DSLR Filmmaking, Shoot PROFESSIONAL looking video | FILMMAKING MASTERCLASS

1. Shoot professional-looking videos with your own camera!: Today guys and welcome to this Complete Guide to shoot amazing looking cinematic videos with your own DSLR or mirrorless camera. My name is Julie and I'm a filmmaker and editor from The Netherlands, have been making videos for over nine years already. I've mostly made promotional videos for companies, but also the product videos for co companies like LG, Sony, and copra. Also, I'm an experienced online teacher. Shinzen share my filmmaking knowledge online since 2015, I designed this course for everyone that wants to learn how to shoot professional-looking videos with their own camera. So by the end of this course, you will know how to use your camera to do this. You want to start your own video production business. Or if you want to shoot professional-looking videos of your holiday for social media content, it's all possible with the skills you will learn in this course. And instead of only talking about it, I will also go, as you can see outside, and I will teach you this in the real world. I split this course up into three different parts. In the first few parts, we're going to talk about the basic filmmaking knowledge. Thinks you need to know before you press the record button. Things like settings and types of cameras and lenses. And then we will dive into the shooting process. How do we frame certain objects? Which camera movements can we use? How do we make things look good? And how do we work to top it off, I will share some important things you can forget like audio and lighting. And I will talk about the use of some other gear, for example, tripods, sliders, or Gimbels. So are you a photographer? I wants to learn more about video or are you a beginner videographer that want to get to a pro level? Or maybe you just got your first camera and wants to get scaled. Then please join me in this course. You don't need anything to follow this course. But if you immediately want to put things in action, then only a camera that can shoot video is recommended. 2. The perfect camera for filmmaking?: Hi guys and welcome to this first episode. And in this first episode I want to talk about which type of camera do you need to get the best results when you follow this course? Because it is a big misperception that you can only shoot really great cinematic footage with a really great, so most of the time also really expensive camera. That is just not true. Of course, the more expensive your camera, the more extreme settings you have a better sense or, but it is not necessary to shoot amazing cinematic footage. And that is what I will teach you in this course. But let's talk about the type of camera for a second. Because in this course I will just use a basic DSLR or in my case, a mirrorless camera without any crazy accessories. Just because these cameras can give you that cinematic look. It looks like a moving photograph. What in theory also is the case. And that is mostly because you have changeable lenses. And I will talk more about that in the next episode, but that is super nice. And also these cameras are kind of small so you can bring them along in everything you're doing. And to top it off, these cameras are not super expensive. You can get a okay mirrorless camera for under 500 bucks. And of course, you could always use another camera to follow this course. For example, camcorder or a small point and shoot camera or even your smartphone. You can use the same techniques to get and make better video, but the outcome will not be as cinematic as when you work with a camera, with changeable lenses and with the camera, you can use all kinds of crazy accessories. But that's not something either, because discourse is about shooting video with only your camera. So everybody can follow this course and also to show you that your filmmaking scales are way more important than the price of your camera to a certain extent, of course, in the next episode I will talk about the different type of lenses. So I will see you there. 3. Choosing the right lens for filmmaking. Prime or zoom?: In the last episode, I talked about which camera I use to make this course. And that is a camera with changeable lenses. That means that you have a camera body and on that camera body you can put different lenses. And with every lunch you achieve a certain Luke lenses can be like many, maybe almost all the subjects I will discuss in this course. It can be a closed on itself. You can go super in depth on that. But for this course, I will keep it simple. So for the lenses, I will talk about two different types of lenses. And that is a zoom lens and a prime lense. With a zoom lens, like the name says, you can zoom in on your subjects. That means that you can choose different focal lengths. So for example, this is a zoom lens, and how far you can zoom in is measured by millimeters. The lower that number, the wider your shot. So the widest shot I can make on these lands is 18 millimeters. If I'm zooming in my short gets less wide and I'm my millimeters getting higher. The max I can go on this lens is 55. A prime lens, your focal length is fixed. That means that you cannot zoom in or out on your subjects. So that means that you have to move closer or further away to make a different shot, then why should you ever buy a prime lens? I hear you ask that is because of two main reasons. Number one is that certain properties of a lens, for example, a property that makes the background more blurred. That is something we will discuss in later episodes. Which property that is what you can do with it. But these properties are most of the time much better and cheaper on prime lenses. And the second one is that most of the time, a prime lens just gives you a better quality for the same price. Because a prime lens, especially made for that one specific focal length. So it's very good in The only thing it can do. Well, zoom lens has to be good in many different focal lengths. And we all know that you can do better. One thing really good than 70 things. And for that reason, if you have a certain amount to spend, you get better quality with a prime lense most of the time than with a zoom lens. And also zooming in on your subject is not as easy as you think. And with that, I mean, that you can create a very different look when you zoom in on your subject and standing far away. Then when you get closer to your subject with a wider shot, it gives you a very different look and feel. Let me show you the difference outside. So this is what I mean. By the way, this is Ri, Now, this is my model for today. Yes, I know I would also rather have Cade up them, but we have to deal with Rino today. So first I have my lens zoomed out and I'm framing Reno inside of the screen, for example, like this. Take a close look on how Reno looks at this moment in the screen, and especially taking a look at the background. Now I will walk away and I will make a shot from further away. But at the same time, I will zoom in my lens to the point. The framing of Reno inside the screen is almost the same as the last shot. That will be something like this. And as you can see, this shot is kind of the same. But if you look closely and you look at them next to each other, you see a difference. Also, if you record this process step-by-step, then you get a really nice effect that looks something like this. So you can try that for yourself if you like that effect. But this is why zooming in the lens is not always the same as getting closer or getting further away from your subject. And in this course I will just use a basic zoom lens. And that is because that is the closest thing to a normal kit lens. And that is a lens that you get together with your body when you're buying your first camera. Again, that is, so everybody can follow this course. The rule of camera lenses is so big that you can spend your whole life learning about it. But for this course, I wanted to teach you the basics. And for me that is the difference between a prime lens and a zoom lens. And like I said in this course, I will use the zoom lens. So I will see you in the next episode. 4. Choosing the right quility settings. Framerate and fps.: Good day guys. In this episode, I will talk about frame rate and resolution. First, we start with resolution. Most people say for resolution, the bigger, the higher, the better. And in most cases that is true, but there is a lot more to look at before you start shooting in the biggest resolution possible. First of all, resolution will be indicated with a p, 720 P, ten ADP, or where you go hide and that you get 2K or 4K, or even way I 8K. And that stands for the numbers of pixels in height. So 720 P is 1280 pixels in the length. And 720 pixels in height in the good old days was called HD high definition. But these days it's kind of a low resolution because almost everything we do watch and see it in 1080 P or higher because ten ADP. And that is also what I'm shooting this course in full HD. And that means 1920 pixels in length and 1080,080 pixels in height. After ten ADP, you get most of the time 4K sums 2K, but most of the time 4K, and the K stands for thousands. So that means 4K is 4 thousand, or to be precise, close to 4 thousand for 1000 pixels in height. And that is if you compare it with ten ADP, almost four times as much. So that's way better, right? And yes, indeed, it is way better and way sharper. But if your camera can shoot 4K, which only the more expensive cameras can do, you also work with way bigger fell sizes. And besides that, you also have to have a super expensive computer to edit those big fell sizes because it's quite hard for a normal PC to Alito's videos. So then you have to ask yourself, what am I doing it for? Because almost everyone is watching your video on the Internet in ten ADP, on ten ADP screens. And besides that, if you shoot good 1080 P quality, it's not that different with 4K. And then also a very important reason to most of the time shoot in ten ADP is your FBS, your frames per second. Also called, like I call it in the title frame rate. We probably all know that video at least I hope you know that video are just in theory, pictures behind each other. And because of those pictures, you see something moving and that's called video. So the FBS, the frames per second, is how many pictures there are in 1 second of video. The more pictures you have in your video, the smoother something we'll look. To get smooth video, you will need at least 24 or 25 frames per second. That is the number of frames that we can tell with our eyes is smooth video. If you go lower than 2425 frames per second, it gets stuttering and choppy. So 2425 or 30 frames per second is called normal smooth 3D. I most often should in 30 FPS, so it's just a little bit smoother than 25 FPS. If you have settings on your camera that can go higher than 30 FPS, you will probably land in like 50 or 60 FPS. All those extra frames makes you of videos super smooth and most of the time a little bit to smooth. But those extra frames are super nice because we can use those extra frames to make slow motion video. Because if you shoot a clip in 60 frames per second and you make that clip twice as long, then you spread those 60 frames out. And if you make it twice as long, that means that you get the half of the frames per second. So then you not get 60 frames per second, but you get 30 frames per second in the end, because you make the clip twice as long. But because you make the clip twice as long, it's insulin motion. But because you shot a 60 frames, which is now 30 frames, the slow motion is smooth and not choppy. So there is also the only way to shoot smooth slow-motion is to shoot in higher frames per second. Because if you make a clip that you showed in 30 frames per seconds, twice as long, you end up with 15 frames per second. And the clipper, 50 frames per second is super choppy and slow-motion is a big part of cinematic video. But what does the frame rate has to do with the resolution? And why do I still recommend you shoot in ten ADP? Like I said, only the more professional, so more expensive cameras can shoot 4K. And even when your camera has option to shoot a 4K, then the chance is really high that you cannot shoot with a higher FBS than 30. So even the more, more, more expensive cameras can shoot a 4K with a higher FPS that 30. Back in the days, even when you had a quite expensive camera, you were only able to shoot in the higher FPS setting. So 60 FPS in 720 P quality. So like I said, normal HD. These days, it's way more common that you can shoot in a higher FPS on almost every Okay camera in ten ADP. So full HD quality. So in that way you can make the footage you should slow motion, but you still got the full HD quality where if you shoot your footage in 4K, you need a super expensive camera. The super expensive and good computer. You need more storage space to store your files and you can even make the video slow-motion on most cameras. So that's all I wanted to say about frame rate and resolution. I hope you learned a little bit more and understand now what I mean and why I recommend some certain things. And then I will see you in the next episodes where I will teach you about the three most important settings on your camera when you're shooting video. See you there. 5. Manual professional exposure, shutter speed.: Good day guys and welcome to the first episode of a series of three, where I teach you the three most important settings of your camera when you're shooting video. I already did a complete caused about these three settings. So maybe if you've watched that, then you can skip the next three episodes. But these settings are so important that I can recommend you watching these videos again, the first episode is about shutter speed. Shutter speed is the setting that is often displayed as one slash and then a number. So for example, one slash 125, your camera has a sensor and because there's light hitting the sensor, the camera can create a picture of what you're pointing it at. And the shutter speed is that time of how long the light hits the sensor. So when you see a number like one slash 200, for example, that means that the light hits the sensor two hundredths of a second. And the longer the light hits your camera, the bridle your picture will be. So when the number gets higher, the picture gets darker. Because of course, a 50th of a second is way longer than a fourth thousandth of a second, for example. But besides how bright your picture will be, there is a much more important consequence for the shortest speech you pick, and that is how smooth your video will look. So let me explain that. The lower the number the bridle your picture will be. But it also gives you a very soft and unprocessed picture. And that is because it cannot capture a lot of information in a second. Because the longer the light hits the sensor, the less often he can capture new information in a second. Because it does not capture new information, for example, every two hundredths of a second, but it captures new information every tenth of a second. So that is less often. So that means that the picture will get soft and unprocessed. The best way to show you this is by just showing you it. So what you see now is me walking across the screen in different shutter speeds. In the beginning you see me very blurry. And that is because of the low shutter speeds. You can see that the best if we pause the screen that you can see that I'm super blurry. This blurriness when I'm moving is called motion blur. And this is because when a lowest shutter speed, it captures my motion for a longer time, but not that often. But when the shutter speeds get higher, the pictures get better and better. Above a certain point, you don't even see the difference anymore. But if we pause the video with a higher shutter speed, you can see really clearly that the picture is super clear and there's no motion blur now. And like I said, the Heidi shutter speed, the darker the picture. So at some point, the picture is too dark so you can even set the shutter speed any higher. So at this point you're maybe thinking that the higher the shutter speed, the better. But that's not really true. You know, a low shutter speed is of course like you saw, not usable unless you want to create a really dreamy effect and you don't want to do that in your editing software, then you can maybe use a low shutter speed. But a super high shutter speed is also something you don't want to use. And that is because at that point, there is no motion blur at all. And that is not really realistic anymore. Because even when we look at something with our eyes, our eyes itself also creates motion blur when they're really fast motion happening because our brain can process that motion, that good. It's shop for our eyes. So then how to choose the right shutter speed for that directs a good rule. And that rule is called the 180 degree shutter rule. And that rule means that you double the frame rate that you're filming him. And you choose that number as a 100th of a second for your shutter speed. So for example, at this point, I'm filming in 30 FPS. So 30 frames per second, something we talked about in the earliest episode. But if I double 30, I get 60. So that means that the right shutter speed for 30 FPS video is 160th. And if you can choose exactly the right shutter speed, when you're doubling your frame rate, then you pick the first one that comes after that. So you're using that rule that you always have the right amount of shutter speeds for our eyes. So that's everything I wanted to tell you about shutter speed, but keep watching because in the next two episodes I will talk about the other two settings and it's all connected to each other. 6. Manual professional exposure, aperture.: Good day guys. Welcome to this episode about aperture. Aperture is a setting that is mostly displayed as a f-number. So for example, f 3.7 and aperture is not how long the light hits the sense or because that is shutter speed that we talked about in the last episode. But aperture is how much light is hitting the sensor. It controls how much light is hitting the sensor by making the hole your camera is looking through bigger or smaller. And with most lenses you can even see the hole getting bigger, smaller when you are changing that f-number on your camera. When the f-number is super high, that means that the hole in the lens is super small. That means that there's not coming debt much light into the camera, onto the sensor. So that means that you have a darker picture. So when the f-number gets lower and lower, that means that the hole in your lands get wider and bigger on this lens to lowest it can go is F1 0.8. And at that point the whole your lens is super wide and open. So you have a very bright picture, but besides your picture getting darker, brighter. Also with this setting, there is something much more important happening. And that is shallow, depth of field, which is super fancy name for a blurred background. When there's so much light coming into your censor, your camera is focusing more on 1 and on your subject. And that means that the background kept more blurred. So if the f-number is really high, like this example, F 22, then the background is still pretty sharp. But when I take a very low aperture, so a very low f-number. For example, F1, 0.7. That is the lowest this lens can go. And the background is extremely blurred. And I said, the lowest this length can go because most of the time you can see the lowest f-number displayed on your lens. This lens you are seeing right now is a f of 1.8 lens. That means that the lowest f-number you can get with this lens is F1, 0.8. But with a zoom lens, for example, this lens, you get most of the time I f-number something like F 3.5 and f 5.6. And that means that because it is assumed, lands that when the lens is completely zoomed out, lowest f-number you can get is 3.5. but when the lens is completely zoomed in, lowest f-number you can get is 5.6. And of course, when you zoom in and out, different f numbers in between, which f-number you should use is just about what kind of picture you want to create, what kind of video you want to create. If you want to create a more cinematic, more photography stele, picture or film, then you should pick a very low f-number. But if you're filming, for example, landscapes or you filming a subject and the background is more important, then you can pick a higher f-number and then the background is not as blurred. So you can also, as a viewer, focus on the background, but also how much light do you have? If you're in a darker room, then you probably have to pick a lower aperture because otherwise your picture will be way too dark. I hope you learned a lot more about aperture and why you should or shouldn't use a high or low aperture. In the next episode we will talk about ISO, and that is a really simple setting. So I will see you in the next episode. 7. Manual professional exposure, ISO.: Hey guys, in this episode, ISO, which is the third and the last setting and wants to tell you about. And it's a very simple setting and that's why this episode is also not that long. Iso is short for the name of an organization which is not important. Because what does ISO? Iso is the setting of how sensitive your sensor is for light. The lowered the ISO, the less sensitive your sensor is for light. So then you have a darker picture. The higher your ISO, the more sensitive your sensor is for light. So that means a lighter picture. The ISO does not change a lot more of how your picture looks than just how bright it is. But the biggest thing you have to remember about ISO is that the higher the ISO, the more noise your video bill have. So you always want to keep the ISO as low as possible. You can see it really good in this example. If you pick a higher ISO, you see a lot of noise. One camera is better than the other. Most of the time, the more expensive cameras, better sensors and are better for lower lights. So then the noise is not as much as on a cheaper camera. But most of the time it's never a good idea to pick a high ISO. So I recommend to always keep the ISO as low as possible. So a high ISO, which means that the sensor is more sensitive for lined with means a lighter picture. But it also means that you have more noise in your video, which is something you don't want. That were all the three settings I wanted to tell you about, but keep watching because in the next video, I will teach you how to choose the right settings. 8. How to work fast with these settings?: Okay, so how would we data mine our settings? There is a reason I told you first about the shutter speed, then about the aperture, and then about the ISO. And that is because I always start with shutter speeds are witty, 180 degree shallow rule. Let's say I want to shoot slow-motion, So I have a higher FBS, which we talked about. So for example, I'm shooting video is 60 FPS. That means, like I told you, that my first setting, the shutter speed will be one slash 120 because 60 plus 60 is 120. That means the Michel's page will be 120th of a second. Or if I can choose one slash 120, the closest to that. So the next step is to tell mine our aperture. So how blurred do I want to background? So say I want to feel a more cinematic Luke. So I want to have a more blurred background. I picked the lowest aperture and on the more basic zoom lenses, those are the lenses that we're working with in this course. The lowest aperture you can go is most of the time something like F 3.5. And then the last setting that is left is ISO sour. Keep the ISO as low as possible. But the picture's really dark. I can get a little bit higher. But at this point there is a big chance that there are two things happening. One is that you are filming outside in the picture is way too bright. Even with the lowest ISO, your picture is too bright, then you can do two things. One, you can crank up your aperture, which gives you a less blurred background. But you can also crank up your shutter speed, which gives you less motion blur. But if you want to keep a right child speed and low aperture, but pictures still too bright. There is extra gear that you can buy what's called an MD fielder. You screwed add on top of your lens and that is like sunglasses for your camera, but otherwise you have to crank up your aperture or your shutter speed. The other thing that can happen is that when you picked the settings, like I told you, that the picture is way too dark or your ISO is super high, let's say higher than 1600 and you get a lot of noise. That's also something you want. Then something you can do is low your aperture. I recommend don't lower your shutter speed because that's already on the perfect shutter speed and otherwise your pictures really blurry, so lower your aperture, but if your aperture is already as low as possible, then there's nothing left. And Jewish use more light. That's kind of all I can tell you. It's just practicing until picking the settings goes at a medically node, have to think about really hard what you want and have which setting you should pick. The most important thing that I hope you know now after these episodes is what are the settings and what does it do with your picture? So in that way, you can make a good decision on which setting you should use and that you take your camera of the automatic setting and go manual and choose your own settings if it's still hard for you and you want to practice, there are a couple of things you can do. One is measured all the settings, so picker randomize our random aperture or random shutter speed, and then point your camera to something and try to fix the settings as fast as possible. The other thing you can do is pick a subject, point your camera, edit, and set your aperture as high as possible, and then fix the other settings. And what you do then is you're lowering your f-number step-by-step. But when you do that, light changes. So you have to play with the eyes on the shelf speed to keep the light normal instead of too bright or too dark. And when you do that, you learn how to use the settings. And also a very nice thing with this exercise is that if you do it, right, and you take a few frames of every time that you lowered your aperture, you stick them together, you get a really nice affect, something like this. So that's a nice extra. I can't wait to finally talk about shooting that video. So let's go to the next episode. 9. Frame your subject natural with the rule of thirds: Good day guys and welcome to Chapter two where we'll talk about the shooting process in this episode and the two upcoming episodes, we'll talk about framing. And framing is how do you visualize something inside of the screen? So how do you present your subject inside of your video? And this episode is called the rule of thirds. And what is the rule of thirds? The rule of thirds is that you present your subject inside of your screen on one of the third of the screen. And to help you with that, you can add on almost every camera these four lines. These four lines are creating different thirds on a screen. And as you can see, I'm sitting now on the line on the left side of the screen and I will tell you about how to use these lines outside. The rule is that to help you to frame a subject because your eyes are naturally focused on the middle or on one of the three thirds. So if you want to frame someone in the middle, that's okay, that's perfect. But you have to frame him exactly in the middle, like I'm doing right now. But if you want to frame someone in the left or the right side of the screen, then you have to frame him like this in the left third of the rule of thirds or on this side, which is the right third on the rule of thirds. But how do you choose the left or the right side? If someone is looking forward like Reno is doing right now, you can do whatever you want if you want to do the left side or if you want to do the right side, that's all up to you. Maybe there's something cool looking on the left side, then you can frame them on the right side or the other way. Then you frame him on the left side like I'm doing right now. But if your subject is looking one way or the other, like Reno is doing right now, then you have to framing on the opposite side as Barry is looking at. So in this case, Reno is looking to the right, then I have to framing on the left. So there's an open space on the side he's looking at. So if my subject in this case we know, is deciding to look at the other side, then I have to frame him on the right side of my screen. In that way, your framing is naturally right for your eyes and it doesn't look weird, but you can even go a step further and use the horizontal lines too. So if you want to do it even more correct than you align the thing your eyes are naturally focusing on, on the horizontal lines. In a case like this where my subject is a human, the natural thing to focus on are his eyes. So I'm framing Reno right now on the right side of my screen. But if you want to do it as good as possible, then I have to go a little bit lower and I have to frame his eyes on one of the third of the horizontal lines. So no matter if you frame in the right way on the left, middle or right side of your screen, you have to frame his eyes on the horizontal line of one of the thirds, or at least close to. I will give you a little bit more examples of this rule when you do the right thing and what it looks like if you're doing it wrong at this point, this is how I should frame Reno because he's looking to the left. There's an open space on the left side, and I'm framing him on the right side. And his eyes are also perfectly on 1 third of the horizontal lines. If I'm framing reno on the left side of the screen like I'm doing right now. Then it looks a little bit weird because there is an open space on the right side. But he's looking to the left and there's nothing over here. So this empty space, that looks just weird. Also, this is the good way to frame Reno because now he's not looking to the left or the right, so I can frame him in the middle. And these eyes are also on the horizontal or one of the horizontal, one thirds. If I'm doing this, you probably think that, that looks really weird. But in theory it is the right way to frame Reno because his eyes are on one of the thirds. This is what I call a very artistic shot. If you have like a cool project, maybe you can use it, but otherwise it looks kind of weird. But if there was something up in the sky, so if Reno is now looking to the sky, then it is again, a more acceptable shirt because now there is a open space, it's direction is looking at. So I will go a little bit fast and now this is the right way, but this is the wrong way, then you should frame in here or on the other sides. This is also very rich because he's almost out of frame now. So if you put him a little bit more to the left than he is again, perfect. On one of the third. You can see now is eyes are not on one of the horizontal thirds, but it looks natural. And that's why I said close to one of the horizontal thirds. But again, if I want to do a perfect, then his eyes are now also on one of the horizontal thirds. This, this is the rule of thirds. You always have exceptions of course, but keep in mind to use this rule to give the fewer unconsciously better viewing experience. Because no one will say, hey, this video sucks because the frame is not good, because it's not used the rule of thirds. But what it does is it does give two fewer. Unconsciously, a weird feeling that something is off. In the next episode, I will talk about different shut types you can use when shooting video and especially when to use them. I'll see you there. 10. Which part of your subject are you filming? Shot types., medium, close): Good day guys. In this second lesson of framing, we will talk about a different shot types, different soil types, or different ways to present your subject inside of the screen. And those different framings have different names and also a different goal. There are a lot of different cell types with all different purpose. But there are three important short types that I want to teach you and when you can use them. But I will do that again, outside the three differential types we want to teach you in this episode are white, medium, and close. Most of the shots you saw today are medium shots. That is when you frame someone from waste up that is shot that is mostly used for presentations. That's why you've seen the shot so much in this course, but you use it also very often for our dialogues, our interviews. The second shot type I want to tell you about is the wide shot. And this, what you see right now is a wide shot. In a wide shot you see the whole body of a person, but you also see like more of the environment and things like that. It gives a few more perspective on what a person is doing. A very easy and what is he about to do? The third and the last of the most important short types I want to tell you about is this. This is close, but it's not really nice for a presentation like this. So we go back to medium. A closure gives the viewer more perspective about details. And if you're using it on a person, and it also gives you more detail about the emotions a person has you can use to show type close in almost every situation where you just want to highlight something specific in a scene. Like I said, there are way more short types than just these three. So here are some examples. This is a extreme long shot or extreme wide. This is a normal long shot or as I already told you, also called a wide shot. This is a fool short, short web person is framed from head to toe. This is a medium long shot and that is from nice up. This is a cowboy shots that is from waist up. And then we're back to the medium shot. This is a medium close. Then this is the close. This is the Joker from throat up. And this is a extreme close, which is extreme close. And there are even way more shot types that you can find online. But all the short types, I put them in three different categories, wide, medium, close, and like I told you, it's super important that you know when to use which should type and at a certain point discussed at a medically. But if that isn't the case, then you have to practice it and practice it and practice it to learn when to use which type. But first we're going to pick up the camera and shoot some awesome video. In the next episode, I will see you there. 11. Camera movements, Handheld Stabilisation: Hey guys, in this episode we're going to hit the record button. We're going to shoot finally some pedia. But to shoot some video, you have to shoot stable video because to create super good-looking cinematic video, it is important that your shots on not too shaky. These days or low of cameras are having some kind of inbuilt stabilisation. Sometimes it's based on software, like in a phone and sometimes it's in the lens itself. But in this episode we're focusing on how you can create stable footage with these cameras and that, of course, without the use of any other gear that stabilize your camera supernodes. And one more episode later discourse where I talk about the use of a gimble, but that's done in this episode. I will give you six tips how to get stable footage. 1. First of all, always hold your camera with two hands. Two hands. So not one. Then you are not as stable as when you hold it with two hands. One on the lens, one on this side, one on the sides, one underneath, one on the left side, one on the right side. To, hence, I prefer one hand on the lens, one hand on the side. Then I can also put a part of my hand underneath it, so underneath lens and site. So then when you're holding your camera with not one but two hands and you're trying to make movements though. Move just your camera, but try to move with your whole body. So if I want to make a pen, start here and I moved with my whole body to the rights. Your body has many different points that can move from your wrist to your elbow, to your shoulder, to your hips, to your nice too. Everything. And because there are so many parts of your body that can move, the chance of you getting shaking footage is bigger when you're just moving the camera. So if you're making a camera movement, tried to make the movement with your whole body. Because if you look your joints and your fairy steph, That means that the food edge will also be very stiff. And that means that it will be also very stable, tried to be a robot. And two addition to that, keep the camera close to your body. You see that I'm not filming shot like this, but I keep it close to my body because they can clamp which your muscles, your arms, to your upper body, and then it's even more stiff. Those are the important tips and tricks I had for you when you're standing still and when you're trying to make a stable shot. But now, what should you do when you're walking? There is only one answer for that. And that is walk like a ninja. And that is a famous saying in filmmaking world for the way you should walk when holding a camera. Because every step you make is feasible when you're holding a camera and filming at the same time. Because of that, tried to move as little as possible up and down when you're walking, tried to make tiny baby steps and don't lift your feet up that high. And as you can see why I'm doing this, I'm forgetting the first few steps with locking my joints and being stiff because now I have to carry the steps I'm taking. So I have to keep the camera stable because my body is moving up and down, so I have to correct my steps with movements. And by the way, what do you think of my beautiful sucks that's for the protection of teen sex here. There are two other things that I want to show you that can help to make more stable footage. That is one, attach something that's heavy or heavier than your camera, underneath her camera. And that way there is weight pushing the camera down and that means that your camera are medically, is a little bit more stable. For example, I have a tripod now underneath the camera. But if I put it upside down because the camera is very heavy, you see that this is also a little bit more stable if i would film a shirt like this and do the Ninja book than if I just hold the camera only the other one. I personally don't use a lot, but I see a lot of other people do use this. And that is which are cameras trap. Because if you put a camera strap around your neck, then you of course have to attach it to your camera. Then instead of locking your joints, you can put the camera away from you. And because it's attached to your neck, it's also like a robot, fairly stiff. So that means also more stable footage. I feel like an idiot doing this, but do get you stable footage. But the most important thing is practice, practice, and also practice. Definitely keeping the camera stable while you're walking and how you should get with your camera movement, the steps that you make. It's just practice. But in the next episode, we'll talk about a lot more things to shoot. Nice food edge. So I will see you there. 12. Don't shoot boring video, Do’s and don’ts of movement.: Good day guys. In the last episode I told you about shooting steady footage. And in this episode I will talk about the camera movements on itself, which camera movement you should avoid, and which camera movements you can use because it makes your video looks better. To start this off, I want to show you two different examples. One is shot in what I call the professional looking way and the other one is shot in the way you should avoid. I hope you can see the difference. Yeah. I will talk about all the difference in the upcoming videos, but in this video I will talk about the movement's first, the dance. I call this first one the holiday Dead movie. And that is because in the Google trustee days, when all the debts or the rich dad had a big camera they were carrying on their shoulder. All the holiday home videos looked something like this. You name it. These are super long bands and super long tails. And that is so unbelievable. Boring. Of course you can use is shot like this in a whole video of a couple of minutes. But if you use it too often, it gets so boring. But the second don't is the opposite. Super quick and fast shots that are not making much sense. Very quick and short clips and I see begin a filmmakers most often do this to make it playful or something. But if you do this, you don't have a lot of creative freedom in the editing process. The beautiful thing about those quick and short, playful videos is not because they make a shot like this and they're done, but because they decide to use that shot in that way in the editing process. So you record longer shots. And then when you're editing, you can choose to use that shot in a playful and quick way. Another one is this one. Super shaky follow running footage. And of course we talked about this in the last episode, but this is also something that makes your video looks super unprofessional. Small sheets are nice and natural. Big shakes like you saw in the example. It's just not looking good. So instead of all the things I just mentioned, what should you do? I always suggest to make small movements. And with small movements, I don't mean a super short clip, but I mean that you take the time to make a longer shot, but with a small movement at, not with crazy movements like this. Slow, steady, but small movements that safe at looks super good really easily. And this is something I do when I'm just shooting with my camera handout. So for example, I'm on a trip, on a holiday or doing an activity and I want to shut that activity. But the only thing I have with me is my camera. Like I told you in the beginning, without any crazy gay or something, then I take these tips I just gave you to make those small movements slow and steady and then make something who, when I'm editing, something I also always tried to do is look for the movement inside of the screen. In that way, the focus is on what's happening in the screen and that movement instead of the movements you make as a cinematographer or videographer. And if you don't want to make a lot of movements, you can use the tips that I gave you in the last episode about steady shots. And in the upcoming episodes, I will show you some other super valuable tips and tricks to make awesome bureau with those small movements. So I will see you there. 13. Make your shot interesting, create depth.: Could they guys, in the last episode I told you about the do's and don'ts of camera movements. And in this episode, our gifts you super nice trick to create with those movements. Super nice rate cinematic shots. First of all, we're starting with creating depth. That is a super-simple trick to create more movement in a simple shot. Also, it looks super cinematic. But what do I mean with creating more depth? That is, when you're making a sharp, when you're filming a clip that you always keep in mind to have a foreground and a background. And you can search different things at different subjects to put in your foreground or background. And when you do that, it doesn't mean that you're focused. Always have to be on the thing that is in the foreground. You can also put your focus on the thing in the background. For example, you're filming something far away. They can just record that. But if you put something in front of the camera, so in the foreground, but like very close. And you put a focus on the thing that is far away, then you have something small and identifying thing that is in the foreground as a shadow almost. And in that way, the most important and nice thing you can do here is when you making small movements, then those small movements are way more feasible. So for example, if I'm standing here and I'm trying to film the nature dev way. I can just make a shot like this. But that is super boring and it's almost like a photograph. You're not seeing a lot of movement and there's nothing spicy to it. But if I'm doing this, then there is something that appeared in the screen. So now if I want to make a shot of again, the background and the nature, but I put this tree in front of it. It's a lot better. Watch this. So you understand what I mean now, here, create, but there is one other thing and that is super valuable. It's a trick I use. A lot of times. It's super nice. And that is, for example, again, this tree, if I put that three super close to the lens, but I mean superclass and then I make the same shirt. The blur is super blurry, almost shadow, and you can't even identify what it is, but it makes the small movements with the camera and those movements are just safest to do because otherwise you get super shaky shots. Most of the time, those small movements, it makes it super clear. So that will look something like this, then that's kind of cool, right? And you can do that with F3 thing. You can put everything in front of that lens superclass when you're filming something in the background. For example, these leaves. Or what about this cress? Or even a completely other person's shoulder? And even things that are not even supposed to be here, like the tripod this camera's standing on right now. Or what about this tripod had brought with me. This is just a basic filmmaking trek to spy some things up. But just remember always to play with the foreground and the background. Everything inside of your screen is counting. In a few seconds, I will show you some examples of footage I shot today in this forest. And to show you what you can do when you play with the foreground and background in any way possible, grab some inspiration for this. But keep in mind foreground, background. Did you can merge and play with. I will see you in the next episode. 14. Creative transitions without software.: Could you guys, for this second episode about shooting tricks, I will talk about transitions. Transition is a way to go from one shot to another. Most of the time transitions are a bit overused. If we use slides and page roles and other crazy transitions that you can do in video editing software, then it looks super unprofessional. Also, transitions are more thing you do in editing software. But this video is of course, about shooting the video. But if you want to see a full course on creative editing, then send me a direct message. For example, Instagram at Joey trousers. So rule number one of the translations is don't over use them. But while you're shooting your video, you can shoot some really awesome transitions. What most people call in camera transition. What is a income or transition? That is, that you make two shots in a very specific way that if you're editing your video and you lay those two shots next to each other without any editing. Just make a cut and edit them together. So let me show you two nice transitions that you can use. The first in camera transition that I want to show you is the width Pam. And this, this is a width band. You create a whip bam by ending your first shot with a very fast movement. For example, to the left, to the right, up or down. But when you begin your second shot, you start your shot with the same fast movement as you did when you ended the first one. So when you ended your first shot with a pen to the left, then you start your second shot also with the pen to the left. So then you start from the right and Penn, very fast, left, and then you make your second shot. Let me show you this. I will record something behind me now. And then when I end that shot, I will make a very fast pan to the right. Then Weber now here on the second location and make a new shot. But I start my shot with the same movement as my last shot and that I will show you what I mean. You could do this in every way possible, as long as you start your second shot with the same movement as your first shot ended. So that's a super nice trick to spice pure videos in a supernatural way without doing a lot of effects in your editing software. Second, in camera transition is a little bit easier. That is, your first shot with a black screen and then start your second shot with that same black screen. With doing that, I can create something like this. In the first shot, I mature someone, me was walking in front of the camera, but like really close so that at, at least one frame, the screen was completely filled, so almost black. Then with the second shot, I started that shot by getting really close to a subject. So that again, at the first moment of that shot, the screen is completely filled, so almost black. After that, I can make the short How I want or whatever I want. But if you laid those two shots together and you cut them at the right moment. So from a completely filled screen, two other completely filled screen, you get a nice camera transition. This one is a little bit easier to understand, but you cannot use it as often as the other one. But it's the same with all these income or transitions. You don't want to use it a lot in one video. It's nice to spice up your video, wants twice, maybe three times. That depends on how long videos, but don't reduce it. Otherwise it looks again a bit cheap. But both of these income or translations is something you can impress your friends with as videographer, and that is what this course is about. So I will see you in the next video. 15. Shoot with a result in mind: Good day guys. In this last episode where we talked about a lot of different things. I wanted to tell you about some things to keep in mind. When you're walking around and shooting your video. You can see it in the title of this video. But the most important thing is to keep a result in mind while you're shooting your video. What I mean is that it's not a very good plan to run around a shoot whatever you can, and then just throw it in editing software and try to play with it and make a video. This course is about shooting video, which are mirrorless camera or DSLR. And with that, I hope that you have a result in mind before you're going on a shoot. And with that, I don't mean that you have a whole script and know exactly what you want and how to make it. But at least you know what kind of video you want to make. So will it be a super relaxing, nice piano music And a very slow shots? Or will it be edification video with people laughing and having a nice time with happy music? Or do we want to capture the variety of a city and you want to make a fast Beijing videos. So fast shots, quake be arose. More close-ups, thinks like that. That went just three examples and it's all possible. But I want you to know what you're making before you're going on a shoot or before you point in your camera at something and hit the record button. Because for example, when I want to create a FASB raw sequence, I have to film more shots, different shots. I can't film them quicker, more closeups. But if I wanted to make a landscape more relaxing or romantic video, I have to take more time for one shot, make them slower, longer shots and not as much motion. Also, I have to know do I have to put my settings on slow motion or not? So to get the right shots for a video, you have to know what kind of video you're making and it sounds super easy, you know, but even I have a lot of trouble with finding the things. I have to shoot for a nice video all the time. And that's like all the other things in this course, just practicing, even I'm practicing to shoot video without a script but with an ID. And of course, when you're working for a client is normal that you have a full script and you know exactly what you have to film. But this is for the things that you are making for yourself. I will see you in the next episode because then we're talking about something you can't forget. So I will see you there. 16. Audio is way more important than you think.: Good day guys. In this chapter, we will discuss two very important things that you need to know when you're doing videography or filmmaking. Normally, this episode should be one of the first episodes of this course. But because this is a course about shooting video with your DSLR and not shooting a professional promotional video for accompany these episodes are called, Don't forget within this first episode, audio, don't forget. Audio. Audio is one of the most important things your filmmaking. People would read, watch a Super bed quality video with high-quality audio, then they will watch a four. But why wouldn't you tell me this earlier? That is because this course is mostly focused on the beginner that wanted to shoot amazing video with a camera, just with the camera and not with all kinds of extra gear. That's also why. Further this course I will talk about the use of extra gear like tripods, Gimbels, and sliders. That is because that is not the main focus. The main focus is to shoot amazing video with just your camera. And in that situation, audio is not as necessary as normally because most of the time you will use music as your audio. But like This episode is called, don't forget it. First of all, back to the music. There's a big change. You will use music as your audio, so you will use background music. But sound effects are really good and important way to give the fewer, some extra experience about what is going on. You can download some sound effect separately, but you can also use the audio that you're cameras recording to put in. For example, some birds flying sounds or people walking in the forest or just to street noise. And when I'm talking about sound effects, I don't mean super cheesy San effects that you see, animation, movies and things like that. But I mean, supernatural sound effects like birds, the wind, street noises, footsteps, and super simple things like death. The only big problem when you're working with the audio that you're recording is that the quality of the audio is not super good in almost all the cameras. It's kind of bad what the inbuilt microphone is recording. That's why I can recommend that your buying or using an external microphone, something like this. This is a small shotgun microphone that you can put on your camera and connect with it and then automatically records better audio underneath the video that you're shooting. A shotgun microphone is a microphone that records better audio at the direction you're pointing at. And that's why it's kind of popular to use when you're just recording some extra sound effects or when you just recording Qu footage, you were maybe used the sound of it, but also maybe not. So for the goal of the slope, which is shooting awesome video, I can recommend you use a shotgun microphone and you can just put on your camera. But if you're recording an interview or a presentation where the audio is super important, like I'm doing right now, where I'm talking to a camera and it's all about the person speaking. And that case, you had to dive deeper into the art of audio. In that case, I can recommend that you use a microphone that is as close as possible to the person that is speaking. So at this point I'm wearing a microphone over here, so that's super close to my mouth. And I recorded on a separate recorder. And then when I'm editing, I put the audio and the video together. But you can also do is again, use a shotgun microphone, but then put it as close to the mouth as possible. So then maybe you can hang a shotgun microphone from above. Then it is outside of the screen, but it's still super close to my mouth. That's also possibility. So what you hear now is like I said, this small microphone over here. But when I'm switching to the camera, audio with sound, something like this. And you see that is a very big difference. And the thing you are listening right now is even the shotgun microphone. So if I will plot the shotgun microphone, it sounds even worse. So back to this microphone. The point is, audio is a complete other worlds. You have complete separate audio engineers that are only focused on audio. Audio engineer would laugh at me about what I know about audio and how bad this sounds. It's a complete world on itself and you can spend your whole life learning about it and making it your profession. But the thing I wanted to tell you in this video is, don't think it's something you can forget and it's not important. Do your homework. And definitely if you're filming an interview or something like that, because then it's so important that you have good quality audio, or at least OK, audio. The same is to say about lighting, and that's something we will discuss in the next episode. So I will see you there. 17. use extra lights if you can.: Lighting. Lighting is also something that people will easily forget. Like I said, this course is for the beginner that wants to grab their camera and kill oocyte and shoot some awesome footage. And that's why lysine is not as important because when the sun is out, you have lighting to work with and you don't have to really worry about it. But it is something you need to know a little bit more about. And that's why I made this episode first one thing about daylight. Did you ever heard about the golden hour every day has to golden hours. And that is the first hour after sunrise and the last hour before sunset. On that hour of the day, the sun is very low because it's coming up or it's going down and then you get that orange Luke that people like. So if you have a chance to shoot some awesome B-roll, tried to do it in a golden hour. But of course, it's not possible to shoot everything in one hour or two. Always shoot something in the golden hour. The key to good daylight is soft, evenly sunlight. That's also why most people said that the worst sliding is in the middle of the day when the sun is super high and super bright, that gives you a worse day light. But don't worry, it's a thousand times better than no daylight. But if you're planning and shoot, you can always try to plan it in the morning or maybe in the afternoon and not in the middle of today. I'm living in the Netherlands and there it is, most of the year very cloudy and that sucks for weather, but it is super nice for your daylight lighting. Because when the sun is coming through the clouds, it's not as bright and it's super evenly lit. So let's bring you shooting outside. But what about when you're shooting video inside? First of all, you can also use as much daylight as possible. So move close to a window and tried to catch all the light that is coming into your room to light your subject. But if you using other lights subject, which I can recommend because as we learned, if you put your ISO to high, it gets super noisy and otherwise, you know, pictures too dark. But if you're using other lights, I can recommend that you are using daylight lights. And what I mean with that is that the light is white, white light, the light's light white, the color of light is measured in Kelvin. So the higher the Kelvin, the wider your light is, and the lower your Kelvin, the more wretch slash orange your light will be normal daylight who exist of 5500 Kelvin. And that is for our eyes, pretty wide if you're using it as a lamp, like I'm doing also right now. And to compare it with a normal desktop lamp is about 2700 Kelvin, and that looks really orange, which is for our eyes, pretty chill. That's why most desktop lamps and lamps in our house are kind of orange. But if you're using it to light your subjects, it looks really cheap. With more expensive lamps, you can most of the time set your Kelvin yourself like this lamp. So if I'm putting it all the way down, you see that now I'm fairy orange, but you can also buy light bulbs that you can screw in a lamp. And you can buy those light bulbs in, for example, 5500 Kelvin. So daylight light bulb. So there was the most important thing I wanted to tell you about lighting, but you can also learn more how to set up your lights. For example, with a 3 light system. That sounds fairly hard to do, but it's still a basic way to lie the subject. And that is with three lights, wonky light, which is the strongest than a fill light on the other side to fill in some darker parts, but not as strong as the key light. And then you have a third light, which is a backlight, and that's from behind to fill in some shadows. Like I said, even that is a super basic way to light something. So it's not as easy as just point a light to something and film it. Also lighting is like audio, a business on itself. And you have people that are specialized in studio lighting and shooting video and studios. So those are two different worlds. But I can like audio, also recommend, Don't forget it and try to learn something about it. If you're shooting insight. In the next chapter, I will talk a little bit more about use of other gear. So I will see you there. 18. The most important piece of camera gear.: Good day guys. In this chapter I will talk about other gear I see people use to make, create videos. And I'm mostly talking about tripods and tricks and things like that. I see a lot of times that people buy enormous bricks to protect camera on just because it looks go. So to get that Alf two-way rule number one is only used extra gear if it adds more value to your products. So in these episodes, I will talk about four types of extra gear, which I think adds more value to your product. And in this first episode of sample one, a tripod, there are multiple occasions that you don't want to hold the camera in your hand all the time, but that you want it on a tripod, steady as a rock. For example, if you're filming yourself during the presentation, or if you film an interview, a steady camera on a tripod does not make sure shot boring. You can still use all the tricks I'll teach you in this course to make a nice looking cool video, but with the tripod on a camera. With some shots. There are two types of tripods for smaller cameras, and that's what I'm focusing on today. So the first one is just a basic tripod. Tripod that you can buy in every electronic store possible. You have them really cheap, but you also have them really expensive. And in between, I always say go for the in-between option. Because if it's really cheap, then the tribal cannot go as high or is not a steady. But if you've got really expensive, then it's probably too fancy for your needs. And with these tripods, you can put your camera on it. It stands there, it steady. It's okay. I'm using one right now. No problem. The second one is a video tripod and that is something that looks like this. And yes, it does look exactly the same in most cases. But the big difference is this, the tripod head, because the tripod head is then not a normal tripod head, but it is a fluid hat. And that means that when you're filming with this tripod, that you can go from left to right and up to down. Really smooth if you're using a normal tripods to make moving shots. So, so your pens from left to right or you're tilts from up to down. And then it gets super jQuery because it's not made to move, but it's made to stand still and then just to possession and then stand stable again, but with a video tripod, head is specially made to make those moving shots. So we'll if video tripod, these movements are super smooth, field tripods are a little bit more expensive, but you also have them kind of cheap. This one is not a really expensive one, but it can also not handle a really heavy camera. And then you have video tripods for the big cameras. And those are of course, super expensive. Personally, I use a tripod a lot because it's hard to make every shot hand-held look good. And so then I can always put the camera on a tripod. And of course, because in teaching online, I'm using a triples to make a presentation shot like this. You always have to think about when you're using a tripod and when you're doing something handout might tip is if you're thinking that you can do the handheld shop, not as professional as you want, even with all the tips I gave you in this course, then please use a tripled ambition that everything else in your shop is good. So you still have a supernode professional looking shut if you're shooting most of the time handheld them, maybe you can use a handheld Frick. And I will tell you more about that in the upcoming episode. So I will see you there. 19. This type of camera gear looks cool.: Could they guys, maybe you've seen people using a handheld REG before because it looks very cool. It can look something like this or this or this or even a shoulder rake that looks something like this, reads like that are mostly used for two different things. One is a rigging other gear. That's why it's called a Rick. You can put a microphone on your camera, of course. But what if you want to put an external monitor? Feel free quarter, microphone, better handle, and a light or your camera. Then of course you need more space to put all those things. That is one of the reasons people use a handheld Rick. The second reason for using a handout rig is to keep your camera and more stable. As I teach you in check to episode three about shooting stable footage, I told you it's better to have a heavier camera to make a more stable shot because it's pulling the weight down. That's also why some people use a handheld Rick. Also a big advantage over Rick is that most of the time you have a better grip to hold your camera. And that also gives you more stable footage. But if you're just doing it for stability, I cannot recommend it and I can better recommend something that especially made to keep your chemists table that SO2 I will talk about in our next episode. But keep in mind that using handled brick definitely has good purpose and it's not something that people do because it only looks good. So I will see you in the next episode. 20. EXTREME smooth video footage with this type of gear: In this last episode of this chapter, I will talk about two other types of care that people use, and that is a Gimbel and a slider. First, again more, this, this is a Gimbel, a gimble stabilized camera with electric motors. And this one is called a three-axis Kimball. And that means that there are three modus trying to keep your camera stable no matter what you're doing and how you hold it. This piece of gear is mostly used by people that want to make longer smoothed shots. And it looks super nice and everything is super stable. What like all the other gear I talked about, there are specific situations. You want to use a game ball and most of the time I also prefer a shorter and a handheld shot, but using a game or slides and I'm going to talk about in a few seconds. And I can give you a shot that you otherwise couldn't get. And that is super guys. But a gamble is not cheap and it is not something I would invest in right away. You can better first learn how to use your camera when shooting handheld, to know your camera, to become a better filmmaker. And then use all those knowledge you gathered when using your camera handheld to operate a Gimbal, then to show you some other gear. This, this is a slider, and a slider looks like the most useless piece of care there is, because slider coasts from point a to point B in a straight line. So you can go forward, backward, or from left to right. And you think you can also do that with just a normal tripod or maybe a zooming in your editing software. And that is true, but not really because you can really, really see the difference between a fake and a real slider. And even if you're not a filmmaker, unconsciously, you see the difference. A slider is super nice for things like product shots. So smaller objects that you want to get closer to or that you really precise one to go from left to right. But it's also really nice when you're using the foreground background trick that I pitched you in chapter two, episode five. Because then you can really see the camera moving forward and you see that photograph moving really smooth and nice to show you the difference here is the shell from a tripod, fake one in post-production. So I'm an entry software. And the real deal. There is a difference as you saw, but the difference is not super big. And this is the slider I have. You also have smaller ones, but it's a big piece of gear. So that's why you always have to think about what am I going to film, which one I want to take, and how professional does that shot have to be? Because otherwise you have to carry this around the whole day together with your camera, tripod, chemo and all the other gear. Like I said, this chapter was just about some extra gear that I use, but also a lot of other people use to make nice shots. And the tripod is to one that I use a lot, but all the other gear is just whenever I think I can only make shots so good with that piece of care, then I bring it with me. And I also see a lot of filmmaker friends by geared is thinking, oh, this, this makes my filmmaking so much better, but in the end, they will never use it. So always think good about what you're going to buy and if you really need it. And then I will see you in the next episode. 21. The post production proces: Could they guide, like I told you at the beginning of this course, this course is about shooting video with your DSLR mirrorless camera and how to make a super awesome video. But before you have that video, there is one thing missing, and that process takes you most of the time, more time they shooting the video itself, and that is video editing, the post-production process, everything you do after you recorded the video. So you have the production and the post. So after the production, video editing can be a complete course on itself. And that is why I also made one. It was the first course I made. I'm still very happy with it. It is a course about Adobe Premier Pro, and that is the video editing software of my choice. I use it for everything I do and it's also the industry standard. So if you're not familiar with video editing or width Premiere Pro, I really, really recommend you watching that course in that software you can make from the footage you showed a really nice video. Think about color grading, music sound effects, of course, culling the video, but also cooled transitions and all the other things that will turn your footage into a awesome video. Cause already opened, it's available on my profile. Should check it out if you're not already familiar with video editing. Super proud of that. And it will be irrelevant cause for the next year. So go and check that one out. If you liked this course and you're not familiar with video editing. 22. Start learning video editing: First of all, congratulations by almost finishing the course, most people start something and then they give up halfway there. But you didn't. So that's a good thing, but wait, before you clicking away. First of all, what is the class project I'm giving you? You can probably guess it, but that is shoot a nice video. Grip your camera. Go outside, go to a forest, into the city, go to the other person, you know, to capture Desk story or shoot a nice video with all the information and tips. I gave you some where around you, you can collect all this information. But if you're not making the step to really shoot something, you will never grow. So don't wait until the next strip you're doing because when ammonification or when I'm on a trip, then I want to make a nice video. Don't do that. I made that mistake before that I only shot video or which I thought it was a cool video when I was doing a trip. But now when I'm watching that footage, I wish made 200 videos before I was going on the trip because then the footage shot on that trip was looking probably way better than it is now. So grab your camera, go outside and try to find something to capture. So after you did that, there are a couple of follow-up steps as a filmmaker. First of all, you need to learn how to do video editing. I told you about that in less absurd. But if you're not familiar with that, you definitely should check out that coerce. And then this course was about the basics of filmmaking. There are a lot of things I told you a little bit about in this course. Like I told you a little bit about lighting, a little bit about audio, a little bit about extra care. So what I teach you is just a small portion of what there is to learn about filmmaking. And I'm planning to make a bigger course for the more experienced video shooter to learn how to work for clients and earn money which your video scale. And so if you want to keep up-to-date that you definitely should follow me on YouTube under the name shoot that video. But you can of course also follow me here or skill share to keep up to date to the new courses. Then, now is the time to really congratulate you on finishing this course. Like I said, the fact that you've finished this course is a good habit and we'll bring you further in life than just giving up all the time for now, I wish you all the best in the future. I really hope to see you another time, maybe on YouTube, maybe in another course. But I would like to see your and sometime so, good luck and buy.