Funding limitations were one of the greatest challenges I experienced throughout the creation of the Women in TV and Film project. One of the aspects that contributed to the success of the project was BEING THERE. Enough footage exists on the market that I could have slapped together project from content curation alone, but I wanted to SEE, FEEL, TOUCH and make this experience REAL for myself and for anyone who views the project. The need for female voices in television and film is heavily documented with articles and videos that address everything from gatekeepers and green-lighters to budgetary constraints and limited access. However, Women in TV and Film is unique since it isn’t a perspective from the outside looking in. Again, it was about BEING THERE.
If I had to summarize the challenges, it would come down to time and money. I didn’t have all the time in the world to work on this project. I submitted and defended my project proposal on February 14, 2019 and had roughly two months to take this from concept to completion with a tangible showcase-worthy project. There were schedule and timeline tweaks and adjustments when reality set in with how much can realistically be accomplished within the allowed timeframe.
Some of the investments made included gas, tolls (ugh, tolls), back-up batteries for my SLR, additional SD cards and the usual suspects, like my Adobe CC subscription. I also had to combat loss of income, since I couldn’t actively freelance while simultaneously putting in long hours toward the Women in TV and Film project, and my directorial debut, Thug Motivation. Leading up to April 2019, I resigned from my position as a Studio Photographer with Picture People since they needed someone with weekend availability, especially with the Easter holiday approaching. I knew in advance I would have to spend each weekend in March and April either shooting, editing, designing graphics, or attending events and production meetings.