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This class is a deep dive from photography to videography, and shows you how to think in motion. Many of the core concepts carried over from still photography are the same, but putting your camera and scene in motion opens up a new world of possibilities and demands. You will learn how to add motion where there is none, and to control focus, light and sound.
This course is in adaptive mode and is open for enrollment. Learn more about adaptive courses here.
Session 1: From Still Photographer to Videographer (October 23, 2018)
Understand the importance for photographers to incorporate motion into their skillset, and the essential steps towards rethinking their creative process to create videos.
2. Video Trends
3. Similarities and Differences
4. Video is Collaboration
5. Three Big Imagery Questions
6. Three Big Audio Questions
7. Creative Pre-visualization
8. Assembling Your Team
9. Tips for the Interview Process
10. Technical Considerations
11. Assignment: Deconstructing a Video
Session 2: Recording and Seeing in Motion (October 30, 2018)
Understand the basics of recording video and how the different types of motion, both of the camera and subject, create meaning, mood and purpose as it contributes to the story that a director wants the viewer to experience and understand.
Session 3: Motion Methods (November 6, 2018)
To deepen one’s knowledge about how to create the motion needed for a particular scene through an exposure to the different equipment and technologies that exist and the critical success factors needed to execute a director’s vision.
1. Motion Methods Introduction
2. Methods of Motion Without Camera Movement
3. Hardware and Their Considerations
4. Putting It All Together
5. A Conversation with Michael Kamisky
6. Assignment: Moving Action, Moving Camera
Session 4: Managing Focus, Light and Sound (November 13, 2018)
Grasp the special significance that audio, light and focus have in a motion environment, and how the success of a video project can literally depend on controlling for the variables posed by these elements.
1. The Importance of Audio
2. Audio Tips
3. Audio Killers and Defenses
4. Finding Critical Focus
5. Lighting Considerations
6. Lighting Options
7. Three-Point Lighting
8. Putting It All Together
9. Assignment: Three-Point Lighting Interview
Session 5: The Documentary Project (November 20, 2018)
Experience through hands-on practice how a very commonly done video with an interview and b-roll, combined with motion, sound, and lighting come together to create a unique experience for a viewer.
Below you will find an overview of the Learning Outcomes you will achieve as you complete this course.
- Understanding of the importance for photographers to incorporate motion into their skillset.
- Understanding of the special artistic, technical and logistical considerations needed as still photographers expand their skills into video.
- Understanding of the basics of recording video and how the different types of motion, both of the camera and subject, create meaning, mood and purpose as it contributes to the story that a director wants the viewer to experience and understand.
- Knowledge about how to create the motion needed for a particular scene through an exposure to the different equipment and technologies that exist and the critical success factors needed to execute a director’s vision.
Technology & Practice
- Ability to grasp the special significance that audio, light and focus have in a motion environment.
- Understanding of how the success of a video project can depend on controlling for the variables posed by these elements.
- Hands-on experience in creating a unique video through interview and b-roll, combined with motion, sound, and lighting.
Instructors & Guests
As a Chicago photojournalist, I've been telling stories for the past 22 years, through both stills and motion on thousands of assignments.
Along the way, I've received a Pulitzer Prize, a World Press Photo award and several other accolades, leading HarperCollins to call me "one of the world's leading photojournalists."
Today I have my own business and run a hybrid motion/stills production company that meets the needs of various commercial and editorial clients, who are increasingly asking for both.
I know this transition from photographer to videographer very well, and will share with you what you will need to translate your storytelling into the video realm.
I'm also an adjunct professor with the School of Visual Arts in New York, and have taught multimedia at the Northwestern University Medill Graduate School.
As a public speaker, I've presented my work to sold-out events in Chicago such as Printers Row Lit Fest, Chicago Ideas Week and TEDx Midwest.
I have a personal interest in Cuba, the island of my heritage. Over the past fifteen years I've shot almost a year in the country - including three months as a staff photographer for the Chicago Tribune. I go back a couple times each year.
I live in the Chicago area with my wife, fine art photographer Laura Husar Garcia, two precocious kids who take amazing photographs for their young age and a yellow lab who always wants to get into the picture (especially if there's a cheese stick involved).
What You Need to Take This Course
You want a camera that shoots high-quality video (1080p minimum). Ideally, that would be a professional camera that has the capability to plug in an external microphone (shotgun, hot shoe, or recording device):
Choose any camera brand you feel comfortable with.
Video Editing Software
There is no specific requirement for video editing software. You can use what works best for your budget or comfort level. Avid and Adobe Premiere Pro are the industry standards but there are a variety of alternatives that can help you achieve your goal.
- Windows Movie Maker
Please note: Taking part in a Kadenze course as a Premium Member does not affirm that the learner has been enrolled or accepted for enrollment by School of Visual Arts.
If a student signs up for the Photographer to Video in Today's Gig Economy program, it is recommended that these courses are taken sequentially.
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