Taking Flight: Drone Photography & Video

Lesson 21 of 23

Experimenting w/ Drone w/ Chase Jarvis

 

Taking Flight: Drone Photography & Video

Lesson 21 of 23

Experimenting w/ Drone w/ Chase Jarvis

 

Lesson Info

Experimenting w/ Drone w/ Chase Jarvis

Well, this next guy I haven't known him that long of just through creative life and but his background is a photographer ah and innovator and I believe a true visionary to put creative live together as an entity and make it so successful eyes mr chase jarvis please come on up wait like after the credits that you bring on the old the old hat you know happy to be here thank you very much thank you let's have a seat and we'll do this carson style right? So that's johnny carson not carson daly I do I would either I think really it's been a superfund show I've been watching on my phone right has been I was up in seattle earlier travel today and I got to watch a lot of it excellent thanks likes being on your life well, thank you. Well, you know we're going to get right to it way we've got a video out there this has had a lot of a lot of a lot of talk about it, but you know what before we before we play that because they do have acute upper yet if we are gonna watch this okay, but before we p...

lay it, I just want to preface it with I applaud you for doing what you didn't try and trying something and going outside the boundaries because it's that kind of pioneering you know this is a foreshadowing to the video by the way yes it isthe ideas it is it truly is but it's that kind of pioneering spirit I think is what pushes the industry let's see what happens if we blow bob la and oops something happened because we tried something and we also didn't know that this didn't happen and and so you know, wife eyes with go pros and and all that kind of stuff things happen you know and and a lot of us learn these expensive lessons usually near our homes air in a park but some of us decide to go out too arctic temperatures and nice fisher try something so let's go ahead and roll that beautiful being food and can I give it just can't give in to second hold tight I would love to give just a little background before the cocaine and the the back story in short is that I've been flying drones and operating with our working with operators of drones for many, many years back when they were almost the site basically bigger that much bigger than your desk when they were very, very large large on the tv screen and they had that they could like literally kill you where I stand you and flying red one cameras and bigger larger cinema cameras and it's been fun to see them get smaller and lighter and more affordable and so I have been lucky enough to participate in the industry since it was pretty early the people that I knew were literally building them in their garage two cameras and so it's really that is that spirit of innovation I was trying to bring forward and the other part of this video is uh can I I've been putting out videos since the early when there's google video it back in two thousand four five start putting out videos and when I found this they're mostly most the videos were only about the winds and how things work and how the perfect shot turns out and not so much when things don't go so well so there's we very much know what we're doing we knew that we should have been doing acts with why but I've been told not to do x with y a thousand times in my career and it's really suit trying them that sometimes it works out even if the frequency doesn't line up with this and you should have known better I've had made some great pictures under those same circumstances in different parts of my career so this was just sort of winging it give it a shot I am again I applaud you for taking that check get that chance and you know it she doesn't always work out good bye so it's okay to show your bruises for sure got plenty of them that's right waken rotate that I've given way totally left building. Get a shot. No change, nothing. Okay, so let me give you a recap. Excuse me. What just happened? Uh, sort of way. We're testing this new camera. It's, not it's, not a camera supposed to fly on the phantom. We tested it on a very low out itude and got some stability. We know some camera shake, so we sort of escalated way took some countermeasures where we've got the excuse me, it's cold out here when we got the camera stable and then went out to get the shot that we thought was going really elevate the assignment that we're here in iceland. Four and obviously things when things are wrong, really wrong. But at this level, when you're taking risks, you don't take these risks without the possibility of an upside, and the upside in this case would be a remarkable shot the cost while it was really, really significant, we're fully insured, that doesn't make it okay. It really hurts me to watch, you know, expensive helicopter and a camera go into the water along with footage that we already had in that card, but we went in knowing that that was a risk we were willing to take the risk, so I think that's that's part of the game is risk reward and failure, and so we're going back empty handed, and I would definitely put this video out there because I feel like what? What gets shown out there in the world is just all these high fives and chest bumps and successes and for every success there's sometimes a bunch of failure built in, especially when you're experimenting and trying to make something that's not designed to do that work to do that work. So that's, how we've got some of the, you know, some of our greatest shots are doing things that you're not supposed to do with a piece of year in this case, it didn't pay off living there you go, that's it. But but I missed the sandwich part. Sure, yeah that's that was more context. That was a highly edited version of the real version is like maybe ten or issue and it's much too long but it was basically the story of one assignment thought we could we could fly a different camera was a sony camera had stabilized chip in it, stabilize the sensor and it was shot raw and we were excited at what we could get and we had other stuff but we're trying to, as I said in the video to sort of elevators a little bit and the youtube comments there's a no is a bazillion of those things the context again with respect to where we were, where this was not mission critical for the commercial job, this would have been a bonus for the commercial jobs. So we had our bases covered and we were in a park we had rented the entire park, so there was a safety basically safety zone around us it's the glee I forget things called iceberg park or something like that in iceland. So we took all the safety precautions and none of that is told in that story version of video but uh we're experimenting so well and I understand too, you know, trying to this earlier days without all our stabilization, gimbel's and stuff you were trying to get some stable footage little higher definition a little better chip the camera's not that much bigger not that much heavier for eso is like let's give it a shot but you know, we've got thermal dynamics have all these things moisture icing all these issues that that those kind of temperatures will give you so that had working against you but again there's all learning and and as russell and I were talking about in the last segment when we fly dangerous missions we've learned from these kind of things you fly some good ones, you take the card out you put another one in for sure and and so those are all things that you learn because of things like this so I hope that people's take away from this is mohr about ah, you know, learning okay it's okay to take these risks but be prepared for oh sure potential results that's all yeah, you know, I'm man I go data so all the data, anything it was mission critical is not involved at all in that way in any way, shape or form, but the just again the spirit of championing some sort of innovation even if it's at a low level like that on what I was looking to do is again raised the game a little bit on one particular shot and we didn't get it well moving forward though where do you see this this industry going I mean this is amazing in just yeah it is it's a fascinating industry and again referencing something I said earlier just in this little segment been doing been working with drones for a long time um and they especially early on got me a bunch of shots where people said how in the hell did you get that shot and a lot of those were were those early drones and so that's uh I like to think of them as actually providing value in a way that we haven't had before at a reasonable price now call it what it is a thousand dollars seven hundred dollars or whatever that's not it's not cheap but relative to what they used to you know cost and relative to what one renting a large one is or renting an entire crew that specializes in those those air just orders of magnitude is orders of magnitude cheaper now than it ever was before and that democratisation the accessibility not only is it a core value your creative live but I think it's what's made the industry is part of what's made it really interesting over the last segment so weird I see it going I see more of what we're seeing mohr innovation cheaper riggs being able to fly larger cameras or smaller cameras compact cameras being able to create higher call your footage get the fourcade cameras now that are out there like I'm sure you guys have seen some of that stuff it's incredible so it's just going to get sweeter and as faras jeff bezos is idea of having drones deliver groceries uh that's out of my room teo to comment you're right but they could bring you a sandwich I'll take a sound wave even if it's just a p a flying over a sandwich that's right? But there's there's a hole in the same way that when postproduction really started ramping up and it wasn't just about the picture now there's this whole layer of of additional layer of creativity and now with the drone it's it's again an additional air that wasn't there used to have to be on the ground or in a helicopter and let's call it what it is you can't fly a full size lycan a star within twenty feet or ten feet of someone because the prop wash is you can't get the kind of pictures that you can get with a real with a drone so it is literally making what you used to not even that long ago be impossible possible exactly I totally agree so uh how do you see you know the work you do are you goingto keep pursuing for sure for sure my my bias is twofold for the the stuff that what is that behind the scenes learning small she were only like ten people and that was just by the way, that whole outfit was sort of a get up I mean, I'm not really the captain, okay on my buddy to ride, there wasn't really the first, maybe we just got it was a gift from our production company there, but when we were working in small crews like that, that was maybe six, two, nine people, something like that using that drone, forcing bonus footage for some a great, great ad on figure client or even behind the scenes stuff is super good for me personally working on a high end set where you're shooting stuff that's going to be broadcast or like, I tend, I will outsource that to someone like you or his handful of operations that that that just do that, and and maybe that's, what you guys are looking to do here and the audience is taking your first of many steps and to be able to become a real established aerial shooter. So I'm gonna, you know, I'm sort of pole resin want more of the high end commercial we're going to do to outsource that and have those that be a specific unit on my team, and then of course, I want to have one to fly around and take pictures and behind the scenes and stuff for smaller, smaller situation one that's what's nice about these little guys, is they they don't attract as much attention. You can kind of get him in and out there self contained way had stephen we craft on yesterday with this one thousand that thing's a monster, but he also always carries his his little phantom with him because he just took a little day trip down down the coast this this last weekend, and he says he was able to pull off the road, take out the little fan and fly it right up off the cliff and out over the ocean and he says that you no way he would do that just off the side of the road with the big thing. I mean, how insane is that? You just like pull over, you open a suitcase and the soup it's like this big and then you go get some aerial photography and then you go get in the car and you drive the next things like that used to be an entire day of work and cost twenty thousand dollars, just like three years ago. So yeah, so those are the things that I'm excited about the democratization and the ability for for people who used to not have access, that I totally agree and we don't know where the next cool shots are coming from, but I'm banking they're going to come from from some of these little devices, I think so I think so and it isn't just about the four hundred foot level shots I mean, I I find you know, the low level cool point of view position unit just in the right place sure I steady means steadicam stuff uh, you know, extended chibs you know, it's like the you know, the endless jib shot it's just it's amazing to be able to do that with these things for sure are small yeah and like legitimate application, right? Like you're able like that you can sell that closing shot or that opening right in a way that used to not be able to on the budget of most of the folks that are paying attention to indian studio audience or in the internet audience hello internet do we have any questions in the studio audience? Maybe if you have time for one or two, you're great, thanks, jace, um you've been doing the drugs for a while, just curious. Why are you why didn't take this long to do this workshop? This particular workshop? Yeah, I mean it's just don't think we try and listen to what the world wants and we try and then bring it to you folks out there, you folks, the in studio audience on creative life is that we're talking about yeah and I think if you are into the industry very, very keenly then, of course, your whole world is about drones, but as far as popular culture, what we're trying to do like we literally if you want to recommend a class or suggested class, then by all means do so, and we're trying to listen to the audience and when the desire for drones like hit a sort of a critical mass, that was a great you know what, let's pull the plug let's do it. So it was it's more a little bit based on listening, you know, we're trying to be in service of the audience and listen to them. Listen to you. You want to just wanted two years ago. That's what I don't, I don't blame you and me and eight other people would have been in the class. It's, right? It's right? I thought I saw another hand. No, I remember watching one of my favorite video is the one where you're hanging, hanging out the helicopter by a strap shooting, how much do you feel like it is still necessary to do those type of shoots? Or is it more like just the budget constraints will push you towards a drone versus going way out there, and when those big helicopters, uh, in my world, they're different, they're different tools. Uh stuff that you were talking about earlier to get in close and bill or put it in a place where you couldn't otherwise get a jib to move with the right size or hide or speed or whatever that's more drone work where you where you want the big prop wash if I'm flying right over some heads the stuff like shooting buildings, boats, other airplanes, big sweeping shots where you're literally going like eighty miles an hour sustained for a long time some of the stuff over mountain peaks I do a lot of this area work in new zealand for example, totally different animal and that's again that's what I look at what has happened with his drones of his additive it's not really replacing something it maybe they're overlapped a little bit it's sort of like our our iphones or your android phone replaced the point and shoot it didn't replace all cameras it's just a big it was just sort of this one part of the market like drones really have answered that call there's still a whole other segment of the world that where you know you need in a star and you know one of those fancy one hundred thousand million dollar amounts on the front of the thing, I figure what they're called but those guys so different worlds and I love them both I don't discriminate anytime I can be up in a helicopter, or either piloting or looking through, uh, some goggles that with their own scene, I love it, it's, great stuff, thank you so much, chase jarvis, thanks for waiting, guys, make fun of my videos anytime you want. Well, we appreciate we appreciate that. And again, it's. I see it again is the pioneering spirit. It's, it's, it's. Sometimes it takes foolish acts to to push the limits. Otherwise we wouldn't be anywhere near where we are right now. If people didn't take chances for sure, thanks for having me right, appreciate very much. I'm still watching from my phone right going excellent, thanks, thanks a lot.

Class Description


Drone photography and videography captures some of the most stunning images out there, but the tools, techniques, and gadgets used to capture the action are often confusing and difficult to master. Join Jeff Foster and special guests for an exciting and highly informative class and get a running start at unmanned aerial vehicle (UAV) photography.

In this course, you'll learn how to capture stunning aerial shots with an impressive range of aerial gear – including; 3D Robotics multicopters, DJI multirotors, GoPros, DSLRs and more. You'll get an introduction to the best tools for beginners and see demonstrations of the sophisticated gear used by the most in-demand professional photographers and filmmakers. You’ll learn essential skills for controlling a UAV flight; basic flight controls, necessary equipment for successful shooting, planning and lining up the perfect shots, flight prep and safety, waypoint navigation and more. You'll gain an understanding of the production and post-production techniques unique and essential to aerial photography – including how to stabilize video, create stunning panoramic photos, and remove lens distortion in your photos and videos.

If you're ready to explore this wonderful world from a new elevated visual perspective, then this is the course for you!

Guests include:
Colin Guinn - 3drobotics.com
Mark Johnson and Romeo Dursher - www.visual-aerials.com
Stephen Wheatcraft - www.aerovisionpro.com
Peter Sachs - dronelawjournal.com
Russell Brown - russellbrown.com

CreativeLive is proud to announce that Jeff Foster was a Bronze winner in the 36th Annual Telly Awards for this class.   With nearly 12,000 entries from all 50 states and numerous countries, this is truly an honor. Congratulations Jeff!  




What You Will Learn in This Course


1. Gearing Up: Intro to Aerial

    • Jeff will take us through some of the various quadcopters and multirotors that are commonly used in the hobby/commercial photography markets today. Basic concepts of pre-flight prep, safety, equipment, and terminology will be covered for various disciplines.

2. Basics of Flight

    • Colin Guinn from 3D Robotics joins Jeff in demonstrating the basics of good flight, best practices to improve your skills and get those important shots you want!

3. Practical Application – Commercial Flight

    • Jeff leads off with some examples of fixed-wing drones used for various commercial and environmental uses, such as precision agriculture, search and rescue, firefighting and land surveying. Colin Guinn shows us how 3D Robotics is already addressing these important fields with advanced technology.

4. Advanced Flight for Film Production 

    • Romeo Durscher and Mark Johnson of VisialAerials.com to show us the S1000 octocopter and how to use it to get those high-definition aerial video shots that filmmakers demand. Stephen Wheatcraft then brings his S1000 octocopter in to demonstrate how he gets beautiful landscape panoramas with his setup. 

5. The Future of Drone Flight: Laws 

    • We will be talking in the studio with drone expert and visionary, Colin Guinn from 3D Robotics about his vision of the industry – where it has come; where it is today and where he sees it in the near future. We are then joined via a live video feed from Maine with drone legal expert Peter Sachs, Esq. To discuss the recent mandates and restriction imposed by the FAA in the US and what that means to the industry on a global scale.

6. Processing Aerial Footage in Post w/ Premiere

    • Jeff will show us some footage from the previous day's flights as well as some examples that might need a little “help” with stabilization and color correction, using Adobe Premiere Pro CC.

7. Processing Aerial Photos in Post w/ Photoshop

    • We're honored to have THE Russell “Doc” Brown from Adobe join us for a head-spinning session in Adobe Photoshop CC with tips on working with drone-captured images and what projects he currently has brewing!

8. Processing Aerial Video in After Effects

    • Jeff returns to turn up the heat in Adobe After Effects to share with us some of his techniques for footage stabilization, lens correction, tilt-shift lens effects and much more!


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