Creating a Video From Start to Finish


Lesson Info

Waveforms and Scopes

Here's what this monitor really does that is pretty amazing. It allows us to check exposure and it allows me to pull up what's called a waveform monitor. So if I pull up a waveform monitor, it's gonna show me where my exposure is. Now in this exposure, I can see that I'm overexposed because, yeah I can see that I'm slightly overexposed based off the levels of target. Where the levels of that target is sitting. And right here, it's important because now I know that if I actually jump down this exposure slightly, I can get my scene within latitude of exposure. Now I'm going to explain what these forms and scopes mean right now. The other powerful thing about this thing is also something called a vector scope. A vector scope is crucial because it tells me where I am in white balance and it tells me how saturated I am in relation to where that center point is. Okay, so these are things that may be so daunting and scary when you talk about it, when you look at it but again, I didn't know ab...

out these three years ago. I still was doing content. I am only telling you about it now because I think it's important for us to learn about what we call waveforms and scopes. Okay, so a waveform, confusing, really, really confusing but it's a great way to visually check yourself on set. Because there are some things that sometimes we just don't know where we're at and we've just got to check the overall scene value as opposed to just the exposure of the person. So, waveforms and scopes are And I'm going to give you guys a clinic on it, so we're gonna learn about these right now. It's my favorite part. So, this is what we call a waveform and in this specific format it's called an RGB parade, red, green, B, parade 'cause they're coming after each other right? Like a parade. How much black or how much white. Meaning, am I overexposed or am I underexposed? Okay, you guys follow me on that? I'm probably going to get hammered on this, the proper term is luminance. Holes on the lines here. So we read a waveform based off of zero to 100 IRE. And IRE stands for Institute of Radio Engineers I think. And the reason that plays into affect is because all this does is measure amplitude and we can discern the level of video signals by finding out their amplitude as they come through this waveform monitor. So, black is at like 7.5. So this may be kind of confusing right now but if you look at a chart, if you look at... This chart, what do you see? You see black, you see gray, you see white. Black, gray, white. Can you see what I mean? Black's at zero, gray's at 40, white's at 80. Am I on exposure? Yes I am. So here's how it looks moving forward. It's always going to show left to right. If you have a chart this way, they're gonna stack up. So you can very easily tell if you're one, white balance 'cause if you're white balance, all three colors will be right on the same IRE level. If this was shifted up, what would I be? Mid tones? Red mid tones too high. You follow? If this was shifted up, what am I? Green mid tones, too high. If this was shifted up, green shadows too high. Got it? So show the chart like this, not like this 'cause it gets very confusing this way. (audience laughs) Don't do this, alright? Hey look! How do you read a waveform? It's always left to right. See, it's always left to right. But this is the left side of the frame and the right side of the frame. In this areas it's the left side of the frame and the right side of the frame. So here, left side of the frame, right side of the frame. Black, mid tone, highlight. Here, middle, black, mid tone, highlight. On the right side. Here, black mid tone, highlight. You kinda see it? So when you actually look at something that's why you can't do it like this. It makes it difficult for you to see where your black and your mid tones and your highlights are. What does this mean? This is a real scene. Where's the chart? The charts here. If I'm only looking at this part of the screen, where's my target? The target's here, here and here. Black, mid tone, highlight. What's wrong with the image guys? They're all blown out. Blown out! Over! I need to bring that down, I need to bring that down, I need to bring that down. So my shadows, mid tones and my highlights must come down. Can you see how this is valuable? Can you see how it's valuable? It's a real time test on your exposure. So what do we do in post? We do this, we can bring these values down in post. We can bring these values down in production, before we get to post. That's the power of a waveform monitor. It's a second level check. Because let's pretend I've got a screaming background and it's just super hot, just completely overexposed. If I only meter for the subject and couldn't run to the background to meter it, that waveform monitor allows me to leverage both the meter and the monitor to get the right exposure. You follow? Because I can see behind it with the monitor and see where the specular highlight falls. If the behind it falls higher, I can bring that down in the way of camera exposure. So I think I talked about using a waveform monitor right? Any questions? I know that was really, really fast. (audience laughs) Victor, not a question but just a quick like, that for me was one of those what I call "pause moments." Where it's like okay, I think I got that 'cause I understand exposure from photography but that is such the importance of having this class to be able to go back, understand, re watch, all of these things for those pause moments like that one. This is my favorite part in making this class was doing this section because it's so scary. And we're not done yet, we still have vector scopes. What's up? Yeah, forget production, let's do a post production. When you're in post production, how are you adjusting your white balance to get it where it needs to be? Excellent! So in post, I'll show this later in the class, Is that Adobe Premier? This is Adobe Premier. So you can do this in Adobe's Lumetri Color. Lumetri Color module or you can do it in Da Vinci. I chose to do it in Da Vinci and I'll show you how I did it. Basically, what you end up doing is in the previous slide here, we saw that the white value if definitely off white. So what you do is isolate the red channel inside of a three way color corrector and you bring down the red so that you can then match it in post to that, to get a natural color tone. And we'll talk about that in Da Vinci. And the best thing about Da Vinci, it's free. 12.5 is free. It's always free, it's great. So we talked about light-meter vs. waveform and how we can leverage both. Did you guys understand the concept there? I really wanna make sure we understand that because I can get an exposure value here but if I can't run to my background, the waveform monitor's gonna tell me if my background's out of gamut or not. That's huge! Because what matters is what I'm seeing on a screen and if that IRE value clips up and jumps up, I can pull down my camera exposure to make sure that I'm within latitude and it's between 80 and 7.5. 40's your mid tone. I see some heads nodding. (audience laughs) I love teaching, this is great. (audience laughs) Okay, cool! They do separate things, best used together. That's what you gotta remember. The more the cluster of light, the more the cluster of colors shifts away from the center, the more off white balance you are. Now, I'm gonna get my trusty teaching tool here. From center to out. That vector is the level of saturation in what is the here, the scian channel. If this line is straight from here to here, that means I'm on point with the color. That means I do not have a hue shift. If it shifts this way, that means I have a hue shift. You can see here, the colors are actually pretty far out. What that means is the further from the center the colors are, the more saturation you have in the image. How powerful is this tool? You can look at it and immediately tell that your blues are over saturated, they're shifted in hue and then you can see that there is no white balance somewhere, 'cause if there was a white balance, you'd see a white cluster somewhere right here. Let's keep talking. So here are the colors. You have one other vector that's really important called the flesh tone line. That's where you're gonna get clean flesh tones. So this is a really powerful tool and I'm teaching it to you guys now so that later on when you step into it you're not scared by it. People get really, really scared looking at these kinds of things. It's really not that bad. Alright, so the image on the left, skew towards blue. But as we take a look here, "Hey! This is what the chart's for." You show the chart, boom! The perfect white balance. Boom! Perfect color! Everything's on vector, except that green. It's slightly shifted. Now you can look at these scopes for two different cameras and begin to see in which way you need to shift in post to match them. Or use this target in post, use it in Da Vinci Resolve and Da Vinci Resolve will match them for you. Huge, huge huge! And yes, I'll teach that later. So that was a gear component. Obviously I didn't talk a lot about gear. What'd I talk about? The one thing I that I think is gonna be important for you as you progress into doing client profiles. Because vector scopes and waveforms are going to be something that's gonna save you because as cameras evolve and as you evolve, your knowledge base of the fundamentals of filmmaking and the fundamentals of just understanding how to read something is gonna play huge. 'Cause it's gonna prevent you from making a mistake. These are obvious things we do every time before we shoot. Because a white balance, you can't replicate. I didn't get white balance on some of the shoots and I spent hours grading. It sucked.

"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.