Video Fusion for Weddings & Portraits

Lesson 14 of 34

Film Basics Overview

 

Video Fusion for Weddings & Portraits

Lesson 14 of 34

Film Basics Overview

 

Lesson Info

Film Basics Overview

So for me content his king andi took me a long time to learn this. I was caught up with steady cams and cranes and sliders and kid, and it was just like beauty shop be too sure, but where's the story that so this is more about I slowly learned I couldn't just turn up and wing it. It cost me a lot of money in the edit because I was using freelance editors, there was a lot of just stuff that I didn't need, and now more I will have a vision or a focus vision. I'll have an idea of what I won so it's almost like the shoot today, I know inside out what I want, but then I also leave it up for creativity. So even when you're working with a team, make sure that you now the safe stuff you have to have and then play is a bit like photography. If we shot the same sequences and same short stay in, day out, people will be so bored, it's a kind of and then push it out the parts it I always say to myself, every wedding or every shoot, I have to do something different how can I use a light differently?

How can I push myself and just keep pushing and pushing your skills? I'm probably very good, as you realized now shoving my backside in the deep end, so I'm nearly drowning two learned, however, I really want to rein him in because I'm going away for mame sounds, and this is why we don't talk about sound, sound kick spot for me now, I kind of I almost don't know what I shouldn't say this, but I think this slide shows where we just work a track on is there's almost like copping out, but that I'm really hard on myself. I'm like, if you're gonna do film, that really is both you need the audio, and then we'll talk about how the easy ways in the edit voiceovers, not talking here. So if you haven't got the matches speaking in the morning, maybe just going up to them with the shotgun mike, and just getting them to chat on dh, what will be get is once everyone, when she started hearing all of this and you look back up my videos, you'll pick out all these things that I'm telling you how we use it to make our lives easier, creating movement. I really would say this is the biggest thing that I think you can tell with the newbies in their films to kind of advance amazing camera people, so when you watch created by these guys and you don't have shaky, fitted these guys are in stabilization even though they have better cameras for it there no hand held him so if you're wearing that you generally your mon apology you need to practice it a bit to get its still then don't make the camera move make the people move and the other thing I'm going to show you is make the light move all things you just wouldn't do is a photographer so today we're going to challenge the mind set off photography to film and how it does differ and then I'm hopefully going to have to talk through my shoot hell trying to merge it together so I'm not making it too difficult to flip from stills video I'm trying to make it easier is possible for myself to do both from there um we're going to talk about or like editing for may so if I pitch you this how many people do you hear that go on a reality tv show and then how the tv show editor say is out contacts you could make someone look good you make someone look bad even if I play different music for you and showed you a film it could make you feel sad because it's a minor key or is really up tempo and happy kay so what's really interesting when you start looking and learning that film is not necessary the eyes first your ear hears first and then your eyes will suggest what you should hear. So what would have been cool if I could have fought like sound effects off? Imagine hearing birds and waterfalls and that whole rustle of palm trees already your eyes should be going beach tropical, but yeah, malibu yeah, I haven't shown you an image. So what? This is again a mindset sometimes in photography you have to show everything in film it's really nice not to so really nice to let your view of build up the suspense in their head. So this is when I would be thinking that she's um, audio on dh this is why the audio guys like me here because I'm really a pressure, but it's, really, this is where these air the concepts of the difference between going out and just shooting pretty stuff or thinking about a vision, thinking about what audio you'd like to use go on by some sound bites litchi from my last video, I'm going to show on sunday we've all kind of sort of noises with ball horse cantering because we didn't have the time to film and get that capture the audio stuff, so you'd be surprised so what's on day three and then before we dio I'll give you a list, mabel the called failure or the phony noises that used for and if you take those out and just have the soundtrack there's no suspect it just gives you that. Wow! Well, you're here is used to hearing when someone walks in on a floor like here went to it here you can hear the noise, watch anything on tv tonight I'm going to change everyone watch how over dramatized the sound is and even when someone put something on here, it will be acting horror films everything is just they're so really I want to try and convince everyone out there really start listening to audio, but he stopped picking out of the film and putting that almost first will be talking about that on the audio segment, I actually value audio more than the visual now and it's getting more more audio visual is giving me the side way yesterday wait here and we were talking about how we go to movies I really don't even know I'm so busy watching the lighting and the technical side of movie I wanted to know what the movie was about, he agreed the same thing. Sometimes I have to watch a movie three times to know what the movie's about because I'm too busy watching how about lighting now we'll be busy listening to listen here if it is a kickoff story, it all goes up when you will get souped him to that storyline, so if there's an amazing script and maybe you connect to that script you then forget about it. I have the same thing. I found it so hard to just enjoy me being like, oh, krenshaw, I was just looking at me right now like I'm her hair like this. Wait, stop listing what you're saying, I'm too busy living a life so that's kind of my like, but it is a good thing, it's a good thing because you'll you'll pick it up and lighting's really important. I haven't got time for these three days to do movement and lighting, but when we do the talking head, I'm going to bring in some key knows the lights that I would use and give you an example of why would use them around for them because it's hard enough lighting someone generally that isn't moving, but when they move, you got to think about it and it does change, and we did have a question yesterday about do I bring those lights? Teo bride oh, shoot, I don't, because I have enough kids carry around, but for commercial shoot yeah, I have thirty five k's worth of lighting for my four case you just keen nose that was just chinos and data for a question fantastic, so what we're on talking a little bit about audio two questions one off the road for me you're coming to the doctor, I write, I'm do you record, you go out ever and record your own b roll sound audio cash. I just really honest now until you only until last week and when I was with the editors, there is a scene in my fairy tale book where the small girl goes and blows the dust. We didn't get new enough without mike, so we're going to do when we do the audio stuff, we turn the noise up and it was so noisy, so I did this on the microphone on the mac and that's, my boy. Yeah, for may, I'm getting now really excited about family stuff like I want to go out and make the sounds we kind of walked around in the leaves with again the shotgun. Mike, you could hear footsteps and that's what placed underneath? Great. Yeah, fantastic! You could say, I'm a cool and then from yasmeen, could we talk a little bit about about music? Do you choose the own music? Do you work with the clients to choose the music and who makes that creative decision at the end and tell us about that? I have full, full reign over my child for me, my trailer is my selling point, the trader you saw yesterday with the helicopter footage my groom had we're playing at the end of the night really famous abba tribute I have to say okay come on then he also dressed up as elvis and so now could you imagine if I had that in my film trailer that's no the milk of my film trailers for the film trailers I get free rein and they trust me and the music because the music has to be copyright I want to put it on to me I want to put it on my website and blogged and then for the main film it's up to my clients I need to live beyond being controlled by just just do me a favor let me do the film trailer let it be like a director's cut let me show you what I can do and they trust me they love all the other stuff that I've done and they're coming to me for that andi again the composer when we're using a composer we will finish the film actual footage and editor and then we will send it to him to say create may and I'll give him almost a really long email I really love this kind of music they're iranians I wanna have this type of drumbeat so I guess that my brothers in music he's a music producer so probably picked up a lot from him all right and when this kind of tempo when I'm reinecke here I need a clash man well, a cinematic crazy there s a yeah there's lots of kind of people will say to me oh my gosh a composer but you know what? Grab someone up college that is playing that would love to have their name on something and put it on a track s so this is all like when we took that sells marketing freelances I was so many ideas but it's not all about money okay let's move on then so let's talk about film talk um some of the words here locked off shots pan tilt um these guys called these type of things sticks can you grab me the sticks and I was like, uh radio a lot ofthe shark is what I use my c three hundred for maybe in the service is on a tripod it doesn't move the frame is locked off it just keeps rolling something on your pan until so upon is either like left to right or right to left and again you probably see we don't use those that much because I really wanna pitch that hollywood look so I'm trying to emulate the hollywood stuff even things like tilts so in the beginning we did until now we were only use one if we really need to show maybe an amazing circus or something like that tv will use tills compounds hollywood will you steadicam movement to do that and take you through so again, it's production value but if you don't have the steadicam know that you could make the movement, I would say for these two shots, you definitely need a video head. You can't get this fluid and time make sure you do it slowly. Just think about the alias ing even left to right. So when you d'oh, some of you may have heard of a whip pan, which means you just go probably not with a dslr, you can try it. But you mentioned as long as there's no horizontal, anything you need in the shot that stayed there. You can do that whole from them. Um, jim cranes this used to be really scary to me. I was like, I want to crave yeah, kind of huge big cranes. When I was in saudi arabia film, we hade two twenty five foot cranes and I did not bring those with me. Obviously. So hiring in crane's on operators on location because it is quite popular to do that. Yeah, well on there was six of us filming, so it was how course stressful I would try and dig out shall idea I'm going to say this on internet if I confined there is one face of may back it up completely because that's how we had to be the whole time in there I will post it on my twitter and people can see it, but then I might have to delete it after I leave here. But yeah, it's interesting she were talking about today about I think probably a little bit different uncreative life that I shoot so many different cultures. I don't really do shoot english weddings to iranian redding's. I have kind of afghan clients persian clients, indian, hindu, sikh on a greek, turkish and I had to learn all this ceremony's myself on trying my film crew and let them know what was coming what's really important, especially for a hindu wedding. If I miss this line is not signing the registers the kiss there's about ten things, and if you miss it, I'm gone completely gone even eta qua. We will be on our knees the whole time and we will not move so we need several cameras. Otherwise you will get grandmother find it's so disrespectful that you've stood up in front. So again, at some point, you need to get someone to do maybe a course on my no mai. Go ahead. I'm gonna throw out a question. We had a structure here a couple weeks ago who said what's what's that that thing in your kit that you pull out that's your secret weapon kind of thing, and he pulled out a yamaka, and so I will ask you the same question he shoots a lot of jewish wedding. So can you tell us a little bit about your outfits? Do you have to worry about office in certain in certain areas where you go shoot, so particularly in dubai buys a little bit easier is more western, but anywhere that route the saudi arabia, for instance, we had to be covered up from here to the feet. Um, unlike here, I couldn't show any hair I had to do that on the plane, saudi air space all the way through any time I could take it off was in the hotel room, so that was hard. That was difficult for me with, like this dress thing, sheeting because I'm like tripping up on it as well and trying to do stuff with a man I put it's difficult, but you have to make do you have to get around these things? What do I have the ipod that was that was impressive to me to hear that because that's kind, you've nailed it that's where I was going, that you're doing your entire job and you're really not comfortable with really oh it's just in india luckily you can't see that behind the scenes in india my hair is type back I'm sweating my butt off laying on the floor and just we're running around thie other thing for me I would give advice I don't take it is don't do like a twelve sixteen hour journey get off a plane unpacking and shoot a sixty male wedding day and keep doing that on dh there was a section on the third day that I will talk about that the downer of kind of being rosie and this amazing success and you know what things come a point people make sacrifices so yeah that will be an interesting but it means there's something I put out my kitbag I think I'm going to switch it and say as long as it's may and I believe what I'm doing on my heart is in the right place I'm serving it doesn't matter what care I have give me an iphone you know I'll users a street lamp but just I want to do the best job I can do every day for my couple and if I haven't done that I'm really thank you but I'm never happy with what I do anyway thea um things like steadicam you guys have probably sings and footage but I'm going to show you that time lapse definitely do some time lapses for may time lapse is the first thing that goes out the window when we're rushing because there's like that's one camera that is set up that is going for a long time time laps guys do three times as long as you think you need to do because you think about twenty five frames per second way will leave it with me if we can for maybe like ten twenty, thirty minutes is only going to get you five minutes like five seconds of footage when you would you do in town lapse having how many images per minute are you doing because I know you you shoot at thirty per thirty francs for second when you're filming so are you doing like one image per minute? Okay, great question I would try and talk about this but this kind of level not around out here because we spent the whole day on the for instance you've got to think about what's moving and how fast is it moving? So if we take a day where you've got like my favorite clouds, that kind of blue sky was a big fluffy clouds and they're moving at considerable pace that you might want every couple of seconds every five seconds if something's moving way quicker you need loads more shots if it's like someone setting up a room you don't need us many you kind of wanna depends the movement moving fast then capture that faster if it's moving slower capture over and this is why time lapse is this hole you never know what you get to get it in post is that there are so many I think his up other break I will find out who this someone who's wise made time scapes or there's a whole blogger and a website on time lapses and the guy is incredible jim remind me I'll find out her legal because I want to find out through the internet audience would have found it by then something like time scapes they time scopes I love the internet si tio okay, yeah check that out if you really want to learn time lapse because this is the hole is a gamble you kind you can know enough you can never almost definitely now have time that's always like it's the time that's going to recall so again when you're playing safe stuff time lapses of bonus you're like you because that one you saw in the other video yesterday we had a clone out kids because they stood there if people move in and out okay but the kids like hey, come on yeah, that was not fun but the time it was so beautiful that it needed it that was worth the investment and the money for that and then of course, harry footage don't do it yourself I was going to give them my c three hundred camera even though I talked through this now I'm going to show you this next slide I will probably talk over a little bit I'm going to show you video footage of what these shots look like because again it's really easy for me to tell you all the shots but touch you have a look at it okay these alongside a shot this is a slider shop pushing pole way again another day focus pull what we were talking about yesterday that is a side of shop westerner yesterday wide too tight really super time taking more angles check them out of angles for this year's front and the back side again focus because this's getting tricky focus pull from one place to another you see how we can make of you look at something and has the costa wait and we do have we know these shots on directing these shots so there's movement by the couple and the city count which makes it even better stairs already hard don't he stares at you know usedto way walking shots may soothe do you have an assistant like I got you when you're walking because you're paying attention to your camera in the sense but they have somebody literally your remote control if you're on a wedding day night because the rig that will uses a steadicam pilot so I won't be study coming on a wedding day because I'm taking stills on directing the film crew andi even to the point that we have what you guys have radios in and I'm going shooting into light move move move now you can see the back of my camera so you shouldn't go on dh sometimes we'll deviate rolls so what we like I'll get details you get tired I'll get grandad and then all of a sudden granddad moves on my comer operate conceive and it's like well I can't get the shot so you have to have communication for cinematography um taken get riel kale taken days um yeah I wouldn't have what's called a spotter in the industry know if I'm using a pilot however I did for the fairy tale shoot because I I'm going to show you this elephant shot later on I get a little bit engrossed in getting my short that my health and safety and for that you know I had I think it was that you know, somehow fifteen, twenty kilos on my back with a real big rig I had a zephyr rig so something you just wouldn't use on a no more wedding day but I had someone behind me because I was in a filled there were big rabbit holes I was horse trying to move kid pitch black half nine and in a forest I'm not going to see if I fall and if you fall with like twenty kilos on you you're in trouble so for me having a spotter and he would just be like this well, me and just talking me on walking going don't step back, step back one more foot which is quite similar where you start getting into filming like big production and features you are you'll have a spotter but my stairs stairs no easy but for instance, I'm going to show you because you're thinking that probably one on we're walking we're doing this right backwards, but I'm no I'm actually this way and I'm looking at my screen and turn the steadicam bricks the cameras here and I'm doing this I'm looking down at my son's game tricks of the trade on this is why the going can for the kids shot I don't have a screen down here on child so the whole question yesterday what can you do what you can tio um stairs with a steady cameron because you have to keep the height of the frame as we're going upstairs I have to keep whoever is upstairs highest I'm lifting a swell is pushing um on on that go I come this tough and then you're doing it with here kind of thing slow is thinking in nineteen o it is inmate oh, it is please that maybe come back and put study camera gone so when you're going backwards and stuff walking backwards, you are walking forwards in the screen we gotta look like cam says consumer grade guys like baseball because if for people who are maybe less in play baseball, if you're playing center field or outfit or what not, and the ball is hit over your head, you don't run backwards to turn around and look backwards so that you can see it coming to get more speed wait on the internet talking him. So for the glide cam, all I have is this on dh I am actually fairly strong, strong girl, believe or not, but once you have this camera on, I probably do ten seconds of a show. So this is my pan and then this is my till I came region I don't have much trying to get smooth till on this there's no, easy. Now imagine this is a study can rig this arm this clips into a big magnetic arm, the arm is taken the way and it goes down to the bottom of my back. So now I'm like this and then I will use she was more like this imagine the armor's coming there. I can just lightly turn this wherever I want and I have a screen down here. So I'm looking down here is I'm steady camera waiting so if my camera's pointing to you, I would just do that, so I've turned my camera around. It's facing you but my screens here and we just walk together yeah myself the internet it's so tricky because I've used a glide camera a couple of times and for me it's like trying to fly an airplane bile balancing a book on the top of my head it's right? You guys have that you know what it is, it's the balance? Yeah, it took me the first day tiffin steadicam was four hours working out how to put the vest on way on balancing it on when it's unbalanced the other thing I did with the spotter the first words I said to him you are here it behind the scenes when I finally released it is do not let me rush and let me make sure I spent in nick's like an extra minute to get it balance otherwise I'm going to get pain the good thing about learning with a bigwig is this I can throw around, I can have bad posture if I try and do this with a heavy week are the pains are unbelievable they say the best study come on prices are ballet dancers so there's even footwork kind of how you put your feet down and your arm had to be like elbows are up like this see if I'm kind of doing this I will be doing this it kind of looks funny, but I try and use this like idea steady camera that's probably why the kitchen I could pull off what I could on this because I've been trained on a big proper rig that even getting away with doing like it down up I almost practices so much there on that short where I'm running towards them and panning as I come back the one on the of here yeah so I'm like this and there against the wall panning right? And then I'm running back we love that shot I love that it takes practice I think the one thing that I never believed anyway I was like I'm just gonna get this thing I can do it honestly does I would definitely recommend the mayor was scary to go on this course I didn't want to be very very cold gods but I thought I want to know what's possible shot ways I wantto have this film's more hollywood more well and unless I understand the difficulty of what I'm asking someone so this is when it's good now I hire some a steadicam again hey, we're going to do a stair shot and they go e o so hopefully dana and everyone else that I was probably looking for that makes sense a bit more yeah yeah totally okay I wanted to give you some pointers um this was my biggest thing the whole rapid shooting literally like a photographer filming so I just held my shot for that one two seconds and I just made one two seconds twenty seconds and then in the editor I couldn't cut anything and this is why I think he was looking at me like five seconds waiting my early in cuba the audio you can hear me again one and two and three are my gosh, this is so long that the point my knees are burning I burnt a hole through my jeans in key because the floor that there's a shot in there that I get a slider shot it is so burning but again I'm like this shot will be really cool and I can see something coming apart on me um so yeah kind of you do have to slow down so really tough because you need those in points you need those first few firms if they're not yeah and then the movement and there's stopping hold however it does go out the window I still unlike just trying to get the fusion it's a bit easier because you just have your five your chute for seven to ten seconds it will become five but if you're gonna fall on film something you wanna have nice in an out point because your editors will scream out here like this is a caution please just te recorder um filming sequences so I vaguely spoke about that in the chaos of yesterday throwing the dog and people were putting what um for me don't think to d like photography think about the shoe shop from the from from the side from the side of the hole three sixty or even if it's not three, sixty one eighty and then why you think that wide tight super tight details do you see now how hours worth of footage comes down two seconds in the edit because you need to see so many more different angles give me a shout if you got any questions no it's thinking on when you talk about you know you're talking about three, six years but you're almost it's almost like a basketball right for a soccer ball right? Because it's not only its down in all around we could do like twenty five shots just for one thing um watch tv tonight everybody watch when there's a the actors speaking especially for two people who have the shop behind me you'll shut behind you we'll have wide the establishing shot details type that there's so many you'll see the camera cut cut cut how many cameras did ron this is one piece of dialogue um and then turning the inter practicalities in a wedding day so this is why we're definitely shoot two cameras because it's safe but if we do start upping the ante for an asian wedding there's the priest is doing something there's fire there's they will get up and walk there's seven steps where she will put her toe on seven things on we have to have a macro like they're so I need the tosha I need her shop and either pre shot and if the parents do something call that sometimes you imagine now we're like when you said um filming in between moments for mei this is when it makes fusion easy so before directing a couple naturally they will fidget and play with herr shell fluff address when she's getting ready in the morning like and there you were saying about documentary stuff I ever really do a lot of documentary but if it's happening it's beautiful they're going to shoot it but you're here I would talk to the clients today and they know they know if I'm not speaking just to go with the flow and I'm only going to interject if I need teo so I try not to do right doesn't much with some couples if they naturally like really cute when you capture that s o I I will always find you something in the foreground and background I'm always trying to jump in bushes or in this's my scared that we're not doing like real behind the scenes we went out on location if you imagine I'm trying to hide away so as they walked to where I want them to go stuff is happening on dh thing. Tto learn with fusion is we start with a kid. As soon as I interjected and spoke, camera was like, no way, tio, leave as long as you can or start recording, talk about the direction, and then almost like school or direct take photos. Still, ok, guys, just tell out, give her kiss you already. You've already flipped your waiting for it, and you're already pre focused, hoping that everything is stepping in. So it's here, kind of it was really funny because photographers, those three fears, we're not really your fears. Your fears are going to be. How do I switch my mind constantly from mindset photos to video photos, video and then get very clever and call about it. So I'm always coming out with new things going, hey, what I do to you this way, because you see this, like any business efficiency and trying to just get better and better at something.

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.