it's not about having flat hand cause right now it's right angle he's put soft in your hair perfect just like that good look ahead a little bit more towards the light great and yes I can see the background it doesn't matter because we're not going to rule that looking at my focus speaking right now her profile and her eyes are and focus or hairs and focus of that shot isn't focused and hit record and you want to start where you you don't plan on starting there and you're actually editing because it will start off jerky in the beginning and something to watch out for is if you go too fast so it's gonna look funny but see how you get to see her start jelling wobbling that is part of how our cameras are designed the way that our digital cameras work it's called rolling shutter basically it just makes the edges wobble so if you took a picture of a circle he took a circle and you went like this with your camera the circle if you did a freeze frame in premiere would be an oval the other thin...
g is if you're shooting from like the passenger side of a car never the driver's side from the passenger side of a car and you're going down the highway and you're filming a tree line the treeline to be almost at a forty five degree angle everything will just be completely over that's part of the jelling effect I'm going to show you the guy is the easy way to use this lighter without if you were willing to get down and dirty on the floor like no questions asked just you don't mind dirt in your pants or shoes you don't need to use the external monitor it makes a little easier to maintain critical focus it's not something that I always have on set with me because there's no one that's viewing mike sterner model whatsoever clients hire me for my specific vision so I asked them personally not to be on set or just to send people that are going to help on set because sometimes your clients will impede what you need to do and they're just asking questions or they're asking this and you don't get to get your job done say that totally let's um can I take the external monitor off you know what my shop perfect you want mmm mmm mmm mmm mmm yeah e slater sent at a slight angle away from her what is the logic behind that well if I so right now anything because it's keeping bringing the and focus on going out of yes right now there's nothing extreme but if on the other hand I go like this I can turn this way and actually move in and out of focus so for example I could have just this apartment right here and focus good and then I could pull back like that so it's basically treated more like a dolly like if you had it on if you see in the movies and they have it on those machines that go forward and backward you can treat it like that for a slider side to side um and it would be the same thing here you won't see it so much because I'm shooting in say two point eight if you're shooting at one point four on that angle what you would do is maybe have her thighs and her hips out of focus and then as you slid past her face that's when it would pop into focus versus if I'm exactly on the same parallel is her it'll stay focused the whole time so it could just have a go I'd focus soft so sharp just on her face and it passes up school we don't always have the advantage of having extreme honor by any means right so we're just gonna look at what it looks like directly out of camera move this over losing the sun when I'm using a slider I want to make sure that everything is balanced want to make sure that nothing is everything is completely balanced right teo I'm going to set my flute head to the dead center of this specific unit and if you guys wanna focus in on here same way that you have with any specific mono pod you have this little leveling balance this uh little marker you wanna make sure that the bubble is dead center in order before you start shooting because if not you're gonna start getting our king and your videos I want right now it's saying that it's actually just switched that I'm just going to press record just so it stays on right now it says that it's it's too far back to me so when I'm filming I'm actually filming forward so I want to make sure that it's perfectly level if I'm shooting a subject that's been sitting specific instant instance excuse me I would go ahead and let's go ahead we're gonna move it forward let's just take the top likes that's actually the easiest and pick that up together what he's doing I'd be right here I went a little higher a shot I want to go ahead and loose in the back so I can bring the back up a tiny bit it's a little more level now um it's not perfectly center but at least it's somewhat center I'm going to go ahead and a lot of that has to do with the floor space that urine so I'm gonna look at the subject I personally would not shoot mr the differences between how we shoot but I would go ahead a menu if it actually shows up on many they're gonna just think its mirror and turn it off two seconds I'm gonna switch to the style that I general shoot which is the portrait which is a lot more forgiving on her if I see if I was sitting so low I would just not worry about it cause I know that's what I'm sitting at with lindsay right now she has it on portrait so she has my style I'm gonna show you this between the two styles that we should so it looks like she was on my style I'm going to shoot standard which is how she general issue she didn't switch the camera from the time that she last had it but we're since I last had it right so let's go ahead and press record there once that goes into focusing on the screen think about sliders is there really really finicky aren t o this is my tension and the more I lock it the jag more jack or if I loosen up a bit more jagged it is it's it's not very fluid so if you look at the screen there it's kind of like jagged across you and make sure that it's completely loosened it doesn't have a lot of wiggle room you wanna make sure that the mono pod excuse me the fluid head is completely locked down it looks like it's rotating right now because this is not locked the fluid head was not locked down here so that's what you're seeing some banding or some movement there now I can move my fluid head over and have ah perfectly aligned shot okay so when I move you see that that little shutter if I move it to quickly like you mentioned bounces it bounces so you want to do it nice and softly like you mentioned start at a point just let it kind of tip over keep maintain the same speed that's the most important aspect of this is just maintaining the same speed every time that you're shooting with a slider the second you move sorry I'm not recording the second that you move from a slow shot to move this up a bit a slow shot like this maintain speed and like goto if asha it looks awkward in the videos you want to make sure that you always maintaining speed everyone's going to have a different experience what they want you can fix it and in premier or you can fix it and other editing software you don't have to keep this door maintain you don't have to have a specific speed it's just what's good for your comfortable for you're not going to get that shake for the specific piece something like this is fine um I noticed this dead center here there's a because this is a rental rental sliders tend to get thrown a lot around a lot and that maintained there's a dry spot right in the center so if I look here I tell you I wasn't mentioned that when you're moving it it got slower and I was like ours is perfect so it's just something to to know that that could happen or if you have a slider that maybe not made out of carbon fiber it's made out of plastic something that's less expensive it will bow and then it's completely worthless tools you want to come out if you go from all the way back here than unit's gonna have a lot of bounce because this is traveling with vibrate vibration all the way to the end of the camera so you want to go to the most centerpoint possible and you can literally just drag it across what you are going to notice I mentioned is this little catch right around here that's harder than the rest in regards to fluidity gently you khun if you want if you feel comfortable if you just want a kind of bend your knees a little bit and and also the hard part is that we have a t field read it and said so move it back forward back to go sign my last point that I would like to make about sliders and we'll definitely have you tested well captain point is that's right now as it's moving so it is just moving in front of her body but if you put something in the foreground okay well if you put something in the foreground it does I call like a reveal it'll actually have this blocking the shot and then as you move it will reveal the subject would you mind describing a quick shot of that I know this is this is what I recommend if you're using sliders it makes the movement more dramatic because that's our example yesterday you're driving in a car of the mountains in the distance they don't look like they're moving but the trees in the foreground give you that feeling of movement so uh doing survey here maybe do you wanna put it here so that way I'm just put at the end or something and weaken press reverse so that little catching prince this is what I was just going to try to try to like so maybe here there you go if you guys notice anything in the foreground makes everything in the background looks like it's moving further so move it closer just a little bit closer so let's say they give some sense of depth so you know you have a foreground middle ground background showed again one more just one of which you have the shot to work with so I try to block them good so I'm going to in the break grab a couple more shots is nothing new that we haven't covered but I'm going to move the background over so I don't have the stands or try to move this but I'm gonna get a couple of those because it looks great and you'll see in the final piece so just think of it this way when you're using a slider um it's great for adding movement that's not subject movement so if I have her lounging there it's boring if you're on a tribe hot and she's there because she's she's stable not moving your camera stable not moving so if you add a slide movement to it gives a little bit more energy um gives the idea that you're looking up and down the body and then if you put something in the foreground it gives depth and then also does that kind of reveal effect you see the movement more when there's something in the foreground and after lunch ration going to strike the set and we're going to the vintage form sets you guys will have a little bit more fun it's going to be definitely more hands on and then we've been in the morning fantastic so you've got everything that you need are you showing all the different types of shots you're just gonna get more of the same way I do honestly I think we shoot for ten minutes I should go to get everything that I need in ten minutes so you guys gonna test to see how long about publishing for just ten minutes to make sure I have a couple other things on my list and so that should be perfect
Fashion photographer Lindsay Adler has risen to the top of her industry as both a photographer, educator, and Canon Explorer of Light. Based in New York City, her fashion editorials have appeared in numerous fashion and photography publications including Marie Claire, Elle, InStyle, Noise, Essence, Zink Magazine, Rangefinder, Professional Photographer and dozens more. As a photographic educator, she is one of the most sought after speakers internationally, teaching on the industry's largest platforms and most prestigious events.
Jeff Rojas is a Photographer, Director and Small Business Owner, based in New York City. After a stint working in Corporate America, Jeff decided to trade in his suit and pursue photography as a viable career choice. Since then, photography
This great workshop helps me to start a new experience with video, Lindsay and Jeff are so clever with a teaching very easy to follow, now I know the basics to work with movement, I got a new vision on how to take advantage of many years of photography experience, this is a new medium but image itself is the same, I recommend this to any newbie interested on getting a solid base to start.
a Creativelive Student
Fantastic class! Watching it in 2019 - and still finding relevant. Excellent way to ease photographers into the scary waters of video footage and production... and perfect for somebody who already has some basics to take it up a notch and challenge themselves quite a bit! Loved this class, very helpful.
a Creativelive Student
I bought this class because, I recently bought my first DSLR with filming capabilities. But when I start looking at it and after watching a couple of instructionvideos on YouTube I kinda got overwhelmed. This class broke it all down into clear pieces for me. Lindsay and Jeff have nice and clear teaching style. They covered everything but didn't get to far into the nitty gritty details. They always told how important something was and if you have to do it in a certain way or that is your artistic choice. I certainly can start off with making video with a lot more confidence now. The course is packed with information. It took me much longer then 3 days to watch and take 37 pages of notes!