Creating a Video From Start to Finish


Lesson Info

Prepping for the Interview

So, preparing for the interview. Know what question you're going to ask before you ask it. That's just plain and simple, okay? That's just standard run-of-the-mill. Practice asking a question with a pause at the end. Okay, so like, a lot of times, we swallow words as people who speak English in America, okay? So, we'll run through a question and then not give a person an opportunity to answer that question before we keep talking, okay? So find a way to like, stop. And what you're going to find out throughout the course of this is someone will say something, okay? And they'll just, you know, continue to talk, and then if you give them a little bit of a dead spot in the interview, they'll keep talking 'cause they think they have to, you know? It's a really good way just to keep them talking, you know, and just be engaged with them, like give them positive reinforcement that you're listening, like nod your head, and you know, but bite that tongue. Don't say anything, okay? Let them talk, ...

it's about them, okay? That's the most, we have to always drill it back down to like, okay, what is this interview for? Is it for you to seem like the next Anderson Cooper, you know? Do you want to be the next Anderson Cooper, or do you actually want the client to be, you know, put forth in a piece that's really, really good? Okay, and that's the challenge, okay? How are we doing? You guys Follow me on this? Have you guys, is this helpful, like is this something that is really good for you guys? Awesome, great. About the types of questions that you're asking, and it's, how do you ask a question if you're needing them to repeat, or include in their answer, some of the information that is in your question? Yeah, so you think about, the thing about that question, it's actually really a good question. So, when I set up an interview, I'm always going to remind the client to answer in complete sentences, okay? So, I'll give an example, I say, "Okay, so, just remember, "okay, the only thing that I'm ever going to tell you "to do is to answer me in a complete sentence, which means, "if I tell, if I ask you a question, how long have you been "doing this, you can't say 15 years, okay? "You have to say, I've been doing this for 15 years." Because to be able to piece together a narrative from an interview, you have to have imperative statements. You can't just have these broken sentences that don't work, okay? So, it's like, 15 years ago, you know, you sound like you're giving a speech, right, and you can't have that. The key to having it sound organic is to having the client answer in a complete sentence, okay? So, let's practice that really quickly. So, where are you from? I was born and raised in Tacoma, Washington. Okay, that's a great answer. I am from, I was born and raised in Tacoma, Washington, okay? I used this one earlier, how long have you been photographing? I've been photographing from since I was 13. Okay, so these imperative statements really allow us to kind-of craft a structure around the interview, okay? And, I think like, if you really, really dive deeply into this, you'll find that the imperative statements will lead us in to the broken statements that invariably happen during an interview. 'Cause someone's always going to not answer in a complete sentence, but then you can use that imperative statement, lead into it with the broken statement, okay? You need those, okay? Those are very, very, very, very important. And just a follow-up on that, if you realize that the person didn't answer in that complete sentence, would you ask them to repeat it? Yeah, you know, I think there's a moment where you have to kind-of coax them a little bit, and I think like, so, I'm going to ask the year question, okay? So, I'm going to give you the year question again. I'll show you how I would redirect it. So, how long you been doing this? 15 years. Great, so 15 years, could you tell me a little bit more about, you know, what got you into it? So, you know, maybe start with, you know, I've been doing this for 15 years? Oh, well, about 15 years ago, I saw this shiny camera. Yeah, see, so, it's conversational. You know, lead them, okay? Be like, hey, you blah, blah, blah, blah? Maybe start with hey, 15 years ago I did this. So, how important are the imperative and complete sentences when you are going to be on camera with them? So, if it's a different situation like that, do you still really need to try and lead them into those complete sentences? So, the type of client profile that we're going to be doing here, okay, is very important to not have the necessity of someone else on camera pitching the question. This type of client profile leans on imperative statements, okay? It's dependent upon imperative statements. If you can't get them to say an imperative statement, you're going to be in a really, really, really in a big pickle when you come to edit. Now, there are types of profiles where if someone's interviewing and that kind of thing, that's a different type of client profile, okay? That's not the one that we're going for. The ones we are going for are more, kind-of narrative-based. They're more, kind-of like inspirational. They're more, kind-of like directionally-focused based upon what the client says they are, okay? They're kind-of different, but if someone was on camera with me, and they are asking the question, and they were pitching, we were just talking back and forth, that's fine. They could ask question, I can answer back and forth, and it would totally work because you're hearing the question, okay? A good tip on making sure if you're getting it right is if you can discern the question from the answer, then you got it right, okay? If you can discern the question from the answer, then you totally got it right, okay? So, conducting an interview, I said it earlier, not about you, okay? It's definitely not about you, it's about them. This whole thing is about them. For once in a lot of these people's lives, something is just about them. So let them enjoy that, okay? Let them experience that, let them have fun with it, okay? 'Cause that's going to be fun. Ask follow-up questions, keep asking why, and then, slow the interview down when it matters. Especially when it resonates with you. If something, what is it? If your Spidey-sense starts to tingle, that's a good indication that you got to slow down, okay? We all get the chills at some point when we talk to somebody, okay? We all get that, so we got to slow down when we get that. Use that, that like, that feeling to kind-of guide yourself in how you respond to somebody. I think that's so, so, so important, okay? So, we've got another little, another little video, and we're going to jump into, I'd just kind-of like to describe some other stuff, so this is, again, from the pre-shoot, so here we go. I'm going to run you through my audio setup really quickly. I've got a Tascam DR- that is going to capture all of my sweet audio. So that means the logs are going to go to it. I've got my cameras already set to receive good, decent reference audio. The thing that we want to really make sure here is that everything is leveled out to negative 12 dB. Now, the reason I like the DR-60, and a lot of recorders have this feature, the DR-60 allows me to record two audio files at the same time. One at negative 12 dB and then one at six decibels lower than that, so that if I have a spike, or if I have something unexpected happen in my audio track, I've got myself a safety, right? Again, I'm here alone, I don't have any help. I'm going to try to make sure I have as many safeties in there for myself as possible. Now, if I did have extra hands or something like that, I'd probably throw in a second audio source. Maybe like a boom mic or something like that to kind-of, to help myself out with any kind-of noise that's going to happen as Ivan's, we're in the mic. So, I'm just going to take my chances here and kind-of like, throw caution to the wind because I've got to get Ivan in a chair, and we've got to just start this. So, I've got one less thing to do. I'm going to do a quick audio check with Ivan for levels, and then after that, it's off to the races, okay? Okay, so that leads us into this next section of like, capturing great audio, okay? Capture great sound.

"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.