Transcripts
1. Introductory Video: Tell you why you
clicked on this course. You know that video is the
eighth wonder of the world, and you know that
right now you have the greatest tool of the
21st century in your pocket, and you want to utilize
110% of its capabilities. Now, here's the
thing. I'm probably the biggest videography
geek that you've ever met. I love content and video so much that I
literally invested tens of thousands of dollars in purchasing cameras and lenses, and I absolutely love using them. But here's
the harsh truth. My iPhone can produce
the exact same if not better video quality than all of the different
camera gear that I have. And your phone can do it, too. It's just a matter
of understanding some basic videography
principles and iPhone filmmaking tips and tricks that I'm going to be sharing in this
course right here. So in this course, I'm going
to show you how to shoot cinematic videos just
by using your iPhone. No gear, no crew, no expensive stuff,
just your phone. And in this three
hour master class, we're literally
covering everything around your iPhone
filmmaking potential. We're going to start
the course by analyzing some videography principles
such as resolution, frame rate, lighting,
and composition. Then we're going to
move into the different iPhone shooting settings
and how to make the most out of the build in camera app of your phone while
shooting video. And, of course, afterwards,
we're analyzing some of the best third party
applications that you can download to just enhance your video quality and make the most out of your iPhone camera. And, of course, we
couldn't conclude this iPhone videography master
class if we didn't have a completely free iPhone
video editing guide to conclude again this
course right here. So by the end of the final
lesson of the course, you will know exactly
how to produce and edit videos just
by using your iPhone. And trust me, the end
result will be insanely similar to having a complete
production with big cameras, lenses, and video
editing software. So, if there's one thing in
this world that I can call myself an expert in,
this is content. I've been a content creator
for the past five years. I worked with so many
different companies, produced commercials for them. I've taught more than 80,000 students with my courses
that I've produced in this awesome studio of mine
and have two YouTube channels with more than
160,000 subscribers. What I'm trying to say here is that I know exactly what it takes to produce awesome
and engaging videos, and you absolutely don't need anything more than
your phone so. This was the main motivator that made me want to produce
this course right here. To be honest with you, with
this course right here, I aim to democratize
video creation. I want to make filmmaking
accessible to everyone, because when I was starting
out five years ago, you really wasn't
able to produce this awesome content
with just your phone. But here I am presenting this opportunity to you right now, and it's honestly up to you if you're going to
take it or leave it. So if you're ready to turn your iPhone into a cinematic tool, I'm going to sing in the
first lesson of the course.
2. Your Class Project!: So much for enrolling in this IPhone videography
master class. I promise you that you
will not be disappointed. And in this first very
short lesson right here, I'm just going to be elaborating on the class project that you're called to complete
by the end of this course. So this class right here has a class project assigned to you and the class
project that I'm going to be assigning to
you is that I want you to shoot a small
edit by following, of course, the
IPhone videography principles that we're
going to be elaborating this course right here, edit this video by following the video editing principles
that we're going to be talking about in the final
lesson of the course and submit your edit in the
class project description. Right now, personally,
as your instructor, I'm going to be reviewing each and every single one
of your submissions. So by submitting
a class project, not only do you put all
of the knowledge, tips, and tricks that I'm going to be delivering to you in
this course to practice, but you can also connect
with me as your instructor. I'm going to have a
cool conversation, and it's just going
to be awesome, right? So, thank you very
much for being here, I'm really looking forward to
viewing your class project, and I'm going to see you in the first lesson of the course.
3. iPhone Videography Basics: Key Principles: So, welcome to the first
lesson of this course. Now, in this lesson right here, which I'm very, very
excited to produce, because I've literally
accumulated more than ten years of knowledge in
order to be able to produce the course in
this lesson right here. And I'm going to be presenting this new opportunity to you, which obviously you know about because you
enrolled in this course. But we're going to be
diving into more detail on how you can maximize
your reach and maximize your potential in this journey
of yours to understand iPhone videography and
iPhone filmmaking. So here's the thing. I don't
know if you know it or not. I don't know if you're a fan
of content or if you were a fan of content
before you found out about me or before you
enrolled in this course, but you need to know that you're very lucky because video, combined with the Internet is literally the eighth wonder
of the world, right? You might not know it, or this might be
completely accidental, the fact that you're
interested in video and potentially also uploading
your videos online, but it's literally the
eighth world wonder. We have companies
nowadays that literally hire 15 year olds,
right, not 15-year-old, but you get the point
very young kids that just shoot videos
and have accumulated an audience online just
from shooting videos with their phones and they're paying them tens of
thousands of dollars, right, because they managed to shoot the correct videos
with their phones, right, and have accumulated
an audience, right? The fact that you
can record, right? Images and videos of your
life and share them online, right, tap in this unlimited
leverage of the Internet. It's literally the
eighth World Wonder. Now, here's the thing. The timing right now to start creating videos
and start leveraging your videos and
maximizing your reach through the Internet
has never been better. Let me show you because
just like you're interested in understanding
iPhone videography, right now, I was interested in videography and filmmaking like
ten years ago, but ten years ago, you know, you would never see a
video with your iPhone. We would never consider
ten years ago, right, to use your smartphone
as your primary camera. We would, you know, would, like, shoot some random videos
with our smartphones, but would never consider to actually use them as
our primary cameras. So ten years ago, if you
were a dude like me, right? And you wanted to tap in
filmmaking videography and produce videos and potentially
also upload them online, you first of all,
needed a DSLR camera. And don't get me wrong,
understanding how to use DSLR cameras and how to shoot photos and videos
with DSLR cameras is, I think, still a very,
very important skill. But if you even wanted to tap in this unlimited potential of video combined with Internet, you needed a DSLR camera, which meant literally spending thousands of dollars on a DSLR body researching
the best DSLR bodies. And by the way, like there are so many
different companies, so many different models. Then you needed a lens. And it's not obviously
just one lens. It's multiple lenses,
understanding the theory of lenses,
different focal lengths, right, aperture, sur speed, understanding these
kind of terms, right? And of course, more
gears you needed, like tripods weights
to clean your camera. You needed audio, to
invest in microphones. You know, it was a huge
transformative experience to go through any huge amount of information to learn,
understand, and digest. On top of that, you need an
operating system, right? Because you know,
with your phone, you can now shoot
a video and then view it on your phone
edit it on your phone. But back in the day,
this was not the case. You needed an operating system. You need a MacBook or a PC, and you need to know how
to edit your videos. You need to understand
how to edit videos on Fil cad Pro or Premiere Pro or iMovie or other video
editing software. And again, these video
editing software still exist until this day, but you also have other, you know, potential
video editing software made for beginners because these are pro editing software that I was forced to learn
how to edit from, right? And of course, finally, you had all of these
files that were not even that compatible with
every device of yours, right? And they were so big, you
need to store them somewhere. You needed internal
storage, external storage. You need to research, again, multiple storage options
and all that stuff. Long story short, I have underwent this transformative
experience right here. I pretty much knew everything
regarding the SLR cameras, and I still know everything
regarding the SLR cameras. I know everything around lenses. I know everything around here, everything around video editing. And the fact that ten years ago, I was able to understand these concepts right here and apply to my videography career, in my career as a filmmaker, it was one of the best decisions that I've ever taken in
my entire life because I stepped in the eighth wonder
of the world ten years ago. And this again, completely
changed my life. I was able to
maximize my impact. I was literally able to
impact millions of people. I started my three
creative businesses. I started three e
learning businesses, actually, and before that, I was able to produce
commercials, right, for companies that would
hire me throughout the whole world just
from my bedroom, right? As like 18-year-old, you know, kid that just knew and understood how to capture
beautiful video, right? I managed to understand
the theory of lighting, the theory of
composition, right? And these are actually concepts that are
extremely useful. Nowadays, you're very lucky
because just with your phone, you can also, just like me, impact millions
of people, again, with your phone, you can create professional
looking videos with again, resolution and frame rates
that back in the day, you would need to pay tens
of thousands of dollars to have access to, right? Just to give an
example ten years ago, if I was able to shoot four
K, 120 frames per second, and I know that you don't
know what four K 120 frames per second is cause I'm going to teach
you in just a second. But if I told my younger
self ten years ago, that I was able to shoot
four K, 120 frames per second video with my phone, I wouldn't believe right? Because back in the day in order to shoot with this resolution, you needed a professional
cinema camera, and these were like $10,000
or something, right? So I was able you
are able now to shoot pro video, to
create pro video. You're able to start
a business again, just with your phone,
just with the content with the video of your phone. You have this
ability now, right? It's up to you to again,
cultivate this skill, understand the skill
set behind this, and this is what's happening inside of the scores right here. Now, with opportunity,
always comes some problems. And the problem that
you are facing right now is that access
equals to saturation. As you can imagine,
back in the day, it was there was so much friction in order for
you to become a filmmaker, in order to become
a videographer, in order for you to
produce videos online. There was huge friction.
You needed, again, to know these Lars, what is this lar camera?
How do you shoot video? What is a body? You needed money to invest to purchase
this year of yours. There was lots of
friction. That's why I started ten years ago. No one else was doing
it like ten years ago. Okay, there were people
doing it ten years ago, but like 1% of people that
are doing it right now. No I don't want to
discourage you. I'm just telling you that
back in there was friction, but with opportunity, right? Comes saturation. Many people are creating content right now, but do not get discouraged
from the statement. You're still very early on, extremely early on, right? So how do we solve this problem? How do we solve the saturation that has occurred due
to the fact that people have access now to production quality level of video
in their pockets. We solve this, right, by creating better videos. We solve this by differentiating ourselves
from the competition, regardless of if you want your videos or
regardless if you niche, it's like a niche that requires you to have perfect
videos, right? You can create the most
simple videos ever knowing some basic videography
principles to apply to your iPhone videography will take things to the
next level from your business and it will literally separate
you from competition. There are some
principles that I've learned through this
transformative experience of mine that I think that are the
most important things and really differentiate me from other people that are
the common creators. Those are smooth camera
movements, right? People don't know how to create
smooth camera movements, transitions, right?
What is the transition? How to create a transition?
Composition, right? The basic, again,
principles of composition. You need to understand this
in order to maximize, again, your reach with iPhone videography
and iPhone filmmaking. You need to understand lighting, right? What are lights? What is the best light? What is natural light? What
is difused light? Where should I place my lights? How to create a
small studio, right? Even if you don't want to
invest a single dollar, right? Resolution. What are
different resolutions? When should I chose the
highest resolution? When I should
potentially not choos the highest resolution?
What is frame rate? How does resolution
and frame rate dance together to create
a file, right? So I want you to understand
these concepts and finally pacing what is
pacing in my video, right? Pacing is a combination of pre production and post
production that leads to, again, obviously the
pace of your video. We're going to be discussing on a separate lesson regarding
pacing, right, storytelling. These types of principles apply to iPhone videography
and combined with the fact that you have
this ultimate machine in your pocket that gives you the ability to reach
millions, right? If you combine it with basic
videography information that we're going to be discussing in videography principles that everyone should know in
this course right here, you will be able to
achieve these results and differentiate yourself
from the competition. So this is what's going to be happening in this
course right here, and I'm very, very
excited to have you here. Now, in the next lesson, we're going to be discussing
about year and funny enough, gear is not only your smartphone.
Well, definitely gear. The only thing that you will
need is your smartphone, but there are also
some other things that you might consider having around to play with in this
course right here, right? So more information about gear and what you will
need to pull through with this course and absorb all the information
in the next lesson.
4. Gear Up: Must-Have Tools to Start Filming: So before we move with the
core videography concepts, we're going to be
elaborating on the next module of the scores, I want to record this quick
lesson right here to let you know of the gear that you will need to complete
the scores right here. Now, obviously, the only
gearpiece that you will ever need is an iPhone, right? This makes absolute sense. That being said, there
is some optional gear that you can potentially
invest in if you want to grow exponentially grow and elevate your experience
with iPhone videography. Now, I'm going to have a downloadable list from
this course right here with links that you can access and purchase all the gearpieces we'll be
discussing about. Again, in this
course right here, if I were you wouldn't again, invest in every single
one of these gear pieces, but check out which again, of these gear pieces fit
your shooting style, and potentially
you can check out the best value for money
options because again, I'm going to be elaborating on the most value for money gear
pieces, as well as, like, completely free gear piece
that you can utilize rather to scale with
your iPhone videography. Now, let's see, of course, you're going to need
an iPhone, right? Let's analyze the gearpiece. You're gonna need an iPhone.
That's kind of obvious. It can also work. Like this course also works with older versions of iPhones. But if you have, like,
a smaller version, an older version
than the iPhone ten, then, okay, I would
advise you to upgrade. That being said,
even if you have an iPhone eight and iPhone nine, this still works, right? But it's good for you
to have a better iPhone than the iPhone ten, right? Again, because we're going
to be using some apps, we're going to be downloading
to shoot videos and to edit videos that just run
better in your iPhones. That being said, like, again,
you can use this knowledge from this course
right here in every single iPhone that has
ever been created. But of course, in order to use the software that we're going
to be using in this course, you need just the better levels, the better models of iPhone. Now, here are some
optional gear pieces that you can also utilize. Again, the different categories that
we're going to be again, tackling are lights,
stabilization, audio, battery, and storage. These are the
different categories which you can
potentially invest, right, to purchase
some gear pieces. For example, in lights, right, you can invest in studio lights, which are subdivided into
softbox slides or LED panels, or you can also create
some lighting scenes with lights that are found in your apartment,
right, or in your house. And of course, you can also utilize the power of
natural sunlight. This is something that
we're going to be talking about in future lessons. In stabilization, you
can use tripods, right? You can use gimbals. Of course, these are
just different variation of stabilization factors, and you can also
create a logging setup with specific gear pieces that we're going to be
discussing about, right? Audio. You can have
external microphones. You can have shotgun
microphones. You can have tabletop
microphones. You can have microphones
that just clip on your clothes and you
have Chris audio without needing a huge setup. So we're going to be
discussing about this. Regarding battery, we're going
to have like a power bank, if you want to just increase the battery span of your phone. That's just one
limitation that you have when you're sitting
with your iPhone, right? The fact that you're limited to the battery life that
your smartphone has. And, you know, these things nowadays have good battery life, but if you have
cellular data on, and then you also have Bluetooth on and you're receiving
calls and everything you might want to consider investing in a Power
bank, of course, a long cable, if you're sitting
indoors and you want to create like studio setup
indoors with your phone, you need a long cable to just
have it races connected. So you just completely forget it and you don't need to
stress about battery. And finally, we
also have storage. Now, at some point you will
need to upgrade your storage. I remind you from now, right, there are two
ways to go with it. The first one is to
purchase Cloud storage, and your iPhone
will automatically upload all of your videos to your clouds you will
have like cloud storage. You don't need to capture storage from your phone and also what you can also do is have external storage connected
to your MacBook, right, or to your
operating system and just import videos that you shoot from your phone to your Macbook and then to
the external storage. Is actually what
I do. In general, again, this might have
sounded a bit complicated. Then again, shooting a
basic video on an iPhone, it's the most simple thing ever. We're trying to elevate
our experience. And these are
different gearpieces that we're going to be
discussing about in this, again, course right here
in the next lessons. So what I want you
to do is that every time that I mention a Garpiece a year
category, for example, in the lights lesson or the stabilization lesson
or the audio lesson, I want you just have a look for the best value
for money options in the downloadable gear guide that I have in the scores
right here. So check it out. And if you find a deal in there
or something that is very valuable and you feel
like it will just enhance your production quality and your production value, you can go ahead
and purchase it. If you don't, it's
completely fine. Again, there is no
prerequisites regarding year, and I'm going to be presenting
to you the best value for money options in
every single earpiece, as well as complete free
options to just again, replace all of these
things, right? So enough with this first introductory
module of the scores, I'm very, very happy
to have you here and let's move into
the second module. Let's dive into some basic
videography concepts, some basic videography
principles that you should know. And just by again, analyzing the next module and absorbing the information
we're going to be giving to you in
the next module, you will be 80% ahead of the
competition that you have and other people just don't know how to shoot videos
with your phones, right? So I'm going to see in the
next module of the scores.
5. Resolution Made Simple: 1080p vs 4K vs 8K: So, ladies and gentlemen, I would like to welcome
you to the first lesson of a second module of the course
in which we're going to be discussing about and
analyzing and understanding primarily some key iPhone
videography concepts. And to be more
specific with you, these are just some general
videography concepts that you should know in order to set correct foundation
to build up right in this iPhone
videography journey of yours. Now, in this first lesson, we're discussing
about resolution, and you might think if
you're a complete beginner, you might think that what am I not supposed to use always the highest
resolution possible? Well, absolutely not. This was actually one of
the first mistakes that I did as a beginner filmmaker. You know, I just
bought a camera. I had the opportunity
to shoot at four K, so I would literally shoot every single video
at four K. And, you know, back in
the day four K, there was like,
huge files, right? So I went out with my camera and in the first 5
minutes of the shoot, my whole storage was completely filled and
the shoot was ruined. So in this lesson right here, we're analyzing
what resolution is, how to calculate what resolution to choose in each
shooting setting, right? And at the end of this session, we're going to be transitioning to the
next lesson in which we're going to be talking
about frameworks which are, again, as important
as resolution. So let's now move
into understanding again resolution in
iPhone videography. Now, what is resolution? We've all heard of it, right, high risk cameras, HD, four K, eight K, but what
actually is resolution? Resolution is the
amount of pixels that make up a video frame. So each video frame,
so each picture, if you will, that is shown in your video is made
out of pixels, right? And thousands of pixels
or better to state, tens of thousands of pixels create these detailed images
that we see in video. To state it as
simple as possible, more pixels equals with
more detail, right? And usually, again,
we have pixels on the horizontal
axis and pixels on the vertical axis of our screen. And as you can see here,
the horizontal axis in horizontal video is obviously longer than
the vertical axis. And these are the so called
again, width times height. So you see the width is 1920, and the height is 1080. So 1920, which means
1,920 pixels, right? Times 1080 pixels is HD, for example, the
so called full HD, right, or ten ADP, as
you'd like to call it. Four K is 3,840 pixels, right? And that's the width of the frame times the
height, which is 2,160. Do not ask me why we call
it four K. It's actually not 4,000 pixels on
the horizontal axis. It's 3,840, but still. Now, eight k, which again, some smartphones in general
are able to shoot at eight K. You can see this
whole resolution right here is eight K. So 7,680 on the width, right? And the height is 4,320 pixels. So you can see the
difference between HD, four K and eight K. Those are the different
types of resolutions. And back in the day,
we also had 720 P, which means 720 pixels
on the horizontal axis. Right? Now you can
see right here, 720 P and back in the, we also had like 480 P, but it was like so, so long ago. So these are the
most common again resolutions that you can use. We have 720 P, that's so called HD, right? So it's 1,280 pixels
times 720 pixels, which obviously gives
you lower quality of video but very small file sizes. So you can literally shoot hours and hours
of 720 B videos, and you will not
captivate any storage. Usually security
cameras, you know, shoot at 7:20 P. You cannot
use 720 B for social media, and also your
smartphone does not sit at 7:20 P. It's
an old resolution. It's just for security cameras and that type of stuff, right? Then we have ten ADP,
which is full HD. So 720 P was HD, right? Ten ADP is full HD. And that's, like,
the most I said the gold standard for
most content creators. That being said, as you
know, technology progresses, resolution goes higher
screens are also able to display high resolutions a trust me, back in the day, you might be able
to shoot at four K, but there weren't enough screens to display four K. You need a four K monitor to display
4,000 pixels, right? So in general, ten ADP
also looks good nowadays. There's no problem
in shooting ten ADP. It is a standard,
the golden standard. And again, these files are
not that huge because, again, with high resolution
come, higher files. Then you have two K,
my personal favorite. We have higher
clarity than ten ADP, but of course, also a larger
file size than ten ADP. That being said, not as
large files as four K. Now, four K is ultra HD, again, we have 720 PHD, ten ADP full HD, then four K, it's the ultra HD. It's again, extremely
sharp, extremely crisp. We have all these pixels,
all of this detail, right? And it's also excellent
for post production. We're going to be talking
about this in just a second why we use four K video in post production if
we're going to be editing videos, right, heavily. And again, eight K iPhones do not shoot at eight K.
It is a huge overkill, and again, it just takes so much space to shoot at eight K. I'm sure
that in some years, iPhones will be shooting at
eight K. That being said, there is absolutely no reason for you to shoot at eight K at this point because the files are going to be just
so huge, you know, even if you could
shoot at four K. So these are like the
pros and cons of different resolutions.
We do not care. Lets say about 7:20 B. We never shoot at 7:20 P. The
debate here is whether you should shoot at ten ADP or four K, right? So
here's the thing. Again, if you're going to be shooting lots of videos
in your soot, right, or if you want to slow
videos down in which there's actually
another parameter that you can tweak which
are frame rates. Is going to be discussing
about frame rates in the next lesson, right? Ten ADP it's just a
great overall, right? So you don't, again, captivate that much
storage from your phone. And again, you also
produce great videos. If you want to focus
on detail rather than let's say volume of
videos, you can use four K. But again, it also drains
your battery more. That's also a condo you need to consider when you're shooting
with your phone that four K video also drains battery way faster than
ten ADB video, right? And again, these are the different locations
of each resolution. So again, ten ADP, we usually
use for YouTube videos. Again YouTube videos, most information based
YouTube videos, Instagram videos, tutorials, courses also are
sold at ten ADP. I shoot all of my
courses in ten ADP. And again, four K usually for more cinematic shots,
cinematic YouTube content. Or if you wish to crop in and punch in content later
on in post production. Because as you can see
here, for example, this is four K. And if
we shoot at four K, you can see that we can
punch in and just select a very small amount
of our screen. And even if we zoom in just this part of the screen
when we shooting at four K, it's still going to
be full HD, right? So what are the benefits
of high resolutions? Again, we can crop
without losing quality. We get to stabilize
our footage in post production just
by zooming in, again, zooming in is a way to provide stabilization and reframing
in post production. These are like, some
of the biggest pros when you choose to shoot at
higher resolutions, right? So why not shoot
everything at eight K? I think by now, you can
answer this question. File sizes increases
drastically, right, with high resolution. And we also have battery
usage and overheating issues when we're shooting at
four K and eight K. Now, with the rise of technology
in the next years, I know that this problem
is going to be solved. But for now, we have, and we're experiencing
these problems, right? We can't just effortlessly shoot with four K. To give an
example, my camera, right? It's a very expensive camera that I'm shooting
this course right here has the option to
shoot at four K video, but I just choose not to do so because I have a
controlled environment. I could shoot and ten ADP. Videos look video looks amazing. Then I have absolutely no
reason to shoot at four K. So even like professional
videographers, professional filmmakers, usually we take a step
back and we choose ten ADP rather than four K just due to the versatility of this
resolution, right? Again, if not, ten ADP with your smartphone,
with your iPhone, I would probably
suggest you to go if you have the opportunity to 2.7 K. I used to shoot so many videos at 2.7
K with my cameras. And if you don't have 2.7 K, you can't set your
phone to shoot at 2.7 K. You can choose four K.
It works completely fine. And honestly, if
you're not shooting just a huge amount of content, you just want to elevate
your videography experience, four K is going to be
the best option, right? Now, there's a
small problem here, and this problem is that, as I mentioned previously
in this lesson, there is another variable
that you should take into consideration when deciding which frame
rate and I'm sorry, which resolution to choose. And I think I spoiled it.
This is the frame rate. Now, frame rate and resolution
dance together, right, in order to create
your video and understanding the science
behind frame rates, and how to choose the
correct frame rate. It's very easy. It's not something hard, but it can help you
elevate your content so, so, so much, right? I'm going to give you
more information about frame rates in the next
lesson of the scores, but know that just with this
lesson and the next lesson, the resolution lesson
and the framewd lesson, you will have the correct
foundation to be able to choose your video setting correctly according to every single
one of your suits. And again, what your preferences are regarding your iPhone
videography journey, right? So thank you very
much. I'm going to see you in the next lesson, what's going to be
the framewd lesson.
6. Mastering Frame Rates: Pick the Right Look: So at the end of the
previous lesson, I disclosed this
information to you guys. You probably know
this already, but resolution isn't the only
thing that makes up a video. There's actually
another parameter that influences both storage
and battery life, but more importantly, the wheel your video looks,
and this is frame rate. Now, the concept of frame
rate isn't hard to imagine. It's straightforward
about you understanding some basic information
that we're going to be elaborating on in this
lesson right here. But, trust me, knowing how to combine frame
weights and resolution, which by the way we're going
to have a complete lesson on this after this lesson
right here is going to completely transform
the way that you visualize your shots and you shoot video
with your iPhone. Now, a small parentheses before we start
action right here. IPhones nowadays, right? You shoot videos, you do not
care about the frame rate, you care about the
resolution, right? You just click
Record and you start recording video
horizontally or vertically. And iPhones kind of automatically adjust the frame
rates and the resolutions to just the best possible
image at that certain point. So they optimize to show you
the best lighting, right? And just the best image quality. If you understand the principles behind frame rates and
behind resolutions, you will be able to tweak these video settings
in your iPhone, right, and just gain complete manual control over
all of these parameters. And this will obviously
unlock a creative aspect and give you just more possibilities with your videos because
at the end of the day, you enrolled in this
course to learn, again, more things about
iPhone videography and actually exactly what
I described right now, unlock this full creative
potential of yours. Even before you enrolled
in this course, you knew how to
take a simple video with smartphone right
with your iPhone, but I'm here to show you again, how to unlock your
complete potential as a filmmaker with your phone. So let's now in
this session right here, understand frame rates. So what is a frame rate? To set it as clear as possible frame rate is just
the number of images that are captured every second during your video. So let's
take a step back. What is a video?
It is a series of images played just fastly. Now, a video usually 1 second of video contains at
least 24 images. So 24 consecutive images. And this is Atena did
what a video camera is. It's just a camera that takes lots of pictures without
making this click sound, right, and just
plays them together. This is a video, right? And again, video is measured
by frames per second or FPS. Anything less than 24 frames per second will seem
laggy, will seem choppy, because the human eye is designed in a way in
which it can only comprehend 24 or more
frames per second. Anything less than 24
frames per second will, again, feel choppy, it
will feel laggy, right? Now, here's the thing
with frame rate. There are many
different frame rates. We got 24 frames per second, 30 frames per second, 60, 120, and the different frame
rate selection impacts the smoothness of our video and the cinematicness of our video. Of course, on top of that, they also impact in the
case of our iPhone, the battery and the
storage of the iPhone. So why do frame rates matter? Again, different frame
rates give different styles to your video and set the style and the tone, right
of your video. There is one thing that you need to understand in this
session right here, which is called
motion blur, right? And what motion blur is is, as you can see right
here, for example, in the right side of
the screen, you can see this tennis ball has this
motion blur behind it. So obviously, this was a
tennis shot, for example, this is an example of a tennis shot moving
from one field, right, to the other, from the first side of the
cord to the other. In here, it is shot
with a low frame ridge. It's probably like 24 or
30 frames per second. And due to the fact that
the human eye again, comprehends only 24
frames per second, the human ball, this
ball right here, the tennis ball, Again,
has motion blur. Here, in this case, for example, it's probably shot at
60 frames per second, you can see that we have
multiple tennis balls, again, that you can see without any
motion blur because again, the frames in that
second tennis ball passed were captured so fast because there
were 60 of them, right, that you can't even
see the difference, right? And here it's something
between probably 24 or 60 or this could be 120, and this could be 60,
something like that. I'll give you more
examples in just a second. So these are the
common frame rates and where you should use them. So again, as we elaborated
on 2 seconds ago, we have four major frame rates. We got 24 frames per second,
30 frames per second, 60 frames per second, and 120 frames per second.
Now, here's the thing. In an ideal world,
all of our videos, we would like to have them play back at 24 frames per second, because this is the natural
frame rate of the eye. The human eye doesn't view
at 30 frames per second. It views 24 frames per second. So again, if we're filming just basic videos or
basic YouTube videos, and we want a natural
motion cinematic view, we film at 24 frames per second. Now, if you want to add
a bit more smoothness, so we don't have
that motion blur, you can see this is the motion blur that
I'm talking about. For example, me doing
my hand like this, you can see in this
video that I'm doing my hand like this that you can see just a trace a
trail of my hand. This is because I'm
shooting this video at actually 24
frames per second. If you shoot at 30
frames per second, it won't make a huge difference. In general, I never shoot
at 30 frames per second, but you can also use
this at logs interviews, like content because I guess
it is a bit more smooth. In your case, I wouldn't
actually recommend this. If you're filming
interviews and content, I would do just 24 frames
per second, right? Now, here's the fun part. Can you imagine when we would
use 60 frames per second? So when we would shoot video
at 60 frames per second? Let me tell you,
we shoot video at 60 frames per second that we're aiming to slow down, right? Because if we slow down a video that is shot at
60 frames per second, we slow it down
two times, right? So 50% slow motion we
apply to this video. If we do so, then we have 30 frames per second for a double sized video.
Do you get this? So we have a let's say ten second video that is shot
at 60 frames per second. If I slow it down twice, it will become a 22nd video
because we prolong it, we slow it down by two times. So it's now a 22nd video, but the framers
also divide by two, because we prolonged it again.
We slow it down by two. It's a 22nd video shot
displayed, sorry, at 30 frames per second and 30 frames
per second just because 30 frames is above the threshold that the eye can see which is 24
frames per second. This is how we can view
video that is slowed down twice as much and it's
still smooth, right? And the same applies
right here to 120 frames per second in
120 frames per second, you can slow down your
video four times. Right? You can slow on
your video four times. And even if we divide
120 with four, it is still 30
frames per second. So we can slow video that is captured at 120 frames
per second, four times, and still each second
of our slow down video, we're going to view video
at 30 frames per second. So we can, again, satisfyingly slow
down four times, video that is 120
frames per second. If we try to slow
down four times, a video that is shot at 60
frames per second, guess what? We're going to have
like 11 or 12 frames, and I'll get a map,
something like that. Per video, let's say
15 frames per second, right, which is not enough. Again, satisfy the threshold
of 24 frames per second, which is at least the amount of frames per second that
we want to see, right? As humans in order for a video
not to feel choppy, right? Do not worry if you
didn't really get this. It is a hard concept
to understand. I'm just giving you
the facts here. So when do we shoot at
120 frames per second? If we want slow motion? Slow motion video is shot at 120 frames per second,
60 frames per second. Again, okay, let's say so 60
frames per second is like slow motion and 120 frames per second is super slow motion. Because at 60 frames per second, again, you can slow
it down twice, 120 frames per second, you can slow it down four times. So let's put things
again into perspective. This is 24 frames per second. It's a cinematic standard. These shots right
here, for example, in which you have someone
the main character, again, walking, and it's
a stressful shot and the camera is shaky, right? You can see that we want this
24 frames per second look because we want to add
motion blur and action. It's the best for storytelling, short films or cinematic viral. Right, then we got 30
frames per second. It's good for online content. It's a bit smoother than 24 frames per
second. It is true. So if you have the
option to shoot at 30 frames per second and you want to do this
rather than 24 frames per second, I'm
completely good with it. Do not have a problem
by doing this. Keep in mind that as
frame rates increase, so does the storage of
each one of your files. So the files become heavier. As you increase the frame rates, this makes absolute
sense because suddenly your camera needs to capture 60 frames per second
per video and not like yeah, 60 frames per second and
not 24 frames per second. So it's like bigger files. I need to keep that
in mind, right? But in general, yeah, if you're a conjugator and you want to shoot videos for conjugation, absolutely, do 30
frames per second. Then we have 60
frames per second. Again, this is for
smoother action. Again, if you want to slow your videos down at
least 2% two times, so 50% slow motion application, six frames second is
good because again, each one of your videos is going to have 30
frames per second. We just slow it down
twice. So again, slowing down footage
in post production. Amazing. You can this
six frames per second. And regarding 120
frames per second, we're talking about
creative slow motion, slow motion, again, slowed
down by four times. So again, shoot slow motion, wouldn't play back at 24
or 30 frames per second. This means that you have
slowed it down four times. It creates battery, smooth, super slow motion video. So if you want to
emphasize action, emotion, transitions, you use
120 frames per second. Again, just to recap, if we're shooting cinematic
viral and we don't, and we're not planning
to slow it down, that's the most important thing that you need to take
into consideration if you are going to be shooting with a
certain frame rate. If you're not planning
to slow the video down, shoot 24 frames
per second, right? Shooto 24 frames per second.
That's the best thing. If you are considering
at some point, to slow one of your clips down, then shoot at 60 frames
per second, right? And if you know that
this video that I'm shooting right now is
shot to be slowed down, then change to 120 frames
per second, by the way, in order to change to
120 frames per second, you just click on slow
motion video on your iPhone. It's going to automatically be shooting at 120
frames per second. Right? Do you understand this? So again, if you know that you're not going to be
slowing your video down, shoot at 30 frames per
second, 24 frames per second. If you want a good
overall setting, which is going to take more
battery and more storage, but at the end of the
day, you can slow down any clips you choose
in post production, then shoot at 60 frames
per second, right? If you know that you're going to be slowing down your video, shoot at 120 frames per second. It's going to give
you this ultra slow motion feel, right? So mixing frame rates is a good thing that you can apply
to your video production. I'm going to talk about
Pros production later on in this course
right here, right? But you can actually mix the
frame rates in a timeline. But of course, if you do so, you need to match your
timeline to your final output. So either 24 frames per second
or 30 frames per second. And keep in mind that
even if you have sad video at 120
frames per second, at the end of the day, we want the playback frame rate to be the same as our
whole timeline. I don't know if you
understand the words timeline and all these keywords,
do not worry about this. In future lessons, everything is going to make sense, right? A final tip here, if you want to use higher frame
rates footage, use it to slow them down to normal frame
rates afterwards, not regular playback, okay? So takeaways. Again, 24 frames per second, cinematic
shots, storytelling. If you know that you're not going to be slowing
down your video, it's a perfect frame
in my opinion. 30 frames per second is a bit more smoother than 24 frames. You can see that
we're just having a six frame per
second difference. So it's not that crazy,
great for everyday content. 60 frames per second is
for smoother videos if we are planning to
slow some of them down and 120 flat
frames per second. We're talking about
creative slow motion. So we're literally talking
about you shooting a video just because you want to slow
it down in post production. Now, we've discussed
about resolution. We discussed about
frame rates, right? You know some stuff
about resolution and you know some stuff
about frame rates. Now, let's elaborate
on how we can combine resolution and frame
rates and how we can understand what is
the best setting, the best video
setting for our case. That's what's happening in the
next lesson of the scores. And by the end of
the next lesson, you will know exactly how to choose the
correct resolution and how to choose the
correct frame rate for your case, right? I'm very happy to have
you here. I'm going to see you in the next
lesson of the scores.
7. Frame Rate vs Resolution: Find the Best Combo: So we talk about frame rates. We talk about resolution. We discussed about
these two concepts that make up the video
of yours, right? And now it's time
to talk about how to combine these two, right? How do you visualize,
for example, in each different scenario that you're going to
be shooting video? For cinematic shots,
for sport shots, for log shots, for
studio shots, right? What is the correct, let's say, combination of a frame rate and the resolution that
you're going to be choosing? Because again, we have so many
different options, right? We can choose each resolution
with each frame rate. So let's talk about in
this session right here, how to choose correctly
your resolution and your frame rate
for your video. So again, videography
is an organic thing. It's not just one again, preset for every single
occasion, right? And we need to understand how to combine resolution
and frame rate. So these two settings
work together to obviously shape
your final video. And your goal here is to balance quality,
style, performance, and obviously not to compromise your battery and storage space in your phone that's also
very, very important. Again, a friend of mine, we
shot a video together, right? And I shot it with my camera. Okay, obviously go have cameras. Like, I'm a full
on videographer, but he shot with his iPhone, and he was always shooting at four K 60 frames per second. And I told him, like, Dude, are you planning to
slow these clips down? Why are you shooting
four K six frames per second? I don't know. It's just the best frame rate
and the best resolution. I don't care. And I was like,
Okay, cool, how many video? How many gigabytes is
each one of your videos? He's like, 2 gigabytes and I'm always out of
storage on my phone. So that's the worst
thing you can do, right? So the right combination
will equal with better storytelling and smoother post production
experience, right? So let's do a quick reflechoner of what is resolution,
what is frame rate. Again, Resolution is the
detail of your image. For example, at four K, we have almost 4,000 pixels on the horizontal
axis of your frame. More pixels equals
with a sharper image. Frame rate is the motion, right, the motion feel that
your video gives, and we have 24
frames per second, which is the threshold that
the human eye views video. Yeah. So 60 frames per second is a smoother frame rate because we can slow it
down if we want to to. Again, if we slow it down, 50%, we have a 30 frames
per second video. So what are the key
considerations we need to understand when combining
frame rate and resolution? So first of all, storage, we
talked about this, right? Higher resolution and
higher frame rate will equal to a large file size. And these file sizes
can grow exponentially. Trust me, you do not
want huge file sizes, right? You might
not care right now. You might want only
the best quality and the best frame
rate available, but trust me, I've been doing
this for so many years. I know how big of a painting the ask can
be if we have, like, huge file sizes in our
computer in our phones makes everything slower
for absolutely no reason. The second one, which is
something that we haven't mentioned up until this
point is lighting. Higher frames per second require more light to hit the
sensor of the camera, right, in order to
avoid dark footage. So if you're shooting at
higher frames per second, right, just to give
you a small example, imagine that your camera,
let's say you have a camera, not a smartphone, right,
your camera needs to shoot only 24 frames, it needs to close the shutter
only 24 times in 1 second. This means that it doesn't
need to go that fast, right? And the shutter can take
more time to close, which means that more light
will enter the sensor. That's at 24 frames per second. If you're sitting at
120 frames per second, you can imagine that
we need 120, right? So 120 times the shutter needs
to close to take an image. And obviously, due
to the fact that the shutter gets so much faster, while obviously shooting
120 fings per second, this means that light doesn't have that much
time to enter the sensor. This is why in general, slow motion video tends
to require more light. You can test it out
yourself with your iPhone. Should a slow motion
video indoors. And what you will see is
that it's going to be very, very grainy if you don't have
amazing indoor lighting. And this will happen
because the phone actually introduces artificial lighting
to light up the scene. And this is called ISO. We're talking about
ISO in the next module of the scores right here in
the lighting section, right. But for now, know that just higher frame rates
require more lighting. That's why we usually shoot higher frame rates
slow motion events, for example, slow
motion sporting events. So again, we might also have
some device limitations. At the end of the day, not
all phones shoot at four K, right? 60 frames per second. So four K 60 frames per second
is let's say, the average, good resolution and
good frame rate that most people know and use, but it's not always
the best one, right? So let's take the
scenario, for example. Let's say that you want to
shoot a cinematic short film. So a goal is to have a story
driven emotional film look. What did we talk about
in the previous lessons? We talked about being having 24 frames per
second as the threshold. Again, most basic frame
rate for cinematic shots. And again, of
course, now you have only 24 frames per second and you're not messing
with 60 frames, 120 frames per second, you can have four
K. So four K and at 24 frames per second is a good combo if you're
shooting cinematic shot films. I want you to screenshot
the slide right here, and I want you to
note down that, again, if we want to shoot
film look, for example, normal storytelling
with a high detail and a natural motion blur right give this
cinematic filb video, we shoot at 24 K, sorry, at four K, 24
frames per second. If, for example, now
we want to shoot a YouTube tutorial or a log
in which our goal is just clear and engaging
content without crazy visuals and without
crazy clarity and sharpness, we can definitely also
shoot at ten ADP, 30 or 24 frames per second. You do not need four K. Did you see the introduction
of the station right here? To give an example,
this whole course is shot at ten ADP, right? My camera has the
opportunity to shoot at four K. I have the lenses, I have the lights,
I have everything. I have the opportunity to
shoot at four K. But I don't shoot at four K
because it doesn't serve me. At this point, it really
doesn't serve me, right? So Again, if you're shooting a YouTube video or a YouTube tutorial and
everything is, like, controlled in a
controlled space, right, you can definitely shoot at
ten ATP 30 frames per second. You can also shoot
at four K 30 frames per second. It's fine, right? And again, we balance
smoothness and clarity without
large files, right? Now, if in the next scenario, you're shooting like a
action scene or sports, what we want to achieve
here is we want to capture every moment crisply. This means we have
moving subjects, right? We have lots of lights probably because this
happens, you know, sports and action
usually happens outdoors with lots of sunlight. So then, definitely, yeah, shoot at 60 frames per second. If you're optimizing
for crazy visuals, then yes, shoot at 60
frames per second. If you're shooting
action, again, 60 frames per second could be the way to go
because you can also slow it down in post production two times and it's
going to feel normal. Okay, so again, ten
ADP at 60 frames per second or four K at
60 frames per second. Why? Because we reduce
motion blur, right? Which by the way, motion
blur can also be cinematic. We want motion blur
in cinematic cases. But at this case,
sure you can reduce motion blurring and
also looks clean and smooth if you're
shooting sports. So if you're shooting
sports or action, again, ten A DB or four K depending on how much
storage you want to sacrifice at 60 frames per
second would be great. Now, for creative slow motion, if you want this dramatic
or dreamy effect that slow motion gives, we're obviously prioritizing
higher frame rates, right? So 120 frames per second that will be slowed down
in post production. That's why we're
shooting at 120 frames per second in the
first place, right, because we want to
slow it down in post production. So
what do we do here? 1080 P or four K at
120 frames per second. And chances are that your
phone is not able to shoot four K at 120 frames per
second or, you know, you might have the
latest iPhone, which then you
can, but trust me, four K at 120 frames
per second are huge files, huge files, right? So it's going to be a pain
in the *** for you to transfer all these files.
I wouldn't recommend this. If you're shooting at
120 frames per second, I would recommend 1080 P. And why do we shoot at
120 frames per second? When we're capturing
creative slow motion video? We do this because, again, super slow motion
captures detail, again, in this great dreamy
cinematic effect, right? It's actually very
interesting to shoot slow motion
video. I love it. But you need light,
right, and remember, it is associated with higher
file sizes. All right? Now, if you just want to shoot the video
for social media, which 90% of you guys, that's why you
want to understand better iPhone
videography, right? What I would suggest
is either ten ADP or four K at 60
frames per second. Right? Now, in this
slide right here, I've mentioned ten ADP at 30
frames per second, right? But you need a good overall, let's say, a good overall resolution and
frame rate, right? I want you to sit down
and think to yourself. What do I prioritize? Am I shooting, for example, outdoor content in which
sometimes some cases, I would like to slow
things down two times? Or do I want to
prioritize, for example, just my videos being
crisp and having the best video quality without needing to slow
down my videos, right? If you are, in general, an arounder and you're
also shooting outdoors, you might want to slow
things down sometimes, then shoot ten VP 60
frames per second. If you just want to
optimize for beauty, then shoot four K 24
frames per second, right? So final pro tips before we end this lesson on how to combine frame rate and
resolution, right? If your phone supports
it, supports it, again, you can shoot at four
K 60 frames per second. This also gives you the
flexibility to crop the video or slow it down
later on in post production. That being said,
because in this case, you also have both
crisp, again, video, and you can also slow it
down in post production, but this will be associated with larger file sizes, right? On top of that,
you want to match the resolution to your
editing devices capabilities. You will not probably have a
problem with this and always test different combinations in your actional
environment, right? So don't just choose one combination and go with it for the rest of
your life, right? Just experiment with it and see what fits and what
doesn't fit you. So this concludes the lesson on how to combine frame
rates and resolution. What we're going to be
talking about in just a second is the gear, the essential gear that you might want to invest in, right? For your mobile filmmaking. So in the next lesson, we're going to move actually to the next module of the squares, in which we're going to be
talking about gear, right? In the beginning,
we're going to be talking about some
stabilization, again, gear that
you can utilize. And then we're moving to the different lenses
of your phone. You obviously do not need
to purchase more lenses. You already have these
lenses on your phone, we're going to be
discussing on how to use the different lenses on your phone and when to use each different
lens of your phone, the widening lens, the
normal lens of your phone, and the photo lens that your
iPhone also probably has. So more information about gear in the next lesson
of the squares.
8. Tripods & Stabilizers: What to Use and When: So, welcome to the third
module of the course. Now, in this third
module right here, we're going to be
discussing about gear surrounding your smartphone. And more specifically, we're going to start this module with this lesson in which
we're going to be discussing about
stabilization. Now, there are multiple ways to stabilize your footage
outside of gear, and we're going to be
talking about these ways in the shooting
module of the course. For now in this
action right here, we're going to be
mostly focusing on the external
accessories or the gear that you might be interested to consider investing in if
you're interested again, see which, again, gear
pieces apply to your case. And again, I'm going to
be introducing you to every single stabilization related garpiece that
you can check out. And see if it serves
your purpose, right? So thank you very
much for being here. Let's start with this
lesson right here. So tripods, gimbals,
and stabilizers, when and why should we use them? Let's start with analyzing
why stabilization matters. Now, obviously, we know that if not the most important thing regarding video is having
stable footage, right? It gives us this professional looking video we're looking for. And again, no one
likes shaky footage. Only some weird filmmakers
that want to use again, want to introduce
motion and shakiness to their shots in order again to make their videos
look more dramatic, but no one likes shaky footage. All right? So stabilization
prevents shaky footage, which just distracts the visual and subtracts
from our story. So we want to keep the
focus on our subject, and, of course, keep the story smooth and that's what
stabilization does. It enables smooth movement
and creative angles. Now, there are three
major stabilization tools that we're going to be
analyzing in this session right here, and at the
end of this lesson, I'm also going to
be talking about an additional stabilization
tool that you can utilize and I have
been using for so long. It's so, so cool. So the first tool is
obviously like the tripod, right, a normal tripod there
are tripods for iPhones. These keep the phone
completely still. It's used for talking
head videos just like this one right
here, for interviews, for time lapses, for
shots in which you do not want to introduce
any motion whatsoever. You just want to have your
camera stable somewhere. Tribos are awesome for that, and iPhone tribos
are also extremely, extremely cheap, so you won't have a problem purchasing
one of them, right? Then we have gimbals,
and gimbals, actually, are very
interested pieces of year. They actively stabilize
your movement. So you will see what gimbal is. You hold the gimbal pretty much, and it just stabilizes on three axes your phone
so you can walk. Again, while having stable
footage, you can talk. Again, as you're walking
while having stable footage, and you can also have those
cinematic motion salts which are absolutely awesome. Then finally, you can also have a handheld stabilizer, right? Those are not, let's
say, motor operated. They minimize the
shake just manually, and of course, they are budget friendly because
we don't have batteries, don't have motors
to stress about. I just an optimal way to
shoot with our phones. Now, another thing that
I need to state here, right, is that if you
want more stable shots, you should really try
yourself to again, practice holding your phone
more steadily, right? I don't want you to
have jitterys hands, and this is something
that you can practice. So make sure to practice, right, holding your
phone more steadily. Now, let's talk about again
the tripods in more detail. This is the classic
stability, we know tripods. If we're going to again, appreciate videography
more and if we're wanting to dig deeper
into videography, purchasing a tripod
and investing in a tripod is the
first investment and the most important and
easy investment Honestly, they're used again for talking to camera content,
just like this one right here, I have my camera on a
tripod for product demos, again, if you're doing
product videography, you can just stabilize
your phone on the tripod and showcase the product
for time lapses, which are these videos
in which clouds and time moves fastly. And you can choot time
letters with your phone. Zoom calls, obviously, again, if you want to, like, you know, do Zoom calls from your phone, you do this with a tripod.
Simple, affordable, reliable. They are kind of big in volume. You need to carry them around if you're
******** outdoors. That being said, I would definitely invest in
tripod if I were you. And again, in this crosed here, I have a complete list in
the description of all of the resource and
all of the gear and the best value from money
gear that I would suggest, so you can check
out and potentially purchase a tripod from there. Now let's move to gimbals, and I have a mixed
relationship with gimbals. What these pieces of gear do is that they
use motors, right? So they have a
battery inside and everything to
stabilize your phone. Now, the cool thing here is that these gimbals also act as battery banks to
your phone because your phone usually connects this gimbal from
the power source. So it is a way to solve the battery issue of your phone if you're shooting
with a gimble. Now, if you use a Gimble, your shakiness is
100% diminished. Like, you won't
have shaky footage. You can ride a bicycle,
you can ride a skateboard. You can run while
using these gimbals, and you will have insanely
steel footage, right? So again, walk and talk logs, cinematic viral if
you're shooting. If you're trying to
follow someone smoothly, gimbals just work awesomely. You also have some integrated
buttons as you can see here inside of the gimble in which you can directly record. Again, without needing
to tap on your phone, and with this joystick,
you can turn your phone to view on the left
or to the right. Now, here are some problems with the Gimmals you might
need to consider. The first one is that
they're kind of expensive. Like, they're more expensive
than tripods, right? So you might want to take
this into consideration. The second one is that
they also take up space, and they are pretty fragile. So you don't want to
be dropping them and stuff because they
have, like many motors, and they also need to calibrate before they
can support your phone. So they are kind of sensitive. These are not the best if you're shooting action sports, right? So I want you to
keep this in mind. That being said, gimbals are the way to completely diminish shakiness
from your videos. If you use again one
of these gimbals, you will just not
have shaky footage. It's as simple as that, they're the best solution to diminish shaky and have the best cinematic and stable
footage possible, right? If you don't want to
invest in a gimble, but you still want
some stabilization, you can use a handheld
stabilizer for your phone. So these, you know,
they don't use motors, they rely on physical
balance of your hands. You can clip other stuff inside of this on top of
these, you know, hand stabilizers, like lights,
microphones and stuff. They're just a budget friendly
alternative to gimbols. That being said, again, if you're not going to
invest in a Gimble, I would suggest you to
invest in a tripod. And if you don't want
to invest, again, on some sort of stabilization metric as well as
handheld stabilizers, just go ahead and practice
holding the phone by yourself, practice, you know,
keeping your hands stable. It's very important to have
this skill set, right? So, here are some
pro tips for you, right? You can combine. Tripod shots and gimbal shots to achieve hybrid again shoots. So again, while having one phone on the
tripod and one phone in a Gimble or switching your phone from a
tripod to a Gimble, you will add this visual variety that really enhances your
video in the long run. On top of that, most
of tripods that are made for iPhones come with
Bluetooth three mode, right? So with these Blue three modes, you can simply have your
tripod somewhere else, and you can click on record, Stop recording, record, stop
recording without having to go to your phone and check your phone
out every single time. That's a huge plus. On top of that, you can also stabilize in pre production
as we're doing right now. So this is pre production or at least production
right of the video. We're stabilizing with gimbals
during the production. But there's also a concept of stabilizing videos
in post production. We do this while utilizing the computing power of these video editing software, right? And the free video
ding software we're going to be elaborating
on in this course right here has the ability and the potential to
stabilize your videos, again, in post production with its artificial power, right? Finally, please
practice movement. Even with a Gimble, your
walking style matters. I want go ahead and practice shooting
videos while walking, keeping your arms
hands steady, right? I come from a generation of videographers in which
we used to shoot our first videos with
cameras that did not have building
stabilization, right? And these phones of ours, iPhones right now have
building stabilization. Their sensors are stabilized. So they diminish,
again, shakiness. But I come again from a point in time in which these cameras
didn't have stabilization. And I just needed to find a way to just create smooth footage
just by holding the camera, handheld smooth footage.
And I did this. And on top of that, I understood all the ways that I can stabilize
my footage organically. For example, punching
out wide angle, shooting wide angle videos is a way to stabilize
your footage, right? So all of the stuff we're gonna be discussing later on for now. Let's talk about, again,
stabilization gear. This piece of gear right here is actually the
best of both worlds, and I've recommended
the gollla pod to so many people and they find so much value into this
piece of gear right here. This thing is called a Gorilla
pod, and the Gilla pod, the best company that you can purchase a gollla pod is job, so this is the Job gorilla pod. And the cool thing with
the job gollla pod is that it acts as a tripod. So you can set
down on the floor. It acts also as a clamp, because you can clamp
this on a tree. You can clamp this whenever you want, right? Whereever you want. And it also acts as a small
handheld gimbal, right? So you can practice and actually tune the
gorilla but in a way in which it just gives you more stabilization
while you're shooting. So this it's also
compact, pretty light. It's a bit more expensive than a normal tripod but still
it's worth the investment. I would 100% check this gorilla
boot out if I were you. And again, if you're
shooting a variety of shots. So, for example, talking
shots, logs, outside shots, you know, all that stuff, a
gorilla bot would be very, very awesome for
you to check out. Now, it's important for us to mention before I'm done
with the session right here that modern iPhones have awesome build in
stabilization features, right? And even if you don't purchase any of these
stabilization, again, years that we talked
about, right, gimbals, external gimbals, Gorilla pods, you
will still be able, you're still able to
produce awesome videos with your smartphone just by
hand holding it, right? It's possible, right?
It's possible. It's something that
you can train. If I saw the scores three
years ago, four years ago, five years ago, I would be like, you need some way to
stabilize your phone. Phones don't have good
stabilization principles. But at this point of time, and I know that technology
moves forward and new phones will have better building stabilization, right? Trust me, from this son d here, if you're not very serious
or shooting, like, very serious action shots, right, you probably don't
need to purchase a gimble. A gorilla pod would be cool. A tripod, you should
definitely purchase. Like, you need to have a
tripod if you're more serious, you know, in upgrading your
iPhone videography skills. And most importantly,
like, a tripod is cheaper than this course you
purchased. Right here. So invest in a try
but that being said, before you invest on a
Gimble, for example, try to understand how to hand, how to shoot handheld
with your phone, right? I needed to add this slide in this point of the structure because you need also
to understand that, again, we have awesome building civilization in
our phones, right? So let's do a small recap. Use a tripod if you want locked, consistent,
reliable shots. Use a gimble if you want more dynamic, cinematic
moving footage. And, okay, videos you can take with gimble are
absolutely breathtaking. I had a gimble for my cameras. I had a gimble for my phone. I have friends that shoot professional videos with their
phones with their iPhones, and they use gimbals
in every single shoot. You will get it's
like pay to win. Gimble is pay to win, right? That being said,
you can also use a stabilizer, just
a gorilla bolt. And again, there's always the right tool for the
shot that you want. That being said, I want you
to promise me that you will practice hand holding your phone to create stable videos
because you never know, when you want to capture video, but you don't have a
stabilizer, right? So, this was the lesson
around stabilization, and the first lesson of the second module will be dscussing about hardware of
the phone and gear. Now, in the next three
lessons that come up, we're going to be elaborating on the three different
lenses of your phone, the wide angle lens, the
normal lens of your phone, and the telephoto lens. Trust me, the information that I'm going to be giving
to you in the next lessons, it's going to be so, so
cool and so important. And if you apply it on
your videography and combine it with what
we talked about regarding resolution
and frame it, it's just going to
make a huge difference on your videography journey. Trust me. So I'm going to see you in the next
lesson of the scores.
9. Ultrawide Lens: Capture Stunning Wide Shots: I don't know if I've
mentioned it to this point of the squares, but I'm the biggest geek
around camera gear, lenses, and everything
regarded video, right? Now, I've been collecting
gear and I've been collecting lenses throughout
these five years of mine in this
videography journey, this filmmaking journey
of mine for, like, the biggest time for like four out of these five years
that I was a full time, not full time, but like
part time filmmaker. I was always always
collecting gear. And I stopped purchasing lenses once I had the so
called Holy Trinity complete. And the Holy Trinity
is just a kit of three lenses that cover
the whole focal range. And the focal range, it's pretty much everywhere
from ultra wide to telephoto. Now, you're lucky because
you came a bit late. Because you have this
thing right here. And this thing has the
holy trinity integrated, again, in build in, right? So you have a wide angle
lens in your iPhone, a natural normal lens, mid range lens in your iPhone, and a telephoto lens
in your iPhone. So check this out.
This, for example, this right here is the
cannon 16 to 35 F four. It is the ultra white lens that I have for my full frame camera. And this lens right here
costs about $1,000, right? So I've invested $1,000 in this lens right here,
and guess what? You have the exact same
lens on your phone, right? Not the exact same
lens, because it's a very cool piece of gear, but you can produce very, very similar videos
with your phone, if not better videos with
your foreign phone nowadays. It all comes down into
understanding how to use a wide angle lens, right? Because there are many
different types of ways in which you can
utilize the power of a wide angle lens
and produce some of the most creative shots
that you've ever produced. This is what we're talking
about in the speed right here. So in this test, I'm going
to show you how to utilize the full power and the fullest
potential your iPhones, wide angle built in lens. What are the three
lenses that we need to master in this
course right here? So let's start by
again mastering the wide angle lens of your
iPhone in videography. So what is the white angle lens and what is a white
angle in general? So a white angle lens
is usually found in most iPhones
above the iPhone 11, and I think that most
of you guys have, you know, an iPhone above
the iPhone 11, right? So newer models always have a wide angle
lens just because, again, it is one of these lenses that produce such
an awesome outcome. 90% of my videos, 90% of the photographs
that I take with my phone are shot in a wide angle lens because
you just get more detail. Everything looks
better in wide angle. It's usually around
13 millimeters. I want you to know that. Now keep in mind
that millimeters is just a way to measure
how wide or how narrow, again, your focal length is. Ultra wide is anywhere from 10 millimeters to 13
millimeters, right? Now, 13 to 16
millimeters or let's say 13 to 35 millimeters is
considered to be wide, right? And 35 to, I think, 40 millimeters is mid range. And above 60 millimeters, we go to telephoto areas. Now, you don't need
obviously to remember this. I'm just stating it as a fact. So your wide angle lens captures 120 degree field of view, but it comes with slight
distortion of the edges. I'm going to give you
some examples later on in this lesson
right here, right? It's great for dynamic,
immersive storytelling, and this is also something we're going to be tapping
in this lesson. So when should you use your
wide angle lens, right? If you want to capture most of your environment in one shot, you should definitely
use the wide angle lens. In general, it also
produces video that is very captivating
for people to see. So if you're producing video
for social media, right, or to bring someone
in your world, using a wide angle lens
serves this purpose. Also, if you're shooting in a tight space like
bedrooms, cars, bathrooms, you can see this
example right here, it's just an image
or a video shot inside of a car, right? And again, if you're
shooting in tight spaces, using a wide angle lens can definitely solve
many problems here. If you want to emphasize motion
or movement, in general, this focal length, right, wide angle loves motion. If you combine a wide
angle lens with motion, you will produce an awesome, awesome outcome because as
you zoom out of your image, right, minor shakes diminish. Why? Because we have a way, way larger field of
view in our image. And this makes the
shakes diminish, right? So you can add depth,
you can add drama to the foreground and the
background depending on, again, how you
position your subjects inside of your widean of view. I'm going to talk about
this in just a second. You can shoot POV styles of
log style of clips, right, with a sense of emerging
just because again, you have all of this
detail, all of this data. On your video. And you can also get a low angle looking up to make a scene feel epic as a so called hero shot, which again, we're going to
be talking about in just a. Second, so when
should not be used? When should wide angle
not be used and avoided? When you film someone
too close to his face, you introduce face distortion, and you can see it right
here. It's unattractive. Like, you can't stick
a wide angle lens in someone's face,
someone's face. It's going to be
unattractive, right? It's mildly attractive
when you shoot someone with a 30
millimeter lens, which is supposed
to be mid range and 50 millimeter and more, it becomes too it starts
becoming like real. And normal, okay? So again, you need a shallow
depth of field. It's limited on ultra wide. If you need a shallow
depth of field, and what is a depth of field, I want you to think of
depth of field as how blurry things are, right?
As simple as that. If you shoot on wide angle, things are not going
to be that blurry, so you can't have
this, let's say, subject with
background separation that you see right here, right? Everything is in
focus, everything, nothing is blurry when you're
sitting at wide angle. And, of course, also
shooting in low light. I want you to remember that
these lenses and of course, the wide angle lens
on your tend to struggle in low
light situations. So what would be the absolute
nightmare for your phone? It would be for you to
shoot at ultra wide. So 0.5 times your lens, 0.5 lens at 120
frames per second, for example, because both of these settings require light. Be hitting the sensor.
Right? And it's just not the case in ultra wide. So I want you to remember this. Here's just some
example shot list while using only the
ultra white lens. For example, you can shoot a
walking point of view shot, having your phone right
here showing because again, you shoot on 120 degrees, showing part of your body as you walk with the city
that you're walking to. So you can mount again
your phone on a gimble or you can be hand
holding your phone, as we talked about in the previous lesson
regarding gimbals, right? You can use the white angle to immerse the viewer
in your movement, and this can be
applied in travel, behind the scenes shoots
and street shoots, right? So, trust me, if you have a wide angle video shot on
your phone on a gimbal, as you're walking,
then, trust me, you will not have shaky
footage whatsoever 100%. Because again, wide angle video diminishes shakiness by itself. And if you combine it with your phone being
strapped on a gimble, you will not have shake. Again, cinematic, low angle, the so called hero shot. It's when you bend down and you shoot someone from below right, in a wide angle view. So you put the phone close to
the ground, you tilt it up. And this is awesome for
subjects walking, you know, towards the camera with also a dramatic sky
in the background. This is actually not
that ultra white. It's probably like 30, 40 millimeters, I think. Right? But that's a
so called hero salt and I want to remember
the heros sult. You tilt your phone, place your phone down, you
close the ground, you tilt it up, and you have this hero shot of someone
looking like a hero. You have a dynamic
reveal shot, right? So if you hide the
camera behind an object, and this is, like, easy for you to do you'
shooting an ultra wide, so you have all of the space
120 degrees so you can hide your camera behind that object and stick your camera very
close to this object. So you just see the
silhouette of a person, all the silhouette
of a an object, and this just makes a let's say, a bit of a scene because you
have this field of view. And what do I mean by
that is that, again, it makes the field of
view larger, right? You have your subject, you have your foreground and you
have the background now. So you introduce the element of a foreground by sticking your camera with
an ultrade again, lens attached to it or
the ultrawide lens, setting very close to
a subject of yours. That will act as a
foreground subject, and it will just make
your actual subject, which is on the midground
stand even more out, right? So you also have the so called close up shot
with the environment. A great demonstration
of this shot is Casey Nystat with his ultra
white camera in his studio. So again, if you want to
frame a person or an object, like close up and also
show the background, you can definitely
use this shot. And this is how you
tell stories and you give story someone
with context, right? So creators, bloggers
always use this. For example, Casey Ista
you see him in his office, talking to the camera, he might be talking about something, but just because he has an ultra white lens
on his camera and the ultrawide like on 60
millimeters or 10 millimeters, you see all of these
details around Casey. You see the speakers,
the lights, you know all the studio, and
you're mesmerized, right? So this is how he gives you information about his life
without even talking about it, by showcasing it by
choosing to shoot this video with the wide angle
with a wide angle, right? H over the should, the
results could also work. They usually work better
with mid range lenses. But if you again place the
camera behind a subject and you're shooting widely,
this feels immersive. This feels intimate just because you highlight
both, again, a subject that is in the foreground and your main subject, just
like this right here. So you have the sideshot
and just because we have placed this person right here on the left
side of the screen, you can see that it just
feels more dynamic. So here are some tips for you to shoot just better
wide angle shot. The first one is to
move the camera. Do not be afraid to move the camera when you're
shooting wide angle. This lens absolutely
loves movement. Movement looks good
on a wide angle lens. On top of that, try to shoot horizontally for better
cinematic framing, right? Because again, listen,
the eye of the human, the human eye views
everything horizontally. It doesn't view things
vertically, right? I don't know what
people tell you on TikTok and short
form content, but human eye is
like this, right? It views we view things
horizontally, not vertically. And that's why you want
to shoot usually if you want to optimize for
cinematic videos, shot like this, not like
this, right? Shot like this. Okay? It always
depends on the project that you're creating and how you want to structure
your project, how you want to frame
your shots, right? If you're shooting
for social media, for example, obviously, okay, if it's not like YouTube blowing from content, you
can shoot vertically. But usually, you can shoot horizontally if you want
a better cinematic. Again, product. You can keep also subjects
towards the center to avoid a so called edge distortion that we find in white
angle lenses, right? So white angle
lenses, in general, at the edge, the corners, the borders of your videos, we have some distortion, and we want to diminish this
distortion by shooting, again, our subjects in
the middle of our frame. And again, do not place the camera extremely close
to your subject if you're filming a person
because you will see that this lens
distortion will apply to their face as their faces reach the
margins of your video. So try to keep at least a meter, 1.5 meters from your subject when you're shooting him
with a wide angle lens. You can also use grid lines
to maintain level horizons, because again, this distortion might be kind of
tricky for beginners. That's why you can enable
grid lines inside your phone to just keep everything
level when you're shooting, and you can tap to lock exposure and focus because sometimes
in low light situations, these lenses tend to suffer. So I want you to remember
this these lenses tend to suffer in low
light situations. If it's an absolute must, then yes, go ahead and use, again, ultra white lenses in your phone for low
light situations. But what I like to do is when I see grain going up because it's this ISO that's
been enabled. We talked about
ISO in the again, frame rate lesson of the scores. When the phone is
struggling with light and low light
situations, it increases ISO, which is this
artificial lighting, building artificial
lighting on our phones, which is expressed as grain
on your video, right? So you can see when
you're shooting ultra white in low
light situations, ISO will increase,
which is grain, and we don't want to
have grainy footage. That's why whenever I
see grainy footage, whenever I feel like
ISO is increasing, I always switch either
my frame rate or my lens from ultra wide
to mid range, right? Or from 60 frames per second
to 24 frames per second. Those are the tips that I
have to give you, right? So creativity use
cases that you can apply for your
wide angle lenses, could be, for example,
real estate walk throughs. If you're showcasing
an apartment, right, you want to
shoot real estate, you want to add as much stuff
as possible in your image, and you do this by shooting
on a wide angle lens. If you're again shooting
action sports, right? Action requires wide angle. That being said,
you can also create dynamic shots with more
punch than again, lenses. I'm going to talk about this
in later lessons, right? But in general, action sports
require a wide angle lens. If you're shooting
cinematic viral, for example, in
nature, again, sure. Dan live content in which
you want to include as much detail as much data
on your video as possible. This is done by utilizing the power of white angle lenses. And, of course, some music video scenes if you have movement
and all that stuff. Small story before I'm done
with this session right here. Do you see this clip right here? It's very, very, um,
specific, right? Because in general, when
we're shooting sports, we love to shoot wide angles. And one of my first gigs as
a videographer was to shoot this world class
mountain bike athlete, and I shot him with
this lens right here. It was one of the best
shoots of my life, and everything wasn't even shot with the whole focal
range of this lens. It was only shot
at 16 millimeters. So the whole gig, the whole video was shot at 16 millimeters with
this lens right here. I absolutely love wide
angle videography. I think that really,
with your phone, if you shot all of your
videos at wide angle, you probably are
going to be okay, and you will have
an awesome result. Result. That being said, you need to understand
the two different lenses, the two rest lenses
that are on your phone, again, normal range, the
mid range lenses you have, and the telephoto
lenses you have. And in my case, I'll be completely
honest with you. I never shoot with
the mid range. I either always shoot with a
wide angle or the telephoto, but I love these
two lenses, right? So I'm very happy to
elaborate on them in the next lessons of the scores. So I'm going to see you there.
10. Mid Lens: Get Clean, Natural Footage: So we're done with analyzing
the wide angle lens. Now it's time to talk
about the mid range lens or the standard lens that
comes with your phone. Now as we talked about, there are three different
types of lenses. We got the wide angle
lens, the mid range lens, and the telephoto lens. And I told you a small secret at the end of the previous
lesson that I really, really love to shoot either with the wide angle lens or
the telephoto lens. That being said, there are
some things that you need to know regarding the standard lens of your phone, the mid
range lens, right? Because there are
some big pros, right, while using this
lens right here, which we're going
to be analyzing in this lesson right here. So let's get right to it. Shooting with iPhones
standard lens. What is the standard
lens of the iPhone? It's a mid range lens. It's a default lens
of your phone. It's usually 26
millimeters or even more. There I say, it offers a natural field of use similar to what
the human eye sees. So do you remember in
the frame rate lesson, which we elaborated
on the fact that the human eye views video
at 24 frames per second. Anything below 24 frames per
second will seem choppy. Well, the human
eye also views at a specific focal range, right? Now, the focal range that the human eye views things
at and focal range, it's pretty much like
those millimeters that we have been discussing
about the various lessons, right, wide angle
telephoto mid range. The human eye views
things at 26 millimeters, which is not exactly ultra wide. It's just how the human
eyes view things. We view things at
26 millimeters. Now, the standard, the
default lens of the iPhone, balances quality, sharpness, and more
specifically, light sensitivity. This is the biggest
reason for you to use the normal lens
of your phone, which is obviously indicated by the number one. So
it's like the one X. The 0.5 X is the
wide angle lens, the wide X, it's just
the normal iPhone lens. And we also have the three X, which is the telephoto thing. So again, it often has the
largest sensor because again, these phones have
one sensor for each one of their cameras. So every camera has one sensor. Every lens has one sensor. And usually, again,
if you see, again, right here, you can probably see the sensor if you view closely, it has the largest sensor, which means that most light is going to be
entering the camera, again, from this lens of yours. More light entering
the camera means better low light performance. And again, this is
what I want you to have in your mind regarding the default lens of the iPhone, that it offers the best low
light performance, right? So when should we use
the standard lens? If you want natural looking
footage without distortion. So we talked about
the wide angle lens that it's very cool and stuff, but it offers some distortion, especially in the
margins of the video. In the margins of the video, if your subject enters the
margins of the video, it will be a bit
distorted, right? So again, it doesn't
offer distortion. The default camera of your phone doesn't
offer distortion, which is also very cool. On top of that, if you're
just filming, like, talking head shots like this one right here, you
talking the camera, you can use the a
normal default lens of your iPhone, you know, also you're going to have
better low light performance, which means that
probably the ISO will be decreased of your phone,
which is awesome, right? For example, the
speed right here, it is a talking headshot, and it's shot by a mid
range lens, right? Consistent image quality,
it's very important, especially due to the
fact that we have consistent image quality
in almost any lighting. Again, I'm going to
highlight the fact that we use this lens if we want consistent video quality regardless of the lighting. It's very cool, especially
in low light, right? Again, just to keep subject at a balanced
distance, right? It's the most real
like looking lens. It's not extremely zoomed in, it's not extremely
zoomed out, right? It's just a very versatile
setup for running gun filming. Now, I should say
here that I prefer actually running gun
with a wide angle lens. But then again, you can
definitely just run a gun with the default lens of your iPhone. What I'm talking about
running gun, I mean, if you see something and you immediately want to
shoot it, right, you usually use the normal
default lens of your phone. And again, you also
have quality depth of field, especially
newer iPhones. Depth of field is this
effect that you have when you play something
in the foreground, it's kind of blurry, but also have your subject, which is in the midground, and it just adds more depth, right, in the field
that you're shooting. So for example, an
example of a shot that you can do with
the default lens of your phone is the talking
head or interview setup. So again, if you're
doing an interview, if you're doing a podcast,
or if you have someone in which you want to
feel him talking, right? You set your phone
on a tripod on the eye level on the
same eye level with your subject exactly like
I've done in this video here. You use natural light or soft light or feel light,
you just feel the scene. And it's also the
perfect framing for educational or
YouTube style videos. The normal talking
head interview setup always works and
never disappoints. You can also use default lens of your camera for the walk and talk log type
videos, for example. So if you hold, again, your
phone at the arm's length, here or use a selfie stick. It needs to be at the arm's
length because again, it's more punched in than the middle range than
the wide angle ends. Of your phone, it's
more Zoomed in, so you need to distance yourself from the again,
video that you're shooting. But again, it just creates
a balanced depth of field without facial
distortion, right? You know, you can also use
cinematic mode, for example, which is available on
the default camera, it's probably also
not available in the wide angle or the
telephoto lens, right? So you can also produce over the shoulder
documentary shots. These are great for filming, someone doing again something and highlighting the fact that there are more
than one subject. There's more depth
in your image. Focus on your
subjects interaction with their environment
and try to incorporate other features
such as foreground objects. We talked about adding
foreground objects to your shooting
while shooting with the default lens of your iPhone. Again, viral, right? If you use cinematic mode, you can blur the
background and you can also have your subject walk or move through the frame. You can get more
creative, right, because you have more
light entering the sensor. This means that also
the aperture of a lens, which is pretty much
how much the length the lens opens up, the diameter of the lens opens up or close down,
is the aperture. And these lenses tend
to have low apertures, which means that they tend
to open having more light inside and adding more
depth to your image, right? And of course, we can also add slow motion because, again, we have all of this ability
to play with lighting, and all of this light is hitting the sensors so
slow motion video. At the default lens, it's even cooler and we
don't need to increase ISO, which is the artificial
light of your phone, just because we have, again, organic lighting
entering the sensor with the utilization
of the lens, right? So again, low light
capture, very, very important when
we're shooting at the default
mode of the phone. You can use it
indoors or at night. Wide aperture helps maintain detail and reduce grain. Okay. I want to remember to
say wide aperture helps maintain detail
and reduce grain. And we're talking about
the wide aperture that this lens has, which obviously translates
to the fact that we have awesome low light
capabilities, right? So how can you get better
results with this length? The first one is to
use cinematic mode. And what cinematic mode
will do is that it will introduce, right,
artificial depth. By depth mean, I
mean, I mean, blur. So for example, in this video right here
that you're seeing, my background is blurred, right? And it's not blurred
artificially. It's blurred manually by
utilizing lenses that have, again, depth of field due
to their low apertures. That being said on your phone,
this is done artificially. And on cinematic mode, it is enhanced even more. That's why if you
use cinematic mode, you will be able to control
depth and depth of field and just how much depth will be adding by blurring
your background. On top of that, try to
keep your distance from your subject if you want
more natural framing, right? Again, keep your distance from the subject that
you're shooting. This will enable just the best
and more natural approach in this videography journey. Avoid tilting up and down so much to maintain
perspective, because, again, these lenses, we talk
about wide angle lenses, for example, being really
great with movement. This is not a wide angle lens. It's not as good with movement. So this is the type of
lens that we want to stabilize with a gimbal,
for example. Right? Lock focus and exposure for consistent lighting could also be a great solution for you. So on iPhones, you can obviously
focus lock exposure by holding on your screen
and dragging up to increase exposure or dragging down to decrease exposure. And once you lift your again, finger from the
screen to your phone, then exposure is set,
and it is locked. And by locking exposure, you tell your phone that, hey, I don't want to mess, I don't want
to change the eyes. I don't want to
change anything, just leave settings as is. And I'm going to show
you how to do this in future lessons in
which we're going to be downloading separate
applications that gives us the
opportunity to again, play with all of the
different camera settings of our phone. Finally, if you want
more vibrant video with the default
lens of your phone, you combine again,
with basic movements. So push ins, pullout, pans, all of these different movements that we're going to be talking about in the shooting
part of the scores can definitely
definitely be utilized with the default
lens of your phone. So again, some creative use
cases for this lens of yours, the default lens of your
phone are for vlogs, for lifestyle content, for personal interviews
or testimonials. You know, if you want to
just set your camera in a tripod and start talking,
this lens is perfect, product reviews in which we
obviously do not want to distort the product themselves
by using a wide angle ns, we use them with a default lens. If you want to perform, like,
documentary storytelling, just document something without needing to distort or just produce crazy visuals with your phone or tutorials,
talking ahead, YouTube content courses, videos like this right
here in which you just want to elaborate
a subject without trying grab people's attention with their visual stimulate, just trying to deliver
the story, right? This was the default
lens of your foam. Now, there's one
lens left for us to conclude this chapter in which we analyze the
three different lenses, the holy trifle nses that
are inside of your phone. And this last lens is the
telephoto lens, right? So, more information about the telephoto lens in the next lesson of the course. I'm going
to see you there.
11. Telephoto Lens Tricks: Shoot Like a Pro: So let's talk about the
telephoto lens of the iPhone. Now, as I expressed in the previous two lessons
of this course right here, I absolutely love
wide angle lenses and I absolutely also
love telephoto lenses. To give an example, this is the telephoto lens that I use
in my DSLR camera, right? Iso, this is irrelevant
with this course, but it is a Tamra and
100 to 400, right? You see it's a huge,
huge telephoto lens. And I absolutely love
white angle lenses and telephoto lenses because they're just two very creative
lenses, right? They give very specific images. And if you only utilize the white angle lens and the telephotolens,
in my opinion, it just helps you stretch this creative muscle
in your brain and think of different scenarios in which you can use them. In general, everyone is using the mid range lens
in the iPhone. So I think that you will
have a competitive advantage if you understand how to utilize and create awesome videos with the telephoto lens
and the wide angle lens. That being said,
obviously, right? We're also going to be
using the mid range lens, and we talked about the
low light performance and the low capabilities
of this lens. I'm just saying that if you
pay attention to this lesson, as well as the lesson that
you paid attention already, the wide angle lens lesson, you will have a competitive creative advantage
over the other, iPhone filmmakers
that only shoot with their mid range lens. So let's master the telephoto
lens of the iPhone. What is a telephoto lens
in the first place? You can see this
lens right here. It looks like kind of
a telescope, right? It looks like a telescope.
And the name telephoto also, let's say, references telescope. It is a lens in which
it just punches in. It just zooms in
mechanically, though, not digitally
because we can also digitally zoom in
with the iPhone. But these lenses
produced a zoomed in image without
sacrificing resolution. And that's why in
general, telephoto lenses are so expensive. They're way more expensive than mid range
lenses in cameras. They were more expensive than wide angle lenses because you insane science and manufacturing to manufacture these
lenses right here. So, of course,
they are available in the iPhone 11 pro the iPhone 13, pro
the iPhone, 15, pro, et cetera, and they
range anywhere from 52 and 77 millimeter, and they go even more. For example, this is, again, a 100 to 400 millimeter
telephoto lens, but in your iPhone,
it's probably going to be around 52 to
senty 7 millimeters. All right, it really
depends on the model. So what do they do? They zoom in optically, not digitally because any
iPhone can zoom in digitally, but you can have this grain and stuff because again,
digital zoom, it's not optical, but these
lenses zoom in optically. They offer a compressed
perspective, and we're gonna be talking
about compression later on in this lesson
right here and why actually telephoto lenses are actually very good
lenses for you. To give out some portraits
to people, right? And they're also amazing
for cinematic shots, right? Of course, they are paired with portrait mold to add
this depth because they really are lenses
that compress images and video and just
perform amazingly. I love telephoto lenses, okay? So when should we use
a telephoto lenses? For example, telephoto lens. You can see right
here from Cannon, I think it's a cannon
400 millimeter. And it's one of the most expensive lenses
that Cannon produces. I think it costs
more than $10,000, this lens alone, right? So, you use this
lens in general, when you want to obviously
zoom in optically. This means getting closer to your subject without
physically moving yourself, and that's going to be a huge,
huge life hack if you're shooting like someone that's
away from you, right? You can get close
to them without physically having to
zoom in yourself. You can capture
cinematic closeups, again, and isolate your subject from the background
because again, these lenses in
your phone create amazing compression that is very useful and
very cool, right? So again, compression, meaning the background
appears closer to the subject while still
being out of focus, right? In addition to that,
they also shoot portraits with pleasing depth. So if you want to shoot
a portrait, for example, and you don't want
to add, again, all of these AI features
that the iPhones do. For example, when you go to portrait mode, right, usually, these iPhones right here add artificial background
blur and stuff. With the telephoto lens, you will have this
manually, right? So again, telephoto lenses are awesome in shooting portraits. In my opinion, 85 millimeter is actually the best focal
length to shut portrait, and you avoid the
distortion that the ultra white and the standard
lens might may have. These lenses do not
distort images. And we talked about distortion. We talked about like
how distorted images from ultra white lenses can be. So again, you can also
film from a distance. That's one of the biggest assets of these lenses like events, concerts, street content, all that stuff you can
film from a distance. And it will look awesome. It will look like you're very close to
the subject because you're filming with
a telephoto lens. So when should we not
use these lenses? Because again, it really
depends on the occasion. You cannot use a delehoolens in every single shoot because these lenses have some problems. So you should avoid
actually telephotolenses. For example, when you're
shooting in again, low light scenarios,
unfortunately, some telephotolens,
and of course, telephotolens off
your phone does not perform that good in
low light scenarios. It is the same exact
thing that we talked about with the wide angle lens. If you have lots of
light coming in, if it's daylight, for example, and you have no
problem with lighting, then absolutely shoot
with the telephoto lens, shoot with wide angle lens. But in low light scenarios, these lenses do not
tend to perform. So good just the fact of
the diameter and the size of the sensor that are behind
these telephoto lenses. Again, we have three
cameras in the iPhone, the normal, the mid range,
the wide angle lens, and telephotolens, and each one of these lenses behind him, right, there is a sensor. And in the case of the sensor of the telephoto lens, practically, you can have a big sensor, which means that lots of light will come in the sensor. Right? On top of that, you
obviously need kind of a wide scene or background in order to be compressed when shooting with a telephoto lens. So you might want to also take this into consideration
on top of that, right? And that's
very important. If your subject is
moving too fastly, right, it's probably not the best idea to use
a telephoto lens. Why? Because when we're far
away and we're punching in, we're zooming in with
our telephoto lens. If the subject isn't stable. It's very hard to
keep in frame because a very small movement
of your iPhone, right, will translate to a big movement in the video just because
we're so punched in. Do you remember the
wide angle lens video? We talked about how
these wide angle lenses, they love movement,
like adding movement to wide angle shots, looks amazing. The exact opposite
actually happens in telephotolenses, right? They do not like movement. And that's why most
people that shoot with photo lenses on
their dislar cameras on their middle less cameras, they actually tend
to use tripods, also for video, not
only for photographs. Right? So, in general, these lenses do not like
movement that much, when you're so punched in
when you've zoomed like 20 X, for example, right? And you just shake your
phone just a little bit, it translates into a huge, huge, huge motion on the video, which probably sometimes
we don't want, especially if we're shooting someone from you
know, a distance. And on top of that, if you
already have, let's say, digital zoom on your phone, we do not want to use a
telephoto lens because again, this will be an overkill. So here's some shot ideas for you to apply the telephoto
lens of your iPhone. The first one is, of course, those so called portrait shots with the cinematic background. So if you focus on the face of your subject or the upper
body of your subject, you will see that the
telephoto lens will also provide an awesome compression and will make the
background blurry. It's absolutely awesome
for, let's say, interviews, testimonials, hero
shots, if you will, you can lower your phone, right? You can tilt your phone you
can lower your phone, right, in the ground and tilt it
upwards with the de photo lens, and we'll have also
an awesome hero exactly as we had with
the white angle lens. So in general, if you want a portrait shot of
someone, a video, a portrait video of someone
with a compressed background, delephoto lens is
awesome on top of that. You can also use
telephoto lenses for product videography,
product photography, right? You can punch in with close up because it's
again, optical zoom. In a product, you can highlight the textures, the details. And again, it's used for promos, for some commercials. You
can absolutely do this. I've done this multiple times. When I was shooting
product videos, this lens right here has
shot pretty much everything, like webshot products,
I've shot action. I've shot sports, videography. I've shot pretty much everything with the
stance right here. It's very cool, right?
So on top of that, if you want to
shoot viral, right? So viral is like cinematic
viral cool shots that will play in a sequence, right, you can
definitely do that. And the cool things
that you can frame a subject while again, walking towards the
camera from far away. So if you're far away and you're walking towards the subject, while being in telephoto moode, it will give a
dynamic perspective, again, to your whole shoot. So again, if you do this, the background kind of
follows your subject, and we're going to give this
example once we launch, the camera up on our phone,
I'm going to show you like one on one how this
looks like, right? But in general, using
the photo lens is very indicated if you're
shooting cinematic viral. On top of that, there are some hidden
distance shots, right? If you like street
style filming, you can actually capture movements or capture a
subject while being way, way out of the scene, right? And that's very cool if
you want, for example, take a video of
someone that you know, you don't want to interrupt the scene. You see
a beautiful scene. It's, you know, very organic and you don't want to
interrupt your scene while, you know, going in there with your camera and everyone looks the camera and
everyone looks at you, for example, filming
with your phone. You can film from a distance
with a telephoto lens, and that sometimes is
the key to maintain, you know, authenticity
in your scene. On top of that, we
also have, like, the so called telephoto pushing. And that's actually
kind of a more sophisticated filmmaking
moving the telephoto pushing, what you do is that as you're
moving towards the subject, well, there are two ways, two
types of telephoto pushing. The first one that
we're referring here is pretty much the
zoom in effect, so zooming in, but we're zooming in with just a telephoto lens. So it's just a video of us doing like this and zooming in
with our phone, right? But we're zooming in
with our telephoto lens. So the zoom is not digital. It is optimal, optical. Another zoom in type of
thing you can do with your lens is that as you're
moving towards the subject, so you're actually moving
towards a subject, and you're zooming out from
telephoto to mid range. And this will give just an interesting effect in the
background, which again, we're going to be
demonstrating in later lessons in
which when I'm going to go outside with the
phone and show you how to shoot video
actually, right? So here are just some
tips that you can apply to just shoot better
telephoto lens. Shots, you can definitely
use a tripod or a gimble. It's very, very indicated. These lenses do
not like movement. And again, telephoto
exaggerates hand movement. I want you to keep
that in mind, right? You can definitely use also
manual camera apps, right? I'm going to talk about
these manual camera apps. Just a second, to lock the lens, if your phone kind of switches
automatically between ISO, shutter speed exposure,
and all that stuff, right? Also, cinematic
mode with telephoto will give you an
awesome looking, shallow depth of field. And by shallow depth of field, that means having this
blurry background. Right? And again, you need
good lighting, right? I cannot I cannot
highlight this enough. You need good lighting
with these lenses. Again, these lenses do not
have that big apertures, which means how much
the lens opens up, and the sensors behind these
lenses also aren't that big. So you need more light to enable these lenses to
perform at their best. So when do we use theta
photo lens of our phone? Well, I would argue here that
you can actually use it at a photo lens of your
phone whenever you wish. It is a very creative lens, and you can actually apply it into various different shots. Of course, some
clear indications of the usage of
the telephoto lens are interviews in which
you just want your phone somewhere and to
showcase depth, right? Dramatic product promos, again, by punching in, you create
this dramatic effect. Short films with dialogue scenes again when you want to again, apply just the face of someone
with a blurry background, travel shots from far away
when you don't want to interfere with the shoot as
well as street videography, street photography
style of videos. This is when we use
telephoto lenses. But I urge you to
get creative here and try to use the
telephoto lens, as well as the wide angle
lens as much as possible. You can really see my
video gallery on my phone. I never shoot at one
with the mid range lens. I always shoot with
either the lining lens or DeFo lens because they're
just so creative lenses, and I love to express my
creativity with my videos. So now we're done with
analyzing the different lenses, and I think that the Defoolens lesson was very,
very interesting. I really want to see how
you guys apply your sut and how you take the ePoolens
and get creative with it. Now it's time to move
to the next section of the gear module of the scores
in which we're going to be talking about the
audio of your phone. Now, iPhones have amazing
building microphones, but there are actually many ways to enhance the audio
of your phone, and that's what
we're analyzing in the next lesson of
the scores, right? So, thank you very much. I'm going to see you
in the next lesson.
12. Pro Audio Tips: Capture Clean, Clear Sound: So we talked about the lights. We talked about the camera. Before we move into action, it's time to discuss
about audio. And here's the reality regarding video that
I want you to know. And if there's one
thing that you're going to be taking from
this course right here, I want it to be this
fact right here. Audience and people
in general will sit through a video that has
very bad visuals, right, and great audio, but
they will not watch more than 3 seconds
of a video that has awesome visuals
and bad audio. If you're looking to invest
somewhere in year in general. Let's say you have $100, right? And I just presented you all of these options to
invest like gimbals, tripods, different lens
types, right, all that stuff. Do not buy any of it, purchase a good
microphone, right? If you want, let's say, the biggest return on investment, that
you will do, right? Trust me, when I upgraded my microphone from the previous
microphone that I had, I saw a huge, huge difference
in the retention of people, the retention, right,
of people in my videos. And it's really something
that, you know, filmmakers in general
and people that are interested in video are
bored to upgrade, right? If you're not like an
audio file, for example, which you love, people
that love audio, right? As like normal filmmakers, we do not like investing in microphones, it's
kind of boring. We like creative shots with wide angle lenses that p
lenses, all that stuff. But trust me, it's worth
at least understanding audio and then upgrading
your year around audio. So let's now talk
about the audio that your iPhone produces. Audio in iPhone
videography, let's go. So why does audio matter? As we talked about, viewers
will forget shaky video, but they will never
forget bad audio. I want to remember that bad
audio is the worst thing, the biggest killer of
your video, right? Clean sound obviously is
more professional and way, way more engaging to people
that consume your content. Now, the building microphone in your iPhone works
in perfect conditions. If the conditions aren't
perfect, for example, we got some wind,
we got some rain, we got other people and noise, background noise, it
is deficient, right? So we're going to be
talking about how to supplement this
iPhone right here, this iPhones microphone with some other external gear, right? And external microphones
can drastically, drastically improve the
quality of your sound. So these are the three different microphone types that you can invest in. And again, it really depends on the type type of suits
that you like to do. So we got the lavalier mics. These are best for interviews, logs, talking headshots, right? So more controlled environment. These are clipped to clothing, and they connect with a
wire usually to your phone. Then we go the
shotgun microphones, which are, again, more
professional microphones. You will see them later
on in the images. They're used in general for cinematic viril to
capture sound effects, even if they're not like your voice to
capture, for example, some sound effects if you're creating a film or something, dialogue, again, they're very
good at capturing dialogue. They're they're
mounted to the camera, so they can be mounted to
the camera of your phone, or they can also be used
externally by a boom operator. Of course, in the case
of iPhone videography, you don't really need
a boom operator, but we can talk about
this in just a moment. And you also have
wireless microphones, which are kind of the
best of both worlds, and there are just
a pay to win in this whole audio
lesson right here. So we use these
wireless microphones if we have movement heavy shots, if you want to get away from your phone, if you
want to be flexible, they clip onto your clothes, and they have no cables. So these right here are the lovelier mics or the so
called Lapel mics, right? It's just a small mic
that clips your shirt and connects with the cable
to your phone, right? So it plugs directly
to your iPhone, either with an adapter or
with the lighting cable. It captures very,
very clear voice, and it reduces the
background noise. And do you see this
small, let's say, fur right here, fun fact
for you, back in the day, this was called dead cat
because it was actually, right, microphones were covered with dead cat fur because dead cat fur diminishes
the pop sound effects. And wind, right? You do not hear wind
distortion, right? It's perfect for interviews, talking headshots
and voice overs, and it's connected to
your phone with a wire. This means that it never
runs out of battery. Okay, if you have one of these, you do not need to stress about charging it, not charging it. You have your phone, you
have this, and it's awesome. Now, I'm going to give you
a small tip break here. Let's say that you
have a Label mic, but you want to shoot a video that you're going
to be, let's say, kind of far away from your
phone. How can you do this? Let's say you have your
phone on a pod, right, and you want to shoot a video
going away from your phone, showcasing something
else in the scene. So you want to use
a lavalier mic as an external microphone that is not attached
to your phone. If you have two phones,
or you can borrow, like an iPhone from a
friend of yours, right, you can actually connect
the Lapel mic to the second phone and simply just record audio from the voice memos app
of the second phone. And with the first phone,
you just record video. This is how you managed,
just like that, to use an iPhone as a separate microphone and another iPhone as
a hooting device. So just like that, you can use a Lapelc as an
external microphone. Right? So again, they're
very affordable. They produce clear sound, but the wires can't
get in the way. And if you're just shooting with the same e phone the
Ju recording audio, you have limited
mobility, obviously. So forts like this, for example, in which I'm just sitting on my desk and elaborating
on a presentation, then absolutely I could
have used a avalre mic. Right? Then we got the
shotgun microphones. And shotgun microphones,
first of all, produce better audio quality
than lav ler microphones. They're directional
microphones that pick up the sounds
in front of it. And do you see that
the ad far right here actually kind of looks like
Kat fur Now obviously, it's not at fir, but
back in the day, this was actually
Kat fir, right? So shotgun microphones are ideal for run and gun
filmmaking cinematic trials. You can see that more
advanced filmmakers and cinematographers
use these microphones. They need to be pointed at
the person who's speaking. That's one of the most
important features of these microphones. They're called shotgun
microphones because the way that they receive
audio comes like this, right? So they receive audio depending on where
you point them at. Now, this can either be directly
mounted on your iPhone, the iPhone gauge, a tripod
or a handheld grip. You can see, in this case, this person has his phone
on a handheld grip with the Solta microphone in the
lightning board, right? We have focused sound
and a natural ambience. So again, you can capture
different sounds that you could potentially not
capture with the Lapel mics, but they actually pick up less voice if the subject moves. So they're directional
microphones. They're awesome in
studio scenarios. These microphones right here, the Lapel mics are awesome, also, if you want to
elaborate something, if you want to
move around a bit, but these solcare microphones
are awesome if you want to have a controlled
studio setting, and you can see that
they're not the most portable microphones ever. On top of that, some of these solcare microphones
also need let's say, an independent power source
like a battery or something. And in my case, in general, as a filmmaker,
I try to, let's say, reduce the amount of
batteries that I need, reduce the amount of
things that need batteries because I absolutely always
forget to charge everything. So I wouldn't be a
huge fan of Sotka microphones I you
know, I were you, you know, if I had, like, a studio setup and everything, then sure, invest in
a Sotgan microphone. I have a Stan microphone myself. But if you're doing run and
gun you just want to, like, record audio outside, I wouldn't probably use a
shotgun microphone. I would use a wireless.
This, in my opinion, is the paid win in
the audio game. If you use a
wireless microphone, it's a paid win. These microphones have
become so good nowadays that it's honestly
the only microphone that you ever want, right? So, usually, these
microphones come in sets, and we have the so
called transmitter. You can see the transmitter
here and the receiver system. So these are I'm sorry, these are the
transmitters, the two obviously microphones,
and this is the receiver. You clip the receiver
to your iPhone and you have these two microphones. And you can have one
microphone yourself, one microphone to someone else. These are also very small, so they're very
portable, very cool. They sync automatically
wirelessly to your iPhone. You don't need to do any
crazy coding, anything. Once you plug this to your iPhone, it's
automatically sync. And it's awesome for
walk and talk logs, for fitness videos, for, you know, interviews when you
want freedom of movement, if you want to move around,
you got total mobility. You get clean audio.
And of course, these are battery powered. They might require
pairing depending on, you know, the brand that you're using, how much
you pay for them. But in general, trust me, for $100, you can get the best, absolute best
microphone quality with a wireless microphone, and
it's going to be worth it. If you're doing,
again, interview type videos if you want to record audio for your
content with your iPhone, 100% is going to be worth it. So let's compare
them. Let's start with the lavalier microphones. We have high audio quality,
but medium mobility. The setup is very
easy. Just plug it on your phone and
you're done, right? And the best use if
you're talking to the camera on a controlled
environment, right? Then we have shotgun
microphones. Oops. And you have
shotgun microphones with very high quality of sound, but very low mobility. So they're not that good I
run and gun videography, you want to use them
in different settings, outdoors, and that stuff. The setup of sorted microphones
is relatively simple. It's not crazy, but it's
very actually simple, and it's used mostly in
filmmaking, static shots. Again, you want everything to be controlled, the
lighting to be controlled, and you want to perform to produce just the
most awesome shot. Use a shotgun microphone. Finally, we have the
wireless microphone. They have very high
quality of sound. I told you, very high mobility. The setup is actually easy. It's not moderate,
it's very easy and use them for logging
and walking scenes. So these were the
wireless microphones. Now, here are some tips for
you to capture better audio. The first one is
to monitor, right, monitor the audio
that comes out of your microphones with headphones
when possible, right? So for example, take your phone, plug your microphone
in your phone, start talking to the microphone, and then stop the
video and listen back to the video with your headphones
because many times, you know, you might
have some failures, you might not connect. Again, the microphone so well to your phone and you
might have some problems. So if you do that, you
won't have problems. Cross check that your
microphone works before starting to shoot
a whole shoot, right? On top of that, you can use dead cats and
windshields outdoors. These are just shields that do not enable the wind
to interfere with the phone and with the audio of your microphone wind is one of the biggest enemies, and
that's the truth of it. Wind is one of the
biggest enemies when you're shooting
outdoors and you're trying to produce
awesome audio outdoors. On top of that,
you want to avoid, in general, echo rooms. So try to record in quite
padded environments, right? In my case, I have this, big studio right here, and
it actually produces echo. So I try to have my
personal microphone right here on a very
sensitive setting, and I'm trying not to shout. Also, if you're doing voiceover,
that's a multi for you. If you're doing
voiceover in video, so you have already
captured the video and you're trying
to do a voiceover, do not stand in the
biggest most echo room. Actually, go hide.
Underneath a blanket. So literally go in your bedroom underneath underneath a blanket, and if you pull a blanket on top of you and you try to
record audio there, you will have the most
smooth, awesome audio ever. Trust me. I've seen
professional filmmakers do this in their movies. If you're recording voiceover, the best place to
record voiceover, especially with your
phone or even if you have a microphone even better
is underneath a blanket. Here is a practice activity
that you can do, right? And in general, a small recap. So lavalier microphones, they're great for clear
voice and control setup. Setups, shotgun microphones are ideal for directional sound
and filmmaking, as we said, wireless microphones are perfect for mobility and logging, right? Good audio will lead
to next level content, and you might want to
invest in sound. Trust me. A final, final final protip that I've actually
implemented multiple times. Let's say that you're
outside somewhere with a friend of yours, and it's a very
noisy environment. Let's say it's a club or a bar or you want to
do a street interview, and you don't have
your setup with you. You don't have a
microphone with you. You don't have nothing, right? All you have is two iPhones. What do you do? You record. You can definitely start shooting a video
if you want to do, let's say, you want to
do an interview with someone, right? You
meet a celebrity. Somewhere, you see celebrity. And do you want to take
an interview with him? Well, you could tell
to your friend, Hey, can you shoot
a video of me? And he just shoots
a video of you. But the audio would suck
because you're outdoors. There's like, noise
and everything. So what you can do is
you can actually start shooting video
with one phone and using the other iPhone in the voice memos app as
a microphone, right? So you're not shouting, you're using literally the iPhone. Just like this, for example,
you see the cameras up here, you switch it, you
turn it around, so you have the
microphone right here. And with the microphone,
you literally use it as a microphone, and you point it
to the next person and use it as a microphone, and it just works perfectly. I've done this multiple times. And, you know, you
might have all of the gear in the world. Sometimes you just want to film and you do not have
it in hand, right? So this is a small
protip for you to apply. So that concludes the
lesson with audio. I think that we've
covered everything, all of the external
features that you can add to enhance the
audio of your iPhone. Now let's move into
the next lesson in which we're going to
be analyzing lights. A very, very important lesson. Okay? Potentially one of the most important lessons
that we're going to be analyzing in this
course right here. So I'm going to sing
the next lesson.
13. Lighting 101: Boost Your Video Quality Fast: So, we reached an awesome
landmark in this course, because up until this point, we've analyzed the
video aspects, right, how to shoot video, what is resolution,
what is frame rate, the different lenses,
all that stuff. We analyzed some gear parameters
regarding stabilization, the Kimble, tripods,
gorilla pods. And then we also
talked about audio. Now, there's this final
linking piece that is missing to completely perfect
your videography knowledge, and then we can move into
actual practical analysis, the practical step that you
should take to be able to shoot Awesome video
with your iPhone. And this is lighting. Now, f enough, and I've said this multiple times
in other courses of mine. I keep saying it, like,
whenever I have the chance. Everyone wants to pay to win
in this videography game. You know, you want to, for example, as a
complete beginner, you want to find a
way to invest and buy a gearpiece that will completely elevate and
skyrocket your production. And this is just not true. The biggest investment
that you can do, especially if you're a
beginner videographer, and, of course, referring
to videography with your iPhone is to actually
understand lighting, right? And how to manipulate light, how to use light because you can have the most expensive setup, the most expensive gear
in the whole world. If you don't know how
to light up a scene and how to use the power of
lighting to your advantage, you're missing out
massively and your videos are just not going
to look well, right? So everything on videography, the gear you're
going to be using, the lenses, the resolution, the frame rate,
everything is built upon solid foundation
around lighting theory. And we're going to have a separate lesson
on lighting theory, but in this introductory
lesson of light, I'm going to show you the
things that you should keep in mind when trying to
build upon this, again, foundation be setting
in this lesson right here. So let's talk about
lighting on a budget. Now, why does lighting matter? Good lighting gives you a professional look
in your videos. And when I say good lighting, I mean, the proper
lighting for every scene, because every scene is lit up completely
differently, right? If you want to light
up a dramatic scene, the lighting is going
to be completely different than lighting up a scene for a course like
this right here, right? Lighting and how we apply light impacts how we
perceive the skin tone, the depth, and, of course, the emotion. It's
very, very important. Where should you
place your lights? Should place it in a 45 degree angle from
your main subject? So you place it above
your main subject? Should you place lights
below your main subject? All of these things
and principles we're going to be discussing
in this stson right here. In general, proper lighting can turn an average video
into a cinematic one. And I've learned this
again through trial and error in my personal
videography business that I used to run when I
invested into proper lights, and I do not want
you to think that proper lights are always
expensive, right? But I can tell you
the moment that I decided to invest
in proper lights where the moment that my
organic production value elevated, right,
because it's worth it. Even the best iPhone footage
looks bad in poor lighting. And how many times in previous
lessons of the course, did we talk about
lenses, for example, the wiring lens, the
le Photo lens that have poor low light performance. Low light in general,
makes iPhones struggle. We do not want to be
shooting in low light. So here are the basics
of light theory, right? I want you to screen.
So this light right here is extremely important. And we're going to stick for
a few seconds right here in this image as I'm going
to be elaborating, right? The key concepts to you. So the basics of light
theory goes as follows. We have three key lightings. There's the key light, right? You can see the key
light right here. The field light, you
can see the field light right here and the back
light or rim light. All right? Now, the
most important light of yours is going to
be the key light. The key light is positioned
in a 45 degree angle of your main subject
above eye level. So you see the camera
right here, for example, the camera is directly
facing your main subject. Take my scene as an example. The camera is facing
me on eye level. The key light which is
right there for me. It's on a 45 degree angle
from the main subject, and it is the brightest out
of all three lights, right. So the key lighte again, 45
degree angle, the brightest. Then it lights up the
right side of my face. Good. It's pointing on the
right side of my face. Then I have the feel light, which is another small
light coming from there. And this is on a 50 to 75%
intensity of the keelte. It just feels the small shadow created by the kilt on
the left side of my face. And finally, you can also
have the back light. In my case, I have
two back lights. I have the purple back light, the purple LED that shines
on my wall right there. You can see it
because it creates this smooth separation of the subject, me and
the background. And I also have another
flit back there, which is warm set at warm, so it does a great contrast
between the purple, which is more of a cold tome. Now let's talk about
color temperature, but this is in general, how you set up lights if
you want a studio setup. You have the light,
again, sorry, the camera, but key light, the flight
and the backlight, right? So the color
temperature, in general, I do not want you to memorize,
obviously, the kelvins, but we have warm colors, which is anywhere
2700-3200 kelvins. This is like cozy
emotional lighting, just a warm color that
I have back there. It's an example of a warm color. Then we have the neutral color, which is about 4,000 kelvins. It is the light
that comes out of my key light right here
and shines on my face. This is the natural color. Right? And we also
have cool color, which is 5,500 to 6,500 kelvins, right, which is like the
daylight crisp color. It's more white, if
you will, right? So the lower the kelvin number, the warmer the light, right? The higher the kelvin number, the more cold is
going to be light. Obviously, I want you to
remember that the angle of lighting impacts the
shadows and the mood. It's completely different to
have your light placed as a key light on a 45 degree angle slide the above eye level and completely different
to have the same light shining from the ceiling
towards the subject. This will create a very
moody effect, right? And again, soft
light is flattering. Hard light is more dramatic. In general, we want
to avoid hard light. I'm going to be
elaborating on what is soft light and hard
light in just a second. So we cannot have a
lighting lesson in this course while not mentioning the power
of natural light. In my case, I really
believe that natural light, the light that comes
from the sun is just the superior
quality of light. Whenever I have the
opportunity to shoot outdoors, if the conditions allow you, I definitely do so. And I urge you to
understand how to utilize the power of
natural light, right? It's free and it's
beautiful if used right. What are the best times
to shoot outside? It is the golden hour, right? Or the so called blue hour. It's either sunrise
or the sunset. Why? Because during
sunrise and during sunset, the light that comes from
the sun isn't as harsh. It is of lower intensity, and it is more soft. It's more flattering.
It's not hard light. Hard light we see at
12:00 P.M. Or 1:00 P.M. Right, or 3:00 P.M. Where
the light in summer, it's up there from the sun. There are no clouds, and
it's just harsh lighting that creates black
shadow. This is harsh. And it's very hard to shoot
video in that lighting. But on golden hour, again, sunrise and sunset, the
light is smooth, right? Of lower intensity, and it just highlights perfectly
the ambience, right? So again, if you're shooting
with natural light, I want you to face your subject towards the window, right? So I want you to place the
camera where the window is and have the window shining
towards your subject. And you can use also
white curtains or walls to bounce soft light. So let's say that there's
light coming out of a window, you can use curtains to diffuse
this light, for example, and this will actually
give a very smooth effect. To the light that bounces on the skin of your
subject, right? In general, we want our
light to be diffused, right? We don't want our
light to be harsh. This is why, for example,
studio lights have diffusers. I'm going to talk about
diffusers in just a second. A natural diffuser, right, that you can use. Well, you can actually use you can't order this
natural diffuser. But many times it occurs
are actually clouds. So clouds create this
natural diffusion of light. You mentioned the
sun, it's very harsh. It produces those, you know, shadows, which are black shadows
because it's very harsh. But if you add light
if you add clouds, you know, between the
sun and yourself, these clouds take the light of the sun and just
diffuse it equally, so you don't have that
harsh shadows and the light isn't
actually that harsh. So let's talk about
some budget gear that you can purchase
to recreate, for example, the natural light. There's a ring light
you can purchase, a soft box or an LED panel. A ring light is mostly used on talking headshots,
Zoom calls, right? Let's say, more consumer based
content creation, right? So if you're
congregation, you like creating videos on TikTok. In general, it's
not bad for you to invest on a ring light.
It's better than nothing. That's what I have to say. I'm not a huge fan
of ring lights. I actually hate them, but it's better than
having no light. A soft box, in my opinion, is the best choice
that you can go for. It's perfect for YouTube videos. It's perfect for
tutorials if you're planning to shoot indoors again, and you can also
have an LED panel, which is also great for
viral creative cases. I creative scenes, it's
a bit more expensive, but still gets the job done. In my case, what I
always advise people is to invest in a
soft box, right? And it's actually way cheaper. You can find it way
cheaper than $50. So let's talk about ringlights. These are the ring lights. You've probably seen them
already. You've seen creators use these ring lights. Those are circular LED lights with soft lighting, but
here's the problem. These are LED lights, and
you can see that they look continuous
because they have this small diffuser on them. But these ring lights, actually, because they're
not diffused that greatly, they reflect on the subject
that you're shooting, and you can see that it's
ring light, and in general, it's just not the best
type of lighting to use. It is good for self
shooting, again, makeup tutorials, interviews, TikTok videos,
short form videos. But again, it creates this signature ring
reflection in the eyes, which is just not good and it just kills me
as a videographer. Do see it, they do come with
tripods and phone mounts, and this is actually
a cool thing because you can also
purchase, like, a tripod and a light and a phone mount in
a package of one. But you have this flat
look that is just not good for dramatic shots and
creative shots in general. But they're very good for
beginners and solo creators. We have to give
credits there, right? Then you have softbox
and these are by far, like my favorite
types of lighting. I have so many soft
boxes in my place, and there are some that
are very expensive and others that are
actually very cheap. So again, soft boxes create diffused soft light with natural shadows, and
this is what we love. I'm shooting right
now with a soft box. And the light source,
you can see a soft box, what a software really is, it's just a light source with
this huge diffuser. So check out the difference
between the size of the diffuser of the softbox
and the ring light. The ring light has
such a small diffuser. The distance between
the light source and the diffuser is like
some centimeters. Whereas here, it's way,
way bigger, right? So Softbok are ideal
for interviews, studio setups, consistent
indoor lighting, right? They're used as kilt in
a three point setup. So we talked about three
point setup, right? We have the kilt the
flight and the back light, and it's again, placed on a 45 degree angle from
the main subject. It gives a natural look,
a flattering light, and sometimes you
can also change the color temperature
so you can turn them from more warm to
colder tones, right? So again, if you have semi permanent filming
setup and you want to have a filming setup
in your space indoors, I absolutely urge you
to purchase a soft box. You can find, let's say, a kit of two soft boxes on
Amazon for less than $40. And again, it gives you two
of these soft box lights. Now, these softbox lights that I'm demonstrating in this case, right here, they are
LED softbox lights. But you can have light bulb soft box lights, again, for $40, which is absolute bargain regarding the quality of flight that you get
from them, right? And finally, we also
have the LED panels. They tend to be a bit more expensive than the
softbox lights, but they work, and they
actually last longer. So they're small, portable. Usually, battery powered, but you can also have
them USB powered. We have adjustable
color temperature and brightness,
which is very cool. You can mostly sometimes you can also change literally
the color, right? You can have them,
you know, red, blue, yellow, display all of these different color and play with the color dots
in your scene. You can use, again,
creatively as flights, back lights, or even main
lights, if you will. Right? They're very versatile. They're compact, and they
have creative effects. I actually used to
light up my scene back in the day with these LED panels, especially
the background. It's very cool for
you to light up the backgrounds with
these LED panels, and they're very good for, like, on the go creators. If you don't want something
extremely permanent, extremely hard to store, LED panels could be the
best of both worlds. I actually would suggest you to purchase an LED
panel if you don't want a permanent setup in your
room and you want to have something versatile,
which you can choose. And again, change direction
and shoot different things. LED panels works
perfectly for that. So we talked about
the light placement. I want you to keep this in mind. It's very, very, very important for you
to understand this. We have, again, the key light, which is the main source on a 45 degree angle from our subject. This is
the camera right here. It's about eye level, but this is the key lite
is above eye level. Then we have the field light, which reduces the shadows
created by the key light. And again, we have it
at 50 to 75 degree of the intensity of the ke lite. Finally, we have the rim
light or the backlight, which just separates our
subject from the background. We want the subject to
background separation because as we discussed in previous lessons of this course, it adds this depth of field. Right, and always test
things with the camera on so you see when you apply
these changes to the lights, how your camera reacts
to different placements. Smolti that I have to
give you is that you want your space in your studio to look
good on camera, right? Not only on your eye, okay? Sometimes, yes,
school studio spaces look good in the eye
and people are like, Wow, you got a
great studio here. But at the end of the
day, we've created the studio to produce awesome video that
looks good on camera. Once you remember that
because it was actually a mistake that I was
doing for so long, right? Here are some lighting
mistakes that you might want to
consider avoiding. First of all, back lighting
without a proper flight. This will give you
a silhouetted face, right, and it will
just look wrong. So you need a good flight, a good key light, and then we
focus on background lights. Second of all, overhead light, so lights that you
place overhead. If you want to
place, for example, a light that shines from you
from the top down below, this will create harsh
shadows which in general, we don't like that much, right? And we don't want harsh shadows. As we talked about
while shooting outside, we want to avoid shadows. On top of that, mixing multiple different
color temperatures is kind of weird on the camera. Definitely, you can
experiment, for example, with having a back light with a warm temperature and
the key light being cold. But if you mix too many
color temperatures, it will look kind of weird. And finally, please do not
rely on the building lights of your room unless you know
some basics of light theory, make sure to apply
what we talked about. And create an awesome
scene for your lights. It's not that hard. So again, this is a good
setup for under $100. If you want a very basic setup, you have a ring light and
a window and a white wall, which is a very
solid YouTube setup. You open the windows
of your apartment, the pop windows of
your house, right? You have light coming in. It bounces from the white walls, and with a small ring light, you can have a cool setup. Now, if you want a studio setup, you can have a soft box light, for example, as a key light, an LED panel as a flight, and a small desk light with a diffuser that
could act as a rim light. This could be your studio setup. And if you're traveling too much and you want to have
a portable kit, you can have a small LED panel, right, that can fit on your backpack whenever you
want to take it with you. And, of course, utilize the
power of natural lighting to have a mobile and
effective setup. So this was lighting, right? And again, to do a small recap, we want to use natural light whenever it's
possible, it's free. It's beautiful. And now
you know what type of natural light you want to avoid hard light and what
you want to utilize. Again, cloudy days where
the light is diffused. Or if you don't have a cloudy
disut at sunrise or sunset, you can add ring lights for simplicity or soft boxes for the studio feel
in your space, and you can also
utilize the power of LED funnels for
creativity and mobility. Finally, you need to understand
light placement and light temperature to be able
to light up a scene regardless of the type of
lighting that you have, right? So this concludes the lesson
that we had around lighting. It was so much information
about this tasin and honestly, there are so many
things for you to understand regarding lighting. This was a small introduction, but I think that we have
the basics nailed down, and now we can have
this basic foundation around lighting and videography set so now you can
start building upon it. So now we have the basics of, again, iPhone
videography nailed down. It is time to talk about some portable iPhone
videography setups. Kits, if you will, that you can create to accommodate
you in your travels, because again, we're
not planning only to shoot indoors with these
machines right here. After that, moving to
the module in which I'm going to show you how
to shoot on real time. So far from being here, I'm gonna seeing the next dozen.
14. Portable Kit: Build a Mobile Film Setup: So, ladies and gentlemen, in this conclusive installment of the third module
of the scores, it is time to talk about some portable setups that you
can use with your iPhone. Obviously, some portable
videography setups that you can use for
travel videography. It's no secret that when
we're shooting with iPhones, we probably are not in a
controlled studio environment. We're usually traveling outside
doing outdoor activities. And this is why I
wanted to dedicate a lesson of discourse
around travel setups, logging setups,
that type of stuff. Because again, there are
many tips and tricks that you guys should know and should be able to expect when you're shooting outdoors in a travel
scenario with your iPhone. I've saw so many gigabytes of footage with cameras and
iPhones. While traveling. So I think it's a perfect
opportunity to display some of my tips and tricks
in this lesson right here. So enough of this introduction, let's dive into this
final installment of the third module
of this course. So portable setups for
travel and logging, why does portability matter? And you probably know already
why portability matters. You know the real
value of having a portable videography
capture device. On your pocket,
this is why you're enrolled in this course
in the first place. The iPhone has an amazing
valuable position because it's very,
very portable. Now, you obviously won't always have access to your
studio, to your key light, to your flight, to
your background light, to your microphone,
all that stuff, right? When we're traveling,
we're prompt to unpredictable conditions
and quick movements. So your kids should be light, compact, ready, and fast. And don't get me wrong. Your
iPhone is already light, compact, ready, and fast, but there are some accessories, some tips that you should
keep in your mind when you're shooting outdoors in a travel scenario
with your phone. So portability
improves consistency, and you're more likely to
film if you have this option. So here are some core
elements of a portable kit. These core elements
are stabilization, audio, lighting,
power, and the back. These are, in general, what you want to consider. Now, again, this lesson could be completely relevant
if you just go like, Hey, listen, I just want to so I just want to shoot with my
phone. Like, it's cool. I don't want stabilization, audio lighting power, right? But it's good for you to take
these into consideration. I don't want you to apply every single one of
these gear pieces, but potentially you
might be like, Hey, hm, actually,
having a power bank with me is not a
bad idea, right? So, for example,
regarding stabilization, you could have a selfie stick or a small gimble when
you're traveling. Like a small gimble
will also act as a power bank and will also
keep your footage stable. So again, it keeps
footage smooth, it keeps footage stable, and it keeps your phone charged, having a gimble or audio. You can have a wireless mic. If you're going outdoors, shooting interviews,
for example, in a travel scenario,
why not have a small wireless mic
in your backpack? You might you don't know when you're going
to use it, right? Lighting, right? Okay, knowing how to use natural light
is extremely important. But also having a
small LDD panel in your backpack
is not a bad idea. You know, you always can shoot videos with your
phone's flashlight. But what if you used an LED
panel to shoot these videos, for example, how
cooler would it be? How better would the video the end video be if you
replaced the lighting? Again, the flashlight of your
iPhone with an LED panel, it would be way, way better. And on top of that, like
having a power bank, a charging cable, it will increase the production
value of your set. And, of course, like a backpack, which is like a sling
or a tech pouch, something very basic just to keep all of your gear together. Right? We absolutely
recommend lighting gear here, and lightweight gear
is recommended. You want to use your phone to shoot a small
microphone, let's say, a DGI microphone which is one of those wireless microphones
that clips on your shirt, a very small LED light, for example, would be
perfect for a portable kit. Regarding stabilization,
the DGI Osmo mobile is also an amazing
stabilization gimbal. Which you can use
and a power bank. Like, that's the perfect setup
for you to use right here, and you don't need
anything else, right? Again, a small DGI microphone
tips on your shirt, a small LEDQb light that you can use to light up a
scene just like that, a small stabilizer or a
gimbal for your phone and as an extra just a power bank and a small tows to keep everything together, and you're good to go. Again, regarding
stabilization for travel, I absolutely recommend you to have a gimble if
you're traveling. You're just going to make
your life so much easier shooting and it will also charge your phone, which
is very, very cool. A mini tripad could
also be used, but I don't know how
many steel shots you will have when
you're traveling. And you can, of course,
also use a selfie stick, but it's more indicated
for photographs rather than videos, right? So again, if you're
traveling and you're serious around
stabilization, I would actually advise you to purchase one
of these gimbles. It's a great, great investment. Regarding audio on the go, absolutely, a wireless mic
will equal with total freedom. And I'm not telling
you to just travel around with a microphone here, but let's say that
you want to do a small interview or you want to capture the audio
of a specific space. Why not have these small
audios in your backpack? They're like, so easy to
carry and they're so small, they do not take
that much space. So it's absolutely recommended for you to keep these
microphones with you, right? And of course, before the shoot, you use the voice memo
app to test the audio. That's also also
very, very important. Now, lighting for
travel creators, natural light is going
to be your best friend. The sun is going to
be your best friend. Remember Golden Hour, which
is the hour during sunrise, and the sunset is
the best to shoot. But if you have no other option, try to think of the
lighting principles that we discussed in
previous lessons. If you're shooting at nighttime, this is when having
a small LED panel in your backpack will make
everything so much easier. And again, you can
mount these LED panels sometimes on your phone if you have a phone
ring, for example, or you can either
hold your phone with one hand and the LED
light with another hand to just give this extra
scene on your subject. You can use also window
light when indoors, again, face the light, do not move away from it. Do not have your back facing
the light of your window if you're sitting indoors while
you're traveling, right? So packing smart
for portability, I want you to keep
things minimal, only carry what you'll use, use dec organizers or pouches
to separate your gear. And again, having extra
cables, battery banks, and SD cards will solve your two biggest problems in the iPhone videography space, which is going to be
battery being drained and storage being again, full. So make sure to charge
before you head out. And here are some portable
setups that you can use. So a beginner setup
would include, for example, a
lavalier microphone. Those are the wired microphones that still clip on your clothes with a natural light and a tripod or a selfie
stick if you want. It's just 50 to 100 bucks. This is the perfect setup. Then we have a bit more let's say intermediate
portable setup. We have a phone with a
wireless microphone, an LED panel, and a mini gimble. This would be the best setup. In my opinion, this
would be the absolute best set up again a
wireless microphone, an LED panel, and a mini gimble. And of course, we have
the advanced setup, which is the iPhone with
the multiple lenses, if you have the latest
version of the iPhone, the DGI Osmo mobile, which is the best
gamble that you can have and the road
wireless mic go, which is also one of the best wireless
mics that you can go. The Avature MC lead light, it's also one of the
best LED lights, and a Power bank with a gear pouch will just put
the final nail in the coffin. This is the ultimate
portable setup that you can have for
your phone, right? So Again, just do a small recap. You need to keep things light, keep things modular,
invest in good audio. It's extremely
important and also a make or break when we're
shooting outdoors, learn how to utilize the
power of natural light to your advantage and always
have kind of a backup plan, especially regarding
battery and storage. These are very, very
important for you to have, let's say, these two
problems solved. Right? So, ladies and gentlemen, this concludes the third
module of the scores, and I'm going to see you
in the fourth module in which we're putting the
iPhone to the test, and we're starting to shoot. I'm going to show
you in hand, again, hands on some videography
principles with the phone, I'm going to shoot together, and I'm going to give you again, real time results
and feedback on how I personally
shoot videos, right? So, thank you very
much. I'm going to seeing in the next
module of the scores.
15. Pro iPhone Camera Settings Explained: So, ladies and
gentlemen, I'm very, very happy to have you here in this next module of discours in which we're actually
launching the video app, the camera app on our iPhones, and I'm going to show you all of the different
principles that we've discussed about in action
in this module right here. So in this first
lesson of this module, we're going to be
discussing about the different video features, how to change and navigate
through the settings, how to focus lock and how to change the exposure
and how to exposure. Everything regarding
iPhones built in video inside the
camera app is going to be elaborated on in
this lesson right here. And in next lessons, right in the next lesson
and the lesson after this, I'm going to show you how
to utilize the power of some apps you can potentially
wload from the app store, and we'll just make our
videography experience with our iPhones so much
better because we get to actually tweak more parameters
than iPhone gives us the opportunity to do so by downloading some external
applications, right? But before we do so, let's analyze everything
there is regarding our iPhone and the built
in video features. So here we are inside
the video aspect, the video feature of the iPhone. And as you can see, I'm going to have this small
battery of mine, which is the battery my camera, I'm going to set it as an
example in the middle of my desk for us to use later on. Right now, I have the
small light right here in which we can
light up the scene, write a small heads up light. So what do we see here? The
first thing we see here, we all know about this are the
different lens selections. So by clicking all
these buttons, you can have the
ultra white lens, right, with 0.5, my
personal favorite. And you can also have
the normal lens, the mid range lens. If you click on
two, you can have a telephoto lens with times
two magnification and three, again, the optical
telephoto lens with times two magnification. And you can see that we
do not lose any quality. We just have the
magnification, right? So let's move into the
mid range lens here. And let me show you with let's say we have this
subject right here, different features
that you can use. First of all, obviously, up here on the top right
corner of the iPhone screen, you can see that it says HD 30. This means that right now
we're shooting at ten ADP, so full HD, not four K, ten ADP, at 30
frames per second. If I want to change this, I click on HD and now it's four K. So now we're shooting at four K 30 frames per second, right? So if you click it again,
HD, if I click it again, it's four K. So if I go ahead
and click on the frames, you can see that right
now we' shooting at four K 30 frames per second. Now we're shooting four
k 60 frames per second, and you can see how
much smoother it is when I move my iphone
from left to right. So I'm moving my
iPhone again from left to right in four k 60, and now I'm doing
it in four k 24. Do you see the
different motion blur? So right now in four K 24, we have lots of motion blurs. This more cinematic, let's
say you as four k 30, we have a bit less motion
blur, which is, again, the ideal frame rate if you're looking to shoot again
content usually, and we also have four K 60,
which is the smoothest, and we also get to slow it down, if you can remember, 50%, right? So let's move again, HD 60, which is just my personal
preferred video mode. I love to shoot that for HD 60. So, what else do we do? If we swipe from again, down to up. So if we swipe upwards, you can see we have these
three options right here. The first option is obviously to have the flash
on off or auto. So if I click flash
on, the flash, as you can see the flash
is turned on, right? Now, I can switch off the flash and I can
have it on automode. So they just give the
iPhone the ability to judge if the scene should be lit up with a flash or not. I usually have it on Automode to be completely honest with you. Then we have this
button right here, which is the action button, and it's just now your iPhone
is on action mode. Right? And as you can see,
in the 0.5 lens, where when I have my iPhone
at 0.5 times magnification, so with ultra white lens
and the action mode on, you see it says more
light is required. Can you imagine why
this is stated? Because in action mode, right, the frame rates
increase, as we said, in high speed, high
action scenarios, frame rates increase
in order for us to be able to again capture
all of the movement. And when frame rates increase, usually the sensors
of the iPhone need more light to
come inside, right? And the ultrawide lens is not the best lens to perform
in low light capabilities. That's why in the simple
magnification lens, we don't have this
problem because again, the mid range lens has
a sensor behind it that allows more
light to come in. So this was the action mode. You can have it off.
It's completely fine. And in the middle, we have
this button right here, which is the exposure button. And with the exposure button, we can set manually the
exposure that we want. So let's say, for example, that we feel like the
scene right here is right, it's underexposed and
we want to light it up. You can do it before
you so the video, so in preproduction,
not in post production, we can also do it in post
production obviously. But you can do it in
preproduction by just sliding the cursor, right? I again lighting it up. So now we have a two
stop exposure increase. Obviously, it doesn't
look that good. We can do the same thing
to decrease the exposure. You can also decrease
the exposure, right? You can decrease exposure. You can increase
exposure, and you can, of course, also set it to zero. Now, let me show
you something else. Let's go in the
one camera, right? And now we will
analyze everything. Alright, and by the way, in
the top left of my screen, you can see that I
still have flash on, flash off, action mode
on, action mode off. Those are all of the
settings that the iPhone allows you to tweak, and now
let me show you something. So let's say we have a subject. Let's say the subject is
this battery of mine, right? I set it on my light right here. Let's stabilize this, right? And let me show you
something. If I click on my subject for a long time on my screen, you can
see that right now. We have this indication on the top side of the
iPhone, which says, auto focus auto exposure Lock. This means that
now the iPhone is focused on my battery, right? And if I move away, you will see that everything will
become out of focus. Why? Because the focus is
locked in the battery, right? So it doesn't compromise and it doesn't auto
focus every time. So if I unlock it, now
it's unlocked, right? I can move away from the
battery and you can see that. Oh, wait, no, it's not unlocked. Unlock it. So now it's unlocked. You can see that I
can move away from the battery and I
can move closer to the battery and everything
is still in focus, right? But again, if I lock the focus and I lock the exposure,
then I can move away, and everything will be
blurry because the focus was locked when the battery
was at this certain position. On top of that,
let's say that I'm shooting video and
I do not want to tweak the exposure right
from here, what I can do. I don't want to click on
this batter right here and tweak the exposure this way. There's another actual way all right for you to
tweak the exposure, and it is by tapping on something that you
want to properly expose. For example, let's say
that I want to properly expose in this scene
we have right here, you can see that
the above section, which is the computer right
here is a bit underexposed. And right now, the iPhone chose to properly expose this part, which is the desk, and
it's correct, right, because it uses AI
to expose things. So if I click here, just click, just tap once. The iPhone exposes the desk. But if I click here,
you can see that everything starts to
be overexposed and in the top right in the bottom right corner of the phone, everything's
overexposed. Why? Because the iPhone chose to properly expose the screen. We can do the same thing from, for example, the logo
that I have back there. If I click on it,
you can see that the iPhone chooses
to expose this. Whereas if I click here, now the iPhone chooses
to expose this. So whenever you
click, this is what the iPhone chooses to expose. Now, let's go back
into our example. I'm going to show
you how to tweak by yourself the exposure and
the percentage of exposure. So if you click on the screen
and then drag upwards, everything becomes more
exposed, more bright. And if you drag downwards, everything becomes underexposed. So this is just a manual way to tweak the exposure
of your phone. You click somewhere and you drag downwards if you want it
to be more dark, again, the shot to be more dark
or if you drag upwards, you click and drag upwards if you want the shot
to be more bright. And if you again,
click anywhere, it just properly exposes
wherever you click on. Now, I want to elaborate
on a final thing. Which is how to shoot videos
on different aspect ratios. You can see that right
now, we're shooting on a social media aspect ratio. And the aspect ratio is, again, the number of
pixels that we have on horizontal and
a vertical basis. So for example, how do you shoot square video on
your iPhone, right? You can do this by going
on photomodeFunny enough. And now in photo moode, you can see that we
have this small square. So everything is now a square. On video mode, we have the
full length of the phone. On photomode we just have
this small square, right? And on photomode, if I actually click on the photo button
once, right? I take a picture. But if I actually prolong
press on the photo button, you see that I have a video. And now I'm taking a video
just by tapping just by pressing with a prolonged period of time on the shutter button. And if I slide my finger on
the right side of the screen, you can see that now this
video is locked, right, which means that I don't
need to be tapping on the phone to continue
shooting the video, right? One final thing that I
want to show you is again, how to change the aspect
ratio of your video. So if I slide, again, if I click on this
button, right? So in this top
button right here, you can see that I can change the aspect ratio by clicking on this button right
here, the four by three. So right now we're
shooting on four by three. Back when we're
shooting on video mode, we were shooting at 16 by nine. So now we're
shooting 16 by nine. Or now you can shoot at square if you want to
shoot for Instagram. So now if again, press
a prolonged tab, on the shutter button, I will shoot video on one
on one so square. 16 by nine, four
by three, right? You get the point, and you can do the exact
same thing here with exposure as we did
with the video. So this concludes the video
features inside of our phone. We covered the basics in
this lesson right here, had a two focus, how to tweak exposure, how to tweak the aspect ratio, 16 by nine square four by six, all that stuff, how to change the frame rate, how to
change the resolution. And now it is time to
analyze what we can do with the added applications that
we can download, right? So in the next dozen
with the loading, the first application, I'm going to show you
exactly how to tweak even furthermore your videography aspects with your iPhone, right? So, thank you very much, I'm going to see in
the next lesson.
16. DoubleTake App: Shoot with Multiple Angles: So, welcome to the lesson
in which we can be analyzing the first
app that you can install and will enhance your videography experience
with your iPhone. Now, this first app right here is mostly designed
for content creator, and the purpose that
it serves is that it lets you record videos
with both cameras, meaning the selfie camera and one of the different
cameras, the ultra white camera, the mid range camera or the
telephoto camera that you have on your phone simultaneously,
right, simultaneously. So you don't need to enter one of these apps, back in the day, if you want to record
video both with a front camera and
the back camera, we used to do this
from social media. You know, you would
open Instagram and start recording
your face and then double tap to have yours appreciate you
know, the back camera. But now you can do
this with double take. So let me show you exactly
what I'm talking about. Now, this application, as
you can see right here, you can see my face in the app. It's just very, very
straightforward. You have three options
picture in picture, double shot or split screen. And let me click, for example, on picture in picture, right? So now you can see
you can record two videos on the same screen with one appearing as
overlay on top of the other. So you can see that I have
the overlay of again, myself in the front camera and the back camera showing
again in this lens. If I want to change the lens, I click on these four
dots right here. And once I click on
this for adults, you can see that I
can choose my camera. So I can choose for example, the white lens rather
than the ultra white or the ultra white
lens and the selfie or the white and the photo lens. I would like to do the
Selfie for example, and the ultra white lens, right? So if I click on X, now I have, again, the selfie and the ultra
white lens like switched, and I can do the
exact same thing. So again, I can choose
camera one being my Selfie camera two being
the ultra wit, right? Or I can click on here camera to being the Selfie camera
one being the ultra white, and now things have switched. So I can also do
double shot, right? In double shot, you can capture two videos again simultaneously, which are saved as
two different files. So if I start capturing
video right now, you can see that it
looks like the overlay, but I will have one
video saved from the selfie camera and one video saved from
the other cameras. Just a very cool way to record
with both cameras, right? And beware that if you're shooting at four k 60
frames per second, this is also double the
storage needed, right? So we can also do split
screen, for example. On split screen, it says divide the screen
into two sections, each showing different
camera view, right? So in the bottom section, I have Alpha camera in the top section, I have the normal lens,
and I can change things. Again, I can do this
camera to this camera one. So if I click on X, again, I have my face in the
top part of the screen and the other camera in the
bottom part of the screen. And again, so picture
and picture ng, you record two videos on the
same screen, double shot, whereas you capture two
videos simultaneously and split screen where the
screen is just split, and you can shoot
like two videos, one on the top and
one on the bottom. Now, with the free version, you have you can shoot on
HD 60 frames per second. If you purchased
the paid version, you can choose and
actually change from HD to four K at 60 frames
per second or 24 frames per second or
30 frames per second. And the paid version is
actually not that expensive. But again, in my opinion, I've talked about frame rates. I've talked about resolutions. Full HD at 60 frames per
second works for me, and I would advise
you to also shoot at 60 frames per second, full HD. This is a very cool application. Actually, so when I just try to click on 60 frames per
second, for example, or the HD, yeah, it just takes me on the
double take premium, which we're not going
to invest for now. And it's as simple as that. I want you to keep
double frame in mind, it's very cool application, and you can definitely
leverage it in your content
creation experience. Just keep in mind. It's
completely free to download, and it just gives you
unlocks a new perspective of videography for your content
creation journey, right? So now that we're done with this small lesson right here in which we elaborated
on double take, it is time to move into perhaps the most sophisticated application that
you can download. To your iPhone to completely elevate the production of video. This application is the Black
Magic pocket cinema app. And this app will
literally enable you to tweak every single
video parameter that there is in your
phone and treat it exactly as you would treat
a normal dislar camera, like the very expensive
ones that I'm shooting discourse right here. This is actually one of the
coolest things that I've ever seen regarding iPhone
videography, and I'm very, very excited that I'm going to be elaborating on this concept, and I'm going to be showing
you this application in the next lesson of
the scores, right? So, thank you very
much for being here. Thank you for sticking up until the end of this
session right here, and I'm going to see you in the next lesson of the scores.
17. Blackmagic App: Unlock Pro Controls: So, ladies and gentlemen,
I would like to welcome you to this
lesson right here, which could arguably be the most important lesson of
this whole course, right? Now, let's do a small recap of what we've talked about
Amadilas point, right? We started by analyzing the
basic videography principles, the gear that you
could need, right, how to place lights, stabilizers, all that stuff. We talked about resolution. We talked about frame
Resolution and frame rate dance together to create, let's say, the
guts of the video. Then we talked about some
shooting principles, some combinations, some travel kits that you could
potentially do. We talked about audio. Then we opened the iPhone and analyze the internal
built in video settings. And then, of course, we also did a small introduction
into one app that you can use for content
creators to just shoot with both of your
cameras kind of for fun. Now, in this lesson
of the course, we will be elaborating
on the most, let's say, detailed application that you can download completely for
free that will give you access to literally all
of the settings that you can tweak in a camera
on your phone, right? When I first stumbled across the black magic camera
iPhone application, I literally couldn't
believe my eyes because you have the
ability to change parameters that you
would never even dream of changing
in these iPhones, right, that we
could only tweak on these big D lar cameras, right? I'm talking about white balance, tint, ISO, frame rate. You can finally decrease the frame rate less than
24 frames per second and regardless of the fact that if you're very serious
about iPhone videography, this will be your
go to application, and this will be the application in which you will
be shooting videos, it's also going to be
an awesome way for me to demonstrate the
learning points that we analyzed
previously in this course, you know, how frame rates
balance with again, resolution to create your
video and all that stuff. So I'm very, very happy to have you here in this
Dachon right here. Let's make sure to
analyze everything regarding the black magic
camera application. So we are now inside the Black Magic
application on the phone, and you can see so
many different things. So let's go ahead and
analyze everything that we see in this
user interface, right? Because everything makes sense. So the first thing that
you see on the top part of your screen is all these zeros.
And what are these zeros? This is the timer of your suit, right? How long
are you shooting? Hours, minutes,
seconds, milliseconds. On the left side, so right next to
all of these zeros, you can see your resolution. So right now, we're
shooting at four K. And what do you see right
below four K right here? You see the lens. So right now we're shooting
at four k, 24 millimeters. And 24 millimeters is again, translates to a mid range lens. Right next to the lens, you see our frame rate, the FPS frames per second. And right now we're shooting
at 24 frames per second. That's why you can see this lag. Do you see this lag when
I'm moving my phone? This is why we're shooting
at this due to the fact that we're shooting at 24 frames
per second. And look at this. We actually get to tweak the
frame rate so you can slide the cursor 223 point ninet
eight frames per second. And you can see that it's
even more lagging now. Moving to 24 frames per second, 25 frames per second. We can move to 29 frames. This is 30 frames per second. You can see it's a
bit smoother, right? Let's keep moving the cursor
to 60 frames per second. Now, and look how smooth
are images, right? I can move my video.
Everything's so smooth. And it tops off at 60
frames per second. Now, I don't know if
you paid attention, but some things changed as we changed the
frame rate, right? So let me move back, right, to 24 frames per second. You know what else changes, the shutter speed and
the white balance. So let's go ahead
and analyze this. Why does the shutter
speed change? Now, the shutter speed is a concept in which you obviously do not need to understand in order to be able to
shoot with your video. But what I want you to know
is that shutter speed. I want you to keep
this in your mind. We're not going to
be discussing very deep videography
principles at the moment, but I want you to keep in
mind that shutter speed. In order for your camera
to produce smooth video, the shutter speed
always need to be double your frame rate, right? The shutter speed always needs to be double
your frame rate. And that's why this
iPhone knows this. And whenever I change
the frame rate, the shutter speed doubles. You can see that now, I'm shooting at 60
frames per second, and the shutter speed is 120. If I move to 23
frames per second, the shutter speed
goes at 48, right? 25 frames per second, shutter speed goes at 50. Let me show you
what happens when the shutter speed is less
than double your frame rate. So I click at shutter speed, and I drive it downwards to 25. Look how laggy this looks. Do you see how laggy this looks? And if I move the
shutter speed, again, way more than the normal, it just again, just
ruins everything. So let me change
this. Let's go here. Right here again at
25 frames per second. Let's actually do 24
frames per second and the shutter speed automatically,
okay, calculates. Now, moving on, you see a
selection which is called Iris, and the iris is the F number. F is the aperture,
pretty much, right? And now, for example,
we're shooting at the aperture F 1.8. We cannot change this
because you cannot change the aperture in this specific lens that we're
shooting right now. When we manage to
change the lens, I'm going to show you how
to change the aperture. And actually, let me
show you right now. So you have these lenses, right? You can choose all of these
selections of lenses. We're now shooting
at 24 millimeters. You can see it in the
menu that just popped. We can use the 13 millimeter, which is the ultra white lens. And just like that, the Iris, or right here up there
is F 2.2, the aperture. Y because I want you to remember that aperture
in videography, then the bigger the number of the aperture, the smaller is, let's say, the
opening of the lens, and we have less light
entering the sensor. And this greatly demonstrates the point that we
elaborated on in the beginning of the course that ultra white lenses do not have that great
low light performance. Because let's move again
to 24 millimeters. You can see that the
aperture goes to F 1.8. This is a lower number. This means that we have
a bigger diameter on our lens and more light
enters the sensor. Whereas on 30 millimeter, which is why we have less
light entering in the sensor, and this is why these
ultrahte lenses have poor low light performance. Now let's move to
48 millimeters, which is our first
telephoto magnification, the times two magnification, if you will, on your phone. And we can also do this
at 77 millimeters, which is the times
three magnification. And you can see
that the aperture, the iris between
the Shar speed and the Io is F 2.8 because again, it is not F 1.8, which the capabilities
of our one X lens. Of course, we can also
change the camera to the front camera right here. And for now, let's just keep
it at 24 millimeters, right? So we are here 24 millimeters. Let me just tab on
the screen to lock my autofocus and we're back. So we talked about ISO, right? ISO is at 62 right now, and I can increase the ISO, which will obviously
brighten up my image or decrease the ISO right, and set it at Auto mood. So this is ISO, the
artificial light. Again, we talked about ISO. We want to keep as
professional filmmakers. Again, not professional
filmmakers, you're just here to learn how
to film with your iPhone. But again, filmmakers
and video enthusiasts, we try to keep ISO as low
as possible at all times. You need to find other ways
to light up your scene. For example, using lenses, right, with lower aperture, a lower aperture
means bigger again, bigger range of the
circle of your lens, and more light enters
your sensor, right? Or shooting at lower
shutter speeds or lighting up your scene
more again, intelligently. On top of that, we also
have the white balance. You can see here,
it's at 4,200 Kelvin, and this is actually
another awesome tool for you to measure the
white balance, if you will. So I can increase
the white balance. I can decrease the
white balance, but right now I have
it on auto moode. And finally, we
also have the tint, which is at again minus seven, and I can decrease the tint or increase the tint
pretty much how, let's say, pink or how green you want
things to look like. So that's what's happening on the top side on the top
part of our screen. If I click on white balance
and I click again on Automd, you can see that you have different white
balance settings. For example, setting
if you're indoors, setting if you're
outdoors in a cloud sky, a setting if you have lights shining and
lighting up your scene, and also a setting if you have the sun lighting
up your right? But for now, let's
just go on Auto, and we can also lock
our white balance if we want to keep things
again, not change. We got two more things here. The first one is down here, which is the microphone
of the iPhone. This measures, right? How again, obviously the audio levels. So we have the left audio level. It's number one, the
right audio level, which is number two. These
are two audio levels. And again, you can see
that I'm screaming right next to my microphone, and this is why they're just
on red all the time, right? So, also, right here, we have the color histogram. You can't really see it. We
don't really care about it. It's just a cool addition. And let's go ahead and analyze
the final buttons that we have on the bottom
side of our iPhone. The first one is this
button right here. Which pretty much we can name our files with
this button, right? For example, this was
a good take clip. We can name the production,
name the camera, and this just names
the files beforehand. So we don't need
to name the files. Once we input them
in our computer, we can name the files directly
before we even shoot them, which is just a, again, pro level
production trick. Right here, we have the Zoom, so we can zoom digitally, right? We're zooming digitally,
not optically, which means that we will ruin our video quality by
zooming digitally. You can see it right here,
two times, four times, eight times if you want to see something before
you start to shoot. And of course, here we have are different presets with
standard cinematic and the extreme, of course. So this is the stabilization. So we have building stabilization
in this application. Right now, it's off and
you can see when I again, check my camera, it's on off. With standard stabilization, you can see that
it's a bit better. We have cinematic
stabilization which keeps things a bit more stable
and extreme stabilization, which literally
diminishes small shakes. I'm now shaking my phone and nothing really happens
on cinematic mode, we have more movement
on standard mode, we have more movement, and
if stabilization is off, we have, of course,
um, too much movement. Right here, you can
change the exposure. It's very simple. You can
decrease the exposure. You can increase exposure. We also talked
about how to change the exposure on the
iPhone application. And of course, you can also
tweak the focus, right? And finally, here, you can
change the different grids. For example, let's add some
grid lines on the iPhone. You can add this grid
right here, right? Or you can add this
grid which shows you where is the center
of your phone, or you can add
this or this grid, which shows you, like,
different aspect ratios. Many, many, many things to tweak and you
can turn them off. You can also have this which identifies different
persons on your screen. Again, we have so many different things that
we can tweak here, and I'm completely
geeking out, right? So moving on, you
have media here. You can view all of the
clips that you have taken. Then also, there is an option
in this application in the black magic camera you share live video with other people as you're shooting the video, which is absolutely amazing. So other people can
view the screen of your phone as you're shooting video so they can literally have a live feel of how it
looks shooting the video. We have Black Magic Cloud, if you want to access again, project of yours
that you have shared in the Black Magic
Cloud, and of course, the insane amount of different settings that
you get to choose here. For example, right,
if you don't want, you don't have to
enable vertical video. So if I close this
and I go to camera, you will see that we just have, again, horizontal video,
right, not vertical video. So, of course, we want
vertical video because we will be also shooting like this. But let's go to settings. We have, again, a trigger
record indicator. We have the shutter measurement. It's measured at shutter speed. There's also a concept
of shared angle. Again, we don't need to dive
that much into the settings, you can tweak the
settings by yourself. If you want to look at them,
you can choose, for example, the input of the iPhone
microphone, all of that stuff. So there are many, many things
for you to check out here. So the main thing that
I want you to take from this lesson right
here and this bed right here is that if you're serious regarding your iPhone shoots and you want to
shoot, for example, in a controlled environment in which you have the
luxury to take a step back and tweak all of these different
settings, tweak, again, the shutter speed the ISO, the frame rate, the aperture, the lens, right
the magnification, all of that stuff,
then absolutely go ahead and download
this application. See how these, again, settings and these parameters play and dance around with each other when you
change one and make sure to experiment with it. So again, if you're shooting
in a controlled environment, let's say, you're
a content creator and you're shooting indoors, this is an absolutely
amazing way to get to know your iPhone and
yourself as a filmmaker. Now, if you're shooting
outdoors, let's say, and you just want to run and gun and shoot videos
with your phone, extreme videos and that stuff, then obviously you won't have
the luxury of time, right, to check out and tweak all of these settings and twink
all of these parameters, so you might as well just shoot with the camera
of your phone, like the building application
camera of your phone. At the end of the day,
people have been shooting with the camera up
for so long, right? And it works, right? Both of these options work. But if you're a
fanatic and you're finding interest in this course right here and you
love videography as much as I love
videography myself, then yeah, I absolutely
I urge you to download the black magic
application and give it a look yourself, right? So, thank you very much for sticking up until this
point of the scores, right? This concludes the video
videography applications that we can download
on our phone. There are many
other applications, many other applications with video effects and
all that stuff, but I think that you can
explore them yourself. We stick and analyze
the two, I think, most important
video applications that you can apply
and you can download. And you can find usage
from on your iPhone, and now it's time to move to the final module of the scores in which we're going
to be discussing about mobile video editing, right, iPhone video editing. It's going to be an awesome, final module of the scores, and it will just complete your circular experience
with iPhone videography. So thank you very much.
I'm going to see you in the next and final
module of the scores.
18. CapCut Editing: Cut, Color, and Polish: So, ladies and gentlemen, I would like to welcome
you to the final module of the scores in which
we're going to be discussing about video
editing principles while using your iPhone. Now, usually, as a filmmaker, all of these years that
I've been producing videos, I have been editing my videos in my MacBook by using either
Final Cut pro or I movie. And during the recarch
years, actually, for some short form
projects of mine, I have also experimented with
Cabat on, again, desktop. Now, CAPCAt on a computer. It's actually an amazing
video editing software. And I definitely urge you
if you have a MacBook, if you have a PC and you want to edit your
videos, I guess, more professionally or in more detail to
experiment with it. So, absolutely, 100%
try to experiment with CAPCAD in your computer with the videos of the
shot with our phone. So by, again, airdropping
or moving your videos from your phone to your computer and editing in CAPCAD
in your computer. Now I have other
guides in my again, profiles right here
on how to edit videos in Capcat
in your computer. But for the sake of the scores, because you're enrolled in a course around
iPhone videography, I'm going to show
you how to edit the videos with your iPhone. So all of the video
editing principles that you need to know, in order to be able
to confidently edit videos while using
your iPhone again, build inside with the
CapcaT application. Now, the CapcAD video editor is the go to video editor for, again, mobile video editing. It's the best application.
It's completely free. There is a pro version
that being said, I don't have the
Person in my phone, and I have edited actually
lots of videos in Capcat with my again, iPhone. It works perfectly.
It has all of the video editing features
that a beginner needs to have. And again, if you want more
sophisticated video editing, and if you fell in love with video editing,
potentially, as I did, you can always migrate
from your phone to your computer and tackle your next project in your
computer if you want, more detail and stuff. So if enough with this
introduction, let's move, and let me show you the
general interface of Capcat on your mobile device. So here we have the again, interface that we see when we enter this mobile
video editor. And what you can see is that right here, we have
the different clip. Right, clip one, clip
two, right, clip three. I have imported three
different clips right in this project of mine. And I'm going to show you exactly what you see
in this page and what we can name every single aspect that we
see every single parameter. So first of all, do you see this sliding thing right here? This is the so called
timeline, right? And the timeline is indicated. You can see on the top on the bottom left of the timeline, you see the seconds, right? So we're like a second
number one out of second 23, which means that if I slide
across my whole timeline, this video is 23 seconds. So if I move, again, the
timeline in the beginning, you can see, click play. And if I click Play,
it starts to play back and it starts to
count down the second. So now we're in
second six, second, seven, second,
eight, second nine. Okay, on top of that, if we go in the upper
part of the screen, you can see that I can
change some export setting. So let's say that I'm done with my edit, I've edited my video, and now I want to change
how I export my video, and we're going to talk
about this in just a second. But if you click on
here in all Ultra HD, Alright, you can change the
export resolution. All right? You can change the
export frame rate, and you can also change
the export code rate, which is pretty much let's
say how the video is encoded, and it directs the
let's say size of the video and
how it is viewed in other platforms, right? Now, this is the back button, so you can undo, right, or redo. So we have the undo button,
the redo button, right? And here, you can
make your screen big while you're playing
back footage. If you want to do proper
footage, playback in Capta. Right? The first thing that I do whenever I have a new project on Capcat is that I like
to slide at the end, and I want to delete this
watermark that they have here because we
don't want to give them free promotion, right? So I delete. Always
automatically, Capcat adds as the last
frame of your video a small, let's say, one to
two second clip of their promoting
their software. So you can delete this, right? And now we can move into actually analyzing
furthermore what we can do regarding
video editing in here. So first of all,
you can see, you can click on Mute Clip Audio. Once you select a
clip Mute clip Audio, we can do the same thing here, Muteipodio or unmute
Clip Audio. All right. And down here, you see all of these different again, options. So we have edit, audio, text, overlay effect, captions, and aspect ratio.
Let's go to Edit. So if I click Edit, right, you see that a new
menu opens up, and the same thing will be done if I simply click on
my clip right now I clicked on my clip and this new menu right
here clicked opened up. And now we have all of the
different options that we can apply to the video
that we clicked. For example, we can
click on Split. And if I click on Split
exactly where my playhead is and the playhead
is this line which indicates in which part of
the video we are right now, right, the video will split. For example, let's
say that I want to split my video exactly
the frame right here, I would tap on my video and
I would click on split. And now the videos split in
Video one and Video two. This is how you split a video. And if you don't
like what happened, you can just click on Undo and now the video is unsplit, right? So this is a small tip for you. Let's click on the video again. After split, we have speed, and speed applies to the
video that we have selected. So again, we click on the
video that we want to select, we select it, and
we click on speed. And once you click speed, you can see that again, another small menu pops up, which is the normal curve
and velocity effect. If we click on normal, right, we can direct the speed. So let's say we want
100% more speed, right, or 0.1% speed or Again,
0.91% speed, right? Let me just click on here
and undo, undo, undo. So we have done
everything, right? If you go again on speed, so this is how you
change the speed. You make it slower like this or you make it
faster like this. If you drag it below one to 0.1, for example, or 0.5,
you make it slower. And you can see that the
duration also changes from 4.9 seconds let's say, 9.8 seconds because we
slow it down or from one, you can do it to
two, which means that the video is
two times faster. That's why from 4.9 seconds, it is now 2.4 seconds. And if I play back, you can
see the video is just faster. Let me undo this,
and let's go again. You can also click on curve. And in curve, you can
change how the speed, the slow motion or the
fast motion is applied. For example, hero. In hero, you can see how it goes from the graph that
it's seeing right here. For example, in the
montage, right? It speeds up, and then it slows down and then
it's back again normal. You can see this? There you go. So again, it speeds
up right now, slows down, and then it's
back to normal, right? In hero, it speeds up, slows down, speeds up. Again, bullet, speeds up, slows down, speeds
up, just like this. Jump cut. Slow down and
sped up, slow down. Flash in just like this. Right? So all of these
are just different speed, let's say, let me
just undo, undo, undo bullet hero
montage. So here we are. All of these are
different speed presets that you can apply, right? And you can
experiment with them, see what fits you more. But it's just a cool thing that CAPCAT allows
you to, again, add all of these
speed presets without needing to code
them because back in the day in our video
editing software, we need to code all of
these speed presets. On top of that, we
have velocity effect. Again, the velocityeffects are usually for CATCAt premium, so let's not mess with that. Moving on, let's
move to animations. So, animations are also part
usually of CapcatPremium. But again, we have, all of these different ways that
the video can be revealed, and multiple of them, you can see many of
them are actually CapcatP and it just
gives you some examples. But we also have some
free animations. For example, this is a
free animation, right? And it's just an
animation that applies to the video. You
can see right here. Perfect click on play. It's just an opening animation,
honestly nothing crazy. And if you want to
delete the animation, you just click on none and
all the animations are done. So animations are
usually effects that are applied from Capcat
again, to your videos. And again, you can
experiment with animation and play
with them by yourself, see what fits and see what
doesn't fit to your video. Moving on to effect, we
have multiple effects here, video effects, body
effects, and style. So let's move to video effect. And again, video effects, we have multiple effects
coming from CabcatP. Those are just different
types of manipulations we can apply to your videos,
which are automatic. Like we have the fading
effect, for example. All right? Just like this. So the fading effect
is just a way for your video to be revealed
in a fading fashion, right, then you can change
the speed of your fading. So if we try this, you can see that our video just
fades in this way. Again, great ways to add more visual things to your video without needing to
code or without needing to, let's say, engage too much with, let's say, advanced
video editing options. We have pro effects, we have
opening and closing effects, nightclub effects,
lens effect, right? And you can browse through
all of these effects and see what applies to your
video, choose what you love. And what you don't
love, right? So this is how you change
the effect, right? Obviously, you can also delete the clip by clicking on here
and placing Delete, right? And if you want
to bring it back, we just click on Undo and
now the video is again here. On top of that, if you have
a person on your video, you can enhance its voice
from the voice enhance, you can enhance the
eyes, change the eyes. You can separate the
audio from the video. This is actually something
very, very useful. So let's click on
separate Audio. Right? And it's actually one
of the pro features, right? And again, separating audio is not a pro feature on desktop, and on top of that, if you want to perform sound manipulation, you might want to do
this on desktop because, again, sound design,
sound manipulation, adding sound effects and
using all that stuff is something that you can
definitely do with the phone app of Capcod. But I would also
recommend you to just if you're willing to invest
time to learn sound design, just do it in your computer. So again, we have removed
background features, camera tracking
features, volume, right? So with the volume you
change, obviously, the volume of your clip, then it plays back, right? And after that, we
have the transform. So with the transform,
we can mirror the clip just switch
it 90 degrees, right? We can rotate the clip. Or we could resize the
clip to however we want. Crop the clip, for
example, resize it. We don't want to resize
it at this moment, right? After that, right? We have some different
adjustments that we can apply. And these are, again,
color grading adjustments. So we can adojust color
match, color correct, and these are pro
features of Capcat, but we can also the
brightness, for example, make it more bright, make
it less bright, right? We can adjust the contrast. So again, make it
more contrasty, make it less contrasty.
The saturation, right? Brilliance. We can
sharpen the clip, right? We can make it more
clear the HSL. We can change the hue, the saturation, and the
lightness of the clip. So it has awesome
color adjustments actually to apply to your
clip, which is very cool. And again, just to
recap where we find all of these settings,
you click on your clip. You go back here,
you slide the menu. You can find this in
the adjust section. Again, you can change
the video quality to, again, reduce image noise, optical flow, which
just makes your video more smooth if for some reason, it's less than 24
frames per second. So let's say that you
have a video shot at 30 frames per second and not 30, but it is you have video shot
at 40 frames per second, and for some reason, I don't know why you
would so the video at 40 frames per second,
but you have, right? And you wanted to slow
this video down at 50%. So from 40 frames per second, it's now 20 frames per second, which is less than 24
frames per second. But the eye views laggy video
at 20 frames per second, which means that you
need four more frames per second for this
video to be smooth. So what optical flow does
is that it artificially adds it scans the
motion on your image, and it artificially adds four more frames
completely artificially, let's say AI generated frames so that the human eye views
it more smoothly, right? And you can also reduce
flickers, all of that stuff. Which is just cool stuff. Again, you can add
filters, just like that. You got many filters,
you can add. All of these are
different filters, and you can browse
from live filters, landscape feature filters,
movie filters, monoflters. So you get a huge, huge
library of filters. You can mask part of your clip. And with mask, you can
have a mirror mask, for example, a
circle mask, right, then you can change
the different masks, the aspect ratio, the
length of a mask. All of these are features
that you need to yeah, all of these are
features that you need to explore yourself and apply yourself to see if they
apply to your video editing. Again, tips, I'm just
here to just showcase you the different effects
that you can apply. You can extract the audio, yes, resize opacity, audio effects, beats, and you can also unlink your audio
from your video. So now we have applied
the mask actually. If I click on this, we can go to to disable the mask because
we don't want the mask. We can go to mask, right, and click on none. So this is how you
disable this effect. So right now, the effect is
disabled just like that. And of course, if you
just play back the video, if I click on play, you will see that one video plays
after the other. So just like that, we
added a fade effect, a fading effect in
all of our videos. So you have Video one after
that video two will play, and let's say that didn't
want this fade in effect. What I can do is that I
can click on the video. Click on split, select
this and delete this. And just like that, I deleted the first
part of the video. And okay, in this case, we had the video effect of fade, so we just disable it, and now we don't have,
this video effect. Let's say that I
want to add also a cool effect in this video, which is the Bugatti, I can go on speed curve
and choose the hero curve. So just like this,
have the video curve, the hero effect of the Bugatti. So this concludes the
video editing lesson in your iPhone, how to basically
completely for free, manipulate your videos
with your iPhone, how to change the speed,
how to split the clips, how to export them in
different settings, how to change the
brightness, the saturation, how to add effects, how
to change the speed. So all of these things
are just again, video editing principles
that I want you to play with and experiment
with in your phone. And if I were to give you the biggest and most
important tip regarding video editing is to
experiment with your videos. So import videos and capit, experiment with your
video editing styles. There is absolutely
no reason for you to master every single
video editing principle in mobile video editing. I want you to just know
basically cut down some clips, how to basically trim and change different
parameters of your clips. So whatever you
visualize in your mind, you can bring it into reality with your video
editing in your phone. If you want more advanced video editing
principles in CAPCAT, I 100% suggest you to
download CapcAT in your desktop in your PC and
start editing there, right? So thank you very
much for sticking up until the end of this
course and this module, and I'm going to see you in the final lesson of the course.
19. Thank you!: To personally thank
you for making it up until the end
of this course. I really hope that you
found value in my lessons, and if you did so, I
would really appreciate a positive review to help
me produce more courses. Again, again, just share my knowledge and my
experience with you guys. If you want more courses
around videography, content creation, leveraging AI, so I can make the most out of this eighth wonder of the world, which is con creation, I urge you to check
out the other courses that I have
in my profile. And if you want, you
can book a call with me and talk with me on a one on one basis on my profile page
here in the platform, right? So, thank you very much, and I'm going to see
you in the next course.
LAMZ, Creative Internet Pioneer
