Creating a Video From Start to Finish

Lesson 17 of 37

5 Rules to Capturing B-roll

 

Creating a Video From Start to Finish

Lesson 17 of 37

5 Rules to Capturing B-roll

 

Lesson Info

5 Rules to Capturing B-roll

As we kind of talk about this further, I wanna give you some guidelines. I say rules, but they're more like the guidelines, so, keep the gear simple. B-Roll is about the B-Roll. It's not about the gear. I would sooner rather you capture a different angle stably, then to try to like chase someone around, with a camera, because you think that's the shot. Okay. Put it on a tripod, stick it on a monopod, get a good lens on it, capture it, and you're gonna see that when you have stable, usable B-Roll footage, it's going to save you. Next thing is, ask your subject what they think is important. Ask Ivan. He's like, oh, people. Don't just capture me, Victor, capture the people. Show who participates in this gym. Show who does this. Like, you, like and in my brain, I got this, I knew I did, now, the what and the how, will illustrate the lie. That's when that's important. You take the what, you take the how, and you have it inform the why. That's what's important. Because now that I know why he...

wakes up in the morning, I can show the reason he wakes up in the morning, are these people. Yeah. And that's such a different angle, such a different way to look at it. This is cool, I think a lot of times I get overzealous, we all do, we get so excited about recording, and one of my mistakes here, one of my mistakes here, in this shoot, was, I panicked, they started to roll around on mats, I grabbed the camera and ran out into the first half of the B-Roll shoot, I wasn't white balanced, I didn't shoot targets. Because I didn't watch before recording it. You need to realize that B-Roll's important, capturing footage is important, but B-Rolls like, I was there from like 4:30 until 9:30, five hours. If I were to miss the first like 20 minutes, that would have been okay. You know. If I just stopped, got a target, got that stuff. And you know what, maybe I should have gotten there early. You know. So there's things that I could've done better. From the first person POV, that's, that's like, not a rule, it's a nicety, you know the first person POV is like, pretend your opening a cabinet, okay, so from your perspective, is you see the cabinet drawers and you open them, okay. When I'm talking about First Person POV, imagine you're a piece of fruit on the cabinet shelf, and then let the doors open up. That's what I mean. So, give me the perspective of the fruit. Or give me the perspective of that candy bar. You know. As someone's grabbing it. Because I think that's an interesting angle that a lot of people don't leverage a lot of the time, and with a lot of the client profile videos, there's always a moment where you can do something like that. And it just shakes it up, it shakes people out of the, the monotony of watching a film sometimes, and it speeds up your edit. Mm kay, it gives you something really really tangible to put into an edit, that really helps someone move along. Mm kay. And I use that phrase a lot, moving along, have you guys ever sat and just waited, listened to nothing for five minutes? You know how long that is, right? It's agonizing. Watch a kid try to sit still for like three minutes. They can't do it. But the minute you give them a toy to play with, they can sit there for like 25, or maybe, maybe even four minutes, all right. And, but, that four minutes goes extremely faster then. So in the same way that you approach an edit, you've gotta approach an edit that way, is you gotta give people enough to look at, so that they're not yawning, or feeling this edit's just dragging. Mm kay. And internal rhythm is sometimes really important. As you guys develop that internal rhythm, in watching an edit, it's gonna be really really insightful for you, how you're gonna learn how to edit your own style. Mm kay. It's just a joke, this is the joke. I think a lot of times, when we capture B-Roll, we get so ingrained into thinking, oh my God, I gotta get this, I gotta get this, gotta get this, just take breaks, you know, in the middle of a B-Roll shoot, I take an hour break. And just eat a bit. You know. It was a hot sweaty stinky gym, bodies rolling around, sweat flying everywhere, I just had enough. I'd been in there since like, nine o'clock that morning, ten o'clock in the morning, and then, like I'm there, like nine o'clock at night, I needed a break. I needed to go and just like, chill out, grab a bottle of water, you know, and I came back and finished out the night. What I felt really really brought the homie edit for me. There's things that I got in the later half of that B-Roll shoot, that I don't think I would have been able to get had I just shot all the way through. And the joke about focus pulls is like, when DSLR video became really really popular, and a lot of people could like, shoot at that shell at the field, in like, a thousand percent of the work you saw, it was always this like, slow, focus pull from like away to the person, you know, and it was just like, this thing that happened all the time. Just focus pull after focus pull after focus pull. I'm like okay, I get it, I get it! It's shallow! I get it! Yeah, and so oh, you know what I'm not talking about here is like, why I chose the 5D Mark IV, over like the 5D Mark III, for this specific thing, so with the 5D Mark IV, in shooting 4K you get a crop factor of 1.7. What that does, is it affects your focal length, it also affects your depth of field. So I could shoot at like F4, like F4, on my 2470, or whatever it was, and get something the equivalent of F8. That's beautiful. Especially with all the action, the motion, like I got a lot in focus, without trying. Okay. So, and then also, it's just like, knowing your cameras. If I would have picked the 5D out, I'd have really had a lot of trouble focusing that night. Mm kay. 5D Mark IV, it crops in, because the way it's capturing 4K, it's using the center portion of the sensor, it's giving you a crop factor, you're still getting high quality video, it's just capturing it in a different way, but you can leverage that 1. crop very effectively, you know, and like, if you talk to a lot of DSLR filmmakers, oftentimes what they'll do is they'll carry a crop sensor camera exactly for that reason. You know. They'll carry it like crops to camera, shoot at 2.8, get the exposure value of a 2.8, but like get the depth of film like F4, which is really really nice. Especially when you have to kind of like, kind of hand-hold, or like, you know shoot moving objects. So that's a really really, I mean I didn't think that I, didn't even think to think to talk about it until just now, so that's why I shot that 5D. And then with something like the DJI Osmo, I grabbed that because I knew I was gonna have to run around people. I just knew. There was no way for me to set up for me to set a slider. I couldn't've set up any tripods and gotten the footage that I needed, you know, tripods, a monopod and a DSLR, and an Osmo was all I needed. And a couple targets and the light in here. That shoot, for the B-Roll, was much more simple than the shoot for like the, the primary footage, the A-Roll. You know and I did make a, I did make a comment about picking, picking up some good audio quality out of it, you can make a choice in the editing room. You can either choose to cut all of the audio from your B-Roll, or you can choose to kind of throw in, a little bit of light, B-Roll, audio, to kind of give some context, I think that for me, I chose to take out the B-Roll audio because I wanted, I wanted Ivan's voice to be what people were hearing. Especially the new customers liked watching this video, I didn't want them to be scared or distracted by the whistles, and the grunting, and the sound of things getting hit, I think that can be very intimidating, by someone who doesn't know what they're gonna be experiencing, so I took, I chose to take that out. And I think it really helped the edit. I think it really kind of gave me a better understanding of what someone who isn't familiar with this, cause if you think about it from the other perspective, like someone who's well-versed in this type of fighting in gym, they already know what the sounds are like. So they're already probably hearing the sounds in their head, as they're watching it. So I'm making that proactive decision of the limiting of the B-Roll audio, was actually I think a good decision on my part. But I recorded it nonetheless, because I didn't know I wanted to do that. So a lot of your choices happen in the editing room.

Class Description

AFTER THIS CLASS YOU’LL BE ABLE TO:

  • Confidently make a movie from start to finish
  • Expand your photography skills to motion pictures
  • Tackle pre-production and post-production essentials
  • Capture video and audio expertly
  • Edit in Adobe Premiere Pro and Audition

ABOUT VICTOR’S CLASS:

Photography and videography have several things in common -- but what about factors like audio and telling a story using video editing? In this filmmaking class designed for photographers, learn how to use the DSLR or mirrorless camera that you already have to capture high-end videos. In this start-to-finish course, you'll master everything from planning to post-production. The goal of the class is to teach anyone how to create a video from start to finish.

Dive into video production from the planning and pre-production phase, where you'll learn how to choose an idea, scope out locations, research the client, and more. Jump into video gear -- and what's really necessary on a low-budget -- and learn the essential filmmaking tips for recording. Discover how to capture excellent audio and tackle those B-Roll shots.

But this filmmaking course doesn't just teach you how to use editing software -- you'll learn the editing process, start to finish, from storyboarding to exporting. Work in Adobe Premiere Pro to perfect your footage and Adobe Audition to fine-tune that audio. Tweak color in DaVinci Resolve. Add soundtracks, titles, and keyframes. Then, finalize and export your project.

WHO THIS CLASS IS FOR:

  • Photographers eager to add motion pictures to their repertoire
  • Beginner filmmakers
  • Self-taught filmmakers ready for additional insight

SOFTWARE USED: Adobe Audition, Adobe Premiere Pro, DaVinci Resolve

ABOUT YOUR INSTRUCTOR:

Previously a photographer, Victor Ha is now a filmmaker. His experience working with both stills and motion pictures helps him guide other photographers through the same process, from photo to video. He's known for his straightforward, practical teaching style that's easy to follow along with.

Lessons

  1. Class Introduction

    In the first lesson, meet your instructor and learn what to expect during the class. Know what's up ahead by pinpointing the goals for this class at each production stage.

  2. Putting Ideas Into Motion

    Start the filmmaking process with an idea. Learn how to flesh out ideas and turn them into successful projects.

  3. Client Profiles

    Video projects come in many different forms, from cinemagraphs and short films to commercials and features. A client profile is a type of video telling a story about a person or business. Learn what's involved in this simple video type as an easy format to get started with.

  4. Choosing Your Subject

    Video projects start with a subject -- but just how do you choose? In this lesson, Victor discusses how to narrow down your ideas to choose the best one.

  5. Scouting Locations

    Part of the planning process is scouting out different locations, an essential part of pre-production. Learn what to look for when scouting out different locations and how to spot good camera angles. Then, work with that information as you prep for shooting.

  6. Researching the Client

    Understanding the client -- and what they are looking for in a video -- sets the stage for a successful video project. Learn how to research your client and the essential pre-production questions to ask.

  7. Choosing Equipment

    You don't need an elaborate amount of gear to shoot video -- Victor goes through the essentials for video, and how that list may change for different products.

  8. Waveforms and Scopes

    Waveform monitors show a visual of the video's exposure. Using waveforms along with vectorscopes can help you get the best results in camera as you shoot. While confusing at first, these tools offer big advantages on set.

  9. Shooting Strategy

    Build a strategy to organize those thoughts from pre-production and create a shooting schedule for the project. Incorporate these factors into a shooting strategy for success.

  10. Interview: Setting Up for Success

    The interview is an essential style for filmmaking. In this lesson, learn how to set up an interview for the best results, including audio suggestions and pitfalls to avoid.

  11. Prepping for the Interview

    Before you head into the interview, have a list of questions -- and practice asking them. Master the essentials for interview prep, including research.

  12. Capturing Audio

    Video and audio go hand-in-hand. Gain tips for capturing the best audio for your video, from dual system sound and setting levels to working with audio gear.

  13. Capturing Room Tone

    By recording the ambient noise in the room, unwanted background noise is easier to edit out. Learn how to capture the room tone and tricks to create better audio by adjusting the room.

  14. Audio Q&A

    Audio is scary stuff -- learn from the most frequently asked questions from students like you.

  15. B-Roll: 3 to 1 ratio

    B-Roll is supporting footage for your video, helping to add interest and fill gaps. In this lesson, learn why B-Roll is important -- and how much you need to shoot.

  16. Planning for B-Roll

    B-Roll should help tell your story -- so what should you capture, especially when the scene doesn't seem so interesting? Find out how to plan for B-Roll and ideas for the most interesting shots.

  17. 5 Rules to Capturing B-roll

    Use these guidelines to capture better B-Roll for your project, from gear tips to determining what's important.

  18. Using B-Roll to Shape an Edit

    B-Roll is secondary footage -- learn how to tackle video editing with B-Roll in mind. Then, jump into editing with Adobe Premiere Pro editing software.

  19. Introduction to Footage Review

    After recording, you may have hours of footage -- how do you decide what goes in and what stays out? Make footage review less daunting by tackling your fears first.

  20. Asset Management

    Organizing footage saves time and helps you get a jump start on that edit -- but the organization doesn't have to be elaborate. Learn how to manage the assets for your film project.

  21. Edit Setup

    Before you edit, preparing helps get the film project off on the right foot. Learn how to prep for editing, from working on audio first to identifying mistakes.

  22. Edit Audio in Adobe Audition

    Victor suggests photographers edit audio first to get the aspect that we're least familiar with out of the way. Build an understanding of audio editing and skills for using Adobe Audition, including eliminating that room noise.

  23. Syncing Your Footage

    Set up for a successful edit by creating "goal posts" and allowing enough time to reach each one. Start working on the edit by laying out the timeline and syncing footage.

  24. Conceptual Storyboarding

    Building a storyboard guides the edit and helps you tell a story, without meandering away from what's important. Create a successful story -- and learn why Victor creates his later in the process -- by working with a storyboard.

  25. Editing Choices

    Video editing is full of choices -- but you can always change your mind. Learn how to get over hurdles and make the best choices for your filmmaking project.

  26. Selecting a Soundtrack

    Soundtracks give your edits a tempo -- but what song should you choose? Victor talks about choosing neutral soundtracks, avoiding songs you already know, understanding copyright, and everything you need to know about soundtracks.

  27. Building the Rough Cut

    Start turning that storyboard into an actual edit by building the rough cut. Learn how to shrink down long footage, decide what to cut and what to trim, and start organizing footage.

  28. Refining the Story

    Take that rough cut and turn it into something less rough. Start moving footage around to match that storyboard. Victor explains the "meat and potatoes of editing" -- going through footage, listening, cutting, and repeating that same process again.

  29. Adding B-Roll

    With the shape of the video in place, work in footage from the second camera and B-Roll footage to fix continuity issues or simply add more interest. Develop not just an understanding of the editing software, but a workflow for editing your film project.

  30. Rough Cut to Final Cut

    Move from that rough cut to the final cut with an overview of the last stretch of the editing process, including mastering transitions, color edits, and polishing that timeline.

  31. Color Grading in DaVinci Resolve

    Create color-graded videos inside DaVinci Resolve. Learn how to use the software, import and export, and color grade your project.

  32. Three-Way Color Corrector in DaVinci Resolve

    A three-way color corrector allows you to fine-tune RGB values. Walk through the basic color correcting process to correct issues like color cast.

  33. Export from DaVinci Resolve to Adobe Premiere Pro

    With the color correction finished, be sure to export your file properly for a seamless transition back into Premiere Pro.

  34. Add a Title in Adobe Premiere Pro

    Adding text and titles in Premiere Pro is simple. Learn how to add text frames to your video project without leaving Premiere Pro.

  35. Export Project from Adobe Premiere Pro

    Once your edit is finished, it's time to deliver. Learn how to export your project from Premiere Pro.

  36. Adding a Keyframe

    Keyframes are simply markers in the video that signify the start and the end of a change. In this lesson, Victor uses keyframes to adjust the audio of only a small portion of the video.

  37. Creating Multiple Projects from Your Edit

    With the main project done, what else can you build from your material? In this lesson, Victor discusses additional options to add to smaller supplemental projects to your main work.

Reviews

Beatriz Stollnitz
 

Victor is an incredible instructor, clearly passionate about teaching videography to photographers. His teaching style is engaging and energetic, and the content is interesting and useful. I was very fortunate to be part of the audience for this course.

Lynne Harty
 

Victor is a wonderful, knowledgeable and enthusiastic teacher - I learned so much. Thank you.