Shoot: Fisherman in Boat


Storytelling on Location


Lesson Info

Shoot: Fisherman in Boat

Today is what we call gamed in the production world, you know, we talked about everything that we were going to do yesterday and all of the pre production, all the documents storyboarding we rationalized the equipment, and today is the day where we actually get to go out and do it. And so the reality is this is this is really when the crew feels the most pressure, both myself and anyone that's helping on the job we've got to deliver this is the day where excuses aren't an option. We've just got to deliver the goods and there's a lot to think about when we're actually shooting the realities. I'm looking at the sky from the moment I opened my eyes this morning and I kept on looking up, crossing my fingers and hoping it didn't rain in the pacific northwest right now, and that really changes production the instant that starts raining. We have a lot of electronics outside and that can shut you down pretty quickly, so we've kind of created cem safety nets for if it rains, we set up a pop up ...

tent in the backgrounds we have a dry area for our gear. We have a big golf umbrella, so if we need to get under the umbrellas to stay dry, we can do that, so we're always you always want to be thinking two or three steps ahead, the what ifs, what happens if this goes wrong? How are we going to remedy that situation? How are we prepared for it so that we're not scrambling? You know, part of being on location really is about being adaptable and being resourceful when things don't work the way that you had anticipated, but what we did yesterday in our last session was we actually really organized what our day would look like or second to last session, we really laid out our storyboards in order so that we have a good feel for what we're going to do today, and I guess our plan always has tried to stick to those storyboards try to stick to that schedule. I always keep that schedule right in my pocket, it's kind of a luxury to actually have storyboards, we don't always have storyboards. We talked about that yesterday symptoms it's just a shot list with detailed descriptions and words of what we're going to dio first, second and on down the list, but today we're going to jump right into it, actually and try to go to our first shot, which is going to be and jim and dane already down on our little beach and that that's. One other thing I want to say, just remember, if you're home watching this, this is maura about the process, what we're shooting than it is about the perfect visuals. We're going to try to keep on moving through our shots, sometimes we're going toe fumble. Sometimes we're going to really nail it. Symptoms were going to show stuff in the background that in a perfect location, we might not have a dock two hundred feet on each side of us, but that's okay, there's, some suspension of disbelief in terms of what we're shooting, what our first shot, if you can, maybe we can pull it up on screen. It's going to be jim actually entering the water that's and again, this is out of sequence. This might not be the first shot and are at it, but the first shot that we're going to capture today is jim is at his kayak he's going to kind of dragged it out to the water, get in the kayak and then paddle out, and our idea for this shot actually, is we have a fifteen foot jib arm set up here and again, we like to kind of do this in a what I call a guerilla style we went to big five sporting goods picked up some weight and then we realized we still didn't have enough weight there's eighty pounds of iron and then we went ahead and put this climbing bag it's justa stuff sack for climbing year and then we put about another fifteen pounds of rocks that we found just around the dock here and that's the perfect amount of ballast so that we can get the gym arm with shawn's handheld gimbal we've mounted that on the end of the jib arm and and then we have a nikon d eight hundred on that jib arm so that g eight hundred is ready to roll we've already preset are our exposure and were a fiftieth of a second at twenty four frames per second and what is our ah let's just say it's one hundred one hundred s o at what f and we're going for we want a lot of depth of field right now because we can't change our focus we don't have a follow focus rig on this camera what is it eph ok so here we go f ate fiftieth of a second twenty four frames per second one hundred sl and there's no nd filter on the front of that sixteen to thirty five millimeter lens right now because we want maximum depth of field and now you can see what's happening to my face your son is coming in and out of these clouds and so that alters our exposure the good news is the sun is coming in from the far right so jim is going to be sort of backlit relative to where our camera is and he's on very dark water with cool cloud reflection so exposures a little less critical but if we find it's blown out dane and I are going to be looking at the monitor sean is actually going to be operating the jib arm so he's going to be controlling it as it flies over the top of of jim as he moves into the water and dane is actually going to be operating the gimbal so that we can actually go from a downward moves they're looking straight down and then we'll actually roll said that we're actually looking out so we liketo add nicknames to everything and everyone so jim has a radio handle which is big fish so if I call for big fish and I'm little pond so it'll just be a little pawn for big fish you got I know that's really important because you want to keep morale high on photo shoots and then what? Dane and I have a very technical vernacular for actually describing the crane moves and so we're going to start with wolfgang which is going to be looking straight down so wolfgang and then we're going to go to the amadeus move which is it's gonna wolfgang amadeus where we're looking out and I think and in all seriousness, having fun on the job is really key when it gets too serious, you know, we should all find other jobs, so let me just check if jim's ready big fish are you are you close to ready? All right, so I'm going to try to and let me just remind everyone this would be possible to do with two people, probably not alone but were you? I brought in more crew today simply so that I can spend more time explaining what we're doing on camera rather than you just staring at the back of my head as I'm actually trying to operate a camera. So um and you're going to hear a lot of the dialogue things might not go perfectly smooth all day today, but that's part of the game and you'll see a sweating bullets and cussing at one another but that's part of production on location okay, let's um why don't we actually let's like a live vision? Okay, there's a lot of electronics, by the way and electronics tend to get pretty finicky, so we do a lot of you know, as the old saying goes, if something's not working restart your computer we should restart our computers a lot and and you can imagine the complexity of doing that so that we can send a live feed online it kind of adds an infinity symbol next to how complex it gets, where it's, you know, exponentially more complicated. So right now, what we're playing with is we're trying to get a live you feed back into our small hd monitors so that dane can actually see what's happening on that d eight hundred on the end of the jib arm, and jim, I think, and one of the things that all do is really try to communicate so that jim knows what we want minutes, you know, we have our heads are really wrapped up with what are we trying to accomplish? Visually? But jim wasn't engaged, you know, he was out sleigh and fish, as they say in the fishing there's yesterday afternoon, and so he didn't hear all of that dialogue around what we're trying to do. And so, jim, this first shot really, and you can see it on the board behind us, and the home audience can see on their screen it's really going to be you kind of push your kayak out, and then when the water is kind of the point where you get in it, I think just sit in your kayak and start paddling out, and we'll probably do it a handful of times, you know, we might do it a half dozen times. And we might have just where what your trajectory is I would say that in terms of the angle that you're aiming, I think you're aiming it that wouldn't basically there's that fisherman out there and yep farthest right doc just in that clearing and ah okay so the camera you can see how cool this gimbal is guys this gimbal is the camera is maintaining the orientation but then dain actually has full control so we're going to start with the top down view so and we're on a sixteen to thirty five millimeter lens are we at sixteen sixteen millimeters so it's a pretty cool view right now looking straight down and jim is cameras already rolling okay camera's rolling and as they say in hollywood action let's do it and now we're not rolling sound so if we were recording sound I would actually say, you know quiet on the set because we want clean sound but right now it's more about just a visual of getting jim into the water so now dane's moving into the amadeus you went from wolfgang amadeus so he's looking out of the water nice for getting the camera nice and low perfect and let's actually good and paddle out probably another ah forty five feet jim okay let's reset three pounds try and gain maybe on this one I'll look in there how did that lost signal? Okay so you know, one of the other tricks in the industry is even if you can't see it when your client to standing next to you just say no that is great that was fantastic and so that's we did just lose signal see if we're using apparel ing system and they can be finicky sometimes I think it has more to do with we're going into the live feed there's a little extra well extra can activity here that we're doing and one thing that happens frequently is you actually you do lose you feed a lot of the helicopter shots that we've done a lot of the gym work that we've done we just lose our connection or monitor stop working or cables freeze and in that case you just keep on shooting if we have to we'll actually look att du two shots review the back in the camera it's all about improvising it's trying to make it work despite what the equipment is doing okay, okay all right cool that looked great perfect that sounds good we didn't actually see it but I can tell that looked good I mean it just looked good seeing that camera do you mind if I tell this a little bit is that going to screw up the feed uh we lost getting it okay okay okay so what we'll do is we're going to do another pass even if we don't have the feed and then worst case is well reviewed on the back of the camera just to make sure that we're getting a picture and you know we're not not going on a god okay we have picture and jim let's yeah let's do it we're rolling that looks good that's what they call money in the industry that looked really good great beautiful yeah, I think bring it all the way down to the water shawn grate maybe keep on going jim maybe go another maybe camera left a little bit perfect I guess we just ignore the fact that the doc is there yet. Okay great jim come on back in so that looked fantastic. That was a really nice shot you think it's were hidden so we started actually top down top down looking straight at jim and then as the jib arm came down reports we repositioned the camera so that we're looking out in the water and remember I'm going to say this a few times today you have to use suspension of disbelief pretend there's no doc pretend there's no houses this is just this tranquil pond in the middle of the middle of alaska for example um my gym now is perfect the angle you went out look perfect I think why don't we do one more pass actually and then I think we'll probably switch gears and try to jump into our second shot in the sequence you guys can see that we're getting son is coming in and out one of the other things I would probably do if this was if this was real if we weren't trying to do this I would try to cover up these tracks on the beach so it doesn't look like he's you know, we've done the shot fourteen times in a row and so if you want it to feel like it's virgin soil like jim just arrived and he's the first man on earth to fish this pond so let's see here yeah and I think and the idea is I show you that I'm cleaning up the sand because you really have to pay attention to all of those details it's you know we're responsible for everything that's happening in the frame so if it bothers you if it bothers you at the very beginning of the shoot later when you get into post production you're going to be pulling your hair out all these grey hairs I have they've actually come from stuff like that it's not cleaning up to saying them and later regretting that you didn't clean it up okay I think it's worth talking about his you know, before we went live on the air jim and I spent about twenty minutes looking at all of this stuff that's on his vote making sure it was authentic we looked a different shirt options different had options different p f t s and settled on you know yellow top kind of green of course everything that jim showed up with his authentic because this is what he does but but that's really key it's paying attention to that wardrobe you know we went through that wardrobe listing are preproduction document and now you can see jim has all of that stuff on his boat it's the same cuda boat that we talked about so we know that by the time he's on location it's going toe look correct all right are you looking down we're looking good okay jim let me only just look inside this monitor with dane that looks good okay and we are rolling let's do it that's really beautiful it's just incredible that cool reflection is just stunning great I think we should put the fiberglass fish on the back of his boat just tethered on there that was pretty nice that was good yeah that was great so I think we have that shot I think we're going to switch gears and that's one of the one of the other realities when you're doing shoots like this is we can work this shot for three hours but it's knowing when to say when and move on and that that sometimes tough but I feel like we have a beautiful top down shot we see employee this is our entry into getting in the water so now we're going to switch years and you can see our next more of a detail of jim sliding the boat out so I think our plan is we're going to go same gym set up sam gimbal on the end of the arm and we're going to zoom into thirty five millimeters so we're still going to leave it at twenty four frames per second we're still one hundred s o roughly f eight I believe and this is just going to allow us to actually get a detail of and if you can see the shot on the screen right now it's our second storyboard image so it's jim's hand and on the boat as he's pushing it out and we're just going to play with that and one of the things that we have to be conscious of us he has a fishing rod sticking out of the boat and we have a gimbal that obviously could get pretty tangled up in that fishing rod so well see actually if we can work around that and if not sometimes I'll actually just we might take the fishing rod out and you won't notice because we're doing such a detailed shot let me just for my eyes let me see you push the boat out you don't even have to get into the boat on this one just kind of push it out yeah walkout yeah I just I was looking at the big picture I just want to see okay, so you're kind of in the front of the boat is there a chance jim? I know this would be we'd be reversing it can you switch so that you're pulling with your left hand like walking in on the other side yeah and we won't even have you get on the boat in this shot you don't have to get in the boat yeah, it'll just be easier because the jib arm is on this side we could actually just see your hand grabbing the boat and now there's something called continuity which is now we've switched something so in one shot he's on the right side of the boat now we're going to show him on the left and if we with more time we might have actually I might have moved the jib but in a short thirty second spot most human brains won't make the connection that he was on two different sides of the boat. These air going pretty quick cuts two seconds at a time and I'm far more concerned about let's actually get that other shot like I would rather have mohr footage to work with than worrying about the continuity of which side of the boat he's on okay, so um I almost feel like he can just he should enter frame, grab the handle and then start pulling and then we just fly the jib kind of right over the ballad about okay sean how are you guys doing down there? Okay, I remember a lot of electronics so there's a lot of trying to get stuff to work on the fly that's the other thing that's great is when you're on location and you have a team that you build it's really valuable to have a group of people that are pretty cool under pressure the wars stay scenarios people that freak out on location stuff goes wrong as they say the shit hits the fan and when that happens there's nothing that you can do about it except become and try to problem solve and so and that's exactly what we're doing right now which trying to make sure that the gimbal is level on dh sometimes it works sometimes you know we've had to actually hard mount equipment with zip ties because the electronics weren't working but john ice man haverstock has it back in action. Okay, so let's see let's I'm no standing so sean we're gonna get down and really this is a detail on his on his kayak so the gym's gonna be floating off the water maybe four feet way down did you guys already pre focus at four feet roughly so sean go ahead and write it about um no, I don't think it's gonna be an issue I think we're going to stay right on the bow your boat? Yeah remember it's the opposite now but he's and guys since we just got this in the sun exposures a little hot but just for time constraints we're just gonna let that fly it's archie the shoot it blown out is what we were doing really okay you know what let's let's pull it in and adjust it because I feel like we're doing good on time I'm afraid that's just so hot probably were off about um yeah let's pull that off that would be great lie it almost seems like two stops maybe just goto and by the way this is murphy's law production assumes we change the exposure of the clouds will come in good question yes we talked yesterday about all of the different toys and the different ways of doing things and I'm just wondering if you could talk a little bit tow us about if you are one man show how you would sure sure yeah the reality is you could do this shot in a variety of different ways let's actually talk aboutthe shot we're about to do right now which is the detail of jim pulling the boat out into the water if it were just made the one man band which it is often times I mean this is a luxury to have the entire crew here with one man man style of this would be I have surf trunks on and I would get in the water with jim and I would pre focus my cameron I'd walk through the water with jim sideways and that would be one option. The other option is I would cheat it, have gym actually pull the boat along the edge of the dock and crop the dock out of the shot and I would literally walk next to jim on the dock. If I had a little more time, I would set up a slider actually on the side of the dock and I would slide with jim so it's a little more fluid and the third option would be to actually use a tripod and simply slightly longer lens and pan with jim as he's actually moving out again, this is or and you know, there's a there's an infinite number of ways to solve every problem, whether you're alone or whether you're with the crew. You know I showed you a much cheaper, smaller, lighter version of a jib the feather light crane yesterday. If I were alone, I might assemble the feather like grain, put it on my small set of man photo sticks and then literally mimic the same thing but without a monitor and just guess on framing, try it three or four times and then review the back of the camera, but the key piece of that equation is its time it's allowing yourself enough time to really experiment and try it awesome and I hope you don't mind if I interject and say often how would a one man show do know please all time please and for those of you that are at home last night we shot some bonus material for the course one piece that we shot was actually around how to shoot and low light around the camp fire so that was a fun, insightful little video bonus that you'll get a few download the course and two we did what's in my bag the basic kit if you're one man band and so that's another pretty valuable five minute piece where I show you exactly what I use if it's just me on location to shoot still in video so that's a great little add on of course that's valuable if you're not going to have an assistant or if it's going to just be you and you're still trying to capture still in most that's great thanks for that bonus material okay we're ready really the jib move all it is is you're moving laterally about four feet to your left that's all your moves going to be okay and just at a nice steady pace as he's moving we're gonna actually let him actually frame god he's gonna get in his car and go yeah yeah okay oh you know what I told jimmy didn't know if you can let's do it this could get exciting folks with the camera that close, I tend to get in the water and then pull it a little bit faster. You're going kind of slow that down. Yeah, maybe just goes. Yeah, yeah, that sounds great. All right, let's, try it. Go for it. Action. Camera's moving that's that someone you gotta be easy on the dock. No. He's a friend let's try that. I think we just stay like that again, jim. Well, that's you know, I don't even know if it matters. If you get in the boat, I think this will be more about we just see your hand, grab the front of the boat and drag it out. Do you agree with this? No prom. And the truth is, a lot of this is we're not even sure what we're going to get until we start to see it in camera, but yeah, that I would even go. I was here in front of guys coming right to the front he's gonna grab that handle a little farther left and you know, jim let's actually lose that one, uh, lure or hook that's. Yeah, let's. Just take that out for this shot. The reason we just removed that rod is if if you could see this at home right now what you're seeing is there's this there's a you know some piece of fishing equipment that is dangling in the top of the frame and it's super distracting to your eyes it's kind of my I immediately goes to that and I want a clean frame I want the focus to be jim's hand grabbing the handle okay and jackson kayak our client is gonna love this this is it says cuda fourteen and let's do it action wait that's what we say in the business that's called money we just got that shot that was really good we also have an acronym for that it's called gts did you get the shot? Dane will often times yet gts no way am teo mister that was I would say that was pretty good mts a lot let's say we try that one more time we got pretty close to a gps on that but what is kind of amazing is when you actually see your storyboard come tto life you know there's a lot of challenges around let me just real quick can you taser the dog? It is really kind of incredible when you actually see a storyboard come to real life we pre visualized that we planned it and then it really becomes a reality kim let's try that again where I think we're going to do that one more time it looks fantastic it looks fantastic we're already getting a bunch of messages from the internet that says jim looks awkward getting in his butt now yeah air you sure this guy's a real fisherman let's home in about yeah, all right, shawn you're gonna be a little left and I would say let's even yeah, they were good to cities more and we got really lucky you can see that the water because it's so glassy we have a fantastic reflection. We're just seeing amazing reflection the whole time. So that's really, really pretty valuable okay? And we're ready to roll. Yeah, okay, we are rolling and action. Here we go. John, stop in these two usable seconds there, let him kind of get in the book disappears from frame. Fantastic, great cool. So we got that shot, so we're actually ah, two shots into our morning and I'm constantly looking at my phone trying to figure out how we're doing on time so that's almost worth thirty minutes and again, this is really aggressive. We would if we were really doing this, we would probably spend thirty minutes to an hour per shot, really trying to hone it and perfect the shots. We might be adding light, for example, but I think it's actually a blessing that we have these clouds in the sky it's a little more diffused you know, typically we would be done shooting by nine or ten in the morning, not starting when the light's getting harsh so it's actually great to be under a cloud cover, it softens the light quite a bit. So the next thing that we're going to move on to is doing a long lens shot, which is our third storyboard. So it's going to be jim out there casting, and we're going to try to use that clean treed background out there. So again, this is where the walkie talkies will become pretty valuable so I can communicate with jim and it's and it's my job and everyone job on the crew to be thinking about what's next. So we're going to try to do this shot of jim long lens, too, huh? Two four hundred millimeter lens g eight hundred on tripod, but then I'm also thinking about what's after that so that we don't burn time trying to get ready. So is bligh's helping me do that shot? We're going to have, um, we're gonna have sean and dana are going to be prepping to actually fly the helicopter because the next two shots after that or the helicopter and one of the realities with flying an rc helicopters in the morning. It turns out you have less wind and then the wind starts to kick up during the day and oftentimes the worst wind is in the evening. And so right now I can already feel a slight breeze and some really conscientious of now are we pushing? It isn't going to get too windy or we're going to be able to fly the helicopter and of course, that's a really fantastic shot, so, you know, if need be, we'll start altering the schedule in order to get that helicopter in the air, so I'm always just thinking about, you know, what possibly is going to happen here? Um, while we're setting up this six hundred or two hundred to four hundred any questions from the audience or from the internet, go for the question with you said that the water is really beautiful it's got that great reflection when you're on that wide shot. Are you getting any of the camera? And if so, would you like a polarizer to reduce the reflection or yeah, you know, from the angle that we were shooting we were it seems to be reflecting directly up, like a ninety degree of a reflection, so we didn't see anything in the monitor if we do in post production will probably pretend it didn't happen. Just because we're rushing but if we had a larger monitor out, if we're reviewing the camera in more detail but the polarizer is not going to get rid of the reflection of the cameraman if its reflection you're going to see it, it would be more about changing the angle of the camera, right? I mean very square just making certain that you're not in that reflective area. Okay, so thanks belive okay, so I'm gonna, uh so we have on this camera did you already check exposure and my didn't jump in and okay, so now we're using a beef your set of sticks because this and this kind of a perfect location I actually get to sit down on the job that's pretty rare. Um, I'm going to try to do this without is a kudo loop, although this is probably where actually using is a kudo would really make a lot of sense we're putting a monitor on, but let's just do it this way because the reality is I'm sort of in the shade it's easy enough to see the back of my screen so let's, this thing's leveled, I'm gonna go right to four hundred millimeters because I want that real compressed look and one of the things I'm going to do, I just went right into a live view in this camera wasn't set up so I can already tell him this is incorrect these settings I'm in a twenty fifth of a second and that's not gonna work so I'm just going to go right from the top I'm going to look at my settings let's see here okay so I go into movie settings and I checked that I'm actually at ten eighty which is full hd a twenty four frames per second that's correct um that's where I want to be so that's my starting point I'm going to check my eyes so that five hundred I s so there's no reason to be there I'm gonna drop down to two hundred eso because I'm shooting at twenty four frames per second I'm gonna go up to fiftieth of a second in terms of my shutter speed and let's see I'm just going to check the exposure on that house over there I look like I'm a little under there so I'm gonna open up tio four point five that looks pretty good and this lens does not look level cell with me all right that's looking good so jim I think what I might do send you out and I would say see where that I don't know how you describe it where the glassy water turns into the rippled water yeah I would say probably halfway across right at that edge of glassy probably stay on their glassy side just so that we get a cool reflection and ideally, once you're out there, have you profiled to us, we'll probably do somewhere, you know, staring straight at us, casting and then a few where your profile to the camera and really just get you casting hook on and yeah, that might that would be great, and we'll just talk by radio excuse me, radio if necessary, but that sounds fantastic. Let's do it. And I notice because we have such a dark background it's real green vegetation actually, then crank up my eyes, you're going to four hundred s o because I want that shallow depth of field that real compressed look, so we actually dropped in a neutral density filter inside of the lens, so there's a slot right here, so we put in an nd filter so that we can shoot wide open when I don't want to be a stuck at f sixteen, because then it kind of defeats the purpose of having that long compressed lens on so let's see, and while I'm waiting, I'm always kind of just going through. Yeah, there we go. So we were also in the wrong white balance. I'm going to go right to daylight. I mean, we're under perfect day light conditions for some reason, it was set to a weird, preset white balance. So kind of constantly checking your year and making sure that it's set correctly is pretty valuable I mean right now if I just sat down and pressed record I would have been in the wrong frame right wrong white balance and wrong I sl so it would have been when we got into post production dane would have been making fun of me okay and that looks really beautiful see a big fish you want teo head to your right I think more like where those guys in the yellow chi actor one of the beauties of working with a guy like jim is he such a pro at what he does I'm certain that everything is authentic and that adds a lot of value to what we're trying to do I mean I'm not trying to coach a model it has never gone fishing toe look authentic it's more I just need to capture what's happening in front of me which is very very valuable jim I would say another aa fifty feet can I use someone else's radio feel like mine is maybe another fifty feet to your right thank you. I'm sorry I just switched to radios this should be better another fifty feet to your right so part of what corey is doing here is he's taken the opportunity has got a little time to make sure that he's looking at the background you know sometimes you get in a rush and you shoot your shot and then you realize you got a bunch of garbage in your background so we're looking for that best cleanest background right now and you can see that jim I think even another hundred feet to your right the reality is there's one window just testing your paddle skills so there's actually only one window that's really the clean shot and that's the clean trees once we start getting into the area where you actually have docks and houses it doesn't look as cool it doesn't look is authentic okay jim now you're in the sweet spot I think spin around and you can actually pad a little toward us like directly at camera I would say now come one hundred feet directly at me but that's you're in the right line in terms of a background I think we have a bunch of dead radios lets him is bligh right there hey black can you go and grab some other radios off the chargers yeah okay okay that's starting to look really cool here okay so he's looking great I'm going to actually push in on my lens so that I can actually see jim is in focus some checking focus on a point you out here and that's a beautiful shot okay and I'm just going to start rolling and so jim is out there doing this thing first just do a locked off shot so it's a beautiful frame exposures correct and I just have jim out there doing his thing clean background nice reflection might actually do a little bit of just panning to keep that camera moving ever so slightly but I'm realizing him at the edge of the dock mr anding great okay perfect so again I'm just trying to make sure that we get some visual diversity I'm still rolling occasionally I'll do record cycles just that aiken simply uh it's makes the added a little bit easier kamna stop recording for a moment hey jim can we actually get you about a hundred feet closer to us same line okay so we obviously we got some bad radios this morning so that makes communicating tougher its trade by let's get those back in the charger jim yeah that's probably maybe even fifty feet closer to us great and then I want to get actually hire because I'm so low to the water that the horizon line is actually cutting through jim's head some again it's all about that nuance I'm going to bring the camera up on the dock actually said that I'm slightly higher I keep that green dark horizon line above his head jim that's perfect right there that's good if anything moved uh thirty feet to your left would be helpful okay all right so let's see where is jim? There is perfect that's good jim right there okay summon a punch in so I can check focus I do that digitally that's I think you're casting toward camera hey yes um zoomed in so I can check critical focus punched in yeah I'm goingto find shout and now I'm ready to roll some recording you have a nice shot there when a very shot is just locked off jim and this beautiful scene it's super beautiful right now you know he's kind of framed in that dark vegetation in the background beautiful reflection it's glassy he's doing his thing I mean and and it's really beneficial when I see this you know the record light is on it's a beautiful frame unfolding in front of me like we've already got something it's that's really refreshing to know you see a few seconds of just casting it's sharp it's beautiful right there if we had to move on we could so one of the things all do is actually just check the clock at nine fifteen so we just kind of burned fifteen minutes trying to do this shot now it's time to experiment like we have a great shot do the record cycle and now one of the beauties of the g eight hundred is we can actually push in and make this a four eight hundred millimeter lens we can still be a full hd but get a two x crop so let's go into our men and jim is at home obviously he's in no rush out there he's having a great time actually he's a little closer there let me try that again we check focus right ok I'm rolling again reframe jim's kind of moving through the shot that's really beautiful by the way you know jim showed up yesterday while we're having our class and he walked through the door and within five minutes he was down here at the sand getting his fishing rod and the boat was fishing within six minutes of getting to the house we've got the right guy okay so here's a great cast that's beautiful so it's important to allow the moment to happen you know don't get in a rush you know let let the camera sit there especially when you're trying to get that first shot that safe shot is allow some time for the moment to happen be aware of what's happening within the frame jim can you do that same caste again directed camera looks like east a little on the lens oh yeah let's porn shit let me get that that's a home run castillo yeah, it was nice you got like a nice little water ripple I'm wearing glasses I have safety glasses on okay? And jim once that's once you real that in maybe move back a little bit let's get a four hundred no you know what it's just right now the doc is behind you instead of the green trees so it's just the angle of the camera really so you know, I don't think there's any reason for us to really push in now when we're truly yeah that's beautiful right there that's stunning that's really beautiful maybe even on this one a little bit of a shorter cast just give me a uh give me a minute to check focus okay? And I'm gonna open up exposure slightly up here comes our son okay and rolling go for it. No, I no I mean when you have shoulders like that you're used to hundreds of yards at a time closely no let's try that again. I kind of missed the cast so what we're trying to do guys, we want to actually get that the cast landing in the frame so you get this perfect water just, you know, kind of ripples coming out of it wade got that one and that just came from we didn't know that that was gonna be part of the shot, but we saw that happen and and that adds to the shot by having that full movement within the shot you're seeing the cast to hit in the lower third of the frame. Okay? And we are going to try one more thing let's see if we can push in on gym so I go into movie settings to frame size and we're going to go to o and we don't have that option here so we're not going to do that where we have captured our are seen at twenty four that's on the d for that we can actually push in so we're going to stay where we are jim now is fantastic you can come on in um let's see how sean doing were shawn okay, great well, why don't we take advantage of answering a couple of questions if anyone has any questions you guys here do you guys have any any questions about what you've seen so far? We absolutely dio you know we have a question story I'll ask a couple questions from chat cal in los angeles was interested in and I know you kind of mentioned this but talking about shooting out of sequence with the sun changing and how do you plan that out? Right? The light? Well, we've kind of accepted the fact that we're shooting this out of sequence more out of the convenience of what shots makes sense it's more about the logistics of how do we use the crane once that piece of equipment to set up or once we have jim in this location, how do we take advantage of that situation? We're accepting actually that there might be a continuity shift in terms of how the light is changing during our at it when you finally see this is thirty seconds but we feel like the lights going to be similar enough to the untrained eye on television, most folks would not actually see the difference quite frankly awesome we have some geese flying above us okay? I'll I'll ask you another question so I know you've talked about you know it's the digital age and you know you can capture as many shots as you'd like but typically how many shots you capture before you do move on especially when you know like you said you thought you had gotten the shot right right at the at the beginning I mean I'm definitely a guy that will never stop with one on one it's just risk do you think you nailed it but there was something wrong with the camera there's you know, a bug flew through the frame right in front of the lens and you couldn't see it when you were actually watching it on the viewer so the reality is I always say that even if you're just you're nailing it never shoot at once I mean if it's a situation where you can control it and you can do it again at least two times ideally three but the reality is often times it's twenty times until you really nail it I mean if it's about perfection if this were a job for a real client and we had the time we would work it and working and working and mature the shot over and over refined the shot until it's just perfect awesome that's really you know don't give up I guess is the bottom line one take is not enough in the still photography world you know a few frame it is not enough you've really got it like shoot shoot shoot until you've really nailed the photograph hundreds of frames is the reality for still photos and, you know, minimum of three takes for video awesome all right and one final question can you tell us again what let what lens that is sure so we're on this is an icon two hundred to four hundred millimeter lens and this is really kind of my primary telephoto lens this is again you don't need this, of course, but it's you know when your kid starts to grow in your quiver of lens is this is kind of a fantastic lens the beauty is its f four straight through, so from two hundred two four hundred ten f four lens ultra sharp with v r on dove course you can put droppin filters I was describing that we put in indy and you can't it's very expensive to buy a filter that's large enough for the front of one of these tele photos, so we have a drop in filter that allows us to control our light when we're shooting video and that's really key if you do make the investment and a long lens of three hundred to eight two hundred to four hundred four hundred to eight make sure that you actually by the drop in filters if you're planning to use it for video it's really frustrating when you have this amazing piece of glass but then you can't use it for video or you're at f twenty two the whole time because you just don't have the nd for it and we're shooting on the g eight hundred and exposure wise we were roughly that just turn this back on where its fiftieth of a second twenty four frames per second and we are four point five four point five awesome you know we love our settings so if you're a one man show once again or one woman show and this is on expensive lens for you to purchase would you have him closer to you and use be able t mean what would you suggest I would probably go to my seventy two two hundred I described that my two favorite lenses all the time are sixteen to thirty five and a seventy two two hundred and with those two lenses you can really capture a lot of content I would go to the seventy two, two hundred and two hundred millimeters yeah probably bring jim closer. Another piece of equipment that you can purchase is a one point for converter and it's a lot cheaper than a two hundred to four hundred millimeter lens and that allows you to magnify you know, it's, a multiple of one point four, so you turn into more like a two hundred eighty millimeter lens. My math might be a little off on that one, my bottom one that allows you to really get a little more lens for a little more bang for your buck relatively affordable. Alright, we appreciate that, but we have a couple of questions in the studio audience. Cory, are there instances when you're shooting with the dslr that you move away from being at a fiftieth of a second? Or are you very much always sure there are mean, the reality is if we were shooting sixty frames per second, then we'd probably go to one hundred twenty fifth of a second, one hundred twentieth of a second one twenty fifth and so usually kind of the without taking too deep a dive into exposure and shutter speeds. The reality is you take your frame rate and you multiply that by two and that should be your shutter speed, so we're twenty four frames per second. We go to a fiftieth of a second for its sixty frames per second, which is slow motion, then we would go to one hundred twenty fifth of a second, and when I talk about slow motion, what that means is if we're editing in a twenty four frames per second time line and then you drop sixty frames per second onto that time one you can actually spread that one second of content out over almost three seconds, and we'll show you that tomorrow when we get into post production and just one more question as the sun goes behind the clouds, are you changing from cloudy white bounce? Tow? No, so we're going to stay in daylight white balance just so that it's consistent that once we've committed to that white balance, we're going to stay there for today's shoot, we just want to make sure that were consistent with the look later, we can make minor adjustments in terms of color grade if we want to warm up the frame or cool the frame down a little bit, but definitely it's to our advantage, too stay in one white balance and in fact will continually check the cameras to make sure that we're actually in that white melons. I've heard a lot about the twenty four frames per second. I read a lot about the cinematic field and how we're used to taking in video by twenty four is there any other technical reason you do? You shoot on twenty four instead of thirty or twenty nine for me, it's a really it's an aesthetic thing I mean is we've grown up in a world we watched movies and movie theaters and twenty four frames per second is historically, where movies were shot when it was film. And so the reality is, we really love the my eye to my. I like that cinematic feel of twenty four frames per second. Thirty frames per second starts to feel more like tv a little bit cheaper in terms of a look to me, at least. So there's, a bit of anaesthetic. And I would say that ninety eight percent of what I'm shooting really is actually shooting twenty four frames per second if we're not shooting slow motion.

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