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Shoot: Swimmer Talking Trading Card

this is Douglas Godly Love. The idea of a subscription model on wants? No. But is there no final download option like, can they ever? That's great. $10,000. That is a great question. And of course, we do have that option built into things like my car dot pro. You do have the ability. So if you go to my car dot probe and you were to make an account there right, you'd see that you have the ability to upload video files to that. Then you'll have the ability to decide. Do you want them downloadable or do you not want them downloadable cry? That's one way to go. Here's another way to go, and we think this might be a better way to go that if you just wanna have my car dot probie what plays the video, but yet say if someone really wants to buy that download. But what if you did want to recharge them for that right? Because my card got pro won't have any way to charge them an extra fee for that download. Here's where you take and you go to your smuggling got counter. You go two years and folio...

account, and you place him on those spots because they have a great way to charge anything you want to for that download. And in fact, they can download it then. In fact, one of the cool things that SmugMug does is says, Hey, what size would you like to download? Do you think you're going to be playing it on a 80 TV? Or do you think you're just gonna be playing it on your IPhone? And if so, boom. Just take those. And off you go. Fantastic, right? Yeah, that's we have super smart. Pretty smart. Cool of that. Me personally, though. Just don't do the whole Donald. Yeah, Okay. Okay. Spray water wherever it's at. We got a towel on the floor. You ready? Super. Dude, Got this way. This is such a cool little guy. You got super goggles too, huh? Ok, come on over here. I want you to stand right next to this wall. Okay, buddy? Right next to this wall. That's right. You okay? Walking in them for liberty? Flippy flips. There you are. Ok, well, you don't you Because you're a super ultra rockin super dude that Chris, bring that camera in there that we might have to have a little water come your way. So you know what I did today, right? I got a little bit of warm water that I wanted to be able to spray you with so that it looks like you just got back from the beach, right? So, Okay, how about we do the still photos, which are going to be just basic black and white? We do those with a little bit of water, right? But do you want to put the water on the video parts or you just wanna leave those without the water? Either one. He's a total sport. He's a total sports. So here's what we're gonna do. Chris, you've got you Bring that and right in here. Now, this light that were gonna turn on here, little buddy, it's gonna be a little bit on the bright side, but it's not gonna be too bad. So what I want you to do is that want you to look right into the lens here and not the light. Okay. With lenses. This little dark part that's right inside there. Then the light. It's right there. And that's all I'm going to need to do. All right. I'm gonna go just a little bit bigger than that. Go a little bit brighter than that. There we go on. We could bring some of these houselights down just a little bit. That would be terrific. Be a little easier on this little guys. I'd look at that. What a handsome little dude. What? I handsome guy. Yeah, Yeah, those were great. Thank you. Okay, super. Chris, are you ready, sir? Okay. Here, Rio, we are setted yet you're in black and white mode, and then we're gonna shoot over. When you got to go over to color mode, you're gonna let me know. OK, so I got a card. I need a card and s Somebody got out extra card. That's up there sitting there for me and ex D. Sorry. SD card Ready for me. For Louie. Here, boy. This is gonna look great. What do you want? To see? How cool this is. Lower this down just a little bit. Here you go. Here you go. And there you go. Okay. We'll tighten that up just a little bit. That's gonna be the right spot. You're the best guy in the world to be doing these kind of things here, man, I gotta hand it to you. You're such a cool guy. Look at that. OK, think of a card. Yeah, You get all set upon Grandma. All right, All right. Sure. Graham, What's your name again? Levi. My name is Chris. Nice to meet you, Levi. You can call me a rocket man. How's that sound? Alright. Alright, Levi, we are going to have some fun today. You're gonna help me have some fun today, all right? And I like that shark. That is cool. All right, get a car. I'm gonna do a crew quickly for me. Very good. Just to make sure you're going to use your water spray bottle. Do you want to shoot video first or photo? First, man, Let's do some photos. First photos first you got it. So we're gonna shoot photos. We're gonna shoot him in black and white, and they're gonna look spectacular. So I'm gonna set up black and white here. You can see up on the screen that I'm gonna go to my photo style black and white. That's gonna be mono. And it's that contrast plus one. I'm actually gonna go contrast plus to my sharper So I'm gonna bring it up And for my tinting I'm gonna bring it down because I'm sorry, because I don't want any attempt whatsoever. I want that right that at zero they're your buddy. You are set the jig. Make yourself some great photos. Get ready for video. I'll come back and I'll flip it to super color for good. Leave Baghdad. A couple ideas. I'm wondering if you know about a puffer fish. The kind of face that puffer fish makes. Do you know I've got I've got a face that I think works pretty good. It goes something like this. That's my puffer fish. And then I've got another one is called a pucker fish. A little bit different. I see your pucker fish. That's it. Puffer at the puffer. Now I got a pucker little different. All right, That looks good. I like those. Let's do a few of those. All right? Okay, Levi. Ready, man? Let me see your puffer fish. Yeah, I like that. Cool. Looks pretty good. And then we try a pucker like this. Like a regular fish. Yes. Oh, I like it. Let me see that. Nice. That looks good. Nice part me. Shark Board. He's got his hand. Oh, yeah. Let's get to see that. You see anything? Because you met a little bit so I can see it. Well, that shark up a little bit higher can see a little bit higher. I'm gonna have put it over to the side. Just a little bit. Just like this. So we can get you both in their Where's your trying to get him? There we go, Levi. 123 Yeah. Get some water. Way Got courage. Oh, man. Looking good. Li buy. Nice. Nice. That will's a crazy guys. That is crazy. Up a little higher. Good work. Okay, about one way, get our mouth wide open and yell. All right. Here. I got an idea for you here. This time I want to say cowabunga, dude. All right, so Nice. Can I see one more time? Water. Water. Water. Nice. Very good. It can't hurt Chris. Christie. What? I got a man. Nobody's safe around here. Are they? Grieve. All right, That's excellent. Okay, let's flip over the video. Ready? You? Yep. Let me let me do that. You wanna watch? Here's what. Here's what I'm gonna do. I'm gonna go into photo style, and I'm going to go into Vivid. Sorry. It's a little slow, and it's connected to the television. Right? I'm gonna go to Here we go. Vivid. We are terrific, man. And I'm also gonna add a little extra color. I think, too. That vivid. Pick up some sharpness. Levi, You're looking good. We're looking good, my man. A little bit too much there. A little bit too much. Okay, Now, I'm gonna need to bring some sound in on this one. And I'm gonna be the super sound guy. Yeah, that's me. I'm sound RM. So in demand. So we should put those headphones on. How will a quick request from the parental units? Sure. At some point, we would love it if we could get a couple of shots with the goggles on the forehead to. That's a great idea. Thank you. Maybe we'll way move your goggles up just a little soon. See your feel better. Just like that's perfect. I think that's great. Yeah. Look at that. Looking good. Yeah, that's great. So I want you to show me that Move in. Just a minute. I'm gonna come up with another move. I've got a dance move called The Wave. All right. And go something like this. Hold my hand and I go in here, we'll put the struck down so you can do with the other hand, too. It's, like, one big way that comes all the way through. Yeah. Now, how about you started at your end and come this way? All right? So when I ask you to do the wave, I'm gonna let you do it yourself on your own. May see it. Look. Look. Exactly. That's perfect. Oh, man, you've done this before. You've done the way before I knew it, I knew totally. So we're gonna do a couple moves. I'm gonna do the shark move like you did just a minute ago, and I'm gonna have you do the wave. All right? All right. Sounds good. Have it? Lets through the shark first. Since you knew that one. All right, come on over here. Right on here. All right, Levi, let's see your shark Move. Going nice. All right. Now, once you say I'm ready for the beach, Mom and dad stopping Zoom in. Get him to do that again. All right. You were walking. If you need to go super close. Yeah, you got it. You got it. All right, leave a You did such a good job with that. I want to you one more time. All right. So let me get it rolling. We see your shark move, and then I want to be ready for the beach. Mom and Dad ready for the beach. Love it. One more when he's holding the shark. Come up this way, can we could see the shark in the shot. Got it. One more I'm gonna have you hold the shirk up to your side And you just hold it. Yeah. Oh, yeah, That's cool. Like you're hugging. And that's cool, right? Yeah. This time just hold the shark and say are ready for the beach, Mama. Dada said 1123 and then I'll have you go. OK, tell him 123 and reading. That was awesome. Yeah, you totally made you want to shoot a couple extra still photos for him. For parents. They're all right. Oh, man. You are looking good, Levi. Let me see that shark up by your face again? Yeah, Monsieur me. See a tough shark. Face her. Whoa, man. How about this one are very go. Alright. Looking good. Leave. I can see that puffer fish one more time. He did second. Good job with that one. Nice, good job. Good job by one thing. Please do. You got me inspired with the whole idea here to pull thinking. Okay, I'm gonna change a lens real quick. Here's what I want to do. I'm gonna turn this camera off. You're doing a great job. Super duper dude, you hold that for me, please. I'm gonna take off this lens. This is the Panasonic. No, that is the 20. Sorry. The 12 to 35 millimeter lens one that I'm gonna put on is one of my favorites, particularly for little kids. And this is a 45 millimeter F 18 And the reason that I'm seeing this kind of my vision is telling me this is because we've got a lot of layers here with this. And if we shoot this thing wide open, we're going to see some really cool things happen. So let me have this come back up. It'll take a while because the televisions connected. But there we go. Now, I'm gonna be able to tell this to go all the way down to F 18 And if you look, would you put u my grabbing that Bob locked the TV screen there? You see the lower left corner. It's got F 18 right there. That's right. Come down lower here to Levi's. Levi's got me figured out here, man. This guy is. He's it, dude. That's it. Hey, what do you live, by the way? Leave. I live here in Seattle. Know where's home? Do you have a beach where your home is? You know, how many times do you get to go to the beach way? Okay. Gotcha. Gotcha. Okay. Well, nice. What? Could you do me a favor? But could you put the sorry Move your shark up a little higher and I want you to kind of look like look around the ship. Look around the shark here. That's fun, too. Yeah. Look over the camera for me. There you go. I'm gonna tap on his eyes, so I keep his eye on focus. I want you to bring this shark this way. And so that the shark is one of your eyes. Just like that. Just like that? That's exactly right. Now I'm gonna tap on the one I that I want and focus. I'm also gonna tap over that. I'm gonna use the touch screen here, toe. Allow me to get exactly the shot that I want. Now, I would be shooting this in square mode, see a little bit more face. So scoot that a little bit that way. Okay? That's my guy. Now tap back on that. I can remember. I'm shooting it F You ready for big smile, my buddy? Show me that smile. There you go. Show with them, TIFs. Like those teeth. So I'm gonna dutch it just a little bit. Turn it a little sideways there. I'm totally dig it. You know what? I like your whole cowabunga thing. Give me a cowabunga! Oh, that's my guy. That's it right there. Totally dig that guy. That is the way to go. Nice job. Thanks. Job. You got it. Way to go. Okay. Perfect job. Let's hear it for me by Could not done a better job. Could not have done a better job. Terrific. Hop back over with, Pop. If you would please watch your step there. Yep. I'm gonna turn this camera off these cameras. A little unstable, actually. Here, which you mind grabbing that So it doesn't flip that way. And I'm gonna run this over to Louis as soon as we get a chance. Sorry about building up a little bit of a sweat on that there, but I kind of got into it and got what we wanted. That was fantastic. Thank you. We were able to use a couple of the internal pieces of actually Would you mind sitting in the chair for me? Just go ahead and let them. Yeah. Just get whatever stable enough there. That's good enough. That's fine. Just grab that winds. I was able to get all I needed to out of that image. Uh, what wanted to find a way that I could add the color that we needed to I did run into simple technical snafu. Right now, our problem, Our technical staff. Who was that? Because we're working with television, right? We've got a deal with the fact that we don't have the ability to adjust the the pre processing crop off our camera, which is always a big deal. Right. So what we're gonna have to do now is we're going to take those files. They're gonna be run through light room. They're gonna be cropped to square by a person that's not going to share the same vision that we did, but its okay. They're still going to be people that don't know what they're gonna dio Louise got. I mean, Louise Hay Louise the man here. So it's one of those cards. Not quite sure Which one? I'm sure you'll find out. Were you able to get all the evidence that you needed to fix? Sent, gone everything? Yeah, they're out to dance, so they'll be back pretty soon. Ah. So you're not coming in here saying Crocker, We need to re shoot. I know. I'm a disappointment. Eyes any the greatest is the greatest. Right there. Okay, so here's what he's gonna do. He's going to go through, and he wasn't here when we shot the video pieces. Like what? He was here when he when we shot the video pieces, Louis was making notes on which pieces of video he was thinking was gonna be the right ones for the final piece and then what he does as hell put that together with us. With some suggestions to Dan now in the rial workflow in the Crockett House, the decision wouldn't be made by Dan. Remember, Dan Foster just happens to be a friend of ours that owns hybrid lab dot pro. Well, Dan is really not in the business of making creative decisions. He's there of assembling photo and video and audio and turning them into E products for us. And he does a great job at it. We're asking him today to do something that he doesn't typically normally do. So when you have the ability and tell me your feedback here, when you have the ability to be able to shoot, say you needed to square shots and you needed to 16 by nine video shots, your ableto fit that into the square viewfinder. That's the first time you were able to do that, right? Have you done that before? With any camera? Okay. And please feel free. Teoh, speak. Speak how you feel? Did it have any impact at all on you today to be able to shoot in square or because it was so different. Was it just really difficult for you? I don't think it was. It was it wasn't difficult at all. I mean, you know, it's just okay, we're shooting square, you know, And you know, OK, so video goes in 16 by nine, and it's just like, Okay, that's that's what's happening. That's what's gonna happen. So, you know, make it happen. And so it wasn't It wasn't deeply. I wasn't, you know, like I can't believe I'm shooting square or, you know, whatever. But I mean, it was there. I accepted. As you know, that's a part of the job and make it happen. Let's say that somewhere down the road you decided that shooting E products was for you and you went Teoh camera system. Whatever it would be that would allow you to shoot square and you use the Fuji system And do you do you fill it over two square when you shoot bunch to the impact of being able to do that on the fly and being able to say What if I step up to a scene and I say, Well, what if? And it was one click Switch it to square with black and white And just, you know, the creative juices just boom. So you know, that ability to switch like that man opens a lot of doors. It does open a lot of doors, doesn't it? Yeah. You make it great to be I mean, to be able to just, like okay, instead of it is like you getting all the hard court of the post production done beforehand, as opposed to, like, I'm going to nag. Yeah. You know, a lot of people think that you can avoid a lot of that post processing, and in fact, there is a lot of post processing that you can't avoid, but there are ways to do it. And remember the reason that we're doing it? It's not. We're not very good at it. Even though I'm not very good at it. I I admit that there are plenty people that are super really great, all that stuff. It's that I am the guy that has to manage the bottom line. And if I have the ability to have something done before I say crap, if I have to crop 52 images, the amount of time that that takes versus setting the camera to crop and square. It's a big difference in time that turns into a big difference in dollars, and that's where we're going. And that's where we want the audience at home to realize that these are just examples. And these air just exercises on how we're taking people that aren't used to doing that, how they're going to start building these pieces that are going to turn into profitable E products. Right? Okay, let's talk about one of the great ah ha moments that I had when we had the ability we needed. Teoh test a mere lis camera for the first time, and I was hired by a camera manufacturer to see while a couple of features of this camera. In fact, I'm big into shooting textures, and I'm big when I when I shoot first for fun, and I'm also big into shooting color and I do a lot of shapes and lines and I do a lot of depth of field control. I really like to do that. So I appreciate premium lenses and one of the reasons. When I was a youngster, I was drawn toe like A, for instance, was the fact that I've got those really beautiful, shallow, finned up the field lenses that I was able to get really beautiful sharp images as well as great color with two. So I was in Death Valley, one of my favorite spots to go in the whole world. And I had my DSLR with me and I was working on a camera that was supposed to be very dust proof. So it was a major retailer was about to launch this product as a dust proof type of camera. So they said, Well, why don't you take it to the gutsiest place? The you know whats Death Valley in the wintertime. So February go to Death Valley in the wintertime and I'm shooting with this dust proof camera which didn't have removable lens. By the way, it wasn't all in one. But then I also had a mirror list camera that was supposed to be testing, and I have my DSLR. So I had three different camera systems with me, right? They're all packed on a motorcycle and I'm still having a great time. And it was the ah ha moment, Chris, that I picked up the mere lis camera, and I put on which I believe was a 25 millimeter F 28 Lens might have been faster than that. Maybe if 18 lens and I framed up What a black and white shot. And I put the camera in square mode because I was feeling that I was going to shoot this square. And when I put the camera up to my face and I saw the hang on a second, I've got this this colored textured wood that I'm looking at and then when I pick up the camera all of a sudden I see Wait, wait, It's framed square. I said, Wait, this is a black and white shot. So I flipped black and white and I pulled that camera up to my eye. Now, all of a sudden I saw square and I saw a black and white, and I go, Wow, this is even crazier. So I pulled the camera away from me, and I found that inside their arm or buttons that I can adjust contrast and control. And in fact, one of them was color saturation figure. Well, that's really weird. Black and like, doesn't have color saturation. Well, you know what it did. Is it tinted the black and white When you went to positive color saturation, it would actually make it a bluish, a Kulish tone on when you went to a minus color saturation, it went to this warmish kind of green tone. So to this day, when you get a chance to come to Chicago and I invite you to my home, you'll see a photograph that's in my kitchen that my wife hates. By the way, that is the ah ha moment. That changed one big portion of my career. And that was the fact that I learned that mirror less cameras, even though they have a smaller sensor. And they have a lot of things that were, ah, lot less than my Nikon D 700 d 800 at the time. The advantage of that Ah ha moment. Being able to take a look at that picture before you shoot it was something as close to miraculous as I've ever experienced. I was able to then set the camera the way I want to point in at what I stuck. That, and what I saw was the final print. I saw what it was gonna look like that last final picture. I can't do that with a DSLR, but I could do with a mere lists. So maybe there are things that are tradeoffs when it comes to from from muralist to DSLR. But when we're able to shoot things like this where we're able to shoot on the fly color black and white, different shapes, it's easy to photograph kids. Did you have any focusing problems whatsoever with that little kid moving? How about focusing problems over there? What do you know? Let's see. Let's recap what we learned here. Before we take away, we realized that we shot both photo and video with lenses that were pretty fast, right. The lens you have is an F 28 lens, and then we finished up with an F 18 lens 1414 We shot him wide open and we used auto focus and we use face detect. And then finally, at the end, I did one step better. In fact, instead of face detect. In fact, I did use face detect, but on top of face detect I used pinpoint and one of the features on that camera is that when you come in really tight and you're really tight and you're now talking about shooting in an eighth of an inch, maybe even 1/16 of an inch depth of field and you want it on that I What you do is you tap that I and that camel will respond by giving you a little bitty yellow box to say Crockett gotcha. When you tap halfway down on the shutter button at box turns bright green and that says you gotta hit it. So you hit that and off you go when you're talking about video, same thing one hears something that's really crazy. One of my other ha ha moments say that I'm photographing you from an angle, right that you're rotated this way. Europe here. And I've got my video camera either stabilized or on a tripod, and I need to be able to pull video shot right. I want the focus, which is wide open to go from you to you. All right, that's hard thing to do. And a train Video professionals going to say, What do you mean a hard shot to do? I do that every day. That's easy. Hang on a second. I'm not a trained video professional. I know where new have the skills these guys have, right. But, you know, I do have a finger, and I can put on auto focus tracking mode on many of these cameras that have touchscreens, and I can say, All right, I'm going to start their shot touching on your face. I'll hit the video button, have it go Then you're going to say whatever you're going to say And then when I know that you're going to say, we need to tap on you and it's gonna gently just move back up this way and then I could hit the shutter and I'm done. That's a professional video move. That's a toughie.