Day One Recap
We just want to actually addressed the audience and thank the people who are in the chat room yesterday we heard such great things about the community of learners that were in there just the different things that rob and I talked about obviously we have to to a certain time period so we might not necessarily be able to expand on them as much as we want or as much as some viewers can handle so we've heard great things about certain people you know sending out links and really being the extension of our arm teo continue the education and offer people online spots of places they can go and expand upon the things that we're talking about so I just wanted to say thank you so much what is leaving really appreciate it because it really really our only scratching the surface here video and film goes so deep and just to have people out there that are just helping newbies and people who are just interested it's just really thank you so much but we're going to get our hands dirty today we're dres...
sed down today because we know it's actually I've got to say it's gonna be kind of nice to actually shoot a wedding or a wedding type event on dh not have to wear just close so jeans and a t shirt fantastic for shooting running which we could do that all the time normally I will say we are usually black slacks and a dark colored shirt, you know, comfortable clothes from it's a little painful because I can't wear my shoes, which I love my shoes, but usually and have been shoes that I absolutely hate, but so this is not what we normally were the wedding's just just saving our normal professionalism way are really going to cover eight han of information today, and, you know, when we were doing the pre show banter we're talking about, you know, just being able to see somebody in action doing something that you're interested in, or something that you're trying to learn really makes all the light bulbs come on, and that is what we hope happens today. You're going to see us shoot every part of the wedding day wait really hope to inspire you in each section can in giving you our money shots in each section and what are the thing we look for even some of the things that we stage a little bit and how we do that so that the bride is still comfortable on has natural reactions to the things that are in situations that we're putting her in on doll, the different angles and chops and what we do from there so yep three exciting it is exciting but first we're gonna start off by this re capping yesterday we're going to is relatively quickly we just want to kind of give overview to people who may have just been tuning in today for the first time of what we've covered yesterday exactly one of the first things that we covered obviously was what fusion is we need to know what fusion is first before we start teaching it and we really highlight if you basic points about it that fusion is adding moving video to your photography but it's meant to highlight the photography and not to replace it. So when you think about fusion think about fusion slideshow for example, if you have thirty or maybe fifty photographs in there five to ten video clips my feet appropriate and actually yesterday we did senior chute which was really great and tomorrow you guys will get a chance to see the final product of that we actually did finish it tonight but we have tio last night tonight we finished on this part of it this morning yeah yeah but really actually very quickly done and we're really excited to show you that so that's what fusion is we're going to highlight that and we talked about the equipment's needs and wants something if you want to talk about the needs first yeah, absolutely we talked about what you're absolutely going to need in order to shoot you know good stable high quality video that would be a stabilizer of some sort of you know we really stressed the use of the mono pod if you have a tripod that's even better and you're comfortable using it that's great like we said we do understand that photographers like to be handheld you like to be mobile but the mono pod is something that you could have nearby or maybe have an assistant carriers keep it with you in the same room with the quick release plates that we recommend you use for man photo you can just simply pop onto the amount of public little effort and that'll really help you to remain stable with all of you higher quality video in the end the second thing that you obviously need or maybe even the first would be something that shoots high quality obviously skipped right over the camera camera for you definitely need a dslr camera we always stress the use of a actual high definition dslr because it's going to match your photographs it's not going to look like poor quality video next the high quality post processed images we really want to make sure that that consistency is there so and then the last thing that we stress that is in the need section is a way to edit your photographs and video together so one of the easiest ways that we do that is by using an emoto and that's just an emoto dot com and I am o t oh, it is a very, very quick, efficient and creative way to put together but photos and videos in the slide show it's so fast I mean, you know and they've really streamlined the way you can work with video you can actually trim the starting points of video clip just select the range of that video clip that you want and if you remember yesterday we told you you want to focus on shooting short clips not these long thirty second clips you want to shoot you eight to ten seconds and then an emotive will allow you to pick like the three or four second range that's the best they even added a preview feature. I think now where you could just kind of preview preview the final product before you commit to be slightly longer render time of you know the whole connection but it is relatively fast and for quick money I mean when we tell you later on what we charge for these things and tell you really like the amount of work that goes into it it's it's fascinating how much money could make off him for just a little bit of work and that was another key point from yesterday was let's keep it simple let's keep it simple so we make more money but we have that wow factor that our clients go, you're a bride that comes in discos. I've never seen anything like this before that's what we're shooting for so you definitely also wanna have an external microphone for your camera that was another one on the needs list because we don't want to trust the onboard microphone of our dslr and that that's pretty simple there's a meant this many of them out there. We definitely recommend the road video, mike probe, and you'll see it in action today, and with the footage that we're gonna capture today, you will see how we use that audio in the fusion edit. On the third day, you'll see how we use the video, mike that's on camera on like on top of the camera and also a little bit more advanced into the audio when we're using external digital recorders and microphones and you see that we have here is the lava lear microphones. You'll see them in action as we make up the officiant, the groom during the ceremony, and I think we have a groom's mom are bride's mom that actually get up and give a speech in our reception portion later on, we're going to begin show you how we camera block out, we're going to go over all that is, I love three happy yesterday, everything from yesterday things we mentioned that our once things like flyers and sliders you know if you're going to get heavy into audio the digital audio recorders if you want to really get in there you could get with gyms and cranes and we showed really all the fun toys that you can you can start to dream about when it comes to shooting fusion video, right? We talked a little bit about video lingo we talked about frame rates and resolution frame rates not being the same as shutter speed frame rate that you would most likely set your video camera teo or your camera two is twenty four frames per second so you didn't catch yesterday just for now before you go back and watch it after after you get that section twenty four frames per second but we're all setting our cameras to and for resolution just the highest resolution, which is ten a teepee okay, so nineteen twenty by ten eighty at twenty four frames per second and if you're if you're unclear on howto do that, we've actually illustrated it yesterday if you buy the course, you'll be able to go back and take a look back so yeah on then we talked a little bit about video formats, which is basically the quicktime format which is dot movie relating it photographically it's pretty much the same as a jpeg except for video so the universal and most common type of file format for via write a couple things we wanted to keep in mind today we talked yesterday a lot about sequencing and setting up your camera for video, for the actual shooting of video on dh setting up your camera correctly is illustrated in the videos from yesterday, so again, if you purchase the course, you'll be able to go back and study that, but what we did basically was in addition to setting our frame rate and our resolution nineteen twenty by ten, eighty, twenty four frames per second, we also set the camera to shoot in neutral mode in the neutral picture color profile, and we did that because we want to remove a lot of the contrast and the saturation that comes with shooting in standard because it's much easier. Add that back in later as opposed to trying to pull it out when you've got over exposed areas or if the bride's dress has blown out because you were trying to expose on something else that was a little bit darker, so shooting in neutral will help you to maintain those details, and that is a big help when we get and blow our video clips up big on the screen later, we're not, you know well. You know, it was no disappointment, right? Grooms talks is too dark everything at the same time, right? And then manual audio we set up two we just wanted to make sure that our cameras external microphone was set for the camera and that way haven't set to be manually adjusted so in the menu of your camera or even the newer cameras like the five day march three and then I found d for you can actually adjust the audio on the fly and what you're what you're adjusting there is your microphone sensitivity to the environment that you are in, so if you have a glad environment like a wedding reception, you want your sensitivity to be very low if you have a quiet environment maybe like the bride getting dressed where it's just her and her mom and you want to catch like the zipper and things like that, the noise you would want your sensitivity to be raised. So what else we have talked about audio shooting study was big were talked about that with the mono pod, but I'll talk about sequencing again just real quick remember we were thinking of everything that we shot for video in three hundred sixty degrees around the subject, so whether we had a kid senior with, you know, a skateboard or something like that or whether it was abroad getting ready or brought getting dressed words have brought ingram in a field or in a park we're going to shoot around them in three hundred sixty degrees low high from wide and far away to really close up, and that just creates video clips that give you options and editing that air dynamic that look, you know, it's the same shot from the same angle every time and that look like you had someone more cameras there when you really only have one person shooting just a quick note about shooting study the biggest thing that we I wanted to emphasize when you're learning to shoot is shooting steady, and the tip that we gave is by trying to find as many points of contact with the camera that you can get so having a mono pod, the mono pod hitting the floor, both your hands on the camera and then on the focus ring, pushing the camera into your body to use your body is stability. And then even if you have a wall, lean your body against the wall to really stabilize yourself to make sure that you don't have shaky video and then of course, the optional use of his a kudos, z finder or any sort of a viewfinder on the back of the camera, which will give you that extra point of contact up against your head well also cover this, too, when we actually start shooting I'll point it out, okay? You know, you look here, I'm doing point of contact here, here, here and, you know, we'll talk about exposures too, and the whole exposing and focusing thing as we're shooting that will really be illustrated, and you'll see how that all comes together. So we talked about some of the focus. Yeah, we talked about focussing techniques because for photographers, focussing techniques can be a little bit daunting. You have to go back to manual focus, like we used to have to do, and you can't rely on the cameras auto focus anymore. So one of the big tips that we have this use the magnify tool when you're in your live view to zoom in and right into the part of the frame that you want to focus on focus and then hit record and your focus is son brings it back out, you know, the view will zoom back out, and then you'll know that that point is in focus really, really helpful. And that was something that when I first started shooting the s lars, I wasn't doing, and I was just trying to eyeball it, and I was always disappointed because you can't tell you've got a very small lcd screen in the back and you can't tell what's in focus something might look and focus when it's only two inches big, but when you blow it up onto a screen like the one here, you're going to be a little bit disappointed second focusing technique that we used to just kind of like a trick is to leave your lens on auto focus focus like you do when you're taking a picture as long as you and your subject don't move, switch into your live you and hit record and their focus is going to stay the same we talked about rack focusing we talked about pre focusing and refocusing was the art of focusing on a certain point and then letting the action of the subject's moving to that point, which is very much like a bride walking down the aisle have photographers used to pre focus on a few, usually set around f eight or so? And then when the bride reached that pew that's when you would snap the photos, but what it doesn't, video is really created a very dynamic subject blur, walking to focus and then blur out and it's just it's a lot of fun and looks like a much more advanced technique than you think it is it's actually a really great tool to use if you have. Subjects that are moving around like a pet certain children or even families and you want to get that kind of movement on camera right without having to try to follow the focus was as we all know to be very tough you know and pre focusing could be done with any aperture really just depends well look that you want to achieve waited a little bit of pre focusing with the slider we actually put the camera in a slider and then we had a knob decked in the foreground and as you know, we pulled it close to be focused on it and as we pulled this lighter away it went out of focus and that's a cool that's a very cool technique to do especially when shooting details like the rings and invitation and things like that that show you that today too when we shoot or details way also talked about rack focusing where we shift the focal plane from a foreground object to a background object or vice versa and it takes a little bit of practice to kind of get the feel for the focus ring of each lines or whatever lends you using but once you get it I think what was the quote yesterday if you can master it, you're the poop yes s o that was something that somebody re quoting tweeted funds so yeah and it's a little bit tough for a little bit more advance but it is kind of cool to be able to shift your focus and that is that's one example of the camera being the motion and not the subject way always advocate in the beginning letting with subjects be the motion on dh keep the camera static, keep it steady so we will focus on that two you're going to see all of these techniques to get employed, so adding motions having motion when you're thinking about adding motion, you want to add motion to these subjects so let your subjects be the thing that is moving around as opposed to your camera zooming or panning around, you know, let your subjects walk across your plane of focus and walk into your planet focus or even if they're standing there just have them interacting with each other you're really just building upon your existing poses that you already have and shooting the little moments in between them yeah, and get anybody in the peanut gallery here tell us what the rule was with camera motion there's a room camera motion I don't even know the answer, you know thie camera should only move when what? Yeah it's on some sort of a stabilizer very good I don't understand your question crazy correctly, I covered that me and well, the point I made was in movies you know the only camera only moves when it's intentional you know, in in romantic comedies and romantic movies and things like that which is very closely mimicking what we're trying to do with our films but our fusion stuff. So yeah, only that the camera move when it's on a stabiliser device like that slider or steadicam or something like that which is again a little bit more advanced but wear to talked about sequencing you touched on that we were talking about shooting steady and then we have implementing fusion into your workflow and that was something we pretty much just demonstrated the way that you take pictures and videos at the same time, even if it's just you and then thinking about how many clips that was a question that came up like I mentioned, usually probably twenty percent of what you end up putting into your fusion peace is video clips and eighty percent is your photography. All right, so we're gonna do a kun a just in case anybody has linear questions lingering from from yesterday. Anyone here? I do want to say there are a couple people in the chat room who are saying petra h says, I just love how great robin vanessa are teaching not many photographers can do this and alex it's this chenkov says, I'm so inspired by rob I watched yesterday show twice despite being a cinematographer by myself, I know a lot what I know a lot of what he explained, but hearing this again made me realize how educated and capable I am. You just gave me a faith to start my own business, so thank you, that's. Fantastic. I got some start. Alice would love to see all that. I was alex, right? Yes, I'd love to see a link to your website and show me what you're doing, I believe is in belarus. Wow, it's! Very amazing semi lincoln, let me see your stuff. So a couple of questions from the image of this in texas, should you always capture in a faster frame rate, in case you want to later slow the movie down? Or does that decision need to be deliberate? That's a great question, and the way I would address that is, I don't generally do a whole lot of slow motion, but if you think at any time you might want to do slow motion in your films, you can absolutely shoot at sixty frames per second, and then you can. If you decide not to use it as slow motion, you can what they call conformity back to twenty four frames per second, as many tools out there that'll conformity, does that take more time? It doesn't actually say apple cinema tools will conform your clips instantly, and it doesn't. Remember, we talked about you know, a lot of times you have to create a new video clip if you change something to it, this is the one instance that you really don't have to cinema tools washing conformed the frame rate for you so if you shot sixty frames per second but you you know, remember we talked about sixty frames having that real like home movie kind of look real fluid motion once you conform those clips too twenty three point nine eight, which is twenty four frames per second that's that's the technical term or the technical of the actual mathematical term it will look like it was shot at twenty four, so that is definitely an option. It will take an extra step in your workflow, but if you're willing to take that extra step in order to do that and to have that flexibility to any points, do a slow motion shot. Yeah, I know what I don't know a lot of guys that will shoot thirty frames per second and then conform everything afterwards they do it like that because sometimes they're switching the camera back and forth between shooting on a mon a pot and then steady cam and I shoot all of my steady cam footage on thirty frames per second because when we slow when we conform it slows it down and it looks really deliberating nice so they like to have that flexibility without having to think about what card was in what camera and, you know, or maybe they don't have a separate camera to use just for the glide cam. So that's definitely something that could be done and that's a great idea. Great. So and we do have, um, a question from ashley fisher. How do you how do you direct your clients but not catch your audio on the on the recording? Oh, that's the fun thing you're going to see today? Actually, that is all part of how rob and I work together, because if you remember from yesterday, there were points of silence. If rob or I were taping and because we have to hold our breath, we'll meet when we film so that we're not shaky. So a lot of what happens when robin I work together when you're going to get used to working with your video person. If you're shooting a wedding or whatever you're shooting is, the photographer becomes the director and you have to know what it is that the video person needs and wants and direct that for them because they can't do it while they're behind the camera, trying to hold their breath and keep study. Right, I will jump in and kind of direct in between my shots if I absolutely have to, but I mean it's. Yeah, I'm trying to capture nat sound as much as possible. So once my camera rolls, I really don't want talk, because that is going to pick it up. Even though the mic is pointed the other way still going, you're still gonna hear me, so you're going to see later. I'm going to have our bride, like, fill out a little greeting card, like to her husband, and then like a sick part of the preps in the morning, and you'll see how we capture that audio and then use it and then keep our voices out of it.