So the first thing we're going to talk about his shooting study and the obvious first thing, if you wanna grab your yeah, you do that, you know, you want teo so the first thing that you want to do is use a stabiliser and the one that we're really going to talk to you about is the man. Yeah, we kind of went through this before I'm not going to go too far into we know what this is. Amon upa demand photo five sixty one ph d v and I have that up there again. You could have a tripod. You could have the man in front of mono pod, you could have the slider, you could use your surroundings, table chair, etcetera. But for what we're going to do and showing you how to shoot steady because you're probably pretty studying on a tripod, you're not touching it. The man you have access to a tripod honestly mean, model pods are great for shooting in the field. You know, if you're running around your one man show, are you going to man show? And you want more? Well, it's, great. If you have the opportunit...
y to shoot on a tripod, I always recommend trying to be locked down, like, for example, if you're shooting the toasts and you know you just want to shoot this person giving a toast, lock it down on a tripod there's no reason why you should be trying to stand there holding it steady if you have a tripod use it, you'll always get the best result from that however do you need you don't need to be tethered for this, right? Because you're showing this along with you like this so yeah, I was gonna kind of illustrated with the difference, but if you need to yeah, I don't believe it for right now I tell everybody going teaching video this one fundamental thing it doesn't matter how great the composition is in the lighting or how great beautiful subjects are doesn't matter if the video is shaky, it doesn't make my films it doesn't make my fusion pieces if a piece of video is shaky and I put it next to her beautiful photographs it's going to detract from the whole viewing experience it's going to take you out of the out of out of the presentation? You know what that's like eyes when you see a slightly blurry blurry photograph you're like, oh best moment ever garbage like you just you won't even show that I'm like embarrassed to show any remotely blurry so lately saw photograph and it's the same exact thing one shaky video exactly so rule number one with shooting video in amman a pod is points of contact points of contact are very important the more points of contact you have the steady or your image will be ok so to demonstrate the mono pod touching the ground is one point of contact my hand on the camera is a second point of contact my other hand on the camera this is how you should be holding the camera from manual focus okay is the third point of contact now I could do a couple different things from here I can either tuck the arm of the mono pod under my body and that becomes the fourth point of contact or remember I don't usually have this regan here is a kudos the finder oh by the way there's the flicker I was talking about sarkozy finder becomes the fourth point of contact okay, so there's a couple different things you can do and the more of these you have steady or the image will be hands down watch this this is the this is the biggest mistake that I see when people start shooting video notice how my image is moving around a little bit it's actually not too bad I'm not far from my subject and I'm not zoomed in on a fifty millimeter lens on but they're holding it out here and that translates if you're not used to holding it steady you get a little bit of emotion in there you know, that's that's really kind of detracting from it now if I was shooting a crime drama on like she was talking to somebody don't look into the camera, I was looking at you, I'm going for that intentional like, you know, wait, you can see how it's sort of that's good improv problem, so you can kind of see, but now watching and I locked down and I'm just gonna raise this up just a touch I know I'm standing right in front of screen, but if I lock down one, two, three points of contact, I got it close to my body that's pretty solid that could do intentional movements that's pretty solid, okay? Because I'm holding you close to my body and not holding it out here, I'm not doing it with one hand, you know? You really just wanted to kind of bring it into you, get your focus and hold your shots. Watch movies when you watch movies, you'll see two things one that the shot is usually always locked down again unless it's a crime scene or something layer drama are you creating tension? But watch dialogue over the shoulder dialogue give to people and they're just cutting back and forth between the two people talking, you're seeing a lock down shot a lot of the time if the cameras ever moving like romantic comedies and romantic movies and things like that it's always intentionally they're using a jib or a vista glide or steadicam, and the camera is always moving perfectly. It looks like they did it nineteen times for the god, it exactly the way they want to do it and that's because it's a controlled environment, you guys are not always going to be in a controlled environment, so my recommendation is keep your shots locked down, let the subjects be the motion. Don't try toe and don't try to create motion with your camera, all right? Because in the beginning, doing this and doing this, it takes more effort than it looks like I'm doing right now you're gonna find it it's going this are like like this. It just comes from practice that you can get it to be so smooth. So you really just want to practice practice practice. But in the meantime, keep your shots locked down. Use the rule of thirds, keep the shot lock down, make it look good, okay? And then when you cut from one shot to another, you go from a still photograph to a piece of video. That camera being locked down for the appearance of that camera being locked down is going to add to the production value of peace. And people are gonna be looking. This looks kind of amateur because the camera's all shaky, they're going to like, wow, that images beautiful lights. Great. Or, you know, I looked beautiful in that shop, you know, so it's really important to hold it steady on dh that's. That's. Probably the most important thing about having a stabilizer is learning the hold it steady. So remember, points of contact talking this thing under your arm is really good if you're going to be, like, low down shooting like this beautiful shoes there's her shoes. Okay, so, you know, it's helping me to be nice and steady. So that's, just a quick example of that let's, go back to the power point for just a second. So points of contact and establishes many as you can record short clips. There's no reason to be rolling for ten minutes. There's not even any reason. Be rolling for a minute unless you're recording something like the toasts like something that you know, you need to capture the entire thing and you should be locked down. Okay, you should be. You should be study for that when it comes to shooting little beauty shots during a senior session or a photo shoot or families or pets. Four to six seconds is what you're going to end up using so aim to shoot like eight to fifteen seconds maximum fifteen seconds there better be something really interesting happening okay like you know like somebody getting out of a wheelchair walking for the first time is that important? Okay there's no reason to be with a role for fifteen seconds think of any sitcom movie that you have watched watch it again and watch the cuts like watch how fast each one goes it's almost prismatic at times it's like three seconds, two seconds one source seconds like it's it's very, very short short clips and that's because we all have a d d and we're all used to things moving quickly that's what they have to seriously we're going to ruin movie making for everybody watching this watch movies for the production value count the cuts countem and also count like you know how they build tension as drama builds in a scene a lot of times the cuts get faster or they get slower. A lot of times we'll slow pace down to create drama you're not doing anything much different than that when your e mean we're shooting for beauty shots to make it look like our photographs, but for example, if you have somebody you have a kid he's playing basketball is bouncing between his legs and stuff that's high interview you're gonna want to like move the piece along a little faster. So maybe you're cutting from photographed video on back to photograph a little bit faster during those parts. That's. Why animals? Great. Because whatever music that you upload it, I'll use the music timing of music to kind of pace it to that which is really kind of cool. Short clips, short, powerful clips of the key. And the goal was to in the hands of photography again, not replace it so again, we're not trying to do this and this and do all these crazy movements. We just want to keep it simple to enhance our photography and that's. Why things like the slider are so great because this is instant production value. Instant production value. You slap a camera and you go one, two, three for five and it's like holy cow. That looks really cool because he hasn't foreground. You know, you got some foreground objects and then the person's, you know subjects in the middle ground and you just see the slight creeping movement and it just it's awesome that's why these air great tools. So keep your movements deliberate. Hold your shot steady.