Creating a Video From Start to Finish

 

Lesson Info

Adding B-Roll

We did all of that. We chunked all down those statements, and we got to the point of adding B-roll. Now, we're adding B-roll, now you could see here, now my timeline, now my edits starting to shape up is starting to shape up really, really nicely. I've got my video tracks, I've got my second track, my video in there, I've got my B-roll track kinda laid in, right? Now, I'm kinda giving you guys a freebie here in terms of where I planned to put in B-roll, okay? And as you can see here, remember what I said about B-roll being an accent? Pang, pang, pang. I don't have the whole thing accented, because I've got a couple of things here happening, right? Let's go back to the initial, finalizing my rough. When I started making that rough, what did I do? I just had one camera angle. The truth behind passion is that you can't teach passion. Okay? Now I'm jump cutting, I'm getting a jump cut. You understand it. It's incredible, it's like you think about it, you obsess over it, if you like ...

I've gonna hide that somehow I'm gonna hide that! That's the beauty of two camera! (claps) This is the beauty of two camera, right here! Because I've got two cameras shooting the exact same thing, I've got repetitive junk cuts and here's how I'm gonna get rid of that. I'm just gonna go, 'You know maybe I'll delete this one, maybe I'll use that one, maybe I'll delete that one.' And here we go. The truth behind passion is that you can't teach passion. If you've experienced. You understand it. Hallelujah! It's like you think about it, you obsess over it, if you like it, I loved it. So, it was incredible. My name is Adam Salavery I have a MMA Gym here in the south area of Seattle, WA. When I first started 10 years ago. Okay? So we have those statements, we have that two camera, you've got a bunch of jump cuts I don't need to worry about it in my head 'cause I know I'm backed up, I know I got a second camera there. So now when I'm actually getting ready to start laying in b-roll, I'm just gonna start making decisions here I'm gonna start making decisions. Track 1, track 2, track 1, track 2. So, when I do that, right? When I end up doing that, I'm gonna end up seeing that I've decided, I've made some decisions with my track already in terms of when I'm using and when I'm not. Okay? So, here is very clear when I'm using camera A and camera B and then looks like I've got some B-roll up here. Okay? Does this simplify for you guys a little bit? 'Cause editing is not hard, it's actually easier than photo editing. It's so much easier. 'Cause in photo editing we gotta sit there, zoom in and look at the image of 100% every single ton, make sure it's in focus, right? You're gonna worry about your contrast, your framing, you're gonna crop all the images. Sometimes you've gotta do some lens corrections. You know, all that stuff. And you're worrying so much about the image, you know? And here we're like crafting the story, it's so different. Okay? This is actually fun. Because now you got to make real decisions that really, really, really impact the product. It's cool. Okay? So, before I show you what expires me to lead in the b-roll I just wanna take pause for a second. 'Cause I think this was, this is a lot of fun for me to teach because in my opinion everyone goes to an editing class and they learn the nuts and bolts of editing but they don't learn how to edit, you know? The process behind editing. And that's why I love teaching this class so much because I think for the first time I was able to conceptualize, oh my God, it's so easy for me to go 'Hey, here's how you edit.' You know? This is actually editing, right? So, I really want to make sure that before we leave if I didn't get this clear enough for everyone, I wanna make sure I get that clear because this is why we're here. All of that other stuff, led us to this moment. All that pre-production, all of the capture, all of the pain, all of the mistakes, getting through the mistakes got us to audio and video clips on a timeline, for us to be able then to make choices. Okay? And if we don't understand this, I wanna stay here a little bit longer. Okay? This is why we're here. Because no one taught me this. No one sat me down and said 'Victor, here's how you edit.' Because editing was some mystery, some dark art. Right? That was only known by a small selected few, right? (laughters) And even tho there was no but those small selected few they never shared the knowledge. You know? It was one-editor-to-rule-them-all kinda thing. So, no one sat me down and taught me this. No one sat me down and said 'Hey! Here's a good idea on how you should learn how to edit.' No one sat me down and said 'Here are some examples.' No one sat me down and said 'Here's how you craft a statement.' And I'm doing that because I want you guys to be successful and I want you guys to take the knowledge that I know you have already in the world of photography and take this knowledge and become better than me. That's what I want. Because I am just a tool and a cog in the wheel of your evolution in becoming some great content producers that can use this technique and then apply it to what you do and do something better than me. I want that to happen! Okay? So, a couple tips about b-roll. Once you get to your rough cut being complete b-roll's so easy. 'Cause you've already shot all the B-roll and now your edit in forming what you need. So, for example, I'm gonna turn off my b-roll track really quickly. And we're gonna go to a part here. From different places and when we first started the clientele came because we had a very good MMA program, it was very competitive, lots of fighters. But then little by little... Okay, it's about their history, it's about what they do, that kinds of stuff. So, what we're gonna do here is I'm gonna think Okay, gimme a second here, let me just mute something else. I took a shot of their trophies. I'm just gonna mute the entire thing now. I took a shot of their trophies. Do you think that's a good piece of b-roll to pair with the audio? Right? At this point, guys, when you get here it's just fun because you're like 'Oh, I've got so much footage!' You know, it's like 'Oh my God! This is so good!' And yet, here is fun. And I don't need to explain much about b-roll, except for the fact that is gonna be illustrative a lot of the time, okay? So, I'm gonna turn my sound back on here and what we're gonna do is take a look at the b-roll sequences as part of the whole thing. And here we go. Very very much. When you first walk into the gym you might be nervous, you might be nervous, like 'what am I getting into? What is this?' But we take you through the process. (laughters) What is this? You come in here and like anything else it becomes a step-by-step process. You come in here, you put your wrestling shoes on, and you do a little bit of stretching. The coach guides you into a warm up, then teaches you a certain technique and then little by little you start gaining these techniques, and you start wrestling with these techniques. See? This part's easy 'cause we got that. We got that. We spent a lot of time there, you guys saw all the b-rolls. That point is just trying to pick the best shot possible to illustrate what you're trying to do. The hard work was done, the heavy lifting was done. Yeah? Ah! Cool! I'm so happy! You guys have no idea how happy I am right now. Because this This here is why you guys all came. Yeah. All the other stuff is great. But you guys came here for that and it took me, I could not have taught you this without first teaching you all of that, though. Because this would not have mattered then because it would just been statements, and it would have been just a little thing that wouldn't pertained to an overall topic an overall process, okay? So thank you so much, this was the first time I ever gotten to teach it like this and I'm so happy you guys were there.

"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.