Keep it Simple: Video for Photographers

Lesson 18 of 40

Shoot: Boudoir Movement Part 1

 

Keep it Simple: Video for Photographers

Lesson 18 of 40

Shoot: Boudoir Movement Part 1

 

Lesson Info

Shoot: Boudoir Movement Part 1

so I'm going I'm going to start with a uh there is a more advanced precise way to do it I do want to tell you what it is so I have a sick connick meter that exposure is often similar between portrait and video but it actually has setting so you can say how many frames per second you're shooting there is it's basically a video meter at that point point so if you are comfortable with using meters you could actually make it so that it's intended for filming with a dslr and take a meter reading that way um so if that's already something that you do normally great I just don't want people to have to buy more gear so this is what I do for the breakdown of it um some I can't run the tribe but okay first thing I do is I put my shutter speed where it needs to be a fiftieth of a second because I'm shooting twenty four frames a second then I put my aperture where I want it to be ideally I want it to be this is me personally I wanted to be a two point and wanted to be a four point oh and then I'll...

adjust my uh esso and increments of one sixty until it looks right okay the problem that I will run into is okay if for example I go down to one sixty kate least sensitive I s o and it's still too bright because I wanted to shoot at one point for I wanted to shoot at two point oh and so I was shouldn't one sixty and my fifty I don't have other their tools so what I will do as I will grab a variable neutral density so that is a filter that goes on the front of the camera and it varies from cutting out one stoplight to the one that we have it's six point six so what that would allow me to do with dark and everything down and now my aperture will be fine and my soul will be fine and I can adjust from there and just actually grabbing you can see it again it's just that what you do you just say what looks right to you and that's what you go in right all right so what I will do is I will check and you can check a history ma'am for what you're shooting and so I don't do it that much different more differently I don't do any differently of that I would do for stills except for I'm a little more careful because probably if I shoot I have about a stop a leeway I feel comfortable with the stop I can brighten it up a stop darken it down like you will see more noisy we'll see more grain in the shot but I can do it and know that we'll be okay so what I would most likely do is let's say you're comfortable that still you could shoot a still look at the history ram or the video you can look at a history graham and I'm watching four peaks in the exposure where I don't want them to be if I know this background is uh way blown out what I'm looking for is to make sure her face isn't blown out because I'm already saying head of the background I don't care if it's going to be blown out can't get that detail back in her face you prefer highlight over shadow phil you if you're protecting anything you're protecting making sure that your subject of property exposed I'm just thinking way full sun you know all that I just pay attention to the subject if I if I can't control everything and so one other tools so he has the uh uh neutral density and if you guys would flip to live you in a second he's going to show you um the other thing that I have available to me sorry this body skin is a little it's because I have that have the little skin on it so it makes it stick when I usually have it have it on you can take it off you two um okay so the one thing you can do is basically treat it like a still look at your history ma'am or use meter you can do that you can do it to taste knowing that if you judge too bright you can't you can't really bring it back the way that you could with video where you could with stills the other thing that you have is there are ways to hack into your cameras firm where and have it give you exposure warnings and many external monitors give you super detailed history rams so if you really need to know that you're exposure's right on this one it has to be two different views to see one is ah is the focus speaking not the focus to india zebra patterns that's telling me what point my exposure has gone over exposed but it also has another view that showing you how the different um color channels are doing in the history rams you khun see if those air peeking so in other words like external monitors depending on which ones you get maybe a marshal's or uh with the other one the small hd those give you a ton more information and you get in the back of your camera like that's part of what you're paying for and you can actually set it so that depending on which one the colors change you can see it not with the colors having anything to do with the colors in your frame but it's giving you an idea when they're moving two two fifty six in other words totally over exposed so you can see that based on color so would you try to move your lights or lessen the power before putting on a filter yeah absolutely um I would decrease the power of the lights or something that you could do is um what I said is I set my shutter speed I put my aperture where I want it and see if I can mess in my eyes so so maybe I don't need to put that on maybe it's just decreasing my sewed one sixty maybe I could do that uh for backing the lights off or you know turning them off they're going back to the neutral density filters if units from that back on I'm gonna show you how this works literally it's variable nd filter so I could just dark in right from the front of my screen so if you were shooting and it's that middle of the day and it is your shooting f ate for the couple's portrait and you're like a fake sucks I figures through the standard and it's going from this is one stop of a neutral density filter it's going to six point six stops of blocking light which is awesome if he was trying to shoot wide open that helps him so perfect thank you that's great I've actually never like watched it on the screen like six snaps that's crazy I have to order you want wow yeah so this particular one week it's a healing okay which uses its really tack sharp has zeiss glass and in the inside it's pretty expensive it's four hundred fifty dollars just for the neutral density filter and it's one of those ones that I mean you can feel how solid it is okay can you guys excuse him in real quick just on the sign if you were at an event would you leave that on all all day like say you are in and out in and out man you know like is it almost completely clear when it's when it's off it's one stop already you want to compensate for that so I would personally if I'm gonna try shooting and I want to shoot is quickly as possible I leave it on there but we're just adjust for the ones out so there's also like a scale there so if you knew okay I need thio decrease by this many stops or something like that you can actually dial it and exactly again I do by my sight less this time it's relatively heavy but it's like heavy isn't it feel sturdy so just know that as well that's so pretty she looks lovely and I love that it's okay so like this right here the completely blown out hair that we're doing like a commercial portrait or maybe if let's say for example I am photographing a corporate head shot and they had like I don't know a little little wispy hairs in the sign if my weight background was blown out so much that that was what was happening that wouldn't fly but this is meant to be like dreamy and high key and uh he doesn't ever I don't think she's this never almost to your second shooting me and so I take lead to tell him my settings in the dish was opposite of grunt and groan while I'm shooting whatever now throw it out of focus but I want to note that conversation I have uh austin yeah just quickly I don't know if I've ever actually heard the term high key before oh okay hi keep basically means that that white or right dominates the frame so in this case white on white with minimal shadows loki is for example someone's photograph from a black background with black clothing and maybe there's just a slice of light on their face so the majority of picture is dark and hiss his chute leader we'll be literally so we decided to do exact opposite from one another and then you can decide which one's better wait you're lifesavers wait actually there is a video of me if he searches somewhere videographers versus photographers is a video online of me with a light sabre duelling a videographer and now I do videos it's like does it make dark side that's literally okay so I'm going to move off of tripod shots and onto a mono pod really quick a shot that I had on my checklist and I checked off one two one of the shots that I wanted was a shot with her I lunches and focus on the rest of her body out of focus so I could have her lay down this way maybe shoot across but instead I'm going to be oh girl I'm gonna stand on that I'm actually gonna stand on a ladder with a mono pod so this is what I would say mon aponte better for events we need mobility if I were trying to shoot from above her head down with a tripod I'd put it at its high sling and then it takes up a ton of space the mono pod I could just stand on the top of the ladder and I could even put the model pot on the ladder like it's giving me with more flexibility that way so let me unlock this I'm just like oh shoot that's so freaking way okay well you're moving lindsay picks casey says I noticed they're using the lightweight tripod is that usual or is the heavy one not needed unless they're using the slider correct great exactly um so we're going to switch the slider shots in the second and we will go to the heavy duty tripod the video trifon um so you don't need to buy unless you're doing cider shots is more study but if this is all that you have on camera you're fine it's when you're adding like an eyepiece and a monitor and the barn doors which if you look up like when when vincent left rates hot here he is awesome and epic but everywhere I was watching some of his pieces he had to his five favorite video riggs for the dslr and is like boom boom boom boom boom like this massive so that would not work on a regular photo tripod you were definitely in a video tripod for that so I guess it depends on the rig you have set up to be careful with that tripod it's not balanced minimalists when you're shooting like if you don't need the viewfinder you don't use them you find like sick like this scenario um so I'm gonna add on a viewfinder that's really one of the only things I'm not supermodels minimalist about because I'm blind like I really can't see this actually in this condition so it's not super bright I can focus a suitor's about side there's no way in hell I'm focused and I don't have good eyesight so uh so can I have that lot of hot please armand afan thank you do you want the viewfinder as well uh know next time I just know I have to attach it in order for it ok so well you attach it to that one thank you thank you for the assistance do my best ok and so uh same same le tripod mounted its theme in photo quick release it you push on this button so let you slide the release in and initial lock on the side so this is a lock and this is a double lock so thank you feel a little better and and I think this should be fine all right so I want to get a shot where her eyelashes her and focus and the rest of her body is out of focus so I'm still with my eighty five millimeter one point four when I quickly raise the height so this thing goes really if you're working alone and you're using the mono um sounds funny uh if you have to put it down how do you like it if you have to fix something or change something quickly he just kind of lay it on its side but the camera's still on it yeah it's fun I mean I can take you can not late on along that's probably a better idea um but yeah if you do she gotta do all right so I can get this top view and I'm light switch to twenty four to seventy for a shot let's just try this first good hey doesn't mean die because I was watching ow and look your eyes at me and shut up even more okay so this is a shot that I d'oh in every boudoir shot that I do I might not do it by sitting on a chair and I have them lay in and shoot from the side um but whatever's closest to the camera looks biggest so if I'm shooting from up top or from the side the first thing that looks big is their eyes the next thing it looks big is your chest and that you were doing before so that's why it's a favorite of mine for angles and especially if I'm shooting at this angle and I do just like a little bit of a tilt down it's kind of a scanning body shot on lens that right now no this is eighty five sixty five yes I eighty five prime another thing as well as see how the mono pod it's not a smooth movement like I can definitely balance it in place more or less but it's interesting if you want it if you were going for a boudoir video where it is meant to feel voyeuristic I would shoot the whole thing on a model paan and a shoulder rig because it always be a little bit of shake like someone was peeking into the room it's just a different feel depends on which one you want to go for something just one more time after you guys a trick a little later because this one is self sustaining I wouldn't leave it more than six inches away from you but it can balance on itself it looks like a tripod just keep your hand next to it in case it decides to start leaning over but it creates a really really still footage that way eyes on me and I would probably do a shot right here we're just her lips and focus that was pretty good good and can you put your hand across your stomach your left hand good tension up good and then one more of her eyes just like that so you guys notice she's checking her critical focus before she shoots any specific shall look away to your left good and look back up in the same exact thing and chin down just a little good and there you don't seem to mind if she goes out of focus and then comes back into focus so it's actually the same thing as re focus it's for her movement so I'll say basically okay so feel your hunt right where you are right there you feel exactly where you are that's perfect I want you to look away and then bring your head exactly where that is okay perfect and then back here now if you look at that it does look like a photo look how crisp and clear her eyes are same thing with video I see a lot of people that you've lost focus again you have to manually focus into her eye to start off with start the movement and then get back into where it was before and then I would shoot just slightly overlooking head away one more time just keep going keep it right there and then probably shoot one the other thing that I'm sure of is your subject's catch lights in their eyes or little metallic objects and things like that if you pay attention very very close attention you might see lindsay in her eyes and you can't fix that on video unless it's a long tedious process so if you zoom in linz and have her look at you and you'll see little lights and things like that inside her eyes you might see lindsay you might not you'll see if I'm over here you see I think I see your hair at the bottom right hand corner that's that's because it's awesome so I'm including it on purpose the catch is awesome I mean lindsey uses a lot of it in her eyes and her subjects eyes she's just things like kino flo she takes him apart but little grade seems like a tic tack toe she's done that before so she has a bunch of lights set up specifically to get uh interesting catch lights you can use a ring light tohave interesting catch lets this so many things that you could dio again that goes back into creativity and saying what fits your specific style all right one more one more shot from here I'm just gonna rack my focus a little bit I'm just gonna move it from just basically gonna just run it through the whole shot just maybe I'll grab a piece of that and focus on your eyes and we'll switch this up we're going to do cem answer this good and chin up just a little and towards me a little bit good to have a little bit more I'm looking for the light in her face right there perfect sent me and keep your eyes down for a second perfect love that's let me just right my focus stay right there okay perfect so that is with my model pod

Class Description

Videography just got easy. Lindsay Adler and Jeff Rojas are going to show how to apply your existing rockstar photography skills to capturing video — without investing in fancy equipment or learning complicated technical jargon.

This Creative Live course will focus on simple, easy-to-implement videography techniques. You’ll learn how the photography gear you already own can be repurposed for video. You’ll also explore the lighting basics essential to capturing motion. You’ll build concrete strategies for integrating filming and editing video into your existing photography workflow. Lindsay and Jeff will share their unique techniques for using video as a way to tell stories and for integrating your one-of-a-kind style into your video work.

Whether you’re looking to add a lucrative new dimension to your photography business or ready to capture compelling home movies, this course will demystify videography and give you the tools you need to film and edit like a pro.

Reviews