DSLR Video Production - Start Shooting Better Video Today

1. Top 5 Tips for Better DSLR Video: before we get started with all of the sections, I wanted to give you my five top tips for improving your DSLR video. So throughout this entire course, remember these five tips, and I just wanted to get you started jumped right in to giving you some great awesome tips . Tip number one is to use stabilization. If you've never shot video with the DSLR camera before, know that when you do and when you do it hand held, you will be shaky. It's very hard to get very stable footage using just your hands and the DSLR camera. One of the reasons is that it's just shaped like a photographer's camera and not a camera that you could put on your shoulder for stabilization like an old video camera. So use a tripod, a mono pod allege something to stabilize your footage. Tip number two is to shoot like a photographer and to remember your compositions were going to be covering how to compose beautiful video in a future section. But remember things like the rule of thirds something will learn about and just thinking about the backgrounds and the lighting and the colors that are in your frame just think like a photographer and get beautiful shots. That's what a DSLR cameras. Therefore, it has amazing quality, has amazing lenses, so you can get very cinematic. Photo graphic Video Tip number three is to use the right shutter speed. Using a high shutter speed is good when you're outside, but when you are shooting fast motion, using a very high shutter speed can result in jittery looking action, and so using a slower shutter speed will look better. Also, a quick tip is to use the shutter speed that is twice your frame rate when you are shooting someone that is speaking. So if your frame rate is 29 97 the shutter speed should be 60 so that the lips of the person's speaking looks like it's matching the audio. And you get that by shooting with a frame rate that is 1/2 the shutter speed or a shutter speed that is twice the frame rate. Tip number four is to forget about auto focus. Auto focus was great, with handy cams and the Big E and G style video cameras, but on DSLR video cameras, they haven't figured out how to do it just right yet. So forget the auto focus. Use manual focus. It takes a lot of practice to get it down right to do it quickly. But remember, use manual focus, not auto focus. And the last hip, which I'll talk a lot about in the course, is to invest in good audio equipment. The microphone on your DSLR camera does not pick up good audio. It sounds very bad, and so you need to invest in a good onboard microphone like the road video Mike or getting an external audio recording device like the zoom H four n or another zoom or task camera Quran device with a combination of a lovelier microphone or a shotgun mike to get amazing sounding audio. So those air five quick tips for improving your DSLR video. If none of that made sense to you, it's OK, because in the entire course, we're going to be covering all of those tips. Mawr in depth and I can't wait. So have fun. Enjoy these lessons and we'll see in the next one 2. Which Camera Brand is Best: Let's talk about choosing a brand for your camera. You might have come into this course having a camera already. Maybe you have a canon and Nikon a soniya Fuji. There's lots of different brands. And to be honest, the brand that you pick it doesn't really matter that much. All of these brands have amazing cameras. All of the cameras shoot high quality professional video. You can get amazing lenses for any of these cameras. There are a few things toe Think about before you start investing in cameras and lenses, though one is that it is an investment, and you're going to be putting a lot of time and money into buying lenses for your camera. And you want to make sure that you're happy with the brand so that as you move forward, build out your kit, you don't have toe worry about changing it up and getting another brand, because once you have all canon lenses is going to be hard to switch to Nikon later on. So make sure that you're happy with the brand before you start purchasing a lot of lenses and building out your entire kit. But to be honest, the camera is just a tool. You're the artist, and throughout this course, I hope that I give you a lot of advice for being artistic with your camera, no matter what brand, no matter what type of camera you have within Canon, you have the 70 which was the original video shooting DSLR that really changed the market. You had the five D, which is a photography camera that also has amazing video capabilities. You have the 60 d, the 60 the seven D d. But T five, the whole rebel Siri's. They all shoot video now, and so any of those cameras can create amazing quality video, and it really doesn't matter what brand you choose. So the main thing is just to get a camera that you like, go down to a store, hold it in your hands before you purchase it online. Because I know online has a lot of good deals. BH Photo Video and Amazon have great deals, but go down to a camera store, hold it, see how it feels. Some are heavier than others, see how the lenses go on and go off and just get a feel before you make that purchase. Okay, that's enough about camera brands, so let's get move into the next lesson 3. How to Succeed in this Course: I just wanted to give a quick note on how you will have the most success with this course. I've taken a lot of online courses before, and I've taught a ton of online courses, and the students that do the best are the ones that are engaged, especially with the exercises that I give you. So throughout this course in each section, I'll be giving you an action item, something that I want you to take action with practice. And if you can show me that you've practiced examples may include shooting slow motion video, composing shots, different ways, editing montages. There's lots of fun exercises in this class, and by doing those exercises, you will truly understand and grasp the concepts that I'm teaching within this course. So please take action and do those lessons. If you have any questions, please let me know, too. I'm always here to help. The last thing is, and really I want you to pay attention to this. You are an early adopter of this course. This course is going to be online for a long time, and I'm going to continue to try to improve this course. I know this course isn't perfect right now. I know there are concepts that I didn't teach entirely. I know there are concepts that I didn't teach at all. And it's up to you, the student to tell me. What did I miss? What more can I teach you? Because I want to make this course perfect for you. So please, please, please connect with me online on the course page through video school, online dot com through the Facebook page of video school online. And just let me know what I need to improve what I'm doing well on and anything else about this course. Thanks so much for watching and please enjoy it by 4. Introduction to this Section - What camera will I be teaching with?: Hey, everyone, welcome to my office and welcome to the first section of the DSLR video course In this section. We're going to dive right into plain with our camera so that you can learn how to get out there and start filming Just a word about how I'm going to be teaching this section. I'll be using the Canon seven D, which was one of the very first DSLR cameras that came out, and it's been an amazing tool for me. I still use it today. They come up with new camera bought bodies and do new versions. But the Canon seven D is really a basic model that is a great one to learn on. Now you might have a different camera, whether it's a different type of cannon or even a Nikon, which are the two main types of DSL ours, or you might have even a different type, like a Sony or a Fuji camera. I'm shooting with another Nikon right here, which are great cameras. The thing is, I can't teach you how to use every single DSLR, and I apologize for that because I know that some of you are going to want me to teach you using your exact camera. I'm not going to be able to do that, though, but what I can do is teach you the basics of using this DSLR because everything on this DSLR that I'm going to teach you will be able to be done on your DSLR, even though the buttons and the menu options might be a little bit different on your camera . By learning how to use this camera and knowing the concepts of everything I'm teaching you , you'll know how to use your own camera and get out there and start shooting. Video in this section will be covering how to turn on the camera. Put on a lens. Put in your memory card, choose your scene mode, make sure that you know how to set the video size settings, then how to actually record review and delete clips from your camera. So let's get straight into it with how to turn on your camera and turn it to video mode. 5. Turning your Camera On & Changing to Video Mode: typically with the DSLR came right. You'll have an on off switch either up here in the top left, or maybe heat down here in the bottom. Right here on the 70. It's in the top left, so let's just turn it on. You will hear it turn on, and typically the camera will be in picture mode. You will see that on the Ken and 70 there is a picture and a video mode. Turn it over to video mode so that we're ready to start taking video, and then you will see the viewfinder on the back pop up with whatever is being seen through the camera. So that's how you turn on your camera Internet video mode. 6. Putting On & Taking Off Lenses: the next thing that you want to know how to do, which might be the very first thing is actually put on a lens. So I'm going to turn up this camera because you want to make sure that you put on and take off lenses when the cameras off and I'll show you how to do it. So for every type of camera, there will be a button to the side of your lens. Just press that button and then turn the lens to unlock it on a cannon. You turn it counterclockwise to on a Nikon. You turn it clockwise to unlock and just pull it off. If you were switching a lens, you can just take your new lens, unscrew the back cat and then line up the dots so you'll have a red dot on the lens and you'll have a red dot on the camera body itself. For Nikon Zits white. Match those up, then turn clockwise on a canon toe. Lock it in place and you'll hear it click lock. If it doesn't click, don't put it on because it might fall off. Now I'm just going to show you one more time, so press the button, Turn to the left. Unlock now take your new lens and put it in and twist and lock. Now I will be covering lenses and lens options later on in this course in more detail, but you will notice that this is a very small lens with no zoom. It does have a focus ring, but it doesn't have a zoom ring, and this is called a 50 millimeter prime lens, and a prime lens is a lens that is stuck at one focal length. A focal length is basically how wide or narrow your camera sees, and so some lenses have a very good zoom where you can zoom in really far and zoom out. But here is a nice 50 millimeter lens, and it's just a great lens toe have. So that's how you add a lens to your camera body. 7. Shooting Modes - Which mode should you shoot in?: The next thing you'll need to do is change the scene mode tear camera so you'll have a wheel up here on the left and you can twist it. Some have a button that locks it in place. The cannon 70 doesn't. So if we turn this on, you will see that there are different options. There is a green rectangle, which means auto. And then there are different manual settings, like a V T V P M B. They all do different things. There's even sink some custom modes. But all I want you to pay attention to is the auto and the manual. Right now, I'm just going to turn it on auto, which is the easiest way to just jump right in and get started shooting video. What this means is that it will automatically make sure that your video is exposed properly , so exposure is basically how bright or dark your video is, and you want to make sure that it's exposed properly so that we can see your video. And that's what auto does with manual. You actually have to go in and change different settings such as aperture, shutter speed and I eso again all things will be covering later in this class and which are good to know how to do on your own. But it's a little bit more difficult. So for now, just switch it toe auto mode or on a cannon, it's this green rectangle. 8. Choosing a Memory Card & Putting a Card in the Camera: Before we start shooting, though, we'll have to record to a memory card for the cannon 70. It takes compact flash cards, so it's a little bit of a bigger memory card. But you could also use this SD card in most DSL, ours and even a micro SD card in some. The one thing to pay attention to Actually, two things on your memory cards are. How big is it? So how much memory can it hold? This compact flash is 32 gigabytes, which is really big, but with video, you shoot a lot and it takes a lot of memory, so it's actually going Teoh. Fill this up relatively quickly, so 32 gigabytes is actually good size card. For a video, you can even get 64 gigabytes or 16 and memory cards are very cheap nowadays. It as well. And then the other thing to pay attention to is the speed. So here on this compact flash, it's 600 times speed, and the speed is basically how fast can the camera or this card record data. When you're shooting photos, you don't need as fast of a memory card because you're shooting one basically frame at a time, but with video, your recurring so much data to this little card that it needs to be fast enough. Teoh. Keep up with what's coming in from the camera, so its speed 600 or above is good for video. Now, to put it in your camera, you will have a little door on the right side, and this is the same with most DSL. Ours. Flip it open, and there will be a slot where we just put in our memory card. Make sure it locks in place and close the door. And again make sure that this camera is off before you put the memory card in, just like with lenses. Whenever you're opening and closing different doors and things, you want to make sure it's off so it doesn't mess up the camera to take it out. Just open the door and press this button down here with a Nikon or some other canon cameras . You just have to press the memory card in and it will pop out. That's how you put in a memory card to your camera 9. Choosing Video Quality & Frame Rate: the last thing that we need to do before actually recording video is choose the right size or setting for your movie. So let's go into our menu and I'll show you what the different sizes are. So to go to the menu and can just press this menu button and you can use this dial toe scroll through the menu and then this wheel up here to scroll through the tabs, and you will find a movie record size option and a Nikon. This is called movie settings. Different D sellers. It's going to be some sort of record settings if you press this center, but it it will open up the options and you will see different options 1920 by 10 80 with the little 30 next to it. The same thing with a 24 next to it, or a 12 80 by 7 20 with a 60 next to it. What these numbers mean is this. The 1st 2 numbers is actually the size of the video you're recording. So 1920 by 10 80 means that it's recording 1920 pixels wide and 10 80 pixels tall, so that's pretty good quality that's standard HD quality 12 80 by 7 20 is still HD, but it's not as high quality. And now with the new DSL ours, they have even bigger recording sizes up to four K, which is over 4000 pixels wide in 2000 pixels tall. So that is the record size and, I suggest, is recording the biggest size that you can't. Just so you have the best quality. But one thing to know is that the higher the size means that the more data it will take up . So the less you'll be able to shoot on one memory card with the bigger size. The other thing to note is this little 30 24 60 and you might have different options on your DSLR. That is the frame rate. And what's that saying is how Maney frames? Is it recording per second? So for 30 frames a second, it's recording actually 30 individual frames per second of video, with 60 at 60 frames per second per second of video. The thing to know is that with the lower frame rate, your video is going to be a little bit more blurry because it's shooting less frames and that actually gives off a nice effect. The 24 frame rate is what they use for most Hollywood films and a good reason to get a DSLR . One of the main reasons I like you shooting with the DSLR. It's using that 24 frame rate. The 60 frame rate is good for when you're want to use your video in slow motion when you edit it with 60 frames, it's compacting mawr frames per second so that if you expand that second, if you slow it down, it actually still has enough frames to make it smooth. So that's one thing to know if you're shooting for slow motion, shoot a higher frame rate, 30 frame rate, 30 frames per second is also good, and that's a standard for online video. And for TV, it really depends. They they have actually different looks. If you compare each one after you've shot and looked at it on your computer, you'll notice it. And so just shoot with whatever is more appealing to your eye. There's no right or wrong answer. For now, I'm just going to choose that 1920 setting 24 frames per second 10. Recording Video, Reviewing your Footage, Deleting Clips & Formatting: Now that we have our video settings, we have our lens on. We have a flash card in It's time to record. So with the cannon, there's this start stop record button with a Nikon. It might be a little red record button up here on the top, right? All you need to do is press that button, but make sure that your in focus so use this focus ring on your camera to get whatever is in frame in focus. And then when you're ready to stop recording, just press that red button again, and you have recorded your first video with DSLR. Now say you want to review that video to see if you liked it or not press this little play button, which was represented by a triangle in a rectangle. It's the same on most DSL ours, and this will show you all the clips that you've recorded. Press the center button on the dial twice to actually play. You can play through your footage. You can press that center button again to bring up different options, such as fast forwarding, even playing in slow motion. You can even edit this clip within the camera itself. but those are settings that I rarely use. Then you can actually scroll through your clips like this with this style and can jump through different clips by 10 with this well up here. So I shot a wedding this past weekend, and there's some clips on here, so if you play through it, you will be able to hear it if you turn the volume on, which is with this wheel up here so you can see that right there and hear it. So if you no, that you don't want that clip, you can delete it straight from your camera. There's this little trash can button that if you press it will ask you to erase the footage . You have to scroll over and hit OK to erase it to confirm that you definitely want it gone . And once you do that, it's off for your cameras. So be careful. If you want to wipe out the entire memory card and clean it, also known as formatting it, go to the menu tab over to the menu that has the format option. It's roll up to it, hit OK, and then you have to actually scroll over to hit OK again, and that will delete all files from your memory card, which is something that I typically do at the start of each shoot. But I don't want to do now because I don't want to lose any footage that I've already recorded here. 11. Section Conclusion: So now you have a good grasp of how a DSLR camera works. I hope that you have fun watching this section, and if you have any questions, please let me know, even if it's on a different camera. If you can't find a particular button or menu option, just let me know. And again, I apologize that I can't teach you how to use every single camera. But I hope that this little overview has given you a better idea of how a DSLR camera works . Thanks for watching, and we'll see you in the next section. 12. Exercise: Practice Setting Up Your Camera & Tripod: everyone welcome to this lesson, which is an exercise that I want you to do so that you can start learning how to shoot with the DSLR camera. One of the most basic things that you need to know how to dio is just a set of your camera with a lens and a tripod. And so, in the next video, I'm going to walk through how to do it and give you some basic tips. And I know this sounds very basic, but if you're starting out, I know how hard it is to maneuver a tripod in a good way. How toe put the tripod head on the camera locking down and how to use all the different knobs on a tripod. And so I'm going to be showing you how to do it. And then I want you to practice it. So thanks for watching and really do these exercises so that you can improve your own DSLR production skills 13. Exercise: Walkthrough: Hey, what's up? Welcome back to the walk through of this very first exercise in these walk throughs. I'm going to be showing you how I do the exercise. So in this exercise, I asked you to set up a trip on a very basic task, but something that's so important to doing DSLR video. And there's some things that just you should keep in mind while you are doing that, especially when you have a more professional tripod like this one. Now this is a Revelli. It's actually not the nicest tripod that you can get. Men. Photo is an amazing brand that you can get with fluid head. This one was about 100 bucks on Amazon, but still a very solid Solan tripod. So first, what we're going to do is set up the tripod and put the camera or DSLR onto the tripod. The first thing that I typically do with a tripod is to extend the legs so there's three legs, so I want to extend them, starting with the bottom clasp. So sometimes there's multiple levels. I always start with the bottom, so if I extended the whole way and now it's standing up I don't want to have to bend over to reach the class to adjust. I can just set it up like so extend the legs and then if I need to tilt it to the left or right, like until with these top class like so and it just makes it easier than bending down and adjusting the bottom ones. Some try positive difference. Sometimes you can adjust the head toe, level it with a little bar right here. You can untwist a knob, and you can just level the head. But a lot of basic tripods. You just have to adjust the legs of their level. This tripod has a little level bubble where you can see if the tripod it is in fact level, and then it has a bunch of different knobs and devices, so typically you'll have one knob for tilting. So that's this one you can see here that I'm tilting. If this is locked, I can't tilt. And then there is a pan screw. So sometimes it's a little knob. Sometimes the little screw this little screw right here that you can see. It's for locking or unlocking the pan. And then here this one has an arm right here. You can adjust it by unscrewing and locking it down. This arm isn't the greatest. I wish it was a little bit longer. But typically you want the handlebar to be where your hand is resting. So maybe a little bit down further if you have a longer handle, so make sure everything's tight and make sure the top of the tilt pan of the tilt is level before you take off the plate and put on your DSLR camera. So with this tripod, there's a little screw over here that I need to unlock. And then there is a button over here that allows me to take off this plate. Now this plate has a screw in it, and you don't want to lose this screw. You can always get replacements, but it's better if you just don't lose it. And this screws onto the bottom of our DSLR camera. Sometimes there's a specific way you need to put this plate with one side facing forward versus backwards, but with this one you can do it however you want. You want to screw it in with your hands, just finger, tighten it at first and adjust the plate so that it's in the middle of the camera may be leaning a little bit heavier towards the front because there's a lot of weight from the front camera tilting this way. And so you want to make sure that the plate is somewhat in between the body and the lens, and then a good tool. Tohave is either a screwdriver or a coin will work to really tighten this down, because that's one thing. If you just use your hands to tighten it down, it's going to slip around, and it can also affect your shot. So to put it in, I'm going to then again, have to place it in and it will lock in place. One thing to note, though, is this. With this tripod. The screw is in a very bad position for the DSLR camera, so I'm going to have to loosen this tight in it a little bit already and then lock it down like so, then tighten it all the way, so make sure that the plate is completely snug in there because you don't want it to be falling out while you are shooting, so that's basically it with setting of our tripods, so we have our tripods set up. But a couple of tips for using a tripod, these knobs here for the pan until it will help you pan or tilt more smoothly. Sometimes it's not good to have it completely loose because it's too loose and it doesn't give a smooth tilt. If you're using a fluid head, it will be easier to get a fluid, a smooth tilt or pan. But with this one, since it's not a fluid head, I want attaining it a little bit so that there's not too much give, but just enough so that I can move it and get a smooth tilt. When you are doing a pan or a tilt, the smoothest way to get one is to use the arm and to go from the very furthest part of it as possible. So if you have a really long arm on your tripod, it you'll be able to get smoother pans or tilts. Sometimes people will even attach a pole or some other arm to the tripod arm so that you're even further away when you're are panning or tilting, and it gives it a smooth till or pan again with the army can adjust it with this girl right here with the pan. You can adjust like this. Sometimes tripods have a little another screw in here with the pull in the middle that you can raise or lower the tripod just to get a little bit higher. And the last piece of advice is the way you want to set your tripod when you're shooting people is to have it. I level with the person you want the lens to be eye level with the person not facing up or not facing down unless you are doing that for a creative reason. So that's pretty much how you set up a tripod. I know that was very basic, and you probably already knew how to do it. But I hope you enjoyed the tips. If you have any other questions, please let me know, and I'll get back to you as soon as possible. Thanks for watching, and I'll see you in the next section 14. Introduction to this Section: in this section will be going over some of the manual settings in your camera so that you can control how your video looks in a better and more customizable way. The first thing to do is change from auto mode to manual mode, and the way we do that is with the dial up here in the top left. So I'm just going to scroll over to manual mode. It's represented by an M on your cannon and press start stop, so you will notice that as soon as I did that it looks a lot different. It's a little bit darker and a little bit blue because it's not properly white balanced. There are also some more numbers down here that include the shutter, speed, aperture and eyes. Oh, those air. The main things will be covering in the next few lessons and will be learning how to properly expose your video with those three tools. So let's get straight into it. 15. Shutter Speed and Video: So the first thing that we want to talk about is the shutter speed in photography. Shutter speed is actually how long is your shutter? The thing inside the camera body that lets in light. How long is that open so that you can expose your photo properly, So this would literally mean 1/30 of a second in photographer. Your shutter opens and closes for 1/30 of a second and video. It doesn't actually open and close for that amount of time, but it still represents how much light is allowed into your camera through the shutter. To change this, we scroll this wheel up here on the top, right? And as you see as I do that it goes from 30 to 50 60 1 25 And as I increase that number right here, it actually gets darker. Now, why is that getting darker? Remember, this is a fraction, so this is 1 1/60 of a second. And so that means light. There's less like going in, then say 1/30 of a second. Now using this and playing around is great, and we can kind of see it getting brighter. But How do we tell if it's properly exposed? Well, we just hold this shutter release button down halfway. Just press it not fully, and you will see that this little scale pops up with a line below. This line represents where in the exposure range you are. And so it's basically your camera trying to say it looks at your entire image and tells you , Is it too bright or too dark? It goes from negative three to positive. Three. Negatives are dark, positives are bright and you want it to be general generally right in the middle. So I just press that again and you'll see that it's at negative one. Now this camera, the shutter only goes down to 1/30 so I can't use the shutter to get any more brighter, meaning better exposed. But let's try using the aperture to do that 16. Tip - Setting Shutter Speed as Twice the Frame Rate: and one more thing about shutter speed. As a general rule, you want to be a shooting twice as much as your frame rate that you set with your settings , So our frame rate is 24 now. We don't have a 48 shutter speed, so you want to do 50. The reason is a little bit complicated, but it's called the 180 degree rule, and basically, your video starts to look a little weird. If it's not twice the frame rate, it'll look a little bit choppy. And if you're shooting someone speaking, their lips won't match this audio. So it's hard to sink audio with video. So as a general rule, keep your shutter speed at twice your frame rate. 17. Aperture and Video (aka F-Stop or Iris): Okay, now let's talk about aperture. So your aperture is actually how much light is entering through the lens? The lens actually opens and closes, allowing mawr or less light the lower. The number here means the mawr amount of light shining through your lens. We control this aperture by this dial, so if I go to the left, you will see that it allows more light in and gets brighter. The aperture scale depends on how good your lenses and how fast it is. How fast is a term that videographers and photographers used to say? If your lens can open up whiter and this lens can only open up to 2.8, but there's lenses that can go down to 1.4 even lower. So again you want to just adjust it and see if it looks proper, and then you press the shutter release but in and while you see this line, you can even adjust and put it right in the center, so F 3.2 is right in the center. Now that's great because it's properly exposed. But maybe we want ah, higher F Stop now. Why would we want a higher stop another thing that the F stop were. The aperture effects is the depth of field. A very low aperture, like 2.83 point to 3.5 or four will mean that a lot of things will be blurry and you have to be very careful about getting things in focus. Now. If I was out shooting a landscape like this one, which I did shoot with this camera in Switzerland, I would want an F stop that's a lot higher, maybe eight or even higher. Something like 20 when you're shooting landscapes and you want more things and focus, shoot with a higher F stop. But that, of course, let's in less light and means that we're very under exposed. You can see that this line is bouncing up and down over here at negative three, telling as you are way under, exposed as a general rule with video. If you're shooting events, I would stay above F four point. Oh, just because that gives you a little bit of depth of field, a little bit of blurriness, but it also helps you keep your subject in focus 18. ISO and Video: the last thing that we want to talk about in terms of exposure and these settings is the isso. The eso is how sensitive your camera is. Toe light. So your camera actually has a sensor right within it that is reading the light and recording it to digital form. This number right here represents how sensitive your sensor is now to change I So you have to press this I s o button on the top and then scroll with same dial that you scrolled to change shutter speed. And as I do that, you can see it gets lower, darker or brighter. So say we want to expose it properly. Maybe I so 12 50 might look good. We can press shutter release to see where we're at. And yes, we're right in the middle of this scale. The thing to note with eso is that the higher the s o, the more grainy your picture can get, especially with older cameras like this can, and 70 going above eso 1600 will make your picture very grainy, especially if you're shooting at night. Sometimes you don't have an option to not shoot with a high. I s O, particularly if you're doing event photography and you don't have a lighting set up that you can add more light to your subject with. I do a lot of weddings where I have to crank my eye. So up to 1600 or above and some newer cameras actually allow you to shoot with the higher I . So the new Canon five D even the new Sony Miral ist cameras can shoot with a very high I S O. And you can practically see at night with those cameras. So as a general rule, stay under 1600 if possible, say is close to 100 as possible. So I would stay away from this number if I was shooting outside. But for this purpose, when we're inside, I'm just trying to get exposed to this picture on the wall thes air, the settings that I would recommend going with. And as you can see, we're properly exposed using our manual settings. 19. Tip - Using Lights to Fix Exposure: Lastly, the other thing that you can do, of course, to get more exposure is to add light to our source to our subject. So if we added some video lights or even just some house lights, we could brian up the subject and we wouldn't have to have such a high I s o or such a, uh, low aperture. So that's the other thing that take into consideration is that you don't Onley control your lighting and how exposed you are with these settings, but also with setting up lights and lighting your subject. 20. Setting White Balance and a Bit About Color Temperature: So now that we've gone over these basic tools to adjust exposure, now we want to adjust the rest of our image. Now, when we're not shooting, you will see that there's lots of different options for how to shoot your video. Over here, you can display MAWR or less options with this info button. Let's go through them one at a time, so this 1st 1 is white balance. And again we get toe white balance by pressing a button up here on top of our camera, and you have different preset options. You can scroll through those options with the dial, and you can try to find one that matches your video properly. Of course, there's auto, where the camera will automatically try to sense what type of light is out there, or there is different presets. So you have daylight, which is when what you would use to shoot outside in the sun. You have shade, which is if it's in the shade. Whether being blocked by a building or trees. You have cloudy, which is on an overcast day tungsten light. So this is if you're shooting indoor with light bulbs that are set to tungsten temperature , which is 3200 Kelvin, which is a lot of information. You don't necessarily need to know right now, but it's that warmer light you might know about it. If you have older lightbulbs, you have white fluorescent light. So if you're in a classroom or in an office building flash. So this is if you're shooting typically with your flash for photography, then you have custom and a Calvin color temperature scale. So the custom is actually the best way to get white balance, which will be going over in a future lesson. So the Kelvin scale is actually the light temperature rating for all types of light, so you have warmer light and cooler light. Crueler light will be higher numbers, and warmer light will be a lower number. And so when we're adjusting our color temperature down here, you'll notice that if I bring up this number to something like 5600 the image gets warmer, and that's because the camera is seeing is being told that the light shining on our subject is a bluer light. So by choosing the Kelvin scale that matches that light, it's trying to read the light as warmer as more natural. Our light set up right here. It's somewhere in between daylight, which is 5600 Calvin and tungsten, which is 3200 Calvin something around 4800. I have some fluorescent bulbs that are a little bit daylight, but they're a little bit warmer. So something like this is actually more natural to me. And if we go back to our auto versus Calvin, you can see that it's very similar. The auto white balance is a little bit bluer, while the Kelvin is a little bit warmer. Adjusting by the Calvin allows you to get in there and said, the feeling of your video. Maybe you wanted to be a little bit warmer because you want to represent heat. Or maybe you want it to be warmer because you want to represent happiness or love, or maybe wanted to be cooler to represent colder, darker feelings. So lining temperature can really help control the feeling of your video 21. What is a Picture Style, and How to Choose the Right One: the next thing to know is this end, and that's your picture style. So you get to that by this button right here, and you have different styles. You have standard portrait landscape, neutral, faithful and monochrome, and then some custom. What this basically adjust are different things like saturation, contrast, sharpness and color tone these air presets that basically help you if you are shooting portrait, it makes it a little bit softer so that skin looks better for a video or for photography for landscape. It sharpens the image a bit so that everything is a little bit more in focus and the details arm, or you can see more details neutral. It lowers the saturation, and this is actually a good setting to use because it allows you to capture mawr information. And when you're editing and post production, you have more room to play around with. So shooting neutral is what I typically shoot if I don't have custom settings. Faithful is something that I've never used, and monochrome is black and white, but you can always change from color to black and white in post production. So I recommend not shooting in monochrome and then Lastly, you can actually install different looks and different styles from online. There's one called Sinise style and a marvels style that basically makes it very flat. I don't know if you have seen a lot of Samsung commercials lately, but they have this very flat style where it's not contrast ID at all. There's not too many really dark colors and not too many bright. It's It's all relatively flat, and this actually looks like that when you're shooting with it. And what's good about this is like I said, with neutral, you have a lot of you have a big range to edit with, so you can. At a lot of contrast, you can play with the colors. You can do a lot more color grading than say, you were shooting standard, which has a lot of contrast in it already, and there's not as much room to play with now. Those different custom settings are things you have tow, find online and install, which all have another lesson or article about later on. For now, I would shoot with neutral, which is a little little less sharpened, a little flatter and has a little bit more room to play with 22. Practice: Play with Your Settings: Now that you know how to set your white balance and your picture style, you're ready to go out and start shooting. So I suggest going out playing with your settings. See on your own camera what different types of picture styles you have, which white balance settings you have and just see how it affects your camera and your video. Playing with your settings in person by yourself, either. Camera is the best way to really learn how your camera works and sitting here. Watching me do it is great because you'll understand the theory and kind of see what's going on. But I really suggest getting out there and playing with your settings. 23. Tips for Getting Perfect Focus: in this lesson. I want to just give you a quick tip on getting focus using your canon camera. So as you can see here, I have a very low F stop or aperture, and that means that it's letting in a lot of light. And we have that shallow where a depth of field. Now, if I try to focus this, you can see that not everything in my frame is in focus, and it might be a little bit hard to get exactly what I want to focus. So I'm going to stop recording, then used these tool buttons up here to zoom in or zoom out, and you will notice that I can also move this white rectangle because that is where it is zooming in. So say I want the bike handlebars of this blue bike to be perfectly in focus. What I can do is zoom in, even move around while I'm zoomed in and then focus so that's perfectly in focus and then zoom out. And now you know that this bike is perfectly in focus. Let's do it again. But this time let's focus in on that brown bike in the background, so we'll just zoom in, move down. That looks pretty good. And now we know that that brown bike is in focus. Now. This is really this is a very good tool to use. If you're shooting interviews, zoom in on the person's eyes, get focus on their eyes, even have them look at you directly at the camera so that you can really get focus on their eyes and then zoom out. Now I'm not zooming with the lens itself, which we'll also work. If you have a very good lens, you can zoom in with your lens and then get focused on thin Zoom out. But it's easy to mess that up. And so I would use this digital zoom option to get focus with your cannon 70 or any other camera that has that zoom option. 24. Introduction to Composition: everyone in this section, we're going to be talking about basic rules of composition. So in this section will be giving you some tips on when you're out shooting what types of shots you should be getting some basic rules, like the rule of thirds that allow you to get more interesting and beautiful shots. And then, lastly, we'll be talking about how to compose a beautiful interview set up so that you're ready to go out and start shooting your own interviews. So let's get straight to it and talk about the basic rules of composition. 25. Basic Composition - Wide, Medium, and Close Up Shots: Let's talk about the basic rules of composition. There's two things I want to go over in this lesson. The basic types of shots and then a couple basic rules of what to do and what not to do when shooting people. So the first thing is different types of shots, so we have our wide or establishing shot. You have your medium shot and your close up shot with your establishing shot, which is typically a wide shot. You are setting the scene for whatever you are shooting. Say you're out shooting a documentary about a local restaurant. An establishing shot would be a shot of that restaurant from the outside or say, you're shooting just a event of a conference. An establishing shot might be a wide shot of the entire audience. With the speaker in the background, the establishing shot tells the viewer where the story is taking place. You can get establishing or wide shots by either using a wide lens, or you can use a medium lens or a long lens. But you just have to back up and make sure that you're getting enough information from your shot so that it establishes where you are the second type of shot is the medium shot. Whether you're shooting people or just this still object or a non person, a medium shot shows us exactly what is going on. It's not too close, so it's not showing the details, and you still have a sense of what's going on around. But it's not showing everything else. The subject is the main subject, and you know that. So when you're shooting a person, a medium shot is typically from the waist up and you see everything their arms, their body, their head, their waste. And this is a great standard shot to use and videos When editing and creating videos. I typically use a lot of medium shots because they're wide enough to show the scene. But it also shows directly how the subject is interacting with that scene. The last type of shot is the close up, and the close up is good for detail shots. So whether you're getting B roll, which is the footage that you put over an interview, it's the extra footage without your subject in it or you're shooting an interview and getting a close up. The detail shot really picks out a specific part of the frame or the scene and gets in close to that. So, for example, maybe you are shooting a documentary about a woodcarver. A detail or close up shot would be a shot of just the Carvers hands as he carves out the wood with a knife. A medium shot would show the carver himself with the knife, his whole body waste up and then a wide shot might be of the entire room or outside of his workshop when shooting interviews. It's also good to get close ups because close ups are a little bit more emotional. So if you're doing an interview and your subject starts to get a little more emotional, a little bit more animated, sometimes it's good to get a close up so you can really see the details of their face as they speak. So remember, there are three basic types of shots. The wide establishing shot, the medium and the close up. Of course, there are different types of shots. In between those extreme close ups, there is medium close ups. There's medium wise, there's extreme wides. It really depends on what your subject is and what you're seeing is. But basically, when you're shooting a scene, make sure to set the scene with a wide shot. Get close up to your subjects of that. You can see them interacting with the environment and then get those very close up detail shots of whatever they're doing. 26. Tip - Head Room: One thing that a lot of you will be doing is shooting video of people and one of the basic rules to know about. It's how much headroom there should be. You will notice in this video of myself that there's a little bit of room above my head to the top of the frame. Now that's what you call head room. You don't want too much and you don't want to little if you're shooting a semi semi medium shot, so I would call this a medium close up of myself. You want about this much headroom just a little bit above the head before the end of the frame. You don't want to shoot a video where the subject is in the bottom. 2/3 are even half of the video. It just looks awkward. And you also don't want your subject to be cut off from the top, especially when you're shooting a medium shot. Sometimes, if you're shooting a very close up shot and you have to cut off their head, it's OK to cut off the very top of their head as long as you're not cutting off their chin . That is the main rule when shooting interviews is not to cut off their chin. It just feels awkward and looks awkward for the viewer. So when shooting, people remember to have a little bit of head room, a little bit of space above their head before the top of the frame, but not too much. 27. The Rule of Thirds: in this video, we're going to be talking about the rule of thirds, and you'll notice that the set up that I'm using right now is a little bit different than the previous lessons set up. Where I was centered in the video. The rule of thirds says to place your subject on the third line. So if we divided this video frame with two lines, vertical and two lines horizontal, the subject should be at the points in which those lines cross. You'll notice there's a lot of photography, and it's just more aesthetically pleasing to the eye than putting something dead, center or way off to the side or awkwardly. Too tall or too low. It's just a rule, and I would play around with it and see if you like it. There's always times to break that rule, like if you are doing a video where you're speaking to a camera and you just want to be focused in on the subject. Typically, if shooting a subject speaking directly to camera, it's better to actually put them in the middle of the frame. It brings in the viewers attention so that their mawr locked in and they feel like the subject is actually talking directly to them like I am now. But if you're shooting a subject that is looking offscreen as if you are doing an interview or if they were on stage doing a presentation or you're shooting wedding or another type of event with people using the rule of thirds can create some more interesting shots than just putting your subject directly in the middle of frame. 28. Composing Interview Shots: in this lesson will be going over some basic rules when composing your interview shots. In the last lesson, we learned about the rule of thirds, and this is a rule you want to follow when shooting interviews. Typically, you will place their subject on the side of the frame and have them look across camera looking towards the long side of the frame. If you divide your frame up into your subject with alongside and a short side, you want your subject looking across the long side of the frame. This is just a little bit more pleasing, and if they're looking towards the short side of the frame, it just feels a little awkward. This also effects where the interviewer will sit. You want your interviewer to sit as close as possible to the camera on the long side of the frame. So if you have a subject sitting on the left side of frame, you want your interviewer to be sitting on the right side of the camera so that the interviewee is looking across the long side of the frame. When shooting interviews, make sure that you get a wide, medium and close up shot. If shooting an interview with one camera Onley. Move your camera from wide to close up during a question. You don't want to be moving your cameras in inner out while the subject is answering a question in case you want to use that footage later on and it won't look so good. And also as we mentioned in a previous lesson, getting those close up shots during those emotional answers is a great way to draw in the viewer even a bit further and connect them with interviewee. Shooting with two cameras is a great idea as well. When shooting an interview, just make sure that you shoot with both cameras on the same side of the subject and in your viewer. If you're shooting with a camera on either side of the interviewer, the subject will actually jump in place. As you add it between those shots. Basically, you want your cameras to be on the same side so that if you cut between a medium and a close up shot, it almost looks like it's coming from the same camera, and the subject isn't jumping from one side of the frame to the other. There are always times to break these rules of composition, though, say you want a tense feeling. Maybe you're shooting a documentary about something thrilling a crime, for example, Maybe you want the subject to be looking towards the short side of the screen. That could be a cool look. If you want your viewers to feel a little bit anxious and tense, they might not consciously know what's happening to them. But just by setting your subject up toe, look towards the short side of the frame, it's going to cause the viewer to be a little bit more anxious. Also, as I mentioned before, if you're shooting an interview where you want a message directly to the viewer and you want the interviewee to be looking at camera, set them up in the middle of the frame so that they're looking directly at the viewer and there's no distractions on either side. 29. Conclusion to this Section: I hope you enjoyed this section on composition. We went over some basic rules of composition, like head Room. Not using too much, however headroom and not cutting off the person's head. We talked about wide, medium and close up shots and why we use each of those. Then we talked about the rule of thirds, which is a great rule to follow when shooting any type of video. And we finalized with talking about different interview compositions. Thanks for watching, and we'll see you in the next video. 30. Exercise: Compose a Shot Using the Rule of Thirds: Hey, everyone, I hope you enjoyed this section on composing beautiful shots for DSLR video. The actually size for this section is to compose a shot using the rule of thirds. Thes shots just tend to be a little bit more pleasing to the eye. So go out, get some shots using the rule of thirds, and I'll show you exactly how to do that. Some examples in the next video as I walk through getting shots using the rule of thirds. 31. Exercise: Walkthrough: everyone. So I hope you had fun going out and shooting some shots using the rule of thirds. And I just want to go through some of my own to give you an example of what they might look like. As always, Using the rule of thirds is not a hard rule that you have to follow for every single shot. But typically these shots do look more pleasing to the eye. And so let's just go through some of them. So as you see here, I was just walking around my household and getting different shots, and you can see I try to reset, but you can see how I'm using the rule of thirds in the shot. If you divided this frame with lines going horizontally and vertically, you will notice that the main subject of this video is on this part where those lines intersect and that is what using the rule of thirds means. So let's look at another one. So this one, this lamppost is basically on one of those lines, and the light bulb or the head of this lamppost is directly where those lines intersect. Here's another one is a little bit more confusing, but it just goes to show how you don't necessarily want to just center objects. So we have these lines over here, the lamppost that are on the lines. We have this top sort of top of the wall with the fence. That's kind of going on the rule of thirds over here, and it's really where your eyes drawn to. Here is another example of how you can put it on the lower right so it doesn't have to be on the top. Right top left. They could be on the lower intersections as well. Here's another one. I like a lot. There's a lot of negative space in this shot. I change it to get even more negative space. But the main subject of this shot are these bird feeders and plants of this porch. Here's another one where both the leaves of this basil plant and the bowl are near or close to those intersecting lines. And lastly, here's a wine bottle that is on the line of the rule of thirds. Now, this text isn't where the intersection is, but just putting it off to the side looks a little bit better, in my opinion, and so again, As always, it's not a hard rule where you have to follow all the time. Sometimes centering objects will make the shot look better, but try using the rule of thirds when getting B roll, and especially when doing interviews. Thanks for watching. And if you have any questions, let us know, but otherwise we'll see you in the next section. 32. The Camera Body: everyone in this lesson, we're going to be talking about camera bodies now. The body of your camera is a very complex piece of machinery. It has a computer, has a lot of different mechanical parts, so it's always a good idea to be very careful with it. Right now, I don't have a lens on it, which is not something you typically want to do. But I just want to show you what it's like inside the camera body. Looking inside this camera, you see a shutter that opens up and closes as you take a picture, and if you are using video, it stays open while you are recording video. The great thing about DSLR cameras is that you have a body for your camera, but then you can put on different lenses that really change the different looks that you're going for with your cinematography. We're going to be going over different lenses in the next lesson, But the main thing to consider is what brand do you want? Typically for Canon or Nikon, you just used canon and Nikon lenses. You can, of course, get adaptors that allow you to put Nikon lenses on, say, a cannon body. But for ease, I would suggest getting the body of the camera that you want to use the lenses of. So when you're looking to purchase a camera, one tip is to just search for the body only. Sometimes people have gone and purchased a newer version of their own camera body. For example, this is an old can in 71 of the first DSLR cameras. But you can find these bodies on Craigslist or eBay or Amazon for relatively cheap compared to what they used to be. And the reason that people just purchased the bodies and update the bodies, rather than getting a whole new camera with the new set of lenses is that they can use their lenses on a newer body. So if they have a good lens that they like, they can use it on a different camera body. You can also purchase just the body alone and use your lens on multiple body camera bodies . Just know that the body is just one component of a DSLR camera. Combining the body and the lens is what really builds your camera that you'll be using to shoot video 33. Lens Options - Primes vs. Zooms: in this lesson, we'll be talking about lenses and what types of lenses you should get to shoot video with your DSLR. There's two different things I'm going to be talking about zooms and primes and also the focal length of your lenses. So first, there are two different types or categories of lenses. The zoom in the prime. Here I'm holding my 70 with a 24 disseminating millimeter lens. The 24 to 70 millimeters tells me that it goes from a wide angle of 24 millimeters to a somewhat medium angle of 70 millimeters, so it zooms in a little bit. If a lens it goes in and out from a wide to a close up, or from close up to even a further close up, it's called a zoom. It could also be called a telephoto lens. A telephoto lens is typically one that can see further than a standard zoom lands, So this Tamron lens it goes from 75 millimeters to 300 millimeters, so this one consume in really far, and this is a good lens toe have in your kit in case you're shooting an event where you can't get right up close to whatever you're shooting. The other type of lens is a wide lens and wide lenses go from about 10 millimeters to, I'd say about 24 millimeters, and those lenses will allow you to see the entire scene of whatever you're shooting. And those are great for expansive landscapes or setting up a video with a wide shot of whatever senior at whether it's an outside exterior of a tall building where you're shooting, or just the entire room wherever you're shooting an event or a type of video. So when choosing lenses, I suggest picking out a wide lends a medium lens, something between 24 75 millimeters and then a long lens or something like a telephoto. That's Sunday 5 to 300 millimeters. And with those three lens types, you will be able Teoh basically get any type of shot, a close, a medium or a wide from wherever you're standing. The other category of lenses is the prime. You'll notice that this 50 millimeter lens it doesn't zoom. It is stuck at that 50 millimeters, and now, while this 50 millimeter prime is actually a relatively cheap option, there are very beautiful prime lenses that are on Lee 24 millimeters or 40 millimeters or 50 millimeters and these lenses are a little bit more expensive, but they give you a better looking image at that focal lee. So some people swear by using only primes. They only have prime sets. But as a videographer myself, I like having my zoom lenses, because when I'm out shooting an event, I like to be able to change up my shot without having to put on a new lens every time. And so I would suggest getting a set of zooms, as well as a primer to if there's a specific focal length that you really like. The 50 millimeter, both focal length, is actually a very beautiful length because it matches what you're I can see. So a lot of people, like using the 50 millimeter prime. Different lenses are also going to have different qualities just the way that they're built the glass within it. It's going to be put together better than other lenses. So, for example, this 24 to 70 l series zoom lens for Canon was about $1000 or more when I purchased it, but you can get a similar length that has the same focal length. 24 to 70 or around there for less than $100 for a different version, like the Tamron zoom lens, I was showing you earlier. That's a cheaper brand getting the more expensive blast will show in your final product, and I suggest trying toe, test them out, rent them or go down in a camera shop and see them in person before purchasing. But it will make a difference. But as always, thes, they're just tools, and it's really up to you and lots of other things in your environment such a lighting, your subject and everything else that makes your video great. The last thing that I want to mention about lenses is that different lenses have different aperture scales. Basically, aperture or F stop, is the way that a lens allows light into the camera a lower aperture. When that means the actual opening of the lenses. Bigger will allow more light in, and it will also have a shallower depth of field. So that's one of the main things that people love about DSLR cameras. They love getting that shallow depth of field. Look the really blurry background as you can kind of see behind me, and that's gone in by using a low aperture. Different lenses are ableto have those low apertures, while cheaper ones might not be able to go as low this lens. The 50 millimeter prime, for example, can go down to F 1.8, which is amazing for this type of lens. But if you get a longer lens ones, that's more telephoto. They won't typically be able to go down to an F stop like 1.8. Some go down to four. Some can only go down to 5.6, so that's a lot about lenses. Remember that there are two categories. The primes in the zooms, and within those categories, I suggest getting three basic types of lenses a wide a standard lens about 24 to 75 millimeters, and then your resume or a telephoto long lens, something that 70 millimeters to around 300 or even more. Thanks for watching this lesson. I hope you enjoyed it and we'll see you in the next video 34. Lighting Options: everyone. In this lesson, I'm going to be talking about lighting for DSLR video and what equipment and different types of lights there are. There's a complete section later on where I actually go over a different types of lights, how to set them up and how to use them. But now I'm just talking about the equipment, the different types of lights that you might be interested and purchasing to start your own DSLR video kit. First, let's go over the different types of lights. Unlike for photography, where we mostly used flashes for video, we want to use continuous lighting lights that is continuously shining on me. Otherwise you'd have a flicker effect and that wouldn't look good at all. So there are four basic types of continuous lighting. We have led fluorescent tungsten and H m mine. Each has their benefits. Some burn a lot hotter than others. For example, the H M I and the tungsten bulbs. They are really hot when you shine them on somebody, and they give off a lot of heat with led s and fluorescent bulbs there a lot lighter. Ellie, these are great because you can pack them into a small little panel, and they give off a lot of energy, but they're a little bit more expensive because of their new technology. Getting a decent lighting kit is great if you have the budget for it, but a good lighting kit could cost $502,000 to get all the different lights you need. And typically for a lighting set, you were looking for 34 lights or so so that you can get different angles and create different moods with your lighting. This is all something we'll be talking about in the later lighting section, but there's an option for DSLR d i. Y. Video creators, those of you like me who like to do it ourselves. I like getting those cheaper options, and you can do it. I'm actually using a D. I Y solution. Right now I'm using a fluorescent bowl. Two of them, actually that I just bought from Home Depot, my local hardware store. I put paper lanterns that cost about 15 bucks each over them, and it gives off a nice glow. I'm also using some ambient light coming from the outside world, which creates a nice sidelight from over on my left side, and of course you can. Also along with your lining kit, use bounce cards that come in paper and cardboard or in a fabric, and they basically bounce light onto your subject or wherever you direct it. So getting a lighting kit for your DSLR video doesn't have to break the bank. I would first suggest trying to use the natural lighting that we have and then go up and purchase a Dios Y video lighting kit like the one that I'm using. And again, I'm going to be showing you exactly what these lights are in the lighting section. For now, remember, there are four types of light sources we have led fluorescent hmm I and tungsten. They give off different light temperatures, and some give off more heat than the others. And so when building your kit, you want to be aware of all of that. Thank you so much for watching, and in the next lesson, it will be going over audio recording equipment 35. Audio Recording: Let's talk about recording audio while shooting video with the DSLR camera. I must say the biggest drawback to using a DSLR is that recording audio can be a pain. If you ever seen or heard the video from a DSLR camera, you'll know that the audio isn't that great, and it's not going to be good enough quality to use for professional sounding and looking video. So what must we do? Typically, most DS ours don't have an input where you can just easily plug in a good enough microphone to record audio. They don't have the internal capacity toe record that audio, and they don't have the menu settings toe control that audio. So we have to record audio externally. We have to have a microphone and a recording device that will actually record and keep that data that we can use it later. When editing our videos, I typically use the Zoom H four n. It's become one of the standard audio recording devices for DSLR video shooters because not only does it have a microphone on it, but you can plug two different inputs into it, and it has a lot of different tools and options within its menu. I'm actually recording audio right now with a lava Lear microphone that's plugged into my zoom H foreign recorder that's plugged into my computer, actually recording the data. So as soon as I'm done recording this, it's automatically going to be saved onto my computer. And that's one of the cool things you can do with the zoom H four n. So that's what the audio recording device. Next, you need a microphone. So here is an example of a certain type of my phone called Wireless Lovell Ear Microphone. I'm using one right here. You will notice when I speak down, you will. He'll hear it more. I'm gonna set this down. I've hidden it pretty well, But it's right here, and this one is wired so it plugs directly into my recording device. Because this is wireless. I can put it on my subject that can move around, and I don't have to be worried about them tripping over any cords. Another type of microphone is a shocking or boom microphone thes air microphones that you can set up and having a studio that's all set up. Not you don't have to touch anything or you can have someone else hold the microphone and control it that way. A boom mike. It's what they typically use on big Hollywood movie sets because it sounds amazing, and it's very directional, so you can really control what you are recording. Remember, as always, these are just tools, while some brands and some price points will sound better than others, in the end, all you need is to get crisp, clean audio. And sometimes that has much, if not more, to do with your environment, rather than just the piece of plastic and metal that you have attached to the person you're recording. So pay attention to both. Those things are environment and getting a decent set of microphones and a recording device so that you can get great sounding audio for your DSLR video. 36. Stabilization - Tripods, Monopods, Steady Cam Systems, and Drones: today we're talking about stabilization, which is very important when shooting video with the DSLR camera. The DSLR camera is shots not made to be carried like a traditional video camera. You have to pull it with your hands with a traditional video camera, the very professional ones. You can stick it on your shoulder and that stabilizes it a lot. But if you're carrying your DSLR video with your hands, it's hard to be completely still, especially after a long time. I'm holding it like this, depending on if you have a very big lens, especially with telephoto lenses, it's gonna be very blurry and unsteady. So I suggest getting decent stabilization for their cameras. There are a few basic types of stabilization that I want to mention that might be good for you. The first and the most obvious is the tripod. A tripod is great for setting up your camera so that you don't have to touch it. Get a fluid head tripod so that you can do smooth hands and tilt that add a lot to your video because after doing video for a while, video actually just gets boring if it's just static shot after static shot. You want to be able to do nice hands and tilt, and you can do that with a nice fluid head. Tripod. I have one from Revelli, but man photo is another brand that makes really good quality tripods. Here I have a mono pod from man Photo. A mono pod is great because it's very portable. You can move around. It's great for event videography. This one for a man photo has a fluid head, so it has a nice tilt to it. You can also do pans with it as well. This Ma, nobody has little legs to it, too, so that you are even more stable. And so Amara Pod is actually one of my best friends When it comes to DSLR video making because it's great for run and gun shooting, I can move around, get down low, but also get up high with it and have a study shot. And then, lastly, there are other types of steady camp systems that get your camera to be stable, so they have big contraptions with Gimbels and different things that make sure that your cameras said he they have movie systems where you can basically put your camera on it. It'll be completely flat and still, and you can even program it to do different moves and pans. And then you can also do something like put your DSLR on a drone with a gimbal. That's sort of like a gyroscope that make sure that your video it's completely study as well. So those things are getting a little bit more advanced. And for now, I just suggest sticking with the mono pod and a good tripod because you don't want your tripod to fall over with your heavy camera on top. So make sure that it's good quality and consume port the weight of your camera. So that's a little bit about stabilization and my favorite types of tripods and mono pots. If you have any questions, let us know otherwise we'll see you in the next video 37. Introduction to Lighting Section: Hey, everyone in this section will be talking about lighting. I'll be talking about different types of lights, light sources and how to set up lights properly in different scenarios. You could spend years studying how light works and how to use it to make beautiful videos and barely scratched the surface. So this is really going to be only a basic overview of how to use lights for your DSLR video. 38. Using Ambient Light for Video: Right now, I'm actually just using natural light shining through a big window to my left toe. Light me for this video. I set up my camera settings so that it was bright enough and I was exposed properly. Using natural lighting is what you'll typically be using when shooting video with your DSLR camera. Unless you set up a home studio or purchase a lighting kit that you take out for interviews and other setups. Most of the time, you'll just be using natural light. And the main thing to consider when using natural light is where do you place your subject ? You place your subject so that the light source is shining onto the subject's face or wherever you want to be, shooting says. For example, if you're shooting the back of someone, you want the light source probably to be hitting their head. Right now, I have the window. Lights are shining from my left, which is a little bit more interesting than if it was directly on my face because it's a little bit lighter here, a little bit darker here, and that's something that you typically want when shooting a person a little bit of detail and a little bit of contrast in the amount of light on each side of the face. So using a window as your key light, their key light is your main light source is a great idea when shooting interviews or if you're shooting around your house. One big mistake. I see a lot of amateur videographers making is not placing the subject in the right spot for the natural light to hit them properly. The light source will be coming from behind their head or down low or directly in their face. Remember to make sure that your subject is facing your life. 39. Tip - Use a Bounce Card: another way you can actually control. Natural lighting is with a bounce card. Have this bounce disk, and it has a cover on it. It has to covers. It has a silver in a metallic cover, and it also comes off to just be sort of a diffuser or a little white bounce card. And you can set this up so that it bounces light onto your subject. You can use this with lighting kits or with natural lighting, say from a window. And as you can see, as I move this back and forth, you can probably tell that there's more or less light hitting my face. And so using one of these, which is 25 bucks on Amazon, is a great way to have a cheap lighting kit on the go. 40. DIY Cheap and Easy Lighting Solutions: Now you might notice that there is a slight change how it looks compared to the last video . That's because I'm using my own lighting kit from behind the camera, so I have the ambient light coming from the outside. But I also have two lights coming from either side of the camera. Now lighting kits can get expensive, but you don't have to pay thousands of dollars to get a decent looking set up. Right now, my set up costs about 50 bucks. I have two fluorescent lights with two paper lanterns. The paper lanterns and socket were purchased on Amazon, but you can probably find them at Home Depot or I keep. And this kid again was under $100 with the whole stand that it's sitting on, and it provides a lot of nice, soft white. Those paper lanterns really diffuse the light, so it's really nice and not harsh against my skin. If you do need something that's a little bit brighter, you can get work lights from a place like Home Depot. Thes lights are very powerful, and you can direct them to a specific spot in your scene. You could also defuse them with the diffuser, or bounce them off of a bounce card or the ceiling just to provide more light to your scene , these air cheap options that really helped make your video look better. 41. Key Light Sample, Diffusion, and Gels: Wow, This lay is pretty bright, and now I want to talk about using a standard light kit. This is a very bright light, but it's still not that bright compared to some of the lights that they use on Hollywood film sets. This is a Lowell Reef exchange, 500 watt light. So this is powering 500 watts of energy out through its light bulb. You will notice that the light is a little bit more orange. That's because it is tungsten based. If you remember back to the lesson about white balance, you can remember that there were different options in your camera settings for setting a white balance. One was tungsten. This is the more orange colored light that you might have in your incandescent lightbulbs, at home or in a light like this. This is a great key light. It's the most powerful light that I have in my kit. And when I'm shooting interviews, it's the light that I set up shining down on the subject. On top of it, it has this diffusion. This diffusion is nice, because again it creates a soft glow of light on the subject. If I took this off, you'll notice that it gets really bright and it's a lot harsher. So having this diffusion helps a lot in not only toning it down but spreading the light a little bit more. One big thing, though, is that you don't want to mix color temperatures. So right now I'm doing that. I have this light, which is a tungsten based light at 3200. Kelvin and I have day light shining in from the outside, which is 5600 Calvin. And when you're editing and doing postproduction color work, it's going to be really hard to make that look natural to make it look. Wait bounds. So you want to make sure that you're using all of the same color temperature light throughout your entire set. But what if you don't have all day light based lights? Well, you can add some gels. A jail like this will actually make this tungsten base light look more like daylight. Now you can use clothes, pins or C 40 sevens, as they're called in the film industry to clip these gels onto a little light source, and now it's a little bit less warm. It's more cool and matches the outside color a little bit more. It's kind of tricky to think about the outside light coming from the sun being bluer been a light bulb, but it actually is using gels whether you make a tungsten based light daylight balance with the blue gel or you can make a daylight balance. Once bold, that's 5600. Calvin looked like an incandescent ball by adding orange Joe's to it. Either way, using gels is a great way. Teoh have actually two versions of the same light for a cheap price. 42. Tip - Use Gloves to Protect Your Hands: one quick safety tip. This light bulb was just on, and it gets really hot. So if you're on a video set or you use your own lighting kit, make sure to let it cool down before breaking it down. Also, if you need to make adjustments, use a heavy duty set of gloves. This is actually a set where set of gloves so it's specifically made for filmmaking. Or you can use a heavy duty pair of leather gloves or some gardening gloves as long as it protects your hands from heat. Now I'm going to let this cool down for a minute, and in the next video we'll be going over the pro light. 43. Using a Spotlight for Highlighting Details: here we have another light. It's called a pro light made by Lowell, and it's the second light in my lighting kit. And it's a good one to show, because the previous light that refit exchange was a very bright, powerful light. While this one is not as powerful, but it's just assim porton. When building your own lighting kit, I suggest getting one powerful light and then one or two less powerful lights smaller lights that you can use to shine on details in your scenes, or for a beautiful three point lighting set up, which will be covering in the next lesson. So this light is also tungsten base, so it's a warm light. You can see it shining on my hand. It's nice and warm. The cool thing about this one is that it's a spotlight so you can shine it and actually opens up and closes the light where it's pointing so it spots it where it floods it. And this is a great option if you want to shine light directly on a specific part of your seen or to flood light in all directions. Now, when you when you use a light like this well. First, you would set up your scene with the big brief of light or a key light. That power is like into your scene and provides a lot of light so that the camera can actually see what's going on. And then you would use lights like this toe. Add details or add lights and specific places so that your camera can be sure to see any specific details that you have in the scene that you want to be seen. Now. If that wasn't tongue twister enough in the next video, we're going to be talking about three point lighting. 44. What is Three-Point Lighting?: in this lesson, I'm going to be talking about three point lighting. And while I go over this lesson, I'll be showing you some examples of interviews that I've shot with three point lighting. So three point lighting, also known as documentary lighting, is the most basic lighting set up that you will use over and over again. The basic premise of the set up is toe have three lights, one a key light that produces the most amount of light and shines on your subject to a fill light that fills in any shadows left by the cue light. So on the side of the face that the key light doesn't shine light on and three a backlight or a hair light that beautifies the image with a soft glow on the back of the subject's head or shoulders. And this light also separates the subject from the background for any sort of interview or video with someone speaking in front of a camera, this is a great set up. You can even use this for narrative videos as well, so let's go through each light in a little bit more detail. The key light is your strongest light there is no standard wattage is that is typical for a key light. It just depends on what the rest of your light sources are, but it can range from 150 watts to 10,000 watts, depending on the situation. But assuming you're not trying to replicate the sun with 10,000 watts of lights, a good place to start is around 500 to 1000 watts. The key light should be placed between 15 and 45 degrees to the side of the camera. If this is an interview shoot, the person asking the questions should be standing between the camera and the key light. The fill light is used to fill out the shadows created by the key light, so this is a less powerful light. So if your key light is about 500 watts, your fill light might be 250 wants, and you can even diffuse this with filters to make it less powerful. And this life is placed on the opposite side of the camera from the key light, and it also shines onto the subject from a similar angle. Because the killer is placed at an angle, you might get shadows on one side of the face or body. And so the objective of the filling is not to cancel out those shadows, not to make it look flat, but just to reduce them so that there's a softer transition from light on one side of the face to the other. The backlight is one of my favorite lights. It can very much increase the quality of your image. Place the backlight as close to directly behind the subject as possible. If you can get up really high or you have stands or something that you can clip a light to directly behind the subject's head, this is a great option. Or you can place it behind the subject on one side of the other, depending on what kind of look you want. This light creates a nice halo effect around the subject, shoulders and head, and it separates them from the background, giving your shot more depth. While this, like, is not necessary, it will take your videos to the next level. If you don't have three lights, though, you can use a balance card or a window as one of your light sources, your window could be your key light and a bounce could be your fill light. Or you can use the window as a fill light if you have a stronger key light. So those are the basic rules of three point lightings, and it's the go to set up that I always choose when shooting an interview or just lighting a scene with subjects in it. 45. Lighting for Mood: creating a mood with lighting is something that you'll start to do as you get more advanced with video making, you can actually use lights to make your seen happier or more sad. A darker scene will feel more sad, more depressed, more frightening and a happier seen will have more lights. Everything will be brighter. Also, if you've ever watched a horror movie like The Blair Witch Project, they use a lot of lighting from below the actor's faces as a fish flash light was shining on their face. Still, Motion is a company that I follow regularly, and they created amazing video about creating a mood with lighting. And your homework today is to go watch that video because they've done it better than I could have ever taught how to use lighting to change the mood of your scene. So click on the link below in the description of this lesson or in the resource Is section and have fun learning about mood lighting 46. Should You Diffuse or Dim Your Video Lights?: A student asked, Why would we diffuse light rather than just use a dimmer to dim the light? The short answer is that diffusing the light makes it softer. It makes the contrast between the highlights and the shadows of your image, not as contrast deep. To show you this in practice, I've set up a situation where I have an LED panel I'm sitting in front of. Right now. You can see it with 100% power with no diffusion. It's pretty harsh, right? It's too bright, it's overexposed. So what do we do? We can drop down with the dimmer to 50% power. This is a 500 watt equivalent light, Still a little bright. So let's drop it down even more so now the side of my face that is exposed properly, on the left side of my face. Looks good, but there's a ton of contrast, a ton of shadows you can see in my note on my nose, on the side of my face, and this is at 15% power. The background also gets super dark, which is not necessarily a bad thing. This is perhaps a style that you're going for. This light is very focused and directed on the subject. On me. It's not soft, light. Hard light. Let's go ahead and add some diffusion. My drake has lights have these little plastic diffusion filters. So to start out with, I added that and that cuts down the light a bit. You can see that at a 100% power, it's still overexposed, but closer to exposure. I'm going to add this soft box on top of that diffusion as well. So combining them, this is going to cut the light down quite a bit. And you can see that with both the diffusion filter and the softbox, I'm exposed properly in the Light is a lot softer. We're going to see a side-by-side comparison in just a second. It is a little dark though. So I'm going to go ahead and take out that diffusion filters so you can see what just the softbox looks like. And this is with 100% power. Remember with 100% power without the softbox, it was so bright. It was so contrast is so bright and too hard. For this first side-by-side, I'm comparing the 50% power without diffusion to 100% with diffusion because it has a similar overall exposure. If I pause it here, you can see that with the diffusion it spreads out the light. So the background gets a little bit more light. And that could be a good thing, that could be a bad thing. Maybe you want your life focus with your subject and the background to be a little bit darker. And so this video isn't supposed to tell you. You have to use soft diffused light. There's a time and place for each type of light. But as you can see, the light is spread a little bit more evenly with the diffusion card on the right-hand side, the shadow isn't as dark and we're gonna punch in here just a little bit so you can see even more details. But that light, those shadows are a little bit brighter and it's not as contrasted with the diffusion. Now let's see what it looks like with the softbox. So here you can see that the light is even softer with just the softbox compared to the no diffusion. Overall on my face. The light is softer. My entire face is more exposed. It's still a little bit dark. I would probably play around with the position of the light if I wanted to make sure that the shadows weren't as harsh on the side of my nose, like it is on the left side of the screen with no diffusion. Here's the same setup with just the softbox, not the diffusion card. And if we pause it here, you can see that the shadows and the contrast from the bright to the darks is higher with no diffusion. Then on with the softbox. And don't just pay attention to the shadows because the shadows still are dark in both of these video clips. But notice the highlights, the contrast, that's what we're talking about. The bright side of my face with no diffusion is a lot brighter than the one with the softbox. Overall, the softbox spreads out that light and everything gets a little bit more even. So one more wide look with the two shots. Notice the background, notice the contrast of the light, the shadows versus the highlights. And that's what you get. By adding diffusion. Again, it doesn't mean you can't use just dimming your light to get proper exposure or changing the settings on your camera to get proper exposure. Hopefully, this helps you understand what diffusing light does. Alright, thanks so much for watching and we'll see you in another video. Thanks for the question. 47. Intro to Audio Recording for Video: everyone in this section will be talking about recording audio for your DSLR camera. One of the biggest downsides of a DSLR camera is that the audio recorded to the camera itself is not that good, and most DSLR cameras don't have the inputs to professionally plug in an external microphone. So typically, we have to use an external audio recorder with a variety of microphones. In this section will be covering different types of microphone, including lapel or lovelier microphones, shotgun microphones, also known as boom mikes, and a cheap option that you might have in your pocket. So let's get straight to it. 48. Recording Audio with an External Recording Device: When shooting with the DSLR camera, you're going to need an external audio recording device to record the audio to whatever a microphone you're using, you're gonna actually have to plug it into another device that actually records the audio. So something like this is a great option. This is the zoom H four end, and it's one of the standards that DSLR filmmakers use. It has two microphones allowing you to capture stereo audio, and the audio is actually very good from it. And there's two inputs to it so you can plug two different Mike sources to it. Whether that's a low level ear microphone or a shotgun microphone, you can even record through these microphones as well as these two inputs at the same time . So, in essence, you could be recording four different sources at one time, which is amazing. And then it just records to an SD card in there. And you just take this to your computer and you'll have to sync up audio later with the video that you shot. But it's a good, good tool. We're gonna be going over all the options, actually, how to use this in a little bit Zoom isn't the only brand task. Cam is another brand that makes high quality recording devices, and this is the zoom H brun. There's different zooms. There's the H two h one. H five is probably in h 32 that are smaller and bigger and do different things. But the zoom H four n is kind of standard, and if I recommend any recording device, it would be this one. So the other thing to note with this is that it would be very helpful to have someone else on set. Monitoring levels will show you to do that in the future lesson, but it's hard toe. Pay attention to your camera and audio on a separate device all at once when you're shooting. So that is another drawback with DSLR shooting that you might need a second person helping out recording audio 49. How to Use a Lavaliere Microphone (aka Lapel Mic): using a Laval ear microphone, also known as a lapel microphone, is a great option if you're shooting interviews or a reality style documentary. There are many pros to using a lovelier microphone, including that it doesn't pick up too much ambient noise. They're flexible, and your subject or talent can move around. This is why they use them for documentaries and reality TV, and they're relatively inexpensive for the quality that they give you. The cons are that you can see it on camera. I'm using one right now to record this video. And if this was a narrative film, you wouldn't want a lava layer showing. The other con is that if you're shooting interviews with people who aren't used to being on camera, it's kind of invasive, too. Clip a microphone to their shirt. Lovelier microphones come in two different types of wireless and wired. The wired microphone will obviously be connected directly to your recording device, so you will need to get an XLR cable or whatever type of cable that your leveller microphone uses long enough to reach a recording device. And then there's the wireless set, which is what I have. Another pair right here. This is the Sennheiser G three Siri's. This is what I have been using for years when it comes to recording audio in interviews, and this is a great set because you can put this on your subject, and then you can walk away with your audio recording device and monitor it yourself from across the room. The Khan of the wireless set is that if the pack and the receiver, which is the other end that pairs with this like a walkie talkie, would if they get too far apart, you'll get feedback. So you want to be monitoring the whole time. But this is something I use for wedding videography. All put one of these on the groom while they're saying their vows so that you captured the audio during the ceremony, and it's a really awesome tool when making videos. So how do you use a lapel microphone? So typically, the lapel microphone will have a microphone attached to a clip like this. This clip can basically be attached to clothing right here. You see that it's attached to the inside of my shirt, and the clip part is hidden. Now you can try to hide the microphone by putting it more underneath the shirt. You can cover it with a tie, or if it's a lady or a man wearing a scarf, you can cover it with a scarf. But beware of covering the microphone because it can pick up a lot of noise if the subject moves around. If their shirt or hair or jewelry Russell's around the microphone, that will be almost impossible to get rid of in post production. So if you're using a lapel microphone, I suggest just putting on the outside of the clothing. But try to hide it as much as possible. Another way to really hide this microphone is to actually take off the clip. So it's just the microphone. And then, using a piece of tape, you can tape it to the inside of their shirt. Whether you're taping it or clipping it on plays it about 68 inches below their chin. You don't want it too high because it will get a lot of garbled low bass tones, and you don't want it to low because it will pick up more ambient noise. So there's a sweet spot right in the middle, where it picks up the voice, but it doesn't get too much of the ambient noise. Overall, I think a wireless set of lava where Mike is a great purchase. As a DSLR video shooter myself, I've used the's hundreds, if not thousands of times over the past five years. And when you're out shooting by yourself, you can even monitor and record audio just with ease, without having to be too close to your subject. In the next video, we'll be talking about another type of microphone that does a really good job, the shotgun Mike. 50. How to Use a Shotgun Microphone (aka Boom Mic): Let's talk about the shotgun Mike otherwise known as the boom mic. The shotgun mike is a very directional microphone. What that means is that you basically pointed at something a subject speaking, and it will capture the audio from a very narrow range. If you move it around, it won't capture the sound if it's not being pointed at subject speaking. So this is a good thing and a bad thing. It's good because you can basically ignore a lot of sound in your environment and pointed directly at your subject. But it's also bad if your subject is moving around and it takes a very talented boom operator to control the microphone said that you're recording a subject or an actor that's moving around within the frame. Another reason why shock and microphones are really great is that they pick up enough ambient sound so that the audio sounds very natural, but not too much where the ambient noise overpowers the voice. And that's something that makes the shotgun a little bit better, in my opinion. In the lapel microphone the lapel microphone while sounding good. It just doesn't capture the environment at all. So especially if you're shooting a documentary where you want to hear some of the environment sounds. Using a shock and microphone is great at that. The other downside of a shotgun microphone is that they can get really expensive to get a high quality one the Road anti G or the San Heuser M E 66 art to industry standards. But those air over $500 apiece on while even I want to add that to my equipment list. For DSLR filmmakers who are on a budget, it might not be an option. Another pro of using a shotgun microphone is. If you're doing interviews or shooting in a studio set up, you can basically set your shotgun microphone up and not have to worry about it. If you have multiple people coming in for interviews, you don't have to reset their lapel microphone. You basically just have your shock on microphones set up in your studio, and it's good to go. So how do you use a shotgun microphone? Place the microphone directly above the subject's head as close as possible to the top of the frame. Now you don't want your microphone bobbing in the framer out. That happens sometimes on television, but you want as close as possible and direct the microphone towards the mouth of your subject. And sometimes people should point the microphone a little bit in front of the mouth so that it's not getting those those pops that you see here in your sound. But it will just get the sound that's actually coming out of your mouth, landing right here so again, directly above the head, pointing towards the mouth. If you're shooting a scene or an interview set up with two subjects, place your subjects and have them turn in towards each other and then point the microphone directly in between them. So I suggest trying out the lapel microphone and a shotgun microphone to see what you like better. The shotgun microphone is used for most professional movie sets, and there's a reason for that. 51. How to Use Your Smart Phone to Record Great Audio: Another great option for getting great quality sound on a budget in a pinch is to use your smartphone. The iPhone, in particular, actually has an amazing microphone that when using the voice memo app can record great sounding audio. The one thing to note with your smartphone is that the microphone is omni directional. What that means is that it captures sound from everywhere. Unlike a shotgun microphone that's very directional and capture sound from a very narrow plain. The iPhone and other smartphones capture audio from all directions, so you have to make sure that your set is very quiet. If using an iPhone or a smartphone to record audio, use it like a shotgun microphone, attached it to a boom pole or anything that you could stick directly above. Your subjects had in point the microphone directly down at their mouth. On my android, I have the easy voice recorder app, and as you can tell, the quality is actually very good. And if this was attached right here to a boom pull, the audio would be pretty good compared to my lapel microphone. So even if you don't have the budget to purchase a new audio recording device a lot earlier set or a shock and microphone. Maybe you have a good enough audio recording device right in your pocket. 52. How to Record Audio at Proper Levels: Okay, so here we have our zoom h four n, And in this lesson, I'm going to be talking to you about monitoring levels. So whether you using the zoom or a different recording device, it's a pretty standard thing to be ableto monitor your levels and make sure that your audio isn't getting distorted or too loud, or that it isn't too soft. So here, right now, you can see that my audio levels are coming from two different sources. It's coming from the microphone inputs, which are these two microphones and input one, which is the lapel mike that I'm using now. I can't go over all the settings in this because that would take an entire class. But I can just quickly go into the different menu options. So let me just pause this so you have to actually be in record mode to heat see the levels . But it's not recording yet, so I'm going to stop that, go into my menu, which is a button on the side. Go down and there's a wheel on the side and go down to mode. I'm just going to select stereo for this purpose, So stereo is just going to be hearing what's coming in from the inputs. I could select the microphone and it will do both those microphones or the inputs. So right now I am hearing audio from a lapel mike that I'm using. The audio you're hearing right now is actually coming from my voice recorder app on my android. You see the scale? Here it goes from negative 48 to 0. This is a decibel scale. A decibel is basically a change in volume. Typically, the sweet spot for recording audio is between negative 24 negative 12. And you will see that on this recording device. Those are marked right there. If I select the input and then I increased the input level, you will notice that my voice while I'm not speaking louder, it's Rick ordered at a louder volume. And you want that to be bouncing right between negative 12 and negative 24. And even if I spoke really loud, you'd want those to be about negative 12 Negative six. So the peaks you want native 12 the negative six. But in general, you want most times the monitor to be bouncing around negative 12 and negative 24. You do not want it going into zero, and you will get that if I start tapping on my microphone, because that means that it will be distorted. So when monitoring levels, make sure that it's typically bouncing between Navy of 12 and negative 24. So this is a little too hot still, and if I talked really loud, it will go up to negative six. So you want a little bit of wiggle room before it gets distorted. But if it's down below negative 24 it's going to be too quiet, and you might be able to bring it up and post a little bit. But it's going to add a lot of ambient noise that you won't want so again, between negative 24 negative 12 is your sweet spot. The last thing to know about monitoring audio is to always use headphones. You don't know if there's other sounds being captured in this bouncing audio right here. It could just be coming from my voice, but it could also be coming from the trash can that's being dragged outside, so monitor with headphones so you know exactly what you're recording 53. How to Reduce Background Noise: Hey, in this video, I want to talk about removing background noise in your videos so there are a few key things that you can do to improve the audio quality in whatever situation you are. The first is to look at your environment when you whenever you enter a room that you're going to shoot and notice what devices air on. Is the air conditioning on our windows open? Is there a refrigerator buzzing? Is the laundry machine going? All of those things can add audio bad noises to your audio when recording. It's hard to walk into a room and think about those noises because we walk around our in our everyday lives and we hear noises and we just cancel them out. We don't even think about them. But once you get into video editing and you start to notice how loud an air conditioner can sound or a fan in the background consumed, even the computers fan can sound. It's really bad, and audio is so important for having good video, if not more important for online videos. Think about all those videos you've watched on YouTube, where there's bad audio quality. I know that a lot of times I just exit out of those videos because it's too hard toe watch . Even if the video quality isn't that great, it's important to have really good audio quality. Also with your environment. Notice any hard surfaces that can increase reverb. Echo in your audio blank walls, hard tables, hardwood floors. These are all things that will increase the reverb, and you might not notice it now. But again in postproduction, you'll notice it after you've recorded the audio so you can put up if you want to. Professionally, you can put up acoustic foam on the walls. But if you don't want to pay to do that, you can literally just put up blankets, put pillows around, cover the floor with a blanket or a carpet. Bring inm or furniture or things that will block sound that will make sure that it won't be bouncing around. If you're in an empty room, you're going to get a lot of reverb, so make sure that you add things in this room. For example, I have chairs, multiple chairs, I have fabric on the wall, all to increase or decrease the amount of reverb and increase the chance for getting better quality audio when I'm recording in here, and then the next thing is to look at your microphone. Some microphones air just better than others at reducing background noises. Some Onley pick up a range that is just directly around the microphone, while others will pick up any noise coming from all directions and all locations. So a better microphone can reduce background noise, but also just placing the mark phone as close as possible. To your talents, mouth is good, especially if you're using a shotgun. Mike. Make sure it's very close to the top of the video frame and not sticking far out and make sure it's pointing directly at the mouth or directly in front of the mouth so that it picks up the voice that's coming out like this with a lava Lear. I gave you tips on where to place it. You don't want it too high because it will sound mumbly, but you don't want it to low because it will pick up the audio from the entire room. And so we're just putting your my phone closer to where the sound is coming from. Will reduce the background noise. The last thing that you can do to reduce background noise in a pinch is to do it in post to fix it in post. This is not the answer. Too many things. I know I get that thing that a lot, they say, Oh, you can fix it in post But really, it's hard to fix things in post, especially background noise. But there is a tool called audacity, which will show you how to use to reduce background noise in the exercise of this section. And it doesn't really good job. But remember, it's always better to set up better get better audio, but get better video at the start rather than fixing things in postproduction like audio quality like color correction, white balance all those things, it's better to do on the production side, and you'll end up with a better quality product. So those air some tips for reducing background noise in your own videos. Thanks for watching. If you have any other tips, let me know, and I'll be glad to share them with the rest of the class. Otherwise we'll see in the next video 54. Exercise: Record Audio and Remove Background Noise: following up from the last lesson about reducing background noise. That exercise for recording audio is to get rid of that background noise. I want to show you how to reduce background noise in post production using and acid e. So the exercise is to go out. Record some audio in the outside environment because you'll be able to pick up some background noise that from cars wishing by wind blowing birds you name it and I'll show you how to reduce those noises in post production. So get out there, use your recording device or even your DSLR camera to record some not perfect audio, and then we'll fix it in post. 55. Exercise: Walkthrough: Haber one. So this is an example of me recording outside with some background noise. There is a street down below that I can hear. There is some sort of water meter that is making a buzzing noise. If I'm quiet for a second, you can probably hear these sounds. So even when I'm quiet, you can hear the sounds. And while I'm talking, you can probably hear them to. And so it would be better to be able to get rid of some of the audio. So I'm going to take this audio clip and go into audacity to show you how to remove some of that background audio. So I'm here in audacity right now, and I want to show you how to improve this clip. So if I bring this clip into audacity, I can just drag and drop it into the program and audacity is free. You can download it online. Then I can play through this clip haber one. So this is an example of me. We hear a little puff when I'm playing through that, so that's not good. But also in this blank space, you could hear the sound of the street behind me. That's the main background noise you can hear. It's very subtle, but you can get rid of that in audacity. The way you do it is by with your cursor, you click and drag to select an area of your track where you aren't talking or where there isn't audio that you want to be taken out. If I play through it, I can hear that background audio. Then I want to go to effect noise removal, and what I do is click this get noise profile and this will select the noise within this little clip right here. And then I will select the entire clip by just clicking over here on the left. Go back to effect noise removal and then I hit. OK, you can change these noise reductions settings depending on how well it does it. But these settings usually work for me, and you will notice after I select okay that the wave form for this audio will change and that background audio will likely disappear. See how that just went from that to that? Now, if I play through this part right here, it's so you. It's gotten rid of all of that audio, and if I play through it, Haber one. So this is an example of me recording outside with So you still have those puffs which aren't good, so you should be wary of that while you're recording. But you don't have the background noise of the street, and this will work with fans air conditioners most likely the better ones that it works with our low humming noises or very high pitch noises. What it's really doing is getting rid of all of those frequencies. We talk at a specific range of frequencies. Some people have low voices. Some people have high voices, but those hums the street below the air conditioner blowing those air, typically very low frequencies and audacity does a great job at getting rid of that audio. And then, from there we can export this track. So to select the track, but a file export, choose your option. I just do a wave or an AI FF file. These will be full quality files and then choose where you want to save it. Save it and it will go ahead and save to your computer, and you can then bring in that audio to whatever at a editing program you are using and use it for your video. Hey, everyone. And as I play through that, there is literally no SPAC on noise. And that's why a dot audacity is so amazing. All right, if you have any questions, please let me know otherwise. Have fun using audacity to remove some background noise from your audio. 56. Intro to Section: everyone in this section, I'm going to be giving you some advanced and intermediate tips on how to improve your video production. So there are a range of items from audio focus shooting for slow motion and lots of other tips that I'm going to be giving you in this section so that you can improve your video production. If you have any questions or you need advice on any other type of DSLR production situation , let me know, and I'll try to create a tutorial that'll put in this section. So we'll be adding videos to this section as time goes on as I get more questions and you have more ideas on how to improve your video. So thanks for watching and let's get straight to it. 57. Shooting for Slow Motion: one fun thing to do with your DSLR camera is to shoot for slow motion. I don't know why, but slow motion footage usually just looks better than fast motion or regular speed video. Most modern DSLR cameras allow you to shoot slow motion video by shooting at a higher frame rate, and that's the key concept to remember. To shoot slow motion video, you have to increase the frame rate that you were shooting at so that when you slow down the footage in postproduction, it looks smooth. So, for example, rather than shooting at 24 or 30 frames per second, you want to shoot at 59 94 frames per second or 60 frames per second. Some new cameras, like the Sony A seven s. Should I even higher frame rates, like 120 frames per seconds. And so why does that mean you can get better? Slow motion. I think I mentioned a little bit before how literally with your video. At 24 frames per second, your camera is capturing 24 individual frames in that second, if you shoot at a higher frame rate, you're cramming more frames. Mawr information into that second. So when you spread out that second when you slow it down, there's enough images there. There is enough information that it still looks smooth. I'm going to show you how to do this in Premiere Pro and give you an example using some hummingbird footage that I shot on my front porch. And that will really show you how shooting at a higher frame rate will look better in post production than shooting at your 24 frame rate and trying to slow that down. So thanks for watching. And I look forward to showing more about slow motion video when I do the exercise. But for now, just know that to shoot slow motion footage, make sure you increase that frame rate. 58. Getting Enough Coverage: here is a quick tip coming from me as a video editor, and it will help you. When you were shooting. Make sure that you can get enough coverage, whatever you're shooting. Whether it's a narrative piece where you are working with actors and doing scenes or you're shooting a documentary or an interview, make sure that you are getting enough shots enough coverage so that when you're editing, you have enough video toe work with. So what does that mean? It means two things. First, it means that while you were shooting while you were getting a shot, stay on that shot long enough so that you can use it and have enough room to cut around so I shot. That's one or two seconds is not going to work in most cases. So shoot for at least 78 seconds. Shoot for a beat or two longer than you think you need, because when you're editing, it will help you. There are thousands or hundreds of times, at least, that I've been editing even with my own footage where I thought I wish I would have just stayed on that shot a little bit longer because it works perfectly for this part of the video, but I need an extra second or I cut before the person finished the action. So make sure that when you're shooting a shot, stay on it for a beat or two longer a couple seconds longer than you you feel is good. The next thing is to make sure you have a variety of shots. So we talked about in the composition section on how to get close ups, medium shots, wide shots. Make sure you do that when you are shooting because it is an editor. Mawr footage is typically always better. Sometimes I get too much footage when I had it, and I wish the cinematographers would have just been more focused and gone in the right shots. But when you don't have enough shots, that is way worse than having too much footage to use. So get all the different types of shots of that. When you were editing a scene in post production, you can put together that same build it together with different types of shots and enough coverage to tell this story. So make sure those two things get enough coverage, different types of shots and stay on those shots long enough so you can use them while editing. Thanks for watching, and we'll see in the next tip. 59. Shooting with Multiple Cameras: have one. In this video. I want to talk about shooting a multi camera production and give you some tips so that you can make sure that everything goes smoothly when shooting with two or more cameras. So there are a few things that we have to keep in mind when shooting with multiple cameras . Those are what camera types are you using? What settings are your cameras set? Teoh, Making sure you're on the same page with the types of shots each camera is getting and then making sure that you have communication while you are shooting so that you know when you can reposition the cameras. So with camera types nowadays, Premiere Pro and these editing applications can take in footage from all sorts of different types of cameras and edit them on the same sequence a while back. They weren't able to do that. If you were a shooting on different cameras that shot different formats, then you would have to basically format the video to be the same before you even started editing. And that was a hassle. But now, with Adobe Premiere Pro, you can take footage from a GoPro, a canon DSLR, the Nikon DSLR and E N G stock Camera a red camera and put it all in the same sequence. And it it It's fairly seamlessly and so the type of camera doesn't really matter, but it is good to shoot with similar style of camera. If you're shooting with DSL, ours shoot only with DSL ours. It would be better to shoot with the same brand just because the looks are a little different between Nikon vs Cannon. But just make sure you're seeing with the same style of camera does you with the DSLR camera and an E N G camera, which is the old kind of handy cam type big camera that you might see. You still use them if you're shooting news or broadcast TV a lot and mixing GoPro footage with DSLR footage. It's not the greatest because it just looks different. So that's the first thing it would be better to shoot with the same type of camera. But whatever cameras your are using, make sure that you use the same settings in particular. Make sure that you are shooting at this right size the same size, So if you're shooting 1920 by 10 80 make sure you're doing that for all of the cameras. Make sure that the white balance and the picture style are the same. So for DSLR cameras, white balance, if you are shooting at different white balance, is you're going to have to color correct one of those cameras in post production, which is the hassle trying to match different cameras when they're not shooting the same white bounce. And make sure you're not shooting on automatic white balance because with different cameras at different angles, it's going to change up the color temperature while you're a shooting. So so select one of the presets. Or use a custom white balance when you're shooting with multiple cameras and also shoot at the same picture style. So whether you're shooting the standard picture style neutral portrait or one of the custom picture styles like Sinise style, make sure both cameras are using that style. Because again, if you don't, if you're using separate styles, you're going to have to edit in post production and try to match the cameras. And it's just better to be on the same page when you start even things like I s o shutter speed aperture Those are things that you can also try to match, especially shutter speed, and I so because those will affect the quality of the video of the amount of grain and the way movement looks in video, so try to be on the same page for all of those settings. The next thing is to be on the same page with the types of shots you are getting. Typically, if you're shooting with two cameras, one camera will be wide. One will get close ups, and that's a good set up to have, especially for when you're editing. It's good to have a safety camera, a wide shot that is relatively stable throughout the entire event, or whatever you're shooting. The interview, the event, the performance so that the close up camera can move around. They can get different shots. They can get inserts. They can say, you're shooting a band playing. They can get a shot of the singer than the drummer than the guitarist go even closer on the guitar player playing while the wide shot basically stays steady so that when you're editing, can edit from the wide shot to the close up of the singer to the wide shot to the close up of the guitarist and not have to use any shaky footage. Speaking of shaky footage, it's good to be on the same page before you're shooting, but also while you're shooting so that you know when is a good time to change your shot. If you are shooting with two cameras that are moving around a lot, you don't want to move both cameras at the same time, because then when you're editing, you won't have a good shot to use. So make sure if you're shooting close ups toe. Look at the wide shot camera person. If there is someone and make sure they're stable before you move your shot. It's also good Teoh make eye contact or have a symbol with that person. Or use walkie talkies to just tell them. Hey, I'm gonna change my shot. Is that okay? Are you stable? And that's that's what professional camera crews used a lot on TV or even on wedding shoots . We've used walkie talkies to know when it's a good time to move our camera to change position to make sure that someone has the shot. So those are some tips for a multi camera shoot. Make sure that your cameras are the same style of possible. Make sure that the settings are all the same. Make sure you're on the same page for who is getting close up, who's getting wide so you don't duplicate shots and then make sure you're on board. Communicative so that you know when to change your shot to make sure that you'll have at least one good shot at all times. Thanks for watching. I hope these tips will help you on your first multi camera shoot and we'll see you in the next lesson. 60. Exercise: Slow Motion: Hey, everyone. So for this section, I think a fun exercise would be for you to go out and record something that you want to put in slow motion. So go find something that's moving around. It could be a person, kid, a car, an animal, anything that will look good when you slow down that footage. And in the next lesson, I'm going to be walking through how you actually slow down that footage in Adobe Premiere Pro. So I went out and shot some hummingbirds, which I think you're gonna look really cool, slowed down. So go out, shoot some video and we'll show you how toe slowdown that footage. Thanks for watching and we'll see you in the next video. 61. Exercise: Walkthrough: Hey, everyone. So I'm here in Adobe Premiere Pro, where I'm going to walk through how to edit slow motion video shot at a higher frame rate in the next section. I'm going to be covering a lot more for Adobe Premiere Pro, so it might be beneficial toe watch that section before this one. So you get a grasp on how to actually use this editing software. But I'll try to go a little bit slower so that if you want to, you can just continue watching this video and dive right in. So this is Adobe Premiere Pro, and I'm editing a sequence that I'll be showing you in a future lesson. But basically I want to import my footage. So I have this hummingbird footage that you can see here, and it's of a hummingbird that is eating from a future out in my front yard and can notice that this clip is shot at 12 80 by 7 20 That shows me that I should shot it at a higher frame rate because with my kid and 70 I can only shoot those dimensions with a higher frame rate with some cameras, you can still shoot 1920 by 10 80 at higher frame rate. But for my 70 that's as good as quality as I can get, which is great. I just drag and drop it into my project. I'm going to rename it Hummingbird. There's two ways to slow down footage in Premiere Pro. First, let's create a new sequence with this clip, so I'm just going to drag and drop it into this new item button, and it creates a new sequence with the settings of this clip. Now, if I play through it, you can notice that it's just at normal speed. I can right click this clip, go to speed, duration and slow it down this way by a percentage. So say, let's go down to 50%. You can see that it looks pretty good when slowed down. Another way to slow down your footage is to interpret the footage differently than what it already is. What I mean by that is, Well, let me just show you. So you right click your clip. Whatever clips you want to slow down that are shot at the higher frame rate. You see, the frame rate right here is 59 94 right click Select Modify Interpret footage. This brings up a little module that ask us, How do we want to interpret this footage? Standard Lee. This is 59 94 frame rate. I want to assume the frame rate is something slower will save 23.976 which is a standard frame rate. If I click OK, you will see that it changed the frame right up here. Now, if I drag and drop this into a new sequence, you'll notice that it's a lot longer. It's almost three minutes long compared to just a minute. And that's because it's say it's thinking that this footage is 24 friends for second, where I live in around 60 and when you play through it, it slows it down. And I think this is a better way than the other way where I just use the speed duration effect to slow down your footage. Because slowing it down to 25% 50% you don't know how slow you can really slow down. I'll show you just by re importing this clip so that it's at its stand. 59 94 frame rate, adding it to a new sequence. Now I'll slow the it down, to say 20%. If I play it, you look notice that it looks a little jerky. It doesn't look smooth like it doesn't this clip, even though the hummingbird is moving really fast. Still, it's It's slowed down a lot, compared toa the normal speed. And this, as I mentioned, is the maximum amount that you can slow down. And I think typically you want to maximize that with your slowdown footage. So I would suggest using the modifying, interpreting your footage and as a slower frame rate method to slow down your footage. So thanks for watching. There's going to be a bonus video where I show you how to slow down footage with after effects, which is another program that can slow down your foot, is even better. And so enjoy that tutorial and have fun slowing down your footage in Premiere Pro 62. Sample Slow Motion Hummingbird Video: Hey, what's up? It's filled with video school online dot com. Since I moved into my new place, we got a hummingbird feeder, and every day I see these cool hummingbirds floating around outside getting their food, and I thought it would be a great way to test out shooting some slow motion footage. So I use my old cane and 70 which shoots at 60 frames per second. And I brought that footage into after effects where I used in effect called time warp to slow down the footage. Now we're going to go over that footage in just a second. But time warp is an effect that's right within after effects. It's similar to something called a twister, which you might have heard of. It's basically a way to slow down footage whether you're shooting at a high frame rate or not. And if you're not shooting at a high frame rate, actually duplicates and replicates frames and creates new frames in a way that actually creates a very smooth, slow motion look. So let's check out the footage, and then in the next tutorial, I'll actually be going over how you add the fact in after effects So here we have some footage of the hummingbirds, just at 100% speed. So this is totally normal, 60 frames per second, playing at normal speed, and then it's going to slowly decrease in speed from 100% to 50% and then finally, from 50 to 25%. Now. This is using the frame mixed mode within the time warp feature, and that's where it's mixing frames to create this slow motion. Now you'll see it in pixel motion mode. This is where aftereffects is actually creating brand new frames, but it's a little bit funny looking, and then here is at 50% speed. But instead of using the time warp, I'm just using frame rate interpretation to slow down the footage from 60 frames for a second to 24 frames per second. So I'm just going to play through this clip one more time, enjoy the footage and check out the YouTube channel for video school online to watch the tutorial on how to use time warp within after effects to slow down motion of your own video . Thanks for watching, and we'll see you in that tutorial 63. Bonus: Slow Motion in After Effects: Hey, what's up? This is Phil, bringing you a tutorial on how to use the time warp effect in after effects. So time work is a way to slow down footage and after effects. So this is an example that you might have seen from another video of mine, and you can slow down video in a variety of ways. What makes it great is that you don't have to depend on shooting with a camera that can shoot really high frame rates. This footage was shot with a Canon seven D that can shoot up to 60 frames per second at 12 80 by 7 20 frame size. But even shooting at 23 friends for 2nd 24 frames for a second or 30 frames per second will be able to slow down in after effects using the time warp effects. So let's get straight into after effects. Typically, when I have footage that I want to slow down all shoot it at 59 94 or 60 friends for a second. Then when I'm in after effects or Premiere pro, I will interpret the footage not as 59 frames per second but as 23 976 or 29 97 So let me just bring this footage down into a new comp to show you what it looks like at regular speed. If we're watching this at full speed, it's going to be a lot faster than if we interpret it at a different frame rate. So if I go ahead and take this clip right, click it, say interpret footage main and then change the frame rate from using frame rate from file to conform frame rate to something you can do whatever you want. Say you say 23.976 which might be a frame rate. Your also using from other footage. You shoot, hit. Okay, and now if we preview that footage, it's slower. It's about half to 1/3 of the speed. Okay, so now let's go into this clip. Actually, let's go into this other clip, created new comp with it, and let's try adding the time warp effect. So if you select your clip goto effect time, time work. Now this whole time warp effect pops on and you will notice that it adds it's standard properties, which includes pixel motion, different types of speed, different tuning vector detail, all these things that you don't really need to know, because typically it does a very good job at slowing down your footage. So right now, if we render it out, it will be playing at 50% speed. It's using this pixel motion method, which there are a few different options. One is whole frames, frame mix and pixel motion. Whole frames is basically just going to take each frame and extend it so it might look a little stuttered frame mix. That's kind of like flame frame blending. So if it's going to take the frame before and after and blend them together to create a new frame, and then pixel motion actually tries to create new frames out of what it sees moving around , it's not actually a frame that's being blended. It's a whole new frame. But if you go to some of these frames like this one, for example, and I zoom in, you can start to see that it gets a little warped. And that's not what it's supposed to look like. And you can tune in a little bit better, especially for fast moving objects like a hummingbird, for example, you can change the specter detail, too, really downloaded like five, and it's going to look a lot better. It might look a little blurry, as if its motion blurred, and it won't be as crisp. And that might not be the fact you're going for if you're trying to get really smooth, slow motion. But you can play with this smoothing to have it look a little bit better, and you can see here if I'm rendering it out and it plays at full speed. So now it's at 50%. It looks pretty darn good, so this one is already at the slower frame rate, so it's already a little bit slower. But we can still add the time warp effect, and you will see that you start to get that distortion as it's trying to recreate frames or create new frames out of the hummingbird's wings. But it's just too fast, so this pixel motion is really good. If you have motion, that's not too fast, just maybe a person walking by a person running. But as we know, Hummingbird's wings are moving so fast you can't even see them with your naked eye so to see it like this, it actually looks pretty amazing. Now, if we change this from pixel motion to frame mix, you will notice that there's no tuning anymore. But it does a fantastic job, in my opinion, at against slowing down the motion. It's still a little bit blurry, but that's pretty amazing. And we could even drop this down even further. Let's try 20%. So this is 20% of this clip, which has already slowed down due to the interpretation of the 60 frames per second to 24 frames per second. And now this isn't completely smooth. But if you really want to slow down footage like this to study, study the movement of Hummingbird's wings, you can see how amazing this looks. Basically, if you're using superfast motion, I would change this to frame mix. If you're using standard motion like someone running, jumping, skateboarder bicyclists, someone doing a trick, use that pixel motion and play around with it. So that's the time warp effect. If you have any questions, please let me know in the comments or hit me up at video school online dot com. And of course, I have full premium courses on all of this stuff, including starter after effects. So if you're new to after effects and want a complete course and walk through guide to getting started, check it out at video school online dot com. See you later. 64. Intro to Editing: Hey, everyone in this section, we're going to be covering some basic techniques for a video editing for DSLR shooters. So I thought it was important, even though this is a video production class to include some lessons on how to edit your video. Because if you are new to DSLR video, you're going to want to edit the footage at some point. And so in this section I covered the very basics of video editing. Basically, how do you get your foot of jobs of the computer? How do you import it to your video editing application? How to do basic video editing, adding titles and then how toe export your video for sharing online or with friends. So in this section, I'll be using Adobe Premiere Pro to showcase how I do my video editing. There are lots of other applications out there that are great avid final cut pro I'm movie Windows movie maker. Some are for PC. Some are for Windows. Adobe Premiere Pro is for both PC and Windows, our PC and Mac, and I think it's just the best product out there for consumers and professionals. It's easy to use easy to learn and I hope in the next few lessons you can get a basic grasp on it. Now. I'm not going to be diving too deep into it, because I know a lot of you might not want to dive too deep into this program right now, especially if you're not going to be using it. And but for those of you that do want to dive deep into editing with Premiere Pro or Final Cut Pro, I have two classes. One on Adobe Premiere Pro one on final cut Pro seven, which is an older program. But it's still used around the world quite often. And so check out those classes if you want to die further. But for now, let's dive into Adobe Premiere Pro and whether you using that software, not the basic concepts, will be the same for all video editing applications. So even if you're not using it, I think you'll still enjoy the next few lessons on how to video at it for DSLR shooters 65. Ingesting Video into the Computer: Hey, so in this lesson, I'm going to be going over how to import video from your DSLR camera into your computer. Typically, your will be shooting with a memory card, such as a compact flash card or just a standard SD card, and you'll need a USB card reader to plug into your computer to transfer the files. Some computers have a CF or an SD card reader already built in, so you can just plug in your card to that. Now when I plug into the computer, my own USB reader, I have a transcend USB three point. Oh reader, you will see that US digital pops up. This is cannons. It will depend on the camera, but it says E O s Digital is the name of the card. You can go into all these folders and you will see that there are different folders. One is a miscellaneous. One says D. C. I am. You will also notice that on a Mac. If you've updated photos, the photos application will pop open. I don't use photos for my video, so I'm just going to close this by quitting and then basically, whether you're on a Mac or a PC or Lennox or whatever you're using. You just want to copy this, file the entire thing over to a computer for me. I can just drag and drop that entire folder onto my desktop. Or I can go into each individual folder and fine the M. O V files. So the M O. B files are the video ones that you shot, that you will also have a th m file. But you don't need that for editing your video. So if you want, you can just select the videos that you want and bring them over into your own hard drive. And that's basically how you import video to your computer. 66. Importing Video into the Video Editing Application: Now that you have your video on your computer, it's time to import it into your editing application. Now, as I mentioned in the intro to this section, I'm going to be using Adobe Premiere Pro because I think it's the best editing program for any day type of consumer who just wants to really learn how to video edit. But there are other options, like I'm movie or Windows movie maker and other free versions of editing software that you can use if you don't want to spend the money to get Adobe Premiere Pro. The basic way to import video is the same for any program, so you'll typically have a file menu and in the file menu will be an import button. Or there will be an import button somewhere in the video application in Premiere Pro, you can go into your project window, which is right here on the top left. If you don't see that Project window, go upto workspaces and go just to editing. This will change the way that your video looks. Your application looks for me. I edit it a little bit here. The product window is down on the bottom, left and to import. All you have to do is right. Click down here and click import or, as I mentioned before File import, And this will open up your dialog box, where you can basically select the footage that you want to import. Another easy way to do it is just toe. Open up a finder window, find your video folder or specific clips so you can either select multiple clips one or two or an entire folder and drag it into the project window like so Premier Pro will import the files. It will digest the files, render out the files, meaning it will take it and be able to play back for you within the application. And one key thing to note from this lesson is, organization is very important, especially if you end up doing bigger projects. It's crucial to be organized not only in your finder or your documents with a Project folder with a video folder within that, maybe multiple video folders, depending if you shot on multiple cameras but also in your editing application. It's only just increased the size of this window, which you can dio in multiple ways by just clicking and dragon. And again, this premier pro class right here is very basic. If you want to dive deeper, I do have an adobe premiere pro class that teaches you everything you need to know. It's a few hours long and it will dive a lot deeper. But I just want to help you guys get started because I want. I know that if I was an editor and I was shooting video with DSLR, I would just want to get started. So in here used to have your video folder. You can see your clips. You can double click the clips and then it pops up in this source monitor, and from here you can play them and you can hear them if you you turn out here audio and later in the next couple lessons will talk about actually creating your sequences and then say you want to organize within Adobe Premiere Pro. You can create new bins or folders with that folder button. Rename it. Say you want to organize it with good clips, or you can do a folder of interview clips. Say you're doing a documentary and then you can move these clips around. Move them around here. Of course, I would be looking through these and making sure that they were the right ones. And now you're organized. You can also go into these names and change them by selecting them, pressing return on your keyboard and giving a new name. So maybe this is called Candle, and now you know what that clip is. So it's very important to stay organized, and that's basically how you import video into your editing application. If you have any questions, let me know otherwise will move straight on to creating a sequence. 67. Creating a New Video Sequence: okay. As we work our way around Adobe Premiere Pro in the next few lessons, I hope that you kind of get a basic handle of the different buttons, the different Windows, because I know it's a lot starting out. And so I've moved different windows around to fit what I'm more used to, so you can actually move these windows. If you click and drag from the top, say, I want to put the project files over there rather than up at the top. Here. I can do that. You can. It takes a little bit of getting used to how it works, but it's actually pretty easy when she get in there. And then if you go to a window, you can open and close different windows, depending on if you want them. But for now, if you just go to the standard setting arrangement, then you'll have all of these windows open. So the first thing you need to do is start a new sequence. A sequence is basically a new video. It's going to include a timeline where you can put put video into that timeline and edit it . So the easiest way to do that in Adobe Premiere Pro is to take one of the clips from your video footage that you're going to use in your video and literally just click and drag it onto this little button right here. It looks like a post it note, and that will open a new sequence with the settings that match your video clip. Now, I'm just going to explain this a little bit further so that you have a good grasp on it. So bear with me. So with your video, you have different settings so you can see them. Here you have a frame rate. You have the size 1920 by 10 80 you have different audio settings, and these are all things we talked about before when you were shooting. You have the different options of shooting 12 80 HD 10 1920 by 10 80 HD. You have different frame rates, and so you want your sequence settings to match your video settings. If I didn't just drag and drop that into this new item button, I could just click it like that and then asked me, Okay, I want to open a new sequence, and there's all of these different options. Say I shot with an area camera say I shot with a red camera Say I shot with a camera that uses DVD NTSC settings. So those are all different presets and you can even go in and customize them under the settings tab. But that's a lot of information that you don't need to know to just get started. What you need to do is just drag and drop your clip into the new item button, and then you can rename this. So this is an footage from San Diego. I don't know what I'm going to call the video yet. I'll just name this sequence. San Diego, My double Click it. It will appear here if it's not already open. Okay, so now you are here on your basically in your timeline and you haven't entire clip that I added to this timeline, and now we want to create a sequence of clips. So whatever you're making a documentary, a montage music video, you're basically putting clips in sequence one after the other. And so an easy way to do that is just by double clicking your file up here so that it opens in the source window, you will cease to windows It now the source window is showing the clip that we are previewing. The program window over here is showing our actual video timeline. So if I scrub through this just by clicking and dragging right here, I can kind of see what goes on in this clip. I can also just play it by hitting this play button. Now, if I want to take this entire clip onto this timeline, I can just click and drag it down like this onto the timeline. But I don't want to take the entire clip. All I want to do is take a segment of this clip. Maybe a few seconds. Maybe I want to start with my brother who's trying to get a match going right here, and then go back to the candle. So I'm just going to scrub through here to about where I want to start. I'm going to press I on my keyboard, which is to set an in point. You can also press this mark in button right here. That's where you want to stay. You're going to start the clip, then you can play through it and then say I want to stop there. I can press Oh, to send an outpoint or press this mark out button and then I can drag. I'm just clicking the video itself and dragging onto the timeline. Now I can scrape through my timeline. And if I just press space bar on your keyboard, you can actually play through this. Your timeline down here and you'll see that it goes from that first clip to the second clip of my brother striking the match. Say we want to go back to the candle. So here he is, lying in the camp candle. I'm going to go to their I'm going to set an in point for shaky, and I can just press po on the keyboard to send an out point and then drag it down onto my sequence. So we go from the, you know, cars to my brothers, trying to strike the match, and then it goes to the candle being lit. So this is a very basic sequence that I'm creating, but that's basically how you would create your video. You go through all your clips, find the parts that you want, and you add it to your timeline down here in the next video, I'm going to be going over more tools and actually, how to edit your video once is down on the timeline. 68. Basic Video Editing Tools and Tips: everyone. So today I want to show you some more tools for editing and just talk a little bit more about my work flow. When I'm editing a video, we're going to be playing around with in our timeline a lot more today. So from last time we were able to create our sequence and ads and clips to our timeline. Now I just want to show you some more about it. So you'll notice in the timeline that there's multiple tracks and you can really see that if I move the video into different tracks. So we have 123 tracks. You can even move ITM or higher, and it will create a new track. I'm just going to undo that, and this is helpful. Say you have a couple clips and you want to overlap them. Now you won't be able to see one on top of the other in the actual video, but I'm just trying my sound off so it doesn't distract us. But if you're say this is really good, if you have an interview clip and you want to put B roll or the footage that goes over an interview on top of the interview. This is a great way to do it. Have one track for the interview answers and one track for the B roll footage. So that's a good workflow thing. T note. And then when you're in your timeline, you can also edit your clips. It's not always easy to get to get it perfect when setting in and out points up here in the source. Monitor. Safer this clip where I have my wife picking out some beads for a net. Bliss. Maybe I just want part of this clip starting from right here before she puts her hands down . There's multiple ways I can get to that start point and basically erased the first part of this clip. One is just by going to the end of the clip, clicking and dragging. You can see now that it's gone and there's nothing before it or I can take another tool, which right now I'm using my selection tool. I can go to to my razor tool, which is like a razor blade. Or you can press C on your keyboard to bring it up and then just click on the clip itself and you'll notice if I move my timeline selection indicator. You will see that this clip has been clipped. It's been split in two, and then I can take my selection tool. Select that first public clip and delete it. One quick other thing you can dio is to get rid of any gaps in your sequence. Say there is a couple of gaps right here. You're laying down clips on your timeline, and you want to quickly get rid of those gaps. You notice that you can actually just select them and move your clips. Or you can use select the inside the negative space where there's nothing and press delete on your keyboard. That's a quick way to get rid of any space in between your clips. Now say, Let's play through this clip until I'm done with what I want. So she picks a being up. See, I started moving the camera so I don't want that. So maybe just where she picks up the being right there before the camera move. Now I could go in here and drag to get rid of that where I can use my razor blade tool to get rid of that or another easy way to do it is to select the clips that are later on your timeline and basically put it directly over that clip and it deletes it. So now this is a really funky montage we're building, but it goes from selecting the bees to the ocean to assign to the matches that my brother was striking to the candle. So that is a little bit of a cool thing that you can do on your timeline. Teoh. Speed up your workflow now say you want a different transition. You can do a quick cross dissolve, which basically just blends these clips together, which, if you click right, click in between each clip and say, applied default transition. When I play through this, you can see how dissolves from one clip to the other. That's a basic crossed is off. But then there's also lots of transitions within your effects window. So if you go to video transitions, I can go to Page Peel, for example. Let's put on this page turn, and I just do that by dragging over to my clips and look at that. That's a little page feel, so that's pretty cool. You can play around with different transitions. There is so much more that you can do in Adobe Premiere Pro, but I don't want to get too far because a lot of you might not be using Adobe Premiere Pro . Or you might be interested in taking my full advanced course that teaches Adobe Premiere Pro, and I don't want to give away all of the secret secrets in this class just because there's too many to put in this class alone. But I think you get the gist of what you can do with your timeline. You can basically put clips down. You can edit them. You can add transitions in the next video. I'm going to be talking about how you sync audio from multiple devices because when you're shooting video with a DSLR, as I mentioned, you typically will have to record audio with an external recording device such as a zoom H four n, and I'll show you a couple quick ways to sink that audio in Premiere Pro and using some other tools or really, whatever video editing application you're using, I'll show you how to sync audio, so enjoy playing with your video. I think the best thing to do now is just a practice editing practice, putting clips one after the other, adding transitions and have fun with it, So we'll see you in that next video. 69. Syncing Video and Audio Files for DSLR Shooters: in this video, I'm showing you how to sink footage within Adobe Premiere Pro so and also I'm going to be using a tool called Plural Eyes, which you can use to sink footage as well. So with this example, I have two clips, a piece of video and audio that were shot for an interview for a company that I work for. Now. I can't show you the video because the interviewer hasn't given me permission to actually show this footage in this class. But I can just show you the basic premise of how to sync audio using the audio clips. As you can see here, in my timeline, I have the two clips, So I dropped the video onto the first audio and video tracks. Then I dropped the audio file. That's mono 001 way file onto the second audio track to see the wave form of the audio for the video or the audio, you can just audio recording. You can double click this area right here, or you can click and drag up or down this little bar right here between the tracks. You can zoom in by pressing the plus and minus keys on your keyboard or by clicking and dragging this bottom little timeline bar down here. So one way to sync audio is to look at the wave forms and try to match them up. Now this is really hard. If you have a long audio clips like this one, it's not impossible. But it's not too easy, so there's easier and better ways to do this within Adobe Premiere Pro. One way is just by selecting both your clips right clicking and then going up to synchronize, it's going to ask you for what synchronize settings you want. We want to use audio for this one because it's going to compare the audio wave, frames weight form and actually match it up. Click OK, it's going to process it, and it's going to try to sync up the audio on its own. Okay, so it was actually very close to what we had. And so if you zoom in on your keyboard really far, you can see that the audio waveform matches and I can go in and delete the audio from this video clip, which is the bad audio from the DSLR camera. By selecting it and deleting it. You will notice that if you just try to click the audio, it automatically selects the video as well. You can either right click select unlinked, which unlinked the video from the audio and then delete it or with it linked, you can just hold the option or Alte on your keyboard and select either or and then delete . So now we have sink video with sync audio. Another way to do this is through plural eyes. So let me just open up plural eyes. Now, if I go in and to my finder and I find the audio in the video that I want, someone's going to use this mano one to the audio recorder. And then with the video, we will go to video and select this first track. So now plural Eyes has its own timeline down here, and it has a synchronized button. So you would put all of your audio and all your video on here so you can use it with multiple clips and then click synchronized. And there it goes and it sinks the audio. Then we would export this timeline. You can choose the editor so you can export for folic up Profile Cut Pro 10 Premiere Pro. You're going to use the final cut pro XML for a premiere, so just click export. We'll just save it to our desktop. It will finish it Now. If we go to our desktop, you'll notice that it has this XML file. If I drag and drop this onto my project window, it basically opens up. It creates a new sequence. If I open that sequence, I'm going to turn off the video for this clip. By clicking this eyeball and play through, You will see that it has the video and the audio sync, just like we set sync up the audio video here in our premiere pro sequence. Now we can just select the audio from the DSLR and delete it, and you'll notice it created the two audio tracks for both the DSLR camera and audio from the recording device. We can just delete two of those and one of the audio track, and then just now we have with one good audio sync up with our video. So that's how you sink video with the audio and the main thing the look back on is just rewatch it. Listen to it. When you have both the DSLR audio and the recording device audio, does it sound like it's inked up? You shouldn't hear any echo or reverb. And then, if you've shot video of someone speaking, look at their lips to see if the audio from the recording device syncs up with the lip movement of the person in on camera. So that's how you sync audio and video. If you have any questions, please let me know. I know this was, Ah, big lesson. And for those of you who are beginners, it's It was really quick. So hopefully either watching this over again or asking me questions will help you get through singing audio and video for your DSLR cameras. Thanks a lot, and we'll see in the next video. 70. Adding Titles: in this video, I'm going to be showing you how to add titles to your premiere. Pro Projects titles are a great way to add some graphics detail information to the videos that you're editing. Maybe it's a tattle card. Maybe it's a lower third with someone's name if you're doing an interview. Or maybe it's credits at the end of the video. A quick way to do that in Adobe Premiere Pro is clicking this new item button selecting title. You can name the tattle Say, Well, set. We'll call this one intro title and it opens up a window where you can edit your titles So it has text tools and all the different options for the text so I can just click onto the video so it gives you a preview of wherever you are in the timeline. So see, I go to this clip. It will show me that clip, but we want it to be over this ocean shot, which I thought would be a cool place to do a title. And maybe we'll call this Dan Diego Serfin. That's kind of cool, and we can go through and change the font up here. We can change it. However you want size appear with height style is basically the same options. You haven't like Microsoft Word. And then you also have these kind of funky presets down here. So say we want something that's really awesome. This looks like it was made in the two thousands. Ah, some of these you know, I would never use actually in my videos, but they're kind of a fun thing to start out with. And you can even add it them Over here, you can change the color of the Phil and the stroke and everything. So say you want a square or a rounded rectangle that goes behind my text. Aiken, click it and drag it. I can send it to the back of this frame so that the titles above it, Then we can go change the color with this color picker. Something like that. So you can add different. You know, different styles, different shapes, uh, kind of make your title super cool. However you want, you can do it with the tools that you have here. It's actually a very cool text editor. So anyways, you're happy with your title. You exit out of this window and your title is now in your window, your product window. We can now drag this inter title to a track. Now you want to put it on the track above the video that you want it to show on. So now I'm going to transition this onto the screen. So let's just do it standard wipe to this. That's pretty cool. I can even match that wipe up with this wave coming. So go where the wave is. I will extend or a short in this title make it a little longer, so it kind of comes on with that wave. So that's kind of cool. So there's lots you can do with the titles, but basically it's clicking that new item, but in creating your title with the title editor and then dragging it onto your video clip onto your timeline, putting above the video clip that you wanted to show on and adding a transition if you want . Okay, so that's it for titles and we'll see you in the next video 71. Exporting your Video for Sharing: Okay, So now that you have learned a little bit about video editing, adding titles, how to create new sequences, the video editing tools that you haven't Adobe Premiere Pro is timeto export. Now this is going to be very similar across all video editing applications. There will be an expert option, typically in the file menu. So you can see here that I've added a new titles. I've put together a bunch of clips. There is actually new music that I've added to this video. And let me just quickly show you a great place to find music for your videos. A great tip. Eso YouTube actually has a free music library. If you log into your YouTube account, which you have to create to use this, then go to your basically yours creative studio and then click this create audio library. But in you will find hundreds of songs that you can use for your own videos, and there's lots of good ones. There's some that aren't so great, but hey, it's free music. So now you're ready to export goto file export media in different applications that will just call because export video export quick time file or just export in Adobe Premiere Pro , a dialog box opens up with all the options that you have for video. Now there's lots of different options for formats and sizes. There's presets, which are great, and that's typically what I use. I just go to the preset for YouTube 10 and 80 Ph. D, which is HD quality for online viewing. But a quick rule of thumb for a great export to play online is to make sure that it's H 264 setting or format, which is a might be under quick time for you. But H 264 is the type of quick time format, and then for your size down here, you can change the size. Just choose 1920 by 10 80 For full HD. You can do 12 80 by 7 20 If it's a smaller video and you didn't shoot in 1920 10 80 HD up back up top. Actually, Con's choose where you want to save it, so I'm just going to save it to my San Diego folder. I'm going to create an exports, and I'll just call his V one. Usually, I just named my versions because Usually I have a bunch of versions, and that's pretty much it. If you want, you can go down to this bit rate settings, and you could change it to DVR to pass, which has a little bit higher quality. It's practically invisible. Teoh the naked human eye and then same with his target bit rate. If you want to decrease this toe eight, that will reduce the file size, which you can see here. The estimated file sizes. 50 megabytes if you choose 16. That's higher quality, so that might be noticeable to your naked eye. But if you really need Teoh, just get a small file size. Decreasing the bit rate is the way to go, and then you can either just click click export or you can click this Cuban. If you click you, it will take it over to Midi Media Encoder, which is another adobe application. The reason why you would want to use media encoder rather than just export straight from Premier Pro is it allows you to export but also work within Premiere Pro at the same time. So, for example, I do a lot of projects, including this course where I'm editing multiple videos at once. I have a bunch of different tracks and sequences that I've created that I can work on while I'm exporting the previous version. So immediate encoder. It will pop up and you just click this play button and it will export your video, and it will show up in that file folder that we designated it to export to. So that's pretty much if you have any questions, please let me know. I also have some other resource is on the video school online YouTube channel. So just search video school online on YouTube. And there's lots more great stuff for video editing in Premiere Pro. Ah, and also specifically for different ways to at export. So thank you so much for watching of you have any questions? Let me know. Otherwise we'll see you in the next video. 72. Course Project: Edit a Video Montage: Hey, everyone, and welcome to your very last exercise. I thought it would be a great lesson to end on by having you create a video montage of your own. So you're going to put together all of the skills that you've learned in this class from how to shoot to how toe edit your video and put it together in a fund montage. The theme could be anything of your choice. I just went on a family vacation to San Diego and got some cool shots around the beach. And so I put it together in a little montage that I'm going to show you in the next video. Usually I go through a little walk through of how to do this, but all of the lessons in this course will help you create a great video. Especially the previous lessons on editing will help you actually edit and export that video. Please, please, please. I would love it if you could post your video to the course page. So start a discussion, put your video up on YouTube or Vimeo and then share it a link or embed it to the course page so that all of us can watch your montages. So thank you so much for watching this lesson. I hope you enjoy this exercise. It's a biggie, but it's going to be worthwhile when you have a product at the end that you are proud of. Thanks for watching, and we'll see in the next lesson. 73. Exercise Example - Beach Montage: 74. Thank You: everyone fill here. I just want to take a moment to say Thank you so much for in enrolling in this course it really means a lot to me. And primarily, I just hope you learned a lot and enjoyed it. My passion is online teaching and video production, and putting it together in this class has been one of my favorite projects that I've worked on in the past, and so I really hope you enjoyed it. Please let me know if there's anything else that I can do to improve the course. And there's one thing that I have to ask for you. If you could please leave a review for the course, I would really appreciate it. I love getting five star reviews, but I just want you to be honest. If you don't think this class is a five star course, though, please send me a message and tell me, How can I improve it? How can I make it a five star course for you from here? Good luck with your video productions. I run a website, video school online dot com, which I'm sure you saw the little bumper or the little title on all of videos. That is my website where I teach online courses. I write articles about my own production experience, how you view tips about how to be a freelancer in the world of video production. And I also have lots of other free tutorials on there as well. So check it out. Connect with me. And I can't wait to teach you Maurin other classes on the website and on the YouTube channel, which I also have. So videos go online. Check it out. Please leave me a review and just thank you so much and go shoot some DSLR video. I hope you enjoy this course by