Creating a Video From Start to Finish

 

Lesson Info

Asset Management

Let's talk about asset management. You mentioned that, you know, you're afraid about labeling and organizing footage and this and that and the other thing. So, I will tell you, I don't have the patience for asset management. I could probably do it a lot better. But what I do do is I always, always organize my footage at least into the cameras and into the segments, m'kay. Meaning, the interview, B roll, m'kay. And I'll show you my file structure, it's really simple. If you guys just do that, if you just organize your footage into interview, camera one, camera two, you're gonna give yourself so much wiggle room because when you look for a piece of footage, you'll at least know where it's gonna be, either in camera one or in camera two. And then you're not gonna feel, wade through a bunch of weird file names and you're not gonna wade through a bunch of clips that's gonna make your, make you not want to edit. I think what the first thing people do is they look at all the clips and they sa...

y, "I, I can't, there no, I'm done." (audience laughing) Right? You hit a brick wall, you hit a brick wall. But what you really, what you have to realize is that we're photographers, right, we always have an image bank of how, of what we did. I can think back some shoots and go, "Oh yeah, "I know the image I took before this one "and I know the image I took after that one." Right? If you guys think about all the things you photograph you can always think of one image, think of the shoot, and think of the image before and the image after. Or, in some way, think of the sequence of images that got you to the one you liked in that shoot. We all think like that, in one way, shape, or form or another. So take the way you think about your photographs and apply that to the way you think about footage. Just as you shoot mentally check, oh, I really like that shot and then think about the moment before and the moment after. The thing about footage is it's on-going, right? And it's on-going but if you remember the specific moments, just mentally check, I'm not saying, you don't even have to on your shoot take a note. Just on your shoot, remember it and then when you see it again as you review your footage, you're gonna be like, "Oh yeah, I remember that." Just be present, remember, immediacy, be present. Don't so, be so concerned about other things that you're not paying attention to what you're capturing. That way, when you actually review your daily's, it's gonna be the second time that that triggers a memory. Okay, go slow. So when I talk about asset management, I'm gonna do organization, we're gonna, you gotta learn how to do it and you gotta, learn how to do it in your own way, right? But there has to be some sense to it because at some point the next three really come into play. At some point you're probably gonna shoot one or two or more than one client profile, right. And you're gonna stack up a lot of editing and at some point hopefully, you're gonna be able to hire someone or contract out for an editor, and that editor also wants to make a living. And that editor is going to charge you, is going to bill you for organizing your footage if you don't organize it. For giving you, if you give them just a hard drive of stuff, they're gonna charge you for all that, m'kay. So, hopefully, what you're gonna do here is you're gonna start to learn how to organize your footage in a way that when you start contracting out and you start doing things on a bigger scale, you're gonna be able to get much more back from the people you contract to. Does that make sense? I'm not saying today, that you have to go in and label every piece of footage. I think that, that's unreasonable. It's unreasonable for me to ask you to do that because what I want you to do is start editing. And then go back and learn the tagging, the labeling of the footage. I want you to get into an editor first because so many of us stop the minute we see footage because we get so scared. But think about it, the last time I photographed a wedding was a number of years ago. But when we got back we had something like 4,000 images. You guys already do it. (audience laughing) 4,000 images and you can't tell me that you can edit down 4,000 to 200 images that you deliver as proofs? Come on, that's a load a, come on guys. I got a question. For images, like, you're able to call them so you have like, you can star them and then have it, is there a way to like star your footage so you can only? Yeah, you can star your footage, you can mark your footage, there's markers. You can drag them into bins you know, like it depends on how your work flow is. When I'm going through footage, right, inside of Premiere as I'm organizing footage, you can create bins, m'kay. And a bin is a, is a non-destructive way of organizing footage inside of Premiere. So, I can put bins and I can go, okay, this is great, this is not so great, this is uh, you know. I don't like to try to go like, like star rating because I'm not in that mindset right. So I can drag things into like a bin that says great, not so great, meh, you know. And just kinda go and drag stuff in. And that's a way you can start to organize your footage. So it, it's just, when you start big, n'kay, your funnel's gonna be really, really big at the top. You don't wanna try to get your funnel to be a very narrow at the beginning. You just wanna get your head around all the footage. Get a good, it's like walking into a kitchen and just smelling all the smells before you realize what's being cooked, m'kay. You just wanna get a feeling for what the flavor of everything is. Don't spend a lot of time like, getting into the weeds just yet. You just wanna feel what the footage looks like, scrub through it, maybe mark it down or throw it into a bin. Scrub through it, mark it down, get it into a bin. You know, just kind of look through your footage. Organize in your head, maybe take some notes. Get your files down, okay. There's different ways and different processes for different people, m'kay. I've seen people take notes, I've seen people do bins, I've seen people mark footage. All of it's working, all of it's good. Do what for you guys is gonna get you to the timeline quickest, alright? So, when you guys actually asset manage, so per job, like this hard drive I actually bought for the shoot. It's a terabyte, it cost me like $140 bucks. So as you guys work on projects, just realize that hard drives and cards are cheap m'kay. Don't, don't don't try to reuse hard drives because eventually what's gonna happen is you're gonna have a stack of hard drives that are dedicated to projects that have all the raw footage. So it's kind of like, off-site back up and then you'll have stuff in other places, right. So you're always gonna go back and I think this shoot in total will be about 500 gigs, okay, 4K, right, all the editing all the rendering files, round tripping through DaVinci, I mean. You're gonna, it's gonna need a lot of space, m'kay. We're at the point kind of in technology where we can kind of pick up hard drives as we go, and as you guys start to bill out for it, you're gonna work that price of the hard drive into your rates so you're not outta pocket all the time on these things. One thing I didn't mention here is that I try to buy the biggest capacity cards as possible. I'm at like 128 gig cards right now and I'll show you why that's so important because you can keep rolling with these cameras now, whereas before we used to have 12 minute clip limits. And you would haves so many clips like over the course of an interview. Now that you can record one clip, just let the camera roll because it makes editing so much easier, especially for us. It makes getting things to a timeline and looking at it so much easier. And then when you clean up your timeline, that becomes something that is just, oh it makes so much sense. Now you can actually look at an edit, alright. We're gonna edit so much differently than other people I think because what we like to is we like, I think photographers like to see the full picture and then we like to come in and focus on the things. And so, that's how we're gonna look at editing today, okay. Now, this is kind of like a must have and then a nicety. If you can name your folders, that would be ideal. Camera One, Camera Two, mark four DJI, you know. Something like that. The file, if you can rename your file as you're reviewing, if you wee something really awesome just like star it or something. Or in the file name put, like, great shot or look for or put the time code, alright. Think of ways that fit into your work flow as you review footage that it's gonna help you, just at a glance look at things. I remember before there was Light Room, there was Bridge, right. And before there was Bridge, there was just like Finder or these things that you had that just had thumbnails. Some of them we were going in, the only way to market a file in Finder was to like enter and like mark with like a number or a hyphen and something about the image. So you could go back ,and look at it, right? And so I know that you guys are resourceful, and I know that we've all been there before, don't let the fact that oh, the tools inside are not familiar for you. Lean on what you know and then make what you know become what, what you're gonna do. Alright, now this one is huge, okay and I put that in there specifically because a lot of times people will edit in Premiere and they'll save their project file inside of the project folder, INSE on their desktop, m'kay. Or inside their applications or in their documents where the adobe folder is. What ends up happening there is if you disconnect the hard drive and then store it and then, you know, you go away for a few weeks. You come back and you try to find that project file. It may be gone, you may forget where you put it. You may have been workin' on some other stuff, It may've just be missing. So get in the habit, if you have a hard drive that you've dedicated for the project, save that project file to the hard drive. And we'll go through all this, I just wanna go through some of these slides and then we'll jump onto my computer and actually take a look at how I do all this stuff, okay?

"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.