.

Going Pro: Getting Clients Pt. 1

Okay.  At this stage you've hopefully gotten a business license, an accounting system, a website, a phone number, and a business card.  What are we missing?  Clients!

The next five posts will delve into the process of getting clients, including how I landed my first few.  Finding new clients is one of the most difficult and frustrating parts of starting any business, and in truth what works when you're first starting doesn't necessarily work once you've got your sea legs.  Client acquisition evolves.  The dream is that eventually the clients come in on their own, but frankly I'm not convinced that's true for the vast majority of successful media companies.  For most of us, it's a chess game with an invisible and illusive partner.

My first move may be controversial to some.  But it's what I did, so I'm sharing.  Beacuse this blog can't be very useful if I withhold information.

Through my work (which has me creating two videos), I have a subscription to Videoblocks, a stock footage company.  There are pluses and minuses to the service and their collection, which can feel a bit limit... something I suspect is true of all stock companies.  I noticed they had an abundance of stock footage from Africa.  So I researched a non-profit, Schools for Africa, who's work I admired, and I created a promotional/fundraising video for them using the footage from my subscription. Why is this controversial?  Well, they didn't hire me to do this (and I don't explicitly state that), and I didn't shoot the footage myself.  The service I provided (and I do provide this service), was to develop the concept, write the script, edit the available footage, and add music.  In one sense, it's precisely the services I offer-- creating compelling video stories from footage they own; in another it doesn't distinguish between footage I shot and footage someone else shot.  And, of course, I would never distinguish this footage under any circumstance.  Nor would anyone else.  A TV show doesn't flash a disclaimer saying "this clip of the White House was supplied by Getty's."  That would destroy the story.  But because I wasn't actually hired to create this video, I feel the slight of hand more acutely.  Does the use of stock footage change the quality of story-telling and editing Hurricane Images provides?  No.  Does it change their perception of how accomplished Hurricane Images is?  Well, maybe yes.



Next Post:  Using a Pro Bono gig to get to the next level

Just discovered our blog?  Our Going Pro series documents the 40 weeks leading up to launching our media company, a journey from part-time photographer to full time video/still production.  You can find the beginning of the series here.

Going Pro: Contracts

Okay, the CAME-TV Boltzen 55W review was pretty sexy.  Now the boring stuff.

Contracts and budget proposals.  Obviously, you need them. My approach is to over-engineer them slightly-- I like them to be meaty but not so dense as to overwhelm the client.  Most people won't read a five page proposal or contract and you want them to understand and have appropriate expectations; at the same time you don't want a document so brief that it appears poorly thought-out.  I want my clients to feel like they basically understand it, but the technical aspects make them want to give over control to someone who knows what they're doing.  Three times in the past year I've had my contracts "sent over to legal" for review, and I've never been asked to modify it.  So I feel pretty confident that it passes muster.

My contracts always stay the same, but the budget proposal (which I sometime call the "Spec Sheet") is tailored to each job.  It can be longer depending on the client and the size of the contract.  It's supposed to lay out all of the details of the shoot so that we're all working from the same set of expectations.  We've talked through most of the details by the time I write up the contract and proposal, but never count on them remembering what was said.  Always write it into the contract.

A few bits, pieces, and golden rules:

• Never work without a contract
• Always require a retainer at signing
• Never call it a deposit (deposits should be returned if the job falls through)

Describing contracts and budget proposals isn't very helpful, so I'm including links to draft templates for each.  You can view my budget proposal template and the contract template by clicking on the links. 

Just found us?  You can start at the beginning of the Going Pro Series here.

CAME-TV Boltzen 55w Fresnel Review

Light.  You can't have too much of it.  Of course, when you really think about it a good video light is a technical marvel.  It needs to produce a lot of light, silently, with excellent color rendition, and no flicker.  I was hopeful when I heard about the CAME-TV Boltzen 55w focusable LED Fresnel.  I wanted a powerful light, and Boltzen came with some add bonuses (which I'll get to in a moment).  So how'd it stand up in real life?

CAME-TV Boltzen 55W Fresnel - It's tiny!

CAME-TV:  CAME-TV doesn't play with the big boys in high end gear like Wescott, but they are a name you can trust.  They produce quality gear at a relatively reasonable prices, and typically aren't considered innovators. The Boltzen is something of a bargain in the their line up, and is surprisingly innovative in design.

Size:  The first thing that surprised me was how small it is.  The Boltzen is about the size of an extra large travel mug.  It would be easy to pack six of these in a carry-on suitcase, making it great for traveling.  Light stands are now the burden for the mobile videographer.  Extra bonus:  built in barn doors.  Some folks expect they will give sharp defined edges to the light, but that's just not how Fresnels work (that's the job of an Ellipsoidal).  This is more gentle shaping.

CAME-TV Boltzen 55W Fresnel

Construction and set up:  They feel very sturdy.  You never want to throw a light around, but I don't get the sense I'll have to coddle it.  It has separate On/Off and light level knobs, which is nice because you don't have to guess the level if you turn it off to conserve power.  Some buyers have complained that you have to disassemble the light from bracket to fit it into the carrying case.  It's true, but honestly it took me 60 seconds to set up the first time.  Slightly more troublesome, though, is that the bracket nobs come complete off, leaving the possibility they'll get lost.  I may try and find a way to attach them.

Locking mini XLR power cable

Another very slight downside is that the length of the power cord to the brick is fairly short, leaving it dangle in mid air.  I tied my to the light stand with one of the wire twisties that came with the packaging.  The cord locks into the light, which makes some folks happy about the solid connection and others nervous about kicking the whole thing over.

"The big question is power"

But the big question is power.  I haven't seen any reliable specs on lumen, but I'm more of a practical application person anyway.  I set it up against my RPS Studio 100w LED for a real world comparison.  The RPS is a very good light for the price (about $280), though it suffers from light fan noise (I've yet to swap out my fan, which is recommended).  At distance of six feet, a shutter speed of 1/60th, and an ISO of 500, my meter reads f/8 for a perfect exposure with the RPS on full.  In the same conditions, the Boltzen gave a reading of f/5.6 wide open and f/8 with the narrow beam.  Which is impressive, given it's just 55 watts.  Housed in the reflector, the RPS produces a wider spread of light than the Boltzen, so that's where the additional wattage is going.  But if you don't need the spread, the smaller Boltzen provides just a stop less light wide open.  The narrow setting on the Boltzen is really quite narrow.  I'll be interested to see what happens in a softbox or reflective umbrella, because it's very small and hard otherwise. I haven't done a direct comparison yet, but the CAME-TV seems to be about as powerful as my Apurture 672 panel, with slightly better color rendition.

The color of the light between the RPS and the Boltzen seems quite similar.  I don't have a way to test for color accuracy, but I don't see a tint as yet.  And daylight temperature is a bonus-- you don't find that in real Fresnels which are traditionally tungsten. 

The fan is very quite.  In fact, I thought they had sent me the 33 watt unit without a fan.  I had to go back and listen for it. The fan will probably be noticeable if you have three lights going in a small room, but I don't think you can do better without going fan-less. Mic well and you'll have nothing to eliminate in post.

Wifi.  There's a mysterious reference to Wifi (and a micro USB plug) on the unit.  I've downloaded the app (which appears to be new as of March), but there are no instructions and it doesn't auto connect.  UPDATE:  I emailed the folks at Came-TV and they said they are working on a wifi module that will attach the the Boltzen.  Shame that it's not built in, but even so it has the potential to be very useful.  The app appears to be able to control six separate lights, and it would be great to be about to adjust levels while looking at your monitor.  I imagine future versions of the Boltzen will have wifi built in.

Those bonuses:  Smaller than I thought.  Barn doors help shape the light.  Separate Power and Level knobs.  It can run off a Sony NP-F960 battery, but you need to get the larger capacity version.  My 8700mAh only lasted about 40 minutes at full power, but that's still great in a pinch.  Oddly, my battery barely fit and I really had to wedge it in the slot.

Though a full stop weaker, the Boltzen is a smaller, quieter, and more adaptable light than 100W studio lights like the RPS.  At the moment, light in the $300-$400 range will generally be 55-100 watts, which is only the difference of one stop of light.  The difference between your choices are all about build quality, color quality, and features.  In that respect, the Boltzen does very well. 

CAME-TV has a solid reputation, and they get a lot right here.  It's a solid, professional instrument, and I could see owning two of them at Hurricane Images.  They make a Bowen adapter so you can attach it to softboxes, reflectors and grids, though I'm more likely to shoot through a scrim since the Fresnel-style Boltzen can "grid" itself. 

The CAME-TV Boltzen 55W Fresnel review:  worth the money, especially if you like the form factor.

Going Pro: Website Part Deux

For the past dozen posts I've been chronicling my 40-week journey toward starting my own production company.  The first trimester of the journey has really been about setting up the "back end" of the business.  Today I launched my video production web pages. This is a big milestone for me; even though it’s not “finished” or complete, I now have someplace to refer people to see my work. 

Day 30:

For the time being my video pages are a section of my photography website.  This may change in the future, but while I have limited examples of my video work I am showing my photography as supporting imagery.  You might notice that I’m immediately contradicting myself:  my advice is to super niche, and only list what is important to my videography clients (photography is obviously not it).  Obviously, it’s difficult to follow any advice to the letter—real life gets in the way.  In this case, I’m hoping to create a media production company that combines still and motion.  But I’ll be watching to see if my “muddied” message gets in the way of any clients.
     

The video section has three pages: an introductory page with my portfolio, a process page that explains how I work with clients, and a contact page.  I have just six videos in my portfolio.   In other words, the bare minimum all around.  But it’s enough to say, hey, I am a videographer.  Until my portfolio includes really top-notch work, I can only expect companies with limited budgets to hire me.  People who can’t afford top-notch.  As a photographer I learned that the way to grow my business was to always deliver higher quality content than what I was being paid to produce.  This not only made for happy customers, it allowed me to pitch my services to bigger companies each time.  Yet again, I’m contradicting myself with the choice of videos.  I don’t have six videos in one niche, so I’m making do with what’s available.

The goal for today was to launch an introductory “website” (in my case, web pages) that would convey competence, accessibility, and creativity.  Most filmmakers aren’t great writers.  Luckily, I am.  I don’t say that lightly-- I’m an award-winning playwright and I write copy for my company.  One of the first things you learn as a copy writer is not to rely on your own creativity.  Being good with words doesn’t mean you know what to say.  My advice is to look at other websites to understand what you should communicate; if you’re good with words, you can decide how you communicate that message.

Keeping my niche clients in mind, I reviewed several websites from other video companies.  I chose companies that were not in my geographic area.  I looked for content categories (like testimonials, process, etc.); and I looked for language I thought was powerful.   I copied content I liked into a Word document-- several pages of content, actually-- and then edited and wordsmithed it until the language was specific to my clients and my strengths.    

My client database has doubled since Day 13.  But I’m not ready to contact any of them.  First impressions are important, even when you expect to make several pitches over several months to close the deal.  If I came to my website I wouldn’t hire me just yet, not if I had the resources to hire someone else.  From working in photography I know these pages aren’t competitive, and neither is my pitch.  One tenth of the way into my 180 day challenge, I still have a long road ahead.     

Just joining us?  You can read about the beginning of the journey here.