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The Outdoor Enthusiast's Guide to Photography & Motion

Lesson 23 of 67

Drone Camera, Lenses and Movements

 

The Outdoor Enthusiast's Guide to Photography & Motion

Lesson 23 of 67

Drone Camera, Lenses and Movements

 

Lesson Info

Drone Camera, Lenses and Movements

not all cameras of the same talk a little bit more about resolution, but you could be limited to really a handful of options. You know, there's different brands. Of course, out there, there's more options than ever before. Really, I think the big question is, Do you want to show slow motion or high speed action? I think that those were really the two questions you need to ask. Most of the time, my drone and the footage issue is going to be at a normal rate, usually about 24 frames per second. Almost everything. Uh, you know, lately I have looked at 48 or 60 to be able to get a little more slow motion. But you do lose resolution when you do that. So the only other way to get really great qualities to take my really high end camera put in the air. And I'm just not that comfortable He had to do that. Um, so I have held off, so I'm still using the really fully self contained options. But they're quite powerful these days for what you need, so there's a lot of good options out there. There ...

are unlimited options, really as I say here, you are good enough to fly 100 grand over the ocean. Uh, you know, make sure you have good insurance. Um, Kodak is really important. You know. Age 264 for us has been really challenging to use an editing. Kodak is essentially the format of video eso you know, when you're shooting like J Peg tiff, psd, DMG, all those kinds of formats. This is the video version of that. It's a format. It's the It's the code that has been written in right. H 264 has been really challenging for us for our system. We use avid on the PC Um, for editing. Raw has been great if it exists, or you might just like a still camera make a consideration between do I want Rod? I wanted to be in some other native Kodak. A lot of brands use other things. Some have their own, the proprietary. They might even be proprietary raw file formats. Those are the kinds of things that you need to think about. Those are the kinds of decisions that you need to make. This is my inspire to with its lens, it's on its case, you could tell it's cases seeing a better day. Um, and it's only really not been that long. Um, so and this is a great lens. This comes off a lot of different mounting options, from virtual reality to different lens options filters So on so forth. This thing is a beast. This is its little onboard in a collision radar camera as well, so that it can get out of the way and move and do what it needs to do. Tips for improving the quality of your shots slow it down fast. Almost always is. Ruins the shot almost always. Whenever I go flying quickly or something like that. It's unusable. Nice and slow, you know D J. I has an app, and they have something called tripod mode, and it literally is just like nice, methodical, slow lives. You get these camera movements, you know, looking down, panning up, going left, going right, Like in the midway film. You see all those shots. Camera wasn't even moving on a lot of them. It was just literally like I'm just getting a higher angle was like being on a ladder Simply used it just to get a higher angle pan up. Um, slowing down is really important. This isn't a race. The racing them looks like fun. Ah, smooth, slow, steady shots of video will always show up exceptionally better. Feels longer than you think. That's a really good tip. I assure you. You think you've been out there flying around for a long time. You really, really haven't been up there as long as you think. And when you start cutting and editing it and you realize is a vibration or you move too fast one direction, you're not getting nearly as much as you think you're getting. So it's definitely good to get used to that. Get a sense of what you're getting, um, and get and get more. You can't overshoot your subject. That's true. Pretty much for anything. And when shooting still frames, make sure you don't just like flying a position and fire. You know, fly hover for a second, like the GPS, and everything sort of kick in. Then fire a couple frames, turn get different compositions, so on and so forth. So he's got to think a little bit differently. Um and ah, and it'll work Good drones, like all cameras getting better at shooting a little light. But remember, you have to observe the rules of aviation. Civil twilight all part of your part 107 commercial drone use You don't want to be flying in the dark. Controlling light with the drone is very tricky. Um, you may need filters and things to help control that the contrast is good. Um, that low evening light all the same. Rules of composition for still photography really do apply from drones. And, of course, if it's lower light or different situation, you want to go slower. It's also safer, but making sure you have enough time to get your shots is super important. But low light can work really well. It's very dramatic, um, and can really go a long way.

Class Description

Great outdoor photography starts with a love of adventure and exploration. Learn to maximize your skills and optimize your potential with this complete guide to capturing photos and video in the great outdoors. Award-winning photographer and filmmaker Ian Shive will go in-depth on how to create a story through stills and motion in any environment.

Throughout these lessons, Ian will cover scouting and planning, capturing photo and video, and understanding how to get an audience for your final project
Ian will cover:

  • Permit needs and location scouting essentials
  • Gear basics & prep
  • Introduction to using drones
  • Fundamentals of moving from still photography to capturing video
  • How to capture landscapes 
  • Composition and lighting techniques
  • How to handle low-light situations
  • How to capture for stock photography and video
  • Getting your work seen in print and publications
  • And more!

For four weeks, Ian will be your outdoor guide to capturing the beauty and greatness in nature. If you have a love for nature or adventure, join this class to learn how to turn your passion and social media posts into profit or exposure. 

Lessons

  1. Bootcamp Introduction
  2. Storytelling with Stills and Motion Overview
  3. Elements of a Well-told Story
  4. Storytelling in Motion
  5. Choosing the Best Gear for Your Outdoor Project
  6. Gear for Drones
  7. Gear for Motion
  8. Inside Ian's Gear Bag
  9. General Advice for Preparation
  10. Virtual Scouting
  11. Weather
  12. Permits and Permission
  13. Model and Property Releases
  14. Health and Fitness
  15. Checklist
  16. Location Scouting Overview
  17. Location Scouting in the North Cascades
  18. Drone Introduction
  19. Drone Safety
  20. What Kind of Drone Should I Buy?
  21. FAA Part 107 Test: How to Prepare
  22. Telling a Story With a Drone
  23. Drone Camera, Lenses and Movements
  24. Selling Drone Footage
  25. Why Does a Photographer Need Motion?
  26. Establish the End User
  27. Identify Your Audience
  28. Build a Production Plan
  29. Create the Story Structure
  30. The Shooting Script
  31. Production Quality
  32. Composition for Stills
  33. Composition for Stills: Landscape
  34. Composition for Stills: Telephoto Lens
  35. Composition for Stills: Macro Lens
  36. Techniques for Capturing Motion in the Field
  37. Lenses and Filters for Outdoor Photography
  38. Capturing Landscapes - Part 1
  39. Capturing Landscapes - Part 2
  40. Capturing Movement in Stills
  41. Shooting Water, Sky and Panorama
  42. Understanding Stock
  43. Editorial vs Commerical
  44. Pricing Stock
  45. Producing Stock
  46. Shooting for Social Media vs Stock
  47. Choosing an Agency
  48. Assignments and Capturing Stock
  49. Stock Photography Market
  50. Create A Style Guide
  51. Stock Shoot Analysis
  52. Workflow for Selecting Final Stills
  53. Initial Editing in Adobe Bridge
  54. Reviewing and Selecting Motion Footage
  55. Keeping Track of Your Story Ideas
  56. Script and Story Structure Evolution
  57. Editing to the Content
  58. Music as a Character
  59. Business Diversification
  60. Business Strategy
  61. Pillars of Revenue
  62. Branding
  63. Partnerships and Brand Strategy
  64. Galleries and Fine Art
  65. Budgeting
  66. The Future of Photography
  67. Q&A And Critique

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.