Creating a Video From Start to Finish

 

Lesson Info

Creating Multiple Projects from Your Edit

I'm gonna open up one of the older projects, and we're gonna talk about really quickly just what other things we could have done, in addition to delivering this edit, what other thing could we have done really quickly, just really quickly, that would help enrich what we're giving to our client? So let's go into our project files. Okay, and let's go into the last one I just did. Okay. Alright. At the end of the interview, I had Ivan do something for me, okay. You know, actually, I think I have it better over here, so just gimme a quick second. Actually no, I'll just do it here. Hi, I'm Ivan Salaverry, for IS MMA. We'd like to invite you to come through Eighth and Thomas, here in South Lake Union area. We're open throughout the day. Please call us and come through. Okay, really quick. I had him do that once for me. Once or twice. So I'm gonna take that, take that little statement, and build something really quick around it with the edit that I already have. So I'm gonna steal some of...

the B-roll, right, find some different music that's gonna just be like snappy, and make like the shortest little edit I possibly can out of it, just to give me something else to give to him. So I'm gonna make another sequence, alright. I'm gonna take that clip. I'm gonna cut it. I'm gonna drop it in the timeline, and I'm gonna go back into my edit and find, find the B-roll. So let me just open up the other, the proper sequence here. So I'm just gonna open up a new sequence, pop that footage in, come over here, and just start scrubbing through B-roll. So I'm gonna snatch that up. I'm gonna snatch that stuff up, and just drop it in. Okay, I'm gonna come back, I'm gonna snatch this stuff up, I'm just gonna grab all that B-roll. And then what I'm gonna do is just expand this timeline and just drop it in. So now because I don't know what it's gonna look like or where it's gonna be or whatever it is, I'm just gonna keep it all kinda mashed in together, and then I'm gonna find a new song. So I already kinda preselected a song for this, so we're gonna go ahead and pick this one. (bass-heavy beat) Alright. (beat stops) So you're gonna take that, drop it in. (beat begins) Hi, I'm Ivan Salaverry. Okay, so now I'm gonna come in here, I'm gonna take down that track a little bit, so let's just go ahead and bring this down a touch. Bring this track up a touch. C'mon. Alright. So now we can just listen to it really quickly. (beat begins) Hi, I'm Ivan Salaverry for IS MMA. We'd like to invite you to come through Eighth and Thomas here in South Lake Union area. We're open throughout the day. Please call us and come through. Great, so, cool. (beat stops) Gonna cut it. And now I can start laying in some of that B-roll. That's all we're gonna do, that's all we're gonna do, is start to lay some of that B-roll, and I'm not gonna do it, I'm not gonna finish it here, I just wanna let you guys see that it's like, (beat begins) maybe I start with this, and then have the voiceover come in. So now, all I'm doing is just grabbing this B-roll, tossing it up on top of this edit, and replaying it. (beat begins) Hi. Okay, so I gotta get rid of that statement. Remember cutting statements? Get that thing out. Okay. And drag. So here's the beginning of that statement here. (beat starts) Hi. I'm Ivan Salaverry for IS of MA. We'd like to invite you to come through Eighth and Thomas here in South Lake Union area. We're open throughout the day. Please call us and come through. Done. Okay. Cut it down, make it refined a little bit, but you've already got all that work, you've already pulled that footage. Just take that extra step, just take the extra step of asking him to say that one last thing so you can piece it all together and then deliver something else really quickly. Okay? And you picked the right music, maybe that wasn't the right music or whatever it was, but can you see how you can leverage what you just edited into something else. Now the last thing I wanna show you, because you've seen the edit as is already a bunch, but I wanna show you one of three ways that we could've done this, right? So lemme just do this real quickly. Remember I showed you the storyboards and how they differed? So there is another, here's leading with the intro. So in the first one, we said, passion, can't teach passion. The truth behind passion is that you can't teach passion. Right? So instead of that, let's lead with this. My name's Ivan Salaverry. I have a MMA gym here in the South Lake Union area of Seattle, Washington. When I first started ten years ago, I just walked around the city, looking at spaces, looking at little warehouses, looking at all different places. And when we first started, the clientele came because, you know, we-- See, it's different, isn't it? You move that whole passion statement at the front, well, how about if we start with his why? We're not per se lifting iron, or going on a treadmill, or on a bike. We're dealing with human beings. And what they experience is addicting. Because it involves competing with yourself, it involves a team, and it teaches you a lot about you. My name is Ivan Salaverry. So you see, once you get to that final edit, you can start moving things around, and you can really start to play with the messaging a little bit. Once you get to there, then all that becomes a little bit more easy to comprehend. So I wanted to show you that at the end, because I wanted to say that hey, even though we got to the point of delivering a piece of content to somebody, even though we got to the point of thinking, you know, I think I did a pretty decent job, there's always some more work that could've been done, there's always some work that we could've, you know, provided, in the way of looking at the edit. And that's the thing, is you always have to figure out, and you have to determine and know when you are truly done. Because this stuff could just go on forever. So be your own gate at that point, and say hey, I'm done, that's it, it's good enough. Done. Because you've gotta move onto the next project, because at some point this is gonna get stale too. You can just chip away at it, chip away at it, and at some point, you know, the level of adjustment you're gonna do to it is not gonna make it any better. So I mean, as I kind of wrap it up, I mean, I'm gonna be honest, when I started this class teaching, I didn't know if I could get through it. I didn't know if I'd be able to communicate a lot of the concepts that I'm trying to communicate to you in a way that would be tangible. A lot of the things that I wanted to bring to the table, you know, my mistakes, my passion, my desire to just be an instructor and that kind of stuff, hopefully I've been able to give you guys something that will allow you to not just be more confident in doing what you're gonna be doing, but also provide you with the process to do it. I think that for me was the most rewarding thing here, and as you kind of bring this whole thing to a close, I wanna leave you guys with just a reminder, that I know that as we got to the end of this class it got really technical. It got really, really heavy. Because that last segment we needed to get through so much technicality to provide you with the skills that you will need to do to repeat and do these things over and over and over again. But the reality of it is, all that technicality that I brought up at the end, you guys don't need to do DaVinci yet. You don't need to do that yet. You don't need to worry about doing crazy channels, I taught you to do the little one. You don't need to worry about all of the other things that are gonna plague you, and keep you from doing what you know you want to do is create the content, capture the video, get it to a timeline, clean the audio up, clean up that sequence, and deliver something. If I did not shoot Cinestyle, I would have been done at the edit. Done. Titled it, sharpened it, done. Or just kind of like, been much easier. But again, I wanted to show you what the next step through that door is, so that you're not later on freaking out because now you gotta learn something else and now you don't know where to do it and now you don't know where to go and how to do it. So I wanted to say thank you so much for giving me the opportunity. And I said it at the beginning of the class, how much I value the gift of your time. To be here for eight full segments, to be here and to be so participatory and to provide me with so much feedback has been something that I truly, truly do value, and thank you so much for that gift of time. Thank you so much for being in a sense my own guinea pig for some segments and that kinda thing too. So I really did enjoy you guys, and I really hope that there is, that there was something in the class you're gonna be able to walk away with. So I just wanna say thank you, thank you, thank you. Well thank you to you, Victor. I wanna make sure that everybody knows how to follow you, how to keep in touch with you. Oh, yeah! How to continue to connect. So let us know, where can people find you, follow you? Well you can follow me on Instagram, at H-A-tographer, Ha tographer, that's my last name with tographer on it, pretty, you know, unique I guess. And I'm also on Facebook. And so I mentioned at the beginning of the class how I've been so humbled by the experience of being in CreativeLive. I've had people from Brazil contact me, I've had people from Vietnam contact me, Pakistan I've had people from all over the world send me messages as simple as hi, nice to meet you, thank you for everything, to should I quit my job to do this? I always try to respond, and I've been pretty good at responding, and if you guys send me a message, you know, sometimes Facebook's weird and I gotta look at the messages for non-friends so sometimes I don't see it, but I do normally try to respond. So if there's people out there in the web, or on the web, especially you guys, if you wanna just ask a question, or find some resources or whatever it is, you can find me on Facebook for sure. And that's something that I definitely value as kind of an ongoing education resource for you guys. I warn you about my Instagram though, because it's a lot of dogs. (audience chuckles) So if you don't like dog pictures, if you don't like, I'm not a food picture guy, but I am a dog picture guy. Not a lot of selfies though, so if you don't mind that, then you can follow me. And then, you know. That's the two really good places to get ahold of me.

"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.