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The Shooting Script

Lesson 30 from: The Outdoor Enthusiast's Guide to Photography & Motion

Ian Shive

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Lesson Info

30. The Shooting Script

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

The Shooting Script

This is not a blueprint meant to be followed exactly. And I say that because I know people will probably think that this is something that have to adhere to very tightly when they're in the field. Everything is all is about having a guideline, whether that's instills or motion. You want guidelines. You wanna keep a production extracted on track and have a basis for shooting. But you may get there. Something may not be right or not work. Do not force it. Be open to changing the scene or changing the story. Keep an open mind and constantly revisit. This is what my shooting script looks like. What I have in column one is the story point right? Column two is what I'm hoping to shoot. So for the Rob Krar film, this is something that we created that was so so helpful because I knew I could go to here, and even from here I could break it down into the actual shots. Distance shots of the area with various weather effects, rain, thunder, lightning close ups of rain, dust blowing across the trai...

n, incorporate running a coroner shots. We hear his definition of his own life and grand plan power to take action that is within each of us. Right? So these are These are the kinds of things I'm going for, their specific there also a little vague, but they get me on point and they get me to the next scene medium to extreme closer to shops of portraying him in his natural environment. Non running him injury cooking, camping, stopping toe, look up at the trees, all the shots without looking at the horizon, things like that. We had a lot of stuff we didn't use, but we got it in national script. So it's important to have these kinds of pieces is you throw these things together. Um, you know, and again, I'm gonna really dig in a story a lot more. But this is really about How do you plan for this? To make your transition from stills into motion Successful. But story development is its own thing in itself. But you want to start to think about this stuff before you do anything else, cause it's going to define what you have and what you bring. I'm not gonna go through this whole thing because it's not really necessarily to the to the lesson, but what it is is this is something we have it, the end of the product. You should be thinking about how you're gonna get there, so I know super small. But essentially, it's like 43 minutes. We shot it in six K. We have the audio in Dolby five on the project frame rates at 23 98 it's narrated. That's all you really needed to know. And then the rest of this stuff is marketing and film summary and those other stuff. A lot of this comes is with time, but I wanted to clearly define what these things were. I knew this stuff a long time ago, So when we went to the field, I knew we wanted 43 minutes, and I knew we needed to get 43 minutes worth the conference, which is a lot of content. So you have to figure out how are you going to get there? You want to envision that last piece. There are people who live in the community where I am at when I tell him my work in the Everglades, they say, What's in Everglade? They really don't know I have no idea. I've been here since 92 when my wife tonight came down there permanently, and that's or Ned volunteers wanted. I had a choice to be sitting in a rocking chair and waiting to die. Do something constructive. I chose to do something constructive. This is just an area that's wildlife is the important thing, and people are just visitors. Loxahatchee is surrounded by development that is quickly pressing in on it. And it's the last remnant of the Everglades in this part of South Florida. Anybody visits, lives, passes through South Florida, needs to understand a lot of us who we have here and work here, get our drinking water from here. Even people that live five miles away from it don't feel a relationship to it. In order to get people to care, it has to do with really sort of understanding that place over time and really understanding that you're part of that place. You're not something separate from it. These kids are growing up probably less than 10 miles away from the most iconic wetland ecosystem in the world. Some of you have never seen it. That's important because this is their water, saying school kids come through that No, nothing that are afraid of butterflies and Dragonflies and aunts. And it does my heart good to help them see what nature is like. There is no other Everglades like this in the world. It's beautiful. Okay, a lot of people don't even realize that they've got a piece of the Everglades in their own backyards. When I see a smile on their face when they seem interested, what automatically goes into my mind is wow, we've got maybe a future Fisher Malan service and for me on our hands and to me, that's extremely important. I meant to set that up a little bit more. So essentially the act structure in there was really what I think the primary focus of. You have a very clear introduction. People don't know. This place is here. Water is important. How do we connect with local community? How do we connected the next generation? They learned that this is where their water comes from, and this is how they become engaged and just build awareness. So it was a very, very simple structure. It was filmed over the course of about three or four days. Single shooter audio is a huge challenge because of the gigantic amount of bugs and things in the background making very loud noises. So that was a bit of a challenge in general. But there's a very simple, relatively simple piece to put together in that sense. But a lot of planning went into it. We knew what the issues were we know were trying to address. We don't want to be overly preachy, so there are a lot of creative considerations and building the structure around that.

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