.jpg/webp/500)
Lesson Info
11. Shooting With A Team
Lessons
Taking the Jump with Forrest Mankins
06:28 2Workshop Intro with Alex
02:15 3Tea with Mankins
05:47 4Failure
01:52 5Burnout
02:13 6Creating Concepts
02:55 7Planning
02:15 8Finding People to Shoot With
04:49Working with Talent
05:08 10Building A Team
01:17 11Shooting With A Team
08:48 12Film vs. Digital
05:26 13Editing - Referencing Film
23:03 14Editing - Finishing A Concept
03:12 15Presets
02:37 16$500 Challenge - Lake Five
04:41 17Learning Taste
04:08 18$500 Challenge - Land Cruiser
05:14 19Q&A with Alex
30:54Lesson Info
Shooting With A Team
So we are here at my favorite undisclosed location but we're about to do a shoot. And I kind of just want to tell you a little bit of the mechanics that went into making this happen. So there's a campsite up here. This is where we're parked. It's also a pretty remote area and a pretty popular area. So it's a Sunday afternoon right now. There's a lot of camping. It's great weather. So I started out with sending a couple of friends just out here. I gave them a satellite phone. There's also service down the road but basically the idea was, can you guys go out an hour or two beforehand, just procure the location, send word back to us before we kind of bring this whole team out. You know, however many people we have. And so we have Isaac and Curtis they're also gonna be in the shoot that we're doing today. And the reason that we're kind of talking about this is because I think a lot of people when they're starting out they're, one, kind of afraid to ask for assistance or think it needs to b...
e some very formal kind of thing. And for me the way I like to work is just like, use your friends. So I've got Isaac out here, Mina, Amy, Curtis, everyone else. And like, these are kind of people within my network that are just usually down to do cool stuff. They're the same kind of people that if you just wanted to go on a drive or go into the national park or do something that they're usually up for it. So I guess it can just be as easy as you want it to be. You can start small, it can be a, you know a spouse or a sibling or a friend or anyone like that. And that's kind of the takeaway for me when I started asking for help and recognizing that I kind of needed that when I had more moving parts, that's kind of also when these shoots started to turn out more successful. So I think it's totally fine to ask to put yourself out there to ask people for help and to kind of recognize that you don't have to be this island that has to take care of everything. Like relying on a team is super important. It goes back to the giving a good experience for everyone, right? So we talked a little bit about directing models, talking to them about just like what the whole day is gonna look like before we get out there. So it's still our responsibility every single time to make that a good experience. But if we start out doing it that and kind of let everyone know what they're getting into I think that makes people feel a lot more comfortable and a lot more willing to jump up and help cuz I mean look where we're at, who wouldn't wanna be here. Right? So if you can, if you can just kinda let people know what to expect. And I mean tonight, we're no one's probably gonna get home until 11 o'clock and you know, we didn't tell anyone well we'll be home right after sunset. The explanation is kind of like it's gonna be an hour and a half to get back. We probably won't stop until after sunset. So it's kind of like a big long day. And so we're not running into these problems of people having to manage their expectations. Two bullet points, kind of, one, start small keep it informal, use your friends, your spouse whoever it is just, you know, it doesn't have to be very official. And once you have a person that's willing to do it we really need to make sure that their experience is good. So just kind of outlining the entire day, bringing things like water, kind of taking care of them, but just kinda let them know what to expect. And this is how we kind of build these relationships where you can go out again and again and again, and kind of work deeper with each other. So, one, we're in a shadow, which I really like, two, if you look back over towards this sun, we have this kind of like these beams and this dappled light coming through as you can see on these stumps. So I'm looking for kind of a wide frame. It's more of like a landscape type framing. And basically I want to have Mina sitting up on a stump kind of watching, and then I'm gonna have Amy and Isaac kind of both running out into the water. So right now we're just kind of looking for a spot that has that light without like underwater stumps or anything like that. And this goes back to, you know making sure that they're okay and having a good time. So we're gonna keep on going down to bank and this might work really great. (water splashing) Yeah. Okay. So I think this is great. And you two, your lanes are gonna be parallel all the way to the bank. Oh, we're running to you. Oh no. We're just gonna start closer and then go out. Okay. But maybe come in like six feet and let's just start there. But this spacing is pretty perfect. And so my goal is, as you guys run in and out, it was that you're kind of on an even keel together at the same time. Okay. Like right now as you a little bit more out. Just got long legs. Okay. Come on. You too. Perfect. So come on, yeah just like that. So that's good. Mina, perfect. So this is kind of a spot where again I'm prioritizing action, but I am also trying to blend that with a little bit of depth of field. So I'm trying to make sure that both of them are in somewhat acceptable focus. So we're gonna use a bigger aperture. Okay, Isaac. Actually, yeah. Let's keep the shirt. So come on, go, come ahead and close. Like five or six feet. Yeah. And now the thing is gonna be... that's good. That's good. And then we're gonna just go straight out. We're just spreading straight out into the water. Yeah and go as fast as you can comfortably. (water splashing) Okay, perfect. Yeah, perfect. Like trying to catch up to you. I'm basically just looking right now to see, they're going through channels of shadow and highlight. And so that's kind of what I'm gauging. I'm not really worried about anything else except for where kind of the sweet spots and this like one cycle this one attempt at it are which is like a little bit further out. So we get right out there and all of a sudden, full sunlight. So that's where I want them. So let's do it this way. This time we finish the thing, same as normal. And we turn around and start coming right back. And how about on the way back, maybe Amy you start talking to Mina just about whatever. Okay. Cuz the light is also really good then. Great. And yeah, whenever you all feel good, it's up to you. Okay. 3, 2, 1. Let's go. Great. (laughing) I lost my sandal. (unintelligible) That was really fast, you guys. (unintelligible) I dunno if you can see this but basically we're just trying to get a different angle of light and just kind of isolate everything again. I feel like we did a good job of getting a wide kind of the more landscape thing with people in it. So this frame is just kind of about accentuating that action and making a really simple frame. Okay. Whenever feels good you can count the other one down. Okay. Ready? 3, 2, 1. Let's go. (camera shutters) That's great! That's good. Come on back out. (camera shutters) I almost went off the it's like a drop off. That's perfect. Can we run through that maybe a couple more times? Sure. So already I think I like this frame a lot better. It's just more simple, cleaner. Okay. Let's see. Amy, can you maybe take a step to the right? Perfect. Okay. Whenever you all feel ready? Just go for it. Okay. 3, 2, 1. (camera shutter) Cool. I think we have the frame. Thank you so much for doing that. Awesome Wow. Great running guys. Perfect. Nice. That's good. Oh, I love that one. Cool. So we got them both looking awesome. They both looked awesome the entire time but it's just getting those in the same frame. So that's it. But again, you know I know these people first as friends, right? I've been friends with you for how long Isaac? A hundred years. A hundred years. And you know, Isaac came out and Isaac and Curtis came out and found the spot too. I've come out here and tried to do it all myself and probably five or six times, you know come out at this light. Everything's perfect. And there's been a camper here and I missed out on shooting. So just having a small informal team of friends, buddies, brother, sister or anything is kind of the way to go.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Mathieu Cladidier
A lot of philosophical insights but not much of practical tips to use! I love Forrest Mankins photos and youtube channel. I signed up for his workshop to get a bit more of an insider perception, which he delivered in his own style and which is great. However, at the end of the workshop, I have a hard time to really feel like it worth it. Maybe I was expecting too much of technical, really hands on tips. The whole thing is good overall, don't get me wrong but not as much useful as expected.
Matt Steindl
Creating a Moment Overall, this workshop had a ton of great insight into Forrest's process before and after creating an image. I learned a lot and really enjoyed the points he touched on with working with models and teams. I never had a workshop go into these sort of important details that forgotten at times. I wish the workshop had more "in the field" video content as it tended to get a bit cumbersome watching Forrest talk at the camera over and over again but regardless I definitely learned a lot and would purchase this workshop again in heartbeat.
Viellieb
Student Work
Related Classes
Adventure & Sports