Setup for Video Interview and Voice Over


Storytelling on Location


Lesson Info

Setup for Video Interview and Voice Over

Be taking away all right, thanks a lot. Well, we have another huge day today on day one of course we went through all of the pre production and concept ing of what we're going to shoot day two we dove into actually doing the shoot we did three ninety minute sessions out here on the lake you saw all of our trials and tribulations you saw snail some of the shots you saw us crashing rc helicopter he didn't see that you're definitely gonna want to download the course you don't get to see that that often but we rc helicopter down we had to call the mayday sign called the faa let them know and and today and then we actually at the end of the day we just talked about some anecdotal sort of war stories of what those wrong what the most common mistakes that we all make in the field today we're going to do the last bit of our shoot, which is the voiceover interview we're going to call it and we're going to bring jim back on camera so that we actually awesome voice tau lay over the thirty second ...

tv spot that we're building, then we're going to go back into the classroom and we're actually going to put together the post production we're going to show you the art of editing video in adobe premiere and then we're going to go and work on the still photos in our third session in adobe photo shop first we'll do an edit in light room and then we'll go into photo shop and really manipulate our select sor to select images so that we can deliver them to our client and then finally, at the end of the day, we're going to dive into really kind of difference between being a one man band and being other, you know, medium sized band or big band and what that means to be on location and the the negatives and positives teach, but really this is all about education, I mean that's why everyone is here that's, why you're tuning in that's why I agreed to do this it's about sharing and really kind of elevating the bar in terms of creativity a couple of things on that front please visit my website, which is corey rich dotcom, and from that website you can go to my blog's you can go to instagram, you can go to facebook, but I do a lot of on the side essays about what we do in the field with a lot of informational tips. We're posting videos weekly or monthly I would say tat tech tips in terms of how we go about making an image or how we work on a video project every wednesday we actually publish a story behind the image we're all right somewhere in the neighborhood of a thousand word essay where I'll tell you the back story to an image and exactly how it was captured both the fun stories behind the images but also the technical behind the image so stay tuned at some point today you'll see our fbi pop up on our block it will also be on our facebook page to a lot of information there and please visit our website, send questions our way or do it through the creative live chat rooms and we're happy to answer any questions that you have so what we're doing today is we're gonna work on the voice over piece of the commercial we captured great visuals yesterday we hope we're crossing our fingers haven't really had a chance to review those was rushed wei have graphics jackson kayak of course our client has already sent us the graphics for their company or their logos and so now really the remaining element that we need to capture in the field is jim sammons voice talking about his love for kayaking so I want to talk you kayaking and fishing of course on beer so I want to walk you through kind of the basic set up here so usually this is dana and I are going to do this together just a two man operation and at first glance you look at this anything this is a rat's nest of equipment and I and it is there is a lot of things that can go wrong with this rat's nest of equipment but we are using we're doing a few things differently so that you guys can see our live feed on the internet so we're adding a few few little twists to this equation a equation we're going to do just a single camera interview because we know that this is in a thirty second spot there's no way we're going to actually cut from one camera to a second camera when we were talking about shooting interviews yesterday in the classroom we discussed the idea of a two camera interview the way that we would transform this into a two camera interview would literally be by stacking another camera other on the right side or the left side of this d a hundred now the reason for doing a two camera interview so that later when we get into post we can actually at it voice and not have to cut the same pictures with one camera is very difficult to do a voice at it if you only have one image toe work with but with this spot it's quite possible that were never actually going to see jim's face in the spot we're going to try to but we're going to see how the edit really feels when we get back into into adobe premiere um we're working in a pretty tight space today it's you know raining where it might rain stopped raining about twenty minutes ago, so we're hoping that it doesn't rain anymore, so we have a white pop up tent and we chose a white tent that wasn't coincidence that it's white we always travel with two white pop up tents because then they allow some light. I just wanted to say that we don't travel with pop up tenant we're just lucky that creative lives had two white pop up tents, but there is there's a positive to having a white pop up tent and that is it acts like a soft box, so if we had a black pop up ten, we'd really be deadening our skies we'd be killing like versus now we get this nice soft light almost like a scrim coming through so that when we start working with our light way definitely lost three stops I mean it's actually pretty nice light, so we're going to work under this. I don't know what this is an eight by eight or ten by ten pop up tents so it's a pretty confined space. Ideally, we wouldn't be working under a pop up, but we have enough expensive gear out here that the last thing we want is to be midway through doing the interview starts pouring rain and we have two one way don't capture the interviewing we ruined gear at the same time kind of the poor man's way of doing that as we would consolidate the gear and have golf umbrellas over each piece of equipment. So one big golf umbrella gaff tape they're clamped onto the tripod with the camera we might also put a golf umbrella each of over each of our lights we might put another bag or golf umbrella over the microphone so again, you're always trying to anticipate what's going to happen next because you don't want to end up in a situation where you've spent two hours setting up your interview situation and then the other one the light changes or two it starts raining or snowing and the wind picks up so you're always trying to anticipate what's the weather going to do so what we have here is our main camera d eight hundred and we're using a small hd monitor and that allows in this situation danes going to be operating the camera and monitoring the sound so he's kind of doing double duty again. I said it before if you could if you have the budget to bring an audio engineer in it's definitely worth meaning in an audio engineer because audio is one of those places where you can it's the greatest opportunity for mistakes, but dane is such an ace on the camera and the audio that I'm not concerned the reality is a lot of time the budgets you know you don't have that on these, you know, smaller footprint cruise, so you kinda have to wear multiple hats and do your best teo, you know, follow a few simple rules toe help yourself out on capturing clean audio, and the reality is the audio guys that really good at what they do and they make your life easier, but they also cringe because they can see justice. Dane said the industry's changing and budgets air getting smaller, there's more production happening it's not that less is getting spent on production. It's just there's more productions, and they're more targeted productions. And so the idea of showing up with your own audio recording device a recording direct to camera it is part of the future I mean there's a realign now in the sand, big productions get audio engineers, small productions don't, and so just hide your audio recording device if you have an engineer because they really scoff of these little cheap devices, you know, they like to have a big mixing board strapped to their waist and headphones, so but that's okay, um all right, so we are actually using a task am recorder we have actually three channels of audio that come into this task cam, and we're going to put two microphones on jim, we're going to put a level ear on him on his chest and then we're also going to have this shotgun microphone and the reason we're doing that is so that we have redundancy we're not audio engineers we don't feel confident and just flying the one microphone so if something goes wrong with either of those microphones it means we have a backup and that's a really big deal and what I don't want us to not have the audio um and then what we're doing is pushing the audio signal from the task camp so we're recording we have an sd card in this in this recorder and then we're pushing that audio single signal into our d a hundred just with a many of this the same cable that you'd actually run your iphone and your stereo on the car and that way when we actually sync audio already on our file so we're shooting a twenty four frames per second we've made certain that the audio recording devices set to that same twenty four frames per second same frequency so that we don't have kind of words that air our jar bold um and and then we have this shotgun microphone we have a son heizer so inside of this blimp and the idea behind the blimp is that we can really it allows us to shoot when there's a little bit of wind and I can feel some wind blowing in off the lake you can see the huge waves forming out on beaver lake and so we want to make sure actually that the we can control that sound in fact because the wind is coming in from this side we might before the interview starts move the microphone to the other side so that the wind is blowing over the top of the mic rather than straight into the microphone and ideally we have two great audio sources I mean ideally the laugh sounds great as well as thie actual shotgun mike we haven't actually brought jim and yet to the spot I know that we're going to spend some time shooting and that's a pretty tight shot it might only be from kind of mid chest to the top of his head so we actually just took our light panels case and we're gonna let him sit on the case the reality is the more comfortable your talent is the better the interview will become I mean if they're uncomfortable and miserable and shifting around a lot that makes your job harder when you're shooting the voiceover shooting the interview so we're going to try to get jim sitting on the case and it's also a good idea is if you have extra hands around is let somebody sit in there trying figure out the lighting before you have your talent get in there so they can all they're focusing on is you know, getting you good bites and having a conversation with you actually thanks for reminding me jim's, agent, can you? I think we need him out of his trailer in about fifteen minutes, fifteen minutes for jim out of his trailer. So the thing is, when you're working with high and talent, we have the best fishermen in the world hear what you just want to really make sure that you don't want them pissed off when they sit down in front of the camera, you want them just shining and bubbly, and you really want to get there emotions to pour out. So really, by giving jim's agent, that fifteen minute warning than jim's agent will tell us, handler who's, the handler will then send one of his people into the trailer, and then they'll get him prepped to come back out onto set. So but I think today's point no seriousness, it's a really big deal, it's tough if we have gym sitting here for forty five minutes or two hours while we're trying to figure out the lights, because then he and especially if we're having a problem, we can't get audio toe work or the lights not working, and the stress that we feel jim will start to see it, and that actually really can ruin an interview minutes you want him to feel fresh, so it's all often times, you know, we would have shown or bligh sitting in you know jim, hey, you're welcome to go and grab a drink you know, we've stopped the beer cooler and jim's out there drinking beers and the other key piece of equipment which is you're going to see us using is we're always wearing a headset and so you can't just look att audio levels on a recording device, whether it's your camera or whether it's the recorder you've really gotta have a headset on because the level that's just telling you are you peeking or is the level to love but you need to hear the quality of the sound are you hearing gyms? You know, shirt rub against a za labs there wind blowing into the shotgun microphone so dane will probably have these on sometimes depends on how we decide to split the duties sometimes all actually do the interview and where they had said at the same time if danes managing a lot of cameras but again, someone has to be monitoring that sound. Um this device uh take it guess what that's called this is called the nasty clamp I didn't make it out, but this is actually really very helpful device it allowed you it's just a a clamp that you can put on just about anything with the quarter twenty on the top sometimes we'll mount monitors on it little small age d's it's a hook for for your phones and you comptel way actually a larger nasty clint with a little flag and this is really helpful because oftentimes you're back light or you have son this this you can quickly put it over the lens so that you don't have flare going into your lens if dane and I if this were for real and we weren't trying to broadcast live on the internet oftentimes I would have this monitor so that I can actually see what's going on on camera danes looking at other another seven inch monitor or four inch monitor and then we'd be sending a signal to this monitor also sometimes will use this is our client monitors so let's just say we have a client eric jackson is here eric would be up with the beer cooler sitting in the house right now and so we'd send this monitor up to the house so that and we can transmit wirelessly the signal to eric so he's and I would try to oftentimes get the client away from the interview as few people as possible on location for the interview oftentimes help because you get a more intimate feeling for what we're doing right now I think it's just fun, it wouldn't be a big deal of it they're jackson we're standing here, but if it's if we were doing a documentary film where there was no real emotion and it was a kind of a story about someone's life and we're digging into their history that's where sometimes keeping the client away or if it's someone in front of the camera that doesn't spend a lot of time looking at cameras it's nice to not have a wall of people standing on the other side of the camera because it adds stress to the situation and you get less authentic content so oftentimes will put the client or anyone else even assistance will be standing in the other room you know, waiting if we need them we'll call them in but otherwise it's just dana and I ideal and I'm asking the questions danes operating the camera um okay let's see so it's overcast surprisingly I think it's three hundred sixty three days a year it's sunny in the pacific northwest we just happened to get the two overcast days so the so the reality is I had a I had a feeling that might happen so we actually brought to helio light panels to these air equivalent to five hundred watts of power and the beauty of these lights were re ran power because we're close enough to the house we could put anton our batteries on the back of them but this we're going to basically set up one which will be our key and I can already tell it's flip that on we're probably going to add some diffusion to this key light just we wanted a little bit softer we don't want a hard edge we want jim toe look fantastic and then we're going to turn on r r rim light or backlight where's the power button okay, perfect and you can see the beauty of these leads of course is that they don't get hot so we can wrap diffusion around the actual led you want me to hand you hear from the fusion and so we try to kind of multipurpose everything in our kid these air diffusion sheets of these air scrims that we can put on these uh frame reflectors. So the idea is anything that we can repurpose with equals carrying less year into the field so we're just going to wrap this fabric around our light and once we get jim and let me actually just call up to the trailer okay let's have jim come on down from the trailer behind and give you clothes get a pillow for me, you know, can we get a pillow? Jim's rider requires a pillar so and oftentimes all also there's a lot of cord, so why don't you slip in there and all kind of put the microphone you can actually sit on our luggage tag there if that helps that song, by the way, jim is jim is the real mccoy he left his gear out all night so it's soaking wet and he's actually cold, it's wet and cold and he hasn't complained yet. And so that really that speaks volumes to the level in the calibre of this angler that we have out here, that that's, you know, being a true role model in the fishing world or in any genre is not complaining it's just, you know, leading and that's what jim is doing, you and bud and I and this is in all seriousness, the idea that I'm seeing jim laughing right now, you could pull that out the idea that jim's laughing that's like the perfect entry into the situation. He's having fun is enjoying himself all try to keep that light hearted the whole time when I'm working with someone because the more light hearted the interview feels, the better results we're going to get out of the situation so I can already see the light we can see that little key light we're filling in the shadow looks like we have some nice rim let me see if, see if we can maybe crank does that look better with a little more room? We're gonna need to turn the camera on okay, so one other thing that and this is probably the one moment where jim is going to cringe in this situation. Even though it is a terribly handsome guy, we're probably going to do a little bit of makeup. This is the one shot when we're looking straight in his face and it's a tight shot that people are going to analyze his skin and like myself, jim spends a lot of time in the sun and you know, jim is only twenty one years old, but he spent enough time in the sun that the actions and little sun spots so my wife, marina, has just handed off our baby upstairs and marina's jobs she does make up in here, so she's going to show us what a very basic kit of makeup and hair I actually really make up can do for you. So this is really what I carry, and this is I'm gonna let you explain so that's my wife, maria, all right, hello, everybody and marina? Well, this is a kid that I gave it to korea because most of the time a teacher's there's some productions that doesn't have a budget for a makeup artist she's experiencing that's most of the way can't bring, and this is a kid that any photographer videographer should have in your camera can't, because it's something that you can fix any little blemishes or sunspots or readiness on the subject's skin and what I have here, it's ah, concealer will you can get in any makeup store are like this one it's a napoleon pretty but mac has really cool palates that I have several skin tones and you can always submit to the subject's skin tone um and there's I'm goingto use or europe the photographer videographer can use to just tap into the blemish area or the readiness or the the problem area we call it jim's character is not a blemish, it's just kidding these characters and the only thing that I saw, marina, that when we when we were looking through the camera the other day, it seems like there was one little sun spot on the right side, and I think that might be a good example of just covering that up, all right and to other things also that I let cory borrow from a kid. It's ah face powder it's, a turned loose, translucent face powder and powder brush and that's for when the subject has oily skin or there's some shiny skin, which jim doesn't have any right now it's so you can just go ahead and put some powder on the subject's skin. So, um it is looks shining and so do you want me to hold the powder and the reality is that brush marina correct me if I'm wrong, usually I buy them at home depot, you can get them anywhere from one inch to like a roller putting this you couldn't get that in any makeup stores as well it's just the powder brush and you can you can I ask for a powder brush and ah turns lucid powder or any kind of powder to take outshine shiniest spots so here that's where you can see the sunspot that corey was telling what do you have to do is just go ahead this is a really basic will if you go ahead and get a bigger will, you're going to have more choices of skin tone but this is really good that you can just mix and match you get skin tone and I can tell that jamie's actually little his a little sun ah ten so I'll just go ahead and the darkest shade and what you're gonna do just that went in and just make sir it's it's blending with hiss skin and it's in you know anybody can do this you don't if you don't have the budget to have a makeup artists in your production you just go ahead if you have a kid like this it just go ahead and and one of those note is you know jim is actually an athletic guy that spends time outside, you know, professional angle or he's on television all the time two different shows where we find we have to use make up the most it's not with athletic talent it's actually, when you're doing corporate jobs where you're you know you're interviewing some guy that works in a cubicle all day and and I don't mean that in any negative way but he's some senior level management type person and it's just you know, he's not out in the sun all day every day and so the skin symptoms there's really stuff that you need to cover up, you know, varicose vein or just some weird stuff on their face and the reality is everyone while it's uncomfortable at the beginning everyone's thankful in the aftermath went on camera they look much better minutes, you know, they look the way that they did ten years earlier and also you you always have to read your the talent story you know, jim here he needs that rough, huh? Really crusty way called central casting we say thiss arrest iq look, so I'm not gonna put I'm not going I like the way that hey, hey hey has all this readiness in his skin, which that's what we want, he spends a lot of time in the sun and we don't want to cover that up and look like a really finished well don't skin because that's not the truthful jane, jim or that's, not how he looks so we have to be through full of what's the story that you're telling so the makeup with match you know who he is and what he does so I went ahead and I just fixed that sunspot and again that's something that a photographer videographer system can go ahead and have that small kid and do for top forgot like marina said we're not worried about powdering his face it's not he's sweating it's not warm in here if we were in the classroom and doing this under hot lights that's another advantage to these led lights the light panels they're not generating a ton of heat so he's not sweating as we're doing this and so that's just something you're thinking that if you see sweat, sweat starting to drip off someone's face that's when the powder really comes in after you use a little before you put the powder you have to actually dry the sweat if not if you don't do so it's going cake and their face and that's gonna look horrible and I speak it's like at home people you by primer first first you like it you spray it with it with a sandblaster than you ah primary and then you put on the coat of paint anyway that's the kit for small productions when you don't have the budget for a makeup artist but if you do have budget for makeup artists go to marina rich dotcom and thank you guys very well thank you okay so let's and again, this is a very sophisticated carrying case for this basic kit that I take with me. You can get this it's safe way home depot, walmart tio ziplock bag but it's uh, it's actually, one of the key ingredients it's always in my camera bag if we're going to shoot an interview, okay, so let's actually turn on the camera. It's on amazon. Okay, perfect wound dame kind of nailed that straight out of the gate. Wei had we had a subject sit in for a little while just to speed things up, but usually we would never admit that if the client was you were a dane would just turn it on and say, yeah, ready to go and and it's not that you know, we couldn't have done something like this with with natural light, but to be ableto have the flexibility to spend a little more time to nail your interview, to make sure you're getting the correct bites. When you have the opportunity to use a lighting source, you can get that consistent look throughout the whole piece, you can actually added a lot more stuff together, you don't have son changing on light, changing as much so that's part of why we went with the lighting here and let's play with our we full power on this this front life no yes. Okay, so that's full power that's also were so we're full power here so the only way we're going to get more light it's one of two things we're going to lose some diffusion or bring the light closer to jim and I really like what we're seeing here but just for the heck of it let's maybe peel off diffusion and let them see what it looks like with about one sheet is one sheet of diffusion and let's go toe just for the heck of it no diffusion so that they can see that okay, now you can see becomes really blinding him and it's a really harsh light you can see kind of shine on us even when we turn it down it's a harsher light you can see much harsher shadows on his face, so now we'll add the diffusion will go back to full power and by the way, with l eads it's really important, try to not let your subjects look at them they're pretty blinding him and they're really, really bright bright lights so now you can see the shadows, they're starting to soften now we're backto one sheet of diffusion and that's still that's full power right now yeah it's actually exposure wise on his face that's about where we'd want to be, why don't we go one sheet I mean, I think he's single sheet of confusion I mean my quality looks good I can take that other one and just put it away perfect and what's happening out, you know, outside of our little pop up ten it's actually getting brighter so you know, to overpower the ambient light is going to get harder and harder if the sun really pops out. As dane said, the ability to control the interview is really valuable, okay? And then what about weather? And I adjust that rim I'll go all the way down so that everyone can see what that's is that no light that's no that's, no light and I'll just slowly ratchet that up and we want the room just to give a little separation from the background it's also on the interview we're looking for a little more of a high contrast look so that's a full power right there and that's still I think we back off just a little bit, his hats clipping just a touch somewhere right in there looks really good so his dane was saying this really just separates him from that background and day maybe you can explain it while on alternate all the way down so they can see the difference between so here we go no light it's just creating its a flatter look isn't it a bad look but what we wanted the client asked for that higher contrast look on the interview we wanted this to separate actually a little bit from the video footage that we shot yesterday so now when we add this light you'll see what happens tell me when I'm in the zone why don't you go full power and then we'll back off from that full power right there that will back off just because the top of his hat is seems to be a little hot keep on going and I think that looks pretty good right there okay, so this is simple setup of course we have basically a soft box overhead which is this pop up tent we have key light and then we have a backlight on jim so just a two camera set up which is actually pretty nice now the other thing that we're going to use and this is a really cheap you know, this is not a very sophisticated slate but this allows us to keep and you can see this thing's traveled a lot of crack that's just a piece of plexiglass and on this late we're actually going to right what we're doing so that we can keep track of it later in post and also if we had multiple cameras let's say we had four other cameras you know, two up front two on the side and one kind of you know, real tight angle on his eyes every time we do a take we can actually keep track of it, and we put this in front of jim's eyes and for us today, this isn't important because we're recording toe one camera, but you put this so that you can actually see right through the slate to his eyes and then that's, actually an audible clap so that when we go to sink the sound one you see on the slate exactly what you're shooting and then too, you have something that's most visual, and you have the sound of the clap so that thinking the sound is easier and today in adobe see, see it's easier than ever to sink multiple cameras with sound, so but we're not going to do that today. Um, the other thing that we like to do is keep a handful of our grip equipment real close to here. This is just a little piece of climbing webbing, and we have a handful of different colors of gaff tape, you know, white, black, little rolls two inches wide, one inch wide and it's just so that we can really quickly, you know, make corrections. The beauty of gaff tape is actually that it doesn't leave a residue like duct tape, so if you put duct tape on your tripod leg and then you peel it off a day later there's this gu it's almost like you've left the glue so the beauty of gaff tape is it actually allows you to you know, just stuff tape your camera's tape tripod legs and you're not going to have a bunch of goo at the end um here we actually have that's fairly heavy this is just a tomato lius climbing bag it's just repacking stuff for the outdoors really rugged and this is our grip kitt when we're travelling it's really in this probably weighs twenty five pounds and we'll kind of allow this thing to double as a weight and so we'll label everything it's his grip right on the top with the piece of tape and this allows us to you know, because we don't want to travel on location all the time with sandbags will just hang that twenty pound bag right off a light stand and that really will do the job of, you know, not allowing that to flip over if the wind picks up and then you can see where again we're multi purpose here this was one of the weights that were used on the jib the other day it's a ten pound weight we had almost eighty pounds of weight on our jib arm and so again we just took a piece of cord and hung the weight straight off the stand and the point really is it's not that you have to buy the exact piece of equipment, you know, the sand production sandbags because they're just not practical if you're flying everywhere, if you're shooting on location it's about actually having waits that you can improvise with, the other thing that will do is try to keep all of the equipment that we might need close by. So we have our camera bags, we have our led lighting kit with some additional lights if we need them, we have a few extra stands. One of the things that jim and I talked about last night was maybe the possibility of trying a few of the lines and then if he feels like he needs to read off the teleprompter or even just that bullet points on the teleprompter, we could set up an ipad, so as I'm thinking about that, let me just hey, boy, is it possible to bring an ipad down so that we can use it as a teleprompter? Um, so I think the next thing that I would usually do in this kind of an environment so we're feeling pretty, but we were like, oh, yeah, yeah, good point at microphones, they're helpful, so we're going to run two mikes, we're going to run this shotgun mike, which is inside of the blimp and then we're also going to put a laval ear mike, you khun see, jim already has another lab on him, but that so that you can hear among creative live and then we're going to run a separate love mic that goes to just our task am recorder so he's actually gonna have three mikes on him, which that's pretty rare we don't usually do it. Three mic set up let's see what we're setting up this mike all kind of explain what we're thinking about justus I described with this three shotgun mic ideally, we don't have the wind blowing directly into the shotgun. The same is true with the lab. We're going to try to tuck it one so that it's out of the shot like when we're doing an interview it's you know stylistically it's okay on creative lives, this is education. You can see my microphone, you can see jim's you can see danes, but we're going to try to hide his lab mike so we put it in the side of his paddling jacket here. Um and we also because it's inside of his paddling jacket it's pretty protected from the wind, which is great, we also put a little wind soccer, a wind what you call it wind sock we didn't put foam on it, it's just a little little catholic screen windscreen. I'm sorry, that was the word. So we actually put a little windscreen on it. Not that it's very windy out here, but when you're outdoors and there's a little breeze it's just worth worth keeping the windscreen on, and then we'll actually do a test. So the audio test is pretty key because we want to check our levels. It's, not you. Just plug in your audio plug in the mikes and you're ready to roll. And the way that I like to do it is all actually ask jim questions, and the easiest one is, you know, you just want them to talk, and I'll explain to the model why we're doing it so it's, you know, hey, jim, we're going to test the audio. Can you tell us what you had for lunch and in great detail? That's kind of the angry in great detail like I want in sixty seconds or more way want to hear what you have, and so let us we're gonna fire up our task cam here, why don't you go ahead and talk about the lighting set up? We got going here with a little thought this might be a good opportunity to take any questions, because I've just going like a lot of think about if there's anything that you have related to how we're setting up this equipment because soon we're going to go into more the conceptual and less of the technical. So if there's anything that's brewing in your mind, think about that question and I'll come to you guys here in a few minutes. Um jim, why don't you and I for a second, just talk aboutthe lines that were going to be going to be reading here we find that sheet of paper. Okay. All right. So now, if you guys think back to day one, which seems like years ago at this point, so we actually have two lines that we wrote into the copy and if you know, maybe you guys can pull up on the computer this this page of the pdf so that the premier line that aaron jackson approved was I love fishing, kayaking and beer not necessarily in that order jackson kayak and so that's at least a starting point. You know, sometimes the lines that are written sound great in a conference room for over a telephone call, but then when you get into the field, you realize what we can we can do better than that line. And so the other line, the alternate line that we had was life's all about fishing, kayaking and drinking beer I'm living the dream with jackson kayak and so jim and I of course over beers last night talked about thes lines a little bit and we came to the realization and part of it is discovery, right? I asked jim a lot of questions about his life and who is because I didn't have that opportunity in advance of showing up that beaver lake and so one of the things that came out as jim's been fishing for fifty years he started fishing when he was two years old and he's fifty two today and immediately I say to myself, that's actually pretty interesting that should maybe be in this dialogue so you know, jim and I started playing with alternate lines that involved that, you know, I started fishing when I was two years old I've been fishing for fifty years and so like and they're often times be a lot of banter and jim and I will do this on camera world's try a couple of different lines and if I like it all starts scribbling notes if jim's having a hard time remembering this stuff, we can either write it on apiece of paper or even use an ipad is a teleprompter there's some great kind of ipad teleprompter software everything from free aps to four dollar wraps that are really fantastic, so okay let's take maybe a question or two and then we'll all right, I have a question from stacy peterson, who is from salt lake city, and stacy asked what is the most cost effective audio equipment for interviews, along with a question from jimmy strat, who asked what is the most basic audio set up one would use when they're just getting started? Sure, I think the simple answer is the most basic audio set up would be your nikon d eight hundred with that emmy one microphone on the top of it and a set of headphones, it could be your iphone headphones, it could be the m e one microphone that's on top, and the other thing that you can do is you can take that anyone microphone and by a little extension cord from radioshack for ten bucks, you get a fifteen foot extension quarter, a ten foot extension cord, and you could actually put that on this microphone stand and you really do have you have a fantastic audio system, you're putting the shotgun mike microphone closer to jim's face rather than mounting it on the camera, and you're running it directly to camera. You have your iphone had said, and you're listening to the audio directly through the camera that say, you know, your investment is an external microphone, which is you know there's, a variety of microphones on the market and secondly, your iphone headset and maybe an extension cord little many extension cord from radio shack, so that would be a great option. What what do you transmit the video signal with wirelessly? Did you already say that, right? We're using apparel inks, maybe dane convey knows more about the parent links than yeah, it's, just a h d m I wireless transmitter it's, one of the the cheaper price point items on the market. But it's also, I got to say it's the most solid plug and play you just stick it in one end of the camera and throw it to a monitor, and we've had no issues with it. You get, they say over three hundred feet, I think realistically, we get about one hundred, one hundred twenty feet of clean transmission. It's also un compressed hd, so some people, even you're a recorder on the other end so that you're not tethered to the recorder. I wouldn't trust that, but that is part of the marketing for it.

Class Description

The future of storytelling, for enthusiasts and professionals alike, is all about capturing great pictures AND great video during a single dynamic shoot. However, attempting to be both a still photographer and ace filmmaker at the same time is rife with opportunities to mess up, miss the shot, and blow the whole shoot.

A lot of photographers have learned to add video into their repertoire through trial and error, often with frustrating results. Join seasoned visual storyteller Corey Rich for a 3-day live still-and-motion shoot on location. Corey will walk you through every step of the process — from storyboarding to post-production.

Whether you’re an enthusiast wanting to capture stills and video of your cousin’s wedding, or a professional photographer looking to offer stunning motion spots to your clients, this workshop will help you seamlessly bring your stories to life.


a Creativelive Student

What a great class it is such a great opportunity to what some real pros at work. This class will inspire you to do what it takes to get the image. You will see that even the pros struggle sometimes.

Edina C.

Very informative class! I loved it... Thanks Corey!

a Creativelive Student