Creating a Video From Start to Finish


Lesson Info

Editing Choices

Editing choices; as we talk about editing choices, and again, let's remove editing choices with storytelling choices, narrative choices, thinking choices, feeling choices. It doesn't have to be editing. Take that word out of this slide and replace it with something less scary. Okay? Choices. Remove it entirely, okay? Make a decision to start. Here's the beauty of our world right now. You can make a decision and you can always change your mind. But if you don't make a decision, you can never change your mind. Okay? Especially when it comes to editing. You'll see I kept the beginning of my edit the same, the same, the same until about the very end when I flipped the statement out. Because it just didn't feel right, but I was so focused on the other parts of the edit that I couldn't focus on the beginning. It's okay, I knew that something was not right about it. And once you do this, you're gonna get a feeling. Every edit, you'll hit something, I call it the hurdle. You're gonna get to a ...

hurdle and it's gonna stop you dead in your tracks and the minute you get over that hurdle, it's easy sailing. That's the way of editing, okay? You're gonna hit a hurdle, you're gonna stop, you're gonna agonize for about two or three hours, and then once you get over that hurdle the rest of it just goes, just goes. Because everything just falls into place, okay? Every choice you make now will be one you will not have to make later. Okay, learn that. Because everything you do at the beginning of the edit will save you time from making decisions later. Which means the more you cut now, the less you'll have to cut later. The more you leave out now, the less you'll have to leave out later. Don't start with a 50 minute edit and then expect to get down to two minutes within the span of a day, right? Try to get to three and a half minutes first, okay? Get there. Remember, whatever you say yes to now you're automatically saying no to later. Okay, exact same thing. You've gotta make that choice up front. You've gotta be confident in that choice. Why are you guys confident? Because you already know what looks good. You already know how to make an image. You already know how all these things work. You just gotta step out there and actually just do it, okay? When in doubt, mute it or cut it. That's it, that's your two choices: mute it or cut it. Move it to a different track and mute it or cut it. There is no doubt in editing, there is yes or no. Okay? there is yes or no. Famous little guy said that a little bit differently, right? Star Wars? "There is no try, only do" right? Same thing here, same thing here guys. Last thing, your choices do affect tempo. And what do we mean by tempo? Have you guys ever just watched a movie and you just drag, just feels slow? That's on purpose because they make it feel that way. Other times you watch music videos, they're fast and rapid. Their choices make it feel that way. So let's talk about editing choices, okay? How they make us feel. I wanna hang here on this topic for a good moment, okay? Just hang here for a moment because I think understanding this as a concept or as concepts will really kinda bring it home for us as we start to kind of craft our narrative and craft our story, okay? So, fast or slow? That's pretty self explanatory. But what it really practically means, am I jumping from cut to cut to cut to cut very quickly or am I moving from cut to cut very slowly? Typically, right now on episodic television a cut between cameras or between angles is typically between three to four seconds, maybe five. Okay, it's getting a little bit longer these days with some of the long form episodic television, you know. But generally speaking, we're looking at three to five seconds, okay? Three to five seconds. And what that means is every three to five seconds, we're expecting a cut. And if you either make it slower than that or faster than that, it's gonna affect people's resting perception of that. So if I'm expecting a cut every three seconds and you make it every two seconds, it's gonna feel really fast to me. But then if you make it every five seconds, it's gonna make it very slow to me. If you want to practice this, just cue up a slideshow. Change the slideshow from three seconds every image to two seconds every image, and then to five seconds every image. And see which one feels better. Don't play music, don't play music to it. Just kinda see which one feels better, and that will be your resting tempo that you watch things at, okay? Generally speaking, we're all at around three seconds. Sometimes two, if you're me, okay? Linear versus nonlinear, okay? Linear means the beginning is the beginning, the middle is the middle, the end is the end, okay? So I walk into a building, I grab some cheese, I walk out of it, I go home, I make a sandwich. That's very linear, beginning, middle, and end. Nonlinear is, I could start with the sandwich, I could go, "Hey, it's a great sandwich!" And then it could be the story of me walking to the store, grabbing the cheese, walking out, going into the kitchen. Do you see how the story still is the same, but yet the end has come forward? One of the movies that always, always explains this really well is "Memento." If you guys are familiar with that movie, it is one of the best examples of a nonlinear movie. There's tons of 'em out there, "Memento" is always one that I remember. And it starts in the middle, and if it even starts in the middle, okay, if the movie starts in the middle, and then proceeds with flashbacks to current to the middle, you know, I think "Gone Girl" did that? Okay, so that's all nonlinear. And right now in the way that we are watching TV and movies, we're so intelligent that we can understand a nonlinear movie and a nonlinear TV show just like that. It takes us a few minutes, that first part is really important to communicate what type of movie we're watching but we're so smart now at watching things it comes through very quickly. Long or short? Is the cut long, is the clip long like a long take? Okay, am I following someone, is it going through a building is it a long take or is it a short take? And a long take and a short take really helps out in tempo, fast or slow. Another one is big or small. Big or small. Are we trying to fill up the frame with imagery and B-roll of big things? Are we trying to get into detail, are we trying to get in and show stuff? Or are we trying to back out and give people space to see? And this here is informed by our shoot, what we're capturing, okay? So when we get to our editing, it's like okay, do I wanna give people like a really close up look on how these things are in real life or do I wanna pull 'em back and let them kind of experience it and not be so intense about it? Do I punch in and just show faces as things are happening? Or do I pull back and let them be just a spectator, or supposed to be a participant? These are shooting choices that help us in the edit. So again, as we think about projects and things you're doing, thinking about your How-Tos, right? The cooking How-Tos. The choices you make here can greatly affect the perception. 'Cause if it's fast, nonlinear, short clips with small detail, with big detail, it's entirely different than the other opposites, right? And it creates something entirely different. So sitting down and figuring out how you want the story to feel in this way is going to get you a million years light ahead. Because it's gonna give you something to grasp onto when you're sitting there looking at the nebulous void of a timeline. Okay? How are we doing, guys? Do you have questions here? Awesome. Cool. Alright, so when I looked at Ivan's timeline, what does this all mean? Here was the one I decided. But to give you can idea, I could have led in with Ivan introducing himself and then moved to an emotional statement. And then I could have described the customer, showed the family, and finished on the why. I could have just flipped those two, right? The thing about an edit is you theoretically can move any of these components in any portion, in any place, and the story should still be able to make sense in some way, shape, or form with some minor tweaks, k? But when you chunk it down and you've got these components, you should be able to move them around in your edit and the edit should still make sense. So when you get to that moment, let's say you thought this was the thing, if you wanna try messing around when you're at that point, you could do that still. And I encourage you to do that. We're actually gonna look at three different edits. We're gonna look at actually these three edits later on. And we can see how they work, and when I do them I still can't make my mind up and I'm gonna go with the one I wanted initially because I think that's a good one.

"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.