The Art of Post Production: Video Part 2

 

Storytelling on Location

 

Lesson Info

The Art of Post Production: Video Part 2

We did a little color work on these just to try and do a quick match on everything can you like? Import settings are presets like you do in light room at all? Or is that all? Like you can import different plug ins that have that you can create your own pre sets? It all depends on what you're importing from it depends on the plug in and things like that. What do you need for? Um well, the probably the cheapest way for the one man band is trying to do everything, and the most intuitive way really is magic bullets calories to two or looks those air just the real simple, really quick, super intuitive you can figure stuff out and they cannot you can also be really complex with them as well if you wantto keep keep learning and working with it okay, so we're going this is still our okay, this is our thirty second time, so that's actually just for the heck of it let's watch the thirty second time line once and maybe we'll just shot by shot would stop so that maddie can organize it and then the...

n we can start really tweaking that at it and dane will explain what he's done to massage those clips into thirty seconds I think that would be a pretty valuable option and then we'll also get into color grading and my audio so this is with it without any of the grade on here well my dear all right so there we go first shot was air tight shot jim and this is you know this is an intimate moment you you immediately we know who our subject is second shot is another one of these same time shots this time we're gonna push you good idea that we go to this this is our detail and you'll see when you look at our pdf in the production document when you download this course you know way were pretty close actually so far I think we're pretty on track next shot is this is our overheads are way way then this was a substitution for not having the helly shot where we wanted to sweep over the over the kayaker what was that? I think that was kind of the sweeping shots were just gonna reverse these you can pull that one off maddie threw this in and this was just about the only take where I didn't hit the kayak with jim so gorgeous alright it's after that we then went with straight over help good which is our other substitution good hallie way have our p o v shot p o v a so I think this is valuable just because we started with looking at these story boards and now you're seeing how these end up in a timeline what's after that care long one shot setting this goes in here okay and you can see how on a lot of these shots were fairly adaptable right things change we got out there we realised ok that's gonna be a little different we've got our hero shot you're in the fish shop uh bligh's hand is in there but it's so fast actually that I think to the average I you know we know that there was a hand and we wrap his arm in that black fabric in retrospect with a little more time we probably should have put a black glove on his hand as well and we also if you look up here we did scale up we actually went to one hundred sixteen percent so we went sixteen percent over to crop that out of this shot in the final edit isn't more than a second long so we went ahead and we felt that cropping him out of there did the edit service rather than you know, showing his hand so keeping that clip down to a second means you're not going to be you're not going to be as judgmental on the resolution okay of the frame what did we miss the uh his power wanes yet so that's good so that means this kind of got whacked you know you got you got to make hard decisions sometimes and you want to do it when the directors not around so that's out when I'm here enough way went into him shelling it off in the second version of really we did two takes on that and then a tighter one he lifts the fish up and then we we go to our detailed to kind of get you into that that were shot kind of what kind of question what that is and then our next shot gives you so you see again, when you get into thirty seconds we realized so we had to lose we had two great details here and we actually lose one of them thinks we're just running out of time, so that made it and then I guess maybe what we should do is listen to the audio I feel like that's the big variable we've selected our song visuals air down to roughly thirty seconds and you can see we cut you know, really two shots here. Sadly, I thought one of our and remember we're already at thirty seconds and we still have you know that khun stay there then we have our voice of when we have visuals, I'm already having some doubts as to whether we're going to have to show jim space talking or if we're just gonna lay the voiceover under visuals that we already have so sorry your client's directive on fifteen seconds is really taking precedent over getting some extra shots in there thirty seconds. Yesterday I was saying fifteen. But today, you know, the thing is, if we had really blown it out there, then we have a stuffed with fifteen seconds. But we have plenty of contents of the rationale. Was it's okay? If we go with a fifteen year thanks in time. Yeah, but what if this was really a job we had? Period? Yeah. It's hard, it's hard. Like if this were a tv spot someone's paying for thirty seconds of airtime, they don't get thirty one seconds and I can't just give them twenty nine, you know, many thirty seconds because that's the year and in fact, this is still a thirty five. Okay, so this is un graded, and we don't have our little flips and scales in this shot so far, way through our logo in there and again, this is still what are we at right there? Thirty five seconds. Okay. Um, let's for the heck of it, let's. Go right to the last audio. Jim read just can hear that voice over and then we can decide I'm already in my gut feeling like we're probably not going to show jim space. I think but we have it as a backup I mean we're making decisions about what makes it on the timeline what doesn't make it a timeline of his last I caught my first fish when I was two years old now for over fifty years later all that's changed is much better than a cold beer after catching jackson all right and that sounds terrible. Um so did you like the read on that? I thought it was okay I mean, I thought it was okay and why does it sound terrible? There's obviously there's a lot of ambient noise going on in the background maybe that the nikon was actually reporting out of it. It's uh or I would actually venture to say that it might have something to do we're not actually hearing it out of our computers piping through the entire system so they can hear this live there so I'm not sure about that but I mean we were listening to it through headphones we did it the way that we would always do what I have a feeling that's part of why we're listening to a speak no matter what we've got it recorded good on the tasking this is straight out of the camera oh, I see that's just the audio streamer camera mic okay that's what? Not camera mic that should have been we're piping the audio from the task him into the camera so we could should we as a test given what we have limited time and we're trying to show you as much as we can, we could take the car the sd card that was in the task him, throw it and listen to that file and see if there's a difference and you guys, if if that was your audio, if that's what you ended up with, how would you clean that up? We'd be re shooting. Yeah, I mean, if that was really if what we heard through this classroom speaker was our audio that would not be salvageable now would be a really bad we'd probably at that point try to convince the client they don't need voice over, you know, because jim's already left for the airport where he's out on the lake fishing he's done, and so we can actually see that that's in this audio recording, this is the noise floor right here, and that should be down here, joe, maybe seeing the way forms jump. So on this nikon on the recording on in camera, we're getting some sort of, uh, interference and there's higher noise floor cool. So now we cross our fingers and hope that that what was in the task am actually sounds good, so who knows this could have been a variety of reasons there were two of us there maybe we didn't have the plug plugged all the way in and so by default it was defaulting to the actual onboard microphone on camera and again that's probably just not salvageable thinks it's picking up everything and self there are moments in post production when you cross your fingers and you think oh man, I hope we didn't blow it and this is we alluded to this already this is why having an audio engineer can be really valuable any questions is dane is pulling up the file about the process so far yeah corey that noise for something you were maybe saying that knife or something nearly is there any way possible that you monitor that when you're out in the field and see yeah, yeah way we're monitoring our task we're modern out of task and I could have put the headphones into the nikon and listen to it, which I probably should have done. But then again, it's a tough one because what we're doing here for creative lives we're trying show you and talk through what we're doing really time and it means you're not actually paying attention as closely if my brain and danes brain was entirely on doing jim's interview wei would have that sound would have been great out of this camera's? Well, in fact, shawn probably wouldn't crash prc helen if he wasn't on they're alive but so I mean really just it's always about slowing it down, you know, saving a few minutes here and there if you f it up doesn't matter how much how much faster you finished you can't deliver your final product and that's what really counts at the end of the day so we'll go in and and see if the audio works and sometimes what will happen? I think you guys someone asked the question around you know is that thirty seconds flexible sometimes that's a thirty seconds it's not flexible for the tv spot but we might be able to sell the client we have so much great stuff hey, can we actually do a sixty second at it or director's cut as well as the thirty second at it? You know, if we really wanted to show jim's face for example, you know there's no way it's going to fit in thirty seconds, but we could get it to fit if we're doing this in a sixty second at it so that's that's one way if you really want to show them what you've done that's an option? Yes, yeah so we talked about earlier but licensing with music a lot of the stuff I do it I'm sure buddy out there he may not have a market for you you can't shoot events or activities on speculation type of thing how does that relate to license thing if you don't know you're making any money for you don't know if they're going to use it but you're still getting the music does that have any you have any learnings from are you saying for example you're shooting an event and there's a band on stage and you recording that music nothing like pulling things off a killer tracks that you're buying his background to your music but you may not be making a profit you don't know your distribution right? I guess that's a question if I thinkyou can comp music in you know oftentimes websites will let you download their music but every five seconds it's his killer tracks or something I don't know if killer tracks does that I can't remember and then the reality is if you client buys it then you turn around and you licensed the music you can put placeholder or f pio for placement only music or scratch track sometimes we'll call it just so that you can you know if it's gonna work or not and then if your client agrees to buy your product then you go back and as part of your arrangement you have to license the music from the database that you went to to find the music okay is it good? Do you make sure that it's part of your general budget or do you always build a client for that for the music I mean we always whether we're doing the projects through nervous select production company we work through lot or whether it's my officer danes office we'll always have a line item on the budget so that the client sees you know, music licensing and you know I can't give you a rule of thumb but usually we say that's a three minute piece will budget for two to three tracks of music so you want to make sure that you're budgeting for enough and again you want to understand your distribution if it's going to go on on the web that's one licensing model if you're going to be re selling the product you know if we were shooting at how to fishing video a gym that's a different licensing model that killer tracks than you know publishing on the web for free and one more question about music from pro photographer do you get the client to sign off on the music before you add it to the video and do clients ever provide you with the music? Sometimes I think a little above definitely clients need to sign off on the music I mean but that's part of the process typically um occasionally a client will provide music um hopefully they have good taste in music or that can be pretty painful we once had a client where I don't want to disclose too many details but someone the client really loved like classic rock and so ask this toe like use thes classic rock tracks they were like, you know, um cover band tunes like famous songs and was just the wrong music for the actual story. And so eventually through a lot of, you know, negotiations and talking and communicating, we talked him out of it and it made for a much better piece. Okay, well, we need to be able to hear this uh we'll play that must be the end of the class. That was the end. I caught my first fish when I was two years old, and as you see there's no noise for on this, the way forms air hitting at the very bottom. Andi, as you can see there's that quarter inch of, uh that's just fuzz really that's going through there and again, that's I should have checked the signal going into the camera. Nothing was peeking exactly what corey said don't trust the you're nothing speaking and I trusted you. Nothing my god would be from experience that the little mini jack wasn't pushed all the way in and said that it just defaulted to the on board mic or I stop the mini jacket had yeah, maybe 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 how long is that start to finish was pretty sure that is a twelve second clip twelve maybe for the heck of it let's just let's, you know, let's put it halfway into our I think we could spread out I started his whole in trail that near the beginning and a lot of this is experimentation, right? We're going to now we're going to take this statement there's a few obvious breaks and you can see that in the wave form when it goes to zero that means we that's a clean break and then it's about the context of what jim this and you know, I caught my first fish when they're two years old now I forgot what he said exactly. Now I've been fishing for almost fifty years that's like that's one statement in and of itself that might stand that that that that could actually sit at the front of our peace when we're doing this video portrait of jim let him fish a little bit and then before we forgot that he was even speaking, we come back to jim and jim says something to the effect of you know, the only thing that's changed is much better kayak and a cold beer at the end of each after I catch the big one then he breathes again and maybe we go to the end of the peace and justice jackson kayak so it's that's one way of taking this twelve seconds of audio and spreading it out over thirty seconds and then we you know, that's my idea we might realize as soon as we lay that down it doesn't work. One other thing that I didn't have the chance to say is any time we're recording audio and interview, we'll always record room tone and so room tone applies to outdoors or indoors support out there and we're doing this interview with jim we would after he read the lines were also very end we would say, okay, nobody talk and we're going to record for thirty seconds and that allows us to see if there is a lot of background noise we can at least consistently keep that background noise in for the entire thirty seconds that's one subtle way of covering, you know, kind of distracting background noise if there were crickets or you know the dog barking is a little too extreme, but you want some room and then so I've organized our audio we've got our video track is on our first channel then down here is our our bottle popping and that's our our sound effects is going on the second channel in our music bad is down beneath just to keep yourself organized it's good tio with that I've soloed the track so all we're hearing is the voice I caught my first fish when I was two years old now over fifty years later and chorus and probably want to send this to the back end here we'll see where that send it out over fifty years later all that's changed is a much better kayak and a cold beer after catching it almost feels like we just need to lay the beer part right on top here just really literally so I think about you guys are getting a really good feel for how this comes together you're probably not going to see the finished polished spot but that's not the idea we've taken you from shooting in the field too darn close for thirty five seconds all right we're gonna turn in on their our filters of what we did teo kind of polish the the looker at least match the cameras a little better I think everybody probably noticed that that p o v felt warmer than all the other day hundreds that's because we're shooting with different cameras and was also pretty quick when there's a chance that we didn't have it set of daylight we're not sure maybe set a cloudy I said it but it's just there cameras they're going to be slightly different you know it's it's tough for them it's a pretty arbitrary on you know the exact I know your player like a cold beer so it's starting to work, you can see it kind of evolving, so one thing will do maybe just real quick is any time his voice comes in, we're just gonna bring the music down slightly just so that it's music isn't overpowering his voice. So if you want to do a bit of editing the actual footage in terms of fixing things, would you do it in premieres? They're better program to edit the video in dot like burning, fixing the sky and things like that. Um, you, khun premier has its own color correction tools. Like I said, that plug in plugging magical it looks or you consented to divinci resolve adobe premiere has speed grade so there's a lot of programs after effects you can actually calorie stand magic bullet and after effects and it's a fairly complex uh, you can get complex periods with it. So we're gonna pull down that. Yeah, maybe just a little bit. Justin, this couple of a couple of spots do you guys expect to do revisions on most your projects are finding that, yeah, most most absolutely, I mean, usually will try to define with the client how many revisions? So we're on the same page in kind of a classic number it's two or three, two or three rounds of potentially legitimate revision from a process perspective if we're doing a more complex piece you know the beauty of doing storyboards in the beauty of agreeing on a voice over for a thirty second style spot is there's no surprises at the end this is what we talked about this we went out and tried to shoot we all read those lines on the telephone to each other and everyone agreed uh with projects that are more documentary in nature will often times do we'll do the shoot do the interviews and then we'll transcribe all of the interviews into a paper cut first so we have a word document or pages document that is the story and then we'll go from the pages document to a radio at it which is just the voice with no picture then we'll layer on top of that radio at it an actual full at it with visuals and you want to make all of those big sweeping changes early in those revision stages because once you start once you have the voice down your music down the visuals down and then someone wants a big structural chains then you're talking about big time like huge time investment okay, here we go so this is with music, audio and visuals I caught my first video when I was two years old ah now over fifty years later all that's changed is a much better and it's cold beer programs have a little trouble it's un rendered nice not of that clip that were you flipped it did that get flipped back? We flipped it and in the added that should be the same as it was I think he was on the other side of the way just we're testing just think so I think that's you guys get a really good feel for you just watched from start to finish the progression of talking about the shoot concept ing the shoot storyboards going out, executing the chute, bringing the assets back into adobe premiere cc and actually putting together the entire spot any final questions after lunch about video after lunch we're gonna come back in and look at our two still photos and figure out how to make them look just right for at the jackson kayak um cuda campaign mock campaign that we're shooting on creative we could take a couple more from you guys and then we'll go to the to the phones um when you deliver, do you just give like a compressed web version? Or how do you like what's the final? Typically that depends on your client typically they want a full hd version of that video typically that they want full hd and then they might want might want some smaller files if they don't have the video capabilities to downsize for, for example, different styles of websites or mobile devices some clients that are very sophisticated, they're gonna want the actual editing files and all the associated media so that they can later going and manipulate the file on their own. But usually that's, something you'd tryto understand in advance. What are the final delivery, bols? But for sure, you want to give them the highest quality product possible, because then they can work down from that bacon output. Lower resolution versions. All right, I have a question here. Declines ever ask from multiple videos from a shoot with different clips and different music, for example? Yeah, yeah, I think way did, uh, project called deep north, and we had a bunch of different deliverables and it's, actually, for different clients, polartec wanted a couple different edits. Thirty from thirty second edits to a testimonial to minute at it about the kind of roundup of the trip. And then we also created a six minute cut off of the same thing and a twenty minute cut. So it depends on the project, but very happens quite often where you get a lot of different deliver balls. And you have to be thinking about that advance. And I think deep north is a great example. You can go to corey rich dotcom and go to the motion page and somewhere on that page you will see deep north and I think a twenty minute version twenty minute cut is out there and if you're interested if you're if you're watching this show you're going to find deep north pretty engaging it's really the story of dane and I and a few climbers tommy caldwell, todd ofthe locker and hayden kennedy going into the arctic for two weeks to climate on climbed the wall and we documented it using think g seven thousand and a little coolpix camera and then you can also go to itunes and you khun search flying wild alaska and the same segment discovery took those pieces and cut it down into two segments of our friend tommy banner that was his television show so tommy invited us to be on the tv show and then we also had a delivery ball which was a twenty minute cut for nikon and I forgot all the other day well attack yeah polartec patagonia I feel like there were even a few more butt so that's a great example of where content got purposed all over the place repurposed I'm pretty sure I want to watch all of the videos you guys have ever made at this point okay one more question from the audience could think over what you did in the grading from the we're all file so what you have now I'm sure really quick on a shot would see what what's a good one here what about the fish shot yeah, the fish out got quite a lot of something so the fish shot and this plug in allows you were pretty much within premiere um but when this is all turned off when you don't see what we have here that's that's the original shot this is actually overscaled look more like that we reframed it so the doc comes in on the side you can see we took hiss panned it was down here so we added a radiant to the bottom here we had a little bit of science the to the water here just so it felt a little less murky we brought a little color into their way burned down the left the right hand side of the frame because we want your eyes to look at him in the fish we don't want your eyes looking at um this blown out skye so we added a grating over there to burn that down. We had a degrading over on our left and then we actually added just a touch of color into the top of the frame. And then we used three way color color wheels to drop our shadows down a bit just so that we had a little bit richard blacks and then we actually dropped their highlight just a touch but we didn't do there wasn't a lot because cory the exposures fairly good, and we can't recover those highlights. This is just more of a way to kind of compensate for that blown out my life that we had in there. All right, well, let's, do one final question. The question is, do you do you back up your editing as you progress? And if so, how often, yeah, it's. Really important to make sure you actually go in and make sure that the auto save is on, because, you know, editing programs crash. Depending on the hardware that you're using things crash. This is at fifteen minutes. I'd like to have it in five minutes. Just today, you're getting its many backups because it will crash. And, you know, since you're you're trying to be creative, you can always recreate what you thought was so great that first time you want to make sure you have.

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