Transcripts
1. Class Introduction: This is a camera and you can open many doors for you in life. Doors like this. But without knowing
how to use one is basically just a paperweight. So in this class you'll
be learning the gear. You absolutely need to be successful camera
settings that will give you the best
results for your videos. Developing yourself
as a creator, building confidence how to use
light and much, much more. It's super easy to
over-complicate things. So I'll just give
it to you straight. What you will get
from this class is a solid foundation on
which you can build upon however you see fit in both technical and
creative ways. And I'm here to tell
you early that you don't want to walk
this path alone. So for our class project, I'm going to give you what I and many other creators
lacked in the beginning, a community, a support
system In this will exponentially
increase your chances of success beyond this class. What's up, guys?
My name is Hart, but you can call
me hard to plug. I'm a videographer based out of Colorado and after working with over a dozen businesses and accumulating millions of
views across social media. I've learned quite a bit in
these three short years. I've been doing
this and I want to share with you what
I learned, okay, I started doing
silly vlogs in 2021, and now I do this for live
and this is my full-time job. And I want to show you
guys how you can do that. First, we master our
fundamentals and then we can master
being our own creative. So are you ready to make that first step to
making his dream real? Let's get into it.
2. Build A Community: So this class being
the basics, the video, I didn't want to just give
you guys a task to complete. I wanted to give you
guys something that lasted a little bit longer. And it took me
recording the entire class to figure this out, right? I was thinking about how I
felt when I first started. Just like you are right now watching basics videos
and stuff like that. And one thing I thought I
was missing was friends. But another thing
that is greater than friends is a entire community. And when I found that, and
I'll show you guys like a bunch of the people I
met along my journey. It was just so much sweeter to accomplish new goals
and stuff like that. When you had people that are aligned with the same thing
you are trying to do. So in a light of
that, I am going to attempt to provide
you guys a community. I want you guys to not only
just watch this class, I want you guys to
support each other, get to know each other, and I will get to know each and
every one of you as well. So I tried to
accommodate all people. I made three different
locations where you can go and interact with people. The first one is Discord. If you want to
access the Discord, all you gotta do is
download discord and the link will be in the
class description above. The second two locations is on regular social media,
TikTok and Instagram. To go into TikTok or Instagram, your preferred app to use
and go ahead and search up hashtag the
plugged in community. And what you're going to
find isn't about me video. So you can learn a little
bit more about me. And I want you guys
to create a video yourself introducing
who you are, what you like to do,
what kind of videos like to record whatever you
want to put it in there. And if you don't want to
show your face, that's fine. You can show some footage, you record it and add a voice-over. But what I want is
to provide you what I lacked in my early days, recording videos, and that
is friends and a community. Community is super important. They provide you inspiration, competition, sense of
belonging, all that stuff. Now I'm not forcing any
interactions and you shouldn't. Now I'm not forcing any it now I'm not forcing
any interactions. But if you see
something you like, go ahead and drop a
comment, leave something. I'm saying that is a value. Don't just say, Hey, don't edit, like don't, don't do that. Be genuine. This bird is, but to do it for me, I'm
getting pretty mad. Be genuine, be yourself, get to know each
other and you'd be surprised who you can
meet that's in your area. So your class project is
simply to connect with people at the start of
every relationship who knows where it could go. They could be the very
thing to propel you forward and you could be
that for them as well. So if you want the class to
just see your regular work, you can also use
that hashtag for that on the social
media platforms. And if you have any
unanswered questions or you just want
to know something, you can go ahead and go to the discord and
asked the community. You can even ask me, I
have them separated by content questions asked the community in
constant questions, ask car, and then I
have a separate one where you guys can
just hangout chat, talk about your
successes, your failures. So remember TikTok and
IG search up hashtag, the plugged in
community post your content for that
hashtag so the class can see it and also post the About Me video so we can get to know you
a little bit better. And then the link to
the discord is in the class description
so you can join there, get your questions answered by the community or me
or just hanging out. Sounds good enough.
Let's stay plugged in. Tornadoes coming in. Let's get this class
started, guys. Just wanted to show you
guys my favorite park. This is where I am. Pretty nice right? Before
we get out of here. I just want to tell
you I'm not sure, natural average teacher. I'm a bit spontaneous. So speaking of spontaneous, here's something you can do
before you start learning. Get your notebook or use
the notes app on your phone and type or write three
goals for yourself. One-year, three-year, five-year. Think as big, an
unreasonable as you can, you'd rather fall short of a larger goal than a small one. I mean, like I wanna
make $1 million in my first year type of thing. And you have to be the one crazy enough to believe
it'll actually work. Step two, under the Projects and Resources, select,
Create project, upload the image or
screenshot of your goals, entitle it your name, goals. If you want, offer
us a description of why you pick those
goals in step three, look at your classmates goals and if they resonate with you, take them on for yourself. And if you ever forget
why you're doing this, come back and look
on your image, your screenshot,
and that's it guys. So do that now before
you start to lessons, go ahead and join the community on TikTok, Instagram
and discord. And when you post your
videos and you leave your goals under the
projects and resources, I will be praising you
every step of the way, okay, Now we can start learning.
3. Camera Bodies: Oh my God is so-called. Oh, hey guys. Nice of you to join me. Less than one is
gonna be about gear. Okay. If I could count the amount of
times I've been asked what camera should I buy? Hey,
what's that thing called? Gear questions. We'd be rich. We were getting new gear can be both exciting and wasteful. So we're going to show
you what you need. If you want to make
videos on TikTok, you might just need a phone. If you want to create content
for high-paying customers, they might require you to
have a full frame camera. Answer that question,
write it down somewhere and now we can figure
out what gear you need. In the next five to ten lessons, I'm going to go
over some gear with you guys that are
very common among videographers and show you how to pick what you need
and what you don't need. Okay, let's talk
about camera bodies. You have full frame
and you have APS-C. The first difference
to note between these two are the sensor size. Full-frame cameras have
a 35-millimeter sensor, almost like a lot of
high-end film cameras. They APS-C sensors vary, but just know
they're smaller than the full-frame
camera sensors are. Now both has its advantages and disadvantages depending
on what you use them for. So let's get into it. First
thing to note is the price. Full-frame cameras
are usually more expensive than APS-C cameras. Full-frame cameras allow you
to use the entire sensors without cropping
when it comes to capturing photos and video. But what if you do
sports or in wildlife, something that forces you to
be closer to your subject? Well, that's where APS-C
cameras can be beneficial. The APS-C smaller sensor
causes at 1.6 times crop, which means whatever
focal length your app will be
multiplied by 1.6. So this is a full-frame
50 millimeter lens. Now, what would it look
like on an APS-C camera? Well, let's take 50 and
multiply that by 1.6, and it looks like
it'll be 80 mm. Now as you can see, we're on a full frame setting. So let's switch over
to the 1.6 crop. And this is what it
will look like if it was on an APS-C camera. So keep that in mind when
choosing your camera body. Do you need your entire
sensor like this or are you okay with it
being cropped in like this? Second thing is the sensor
size on a full-frame body costs for more heavier
and capable lenses, APS-C cameras, you usually
don't need a heavier lens, so they can be kept down
to a small light package. Lastly, the much larger prices on the full-frame cameras
or not for no reason, you'll get a slight
edge on quality when it comes to purchasing
a full-frame camera. So which one is for you? The answers should be very
clear after you answer, what type of videos
you want to make and who are you trying to
make the videos for?
4. Types Of Cameras: Now, do you need a
camera body like this that can take high-quality
photos and video. Of course not. These things
can get really expensive. And if they're not
what you need, you just shouldn't get it. Everyone has a cell phone
now and you can use it to make videos before you
read off the cell phone, we have to remember that
75% or more content being consumed on social media is
coming from cell phones. Sophie meets your needs, use it. It's a very powerful tool in most newer phones come with
things like cinematic modes, different zooming modes for k. And what's even
better is just one of the most portable and convenient cameras systems you can own. It literally goes
in your pocket. I still even use my
old iPhone sometimes, so never throw your phones away. You can still use it for
the camera action cams or a very versatile
camera system. They're high-quality. They
have a ton of great Settings, and I just loved doing things in a wide angle perspective. There are tons of
different ways to use this thing and I love it
because it's so small, you could fit it anywhere, including the same pocket
as your cell phone. I wasn't going to
mention this one, but let's talk about drones. They are basically a camera
with the ability to fly, giving you a different
perspective. Joan, technology has gotten
amazing over the years. I mean, this Mini Pro can
record all the way up to four case 60 full-sized drones are
higher-quality than this. And I thought this was good, high-risk footage
safety features, and the drone will even
fly itself and some modes. So do you need one? I'm going to list a bunch
of different things you can do with each types of
cameras I talk about. Here is a cell phone. All you need. Let's
see at the top here we have UGC ads
and TikTok videos. And in these spaces
is more common in relatable to
use a cell phone. Most times you can capture really good BTS or behind the
scenes on your cell phone, but it's not reliable
in every scenario, you may need to
change your camera settings to get
some good footage. And cell phones are limited much more than
actual cameras are. Youtube is a
storytelling platform. So if you have a
good story to tell, it doesn't really matter
about your quality. So you can use a cell phone most times on YouTube as well. Commercials are usually
high-quality and they pay a lot. So it depends on who you're
working for, of course, but you might need an actual
camera body to do this. I don't want you to look at
this and just writing because obviously these camera bodies looks like it's just better
in every way right now. I know these are shortlist, but if you see yourself doing anything remotely
close to these things, then hopefully looking
at these ratings, you can clearly see what's worthy of investing
in and what's not. Anyways, the actual
camera bodies are really good at things that
require high-quality. What are their real
estate commercials, interviews, podcasts. But when it comes to
things like TikTok videos, you're spending way more
time recording and editing your footage than people
that are using their phones. Now I'm not saying don't bother with high-quality
when it comes to TikTok videos because that's all I post this high-quality
videos on TikTok. But what I am saying is
that you don't need to, so you don't have to. Action cameras are
very versatile. You can put them anywhere, attach them to anything. And what their most
popular for is the POV or first-person shots. As you can see from the ratings, you can use this thing
for about anything. But when it comes to the
high-quality demanding tasks, it cannot outperform
a camera body. Drones can be used for
real estate commercials, inspecting buildings,
towers, and railroads, just to name a few things. And what's a travel video
without drone footage, right? Alright, TikTok videos on
drones very low because again, you're spending a
lot of time flying that drone and editing the
footage on social media. We always have to constantly
think about our competition. What are they doing? Are they being more productive than us? And it's very easy for them
to be more productive. It all they have to do is take out their cell phone
and get recording. But if you'd like to fly
drones and you'd like to post your own content
more power to you.
5. Camera Lenses: All right. If you had
to choose 2420516-50, which one would you choose? 24 to 105. Okay. Why? Well, I just
like the versatility. I'd like to be able to zoom in, zoom out whenever I need to. When it comes to prime
lens is like your feet become your focal length really
because you have to walk, all right, yeah,
it may make sense. Somewhat zoom lenses, you have a variable focal length because
you can zoom in and out. With the turnover risks
with prime lenses, you're stuck at the focal
length that is on here. So 50 millimeter, 16 millimeter. You can't go up. You can't go down. So if
I'm shooting something on his 50 millimeter and I want
to get closer to my subject. I either have to digital
crop in or I have to walk closer to my subject with his own lens.
You can punch in. Sometimes with zoom lenses, your aperture may go up
depending on how far you zoom. Now this zoom lens
is a constant F4, but yours may say something
like F4 through F7, 0.1. Then what that means is when
you zoom in all the way, your aperture will
not remain at four. It will turn to F7, 0.1. So if you want to keep
your aperture low, purchase a zoom lens that
is true to its aperture. So that means it doesn't
change and it'll tell you or just go ahead
and get you a prominence. Kinda looks like I'm
selling you something like, I like my little shop here. It may seem like prime lenses are worse, but
that's not the case. So although you can't zoom in
and out with a prime lens, it has less moving
parts, therefore, it produces a much
sharper image and video. Also, it's more common to
get a lower f-number or an aperture with prime lenses
than it is for zoom lenses. If you don't know
how aperture works, go to my first-class and you
can learn about that there. Maybe you're shooting a podcast
commercial or short film and you don't need a zoom lens. Or maybe you're vlogging or
making YouTube videos in a zoom lens might be useful
to you. My advice to you. If you want something that
looks cinematic like this, where the background blur separates your subject,
pay for aperture. Aperture will cost more,
but it's worth it.
6. Camera Filters: Nd filters, polarizers
and UV filters are the top three most commonly used filters among
videographers. But there's plenty more we're
not going to talk about. So what I'll do is just
drop the names right here. Feel free to look these up
and see if there for you. So ND filters are neutral density filters
and what they do is they absorb light coming into your lens while
maintaining true colors. So the number on the ND filter will tell you how dark
it is going to be, but it's basically
sunglasses for your camera. If you ever wondered
how people can get perfectly exposed videos in broad daylight is
because of ND filters. They can come in
single stops like this where it's just
one darkness setting. Or you can get the ones with
multiple stops and you can twist them around to make
them lighter or darker. Also invest in equality one, I wouldn't pay for one
that's under $100. If you get one with
lower quality, you could see some
unwanted green and magenta tint to your footage. Of course, our
polarizer polarizers simply cut out reflections
in on some occasions, reflections can ruin
our video completely. So put this on your lens, twist it around and you'll see everything become
more and more opaque, is reducing the reflections that everything is giving off. Polarizers are most
popular shooting cars are shooting through windows. In my opinion, if
you're recording video, you definitely will need a
polarizer at some point. So just go ahead and get one. The last one is a UV filter. I don't have one
right now because I break them all the time. I basically use UV filters
as my lenses armor, probably not a good practice,
but it is what it is. But what it does is it prevents ultraviolet light from
passing through your lens. Now, having too much ultraviolet
light passing through your lens could cause
discoloration in your footage. But I always find
myself buying them to just protect my lens. If you've never had
a lens accident where you dropped the
lens or your camera job, if your lens breaks that, that's gonna be a pretty
heavy replacement. But the UV filters
are very cheap and it can protect your lens
from an accident like that. All right, my friends,
it's getting really cold, so I'm going to leave here soon. But that is filters. Okay, go ahead and invest
in some filters and check out the ones that are
left in the video earlier. Okay, let's get
onto the next one.
7. Stabilizers: We're going to talk
about the thing that is holding up this
camera as we speak. And another form
of stabilization, you can get for way more money, but both of them
have their uses. Let's get into it. Hey, well, for me, start. Go ahead and stop
this video and get one of these door and out. So I'm just kidding,
I'm just kidding. Tripods are very useful to
us Video Creators, okay? I use this thing
every single day. I kid you not every single day. Go for a walk. Let's talk about three different
builds of tripods. The first one is aluminum. It's heavy, but it's
really good at holding your cameras weight
and keeping it still. And it holds a lot of weight. Second one is carbon fiber. Carbon fiber is more expensive, but it holds just
as much weight as aluminum does, and it's lighter. And then you have
your video tripods, tripods that you've seen
with the handles on them. I'll put a picture up here. Those tripods are
made for video. You could set your
camera up there and move your camera around smoothly
on a sturdy platform, it may be hard to carry around. I don't use it because
I'm usually the one in front of the camera
like like something like this. So a gimbal is a stabilizer
for your cameras, usually consisting of a three-axis motor
technology that keeps your cameras stabilized and in the center no matter
where and how you move. Now believe that DJI has the
best gambles in the game. So if you're going to
get one, get a DJI one. So when it comes to things like the GoPro drone in the gimbal, I'm not teaching how
to use these things, but I can if you want. Okay, so just let me
know if you want to learn how to use
stuff like this. And I'll definitely teach you, I'll show you some footage
I can get on this thing. So consider what
you're doing first. If you have to do like
a real estate video, this will be great
if you want to record commercials where people, this is a really good tool. It beats handheld
filming 100 times over. So that is stabilizers, tripods and Gimbels
definitely get a tripod, but this is not necessary. If you don't need it.
8. Audio Devices: Now audio is arguably
just as important, if not more important
than video is. So let me ask you a question. Would you rather
watch this video with the audio sound like this, or the audio sounded like this. How to use a really big
piece of the puzzle and it's something that we should definitely be thinking about. So today I'm gonna go over
three types of audio devices that I think every videographer
would need at some point. So let's start with
the studio microphone. This one that I'm holding
in my hand right now, it's called the
studio microphone because it will
never really leave your studio and it
will probably be your highest quality and best
sounding mic that you have. So here's three mikes
you can check out if you want different price
ranges and all that. And I'm a singer, so this is actually my singing
Mike and a doubles as my studio microphone
because it's microphone, it's called the
Austrian audio OC 18 large diaphragm condenser
microphone. Very long name. I'll drop the name here and you can look it up if you want to. But if you are in your studio or wherever you
record your videos, normally, use your studio microphone
because it's high-quality. We always want to go
with the highest quality with everything we're doing. And just to show you the
difference in quality, we're going to move on to
the on-the-go microphone or the wireless microphones wherever you want to call them. It looks a little
something like this. And it sounds a little
something like this. So this little box
here is a microphone and it's called The
Road wireless goto. There are a bunch
of companies that sell microphones like this. Wireless microphones. They're really good for
capturing audio in the field. Hence why I call them the
on-the-go microphones. Now obviously you've
seen the quality change, but it is still really good for on-the-go
in the audio you can get from these devices are
definitely 100% usable. Every time I've shown you
guys something outside, I've used this microphone
peers the name of that, and you can go check that out. And I'll offer to other
options here as well. And with these
wireless microphones, you can also get a lav mic. And these are really good too, because it's still high-quality, but you can hide it somewhere on your person so people can't see where the audio
is coming from. Lab mikes are a good way
to hide the microphone, and it's much smaller
to work with as well. In the last block
we're going to discuss is the shotgun mike here. Now this mike is adequate
enough to be used in the studio and in the field. This type of microphone you'll see being used on movie sets. The one they're holding
on a long stick and their draping it down. This is what that is. It's a boom microphone. Now most of my microphone's
come from road. This is a road into G four plus, and it is really nice. Okay, So I'm going to
switch to this audio now. This is how it sounds. The way you can get the most
out of these is to boom it. In. What booming it
means is to have it above you pointing
down at an angle. So you want to have a
boom microphone about a foot away from your subject. Okay. This is closer than a foot, but I'm trying to
keep it in frame pointing down in the
middle of their chin. This is where it's going
to pick up the best audio. So the boom mic
is very versatile because you can take
it out of the studio. You can use it in a studio. It's an on-the-go slash
studio microphone. Now you do need a
little extra equipment to operate this in the field. And that piece of equipment
is called an audio recorder. I'll put some up on the screen right now that you can purchase. Basically you need
something to record from this boom microphone will
not record on its own. You can attach it to
your camera via XLR to the 3.5 millimeter
jack your camera takes, but it won't sound
as good as it being plugged into an
actual audio recorder on-the-go microphone right
now you're listening to the lab which is hidden
on my body right now. And this is the audio coming straight from the
little box here. Remember, do not discredit on-the-go microphones
when you're in the field. This is a viable and
good option to use. And last but not least,
the studio microphone, the highest quality
in the most immobile. You won't be moving
this around a lot, but you will be using this a lot when you're at
your home-base. So now that you know
how each of them works, what they're used
for, how they sound. Go ahead and pick which
ones are good for you. If you need all of them, go
ahead and get all of them. If not, thank you for
joining me on this lesson. Let's move on to the next one.
9. Lighting Devices: Now in another
lesson, I dedicated a deep dive into these lights, light placement,
all of that stuff. So we'll go over it then. But right now we're
just going to talk about the two types of lights. I think every
videographers should invest in the first light
we call the key light. And this is a light that
lights are subject. It's a very important
light and it's called a continuous
output light. They are called
continuous output lights because they continuously
put out light. It gives you a consistent stream of light that doesn't flicker, doesn't flash, doesn't dim. So when it comes to lights, aperture has set a really high standard for studio lights. So before you purchase a light, definitely look into aperture. They have some
really good options for really cheap and
really expensive. And if you get one
of these lights, you might want to get
a light dome with it. I'm going to try
to show you, but it's a little packed right here. So the light dome works
as a layer of diffusion. It's circular shape distributes
the light evenly on your subject and it makes
it look very cinematic. If you get one powerful enough, you can even use it outside. So now I'll show you the
LED and see how the light changes when I switch to
the key light in 321. Oh, look there. So the light is a
lot more even now and it's giving life to
my background as well. We were just using this light
to light the whole scene. I didn't think you'd
look that bad at all, but this definitely
looks better to me. Anyways, LEDs can
fill the spot of what's called your rim
light or your fill light. So you see this dark side
of my face right here. That's what the fill light is. Four it's the fill in the
other half of my face. Personally, I like
the dark side. Rim light is the light
that goes behind you to separate your subject
from the background, it creates a rim of light
around your subject. I've already said too much about the three lights that
we use the same. We will talk about them in
depth in the lighting lesson, like I said, but that is the two different lights
you should invest in. Led and continuous output light. Even if you're shooting
outside of 100%, that doesn't mean you don't
need at least an LED light. You never know when it come in use and they're pretty cheap. You can get a tube,
one like this. You can get an aperture
light like this. Or you can go to Best
Buy and get this 70 or $80.01 that I always get. So that is lights next, we're going to move
the camera bags. And I think after that, it's just like miscellaneous
things and then we can finally move
into camera settings. So let's keep this
thing rolling, okay.
10. Camera Bags & Misc. Gear: Now after the
miscellaneous things that you may want to pick up. So let's go through them. The first one is this
camera capture clip. Now these things are very
small, kind of expensive. They're around $70. But what
it does is it gives you a place to set your camera
outside of your camera bag? I have two of them.
I have one for my sling and one for
my full camera bag. Are you going to do
is put it around one of your straps like this, and they come with this little piece you
put on the bottom of your camera and all
you do is clip it onto the capture mechanism
on your bag. Once you hear that click,
you're good to go. I've been hiking with this
thing. It won't fall. Second thing you may
want is a camera cage. Camera cage is just
exactly how it sounds. It's a cage that goes around
your camera and it gives you more attachment points to attach your camera
to certain things. And they look a little
something like this. If you do get one, I
would recommend this 5.1 diffuser slash reflector. It basically has five functions in one is only about 40 bucks, the black side destroys a
little bit of the light. The light will hit
this in less light will come back
into your subject. The silver reflects
a ton of light. So this will be the
strongest reflector on this one yet
You probably have, you unzip this and reveal the other side in
which you have white, which reflects light a good bit, but it's not greater
than the silver. You have gold, which gives you
almost like a golden hour. Reflection of the light
that's hitting it in here in the middle of all
of that is a diffuser. So if you have a bright source of light and you want
to make it softer, you just put this in front of your subject to this
middle piece here, and it will make the
light softer for you. Now I'm gonna put a link at the top of this
class where you can buy all of this gear
we're discussing, but I'll show you three
full camera bag options. In three cameras slings that
are pretty good as well. The ones in the
middle of each of those lists are the
ones that I use. You don't have to buy them,
but I do recommend them. I think they're pretty good. So now that we know what
gear we need to buy, you don't need to
buy it right now. But I'm just saying we're done with that part of the lesson. Let's go ahead and go
into camera settings.
11. The Correct Camera Settings: Hi guys, welcome back
to the next lesson. We're gonna be talking about
camera settings for video. The first thing we're
gonna do is switch the camera into manual mode. Always manual mode is going to give you the
most control over your camera settings
that way you can get your desired outcome
that you want. Now if you don't know
what these three are, go ahead and go to my
camera basics class so you can see what they
are and how they work. Dealing with camera settings for photo and video are
always not the same. So what are the rules
for video speaking in the terms of these big
three cameras settings, aperture will actually
perform pretty much the same InVideo as
it does in photo. The lower or more
wider aperture is the more light and depth of field that'll be added
into your video, ISO will perform
the same as well. Digitally add more light while adding noise or
digital artifacts. But how we use shutter speed in photos is not the same InVideo. So whenever you choose
your frame rate and shutter speed is going to
go off of that number. And to explain what
a frame rate is, it's basically how
many frames in a second that your video is
going to be capturing. If you're recording in
24 frames per second, you can expect to
literally click through 24 frames in 1 s. So say that I'm vlogging, right? And I'm shooting at
24 frames per second. I'm going to take 24
times that by two, it rounds up to 50. So my shutter speed is going
to be 1/50 of a second. Same thing if we're shooting
at 60 frames per second, we're going to take 60, multiply it by two, and we
get one-twenty. That is gonna be
our shutter speed. This is what you get when you
don't abide by this rule. When your shutter speed is
underneath your frame rate, you're gonna get this
choppy looking video. And if we have our shutter
speed above our frame rate, your video is gonna look
too smooth like this. Having the correct
shutter speed with your frame rate will give you
a natural look and video. And sometimes you
won't be able to get your shutter speed to the exact number needs to be like again, we're shooting 24
frames a second. We multiply that by two.
That's not exactly 50, but 50 is the closest number. So whatever the
closest number to your equation there, That's
what you're going to land on. That is aperture, shutter speed, and ISO for video, we're going to move on
to the next lesson, which is Quick Settings.
12. Quick Camera Settings: So quick settings, it is
important to understand these. The quick settings are the
settings that are available to you without going to the
menu on Canon cameras, you can access your
Quick Settings by pressing the letter Q. It could be on a screen
or it can be a button, depending on how old
are your camera is if you're using anything
other than canon, this is super simple
to figure out. A quick Google search will
tell you how to access video quick settings
for your camera name. Now understanding these quick settings will prevent you from having to go take a deep
dive into your menu. We'd never want to do that. So let's start with auto-focus. We should know what
autofocus does. It automatically focuses for us here in the quick settings, we can change our
autofocus method we have faced and eye-tracking. Now, each camera brand has different auto focusing systems. Some are better than
others, some are worse. But if you do have a good eye and face tracking auto-focus, definitely use it one point autofocus we'll be
focusing on one point. It usually selects a
smaller area to focus on. And how precise that
can get for you depends on how many focus
points your camera has. We have expanded
area, autofocus, which focuses on a point
and the area around it. This is really good
when your subject is moving around a lot and you don't want them to get
out-of-focus autofocus, it'll look like two
brackets and he's going to focus on everything
inside of those brackets. And lastly, we have
horizontal autofocus. I don't really
ever use this one, but it's there if you want it. Most cameras will have these
auto focusing methods. Some will have some extra
ones that I didn't list here, but just know they're
pretty self-explanatory, you should be able to figure
them out on your own, but that is where you find the autofocus method
and the quick settings. Next we have our recording
size and our frame rate. You'll see either
for K or ten ADP, you'll see your frame
rate next two are under that mine is at 23
frames a second, and then you'll
see IPB or all i. Now let me quickly
explain IPB and all. These are two
compression formats. One is bigger than the other, one is higher-quality
than the other. You'll get smaller files
from the IPB compression, but your video won't be as high-quality as it would
if you were a coordinate. All I, now all i
compression is really good, but it takes up a lot of space. In fact, sometimes
they can even be up to three times the size
of IPB compression. I record my videos and IPB
because it's easier to edit. But if you're delivering
some content to a high-paying client or you want some footage to
last a long time, maybe you want to
record an ally. But anyway, we just
learned the lesson before how frame rate
and shutter speed works. So 24 frames a second is industry standard for
most movies already frames a second is
mostly what you see on social media and YouTube,
60 frames a second. You might see a lot of that in soap operas and stuff like that. It's just super smooth footage. And also you can get
some good slow motion out of 60 frames
a second as well. And then 120 frames a second, which all cameras don't
have super buttery smooth, slow footage you always see, I always record and
30 frames a second, 24 frames a second one,
I'm working for a client. The next one we have
audio recording level. Now this is a
really quick way to see how your audio is behaving. You don't want to go
through an entire recording session
and at the end, find out that your
audio the entire time. So when you click on your
audio and the quick settings, you will literally get
a decibel reading. Anything in the red is peaking, anything in the yellow
is getting there. Next one is movie digital
IS image stabilization. Now this is going to
reduce the amount of shake that you have
in your footage. I usually use it when
I'm recording handheld, but it does come
with a drawback. Sometimes there's two
to three levels of it. Every level is going
to make you zoom in a little bit and you're going to lose a
bit of your frame. Next is the white balance.
You do not want to go into the menu every time you need to change
your white balance. A good scenario is that like your recording outside
and you're at 5,600 Kelvin and then you move to an inside location and you need to change
your white balance. I'm not diving deep into
my settings for that. Go to your Quick Settings, change your white balance there. You can change the
Kelvin temperature and in about 10 s, so
you're good to go. Now, I don't know if all cameras have this on the Quick Settings, but Servo autofocus for video. Now Servo autofocus
is going to have your cameras continuously
hunt for new subject. If it loses the subject, it was tracking e.g. since Servo is on right now, I'm going to put this
camera in front of my head and it should
focus on the camera. And when I move the camera, it'll focus back on me. Now guys, Servo is off
and it is not focused on me and it won't turn it back on and we're back in the game. Alright guys, those are
the quick settings. Remember you have to find your way around these
quick settings to keep yourself from having to go into that deep dive
into the menu. All right, enough of the
camera gear in the settings. Let's get into recording video. The next lesson
we're going to talk about pre-production workflow.
13. Pre-Production Workflow: This lesson we're
going to talk about pre-production workflow. If you record a video and
you didn't plan it out, people can clearly
tell how much time you put into the
preparation of the project. The three steps are
brainstorm and plan. In the brainstorming phase, you'll be creating ideas. Now, everyone gets their inspiration
from a different place. So I'm not going to
tell you exactly what to do for you
to be inspired because I don t know
that if sitting down and listening
to music inspires, you can do that if
you'd like going outside and taking in nature, maybe that inspires you do that. Whatever you get your
inspiration from, put yourself in that
space and don't rush it, give it time, have fun. Try to think of a problem that the mass is hold a big problem. Those make really good videos. Now whatever you come up with,
I want you to annotate it. Big problem, big solution, right those ideas down and leave room underneath it
for the next phase. Because the next phase
is the right face. You'll probably say I
already wrote down my ideas. Well, in the right phase
you're going to elaborate. You're going to delve
deeper into your ideas, get more specific about
details, variables, et cetera. And after this phase
you'll mostly be done. But here's two ways
you can do this. The first one we
have the full script and basically in this one, you're nearly going to script word for word what
you're gonna be saying. It could be a bit tedious, but if you're already not
good at talking on camera, it's easier to write something clever than to think of
something on the spot. If you're not a
good talker. One is the outline and you're
going to loosely, very loosely script this one. All you're gonna
do is write down your main points or ideas. And while you're recording, this will basically mean you'll read that main point and
you'll just elaborate on it. This method is obviously
for the good talkers, the people that are
comfortable talking on camera. And trust me, when I tell
you, people can tell when you put some effort
into your videos. Now the final phase is the plan. This phase is where you
finalize your script by assigning different parts of that script to a
role and B-roll, which we'll talk
about next lesson. And the last thing
you need to do in your pre-production process is think about what all you need
to complete this project, camera gear, props,
actors, locations, etc. How much money
will that cost me, if any, so on and so forth. You can insert anything you want to in your p.sit
production process, but those are some
common things that I do. Okay. I gotta go inside. I had to move inside. I
was getting rained on. Alright, so why do we
need pre-production? You see when you
create something that's something
started with a vision. And if we hop straight
into recording without planning the story that
we want it to tell me, not be received in the
way that we wanted it to, would it be easier to just press record and
get what you get? No. Because I promised you that things were
planning for in this process can throw you off guard and control
your vision all. I never thought about
where I was going to record and if they'll
even let me record there, I would love some
prompts in the video, but it was last minute, so I just recorded
without things like that will build
up on you and it will really distracts you from outputting your
intended message. Alright, I've rented
enough about this. I just really wanted
you guys to understand. Join me in the next lesson where we're going to talk about being technical versus
being a creative. And it's a really important
lesson because I've seen a lot of technically
capable videographers that never make it because they're missing the
creative side of things there to absorb and
color grading and editing, graphics, et cetera, et cetera, that they're not focusing on the most important
thing of being a videographer telling a story. So I will make sure by the
end of this class you will be a good storyteller
because you can gain all the knowledge
you possibly can, but it won't mean
anything if people don't understand what
you're trying to tell them. That was my little
piece of advice. I didn't actually script that, but I do think you guys
need to know that. Alright guys, see
you next lesson.
14. Technical vs Creative Knowledge: Hi guys, welcome to
the next lesson. We're going to talk about being technical versus being creative. I thought it'd be best
to bring my friend here with me to explain this lesson to you guys a little bit better. So for the rest of this video, think of this side as the creative side and that
side as the technical side. Now both are very important
and we shouldn't overlook one for the other in a very
dangerous thing to do, like I said in the
lesson before, it's being too technical
and not creative enough. You could think of it like
spending many years in college but never
developing common sense. Now my friend here
knows a little bit of everything about videography, the technical side of things, but what he's not really
that good at storytelling. Since when am I not
good at storytelling? It shows in your work. How does it show? Don't start, don't start. Tell us what's beneficial about
your technical knowledge. Well, to me, knowledge
is power, right? So all I've done is made
myself knowledgeable and my crafts and there's
nothing wrong with that, and it's easy to do. All you gotta do is watch videos just like a class like this. Like you just educate yourself and there's
nothing wrong with that. But what it gives you is the ability to speak
the language, right? What is cinema again? Know what white balance
sheet you use at sunset? It's like technical
stuff like that. I'm saying you need
to teach herself. And basically what it
does for you is it paints you in a
better light when it comes to clients and co-workers, colleagues, I'm saying
when you are able to speak the same language
that they speak, you'll get more
respect and you'll get more jobs,
better paying jobs. And in my opinion,
alrighty, I like it. I'm going to give you
guys the creative side. It doesn't really have
a certain look to it because it can look how
ever you want it to look. When you start
recording your videos, you will develop a style, a style that people
will know and recognize you for
thinking outside of the box and crafting
never thought of ideas is what lies
in your creativity. And with that, you
can set yourself apart from the
person next to you. When you're being
creative, your constant is simply an extension of yourself. We can see the story, the individuality
from what I've seen, the videographers that focus too much on the
technical things, the color grading, the
quality of the editing. They have a harder
time reaching people because you're no
longer telling a story. You're no longer making
the content for them. You're making it for you.
Man, that transition I made was crazy, man. The quality of this video is A1. I aced this color gray
and it looks amazing. Yeah, that does sound
like me a little bit, but your disomy, you're
saying that it's better to have creative knowledge and
technical knowledge. Not at all. This is what I'm saying, right? We need to learn both, okay? We learn both creative
and technical side and they will benefit us
in a multitude of ways. Is that that fair?
Okay, that's fair. As I won that battle. But seriously, storytelling is the foundation of
being a good creative. So to wrap up this lesson
and the lesson before, we're going to talk about a role in B-roll, how to use them. Now, a lot of you
are probably already heard of B-roll and
you probably know what it is because you've
seen Peter McKinnon do his B-roll montages
plenty of times. What I'll quickly explain what
both of these things are. So a role is going to be what you're looking
at right now, basically your main dialogue, a role is going to
feature your main story, key plots, and you're
talking characters. Now B-roll is sometimes called supplemental footage and you can look at this type of footage as the glue to your story. So instead of me
telling you right here, I found a water bottle
on the counter. I didn't know it was
mine, so I tried to open it up to see if anyone
has drank out of it. They didn't. So I took
the water bottle. I can overlay a video of
me actually carrying out that action without people
seeing stuff like that, it leaves them to try to
visualize what you're talking about and that way
they can kinda lose interests. This is a huge rule and
videography and remember this, show me instead of telling me. So guys, that is the
end of this lesson, technical versus being creative. I hope you've learned
a lot in this one. We'll wrap up the
previous lesson, which is pre-production. So now you can write a full script with
what you just learned. Let's move on to
the next lesson, which is going to be
composition in angles.
15. How To Create Depth: So in the next
couple of lessons, we're gonna be focusing on
composition and angles. So you see how you
can tell how close I am to this
bookshelf back here. It makes the video look
a little bit flat. So to make things interesting in your video and more
pleasing to look at, we're going to create some depth than I'm going
to show you how to do that. Doing this is very simple. The first thing you want to
do is identify your subject, which in this case
it's gonna be me. And once you've done that, you're going to want to
create some distance between your subject
in the background. If you don't have that
much space, that's fine. You can just get as
far away as possible. And that's one of two things that we need for this technique. Imagine that your
camera is your viewer. You want to place something
that if they were sitting in the place
of your cameras that they can reach
out and grab. So we have an element in
arms reach of the camera. I am the medium in the
background is the far. If your background
element isn't a wall and it's something else that
you can put behind you. That's fine too.
You're going to place your camera down,
find your subject. You're going to put
one element in arms, reach, one element
weigh out of reach. And that should add some
depth to your video. Easy enough, right? Try this out. Get creative. Have fun with this
next lesson is going to be rule of thirds
and camera angles.
16. Rule Of Thirds & Camera Angles: If you know about the rule
of thirds for photography, this is basically
the same thing. This is how rule
of thirds works. Your video is gonna
be broken down into horizontal and vertical thirds, which leaves us with nine
equal parts of the frame in four intersecting
points where we put the most important
parts of our video. So you would think people's
eyes will go straight to the middle of
the video was not. People's eyes are more
attracted to those four points. And that's why most
cameras will allow you to activate this
rule of thirds while you're recording video because composition is very important. That's why when you see
podcast or interviews, you'll see that
they frame the shot with a lot of room on one side, basically placing your subject on a line of that
rule of thirds. I like I said, it's for the
important parts of the video. So it doesn't have to just be one subject while
you're filming. Remember that rule of thirds
and try to strategically place the important things
on those four points. So that is the rule of thirds. I was going to separate this next one into another lesson, but let's just knock
it out really quick. Now while you're
scripting at the end of your script or wherever
you want it to be, you'll have a shot list. And remember that your
shot descriptions are going to be going off
parts of your script. So when we're describing
what's happening in your shot, the first thing
you should list is what type of shot
you're gonna get. I'm gonna give you
five of the most common shots you'll
see in a video. The first one is a wide shot, or we call it in
establishing shot. This shot is going to
give you a wide view of your location. We call it the establishing
shot because it establishes where we
are in the story. Next, we have the medium shot. Now this shot is going
to be a little closer. If it's a location, I guess you can just get
a little closer. But really the medium
shot is meant for people and that means you're
getting their upper half. A medium shot is
going to capture a person's body and their
reactions and stuff like that, no lower than the waste. This is when a person's
actions and emotions is important and we really need to see up close what
they're up to you. Next we have the close shot. The shot is capturing
neck and up or just face in this shot will really hone in on their reactions
and their emotions. It can be when someone notices something and they're just
talking to themselves in their head like
an anime type of style or in scary movies when they're about
to do a jump scare, they get really
close to the subject so you can't see
what's behind them. There's millions of
ways you can use all of these shots,
just be creative. The next one we have is
the first-person shot. Now this shot type is
world renowned because it gives our viewers the
chance to see what we see. They get to hop in the
driver's seat and it's almost as if they're making
the decisions themselves. It's a little more immersive
than a regular shot. This I've seen people
use entire camera rigs. You can use something as
little as a GoPro action cam. The basis of this first-person
shot is your hands are free and the camera is following your chest
or head movement. And the last one we have
is the Dutch angle. Now the Dutch angle
is when the frame is turned sideways, diagonally. And to put it in the
most simple terms, this angle is to make the
viewer feel unsettling. You'll see in a lot of
movies where the frame is turned to the right or to
the left a little bit. And when people see
this, they're supposed to feel like
something's not right, something's about to
happen, so on and so forth. So those are five really
common shot types or camera angles for you. Now the beauty of
storytelling is using all of these together
to tell your story. So that is the end
of the composition and camera angles lesson. Let's go outside and start getting our hands
on this camera. Okay.
17. Handheld Recording Techniques: I absolutely love how
these turned out to me. If you don't have a
tripod or a gimbal, you're going to be
shooting handheld. And I wanted to show you guys
how to do that officially. So first, watch a
couple of these videos. I remember, I remember
when I lost my mind. That was solid, so pleasant. You'll get this. So believe it or not, I shot
those videos hand-held, which I still can't
believe to this day. But I'm going to
show you how you can recreate
something like this. Now the number one problem
we have with shooting handheld is the micro
jitters that we have, because obviously our hands
can be completely still. So the first thing
we should consider is if our camera has ibis, which is in body
image stabilization, and if you have that, you can turn it on
and it will reduce the amount of shake that
you have in your video. But sometimes ibis does
not work very well, mostly when we're
panning and tilting. Now some of our lenses have
stabilizers in them to like this one and you can turn that off and on and
that will help as well. Here's what it looks
like when the ibis is off and here's what it looks
like when the ibis is on. So you see turning
on ibis and the lens stabilization and we'll help
you out a lot with shaking. Alright, so the videos I
showed you in the beginning, we were moving around a subject. I'll do we maintain our smooth motion then I'll
show you right now. So we're gonna do this by
using constant motion. First of all, try to
have three points of contact on the camera. I know I have a
battery group here, but just grabbed the bottom
of your camera palm on the side and try to grip
the lens like this. If you came in with this, you have more control over
how much the camera moves. So we're going to orbit around this lens and we're going
to continue moving. And since we're
doing this handheld, what you want to do is
just get a bunch of shots. So let's do that. So if you saw what I was doing, I was making long
dramatic pools. And as long as you keep
the camera in motion, it'll be harder to see the
shapes and jitters are, but that's like
standing still shots. There's not much we can do here. What can we do
when we're moving? So if you haven't heard of
the ninja walk here it is slight bend in the knees
and you're going to walk heel to toe. Dislike this. Okay. You notice that my
shoulders and my head, nothing is bobbing up and down versus when
we walk normally, we bob up and down. So I'm going to record this
video of me walking regular. Here's what the ninja walk. So you see how much smoother I was able to make that just by crouching and walking from heel to toe, that is the ninja walk. So if you want to become
the human gimbal like me, use the ibis and your
camera if you have it. If not, use the stabilization in your lens, if you have it, if not, use your Ninja walk, heel to toe,
walking, bent knees. And then last but not least, continuous motion
shots are next. We're gonna go over
Gimbal movements. Let's get into it.
18. Balancing Your Gimbal: All right guys, we're going
to talk about Gimbels, okay? I'm going to take you through
balancing the gimbal, gimbal settings and
then Gimbal movements. So let's get into it. I'm
just going to read this. Most gambles like this will have a three-axis motorize apparatus that your camera will sit on. The three axes work together to stabilize your camera
based upon your movements. The names of each
of these are tilt. This is the one that
goes up like this. Pan is the bottom
turning left and right. Enroll role is in the back and it's
rolling left to right. So let's take our camera
and place it on top of this gimbal using the peace
that comes with our gamble. Ok, it'll probably look
something like this. Are you going to do a screw it into the bottom of your camera? I usually use this spare key. I have to tighten it in because
I don't use it anymore. All right, so now
we're just going to slide our camera onto our gimbal like this
and lock it into place. So at the end of
balancing or gimbal, you're going to want the
camera to be able to sit by itself without moving around. So I usually like to
start at the roll axis. We're going to tighten this
and just slide this over. Let's lock that back into
place so you can see the camera is still tilted
up. We don't want that. So we're going to
tighten this here. And we're going to push the
camera up a little bit. Now we're going to
turn it up like this and you see it falls back down. We're gonna go to
the tilt axis now. We're going to tilt this
up and push this back. So boom, the camera's pointing straight up by
itself. That's good. We can tighten it up now. So now that we
adjusted the tilde, you can see the
camera kinda lean to the right a little
bit straight down. So we're going to fix
that again on Titan this, and we're going to move
this back again so that right there is perfect extending
straight up by itself. We lifted up here and
it stays by itself. So now that we have
our gimbal balance, we're going to turn it on. And I just thought that
was gonna be cool. So guys, now we're ready
to record on this gimbal. Make sure when you're
balancing your gimbal, you on a flat surface, all you need to do is
make the gimbal look straight like this by itself. And then have it point to
this guy by itself as well. And after that you
can turn it on. So the next video we're gonna
go into gimbal settings.
19. Gimbal Settings: I'm sure we've all seen
our favorite creator using a piece of
equipment in saying, I'm gonna go buy that and make the same video they made, right? No, it doesn't work like that. They mostly not
come ready to use. There's a science behind them. So let's quickly go over the
best settings for a gamble. If you are going
to get a gimbal, I do recommend DJI because they do have a pretty
smooth interface. So the first thing
you do when you're done balancing your gimbal is you're gonna go and
do the balance tests. You just click there
and click Begin tests. The gimbal is going to test how balanced your camera is in. Once it's done, it's gonna
give you some results. If everything says, Excellent,
You did a good job. Now we're gonna go
into motor parameters and then we're gonna go
to Auto Tone, press OK. And it's going to auto tune. It's going to pre-assign
some settings based on the weight
you put on the gimbal. If you are cool with
those settings, you can go ahead and stick
with that or you can change it so you see how most of
them are around 40.50. This is just judging the
stiffness of the motors. Okay? So if you want these
motors to be more stiff, will just turn them up and I'll show you what
it looks like. So when we turn the motors up, I can literally fill
the gimbal vibrating. So when you choose
a higher number, the gimbal is going to
restrict movement are. So now that we're
done with that, we're gonna go to user profile. And this is where we can decide how smooth we want
this gimbal to be. Now you have three profiles basically presets
that you can set on your gimbal was best to customize them for
different situations. E.g. my first one is
pen until follows. So all it will do
is pan and tilt. It will go up, down side, side. My second one is SPV, and that means it will
follow my every movement. So it doesn't matter
where I move the gimbal. The gimbal is going to follow in my third one is
called the 3D role. Three-sixths, this one
points to the camera directly in the air and you're able to do a rolling motion, you'll need different settings
for different situations. So make sure you customize
these three modes differently. So what are the best settings
to get you smooth footage? We have follow speed, dead
band and sensitivity. Now follow speed is how fast the motors will kick in
after you start moving. And since we have
this setting on slow, the gimbal will slowly kick in instead of
automatically kicking in. And that's what gets
you a little smooth. Now if we take this setting
and turn it too fast, now the motors
will automatically kick in when I start
moving, there's no delay. So if you want
smoother movements, Turn your follow speed to slow till the next
one is dead band, and this one is very
similar to the file speed. But in this one you can
control how far you can turn the gimbal before it starts kicking in
at a low dead band, the motors kickin
pretty much instantly. See how I barely turn it. And it follows my motion
with a high dead band, the motorcycle louder kick in. I usually set my dead band to medium or high for
smooth motion. The last one is sensitivity. This is going to
dictate how sensitive the motors are to your movement. So low sensitivity
is a bit smoother because it is not at all
sensitive to your movements. It won't kick in the
motors too early and high sensitivity as
soon as you move it, the motors will want to kick in. So for sensitivity, I
usually go medium or low. So guys, if you want the
smoothest movement possible, I would suggest using
the pen until follow or the SPV follow in the settings under
that follow speed, slow, dead band, medium,
sensitivity media. Until the last thing about Gimbels we're going
to talk about in the next lesson is going
to be Gimbal movements. I'm gonna give you five
common Gimbal movements. Let's get to it.
20. 5 Basic Gimbal Movements: All right guys, only
thing I'm going to say before we start with these Gimbal movements is
remember the ninja walk, you're gonna be using
that same walk on this because even the gimbal is not going to smooth
everything out for you. You need to do some
work yourself. So the first shot we're
going to do is to push in shot and you're doing
exactly what it sounds like. You're pushing
into your subject. This is good at establishing where we are establishing shot. We talked about introducing a person or an area.
So let's do it. So the pushing
shot is very easy. Are you going to do
is walk forward? This is a really
cool effect to when you're following a
person from behind. So keep that in mind too. Like I said, remember to be your own self and
create new ideas. Next one we have is
the push out shot is the opposite of the pushing. We're going to walk backwards. Again, opposite of
a push in shot. This is good when a
person is walking towards you and you're
walking backwards. The third one is called a
parallax, very simple movement. Are you going to do a
sidestep around your subject? Now, it can be small
movements like this, or it can be full
circles like this. I didn't have too
much space omelets tripped and fell
over that stuff. But what's super easy motion? All you're doing is a
circle around your subject, or just little small
orbits like I showed you are in the fourth
one has two movements, is tilted up until down. So with the camera
facing the front, you're going to tilt the
camera up like this. Begin to walk and
slowly pull it down. Slowly, slowly, slowly,
just like that. So that was the tilt down. Now, we're gonna do is we're
going to just point this downward until the camera
follows the ground. Are in the same thing. We're just going to
walk forward and slowly pull the camera up. Just like that. And the last one,
believe it or not, is just sports mode. It is a really
good way to get in the action without having
to do a lot of adjusting. So have fun with
these movements, but definitely try to discover
some more on your own.
21. How To Light Your Scene: We're going to use those
lights I was talking about in the gear lessons. And I'm going to show you
how to light a scene on your first flight needs to be a key light looks like this. This is gonna be your
primary source of light. It's going to light
your subject. And you can do a lot
with justice one light and we're going to
talk about that later, but yeah, get a key like first, the one that I got that
I already showed you is the amaranth 200 x and the
light down to from aperture. That's what I'm using until I've just seen
right now and it's the only way I'm using
this thing right now. And together those two are about $500 and I thought it was pretty inexpensive to get a result like this, but I'm not
trying to sell you on it. It does not come with
the light, don't, but you need the
light DOM to get this type of cinematic look. The right Don't both
adds a cinematic curve to the light and it
softens light as well, diffuses it without it, it will look like this.
I'll take it off. So I took this dome off
and as you can see, it's almost like
bright sunlight. It's harsh light.
There's nothing shaping and diffusing
the light anymore. So the light is just going everywhere and it's super harsh. So I'm gonna put this back on. The best placement of
his key light is always going to be off to the
left or off to the right of your subject and
how you decide that is where the actual natural
light is coming from. So right on my left
is a huge window and that's where the light
would usually come from. So I'm gonna put my key
light in the place of that. The last two things is you're going to place your
key light higher than your subject in pointing down on your subject, 45 degree angle. Now we have a fill light, and what the fill
light is supposed to do is fill the light in from the other side where you
see the shadow of my face. So we're going to turn
this light on and we're going to have it on the same
temperatures, that one. So you see how this looks now, we add the fill light
and it feels lighten, similar to where you
would put that one. You would basically put this
one on the opposite side. And that will give you a
video more even light, but I like the shadow
side of my face, so I usually keep it there. I'm gonna use the
same light to show you guys what the rim light is. You'll see in
YouTube or set-ups, they have lights in the back. Those are rim lights.
And what it does is it adds more dimension
to your shot. It separate your subject
from the background so it doesn't have to be directly behind you. It can
be off to the side. It could be anywhere as long as the light is coming
towards your back. You can place these
out-of-state. You can place them inside. It doesn't really matter
as long as you get that ring going around your
subject, you're good to go. Here's a couple of setups I've
done downstairs, but yeah, this three-line setup is
very popular among creators. The three lights
are the key light, a fill light in the
rim light placed the key light where the
natural light will be coming from originally
above your subject in pointing down at
a 45-degree angle, your fill light is going to fill the light in on the other side. If you do so, please. And then the rim light
is going to separate your subject from the background
and add some dimension. But what if you only
have one layer, you only have enough
to get one light. You can't get three lights. I'm going to show you
a one light setup. So do you guys remember
this thing right here, the 5.1 reflector? We're going to use
this reflector to act as your fill light. And that is if you even
want a fill light, so this one might set up, might just be your key
light, like I said earlier. But if you can't
afford a light and you want something to
fill in the light, go ahead and get one
of these reflectors. Instead of spending over $100, you're only spending about $40. Now what if you have
zero lights and you can't afford any lights? Well, this is when we use our
best friend, natural light. So just open a window, find a good source of light
and you're ready to go. You want something to
fill the other side again, use the reflector. If you do have one
of these LEDs, you can use these as
a fill light as well. My only problem with using natural light is that
it constantly changes. So keep in mind if you're recording for an
extended period of time, the lighting your video is going to change and
that's pretty much it. I hope one of these lighting
techniques is of use to you. And if not, and you need to find a different way
to light your scenes. I would love to talk about it with you in the discussions. Oh, and I forgot to
mention in your field and your rim light does not
have to be just one color. And I'm going to
remind you guys, do not follow everything you
hear from your teachers, from the people we respect to the letter b yourself through your creation process and I promise you will be
rewarded for it. So guys, that is lighting,
I hope this lesson helps you make some
beautiful videos. Feels good now.
22. Becoming A Director | Build Your Confidence: Becoming a director, let
me ask you a question. Do you believe that
you have to have some huge production studio, a whole team, you have
all the equipment, all the people assigned
to certain positions. Do you think that's
what it means to be a director or are we directors? This is not a very
technical lesson, but this was recently brought to my attention and I felt like I should discuss
it with you all. We are underestimating
what we're doing. Oftentimes videographers, creators put out their work and do nothing but criticize it. And then other people come along and tell us how good it is. And all we can do is just say, it could have
been better though. You have to be mindful of
this transfer of energy. You have an idea to
create something. It's merely a thought,
something that is intangible. And with your hands in your mind and your being,
you brought it to life. You made something that is
completely unique to you. It's something that no
one else can recreate because there's only one
version of yourself. It is truly special to
have a mind to create, and creation should
not be taken lightly. So appreciate it. Enjoy it. Just because we're not
on some huge movie set, yelling action or cut does not mean we sell
ourselves short. You are a director.
Remember that?
23. The By Product: This lesson is not
at all scripted. I know we went over the
pre-production and all that, but I definitely thought
it would be worth it to show you guys what
I've been able to create. And it's on TikTok.
I'm not asking you to follow me at all, but I do want to show
you some type of proof, something that you
can leave with series on TikTok and this
is the most popular one, easily broke over
10 million views. The first one got 8
million, which was insane. And I'm not at all
doing this to brag. I just want to show you guys this is what storytelling
can get you. I took weeks and weeks and pre-production in getting
the script right for this, I wanted to make it relatable, closest to real
life as possible. And it turned out really well, I had about 16,000 followers on TikTok before this
series popped off. And now I'm at around 200,000, I think is like 196 or
something like that. But I just wanted to show
you, I took a lot of time in the pre-production process
of just creating this story. It turned out really well. A lot of people liked it. And now I have a fan base to make these
videos for which is awesome. And the best thing is you are no more different than I am. I'm a regular person
just like you and you can accomplish
something like this tomorrow, next week, next month. I mean, it's all
up to you really, you are on this
path for a reason, not truly believed that. And I believe that all of you watching this has the
potential to be great. So away from the gear
and all the fancy stuff, focus on your pre-production, focus on your storytelling, and have pride in your work because you are a
director, like I said. All right guys,
I'm not as good as talking when I'm scripting, so I'm just going to
end this video here. I think that's it. We can now
move on to the conclusion.
24. Recap | Thank You!!: Let's quickly recap the class. We first learned
what gear we needed. Go ahead and check
out the Amazon lists. I put at the top
of the class where you can see where to
get all of this gear. And don't worry about the
prices of the gear because I've accumulated
all of this stuff over years and years of working. So as you work, I'm saying you buy
stuff that you need. The next thing we learned is
the basic camera settings we need to know to
record some good videos. And then we went into the
importance of pre-production. Being technical versus
creative was the next lesson. And then we move to
composition and camera angles. Then we went infield and
learned a little bit about handheld and
Gimbal movements, and then a little
bit about lighting as well In the last lesson, which I felt like it was very like a growth type of moment. We learned about taking pride in our work and
becoming a director. I know that was a
lot of information, so feel free to come back to any lesson to get a
refresher at anytime. And now that we know a
little bit about recording, my next class is going to be
the basics to video editing. I always like to conclude my
classes with a thank you. Thank you for allowing me
to impart my knowledge into you for constantly going
and chasing your dreams. You know, 90% of people fail in life because
they quit too early. And I know that's
not any of you, 90 and my students. So I do wish you Godspeed in your endeavors
after this class.