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Production Quality

Lesson 31 from: The Outdoor Enthusiast's Guide to Photography & Motion

Ian Shive

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Lesson Info

31. Production Quality

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

Production Quality

we do proposals or visual guides. They're different than our storyboards. They basically are seen by seeing or not even see my scene. Sorry, they're more like theme by theme, I think is a better way to put it. You know, like, here's the Here's the landscape that we're gonna be in and why it's special and then add things like production quality. Production quality is important in the planning phase. You figure out like, what are we using different pieces and elements? What are we going to need and what are we gonna put together? It's important also when pitching a client or showing people what it is you're planning to dio might be good just to do it for yourself and just say, Here's a list of the equipment I plan to use so that you can then budget out the workflow on each of those. So we know for photography at the time using a cannon mark three, um, and also pulling still frames from the red epic. I'll talk more about that later. Um, you know, we know in the actual film itself was bein...

g shot in 45 and six K aerials were being shot in four K and for any underwater stuff that needed to be done was in 45 or six K. Um, if there's an underwater element so usually these are the same camera set ups, and then the aerial varies depending on which machine is being used, and then post production these air the different elements that we needed. So breaking all the stuff down is important. It defines your workflow and help you determine what the best process is going to be. Production quality is is really, really, really challenging, I think, as photographers we're are natural clinician is to get the best camera possible. I know that's always been my goal. The best still camera you can get. I want a canon five the mark 4 52 100 frames per second. Whatever it is, right, I'm just making jokes. But you know, you always want the best. And the truth is, the best is usually somewhat within reach. Might be expensive, right? You might say OK, well, bucks is a lot of money, but not compared to would an A K film cameras gonna bay, you know that's gonna set you back 80 $90,000. But forget that. To process it, you're probably gonna spend more. So the difference between stills and motion as you move through this in determining your production quality is not just picking a resolution. And this is a good, helpful list of what the different resolutions are when people refer to them. We're talking about how many lines of Resolution 7600 line, 7000 lines, 6000 lines, lines, right? This is what a lot of TV's are there. Not true. Four K. A lot of over 38 40 or UHT. Ultra high, def. Um, and then HD, which used to be the cool thing. Remember, those days is now at the bottom of the pile. This is what the different sizes look like. You could see what the difference is. Eight K is usually used for like an IMAX film. That's pretty much what we're talking about, a k. I'm sure at some point all the televisions will be like that. The different resolutions really determine a lot of different things, like your hard drive space. How much are you going to need? A two minute HD production costs $5000 to make will skyrocket to probably $25,000 or more if shot in six K simply based on the amount of storage in the processing power of your computer, you're going to need a ton of power to move this thing through. That footage is a beast. If you want to look at it and edit it in four K, you're going to eat. Ah, lot of processing power. So cost considerations are one of the biggest things. So really a big part of why I'm telling you all this and showing you this if you understand the far end of the extreme, because a lot of pressure I walk into a camera shop here in town and I see big, expensive camera rigs and systems. But what you don't see is the editing bay and all the other stuff that it takes to put those things together. You know how much times could take toe transco that footage into something lower resin more manageable for you to edit? You have to think about those things because the game we play is still photography. Where we're like we can afford. The best is not gonna be is easy when you start getting into the higher end of the motion camera stuff and you get stuck in to become a giant black hole for money. Um, and again, I tell you this because I've learned the hard way, it's, Ah, you really want to make sure it's appropriate. Not every project needs to be done this way. Shooted in on a DSLR in four K and have manageable file sizes. You don't really need to have raw file formats and so on, so cost considerations important audio, generally speaking to be relatively standard in the field in the final output is really how much you need to put into it. At some point, you're shooting a high end production. I just want to dedicate somebody to that, but that's definitely the way to think about it on the far end. Red has this really helpful tool that shows you how much space you're going to need and how much you'll get. At eight K, you get about 34 minutes for every 512 gigs at frames per second. If you increase that frame rate, too slow motion, everybody's laughing. You're not gonna get a lot of space, honestly. 34. That's 34 minutes of shooting time. That's not finished. Product. That's shooting time. You need hours and hours and hours of footage to make a project. That's especially one that's 40 minutes. You get an idea of what kind of storage talking about telling racks, literally with their own cooling systems. Potentially our computers liquid cooled to manage this stuff. Um, so you need to think about that. Use these calculators, figure out where you stand. This is what I recommend to start your transitioning from stills. Demotion. This is where you want to be. Stunning video With a simple DSLR, you could do a lot of other things. There's muralist doing a lot of great work. There's lots of options. I'm not promoting anyone path. What I'm promoting is a price point and the ease of use. Computing power for editing is limited to a standard laptop. Like a Mac book Pro. Your audio can be on camera and you can edit it and final cut pro. Your cost to get started is $9250. It sounds expensive. Chances are you probably could do a lot of different versions of this. The cameras. The biggest price tag. Of course. Your laptop is the biggest price tag. Of course. Cut that down. You're down to a few $1000. You could be charging $1200 a day to be shooting video. If that's your career is gonna be. How important is it for you to tell video? Will you make it back? We start shooting stock clips, but this is a pretty basic set up. This is what I would recommend is a basic set of I'm even including the hard drive. So it seems expensive, and it is. There's no doubt that's a lot of money, but it is a lot less, and you're gonna get incredible quality and you can go a long way from many years with this set up. I did. I got years. I started shooting video for the DSLR set up on the 1st 1 went five years before I upgraded outside of DSLR. Take it as far as you can. That's what I recommend, said this is the set up. It's pretty straightforward, and like I said, chances are you probably already have a lot of this stuff. You priority have a laptop. You might already have an extra hard drive laying around you. But you already have the tripod legs. All he needs the fluid head. You probably have maybe a lens or camera. Maybe it shoots video. You don't have a whole long way to go. You have probably a lot more than you think. Make it work for you. What to expect. Large learning curve. The balance of shooting stills in motion is never gonna be easy. You're going toe to say I want to shoot a still. I love my stills. You know, you could have to force yourself to want to shoot motion. I recommend dedicating days to motion days to. Still, today is my still day. Tomorrow is my motion day. Um, you'll eventually learn how to blend the two. Well, the energy and time and effort pay off. It doesn't matter for having fun. I mean, I think that's the key with anything. If you're enjoying yourself, you feel like you're being creative and you do it over time. You have to do everything at once. Start slowly. Eventually you'll make money off of it, and you will be very rewarded by it. you need to find that balance. As I said, you're gonna have a lot of gear. I think one of the things I've struggled with is if I'm shooting stills and I'm like camping and I'm moving around from location, location. I've got all my expensive motion gear still sitting in the car. You know, I've had things stolen. Insurance is important, But forget insurance. You really want a car broken anyone you want. No one wants to go through that. You have to figure out What is your kit look like? How can you bring all that together so that maybe you can keep all of it on your back and not have to worry about stuff getting stolen? But you might want to think about that because it's a big one, especially if you start to get in the higher end stuff and you just simply can't bring it all with you. Where does it live when you're not there and start building a team audio picture color sound? Do you want to do any of that? Maybe, Maybe not. But a team is a great way to go. There's a lot of people out there in the same boat as you. They're just starting out and they're trying to figure that stuff out to grow together, learn together, and I think you'll be a lot happier.

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