Interview with Hilarey Kirsner – President of Women in Television and Film DC

Hilarey Kirsner is the current board president at the professional organization Women in Film and Video (WIFV).  She is also an award-winning producer whom I’ve had the pleasure to work with on two cable television series.  Hilarey is very smart, very organized and very cool under pressure.  When I joined WIFV several years ago, she was the head of WIFV’s events committee.  I joined that committee because of her.  Because of her hard work planning events and with WIFV overall (the board and committee members are all volunteers), she was voted as board president.

WIFV is a Washington, DC based media organization that supports and celebrates women’s achievement in the television and film industries.  Women, and men, join for the support system, growth opportunities and production contacts. I’ve enjoyed many of their informational panels, being a panelist and asking questions on the email list-serve where I can draw on the collective intelligence of the entire membership.

I recently spoke with Hilarey about her role as WIFV President.

What type of work do you do?

I am a freelance producer and I do a lot of different types of work –  in fact it’s usually different everywhere I go.  Sometimes I’m on set directing the camera and actors, sometimes I’m in an office setting up shoots and writing scripts; and sometimes I’m sitting in an edit suite and working with an editor to create a story.  I started off producing videos for live events. Then I moved to producing more corporate and government programs for the web and marketing purposes.  After that, I got into producing for cable broadcast (read: reality programming) and now I’m doing work for non-profits, which I love.

Why did you join WIFV initially? And, why run for board President?

I joined WIFV back in 2002 when I had just moved back to DC after spending a year working in LA.  I had just started freelancing and thought I had better start networking in DC if I wanted to find a job and everyone said- “join WIFV!”  So I did.  The first thing I participated in was the Image Makers program, which is a community outreach program where WIFV volunteers teach local high school students how to produce a Public Service Announcement (PSA) from start to finish. They produce the PSAs for local non-profits, who give them creative direction.  I not only fell in love with the kids’ creativity, but I made some really great friends and business contacts while working alongside other WIFV volunteers.  I ended up doing Image Makers for the next four years and ran the program for two of those years.  From there I started attending more WIFV programs and became more involved.  So, a few people encouraged me to run for the WIFV board in 2004. 

I spent one year on the board and then ended up moving to Florida for two and a half years.  When I moved back to DC in 2007, I was elected to the board again.  Denise Moak was president and the two of us knew each other from college – so I already knew we worked well together.  I served as her Executive Vice President for one year and then ran Programming for the second year.  By that point, I was heavily involved in the comings and goings of WIFV and was talking to our Executive Director daily.  I guess it just made sense that I move into the role of President when Denise’s term was finished.  Denise gave me a lot of great training and is still there to help me if I need it. There’s also a great support system of past presidents to call and of course our Executive Director, Melissa Houghton, is wonderful and is always there to help.

What do you hope to accomplish as WIFV President?

We’re a 501c3 non-profit organization so we have to raise money for everything we do.  Fundraising is always challenging, especially in an economy where everyone is tightening their belts. That’s why I wanted to put development in on the top of our agenda.  WIFV is such a great resource to women and men in DC, but unfortunately we always need more funding to support the large number of programs we put on annually.  I wanted to make sure our sponsors were benefitting from WIFV as much as we are from them, so we’ve been working hard to update our sponsor benefits and increase communication with our sponsors to see how we can work best together.

I also think it’s very important to listen to the members to see what they want out of WIFV.  I rely a lot on their feedback for program ideas and suggestions on how to make things better.  I am also hoping to establish practices in our office that will stay with the organization from board to board (we turn over half the board every year) so that there isn’t a ramp up period for new board members each time.  I’m hoping they will be able to jump in with all the information right from the start.

What are some projects that WIFV has going on right now that you wish more people knew about?

Image Makers is going on right now, which obviously is close to my heart.  I do wish that more people in the community knew about it because it benefits so many groups of people in our community.  We try to choose students who do not have any media classes at their schools so they that are getting the most out of it.  We’re always looking for good volunteers with media and teaching experience as well as non-profits who are in need of video marketing for their organization.  And of course we need sponsors for this program – we give the students a gift at the end for participating and we would love to be able to buy some cameras and editing equipment for WIFV to own for this program so that we’re not relying on our volunteers to bring their own equipment every year.

We are also hosting a screening series every Tuesday in March in honor of Women’s History Month at the Martin Luther King Jr. library.  All the films are about women’s issues and are made by woman – many of them local.  The screenings are free and open to the public.

March 26, 2011 is SWAN (Support Women Artists Now) Day in Georgetown, DC where we’re going to screen our Women in Film and Television International Shorts compilation.  The day is packed with readings, discussions, exhibitions and performances.  For more info on this and other upcoming programs go to: www.wifv.org.   We just revamped our website and are very proud of it!

What does the future look like for WIFV?

We are celebrating our 32nd anniversary this September (2011). It’s really amazing that we started with 15 members and now have about 900 plus two full time employees and an office.  WIFV DC started as a group of women freelancers who wanted to get together and share ideas and honestly, the mission hasn’t changed –  that’s what we still want today.  I think the future is really bright for our organization and we hope to continue educating, supporting and bringing women media makers together for 30 more years.

For more interviews from production experts, visit the Expert Production Interviews category.

The Goodbyes and Hellos of Freelancing

Another freelance gig ends and it is time to say goodbye to my co-workers, clients, subjects, office and project… again.  Quite frankly, I had grown weary of this latest project.  And the client’s demands were sounding more and more outrageous.  But I liked my co-workers and I loved my office even more.  The truth is, even when I don’t generally like an assignment, it is still hard to say goodbye to a job that have given my all.

I usually miss the people the most.  When you’ve worked 8-to-10 hours a day with a crew or spent weeks and months getting to know your interview subjects, it is hard to just pack your things and leave without looking back.   I’ve said enough goodbyes to know that after the first few weeks of follow up about how is the new baby or did your house finally sell, chances are the contact will soon dwindle out.  But every once in a while, a strong connection emerges.

Whether crew or interviewee, I always send a thank you note because you never know when you may need to call on that person again.  I like to send notes via snail mail.  Who doesn’t like to hold an envelope in their hands and open a piece of mail that is not a bill?  For me, ending on a positive note has paid off.  There are several guest experts that I have booked on different shows and several former colleagues have offered me gigs.

On the other side of saying goodbye is saying hello –hello to new projects, new people and new schedules.  Every time I start a new gig, it takes a while to get the hang of the routine and, to adjust to the effects on my family and home life.  Sometimes saying hello means proving all over again that I can do a job well despite being the new kid on the block, being a mother or previously working on shows of a different type than what I’ve been hired to do.  I dislike this “pledge” period so much that the hellos have become almost as hard as the goodbyes.  On the other hand, I’ve made some valuable friends and contacts on most freelance jobs and try to concentrate on the prospect of making more.  Not to mention that on each job, I learn something new about the world, producing and even myself.

The best scenarios are the ones when I work repeatedly for the same client.  The goodbyes are a little less painful because I know that there is a good chance that I will be back.  And the hellos are always fun because I get to reconnect with former colleagues with whom I enjoy working.  However, it’s a bummer when I return to find a permanent staff member who I’ve come to rely on has said goodbye in my absence.  It rocks some of the stability that I’ve come to count on in my ever changing profession.

Should I Buy A Hard Drive?

I asked my friends and colleagues at the Washington, DC area Women in Film and Video (WIFV) if it was time for me, as an independent and freelance producer, to buy my own hard drive.  The resounding answer was “yes.”

Some people, like Stephanie Foerster Owner of StepFilms, says the question takes some consideration.  “If you are responsible for the footage upon conclusion of the shoot, then yes, a hard drive is a great investment. That said, if you are simply handing over the footage for post, I think it’s fair to request the client to provide their own drive before the shoot.”

There are a lot of hard drives out there and not all of them will work for every situation.  For instance, are you looking for a hard drive to simply store and transport footage?  If so, a small drive will work.  The most popular compact drive suggestion I got was for the 350gb LaCie.  I’m using this drive now (in fact it is packed up ready for my shoot today) and it seems both rugged and easy to use.  It doesn’t need a power cord because it runs off of the firewire cable. It costs about $100.  For Mac users, My Passport Studio has been recommended because it is small and very affordable.  Another recommendation is the $90 Smartdisk FireLite which holds about 80GB and fits in the palm of your hand.

But as Roland Hudson of Flipbook Productions points out, you will need something bigger and faster if you plan to edit from the drive.  Anything less than 1TB can make moving media on and off of the drive painstakingly slow.  The G-Raid mini, another highly recommended drive based on responses, runs about $300.

Bonnie Green, a Digital Assets Manager, warns not to store too much on one drive.  “I usually advocate digitizing your assets into a searchable database, then archiving physical assets in off-site storage. Never keep the two in the same location. Use the “what if” scenario in laying out your plan.  Also, using one hard drive for multiple clients may not be wise, as it only takes one corrupted file to ruin to the soup. Then, you’ve just screwed up your other clients’ stuff and made yourself look like a novice.”

The crowd was split on how “consumer” to go with these drives. Some felt that standard drives found at Best Buy to provide storage for a home computer wouldn’t suffice.  Others were excited about cheap and cheerful drives that could be bought for under 100-bucks.  Personally, I feel that is it worth a little extra to safeguard a client’s footage.

And last but not least, back up your footage!  Some producers use their drives as backups. Others store the footage on their computer.  It doesn’t really matter where you keep it just as long as you can get to that backed-up footage if needed.

Writer’s Block in San Francisco

I am currently on a shoot in San Francisco.  I’m primarily here to conduct interviews and tape B-roll for a series of short videos.  In an effort to complete another project due at the end of the week, I am writing scripts in my “downtime.”

I have nothing against San Francisco, but I am jet lagged, miss my family, had to change rooms at 2:30 in the morning because of water dripping from the ceiling onto my bed and, if I may be blunt, my gastronomic system is a little backed up.  None of this has put me in the mood to come up with pithy and energetic host script copy.  So what to do?

I’ve devised a few tactics over the years to help me continue writing even when I really don’t want to.  A deadline is a deadline. So it’s handy to have a cadre of tricks to help bust through that block when necessary.

• Dance to fast music – This is my number one, go-to block buster.  I put on one song with a driving beat, sing loudly and dance passionately.  For me, this is a shortcut to meeting my muse because I totally leave the writing behind for 5-minutes and come back refreshed and energized.
• Take a chore break – If I am at home, I find it helpful to work on rhythmic activities like washing dishes or folding clothes while my sub-conscious works on the work. I almost always come up with an exciting breakthrough this way.  If I am in an office, I might clean my desk or do some filing, anything to keep my hands busy but my mind free.
• Walk away from the writing – Get out and take a walk.  This is another way to get the blood pumping and the words flowing.
• Go over the top – Write wild and crazy, over the top stuff.  Try alliterations or some rapping and rhyming. It’s fun and you just might come up with ideas that make the final draft.
• Check out a list of clichés – If I am having difficulty with a subject matter, I often look up a list of clichés on the internet.  Yes they are staid but they can also be entertaining. And even better yet, they can help me get a grasp on concepts in a focused and fun way.
• Get help – I have a couple of producer friends that I can call or email with a problem section and they help me work it out with a fresh eye.  I do the same for them. It’s kind of like having a writing elf.  And let’s face it, two heads are better than one.

In this particular San Francisco block, I’ve elected to write something else, something that I know would flow – this blog. It’s been fun and I’m feeling ramped up to continue the writing-for-hire.  If you have any other tricks let me know. I’ll post them and maybe try them next time. Happy writing!

The Work of Indpendent Documentarian: An Interview with Emmett Williams

Just what does an independent documentarian do?  Where does he/her get  ideas?  How does he/she make a living at it?  I recently had a conversation with Emmett Williams, independent producer, to find out how he manages a career making documentaries.

I’ve had the opportunity to work with Emmett on several projects and am impressed with his scope of work.  His television credits include producer, writer, editor and camera operator.  His work can be seen on such national networks as The Discovery Channel, Animal Planet, TV Land and public television.  Emmett is also a song writer/performer, photographer, concert producer and journalist.  his passion for media and the arts is clear to anyone that has worked with him.  Emmett, a vegetarian, even ate seal meat to connect with his subjects during a shoot in Alaska.  What I’ve found particularly striking is his commitment to his projects and his ability to keep a sense of humor about everything his does.

As an independent producer, what type of productions do you produce/work on?
Mostly, I produce long and short form documentaries. Sometimes they’re ideas that I’ve come up with and sometimes I’ll partner with a non-profit organization to make a film about a topic that is important to them. For example, the film “Camp Twitch and Shout – The Movie”, which will be available online December 7, is a partnership between myself and the Tourette Syndrome Association of Georgia.

There are also a few online only projects that are in the works that are destined for YouTube or the Mission Man Media website, like a series of shorts about artists called “The Form Appears” and another series entitled “Everyone Has A Story”.

Finally, there are a few things I want to do that will be specifically for museums and galleries.

How do you find the projects that you work on?
It’s rare that I go out searching for stories to tell. Usually the stories just arrive serendipitously. For a documentary that will start production in January, the idea came from a conversation I had with a friend in a bar just a few months ago. There are an endless amount of stories out there that are waiting to be told, you just have to keep your ears open. I’m fortunate to be in some form of production on projects that will keep me busy through the first half of 2011.

How have you raised funds?
Every way possible. I’ve won grants, been funded by the organizations that I’ve partnered with, friends, family, the coin jar in my bedroom. Any way possible. I read somewhere that it takes 3 years on average to raise money for a documentary. You have to spread your fundraising wings as far and wide as possible.

I’m in the process of raising money now for a project in Africa and I’ve literally sent hundreds of emails, applied for grants all over the world and spoken with people on three continents trying to get it made.

Sometimes you work on freelance gigs for other people.  How do you feel about that? Do you limit the size and scope of freelance gigs?
Making documentaries is cyclical in that you make a film, then raise (beg) for money for your next one, so you have to earn money during that downtime in between projects. If I’m inbetween projects, I’ll preferably do some freelance writing or producing for television or for a company that needs something small, but I’ll do anything really to keep me out of an office.

BUT if someone from an office is reading this…and hiring on a temporary basis….

You often work as a one-man band producing, shooting and editing. Is there a lot of pressure to be responsible for every aspect of a project?
I really prefer working alone because I like the intimacy of just being one-on-one with the subject. I’ll often spend a few days just hanging out with whomever I want to interview before I even bring out a camera. I think if you are prepared ahead of time and really know your equipment it cuts down a lot on the possibilities of something going wrong. Of course, life would be easier with a crew as far as dealing with the equipment.  But for me, its worth the few times when I’ve forgotten briefly to turn on the audio or left something back at the hotel to continue to work independently. And the more you do it, the easier and more organized you become. The real key is a comfortable backpack and pants with lots of pockets. If you have those two things you’ll be fine.

Do you feel that there is a lot of room for creativity when producing a documentary?
The style of documentary that I like to do relies a lot on serendipity to be honest. I like to leave a lot of time to wait for things to happen.  Often, things are happening quickly and you are happy just to get the shot. While this style doesn’t lead itself to as much creativity as a fiction film, there is always a little room to put your own personal stamp on a film. It really takes sitting down before you start shooting and making a firm decision about the look and feel of your project.

I also think the most important aspect of making a documentary is the story and content. No matter the style, if you have those two things you can craft a strong project.

What is your favorite part about producing and why?
My favorite part is that moment that happens in most interviews where the subject finally lets their guard down and really opens up about whatever you are trying to get out of them. I really think everyone has a story and it’s my job to get it out of them.

What is your favorite project to date and why?
I’m editing the first of a four-part series called “Native Past, American Present” about the efforts Native Americans are making to hold on to their history, culture, and identity. I recently spent a month in Alaska on the project and everything about it was special. Incredible people, important stories, and beautiful landscape. That’s been my favorite so far, and I plan on going back next fall to spend two months working on part two of my series. And while I’m there I’ll be working with the Sitka Tribe of Alaska to teach filmmaking to Native children.

How did you get started?
I’d worked in television for about ten years when I decided that I really preferred working for myself, or at least on projects I really believed in. One day I decided that’s what I would do. In hindsight, it might have been less complicated to ease into documentary filmmaking instead of jumping into it blindly, but I knew what I wanted and somewhat knew how to get there. So, I just announced that I was a filmmaker and it’s grown from there.

Any advice for those seeking to do what you do?
Just do it. Cameras are dirt cheap, editing software most likely comes with your computer, and its free to put your stuff up online. There are an infinite amount of stories to tell. There are really no excuses if it’s something you truly want to do.

For more information about Emmett Williams and his work, please visithttp://www.emmettwilliams.com.

Secrets to Funding Your Dream Documentary

Here is an except from my interview with Bill Einreinhofer from the CD recording of the  teleseminar “How To Fund Your Dream Documentary.”  Bill is a National Emmy-Award winning producer, writer and director with over 20 years of television production experience.  He shared a lot of useful tips about how to raise money to produce a documentary.  Here he discusses how to approach potential funders.

SYDNYE: Before you introduce yourself and how fabulous you are and how fabulous your idea is, you need to know why and where and how much they give?

BILL: Yes. This is where you start looking at the giving history. This is where these various reference libraries, whether you go to the actual library or whether you view it online line, find out where the money has gone in the past. What are their interests if they are a foundation? Of if they are a corporation, who they are trying to reach? Corporations, I’ve gotten corporation grants to do public television programs, and it’s because those particular corporations wanted to reach the audience that public television gets. You have to figure out what the grant maker wants. And then be able to tell them, “I can deliver what you want to you.” It only makes sense. I mean obviously, it these people are going to be making grants or if they are going to be making advertising buys, they have certain needs. You have to understand what those needs and be able to tell them “this is how I can help you meet those needs.”

SYDNYE : So we’ll talk a little bit more a little bit later about distribution because that is part of it.

BILL: And this is probably the biggest mistake that many people make. In that they’ll put together a wonderful proposal. They’ve got a great theme. They’ve got colorful characters. A really, really good story, they’ve figured out exactly how to shoot it and edit it. They know what the look is and they don’t put anything about how they are going to distribute it. And if no one is ever going to see this program, this film, then why fund it?

You can learn more tips from Bill Einreinhofer about funding documentaries on the 45-minute audio CD “How To Fund Your Dream Documentary.”

TV Moms – Balancing Home Life and Producing

As my own mother puts it, “Motherhood is more than a notion.”  The demands, intensity and rewards are talked about, blogged about and dramatized in fiction.  With the non-stop schedules and sometime infantile personalities, television production work can be just as challenging.  Put the two together, and you may have a recipe of serious stress.

 How can TV Moms balance the demands of the family they love with the career they love (or at least find themselves in)?  I recently took part as a panelist in a discussion about motherhood and production hosted by the Washington, DC area Woman in Television and Film association to discuss that very question.  We shared some tips to help juggle it all.

• Give up the notion of Super Mom.  There is no such thing.  We are all Super Moms if we are loving and attentive to the needs of our family.  But this does not mean we are perfect.  I once sent my daughter to daycare in two left shoes.  It’s a long story.  The point is, she survived and doesn’t even remember it.  At the time of writing this article, I am feeling pretty good about my children’s development and my career development.  Just don’t look in my car – it’s disgustingly dirty.  And it’s not because of me that our floors are fit to eat off of. Thank God for Daddy!
• Join a TV Mom’s support group or start your own.  An editor friend and I decided to have TV Moms play date.  We invite other mothers in the industry to bring their kids, hand-me-downs and resumes. It’s fun and rejuvenating.  Plus I may have just gotten a gig because of one.  I also started a Goal Group with some Super Mom friends of mine.  We get together once a week, sometime via telephone, to set goals and hold each other accountable.  That’s how I finally got this blog site off the ground!
• Get a mentor.  No matter how far along you are in your career, there is always someone who has had more experience. Perhaps it is in production or perhaps it is in being a working mom.  Perhaps it is in an area of production that you’ve never explored.  It doesn’t matter if they are younger or older, man or woman.  It is just nice to have a “go to” person who can help you navigate your career.  My mentor is a single mom and an industry heavy-hitter.  She has given me helpful advice over the years and priceless job recommendations that have resulted in gigs.
• Research family friendly companies.  If you are working in a situation that is not compatible with your family life, research other options.  It may take awhile but it is possible to change your job environment.
• Craft a support system.  I am lucky to leave in my hometown with a number of family and friends that I can call on if I have to work late or travel.  If you can afford in-home help, consider getting a nanny while the children are young.  As the saying goes, “what all working women need is a wife.”
• Search out flexible opportunities.  Perhaps job sharing or working from home is an option for you.  If not, perhaps you can work through your lunch break Monday thought Thursday and work a half day on Fridays.  For two years, I searched for a work from home situation. I didn’t give up and have been working from home for the last 6 months.  This round of working from home may not last forever but I’ll keep searching for something permanent.

Don’t forget that you are not alone.  All TV Mom have moments when they feel that they are not doing a good job at home or at work.  The trick is to keep these moments to a minimum and not let them get you down.  Every once in awhile, that guilt monster tries to jump up on me.  But when I look at my children, I see that they are doing well, growing strong and enjoying life.  It’s okay if we miss our swim play date this time.  No one will fail to graduate high school if we put off potty training a couple of weeks until Mommy finishes shooting that news special.  And it’s okay if the kids have oatmeal and broccoli for dinner once in awhile.  In fact, they like it.  Just keep doing the best that you can and believe it or not, your best is good enough.

Instant Mileage Tracker

Instant Mileage Tracker By Maxxsys.net

Production professions are always on the go – to shoots, to scouts, to meetings, to edits… Did you know that you can get tax credit for all those miles you put on your personal vehicle? This goes for freelancers and staffers who don’t get mileage reimbursement. Of course, reimbursement is another way to recoup the cost of gas or wear and tear to your car. However, it’s often hard to remember to hit the mileage button when you are busy trying to get the job done.

Whether for taxes or for mileage reimbursement, visit http://www.maxxsys.net for a fast and friendly way to automatically compute your mileage. All you do is put in the address and it does the rest.

What it does…

1. Calculates your actual miles driven based on the GPS coordinates of the addresses entered.

2. Calculates your tax deduction, using miles driven, and the IRS reimbursement rate based on trip-type and year.

3. Create a trips database for the year.

Benefits…

1. IRS audit-ready trip documentation, just in case.

2. Minimal typing, recall previously entered addresses.

3. Tracks two separate vehicles on one account.

4. Re-create logs for prior years. Maxxtraxx includes IRS Rate Tables for 2006, 2007, and 2008. 5. You will actually track your miles.

Check out www.maxxsys.com and tell them I sent you!