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Establish the End User

Lesson 26 from: The Outdoor Enthusiast's Guide to Photography & Motion

Ian Shive

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Lesson Info

26. Establish the End User

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

Establish the End User

What are the steps to doing that you have to establish the end user? Um, and I'm not talking about the audience. That's a very important distinction. Uh, established the end user. This is truly one of the most important steps. As you begin this transition and this entire classes about that transition, what are the ground rules or ground works that you're going to use to actually move forward? You have to simply establish your sample audience based on where this product is going to go. So we're talking about this almost from a somewhat technical components. So, are you shooting motion clips for stock and licensing, In which case you're gonna make considerations on purchasing your gear? Maybe potentially based on these three things, right? You're not going to shoot on IMAX movie with the same thing you're going to stock licensing. You can get stock licensing out of what you do with this, but not necessarily vice versa. It really just depends. So if you're saying I want motion calls for s...

tock licensing, your camera resolution lens quality will be the most important factors, but they're not going to necessarily be the most limiting of factors You can start shooting stock today with a DSLR motion clips. Four K or less HD. There's a big market for it. The lower the quality, the lower the price. That doesn't mean it's bad. In fact, a lot of people don't want to spend a lot of money. A lot of buyers might say I don't need four K. I'm not doing broadcast television or theatrical release. I'm just doing some Web film. It'll never leave the Web. In that case, then that's a consideration to make. That's the kind of licensing. You should just be realistic about what that means. McCammon. Resolution lens quality of the important factors you most likely if you're on Lee want to do stock licensing. You're not going to most likely need audio audio emotion clips don't eat audio if they're in the licensing market. Most audio is added after the fact. If at all, so you will not need audio, you don't necessarily need audio now. Does it hurt? If you ever want to piece something together, a little Ambien, or maybe you're filming some rare duck that quacks a certain way. You might want to get that because that might be hard to find after the fact, right? You laugh. I had that rare duck and I did not get the audio. But you may want to think about whether audio is important. Body is not that expensive. You spend 100 bucks getting on board, um, on board, mike shotgun. Plug it in. At least you have something. And but audio, A lot like motion and a lot like still is its own career can be its own career. The ability to gather great sound great sound is, unfortunately, so undervalued. But it adds that very rich layer. Our films have the budgets to support. It will actually have somebody do sound design. Ah, sound mix. You know, they do the cars, you know, you think about music and all those pieces and how they all play together. It's a It's a whole other level. Great audio. Usually close your eyes and still hear the story and understand what it is like. Think about a radio show right, so audio is very important, but you don't necessarily need it. If you're just doing stock clips and licensing, it's not as important if if at all, short films and Web only, um you know, it's good to know if this is what you're gonna do. Uh, you're probably going to start thinking about editing up here. You don't appear you can probably just get away with a very simple program and you're just trimming your clips. It could be something even like a like a quick time where you just trim, cut, go, Right. You Maybe you use a free software or a very basic level editing package where you import a video clip and you say, OK, that part where, like, I'm cleaning the lens, but I hit record. But everything else is great. You trim that out. Your short in the clip, you know, a good audio. I'm sorry. Good audio clip. A good motion. Cliff is anywhere from like at least 10 seconds. Probably about 15 to 30 seconds for the licensing stock. Licensee market time lapses can go longer. Some clips, if they're slow motion could go longer. Minute. Definitely. Probably not more than two. Um, but it really just depends on what it is. But generally speaking, they're pretty short 30 to 45 seconds. Eyes probably like a good average window across the board, but you will anything. You just need a little trimming here. Here you get in a short films web only your starting tell stories so that transition needs to really plan for editing. You may want music. You may even want graphics. And there's a lot of different options for those kinds of things. You have somebody speaking on screen. Who are they? How do you get that in there? So they don't introduce themselves. You're gonna wanna have something on there soon you start thinking about that kind of stuff, but it's still pretty tame. And you could still probably get away with, Ah, lot of basic editing packages and products. You know, a big fan of, like, final cut pro. That kind of works. Were you, depending on how far you want to go, you can go. There's a lot of graphics that are licensed herbal, just like stock clips, just like audio and sound effects. Just like music illustrations. Vector graphics. Probable Baba. There are editing visual effects. You can license that. You just plug and play. Change the text and the enemy and their lower thirds. You know, when someone's name shows up at the bottom, that's the lower thirds broadcast theatrical. This is a tricky one. If you're setting out the front door with the idea that you're going to make something for television, you know, if you're going to make something for movie theater and you're hoping it's gonna play film festivals like the example I gave you, my friend Ben or some of the stuff that we're making you approach. It is such. But the wild card in all of this is, could your short film end up getting to a theatrical point? Could you end up getting releasing something that become so popular people wanted in a different format, In which case you need to figure out whether you want to be able to support that or not? It's going to be a personal decision based probably on budget more than anything else, um, and how much work you can really put into it. But broadcast theatrical is a tough one. But if you're gonna be seeing on television, if you want to go to movie screens, if you wanna have it shown in big festivals on big places, you know, sure, you've seen things that are a little quality. That's fine. That's something that you have to make on a judgment call. But you need to really figure that out. You're also gonna have to know about your sound configuration and so on. So, really, in a way, these air almost three different entry points. You probably don't enter here. This isn't the first place you start down here. It broadcast theatrical. You're probably, and I strongly recommend, starting with stock and licensing cause everything going to do to build a stock library is give me the same foundation for building a short form Web and then eventually a television show. And that is exactly how I started. I started with clips and short videos, two minute videos, three minute videos, and now we're doing one hour and beyond.

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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