Script and Story Structure Evolution
Lesson 56 from: The Outdoor Enthusiast's Guide to Photography & MotionIan Shive
Script and Story Structure Evolution
Lesson 56 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
Script and Story Structure Evolution
scripted story structure. Evolution, uh, again sticking the nature documentary here is an outdoor class having a logline. You know, one a log line is is that it's a line. This is the project. Midway a toll celebrates its 75th anniversary for the famous battle that defined World War Two and has today become a complex ah, and ecosystem in a complex environment and ecosystem for the natural world. It's it that's all you need. And then you just build off of that. This is just kind of like ah, you know, ah, tree that gets larger one page summary in treatment. Right. Then you get to your shooting script in your stuff in the field and you get back and you start revising your shooting script in the edit bay. Start saying, Well, I didn't really get everything to support this idea. The stuff that I have to a have enough to I need to shoot something. Mawr. How do I do that when you can't go back? Your final pass revisions also in the Edit Bay. I'm gonna show you. Pdf in a second. I'm gonna finish...
this card, though. No script, film review only, and revisions So at this point, the script is gone. And now we're simply taking it in for what is the film, the film presenting itself in a way that works on, of course, the final approval from stakeholders yourself, etcetera. So I want to show you the actual script that we use because it's it's loose. It's more loose than you would expect so much of a story and so much of an edit comes together in Um, I'm sorry. So much of the story comes together in the attic and you start with a framework, right? So this is the actual script that was made. Um, it's not the final product because the final product has evolved in the Edit Bay for those steps I just showed you. But this is where we began, right? So it hurts the eyes, forcing us to squint Screen is so bright and again, this is the film we see in the drone section of this boot camp. Ah, we fade in from white, looking over the wing of a Douglas dauntless World War Two bomber. It feels like a dreamless flashback, right? I'm sorry. Dreamlike flashback. So you know that's that whole thing ended up not using the voice over Actually stuck on the idea of doing that? No, that modern day. A close up of an old man's eyes. More than a little teary. I wrote this long before I did the interview. These are the ideas and concepts that were able to build into it. I hoped I got Mitt. I had interviewed four different veterans and eventually were able to get to the right spot. Right, His hands a rolled. This starts to build a shot list. Right? Well, we seethe hands is no longer young man. We see a picture of him young standing in uniform. I had him hold the frame. This is critical. This is critical critical stuff, right? Perhaps black and white photo of men and parishes. And I know who he was and what he did. So a new part of what is, you know, he had seen and so on. Remember, in the I'm gonna give their lives there, Jeff in the plains of sense that this was added because we now have the interview. We added the sound bite, so we started to bring that in fade to black text on screen. We killed that etcetera, etcetera, etcetera. But this is what it looks like. You know, opening montage. Um, you know, this thing still stayed in here, but ended up killing it in the end. Only in the edit later on. It wasn't working. Just kept trying. Different things. They didn't really work. This is how we handle our interviews. Very simple happens in the Edit Bay Way. We have our editor assistant enter, goes through, listens to the interview, cuts it in the sound bites and then labels each one we can turn that on on the screen. So we see I talked about birds. Says he likes birds, doesn't want talk about birds, sick of birds. Right. So we add all that. And then when we go to pull the script, we can pull up, you know, look for that or search across it and say, You don't just go to midway. You can't drive there. That's a story. Point made, ways remote. So makes a spectacular Midway's utterly midway across the Pacific Ocean. This isn't meant to be flowery. This is just meant to be. This is the sound bite we need Somebody saying somewhere in the 28 interviews that we did for this documentary. So we need to figure out who's gonna do that. Who's gonna that? Well, so that's how we handle most of that stuff. We don't sit there and actually write it out, script it or use the transcription. Um, we just look for the story bites and then pull it in the attic map graphic. Call those out so that we know what our graphics are and how to get those created. So this is pretty much what it looks like. This is the final. This goes into our acts, you know, in the battle of Midway wildlife own land, wildlife at sea, the future of Midway and the Marine monument, right, eso way of the future. And so a lot of this stuff changed, Um, ever so slightly. But this is about 95% of what it waas
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.