Keep it Simple: Video for Photographers

Lesson 26 of 40

Shoot: Noir Audio Part 2

 

Keep it Simple: Video for Photographers

Lesson 26 of 40

Shoot: Noir Audio Part 2

 

Lesson Info

Shoot: Noir Audio Part 2

um this camera we're going to have getting a nice close up shot it's about here of him talking I have it just framed above where that lab is just a little bit so that's what we're going to be recording and so this is going to make sure we always have something of him recording and then I will use the second camera to bounce around so we can cut between them says a little bit more variety I don't want to have that camera here because that's what we'll give you the jump cuts and like what's the point it's not a different enough of an angle but I also don't want to break the one eighty rule either which means I don't want to go to the other side like I don't want to shoot him from profile and left and right you don't really make sense so somewhere to the signs in front of this death was going to be ideal so I'm sitting here normally it would be a separate distance away from this specific subject that we're working with so I can make sure that I'm recording again him and not listening to h...

im with my ears mean another room I'd be in a whole nother room we're going to try this the's are noise canceling I shouldn't hear you guys no offence I just hear him if I do hear anything I'm going to stop him I'm going to say try it again you know I mean I'm going to try to speak to him you don't want to be like most or you don't want to try to be like most videographers that cut tried again I'm very okay can you please try that again can you like mannerisms just being able to speak to somebody and being able to communicate with someone you don't want to treat them like an object you want to treat them like a person so when you're speaking like this you wonder emphasize that you want to be nice today and discussed those things um if he's not doing something a certain way we'll ask him to do those things don't tell someone to do things and let them complete a thought that's the biggest wait like actors okay whatever but sometimes they're markers used to that but as soon as you have a person that's not an act and have them reading something and you cut them off midsentence because there was a noise in the background you know gonna have to record it that is people get frazzled looked a little like if you let them completely thought and say that was great but picked up a little noise in the background would you do that again like try to wait for end of a thought were natural pause I've also done as much is just putting my finger up so they know hey this is I can hear something so just if you see me move in the background and just put my hand up or just do this because I'm obviously not getting recorded that means I can hear something in the ambient background so that's just my way of making sure they know what's going on you have an eyelash on your left eye would you be kind enough just to wipe it off there that's how clear that camera's thank you can you zoom in okay that goes back to making sure that everything is nice and crispy I think he still has it they're helping him out there well you know what looking yourself do you see it under your left eye can you focus inland I think you got it thank you ok exactly so those little things you want to make sure that on set so if you zoom in and you see that say something um okay so we're going to read your script we're going to go over the first two lines for the first two paragraphs they're very very short and I want you after every two sentences just to take a break just one or two seconds it doesn't have to be very long so after justice take a break okay and then we'll start the next two seconds so you don't want to interrupt somebody while they're still trying to speak okay so then after that you want to go into line two and we'll discuss that when the reason guys for that is I want to make sure that I have room to cut if he makes a mistake I want to make sure that he's comfortable if he didn't say something that the way that it was needed to be I can readjust oh excuse mac and re uh redirect him in the right manner so I'm gonna put these on I shouldn't be able to hear you you I should be able to hear my cue and uh we'll start there okay so left side his left side right side his right side I'm going to do one more start stop club just so it's going to be easier for you to read it I know you don't have to but you can for that dia you could also by the way don't clap you can also snap I'm not it's not rolling so okay okay I remember like it was yesterday it was a cool october night what happened at you'd want to spend with the missus fitting since I spend most of my nights my true love justice I think that sounds great I would do to a little more aggressively and try to look always at your script you don't have to look at the camera until you say justice I remember like it was yesterday it was a cool october night type of guy you want to spend with the missus fitting since I spend most of my nights with my true love justice okay and what did you guys think about that first line everything that road smoothly I can hear everything from here I just hear him I don't hear any of you until someone laughed and then I can hear you guys that's hefty yes so that's after and that's ok so that's one thing take breaks so that way if anybody giggles anything like that he's not into the next line around okay so can you start him he did it great the first time I don't think I need to do that again we're gonna go over line tio so I'll start off with buzz phone rings it was russell two tone look it had been my ear with latest buzz turns out nobody rama's got nailed execution style cost from the body late last night don't behind the brave horse tavern like a life of stall thrown away by spoiled six year old for two seconds so he didn't notice mike you out of there instead of ramos it's ramos was going to try that again notice I'm trying to make sure that he knows something went wrong I'm not saying stop because it's jarring I'm gonna let him go through I'm going to let him through the motions because sometimes he might say something nice and clear at the end that I can mix and match in other instances so if you can stop after rameau's got nate phone rings it was wrestle to tone looking to bend my ear with the latest buzz turns out my buddy ray most got nailed execution style okay if you just wanna hold on to that phone I think you did really really good I want to go ahead and um emphasize execution style execution style perfect notice that when lindsay pulled that back he wasn't saying anything at the time if he happened to be saying something I would be able to hear it I went by yelling I would be able to hear it and then I want to make sure that he revised that ok you can't hear anything with these things on aside from him okay this's like my yelling okay so execution cell and you can start the next life well then grabbing focus quite onset I'm joking I'm totally joking I'm not bothering you here okay got it good because found the body late last night don't behind the brave horse tavern like a life of stall don't worry bye sports six year old one more time and just try to limit the movement that you have what I'm hearing is the mike itself moving back and forth I just touched my mike and I'm doing the same thing he just trying not to move the your hand too much one more time because from the body late last night don't bet on the bay horse tavern like like a lot of stalled on whereby spoiled six year old take a breath and try it one more time because from the body late last night deborah on brave horse tavern like a life of stall don't wear by sports six year old okay great what I want to do is take a second break between brake horse tavern brave horse karen and like we'll try it one more time cost on the body late last night dumb behind the brave horse tavern like life of stall don't worry bye sports six year old perfect there's two different connotations there one sounded more clear than the other one and I'm trying to read the script more less that he should be reading it if he was the person reading it so um I also noticed no offense please take no offence he had some trouble saying the brave horse tavern take a breath tried again until he gets it right and then I can edit the last portion with what I need if I need to do that okay linds what do you see ng over there you wanna explain what are you saying um I was doing some slider shots before we're zoomed in a bit and then I could get a little bit of a reveal so what I was looking for is at one point and I've moved my my flatter since I could see his face between the blades of the uh the fan and then it would go to reveal shot on him and I frame it up so that where ends I don't see that pull in the backgrounds or something like that so I can kind of he starts speaking and I would probably use like that type of motion for there I am if you notice I stopped midway and I mentioned that I could hear him and his movement um I should probably stop touching like my mike for that same reason I can hear all the rustling that's happening from him moving his shirt and it sounds very noisy that's something I don't want to hear in clean audio I can't get a good reference file out of that also when he takes breaks if I need to cut something and move something somewhere else I can cut something out I could do that I can't do that if he does one read through him that's it when we did the grandfather shoot there was a lot of lines and emission that before that the grandfather read that we didn't use because he was able to take breaks and we were able to just re composed the whole footage and edit editing I'm gonna go ahead and have you read uh that last portion of it on lee so that if we need any type of audio reference files we can use that as well so just read it one line at a time and just take a break before the next one next one ok last I didn't have much to go off of this time okay one two three and go he didn't have much to go off of this time so I start making calls the old connection at the antique shop around the corner came through till may ramos was in deep really deep with the wrong crowd he had a meeting with conrad lacy two nights ago lacey was a mystery a ghost no one I mean no one could tell you anything about his most rameau's must have had something he wanted he had a neck getting hold of things that were hard to come by in my business where most was an asset okay do me a favor and if you can read again ramos had something he wanted and just arrest the portion that just take a break right before it's not that okay ray most must have had something he wanted he had a neck for getting ahold of things that were hard to come by my business ramos was an asset try he had a knack for getting hold of things once again please he had a knack for getting ahold of things that were hard to come by perfect notice before that he stuttered a little bit I had them redo it so I can cut it between the two to get it perfectly in sync um you guys are gonna find thank you very much by the way you guys are gonna find a lot of times that you're shooting clients where this scares them any time of cameras in their face they freeze up especially if they know it's recording video stills there like ha ha that's funny I look funny huh video there like you can see everything that I have and you're going to use it against me and blackmail me that's just what they see but if you're nice enough teo like work with them and say listen look you know I'm going to cut different things that you're going to say so we can piece it together almost like a composite make it sound like a complete piece they feel a little more comfortable just guiding them through those scenarios at no point did I say no you're doing it wrong it's hey can you do this can you do it again and it's it's manners while being unset if you don't like somebody directing you and yelling at you you won't do the same thing and I do see a lot of photographers even posing models that'll say move your hand here move your hand there ask people people tend to do things if you ask them nicely okay can you lift your arm this way hey can you pose that way lindsey did that this morning if you remember the scene that we had hey do you mind lifting this up hey can you please do this it's just the relationship that you have with it people that you're working with onset she was very quiet and regards to how she was moving the last time we had a um what's called a fluid head on set it was a little creaky and I could hear in the reference footage so I needed to make sure where that noise was coming from notice she didn't step anywhere she don't move anywhere it's very quiet on set um the only time we heard anything was when we first started where everyone was re composing and that's why I had him do that again very very important to have um someone listeningto audio it's really difficult if you're a one man band to do this yourself because you're trying to get visuals and you're trying to get audio all at once that's what you're going to miss something you're going to say in my hearing him am I hearing him over there and I'm getting my shot right and my not getting my shot right might too close to my too far did I get this shot that I get that shot you need to focus on one thing at a time until you feel comfortable doing multiple things at once and multitasking um yes how do you know when you're dealing with children you know they can't they don't necessarily take direction as well they're gonna be more fidgety fidgety and they might touch it I actually like that I know that sounds funny but I like kids to be kids I think that's part of having a child running around and being crazy the video that you guys so the grandfather video I can't direct a child that's three months old they saved my life so what I did was I took my last like that he's wearing now I put it right within eighteen arts excuse me forty eight inches from the that four to eight inches away from the child and as their cooing I'm getting the reference footage off of that so that they're not speaking they're not running around they're still crying I like those especially if the grandfather's speaking to play in the background as ambient noises because if not the grandfather's just talking and it would have been a most as emotional if you don't hear the child so yes do you ask clients when they're coming for and you know they're doing video do you ask him to wear clothing that's not noisy because you got to think about like a jacket that you know moves around as a matter of fact yes and I forget this myself I came today with a necklace like a dog tag and the guy's like what are you doing you know better and I'm like I forgot that I was the one who's actually but because you're not used to being on set anything that's in the collar if you noticed lindsay no longer wears anything around her neck when she first started she was all the time doesn't do it because this is constantly and yesterday I was hitting my chest a lot just like today and I got yelled at for not yelled I got talked nicely they were like you listen you keep banging on your chest then I can hear every single time so just speaking to them you know by all means again just asking them hey can you not do this can you not wear that and letting letting them know why you shouldn't do that same thing with clothes when she uh when she goes and shoots that's a portrait can you not where this can you not where that hey this makes you look a little bigger you don't want to wear that you know just speaking of real nicely the big one is bangles bracelets that's like a huge one that I just say right away you know we're doing sound um avoid any clanking jewelry specifically bracelets like those bangles I mean any movements quick quick I think like um that would be like a big one for girls wearing dori makes a lot of noise anything if you're on set and you have any assistance on top if you do it yourself making sure that you're not wearing any of those things um I have if you notice it's almost like a stretchy hair band but it's a bunch of beads unless I do this all the time I'm not going to hear it if you notice you haven't heard it on set watch and this is made out of rubber at no point am I wearing anything aside from my shoes so if I stay still you can't hear same thing on set make sure that you don't wear a bunch of clothes that and it's playing everywhere so devices like I have a zoom and you know there's forty nine twenty nine but all the different settings on like five cut you know all those things waiting over in depth tomorrow just because of editing purposes I would rather speak because it's just like the codex I would rather go into it when we're editing to make it kind of seamless so today we'll go over uh the actually uses of them tomorrow go over settings and all those things adrian far from england who is one of our regulars and we love adrian if you need to take different segments of speaking audio from different cuts if words are pronounced slightly differently how can you ensure that the tone and speed of different parts match up without sounding fake is that something that you can purely due in editing or is there anything you do onset to ensure that they work well that's a great question well with him if you noticed he was speaking one pattern and then when I was asking to be a little bit more aggressive it's a completely different tone right so a situation like that the story itself calls for that the story itself calls for certain parts to be a little more aggressive if I'm shooting a client's sentence was have one complete monotone I would go ahead and try to get them to revise what they try to say direct and say can you say that a little slower can you say that the way that you had you know pitched before and try to keep them on track that way so depends on what you're trying to do the whole like a whole bunch of different techniques for interviewing people to get the best out of them that would be a whole other discussion you can look it up but um part of it is if people say something really really really really really really long and rambling asked him repeated again succinctly and sometimes now that they've said that they thought about it and so let's spit it back too in a way that makes a lot more sense than when they were thinking about explaining it so but that's and this information is definitely within the last couple months recorded somebody for cannon like for behind the scenes is this is this product kind of thing and uh they couldn't say the product name because he was a law it was like that was a long like a long long name its numbers and letters and whatnot it's hooker I think thirtysomething times before she was actually say it right the first time but it was funny because I was working with someone that is a strictly videographer on the very technical about things sorry you said it wrong tried it from the top okay I noticed the more she did that or the more he did that the more frustrated she was getting so I was can you try to say that again and the second you see it correctly stop because if you continue going you're not gonna get if you mess up somewhere else you have to see that again so the second you see it right the first time stop take a break take a normal breakfast if it's the you know I don't know atlas synovate global block I would say the atlas synovate blah blah blah blah and just have my tone ality end off on that specific thing pick up within a second and then continue my my audio that way and the other way to do it is if if somebody I really can't say something of really struggling what you do is you have them start and then what you could you could actually have to do is we need to look at something or say more slowly or whatever it may be you cut away at that point so you could away to something else you could actually edit them in saying it correctly it's about matching that tone but that that's happened a lot to me when I do a lot of tutorial videos and he's like you said that one part wrong so what I'll do is I'll just say that one part again and then we'll just throw a photo up over that part so you don't know it wasn't seamless so that's what the cutaways for details they do that a lot and interviews on tv where they like have random shots of people's hands just because they're like let's cut away to a detailed let's find something yeah I like that you guys talked about that kind of recommend everybody that wants to get into you know video to be video yourself because you realize how stressful it can be and and how gentle you do have to be a people when they're on the spot like that because they really people really just get flustered and then start spiraling it's no use being behind the camera whatsoever and you guys know you guys do it every single day it was there ever a time that you guys felt nervous at all every single day susan yells at me all the time during breaks and it really just breaks you know he's making that it's not yet time but you know talking like this is much different than being if having someone take sound bites of you use very different I noticed that I can speak a lot more fluidly when I am live than when I'm trying to do something recorded like this it's hard when I'm shooting a promo or something it's I step over my words and I worry about my intonation and all that when I'm speaking live just you just talk and when people are directing and they are cern and they're they're agitated you just you're not going to perform well okay can we ask you some more questions for photo gorgeous had a couple clarification questions about the task cam wanted to know if you're recording both mikes on one or if you're using two recorders right now and then also are you connecting it to the camera's input I'm not connecting to the cameras in put the feet is actually heading out to the creative life crew so that's what you guys are hearing at home if I were not connecting to the creative life crew it would go right into my camera the second one is actually recorded by a another recorder the d r forty and the only reason is because of the distance right now and I want to have two backups of everything so that's been recording since this morning so everything you guys have said behind my back if I haven't been here I heard all of it stroking all of that is just on a separate recording because I liketo have backups of everything I don't want tohave one set space where everything's at it just comes from a photography background of saving and having multiple saves of everything and making sure that no if this car goes corrupt and that's my only like it'll sound horrible by all means but at least it's something it's something better than recording right out of here so stay I made once even if I have power plugged into the wall to some of my devices I still put batteries in them because there's been times that you got kicked out or like it was a live show and we lost part of the power that's good admit I had a backup audio going as well think that scaring you know I've learned that lesson batteries even when you have power well the other thing is that um the audio itself again it's giving the video itself takes a lot of batteries like you mentioned so making sure that you're consistently switching on batteries we already had to do that several times on set um usually where ones obviously we both teaching at the same time so we're not running away to go like recharge a battery but one of us is always consistently trying to figure out do we need to charge the batteries do we need to do this so we need to that we have like a workflow in mind working throughout the day you've heard her and so can you get me a new battery can you get me this it's good to have two hands on set but if you're shooting solo making sure that you have doubles of everything speaking of shooting solo photos by dep dep fu um talked was talking about how tough it is when you're by yourself to concentrate on video and audio and do you feel like one always ends up suffering up here by yourself or how do you how do you manage that would honestly say so depending on what you're trying to do unless you're and that's the honest truth unless you're in tune to doing it together at the same time every single day you're not you're going to miss something so why you're practicing like she mentioned skip audio there's nothing wrong with that lay a music track over it gets the point where you learn how to use audio so well that you can sit there and say ok I've put it on my ears I'm not hearing anything in the background the noise canceling headphones do help that so you're not listening to the subject in front of you kind of learned how to tune into everything at once it takes time it takes practice to get those things so you don't feel like if you can't do it now that you can't in the future you just start adding more things to your workflow by all means and I'd say interviews or easier than anything else to be able to do both because he's your friend interview you've got one camera that's on a tripod if you have a second year in a mono pod you got headphones like that's doable but when it's like managing other things and you're running around that's when it becomes more difficult so it depends on what you're doing like she said if you're doing an interview it's as easy as record it's on I can hear it and you press she's been report on your audio you listen to it it's ok you go to your visuals you move around you do what you need to do and you can use that throughout today and he actually does that for me all the time when I have I have a lot of story of videos that he's filmed he'll run two cameras and the audio and they could do it just it's practice at it now well for me it's stationary I put we mentioned the different camera angles before I put one here one here one here and one there I do audio off of one camera I love her up and this is easiest on ok and I'm sitting here because every listen to the audio and I'm just sitting here and I'm whole production team by myself so yes say there is a new angle or a shot that you really want you want to set up the camera but you know that you might you're getting catch it at another point it would be more like any more likely at an outdoor shoot because you you know if they've got the shot behind the tree where it's like you're going to see something what's the best way to kind of I don't know get much like is it better to have somebody like take it out and use this footage and then that footage but then you might hear in an audio you have you have an option so you can run audio all the time so you have something to add it to right because that's what you do that to make sure you can sink those things if you move one other camera I mean you can literally just make sure that the reference footage that you have matches the audio for that specific section

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.

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