Creating a Shot List
So let's go to the shot list now, based on that story arc, then I thought about Okay, what kinds of shots do I need to capture in order to tell that story that I just mapped out? Um And then what? Shots had to be included? Um, that would really show their unique design agency. So after I spoke to them, I didn't get to see the location or anything, but immediately, I thought, OK, there designers, their industrial designers. So if they have a three D printer, I wanted to make sure that showed that I wanted to show where they were. That was probably going to be something unique to them. Um, and then I figured maybe their sketches. Or maybe there was some things in their studio that were half done. I want to show all of those things. So I started writing down what those shots could be. And what were the musts that I had to capture and my shot list, doesn't it? It's no, uh, it's it's nothing complex. If you can illustrate. I mean, you could do a storyboard, Sure, but for me, I mean, this is...
good enough. So this was really all that I did. This was a Google doc, and, um, I don't if you can read. But after talking to them, I was like, Okay, so maybe to show where this this is all happening to give context. I want to show the city of San Francisco I wanna show Potrero, which is where the studio was. I want to show the streetscape because they were on top of this nice hill on then. I also wanted to get a shot of their home office studio, and you can see here I'll have things in parentheses in terms of how I want to move my phone or the camera. Right. So San Francisco skyline up there. It says, pan, you know, do I want a pan? So this these air kind of reminders for me, um, to to really think about how I want to move the camera. Um, And then it went down. So I went down into the different types of shots. So at the top, I have What are the establishing shots and then the medium shots? What are they? So I hadn't seen the location. So these were just things I was making up in my head. Um, so medium shots were the office of them working. I knew they had a garden. Was it going to be important to the story? Was a sure So there was a question mark there. Um and then I said, three D printer. Let's try to get that. I'd ask them about that. They did have a three D printer, and finally, I want to think about the close ups like, what were things that really deserved to be really looked at closely. And I thought, you know, they probably work with their hands a lot sketching or if they're making things I thought that would look really interesting and then some over the shoulder shots. Um, so I really thought about what I wanted to capture their. And then finally, even before you get to the location, I already think about ways to get creative with the phone. So because the phone is unique and you don't want to use it like any other camera you wanna use it to, you know it's best advantage, and it's so small. So what? What could I do with the phone to get those creative shots? And then finally How could I vary up the speed to really change it up and make things look a lot cooler? And so the shot list to me was super important as I went through the shoot. It was something that I came back to each time to make sure that I did capture some of the things that I thought about, cause I don't if you guys are like me. But when I get Teoh location, it's likes girls, you know, I'm just like, Oh, this looks cool. And this look is cool. And then I get so distracted that I need this to stay on track to make sure I capture the basic shots that I said I was going to get. Um, but that doesn't mean that, um, you can't shoot Mawr doesn't mean you have to stick to your shot list. In fact, what often happens and what happened in this particular shoot is that I did shoot a lot more than I thought I would, because you finally see the location. You finally see the different rooms and all of the cool things that they have. And so I definitely shot a whole lot more than what was on my list, but I made sure to shoot what was on my list. Um, there were a few things, though, on my shot list that, um, didn't quite make sense. So after getting to the location, I was like, Yeah, the garden. Remember the garden? They didn't really do any work in the garden, so I thought, OK, that's really not important to the story. So I don't know, just not shooting outside in the garden. So But the shot list for me was a way to guide the whole shoot and make sure miss anything.
AFTER THIS CLASS YOU’LL BE ABLE TO:
- Create a video entirely on the iPhone, from shoot to edit
- Master advanced video apps on the iPhone
- Learn how to use iPhone video accessories like gimbals and mics
- Build a story arch and shot list for your film
- Capture pro-level audio in an interview
- Shoot supporting b-roll
- Master iPhone video editing using apps
- Record and add a voice over
- Export and share your video
ABOUT CIELO'S CLASS:
Who says you need expensive video gear to create movie magic? In this course, Cielo de la Paz breaks down capturing effective and high-quality films with gear that can fit in your pocket -- the iPhone. She’ll walk through the importance of pre-production and crafting your story ahead of your shoot. Learn how to use a variety of iPhone video accessories and apps while exploring the technical side on how to get the best shots.
By going in the field with Cielo, you'll learn to navigate real-world scenarios, from problem-solving to prioritizing your shot list. While the iPhone may be a smartphone, she'll walk through every element of capturing pro-quality video from a simple device, from recording audio to using add-on lenses. Capture shots that make the videographers with the bulky cameras jealous by using the iPhone's small form factor to your advantage.
But the iPhone isn't just a video camera -- it's a powerful tool for editing videos anywhere. Cielo will then take you back in the studio and walk through one of the best video editing apps for iPhone and iPad out there while explaining how to piece together your story into a cinematic success. Add your own editing style to raw footage to create a story worth sharing. There is a lot of magic and ability in the camera that is always with you -- learn to use its capabilities to capture and create great video.
WHO THIS CLASS IS FOR:
- Beginner to intermediate mobile filmmakers
- Beginner filmmakers
- Social media influencers
- IGTV producers
- Beginner to intermediate vloggers
- Anyone interested in making videos with their phones
iOS apps LumaFusion 2019, FiLMiC Pro, and Hyperlapse
ABOUT YOUR INSTRUCTOR:
San Francisco-based mobile filmmaker and photographer Cielo de la Paz first found success with a Shot on an iPhone billboard. Since then, Cielo has been teaching others to find the same success using just a smartphone. The founder of TheStoryographist.com, Cielo teaches iPhone film and video classes at Stanford, as well as sharing techniques at conferences, private events, and even with government agencies. Over the course of her online and in-person courses, she's helped thousands to capture their own stories using the simplest video gear. Along with those Shot on an iPhone billboards and commercials, you can also find her work in Business Insider, USA Today, National Geographic, and House Beautiful. Her creative approach to iPhone filmmaking helped her earn the Gold Cannes Lions Award, as well as honors from the Mobile Photography Awards and iPhone Photography Awards (IPPA).