Intro Into Making Videos: Basics for Youtube | Brennen Higgins | Skillshare

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Intro Into Making Videos: Basics for Youtube

teacher avatar Brennen Higgins, Everything video and photo related!

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

7 Lessons (20m)
    • 1. Everything you need to know about making videos: Intro

      0:36
    • 2. Frame rates and picking out the right camera for You

      2:10
    • 3. Video making basics: Shutter and ISO

      2:46
    • 4. What lenses you should use in certain situations

      5:11
    • 5. How to properly clean your camera and lenses

      1:31
    • 6. What lights to use and what gels to use on them

      4:31
    • 7. Equipment that can add to your videos

      2:52
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About This Class

Today we'll go over everything you to get yourself started making videos. Let's talk about how to work your camera and what type of cameras and lenses work best for your type of videos!

Also, lets go over different types of lights and how you can manipulate them!

Like always, feel free to ask any questions you may have! Lets have  a chat!

Meet Your Teacher

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Brennen Higgins

Everything video and photo related!

Teacher

Hello, my names Brennen Higgins. I'm here to teach you everything you need to know about cameras, photography and film. I've always had a passion for photography and film, so much so that I went to school for it. I received my bachelors in Film and Photography and hope my skills and knowledge can benefit others!

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Transcripts

1. Everything you need to know about making videos: Intro: Let's go on everybody. So you wanted to get into video, but you're really not sure what to do. Well, that's what we're here for. Let's cover everything you need to know. If you guys didn't know my name is unknown photographer. I actually have a bachelor's in video production. So let's talk about everything I have learned and let's talk about everything you need to know to get started. Let's go. 2. Frame rates and picking out the right camera for You: So let's start off. Number one, what camera you should be getting and what cameras suits you best. Now, don't get me wrong every DSLR and he said my camera out, there's going to be pretty good nowadays. I mean, everything's kind of advanced so much as little as five years out of meaning get achieved DSLR. And it's as good as a $10 thousand camera from ten years ago. So now if you're looking for a camera that has great low-light, Sony is probably your best bet out there. There is nothing that really comes close to it. Everything about their cameras low. Likewise, it beats any camera that's out there. So when you're talking about a Canon camera, their picture profiles are actually really nice. There's skin details are really nice. So if you're looking for something that looks pretty good right out of camera cans, always great. It's really user-friendly. Their menus are really simple. Sony's are more complex. And then of course, if you have a lot of extra money to throw around, you can buy a red if you really want. But from what you can do with like a Sony A7, S3. And now you can do pretty close to the same thing as you could with a $15 thousand red. So I'd recommend if you're just starting buy a cheap DSLR. So to go along with what you're using it for, also think about the type of videos you'll be making. Some, if you're doing a lot of slow Mao, you're going to probably want to geared towards a camera that has slow-motion. And to go right from that, let's talk about frame rates. And frame rates are really important because it's how you gonna get your slow motion effect. And so when you're talking about frame rates, there's a couple of things to think about. So if you're recording and film, you're gonna want to record 24 frames a second. So if you're looking for the most filmic look, amongst cinematic look, you're going to be recording at 40 frames. If you're looking for slow mo, you're gonna want to record at 60 frames per second or 120 frames per second. You're recording at 60 frames per second. You're going to be able to slow it down half. If you're looking at a 120 frames per second, you're going to be able to sell it four times the speed. And so like I said, when you're looking at a camera and decide if you're doing Slama, go with a high frame rate camera. If you're looking for a low light, goes something like the Sony. They're amazing and low light. And if you're looking for really good colors on skin's, go with a cannon. So if you're a little confused about frame rates, will talk about it in the second episode when we talk about shutter and ISO, let's go into the second one. 3. Video making basics: Shutter and ISO: So now I'm talking about frame rates and you may be a little confused. So frame rates, so your frames per second and they go with your shutter and your ISL. So your shutter will always double whatever your frame rate is. So let's say you're shooting it 30 frames per second. You're going to want your shutter at 160th. And if you're shooting at say, a 120 frames per second, you're going to want you shutter at one to a 140th of a second. So the thing is you always want them to Dublin, you want them to correlate with each other. So the big thing with the shutter is they can cause your videos to be choppy. And typically if somebody messes up their shutter, You can tell whenever you're watching their film that there's somethings off about the video. And it's usually because their shutter with their frames per second. So like I said, if you're shooting at 30 frames per second, shoot it at 160th of a shudder, 60 frames per second, shoot at a 120th, you always double it. So the only give you can't have as if you're shooting at 24 frames per second, you can't shoot at 150th and it's fine. And that's pretty much it. I wouldn't ever change your shutter. I would always double it to match whatever you're shooting your frames per second. So now that's shutter with frame rate. Now let's talk about ISO and how that comes into play. So an ISO, they go and stop. So a 100 to a hundred and four hundred and eight hundred and sixteen hundred they always doubling, that's one stop of light. So every stop you up, you get one stop of light extra. And so now how this directly correlates with the shutter is if you're shooting at a 60th shutter. And I know this may seem confusing, but it makes sense once you start to understand the camera, it just takes time. So if let's say you shooting at 160th shutter and 200 ISO, if you go up to 240 shutter, you're allowing less live into your camera. So you have to accommodate with your ISO, so your ISO would double. So you've got a 400 ISO a bureau in 200. Now, typically with a normal camera path, say like 1600 or 3200, you're going to start to see grain unless you shooting a Sony. So you'd typically never want to shoot a bug like a 1600 ISO. And like I said, the ISO is just amount that is hidden in your sensor. So it all depends on whatever you shooting kinda dictates your ISO. So that's frame rates, shutters and ISO's. And it's really simple once you get it, just remember WWR shutter for whatever your frame rate is, and then have your ISO based off of that. So you're going to see if you're, say 60 frames per second is too light, just pull it down. One-stop will down two stops until you get the image to be properly exposed. It's really simple to simplify and I'll show some examples also of what ISO does and how it correlates with a shutter. So I'll put it in the video for some examples. And that's it for the ISO and shutter. Let's move on to the next. 4. What lenses you should use in certain situations: So now that we got all the technical stuff out of the way, let's talk about the fun part. Let's talk about lenses and what they can do for you and wetlands you should buy and what lens will work best for you. So now that we got all the technical stuff onto the whale is talking about the most fun part, picking out your lens and what lens you should buy and what works best for you. So the first thing you need to realize about a lens is there's so many to choose from. There's like a 16 millimeter, 2435507085. It's kinda hard to decide what to use and what they're used for. So typically, if you're wanting to make like films and everyone's going to have a conversation. This is shorted the 50 millimeter. So I'd recommend like a 5085. They're really great for conversational pieces. Whereas unlike actions for today, you're going to want to shoot something more like a 16 or 24 millimeter. And choosing the right lens is so important though. So not only do you have your wide lenses and you have your long lenses, you have it lens like I'm actually using right now. I have a 24 to 70 zoom lens. It's a 2.8. And I'll explain what a F-stop print aperture is in a minute. But with a lens like this, you're allowed to have, I can shoot it like a 24 millimeter, a 35 of 5070. So I have four lenses in one. And if you're shooting, say this is a 2.8 lens, you have a fixed aperture. Now, when you're looking at lenses that are zoom lenses, you're gonna wanna make sure you get a fixed aperture. And I'll explain what that is in a minute. But It's about, it's basically the amount of light that is led into your camera. So minds fixed at 2.8. So it doesn't matter what millimeter I'm mad, it'll always shoot at 2.8 or whatever I choose. Whereas if you look at a zoom lens that says like 3.5 to 6.3. That means depending on what millimeter, you can only go down to a certain f-stop. So you're always gonna wanna make sure to get a fix one invests the extra money, it's definitely worth it. And other part is I can't stress this enough. Buying the right lens is so much more important than buying the right camera sometimes. So a nice lens on a bad camera will look so much better than a bad lens on a good camera, it's just how it is. I mean, lenses are so important in their overlooked in there such a beneficial piece. The thing about an 85 millimeter versus a 24 millimeter is 85 millimeter is also so much more compressed, so your image will be more compressed. There's not gonna be as much background. The depth of field will be shallower. So it's a lot of important things to think about in that way. And now, whenever we are talking about f-stop dough and aperture, you have to realize the lower the f-stop the better. So 1.41 to 2.845.6 and so on all the way up to like 64. So with a lower aperture, like, uh, 1.4, it allows you to let more light into your camera and it also makes your depth of field even more shallow. So if you're shooting, say a one-point four versus 5.6. And I'll put examples in the video. 1.4 will be way more shallow than a five-point six, even if it's the exact same video. That's why I always recommend if you're buying a lens by like a 1.4.2 lens, don't buy anything above it because it's really not worth it. And like I said, lenses are so important. Spend the extra money, get the good lens. Trust me, it is so worth it. And now when you're also talking about f-stop, it also dictates, say like you're doing an interview style video, you're gonna wanna shoot it a low f-stop. You know, you don't want to shoot it at 1.4 or a two because you're going to want your subject to be the main subject. You, you can, you're not gonna want anything in the background to stick out over the subject. So you're gonna shoot on a two or 1.4 to have that shallow depth of field zone always invest in it. And like I said, if you're investing in a zoom lens, invest in a fixed aperture and not a variable aperture. Lenses typically won't go below to eight if they're zoom lens. Get the two-way. Don't invest in the four. By the 218 is worth extra money, trust me, and your films will be so much better and you'll have so much more capability and you'll have so much more flexibility. Is this. Nothing can beat it. And to go along with your lens, you also have to think about what kind of camera you have. So there are so many different sensors and cameras. And now sensors are literally the actual sensor inside of the camera that takes the image. So you have an APS-C sensor. A full frame is super 35-millimeter. And now you'd have to look up what uses. But let's say you have a full frame sensor and 85 millimeter will be an 85 millimeter on that center. Because it's a full-frame, it takes the full lens. But there are some like APIC or a crop sensor that like an APS-C. A lot of them, like in Sony's line, will be a, a 1.5 crops. So really a 50 millimeter when he put it on your camera, will actually look closer to 75 millimeter. Or if you're doing a 100 millimeter to look closer to a 150 millimetre. So always be conscious when you're buying your lens, know what kind of sensor you have and look it up first. Because even like some canons can, cameras will be like a two crops sometimes. And so if you're buying a 50 millimeter is really going to be like a 100 millimetre. So make sure also before you buy the lens and invest extra money, make sure you find out what kind of sensory having your camera first. Now that's it for this one. Let's talk about cleaning your camera and the next one. 5. How to properly clean your camera and lenses: So now that you have your lens and your camera, let's talk about how you need to clean this and it is the most important thing. Make sure your lenses in your cameras are clean and your sensor and everything is calling it. So there's just a couple of small things that are always beneficial. So here's my camera. This isn't my 35-millimeter, but doesn't matter if you're shooting film or video. It works for everything you're going to want to get. And we call them red rockets in school, you're gonna wanna get a blower. And what you're gonna wanna do is put your camera facing down with your lens facing down and go at it at an angle and make sure you get all the dust off. It's really important. Clean it and then I would highly, highly invest in some chem wipes. I mean, this is a 280 PPACA chem wipes. And basically there's no fabric or there's nothing on chem wipes. So they're the best to clean lenses for and sensors. But take a folded in half and then start in the center of your lens. And slowly build out to the edges of your lens. And just like that, you'll have a perfect lens, perfect clean lens. You're ready to shoot due to your sensor, everything will be good. Now there are certain chemicals you're going to want to use on your sensor over your lens. There's specific chemicals, literally just for your sensor. So be mindful what you use, but always just get up and get a rocket and spray yourself off where you're shooting. It's really important to keep your lenses clean, keep them valuable. And I mean, you're investing a lot of money on this. So you may as well invest an extra $5 and get one of these. 6. What lights to use and what gels to use on them: Now let's get to the fun part. You have all this setup now you get to talk about lights and jealous. So what are jobs? I'll explain it to you in a minute. But let's talk about light source. You have so many different types of lights. You have an LED, you have Fresnel's, you have open face. Hhmi has all these different types of light that do all of these different things. But if you're somebody that's just starting to get into video and I, you're not going to invest in HHMI life there too expensive. You're probably going to want to invest in an LED that very cheap. And if you notice actually have a really simple LED, it's actually my phone on me right now. And I actually have a gel over and I'll explain what it does in a second. But probably get a bike color LED if you can. They're pretty cheap and they do the job if your just making videos. Now, if you're wanting like something low cost effective, that's a little bit better. Maybe look at some tungsten lights. But it's probably your best bet to just get an LED. Now, when we're talking about gels, what are gels? Gels are colors, are there fixtures that you put over your lights to add effects to them? So actually have now their multiple, I have gels, which are coloured gels, and I have diffusion, which a diffusion paper does actually have it over my, my LAD right now on my phone. As the diffusion will literally diffuse the light and it will spread the light anymore even tone instead of having a harsh light on somebody. So a good example of that is like right here I'll, I'll take it off of my light right real quick. Is I have this, this promised right here. So it's a really nice diffusion and just suffuses my light a little bit, makes it a little bit software. It's not so harsh on my face. It's a little bit harder with a mask on. So now that's also promise you also have like, you have like two fifty, six hundred fifty one, you have all these diffusions. You have quarter sapere diffusion. Half a stop will stops at a fusion and it literally diffuses. Like an entire stock from a delight is in its spreads. It spreads out the light really, really evenly. So they're really great to invest in like a three foot by three foot, one yard pieces like $7 self go invest in some really worth it. Grab like a half a stop, well a whole SOP and maybe like a promised in. It's amazing for making film. Put it over your photo, real light. So the fun part is actually my gels. And so now when you're looking at coloured gels, it's exactly what it sounds like. I have all these different colors and I'll lay them out. And what your gels will do is they'll dictate your light and the color of the light. So let's say you're going for moonlight. You're going to want to use, I have this one right here called peacock. And it's just really nice blue that you can put over a light to make the effect of like say, in an orange light, you make it look more moonlight. And you know, you have blue steel and you have all these colors that can change the mood of a light. And again, these are like 6 $7 and you know, we have yellow, blue, green, red, and the color you need. And they're really, really beneficial. I cannot help that and I cannot stress that enough. They're so important by some gels, ISAM nice gels by from Moscow jealous, some diffusion. And I LED light and you can get started like that. Now, obviously I'd recommend if you're doing like Moonlight, invest in Blue Steel or invest in, and these are the names of the gels. Blue Steel or a peacock. They're really good for moonlight. And if you're trying to be creative, I mean, you can get some pink severely once. Or if you're trying to like replicate like a street light, you know, you can get this really light, really, really light yellow or you get a light orange. And there's so many different, there's like 500 different gels that you can buy just from Moscow alone. So definitely invest in some gels and invest in some diffusion. And have fun with it. I'm telling you man, how fun with it and vast experiment. Do everything you can with the gels to benefit your film in any way or your videos in any way. And like I said, it's a good way. Even if you're trying to make your set seem more warm, more vibrant. I mean, a little, little bit goes a long way. So definitely look into gels are very cheap. And it's a really great way to, really great way to up your production costs without spending a lot of money. 7. Equipment that can add to your videos: So now for the last part, you have your camera, you have your lens. Maybe you buy an LED light, maybe a gel or two. Now we can talk about some kind of more specific things that you can buy that can really, really up your production value for very cheap. And one thing, and it's by far the hardest to learn. But if you're buying a little DSLR, you can go buy one of these small glide clamp and glide hands and one a glide CAMH does is you can put your camera at the top of it and then will literally keep it stable and you'd be able to move it around. And it's a really great way to learn filmmaking and learn, and video making. And it makes everything very smooth, but it's all based on touched. So you're going to move your camera around based on wherever your lower three or four fingers are gonna move them. So that's really, really great. And then obviously you have like, what's on my camera right now, a tripod, which is, I mean, obviously like the most important thing, you can pretty much as a tripod. So obviously the first thing I'd say is invest on a tripod and then invest in either something like this or what I'm about to show you in this box. Essentially what a gimble is, is very similar to this, but this you have to calibrate yourself with a gimble. It's already set up for you. You put your camera on, do a couple of adjustments, and it's all electronic based. So in motor based, so it's all set up basically for you. I'll show you what it looks like. And that's basically what it looks like. Keeping your camera right up here. And it literally keeps it completely steady for you. Really great. So the big price differences, this is like a $500 piece. This is hike a $60 apiece. And you get a tripod for like $50. So now don't buy any tripod though. If you are doing Video 100%, it's not even a question. Invest enough fluid head. So it's literally what it sounds like. There's fluid in the head that can move around smoothly. Whereas if you just get a still camera of stoke him tripod, it's probably going to have kinks in n scam glitches. And so whenever you're moving it's kinda like shake. It's gonna feel like so make sure you get a fluid head of some most important thing. And that's kind of everything about film making. We went over how to clean all the lenses, everything you needed to know, the equipment that you can use, lights and most importantly, and they go film something now. So get off there, let me see what you guys can do. I would love to see you guys make something and submit it. I would love to see what you guys do. I'd love to hear what you guys use. I'd love to know what camera and lenses and whatever equipment you're using. And always fascinated by itself. Let me now, if there's anything else I can do for you guys, and until next time, we'll make some films.