How to Make a Fusion Video


Promote Your Studio with Showreels


Lesson Info

How to Make a Fusion Video

Very excited about this video I'm going to talk you through its stop motion and video uh you could do this just stop motion it doesn't have to have the video elements in there, but I like the way your elements as well. So I'm going to start with telling you what I shot this on it is five d battery thirty five mil lens and see if god that ysl has my little near praying camera strap that's all know anything else and that's all you really need to get started and have something really fun so I really wanted to prove this point by doing it recently rather than just back in the olden days when I worked so um when I had less gear so this is the video um it's for a couple that I know stream ly good looking keep couple and I was very inspired by the location this we were location scouting and found this place and I was like, I have to shoot here right away like next week and just as well I did because half of it was pulled down between that week, so if you find a location do not wait, get in th...

ere and do it and as you can see this like, this is all my instagram photos off the day that I was that I didn't have my camera with me I just saw it was like, okay, let's, climb this fence and get in here and and you will see when I break down the shots that they're all inspired by these instagram photos my daughter sitting in that little window frame there that is actually a shot ended up shooting so I think it's really important when you're on a location to take a lot of little little points even if you doing end up using it doesn't matter just it reminds you and when I when I went to write the shot list and the storyboard I had heaps to work with and I was like, oh, and that flaw is amazing I'm going to do you see the tiles on the bottom of the floor? I was in love with those so yeah it's really with on your iphone just get as much as you can to jog your memory so that's what I did uh next is a story, but now I know we've talked a little bit about that I actually am a terrible door and I already said that uh, it's uh what I do is this shot list because I feel like for me that suits my brain better and also I know what I'm thinking in my head, but in the early days I actually did have to storyboard a bit more because I needed to job my memory o do it overhead or and sometimes the words weren't enough so now that I know when I see later when we go into your short list you I gave them the most appalling shot list it was only for me and then they started reading I was like, it doesn't make sense but I said, you know, multiple shots of shooting that's not good for anyone else but me because I already know what that looks like so this storyboard and that you can see I've always wanted to have a shot where the peoples in a tv frame and when I was there I found all these old tv, so I was like, we can smash at that class and I can put these tvs up and so I was super excited about that idea is like a tv frames over their heads um shooting through the window that is like a war with no rooms um I had a polaroid camera and I'm going to stop here and show you the polaroid camera cause I know this is going to come up this's the polaroid camera this is the film and I bought it on no, I found it in an option I actually don't know where I got it I think I may have been given it, but I I know they're on ebay, so I just want to do this because every time I show anyone this they're like what do I get that camera? So this is the polaroid camera it's amazing it's black and white film and you can still buy the film which is amazing so highly recommended I'll just read out what it is it's a land camera automatic two thirty very fun took a couple of rolls to get it right but after that you're you're good so I taught the couple had to use the camera themselves and then I found them shooting each other so when I when I go to a shooting I have a shot list in a whole range of things in mind sometimes something I haven't mind doesn't work and that's actually why I don't like going to the time of drawing all the pitches but they still jog my memory to explore and play so I do think early on it's well worth even if your during their appalling it my husband's a designer so he drew those you should see my they're not good um you'll never see them uh so yeah I think this is a good example and we're gonna keep going I'm gonna show you the film next and then we're gonna break it down with that ten steps so you can see exactly how it all plays out so let's have a look wait wait always a way no way wait wait ah but some with etiquette supplied that song I want to go around and get each of you to tell me what you liked about that film and what made you think when you would what's your thoughts about it so let's start here travis unless stop motion so if you look at any one of those pictures there's there's a lot of emotion coming from them and any one of them is a great shot, but when you combine them you see that range of emotions still in stills but with movement and you see no one minute she's not smiling and she looks like content happy and next minute she's you know, cute smiling like she's just that much in love and can't help herself and then she's back and she's all over the place and it looks really great like when you play those all together like that it's ah, and what I love is that I end up with amazing stills that I wouldn't have done if I was doing just to still so I think that's my favorite stills I've ever taken are all moving stills that's a cool thing thank you. I just loved your story telling us amazing um I loved how even with your stills, you still get all those different angles like you're still videoing, but you're did you see assuming I didn't zoom in zoom lens I'mjust going uh so that that's, that's, all stills all zoomed in so it's eggs ain't principles from scary playfulness. Yeah, and trying different angles overhead and yeah, it's it's ah, amazing what you can do it stills and our cameras are so fast now and that's all shot raw it's loading really quickly. So good cards helps. How about you? I just thought it was amazing how I like never realized that you, the camera person was there. And actually can I ask a fish in the very first shot? Is that her fee and her sis? How did you do that? I said, but the camera nuestra hold it here. Walk on the bricks. Yeah, that was really cool. Yeah. So I actually incorporate my talent in my shoots a lot and get them to do some of the work. And I think sometimes it means I get much better work as well because they love that person. And in fact, we ended up swapping. I didn't shoot travis shirt and keep the show real. I would travel to shoot it and I got troubleshoot kiwi because she likes him. She doesn't know me. I don't think you like him. So I think that it's a really good technique, teo and good sporting. So it reminded me of a college because I was just starting to shoot right before I came into college. But I was shooting film, so like my friends and I would creatively enter properties and take pictures and just live off so, like that's, I mean, not from a professional side just from a personal side like that's. The first time I watch that and I just thought like, that reminds me of that and makes me want to go do that again because it's like just that part of life like that's, what we talked about yesterday is just like all those pieces of your life that you show of other people's lives that make other people go. Man, I want to do that with my life. I want to do stuff and take pictures and videos and go spray painting, you know, illegally entering. Yes, there was a lot more spray painting, but I killed that down a little. How about you keep really liked when they were laying down on the ground and you were moving stop motion? Because a lot of times you think of stop motion is the people moving and you standing still, and I liked how you were moving the camera, you know, they were staying and remember there's, no stabilizing, nothing, I'm literally running around over the top of them and it still works it's joel t but it works, and I think the music and the speed of which you're doing your photos helps I'm shooting a lot of photos. The thing I like about kind of about the stop motion, it is kind of jolt e and you get kind of the sped up aspect of it, but then you take a second and you go into video that slow motion and so it gives his love you're kind of a time, relax a little bit, and then you go back into the quicker stop motion that's what I feel about that's, why I like to join them together, I feel like I need a little break from the flickering, um and that's why I love fusion, I think it's amazing. So I like that coming because I think it is it's not hard to do a tiny bit of video of whatever you're doing and adding that in there, but I think do start likes who says start with stop motion because it is it's gonna be second nature to all of you. So, haley, can we tell you what people we've asked people online as well, yeah, tribute. So my bella had said that they love the storytelling, and then also that it was not technically perfect that you can see where there were parts where you were out of focus, yeah, adds to it, so yep like that, rosemary watson said, omg gave me butterflies about how excited I am to make that favorite shot was the video section where the focus was on the couple in the window, then focus shifted to the high grass. Gorgeous. Yeah, so, uh, I use that a lot as another shot option. What your focus is is another shot to me. So, uh, yeah, that's a really good point, because it is it's the same exact same framing, but I've just pulled you to the grass, and it really adds more interest and exactly like all the different, you know, medium close up, well, why'd or whatever, it's another option for you in the edit, and it cuts together really well, you'll see in the very last from the video there's motion, and they're holding hands walking away, and the first part of the frame is their hands around focus, and then I cut and the grass is in focus, and they're further down that's the one shot, I didn't stop and start I I let their hands go out and I pull back to the grass and they just get walking in the background I think what I might do that plate one more time if that's all right and I want you to see if you can pick up any zoom's um how many shot angles I didn't certain locations and then we'll break it down together a bit this well is that a threat wait way no way no wait wait wait ah so I wanted to talk about how um how when I went to that now I can see so many angles and shots and types of shots and and especially were more now I've been breaking it down with this course yeah like if you were to ask me the first time I watched if you were to ask me how long it was I would have said maybe like thirty, forty five seconds and it's but it's because you know a lot of times when I'm watching a youtube video or something like that it's really drawn out and you're just like okay when's it going to end but something like this there's so many do different aspects to it and your interest is kept throughout the entire thing it doesn't feel like it's a really long video you know it feels like it goes by really quickly and I think that's you know something that I've noticed in a lot of your videos it doesn't feel like it's two minutes long, it feels like it's, maybe less than a minute. Yeah, one of the things I hate is when I'm watching a video and I start thinking how much longer I got. I do that all the time. Most videos on youtube video, I'll go, I'll go and click and I'll start going. Look, I'm only halfway through I'm looking like that is what I do. I know that all the people out there doing that, too, because if I feel that it's like, ah, stop already? Yeah, do you feel like because of the stop motion that church you feel like it's? Easier to stay like on a scene, though for a little bit longer? Because I did notice, like there's parts of them, like playing around that before in your other videos that it would be like, oh, I'm shooting from behind now I'm up above it now, but it seems like it's easier to stay and keep visually interested because it's ticking, I think that is true that you can see I like it a little bit more. I'm also editing kind of more to the song, even though it is quick and that's, not a super fast song like my show reel ah, I think, very I I seem to change it up as long as there's not like this one there's a scene where they're in the window through the window with the blue kind of spread brand around it and I'm there for quite a while that's a long little sequence but I'm moving in there doing stuff it's not just tripod yeah, no city and you know the shot with the tv head if they've just been standing there, you were in no way have got to be able to say there that long but dancing and, you know, kissing and doing little things meant that you could have a little bit more time there and you want that was stop motion because you can't show one shot or two shorts or three shots it will go to quickly went see it? Yeah, we ask some questions. Speaking of how god's amc twelve seventeen had asked how how many stills does it take to make up the stop motion segments? Wondering how many went into the segment in the video that you just showed how many still that's a really good question and I don't have an answer for you I will count them and I'll tell you tomorrow um it's a lot and I also want to say that when I did that circle around them on the there on the floor and I'm running around like this the first time it was out of focus because I am not looking through the viewfinder so do it again I think I did it three times before I got it to a point where it was really like I covered that yeah how much direction giving throughout a fitbit yeah people get static and stills like with the tvs were like yeah I was like now no do something look funny no that's so funny funny high legs and my legs happy happy come on now kiss me kiss each other but keep you keep your tv's like like do this it is a lot of directing it's a big part of what I do but at the same time I bounce off who they are I'm not going to make you into a super happy bouncy person if you're not, I'll go with that but I do think yeah that's one of the beauties of shooting people is you don't know what you're going to get yeah sorry okay yeah okay. So just to reiterate for exposed radiance when you are shooting your shooting in raw or j peg I always shoot rule and I'm going to go through that process with you guys and I ended in front a mechanic and pull them into a cia not edit sorry I call yet and sort of mechanic and edit in the cia because I could do a lot but uh kimmy did it the other day in line so whatever suits you you can do it have you like? So I had a question I was talking to a friend last night about this and when you talked about your video that you did for the call of the college student the senior video that you did for senate yeah, thank you and you said that you picked the song first sued for that one assuming for sue came to me with this it's the same artist who had made the previous song and she came to me and said I want this is a perfect song for seniors. Okay, perfect so, uh beauty of the lake had from st pete had asked do you have the song first you pick the song and then figure out how much video photos you need to fill it or if you don't have enough will you just end the song sooner? And I'm wondering if you normally pick the song first I know we talked a little bit about that yesterday you can juggle that around so sometimes I'm inspired by song and I'm like, well, I'd love to make a film about used with that song in mind and that's what I kind of did with you guys and I've kind of done that with suit that her first video though we didn't have the song when I wrote her shortlist so you know it's a bit it's a bit of both I didn't have the song when I shot this uh but I searched and searched and searched for the right song and I know exactly what I have in mind and that takes practice and what I used to do was pull in three or four songs and I thought, well, that might work I don't know maybe and or if you can't pull it in because it's in a library and you can't access it till you pay for it, I would get my video it would be old, you know, sitting this just a chunk of footage not edited or called clips and I would press play on the library and then I go to the timeline and I'd press play there and you see it and I go that phil's room it's a feeling I get and I think you gotta listen to that inside you that's like, well, this feels good all this fills and what about trying to fill the song? Do you always feel it? No, no, no, you don't try you don't try and do that every song has a down point and good songs do, and if I don't want it down point, then I take it out, I edit this pretty much every song is edited, and also I I like everything mostly under two minutes under two minutes my fish are reals or this type of thing after that I start thinking yeah, so most songs are more than that yeah okay, so you'll cut between like he said that if there's a down point in the song you'll cut that middle part out we're really just kind of in the in the song and then maybe go to a different song when I talk I'll talk more about that with your showroom because I did a really good example of that in yours well, he edited it so yeah, it is a case of do I want a slow part? Do I want a flat spot? Do I need a slow pop because I've got this slow motion footage that I want to use so yeah um what program do used to edit the music is that in the same as very editing the video wherever you edit the video I do it in there but other there are better sites for that but I don't know how to use a daily one one more question sorry because a lot of people are still asking now I know you're going to tell us how many stills were in that the video area tomorrow but is there an ideal just we were toe ballpark it so for per minute of video how many stills might make that up just I think I counted my show reel which is probably a similar ratio still maybe probably mohr stills in this man maybe uh I think when I counted there are over two hundred in mine so two hundred so maybe one hundred per minute or a person like saying video footage is frames per second right so if you want um to shoot it like a similar sort of frame right uh you would want to shoot twenty five or what sorry you're not pal into c thirty per second now most camera started so well my camera stuffs up it some point makes it a bit slower and doesn't quite get that many in there so I just I just roughly put around there but I'm amy I'm trigger hold down keep going and as long as his action happening it works but if it if nothing's happening it looks really terrible because it looks like just someone's bad with their framing on in fact times in this film you can see that I just want to keep moving along because um I want to do a little quick challenge I don't challenge the thing for you later um this is me shooting all the shots you can see I've just got the next trap sometimes I'm shooting stills I'm holding it out then you can see I'm shooting video so I also did in pretty much every scene video and still because I didn't know which I wanted in the edit so I cover both I have a sheet, so when you're doing video we doing one scene, will they be doing the exact same thing? Or will you just kind of switch it up in the same area? Like if you're shooting film for one and I'm stills for the other? Well, you will they'd be doing the same thing. Ah, if I was making a film like anna's, yes, believer yet so I can end it between them. But this is a mall organic kind of process, and I would I would be like, I just need something off video to lead me into this scene, so these stills so I would do a little bit of like, just think what I've got there uh, actually I used this scene, so I'm I'm jumping around her like I'm running around over them like this, and then I film their faces as she turns a polar it up to the camera that's all I did, I didn't do the filming of that as well. I only did a little scene two time with it, but if I was shooting anna's or a proper show reel or anything, that's got to be edited in a story that I would definitely cover both okay, sorry, this is me still shooting you get down and you try every angle if you're not dirty after your shoot I think there's something wrong you haven't tried hard enough, your knees should be covered in things and you should have ant bites uh, this is a really fun so you know, I actually was a bit obsessed with this scene and there's a lot of photos I took that did not end up in here, I only put the best in I didn't put all that hundreds of others that weren't good and I tried different things it didn't work and that's kind of my style a lot of it doesn't work from a business that what was this like, these clients hired you to do a video of their engagement or was it like, did you just do this to show this is an example for you guys? I wanted to prove you could do it with one camera with with one lens do both and that fusion is fun and I just wanted to prove it so this is for you guys uh okay, so I want to come back to our cool the list, a little graph here and now I'm going to break down that chute into this format. So while the shots I'm showing you which you know long shot medium long shot close up all that they're all taken from front on this frame, I haven't done overhead and all that I don't want to do that that's too many pages um I just wanted you to get the idea that it's there's old different frames in in options I guess so but in bennion san's shoot I did not shoot front on only so let's go and have a look at that sorry this is just six of the shots that were taken on the red tiles so I'm overhead it's her point of view her feet if you don't land um way overhead with both of them uh close up face is low on the ground uh why standing what I would I would say this is like and I stand did sort of photo or you know that's a good good I don't know grandma like that photo more so that's that's that's one example but there if I pulled this whole shoot apart there would be so many here's another one just for the polaroid shooting they were heat more hit more of these to not just these but I've done and this I chose this one because a lot of your photography is it might be doing photography show reels so it's, how am I shooting someone shooting? I'm getting a mid shot front on their shooting me actually I'm right in there, frank then I'm behind them and I'm getting just that finger clicking on the button and I'm on the side and then I'm seeing the camera pulling the polaroid nice and close and then the vision off the talent in focus and the camera's blurry to the side so that's just like six of a lot I would've shot I just want to show you how because you're gonna come home and you'll be like, oh my goodness two thousand images and five cards or I don't know that ratio over well but yes, something like that it will be I think I shot on it was took three cards um so you'll start panicking how we're gonna process all these photos how we're going to get through them so I use photo mechanic because I love how quickly it processes rule light room, whatever it is that you love stick with it because saves you learning something I'm just gonna walk you through a little bit I'm gonna stand over here so this is fun a mechanic the window comes up, you have your open the folder with all your photos you can almost see a stop motion is you scroll through the rule for files it's fantastically fast so I'm looking at the stop motion so if I just focus just on this frame while I'm scrolling aiken see what's working what's not pretty quickly I go I want this photo, so I take it with a plus all I'm pressing his plus plus plus plus plus you khun select and plus look this one's out of focus I don't want it I'm going to minus so I'm quickly going through and I'm very fast in this new super fuss actually I've gone too fast I could barely talk uh it's it's so easy to do you're getting an idea of the motion in the shot and you're also taking off that they're good or not good and there's quite a bit you know, sometimes I select the longer this little sequence didn't work at all and check it out then I can go up here and press tag and I grab all those and put them in a fall two chords little window or big window because this was a big minute whatever it's called and I named them in this section that I shot them because when you get into the edit you want them all in little sections, you don't want two thousand images and then you've got to move them all around. So when you're going through all of the let's say you've got a sequence of thirty shots yet and it's all of the window will you skip pictures in that sequence? Sometimes yeah if I hated it or if so badly out of focus but the rest is working I just check and you don't even notice it in the film you didn't notice but you know it's probably you don't take four out in the middle of tell mom moving like this if I'm one step one step one step, one step and then we take those last two out and you're you go from here in the video here, which can look cool too, but only if you want to do that, okay, so from there I've got a folder full of raw files and I'm going to take them into a cia, which is photoshopped like select all in this folder and there's a different shots but bear with me and it's like doll and pull them into photo hope I'm doing and it opens up in this window, I see a role I can select all which I'm doing in a second, but you can see down the side there's a lot of images, but they're all the wrong frame size, so I want to quickly reframe them the sixteen by nine screen so just like that, you can see all of them quickly cropping up. Now I need to adjust this for some frames because maybe her I was here or close up or something like that, so I I slide it around for all of them and then when I get to the next scene, you'll see I go down and check I'm checking her eyes, her eyebrows all right, yet she's in she fits a framed they fit their fitting the frame actually didn't have to adjust much here but sometimes you do I'd select a ll the section which should be the window or whatever it is and I would read just juggle them okay, I like actions but I made you a special one cold example one which was made I developed specially for this shoot and I just applied that to everything and it's so quick just like you know, a lot of programs are this quick but then I come down here and I'm like three exposures a bit often some of them and you'll see I'll get toe a photo of her face with her skin is looking pretty dark especially yeah come on sir here we go look she's come almost completely out there bit of her hair is in and that's it I don't mind that I think part of the playfulness and the the kind of stop motion kind of raw grungy look so I just I just missed that little thing I was example ing but basically I changed the exposure on a couple of shots I select two fold in and this is really important I'm going to save them all and I'm going to call them into a folder red floor benny and sam no okay, yes dreadful now I'm telling myself he's already cropped and ready to go straight into final cut pro or whatever editing software you're using so I'm going in here I'm saying no, I'm saying red floor and I'm saving them always j picks and I'm going to put a serial number now this is super important you do not want to get in there with a ll the same file name out of order it's a disaster so you begin memory it w w one and then from there that all stay in order when you pull them in you don't have to stop and change between them so then I'm going to final cut pro I'm setting my users settings in any editing software that will have what still freeze frame duration do you want? I said it to zero four and then you imported folder we're going to go through all this live in this third section as well so this is just like a preview of what we'll actually be doing sir there so I imported a whole folder and I stuck them straight into the timeline they're all in order and ready to go do I play through it? Yes and there it is so I actually usually break them up into each location so that I'm not getting multiple ones so I know this folder is on the red floor this folder is here in this voters here yeah, so when you're setting stuff to zero for is that for hundreds of a second and that's, what gets you to twenty five frames per second? Yes. Okay, you said, you said, um, serial numbers so that they stay in order. You mean, like each group stays in order or not, like you're not starting at the beginning of the video starting here, one okay, just each little set, so I have a folder that's from zero to, I think, how many images with saving comment to point that out, that was like eighty. I say something like that. So, to be serious, tio little grouping of red floor, so that red floor is got very dirty. Brid no little window has one hundred fifty and it's coming in as a folder, so they're all separate little folders, and that keeps it tidy in the edit. I learned the hard way, way.

Class Description

Video is a powerful tool for bringing the story of your business to life. Learn how to use still photos and video together to create dynamic products that promote your business from Sue Bryce and Hailey Bartholomew.

Sue and Hailey take you through the process of producing a promotional video from inception to completion. You'll learn how to develop a video concept and establish your messaging. Hailey shows you how to prop and prepare a shoot and covers the 10 essential steps you must follow for every video production. You'll learn how to use Final Cut Pro to weave together still photos and video clips and how to pair that footage with music. Sue brings it all together and shows you how to integrate video into your marketing and how to effectively spread the word on social media.

If you want to learn how to shoot, edit and distribute a professional-quality video that will grow your business, this is the perfect course for you.