Becoming an Old Freelancer: Finances

Sustainability as a freelancer is something I don't think gets enough attention. It's not flashy and for sure doesn't make for a good Instagram post. Still, to stick around you've got to try and figure out what works for you and your situation.

IMG_9043web.jpg

If you know me at all, you'll know I'm always up to talk about money. Not in the "Hey plebeian! Look what I've got!" way but more in the mindset of "You're in this hot mess too?! What are you doing?! Is it working? Is there a way we can learn from each other?"

The last few weeks have been a welcomed whirlwind. I've broken record'd the battle cry of "Oh man, I'm so busy" and I'm absolutely aware of it. What's freakin' awesome though is the fact that money is coming through the doors and for that, I'm insanely thankful. Freelance is "feast or famine" and I know the financial spigot could shut off for a season at any point.

Turns out it's expensive AF to be a freelancer, especially as you get further into your career. The amount of overhead I've accumulated over the years running this freelance operation is DUMB. Thinking back to when this whole thing started as a side hustle back in 2004-ish I'd have never imagined the amount of money it takes to keep this up plus trying to be intentional about the future.

At times it feels like I'm working just to keep up: production insurance, health insurance for me and our two boys, plus life and disability insurance. Then there's the money set aside for taxes and retirement accounts. Oh, then there's paying off bank loans, paying myself every two weeks, phone and internet bills, and on and on and on. It's dumb.

Positive side note: I paid off my car today – several months early BTW – so that's rad.

The biggest leg up I've had in terms of money management as a freelancer has come from a book I read back in 2010-11-ish – The Money Book for Freelancers, Part-Timers, and the Self-Employed.

Here are some of my biggest takeaways from the book:

"If you’re trying to create financial security as an independent worker, but you are following guidelines that are designed for traditional workers, you’re going to get yourself into trouble."

"They [percentages] are the best - and really only - way to save consistently based on what you actually earn, especially when what you earn varies widely and doesn’t arrive on a predictable schedule."

This was the biggest thing for me. As a former full-time employee, I was used to working on a very specific budget with close to exact numbers. Unlike my wife's very reliable paycheck each month, there's no way to know the specific amount that my freelance work will be bringing in each month. I've already written about using past records to help me predict my busy and slow seasons, but that's still just an educated guess. In planning ahead financially, I stick with setting aside 15% of my profits to pay my taxes as well as 10% to put towards retirement. I've been slowly and steadily stashing money into a RothIRA since I was 21 as well as another RothIRA under my wife's name as I max out the first one each year.

"If you don’t pay yourself first, you probably won’t do it at all."

"Debt is by far the biggest threat to both your career and your stability and stands between you and your success."

"Debt is sucking the money from your present to pay for your past at the expense of your future."

"If you don't save for your retirement, no one else will."

"Being an independent worker means you have to save more, plain and simple."

Paid Work and Demo Prep

I've spent the last week keeping my head down, working through a handful of shoots, and editing my guts out on another couple of projects. On top of that, I'm also working to get a new demo reel out before the end of September. Happy Labor Day ya'll...

Working on a demo reel ranks right up there with cleaning up curdled dog puke from between your car seat and console in the dead of summer. It's bad. I don't like doing it, but it needs to happen or things will get worse. I'd honestly rather get angry jalapeño juice in my eye.

"No, I'm not being dramatic; You're being dramatic."

As usual, the vast majority of the past year's shoots won't end up as part of the bite-sized representation of the year. You kill a good deal of your darlings in culling through the good stuff to highlight the better stuff. But then you do that again, and again – and then again – till you're too numb to know otherwise.

Still Busy (but not much to show for it)

The original goal of this weekly blog project was to set up artificial deadlines and force myself to regularly work on and post new content. Google said we're 34 weeks into 2018 and I think I've only missed one week so far.

I'm itching to work on another personal project but THANKFULLY I'm still swimming client projects that are paying the bills in an otherwise very slow year. Oh, and it's the start of the school year so Anne the Wife – an elementary school teacher – has been busy getting situated and I've had both the boys more than usual.

The last two to three weeks have been a bit of an outlier and had me crazy busy: shooting in Oklahoma City for a group from Wichita, KS; producing, directing, shooting, and currently editing a commercial campaign with a longtime OKC client; shooting in West Virginia with a Tulsa based agency; shooting a multi-cam project in OKC that'll need to be edited soon; shooting in OKC with a group I've never worked with based out of New York. Oh, and there's the pre-production part of a good deal of stuff on the horizon.

By no means am I complaining about being busy – far from it. It's not always rainbows and sunshine, but good grief I'm insanely thankful for people and organizations willing to pay me for work I love doing. I'll rant about waiting for invoices to be paid, but that'll have to wait for another day.

In this world of "if there's no pic it didn't happen," it's frustrating to not always have something to show that you're actually working. There's no reason for me to show you what my pre-production process looks like – unless you're up to see me sitting in front of a pile of notebooks and my computer at a coffee shop. I don't have behind-the-scenes images from being on sets mostly because I'm focused on the people and the work and don't always have the margin to share it on social media. No one cares how many recent trips I've made to FedEx and the local rental house to pick up and drop off rental equipment. There's no reason to post another image from an airplane or gripe about the flight attendant making you gate-check your camera bag even after the last one on the same plane didn't.

All that being said, I still jealously collect – and try to learn from – piles of screen grabs from other DPs and Directors posting this kind of nonsense to their Instagram accounts.

This is an insanely visual world that's constantly whispering to our insecurities, "You're only as good as your last project/image."

West Virginia

Went deep in Trump country a few days this past week on a client project in West Virginia. We spent two days filming a client testimonial in a small city about an hour and a half north of Charleston; Thx Signal Factory.

All that work footage will end up cut together to make something rad I'm sure, but I did get some time on the drive back to Charleston to get pseudo-lost on some sketchy but seriously beautiful backroads. Word to the wise: if given the option, always schedule extra travel time and make sure to rent an SUV at the airport.

Benefits to Staying Busy

Good grief... My bad for all the whining and moping I've done the last few incredibly slow months. Freelancing is feast or famine and I'm now neck-deep in multiple client projects.

That being said, I'm diggin' some of the benefits of staying busy while things were so slow. The creative treatments I'm writing now for client projects are better thanks to the the effort I put into my slow-season personal projects. In working those creative muscles on my own time, I feel somewhat more confident now that I'm putting client names and logos on them.

Writing has always been important to me and I'm intentional about being overly prepared and having a clear direction for projects. Still, I've never been overly confident in putting together a creative treatment. I'm like 90% certain there's a book or something out there on the topic that all the cool kids have read and I've somehow missed.

What I've somewhat put together about treatments comes from Google searches and a solid collection of "look-at-how-busy-I-am-writing-treatments" screenshots from various directors' Instagram Stories. I still remember seeing Spike Jonze's single-page treatment for Pharcyde's “Drop” video years ago. That and the Filmsupply fam had a solid post with Diego Contreras on creative treatments not too long ago.

I'm crazy thankful for the treatments I've found online and the friends who've shared theirs with me over the years. I still feel that writing a good treatment is like spotting a unicorn, but now it's like I know the Unicorn's name is Steve and somehow he's a couple people in front of me ordering at my regular coffee shop. If you need me, I'll be silently fanboying from my place in line and absolutely trying not to bother him – no promises though.

Composition with Henri Cartier-Bresson

Seems more often than not I'm late to the game, but still happy to be here. I'm assuming that every proper photography student knows who Henri Cartier-Bresson is. If not – especially the cool kids shooting street stuff and portraits – they should be doing something else.

I've talked about it before, but I've been spending a dumb amount of time this past year or so digging through the photography and fine arts sections in public and university libraries. I figure studying the work of others I respect and admire will hopefully seep into the work I'm doing. Cartier-Bresson has easily become one of my favorites and this week I picked up "An Inner Silence: The Portraits of Henri Cartier-Bresson."

IMG_8594web.jpg

As a cinematographer, I'm always approaching composition in how it would fit a wider aspect ratio vs. being able to shoot still photos in a taller portrait. Obviously there are visual ideas better suited to a taller frame, but I'm still interested in how they can be used in a widescreen, 2:1, or 16:9 image. I'm not here to write a dissertation on composition, but no question Cartier-Bresson's work is something to study.

This Week's Phoned in Blogpost

Yo. Got uber busy this week and a decent blog post didn't make the cut. In the meantime, here’s a shotgun blast of things from the last few days.

AB1FCBAE-A3B8-4698-87B6-3B611A3FB9B3.jpg

Not sure what the cool kids do to stash away visuals found via their phones, but I'm a fan of photos and screenshots – especially with filing away ideas I dig on Instagram. I try to clean up the rat's nest of content I pack away regularly by transferring the collected images to my computer and then organizing them across my different devices via iCloud. Here are a few from this week:

And speaking of phoned-in, part of the cinematographer's life is spent on the road and away from family. St. Anne the Wife and I try to be intentional about staying connected via phone calls and FaceTime while we're apart. I for sure don't travel as much as some of the DPs and camera department pros I follow online, but there are seasons where I'm out. In 2013 I was overseas for over three months as a crew member on a longer documentary project plus some additional travel with other clients. My first kid was born at the end of 2012 so all that travel had me gone almost a third of his first year. I'm pretty sure he associated me with living in his mom's iPhone. Anne the Wife is the best part of my life and we've now got two little house fires – I'd be wise to not screw this up.

...and by the way, have you seen Boots Riley's "Sorry to Bother You" yet? EASILY one of the most interesting films I've seen in a good while. Do yourself and see it while it's still in theaters. We need more art like this in our lives.

So we made a thing

No clue. Absolutely no clue what was going on here. I'm just diggin' the fact that I've got friends who trust me and are basically up to make stuff no matter what.

In the latter part of June, I'd bought a one-way ticket to New York City with plans to connect with friends, make stuff, and meet new people. In prepping for the trip I reached out to Olivia Abiassi to see if she'd be up to make something while I was in town.

Olivia is an actress friend of mine who I stumbled upon while casting a short film a few years ago. I say stumbled because she was actually off-camera reading the female lead's part to help with the male talent's audition video. In hearing her read I immediately knew she was the lead I was looking for. She worked her tail off for that little passion project of mine and her performance was more than I could ask for. Fast forward a couple years she's now living and working in NYC.

Normally I'll put solid time and effort into prepping for a shoot. This project was more or less thrown together during my 45-minute subway commute from Washington Heights to her apartment on the Lower East Side. There was no scout ahead of time; not even a decent concept. Just me plowing through her Instagram account and listening to a TON of Logic's "The Incredible True Story" album.

A few months ago she had posted a short clip of herself prepping for something and accidentally – and absolutely – struck gold. She's got a great sense of humor and doesn't seem to take herself very seriously. She's also got great eyes and facial expressions which absolutely deliver on camera.

This simple Instagram post opened the idea of her getting completely lost in her own world and caring less about what people around her thought. In just about everything I try to make there's a bit of me braided in somewhere. For this utterly informal short I started her off buried in her phone trying to keep up with either the nonsense of social media or the non-stop stream of the world's bad news. In putting on her headphones, she's able to escape for a bit.

From a production standpoint, the headphones were key. I sent her a playlist I'd put together during my commute, but we ended up keeping Logic's "Fade Away" on repeat and that kept her movement timing consistent. I on the other hand couldn't hear the music, gave some basic direction, and just had to keep up.

Just about every movement piece I've done recently has been shot off-speed. There's a TON of grace and forgiveness in shooting in higher frame rates, but for this piece, I wanted to challenge myself with shooting in real time and intentionally using longer takes in the edit vs. the easy out with quick pacing to hide mistakes.

The edit took a bit longer than I expected in trying to sync her movements to the music as well as the un-rehearsed and un-controllable aspects of the footage we got. There were plenty of interesting-looking shots that I just couldn't use because they didn't fit the music – not to mention the unusably soft shots I blew focus on.

We're not curing cancer or anything, but we did have a very loose storyline with a beginning, middle, and end. We honestly just wandered around the Lower East Side not far from her apartment, looking for good and interesting light. The ice cream break was intentional, but accidentally hitting someone on the subway with her purse while she was dancing wasn't. Thank God that very large man was cool as hell.

UPDATE: As per usual, the footage from this film is available for licensing over at Filmsupply. Speaking of footage licensing, here's an example of how it was used to create an actual spot. Thank goodness too because the proceeds helped me pay rent in May 2020 during the Covid-19 nonsense.

...a day late. Thx New York.

My bad. Monday's post didn't happen. But hey! It's Tuesday Wednesday morning and I'm doing the thing... My apologies to the five RSS subscribers – who I'm assuming are mostly bots at an Amazon server farm outside Boardman, Oregon.

I'd been in NYC since last Monday working to make new connections and continue building existing ones. Thank goodness for creative friends who've opened their homes, studios, and schedules to take me in.

DB01.jpg

First and foremost, David and Cassie Bizzaro are freakin' saints. They let me crash on their couch while I was in town. David and I – along with puppeteer Jake Bazel – shot some new content for one of his YouTube channels that should be released soon. If you've not done so already, do yourself a favor and check out The Bayr Show. I got to the point where I couldn't breathe because I was laughing so hard throughout the Clap with Rhythm stuff.

OA02web.jpg

There's also this gem. Olivia Abiassi is an actress who played the lead in my 2015 short "Nora" while she was at the University of Oklahoma. She's now living in NYC doing the working actress thing. She and I ran around the Lower East Side of Manhattan with her dancing like a crazy fool in public in front of my camera. I'm working on the edit now and hope to release it soon.

OA01web.jpg

Outside the people I met, I also spent a good deal of time roaming the city. On July 4th, my watch recorded me walking just over 21 miles. Some of that was thanks to me roaming The Metropolitan Museum of Art for more than three hours and still not seeing everything. There was also the "Hey, I'm going to join the masses in watching the NYC fireworks in person." I figured that'd be awesome (meh, it wasn't) and I got some blurry photos of fireworks like everyone else in America that night. My blurry photos were intentional though. "Slow-shutter speeds, you're the best." he said in trying to justify carrying around a full-frame DSLR all day.

Punching Financial Anxiety in the Face

I nerd out about spreadsheets. It started in college while I was tracking money as the financial manager for a handful of touring music groups. As an undergrad, I carried around a spreadsheet breaking down each day into 15-minute increments to keep track of how I spent my time: class, music rehearsals, eating, studying, sleep, etc.

IMG_1934web.jpg

Fast forward to today, there are jillions of tiny little digital boxes with personal and business records going back further than I care to admit. My spreadsheets don't hold a candle to the actual financial software I use for business and personal use, but when it came time to apply for a small business loan the bankers complimented how detailed my Profit and Loss statements were.

Something else to know is that I'm an anxious little monster, especially when money is tight which is not helpful in the least.

More than anything – and this should be obvious – the main business spreadsheet I keep records a running total of project money in and out as well as profits. There's a good deal of other information riding shotgun, but my point for this post is keeping track of the money, specifically the profits, and having at least an idea of what's ahead. In times past, I thought I had an idea of the timing for my busy and slow seasons. "The winters are always slow" would've made for an appropriate face tattoo considering how many times I've said it. Turns out I was only partly right.

Last week had me Googling spreadsheet formulas – as one does – because I was looking to try and visualize some of the financial data I'd recorded over the years. I'd found some nonsense formulas, plugged in my data, checked/re-checked, and set up a graph to visualize the info I now had. The graph below visually represents my small business's year-to-date monthly profits, beginning in 2014, as columns with the purple line as an average of each month.

Screen-Shot-2018-07-02-at-5.27.19-PMweb.jpg

Sharing my financial specifics isn't relevant or helpful, but having been at this for a bit, the records I've kept are somewhat of a yearly road map to help me understand my cash flow, get a grip on my slow and busy seasons, and anticipate the associated anxiety. There'll always be outliers – June 2017 was awesome – so that's why I'm so interested in the averages.

Turns out my "Winter is Coming" fears aren't as scary as I've made them out to be while June can go straight to hell. July is getting started and with it comes the upswing of early fall numbers; Early winter just looks like a drunk toddler with a blowtorch.

Again, I'm an anxious little monster and I know tons of other freelance creatives who fight these same demons. This colorful little roadmap brings me back to the reality that some months are better than others and my fears of "I'll never get any more work so I should get a real job" are just dumb. This June was slow – as usual – but I intentionally used that free time to punch my anxiety in the face by working on personal creative projects and adding to my stock footage portfolio. Staying physically active is also crazy helpful in dealing with my – at times – crippling anxiety issues. Thank goodness the training for the Oklahoma City Memorial Marathon always starts in early January and helps keep my winter slow season demons at bay.