The Art of Post Production: Video Part 1


Storytelling on Location


Lesson Info

The Art of Post Production: Video Part 1

We literally rushed up from the dock where we're shooting the interview grabbed the card out of the d eight hundred and dane is actually downloading the card now so most of our ingredients from yesterday were already in the computer we did a download last night we're actually working off this g dock system the beauty is when we download in the field this device comes with us and through software we can actually duplicate our content so we know that we have redundant backups you have two drives both one terabyte and that data is on both of those drives and then the beauty of this system is let's say bly, for example was gonna fly home before I was flying home I'll send one drive with blind then I'll take a driver if jane's going at it we could actually stick a third driving so we have triplicate backup dane khun take the drive and then he has the same enclosure in his office where free ship this drive to her office and main that nova select they also have the same docking system so it's...

very easy to work with those drives and we have redundancy which is really key so we don't clear our cards until we have a least double backups ideally triple backups so all that day and explain what you're looking at in terms of kind of the baseline of down yes, they sign uh is you're looking at just you know, the folder structure within the drive we've got broken up between the type of shots or the scene that we had and that's more of an edit prepping kind of thing s o that if if maybe you're not the editor you just made it so that the editor has easier time of it human readable what what those scenes are typically we'd actually have these in their own media folder itself we also then have our edit our editing project folder especially if you're on location if you're cutting selects or something like that and then the editor that you're sending the drive to and then work off that as well so we're going to bring in what we just shot this interview footage you can either drag and drop into from here or uh which is what well dio you could also so it's in there you can see that interview footage you can also write click and import from that same project window game can you go back to that project window? I think one of the things that's important in terms of media management is that at that top level you have human readable file names you know we started with these storyboards by the way this is one of the props that went down live on creative life if you want to see the rc hello that used to be the the parent of this prop while it crashed you can watch the creative lie, of course, but I'm going to use it as our point today remember, we started with these story boards and so when dane started this download process, we actually tried to provide human readable names, so for example, you can see thais tight, they shot obviously then for the editor that pairs up with this shot if we were a little more organized, this is again we're doing it kind of quick and dirty we would've actually number these shots, and so it would be the numbered shot let's just say this was shot number nine, it would say zero nine underscore and then human readable, which is tight face so just that you want you always want human readable and then you want to file name that corresponds with the shots, so just somethingto and then having the human readable gives everybody kind of the common, you know, speak of what you're what you're going to talk about each scene everybody kind of knows exactly what you're talking about. It kind of becomes the names of the scenes and things like that yes, your folders shafts exactly right? Okay, so we've imported into premiere you can see in just our big been window we've we've then again created more folders were going to throw our music in there we have any graphics that the clients provided with us this interview footage that we just shot is in there and then all our media assets which are those human readable folders were calling them scenes now are in here broken up for us to take a look at and then what we're editing on our sequences are there as well and so and one thing I want to point out just big picture remember you have we have a few ingredients, right? We have the video content, we have the audio content, we have the graphics and that is really what we're going to end music we're going, we're going to go in and select some music, so that's it, those air your ingredients and so it's at the baseline level the more you khun stay organized and actually keep your files organized in such a way that you know what you're actually describing, you're making your life infinitely easier so and gain is really, really great that it also means when you add these human readable names and you document for example what these shots are titled if they have numbers, it means if he has to pass the project off to another editor when it comes time to start describing files or what you want to make changes to or I'm going to describe it over a telephone call worth we're speaking the same language rather than trying to describe no no I mean when gyms in the green kayak on the water well every shot is jim in the green kayak on the water so having human readable names and actually sticking to for example somewhere in our production notes we did up numbers if we had more time we would have numbered these shots and you see that in the naming structure and just that little bit of prep helps you know, down the line especially when you might have you haven't seen that project in a year or something and you go back to it by having stuff crept into the rightful there's you're making it easier on yourself because you're not going to remember you know what you did a while ago especially if a client's asking can we go change this if you're not making things readable and and they make sense you won't remember the logic that you put into it in the first place and let's for a second and let's talk about big picture how do we want to approach this at it do we so that people have different philosophies some folks like to pick their music first for example like they already know what their music track is and then they start that's in their head and they can start building sequences other folks and I would say this is more dana and I our style is we'll start by just looking at the visuals and stringing together here are the best shot's from each take and we'll call that a string together just a loose at it so that it might be we know our target is thirty seconds but we might actually build a sixty seconds or two minutes string together of content just so that we get a feel for what shots that we nail what shots that we miss wow this shot was really great there's three we're going toe to toe with options you know which ones are best the other thing is we now we have jim's voice we need to add to the equation we want to hear which line was best and in my head I've already made in that on jim's voice I like the super simple take which was fishing kayaking beer jackson kayak and I liked his very last take actually you know not to point any fingers but my favorite take got crushed by someone yourself but all I allow oftentimes like oh, I've already made that mental note there's basically two takes for audio that we're interested in the super simple take and then the very last take that jim did and for time will probably go right to the last take and see if we can make that work yeah, so once we've created kind of a select serial of the shots that corey was talking about then with the way we were is, well, typically go look for that music because then we're going to start cutting down and try to get to the initial time that the client asked for us. So one of the services that we've been using a lot lately is killer tracks on this on the music front, so music is a lot like licensing still photography. You can go toe there's there's multiple ways of coming up with music for your for your video piece one is you gotta go the stock music's like killer tracks killer tracks a huge archive of content, and you, khun license the music based on how you're going to use it. So if we're going to use this piece for the internet, eric jackson wants to put this on the internet. This is gonna be to promote, come in a boat, we can actually. First we go in and find the music we can go in, and we type the genre of music that we want to listen to. What what we think having medal this I was e I was either thinking metal or punk, I'm going to say bluegrass or bluegrass, I mean danes thinking outside the box, so we put in bluegrass and up comes a variety of tracks. What a surgeon actually finding music really should budget time music is such a huge part of the edit and it's it's a painful part of actually finding but once you find that right song it really adds piece so you can as danes playing tracks in the background and jump in when you think you hear something that's good and maybe we can bring the volume up a little bit in this room but so so as you're looking at at music you can go to it this is a high end archive like kill attracts you can also find royalty free music online where it's essentially you pay a smaller this is this is rights managed music meaning if you want it for a tv spot you're going to pay a lot more than if you want it for the web versus ifyou're going to use it for in house or documentary and documentary film so they price it based on your use royalty free music is a lot like royalty free photography you pay one flat rate and in general you can use it for anything that you want you download the file and into perpetuity it's yours but a bunch of other people on that same track you can also find free music online folks you're willing to share music if it's not for commercial purposes a lot of artists actually are willing to allow you to use their music moby's a great example of that he likes the idea that music's being moved used as long as it's for a personal project you're not reselling or republishing that project for profit the other way to find music if you have more budget is you can actually score the music so we could hire someone to actually go in and, you know, if we have this vision of what we want, we could go into a studio and we could actually, you know, cut the spot in general where maybe he would give us a sample track, score the music for us, then we would start editing simultaneously trying to match visuals. That's how most big movies happened? There's a music that's getting scored for them on dh then if you're really gifted, you could go into garage band and you could score it on your own like, if you have time and you have that inclination, but I can't even dance, so there's no way I can score music. So all right, let's pretend that we you know, we found a few a few music tracks that we thought were good. We brought them into our editor here and you know, we'll take a listen to him and we'll figure out what song that we'd like, and sometimes the beginning of the song might be good or bad so sometimes will jump into the middle just to see how it changes and you can see that in the wave form you can see how the music I'm not feeling that I don't like the black doesn't say jim because I wanted to say fishing, kayaking and beer and jim and that didn't say those things no one seems a little light yeah james a little tougher than the little too feminine gyms man it's not that it's so on so full that says uh eight pound large mouth vast hot bath you've got is another thing they remember is we've got a lot of these longer tracking status isn't really fast cutie et it so a lower temper tempo a slower tempo is gonna add to the feeling of those longer shot so it's jim shots things like that you'll find if you have a really fast paced music those shots that maybe you worked really hard for those big long jim shots that you want to hold for five seconds they don't work in a really fast paced so you actually want to start cutting out of them a lot sooner so the music actually helps the visuals and helps keep the attention of the visuals so when you are doing those slow motion shots and the long tracking shots shots aye aye slower tempo song or uh more emotional song anything that was too slow because a little slow okay, yeah I'm going it feels a little slow to yeah too slow just weird that the sound we want to use it to the last one or is that just coincidence way didn't do this we actually spent some time last night listening to a lot of tracks on killer track I believe this is I sound grandma's cooking yeah oh yeah I can feel that's that scene and I get cj back room jim was actually like if your talent if you can see they're moved by that problem and it's going to speak to their audience okay so we're gonna choose that song we like that song I actually want to make sure we have the correct one here so while dames doing that I want to point out so you know preconceived before we actually went out and shot this before we even arrived in seattle we concept at all these images and there's a few updates to this board I think for what we're doing right now the reality is we don't need to think about this still image let's just take that off the board that's out of sight out of mind this other still image this is out of sight out of mind we're not worried about stills that's our next session we're going to go into the art of post production on stills a couple of things changed you know this shot sort of didn't happen we had to improvise helicopter went down additionally, this shot sort of didn't happen we wanted to do the sweeping shot you know, low to the water and then reveal the kayak in the background so I'm just going to the reality is I think this one we probably don't have this we didn't alter with the crane um I think we actually managed to this shot turned out to be pretty cool you know, preconceived idea was jim paddling away what we ended up really cropping in and doing an underwater shot of the paddle in action and we did that that was sort of really improvised at the last minute we had the water housing out we figured you know, why don't we take advantage of the housing? I think this this was this was actually that's our long one shot that was fantastic that worked um this worked I hope this works because that's kind of our hero shot will find out soon kind of a p o v shot we ended up reversing this let's just kind of instead of the camera here we actually flip the camera around on a tripod behind jim's back and way converted that shot into a p o v and that was just on the fly we did that I think are tight shot looked great remember we did it locked off on sticks and then with the slider we have him celebrating with the fish drinking beer and that shut so the preconceived ideas that was also the pacing for our edit but what you're going to see is we really start working with those clips this could really change and it's going to depend on how it feels now that we start layering on top of this the music, the voiceover and the one shot that let's maybe for just so that you guys have something to look at his dane is building this at it let's actually call this the voiceover shot instead of just the still because that's a pretty similar framing will also call that voiceover and then we can decide where that's going to fit does it go at the end of the editor or not? All right, so we've got all the all our footage in here we start scrubbing through each of the clips and really finding those key moments we created a just select sequence real fast it ended up being, you know, five minutes long a little bit more than that it looks just shots that we felt where that could be usable. What was the best moments out each of these shots and you'll see this shot here we only have about five seconds of it, but this was from a clip that you know, ten minutes long here of us playing around so we we go in there we grab are in and out point we're putting in point there and outpoint there, and then we throw it into our sequence. Do we want to go through what we did here? What I would say is, why don't we and let's go through one or two full clips just so that they can see when we grab that raw footage, how we strung together five minutes on then I think maybe we jump right to our one minute string together again so that they can get a feel for it. And so when you're just fast forwarding through footage, we call that scrubbing footage, we're just trying to really quickly go through the footage and understand where's our best moments in that footage and then were trying to distill it down so that we kind of we start with thirty minutes of footage and goto five I mean, hopefully you can go right from thirty to five and then from five to one and then from one eventually down to thirty seconds is our goal. We'll go out of the art gym gimbal shot. That was our top shot of the day for our first shot of the day, and we'll find that clip so again with video, of course, because we're showing you the entire shot you khun cia's soon as we pressed record on that camera. When the gimbal was resting on the dock, you know sean presses record or blind does and now we get into kind of a juicy part of the shot this is really why we put that camera on the gimbal on the end of the jib arm yeah, and this seems we're starting to get into that nice moment so well thrown in point here because we don't need all the other garbage on the front end to get into our sequence let's just watch it don't play through that's pretty sexy that's a cool shot remember, this is a piece about jim as the vehicle to sell the cuda boat so that's kind of a cool shot that wasn't even on a shopping list the idea of just the boat but we're trying to figure out is the crane working? Was the gimbal working? Was the exposure correct? So I mean, I think we throw that into our time when, like, you know, it might be so they're years we threw it in there. You guys over mark since you're doing those young clips you ever did you actually see in a bunch of these there's the most of this stuff has marks, and especially in the long clips that you confined when you go back in there, you don't have to rewatch that ten minutes worth footage, you know where those those in israel easy there's the mark we just marked it so from there on, you know how the market right there I was actually thinking you ever stick something for the camera? Wait don't usually take the time to do that I mean, that's it could be something that's really helpful to you, but I find that, you know, when you're trying to get a lot of shots done, the more complexity you're adding can sometimes hand for youto get all the content. Yeah, yeah, in fact, I can't think of a time that we've ever we've ever done that is because every time you know that cumulative one minute that you're slating it shot in advance is one more minute you can't be creative later or worked the shot, so especially if you're one man band there's absolutely no reason to be slating shots if you're going to be the guy at the end of the day editing that same content so the right image video that's your timeline yeah, this is your timeline on the left in premieres you're is what they call their source in final cut that's a viewer after you market, then does this just the shorter version goto the writers, the whole thing okay, so yeah, we have our in point here and you can see that's this little yellow guy and then I find where I want to get out and I'll make all marking out point and just this little bit of the clip is that go into the sequence you'll see it go right into there and that's all you want you're not looking for any of that extra stuff in there exactly so let's dame do you feel like we should just jump into pretend that you guys saw you know we already looked at the thirty minutes together we got it down to five minutes I think we should go to the fifty seconds or sixty second clip that we have so we we distilled it down to sixty seconds and again, if you weren't online yesterday you khun download the course and watch the entire shoot in yesterday's session and I think hopefully what you take away from this as you see this first very rough cut this is just our best footage from yesterday you know what you're going to see is despite all the challenges down there you know, we had a water house and we're in the in the water with murky water we tried to figure out how to hide flies hand we were missing some neutral density filters at one point a crashed helicopter with improvised music crane arm instead of a helicopter you know we're using a fake fiberglass fish instead of a real fish the idea is and we're working in canada urban lake area there's docks all around us and people and dogs barking and other fishermen on the water we're just trying to create the feel in thirty seconds for what it feels like to be jim sammons and out there on the water having a fishing experience and drinking beer at the end so put that filter on and then let's look at kind of a couple of loose shot and it's it's kind of nice when you're in that you're starting to get into really a rough edit and go ahead and throw your music down so you can start to feel what each shot kind of feels like with the music and you really know hey does this music work so we threw our thirty second track and again that's going to be our target time that were looking to try to hit so you can see that you know we have more we have doubled the amount of footage on the line here and a nice thing about killer tracks you know there's other archives out there in terms of licensing music but the beauty of killer tracks is often times this same audiophile will be sixty seconds thirty seconds and fifth fires that they've done most cuts for you so you don't have to go into the way of file and start trying to make it a thirty second cut or make it a fifteen second cut all right let's give it a view I don't think wait so there's a lot more that we liked here so again you can see multiple takes and we actually captured pretty decent audio of that beer opening you heard that popping open in the background too straight off the camera crisp taste through a couple of extra fish shots in there okay, so you get a feel for it we've got some content to work with and again I always say you need to be your harshest critic you know, I watched that night cringe because I think dang I wish we had some details like the fishing rod that's one shot we just never got to do we ran out of time and we talked about that when we looked at the inspiration shots you know, we looked at all of these cool pictures that we got from aurora photos dot com from various photographers shooting fishing around the world and one of the shots that both dane and I identified was well, some details of gym tying a fly or details not a fly but putting a hook on his rod are you know, kind of reeling in the rod that would've been a nice edition just visual diversity and of course I cringe because I know the power of the rc helicopter had we got that thing off the ground yesterday we would have had some stunning sweeping shots of you know jim out there on the lake but nonetheless I think what you see at first glance first passes you know, for a couple of sessions out there where we're trying to instruct at the same time there's a few nice shots we've got enough for a thirty second spot question it just kind of time frame in the past why don't you schedule a block of time just for b roll these ever schedule like after the shoot we're going to get a block of time just to go find b roll footage or extra footage that you might use or he just had captured on the fly yeah I mean really always shot was b roll the sol called cover footage but the reality is because of the class it was less freeform you know, we would have spent a lot more time just milking situations and gnome or energy would have gone into being creative versus turning around and talking to camera but this is this is we would call this be roller cover footage this is really that's what we're gonna do, we're gonna cover our music and part of you know let's say we're doing this commercial shoot is the client signed off on these storyboard images that's what our focus was you know we had a short amount of time that's what we went to try and capture so in in shoots where you know you're going out and you're just documenting yeah, we're spraying so so much footage so this was more focused on these storyboard images that we were going for when you decided the order that you're gonna have the videos is there generally certain things that you could do to tell a really strong story for someone who's just getting into video? Are there certain techniques and you know, tricks about how soon are how much you have detail versus you know ariel versus I mean, I think there's um there's um general techniques, which is from a storytelling perspective you wanna have a beginning a middle and an end in general and we kind of did that here, right? Jim shows up the water he drags his boat beginning middle he's out there casting you know, he hooks the fish he got it in the end is cracked open the beer in the beginning middle and end and then I think the other thing that you're always thinking about visually is, you know, wide, medium type like you're trying to give your viewer diversity and we did that in certain scenes there's jim there's his boat on the shore wide shot jim walks up detail, he grabs the boat and drags it into the water you're a medium shot, then detail as we see underwater pretty tight just his paddle stroke through the water and bubbles ripple so it's you're always thinking about those three things beginning middle, middle and end wide medium type thing you know that's a super general top level statement, but you know that you don't want a string of medium shots in general and that's your whole pieces medium shots, you're wide shots are tight shots it's you want diversity and when you're on location you know it's, you just shot with your seventy two hundred look in your bag, you have that sixteen to thirty five now what can you do in that same situation with a different lens and that's? How you're going to get that visual diversity and it allows you in the edit you've already shot that different type of coverage for these scenes you, khun edit and have the visual diversity, and if you're that person that doesn't have the seventy two, two hundred fifty of the sixteen to thirty five millimeter lens, you're just the guy with the fifty millimeter line and you know we have this humans these things called legs like you get close first with your fifteen issue, then you like step back thirty feet, you shoot with the same fifty millimeter lens and then you step back another thirty feet and so it's taking whatever equipment you have and maximizing that equipment and it helps if you have a wider quiver of lenses, you know, again that baseline being sixteen to thirty five seventy two, two hundred and fifty millimeter lands might be the next piece of equipment I would suggest, so now you'd identify from the shots that we have we have on our selects real there's multiple clips in there we want identify which ones are the best clips out of those way settled pretty early, we kind of like this shot we've got these tight shots what's better that push in or just, you know, just the standard him looking straight at the camera, I almost like standard do you like the ocean? And this a lot of dialogue like dane and I sometimes we have exactly the same opinion, and sometimes we'll have varying opinions and what dane? Actually, I liked pushing, I think that's a better friend, I kind of like to push one as well. I just didn't want to argue with dane right now I'm just saying what we haven't actually just remind you just do this, do you like that? Um but that dialogue is really important is that as we're talking about what we're finally going to use, it's dane's also think I'm thinking just straight visually what I like most danes much more in tune with how is this going to edit together right now? I mean, he's more concerned about the time line, I'm more concerned about to stand along visuals what do I like the most and often times it's a you know, it's, apples and apples. They're both great. Chung's that's what you wanted. You wanted me in the situation where where any of the shots or using that work? Yeah. So from there were I would duplicate this sequence just so that you're not gonna lose any of these selects that you've already created. And then from there we start cutting this down and that's exactly what we did in our other sequence here, where we have at it. Let's. Just keep going through more of those clips. Okay? So we're going to we're going to say we're gonna kill this year. We didn't like it. This this one one. So that was with the slider. Iraq focusing way that's a beautiful please remember our client's gonna love that? Because it says cuda on it minutes. You know where jackson kayak. But you also see it's one shot at super subtle. But you see the you know, the actual model name of that boat in the lights. Beautiful, it's, backlit. Now all of you explain. This is this is something. And we saw this. When we were shooting it that continuity we had in pulling from the other side of the boat here we didn't shoot any more details, so we're going to have to try to make that work we liked this shot so there's the original shot right jim's on the left side of the boat. But then when I shot the detail of him actually dragging the boat or we shot that detail he was on the left side of the boat and I said out loud and most people won't actually recognize that he switches sides the boat but we actually decided because you couldn't see any words the words were pretty small in the boat we're gonna flop the clip actually so boom hey gym's on the correct side of the boat just like a still image and now the continuity is perfect jim grabs love now he's on the left side of the boat that works pretty well. That's a pretty nice yeah, yeah, nice transition this paddle stroke I think way would have worked this paddle stroke a little more if we had a little more time but it's a nice shot. I like this spiraling of the water coming. Yeah, that's kind of remember that sorry substitute for the helicopter we put the camera on the jib arm and really just put it up the size maybe the gym was moving slightly but and we probably had three takes from that shot and on some jim was on the far right edge to the frame somebody was on the far left this was kind of the best sort of dead center just going to that dark water and I think we would spent more time on that and had him coming straight across the friend rather than this diagonal move but and we might have even put a wider lens on this was a seventeen to thirty five if I'm not mistaken I think that the sixteen to thirty five was on another camera we might have even tried to fish eye and just really get over the fourteen twenty four that's a good point but again we're moving fast so here's our p o v shot and I have to say that p o v shot then is there any chance when he gets farther out? We lose some of that doc in the background or is it a just spends over to the other doctor but we've taken because the one thing and I just can't help it I know it's just suspension of disbelief here because but I hate seeing that yellow paddle boat on the dock in the background but I might have to even that's better to make it so you know now we've got like an orange let's see if it gets any better let's see if that red umbrella just disappears yeah, I'd take that over there okay right what right after he passes that umbrella if he does another paddle stroke so again it's being critical it's actually saying what what's glaring and again we did this on a lake with houses all around it you know, I want him to look like he's in a more remote location you can see the sun changed on this right? We set the exposure on that nikon one camera put it on the tripod used the ratchet straps and that as soon as he this is murphy's law production as soon as he started paddling the sun popped out and you know he's almost over exposed this hat's probably right did he stop that doesn't give us good paddle there but we can throw that in there and just, you know, maybe that's his setup proficient he kind of slows down the battle only sees the fish so that was all right. Okay, that kind of works and that really worked out that was beautiful four hundred millimeter lens. And do you remember going back to that four hundred mil shots? So right there so remember I first I was down on the water with the tripod and then I moved up onto the dock and the reason I got higher because I wanted to get that horizon line whatever those lily pads above jim's heads it wasn't like cutting through the back of his head. So by just that subtle adjustment I moved up two feet onto the doc we got a much more compelling photograph or video. We actually have a reflection in the water. The horizon line is in a better place. And then I think after we shot it two or three times we realized we could see that line actually landing in the water and this was kind of the best, you know, we would have worked this a lot more, but this you know, that that's kind of cool. You see it land in the foreground. If we had more time for sure, we would have done another shot right there. We would have had jim come much closer in and we would have set up a camera and adam, like have have the hook like line right in front of us. Just a detail of water splashing hook penetrating the perfect glassy water and then there's another great detail with a tight frame about here of watched the water spray come off the ofthis office office real there that's definitely something we would have tried. Teo snag. Maybe that could be a slow motion shot as well. All right, so looks a little goofy here, but there's enough there's probably enough to work with in there you know, depending on how he added, it were a bit blown out obviously because we're tryingto we're moving fast. We're trying tio get a little detail in the water. They're so maybe when we get into once we really get it on the timeline, we might try to burn down the sky a little bit game shows how you can do that celebratory hollering probably we don't need all four those shots will have to make some decisions about which ones are we gonna lose? Probably lose this? Yeah, I don't like that last one at all. Plus, it looks like that fish there's rigor mortis is way I don't know I'm not a fisherman, but that looks pretty authentic to me. All right, I get it. You can hear that sound that worked. So we heard that sound last night, which is why we didn't re record the bottle this morning. We already have it, and that was if you noticed we didn't have a non board like that was just the camera. Mike, you know, we're really close sixty millimeter lens. It was quiet outside, we nailed that audio. We're just getting never count on that because when you do count on it, you won't get it but everyone, so why you're surprised by that on camera mike that's, true so kind of right there we've got a nice that was a nice three shot sequence of drinking the beer ultra tight detail you know, cap coming off medium detail of you know kind of the whole hand opening it and then the beer going to his mouth so you know, three shots and and I just erased like a just a lake shot it might it might be good for you to snag anything if you have a logo that you're going to need teo put on something you know try and get one of those just corazon als we didn't end up using it in the edit but you know take advantage if you see this shot you know so what are we at right there like we just eliminated a few shots were down to one minute now from about a minute thirty okay so you can see we have a lot to cut right now we need to get that sixty seconds and we're trying to get the thirty seconds so I think now dame and I would do just kind of a larger pass do you feel like anything where there's double did we already eliminate multiple sequence shots were multiple takes let's take a look real quick yeah two now we might he's tightening actually we could get rid of one of the things this yeah, but all right, so yeah, we'll keep those two does look good so now, obviously, if we're still at almost fifty eight seconds, the next thing that happened is we're going to start really tightening these clips, like massaging these these clips together, and so some shots were gonna shorten some shots are going to stay long. We'll make a choice between our two fish catches here. Well, he really got that one. Is that the same one? Oh, those were that I was sorry to. Okay, so this is like the eye doctor a b I don't think we're going to hold on it that long just because we want to keep it realistic and the fish doesn't just float halfway out of the water. It's not going to? Well, I think there's almost more drawn mind to all those bubble wine at the camera, and then I think one thing we might do on that fish shot I can see because we're in that fish islands, you can really see just a little stuff coming in on the upper left hand corner. We might push in by a few percent, even though we're going to go less than full hd, right? We're pushing into a full hd frame, that's an easy way to get rid of that stuff that's bleeding in on the edges of the frame.

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