Introduction and Day Two Recap
I just want a preference this whole day by saying just just this about editing what you're going to learn today is really the key it's, the cornerstone of everything that we're doing because it's great to go out and capture amazing images, but if you can't do anything with them afterwards, you've really sort of you just hit a road block and there's not much more you can do and it's sort of ends there. It's a roadblock for a lot of people because a lot of the you know, most common video editing programs air so difficult. I remember the first time I saw you open a final cut, I think I left the room it can, it can be difficult, but our workflow is meant for vanessa it's, not men. For me, you're not going to see me really doing much of the editing today, I'll be showing you other things that are a little bit more specified in areas, but when it comes to the actual workflow and building a fusion product that's her and that's important because we want you guys as photographers, you know most...
of you are in video editors or not video professionals, we want you guys to feel comfortable in taking the next step towards video, because as we said on day one, this is where the industry's going there's no avoiding it as photographers were soon going to become image artists where you're going to be expected to do both. At some point we'll be ableto handle at least one aspect of both at some point, so the stuff we're gonna learn today again is going to come to you in spoonfuls we want to hand it to you nice and simple and give it to you in a very digestible manner, and we really want you to kind of ask questions that you think you know as they come up, you know, it's really important because there will be questions and it's kind of hard it's kind of hard to like put them off because the workflow is very linear. So if you do have a question here in the studio feel pretty shouted out and we'll be happy to answer as we go because they will, papa. Yeah, and they'll be the same questions I don't know everyone watching online has a swell it will be addressing them, and then I'm going to actually show you a lot of these steps very slowly and repetitive lee just so that it really sticks because only after watching it with about three times or you're gonna start to see the whole thing's that first you'll just learn that first third then you'll get the second and then you get home yeah, and as we progress, you'll cut you might kind of looking like they don't really see where this is going, but then in the end, you'll go oh, I see okay, how that fits into the whole final picture, so just just keep that in mind and don't let the don't let it overwhelm you don't let the amount of information kind of make you cower in your seat just, you know, be confident in what we're about to teach you because it really is a symbol of love. We had somebody already posted future video and it was for baby davies cute. I never really had seen this idea before. Have you seen this? I have never seen a gender reveal party I was doing this. I mean, it was like they had a box and it just said, boy or girl question mark and when they open it back, color balloon came out or balloons. It was brilliant. I thought that was such a great idea and such a cute video. So yes, if you use the movie poster and you're making fusion stuff, it would be such an inspiration for robin I if you would post it so we can see it on her facebook page absolutely so without further do wear going teo sorry, can I just say one thing on my sorry, I don't have a facebook page right now to shut out your name, but somebody actually made a fusion piece of his creative life classroom oh, so not just a still image of the classroom, but I made a little fusion piece of his wife drinking coffee in the dog and then you see you two up on the screen so that is on a creative via facebook page fusion with infusion so thank you for doing that oh my gosh, I'm so excited it's just so amazing to watch other people's creativity really is so we're going to do a day to recap for a couple of reasons one wow, a lot of inspiration yesterday and secondly, we want to be able to get some of the questions that we could get to yesterday, so I know we have a list of some of these questions and this will probably provoke a little bit more but we have a mock wedding shoot that is what we did yesterday everything from the bride's prep to the ceremony and reception and we highlighted a few things too keep in mind during the entire process way really went into the audio for the ceremony and the speech is using external recorders rob showed you between the audio? Yeah, well, what we did was we used onboard camera audio which you know, from the camera itself with the road video my pro, we were just capturing what we call our reference audio that audio can be used in a creative fashion as well, but more importantly, we used external digital recorders to record some audio of the mother of the bride giving a speech and the officiant and the groom and bride during the ceremony, and we're going to show you how to use that audio infusion piece so we can kind of get the nice emotion that comes from that in there. So I'm actually going to show you hell in this thing when I believe I'm going to show you how to remove some background noise and kind of sweet in your audio and prepare it for use in your sly job. So there's a nice little workflow for that we'll show you some tips and tricks on had I see that, but audio is really important. You always want to be mindful of your audio, make sure that you're capturing clean audio. However you can. And again all reiterate that using the manual control for your audio is very important. This way you're you're in control of the levels levels is the term I don't think I've even mentioned that audio levels it's sort of like the term for exposure in audio, okay, so your audio levels way always want to make sure that there are not too hot. We're not too quiet so that's really important stuff so that's one thing to keep in mind wait talked a lot about lens choices throughout the day not necessarily for the situation that we're in particularly but so that we knew what we were both shooting with and could shoot with in conjunction with each other whether it would be the two of us using the same lens if we're both in iowa ceremony or for both in tight quarters like with the bride getting ready and her makeup just being aware of each other and working with each other knowing what each other communicating with each other really communicating with each other throughout the day so way discussed a lot of that and storytelling in sequencing you saw a lot of this yesterday and this is really the keystone of, you know, building the story itself fusion pieces you know you don't necessarily need like we said string a bunch of video clips together that's more of the filmmaking end of it but just at least having two or three video clips that are related and sort of do tell a story when mixed in with photographs that's a sequence we we showed you how we do that if you went back if you purchase of course you go back and watch day too you'll see a lot of that so that was very important and you'll see how that comes together today and again, we did a lot about communicating and just learning to work with your second shooter on a wedding day or east or whatever session that you're doing if you're having a second person do it, not only communicating with them about what's going on what you plan on doing but directing as well and directing the photo session in certain parts of the day first look with the video in mind so that you can both get what you needed. Um what we just talked about posing for both photo and video and then planning your shots and positions in your camera blocking. So this was a key thing that we covered because, you know, you want to make sure that you're not shooting directly across, you know, the room from each other and it's a simple communication, you know, but seeing it in action, definitely from what I'm hearing from a lot of people that helped to get a get a sense for, you know, and then today's that payoff today you get to see, okay, well, we solved this and rob do all this stuff now, how are they gonna put it all together? Yeah, and actually what we did on day one was the senior chute, and we're gonna have that fusion piece for you, which we're going to show you a short one. Before we get to that kind of preview, what will be showing you today as faras the editing were doing it with the wedding stuff instead why don't we take some questions from yesterday? You know there's a lot fantastic so yeah, one of the questions that came up yesterday from bart kuipers group from the netherlands does rob think about the direction of his slide shots when he where left to right feels natural and right to left might feel awkward or attention because you read from left to right and the same question for shots going up and down that is a that is what's called screen direction and there are actually when they when they create a screenplay for a movie, they actually focus on this heavily making sure that the eyes moved in a certain direction to create feeling or emotion and since we do as americans in the western world would read like right left to right that gives the feeling of forward motion and progression on dh positivity where emotion from right to left gives us the feeling of negativity or detraction or regression and this is used a lot of movies when it's very subliminal it's very subconscious but when you watch it, if you again ruining the movie watching experience for you when you go back and watch movies you'll see that a lot of times when the bad guys winning things were happening right to left when the good guys winning things are happening left right, things you never think about this, but it's, actually true up and down again, the feeling of uplifting in the feeling of coming down these air all like sometimes we descend into a dark scene or we rise up to an uplifting scene, yes, screen direction. I do try to consider it what I'm shooting, that in mind, especially with my slides, and that was the point of the question, but sometimes I'm just kind of going for what looks best so yes, a teachable moment, but it was a teachable moment, and I seized it. So the great question of our yeah, so andy from the u, k and a lot of folks, we're asking this yesterday, can you really trust the lcd? It seems that you guys were that vanessa trust the lcd for color balance, as well as exposer surely some how cities are way out of color calibration was that yeah, well, I do trust my five seymour to lcd to a point, I kind of get a sense of what we're on that color wise focus, he definitely can't completely trust it, so you don't have to watch your amateur watch your your field and exposure usually check my instagram for the most part, after I I get my basic exposure from the live you and the color balance as well, and for photos I am shooting in raw, so if it's a little bit off that's okay, but for wedding day, speed is key and I find that's the fastest way to do it right. I usually don't check the history ram on the video. You can do that, you can bring it alive, you missed a gram and that'll help you too, gage, where your exposure is, I'm just sort of doing it by most of the time. This is like the messages said, you have to move fast. So, um, can tony from houston, texas, asks how about more more wire for that morning? You're on dh if you can explain what that is, for sure, you're a phenomenon that happens in video when especially in high definition video, when you have patterns that are very close together, for example, pinstripes on a shirt or a roof, a thatched roof that has in from a distance, and it usually happens a lot in wide shots. You see the lines that are very close together, and that causes a flicker or a rolling effect camera moves on, and this is something that the higher and cameras ever have done a very good job. Implementing technology that kind of reduces this usually a softening filter or something will help to reduce this but then again you're softening your image but it is a phenomenon just keep aware of if I was gonna film, eh submission video for creative live I wouldn't wear a vory pinstripe shirt I think I think I did wear a pinstripe shirt I think of it but you created too much of a memory problems don't do it this month yeah I figure patterns are probably the best way to go solid colors always better on camera but in peoria effect is possible so if you do see flickering and thin patterns it's probably and how do you deal? So if you're at a wedding and their guests with those kind of clothes you just deal I'm not really thinking of it on our wedding day if I was shooting a movie, I would wedding day on this sort of building with flow and you know I'm not going I mean, I don't think my bridegroom are you wearing really close pinstripes, so I'm not really concerned about that, but it is something that you may come across something to advise if you're doing a session where you have some input on the clothing definitely something to advise you to huge trash addressing that agent so a question from m markovich do the videographers that you work with also used sellers and if it's if it's not you doing the videography and how do you work with them? Mike my crew absolutely does we hold hughes dia's lars, obviously I guess the questions referring to you and you were videographers that don't use dslr and you're doing fusion way asian exclusively as an incentive for them to talk. Robin I so we use fusion as a booking tool a lot of time, so I wouldn't ever do fusion with another videographer with our circumstance. However, if they are looking to do that and looking to do fusion with another video r gopher do make sure these dea solares I would not put video camera footage next to your photographs. It just well look it's good. Yeah. So I was saying I think part of the question maybe iwas saying vanessa it's you and there is a videographer who's doing maybe full video would you then be doing recording fusion clips at the same time video and how does that work? Usually the only time we do fusion on the wedding day is if it's both of us, right and so if se se was somebody who is new infusion, what would you suggest for coordinating? I would be really careful I have it in my contract as a cinematographer that nobody else is allowed to provide video services that day so that means djs can't come out on the dance floor and film I have exceptions for djs that I know love things like that, but some deejay companies have been known to send on entire video crew to the ceremony and that's just that won't fly, so yeah, I mean, in that respect in an upshot, most people who are going to want fusion on their wedding are the people that you are not getting getting coverage, so and if you find that they do want fusion, my first step would probably be to just ask the videographer for his favorite clips of the day because that eliminate somebody else that you need to hire to do it and my really good friend relationship great. Thank you. A question from yesterday shred from shruti when shooting the movie, we could hear vanessa taking pictures. How do you deal with the sound of the camera? That's an issue we've had fights over this way, we're showing what we're doing, the bride writing her card out and I had the mic, you know is close to her mouth as possible in venice. If vanessa standing right next to me and you here, it is a problem and I've asked her before toe like khun just be considerate of the fact that when she's doing that and then we can always moth the shot afterwards for tired, but then on my end I can't mock that reaction again if she starts crying while she's running card so it's definitely a compromised I will not shoot as often as I would normally shoot, but if there is an expression that's happening that I know is a very unique and beautiful one, I will I will get that because I have to do my end of the job, you know, it's the eternal battle. Yes, good versus evil. I'm no, you know what it is, it's something, anything about weight around. All right, so this is a great question from duke in park city, and it is a storytelling question. You mentioned that lens coordination would you elaborate on if you are trying to match the focal length so stuck so that the shots when fused our harmonious or are you intentionally being a different tohave contrast between the fuse shots of the video and that both when we did the detail, shots of the rings were built using mac rose, and it was the same vocally, macro was a seventy millimeter signal macro to point, but other parts of the wedding day for the ceremony, for example, the I'll shot, we'll try to maintain the same link, not necessarily for to get the same looking shot more just to stay out of each other's way so I don't know I've never really thought about doing it to make it harmonious as faras focal length I think it's more dynamic if it's different actually right so so from kelly sullivan in rochester, new york do you rely on a sound check or do you rely on your camera meter reading it's always a good idea to rely on sound check if you have headphones and you can plug them into your camera on you can play back what you just recorded as a check to see if the audio levels are good it's always a great idea um I've become pretty adapted looking at my view meter on the camera knowing what's good and what's not just from experience but when we mic up other sources like tapping and djs and bands and that sort of thing my audio technician the day of the wedding will sound check everything so yes it's always a good idea sound checking if you have the freedom to do that by all means you should uh rick from riverdale, new york does vanessa use only one camera and change lenses throughout the shoot or do you use two cameras one with long one with a long range in one wider? I have one body and my assistant who carries all my lenses so I do change lenses throughout and I do it fairly often because I am using primes so if I want to change my folk elite that any time I need thio either run forward or backwards or you know what she knew lens yeah that's a preference I have second shooter's says shoot two cameras for that reason but I prefer to keep the same body okay maybe this could be the last question from brandy simile in some churches do not allow cameramen teo walk around like you showed us yesterday if that were the case where would you really want to be to take the best amount of shots that's a that's a really good question you have to make a sacrifice you have to make a choice if it's just one person doing video I would probably say stick with the isle just because you're gonna be able to see everybody's faces going to be cto see the bridegroom and the officiant of course being on one of the side angles would be more dynamic but you do sacrifices the bride if you're on decide looking at the groom and the bride starts crying you don't have that vice versa if you're looking at the bride and groom starts crying you don't have that so one camera if you couldn't move you stay in the aisle thank you we do have one more question from jon snow in seattle do you have to be tough to you like I look off ah a woman however I would recommend the best because just carrying around the actual like him part that is heavy as a woman yeah, that could be real and the heavier of rig is heavier than the sled which is the part that you would carry heavier that is this more stable the image is going to be in the better the quality of the shots of the vest in the arm you know, plays a huge role in taking that weight off your arm. Okay, sorry I just found another question that I would like to ask from from crazy quick crazy rabbit the from the uk for people on a limited budget would you ever consider an iphone on a tripod for a valid secondary video source for something like wide shots? No, you know you couldn't do it, but when you put it next to your photographs it's not going to besides I mean even if it is seven twenty video it's still not look anything near it? Could you do it? Yes, what it looked the best? No, I guess I shouldn't have said no, you couldn't do it, but I I wouldn't great. And so maybe we can talk further about budgetary I mean, I actually believe it or not, I've seen some really affordable dslr cameras that are on the lower end, you know, and you could person used I mean even the older ones that are really high, relatively high quality. And when you put him next to a five game or two or mark three, they hold up, actually putting good lenses on especially and really dslr videos more about optics and is about sensors. I mean, sensors obviously make a difference in some way. But better. The optics that used better than lenses. The higher the quality of the image. Absolutely.