Creating a Video From Start to Finish

Lesson 11 of 37

Prepping for the Interview

 

Creating a Video From Start to Finish

Lesson 11 of 37

Prepping for the Interview

 

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.

Class Description

AFTER THIS CLASS YOU’LL BE ABLE TO:

  • Confidently make a movie from start to finish
  • Expand your photography skills to motion pictures
  • Tackle pre-production and post-production essentials
  • Capture video and audio expertly
  • Edit in Adobe Premiere Pro and Audition

ABOUT VICTOR’S CLASS:

Photography and videography have several things in common -- but what about factors like audio and telling a story using video editing? In this filmmaking class designed for photographers, learn how to use the DSLR or mirrorless camera that you already have to capture high-end videos. In this start-to-finish course, you'll master everything from planning to post-production. The goal of the class is to teach anyone how to create a video from start to finish.

Dive into video production from the planning and pre-production phase, where you'll learn how to choose an idea, scope out locations, research the client, and more. Jump into video gear -- and what's really necessary on a low-budget -- and learn the essential filmmaking tips for recording. Discover how to capture excellent audio and tackle those B-Roll shots.

But this filmmaking course doesn't just teach you how to use editing software -- you'll learn the editing process, start to finish, from storyboarding to exporting. Work in Adobe Premiere Pro to perfect your footage and Adobe Audition to fine-tune that audio. Tweak color in DaVinci Resolve. Add soundtracks, titles, and keyframes. Then, finalize and export your project.

WHO THIS CLASS IS FOR:

  • Photographers eager to add motion pictures to their repertoire
  • Beginner filmmakers
  • Self-taught filmmakers ready for additional insight

SOFTWARE USED: Adobe Audition, Adobe Premiere Pro, DaVinci Resolve

ABOUT YOUR INSTRUCTOR:

Previously a photographer, Victor Ha is now a filmmaker. His experience working with both stills and motion pictures helps him guide other photographers through the same process, from photo to video. He's known for his straightforward, practical teaching style that's easy to follow along with.

Lessons

  1. Class Introduction

    In the first lesson, meet your instructor and learn what to expect during the class. Know what's up ahead by pinpointing the goals for this class at each production stage.

  2. Putting Ideas Into Motion

    Start the filmmaking process with an idea. Learn how to flesh out ideas and turn them into successful projects.

  3. Client Profiles

    Video projects come in many different forms, from cinemagraphs and short films to commercials and features. A client profile is a type of video telling a story about a person or business. Learn what's involved in this simple video type as an easy format to get started with.

  4. Choosing Your Subject

    Video projects start with a subject -- but just how do you choose? In this lesson, Victor discusses how to narrow down your ideas to choose the best one.

  5. Scouting Locations

    Part of the planning process is scouting out different locations, an essential part of pre-production. Learn what to look for when scouting out different locations and how to spot good camera angles. Then, work with that information as you prep for shooting.

  6. Researching the Client

    Understanding the client -- and what they are looking for in a video -- sets the stage for a successful video project. Learn how to research your client and the essential pre-production questions to ask.

  7. Choosing Equipment

    You don't need an elaborate amount of gear to shoot video -- Victor goes through the essentials for video, and how that list may change for different products.

  8. Waveforms and Scopes

    Waveform monitors show a visual of the video's exposure. Using waveforms along with vectorscopes can help you get the best results in camera as you shoot. While confusing at first, these tools offer big advantages on set.

  9. Shooting Strategy

    Build a strategy to organize those thoughts from pre-production and create a shooting schedule for the project. Incorporate these factors into a shooting strategy for success.

  10. Interview: Setting Up for Success

    The interview is an essential style for filmmaking. In this lesson, learn how to set up an interview for the best results, including audio suggestions and pitfalls to avoid.

  11. Prepping for the Interview

    Before you head into the interview, have a list of questions -- and practice asking them. Master the essentials for interview prep, including research.

  12. Capturing Audio

    Video and audio go hand-in-hand. Gain tips for capturing the best audio for your video, from dual system sound and setting levels to working with audio gear.

  13. Capturing Room Tone

    By recording the ambient noise in the room, unwanted background noise is easier to edit out. Learn how to capture the room tone and tricks to create better audio by adjusting the room.

  14. Audio Q&A

    Audio is scary stuff -- learn from the most frequently asked questions from students like you.

  15. B-Roll: 3 to 1 ratio

    B-Roll is supporting footage for your video, helping to add interest and fill gaps. In this lesson, learn why B-Roll is important -- and how much you need to shoot.

  16. Planning for B-Roll

    B-Roll should help tell your story -- so what should you capture, especially when the scene doesn't seem so interesting? Find out how to plan for B-Roll and ideas for the most interesting shots.

  17. 5 Rules to Capturing B-roll

    Use these guidelines to capture better B-Roll for your project, from gear tips to determining what's important.

  18. Using B-Roll to Shape an Edit

    B-Roll is secondary footage -- learn how to tackle video editing with B-Roll in mind. Then, jump into editing with Adobe Premiere Pro editing software.

  19. Introduction to Footage Review

    After recording, you may have hours of footage -- how do you decide what goes in and what stays out? Make footage review less daunting by tackling your fears first.

  20. Asset Management

    Organizing footage saves time and helps you get a jump start on that edit -- but the organization doesn't have to be elaborate. Learn how to manage the assets for your film project.

  21. Edit Setup

    Before you edit, preparing helps get the film project off on the right foot. Learn how to prep for editing, from working on audio first to identifying mistakes.

  22. Edit Audio in Adobe Audition

    Victor suggests photographers edit audio first to get the aspect that we're least familiar with out of the way. Build an understanding of audio editing and skills for using Adobe Audition, including eliminating that room noise.

  23. Syncing Your Footage

    Set up for a successful edit by creating "goal posts" and allowing enough time to reach each one. Start working on the edit by laying out the timeline and syncing footage.

  24. Conceptual Storyboarding

    Building a storyboard guides the edit and helps you tell a story, without meandering away from what's important. Create a successful story -- and learn why Victor creates his later in the process -- by working with a storyboard.

  25. Editing Choices

    Video editing is full of choices -- but you can always change your mind. Learn how to get over hurdles and make the best choices for your filmmaking project.

  26. Selecting a Soundtrack

    Soundtracks give your edits a tempo -- but what song should you choose? Victor talks about choosing neutral soundtracks, avoiding songs you already know, understanding copyright, and everything you need to know about soundtracks.

  27. Building the Rough Cut

    Start turning that storyboard into an actual edit by building the rough cut. Learn how to shrink down long footage, decide what to cut and what to trim, and start organizing footage.

  28. Refining the Story

    Take that rough cut and turn it into something less rough. Start moving footage around to match that storyboard. Victor explains the "meat and potatoes of editing" -- going through footage, listening, cutting, and repeating that same process again.

  29. Adding B-Roll

    With the shape of the video in place, work in footage from the second camera and B-Roll footage to fix continuity issues or simply add more interest. Develop not just an understanding of the editing software, but a workflow for editing your film project.

  30. Rough Cut to Final Cut

    Move from that rough cut to the final cut with an overview of the last stretch of the editing process, including mastering transitions, color edits, and polishing that timeline.

  31. Color Grading in DaVinci Resolve

    Create color-graded videos inside DaVinci Resolve. Learn how to use the software, import and export, and color grade your project.

  32. Three-Way Color Corrector in DaVinci Resolve

    A three-way color corrector allows you to fine-tune RGB values. Walk through the basic color correcting process to correct issues like color cast.

  33. Export from DaVinci Resolve to Adobe Premiere Pro

    With the color correction finished, be sure to export your file properly for a seamless transition back into Premiere Pro.

  34. Add a Title in Adobe Premiere Pro

    Adding text and titles in Premiere Pro is simple. Learn how to add text frames to your video project without leaving Premiere Pro.

  35. Export Project from Adobe Premiere Pro

    Once your edit is finished, it's time to deliver. Learn how to export your project from Premiere Pro.

  36. Adding a Keyframe

    Keyframes are simply markers in the video that signify the start and the end of a change. In this lesson, Victor uses keyframes to adjust the audio of only a small portion of the video.

  37. Creating Multiple Projects from Your Edit

    With the main project done, what else can you build from your material? In this lesson, Victor discusses additional options to add to smaller supplemental projects to your main work.

Reviews

Beatriz Stollnitz
 

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.

Lynne Harty
 

Victor is a wonderful, knowledgeable and enthusiastic teacher - I learned so much. Thank you.