Lessons

Lesson Info

Thinking Outside the Box

He's going to some motion when I can't be the motion but more than just his guitar and stuff I want to try to create some dramatic shots so basically just look down at your camera basically and you could you know tell your playing it so do you wanna reflect if you want to pick him up with the reflected would be great so he has a pretty prominent brows somebody does that to my advantage here and I'm going to shoot pretty shallow here really close up on him so I'm about to owe one hundred twenty fifth in the shutter for hundreds let's get there like it stopped down it's a little bit if you guys should be able to see them doing over there good I'm just gonna warm up my wife allison touch start recording and you'll you'll notice and I said this before rob will not speak while he's filming because we literally air holding our breath you guys know that when you shoot me just move this for you little better here cool you guys know that when you shoot a slower shutter speed you literally want ...

to stop your heart because even your heartbeat creates a camera shake so that's one of the things holding your breath is definitely something that that we usually do when filming don't hit them here with reflector on this one I see a really dynamic angle here I'm going to try to get if I can and so what I'm doing is a basic silhouette here I just like the design of the window in the background looks really cool and what I've done is I've dropped my aperture to like sixteen okay have closed it down because I want to get as much of him crisp is possible with the background slightly out of focus so go ahead just like nod your head like you were doing before when you were playing it's just jamming out over here that's a pretty cool dynamic shot letting him be the motion it's kind of a key here way don't have a whole lot of room in here so getting him get up do cartwheels and stuff like that kind of family moved but what I would like to do is just have him sort I want to do some like pre focus shots with the slider maybe I thought would be kind of cool so I like the idea getting a jump on the slider for a second and silhouettes I like so let's they're very dynamic today I think that was just a shot. All right, so tell me I'm gonna have you stand up actually not yet stay where you are for once taking first so I'm going to continue the sequence of him he's kind of done playing guitar so there's a guy onboard this down we could do something else so I'm locking down on the slider I'm gonna use some foreground here I've got my tray of apples and that's just composed shot and I'm gonna pre focus on these apples okay and what did I do something to have him get up and kind of move into the frame to get that kind of just kind of move into our field of view here so I'm not gonna focus a little bit beyond them and I'm not one for I don't want that shallow so I'm going to stop down and open up my shutter just a little bit three two and you can kind of see the focal plane if you look closely on the screen you can really see the line of focus right? That is a great tool that really helps you visualize where your focus is it's really kind of cool so what I'm gonna do here is tyler when you're done you're gonna get up I'm gonna put the guitar back down where you found it and then you just gonna walk past me you could literally walk right over okay? And so when I say go, you can keep playing it for now until I tell you to go and then you can just put them all right ready and go ahead start put it down and then walked away simple focusing so all of you have anyone that we're worried about focussing manual focusing how easy was that set it up focus on a point let them walk into the shot let your subjects to your motion that could be anything that could be a bridegroom could be hands holding and just like the hands come into focus right past the cameras things like that and then you flip the camera around you get him walking away you know so there's a lot you can do with just a simple pre focussing techniques so I've really liked I thought that was kind of fun now he's moved on to a completely different thing now so what else you got? No actually you know what? We have the ball in the glove there's a baseball glove and the mid if we want it running grab her but I hear somebody running so yeah all right so we're going to move into a different a different scenario here and I just want to keep shooting for you so you can demonstrate what I would do sometimes it just really helps to watch somebody do it for thanks if you really wanna have some fun for the glide came on the first two I mean leaves the guitar out of scene okay, so what we're gonna do is create a little sequence around him from throwing the ball up and stuff so let's do this why don't we start with the glove because we had you walk over here let's put the glove on the table right there and this is ah this is great watch this so let's say we don't you know this is situation right necessarily don't need my mama pod what's going on here give me that right on the table simple free focus okay, on the count of three of you come over here and grab that let me have a booth cameras little top heavy today I might have pulled it so here we go on can three times he looked camera roll here and one two three go pick it up good now what I did there at the end was I let the camera roll for another second or two after we got the motion that's called pad you want to make sure that your shot has a little bit of padding beginning a little bit of patted the end so allows for editing a lot of times when you hit that camera record button camera shimmies a little bit you want to be able to trim that off and still have plenty of clipped to work with cool. So what I'd like to do now is get out and have you put that right back down on the table and we do from saying we're going to the same exactly and this time I'm gonna add in a little bit of motion with the camera and get a little bit more advanced in terms of just moving the mono pod ready on country already one, two, three go simple things like that now he's got the ball right what I want you to do now tyler is like, you know, you kind of swept that up I want you toss it in the air and catch it as you're walking away okay, I'll tell you what that's my freeze I'll tell you hey, just go I'll tell you what I'll tell you what? All right, so when you actually walk right back to that spot and continue on okay azi walk you're going for the glove in the air ready one, two, three and you could actually go and grab it now go ahead, grab it as you walk away, toss it in there, baby, you would do that warmer times think your tether went sure we'll do that one more time like it in a little bit more maybe. Oh, actually, stop. Yeah, I think it was people at home want to see a radio wave just here send from the base. Yeah, all right. Ready way love it for shot sequence. Okay? And that you can cut that together on a timeline and a video editing program where you could just put it as video video clips back to back in a slideshow and I would still tell a story right simple things, little motion move and movement and tomorrow, when we work with the bride and groom, you'll really see how we get couples to interact and get those moments between people because, you know, having one person is fine, having two people was more of a dynamic and getting them to interact and be really powerful and changing up your shots, but you'll notice what I did here is we had a siri's of different angles, we had close ups, we had medium shots, we had wide shots, that's, what you're trying to create because that's gonna be so much more dynamic than that it's the same medium shot all the time. Another thing to think about when you're shooting video is don't shoot everything from here, ok? This is eye level. This is this is what everybody sees day in and day out if I was shooting a video aboutthe life a day the day in the life of a dog, where would the camera b? Right? So we want to think outside the box in terms of that, so it was, you know, a lot of storytelling is interesting because you're seeing it from a perspective that you don't normally see, and you see that lot movies, you see a lot of rising camera movements with gyms, and they'll start here and we'll come up from the floor and then we'll move all the over the subject and that's something you don't see every day so it makes it more visually interesting so yeah so these air always we've I haven't shot at any point while robert shooting rob hasn't shot while I have so you can really if you have the time and you've got a good couple or subject you can really spend the time and during the shoots do these things on your own you don't have to have the second person doing it simultaneously what will get into work tomorrow is how you do it simultaneously and working around each other yeah when when you're working with in conjunction with somebody else so I want to actually just let you work with him and going back and forth a little bit more this way that works we have some time so we might as well use it yeah yeah I love this I'm actually going to switch this out can we steal the you know what let's just have you standing with awesome I'm so glad that wasn't you want to see in particular or do you think you have a sense of like how we do what we do because that's what we're trying to give you is that since there's a sense that we want to do a couple questions while we have a minute shelly bo peep from new zealand asks how do you manage focus if you're shooting children running around running around wildly yeah definitely used the pre focusing technique that would be the best way to do it and then pre focus on an area and put something there that they want and let them crawl into focus and stay there and if it's a toddler and they're running around the best thing to do would be kind of you know change your appetite down like five six so mohr is in focus so that kid is running around you're still getting a nice looking cinema shop but it's not really shallow but at least you'll have the child and focus once in a while so that's one way you can do it otherwise and we have a question from carlo in london carlo how do you synchronize two or more cameras exposure even with too much to five demark twos but with different lenses there's a slight difference in appetite there is what we've been doing this is nearing what each other has been shooting so you know she called out her exposure before and I was able to do that just match that on this camera there's going to be slight variations we are using the same lens and she's using a one demark for amusing five team are too there's going to be slight variations but as long as you use your live you and your manual like let's kind of get it really close it'll match I mean it's not going to be perfect right on the nose but again nobody's really looking that closely you know as long as it's not a wild different it's between two nobody's really going to know this not to mention that you're goingto post production both of these are post process zord most process both your photos and your video so they're going to change from how you shot them anyway and you can change them too much a little bit more if that you know the difference was so drastic alright thing so this is from dr nobody who during the break says hi rob during the break one of they watched one of your wedding trailers on your site and it was one from crystal and daniel how did you get the effect of the camera descending from above the chandelier and how did you manage to get the super study shot of the camera following the bride and groom exiting from the balcony that well the shop in the chandelier was a jib we're too similar to this device here I just had one up high on the balcony that was overlooking the whole room and jim just simply descended as they were dancing thie shot of them walking out and study behind them is the device called the camp right here which is a full body rig allows me to be really smooth and really study with so lots and lots of equipment lots of fun stories I love my toys actually while I photographed wondered if you wanted to show the bike in yeah I don't do that sure yeah I'll just set this down over here for you and I guess if you want to grab it um well photograph from when you get dressed because the glide cam requires getting dressed right yeah we're gonna shoot I was like me want need hold that so tightly but I'm gonna have you do just hold the ball and one hand but you can hold it kind of like under your arms the ball and the glove there you go yeah and then the other hand can just go in the pants pocket there you go you know actually I liked how you were holding in one hand instead and then the other hand in the pants pocket that's perfect love that and then you're gonna look at me nice and just look down and out the window again perfect and you going to turn your body towards the window a little bit so kind like a forty five degree angle maybe like this a little bit more nice and then you just turn your head towards me and he's got great light on him got that nice rembrandt light but it turned his body in towards the light because men broad across the chest makes them look more masculine okay, perfect nice and they go ahead and just hold the glove in front of you both hands perfectly you could put it out towards me a little bit kind of hold it out this way exactly that works when you can look out that direction shallot field shots and stuff like this you can hold it with both hands it's going to go really nice next to some of the video stuff that rob just id so I'm going to match the photos in the video was good in the sequence together I think rob is almost dressed over there I love when rob comes in with the glide cam because he looks like the swat team I make fun of him and so does pretty much everyone else with the wedding what's happening you're you're you're fighting someone today what he's actually doing right now is balancing balancing out the like cam because it does take a little bit of tweaking in order to balance it correctly because you the whole point of it is for it to really float like it's flooding right now as opposed it maybe staying there and then slightly turning you're tilting one way or the other you want to be perfectly level if I just let go of it you wanted to be I mean it's going to move a little bit obviously but it's not tilting one way or the other one's not pendulum him pendulous angelina it's not a pendulum, right? Because he was a little bounce in there. I'm gonna hold it here that's gonna eliminate that bounce so this is what they call dynamically balanced so the way that this is set up is if I turn it on its side and then I let it go it drops very smoothly right back to its original position and the whole idea behind the glide cam is to really mimic those movie shots that are very slow and deliver it move I wish you guys could see this because we can't tether this because it would throw off the balance, but basically what you're seeing is a very smooth walk around of tyler here, and this takes a lot of practice this this doesn't just come you don't just put it on, you know, and you're able to walk and be study with it. It definitely takes in practice it's muscle memory I'm actually using a lot of the muscles of my bath, whatever ones there are just sort of just kind of guiding and it's almost like when you learn to ride a bike and learned how to get that states that stability and once you have it, you never lose it and that's sort of the idea here the arm will only do so much this is just removing the weight of this from my arm and it's separating the motion of my body you could see it's moving on its own independently so if I move it really you know it maintains its own balance it's not going to be perfect and the heavier these rigs are, the better it is okay e mean this is about is about as heavy as I can get this rig but it's pretty smooth if I would just take it and start walking they ensure its balance first you can notice that the camera's really not moving up or down anyway it's just holding its own totally looks like its floating exactly and that's the idea so that just like a person asked online that, you know, it kind of flowed it's down the stairs behind the couple and there's a lot of interesting things to do and we'll really get into a lot of the smart. But I know we wanted to kind of play with all the toys today to introduce them to you, but this is really great for detail shots of room shots at a reception because you might not I want to do this with a writing room on the wedding day because it is a little bit more intrusive, but if you were wanted teo, you know, play with the toy you can totally just swiped the whole perception with that and rob were you were you filming no, I can't. I have to put a card in a way. I can switch it over to the other camera. George actually showing oh, right. Ok. Yes, let's do that. Good idea why you do not. Do you have any questions that we can see by the way, that was all. Wait, that was not all. You like it? Oh, I'm sorry. My mistake. Um, just photo. And this is more of just storyboarding. How do you photograph a senior when they don't have it romps. So, what would you do and how you got honestly preplanning it for things like that, if, you know, I mean, even if you're just shooting a senior in general, ask them to bring props. Ask them to bring something. But you can do things with just body movement instead of using an actual prop. Use something around you, you know, use the ground is the grass. Use the train station or the train tracks and, you know, rack, focus up train tracks or something along those lines. But effective way teo do that is to prove linn and have them bring props. I did that with my engagement sessions. I encourage him to bring props all the time and it's only going to make your work with better, you know? So focusing with this is a little bit tricky because you're constantly moving away in toward your subject. So what do you do? Well, there's, a couple different ways you can approaches and you, khun, you can pre focus and basically maintain the same distance, okay, so I actually shooting it like f eight right now, okay? I don't need to be super shallow with this. It doesn't necessarily require that if I wanted to be super shallow, be up close on somebody that does have a very distinct look to it, but if I know I'm going to be moving a circle around somebody if I'm too shallow, even the slightest movement towards or away on that access is going really screw up everything for me. So I'm just shooting at fx. I know if I if I stay within a relative distance it's going to be fine and my battery just died he's going have another battery here. Oh, the wonders of live television that is actually, I'm really glad your battery died because one of the other things people asked about memory cards. However, the other thing to really keep in mind is battery staying in live you and recording your battery level drops like that and because at least with cannon, you know you've got, like, four bars or three bars tell you how much battery have left when you're down to a third or fourth, you have no idea when your camera's going to turn off, so it is really I mean, it blink red in my view, but the battery powered definitely gets gets used up very quickly with video, okay? So again, just keeping a very, very wide aperture, and I'm just going to circle my subject here. How about this? Keep throwing that up in the air because whenever you're ready now, as I have a little leeway because I'm so wide on the aperture, I don't have to really worry about my distance to him. It's pretty good. And another cool thing is aiken it's eggs, unnatural pre focus except instead of the subject moving on moving toward him. So I'm focused on a plane and as I walked to him, it's going to push into focus. So that gives you a general idea. Thes things are also designed to do complex movements like come down from a ceiling. You keep running up there, that's pretty cool do you want to switch into remember good, so we can all see let's give it a shot. So we have about twenty five minutes or so so I don't know if you want to as we switch over take a couple questions and then we're going to go back to your piece of the key note like it okay, so you want to do that let's ask some questions thank you. First of all, thank you very much, tyler yeah? Tell your collar and I think there's a few cookies waiting for you because you're awesome I I like to be rewarded and cookies I don't know about anybody else all right, so we have that cued up I'll just play these shots and you guys can get a sense for how now of course you know this is without trimming this is raul right out of the camera so it's not going to be perfect the whole time turn down the end on the audio hee hee hee hee and I don't know if you guys can hear that there but the audio of catching me so I'm also shooting this I'm gonna try a mute I don't know how to turn its now it's controlled by this. Okay. Anyway, you can see how smooth that motion is and I'm shooting at thirty thirty frames per second for a specific reason when I take this into the video editing program or even just into the computer, I'm not conform that two twenty four all right, so there's a method it's actually one program called cinema holes which allows me to convert that twenty four frames per second, and what that does is it slows it down slightly and it gives it a even mohr deliberate look. Okay, so it is a slight slow motion on it. Just it's a natural slow motion it's like over cranking. We're taking thirty and going down to twenty four. So that's, why it's only like twenty percent slow down, but that really gives it a nice, dreamy look. And then I can actually take that into a program and stabilize it, even mohr so if the edges were kind of doing this a little bit, it'll lock it down and it looked like it was actually on a computer controlled camera. So there's a lot you could do with the steadicam with its really cool andi, I love using that. I only use it when I'm shooting when I'm shooting, like with vanessa licking a fusion session reagan engaging session with a couple, I'll use it a lot like all using maybe half the time because the shots is just so cool and you don't see them saul mix that up with my regular monta potter slider footage on a wedding day, I only use it for like maybe two or three times throughout the day. You know, because I don't want the whole video to be that we just want to use it to accentuate certain parts. So, it's, the cool thing about these tools I mean, there really are versatile when you could do so much cool stuff with a slider or a flyer, but they're very easily overused if you use them for everything. So you don't want to use every shot, a slider, every shot, a steady cam it's just going to sort of become too much a monotonous yeah, we want teo head over to the kino. Take a little walk. Yeah, we could ask you some questions. In the meantime, dr, nobody who asked the question says thank you for your reply and rob, I think I love your toys too. So to see that great, great. And if anybody wants to try this on your break, all right, let's, take a walk over. Alright, so eh? Question from photo design sixteen who asks who's from germany is this test is the best that you're wearing also from yeah, let me let me give you a plug on this whole thing. This is made by a company called glide cam industries, which glide cam industries, they're a fantastic company. I really love their equipment, there's a couple of different makers of these flying devices? I particularly like like cam. I've used them since I learned to fly with him on the reason like a maze it's a really it's. A very good rig at, like, half the cost of some of the leading makers. So I really just like their products there. What I have here is this is the glide cam vest it's. Pretty much it comes with the extent arm a few purchase it as a package. And this is the extent stabilizer arm which allows for the separation of movement between the from the body to the camera. So this thing will break your fingers if you're not careful with it. But you know, it's it's just it's a sturdy piece of equipment. This things I've travelled all over with this, you know, it goes in a suitcase and takes a beating and you take it out and I know it's gonna work. I know it's gonna be fine. So I really love this. This is the glide him x ten arm like an x ten. And then the flyer that I'm using here is the glide camera glide can hd four thousand. Okay? And it comes with all the weights that you need and instructions on how to balance it was a lot of great video tutorials online, too. If you if you have one of these and you want to learn to balance it, go online, that's how I learned to really do it the right way. All right, so what? Another question from singapore and fashion tv? Do you have practical tips to ensure smooth focusing during the rack focusing technique, so to avoid it being jerky when you try to find focus practice, it really does it takes a certain fitness to do that you'll just from doing it over time, you'll get the feel for how each lens reacts to your fingers, right? Each lens has a better, looser focus ring, so for example, the eighty five ones is very loose folks ring so it's really easy, tio direct focus with that it's a different mechanism than one thirty five cannon one thirty five tuo has a very smooth, very deliberate focus ring on it, and I find myself having less trouble focusing this than the eighty five one two, so you'll get to know your lens is a little bit and get to know the movements of each of them. But yeah, this does take a little practice. I don't really advocate the use of follow focuses because follow focus is our fault follow focus is are they looked like some of them looked like escape for reals or roller skate wheels and you know, you turned them, and it has a mechanism that is in contact with the focus ring. And as you turn that it turns the focus ring back and forth for movie making their phenomenal for wedding videographer. They really are more of a hindrance to me, because when I turned that, it tends to bend the camera in a certain direction. And that makes my shot off steady. So but if I was locked down on a tripod or dolly, and I've got rails and all this cinema stuff, having a follow focus and somebody to pull it for me would be beneficial. But on the wedding, when it's, just me just having a follow focus, doesn't make sense. So, to answer his question, it's. Not really anything more than just finesse, technique and learning how to do that been in financing all over myself. My goodness, there's another twitter quote.