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The Outdoor Enthusiast's Guide to Photography & Motion

Lesson 56 of 67

Script and Story Structure Evolution


The Outdoor Enthusiast's Guide to Photography & Motion

Lesson 56 of 67

Script and Story Structure Evolution


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 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. 


  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



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.


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.