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The Outdoor Enthusiast's Guide to Photography & Motion

Lesson 26 of 67

Establish the End User

 

The Outdoor Enthusiast's Guide to Photography & Motion

Lesson 26 of 67

Establish the End User

 

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 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.