Creating a Video From Start to Finish


Lesson Info

Putting Ideas Into Motion

Oh, film-making, video-making. Ahh, right? The minute you start talking about motion, the minute you start talking about capturing something, you immediately freeze up, right? 'Cause I remember the first time I stepped into doing something. It was just like, "Oh, I got this camera, it shoots motion, what do I do?" It can be daunting. In a galaxy far, far away, there was an idea. And it can be an idea for anything you guys wanna do. It can be an idea to film your kids. It can be an idea to film your pets. Or your friends. Or your next, ya know, vacation. Whatever it is, think about that idea, okay? And as you think about that idea, this lesson will hopefully help you flush that out. So what we're gonna talk about is how to think about a project. Selecting a project, and then setting yourself up for success once you've dived in to kind of stepping into that project. Okay so, what is a project? Let's kinda start at ground zero here. A lot of times I talk in words that aren't familiar. So ...

a project for me is, it can be anything. It's creative. It involves your creativity, it involves your ability to take what you have in your head, and put it down, and make something compelling out of it. Okay? So, it's kind of like a way for you to take your internal voice, add some creativity to it, and then say something. So when I talk about projects, I mean that. Not just like, "oh, I'm in this project." Ya know, we often times wrap like a, a negative connotation around the word "project." When I say project, I'm like, "hey, what are you workin' on?" Like, what's exciting to you? What drives you, what is it? Ya know, like tell me. Tell me more about it. So that's what I mean by project. So yeah, what drives you? When you think about projects, when you think about doing anything, what drives you? Because if it doesn't drive you, you shouldn't be doing it. Okay? That's the first thing. Especially when you start to dive into film-making in the beginning. Answering that fundamental question is important, because essentially when you start delivering content, people don't buy what you make. Okay? People buy the passion behind what you make. And that passion is why. So.. Getting it down to like, its root level. And there's a wonderful, wonderful writer. He's a speaker called Simon Sinek, okay? His major quote from one of his Ted Talks is: "People don't buy what you make, they buy why you make." And you could apply that simple concept to anything. Anything you do. Whether it's in your personal life, whether it's in business, in sales, in marketing, in content creation, anything. The minute you can answer the question of "why?" You've now separated yourself from everyone else. Because think about it, if you're buying a car, if you're buying anything, why are we buying it? Ya know, they could say, "oh, it's made from the nicest material." "Ya know, it's made in an eco-friendly factory." Ya know, that's the how and the what, right? What is it? Oh, it's a four-door v8, ya know, 225 horsepower car. But so are many other things. But if I step back, and I hear a company saying, "we care about the environment, we care about sustainability, we care about creating products that you can use for your whole lifetime. And ya know what? When that car goes bad, we're gonna take it back, recycle it, and make another car out of it." There's an intrinsic set of values inside of that statement that I can relate to. Which makes me want to go and be a part of that culture, be a part of that idea. So again, it's like, it's not about how or what. It's about the why. And as you do something involving film-making, and as you do something revolving client work, or anything at all whatsoever, you have to answer that why. Because I don't need to know how or what. I need to know why. And if you continually ask why as you talk to your clients, you're gonna get down right into those weeds, and really find out what their story is, because that is what sets them apart. Because as you see competition bloom up across the world for the same type of product, for the same type of service, for the same type of person, the only thing that sets you, and your client, and your story apart from anything else is that why. How's that feel? Make sense? You guys see what I'm saying? What do you guys think? Is it resonating with you? Yeah, cool. (students voicing responses) (laughs) If you guys have any questions, ya know like, what really, I get so passionate about this, ya know and, here, we haven't even opened up a piece of film clip yet. Not even looked at footage, and I'm sitting here talking to you about why. That's the kind of thought that goes into a project before you do it. Okay? So, how do we start a video project? Answer the why. That's the first thing. Don't think about how or what. And find a personal interest in what you're capturing. Those first few projects, be interested in it. Lean on that. Okay? If you have a personal interest in pets, or people, or hockey, or sports, or whatever it is, let that personal interest drive you because it'll be easier for you to find that why. Because it'll be relatable.

"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.