Storytelling on Location

Lesson 10 of 32

Storyboards and Assigning Gear to Each Shot

 

Storytelling on Location

Lesson 10 of 32

Storyboards and Assigning Gear to Each Shot

 

Lesson Info

Storyboards and Assigning Gear to Each Shot

And we're gonna have kind of just a dialogue in front of you guys, what I would say is let us play out the dialogue and then if you have a question when we like moved on, put your hand up or just shout out the question, but you're going to hear just the organic dialogue that we have for any shoot when we're talking about how are we gonna build these shots to still images? And then we're going to get into the video sequence and then what? What we're going to do is break down the shot talk about we might evolve the shot a little bit, make some notes, but then really short out, what year do we need? Like, how are we going to technically make these shots happen? And then after we've gone through the siri's of storyboards in terms of just breaking down the year, then we're actually going to take this stack of the storyboard images and organize them in a way on the board that makes sense in terms of our road map for tomorrow, what are we going to shoot first what's next? Next? Next in a sequ...

ence that makes sense from a production perspective that were being really efficient in the field, so dane and sean come on up and, um, now jordan's not here jordan's going to be helping on the lighting front for the still photos so let's talk the two still photos to begin with I mean, it's often is dane and I work a ton together in terms of shooting still in motion at the same time and definitely our choice if we condone it is will light everything with continuous light so we can light it for video in for stills at the same time we'll do it. The odds of pulling that off tomorrow with the still photos is probably pretty low because we're kind of being forced into because we're doing this live on creative, live creative lives starts at nine a m usually were like wrapping up our morning shoot at nine am not starting at nine a m, so we're going there's a little bit of suspension of disbelief we're not shooting in the right light necessarily so for the still images were probably gonna either use reflectors if we have a blue sky dangers bouncing really light back into jim or more than likely we're going to set up of strokes and pro photos and really control the light will probably I'm just thinking out loud that will shoot the stills last because with strobes weaken really overpower daylight with video, we have a lot less control of the life I mean, unless you start bringing in huge lights and that's not the kind of production that we're doing so I'm going to say with this image we're probably talking about pro photos and what we're going to do is just itemize gear here so it's the pro photo kit um were you mean to say strobes is that they're gonna sure it's fine okay, so I think the unique stuff that we're working with yours probably pro photos and it might be kind of a medium soft back soft box we're just a single grid I mean, I'm envisioning we're just going to kind of put a key on jim make the background to stops darker, you know, medium soft box and maybe a six by reflector just so that if we have one key life will bounce some additional light back into jim and considering it's gonna be a crappy midday light I mean, this is gonna be after lunch I'm an ideal it's overcast kind of pacific northwest overcast we might need a scrim maybe six by six scrim over the top of them if it's sunny will try to kind of put him in the shade were put him in soft light so that we can really control how were lighting him with this drug and I think that's it for that shot I think that's the bulk of what we're trying to do, by the way, I loved that these sketches air based on jim I think we had already been decided we already decided it was jim, so I don't know how I don't think he has an anchor tattoo on his arm maybe does, but I like to be actually like the beard and the hat yeah, yeah, okay, so let's flip that over so that's image one so now this is a complicated shot this is we're trying to do this and still end in video, and so we have an awkward tech housing that we can put you with two options I guess we have an awkward tech housing that allows us to put a pretty wide blends on I think that's what we want to use and it's for the d for so what we could do is put the d foreign the aqua tech housing I don't know if we can actually can we talk between so might be that we have to put the d foreign the housing shoot the still and then pulled off protect housing out of the housing to shoot just talk, going to video mode and then going to shooting video mode or we have a nikon one housing but it's not as wide lens we could try to actually use the aar, protect housing and d for for the still photo and then switch to the other housing for the video, but from experience, I know that fish islands or the wide angle adapter on the off protect housing makes the shot much cooler so I think we're gonna have to pull the house down with tech housing yeah, so offish islands and then the other thing is because we didn't way don't have the ability to fire a strobe from inside the aqua tech housing we can't trigger I can't get a pocket wizard inside this particular housing I think for this shot we're just gonna have to go heavy reflectors so like I think the way we'll get light on that fish in the foreground we're probably gonna bounce light from a reflector if we have scott like light in the sky I would say maybe both maybe to say to six by reflectors and I'm huge dane and I used reflectors a lot for video in for stills cheapest lightest light source sometimes we'll even use mirrors you know, just to get like harder light actually this would be a good mirror situation yes, maybe it will pull the mirror off the bathroom wall. Yeah, we'll go to kmart. I'm only kidding if you over on the house, huh? So you know six by six reflectors will probably we can choose the surface is whether we go silver, gold or gold silver and then I think we're just gonna have to rely on daylight for jim like whatever is happening in the background it's going to be maura about efficient that were often the fish with the reflector yeah, I think I mean, maybe we could get some light on jim in the background on the boat with like, a silver. Maybe we go like gold silver on the fish and then we give silver reflector and shoot it out to jim just to fill him in a little bit. But again, it depends on the sky it's sort of, you know, how do we prepare for the worst would be it's bright blue skies and it's just hard shadows on jim's face the best would be right now. Overcast light if it's overcast, we might even pull out in led and light up a fish with it. Maybe we bring out like, a one by one light panels and I think we're going to try to work. I mean, we want this to be a sufficient as possible. So ideally, we work off the dock or, like, you know, need deep waist deep in the water if we have to start getting on boats it's like there's, more variables you know, he's floating were floating on a sea far a slow it down, yeah, way slower if that happens, will probably try to be on the dock is the best we're standing in the water, you know, either if it's, not that cold without waiters serve trunks and if it's really cold I brought one pair of waiters you figure out what they want to use all these shots as well or do you kind of wait? You know, if we're in the water housing were pretty limited I think we have to ports I think we have a port for fish eyes and maybe a port for seventeen to thirty five so it's going to be one of I'm not not even sure we brought the port for the fish I said probably a seventeen to thirty five and then on that first image I'm thinking out loud I mean we need to frame it up with jim in the shot but I'm thinking probably more like it fifty millimeter, eighty five that's a little looser than as you go through you're not yeah that's what lose yeah, we won't there's a few shots where I think well, like identify a lens and we're going to be with all right guys dive into video, okay shot one so I think this is, you know, the distant stare of jim looking at his fish in the water and I mean maybe I mean obviously too tight shots or maybe macro yeah eso you have sixty mil way have a sixty million nikon macro or we could even go fifty I would either say like sixty macro or fifty mil and this could even be a push in maybe on on the slider that screw a little bit of iraq focus as it's just to keep his eyes and focused all about the eyes on this shot obviously, yeah, I like that, so if we're going to do that slider shot will probably pick the location for gym set up sticks will probably use that we have two sliders will show you brought a shorter one we might be able to cheat it, keep it on one try apply just it's quick in a slide on foot two feet just to change the perspective keep that camera moving I'm guessing I mean, depending on when we shoot this, this could be a scrim overhead and then maybe a reflector just to fill in the life just to get a little in his eyes sometimes will cheat if we can't if there's no light well sometimes just using led light the light panels we have a couple different lights and just put it close to their faces possible just to get that little catch light in their eyes and even in daylight it's pretty impressive what it will do you guys usually just hold handhold reflectors are yeah, we use them it's a special piece of equipment called a voice activated human stand except they're super expensive they run well with everybody today but that but that is actually the truth is there's nothing better than someone actually who's engaged operating the reflector? Because they're like adjusting really time? Yeah. You don't see problems with that in the video. If somebody's moving the reflectors a little bit. Yeah. It's. A problem for you. You really got it. If it's too windy a lot of times that's not gonna work it's all about finding that right timing because there's a lot of movement that you will see in reflectors. That's definitely something wanna watch for for share or the assistant that's like kind of does. Come on, man, when you're going through your story board, are you planning your motion and how you gonna keep that shot based upon was going to be the following steps adjacent to that, or you're just going to just go ahead, we got to get these shots, and then I think how they want it in or you actually a sheet for saying you starting with the eyes and then I'm going to go to him upon the boat off. Sorry. Gonna do a slider to left and right to reveal or do you just go front and back? Are you kind of think about what's gonna be the next setup transition while you plant the storyboard, we just winning? No, no, it depends on the shoot like with this one I think we're going after more what's the coolest what's the coolest thing we could do with this shot like with the overall aesthetic if we want to keep the camera moving. And so however like I mean, if this if we took a deeper dive into this really started breaking the edit and we might go deeper into like, well fish that's really going to go to this shot, how could you create it? Aye, but to be honest I'd say ninety percent of the time where we're just trying to make the coolest shot then imposed which you can attest to go in there and you try to figure out the catalyzed during this stuff to get time to get that part of my flow a lot better, you know? And a lot of that a lot of that comes down to how much time you have to work on this stuff, but I mean, if you have five days to think about these twelve shots, you can really refine the shots and figure you almost in create a style for you read it you know, if you have that more preproduction time that's that's something that creates a really slip product in the end and creative product for sure but it's a luxury pretty rarely especially when you talk about this small footprint production pretty rare that folks are willing to kind of pay for that amount of time if you're if you're so if you're doing like so you have like five slider shots total would you want to get a slaughter out would you knock all five out or would you just doesn't depend like you try to get all the gym shots out of the way of the same so you're using that same tools same wave that has a lot to do with like your location and what you've set up on where you're going with your shooting I think in a spot like this we can where everything's real close to each other I think we could be more about what shots are the actual action that's happening that can get we can nail those shots out rather than okay we've got to be about let's get all the chip shots because I think it's more about what the action he's doing and what we can now real fast with action that he's working on yeah and I would add to that that I think what you're going to see with all the gear we're using it's pretty small gear I mean it's like this is pretty small footprint light weight I mean we always joke like dan and I will see like behind the scenes photos of the three of us working in we kind of look like what is the word that I'm looking for I mean, like, rinky dink operation, and it looks super unprofessional, but I don't care what we look like in the field. I mean, I don't care if it looks polished or not it's all about that final product, and you're going to see that like, if we can get away with using a super lightweight tripod, we're going to use the super way lightweight tripod because for me, that's the future it's like, how do you, with the minimal amount of equipment, delivered the maximum amount of content and that's really what we're going to try to do? You know, while we're on this a lot of times having that speed is actually going to get you it's going to allow you to evolve the shots that you're working on, so you might have had we might have had this, but if we are moving quickly, that shot could involve in it and it because it can become a better shop because you've you're working more quickly. How much of this is you guys thinking about the narrative, where you're going with tv spot and how much of this is is thinking about raw visuals, good b roll having, you know, visual variety? I mean, ideally, by the time we go into the field, we've already thought about, like, what's the narrative, that tv spot like that? Well I don't want to be in the field thinking about that stuff I want to be in the field actually thinking about the raw visual like how are we going to make this shot work? And if we're working the three of us together often times whether danes on the danes on the camera all probably be standing behind him thinking about like, hey, how are we going to get this scene toe like, be the bat like, how do I get this guy to interact correctly? How do I you know, shawn's operating a light for example, it's, how do we get this light into the right spot? So it's always trying to, like, just leverage that situation and get the most out of that one situation but not trying to solve big picture because what I see in a lot of your work are, you know, lots and lots of little shots that lead you from this to this to this it seems like you you've gotta kind of know where you're going with that before you get started on this guy and you can take it from here to the boat I'm glad we created that illusion I mean, I think there's a real answer, I said it earlier it's about volume and it's about going to a scene shooting, shooting wide than medium than type and moving and we have a wide in tight and continuing to move through that scene and this applies to still and video you've gotta have enough to edit within the aftermath so let's let's keep on flipping through just so we don't run out of time but those questions are great, so this image I think was sketched before we saw the size of our beach and the mountains in the back I think the question for jim is going to be what's more realistic is it like this carry the kayak on his shoulder and walked down the pier? Or is it you know he drags it down here I'm almost envisioning he's more like carrying it down here like he's already in the water, dragging it into the water um, I could potentially see because he's close to shore maybe this a jib arm over the top of uh you know, maybe it's job with again, we're going to show you sean has managed teo rig gimbal, where we can control ten pills and roll on a fifteen foot gear farm. So it's amazing it's like we're doing what a techno crane could do, but we're doing it in this small footprints no guerilla style I think you're gonna be pretty impressed with what we can pull and and you're seeing it it might be looking down and it pivots up not showing revealing the lake yeah, that sounds great. Yeah, maybe walks on written in it yeah, I like it so that's probably I mean, I don't think we're gonna have time to do much lightning once we're just gonna have to accept some of the shots were just going to be in bad light but it's more about the concept it's conceptually what we're trying to do not the final shots and you know if we were shooting in in the ideal time a day that's going to make that shot that much better so would you like plan your shot list like according to you take shots like where you have more control during my first year clock first yeah like this will typically be a shot that you do at sunrise you know it's in the reality is, you know, a thirty second spot even a simple spot like we're talking about here we might shoot four days just so that we get the best two hours of light every morning and evening and then string it together where it looks like it's just one experience where jim's pulling his vote into the water so it's it's all just in time and budget and how much energy do you do a lot of convincing to your client like hey, if we can actually do four days this is gonna be really awesome and the lights and perfect and like, are you just back there? Like trying to get you know, I think your other job was a photographer. Filmmakers. You're almost a used car salesman. Got that? I can see. You want to buy my subaru? No. I mean the truth is yet you have this really constructive dialogues with your client. And you, you explain what they get out of spending more time. He's, really? Time equates the money more time you spend the more money you cost and there's it's kind of that continuum and there's a sweet spot somewhere in the middle of this. Much more money for this one. Well, this is the sweet spot. This what? We have made the most of that time in something like this shot, I could imagine looking our current grounds in the highlighted sky. The exposure's will be quite different between the horizon. Right? Would you have a plan? Beer? Would you just expose him for the on ly for the fishermen? Or how would you know? Probably exposed for the shadow? Because let's, say the sky's just pretty blown out, you know, there's there's, some some pretty, pretty thick without a pretty quick, dirty fixes were doing post like, maybe great, this guy a little bit. Put a burn on it but it is what it is I mean when you have the camera moving if the horizon is going to change we can't put a grad on it so it's you know we kind of decide and again my I always say what's still in video shooted anyhow and worry later about if it's gonna work or not I don't like rash don't sit there and while you could be shooting rationalize why you're not going to shoot try it try one where you exposed the sky try wondering expos for the shadows try one where you're in the middle exposure and uh and then figure out later if it's gonna work it was probably sixteen to thirty five millions on their way to begin a full rig for so I think this shot is more we're following him into the water you know this might not be that he's at the back of the boat if he's gonna be like the front of the boat err on the side pushing it in you know it's almost this is close to a point of view shot made this we have maybe this is I think handheld shine depending on how you feel about kimble maybe he's walking in but you're walking on the docks and you're not splashing nimble that would be really cool maybe it's fifty millimeter like tight you see his hand all wet does that seem realistic? Oh yeah that's fine fifty might be an issue but okay or we could geo sixteen thirty five I mean the sixteen thirty five that the r right at thirty five thirty five and I could see like just making sure that we get a clean exit out of frame given the edit in a good place to edit out of that detail shot and it could be that this is even tighter shall young it shows yeah, I agree so maybe that's so gimbal with really sixteen to thirty five that's what it's balanced for and then if we're close to you sean, we might be used reflector to feel just like open up their shadows once you get into details are shadows look horrible? You know, if you can really see like hard lines going across the kayak that just doesn't look so great so you know that my tv idea all right? So you go in so you know it's pretty late at night when I was describing these storyboards to the artist so I really can't remember what we're trying to do here eyes this a half in I think it is half maybe it's I think it's a two shot sequence what we try to do is kind of a medium shot he paddles away and then let's get the cameras were probably in the housing again and then let's get that housing really close to the paddle so that is he paddles we see the water dripping off the end of the paddle I mean, that would be my vote here it's kind of a two shot sequence medium and then tidewater housing questions like you plan ahead with you know what you want to shoot things in slow motion or regular speed yeah like I mean that might be usually mundane off in terms of the guy that seeing forward on that stuff he would say you know this is cool the water dripping off the paddle let's switch to slow motion you're doing that on the shoot are you because I think a lot of times when you actually see that action happened that's when you're like hey, that would work at high speed for sure so it's a lot of it is seeing it happen and that evolving that shot further sean maybe we give it a little just give us a square there so we know we're gonna do a second tighter angle there we shed in four, three hundred by the way this is so obvious but I'm just going to say it video's horizontal right um and would still photography we switch to vertical sometimes but with video where one hundred percent horizontal all the time and just the still photographers thes or mistakes that we made I mean I was just at a wedding the other day and watching this there's an older woman, she filmed the whole wedding vertically with an ipad and there's just no evidence. It's funny, I've just never seen the tv set hung verdict was living room. Cory it's amazing how often that happens oh, yeah, no it's it's really it's really? So I think I think this is going to be in the water will probably again, you'll see how well cheat it. I'm probably going to shoot this is close to shore as possible or right off the dock so that we can stay stationary jim's the guy that knows how to manipulate and maneuver the kayak, you know, he's the pro, the more we have to move around in the water, we're just gonna burn time thinking that clock is ticking and we're just screwing around trying to get to the right spot. We're just losing shots and this is probably gonna happen in conjunction with that other shot work where the fish is in the foreground just because that's already where we've got on everybody in the water, cory's in the water, that kind of thing this's shawn's department so here it is. This is inspired by that pete mcbride image that we saw from, you know, on the mast of a sailboat in antarctica, but now we have shawn's rc helicopter and so you know, yesterday afternoon we're here to do a tech scout just get set up and it started drizzling so that's the one flag that I have in my mind is what happens if it rains then what's your cut umbrage range is definitely a no go with the radio control helicopters, lots of sensitive electronics onboard and uh as the pilot, you just have to evaluate like, the risk factors and you're flying over a body of water so if if it goes down it's a total loss in what what what other issues what else do we need to worry about with the other? Yes, certainly just the large ones are like environmental factors so what? Wind um, tight spaces uh and what's your threshold for wind like what will yeah, you don't much above, like fifteen miles per hour starting to get and you and you lose quality much control uh, you lose yeah performance and being able to get the helicopter where you want the gimbal still gives you a really stable image, but you're concerned about getting the helicopter where you want it to safely too, you know? And so a lot of that is managing the client's expectations because when they're paying to get this toy up a lot of them they want to see it, you know, and there's times where it's just you can't you can't fly it you know we've had that happen on jobs before were just you can't get it in the air because it's too windy, right? Yeah uh temperature and humidity khun definitely a factor um the motors and the drive the power of the helicopter I can get really hot and and in fact it overheats so if you're in a hot area, you're going to bring you your helicopter down quicker than you would you just shorten your flight times? Essentially you just really need to get ready for a lot of questions that are coming to you. Yeah, sure boy so one of the other decisions that we made going into this chute was to not fly a dslr camera but instead to fly a marylise camera so we're flying an icon one j three and the reason is it's a much lighter camera and so we can get a lot more flight time so that you know john, keep the camera in the air for long, you know when you're flying a d for that's it really it's like a brick flying a brick versus flying in mira lis camera you know you get I don't know how much how much flight time will we get out? Yeah flying over the water tomorrow we'll probably you know we could go probably as long as ten minutes tomorrow but I don't think we'll have time for that, but yeah that that would be our threshold when that's huge by the way, when we did the nikon why film, which was like our first use of and r c hallway with defore on it I think our flight time was like two minutes or two it was sort of like you could get one shot done and you were worried about crashing the helicopter because you're gonna run out of power you're using two different types of cameras for filming the fearless and then uh, negandhi eight hundred do you get different kinds of film quality are again the video quality out of that? Or are they pretty seamless to merge together? You know, you're going to see some differences, but the advantage of having a having aerial photography looks pretty good it's a wow factor kind of thing. Um, you know, nikon has done a good job of implementing their codex, so the footage looks pretty good out of all their cameras right now and of course, your kind of universally we'll check all of our cameras and make sure they're all in adobe rgb that we're actually in the same daylight white balance so there's a unlike still photography, you can't shoot on a dslr nikon dslr marylise can't shoot raw content, so you've kind of long as everything is sink you're at least stacking all the cards in your favor meaning it's really important to have your white balance is set correctly with these cameras because that's one of the few things in post that these cameras they're light band with codex so there you got you really want to nail the shot exposure and your white balance? You know, first go question I have is when you're flying, how much of your energy is dedicated to the actual flying and how much of it is dedicated to getting shot and how do you how do you manage both of those things? I know a lot of times there's two people doing right that's a good question, there's lots of difference uh, well, not lots there's generally one operator set up a two operator set up for our see holly's and that's dependent on each. Each person needs company in each production the way a lot of our stuff is you mean you're looking at the crew and all be focused on the flying and the framing of the shot with direction from corey. But framing the shot is entirely upto where I put the helicopter and adjusting uh, one access on the camera and then the other solutions are you have to operator set ups as well, which brings in a third axis and a camera, which you'll see with the handheld gamble dane will operate that you can also do the same on a hely but for most of what we do it's it's just me and and so really then what happens is sean we've all talked about what are we trying to create here so jim knows hey jim we're going have you got forty five degrees we want you to paddle for three we'll have walkie talkies so he can hear us whether that skiing whatever we're shooting and then sean so all three of us the talent myself sean I'm communicating with jim oftentimes that sometimes more valuable and you know, operating the camera shawn knows what the angle is so he's focused on just keeping the helicopter in that path you know said that the point of view is correct jim the talent is focused on doing what he's hearing over the radio and it's really it's keeping everything moving fast because even in ten minutes ten minutes goes by pretty quick and you know if it's a minute long paddle out and takes him a minute to come back and then we'll have a dialogue if it's just sean and I for example but today when he's paddling back now let's come in and you know forty five degrees and cross over jim now let's point the camera directly down and get a straight down shot so it's again trying to take advantage of all the time in the air when you have when you have only so much time a lot of times it's you know you pick off that safe shop first that you know is going to work and then from there you can kind of get a little more tricky and risk it to try and pull off maybe a you know, a panning while you're while you're flying over that kind of thing but if you want it, you want to nail the shot when you got the hell in the air so that you come back with something for sure. So let's what? One thing I was going to say is just a reminder the next session we're going to go outside and unpack all of our gear so we're going to show you the sliders thie chibs the handheld gimbal the rc helicopter the lights that we're using so definitely the real technical questions specifically for shine we're gonna have the gear out and that's another opportunity to ask those questions for anyone at home or here in the audience we keep going yeah let's keep on trucking uh kelly shot okay, I think I think this is really like a wide shot that establishes the location and I think, you know, I pointed it out earlier we have beautiful reflections on this lake I mean, one option might be maybe it's a gym shot where we lift up or maybe this is again maybe this is another hallway shot where you buzz close to the water would be nice to check off a few shots, but if it works with the gym, I mean with the rc helly let's do it that's the beauty of the rc helen it's like all of these other devices you can sometimes mimic and do better with the rc helen and you couldn't possibly build a track that goes into the water on a dolly you should see the dollar track, but with nrc helly we can just fly right over the water and shawn's like thea ice man know what nice he's, good he's good! Usually you'll see him in a leather jacket tomorrow wait whole attitude changes won't talkto you controlling down talk to him so I would say they are see hell, your jib probably pretty wide lines just, you know, we just want to show the place and again, this could be something we knock out with the jib when he did, he walks into the water and then we just have to do that. We just give it a couple more little jim up and down wise and and and if it's subtle, I mean, we might even this is one situation if we're not jumping up and down, maybe we're doing like a panning style motion we might if it's gray skies we might put a new grad filter so I really burned down that sky make it look real dramatic is an established her and I also want to say it's not that every single time we gotta be moving the camera maybe this is just a locked off shot on a tripod with the grad if it's super beautiful and early on that's like that you know it's okay to sometimes do a simple shot but we're going to try to like okay I think that's just a like a medium shots maybe he'd go from the wide we get a little closer show jim out there I almost feel like we should replace this with the point of view shot maybe this is what this feels pretty similar someone want to try their hand at drawing drawn a p o v shot this guy maybe uh cameras on the front of the boat I I lost it already there's fishing for the this is this is ralph body I see where you're going on a second there was a little yeah yeah there's the there were cameras mounted right here looking up at him yeah alright for a second there I wasn't sure where that was going on and maybe then can you write p o v on that shot just so we can get teo when we get to this order organizing that shot is that cool and so what kind of camera may be that what we had I think what we should do is the nikon one housing starts a j three and that's the lightest camera we have cell would be easy to just maybe ratchet strap it right to the front of the boat unlike a little tripod or a suction cup and well again we'll show you all of that so um you know, when we're organizing these shots later this is going to say p o ve neill the stuff to sear that visual into your head okay, cool all right? And I think that'll work and I think that's our long ones shot that was kind of you can probably two hundred to four hundred millimeter lens at four hundred and the cool thing with like the d for the d a hundred is you can actually you can push in so you can still shoot it full hd but go times two and so we can make a four hundred goto eight hundred millimeters I'm not sure this lake is big enough to do that but really create a ton of compression so we'll start with the four hundred and see what that looks like probably just on sticks well, you can actually go we'll show you on the menus tomorrow but you can actually crop the mod's pretends it's like a d accent sir it's actually more than times two and so it's just like a digital you calling on a conventional videocamera like a digital crop yeah yeah but it's keeping it at ten a teepee looks really I mean it's kind of amazing like in an environment where you just don't have the long lens you know you make your seventy two two hundred look like six hundred millimeter lens that full hd does that work for still which is sad but it doesn't use the full frame exactly when you use h d s on these impartial then we don't need the full amount they do that for noise they actually use even less of the sensor but you'll get more noise that higher I s o then you would get normally but use a smaller part of central for the magnification cool that shot seems pretty straightforward alright I think this is gonna be on most complicated shot next to the helicopter and gimbel so I think this is again the same is the still photo I think it's our protect housing reflect yo hit it with a mere yeah turn on the fish yeah maybe review grab a mirror tio and the way will often times you know in this light and fast you know I know everyone in the hollywood world like laughs at us but we just walk in to walmart we buy two mirrors for nineteen dollars each usually they crack before you go in, get them in the car and then you gaff tape the back of the mirror and it's you know, date and everyone's getting glass splinters in their hand but it works like and the reality is that's all you need is that, you know, wal mart mirror and at the end of the shoot you leave it with your assistant or you put it in the dumpster, all right, straight forward and this is something you could piggyback with the stills, is that what you're thinking? And I think we have to pair those together something once I'm standing in the water maybe all hand my camera to blye, he can pull it out of the housing, switch it still or video mode and then we just shoot it again, okay? So again, I think this is an image that we thought we would have more beach, so I'm envisioning maybe he's standing on the dock, the doc is pretty clean and I like that he's, you know, one hundred feet away from us at the end of the dock or seventy five feet, so it allows staff kind of some kind text, so I'm envisioning he's on the dock now, he's holding his fish I don't know if we'll see the boat in the background, maybe it's pulled on thanks to him I mean, if it's on the dock there's the cool like all the lines of the dock material, maybe it's coming up? Yeah, I mean, maybe it's other sliding forward or maybe it's even a download sliders going left to right, so maybe it's r maybe it's, even our long slider. The other thing that happens with cool new toys is you just want to use the same toy all the time. So, like shawn's handheld gimble is like a solution for just about everything, so it's, you know, setting up the slider sounds like a lot of work if we could do if we can do with the gimbel, we'll deal with the gamble because it'll cut the time down by fifty percent when it's sort of amazing. So maybe we go gimbal first option and then slider a second option and then when we're shooting this shot, I have a feeling we're going to want a punch in and get the tight with the fish in the foreground, you know, something up in here, let's, draw frame way, give it up, maybe give it a friend, but just another little detail and maybe that in the edit that looks back to that very first shot that we have where it's opened with his eyes move now he's got this fish kind of thing and maybe and I like and I think that's also where jim would be you know he's like the man that's right? You know he's like smile and he's engaging the camera, making a funny face and he's doing what he loves the other thing that I would say here is we're definitely going to be I think this could be pretty late in the day it could be another reflector situation just especially on that tight shot we're gonna want to fill those shadows and maybe a scrim over the top of them but where they were doing this pretty quick like we don't have that much time to shoot so the more dear we start setting up the slower we're going to be operating cory when you're storyboarding how much how much you guys thinking about postproduction I noticed on that mazda video there was video filter or something over that video or are you guys thinking about frame rate and things like that as you're shooting when you're storyboarding yes the answer is yes of course if there's something that's gonna be really complex that we want to achieve in post then we have to think about that in advance but in general at my senses this spot it's gonna be mostly twenty four frames per second maybe there's a sixty frames per second sequence of you know the fish flopping in the water water coming off the end of the paddle but unless there's something really exceptional usually work within those thresholds during kind of any given shoot and I don't think with this where we've decided in advance, we're not going to put a really sophisticated color grade it's pretty much natural light we're not shooting and you know, we're not going to make it black and white, we're not gonna make it see pia it's going to be kind of natural light so there's not a huge amount of decisions there's nothing that we need to do that's enormous in the field, that's going to affect postproduction aside from those basic concepts of, you know, same white balance and every camera same frame rate on every camera and, you know, we're deciding that we are going to try to use a little sixty frames sixty p just teo do a little slow motion, all right? As this room gets warmer, that image looks um, so I think this is probably a detail, and then I think we're probably again like sixty millimeter macro fifty millimeter lens definitely some reflector action going this almost feels like it's just a locked off shots. Yeah, yeah, because the motion is going to be its quick enough. We want your eye focused on the top of the can and this we definitely want good audio on this strong audio's we might just record this when we do the voice over just get a beer pop in so that that's really clean audio a lot of times we won't stick microphones on the cameras they get in the way but you know if we don't have to we usually want because we know we've kind of one of the decisions we made in advance of these storyboards is we're going to use music so it's going to be a thirty second spot with music this might be one of the exceptions you might hear that now down of the beer cracking open so will capture that nat sound and then the only other ingredient that we're going to add an element is his voice over and so once we've what we don't want to do is slow down and set up microphones during the actual shoot so will the next morning when we're doing the voiceover reading on camera once we have the audio kid out you know we'll have a six pack and re open beers a few times and then just sink that sound try to match it the best we can I hope he has a consistent bureau just for audio purposes yes actually an open seven one for everyone in the class room yeah all right and that's the victorious swig of the beer I'm thinking it's almost the same setup I mean it's almost like we could do this shot when we do the voice over way wanting him to say a line on camera you're saying the one on camera but we have that second morning tio I don't know if we'll use him on camera but this tight shot of his face maybe when we set up the voiceover scene we're going to record it like we're shooting on camera whether we use it or not that's to be determined maybe we saved this shot if we're going to do the beer can opener yeah and we're going to be swinging the beer and him reading lines maybe we do it all once we have our voice over set up and then that buys us time to do all the other shots that are going to burn time they're all complicated so if that's the case I think we're going to building a little depending on the light I could see a scrim over the top of them reflectors and each side or light panels you know, with audio kit just out of frame and then really were doing three things we're going to do the voiceover on camera interview style set up then we're going to do this shot of him drinking the beer and a shot of them opening the beer and we'll record sound on the opening, the beer and his voice silver and is he looking into camera he's looking into cameron his voice over a final shot but I think that is 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.

Reviews

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