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Build a Production Plan

Lesson 28 from: The Outdoor Enthusiast's Guide to Photography & Motion

Ian Shive

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Lesson Info

28. Build a Production Plan

Lessons

Class Trailer
1

Bootcamp Introduction

06:35
2

Storytelling with Stills and Motion Overview

14:35
3

Elements of a Well-told Story

22:12
4

Storytelling in Motion

34:19
5

Choosing the Best Gear for Your Outdoor Project

16:24
6

Gear for Drones

02:53
7

Gear for Motion

05:23
8

Inside Ian's Gear Bag

20:07
9

General Advice for Preparation

14:19
10

Virtual Scouting

03:54
11

Weather

10:17
12

Permits and Permission

03:09
13

Model and Property Releases

04:43
14

Health and Fitness

03:04
15

Checklist

03:20
16

Location Scouting Overview

15:18
17

Location Scouting in the North Cascades

15:24
18

Drone Introduction

14:59
19

Drone Safety

03:26
20

What Kind of Drone Should I Buy?

02:58
21

FAA Part 107 Test: How to Prepare

06:18
22

Telling a Story With a Drone

06:15
23

Drone Camera, Lenses and Movements

04:34
24

Selling Drone Footage

02:39
25

Why Does a Photographer Need Motion?

10:59
26

Establish the End User

06:35
27

Identify Your Audience

03:12
28

Build a Production Plan

05:28
29

Create the Story Structure

04:26
30

The Shooting Script

07:08
31

Production Quality

08:37
32

Composition for Stills

08:04
33

Composition for Stills: Landscape

08:15
34

Composition for Stills: Telephoto Lens

14:48
35

Composition for Stills: Macro Lens

07:50
36

Techniques for Capturing Motion in the Field

25:15
37

Lenses and Filters for Outdoor Photography

26:20
38

Capturing Landscapes - Part 1

28:12
39

Capturing Landscapes - Part 2

23:36
40

Capturing Movement in Stills

32:17
41

Shooting Water, Sky and Panorama

29:40
42

Understanding Stock

20:45
43

Editorial vs Commerical

03:57
44

Pricing Stock

05:40
45

Producing Stock

14:49
46

Shooting for Social Media vs Stock

11:37
47

Choosing an Agency

08:58
48

Assignments and Capturing Stock

13:49
49

Stock Photography Market

05:28
50

Create A Style Guide

05:30
51

Stock Shoot Analysis

21:29
52

Workflow for Selecting Final Stills

27:43
53

Initial Editing in Adobe Bridge

21:02
54

Reviewing and Selecting Motion Footage

11:02
55

Keeping Track of Your Story Ideas

22:40
56

Script and Story Structure Evolution

04:34
57

Editing to the Content

05:00
58

Music as a Character

05:41
59

Business Diversification

07:07
60

Business Strategy

04:57
61

Pillars of Revenue

17:09
62

Branding

06:36
63

Partnerships and Brand Strategy

05:12
64

Galleries and Fine Art

03:11
65

Budgeting

05:21
66

The Future of Photography

26:12
67

Q&A And Critique

1:09:39

Lesson Info

Build a Production Plan

producing a still shoot. As I say, up here is a lot of moving parts. Honestly, I think they're very straightforward when it compared to motion. Motion is is like, Ah, film director like, uh, almost like directing a train wreck. Very organized way. You have so many pieces, and a lot of them are going to go wrong, and it is very, very, very complicated to keep things moving, keep them on track. You know, it's it's There's just a lot of moving parts to a typical photography shoot. Include things like models, location permit, food, lodging, etcetera. You're probably looking at what dare to tops for a produced still shoot, maybe three. Never more 45 But what is a film gonna be? I mean, you're looking at months potentially. If you're doing a short film, you know, if you're doing a long one hour, you could be looking at a year for hour and 1/2 2 years, I had one project. It was a 44 minute television show, took me two years just to get into the field from the permit process. So it really does...

vary, but it doesn't have to be that dramatic either, but you're going to have a lot more pre planning. You need to go through the steps, and you need to go through all of these different processes and start to build a production plan. Questions you should answer right from the beginning is what is my genre? I figure if you're in the outdoor photography space, the 1st 1 is probably the most likely a lot of us who are interested in outdoor photography shifting from stills, emotional proclamation, documentaries. How was the story going to be told? This is very important because you can't just go into the field and start shooting. If you start shooting all willingly, you're going to come back with a bunch of footage like that and then have to figure out how does it all go together? How do I make a story out of it? That could work to some degree, but only if you've already planned everything out and you come back and you say, Okay, we're gonna film. All these penguins are gonna film penguins for a week or two and we have all kinds of different penguins. We're gonna look for a wayto maybe anthropomorphize their situation so Okay, Look at all these penguins there, couples. And they're always together. Baba Baba Baba. But that one penguin, it's always alone. Tell that penguin story right? You might think about that. That's something you can put together after the fact that you've already gone in with the idea that we're investing a lot of time and we're looking for that way to build a story. But if it's not being done that way, you need to know who is the voice. Is that voice coming through interviews, people on camera. Will you see them on camera? In the drone portion of this class, we see a film about Rob Krar, the Ultra Runner. You don't see him or his wife at all talking for the entire first and 80% of the film. That's intentional. You hear their voice, you see them on camera. We don't see them talking. You just see them sitting, walking, running, doing all the different things. But you hear them and then that reveal at the end. It's what it feels like is like a payoff. You see them sitting there and you feel like you're meeting these people that you've become familiar with that's a process to using interviews without having talking heads sitting there the entire time. That kind of stuff could be boring. So how do you move away from that? You can use. A narrator could have parts of it narrated, kept parts of it is talking heads. Maybe it's a mix of all three things. Is it gonna be scripted? You're doing a documentary? Probably not. You might have talking points. You might interview people with questions. You might even try to lead it in certain directions so that your theme is covered. But those are the things you figure out. And then, of course, location, dialogue, regular everyday thing. So if somebody's doing ah, you know, some sort of, ah, biology, biological working. They're having a conversation in the field, that kind of stuff. Does that carry the story along? It's certainly certainly can. Most television shows these days are based on that interactions between each other and conversations. This is probably the best way to do it if you can do it, but you have to have the right people in the right situation. That's where characters, character development, all those kinds of things, the things we call reality television. They really are coming out of location. Dialogue in many ways starts running into scripted dialogue. You'd be surprised. Stylistic considerations. Is it a period film? Do you wanna have a certain kind of look? Lens flares is their grain. We're gonna shoot on film if it's not digital. Probably not. I would recommend that to start as part of your transition. You want Take a look. Old lens flares. I've seen somebody used lens flares as a way to show character emotion. So every time, yeah, the guy gets little angry, you start to see red lens flare, sort of kind of creeping into the edge. You know, when they're happier, is a different color. You'd be surprised stylistically, what can be done? Think about, um, when a scene is very blue, feels like it's night. Or maybe in the past. Um, yeah, there's a movie I was watching recently where they wanted to make the business world look very austere and cold. And so all of the scenes were very, very blue and cold. A color, the color balance or white balance. All these things you would normally using your photos were trying to adjust now imagine entire scene. That's blue. Then when you get out to the countryside, this area they're trying to show appealing, it's all very, very warm evening. Why Very, very warm colors like the color balance is way on the other end of the spectrum and the Reds and most viewers probably don't know that. They don't even realize that they're being told to feel a certain way based on the use of color and the character development and ideas. But this all needs to be decided before anything else.

Class Materials

Bonus Materials with Purchase

Slides

Ratings and Reviews

monica4
 

Ian was an amazing instructor.; very fun, enthusiastic, encouraging, and comprehensive. I hope to be able to return as an audience member for another of his classes. It is a privilege and a gift to have access via Creative Live to such a wealth of expertise. Thank you!

Cindee Still
 

Ian Shive is a dynamic speaker with a wealth of knowledge he is willing to share. He has had a magical path that led to his success. He touches on so many aspects of making, selling and creating images as well as how to market them and make an income from your work. It is so much fun to be part of the studio audience. The Creative Live staff are always so warm and friendly and they feed you like your on a cruise ship! Wonderful experience.

Cindy
 

What a great class this has been. Thank you Ian Shive and Creative Live! Recently retired, I have set out to learn everything I can about photography and pursue this passion to capture the beauty in the outdoors. Creative Live has served as an amazing educational platform to help me learn everything from how to use my camera, the fundamental technicals, and learn about software and tools. This class brought it all together. At the end of this class my approach to photography and my images are different. Ian shares so much valuable knowledge that will change the way you go about taking a picture; from scouting a location, to thinking through the story and adding elements to an image to evoke an emotional response. My personal growth has been significant and I have changed to the way I approach creating an image from an Outdoor Landscape to an Outdoor Experience. Loved every minute of it, sad the class is over.

Student Work

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