Combining Stills and Motion

Fri 10th Jul, 2015 – 7:00pm–9:00pm

Posted by Admin Posted in Career Development

Speakers:

  • Stephen Austin Welch, Jennifer Davick, Jesse Hughes, Michael Patrick O'Neill, Jason Mitchell

Tickets:

APA MEMBER : $10
ASMP MEMBER : $15
GENERAL : $20
$5 more at the door

Register

© KN+SAW

This Thursday, July 23, 2015
7:00 to 9:00 PM - Social networking hour at 6:00

Speakers :
Stephen Austin Welch, Director / Photographer
Jennifer Davick, Photographer / Director
Jesse Hughes, Director of Sales and Marketing, Erickson Productions, Inc.
Michael Patrick O’Neill, Staff Photographer, Digital Artist, Erickson Productions, Inc.
Moderator: Jason Mitchell, Director / Photographer

With so much of the web, and other media, steadily increasing the demand for motion content, most companies, large and small are now asking photographers to provide them with full digital asset libraries, comprised of both stills and motion. Agencies and clients often prefer working with experienced pro still photographers, who typically have a natural ability for composition, and who have developed a unique artistic style of their own. This means that the photographers who can provide everything these clients need are enjoying more success than those who can only provide one, or the other.

Stephen Austin Welch  KN+SAW (Katrine Naleid and Stephen Austin Welch), are a Directing Duo, as well as Still Photographers. As a directing team specializing in lifestyle spots, they compose fresh and whimsical imagery. KN+SAW shoot both broadcast and print campaigns. Their trademark footage is filming connected moments and storytelling that has surprise and payoff. Their vast array of 15 years of experience in commercial advertising gives them an advantage. Often, KN+SAW are hired to not only direct spots but also shoot the corresponding print campaign, as they did recently for Elmer’s. This motion and still combination keeps them active on sets around the globe.


Directing spots for Burger King as well as documentary shorts for clients like Fund For Teachers keeps them creatively engaged. Other standout projects include work for: Apple, AT&T, Chrysler, Coke, Corona, Kellogg’s, Hilton, Kraft, Levi’s, Tylenol, Target & Walmart. On large projects, like the Huggies shoot where they filmed 120 babies and 9 actors playing parents, they handled the production with the same amount of grace and attention to detail as their smaller narrative documentary assignments.


For their directing work, KN+SAW are represented by Traveling Picture Show Company. Katrine’s still photography website is knphoto.com. Stephen still photography website is saw-art.com and he is repped by agent Norman Maslov.


KN+SAW have been collaborating on shoots for the past 10+ years. “We started shooting personal projects together. That collaborative work rose to the top on our reels and in our portfolios. And just like that, a lightbulb went on in our heads: by working together we were stronger visual storytellers. We create and capture inspirational, authentic lifestyle moments. Shooting real emotion is what we are all about." 
 

Jennifer Davick, Director / Photographer. The world of photography no longer fits within clearly defined content platforms. Today, a story must migrate among print, still, sound and motion. Jennifer embraces this hybrid world of storytelling as a food photographer and director for commercial, editorial and publishing clients.

Known for her ability to capture all aspects of food, culture and lifestyle, Jennifer and her team serve brands such as Norwegian Cruise Line, US Dairy Export Council, Delta Air Lines, Whole Foods, Southern Living, Rizzoli, Coastal Living, The Fresh Market, Publix Super Markets, Chronicle Books, Oxmoor House Books and Better Homes & Gardens.

Jesse Hughes, Director of Sales and Marketing, Erickson Productions, Inc. Jesse has been in the commercial image making business since 1996.  He started at Creative Management Partners in New York representing TV commercial directors and then moved to Chicago in 2000 to represent and seek out commercial work for over 70 photographers over the next 6 years. 

During his brief stint at Radical Media, he recognized the migration of ad spend towards stock photography and partnered with photographer Jim Erickson. Jesse moved to Petaluma, CA in 2006.  Since then he and Jim have grown Erickson Stock into a premiere source for high quality stock photos and videos. Erickson Productions has three businesses:  Jim Erickson Assignment, Erickson Stock, and Fat Cat Digital, its digital retouching division.


Michael Patrick O’Neill, Staff Photographer, Digital Artist, Erickson Productions, Inc. Michael has been working in commercial photography since 2003.  He began his career in New York working for boutique stock photo agency Glasshouse Images during its startup.  In 2006 Michael moved out west to San Francisco in pursuit of his MFA in Photography.  That same year he joined the ranks at Erickson Productions initially working as a digital artist.  

When the opportunity arose to take on the role of Jim Erickson’s First Assistant position, Michael jumped at the chance. Now Staff Photographer, Michael has been lucky to work alongside Jim doing assignment jobs in China, Belize, Italy, the Caribbean Islands and all over the US.  During his ten years at Erickson Productions, Michael has worked closely with Jim Erickson and Jesse Hughes to help build their very exclusive collection of high quality stock photos and videos which is quickly approaching 100,000 stills and clips.

Director, cinematographer, photographer, editor, Jason Mitchell has an ability to craft a visual story then compose and light it in a cinematic style. This is the culmination of years working as a broadcast journalist for the US Navy, designing and establishing numerous broadcast studios, working as a freelance cinematographer and editor on projects from commercials to narrative and documentary features, and finally developing a unique style of combined photography and digital artistry with his partner Stacey Ransom, as Ransom & Mitchell. Jason will Moderate, and contribute to the discussion.

We’ll discuss the entire process of providing still & motion digital asset libraries. We’ll start with: Defining your Client’s expectations, then move into Determining the Scale of the Production, and the Scope of your Responsibilities (for example, will you be doing the motion editing), then discuss How to Negotiate, without being at a disadvantage to production companies. Next, we’ll cover Equipment and Crew, and end with Completing the Job on time and within your Estimate, as well as Delivery and Payment. While we will discuss how the Stills and Motion are usually directly related in these sorts of jobs, we’ll focus primarily on the Motion side.

We plan to answer as many of these relevant questions as time permits:

  • When should I shoot both the stills and motion myself, and when should I hire a crew for the motion?
  • What questions I should ask to determine my client’s expectations?
  • Once I know the end use, what does that tell me, and how do I proceed?
  • What questions I should ask during negotiations?
  • What do I need to include in my treatment?
  • Will synched-sound be required and how do I provide that?
  • How many parts of the entire process am I going to be handling, and when do I bring in a Producer?
  • How do I determine the size of the production, and what crew and equipment will be needed?
  • What kind of terms should I expect? Day-rate? Licensing? Work For Hire?
  • What are the differences between still and motion, in regard to fees / rates?
  • How do I develop competitive Estimates, especially when I’m bidding against production companies?
  • Can I shoot Stills and Motion on the same set?
  • How do I assemble the right team for me, and for the particular job?
  • How do I make sure I have all of the right production resources in place?
  • How do I light for motion, and when can I use the same lighting for stills?
  • When can I use my DSLR for motion and when should I use higher-end cameras?
  • How do I efficiently manage both shoots and stay on time and within my estimate?
  • How do I deliver the job and get paid promptly?
  • What should I do after the job is completed?

© Jim Erickson

ADMISSION

APA MEMBER :  $10 in advance or $15 at the door

ASMP MEMBER :  $15 in advance or $20 at the door (please note: all ASMP members are required to show their current ASMP ID at the door to be entitled to the 25% discount)

GENERAL ADMISSION :  $20 in advance or $25 at the door

(We accept cash or checks only at the door)

PRE-REGISTER EASILY ONLINE HERE

You can conveniently pre-register (purchase tickets) online for an additional nominal EventBrite fee by clicking the link above. No need to print out your EventBrite ticket unless you need a receipt; please simply give your name at the door. ASMP members must show their current ASMP identification at the door to qualify for the ASMP discount. Advance ticket sales end at Noon on event day; tickets will be available at the door on a first come first serve basis.

PURCHASING TICKETS AT THE DOOR

Pre-registration prices increase by $5 at the door IF space is available. Cash or checks only at the door (sorry, no credit cards accepted at the door)

APA SF has an event admission no-refund policy. Speakers may be subject to change with prior notice on our website.

© KN+SAW

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