Aerial Videography | Drone Flying - Create Stunning Aerial Drone Stock Footage | Vinnie Fallico | Skillshare

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Aerial Videography | Drone Flying - Create Stunning Aerial Drone Stock Footage

teacher avatar Vinnie Fallico, Drone Operator | Director of Photography

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

33 Lessons (2h 20m)
    • 1. 1.1 Welcome

      2:31
    • 2. 1.2 Why Aerial Stock Footage

      1:41
    • 3. 2.1 Aperture (And Sharpness!)

      4:08
    • 4. 2.2 Frame Rates

      2:39
    • 5. 2.3 Shutter Speed

      2:15
    • 6. 2.4 ISO

      3:23
    • 7. 2.5 White Balance

      3:25
    • 8. 2.6 Shooting in Manual

      1:50
    • 9. 3.1 DJI Drone Comparison

      3:37
    • 10. 3.2 ND and Polarization Filters

      3:58
    • 11. 3.3 Accessories

      2:39
    • 12. 3.4 DJI Mavic Air 2

      0:49
    • 13. 4.1 Part 107 License

      2:44
    • 14. 4.2 Liability Insurance

      3:43
    • 15. 5.1 Photo vs Video

      1:38
    • 16. 5.2 What To Shoot

      9:59
    • 17. 5.3 When To Shoot

      4:57
    • 18. 5.4 How To Shoot

      7:52
    • 19. 5.5 Aerial Hyperlapse Shoot and Edit

      21:45
    • 20. 5.6 Color Profiles

      3:54
    • 21. 5.7 Model Releases

      2:26
    • 22. 6.1 Importing

      6:38
    • 23. 6.2 Color Correction

      6:41
    • 24. 6.3 Using a LUT

      4:50
    • 25. 6.4 Exporting

      3:33
    • 26. 7.1 Black Box

      2:40
    • 27. 7.2 My Agencies

      0:33
    • 28. 7.3 FTP (File Transfer Protocol)

      3:06
    • 29. 7.4 Pond5 and Metadata (Don't Skip!)

      13:30
    • 30. 7.5 Shutterstock

      3:30
    • 31. 7.6 Adobe Stock

      2:04
    • 32. 7.7 Don't Give Up!

      0:55
    • 33. 8.1 Thank You

      0:28
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About This Class

This course will show you step by step exactly how to take your passion of flying and turn it into stock footage. Whether you have been shooting aerial footage for years, a casual hobbyist, or you have never flown once, this class if for you. 

Why should you create stock footage?

- Be your own boss

- Earn money while traveling (take your drone with you on trips and shoot beautiful locations)

- Repurpose unused footage from old projects

- Get paid to practice

What you’ll learn in this course:

  • How to financially benefit from a low supply of aerial stock footage clips
  • Camera basics - Exposure triangle (aperture, shutter speed, ISO), white balance, and frame rates

  • What drones, filters, and accessories make for the best shots

  • How to fly and shoot stock footage legally

  • How to shoot and edit RAW hyperlapses (don’t use the HD version the drone gives you!)

  • When you should be shooting to differentiate yourself amongst the competition

  • What movements make shots look the most cinematic

  • How to do basic color corrections and add a LUT to get the best looking clip possible

  • How to upload to different stock agencies and input high quality metadata that makes your content easier to find

Meet Your Teacher

Teacher Profile Image

Vinnie Fallico

Drone Operator | Director of Photography

Teacher

My name is Vinnie Fallico and I am a drone operator and director of photography based in Austin, Texas. Over the last few years, I have been fortunate enough to work with brands like PayPal, Facebook, Rolls Royce, Bentley, and Whatabruger. I have been flying and working as a drone operator for over four years now and I'm excited to share my experience and knowledge with you to help you earn passive income doing what you love

See full profile

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Transcripts

1. 1.1 Welcome : Hi everyone. My name is Vinny Falco and I'm a drone operator and director of photography based here in Austin, Texas. Over the last few years, I've been fortunate enough to work with a lot of really great brands, including PayPal, Facebook, Rolls-Royce, Bentley, Whole Foods, and whatever your. While working with these clients and shooting my own personal stock footage, I was able to get some shots like this. Now if you're like me, you're totally nerd out over drowns, and that's okay. That's a good thing. What I'm here to teach you is how to monetize that. In this course, I'm gonna cover camera basics. I'm going to show you what drones I use and what other gear I use. I'm going to teach you how to research what tissue so that it's most profitable down the road. I'm gonna teach you how to shoot, when to shoot, how to edit, how to colour, how to use a lot when coloring. Finally, how to export those clips, how to upload them to different stock agencies. And finally, how to keep track of your earnings. I'm even gonna give you the exact spreadsheet that I built for myself to track your earnings and monitor your progress. That way you can determine where you should be spending most of your energy. Now you might be thinking to yourself that there's no money in stock footage, the market saturated. It's hard to stand out. And to that, I agree. But that's where aerial cinematography and aerial stock footage comes into play. This is what differentiates you from the rest of the crowd. I personally have over 1500 eclipse with multiple stock agencies. And I've proven firsthand just how high the demand is for aerial stock footage clips relative to the supply of the market. Alright, that about wraps it up. Then you guys so much for your time and consideration of this course. If you have any questions at all before enrolling, feel free to reach out to me through my website, Vinny phallic O.com. And if you're already enrolled, I'll see you in the next movie. 2. 1.2 Why Aerial Stock Footage: So why aerial stock footage as opposed to regular stock footage? Well, the answer is simple. It's supply and demand. Everyone has an iPhone. Everyone has a camera laying around the house and old recorder, something that they can use to sell and create stock footage online. However, most people don't have a drone, although that is changing. It's still proportionately a smaller percentage of people that have drones as opposed to on iPhone or a camera phone. Additionally, there are way more barriers to entry. You have to buy the drone, which is obviously an upfront financial cost. Then you have to learn to fly. Then you have to learn to shoot. There's many more steps, and so it makes it a lot more complicated in order to learn how to do this. That being said, if you go through those steps, there's definitely an opportunity in a niche avail before you. Now me personally, I have over 1500 clips on multiple stock agency websites. Now a very large proportion of those are aerial, but I do have some that I've shot with my mere list and cinema cameras. Overall, I so way more aerial footage as opposed to cinema and near lis footage. Now, obviously, it's a smaller percentage of my portfolio, but still, the facts were in aerial footage definitely sells at a higher rate than my other footage. So I think the big take away here is aerial stock footage. His key. Not everyone has this opportunity, and not everyone is willing to take this opportunity and really benefit from it. 3. 2.1 Aperture (And Sharpness!): all rights are first section in camera basics is aperture. What is aperture and why is it important? Well, aperture is important because it controls the depth of field of your image. If you have a really low aperture, so you're shooting at F 1.4. Your subject is gonna be crisp, but everything else is gonna be very blurry. However, if you're shooting at F, say 22 both your subject and your background is gonna be very sharp now, in regards to light, if you're shooting at F 1.4, the irises all the way open. Okay, so that's going to give you a lot more light again On the opposite side at F 22 it's going to the opposite. It's going to close the iris and therefore give you a lot less light now on drones. Typically, you're not shooting at F 1.4. You're shooting at something closer to 2.8 for F four on the low side of things. Now there's one very important point that I want you to realize in regards to aperture. Not every F stop is equivalent and sharpness in your final image. So with most lenses and most drones. There's a sweet spot between 2.8 on your drone. Let's say an F 11 there will be differing levels of sharpness at each F stop. All right, so we're gonna dive into my computer here, and I'm gonna show you what I mean. All right, So what we're looking at is five different images shot at varying apertures, all in the same location, and try to get the same lighting we're gonna zoom in year. So this is a greater goods coffee. It's, ah, local coffee company here in Austin, Texas. And this is where we're gonna be looking at F 2.8 at four. F 5.6 F eight and finally F 11. So we're gonna compare the sharpness. All right, So our first step is gonna compare F 2.82 f four. So we're currently looking at F 2.8. If I turn off the layer of F 2.8, we're gonna compare it to F four. Now, if you're looking at the letters on Agua Colorado between F 2.8 and a four, it looks to me that F four is just a little bit sharper. Now we're gonna compare F four to F 5.6 now switching back and forth. Same thing. It kind of seems to me that F four is sharper than F 5.6. Okay, now we're gonna compare F 5.62 f eight definitely a difference. There again, looking at, I will Colorado at 5.6 two f A definitely difference there. And finally F eight f 11. Definitely a huge difference from F 8 to 11. So overall it appears that F four is the sharpest aperture again, if we compare the difference between, say, F four and F 11 there's a huge difference. Now we'll compare F four F eight again pretty substantial difference. It starts to get a little bit more subtle from 2.8256 but I definitely think the sharpest image is right at half four now. What does all this mean when you look back at this and you look at the data, you can see that between F four and 11. There's a huge difference in sharpness. So when you're out shooting and you're flying your drones, you always want to try to shoot as close to F auras. Possible 4. 2.2 Frame Rates: So what is a frame rate? Well, when you're shooting video, in reality, you're shooting many, many pictures in succession. So, for example, if you're shooting at 24 p or 24 frames per second, you really just shooting 24 photos per second and then stitching that together to make one second of video. Same thing. If you're shooting at 30 frames a 2nd 60 frames a second and 120 friends of second, depending on the overall look that you want in your final clip, you will select your frame rate from there. Now, if you're wanting to incorporate slow motion in your footage, you will always want to shoot at a higher frame rate. So that's typically 60 frames per second, or 120 frames per second. And then what you'll do is you'll slow that down in post and you'll have your final slow motion footage. We're gonna look an example here and dive on in the computer. This is just a road by my house. It was a static shot, and I just want to show the difference in the speed of traffic at the varying frame rates. This one currently play this. This is at 24 frames per second. As you can see, everything looks pretty natural. Their cars were driving by, obviously drive them by pretty quick. You got some motion blur with the cars, and overall, everything's looking pretty. Now. My second clip, when I play that, I'm playing it back at 80% speed because it was shot at 30 frames per second, so that allows me to slow the clip down by 20%. So when I played this clip, you can notice that the car's air moving a little bit slower. They're still moving pretty quick, but they're definitely slower than they were at 24 frames per second. Now at 60 frames per second, this is where you really start to notice. A difference. Gonna play this clip here. There's a pretty big difference, obviously, with how that car turns the speed at which the other ones are traveling so on so forth. Definitely a difference in the overall look of the clip. And finally, at 120 frames a second, there's a huge difference. Something play this clip now at 120 frames a second. You obviously noticed a big difference. So this has been slowed down all the way to 20% and you can see just how slow the cars were actually moving. In reality, they're moving quite a bit faster. They're moving Justus fast of the cars in the 24 frames per second. But because I shouted at a higher frame rate, you have the ability to slow things down and post and create that slow motion and dramatic effect. 5. 2.3 Shutter Speed: So now that we understand frame rates, we're going to dig into shutter speed now in video. Shutter speed and frame rates have a very close relationship. Typically, you always want to have your shutter speed twice what your frame rate is. So in the previous movie, I mentioned that if you're shooting at 24 p or 24 frames per second and reality, you're just taking 24 photos per second and then stitching that together. Shutter speed determines how long that shudder in your camera is open for everyone. Picture that it takes so you can have a long shutter speed. Say one second, where you can have a very, very short shutter speed, say 1 1/1000 of a second. Now, when you're shooting video of both, those shutter speeds are not common. You're typically shooting at 1/50 of a second all the way up to say 1 250th of a second. So I'll show you a little chart here and break that down. Okay, so like I previously mentioned, if you're shooting at 24 frames a second, you typically want tohave your shudder. At 1/50 of a second 30 frames a second, 1/60 of a 2nd 60 frames per 2nd 1 125th of a second. That's hard to say. And 120 frames per 2nd 1 250th of a second. Okay, so when you're shooting video, you want some level of motion blur in your clip by shooting at 24 frames a second and having your shutter speed at 1/50 of a second, you're gonna have a certain level of motion blur. Now, if you're shooting at 24 frames per second and your shutter speed is 1/2 50 you might start to notice that things are a little bit more rigid, especially if you go up from there. If you go one over 500 won over 1000 you will notice that your foot is start to look more rigid and really loses that cinematic feel we all look for. Okay, so next time you're out in the field and you're shooting some stock footage, you always want to make sure that you're following this 180 degree rule. That way you get that smooth cinematic footage that you're looking for 6. 2.4 ISO: art. Our next topic in camera basics is I. So now I so is basically just your camera's sensitivity to light. So by increasing the ice, so you're basically just adding artificial light into your image. So on the low end, at 100 you're gonna have a relatively dark image and say at the top every drone and cameras a little bit different. But say the top is 6400. You're gonna have a much brighter image overall. Now it might sound like a good thing to be able to increase the brightness of every image in every video that you shoot. However, there's a catch. The higher the ice. So the more noise or will save picks elation you introduce into the image. So if you're shooting at 100 you're gonna have a very clean image or video as opposed to shooting. Let's say, at eso 6400 and above now it's very important. Understand and realize where the upper limits of ice so are on your drone now. Just because your drone goes up to 6400 doesn't mean that you should do so. You should always try to have the lowest I so possible ideally at ice A 100. So I did my own test on my own drone, The Phantom Four pro. And I'll show that to you now. Okay, so this is shot at ice or 200. You can see that everything was great. It's very clean and definitely usable in the field. Now we're gonna kick things upto eso 400 now because I'm changing the I. So obviously I'm adding light to the image. And so I'm having Teoh increase the aperture or the shutter speed in order to counterbalance that and get the proper exposure. So here I so 400 same thing. Everything's looking pretty good. You can see just a little bit of noise, but overall still looks very clean. Same thing at eso 800. You start to see just a little bit of noise, but overall, still relatively clear. Here we are at 1600 you can start to see a decent amount of noise introduced and overall for me, this is where I stopped shooting on the Phantom four pro. I think that it's 1600 I So you really shouldn't be pushing much past that. Too much noise gets introduced, and it starts to really degrade your image, and everything seems to really fall apart. So if we kick it up again, this is 3200 and you can really see things starting to kind of break down here, over in the corners. And finally, at 6400 you can see that the image is completely unusable. It's too noisy, it's two broken down, and there's really not much you can do to try to recover that. All right, so after looking at this test, we know that on the Phantom Four Pro, one of my drones, the upper limit on ice. So for usable footage is 1600. Now what I want you to do is to do this same test with your drone and figure out where the upper limit is. It might be 1600. It might be 800. It might be 400. That's all dependent on your drone. So once you know this number, when you're out shooting, you know that you have to stay under that number in order to get clean footage 7. 2.5 White Balance: Our next topic in camera basics is white balance. Now, white balance is basically just your camera, deciding what color in the frame should appear to be white. So this is always measured in Degrees Kelvin and typically ranges from about 2000 to 10,000 now at 2000 the overall image tends to be a very blue and works its way all the way up to, say 10,000 or somewhere below to be very orange and almost yellow. All right, so on your drone there's multiple presets, and you're gonna want to use these 99% of the time. There's a sunny preset, which you'll use hopefully all the time. There's a cloudy, preset and incandescent and so on and so forth. So with these presets, you're just gonna goto white balance tap on sonny and your set if you really need to. You can also dial in the degrees Kelvin, which means if you're in a certain situation where you really need to dial in that light to have it perfect, you can also do that as well again. Most of the time, the preset will be fine. You're gonna be outside during daylight, so you're gonna be. It's sunny or cloudy. Okay, Something A dive into my computer and show you a quick example on how to do. So. Okay, On this first shot, the white balance is said to Sonny, You can see that the sky looks blue, the clouds like white. Overall, there's not a color cast the image and everything looks pretty good. So if we go into our settings now and we change it to cloudy, we're gonna get an image that is overall just a little bit warmer now. Same thing if we go into our settings and we say change it. Teoh incandescent. Obviously, this is going to make a huge impact on our overall color. You very, really want to shoot incandescent unless maybe you're doing some real estate. But overall, you want to stick to sunny and cloudy. Now put all three on screen and you can see just how big differences are. All right, So when we're comparing all three images side by side, we can see that again. When the white balance is set to sunny, everything was good. There's no color cast. The sky is blue, the clouds are white. When you switch things too cloudy, and it's not, in fact, cloudy out. You start to introduce the color casts, and that's kind of an orange color cast. If it's not cloudy, obviously, don't use cloudy as your white balance and now even more so incandescent. You're never gonna use this when you're shooting outside cause it looks terrible. It's bright. Blue doesn't look good. You're gonna notice immediately when you tap it. You shouldn't shoot in this white balance. So next time you're out in the field shooting your stock footage, make sure that you set a white balance for in your footage. You don't want to be set for sunny or cloudy again, probably 95% of the time. Now. One thing to note is never, never, never use auto white balance. So the reason behind this is that your camera is basically trying to decide what is white while you're recording. If it decides that it needs to shift the color, it's going to do that automatically, making it almost impossible to shift in post. So always shoot in manual white balance, pick a preset and you'll be good to go 8. 2.6 Shooting in Manual: Now that we've gotten through all the camera basics, you should understand just how important it is to have all your camera settings set for manual. You should have your aperture set. Your frame rate, your shutter speed, your ice. Oh, and your white balance all set so that things don't change on the fly. Now, we're gonna go through one video together of me shooting an auto, seeing the settings change and then switching them all to manual. All right. So as you can see, the ice so said to you, auto shutter F stop. White balance. Everything said to auto. Right now we're moving forward, looking at the road by my house, and now I'm gonna start to take a turn left here. And as I'm starting to turn left, you can see that all of a sudden the shutter starts to increase. It goes up to 80. Which again, if we're shooting at 24 frames a second, we don't want because that will start to make things a little bit more choppy than we would like. All right, So how do we change this? So that this doesn't happen automatically. Well, we go into the menu and set everything the manual like I mentioned before. Okay, so we're gonna go into our settings, and we're going to switch everything over to manual. We're gonna put our shutter speed at 1/50 because we're shooting at 24 frames per second. We're gonna put our aperture to be 4.5, and then our white balance, we're gonna select Sunny. All right, so that's how we get to our final exposure. Should things be a little bit dark, you can always increase the ice. Oh, and if things were very, very bright, you'll need an ND filter, which we'll get to in a later chapter. 9. 3.1 DJI Drone Comparison: in this video, we're gonna break down the different models of de G ay drones and see which drone is best for you. Given your budget. All right, so we're gonna pull up this comparison chart of the different drones from D G. I and take a look. Okay, so here's most of the drones that D G. I currently offers now that recently came out with the Magic Mini. As you can see, pretty much all these drones or foldable except the Phantom Four pro. Now the weight same thing goes from lowest to highest dimensions, lowest to highest. Okay, so the most important thing we're gonna look at when comparing these drones is the video specs. So you can see with the Maverick Mini you can shoot at 2.7 K up to 30 frames a second. Now, given the size of that drone, that is amazing. However, I would love for that drone to shoot four K. If it shot four K, I think you would have a little bit more flexibility with it, and I think it would open a lot of doors for stock footage as well. That drone currently is only $399 which is pretty amazing. I would definitely recommend the Magic Mini as a first room, especially if you're new to the world and you're just kind of dipping your toes in the water. I think it's a great starter. Drone 2.7 K It's still great, and it's really amazing what you can do with this drone. The next drawing that we're gonna look at is the magic Air. And if we're looking at video specs, four K again at 30 frames per second, which is great, and it's currently selling for $919. All right, so the next John we're gonna look at is the maverick pro platinum, and I really think that this drone honestly is a little bit outdated. She's four K at 30 friends for Second Onley at 60 megabits per second, and it's currently $1149. So if I were to have to pick honestly, I would probably dio to the Matic Air just because of the portability and the fact that it does shoot four K 30 friends for second at 100 megabits per second. Yes, it has a little bit less flight time, but it's still a great drone, and I think you could really use this for stock footage in a bunch of different ways. Okay, so now, looking at the higher end of things and comparing the maverick to zoom to the maverick to pro, I still think I would definitely recommend the maverick to pro. The maverick to pro has a little bit more flexibility in the manual settings you can control. Aperture, I think the images of sharper and again I think you have more flexibility on what you can create. That being said, it is more expensive. It's $1600 as compared to the magic to zoom, which is $1349. If you can afford the better drone, I would highly recommend it. Last but not least, the Phantom four Pro. I think it's a great drone. I think it has a lot of prose. However, if I were to recommend one drone for stock footage specifically, I would still recommend the maverick to pro. I think the image that you get out of the maverick to pro in comparison to the Phantom Four Pro is very very similar. And with the maverick to pro again, you get that ability to do aerial hyper lapses, which I think is a huge selling point. Okay, so I hope this chart helped break things down for you guys just a little bit. I know how confusing it could be to look at all these different specs and try to compare everything and then at the very end of things you're trying to add in your budget, and it could just be a lot. So I hope this chart helped you guys out, and I hope it helps you make a better informed decision on your next drone purchase. 10. 3.2 ND and Polarization Filters: Okay, the next piece of gear that we're gonna be talking about our nd filters or neutral density filters. Now, this is very, very important. When you're shooting any kind of video, whether it be on the ground or aerial and I'm gonna show you why here, just in the sec. So when you're looking at these nd filters, these are filters for the Phantom for pro, and these are filters for the magic to pro. Now, why do I use Andy Filters? Well, if you remember back to the shutter speed chapter, I put a chart on screen called The 180 degree rule, and I'll put this back on the screen Now. Now, if you look at the frame rate versus shutter speed comparison, if you're shooting at 24 frames a second, you want the shutter speed to be at 1/50 30 frames a 2nd 1/60 and so on and so forth. Now, if you're out shooting in the middle of the day and you're shooting at 24 frames a second and your shutter speed is at 1/50 your aperture is at four. Because we want that sharpest image possible and your eyes those as low as they can go 100 . It's still gonna be super blown out and over exposed. So how do we combat that? Well, that's where neutral density filters come in or nd filters. So basically, nd filters are like sunglasses for your camera. It brings down the exposure so that you can keep those settings constant and still correctly expose your image. Now both sets of these filters are also polarized, and I'm gonna show you here in a second. Why, that's also important. I'm about to play three different clips. The first clip, no polarization, the 2nd 1/2 polarization and the 3rd 1 Full polarization, and I want you to see if you can find the difference. So this first clip I'll click play here. This is no polarization now. It's a good clip overall, but when you look at the sky, it's a little bit blown out. You really don't get those deep blues that you see in some other videos, so that's where polarization comes in. It can really help bring out those blues in the sky. So I played the next clip. This is half polarization, and you can see that this guy is definitely bluer. Then, when there was no polarization added and finally full polarization, you can see that in the sky things really start to pop. Those blues start to come out, and overall things just look a little bit more vivid. Polarization is also really important when you're shooting over water. If you add polarization when you're flying over water, it really takes that shine. And that glare away with the water and really, again just makes things more vivid. And when you're looking at nd filters online and really getting down and comparing them, I hope that you really consider these polar pro filters. I think they're the best filters on the market. Yes, they're more expensive, but I think it's worth it. I think it's really gonna pay off for your stock photography and just your business is a whole. So check these filters out. I think they're great value and a great investment, and I really think they'll take your stock footage up to that next level. Now, before you go out and shoot with brandy filter, you need to understand what strength or what level you need to apply. Given the lighting situation, So, for example, if you're shooting at midday, say noon to 3 p.m. It's gonna be very bright outside, so you need the most amount of nd, which typically ranges from nd 32 two nd 64. Now, if you're shooting sunset or sunrise, you typically wanna have no more than nd four on your drown. Sometimes in certain situations, I won't even use an nd filter when shooting at sunset or sunrise just because it gives me a little bit more light to play with. And I won't have to increase my I s O, which then degrades my image. 11. 3.3 Accessories: Okay, So now that we've talked about drones and nd filters and polarization filters, we're not gonna talk about all the accessories you can get with your drone. So start off. I have this hard case for my magic to pro. Go ahead and open it up here in it. I have just about everything I need. I have my memory cards for my micro SD cards, my nd filters, which I just talked about. I have plenty of batteries I have With this case in particular, I have 367 batteries in this case. Now, you might be asking me why do you need so many batteries? And I get that seven batteries a lot. But if you remember, I mainly bought this drone so that I could shoot high prolapse is now hyper lapses really suck up batteries, and you really only get one. Maybe two. High prolapse is for everyone battery. So if I want to go out and shoot a bunch of hyper lapses in one day, obviously I need a lot of batteries. So that's why I have somebody batteries. And what else do I have in here? Well, I have my smart controller I would definitely recommend this. It's way better than having to hook up your phone to your drone. There's a lot less things that go wrong. Your battery lasts a lot longer, and I think overall it's the brighter screen. There's just a better interface. I also have all the power chords, the charging station, the charging docks. Everything that I need for my magic to pro is in this case and very quickly. I can put everything in here, shut it with everything being fully protected. Now I love this case. It's great to have everything with me, but I don't always use it because it's just that much bigger than the drone needs to be. Sometimes I'll use one of my smaller cases like this. This fits the matter to pro, and this fits even more batteries, and this is a smart controller. Sometimes what I'll do is I'll put all three of these in a small little backpack, go on a hike, maybe get three or four flights and call it a day. So it just depends on the situation. If it's more of a professional use, I'll take the case if it's more kind of for fun, and I have to be a little bit more stealthy about things. Then I'll use these smaller cases throwing a backpack and be on my way. Now, if you're interested in any of these products, I highly recommend both the hard case. The soft case, the memory card holder. Obviously, the ND filters is a must. So if you're interested any of these products, definitely check them out. I'll go ahead and leave links for them in the class notes. 12. 3.4 DJI Mavic Air 2: Well, it's one day after I made the drone comparison video and broke down all the different de g ay drones. And today they released the maverick air to It shoots four K 60 frames per second, has a 48 megapixel camera can do up to an eight K hyper laps and canned shoot 240 frames at 4 10 a. Now this is an amazing drone, amazing piece of equipment, and if you have the budget for it, it's currently listed for $799 US. I would definitely recommend this drone for stock footage. It's so small and light compact and it still packs a heavy punch on the specs side of things. So definitely take a look at the mave A care to if you're considering buying a new drone. 13. 4.1 Part 107 License: OK, The next topic we're gonna cover here in our aerial stock footage course is the legality of flying and selling your footage that you shoot in orderto legally do so you do have to have your part 107 license. Now I do realize that this is a barrier to entry. But like I mentioned before, this is yet another reason that can differentiate you and separates you from the rest of the people of shooting stock footage. Because you have those license because you're shooting aerial footage and using all of these topics that I've covered previously, you can really separate yourself from the crowd. Now, if you're wanting to go even farther and shoot more than just stock footage, your part 107 license will give you that ability to shoot commercials. Other YouTube videos shoot for Instagram, shoot for weddings, real estate. The list goes on and on so highly, highly encourage you to get your part 107 license. I really don't think is that difficult to get now? I got my part 107 license back in 2017 and honestly, it really wasn't that big of a deal. I studied for about a week. I went and took it, and I passed the first time. Now, in order to pass, you do have to get above a 70%. And honestly, if you put in the time like I said, I did about a week worth, and even then I think you could knock it out even shorter than that. Maybe a couple of days. It's really not that bad. And again, I would highly encourage you to knock this out. It really open up a lot of doors for you now. How did I study for this video? Well, like all things I went on YouTube and I typed in part 107 license and a bunch of different videos popped up. I sifted through some of them, and I found that Tony and Chelsea Northrop's video was by far the best. Now it's a little bit of a lengthy video. It's about an hour and 45 50 minutes long, but that's the only thing that I used to study for this test. Now, in this, they do a really great job of breaking things down. They cover drone laws, airspace, sectional charts, whether you name it. They cover everything that you need. In order to pass this test, they give you guides. They break down the whole entire video with a table of contents so that you can revisit videos or a section of videos if you need to do so. So again, I would highly recommend this video by Tony and Chelsea Northrop. I don't think there's another video out there that does is get a job of them. So definitely go in there and check that out. So find this video. You simply go to YouTube like I do for just about anything else. You go to YouTube and you type in part 107 and their video will most likely be the 1st 1 that pops up. Watch that video, study it, take their practice tests and you'll be on your way to getting your part 107 in no time. 14. 4.2 Liability Insurance: The next topic we're gonna cover in our legal section of this course is insurance. Now. Insurance isn't exciting topic. I get that, but I think it's an important subject to at least touch on now. Do you need insurance every time you go out and fly your drone and shoot stock footage? Most likely? No. But again, it just depends on the situation and where you're flying, because if you're flying in a field in the middle of nowhere, do you need insurance? Probably not. However, if you are flying over roads, it can get a little bit Harry, and it's always good to have your butt covered. Now, if you're solely shooting stock footage, do you need annual insurance? The answer's probably know Realistically, you can probably get away with hourly or even monthly. Now there's three different companies that I'd recommend looking into, and those are drawn insurance dot com Very fly and finally Skywatch. Now I went ahead and put a chart together to make things a little bit easier to digest. Okay, so here's the insurance comparison chart, and, as you can see again drawn insurance dot com. Very Fly and Skywatch now, depending on how long you need this insurance for, obviously, the rates. Very so if you're looking at hourly, very Fly and SKYWATCH are only $10 an hour now. If you're needing a longer period of insurance, that's where these differences start to pop up. So if you look a drone insurance dot com, they have a $7 per month subscription, plus $30 per day. So for one day, that equals the $37 whereas Vero Fly is $40 SKYWATCH is 47 50. Now when we're looking at monthly rates, that's where things really start to separate. Withdrawn insurance dot com It's $233 for a month of insurance. Very fly that's not applicable. And for Skywatch, it's $62. Obviously, there's a clear winner. $62 as opposed to $233 now for annual drone insurance and verify. Do not offer it and Skywatch is about 7 50 Okay, so our next point of comparison is whole insurance. Would his whole insurance well, that's the insurance that's on the physical drone itself. So if you were to crash it into, say, a tree or a power line. Whatever you might crash into that drone specifically would be covered. So as you can see, drone insurance dot com does offer it very fly does not. And Skywatch does cover. Okay, so the last point of comparison is additional certificates of insurance. So if you start shooting for different clients, you will very quickly realize that a lot of the times they want this in order just to kind of cover their own. But so if you're shooting for a client, a lot of times will request it, and it's very important to be able to provide this. So as you can see, drone insurance dot com Very Fly and Skywatch all office Now, just looking at these numbers for Skywatch Verify and drone insurance. Overall, it can seem like very fly is the best option. However, Skywatch does offer different discounts depending on how you fly, which you can do is you can go in their app. You can upload your last five flights, and depending on how you flew in those last five flights, it will give you a discount based on the score that you received. By doing this, you'll really cut down how much you pay anywhere from 10% all the way up to 30% off. So if you take this into consideration when you're flying and out shooting stock footage, this could really save you a lot of money down the road. 15. 5.1 Photo vs Video: Now, when you're out there shooting with your drone, you really have to different options. You can shoot stills or photos, or you can shoot video. Now when you're selling this online, I really believe it's more beneficial to shoot video now. You could still be both. Obviously, you can still sell both on these different stock footage sites. But for me personally, I find that it makes more sense to shoot video as opposed to photo. So why is that? Well, when you're selling stock footage, you're selling anywhere from $65 which is standard definition all the way up to $199 which is four K, and you're making differing percentages of that, depending on the site that you're selling it on. Whereas for photos, you're really only sewing them for a couple of dollars. And after everything on Lee making sense on the dollar, and you still have to go through all of the process of uploading key wording, titling and all the other metadata that goes into that. So again, I think that you can make a living off of stock photos. I think it's another way to diversify your income, however, I feel that shooting video over photo is a much better investment of your time and will pay off more in the long run. Now. Some people believe that because the price of a photo is so much less than the price of a video clip, more people will buy them. And I totally agree with that. I think you will definitely move more volume with photos as opposed to video. However, the amount of money that you're making on each photo is a fraction of what you make on a video clip. So again for me, I think it's more advantageous to sell those clips and do that as opposed to you shooting stills. 16. 5.2 What To Shoot: Okay, so you know your camera basics. You've bought your drone, you have your license. Maybe you have some insurance. You're already to go. But now what do you shoot? Now? This is the most important topic of perhaps this whole class. Because if you're not shooting the right thing, if you're not shooting, what sells? You're not gonna make any money. So where do you start? Well, for me, I always start at shutter stock dot com. Shutter stock is one of the main sites that will be uploading to, and I think it's a great place to start things off. Okay, so we're gonna dive into my computer here and take a look. So notice that I'm on the footage page as opposed to images, editorial or music, and I'm just gonna go ahead and type in something. I'm from Denver, Colorado. Originally. So let's type in Denver now, before I hit search, you can see that a list populates of the most searched items in shutter stock relating to Denver. You have Denver skyline, Denver, Colorado, Denver Mountains International Airport, cargo skyline again, the airport, Denver skyline, mountains, Denver water, and so on and so forth. So This is a great starting point on things to shoot you now know what the most searched things are when it relates to Denver, and you can try to incorporate that in your aerial stock footage. Okay, so let's click on one of these. Let's click on Denver skyline obviously, a bunch of things we're gonna pop up and you can see what are the most popular clips for Denver skyline on shutter stock so you can see here we have the baseball stadium. We have a couple of sunset shots, obviously with the skyline be incorporated. So what you have to think to yourself is, Is this market saturated, or is there an opportunity that I can still shoot and fulfill that opportunity? In addition to that, you need to look at this and say, OK, maybe there's shots of the baseball stadium, but how could I do that differently? How could I do it better? And that's the most important part about this is you need to look at these shots and think outside of the box. Could you do a different time of day? Could you do a different type of shot? Could you do a top down shop, and these are all the different things that we'll talk about later on. But you need to kind of rack your brain and decide how you can do these things different to really offer something else to the customer. Okay, so if I just type in Denver and I don't type in anything else again, you can see some of these same clips still popping up occasionally. There are other shots that pop up and again. It's really just about trying to find an opportunity in this whole web of clips you need to go through and say, Okay, are there aerial shots? Are they done well? Are they shot at the right? Will say aperture. Are they sharp? Are they crisp? Are there good clouds? What's the time of day? These are all things you need to look at when you're trying to incorporate this and trying to decide what you want to shoot. Now, on the flip side of things, if you live in Colorado and you need something to shoot if you type in Denver, you currently have 12 a little over 12,000 different clips that you're competing with now. I grew up in Arvada, Colorado. If I go in here and I type in our vata, Colorado and I do a search, you can see that there are currently eight clips available for purchase and none of them our drone or aerial shots. So this is definitely an opportunity overall, like I mentioned many times before, you really need to diversify your portfolio. And I think it's important to have aerial shots of capital, cities, skylines, big buildings, etcetera. But you also need to have those small little towns. A lot of the times when you're shooting these smaller towns, they just don't have the clips. And if you're the only person that has aerial shots of that one particular spot, the consumer will have no choice but to pick yours now. Like I mentioned before, I'm based here in Austin, Texas, and I've done a lot of stock footage shooting here in Austin, and that's a majority of my portfolio is based in Austin and based in Texas as a whole. Okay, so I'm gonna go through a couple of different examples. I'm gonna show you what I shop and why. Okay, so this first shot is of the 3 60 bridge here in Austin, Texas. It's definitely landmark here, so it's popular. I shot at sunset and you can see is pretty good timing with that boat coming around the corner like that. I love the waves. I love how everything is looking right now. I really love how the light is skipping off the water as well. It's a good shot. I'm adding a little bit of motion by circling left and still having a little bit of a tilt down with the camera. So I think overall, it's a really good shot Now. This next clip is a shot from Iceland, and it's a similar shot. It's on an island that I definitely can't pronounce. If you're familiar at all with Iceland, you know that their words are 25 characters long. It's ridiculous, but anyways, this is one of the islands and I took blood run out there and was shooting a bunch enforcement. We didn't have the best weather, so this isn't a groundbreaking beautiful shot butts. Another point that I wanted to illustrate. I think it's very important to have some kind of subject or at least some kind of motion with your shot with the shop. Prior, I had the boat going through the water at the same time that I was kind of circling around at sunset and added just a little bit of motion and added another layer of complex of the shot because there was an additional subject coming through. So in this situation again, it's the same thing. I'm rising up. The move of the drone is not difficult. I'm simply just rising up very slowly and tilting down very slowly. But if this boat wasn't in the shot, it would be just a little bit boring. I suppose it's still not a groundbreaking shot, but I wanted to put this in there just for illustration purposes. Okay, so this next shot is a kayaker here in Austin at sunset. This was shot probably like a year and 1/2 ago or so on. Not exactly sure the timing, but anyways, kayakers out at sunset I was shooting and I got lucky there happen to be a duck that was just in front of him, and he happened to take off right there as I flew over him. You have the beautiful sunset in the back, the clouds. He's paddling away you get the reflections off the water again. Overall, I think it's very important to have a subject in your shot in addition to having just a beautiful background. Okay, so these next two shots are from a trip down Teoh Fort Lauderdale last winter. Um, the first shot is just going straight along the beach. I have the city on the right hand side and the ocean on the left hand side. It's morning light. There's a sunrise. Obviously, I think it's to me. It feels like it's maybe a little bit imbalanced with the buildings on the right hand side . But I do like how things kind of taper off. I love the light. Uh, it's there's no one there in the morning, obviously, so the beach looks relatively clear. It's a prominent beach in Fort Lauderdale, so this is another reason I wanted to shoot it. Now the second shot is the same beach, same time a day. It's still mourning, but I just turn the camera down and it's a top down shot. I think it's a good shot. I wish there wasn't all the seaweed there, but obviously I couldn't really control that. This just goes to show you that when you're shooting, you want to really try to squeeze is many shots out of the situation as you can. Maybe they might sell. Maybe they won't. But again, volume equals sales. The more clips that you have on your website, the more money that you'll make. So I haven't sold this clip yet. And will I? I don't know, to be honest, but I think it's just another alternative. If the client stumbles onto my page and wants to look at different shots of Fort Lauderdale Beach now, they have many different options in many different looks of this same beach. Okay, so this next shot is out in Bulgaria. It was a trip that I took last summer. I had my brother and a good friend of mine, and they played the subjects in the shop, and they were the ones on top of peak. So this is yet again another shot at sunrise or sunset. You should be noticing a theme here. Light is always the best. During sunrise and sunset, you're gonna get the best light and the best shots during those times. So with this shot, I'll go ahead and play it. I'm starting below the peak and just starting to rise up. I tell my friends to start walking, and then that sun peeks out. And then you start to see the reveal of kind of the overall landscape of the whole situation. So I think this is a good shot. I have multiple different layers. I have subjects. I have people that are hiking. It's at a good time of day. The light is great. It kind of peeks out over that mountain. I think that's a key point. Teoh. Try to incorporate that into your stock footage, and I'm rising up. It's a reveal shot. It starts off just showing the mountain itself, and you can't really see what's going on in the background. And then I reveal up. I reveal the subjects reveal a life, and I finally reveal the vast landscape. Okay, so those are all my examples for what to shoot, And I hope that overall, I give you a better understanding of what you can shoot, how you can shoot and different ideas on how you can incorporate this into your own stock footage. 17. 5.3 When To Shoot: Okay, So now that I've given you a couple of different ideas on what to shoot, we're gonna take a look at wind to shoot. Now, if you can think back of the most beautiful photos and the best clips that you've seen in your life, most likely most of those shots are shot during Golden Hour, which is sunset or sunrise. Now, why is that? Well, overall, when the sun is setting or it's rising, the light is just softer. It's more appealing. It looks better. It's casting less shadows. It just looks beautiful A lot of times, especially when you're flying your drone. You'll get little pings of light off different buildings through trees. It's just beautiful, really, and that's why everyone shoots during sunset and sunrise. It's very important that you try to shoot during these times so that you really get the nicest light and the best shots possible. Okay, so sunsets and sunrises are the most beautiful times to shoot. But how do we know exactly when they go out and shoot? What time does the sunset and all the other details that go along with the sun rising and setting? So there's a couple different maps that I use, and I'm gonna show them to you now. Okay, so the 1st 1 that I use is called Magic Hour. I'm gonna go into my phone and show you just what it looks like. Okay, so here I am about to open magic hour. I'm gonna tap on Magic Hour, and you can see that in Austin. It's currently this is basically a countdown clock. It's seven hours and 42 minutes until the next sunset, so it says magic hours coming. It begins at 7 34 PM The sun sets at 807 p. M. And it ends at 8 32 PM for a duration of 58 minutes. The forecast is 79 degrees and sunny with clear sky. It also goes ahead and gives you the next sunrise, which tomorrow begins at 6:26 a.m. The sunrise actual sunrise is at 6 51 AM, and it ends at 7 24 AM for a duration of 58 minutes. So this is the golden hour. It's not always but typically just about an hour of where you get that really beautiful light. And now this is really just what I use this app for. It's kind of just a basic understanding of okay, These are the exact times that the sun will be setting and rising. And so I really come back here just to kind of give me a base for the day. If I'm shooting the next app, I'm gonna show you, is called Sunseeker, and we're gonna dive into that now. Okay, so this is the main screen. I'm gonna go ahead and tap on Sunseeker here. So tapping on Sunseeker. Now, this is kind of the main page. What I want you to look at is the bottom right hand corner. Where says three D view. We're gonna tap on that. And basically, this is just going to show the course of the sun or the path of the sun throughout the day . So you can see that right now it's just after 11. 30. And as I kind of look through here, you can see that this app is tracking the path of the sun throughout the day. Now, this is important because if you want to look and see when the sun is going to be setting right now, looking at these trees? Yes, on the other app, it might say, you know, maybe closer towards eight or 8 30 But where I'm at the sun is going to set for me. It looks like right about 7 30 And that's where that son is gonna dip just right under those trees. Now, you can use this when you're shooting stock footage, because depending on what you're shooting, you can figure out where the sun's gonna be and plan your motion from there. Okay, so we know that sunrise and sunset is beautiful, and that's when you should mainly be shooting. However, like I mentioned before, you really want to diversify your portfolio. You don't wanna have just sunrise and sunset shots. You also want to mix things up. You can also shoot during the day, which will typically require an nd of 32 or 64 Teoh. Bring that exposure way down. And also, if you plan on doing a lot of top down shots, sometimes high noon or the middle of the day is the best time to shoot. That way you don't get as many shadows Now if you're wanting those shadows to be thrown to one side of the other. That's when you want that son to kind of wrap around, and you would want to wait till a little bit later in the day. So remember when you're getting ready to plan your stock for the shoot, you really want to try to plan around these specific times. If you want that warm, soft light in different pings of light off different subjects, then you're gonna want to shoot at sunrise and sunset. You want less shadows from, like I said, a top down position. That's when you would maybe want to shoot at high noon or if you're just trying to diversify your portfolio and you want some afternoon shots. 18. 5.4 How To Shoot: Okay, so you've picked your subject. You now know what time a day you're going to shoot at. And now you just have to figure out what techniques are you gonna incorporate to really add dynamics to your shot? The first element that we're gonna talk about is foreground, foreground adds depth to your footage and also adds another layer of complexity in these next couple examples all illustrate that this first clip is another shot from my trip down to Fort Lauderdale. It was a beautiful sunset, and I had to go out and fly because just the whole area was beautiful. So I set up this shot. I knew that from my research from typing in the shutter stock that the Fort Lauderdale skyline was higher up on the list. So I want to try Teoh, incorporate that into my shot. I wanted to have some element of foreground to show movement of the drone. And then, as you'll see, I have a boat coming across, which is kind of an additional subject of the shot. So I go ahead and play that now. So as I'm pushing through, you can see that the building start to pull away the subject, which is the skyline and the boat kind of start to reveal themselves. And I eventually showed the full landscape and the full river that we were on. Now, obviously, the sunset was beautiful, so there's help to the shot. But there were a lot of different elements that played into that. Now, like I mentioned before, I set this shot up and ran it multiple times before I actually hit record. I knew there were boats coming and I waited till that perfect boat was coming along. I hit record. I knew that I was gonna fly through those buildings and have that foreground in the frame and then eventually reveal the whole entire river and the city in the background. OK, this next example is another shot from my trip to Iceland, and I just want to show you the effect of foreground. So I'm gonna start really low on a glacier and then as I start to lift off, I'm gonna reveal the mountain scape in the background behind. So, as you can see, I'm flying pretty low on this glacier and I just start to rise up ever so slowly and start to reveal the full landscape of this glacier and the mountains behind us. Now. When I first got my drone, I thought that it would always look the best if I was the absolute highest that I could go and honestly, that's totally wrong. And it took me a little while to figure that out. I thought that the higher I was, the more beautiful the landscape would look in the more dynamic shots that I would have. However, I was incorrect. As you can see from these couple examples, if you have foreground, it really adds that depth to your shop. It can really make the shot overall a lot more dynamic. Now, when you're out there shooting your stock footage and you decide on a particular subject, make sure that you shoot every angle possible and incorporate multiple different moves into your footage. You want to rising shots, lowering shots forward back orbit, top down everything you want and try to incorporate as many different angles as you can and really, really squeezes much content out of your shoot as you possibly can to illustrate this, I'll show you guys one more shot and this is a top down shot of the UT Stadium here in Austin, Texas. Now I shot probably 40 or 50 different clips of this specific stadium, and this one has far away sold the most. Now again, it's taking on those different angles and showing the customer a different point of view. I'm directly over the Longhorn logo, and all I'm doing is just rising up in revealing the entire football field as a whole. Now, if you really want to take your ale, cinematography and aerial stock footage, the next level, I encourage you to try to incorporate multi access moves. Now what is that? Well, when you're flying just straight, that's one axis. If you start to incorporate two axes, you could possibly go straight and then rise up right now, three axes straight, rising up and then maybe tilting down. And finally, all four axes. Let's say you're orbiting around a subject, so you would be going, Let's say right, for example, So you're going right, your rising up, you're turning the drone or rotating to the left, and then you're tilting the camera down. By doing this, you're gonna add a lot of dimension and a lot of depth to your footage. So I have two different examples for you guys incorporating these three axes and four axing moves. And the 1st 1 is a rural shoot that I had a while back with a friend of mine driving a sports car. So, as you can see, I'm starting a pie. I'm sliding to the left. I'm dropping down, and I'm also rotating the drone to the right to try and follow the subject again. What this is doing is really just adding another level of dimension and incorporating more moves in your shoot and makes it more dynamic. Overall, this next example is a four actually move that I shot out in Atlanta about a year ago, and this is an aerial hyper laps. Now, as you'll see, just like I mentioned before. As I'm going to the right, I'm rising up, turning left or rotating left and tilting the camera down, focusing on the fairest real this entire time. So again, it's an aerial hyper laps. I'm sliding to the right. I'm keeping my subject centred up, and by moving on all those different axes at the same time, it really adds another layer of dimension to the clip to add another element and the further diversify your portfolio. You want to shoot at different frame rates, so remember from our lessons before, if you're shooting at 24 frames per second, it's just gonna look like normal cinema motion. However, if you're shooting at the higher frame rates, say 60 frames or 120 frames per second, that's where you can start to introduce slow motion. Now, if you have the option, I would definitely encourage you to shoot at multiple frame rates over the course of a set or a shoot that you're doing for stock footage. To illustrate this point, I'm gonna show you a clip from a shoot that I had down in Dallas, Texas. So as you can see, this is obviously shot in slow motion. I shot this at 60 frames per second and four K on my Phantom four pro, and I really just wanted to show off the wind and how it was moving the flag. Now I got really lucky with this frame and the shot, because not only did I have one hawk right here fly through the frame, but in just a second I have to write and your gums wait for it right there. So I got really lucky with this. I had the wind blowing just right. I had the clouds in the sky that looked great. The bridge looks great. The hawk. And then on top of everything, I have that beautiful skyline in the back. Now, before I went out and shot this, I did a little research again. I went to shutter Stocks website I typed in Dallas, and before I hit that inter button, I looked at all the different items on that suggestion. Bar Dallas, Texas skyline was one of the top ones. And so I wanted to try to incorporate that into this. You okay, So I hope these different points have really helped you guys remember that when you're out there shooting, you really want to use that foreground to your advance. You want to shoot all of the different angles, you can use those different frame rates, and lastly, try to incorporate those multi ACSI moves. It really take your stock footage portfolio to that next level 19. 5.5 Aerial Hyperlapse Shoot and Edit: OK, The next topic we're gonna talk about is probably one of my favorites. The aerial hyper laughs. Now, as I mentioned before, the maverick to pro has this feature, and it is amazing. There really isn't any other drone on the market right now. That can do with the maverick to pro can in terms of hyper lapses. So there's basically two ways to do this. There's a short way and a much longer way. Okay, so the short way, basically what you do, you set your different in and out points and you shoot it and the drone automatically spits out a Tenet e version of that already stabilized and ready to go most the time. This looks pretty decent, and sometimes you can get away with it. But if you really want to squeeze all of that potential out of your drone, you want to keep following along here to illustrate that point, I'm gonna show you one of my favorite hyper lapses that I've shot to date. And I'm gonna show you the before what the maverick to pro first gave me and what I ended up with on my own. After editing it all the way, All right. So as you can see, this is a shot of Congress in Austin, Texas. I'm rising up. You can see the traffic going through on the main street there, and it's sunset. It's a good shot, but overall it's pretty dark and pretty dull and not very exciting. Now. That same exact shot, edited in light room and then exported looks like this. Okay, so obviously there's a big difference between the first clip and the second clip. Now, why is that? Well, on the first clip, that's what the drone just spit out. And obviously there's a big punch in. And it does that because it's trying to stabilize it in camera or in the drone, right? So it has to really push in and really crop into the image. And that's why you get such a smaller frame when you have it exported just on the drone. Now, if you go back and you edit it on your own, you have a much larger field of view, and you have way more flexibility in post. Okay, so let's talk settings for your aerial hyper laughs. Now you're gonna want to go back through and implement all of those topics that I covered in camera basics into your aerial hyper laps, with the exception of a couple. Okay, so let's dive in. Okay? So as you can see here, we're in the video mode, and we need to switch over to the photo mode in order to get to a couple settings that we need. Okay, so we're gonna lower our shutter speed to 1/4 of a second. We're gonna change our aperture to F four and ice. So all the way down to 100 and we're going to change our image format to raw. Lastly, we really want to go through and change our white balance to Sonny. And we're good to go for the aerial hyper laps. Now, I lowered my shutter speed toe 1/4 of a second. So why would I do that? When? This whole time That I've been talking about shutter speed, I have stressed how important it is to be at 1/50 of a 2nd 1/60 of a second, and so on. So, typically, when you're shooting time lapses and obviously aerial hyper lapses, you want the shutter to be open a little bit longer. than normal. That way you get motion blur with moving objects. After a bunch of testing, I've found that 1/4 of a second is about the sweet spot with shutter speed, and the reason behind that is at 1/4 of a second, you allow some motion blur with cars and clouds, giving a nice fluid motion to those moving objects while keeping the stationary objects nice and sharp. Now again, we're going to implement the use of nd filters when we're doing this. If you're shooting at, say, F four because that's the sharpest aperture and your ice is at 100 your shutter speeds at 1/4 of a second, your frame is gonna be very, very blown out if in fact you're shooting during the day, so you always have to make sure that you have an ND filter on. You'll have to play with what strength that you need. But typically, I use a 64 nd if I'm shooting hyper lapses during the day. Okay, so once you have your drawn up in the air, you have all your settings ready to go. You have to figure out which hyper lapse mode you're going to use. I would highly recommend either way points or circle the other modes. Honestly, you're welcome to try out, but I really don't recommend them. I've never had a great experience with them. I've never gotten great hyper lapses out of them. Overall, I think just sticked away points in circle and you'll be good to go. The best thing about the way points mode is you can set your drone to start to create those three and four ACSI moves that I talked about earlier in this course. Here's an example of when I did just that. Okay, so as you can see, I'm sliding to the right. I'm rising up in elevation. I'm rotating to the left, and I'm also tilting down to follow the subject, which is the fares real all the way through the frame. Now I wish in this shot the Ferris wheel would have been going the whole time. But that's just the nature of the beast. Sometimes these hyper lapses don't work out as perfectly as you would have hoped. When you're setting up your hyper lapses in these different modes, you have to make sure that you're doing a couple things first and foremost. Always, always. Always make sure that you're shooting in raw if you don't know how to do so refer back. I went through that video earlier in this chapter. Secondly, you wanna have your interval set to two seconds and not five. The reason behind that is that the more photos you shoot, the longer your high prolapse will be and again, the more flexibility you will have imposed. And lastly, you want to crank up your duration as high as possible. That way you have the most flexibility and post and have the most footage to work with. Now, what I'm gonna do for you guys is take you step by step, the entire editing process of how I shot that one particular hyper lapse in Atlanta. All right, so let's dive into my computer and we'll take a look. Okay, so here we are on my desktop. This is the example right here. Hyper laps, example and a good dive into this. And this is the file structure that I like. You definitely don't have to use this, but if you want to, you're more than welcome. This is so we have sequence raw project l ours for light room and finals. So if I double click on raw here, you can see that I've already imported the raw images from this particular hyper lapse into this folder. And so we're gonna go back out, and now everything else is empty. So light room, that's for the LR folder project. I typically use that for a premiere. It has all the auto save file, so I just dump that in there, and then sequence will be the exported J pegs after we edit it in light room from the raw files. So our next step is to dive in the light room. Okay, so here we are in light room. I'm gonna go ahead and create a new catalogue file new catalogue, and I'm gonna go to desktop. However, labs example. Put it in the light room folder, call it example and create. Now, as you can see, we have our new file here, or a new catalogue called example. We're gonna import all of our photos when click on in for and we're gonna navigate Teoh Year. Just, uh, but this hyper labs and, uh, here's all of our photos, and we're gonna go ahead and click Import. Okay. Now all of our raw images are imported. We're going to go over to the develop module. Okay? So as you can see, it's a three by two image. And what you want to do when you're deciding what photo to edit is you want to go towards kind of the best frame of the whole entire clip. So I want to go somewhere somewhere in this ballpark. I think that's fine. Okay, So once you have your favorite frame selected, you can go ahead and click on it, which I have already done. Now, if you want to take a look at how you shot it, you can hit I on the keyboard and you're gonna hit it twice, and this will give you the settings of your camera. So, as I mentioned before, 1/4 of a second is perfect. Now, I had to stop down Teoh F 2.8 just to try to get a Zeman light as I could. And my eyes so was at 200. Now, looking back on this, maybe I could have kicked my aperture up a little bit higher. Maybe two, 32 or four or something and maybe bright in my eyes. So just a little bit more to get things a little bit sharper, but it is what it is. Okay, so now we're gonna do a quick edit of the photo. I'm not gonna dive in super deep here. You can look up different YouTube videos on how to edit photos specifically, but this is just a kind of a basic guide. I usually start with white balance. See what I like best year. I think I've shot it a little bit warmer or the final edit was a little bit warmer. Definitely not a green fan. So I try to pull that out if I can. I always look here at my history, ram, and try to keep that. I don't wanna crush my blacks, and I don't want to go all the way up. I do want to show some of that detail, though. So lefties reset that if you double click on one of these sliders, it resets so I might pull the shadows up just to give a little bit more detail. Overall, please. Blacks down just to give it a little bit more contrast. See the white. Maybe somewhere in there highlights. We want to go too crazy with the highlights. What a weekend. And maybe to actually drop the's just a little bit. Currently. The contrast. See what we like with contrast? Like just a little bit. Uh, this next section usually don't play a ton with it. Depends on the shot. I usually give it a little bit of D. Hayes just to clear things up a little bit saturation. No, like in all of that orange in there. So we'll leave that alone for right now. I used to do a basic kind of s curves with curve year just to give a little bit more cop. Okay, Something like that. Okay, so this h of self section is definitely really important. It's where you can change the hue, saturation and luminous of your colors and your photos. So it's very important, especially on hyper Lasses like this. So if you look up here saturation this guy right here that pink, I don't really want that in there. So what I can do so I can click on this kind of dropper. Click that and pull that down. I didn't totally get rid of all of it, but this might Okay, Okay. So obviously that takes it out for the entire image. So we get rid of that, maybe pull his blues down. And now this is kind of where it's up to you on what you want the overall image to look like. I kind of start with the overall kind of a de saturated look and figure out what colors that I really want in there. In what level? I kind of want them at Apple II Green in there. So that doesn't really matter now that once you click you, you can go in and change actually, the specific color here. So what kind of go For, like, a little bit more of an orange? Look, okay, We're not gonna miss with split toning right now. Sharpening is definitely going to be pretty important here. If we zoom in, Teoh, say, one of these buildings that we're looking at here. This is with no sharpening. That's it all the way up. You won't be careful with sharpening. You don't want to use too much of it. You want to just use foot around here somewhere and noise. There's think it's relatively clean, but I'll give it just a little bit of love. Okay, so this is our final shot here. Now, if you want to look at the before and the after just to compare him, you can hit it back slash, And you can see that obviously, we took a bunch of color away, and we're left with mainly a lot of yellows and oranges, which I like you may not like, and that's totally fine. Okay, so now we're all done editing this one image. Now, if we go to the right one image, obviously, this is the unedited version. So what we have to do is we have to copy and paste those settings of this particular image to the all of the other images. So we're gonna do we gonna click here, gonna do command a just select all we're gonna go over here and it clicks sink. We're gonna make sure that all of the adjustments that we selected and added are on there. I didn't add any filters or any transformation crop spot removal. So we're good. Click, synchronize. And now it's pasting settings. Okay, so now all those settings are pasted and we're ready to export. We're gonna click on a photo command. A tow highlight. All of them were going to command shift E to export. And we're gonna tell these where to go. Desktop Khyber Labs sequence choose. Okay. Example one. We're gonna put a custom name and sequence, starting with one, and we're gonna go export now. Depending on how many photos you have taken, this could take a little while. So grab a cup of coffee, hang out, go for a quick walk and come back. All right, so all the photos are done exporting, and we're gonna go into here. Look at the sequence. Everything's in there. Now. This is really important. Make sure that when you export these, you number them correctly. I number them initially when I was exporting them. But let's do it one more time. Just a double check again. We'll do command A to select these guys, and we'll do rename. I will do example. Here, start with numbers rename. Now we're gonna open up from ear and import these photos, make it a clip and take a look at what we have. You Okay, so here we are in Premier. We're gonna open a new project and we're gonna put this in desktop, have collapsed. Example. Project? Yep. Example again. Okay, so here we are on Premier, We're gonna click down here in the bottom left command I for import ever and go into our sequence folder, and we're gonna put this the number one going to select the very first frame. Select options. Make sure this check box is checked. Image sequence that's not checked. Make sure that's checked. It's very important. Click Options again like the 1st 1 and now click Import. So now we have this. It says it's a J peg, but this is actually a clip. I'm going to create a new sequence. This is gonna be a four K sequence. Four k at 24 p. Again, example say yes, click and drag here. We're gonna keep the existing settings and now you can see that this is our hyper lap. So we click play here. That's what we currently have. Pretty orange. We can maybe change that later. But again, this is just an example. Now, if we go over to effects quick on this again now because this was shot in raw, we have a little bit of room to play with. So 69 as opposed to you 100. Is this a little bit wider frame? And this is what I was talking about before. If you shoot this and you exported just from the drone, you're not gonna get this wider field of view. Also, because we have the flexibility of that larger image. You can also adjust here vertically up and down if we want to, You will say, Leave it there. Hit play. I think it looks pretty good overall. Now it's definitely a little bumpy. So we're gonna give it a little love with warp stabilizer going effects. And I have a favorites folder set up here. But if you don't, you can goto work or stabilizer dropped this in, and I usually take this subspace warp off, and I leave it just to crop. And what that does is it takes away some of the gel effect. I don't know if you guys have seen that or had any experience with that, but if you add too much of the auto scale and the smooth motion overall, it really kind of warps the image and get you get that weird jelly effect, so I usually just leave it to position, scaling rotation and stabilising crop. It's going, Teoh still stabilize it, but it's gonna punch in just a little bit. At that point, you can do the same. You can punch in, make sure that your frames good, and then you can export. Now, depending on how long you're hyper lapses, sometimes this can take a little bit toe, actually stabilize. So again, give a little bit depending on your computer. Excited to give a little bit and come back here in a few minutes. Okay, so we're all stabilized now. We're gonna go ahead and play. Yeah, that looks pretty good. Okay, now, as you can see, we do have these black bars on the side. That's what I was talking about. It does punch in just a little bit. So we're gonna knock this up to you Will say 71. When we're ready to export, we're gonna hit. I use the down arrow to go to the end of the clip the left arrow to just go one frame in and now hit. Oh, clicking here now hit. Command em to export and we're gonna tell it where to go by clicking here and now we're going to go into a desktop folder here and final and we'll say final hyper labs save now. As you can see here, this is very important. It's exporting at 38 40 by 2160. That's great. All these other settings are pretty good. That most important setting that you want to take a look at is your bit rate. Whenever I'm exporting four K footage, I always go vi br to pass and bump up the target. Berate to 40 and the maximum bit rate to 70. Okay, h 0.264 Everything else should be good audio, donate audio get should be good to go and we're gonna click Export. Okay, so we finally made it. We have our export and we're all done. I know it's a lengthy process, but you can't compare the version that you get from the drone and what you can get by doing it manually. So I hope this helps you guys and I'll see in the next movie 20. 5.6 Color Profiles: Okay, now that we've talked about what to shoot, wind to shoot, how to shoot aerial hyper lapses, all those things I want to dive into color just a little bit. Now, depending on what drone you have, you're gonna have different color settings. Sometimes you'll have normal HLG Cindy like or some kind of d. Look now, depending on your background in color correcting and color grading, you're gonna want to pick the profile. That's best for you. If you've never color corrected or did anything in that ballpark, you'll want to probably stick to normal, maybe descended, like or HLG. Now, if you're super familiar with color grading and you're used to grading log footage, I would highly recommend D log by shooting in D Log. You get that extra dynamic range an additional flexibility in post. Now again, if you haven't graded log footage before, I would maybe stay away from this shoot in normal and H L G or decently like, and then you can kind of get used to grading from there and work your way up. It can be a little challenging at first to get your image where you want it to be after shooting and d log. So again, if you haven't done it for maybe just stick to normal. Okay, so now we're gonna dive into my computer and I'm gonna show you the same shot shot into the three different color modes that I recommend again normal decently like or h l g. And finally, the look. Okay, so here we are again in Premiere Pro. Now I have three different clips on the timeline. One of standard one is HLG, and one is deluxe. Obviously there's a big difference between the three D log being the most flat hlg being kind of in the middle and normal being pretty well baked in now, looking at the standard profile, you could see that overall, things look pretty decent. In my opinion, I think it's a little bit to contrast. E and those blacks were really pulled down. So if this is the look that you want to go for, I think that's great. And obviously it's the easiest to color grade. It looks pretty good right out of camera and you can kind of export right after this, you can maybe make a couple quick changes. But overall, I think it looks pretty decent now, going over to U H L G. Now this is kind of right in the middle. This is kind of half flat, half colored. And it still gives you that flexibility imposed to dialling colors a little bit more if you need to, especially if you're trying to match different cameras that air a shoot on the ground or different drones. Now I did just a quick color correction, and I want to show you the difference. As you can see, there's a pretty big difference between the two you with H L G and decency like, which is in The Phantom four Pro. It's kind of the middle ground, like I mentioned before. You have that flexibility and post, but you don't have to go back and totally correct everything like you would in D. Look now, finally looking at the D Log clip, you can see that who this looks very different than the other two clips. However again, when I do a basic correction, I can get things looking pretty good without a ton of effort. Now, again, it depends on your experience overall, with color correcting and color grading, I would definitely recommend de los, especially on the maverick, to pro. You get that 10 bit color, which is beautiful. I would definitely recommend that. However, if you're new to color, correcting and grading overall, it may be better to start with maybe the H L G or D Cindy like profiles or even the normal just to kind of get your feet wet and then build up from there. 21. 5.7 Model Releases: so far on this class, we've talked about shooting skylines, landmarks, different attractions, etcetera. But we haven't really talked about shooting people. Now, if you want to incorporate people in your stock footage, that's great, and I encourage you to do so. However, you do have to go one step further and create a model release by having the model sign. Or at least it basically gives you the right to use them in stock footage and make money off of it. Now you can set it up a couple different ways. Sometimes, depending on the shoot. I'll pay people per hour, or you can also do things on the back end. Safer. Every clip that you sell. You split it 50 50. Now, this is kind of up to you on how you decide to move forward with that. But I think you should establish something up front. That way, if that clip is in fact used, you know how to proceed forward. Not too long ago, all the different agencies had different model releases, and you'd have to print them out, sign them, have the model signed them, submit a picture of the model and it was a nightmare now, however, they haven't asked for it, and it's amazing. I definitely highly recommend you check that out and we'll take a quick look now. Okay, so here we are again on my home page. The APP is called releases, and I believe it's available on both Apple and Android. Go ahead and click releases. Now here to release is that I already have used and incorporated in my stock footage. It's fairly straightforward. If you want to create a new release, you basically just follow these big green buttons here at the bottom, something clicking the release. Okay, now we're going to select the agency that we want to use. I would recommend clicking on shutter stock because all the other agencies except the model release from shutter stock. So just go ahead and top that. Now you put in your shoot information, I'm gonna select a shoot. Well, say Fort Lauderdale Beach. Next, you're gonna type in all their information, select their ethnicity, take a quick photo, you're gonna have a witness. And finally, it's going to give you your release. And you can send that to yourself. And when you upload your footage to the different stock agencies, you simply attach this file to those particular clips and you should be good to go 22. 6.1 Importing: All right. So now that you've completed your shoot and you have a card full of footage ready to be edited, I'm gonna walk you through my file structure and how I go about selecting clips, cutting things down and getting ready to color. Great. Okay, so here we are, back on my desktop. This is our new folder that we're gonna take a look at stock example. Do a double click on that Now, this is typically how I set things up. I have a project folder of Footage Folder and a finals folder. The footage I've already imported are three example clips. And then project is gonna be our premier profile. And finals are gonna be our final exports. Once we go through, cut things down color and finally export. Okay, so we're gonna open a premiere pro and create that project file and start to cut things down. We're gonna go new and again, we'll go see this will be on the desktop, stuck example and project stock. Example. Okay, Now, this will open up the main window. When you go down here, we're gonna hit command I and go back to the desktop stock example footage we're going to select these clips and we're going to go import. Okay, so now that these have been successfully important, we're going to create a new sequence by clicking this button here sequence. Now, I have this set up these air custom settings four K at 24 frames. You can also do the same thing in here. 23.976 That's what we want. Frame size of 38. 40 by 2160 square pixels and everything else in here should be the same, is what I have. I already have that saved. However, now, if you click, save preset, that's gonna put it over in this custom folder, which I have already done have four K at 24 frames. So again, I'm gonna go here, for example. And OK, so now our sequence is ready to go select these three clips dropping on the frame. You always want to go keep existing settings because that's how you set things up. Okay, so these are the three clips we're gonna take a look at and you guys have seen these already. So now that we've imported these clips, I just want to go through and I want to cut things down just a little bit. I just hit Plus to zoom in just a little bit. And really, what you want to do is you kind of want to trim the fat of the clip. You want to leave a little bit of an intro, a little bit of an outro, but definitely keep the main part of the clip. So I'm gonna go ahead and play this and we want just before that boats coming in. Now, I'm gonna go over here right about here, and I'm gonna hit Q and that's gonna cut off the beginning of the clip. I'm a scroll forward, and that's probably pretty good most the time. That is a little bit long overall. Usually you want your clips to be about 15 to say 25 seconds somewhere in that ballpark, this one is a little bit longer. So you could even trim things just a little bit more again. Kia. And that's, uh, 40 seconds. That's pretty long. You could always cut off the end if you need to. You by eating W. And that'll jump that same thing with this clip, I'm going to go ahead and play now. Once I started moving forward and I'm happy with emotion, I'm gonna hit Q. That's gonna cut off the beginning there, Fast forward. Actually, I like it when that kind of sun peeks out there. So I might actually cut this off just a little bit more again. Hit in Q. And I don't really have to cut off the end there. I'm pretty happy with that ending. How it is now, this same thing. As you see I can kind of adjusting their so I don't want include that in the final clip, this looks good to start. I'll hit queue again to chop off the front of that clip, and I'm pretty happy with this and I start to move a little bit there, so I'll go ahead and cut that off. And now we have our three clips ready to color, correct and potentially grade, and we'll do that in the next movie. Okay, One thing to know if I click on the clip here, right click and click review on Finder, it's going to show you the clip and the frame rate that I shot of that now because this is a 24 p timeline. I have the ability to slow it down by 20%. If I click on the clip hit command are I'm gonna get the speed duration, I'm gonna change it to 80%. And if I click Ripple, that's gonna extend the clip as opposed to just cutting it off. So I'm gonna click that as you can see this screw by maybe four or five seconds. Now if I hit, play again. Now, this is shot 80% of the rial speed. Additionally, in which you could do is you can make a copy of this clip, which I'll do so here. I'll move this over. Click on the clip, hold command and drag over. Let up. Gonna make a copy of that clip. Now I'm gonna go command or again, gonna put this back 200 complete that one little section there. And now I have one shot at 80% speed and 100% speed on the second clip. So I think it's important to note that when I'm shooting stock footage, I typically shoot at the highest frame rate possible in four K with my fan on four pro. That's 60 frames a second, and with my magic to pro, that's 30 frames a second. I do this so that I have the ability to slow things down in post and derive two different clips from the same shot, thus generating more clips in your portfolio and expanding your earnings overall. 23. 6.2 Color Correction: Okay, so now that we have the three clips that we've cut down and we want to submit for stock footage, we're gonna dive in and we're gonna color correct them. OK, first thing's first, we're gonna open up parliamentary scopes, and the two that I use the most are the RGB Parade and the Loom Away form. As you can see, both those air checked. So that's currently what I'm using. Now the way form just shows the overall exposure from 0 to 100 0 being black. Ah, 100 being white. And the RGB parade shows your color balance between red, green and blue. So off the bat, you can tell that. Okay, red is obviously more prominent than green or blue in this clip and depending on your taste , you ideally want to even that out. Now, when you're shooting sunset and sunrise, this content bickley be pretty one sided. Now you can drag us across to even things out a little bit. But to me, I like that warm color. I like that feel of the sunset, so we'll get to that here in a second. They can see over here in the way form that overall, things were pretty dark. So we're gonna play with that just a little bit and see if we can even things out. OK, first thing's first, we're gonna dive in the white balance. Now again, the Reds pretty heavy in this particular shop. She might try to even things out just a little bit and pull that down just a little bit. Now again, if you click this button, it turns the effect on and off. I like that. Just, ah, a little bit of blue in there just to kind of even things out a little bit. Now with the tone section, I usually start from the bottom up, and I try to leave exposure alone unless I need to at the very end. Overall, when your color correcting, you want to make subtle adjustments. You don't want to go too crazy one way or the other because it will start to look fake and the image will start to fall apart. So looking at it, shadows will bring this up just a little bit, and we'll shows a little bit more of those details now. Looking at the highlights, you can see again that there's not a whole lot of highlights. We're gonna bring that up just a little bit. We don't go too crazy, but just a little something to brighten things up and maybe just a little bit of contrast to give a little bit more pop. And lastly, just a little papa saturation. Nothing to you crazy. I usually never go above 1 20 or so, depending on the shot, obviously, but, um, they usually leave saturation pretty low. OK, so that's our quick color grid, and you can see the difference before and after. But care second shot that we're gonna color correct is in Fort Lauderdale again. All three of these are OK, so, as you can see, over all things in the Loom entry Scope column are a little bit more even the colors are a little bit more even. And when looking over here at the wave form, you can see that most of the light is pretty much in the middle, really relying on those mid tones and there are no really blacks and no really whites, which is what we're going for. Okay, So again, we're gonna start with white balance. We're gonna bump up the temperature just a little bit and warm things up because again, this was a sunrise shoot. And I really want to make sure that feels like a sunrise shoot to the viewer. Now, since this was shot in the normal mode on the Maverick to pro, it does overall leave a little bit of a green color cast. So I usually like to pull that out if possible. I'm gonna slide this over. You want to go too far again? Everything needs to be real subtle. We'll go, uh, 8.3. Okay, now, blacks, we'll pull these down just a little bit. Tiniest little bit. Whites will pop these out just a little bit. Make those clouds pop. About 20 shadows will bring these up just to reveal a little bit more detail about 22 out of work highlights. Again, we'll bring these others to make things pop just a little bit more. Save 14 or so. You know, I still feel like the image could use a little bit of contrast. So I'm gonna bump this contrast meter up just a little bit. You're about 19 or so and give it just a little love for saturation again. We don't want to go too crazy. Maybe 1 19 somewhere in that ballpark. Okay, well, check before and after so you can see that just with some very small corrections, you can make a big difference in the final clip. Now, looking at our very last clip, the top down shot of the beach, we're going to the exact same thing. So we'll start off looking at the color temperature. We can see that red and green are a little bit heavy, so I might pull in just a little bit more blue just to even things out and again. I feel like that maverick to pro always adds in a decent amount of green here. And you can see that with the RGB parade. So I'm gonna pull some of that out and put this 15.7 Will call that good. Maybe pull the blacks down just the tiniest bit? A little bit. Maybe 1.9. Right now, bring those whites up to make those ways really Pop. Say about 25. Bring the shadows up just to show a little bit more detail overall. Again, Don't go too crazy. Maybe 22. We're gonna bring the highlights of a little ways just to make things again, Pop. Just a little bit more like it right in right in there. Okay. Finally gonna add just a little bit of contrast and just a little bit of saturation. And here's the before and after. You can see that just by doing these subtle changes, you can make a big difference in the overall final clip. 24. 6.3 Using a LUT: Now that we've done our basic color correction in the metric color, we're gonna take things one step further and implement the use of a lot. Now Ah, Lut is a look up table and basically just transforms one set of colors into another set of colors via a cube file. By using a lot, you can speed up your workflow and get that look and feel that you want consistently every time. Now we're gonna dive into my computer and I'm gonna show you just how to do so Okay, so here we are on the desktop, we're gonna go Teoh, a particular website that I linked up here in the description it's called Cindy packs dot store. This is basically just a free website for lots that I found online. And I thought you guys could try to use this in your own footage and see what you think. So we're gonna go to the main page, click on Home Products and let's this is gonna take you to free Maverick to pro lots. We're gonna click on this and you can add to cart Now these air free click add to cart and you can proceed to check out and download these files. Now, once you have these files downloaded, you're gonna go ahead and drop those in premiere. So I took one of these files. It's a city pack natural three lut. And we're gonna put that or install that into Premiere Pro. So we're gonna go to Finder and applications Premier pro, and we're going to right click on from your pro go show package contents, contents, and we're gonna go into the metric right here. Let's and created Now we're gonna dio is gonna take this slut and right click and drag. Authenticate? Yep. We want to do that. Yes, all the things. Okay, so now we have installed this Lut in Premiere Pro. So we're gonna close this now. I'm gonna go back to our example like we had opened before. Open this project. So now we're gonna go into creative now. This is where you install the let This is called the look, and we're gonna navigate down to Cindy packs Natural three, which is what we installed. Click on that and it's gonna apply the lut to 100% now. This is very important right here. This intensities later What this does is the controls, obviously the intensity of that particular luck. Now, if you take it all the way down to zero, the light will basically not be applied. If you go all the way up to 200 obviously it's gonna be very intense. So you want to find a middle ground? Honestly, Most of the time, when I'm using a lot, I'm never at 100. Usually it's just a just a little bit maybe 30 40 50 some around there, and you can still see that that really does make a big difference already. Now, when you're using a lot, you want to apply the let first and then go back into the basic corrections and make those subtle changes. If you do it in the opposite order. A lot of the times you're having a backtrack and you end up doing the work almost twice. Okay, so the Lut will say, Is it 51%? And now we'll go up here, we'll take a look at our scopes, and I think overall, you can see here that the red RGB column is still pretty hot. So I'm gonna cool things down just a little bit, and I kind of want to brighten things up a little bit. You can see these highlights starting to rise up. Maybe I just a tiny bit more contrast, maybe bring these whites up again just to make things pop just a little bit more. And I think that's looking pretty good. Now again, this is off or before and after. Now this is without the blood. And with the luck, with the basic correction and without basic correction, now that you've seen just how powerful let's congee, I want you to do this on your own. Go to that website, download the files, implement them into your system and try it out on your own. Just be careful that you don't crank up that intensity too high and overdo it. 25. 6.4 Exporting: Okay, so now we've trimmed on our clips. We've done basic color corrections. We've added a cover grade via a lot. And now finally, we have to export. Let's dive on in and I'll show you how. Okay, so these there are three final clips here that we're gonna export. Now we're gonna navigate to the beginning of the first clip, and we're gonna hit I now the down arrow to get to the end of the clip. And Baquero just wants to get to the end of that first clip. We're gonna hit oh, to market outpoint, and we're gonna hit Control em. And that's going to bring up our export dialog box. Now we're gonna title this. We're gonna put this in our desktop stock example Finals. We're going Say example. Want save. Now notice that all of our settings have been saved 38 40 by 2160. This is at 23 976 Again, you can save different settings for your preset. If you just want to go to this every time I have that preset as well. Four k 24 p. Now, when I scroll down here, this is very, very important, and I mentioned this in the aerial hyper labs chapter. You always want to make sure that when you're exporting and four K that you do vi br to pass with your target bit rate at 40 per second and your maximum at 70 megabits per second . This is gonna decrease the amount of artifacts that's in your final footage and overall, just give you a better looking shot. Okay, now, once we've done that, you can do it two different ways. I would highly recommend hitting Q as opposed to export. If you it export, it's gonna only export one clip at a time. And it could be a little frustrating to do this. If you have many, many clips that you're working out, what I typically use is media encoder to do this, and so I'm gonna hit Q instead. Now, if you haven't used media encoder before, it's relatively straightforward. It might look complicated, but it's relatively straightforward in this particular situation. It's just gonna be used as a batch exporter. So we're good to go that's ready to be exported, and we're gonna go back to Premier Pro and we're gonna do this same thing two more times a barrow to get to the beginning of the clip I down arrow to get to the end of the clip and left arrow to get to that last frame. Oh, and command em Now we're all good to go 24 p at four k. Example. We're still in that finals folder finals here. Stock final and we're gonna go Example to and cue Now we'll double check this one more time VB are too fast 40 and 70 que and that'll kick over their last but not least this clip a Pero I down arrow left arrow Oh, command em and example three and cue. So now we're all good to go These were all set to export. We're gonna hit, play and wait for the used to export 26. 7.1 Black Box: Now that you have your final footage ready to be uploaded, you have one big decision to make. Do you want to go the easy way, or do you want to go the hard way? Now? The hard way is definitely more tedious, but I believe it makes you more money down the long run. However, on the other hand, the easy way is definitely easier. It's definitely more simple, but it does cut into your earnings down the road. If you decide to go the hard way, you'll be uploading your footage to multiple stock agencies manually. However, if you decide to go the easy way, you can upload all of your footage through a company called Black Box, and they will distribute everything for you. Now the easy way comes with a cost. By letting someone else curate and finalize your content, you'll be losing anywhere from about 10 to about 40% for every clip that you. So now what you have to decide is if that's worth it for you. If your schedule slammed and you have no time to go through and import this metadata and keyword and title and put in descriptions, I highly recommend black box. At least you'll be earning something, and something is better than nothing. However, you don't always have to do this and you can mix and match. Let's say, for example, you have a really, really busy month, and you have stock footage that you want to submit. You can submit that through black box. On the flip side, let's say you have a slower month. You have a little bit more time on your hands and you can do the metadata yourself. Then I would recommend diving in and doing all of the key wording and all of metadata on your own. Honestly, once it's all said and done and you do it a couple times importing metadata and doing the key worrying isn't also bad. Yes, it's definitely tedious, but again, I think it pays off in the long run. Now. One thing that I've seen with Black Box that I don't particularly care for is some of their curator is rely on copying and pasting titles and keywords into multiple clips in a set. Now what that does is it speeds up their process. However, it's not casting a very wide net for your search engine optimization or just your availability to be found. It's much better overall toe have differing titles and differing keywords for each individual clip. That way, you cast a wider net and increase your chances of being found by a potential customer to recap. If you're short on time, go with black box. Some money is better than nothing at all. On the flip side, if you have a little bit more time on your hand, do it manually. You will have more money down the road. 27. 7.2 My Agencies: after shooting stock footage For a little over three years now, I've found that shutter stock, Adobe stock and Pawn Five have been hands down the most profitable agencies out there. Now, when you're looking at Black Box, they include shutter stock, Adobe Stock up on five and Vimeo is Well, I haven't worked with video yet, but I hope to do so in the future. And the next few movies, I'm gonna take you through step by step and show you exactly how I upload my footage to each individual agency. 28. 7.3 FTP (File Transfer Protocol): Now that we know which stock agencies were gonna upload to, we're gonna go ahead and actually upload that footage to those specific sites. Now, there's a couple different ways to do this. One being you can upload your footage through the browser directly on some of the sites and the way that I would recommend is via FTP or file transfer protocol. Now, that sounds like a big technical word, but really, it's just another and more efficient way to transfer footage and data. Overall, the two different ones that we're gonna take a quick look at is file Zillah and Cyber Duck . I personally use cyber duck, but I've heard files ill is pretty good as well. Now, if you have your own FTP that you prefer, go ahead and use that at this time. So we're gonna dive into my computer and take a look at both those, and I'll show you the process on how we upload our footage. Okay, so here we are at the cyber duck page. Now you can go through and click on download. Depending on your OS, you can either do Mac or windows and now this is the same thing for file zilla. We go in the files of the page, you can go through and down the four all platforms or for windows only. Now, like I mentioned, I have cyber duck previously installed. So we're gonna go ahead and open that up now. OK, so this is the main interface. Looks pretty straightforward. And what I'm gonna do is I'm gonna switch over here to my FTP info. Now, some of this is gonna be blurred out because this is actually my log in info for these pages. But you'll get the point here. We're going to click on open connection, and now we're just gonna paste in my pawn five data. Now, this is the server. This is my user name that you probably can't see and my password. So I'm just gonna copy and paste the server, name my user name, and then it automatically imports the password Click connect. And now we're officially logged in, As you can see here with the FTP address and my user name. Okay, so now we're just gonna import those three clips. I'm going to go see desktop stock. Example. Finals. Here's those three clips. Highlight a mall and simply drag and drop now, depending on how much footage you're uploading and your Internet speed, this could take some time because I have relatively fast Internet. And we just have these three clips here. It's gonna go pretty quick. Okay, so that's all done. Everyone to close this and we're gonna disconnect. Okay? And now we're just going to the exact same process for both shutter stock and for Adobe stock. So now all of our footage is uploaded those three different agencies. And now in the next movie, we're gonna go through the most important step of this whole process in putting our metadata for all of our clips. 29. 7.4 Pond5 and Metadata (Don't Skip!): in this chapter, I'm gonna break things down. Step by step on how I input metadata into my footage for stock agencies. Now, this is hands down the most important chapter of this entire course. Please do not skip this. It could potentially cost you hundreds, if not thousands of dollars if you skip. If you have the most beautiful aerial shots and aerial hyper lapses that anyone has ever seen, but no one can find them, you're not gonna make any money. And that's why this chapter is so important. And when you're in putting your metadata, you want to think about a lot of different things. You always want to include what it is you're shooting, what time of day you're shooting, how you're shooting, whether it's a drone or with a camera, maybe the move that you're making if it's a time lapse and aerial hyper laps. Are you doing a dolly move? Are you rising up? Are you lowering? Are you going forward? Reverse, etcetera. You want to include all these different points? All right. Sorry to dive in my computer and I'm gonna show you just how I do this. Okay? Our first step in This whole process is to input the metadata end upon five. So as you can see here, I have the three clips that we've uploaded. Example 12 and three again, these of the Fort Lauderdale clips. And you can see that there's no title, no description, no price. And the status is needs to edit. The first step is we're going to click on templates and we're gonna click on footage. Four K templates. Let's go through you. Obviously, you can see that I have a lot here. New template. We're gonna typed in four k. Example. Okay. And we're gonna copy and paste that in the title Now, some of this I don't know how much of it really matters, but I do put in the date with City The deal was born. That right location United States this waas Cavic Teoh pro. It doesn't include audio, not looping the price. We'll do that later. And now keywords is the most important part of this whole template case. We're gonna click in here and we have, as you can see, up to 50 keywords that you can use. I would highly recommend using all 50 keywords as you can see here. It will definitely help you with search results and just kind of overall cast a wider net for you. Okay, Now, to start with keywords usually just start with four K, cause that's kind of a given. And I think that's a good place to start. An important one tohave. Now, if we go over here, Teoh the shutter stock page, I'm gonna type in Ariel. And now you can see the most searched words or word combinations in shutter stock that start with Ariel. So what I typically do is I put all of these in that apply, or at least a handful of him. So aerial view. So we'll go here. Aerial view, aerial view, Ariel landscape. What else we got Aerial footage, aerial shot, aerial footage, aerial shot. Okay. And now we're gonna type in drone drones, plural drone footage, drone aircraft, drone footage, drone aircraft. What else we got? Drone City drawn video drone fly, John, fly drilling. Flying. Okay, so that's probably good for kind of the drone side of things. One important thing to note is feelings are sometimes mawr important for the metadata than the specific location itself. So for these specific shots of Fort Lauderdale, you would want to include those feelings like peaceful serenity, happiness, etcetera. Sometimes these feelings are more important than the particular location itself. So don't forget the's. In addition to looking at the drop down menu on the shutter stock page, I use three other tools, and I'm gonna dive into that now. The first tool that we're gonna take a look at is Google trends, and now what Google trends does is it's comparing different words and their relevance and how much they're searched. So if I type in four Lauderdale hit, Enter and now I type in Fort Lauderdale, you can see that Fort Lauderdale is searched way more often than Fort Lauderdale spelled with F T. So this is really important when you're trying to decide what keywords to implement and also, when you're titling different clips. Now the second tour we're gonna use is I'm stocker dot com. It's kind of ah, kind of a scary name. It's not. I'm a stalker. It's I'm Stocker. I know it's weird. Anyways, I'm gonna click on open key wording service and we're gonna type in Fort Lauderdale and we'll click OK, now, it's searching. And now what you want to do is you want to go through and click on the thumbnails that most look like your footage. So we're gonna go through here. Uh, this is kind of it. Definitely this beach shot. And we can even be more specific. We can say drone. Okay. Here. Great. Good. Yeah. Here. And you get the point. Now, these are the different ranks of the keywords purple being the highest and white being the lowest. Now, if you hover over a specific word will say hotel. Now that's going to give you an 89% rank. So that's a good word to include. So we'll go ahead and click on that, and we'll just go through here and say, OK, drone. Great. Okay. Uh, travel America. We'll say it's luxury. See what else we got? Aerial view. And now, obviously you want to try to stay a little bit higher on the rank. But overall, you do want to mix things up a little bit, so we'll say American downtown travel destinations outdoors. And you can also, if you click these guys up here, it will get rid of the lower in one, so you'll see which ones are rated higher overall. So dusk is definitely important. And now what you can do with whatever words you select here and go copy to clipboard. Now we go over here and paste that in hit tab, and now those were imported. Okay, so now we're gonna select some of those feelings that I think apply. Go piece. Peaceful serenity, summertime works, sunrises, great sunrise, Sunset and Quil ity. Romantic is always good. And Obama, you get the point. So then we're gonna go down here again. Copy to clipboard. Go back over and paste this in. And now the last two we're gonna look at is the shutter stock keyword suggestion toe. We're gonna go appear to shutter stock. Click on that. This is kind of my home page and portfolio keyword suggestions, and we're gonna do the same thing again for Lauderdale and will say, drone this time and go beach. This is the same kind of process as I'm stalker. It's for the better name, I suppose. Okay, on. And we'll say that's good. Now what you can do is you can click on these tow Add this. The keyword to copy and paste, just like we did before. So we could say Florida Fort Lauderdale skyline, Sunrise Beach, Ocean, etcetera. Same thing. Copy. Here. Go back to our template and paste. And now may be attempting to fill out all 50 keywords for this specific template and then copying pace that for all of your clips, however, I don't recommend doing so. Remember that the more diverse your keywords are for each specific clip, the better your probability is of being found by a client. Okay, so we'll call this template finalized. For now, we'll scroll down and hit, save changes. We're gonna go back to my up loads, and we're going to select the clips that we uploaded and go down here to actions. Click on that, apply four K footage template execute case. And now we're just going to select our template, which waas four k example. This is very important. Make sure in select add keywords and submit. Okay, so now all of the key words that we inputted are going to be in all of those different clips we go command are for a refresh, as you can see now, the tags are 35 total for each of the three clips. Okay, We're just about ready to submit. We have the similar tags and each one of these. Right now, it's 35. That might be a little bit high, but again, this is just an example. And we still have room. We haven't additional 15 keywords that we can put in there to differentiate the specific clips, and we're gonna click edit. Okay, so first things first we're gonna go through This is very important. We're going to select a thumbnail for this specific shot and we'll pick our best shot. The best frame will say this is here. Now, we're gonna use a lot of the same strategies that we use before in our key wording as we are for our title. So we're gonna go back here. We're gonna type in for Lauderdale, Florida. Florida Sunset Drone aerial. Okay, we'll click on the shutter stock page just to see if there's anything else we can add. Fort Lauderdale Beach, Florida on. And it's probably good. Fort Lauderdale area was a good one. What a lot of the elf. We'll do that instead, Ariel here to this Ariel, I get a spell it right. Okay, so we'll call our title. Good. Okay. Now, this is, um, an important point. You want to select and copy the title here, and drop that in the description I just copied and pasted that That's gonna be very important for Adobe stock and for shutter stock. So definitely don't forget to do this. Okay? We're gonna go through and put in a price. You can do a little bit of research on Pawn five and see where you think the pricing should be. I overall typically just do 1 49 or 1 99 depending on the clip. Now, this is where you would want to go in, and then put those specific keywords that a relevant Onley to this clip So we'll go foreground. Also, colors are very important. Purple, orange, yellow. Remember, there's that sailboat that goes across sale sailboat boat. Yeah, and so on and so forth. Now we still have eight more keywords, and we can go through all of these different tools and find our last eight keywords. Once we finally put those in there, you can go through and click, save and submit for review. Obviously, I don't need to do this, so I'll just click. Save changes for now, and we're good to go now. After you click, save and submit, this will change from needs to edit Teoh believe it's pending or pending review or something along those lines. But that means you're good to go, and you just need to wait a few days for it to be finally approved. Okay, so I know that's not super exciting, and it's not a fun process, and it's pretty tedious, but it will pay off in the long run. I promise. Again, it's kind of a pain, but by doing this yourself, you really are getting that extra 20 to 40% off their clips that you wouldn't be getting through Black Box and having someone else do it. So I highly recommend you kind of power and through and doing this on your own 30. 7.5 Shutterstock: All right, Next up, we're gonna dive into shutter stock, and I'm gonna show you how to submit your footage through them. Okay, so we're back at the home page on Pawn five. These are the three clips that we just submitted. And what we're gonna do is gonna go over the top here. We're gonna click on apply see SV and click on Video. And this is how many total clips I have. You're gonna click on Download CSP. And now you're gonna open things up whenever it's done. Okay, Now there are two things we have to change with this particular See, SV file. We have to go in, and we have to change original file name. Do you just file name? And we also have to make this a title. Once you can put those two things, you should be good to go. However, with adobe stock, they only let you submit CSB files with up to 1000 lines. Since I have more than that, I have to go in and I have to delete quite a bit here. So I'm gonna go in. Let's go to you say here. And I was gonna shift click right click delete selected Rose. And now you can see at the very bottom of the CSB under 1000. Obviously, we have our three example clips that we have uploaded. Okay, so when you go file export to see SV CSB spreadsheet and we just put this on the desktop example CSB and Export. Okay, so that's good to go on. Now, we can delete this since we already saved it. And now we're gonna go over to shutter stock again. This is my home pages shutter stock going to go portfolio, submit content and videos they can see. These are the three videos that were about to submit. We're gonna click on upload, see SV again, upload CSB file, and we're gonna go to your desktop example. See, SV and shoes. Now, this is typically gonna pop up If you've deleted things off your CSB. This is really what you're looking for. Three files were processed successfully, so we're good to go there, hit close. And now I'm gonna do a command are to your refresh. Okay, So these little arrows on the bottom left hand corner is just saying that there's an action required before you submit So I'm gonna click on the 1st 1 shift click to the end, and we have to add a category. Okay, We're gonna click on this and say this is buildings and landmarks. Okay. As you can see, these three check marks appeared. That means these three clips are ready to be submitted every once in a while. If you kind of have a fat finger typing in some of these key words, you might have to go in and click on him and re spell them or delete them one of the two. But so far on this one, I did a good job. So these are all good to go. And then you had finally hit Submit, and those clips will be submitted on shutter stock. 31. 7.6 Adobe Stock: last but not least, we're gonna submit through Adobe Stock. So it's diving on my computer and take a look. Okay, here we are on the adobe stock page. I just want ahead and clicked on uploaded files from kind of the main page. And now we're here, ready to submit. As you can see, these are the three clips that we have been working on this whole time. I do have some others that I still need to go in and submit. Okay, so now we're gonna click on upload, see SV scroll down. She's a CSP file. This is that same folders just on the desktop. Select R. C s V choose and upload sometimes takes just a second, depending on how many clips you have uploaded. As you can see, the upload of the C S V file was successful. We have 32 key words here. 39 32 key words in this file. Now we're gonna go in and select all three clips. Click on the 1st 1 shift click, and we're gonna go to category and will select travel this time categories not super important. You just want to make sure that It's obviously somewhat aligned with what you're doing, but you do have to select a category in order to submit your files. One thing that Adobe stock does differently than the other two sites is that it lets you select the top keywords of your clip. Honestly, it's kind of 50 50. If I have the time, I'll go in and do these. If I click on see 27 others. If I want to put drone aircraft at the very top of the list, I can do so on. It goes up to kind of the number one ranking. I don't know how much that affects it. I've done both ways and haven't really seen much results one way or the other. So honestly, I usually kind of just leave it. That's up to you with how much time you spend on it. OK, now we're good to submit again. Shift click. Highlight all these, and then you would click submit for approval 32. 7.7 Don't Give Up!: now that you've gone through and successfully submitted all of your footage, just realize that that doesn't necessarily mean that everything is gonna get approved. Now, on some websites, it's easier to get things approved like Pawn five and shutter stock tends to be a little bit more difficult now. Something does, in fact, get rejected through shutter stock. All you have to do is go to your FTP re upload those particular clips you're see. SV should already be uploaded. So then you click the category, save buildings and architecture or travel and resubmit. One advantage to doing this whole entire process manually is that if you do it through black box, you don't have the ability to go back and see which clips were rejected and resubmit them. That being said, I recommend doing this process manually. That way you can maximize your earnings in the long run 33. 8.1 Thank You: Congratulations. You guys have made it all the way from camera basics and learning what and how to shoot Teoh editing and finally to submitting your stock footage and making that passive income. I hope you guys have learned a ton. If you have any questions, feel free to reach out any time through my website. Vinnie falco dot com, and I'd be happy to help you guys out. Thanks so much for watching, and I hope to see you guys in another course here soon.