Shot Examples and Morning Q&A
This is a zoom a pan, a slide and a follow let's see what a zoom now don't use zoom lenses so that's a little bit tricky but we'll use my legs um zoom is if I zoom dean and filmed so just pretend this was a zoom lens and we zoomed in and god you wider view and a close up of your head so I mean that's pretty self explanatory a pair you could do a pan with this there's actually a pan on this swell just side to side view a pen on this their old great pants that's a pen um a slide why don't you slide? I have got some and they're just a little bit static for what I do um but just say I was shooting a jewelry business I might need to hire myself one because you know a nice tight smooth slide can be very useful um I still don't think I'd use one I don't really like him but that's just personal thais slides it's still really good uh dear slide making people um uh follow that's kind of my favorite is the fuller I like to follow the action I want to feel like I'm there that you're there, I'm mak...
ing you thereby bringing you with me to my film so follow is definitely a favorite and I would use the fig greek the steadicam or just my neck in the camera raced around the next trap to follow somebody it's very simple times and really easy to understand is it different types of shot say um oh go back one so I'm going to show you around a bunch of shots video shots that will give you examples of these things not all of them to do were you looking at me? You're good? Good? Um don't look at me, huh? Er the first one is a follower, so we'll just quickly watch that you can see I've gone out of focus I'm gonna play it again and I'm coming in now I didn't do that I just was too far away and I pulled in closer so paulo this is I'm slightly moving backwards to get a wider view and she's moving away from the cameras well, let's go back and we'll wash that again because it's quick so basically I'm running back with she's running forward, but one of the things that I do notice with photographers is that often they film something and nothing is happening um much like there's nothing moving I feel like there needs to be either me moving or the talent moving not just still it has to have something happening, so if the town is staying still or the subject is a tree, I will move I'm running backwards and he's running towards me so there really simple techniques that just make you feel like you're there you're europe my eyes are your eyes again go this one the camera is staying still but the action is in the frame so it is like a foot are sorry but the action is happening with the scarf and the child running so they quite quite important that sure keep the camera still if you want to and and maybe learning it is better to do a few more of those still shots and trying to do everything on a figuring to begin with but um just make sure there's something interesting happening in the frame in terms of movement but its flying scalps blowing something good all right let's keep going what's the next one sorry sorry, sorry, sorry okay, so I'm panning slightly up and she's maybe I think more movement the better let's do it again I'm basically sitting on the ground and just looking my cameras ran on my strap on my neck I'm just like moving around a little bit of movement just met keeps it more interesting let's go hear the cameras basically still I'm handholding you can see can you go see the handheld look but the action is happening within the frame again sir, is there any questions around those things you guys are good we have a ton of questions okay but I'm wondering and they actually go back teo sort of the gear section and we didn't break for questions I'm sorry no no what do do you want us to go back to that actual let's take you now okay let's take a step back and then it was so cool to see um what you're doing with these little images and maybe we can go back to that so the internet doesn't stop here kaylee asked do you ever use a tripod on a dolly? I have never done that ok actually I like I made a short film um and I did do that um but I never really see the need now but I'm sure there is uses for it and also I just want to remind people that we're going to be seeing all these things in action over the course of course of the three days as we go through the gear and you're going to show us exactly how you use them also we have a question here in the well I mean obviously you're your style's much more handheld than stable but do you use any of the stabilization stuff in the editing software to help kind of study some of that out at times? Well yes everybody has good, good, stable days and not stable yes everyone does have those I think with a lot of like I've got a little bit more relaxed with what I can do with the mark three because it's slow motion so even if there is a bit of movement it feels a bit smoother with slow motion I have on one shot in suze I actually asked a friend to do that stabilizing thing for me because I haven't experimented with it at all and it works a trait but I wouldn't rely on that and as a rule never would do it um but I have tried it it's it's I think it's also when you edit your own work that's what going back to that it's so important to film and edit your own work because you can see what worked and what didn't work and experiment with a ll the options and give yourself you know make sure you cover off shots of everything using the whole range of things so that when you're in the edit and the hand held one didn't work you have something else had one of those I the gear that I was using it just had a little bit of a wobble from the wind and it was like the whole video looked like yeah no that's not good yeah, but that's kind of saved my bacon so yeah yeah it's ah I'm not yeah I'm not a big fan of editing stabilising in the in the edit I prefer did know that I've got it on the shoot, I don't want to leave this you till I've got it so yeah question from corina g from michigan what size what brand and how fast are the cards that you use? Um, I know you said you have been using goodman, but I have sixteen's and thirty two and I have some sandisk ones, but I also had my favorite other goodman once, and they're professional and super fast. What are they, uh six, seventy five times you didn't you d m a six and there's sixteen and thirty two? I have a lot of cod's I go through a lot of footage, I'm my I have been using an editor little more lightly because of that the tv work and stuff I've been doing, and he says I'm another shooter and I have no problem with that when you going back to the cards? Yeah, after you're done like a day of shooting, if you're on location, yes, you just dump it all into a hard drive onto your computer. Yeah, I always have two copies all the time, so I thought keep the cards and a hard drive or two hard drives and wipe the cards you ever use I've seen like, you know, I've never used it, but the hard drive's where you just plug the card right into it no ivan used them I just used those they're so fast I'm really happy with how stable there I travel a lot and so I want something that can move around and still be safe I've lost a couple of other hard drives but these have been fantastic I have two of them and often I have a couple of my computer and then one bag I have that hard drive with all my footage and another bag has another hard drive because I just can't afford to lose that footage sir. All right, we have a we'll take a couple more gear question okay from fashion to be in singapore do you ever use a jib and if not how do you get your high angles? Do you stepladders did climb trees what do you d'oh he's right my country's or a stand in my husband's hold shoulders uh no, I just sit on the money stant reels yes, crews I uh I don't use it if I haven't got the budget for buying, you know, big fancy things all carrying them around. I'm one person often on the shoot or I may have an assistant or men not so I don't want a lot of stuff to carry around this to me is about as big as I can handle um so no, I don't do that, but I if I will climb a fence actually, you see, sometimes I get andrew to do some filming if I can't reach it or I'm a bit scared on the side of a fence um he will climb out he's quite happy to being directed and told to stand up on that ledge and film down how high up does the mono pod go? No show you it's not it's, not super high like seven feet or something yeah, I'm thinking of a new way told me you could hold that up you can you could do an overhead like that it's a it's a it's a really good tool and actually I've only had it probably six months but I'm getting more and more use out of it as I get more familiar and more happy with what sort of shots that khun give me so yeah it's the other thing which I didn't go into with this shot is you can do a really cool pan with this you flip these down, I stand on them and then I might stand here and just I'm only in here and I just moved it smoothly in and out like thiss which kind of feels a bit like or a pan or depending how you do it so yeah it's cool I'm not gonna do that put that down properly yeah, you're right good you ready for some more sure shoot well, there's quite a few questions about focusing and manual and we'll get into those things later the technical uh well on the shoot yeah, perfect we will okay focusing there's a few things I'm going to talk to you about this this is a practice thing this is I've got friends I've tried to teach filming and they say it's so hard to focus like yeah, you have to do it every day do it every day and you're getting really good on duh and they're like no no it's so hard to focus no no it is doable it just is a practicing and and I'm committed to practicing and that's how come I'm really good at it now I can move and focus and play and and I know what works for me and you know I should often at it you know at one point forward too you have to that's what I like I want fairy shallow depth of field I wanted to a creamy and dreamy and I really, really love tio have the focus pulling in our little well in in following focus like do you find yourself watching the screen all the time or do you kind of you like you said it with a figure? You set a focus and you watch them then tow often with figuring I'm kat I can't I may be low with the figuring and I can't look at the screen while running you know so it is all about that distance that I've set um you'll see a lot of my footage with the figuring you start recording and then so I'll press room I'll focus it up I'll be like okay yeah that's perfect that's what press record and then I'm like okay, so all this put it to me up and down, up and on my face and all sorts of things so it is it's a it's a great tool but it is a little bit like he jump through the other side up so yeah good haley we're gonna move on to some more questions if it's alright yes from the last section than answers here so from mike lafata do you pick the music before or after the shoot? Do you have the song in mind when you're shooting or do you find something after all all of those so from some some people some clients um come to me and say we don't know anything about video make me video this is our business and this is what we want to say and I'll go how about this track this trickle this track I'll think about their brand I'll go and all um I spent hours listening to music and then I'll send them three options pick which works um or some people come to me with a song like suited she's like I want to make a film with this song and I'm like yes that's a great song so some people come through the terrible song and I say no e would spend weeks editing to that so yeah, all of those things cannons by you actually, um if we I think it's seen all is any other questions or can I keep moving or what up to you? I'll keep going for a little bit okay sounds good. Um so yeah that's the footage there's another bit of footage from simonas video so sorry the action's happening in the frame the frame is staying still, but again I'm at hand held there even though I'm not moving, she is okay. This is really important is kind of what we touched on when I was walking the line saying, get that they get the y get the close this is going a little guide I've done up to show you what I mean when you're in the edit, you do not want everything shut like that that will be so boring it's so tiny shows the targets you don't need to be told that so much, but you don't realize that you need to get her to do the jump here, here, here, here and here he is if you want all those options in the edit, you have to get her to do the same action every single time for every view that you're doing. So just pretend she's running past the screen here, this in this one instance, this is a shit opening sequence. Often the wide is the opening sequence because it's saying, here we are, we're in a field with a girl, and then we come in close to get some emotion. Why is she running what's happening? You know, so these these are all really important when when I write my shot list, I often right, um, sue photographing wide, close, mid type type type, you know, I'm doing so many options, and I may not use them all and then maybe only there for a second, but they bring up the quality of your film so much, give everything a lot of thought to how many angles and shots can I get for? For whatever sequence you're filming, you want all the options, let's, keep going, please. So that one christian that really struck me about this that I didn't understand and I've just been I've just shot a video that you're gonna pull apart on sunday, was you said to take a shot of them doing the same thing on all those different? Angles is a photographer if I wanted to get in close I just walk in keep shooting or I do it and finish up right you always you can't do that in editing but what I don't know what I just realized is when I did the shot say medium close up yes I did maybe sixteen seconds of footage footage at medium close up but you would have done five different angles and then switch that sixteen seconds out so already your footage is going to be more interesting because you're going to go boom boom boom boom off the same thing and I'm just gonna be like sixteen seconds moving to the right maybe say you're kind of getting faster yep I think I think we're all used to pretty fast now it on t v and youtube in all those things were used to a very fast and fed fast information so that means you're really only shooting for like a second or two seconds like you you're the footage you're cutting is like well actually no because just say I want to edit walking this line if I only should one second one step that might not be where I want it but you don't need it I mean one yeah but I will only keep the part that I like and it might be this step that I need as the wide and this step that I need as the close with that background so if you know what I mean I would shoot it all and I would get to do it again now I'm doing it with just your feet now I'm doing it again with just your face and now I'm doing it again with a mid and that way when I'm editing, I have the whole action and I can edit between the action the same action um and try to get things like simple things like if she starts on the wrong foot here I'm out I can't end it between those two feet I can edit a wide where she's walking first this foot and a close where this foot's now going still again that will be wed so why's that e I was gonna ask if you have somebody jumped, you make sure that they jumped like off the same foot in the same man and every time ideally yes, you want the same exact same thing happening but multiple angles on the same thing. So it's a little different on your film suit when we shoot and your I'm documenting say your shooting the shoot um I don't need to get a huge variety in of you shooting, I'll do a wide in the mid in a tight, probably three things this is it a really comprehensive list and you what you want a variety is what I'm saying so haley well first of all thank you so for that questions a lot of people had that in here about doing how to how to get them over and over another question that's coming up from sabina catuna what is then the length in the timing of your of your shots eight to twelve seconds is the question or sounds like shorter perhaps for you like it um no it's to do with whatever is happening I'm how long does it take her to get to the end of the rug that's how long my shoulders um how long does it take me to jump off the couch to the ground that's how long it is each one of them each one the type mid close it's the full action so what I constantly see is people who are filming and directing I always see people listening in direction you know people listen to directions eso when you're filming them you can see them listening to you I see it all the time people will go now walk and you see people start to walk and I know that's the first thing I noticed about you was you would cut already walking like you would cut off the two first to step to get the middle section or whatever but I still see it you see a kid looking at the camera and then you can obviously see the photographer is gone now jump off the couch and then you see them listen and then jump is opposed to filming it and that's a photographer mistake because as a photographer, you could do that and you just get the shot and pick the shop, but with in a video you need the action, too. I'm rick, I say so, you know, obviously I'd say, okay, we're rolling and then they'd walk all the way to the end, I'd lock off, I'm I'm off to start recording in the edit. I'm probably only going to use this little tiny section. This is it that's a little bit dead did call out the bits that on, like falling down the stairs or whatever else happens after is not, you know, part of my story, and I think you're right, that is a really rookie mistake where you see the start of the steppe, itjust doesn't have flow, and it actually brings you aware the camera, and I don't want people to be aware of the camera. I want them to be in the mood and the feel of what I'm creating. So so when you write your chute list for this one, you would go, I'm going, I want this scene of it walking cross the men, I'm going to get a medium close up in a follow that what you would write on your shoe list so then you take off that you got those three things and you make sure you get three might not use this so yeah so like anna's video she's running down an alleyway I got far wide running down alley way, way way back here she's all the way over there she's tiny he's like this little bigger on the screen then I've got her and she does a full action then I follow her running a ll the way down and backwards both ways because I don't know which one I want to edit tio and then and then I also do her face in her hair and it I've done so many shots just for the one little sequence so it may be in the film in my I'm going to show you a little sequence actually where I think there's like maybe six or eight shots and it might be a second worth of footage so so do you give yourself like from the editing standpoint like you know like three or four second lead of recording and then after recording so that you have something to work off of so you make sure thie action well the cause of the way I'm shooting at I've usually set the focus or something like that so I'm recording to get my hand here so I always have way too much lead time never have that problem so yeah it's always too much for pigeon yeah, I get a little bit of rib from about that but any other questions guys you're good great. So he is the sequence I was talking about this is a goal riding a bike let's film that that's exciting um now well, I could film the whole thing and show you so you know this sequence in twenty seconds of her just riding along a bike and that would be fine but this is what I did. The girl had art in this photo she doesn't have balloons behind her but she does in the shot excuse that it's just a little good um so I sat on the back of the bike and filmed the balloons that behind her like what? There was strong on the back of her bike now flying behind her so this this is honor this is from the basket on the back of the bike so the cameras in the back of a basket and she's riding around and the camera is filming the balloons this is the girl and the balloons passing by a hedge this is a shadow of the girl on the balloons this is her waste in the hands on the handlebars this is over I'm standing on this rail here I'm standing here on top getting overhead this is me on the back of the bike it's slightly it's really similar to the other one but it's less up it's a little bit more greenery and scenery behind her this is me on the rail but the other side so here this is something else you've got to think about this is her good riding away this is her writing to the camera so that's more angles and options for the edit so I I like heaps of options in the edit it's so makes for a much more interesting film if you have this way and this way and her running to you who running away from me so good now I've got the wheel and the pedals her skin was so long you can't even see her battles but um yeah I just think it's so important to you get every option this is from the side I'm just running along with her with the figuring that right too fast don't you how long does that take to shoot? I mean, is that just your just quick moving around and when I shoot this next this next next next these are our shooting to get oh no, no, no, no no no no, that sequence wouldn't be in our honor I'm pretty quick because it's just me and that it's not like a lot of time being tv ads and it takes a really long time to get that many shots but when you're on your own you like okay just ride this it's a circle she was riding in and I just was like oh, you know what this works he do this all jump off you know, you just it's pretty quick but I think when you're beginning it's probably better to take a bit longer and think about it and and allow plenty of time for options but I think I probably maybe half an hour twenty minutes to do all her bike sequences is actually more but I haven't included them they're in different locations um yeah, so any other questions I have a quick question from ashley donuts photography if you're shooting effusion do you shoot the action in video and then have time to do the same action and shoot stills? Yep I'm going to show you how I do that tomorrow um but yes basically I I will I'm going to do some action that I won't do both off it actually kind of like the infusion that one one thing stills and one thing's video so I might do two different things but the same props and location will be in there so you get the feel and kind of its strings together that way thank you okay, so let's watch it right now with music I didn't want music so I want to be able to talk to you through this were flashing between lots of shorts and we're going back to that that's how long that was? That was a lot of work but if I just showing you write the bike you would be bored at least there's a lot to look at this change of light there's different angles I'm gonna get you know what? One more time and see if you can count how many? No, I counted sixteen. Eleven different angles. Seventeen dang it. And how many seconds, haley? It actually don't know her, but not very long. Um, yeah. So if you want your films interesting, this is a really important part of filmmaking. He's. Otherwise, it's just a girl riding on a bike. Okay, so, um, I did a project when I got money camera and I after the holiday video, which I showed you and I start to make some other films and I had another project going put three sixty five grateful. And I was aware that I wasn't very good at focusing on my camera and, uh s o I was like, oh, how am I going to get good at this? This is just so feed lee uh but I decides to do a project called thirty days of gratitude why was gonna film anything I was grateful for for thirty days I had my camera with me all the time and anything I sold it was interesting or beautiful I would film so uh I want to challenge you guys to do something like that because the start is it's going to make you have heaps of footage to edit to heaps of learning on how to focus it's going to be yeah, it'll be fantastic for you every day practicing filming is the way to get better at focus that's kind of the answer to the focus question really? Yeah, the question came from online from silky photo from denver and I know you said practice practice practice but how much is skill and practice versus happy accident when it comes to movement? Soft focus and quick subject matter I think practices the top happy accidents next and yeah, I think practice I mean you could have a happy accident miss it if you didn't know how to put your focus quick pull your focus the right way um I think really just a pin you down? Would you save sixty percent practice and forty percent happy accident? Or is it much less for the happy accidents? Do you think I would say more for practice? Okay, definitely good to know yeah really important practice filming and editing your filming because you can't tell how bad it is still here in the edit and then you're like who dear may have may have stuffed up there, so this is just the stills from fit not thirty days but a bunch of stills from my thirty day project I'm going to show you the video and this is me learning how to look in film so I'm practicing this is actually might be the next thing I made when I got my dear sell our um the mark to that shot on video so uh this was my way of learning how to use it every day but one thing you can notices I'm looking at everything from different angles I'm trying to pull what is it that makes it interesting what does it actually have a lot of footage I didn't use because it didn't work and I'll show you a bit about the edit later um in the next segment but this this is yeah this is just a little montage of all it is is there's no story it's just my life thirty days quickly thankfully I once heard a housing garden and sixty sweet anisur new walkman with four I found love e could do what other I'll take a drink called a stay have all night before I found love here's a bullet a beauty a right pain in me on slow biological like twenty twist in a collection of pornography before I wake one hundred traffic home and a new mind every night wait he's a beating well is the black team is a type of tea loathe kelly? No way. Okay so all that that's bad is easier project is anyone could do yes me that footage I looked at that and I was like, there is no way I could do that and I said to hear I'm sorry but that's not easy there's nothing easy about that and it occurred to me after I watched it that the reason that I thought that was because I was so involved in what you're shooting in the media can I love the l o and I really got into it it actually stopped to look at I didn't look at the eat it or what the footage wass and I said to you, you need to break that down I don't understand that and I do not understand that I could make something they're easy and then when you started to say, well, it's, just that eclipse I was like and that's what you have done anything else you just went and found city thanks and you put them in one timeline to a great song and I was so lost in it like a little movie, I couldn't actually see it being something I could do yeah at all so you have to explain that to me because I want you to turn it to me so you can explain that to everybody because I'm sorry but that looks like something on tv yet that's the editing yeah I cut out all the bad stuff there's a lot I think of this clip here I counted six times I filmed the flowers I only got it right once on dh and it was one of them was so embarrassing was a pan from the floor to the table up to the flowers on the table okay it was really long what's wrong with that it looked like ten seconds to get there wait that long and this I painted the whole apple you only sold three seconds so it's and editing thing it's a pulling down your footage a lot of people say oh my fridge is so rocky I looked at my girlfriend's footage footage looked like my footage I just picked the parts that weren't and it's so about editing and pulling down and calling your footage out that didn't work and so was that really thirty days what did you do? Did you really do said it with say three clips in there? No no I just filmed for thirty days of anything that inspired me and then I pulled all those kids I don't even know how many clips you'll see in the edit there's a lot of clips um and then I just put them to music the ones I liked there was quite a lot of footage that was not put in here and you'll see that when I go through the edit a little bit but I mean, I think I was getting my kids to do that for about two minutes of audio video footage of that just let their legs and they weren't doing it right and then the other one would run in and how's that just just keep still does kicking your legs uh you know um so it's it's really a case of editing out the parts that aren't pretty and then on inspiring and exciting to look att and knowing when it's getting boring I think is also a big part of that um you know, I think I can even get enamored with the you know, a shot because I'm oh she's so cute here. How cute is she within the leg out? Um well, if I did that for twenty seconds, that wouldn't be cute anymore a second of it and the little girl running and there's no clip of that but you know her running I followed her on that beach for probably twenty seconds. So it's quiet a lot about pulling down and editing your footage. Sorry given to do you have a question? How long do you think that took you to edit? Well, that was when I was learning editing so quite a lot longer than one now, but probably that's like probably three days, but today now now yeah, now that you practice practice um uh, once I had the footage in the edit, converted and all ready to go, I probably give me half a day I'd get through it. Nice. Something it's so interesting. Allison, I photography says so thank you for your honesty and for asking the same questions that all of us are sitting here thinking, like, how can I possibly do this? Yes, I could ask you, I could ask a whole lot more if you want me to, because what what really strikes me about seeing somewhat, seeing anybody who teaches on creative live or people who speak to photographers is often is a is a photographer or filmmaker, you're up talking to other photographers and film makers, and so, like everybody, you've gotto ego, and you're worried about whether you're good in math and all the rest of it, and once you get over there and you actually just start showing people what you love to do and what you're really good at, people understand it, and they want to learn it from you and that's cool, I get all that, but often are you speak to photographers and filmmakers, and they don't teach from the most basic level, because they think that they have to try and oppress people and show your base work, and and when hayley showed me this basic cliff. I looked here and I say you're gonna have to break that one down because there is nothing about that that makes me feel like I can go on, do it. Yeah, I looked at that and I was like, whoa, okay, but now I understand because this's really stupid but it's true. The other day when we were shooting your show reel, I had the five t mac three at one point four and I had the nine stop density filter on because I wanted to open my leans right up and cut the light down and I was zooming into a water bottle. Okay? Just on the desk, but it was so beautiful that deep the field and how shocked I was when I got in there, I sat there on this water bottle for ages and I showed hayley the footage last night. She was probably thinking sushi eating order bottle, but the truth is, is truth is, is I actually started to get so excited about just finding little clips like that. And if you imagine if you said okay from now on for thirty days I'm going to film a little bit of my life the city's just find something beautiful every day that's all it is yeah, it's in your water bottle would be your first one did you find where nobody would think that was beautiful that my I might pick something else and just use the technique but what did you did you find the music first? No, I really has electric I'm always behind our music and searching for music so I wanted a track that was really fast that had something that that's also I based my edit around the song so I know if I'm going to have thirty clips and I want it to be quick I need a quick song, a fast paced song I need something that will cut um so I wanted something with quick b and I found this artist um this is, um a uk bet band called bobby mcgee's and I emailed them they're not signed with anyone I'm always searching for unsigned artists I signed out of your other family because when you know, the difference in cost is quite substantial, so they were fine for me to use the track. They said I said, I'm making this little video just thirty days of gratitude and things I love. Do you mind if I put your track on all linked to you and they're like, show go for it, you know, fine, but I was wondering, like, did you just I mean, you just had your camera and you're like, oh, that's cool take some video that it's like it wasn't like oh, I need seven minutes of this but no no no no no no it really was I just kept it around my neck earlier maybe they're on dh I was out of the park and get a little bit of footage of that taking the kids for a scooter ride and the sun was beautiful, you know? I was at the beach, I was in the shower I wondered where that one e I was like every day I have a shower and I was looking at this view of the lot and the hearts and this lot was like, how can I get my camera in here? I need that shot so when I look at that is a visual board so let's say I'm going to keep the slide as a reference if I was showing you twelve still are sixteen stills, I would have lots of different poses ensure my images would look different but that in itself you're shooting down on the apple you're shooting through the glass you've got the hammock swinging yes, you've got legs in the air your feet is not evil we've gotta hand so you just a hand is in the frame fearing the frame that you hit so many different angles just in that one sixteen shot sequence, I think that's that's actually my style in photography is, well, it's quite playful I actually don't know if I'll get a shot I just keep trying and often I make a lot of mistakes and I think that's it's a playfulness that comes to my work is that I am keep going oh, maybe it'll look better upside down maybe it'll look better this way maybe look, we hear what about we try this and it's not it's not that I'm thinking I need a ll those angles it's just I'm looking for the best view and I play I recorded this the other way as well straight on it didn't look good I recorded this overhead it didn't look good either you couldn't see how cool that looked I recorded her her I hopped in the hammock and recorded her as well um I just recorded that just like that this I recorded all different angles and in fact um this is every afternoon that's what my bedroom looks like and I was like every option and I was like, oh, I'm gonna try that again but with just just until shift you know so there's a let me see what works let me play try everything give it a go but let me run after her you should see the footage I'm gonna show you the footage that I cut out of that it is appalling all over the place yeah speaking of all the footage I mean after you shoot everything and you're going through and editing are you watching every second of all no, no no that's like three weeks later you look at it especially if I did that for a pet paris film I would have bean this still I'd grab the click us or in the viewer you're in the viewer of whatever you're editing with and I go like this I'm looking for a girl like this well, that looks good play that bit no that's no good I'm basically just pulling it through in super fast mode it's and I think that's also learned I now come pick the moment really quickly and before it used to take me longer you said to play it again and again does that one work better and I'd have to and I'd be arming in our it's like when you're editing a shot a still photo and you're like this said it looks better but so does this one which one looks better? I don't know anymore it's the same sort of principle, so once you have let's say you've got two clips kind of similar things like the tea yes after you get what you have, you just throw the other one away just so it's not in there and you're not looking at it any more workflow well, because I only put on the timeline what I want to keep so I might have pulled down to and then in the edit, I just start deleting to get shorter and shorter and shorter, so I might say, I want this to be a minute long. Um, well, this clip doesn't fit which one's better pull the other out, it is deleted off the timeline, but it's not out of my folder yet any other questions, guys good. So the other thing is, um, I kind of want to talk about how this is about, you know, a collection of things working together to make a little montage, so I didn't do any black and white in here because it didn't really go, and I really do do black mike, actually, but, um, but I also try not to have too many of the same thing together, so if I put five of pop poppies, ali face shots all together, it would be less interesting. You you would start thinking I more I've seen the kids, they're really cute. Um, but if you break it up with all different angles and playfulness and all sorts of things, you're cutting between things so that there's no there's, not a chance for people to think, ah, I want something else I'm trying to get that out before you get thinking that what is the longest clip in that sequence so now that you see it and you play it what what exists is like the longest I think I go back to this probably the most because I just loved what I was like and I fall in love with certain shots and that happens why don't watch it again because I think when you see something the first time it's hard to analyze it and look at it and if you go and watch it again and see see if you can see how I'm cutting before you think it's like I'm cutting you you get away from you before you even get a chance to to think oh this is getting boring or she's peeling an apple I get it no I don't want you to think that way I once heard a housing garden at sixty sweet anisur new walkman before I found love e could teo whatever I'll take a drink called I stay have all night before I found love here's a beauty a right pain in me on slow biological wait twenty twist in a collection of pornography before I wake one hundred traffic come on the news every night wait he's a baby well is the black team is a type of internal tio you no way you know I just wantto read a comment from studio to smiles are studio twelve smiles that says right? We are never waiting we want more more of each segment so that is also a key to keep our interest ah ha moment thank you exactly what I'm trying to hide yeah very well putting um I don't want you to ever be bored I want you to want shit again you're saying on my site longer you're you're hanging out your your left wanting more you don't want people left thinking oh yeah yeah I've seriously bored me so much I cannot watch another video views and I'm not gonna book you um because I watch videos that photographers made even newbies I watch videos more experience photographers and film again video of his watch and it about one minute forty two I'm fixing or I'm wondering off and then I think it just didn't even hold me there could it hold me in that footage? But I'm so always taken by that I've actually stopped to look at I don't even look at the eat it but I will say one thing is ah kids photographer which you promenade a great kids for tova that has nothing to do with you is a photographer but it somehow fits your whole brand like obviously that's on your video right and people associate you know your business my show reel contains hot quite a lot of this footage my show reel for there it's on my production company I work for my show reel contains footage that I shot in a thirty day, just experimenting thing it's it fits my brand because it's still my eye for things and it's also I'm saying we're fun, we're happy and I were quick and when you know I'm bringing home again, I'm all about light hearted, fun photography film I'm you can't be serious created by sorry, I don't want to put that together. Did you do that? Did you storyboard it all out and say no, I like, I've got all this stuff now, so I had I think about I'm going to say between eighty and one hundred shots, it clips when I went in there and I didn't, I didn't do this for a marketing thing I did this for learning my practice I knew that I need to film every day to get good at this camera and so yeah, that's why I always say, how long is the clip? The video, you kind of lose time when you're watching it. So how long is the whole thing? Pretty sure under two minutes, I think it's one thirty because whenever you shoot videos for me, you always hear the song tto under two minutes and then you eat it. You were shortened all the songs because songs are generally three to four, right? Three to four minutes is too long for an internet show reel her any kind any kind you always go two minutes or less and I'm always like no but you've got it and you know and now I get that because it feels like under a minute and also what people are watching it harm on their laptops and the kids they're over there yelling and I finally got a minute and a half and then I'm going to get distracted and I don't want them to be I want them they've actually I think got two minutes you want them to watch it and want more so they tacked keep your email or they do something sign up to blawg something and then they're distracted by something else or their facebook message goes often someone likes a photo and then they got so uh I'm flick girl who knows where that is too many distractions I want them tow want more um so I'll just quickly I'll go into the edit actually for this oops lips dry white maybe I want um ah sorry just after the next slide after this good yeah I'm just going to show you a little bit of the edit because it's so interesting to see what I cut out but yeah I did edit to the song I think it's so important on the baby cut cut on the beat because then it feels natural and you're feeling so if you weren't doing thirty days of gratitude like theory beautiful things that you had gone out and looked for every day I was just thinking in terms of a show reel if you were to shooting in your own studio you were shooting a show reel of all the beautiful stuff we work is its photographers you could almost create just a theory clips in the studio to a funky trick that's not even really about maybe taking photos or you could just include a shoot in there but it's about all the other stuff too yeah, you know, I mean I can see a city clip show reel I can tell you you know, clothes make up just sort of really cut pieces that aren't really a story of a shoot maybe multiple shoots in a week but just that give people an insight into my beautiful world or my studio yeah, I think that would be really awesome. I never even considered there I looked at it. Yeah if you think just say you had a studio and every day you found a little piece of anything that interested you might be the cupcake on your bench it might be the day woman who arrives and then she leaves like just like in a head or beautiful or you know whatever it is and you did thirty those that will be and quick edit with some beautiful music that would be a great little show reel for your business. Okay, so this isn't edit I'm editing here I'm opening the apple clip I'm see how I'm scrolling in the viewer I'm pulling that little tuggle alone and that's the whole apple peeled I'm like nana when the whole level peeled and I'm playing it extremely fast I'm going to say in there and all that in final cut its I ife in an oath out I'm gonna punch yet uh yes uh ignore that um I'm leading the sound because the sound is may saying andrew do it slow uh uh I'm grabbing the next clip I'm scrolling a ll the way through eyes that takes quite a long time to get all that honey in the cup it's honey and teeth and I think I know the best part of the honey going in was the first power is thick and I say aye and out okay, so you delete the audio because again it's in a cafe and it's it's um noisy and okay, look, this is me filming look at it all over the place what was only a tiny bit that actually works in this you'll see I start, she gets too fast is the probably the pot that I grew up and then I'm like, oh, uh, there's a wave oh, I didn't want to get my pants with so I'm going to find the perfect little bit it was after her see I don't want her taking off I want her in action so I say in and out and I put it in the timeline and again this clip look at how long it is forty seven seconds and I'm going to cut it down wade forty seven seconds on the video is a lifetime it is a lifetime and that's just me filming and look at what I got this moment that's all I want the rest of it's in the bin so you should be very encouraged yep that's it that's all I used from forty seven seconds okay she's in the shower again and this I'm pulling focus I'm deciding I don't know what focus looks best is it best to focus on the hot or is it on the rain no the rain the show um and I end up deciding quite quickly no, I want the water okay? And this clip is like um which is best and look how long I am doing I don't know what's gonna work I'm playing with it I'll see is it better if it's just on the grass or no is it better up close uh focus if she could keep it still it might help and I grabbed a tiny little snippet of it in and out and in and out come on it's gonna be sure that uh, yeah, I was trying to decide I think, um I think I think you get a really slowly you'll get a gut reaction to what works and what doesn't and it's just being in the edit that you'll learn that and that's, why it's so important to edit your and work a little bit? Okay, sir, I've got it. I've decided. Now put it in the timeline. Stop hopping on the hammock. Okay, enough, right. What? I think I may have picked up the wrong video. I'm still trying to find a better clip. I think I I feel like there may be another take. Okay, I loved the way my skirt was bouncing as I walked. I just wanted a second of that, but I filmed quite a lot. Look how long I filmed fourteen seconds of my skirt. You know, that would be a really odd still photograph, but somehow in motion it just works in there so beautifully when that that's kind of something that I would never think to take a still photo off. Yeah, the flow of the skirt, I think that's that's. Why the thirty days works is because you start seeing what moves what's moving all the skirts moving although scarfs blowing the apples peeling it's actually the opposite to everything you do. Is it still far? There's a still photographer you always try and stop motion you're trying to stop it by taking federal off it so you have to make sure the shutter speeds fast enough to stop what was going through your brain yes and then all of a sudden you're looking for everything that's moving is opposed to everything that should be still exactly so here I'm arguing over which clip I want I want her saying peekaboo ordo I want the love yeah I can yeah I just I'm wondering when you go back you said that you don't go back and look at everything that you filmed so when you're going back did you remember where the skirt wass and then you're going to find that I'm nursing like three months later when I'm in the edit right wrong I would and how do you develop that skill I guess um yeah I think that sounds not working on this actually this should have a track here I'm showing you how to edit to the track with no sound so you see that I just I just realized that was too long too boring I said teo e wants heard a housing garden on sixty sweet anisur on your walkman with four now before I found love she says and I think that clip is the love hot I'm going to put that right where it goes so I'm going up here I'm finding the word love in the track I went up here and I marked it with an em that's in my home and now it's in right where it should be subliminal messaging yeah, so it's really simple. This is a great start a project I really feel like this is like the easiest thing you could start with just see what you can see learn to see emotion rather than just stills and then pull it into a track and learned to edit whatever you've caught into a nice little musical montage roar but sure real like from you studio or something like that be fantastic. And, um I think one of the keys to that working is the editing to the music it cannot reiterate that enough do it, do it, do it so and questions around that yeah, we do have just it maybe can we take about two questions before we break for lunch? Okay, great. So just kind of to be to reframe um, new york city girl too is asking, so if you make the show riel would this be something that's super expensive for a client multiple scenes? And then she asked, shouldn't your show reel be what you could produce for a client? So maybe we could just kind of reframe the differences between the products that will be talking about it and the show reel itself? Yep, so, um I guess there's a diverse range of things you might someone might want a lot of photographers that probably interested in this because they want a show reel for their business they want a video to put on their website um and that's a great idea and fun but then you might want to do a fusion video as well for a client I think that market is growing and and suddenly I finding it growing hugely but um it is a lot of work to begin with him and a lot of people saying, oh why would I do that? Why would I make a video when I could do stills anymore and that's a really good question and you have to answer that yourself, I guess, but for, um going to I'll answer that it's an end of it, it is everything that you are capable of and it's a show reel. So a show reel the definition of a show reel is if you're a filmmaker or videographer, you put together the beast of your work and you show it and it's not in it it's a video portfolio so a video portfolio is no different than showing it when your website with a sliding gallery of fifty images this is the best of my work and I will say one thing I notice in that video there are two things that you've done that you've done on my video so you've obviously lent that that looks good so next time you're shooting you're shooting for may and you make the kids do two of those things and I've just seen them as being like all that to my video that's an incredible idea and you've you've learned it and now you're replicating it yep that's all the show really is it's like the beast of everything you could dio and if the client hye ji and they wanted to hire you for a week holiday to take the course you'd have to price it sure but the truth is is it's just on online video folio yep it is so show realize that but I have been hired by people to do a video portrait off their family yes and and that is an amazing experience and really fun to do and I I think that will grow I think video footage of your kids is priceless and you get their voices and you get things that you can't get in the photo and and if you could do both your ahead of some ten on ten hundred other photographers I guess um I think I think that is growing more and more and there's so many options so I did an engagement video I showed you full clips I didn't a band music a music video and then I did a engagement video which was pot stills and part um, video, I put that on my side, and that got me stacks of wedding work, stills, wedding work. But it was, I did that for me, they didn't hire me, but it was an excellent marketing tool for getting me weddings. I got so many weddings from that video, I love that video. I don't want that video. I want you not to shoot my winning, okay, okay, I'll do that, um, and it also set my brand aside from other people, I think it it's it's, a great thing to use so many diverse stories. But I do think the fusion and the video portrait is growing and it's an exciting time to get into video.