Port of Long Beach PhotoWorks Keynote Video #3 – Mike Boidy
BOIDY: HI. I'M MIKE BOIDY, THE DIRECTOR OF PHOTOGRAPHY, ALSO KNOWN THE AERIAL DP, WITH CINECOPTER PRODUCTIONS. SO I FIRST GOT INTO PHOTOGRAPHY ABOUT 25 YEARS AGO. I'D BEEN PLAYING FULL TIME IN A BAND AND TOURING, AND THEY SAID, "PLEASE JUST PICK SOMETHING THAT YOU REALLY LOVE, AND WE'LL SUPPORT THAT." I HAD ALWAYS LOVED PHOTOGRAPHY, HAD ALWAYS LOVED MOVIES. I WAS ALWAYS THE KID CARRYING AROUND THE CAMERA.
IN THE BAND, I WAS THE ONE THAT BROUGHT THE VIDEO CAMERA EVERYWHERE TO RECORD US, SO I KNEW THIS WAS A PASSION OF MINE THAT I COULD PURSUE AND ALSO BE ABLE TO DO MUSIC AT THE SAME TIME. MY FIRST JOB, FUNNY ENOUGH, WAS WORKING FOR A PHOTOGRAPHER THAT TOOK PICTURES OF KIDS AT SCHOOL, AND IT WAS, LIKE, IN A DARKROOM AND LEARNING JUST ABOUT THE BASICS OF PHOTOGRAPHY AND SOME OF THAT KIND OF STUFF, AND THEN I REALLY WASN'T INTERESTED IN THAT SIDE OF THINGS, BUT IT WAS A GOOD WAY TO LEARN, SO I KEPT PURSUING, AND I HAD A MENTOR IN COLLEGE NAMED DAVID STUMP, WHO'S ONE OF THE TOP ASC CINEMATOGRAPHERS IN HOLLYWOOD, AND HE SHOOTS A LOT OF THE BIG MOVIES, LIKE "BATMAN" AND "X-MEN." HE DID ALL THE VISUAL EFFECTS FOR THOSE, AND I HAD A PRODUCER IN CLASS THAT CONNECTED ME WITH HIM, AND SHE SAID, "I THINK YOU GUYS WOULD BE A GREAT COMBO," SO HE'S BEEN A GREAT MENTOR TO ME AND GOT ME INVOLVED WITH A COMPANY CALLED HOLLYWOOD CAMERA RIGHT AFTER COLLEGE, AND I WAS ABLE TO WORK FOR A SMALL AMOUNT OF MONEY PER HOUR, BUT ACTUALLY LEARN THE TRADE AND REALLY LEARN WHAT IT BECOMES TO LEARN, TO GO UP THE RANKS IN THE CAMERA-DEPARTMENT WORLD IN HOLLYWOOD. IT TOOK A WHILE. I WORKED UP THE RANKS FROM A LOADER ON SET TO SECOND CAMERA TO SECOND AC, WHERE YOU'RE, LIKE, KIND OF OPERATING ALL THE TECHNOLOGY AND PUTTING THINGS TOGETHER AND OPERATING THE SLATE, AND THEN LATER ON, I WAS A FIRST AC, SO I WAS PULLING FOCUS FOR THE CAMERA OPERATORS, AND THEN LATER, I WAS A CAMERA OPERATOR, AND THAT'S WHAT I DREAMED OF THE WHOLE TIME, IS REALLY JUST BEING A CAMERA OPERATOR AND DIRECTOR OF PHOTOGRAPHY.
BEING ABLE TO CONTROL THE SCENE AND BEING ABLE TO LIGHT AND OPERATE THE CAMERA WITH YOUR-- WITH SEEING THINGS THROUGH YOUR EYE AND WORKING WITH A DIRECTOR WAS MY FAVORITE ASPECT OF PHOTOGRAPHY, SO THAT'S WHERE I REALLY PUT MY FOCUS. THAT WAS A STROKE OF LUCK THAT I GOT INTO AERIAL CINEMATOGRAPHY. MY WIFE AT THE TIME, HER PARENTS WERE REALLY AWESOME PEOPLE, AND THEY WERE ON A CRUISE, AND THEY WERE HAVING FUN TOGETHER, AND THIS GUY COMES UP TO HIM, AND HE SAYS, "WHOEVER YOU GUYS ARE, I WANT TO BE FRIENDS WITH YOU," AND HE HAPPENS TO BE ONE OF THE TOP HELICOPTER PILOTS IN THE WHOLE INDUSTRY, AND HIS NAME IS PETER McKERNAN, AND HE TOOK A LIKING TO MY IN-LAWS AT THE TIME, AND THEY BECAME FRIENDS, AND THEY SAID, "YOU GOT TO MEET OUR SON-IN-LAW MIKE BOIDY. "HE IS VERY PASSIONATE CINEMATOGRAPHER, AND I KNOW "HE'S BEEN TRYING TO BREAK INTO THE INDUSTRY FOR A WHILE. MAYBE YOU CAN HELP HIM OUT," AND SO HE BROUGHT ME DOWN TO THE HANGAR ONE DAY. WE MADE AN ARRANGEMENT TO GO TO THE HANGAR AND CHECK OUT THE HELICOPTER AND WHAT HE DOES FOR A LIVING, AND, LITERALLY, WE BONDED INSTANTLY, AND HE STARTED INVITING ME OUT TO ALL THESE JOBS WHERE I COULD BE PART OF AND WORKING OUT AS A CAMERA TECHNICIAN, LEARNING THE CAMERA SYSTEMS THAT ARE APPLIED TO THE HELICOPTER, LEARN HOW THE FIELD TRUCKS WORK, LEARN HOW THE HELICOPTERS WORK AND HOW THE AERIAL INDUSTRY IS RUN, AND IT'S A VERY, VERY SMALL-KNIT GROUP OF PEOPLE WHO ALL KNOW EACH OTHER AND WHO RESPECT EACH OTHER AND WORK TOGETHER, AND I WAS FORTUNATE ENOUGH TO BE BROUGHT INTO THIS WORLD WHERE I COULD BE AROUND ALL THESE GREAT PEOPLE AND GREAT MENTORS.
SINCE THEN, I'VE HAD A REALLY WONDERFUL CAREER OF EVERYTHING, FROM WORKING ON "YES MAN" WITH JIM CARREY TO THE WORLD CUP IN SOUTH AFRICA TO FILMING FOR DIFFERENT PRESIDENTS AND PRIME MINISTERS ALL OVER THE WORLD AND WORKING FOR "SURVIVOR" AND "BACHELOR" AND ALL THESE REALLY GREAT SERIES THAT I GREW UP WATCHING AND HAVE HAD REALLY AN OPPORTUNITY TO TRAVEL THE WORLD AND SEE THE WORLD FROM A DIFFERENT PERSPECTIVE, AND I STARTED GETTING PICKED UP ON BIGGER AND BIGGER JOBS, LIKE TOYOTA COMMERCIALS, BMW COMMERCIALS. THE COMMERCIAL INDUSTRY WAS A GOOD START, AND THEN I STARTED TO DO MORE FEATURE FILMS AND DOCUMENTARY FILMS. GETTING INTO DRONES WAS A WHOLE 'NOTHER BALL GAME FROM AERIALS. IT WASN'T EVEN SOMETHING ON MY SCOPE AT FIRST. I HAD GONE TO SCHOOL TO BE A CINEMATOGRAPHER AND TO SHOOT MOVIES ON THE GROUND, AND THEN NOW I'M IN THE AIR FILMING FROM HELICOPTERS, AND AFTER A FEW YEARS OF DOING THAT-- I STARTED THAT IN 2007, THE HELICOPTER WORK-- SO BY 2012, FORTUNATELY AND UNFORTUNATELY, I SURVIVED A HELICOPTER CRASH IN GUATEMALA ON APRIL 15, 2012. I REMEMBER IT VERY CLEARLY.
WE FELL FROM THE SKY AT ABOUT 500 FEET WHILE FILMING FOR A DOCUMENTARY ABOUT THE MAYAN CALENDAR, AND IT WAS A COMMERCIAL SHOOT, BUT IT WAS ALSO DOCUMENTARY, AND I WAS REALLY EXCITED TO BE THERE, AND I WAS REALLY EXCITED TO SEE GUATEMALA FROM A DIFFERENT PERSPECTIVE AND THE PYRAMIDS AND LEARN ABOUT WHAT WE WERE GOING TO BE FILMING, SO WE HAD 12 DAYS AHEAD OF US, AND SO I WAS REALLY EXCITED, AND ABOUT 45 MINUTES UP ON THE FIRST SHOOT ON THE FIRST DAY, WE CRASHED ON A ROOFTOP, AND THERE WAS NOTHING LEFT OF THE HELICOPTER. [PHONE DIALS] MAN: I'D LIKE TO REPORT-- BOIDY: SO THERE'S 4 OF US ON BOARD, AND I'M FORTUNATE ENOUGH TO STILL BE HERE AND TO BE TALKING TO YOU RIGHT NOW BECAUSE IF YOU SEE THE RESULT OF THE HELICOPTER AND WHAT WAS LEFT OF IT, YOU'LL BE PRETTY AMAZED TO SEE THAT I'M STILL SITTING HERE RIGHT NOW. SO MY DEAR FRIEND NICK FOSS, WHO IS MY BUSINESS PARTNER WITH CINECOPTER PRODUCTIONS, HE SAID TO ME, "HEY, MIKE, HELICOPTERS ARE GREAT AND ALL, "AND WE'VE MADE, YOU KNOW, A GOOD LIVING DOING THIS, "BUT I THINK WE SHOULD ALSO LOOK INTO DRONES RIGHT NOW.
THEY'RE STARTING TO TAKE OFF-- TAKE OFF, SO TO SPEAK," AND THEY REALLY WERE TAKING OFF. IT WAS THE BEGINNING OF THE DRONE ERA, AND THIS IS 2012, 2013, WHERE YOU'RE BUILDING-- BASICALLY, IT LOOKS LIKE A FLYING LAWNMOWER, AND IT'S GOT BIG ARMS, BIG BLADES, AND IT FLIES A CAMERA LIKE WE'RE FILMING RIGHT NOW WITH THE DSLR. SO SHOWING UP TO A JOB AT THE PORT, THERE'S A LOT OF MOVING PARTS. THERE'S A LOT OF DIFFERENT THINGS HAPPENING.
WE NEED TO GET THERE A LITTLE BIT EARLY SOMETIMES. WE NEED TO CHECK IN WITH THE HARBOR PATROL, SHOW THEM THE PAPERWORK THAT WE HAVE, THAT WE'RE READY TO GO FOR THE DAY. THERE WAS 5 DIFFERENT TYPES OF SCENES THAT THEY WANTED TO FILM, AND SO WE HAD TO BE PREPARED OVER THAT DAY OF WHAT WE WERE GOING TO FILM AND WHAT TIME THOSE THINGS WERE GOING TO HAPPEN. THEY WANTED TO CAPTURE THE ESTABLISHING OF THE SHIP, AND SINCE WE DIDN'T GET IT COMING INTO THE BERTH, WE DID A LOT OF DIFFERENT TYPES OF WIDES OF THE DRONE JUST APPROACHING THE BERTH AND APPROACHING WHERE THE SHIP WAS DOCKED AT THE TIME.
THE NEXT THING THEY ASKED FOR WAS THAT WE CAPTURE THE BAY DOOR COMING DOWN WHERE THE CARS WERE GOING TO BE COMING OUT, SO WE MADE SURE WE WERE LINED UP AND HAD BATTERIES PREPPED FOR THAT WHEN THE DOOR CAME OPEN. THEY ALSO WANTED TO HAVE SHOTS OF THE ACTUAL CARS COMING OUT ONTO THE BAY, AND THEN THEY ALSO HAD TO HAVE THE CREW WALKING ONTO THE SHIP, AND SO WE WOULD DEFINITELY MAKE SURE THAT WE COVERED IT SAFELY, SEEING PEOPLE WALKING ONTO THE SHIP AND DOING THEIR PART SO WE COULD SEE THE WHOLE COLLABORATION OF THE PROCESS. THE NEXT THING THEY ASKED FOR WAS TO MAKE SURE THAT WE GOT SOME SIGNAGE BECAUSE IT'S BRANDING AND IT'S ALSO SHOWING THE NAME OF THE SHIP, AND IT'S REALLY IMPORTANT TO CAPTURE THAT BRANDING, SO WE FIND DIFFERENT ANGLES AND DIFFERENT THINGS THAT WOULD WORK, LOW ANGLES, AND REALLY MAKING THE NAME AND THE BRAND ITSELF KIND OF STAND OUT FROM THE SHIP, AND THEN IT WAS REALLY IMPORTANT FOR THE DIRECTOR TO SEE NOT ONLY THE CARS COME OFF AND THEM GETTING UNLOADED AND HOW THE WHOLE PROCESS WORKS, BUT THEY WANTED TO SEE THE FINAL STAGES OF THAT, IS WHERE THE CARS NOW THEN GET PUT ONTO THE LOT AND WHERE THE CARS ARE GOING TO GO AFTER THAT, SO WE DON'T JUST FILM ONE ASPECT OF IT. WE FILM SOMETIMES THE WHOLE ENTIRE STORY FROM THE BEGINNING TO END AND SO THAT THEY CAN COHESIVELY TELL A STORY OF THE SHIP ARRIVING, THE SHIP UNLOADING, THE SHIP'S WORKERS, AND THEN THE FINAL PRODUCT AND HOW THINGS GET DONE, SO WE COVER ALL THOSE ASPECTS, AND SOMETIMES IT'S AN 8-HOUR DAY. SOMETIMES IT'S A COUPLE HOURS, BUT WE DEFINITELY WAIT UNTIL THE ACTION'S HAPPENING, AND WE COVER IT ALL. FLYING AT THE PORT OF LONG BEACH IS VERY CHALLENGING BUT ALSO REALLY INTERESTING.
THERE'S A LOT OF MOVING PARTS HERE, FROM JIBS TO CONSTRUCTION TO AUTOMATED CARS TO WORKERS. THERE'S A LOT OF POTENTIAL LITTLE RISKS AND HAZARDS, BUT WHEN YOU HAVE TWO PEOPLE ON A TEAM LIKE MY PARTNER NICK FOSS AND I, WE'VE BEEN DOING THIS LONG ENOUGH WHERE WE KIND OF KNOW HOW IT ALL WORKS. WE COMMUNICATE WITH THE FAA. WE COMMUNICATE WITH THE PORT. WE HAVE ALL THE PROPER INSURANCE. WHEN YOU GET TO KNOW EVERYTHING THERE AND YOU SEE HOW IT ALL FUNCTIONS, YOU KIND OF BECOME ANOTHER COG IN THE WHEEL, AND YOU BECOME ONE OF THOSE MOVING PARTS, AND IT'S A DANCE. I'D SAY ONE OF THE MOST STRESSFUL THINGS OF THIS JOB IS THAT SOMETIMES THINGS ONLY HAPPEN ONCE, AND IF YOU DON'T GET IT THAT TIME, IF IT'S GONE, IT'S GONE, SO IT'S LIKE A SUNSET OR A SUNRISE.
YOU CAPTURE IT, OR YOU DON'T, AND IF SOMETHING WASN'T READY, IF SOMETHING WASN'T SET UP, IF SOMETHING CUT OUT, IT'S GONE. IT'S GONE, AND YOU JUST HAVE TO KIND OF LIVE WITH THAT. IT'S NOT ALWAYS EASY TO LIVE WITH, BUT, YOU KNOW, WE'RE NOT CURING CANCER. THE END OF THE DAY, WE ARE CREATING ART, AND WE'RE MAKING THINGS TO LOOK NICE, AND SOMETIMES YOU JUST CAN'T ALWAYS CAPTURE THAT MOMENT, BUT YOU TRY.
SO WHAT WE HAVE HERE IS OUR CASE THAT GOES WITH US EVERYWHERE WE GO ON ANY JOB. IT'S OUR GO-TO CASE. IT'S CALLED THE DJI INSPIRE 2. IT HAS EVERYTHING WE NEED IN THIS CASE AT ALL TIMES. WE CAN TRAVEL WITH THIS ON THE AIRPLANES. IT'S A RUGGED CASE, AND IT'S GOT EVERYTHING IN IT, FROM THE DRONE ITSELF-- THIS IS THE DJI INSPIRE 2, AND YOU CAN SEE, IT'S A VERY SLEEK-LOOKING, MODERN, LIGHTWEIGHT DRONE THAT CAN BE SET UP WITHIN 10 MINUTES AND FLYING AT THE DIRECTOR'S NEED WITHIN YOU KNOW, LIKE I SAID, WITHIN 10 MINUTES OF SETTING UP, SO YOU PRETTY MUCH HAVE A REALLY LIGHTWEIGHT GIMBAL ATTACHED. IT'S CALLED THE X5S, AND THIS HAS DIFFERENT LENSES WE CAN PUT ON HERE.
WE HAVE A 12 MIL. YOU CAN PUT ON A 15 MIL, AND THESE ARE EQUIVALENT ON A 35 TO A 24 AND A 30 MIL, SO YOU CAN GET PRETTY WIDE, AND YOU CAN ALSO GET PRETTY TIGHT. WE CAN GET CLOSER AND CLOSER WITH DIFFERENT LENSES, SO IT'S A NICE OPTION TO HAVE, SO IN THE CASE, WE HAVE A LOT OF BATTERIES. YOU GO THROUGH ABOUT 20 TO 30 MINUTES, IS A GENERAL TIME FOR A BATTERY, AND IT'S TWO BATTERIES ON EITHER SIDE OF THE DRONE, SO YOU HAVE TO KEEP THESE CHARGING ALL THE TIME. WHEN WE FINISH ONE SET, WE PUT THIS SET ON. TAKES A COUPLE HOURS TO CHARGE THE BATTERIES, SO IF YOU HAVE A LONG DAY OF SHOOTING AHEAD, YOU'RE GOING TO BURN THROUGH A LOT OF BATTERIES.
YOU'RE ONLY GETTING 20 MINUTES PER SHOT OR SERIES OF SHOTS, SO YOU'RE GOING TO HAVE SOME DOWNTIME IN BETWEEN IF YOU DON'T HAVE A BUNCH OF BATTERIES CHARGING AT ALL TIMES, SO IT'S REALLY GOOD TO HAVE, I'D SAY, AT LEAST 4 IF NOT 6 OR 8 BATTERIES TO SHOOT FOR A WHOLE DAY, AND THEN I ALSO BRING A GENERATOR AROUND WITH US SO WE CAN HAVE OUR OWN POWER AND SET UP ANYWHERE WE'RE AT WHERE WE MAY NOT HAVE PLUG-IN POWER. EACH OF US HAS A CONTROLLER SO THAT THE PILOT HAS HIS CONTROLLER, AND THEN I HAVE MY CONTROLLER TO OPERATE THE CAMERAS WITH, AND WE CAN OFTEN USE AN iPAD OR ANY SORT OF PHONE, TABLET TO MONITOR WITH. I CHOSE A NEWER MONITOR THAT CAME OUT. IT'S CALLED THE DJI CRYSTALSKY, AND ITS REALLY GREAT FOR BEING ABLE TO SEE IN BRIGHT LIGHT, AS THESE DON'T WORK SO WELL WHEN YOU'RE TRYING TO SEE YOUR SHOT IN THE BRIGHT SUN, AND THEN HAVING ALL THE THINGS YOU NEED, FROM FILTERS TO THE SSD CARDS TO, YOU KNOW, A CASE FULL OF EXTRA MICROSD CARDS. THESE ARE ALL THE THINGS THAT WHEN YOU'RE ON SET, YOU NEED TO HAVE SOMETIMES BACKUPS AND DOUBLES OF EVERYTHING BECAUSE IF SOMETHING GOES DOWN, YOU NEED TO STILL BE ABLE TO, YOU KNOW, PERFORM FOR THE JOB, SO SOMETIMES WE HAVE BACKUPS.
SO WE HAVE ANOTHER COMMUNICATION SYSTEM, IS THIS HEADSET WHICH WE PUT ON, AND IT'S ON MIC, OPEN MIC AT ALL TIMES, AND I CAN BE TALKING TO NICK IF HE'S 20 FEET, 30 FEET AWAY. HE AND I ARE COMMUNICATING AT ALL TIMES ABOUT WHAT THE SHOT IS WE'RE WORKING ON, ABOUT ANY KIND OF OBSTACLES THAT MIGHT BE IN THE SKY, FROM A HELICOPTER TO A WIRE, SO WE NEED TO CONSTANTLY BE COMMUNICATING WITH EACH OTHER, AND IF YOU DON'T HAVE THESE, YOU CAN'T BE SCREAMING ACROSS THE PARK, SO HAVING SOMETHING LIKE THIS THAT'S AN OPEN RADIO THAT YOU CAN COMMUNICATE WITH THE DIRECTOR OR YOUR PARTNER WITH WHEN YOU'RE FLYING A DRONE IS REALLY IMPORTANT TO HAVE THAT COMMUNICATION WITH THEM. WHAT MAKES A GOOD OPERATOR IS A LOT OF HOURS AND PRACTICE AND TIME. NICK AND I HAVE PUT HUNDREDS AND HUNDREDS AND HUNDREDS OF HOURS BEHIND THE STICK, SO TO SPEAK, WHAT THEY CALL BEHIND THE STICK, AND IT'S REALLY JUST, WE USED TO GO TO PARKS AND OPERATE TOGETHER AND COMMUNICATE AND JUST PRACTICE AND PRACTICE, AND THEN BEING ON ALL THESE JOBS FOR THE LAST, YOU KNOW, 10, 15 YEARS TOGETHER HAS TAUGHT US A LOT, HOW TO WORK TOGETHER. WE'RE TO THE POINT WHERE NOW YOU DON'T HAVE TO THINK OR COMMUNICATE TOO MUCH. YOU'RE KIND OF JUST-- YOU'VE BEEN DOING IT SO LONG, IT'S NATURAL.
WE ALREADY HAVE OUR PREMIERE PROJECT FILE UP, OUR APPLICATION, AND WE ALSO HAVE OUR FOLDER, WHICH IS OUR CINECOPTER RAW FOLDER, AND WE GO OVER HERE TO THE MEDIA BROWSER, AND WE'LL NOTICE THE LATEST FILE WHICH WE HAVE IS THE LNG SHIP AND CARGO, WHICH WE ARE TALKING ABOUT IN THIS VIDEO, SO WE'LL CLICK ON THAT, AND WE'LL OPEN UP THE FILES, AND IT'S USUALLY IN ORDER OF SEQUENCE, SO WE'RE GOING TO GO START WITH THE FIRST FILE, AND AS IT LOADS UP, I'LL DO A QUICK SCRUB THROUGH, AS YOU CAN SEE RIGHT HERE, AND IT'S REALLY JUST A FEW QUICK SECONDS. IT WAS US JUST GETTING LIFTED OFF, SO I'M GOING TO MOVE ON TO THE NEXT FILE AND TAKE A LOOK AT THAT, AND THIS IS DEFINITELY SOMETHING WE MIGHT USE, EVEN THOUGH IT'S SHORT. WE CAN GRAB IT HERE AND DRAG IT RIGHT ONTO THE TIMELINE, AND IT'S GOING TO JUST GO AHEAD AND DROP IT THERE. IT'LL ALLOW ME TO ADD THE NEXT FILE. SO YOU CAN SEE IT'S THERE PLAYING. THAT'S ALL SET.
NOW WE CAN LINE UP THE NEXT CLIP... MAN: LNG.COM BOIDY: AND HERE WE GO. GO TO THE NEXT VOLUME, DO A QUICK SCRUB THROUGH, AND SEE IF IT'S SOMETHING THAT WE'LL KEEP, AND IF WE'RE GOING TO KEEP IT, AGAIN, WE'LL JUST-- YOU CAN DRAG AND DROP IT, OR YOU CAN USE THIS INSERT METHOD, WHICH IS NICE AND EASY, AND IT JUST DROPS IT RIGHT THERE ON THE TIMELINE, AND THEN YOU GO, MOVE ON TO THE NEXT CLIP, AND IT'S REALLY IMPORTANT TO DISCERN WHETHER YOU'RE GOING TO KEEP A CLIP BASED ON, YOU KNOW, ITS USABILITY OR NOT, AND IT HELPS YOU SAVE TIME IN THE LONG RUN, AND ALSO YOU DON'T WANT TO HAND OVER SOMETHING TO THE CLIENT THAT THEY'RE JUST NOT GOING TO WANT TO WATCH OR THAT THEY MAY NOT USE IF THEY'RE ASKING FOR THE RAW FOOTAGE, SO THIS CAN ALSO SAVE THE CLIENT A LITTLE BIT OF TIME WHEN THEY'RE GOING THROUGH THEIR FOOTAGE. THERE'S A LOT OF GOOD CLIPS IN HERE, SO WE'LL DEFINITELY KEEP THIS, AND WE'RE JUST GOING TO GO AHEAD AND INSERT IT INTO THE TIMELINE AND THEN GO ON TO THE NEXT CLIP, AND THIS IS GENERALLY THE PROCESS.
IT'S JUST A TEDIOUS BUT IMPORTANT WAY TO GO THROUGH ALL THE STOCK OR--I'M SORRY-- ALL THE FOOTAGE THAT YOU ACQUIRED FOR THAT DAY AND MAKING SURE THAT YOU HAVE, ONE, THE FOOTAGE THAT YOU NEED SO IN CASE YOU NEED TO GO DO A RESHOOT OR JUST A LOG AND TO ORGANIZE BEFORE YOU EDIT, SO THIS IS GOING TO BE A GOOD CLIP IN HERE. THERE'S A NICE REVEAL, AND IT'S ALSO FINDING THOSE NICE, LITTLE NUGGETS ALONG THE WAY LIKE THIS IS. OF COURSE, THE LANDING GEAR'S IN THE SHOT THIS ONE, BUT AS SOON AS WE PASS THIS, THIS WOULD BE A GREAT REVEAL HERE, AND YOU CAN SEE US COME AROUND THE CORNER. YOU CAN CROP THAT LITTLE OUT, BUT THIS IS PERFECT. YOU CAN SEE THERE'S LITTLE MOMENTS IN THERE THAT WE'LL DEFINITELY WANT TO BE USING. HERE WE GO AGAIN FOR THIS, TAKE TWO, AND SO IT'S IMPORTANT TO GO THROUGH THIS FOOTAGE, SO WE'LL GO AHEAD AND DRAG THIS DOWN HERE, AND THESE ARE ALL GOING TO BE ALL THE FILES THAT WE'RE ACTUALLY KEEPING, AND THEN I'LL HAVE ACCESS TO THOSE QUICKLY, AND THEN THE ONES THAT WE'RE NOT KEEPING, WE CAN EITHER JUST MAYBE THROW THOSE IN THE TRASH OR KEEP THEM IN A FOLDER FOR EXTRAS JUST IN CASE WE ARE MISSING SOMETHING AND WE NEEDED SOMETHING THAT WE COULDN'T FIND IN OUR GOOD SELECTS, SO, AGAIN, IT'S JUST GOING THROUGH CLIP BY CLIP AND FINDING THE STUFF THAT IS REALLY IMPORTANT TO THE SHOWING THE STORY OR FOR TELLING THE STORY-- EXCUSE ME-- AND FOR THE BEST VISUALS.
YOU KNOW, YOU WANT TO KEEP ALL THE BEST SHOTS AND MAKE SURE THAT THOSE SHOTS ARE ORGANIZED AND EASY TO ACCESS. THAT'S GENERALLY THE KEY WHEN WE'RE DOING THESE THINGS, AND WE CAN, AGAIN-- SO THIS IS GOING TO BE AT THE END OF THE TIMELINE BEFORE YOU SNAP THE NEXT CLIP IN, AND WE CAN JUST GO AHEAD AND INSERT THERE, BOOM, SO THAT'S GENERALLY WHAT WE'LL BE DOING, AND THEN WHEN WE GO TO EXPORT THESE CLIPS, WE'LL TAKE ALL OF THE CLIPS ON THE TIMELINE THAT YOU SEE HERE. WE COULD DO AN APPLE-A AND SELECT ALL. WE CAN SET AN IN POINT AND OUT POINT, SO HERE, WE WOULD SET AN OUT AND SET AN IN POINT WITH "I" HERE, AND THEN WE GO AHEAD, AND WE DO AN EXPORT OF THESE CLIPS, AND WE CAN DO IT IN ONE BROWSER WITH THE MEDIA EXPORT...
AND WE CAN SELECT HERE IF WE WANT TO GO TO QUICKTIME OR IF WE WANT TO MAKE, JUST FOR, YOU KNOW, EASY ACCESS FOR THE CLIENT TO SEE, WE CAN DO A QUICK H.264, AND THAT ALLOWS THEM TO JUST BROWSE OVER THE INTERNET AND SEE IF THESE ARE THE CORRECT SELECTS THAT THEY'LL BE LOOKING FOR, AND THEN WE CAN DO A FINAL OUTPUT LATER WITH HIGH-RES, OR THE EDITOR THEMSELVES CAN DO A HIGH-RES IF SOMEBODY ELSE IS EDITING, SO THIS ALLOWS YOU RIGHT HERE TO DO EXACTLY WHAT YOU NEED TO SHOW THE CLIENT SO YOU CAN MATCH THE SEQUENCE SETTINGS OR, AGAIN, LIKE I SAID, DOWN-RES IS TO A SMALLER FILE AND SEND IT OVER THE INTERNET VIA, YOU KNOW, DROPBOX OR GOOGLE DRIVE AND LET THEM LOOK AT THIS THIS WAY. MAN: LNG.COM. SO WE WAIT. THIS IS A SHORT CLIP, MAYBE A COUPLE MINUTES OF SCENERY HERE, AND WE'RE JUST DOING THIS AS A EXAMPLE TO SHOW.
IT HAS TO ENCODE THE FILES AND EXPORT THEM TO A LOCATION WE'VE CHOSEN, SO THIS IS GENERALLY THE FORMAT. I'M JUST GOING TO GO AHEAD AND CANCEL THIS BECAUSE IT'S GOING TO TAKE A BIT OF TIME, BUT THIS IS GENERALLY OUR PROCESS, SO I HOPE YOU ENJOYED THE WORKFLOW HERE, AND THANK YOU. ONE OF THE BEST PIECES OF ADVICE I CAN PASS ON TO AN UP-AND-COMING DRONE OPERATOR OR A PHOTOGRAPHER IS, BE INTERESTED, NOT INTERESTING. I'VE LEARNED THIS FROM MY MENTORS, AND IT'S REALLY AN EFFECTIVE WAY OF BECOMING A BETTER PERSON AND BECOMING REALLY GOOD AT WHAT YOU DO, IS BEING INTERESTED IN OTHER PEOPLE'S WORK AND NOT TRYING TO BE THE ONE THAT'S SO INTERESTING TO BE NOTICED. YOU JUST WANT TO BE LEARNING AND BEING INSPIRED BY OTHER PEOPLE AND THEN USING THAT INFORMATION TO MAKE YOUR WORK BETTER AND TO MAKE YOU FEEL LIKE YOU'RE DOING WHAT YOU CAN AND YOUR PART TO, YOU KNOW, BE PART OF THE TEAM.
EVERYBODY IS PART OF THE TEAM, AND BEING THAT ESSENTIAL ROLE AND FINDING WHAT YOU DO BEST AND WHAT YOU LOVE AT, WHAT YOU LOVE DOING IS KEY, AND BRING THAT TO THE TEAM. SOME OF THE SKILLS THAT I LEARNED FROM MY MENTORS WAS SHOW UP ON TIME, BE HONEST, AND BE A GOOD PERSON, AND YOU'LL END UP WORKING A LOT, AND SO I DID THOSE THINGS. I ALWAYS SHOW UP ON TIME.
I TRY TO ALWAYS DO MY JOB THE BEST I CAN, AND I'M HONEST ABOUT IT, AND I'VE ALWAYS BEEN ABLE TO CONNECT WITH PEOPLE, AND I WORK WITH THE SAME PEOPLE ALL THE TIME, SO WE KNOW-- WE TRUST EACH OTHER, AND WE'RE ABLE TO WORK WITH EACH OTHER, AND KIND OF, LIKE, WE COMMUNICATE WITHOUT COMMUNICATING SOMETIMES. THE BEST WAY TO MEET PEOPLE IS TO BE OUT AND DO WHAT YOU LOVE AND NETWORK, AND THE BEST WAY TO NETWORK IS TO REALLY MEET PEOPLE AND BUILD FRIENDSHIPS, AND THEY'RE LIFELONG FRIENDSHIPS. THESE AREN'T JUST WORK-RELATED FRIENDSHIPS. THESE ARE PEOPLE THAT I ASSOCIATE WITH ON A DEEP LEVEL AND I'M ABLE TO, YOU KNOW, RELY ON FOR ALL DIFFERENT THINGS, BUT WE HAVE A GREAT CONNECTION OF LOVE AND PASSION FOR FILM AND MUSIC AND ART, AND THESE RELATIONSHIPS LAST A LONG TIME, AND THEY'RE THE ONES THAT YOU WIND UP WORKING WITH AND THE PEOPLE THAT YOU END UP REALLY WANTING TO SPEND TIME WITH BECAUSE THEY CARE ABOUT THE SAME THINGS YOU DO.
2021-05-03 00:56
