How To Shoot Professional Real Estate Videos

1. Introduction: Hey guys, thank you so much for being here and joining me today for my Skillshare class on how to shoot professional real estate videography. It's going to be awesome and I can't wait to share with you all my tips and tricks on how I shoot professional video for real estate. To kick things off, I wanted to start by showing you a quick one-minute reel of my past work of just a few homes that I've shot. [MUSIC] Well, I hope you enjoyed that. Real quick, let me tell you a little bit about myself and the journey that I took to get into professional videography for real estate and luxury properties. Just so you have a little bit of background about me before moving forward. Now, I've been shooting real estate, commercial, and luxury properties for half a decade now. Although my professional background was in the broadcast industry, working for agencies like CBS, FOX, FSM, CSN, and some independent O&Os, I often found myself moonlighting as a freelancer and doing work on the side to make some extra money. When I finally decided to quit my job and go full-time doing what I love, I quickly learned that real estate videography was my specialty. I have literally shot hundreds of homes from your average three-bedroom, two-bath family dwelling, to something more extravagant like a 20,000 square foot custom home-built. But no matter the home or the property, the principles you'll learn in this course will give you the fundamental, foundational know-how of how to shoot beautiful professional real estate videos. Honestly, this is the course I wish I had when I had started doing real estate videos. This course will give you the confidence to walk into a home, assess what needs to be shot, shoot it professionally, which will give you the assets you need to produce a high-end, high-quality property tour that your clients will absolutely love. In the following videos, you're going to get to accompany me on a shoot I did for a client, and I'm going to walk you through my entire shoot process. We're going to talk about what we need to do before we shoot. We're going to talk about what gear you're going to need, and what gear I personally use, what my exact camera settings are, and the formulas I've come up with for each individual room of the house. After this course, you'll be able to use the principles I'll be showing you for the next real estate video shoot no matter what kind of house it is. Again, I'm so excited you're here from my Skillshare class on how to shoot professional real estate videos. Let's go ahead and get started. 2. Our Project: All right everyone. After taking this course, you're going to be able to have the tools necessary to shoot residential real estate properties. The assignment for this course is to shoot your own home. It could be a three-bedroom, two baths, single-story home. It may be a townhouse, an apartment, maybe it's just a studio space. It doesn't matter because the methods I show you in my course are universally applicable in all those situations. So here's what I want you to do. First, watch my course. I take you with me on a real-world shoot in a spectacular home. Consider it like a field trip and you're going along for the ride. Then I want you to pull out your own camera and shoot your home with my techniques. Set your camera settings like mine, and shoot like how I teach you in my course. Finally, I want you to put it all together in a final edit and export that movie for all of us to see. Now, for those of you who may feel uncomfortable shooting your own home, you're welcome to reach out to a friend or a neighbor who wouldn't mind you shooting theirs. But remember, this is just so you can get familiar with how to properly shoot professionally. So sit back, grab a notepad to jot down a few notes, and join me now as we shoot this home. 3. Gear Overview: In this video, we're going to talk about the equipment you'll need in order to shoot professional real estate videos. Now obviously this is a very preferential topic as we all have our own difference of opinion on gear. My goal here is to show you what I use professionally and what camera specs I need in order to achieve the look that I'm looking for. The principles I teach are universal truths and can translate similarly towards different gear. Our job as users is to push our gear to their limits and respect those limitations. Gear is constantly changing and evolving from year to year and I'm not here as a representative or advocate for any company. Full disclosure, no company has sponsored me, given me free gear to evaluate or review or anything like that, this is literally just from my personal research, hours of gear hunting, and good old-fashioned trial and error. I've come to my decision on gear over a long period of time, shooting various kinds of property in lots of different situations. Quite honestly, I'm very, very happy with the decisions I've made. When choosing a camera, I find it best for it to have the capability to shoot in 4k, 60 frames per second, and also have the ability to shoot in a flat or raw picture profile. You can also shoot in 1080P, 60 frames per second, but I've really come to appreciate what 4K can do in terms of detail and sharpness in the post-production workflow. Even though the majority of my clients ask for a web friendly video deliverable, which usually means 1080HD, I still shoot it in 4K, then export it in 1080 just so I can pack in all that beautiful information initially from the 4K resolution,and then export the final deliverable in 1080. My camera of choice is the Blackmagic Pocket Cinema 4K. 4K 60 is no problem for this camera and I personally love shooting in BRAW in the film picture profile for grading and post. There are a host of cameras that can shoot in 4K 60 or even 1080 60. I'm not going to list them all here, but just know that you have options depending on your budget. I'm not here to tell you to buy the newest camera, but I am telling you to buy one that can ideally shoot in 4K or in 1080HD in 60 frames per second. Now, one of the main reasons I bought the Blackmagic 4K was because of price. You can hop online right now and get this camera body for $1,300, which I think is quite the steel for what you get. The reason we shoot in 60 frames per second is because we're going to use that high frame rate and slow it down and post. Some students have asked, why can't we just shoot in 4K 30 and then slow down the 30 into 24 and post? Wouldn't it be technically slowed down? The answer is yes, but I've tried this and the results get varied. Sometimes I can get the shot, but more often than not, I'm either walking too fast or even too slow because I'm trying to compensate for speed during the shoot. The bottom line is just don't shoot in 30 frames per second. Yes, I've been able to hack it to work, but it's more work than it's worth. I'd suggest shooting in 1080, 60 frames per second instead and getting that buttery, smooth 60 frames per second. Now, once you've chosen a camera body, it's time to fit it with the proper lens. The majority of your shots, if not all of them, will be shot on a wide angle lens. Your wide angle should be in the range of a 14 millimeter to 16 millimeter full-frame equivalent. Now, this obviously depends on the sensor size of your camera. If you're shooting on a full frame, like the Sony A7S3, then 14 millimeters is 14 millimeters on that camera. But 14 millimeter glass on my Blackmagic is not 14 millimeter since I'm on a micro four-third sensor. To get an acceptable equivalent for a wide angle, I needed to purchase the Laowa 7.5 millimeter F2.0, which is when you do the math is around a 50 millimeter lens equivalent. I also love this lens for how fast and sharp it is and also get that zero distortion, which is so important for real estate and interiors. Make sure to check your camera's manual online technical description to find the sensor size of your camera before purchasing your lens. For my detail lens, I chose to pair my Blackmagic with the Panasonic Lumix professional 12-35 F2.8. I love this lens and it's actually my go-to all around walkabout lens when I'm not shooting real estate and videos. It has built-in image stabilization and the picture quality of this glass is just beautiful. This is also a native micro four-thirds lens. Keep in mind that this, compared to a full-frame equivalent, is like a 24-70. When I'm shooting on a full-frame camera, I pair it with either a 50 mil or it's 85 millimeter prime for my detail shots. All you really need to shoot quality real estate videos are two lenses, wide-angle lens that comes out at around 14 millimeters and a tight or a detailed lens that's equivalent to a 50 or an 85. For my gimbal, I chose the DJI Ronin-S Essentials Kit. I mainly chose this because of the build quality and its great price. You can pick up one of these for $500 and it's built like a tank. The charge lasts forever on the battery and this particular gamble can handle my pocket 4K like a champ. Be advised that if you do decide to purchase this gamble with the Blackmagic Pocket Cinema 4K, that you will need to buy a small cheese plate adapter in order to properly balance the 4K, as it's pretty off-center without it. One piece of equipment I always pair with my gimbal is a handle. This handle serves two purposes. One, it helps with the stabilization and aiming of the rig, and two, it holds things. In this setup, I have my handle holding the small rig NPF battery adapter plate for longer shoot times. Last but not least, you'll need a drone for those beautiful aerial shots. I fly the DJI Mavic 3 currently, but I have used the Mavic Air 2 and the Mavic Mini for professional work as well. The limitations of the latter two are that they can't shoot in 4K 60 frames per second. I really like the stability and the reliability of the Mavic 3. I think that the sensor on this drone provides a gorgeous result when shooting in both harsh and low-light conditions. Remember that if you're using this drone for business and making money with it, that classifies you as a commercial pilot and requires that you be part 107 certified to operate your drone and know the regulations of the airspace where you shoot. Again, I can't stress this enough, it's up to you to get properly licensed and lawfully registered with the FAA in order to commercially operate your drone no matter how talented you feel or safe you feel when flying your drone. 4. Camera Settings: In this video, I'll walk you through what features and settings to set up in your camera in preparation for professional real estate video shooting. Again, I'm using the Blackmagic Pocket Cinema 4K. But if you're using something different, the settings should translate over. You'll need to refer to your camera's manual to set it up similarly. Number 1. Set up your camera to shoot in 4K at 60 frames per second. Again, if you can't shoot in 4K 60, then you'll want to set up your camera to at least shoot in 1080 60. This is how we get that buttery smooth shot. Number 2. Go ahead and set your shutter speed for 1/120 one your ISO at its native setting, and your aperture at f8 ideally, my ISO is set at 400. Some cameras have dual native ISOs for extra latitude when shooting in low light. My particular camera does have dual ISO. I can set it at 400 and then I can set it at 1250. For aperture, I try to shoot at f8 to keep everything in focus. In low light conditions, I'll push it as much as f4. In extreme conditions, f2.8 or even f2.0. But the picture quality really starts to lose sharpness and detail really fast. Ideally, try to stay within 5.6 or f8. When I'm outdoors, usually I'm around f11. Number 3, you're going to want to shoot in a flat picture profile for maximum dynamic range. Since we're going to be grading these shots and posts, you're going to want to cram as much color information as possible, and shooting in a flat picture profile will be key. In my case, shooting with the Blackmagic Pocket Cinema 4K, I'll be shooting in B-log. If you're on a Canon, see if your camera can shoot in C-log. If you're on a Sony, maybe S-log 3. But check your camera's technical spec sheet to see if you can shoot in a flat picture profile. Number 4. know how to turn on your zebras. We've always got to keep tabs on those highlights, so make sure you can keep this function handy. Number 5, turn on grids and crosshairs if your cameras support that option. This will aid immensely and your framing and aiming. Refer to your camera's manual if you have to, if you can't find this feature, sometimes it's hidden pretty deep. Not all cameras will have across your setting, but most are going to have grids. Number 6. Know how to save your settings as a preset. After you've worked so hard to set it all up, make it a preset so you don't have to keep doing it over and over. This is the best time-saver of them all. Now, regarding your drone, your camera settings aren't going to be much different. On my Mavic 3, I set my shutter at 1/120, my ISO around 100 or 200, and my aperture at around f8 or f11, depending on the light. My video settings are set to shoot at 4K 60 and I shoot in DGI's flat picture profile D-log. I make sure to turn on my grids and my crosshairs and also turn on my zebras to detect any highlights. There you have it. Your cameras are now set to shoot professional real estate videos. Ensuring that you have your cameras set up initially beforehand will save you in so many botched video shoots or even potential reshoots. 5. On Location: In the last videos we talked about what gear you need and what settings your camera should be on. Let's now go on location to a shoot that I did for a recent client and put all this into practice. 6. Where To Start: Right now it's about 4:00 o'clock. Today, the sunset is going to be at 7:30, so around 7:00 o'clock we need to be scrambling out and about here getting fires and water pits and all that good stuff that's great for twilight. But right now, the outside isn't that spectacular. We're not going to shoot the outside just quite yet. What we needed to go ahead and do is we're going to start inside the house. We're going to go and start inside the house, and just like I said, we're going to go ahead and talk about those room formulas. We're going to talk about the formula for how to shoot a kitchen, the formula for how to shoot a dining room, a bedroom, the master bedroom. I'm going to go and share with you my secret formulas for how to shoot every single room. Let's go ahead and go inside the house and let's go ahead and start doing those room formulas. I'm just about to enter the home. The very first thing before I enter a home, respect the house. Remove those shoes. Make sure that when you walk into these beautiful multi-million dollar homes, that you don't wear your shoes in them. Even when they say it's okay, I always take off my shoes. Respect the house, respect the owners, and don't be tracking any of that stuff in the house. Let's go and go in. 7. Terminology: Hi again. I know we're about to enter the home, but I wanted to first define a few terms for you really quick. Admittedly, the names of these terms that describe my type of shots that I use. I've literally made them up. But I use these made-up terms throughout the course as I described the type of shot I'm doing and I wanted to make sure that you understood my terminology. Here are the types of shots that I always use. Number 1, the straight-on attack. This shot is where I walk usually from one wall straight towards another. Compositionally, I make sure I'm as much in the center as possible, and normally ninja walk towards or away from the opposite wall. I make sure my verticals are perfectly straight as well as my horizontals. Here's some examples of straight-on attacks. Number 2, the angled attack and the angled attack with drift. This shot is generally a corner-to-corner shot of a room. It does not have to be exactly corner to corner, but rather can be from corner-ish to corner-ish. For a normal angled attack, just ninja walk from one corner across the room to the other corner. I'd like to spice up this angled attack with a drift. How the drift move works is as you push into the room, using the handle attached to the gimble, you steer the rig slightly to drift the shot into the room. This adds a very nice parallax effect while still dallying into the room. Always make sure your verticals are nice and straight for these shots. Here are some examples of the angled attack and the angled attack with drift. The third shot is what I call the ceiling feature. For this shot, I point the camera up at around a 45-degree angle and make a slighter arc move with my body. This is a great shot to feature ceilings, chandeliers, lighting fixtures, or really cool ceiling fans. But contrary to its name, the shot is not only for ceilings but is actually perfect for any situation that calls for the camera pointing up. I always use the shot when shooting inside a shower. For example to feature the bath fixtures and the tile and the glass. Here's some examples of ceiling feature shots for you. Number 4, reveals this is one of the classic defining shots of real estate videography. These shots require you to look at your surroundings and use existing features of the home or furniture to reveal other parts of the home. These shots help provide variety and creativity in the final edit. Here's some examples of reveals. Finally, there are detailed shots. So far, the last four shots I've described all use the wide-angle lens. Detail shots are basically just slider shots done with a gimbal on a tight lens. Details provide just that more detail and a better in-depth look at features of the home that you wish to be emphasized. I usually do detailed shots for living rooms, dining rooms, kitchens, and master bedrooms and bathrooms. I can, and we'll also use the detailed lens when shooting, a ceiling feature shot. Here are some examples of some detail shots. In conclusion, the five main types of shots I use are one, the straight-on attack two the angle of attack, or the angle of attack with drift. Three, the ceiling feature, and four reveals. Finally five details. 8. Taking A Cell Phone Tour: Guys, here we are at the front of the house. The first things that we absolutely need to do is get a quick cellphone tour. I call it a cell tour, but it can be a GoPro, it can be your phone, it can be whatever but we just need go ahead and make a reference video of this house. I'm going to go ahead and grab my GoPro, and we're going to go into this house, and we're just going to walk it and talk it as a reference video. The whole reason why we do this is that it'll be a good reference for me so that way I can recall where all the bedrooms are, and which bedrooms are which, on which floor or if I'm going to outsource this to an editor, they'll have a way to be able to mentally walk the house. I'm going to go grab my GoPro and we're going to go ahead and do this. 9. Living Room: Here we are in the house. Let's go and talk about this room formulas. Here we are in the grand living room. It's absolutely gorgeous. We've got super high ceilings, beautiful centerpiece fireplace. The decor is amazing. How do we capture this? Let's go ahead and start here. I'm going to just just try a little bit higher. I just swung like that lamp right there. I'm using my crosshairs to get the bright into the middle of that chimney and I'm going to move forward. Now notice I have my rule of thirds on and that rule of thirds really allows me to get the center of this room. That's our straight on attack that way. I'm going to do an angled attack in here. I'm going to look at my camera settings real fast. I'm at 60 frames per second, 1/120th, ISO is at 400. I'm blowing out some of the outside. Let's see about 5,600. I'm going to pull down to about 4,950 for my white balance. Let's see, my aperture is at four. I'm going to go to 5.6 and try to recover some of that detail from the outside. I'm liking that a little bit better. Now I've got my crosshairs pointed at the middle of the room. I'm going to go from corner to corner and I'm just going to go ahead and move 1,2,3,4. Now I keep my knees bent and then walk as if you're about to creep upon a tiger. That's usually what I try to think. I'll keep that up and down movement very minimal. I'm going to also do it from this side,1,2,3,4,5, and 6. Very nice. I like this straight on attack. Now this straight on attack, I wasn't going to do this, but I am going to do it now. I really like this. Very nice decor. It really shows off that window. Now this is a good talk about exposure. What am I exposing for? Well, in this case, I want to show what's outside. Because I want to show what's outside. I am going to expose for the outside. In that case I'm going to go and crank up my aperture because my zebras are telling me that it's overexposed. I'm at F8, I'm going to go to F11 and I'm going to crank my shutter to 1/240th. That's a little much so I'm going to go back to 1/120th. I'm liking that. I'm going to do my move. I'm going to make sure all of my verticals and my horizontals look nice and straight. The nice thing about these DJIs, is you can double-click and it will reset your camera. My horizon line looks good and my verticals look good. I'm going to go out and do the move 2,3,4,5,6. I'm going to go and do an angled attack right here. I'm liking this shot. I wasn't going to do this shot. I'm going to go back down to 5.6. I'm going to blow out some of my exterior, because what I'm focusing on is right here. It's okay that's blown out because my focus is right here in this room. I'm liking this shot. I'm going to go and try to go nice and low. I got my crosshairs pointed at the other corner and I'm going to do my move 1,2,3,4, and 5. Back 2,3,4, and 5. Now some of you might be wondering why is he counting? I try to keep a consistent beat because since I'm shooting this at four and 60 frames per second. Then I'm going to slow it down on a 24 timeline. That's going to be very slow. The key is to have very consistent speeds. If you have that nice consistent speed, it'll look nice and smooth and ethereal when you do your move in post. I'm liking this shot as well 1,2,3, and 4. One more time so 1,2,3,4, and 5. Very nice. Now while I'm here, I'm going to go ahead and do an angled shot of my ceiling. I'm going to use my trigger. Point, my camera up out of 45 and I'm going to do a semicircle move. My cursor is set towards somewhat the middle of the room. Then now I'm going to go ahead and try to do a nice wide arc, trying to keep that circle, or that cursor in the middle. I'm going to just do this. The way I'm moving my body is I'm keeping my knees bent and I'm sliding my arms from left to right. I'm going to do that same shot over on this side. I like how I can use this ceiling to reveal that ceiling. This lower ceiling is going to reveal the upper ceiling. I'm going to just move in and turn my camera as I reveal that roof. Beautiful. Let's see what it looks like from this side. This one looks good. I'm going to put my camera up. Move into the room and reveal that ceiling using that lower ceiling. Over time, 2,4, and 5. We still have to shoot details of this room. Now normally what you can do is you can swap lenses, recalibrate your gimbal, and then shoot the details. What I'm going to do is I'm going to save the details for after. I'm going to put it in my head that I've shot the widths for this room and then to come back and shoot the details. That way I don't have to keep swapping lenses. In a normal production, what I actually do is I have two gimbal setup with two separate black magic cameras, with two separate lenses, both calibrated and I can just grab which gimbal that I need. But most of us don't have that luxury and so we're going to do it the way most of us are going to have to do it. The way I used to do it is I will go ahead and shoot all my widths and then length and then change to my tight shot and then I'll shoot my tights. In conclusion, for the formula for a living room. Straight on attack, at least two. Angle attacks,1,2,3,4. Remember you're pointed at the middle of the room. If I got four on this one, at least three. Then ceiling features. If it's a nice high ceiling, then I would also get at least three ceiling features, that way you have options. Then we have to get our detail shots. But we will wait for that. But remember that's part of the formula. Get your widths, then get your tights. See you in the next video. 10. Kitchen: Welcome back. This is the formula for how to shoot a kitchen. So come on in. This kitchen, it's a pretty nice kitchen. Not many kitchens are like this, but the principle remains the same. What are we going to do? We're going to treat this all as one big room from here to there, to there, to there. It's just one big room. Now the kitchen is what I categorized as one of the four cores. Now there are certain rooms that are the core values of a house. The living room is one of them, the kitchen is one of them, the master is one of them, and the dining is the other one. Then I always say something cool. In this case the something cool, maybe it could be the upper floor because it's open or the basement. The basement is really cool. Something cool. But these are the four. The four that everyone cares about, doesn't matter if it's a luxury property or a three-bedroom two bath house. I always like to start with an angle of attack. I'm going to go and get all of my angle attacks out of the way. I know I want a shot going this way, that way, that way, and that way, as many as I can get. Let's see. My f-stop is at f 5.6. My white balance is at 4950, that looks good. My shadows are looking nice and not too dark. So where do I angle? Well, if I'm dealing just with this room, corner to corner. I'm going to stand in this corner, I'm going to go to that corner. That's where my [inaudible] crosshairs are pointed. I'm going to move 11,002, 3, 4, 5, and 6. Do it one more time. One one-thousand and two, 3, 4, 5, 6, and 7. We got it. Now, I'm going to get this angle of attack right here. Loving this angle of the attack. I love it because we can get this cool little sitting area, the second or the main island over there, and we can even get the pizza oven over here. Now, I can tell that I need to increase the amount of light. I'm going to go to F4. White balance is at 4950. Still shooting at 1/120th at 60 frames per second. 11,002, 3, 4, 5, and 6. One more. One, 2, 3, 5, 6 beautiful. Whenever there's an island, I love to get a straight on attack. I know I haven't gotten all of my angle attacks yet, but as I'm working around the room, I'm seeing these opportunities. How am I going to shoot this and where am I going to set my cursor? I'm looking at this guy up here, and I'm going to use my rule of thirds to center the room with that. Now I'm going to go ahead and do my straight on attack. One, 2, 3, 4, 5, and 6. I'm going to go backwards now. One, 2, 4. This is a really important shot, so make sure if you need to do it again, it's not a big deal. Do it now because you can't do it again later. Beautiful. One more. I like walking forward and then backwards. That way I get two shots in one. Sometimes I'll use the forward shot, sometimes I'll use the backward shot. It's just getting two for that one line. Here we are at the angle of attack. Same thing. One, 2, 3, 4, 5, 6. Back 2, 4, 6. Beautiful. Now here we have an opportunity for a straight on attack. I love these where they go down in between these cabinets. I like to call this the trench run from Star Wars because that's exactly what you're doing. You're going down the middle of the trench. I go a little bit low. I get my crosshair to be somewhere the same level as my countertops. What I'm doing is I'm trying to show off the floor, the cabinet tree, all the hardware that they used and a couple of seconds of this really does wonders for showing off the kitchen. I'm also going to do a straight on attack going here. Now, these shots, it's so important I can't even stress. That you have your vertical and horizontal lines straight. I'm using my rule of thirds, my crosshairs and just the environment. I'm looking at the slats on the top of the ceiling there. I'm looking at that table for how level it is. I'm looking at my rule of thirds guide on the top of that. It's so important to be able to have those lines straight. This is what sets apart the amateurs from the pros. I'm going to go back this way. Let's see, I'm going to go F8. Well, much F 5.6, That's better. I want to go back this way because I don't know which way I'm going to want. I'm getting them all now. I'm getting all my options now. I'm silently editing in my head. I'm like, you know what? There's a chance that I could use this shot. I need to do an angle to tag going this way. I don't think I haven't shot going this way. This is a really grand shot to be able to show this arrow going that way. Let's see, I'm an F 5.6. It's a little bright right now. I think I'm going to have to keep it. I'm going to have to let some of that stuff blow up because my focus is this room, not the outside. Here we go. One, 2, 3, 4, 5, 6, 7 and 8 and back 2, 3, 4. I can do a straight on attack here to show off this space with these appliances and from the other side as well. Three, 4, 5, 6, 2, 3. Beautiful. I'm going to feature this. This is technically part of the kitchen. Something like a little slide, I'm sliding and turning. So if you notice, the way I slide, so I'll squat like this, I'll hold this out and I'm basically moving like this. The reason why I say have a handle, is now I can use this like a steering wheel. So I'm going to slide and turn my rig. I get a beautiful sliding move to really show this off. We've got our angle attacks and we got our straight-on attacks. Now, something that's a really cool move for kitchens is revealing. So I'm going to use the corners of my islands to reveal parts of the kitchen. For example, I'm going to use this corner to reveal that really cool appliance. So I'm going to get low, and what I'm going to do, is I'm going to hide behind here, and I'm going to lift with my knees. I'm going to come over the countertop, and then show that off. Do it again, lift with my knees, come over the countertop, show that off. I'm going to do it from this other side because I can see myself over here in the reflection of that glass. Come up, show that off. Beautiful, just like that. Come up, show that off. I'm going to go ahead and show off this sink area. Same way. I use this corner. I'm going to reveal. See how I revealed all of that, I revealed all the woodwork on the cabinet tree, then I revealed the floor, the sink, all with just this one move. So it helps break up all of our straight-on attacks and all of our angled attacks. I'm going to reveal this space here. Using this corner. Just like that. Lift with my knees. Turning my rig ever so slowly. Over here, I'm going to reveal the sitting area. I'm going to reuse this corner and reveal chairs, in that sitting area. Now, I like this floating shelf area. I'm going to reveal this floating shelf area or at least show its use in here. Instead of hiding behind it, I'm going to use its transparency and allow those things to pass me. I'm just going to rise up and show it all off. It's really cool to show you these floating shelves are just so functional in this kitchen. Now, got this awesome skylight. Put my camera up. I'm going to expose for the skylight. Then I'm going to do my move. Wider stance. So nice cool ceiling feature. I'm going to do it from this angle. I love that there's that Cloud back there. Do it from this angle. Beautiful. This angle. Just because I don't know which angle I'm going to use. This angle. Beautiful. Now, is there any other ceiling features? Well, we've got these Lights. Lights are cool. So I'm going to go down to 5.6, and I'm just going to move to the left and to the right. I'm going to also show off these lights. Anytime that we need to kind of break up our edit, we can use those shots. Since we're here, part of the kitchen is this Butler's Pantry. This Butler's Pantry, it has some of my equipment right now, because it's darker in here. I'm going to create my ISO to my second, I have dual native ISO. So 1250 is my second bank of ISOs. It's still dark, so I'm going to go to F4. My white balance is a little warm. So I'm going to go down to 3,800. I'm going to go ahead and do the move. I'm going to do the move in here, but I'm actually going to use other footage. I've actually shot this house before. But through the graciousness of the builder and the designer, they're allowing me to shoot it again for these tutorials. I'll do the move right here. We'll use the old footage that I used from when I shot it last time because this room isn't really staged as well. I'm going to go ahead and do the move, and I'm using the drift. So remember it's like Tokyo Drift I'm kind of coming in and then I turn in my car this way doing the same thing here. I'm going to point to that angle, but as I move in, I'm turning my rig. Beautiful. Just like that. That's the kitchen. We've shot our straight-on attacks. Every straight-on attacks we can take up, we've got these straight-on attacks, this straight-on attack, those two up there, that one over there. Lots of straight-on attacks. Lots to choose from for edit. Then for an angled of attack we've shot this way, that way, down here, lots of different angled attacks. A variation of the angle of attack is the reveal. So we're going to use the corners to reveal our appliances and cabinet tree. Then plus we did a lot of ceiling features. So angled my camera up at a 45, and did my half circle move at different angled attacks, angles from down here. That's the formula for a kitchen. In addition to that, we still have to shoot the detail shots. And because of the way I'm shooting this, we're going to shoot those after. So that is it for the kitchen so far. See you in the next video. 11. Dining Room: Welcome to the formula for how to shoot a dining room. Now in this case, they actually have like three areas to dine. But we're going to go ahead and shoot two of them. This looks like their main dining room and I'm calling this the main dining room because it's attached here with the kitchen. I'm calling that the main dining room. The way we shoot it is usually a straight on attack. I'll do a straight on attack this way, and a straight on attack this way. Then I can do an angled attack, but most of the time I just leave it with those two. To do a straight on a attack, I'm going to use my cursor. Find the middle of the table and I can tell that I'm blowing outside, but it's okay. Because what's my focus? It's that table which that is looking properly exposed to me. I've got my cursor right there. That's where I want it. I'm looking at my horizontals and verticals. I'm going to double-click on my gimbal to make sure everything's nice and straight. Bend my knees and let's do the walk. One 1,000, two 1,000, three 1,000 and four, and back 2, 3, 4. Beautiful. Let's do it here. Where's the center of this table? It looks like they did a good job of centering it with the chandelier. That's going to be my center mark, 1, 2, 3, 4 and back 2, 3, 4. It looks like that my horizontals are not straight. I'm going to do that again. That's looking a lot better. 1, 2, 3, 4 back 2, 3, 4. I knew that they were not straight because I was looking up here. There were like this and that is not straight. You want it like that. That is straight. Let's see any other opportunities. I'll go ahead and do an angled attack. But instead of it being an angled attacked like this, I'm going to do it as a slide. I'm going to take a nice wide steps. I'm going to slide from left to right. This is why we don't bring a slider. onset. You are the slider. Your body is the slider. Nice. Now we have another dining room. That's this one, same thing. I'm going to shoot it over here. 1, 2, 4, 5, 6, 7, 8, 1, 2, 3, 4, 5, 6, 7, 8. For this one, I am going to do an angle of attack just for some variation. 1, 2, 3, 6, 7, 8. Do a straight on 1, 2, 3, 4, I'm running out of room. Do it again, 1, 2, 3, 5. 12. Second Living Room: For this room, it's the same thing as the other living room. We are going to do our angle of attack and a straight on attack, and maybe another angle of attack and probably the dark cover for this room. So this is like your normal living room if you will. [LAUGHTER] So for a normal living room, we are just going to go ahead and move in, 2, 3, 4. You can see why we choose this nice wide angle. We're getting the ceiling, we're seeing everything of this room right off the bat. I'm going to do an angle of attack from here. Now, instead of an angle of attack, I could do an angle of attack and get the outside as my main shot. I can move in like that and that's a great angle of attack. I'm going from corner to corner and I'm definitely showing off that this room has an excellent view to the outside. Or I can do what I like to call as an experienced shot. An experienced shot, in my head I always like to say, well, this is what it's like to sit in this room and see what it's like to sit here and feel what it's like. So I'll literally get very personal with this chair. I'm going to show it here in the bottom part of my lens or my composition. Then I'm going to do a drift, if you will, I'm going to drift into the room. I'm going to drift, pushing in and turning and just showing this is what it's like to sit in this chair and take in this room. This is actually a really effective shot. It's a very personal shot because it's like I'm sitting in this chair, sitting by this fire looking at this view. So I like to call these shots experienced shots. It's just a good way to break up the edit, so it's not the same move every single time. A straight on attack of this room as well. Let's do a straight on attack. Check my verticals, my horizontals, and then I'm just going to go down the middle of this room. That's a great option as well. Who knows if I'll use that or not. Pretty good. All right. That's that room. 13. Powder Room: We have a powder room here, very small. Come here, take a look. Here it's tiny. Plus I'm in the shot, so that's not going to work. How do we handle powder rooms with mirrors? Best thing to do, just get on your knees, and now we're not in that mirror anymore. Let's go ahead and get all of our lighting right first. I'm going to set my white balance to about 4,000. I'll lift my camera until I see it in the mirror, and there it is. About right there, you don't want to see that. I'm going to go down as low as I can, get my horizontals and verticals straight, and I'm going to do my move. I was going to push in. That's how you shoot a little powder rooms. That's it. That's the formula for a powder room. 14. Mudroom: We've got a couple of more rooms around here on the main floor. We need to get the mudroom, the entryway, the stairs, and then we still got the master. Let's go ahead and knock out some of these smaller things real quick because we don't want to forget them, even though they're not part of like the four core. Set up the shot for this. I'm going to F4. It's pretty dark. Second Bank of ISO. White Balance, 3,900. That's looking good. I'm just going to do a drift, move in here, rather than a straight-on attack. I'm pushing in and turning my camera at the same time and showing off this mudroom. I can go a little lower. I can show off that floor. Very nice, one more time. I'm going to do a straight-on attack as well, just so I have that option. Straight-on attack, and then I'm going to turn and show off the room. That's the bedroom. [BACKGROUND] 15. Entryway: All right. I know this is the first thing that we've walked through, but we haven't even shot it yet. Let's go and get this entryway. So for the entryway, I usually do a straight on attack moving backwards. So let me set my ISO to 400. White balance. There's a lot of light, so I'm going to go to about 5,300. I'm at F8. That's looking really nice. So I'll get my cross-hairs right at the middle of that door. Double-click, make sure everything is nice and horizontal and vertical. All my lines are looking straight. I'm going to push in. Even if I push in and that was the only shot that I got, I can always reverse the clip, and then I'll have a backward shot which is this. I'm going to go ahead and do that too far. Beautiful. That's it for the entryway. 16. Stairs: Let's go and do the stairs. Stairs are important. Not only are these stairs very nice. Let's say that these stairs were just like your run-of-the-mill regular old stairs. I still like to shoot them and I don't shoot them for the fact to show the stairs. In this case, I will, but I will shoot them for the fact of giving me a transitionary point in my edit. It's saying, hey, I'm about to go up the stairs. To shoot the stairs I'm going to do an angle attack. I'm treating the stairs as a room. Treat it like this box, this room. I'm going to go from angle to angle. There's my corner, so I'm going to move in and shoot the stairs. Now, let's make it a little more dynamic. As I push in, I'm going to push my joystick up and turn my rig. I'm going to push in, turn my rig, push up and then it looks like I'm going up into the stairs. One more time. Doing an angle attack, turning my rig drifting, pointing my angle up and it really says, hey, we're going to go up. Let's do it the other way. Let's go down. I'm going to do a twofer for this shot, since this is also the way to go downstairs. What I'm going to do is I'm going to point at the angle and I'm going to move down, going to drift over and point my camera downwards. Beautiful. It really suggests that hey, we are now going from one floor to the next. In this case we're going down. I'm just pushing my joystick down and I'm leading my viewer as to where they need to go. Those are stairs. 17. Office and Magic Line: We have one more room here. Now we have these cool pocket doors because I don't have any assistant, I only have my cameraman here. What I normally would do is I would take two people and they would go down in the corners and I would have them manually open up these doors. I call it magic doors and as I would enter the room, those doors would magically open. Now we don't have anybody here to do that, but I'm going to go out and show you how to shoot this office area. But in the post, I'm going to make sure to use that footage where I did have assistance, where I was opening up these pocket doors so I can feature the fact that there are pocket doors and that's a feature-rich thing of this office. I'm going to go ahead and do my move. I'm going to go and I'm going to find the corner of this. I'm going to go from corner to corner-ish. It's not a perfect square, but it's corner-ish. I'm going to make this a little bit more dynamic by starting my angle up and as I walk in, I'm going to start bringing my angle down and it really brings that room in. I'm just slightly pressing down on my joystick. I'm going to do it one more time. I'm going to point up and this will be cool when it's speed ramped. That's what I'm thinking in my mind right now. I'm coming in and moving down and showing off this great office. Beautiful. Even though I'm not crazy about this shot, I'm just going to go one, two, three so what am I doing? This is a thing called magic line. Let's talk about magic line real fast. For rooms like this that are like single rooms, I want you to pretend. For rooms like this there is a magic line going from this corner to that corner-ish. I always say corner-ish because it's not always going to be a perfect square room. Imagine that there's a magic line going from here to there and what you're doing is you're going down magic line, so I've revealed the room, and then what I'm going to do is I'm going to swing around this way and here's the line and I'm taking this line, and now I'm just walking backwards. In my edit, in post-production, I'm going to take that first shot and I'm going to come in and reveal the room. Cut and then I'm going to cut to that spot right there on the second half of magic line and then take that so I've shown the entire room in two shots and that's the power of magic line. I use magic line for every kids' bedroom. All the kids' bedrooms are two shots, go in and then go backwards, and then that's the shot. I love kids' bedrooms because they're super easy. Let's go to this wing of the house. 18. Master Bed and Bath: This room, I'm going to actually do a straight on attack coming into here, so I'm going to go straight into here and I'm going to turn my rig and convert my straight on attack into an angled attack, revealing the room. Wait, restart it. [inaudible] I'm going to go down to F5.6. My white balance is a little warm, so I'm going to go down to 4,900. It's looking good. We're going to do a straight on attack and as we round that corner, it'll turn into an angled attack. I'm looking at my doorframe, I'm looking at my rule of thirds, everything is looking nice and straight, and I'm using my cursor to find the middle of my door. Let's go and make the move, one 1,002, three. We're showing off this entryway into the master and that, like a room in itself. I'm going to start turning my rig and I know I want it to point at the bed and the side tables. I'm drifting angling attack into the room. Let me do it one more time. That was really a good shot. One, two, we're showing off this, this is a room in itself, even though it's part of the same and it's the room in itself. I'm turning my rig. I'm going to drift into this room and reveal the master and all its glory, turning my rig continuously while still moving forward. Beautiful. Guess what? That was magic line. What am I going to do? I'm going to go down the other side of magic line. I started going down magic line here and I know I'm going to take magic line going backwards like this. I went down magic line one way and now I'm going to show the rest of the room going down magic line the other way. I'm going to show off the ceiling, so I'm going to do a ceiling shot, just to show all this nice beam work, all this woodwork, this nice finishing. I'm basically doing a semicircle move. I've got my cursor pointed at the middle and I'm doing a semicircle move to really show off that ceiling. Beautiful. Now we're going to go in here. We've got these cool barn doors. Again, if I had assistance, I would probably use them to do a magic door. Let's say we don't have an assistant and I really want to do something cool, I'm going to do this; I'm going to shut the doors, I'm going to take the middle using my cross here, and I'm going to go ahead and do my move as if those doors were not there. One, two, three, four, five six. Now I'm going to push these all the way back the way they were. Now I'm going to do the exact same move. What I'm going to do and post is I'm going to crossfade between the two and magically they're just going to open up into this room. I do this a lot with closets. If there's a closet that I want to show, I'll do that. The trick is to make sure that you're lined up in the same position. I know that this is my center mark, this is where my doors were, and I want to use my cursor right there to make sure that I'm in the middle. Now I'm going to do my move and I'm going to crossfade between these two. Into the process, I'm going to reveal this awesome tub. Beautiful. We've shown the tub. I want to show off this area and I'm going to do a straight on attack but backwards. We're going to do straight on attack to show off these nice sinks and then I'm also going to do an angled attack. I think I like the angled attack better. Two, three, five, and back. One more time. One. Beautiful. We've got some angled attacks and straight on attacks here in the tub. Anytime that there's a tub like this, I will get very personal with it and I will reveal the tub like this. Anytime there's a tub, I will do this. It just says luxury, and so I like to do that. I want to try to get those LED lights. I'm going to really get low so I can show off those LED lights. Can you imagine having to set up a slider for this? That's why I always say, look, your body is your slider. Beautiful. Let's go ahead and show the shower from this side. I'm going to move in and we show it over here. It's obviously way overexposed. Go to ISO 400 F5.6, white balance probably around 5250. Looks good. What I'm going to do is I'm going to reveal. I'm going to use this wall to reveal that area. I'm going to reveal and I'm turning my rig. This is why you have that handle. One. I'm not in love with that, so what I'm going to do is I'm going to break it up into two shots. I'm going to do a slider move, so revealing that and get myself some options. I'm going to treat this as if it was a ceiling reveal, but it's not. That's why I call it the ceiling reveal shot, but it's something I'm angling up. I'm going to use this wall still to reveal this double shower. Now I'm going to reveal and I'm loving that way more. You can see that extra shower head up on top. It seems super grand, super big because I'm so low, and plus it doesn't spoil my next shot, which is the fact that there is a Jacuzzi connected to the shower. It's still keeping the intrigue and the mystery. [NOISE] I'm going to do a shot from here and what I'm going to do here is I'm going to transition from this room using a slider into the next room. Here I am. I'm sliding from here and then I'm going to show off this room. This is tricky. From here to there. Now I'm going to try it where as I move into there, I'm going to angle my shot, so that way. [LAUGHTER] I like that so much more. Beautiful. Little overexposed. I'll do it again. I'm going to keep my verticals on all my horizontals nice and straight. It's going to move in here. As we move in, I'm going to turn the rig and now we're going to reveal that. Beautiful. Love that shot. Nothing screams as luxury than having your own Jacuzzi by your shower because you can. That's a great shot to reveal that one. [NOISE] Before we do the recap, we've got to do this walk-in closet. Just treat the walk-in closet as any other room. Straight on attack, and I can't do that because I just got myself in the mirror. I'm going to do it from here. Admittedly, I'm probably going to use the footage from the other shoot because they have all their personal clothes here, whereas during the parade, this time was in the parade homes, this was more staged. I'm loving that. Maybe I'll use this corner to reveal that the fact that there's a little bench here like I did in the kitchen. Very good. Now, we still need to shoot details. Now, I only really shoot details for the four core rooms, and that again is the kitchen, living, dining, and master. We will shoot details for this room. I just won't do it yet because I want to shoot whatever else we needed to shoot. Let's go. 19. Gym: We're going to go and knock out two other rooms real quick. We've got a gym, and we've also got a laundry room. These are just square-sized rooms. What am I going to do? I'm most likely going to be shooting down magic line for these rooms. I'm going to look at my room, and I've got a heck of a view. I'm going to try to expose a little bit better for the outside. I'm at "F11". I want to increase my shutter to 240. My white balance I'm going to set to 5,600. I'm going to shoot down magic line, 1002, 1003. I'm going to go back down magic line. I'm going to shoot down magic line once more, but this time I want to expose for the room. I expose for the outside because I really liked that view. But what's important? Well, the room is important. I want to expose for the room, bring my shutter speed back down to 1_120th. Now, here I am exposing for the room. Then post, I'll be able to decide which one do I want. Do I want the one where I'm showing the outside or do I want the one where I've exposing for the room? This is really tricky. I'm going to just go down low, and I'm going to try to hide between these bars and those bars. Then I'm going to go just like that. We might not even use this shot just because those mirrors are really tricky, what am I going to do? I'm going to try to get a couple of ceiling features. We've got a cool ceiling feature here, and I'm going to go ahead and crank up "F11", and then I'm going to try to feature some of this stuff here. I'm going to do a ceiling feature for here. Honestly, the one shot that will probably end up using, is the one just going into the room, and not showing any of the other stuff. Because the mirrors make it really tricky. 20. Laundry: All right. Let's go ahead and do the laundry. This is probably the nicest view of a laundry I've ever seen, unless you really like to fold the laundry with a nice view. Anyway, so this room can be just done with one shot. You can either do it with an angle of attack. I'm going to just come in an angled attack from corner to corner, one more time. Or we can do a little bit more of a dynamic move or we can drift in. I'm going to use this doorway right here to reveal, and I'm going to think of a car drifting in. I'm going to skid in and turn. I'm going to come in and my momentum is turning. As I'm pushing in, I'm revealing. I'm pushing in and turning. Honestly, both shots work. It's just whichever one you want to use to post. 21. Second Floor Main Landing: That takes care of this entire first floor. Stands the outside, but I'm going to wait for the outside. We've got a lot to shoot out there as well. But let's go ahead and knock out the kids' bedrooms upstairs and then maybe the basement, and then we'll come back and the knockout with our detail lens. Let's go up. This is going to go with my stairs shot. Because as I was growing up I was like really admiring the glass. I'm just going to do a reveal shot of the stairs. I'm going to use this corner to reveal this open room. I'm just going to use this corner and just reveal into this room. Now, we've got this from here. I'm going to treat each part of this room as if it was its own room. I've got this nice big area which looks down into there. What I'm going to do is I'm going to physically walk in and look down. I'll walk in and then I'll use the thumbstick and point my camera down to show that, and I'll use that as a ramp. It's a very dynamic move. A lot of my builders love it because it shows off not only this room but the fact that you can have an awesome view downstairs as well. As I'm moving in pointing my camera down, don't drop your camera. [NOISE] Let me do it one more time. Usually, I have to do this about three times to get a good one. I got my center mark here. As I move forward, I'm going to slowly move down my gimbal with a joystick. This one wasn't as great. I already know don't love that one. [LAUGHTER] Centered move, look down, and that was the one. Let's get the rest of this room. I'm going to go ahead and do an angled attack of this area. I do an angled and drift in. One more time. Beautiful. I'm also going to do a straight-on attack, expose a little bit more for the out there with the outdoors. Very nice. Then let's also do a straight-on attack to kind of show like the coolness of this catwalk. I'm going to do an angled attack and just go over these rails. It's a cool shot. It's like we're go on over and back in. Reveal this space here by just doing a straight-on attack, I'm really just playing with these lines. It's all about symmetry. Straight lines. That's what makes it great video. [NOISE] Then since we're up here, I'm going to show off the ceiling. I'm doing an angled attack up. Just moving like I would, but from up here, to really show off this beam work. Very nice. I think I'll just shoot an angled attack here just because it's a little dynamic, and show that it's a catwalk. Anytime I do these angled attacks, it doesn't have to be perfectly in a square room. I'm just looking for corners. I'm looking for these corners over here. I see a corner over there, and I see this opportunity for these lines just to pass me. These handrails are just passing by and it's always nice in a video. All right that takes care of this. I'm going to call this the upstairs living room because it really is. It's an upstairs living area and so basically we just shot it like we were in any other living room. The only difference is we had an opportunity to look down and we have these cool catwalks. Speaking of looking down we need to be able to look down from the stairs. Remember, stairs are important. Remember we shot looking up the stairs? I want to also do a shot where it says that we're coming up from the stairs. The way I'm going to do that, I'm going to do it backwards. I'm going to start here. I'm going to start like this and I'm going to pointing down as I walk forward. I'm pointing my camera down, and then I'm also going to do it where, let's see, like an angled attack. I'm going to angle attack and just point down. What I'm going to do is in post, is I'm going to play that backwards, so it's going to look like it's coming up. We pointed up going up, and then now we're going to take the other clip going backwards, and now we've really told the user we are now upstairs. Then we'll shoot all this. We do all this stuff. 22. Kids Bedrooms: Bedrooms are my favorite. Super easy, super fast. We've got the doorway that leads here. We've basically got an angled attack like this. What we're going to do is we are going angle in, do an angle of attack. We can either drifting or we can do a straight-on angle of attack. Then we're going to go down magic line. If we go down magic line you know what we are going to do? We're going to hop on the other side of magic line and then go backwards from there. I'm going to first go ahead and get my exposure properly. I'm at f 5.6. My white balance is a little warm, so I'm going to go down to 5,100. That's looking good. I'm going to use this wall to reveal my line going down magic line. I'm going to push in, drifting in, going down magical line, and do it one more time. Pushing in, revealing the room, going down magic line, and guess where we're going. We're going to go down the other side of magic line. We're going to go backwards [inaudible] magic line. Then we can even go forward down magical line. What we're going to do we're go forward down magic line and what are we doing? We're showing the bed and all these awesome built-in that [inaudible] did with this bedroom. I'm just going forward and backwards just to give myself some options. That's it for that room. Let's do it again. Let's not even hit stop, let's just go down to this next bedroom. Same setup. Only thing that's different, is it got bigger windows. Let's go ahead and let's expose properly for the light and look at that, we can see out the windows and the room at the same time. Love the dynamic range of this camera. We're at 50 for my white balance, ISO 400, it's looking really good. It's just the opposite setup with the other room. We're going to use this wall to reveal down magic line. So we're going to walk in, reveal a magic line. Still got forward momentum, so I'm going down magic line. We'll do it one more time. Forward momentum, going down magic line, reveal the room, beautiful room and guess where we're going, because we're going down magic line. Now we're going to go backwards down magic line. That's it. That's how you shoot bedrooms. Bedrooms are the best. The shots are the same. Go down magic line, go the opposite side of magic line, two shots for a bedroom. That's the formula for a bedroom. 23. Bathroom: Bathrooms. Specifically, kids bathrooms, not the master bathroom. This one's a little different. You've got diamond mirrors. I can still see myself in the mirror, so this one I can cheat. I can just push over. But we've also got this area. What I'm going to do is instead of showing both sinks, I'm just going to show one of the sinks because what I'm trying to show us all this tile work. What I'm going to do is I'm going to use this wall to reveal into here just like that. I'm going to go back to a four. A four is looking good. I'm going to start here. I'm going to have to avoid this mirror, otherwise I'm going to be in the shot, so that's not going to make it in there. But I'm going to push in, angled attack, and show off that area. Again, push in, angled attack, drift in there. I'm using my rig to turn over so slightly to the right as if it was a steering wheel, drifting into the room. Beautiful. Because this is a cool showerhead, I'm going to do a ceiling feature. Which means I'm going to get low. I going to have this thing that I always say : Anytime that there are glass like these, I say let the glass pass. What does that mean by that? Let the glass pass in front of the camera. When I let the glass pass like this, this allows this foreground element to pass by the lens and it looks really nice even though my focus is that skylight showerhead. I'm going to let the glass pass. Pointed up, I'm going to do a half circle arch to reveal this space. I'm letting that glass pass. I'm getting that beautiful parallax that viewers love. Just like that. One more time. Very nice. Let the glass pass. I should make a T-shirt. 24. Basement: Welcome to the basement. Treat these stairs, treat this as a room. How am I going to feature these stairs? I am going to do an angled attack into this room and start pointing up. Push in at an angled attack and I'm going to point up. What it's doing is it's featuring this room. It's featuring this craftsmanship and I am trying to show some dynamic angles here and some beautiful lines. We can actually treat this as a room if we wanted to. This is a little sitting area. We're going to just do a straight push in. Straight on attack, boom, push in. This right here, this garden area, that's cool. You just straight on attack. I'm going to treat this as a room, even though it's in the same room as everything else, I'm treating this area as room. How am I going to do it? I'm going to do an angled attack. I'm going to corner-ish into that angle. I'm going to do an angled attack. Moving in. Beautiful. I'm going to do a reveal just like I did in the kitchen. I'm going to reveal these little arcade games using the back of this stool. I'm going to reveal into that. I like this little game on sign. So I'm going to use this game on sign to reveal into this next room which is the pool room. Very nice. But vice versa I can do it from here, this game on signs on this side, and then I can reveal into this side. Using reveals, angled attacks, this is a great accent wall and this is some cool art. Just this light. I'm just going to do something where it's an angled attack into that angled attack at the wall. Maybe I'll treat it more like a gallery, I like this. Do it backwards. Instead of a straight-on attack and do a straight-on attack going in. Or I can move it backwards. Just keep that symmetry in mind. Let's do a straight-on attack with this pool table. Go backwards. A rule of thirds really helps me as well as my cursor. Because I can easily find the center mark of that pool table. I'm also going to do an angled attack at this pool table. Feature the pool table with those jerseys in the background. I'm also going to do a straight-on attack for a symmetry sake. Very nice. Now we've got this living room, so what do we do with living rooms? Angled attacks straight-on attacks. I'm going to do an angled attack. Very nice. I'm going to go right to the straight-on attack. I'm really liking this straight-on attack. I'm using these as my center mark. So I'm going to get my cursor into the middle and then just push into the room and we can do it backwards. Let's get an angled attack of that room. That will give ourselves some options. Loving this angled attack. Let's make an experience shot. Let's get personal with this furniture. Get nice and low and show what it's like to be sitting here in lounging in the basement and these are really comfy couches. We've got another game area, so I'm going to treat this as a room. See how this whole open basement, it's one big room, but I'm just splitting it up into little different rooms. This is now a room. This ping-pong table is now a room. I did an angled attack. I'm going to do a straight-on attack, but I'm backwards. I'm going to treat this thing as a room. I'm going to show that it's a little play area. Show this ball pit. Maybe just show, I'm going to reveal, and then here. Very nice. Let's also do one angled attack from this point of view, just because I like it and use this wall to reveal, do an angled attack. Very nice. Then we'll do an angled attack just to this side as well. I like that one more than the other angled attacks, so I'm glad we did this side. Very nice. We just knocked out all these different living spaces here in this cool basement. Now, we still have these two bedrooms. Now, they're just bedrooms and also they're not really stage-worthy. I'm just going to explain what we would do and then I'll use the footage from the other one. We would go down magic line. Here's magic line, so we would go and we would just shoot down magic line. What would we do? Come around, swing back on this side of magic line , and pull back. That would be our two cuts to show this room. Same thing with this room. We've got this wall. We would show this wall. The reason why I'm not shooting in this room is these electrical blinds aren't working and so we can't feature it. But I know I have the footage from my last shoot, but I would use this wall to reveal it open. We could either leave it at that or because we shot down magic line, we can go down magic line going this way. Just like that and it'll be our two shots for this room. Then for this bathroom, this bathroom is pretty cool. You would use this wall to reveal the two sink fixtures just like that, 5.6 is probably better. That covers the basement. What's left? We've still got the outside. We haven't got any exterior of this house. We'll be using mostly drawn for that. We've got a pool, a fire pit, some really great sitting areas. We want to feature those during the times when it's more twilight. Now, let's look at the time. It's 5:53. In one hour, it'll be time to shoot the outdoors. What we need to go out and do right now is switch over to our detail lens and get the detail lens shots for our four core rooms, which is the living room, dining room, master kitchen. Let's go. 25. Detail Shots: Now we're going to go ahead and shoot the details for our four core rooms, kitchen, dining, living, master. Let's go ahead and knock out the kitchen first. We're basically creating a slider shot. A slider shot is created by your body. We're not setting up a slider at all. Your body is actually acting as the slider. I'm going to feature this nice hardware on the sinks and on the cabinetry, showing off this wood, and do the slide while pre-depressing the trigger on the Ronin. Very nice. [NOISE] I'm going to go and show off this stove or this range. It's got a lot of these beautiful tiles on there. We're going to go ahead and get nice sharp focus on that and we're going to reveal using the corner. I'm going to reveal using this corner , and there we are, showing those beautiful tiles and that gold trim. I'm going to go ahead and show the staging right here. Very nice. I'm using the edge of this wall to reveal and I'm loving the reflection that I'm getting, adds to that parallax effect. Very nice. I want to go ahead and get that sink right there. I'm liking the hardware on the sinks. We are also able to see and get nice focus real quick. We're also able to see part of the cabinetry and the hardware chosen there. Got these nice lights over here. I'm going to feature those. [NOISE] Let's see. I'm going to shoot. I'm not loving that shot. Let's see. I'm going to shoot this. I like the floating shelves here. Then let's see. Wherever I want my focus. I think I want my focus at that back sink. [NOISE] I'm going to do my slide, featuring the marble, those floating shelves, that back sink. I'm going to feature these lights. That's going to move left or right. Beautiful. I'm going to feature that light. [NOISE] I want to feature this little eating area. I'm going to move [NOISE] these things over to here so we don't see them. Beautiful. I'm trying to get the back of this chair to get that parallax. Get it from this angle. Try to show off the fact that the dining tables over there. I think that does it for the kitchen. I see if there's any other opportunities over here. I think I'll just get that little fruit to try just to literally add a little color. Get that back stuff right there. [NOISE] Those are the detailed shots for all the kitchen. Let's go from kitchen to dining. For dining, I will shoot down to show the edge of the table. Grab my focus. I use my focus as the middle of the table right there. I'm going to get the edge and just slide to the left. I'll usually try to get some of the lights, the chandelier. I'm going to crank up my aperture. I'm also going to just grab it from this end as well. I had two dining tables. Let's do this one as well. I'm just going to get some of those design elements. [NOISE] Very good. Let's go ahead and do the living room. Anytime that there is a coffee table, I'm going to get the coffee table. What I try to do is I get the coffee table with a little bit of parallax from the chairs. Using the chair to reveal, it's on the table and then shot's great to break up because there's so many too wide. Even if it's a straight on the attack or angled attack, that it's nice to break it up. I get this nice sitting area. [NOISE] Notice like to get nice and low. Just want to show off some of this texture and design elements that they chose. I'm also going to try to show off this fireplace. [NOISE] Let me see if I can use the corner of this chair to reveal a few things. We got the kitchen, dining and the living. I'm just looking around to see if there's anything that I can get just with a longer lens. Like I can get the fireplace right this. Basically just looking for opportunities to slide. Beautiful. That shows that there's two dining rooms. Let's go into the master. Details for the master always the same. I always get the edge of the bed with the edge of the table. Edge of the bed. I'm going to show off that fire [NOISE] especially not the sitting area. The ceiling feature and the wood beams. Let's go to the bathroom. I'm going to show off this tub. It's going to do my slide. [NOISE] Shows some of the detail, the light and the tile tile work. Then the sinks. [NOISE] 26. Backyard: I just switched back to my white angle. We're going to go ahead and take advantage of the fact that there's this beautiful light streaming into the backyard. We're going to go in and just shoot all of our y's in the backyard for right now, I added a filter, just an ND filter on my blends just because there's so much light coming in right now, and hopefully it will help. I'm going to increase my shutter speed to 1 over 2 40th, and I'm going to switch to f 11. Make sure I'm at white balance, 5,600. Whenever there's a pool like this, I would like to get the straight on attack. Also get an angle of attack. Then go down to F 5.6. I'm going to get a straight on attack here. This is such a grant shot right here. I give like a little experienced shot here. This is what it's like to lounge in the sunset of this home, is going to shoot an angle of attack. That's going to get that. Watch my angle, so my shadow doesn't get in the shot. Here we go. Now for this, I'll walk forward, and I'm going to walk backwards because if I want the backward shot, I can't reverse the clip because of the fire. Fire and reverse looks weird. If you want a backward shot, you've got to walk backwards to get that shot. I'm glad we're shooting this. This is nice. Some nice footage man. I'm going to get a straight on attack. I'm going to do a drift shot. Look at that sun flare. Anytime you can get sun flare always make sure to shot look money. Love that. Beautiful. Let's go back to 1 over 240 f8, an angle attack. When I'm doing is I'm pointing the gimbal down as I walk in there. Let's descend into the pit. Beautiful, and because we're shooting in 60 frames per second, we're going to get some beautiful fire shots, my friends. I think it would be wise if we went a head and took a couple of drone shots, while the mountains are lit up like this. 27. Front Yard: I just realized that I haven't shot anything in the front yet, so we're going to go and knock out these front shots while we have this beautiful light. Get this straight on attack at this front. [BACKGROUND] Straight on attack here. Beautiful, beautiful. Just getting some straight on attacks [BACKGROUND]. Let's get the drone. 28. Drone Part 1: The sun's going to dip down behind those mountains. I want to be able to make sure that I get the mountains lit up like this. For video about 4K60, I'm shooting it in D-Log, H.264, at MP4, [NOISE] and I'm making sure that [NOISE] I have my grid lines turned on. I'm going to format my card real quick. Let's go ahead and get some beautiful shots. Take-off. Google point has been updated. Please check it on the map. [NOISE] I'm going to switch to cine mode and then I'm just going to do a little orbit. That's like a half-moon orbit around this property. That is looking beautiful. I'm going to bring my exposure value done by one stop. I'm just doing a half orbit. Just want to get that backdrop of the clouds. This is usually the first drone shot that I will do. The next one that I will do, so I'll take it from a little bit higher perspective and I will just start to descend and push in just ever so slightly. [NOISE] That's a beautiful shot. Then I'm going to do it from the other side. [NOISE] Just descend ever so slowly and just push in ever so slowly so small movements make a big difference. I'm going to get one more orbit. [NOISE] Just a little bit tighter. That's all. So it can show us some of these water features. Then also it backed up against the mountain. Very pretty. [NOISE] Now I'm also going to get some of this porch area. Very nice. [NOISE] Let's take it to the backyard. [NOISE] I need to descend a little bit. It's a beautiful shot of the backyard right there. [NOISE] I feel like we got the shots we needed for sunset. I might as well just get this one as I descend in here. Beautiful. I think I'll do a couple of these just because it's so pretty right now. Once you get the edge of the light over that mountain like that, you start getting some beautiful qualities of light. This is going to be right before twilight. It's always good to get this footage as well. Who doesn't love a good sunset? [NOISE] I'll see you back here once the light is ready for twilight. 29. Drone Part 2: It's almost 7:30. We're already getting some pretty beautiful results right here. Look at that. That's pretty beautiful. I'm just going to do my same moves. I'm just going to do a half moon orbit real quick. Basically, I redo the same shots as time permits. We've got the time to reshoot this and I'm going to because each time that I keep re-shooting it, I'm going to get a better result. Look at this already. I can already see inside and through the house, which is absolutely stunning. I'm going to zoom in a little bit and do another half moons orbit around the front. I also went to the backyard. We didn't record this, but I went back to the backyard and re-shot some of the backyard at this quality of light with my gimbal. I did it pretty quick so that I wouldn't miss this. That's just looking gorgeous. The reflection of those pink clouds in the distance there in the front, absolutely gorgeous. I'm just staying locked on my track and then I'm just orbiting the house. I'll hop in on the back. I'm glad I did. Got those pink clouds in the background there. Get this amazing backyard. Beautiful. Let's try that again. This time pulling out. Gorgeous. Absolutely gorgeous. Let's go ahead and do a little bit of an orbit. We can have some variation. Absolutely beautiful. When you get the skies like that and then the fire and the interior to the house, that's what you're working for. Let's go ahead and do it from this angle. Try to come back. That's a little fast. I think my center is a little off so let's do that again. Beautiful. That's what I'm looking for. Glad that the waterfall isn't on. I get this super awesome reflection on the pool, reflecting the sky and the clouds in the house. Well, we're getting some really gorgeous shot here. It's going to do that again just to feature the fire pit and all those twinkling lights. Really give this designer and this builder some love. They've just done an excellent job. Yeah, just locking on a target and doing a move. Lot of times it's just my move will be either half moons or an ascent or a descent. Sometimes with my ascent and my descent, I'll just also do a push in or push out. We're getting towards the end of our twilight opportunities here. But honestly I think we've gotten more than what we need. 30. Post Production - Entryway, Living, Kitchen: Let's go ahead and get right into it. I am using the DaVinci Resolve Studio 18 as my linear editor of choice. You can use Adobe Premiere, you can use Final Cut Pro, the principles will be the same. Just to give you an idea, my timeline settings are set at 3840 by 2160 at 24 frames per second. That's what my sequence, if you will, is set at my timeline settings. I have made three bins. I made a bin from my Blackmagic Pocket Cinema 4K wide shots, and then my tight shots, and I also made a drone folder. I basically just drug all that footage in there. Now, full disclosure, after I shot the drone, I actually went back inside and I shot some more wide shots of the backyard. It was such a pretty time of day. I didn't record that for you guys just because they're the exact same shots as what I did in the afternoon and I didn't want to have to do that all over. They are the same shots. They're just at a different time of day. If you see some evening portions here, that's where those are coming from. I think I have let me see. Let me switch over to this view. These are later evening. Full disclosure. I wanted to let you guys know that. I'm going to pause here. I'm going to do the hardest part of editing any video, and that is getting us. I'm back. I'm going to make a bin called Music then import it. There it is. Now, one other thing I need to disclose. Remember when we were going through the house and there was a couple of rooms that weren't completed, and how I said that I would use some clips from a prior shoot. I'm going to make a bin. I'm just going to call it first shoot. Now, these were the clips that we needed, those other clips from our first shoot. We've got our wide shots that we shot, tight shots that we shot for drone from music, and from our first shot. Now one thing I like to do is I like to make proxies of my drone. I don't have the fastest computer by any means. It tends to be staggery when on playback if I'm going to generate some proxy media for these guys. Then I'm going to go ahead and come back. I have a proxy is now connected to these files. When I scrub through it, let's see, I'm going to choose my playback and I'm going to prefer the proxies. When I scrub through this, it should be pretty smooth. That's not bad at all. I'm going to go ahead and put my music down. [MUSIC] Cool. Not sure why my waveform isn't showing. It should be showing. But it's not. Not a deal breaker. We know we're going to start with drone and then we're going to end with drones. I'm going to go ahead and add some drone footage. But before I drop anything in my timeline, I want to make sure I'm going to select all of my drone footage, right-click, and I'm going to convert all these from 59 down to 24. It'll give me that nice slow-mo. [MUSIC] I'm going to just find some nice drone clips that I like. I'm going to take this one. Then here I'm going to speed ramps. I'm going to do a real-time controls and every time curve, I'm going to add a speed point and compress the time. Anytime I do speed ramps with drone footage it just kills my computer. It's why I made proxies. That makes it so much nicer to work with. [MUSIC] I like that shot. [MUSIC] I want that shot in reverse. I'm going to use those as my outside establishing, and then I'm going to get in to the house. [MUSIC] Love it. Let's go inside. Let's go ahead and do the living room. One thing that you can do, I'm going to go ahead and create a bin, [NOISE] and make this [inaudible]. Let's get all of our living room Let's see, where are these? That's kitchen. Let's go to our tight shots, kitchen, dining room, living room. These are the only kids I care about right now. I should grab that entryway. I know I have an entryway shot as well. This is entryway and stairs. Let's do this. Entryway stairs. But I want it backwards. Now it's going to go the other way around. I usually like to start with an angle of attack. I want to go from a wide shot. Let's go to a tight shot. [MUSIC] I like that. Maybe let's show the ceiling. [MUSIC] It's a good ceiling feature. Then let's maybe do one more angle of attack. Maybe this one. I like this one. [MUSIC] Before I do that, maybe I'll do one more tight shot of something. Let's see what do we get. Showing off the fireplace. Let's see what the fireplace that's like. [MUSIC] I like the fireplace. I'm going to use the fireplace. [MUSIC] All right. That is the living room. Let's go ahead and go to the kitchen. I'm going to make a thing for the kitchen. Let's go ahead and find everything that's associated with the kitchen. This is all I care about for kitchen. I said think about it room by room, that way I'm not overwhelmed. Let's go do an angle attack. My ninja walking is not great here, you can tell. [MUSIC] Cool thing is use our stabilization. I love to use translation, fixed somewhere around there, 0.8. Then [MUSIC] it's like magic. [MUSIC] Beautiful. Let's get a tight shot. I saw a camera setter. Cool. [MUSIC] Not living that. Let's show the oven. Let's use that one. [MUSIC] Let's go back to wide, cut that one. There, that's the one I want. This is why you just try to get all the different angles that you can. Right there. Beautiful. That's what I wanted. [MUSIC] That's my roof. [MUSIC] Take it wide. [inaudible]. Let's show some ceiling action. Buzz it. [MUSIC] It looks like reversed. [MUSIC] I like that better. I like this shot. Let's see where can I put that guy. Maybe instead of this one? [MUSIC] I'm not crazy about that shot. [MUSIC] Press this. [MUSIC] All right, I think we might have the kitchen. Let's just watch it from the living room into the kitchen. [MUSIC] It looks pretty good. I think that is the kitchen. Let's go ahead. Pantry is part of the kitchen. I'm going to go ahead and get this, mad room and pantry, throw those in the kitchen. That's from our first shoot. Let's go do that. [MUSIC] There we go. [MUSIC] That's looking way better. 31. Post Production - Dining Living 2, Master, Office, Stairs: It's a good shot on that guy, and I bet you did a straight on attack the other way too. Which one do I want to use? I like the other one better. [MUSIC] Yeah, I like that one better. Let's get a tight shot. [MUSIC] Let's get that other dining room on the other side. [MUSIC] I like that it shows both right there. [MUSIC] That's it for the dining rooms. Let's go ahead and do this little sitting area right over there. [NOISE] There's a powder room over there too. [NOISE] I think that's it. I got my angle of attack and I think I'll go to an experience shot. That's way better. [MUSIC] Let's show that powder room. [MUSIC] Reverse that one. [MUSIC] Cool. Let's go ahead and do master bedroom. [NOISE] I'm going to separate it into two rooms. [MUSIC] Then I'm just going to go cut right in, there we go. [MUSIC] Then we're going to go down magic line. [NOISE] Cool. [MUSIC] I should do a ceiling feature. [MUSIC] I had this idea of going in to the master and then to that point [MUSIC] and then cross this off. That's what I do when I don't have any help. [MUSIC] When If I don't have any help to help open those magic doors. [MUSIC] [NOISE] We're in the bathroom. Show the sinks. [MUSIC] I like that one. [NOISE] Cool. The closet. That's a good section. [MUSIC] What happens if I just use this one? [MUSIC] That should be the master, so let's see how that works. Let's go from the living room Number 2 [MUSIC] into the master. [MUSIC] On this side of the wing of the house, I know that we have the gym and the [NOISE] laundry. Looks like I'm getting one clip. [NOISE] I like it when it's all dark like this. Supposing for the outside [MUSIC]. I think we'll just go straight into the laundry. [MUSIC] We get to the office still. From the first shoot, because the office was not staged, I did the magic doors here and you can see the people laying down there. Let's grab this one. Let's go to the office. That's from the office, that's from the office. Right there she is. That right there. It is 60 frames per second. [NOISE] [MUSIC] Let's see. Maybe I can do something where I gradually speed in. [MUSIC] Let's stabilize that shot. See what it will look like [MUSIC]. Go down magic line. [MUSIC] Now we can go to the stairs. Speed that up. [NOISE] [MUSIC] That's fine. Some stairs from the top. Now we're on the second floor. That's the first floor. [NOISE] It's the stairs and landing. [NOISE] Let's reverse it. [MUSIC] Let's go into the landing. 32. Post Production - Top Floor, Basement, Outside: [MUSIC] Show off some of these scenarios here. Scroll to the bedrooms. That's one bedroom and second bedroom. Go down magic line. The other bedroom [MUSIC] Let's go to the bathroom [MUSIC] Let's go to the shower. The other bedroom and it's from the first sheet, and the bathroom. That is the second floor. Let's see how it plays out so let's go upstairs and check out everything on the second floor [MUSIC] Awesome. Let's go to third, the basement. This is basement and this is basement. Then from the first shoot, we need these guys. Let's knock out the basement. I want to start up here, go backwards and end here. Reverse the clip. Cool. Show the stairs, show that we're descending. Let's go. Let's show this area. Then let's go into the next area. Next area, is this kind of game room? Looks like my song just ended, so restarted. That's good. Cool. I like that. Let's try that first. What else we got? There we go. That's what I wanted. That's better. Then let's go into ping-pong play area. Reverse that. Let's get these two bedrooms, then that one. Let's get that rest room [MUSIC] Let's see, a good basement [MUSIC] Awesome. That's every floor in the house, guys. Now we need to go ahead and do the outside. We're going to take these one in two ways. We can start right at the outside on the ground level or we'll go with the drone. Say we go on the drone. Let's see what we got here. Nice. [MUSIC] Now let's go on the ground. We went from drone, still in the daylight. We're going to take it into the twilight. Let's get some twilight drone action. [MUSIC] I love this shot. We've got to use this somehow. [MUSIC] Let's see if we can find some more drone shots here, I could have sworn it took some. That goes over this side of the house. Here it is. I just wanted a different vantage point. Here we go. Love that shot. [MUSIC] It's so good. Let's get out of here. That's the grand exit right there. [MUSIC] Good. Then let's finish off with front of the house. [MUSIC] Let's try this. [MUSIC] Then [MUSIC] Good. [MUSIC] Fade it all out. [MUSIC] Let's check out the outside. [MUSIC] I think that could have used a cross dissolve. [MUSIC] That is the edit. Let's go ahead and do the color grade. 33. Color Correction, Sharpen, Stabilization, Export: For color grading, I turn off all the proxies. I disable the proxies because we want to use full resolution. [NOISE] Then I go into the color mode. This is the color tab. I'm going to convert my D log footage, interact 709. I'm going to just put a color space transform and take it from D Gamma. That's my color space, and then my Gamma was D log. I'm taking this out into to rec 709. Crank it up and using my [inaudible] one point for the contrast, 60 for saturation. [NOISE] [MUSIC] Good, tends a little off. Cool. Cut and copy this. That looks really bad. This is my black magic footage, so no need to color space transform this footage. At least inside of DaVinci, you don't have to. [NOISE] [MUSIC] Copy in that grid. [NOISE] Here we are inside. Interiors, I just tried to really look at my walls, that's how I color correct, not really grading, because I'm just correcting the colors. [NOISE] Normally what I do is I adjust my temperature, adjust my tint. Like to lift my shadows like everything nice and bright. That's some contrast. Increase my saturation. Then I sharp it at last. Bring back some of my highlights. This is before, after. [NOISE] [MUSIC] If I've already created one scene and I know I just shot in the same area, I'll copy that grid. [NOISE] [MUSIC] Here I am in the kitchen. What I'm going to do is I'm going to copy this and it's going to be all off, but not a big deal. Just look at my parade over here and taking a look at my walls. If you wanted to I just can start at ground zero again, and just started this way, and sometimes I like to do this as well. I always try to make sure I need to pump up my contrast. Is too much. Bring up my shadow. On my saturation, bring down my highlights. Then in my career is sometimes I'll do an overall curve adjustment. [NOISE] [MUSIC] Before, after. Look for anything else where I did wides in my kitchen, and I say I did that one has a wide, I'm going to copy that grid until it's too hot. Punch it down some. It's looking better. Let's go ahead and do some of these tight shots. Let me just going to copy this grid, see what I get, looks terrible. Already, that's note contents better. Just too hot, so bring it down. Looking good. This is the wide shot, so I need to copy that one. That looks pretty awful. Let's start this one from scratch. [NOISE] [MUSIC] There we go. [NOISE] [MUSIC] If your walls are looking greenish, you want to hit it with some tip, that's why I'm always messing with my temperature and tint. [inaudible] like that. [NOISE] [MUSIC] So this is a good example of going between two rooms of different exposure values. So what I'm going to do is I'm going to animate my color corrector. I just clicked on this guy. I'm going to go to the beginning. I'm going to make a animation keyframe. Then I'm going to scrub to where I want it to change, which is about here. Now I'm going to go ahead and do my correction so I can tell that it's overexposed. I've done my highlights, and let's look on the cool side because we're outside now. There we go. Now we go from here. Yeah, I didn't do it. So I'm going to have that one. So now I got to correct this one. Let's go ahead and bring this up, right there. From there to there, there you go. So what it's doing is it's basically twining between these two, right there. Cool. [NOISE] [inaudible] Over here. Then, let's see. [NOISE] [MUSIC] All right. That is the color grade. We just got to add all of our [NOISE] we need to sharpen everything. I like to add a sharpening filter, and I'll do that by adding an adjustment clip to everything. Then I'll go to my sharpening and I'll put it at like 0.47. Then the last final step [LAUGHTER], well, almost final step, is destabilize the footage. So this is a little tedious inside of DaVinci because you can't just have them all do it at once, but it's okay. This is what I do. I select the clip, I go to stabilization, I just choose translation, I'll put it on 0.8, hit stabilize. Literally, you do that for every single one, and you have to do it one at a time. So I'm not going to bore you with this, so I'll fast forward this section for you. All right, with all of our footage now stabilized and we've got everything sharpened, the last thing to do is to export. So I'm going to go to the deliver page and I'm going to go ahead and say, [NOISE] this is, I'm going to export it as an mp4. I'm going to send this as ultra HD clip. I'm going to restrict it to 100,000 kilobits per second. I'm going to put it in here and add it to the queue. Wait, let me delete that real quick. This is my 4K. Then I'm going to add it to the queue. Then I'm going to make an HD version, 1920 by 1080, like 10,000 kilobits per second. Now I will render it. Now we have rendered it out. Feel free to watch it. I'll make sure to include it in the class files. But go ahead and enjoy. 34. Conclusion: We did it. Thank you guys for joining me and congratulations on completing my class on how to shoot professional real estate videos. You now know what gear you need and the settings your camera needs to be in when shooting real estate. You now know how to attack different rooms in a home in order to get a lot of usable footage for post-production. You've seen why we need to use wide shots and tight shots in order to enhance our final edit, and you've seen how essential drone shots are. You've also seen the final editing post-production process and how to put it all together. Again, I'm Ron, I love shooting real estate videos. I can't wait to watch the properties you've shot for your assignment. Good luck. I'll see you soon.