Day 1 Recap and End of Day Q&A
We just wanted to go through a recap of what we learned today because wow, right that was a lot on I hope you guys have really great notes and those of you who by the course actually get all these notes, which is really great, but we talked about fusion and defining it the fact that your fusion is highlighting your photography not replacing it so while it might inspire you to actually replace your photography or even start a new branch of your business and do some cinematography thie idea of fusion is to highlight it and not replace it. We talked about all the equipment needs and wants and I think we got a good taste of all the things we want now it's definitely it's a whole new set of toys to play with, which is fun I mean, who doesn't want new toys but lots different things just to briefly go over that needs obviously the digital sorrow with video capabilities, high death video capabilities, a stabilizer of some sort if you're going to go into the once the man fratto five sixty one t...
h tv would be the want of stabilizers and then a video editing program and we talked about photo shop being able to handle the capabilities as well is using an emoto for the really easy way to make a fusion sideshow and then if you're going to go into the wants you waste the splatter and the vest lots of other wants there's always something I think we all have once on our photography list it's so I don't know my next one oh, I know the two hundred two point it would be my next want that's a pretty one yeah way talked about all the video lingo so frame rates we talked about frame rates versus showed a speed it's not the same thing for a cinch under speed frame rates being basically how many pictures are in one second video resolution? We talked about resolution really being nothing more and pixel dimensions just like you read pixel dimensions on your j pegs air on your photographs so ten eighty and seven twenty are measured vertically so those your pixels mentioned so it's ten eighty vertical by nineteen twenty horizontal I do, but it is this time game and then seven twenty being still hideout but just just a shell over my friend it is your right friendly. A lot of web video was done in seven twenty. This broadcasts actually done in seven twenty but it's still high definition it still looks great and then the video formats we talked mostly about that movie being the quick time for matt and you know, the equivalent of that it's just saying basically, like saying it's a j peg photo it's a quicktime movie right, so we've really covered a lot I mean, this was the heavy lifting honestly, this is really tough because this is an introduction and we really kind of threw a lot at you but in the next day tomorrow especially you'll see a supply everything not just a little touch but how we approach the entire day, so if you're a wedding photographer, you'll be able to see how that all comes together and just in general just the shooting techniques, lighting techniques that we employ tomorrow in a totally different environment you really need to see that so we hope this wasn't overwhelming, you know, because it can be overwhelming, but again we tried to give it to you in slothful ways, you know, I feel like today is, uh, you know, getting into the summer pool it's not stepping into the water it's kind of diving in right away and you get that initial like shaq will splash once you're in, you're in and you get comfortable and you could do you like it so right, yeah, we should have set up your camera for video and that's probably one of those things you're going to want to go back and actually watch that section again too set up a camera and again I'll defer to the internet for that if you're if you have any questions about how to stop your particular brand of camera just you know, go online and look it is just plenty of resource is on youtube just on how to set it up for video mode and walk you through it step by step and your manual to you know I mean sometimes it's a little easier to watch somebody do it so either right but definitely do that I mean or ask somebody who knows you know definitely yeah we talked about audio definitely being a secondary thing to getting used to shooting with your video with your visuals first and get used to doing that before you dive into the big big pond however tomorrow we are going to show you because we're going mike up what we have lined up for tomorrow it's an actual ceremony so we have an officiant that actually walks the bridegroom through the rows and we'll have a groom might and I'm going to show you how I might get like rooms I'm gonna show you how I make up for reception toasts on how we acquire audio for that so that will really help you to get an idea of how to acquire correct audio and then how to use it a three way implemented into the fusion sledges which will be great because we're going to be you know, showing you all the different steps so you've got your beginner audio which you can use that the camera, the camera microphone I'm sorry not camera from the I'm saying onboard, mike external make someone external microphone, road video mike pro that would be like your first steptoe audio and then you've got all the other steps we'll stroll tomorrow should be great because you can master your visuals come back, look at the beginner audio, come back and look at the advanced audio so lots of different steps and then most importantly, we talked about shooting steady on all of the different ways that you could do that with points of contact, right? Any questions about shooting stuff? Because I really is a key thing that we want you got we were, if you know, if I could drill one thing in your head this began would be just whatever you shoot to shoot it steady because you're gonna give yourself so much more to work with in the end your breath stop your heart stops your heart just died just die while you're holding the camera, but it really is important, so definitely focused on that first, if I had to get a pecking order and be like, hold your shots that he first then really fine tune your exposures and things like that because you can work around exposure differences, but shakiness went to get it back it's really not a whole lot you can do it unless you want to get into some really advanced programs, but we talked about focussing techniques and a lot of different ways to do that, the magnification told being a nice way to tell that if you are in focus or if you aren't being in the picture mode the regular camera mode auto focusing and then going into your video mode and hitting record is another technique and we also talked about pre focusing and rack focusing pre focusing being where your subject's moved into the part where avery pre focused, which is really helpful if you have fast moving subjects like dogs, cats, babies, even a bridegroom running back down the aisle, what I'm gonna do tonight is I wanna put together the stuff that way film today in this kind of pizza together, so you see how the sequences kind of cut together on don't you want to save some of that to do a fusion peace with on the third day? Because I could just look a a little way can show it to you but will do most anything yeah, okay, so I'll just adjust in a video program to so you can see how those cut together you can see screen direction to give you an idea. Well, she's a little glimpse of what a little final product really, um you ever talk about adding motion sequencing and, uh, implementing infusion into your current work flow when you're shooting with somebody do we have any questions for we go into what we're going to talk about tomorrow due tomorrow rather doors a today is a big day nothing just talking but it's not gonna be like your style you know we're gonna be out there and and hands on you guys just observe and shout questions how'd you do that? Why are you doing that? You know that sort of thing. So maybe this is more of a question for tomorrow, but I'll ask it anyway, how hard is it to carry all this gear with you onto location? All of the light can slider is there a way to make it simple? Several trips and assistance assistance? You know what? I really try to condense everything indications. You know, I carry about six bags on the day of the wedding and I know leah is watching right now laughing. Lee is my assistant slash third shooter slash editor slash logistics amazing person she's incredible and I wanna give a shout out right now. Lee, if you're watching, you're awesome. She really is fantastic. I mean, she has come up with such a system for us to maintain organization over all of our year and it really is a lot to manage but wait do manage it I mean, we try to condense and then we'll take two or three trips into a reception hall wedding's in new jersey a lot of them tend to be okay bride gets ready at home room gets ready at his house then we go teo if they see each other before the ceremony we go to a park they do a first look and then we do pictures and then we go to a sad ceremony and then there is a reception right afterwards so you can have upto like four or five different locations on the day of the wedding and that's really tough for logistics and travel so big truck for everything in back of truck and pull things out that we know we need and we have the case is organized in such a way that we know this is all lighting this is audio this is ceremony we have a bag for our ceremony that only contains equipment that we used during ceremonies because we only use our seventy two hundreds during ceremony so we just keep him in that bag and then we have like a backpack that we use just for the preps so everything's kind of compartmentalized and that's of course coming from these in the cinema and right and I had a lot of stuff but from a fusion standpoint if we have her and I just go out in the field to shoot a fusion thing on dh she's doing the photos and I'm doing the video or whatever it's usually just steadicam you know, on my body, I'm wearing it. I'll carry mon a pod with a camera and then sliders in the car, so I basically just carry those two things out. I'll put it down on film, I'll switch and then if I want to go grab the slider all basically save all my slider shots till the end, and as we get to our final place, I'll feel my sliders there. So a couple of questions that I think are great for leading into tomorrow and one is from life by rebecca, do you storyboard what you want to shoot for your fusion shoot before you get there and then also kathy in florida, you script out the sessions said that you know what? You'll be shooting and videoing and who will be doing each segment? How would you suggest doing the scripting or planning? Um for fusion way? Definitely don't we don't script really or plan our storyboard, however, that does come from experience? When we go into shoot, we know exactly what you want to dio we know that we're both need new details on dh can focus on details and create a story around that when it comes to weddings, we both know that we take the maid of honor to the side and have her practice first. Speech for the bride and groom have practiced their vows, so little things like that that almost just become second nature and habits during a shoot or wedding or whatever definitely kind of makes a little bit easier, and you don't have to really storyboard it out, but it wouldn't hurt, especially if you're starting to plan out what you're planning to plan it out because shooting for fusion isn't second nature to you at this point. So maybe you want teo think, okay, I know I am shooting a family, I'm going to do whatever it is I don't normally do for photos, but for video shots right down, I want to have them all walking, holding hands. I wanna have mom and dad sitting down and kids run on and tackle them, you know, plan out those few video shots, and I think that would definitely increase your chance for success and a fusion shoots. I will say this when we know we're going to a fusion shoot with a bridegroom or a couple issues with something like a theme involved, like goto parker there's like a railroad tracks and the cool, funky old trains, and we kind of use that that'll serve become the theme, and then even in the color processing all kind of color it to kind of match this old vintage sort of look what we have, we have a beach near us with, like boardwalk in the rides and ferris wheels and all these fun carnival kind of rides, and that becomes a theme, and so you sort of know that we're going to go to the boardwalk, we'll put them on the rides, and that just sort of becomes the plan storyboard and it's all about walking into a location, going what I want to do with this, you know, like, just for example, over there, we knew we had the brick wall we use that, you know, we knew we had the foreground of the floor, we use that, so you just kind of sizing it up, yeah, but like vanessa said, for the wedding's themselves, from the cinema standpoint, I really try to focus on story story story, so I brought it home that wrote their own vows. I know I'm going to focus a lot of story around that, so we find the backbone, we find something that's gonna be the central theme of what we're doing good. All right, so we'll just give you a little preview of I'm going to go on tomorrow, so I really can't wait. We're doing a mock wedding shoot everything from perhaps first look, ceremony and reception, everything we've got a bride and groom set for you we have makeup artists have a mom and a priest and everything else, so it's really gonna be exciting. We're going to cover a lot about lens choices, certain things that we used during certain parts of the day because remember, tomorrow is about if you have hired somebody how to work with them to get fusion toe work on dh lens choices are really important and shooting photos as the photographer with video in mind knowing had a direct with is going on because remember when rob shoots or your video person is shooting he's holding his breath he needs via still is possible he cannot direct your subjects while he's shooting. So a lot of times photographer takes the role of director while that was going on, knowing what it is that he needs to get well, talk about camera blocking, which is really exciting concept touch a little bit about it when we were talking about the one, eighty access thing and we talked about, you know, different lines of sight, but we're going to talk about that basically also see you don't get in each other's way if you're not used to having a second target, camera blocking is important because you want to make sure you're in an optimal place that if something happens unexpectedly you still get your shot and weddings, you know, anything can happen, it could be, you know, somebody one of the guests steps out with ipad in front of you, what you doing? You know, you're right in my shots, you just just leaving yourself outs and leaving yourself secondary positions that you could move to for certain things? Yeah, I know everybody just visualize when that happened to them, and the wedding was something out there, I guess there is something about you on then we're going to get a lot of detail about a detail about audio and lighting setups, a swell so we're actually gonna black out the reception room and show you what kind of lighting that we would use for video to capture those little moments, and then a little bit more of the extensive side of audio with making the priest and making for toast on for the vallis something like that as well. So it's going to be a really great day full of shooting hands on, really, in the feel of actions thie idea will be to actually capture good footage tomorrow, so we're actually going to use that to edit on the third day, so you're really gonna get to see what we do and how it comes together. In the end, we're gonna edit it with music and dialogue and audio and you know, a fusion piece with all the all the fixings. So you're really going to come together. It's going to be really educational, just by osmosis, just by seeing that actually come together.