Video Fusion for Weddings & Portraits

Lesson 9 of 34

Equipment Setup

 

Video Fusion for Weddings & Portraits

Lesson 9 of 34

Equipment Setup

 

Lesson Info

Equipment Setup

I was too sometimes I find I did find tung stone if you can see that it's too blue too much so let's start off with the countings so this is probably in the same place so obviously that the fifty two everyone uses for daylight I do fine with these cameras that we probably shoot them at five thousand four hundred because it's still a little bit cold again but then everyone will have their own preferences I can't what? I didn't want to start off where that let me just make sure that I have my shutter I'm gonna guess because I can't see my chester speed on here I'm hoping we're still fifty I can at the bottom okay yeah, I can what did you put the temperature at your life circum find the last daylight and she crew in the daylight yeah, I can so let's go five thousand six hundred but maybe let's go seven or eight what I'm going to dio is up my ass you gonna watch sorry guys I'm gonna use the live you you wanted question while you're adjusting yeah, go ahead do you happen to know kay cat ask...

ed if the one sixty is unique to cannon as a native I hear is no harris generally even in a video world to my c three hundred is native oso is eight fifty nice um I may be wrong I guess for some reason I can't change my aperture here so I'm going to do what you shouldn't is I'm going up the shutter the scroll button on the back but yeah I think because I'm like but it's why a sly of these things way because it's not holding oh uh no there you go okay, thank you. Now we have action they got thank you okay before I do the focus I just wanted to show you my tapping test. Now this will prove to you why I used the twenty four twenty five, seventy two hundred I'm going to switch this image stabilizer off. I'm going to tap this tripod can you see that lovely well, now I'm gonna keep tapping and I'm going to switch this back on look at that. Wow. Yeah, the difference of being a shot on a much like no or even if I'm a bit shaky you have too much red bull weigh but again that's just all helps so you can imagine if that's a macro lens without honor yes and you assumed in really tight you're going to get a wobble from there so preferably ire senses but there's not that many in the cannon range so you will have to be careful let's do the whole pre focus um I won't actually take a still here because you won't see it but for instance, you guys can do this at home kind of find something, take a still and then you can flip it straight to video mode and it will be in focus have had it for six years and I will fix you in the break way now imagine I'm just pre focus this dana definitely would be in focus my problem is but if I do want to set my focus using the plus and minus buttons in the back of your camera whether that guys can see here this is exactly the same as you do when you're looking at still, um from here and then I can get my focus and then if I was to hit the record button is going to do this now dana decided to stand up for to sit back depending what appetite I'm using we could be our focus I could be in trouble this is why I want to say man, why hit record? But I can't uh so either think about hyper focal distances if you're doing of interview or literally now I would have to follow you so we're going to dio rack first so let's go from dana to the plant park the back I probably made that looked very, very easy, but we're used to doing this I'm back on again and what I want to talk about is I have a little trick so if you can imagine a o'clock this where my fingers are is twelve o'clock so I will work out where that focus is back there and then I know when I come here roughly without looking I know where I am so if I did a longer focus point it's all the way here I know I'm coming back to my twelve o'clock to get her and focus it's a little q t it just helps me really quickly and eventually in both just helps to go where the story in point you saying you do like a pre shot first to get a focus which don't video and you know where your hand is set so if you have to go back out you know right in the area toe go back there's more rack focusing so when you're going from foreground background I will normally before hit record I'll do a test that I didn't notice that for some but I will go I ke the plant pots in that's where my hand is on then dame is in and that's any little movement if we move endure let's go see if I can move this right away if I get from the desk at the back before he did I'm gonna go dina my hands at twelve o'clock my desk at the bag and then back today now twelve o'clock but again I trust me I'm making this look easy but is she is a focus pulling and then focus actually tracking yeah I can't get you teo time right at the back wall that's my skills are truly gonna be effective no, so we'll do this without any practice so what I would do here jenny is I would sue me and let's make sure my first point is in focus and zoom out and imagine I'm hitting record now kay just walk walking this is what's really, really hard is to try and keep this how did I just pull that off live way I mean, no, I usually that does not sure moving really quickly, so that was really yeah. Try a home on when we do the shoot I want you guys to try this or in the break guys, try that at home if you've got pets practicing on pets it's great because they never stand still, but I probably have just made that very easy when you have your viewfinder on this is not having a big magnifying glasses is not as great as looking at this. The back of your screen. I wanted to talk about stabilization products really quickly. Um, gonna grab one just in case this cable comes off, I'm gonna ask you guys to assume that I've got the camera on here and I'm gonna show you sounds really condescending but how to use them on ipod so for may I try and always put the bottom leg fully up so then my hand is here I'm not doing this oh day long has been back hurts teo I would only have a foot on the bottom the great thing about this camera is that kind of work until um those you remember that video with the watch the guy with the watch and you get a this is done with this so if you imagine again let's get my focus pull away hit record in so it looks like a focus for but it's not right things like that um so here I normally have it's not very attractive have this underneath my armpit um I then have the camera in here and we'll be fined or attacked so if you can imagine I have one point two points three points for points the more connections you have with your camera the more stable is going to pay I just film this like this this is going to be all over the place to kind of having this here and it's close in with may and then what's good if I need to run to the next door I am running like this get there stabilize so morning perhaps is all with this I'm hoping to do a kitchen a lot with this because if we do move and I can get what I call three sixty around them very, very quickly people seem like moments here oh yeah um I won't do it with this toy poured but I'll explain that move if this cuts out of the life you weigh no why? Okay keep with this so it's moving on dh lift up we're gonna show some one of the back rex care so it's almost out like completely I'm gonna move the handles the handles these hand was a really good tohave cheating one ipod and tripod but not on a slider they're getting away and I would normally shoot this shot not in a seventy two hundred let's see almost what weaken d'oh I'm gonna get this way so you imagine kinda here so as we pull back I'm leaving the head feel look of the screen you kind of get a not a great movie like you guys on do this or maybe like a twenty four twenty five again make sure you pre focus here amusing then we'll pick a focal distance that the movement from here to here um kind of is a william was my little thing I do to move on and you find you try for her coco and you get the sense of like you showing it to us just now you're in the field right? So these these are your tricks and there you have to match make quick decisions right? You do this all the time, correct? Yeah because especially you might be working with a shot list or not correct yeah and even though a client will tell me exactly what we're doing today it all goes out the window then there's something there like okay so for mayor is about is why them when I put on my ball I can let you run around the tripod slows me down a little bit more but it for speeches and service I'm going to stick on tripod so you're going to stick that one on the tripod let's say you're doing the speeches and then and then when he did too like I forgot which video already I figure out which one of them but there were like a little girl my little girl had glasses and the white dresses and you're low down so that someone I parted and went on about it so you can drop yeah fast okay right talk fast if you have the bottom legs up really high and then adjust the very top one's middle one so I just loved how that was dagger and you get the girls and it was great that was a great school stuck with me now on the monitor for a city that you have like the triple against footing on it did that money come with that comes with that so it definitely comes without on its health or lets you be you have to do those lean over movement since right now, if you have a modified that does not have it all I mean I tried it it's so thiss comes with the head for the money this is probably your first purchase that the same head is that they're the same the same head. So you're the same clip from patterson? Yeah, I'll issue I've tried them on a port a normal one apart. I had one there's no way he's got no feet on us all over the place on not having the white head on up tripodi a you can get away with from there quickly talk about the prep for the crazy shoot I'm going to attempt that you don't know what's gonna happen. I've never met these kids. Another dog it's not like I'm like a big portrait dog photographer but I wanted it to be real. I wanted you to see me sweat and panic on deal with what I'm going to deal with and having a very small set for these kids. I think it will also show you how I into actor clients, but she kids on how well we talk differently to how I'm talking now and I will encourage them to be city because I want them to do that whole brother sister I want on my video well, what I want to try and find out who they are very quickly on dh how much faith that I need to build that connection, which is going to be tough with them within about five minutes. Kit crap. Um, minimal care. I'm going to do there some two cameras. I probably will shoot. I'll decide in a second we're shoots seventy, two hundred on the left, we have I think I might go for a fifty mil, and I'm probably gonna shoot quite shallow because I want to make this look quite dammit, dynamic, and I will be hoping on my focus pulling techniques. Um, we may here's a slider in all honesty if we're going to be practical, but we don't have time to use the slider, so I'm going to do stuff with this and I'm going to think morse story based on what you'll see me do is I may take five shots um video for one thing, so should the wider the type details be coming round and I will she will shoot still stay, but what I kind of want to do on this she is show you more video than stills. I think most people watching a viewing should be confident in still is that really what you really wanna know? How do you do, teo? What kind of shoot? Maybe eighty percent video and still I will talk you through it I shoot stills when I'm why would shoot stills in which order I would shoot stills and I'm going to shoot for the important part my end part of that we haven't got enough here is a fusion piece someone's still some video I'm not going to shoot audio we will do that tomorrow that's one less thing to worry oh, I want to have fun so you're seeming like I'm just gonna have fun with this uh don't really, really nervous and going my coach told me not to do this even creative life said to me are you sure you wanna do like yeah, yeah, but it will be good hopefully feed guys teo see it a creatively interesting well, we're very we were seriously excited about everyone on the internets like all right, challenge accepted just saying let's go, I still have a career after this she's on that's the thing where you know there's a lot of moving parts and we always talk about here and this is this is your forte. So and this is what we have you here on dh, we're we're loving it, so I'm so excited to meet kids that can have such cool accents I'm gonna be like

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.