Smartphone Videography Masterclass: Making the Most out of your Smartphone's Camera

1. Introduction: As you may or may not know, right now, in your pocket, arrests one of the most powerful tools that you can use in the 21st century. I'm obviously referring to your phone, but more specifically, I'm referring to your phones, cameras. You see if you combine the fact that the world's most powerful tool right now rests in your pocket with extreme knowledge in the field of videography and video editing, this is a killer combination that immediately makes you very valuable, useful, and potentially profitable in today's society. This is exactly the reason why I created this four hour long course in which we go through every single aspect that you need to understand and comprehend in order to be very comfortable and produce videos with your phone. This right here is the complete smartphone videography course for beginners. Again, in this for our course, we're gonna be analyzing all of the knowledge that you need to digest to again, become very comfortable in utilizing this very powerful tool that you have in your pockets. We're going to start this course by analyzing all the different gear that you may or may not want to invest in for this hobby, we're going to move into analyzing what frame rate and resolution is the internals of your camera's moving on. We're going to back out from the internals of your camera and talk about different movements that you can use while shooting video. Seven different and new ways to stabilize your clips that I am sure that you've never heard of. And then we're further backing away from the internals of the camera and discussing some broader principles of videography that are very important for you to set a foundation for this holiday. So when discussing the principles of composition, the principles of lighting, to again, set great foundation for your journey in videography. After that, we're discussing the different parameters you need to understand well, shooting indoors, the correct placement of lights and microphones, and obviously the different parameters of shooting outdoors. Finally, we're going to move into the second segment of this course in which we are discussing about editing, how to edit a role, how to edit B-roll. Some tips and tricks that I've learned through my five years of experience in this filmmaking field. And finally, we are discussing about sound design and the importance of adding sound to elevate the production value of your edits. So again, I am very happy to have you here. You are very lucky that you found this course. Join me in this quest to understand how those powerful tools of hours work and masters smartphone videography. 2. The Class Project: So thank you very much for clicking on this video and actually starting this quest with me to become experts in smartphone videography. Again, this is gonna be very exciting course. We're gonna be analyzing many different aspects in again, this amazing hobby. But now for this lesson right here, we're going to focus on the class project that you are called to complete by the end of this course. So again, you're going to be digesting a huge amount of information in this course that I've tightly Backed for you to be easy to comprehend and understand. And the class project is going to be again, based on all of the information that you're gonna learn through all of those lessons. So obviously the class project is for you to grab your phone, shoot a video with all the different principles that we're gonna be discussing and edit this video again, with the editing principles that are going to be analyzing in the later lessons of this course. In my opinion, this would be the perfect class project. This is why I assigned it to you guys. And I really encourage you to participate to this class project and actually deliver the class project due to the fact that the best way to learn in this field right here is through trial and error. So suit, edit, shoot, edit, shoot, edit. This is the best way to learn videography field. Also keep in mind that I will be personally viewing and reviewing every single one of your class projects. So this is also a great way to connect with me if you want, we can have a small discussion in the discussion section of this course. So please encourage you again to submit your class project and engage with this class and make the most out of it enough with introduction, let's dive into smartphone videography with the first lesson in which again, we're gonna be discussing about all the different pieces and all different year categories that exist. And you may or may not need to start again with this course right here. So again, I'm very excited for you to joining my course. See you in the first lesson. 3. The Gear: Welcome everybody to the first lesson of this course in which, as you can see from this slide right here, we're going to analyze all the gear that you're going to need in order to elevate your smartphone videography game. Now keep in mind that all of the gear are gonna be analyzing in this lesson right here is going to be optional. Everything can be replaced with your smartphone. This lesson right here. The function of this lesson right here is to open your eyes in the world of all the gear that you can invest in this videography game to really show you all the different options that you have. So in this lecture here, we're gonna be focusing on four different subcategories, if you will, of yield you can invest in the first category is gonna be gear that can directly be applied into your camera, e.g. external lenses. The second category is light. So soft lights, ring lights, background lights, stuff like that. Then we're going to move into gear that you can be using if shooting outdoors, e.g. stabilizers, gambles, and stuff that will improve your video shakiness, if you will. And finally, we're going to move into the gear that you will be needing in order to successfully complete the post production editing your videos. This could be again a MacBook BC editing softwares. So we're going to analyze all of that in this lesson right here. So now let's actually dive into the first category of gear, which is gonna be the camera. Now, obviously the camera is going to be your smartphone. There are many different smartphones to choose from. As you know, you can have an iPhone and Android phones could be Samsung, Huawei one plus. There, there's a huge variety of different fonts to choose from. These are some specs that it would be great for you to have in your smartphone. So we do the grade for your smartphone to be able to suit full HD video at ten ADP or more. These nowadays smartphones, I know that they're issued more than four K. Some smartphones also sued at five K. So this shouldn't be a problem. Also is a huge blast. If you actually, if your phone actually has a white or a telephoto lens, phones nowadays again come with two or more lenses, and most of them are either white or telephoto. So this is a blast if your phone actually has a wider telephoto lens. In addition to that, it is very important for your phone to have some type of internal storage. This usually applies to Android phones more than iPhones, because iPhones obviously don't have the advantage of external or internal storage. So Android phones usually come with internal storage capabilities. So you can buy an SD card, pretty much plug it in your phone, and now you have more storage. And in this videography, lecture, lesson and game that we're playing, you will soon realize that storage is one of the most important things to acquire at a very early stage. So storage is very important. Having your form, we're going to talk about external storage and Cloud storage in this lesson. And finally, you need some kind of building stabilization in your phone. Iphones have buildings civilization, most of modern Android phones, I know that have building video stabilization. This will massively help us improve our videography. So these were the key features of the smartphone. Let's move to the external features and external gear that we can invest in in our phones. These are some external lenses that can be applied to your iPhone or Android phone, internal to your smartphone, there are two types of lenses, right? This will be very helpful if you would invest in them. There is those lenses that come with a case. So you get your smartphone, you have a case around it. In this case, basically you can screw it lands. In this case, all of those lenses, there is a huge variety of lenses that we can use with this case, wide-angle lenses, mid-range lenses, telephoto lenses, lenses that apply some distortion to your video clips and give this vintage vibe. So this would be great if you would invest in one of those lenses. And we also have those cheaper clip lenses that you just clip in the camera of your phone. These are obviously way cheaper. These could be fisheye lenses, ultra-wide lenses. They're a bit less reliable due to the fact that this clip might distort your events even more. But again, if you're going with this distorted vintage look, a clip lens would be great. Another category of smartphone gear directly applies to your smartphone that you can invest in are of course, some great source of power. When it comes to power banks, I strongly advise you to buy apartment from this company called Anki, also known as anger. These are very cold the products and again, when it comes to the power that comes to your phone, you don't want to ruin your phones building battery. So please invest on some quality products when it comes to power. Now, obviously there is the second the second power source, as we discussed before, is the wall outlet. And the only thing is you need to know right now is that you need to invest in some cable that is more than 1.5 m long. We don't want to be limited obviously to the wall outlet, So just remember to invest in a long cable if you do so. Moving on, another essential and great investment you can do in gear piece when it comes to your smartphone, is investment in storage. Again, in videography, we are going to need as much storage as we can. Files nowadays are 4k5k. There are huge files and we need a safe place to store them. When it comes to smartphone building storage, you have two options. If you have an Android phone with the capability of an external storage through a microSD card, I strongly advise you to invest in a SanDisk big gigabyte SD card. This is 128 gb or more. Nowadays the rest the guards of 1 tb, 2 tb. So grab one of these. These are usually only applied to 100 pounds because. Iphones pretty much you can actually have an SD card in them. And they give you the advantage of adding additional storage to your phone. Now, if you have an iPhone, you want to invest in Cloud Storage. I know that iCloud provides a storage plan. And I think with $1 per month, you get something like 200 gb of free Cloud Storage. Now me, myself, I'm not a huge fan of cloud storage. You the fact that I haven't found the best way to import and export files from the storage space. And I really, I really enjoy the old classic way of just having a guard, pulling out the guard, embodying it in your PC and doing the magic, the magic of editing in this way. But as you will. So this was pretty much the gear when it comes to the camera itself. Now, we're gonna move into the next category of gear pieces that will help you with your smartphone videography game, and these are light. Now pay close attention to this part of this lesson. The fact that in next lesson in which we're going to discuss about how to light a scene that will be sought with your iPhone. Obviously, you will either need to invest in one of those lights or to find a way to set up a lighting scenario by yourself. So now I'm gonna introduce you to the three types of lights that you want to have in your smartphone videography game. The first type are softbox lights, ring lights, or background lights. Now, when it comes to softbox lights and ring lights, if I were you, I would invest in one of those two. Background lights are also not essential, but they will widely improve your video with any camera that you're shooting. So let's move and analyze softbox lights. Quick disclaimer here. There is no perfect lighting for all of the occasions. In all of the lights that we will discuss here. There are some browns and there are some cons. The pros of softbox slide is the fact that they're relatively cheap. You can buy both of those nights for about €40 from Amazon. So that expensive, again, 20 bucks for each of the blade is fine. They provide a strong lighting and they can really light up your room. E.g. have one soft looks like here. And once I felt like there and you can see that they really like the whole room up and they are very versatile. Did the fact that you can stop them in all sorts of places and get very creative with those nights. Obviously, there are some cons. They are huge. They take a huge amount of space and they're pretty hard to store, although they can pile up, so you can store them somewhere. They take a huge amount of space, even when you store them. The final corner of this slide, which I actually also have it in the browse list, is for some people, the sliding may be too strong. It made me do hearts, as we call it in videography. So keep that in mind if I will do though, I would definitely invest in a softbox like. Now. Moving on, the second category of lights that you can invest in is a ring light in general, as a rule of thumb, remember that the ring light is made for more beginner videographers, then the soap looks like these are the light that you will expect for a TikTok or use, or a YouTuber to use. The pros of ring lights is the fact that they're made for phones specifically. So there is a strap or your phone to put it in the middle of the ring light. And they're very easy to use and very easy to store. Honestly, they're not that big, as you can see. They can be mounted the dry bulb. So this is pretty versatile. But again, the cons, I think in this case are more than the vague produce a bad quality of light. They don't have this diffuser you see in those box lights. The lighting they use. The fact that there is no diffusion between the subject and the light source is pretty hard. I would say that is even more harsh than the box slides. And you can see the subjects of ring lights usually you can see the ring light in their eyes, which is not ideal. And also they are not that very stellar. They're great for shooting a spot on interview type video like this. You can't really get very creative with ring lights. So these were box lights and ring light. Moving on to the third category, we can talk about background lights. Now there is a huge, huge, huge variety of background lights to choose. Obviously barren lights are not essentials, but they are highly, highly recommended. Pretty much all the background lights do is that they are the new layer of depth in your video. A background light, as you can see here, could be this Cloud-scale with different LEDs. It could be the sunset light or just a simple LED strip, as you can see in the background right here. I have LED strips and use them again to add a layer of depth in my videography. So these were pretty much the light. Now that we're done with the two most important categories of gear, obviously the gear that applies to your camera and the light that you can invest in to produce the optimal results in your video is time to talk about gear to help you with your actions, thoughts. Obviously, we're not going to stay inside the room for this course. We're going to go out and shoot outdoors and they risk gear that could accompany your camera in those cases. So when it comes to action V, These are the three most important accessories to invest in. Obviously, we're going to need a durable case for our phone. These are very fragile piece of gear, very fragile cameras, and want to invest in a great durable case. So we're going to analyze all the cases that could apply to your camera. Also, you can invest into some gimbal. Now Gimbels are pretty much sophisticated. Tripods, they keep your camera stable and they're Gimbels directly made for phones. Dji makes great demo's. Finally, you could invest in a tripod or a gorilla pod. So let's start by analyzing productive cases. Now, as I said before, you're going to need a protective case. This could be a waterproof case, just like the life briefcase that made, that is made for iPhones. It could be a case that secures your phone and you can actually put your finger in the case so it doesn't slip off or something like that. And finally, there are cases, as we analyzed before it in the smartphone slide that you can screw in some lenses to produce again, those more interesting images and shots. So these are the three different cases that you should consider investing in. If it was me, I would invest in a live briefcase. These are waterproof so we could get some underwater footage if you get creative with it live briefcase. And in general, your phone will be intact in pretty much any shooting scenario. Now, a gimbal is definitely not an essential gear piece obviously with when shooting with a smartphone, but it is highly recommended. Just like the, just like the lights. We're going to have some pros and some cons. The pros of the gimbal is that it just produces extremely smooth, flawless. Trust me, when I say that, you will see no shake when it comes to the food that comes out of this, those gambles that are really amazing pieces of gear. In addition to that, another pro is that they actually increase sometimes the battery life of your phone to the fact that they act as biobanks. So this is a huge plus because if you invest in a gimbal, you pretty much don't have to invest in a bar man. Obviously, there are some cons. The phone is exposed, right? So it's exposed to the elements. You don't have a case when you have your phone to a gimbal. So you should consider that. In addition to that, they are hard to get around Gimbels internal time with productive cases. So you should carry a, another case with you for the Gimbal. So this is a hustle. It's really just one more thing to watch out when you're out in the field shooting. So you must have your minds, the gimbal, where to, where to store it, where to put it, how to get it out in in order to balance it. So it's, it's a hassle, but it's worth it when it comes to the videos that come out of the Gimbels. Next, there are tripods. Now, triples. They're very cheap, okay? This is a huge bro of the tripod. You can buy them for 1020 bucks for Amazon, they're very easy to use. You just plug your phone there, your phone rest easily. It is not that hard. You don't need the very quality tripod to shoot for your phone. If you had like a 5,000 dollar camera, I would invest you, I would advise you to invest in a very expensive tripod because you don't want your camera obviously to dip over. But for those cases, a symbol 10-dollar drivers for a phone is perfect. In this lab, most of those tribals have cost $10, come with more accessories from Amazon. So you can have this remote control to start or stop my video. So this is also a plus. Now when it comes to the cons, obviously tripods are very hard to pack. These are big, relatively big. You don't want to carry a huge struggled with you everywhere. In addition to that, due to their low price, of course, and low quality, they're not durable. You are limited when it comes to the motions and different salts are going to reuse with a tribal pretty much. The camera is stable in one service with a tripod. Tripods. Let's summarize that they're made for beginners. Mostly. This right here, in my opinion, is defined golden line of all camera stabilizers. This is a gorilla board. Now a gorilla pod is a tripod, a stabilizer, a vlogging kid. They're relatively cheap, easy to store, very, very style. And how a small footprint, which means that you can store them into your camera bag. In my opinion, every single one of you should invest into a good gorilla bold. This is a very versatile piece of year and has my stamp of approval when it comes to videography in general, either smart phone or camera or DSLR or mirrorless, you must invest in a gorilla. But in my opinion, it is one of the most value from an accessory that you can invest in. Finally, let's talk about all of the gear, the software, and the hardware that you're going to be needing in order to successfully edit videos that come through though you're amazing smartphones. So now when it comes to editing, we need some post-production accessories. This would be an operating system and editing software and external storage, which is different from the external storage of your Android phone. This is going to be external storage for your operating system. So let's take it one step at a time. Let's start with the operating system. Now. The operating system, obviously it could be a MacBook, right? This is the system of my choice. It is timeless. You buy a Mac book wants and you keep it 45678 years depends on how much you're careful with it. They are very, very durable and they are user-friendly. A MacBook is an investment that is worth investing in. It will last a long amount of time and it will make your life easier and better. Obviously, if you don't wanna invest in a MacBook, you can invest into APC. Pcs and laptops have bigger computing power than MacBooks. Give them that they have the luxury that you can upgrade them to have even more CPU power and more computing power. But they are a bit more complex. You have to deal with viruses. Softwares are a bit more complex to navigate through, and also they're not mobile. You can take them with you in a trip or something like that. So keep that in mind when choosing your operating system. Obviously, a phone is an operating system and it is a free operating system. As I told you in the beginning of this lesson, you probably don't need to invest in any of those good pieces to follow the lessons that will come. I'm just suggesting you the best value for money options here. A phone is obviously a free operating system to edit your videos on. Alright? That being said, you're not going to have that much creative freedom when editing from your phone. Obviously, this is why most editors edit through a, B, C, or a MacBook. We have more creative freedom while doing this. Phones are associated with a decreased computing power, but it is still an option if you don't want to invest in another operating system, you can definitely edit free videos from your phone. Now, when it comes to the editing software, we're going to have three rounds. If you are a PC user, you want to invest in Premier Pro. Premier Pro is the best editing software for PC users. It is not that easy to master, but it is easy to start editing. As a beginner, you Premier Pro. So I 100% suggests that each have a PC to invest and start learning how to edit on Premiere Pro. If you're a Macbook user like me, I would suggest you to invest in buying Final Cut Pro. I have a course in my channel right here on how to edit videos of Final Cut Pro. As a beginner, it is, I think in my opinion, the perfect editing software for both beginner, intermediate, and also experts, videographers. So keep that in mind. If you have a Mac again, invest in Final Cut Pro. And if you have an iPhone, I know that iMovie is a free editing software that comes with your iPhone for free. So you have this option to edit in iMovie when it comes to Android users, you can download the huge variety of free-running suffers from Google Play Store and generally online. So I will do this if I was, if I was an Android user. Now, moving on, as we said, regardless of which operating system you're going to use, it is good for you to invest in external storage. External storage is absolutely essential if you go with a PC or a Mac, don't want to be storing your videos on your MacBook storage or your PC storage. This will make your BC slower and you have the risk of losing the footage if you lose your BC. In general, these are two options you can invest in a Stan disc external storage or a Lacey ragged us that external storage, just like I have done, I have a Lacey which is this orange storage devices you can see there. And it is good for you to invest in storage, in external storage device that has more than 500 mb of storage to give you 2 tb, I think would be the optimal amount of space storage space have when it comes to external storage. Now, obviously, if you're using your smartphone as a computing and editing device, you have the two storage options that we discussed about in the beginning of this lesson. Either have a microSD card or cloud storage if you are an iPhone user. So this was pretty much all of the gear pieces that you could invest in if you want to do elevate your videography game with your smartphone. As I stated in the beginning of this lesson, you shouldn't invest in every single one of the pieces that I suggested you. In fact, you don't even have to invest in any of those pieces. But that being said, many of those year pieces we analyzed in this lesson could make your videography life way, way easier, e.g. a great light and gorilla pod and a good editing software. So I really, really encourage that. Now we're done with the gear. It is time to focus on the camera itself and set great foundation by analyzing what frame rate and resolution is. So this is what we're gonna be discussing in the next lesson. 4. Frame Rates and Resolution: So hello everybody and welcome to this second lesson of this course. In this lesson right here, as we said in the ending of the first lesson, we're going to focus on frame rates and resolution. We're going to discuss everything that is when it comes to frame rates, right? All the different frame rates, 60 frames per cent in 24 frames per second, 30 frames per second, all the way to 120, 240 frames per second. And then we're going to analyze what a resolution is. 7-10 ABB, 2.7 k for k are the differences between them, the pros and the cons. So without any further ado, let's launch this presentation and let's dive into frame rates and resolution. So obviously we're going to start by analyzing the frame rate. Salts go. Now, let's first discuss what a frame rate is. Keep in mind that as you can see in this image right here, a video is pretty much multiple photos played at high-speed. That high-speed of the photos that are played to make a video range from 24 frames per second, which is pretty much the bare minimum of a frame rate. Alright, anything less than 24 frames per second, as we can see in the next slide, we'll look degrees and glitchy up to more than 20,000 frames per second. 20,000 frames per second is a frame rate that usually slow motion cameras used from now. It all comes down to the anatomy of the human eye. As we said, the human eye views the world at 24 frames per second and anything below 24 frames per second, we'll look glitchy, GREs, let's say, laggy. So the bare minimum, bare minimum amount of voters for a camera to shoot bear second, to construct a video is 24. That being said, there are many, many frame rates from which to choose from. We have 24 frames per second, which is the normal speed of most cameras. Most cameras also shoot at 30.60 frames per second. And some cameras that are able and capable to shoot at slow-motion speeds suit at 120 or even 240 frames per second. Now, what is the magic year? If we shoot a video at 60 frames per second, you will see that if you do the calculus, we can have two times a video of 24 frames per second played during those 60 frames per second. This means that if we slow the video down by 50 per cent. So if we slow the video down by two times, it will play at 30 frames per second. So this means that if we shoot a video at 60 frames per second, we can actually apply a slow motion effect. We can slow it down by two times, respectively. We have a video of what sold in 120 frames per second. We can slow it down five times. And if you have a video shot at 240 frames per second, we can slow it down up to ten times. So this pretty much how the slow motion effect is applied in modern videography. It is all based on the frame rates in which your videos sought to give you an example. In this image right here, you can see this drop of water dropping, which is salt, at very, very slow motion speeds. So very, very high frame rates. This is probably shot from more than 240 frames per second. This is why we were able to slow it down, obviously more than ten times in post-production. So this is a great example of a high frame rate video slowed down to 24 frames per second. So it will slow down more than ten times. Most of the cameras shoot anywhere 24-120 frames per second. This is the frame rate of your iPhone or Android phone. In general, if you have a smartphone, you can usually shoot up to 120 frames per second. A DSLR, also, in DSLRs, the same principles apply. You're going to get anywhere 24-120 frames per second. And if you have a slow motion specific professional camera, you can do it anywhere from 24 to again, 20,000 frames per second. These are specific cameras that are made in constructing, shoot very, very slow motion videos. But keep in mind that up to recent years, most of the cameras couldn't shoot more than 60 frames per seconds. So the fact that you have the capability to should view at 120 frames per second from your smartphone and slow this down five times. This is very, very important and very useful and we're going to use it in this glass right here. Now, question, why shouldn't I be always shooting at the highest frame rate available? You would ask yourself, okay, my smartphone shoots at 120 frames per second. Why? Why are we having this lecture? Why should I know about all the different frame rates to be a complete videographer, why shouldn't I always shoot at 120 frames per second? Well, there's a catch here. Frame rates obviously have pros and cons. Obviously, videos are short, but high frame rates can be slowed down even more impulse production. This is why we see that high frame rates to apply the slow motion effect in post-production in addition to that videos there so that high frame rates have, in general, as a rule of thumb, a more sharp image. So this increases also the clarity of the image. Now, this is the devastating parts. There are some cons when it comes to high frame rates. We first go on, is that high frame rates, general, eip, the battery of your camera, very, very fast. And so of course, this is very buttery consuming. Shooting and high frame rates usually occupies a huge space and computing, borrow your camera on your smartphone. So keep in mind that high frame rates will drain your battery up. In addition to that, high frame rates produce huge video files, very, very big video files, which obviously will increase the needs of your storage of your phone and your camera. So this means that if you see that high frame rates be prepared to have to deal with huge files. And this is going to be pain in the ***, also in the post production of your video clips. So you need to be targeted when shooting at high frame rates. You don't have to shoot all of your videos at the highest frame rate possible. But we're going to discuss about the perfect golden line of frame rates. In my opinion, the perfect frame rate to shoot our 60 frames per second while shooting at 60 frames per second, you are giving the chance slowed down by two times your video. So we can apply two times slow motion in our video, 50 per cent slow motion. And this is the perfect fine line in my opinion, between battery and storage consumption in addition to, again, this chance for us to apply the slow motion effect. So if I were you with my smartphone, I would shoot at 60 frames per second constantly. This was everything that was to be thought about frame rates. Obviously, we didn't dig deep in the frame rate, but you now, we now have covered the basics and we can move The second part of this lecture, which is the resolution. Go. Now in general, resolution as a rule of thumb is the amount of pixels that construct your image. Lower resolutions will obviously include, include less amount of pixels in the image, and this will lead to a more blurry image. Hire lots of reasons, will obviously have more pixels in the image. And repeat that. You can see after those numbers, 240, 360, 487th, 2010 ADP, those are pixels. When we refer to an HD video, we're talking about a video that is of resolution of the Navy. And above, above the NAD we have 2.7 k for k. But we're gonna discuss about the other resolutions right now. Now, which cameras shoot, which types of resolutions? Literally anything that anything less than ten ADP was pretty ancient in the times of videography, those very old cameras you suit at 07:20 be. But the bare minimum of resolution nowadays is the NADP. And NADP, you would see most of the DSLR cameras shooting at NADP, the low range missile. Our cameras also phones, obviously suit at full HD, then ADP. Then we get 2.7 k, which is my preference of resolution. Obviously most phones, again are capable of shooting. When seven K go pros are capable of shooting out to win seven gay, obviously some higher end cameras. Then we also have the very well-known for Kate resolution, which most phones, most cameras, most gold pros nowadays also shoot at four K. Obviously we have resolutions higher than 4k5k6 K. Some phones also shoot at a gig at the moment. Now, this is a very good question. Why shouldn't I be always shooting at the highest resolution in my phone? I bought my phone because it has the ability to shoot for K video. Why shouldn't I be always shooting at four K? The answer is, just like in frame rates is the fact that we have both pros and cons in resolution, just like anything in life, increased resolution will come with some browse. Obviously we have, we're going to have increased quality of video. We're also going to have increased sharpness and clarity. The videos will be looking great. But the problem is again, that this consumes a huge amount of battery. And again, this greatly increases the amount of storage that you're going to need for your videos. These again, high resolution files are going to be very, very big files when it comes to storage. So that's pretty much brings me to my next point, which is the suggested solution. Now, my resolution, the best resolution in my opinion out of all of those that we analyzed in this lesson is 2.72, 0.7 k. Again, brings great video, called it in the videos, and it doesn't consume that much battery as well as storage space. We could say that 2.70 is the fine line between video quality and battery and storage consumption. So 2.7 k is my suggested resolution for you. So if we combine the suggested frame rate and we suggested resolution, we have the so-called killer combo, which is 2.7 k at 60 frames per second. This is what I would suggest you to suit with your smartphone at a daily basis. I would suggest you to suit 2.7 k video at 60 frames per second. This means that we have a decent resolution with again, an increased amount of pixels. So we have that quality and clarity of image in addition to sharpness and six different per second, which means that we can slow down the video up to two times in post-production. This is also known as 70, 60, and it is a very, very common combination in videography. So this is it when it comes to frame rates and resolution. Just to recap this lecture right here, we start by analyzing what frame rates are, the different types of frame rates, the pros and cons while using high frame rates in your videos. And then we move Do resolution. We analyze the different types of resolution, anywhere from 722 full HD for k, 2.7 k and all of that stuff. And then we analyze the pros and the cons of shooting again in high resolutions. Then we concluded into the killer combination of frame rate and resolution, which is 2.7 k again, at 60 frames per second. Now that we're done with the basic anatomy and function of your smartphone video camera, it is time to move into actually the different types of video suits that we can achieve again, with those amazing smartphone. So in the next lesson, we will discuss about camera moves that will make your videos more interesting. 5. Handheld Camera Movements: Welcome everyone to the third lesson of this course in which we're going to be talking about seven basic camera movements that you can perform with your smart phone or any camera. To be honest, that will elevate your videography game. Now, as I note before we start with this electron right here, I want to make sure that you understand that the same camera movements that we're gonna be talking about in this lesson right here can be actually implicated in post-production. And I'm going to teach you how to apply the same movements in post-production in future lessons. That being said, let's open the first slide and let's dive into this third lesson of the course. So let's gentlemen, this is going to be the basic outline of this lesson right here. We're going to start by introducing you to those seven basic camera movements and what we're going to talk about in this lesson right here. Then we're going to move into those seven different salts and analyze each and every one of them as well as I'm going to give you some examples for each and every one of those salts we're going to analyze. Then some tips when it comes to actually applying those camera movements to your videography. And then of course we're going to have a small recap because it's a lot of information packed in this lesson right here. So let's start with the introduction. Now, what our camera movements and why do we use camera movements in our videography and our filmmaking? Camera movements is basically if you're making technique that help us with the enhancement of our story, pretty much the human eye is made to actually see movement. So movement intrigues you. Human eye movements, different camera movements and a wide variety of camera movements actually help the story to become more immersive and help with the engagement of the audience. And in general, in this business, audience engagement is very, very important. This is why I added this gift right here, because moving again in those slides make the audience more interested in your videos. Now in the following slides, we're going to break down the basic types of camera movement in filmmaking that are achievable with a smartphone. So the next time you're shooting, you will understand the implications of what you're doing. You will understand the mechanics behind those movements. Note, as I said in the introduction of this lesson, but most of the movements that we're gonna be discussing in this lesson right here, could be done in post-production. I'm going to teach you how to perform most of the days movement that you can analyze in post-production editing. So don't stress about having to nail every single one of the movements that we're gonna talk about in this lesson right here. In the introduction, let's move to the salts themselves. Now, as we said, these are seven salts, seven different camera movements that we're gonna be analyzing in this course right here. We're gonna be talking about the pan movement, that movement zooming in and out, the pedestal movement, the tracking shots, the dolly shots, and the following salts. Now, this might sound a bit overwhelming or these main sound like a lot of information and things to discuss. But trust me, there are very simple, very basic. And if you take some basic notes, you're going to be fine with this lesson. So let's start with the deal chart. Here is this camera and we're gonna be focusing in this camera to help me explain what each type of salt is. So basically, in the tilt shot, the camera is fixed location, it doesn't move and it just rotates on a vertical plane, as you can see, with tilt upwards until downwards. So it could uses the illusion of camera movement without actually having to move the camera itself from its location, the camera stays stable. That's what I want you to remember when it comes to the field. So e.g. this right here, as you can see, is a built upward. That's it Again, the camera tilts upwards to reveal this. In addition to that, I want you to know that it seemed like there was movement in the South and there was movement. There was a change in the salt, but the cameras stayed completely still Enough with the tilt shot. Let's move to the secondary degree of salts, which are the shots now during the bandsaw, just like the camera is completely stationary, it doesn't move, it stays in a complete location. But the difference is that in Build mode we tilt upwards and downwards. And during the ban mode with tilt from left to right, so the camera rotates in a horizontal axis. The bar chart is one of the most common camera movements you'd see in big films. And it's pretty much a revealing sold within which we usually reveal a larger scene. If we play the same video from the same movement, you can see the tilt shot here combined with, as you can see now, a pan movement from right to left. So this is how e.g. we can combine tilt with pan movement. Moving on, we're now going to talk about the zoom movement. Now note that this movement right here refers to the digital or analog zoom of the lens. So this is a built in Zoom in which again, we camera stays still. Obviously the frames. The frames zooms in into the subject, but the camera stays completely still, just like in the Zoom or the band movement. Now, there are few things that I want to point out when it comes to movement, especially Zoom movements with artificial or analytic Zoom while zooming the lens. Because we're gonna discuss about Dolly movements. In the future of this lesson, which we don't actually zoom with the lens, would just ban towards the subject with our camera. Now, the first thing that I want to point out in these types of source right here is that when we zoom in digitally or analog with the lens, we have increased risk of Zoom shake. This what we call Zoom shake. If we increase the focal range, as we call it in filmmaking, in which we shoot a subject, we have increased shake. So you pretty much don't have shaky hands or you want to have your camera on a GameOver performing. Those are, in addition to that, I want you to know that digital zoom decrease the quality of your video. Take this e.g. imagine you have a fork, a video in front of you. If we start zooming in, we have less pixels in the image that is produced. So the quality of the image starts to decrease. After some point, if we zoom in too much detail, we're going to have a very distorted the image, which is pretty much not usable. So keep that in mind when zooming in digitally, which is pretty much what we will be doing in the post-production editing lesson. There is increased risk of a very bad image quality in obesity to that, note that when you're zooming, especially in with an analogue lens, the difference in the focal range that you're using. So the different lenses were using the different focal ranges as resuming may distort the subject. So subject distortion due to zooming in and zooming out is very, very common and we have to be careful with it. Now I'm not going to show you an example of resumes. Other thing we, everyone here knows what the Zooms or is solid. Move to the next shot, which is the tracking shot. Now, the important thing to note when it comes to traveling south is that the camera moves at the same speed with the subject. So we have a sudden which the subject is in the middle of the frame and the camera also follows the subject alone. So again, this gives us a subject in the middle of the frame and the environment constantly changing, just like most salts that we have analyzed up until this point, the tracking is applied to reveal a scenery while having again, the central subject at the center of our frame. As a note, remember again that in the tracking shot the camera moves in the horizontal axis and not in the vertical axis. Obviously. This is the opening tracking salt from specter, of course, the James Bond movie. And you can see that in the beginning of the salt, the subject is this person right here in the white suit. But then we tracking so it moves, of course to have James Bond in the center of the frame. So this right here is a perfect example of a tracking shot. We have the subject, as you can see in the center of the frame, the environment constantly changes. If we move the video, you're going to see that this is a single shot. Again. This is again combine in this part for salt with some zoom-in, zoom-out. And again, we track this object and the subject days at the middle of the frame. So this is the basic principle of the tracking shot. Moving on to the next slide we're going to discuss about the dolly shot. We're done with the camera staying stable. Now, let's analyze some salts in which the camera actually moves. The dolly shots is going to be the first sort of have category. And in the dollars of the camera moves towards or away from its object, the dollars that is pretty much zoom in or zoom out, but using the camera, not using digital zoom-in. When did those mouth nor using like they're zooming with a lens. Now what is the function of dollars? So why do with zooming with those other and not with the lens? The first thing is to actually apply focus to the subject. Want the viewer's attention to be in the subject. So we just bring the camera closer. This object, There's of course, builds up tension in a scene and obviously increases the drama of the scene. There's one more reason to use a dolly shot rather than just zooming in with a lens. And if you can recall, this is due to the fact that when we zoom in with the land, we might have distortion in the subject. So the dolly salt, we don't have the torsion. And this is a great way to just cycle around this here, e.g. we can see it perfect example of $1 sold. The camera just moves towards the subject is very basic and very simple. One thing that I want to add here is that due to the fact that we have camera movement of the camera isn't stable, just like the band salts or the field salts. You might want again, to invest in an accessory in a gear piece that stabilizes your foods. This is where we need food. It's stabilization. You don't wanna be hand-holding your camera and moving towards the subject. This is going to, of course, how introduce some shake into the videos. So you might want to invest in some gimbal and some stabilizer of some sorts if your smartphone doesn't have, of course, buildings immunization, as we are less than the first course. Moving on, we're going to discuss about the following. So now the following setup is similar to the tracking shot, but again, the subject stays in the middle of the frame. The only difference here is that the camera doesn't have to stay fixated in a singular position according to the subject. So the camera may turn around this object. We might introduce some creative freedom in the following salts. And this is what differentiates, again, a falling salt from a tracking shot. Again, very, very important to use a gimbal and not actually hand holding the camera while performing those shots. Because we don't want to introduce some shake into our videos on obviously, you can combine a falling salt while being zoomed in. And if you actually hand-held your camera while moving around the subject while being zoomed in. Because as we said, zooming, zooming in, introducing more sake to our videos, this combination. We'll need to use a big amount of shakiness to our videos. So I really suggest you to invest in a game or if you want to be performing those shots. This right here is a perfect example of a following shot. Again, I kept the camera is fixated and we have the subjects in the middle of the frame. But the director and the camera grader has greatly freedom to move wherever he wishes during the shot. Next, we're going talk about the pedestal, also known as the boom up and boom down movement. As you can see, the cameras things fixated again during those salts in a singular position, but moves in the vertical axis so the camera moves upwards and downward. Pedestal shot, the movement actually the pedestal shot is pretty similar to the tilt shot, but during the boom, up and down or better facade, whenever you want to call it, the camera angle stays the same and just the camera moves upwards and downwards in the vertical axis. This obviously helps us reveal new subjects in the shot or helps us focus if the director wants the viewer to focus on a specific part of the scene that we wouldn't see otherwise. Let me give an example in this film right here, while those two gentlemen are discussing in the table, the director wants us to focus on a different part of the video, let's say. So we use the pedestal shot to move downwards the legs and below the legs of the subjects. Again, this is very creative obviously, to show this woman hiding in the back floor. So obviously you can get very creative with a pedestal salt. And this was just an example of how to use. Now, I'm going to introduce you to some tips that you need to know again, to perform successfully the camera movements that we discussed in this lesson without having any problems. And again, the implication of the movement. First of all, you don't want to underestimate the power and the elegance and the beautifulness of steel shots, just having governor in the tripod and just recording an environment. These are very, very powerful salts and I don't want you just because you were introduced to all of those camera movements, to just completely forget about steel songs. Don't underestimate steel salts. The second thing that I want to point out is that you need to have a different variety of movements. Don't overuse a movement just because you love it or you're good at it, try to invest time to master all of the movements will be discussed in this section right here, and use a variety of them. The next thing that I have given you is that it is better to achieve those movements in camera and mastery techniques to again provide those movements, then to rely on post-production again to deliver those movements. I want you to think at post-production editing as a last resort to correct some very basic and superficial mistakes that we did in the shooting process. So don't rely on post-production again to deliver those movements. Try to master them while shooting with your camera. The final tip that, and we talked about this during this lecture, is to invest in by a gimbal if you really want to apply 100% of movements that we've talked about in this lesson. Invest the money by gimbal. If you use it correctly, it will, it will make your money back, and it is very, very helpful to have one. So to recap, these are the six movements that I want you to remember. Obviously we're talking about one more, but these are the six basic movements, again, to perform with your camera and don't be stressed by this huge cameras. You can see in this slide right here, obviously you can perform these with your smartphone. We're talking about the dolly movement in which the camera moves towards. And the way that subject. We talked about the tilde movement in which the angle of the camera changes. We're talking about the pedestal or the boom up and down, in which the camera moves in the vertical axis. We took them out of the pan movement and okay, the rock and roll movement, you can forget about it. It's a bit more advanced. So this was pretty much it when it comes to camera movements you can perform with your smartphone. I hope that this lesson right here help you elevate your videography game and maybe understand that camera movements and videography in general isn't as complicated as it seems. In the next lesson we're gonna discuss about composition, how to apply some basic composition principles to elevate your videography. 6. Composition Principles: So now it is time to talk about composition. Composition, as well as lighting are two of the most important factors for you to deliver a successful video, even with a smartphone. So in this lesson right here, we are discussing all of the different aspects that you need to know when it comes to composition in videography. It now for the introduction, Let's launch our presentation and let's start with this lesson. So this right here is the outline of the fourth lesson of this course, the composition lesson. We're going to start with me introducing to you what composition is and some basic principles of composition. Then we're going to move into analyzing all the rules are the basic rules of composition. And finally, we're going to end this lesson with some tips that I have gathered through my personal experience and of course the videography field and a recap because there's a lot of information packed in this lesson right here. Enough talking. Let's move with the introduction to this beautiful lesson. Now, what is composition in very basic and simple words composition is how we choose to present and frame our subject in our video. Composition is very, very important because with this factor, we guide the story to our viewers. We can create certain atmospheres, of course would be correct composition and the appropriate composition. And obviously, by utilizing some basic composition rules that exists in videography, we can increase the engagement of our audience to our videos. And it doesn't matter if you are a very widely known filmmaker or just a beginner YouTuber, having increased audience engagement in your content and in your videos is very, very important and it's pretty much the goal of videography in that obviously, we use composition to convey different feelings in our shots. Now, as we said again, composition is arranging the elements in our frame in a way that is pleasing to the eye of the viewer and also easy for the viewer to understand. Obviously body composition example is if there is too much going on, on a salt and the salt is very e.g. short, sort of yours doesn't get to process what is happening. And again, a good understanding of composition will lead to very eye-catching content to your audience. And this is what we're going to work in this lesson right here. Now, there are two ways, of course, to compose a shot. So the first way to change the composition is by changing what is seen in your image. And the second way the gender composition is by changing the focal length in which you suit the semen. Very briefly zooming in or zooming out. Don't get stressed again, we're going to analyze both of those composition terms. Now. Let's move now. For now in the different composition rules. These are the composition rules and we can analyze in this lesson right here. They might seem too much, but trust me, they're very straightforward and easy to comprehend. So grab a pen, grab a notepad, and let's go through these composition rules with me. We're going to talk with the rule of thirds, the leading lines, headroom, symmetry, depth, and then the different shots that we can convey by our focal length establishing shots, medium range salts, and close-up shots. So starting off, we are firstly going to analyze the rule of thirds. The rule of thirds is a rule in videography and we shouldn't break rules. Now, the rule of thirds, the theory of the rule of thirds states this. It states that each sort can be subdivided into three different sections. Each salt can be subdivided into three vertical and three horizontal sections. Now the rule of thirds states that if we place our subject along the lines with sub-divide the frame into three different sections. This will be more pleasing to the eye in this image, e.g. you can see that the photographer didn't place the subject in the middle of the frame, as most beginners would do. So, he placed the subject in the left line, which again subdivides vertically the frame into three different areas. So this is a prime example of the rule of thirds, and this is more appealing to the eye. Another example of a rule of thirds is this image right here. Again, the photographer placed the subject in the third line that divides the frame into three different categories of the right. Another general rule when focusing on the rule of thirds is to place the subject eyes at the top intersection. So in the top subdivision of the frame, one-third of the way down the frame. So again, we want the eyes of the subject to be in this area right here or this area right here. We don't want the eyes, e.g. to be down here or down here. Obviously, the rule of thirds doesn't always and only apply if you have a subject in the frame. The rule of thirds, of course, applies also in landscape salts. So wildlife salts, nature salts, anything shot with a wide-angle lens, e.g. in this image right here, you can see that the photographer, based on the rule of thirds, subdivided the frame into the foreground, midground, and the horizon. The bottom, horizontal third is the foreground. The middle horizontal fret. Third is the mid ground, and the top horizontal third is the horizon. This is what makes this image so pleasing. In addition to that, the three and the shadow of the tree, as you can see. Is on this line right here, which again subdivides the frame into three different categories. So he blazed this subject, which is the subject of a frame obviously in this line, which makes the whole image more appealing. If you weren't used to the rule of thirds, you would see these images is just a normal image, which is just eye-catching, but there's science behind this. The same thing has been done in this image by this photographer. Again, he subdivided the image into three parts. We have the foreground, the mid ground, and the sky level, let's say. And again, he plays the subject, which is the first object actually, which is the tree in this line right here. And the second subject, which is the sun, you can see that it is very close to this angle right here, which again is very eye-catching. These two photographs are example of vertical axis division of the thirds. So the key subjects of the frame, which is again the difference between the land and the sea in this image. And again, this rock right here is placed on one vertical third as a rule of thumb, when it comes to the rule of thirds, remember that you must place the subject in the lines with sub-divide the frame in again. Third, visit the key that I need you to remember for the rule of thirds. Now let's move to the second rule of composition, which is the rule of leading lines. Leading lines are again something that if someone doesn't introduce you to it, you wouldn't pay attention to it. But leading lines are pretty much lines within an image that lead the eye into the subject, e.g. in this image right here, I have drawn the arrows that lead the eye through the dog. But even I didn't draw these arrows. You can see that the photographer uses all the lines of the bridge, again to draw the attention to the subject of the frame. The leading line rule is a very, very common rule. And if you keep your eye open, you will see that leading lines are everywhere in video. Obviously as we, as we saw from the previous image, which, in which photography used those bridges as leading lines. Pretty much everything could be a leading line. One of the most common leading lines in videography and photography could be streets, buildings, and different textures. So grab e.g. in this image right here, photographer used those buildings again to lead the eye of the viewer to this lady right here. In add this to that, leading lines, especially in videography, can apply just like the rule of thirds in a huge variety of different videos, landscape videos, portrayed videos, wildlife videos, urban videos, as well as photographs of all of those aspects right here, could be composed with the rule of leading lines. Another thing that I want to point out here is that you don't, you shouldn't just follow one composition rule. You can combine 234 or seven composition rules in the same image or in the same video. Obviously, you can use the rule of thirds with the rule of leading lines in a video, e.g. another example of leading lines, and these are photographs because I didn't want to bore you by showing you videos, 30-second videos, and it's one of those rules. So this example again, of those two leading lines, focusing the folks at the viewer again in this child right here. Next, this is another example of leading lines. You can see that the, this photographer used the horizon as a leading line to again, put the attention of the viewer to the storage. And also this path is also a linear line which again, focus attention of the viewer to the church. So again, I want you to focus on the placement of the church in V3. This subject was carefully not placed in the middle of the frame, again, because the photographer followed the rule of thirds. Moving on to the third rule of composition, this is the rule of headroom. Again, the rule of headroom, as you can see from the image right here, refers to when we're sitting a subject in which again, is being said in an interview type video, e.g. this video right here that I'm shooting follows the rule of headroom. And this rule states that there should be a specific distance between the head and the top of the frame, as well as the head and the sides of the frame. If the distance between the top of the head and the frame is too much, this will lead to an awkward result. If the distance of the head room is too little, this will lead to a cluster for brick results. So this pretty much the rule of headroom. As you can see. This is a perfect example of an image with too much headroom. This is definitely an needed, we didn't, we didn't need that much headroom in this portrait right here. And this way it gives a bit of an awkward result. In contrast, you can see photo a has a good amount of headroom, but photo B, which is pretty much photo a, but cropped. We have no headroom, so this makes the image claustrophobic. We don't want that very simple rule, very easy to implicate. Next, we're going to talk about symmetry in our composition. Now, symmetry, obviously, many, many, many filmmakers and photographers adhere to the rule of symmetry. We all know the brows of symmetry. Obviously it appeals to the eye. It is very satisfying. Most of the images that you see in very successful series and films are followed by the rule of symmetry. But there are also some cons. I don't wanna focus that much in the pros of symmetry because as we said, we all know. But I want to point out some of the cons. Now, if you want your video to look seamless, to look homemade, you don't want to apply that multiple rule of symmetry because symmetry makes videos and photographs look staged. E.g. if you see this image right here, this doesn't look seamless. It doesn't look homemade. It looks dates. It looks like there is a director and he's shooting this image. And this is why it looks so perfect and so appealing to the eye because it is a stage. In addition to that, if every single shot of your video follows the rule of symmetry, it can get pretty repetitive and some directors actually use this repetition of symmetry to their advantage. E.g. the director of The Grand Budapest Hotel degrees in this series, every single shot is symmetrical and this delivers a specific vibe to the video. Not, not a bad vibe, not a good vibe, but this is definitely a way to deliver a vibe. Also note, as we can see in those two images right here, that symmetry delivers a dynamic and exciting result in our videos and our photographs. And of course, symmetry can be combined with the previous principles and rules that we discussed of composition, e.g. leading lines and of course the rule of thirds. But the biggest difference between symmetry and leading lines and rule of thirds is that in symmetry, the subject is folk, usually in the middle of the frame. This is what makes symmetrical compositions so interesting and so engaging to the eye. Most of the subjects in symmetrical compositions placed in the middle of the frame, e.g. this pyramid right here in Paris. Now again, this lake right here, we don't follow the rule of thirds that much when it comes to the symmetry and composition. Moving on, we're going to discuss about depth. Now, it is very important for you to understand what the depth is and how to achieve it in your videos and your photographs, depth can be found in every single composition and can be created, rather created then found in every single composition. And it is created by highlighting the difference between foreground, middle ground, background, and our subject. These are for images that have depth. The foreground is highlighted by the blurry, as you can see, leaves and grass. The midground is highlighted by the subject, which is sharply in focus, and the background is again highlighted by the blurry plants that are located below, behind the subject. The same applies in this image right here, foreground, you can see those leaves midground, the subject of the rocks background we see in the mountains. Again here foreground is blurry. Person right here, midground, this lady there, and background, this gray space. So again, depth is achieved by highlighting the difference between those aspects. Two ways to highlight that. The first way is to select a lens that has a very low aperture. This is more easy, of course, when you're shooting with a DSLR, but this can be done in most smartphones. You select the lens in which has a very low aperture, which means basically that you can have a very blurry background, which is what this photographer has done here. This photographer, as you can see, it has selected the lens with a very low aperture, which means that it can focus in a very narrow aspect, e.g. as you can see, this chess piece is in-focus, but the others are adding focus. Despite the fact that they're located so close to each other, we're talking about some centimeters here. But the second way to achieve depth, which is the way that I want you to focus on. Because obviously in this course we're shooting with smartphones, not cinematic cameras, with lenders with very low Aborigines to strategically place your subjects in a way in which you can convey depth. E.g. you place one subject, as we saw in this image right here, very close to the camera. This will create the sensation of depth. We place the next subject in the mid ground and we keep it in focus just like this lady right here. And then we have some subjects and some aspects in the background, just like the mountains right here. So we can convey again, this sensation of depth to our viewers without having a very expensive lenses. So at the end of day, what do we achieve with depth? We achieve drama, okay, people will feel drama when we sold them. Depth in our images and videos, we emphasize to the subject which is usually in focus. And again, depth. And this blurry image is very pleasurable to see, very satisfying to the eye. So this is what we can win by adhering and applying to the rule of depth enough with the different types of composition that you can achieve by changing the aspects in front of a camera. Now, let's move to the different types of salt and we're going to achieve through again, changing the composition of our camera. The first types of salts are establishing shots. Then we will move to the mid-range salts are the medium shots. And finally, we're going to analyze closeups. So let's move to what an establishing shot. An establishing shot introduces, as we say here, new scenes and tells the viewer where and when action is happening. In addition to that, they can set up a point of view to help and develop our character. This is a great establishing Salt from the movie Skyfall. This salt, of course, comes before all of the other salts inside the house or before a character moves out of the vehicle, go inside the house, and it just gives us information about the scene. It gives us information that stuff is going to happen inside the house. It gives us information on where we are, where we are in those funky mountains of Scotland, e.g. and this is the real power of establishing salts and other establishing shot here from Harry Potter, it is an introductory shot to the scene and we usually use establishing shots when we start and when we end a scene. So we want to start our scene with a wide establishing salt so the viewers know where the scene is going to happen. And after the scene happens, we can end the sequence with again an establishing shot to remind the viewers where all of the scene occurred. Just for the record, establishing salts are usually sold in a wide angle and there is not much movement in the camera, is stabilized in a tripod. Moving on, let's talk about mid-range shots. To achieve midbrain salts, we don't have to be very wide and our cameras, we need to zoom in digitally or analytically, or we can just move closer with our camera. Most midrange salts, just like this image right here from the hundred games, are sold anywhere 24-40 mm. If you're using a lens, if you're using your phone, just if you don't go in telephoto mode or wide-angle mode, your phone will usually still 24 mm. So most of the shots with your phone, of the videos that you take with your phone at times, one magnification are going to be mid-range shots in general, remember the medium shots are the vast variety, vast majority of salts during a sequence. Morning on close-up shots. I don't really use gloss assault that much because I'm not a filmmaker exactly. But these are more dramatic. They increase the motion and the dramatic mess in our scene. And most of the times being so close up with a camera to a subject can be a bit uncomfortable from the viewers, but many filmmakers actually utilize the fact that this becomes uncomfortable for viewers to convey a emotion again to those. Obviously close-up salts are a creative favorite for again, filmmakers and videographers that specialized in mood. If you want to be a condom greater, you don't want to be very close to the camera because again, this will be uncomfortable for the viewers. Again, two ways to achieve close-up shots. The first one, just move close to the subject while maintaining a wide angle view. And the second one is to just stay where you are a move away from the subject and just zooming. How do I know that this shot from the revenue is with the camera very close to this person's head. You can first of all see the distortion the wide-angle lens produces in the head of this mat as well as you can see that the background is not that blur in contrast in this image right here, I can see again the distortion that the telephoto lens produces into the eyes of the Spirit. And we can also see a very, very blurry background. Same applies to this image right here. Moving on, let's analyze some tips when it comes to composition. I know that there's a lot of information in this lesson. So let's go ahead and just clear things out. Some things that I have to give you from personal experience is first of all, don't be stressed with all the composition rules and principles that we discussed in this lesson. Most of the times these will come naturally to you, but I want you to just be introduced to all of the different rules. So you have it in the back of your brain. So first of all, the first they've got to have to give you is to have a wide variety of different composition rules and aspects in your videography. This is the number one tip that I want you to get from this lesson. Use a variety in your videography. The second one is two. You don't need to be afraid to break some of the rules. Rules are made to be broken. And videography is very creative space. So I don't want you to just adhere to the rules and be afraid to experiment. Don't be afraid to break rules. The third one is to get inspired by the work of others. Obviously, you don't have to reinvent the wheel. The wheel has been already invented. Just watch content from other creators, depending on the field, you wanna go to. Watch movies, content from other creators and just get inspired and steel small aspects from them. This will help you very, very much in this field. Of course, the plastic tubes is to experiment yourself, grab your camera, go out there, try different composition principles and rules by yourself. See what adheres to your videography style and what doesn't adhere to it and have fun. So let's do a small recap of this lesson because there was a lot of information in it. We start by analyzing what is composition. Then we move to analyze all of the rules of composition, rule of thirds leading lines. They will have headroom, the rule of symmetry, the rule of depth. And then the three different salts that can either your composition and establishing shots, medium shots, and the close-up shots. Before we end this lesson, let's go ahead and see and analyze the composition rules and principles that have been applied into this salt right here. You can see that this is a close-up shot with not much headroom again, because the creator wanted this to be a very dramatic salt. It doesn't follow the rule of thirds, but it follows the rule of depth and leading lines. We have depth because again, the background is very blurry, so we have a difference between the subject and the background. And can you spot the leading lines rule, the leading lights? This is the leading line right here. It is the horizon, which again focuses the viewer directly to the cold blooded eyes of the subject. So this concludes the lesson on composition. In this lesson right here, we talked about a wide variety of new terms and new definitions that I want you to know. There is a lot of information for you to digest after this lesson right here. And now that we're done with composition, it is time to move into the next lesson in which we're going to discuss about different types of transitions between two clips. So see you in the next lesson. 7. In Camera Transitions: Welcome to the fifth and very important lesson of this course in which we're going to talk about transitions. Now transitions is mostly, and I'm going to mention in this lesson right here, a post-production thing. Obviously transitions refer to the post-production editing process in which we tried to transition from one clip to another in different creative ways. So we're going to talk about transitions in the post-production lesson of this course. But in this course right here, we're going to focus on different transitions that you can achieve with handheld shooting techniques and suiting moves that you will apply to your shooting process. So in this lesson, we're going to focus different transitions that you can achieve through the shooting process. Preproduction, postproduction, more on transitions will follow in the post-production lesson. So enough with the intro, let's launch our slides and let's tackle transitions. So this is going to be the lecture outline for today's lesson, is going to be the outline for transitions. We're going to start with me introducing what a transition is and the different types of transitions. Then we're going to move on in further analyzing the different types, again, gamma transitions which can achieve. And we're going to close this lesson with some tips and they recover. Because again, there is a lot of information packed in this lesson. Let's go. What does the transition? Let's start with the basics. A transition is a technique to connect one shot to another. If we don't apply anything, any transition between two of our shots, the play head in post-production, which we're going to analyze whether this, again in the post-production lesson, we'll just jump from the first shot to the second shot. Now, this technique that we use to connect one cell to another, which of course is the transition. Again, can either apply, cannot be applied in post-production, which we're going to allies in future lessons or during production with a creative way. This is something that most creatives and most filmmakers don't talk about, but it is very important to learn how to apply transitions from one clip to another during production. So duckling, in this lesson, the goal of a transition is to seamlessly integrate different salts so that the core narrative moves forward believably and it does not distract the viewer. This is very important, and I want you to note that down. We don't want our viewers to be distracted from our transitions. We want our transitions to blend with the story to be smooth and seamless. We don't want our tradition to be distracting or annoying, or we don't want to show our filmmaking seals through our transitions. The more subtle and the more smooth and seamless transition is, the better. So in this lesson, we'll focus on creative in camera transitions that we can produce during the shoot. Now, let's move to the different transition types. Now these are the five different types that we're going to analyze in this lesson, we're going to start with the same color transition, the shake transitions. This guy, this guy transition would say variety of his same column transition. But I'm going to analyze it because it's very interesting. The frame whole transition and V gamma in gamma transition. Let's start with the same color transition. In this lesson right here you're going to see me using this graph right here. This graph describes the first clip and the second clip and in-between them, the point of transition. Now, during the same color transition, this is a very seamless transition by the way, that we can achieve. We end the first clip on a specific color, and we start the second clip on this same color. This means that when the playhead moves from the first clip to the second one, it's going to look very seamless to the viewer. E.g. an example of same color transition could be as placing the camera in a dead surface so that the color is black. And then beginning the next clip with again black being the first color of the frame that will be shown. Same called resistors are seamless, interesting, and they can greatly be combined with audio. We're going to talk about this in the post-production editing lesson. Now I'm gonna give you an example of a same color transition in one of my edits that I have produced, I wanted, I want you to focus in this clip right here, in which the camera is going to blend in the blue color of the sky. Then I'm going to transition to the next clip in which again I start with the blue color of the sky. So take it out. So you might also have caught the small sound effect that added there again, to sell the transition better, Let's move to the next type of transitions without the shake transitions, as the name suggests and as the graph that I have graded suggest, we start the first clip and at the end of the first clip we introduce shake to our footage. And in the start of the second clip, we again shake the camera. This camera shake in which helps us transition from one clip to another. It looks dynamic. First of all, it is very intuitive and you don't need a gimbal because of course, without, with a gimbal we can shake the camera and to use shake to arc length, we could say that the shape transition is kind of like a same color transition because when we shake the camera, we create motion blur. And this motion blur can be combined with, of course, these motion blur that will be graded in this second clip. So this is the shape transition. Let me give an example of a sector and this is now an example of a transition, could be this B-roll that I created for my previous course, which was on B-roll creation. So this bill that I created has many shake transitions during it. So let's go ahead and watch it. Again, the whole point of the shape transition is very to be subtle and not noticeable for the viewers. But when you see a smooth transition from one clip to another and you don't really get how that happened. It wasn't that hard, but it was very smooth. It was usually a shake transition. Moving on to the third type of transitions, this is the sky blue sky transition. Obviously, the first clip buses, we end the first clip with the sky and we begin the secondary began with a salt of the sky. This is a same color transition basically, but I really wanted to give you the example of the sky because it can be really implicated in many, many cases and is very useful to know this type of transition. Basically, while using the sky to Skype transition, you can move from one scene to another and from one location to another. And the viewers will feel intrigued because again, this just looks very cool, just as I saw you in my first ad. So now let's talk a bit more when it comes to the same color transitions. The same color could be many, many things. First of all, obviously it could be the sky and the ground. If we, again, the ending of the first glove in the beginning of the second clip have the same color of sky or the same color of ground. But the most common callers to be applied in same color transitions. So again, the most common colors to end the first clip and start the second clip are those of highlights and shadows. So the color white and the color black. The color white again, can be found e.g. in highlights of a scene or in the sun. And the color black could be found in shovels of a scene or pretty much anywhere. You just stick the lens. And obviously we don't have light coming in, so this becomes black. It is very important when it comes to same color transitions, not follow the rules and just get creative. You can find the same colors pretty much in every frame you can create. So it is very important to just be creative here. Now let's move to the second type of transitions, which are subject dependent. This means that in order to achieve those transitions, we need to have a subject. In the previous transitions, we didn't need to have a subject. We could transitions, we could e.g. just with looking at the sky. Now, we're going to need a subject. And the first transition of this category is the frame hold transition. During the frame hold transition, the camera stays still, the subject moves out of the frame, then the new scene is revealed, and the subject just moves back into the frame. So we have the subject, which is the constant reminder for the viewer of what is happening. And the scene just transitions in that way. The only thing here to achieve the frame hold transition is to keep your camera steady and obviously make sure to have a constant horizon line. This is very important. You don't want to mess with changing the horizons. This will ruin the effect. So two things. Keep your camera steady. Makes sure that the subject has the same movement during the two frames and keep the horizon line steady at the same level of your frame. When we go on a three second type of transition that is subject dependent is the coming, come out transition, just as in the previous transition type of this object moved out of the frame. In this case, we will move the frame towards and away the subject. So we will combine this with darling in and doling out. During the coming or camel transition, we move the camera towards a subject or a person. Then we revealed a new scene, and then we move the camera away from the person. So pretty much with Darlene, the camera, towards our subject. Then we move to the next scene in which we just dolly out the camera away from the subject. And this of course, creates, if we don't lean and Dolly out in the same fashion, a very interesting transition. So these were pretty much the transition types that I want to focus for. Now. Let's move some tips. First of all, I want you to keep your transitions consistent. Every common amateur mistake is used to try to use different and more creative transitions for each scene. This becomes very destructive for the audience. And it just seems like you're an audience. And it just looks very amateur like and something that I beginner would do. So even if you're very impressed and you have mastered what type of transitions, please don't replicate it in every single one of the clips. In addition to that, I want you to remember that most of transitions should just be rough and basic guts between scenes don't use a very extra and amazing transition again, in each and every glyph that the transition to This will become very exhausting for the audience. Transition should, transitions should happen once or twice every minute. And again, you shouldn't subtract from the story while using those transitions. You want to give the story flowing as smoothly as possible. The final tip that I have to give you is that many times you can utilize those transitions to actually enhance the story. Not just distract the viewer and just show them how cool your filmmaking skills are. So you can actually use transitions to enhance your story and help you with delivering a special feeling or a special vibe and tone that you want to deliver in this scene. So try to use transitions to your advantage. Finally, focused on mastering in camera transitions before moving in. Mastering post-production transitions. Again, everything, anything that can be achieved in pre-production is better than doing it in post-production. Try also to master the same color transition because it is very creative and you could do very cool stuff with if you master it. Please don't follow all the rules. Again, rules are made to be broken, especially in this great field of videography, and don't be afraid to get creative. So let's go with a recap. In this lesson, I introduced you to five new transition concepts. We said, what a transition easily talked about that most transitions are applied in post-production, but in this lesson, we focused in pre-production in camera transitions. These were further subdivided into two categories, subject dependent and subject independent. Subject independent in camera transitions or the second visions, the color transitions. And this guy, this guy transitions. Whereas subject dependent transitions where they come to come and the frame hold transition. So this concludes our lesson on transitions. Again, in this lesson we focused on transitions that you can apply and create. Just throw shooting with different techniques with your camera. And again, we're going to tackle the rest of the transitions in the post production lesson. So I think we're done with transitions. Now it's time to focus in the next lesson in which we're going to analyze different ways to stabilize your footage. We're going to dig deeper into stabilization. So see you there. 8. Stabilizing your Clips: Welcome everyone to the sixth lesson of this course in which we are gonna be analyzing everything we need to know when it comes to stabilization of videos during this lecture right here, we're going to start by analyzing when to stabilize the video and watch the realization really is. And then I'm going to introduce you to eight new ways that you may or may not know on how to successfully stabilize your footage. If you pay attention to this lesson right here, by the end of it, there is not a single shot in which you wouldn't know how to stabilize and a half have the smoothest results. So I'm very excited about this lesson. Let's dive right into it. So letting gentlemen welcome to the sixth lesson of the scores in which we're gonna be talking about the stabilization. We'll start this lecture by analyzing the goal of this lesson. Then we're going to move into analyzing the different types of stabilization. And we're going to finish this lecture in the typical fashion of this course with some tips and Eric up because again, there's gonna be a lot of information in this lesson. So let's go. Now the goal of this lesson, because again, this is going to be a big lecture, is first of all, I'm gonna introduce you to a new way to stabilize your videos. As I said in the introduction of this video, by the end of this lesson, you will be comfortable in knowing how and when to stabilize every and any salt that would come into your hand. In addition to that, we're going to understand some basic stabilization principles. And when actually stabilization doesn't apply to a story. So when you should avoid that realization, when you should apply stabilizers, because obviously we don't want every single one of our salts to be stabilized in our stories. So we can also be analyzing this. And finally again, we are going to, finally, I'm going to introduce you and make you understand when you should and when you should not stabilize a shot. So what is stabilization? In very simple terms, instabilities is the removal of shake from a video. This removal of sake. So the application of civilization can either be done during production or post-production, just as we said in the transition lecture. And if you remember when it comes to transitions, it was better to apply some transitions, reproduction When post-production, the same exact thing applies in civilization, it is better to successfully stabilize the clip before moving to post-production rather than, rather than stabilizing it in post-production. So this right here is the million dollar question. Should I stabilize or should I not stabilized? And this is the million dollar answer. When should we apply? It's the realization. We should advise the realization when it comes to establishing shots. When want the information to be transferred from what is portrayed in the salt to our viewers. When we're talking about talking salt, e.g. in which we want our viewers to focus on the subject and not on our filming techniques. Again, on sequences that have this cinematic vibe, pretty much we can apply stabilization in any single occasion, in any single clip, except action salts. Salts with increased drama and shorts with increased tension. Imagine assault with increased tension or English drama or inactions on. You don't have a smooth footage. You want your footage to be shaped. You want to convey this drama and action to the viewers. This is when we don't apply stabilization. E.g. this is a cinematic establishing shot. Obviously we're going to stabilize the salt. You can see that it is beautiful woman walking in this field. We want this sort to be stable. This is not an action salt. In contrast, this right here is an action. So it's an action, a sort of a war scene is obviously an action salt and it shouldn't be stabilized. We want to convey the tension and the drama and the chaos of war through again, shaky footage. So there's an occasion in which we don't stabilize the footage. Now let's move to v3 types of stabilisation. This is a very important slide. Stabilization is categorized into three categories, which all have sub categories. The first type of stabilization is stabilization, building your camera or your lens. This is further subdivided again, in destabilisation, building the camera. Different techniques that you could apply in your shooting. They can produce more stable images. Changes in the frame rates and the focal length, which will help your videos become more stable. The second type of stabilization is external civilization to the camera, which can be achieved through glad gums, dribbled, and Gimbels. Now, the third type of stabilization is post production stabilization, which depends on the program that you're using again, for both production. So this is pretty much what we're going to be tackling in business. And right here, Let's begin with in cameras legalization and the first subcategory, which is built income or civilization. Now, building cameras, civilization. It's pretty much when your camera or your lens has a building stabilization mechanisms, so your footage becomes stabilized as you shoot. This is very important and as you can see, this is the lens e.g. by canon that has a building's stabilization. Whenever you can find this, you should consider at least investing. Most phones nowadays have a building lens stabilizations system. So this is very, very helpful. Again, buildings, the glaciers can be seen in lenses, bodies of cameras and smartphone. And pretty much the more of buildings nebulizers and you have the better because obviously we can't turn it off. Now, moving on when it comes to income regularization, the second supplementary is to have stable footage while shooting. As I note here, you don't need to be afraid of handheld incline holding your camera and capturing put it this way because many people are afraid that the fluids are gonna be shaky. You shouldn't be afraid of that. You should invest some time and energy to learn some techniques that will help you with more smooth shootings. So obviously, a way to stabilize your footage is to investing time and energy and learning some soothing techniques. I'm gonna introduce you to some techniques right now. The first technique is to use, as you can see this man right here, the camera strap as another point of contact. So you have a bit off a less shaky image this way. The second way is a bit funny, but trust me, it works. It's just hold your breath as you're taking the salt. Most of the salts are not going to be more than 5 s. It'll be filming this course. So if you hold your breath, this is going to be very, very helpful. The third way is to just bend your knees and your back as much as you can so you're more close to the ground, you're more grounded, and you have more stable hands to shoot again, your video. So these are three very basic techniques that you can apply next time that you're shooting handheld footage. And again, if you combine those techniques with some buildings stabilization on your lens or on your camera, this will help you achieve way, way better results. The third way to stabilize your clips without a gimbal or without e.g. post-production civilization is rather to zoom out. Zooming out, producing wider salts have less of a sake as a result. And obviously, the more of those aspects that we're analyzing the combined together, the better the result when come to civilization will be. So as a rule of thumb, remember that zooming out wider salts are more stabilized than telephoto salts. This is an example of a telephoto. So right here you can see the compression in the background produced by again, this telephoto lens. And these will be more susceptible to handheld shake. As you can see, most telephoto photographers have dry bulb turns shooting. An example here, this is a telephoto camera and telephoto lens. And this photography here obviously owns a driver because you just can't handheld holders and produce smooth fluid. On the other image you can see a person with a wide-angle lens and you usually never see tripods in wide-angle lenses. Just because, again, wide-angle lenses and wind angle ranges of view diminish any minor shakes. When it comes to aspects that you can change in your camera while shooting that will help you stabilize your footage. Just e.g. as zooming out and having a wider image. Another one is to use slow motion in your clips. Slowing down clips removes small cameras x, and this is very important for you to notice more, most of the slowed down scene that you see in movies and videos, you're going to see that they will be extremely smooth as a rule of thumb, remember that the more you slow down a video, the more stable it will be. So sitting at 240 frames per second and slowing this down ten times would be better than e.g. shooting at 120 frames per seconds long this down by five times, or sodium at 60 frames per second. And slowing this down at due time. In general, the slower the video, the more stabilized it will be. The most important thing to remember here though, is that you should never compromise storytelling and the flow of the story while slowing down e.g. clips for stabilization, slow motion applies where it helps a story and again, it doesn't distract the viewer. You shouldn't slow down every single clip. Just diminished liberalization, while of course damaging your story. This, we definitely don't want null done with internal camera stabilization and techniques that you can use, again to slow down Eclipse, it is time to move to external sterilization. As we said, there are three ways to stabilize our clips externally, the camera, the first one is by investing in a gimbal. The second one is by investing in a tripod, and the third one is by investing in a glide down. Now, obviously, these are investments will be done and we're going to be analyzing the cost of each and every one of those investments right now. So I'm gonna be starting with the Gimbels, just like every year piece that we said in the first lesson, there are some pros and some cons in every single year. When it comes to gimbal, the pros are that these machines produce flawless stabilization. If you have a camera and a gimbal, you will 100% of the times have a flawless result. It is the best result and they are extremely reliable. Of course, they are hard to carry, they are expensive. And it takes some time to set up your camera in the Gimbal. So if you're in a rush and you don't want to have to set up your chemo. And this will take you 10 min e.g. and you can lose the salt that you want to achieve. So keep that in mind when considering to invest on a gimbal. But always remember that the gimbal will produce the best result and the most flawless stabilization. Moving on, we've got to tribals. Now, as we said in the first lesson, tribelets have some pros and cons. The pros of the tripods is that they're very cheap and very reliable. And the cons is that they're not that versatile and pretty much they stabilize your salts in just one type of civilization, it just hold your smartphone or your camera in a singular position. This is what you should know when it comes to tripods. Obviously they're very, very cheap. You can buy it right? But from Amazon for like ten bucks. So in my opinion, every filmmaker and every videographer should at least on one tripod. Now glide gums are pretty much the merging between a gimbal and a tripod. It is the best of both worlds in my opinion. Glad comes. I also very cheap. They're a bit more expensive than tripods, but way, way cheaper than glide gums, and they require no battery. You balance your camera at the top of the loop glide cam, and this produces just a more steady result. Obviously because they take factors from both worlds. They're gonna be hard to carry just like Gimbels, and they're gonna be hard to balance. Well, they're not gonna be that hard to carry actually because GMOs are very, very heavy. But they're gonna be hard to balance because balancing is the key factor when it comes to glide comes if you master balancing than glad gums could be the best solution for you. So now let's move to the final category of civilization, which as you can see here, is post-production civilization. Now, both productions depolarization is achieved through an artificial intelligence software which is building your post-production stabilization software program. Now in by post-production Civilization program Final Cut Pro. This software is called Warp Stabilizer. Before I move on and analyze what Warp Stabilizer is and how post-production stabilization is applied to your videos. I just want to point out that both production stabilization is a last resort when it comes to stabilizing your footage. I don't want you to count on the existence of post-production civilization and be like, okay, it's fine. My videos shaky. I didn't pay attention in how I sorted or which gear I used. So I'm gonna apply just posted on civilization and I'm gonna, it's gonna be okay. I don't want you to think of that way. Post-production civilization is a last result resort. If you've done everything to stabilize your clip and it is still shaky. This is when we can utilize post-production stabilization as again, a last resort to diminished minor cameras eggs. Now, warp stabilizer and post-production civilization in general has always been around from the early, early days of Final Cut Pro. But back in the day, it was completely useless to use your applied warp stabilizer to one of your clips. And the results were awful. That being said, nowadays, the truth is that warp stabilizer has improved greatly. It really can diminished minor shakes from your videos. It really works. But hear me out again. This is a last resort when it comes to stabilization, and it is great for minor six. If your video is not short perfectly, it has major sakes. It just can't be saved from any artificial intelligence of any post production editing software. So I want you to remember this point we made when it comes to post-production stabilization. Again, the third category of stabilization of this lesson. Now let's move to some tips because, because again, there was a lot of information in this lesson, I want to show you the ultimate stabilization combo for you to use. To ask me if you apply all of these aspects to your video, your videos will be extremely smooth. You're not gonna have any problems with stabilization. So obviously the ultimate combo stabilization involves the best features of each category of stabilization. And moving on to the first goodbye, gray wants you to suit at a wide angle with your camera. Because again, as we said, wide angle video in general, as a rule of thumb, is more stabilized than zoomed in and telephoto video. In addition to that, I'm not mentioning it rewrite right here, but I want you to apply some basic techniques. If you're shooting handheld, Dr. talked about bending down your knees, getting low to the ground. And if you combine this with post-production civilization, which is probably not going to be needed because again, the footage is gonna be perfect and buttery smooth either way. But we also combine this with post-production stabilization. The results would be amazing. Trust me, you will not have any problems with shakiness and your videos whatsoever. Now, have analyzed the ultimate combo. Let's move and analyze the worst combo that you can produce. This right here is the absolutely worst gumbo if we're shooting zoomed in. So not wide zoomed in because again, as we said, zooming in produces a bit more cameras ache and it actually makes the handheld shakiness more vibrant. If we were shooting in normal speed again and not slowing our clips down. This is a problem. Handheld shooting. Obviously we can apply the techniques that we talked about, but in general, it is not that optional to produce steady and stabilized with it. And if on top of that, we don't apply any post-production civilization. This is a recipe for disaster. But the truth be told, even if we apply post-production stabilization, as we said, in those aspects right here, we probably can't save those clips. These aren't gonna be looking good. So let's do a small recap of this lesson. I hope that it helped you with all this information. So in the beginning of this lesson, we talked about the goal of stabilization, which is two diminished minor shakes from our videos without intervening with our stories, a wonder story to be continuous, we don't want to ruin the storyline of our videos. And this is why in many, many clips on occasions, we need to apply stabilization in cameras liberalization, stabilization using gear and post-production civilization. And all of these categories are further subdivided into subcategories. When it comes to the first category in camera stabilization, some aspects that we can apply to help us with this realization of our clips is of course, built in artificial stimulation in our lenses or our camera bodies, we can perform other soothing techniques to help us remove again minus x from our videos. Zooming out also diminishes minor six, as well as the application of slow motion when it comes to gear. We talked about Gimbels, we talked about tripods and glad gums, which is, I think the perfect line between gambled and dry bones if you don't want to go that expensive with Gimbels or that cheap with tripods, glad gums, are they perfect solution? Then we talked about post-production stabilization, how the application of artificial intelligence will help us in this aspect of videography and how post-production stabilization is pretty much a last resort and we shouldn't just gown on it. And sui generis and shaky. So this was V6 lesson of this course about stabilization. I hope that I didn't stress you with all of this information, but I wanted to dive a bit deeper when it comes civilization, because again, smooth Woods is very, very important in storytelling. Again, to recap this lesson, we started by analyzing what stabilization is and what shots should or should not be stabilized. And then I went ahead and introduce you to those eight new ways on how to stabilize your footage. Now that we're done with stabilization, which is more outdoors focused, it is time to go back indoors and actually analyze the correct positioning of light. So in the next lecture, we are going to be talking about lighting. Thank you very much. See you then. 9. Lighting Principles: So now we've completed the lesson on civilization. It is time to move on the seventh lesson of the scores in which we are discussing lighting, understanding and mastering the different lights that are available to purchase and how to set them up to, of course, light different scenes is of key importance in videography. As, as you will see that I will mention in the introduction of this course, lighting and the understanding. The proper understanding of lighting is better than actually investing in very expensive gear and cameras. So pay attention in this lesson is gonna be very, very important enough talking. Let's launch this presentation and let's tackle lightning. So this is going to be the lecture outline of the seventh core lesson of this course. We're going to start the goal of the lesson because again, there's gonna be a lot of information packed in this video. Then we're going to move on and analyzing the different types of lights that are available for you to purchase. Of course, we're going to follow up by how to set up everything and how to create a proper studio and lighting environment. And of course then there's gonna be a recap because again, we're going to talk about a lot of things in this lesson without any further ado. Let's dive into the goal of this lesson. So there are three different goals that I have made for you to understand this lesson. The first one is that I need to understand the basic lighting principles, some very basic lighting principles which will help you in your videography course. The second thing is that I want you to know how to light at least two different lighting. We're going to focus on the three point setup when it comes to light, again on the setup category of this course. But for now when it comes to this lesson, by the end of it, I want you to know how to light at least two light chains. Finally, I want you to know how to set up and live a creative scene of yourself. So stop following the rules at one point and start getting great. This is a very big point that we're focusing in this course right here, to start being creative with videography. Now, I want you to pay close attention to this message right here. Good understanding of light is way better than having a very expensive camera. If you'd, if you have a very expensive camera, if you don't understand how lights work, you won't get the best result out of it. So first of all, invest time and energy into understanding how lighting works and then invest money to buy a good camera. This is the best combination, in my opinion. Now, good lighting plays a very important role in delivering the best and optimal results for our viewers. Obviously, good lighting delivers the correct mood and tone that we want for each scene. This could be a dramatic tone or a romantic tone. This can be achieved through leaping. Obviously good lighting is budget independent. There is obviously a free light source out there, which is the Sun. And we're going to discuss how to utilize the sun and get the most out of it. Good lighting also improve the visuals. Okay, we have soft light which bounces correctly in the face of our subjects. And of course, this is very satisfying for the viewers. And good lighting is not April thing. Good lighting is not available only for the brows. So this is a fair game. So this is the outline that I want you to follow when it comes to lighting. Pay attention to how to use and utilize lights, then invest in the correct year, which you're going to figure out what the Greg gear is for you by the end of this lesson and then obviously use natural light whenever it is available. We're going to discuss about the utilization of natural light again in this lesson. This was the goal of a lesson and a general introduction. Now, let's move and dive deeper into lighting with the different types of lights. Now, the first type of light then we're going to discuss about is hard light and other side here, hard light is like without a filter, it is bright, glaring and can cast deep shadows, but can be useful in creating high-contrast images and video. You can see here this is an example of an image that was sought in harsh lighting. And I think as we're going see in this image right here, because lighting source was the sun. So pretty much hard light is light that isn't being diffused by entering. It creates rough shadows. It is artistic. And obviously many creatives, like the artistic vibes of hard light, it makes absolute sense that in an interview scenario or in a romantic scene, we're not going to use highlight because this is very artistic, creative, and it doesn't deliver the smooth as a result, this is why I tagged that hard light is not usually recommended for our use. That being said, obviously there's a greater field you're gonna do whenever pretty much you want. As we said before, there is widely available hard light and this is the mid-day sunlight. The sun is not diffuse. The light that comes out of the sun is not diffused, and it is just available to the public for general use for free. The only problem with mid-day sunlight is that again, it creates rough shadows. It stresses the camera sensors, you need a great camera so you can suit at midday without completely diminishing the shadows and the highlights of your image. And this is why it is usually avoided in videography. Most scenes and photographs in that mother or not certain midday usually sold during sunset to have the most complete look. Now we discussed what hard light is. It is time to move and discuss what soft light is. So again, hard light is an diffused light that comes directly from a source in mountain. Just a light bulb screwed in the ceiling of your room. It is not diffused. Now, if we take hard light and add a diffuser, this will gives us soft light. So this one gallon lights right now, what soft light is? Soft light again is light with a filter that is diffused light. This filter is also called a diffusion geography. Diffusion spreads light, it evens it out and creates a soft, gentle effect. So you can see the same portrait of this man using hard light and soft light. Notice the shadows and the highlights in the hardware that are very hard and very contrasty, whereas in the soft light, the shadows are less contrasty and again the highlights are less white. This is a more, even more spread out technique of the light and in general is what we are going to prefer in videography. One more thing that I want you to notice in this image is this shadow that's created in the background from this person in the background of the hard light, we can see differences between shadows right here and highlights right here. Whereas when we liked the same scene with soft light, you can see that the background is evened out and this is what diffusion gets us. It spreads out the light to a more even image. So pretty much Soft Light is a creative favorite. This e.g. is a scene of the weekend, salt with soft lighting. It is the most commonly used, the best looking and pretty much the easiest light to produce. You can produce soft like the magic can diffuse, highlight with very, very cheap. Now how do we produce soft light? So again, we need a light source. The light source is not usually going to be diffused. So this is gonna be a hard light source. A hard light source, as we said, it will be the sun, could be a light bulb, could be pretty much anything. Now, if we add diffusion to this hard light source, we're going to have soft light and there are many ways to defuse hard light. The first one is to use a diffusion paper. Diffusion papers are obviously filmmaking in videography related, you can buy them from Amazon. They are very, very cheap. That being said, another way is to use a reflector. Reflectors are again, gear made to diffuse lighter professional gear, but you can find very cheaply flexors on Amazon pretty much you can buy a source and a reflector on Amazon have a proper studio light for at least, I think €30. But there are also homemade diffusion principles you can apply, e.g. bedsheets act as diffusions if you place a bad seat in front of a light source, this will diffuse your light. In addition to that, I know that shower curtains work perfectly as well as white card stock to bounce the light somewhere else. Because obviously the white guards is not exactly a diffuser. If you add a white guards look in front of your source. It will probably don't want transmit light at all. So these are some ways to defuse light again and use soft light. Now when it comes to a natural diffuser of soft light and hard to have natural soft light. So how do we diffuse pretty much the highest sunlight. A very natural diffusion is diffusion made from the clouds. The clouds produce a very even lighting and you can see many filmmakers and photographers choosing to shoot when it is cloudy outside. So harsh sunlight, in addition to a cloudy day, will produce the best quality of spotlight. This combination is even better than studios of lighting. But there's a huge problem, which we're going to analyze right now. Other state right here, natural light is better than studio light. This is a fact that everyone knows that the only problem is that natural light is not constant, fluctuate, whereas studio lights, due to the fact that we have a controlled environment inside the studio is continuous and we can 100% rely on the technology that we use. During natural light. We might have clouds moving in and covering the sun or the sun being completely exposed and have harsh sunlight. And then we have to again change the camera settings and all of our gear when it comes to natural light. Whereas in student-led again, there is a controlled environment. So we don't have to worry about all of that. Now, while using natural light, there are many sources. The key light, again, it's going to be the sun. And this could be a window or direct sun if you're sitting outside. And we can defuse it with all the diffusion principles that we analyzed before. Now let's move to studio lights. Back in the day, you had many options to which studio lights to choose. But I can put my hand into the flame, as we say, and suggest you that led lights are just the best source of studio lights to use. They don't produce it. They are long-lasting, their energy efficient, lightweight, and most importantly, they are battery-powered. Want to change the positioning of the lights depending on what you want to shoot. The no, he'd point might sound funny, but trust me, back in the day, studios used to overheat from the light. So invest on a proper LED light, it won't be a bad investment. These were the different types of lights. Now let's move to the most important part of this lesson, which is how to set them up. So let's go. This is a three-point studio setup that we're gonna be focusing in this part of the lecture. You have the backlight, the phyllite, and the key light. These are again, the three lights that produced the three-point studio setup. So let's go ahead and analyze each one of those slides. We're going to start with the key light. The key light is this slide right here, which again, as you can see, is stated in a 45-degree angle from the subject and burns the brightest. It is the primary and strongest source of light. This is why it's called the key light. And again, it is placed in a 45-degree angle from the subject. So Mikey light, e.g. is right there in a 45-degree angle from a face, which is of course the center of the frame. Remember that the key light creates a slight shadow of the face. So this shadows you can see in this part of my face is needed and it's produced by this key light right there. If you have the budget from all of those three lights to buy one quality light, this should be the key light. You should invest in a good key light. Moving on, we've got the fill light. Now, the fill light is a light, as you can see, that burns in 50 to 75 per cent off from the intensity of the light. So it is less intensity and it is there to fill the shadow that is created by the fill light. It produces less contrast because again, it feels this shadow up and it is placed in exactly the opposite angle of the key light. And of course in half intensity, my fill light is this light right here as you can see. And if I switch it off, you can see that we have a more rough shadow in my face, so I turn it on and this is my fill light. Obviously, it is not mandatory to have it feel like. But again, the most, the more criteria that you fulfill from the three points to this add up, the better your lighting is going to be. So this was the fill light. Moving on. We've got the back-light which is placed behind the subject and out of the salts so we don't see it usually in the short. And it is a hard light, highlights the silhouette of a subject. So this helps us again highlight the silhouette of the subject. So it is more, again, dynamic and good to the eye of the viewer. Most of all, what I said dynamic and go to the eye of the viewer applies to the fact that we create depth in this way. And as we discussed in the composition lesson, depth is the fact that we highlight the foreground from the mid ground and the background. So this is a great way to highlight the background. We highlight the background using the backlight and this again creates the sensation of depth. When it comes to my backlight, it is this slide right here. You can see it in the frame, but I have it there for artistic reasons that So the more industrial vibe of my studio, but I could just raise it up a bit so you couldn't see, this is my backlight. Now that we've discussed the three-point setup is time to talk about the setup process a bit more. First point that I have to make is that you need to take time to experiment with your lighting setup and find the right balance between light and shadows. This is what we're trying to achieve in this lesson. And in general, we play with light. We try to find the correct since smooth, balanced between lights and shadows. We liked the part that we want and we shadow the parts that we don't want again, to create a dramatic and interesting image for our viewers. Now, also note the slides. So that's a rule of thumb. Be positioned slightly above your subject. Justice has, just, as I have done with my key light. So don't place the light below your subject. You don't want to have your subject lit from below. And obviously, remember to try different setups. Tried to change the orientation of your lights each time and then compare the different setups and the results that you want. Again, there's not a perfect result. The results are completely objective and the best result is that result that you like the most. So there is no good, there is no bad, there are no rules, and don't be afraid to break again, any of the principles that we've discussed in this lesson. Now, light can again range from very cheap, pretty much free, of course, as the sunlight is completely free to very, very expensive. So in this part of the course, I just wanted to highlight three different budgets for three different lighting environments that you can build. So we're gonna start with small budget lighting. Then we will move into mid-range budget lighting and going to end this lecture with sizable budget lighting if you have the budget to invest. So let's start with the smallest budget available. Of course, after we have the sandwich is completely free. The smallest budget of lighting is again, have a light source of a clump light or a work like this is gonna be our hard light. These are very cheap. You can buy them from a hardware store from Amazon. Again, this led work lights, again, our lead. So if I was to choose between a clump light and a work-life, I would go with a work light. And then again as a diffusion because obviously we don't need hard cars light, we need to diffuse it. I will use a blanket, a shower curtain, or just a simple paper to deliver a more diffused light. This is the minimal budget, and I think everyone can afford this. Moving on. We have the mid-range budget lighting studio, and this is the one that I have. It is a known all in one studio light. If you buy these from Amazon and they trust me, they're not as expensive as they look on those images. All in ones do you like it has usually three lighting sources with diffuser, which are professionally designed to mount on your lights so you don't have to stress about this. They also come with tripods and clamps to hide your cables and again, stabilize the lights in all positions that you want. And an all-in-one. Do you like it most importantly, gives you everything that you need to have this three-point setup to do discussed in this lesson, which is pretty much the best that you can do when it comes to salts in which you talk to a camera or interview type videos, the three-point setup is going to be your best option. Moving on, obviously, we have this sizable budget and there is no ceiling when it comes to the bathroom, you can invest in this hobby. This is a very expensive hobby. The best option and you can have R, studio lights. Studio lights are stronger output. They have better diffusion. They usually have wireless control and they can be deemed to your preference. This is the biggest asset that studio lights in which you have to invest obviously more money to acquire, half they can be deemed down and you can change the harshness of the light source. So this is pretty much the best that you can have when it comes to lighting. Enough with the setup, the types of lights, and the goal of the lesson, Let's just make a small recap because there was a lot of information packed in this lesson. It is very important for you to understand what lighting is, how to use lights, and how to set up lights. If you understand this, it is way more important than just investing in the most expensive lighting and don't know how to use it. Now, as a recap in this lesson, we talked about Hard Light, which is light that is not diffused. We talk about soft light, just pretty much diffused, hard light, hard light, the different types of harsh light and the different diffusion services in areas that you can use, again, from free to very, very expensive. And then we talked about natural light, which is pretty much the sun, how it is naturally diffused by the clouds. Why filmmakers prefer to this from studio lights and all of that stuff. Moving on, we talked about the setup of lights, the three-point setup with the key light, the fill light, and the backlight. So this was the seventh lesson of this course in which we analyzed everything there is when it comes to lighting, there was a lot of information in this course and I want to rewind and rewards the parts that you're not very comfortable on reproducing by yourself. If there is one key message that I want it to 100% take from this lesson right here is the fact that you need to understand how lights work. Proper lighting can surpass. Again, big investments in gear if you know how to use light is way better than investing in very expensive cameras to get the job done. Now that we're done with lighting stabilization and all of the other factors that will help you with shooting videos. It is time to analyze shooting videos indoors. So this is what we're tackling in the eighth lesson of this course. 10. Shooting Indoors Guide: So congratulations for completing this course up until this point, now that we have analyzed all the technical aspects of videography with your smartphone, it is time to move towards the shooting aspect of videography. Shooting in general, even if this is outdoors or indoors, has some different aspects. The first one is that we can shoot a roll or we can shoot B-roll. We're going to analyze in this lesson what a role and B-roll is and how to maximize your efficiency when shooting indoors. So let's launch this presentation and let's go. So welcome everyone again to the eighth lesson of this course in which we are gonna be analyzing shooting indoors. This is going to be our lecture outline. We're going to start with the introduction to introduce you to what shooting indoors is. Why we choose to shoot indoors, or what are the two types, two different types of pursuits. Again, we have a role and B-roll. Then we're going to further analyze what a role and B-roll is, the different yields we need to shoot a and B roll and the different setup of this gear in an indoors suiting environment. And obviously, we're going to finish this course with a recap because there's a lot of information packed in this lesson, just like in every other lesson. So let's start with the introduction and let's dive right into this. So this right here is a typical indoors shooting environment. You can see the light, you can see the background, different cables, and the name of the game when it comes to indoors, shooting is consistency and control. When shooting indoors. Basically, we choose to shoot indoors, use the fact that we can control the lights, we can control the audio, we can control the settings of our camera and everything stays consistent. This is why we have consistent results independent from the weather outside e.g. and other conditions that could alter this e.g. this lesson right here in this course is sought indoors. I have control of the microphone, control of the camera, light, and I can suit different lessons in different timeframes. And you can see I have the same consistent results. So this is why most of videos are sold in those filmmakers loved shooting indoors. Now, basically we have two broad categories of suits when it comes to shooting. We have Errol and B-roll. And if a video is a chiral or achiral is completely dependent on how the subject acts in front of the camera. When we have a person talking to a camera or e.g. filming an interview of a person talking to the camera. This is called a row. B-roll is pretty much everything that is not a role. So if the person is not talking to a camera, if you have a product suit or a video of facial features of someone, this is B-roll. B-roll is used to distract the viewers from the monotony of a role. So usually we have a role, the so-called a cat, which is gonna be analyzing in the editing lesson. And we place bureau again to stop the monotony of the video to keep the audience most engaged. So in this lesson, we're going to analyze how to shoot arrow and how to shoot B-roll. So let's start by analyzing a role. A role, as we said, it's pretty much shooting yourself. And now we're going to focus on a roll. In the interior soothing environment. We're going to focus on the gills you needed to tell and the positioning of this gear. And starting off with the gear, obviously you're going to need a camera. Now let's say smartphone videography course. Obviously the camera is going to be your smartphone, but there are some changes that I want you to apply. Most of the smartphone cameras are capable of applying the changes that are going to introduce you right now. But if you can't, there are absolutely going to load, of course, that help us tweak the camera settings. Now, these are the three changes that we want to be able to apply to our camp. We want to be able to change the ISO. We weren't able to change the aperture and we want to be able to change the frame rate of our camera. More specifically, we want to change the ISO to the lowest value possible, because obviously we don't want to introduce more noise to our videos. So just change the ISO number to the lowest possible is usually 100. When it comes to the aperture, we will again want to have the lowest aperture possible to have a blurry background and a lot of light hitting the sensor of a camera. So again, we can support this low ISO value that we have set. And when it comes to frame rates, we don't need so motion, this is a talking ALL video. We can't slow down the video, so 24 frames per second is the best. And as we said, in the frame rate, less than this obviously spares some battery storage space. So this is the camera and the camera settings. And I want you to have one shooting a role in an interior studio environment. Moving on, the second piece of gear that you will need. Obviously once tuning April is some sort of tripod, this doesn't need to be a gimbal because we don't introduce movement to our interior suit, especially in narrow wonder camera on a tripod just like it is right now. So we can have this docking point right here. So tripod, as we said, are not expensive and we don't need GMOs. This is a singular point of stabilization which we're looking for. This is a perfect type of a diode from Joby and it just gets the job done perfectly. Moving on, a cheap light option. And when it comes to interior shootings, we are going to mess with lights. Again. We're going to have the full control of light so can get very creative with lighting. A very cheap light option, e.g. is a ring light. Now this ring light also comes with a built-in tripod mount and it also hold your phone. And in general, in videography, when you see a piece of gear doing too much, it's probably not that good. And ring lights indeed are not that good. There are two hearts. They're not diffused that beautifully. They don't produce this amazing light, this diffused, beautiful light we're looking for. But it, they're very easy to setup and very easy to store it as a three in one kid. If you're not looking to watch the whole videography thing for a more professional angle, I would actually recommend this. Now, if you want to up your game and invest on some other types of lighting, this is probably more recommended. Now, the amount of light that you're called to purchase and use in an indoor sued directly depends on your budget. This is the perfect three-point setup of disgust in the lighting episode, of course, episode eight of the scores, this lesson eight, this is the best line. Instead we have the key light, the fill light, and backlight. But we're going to talk about the positioning of lights in the next slides. This right here, this slide, as we said again, in the a plus and of course, when it comes to lighting, this produces the optimal result. It is a studio light. So the harsh lighting is an LED studio light with a diffuser upfront to again produce this diffused light, this would be the optimal likely to invest if you're planning to shoot indoors this e.g. either have both right there and the light, the key light, that light this part of my face from this side. Moving on to the positioning of lighting when you're shooting herself at an arrow. Again, interior setup, this is the correct positioning. One-half, we're going to have v key light at full brightness, or the 45-degree angle from the subject again, the phyllite at mid intensity again on the directly opposite light off the face of a subject and a backlight with low intensity with diffusion, again to highlight the silhouette of our subject to. So this is the positioning of the lights. We talked about this in the previous lesson. We don't need to further analyze this. Now, here are some tips while shooting yourself. First of all, I want you to keep your distance from the wall. Keeping your distance and not sticking yourself to the wall while shooting a video create the sensation of depth and depth. We discussed very much the composition lesson of this course. You want to have depth in your image, adding different subjects and in fact, objects in the foreground, midground, and background of your video, we'll again sell the sensation of depth, which is very pleasing to the eye of the viewer. So by increasing the dissonance you have from the wall, you can sell this sensation of depth. Another thing that I want you to apply is that I want you to have, again, a big distance from the tribal and the camera that you're shooting. This obviously depends on the lens that you're using. But in general, remember that the further away you are from your camera, the more depth again you can create and the more interesting your video will be. Again, this is gonna be the optimal lighting setup. We have the key light, the fill light, and the background light. And this is pretty much the perfect indoors suiting setup while shooting yourself in an aryl condition. Now let's talk about some tips when it comes to efficiency, because efficiency is the number one priority while shooting indoors, I want you to make sure that your setup is easy to rig an unreal, having a difficult setup to rig an unwritten will make your sitting life way, way harder. And trust me, it won't be that fun for you to suit if it takes you 1 h e.g. to set up everything, you're won't suit that much. You won't edit them out and you won't improve in the videography game as much as you want. So to fix your efficiency and to become faster while shooting and rigging and honoring your setup. I want you to measure your setup to record time. So from the time you start setting up everything from diamond, you press the record button on your camera. I want you to measure this and try to improve this day by day. In addition to that, I want you to make your interior studio setup as looking good as possible. I don't want you to look at it and be discussed. I want you to hide your cables, make it look good. And the optimal scenario, which is what I've done in my setup, is to make it permanent if you don't have to rig and Henri the setup. Every time you suit, you will see that you will shoot way more videos and you will improve way faster in this field. So if you are able to make your interior setup permanent, this would be the optimal scenario. Again, while shooting arrow. Of course, shooting yourself in an interior scenario. Now, let's move to April, but while shooting an interview, so how to shoot an interview again, in a internal studio, the basic gear stays the same. But that being said, you can add some simple gear pieces. To make your life easier. So obviously we need one more comment that we could add, one more try, but this will produce us another point of view also in the interview. And it's gonna be very, very interesting. Obviously. You can also sit yourself from two cameras, but you usually one-half a camera operator to check and monitor the two cameras is why don t have two cameras and those cores type videos. But when you're shooting an interview of someone else, you can keep an eye on both cameras. So one more camera and it traveled is recommended for shooting an interview. And this right here is one gear piece that is very, very interesting, especially for interviews. And I encourage you to invest in one, this is a camera slider and don't be afraid from its looks, it looks professional. It isn't hard to operate. It is fairly simple. Ios harvests lighter cameras, lidars in general are relatively cheap. It is those motorized cameras, sliders that are very expensive. The ones that have a model inside and automatically move. But as you can figure it out, the function of the camera slider is to just introduce movement to our interview shots. So when we introduce movement again, based off, they're not based on the anatomy of the eye. The viewers are more engaged to our videos. And of course, this increase the engagement and this is good in videography. So this is why we can invest in a camera cider while shooting interviews. This right here is the ultimate setup when it comes to interview. I couldn't find an image online, so I went ahead and actually draw it myself. Here in the middle we have the subject that we're taking the interview from, again, one-half distance from the wall because this creates the sensation of depth. And in the middle of this distance one-half the backlight, the highlights, the silhouette of a subject in very basic stuff that we talked about in the lighting set, in the lighting lesson. We'll have the key light. And it would be good to have a phyllite next to this camera setup right here. But if you don't have to feel like it's fine, then we have our main camera and a tripod facing subject and our secondary camera on a slider at a 45-degree angle from the subject where the phyllite should go. Again, you could add a phyllite right above the camera with the Snyder. But this right here is the ultimate interview setup. If you want to shoot a subject perfectly again, a camera with a slider here and a camera directly facing your subject. So this was pretty much everything when it comes to Errol with this customer, how to shoot yourself, the guilt you need, the different setups you can apply, and how to shoot an interview. Again, the gear that you can add from the first year piece that we talked about and the different setups of those pieces. Now let's move to discuss B-roll. Interior Bureau is usually going to be a suit of a product. Most of the product commercial that you see on commercial TV are suit our salt indoors and actually have a dedicated course on how to shoot commercials in your bedroom, just like I have done in this setup right here. When it comes to the gear on shooting B-roll inside, on an interior studio, the year pretty much stays the same. Obviously, we need a camera, a tripod, and some light, but this setup changes a lot and let me introduce you to the site. First of all, the first thing that changes is the distribution of the lines. We don't have a key light, a fill light, and a background light. We usually have a light that light our product from the left, a light lighter products from the right, and a top-down light. That again gives us this dramatic tone. If it was me and I didn't want to invest on those three diffused studio lights, which could be expensive. I would only invest in a top-down light. I have filmed countless commercials, just download, and it works perfectly. In addition to that, it would be good for you to invest on a table. We obviously need a surface to place our subjects, which we're going to suit. This table is a bit sophisticated. It also has a built-in diffuser so the light can bounce off from the table to the subject. So this pretty much a very basic indoor shooting setup. Let's move to analyze more in there sitting setups. And we're going to start with a very cheap set up that you can apply. This right here is a very cheap B-roll setup that you can apply and shoot indoors. Some products. As you can see, we have the table which is also a diffuser, is not exactly they will, but it is a surface in which this necklace rest. We have the camera right here, which is this Bergman's smartphone. And just a very basic top-down light that shines to the product. The camera is also connected to the computer, so have a bigger view of what the camera is capturing. But this is as basic as it pretty much can get. This is a very cheap setup, but this doesn't mean that this individual right here can't get creative, this very creative field. And again, you don't have to get very expensive to unlock this creativity. This is a mid-range setup. This is the setup that most videographers have. And again, don't be afraid of the slider and the cameras. You're going pretty much, Of course, replicate this with your phone. As you can see, we have this side lightweight here and a diffuser that further defuses the Live produced by the side. Like we have a table in which the subject rests. I don't know if you can see this object right here and another diffuser, and they say reflectors, last diffuser that reflects light with interesting angles towards the subject. There's develop, as we said before, the camera is strapped in a slider. So this is of course a videographer that is not a photography suit. So he introduces again movement because commercial that way. But again, as you can see, the basic principle remains the same. You need a camera, it traveled a top-down light and a table. This is the minimal, but you're gonna have to shoot B-roll inside your studio. This obviously is the expensive setup, but the principle stays the same. We have our top line like that here. We only have a light source to diffuser is just below the light source. We have the side light, the table, and the camera who displays, as you can see, further away from the subject with a telephoto lens. Why? To add depth to our videos? This person wants to add depth. He has a space, she has the gear, and this is how he achieved. This is also a professional slider, very expensive, but again, this is a very expensive set of, I just analyze it to show you the basic elements that are the same in from the very, very cheap to the mid to the very, very expensive setup. Now let's talk about the efficiency while shooting indoors, indoors bureau. I, myself have sought countless of videos inside this volume right here. You don't need that much space to achieve great results when it comes to indoors Bureau, it is very important for you to minimize your rig them again, the more you suit, the easier it is for you to rig your setup. This will lead to more salts, more experimenting, and this will help you become better in both shooting and editing. Another thing, this might sound a bit funny, but you need to watch out for overheating gear. Sometimes if you go with the cheap options of lights, these can overheat and this could be a problem if you're in a small studio and a small interior space. As we said, LED lights are pretty much the best option that you can have for an interior lighting scenario, for a studio lighting, they don't tend to overheat and they have a prolonged lifetime compared to other normal light. The final thing that I have to give you to become more efficient in Beatles shooting indoors these to get creative. This, again, is a very creative field. And in the fact that the fact that you have control of the light, the sound, and the camera settings enables you to get very creative and consistent with your results. So this pretty much it with the B-roll, the arrow hemi introduction of scores. Let's go ahead and recap what we said in this lesson. So in those suits again, are very popular and the biggest pros of those suits is the fact that we can control, again, the lights, the audio, and the camera settings. It is very good for you to be able to tweak your camera settings. We talked about the ISO, the frame rate discharges be that you need to have for the optimal, optimal results. And again, this produces consistent results while shooting indoors in their suits are further subdivided in April and barrel. A role is when we're talking to the camera. And this is further again subdivided into the subcategory of shooting yourself and shooting an interview in either suiting yourself or seeing an interview, we need some basic gear. This can be a camera, dribbled some lights. And of course we discussed about the setup of this gear and some tips to help you. The same applies to B-roll when it comes to interior suits. Usually B-roll involves product suits and products foods have pretty much the same gear with April, but a completely different setup with a top-down light. Again, the camera on a slider and a table that highlights the guy, the guy aspects of the product. But we're assuming all we finished the bill subcategory of interior suits with some tips and my experience in this field. So this is pretty much it when it comes to shooting indoors. In this lesson right here, there was a lot of information that I introduced you to the, but the main thing that I want you to take from this lesson is that, well, when we shoot in those, we have the maximum control of our lights, of our sound, of our camera settings. The conditions are stable so we can get very creative. Now that we're done with this chapter of this course, it's time to move to the second category of shooting, which obviously is shooting outdoors. So in the next lesson, we're gonna discuss the same thing that we discussed here about a role and B-roll, but obviously with different parameters because we're gonna be referring to outdoors suit. So see you in the next lesson. 11. Shooting Outdoors Guide: Living Zimmerman and welcome to the second installment of the shooting process of videography course that we're analyzing in this lesson right here, we're going to be analyzing shooting outdoors. Now sitting others is very similar with shooting indoors when it comes to the aspects that you need to pay attention to. Obviously have the camera, the light source, the sound source, and the subject. Now that means that many parameters do change while shooting outdoors. And this is what we're highlighting in this lesson right here. In general, we're going to divide this lesson into subject dependent and subject independent shoots. And obviously we're going to dive deeper to analyze what changes in those two different environments. So I'm very excited. Let's launch our slides and let's dive into others shooting. Soul and gentlemen, welcome to the ninth installment of the scores, the ninth Latin of the scores, in which we're going to be talking about shooting outdoors. This is gonna be our lecture outline. We're going to start with the introduction. Then we're going to move into the different, the two different subcategories of shooting outdoors. Again, shooting B-roll. So a subject without actually talking to the camera and then shooting a subject while talking to the camera, this so-called a role. Finally, we're going to close this lesson right here in width. Again, we're going to have a lot of information with a recap. So enough talking, Let's move into the introduction of this lesson. So shooting outdoors is very actually similar with shooting indoors. Again, there are some key parameters in which we are very interested. Of course, these are our camera settings or light, our audio and our subjects. That being said, of course, there are some parameters that change was winning others and this is why we have a separate lesson on others shooting. In general, there are some brands and some cons, the pros most wounding others is that obviously you can get more creative. There's more interesting light from the sun, more subjects to play around, and more stuff to film. In general, cones are constantly changing lighting and weather conditions. Especially the lights are going to be a huge issue while shooting outdoors. And this is what you will learn how to navigate around in this lesson. Again, other suits, just like in their suits, are subdivided into categories, subject dependent and subject independent. Subject dependent. Outdoor pursuits or aryl are usually going to be interviews or vlogs, which we're going to be analyzing in the next lesson. Subject independent outdoor suits are usually going to be B-roll suits. I want you to know that in all of the categories of becoming an analyzing in this lesson, the key is to adapt in the constantly changing weather and lighting conditions. This is the major challenge while shooting outside. And this is why most creatives actually go ahead and set up a studio, just like I have done in my interior environment. So we don't have continuously changing lighting conditions, but this is what we're called to navigate again around while shooting outside. So this was introduction. Let's dive into the two categories of shooting, starting with B-roll. When it comes to shooting B-roll side, this is one of the most common areas you will be found shooting when it comes to videography. First, we're going to start with the gear you're going to need. And I want you to remember that less is more while shooting B-roll outside. The less gear you have, the less stuff you need to stress about and the more creative you can be. That being said, you are going to need a camera. Obviously, this can be your smartphone. It is good for you to have a camera, but to store most of your gears, you don't have gear just flying everywhere. It is good for you to stabilize your gear. And we have talked, we had a separate lesson on stabilization. You are an expert now on stabilization. And sometimes if you want to up it up a notch, you can have a diffuser with you to diffuse again, hearts, sunlight of the sandwiches, our biggest enemy. Now let's start with the gear other side, the camera is going to be your smartphone and smartphone apps actually do a great job in changing automatically and adapting to different lighting conditions up there. If you can recall, in the shooting indoors lesson, I advise you to download a plugin to help to change the ISO reframe rate and the solid speed of your camera. In fact, when it comes to shooting outdoors, I would want you to delete this plugin and let your smartphone do automatically all the adapting and changing to a different weather conditions. This use it applies in 99% of cases unless there is a very cloudy and you know that the clouds aren't going anywhere. And this is pretty much the exception in which we're going to have steady and constant lighting conditions while shooting outside. But 99% of cases just set your camera and your smartphone camera to auto mode. It will manage perfectly. Let's move to the second gear piece. You need to shouldn't be role-type. And this is pretty much going to be a camera, but now it camera bag is obviously not essential. It is recommended. And inside your camera bag, you should use to find a power bank to borrow again, your smartphone with your camera, a tripod, if you want to have a steady shot against stabilized outside more SSD storage space. Of course, we talked about the battery life and the SD storage of your Phone, which is the factors that limit us for producing unlimited videos. And it's good for you to also have a backup camera, especially if you're traveling away from home and you don't have access to cameras that easily. So these are the recommended gear pieces that you should find inside your camera bag. In addition to that, depending on the environment that you, that you can bring with your food, water, or different lenses. Again, those clip lenses that could go to your phone. In general, it's good to have your camera bag to protect your gear and to be more organized in your shoots. Moving on, let's talk about stabilization and B-roll stabilization is very important. As we said in the stabilization lesson of this course, the optimal stabilization choice is a gamble. This right here is a gimbal. We talked about Gimbels. This is the best way to stabilize your phone. If you go ahead and purchase angle, please invest to a camera bag to store safely the schema because in the outside conditions, you never know when it's going to rain, when there is going to be introduced to your gimbal mechanisms. So make sure to safely store it in your camera bag. Moving on, if you want again, to add data nodes, you could invest and carry with you in your camera bag a diffuser if you choose to shoot during midday, when the sunlight is at its highest point, it is good for you. Manually diffuse the light that directly touches your subject. So bringing diffuser with you, there are some diffusers that can break down and fit into camera bags. In 90% of cases you're not going to use it this way. I say that it is not essential. But in this 10% of cases that you will use a diffuser, you will see that it will very much help you with your videos. This right here is the biggest tip that I have to give you when it comes to outside bill suits. The last year you have to choose from, the more creative you will become. Trust me, there is nothing more frustrating than having 1 million different types of guilds you paid money for, just hanging in your bag. Don't know what to choose from. So please be selective with your gear. Don't invest to every single group. Is That looks cool. All of us want to look like professional videographers. But trust me, even with just your phone, you can do amazing creative results. Don't let gear overwhelming. I know that this course is very geared focused, but I'm just laying out all the options for you. Please don't get overwhelmed with gear. Here are some other tips that I want to focus on because those steps I learned from experience and I think this is the most valuable part of this lesson, again, teaching you stuff based on my experience. So the first tip is to shoot short clips, brainstorm different angles. Don't overthink salts. Do plan ahead before the suit and keeping it simple. So let's go ahead and fastly analyze each one of those tips that I have to give you. The first one is to keep your clips short. You rarely use more than 10 s of your video as you can to find out in post-production editing, more than 10 s you probably never going to use from a video. So please decrease the length of your videos and increase the variety of different salts and different angles that you will produce. This will help you produce the best outcome. And this is why I suggest you to invest on a gimbal and not on a tripod. The gimbal is constantly changing its position and we're constantly introducing new angles to our videos, whereas the tripod stays still. You have just one salt. So this, this is why I would prefer invest on a gimbal when it comes to meditation rather than a tribal again, on B-roll suits outside. The next thing that I have to give you is that you should really try different angles. When I say different angles, I don't mean that you need to physically change from one location to another and drive away but have different angles. Then just back away, zoom out, zoom in, or just lower the camera from the place that you're at. It's very easy to change the composition of your frame just by some very subtle movements, or just by zooming in. Zooming out from your lens, increasing the variety of different angles, we'll increase the engagement of your viewers. And as we said, engagement is videography. Engagement of the viewers in videography is one of the most common. And as we said, engagement of the audience in videography, increasingly engagement of audience in videography is one of our biggest goals in this hobby. The next thing that I have to give you is to not overthink salts. Trust me, they capture as many shots as you want. You can simply delete them if their trust in the post-production editing software. On top of that, I never want you to delete salts while you're outside in the field shooting. Keep it stored on your phone and let's delete together in the post production editing tutorial, don't delete shots while you're outside in the suits. Trust me, most of the best suits and the suits are actually completely random, so don't delete them, why they're outside, keep them to delete them in post-production. Final thing that I have to give you is that you need to create a shortlist. A shortlist is a very basic list of some things that you need to capture outside in the field in which you create beforehand so that they, e.g. before the suit. This will save you a lot of time. It will help you arrange your thoughts. And actually brains are more ideas as you're writing down your salt. So you will see that you are going to start writing down some thoughts to one. And this Will help you make up your mind to bring some more and more salt. This will increase your creativity and decrease the time that you're in the field, just thinking of what sought to capture notes. So please also create a short-lived. The optimal scenario would be to you for you to have a brainstorm shortlist enter the scene which won the suit and bank, bank, bank CD assaults. Get out of there. So please create a selfless, this will help you improve your videography massively. This, we're all my tips and gear tips when it comes to bureau, let's move now to the subject dependent outdoors shooting. And these again are usually interviews. So we're going to start with the gear it's going to need. And then we're going to analyze interview tips. So pretty much the gear is the same with B-roll. So we need a camera with a backpack camera bug before to store that. Now when it comes to outdoor interviews, the gear, pretty much the essential gears stays the same. We need a camera, we need a camera bag to store our gamma and R here. And we are heavily focusing, as we said in the introduction of this course, to lack control, we need to stay focused and be able to control the constantly changing landing environment of the outdoorsy. This, what you can see that this kid is doing in this image. It's pretty much, it's pronounced holding the user login diffuse, the mid-day sunlight. Note that it is very important to diffuse. Again, I'm going to say this 1 million times, but it is very important for you to diffuse the sunlight that is produced from the light in mid day. If you don't want to invest on diffusers and have to focus that much on light control. Makes sure to either shoot during sunrise or during sunset for some reason during sunrise and during sunset with the light that comes from the sun is not hard, is very actually solved by its nature. It doesn't need to be diffused. And this why you see most cinematic videos and most cinematic photographs are shot again during sunset or during sunrise. That being said, another video parameter that is constantly changing and we have no effects on, to control Is the sound we're talking about the lighthouse. They're constantly changing with the weather, how lights are naturally used by the clouds, of course, the higher sunlit of the sun. But another category of an output element that we can't control is actually the sound. And this of course, will interfere with our interviews. This is why we also need to focus on sound control when it comes to outsell outside a role. Now signed sound control is very easy to be achieved. You just need a microphone that plugs in with your smartphone. In addition to that, you can also use your actual smartphone if you have a secondary one as a microphone, just record sound and use it as a microphone to record yourself. Nor e.g. please don't record with the internal sound of the forms you use as a camera. Or the camera will be away from the subject and a lot of sounds from the other environment will interfere with your video and it will ruin your interview. So remember that we need to invest on some count, some kind of sandwich all equipment when it comes to other interviews. As well as I said in the indoor interviews, a slider and they tripled our suggested and recommended gear pieces. When it comes to interviews, a slider again, introduces subtle movements to our videos and makes the interviews more engaging. And they're not that expensive either, not motorized. If their mother raised, they can get expensive. So watch out for that. So to close the chapter of outdoor air or outdoor interviews, here are three tips that I have to give you to help you fastly improve your video. First of all, you need to remember that light and sound are your worst enemy. You need to plan ahead from your suits. And in remember that basic principles stay the same. Now let's go and analyze those three dips. Obviously, we talked about this a lot in this lesson. You need to diffuse the harsh sunlight from the sun that touches the subject. If it is during midday, again, if it is during sunrise or sunset, it is okay not to diffuse it. And note when it comes to sound control that sometimes some basic natural sound effects may be okay too, incorporate in our interviews, e.g. in this scenario right here, as you can see, the displays on the woods, some natural bird sounds that might be captured with our audio, could be okay to add with our interviews. Now if you've taken a view in the middle of New York City with all of the screaming and the nose is from the road and the noise from the construction. This is not possible. You need heavy sound withdrawal, but there are exceptions, as there are always exceptions in videography because they don't have to give you. And this also applied in the B-roll with a shortlist is to plan ahead. Plan ahead what with creating a shot list, this will decrease the time that you spend setting up everything and will increase the time you spend sitting. This is what I need you to focus on. I need you to decrease the time that you need to set up everything and know where the light goes and over diffuse goes. I need you to brainstorm this beforehand. And this will give you more time to shoot, more time to edit and more time to improve. In this hobby, you need to be fast when it comes to setting up everything. Finally, and this is a slide which I want to focus a lot. I need you to remember that. Outdoor interviews, such as in indoor interviews, and most of the different types of suits that we analyzed in this course, some basic videography principles always stay the same and I am giving you this image as an example, this is an image of an interview that is sought outdoors. And despite the fact that this is not a controlled environment, you can see, I want to second, that mean we don't control the lights and the sound. This is of course sort outside. We have light from the sun. This is actually, this video applies to many principles that we've discussed in this course. So this why we want to analyze it with you. First of all, you can see that the I of this person is located at the cross of the rule of thirds on the upper third. Soviet director of this interview correctly chose to follow the rule of thirds by placing the subject in the right third of the image. In addition to that, when it comes to composition, as you can recall, we also apply to the rule of leading lines. The director use this bruises as leading lines to guide the eye of the viewers to again, V and VI of the subject in which we want to focus when it comes to live, to consider, we have a key light, a fill light, and a back light that highlights the silhouette of the subject. How is it produced? Very simply, the director has placed a diffuser right here that diffuses the light that comes from the sun and produces this again, highlights right here the key light. Obviously, the rest of the face is filled with the natural light that bounces off the ground. So we don't need to physically add something to have a filler light outdoors. Other conditions obviously are lit by themselves and you have the backlight that highlights a little of a subject. And this is achieved by the natural sunlight that comes and hits the subject from the back. So this is a great example of an outdoor interview that applies to most composition and lighting principles that we discussed in this course. So I know there was a lot of information in this course. In this lesson, Let's go ahead and recap some of the most basic things I've talked about. So shooting outdoors and shooting indoors have many similarities, but they also have many differences. The biggest difference that shooting others have has from shooting indoors is the fact that we need to heavily control the light and the sound. These are two parameters that we don't have control while shooting outdoors, as we said during others, is divided into two sub-categories. Shooting with a subject and sharing with others. Algae shooting with a subject is Errol. Shooting with other subject is B-roll. Errol is usually interviews and we analyze different pieces and the different tips when it comes to interviews. And again, B-roll is usually salt outside. It is more commonly sought outside rather than inside. And again, we analyze different years and different tips that I have learned through my experience. I want you to focus on when it comes to shooting B-roll outdoors. So this concludes our lesson in others shooting. And again, this circuit diagrams scores when it comes to shooting, we analyzed in this lesson right here, subject dependent and subject independent outdoors suit and what to take care in each one of those subcategories. Now we're done with other suit. It is time to focus in a completely different type of suiting, which is of key importance in our days, and this is actually vlogging. So in the next lesson we're going to discuss about vlogging. 12. How to Vlog: Hello everybody and welcome to the 10th lesson of this course. I chose to dedicate an entire lesson of this course on vlogging. Because vlogging nowadays has seen a huge rise. It is a very interesting way of documenting, capturing, and sharing your life. So in this lesson, we're discussing everything when it comes to vlogging. Let's launch this presentation and let's dive into this relatively new area of videography. So, ladies gentlemen, again, welcome to the 10th lesson of this course in which we are going to be discussing about vlogging. This is going to be our typical lecture outline. We're going to start with the introduction. I'm gonna introduce you. It's relatively again, new type of videography had documented life through vlogging. Then we're going to discuss the gear that you need to successfully produce a vlog. And some tips that I have accumulated through my course in the space of vlogging. And of course, we're going to end this lesson with a recap. So enough with the outline, let's move to the introduction of this lesson. So what is it? Vlogging? Vlogging is pretty much a one man screw movie about a subject of your life. You hold the camera, you capture your story, you capture your travels, you captured different events. Of course, the theme of a vlog is of your choice, but I want you to remember that blogging again is a one man grew video that you produce in any pretty much the story of your life. Casey, nice, That is the father of logging. You might have heard of him. This is him in this image right here. And this is a very typical vlogging celebrated. We're going to discuss in this lesson. Again, the subject of a vlog could be of your interests, could be a simple story, could be a travel video of yours, or an event that you wanted to capture. Why should you start vlogging? And you should definitely start vlogging. Vlogging has many, many assets. First of all, you get to document your stories. You get to document your journey through life and you don't even have to upload your vlogs on landscape, keep them from yourself. What I do, I've logged every time that I go on a tree, e.g. with my family or my friends, I take my camera with me and they've logged the trip just to remember those times because video in general is way better when it comes to keeping memories than photographs. Now if you're gonna go the other route and start sharing your vlogs online, which is of course way more profitable than keeping them in your hard-drive. Vlogging is a great way to share your ideas and share your thoughts through life with a wider audience. So it is very easy again to produce a vlog by yourself. And the fact that you can upload it online, a reach, and reach a huge audience is very, very helpful in that the fact that you can reach a huge audience is very helpful to inspire others. So maybe we can get inspired from your vlogs. Just e.g. like I got inspired from other people's blogs. The final, the final, again, decent to start logging is the fact that it has a very low barrier to beginners. It is very easy again to produce a vlog is just set up your camera, you talk to the camera, and the editing is fairly simple. So these are four basic concepts on why you should start vlogging as soon as you finish this lesson. Let's now debunk some common myths when it comes to vlogging. The first myth is that you need expensive gear to produce a vlog. This is a complete myth and again, we will dive deeper into the gears are going to need to produce a vlog in this lesson, basically, just like in every other year obese category that we have analyzed in this course. And we have analyzed a lot of different pieces. There are expensive options and cheap options. You don't just need expensive year to produce vlogs. This is a myth. The second myth is that you must know how to edit well to produce a vlog. This is also a myth. You don't need to have excessive editing skills to produce a vlog. It is fairly simple, e.g. vlogging videos, when it comes to my journey in videography were the first type of videos that I started to produce before I knew how to shoot, before I knew how to edit. The third myth when it comes to vlogging, is that vlogging is only for YouTubers, it is only for people that share their stories online. This is again, a myth, as we said, document in your life, even keeping those videos by yourself produces great memories and is a great way, again, to produce videos, become better and videography and remember your travels and journeys. So these are three mics that I wanted to get out of the way when it comes to blogging. Now, we can start with the gear that you need to produce again, vlogs, videos. So let's go obviously. And in every video, on occasion we're going to need a camera to capture our videos. And when I say camera, I'm in a combination of a sensor, a lens, and a microphone. This of course, course is dedicated in smartphone videography. So the camera in this case is going to be your smartphone. And trust me, smartphones are perfect for vlogging. They auto compensate in the constantly changing lighting and sound conditions of the outdoors, which of course is where we're going to shoot vlogs. Most vlogs are sold outdoors and cameras can do a great job to compensate in those constantly changing conditions that we find there. In addition to that, remember that battery and storage is always going to be an issue. So it's good for you to have a gap. Our bank as well as external storage to add to your phone. This is gonna be our two biggest difficulties when it comes to smartphone videography. Again, as we said, battery and store it. Now if you see the setup of famous vloggers, expensive setups also have external microphones because obviously when you're communicating with an audience, having a microphone and good audio quality is of key importance. So you could investigate in an external microphone if you want, but the internal microphone on your smartphone, we'll just get the job done for basic vlogging. So this is the camera setup that you need for the vlogging. Now let's move to the very, very famous Mount. It is recommended not to just hold your phone while vlogging. It is very recommended to strap it on a mount. Now when it comes to mount on blogging, we have two very common and interesting options, and I have used bold so I can suggest you the best one. The first is a gorilla pod. Gorilla pods are very famous when it comes to vlogs, most bloggers use guerrilla bolts and this is actually what I would suggest you do invest in guerrilla forces. You can see in this image right here, have a mount for your phone and they're easy to carry. They're extremely versatile. You can change from a tripod to mountain gorilla, but to a tree to pretty much produce any salt. They're also extremely value for money. These are relatively cheap and they last for years. And as we said before, gorilla balls are kings of vlogging. It is a very rare to see vloggers carry those gorilla bonds. They are very established in this field, and this is my personal mount of choice when it comes to vlogging. Now, the second option that you have is again to invest on a gimbal and long on a gimbal. Now, I have logged with a gimbal, they produce great civilization. And another product they have is that they drastically increase the battery of your smartphone because while you're shooting with a gimbal, the smartphone is black, the Gimbal, so you don't have to stress about battery life, you only have to stress about storage. That being said, I know that Deimos again are hard to carry and they're pretty expensive. And the thing is that you don't want to have gear interfere with your vlogging experience. You want the story to be king and it is okay to have bit of shaky footage rather than compromise your story. This is why for the vlogging lesson of this course, I would actually suggest you to go with a gimbal with this table, with a gorilla bold and not with a gimbal. Again, obviously you're going to have greater stimulation results with a gimbal. But in vlogging, we're not focusing on having superior videography were fogging, focusing on having superior storytelling. So this is why again, go with a gorilla pod and not with a gimbal when it comes to the Mt. Finally, we're going to talk about editing. Editing logs is fairly simple. You don't have to be a perfectionist. We're editing blogs. And remember that you don't need crazy softwares to achieve. Again, a good vlog editing, very basic software that you can find in your phone or for free on your MacBook or PC will work fine. And again, if you want to invest in a good editing software, we're going to discuss this in the next lessons. It is fair to do so because having more options when it comes to editing is always better. It's okay to have more features even if you don't use them when editing vlogs, we want to focus again on the story and not to have superior videographer or the fall or the rules of composition and lighting and stuff. We don't care that much about that stuff. We care about the story when we're editing blocks, then just adapt. While editing blocks, you are going to add music, you're going to add sound effects and B-roll shots. So keep that in mind. But again, don't stress about editing drugs that much. So this was the gear on blogging. Now, let me introduce you to some tips that I have to give you. Again based on my experience with vlogging, I'm fairly experienced with login. These are the four types that we're going to analyse. The first tip is to keep your setup symbol. Then to fill more than you think is enough to not to get caught up with filming and to edit when you have time. Now let's elaborate on each one of those steps. The first thing I have to give you is again, to keep your vlogging setup as simple and as basic as possible. This right here is an over the top vlogging, cetera, but you can see it looks simple, but trust me, this is way more than you need. You probably aren't good blog with just your phone. This guy has dropped his phone into a tripod and pretty much has an external microphone up on top of it. Remember as a rule of thumb, when it comes to blogging, lot more gear equals with more things to think about. And when you're thinking about your year, you are dragging yourself away from the story which is kinked when it comes to vlogs, having a very basic and simple vlogging setup will help you focus on your story rather than your year. If you insist on investing on year and perfecting your vlogs, these can learn how to perfectly use each year, please go out experiments before you go on a trip and count on your gear without even knowing if it works or not. Because again, if you have more gear, there are more things to go wrong during the shoot, but if you don't want to go that route, keep it simple. This is how you will be able to focus on your story and make this video. The second thing that I have to give you is to constantly film more than you think that you need. This, the same tape applied in the outdoors and indoors, should trust me, while you add it. Clips, you will see that you will need more and more food than you have. Now because vlogs are miniature movies, of course, homemade salt and made by yourself. You need to feel more talking sold, feel more B-roll, feel more random stuff again to fill up those holes when it comes to edit. And trust me, there are going to be holes when it comes to editing. You will see that you will need more clips that you have salt, but it is okay. You will learn from experience to cover those holes as time passed. Moving on to the next step, it is to not get caught up. We'll filming now I know that this dip in the previous step, like don't go with each other very good. But trust me, it can get very overwhelming to know that you need to vlog every moment of the day. Don't let vlogging guide your day. Try to complement your day with switching on the camera and capturing some of the best moments. But don't forget to most of the times, just switch off the camera. Enjoy your time. Live the moment, and find balance between again, filming content and enjoying your day. Especially if you're on a trip, you don't want to be directly stressing about your gear, stressing about your cameras. Take a moment to again, live in real life. It is cool to capture it. It's cool to share, but you need to find balance or you will be just overwhelmed by blogging. The final thing that I have to give you is to edit blogs when you have time. Please don't rush the editing process because once you export and you delete the clips from your hard drive, this is just the project that you have to watch and have as a memory. So you need to be careful in the editing process because again, these are the memories that are going to be set from the vlog or if you want to share it online, this is your thoughts that are going to be out on the web. Don't rush editing. Don't edit while you're on vacation. If you have logging on vacation, just take your time. Imported foods at home from your setup, edit them from your setup, produce a good vlog because again, this is what rest in your hard drive for years, months. So make sure not to rush it. This was pretty much vlogging lesson. Let's us to recap some of the basic features of this lesson. We talked about what is logging. It is a one man show. You turn off your camera, you share your thoughts with an audience or use are your thoughts for yourself. You basically film your day and you create miniature movies. You can shoot a roll, B-roll, talking salts. You share a story, share a travel document, an aspect of your life. We talked about why you need to login to have personal memories or to share your thoughts with the world. And then we analyzed how to block the different gear that you will need, the camera, the different mounting options that you have the camera when it comes to vlogging again, gorilla bold or stabilizer. And we finished off some tips that I have learned through my experience in the vlogging subcategory of filmmaking. So this is pretty much it when it comes to vlogging. Again, this is a relatively new videography and filmmaking technique. It is a new way to document your life and share your experiences with the world. And it is also a great way to start putting yourself out there. Now that we're done with the whole shooting process, shooting indoors, shooting outdoors, and how to vlog, it is time to launch our editing software and focus on post production editing. So this what is happening in the next lessons. 13. Editing - A Roll: Ladies gentlemen, welcome to the first editing lesson of this course. I'm very happy to introduce you to some basic editing principles of videography. Remember that those editing principles are completely unrelated with if you're shooting with your smartphone or with your camera. Everybody in my opinion, in 2022, needs to know how to edit. In the next and second installment of the editing category of this course, we're going to be discussing how to edit B-roll for it, but for now we're gonna be focusing on error. So enough talking. Let's launch our slides and let's dive into this very important editing lesson. So ladies and gentlemen, I want to welcome you to the 11th lesson of the scores in which we're going to be discussing how to edit a role. I'm very happy to have you here because this is gonna be a very, an extremely valuable lesson for you. The fact that editing is one of the most important against skills to learn in our modern times. This right here is gonna be our lecture outline. I'm going to start with the introduction on what editing is and what are our goals for adding B-roll. Then we're gonna move to the first step of editing barrel and the second step of editing arrow. And then we're going to close this out with a recap, because obviously there's gonna be a lot of information here and it is very good for you and it's going to help you digest all of the information that we're going to discuss. Small parenthesis here. If you enjoyed this lesson and you want to dig further into editing, I have a complete course dedicating dedicated on how to edit videos on Final Cut Pro, which is my program that I use on my Mac. So if you're more interested in editing, I welcome you to join an enrolled in this course to learn more about how to edit enough talking. Let's move to the introduction and let start analyzing how to edit videos. Now, the first thing that I want you to know is that everything is way easier than editing Bureau. This is due to the fact that it is a step-by-step process that everyone can follow. No matter what editing software you're using or no matter how many files and different cameras you have to compose your arrow. It is a step-by-step process and it pretty much requires no creativity. Can display your creative muscles here. It is a not, not that much of a creative process. B-roll is very creative and it's a bit harder to edit we can discuss in the next lesson. But for now know that arrow is again a step-by-step process that doesn't require creativity. And it is a very, very, very useful skill to have in our modern time. I'm gonna be talking about how useful this skill is a lot in this lesson. So don't worry about that. Now, by learning how to edit and by mastering editing, remember that you enter a huge and unsaturated online market. You become very valuable in modern society because everything, all of the information is moving around through video and being an editor, remember that it is a job that is completely location independent. You can edit videos from whichever part of the world you want. It is completely timeframe independence, so you don't have to be at your job at 08:00 in the morning and finish at 03:00 in the evening. You can do this whenever you want and however you want. And also there is no dress code obviously looking where you'll be dramas and make many figures a year from editing. So these are the cool factors of editing. These here are gonna be our lesson outcomes. These are the things that I want you to know by the end of this lesson when it comes to editing error, first going to discuss about how to import footage. And when I say footage, I'm meaning both video and audio. Then we'll discuss how to synchronize audio and video again to compose a basic arrow. And then obviously the editing part, which is pretty much cutting and trimming. We're going to discuss about how to apply some basic guts to our arrow. Finally, we're going to close. This doesn't right here by me discussing some basic color grading principles when it comes exposure, sharpness, and saturation that you need in order to really nail your arrow. One more thing before we start, I want you to note that you don't need any fancy software to achieve what we're gonna be discussing in this lesson right here. This means that if you want to invest in a higher end Pro software, just like I have done by investing in Final Cut Pro. But you can totally achieve the same result when it comes to what we're asking in this lesson right here, from the built-in software in your phone, or by downloading a free editing software from the App Store or Google Play Store. So please remember that no fancy software is needed. And that being said, we can move to analyzing the first step of editing arrow. The first step is obviously to import your videos and import your audio to the timeline. Which timeline is basically the interface of your editing software. Now, before we discuss how to import and what importing is, I want to dedicate some minutes in discussing how you should name and store your files. Trust me, when I say that, if you don't name and you don't store carefully your files, you're gonna be lost in a storm of different video and audio files during those years. In videography, this hobby is tightly related in organization and file organization is one thing that you should totally be aware of. I'm going to give you a small example right here on how I have sorted out my files. This course that I'm creating right now. And then I'm going to show you the exact footprint, the perfect footprint on how to name and store your files. This is very important and this is tightly related with editing. This why I'm introducing you to these concepts in this lesson right here. This right here is a screenshot from my Mac book on how I sorted my files for this course right here, as you can see, first, number, all of my folders. So number one, year number two, frame rate number three, coming up movements I meant for composition. And inside of this folder, I have do, again, numbered different files. The first is the PowerPoint presentation and the second one is the video file of the completed course. So again, the number and the type of file. But this is not the perfect way to number name and store your files. In fact, this is the perfect way to number name, and store your files. This is the proper file naming footprint. I want you to screenshot this. I want you to keep this and follow this for the rest of your videography carrier. Now, it's word that you see right here, followed by the arrow, should be a different folder. So first you should start by creating generalized to more targeted folders. The generalized folders on the left of your screen should start with the year. So you see greater folder, e.g. named 2020 to 2021, 2020, depending on when you have salt your file. Then inside this folder, create a subfolder with each location of the suit, e.g. my studio, or Italy, or Rocky Mountains or mountain biking, basically create a sub folder with the location of the soup. Inside that sub folder. Again, create sub-folders of each day of the shoot, e.g. 2022, Italy, one or day two, day three. Inside those days, I know there are many sub folders, but this is the only way to stay organized and not lose yourself in, again, waves and waves of different footage inside the sub folder of the day, create sub folders with a different cameras and you've sold your footage, e.g. Canon 5D Mark for GoPro smartphone. And finally, inside the sub folders of the camera, create different subfolders with the different video file that you have. E.g. you have a GoPro video file, and we need to name those video files according to the key activity that is shown inside there, e.g. Interview 0.1 or swimming, mountain biking. These are gonna be again, our video file. So it should be swimming or number one, swimming dot mp4 or the dot MOV. Trust me, this right here is a, an extremely important slide. And even if you don't continue this lecture, I want you to screen so this slide and apply to your videography life, it will make your life way, way easier. Now let's move to the more simple stuff which is how to import everything. Do your timeline. Once you have sorted out your aerial footage and you have located it, you just drag and drop it into your timeline, it and it imports into your editing software if you can drag and drop it because you're editing from your smartphone makes you to just press the input button. This will directly in your camera roll. And then from then you can just select the clips that you want to apply to your timeline. Another thing that I want to point out is that most people don't actually store audio like video, and this is a big mistake. Audio should be stored exactly like videos, e.g. again, 2022 sub folder Italy subfolder day one sub folder from the individual you shop there and then inside there or one with the name of the video and R1 with the name of the audio. That I want you to remember that unless you're using an external mic to record the audio or some very fancy setup. Usually the audio gets automatically sync with the video so you can even bypass the next point that I'm gonna make in dismissing if now the audio is not sync with your video, you should pay attention to this very basic in principle that we're going to discuss right now. Again, if your video is not sync with your audio and you're using an external microphone to record the voice. It is very easy to sync audio with video. This is why filmmakers have again, those guardians or this why you see many people clap one, shooting, when shooting a video. This is because when you clap, you see in the video that there is a clap. And then when you're hitting the older value, when you're listening to the audio file, you see that the person clap, then just synchronize those two. Match again, the visual and the auditory aspects of a club or this thing right here, flapping down. And you have perfectly sync audio and video. This is basically how to import and sink video and audio. Very, very easy. Obviously, as I said, if you're shooting with a smartphone and a free editing software, it automatically syncs your video with your audio. So it is just another less thing to worry about this, why smartphones are very versatile in this way, dedicated discourse into smartphone videography. This was pretty much step one. I told you that editing a role is a step-by-step process. It doesn't require any creativity, is just very easy work. So this is how in step one we sorted files and we discussed how to import and sync audio and video sonatas. Time to move to the second step of editing arrow. Now, the key parameter and principal of editing is obviously applying guts. And this is what we're gonna be discussing in the second part of this lesson. Now of course, this is a fundamental part of video editing. It is very important for you to master how to successfully add entering my video. And obviously this is the part in which you want to invest most of your time and energy to master this part of videography. Now remember that when applying guts to an arrow, there is a symbol and a complicated way. And I'm going to be introducing you to both of those ways right now. I think that we should start with the symbol way. Now, basically, when you're applying cards to an aryl, you dream the parts where the subject is not speaking. So you can see your time and you don't have the visual representation of the video and the audio. This right here is the audio. And when you see the audio flattening out, just like the heart monitor flat-out when a person dies, then just trim here to him there and just remove the parts in which the audio is flat-out, which automatically means that the subject is not talking. So we throw away this bar, these gets connected together and this is a very simple way to apply basic guts, your Arab. Obviously, we need to remove when the person is done in this. These, we remove, we remove repetitive words and we remove segments that pretty much don't add much to the story. The subject is just circulating around the same concept. You could just can remove it through editing this. Why we added in general any awkward things we just remove from the April. Obviously, there are some brands and some cons when it comes to the symbol way, the simple way is easy and it is fast and it is what most people apply when it comes to editing a role. And obviously there are some cons. It is not. The bank going through the complicated route is going to be the best for your result. And it could get exhausting for the viewer if you turn down a clip with the symbol way, if the viewer is enjoying a very big piece of content, it could get exhausting and plead repetitive for the viewer. This is where the advanced way. And during the advanced way, we detach the audio from the video and just fade the audio of the firstly with the audio of the second one. So pretty much we apply a different cut to the visual and the auditory subjects of this. So in the advanced way, we dig deeper and pretty much what we do is that we synchronize the audio with the video. So we completely bypassed the first part of video editing that we discussed, which is to synchronize audio and video. We completely desynchronize them. And this is where we can just change different camera angles, e.g. we can change the primary with the secondary camera angles and other law firm if you want to go with this way and you have two different camera angles and do different again, audio sources. Remember that for every 30 s of primary camera angles, we usually add 5 s of secondary camera. This again increases the visual variety we provide to our viewers. And this increases the viewers engagement to our videos, which is obviously very good and what we're thriving in the videography hobby. Now, it is time to talk about my favorite aspect of editing error because let's be honest, what we discussed up until this point is very mechanical, very step by step. But color grading is actually part of videography and editing in which you can like creativity and you can get very creative with editing color. Now, color grading is a broader term in which we discuss basically applying changes in the sadness, the exposure, and the saturation of your needs. One of those three categories that were analyzed, sharpness, exposure in that situation, you can change, you can further digging into subcategories to change more about these parameters. E.g. exposure is further subdivided into highlights, shadows. Saturation is also further subdivided into, into vibrancy. So pretty much we change all these parameters to improve our visuals in this image right here you can see an example of a clip that is not color graded. So this is how it comes out from the camera. This is what you get after applying the basic color corrections. So let's now move into analyze how to call great, and what you should not do. So first of all, here are some warnings. Remember that there is no perfect color correction. It is very, very subjective with good color, which is not good color. And this happens pretty much due to the fact that the color of your video directly depends on the tone that you want to deliver to this video. So much to remember that again, there is no perfect color correction. This is a very subjective field of video editing. I'm going to give you an example right here. This filmmaker, as you can see, has applied a warm tone in his video. He has color graded this clip to look warmer than usual. This is why the warm tones produces a more romantic and a more relaxing image. In addition to that, this is not that saturated, but it's also not unsaturated. The saturation is pretty much stable. He just increase the temperature of the clip and the contrast is decreased. We don't want contrast be applied when we're trying to deliver a romantic and then relaxing tone of our video. Now, let's compare this with this color grading. And you can see the original clip that was all in the matrix with after the clip, after the color corrections. You can see that in the matrix. The filmmaker, the director used colder colors. This is an action and an industrial vibe that you wanted to transfer to the viewers. And he did this with increasing the contrast. So you can see that the shadows are darker and the highlights are brighter. This to the fact that the contrast is increased. And he also used called the colors because we don't want obviously a romantic white one. The more industrial and axon vibe, which of course was delivered through the color correction of the matrix. Now, obviously, as we said, you can get very creative with for grading and there is no do's and don'ts when it comes to color grading. But when we're editing a role and especially when we're editing interviews, which is the biggest part of April, color grading is very, very straightforward and these are some principles that I want you to pretty much have in mind and apply to your color grading when it comes to interviews. In general, I want you to keep the color that comes from your camera exactly the same. So don't change the thing, don't change the temperature. Sometimes we need to increase a BPA exposure. Always decrease the sharpness because video, especially that comes out of phones, has building increased sharpness to look better in the eye. But this we don't want the specialty in interviews. We also decrease the contrast because we don't want a very dramatic tone when it comes to our interviews and we increase our saturation. So these are four change you can apply right now. You're able to make it look better when it comes to color grading, increased exposure, decreased sharpness, decrease contrast, increase saturation. Now let's discuss about some common mistakes. They're done in color grading. The first and most common mistake is that people apply, do much contrast when you have access to all of those different parameters that change through color grading, a beginner thinks and believes that he's changed every single one of the parameters. And the first thing they do is that they increase contrast to match increasing causes too much, as you can see here, just ruins footage. It makes foods looks bad and this is way better, especially for a headshot portrait, that this photograph is too much contrast is definitely a no. Second very common mistake is that amateur editors applied too much sharpness to your video. And remember it's a rule of thumb. I want you to only decrease the sharpness of your video. I never wanted to increase the sadness. This simply did the fact that too much sharpness make your video look all that makes the video look awkward. And wherever is all something in your video is odd and awkward. It drives the viewers away from the story. And as we discussed in this course, throughout, the story is king when it comes to videography, and we don't want our viewers to be distracted from the key story. So I want you to take care of assertiveness during production. How do I take care of the sudden it during production? Make sure that your clips are in-focus. You make sure to have the correct lighting and then you're not going to need to apply sharpness in post-production. Just as we said in destabilisation lesson, I need you to remember the post-production editing is a last resort. We try to save money, trying to improve and perfect all the parameters before we entered post production. Post-production is to apply some changes that couldn't be applied during production. This obviously are also applies to sharpness. The third, and again, very common mistake that people do when color grading footage is that they applied too much saturation. Again, the saturation slider is a slider that is usually available only to editors. You don't have a building saturation slider in your phone editing a photo gallery, e.g. so when you see this saturation slider and just start sliding it, it is very easy for you to just over slightly, not too much saturation. And from a first glance, you might think that it looks good, but again, it drives the viewers away from the story. It looks awkward and to know the correct amount of iteration, this definitely needs some trial and error. So I encourage you to shoot and edit and shoot and net ID and shoot and edit until you gain experience, because experience in videography is the most important thing. Now we're gonna move to the final part of this step two, which is just an additional part on how to improve your editing with just two simple clicks. And those two simple clicks is to add the letterbox effect to your arrow. Now the letterbox, also called as cinematic bars, are those two black lines that are located on the top and the bottom of your clips, which just make your footage look more appealing. This has to do with the anatomy of the eye, the fact that we perceive the world in a landscape and not an horizontal aspect. And this just makes videos look more cinematic, more professional, more appealing. Then as we said, more appealing videos are directly related to bigger engagement of the audience. This is what we're looking for in videography. So please add cinematic bars. It is very easy to love them. Just Google, letterbox, PNG. You will download a transparent image and then go ahead and drag and drop it to your editing software. Add cinematic bars. This will improve your footage. Now we're going to end this lesson right here with some things that I have accumulated again through the years in the trial and error that I have seen and observed through editing. And those are the four steps that I have to give you. The first one is not, try to perfect Errol. Don't over edit, revisit after you've done with B-roll. Building of the arrow and net exports a project the same day that you launch it. Solid. Start with the first two that I have to give you is that you shouldn't try to perfect an edit, especially if it is April. I want you to remember that at the early stages of your radiographic area, you need to go with experience. You need to put quantity above quality. Don't try to perfect your Errol editing. Tried to produce many arrows and you will learn through trial and error. I'm going to say this during this course, and I've been saying during this course, trial and error is the best way to improve in any. So again, don't try to perfect unaided, don't overstretch about an edit, just produce much content. The second thing that I have to give you is not to over edit this again, access to tools doesn't mean that you have to use them. It doesn't mean that you have to use every single effect, but this building in your editing software doesn't mean that you have to change. Again, the sharpness, saturation, the highlights, the shadows. You don't need to apply all of those changes just because you can know that you might feel the urge to use every single tool that has been unlocked you through paying for an editing software. But trust me, keeping it simple is your best ally when it comes to edit, because again, you don't distract the viewers from the story uses the key of your video. The third thing that I had to give you is to actually revisit and re-edit arrow after you've done with bureau, having Bureau above your Errol will directly change the flow of your URL and the flow of your story. So it might be agreed date to actually revisit a role after you're done with the first edit of your barrel and want to discuss about how to build and more in the next lesson. But for now, I just want to keep, I just want you to keep this in mind. Finally, there have to give you is that you shouldn't export a project the same day that we launched it. No matter if you've done the most basic editing work in this project, just slip on projects. So take your time, take a walk outside, think, reflect on the way that you edited this project and just don't stress export. It is very easy for you to say after an exhausting day of editing, okay, I want to just export this clip, upload this be done with this, but this is not the correct approach. This is not the mature protein mature approach would be to sleep on a project. And as you will gain experience in the field, you will know that when you relax, take a step back from your computers, can go outside, take a walk. This will help you reflect again on the mistakes you made. This will help you locate many mistakes that you've done, and this will drastically improve the quality of your edits. So please slip on your projects. Don't start export and don't export the same day that you launched. Now, I want to end this lesson with this right here, which in my opinion is the perfect edit. Of course, we can see just a symbol salt of this edit during the lesson, but let's go ahead and analyze this. First of all, I want you to reflect the fact that it has the perfect sharpness, color, lighting, and saturation. Let's not discuss about the lightened because we have again, a separate course on lighting. But you can see that the sharpness in Britain's Obama phosphates, the color is on the direct temperature. The saturation is just on point. It's not unsaturated but not over saturating in the fact, in addition to the lighting produce this urban. I also want to point out some composition rules that also applied this image. This way it's so satisfying to the ions or billing to the viewer. The directory in this case has applied the rule of thirds because as you can see, Obama left eye is located in the left leading lines of the third, obviously in this composition. And in addition to that, we also have the role of leading lines because this image right here, which have the arrow in front of it, this arrow right here points directly to the eye of Obama's, which is going to be the center of attention in this frame. So this is one of the most perfect interview frames that I've seen and I wanted to discuss it with you. Now let's move to the recap. Again, this was a huge lesson and I, I think that I stress enough the importance of learning how to edit. About editing a role. Why you need to learn how to edit what is April. And then we discussed about the ones that outcomes of this course. So let me read them. The outcomes I want you to remember after the end of this lesson is that I want you to know how to import files and we discussed how to name, categorize, and input files, your editing software, then how to sync audio and video. How to roughly cut and apply some basic guts to your a roll. And finally, we discussed about the application of letterbox, how those cinematic bars make your video look better. We discussed about color grading and some tips to avoid, obviously, and some things to do. And finally, some tips that I've learned through my experience based on trial and error. Again, in this editing world. 14. Editing - B Roll: So ladies and gentlemen, welcome to the 11th lesson of this course and the second installment in which we analyzing the editing post-production process of smartphone radiography. I am very excited to introduce you to editing B-roll in this 11th lesson of this course. This right here is gonna be our lecture outline. We're going to start with an introduction. I'm going to introduce you to the concept of B-roll and our aspirations when we're editing B-roll, what are our goals? We want to deliver? What emotions and don't we're trying to deliver to the audience. Then we're gonna move to the visual aspects of editing middle. This is very important and very creative in this field. B-roll, especially in post-production, is where you can unleash your creativity and flex your creative muscles that we're moving into the auditory aspects of earning virile. This is also very important. And after that, after the recap, obviously we're going to have another lesson on how to edit sound effects and the importance of sound effects in post production. So enough that introduction, let's move to analyse what B-roll is in how we add B-roll. Obviously before we start analyzing how to edit be on how to construct the perfect timeline and how to make it look beautiful. We're going to start with the basics. So let's analyze what is really bureau. Bureau is supplemental footage. This is why it's not called a roll and it's called B-roll that supplements the main action, which of course is a role as well as we discussed, could be the talking points on an interview. So pretty much adds visual variety and guides the story in a separate, unique way. The whole point of an engaging B-roll is again, to keep the audience looking at the screen without getting bored. This is why again, Bureau wants to remember supplements a role. Now, anything B-roll is way better than editing a role. It is also way harder. Well, adding B-roll, you can get creative. It is very enjoyable. But remember that it is also time and energy consuming because again, whenever you need to be creative and you need to stress those creative muscles, this is going to be time and energy consuming. But knowing how to successfully edit and create Bureau is a very useful skill if you're interested in how to shoot and edit bureau. I have a separate course on that. So you can again dig deeper into B-roll by watching this course. But for now, we're just going to cover the basics in this lesson right here. The goal of a great barrel. These are the key things that I want you to keep in mind while we're going through those slides in this lesson. First of all, you need to nail a correct color balance. This is the first goal to achieve a great bill. You need the color to be on point. In addition to that great beetle also delivers this cinematic look. On top of that, you don't want your video to be distracting. We don't want our viewers to get distracted from the main story, want our B-roll to complement the story, not distract from the story. And finally, obviously, great mural is creative. You can get very creative in this particular field of videography. Now to help you understand better B-roll, I have subdivided this lesson into two categories. How to edit the visual aspects of mural and how to edit the auditory aspects of the bill and more specifically, music in each one of those categories among going to analyze different aspects. So we're going to fill this in different subcategories, e.g. in the visual aspects, we're going to talk about the fact transitions, the pacing of your B-roll in slow motion. And then when it comes to the auditory aspects, when we talk about music, how to find music, where to source music. And then we're going to have a separate lesson on sound effects. Because I believe that sound effects are very important and unique. You need to understand them further in a different lesson. So this is gonna be again, the outline of today's lesson. So now for the introduction, let's move to the first subcategory of editing middle, which is gonna be the visual aspects. As we said before, visual aspects are effects, transitions, letterbox, slow motion, and again, the pacing of your B-roll edits. So we're going to start by analyzing what the correct pacing of a beetle is. Now, when I'm talking to, when I'm referring to pacing and referring to the correct dreaming of clips. So the first thing before we apply transition, before we apply effects, slow motion or letterbox, we need to dream our clips and import them. So first, we import the clips to our timeline and then we just trim them to their best parts. There is no talking on beetle usually, so we don't have to take care about audio. We just dream to have the best parts of each video. And for each clip, remember that we keep one to 5 s. 5 s is probably going to be the maximum that you will keep from each clip this wine, the shooting lessons of this course we discussed. Keep your clips short, obviously because in the post-production we're not going to use more than 5 s from each clip. So these are the things that I want you to remember when it comes to pacing, you need to base your clips by trimming them and keeping one to 5 s of each clip, this is going to be the optimal result. Now after we trim the eclipse, it is time to paste them. And when I refer to pacing, I mean that you need to put the clips in the correct order to facilitate the story so you don't make the viewers awkward. We need again, our story is the king in this videography game, we need everything to help our story. So in order to paste the clips Correctly to match the story, we need to match together clips with same duration, same movements, same angles. Again, clips that refer to the same storyline. So to make the videos more satisfying, again, try to match clips with the same duration, same movements and kids that are salt from same camera angles. After we're done with the first layer of neural editing, which is of course to import and base Eclipse, we have the option to add effects. And I wanted to make a huge explanation point here. Just because we have the option to add effects, doesn't necessarily mean that we need to add effects. And you can pretty much add as many facts as you want to. Eclipse can change the speed. We can distort the glyphs with the facts. We can add deflections, we can add filters, we can add animations. Me personally, I never use any of those effects. The most useful effect that I have found an IOUs are perhaps some color grading or some color correction effects. In general. As a rule of thumb, remember, don't overuse effects and don't use in fact, that much effect. Now, if you want to invest your time and actually digging effects and learn how to use them in order to find them. I can help you. There are two ways to actually Source effects. The first one is to create your own effects. So by choosing clip and just manipulating the sound, distorting it by yourself or changing the color by yourself. The other way is just download and effect from again, an online source. And there are many online stores that they sell effects for free or paid. This is one of the best online stores to buy effects, transitions and other plug-ins. This right here is the online store of a great greater gold Ryan angle. I'm going to have the link for the store in the description. And if you're using Final Cut Pro, which is my editing software of preference, you can go into this website and actually purchase some effects. Remember that they also have some great free options in there. So even if you don't want to spend a single buck, you can still enter this website, put your email, and then you just claim your free effects. One thing that I want to point out again that we mentioned earlier, remember that affects our Lean number one way to ruin the story. And when I say ruined the story, I pretty much refer to distracting the viewers. If the viewers get distracted in any aspect of your editing, e.g. they get distracted by color transitions or your effects, or too much slow motion. This is a great way to just ruin the story. And a very common characteristic of beginners is the fact that beginners tend to overuse effect. They've got very excited, but all the different variable variability that they have in effect and they just add effects everywhere in this completely ruins the visual aspect of their barrel. So please be careful with effect. Simple. Again, the best way to go with the facts. Don't read the story and don't distract the viewer. This is very important for you to remember. Now it's time to move to transitions. Transitions are a very big chapter when adding B-roll, it is very important for you to understand the importance of transitions. And we talked about transitional, have a separate lesson in this course when it comes to built-in camera transitions. So transitions, we could shoot with our hands. As I mentioned in that lesson, it is way better and more optimal for you to keep everything during production and not leave it for both production. Post-production again, is a last result. That being said, transitions rarely applied during production. Most transitions are applied during post-production. Remember that it is very easy to apply a transition post-production. And if used correctly and utilized correctly, they don't distract the viewer, so they facilitate the story rather than destroyed. This is very important for transitions. These are some of the most common transitions that you can apply to your B-roll. I'm not gonna go very deep into those transitions because again, this is not gonna be a one-hour editing lesson. This is just the superficial things that I want you to just remember that these are the most common types of transitions to again apply to your bureau. We have the fade in transition. We find our transition, the iris, the iris out, the junk or transition. My personal favorite, the cross dissolve. An example of a cross dissolve transition is a transition that I add at the end of each lesson of this course, we can see that my video just fades out from this visual video right here to just a black screen. This e.g. a. Cross dissolve transition. And my favorite transition that I add in every single one of my B-roll videos. Another thing that I want you to remember is that those transitions that I mentioned right now are obviously available in every single editing software, no matter if it is Final Cut Pro or a free editing software downloaded from your phone. So these are widely available if you want to download transitions which are more specialized and more sophisticated, you can obviously do it from an online store just like I have recommended you. The Ryan angle online store is a perfect destination. Download. Any plugins, that means effects, titles, transitions, add unloaded many of my transitions from that store. Now, obviously plug-in transitions tend to be very sophisticated and look cool so you don't want overuse them, but it is very cool to have one of those transitions and they're completely free. So again, if you're a Final Cut Pro user, I suggest you to go in this website and download some free transitions to use. Please, please, please watch out in traditions, just as we said, to watch out in effects. Don't use a transition. Every single clip and don't use most building transitions that are found in your editing software. Most building transitions that are not plugins, so we didn't download from the web are usually trash. They're not meant to be used or they were meant to be used in very previous years, just like effect. Please don't use most of the effects, please don't use most of the transitions. If you feel like a part of your story needs to have a cool transitions, go ahead and add it. But if this is not the case, please just use them carefully and use them without ruining, again, the storyline which we're trying to keep intact of the years. Now that we're done with transitions, it is time to move to the next category of a visual aspect, which is slow motion. Now we had again a separate lesson in slow motion and frame rates know that slow motion can only be added in post-production. We obviously can't slow food, it's down as we sued, we can just adjust our frame rate. So obviously, as we said here, slow motion depends on the frame rate that you've sold this video. That slow motion can really help the story and is very, very important in Beatles, most beetle salts are actually slowed down. So I totally recommend you to use slow motion in your B-roll edits. It just makes everything look more cool, more cinematic. It sets the tone and the correct vibe for a barrel in general, slow motion is seen at the core of B-roll edits. Obviously, it creates more engaging videos, as we discussed in the stabilization lesson of this course, it diminishes mine or shakes. So the more you slow down and clip, the more shaky It won't be. Again, it increases the dramatic this video and provides us more smooth footage. All in all, it is absolutely recommended for you to slow down your B-roll clips. Some things that I want you to remember because again, it can get really confusing with all the frame rates of different frame rates and how much it can slow down the video. Remember that the higher frame rate you use to shoot a video. So again, frame rates could be 24 frames per seconds, 60 frames per second, 120 frames per second, or 240 frames per second. And of course, more than that. So the bigger your frame rate, the more you can slow down your video. I also want you to remember that you don't need to slow down your video too much. This could also get distracting. We can deliver different results with very slow down video, more dramatic salts. But again, this could get distracting and we don't want our viewers to get distracted from the story. And in my opinion, slowing down a video by 50%. So two times, slowed down is the fine line between a video being distracting or having the correct and valuable stuff that's slow motion. You gave us e.g. dramatic, nice and diminishing all the minor shakes. So this was pretty much slow motion. Now I would like to discuss about the perfect B-roll. So let's say that this right here was a video. Of course this is a still from a video. But let's say that this right here is a video. And let's say that this is the perfect B-roll. The perfect middle obviously depends on the story that the mural refers to. But in general, it shouldn't be slowed down. It should have the letterbox, which are those two cinematic lines again, that make the video more dramatic. And the perfect videos, you have just some transitions and some effects without disrupting the viewers from the story. This to that pacing is key when it comes to build, you can add as much slow motion, as much letterbox transitions and effect as you want. But if your videos are not correctly paste, the movements aren't matched and don't facilitate the story, then we're gonna have a problem. So this is the perfect Bureau. We need it to be slowed down to how letterbox transitions, some transition in some effects, and great pacing in a distal attachment. To give you some tips that I have accumulated through the years of editing bureau. The first one is that experience is key when it comes to beetle. Then the next tip that I have to give you is that you need to try to perfect shooting. So the production process, rather than post-production process, which is a last resort. Finally, do not overdo it. We discussed a lot about not overdoing it. So these where the visual aspects of editing B-roll. Now it's time to move to the auditory aspects. So let's go. Now. Audio is a very neglected area of error of editing. Pretty much know beginner tends to mess with audio. The thing that audio is not important, but I can tell you from personal experience that audio is what will completely elevate your production value and audio. Importance of audio and the amount of detail that the filmmaker has applied to the audio is what separates beginner from intermediate and experienced editors. So audio is of key importance in bureau and in general, it is subdivided into music and sound effects that you can add to your videos. Sound effects are a very big category of Oreo. This why I've dedicated the next lesson of this course in which we're gonna talk about sound effects. So for this subcategory of editing mural, we're just going to talk about music. So let's go. First one comes to music. I want you to remember that the correct order sets the correct tempo for a video. Now that being said, the correct audio track is very hard to find. And I want you to remember that when you're editing music. The music should complement your video. Your videos in complement music and music should complement, compliment your visual aspects of the video. Now, how to choose the correct song for an edit? This is a very big question and a very big discussion. And the first way to tackle this question is to ask yourself, do you need your song to be copyright-free? If you need your song to be copyright-free, you of course, have to go with a no royalty library and you're probably going to have to spend some money to find the perfect song that is copyright free. If you don't care about your video being copyright infringing somebody want to use any song from YouTube, and it's fine. In general, if you don't know what copyright is. If you're using a video for a commercial or if you're, if you're gonna get paid for your edit, you pretty much want a royalty song played behind in your video. If you're going to keep the viral editor that you're using for yourself so you don't care about royalty and money and stuff. It's fine to use any song, obviously that you'd like to scan them, load them you do, and go from there. So when sourcing, so when downloading music to use to your edits, there are two ways to go, the free and the paid option. You can also find copyright free music on YouTube, and we can download this from YouTube to MP3 converter. You just paste the link of the video that you want to download their convert download, and you can just download a clip from YouTube. So this is a freeway to download any music you want the music track from YouTube. Again, you type in your search browser, YouTube to MP3 converter. You paste the link of the YouTube video that you want to download, then click convert to MP3, and then you have the audio sample of this video. Then drag and drop this audio sample to your editing software. And just like that, you just have a free music. Music to use. Then comes the paid way to source music and the most common sound library online, which you pay a monthly subscription to have access to millions, millions of songs that are copyright-free is epidemic sound. I'm not affiliated with Epidemic Sound in no way. I'm just mentioning it because this is very helpful and it's just the best way to source copyright-free music. So if you tend to create commercials and to monetize this hobby of filmmaking and editing, epidemic sound would be the perfect, I think chose choice for you. Now, when sourcing soundtracks, we've talked about where to find. Now it's time to talk about how to use them. When you source soundtracks to use for your edit, I need you to pay attention to the tone and the pacing. These are two completely different parameters of your soundtracks you're going to use. And they're very, very important for you to know what the tone and the pacing producers. So the tongue could be e.g. Lafite, be an uplifting tone, or it could be an electronic dome. It is pretty much the genre of the song, of the soundtrack that you're using. When comes to the pacing, is how fast the song or how slow the song goals. So it could be e.g. a fast pace, a slower pace or a valley just chill song. So we can have e.g. an uplifting tone which is slower pace, or a low Phyton with a fast-paced base or an electronic tone with a chill pace tone and pacing don't have to correlate. But the fact is that tone and pacing should totally match with the visual aspects of your video. This is the name of the game, matching the tone and the pacing of your music with the visual aspects of your video. And this is one of the hardest things to do in filmmaking. Many videographers in my level and above have a very hard time matching the tone and the pacing of the clip with the visual aspects of the video. But there is one way to get your way around this. The best, fastest, and easiest way to match the tone of a music, of music with the visual aspects of your video is to first brainstorm the music track. So no the music before pretty much you start shooting the video. So you need to edit the video to the music track that you chose. And I want you to think of it that way. Once you have your footage and you've sought a video, you don't know what music they use, then you need to find out the tone which turn the liver with your video and then try to find in millions and millions of songs and not attract that will match this dome. This is pretty much very hard to do. On the other hand, you have created e.g. a. Playlist in your Spotify. Just the Spotify playlist and you know the song you want to use for an edit, then you can compromise and change the way that you shoot during the production process to automatically match the tone of the song. So you can pretty much play your, play the song on your head and then choose to shoot on a different way to match the song. This, in my opinion, is the fastest and easiest way to match the tone again of the music to the tone and the value you want to deliver with your visual aspects of editing. And this is a huge dip. I want you to put in your head. Editing the video to the music track is very important. It drastically increases. The quality of your bureau is very satisfying towards obviously for the viewers because it is just satisfying to match the song with the video. And obviously this increases the engagement of the viewers. So please edit the video to your song. Now to close with this second zero degree of editing bureau, the audio, those are four tips that have to give you. The first one is that there is no perfect song. That it is okay to cut a video to match the song, to find audio track again before you start shooting, and not to mix songs together. So let's go ahead and analyze each one of those four steps. The first step I have to give you is that there is no perfect song for your video. We discussed this earlier in this lesson, but once food is sought, it is very hard for you to find. The perfect song is called decision fatigue. And when you have all of those millions of different options of songs to decide to match with your video, you just end up being fatigued. Difficult decision again, fatigue and you don't know which one to use. So please first, step one is to find the song. And step two is to shoot a video based on the tone and the vibe that this song delivers. As we discussed previously, I need you also to edit the tone of the song to match again, the visual that you want delivered with your video. This is gonna give us the best result. I'm not going to further analyze this. We talked about this in this lesson. I think that you know it by now. And the final audio tip that I have for you is not to mix songs. Please remember that you are a beginner videographer. You're not a DJ while trying to mix songs. The fact that we have those editing programs makes it very easy and interesting for us to start also mixing music rather than only mixing videos. The truth is that you're not really Jay, you're a beginner videographer. And trying to meet mix songs will pretty much, at the start, at least will produce awkward results. The viewers can tell when songs are mixed and that it's not original mix. And on top of that, there are many already shot and edited remixes of songs on YouTube. So I don't understand why you just can't download a remix from YouTube and you need to mix it by yourself. So this was the final thing that I had to give you is to not mix songs by yourself on your editing software. Now, this is pretty much less than 11. Let's go ahead and recap everything we've learned. This was a big lesson. So when it comes to recap, we talked about the importance of B-roll. We talk that, we talked about the fact that B-roll is supplementary to aryl. We talked about what we want to be able to deliver what they do against supplement the store. We don't want it to be distracting. We talked about slow motion, and then we again subdivided into two categories, the visual aspects and the auditory aspects. Visual aspects were further subdivided in slow motion, letterbox effects and transitions. We analyzed each one of those subcategories and some key tips that I want you to remember. And then we further subdivided the other aspects into music and sound effects. Obviously, when it comes to music, we talked about where to source it or define it, how to pace music, and how much music with the visual aspects of your video. Now, it is time to move to, it is time to talk about sound effects. So in the next lesson, which is gonna be the final lesson of the editing segment of this course. We're gonna be discussing about sound effects. So I'm very happy to have you here. Let's move to the next lesson. 15. Editing - Sound Design: So hello everyone and welcome to the 13th lesson of this course. I'm very proud of you for keeping track with me in this course and all of the information that you're called to digest throughout all of those lessons. This is going to be the final lesson when it comes to the editing aspect of the scores in which we're gonna be discussing about sound design. Sound design is something that beginner videographers wouldn't care at all. But this is again, what separates beginner, intermediate and advanced videographers. Putting the time and the effort to design great sound for your videos will really make the difference in this field. So this right here is our lecture outline. We're going to start with introduction. We're going to introduce you to some basic key concepts when it comes to sound design. Why it is important to again designer sound. Why we need to pay attention to this particular aspect of video editing. Then we're going to move again and sub-categorize sound design into two different categories, ambient sound or ambient noise and sound effects. So we're going to discuss what EMI noise is. Where do you use it from where to source it, all of this fancy stuff. And then again, sound effects, which is really the key methods that I want to deliver with this lesson. Obviously, we're going to close this lesson with a recap because there's gonna be a lot of information. So I'm very excited. Let's start with the introduction of this final lesson of this course. So why do we use sound effects and what are the key motives for a filmmaker to use sound effects in his videos? So pretty much sound effects help very much with the audience engagement. And as we discussed in videography, it is very important for us to keep the audience, the audience engaged. Also, in addition to that, sound effects, really increased the production value of our suit with a very low amount of efforts. So this, the return on investment when we're investing time to put sound effects on our videos is just huge. In addition to that, sound effects also engage emotionally of viewers. And we really want our users to have emotions while watching films. And it drives the mood for an edit. And we can drive mood in whichever direction we want. We can make it more engaging, more happy, more sad. And this again, can be achieved through sound effects. And this is what we're going to be analyzing in this lesson. But let's start with taking a step back. What really is a sound effect? And sound effects could be pretty much anything. A balloon popping, some CD sounds, a door opening, a doorbell, a dog barking, e.g. pretty much anything that produces sound and also can be combined with the visual element of a video is a sound effect. Now where do we find sound effects? You're going to produce a sound effect or sources sound effect. And we are going to be discussing again on how to produce one and how to source one. So this is when it comes to sound effects. Now, I want you to note the note that sound design is again further subdivided into sound effects, which we've talked about briefly. What's on the facts are and white noise. And white noise in my opinion, something that most beginners don't know what it is. It is very important for you to understand what white noise is and how to utilize white noise. And we're gonna be discussing this again in this lesson. So pretty much this was the introduction. Let's move into ambient or white noise, which is gonna be our first subcategory of this lesson. So let's start by analyzing what, again, white noise or ambient noise is now a mid noise is a site-specific background sound that provides information on location and again, sets the tone of each scene. This might have sounded a bit difficult to comprehend, but it is very easy. It is just the background sound that you find in different locations of different suits, e.g. you can imagine what the ambient noise of this suit right here would be. It would be a very busy street with pedestrians, shops, cars, Hong's, all of that stuff. This is the background sound or ambient noise or white noise, as we call it in filmmaking. Now, depending on the video, you can always add white noise, Oregon ambient noise. These are synonyms to play. In the back. There is different namenodes, e.g. on interviews, different ambient noise on CD edits, on nature edits, of course, you can add sounds of birds, sounds of waterfalls, sounds of three moved by the wind. Restaurants obviously have a different EMI noise and the mall obviously. So all of those different locations have different ambient noise, different ambient sound that you can add, which, as we'll discuss in the next slides of this lesson, we're going to use as a baseline to build up our sound effects. So it's very important for you to remember to add EMI noise in each and every single edit that you added. Now we use again ambient noise and I mean sound as a baseline, as we said before, and add sound effects on top of it. This is why again, you should never have no sound while a video plays. So this should be right here, the correct construction of your sound design. The baseline obviously should be the music track. If you're using music track. Again, if you use correctly, amino is sometimes you can never scrub music and just use EMI noise and sound effects. But the baseline should be music obviously. Then on top of that ambient noise of the location that you're shooting. And on top of the EMI noise as a plus, we use the sound effects, which we're going to discuss, how we construct, how it sorts and how we build them. So how do we find ME noise? These are two routes to find in-source anything when it comes to audio music, EMI noise, sound effects, you're going to record them or source them. Now, to record EMI noise, it is kind of a big deal. It is not that easy. You just need, pretty much need to record the aminosalicylates as you shoot in this place. Or you can just revisit a e.g. place in which you sought a film and re-record the ammonoids, e.g. you had a suit on a bridge in a cityscape and you didn't record EMI noise because again, there were people talking and disturbing the audio. Then you can go on another day right there and just record the EMI noise of displays. So this is a way again to record EMI noise, but it is not recommended. If you go with that drought and actually wants to record them in noise because it could be interesting for you to travel different locations and collect all of the different noises. You need to be very careful with sorting audio files. Just like in a video files, it is very easy for you to just drown in waves and waves of different audio files. So please remember the key formula of sorting files. This is the best way to sort your files. We start with the year, with a big folder of the year, then some folder location, subfolder day, sub-folder, camera, sub folder with file that describes what is seen or heard inside the file. So if you were shooting e.g. in streets of New York City, you would say 2022. The first folder then subfolder New York City day one, this microphone, if you saw the EMI noise and then what the EMI noise is about. This is the perfect way to sort your audio files. Obviously, if you don't want to record them and knows and you don't want to go through all this stress and hassle to do so, you can source EMI noise and this is way easier, more recommended, and usually have better results due to the fact that again, the Internet is a online place in which you can source pretty much anything you want. And this also applies to ambient noise. The easiest way to source, let me know this is to YouTube. Just write anything that you want. And then next, EMI noise, e.g. pizza place, semi noise or cityscape EMI noise or forest EMI noise. You will find those clips. Then we just placed the paste the link again to a YouTube them before or to an MP3 converter. We download them and we drag and drop them to our timeline. This is the best, easiest way and fastest way and the most recommended way to source ambient noise, again, to download them directly from YouTube. Another point I want to make here is that you won't get copyrighted for using MNOs and YouTube. Do with the fact that in your sequence, there are many different factors and aspects that play again when it comes to audio. So you probably going to have the music and then you're probably going to have an ambient noise and then some sound effects on top of that. So it's very hard for right now an algorithm and a software to actually locate when you're playing an EMI noise and gave you a copyright, strike. Now remember that you usually don't get co-branded for using EBIT noise. This way we can steal it from YouTube. Another way, of course, the source MNOs, if you want to go through the royalty way, you can obviously if you're using it for big commercial and stuff, you can go with Epidemic Sound, have a huge collection of m it noises and it's pretty much easier, also defined in a bit noise from their pro tip. You can also download free ambient sounds from Epidemic Sound and just use them in the video. They won't cooperate strike due to the fact again, that it's very hard for an algorithm to know when you're using ambient noise. So Epidemic Sound again is the biggest sound library. You pay for it, but it is totally worth it. This was everything I had to teach you. When it comes to ambient noise. There was an introduction basically naming noise and ambient sound, where to use it again, went to when to use it, how to find it, where to source it. Again, a broad introduction to what this concept is. Now let's move to the real deal, which is sound effects. Now, when to add a sound effect, this right here is a great question and the answer is, whenever you locate a visual aspect that has a distinct sound. As a rule of thumb, you shouldn't really add sound effects in things that you don't see in the video if that makes sense. If your video has something that can be seen and you note that produces a certain song, then of course, go ahead and load and add a sound effect. As we said, sound effects could be anything from a balloon popping to a car passing to a doorbell ringing to a dog barking through again, the engine of a car being turned on. So everything could be a sound effect as long as you can see it in your video, you are allowed to use it. When it comes to sourcing sound effects, that is pretty much the same with Amy noise. You can either download them directly through YouTube or you can pay to download them from a website. Again, sound effects can be copyrighted and they won't be sourced from an algorithm to have a copyright strike. So it's fine. Either one of those options you get, it is fine. You won't get copyrighted again. The same rules apply just like in ambient sound. Another way to actually source sound effects is to record your own sound effects. Now know that this is probably a bit farfetched for a smartphone videography course, but this is trust be very time-consuming to record your own sound effects. I've done it, but it is pretty much as good as it gets. As you can see, this guy has his own place. It is diffused from sound. So sound diffusers just like I have in the back, and then you can just create his own sound effects. This is very great if obviously and very cool. But trust me, it's going to take you a lot of time and probably the results you're going to get are not as good as the ones that you can download from the web. But it's cool to just try to have your phone somewhere and record yourself producing a sound effect just for fun. I think it's very cool. Now let's move to some tips when it comes to sound effects. On the first day that I had to give you is to, not to make them that loud. Then to add sound effects and transitions, we're going to discuss what they lose on the factors. And finally, not to overdo it with sound effects. These are three very important tips that I have to give you. The first one, which is to not make sound effects too loud. As we said, anything that distracts the audience and the viewers from the story should be just to be moved. It's gonna be very awkward for the viewer. Very amateur and beginner looking to add very loud sound effects. You don't want to distract the viewers from the story, just don't even want them to notice that you add a sound effect. They will subconsciously know that something is cool and something elevated the production value. But you don't want the viewers to say, hey, that was a good sound perfect. Just want them to unconsciously know that it was a cool sound effect, if you know what I'm saying now. Second tip that I have to give you is to add loose sound effect when you're using a transition. A great, a visual aspect that can be greatly combined with all three aspects, especially sound effects, are transitions. Just the fact that when transitions are applied, usually the clips waste and the school transition is graded. And whenever you use a transition, you also can download and apply a whoosh sound effect to your video. This will make transitions just come to life. It will just create another layer on this transition and it will make them more engaging and more cool. The only thing I want to note, if you want to know, is that you shouldn't again, make them too loud. It is very easy for beginners to just increase the volume of air sound effect on using transitions. Just do again, let the viewers know that they spend time and they created this sound effect for this transition. So please don't do that. Download whose sound effects from YouTube and add them whenever you add a cool spinning e.g. transition to your editor, this will elevate the production value greatly. Now the final thing that I have to give you is to not overdo it. And this is a general tip throughout all of the scores, in all of the things that you learned throughout all of those lessons. Please don't overdo it. Less is more. And really the viewers will tend, will tell when you overdo it. Please don't make sound effects too loud. Keep them low-key. Don't add too many sound effects. And the same applies with the visual aspects of editing. Don't add too many facts, don't add too many transitions. Keep them low. Of course, apply them. Use your skills, showcase your skills, showcase the parts you have while editing a video, but please just don't overdo it. Now let's move to the recap. Let's recap everything that we've learned in this lesson right here we discussed in the beginning about sound design, the importance of sound and how sound separates beginner for intermediate and more advanced videographers. How sound design with a very low budget than some very simple drag-and-drop motions can elevate your production value in a whole nother level. And then we further subdivided sound design into, again, ambient sound and sound effects. We discussed what ambient sound is, where the source it, where to find it, when to use it, and how you can create your own image and sound. And the same we did with sound effects. We discussed where to add a sound effect, how to find the sound effect, the free and the paid options. Then we conclude this lesson with some tips when it comes again to sound effects and Amy and sound. So this pretty much concludes the third installment of the editing part of this course, which was pretty much how to design sound and a general introduction into sound design, which you need to have in the back of your head while editing video.