Creating a Video From Start to Finish

 

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.

"A tumultuous amount of technique and process info given by Victor in this class. Just wonderful. Well done." - Michael UK

Creating a film or video is a decision-making process from beginning to end. From what type of story you want to create, where to film, how to capture audio, editing your story together - the entire process can be overwhelming and confusing. Victor Ha will make this process attainable by laying out the foundation to set yourself up for success in the planning and pre-production phases. Victor will show you how effective planning can make your shoot and edit faster and easier. Understanding this workflow and adding video to your portfolio can increase your business and expand your creative offerings. In this class, Victor will cover:

  • Pre-production techniques like creating shot lists and shoot schedules 
  • How to use your DSLR to capture video 
  • Capturing the right footage for the edit 
  • How to piece together a rough cut in Adobe Premiere Pro CC 
  • Producing multiple pieces from one shoot 
This class will take you step by step from concept to completion so that you can begin creating films with your clients and friends within 48 hours.


"Love this class! Victor really knows how to break things to simple language so you understand and retain. He also teaches you all the fundamentals before you ever fire up your camera. Victor is Ha-mazing!" - Jerry Suhrstedt

 
 
 
 

Reviews

  • m'k? ok? k? right? As others have said victor has lots of energy and lots of good stuff going on - but there are some really irritating ticks in this one making many sections of these vids almost unwatchable: after just about any explanatory statement - especially where it seems Victor is less sure of the technical rationale - he concludes each observation with an "ok?" and then leaps into the next sentence. On waveforms and scopes (vid 8) for example: we start with a discussion of an Atamos monitor "...it tells me how saturated i am in relation to that center point, ok? These are things that may be so daunting and scary [???] when you look at it, when you talk about it, but again, i didn't know about these three years ago and i was still doing content. I'm only telling you about this now because i think it's important for you to learn about what we call waveforms and scopes, ok? So waveform: confusing. Really really confusing, ok? [!!!?????} But it's a great way to check yourself on set, ok? Because there's things sometimes [hand waving gestures] we just don't know where we're at and we just have to check the overall scene value, as opposed to the exposure of a person, ok? So... And then at the end of the next run through this rather large if unmotivated section he asks "any questions"? here's where John Grengo would run a short exercise to see how folks were processing the information just imparted. It's not inspiring confidence, either, is it, to start by assuming /asserting that a concept is confusing - especially before it's been introduced. It suggests that it's still confusing for the instructor. The rest of this section continues in this way: with the ok's and concept jumps - by the end of the section, somehow the monitor as gear has entirely disappeared and we end up in adobe premier, and da vinci "Bring these values down in production - not in post" though, victor asserts How? with what? Victor doesn't make the connection between how the Atamos makes this "in production" adjustment possible (does it? i'm guessing) - or what the tradeoff is IN doing this adjustment in post - with the tools premier or davinci has with its various scopes. "Did you guys understand the concept there? i see some heads nodding. I love teaching: this is great." Actually, no, it's not clear that people really get this: so how about a scenario to test what to do to see if people get it? But really how about finishing the discussion about the monitor? We then get into vectorscopses (Victor doesn't distinguish between vectorscope as the tool and the chart generated by the scope - or why "vectors" vs any other kind of representation) we're then presented with a chart from the scope -but not the image from which the graph is generated - so we have no visual reference for an image that is "hue shifted, ok?" vs. not hue shifted. "the further the colors are away from center the more SATURATION you have. How cool is this tool" - how about showing an example of such an image? Still looking at this chart we learn: "You can immediately tell that your blues are oversaturated and shifted in hue, right?" - Again, seeing the image to map to this chart would have helped understand what was being asserted. "you show the chart, BOOM, perfect white balance" - YOu show the chart to what? when? "everything is on vector except the green that is slightly shifted" On vector? What is that? "Use this target in post" - Now we're talking post again. What happened to do this in production? So if post can do this and Davinci 12.5 is "free" - why buy the monitor? What we still don't know: the role/value of the monitor that has a vectorscope - where "vectorcsope wil save you" - which one? monitor or post? Kind of a big hole when that's a piece of kit well over a grand. How many students are going to go add a 1300 piece of gear to their camera for doing corporate profiles? how crucial is it? Plainly Victor is excited about it, and it may be fantastic. Intriguingly when talking about the monitors - esp the less expensive of the two Atamos models, he doesn't talk about why else one might want one - what the 4:2:2 ratios they offer mean (perhaps head to Ryan Connolly's Guerilla Filmmaking for that) How does this massive section end? Clean your sensors; have a monopod; bring a white card and light meter. What?? I'm sorry there's only a thumbs up or thumbs down for this rather than some kind of scoring. it sounds like i'm slashing this. I'm not. But there are some basics that would make this material even more effective and accessible. - Mr. Ha could watch himself on video to see all the "ok's" and work to kill them - they seem to be a sign of nervousness lack of clarity /confidence as shown in this section. - When going through v.new (for photographer concepts) use more images - he has lots of example vids in his first course - same thing needed here. - use example scenarios a la grengo (and good teachers everywhere) to test a concept rather than saying "any quesitons?" and feeling validated from head nodding. - complete the circle: if talking about gear - talk about the gear before skipping into a new concept. I still have no sense from this of whether or not these monitors have real value - should be on the list ahead of a new camera body or glass - or are just treats if you have everything else. Again, lots of useful material; the course is worth it for the grounded progressions through the cycle of video crafting, but if you can only afford one vid course in the Victor Ha set, the HDSLR basics is a better organised, illustrated and presented course.
  • 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.
  • Victor is a wonderful, knowledgeable and enthusiastic teacher - I learned so much. Thank you.