Creating a Video From Start to Finish

 

Lesson Info

Introduction to Footage Review

We're not gonna move the slide just yet because I think when we throw the word out, footage review, I think there's a bit of anxiety. And I can always, I can sense it right now in the room, how much anxiety there is about the concept of reviewing footage, right? It's just all of a sudden I said reviewing footage and I felt the room just tense up. So, let's actually meet it head on. What are some of the fears that you guys have when it comes to reviewing footage? And I'm asking here in the room and I'm asking also on the web. What is something? Right here? Sometimes I'm worried that maybe, 'cause I've had my audios off, or if it's not in focus on the right spot, 'cause if I'm watching it from the back of my camera and then I watch it big, maybe I like, my focal point isn't as good. Okay. Okay. So, yeah. Just focus and like, audio being bad, and maybe cutting on the wrong time. Okay. Let's keep getting these in. I wanna hear all of them and then we're gonna address them all. I'...

m worried they will just take too long. (Victor laughs) Sometimes I just have hours and hours of footage. Yeah, totally. It's just so painful to go through it and to watch everything and then to remember what I saw. Right. Just being overwhelmed with the sheer volume. Right. And not taking a break to actually be able to recognize when those kinda golden nuggets pop out of things that you may want to actually incorporate. Cool. Because I'm also the person in front of the camera, having to watch myself over and over and over again like a terrible answering machine on steroids. (laughs) Yeah, for sure, for sure. I got another one over here? Just that I won't be able to find the right music to go with the piece. Oh, wow, that's actually a really good one. Anyone else? Organizing, gettin' all that footage and being able to properly label it and understand so I can look at it and go, oh, that's that clip, or that sorta thing. Yeah, for sure, for sure. Those are all legitimate fears, everyone. And I think that what we have to do is you gotta check those fears at the door. The purpose of reviewing footage isn't to stoke your own ego. It isn't to make yourself feel bad about what you didn't accomplish. The purpose of footage is to grab out the things that are gonna push you into your edit. So, it starts different for everybody. I don't, initially when I review my footage, I just scrub through it. A lot of the times, I just wanna scrub through it to kinda see what content I'm getting, ya know? So, what scrubbing means is I'll load it into Premiere and there's a little play head, right? And you can pull it back and forth, and you pull it back and forth really, really quickly just to see what's on that clip, alright? And then I'll just kinda keep going through and I'll just keep scrubbing through, and the thing is, is that the most important thing about this is it is time-consuming. You can't just not spend time to do it. So that's the one thing that we're gonna have to realize, is that it's gonna be time-consuming, and that all of those fears that we have will be allayed because here's the reality, remember with yesterday we looked at all that B-Roll? We looked at five or six clips of B-Roll that ran like 20 or 30 seconds a piece, and most of it was ugly. We only pick out a couple seconds of that. So, even if you're worried about it being out of focus, or mis-framed or something, there's always gonna be a few seconds in that clip that's probably usable. Even if the audio isn't as great as you want it to be, you could always cut the audio and do something else with it, right? Especially if we're not using the audio synced up with the voice. There's always a second, there's always a ripcord. We as photographers are so good at just ripcord mentality, right? We get onto a shoot, we realize we forgot something. We don't go home to get it 'cause we're missing the shoot then, right? We just go forward. So we gotta take that kind of go-get-it attitude and take that same type of personality and that same type of mindset, and take it into footage review. 'Cause footage review is just another thing that we can leverage all of our skills in to do well. And, here's the thing, we might not do it like how Hollywood does it, and we might not do it how editors, and people who are in the space do it. But we're gonna do it the way we're gonna do it because it's gonna get us to an end result. Now, everything that I'm saying from now until the end of this session, until the end of the class, is gonna be a photographer's mentality towards editing. It's not gonna be, oh, I learned this from a filmmaker. It's gonna be, no, I didn't have anyone to learn from. I had to deliver on something, so I jumped in and just started teaching myself. And the things that I taught myself, I was like, oh my god, I'm thinking like this because I'm a photographer and this is the way photographers think. And once you guys get into color grading, you're gonna start to see, oh, it's kinda just like Photoshop. It's just a little bit different. And once you guys get into Audition, it's gonna be like, oh, it's just kinda like Photoshop. It's just a little bit different. So, anyway, what's this lesson gonna cover? We're gonna cover asset management, we're gonna cover setting up for the edit, and we're gonna cover reviewing dailies. So parts of this will get mind-numbingly boring but the purpose of that is to drill into us that some of this stuff is boring. Filmmaking and making videos, and all this stuff, not everything in our production is gonna be exciting. There will be days, there will be moments where you're just gonna be bored outta your mind. But you have to push through it. And I think the purpose of doing the class in this way is just to impress upon all of us that we get through the boring stuff to get to the exciting stuff. And then you're gonna find little things inside of your post-production workflow that are gonna really excite you because you're gonna be like, oh my god, I love technology, right? Or oh my god, I can't believe I learned this already. This is great.

"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.