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Script and Story Structure Evolution

Lesson 56 from: The Outdoor Enthusiast's Guide to Photography & Motion

Ian Shive

Script and Story Structure Evolution

Lesson 56 from: The Outdoor Enthusiast's Guide to Photography & Motion

Ian Shive

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Lesson Info

56. Script and Story Structure Evolution

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

Script and Story Structure Evolution

scripted story structure. Evolution, uh, again sticking the nature documentary here is an outdoor class having a logline. You know, one a log line is is that it's a line. This is the project. Midway a toll celebrates its 75th anniversary for the famous battle that defined World War Two and has today become a complex ah, and ecosystem in a complex environment and ecosystem for the natural world. It's it that's all you need. And then you just build off of that. This is just kind of like ah, you know, ah, tree that gets larger one page summary in treatment. Right. Then you get to your shooting script in your stuff in the field and you get back and you start revising your shooting script in the edit bay. Start saying, Well, I didn't really get everything to support this idea. The stuff that I have to a have enough to I need to shoot something. Mawr. How do I do that when you can't go back? Your final pass revisions also in the Edit Bay. I'm gonna show you. Pdf in a second. I'm gonna finish...

this card, though. No script, film review only, and revisions So at this point, the script is gone. And now we're simply taking it in for what is the film, the film presenting itself in a way that works on, of course, the final approval from stakeholders yourself, etcetera. So I want to show you the actual script that we use because it's it's loose. It's more loose than you would expect so much of a story and so much of an edit comes together in Um, I'm sorry. So much of the story comes together in the attic and you start with a framework, right? So this is the actual script that was made. Um, it's not the final product because the final product has evolved in the Edit Bay for those steps I just showed you. But this is where we began, right? So it hurts the eyes, forcing us to squint Screen is so bright and again, this is the film we see in the drone section of this boot camp. Ah, we fade in from white, looking over the wing of a Douglas dauntless World War Two bomber. It feels like a dreamless flashback, right? I'm sorry. Dreamlike flashback. So you know that's that whole thing ended up not using the voice over Actually stuck on the idea of doing that? No, that modern day. A close up of an old man's eyes. More than a little teary. I wrote this long before I did the interview. These are the ideas and concepts that were able to build into it. I hoped I got Mitt. I had interviewed four different veterans and eventually were able to get to the right spot. Right, His hands a rolled. This starts to build a shot list. Right? Well, we seethe hands is no longer young man. We see a picture of him young standing in uniform. I had him hold the frame. This is critical. This is critical critical stuff, right? Perhaps black and white photo of men and parishes. And I know who he was and what he did. So a new part of what is, you know, he had seen and so on. Remember, in the I'm gonna give their lives there, Jeff in the plains of sense that this was added because we now have the interview. We added the sound bite, so we started to bring that in fade to black text on screen. We killed that etcetera, etcetera, etcetera. But this is what it looks like. You know, opening montage. Um, you know, this thing still stayed in here, but ended up killing it in the end. Only in the edit later on. It wasn't working. Just kept trying. Different things. They didn't really work. This is how we handle our interviews. Very simple happens in the Edit Bay Way. We have our editor assistant enter, goes through, listens to the interview, cuts it in the sound bites and then labels each one we can turn that on on the screen. So we see I talked about birds. Says he likes birds, doesn't want talk about birds, sick of birds. Right. So we add all that. And then when we go to pull the script, we can pull up, you know, look for that or search across it and say, You don't just go to midway. You can't drive there. That's a story. Point made, ways remote. So makes a spectacular Midway's utterly midway across the Pacific Ocean. This isn't meant to be flowery. This is just meant to be. This is the sound bite we need Somebody saying somewhere in the 28 interviews that we did for this documentary. So we need to figure out who's gonna do that. Who's gonna that? Well, so that's how we handle most of that stuff. We don't sit there and actually write it out, script it or use the transcription. Um, we just look for the story bites and then pull it in the attic map graphic. Call those out so that we know what our graphics are and how to get those created. So this is pretty much what it looks like. This is the final. This goes into our acts, you know, in the battle of Midway wildlife own land, wildlife at sea, the future of Midway and the Marine monument, right, eso way of the future. And so a lot of this stuff changed, Um, ever so slightly. But this is about 95% of what it waas

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