5 Things that I Learned from My first Paid Event Shoot by Yuan Yue

Last weekend, I finished my first paid video shooting for a local event, which is the 5th Knox Asian Festival. I am very excited that I could have this opportunity and hope I can do it great. 

It was a busy day, especially for a one-man crew, I didn't have time to think about how I was doing. When I sat in front of my editing desk and started to go through all the footage, I felt like, well, I think I did just fine, but next time I need to do better.

In this article, I would like to share with you 5 things that I learned from this one-day shooting. If you are a guru in this market, feel free to make your criticism, or if you are a beginner just like me, hope you can learn something from my experience. Without further due, let's jump into the first point.


Let me put it hardly, find the best spot that you can get. A great location will make your work much easier. To get a good spot, the best way is to do location scouting. If you have enough time, go to the event location a day before the event take place so that you can have a clear image of what the location will look like and what angles are best, and it is possible there are not too many people there.

If your schedule is very tight, arrive at the location at least a few hours before the event begins. This not only will help you find a good spot but also can let the client know you are responsible and work very hard. Other than that, you may need to talk to DJ or other people on site to get other things you need such as an audio feed.

If you will move around the event location, you don’t need to do anything very special, but find out which spot is the best for each individual scene is important. Also, figure out what is the fastest way to get to different locations.

If you just cover the event in a relatively static spot, one thing I will definitely do next time is to make a sign with gaffe tape or paper to inform people that it’s the spot for videographer, and if I am not going to move a lot, I will use a little platform so that I can stand on that and get a better view.


This means you should get to know your camera very well, not just knowing what setting is what, but knowing what the optimal setting is for a specific situation, that is what we call the “Sweet Spot.”And you should change settings or make adjustments according to different situations without thinking about where the button is.

Don’t use a new camera that you’ve never used for your paid shooting, that is not very responsible. You might lose some key shots due to little experience in the new camera.

I am a long-term Canon DSLR shooter, I know Canon cameras and their menu system very well, but I used a Canon C100 Mark II as my main camera for this shoot. It is a totally different beast. I have very little experience using that camera, So a week before the shooting, I started to get familiar with it, I tried different lenses, used different settings. I was pretty confident that I can handle this beast in the coming shooting.

Thankfully, I completed the job with C100 Mark II, but I would have failed if I did not spend time playing with it because it is very different from DSLRs, even the same brand.

So get to know your camera, it will make you more professional and work more proficient.


You definitely don’t want to be trapped into a scenario where you find out you don’t have any battery or SD card when it’s only 10 minutes before the shooting. That’s a total nightmare for a professional videographer. That is one of the biggest mistakes that a videographer or photographer can make. I have a video about top 10 mistakes that a videographer or photographer can make, check it out here.

Before you go, make sure you have everything you need in your camera bag and ready to go. Make sure your batteries are fully charged, cards are formatted, lenses are correct for the upcoming shooting, camera sensors are free of dust spot, all kinds of things.

 It’s simple but very helpful, trust me, it will save your life.


An event could be lasting for several hours, not every moment is equal. Some moments are so important that you can’t miss whereas some of the others can be ignored.

Those key moments are the reason why your client hire you, for the most part, they want you to capture those moments. Those moments can be anything. A VIP speaker, a beautiful parade, or even just a fancy car stopping by. I think for every event, there will be some sort of key moments. The key to nailing the event is to make sure that you understand what moments key moments are and when they will take place.

To nail it is very easy. Just talk to your clients and get a detailed schedule from them, and ask them what moments are the most important ones, and then mark them on the schedule.

They might tell you a ton, but as I can see, the earlier they mention, the more important the moment is. If you are not very sure, just ask them.


Deliverables are the products you will send to your clients, i.e., the videos you make. However, videos are different. Length, graphics, music you use, different videos could cost a different amount of money. So, make sure that you negotiate with your clients about what kind of video they want after all, and give them what you can achieve and when you can finish. And you can also charge them differently according to different requests.

This is very important. You can’t give them just a 5 minutes highlight video without knowing your client want just a simple 2 hours event live video. You can’t send only one video when your client needs 10 short clips.

If you understand the request, you won’t shoot too much or shoot too little. Client’s happy, you are happy as well.

There are some other important things that a videographer should keep in mind, such as arriving on time, dress properly, be polite to people there and so on. These are not specifically about video production but are general great work ethics.

What Gears do I Use to Start Wildlife Photography? Part 2: Lens by Yuan Yue

Just as I mentioned at the beginning of the last article, a telephoto lens is a MUST when shooting wildlife.

In general, a lens that has a focal length longer than 70mm can be considered a telephoto lens, however, when shooting wildlife, 70mm is just not enough. I recommend 200mm is the minimum focal length for wildlife photography. That means you can pretend that you are closer to the animals. 

Although those long lenses seems big, some of them are relatively cheap and very good for people who just get started.

My first telephoto lens is Canon EF-S 55-250mm F4-5.6 IS STM lens (link) , coming with the 80D.  In some cases, this lens comes in as a kit lens, that means it is an entry-level lens. Retail price is less than $300.

Canon EF-S 55-250mm F4-4.6 IS STM

Canon EF-S 55-250mm F4-4.6 IS STM

This lens has a wide range of focal lens, 55-250mm, you can use it as a portrait lens as well as a wildlife lens. It is light and compact, very easy to carry around compare to those big lenses such as 70-200mm. Although its maximum aperture is only F4 and will become even small when zoom in, its IS (Image Stabilizer) system will help you to have a slow shutter speed and still get sharp images. Besides that, most of the time we do wildlife photography during the day, so we always have enough light to work with.

If you want to do some video, the STM motor in this lens is great. STM makes this lens very quiet and fast when auto focusing. In my opinion, it is quieter than the renowned USM motor in those high-end lenses.

Other than that, this lens can work with APS-C cameras such as Canon 80D (link) I used before, that means the actual focal length of that setup will become 88-400mm, which is really cool.

The downside of this lens is also obvious. It is not weather sealed and the image quality is not as good as other more expensive lense, and it only has an F4 maximum aperture. Other than that, it can be only used with APS-C camera because of its EF-S mount.

So if you just get started in wildlife photography, but don't have a big budget or not sure if you like wildlife photography or not, give it a try, you won't regret.

Here is some photos that I took with this lens. 




My current wildlife lenses is a Canon EF 70-200mm F2.8L USM plus a Canon EF 2x Extender Mark II.

Canon EF 70-200mm F2.8L USM

Canon EF 70-200mm F2.8L USM

Canon EF 2x II Extender

Canon EF 2x II Extender

Canon 70-200mm series must be one of the most well-build Caon series. It has a metal structure and solid build quality. The image coming out of those lenses are very sharp. The focal length is very versatile, you can use it as a portrait lens, as well as wildlife lens and even landscape lens.

This lens has a constant aperture of F2.8, which is great to work in low light situation, I use it a lot when I do interview videos indoors, so easy to work with.

The USM motor makes auto focus very fast and smooth, however, it will produce a little bit of noise. If you use an on-camera microphone to shoot videos, the noise might be collected by the mic, please keep this in mind. When I working in the field, I found the autofocus system from this lens and 5D Mark IV is so quick and accurate to focus on wildlife, even birds.

The downside, firstly is the price, however, I think it is worth to buy if you really want to do wildlife photography. If you go to used market, you can find many good deals. 

Secondly, this is a very old lens, compare to its predecessors, the image quality might be not as good as those lenses, and lack of IS for some photographer might be a deal breaker in wildlife photographer.

Here are some pictures that I took with this lens.

What is 2x Extender? As you can see from the name, it extend your length. For 2x extender, it can extend the focal length of your lense twice. For example, when I attach the extender to my 70-200mm, the focal length immediately become 140-400mm.

It gives you a relatively cheaper option to get a super tele lens, and you can still use your 70-200 as a portrait lens. If you buy a 400mm or even longer lens, the cost might be several times as 70-200 plus a extender. And it is easy to carry around with 70-200mm, but if you have a 400mm, it is so bulky to carry.

You might ask why should you consider more expensive telephoto lens if you can use extender. Yes, there is a lot of debates on whether the extender is good or not because it has its shortcomings.

First, it will decrease the effective aperture. An F2.8 plus a 2x extender becomes a F5.6 lens, if using an 1.4x extender, it becomes a F4 lens. Consider that into your workflow.

Second, image quality, the image becomes less shaper when using an extender, and because of the super long focal length, it is so hard to make it steady than without extender even if IS is enabled.

Third, autofocus malfunctional. For some lenses, autofocus will not work with extenders,

Forth, the extender only work with compatible lenses, not all lenses can work with extenders. Here is a list of compatible lenses that can work with Canon Extenders.

Other than those, a 70-200mm plus an extender might be more expensive than some of super telephoto lenses, such as the very popular Sigma 150-600mm DG OS HSM Contemporary lens. 

After all, if you like me, don't have a very big budget, do some photo and do some video as well, and still want to produce high quality images, I highly recommend this combination when you just get started. You can alway sell them and upgrade to other lenses along the way.

This two models are both very old ones, maybe in the market for more than 10 years, but still widely used by many professional photographers.

Currently, Canon provides several newer versions of these two product, feel free to check out them by using links down below:

The combination of camera bodies and lenses sometimes can be very tricky, you may ask "should I use an expensive lens on an APS-C body or use a cheap lens on a full frame body?" There is no easy answer to that question. If you are interested, you can check out a video from Tony Northrup, he has a very comprehensive explanation.

Other option:

If you want a super telephoto lens but don't need the extender, as a starter you might want to try Sigma 150-600mm DG OS HSM Contemporary lens, it is around 900 brand new, great build quality and super long focal length, and relative lightweight compare to other 600mm lenses.

In the next article, let's talk about accessories for wildlife photography.

DISCLAIMER: The links in this article are affiliate links. I do get a little bit of commission if you buy products via those links. I am not sponsored by any of those brands that I mentioned in this article.

What Gears do I Use to Start Wildlife Photography? Part 1: Camera by Yuan Yue

I started photography about a decade ago as a hobbyist, but just about one year ago I kind of want to learn how to make really good images, and I took wildlife as my niche. In this article, I am going to talk about what gears I use to get started and my rationale for choosing gears.

There is always a theory about photography and videography: GEARS DO NOT MATTER. I partially agree with that, but if we are talking about wildlife photography in particular, not photography in general, I have to say: GEARS DO MATTER! The reason is very simple: you can't be just 10 feet away from a lion in Maasai Mara and take a picture of the lion, right? 8 out of 10 times, you just could not get close enough.

So we need special gears for wildlife photography, from camera bodies to lenses and accessories. But the most critical gear in wildlife photography is the telephoto lens, I believe. Like this image, I am about 100 feet away from these deer but it looks like I am very close to them. 

Two white-tailed deer in Cades Cove, Great Smoky Mountains National Park, Tennessee.

Two white-tailed deer in Cades Cove, Great Smoky Mountains National Park, Tennessee.

My suggestion is, if you want to be a "real" wildlife photographer, consider invest some money for some good quality gears to get started. I am not saying you need to buy most expensive cameras and lenses, not at all. And you don't have to buy brand new ones, used ones are good enough to start. There are tons of used gears on eBay. Take me as an example, 80% or more of my gears are used from eBay, no hassle at all (But you need to know how to choose used gears.)

General rule: To use a telephoto lens, a camera that can change lenses is preferable, that means we need a DSLR or a mirrorless. However, there are still several good superzoom point-and-shoot camera in the market, like the crazy Nikon COOLPIX P1000, you can use the link to check it out.

Nikon COOLPIX P1000

Nikon COOLPIX P1000

Telephoto lens, at least 200mm focal length is just enough. That means you can be in a reasonable (or safe) distance from wildlife and take pictures of them, in which the animals can be seen as primary subjects in the picture.

Let me explain what I have used for my wildlife photography since I started.


Although some super zoom small camera can do a great job, I still prefer traditional DSLR, not just because the image quality, but also because of its versatility, I can use different lenses for different purposes such as landscape, portraits, etc.

I use Canon, most of the time. I have been using 40D for several years as my general camera, last year I upgraded to Canon 80D as my primary camera because I wanted to do photos as well as YouTube videos.

Canon EOS 80D

Canon EOS 80D

Here are some pictures that I took with 80D.


80D is an amazing camera, very easy to use, and if you buy a used one, it is cheaper than a brand new iPhone 8. The auto-focus is great, and you have the articulating screen, which is awesome for vlog videos. 

More importantly, as an APS-C sensor camera, it can give you an extra focal length compare to those expensive full-frame cameras. For Canon, you need to multiply the focal length of your lens by 1.6. For example, if you have a 70-200mm lens mounted on 80D, your actual focal length become 320mm, 120mm more for free! 

And for the most part, it is not easy to see the difference in image quality between APS-C and full frame.

So, as a new wildlife photographer, I really recommend Canon 80D, it's more durable than cheaper ones and can give you a reasonably good image quality if you use good lenses. You can try to shoot several times to see if you love wildlife photography or not. At least, you can sell the camera very easily online without losing too much money.

But because I am still producing documentaries, I am picky about image quality these days, so I finally upgraded 80D to full-frame 5D Mark IV. It is a little bit expensive, but I know it can hold up for a long time.

Canon EOS 5D Mark IV

Canon EOS 5D Mark IV

I am satisfied with the image quality, I know it will be great. And it is so easy to work with, just as 80D. It is heavy, but I think it is a good thing for me because that means I need to work out more to carry the camera. And I really like that solid feel when I hold it. 

The other thing that I consider important is the durability. As a wildlife photographer, you may need to go to many unusual places to get pictures that you want, that means you may have dirt around, water, rain, or other stuff. Hot weather, cold weather (Polar Bears!) You don't want your camera to die when you are working. The build quality and weather-seal function of 5D Mark IV is fantastic, I assume it can work in some of the most extreme weather conditions. I'll find out and do a following-up post.

Here are some pictures that I took with 5D Mark IV.


I need to say that I still need more time to get along with this camera because there are so many things going on in the camera, but I can see its potential to be a workhorse in wildlife photography.

Mirrorless camera is getting more and more popular these days, even Nikon just teased their full-frame mirrorless system recently. But for some reason, I tried some Sony camera several times, they just don't work for me, its too small to handle and not very durable as far as I see (dead in a hot day.)

Feel free to check out all the gears that I mentioned above by using links down below:

Canon 80D

Canon 5D Mark IV

Nikon P1000

In the next article, let's talk about lenses.

DISCLAIMER: The links in this article are affiliate links. I do get a little bit of commission if you buy products via those links. I am not sponsored by any of those brands that I mentioned in this article.


Top10 Mistakes A Filmmaker Shouldn't Make by Yuan Yue

As a filmmaker, I always work with mistakes when I am in the field, or in front of editing software, it is those mistakes that make me learn and grow up. 

Let's talk about top10 mistakes that almost every filmmaker or photographer could make (or at least I always make those.) Those mistakes are very critical to the quality of your project and I think every filmmaker should avoid them,

  • Forget batteries
  • Forget storage cards
  • Unintentionally not using stablizers
  • Misundertand the location and time
  • Audio sucks
  • Exposure not correct
  • Confusing composition
  • Subject out of focus
  • Bring wrong lenses
  • Take too many footages or not enough footages

Here is my YouTube video that explains those mistakes in detail and how to avoid them. Check it out. Hope you enjoy it and give it a thumb up!