Full Drone Real Estate Photography & Video Course, by Mike Burke

In this video Mike Burke provides a comprehensive video course on drone real estate photography. He covered recommendations for drones and accessories, camera settings for photo and video, tips for capturing different shots during a shoot, photo and video editing workflows, and more.

Key points:

  1. For beginners or those on a budget, he recommended the DJI Mini 3 Pro drone. For more advanced users, he recommended the DJI Mavic 3 Classic. Extra batteries and the controller with built-in screen are also recommended.
  2. For photo settings, he recommends AEB bracketing, RAW format, ISO 100, aperture F4. For video, key settings are 30fps (to convert to 24fps in post), ISO 100, aperture F11, variable shutter speed.
  3. During a shoot, he starts with low shots, works up to medium shots showing the property, and finishes with high shots showing surrounding areas. He takes tight, medium and wide shots at each level.
  4. His photo editing workflow involves manually blending exposures in Photoshop, then finishing up the image in Lightroom with adjustments like clarity, vibrance and sharpening.
  5. For video editing, he cuts clips to music beats, applies transitions, stabilizes bumpy footage with the Warp Stabilizer, color corrects if needed, and exports with specific H.264 settings for the web.
  6. He emphasized working efficiently, telling a story with shot sequencing, and delivering high quality, professional results to clients.

Action Items:

  1. Research drones and choose one suitable for your needs and budget.
  2. Practice using the recommended camera settings for shooting photos and videos.
  3. Plan your shoots to efficiently capture a variety of shots from different heights and angles.
  4. Learn the photo editing workflow in Photoshop and Lightroom.
  5. Learn the video editing workflow in Premiere Pro, applying the techniques covered.
  6. Deliver professional, high-quality real estate drone media to your clients.

Hey everyone, Mike Burke here with InsideRealEstatePhotography.com and in this full video course I’m going to take you through everything you need to know regarding drone real estate photography. So in this video I’m going to take you through everything related to drone real estate photography including drone recommendations, camera and function settings for the drone.

I’m going to take you through a full real estate drone shoot photo and video to show you all the shots I typically get at all my drone shoots and then also I’m going to show you how I edit those photos and videos once they are captured.

Yes, I’ve been through these topics and other videos on my channel but those videos are now a few years old and need a refresh and also I wanted to create one single comprehensive video course that encompasses everything about this topic in one single video.

I get asked fairly often if I’m ever going to create a course that can be purchased and the answer to that is no. This is the course right here and it’s absolutely free. You do not have to go anywhere else and purchase another course to get further information.

Literally everything you need to know to shoot great drone photography and video will be presented in this video. I’ve done thousands of drone shoots at this point in my career so I hope you believe me when I tell you that this information is tried and true.

I’m also going to be creating other full -course style videos like this one on other topics in real estate photography so look out for those as well in the near future. As I stated in the mission statement of this video I will never intentionally withhold information from you in a video in order to sell you a course or something like you see a lot here on YouTube.

I know how frustrating that is which was part of the motivation for me to start this channel a few years ago. I’m sure a lot of people think I’m crazy for doing this and that I’m missing out on a lot of money and maybe that’s true but I created this channel to help as many people out there as I could and share the information that I’ve learned over the many years of doing this work.

If you would like to support me all I ask is that you like this video and subscribe to the channel. One more thing I want to mention before we get into this is that if you want to operate a drone commercially in the United States you first have to get what’s called your part 107 certificate from the FAA.

In order to do that you have to take a test and pass it and and then renew every two years. You can prepare for the test yourself, but I used a course called Remote Pilot 101, which made things easy for me.

That can be found at remotepilot101 .com. I have no affiliation with them. I just found it useful and easy, so I’m relaying that information to you. Also, it is not required, but I highly, highly recommend you have some sort of liability insurance in case God forbid you injure someone with your drone on the job or damage someone’s property.

I use State Farm for my own insurance. They’ve been great, and they also had the best rate I can find like covered drone operations. Okay, without further ado, let’s get started with this. To start things off, let’s talk about drone recommendations.

Before we continue on with this video, I just want to share a quick word about our sponsor, Pixelmob. Are you looking for a professional real estate photo editor to help lighten your workload? Are you having a hard time finding a good and reliable editor, or don’t even know where to look for one?

Or maybe you just personally struggle with editing and can’t seem to achieve the professional end result that you’ve been looking for? If any of this sounds like you, you should definitely check out Pixelmob.

Pixelmob helps take the guesswork out of finding a reputable editor and connects you with the right people to do the job. Pixelmob is an awesome website that links you up with available editors capable of doing just about any sort of real estate photo editing you can imagine, including HDR blending, flambient, virtual staging, object removal, etc.

The best part of all is that Pixelmob vets all the editors prior to allowing them onto their platform to ensure that they can indeed deliver on what they say they can. I also really like that there’s a peer review system where photographers can rate the editors from 1 to 5 stars, giving you further tools and helping you choose the best editor to work with for your particular job.

The editor also does not get paid until you are satisfied with your order. If you’ve ever been in the search for an editor and tried a few out, then you know full well there’s been such a sore need for something like Pixelmob in our industry, and I really think a lot of us real estate photographers can benefit from this service.

It’s completely free to sign up and if you use my link, pixelmob .com, you will receive $5 in credit towards your first order, so there’s no reason to at least not give it a try. You’ll also find that link down in the description of this video.

There are a few factors to consider when choosing a drone for real estate photography that I wanted to touch base on. If you already have a drone or are not interested in this information, please feel free to skip to the next chapter of this course.

I will also include links in the description to all these drones and accessories that I’m talking about in this video. Some things you might want to ask yourself is, is this your first drone purchase or have you been flying drones for a while?

Do you anticipate doing a lot of drone shoots? What’s your area like geographically? Do you see a lot of drone shots in local real estate listings in your area? What I’m getting at here is the area that you’re operating in near water or another geographical feature that real estate agents are going to want to feature in their real estate listings.

For instance, I live here at the Jersey Shore and drone is by far my biggest add -on because so many of my clients want to show off the proximity of the home that they’re selling to the beach or the ocean.

This type of information can be useful in deciding how much you want to spend on a drone. If you don’t anticipate doing a lot of drone shoots, please feel free to ask yourself. shoots or you’re just starting out and don’t have a lot of gigs yet then it probably doesn’t make sense in buying one of the more expensive drones.

The drone I’m currently using at the time of making this video is the Mavic 3 Classic here. It’s an excellent drone and I highly recommend it but it is more on the expensive side but again I do a ton of drone shoots like I mentioned and I’ve also been doing this for quite a while now so it does make sense for me to spend more on a drone than say someone that’s just starting out.

My favorite things about this drone are the larger 4 3rd sensor size and also the ability to change aperture which gives me greater control over exposure. The more inexpensive drones tend to have a fixed aperture.

The larger sensor size in this drone allows for higher image quality and also better low -light performance which comes in handy for twilight drone shoots which is something that comes about for real estate work.

Also recently there was the Mavic 3 Pro release which is above this model but the extra features that it has over this model I don’t think is worth the extra money for real estate work. There’s also the Mavic 3 Cine which is way overkill.

At the time of the release of this video, the Mavic 3 Classic base model is priced at $15 .99, but I would highly recommend getting it with the DJI RC remote controller with the built -in screen, which is a couple hundred dollars more at $17 .49.

That couple hundred extra bucks for that remote controller is so worth it in my opinion, not having to attach your phone to the remote every time you use it as you would with a standard remote. It’s such a hassle and the remote with the built -in screen is such a joy to use, it’s so worth it in my opinion.

I would also highly recommend getting a few extra batteries as well. If you’re on a budget or just starting out or don’t anticipate doing a lot of drone shoots, then the drone I’m going to recommend to you is the DJI Mini 3 Pro.

It has excellent image quality for such a compact drone and for its price point, it’s pretty impressive. Of course the sensor size is smaller and also you don’t have the ability to change apertures. This isn’t such a big deal for stills, but it is a bigger deal for video because ideally you would like to keep your shutter speeds somewhere close to the 180 degree rule, which states that you want your shutter speed to be roughly double what your video frame rate is that you’re shooting in.

So for instance, if you’re shooting in 30 frames per second, you would ideally want your shutter speed to be 1 .60th of a second for the most natural looking motion. You can address this issue by using what’s called an ND filter or neutral density filter, which is an extra purchase.

I have though gotten away with it in the past just letting my shutter speed crank and I’ve never gotten a complaint from anyone, so this is definitely not something to be overly concerned about. I will touch more on this later in the shoot section of this course.

The base model for the Mini 3 Pro at the time of the release of this video is priced around $760, but again I would highly recommend getting it with the DJI RC remote controller with the built -in screen, which is priced around $910.

Of course I would also recommend getting extra batteries. The best deal around probably is the Flymore combo that has the DJI RC remote controller and extra batteries, a carrying case and other accessories.

That’s priced at $1 ,150. Okay so those two drones would be my main two recommendations at this point in time, but I also wanted to mention the Mavic Air 2S, which is an older model but still a great choice and still sold new.

Also, if you can find a used Mavic 2 Pro, I still think that’s a good choice, whose image quality will still impress to this day. Okay, now that we talked about drones and accessories, let’s get into the recommended camera and function settings of the drone.

Alright, so we’re looking at the screen inside the DJI Fly app here, which most DJI drones, if not all, use at this point in time. If you have an older model, then of course that might not be the case, but if you have any of the newer models, it will be using the DJI Fly app.

Of course, the Mavic 3 may have features that the Mini 3 Pro does not have, so obviously there may be some difference in the menu here, but overall these settings are pretty universal. So, alright, so for the first things first, I’m in photo mode and you can tell that by clicking this little photo icon over here and you’ll see photo mode is selected, it’s in yellow.

So the first thing I want to do is select AEB which is auto exposure bracket and I have it set to 5 so that’s what I want to have as my settings. That will take 5 brackets so what that means is there will be a difference in exposure between each bracket so that way you have a wide range of detail to work with and you can blend those together later which I will show you how to do in the editing section of this video.

5 brackets is almost always overkill for drone shots but I just like to have as much data as possible to work with so I shoot 5. You could shoot 3 that’s probably plenty. Even one single exposure for drone shots in most cases will work but in some circumstances like if you want to bring detail out of shadows or highlights you know maybe the sky is blown out or whatever it always helps to have the brackets because you’ll have a bunch of different exposures to work with to pull those details from.

Ok so the next thing I want to go down to is in the bottom right corner you’ll see auto. I just put it back in auto because by default your drone is probably in this setting when you take it out for the first time and turn it on it’s in auto so I want to click on that little camera icon and now it turns to pro and now we can change these settings manually.

There’s a left section here and a right section here. I’m going to tap on the left section where it says JPEG. Alright let’s go through the options here and I’ll tell you how I set my settings. So white balance is the first thing.

It’s on auto by default. I’m going to leave it on auto. White balance I leave on auto. Alright so the next thing here is format JPEG RAW or JPEG N RAW. We want RAW so I’m going to set that to RAW. Now aspect ratio we have a choice of 4 to 3 or 16 by 9.

I’m going to leave that on 4 to 3. Previous drones that I’ve had all had 3 to 2 and that’s my preferred aspect ratio. I hate that this doesn’t have it because 3 to 2 is what I shoot in with my regular camera so my drone shots are in a different aspect ratio than my camera shots and it’s kind of annoying.

So if you have 3 to 2 I would select that for sure but I have no choice so I’m going to I’m gonna go with four to three. All right, so the last thing here is storage, which you can select memory card or internal storage.

Internal storage is only eight gigabytes or so. So a memory card is definitely a necessity, as you probably already know, but if you don’t have one, definitely get one and select memory card here. All right, so that’s it for this section.

So I’m gonna go over to the next section here on the bottom right, the little like sort of aperture symbol here. And we will have these other settings, such as ISO, shutter, aperture, the whole thing.

So by default, I think these are all on auto. So I definitely don’t want auto ISO. I want to manually set that. I’m gonna set that to 100. We’re shooting in daylight, ISO 100 will be fine all the time.

If you’re shooting at twilight or in darker conditions, then yes, that might be an issue. But in all daylight settings, whether it’s cloudy, sunny, as long as it’s daytime, you have no problem staying in 100 ISO.

And that’s the cleanest ISO, so definitely want that. Now, shutter speed, I’m gonna leave that in auto. That’s the only thing here I want in auto. I’m going to let the camera decide what shutter speed to shoot in.

We should have no problems in daylight being too slow or anything like that. That’s when it becomes a problem. Is that twilight or nighttime if things are dark and you are on ISO 100 and your aperture maybe is even all the way down to f2 .8 or whatever, the shutter speed may drag.

So that’s when you want to put up your ISO to compensate for that so you don’t have a super slow shutter speed and get a blurry image. But again in daylight you should have no problems letting the camera decide what shutter speed to shoot in.

Whatever it is is going to be fast enough so no worries there. It’s kind of like shooting in aperture priority mode is really what we are doing here. And speaking of aperture that’s the next thing on the menu here and I want to manually set that and I set that to f4.

That’s just my preferable all around aperture. I have no problems as far as depth of field goes or anything like that. I mean you are shooting from the air, wide angle, no problems there with focus or depth of field or anything like that.

So no worries in that front. I just leave it at f4, ISO 100, let the camera decide what shutter speed and that way I’m not setting any settings between shots with photos. I just fly around taking pictures.

Really it’s that simple. I don’t have to worry about any settings for doing photos. And the last thing here is EV which is exposure compensation. We don’t have to worry about that. Don’t even worry about touching that.

Again we are shooting brackets so we have a wide range of exposures to work with, a lot of data. We don’t have to worry about compensation for exposure there so don’t even worry about that setting. Alright so those are the settings for photo mode.

Now we are going to switch over to video mode and take a look at those settings. So if I go over to here where it says AEB, tap on that again and you’ll see on the right here we have photo, video, master shots, etc.

So I want to click on the video camera now and now we are going to set our video settings. So again by default it will probably be on these auto settings. I just put it on auto again just to show you that.

So I’m going to tap down here on the bottom right corner where it says auto, change that to pro. And now we can change our settings manually. So again I’m going to click on that left side settings here.

Again we are going to start here with white balance. auto, I leave my video white balance to auto as well so let the camera decide what the white balance is. With drone shots out in the open you don’t have different lighting conditions happening, you don’t really have to worry about white balance.

It’ll do a fine enough job calculating that on its own. I never have an issue really with white balance. Never do I even have to correct it in post or anything. It does a fine job with auto white balance.

Now we have our resolution and frame rate settings. First of all 30 frames per second that’s what I want. That’s for my frames per second. I’m actually going to convert that to 24 frames per second in editing which I will show you in the editing section of this video.

The reason for that is that it converts the footage into a little bit of slow motion. We’re talking about minimal slow motion. We’re only going from 30 frames per second to 24 frames per second. It’s a minimal conversion.

but it just gives the footage a slightly more cinematic, dreamy look to it, which I like and prefer. So that’s why I shoot at 30 frames per second and that’s my recommendation. So as far as the resolution’s concerned, I’m actually gonna export my video at the end out of editing at 1080p, but I like to shoot in higher resolution just for flexibility.

And what I mean by that is, if you have higher resolution footage in a 1080p timeline in your editing, you have the ability to zoom in without any loss of quality. So the higher resolution you shoot in, the more resolution you have and the more you can recompose your shots or reframe your shots, it’s just a nice option to be able to do that.

And also the footage has a bit of a higher quality look than the 1080p, I mean, in my opinion, for the most part. So 4K is totally fine. Sometimes I do shoot in 4K, I bounce back and forth, but the Mavic 3 also shoots up to 5 .1K.

So I tend to preferably shoot in 5 .1K. My computer can handle the footage, no problem. That’s the other thing too. If your computer has trouble with high res footage, just shoot in a format that your computer can handle if you have an older computer.

But if you have a newer computer, it shouldn’t be that much of an issue. So I’m gonna shoot at 5 .1K, but if your drone shoots 4K, some of them, most of them won’t, does a good chance maybe your max resolution is only 4K.

So just stick with 4K, that’s fine. Or even 1080p if you wanna go that route. I mean, that’s acceptable too. You just won’t be able to crop in on your footage at all or anything like that. It just gives you less flexibility, that’s all.

So 4K is totally fine. But I’m gonna go with 5 .1K because I have the ability to do that. And my computer can handle it well. So again, storage is a memory card. Color, I just keep the color at normal.

It’s fine for me. You could of course shoot in log. That will give you more dynamic range, but it’s more color grading, more work. And for real estate work, it’s lower budget. You wanna be efficient.

with your time in my opinion, especially if you got a lot of work to do. So I don’t like to do a lot of color grading for a real estate project. But if I was shooting maybe a commercial project or something like that, I would shoot in log.

But for this, normal is my preference. It’s minimal color corrections or color grading, just streamlines the post workflow. And you know, the image looks great. So it’s fine. Alright, so next we have coding format, which is h .264 or h .265.

I’m going to choose h .265. It’s more efficient codec, but it does require more processing power. So if you have an older computer that you’re editing on, again, such as the resolution that I was just mentioning, your computer might struggle with h .265 footage more because of that.

So if that’s the case, if you’re on an older computer, I would choose h .264. Feel free to test this out. Choose an h .265 footage just to see if your computer can handle it well. If it does handle it well, then that would be the preference because it’s just more efficient.

Next we have format which is MP4 or MOV. I want MP4. All right, so lastly we have video bit rate which is CBR or VBR. VBR is variable bit rate, meaning it will change the bit rate depending on the image.

It’s a more efficient sort of file size, but it’s not as high a quality. So CBR is the way to go there. So I’m gonna pick CBR. All right, so I’m gonna move over to the sort of aperture symbol here for exposure settings.

And by default, you’ll probably have everything on auto. So I’m gonna uncheck all this. We want all this to just be manual. So I’m gonna set my ISO to 100. My exposure, I’m just gonna put it for now at 160th because that’s my ideal shutter speed setting, being that I’m shooting at 30 frames per second.

As I mentioned previously, 180 degree shutter rule states that I want my shutter speed to ideally be double my frame rate. So if my frame rate’s 30 frames per second, I want my shutter speed 160th of a second.

However, I’m gonna be changing shutter speed in between shots because I’m gonna be maxed out at F11 out in broad daylight. So I’m not gonna have anywhere to go as far as F stop beyond F11. So I’m gonna have to increase my shutter speed in order to get my exposure down to where I need it to be.

So yes, I am breaking the 180 degree shutter rule. So it’s not gonna be by much. So it’s really gonna be imperceptible. So yes, I’m gonna just set my, for now, set my aperture to F11 because in broad daylight, I typically am maxed out at F11.

And I’m just, again, changing my shutter speed to bring my exposure down if need be. If it’s cloudy out, that might not be the case. I might be able to go down to 160th and I might even be going down to F9 or F8.

But if the sun’s out, I’m at F11 and I’m compensating with the shutter speed to bring my exposure down, as you’ll see in the shooting section of this video. So one last thing, again, I’ll say about exposure settings is that, yes, I have the Mavic 3, which gives me the ability to change aperture here.

But again, the Mini 3 Pro, the Air 2S, some of the more inexpensive models do not have the ability to change aperture. It’s a fixed aperture, so you’re gonna be at F2. 2 .8 probably fixed so you’ll only have the option to change ISO and shutter speed.

I just wanted to point that out so if you don’t see aperture in your menu that is why because you have a drone that cannot change apertures. All right so that’s it for photo and video settings and exposure settings.

Now let’s go into just the general drone settings here. You can access that by the three little dots on the top right hand corner and that’ll bring up this drone setting First thing here is safety and this is your like obstacle avoidance sensors and stuff like that.

Yes it’s a good idea to have them on. I put it on break so if it approaches an object it senses you’re close to an object it’ll just stop. Take this with a grain of salt though because it’s not going to catch everything like maybe like a power line or thin objects like tree branches or things like that.

It may not pick that up and you still may have a collision so you got to be careful you have your eyes on the drone. I turn this on and off. quite a bit because I fly close to objects sometimes when I’m flying low.

You’ll see that in the huge section of this video. But by default I leave it on break just in case I come too close to an object. And that’s really it for the safety settings. I don’t change anything else.

This is all just default settings. So that’s really it for that. So next is control units. I have Imperial because I’m in the United States so I’m not using the metric system. So I choose Imperial. It is on metric by the way by default I believe.

So you want to change this to Imperial if you want to see feet instead of meters. Alright so next year we have subject scanning. I leave that off. I don’t ever mess with that. And next is gain in expo tuning.

And this is important because we want to set how fast our gimbal moves and the gracefulness of the gimbal movement. I mean by tilting it up and down we want it to go pretty slow and smooth for our video footage and make it look cinematic and nice.

You don’t want it jerky and fast. This is where you change that setting and this is an important setting. So I’ll click on gain in expo tuning. And then here you can you have three modes here. Cine mode, normal mode and support mode.

You can change them independently which is nice. I don’t ever use support mode so I don’t mess with that. So here on normal these are all default settings for the most part except yaw smoothness. I think I changed so it’s on five.

So that is the rotational speed of the aircraft. So I put that on five. I think I changed that and then I know I changed the gimbal here and that’s the most important thing. So gimbal max control speed tilt.

This setting is important. This is the one I was talking about how fast the gimbal is going to move and I have it very slow. It’s almost all the way down to the bottom at three degrees a second and then the tilt smoothness is really high to 24.

Yeah it’s going to move slow and sometimes it’s a little annoying when you’re taking photos because you’re trying to reposition it to take a photo a certain way and it moves fairly slowly. You’ll see in the shoot section of this video but I want it that way for video and getting smooth nice movements.

camera movements in my video footage. So those are the settings I use. And you’ll see if I go to Cine and go down, it’s the same exact setting. So I have the same settings for both for the gimbal. Again, that’s an important setting.

So make sure you adjust that. Otherwise it’s way too fast. Gimbal is in follow mode. That is default FPV mode. You’ll have off, kill -tier footage. You definitely don’t want that. So make sure it’s in follow mode.

Stick mode is mode two. That is default. I didn’t change that. Here we have button customization. So you have the ability to change custom buttons on your remote, which is a handy feature. I have the RC Pro remote, actually.

It’s not the DJI RC remote. This is like the above one of that. So it’s like the highest one up. If you see extra buttons on mine, that might be why. Just so you can see my settings here. C1 is re -centered down.

Again, well, that just will, Turn the gimbal from straight ahead to straight down in the push of a button really quick. That’s very very handy C2 switch cameras the Mavic 3 has two cameras in it ones that like a telephoto camera, which does get pretty cool shots Actually, you most drones only have the one camera So you will just set that to whatever you want C3 set the cruise control right now.

I don’t ever use that I don’t use a lot of the custom buttons. All right here. We have dial settings now This is the main thing I want to point out because this is the most important thing so The right dial is just shutter speed.

That’s huge It saves you so much time of tapping on the screen whatever to change shutter speed So annoying to just to have that on the dial because I’m changing shutter speed more than anything So I just set that to that top right dial hugely important The top left dial by the way by default and I don’t think you can even change it Obviously, you can you see no ability way to change it.

It’s just by default is the gimbal tilt So the left dial will tilt the gimbal up and down And that’s what we want and you can’t change it anyway So but right dial shutter speed and then the other thing I want to take note of is Holding the C3 button down, which is the button right by the right dial I just hold that down and then use the right dial and that’ll change aperture So that gives me the ability to do that again if you don’t have the ability to change aperture That’s nothing you have to worry about the important thing is to be able to change shutter speed So just change your right dial to adjust shutter speed.

All right So that’s button customization and that’s it for the control section here on the menu now I’m gonna go to camera. So if you go to camera, these are basically all the settings we already set before as you saw Except there’s a few more here So histogram is off, but that could be a handy feature to have on I do have that on sometimes So that’s up to you whether you want to histogram just to help show you how your exposure is looking handy little tool If it’s cranked all the way to the right, you’re probably overexposed if it’s all the way to the left You’re probably underexposed.

I mean theoretically you want it in the middle, but that’s not always the case So it is a tool that’s handy for exposure So up to you whether you want it. If I turn it on and go back to the screen, you’ll see it here, this little thing I’m moving around right now.

It’s pinned all the way to the left now because you’re basically just seeing black. It’s way under exposed. But you can position this wherever you want. I tend to leave it off to keep my screen a little bit less cluttered.

So I’m gonna keep it off. Focus peaking is helpful if you’re using manual focus, but that’s another thing I didn’t mention before. I’ll go back to the main screen. But as you see here, AF is on. If I touch it, it’ll go to manual.

But I keep it on AF for photo and video. So just leave it on auto focus. The drone will do a fine job focusing for both video and photos on auto focus. Totally fine to leave it on auto focus. Over exposure warning here is also a handy feature.

I tend to just leave it off, but it will just put zebra stripes and it shows you if something’s overexposed in your image. So kind of a handy feature to use if you tend to… overexpose your footage or something in your videos.

You might want to keep that on to help you expose correctly. I just leave it off. I just use my eyes though. So grid lines, this is an important one. You can see I have the rule thirds grid selected in the middle here and that will give you this grid as you can see on my screen here.

I love having the grid just helps me compose my shots well, center things in the frame, et cetera. It’s just very handy. I love having a grid. I leave that on all the time. Again, white balance is auto.

Here, by the way, is where you will format your memory card. So after you offload shoots and you want to clear your memory card, you just come to camera here and go to storage and select SD card and format.

I do that at the beginning of each day usually. And that’s really it for camera settings, transmission settings. I don’t mess with any of this. This is all just default settings. So lastly, this is the about section.

Nothing really much in here except for firmware updates where you can check for firmware updates. So that’s important. Otherwise, that’s it. All right guys, so that’s all the settings. That’s how I set up for photo and video shooting and also the function settings of the drone for real estate shooting.

It works great for me. I think this is a great setup for real estate shooting. So now let’s move on to the shooting section of this video. All right guys, I’m going to take you through the shoot shot by shot here and show you exactly the kind of shots I get on every drone shoot that I do.

So I’m going to start low and sort of work my way up. So I’m going to first start here with the sort of tight shots of the house. So I’m going to get one off to the left here. This is a photo. I’m on photo mode.

So I’m going to get one photo here. I got that. And then one straight on more or less. So I typically get three shots in the front, like tight shots. So one off to the left. left one center like this and then one off to the right.

So I’m going to get the center shot here. Now I got the center shot. Now I’m going to move off to the right. I like to give options so I like to take those three angles of the front. A lot of times agents will use one of those is like even the main shot.

I prefer an elevated shot. Alright now I’m switching to video mode as you can see. So here I am in video. I’m now lowering my exposure here by increasing the shutter speed. So… To touch base on what I was saying before, as far as ND filters go and stuff, you can see on my F11 my shutter speed is at 1 .200th of a second, which is above 1 .60th of a second.

I am shooting at 30 frames per second, so it is cranked a little, but it’s not much, so it’s really not going to make much of a difference as far as the look of the footage. So now I’m just going back the other direction for good measure.

Really, you only need one of these, but sometimes I’ll do both ways just to cover my bases. So I got those two directions, and I always get those shots right there, those three shots, photo, and then a sort of similar exact sort of composed shot of a sweep sort of of the front of the house.

This lower sort of shot, this has an awesome little gate here obviously, so I wanted to showcase that and do an approach shot like through the gate here. I’m putting in cinny mode here as you can see.

This is a huge thing I want to talk about too, is that cinny mode is a great mode, just slows down your movements, makes it look a little more graceful. It’s also sort of tripod mode was what it used to be called in the Mavic 2 Pro, and I think they might have brought it back here, but tripod mode was the best because you had full control over the speed.

The cinny mode in this particular drone, you don’t have control over like the speed, it’s just one speed, but here I’m retrying the shot again. So you know sometimes I don’t feel like I got it grid the first time, so I just you know redo it again and do another shot.

you know this is a cool shot so and it was a little breezy so you can see it’s getting blown around a little bit so that I think was better I don’t always get a lower shot like that so like that one shot previously with the video shot that I did that that would be a definite shot that was like an extra optional shot obviously this is a pretty grand home so very expensive home high -end home so it’s gonna warrant some extra shots that I wouldn’t get on a typical shoot but that’s why I used this one as an example because I wanted to kind of show some of the extra shots I get on some of these more higher end higher -end homes here’s a kind of a rotation around the front entry which is kind of you know obviously Kind of grand with the pillars and everything so I kind of wanted to do a shot showing that off I’m switching back to photo mode here so Now I’m going around the back of the house and doing my low shots of the back but one thing I wanted to mention is like I Don’t go through and just do all the photos first and then go back through and do all the videos like that’s why The settings that I told you about that I use Those settings are designed to be able to switch back and forth between photo and video mode and Not have to do a lot of you know Setting changes and whatever it’s it’s to keep this Workflow going very smoothly because I constantly am going back and forth if I’m doing video and photo I’m switching back and forth constantly, so I want to be able to do that Without any issues You can see me there in the driveway walking back to the backyard So I can see what I’m doing and making sure I don’t hit any trees or anything like that.

Of course you Want to keep the drone in eyesight the line of sight is important So that’s why you can see me there going into the backyard. So Just keeping my eye on things So I’ll start with these lower shots and get these all done and out of the way and then go to more of me of a Medium height and then I’ll end on the full height shots at around 400 feet More panoramic shots So here I’m just aiming to get a tight shot at the back of the house.

I obviously there’s this big sort of It’s not really a deck because it’s concrete I don’t know what you call it, but it’s sort of a deck and you know everything just just getting a tight shot at the back I always get at least one tight shot at the back of the house like that and of course I’ll get a video shot of the same thing sort of a rotational like panning sweeping shot.

There’s a bunch of trees around here so I’m in the back here so I’m kind of just trying to be careful here or where I’m at. One thing I want to mention with the video you can see like my exposure meter down in the bottom right is that negative 0 .7.

I just want to point out like at least with the Mavic 3 but I feel like with almost every DJI drone I’ve used it tends to overexpose at least the meter is way more than it should be so I tend to be at negative 0 .7, negative 0 .1, negative over negative 0 .1 even sometimes.

I’m negative 1 .0 I should say right now I’m at negative 1 .0, SEC it just changed but like I’m usually down there. It’s some some around that somewhere It just tends to overexpose and Especially the white areas like you can there’s a there’s a funky called zebra as you can put on to or overexposure warning Which will put sort of like zebra stripes on areas that are overexposed But it’s mainly like the white areas like say around the edge of the pool here that would be you know overexposed and Just glaring white and like blown out so I just want to mention that because it’s something to keep a close eye on This is a photo here of the pool, which is obviously a pretty awesome pool This is an extra shot obviously I would get the back of the house like I just did and do a do a sort of sweeping video shot of the back of the house And then if there’s any extra features like a pool like this I would get tighter shots of that So that’s what I’m doing right now Again, this isn’t this is sort of a bonus shot because there’s an awesome pool or if there’s any pool I would be getting a shot of it, but Not every house has a pool So obviously if it doesn’t have a boy when beginning the shot sometimes it’s just a shot of the back of the house If it’s a very basic house, so Getting sort of rotational video shot here Again, I’m at negative point seven as you can see as far as my exposure meter is concerned I’m usually underexposed like you just get the colors are much richer and It’s easier to it’s easier to bring up the exposure in post like as you’ll see in The video editing section of this video.

I’ll show you about that a little bit but if you overexpose there’s not much you can do to recover it’s much easier to I’m much more comfortable underexposing a little bit and It just like I said just it wants to overexpose.

I just want to make a big point of that I know I’m kind of you know be that to death here but so I did a couple passes here I wasn’t thrilled with the first but I see who got there and I’m even gonna do a couple even lower shots here because I mean this is like obviously a big feature so I’m going in low here and these are all video shots mainly I wouldn’t get these super low shots with a photo like that shot with a photo because like I already did regular photos of the house with my camera and tripod okay so I just turned the sensors off here because as you can see the tree on the right I’m very close to trees here and it’s not letting me go where I want to go because the sensors are stopping me because it’s on break so these shots I turned the sensors off for there are definitely times when It’s frequent for me to be turning the sensors on and off.

Sometimes I just fly with them off, but if you’re new and sort of not that experienced yet with, you know, drones, I would definitely just leave it on all the time. But you know, a shot, if you need to turn it off for a shot like this where you need to get close to a tree, then do that.

But I tend to leave it on usually, but if I have to turn it off, I turn it off. I think, yeah, I’m going to do another pass here. I wasn’t thrilled with that, but you know, there’s an awesome pool house in the back.

This property in general is pretty awesome. That pool house is like a basement. It’s like crazy. It’s like a whole nother house. It was really nice. But so I backed it up even further here just to the effect of going through the trees here.

I thought it was really cool. So I just wanted to try to refine that a little bit. So, you know, that movement there was good enough. The rest of this year, it kind of gets a little awkward. I mean, it’s not too bad, but I’m avoiding awkward movements here.

That’s where Cine Mode helps too, because it like desensitizes your sticks and makes it less jerky movements. So that’s why Cine Mode is important or Tri -Pod Mode or whatever you may have on your particular drone.

This sort of fountain thing here was cool. So I wanted to get a quick shot of that too. So these are all like extra shots. I wouldn’t get every shoot, you know, if it’s just a basic backyard, I would have got the shot at the back of the house, like I said in the beginning, and then just left it at that.

As far as the back, I’m getting a ton of shots here because this is obviously pretty magnificent. And they’re all video shots. I’m not getting photos of this. Like I said, I got ground photos already.

with my camera and tripod so no need to do that. I thought that the artwork here in the pool or whatever the mosaic or whatever that is I thought it would be definitely a cool capture from a down shot like this.

So I’m getting a photo here just trying to straighten it out. As you can see I have the grid on that helps me compose my shots in this scenario. The shots like this I’m centering that piece of art or whatever the art of the pool in the middle of my grid.

I wasn’t sure about that composition so I just went up a little higher. I could always crop too. I figured let’s shoot a little wider. I’ll get another photo here. And I’m not worried about what the exposure meter is saying for the photos or like if it looks a little overexposed for the photos because I’m shooting brackets and they’re raw photos.

Like I have plenty of data to work with. I’m not worried about pulling highlights from that like or getting overexposed highlights though. Now I’m just doing another video shot of the same thing. Just an uprising shot.

Switching back to photo. I think that’s it for the low shots. Now I’m going to be going to medium height shots. Actually no, I’m trying to get a shot of the back of the house. There’s me walking to get out of the way.

A shot of the back of the house with that includes the pool and the shot too. So I’m going for a little bit of a lower shot here too. I’m just going to take a shot of the back of the house. I’m sneaking in between these trees here.

Just trying to capture the whole vibe of the back here and all the features in one shot. That’s down a little bit lower. Again, not a typical shot. But necessary I feel like in this instance. area. If any house had a pool, I’d be doing a shot like this if I could.

So I got a photo there. I’m gonna try to get a video shot of the same thing. I know this is tree too. It lengthed itself to like a core reveal shot. If you can use a foreground element like a tree here, that’s always, always ideal to get, to reutilize that.

It just creates a more dynamic shot, like reveals the scene. So that was pretty good actually, but I think I might I’ve attempted a second shot here. Turning the sensors back on because I’m flying very close to trees.

But not close enough that they’re actually activating the sensors and stopping me from doing anything, but just in case I don’t want to clip anything because This is sort of a bit of a risky shot because I don’t want to run into the tree on the left.

So I Uptake exposure a little bit on this one too. This is a better exposure. It was a little too dark on the last one. Not that it was unusable, but alright, so I got that shot. So as you can see like I’m pretty much in When it’s sunny out like this like my f -stop is just at a f11 for the video all the time.

I’m just I’m adjusting the shutter speed Shot by shot, you know as necessary So here I’m going up to medium height now and what I mean by medium height is that I’m capturing the whole Property in one shot, but nothing else.

I’m like just trying to get the tightest shot possible that shows the property outline This house obviously has a larger property than most so I’m up higher like I’m at 300 feet and that’s unusual for my medium shot hot my medium height shots are not usually at that high up They’re usually more like a hundred like you know on a regular property, but this is just a large property obviously So I got a picture off to the left again in the center and now off to the right I always do the same sort of setup as the The tight shots at the front of the home so you know off to the left center off to the right I’m doing the same thing for these medium heights and then For the rear of the property.

I’ll just do two but I’m going to do a video shot here first, which is basically just the same composition. Just trying to capture the property itself. This is a little wide. I can even tighten this up a little bit, maybe in post.

But I’m just doing a sort of rotational shot showing the size of the property here, the lot size. And that’s really the goal of these medium shots is to capture the lot. That’s really the idea. So the lower shots are capturing the house, medium shots capturing the lot.

The full height, 400 feet shots that I’m going to do after this is capturing the surrounding area. So that’s the sort of point of each of those heights. In my mind, and this is my system here that I’ve Developed over the years so I’m already in video mode, so I’m just gonna do a quick Video shot of the rear of the property It sort of backs up to a busy road So I don’t even know I may or may not even use these shots in the edit, but I Always cover my bases So even if I don’t use this like that was kind of a failure anyway I kind of got a little jerky, but uh Never really do that.

I’m sure and then but uh I always capture the shot even if I might not use it because Say the client is like you didn’t get that shot of the back and or the rear of the property and they might request it and like If you don’t have it you’re gonna have to go back out and shoot it.

So I just like to cover my bases Yep, I messed up again. See You know It’s tricky sometimes you you mess up you have to retry the shots That’s why I kind of want to show you this fully unedited Shoot from start to finish because you know I’ve been doing this for a long time and I you know, it’s not like I’m just like getting the shots perfectly every time first try so This is oddly shaped property too So like sort of trying to do the rotation around it is sort of challenging because of the weird shape And again, it’s like sort of it was sort of breezy.

You can see the the drone’s getting sort of Blown around a little bit too All right, so I got the video shot now. I’m just gonna do I don’t do three Photos from the back. I always just do two so one off to the Back left the corner like this and then one off the back right corner of the property I’ll just do the two photos I hear, this is another shot that I got on every drone shoot, which is a top -down shot of a property looking straight down.

I always get this shot. But this kind of, again, this property is a weird shape. So I’m trying to straighten my top of my frame out with the road up there. You know, the house is sort of on an angle, which is kind of weird, but I don’t know.

It’s kind of weird no matter which way you shoot this property as far as a top -down shot, but I’m at full height here, so I’m still not barely just getting in the entire property from this video shot so I’m not even going to be able to capture the whole property in the video shot from the top down.

That’s how big it is. It’s obviously a sizable piece of property so I’m gonna focus in more here on just the house and the pool area as far as the top down shot for the video. That’s why I just rotated so I’m gonna do this shot instead just kind of do a rising shot above.

But again this is a shot I got on every single drone shoot. A top down shot of the property right overhead trying to capture the whole property unless it’s like acreage and huge that usually you can always capture the whole property.

Now I am gonna do my full height shots of like surrounding area so off into the distance I’m gonna have the horizon line in the photo now that’s kind of the point here so I’m gonna back up until I have the sky and the horizon in it.

So these shots I get one from each corner of the property so back left back right front left front right corners like if you’re looking at a square I get from each angle but so there’s a big distance between this back left corner and the back right corner so that’s why I just switched the video and do sort of a pan here a rotational shot around until I get to the next position then I’ll stop and switch to photo and take the next photo so again just this is about efficiency here that’s why I’m switching back and forth between photo and video you know starting at low to medium to high like I’m not going from high to a low shot like it’s just about efficiency it’s just about getting the shots done in a logical order that saves the most time and gets you done, you know, in the most efficient manner possible.

So that’s the idea here. I’m always looking to increase efficiency, make things faster because, you know, you’re, that was a mistake that little. So I never use the like master shots or anything like that or any of those features, automated features of the drone.

I never use it. Everything I do is manual. So I was just switching back to photo there, getting that back right corner shot off into the distance. And now I’m going to get the front left corner here.

I’ll take a photo, switch to video, rotate. Switch back to photo and take the other side. So that’s what I’m doing here. So But yes, the name of the game is efficiency with all this Usually I can do one of these Like a photo drone photo and video shoot for me usually to take you know, this is all one battery And usually you can do it within about 20 to 25 minutes That’s all it takes to shoot.

So now I’m doing the video shot rotating to the other side and I’ll take another photo I Drone photos only so a lot of shoots are photos only too, but you know, I wanted to show both in this video because You know Just take the video clips out of the mix here if you want to if you’re just doing a photo shoot It’s the same thing.

You’re just not doing the video clips. So it’s way faster I can do a drone photo only shoot in like 10 minutes like it’s super fast The video is much harder to do because you’re capturing movement obviously so that makes things a lot more You know difficult and complicated So I got my four corners there of my battery is getting low of the You know full height shots one thing I want to the last thing I want to do here is do Two video shots.

So this is a pull -away video shot where I’m gonna pan up to the horizon And I always do this shot at every single drone video shoot that I do and that’s the that’ll be my ending shot for the video It’s just kind of it helps tell the story like okay.

We’re leaving the house now We’re looking off into the horizon and that’s the end, you know, and then I’m gonna do do the opposite here, which is an approach shot. I’m gonna just approach the house and tilt the gimbal down as I approach.

And this is the start of my video. So I always use those two shots to bookend my videos. So it’s sort of an approach shot. Hey, here we are, we’re coming to the property. And then it goes into the LA shots.

And then you’ll see this when we do the edit later. And then I end with that pull away shot. So that’s it. Those are all the shots I get at a typical drone shoot. Again, some of those low video shots I don’t always get.

I did for this because this is sort of a, a high end property with a lot of features. So there was extra shots there, but typically I get those tight shots at the front of the home, tight shots at the back, medium shots that focus on the property size, and then the full height shots that show the surrounding areas.

And… where the home is located. And of course shows off any features like proximity to the ocean or what other geographical features there are. So that’s it. All right, so now let me take you through my photo editing workflow for this.

I have Lightroom Classic open here. I just want to stress that it’s a Lightroom Classic, not the cloud version. I recommend using Lightroom Classic. All right, so I have the library tab open here. As you can see, and I just want to import my photo.

So I’m going to import and then you just have to find your folder wherever you’re keeping it on your computer. I have it in this folder. All right, so I’m going to select the folder and all the bracketed images will come up here and we want to import them.

So I’m just going to go down to here to import and import. All right, so now all the photos are imported here into my library. So what I’m going to do here is hit command A or control A. If you’re using a PC, which will just select all the photos.

You could also click on the first one and then go to the bottom and shift click the last one to select all of them. However you want to do it, just select all of them. Then I’m going to go to command N or control N or you can go up here to library and go to new collection.

So you can rename this collection whatever you want. I’ll just call this drone photos and I’ll hit create. And now you’ll see it’s in our collections here. And just having it in your collection just means that we’re just dealing with these photos now.

It’s not in our library amongst all the other photos and it’s just going to get confusing and lost or whatever. One thing I want to recommend to this thumbnail slider here, the size of the thumbnails.

I prefer to have it on this whatever size you have five in a row here. You can see one, two, three, four, five because we shot five brackets. This just keeps it easy and so you can see each one. row here or line is one photo.

So this is five brackets of this photo, this is five brackets of this photo, and so on and so forth. Okay, so I’m not going to take you through editing every single photo here. We’re just going to do a couple because the workflow is exactly the same and it’ll just get redundant.

So you’ll know what to do after I show you how I do a couple of these. So let’s pick a low level shot here to start with and this sort of center straight on shot I’ll use for this first one. Alright, so what we’re going to be doing here is blending these exposures together to make one exposure and then just enhancing that exposure.

So you could auto merge all these inside Lightroom into one. It’s just an automatic HDR merge is what I’m talking about, but that does not yield as good of a result as if you do it by hand. So I’m going to show you the hand way of blending these together and especially for drone photos they’re pretty easy to edit.

It’s not like interior real estate photos that take a lot more work when you’re dealing with windows and all this other stuff and then it’s a much more You know involve process the beauty of these drone photos is that they’re pretty easy and straightforward to edit so How we’re gonna do this then is I’m gonna have this first frame selected and then select The last one so I have these five here.

These are all five brackets of the same image And then I’m gonna control click or right click on this and then we’re gonna go to edit in open as layers in Photoshop All right, so now you can see these are all loaded as layers here in Photoshop I’m gonna do this manually, but I do have actions here these hdr real estate drone photography actions I showed this in another video I have a link to that up on the screen right now how to use the actions and these are Available in the description of this video for a small fee if you’re interested in them They just help speed up the workflow a little bit But again, I’m gonna do this by hand so and manually so you can see how this is done without using the actions They just help speed things up so I’m gonna select all five of these first and foremost by clicking on that and then shift clicking Down on the bottom one just to select all them then go to edit and I’m gonna go to auto align layers Which is right here and auto is fine.

I’m gonna hit okay This will just make sure that There was no movement in between the shots and that all these layers will stack up and line up Perfectly just a precaution they might be fine without doing that, but just to make sure that they’re all lined I want to do that just to start off otherwise once you start blending you’ll have sort of ghosting effect or You know things not lining up correctly, especially with the drone, you know, it’s not on a tripod It’s moving the wind might blow it a little bit and you might have slight alignment issues if you don’t do that So it’s just you know a good idea to do that first right now.

We’re gonna start blending So typically I’ll use this first layer to blend off of and so looking at this layer You know what what issues do I see? Well? The white of the house here is a little overexposed The sky is overexposed So, you know, stuff like that.

So I want a darker layer. So the next one underneath is a little bit darker. And then we have this one down here that’s like way darker. Whoops. If we look at, if we drag that to the top you see. You know, I’m just going to use this one because we can just slightly blend it in.

So one of those two darker ones will work. I’m just going to use this one. And what I want to do here is I want to add a layer mask on that. So I want to click on that and you’ll see we have a white layer mask.

I want to change that to black. So I’m just going to hit command I or control I with that mask selected, not the layer selected, the mask selected, and that will invert it to black. You could also take the paint bucket tool here and with black and just fill it in.

You know, there’s other ways of doing that. You just want it to be black. So now that it’s black, it sort of is hidden now. And now we’re going to brush over that. And what that will do is reveal that darker layer underneath and bring down some of these overexposed areas.

So we want our brush tool here. Which you can get also by hitting B and we want a nice soft brush. So I’m gonna go hardness to 0% just very soft round brush soft round here and that’s good and Here’s the important thing Opacity 100% is good.

We want our flow Low so it’s only gonna be a little bit that at a time as we brush that it’s revealing So 4% is good anything 5% or under is is a good is a good amount to use usually so Brush size, uh, you know, this is pretty large right now, which is good I like it to be a pretty large and you can use your bracket keys to go up and down on the brush size so Now i’m just gonna start brushing a little bit over the front of this house You can see it’s bringing down the exposure and there’s overexposed areas And now they’re not so overexposed.

You can see a little bit more detail there now Even a little bit here maybe on the driveway this little uh detail piece here with this uh Sort of pavers here or whatever What i’m gonna do here now is just now that i’m done with that layer.

I’ll just select these two layers and i’m gonna uh You can control click or right click on them or you can just hit command e or control e but uh Merge layers is what we want. So we’ll just merge those two And i’m gonna bring this brighter layer up Maybe that’s not even bright enough.

Maybe this this this last one’s like the brightest one. I’ll bring that up That’s very bright and again. I’m just gonna add a layer mask And if you want to automatically just add a black layer mask like I showed you before inverting it That’s one way of doing it But you can also just hold the option key and click on this add layer mask button And that will automatically add a black layer mask.

So that’s just another way of doing that’s a quicker way of doing it Actually, so again with our brush tool and again Another important thing I want I forgot to mention was you want white as your foreground color the color You’re brushing with because we’re painting on a black layer mask If you try to paint with black it’s it’s not gonna do anything.

So you wanna make sure that you are using white, otherwise it’s not gonna do anything. So I just wanna brighten this area up a little bit. Just raise the exposure here. And you can see what I mean, like by doing this by hand, you have full control over, you know, over your image and your exposure here.

And I mean, really that’s it. So exposure -wise, I think this is good. Like I said, it’s not much. Like you can do this super fast. It’s not a lot of work to hand blend. It would be faster to just all emerge them.

It would be, but it’s not that much slower to do it this way and the result is better. So yeah, I’m happy with this exposure now. Again, you know, you don’t need all five brackets. I use three. It’s better to have the extra brackets and not need them than to need them and not have them.

So I like to just shoot five. Again, you can shoot three if you want. Even. One you could push and get a fine image out of it, like in most cases, but it’s a good idea to have some brackets, I feel like.

So now that I’m happy with the exposure, I’m just gonna select all these layers and I’m gonna hit the Command E or Control E options and I’m just gonna merge them that way. Again, I have this overexposed sky, so I wanna put a sky replacement in here.

So if I go to Edit, then I go down to Sky Replacement, and that’ll bring this up. The Photoshop sky replacement tool is amazing, works really great. So I have these inside Real Estate Photography Sky Replacement Pack that I also have available down in the description below if you’re interested.

So it has all these guys that I personally shot and for these purposes, so they’re great for this. Photoshop comes with these stock blue skies as well. I prefer my own, so I’m gonna use one of my own, but those are there and they’ll work great as well.

This first one here actually is pretty good. It actually looks similar to the actual sky of that day. The clouds are very similar, but I have all these other options in here. But yeah, that first one is perfect.

It looks basically the same as the one from that day. As far as settings go here, I don’t really do much as far as the settings. It’s just pretty much default, I believe. But output, I like to output them to new layers, so I’m gonna hit OK.

So what I’m gonna do here is just click on the layer mask. I don’t want a black, just a regular white layer mask here. And then if I change my foreground color to black and I’m just going to put my flow to 100, I’m just gonna paint over some of this house just to make sure that there’s no sky bleeding over onto it.

You can just make this brush really big. Just like sometimes it gets onto some areas of the foreground, I just like to make sure that it’s not really affecting that. So that looks great. I don’t even know if there was any bleed there, but sometimes it happens.

So now that that’s good, again, I’m just gonna select these two layers, Command, Control -E, just emerge them. And now I’m gonna just hit Command -S, or you can just go File, Save, whatever way you wanna do it.

So now that we saved it, if we go back to the Lightroom. All right, so now here, the blended image we just did here is now appearing in Lightroom. And what I like to do here is hit the right bracket key, and that will rate the photo.

So you’ll see here now that’s five stars. And that comes in handy later, and I’ll show you what I mean by that, because now you can sort by filters, so you can have rated, unrated. So at the end, I know that all the photos I edited are rated, and I can just hit rated, and then only those will show up.

We’ll touch base that on that in a minute. All right, so if I go to Filters off here, it’ll just bring me back to that. So what I wanna do here is just quickly, I wanna go to the Develop module. Again, I’ve used our presets here.

I have a drone HDR finishing preset, And that is also available with those Photoshop actions down in the description if you’re interested in that. But, you know, we’re just gonna do this manually. Sometimes I like to just hit auto.

It usually does a good starting point here. Actually, this is, you know, pretty good. So, or you can do it manually, whatever you want to do. But actually, that’s pretty good. Bring the highlights down maybe a little bit more.

I just tweak it now if I see anything wrong with it, but it’s really pretty spot on. What it did, so bring the shadows down a little bit more, make them a little bit more rich. Now, I am always adding clarity, so I’m gonna pump that up.

I usually am around 20 to 25 on the clarity. So somewhere around there. So that just, you know, gives it more like definition. And then, you know, a little vibrance that I added, and that’s fine. Just to make the colors pop a little bit.

And the other thing I want to add is sharpening. So you’ll see this detail tab here. So if you go in there, you’ll see sharpening. And here on this little thumbnail, this is perfect because you can see like the brick of the house.

And, you know, it gives you this little window, zoomed in window, because you can see, you can slide the sharpening slider up until you see those details. I usually like, you know, 60 to 70, somewhere in that range.

And now, if you hit the backslash key next to the bracket keys, this will toggle the changes we made. So this is before, this is the blend straight out of Photoshop, and this is, you know, the stuff we just added in Lightroom.

So the Lightroom portion of this editing really just makes it pop, you know, sweetens the image up, makes the colors pop a little bit more too, and just enriches the entire image. So this is, you know, like a little finishing stage here, which is important, and it makes it look that much better.

So, alright, so that is really it for this photo. That’s done. And I know that you can see that it’s really good. this took a couple minutes to show you this because I’m taking it slow so you guys can see the process but this all could have been done within a couple minutes really that fast it could be done you know in two to three minutes and now let me go back to the library and we’ll do one more photo and I think after that you’ll have the idea and we don’t need to keep going through these but now this is all out of whack because I have this one here so if I just go to filters unrated that’ll take that out there so that again we have our straight five in a row here again so let’s do a higher up shot as our second just to show you a different you know scenario and so this is a full height shot here so let’s select this one and we’ll edit this one so I’m just gonna select again this whole row because these each one of these is a bracket in this set so five brackets and I’m gonna again go to control click edit in open as layers and Photoshop all right so you’ll see now here in Photoshop that All these are loaded as layers.

So again, I want to do select all these and go to edit and auto align layers. Just make sure they’re aligned. I’m going to hit OK. All right. So now what do we got here? Exposure wise, you know what?

This overall looks pretty good. I could probably get away with almost even using one frame of this. But by the way, always make sure you’re horizon straight. This one’s pretty straight. And you can do that by using the crop tool right here, which you can rotate.

So you can see the horizon is pretty much straight across here. So we’re good on that front. But a lot of times it might be skewed and that’s like a pet peeve of mine. I hate seeing drone photos with the horizon on an angle that bothers me.

So just make sure you’re horizon straight. I want to just bring down the exposure up here a little bit. So I’m going to take again this darker exposure down here, bring that up to the top. And then I’m going to again, option click on the layer head layer mask button.

So it’s going to have a black layer mask. I’m going to take my brush tool, which again, you can hit B to get your brush tool. But I want to make sure I changed my foreground color back to white. And I want to put my flow back down to, you know, four percent is good.

And then so what I’m going to do, I’m just going to start brushing over this horizon a little bit. Again, I’m going to replace the sky. This isn’t a great sky anyway, so I’m going to replace that. So I’m going to just go over that a little bit.

So that just kind of gets rid of some of the haze there that was kind of bleeding over the horizon just a little bit. By zooming here, the house is maybe a tad bit overexposed. Just if I just kind of a little bit bring down some of this.

This is pretty negligible though, because of how high up the shadows you’re not really going to be seeing that. So a little bit here, just painting over areas that are a little bit over the horizon. or like a little on the hot side, a little overexposed.

So that looks pretty good. That’s really all the blending we need to do here. Like again, it’s not much. A lot of times it’s not much. So I’m gonna select all these and I’m gonna merge them. Command or control E will merge them.

And now I wanna put a sky in here. So again, I wanna go to edit, sky replacement. Again, I’ll use that for sky and my sky replacement back here. And then again, same settings. I’m just gonna hit okay.

See what this is doing. You can also do this just to see if there’s any bleed coming over onto your image too. Not really much in this regard. Sometimes it looks weird when the sky replacement just like goes right to the horizon.

There is a bit of a sort of a haloing effect here, which is actually good because that’s kind of like natural like for that to happen. What I’m gonna do here again, is I’m gonna add a layer mask here, a white layer mask, not option click, just regular click on there.

And I’ll take the black as my foreground color. I’m gonna get my brush tool and I’m gonna go ahead I’m not gonna increase my flow here. I’m just gonna keep it at 4%. I’m just gonna brush here a little bit.

I’m blending it now a little bit with just the horizon line with the original photo. Just to help blend it in sort of with the original sky, just to give it like sort of a gradient. So it’s like kind of fading into this bluer sky up here, which I feel like is just more natural look and like it tends to be that way in real life.

So watch if I shift click on this now, that’ll hide the mask. So you can see what I did there. You can see how it’s a little bit wider now on the horizon and I’m just going to select all these layers and again merge them so Command E.

One other thing I wanna mention too is it’s popular too to add like sort of an arrow or some sort of indicator showing where the house is. Like on these really high up shots, I mean. So the couple options here, I wanted to cover in this video.

So I have shapes here, but if you don’t see that, you go to window and shapes is it’s in here. You can search shapes here and just search for arrows. There’s different arrows. I have a couple right here.

So if I drag this arrow in here now, what I do is I just kind of squish it a little bit and by doing that, I just hold shift key down and do that. And that’s how you can squish it like that. Also I’m going to rotate it.

So move the arrow until you get this rotational thing. And also if I hold shift, it’ll only go at, you know, whatever increments 15 degrees or five degrees. I don’t know, whatever it is. But we want to make it straight up and down.

So I know that it’s, you know, a straight 90 degrees there. If you go to properties here, fill, I want to make like a red color. So you can pick whatever color you want, but you know, like a deep red or something, whatever you want to do, you can just leave it white.

Even some people do white, whatever you want to do. And stroke, I don’t want to stroke. So then I can position this right over the house here. This would be something I would do at the end. I would edit this and I would first pick it, practice a lightroom, edit it, and then open it again after the fact and Photoshop and add this arrow.

Then I would save two versions of it. I would save one version without the arrow and then one version with the arrow and send that to the client so they have both versions so in case they don’t want the arrow.

I’m just showing you this because a lot of agents want this. They want some sort of indicator of where the house is. That’s one way of doing it. I also have created this other little graphic that I use.

If I go to the document, I have this home icon thing and it looks like this. So if I select this and just cut it and paste it in here, I have this little thing that I created so you can create something like this too.

I tend to use this one. I just feel like this is a little more elegant looking, classy looking and all I’ll do is go in. If you double click on that layer then you’ll go to drop shadow. These settings are all whack because I was doing something else but I completely forget it.

you Bring down the distance here And you can control this however you want and your opacity how strong it is or whatever I’m not gonna get too Into it here, but if I hit okay, I hit that effect off and on by zooming here.

You can see better so that’s off and That’s on so it just helps me get stand out a little bit more it needs a little bit more work It’s not really right, but you know you get the gist so that’s another way of doing it, too I just want to show you that also sometimes people ask for property outlines and Be cautious with this because there’s obviously legal issue things here But you know you have to make sure that they say that you know it’s approximate or whatever just a for illustrative purposes Or whatever I could ask to do a crowd off and I’ve never had an issue But I’m just bringing that up, but how I do that is I just take the The pen tool which you can just hit P for that’s right here You don’t want to fill you just want to stroke and you know you select red and I’m gonna bring this up to like it’s usually like around 25 or so like 23 whatever like some are that that thickness and then you know you just click around the property And then I’ll create this red line around it.

So again, I’m just guessing here, but uh You know I Like say here like you know say that’s the property. I don’t even know if that’s the property line I’m just you know doing this for illustrative purposes And you know we got this curved line here.

So how do you how do you deal with that? Is if I click here and hold it down and Drag now it’ll curve. So and I can just curve it right along that line Basically, that’s a basic property line here. So that’s that’s how I would take care of that if I got requested to do that I won’t do that usually on my own the arrows I always do or the indicator of the house on these high drone shots only for the high ones by the way the full height Drone shots I put the arrow in and to give both options with or without.

Property line, I don’t do that unless they ask me to do it and if they do ask me to do it again I’ll give it to them with and without, not just with so I’ll give both versions. So I just wanted to cover that you know because those are popular things that I get asked for and you probably see that all time in drone shots so I just want to show you how I deal with that.

So alright so now I’m gonna trash that layer. So now I have my blended photo here and I’m again just gonna see if it command S, control S to see of it and then go back to Lightroom and you’ll see now we this photo now you know popped into our Lightroom collection.

Alright so real quick I just want to take this off of unrated and go to filters off you know with this selected I want to do the right bracket key and just increase the rating again to five stars like I said before just to help us know which ones are edited which ones are not and now again I’m gonna go develop again I’m gonna start by just hitting auto see what it does so actually that did a nice job of you know Bringing out the colors already so that’s before and after so you know brought out the colors here nicely It’s a good starting point.

You can see what it did here. It’ll only do things in here So just brought the vibrance up brought the whites up brought the shadows up Highlights, I like to bring them maybe even down a little bit more Exposure looks good here You can see our histogram here is nice, you know nicely, you know exposed So yeah, this all looks pretty good.

Maybe the shadows up a little bit more You don’t want to go overboard with the shadows because you want some rich blacks in there too, you know So and clarity again, I’m going to add clarity to about 20 to 25 Somewhere in that vicinity So that’s before and after again And then finally I just want to add some you know again some detail sharpening here.

So I’m gonna bring that up Somewhere around here 60 to 60 to 70 somewhere around there and That’s basically it. So just you know before and after so that really sweetens the whole thing up as you can see and You know, it looks great So now finally what I want to do here I want to go to filters and I’m gonna go to rated now You can see we have our two edited images here And so at the end this would just be all of them, you know all the ones we edited because we rated them We’ll all just be in here and we’ll have them So I’m only gonna do these two because really it’s just the process is just the same It just will continue on and on until you’re finished with these so there’s nothing else to really to show you here I’ve showed you everything.

That’s the workflow for drone photo editing that I use Finally what I would just do at the end is I would select all my photos that would be in here like this and then you know You would go to file and export And what I would do here is just you know pick you pick your folder you want to export it to You know, you can rename it to you know, the address, you know, whatever it is, 1, 2, 3, Main Street, typically you rename them to that.

And or and you could even add drone to it because in case you had other, you know, regular photos that were in the mix, so you weren’t, you know, having redundant file names or whatever. So whatever you can rename it to whatever you want.

And then you could, you know, limit the file size. I tend to do that too, you know, to like 5 ,000, 6 ,000k. So just to keep it down because if you export these full res, they’re going to be like 20, you know, whatever, depending on the drone you’re using and, you know, whatever, this will depend on, you know, I like to keep them under 10 megabytes.

So this is going to keep it around 5 megabytes. So that’s totally fine for MLS use and whatever. So around 5 ,000, 6, anything under 10 ,000 really will be fine in most cases. But I usually use 5000.

So, and that’s it. And then I’ll just export it and then it will go to whatever folder I designated here and that’s that. And then I can send it to the client and we’re done. So that is my workflow for drone photo editing.

Okay, so now let’s go over my drone video workflow, how I edit drone videos. So I have Adobe Premiere Pro open here and I’m just gonna go to new project and you can name this whatever you want. I’m just gonna call it drone video.

And then you can save it wherever you want. I’m gonna choose in my location, drone video, I’m gonna choose that folder and then you just hit create. All right, so once your new project opens here, first thing we have to do is import media.

And you can do that by just double clicking on this window and that will bring up the import dialog box here and I have my drone video folder here which has all my clips in it. I also have a song already picked out in here from music for the video and I got that from Soundstripe which is this website here.

I have a link to this playlist that I made here which has songs that I’ve used in other real estate videos. A bunch of them, I’m always updating this and adding new ones. So you can always check that out.

And also I have a link to Soundstripe down there. So if you’re not a member of Soundstripe and you need to become a member of someplace to get music for your real estate videos, it’s an excellent resource.

I use it for every real estate video that I make. So, and I’ve always have used it but I am sort of an affiliate. I get a small commission if you use my link. So if you wanna help me out, hey, use my link to sign up and I appreciate it.

I mean, it’s not much but it’s something, it’s cool. But I do have this playlist that I created which I also have a link to down in the description too. So you’ll have access to this playlist too. And these are the ones that I’ve used.

These are all songs that I’ve used in one video or another for real estate purposes. So it’s there for you. Alright, so now going back to Premiere, I’m just going to import all this media. So with that first song selected, I’m going to go down to the bottom and just holding shift when you click on this.

And now I have all my drone clips in the song here and I’m going to hit import. Alright, so once all my media here is imported, I’m just going to click on one of these here just to click off because I don’t want to mess with the song here.

So I want to select the first video clip in here and then go down to the bottom and again hold shift and select the last one just so I have all the video clips selected. And now what I want to do is control click on these or right click and that will bring up these options here and I’m going to go to modify interpret footage.

So what I want to do here, you’ll notice that the frame rate, the native frame rate of these is 29 .97 or 30 frames per second. Again as I mentioned earlier in the settings that I want to convert this to 24 frames per second.

So I want to go to assume this frame rate and I want to type in… 23 .976. That’s usually the native camera, sort of 24 frames per second. You can just type 24 on there too if you want. Whatever. I’m gonna hit OK.

And again, the reason for that is that it’ll slow down the footage just ever so slightly, making it a little bit slower. Like technically you’re making it slow motion, but it’s not really that noticeable.

It just gives it a little bit more of a cinematic feel to it, a slower, more dreamy feel to it. It just, I like the effect of it. It’s minimal, but I like it. So then really next what I would do as far as my workflow is concerned is just start clicking on these, double clicking on these and bringing them up into this window here.

And then you can play through these or scrub even like, just usually scrub until I get to the point where it’s moving. And then I’ll hit the I key, which will set an end point. And then I’ll just play it.

And then just to kind of get a feel for it. And then when it kind of gets to the end of the motion that I like, you know, around there, I would just hit OK. And what I would do then is you want to insert into the timeline.

So you can do that by a few different ways. Actually, since there’s nothing in here yet, you’ll have to just drag this in. So if I just grab the film strip thing here and put it into here, now it’ll create a timeline.

A sequence here, as you’ll see here in the bin. Based off that one clip settings, I like to double click on these two just to enlarge this and make it bigger. So now we have the clip in here and now the sequence is based off of these settings.

So again, these were shot in 5 .1 K. And I want to my timeline to be in 1080p because that’s what I’m going to export as is 1080 and send to the client as a 1080p video. You don’t need to be sending them 4K videos for use on the internet.

1080 is kind of the standard that everyone uses. you and 4K’s overkill, kind of just the large file sizes, large video, these will play well as 1080p videos everywhere. So that’s just my recommendation, is to send as 1080p.

So how we wanna do that now, select the sequence here and then right click on this or control click. And what I wanna go down to is sequence settings. And that’ll bring this up and you can see it’s in 5120 by 2700 or 5 .1K.

So I wanna change this to 1920 by 1080. And you can see it’s in 23 .976, so that’s what we want. And that’s all we have to change here is just the resolution. So I’m gonna hit okay. And you know, this will come up, just say okay.

So now you can see, wow, this is like huge in here. Now, you know, it’s so zoomed in and this is what’s actually cool about it though. So, What I want to do with this clip selected here, if I go to Effect Controls and Scale, 40, if I type 40 in here, that’ll bring it to full size or, you know, filling the frame as far as 5 .1K.

If it’s 4K, if you have 4K footage in a 1080p timeline, you want to put this as 50%, like 50, that will be the size you want it to be. That will fit in, because 4K is double 1080p. So, you know, if you put it 50, that will fill the frame perfectly.

But this is what I was talking about before, as having flexibility now with having an extra resolution when you’re editing the drone videos. Say I got this into the editing and I was like, oh man, I wish this shot was tighter on the house, you know.

Now I’ve 60%, I can zoom in up to 60% without losing any resolution. I can go up to 100 here and that’s still full resolution. If I go above 100, that will be starting to degrade the image quality, because I’m going above the native resolution.

But you know, I can say put in 50 here, you know, I just punched it in a little bit and now I can go to Motion here, if I select the motion here on top and I can drag this around and just, you know, reframe this.

I have all this extra resolution to work for. Now I have, you know, say I want it to be tighter like that. Now if I hit play, you know, it’s a tighter shot on the house. I’m not saying I necessarily want to do that for this shot, but you know, I’m just saying these are the luxuries you have with, you know, higher res footage.

You know, that’s a big plus and that goes for any video footage, even, you know, regular interior footage, whatever, you know. So if you can shoot at higher resolution and your computer can handle it, I recommend doing it just for these reasons.

So I’m going to undo that actually. So then what I can do is just continue going through the list here and, you know, editing through, this is just the going the opposite direction. We don’t really need that.

So I’ll be like, I know I like the first one. I find. Here’s the going through the gate. I think this first one I believe was a mess up usually I know too I just remember so yeah, here’s in a second shot of that so I Remember the first one I wasn’t thrilled with so I’m gonna use this second one here and Just again, I like to scrub and just faster and just kind of get to where The clip is gonna start where I want to and that’s still a little wonky so right there.

I’m gonna hit high for in And as it gets through the gate here, I want to stop about there So I’m we hit oh and now what we can do is I Want to add it to the timeline obviously now I want to think a little in a way of how I want to put this together Usually I start with again that approaching shot as my first shot and the pull away shot is my last shot And then you know, how do I want to go?

I want to tell some sort of story here with this and you know Really really I just have one clip in the timeline is this one so I’m like do I want this thing? Come after this clip or before this clip in there and the answer is I want to come after that clip So I want the playhead to be after that and now I can hit the comma key and that will automatically insert that in there And if there was another clip in front of it that would insert it in between if you hit the period key That will also insert it, but it will overwrite if there was another clip here So if I go back to here and hit period see it’ll just overwrite it onto there We want that but you know if I was to put another Copy of that clip there if I hit comma key and it will just put it in between the two So I always use comma key just you know putting that out there And so again, you know, obviously this is way zoomed in I’ll have to you know reduce this to 40 But I would just wait to the end first thing I do is just go through the clips like you know one by one here and then you know inserting them in the timeline in the in the spot that I want them to go as far as the story I want to tell with this and then once I have them all in there I can go to effect controls, you know do 40 and then you can just you know If you go to the one and you go to you select motion here and just copy that by command C or a control C Save this clip was still in a hundred You know I have all the clips now I could just copy that like I said and then select this clip and then control or command V and Paste and that will just paste these motion settings into 40 and then you know You just paste that throughout the timeline get them all there and then you could tweak it later So this process of just going through these clips one by one and inserting them in Would just continue until I have all the clips that I want in my timeline So I’m just gonna pause this here and then get all my clips in a line in my timeline So you don’t have to watch that whole process.

This is just the process that I just showed you So there’s no reason for me to bring you through all that So once I have them all in line will pick back up there All right So I went through all the clips and laid them out in a way that I think makes sense in my timeline And I’ll show you what I mean by that in a second, but first here I have that first clip we did and again I want to copy that motion.

So I want to control C or command C and then if I just, with the timeline selected here if I hit command A here and just select all and just command V or control V and paste. So now I just pasted those motion settings to every clip so now they’re all filling the frame as they would if they were natively shot at 1080.

So, you know, just to show you what this looks like how I arranged them, you know, again so I’m bouncing back and forth inserting clips wherever I think they belong so again you know this is that approaching clip, you know, I start with that and then you know end up with this sort of shot of the property and then it goes into, you know, a tighter shot of the house and then you know even more detailed front shots, you know, culminating at this sort of above shot, which will zoom out to these high shots, these full height shots showing the surrounding areas, and then eventually coming into the back yard.

So this shot kind of revealing the back of the house and the whole back yard scene, and then breaking into more detailed shots of the back. So the back of the house, then going into the pool shots. And then simply ending on this pull away shot.

It kind of tells a story. You approach the house, you see the front of the house, you pull out from above the house into these panoramic shots, and then you hone in on the back yard and then you leave.

So in some way or another it visually tells a story. Don’t just randomly throw clips together. Try to tell some sort of story. I feel like it makes a big difference. It keeps the viewer engaged and makes them want to keep watching your video.

If it’s just a random montage of clips, it may not be as interesting. So just keep that in mind. So at this point in the game, now you want to get our music into here. So I got the song here. I’m just going to drag that into the timeline below the video clips.

And now what I’ll do is, you know, you can just even lock this off at this point. I will edit the song too if I need to, but really what I start doing is, you know, first things first here, like I’m going to put in, I’ll go to effects and video transitions, and you know, you can go to dissolve and, you know, cross dissolve.

I’ll just add that at the beginning just as a fade in. So just fades in on that beat. I listened to, I sort of edit to the beats. I know it’s a kind of a straightforward way of editing, but so I’ll just kind of use my arrow keys to scrub and.

you I watch and see where I feel like I need to change to the next clip so I’ll just watch. Boom right there on that beat so I’ll just scrub so I hear that’s where the beat is so now I know I want to make a cut there.

So one thing I’ve done if I go to keyboard shortcuts here under Premiere Pro this is something you may want to do is just make your editing workflow so much faster so if you look at the Z tool I have it as add edit and then I’ve changed the X key to ripple delete.

How you would change these two is if you go now here to the search thing and you would type add edit in here and that will come up here and you can see I have a shortcut as Z you would just select this then and hit you know I could change it to D which already has something so I don’t want to do that but you would just Hit the Z key here next to Edit and it would change it to that.

Same with Ripple Delete. You would just type Ripple Delete in here and select it and then select this and then just type whatever key. So X, we already have it as X. No modifier so it’s not like Command X or anything.

It’s just the X key or just the Z key. That’s all you have to hit. So then you would just set those two as those two things and I’m just going to cancel here. And right here is where I want to add and edit.

So that was the Z key. So hit Z now, you’ll see it made a cut. Now if I select this section that I want to get rid of and hit X, that’s Ripple Delete, it’ll delete it and pull all the clips back to that point.

So it’s amazing. So it just speeds up your workflow. It’s a ZX, ZX. Now I can just keep playing. So now it changes right on that beat and then on that beat, I want to add another edit. So I’ll hit Z again and I want to get rid of the rest of this.

So I’ll hit X and Ripple Delete. So I’ll just continue on with that process. These two clips are going the same direction. So I actually want to change this clip to go the opposite direction and there’s no cars or anything on this.

So I can actually reverse this clip and not have any issues. But if you have a car say driving, you don’t want it to be driving backwards through your frame or something like that. So if there’s no movement other than your camera movement in the frame, it’s okay to reverse it.

And how you can do that is just hit Command or Control J. I actually might have changed that in keyboard settings too. Or you can just go to clip here and you’ll see speed, duration and it’ll be, it’s the same thing.

But you can just go click reverse speed, check that box and hit OK. And now this clip will be going in the other direction because that one’s going that way and now this one’s going the other direction.

And my computer’s just struggling on it a little bit. There we go. So I want to actually cut off some of the beginning of this clip. I want more of the middle of it, so I’m going to hit C and I want to get rid of this area, so I’m going to hit X just to delete, ripple delete that.

So now it’ll start more closer to the middle. Yeah, like right there. And boom, right when that song kicks in, I want to make an edit there. So I’m going to hit Z again, again select this and ripple delete it.

So this is the basic workflow process that I use. It’s very fast, very efficient, and you just keep going through the clips. Again, I’m not going to bring you through this entire edit, it’s just going to get redundant.

But a couple of tricks, other tricks I want to show too is like speed ramping. So say you have this clip, like this is a really long clip. Say you want to show this, you know, pound of rammy scene, but it would take way too long for you to watch this whole clip.

So you want to show that whole thing. This is where speed ramps come into play. So how you make a speed ramp is… If you control or right click on the clip, you go to show clip keyframes and you go to time remapping, speed.

Now this line will appear and we want to make it edit to that line. So we want it to start at normal speed here, you know, then speed up and then end at normal speed here. So we want to make a point here, a keyframe here and a keyframe at the end.

So if you hold down the command key on a Mac or a control key on a PC, I assume, this little icon come up with the plus sign. So you can just click here and it’ll just create a point right there. So now we want to go to the end, say somewhere around there and create another one.

So holding the command key down, click there and create another point. Now you’ll notice if you hover over this middle line, you’ll get these little up and down arrows. So I want to just click down on the line and hold down, you know, click and hold.

And now I’m just going to drag up and that’s going to increase the speed in between those two points. So I’m going to bring it up. I usually try around like a thousand percent. So somewhere in that vicinity.

So now it’s just going to jump. Now it’s just normal speed. It’s going to jump to a thousand percent and then go back to normal speed, not in a very graceful way. Watch, I’ll show you. I’ll play the clip back.

So it just jumps to a thousand percent and goes down. So it’s not very smooth looking right now. So we want to smooth that out. So how we’re going to do that is I want to hit the plus key to just zoom in here.

Plus and minus zoom in. By the way, that’s very handy. You’ll see these little handles here. And what I want to do is grab this inside handle and you’ll see these little arrow icon there. I’m just going to drag it to the right.

And again, this little inside handle here, I’m going to drag that to the left. I want to even them out a little bit so they’re about the same size. So this is where the term speed ramp comes in. because now we’ve created a ramp.

It’s gonna ramp up and ramp back down. Now the other thing you can do is, if you click on this little handle here, you’ll see these little handles. So if I grab this here and pull it to the right, you’ll see it’s now making a curve.

It’s making the curve a little bit more graceful. Again, if I select this handle here and then I’m gonna pull this to the left. Now it’s just rolling the speed up and then rolling it down in a much more graceful manner.

So now if I play this back, you’ll see, it’s much smoother now. So that’s how you do speed ramps. So if you have a really long clip but you wanna be able to show the whole thing without making somebody sit through maybe 25 seconds of it, because it’s just way too long, you would use a speed ramp.

That’s when you would use a speed ramp. The other thing I wanna mention too is say you have a clip that’s a little bit bumpy because of wind or whatever, the drone’s moving a little too much and you wanna smooth it out.

Like this clip is a little bit like that. Actually, it’s really not bad. Sometimes you get bumpy footage and how you deal with that is if you go to effects here, type in warp stabilizer. You’ll see down here video effects distort warp stabilizer.

I’ll just drag this on here and it’ll do some analyzing. You can see the analyzing that it’s doing is 75% done. You just have to wait until it’s finished and then it’ll say stabilizing and then it’ll stabilize the footage.

This doesn’t always work well. We’ll see how it works here. If I play it back. Okay, so that worked great. Now it’s just stabilized, took out any bumps in the footage. If you have any bumps or imperfections in your footage, you want to smooth it out, warp stabilizer is a great tool.

Again, sometimes it won’t work. You’ll get some really funky looking stuff. To combat that, sometimes you can try to just put it on position instead of subspace warp and that will help. Usually I just use a default, just drag it on, let it analyze and if it works great, if it doesn’t, then I won’t even use it.

I’ll just try to edit the clip to make it look better by using parts of it. Maybe that aren’t so bumpy. It usually works pretty well with drone footage. If you use it on interior clips, like if for interior video, it’s a different story.

That’s when it really sometimes doesn’t work. But for these clips, for drone stuff, it usually works pretty well. So as far as color correcting any of these clips, like say, I don’t know, say like you thought this was too dark, you wanted to adjust some exposure settings or color settings or whatever, you know, you just select the clip you wanted to do and if you go to window and you go to Lumetri Color, this little panel will come up and you can increase this size here.

Usually for drone clips, I don’t really have to do this. This is definitely an important step for interior video, but for exterior drone clips, even your shooting outside and daylight usually don’t have much of an issue with having to do any corrections.

But sometimes once in a while. you know, maybe this looks a little too dark, maybe you might want to expose a crease the exposure a little bit Just make some adjustments, maybe the shadows or whatever like that’s a little bit better And you know again, that’s very minimal changes there as you can see But you know sometimes I’m on to make some tweaks So that’s how I would do that and say maybe the color temperature was off which usually again white balance is usually spot on with the drone footage I never have to make white balance adjustments, but you can do that here with you know this slider You know it’s all here, but you know this how you can make basic exposure or color adjustments if need be So that’s my basic workflow for video editing the drone videos is pretty again pretty straightforward easy So I’m gonna finish editing this and show you the finished product, but before I do that I just want to show you how I export so after you finished all your edits obviously this is not finished, but you know You can just go to controller command M or if you go to file export media will bring up the export you know dialog box and again you can just rename this to you know drone video and you know you would just go to whatever folder you want to save it in there and then I have this preset called export for YouTube but I’ll just show you what it is so when I export as is H .264 and if you go to video tab here again 1920 by 1080 you want to make check this off render at maximum depth user at maximum render quality want to make sure that’s checked off and other than that encoding settings profile high level 4 .2 other thing I mess with here is bitrate settings so you want CBR not VBR CBR and 40 is what you want it set at again that’s one of the most important parts of this and that’s really it for video and then for audio just a C 48 ,000 Hertz stereo and then the bitrate is 320 so then once you have all those settings like I just showed you you can just go to these three dots here and say preset and call whatever you want mine is just called export for YouTube that’s what I use for all my YouTube videos to whatever so you know you can just save it as whatever you want that way you have it and then you can just select it here and it’s all ready to go and then all you do is just click export and then it’s ready to go all you’d have to do is send it to your client also you know if you wanted to upload it to YouTube for them that’s what I tend to do quite a bit and then send them a YouTube link or you know you upload it to their property website whatever you’re doing with it you know that file is good to go wherever it needs to go alright so that’s really all you need to know to edit your videos for drone videos I showed you all my process there no reason to bring you through the whole thing because I’m just repeating myself over and over and over again but that’s how I edit and that’s all you really need to know to edit your own videos so now I’ll just show you the final edited video it’s only about a minute a little over a minute maybe long so I’ll show you that now and I’ll see you on the other side you Alright guys, I hope you found this full course on drone real estate photography helpful.

If you did, please hit the like button and subscribe to the channel if you haven’t done so already. I really appreciate your support. Also please check out the links down in the description below. I of course have the links of the drones and other equipment we talked about in this video down there.

Also I have links down there to a sky replacement pack I’ve created. I have links down there to Lightroom and Photoshop, Presets and Actions. I have links down there to editing practice packs that I’ve created.

Also a link down there to my Patreon page which gives you access to my private discord group where you can consult with me directly and the group of other great real estate photographers I have in there.

If you have any questions about drone real estate photography or anything like that. So please check all that out as well. Thanks again so much for watching this video. I really appreciate it and I’ll see you again soon on the next one.