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The Outdoor Enthusiast's Guide to Photography & Motion

Lesson 58 of 67

Music as a Character

 

The Outdoor Enthusiast's Guide to Photography & Motion

Lesson 58 of 67

Music as a Character

 

Lesson Info

Music as a Character

the way that those characters were built, um, are on multiple levels. And I talked about music a little bit, whether you're purchasing from a stock library having something scored. There's a lot of wonderful, talented musicians out there who would love to be part of doing these projects. So I recommend looking for people to work with. Ah, great to build relationships Early on, I've worked with same composer from the beginning, James Cody Westheimer. He wrote Just absolutely beautiful incredible score for this film. Um, and you know, one of the things we talk about our our, how the score itself is a character. I keep revisiting this, but you know the main theme for your opening. It's using your intros, the scenes and end credits, right? That's your main theme. That's the big one. But then what about the characters themselves and assigning sounds to each of them? The albatross. It's kind of goofy when doing the dance, but it's a beautiful bird that flies of the ocean from midway to Japan...

to California without ever hardly ever even moving its wings to go 100 miles without a wing beat. So you want to show that gracefulness, but on land, they're cookie, but they're graceful. So how do you do that? You augment that auditory wise right out of automatically musically. So the albatrosses, goofy sound doing it stance would otherwise graceful to show their long flights of the Pacific, the Hawaiian monk seal, critically endangered. I think there's I think, of the latest number I heard. Think we say 39 1100 left. They're breeding Habitat is basically gone. They probably will last to the next generation. Critically endangered but still beautiful. So it's a rich, beautiful sound, but it's a little more somber has its more of a somber tone. You know, when it's on Lee time, you hear a guitar in the entire score. The guitar is assigned to that creature exclusively. So if we were to bring that creature back in different point, you can pluck the guitar a little subconsciously, you'll tie it to that character. You'll never think of movies the same again once you start to realize this is what happens. The Dolphins Cody had such a cool idea. He's he's awesome because he is like is always getting kind of It's a cello, Tino. I think it was a real thing, he said. He found it on, like eBay or something like that, and it looks like a cello. It's miniature. It's like a violin, but as, like, a long stem. And he has some both thing, that he pulls across it, and it almost sounds like a cross thing, like a whale and a dolphin. It's an instrument and has this, um, sound that he mixes into the soundtrack. So when you're watching this, it sounds like you're underwater. It's not a dolphin sound that's a musical instrument that represents the character and carries it forward. The next piece and character and story development is your sound design and final mix again. You know all these things I'm walking you through. You have the foundation here from this class to apply them to your own work, and none of this stuff is crazy. You can get a professional broadcast mix on a two minute film for a couple 100 bucks. If you've spent few months working on this thing, it is worth it. It will sound great on anything. You play it on, whether it's in this room, on a television screen or on a laptop or any repair headphones always sound the same, and you want to make sure people sounds the same. So and that's even expensive. There's other places where is probably even more affordable one. And there's other ways to do mixes a lot of us becoming automated, so sound design is a very much important part of the story, the script and much time of the mix. I'm talking about the sound so most of us are probably going to shoot motion without audio. Unless, of course, they're interviews. But if you're in the field shooting nature, you might catch ambient. You might want it on there. Honestly, at some point like me, I finally just said, It's not worth having a lot of it. I'd rather go out for a couple hours and capture it or have somebody capture or go out, capture it and literally just try and get the sounds of the birds or whatever. There are, of course, exceptions to that. But good sound is very, very important. It'll make you a better cinematographer because it brings life when you hear the waves crashing and all that other stuff. But the truth is, if you're filming a wave from 500 feet away. You're not getting a good sound of it anyway. You have to get up close or added in and fully after the fact. And that's usually how most of its done, especially nature docks. And then the final mix has lots of options, really, for photographers. Transition emotion. There's two kinds of mixes You want something called a broadcast mix, which means it's safe, certain levels and then usually either want stereo. Two years or 5.15 point one is five speakers and a subwoofer. Five speakers being one in the middle, two in the front, two in the back, in a subwoofers. The 0.1. That's what that means. So this is all you really need to know at the end of the day, about story development for bringing this stuff together. Keep your ideas, bring them together, write them down, think about how they're gonna fit two minute film, 40 minute film. Either way, bring them all the other ideas from other projects, and other places might apply on a whole nother film. Another project that you're working in the future. But ultimately your story will be constructed this way and it will be so helpful when you get home to take all your footage that you worked so hard to gather all that money you spent on your equipment. Make that investment sing and make sure that you have a really great story. So keep all your ideas in one place, make sure they're backed up sometimes your earliest concepts of your strongest and embrace them. That's a very, very true statement. Um, you know, story is an evolution. Keep the different iterations and refer back to them, you know, and be open to change. And don't forget that music is part of the story and that your sound effects are also all part of the story.

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.