Footage powerhouse Ozone Productions has been on board with Shutterstock since the beginning of this year. In that short time, Ozone has grown to be one of our strongest contributors, with over 1,700 clips on the site to its name. As Shutterstock Footage’s latest featured contributor, Ozone president Orrin Zucker took time out from his hectic production schedule to provide some insight into his company’s success.
“Orchestra conductor waves baton” by Ozone Productions
Shutterstock: How did you get into video production and stock footage?
Orrin Zucker: I came to the stock footage business in an unusual way. I’m not a videographer or photographer, which seems to be the most common entry point. I’m a motion designer and art director, and have worked in the industry for over 25 years. Since you pretty much have to be a Jack of All Trades when you run your own business, I have also directed numerous shoots for my clients.
When I made the transition to desktop video in the early 1990s, there were very few footage resources for a motion designer to work with, so I started packaging up some of my own content I had shot over the years to sell. My original collections were moving textures, such as cloth and water, edit effects, light leaks, film grunge, and a series of keyable objects.
These collections predated most of the major players in stock footage. I sold them under the name TVFX for a short period of time, until the rights were purchased by Adobe. After that, I created a new line, and over time, built it up to include a wide variety of versatile content, including people, abstracts, effects, aerials, time lapse, and anything else I thought my fellow designers, editors, and producers might be interested in.
Shutterstock: What do you like most about producing stock footage and motion design?
Orrin Zucker: I like the variety of subjects I can explore and the artistic freedom it allows me to have. It’s nice to not have a specific client that I have to satisfy. I can create solutions that are graphic, live action, simple or complex, abstract or realistic — I like that.
Shutterstock: What are your passions, and how do they tie into your production work?
Orrin Zucker: Since I make a living visually solving problems, my first step is to examine the subject matter from multiple points of view. When I do that, I usually learn a lot about it and become very interested in it. It’s almost like each topic becomes a passion for a short time, and then I move on. I approach a personal project in the same way as a professional one; if you find something you can get excited about, that passion will show up in the end product.
For example, I produced Liquid FX, a collection of colorful liquid reactions. To get to the point of committing it to film, we had to learn about what looks good by experimenting with all kinds of gooey liquids and chemical reactions. That was fun, but a bit messy.
“Blue bubbles and liquid moving” by Ozone Productions
Shutterstock: Tell us about your production company, Ozone Inc.
Orrin Zucker: I formed Ozone Inc. in 1990, after doing stints as an art director in various TV and production companies around Boston. We create animation for the broadcast, advertising, corporate, museum, and internet industries. Recently we’ve gotten into live performances, producing content for Nicki Minaj and Journey in conjunction with GMatter Productions. You can check out some of our work at Ozoneinc.net.
Shutterstock: Your collection on Shutterstock contains a lot of footage with models. What’s it like to work with models and actors? Do you have any tips for working with them?
Orrin Zucker: Frankly, it takes a lot of patience. You get a wide variety of temperaments, experience, and talent when working with a large number of actors. Some have a lot of acting experience, some are just paid to look good in front of a camera, but aren’t actors, and some are just starting out. The key is to get everyone to relax and to give them something they feel comfortable doing. If they don’t feel comfortable, that awkwardness will come through the lens, and the shot will be unusable. You have to be flexible and think on your feet.
Another aspect that takes some practice is how to look at headshots. It’s an art in itself. Many of the models that show up to a shoot bear no resemblance to their photos. Beware of any headshot that’s blown out. That’s usually a tipoff that they might not look like their picture when you meet them. Check the birthdate of the model too. You’d be surprised how deceptive a picture can be. A makeup artist/hair stylist can also be your best friend. Make sure you have a good one.
Shutterstock: Do you have any tips for emerging stock footage contributors?
Orrin Zucker: I agree with the scene from Scarface where Tony Montana advises a young thug to “Do it first, do it yourself, and keep on doing it.” Try to create shots that are both original and have a long shelf life. Shooting computers, cell phones, and things like that should be avoided, because the technology gets dated quickly.
Also, since just about everyone on the planet has some sort of DSLR, you need to shoot things that aren’t easily captured. There needs to be something unique, whether it’s stylistic or the content matter. If it’s easy, it probably won’t sell.
“Silhouette of co-workers talking” by Ozone Productions
Shutterstock: What would people be most surprised to learn about you?
Orrin Zucker: My brother Jerry and I created the first independently produced animated web series that won an Emmy Award in 2007. It’s called It’s JerryTime! and you can check it out on YouTube. We were also named one of the Wall Street Journal‘s 10 “New Media Moguls” that year.
Shutterstock: Are there any photographers/videographers who inspire you?
Orrin Zucker: Since I’m primarily an animator and a designer, I’d list my influences as Saul Bass, Terry Gilliam, Ray Harryhausen, El Lissitzky, Jack Kirby, Robert Crumb, Mad magazine, the old 1966 Batman series, and early baseball and jazz photographs — among billions of other things.