Shooting Professional Real Estate Videos - The Ultimate Guide | Dennis Schrader | Skillshare

Shooting Professional Real Estate Videos - The Ultimate Guide

Dennis Schrader, Freelance Videographer and Creator

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
18 Lessons (1h 9m) View My Notes
    • 1. Introduction to "Shooting Real Estate Videos"

      1:52
    • 2. 1.1 What Camera to use

      9:24
    • 3. 1.2 What lens to use

      3:14
    • 4. 1.3 What stabilizer to use

      2:03
    • 5. 1.4 Which drone to use

      1:41
    • 6. 2.1 Preparation for the shoot

      2:41
    • 7. 3.1 The 5 important Camera Settings

      7:53
    • 8. 3.2 The 5-step shot list

      7:08
    • 9. 3.3 Composition

      2:04
    • 10. 3.4 Focusing

      2:26
    • 11. 3.5 The Top 5 camera movements

      6:30
    • 12. The Student Project

      0:41
    • 13. 3.7 Lighting

      1:50
    • 14. 3.8 The 9 most common mistakes

      8:35
    • 15. 4.1 How to land the job

      5:19
    • 16. 4.2 What to charge

      2:33
    • 17. 4.3 How to blow away your clients

      2:07
    • 18. This is where I say thank you!

      1:04
28 students are watching this class

About This Class

Real Estate Video Production is one of the easiest and most common ways for new videographers to start out in professionally making videos and earning a living with it.

I have made classes on Editing Real Estate Videos before and hundreds of students learned how to take amazing footage and turn it into a real estate video that sells.

Since then a lot of you have asked for the Shooting-part of the process and here it is. In this class I take you through my complete process of how to Shoot Real Estate Videos.

Here is what you can expect in the class:

1. In section one I explain which gear you need to be able to produce amazing quality real estate videos.

  • Which camera is the best?
  • Which lenses should I buy?
  • Which stabilizers do you recommend?
  • Do I need a drone?

2. In section two I quickly mention a couple of tips for preparation

3. Section 3 is the heart of this class and we go through the complete and detailed process of how I produce my videos for my clients

  1. The 5 most important camera settings
  2. My personal 5-step-shot list
  3. Composition and Focus
  4. The top 5 camera movements you need to master
  5. The 9 most common mistakes that I have made in the past and still see beginners and even intermediates do today
  6. The problem of lighting in real estate videos

4. And then in section four, I take a bit of time and go through the business side of producing real estate videos

  • How to cold-email potential clients and actually get results
  • How to find clients in the first place
  • How to get amazing material for your portfolio before you even have a job
  • How to over-deliver to your clients and have them come back to you

As you can see there is a lot of amazing knowledge waiting for you. I have put a lot of effort into this class to equip you with the knowledge you need to go out there and start getting results in your creative career in video.

Complementary classes by me:

If you liked this class, chances are, some of my other classes could be helpful to you as well. Here are my recommendations for you:

Instructor Dennis Schrader

b047622a

I am a fulltime filmmaker based out of Hamburg, Germany and I work with clients to produce real estate videos, documentaries, commercials and event videos.

For the last 1,5 years I have been teaching my video production knowledge to students all over the world. My goal is to teach my students the skills and mindset they need to fullfill their creative goals.

Connect with me:

The camera gear I use: Check out the Gear

www.dennisschrader.com

[email protected]

Transcripts

1. Introduction to "Shooting Real Estate Videos": him a video production. Friends, Good to see all of you again. And for those of you who see me for the first time, my name is Dennis. I'm a freelance videographer based out of Hamburg, Germany. And besides cruising real estate videos, commercials, documentaries and event videos for my clients, I share my experience and my knowledge with people like you who want to get into video production, video editing and maybe just into a position where your creative work can pay your bills a while back. I've made a class specifically on the editing process of real estate videos, and you guys liked it a lot and kept asking for the shooting part. And here it is. So here's a quick overview off what we're going to cover. Number one big year shooting really, said videos, is a special task that needs special equipment. I will share with you what I use and my personal recommendations for beginners in terms of cameras, white angle lenses, stabilizers, drones and much more. Next, we will cover the preparation of the shoot. What do you need to know beforehand? What should you ask? Your real estate agent one. It's important to remember, Then we will go in detail through the complete shooting process. I will share with you the five most important camera settings you want to get right. My five step shot this for getting exactly the shots you need in the editing room. We will talk about composition and focusing, and then I will show you my top five camera movements. And finally we go through the most common mistakes. I see beginners make all time so you can instantly produce videos of higher level quality. And then, in the end, I thought some of you might enjoy a bit of the business side as well. I was specifically cover how to find real estate video clients what exactly? To read them in the emails, what to charge them and finally help to deliver a video that you know, blows their mind and makes them come back to you. So, as you can see, we have a lot on our plate, a lot of interesting stuff to get into. So if you're ready, go make yourself some coffee or tea and get your notebooks out and let's dive right into shooting professional real estate videos. I see you inside the class, but by 2. 1.1 What Camera to use: this is the minimum here. So first off, let's talk about here for really said videos thirst. A couple of things you will always need that are kind of specific to real estate in this combination. So here's what I consider the minimum gear you need to get started with professional real estate videography Number one. What camera should use. So to find the best camera option for real estate video, let's first define exactly what we need from our camera to be able to make great real estate videos. That way, you can make your own decision for a specific brand and model in the future because, you know, as you all know, the camera market changes extremely fast. And maybe in two weeks there's a new camera that comes out that fits perfectly. But I don't nobody ed, so it's not in this class, so I would rather educate you on the elements that are important to you so you can make your own decision. And here are the important factors for me. Number one image quality. So, first informers. The most important thing for any camera should be the image quality we want nice and crisp image with solid colors because you can do a lot in post production, but especially when we are interested in quick turnaround times and making videos look good without spending too much time, any time that is used on extensive color grading is something I would like to save myself from. And I want to clarify that with good image quality, I don't necessarily mean cinema camera quality. Okay, a solid mirror list camera or DSLR will be plenty of quality to get the job done. But more on that later. The next topic and also related topic is resolution. I personally shoot my Reid said videos and four K or uhd resolution at 3840 by 2160 pixels . But full disclaimer. Honestly, I think no real estate agent really needs four K. They put the videos on through the websites or released a platform websites, but most likely people won't even notice the difference all that much. And if anything, they usually played back in lower resolution because either the mobile phones don't support three a four K or the Internet connection might be too slow. But keep in mind that even if you recorded four K, you can still export in 10 80 p, and the image will still look sharper and better compared to something that was shut on 10 80 p in the first place. So, in my opinion, a camera that records a good 10 80 p, that's enough. But I used my Sony A 73 which records an amazing four K and not so amazing. 10. 80 p. And since I have access to four K, I just use it. So next topic is frame rate, so the base frame rates for all of my videos are usually 24 frames per second. But especially with real estate, part of the workflow is often to slow down the footage in postproduction to get that extra smooth and dreamy look. It's a common practice, and I think it really makes a lot of sense, and you can also use things like speed ramping. But in order to do real slow motion with our footage in post production, we need to shoot in the higher frame rate than 24 frames per second. If you need a little refresher on the topic of frame rates and so emotions, stuff like that. Check out my class specifically on frame rates. If you're interested in how exactly that works, I have a link down below. But for now again, we need more than 24 frames per second to make slow motion. And I would say the optimal level for me is at 60 frames per second because number one. That gives me a lot of room to slow down. My footage toe up to 40% off the original speed, which is plenty, and it makes for an amazingly smooth image. So even if you move a bit faster, or maybe even if you have some sort of micro jitters or camera shakes that you get even sometimes with Gimbels, when they're not perfectly balanced, that will be much less if you slow down to 40% of speak. But here's the issue. It's not really easy to find a combination off four K and 60 frames per second within a reasonable price range. For example, my Sony a 73 records, four K and up to 30 frames per second, which lets me slow down my footage to 80% of the speed for my personal workflow that actually works perfectly fine because I use my gimbal and I try to move extremely slow. And over the time I managed to get really buttery, smooth charts, even with 30 frames per second. But if I were to buy a new camera today, I would probably go for four K 60 FPs solution because I think that will make it a bit easier. And guess what? Here's a little spoiler already. There are actually some amazing options that are much cheaper than the Sony A 73 that I use and that record four K 60 FPs in amazing quality. And that is, for one, the almost iconic Panasonic GH five with its micro 4/3 sensor. And then there's also the newer amazing Fujifilm X T three with an A P C. Center that also gives you four K 60 frames per second. But more on that later in the conclusion. For now, let's move on to the next point, and the next point is low light. Let's talk about low light performance. One of the hurdles of real estate videography is that you often have to deal with non ideal lighting situations. And what do I mean by that one common scenario might be. You have bright day like coming in through the windows while the inside is barely lit and the lighting from the inside cannot compete with the sun that from the outside there will usually result in a blown out window in order to expose correctly for the inside. Because at the level where the inside is exposed correctly, the outside the window and the look outside we completely overexposing. Basically the window work turned completely white or very much too bright. But more on that, also in one of the upcoming videos. Another scenario is that you just have a very dark room, regardless of the windows and even with indoor lighting. Sometimes rooms are just not let that greatly. And what works nicely for a comfy home is usually not at all. What works nicely for your camera and in order to shoot a real estate video, So let's go back to the basics. How can we deal with low light? Here are options number one use of fast lens. So if you have a lens with a very wide open aperture, let's say at least something like F 2.8. You will have a much better lighting performance over something like F four or even higher . So if you can try using lenses with faster apertures, I know they're more expensive. But for pretty much all camera systems in all lens mounts, there are options out there that are more affordable than others. So I really recommend checking out something at F 2.8, if you can afford it. Another thing that we can do is we could use a camera with the bigger sensor. So, for example, a full frame sensor compared to an a PSC or micro 4/3 sensor gives you a relatively a better low light performance. Big sensors generally have a better low light performance, and lastly, you can, of course, just raise your eyes or which again is where the low light capabilities off your camera show their power. Because increasing I so means increasing noise in the image and how good your camera specifically handles. This increase off so will determine how far you can go before you have before you have an image that your basic can use. You know it determines how far you can go while still having a usable image. And all of those things are considerations for low light that you have to think about when choosing the right camera for its that video. The next thing is dynamic range, and like I mentioned before, you will often be faced with situation where you have very dark shadows and very bright highlights in one frame and again, the prime example was the indoor, with relatively low brightness and much brighter sunlight coming in through the windows again. Most of the time, you will have to live with some sort of over exposure of the windows because obviously what is important is usually the thing that's on the inside, not the thing that's, you know, outside, except for maybe there's a great view or some nice garden. But what I want to say is that different cameras have different dynamic range capabilities , so the better the dynamic range in the image, the more information will be retained in the highlights and shadows. So finally, which camera should be as a minimum, I recommend getting a camera that can shoot at least 10 80 p in 60 frames per second in a good enough quality. So we already talked about the fact that camera gears changing really fast, but nonetheless, I made a little less for you guys. Check out all the gear that I recommend specifically to this class, so check it out in the link that is on the screen right now. And there You can find specific examples off affordable camera options for real estate video. But now, if you have a slightly bigger budget, the best bang for the buck, in my opinion at the moment would be the Panasonic GH five that shoots Fourcade 60 frames per second or the other one. I already mentioned the Fujifilm X T three with pretty similar specs. Those two cameras are giving you a lot of value for the price that they cost at the moment . I think they're both around 12 to $1400 for the body. And let's say you're really make some revenue when you have some money to invest. Another camera that comes to mind honestly is the Black Magic Pocket Cinema Camera six K or the Panasonic s one age, with its amazing dynamic range and the impressive six K image in both of those cameras is probably totally overkill for the common real estate video. But like we said already downscaled video works really nice. And if you downscaled the six K image off both of those cameras to a poor Kate, Mitchell will look fantastic. And other than that, both of them are overall very nice cameras for all kinds of other work as well. So make sure to check additional reviews on that if you're interested in it. But keep one thing in mind, and that's almost the most important thing, which is the best camera is the one that you have available. So if you, for some reason have no money to spare at all, you know you might be in a desperate enough situation to use your phone. If you have a $300 camera, which is a super old DSLR that only shoots 7 20 p in 65 per second. So what, you know, like then that's what you have to do for the first few videos. What I'm saying is, try to get the best camera that you can afford. That still makes sense. If you have the budget, I would really go for GH five for extra three. You know, if you already own camera, chances are you can get started with what you have. You 3. 1.2 What lens to use: next on in the topic of gear, which white angle lens to be used. So now that you have chosen a camera, the next question is, Which lens should you get on? When we think about the lens, let's think about the shots that we want to get in order to make a great real estate video . So these are the shots that I usually use in my videos. Number one is a super wide angle. At 14 millimeters. I start with the basic super wide angle shots at somewhere between 14 and 18 millimeters. The reason you want to use that white over lens? It's because you want the rooms off the property, usually to look as big as possible. And this is especially important when the house or apartment you're filming might actually not be that big. You know, it's actually crazy. What kind of wonders the wide angle lens can do to a small room. It can make it look much nicer, much bigger. But if it's already a huge you know, apartment or house and you're very, very big rooms, you might even go a little higher than 14 millimeters because by using white ambulances, we can not only make rooms look bigger. On the other hand, we also need to be mindful about the distortion that happens at those very white focal ings , but more on that later in the class. Because next on, I like getting some more detailed shots off some interesting features of the property. And in most cases and where it makes sense, I like shooting those on my 50 millimeters f 1.8, and that's a nice medium focal length. And that's basically already it. Very rarely, I shoot some establishing shots or detail shots on something like a 24 or 35 when 50 might be a little bit too tight. But when you're just starting out, you could easily solve bed with an affordable kit lens at something like 24 to 70. In my case, I have I think I have a 28 to 70 or something like this, and those are all the lenses we need, and I recommend you get one super wide angle lens at around 14 millimeter on a full frame equivalent. I used my Sam Yang 14 middle meter F 2.8 for my Sony Mount and the reason I say full frame equivalent is you should keep in mind that there's a crop on the lower sensor size that you get when using something like the GH five or the X 23 within a PSC. A 14 millimeter full frame is not gonna turn out as supporting millimeter on a PC camera or microphone thirds camera, but you can just adjust that with buying even wider lenses. And different camera brands have the respective options off white and lenses, and you will have to do a little bit of research. What works for your camera body on my soniya? 73? Like I said, I used to Sam Yang 40 millimeter after point aid. But if you want to go all out, I recommend the Lao a serious of zero distortion lenses. And the cool thing about them is that he will have less of an issue with the super wide angle, you know, level distortion problem that I mentioned and for the detail shots, I use my 50 millimeter F 1.8 from Sony, which looks good and it's sharp and I really enjoy the image and, you know, most camera systems should have an affordable 5 50 millimeter or equivalent option, which is something I definitely recommend because even apart from really said video 50 millimeters, one of those super useful polka links that you can use for most everything and finally for a lot of shots, I recommend, like I said, a 24 to 70 millimeter full frame equivalent, which is the easiest choice to get the job done, everything else but the white angle stuff. 4. 1.3 What stabilizer to use: the next key thing, you need to get smooth charts in your recent videos. It's some sort of stabilizers. You can either use a mechanical stabilizer like a Steadicam, or you could use one of the more modern motorized handheld Gimbels. And personally, I prefer the motorized Gimbels like the de Girona s or the most air to our the Zion Crane or all of those different brands, because I find that they give me smoother results and really the best stabilization. You know, the thing was, steady camps is that I love them and they're extremely reliable. And I always like to take one just for for emergency cases when the Roman doesn't work anymore. But the thing is that they look not, as you know, not as perfect, if you ask me. And in many cases that's actually something I like, because it's more natural. But especially for something like real estate, I don't want the viewer to focus too much on on anything but the actual property, so I don't want to distract him with any sort of camera shake. And that's why I personally prefer my deejay. I Ronan s also it's a lot faster and easier to balance a gimbal correctly. Then to balance is steadied camp, and especially when you first number change focal lengths or something when you zoom lens in and out. Often lenses, you know, actually extend when you do that. And if you do that on a steady camp, you would have to re balance every single time to get a balance again. And with a gimbal, you have a little bit of leeway that even if you make a change like that, it will still be fairly stable. But honestly, that being said, 30 camps work, just find there a little bit more affordable, and they're definitely more reliable because they don't have any electronic parts that could create problems. So again, if you want exact recommendations also for that I have linked my complete fearless down below for real estate work specifically because again, the principal say the same but exact product recommendations might change. So make sure to check that list up 5. 1.4 Which drone to use: All right, Next on, Let's talk about drones. One thing I do want to mention first, having a drone or a leased access to a drone is really, really important. Lots of my real estate videos are shut without a drone, but that's only because either clients decide against the for price reasons. The smaller apartments are not really worth shooting from the outside. Or it might be because of legal restrictions in certain areas where I cannot fly the drone , but especially higher price properties usually benefit a lot from drone work. And the real state agents, at some level also definitely expected a certain point that drone shots are part of the package. So the question is, which drone should you use? And when I use a drone, I go for the deejay I magic to pro the truth of four K, and it gives a great image. You can probably also get away with the older medics with slight differences and image quality. But here's what. We'll go with what you can afford, and the minimum is the same 10 80 p at at least six frames per second. And now the good part is, if you don't have the budget to buy one right now. The good way to get around it is either renting one. Or maybe you have a friend who has won over time. My friends and I have all purchased different things that others have not. We often just interchange gear if we need something. Since I don't use drones very often, it didn't really make sense for me to buy one. So every time I need to use the magic I rented out for a small fee from my friend or rental company, and that way we have a win win situation. But if you shoot gigs that often require drone work, it probably makes sense for you to purchase one. But if you don't have one, you can still create and there's no need to own one. 6. 2.1 Preparation for the shoot: number two. What information do you need before the shoot? All right, so now let's imagine you're the point where you have a job booked. Good job. The next question you need to ask yourself is, What do you really need to know before you get the job done? What do I need to know beforehand? And the first thing I always ask for is a picture off the property that I'm going to film. This gives you a few hints that might be useful for the shoot first, how big is the property? Actually, this is obviously important to plan out how much time you will need and therefore at which time of the day you have to start to not end up with no lighting because, the summary said. But apart from that, it's just good not to look too surprised when you see the property for the first time. You know, you should know what you're getting into. The next thing I like to do is asking the real estate agent what is especially important to them about this specific property. What are the key things that make this house or apartment? What must be in the video because it would sell the house. I always ask the question again where we're at the property, but I find it useful to a ratio interest Years of my client knows. Okay, he really takes it seriously. And perhaps I asked a question that they didn't even expect me to ask him. That always makes a good impression. Next on, we're going to take care of the kitchen. And the kitchen is actually great example. Because I told you guys about the idea of asking your real estate agents what's important to them. And in this case, my recent agent actually told me that you know, this this little espresso coffee machine here is actually something that the people like. So in this case, I'm actually group use it, and I'm gonna make a little detail shot off off a coffee that pours in there, and I already know they're going to like it very much. It's gonna be something that they don't expect me to do. I mean, they expect me to film it, but not to use it, which is gonna add to the to the quality of the footage. So next, let's quickly talk about give preparation. Give Preparations should go without saying, but especially in this case, get your gear ready for the shoot. Make sure your batteries are fully charged. Make sure your gimble is fully charged. Get the drone ready to go. Make sure you have enough empty memory cards available and go ahead and pack your camera bag with everything you need. The day before. I like doing that well before I have to leave just because I'm much more likely to forget something when I pack it last minute. That way you can relax about it and just get you get ready and head out the door without worrying about having forgotten anything. 7. 3.1 The 5 important Camera Settings: five important camera settings to get right on real estate. Shoot. All right, so now we're at the property, and it's time to shoot. And the most obvious thing to get right. It's obviously the camera settings. Number one is resolution, as we've talked about in the section about cameras I like to shoot in four K or more specifically, uhd with the resolution of 38 40 by 2160. And that gives me a nice and sharp image, especially for my Sony, A 73 The four K image looks much better than the 10 80 p image, and your camera of choice might not be able to shoot four K, and that's fine. Quite honestly. If I were to shoot in 10 80 p an export a four K upscale version off this 10 80 p and then sell, it is a four K. Most of my clients probably would never notice the difference. And frankly, they shouldn't, you know, because a good looking 10 80 p, in my opinion, is enough for any real estate video. And if you really want to have four K after a couple of jobs with 10 80 p, you should be able to afford a four K camera, like the GH five for the Fujifilm X three number to frame rate and shutter speed. All right, next on, let's talk about frame rates and therefore also shutter speed and first things first. Why do I mention those even together? And the answer is simple, because they should always go together. The shutter speed in a perfect world, always a set based off the frame rate, and this is the equation. Shudders. Feet equals one over frame rate times, too. So let's get into some examples. If you shoot in 60 frames per second, your shutter speed should be at one over 120. If you shoot in 24 friends for second, your shutter speed should be at 1/48. Or, as most beginner cameras don't have that setting, it should be in 1/50. Next on our eyes. Oh, an aperture. First off, you want your eyes old generally as low as possible for the least amount of noise in your image. But since especially really stayed, videos are not always shot in perfect lighting conditions. You might find yourself having to bump up that I so quite a bit to get correct exposure for your rooms and the aperture I usually said as wide open as possible for that exact reason, because with a low aperture like F 2.8, I let more light onto my sensor and get more exposure. Another effect off white open aperture is potentially shallow depth of field. Usually when shooting and super wide angle lenses like 14 millimeter or 18 millimeter. The range of focus, which means the parts of your image in depth that are in focus, is really, really far. So you will probably not have so much of an issue with a room being slightly out of focus. Because if you just focus on the important middle off the room, then then you will have a bunch of range before and after that, there will still be in perfect focus. My recommendation is just manually focus on the important part of the room and go for it. And if you notice that this doesn't work for you, you can still in that case, goto for even higher if you need to. But that's how I would start for the detailed charts, though, adding shallow depth of field definitely adds to the production value of the video. In my opinion, it just looks good if you have your detailed, crisp and sharp and stand out from the background and background gets nice and blurry. So let's recap. I so should be as lowest possible to maintain low noise in the image. And temperature generally should be as wide open as you're focusing abilities. Let you because it looks better and it gives you more light. All right, so next on white balance. And that's probably the most tricky one. For consistent and good looking your video. You will have to manually set every room because different rooms have different lighting temperatures and some get daylight. Some don't. Some have very warm indoor lighting, some of cooler ones, and another influence is also the color of the walls that bounced back the light into the room. So, generally here, a good starting points for rooms that are purely led by daylight through windows and no indoor lights go for white balance between 5000 and 5600 Calvin, because that's representing daylight. Daylight has 5600 Kelvin, but I sometimes find that because of the walls, not always being exactly white, the tone slightly changes, so sometimes 5000 works better than 5600. But this is still anyway, within the range off something that you could potentially correct afterwards in post production. Now, if you have a room only lit by the typical tungsten style, like this yellowish, warm indoor lighting that is very typical on most apartments. Want to set your white bones to about 3500 Calvin, which actually represents tungsten. So with a coffee in your hands? Because I mean it would be irresponsible to waste it, wouldn it? Next on is the bathroom, and I've said it before, but the bathroom lights, as you can see in this image right now, are a little bit awkward. They're not the typical yellowish lighting. They're definitely not white lighting, but they have some kind of and what is that? They have some kind off purplish have some kind of pink purple color, and we're going to see which white balance is perfect. So let's see. All right, so it turns out that this room is actually looking pretty well with a color temperature of 3000 Calvin on. So let's go ahead and film this one and this one again. I'm going to do a little bit off a Maybe we can do the door open, Reveal? Yeah, that's gonna look good. So switch autofocus off. And if you have to work with the mix of artificial and daylight, which is probably the most common, I recommend starting at about something like 4000 and maybe going up to 4500. If that looks better in the screen and then you will be again, still in the range, if that's what the mixed lining is. So the first thing obviously we need to do is check the white balance for this room. So in this case, this room is lit by several light sources. We have those slightly yellowish lights. We have a very white except light. Over there. We have the leading from the bathroom, which is actually a totally weird color kind of pinkish. Um And then we have day light coming in through there and through here. And so my recommendation, like I said in the course for those kinds of mixed lighting situations, is 4005 Kelvin to basically be able to show both of those light colors and adjust and post production to the direction that you want. And then, lastly, if you have one and you have the time you can make use of a great card. Just position it in the frame in front of a camera in the exact lighting in the room that you're shooting and use the internal white balance, great card detector function to set white balance that way. That is probably the safest way to get it right every time. But you might need to get yourself a great card, and it also takes a little bit of time. Number five is the picture of profile. All right. Next, honest the picture profile. And for those who don't know what a picture profile is, you can basically change the way your camera records the image according to how you want to use it later. So, for example, you can record in a flat picture profile like the Loch profiles to capture more dynamic range in your image. And that is exactly what can be useful when recording situations where there might be very bright spots right next to very dark spots in the very same frame, and that is a very common situation when filming rooms as we already learned. And honestly, you can get really, really deep into the subject, and it can get quite complicated. But every picture profile comes with its pros and cons, so to keep it simple, here's the picture profile that I use for my release, said Work on My Sony, a 73 8. 3.2 The 5-step shot list: All right, let's get into the actual shooting process and there are specific shots that I want to get on any real estate shoot. I think it's a good idea to make a list off the shots you want, so you're secure and you know what you're looking for when you arrive at the property. For me, when I started out was always very important that my client didn't have this kind of idea that I don't know what I'm doing. And the truth is just that at some point you have to start and there will be moments when you actually don't really know what you're doing. So first of all this classes, hopefully big help for you, but I do recommend making a shot list. So the first type of chard you want to get is establishing shots off the property. You need to show the property as a whole from a white perspective that, you know optimally shows the beauty, the size and the best angle also off the properties. So it just looks the best that can be, and the viewer instantly knows where they are and what kind of property they're looking at , and that obviously depends a little bit on the house or the apartment that you're shooting . Those shots can often be drone shots, or it can be just a normal wide angle shot from further away from the house. For those types of shots, it's already helpful. Have images beforehand that kind of give you an idea of what the property looks like and from from which angle looks the best and most impressing and has maybe a beautiful background. And I also definitely recommend getting several angles off, establishing shots. So I have arranged to choose from as soon as you're in the editing room. The next type of shot that I always do is the general wide shut off every single room and any outdoor space and really any space you know that you want to film in the property and we use those right angle shots to just show the rooms. And you don't generally make this kind of walk through off the apartment, especially focusing obviously on the beautiful sections. And I like to get at least one good wide angle shot per room, and I shoot those on my 14 millimeter lens and always combined with some kind of camera movement like push ins and reveals etcetera, but more on those specific camera movements later on. One thing that I already want to mention here is actually one of the most common mistakes that I see. And that's why it's important. You only want to have full ward movement in your shots and never backwards, because if you think about it, we as humans, we don't really walk. You know we don't want backwards. We work forwards when we're exploring things and really most of the time. So moving backwards is one of the easiest ways to distract your viewer if you change into some kind of weird and unnatural movement, perhaps for some cool effect or something internal. But I recommend keeping natural and keep it in a way that supports the purpose of the shot that supports the purpose of the whole video. You know those shots, those wide angle shots are the backbone off your video, so make sure they're nice and looking good, clean and without any shakes, and still usually make two or three takes off off the very same shot, just to be sure to have at least one great one in there. And you know, when I enter a room, the first thing that I think about is, how can I make this room look the best? You know? Where are the interesting corners, where the interesting views and angles and perspectives through which door should I maybe enter into the room? If there's more than one and one thing that I want to recommend, it's always make sure to constantly check on your framing and the image that you actually capturing. Because, believe it or not, if you're kind of like in the trenches and almost this kind of like meditative mood of shooting when you're on your own, you don't want to forget what you're actually capturing and really spend time and pay attention to the details. So next we have the close ups. I'd like getting close ups of visually or functionally interesting details off the property , and this gives me a chance to make a more dynamic edit and switch things up a bit and not get too monotonous with those white angle room shots, because that would get boring After a few seconds. Those details shots I usually shoot on my 50 millimeters f 1.8 for the shallow depth of field that I like and generally just the point of view that gives me. But honestly, you could totally choose whatever lenses make sense for that specific details that you're going for and has already said, You can use this technique perfectly. Toe also show features off the property that your real estate agent maybe told you to focus on. That they find important. That makes the property really valuable that you maybe don't know about. You know, maybe there's a certain type of wood used in the kitchen. Or maybe, you know, the Or maybe the bathroom is especially fancy brand that you might not know. And that's where the conversation from earlier comes in handy because you know what's important to your agent so you can focus on it directly, and therefore, you know, they know that you listen. They're happier with a video because their recommendations are in the video, so it's more there almost like a part of the creation process, so they're more likely to like the video. Even if you're a real estate agent, doesn't say anything, you know, maybe there's some special multimedia system. Maybe the apartment has automated shades. Maybe there's a terrorist with a nice outdoor Jacuzzi or things like that. Those would all make for great details. But if you think about it, those are the obvious ones, right? But sometimes in less exciting properties, even just a nice corner of a room or a burning candle that you focus on can add to the mood of the video and make the viewer feel comfortable in their potential future home. You know, it's not always just fancy and luxurious things that make you feel at home. It's actually almost the opposite. Maybe you have seen those YouTube videos off those super expensive mansions for, you know, 2030 40 $50 million. But it doesn't really feel like a home, if you know what I mean. And, for example, things like Candle make things make, make a home feel like home and evoke certain emotions that I really like to use my videos next on our drone shots. And there's the basic drone shots that you should get. But especially drone shots at Golden hour, from multiple perspectives and with multiple movements are something that I really recommend doing, you know, at one point in my career, I learned that lighting there's actually way more important than pretty much anything else . You know, the camera doesn't matter all that much. The lenses are obviously important, but it's, you know, comparing all that to light shooting in a beautiful light makes even, you know, can make a phone look amazing can make a cheap camera look amazing. And the by far most beautiful lighting, in my opinion, is the lighting during golden hour. And that's the last hour before the Sun said. Everything just looks magic and beautiful and epic. And if you're in real estate, agent has the budget and you have the time. Get some drone shots off the property in golden hour. And that will totally change the quality of your video, because with those shows, you can get just, you know, unmatched quality off visual beauty, like it's actually crazy what kind of child you can get in golden out. So if it makes sense for your property, definitely try it out. And now I have one more thing, which is one exception to the rule of not filming with the backwards motion, because for me, that exception is when I make the ending shots. You know, if you think about the end of the video, it's helpful just to close the circle in some way to have a really ending in the video that actually feels like unending. I don't always do it, but using shots with backwards motion is a creative way of signaling and ending to something, you know, to walk away from something. And if you would make, for example, another white shut off the whole property but not use it as an establish ER, but rather as an ending shot, I think that would work really, really well. 9. 3.3 Composition: So next time, let's talk about the composition of your shot. What do you want to see in your frame, where you position your camera and in which direction will you pointed? I think those are important questions for real estate videos as well. And the truth is, a big part of what you do depends on how the property actually looks. Different. Properties really ask for different camera angles and different camera movements. You know high ceilings should be filmed differently than standard ceilings. Big and spacious rooms should be from different from tiny rooms, but nonetheless there are a couple of easy tips for having solid composition and a good looking image. And number one is the camera height. Okay, I usually try to film somewhere between chest and head height. The basic idea is that you want to film from the perspective of the human walking through these properties, because at the end of the day, that's exactly the idea behind those videos, isn't it? You want the person to explore the house except us. The filmmaker are guiding the views and guiding the path, and so it's a good idea to move the camera in a way that's similar to human. So number one, the height of the camera should be between chest and head. Another tip that I can give you is to keep the camera mostly level with the horizon. So don't tilt it up or down too much, because when filming with very wide angle lenses, distortion really becomes an issue at some point. And what that basically means is that the lens starts spending straight lines at the edges of the frame, so the closer your subject is to the center of the frame, the lesser will be bending and distorting. Now, if you start tilting upwards to include a bit more off the ceiling or so, the center of the frame goes up a swell, and that will make the room look a little bit more distorted. So keep having the horizon center if you don't have a specific reason to change. If you make the detailed charts, obviously you're a little bit more free because those are more zoom then, and more close ups, and there you will probably get away 10. 3.4 Focusing: All right, Next down. Let's talk about focus. So the most obvious question regarding focuses probably manual focus or autofocus. And there is no clear cut answer, to be honest, but let me share my experience. I personally prefer to shoot mostly with manual focus. And the simple reason for that is that autofocus. It's just not at all reliable in understanding what I want to be in focus. For example, if I just leave on the standard autofocus with the white focus area, the camera will focus on all kinds of things. Sometimes there are little objects in the foreground, and the autofocus suddenly grabs focus where there should be no focus. And I'm gonna be honest. I'm sure I could fix that by manually setting some autofocus points beforehand and then being careful with the framing while shooting. But to me, that's just not a good use case off autofocus in the first place. So it's not so much that I don't think I could make a work. But shooting with manual focus to me has just one big advantages. I have ultimate control. I can set the focus or whatever point I want, and it will not change on me unpredictably, no matter what's in the foreground in the background or how strong contrast is or something how fast I move that all doesn't matter The focus days where I said it and you know it's it's more control that have over my camera. So for lots of you, that might be something you guys need to get used to because I know autofocus is a big thing and getting more more popular and also more more effective. My recommendation. It's really to use manual focus. And here's how it works. I just moved the camera to the frame where the important part of the shot is in frame and I focus exactly on that. And then I go back to the beginning off the shot, and I actually moved the shot. If you think about your enter new room and you have a shop that may be in the final video takes about 23 seconds or something like this, then you want to go to the point off this. You know this camera journey and stay at the point where the most important frame is present. So where you have the best angle of the room where it's like the most important point of view for the camera, and at this stage you focus, and then you just make your camera journey like you want it and automatically. The part that is important to you will be in perfect focus, and the rest will almost not even be out of focus because, especially with wide angle lenses like already shared with you, there will be most in focus at any point anyway. 11. 3.5 The Top 5 camera movements: so camera movements are really important because they lead the eye off the viewer and they evoke certain emotions. If you use them correctly here, the top five camera movements that you want to learn for real estate video number one. The push in the first movement you want to learn is the basic pushing and what that this is basically just a slow forward movement. And here's example of pushing. We can perfectly use the pushing. For example, when showing Ah hallway that we walked down or when entering the property through the gateway or simply when we enter really any new room, you will notice that it pushed in. It's often very powerful, especially if you use them in combination with some of the other movements that are coming up number to the foreground reveal. And that's already the first example where this in combination with the pushing works really nicely. This is my favorite thing to do when entering a new room. For example, let's compare those two shots one basic pushin and then one push in with the foreground revealed. The four run reveal gives the shot more depth and makes it more interesting, and the reason for those that one of the most basic filmmaking rules that you can memorize , his depth looks good. Okay, that looks good. We have several layers in this image. If you look at it, we have the foreground that is out of focus, which is the wall. When we enter the room, we have the room that it's in focus and then best case in background. There could be a window that reveals the garden area or a nice view. But even if there's no background, the foreground can add a second layer, which is good. Also, the revealing element of the shot has something dramatic about it. If you think about it, you don't just show the room, you reveal it slowly, and it will definitely inside a little bit more for a while moment if you do it right on. In this case, we're going to use what I've often referred to as the foreground reveal, and the idea is basically that we used this wall right here to block our view and then slowly reveal the image as we go into the room and it's gonna look something like this. See The reveal review revealed that were here and then assume as soon as we're inside, we do a push in. And all this is basically mixed. All those different kinds of shots, right? We do push in with a slight pan, which it's gonna look something like this. Alright, Also again we go to the he wrote part of the shot, the most important part, and we pull the focus like this. Okay, lets go. All right, So reset the gimbal, make sure everything is level and stable. Old lines are all lines are straight. And so we start here, close to the wall and slowly. I'm probably not going to use the shot for so long, but I'm gonna keep going just a little longer in case I need it. Next on is the pen, and the pen also often gets used with the pushing, but basically what it is, it's just panning the camera from one side to the other. And here's an example of a good pan shot. Penn shots are really useful for showing big rooms or big areas like an impressive garden or pan over the great sunset view. It's basically the thing to do whenever you have some sort of horizontal area that is very white that you want to cover. You can think about a little bit like the panorama function with your phone that you maybe have. You know where you have to take several pictures of, basically, just move the phone over the horizon, and that's exactly the same thing that you do with your camera. Except we don't need Panorama shot because we can just, you know, we could just pan over and the video comes with us. I also think the Pan Chiotis especially powerful, if used together with the push in and maybe even a foreground Rubio to combine all of the good elements together and craft more interesting shot Next on the Parallax Parallax is when you focus on your subject and keep it in frame one moving sideways into one direction . That creates beautiful effect where it looks a little bit like the background moves into the opposite direction as the viewer, and it again creates layers and depth. Here's an example of a parallax shot of beautiful detail in one of my recent properties. It's important, though, that there's a good separation between the subject and the background, so you either want to go fairly close to your subject with that shot, or you have your background very far away from the subject or completely out of focus with shallow depth of field. Next own is the top down or the bottom up shut. With those two shots, you either have a movement where you start with the camera tilted upwards, and then you tilt it down into being level or the other way around, where you start slightly tilted down and you move up and again. Those worked perfectly combined with the push in a foreground reveal and even a slight pen , and the idea for the top down is that you can perfectly show high ceilings or in general, interesting elements that are placed above eye level for the year. So, for example, when you want to show the complete property in its height from the outside or, for example, you come into the entrance area where there's a super high ceiling. The bottom up on the other side often works in the very same scenarios, but it's also kind of like a version of the foreground reveal in many cases for me, because when you started shot pointing at the floor. You kind of get the same revealing effect and use it, for example, if you just want to add some suspense to assuring a really impressive room. All right, so in the next step, I'm going to show you a bottom up shot on a top down shot in this version for the living room. I would usually not do that in the living room, but I'm going to show you anyway, So you can just see maybe, why not? And at the same time, the technique off out to do it. So first, let's start with the bottom up and the way we do this is basically we start down here somewhere and then we tilt up as well. What? I'd like to do it with a push in. That means as we move forward. So let's give it a try. Brought him up with the push in and maybe a little pan in there, even Yeah, something like this. And now the same thing as the top down 12. The Student Project: All right, guys. Now it's time for the student project, and the student project for this class is gonna be the following. I want you guys to take your camera and practice the five important camera movements that we learned in this class and practice them right at home. So that's gonna be number one to push in number to the foreground. Reveal number three, the pen number four, the parallax number five, the bottom up and the top down. Go get those shots somewhere instead of your home. And don't worry about the rooms looking to Messi or something. That's not the point of this one. And then go ahead and share them with us all by uploading them. As always, I will take a look at every single entry and answer any questions about the way that might come up. Good luck. 13. 3.7 Lighting: next on, Let's talk about lighting, as you all know, lighting. It's usually by far the most support thing when it comes to creating visually pleasing imagery, and that, obviously is the same with real, said videos. But there's one key difference, and that is that Usually there's no budget or time to set lighting for every single room. It would take just too much time to look at each room, think about the camera movements you want to make and then light the room in the best way possible to get the great image. And also you would need to have a ton off lights to even get there. And that means that you probably have to work with the lighting as it is, as you find it in property and use some techniques to get your image quality in different ways. The first thing you obviously want to make yourself is the daylight, and that's partially white, so important to shoot at the right times of day because depending on the specific property , it's the best to shoot when the sun is low, so either after sunrise in the morning or before sunset in the evening when the sun is lower chance more directly through the windows, and on top of that, the light qualities just so much more beautiful. On the other hand, the light is clearly brighter on mid day, but then you have harsh shadows that don't look. It's nice. So it's really something you need to think about for each property. And then, obviously you also have the indoor lighting, which is usually around 3500 Kelvin, which is a very yellowish tone of color. And we already learned how to conquer that by setting the correct white balance. So that's another option you have, especially when the room is too dark. Another good tip to still keep in mind is that fast lenses are your friend passed lenses with wide open aperture or low aperture, which you can see in the low F stop. So something like an F 2.8 or even lower is ideal to get the best out of low light situations. 14. 3.8 The 9 most common mistakes: So next on, let's talk about the 10 most common mistakes and real estate videography that I have made in the past, or that I see beginners make all over the place. Number one is filming in weird angles and frame ings. The framing is really important in getting a good shot. You don't want to shout to be tilted and unwanted waste, but you wanted to be level, and you still want to remember things like the rule of thirds. Think about what makes an image pleasing to the eye and follow that. Don't leave random empty spaces and Charles don't give, don't give objects too much headroom and generally just stick to the fundamentals off good framing and only deviate from that for specific reasons. If you need a little refreshment on the topic of framing, check out my class on that specific topic. I have a link down below. Number two is wrong. White balance. We have talked about it at length already, but still it's one of the most common mistakes shooting in rooms with different white balance than what it should be. And I know it's a lot of work and it can get tedious at times to change your white balance for every single room, especially if there's a lot of them. But at the end of the day, that's really what makes or breaks your video because really messed up White balance can make a shot unusable. So it's one of the most important things to master, and not even only for real estate, but really any kind of videography number three coming in the wrong frame rates or shutter speeds. So let's first talk about frame rates, as we have talked about earlier. In this course, I recommend shooting at 30 FPs or better, even 60 FPs, depending on what your camera can do. But if you have a good gimbal and you can move very slowly, you can. If you have to, you can even make 24 FPs work. One thing that is bad, though, would be a too fast moving 24 FPs because you have no chance to slow it down and any shakes might be especially visible. What's also bad would be too strong of a slow motion. At 120 FBS, for example, there's a right pace to every video, and that is not the slowest possible. It's just at the right speed, not too fast and not too slow. And the good thing and 60 FPs is that the slow motion is not that extreme, and it still gives you more than enough room for things like speed rooms. I personally shoot a 30 FPs most of the time because I move very slowly and still get stable shots with my Ronan s. All right, So now, like I said, we're in the living room and with the living room, I'm going to show you examples off three different frame rates and how it effects effects your shot. So first I'm going to film with 24 frames that I'm going to film with 30 frames, and then I'm going to make a version with 60 frames per second. So for this test, just totally ignore the image quality because 60 friends gonna look worse. I'm going to try to make it a smooth it's possible for each one of them. And so let's take a look 1st 24 friends per second. All right now, same shot, 30 frames and 60 frames per second. - Now what about the shutter speed, though? That's very simple. Actually, your shutter speed should be double your frame rate. That's a foolproof way to get it right and then do it every single time. Number four Not having a wide enough lens. So I still remember my very first real estate shoot. I did not get own a super wide angle lens, and I thought I could get away with my Sony Lens at 28 millimeters results fairly white. But it's still far away from the 14 millimeters that I use nowadays, and frankly, I did get away with it. The client did not even notice honestly, but it was a frustrating shoot and edit. To be honest, there is no question that I could have made a much better video with the wider lens. The rooms were never fully shown in any shot because I could not go far enough back to get the whole room into frame, and I needed to do a lot of detail charts and get creative with my framing to make it not obvious that there was not a single super wide shot. And honestly, even if the client didn't know, I knew and I was not happy with it and with making the sort of receiving video, in a sense. So for the sake of quality and for the sake of doing in just the right way, you will need a super wide angle lens. And even if you rent one for the first couple of times, that's fine. But go get yourself one number five not having your stabilizer correctly balanced. So whether you use a gimbal like the Roman s or the Zion Crane are the most air. Or even more importantly, if you use a steady camp like the flight camera king or the glide camp, or any one of those friends, balancing all your camera stabilizer is important for it to work correctly and to get consistently smooth charts all the time, I suggest you check out specific online tutorials and how to stabilize your specific stabilizer number six shooting at the wrong time of day. We have covered that as well, but it's still one of the mistakes, as he often is. Well, what time of day you're shooting has a big impact on how the image looks. So you want to make sure to make a good decision for your specific property. I personally almost always start my shoot around 2 to 3 hours before sunset, so I have both very nice and bright situations. And approaching the sunset, I get a more beautiful light, the golden hour, and that generally gives me the look that I want Number seven. Choosing the wrong music to go along with your video. Another thing that I see really often is videos within music that just doesn't fit to the visuals. When choosing some for your video, there's a couple of things you want to keep in mind. Number one truth music that fits the property, you know, and the feeling you want to convey. Is it calm and comfortable? Is it more like, luxurious and epic is cozy and warm, or rather industrial and edgy and cold? What I found works well for me is to go into my music platform of choice, select for moods and characteristics that I think might fit well and then just honestly, click through as many as I have to find the one that works. And I honestly be ready to spend somewhere between one or two hours just to find the right song that you like. And the song that works, and that is just part of the job. As frustrating as it might be, it is crucial to make a great video number eight no good timing or pace guys, this is a big one, if not the biggest one. Do you know this feeling when you sometimes watch videos that are somehow off like something feels wrong? And if in non professional looks at it, they might not even be able to tell exactly what it is? But the video just, you know, it just doesn't work. It just doesn't hit home and often this kind of problem. It's one off pacing and rhythm in the video, and one good way to get a nice rhythm in your videos to follow the rhythm off the music and make cuts in the places where the music has some sort of beat. But the other thing I suggest working on is really trying to get a sense off timing if you don't have it. Naturally, some shots don't work well when they stay on too long, and others might do you know, it's hard to tell exactly what makes the difference on its more off a feeling thing. If you know what I mean? If you find yourself having trouble developing the sense of rhythm, I would suggest watching as many good examples of pacing and rhythm and timing as you can get your hands on and try to learn and see if you can understand why a certain shot ends. Word ends and others may be going longer and finally, number nine. Another common mistake on the business side of things is to shoot only low budget properties. I think the number one issue with getting really said agents to pay you upwards off, you know, 500,000 maybe $2000 or even more than that is that they might just not have that much money on the line. If the commission that they would earn from the sale of the property doesn't justify that kind of investment into the marketing, chances are you will not make the sale. So therefore, I strongly recommend you to start from the very beginning with the highest level properties that you can possibly get your hands on. Shoot a couple of them for free if you have to until you have it down. But being in that market is a good idea. You 15. 4.1 How to land the job: one of the most often asked questions I get is How do you land clients in the first place? And the answer, in short, is by having a good portfolio to showcase the work you have done in the past, you might be able to present yourself and talk yourself into some meetings. But at the end of the day, if you cannot show that you can do the work, it will be difficult to get a paid job. And for good reason. You know, really, said agents with expensive properties have a big commission on the line, and for them to invest $1000 or more for you to shoot, they obviously want to know that you can do it before you do it. And this is where I see most beginners during the first mistake. It's that they expect to get lots of jobs before even having shot a good amount of real estate properties to show on the website portfolio. Yes, I believe you do need a website portfolio Instagram. It's nice to show some of your work, but at the end of the day, it doesn't replace your own professional website. First of all, looks way more professional if you have your own place to showcase your work. And secondly, you never know what will happen to Instagram. And even more importantly, when somebody looks at your work, you don't want distractions waiting just one click away. So rather than relying on the fast paced, attention sucking properties of Instagram or other social networks radio website on your own domain with services like Squarespace or WordPress. So let's talk about the minimum portfolio that you need in order to lend some high paying clients, I would say 2 to 3 well done gigs in your pocket. You should be able to create a nice portfolio, edit those works in the best possible way you can and then upload them to either YouTube or Vimeo and embed them on your portfolio website. I also recommend you do one single video as you real estate video riel, showing your very best shots off all your different cakes. This way you will create maybe even better impression as you can decide for only the most impressing shots, and you can let out these less exciting angles and views that each single video might contain. You know, now I can already hear a question. How am I supposed to get these three gigs when I don't have a portfolio to show in order to get those cakes? And the answer is simple. I ready. It's free work. You know, To some of you, this alien might seem strange, but friends, especially at this beginning stage of your real estate video career, which is not a career yet. Humility is your friend. You cannot expect someone to pay you for something you've never done before. And shooting those first couple of videos for free has a bunch of benefits for you. Number one. You have a low pressure opportunity to experiment a bit and to try yourself up. Those first shoots are when you will make most of your mistakes and probably won't get it all done perfectly. And that's okay. And that's normal because none of us is perfect in anything when we do it for the first time. So they see this as your three video apprenticeship and try to learn as much as possible and try out different things and shoot more than you think you will need and go. That extra mile really spent more time than you think you need, because then you can have this freedom to just create an experiment a little bit. Secondly, offering free work will make it infinitely easier to get a gig in the first place you're having the chance to shoot a beautiful property is something that it's not easy to get when you expect thousands of dollars for it. But offering free work is a much better dear for the real estate agent, but here is, well, make sure to not become arrogant off any sword. Remember, you're the one that needs something. So be aware that even free shots need some time and effort by the agent to get the property ready to schedule the meeting with you and explaining its expectations. Having that in mind will give you the right frame of mind to have a good conversation. And thirdly, having a foot in the door is very valuable in itself. Any client that you shot a free video for it's much more likely book you for paid kick compared to someone who doesn't know you at all. So look at this also as an investment in your future of client base, as you might gain access to people in properties then you would never have gotten if you've asked for money in the first place. So let me make it even more clear. If you start out with paid gigs directly, you might get some jobs. But most likely they will be all videos off less expensive properties for small earning on your side and with less impressive and results. And then you will use those videos to market yourself. And naturally, if you show low and properties, you will have offers and attract clients from low and properties, and you will have a hard time attracting high end clients with that, so you kind of get stuck in the cycle of attracting only the kinds of gigs that you've done in the past. So in order to get into the high end properties you personally to have some material showing high end properties, and by far the easiest way to get there is to offer them videos for free. So here's how you offer free work. You search for luxury real estate agents, obviously, in the language of the country where you live and now, with a bit of clicking, is usually very easy to find their phone number or email address. Now, if you're interested in complete word by word email script of what I wrote to some of my really set clients, you can find that in the project description or on the resource is Paige. But with that method, you should be able to get your first clients as long as you right enough e mails and just to give you a little bit of an idea. When I did this in the beginning, I just wrote about 100 emails, mawr or less with the same text and got about three free kicks out of it, which is obviously, you know, not a humongous answer rate. But it gave me exactly what I needed, and the 100 emails were done in a couple of days. 16. 4.2 What to charge: so now the next most commonly asked question is, How much should I charge for my release? Said videos. And the answer is, it depends on your skill level. It depends on the time you need for shooting and editing the video and also the specifics off the real estate market of the city you work in. For example, if you live in New York and you shoot $1,000,000 listings, you will be able to charge way more compared to doing the very same property with the very same skill level in the middle of nowhere. Obviously, different countries also offered different rates, and different markets can pay different different fees. Here's what I charge commonly for my real estate videos. I live in Hamburg, the second biggest city in Germany, and while we do have a high economical standard here, there's not tons of luxury real estate property. So for the usual property upto one million euros, I usually shoot for about 1.5 or two hours, and I edit for another 2 to 3 hours. My rate for that kind of video is about 700 euros, which is a nice amount of money considering the work that goes in. And also real estate agents here often don't want drone shots for certain properties. So in case someone wants drone footage jumped up, I charge an additional one or 200 years where those drone clips And if you're struggling to find a price for yourself, here's my recommendation on how to determine Price. I would honestly just start out with an educated guess off how much you think your market is willing to pay and then just see how the agents react. If you tell them your price and you get maybe, like Fife knows in a row, then maybe you should go down a bit. And with that way, over time, you will get to the card market price totally automatically on DNO. If you establish a price, you want to make sure that you don't just stay at the same price level forever. You know whenever you get a new client, make sure to charge them about 10% more and just see what happens. Chances are they will not ask any questions because they don't know what the last client paid you. Now, one of the challenging parts of being a freelance videographer is that often you don't know when the next job comes, except for when you establish monthly retainers with your customers. And here's how it works. Let's say you have a client that usually comes to you about every 5 to 6 weeks with the new real estate listing, for which you can charge 600 years for the sake of this calculation, when you could offer your client is, for example, a monthly retainer of 1000 bucks for shooting two videos instead. That way you have a safe and reliable income off 1000 years a month, and your client gets two videos at a discounted rate for 500 each instead of 600. That makes for a win win situation, and it's something you should always have in your mind and look out for you. 17. 4.3 How to blow away your clients: how to blow away your clients and make them come back. So one thing that people don't talk about enough is how to make your customer want to come back. And the first and most obvious part, that's obviously the quality of the actual work. But those things we have already covered in other sections here I want to raise the question. How can you give your clients a good experience of working with you beyond the mere quality of the video? And for that, we need to think about what's important for them as a real estate agent when it comes to the videographers. I have asked some of my clients, and what they have told me is that apart from the actual video quality to things that are really important to all of them is quick turnaround time and the availability for new jobs . So, for example, when they call me, we don't have to, you know, reschedule or like struggle to find a date. But I'm available, so make sure to delivery your videos as fast you can while obviously maintaining the quality and a nice little trick that is there to over deliver to the expectations of your client is, for example, let's say you need about three business days to easily finish real estate at it. Okay, like three days is a bunch of times if you don't have a huge backlog off footage to edit three days, it's realistic, considering that you still have other things going on and don't want to do all nighters for five days a week. And with that knowledge, you go to your client and you tell them it takes about five business days to finish the whole edit. And for most, that's probably a totally acceptable time. But think about what happens if you actually deliver it in three days, they will be blown away by how fast you are all the time and the reality you were just not really faster than expected. You just created another expectations in your client's minds and then over delivered against that expectation and regarding availability. Obviously, you are somewhat limited by your actual schedule in real life. But think about waste how to deal with that as well. If you have so many jobs that you are overbooked, often, maybe consider hiring someone a second shooter or a second editor that can go out and get the job done for you 18. This is where I say thank you!: Alright, guys. So before you go out and put into action what you've learned today, I want to take a moment to say thank you. My goal with those classes is to inspire guys to go out and take action and be creative and make a living doing it. And this new class year, compared to the other one's by far took the most amount of work but also was the most amount of fun because I really feel like I've created something that can help you guys. And if it was indeed helpful to you, I would really appreciate if you would take the time and give me a review here. Sculpture Because that way we can make sure that more and more people see those classes on skill sharing skills. Share recommends them a little bit more. And one other thing. If you want to stay in touch for the next classes and other projects I'm working on, obviously I would appreciate it. Follow here in sculpture, but you can also head over to Dennis scada dot com and sign up for my newsletter. I would love to have you also if you have ideas or suggestions for any future classes or you have any further questions, please let me know. And until then, I'm a judge are owned. By the way. I really think you should follow me here in school share because there's more classes to come and you don't want to miss that. But by