Creating a Video From Start to Finish


Lesson Info

Class Introduction

I came to CreativeLive I guess a few years ago at this point, and to this day the overwhelming response that I have received from the material that I've taught is really humbling. I think the last message I got was a couple weeks ago and it was from Vietnam. A user and a student was just like, "How do I do this, "and how do I get involved, "and what sort of pointers and tips could you give me?" It was just really cool, because you never think that when you do something like this that you would reach this many people. I do wanna say thank you, and I do wanna say that I appreciate all of the comments and all of the support. What are we here for today? Yeah you know it's always the, you got to shake it out, but before we start here I just want to say thank you to the manufacturers that support me, they did a huge part in getting me the equipment to show you guys here for this class so I just want to say thank you to them. But let's go on. So who am I. So who is Victor, I was a photographe...

r for about 15 years ago I started when I was in my early teens and moved on through worked in a studio in San Diego and as I gained all this knowledge I became very passionate about teaching because for some reason I could always talk to someone for hours about how to do something, technique and just like my thought process and stuff and so it got me to a point where I just really really enjoyed instilling knowledge that just came from being around great photographers who also taught me a lot of what they do, guys like (mumbles) he's just such a great educator and really inspired me to share that knowledge. So who are you guys? I think many of you I hope are photographers, many of you have probably dabbled in filmmaking, maybe some of you have been asked to create a video and are so afraid to jump into it. I think as photographers we get caught up in this dichotomy of a video or filmmaking or is it motion or is it this conglomeration of a hybrid set of those terms, for me it's the same. You're photographers so you have this innate ability to capture motion to see things and I think whenever you get scared you have to lean on that experience you have to lean on that understanding of the material that you already know to drive you forward. You know before we started this class I was talking casually with a bunch of the students in the room and I said you know what, I would gladly take a team of photographers into a shoot over a team of videographers because I think a team of photographers brings such a competency to just knowledge and just capturing images that I can build on as opposed to sometimes videographers I have to get them to see and talk the same language that I do and sometimes I don't talk that language and there's communication barriers, because they speak a different language than me. So for photographers you guys I would gladly go because it's comfortable for me and I understand how to speak to you guys and I understand how we can get to the same result by speaking the same language. And so I think who are we is a good place to end this introduction, this is that I get the opportunity to pick what I get to teach, I get an opportunity to talk to the people I want to teach it to but I also get the opportunity to learn with you guys and to be a part of this process. So we're on a journey and just as much as I'm teaching and educating everyone here I'm learning from you guys as well because I'm learning what questions you have and I'm learning what things are scaring you and what things are being obstacles so for me I think it's great because we're all on the same boat, we all want to be inspired, we all want to make content and we all want to do it together and I think that's why I'm so excited to be here today because it's given me an opportunity to really get back to my roots a little bit and talk about things that matter like education and creating great content and being here with people of like mindedness you know. So goals for our class are and I like to frame it up a little bit, so I'm going to tell you what we're going to do, I'm going to tell you how we're going to do it, and I'm going to tell you why we're going to do it. So before we even get into that when we went into pre-production for this class it was a really really fun experience because the goal, my goal, was to create a class that brought everyone watching it from start to finish a complete process from pre-production to production to editing and then to delivery and for me that had so much value because I think it gives you guys a look behind the curtain as to what's possible and some of the mistakes that I made, I made a lot of mistakes in this shoot, but at the end of the day I learned from them and we got to deliver what I think is a really really great piece. So as we do this, there's a couple things I want to make sure we pay attention to, this class isn't a replacement for practice, we're going to talk about a lot of great techniques, but if you don't go home and practice them or spend time in Premier or spend time in Davinci or learn how to do things in Audition to get yourself out of the (mumbles) then you're going to get to that point where you have to sit down and go wait wait I'm going to lose hours of my day now. So it's good to practice. This class also as much as I would like to think I am, I am not the knowledge authority, there are content creators and there are educators far more advanced than I am and I continually learn from them. So I would say use my knowledge and the experience you have with me as a springboard into understanding what you want to learn more deeply. Some of it may be editing, some of it may be production some of it may be more about pre-production and you may find a love for certain types of the process that then you can contribute to another team. The cool thing about video and filmmaking and just capturing motion in general is that oftentimes it's more than one person, oftentimes it's a team of people and if you have a skillset in producing and vision casting, if you have an idea of direction, these are skills you can bring to a team that are really valuable. If you're a great eye and you want to be a camera operator these are things that as you go through the process on your own you can then become much more valuable as a member of a team. But then as you learn things and as you become more confident you yourself can start to do much more on your own. Now the last thing here is that oftentimes we approach classes as a magic bullet. I have a problem, if I watch this class, it will solve my problem, and I want us to step back from that. My class this class is just a resource it's one of other resources that you can use to find a solution that fits for you. I have one way of doing things some of you may see it as being weird or strange or not normal but it's the way that I do them and hopefully by showing you how I do and accomplish things and get out of them it informs you and adds the arrow into your quiver of solutions that you're going to approach. Think about the first time you stepped into Photoshop. Think about the first time you cropped an image, the first time I stepped into Photoshop and cropped an image I marquee tool'd went up to Image and hit Crop and then someone taught me the crop tool. Right and so now I had two ways to crop an image and then I jumped into Lightroom and cropping changed completely. And then all of a sudden proportions became a thing and then I started learning about proportions, so as you learn things you begin to build off that base and that foundation of knowledge. You don't become an amazing videographer or an amazing filmmaker the minute you step into it, you're going to make a lot of mistakes and you're going to make a lot of really bad films. Okay and that's okay you just got to have the patience to get through it. Okay so here's our lesson plan. Initially we're going to start with putting ideas into motion, we're going to jump into pre-production, talk about interview, the importance of B-roll and then we're going to go to footage review, conceptual editing, building a rough cut and then finishing it off. So amidst all of this as you look into the details, I'll talk a little bit about Premier, I'll talk a little bit about syncing on audio inside of Premier, dual system sound, I'll talk a little bit about just Davinci Resolve and jumping in and using a color target to match footage across different cameras. That's later on in the class. I think up front I'm going to talk a lot about how you get over that mental hurdle of just I have an idea how do I put it into motion getting thoughts down onto paper or thoughts down into notes and then you can start to formulate and get yourself into the idea of creating a project, 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



  • 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 " 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 (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.