Drone Camera, Lenses and Movements
Lesson 23 from: The Outdoor Enthusiast's Guide to Photography & MotionIan Shive
Drone Camera, Lenses and Movements
Lesson 23 from: The Outdoor Enthusiast's Guide to Photography & MotionIan Shive
Lessons
Bootcamp Introduction
06:35 2Storytelling with Stills and Motion Overview
14:35 3Elements of a Well-told Story
22:12 4Storytelling in Motion
34:19 5Choosing the Best Gear for Your Outdoor Project
16:24 6Gear for Drones
02:53 7Gear for Motion
05:23 8Inside Ian's Gear Bag
20:07General Advice for Preparation
14:19 10Virtual Scouting
03:54 11Weather
10:17 12Permits and Permission
03:09 13Model and Property Releases
04:43 14Health and Fitness
03:04 15Checklist
03:20 16Location Scouting Overview
15:18 17Location Scouting in the North Cascades
15:24 18Drone Introduction
14:59 19Drone Safety
03:26 20What Kind of Drone Should I Buy?
02:58 21FAA Part 107 Test: How to Prepare
06:18 22Telling a Story With a Drone
06:15 23Drone Camera, Lenses and Movements
04:34 24Selling Drone Footage
02:39 25Why Does a Photographer Need Motion?
10:59 26Establish the End User
06:35 27Identify Your Audience
03:12 28Build a Production Plan
05:28 29Create the Story Structure
04:26 30The Shooting Script
07:08 31Production Quality
08:37 32Composition for Stills
08:04 33Composition for Stills: Landscape
08:15 34Composition for Stills: Telephoto Lens
14:48 35Composition for Stills: Macro Lens
07:50 36Techniques for Capturing Motion in the Field
25:15 37Lenses and Filters for Outdoor Photography
26:20 38Capturing Landscapes - Part 1
28:12 39Capturing Landscapes - Part 2
23:36 40Capturing Movement in Stills
32:17 41Shooting Water, Sky and Panorama
29:40 42Understanding Stock
20:45 43Editorial vs Commerical
03:57 44Pricing Stock
05:40 45Producing Stock
14:49 46Shooting for Social Media vs Stock
11:37 47Choosing an Agency
08:58 48Assignments and Capturing Stock
13:49 49Stock Photography Market
05:28 50Create A Style Guide
05:30 51Stock Shoot Analysis
21:29 52Workflow for Selecting Final Stills
27:43 53Initial Editing in Adobe Bridge
21:02 54Reviewing and Selecting Motion Footage
11:02 55Keeping Track of Your Story Ideas
22:40 56Script and Story Structure Evolution
04:34 57Editing to the Content
05:00 58Music as a Character
05:41 59Business Diversification
07:07 60Business Strategy
04:57 61Pillars of Revenue
17:09 62Branding
06:36 63Partnerships and Brand Strategy
05:12 64Galleries and Fine Art
03:11 65Budgeting
05:21 66The Future of Photography
26:12 67Q&A And Critique
1:09:39Lesson Info
Drone Camera, Lenses and Movements
not all cameras of the same talk a little bit more about resolution, but you could be limited to really a handful of options. You know, there's different brands. Of course, out there, there's more options than ever before. Really, I think the big question is, Do you want to show slow motion or high speed action? I think that those were really the two questions you need to ask. Most of the time, my drone and the footage issue is going to be at a normal rate, usually about 24 frames per second. Almost everything. Uh, you know, lately I have looked at 48 or 60 to be able to get a little more slow motion. But you do lose resolution when you do that. So the only other way to get really great qualities to take my really high end camera put in the air. And I'm just not that comfortable He had to do that. Um, so I have held off, so I'm still using the really fully self contained options. But they're quite powerful these days for what you need, so there's a lot of good options out there. There ...
are unlimited options, really as I say here, you are good enough to fly 100 grand over the ocean. Uh, you know, make sure you have good insurance. Um, Kodak is really important. You know. Age 264 for us has been really challenging to use an editing. Kodak is essentially the format of video eso you know, when you're shooting like J Peg tiff, psd, DMG, all those kinds of formats. This is the video version of that. It's a format. It's the It's the code that has been written in right. H 264 has been really challenging for us for our system. We use avid on the PC Um, for editing. Raw has been great if it exists, or you might just like a still camera make a consideration between do I want Rod? I wanted to be in some other native Kodak. A lot of brands use other things. Some have their own, the proprietary. They might even be proprietary raw file formats. Those are the kinds of things that you need to think about. Those are the kinds of decisions that you need to make. This is my inspire to with its lens, it's on its case, you could tell it's cases seeing a better day. Um, and it's only really not been that long. Um, so and this is a great lens. This comes off a lot of different mounting options, from virtual reality to different lens options filters So on so forth. This thing is a beast. This is its little onboard in a collision radar camera as well, so that it can get out of the way and move and do what it needs to do. Tips for improving the quality of your shots slow it down fast. Almost always is. Ruins the shot almost always. Whenever I go flying quickly or something like that. It's unusable. Nice and slow, you know D J. I has an app, and they have something called tripod mode, and it literally is just like nice, methodical, slow lives. You get these camera movements, you know, looking down, panning up, going left, going right, Like in the midway film. You see all those shots. Camera wasn't even moving on a lot of them. It was just literally like I'm just getting a higher angle was like being on a ladder Simply used it just to get a higher angle pan up. Um, slowing down is really important. This isn't a race. The racing them looks like fun. Ah, smooth, slow, steady shots of video will always show up exceptionally better. Feels longer than you think. That's a really good tip. I assure you. You think you've been out there flying around for a long time. You really, really haven't been up there as long as you think. And when you start cutting and editing it and you realize is a vibration or you move too fast one direction, you're not getting nearly as much as you think you're getting. So it's definitely good to get used to that. Get a sense of what you're getting, um, and get and get more. You can't overshoot your subject. That's true. Pretty much for anything. And when shooting still frames, make sure you don't just like flying a position and fire. You know, fly hover for a second, like the GPS, and everything sort of kick in. Then fire a couple frames, turn get different compositions, so on and so forth. So he's got to think a little bit differently. Um and ah, and it'll work Good drones, like all cameras getting better at shooting a little light. But remember, you have to observe the rules of aviation. Civil twilight all part of your part 107 commercial drone use You don't want to be flying in the dark. Controlling light with the drone is very tricky. Um, you may need filters and things to help control that the contrast is good. Um, that low evening light all the same. Rules of composition for still photography really do apply from drones. And, of course, if it's lower light or different situation, you want to go slower. It's also safer, but making sure you have enough time to get your shots is super important. But low light can work really well. It's very dramatic, um, and can really go a long way.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
monica4
Ian was an amazing instructor.; very fun, enthusiastic, encouraging, and comprehensive. I hope to be able to return as an audience member for another of his classes. It is a privilege and a gift to have access via Creative Live to such a wealth of expertise. Thank you!
Cindy
What a great class this has been. Thank you Ian Shive and Creative Live! Recently retired, I have set out to learn everything I can about photography and pursue this passion to capture the beauty in the outdoors. Creative Live has served as an amazing educational platform to help me learn everything from how to use my camera, the fundamental technicals, and learn about software and tools. This class brought it all together. At the end of this class my approach to photography and my images are different. Ian shares so much valuable knowledge that will change the way you go about taking a picture; from scouting a location, to thinking through the story and adding elements to an image to evoke an emotional response. My personal growth has been significant and I have changed to the way I approach creating an image from an Outdoor Landscape to an Outdoor Experience. Loved every minute of it, sad the class is over.
Cindee Still
Ian Shive is a dynamic speaker with a wealth of knowledge he is willing to share. He has had a magical path that led to his success. He touches on so many aspects of making, selling and creating images as well as how to market them and make an income from your work. It is so much fun to be part of the studio audience. The Creative Live staff are always so warm and friendly and they feed you like your on a cruise ship! Wonderful experience.