good morning everybody I'm photo Joseph that's as it says up here that's photo Joseph absolutely everywhere so if you want to find me on YouTube on Twitter on Instagram on Facebook everywhere everywhere it's photo Joseph I am a photographer filmmaker content creator youtuber basically I make stuff and then I also teach other people how to make stuff when it comes to video photography even live-streaming that's all a big part of what I do I actually host a YouTube show youtube.com slash photo Joseph three times a week live I do a live show about photography and video and sometimes live-streaming we talk about tech we talk about you know the gear itself we talk technique we kind of go all over the place sometimes we're really really basic low-level kind of what is an aperture type of discussion sometimes it's super high level how to set the master pedestal on your GH five and why you don't want to mess it up and these kind of discussions so it's all over the place so if you're interested in photography or video which I kind of assume you are or you want to be here then please do check that out lots of good stuff on there I'm also sponsored by Panasonic I'm a lumix ambassador and so while today's show is not about lumix cameras it's about shooting video I am going to be talking about it in reference to lumix cameras because that's what I know and use and love but of course pretty much everything you have out there including this guy right here shoots video and what today's topic is all about is the terrifying red button yeah if you like me like Halloween music now who here has never pushed the red button on their camera awesome just a couple of you okay who here I've pushed it a couple times if you like I pushed it once so I can't raise my hand for never but I really don't ever shoot video a couple of anymore okay cool so the whole idea behind this production of this presentation is to get you not to be so afraid of the red button we'll talk about the basics of shooting video some of the things you need to know some of the things that you know you've learned more of down the road as you get more into it and just basically get you to the point where you're gonna walk out of here going I cannot wait to push that stupid red button and see what happens next and the easiest transition into this is to think about how video is the same as still photography it just happens at 30 frames per second where how many of you ever shot with the motor drive mode on your camera right and it shoots like if it's an older slower camera maybe three or five frames or second you got something new and modern it's a eight nine ten twelve frames per second well this is just 30 that's the same thing and once you kind of take your mind shift from still photo to video is just 30 frames per second that's a lot easier makes it easier to make that transition I'm still pushing one button on my camera I still have to do the same things like compose the shot make sure that the things were in a good place that the lighting is good all those things still apply to video yes there's more that applies to video but all the same lessons you've learned for photography about lighting and Composition all still apply to video in fact some of the best dps it's director of photography some the best DPS that I know started as still photographers they honed the craft where it was simpler because photography is simpler it is a little bit easier to do they hone their their ability to see light to understand composition to set up a scene with still photography and then made the transition to video and when you watch their video versus someone who's only ever done video there's usually a big difference in there it's quite quite dramatic so the other the other thing that it will add to this kind of the the caveat is plus sound immediately you don't have sound in still photography this is clearly a really important part of video in fact there's a quote that I've been attributing it to Walter Murch for years I hope I'm right but Walter Murch is a very famous editor and the quote is that you don't watch a movie you watch listen to a movie it's two parts right the sound is just as important as the video and you might even argue this sound is more important than the video how many of you have ever watched a video on YouTube or Facebook or something where the video is great or good enough but the audio is kind of stuttering scratchy you gonna watch that you know he's like next move on to the next one but if the video is kind of bad but the audio is good you'll put up with it because you want the content you can hear the content you can hear what's happening you learn whatever it is you're trying to learn the video may be bad but you'll put up with that we can't put up with bad audio so audio is really important we're gonna talk about audio quite a bit quite a bit we're gonna get into some audio pieces here but let's let's just talk about the still versus video aspect for a moment some stuff I shot yesterday just for you guys this is your home and it's a still picture lovely still picture but why can't that picture move and their sound this is ambient sound just the sound that's there the trees are moving ponds the lake is moving there's audio but then have you ever taken a picture and put it to music throw it like a slideshow but you can take that but video to music [Music] it doesn't have to be really fancy sound with big huge microphones and getting awesome audio you can take video that has pretty cruddy audio and just use that like the first one where you can hear the lake the wind a little bit maybe some birds going by just use that but then add some music to it and suddenly you're you're kind of mediocre audio it's okay cuz it's just background stuff and we never listen to some music and all mix us together if you're gonna have people on there talking that's different we're gonna come to that but as far as just shooting video and then adding some music to it it's a really really easy thing to do and it just adds a whole new dimension to it how many of you ever have you ever built a video slideshow from maybe a family vacation or something you're taking your photos right you had some music to it and okay everybody watch this watch my slideshow lot better than the old carousel day check around Harry sitting around you know it's a music hood it's it's really cool but if you then add video to it as well it's a whole nother level and I'm not saying that you need to shoot entirely video forget about stills think about if you're doing a trip let's say you're visiting Boston for the first time and you're gonna obviously go out and take some pictures but every once in a while especially when there's something really kind of interesting some movement happening push that red button get some video and at the beginning you know making movies is a whole other thing that's for later but just to start just take some video clips to go along with your still photos and then when you're building your slideshow you go you know what I shot a video of this that actually is kind of cool cuz they see people on the bridge and the Ducks moving by and and all use that shot instead of the still picture so you you have an ability to use both to shoot both and incorporate them into that final production even if that final production is only going to be seen by your friends and family so that's a big part of it now let's move on to exposure actually shooting setting up your camera the good news here is that it is exactly the same as shooting stills a little caveats but essentially it's the same thing you have the same modes you can shoot a program after priority shutter priority or manual so you can start off in program just be fully automatic about it I don't want to think about it it's the same thing is I'm shooting with my smartphone I don't need to think about it I just push the button and I get video and then eventually maybe move into aperture priority now how many people shoot afterparty for shooting stills that's what I expected probably most of you look up them back on and waving their hands for me personally I'm almost always an aperture priority mode I want to control the depth of field the shutter speed is usually irrelevant to what I'm shooting if I'm shooting street photography it doesn't really matter as long as it's fast enough to handhold I'm not really gonna worry about it of the ISO I'm not gonna worry about too much so really apertures what I want to control and you can think the same way in video where I want shallow depth of field I want a lot of stuff in focus adjust the aperture let the camera do everything else if you're shooting a program just like with still photography it's gonna choose a middle-of-the-road aperture you're gonna get a lot of stuff in focus which is great but maybe that's not what you want you want something a little bit more artistic a little bit prettier so you go for afterparty open the lens all the way up exactly the same shutter party you probably won't really work in shutter priority and video you certainly can but here's the thing about about shutter speed so if we're shooting still photography you can shoot at you know thousands of a second you can shoot it at thirty third a second you should be treated half a second or if you're shooting video at 30 frames per second technically the longest shutter speed can possibly be is a thirtieth of a second alright it can't be any longer than that because it's time to take the next picture already it's time for that next frame of video so you do have a difference there but again if you're shooting in well any mode really it's you don't worry about it's just the camera is just going to do it um but that is an important thing to recognize if you're shooting in really low light where you go oh I'm gonna put the camera on a tripod and shoot a two second long still photo either you're not gonna be able to do a two second long video frame right it just doesn't work that way so at that point you need to crank up the ISO open up the aperture do the other things that you would do to get that exposure but thirtieth of a second or faster is gonna work just fine sixtieth of a second is standard we're gonna call this a completely normal video frame shutter speed there's a term called shutter angle that you might hear about and read about this is a a higher kind of more professional term it goes back to the days of film it said we're not gonna get into what it all is but if you hear shutter angle sometime just you just shutter speed that's what they're talking about and its sixtieth of a second is pretty standard and the reason that sixtieth of a second is standard is it is half of the duration that the frame can possibly be so half of that thirtieth of a second maximum so when you're recording video and you think about I like this over the course of one second sliced into thirty pieces each one of those pieces then cut in half and so you have half of that duration a sixtieth of a second recording something the other half of it not recording a half of it recording not recording and so on and you might be thinking well hold on six if the seconds kind of slow like if anything's moving there's gonna be blur in that and you're absolutely right if you were to freeze-frame park the frame and there's anything moving in there you would see a little bit of blur but in video that's actually what you want that little bit of motion blur helps to brain the blend those frames together and makes it look smooth you get that smooth movement if you shoot at a really high shutter speed when shooting video which you absolutely can do if you should have really high shutter speed you end up with a very staccato looking video we're going back a bit here but any of you remember the movie Gladiator really reaching out here but in the beginning opening battle scene there's this huge you in the mud mud and bricks and Aunty partisan things flying all over the place and if you remember that that scene it was very staccato looking almost like stroboscopic flash like someone had I've been out there and shop and pum pum pum pum up with the flash to capture the scene you saw the mud and dirt every frame across the sky you didn't see it move you saw that like this that shot at a really really high shutter speed you shutter angle for them narrow shutter angle but shutter speed and the the effect of it is quite jarring it's not what you expect to see when you see video but you can do it if you want to it's a creative choice as it was in that film and it just adds a whole other level of texture and sharpness and like oh I'm there type of a thing to it but for the most part you're shooting at this longer shutter speed so if you set up your camera to video and it says hey I'm shooting a sixtieth of a second and you're going well that seems slow it's not it's okay that's generally what you want from video and then of course you can shoot manual if you want to take total control again you can't go slower than about 30 of a second but you can take control over that so that's up to you so that's exposure at the end of the day you don't have to worry about it start off in program mode be fully automatic about it when you feel a little bit more comfortable go to aperture take advantage of that shallow depth of field that your camera can do and let the camera deal with the rest it's pretty straightforward um the other thing you can do in your shooting video is especially if you're in these semi-automatic modes is just like with still photography you can rock the under an overexposure slider so you can make your video look a little bit darker look a little bit brighter and if you shooting when you're shooting video even if you're on a DSLR and it's popped up the mirror and so you're looking at the they call it live view right you're looking at the back of the camera you're seeing that at that point you're seeing the scene as it's being recorded because you're saying what's on the sensor when you're shooting with a mirrorless camera that's always what you're saying you're always seeing what the sensor is saying so as you adjust your exposure you actually see it in the viewfinder on the LCD on the back of the camera so this little video clip here you can see it's bouncing a little bit just because I was as I'm moving the slider we can make you go darker when you go for a darker part of the scene exposed for the highlights in there I can crank it up and expose for the shadows just like you can with still photography it's no different there so you have that control ride the exposure slider you're looking through the viewfinder like whoo it just feels a little bit bright just just rock it down just make a little bit darker oh it's too dark rock it up make a little bit better so pretty straight for it again all the same things that we have in still photography okay let's talk about sound a little bit now as I said this sound is important if you're shooting dialogue and you're gonna see I'm gonna play a video clip that I shot on here with some examples on it if you're shooting dialogue it's pretty important to have good clear sound for that and there's a lot of different ways we can go about capturing sound first of all every cameras gonna have a built-in microphone it sucks but every camera has a built-in microphone it's better than nothing right you will at least capture something but if you're trying to talk to somebody it's pretty bad the next step up is to add something like this a little shotgun like microphone a little miniature shotgun mic and they come in all different sizes that one's actually pretty D big and this fuzzy thing on it is I apologize for the animal lovers of the room it's called a dead cat I didn't name it Hey the ones that go on your level e are called dead kittens that's even worse but this thing here is to block wind so if there's wind blowing against it all this really fine hair breaks up the wind and by the time it gets to the microphone it's gone and you don't hear it it's remarkable how good that is there's another mic in the back that doesn't have one on there it's the same type of thing shotgun mic it just doesn't have the cat on it this is designed this type of microphone is designed to pick up the audio right in front of it so right here is going to be the best sound if I go off axis a little bit it's gonna little a little bit quieter and as I go around to the side it's very isolating you're barely gonna hear it at all and so this allows you to really capture the audio that's happening where the camera is pointing it's great but then you can step up to a lavalier type microphone which is what I'm wearing right now to record this show I'm wearing a live mic I've got a wireless pack on here that's plugged into a camera over there and now the advantage of this is I can be anywhere if this was recording it I could be absolutely anywhere and I'm gonna still get perfect audio even my back is to it if I go hunker down somewhere I'm still gonna get really good audio so I'm gonna play a clip that has three examples of me talking the first one is with the on-camera microphone second one is going to be with a shotgun mic and the third one is with a lab just you can experience the difference in here adding an on-camera directional mic makes a huge difference this is what you'll find most bloggers using it allows you to pick up the sound that's right in front of the camera but as things move off to the side they become less and less audible you'll still hear them but they're definitely not it's big of a part of the sound footprint finally you get into lavalier mics a lavalier mic is in this case it's right here this allows me to go anywhere I mean really I don't even have to be facing the camera I can be walking around I can get actually really quite far from the camera and you're still gonna have essentially perfect sound now this particular microphone is a very directional one so you shouldn't be hearing too much of the outside noise at this point however there are other microphones that are called omnidirectional microphones this one's a cardioid that tend to pick up more of the surrounding noise so you can hear there very very clearly right massive difference going from the on-camera mic just to this was huge and is good enough for the vast majority of stuff you'll need most people would never buy a kit like this it's it's expensive it's irrelevant for most things you're doing and if you really wanted to do a high-quality interview you could do a wired lab which will cost you maybe a hundred dollars as opposed to close to a thousand dollars for a really good wireless pack so totally different space there but you don't have to have that that's the nice thing you get up you get a good mic like this on there and you're gonna get great sound and again there's different sizes I know Road is here here today the DEP mic in the back is a road mic this is a different brand up here and if you look at their offerings you'll see little tiny ones that fit on top of the camera to a much bigger even bigger than this more kind of impressive mics but audio is an important component to it but again just reiterate what I said in the beginning don't let that put you off don't let that scare you away you don't have to go out and buy a fancy microphone before you can start shooting video just shoot video with the on-camera mic and then do what you can with it between your different microphones how much ambient sound exactly sure so the difference is still remarkable so the the ambient sound that you're picking up first of all the microphone that's built into the camera is called an omnidirectional mic it means it picks up sound equally from all sides yes it is gonna be on the front of the camera pointing towards your subject but it still is picking up everything everywhere so that's all the ambient noise as well if you can hear it the mic can hear it the directional mic like this that focuses it is is eliminating not completely but it is reducing let's call it all that side noise in a situation like this this room your voice still has an echo eNOS to it that's bouncing off the walls in here that little Omni mic is not picking up just the dialogue from you it's picking it up the picking the reflection off of that wall and that wall and the ceiling and the floor and the echoes of that so it sounds very tinny it sounds very echoey and open when you put a directional mic on there it is primarily gonna pick up you're talking in a lot less of the echo coming off the walls and then of course with a lavalier microphone it's going to pick up primarily what's right here now I'm all committed so the this might as I said in the video this is what's called a cardioid mic this is a very specialized lavell ear microphone that is basically like a shotgun but wearing here so it's picking up this pattern here it's not picking up everything else around most most wireless lav kits you see are an omnidirectional mic so they do pick up a lot more of the surrounding sound but because you're so close to the sound source you adjust the levels the gain on the mic so that me talking here I'm so close to it that that's you know I'm adjusting for that volume and so you over there yeah you'll be on there but you'll be a lot quieter absolutely a great way to go as well so you can have instead of miking up to there you can have separate recorder and then you just bring them together in post in their software and all software today like Final Cut Premiere that'll handle that automatically you say this is video this is audio just sync them and it just does it it just goes up there it finds you don't even have to do clappers or anything like that anymore the software just finds the pattern in the waveform and matches them up perfectly you just have the on-camera mic was on it every time I've done you know I'm using my console I don't know just using that camera sure always a hiss yeah so what you're hearing is the noise floor so if you it's kind of like a JPEG where you've got your your blackest black can possibly be your widest white can possibly be you have your quietest quite a sound and your loudest sound and anything that's not in that range is gone you could adjust that wherever you want but on a tiny little mic like what's built into the camera you don't have a lot of range in there and you end up having to lift it way way up so that you can even hear like I was shooting you from this distance with that microphone I'd have to crank the gain all the way up so I'm really hearing every other sound around me that's the hiss that just baseline hiss that's there and I'll still barely be able to hear you it's the same idea what I was talking about with a lavalier microphone by having it really close to me I can lower the gain lower the noise floor so that I am not hearing so much of the outside stuff essentially I'm turning the mic down so much that I no longer hear the room but because the mic is so close to me I can hear me so if the best way to get good audio the best audio you're gonna get off of the little microphone is to get as close to your subject as possible so if I get right in your face I can now turn the gain down on the microphone and still hear you and I'm gonna hear a lot less of the sound around me well you have to look at the audio meters that's that's your key there's on your camera there's gonna be a little audio level meter that's bouncing to tell you where your levels are and you don't want it to peak because like that JPEG if it hits the hits the edge of it that audio is gone you've clipped the frequency it's like clipping your highlights you're never getting it back so it has to be low enough that it doesn't peak but it can't be so low that you can't hear it because then by the time you raise it up in software to make it louder you're raising everything including that noise floor so that's a balancing act it really isn't the only way to know is to watch the levels watch the meters is just like watching the histogram you gotta watch those meters and you want to listen to it you want to put on headphones if you're trying to be really good about it you want to put on headphones and listen to it make sure you know just does actually sound good cool all right so there's sound now let's we want to move it because movement is at the end of the day why we would shoot video right there's the movement that's in the frame I have the camera sitting here there's things moving but then there's movement of the camera itself now we're definitely getting into higher-end shooting here but it's something to think about something to consider if I'm gonna play video showing a couple of samples here but if you handheld handle the camera and walk around probably not great if you're really good about it if you're really consistent you really know you know there's kind of tricks with how you walk like you get a little bit lower on your knees and you kind of try really hard to keep the camera steady you don't want to be bouncing it too much move slowly and deliberately or maybe you don't walk but you do something like move the cameras slowly like this just to get some movement to it if you watch TV shows commercials movies anything the cameras are constantly moving and if you watch older films they moved a lot less today they move so much because it is so affordable to buy things like Gimbels and and all these other gear that you can add to a camera to make it so that you can hand hold it and still be really really steady I mean if you look at look at old movies you'll see it's all either lock shots or if they're as they get bigger budget there might be sliders and this is what you've seen these things and not Hollywood behind the scenes literally train tracks on the ground and a camera on a big thing with wheels that moves along the Steadicam that was invented for the shining I believe is the right from got my history right if you watch The Shining and then watched any movies before that The Shining was the first movie where you saw major camera movement this is somebody wearing a rig holding the camera that cost so much money back then to do but today you for five hundred to a thousand dollars you can buy a handheld motorized gimbal do you balance the camera on and now I can go anywhere and it's perfectly smooth and because these things are so affordable now you'll see them used everywhere even vloggers are walking around with these beautiful handheld motion shots as the gear is so cheap so but again that's higher-end if you're not going to invest in that you're not going to shoot that much video you're just gonna hand hold it fine just be aware of the movement know that you can't do this right that's not gonna look good but if you want to have that movement in there be conscious of it do slow deliberate movements you can do things like you can put a camera on a tabletop and put it like put it on a towel on a tabletop and then slowly pull the towel alright you can get that slider move it it's not as good as a real slider it'll get you the shot right just like if you don't have a tripod you get a stack of books or something you figure out a way to stabilize the shot same thing with movies you find another way to do it you can get your kids rollerskates and put it on there and slide it across the table there's lots of little tricks that you can do to get some camera movement in there a lot of tripods if you buy a video specific tripod it'll have what's called a fluid head and the idea behind a fluid head is it moves very smoothly so I can do a pan shot so I'm panning the camera like this very smoothly you don't get any bumps in it I'm gonna show you a shot next here that is a panning shot it's not done with a true fluid head it's kind of this weird hybrid tripod thing that I'm playing with and it's not as smooth as a true fluid head but it's kind of good enough you get the movement it's not as bad as me just doing this with it so I'm gonna hit play real quick and we're gonna see that fluid fluid head kind of hybrid fluid head movement so it's kind of you'll get the idea what it is and then you're gonna see a handheld shot where I'm trying to be pretty smooth but I'm not being really good about it and you'll see what that kind of looks like so pretty smooth not too shabby once or twice it's not helping things when I'm walking on grass so it's really hard to be even so you get that movement moving in there that it's not necessarily the nicest thing if you get too much of it you get a little seasick this is a really wide shot so you might have seen the edges feeling a little bit wobbly it just depends on what you're shooting of course but it all takes practice you know if you watch YouTube vloggers on YouTube they're all walking around they're walking or holding the camera facing them and it works it works and but they're used to it too they have learned how to hold a camera you look at the earlier stuff there's like oh my god I get seasick I can't watch this but then they figure it out just like any other craft that you do you eventually figure out how these things work you figure out how to get better at it or what things you go you know what I'm just drink too much coffee my life there's no way I can hand hold this thing and have it look good versus no I got this I've got a movement down I know how to hold the camera I know how to move I know how to walk I know how to make this look pretty good so it's all about it but movement is a huge part of it there's so many things you can do when you start moving the camera okay next up editing this is the part that scares people the most wait I've shot all this video not the heck am i gonna doing it so we talked in the beginning about the really simple part of it you're gonna build a little slideshow right it's some stills some video clips I'm not so worried about trying to get yeah I'm not trying to make a new Hollywood feature film here I'm just trying to tell the story of my family vacation so I'm gonna take some cool photos take a few videos mash them all together and we have a little bit of a story that editing is really straightforward and if you're on a Mac you use iMovie when Windows users anybody well I know there's some basic video editing software do you guys know of any like my name yeah buy a Mac and it's easy or an iPad and we're going to talk about that to premiere works on PCs proof from Adobe Adobe Premiere this is higher-end software but it is very very powerful so Adobe Premiere is fantastic if you want to spend some time learning how to use it but this is higher-end it's professional level software on the Mac you've got iMovie which is dead easy to use super super easy to use so if you've got a Mac it is either comes with it for free you can download it for I think it's still free maybe maybe they charge something for now but whatever it's close enough to free it's a super easy Video Editor you watch a couple of tutorials and you get it's think of it like building blocks you've got these blocks of video that you shot and you're looking at on your time on your in your software you're gonna see little blocks video video video video video you drag those blocks onto the timeline you you rearrange those blocks ooh this should have happened before this you trim off the bad parts alright because there's always something bad and there's another tip for you of when you're shooting video what's very tempting because we're so used to shooting stills if we push the button when something is happening we want to capture when you're shooting video you want to push the button a little bit before and then you want to keep recording for a little bit after so what I don't want to do is have you know this this is me shooting right I don't want to go go right because then you start talking and I've just I've I've know nothing to work with in the beginning I want to start recording wait a couple seconds and then say go and by saying go I'm saying you know you've got someone who's gonna do something for you but if you're whatever it is you're gonna you're gonna capture I don't know the train going by it's a beautiful train so you'll hear the trains coming I want to I want to have it from like right about here if you start recording right here where you want it you have no room to work with it shoot early start shooting earlier start shooting earlier and then when you're done you go undone but I'm going to keep shooting for a couple more seconds that gives you room to play on the ends we call that heads and tails it gives you a head and a tail to the shot that you can trim it off you can use it to dissolve into another shot you can go all right I really need another half second of video here to make it line up with the audio line up with the music that I'm playing with but I don't have excited shoot any heads and tails shoot more than you need it's easy just keep that in mind anyway so when you're editing you're taking these blocks and dropping one on the timeline you're rearranging them you're cutting off those heads and tails maybe you put a little dissolve between em you get fancy with it maybe you add some music to it and hopefully add something to it some kind of audio layer to it then you gain into things like titles or family vacation it could be that simple you know you can be really fun about it starring my daughter Jenny and right you can do those kind of things you know it's kind of fun and goofy but you can do it but you take those video clips maybe even with stills as well and you start putting together in this video editing software and it just isn't that hard to do it literally is dragging blocks around on the scene on the timeline watching it going you know better if this happened before that that'd be more interesting she swapped the clips around super super straightforward to do it sound it can sound complicated and scary especially a look at some really big pro level timelines and there's all these layers of video and audio and you're like there's no way I can do that you don't need to do that most stuff is just one track of video on one track of audio and that's all you need to do someone mentioned the iPad so if you've got a Mac you've got an iMovie on there if you've got an iPad you actually have iMovie on the iPad as well there's another company called luma fusion that makes a kind of higher-end pro level video editor on the iPad I'm going to throw out a term that may not mean anything to most you but 4k 60p is pretty high-end video you can edit 4k 60p video on an iPad pro it's incredible to be able to do this much adding this powerful level of editing on a little tiny tablet that you carry around with you is insane and this is here today yeah I'm actually dealing with Apple with it right now about it and they've asked me for some clips to test with so yeah why they don't have them but there you go yeah I know that's a bit of a bummer um anyway so you have an incredible amount of power in a tablet so you don't have to I'm bringing all this up to say you don't have to say oh well if I'm gonna shoot a video now I gotta go spend $5,000 on an iMac Pro to get this big huge beefy yeah you know those things go up to $13,000 if you max it out it's like 64 gigs of ram 4 terabyte you know you have that face like oh I need a new computer with the Mac boy this had that $13,000 but for less than a thousand dollars you can get a maxed out iPad pro that will allow you to do this editing it's just remarkable so you don't have to have super high-end latest and greatest and you don't even have to have the latest credit but you can go back to older hardware iMovies been around for over a decade now you can shoot you can edit with iMovie on an older Mac maybe you can't do 4k 60p video but you can certainly edit normal high-definition video no problem on an older Mac or PC so see it second so premiere if you're gonna go into the higher end and you're on Windows its premiere lower end on Windows I'm sorry I don't know what to tell you to look at but just google it I'm sure there's about a million things out there if you're going higher-end on a Mac you can use premier as well I'm a I'll cut pro editor I love Final Cut Pro it's a very very different experience from premier so if you're coming from one it can be hard to switch to the other but if you're new and you want to start in the higher end then just get final cut it's 300 bucks and it is a remarkable piece of software and just that's worth pointing out too so Final Cut it's a three hundred dollar one-time purchase Final Cut 10 the current version while I mean just like ten dot something something something but Final Cut 10 came out actually it has been it's been a decade not quite and maybe it's like eight years ago now they have never charge for single update every update has been free that's come out since that I'm sure at some point they will charge something but it's been free since then if you're using Adobe Premiere is part of the Creative Cloud membership is 50 bucks a month forever so I think you can do a lower one maybe 20 or 30 if you don't get all the other software if you just get premier but but it's a monthly expense so that's something to consider as well if you're already using the Adobe Creative Cloud suite you've got Photoshop and Lightroom and Premiere and then you know you already got it right so you not to pay anything extra but it's just one of the things to consider so and then you've got on the really high end you have I shouldn't say really high end but you have a software from DaVinci from Blackmagic called DaVinci Resolve DaVinci Resolve has history as being an extremely high high level color creating cool color correction tool that has been brought down to a fordable kind of anybody can use it level they do have a free version that's right that's why i forgot that they do have a free version resolve and you pay for specific maybe it's 4k featured may 4k editing i think you have to pay for vidya it's still it's free but it's it's not intuitive it's probably the hardest one to use I've never really wrap my head around it I've used it a few times and I just I like final cut cuts awesome really easy to use and really easy to get and it's just a beautiful tool on a learning curve I would put it off pro level I would say it's the easiest to learn of the pro level compared to something like iMovie it's actually iMovie and Final Cut work very very similarly the whole editing paradigm that they use is the same it's just that Final Cut is bigger with a lot more features so if you think that you might want to get bigger later if you start with iMovie today when you go to final cut it'll be 100% familiar it's not a single thing you will have learned you will have to unlearn I've been using which is also free until you want some out on packages as headphone very strong hate no special effects okay and that's on what happened their attendance its frites a lot of good special effects on even was the packages that you might wanna buys it is that on Mac or PC year but I don't leaders on a PC okay okay Photoshop video editing features are more about trimming clips maybe put a couple together but it's not an editor it's not meant to build a story yeah I mean I wouldn't try and Reddit in Photoshop that's yeah yeah PC Magazine has a decent review of the PC of the windows platforms okay you know they write them all in terms of easy use cost okay Cokie see Meg yes okay awesome good to know okay just googling this you're gonna find tons of articles tons of reviews tons of recommendations I just I don't work on a PC so I can't tell you specifically where to go there but on the Mac iMovie is definitely your easiest place to start and cheapest it's not freest okay so then alright next we're going to delivery but before do that I just wanna talk a little bit more about the storytelling aspect of it as you as you start shooting more and more and you're shooting more video and you're thinking okay now I'm gonna go on this vacation and I'm going toward this trip or whatever and I'm going to make a video when I come back an actual video not just a montage of Stills and video slideshows but I'm gonna actually make a video so you're gonna go see the Eiffel Tower you're gonna go see the Louvre you're gonna see all these plays probably can shoot video in the Louvre no you're gonna go see all these things you're gonna shoot video of right and that's okay we're going from point A to point B put the camera away get there get the camera out and shoot but think about the storytelling aspect of it now we're getting bigger and deeper here but think about that storytelling aspect no one if you just shoot the things that you're gonna see you're back to a montage is just a series of shots of this thing a thing being things see there's no story in there but tell the story tell the trip of getting there tell the trip of on our way to the airport we're at the airport we're flying to France where oh we're here we're checking into the hotel now we're gonna go take the metro for the first time we're gonna go check out the the Eiffel Tower all of that stuff while it's a challenge to shoot all those things while you're doing everything else getting the family moving along and getting your luggage everything else all of that stuff tells the story and now people watch it and it's an actual movie this is an actual story with the beginning in a middle and an end and a plot and maybe conflict and all the other stuff that happens it makes a good story that's all really important to shoot as well so you want to shoot everything that you're doing so that you have a story to craft and then you've probably heard of a term called b-roll b-roll is footage that you shoot that is going to get used to fill in the gaps so I'm will use the Eiffel Tower again as an example right so right the families there it starts to the family just comes to the Eiffel Tower okay now give me ten minutes I'm gonna go shoot a bunch of b-roll and now we're gonna get a bunch of little close-up just just random shots of other things around there oh there's a pigeon on the on the ground running running around there's a did the crowd the line of people going into to wait to get in maybe close-ups of the elevator buttons all the other things that are there that aren't really critical to the story you're telling but you need filler you need b-roll you need some of these other shots so just shoot a whole bunch of that and then when you're editing you've got all this other stuff to pull from so you're building your story and you're lying man can we went from the cab to the Eiffel Tower but there's no like there's no one between we didn't just step out of the cab and something where the top I didn't shoot anything there okay now I got the shot of the pigeon I've got the shot of people lined up I mean I got a shot of pushing the elevator button I put those things together that tells the story even though my family's not in it I'm not in it it's just these little close-up shots of other things going on I have stuff to fill it in so you think about the storytelling aspect but really think about that b-roll aspect if you're on YouTube there's this youtuber named Peter McKinnon who's like the king of b-roll his videos he has gotten it's become such a big part of his channel and what he produces that he does the thing where he's talking that he goes cue the b-roll and it's just a string of beautiful shots for no other purpose than being beautiful shots so if you want inspiration for some of the best b-roll on YouTube look up Peter McCann and his stuffs beautiful it's kind of annoying frankly it's really really good so that's that's okay so that's the story part of it last aspect is delivery do you get this out to your audience who is your audience if it's just your friends and family then you're gonna just render it on your Mac and you know show it on there maybe put it up on your TV or put it on your iPad anybody can watch it there but if you want more people to see it then you've got things like Facebook you can upload video to Facebook and that's a great way to show just with your friends and family or if you want everybody in the world to see it you put it up on YouTube and when you put on YouTube it can be public so everybody can see it or you can put it on YouTube and make it private so you just send out the link to the friends and family you want to see it lots of different ways to do it but it's really really easy it doesn't cost anything these days we have the ability to share our video and it could be as big as long as fancy as you want it's complex as you want and you can put it anywhere for free put on YouTube put it on Facebook there's a service called Vimeo that is a paid service but you can use that as well if you're doing some kind of work into it if you want to sell video access to the video for example to say you decide that you made this thing this is a proper film I'm gonna sell this some people can buy this for five bucks or 10 bucks or 50 bucks or whatever you wanna sell it for and then Vimeo will give you that whole back-end to do that so you can go that high-end if you want to but for the most part most of us are just gonna stick it on Facebook for our friends and family to see put it on YouTube for the world to see and that's it that's all there is to it the delivery part of it is super easy used to be a really big complicated part of this I used I have to burn a DVD and then I had to get that DVD to someone they put it a DVD player and their to figure out the stupid and menu says no now it's just YouTube hit play done super super straightforward hope that appreciates everything on there yes that is everything I wanted to show you so other questions where are we on time good excellent we had plenty of time for questions yeah absolutely I would happily say many words about tennis any comments okay so I mentioned earlier that you can shoot video on pretty much anything including mirrored cameras like Nikon's and cast the way that when you're shooting video on a Nikon or Canon well a mirrored version the mirror has to flip up out of the way and then your you're recording video you you push a button to move the mirror up and now you're in the Live View mode and you can record video a mirrorless camera like the Panasonic Lumix cameras doesn't have that mirror mechanism so it's always in that ready to record video mode whether you're shooting stills or video you don't have to change anything on the camera except to say I'm going to distill it or shoot a video and there's no mirror that flaps up out of the way none of that happens so you're able to shoot video the same way that you shoot stills you can hold the camera up to your eye to shoot video you can't do that with a mirrored camera because to shoot video the mirror has to go up into blocks the view through the viewfinder you can only shoot looking at the back of the camera being able to shoot video held up to your eye does tend to make it a little bit easier to transition from I'm always take pictures like this this is how I take pictures I don't do this I do this okay well you can still do this shooting video that can make that transition a little bit easier as well the the Lumix camera is the the format it's called micro four-thirds it's a smaller sensor and then what you'll find on the full-frame canons and Nikon's and a little bit smaller again than what you'll find on the aps-c sized sensors that you find on most canons and Nikon's that most people purchase because they're more affordable than full frames so it is a little bit of a smaller sensor still it is ideal for a video it is perfect for video you are getting a sensor size that will give you native 4k video if you want to do 4k without any cropping into the frame so when you shoot 4k on this camera what you see through the viewfinder is everything if you grab many of the other cameras out there and you shoot let's say you're looking through the viewfinder and this is what you see and then you start shooting 4k video and it crops in a little bit because it's not using the whole sensor and then you shoot HD video standard eight standard high definition and it crops in even more and you're just using just that part of the sensor these cameras use the entire sensor so you have you have more data coming in to create the image with you at the end of the day end up getting a higher quality image really really good stuff just like in any other camera lineup there's a ton of lenses to choose from from your you know super wide to the long telephotos there because they're the mirrorless and the micro four-thirds specifically they're smaller and lighter weight for those of you that were in my travel photography course yesterday I talked about the advantages of size and weight and how much smaller and lighter they are this camera here this is the g9 which is primarily a still camera but shoots phenomenal video as well this is the biggest camera you can buy from lumix this tiny little thing here these small ones are about half this size it's remarkable and that's the same sensor size same lens mount yeah well you're always gonna have a digital viewfinder because it's mirrorless right think about think about what it is a mirrored camera when you look to the viewfinder you are seeing the light that is coming through the lens right it comes in from the lens it hits a mirror bounces up into the pentaprism that's this block right here right that light bounces up into the pentaprism hits another mirror and bounces out through the viewfinder so you're seeing the light coming through here when you're shooting mirrorless there is no mirror here that just doesn't exist so the image the light coming into the lens hits the sensor directly which means that for you to be looking through a viewfinder you're looking at was essentially a TV screen showing you what the sensor sees there are advantages and disadvantages fortunately the disadvantages are almost completely non-existent now if you pick up a mirrorless camera a decade ago and you look through the viewfinder it was very slow and stutter if you saw any kind of action you'd be following the accident that you put your hand up and you realize the actions over there and the viewfinder still catching it up it was a horrible experience those days are gone you now have 120 or I think even up to 240 frames per second refresh inside of the viewfinder the view finders are extremely bright and because it's digital it can be enhanced so it's kind of like your cyborg world right you're like human but better you've got the real world enhanced you have if you're in a really dark environment and you're looking through the glass well you see a really dark environment where you're looking at a electronic viewfinder it can boost it up so you can actually see what's in front you lose the viewfinder you see things that you can't see with the naked eye because it's it's enhanced when you're shooting with electronic viewfinder any change that you make to the camera you're gonna see through the viewfinder in real-time if you under over expose the shot you're gonna see through the viewfinder it getting brighter or darker if you decide to shoot in vivid mode so you have all really bright saturated colors or shooting black and white mode you will see through the viewfinder in black and white or in those vivid colors you get all of that through the viewfinder on a mirrorless camera this isn't unique to Panasonic Lumix cameras you'll see the same thing on on your Olympus on your sony any mirrorless camera that's what you're seeing you're seeing what the sensor sees which also means that you see the exact same thing through the viewfinder or on the LCD panel on the back of the camera so you get the same view either place it just becomes a matter of convenience what do you prefer to use really need advantage of that is you know how so you take a picture and you can play it back right on the back of your camera right with electronic viewfinder you can play it back through the viewfinder so you can actually see it through here there's a lotta different uses for this the most obvious one is a super super bright daylight day where you just can't really see the viewfinder that clearly you put your eye up here and you can see it perfectly so you can with your eye up to the camera hit play and cycle through your pictures zoom into it to make sure it's sharp do all the things you would normally do but you can do it while you're like this you get a perfect view of it that's pretty cool if you're shooting for a client you're working with someone you can shoot and you know how you can have the picture show automatically after you take the picture you can do that or just hit the play button up to you but I can be shooting a portrait of someone and then I can just hit a button and see the shot and without ever without having to do this in front of the client which kind of breaks the flow of what you're doing the portrait you're shooting I can look at it through the viewfinder and they just think you're still taking pictures you like if smile smile you've no idea they can be picking their nose you have no idea you're looking through pictures okay let's keep going and it's a really neat thing to be able to do I do that a lot just to keep that kind of breaking them to keep from breaking that concentration is another way to work but yeah so that's one of the advantages of that too what else you guys want to know there's something I could talk about the cameras themselves like all day long so are there any specific things that you'd like to know about about the mirrorless cameras yeah okay okay so the first two are you talking about our video cameras and now you're talking about the Lumix camera which is a still it's a hybrid can we call these hybrid cameras they shoot stills in video equally well some of them are a little bit more geared towards video production some of them are a little bit more geared towards still production but they all have the ability to shoot both Stills and video as far as what you would use for making YouTube videos I mean they're all gonna shoot all the Luas cameras to shoot 4k video so you can shoot full 4k if you want to they all are gonna shoot at 30 frames per second or 25 if here in Europe and then the higher and ones will do true 24 if you want to have that native film look but even a lot of the most of the regular ones will shoot what's kind of a it's 23 9 8 which basically looks like 24 but it's compatible with your normal TV we don't need to get into all that but but all of the cameras will shoot video so then it just becomes what features do you want the main differences between going from a smaller little lumix camera up to the bigger like the gh 5 a huge part of it is the amount of buttons physical buttons that you have if I'm shooting a professional video I don't want to have to go digging through a menu to change something I want as much access to things as quickly as possible as I can and most of the buttons on these cameras are programmable you can set it to do whatever you want like I never use that mode I've never used that button as this program so I'll reprogram it to make it do it I want it to do super super valuable so you have just more flexibility on the bigger cameras bigger key the bigger more Pro end cameras are gonna have additional high-end video features but if you're just kind of vlogging type stuff you probably don't need those any of the video any of the Luas cameras in frame no micro four-thirds is the size of the sensor so okay let me let me address that real quick and I'll come back to you because I saw that look like I know that look yeah so there are advantages to full-frame and there are advantages to a smaller sensor the advantages of full-frame primarily are you have a shallower depth of field at any given focal length distance to subject that's just physics there's no avoiding that what I hear a lot as a as a Micro Four Thirds advocate is oh you can't get shallow depth of field with Micro Four Thirds you can't get bokeh with micro four-thirds nothing could be farther from the truth you have to have a faster lens to get that same level of bokeh that you would on a full frame but it doesn't mean you can't do it it doesn't mean the lenses aren't there the advantage of one of the many advantages of shooting Micro Four Thirds there's your size there's your weight but then there's the cost it costs less to buy these cameras the most expensive camera you can buy from Panasonic is $2,200 I think that's right for the gh 5s which is a very specialized video centric camera the gh 5 is under $2,000 the G 9 which is the one that's really marketed for the kind of high-end stills camera I think is 16 or 1700 that's the most expensive right what's your top-end Nikon or Canon $6,000 $8,000 very very different so all the money that you save on that you can now go out and buy really really nice lenses so you can buy those route that really fast class you know get rid of the kit lens that it came with and buy some really good glass and get that really just shallow depth-of-field back okay so the European Union right even though they sell different models around the buy deeper camera yeah so what he's talking about is every every every single right word many of the cameras that you buy Canon Nikon Sony all those other manufacturers are limited to recording video for 29 minutes and 29 seconds this is a weird European tax law that says anything that shoots under 30 minutes is not a video camera if it is classified as a video camera it's a different tax level on it and you pay more for the camera so manufacturers don't want to have to charge you more so they limit it to that and unless you're shooting things like this that I'm shooting right here today or a school play or something you don't need more than 30 minutes because if you're shooting shots that are that long dude you got to work on your shooting because you want short pieces right think about the films that you watch its cuts its cuts there's no more than a few seconds on screen at once so if you're shooting more than a couple of minutes even you're probably shooting too much again unless you're doing something like this you're recording an event and obviously you need that longer recording time the Lumix camera is the higher end once of the g 9 and the g h 5 those do not have that limit panasonic has you know you're paying it obviously but the tax is in there you don't have to worry about it you're gonna get a full unlimited recording and these cameras in fact have dual card slots so you to SD card slots in there if you plug this into a into the wall i plug it into power you can record infinitely because as one card fills up it goes over to the second card you pop out the first card pop in a replacement and then it goes from two back to one back and forth back and forth you can record forever and ever and ever so that's pretty cool if you really you don't need to record that sort of thing yeah so that there's no way around that limit on a camera like the FC 300 on some cameras you get on some third party cameras someone so sorry some other brand cameras you might get a clean HDMI out that's where the video signal comes out the HDMI port and it's cleaned and have any menu information on it and then you can plug into an external recorder our French from atomos are here they sell external recorders that are really really awesome but most high-end cameras are going to not have that limit anyway so it's not another concern we a camcorder is classified as a video camera so yes it's going to record infinitely I mean well until you run out a taper or disc or the battery yeah the g9 the g9 has a 10-minute limit on 4k 60 and that is a heat issue right so the reason that these cameras are so big compared to the smaller ones is this is one massive heatsink it's a big hunk of chunk of metal on there to absorb and distribute the heat that is generated by shooting 4k 60p video the g9 being that it's not designed for video specifically it doesn't have as much heat dissipation in it so you can shoot 4k 60 but only up to 10 minutes then the camera goes time to stop just cool down for a little bit and that's just built into it I I don't worry is there a 30 minute limit for 4k 30 I don't I'd have to look I'd have to look so if the g9 has a limited 30 minute limit for video that would be the tax thing I don't think it does but if it does this camera does have a clean HDMI out so you can plug it into an external recorder and record all day long that way so that's how you would work around it yes not long at all it's usually just a few seconds long enough for it to write to the card and then it'll pick back up again it's I don't understand the thermal thermodynamics of all this I'm just telling you what I was told but I know it seems weird it seems like it would just keep going but but yeah that's yeah you recommend McKinnon how about for general video source of information for technique or for inspiration and technique watch my channel photo Joseph yeah I mean I'm talking about video and still production all the time photo Joseph youtube.com / photo Joseph here I should put my put my mean slide up again there we go that's me that's Ari yeah that because that's what I do if you want to watch beautiful video peter MacKinnon's a king if you want to watch really really good storytelling Casey nice dad he's a vlogger and he just he can craft a story like no one else Casey CAS ey nice tat nei s TI t he's got over 10 million subs on YouTube my god yeah he's a he's just a phenomenal storyteller the V log V log ok yeah sure so that's V log you're getting into really high in video production yeah so what V log so what you know how you're you have a camera profiles you can choose your vivid or standard or portrait or black and white or whatever v log is a profile that is a very flat profile when you look at the footage your shadows are muddy your highlights are muddy it's very flat it's designed to be graded you have to take that into the computer and do color correction on it the reason that you shoot that ways you end up with more dynamic range because of the way things are compressed while they're captured you the the ranges are compressed you get more shadow detail more highlight detail than you would shooting non v-log but you have to grade it you can't it's that's it's similar it's not raw but it is closer to raw it's kind of somewhere in between like yeah just like a raw photo you have extra data in there but the difference is that in a raw photo you have a larger bit depth of data so you can have your final help it's gonna be 8-bit that's what's gonna go on screen and go on to Flickr or Facebook wherever you're putting your pictures but the camera sensor captures more it captures 10 bits or 12 bits or 14 bits of data that data is all in the raw file and you can then compress that in in post v-log video and if you're shooting via log is is for Panasonic that's very cam log Sony's this s law candidacy log yeah that's what that's probably why so maybe Fuji is f log I don't that would make sense maybe that's okay there you go that makes sense what they've done there's the video file is not raw so the video file is still an 8-bit or a 10-bit video file depending on what camera you're shooting with but the sensor is able to take more data than that and kind of push it into a compressed space and it doesn't just push it to the edges of the eight or ten bit limit it pushes it even farther so you have a little bit of extra Headroom and you have the ability to stretch that out so instead of taking more data and pushing it in like you would with raw video raw stills you're taking more data that's been pushed and stretching them back out again so it's a bit of a weird thing to work with but so it does take the extra effort but but it can look right if you want that like the best best out of your camera that's how you would shoot it he's got to work for it later okay so the GH five the only lumix cameras that have v-log are the GH series cameras your GH 4 before at the GH 5 and the GH 5s the GH 5 it is an add-on it's a $100 for more update to get that the gh 5s comes with it built in it comes with a natively because you have to color grate it you can't if I play it alright if I play log footage it just looks muddy and flat you can't you have to color grade it right and it can be as easy as adding something called a lot a lot is kind of like a preset you can just drop on there and it looks probably pretty good but that's you don't shoot log to just throw a lot on there and be the equivalent of shooting raw plus JPEG just to fill the raw way that's not why you shoot it that way it's great for previews it's great for a quick job when you're looking at the back of the camera you would actually load a lot into the camera so that you see a shot that looks normal as opposed to this really flex it's really hard to shoot when what you're looking at is so flat on the viewfinder you want to see it kind of normal otherwise you don't really know where your shadows are you got to really you have to read histograms and and waveforms and it's just it's more complicated so yeah you wanted a I'm getting the time sign on the back I am going to start breaking things down here if you've got more questions you feel free to talk to me while I'm breaking down or actually let's we'll get out there and you can take as much time as you like but thank you very much guys I hope you feel like you learned something today and yeah thanks for coming