Shoot: Video Interview and Voice Over


Storytelling on Location


Lesson Info

Shoot: Video Interview and Voice Over

So I think we're let's let's go ahead and do that audio test that were talking so dane's actually listening to the audio feed and the first thing gains listening to is is the signal clean meaning is the feed that we're getting from both microphones the shotgun and from that and from the laval ear isn't being interrupted is rubbing against assure it is their wind is there too much wind blowing into the microphone and jim maybe maybe just start telling us give us your overview on beer what is your favorite style of beer? This is what we'll use for audio system well, generally speaking I like my beer cold as cold as possible just this side of freezing I mean I like cold beer uh generally darker beers told my favorite is bass new castle? What is it? Basket because it's named after a fish or is it coincidentally and now it's just a good beer that I've always got to wait so dane so as you know one I'm engaged I'm interested in a fellow beer connoisseurs rationale of beer, but while I'm talki...

ng about beer, dane is actually monitoring the sound and he realized that he's hearing the lab rub against jim shirt so he just you know a little bit to see if we can get that little scratching out of there and don't be bashful here like take your time to make this part work exhibit if it's screwed up at the beginning it's going to get worse during the interview and then you're going to get into post production and when you have bad sound you've grown more grey hairs and so jim let's continue with your beer well, I know that I possess are super popular right now but I'm not such a fan some the I p a p a or two hoppy you know what I mean? They want to like cross your eyes being so happy so I like these a little bit smoother like guinness you know guinness is a full body dear, but uh doesn't kick you in the head so you know it's it's that and I've been sponsored by ballast point brewing company for a long time and they've got some really, really good beers what is this sponsorship deal look like in the beer world at my house it looks like a keg of beer it might get a greater so nobody's getting rich but some of these getting for fat but it sounds good great this it sounds good um I think we can move forward with ok, so jim, I think let's just start said this interview you're looking right to camera you're talking to the audience and that's a really important point when we talk about an interview it's are they looking at the camera or they looking off camera and talking to the interviewer and so if we were if because this is really we know for this tv spot we can look at our comped image and that's a relatively similar shot what we've set up the only thing that's missing is the kayak in the background and the only reason we opted to not do that is we're going to spend more time fiddling around with trying to get the kayak in place if we really had to achieve this shot with the interview we'd put the kayak in and we'd probably take some rope and tie it to some weights and we would actually just anchor the kayak both the front and back in the kayak so that didn't move and it would be in the shot that would take time you know bly would have the snorkel and fins on right now and what we would get that done so that we could keep that in position again we want to control everything in our scene so that it's not changing on us we want to eliminate as many variables as possible and I'm gonna let the director know right now that it sounds like we've got a leaf blower something going in the background I can't get rid of that so it's there let me just let me see if jim's agent can you bring a hundred bucks up to that gardener whatever it takes creative lives budget is huge just paying no in reality I think dane's point is a good one if it turned out that leaf blower was and this was for real we would actually out of their weight where we would go up there and we talked to the guy with the leaf blower but this is also murphy's law of interview as soon as the microphone is ready as soon as you have your shot set up dogs start barking people stood having a you know an argument across the lake the leaf blower turns on you know, the kids come by on the paddle boat there you know, flipping you off and screaming in the background and so the reality is that's just part of what you deal with I think for our purposes we're just going to start shooting just so that we can get some lines in the can and and then we'll deal with the dame such a prey on imposed he can eliminate the leaf blower now let's say that and actually that's important danes not kidding when he says that no one can eliminate leaf blower like bad audio's bad audio there's minor repairs that can be done to audio but you cannot fix a leaf blower in the background and if there's some guy watching this this this video online and he's not remove us give us a call yeah, yeah way will start booking your time a lot, okay so jim, I think what we want to do is let's just try the first line that we had in our calm and I can either read it to you and then you regurgitate it or I could actually just tape this you know right under the camera lens whatever more helpful to you you've got yeah memory, huh? You took away my glasses oh right ok, nevermind and then we want to do it with with a taped in front of the camera and again that is kind of the poor man's teleprompter you simply write it on apiece of paper and you want that if if jim were reading this we would gaff tape this right in the lens like I would use the lens hood to tape it because you really want his eyes going directly to the camera it doesn't work if it's up here and it doesn't work if it's down here because in his eyes and it's very subtle but he's not looking at the camera and you're going to really see that when in rial teleprompters actually get mounted over the front of the lens and the lens is actually shooting through a piece of glass with the teleprompter projecting right in front of it so you know poor man's version piece of paper next step up ipad version and the way that we would do the ipad version by the way let me just show you so we would actually just wedge a stand somewhere in here and let me let me see if in our grip kit we have just a little clamp okay so again there's a fair amount of year in there so this a cool little clamp that allows us it's not designed for ipads but it works pretty well we would literally just put this on the end of a sea state of on the end of a stand and right now we don't have the teleprompter software in but we would literally take our ipad and do that and we would just adjust it so that it's you know it's close to maybe right in front of the camera maybe right below it you know just that it's out of frame and old son that's a pretty cheap teleprompter I mean a real teleprompters big bucks but if you own an ipad or an ipad mini you can feed your content right into that ipad and that's a pretty cheap solution you know we could even do it without an extra stand and mounted I'm sure we could figure out how to mount it directly to the tripod so we're not going to use this but I just wanted to show you guys a great little solution from the hand that okay so let's go right into our lines would I put that piece of paper kayaking, fishing and beer by hand that was right here? Okay kayaking, fishing and beer and in fact, the way maybe we'll start it is jim just just give us a line, tell me tell me what matters in life and end it with jackson kayak so audio's up and and then we're actually usually what we'll do is when jane and I are communicating well actually say, you know, we're rolling, we're we're recording and then it's now now I know we have twenty minutes to actually talk and the instant dane here's the problem, you know, the leaf blower gets louder, there's something in the background, he's seeing problems, he'll say something and we'll just stop recording so that I don't think we're getting something great where jim doesn't think he's nailing it when it's a non usable file it's definitely important make sure confirm your record, especially when you start messing with these dual systems it's good to have a backup, but you need to make sure that you're recording on that backup. You can kind of get yourself and too many things going on at once, so always confirm record with each other to make sure that you actually are laying down the audio in the video and the other dangerous one is a lot of the audio recording devices they give you this false sense of recording you can hear it, but you don't actually see the time code rolling make sure you were actually actually recording on your audio device as well as on your cameras checking in both places do you actually see time code? Are you actually recording and you see that red record button flashing on your camera which we do okay? And then the other thing that we would often times do is this is a really small set it's just danger emma and I but we'd actually say ok let's be quiet we're recording and so that's where you've heard it in the movies quiet on the set if it's if there's a lot of people you know the larger production you'd say it over the radio you kind of shut okay? We're recording lets everyone quiet and then that lets everybody know but no one should actually be shouting back at you and asking questions if someone's going to you know carry luncheon you save you don't want to miss the best line from you to talent because someone was making a lot of noise in the background so and let's just do one more test I want to make sure that the audio getting piped into the cameras at the correct level okay jim tonight if you could have it any way you would like what type of beer and at what temperature would you drink? I would say I would have a uh a vast at about thirty six degrees so you think, and and he just made a really good point, right? We want him looking at the camera, but I'm standing off camera, so I'll probably have to remind him a few times like a gym just look constantly at the camera, okay? One other thing I want to say technically, about how we're shooting this, so remember, we're heading in a twenty four frames per second time one so we actually were at one hundred twenty five I sl, which is a little bit arbitrary. We're using the esso justus an exposure adjustment to one hundred twenty five I sl we're f two point five, this is a beautiful fifty millimeter, one point four lens, and I know we told you yesterday never shoot an interview wide open, but we want that look like we're not wide open, but we're pretty shallow depth of field of jim moved a lot, his eyes, they're going to go in and out of focus fairly easily. You're a two point, five beautiful, shallow depth of field, and then we're in a fiftieth of a second and we're fiftieth of a second because, as you remember, if we're shooting at twenty four frames per second, you multiply the frame rate and that's your shutter speed that's the ideal shutters that just gives you normal motion blur that's what you know, I should be your standard motion blur. You khun go higher shutter if you're looking for specific looks, it's not bad to be a higher shatter, you just need to know what it does to the image so that you you can use it as a tool for storytelling. And now you guys probably can't hear this at home, but I can hear that sounds like the fans just kicked in on this light panels so that's something that I would actually find hearing, and I would ask day and I would say, can we? I can't imagine that we would hear that fan that far away, but that's the kind of stuff you want to be conscious of when the fans kick on on the light panels, you want to be certain that we're not hearing that on the microphone because that, you know, that would ruin our shot, and I highly doubt we're going to hear it. Okay, so without further ado, fishing, beer and kayaking in jackson, so I think the first line let me read it to you and we'll see if we can re re do this on camera. I love fishing, kayaking and beer, not necessarily in that order, jackson kayak, I love fishing, kayaking and beer, not necessarily in that order. Jackson forgot about jackson got well let's try to remember the sponsor home on eric jackson. Just text today oh you're done tell jimmy he's done. All right, let's try that from the top again I love fishing, kayaking and beer not necessarily in that order jackson kaya I love fishing, kayaking and beer not necessarily in that order. Jackson kayak yeah, this man and natural this man in the natural um how about let's just even simplify it actually let's do that one more time because that is the line that erica signed off on so let's I love fishing, kayaking and beer and I would say put a little more emotion right from the get go fishing you put some emphasis into so I love fishing, kayaking and beer not necessarily in that order jackson kind I love fishing, kayaking and beer not necessarily in that order. Jackson kayak that's good and I feel I feel like we need to get a little more hard into the word fishing since maybe I love fishing you gotta focus. Chet wake so we actually stopped the record cycle. One thing that you should know is on the eight hundred not in the middle of record you can't push in and check focus you can only manually check focus and I think we talked about that yesterday and a q and a try to fight the urge of thinking that you're constantly out of focus and in the middle of the interview be racking your focus and trying to figure out if you're sharp wait until you have a moment where you're actually in between asking questions or it's you know you just say hold for a minute and do the focus check or just start the record cycle over again and we're rolling okay? We're back in action so I'm going to read the line does this help if I just read the line to you and now you know I think you're okay okay? I love fishing, kayaking and beer not necessarily in that order jackson kayak perfect that's great ok, I think let's even distill it down to something simpler I think it's just fishing, kayaking and beer, jackson fishing, kayaking and beer jackson that's good, your beers really punchy like when you say beer and we were hearing it let's try that one more time and one thing you're going to notices even if I think that was great, I'll always do it twice like just in case something goes wrong. I thought that was the take and now by the way there's a trash truck that maybe you guys can hear in the background so that's again this is more about education right now we're going to keep on going but that trash truck and the weed blower the concert of noises in the background on this peaceful lady on this on the tranquil and beautiful beaver lake could actually affect our audience can you hear that action? Yes okay, so that's actually let's just do another take because I think let me do a focus okay we're doing another focus checks and we'll do a record cycle so stop recording and are you stopping the audio? Yes ok, so he also stops the armed him good and look at the camera so dane is actually punching in digitally so that he can check his eyes that's the focus that he wants is we want to make sure that his eyes are sharp. One of the other things that this key light is doing is we're creating beautiful kind of catch light in his eyes and it's it's actually fairly aesthetic it's a little bit of a square it looks like a soft box but and it allows you to engage with your subject a little more on camera you don't notice why but it's just you know his eyes were really vibrant and we're seeing the colors in his eyes so okay yes if you'd like to take questions we could do that wait for the garbage truck sure. Oh yeah let's uh and by the way in the background we have a guy fishing, but and potentially like if we're really doing this and we liked what was happening in the background. We might have rushed into jim. Give us that line again. As you know, the serendipity of this guy floating by and the background that might have added something, it might have added some context. You know, that we're still talking about fishing except the guys on a raft. So jackson kayak might not like that. Okay, so let's try. We're just going to go right to the meat of it. And you know what? Fishing, kayaking and beer. Jackson kayak. Pretty good. Pretty good. Okay. While the garbage truck is emptying all the beer bottles from our house let's, go ahead and actually take a couple of questions. Yeah, corey. And perhaps danes may be a question for you when you're checking those, uh, audio input levels. Are you looking at that reference on the back of the camera on the lcd? And what are you looking for? With that signal strength you want, you want a strong signal on this day a hundred and allows you to have live levels on I like it to just be hitting into yellow on the d a hundred on this task and recorder way, have it like your top levels or bounced around negative twelve, sometimes even quieter. Who knows if this is true, but I liked if I hear there's a little more ambien or background noise going on, I'll actually dropped the levels even lower. So that the strongest thing being recorded is the person's voice. Maybe you can cut out a little bit of that background noise. That's going on some audio guy's probably gonna tell me that doesn't work, but it seems to work for me. So yeah, what you want, strong levels? Um, negative twelve is usually a pretty good negative twelve. Negative twenty four. Seems to be where most audio guys land on where you want your peaks to hit. So if you see it hit red, you know, you're clearly yeah, you know what you want to protect, its better to protect its just like exposing for a camera. You want to protect those highlights? You want to protect the audio from peking? Because once you peek, you cannot get that back. That's, when you hear that over modulates. Exactly. Thanks in question for you as well. Dane, um, when you're monitoring to separate feeds, are you monitoring? Then both of the same time, you check an individual? No. So the feed that's coming out of the this task camry quarter is actually way we know that you're not that it's not peeking because I'm watching what? What it's going into on the camera on the nikon it's not peeking. We're actually monitoring and doing the mixing on the task, ma'am, so the levels are mixed on the task in a cz long as you're not peeking on the nikon, then you're not peeking. I guess more looks so like what you're listening to is a mix of the lab and the shotgun you're mixing that live have two channels I have my left ear right now is the shock on my right here is the is the lovely mike, but those air still discreet channels so you can go in their net it and if we don't like the law of mike, we just turn that off or if we like them both together, sometimes we'll leave it mixed a lot of times the shotgun can have a little more life to it. It sounds a lot better a lot of times, so that's probably what we'll end up using here on this and by the way, if we did have an audio engineer here that his sole job I was recording sound, he would probably go with single mike unless we really requested we wantto love hidden and we want the shotgun he would most likely an audio engineer would show up and fly a shotgun on boom over jim's head but again he's dedicated he's not distracted by all of this other stuff he's not asking questions he's not monitored in camera he's just exclusively focused on, you know, listening to sound the other thing I think to dane's point is you know, right here for example right now is lab and left here is actually the shotgun mike you know, will oftentimes tape that just so that we remember so because it can get really confusing if you have the two mike so if you start adding people in multiple shotgun mikes and multiple labs, you can lose track of what do you actually listening to through each year and so just taping it are always using the same system really saves a lot of heartache pro photographer actually, as a couple questions one being under what circumstances would you use an omni directional mic instead of a shotgun mic? And the second question a pro photographer had is do you ever change the camera position between takes when conducting interviews on the omni directional mic rat don't think we ever use an omni directional mike, we're pretty our audio is we keep it to our interview or if we know that there's something that's going to add to the story we're going up there and picking it up with either shotgun you know, I I just don't really have the experience with a lot of microphones but I think you can get by with you know, a shotgun and a lot earlier you could do a lot with that and I think to the question of do we ever move the cameras during the interview for me in general we never moved the cameras in fact I'd rather set up more cameras or be intentional about where those camera angles are I don't want to disrupt the flowing and it's hard to illustrate this right now and when jim and I are doing this live in front of a class and it's really for the web I tried to really get a dialogue going with jim and that dialogue if this were an interview or whether he's reading lines the instant we start stopping and moving cameras and I'm fooling around and I get distracted that's the condom most important part of this interview is to content that were gathering with jim so will often times at a minimum if we're doing a really interview not just reading voice upper we have two cameras set up and they don't have to be to dslr ziff you're that person operating on a on a budget it could be you have a dslr and then you have next to your dslr a mere elice cameron icon one you know framed up and you can come by the adaptors so that you can put a conventional lens you can put your dslr lens on a mere elice camera and that might be a price point option if you wanted three cameras, you have your primary camera which your dslr muralist cameron then maybe another mira lis camera as a third angle off to beside the ideal is in the best case scenario using identical bodies if we could do three cameras and they were all day hundreds there all sad identically you're going to save your time save yourself time in post production, but yeah, we almost never move cameras during the interview set up and cory, could you tell us one more time? What lens you're using right now? We're on a fifty millimeter, one point four lens and we're shooting at two f two point five, fiftieth of a second at one hundred and twenty five by sl and we do I think we put some andy wait for stops way have four stops of schneider optics or vw filters on the front super great glass and the reason we're doing that is so that we can actually get fairly wide open so that we can go to two point five two point five and create that really beautiful shallow depth of field look okay it's really quiet outside now beaver lake so let's jump back into ah kayaking, fishing and miss and jackson kayak okay, I think we got let's do that line the simple kayaking, fishing and beer jackson kayak let's wait until we do the focus check so that's the other thing about having a nice catch live in gyms I it actually makes it really easy to do that focus check you khun you know you have something to actually focus on sometimes if we're shooting in a really dark environment well actually bring a headlamp we're just a little chroma led turned it on just to check focus and then turn the light off once we know we're focused do a shot then turn the light back on to check focus so having a little light is pretty valuable and the ambient light has actually come down a little bit um so we're going to boost our s o just a touch teo bring his face back into the exposure that we wanted so we just went up to one hundred sixty I sl we're still and we're still a two point five two point five fiftieth of a second yeah okay so we're rolling on the camera sound is recording and um jim tell us tell us what matters in life fishing, kayaking and beer jackson kayak was pretty good it's really good and sometimes and I mean this sincerely even if someone's not doing great on camera also sometimes just reassuring them I mean jim is doing great but it's okay you're doing great you're doing great let's just keep on working the instant you said you're just blowing it like you're I mean I'm gonna like you're ruining my day this is you know you're gonna ruin my project that like instantly creates this downward spiral for most people like they feel more pressure it's really hard to come back it's sort of you know in the middle of a boxing match rarely does the fighter come back you just got to keep their morale up keep everybody happy and so and I mean it when I say it to him you're doing a great job how about let's let's just try and ask you just a question of what I would love to hear in a single just natural statement is you know I started fishing when I was two years old fifty years later I love fishing kayaking were there nothing's changed I love fishing kayaking and beer well maybe you didn't like it when you were too I think you get the gist of what I'm saying let's just try a couple lines here so jim when did you start fishing and what's changed since then I started fishing over fifty years ago the only thing that's changed is the kayak and the beer on you and then at the end just remember like no matter what you do you forget about jackie back there uh and we've got a barking dog in the background so let's see if I think it's just this boats passing by the dog's yard so let's let's see if the dog comes down here jim, go ahead and lean forward how you've been doing that right as you're about teo talk because you're just moving a little bit forward, I just want to make sure that my focus has sharp on you. So is that where you've been speaking from? You know, I'm guessing that's good, yeah, hold that spot. That looks really good that frames up well, when you kinda leaning forward and be real intentional guys, when you're shooting this kind of a talking head vio or whether you're doing an interview and you're doing the shallow depth of field deal this exactly what dane and I were discussing yesterday, what you don't want is there while going back and forth and you know, the whole shot as their ear lobe is in focus or just a pimp for their knows we want to keep their eyes and focus. Okay, I roland, I caught my first fish over fifty years ago. All that's changed is a kayak and beer. Jackson kayak it's good. I think we're getting somewhere is does that body that light to bleeding in on his, uh I could move that light a little behind, okay, let me just live that slide that light over that help it all okay, we're just getting some light bleeding onto his unto his chin not that it was terrible, but I think this is nicer. Okay, so how about I like that? I started fishing when I was two years old. I've been fishing for fifty years. You say both? Yeah, I think so. I think they're just sets it up. Yeah, maybe it's I've been I've been I started fishing when I was two years old. I was fifty years ago. I still love kayak and fishing, you know me, you know? And then the new part, how about the and this? Just a brainstorm. I'm doing this on camera intentionally didn't give this any thought until right now so that you could see this process. Usually I'd prepare a little better, but but really it's about just being impromptu and having a dialogue with your subject, I think we need to kind of make a joke almost out of the fact that, you know, all that's changed is I have a better kayak and now I'm allowed to drink beer. Jackson kayak or you know something like that let's let's try it. Let me hear what rolls off your time. I caught my first fish when I was two years old over fifty years ago, all that's changed is a better kayak, and now I can celebrate with a beer jackson kayak that was pretty good. I like that I like that I think and when we're reading this this is a pretty long take I mean, this is this could cover almost thirty seconds you know that this is ten seconds of dialogue maybe one of you guys could actually account or we'll watch time code when he does this just give me a give me a read on how long this is. Okay, so let's actually try again from the top and I caught my first fish when I was two years old. Fifty years later all that's changed is I caught my first fish when I was two years old fifty years later all that's changed is a kayak a celebratory beer jackson kayak so I think we're getting there I think we're really getting I think it's I like the whole setup you know, I caught my first fish when I was two years old. Fifty years later all that's changed that much better kayak and I could drink a cold one after after I nailed the fissure you know, after I hook a big one actually that's no however you said and in your fishing lingo do accent kayaking accident got back cary you ready dame okay let's do it. I caught my first fish when I was two years old fifty years later, all that's changed is a better kayak and a celebratory beer after catching the house you're getting I think now is a good thing uh okay let's uh let's try it again I caught my first fish when I was two years old fifty years later all has changed is a great kayak and a cold beer jackson kayak cool let's try that again I think the cold beer it has to be like after I do something after efficient yeah, that way we could bring the word fishing back into all that changed that to better kayak and what do you think it was in a kayak when I was two that's suspension of disbelief you were born on a horn going kayaking with fishing arrive in your hand and a beer so okay, here we go I caught my first fish when I was two years old over fifty years later all these changes a better kayak and after catching the big one the cold beer jackson kayak I was really close that cereal closet but it's really good and you see how this interaction works it's look it's not one take I mean I mean, actually if jim didn't have this audience here he probably would have done it three times and anyone who walked out because he knew he nailed it but here we're going to kind of keep on mr working it's pretty organic like that's part of the process is you just keep on going okay let's try it out and I was really good I caught my first fish when I was two years old over fifty years later all that's changed is something huh? Maybe it's I caught my first fish when I was two years old now fifty years later now fifty plus years late now over fifty years later all that's changed so have a much better kayak and I could drink a cold one after I hooked the big monster e just gets a little complicated they're your way I uh after I realized one hundred pound wide mouth bass giant mouth that theme it smells bad uh no difference now fibreglass and remember you're speaking to the fishing world right? Yeah let's do it. I caught my first fish when I was two years old now fifty years later all that's changed is a much better kayak in a cold beer after I catch the big one jackson kayak was really good there's a little pee and in the background I'm not gonna I'm not gonna name any names but somebody within a fifteen foot radius just had a cell phone go off in the middle of the best line and and this is really important I didn't say if we were really doing this I would have said hey, all cell phones off everybody quiet and that's probably why I seem like a nice calm guy but if someone ruining the line usually that's like fighting words no no but honestly you want everyone cellphones off you all the way off because you don't want calendars popping I only really want I mean now it's like jim's already texting his agent and saying this is b s like I can't work with these guys and so let's try that again we'll actually do one more thing that was really good I caught my first fish when I was two years old now over fifty years later all that's changed is a better kayak and a celebratory beer after I've caught the big one jackson kayak let's do one more time I think we'll do one more time and then we'll take some questions and uh we'll move indoors to edit this piece I caught my first fish when I was two years old now over fifty years later all that's changed is a jackson and you know I say this with this issue from a super important to hear this that you know we just battled the garbage truck we battled the dog we battled people in the background we battled were trying to get the task am toe work we're battling the light and then that cellphone literally went off when we had the best line like it crushed we stepped on the best line that he read and it's hard like I mean sometimes we would end up fishing for that line from the thirty minutes or an hour and if we're on a schedule which we are like, we would start cutting into our next shot and so we talked about budgeting time that that's a really life example of you know we're now burning time on the other end of our schedule so let's try it again I mean, you know, no pressure but no rush, no way I caught my first fish when I was two years old now over fifty years later, all that's changed is a much better kayak and a cold beer after catching the big one jackson kayak good job and it always a high five usually crack a beer doesn't matter what time of day way once we wrapped the voiceover so let's take a couple questions before we go inside and then we'll go into post production all right sounds good cory so eduardo asked, do you use a standard picture style for videos or custom one? And archie ge photography said can you ask cory which image settings he uses? Standard neutral landscape etcetera? Yeah, we're always in standard okay we almost never going and manipulate the picture controls in the camera. We liked the image as it comes out and typically will deal with any kind of color grader adjustment in post production is premier I would also say a lot of a lot of times we'll we'll drop the saturation down a little bit but there's a lot of people who will say hey drop your sharpening all the way off the problem that you get with that is that you just go back and you add sharpening in post and it's ah it's very difficult to focus these cameras once you drop the sharpening all the way off by just trying to focus off the back of the camera so I would recommend not messing with the sharpening all that much and you know, maybe the saturation khun come down a little bit and I think and I agree with then the bottom line is don't get wrapped up in all of like going in and manipulating your camp in the factory defaults on on these cameras almost across the board pretty impressive really impressive focus on what's happening on the other end of the camera you don't get wrapped up in the technical focus on what's coming out of jim's mouth that's my only advice there um so my question for you cory is I'm investing in the light kid and now that I would like to cross over into video when you suggest me just to go with the led panels rather than trying to do both strobes and you know that that's a tough one I think there's really when you're shooting still photography outdoors you need a lot of power right when you really often times you saw what we did yesterday with jim on the dock you'll see the still photo later today we're overpowering daylight right? It's pretty hard to overpower daylight unless it's an overcast day with the reds and the whites are getting better and soon there's going to be the solar twelves from light panels, which I can't wait to get my hands on, but the bottom line is they're really two different animals if if you were working inside all the time with still in motion, I would absolutely say potentially forgo the strobes and stick with continuous lighting if you're going to be working outdoors on location, you sort of have to have both nothing like the reality what I would say is go, the light panels were out of the l a d route if you can they tend to be expensive at this point, but you get what you pay for, you know you'd be hard pressed to use tungsten lights out here because you have to then at gels and hot you've been daylight balance the light, the beauty of these lights were daylight balanced, we're out here and we're not adding, you know we don't have to gel them it's already daylight thanks, yeah and I was wondering, how do you get someone to put more emotion into their voice if it's something they're not really passionate about or their voice just doesn't have it right right that's a good question sometimes I mean, and I like to be kind of goofy and have fun with people sometimes all just imitate what I want them to dio and sometimes it works, sometimes it doesn't sometimes you just get somebody on camera who it's not in them like they're going to say it their way, and you just try to get the most out of them. Part of it is also engaging them like, really being present and having a conversation really communicating with your subject and making them feel comfortable, you know, the less dress you can put on their shoulders and the more it becomes a dialogue rather than forcing them to say something. This is unique, we're trying to read a single line, and we're trying to make sure that's punchy in gyms and natural but it's really common that you get someone on the other side of the camera that they're just not comfortable in front of the camera, they're really soft spoken and you can coach them very directly, but in a tactful way hey, jim, I needed, like, put a little more emotion into it exaggerated it's gonna feel really awkward for you, but it's gonna look great on camera, sometimes I'm always been show them the back of the camera, play a clip so that they feel better about how they look on camera and how it sounds because sometimes when you're you feel like you're really animated, it doesn't come off as super animated on the camera. But it fuels, you know, outside of your comfort zone. So explaining that to the talent and trying to make them feel comfortable is probably the most important thing you could do.

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