We displayed the fruits of our labor at the county fair. What have you accomplished? Where is the fruit of your labors?
Anonymous
Like most, you also measure your self-worth from what you do. When you do this, comparing what you produce to others is the next most likely thing done.
The Citadel’s Lacrosse team competed against Reinhardt during the tournament at Northview High School in John’s Creek, Georgia, on April 23, 2016. [NIKON D5, Sigma 120-300mm f/2.8 Sport, TC-2001, ISO 560, ƒ/5.6, 1/4000, Focal Length = 440]
Georgia Tech’s #2 Isma’il Muhammad slams one early over NC State’s #11 Gavin Grant during play at the Alexander Memorial Coliseum in Atlanta, Georgia, February 13, 2005. [NIKON D100, 24-120mm ƒ/3.5-5.6 , ISO 400, ƒ/6.7, 1/180, Focal Length = 67]
How good is your game? That seems to be what drives many photographers. They compare their work to other photographers.
Oxnard Chick-fil-A soccer team. Oxnard, CA
[NIKON D5, 14.0-24.0 mm f/2.8, ISO 50, Ä/11, 1/200, Focal Length = 14]
Once I started to do freelance full-time, I shifted my focus to observing successful photographers. I began to watch those busy and not basing that decision on how their photos looked.
Island Breeze was founded in Samoa and had multiple locations around the world. Our team’s main focus is sharing the true essence of Aloha to the ends of the earth. [NIKON D3S, 14-24mm ƒ/2.8, ISO 400, ƒ/3.2, 1/500, Focal Length = 14]
About eleven years ago, I started to hire photographers for my clients. That is when I got to see really why certain photographers were busy.
Photo Skills
First, for a person to get hired to shoot for a client, their work must meet some bare minimums for that client. Let me explain that the skill level is much lower than many photographers think it should be, but that is reality.
To be considered, the photographer must produce photos that are well exposed and in focus. Now the fascinating thing about hiring photographers was all the other stuff that made me either want to hire them again or never use them again.
Naomi Ouattara plays with her older sister Anne in Soubakamedougou, Burkina Faso, West Africa
Negotiating Skills
When I would call, photographers asked them to do some work on how they handled that first phone call; negotiating our contract determined the rest of the relationship.
I need to know the price, the terms and when I will get the photos. It was a two-way street on this. The photographer also needed to know this from their perspective.
If a photographer wanted to negotiate more after we agreed on everything, this was a clear indication of someone who would take too much of my time. I need the photographer to shoot and deliver with as little problem as possible.
Mark Adams enjoys coffee with David Velázquez, Just Coffee Cooperative farmer. [NIKON D4, 14.0-24.0 mm f/2.8, ISO 9000, ƒ/2.8, 1/100, Focal Length = 14]
People Skills
I was shocked that many photographers can get some great photos of people’s expressions but have poor people skills.
However, I must say that those photographers with good expressions in their photos of people tended to have better people skills than most.
Most of my clients are concerned with how the photographer did with the people when they were shooting more than just how their photos were. You see, the photographers are representing them when they show up. This is why many clients will put a staff person on set to go between the photographers and the subjects because they don’t want problems later.
I hired many photographers once that I would not hire again because the word came back that they were challenging to work with. Then other photographers make the client look better than if they were there.
Final Product – The Photos
I am surprised how many photographers take way too long to get the photos to the client. When hiring photographers, I need them to rename the images with a particular file naming nomenclature so that the photos will work with the database they are put into for the client.
In addition to the file naming, I need the metadata filled out. This is all part of the negotiating I have done with the photographer when first hiring them for the job.
You would be surprised as to how many do not follow through. So, I get the photos numbered the way they came from the camera with no metadata. This creates a problem because I have to contact the photographer and ask them to fix the images and upload them again. This delays now the client from seeing the photos.
I have had a few photographers get the photos to me after the deadline, and we couldn’t use them for the initial purpose.
Final tips to increase the fruits of your labor
Negotiating – Keep it simple. Don’t use industry jargon unless necessary. Be realistic and do not over-promise.
People Skills – Listen, communicate & relate on a personal/professional level. Good people skills include problem-solving abilities, empathy for others, and a willingness to work together toward the common good. Reply to your emails promptly. Value your client’s point of view.
Photos – Deliver to the client photos in the way you negotiated. WOW, clients by underpromising and over-delivering.
Be clear and transparent –Customer loyalty increases based on how mistakes are handled. Studies show that up to 70 percent of unhappy customers transform into loyal customers if the error has been fixed, exceeding their expectations.
Lauren McGuire performs her comedy routine at The Basement Theatre in Buckhead. Mark Evans produces the show. [NIKON Z 6, VR Zoom 28-300mm f/3.5-5.6G IF-ED, ISO 22800, ƒ/5.6, 1/200, Focal Length = 300]
Jeff Justice is a standup comedian that in 1990, noticed many beginners in comedy could use some help. He gave a few tips for rewriting their material to improve the jokes. He also gave some tips on timing in the delivery of those lines.
Surprised that some of them listened and even more surprised with a group of them asked him to do a workshop.
Bonnie Works Gardner performs at The Basement Theatre [NIKON Z 6, 28.0-300.0 mm f/3.5-5.6, ISO 22800, ,ƒ/5.6, 1/200, Focal Length = 125]
Here is a quick overview I did for Jeff back in 2012.
My wife took both of Jeff’s classes. Now the hard part is after your graduation standup routine at the Punchline, the next step is no longer a class but a live and unforgiving audience.
Mark Evans [NIKON Z 6, VR Zoom 28-300mm f/3.5-5.6G IF-ED, ISO 22800, ƒ/4.8, 1/200, Focal Length = 68]
Mark Evans took Jeff’s class back in 1993, which changed his life. He is a successful comedian today. His latest tour Southern Not Stupid is where you can see him perform.
He remembers that graduation night was such a fun event and wanted to recapture that time when the audience was a little more forgiving than jumping straight into the hecklers that can be in a typical audience.
Amy Lyle is performing her comedy at The Basement Theatre in Buckhead, Atlanta, Georgia. [NIKON Z 6, VR Zoom 28-300mm f/3.5-5.6G IF-ED, ISO 20000, ƒ/4.8, 1/200, Focal Length = 65]
Sunday night, April 29, 2019, was the first Jeff Justice Comedy Workshoppe Alumni show organized by Mark Evans at The Basement Theatre in the Buckhead section of Atlanta, Georgia.
While helping the students write better jokes is central to Jeff’s workshops, he is also helping them with timing. Delivery is everything. Jeff often says, “‘I’m a wild and crazy guy isn’t funny. But Steve Martin delivering it as he did was hilarious.”
The Basement Theatre [NIKON Z 6, VR Zoom 28-300mm f/3.5-5.6G IF-ED, ISO 9000, ƒ/4.2, 1/200, Focal Length = 45]
I think Mark Evans knows that the one thing that everyone needs to get better is practice. It is only by doing this enough times that you help manage those butterflies so you can get that Comedic Timing down for delivering a joke that gets laughs.
While you put yourself out there by performing once, you don’t improve until you do it consistently.
No matter what you want to learn to do, taking a class is just the first step. It would help if you worked on your craft. Put yourself out there consistently, and you have a better chance of making it.
For photographers, you need to shoot lots of photos and share them. Then it would help if you embraced the honest critiques of your work. That is how you grow.
IRS UPDATED THE FORM LAST OCTOBER Click here to update your 1099 to send to clients
Pricing & Negotiating
With new clients, I always give three prices. Low, medium, and high prices. Each has variables such as time, quantity, and usage. I also always spell out payment time. Once I have worked with a client, they usually have the exact requests. I use the three price options when giving a quote if they have a new and different request. By having three prices, you also are spelling out the negotiables.
Here are some other negotiables for the freelancer:
Payment time table
Deposits before job are started – Often to cover expenses
Pay on the day of the shoot
Pay upon delivering of the product
30, 45, or 60 days
AVOID – Payment upon publication. What if they never publish?
Bartering
Instead of money, you trade services. My suggestion is to sell at retail values.
If you get a good number of extra printed pieces, like a magazine, then you can use these as marketing pieces to your clients or potential clients.
Sliding Scale – You offer to do the work for a lower price if they agree to future work. The trick is to have them pay the standard rate up front, and as they give you more work, you discount the volume. If they cancel after the first job, you don’t get screwed.
Usage – I highly recommend FotoQuote, which is a stand-alone software. which also comes bundled with FotoBiz
I am finding that many of my “Secret” Facebook Groups are more helpful than the professional associations. First, there is someone almost always on the Facebook group; second, because these are secret groups, they only invite people to those groups who can help each other.
Don’t post into public groups anything where a client or potential client could see your content.
Closed and secret Facebook groups seem like they should be pretty similar. The difference is that the public can see closed groups while private groups can’t. If you create a closed group, the name of it, its members, and its description can be seen by the public—basically everything but the posts in the group.
You have most likely heard the mantra, “The easiest way to make better photos: photograph your subjects against a clean background.”
They may even say, “99% of photos fail because the background is messy.”
I am here to tell you they are right and wrong. For the beginning photographer, it is much easier to simplify a background than to take a complex and cluttered background and make it work.
Egypt—Missionary Mike Edens (left) worked closely with Egyptian Baptist pastors trying to enhance their discipleship and pastoral ministries. These pastors—(left to right) Mikhail Shehata Ghaly and Anwar Dakdouk—took MasterLife discipleship training in Cyprus in 1984. [photo by Don Rutledge]
What my mentor Don Rutledge taught me was that backgrounds give context.
Seth Godin [photo by Stanley Leary]
A clean background makes the subject pop out, but where are they? What are they doing?
Israel—Missionary kid Sommer Hicks plays on the rocks of the sea of Galilee with her dad, Ray Hicks, in the background. [Don Rutledge]
Don taught me that it is a matter of composing to make sense of a scene and waiting for the “moment.”
Appalachian migrant family in Ohio during 1968. [photo by Don Rutledge]
Depth-of-field—is the distance between the nearest and farthest objects in a scene that appear acceptably sharp in an image. Most photographers use a shallow depth-of-field to clean up their background.
Fireman [X-E3, XF55-200mmF3.5-4.8 R LM OIS, ISO 200, ƒ/4.2, 1/75] [photo by Stanley Leary]
The closer you get to something and the wider the aperture, the shallower the depth-of-field. Also, you are removing context.
Don Rutledge photographed many stories about the struggle for racial equality and justice in the South during the height of the civil rights movement. This image reveals the dignity of men and women who had long been denied their rights as Americans – and as human beings. I think this is from Martin Luther King Jr funeral. [photo by Don Rutledge]
You see, it is seeing all those people’s faces behind this man that helps give more context to this photo.
March 1985 was when Don went to Ethiopia to cover the hunger problem. Here, volunteer nurse Sally Jones holds an Ethiopian child and comforts the child amid other babies their mothers are having. [Photo by Don Rutledge]
Seeing all the people in the background and their expressions helps photos many times.
Poland [photo by Don Rutledge]
Don had the patience and ability to see everything inside the frame. He taught many photographers how to see the edges and everything in between.
While legislators around the nation were debating the need for rat-control laws–and disputing their funding–Don discovered these two youngsters who proudly displayed the results of their morning hunt. In that section of Cincinnati, Ohio, in 1968, rats were not a particularly difficult quarry to locate. [photo by Don Rutledge]
I think the background helps make many of Don’s photos. Had he followed the advice you hear about simplifying the background, he would have never been the communicator he was.
The background and everything around a subject can give context to a moment.
Surgeon Tim Pennell got five of his colleagues from Bowman Gray School of Medicine to commit weeks of vacation time and thousands of dollars to meet their Chinese counterparts. [photo by Don Rutledge]
Without the woman in the background with the nurse’s hat on, you might not get from the photo that this photo has something to do with healthcare.
Siberia—Working with outsiders means listening and being heard, according to Eduard Genrich, Second Baptist Church in Novosibirsk. People here say they are encouraged and helped by outsiders but taken advantage of by some. [photo by Don Rutledge]
L/R Laura Standard, Almond Standard, Pam Pullen (Almond’s daughter) & Christine Burton (Almond’s sister) & Kyle Standard (Nephew of Almond) & Rick Standard (Almond’s Son). Almond Standard built his log cabin home himself. It is located in Tignal, Georgia. [Nikon D2X, Sigma 15-30mm, ISO 100, ƒ/13, 1/4] [photo by Stanley Leary]
Don’t go out and shoot everything to include background. Clean backgrounds have their place.
Nikon D5, Sigma 35mm ƒ/1.4 DG Art, ISO 140, ƒ/1.4, 1/100 [photo by Stanley Leary]
I am writing this because I see the demise of ASMP and NPPA. While they may survive, I do think they have lost their luster.
These are just some of my observations on why associations struggle today. I think a timetable of events in the past 20 years has eroded the benefits of belonging to a professional photography association, especially when those memberships start at $150 to $335 per year.
Photojournalism History
The purpose of a professional association is to further a particular profession, those that work in the job, and the public interests.
Photojournalism in America took off in what many would call the Golden age of Photojournalism with the invention of Leica 35mm camera in 1925 and the flash bulb in 1927. This era would be from about 1930s to the 1960s.
The size of this camera made it so easy to go just about anywhere and create pictures. The flash allowed you to take photos where there was no light.
Taking advantage of this new technology, magazines like Life, Sports Illustrated, and Paris Match published photos that, before this time, the public would have never seen.
It was during this time, specifically from 1940 to 1950, that the National Press Photographers Association and American Society of Media Photographers were formed.
NPPA was formed more around the advancement of photojournalism. So it was heavily focused on education and contests to help its members grow in their skills and raise the industry standards regarding the quality of photojournalism produced in newspapers. Most of the members were staff photographers.
ASMP was formed by a small group of New York City photographers working with magazines. They began to address their common issues: lack of credit lines, unauthorized reproduction of their images, and uncredited copying of photos by illustrators and artists. They also were hoping to raise the rates for pay. Most of the members were freelancers.
Photo of me while a photographer for my college and yearbook at East Carolina University in 1983. (Photo by: Gary Patterson)
I joined NPPA in 1985 when I was working for the Hickory Daily Record as a staff photojournalist and am still a member. In 1987 I joined ASMP (American Society of Magazine Photographers) while working on The Commission Magazine.
Around 2005 NPPA realized that more and more members were freelancers and started doing more on business practices.
Internet & Social Media Impacts Associations
I remember getting my first Radio Shack computer in 1988. It would be the turning point of my skill set in the future.
I was becoming familiar with all the resources my computer brought me from all over the world. I joined CompuServe, the first primary commercial online service provider in the United States. It dominated the field during the 1980s and remained a significant influence through the mid-1990s. At its peak in the early 1990s, it was known for its online chat system & message forums. NPPA had one of those forums.
Mosaic is the web browser that popularized the World Wide Web and the Internet. It was introduced in 1993 and was the first browser to display images inline with text instead of in a separate window.
Microsoft licensing Mosaic to create Internet Explorer in 1995 was the real take-off point for websites.
Google was founded in 1998 by Larry Page and Sergey Brin while they were Ph.D. students at Stanford University in California.
Facebook would be available to the public in 2006.
The introduction of the iPhone in 2007 was the turning point in the history of communications that now people could be connected 24/7 to the internet and changed the volume of internet users, websites, social media, and more connectivity to the world to a whole new level. People always had their phones no matter where they were, which would use them to connect and help organize their lives and work.
Instagram launched in October 2010 exclusively on Apple products. By 2016 it was available on all platforms.
The Perfect Storm
Before Mosaic, introduced in 1995, the only way for journalists to be published was through the traditional gatekeepers of printed publications. Now with minimal cost (internet access), one could publish content and reach not just readers of a printed magazine but the entire world. At least all who had access to the internet.
One such person in our industry to do this and become a rock star was David Hobby. He created The Strobist, where he shared tips for using flash. While it cost him almost nothing to publish, it also costs nothing to get his content.
Thousands would do the same on almost any topic you could imagine. Those who produced the best content were getting huge followers, and then the advertisers followed, helping to support those content providers with funds if they could advertise on their platforms.
Once someone had access to the internet, they could become a content creator or just a consumer of the content.
Right around the introduction of the iPhone, the number of users on the internet began to explode. As the numbers went up, so too were going down for many associations.
NPPA & ASMP core educational content offerings were no longer as valuable when all this content was being offered for free in other places on the internet.
Once Facebook helped people come together and create groups, websites like Classmates.com lost their base. Why pay to find your high school classmates when Facebook offers a way to find them for free and organize your class in a Facebook Group.
Now through social media, Facebook Groups were replacing the need for Associations. The best thing that NPPA & ASMP do is to create groups on the Social Media Platforms for their members. Facebook was offering a better solution for connecting than most associations.
What is left for Associations to offer
The one place NPPA has put all its eggs is in Advocacy. Most everything else they offer you can get online for free.
It was ASMP in 1973 that got the Copyright office to change that all images were copyrighted without being registered.
The purpose of copyright registration is to place on record a verifiable account of the date and content of the work in question, so that in the event of a legal claim, or case of infringement or plagiarism, the copyright owner can produce a copy of the work from an official government source. Registration remains a prerequisite to filing an infringement suit, and also because important remedies depend on prompt registration—such as attorney’s fees and statutory damages. [Wikipedia]
Now one of the worst things to happen to the profession of photography is the devaluation of photography, which occurred because new technologies [internet] made it possible for good photographs made by inexperienced professionals to flood the market. Get lots of photographers who don’t know about pricing producing work for clients who have lots more options from which to choose, and things go south fast. In other words, it’s a buyer’s market.
So, the problem we have now is that even if you can change how copyright works, the price you can get for a stock image is so devalued that few can benefit as compared to the investment costs to make those images and put them on a cloud system for people to buy.
When registering images today with the copyright office, I find that the costs of $55 for 750 photos are no longer economically feasible to warrant.
The costs a few years ago were $35 for an unlimited number of images in a submission.
So, the copyright office has totally undermined all the legal advocacy work done in the past few years. It makes you wonder what you have been paying for when you are now worse off than ever in this profession regarding copyright protection.
Example of Advocacy that doesn’t benefit photojournalist
News outlets have greatly benefitted from cameras being allowed in the courtroom. Great examples are Ted Bundy, Jeffrey Dahmer, OJ Simpson, and Casey Anthony, to name just a few.
Defense attorney Robert McGlasson, left, talks with his client Brian Nichols during a pretrial hearing Thursday, March 6, 2008, in Atlanta. Nichols is accused of killing a judge, a deputy sheriff, and two others after escaping from the Fulton County Courthouse in 2005. (AP Photo/Stanley Leary)
NPPA advocacy often is to help get photojournalist access. However, NPPA members are never compensated more because they have paid out of their pockets to help those news outlets get the content that lines the pockets of those publishers.
In 1976 the National Labor Relations Board determined that ASMP was a group of independent contractors, not a union. Due to that decision, neither ASMP nor NPPA can help its members set industry prices.
Today both ASMP and NPPA have social media groups for their members and still produce educational resources, put on meetings for their members, and provide legal assistance.
How do they compete against the free offerings for groups on social media?
Membership requirements were the way that they distinguished themselves.
ASMP requirements for a Professional Membership are reserved for still and motion photographers of good moral character and reputation who have been actively and consistently engaged in professional practice for at least three years. There are other categories for membership.
NPPA requirements – working or aspiring towards working in visual journalism.
Those membership requirements have been lowered in how they verify your qualifications due to their desperate need for members to support the organizations.
My recommendations
If you are new to photojournalism and need to learn how to make better photos, then NPPA is excellent. Their contests and education programs are all about learning the craft.
If you are in business for yourself and not on staff, then you should join ASMP. This organization will do more to help you navigate how to make a living, and all their education and workshops do an excellent job of helping you run a successful business.
For those starting, you may need both.
My wish these past few years was that these two organizations could combine. They are different and yet also have so much in common. Sadly NPPA turned down ASMP’s offer to do just that.
I have never been to a wedding where something doesn’t go to plan. Because of the constant changing of schedules during a wedding, photographers must go with the flow on the wedding day.
Laura Espeut shows Scott & Nathália Dunford how to pose for a photo during their Wedding [NIKON Z 6, Sigma 24.0-105.0 mm f/4.0, ISO 200, f/9, 1/125, Focal Length = 24]
It is almost impossible for a photographer to work alone for today’s weddings. If you are smart, you don’t look for anyone to help you. You find someone better than you in some way.
Laura Espeut is one of the best photographers I know; her personality is so wonderful. Her ability to help communicate her concepts to get the best possible photos with people is incredible. She also does an excellent job shooting creative images.
Scott & Nathália Dunford Wedding [Canon EOS 5D Mark III, EF100mm f/2.8 Macro USM, ISO 200, ƒ/4, 1/160, Focal Length = 100] photo by Laura Espeut
If you are looking for a photographer to shoot your wedding, you will likely have two photographers. If you ask them about the second shooter, see if they brag about them. I always brag about Laura.
Scott & Nathália Dunford Wedding [Canon EOS 5D Mark III, EF70-200mm f/2.8L IS II USM, ISO 100, ƒ/2.8, 1/640, Focal Length = 75] photo by Laura Espeut
Laura knows that photography is all about emotions on the wedding day. So she is coaching the bridal party to be sure those emotions are right on the surface for the photos.
She is also aware that if you are not capturing an expression, you need to make the light and composition create an emotion.
Scott & Nathália Dunford Wedding [NIKON Z 6, Sigma 24.0-105.0 mm f/4.0, ISO 100, ƒ/5, 1/250, Focal Length = 28]
Having someone like Laura helps me relax as much as possible as a wedding shooter. I can problem solve the changing light scenarios throughout the day. If things are not going to plan, you often cannot count on natural light to stay constant for you during a wedding.
The one thing that is so difficult to deal with in photography is the natural light. Sometimes it is so incredible for a photo you have to capture it as it is. However, this photo of the groomsmen is when I was fighting with the light. I used an on-camera flash to help with the shadows. It just wasn’t working well.
Scott & Nathália Dunford Wedding [NIKON Z 6, Sigma 24.0-105.0 mm f/4.0, ISO 100, ƒ/5, 1/200, Focal Length = 38]
I quickly realized that photo wasn’t so good with the harsh shadows. I moved the guys but the sun to their back and used the flash to ensure I was getting good light on their faces. Remember, remarkable wedding photos are first about capturing expressions.
Scott & Nathália Dunford Wedding [NIKON D5, Sigma 70.0-200.0 mm f/2.8, ISO 100, ƒ/5.6, 1/125, Focal Length = 150]
During the wedding, I alternate between camera bodies and lenses. I shot a couple of ways in this photo of the groom saying his vows to the bride. The most significant difference is with and without flash. The first one is without flash.
Scott & Nathália Dunford Wedding
[NIKON Z 6, 24.0-105.0 mm f/4.0, ISO 100, ƒ/4, 1/320, Focal Length = 105]
I think the flash helped a lot in the second photo you see. The expression was better on the first one, but I hope you get my point of how a flash on a sunny day can help overcome the harsh shadows around the eyes from the sun overhead.
Scott & Nathália Dunford Wedding [NIKON Z 6, Sigma 24.0-105.0 mm f/4.0, ISO 320, f/8, 1/100, Focal Length = 48]
Carl House, the venue for the wedding, had a back porch perfect for natural light photos. I prefer overshooting with flashes and waiting for them to recycle between flashes. Expressions on faces don’t wait for flashes.
So the porch had beautiful light pouring in, and none was direct. This created a massive soft box effect for the posed photos.
Scott & Nathália Dunford Wedding [NIKON Z 6, Sigma 24.0-105.0 mm f/4.0, ISO 220, ƒ/8, 1/100, Focal Length = 24]
While I would have preferred having the green background, I had already discovered how difficult it would be to do group photos in direct sunlight.
Scott & Nathália Dunford Wedding [NIKON Z 6, Sigma 24.0-105.0 mm f/4.0, ISO 500, ƒ/10, 1/100, Focal Length = 42]
The best way to describe what light I look for outside for weddings is the shadow side of a building. This is where the sun isn’t shining directly on the subjects, but rather the big sky creates a giant softbox. It is often called an open shade.
Scott & Nathália Dunford Wedding [NIKON Z 6, Sigma 24.0-105.0 mm f/4.0, ISO 100, ƒ/8, 1/125, Focal Length = 24]
When I have to shoot in the direct sunlight, as here with the wedding party all waiting for the bride, I use a flash to help open up those shadows.
I have been teaching some form of photography my entire career. Each time I teach, I discover one more thing that can be tweaked and improved. Often I come up with a new way to communicate a concept.
The longer I am in this profession, the more I am still learning. This blog post on Narrative Storytelling was prompted by my students taking Intro to Photojournalism at The Grady College of Journalism & Mass Communications, University of Georgia.
“If you want to be a better photographer stand in front of more interesting stuff”
– Jim Richardson
So how do you find more interesting stuff? How do you find exciting stories?
I have found there are two main ways I have seen stories. Often it is just by meeting someone and hearing their story. It could be someone behind the counter of a business I am visiting or someone who sits beside me on the plane.
The other way I have found stories is when I have an audience in mind. Often this is a client that I am working with on other projects. They tell you what they are working on and then my mind starts trying to solve their problem by finding stories to speak for them.
No matter how you discover some great stories, there is one place you must start–THE AUDIENCE.
To help you get your head around what I am talking about, just think of you going on the trip of your lifetime. You come home and want to tell your parents. You first get your mom by herself and tell her about your trip. Then later, you and dad have some time together, and you tell him about your trip.
Parents watch as the limo pulls away, taking our kids away for senior prom. (photo by Robin Rayne) [NIKON D4, 24.0-70.0 mm ƒ/2.8, ISO 320, ƒ/7.1, 1/60]
Are they interested in the same things? Most people will tell a different story because they have other interests.
When I say know your audience, I am saying know their story. Now, newspapers and magazines I worked with often had a fictitious family they created based on their audience research.
Knolan Benfield in Hawaii with me helping teach posing to photography students with Youth With a Mission. (Photo by: Dennis Fahringer)
My uncle Knolan Benfield, pictured above, told me one of the best stories that changed my photography and storytelling for the better.
Knolan had taken his wife’s [my aunt] grandmother to the beach in North Carolina. She was pretty old at the time, and he tells how he watched her walk into the ocean for the very first time in her life. She had never gone to the beach in the 80+ years of her life. She had never traveled much more than 50 miles from her home most of her life.
Knolan said that moment sealed into his memory what he was doing with his camera when working on stories. He was taking people to places they would often never see in their life. He was responsible for making those visuals as strong as possible to transport them through his lens to the site.
A good storyteller must always have their audience in mind. The biggest mistake many storytellers make is telling a story because it means a lot to them, and they never consider the audience. You might do pretty well with this method, and I have seen many make a career doing this, but seldom are they, great storytellers. Great storytellers move the heads and hearts of their audience and not just their own.
We visit the location during a pre-trip when we put together a Storytellers Abroad Missions Multimedia Workshop. During this time, we meet with the missionaries. We do a mini-workshop with them on storytelling and then ask them to help identify people for stories.
We talk to them about the audience; the other key thing is what they want to accomplish with the stories.
Typically, they need a building. Can you do a video helping promote our building need? This is where we always have to educate them that we have not to devise a solution for the audience but rather establish the need with them.
Storytellers Abroad Workshop in Bucharest, Romania
What can’t you do right now because you don’t have a building? After multiple questions and chasing tangents, we have them understand how telling the story of someone they impacted by sharing that story helps lay the foundation to show they need a facility to help more people like the person of the story.
When it comes to telling a story for an NGO, this is much different than photojournalism storytelling. We want the audience to take action and even build in a call to action at the end of the story.
In journalism, we inform them; sometimes, it is more entertainment in feature storytelling, and sometimes the stories are meant to tell before an election. The journalist isn’t trying to sway your vote but educate the public on the facts.
With nonprofit work, I am more of an advocate than a journalist.
Once you have identified a person as the story’s subject, you will need to interview them and spend enough time discovering their story. I recommend using the narrative story arch as something to help guide you.
Now in nonfiction, there should be a point to your story. In fiction, you don’t necessarily need to have some moral of the story for it to be effective.
As you work on your story, always remember what you plan to share and what parts of the diagram they play in the story.
You’ve probably heard the phrase, “Show, don’t tell.” While you might be thinking of me talking here about the visuals, I am talking about all of it. When someone tells their story by taking you to the day of the big event from which everything in the story revolves around, the more the person talks in a way to paint a picture, too does a much better job than just the facts.
“The most important things to remember about backstory are that (a) everyone has a history and (b) most of it isn’t very interesting. Stick to the parts that are, and don’t get carried away with the rest.”
Keep the Exposition short. When giving us the background, we need some, but that doesn’t mean we need to know every detail. What is the key takeaway from all your research that the audience needs to know to have some context for the “big event”? Then creatively tell what is necessary only to do that.
“Squirrel”
In the movie UP, there is one repeated humor of these dogs: no matter how focused they are on doing something, if they see a squirrel, they stop in their tracks and then go and chase it.
Too many storytellers do this in telling their stories. The character mentions something that isn’t necessary to the report but is so good they can’t let it go.
Once you have your parts of the story and a narrative, you are ALMOST ready to start. I am talking about those using audio/video to capture the person’s account.
Use Vivid Details, Not Lots of Facts
Ask the subject to take you to the moment when something happened. Get them to tell you how it felt at that moment. Remind them to help you understand how it felt then because now they may look back and know things would get better, but at the moment, they may have felt hopeless or overjoyed.
Once you have heard all the parts of the story that you know you will use, and they move your head and heart, you can sit down for the formal on-camera audio/video recording of their story.
You can ask questions to help them tell their story, but most of the time, you will just prompt them. You might say to them that the other day when we were talking, you shared this moment you experienced. Can you share that again?
One thing before I start, I tell them their story as I understand it. I ask whether I have your story correct and if it is OK with you. If something needs to be corrected for accuracy, this is when I do it. Once they agree on what I think the story is and how I told it, that is really what I am now trying to get them to say. I have summarized all those conversations I had to dig into and get the story. I have done some editing in my mind and distilled it to the parts that help tell the story. You will find the rest of this super easy if you do this in 90 to 120 seconds for most accounts.
Georgia Dome – Georgia Bulldog’s Freshman Running Back #35 Brian Herrien Scored his first collegiate touchdown. At the same time, UNC’s Safety #15 Donnie Miles could not stop him during tonight’s Chick-fil-A Kickoff Game, September 3, 2016, at the Georgia Dome. [NIKON D5, 120.0-300.0 mm ƒ/2.8, ISO 45600, ƒ/5.6, 1/4000, 35mm Equivalent=240mm]
Take Control
Because you have done the diagram and remember all the parts you want to capture, keep your subject on topic. Don’t let them expound, and now make your content longer.
I have had to ask them to repeat their answer and say your first response was 2 minutes; I am looking for a couple of sentences. You said this … and then when you started on this part, leave that out. That is just going into more detail than needed right now. You want to remind them of what we agreed were the key points we are sticking with for their story.
Call to Action
When I tell stories for organizations and not journalism, I have a call to action. Now that you have heard this story, you can learn more, get involved, or give money to support this organization as they help more people like the person you just heard about.
After the Interview
I will spend time talking with the subject about their schedule. What is happening with them so I can come along and capture video/stills to add to the story? The additions are to be shown while they are telling their story.
For this blog post, I will not go into visual storytelling.
The Hook
One thing you need for a video is the first 8 to 10 seconds need a teaser. The easiest way I have found is to find the most shocking thing subject says and use this. Be sure it doesn’t give away the story.
Hopefully, you have a better idea of how important it is to identify a story for an audience and how important it is for you to have done all the research and preinterview so that when you hit record, you are ready to capture the story and not discover it.
“The advanced level is the mastery of the basics.”
Ray Mancini
[NIKON D5, Sigma 24.0-105.0 mm f/4.0, ISO 2000, ƒ/4, 1/200, Focal Length = 28]
So often, we think that getting to the next level and doing that one more incredible thing will be what makes us more successful.
A Champion ensures they eliminate ALL sources of error or potential problems. The all-time greatest Basketball Coach John Wooden would teach ALL his recruits how to tie their shoelaces as part of their initiation because, in his words, “the last thing I want is to lose a point because your shoelaces come. Untied at the worst possible moment.”
I love teaching so much. I like to know I am helping someone else achieve their dreams. I also love teaching because it has made me better at my craft.
When you teach, you have to return to the basics, and when students hand in work that isn’t what it should be, you re-examine what you taught. It is this process that made me realize that it is just elementary concepts done well that are the things that make someone look outstanding.
Chelle Leary [NIKON D5, 85.0 mm f/1.8, ISO 100, ƒ/9, 1/160]
My daughter found her passion in high school for theater. She loves all aspects of the theater. She enjoys working on sets, costumes, lighting, dancing, acting, and singing.
My daughter, the banshee, is on the back of Caleb Jackson, who plays a monster in the play “She Kills Monsters,” opening March 1 at CSU’s Riverside Theatre Complex. in Columbus, GA. [NIKON Z 6, Sigma 24.0-105.0 mm f/4.0, ISO 4500, f/4, 1/250, Focal Length = 48]
When you love doing something, you want to do more. My daughter has impressed those at the school because when she works on a play and finishes something, she asks the leadership, “What else can I do?”.
My daughter is learning that just doing what you are asked to do and doing it on time makes her a standout at Columbus State University.
“Enthusiasm is the mother of effort, and without it nothing great was ever achieved.”
Ralph Waldo Emerson
Many students I teach in Intro to Photojournalism are just taking this to check off a requirement for graduation.
The sad thing to me is those complaining the most about their grades often put in the least effort.
I have a News Event Package assignment where they must cover News Event and turn in three to five photos that captures the event with captions. Now in the software, I can see the time codes of the camera.
While reviewing the work, I noticed that many looked like minimal effort was being put into this assignment. It looked like one student had gone to a parade, stood still, took a few photos, and left.
I then pulled up the time code of the photos. The photos turned in were all taken in less than four minutes.
“Failure to prepare is preparing to fail.”
John Wooden
Covering a News Event usually takes about two to four hours. Once you have captured the event, it usually takes no more than an hour to edit the photos and turn them in.
One student had waited to cover an event that started at 6:00 pm, and the assignment was due at 8:00 pm. They didn’t have many action shots of the event because it didn’t start on time, and the student had to leave early to make the deadline.
They were upset when I said it was lazy to wait until the last minute. Now even the dictionary says lazy is “moving slowly.”
Chick-fil-A Peach Bowl 2018, Auburn 27 vs University of Central Florida 34 [NIKON D5, Sigma 120.0-300.0 mm f/2.8, ISO 8000, f/2.8, 1/4000, Focal Length = 300]
Do you want to get better? If so, the best thing you can do is revisit the basics of your job.
Here are some basics for every job that might help:
1. Never Be Late – Start on time and Close on time
“I have learned one thing. As Woody says, ‘Showing up is 80 percent of life.’ Sometimes it’s easier to hide home in bed. I’ve done both.”
Woody Allen
2. Seek knowledge, not results
“Education is not just about going to school and getting a degree. It’s about widening your knowledge and absorbing the truth about life.”
Shakuntala Devi
3. Improve Your Emotional Intelligence
Emotional intelligence refers to understanding, utilizing, and reasoning with emotions. Emotionally intelligent people can understand not only their feelings but those of others.
4. Focus on Intrinsic Motivations
Intrinsic motivation refers to behavior that is driven by internal rewards. In other words, engaging in conduct arises from within the individual because it naturally satisfies you.
5. Don’t compare your own life to other peoples’ lives
Rather than comparing yourself with people who are “better off” than you, think about all of the people who are homeless, chronically ill, or living in poverty. This will help you appreciate what you have rather than feel sorry for yourself. Try engaging in volunteer work to help make this more apparent.
6. Count your blessings
No matter how much you achieve in life, you will always feel unhappy if you constantly focus on what you don’t have. Instead, devote time every day to appreciating the things you do have. Think beyond material items; appreciate your loved ones and cherish happy memories.
The first thing we need to address is setting your camera when shooting video. Your camera’s options for video can limit your choices. Also, please remember that the higher the resolution and frame rate, the more powerful computer you will need with even more free space for editing.
Resolution
Full HD – 1920×1080 is now a common setting on newer DSLRs
High Definition (HD) – 1280×720, an efficient balance between broadcast quality and storage space / render time. ESPN broadcasts in this setting.
Other HiDef DSLR settings – 2K, 4K, and 6K DSLR video resolutions are available but overkill for web distribution channels. Great to shoot in and then downsize when you export a project.
Frame Rate
60 FPS – use for a slow motion effect
30 FPS – Standard video “look.”
24 FPS – Cinematic “look” that is used in motion pictures
While there are many other resolutions like 2K, 4K, 6K, and even 8K, I believe they are overkill for web distribution. Even my friend Ben Smallbone whose credits include the movies: Priceless, Taken, and Steve McQueen: American Icon, to name a few of his movies told me that when it came to distributing their films to movie houses all over the country, they said not to give them anything bigger than 2K.
There are two resolutions in the video, just as there are two resolutions with stills. You have the 1) capture setting and the 2) exported resolution.
While you can shoot at 4k for similar reasons you would shoot RAW, your computer must be top of the line to process the 4K files. Unless you want to crop in on your video in post-production, I believe there is little to gain for the average project to shoot higher than the Blue Ray Full HD 1920×1080 resolution.
Frame Rate – I recommend 24 Frames per Second
Here is a good video showing why 24 fps is an industry standard for movies.
24 FPS is the Cinematic Look that is used in motion pictures. There are reasons to shoot other FPS, and one worth mentioning is to shoot super high rate to slow down for that “Slow Motion” effect.
Shutter Speed – I recommend 1/48 or 1/50
As a rule of thumb, you want the denominator of your shutter speed to be approximately double the number of frames per second that you are recording. For example, when shooting at 25fps, your shutter speed should be 1/50 of a second. If you have the 24fps and do not have a 1/48, then pick the closest frame rate, like 1/50 or 1/60.
Manual Mode – Shoot this rather than Aperture, Shutter or Program mode
If anything on the camera is automatic, your exposure can change when something changes in the frame, like your subject moves a little. The camera may think the lighting has changed, and it hasn’t. Shoot manual mode and manual focus as well.
Look – use Neutral
You can pick a picture color mode in the video, just like stills. There are modes on most cameras like Standard, Vivid, Monochrome, Portrait, and Neutral. If your camera doesn’t have a Neutral setting, then pick Standard.
When we cover your post-production, you can do more with a Neutral setting than with Vivid. More on that in later posts on making videos with your DSLR.
Nikon D5 Audio Level
AUDIO RECORDING SETTINGS
Watch this video if you own a Canon to set your audio levels
Watch this video if you own a Nikon. While this is Nikon D7100, you need to find the menu item on your Nikon. Very similar.
You want to have your recording levels set manually and not automatic for the same reasons for the video. When someone stops talking, the Auto level will increase the volume and introduce noise.
Most levels on cameras or a separate recording device like the Zoom Digital Audio Recorders have a way to show you it is too loud.
Most video editors agree that the overall audio level of your audio mix (all of your audio combined) should be normalized between -10db to -20db. I level my videos around -12db with occasional peaks to -8db.
What this means for me on my Nikon D5 is I want the level to peak right up to the last line before it goes red. I have a person talk for a while and then set the sound recording level before recording.
I recommend doing a test video for sound. Set your video settings to get good exposure and audio levels for good sound. Record 30 seconds to a minute and then download to your computer and play using Quicktime or other video software that came with your computer.
For testing, sound play something on your computer like the music you downloaded. After setting your speakers for proper volume when listening to your music, play your video. You must change your recording levels if you have to adjust the volume to hear the recording. The biggest problem is if it is too quiet or if too loud and giving you distortion.
Headphone Volume
Be very careful that you are not using the headphone volume as a way to see if the audio level is set correctly. Use the levels for audio the same way you use a histogram. Once you put those levels, adjust your headphone volume to where you can hear adequately.
Lukas & Nate interview Scott Brock, missionary to Trinidad [NIKON Z 6, 24.0-105.0 mm f/4.0, ISO 9000, f/4, 1/250, Focal Length = 35]
PICKING A LOCATION TO DO AN INTERVIEW
When picking a location, you need to pay attention to two things: 1) Sound in the location and 2) lighting/visual.
I recommend turning on your microphone, putting your headphones on, and listening to the environment. Are you trying to do an interview next to a waterfall or water fountain? That will prove to be difficult to impossible.
Finding a quiet location would be “ideal,” but not always possible.
Make finding the perfect location weighs sound quality over visual.
When doing an interview, you need to do a few things every time.
FILL THE FRAME
When doing an interview, you must carefully choose good composition and background. Pay attention to everything inside the frame.
Get tight on the person you are interviewing.
KILL THE NOISE
Once you put the microphone in place and have your headphones on, you can hear all the ambient sounds. This is where everyone is quiet for a moment while you listen.
Let’s say you hear the ceiling fan or the air conditioner running. I would turn these off for the interview.
Move to a quiet location if you cannot turn off something like a waterfall or water fountain.
Togo, West Africa
STEADY THE CAMERA
Use a tripod or put the camera on a table. Just keep your primary camera for the interview still. If you have a second camera to use, you can maybe put that camera on a slider or fluid head that will let you move the camera during the interview.
I believe you always need one locked camera on a tripod for the interview.
Togo, West Africa
LIGHT THE SUBJECT
I suggest finding a great place with light, so you don’t have to use lights. I find the open shade on the side of a building works as well as porches, as you see in these two photos of interviews we were doing in Togo, West Africa.
AUDIO IS KING
There are times for different microphones, just as for additional lenses. You need to know the difference between a lapel, camera & shotgun microphone.
SHARPNESS IS QUEEN
Sharp focus is critical. I advise against shooting ƒ/1.4 for video unless this is your second camera perspective. Have a depth-of-field that is forgiving if the person moves during the interview.
Use manual focus and not Auto-Focus.
LOCK DOWN THE LENS
Don’t zoom in and out on your primary camera. You can do some of this with a second camera, but be sure at least one camera is locked down, and you have a solid framed shot that is in focus and has enough depth-of-field that the person can move a little and still be in the direction.
Chick-fil-A Kickoff Georgia Tech vs Tennessee
Scoring a touchdown is about knowing where your goals are in the game.
Before the football team steps onto the field, they will practice for many months together. When they execute a play, they know what they are doing and trying to accomplish to win the game.
Alan Alda interviews Rob Michelson about the Aerial Robotics competition he oversees at Georgia Tech.
Before you turn the camera on and start your interview, you must practice. You need to interview your subject, and from what you learn, you formulate your questions so that the responses help convince the audience of what you want them to know, just as a lawyer does to convince a jury of what they want them to learn about their client.
You do not want to sit down, turn the camera on, ask the subject, “What is your story?” and expect them to give you a brief, well-thought-out presentation.
Get to know your subject before you start recording. [NIKON Z 6, 24.0-105.0 mm f/4.0, ISO 12800, ƒ/4, 1/250, Focal Length = 68]
GET TO KNOW YOUR SUBJECT
Even before you sit down and talk to the subject for the first time, do all the research you can on the subject. Sometimes there have been other interviews with the person you can read or watch.
Other than learning about the subject being the person, learn all you can about the story’s topic. If they are a coffee farmer, then learn all you can talk about coffee.
The more you know, the better questions you will ask. I like to say you are peeling an onion. Each question gets you closer to the core of the onion.
You are not just asking questions to find out everything about the subject. You are trying to find the thread that will keep someone interested in them as you reveal more and more about them to the audience.
The Bourne films are a series of action spy thriller movies based on the character Jason Bourne, a CIA assassin suffering from extreme memory loss who must figure out who he is.
To keep the audience’s attention and pull them into your story, you may often hold out on the juicy part of the story towards the end as they did in the Jason Bourne movies.
YOUR GOAL
You know you are ready for the on-camera interview when you have your storyline figured out from your informal discussions.
Like a lawyer who calls witnesses and interviews them to reveal in their own words the content that will help build the storyline so that the jury has no choice but to make the right call. Like a lawyer, you may need to put different people on the witness stand to help build your story.
Now it is pretty standard that even when you have done all your homework, in the camera interview, subjects can surprise you with new content that improves or even complicates the story.
Be flexible and be sure you are listening to what they are saying.
Ideally, it would be great if someone could tell you what you need and leave out all those trails that lead nowhere. I have found time and time again that towards the end, I have asked them to summarize what we just talked about, and they often, in one take, say precisely what I need.
Georgia Bulldog’s Freshman Running Back #35 Brian Herrien Scored his first collegiate touchdown. At the same time, UNC’s Safety #15 Donnie Miles could not stop him during tonight’s Chick-fil-A Kickoff Game, September 3, 2016, at the Georgia Dome.
You see it can be just like the football game. The players have practiced so many times that often the coach just calls the play and you get the touchdown.
Stanley is interviewing James Dockery, senior editor for ESPN. photo by: Jeff Raymond
TWO CAMERAS
When I do my interviews, I always try to use two cameras. There are many benefits like:
Backup of the interview if one camera fails.
Different looks using a slightly wide shot and a tight shot
Helps with editing
Let me talk briefly about how much two cameras can help with editing. Almost all the time, you need to edit someone’s comments. This means you cut something out, and when you do it, the person’s head will jump on the video and give us the telltale sign that you just cut something.
Now, if you have two cameras, you can switch camera angles, and it doesn’t tip the audience that you cut something. It will just look like you went to a different angle.
Now, if you have a slightly wider shot that includes the hands when the person is quite talkative with their hands and not just their mouth, it is good to include them.
Besides cutting out a long comment that doesn’t add to the storyline, there are times you need to rearrange their remarks. Maybe the last thing they said would make the most substantial lead for the story.
Again having that second camera lets you change angles, and it will look like they started with this thought.
In the end, you will help the subject sound more coherent and look like this was just a straight take and more accessible for the audience to absorb.
REASONS TO REDO THE INTERVIEW
The first time you interview someone, tell them you may need to come back the next day or two for a second interview.
Unless you are a seasoned pro, most people will not catch everything happening in real-time and will notice missing information during the post-processing editing time.
If this happens, I highly recommend having the subject redo the parts that you liked for several reasons.
They often have changed clothes
Matching the lighting and camera angles is difficult
Matching the sound can be difficult as well
You may even want to play the video parts you liked and have them rehearse a few times before you redo them. I have found that often the person realizes they can even say it better now that they have heard themselves.
I must tell you this funny story about a seasoned photographer learning to do a video for the first time. He thought of locations he wanted to use as the background for his subject’s interview.
We realized that we failed to tell people to do their interviews in one place while teaching. While in a still photo, that would make sense to show your subject in the different locations, when it came time for editing, the sound didn’t match, the lighting was so different, and when you finished editing the content and put the takes in the logical order of how it best told the story the guy was jumping all over the city back and forth.
It was so funny. Just imagine the evening news where it was the same person instead of going to Washington to listen to the correspondent there and then to the West Coast correspondent or maybe an East Coast correspondent. That was what it looked like.
If you do an excellent job with the interview and have a well-thought-out storyline told by the subjects, you should be pleased with the results. If this is all the audience saw and heard, it will work.
One strategy for editing almost any type of production is to do a “radio” edit. Focusing your cuts and the assembly of your timeline on the dialog [AUDIO] places the story’s content as the highest priority.
Once you have this done, you will work on getting visuals to supplement the audio—more on that in the next part of Shooting Video with your DSLR.
SOME MORE TECHNICAL TIPS
I recommend a magnifier for your LCD. It would help if you were sure your shot was in focus.
Another option is using a video monitor. The advantage of an external monitor is not just a bigger picture for focusing and exposure control, but with some monitors like this Atomos Ninja Blade 5″ HDMI On-Camera Monitor & Recorder is recording for more extended periods than the time limits on most DSLR cameras. You are only limited to the size of the hard drive you use.
Atomos Ninja Blade 5″ PRODUCT HIGHLIGHTS
Key Features – 325DPI, 5″ IPS 1280 x 720 capacitive touchscreen monitor/recorder. – Waveform RGB & luma parade, vectorscope with zoom, and test pattern generator. – Adjustable gamma, contrast and brightness. – HDMI input and output. – Real-time monitoring, playback, playout to a PC or Mac with QuickTime, and edit logging. – Focus peaking, 0-100% zebra, and two modes of false color monitoring. – Records 10-bit, 4:2:2 in ProRes or DNxHD. – S-Log / C-Log recording. – Trigger REC/STOP from camera (Canon, Sony, ARRI, Panasonic, RED, JVC) – Timecode from camera. [Nikon has no timecode] – 2.5″ HDD/SSD media storage.
It records up to 1080 30p/60i resolution via HDMI to an available HDD or SSD using either Apple’s ProRes or Avid’s DNxHD codecs. Recording at 10-bit with 4:2:2 color sampling, this unit provides a monitoring and recording solution in one compact battery-powered unit.
ADOBE PREMIERE PRO CC TIPS
Before opening Premiere, create these folders inside one folder on your computer or external hard drive.
Open Premier and choose NEW PROJECT
1. Name your project: PREMIERE_EDIT_rev_01 putting it in the folder you created called “Premiere Edits.”
2. Scratch Disks tab – Using the 6 Browse… buttons, point each of the six sources to the Project Folders you created using a screenshot on the next slide
These are suggestions for what to put on each track. Storytellers Abroad use this as our format to make it easier when a coach sits with a person working on the story. We are all using a similar setup. Helps cut down on confusion.
These are the export settings we use as well.
To add text to a project, click on the Type tool in blue to the left.
Then click on the picture in the Program Window on the video and start typing.
You can drag the type to where you want and if you want to make modifications to the class, go to the top menu bar to Windows>Essential Graphics.
This is how you gain access to change your Font, Size, Color, and things like drop shadow and more.
Auto Ducking: How to set sound levels on dialogue, ambient sound & music
Select all the interview Audio only. Then go to the Essential Sound and click on Dialogue. This will tell the software that this is the Dialogue, not ambient sound or music. This will now be the most important sound in the video.
There are now four selections within the Essential Sound for the Audio Interview, which the software is now called Dialogue.
When you click on the word Loudness, Repair, Clarity, or Creative, it opens up more controls.
Click on Loudness and then click on Auto-Match. It will set all the volumes for the interview to the standards.
Listen to the interview now. If you have problems with noise, air conditioner hum, or something else, then click on “Repair” and try each option here one at a time. Go with the default at first and then stop if that is good for repair. If not, use the slider to see if less or more can help. If either work, then you can stop again. If not, unclick that option and try the next.
Often you have to play with all of these in some combination to clean up the sound. There are ways to do more, but this usually fixes the most common issues.
Now pick the music or ambient sound and click on either music or ambient sound. When you do, you can then select “Ducking.”
When you click on it, be sure you have the Dialogue icon highlighted. This will say to the software this is the most critical sound, which is your interview.
Click on Generate Keyframes.
Then play the sequence. How does that sound? Does the music or ambient sound not overpower the interview? Is it OK or too loud or soft?
Play with the Sensitivity, Reduce By & Fades to tweak this to your preference. Then click on Generate Keyframes. Do this over and over until satisfied.
Some great tips I have found through the years.
Keyboard Short Cuts
Keyboard Shortcuts Used: (Cmd for all Ctrl on Mac)
Arrow Keys – Navigate Timeline One Frame at a Time Shift + Arrow Keys – Navigate Timeline 5 Frames at a Time Up, Down Arrow – Jump to beginning and end of clip Ctrl+K – Cut at current playhead D – Select clip at current playhead Del – Delete Selected Clip Shift + Del – Delete Selected Clip, and Bring Forward Clips back I,O – Set in and Out Points Respectively ; – Delete Selection With In and Out Points ‘ – Delete Selection With In and Out Points, and Bring forward Clips Back Shift + T – Go in to Edit “Edit Point” Mode Edit Mode + Ctrl + Arrow Key – Move the edit point backwards or forwards Ctrl + R – Speed and Duration on Selected Clip G – Audio Gain on Selected Clip J,K,L – Shuttle through timeline Backwards, Stop, and Forwards Respectively
Be sure the Sequence has a blue line around the box. The go-to File>Export>Media
The above picture will show up but with Black Background. Copy these fields:
Format: H.264
Preset: Vimeo 1080p Full HD
Double Click on Output name. Put in the Export Out folder you created with Your Name.
Click on Export at the bottom.
https://youtu.be/ZhHG4f-9MBY
How to Create Captions and Subtitles in Adobe Premiere Pro CC (2018)
Create a new caption by going up to file->new->caption.
Choose whether you want closed captions, CEA-608/CEA-708/Teletext, or open captions.
Click on the program monitor captions and drag them to the sequence.
Drag caption over to sequence
To edit, open up a captions panel. If it’s not open, go up to Window->Captions.
Click on the Captions in the sequence. Go where it says “type caption text here” and enter it.
Type in some text from the audio of the video.
You can adjust the font up next to Font.
You can increase the size from the Size number.
To remove the background, we will go up to the opacity droplet and reduce the droplet to 0. Make sure the background is selected in the three options to the left.
To add an edge, you must first go up to the top right and increase the edge.
You can then come back and click on the edge switch and go to the color square to increase it.
You can align the caption with the X and Y markers above the text.
Now we can align the caption with the audio. To do this, go to the timeline where the caption is placed. There will be a black bar with the text near the bottom of this layer. Drag the end to where the audio for that caption ends.
When your next audio starts, click the plus button and type in your following set caption; drag the caption line to where the audio stops.
Repeat by clicking the plus sign and adding additional captions to your audio.
There you have it. That is how you create captions and subtitles in Adobe Premiere Pro. Now all you have to do is render your footage, and you will be ready to go!
Storytellers Lukas Benson and Nate McClain were a team from Cedarville University. During spring break, they went to Trinidad to learn how to tell a multimedia story of missions.
Nate McClain & Lukas Benson are capturing the b-roll of Lennox Boodram as he is counseling two of the guys in his program at Turning Point Drug & Family Resource Centre. [NIKON Z 6, 24.0-105.0 mm f/4.0, ISO 4000, f/4, 1/250, Focal Length = 32]
They did their story on the founder of Turning Point Drug & Family Resource Centre, Lennox Boodram.
Lukas Benson talks with Lennox Broodram & Scott Brock in the kitchen. Lukas is doing a story on Lennox. The one thing Lennox uses to draw addicts into his program is the good food that he cooks at Turning Point Drug & Family Resource Centre. [NIKON Z 6, 24.0-105.0 mm f/4.0, ISO 5600, f/4, 1/250, Focal Length = 48]
We learned about how important food is to Lenox. It was the one thing that helped get him the help he needed at a terrible time in his life. He would work as a dishwasher in a five-star restaurant in the United States. This is where he learned what he could from the chefs.
Lennox Broodram shows how he always has some food ready to cook up a delicious meal if someone is in need at Turning Point Drug & Family Resource Centre. [NIKON Z 6, 24.0-105.0 mm f/4.0, ISO 51200, f/10, 1/200, Focal Length = 28]
Mixing the Pigeon Peas with curried chicken at Turning Point Drug & Family Resource Centre. [NIKON Z 6, 24.0-105.0 mm f/4.0, ISO 51200, f/14, 1/80, Focal Length = 90]
If you want to take your group on a workshop as Cedarville University did with Storytellers Abroad, write to me, and let’s plan a workshop.
Storytellers Lane Yoder and Nathan Hiser tell Ashmir Mohammad’s fantastic story of transformation. Ashmir grew up in a Muslim family in St. Augustine, Trinidad, where he continues to live with his wife and kids.
Jeff Raymond listens to the story about Ashmir with the Storytellers Nathan Hiser and Lane Yoder during one of their many editing sessions.
[NIKON Z 6, 24.0-105.0 mm f/4.0, ISO 16000, Ä/4, 1/250, Focal Length = 62]
Listen and watch the story of Ashmir Mohammad that Nathan and Lane captured.
Come with us to our next workshop. Check out the Storytellers Abroad website to learn more about our workshops.
Reeanna – Works and ministers at the drug and family rehab established by Lennox. She is a Christ follower and has a tremendous testimony about how God brought her minister to the rehab center. Ñ at Turning Point Drug & Family Resource Centre. Reeanna – Teaches students how to make Roti. Roti is a round flatbread native to the Indian subcontinent made from stoneground whole meal flour, traditionally known as atta, and water combined into a dough. Roti is consumed in India, Pakistan, Nepal, Sri Lanka, Indonesia, Singapore, Maldives, Malaysia, and Bangladesh.[NIKON Z 6, Sigma 24.0-105.0 mm f/4.0, ISO 14400, f/4, 1/250, Focal Length = 35]
Hannah captured Reeanna’s story; it is best to see her video here.
Jeff Raymond walks the class through the resources created in a report-size notebook for them at Trinidad & Tobago Urban Ministries. [NIKON Z 6, Sigma 24.0-105.0 mm f/4.0, ISO 8000, f/4, 1/250, Focal Length = 28]
