The Shooting Script
Lesson 30 from: The Outdoor Enthusiast's Guide to Photography & MotionIan Shive
The Shooting Script
Lesson 30 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
The Shooting Script
This is not a blueprint meant to be followed exactly. And I say that because I know people will probably think that this is something that have to adhere to very tightly when they're in the field. Everything is all is about having a guideline, whether that's instills or motion. You want guidelines. You wanna keep a production extracted on track and have a basis for shooting. But you may get there. Something may not be right or not work. Do not force it. Be open to changing the scene or changing the story. Keep an open mind and constantly revisit. This is what my shooting script looks like. What I have in column one is the story point right? Column two is what I'm hoping to shoot. So for the Rob Krar film, this is something that we created that was so so helpful because I knew I could go to here, and even from here I could break it down into the actual shots. Distance shots of the area with various weather effects, rain, thunder, lightning close ups of rain, dust blowing across the trai...
n, incorporate running a coroner shots. We hear his definition of his own life and grand plan power to take action that is within each of us. Right? So these are These are the kinds of things I'm going for, their specific there also a little vague, but they get me on point and they get me to the next scene medium to extreme closer to shops of portraying him in his natural environment. Non running him injury cooking, camping, stopping toe, look up at the trees, all the shots without looking at the horizon, things like that. We had a lot of stuff we didn't use, but we got it in national script. So it's important to have these kinds of pieces is you throw these things together. Um, you know, and again, I'm gonna really dig in a story a lot more. But this is really about How do you plan for this? To make your transition from stills into motion Successful. But story development is its own thing in itself. But you want to start to think about this stuff before you do anything else, cause it's going to define what you have and what you bring. I'm not gonna go through this whole thing because it's not really necessarily to the to the lesson, but what it is is this is something we have it, the end of the product. You should be thinking about how you're gonna get there, so I know super small. But essentially, it's like 43 minutes. We shot it in six K. We have the audio in Dolby five on the project frame rates at 23 98 it's narrated. That's all you really needed to know. And then the rest of this stuff is marketing and film summary and those other stuff. A lot of this comes is with time, but I wanted to clearly define what these things were. I knew this stuff a long time ago, So when we went to the field, I knew we wanted 43 minutes, and I knew we needed to get 43 minutes worth the conference, which is a lot of content. So you have to figure out how are you going to get there? You want to envision that last piece. There are people who live in the community where I am at when I tell him my work in the Everglades, they say, What's in Everglade? They really don't know I have no idea. I've been here since 92 when my wife tonight came down there permanently, and that's or Ned volunteers wanted. I had a choice to be sitting in a rocking chair and waiting to die. Do something constructive. I chose to do something constructive. This is just an area that's wildlife is the important thing, and people are just visitors. Loxahatchee is surrounded by development that is quickly pressing in on it. And it's the last remnant of the Everglades in this part of South Florida. Anybody visits, lives, passes through South Florida, needs to understand a lot of us who we have here and work here, get our drinking water from here. Even people that live five miles away from it don't feel a relationship to it. In order to get people to care, it has to do with really sort of understanding that place over time and really understanding that you're part of that place. You're not something separate from it. These kids are growing up probably less than 10 miles away from the most iconic wetland ecosystem in the world. Some of you have never seen it. That's important because this is their water, saying school kids come through that No, nothing that are afraid of butterflies and Dragonflies and aunts. And it does my heart good to help them see what nature is like. There is no other Everglades like this in the world. It's beautiful. Okay, a lot of people don't even realize that they've got a piece of the Everglades in their own backyards. When I see a smile on their face when they seem interested, what automatically goes into my mind is wow, we've got maybe a future Fisher Malan service and for me on our hands and to me, that's extremely important. I meant to set that up a little bit more. So essentially the act structure in there was really what I think the primary focus of. You have a very clear introduction. People don't know. This place is here. Water is important. How do we connect with local community? How do we connected the next generation? They learned that this is where their water comes from, and this is how they become engaged and just build awareness. So it was a very, very simple structure. It was filmed over the course of about three or four days. Single shooter audio is a huge challenge because of the gigantic amount of bugs and things in the background making very loud noises. So that was a bit of a challenge in general. But there's a very simple, relatively simple piece to put together in that sense. But a lot of planning went into it. We knew what the issues were we know were trying to address. We don't want to be overly preachy, so there are a lot of creative considerations and building the structure around that.
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.