Auto news on Youtube Feb 1 2019

today I'm going to show you how to shoot a hyperlapse sequence

a hyperlapse is basically a time-lapse but the difference is that the camera is

moving and it moves over quite a long distance so this is a time-lapse and

this is a hyperlapse now Instagram do you have an app called hyperlapse this

can create some really great sequences for Instagram but if you want better

quality for YouTube videos you need to make your hyper lapses with a decent

camera any DSLR point-and-shoot or mirrorless camera will work really well

you just want that a little bit better quality to produce a much better

hyperlapse there are several different ways to

shoot them the easiest way is to fit your camera to the inside of your car if

the road isn't too bumpy and it's quite a smooth tarmacked road you'll get a

really nice sequence alternatively you can be in the front of a train or maybe

even a bus because the vehicle is moving you make sure that the camera is locked

into place and you just keep firing a time-lapse as normal if you're not sure

how to shoot time lapses click on the eye in the corner or the link in the

description this will take you to another of my videos the other way to

shoot a hyperlapse is to do it manually you can either

shoot from a monopod a tripod or handheld in the example today I'm going

to shoot handheld the best way to start is to shoot in the middle of the day

when there's enough light about to shoot handheld without getting any motion blur

now with the time-lapse you'll keep the camera perfectly still if you move it at

all we tend to ruin the time-lapse with a hyperlapse you'll move with intention

you'll either measure out certain distances or take certain steps of the

same distance there is a trick to this and you need a little bit of rhythm but

it's quite easy and straightforward to do to start with I suggest taking even

size steps sideways this will ensure the gaps are the same between frames you

will feel a bit silly doing this but if you stitch the images together well and

you've shot a good sequence you can get a really good hyperlapse from it so this

is how I do it work out your settings in manual mode

the reason you do this is to keep the setting

exactly the same throughout the sequence I basically make sure my shutter speed

is fast enough to shoot handheld the ISO is as low as possible and the aperture

is about f/8 to f/11 I shoot no wider than 24 millimeters any wider than this

and the sequence starts to become hard to stitch because of distortion on the

edges of the frame work out the path that you'll be traveling along here I

walked a few hundred yards along the bridge

I'll make sure I've got a target point which I'll either keep on a crosshair or

where some of the grid lines cross then I'll keep that point on the crosshair

every time I take a photograph for instance in this shot I've lined up the

top of the building with this top crosshair to select grid lines go to

menu to page six out of nine I then select square grid so I have lots of

crosses all over the image so I can choose one of these and lock onto my

target next focus on your chosen subject and then set the focus to manual mode

for this sequence I was shooting with a manual focus lens I focused in to make

sure I had critical focus on my cityscape the reason why you set it to

manual focus is because you don't want the focus to hunt around while you're

shooting the sequence you set your settings and your focus to manual so

everything stays exactly the same just make sure you don't touch the focus ring

during the sequence for their next bit you need to get some kind of rhythm

going frame up your shot take a shot take a

step frame up your shot take a shot take a

step and then repeat you'll keep doing this for around about 300 shots then

this will give you 12 seconds of footage at 25 frames a second the two main

things that you need to do is keep your horizon straight and also keep that

target on the crosshairs that you selected as long as you do these two

things and be quite straightforward to build the sequence afterwards once

you've completed your sequence the next thing to do is process it your arms will

get tired when doing this and it'll feel a little bit like endurance photography

but if you stick with it you can get some really good looking sequences once

you get comfortable doing them this way you can try them

with a monopod we're off a tripod I've done one or two at night off a tripod it

did take about two or three hours to complete the whole sequence but I'm

really happy with the sequence that I got I use Lightroom and After Effects to

process my hypothesis if you don't have these and you want to try this out click

on the link in the description this will take you to a 30-day free trial so first

of all bring the shots into Lightroom make the Corrections for the lens that

you are using make any adjustments you want to make the image look a little bit

better sync all of the settings so they are all exactly the same then export as

full size JPEGs named in a sequence it's important that you get them in the right

order and name them as a sequence then after effects will have a much easier

time of working out the image sequence that it's going to process into a video

then export them to a separate folder so they are separated from any other images

you may have taken once Lightroom has processed the images open up after

effects once you've opened up After Effects import them as an image sequence

make sure image sequence is ticked it normally does this automatically when it

sees a sequence of images then drag the sequence down to this little square to

create a film strip when you initially play it on the timeline it'll be quite

jittery now it needs some stabilization click on effects and presets search for

warp stabilizer when you find it drag it onto your clip it will take a while to

process so now it's time to go and get a cup of tea or have a bit of a break once

it's processed select the timeline and press the spacebar

it will then render and play the clip now I've never had great results from

just doing one round of warp stabiliser maybe it's the way I shoot or maybe my

hands are a little bit shaky but I find this doesn't stabilize it fully there is

a way around this though right click on the clip click on pre-compose and select

move all attributes into the new composition

and then click ok you'll then be presented with another clip add warp

stabiliser to this clip again and wait for it to process I've done some hype

lapses that have been ok with just one layer of warp stabilization and I've had

some others that it's taken up to four rounds of warp stabilization to get it

perfectly steady just keep doing it and keep previewing the clip once it's

steady you don't need to add anymore the more careful you are when shooting the

hyperlapse the less stabilization you'll need so this probably needs one more

round of stabilization so again I'll pre compose making-of selected move all

attributes to the new composition and click OK then I'll add more

stabilization now you can see it is a lot smoother to output click on

composition and add to render queue I'm on a Mac so I'll change the output file

to a pro res file click on lossless format options video codec and Apple

ProRes for - to HQ and then click on OK and then ok again find a place to save

it and then click on render once it's rendered you can bring it in to your

normal editing software and add it to your video now there are a few things

I've learned from shooting hype lapses and sometimes it can be really

frustrating you know spend all that time getting the sequence and then you bring

it back onto your computer and it's got really big errors that are almost

impossible to get rid of so if you avoid these mistakes you'll get better looking

hyper lapses you want to avoid shooting into the Sun this will cause the lens to

flare and this lens flare will jitter around even when you stabilize the shot

the lens flare will still move around in the shot and it's almost impossible to

remove you want to keep your horizon as level as possible then warp stabiliser

will find it easier to process the sequence you don't want to shoot with

anything wider than a 24 millimeter any wider than this and it has a lot of

distortion either side of the frame any small movements will

exaggerated and then after effects we'll find it a lot harder to stabilize the

footage you also want to shoot the hyperlapse

when it's quiet the worst thing is when you're walking along a path and someone

else by the stops and takes a photo there or gets in your way and doesn't

realize what you're doing so you make sure you go at a quiet time and the path

is clear one thing to take into consideration when you're planning your

path is to make sure that nothing comes in front of your subject even though

this might cause a nice parallax sometimes warp stabler really struggles

when something comes in front of the subject it may lock on to that or the

stabilization might move around a bit so I tend to move around the subject and

have the parallaxing effect with the things behind the subject that I'm

shooting one last thing is to try and shoot with a manual focus lens if you

have one in an automatic lens whenever you take a shot with a smaller aperture

the aperture blades will close down you'll take the shot and they'll open

back up so they'll close down every time you press the shutter button as they

move backwards and forwards you'll get minor differences in the

aperture and this will cause a slight flickering with a manual focus lens

you'll set the aperture on the lens and it'll stay in that one position for the

whole time this tends to give a much smoother sequence and that's about it

hyper lapses do take a lot of time and effort but once you've created a few

they can get quite addictive you will look a little bit of a weirdo stepping

and taking a shot and people will look at you funny but it's well worth the

effort as always if you like what you see give me a thumbs up if you didn't

give me a thumbs down and for weekly tutorials hints and tips in photography

and videography subscribe and turn on notifications I'll see you next time

For more infomation >> How to photograph and build a hyperlapse with the A7iii - Duration: 10:57.

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7 Steps To Build a Digital Marketing Agency While Traveling - Duration: 11:58.

I'm here with a couple people.

I'm in Cancun.

I don't know if you can tell by the cool background.

But yeah, we have a couple people here, but everyone

on the team is able to kind of just move around.

There's not really a lot of operating costs

in regards to, we have a bunch of stuff

that doesn't necessarily make money, but we need to do it

anyways, as in we kind of need to buy supplies for everyone.

We need to have a monthly expense, 'cause we are

paying this much for rent to rent out an office.

We just get to work in places

which are much more affordable, and then we also have

kind of set processes in the business that like,

we need to hit certain milestones, and we can't really

go back and make changes, and we don't have a bunch of,

we're just able to kind of cut costs by just focusing

on the process, like, yeah, making sure

that everything's unique, everything's cool,

everything is going to be custom built for the client,

but we do have a set kind of process and system

that we go through when we create videos for people.

It helps to keep our cost down in that sense.

- Yeah, so basically, you keep the clients happy,

and they get exactly what they want,

and they get custom work.

It's not some cheap template stuff.

And at the same time, you don't have those huge overheads,

because everything is done in a very cost-efficient way.

Like, here's no offices.

There's coworking.

There's the delivery process that's kind of a process,

not just, oh, let's just keep going back and forth forever

and have 7,000 revisions are completely not necessary.

So, I guess the reduction

in the 17,000 revisions is also a process.

So what type of process do you have for that,

so that the clients don't need

to ask you to change stuff all the time?

Like, how do you do that?

- Yeah, a big part is just setting things up ahead of time.

So before we even start on doing any script writing,

before we start on game planning for the animations

and what the video's gonna look like,

we really wanna figure out the strategy,

like how is this video gonna be used?

Who's going to see it?

What's the awareness level of these people?

And you wanna have a built-in strategy

so that when you start coming up with a script,

it's like, it's built to something that you guys both

agreed on, and it's just like your communication is right.

You're front-loading it right at the beginning

of the working relationship, where you know,

here's who we're making this video for,

here's the purpose of the video, here's where it's gonna

be used in different parts of our client's funnel,

or maybe it's just for training videos as well.

So we know exactly what the goal is with the video,

so we don't have people going, hey, we actually made

a change in sort of what we were doing with the company,

and we want this video to reflect that,

midway through the process, right?

And then yeah, there's certain milestones so that you

make changes until you hit that milestone, but then,

then, once we've passed that, it's like we can't just

keep going back and making revisions and restarting

from scratch over and over again.

So having that conversation

at the very beginning is very important.

- Yeah, that makes sense.

And I guess, you're also not charging cheap, right?

So I don't wanna make it seem like you guys are doing

some kind of cheap work, obviously,

'cause you are charging at premium.

You are doing high-ticket sales,

as we mentioned before as well.

So, how come you don't build a business

that's just, here's a bunch of $500 videos?

Like, here, buy $500 videos from us,

as many as you want, and get thousands of sales?

Why don't you do that?

- That's a big headache.

You have to make a lot more transactions with people,

and you have to balance a lot more stuff.

It's not that we wanna make a bunch of videos, you know?

We don't really care to make just a bunch

of cheap stuff that's gonna be template-based,

that they provide the script.

We want to make stuff where it's not so much a cost to them,

like it's not like you're spending $500.

It's like you're investing into something that's going

to bring more return than the investment that you put in.

We also don't wanna make stuff that's boring, you know?

I wanna make something that we're proud

of and the team's all proud of, so we get excited

by being able to make new stuff every time.

Like, I don't want to just do the same thing over

and over again on repeat, 'cause I get bored pretty easily.

- Right, right.

So you're also working with bigger clients

than before, if I'm not mistaken?

Did you make that decision last year, or when did you decide

to also focus on these big projects, like the 50k one,

or how did you make that decision?

- Yeah, that one was just sort of, it came about.

We had the capacity to do it.

We have a team in place to make stuff like that.

But then yeah, some of our bigger clients,

a lot of our biggest clients that we've worked with,

they have kind of came out.

They reached out to us through referrals.

They've reached out to other companies and said like, hey,

who'd you get to do your video, and then they just

suggest us, and then we go from there.

They just reach out, like hey, you were recommended to us.

Let's talk about what we're looking to have done,

and then we can talk from there.

- Right.

And you mentioned before you were traveling.

You said this is Cancun?

That looks quite nice, actually.

(coach laughs)

- Yeah, this is Mexico.

This is where I live most of the time.

- Right, right.

So how come you're able to travel while doing all this?

I guess most people wanna meet up

for sales meetings or something, I don't know.

How come you don't do that, or you don't prefer to do it?

- I wouldn't be against it, like, even just flying out,

kinda shaking hands, meeting people.

I'd be open to doing that, but people are busy, man!

We're sitting here talking through Zoom right now,

and most of my communication with people is through Zoom.

There's not too much benefit to kind of staying in one spot

to make sure that you can sit down

and have a lunch with someone.

When I'm back in Canada, where I'm from,

I'll meet up with people every once in a while,

but it's not as much as you'd think.

So there's not really any benefit

to even living in sort of where you're doing business.

We have a bunch of clients in Canada,

and I very rarely see them. - Right.

And what's the process for sales?

So, people will think, this is not possible.

You can't close big deals if you don't meet people.

You need to sign there with a lawyer present or I don't

know, all kinds of weird stuff people think about sales.

So, what are some ways that you use to actually

close people on a call, even with bigger deals?

Like, how come you're able to do that?

What is the process, more or less?

- Hmm, I feel it's just trust, you know?

When people speak to me, they can hear my voice.

I've been doing this for a while.

I think another big thing is we have a lot of clients.

We have a lot of social proof,

so people know we're been in this industry for a while.

If they send me money over the internet, there's a pretty

good chance that it's not going to disappear, you know?

They know that, because we have a proven track record.

We've worked with a lot of people before.

We have a lot of good publicity, and we've kind of developed

that over the last couple years we've been in business.

So, yeah, I think it would just come down to trust.

People know we've been in business.

They know we make what we say we make, and if they work

with us, they're going to get pretty much exactly

what we discuss over the phone when we're talking.

- Yeah, and what is the consultative selling process?

Like, in what used to be Businessmen Insiders,

we used a process where we kind of instruct people

on how to make a decision.

So, do you do this, or do you use just proof,

or what do you do exactly?

- Yeah, well, you just get on the phone with people,

and you just talk to them.

Like, what is it that they're involved with?

What is it that their goals are?

What is it that their strategy is,

and then you just kind of figure out.

You just kind of game plan with them and for them, in a way,

just hey, like, here's what I think would work.

Here's what I think you guys

could start implementing in your business,

and then, you're pretty much just there to help out.

I wouldn't even say it's closing the deals.

You're just kind of having a conversation,

and people wanna work with you, and then if you

can help them, then you guys work together.

- Right, so what if they say

they need to talk to their boss?

- Then you reschedule, and you talk to the boss with them,

or you kind of send them a message after the call,

like hey, it was great to speak with you.

Looking forward to it, lemme now what your boss says.

Here's a quick summary of what we discussed,

and then they show that to their boss as well.

- Right, and what if they say that this project,

that they're in the discovery phase?

It's not really a project yet; they're just discovering.

So what would you tell them early in the call

if you find out about this?

- Yeah, early in the call, I would just

kind of see what their game plan is.

They're probably not ready to work with us just yet.

I would just give them some advice and speak with them

about what they're looking to have done and what they're

looking to do, and then just help out the way I can,

and down the line, they would, sometimes they'll come back

if they realize, hey, it's time to need this,

and then you just kind of keep the relationship going.

Just keep talking to them every month, every two months,

something like that, and just speak with 'em then.

- Yeah, interesting.

I guess we call this the deposit funnel.

We just get a deposit from them, and we set a date

for later on so that we know they'll show up,

'cause they paid the deposit

to hold the spot to work with us.

That's the standard process.

Your variation is, well, it's almost the same,

but just follow up, follow up, follow up, basically.

It definitely, definitely works.

I guess we've also noticed that 75% of sales

comes from this and not from sales on the first call,

because not everyone's ready to buy immediately.

Some companies are just not ready yet.

They're figuring out what they're gonna do

in three months, or sometimes even six months,

and sometimes even two years.

(coach laughs) Sounds ridiculous,

but if they end up buying, it's worth following up

for a couple of hours over a period of a few months or even

a year or something like that, for a big enough sale.

And people don't realize this.

People just throw away leads for no reason whatsoever

instead of just developing relationships, getting referrals.

From your current sales that you're getting on a monthly

basis, how many of those are referrals, as a percentage?

Like 50%, 40, 12%, or what are we talking about here?

- Yeah, I would say like 50 to 60%

are just referrals right now.

Just people we worked with before, they just

kind of either need more stuff that we make,

or they have people that they're communicating