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Editing to the Content

Lesson 57 from: The Outdoor Enthusiast's Guide to Photography & Motion

Ian Shive

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Lesson Info

57. Editing to the Content

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

Editing to the Content

you want to edit to the content. Ah, and so you have a script. You have these story ideas. You have all these pieces that you brought together. Um, and you have to be open to seeing what your content is. And so a lot of the story when you're out there happens as the cinematographer happens as the motion capture, and it's same thing with still photography. You're capturing that story. And so I try to anthropomorphize the characters. Your characters are most likely, of course, animals. Um, and I'm gonna tinta the analogy of the sea cucumber, which is a fun one. But the way you have to do that is you have to think about your subject matter as people as we would, cause that's what we're gonna most relate to. That's what the viewers gonna most relate to. And so somebody was telling me about I forget there was a scene in a movie somewhere, and this director had this kooky view of like, Okay, how do you make a sea cucumber? Interesting. And his filmmakers and photographers, we have to make th...

e most mundane things seem interesting. So how do you make the life of a sea cucumber interesting. And when he described it to me, a light bulb went off in my head. I'm like I will never shoot wildlife films or nature films the same again, he said. The idea was, the guy goes out and he pictures the sea cucumbers, a really old man wandering into a really big nightclub in New York City and the sea cucumber, using filming techniques, is looking around crawling around along the bottom of the ocean, and it kind of looks up this way. And Conner looks up this way, using, you know, playing it back faster because they move kind of slow. So he records it in a way where they sea cucumber moves, and every time he looks up, he's playing at high speed motion. All the little things in life that's going around him in the ocean. Little shrimp goes by plays with music. You do dune in a Yukon comers looking around. It feels completely out of a place in a world that's moving seemingly so fast around him. What a great way to tell that story. What a great way to feel like you understand, with the slough lumbering life of issue. Comer is really all like So it's the same thing when I say anthropomorphize your characters. I talked about the lone bird, you know. Is it the same bird all the time could happen in the story and the Edit bay. You know, if you have one bird that you always Fillmore, you always film burns when their solo, but the rest of the time they're all coupled up and having their babies. But you keep talking about that one bird wandering around on the island, Jonah find is may never actually finds it. It's relatable. It's that struggle. It's that that need for relationships you're able to build on. So anthropomorphizing your content. I think thinking of it that way anyway. Well, really define a lot of the process and help you, um, think about how to shoot your story, whether you're being a cinematographer, script writer or whether you want to do the entire project all on your own. Um, you know, and I'll tell you mean ultimately, you know, I had a writer who helped to a Polish and edit and copyright and so on and things like that. But ultimately all the ideas were born out of what were captured on the island. And I want to show you this. This is these next 12 cards are the entire film. Um, the entire film is shot here on these 12 cards and these air shot by shot. Each frame here represents a new cut, and this will give you an idea, ultimately, of how much there was. And so this is how you can tell the story. You could start to get a sense of the flow, right, And then you can look at it and it matches up against the stories is a great way to check story. It's a great way to check scenes. Great way to make sure didn't duplicate your shots because they all start to look and feel the same. I can tell you it's a lot more difficult than you think. Um, but this is what it all looks like. These are all the shots that were captured, and it just goes and goes, Goes and you could, but you get to feel the rhythm, right? Get to see where the historic section is. Comes back. How it's interwoven. There's a big step here. We enter what and talk about how the strategy here it was strategic back in the 19 forties. It's still strategic today, toe wildlife that needed. But those wildlife are threatened, just like it was threatened 75 years ago today, interweaving the story throughout. Right building in the veterans. What goes into this structures? Here's the birds. Here's the dance. All right, here they are. I'm not gonna do it again. You have to watch. So I just want to show you this because it gives you a real sense of the scope and scale of what it is. I mean, when you see it like this, it's almost not even. I mean, there's a lot of great shots and cool things is the dolphin scene. They're their own character. Here's the monk seal scene, right? It's its own character. And then here's the wrap up the Ending Credit Credit Credit Credit Credit Scroll. That's the whole film, and shots don't look like much. 40 minutes

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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