Video Fusion for Weddings & Portraits

Lesson 8 of 34

Camera Settings Overview

 

Video Fusion for Weddings & Portraits

Lesson 8 of 34

Camera Settings Overview

 

Lesson Info

Camera Settings Overview

That's not talking about getting set up two she my sides of the moment I'm aren't tears because I wanted to cover them out too as well the mark three is in a slightly different place I could shout them out for studio audience you guys almost threes and twos have a seventy so I'm not going to wait around a boxcar okay for this school um and if you most cameras come shipped without the video motor switched on so you'll have to pick up your cameras for those of you on the internet other looking a slides go into the yellow ratchet menus and you have to switch something called the live yuan once you've got that live you on, we want to set it for stills and moving images that want to be able to flip between the two as much as I can go ahead no no no no I haven't but that's my camera I didn't bring it with me but do you wantto break would get you my other years? Okay, yeah well that don't have a camera you should think of you shoot live you and then you want to be out of shoes, stills and vid...

eo together for me audio I know this is a little bit different then some other cinematographers or fusion people out there I leave my audio on auto because I don't have time to go in there and set it up, especially if it's still not good enough. I'm not going to bother, I'm going to leave it on auto, and I want the audio as a guide track. One really important thing is do not switch audio off because it may seem really easy to think you can sink particular lip sings I did this, I switched it off and we did a greek baptism or a different language about I'm trying to think something where someone's going it's really hard way speak week kind of made sure is there to sink, so although I think of it as guide audio, you may actually if you're near enough to whatever it is you're filming, you may be able to get the audio, but don't count on it s for me, leave it on auto set the video mode. So what was funny when I first got here? I had mine on the wrong region, obviously, because I don't shoot in the u s after making sure you've got the right region and then for me, my great display, I am one of these photographers that when I'm photographing my horizons are not always dive center kind of go one way, so having the grid on video, I can kind of even things up, but again, this is just my preference remember again, there's no copping in there's no tilting and moving it it is what it is you don't want a copy because the quality just degrades um let's set up the frame rights so you've obviously got the twenty four twenty five, thirty fifty and sixty for the u s you guys going to be using thirteen sixteen on for you can europe was shooting twenty five and fifty there is twenty for what's called pierre's well which is probably what they using hollywood which will give you that smooth movement up into the very last two shoots of being shooting twenty five the man thank you we'll also talk about um I'm going to test the audience and you guys keep you awake why would I have fifty frames that even if someone's a bit are we worried about what is this frames per second thing what is twenty four feet? What is twenty five pay it basically is if you ever did this as kids you know the flip book enjoyed the hanged man and you do this you kind of it moves twenty five still shots per second so it's just doing that because then you play it it speeds up it looks like phil um why would I shoot fifty and sixty early you say you shoot no one fiftieth of a second I think frame ray it's not shot speeds think about frame right so I'm shooting twenty five shots per second or twenty four make it us that these frames per second why would I want to shoot double that amount? Yeah, so what's cool is that you should double the amount we can slow it down and then you get the slammer what? Your finals on the mark three there is not that option there isn't a fifty sixty but on sari on the march to there isn't but on the mark three there is but again, like I said, area hadn't shot a lot slimer why? Because I keep seeing that in commercials like saw that I was just on a commercial said I was telling you about their had five robocop yeah, when they have all the gear on, they look like ready steady hands, right? And then a lot of they had these kids running in a store and it was so cool to see the kids hair just like we'll see at christmas I can't tell them be back camera is probably going to be something called a phantom on dh depending it would do something like eight hundred times a second to see the girls here go att moment probably cannon wise from the fasters we might have a word test the audience they might know because one hundred twenty frames per second from lucky on any cannon camera out there shooting video my dear slot was obviously maybe the other ones might be but yeah, the phantom is like a hundred grand camera against specialist, but that looks amazing star yeah play with us play with that whole moving those but for now off we for the us guys out there get your cameras set on thirty frames per second on europe even twenty four twenty five p then um we are going to talk about resolution so once you've got it set up a video recording sizes so this is where you're really going to get, um, how small it is you're filming so the outer square here is four k some of you may know even heard about four okay if you haven't started filming yet but it's this huge right now everywhere I'm going everyone's talking about four k so came out the issues, okay? And we will talk about that in day three but the man now imagine that you're still image is bigger than that you're still images war on we are the five days shooting ten eighty by nineteen twenty now look at the difference. We were really cropped in kind of a lesson half so there is no more space to keep dropping in on its low res it's almost if you think about this this is almost like a seventy two d p I you wouldn't really stretch it and start doing stuff with that maybe shutting jay pig which you start trying to change the color violence on ajay percolo prayers night it's not going good so you really really have to nail it in camera? Um two k is what the c three hundred was sheet out that's why lover? So if I did wanna I could crop a little bit but it's more about the detail half hasty you're here about so my my first generation ipad I can only put seven twenty videos health hd I think when we guys air playing these videos at seven twenty to just feel live streaming and then you have good old sd I don't want teo I failed about month ago an sd video camera like an old flip flip out screen and just seeing that square shape was like ah that's awful um set the highest resolution you have on any deer sought any camera you're using this whack it on the highest didn't give me a shout and stop me if you have any questions I will do I mean I know it's someplace we're going to talk about I know in europe because there's there's power correct and and having you wanna tackle now I am a great list said literally then making sure this is what I have to really be careful to make sure you change this camera back when I get back but having on the right region so for the us having that whole power ntsc for europe it's quite quite nice because the whole of europe on uk over one and then you guys the us canada as well should be the same then yes, only that it's it's only europe in uk the power and ntsc if you think about it when you pick up a dvd or you have a dvd player and a billy ray pay you'll have for us region or multi region on actually something that's probably the camera off companies could look at is having a multi region kind of something that works from both but it doesn't exist you need to make sure you're filming for the right client if you have a u s client make sure you have the right region awesome s o a c m eighty three asks about grabbing still images from these cameras can we talked about really briefly yesterday but let's are we ready to tackle that one? We're really talk about that on day three but for now I have poured a few stills from video but I can't really do much with them that they're much better like if you wanted teo have a lower his print or put something online maybe but no not really big prints waiting for instance we usedto have video professor oscars for still for the front of a dvd case they could probably get away with pulling from the footage now, but I will mention I don't get into a whole sidetracked, but the issue is going to be because we're shooting a fifty of the second you get what's called motion blur. Um, so you're still images I shoot the lowest hopefully shoots sixty of a second because I'm quite wide all day long. You think that that is still going to be an issue? Whether it's for k, whether it's, any kind of camera, we're gonna have that, but they're working on it. I will mention now that someone has shot a wedding and for k import stores out made a wedding album. Wow! What possible? Yeah, it's. Impressive. This is when we talk about the future photography. In a way, I don't have a choice. Yeah. That's exactly. Sorry. That's. Why I'm here? Yeah. Look at general market or even before you ask the audience for me. For years I had videographers of my camera. We know these cameras better than these guys and no offense videographers. Why are we not moving the other way? These kinds of cover that this goes to no one. Now I'm getting on workshops. They want me to teach themselves getting video guys at my workshops. Can you teach stills they're going to w p p I they're going to s w p p we need toe wake up move over teo very cool so one last question before we roll do you use a light meter I dine okay I have chaotic shoot it's like I'm lucky if I confer lynch motor on this floor or have teammates brief now generally because it's the light is changing continuously I'm shooting on location desert outside of beaches air condition units I do have issues with lights causing alias thing so to know really beautiful up lighters in different countries of frequencies cause issues on dh the only way to get around it is easy to move your shutter speed or ask them to switch him off which is a big ask for may but I will show my client the back of the camera and it's jumping like crazy and she'll be turn the lights on or can you just tell maybe just two lights or for me shoot the speeches or something like that so is being aware of how do you fix issues and this is why things will come in my head so I'm just going to blast them out hopefully it'll remind you if you ever have this jumping and you can't make out what it is have a look at the frequencies or turn the frequency speak to the lighting person to change the frequencies of the lights or use really great lights like in a flare up of here all of the time changing the frequency of the light the refresh right? Have you imagine, do you have, like, a piece of a screen? You'll have sixty hertz seventy hers and kind of it's almost imagine like your eye if it's flickering too much camera calm the camera's not was going so I so it will see the flicker so you have to adjust the frequency if non to switch the thing are you talking about just in a different life? Okay, okay there's something you can put your shutter down to thirtieth so if you imagine now it's slower is is not as bad if you push your shut up when it happens, it'll jump people more to lost yet cause I can't picture profiles for me I shoot a basic flat and we will get questions about picture profiles things like marvel on everything tells so we'll talk about that for may I just have this one picture profile I turn let me check here the I go into and actually change your user death one don't do this on your actual neutral setting because you're losing so I'm setting up the user death one I'm pulling the sharpness completely off I'm pulling down the saturation of the contrast completely off on the saturation down two digits and the reasoning for that for me is that I want to try and shoot this camera as flat as possible, so I have some kind of latitude in post to pop things and boost things if I want a onda again, the in house sharpening of some of these picture profiles it don't want it on video it's just is going to make it more grating damn other questions about other purposes it might take a couple minutes for those two party later, I'll jump in insect with those you're saying that you sit in your picture style up, I guess you're just in the sharpness contract saturation and called a time out. Yeah, you put your putting everything everything done? Yeah, put part from sur like your sharpness completely off contrast off and the situation just down a couple you conduced this very easy when you see the editor, you can't win the five days for me crush what they call crush blacks it's very just punched authority and camera that we just pull it down a little bit. I did have a question poppin, so when you're making those modifications, you're making him through your profiles in your camera correct do use custom functions when you're shooting with your mark when your mark cameras all I do is just customized that won the rifle and I do shoot my skills on that profile okay, because if you imagine profusion, I can't be going in every show. Chris is all new to me. It's like how it yeah, I'm trying to preempt the question. So basically, I will shoot a bit flattered for my skills. But I used guy gallons if you guys head of his actions, he is the same he's, take me so many days on end people giggle this man he's incredible! There is a droplet. So for my photo stills, I will bring them in to light room, not lyman. After I will pull down the exposure some over shooting by a stop, which is scary enough. Anyway, I'm over exposing. I'm pulling that down. I get less grain, crop color balance and I work it for a droplet. And I'm done proof book on a shop in contrast, does everyone hate cr stuff if I want to tweak it, it's incredible. I could probably edit in about eight hours full on a wedding. Can you repeat the name it's guy gowen going? I don't know what the actions could process action. Okay, um and what's great is guy is not a photographer he's a great re toucher and in his world he says, these are soldiers. Stuff that doesn't do stuff but it doesn't look like this so he will talk about the quickest way to do it on that point I will be getting a bit sidetracked but I used to photo shop every single fatal when I first started I was so wanted everything to look so great when I showed it to my client and now we do the opposite it's kind of quite flat in the proof book that goes out and then they understand thie edit and the advantages of retouching so we could get rid of all their retouching and if a guy shaves and cuts is kind of shaving but only the images they put in the album not going to spend five days like I used to cloning up someone spot I'm not getting paid for it these look shocked but I don't think you have to go past that like I think is you get more of a competent shooter it feels better when you're first starting and maybe there's exposures all over the place is like high can show clients this but I think video is going to make you a better photographer you can't throw the word our fate a shop it later I'll crop in nato yeah it was scary but it's money I have gone from five days there to take my first started to a day two days three days actually khun gohan sounds market shoot have fun shoes, shoes okay so um shot a space let's go into this so what's really I couldn't get around in my head festival was how is it going to be in focus and stable of fiftieth the second like ready and again depending on your frame rates so for me is fifty of a second and twenty five p if I'm shooting thirty then it's going to be sixty of the second do we see the equation that is not to say that I never moved the shutter and probably in the kitchen I may have to a little bit depending on the lighting here or some of these tests I'm going to do it but I will explain to you when and how to do it um if you don't have a variable andy on you at the time you don't want to shoot f twenty two fifty of second outside so you will have to upper but you've gotta make sure if you up it something's not moving because you're going to get staccato movement but the other thing to think about is ah tell me a year and a half to learn this I'd never heard of the word native eso now mary this is letty I put this to the test I couldn't work out I was shooting at one hundred or so I had grain was like what is going on and then the more my learned I'm got into the industry it was like yeah never someone that's more grainy than like twelve fifty so the way I remember this and you guys are definitely not going to remember this when you first start is remember and multiples so one sixty three twenty six forty or fifty two and a half and then once you get past that you're going to get grain anyway and what is where when I shoot still sometimes I start at one sixty and then hold on a minute I don't have this issue but you definitely want to know shoot at those other ones I think I've got on these slides the ones that are really bad for the ones with the size they are seriously grainy they're just jumping with grain so that when we're filming shooted one sixty or three twenty six always trying to shoot on those that we times when you'll be like but if you get into a good habit of you'll get because you'll see footage out there and go that's what the mark to why does it look so like punching clear it's all of these things at it together okay and then for me aperture this is how I tell my story I want to decide how much I want the viewer to see don't want them to know really guess what's in the background or have a glimpse of that I don't want to know don't wanna focus pause that I'm drawing their eyes where I want them I don't want it to feel like it's all my scary and compressed donna compressed that image or don't want to be like kind of more real life to your vision so right now say the chair behind you guys they're still unfocused to my eye but I could shoot this at one point too and I just I don't even know where I am and this helps when you're in crappy locations or you need to hide stuff you don't have time to move furniture shooting on shallow depth of fields however it does make it harder to ficus tio okay let's play was focusing the biggest pain in the backside here is there's no auto focus what everyone says they will keep working on it but even on the sea one hundred I would never use it now I want to focus but I want to drag a viewer to where I want to pay um we're going to talk about the biggest cheat for shooting fusion there's pre focus and it's not even really pre focusing its I will take a still on auto focus on flip straight to video and already have focused have anyone touch the focus ring and as long as that person doesn't move too much then I know my first short really quickly that's really quickly to get him focused on I need to take stills anyway so I'll be taking my stills I'll be getting that short done. And that's how probably I got away with a photograph from filming by myself those first few weddings that's what I was doing the whole time. Then from there, we will go and talk about back focus. So rack focusing is say from me to you, this is a little bit harder. This is you're gonna have to practice this. This isn't as easy to get back and forth and then follow focused it's going to be, which is going to be really funny. I will try and do this with the dog and kids, maybe something me things. So if you imagine the whole way down the aisle, you will have to follow focus. So you're following focus. The problem with these lenses are you will start going one way and I will get so far, and then you have to go the other way and it's very confusing. So ideally you want to use something called the pre focus? Um, on a bit of rack focus and a bit of follow focus, but first I'm going to flip toe life you made in a second so you can actually see this. I'm going to show you what this looks like, because, again, I think it stinks in if you see it. There's things to see I'll work in a pre focus gonna make her life easier being pre focused, refocus think hyper focal distances I hope you get one of you guys just to step in frame and we'll show that hole in and out it would look like I've done a focus for now I'm giving away all my secrets now everyone thinks I'm really cool that's why you're here I know now that now that it sinks in and it goes away things in that way I'll be good as soon as I see you do this but when you did those two little girls because that's where I'm like going in my head already had to go home and start working on like the kids because christmas season's coming up and I'd love to throw this in and surprised some of the people on bikes will be in the studio anyway so like go across the street to the beach and do stuff but I just now I'm thinking ok, a lot of times you were running and you were doing the moving they were kind of steady leaning against stuff and you were doing that is that and what's another trick that another for the things that another school yeah, so either camera moves person moos like moves um the easiest thing first ball is have the people made have people move? Yeah verity in dorms if united I call it the in between moments before interact and start posing, they'll walk over to location, they'll be doing there's an s cube that have a little nutter and cares I'm filming, I've got ten seconds done, then I start doing myself and then again, when we moved to locations that we're gonna walk filming that orbits. So the girls of the guy cam that probably shot you're talking about is when it comes in sweden, as long as I kept my hope of focal distance, so I didn't care that went out of focus, too, in a zoo long as I kept that death all the way around them and wherever I wass I knew it would be in focus, no, even focusing, and I've been looking and I'm I'm looking in the back of the kind I'm looking for my wobble of going more than the focus, but other stuff you will get really quick and easy at this wood, will it? She? I don't pre focus anything anymore, I forget that I could do that, I need to switch it on and you'll see it now. I'll just switch this on, and I will focus on the way police on the team and I practice was two coins, one person keeps moving the coin and you just keep going. But what can you do that teo really house you can test me we do that it's something that my focus with it'll be tested with a dog and kids trust me it's going to be hard and again people say don't shoot so shallow first give yourself that death was shooting at one point to someone does this for a name for you in and out but when it starts getting I think it's easier sometimes that you shall because you can see a soon as it goes out um so is that whole catch twenty two thing but it is something important like a speech I am definitely shooting that domes of six point three but a couple shows two point eight and I focus pull in tow okay let's switch to live you mode and show you some of the stuff you were like the movie jamus has any questions what we set out just give me a shower. Yes, as a matter of fact we had a question I think we might have missed white balance on the last slide. So could you talk to us a little bit about white balance please? Thank you. We're here for you so why bother side of things a bit like I said before with ajay pigment you can't balance sir I will use kelvin's I asked you never used calvin's before since I started shooting video I would shoot guy gallons action so when I shoot with his story I should everything him flash and then I can poke the day to color balance it looks or for in camera and if you're shooting with several second shooter shooting stills, it means that everything is on when we're on what also white balance it's all over the place to color balance three four cameras, especially even for film we will call out calving settings to each other or what we look at those cabin settings or if you really really don't want to do that just at least she's a preset used a light have a look at it, what does it look like? Don't be doing what I did on the first asian wedding video where so tangoed and I I tried I tried teo color balance then I couldn't do anything with it because you're you want to get it in the camera if you don't can you adjust it in premiere after didi bits ok, tiny bits okay, thank you, I would say, especially when we talk about outsourcing what's good about also seeing as she learned the hard way it will cost you a lot of money she relishes it and you're paying an edison but to make it better, why not pay an editor to make it look greater than it is um and it takes a couple of seconds like it's. Different. Putting a filter on or changing and setting up a guy. Come calvin's.

Class Description

Combining video and photography brings an entirely new dimension to crafting wedding stories. Join Victoria Grech for a three-day course that will give you the tools to work as a fusion videographer/photographer, with stunning, marketable results.

Victoria will guide you through everything you need to know about working with both photo and video as a single shooter. You’ll learn about each stage of creating a dynamic fusion story, from selecting the right equipment to shooting seamlessly. Victoria will also cover how to integrate fusion services into an existing photography business and how to successfully market fusion packages to new and current clients.

By the end of this course, you’ll be able to work confidently as a fusion photographer to capture dynamic wedding stories, land the right clients, and grow your business.

Reviews

a Creativelive Student
 

Absolutely hands down best creative live class I have taken!!! Victoria is a delight and her insight on photography is genius! She has a warmness about her that makes you feel like you've known her forever! She's that person you've been looking for to answer all the questions everyone else in the business won't!!! Victoria,thank you,a million times thank you! xoxoxo

Sarah Shotts
 

Amazing course! I absolutely loved every minute of it! Learned so much and she really inspired me to get up and try out what I've learned. Already booked two test shoots! Victoria clearly put a lot of planning and effort into making the best possible class for all the students involved. Please bring her back to do a whole segment on audio for wedding videos!

a Creativelive Student
 

I loved this course. Victoria is an excellent teacher, smart business woman, a trailblazing creative and an inspirational speaker. I highly recommend her course to anyone looking into learning fusion with production value.