WEBVTT

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When starting out as a filmmaker

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or content creator, you're often on

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this journey by yourself.

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Especially in the beginning, it often

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happens that you don't have any

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friends that can help you film

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your videos.

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Maybe they're too busy, maybe they

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don't have the necessary skills, or

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maybe they straight up don't care.

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No matter for what reason you

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don't have any people to help

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you film, you should never let

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that hold you back from telling

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the stories you want to tell.

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Instead, you need to become the

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central character of your own story,

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and you need to learn how

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to film yourself.

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And this is exactly what you're

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going to learn in this lesson.

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I myself shot ninety-nine percent of

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my YouTube videos all by myself,

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including my most viewed video about

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doing a dopamine detox.

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Therefore, I can tell you from

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experience that you can tell incredible

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stories and create high-quality videos without

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the help of anybody else.

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I believe that after more than

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ten years of solo shooting, I

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gained a ton of valuable insights,

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and in this lesson, I want

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to share tips on how to

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ease the process while improving the

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visuals you capture.

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I will start by explaining the

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most crucial storytelling tip, which is

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to be both the storyteller and

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the character,

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Then I will continue with gear

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tips on what equipment to use

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when filming yourself, and in the

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end, I will provide you with

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shooting tips that help you capture

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interesting and aesthetic sequences of shots.

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There is no doubt that filming

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yourself can be challenging in the

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beginning, but once you understand the

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different tricks, it actually becomes one

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of the most powerful ways to

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tell a story.

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So let's get started with the

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most important aspect, which is that

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you're the storyteller and the character.

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As you learned in lesson two

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point three, there are three general

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strategies to come up with a

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story.

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Strategy one is to tell your

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life as a story, strategy two

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is to look for the heroes,

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and strategy three is to explore

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a global topic.

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If you tell a story about

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your own life, it is obvious

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that you're both the storyteller and

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the character.

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But as you learned in lesson

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two point five, you can also

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make stories about other people or

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global topics personal by including yourself

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as the storyteller and character.

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Put simply, as soon as you

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are a character of your story,

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you have to film yourself, and

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you have to be both the

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storyteller and the character.

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You are the person scripting the

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story, you are the person capturing

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the shots and you are the

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person executing the actions.

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As you see, filming yourself means

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that you have to wear multiple

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hats at the same time and

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while this can definitely be a

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bit overwhelming in the beginning, it

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is actually your biggest advantage over

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large production teams with multiple people.

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You are the only person required

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to tell your story and you

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are the only person that needs

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to have the vision for it.

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You don't need to explain to

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other people what message you want

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to share, you don't need to

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explain what the visual language of

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your shot should look like, and

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you don't need to direct an

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actor to transport the right emotions.

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All important aspects of the story

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are in your head and you're

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the only person who needs to

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know.

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Honestly, this is a huge benefit

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for two different reasons.

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First, you're a lot faster, because

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you save hours of time trying

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to help other people understand your

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vision, and second, you have full

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control over the outcome, which will

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be much closer to your own

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expectations.

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When I started with filmmaking, I

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struggled a lot to convey my

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ideas to other people, but by

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being the storyteller and the character,

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I could express my stories in

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the most intense and authentic way.

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However, this doesn't mean that you

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should never work on projects with

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other filmmakers.

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The better you become at filmmaking,

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the better you can express your

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ideas to other people.

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So especially for larger projects that

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you can't pull off by yourself,

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it still makes sense to collaborate

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with other creatives.

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Now, what does it mean to

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be the storyteller and the character?

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Let's look at one role after

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the other, starting with your role

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as the storyteller.

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Your three responsibilities as the storyteller

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are first, to have a clear

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vision of the story, second, to

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assess the development of the story,

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and third, to capture the right

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shots that visualize your story.

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So let's begin with the first

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point, which is to have a

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clear vision of the story.

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If you put a lot of

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thought into your script and you

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properly planned your shoot, then you

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should have a clear vision of

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what the story is going to

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look like.

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You should know the overarching question

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or theme of the story, you

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should have an idea of the

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physical journey that you're going to

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experience, and you should already have

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an understanding of the emotional journey

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you want to convey.

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Now, with that vision in mind,

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you head out on your shoot,

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and that's where you need to

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assess the story development.

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While a clear vision and a

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plan are always good, you might

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need to reassess the development of

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your story during the shoot, depending

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on what type of video you

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create.

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If you capture staged scenes where

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everything is defined beforehand, your story

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is already completely stiff and you

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can simply execute your plan without

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reassessing the development of your story.

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However, if you capture documentary scenes

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that include unpredictable events, then your

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story isn't completely stiff and you

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need to predict what events you

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need to capture next.

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Maybe certain events don't happen as

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expected, maybe other events can't be

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captured for specific reasons, or maybe

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there are suddenly much more interesting

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events that fit better to your

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story.

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Whenever you're documenting your own

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experience,

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you need to zoom out and

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reassess the bigger picture of how

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your story develops.

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This is what I call intuitive

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storytelling.

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Intuitive storytelling is about shaping your

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story while it is happening.

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During the shoot, you need to

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look at the events in the

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past and the future through a

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storytelling lens in order to figure

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out how your story is developing

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and which events you can capture

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next in order to steer it

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in the right direction.

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I'm going to give you a

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better understanding of how this works

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in just a minute.

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After reassessing what events you need

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to film, you also need to

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capture the right shots that help

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you communicate what happens.

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As you're creating videos and not

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books, you need to visualize the

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different events of your story.

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This means that you need to

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capture shots that serve as visual

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evidence for the aspects you talk

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about in your statements or voiceovers,

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and you need to capture shots

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that transport the right emotions to

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the viewer.

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To give you a more applied

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understanding of those three responsibilities,

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let

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me show you what each of

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those looked like when creating my

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video on how I survived seven

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days of discomfort.

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In this video, I documented my

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experience of riding a dog sled

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through Swedish Lapland together with my

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father and my brother.

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Before the trip, I already tried

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to develop a clear vision of

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what physical events are going to

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happen and which emotional topics I

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want to cover.

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After receiving the itinerary for the

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trip, I could gather a good

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understanding of the physical journey.

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I knew that we were going

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to arrive at the mountain station,

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I knew that we were going

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to meet our guide, I knew

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that we would prepare the dogs

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for our sleds, I knew that

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especially the first riding experience would

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be very interesting to capture,

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I knew that we were going

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to sleep in cabins without any

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running water, and I knew that

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by the end of the trip,

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I would spend a minute in

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a frozen lake as I set

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that goal for myself.

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Based on these events, I could

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already see that the overall theme

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of my story was about seeking

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discomfort, and I could attach emotional

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topics to some of those physical

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events.

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For my time in the cabins

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without running water, I could talk

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about how we take our comfort

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for granted, and for the moment

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when I jump into the ice

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lake, I could talk about the

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growth that comes from seeking discomfort.

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This was the overall vision I

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had for my story before flying

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to Sweden.

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However, I also knew that there

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were some unpredictable events and emotions

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that would occur throughout the trip,

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and for this reason, I had

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to reassess the development of my

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story along the way.

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On the evening before the trip,

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we met our guide for the

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first time, and he pointed out

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that the weather for the next

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days is predicted to be very

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windy, which could potentially get us

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stuck in a snowstorm.

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This was new information that I

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didn't know before, and I immediately

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assessed the impact on my story.

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As the main theme of my

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story was to seek discomfort, I

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right away understood that a snowstorm

00:07:27.921 --> 00:07:29.542 align:center
would be the perfect physical event

00:07:29.582 --> 00:07:30.263 align:center
to capture.

00:07:30.583 --> 00:07:31.524 align:center
I knew that I wanted to

00:07:31.564 --> 00:07:33.245 align:center
build up tension towards a potential

00:07:33.305 --> 00:07:35.127 align:center
snowstorm, and that's why I immediately

00:07:35.167 --> 00:07:36.648 align:center
captured some b-roll shots of the

00:07:36.688 --> 00:07:38.069 align:center
guide talking to us about the

00:07:38.109 --> 00:07:39.050 align:center
weather situation.

00:07:39.350 --> 00:07:40.771 align:center
As the guide also created videos

00:07:40.812 --> 00:07:42.373 align:center
himself, he showed us some footage

00:07:42.453 --> 00:07:43.574 align:center
of one of the snowstorms he

00:07:43.614 --> 00:07:44.335 align:center
was trapped in.

00:07:44.535 --> 00:07:45.916 align:center
So I also right away asked

00:07:45.957 --> 00:07:46.897 align:center
him if I could get these

00:07:46.957 --> 00:07:47.918 align:center
clips by the end of our

00:07:47.978 --> 00:07:48.259 align:center
trip.

00:07:48.659 --> 00:07:49.700 align:center
I didn't want to start my

00:07:49.740 --> 00:07:51.502 align:center
video by immediately talking about the

00:07:51.542 --> 00:07:53.264 align:center
potential for a snowstorm, but I

00:07:53.304 --> 00:07:54.565 align:center
first wanted to help the viewer

00:07:54.625 --> 00:07:56.587 align:center
immerse themselves into the experience.

00:07:57.007 --> 00:07:58.648 align:center
Therefore, on the next morning, I

00:07:58.689 --> 00:08:00.290 align:center
filmed shots of the mountain station

00:08:00.370 --> 00:08:01.651 align:center
and us putting on our winter

00:08:01.691 --> 00:08:03.713 align:center
clothes, I introduced our guide to

00:08:03.753 --> 00:08:05.274 align:center
the viewer, I showed how we

00:08:05.334 --> 00:08:06.875 align:center
prepared the dogs for our sleds,

00:08:07.055 --> 00:08:08.396 align:center
and then I documented my first

00:08:08.456 --> 00:08:10.218 align:center
experience of riding a dog sled.

00:08:10.538 --> 00:08:12.059 align:center
As the wind started to increase,

00:08:12.279 --> 00:08:13.861 align:center
the storyteller and me realized that

00:08:13.901 --> 00:08:15.262 align:center
this was the perfect time to

00:08:15.302 --> 00:08:16.483 align:center
let the viewer know about the

00:08:16.523 --> 00:08:17.984 align:center
potential for a snowstorm.

00:08:18.264 --> 00:08:19.245 align:center
I knew that I had shots

00:08:19.285 --> 00:08:20.485 align:center
of the guy talking to us,

00:08:20.626 --> 00:08:21.426 align:center
and I knew that I would

00:08:21.446 --> 00:08:23.087 align:center
get his snowstorm footage after the

00:08:23.147 --> 00:08:23.387 align:center
trip.

00:08:23.768 --> 00:08:25.128 align:center
On top of that, I realized

00:08:25.148 --> 00:08:26.449 align:center
that I actually struggle quite a

00:08:26.489 --> 00:08:28.351 align:center
bit with uncertainty myself, which I

00:08:28.411 --> 00:08:29.631 align:center
felt like would be an interesting

00:08:29.671 --> 00:08:31.052 align:center
emotional topic to share.

00:08:31.392 --> 00:08:33.254 align:center
So after assessing the new information

00:08:33.314 --> 00:08:34.695 align:center
I gathered, I knew that I

00:08:34.835 --> 00:08:35.915 align:center
now need to talk about my

00:08:35.975 --> 00:08:38.557 align:center
emotional topic of uncertainty, and already

00:08:38.617 --> 00:08:40.238 align:center
steer the story towards the physical

00:08:40.298 --> 00:08:41.579 align:center
event of the snowstorm.

00:08:41.779 --> 00:08:42.720 align:center
So here is what the next

00:08:42.760 --> 00:08:44.061 align:center
two minutes of that video look

00:08:44.081 --> 00:08:44.281 align:center
like.

00:08:44.781 --> 00:08:46.242 align:center
Being exposed to the rawness of

00:08:46.322 --> 00:08:47.924 align:center
our nature only leaves us with

00:08:48.124 --> 00:08:48.644 align:center
one thing.

00:08:49.164 --> 00:08:49.965 align:center
Uncertainty.

00:08:50.606 --> 00:08:51.927 align:center
Is the weather going to change?

00:08:52.347 --> 00:08:53.408 align:center
Where do we get our water

00:08:53.468 --> 00:08:53.748 align:center
from?

00:08:54.128 --> 00:08:55.189 align:center
Are we on the right track

00:08:55.249 --> 00:08:56.470 align:center
to reach our next cabin?

00:08:56.790 --> 00:08:58.231 align:center
We're used to control everything that

00:08:58.292 --> 00:09:00.333 align:center
happens, but here the power of

00:09:00.433 --> 00:09:02.335 align:center
nature has control over us.

00:09:03.618 --> 00:09:04.919 align:center
So last night, the three of

00:09:04.999 --> 00:09:06.560 align:center
us actually sat down with Matti

00:09:06.580 --> 00:09:07.521 align:center
in order to get to know

00:09:07.581 --> 00:09:09.342 align:center
him and also to talk through

00:09:09.362 --> 00:09:10.503 align:center
the trip, what it's going to

00:09:10.543 --> 00:09:11.044 align:center
look like.

00:09:11.344 --> 00:09:13.786 align:center
One thing that Matti emphasized specifically

00:09:13.826 --> 00:09:15.267 align:center
was that anything can change in

00:09:15.447 --> 00:09:16.688 align:center
a minute, like the weather can

00:09:16.728 --> 00:09:18.690 align:center
change, it can suddenly be very

00:09:18.750 --> 00:09:19.690 align:center
snowy and we can get into

00:09:19.730 --> 00:09:20.351 align:center
a storm and then

00:09:20.811 --> 00:09:22.692 align:center
we don't have trails anymore and

00:09:22.732 --> 00:09:23.773 align:center
we won't be able to make

00:09:23.793 --> 00:09:24.513 align:center
it to the next cabin.

00:09:24.533 --> 00:09:25.814 align:center
I think that's one thing about

00:09:25.854 --> 00:09:27.194 align:center
this whole trip, that there's just

00:09:27.294 --> 00:09:28.875 align:center
so much uncertainty.

00:09:29.035 --> 00:09:30.336 align:center
We just don't know what's going

00:09:30.356 --> 00:09:32.017 align:center
to happen, like, maybe something on

00:09:32.037 --> 00:09:33.397 align:center
the sled breaks or a dog

00:09:33.417 --> 00:09:34.878 align:center
gets hurt or we get into

00:09:35.138 --> 00:09:36.999 align:center
bad weather and we're, like, covered

00:09:37.039 --> 00:09:38.340 align:center
in snow and we're not able

00:09:38.400 --> 00:09:39.680 align:center
to make distance for a couple

00:09:39.720 --> 00:09:40.061 align:center
of days.

00:09:40.161 --> 00:09:41.641 align:center
Actually, Matti, he was stuck in

00:09:41.681 --> 00:09:43.242 align:center
a snowstorm and they weren't able

00:09:43.282 --> 00:09:44.323 align:center
to move for, like, two days,

00:09:44.383 --> 00:09:44.623 align:center
I think.

00:09:44.863 --> 00:09:45.524 align:center
And yeah, I think this is

00:09:45.584 --> 00:09:47.085 align:center
something which is probably going to

00:09:47.205 --> 00:09:48.386 align:center
teach me a lot as a

00:09:48.426 --> 00:09:49.767 align:center
person, because I'm usually a guy

00:09:49.887 --> 00:09:51.008 align:center
who always likes to make plans

00:09:51.048 --> 00:09:52.749 align:center
for everything, as I just like

00:09:52.789 --> 00:09:53.790 align:center
when things go to plan, I

00:09:53.830 --> 00:09:54.670 align:center
like to have control.

00:09:54.890 --> 00:09:55.891 align:center
If things don't go to my

00:09:55.931 --> 00:09:57.512 align:center
plan, then I'm usually a little

00:09:57.532 --> 00:09:58.933 align:center
bit thrown off track, and I

00:09:59.334 --> 00:10:00.314 align:center
don't really know how to handle

00:10:00.355 --> 00:10:01.936 align:center
it, so I think that's something

00:10:01.976 --> 00:10:02.996 align:center
I'm really going to learn on

00:10:03.036 --> 00:10:03.437 align:center
this trip.

00:10:03.897 --> 00:10:05.139 align:center
So we slowly tried making our

00:10:05.179 --> 00:10:06.301 align:center
way to the first cabin.

00:10:06.541 --> 00:10:08.043 align:center
With each kilometer, we got more

00:10:08.063 --> 00:10:09.225 align:center
and more used to our sleds

00:10:09.265 --> 00:10:10.106 align:center
and our dog team.

00:10:10.266 --> 00:10:11.548 align:center
But after having a quick lunch

00:10:11.588 --> 00:10:13.030 align:center
to gain back some energy, the

00:10:13.250 --> 00:10:14.652 align:center
unpredictable happened.

00:10:14.953 --> 00:10:16.375 align:center
Out of nowhere, a cold wind

00:10:16.415 --> 00:10:17.657 align:center
started to blow over the edge

00:10:17.697 --> 00:10:19.379 align:center
of the mountains, and the temperature

00:10:19.419 --> 00:10:20.601 align:center
started to drop rapidly.

00:10:20.801 --> 00:10:22.142 align:center
You can really feel the wind

00:10:22.182 --> 00:10:23.043 align:center
increasing right now.

00:10:23.303 --> 00:10:24.304 align:center
So you can already see how

00:10:24.344 --> 00:10:26.326 align:center
the trail is disappearing because the

00:10:26.366 --> 00:10:28.387 align:center
wind is just constantly increasing and

00:10:28.467 --> 00:10:29.608 align:center
so all of the snow from

00:10:29.628 --> 00:10:31.050 align:center
the side is just being blown

00:10:31.070 --> 00:10:31.750 align:center
onto the trail.

00:10:31.830 --> 00:10:32.991 align:center
So that makes it a lot

00:10:33.011 --> 00:10:34.573 align:center
harder for the huskies to walk

00:10:34.633 --> 00:10:35.673 align:center
on it because they don't have

00:10:35.713 --> 00:10:36.614 align:center
a stable ground.

00:10:36.754 --> 00:10:37.795 align:center
That is definitely going to slow

00:10:37.835 --> 00:10:38.556 align:center
us down right now.

00:10:38.796 --> 00:10:39.796 align:center
At this point, there was a

00:10:39.856 --> 00:10:41.137 align:center
high chance that we're not going

00:10:41.177 --> 00:10:42.037 align:center
to make it to the cabin

00:10:42.097 --> 00:10:43.137 align:center
and we'd have to return to

00:10:43.157 --> 00:10:44.157 align:center
the mountain station.

00:10:44.397 --> 00:10:45.558 align:center
Already on the first day of

00:10:45.638 --> 00:10:46.978 align:center
our trip, I was forced to

00:10:47.038 --> 00:10:48.718 align:center
completely leave my comfort zone.

00:10:49.019 --> 00:10:51.139 align:center
I was exhausted, cold, and filming

00:10:51.179 --> 00:10:52.519 align:center
this whole experience made it even

00:10:52.539 --> 00:10:53.040 align:center
more draining.

00:10:53.460 --> 00:10:54.840 align:center
As you see, this part of

00:10:54.860 --> 00:10:56.520 align:center
the story has depth, a clear

00:10:56.560 --> 00:10:58.361 align:center
direction, and also tension.

00:10:58.521 --> 00:11:00.121 align:center
But that's only possible because I

00:11:00.181 --> 00:11:02.062 align:center
reassessed the development of my story

00:11:02.142 --> 00:11:03.782 align:center
and focused on a bigger narrative,

00:11:03.982 --> 00:11:05.563 align:center
instead of simply jumping from one

00:11:05.643 --> 00:11:06.603 align:center
topic to another.

00:11:06.943 --> 00:11:08.085 align:center
As you saw in the playback,

00:11:08.225 --> 00:11:09.487 align:center
I also knew how to capture

00:11:09.527 --> 00:11:11.030 align:center
the right shots that would allow

00:11:11.070 --> 00:11:12.392 align:center
me to transport the event of

00:11:12.452 --> 00:11:13.073 align:center
my story.

00:11:13.373 --> 00:11:15.356 align:center
To visualize the topic of uncertainty

00:11:15.417 --> 00:11:17.079 align:center
and create a feeling of isolation,

00:11:17.280 --> 00:11:18.822 align:center
I captured very wide drone shots

00:11:18.902 --> 00:11:20.505 align:center
that show our tiny dogsleds in

00:11:20.525 --> 00:11:21.687 align:center
the massive landscapes.

00:11:22.007 --> 00:11:23.328 align:center
To prove that our guide warned

00:11:23.388 --> 00:11:24.749 align:center
us about the bad weather, I

00:11:24.809 --> 00:11:26.270 align:center
showed the shots of us talking

00:11:26.310 --> 00:11:27.450 align:center
to him which I captured the

00:11:27.510 --> 00:11:28.171 align:center
night before.

00:11:28.471 --> 00:11:29.912 align:center
To convey the discomfort of the

00:11:29.952 --> 00:11:31.833 align:center
snowstorm and transport the viewer right

00:11:31.873 --> 00:11:34.015 align:center
into the experience, I captured shots

00:11:34.075 --> 00:11:35.536 align:center
of the cold winds blowing along

00:11:35.576 --> 00:11:37.016 align:center
the mountains, and I filmed the

00:11:37.057 --> 00:11:38.698 align:center
most challenging parts with an action

00:11:38.718 --> 00:11:40.078 align:center
camera mounted on my sled.

00:11:40.299 --> 00:11:41.599 align:center
And to help the viewer understand

00:11:41.639 --> 00:11:42.620 align:center
what I talk about in my

00:11:42.660 --> 00:11:44.641 align:center
statement, I captured shots of the

00:11:44.681 --> 00:11:46.122 align:center
dogs struggling to make their way

00:11:46.182 --> 00:11:47.123 align:center
through the deep snow.

00:11:47.583 --> 00:11:49.344 align:center
Without these visuals, I wouldn't have

00:11:49.364 --> 00:11:50.584 align:center
been able to tell that part

00:11:50.624 --> 00:11:52.025 align:center
of the story, and that's why

00:11:52.045 --> 00:11:53.305 align:center
in the case of documenting your

00:11:53.385 --> 00:11:55.266 align:center
own experience, each of the three

00:11:55.346 --> 00:11:56.987 align:center
points is just as important as

00:11:57.027 --> 00:11:57.487 align:center
the other.

00:11:57.747 --> 00:11:59.187 align:center
While your role as the storyteller

00:11:59.247 --> 00:12:01.048 align:center
is quite complicated, your role as

00:12:01.088 --> 00:12:03.329 align:center
the character is much more straightforward.

00:12:03.709 --> 00:12:05.190 align:center
All in all, your job is

00:12:05.210 --> 00:12:07.811 align:center
to provide authentic statements, execute

00:12:07.851 --> 00:12:08.391 align:center
believable

00:12:08.531 --> 00:12:10.852 align:center
actions, and convey the right emotions.

00:12:11.432 --> 00:12:12.473 align:center
While you need to think about

00:12:12.553 --> 00:12:13.875 align:center
how to tell your story from

00:12:13.915 --> 00:12:15.577 align:center
behind the camera, you also need

00:12:15.617 --> 00:12:16.698 align:center
to think about how to show

00:12:16.738 --> 00:12:17.959 align:center
your story in front of the

00:12:18.000 --> 00:12:18.460 align:center
camera.

00:12:18.660 --> 00:12:19.782 align:center
You can have the most amazing

00:12:19.842 --> 00:12:21.103 align:center
story in your mind, but if

00:12:21.123 --> 00:12:22.344 align:center
you're not able to convey the

00:12:22.404 --> 00:12:24.667 align:center
right actions and emotions, then nobody

00:12:24.707 --> 00:12:26.089 align:center
will be able to understand it.

00:12:26.589 --> 00:12:28.491 align:center
When filming yourself, you're the subject

00:12:28.531 --> 00:12:29.672 align:center
of your shots and you're the

00:12:29.712 --> 00:12:30.953 align:center
character of your story.

00:12:31.193 --> 00:12:31.994 align:center
I know it might seem a

00:12:32.014 --> 00:12:33.415 align:center
bit weird to think of yourself

00:12:33.475 --> 00:12:34.836 align:center
as the character or the actor,

00:12:35.156 --> 00:12:36.277 align:center
but that's really what you are

00:12:36.337 --> 00:12:37.078 align:center
to the viewer.

00:12:37.478 --> 00:12:38.859 align:center
Becoming aware of your role as

00:12:38.899 --> 00:12:40.561 align:center
the character is the first step

00:12:40.601 --> 00:12:42.502 align:center
to capturing better shots of yourself.

00:12:42.802 --> 00:12:43.903 align:center
This doesn't mean that you need

00:12:43.923 --> 00:12:45.505 align:center
to suddenly go to acting classes

00:12:45.625 --> 00:12:46.385 align:center
or that you need to do

00:12:46.445 --> 00:12:47.847 align:center
Hollywood-like performances.

00:12:48.167 --> 00:12:49.388 align:center
Instead, it means that you need

00:12:49.428 --> 00:12:50.829 align:center
to put the right intentions into

00:12:50.869 --> 00:12:53.131 align:center
your statements, actions, and emotions.

00:12:53.491 --> 00:12:54.732 align:center
The aspects you need to focus

00:12:54.812 --> 00:12:56.053 align:center
on really depend on the type

00:12:56.093 --> 00:12:57.234 align:center
of video you create.

00:12:57.634 --> 00:12:58.355 align:center
So let me give you an

00:12:58.415 --> 00:12:59.716 align:center
example of how I acted as

00:12:59.776 --> 00:13:01.137 align:center
a character in both a stage

00:13:01.217 --> 00:13:02.918 align:center
scene and a documentary scene.

00:13:03.158 --> 00:13:04.539 align:center
For a stage scene, let's look

00:13:04.559 --> 00:13:05.700 align:center
at the beginning of my alarm

00:13:05.740 --> 00:13:06.361 align:center
clock video.

00:13:06.801 --> 00:13:07.922 align:center
In this scene, I played a

00:13:07.962 --> 00:13:09.703 align:center
hopeless character who is addicted to

00:13:09.763 --> 00:13:10.344 align:center
his phone.

00:13:10.644 --> 00:13:12.625 align:center
Right after waking up, I immediately

00:13:12.685 --> 00:13:14.367 align:center
stare on my screen, and once

00:13:14.407 --> 00:13:15.367 align:center
I make the effort to get

00:13:15.427 --> 00:13:16.888 align:center
out of bed, I'm being sucked

00:13:16.949 --> 00:13:18.250 align:center
back into the world of social

00:13:18.330 --> 00:13:18.670 align:center
media.

00:13:18.990 --> 00:13:20.171 align:center
In this part of the video,

00:13:20.371 --> 00:13:21.712 align:center
I wanted to convey the negative

00:13:21.812 --> 00:13:23.593 align:center
impact of phone addiction, and that's

00:13:23.633 --> 00:13:25.254 align:center
why throughout every shot, I make

00:13:25.274 --> 00:13:27.076 align:center
an effort to look demotivated and

00:13:27.196 --> 00:13:28.056 align:center
even depressed.

00:13:28.396 --> 00:13:29.337 align:center
And then once I make it

00:13:29.357 --> 00:13:30.578 align:center
through my boring day and I

00:13:30.618 --> 00:13:32.279 align:center
fall back into my bed, my

00:13:32.319 --> 00:13:34.020 align:center
hand seems to automatically grab the

00:13:34.080 --> 00:13:35.541 align:center
phone in order to once again

00:13:35.601 --> 00:13:36.702 align:center
get lost in the world of

00:13:36.842 --> 00:13:37.563 align:center
algorithms.

00:13:38.023 --> 00:13:39.624 align:center
Trust me, this scene wouldn't have

00:13:39.644 --> 00:13:41.165 align:center
been nearly as convincing if I

00:13:41.205 --> 00:13:42.806 align:center
didn't pay attention to my performance

00:13:42.866 --> 00:13:43.527 align:center
as an actor.

00:13:43.827 --> 00:13:45.027 align:center
I thought about what feeling I

00:13:45.067 --> 00:13:46.328 align:center
want to convey, and then I

00:13:46.348 --> 00:13:47.808 align:center
put the right intention into my

00:13:47.928 --> 00:13:49.729 align:center
actions and my facial expressions.

00:13:50.029 --> 00:13:51.189 align:center
For most of the staged scenes

00:13:51.229 --> 00:13:52.350 align:center
in my videos, I don't have

00:13:52.390 --> 00:13:54.050 align:center
to say any pre-written statements to

00:13:54.090 --> 00:13:54.670 align:center
the camera.

00:13:54.890 --> 00:13:56.011 align:center
So in this case, I only

00:13:56.051 --> 00:13:57.991 align:center
need to execute believable actions and

00:13:58.051 --> 00:13:59.432 align:center
convey the right emotions.

00:13:59.712 --> 00:14:01.152 align:center
However, you will need to capture

00:14:01.192 --> 00:14:03.333 align:center
statements when shooting a documentary scene.

00:14:03.493 --> 00:14:04.534 align:center
So let's look at the second

00:14:04.594 --> 00:14:06.134 align:center
example from my dog sledding video,

00:14:06.214 --> 00:14:07.314 align:center
where I give the viewer an

00:14:07.414 --> 00:14:08.855 align:center
insight into what is happening.

00:14:09.275 --> 00:14:10.256 align:center
So you can already see how

00:14:10.296 --> 00:14:12.298 align:center
the trail is disappearing because the

00:14:12.318 --> 00:14:14.361 align:center
wind is just constantly increasing and

00:14:14.421 --> 00:14:15.582 align:center
so all of the snow from

00:14:15.602 --> 00:14:17.004 align:center
the side is just being blown

00:14:17.044 --> 00:14:17.724 align:center
onto the trail.

00:14:17.804 --> 00:14:18.946 align:center
So that makes it a lot

00:14:18.966 --> 00:14:20.527 align:center
harder for the huskies to walk

00:14:20.608 --> 00:14:21.629 align:center
on it because they don't have

00:14:21.669 --> 00:14:22.570 align:center
a stable ground.

00:14:22.710 --> 00:14:23.751 align:center
That is definitely going to slow

00:14:23.791 --> 00:14:24.512 align:center
us down right now.

00:14:24.792 --> 00:14:26.113 align:center
As you can see, I capture

00:14:26.133 --> 00:14:27.534 align:center
shots that show the right actions

00:14:27.574 --> 00:14:29.216 align:center
and emotions, which is me riding

00:14:29.256 --> 00:14:30.877 align:center
the dog sled through the snowstorm.

00:14:31.097 --> 00:14:32.659 align:center
However, I now also give statements

00:14:32.679 --> 00:14:34.000 align:center
to the camera that help the

00:14:34.040 --> 00:14:35.962 align:center
viewer understand what I'm experiencing.

00:14:36.262 --> 00:14:38.484 align:center
These in-action statements are really important

00:14:38.544 --> 00:14:39.545 align:center
if you want to involve the

00:14:39.605 --> 00:14:40.866 align:center
viewer into the action of a

00:14:40.946 --> 00:14:41.246 align:center
scene.

00:14:41.486 --> 00:14:43.088 align:center
But besides describing what happens on

00:14:43.108 --> 00:14:44.809 align:center
the physical side, you can also

00:14:44.849 --> 00:14:46.591 align:center
capture statements that describe what happens

00:14:46.651 --> 00:14:47.792 align:center
on the emotional side.

00:14:48.132 --> 00:14:49.612 align:center
Here's another short section of my

00:14:49.652 --> 00:14:51.553 align:center
video about burnout, where I document

00:14:51.593 --> 00:14:53.273 align:center
the emotional moment of reaching three

00:14:53.313 --> 00:14:54.673 align:center
hundred thousand subscribers.

00:14:55.514 --> 00:14:57.314 align:center
Oh my god, guys, we just

00:14:57.394 --> 00:14:59.934 align:center
hit three hundred thousand subscribers.

00:15:00.375 --> 00:15:00.975 align:center
Holy shit.

00:15:02.775 --> 00:15:05.316 align:center
My hands are straight up shaking.

00:15:05.336 --> 00:15:07.256 align:center
I don't know, I feel a

00:15:07.316 --> 00:15:08.736 align:center
little overwhelmed, to be honest.

00:15:09.036 --> 00:15:10.077 align:center
It's just so much more than

00:15:10.137 --> 00:15:10.997 align:center
I ever expected.

00:15:13.852 --> 00:15:15.313 align:center
I've been dreaming to be a

00:15:15.373 --> 00:15:16.994 align:center
YouTuber since I was probably like,

00:15:17.034 --> 00:15:17.835 align:center
twelve years old.

00:15:18.175 --> 00:15:19.816 align:center
Now that it has turned into

00:15:19.856 --> 00:15:21.837 align:center
reality, it's just overwhelming.

00:15:22.017 --> 00:15:23.658 align:center
It's just freaking overwhelming, to be

00:15:23.718 --> 00:15:24.119 align:center
honest.

00:15:24.419 --> 00:15:26.440 align:center
In these last few weeks, the

00:15:26.480 --> 00:15:28.001 align:center
more the number grew, the more

00:15:28.501 --> 00:15:30.002 align:center
anxious I became and the more

00:15:30.162 --> 00:15:31.523 align:center
overwhelmed I just became.

00:15:31.543 --> 00:15:33.384 align:center
It just felt like every new

00:15:33.465 --> 00:15:35.326 align:center
person subscribing to my channel is

00:15:35.386 --> 00:15:38.668 align:center
another person expecting my content to

00:15:38.728 --> 00:15:40.029 align:center
be a specific way.

00:15:40.209 --> 00:15:41.330 align:center
It's just been stressing me out,

00:15:41.350 --> 00:15:42.010 align:center
to be honest.

00:15:42.170 --> 00:15:43.491 align:center
As you can see, I provide

00:15:43.511 --> 00:15:45.493 align:center
the viewer a believable statement about

00:15:45.553 --> 00:15:46.854 align:center
what emotions I felt as the

00:15:46.894 --> 00:15:47.494 align:center
character.

00:15:47.755 --> 00:15:49.376 align:center
The usual person would celebrate to

00:15:49.416 --> 00:15:51.378 align:center
reach three hundred thousand subscribers, but

00:15:51.418 --> 00:15:52.939 align:center
for me, the situation was very

00:15:53.019 --> 00:15:53.559 align:center
different.

00:15:53.819 --> 00:15:55.581 align:center
So instead of acting unauthentic and

00:15:55.641 --> 00:15:57.442 align:center
putting on a smile, I decided

00:15:57.482 --> 00:15:58.844 align:center
to open up and share what

00:15:58.884 --> 00:15:59.804 align:center
I actually felt.

00:16:00.185 --> 00:16:01.446 align:center
This is where many people get

00:16:01.506 --> 00:16:01.966 align:center
it wrong.

00:16:02.166 --> 00:16:03.607 align:center
When you are the character, you

00:16:03.647 --> 00:16:04.968 align:center
need to understand whether you are

00:16:05.028 --> 00:16:07.230 align:center
portraying a different person, or whether

00:16:07.270 --> 00:16:08.992 align:center
you're acting as your authentic self.

00:16:09.512 --> 00:16:10.632 align:center
In the staged scene of my

00:16:10.652 --> 00:16:12.193 align:center
alarm clock video, I portrayed a

00:16:12.253 --> 00:16:13.593 align:center
phone addict who can't get away

00:16:13.633 --> 00:16:15.033 align:center
from his screen, but in my

00:16:15.073 --> 00:16:17.114 align:center
documentary scenes, I always try to

00:16:17.154 --> 00:16:18.374 align:center
be my authentic self.

00:16:18.714 --> 00:16:19.854 align:center
If you're trying to portray a

00:16:19.914 --> 00:16:21.535 align:center
different person, it is okay to

00:16:21.575 --> 00:16:22.615 align:center
go over the top with your

00:16:22.735 --> 00:16:24.375 align:center
acting and lean into a specific

00:16:24.455 --> 00:16:25.235 align:center
stereotype.

00:16:25.496 --> 00:16:26.536 align:center
But if the viewer should see

00:16:26.556 --> 00:16:28.016 align:center
you for yourself, then you need

00:16:28.036 --> 00:16:29.716 align:center
to advance the story while staying

00:16:29.756 --> 00:16:31.497 align:center
true to your authentic emotions and

00:16:31.577 --> 00:16:32.057 align:center
values.

00:16:32.457 --> 00:16:33.539 align:center
You know what I mean, right?

00:16:33.559 --> 00:16:34.940 align:center
They always talk about the physical

00:16:35.000 --> 00:16:36.082 align:center
journey of what they're doing, but

00:16:36.102 --> 00:16:37.543 align:center
they never talk about the emotions

00:16:37.563 --> 00:16:38.164 align:center
they experience.

00:16:48.837 --> 00:16:50.339 align:center
Never showing your true self is

00:16:50.379 --> 00:16:51.500 align:center
what turns your video into a

00:16:51.560 --> 00:16:53.623 align:center
superficial vlog where the viewer doesn't

00:16:53.643 --> 00:16:55.084 align:center
feel connected to your story.

00:16:55.305 --> 00:16:56.746 align:center
In most cases, the viewer can

00:16:56.786 --> 00:16:58.468 align:center
observe the physical journey by looking

00:16:58.528 --> 00:16:59.890 align:center
at your shots, but only if

00:16:59.930 --> 00:17:01.752 align:center
you share your authentic emotions, they

00:17:01.772 --> 00:17:03.054 align:center
will get an insight into you

00:17:03.114 --> 00:17:03.895 align:center
as the character.

00:17:04.215 --> 00:17:05.656 align:center
While my example from the video

00:17:05.676 --> 00:17:07.358 align:center
about burnout was a raw moment

00:17:07.418 --> 00:17:08.880 align:center
that helped the viewer understand my

00:17:08.920 --> 00:17:10.982 align:center
situation, there are more tools that

00:17:11.022 --> 00:17:12.663 align:center
help you progress the emotional side

00:17:12.723 --> 00:17:13.424 align:center
of your story.

00:17:13.624 --> 00:17:14.665 align:center
If you want to revisit those

00:17:14.745 --> 00:17:16.507 align:center
tips and truly understand the relation

00:17:16.547 --> 00:17:18.209 align:center
between the physical and the emotional

00:17:18.269 --> 00:17:19.950 align:center
side, then please make sure to

00:17:20.010 --> 00:17:21.532 align:center
rewatch lesson two point eleven.

00:17:21.992 --> 00:17:23.214 align:center
So to sum it up, when

00:17:23.254 --> 00:17:25.137 align:center
filming a story about yourself, your

00:17:25.177 --> 00:17:26.639 align:center
job as the storyteller is to

00:17:26.679 --> 00:17:27.760 align:center
have a clear vision of the

00:17:27.820 --> 00:17:30.023 align:center
story, assess the story development and

00:17:30.083 --> 00:17:31.545 align:center
capture the right shots, and your

00:17:31.565 --> 00:17:33.007 align:center
job as the character is to

00:17:33.047 --> 00:17:35.210 align:center
provide authentic statements, execute

00:17:35.230 --> 00:17:36.312 align:center
believable actions

00:17:36.472 --> 00:17:38.014 align:center
and convey the right emotions.

00:17:38.695 --> 00:17:40.095 align:center
As you saw in the examples,

00:17:40.375 --> 00:17:42.256 align:center
for different types of videos, certain

00:17:42.296 --> 00:17:44.236 align:center
responsibilities will be more important than

00:17:44.356 --> 00:17:44.716 align:center
others.

00:17:45.056 --> 00:17:46.376 align:center
If you shoot a staged scene,

00:17:46.476 --> 00:17:47.757 align:center
you don't have to reassess the

00:17:47.797 --> 00:17:49.597 align:center
development of your story, and you

00:17:49.637 --> 00:17:51.077 align:center
don't have to worry about providing

00:17:51.137 --> 00:17:52.178 align:center
authentic statements.

00:17:52.438 --> 00:17:54.378 align:center
However, for documentary scenes, all of

00:17:54.418 --> 00:17:56.618 align:center
these responsibilities are crucial in order

00:17:56.638 --> 00:17:58.259 align:center
to capture a compelling story.

00:17:58.539 --> 00:17:59.639 align:center
It honestly takes a lot of

00:17:59.699 --> 00:18:01.599 align:center
brainpower to create similar videos to

00:18:01.639 --> 00:18:03.080 align:center
the ones I post on YouTube.

00:18:03.240 --> 00:18:04.080 align:center
And I don't say that to

00:18:04.120 --> 00:18:05.100 align:center
make myself look good.

00:18:05.400 --> 00:18:07.501 align:center
When documenting an unpredictable experience

00:18:07.581 --> 00:18:07.722 align:center
like

00:18:07.802 --> 00:18:09.523 align:center
running a marathon, doing a dog

00:18:09.543 --> 00:18:10.784 align:center
sledding trip or going on a

00:18:10.864 --> 00:18:13.065 align:center
sailing adventure, I need to constantly

00:18:13.125 --> 00:18:14.826 align:center
zoom out and reassess the story

00:18:14.866 --> 00:18:16.347 align:center
in my mind, while I also

00:18:16.387 --> 00:18:17.768 align:center
need to be an authentic character

00:18:17.808 --> 00:18:19.189 align:center
that is present in the moment.

00:18:19.590 --> 00:18:21.331 align:center
Especially when other people are included

00:18:21.371 --> 00:18:22.752 align:center
in the experience, it is going

00:18:22.792 --> 00:18:23.973 align:center
to be weird if you stage

00:18:24.013 --> 00:18:25.574 align:center
specific moments or you act like

00:18:25.614 --> 00:18:26.554 align:center
a different person.

00:18:26.794 --> 00:18:28.135 align:center
That's why all other people need

00:18:28.155 --> 00:18:29.376 align:center
to see you as your authentic

00:18:29.456 --> 00:18:30.817 align:center
self, but you need to have

00:18:30.857 --> 00:18:32.738 align:center
that storyteller silently assessing the

00:18:32.778 --> 00:18:33.419 align:center
situation

00:18:33.499 --> 00:18:34.560 align:center
in the back of your mind.

00:18:35.180 --> 00:18:36.581 align:center
For example, for my video about

00:18:36.641 --> 00:18:38.263 align:center
escaping burnout, I was on a

00:18:38.343 --> 00:18:39.544 align:center
sailing boat with the friends of

00:18:39.584 --> 00:18:40.124 align:center
my brother.

00:18:40.384 --> 00:18:41.825 align:center
Before the trip, I didn't meet

00:18:41.885 --> 00:18:42.906 align:center
most of the people who are

00:18:42.946 --> 00:18:44.407 align:center
going to join, and even though

00:18:44.447 --> 00:18:46.029 align:center
I had tons of filmmaking equipment

00:18:46.109 --> 00:18:47.810 align:center
and I documented the whole experience,

00:18:48.070 --> 00:18:49.271 align:center
they didn't perceive me as this

00:18:49.331 --> 00:18:51.133 align:center
annoying filmmaker who tries to stage

00:18:51.173 --> 00:18:51.693 align:center
a story.

00:18:51.953 --> 00:18:53.535 align:center
Instead, they perceived me as just

00:18:53.595 --> 00:18:54.776 align:center
another person who is here to

00:18:54.836 --> 00:18:56.277 align:center
enjoy the trip, and most of

00:18:56.317 --> 00:18:57.618 align:center
them probably thought that I just

00:18:57.658 --> 00:18:59.299 align:center
created a fun little vacation video

00:18:59.359 --> 00:19:00.360 align:center
of the best moments.

00:19:00.660 --> 00:19:01.881 align:center
But after the trip, when I

00:19:01.921 --> 00:19:03.501 align:center
sent them the final video, they

00:19:03.521 --> 00:19:05.022 align:center
couldn't believe that I captured such

00:19:05.062 --> 00:19:07.243 align:center
an authentic, deep and interesting story

00:19:07.323 --> 00:19:08.023 align:center
along the way.

00:19:08.423 --> 00:19:09.884 align:center
If I had constantly asked people

00:19:09.924 --> 00:19:11.244 align:center
to do something for the camera

00:19:11.404 --> 00:19:12.705 align:center
or I was stuck thinking about

00:19:12.725 --> 00:19:14.045 align:center
the story, then people would have

00:19:14.065 --> 00:19:15.366 align:center
been turned off and they wouldn't

00:19:15.386 --> 00:19:16.246 align:center
want to be in front of

00:19:16.286 --> 00:19:16.906 align:center
the camera.

00:19:17.106 --> 00:19:18.187 align:center
But because I learned how to

00:19:18.227 --> 00:19:20.068 align:center
be an authentic character while reassessing

00:19:20.108 --> 00:19:21.028 align:center
the story in the back of

00:19:21.068 --> 00:19:22.669 align:center
my mind, I was able to

00:19:22.709 --> 00:19:24.609 align:center
capture extremely authentic statements,

00:19:24.829 --> 00:19:25.410 align:center
actions and

00:19:25.450 --> 00:19:26.050 align:center
emotions.

00:19:26.650 --> 00:19:27.911 align:center
I know that watching my YouTube

00:19:27.931 --> 00:19:29.292 align:center
videos might seem like I only

00:19:29.352 --> 00:19:31.134 align:center
point my camera in different directions

00:19:31.254 --> 00:19:32.975 align:center
and I seamlessly capture an experience

00:19:33.035 --> 00:19:33.796 align:center
as it happens.

00:19:34.136 --> 00:19:36.037 align:center
However, creating a compelling story while

00:19:36.137 --> 00:19:37.919 align:center
actively progressing it as a character

00:19:37.999 --> 00:19:39.300 align:center
takes a lot of practice.

00:19:39.660 --> 00:19:41.061 align:center
Especially in the beginning, you will

00:19:41.121 --> 00:19:42.922 align:center
probably be overwhelmed to wear both

00:19:42.982 --> 00:19:44.403 align:center
hats at the same time, but

00:19:44.443 --> 00:19:45.985 align:center
the more videos you create, the

00:19:46.005 --> 00:19:47.606 align:center
more intuitively you will manage the

00:19:47.646 --> 00:19:49.287 align:center
roles of being both the storyteller

00:19:49.447 --> 00:19:50.268 align:center
and the character.

00:19:50.628 --> 00:19:51.551 align:center
Now that you have a solid

00:19:51.591 --> 00:19:53.136 align:center
understanding about your job as the

00:19:53.176 --> 00:19:55.303 align:center
storyteller and character, let's get more

00:19:55.383 --> 00:19:57.470 align:center
practical by talking about gear tips.

00:20:00.342 --> 00:20:01.603 align:center
Before we talk about the first

00:20:01.663 --> 00:20:03.123 align:center
piece of equipment, I want to

00:20:03.183 --> 00:20:05.164 align:center
re-emphasize that you can always capture

00:20:05.204 --> 00:20:06.905 align:center
incredible shots even if you only

00:20:06.925 --> 00:20:08.046 align:center
have a phone or a cheap

00:20:08.106 --> 00:20:08.606 align:center
camera.

00:20:08.826 --> 00:20:09.907 align:center
So if you currently don't have

00:20:09.947 --> 00:20:11.348 align:center
the budget to invest in gear,

00:20:11.668 --> 00:20:13.229 align:center
then don't worry and simply follow

00:20:13.269 --> 00:20:14.689 align:center
the shooting tips which I provide

00:20:14.709 --> 00:20:15.690 align:center
in the next chapter.

00:20:15.930 --> 00:20:17.711 align:center
However, using the right gear is

00:20:17.751 --> 00:20:18.831 align:center
going to make the process of

00:20:18.871 --> 00:20:20.812 align:center
filming yourself a lot easier, and

00:20:20.832 --> 00:20:21.693 align:center
it is going to save you

00:20:21.733 --> 00:20:23.194 align:center
valuable time along the way.

00:20:23.434 --> 00:20:24.634 align:center
So let me share what types

00:20:24.674 --> 00:20:25.675 align:center
of gear I recommend.

00:20:26.235 --> 00:20:27.496 align:center
I decided to divide the gear

00:20:27.516 --> 00:20:29.076 align:center
recommendations into three different

00:20:29.137 --> 00:20:29.857 align:center
categories.

00:20:30.197 --> 00:20:32.238 align:center
The first are must-haves, the second

00:20:32.298 --> 00:20:34.019 align:center
are nice-to-have, and the third are

00:20:34.079 --> 00:20:35.339 align:center
advanced pieces of gear.

00:20:35.600 --> 00:20:37.120 align:center
In other words, all items in

00:20:37.140 --> 00:20:39.021 align:center
the must-have category are essential to

00:20:39.061 --> 00:20:40.762 align:center
film yourself, all items in the

00:20:40.802 --> 00:20:42.503 align:center
nice-to-have category will provide a

00:20:42.563 --> 00:20:43.143 align:center
significant

00:20:43.183 --> 00:20:44.884 align:center
benefit during the shoot, and all

00:20:45.004 --> 00:20:46.685 align:center
items in the advanced category will

00:20:46.705 --> 00:20:47.885 align:center
help you achieve the last five

00:20:47.925 --> 00:20:48.966 align:center
percent of quality.

00:20:49.266 --> 00:20:50.306 align:center
So let's start with the first

00:20:50.446 --> 00:20:52.107 align:center
item of the must-have category, which

00:20:52.167 --> 00:20:52.887 align:center
is a camera.

00:20:53.247 --> 00:20:54.487 align:center
Obviously, you need a camera with

00:20:54.547 --> 00:20:55.728 align:center
a lens in order to film

00:20:55.748 --> 00:20:56.268 align:center
yourself.

00:20:56.668 --> 00:20:58.208 align:center
As we already discussed all sorts

00:20:58.248 --> 00:20:59.429 align:center
of camera types in the last

00:20:59.489 --> 00:21:01.049 align:center
module, I won't go into depth

00:21:01.129 --> 00:21:02.549 align:center
about every single detail.

00:21:02.729 --> 00:21:04.270 align:center
However, there are three aspects you

00:21:04.290 --> 00:21:05.050 align:center
want to look for.

00:21:05.390 --> 00:21:07.091 align:center
First, it should have multiple focal

00:21:07.131 --> 00:21:07.431 align:center
lengths.

00:21:07.891 --> 00:21:09.071 align:center
Second, it should have a low

00:21:09.151 --> 00:21:09.471 align:center
weight.

00:21:09.831 --> 00:21:11.032 align:center
And third, it should have good

00:21:11.152 --> 00:21:12.452 align:center
autofocus capabilities.

00:21:13.012 --> 00:21:14.753 align:center
It's always beneficial to have multiple

00:21:14.793 --> 00:21:16.174 align:center
focal lengths, as it allows you

00:21:16.214 --> 00:21:17.855 align:center
to capture a variety of shots.

00:21:18.216 --> 00:21:19.056 align:center
So if you film your whole

00:21:19.096 --> 00:21:20.677 align:center
video on an action camera, all

00:21:20.697 --> 00:21:21.658 align:center
of your shots will look very

00:21:21.698 --> 00:21:22.939 align:center
similar and there won't be any

00:21:22.979 --> 00:21:24.600 align:center
variety, but if you film your

00:21:24.620 --> 00:21:25.661 align:center
video on a phone or a

00:21:25.701 --> 00:21:27.862 align:center
mirrorless camera with different lenses, then

00:21:27.882 --> 00:21:29.003 align:center
you will be able to capture

00:21:29.043 --> 00:21:30.544 align:center
a variety of shots, which makes

00:21:30.604 --> 00:21:31.965 align:center
it more interesting to watch.

00:21:32.445 --> 00:21:33.545 align:center
Also, you don't want to have

00:21:33.585 --> 00:21:34.826 align:center
a camera that is too heavy,

00:21:34.926 --> 00:21:36.806 align:center
because it will require additional equipment

00:21:36.846 --> 00:21:37.907 align:center
which you have to carry all

00:21:37.927 --> 00:21:39.387 align:center
by yourself, plus it makes it

00:21:39.447 --> 00:21:41.087 align:center
very exhausting to vlog, and it

00:21:41.127 --> 00:21:43.188 align:center
limits your flexibility during the shoot.

00:21:43.468 --> 00:21:44.768 align:center
And lastly, you want to have

00:21:44.808 --> 00:21:45.889 align:center
a camera that has a good

00:21:46.049 --> 00:21:47.789 align:center
autofocus with an eye or face

00:21:47.829 --> 00:21:49.550 align:center
tracking mode, because only if you

00:21:49.590 --> 00:21:51.390 align:center
can rely on the autofocus, you

00:21:51.410 --> 00:21:52.531 align:center
will be able to use it

00:21:52.571 --> 00:21:53.571 align:center
when filming yourself.

00:21:53.951 --> 00:21:55.331 align:center
Obviously, there are many more factors

00:21:55.371 --> 00:21:56.272 align:center
you want to look for in

00:21:56.312 --> 00:21:57.512 align:center
a camera, but I would say

00:21:57.552 --> 00:21:58.892 align:center
that those three aspects are the

00:21:58.932 --> 00:22:00.893 align:center
most important ones when filming yourself.

00:22:01.233 --> 00:22:02.854 align:center
Quite frankly, I believe that only

00:22:02.914 --> 00:22:04.394 align:center
three types of cameras check off

00:22:04.494 --> 00:22:06.555 align:center
all points, and those cameras are

00:22:06.655 --> 00:22:09.776 align:center
phones, mirrorless cameras, and DSLR cameras.

00:22:10.176 --> 00:22:11.616 align:center
Phones with multiple lenses are a

00:22:11.656 --> 00:22:12.676 align:center
good option if you're on a

00:22:12.736 --> 00:22:14.697 align:center
budget, but mirrorless cameras as well

00:22:14.737 --> 00:22:16.497 align:center
as DSLRs are the right choice

00:22:16.618 --> 00:22:17.498 align:center
if you want to achieve the

00:22:17.538 --> 00:22:18.858 align:center
best possible quality.

00:22:19.058 --> 00:22:20.559 align:center
The second item you must have

00:22:20.679 --> 00:22:21.439 align:center
is a tripod.

00:22:21.899 --> 00:22:23.160 align:center
I know that a tripod seems

00:22:23.200 --> 00:22:24.381 align:center
like the most boring piece of

00:22:24.441 --> 00:22:26.002 align:center
equipment, but trust me when I

00:22:26.062 --> 00:22:27.023 align:center
say that it is going to

00:22:27.083 --> 00:22:28.804 align:center
completely change your life when filming

00:22:28.844 --> 00:22:29.344 align:center
yourself.

00:22:29.745 --> 00:22:31.606 align:center
When using a tripod, you immediately

00:22:31.646 --> 00:22:33.187 align:center
gain a lot more creative freedom,

00:22:33.527 --> 00:22:35.128 align:center
because instead of looking for objects

00:22:35.188 --> 00:22:36.569 align:center
in the environment to place your

00:22:36.589 --> 00:22:38.491 align:center
camera on, you can simply adjust

00:22:38.531 --> 00:22:39.692 align:center
the height and angle of your

00:22:39.732 --> 00:22:41.553 align:center
tripod to achieve the exact shot

00:22:41.593 --> 00:22:42.594 align:center
you want to capture.

00:22:42.914 --> 00:22:44.255 align:center
Placing your camera at the right

00:22:44.295 --> 00:22:46.496 align:center
position is crucial to capture interesting

00:22:46.637 --> 00:22:48.698 align:center
angles and compositions when filming yourself,

00:22:49.118 --> 00:22:50.579 align:center
and only a tripod will help

00:22:50.619 --> 00:22:51.380 align:center
you achieve that.

00:22:51.780 --> 00:22:53.101 align:center
I highly recommend you to get

00:22:53.161 --> 00:22:54.562 align:center
a proper tripod where you can

00:22:54.602 --> 00:22:55.943 align:center
adjust the height of the legs

00:22:56.303 --> 00:22:57.344 align:center
and change the angle of the

00:22:57.384 --> 00:22:58.725 align:center
camera with a ball head.

00:22:59.045 --> 00:23:00.366 align:center
Also make sure that your tripod

00:23:00.426 --> 00:23:01.767 align:center
is sturdy and that it doesn't

00:23:01.827 --> 00:23:03.088 align:center
shake in case a small wind

00:23:03.128 --> 00:23:04.048 align:center
blow comes along.

00:23:04.269 --> 00:23:06.170 align:center
The third and last must-have item

00:23:06.210 --> 00:23:08.191 align:center
for filming yourself is a microphone.

00:23:08.511 --> 00:23:09.952 align:center
While a camera with a tripod

00:23:10.012 --> 00:23:11.694 align:center
allows you to capture great visuals,

00:23:11.894 --> 00:23:13.195 align:center
you should also think about the

00:23:13.315 --> 00:23:13.595 align:center
audio.

00:23:13.975 --> 00:23:15.876 align:center
A video always becomes more immersive

00:23:15.996 --> 00:23:16.936 align:center
if the viewer can hear the

00:23:17.036 --> 00:23:18.456 align:center
actual sounds of what is happening

00:23:18.496 --> 00:23:20.057 align:center
in a shot, and the easiest

00:23:20.117 --> 00:23:21.657 align:center
way to record good audio is

00:23:21.697 --> 00:23:23.498 align:center
to use an external microphone.

00:23:23.758 --> 00:23:25.699 align:center
In most cases, the internal microphone

00:23:25.739 --> 00:23:26.819 align:center
of a camera has a poor

00:23:26.919 --> 00:23:28.679 align:center
audio quality that quickly starts to

00:23:28.719 --> 00:23:30.260 align:center
distort in windy conditions.

00:23:30.660 --> 00:23:32.281 align:center
For this reason, I recommend you

00:23:32.321 --> 00:23:34.262 align:center
to simply use an on-camera microphone

00:23:34.322 --> 00:23:35.802 align:center
that provides you with better audio

00:23:35.842 --> 00:23:36.563 align:center
in the editing.

00:23:36.943 --> 00:23:38.603 align:center
Depending on what shots you capture,

00:23:38.744 --> 00:23:40.024 align:center
how important the audio is for

00:23:40.064 --> 00:23:41.405 align:center
your story, and whether or not

00:23:41.445 --> 00:23:43.165 align:center
you're talking to the camera, you

00:23:43.225 --> 00:23:44.366 align:center
might need to use a different

00:23:44.406 --> 00:23:46.427 align:center
type of microphone when filming yourself.

00:23:46.787 --> 00:23:48.027 align:center
So for example, if you're filming

00:23:48.047 --> 00:23:49.468 align:center
yourself from a distance and you

00:23:49.488 --> 00:23:50.448 align:center
still want to talk to the

00:23:50.489 --> 00:23:52.129 align:center
camera, then it might make sense

00:23:52.169 --> 00:23:53.670 align:center
to use a lavalier microphone that

00:23:53.690 --> 00:23:55.150 align:center
you mount on your chest, or

00:23:55.171 --> 00:23:56.571 align:center
to simply record the audio with

00:23:56.611 --> 00:23:57.772 align:center
your phone and then sync it

00:23:57.832 --> 00:23:58.552 align:center
in the editing.

00:23:58.852 --> 00:23:59.533 align:center
If you want to get a

00:23:59.573 --> 00:24:01.496 align:center
better understanding of which microphone is

00:24:01.556 --> 00:24:03.498 align:center
right for which situation, then please

00:24:03.538 --> 00:24:04.940 align:center
make sure to watch lesson five

00:24:04.980 --> 00:24:05.821 align:center
point seventeen.

00:24:06.081 --> 00:24:08.284 align:center
Camera, tripods, microphone.

00:24:08.625 --> 00:24:10.127 align:center
This covers the most essential gear

00:24:10.187 --> 00:24:11.048 align:center
to film yourself.

00:24:11.488 --> 00:24:12.810 align:center
Next up, let's talk about the

00:24:12.910 --> 00:24:14.072 align:center
items that are nice to have,

00:24:14.352 --> 00:24:15.594 align:center
starting with the flip screen.

00:24:15.894 --> 00:24:17.055 align:center
While a flip screen isn't a

00:24:17.095 --> 00:24:18.575 align:center
must-have, I can tell you that

00:24:18.615 --> 00:24:19.456 align:center
it is going to make your

00:24:19.496 --> 00:24:20.976 align:center
life a whole lot easier.

00:24:21.276 --> 00:24:22.477 align:center
As you can imagine, it is

00:24:22.577 --> 00:24:24.138 align:center
quite hard to adjust the position

00:24:24.178 --> 00:24:25.478 align:center
and angle of your camera if

00:24:25.518 --> 00:24:26.659 align:center
you don't see yourself.

00:24:26.959 --> 00:24:27.759 align:center
So if you don't have a

00:24:27.799 --> 00:24:29.440 align:center
flip screen, you basically have to

00:24:29.500 --> 00:24:32.662 align:center
adjust your composition, hit record, film

00:24:32.702 --> 00:24:34.742 align:center
a shot of yourself, replay that

00:24:34.782 --> 00:24:36.143 align:center
shot to understand what needs to

00:24:36.183 --> 00:24:37.724 align:center
be changed, and then you can

00:24:37.784 --> 00:24:39.425 align:center
readjust your camera accordingly.

00:24:39.665 --> 00:24:40.805 align:center
And depending on how well you

00:24:40.845 --> 00:24:42.566 align:center
adjusted your camera, you might need

00:24:42.606 --> 00:24:44.687 align:center
to repeat that process multiple times.

00:24:45.227 --> 00:24:46.068 align:center
On the other hand, if your

00:24:46.108 --> 00:24:47.689 align:center
camera has a flip screen, that

00:24:47.769 --> 00:24:49.231 align:center
process is a lot easier.

00:24:49.511 --> 00:24:51.132 align:center
Instead of constantly running back and

00:24:51.212 --> 00:24:52.914 align:center
forth to record shots of yourself,

00:24:53.134 --> 00:24:54.575 align:center
you can see the final composition

00:24:54.615 --> 00:24:56.037 align:center
with yourself in it right on

00:24:56.057 --> 00:24:56.617 align:center
the screen.

00:24:56.897 --> 00:24:58.018 align:center
This allows you to make quick

00:24:58.058 --> 00:24:59.860 align:center
adjustments to the position and angle

00:24:59.900 --> 00:25:01.341 align:center
of the camera, and you will

00:25:01.381 --> 00:25:03.243 align:center
nail your composition in no time.

00:25:03.603 --> 00:25:04.744 align:center
I've been shooting on a camera

00:25:04.784 --> 00:25:06.164 align:center
without a flip screen for many

00:25:06.244 --> 00:25:07.845 align:center
years, but once I changed to

00:25:07.865 --> 00:25:09.006 align:center
the Sony a seven S three,

00:25:09.026 --> 00:25:10.606 align:center
which has a flip screen, my

00:25:10.666 --> 00:25:12.147 align:center
shoots became at least three times

00:25:12.207 --> 00:25:13.908 align:center
as efficient because I simply have

00:25:13.948 --> 00:25:15.309 align:center
to do much fewer takes in

00:25:15.429 --> 00:25:16.609 align:center
order to nail my shots.

00:25:17.150 --> 00:25:18.590 align:center
As you see, a flip screen

00:25:18.630 --> 00:25:20.431 align:center
provides massive benefits when filming

00:25:20.471 --> 00:25:20.971 align:center
yourself,

00:25:21.332 --> 00:25:22.512 align:center
and that's why I recommend you

00:25:22.552 --> 00:25:23.913 align:center
to buy a camera that has

00:25:24.093 --> 00:25:24.173 align:center
one.

00:25:24.433 --> 00:25:25.914 align:center
However, I also want to warn

00:25:25.934 --> 00:25:27.335 align:center
you about a common mistake that

00:25:27.475 --> 00:25:29.036 align:center
easily happens when using a flip

00:25:29.076 --> 00:25:29.456 align:center
screen.

00:25:29.696 --> 00:25:31.097 align:center
Especially if you're talking to the

00:25:31.137 --> 00:25:32.798 align:center
camera, it is very tempting to

00:25:32.858 --> 00:25:34.419 align:center
look on the screen instead of

00:25:34.479 --> 00:25:35.460 align:center
looking at the lens.

00:25:35.800 --> 00:25:37.101 align:center
This will result in shots where

00:25:37.121 --> 00:25:38.482 align:center
you aren't looking directly at the

00:25:38.502 --> 00:25:39.982 align:center
camera and that makes the viewer

00:25:40.023 --> 00:25:42.204 align:center
feel less connected and more distracted.

00:25:42.484 --> 00:25:43.745 align:center
So make sure to keep your

00:25:43.845 --> 00:25:45.026 align:center
eyes on the lens at all

00:25:45.106 --> 00:25:45.586 align:center
times.

00:25:46.166 --> 00:25:47.927 align:center
The next nice-to-have item is a

00:25:47.987 --> 00:25:48.788 align:center
remote control.

00:25:49.208 --> 00:25:50.529 align:center
If you are capturing shots where

00:25:50.549 --> 00:25:51.951 align:center
you stand at a larger distance

00:25:51.991 --> 00:25:53.652 align:center
to the camera, you always have

00:25:53.692 --> 00:25:55.434 align:center
to hit record, run to the

00:25:55.474 --> 00:25:58.576 align:center
correct position, execute your action, and

00:25:58.636 --> 00:25:59.998 align:center
then run back to the camera

00:26:00.058 --> 00:26:01.199 align:center
to stop the recording.

00:26:01.459 --> 00:26:02.560 align:center
This will not only leave you

00:26:02.620 --> 00:26:04.302 align:center
exhausted, but also with a lot

00:26:04.342 --> 00:26:05.663 align:center
of unnecessary footage.

00:26:06.063 --> 00:26:07.964 align:center
Probably twenty seconds of your clip

00:26:08.044 --> 00:26:09.845 align:center
show you running away or towards

00:26:09.885 --> 00:26:11.925 align:center
the camera, while only three seconds

00:26:11.985 --> 00:26:13.206 align:center
show the action you want to

00:26:13.266 --> 00:26:13.786 align:center
capture.

00:26:14.146 --> 00:26:16.387 align:center
More footage means more storage, and

00:26:16.447 --> 00:26:18.108 align:center
more storage will cost you more

00:26:18.188 --> 00:26:18.548 align:center
money.

00:26:18.828 --> 00:26:20.749 align:center
However, one solution to fix this

00:26:20.829 --> 00:26:22.290 align:center
problem is to get yourself a

00:26:22.350 --> 00:26:23.150 align:center
remote control.

00:26:23.610 --> 00:26:25.331 align:center
For many mirrorless cameras, you can

00:26:25.371 --> 00:26:27.472 align:center
buy cheap wireless controls that once

00:26:27.512 --> 00:26:29.172 align:center
connected to the camera allow you

00:26:29.192 --> 00:26:30.533 align:center
to trigger the recording from a

00:26:30.613 --> 00:26:31.173 align:center
distance.

00:26:31.493 --> 00:26:32.954 align:center
Instead of rushing back and forth

00:26:32.994 --> 00:26:34.515 align:center
to capture a shot, you can

00:26:34.575 --> 00:26:36.396 align:center
simply position yourself in the perfect

00:26:36.436 --> 00:26:38.336 align:center
part of the frame, hit record

00:26:38.416 --> 00:26:40.737 align:center
on the remote, execute your action,

00:26:41.018 --> 00:26:42.758 align:center
and stop the recording right away.

00:26:43.078 --> 00:26:44.539 align:center
As these remote controls are very

00:26:44.619 --> 00:26:46.120 align:center
small, you can easily fit them

00:26:46.160 --> 00:26:47.860 align:center
into your pocket while executing your

00:26:47.981 --> 00:26:49.561 align:center
action, so it is an extremely

00:26:49.641 --> 00:26:51.162 align:center
simple and efficient workflow.

00:26:51.582 --> 00:26:53.742 align:center
Besides starting and stopping the recording,

00:26:53.963 --> 00:26:55.883 align:center
many remote controls also allow you

00:26:55.903 --> 00:26:57.403 align:center
to adjust all sorts of settings

00:26:57.503 --> 00:26:58.924 align:center
without touching the camera.

00:26:59.184 --> 00:27:00.184 align:center
You can change some of your

00:27:00.224 --> 00:27:02.324 align:center
capture settings, you can navigate through

00:27:02.344 --> 00:27:03.765 align:center
the whole menu, and you can

00:27:03.845 --> 00:27:05.405 align:center
also playback your clips in case

00:27:05.425 --> 00:27:06.405 align:center
you want to watch them.

00:27:06.685 --> 00:27:08.425 align:center
When shooting these lessons, I also

00:27:08.505 --> 00:27:09.866 align:center
use a remote control at all

00:27:09.926 --> 00:27:12.186 align:center
times, because first, it probably saves

00:27:12.226 --> 00:27:14.427 align:center
me terabytes of storage, and second,

00:27:14.607 --> 00:27:15.627 align:center
I can always stay at the

00:27:15.667 --> 00:27:17.187 align:center
same part of the frame as

00:27:17.227 --> 00:27:18.548 align:center
I don't have to constantly stand

00:27:18.668 --> 00:27:19.768 align:center
up in order to start and

00:27:19.788 --> 00:27:20.708 align:center
stop the recording.

00:27:20.968 --> 00:27:22.069 align:center
So if you want to streamline

00:27:22.089 --> 00:27:24.071 align:center
your shooting and editing workflow, feel

00:27:24.131 --> 00:27:25.633 align:center
free to get yourself a remote

00:27:25.693 --> 00:27:26.153 align:center
control.

00:27:26.554 --> 00:27:28.135 align:center
The third item is a remote

00:27:28.316 --> 00:27:28.436 align:center
app.

00:27:29.056 --> 00:27:30.618 align:center
Depending on the camera you own,

00:27:30.758 --> 00:27:32.059 align:center
there might be a remote app

00:27:32.139 --> 00:27:33.441 align:center
that allows you to monitor your

00:27:33.481 --> 00:27:35.223 align:center
shots while controlling the camera.

00:27:35.483 --> 00:27:37.265 align:center
For example, for Sony cameras, there's

00:27:37.305 --> 00:27:38.906 align:center
an app called Monitor Plus, which

00:27:38.966 --> 00:27:40.408 align:center
allows you to do exactly that.

00:27:40.868 --> 00:27:42.149 align:center
In the free version, you can

00:27:42.209 --> 00:27:43.710 align:center
monitor the image and start and

00:27:43.750 --> 00:27:45.472 align:center
stop the recording, which is basically

00:27:45.552 --> 00:27:46.252 align:center
all you need.

00:27:46.532 --> 00:27:47.893 align:center
However, if you want, you can

00:27:47.933 --> 00:27:49.134 align:center
also get the pro version for

00:27:49.174 --> 00:27:50.976 align:center
twenty dollars, which gives you access

00:27:51.016 --> 00:27:52.717 align:center
to all sorts of monitoring features

00:27:52.997 --> 00:27:54.278 align:center
and even allows you to change

00:27:54.298 --> 00:27:56.119 align:center
the autofocus area by tapping on

00:27:56.159 --> 00:27:56.760 align:center
your screen.

00:27:57.180 --> 00:27:58.461 align:center
The main point for using a

00:27:58.521 --> 00:28:00.303 align:center
remote app when filming yourself is

00:28:00.343 --> 00:28:01.403 align:center
to see whether or not you're

00:28:01.443 --> 00:28:02.664 align:center
standing in the right part of

00:28:02.704 --> 00:28:04.366 align:center
the frame, as well as starting

00:28:04.406 --> 00:28:05.747 align:center
and stopping the recording from a

00:28:05.807 --> 00:28:06.267 align:center
distance.

00:28:06.687 --> 00:28:08.449 align:center
So basically, a good remote app

00:28:08.509 --> 00:28:10.011 align:center
on your phone can replace both

00:28:10.031 --> 00:28:11.533 align:center
a flip screen and a remote

00:28:11.573 --> 00:28:12.053 align:center
control.

00:28:12.313 --> 00:28:14.316 align:center
However, most remote apps also come

00:28:14.336 --> 00:28:15.397 align:center
with their downsides.

00:28:15.937 --> 00:28:17.719 align:center
First, they often struggle with image

00:28:17.759 --> 00:28:19.221 align:center
transmission if the phone is too

00:28:19.261 --> 00:28:21.103 align:center
far away from the camera, and

00:28:21.203 --> 00:28:23.366 align:center
second, basically all apps require you

00:28:23.406 --> 00:28:24.687 align:center
to reconnect the phone to the

00:28:24.727 --> 00:28:26.429 align:center
camera once it was turned off.

00:28:26.709 --> 00:28:27.830 align:center
So this can be an extremely

00:28:27.910 --> 00:28:29.592 align:center
tedious workflow if you don't want

00:28:29.632 --> 00:28:30.914 align:center
to keep your camera powered on

00:28:30.994 --> 00:28:32.596 align:center
for long durations at a time.

00:28:32.876 --> 00:28:34.818 align:center
For those reasons, I myself generally

00:28:34.898 --> 00:28:36.159 align:center
prefer to work with a flip

00:28:36.179 --> 00:28:37.941 align:center
screen and a remote control, because

00:28:38.021 --> 00:28:39.543 align:center
a flip screen is already attached

00:28:39.563 --> 00:28:41.305 align:center
to the camera, and an infrared

00:28:41.345 --> 00:28:43.227 align:center
remote control can be used immediately

00:28:43.367 --> 00:28:45.009 align:center
without powering it on or off.

00:28:45.409 --> 00:28:47.131 align:center
The fourth item is a stabilized

00:28:47.191 --> 00:28:47.532 align:center
drone.

00:28:47.932 --> 00:28:49.892 align:center
Now, besides additional accessories for your

00:28:49.952 --> 00:28:51.633 align:center
main camera, it is also nice

00:28:51.673 --> 00:28:53.133 align:center
to have an additional camera type,

00:28:53.193 --> 00:28:54.093 align:center
such as a drone.

00:28:54.393 --> 00:28:56.134 align:center
A stabilized drone is perfect for

00:28:56.174 --> 00:28:58.274 align:center
filming yourself, because first, you can

00:28:58.314 --> 00:29:00.655 align:center
basically position a flying camera anywhere

00:29:00.695 --> 00:29:02.475 align:center
in the sky, second, you can

00:29:02.515 --> 00:29:03.895 align:center
monitor your shots on the screen

00:29:03.935 --> 00:29:05.856 align:center
of your controller, and third, when

00:29:05.896 --> 00:29:07.376 align:center
letting go of the control sticks,

00:29:07.536 --> 00:29:08.836 align:center
the drone stays at the exact

00:29:08.896 --> 00:29:09.696 align:center
same position.

00:29:10.076 --> 00:29:12.097 align:center
These features make it extremely convenient

00:29:12.137 --> 00:29:14.237 align:center
to capture actions over long distances,

00:29:14.617 --> 00:29:15.698 align:center
as you don't always have to

00:29:15.738 --> 00:29:16.918 align:center
come back and pick up your

00:29:16.938 --> 00:29:17.398 align:center
camera.

00:29:17.978 --> 00:29:19.721 align:center
For example, to capture this sequence

00:29:19.761 --> 00:29:21.283 align:center
of shots in my dopamine detox

00:29:21.323 --> 00:29:23.185 align:center
video, I simply positioned the drone

00:29:23.245 --> 00:29:24.927 align:center
at the right spot, then I

00:29:24.967 --> 00:29:27.050 align:center
hit record, after that I drove

00:29:27.070 --> 00:29:28.873 align:center
through the shot, then I parked

00:29:28.913 --> 00:29:29.854 align:center
the car on the side of

00:29:29.894 --> 00:29:31.476 align:center
the road to stop the recording,

00:29:31.837 --> 00:29:32.998 align:center
and then I could reposition the

00:29:33.038 --> 00:29:34.180 align:center
drone for the next shot.

00:29:34.640 --> 00:29:35.721 align:center
But if I would have captured

00:29:35.741 --> 00:29:37.062 align:center
the sequence with the camera on

00:29:37.102 --> 00:29:38.763 align:center
a tripod, I would have had

00:29:38.803 --> 00:29:40.484 align:center
to leave the car, set up

00:29:40.524 --> 00:29:43.106 align:center
the camera, hit record, go back

00:29:43.166 --> 00:29:45.267 align:center
to the car, reverse the car,

00:29:45.567 --> 00:29:47.629 align:center
drive through the shot, park the

00:29:47.689 --> 00:29:49.730 align:center
car, run back to my camera,

00:29:50.010 --> 00:29:51.931 align:center
stop the recording, and go back

00:29:51.971 --> 00:29:53.252 align:center
to the car in order to

00:29:53.312 --> 00:29:54.533 align:center
set up the next shot.

00:29:55.053 --> 00:29:56.654 align:center
As you see, using a drone

00:29:56.694 --> 00:29:57.935 align:center
can be way more efficient to

00:29:57.955 --> 00:30:00.117 align:center
film sequences of yourself, especially if

00:30:00.157 --> 00:30:01.918 align:center
they happen over longer distances.

00:30:02.358 --> 00:30:03.599 align:center
But while a drone makes shooting

00:30:03.639 --> 00:30:05.460 align:center
more efficient, it also allows you

00:30:05.501 --> 00:30:06.561 align:center
to tell your story from a

00:30:06.621 --> 00:30:08.203 align:center
completely different perspective.

00:30:08.523 --> 00:30:09.864 align:center
For example, in my video about

00:30:09.904 --> 00:30:11.225 align:center
a dog sledding trip, I would

00:30:11.245 --> 00:30:12.406 align:center
have never been able to tell

00:30:12.446 --> 00:30:13.807 align:center
my story in such an interesting

00:30:13.847 --> 00:30:15.568 align:center
and intense way if I didn't

00:30:15.609 --> 00:30:16.629 align:center
have a drone with me.

00:30:17.090 --> 00:30:18.971 align:center
Obviously, I documented the experience from

00:30:19.031 --> 00:30:20.953 align:center
a human perspective, and I sometimes

00:30:21.013 --> 00:30:22.274 align:center
also placed my camera on the

00:30:22.314 --> 00:30:24.195 align:center
tripod to film us passing by,

00:30:24.395 --> 00:30:25.917 align:center
but the shots that actually transport

00:30:25.937 --> 00:30:27.618 align:center
the isolation and the vastness of

00:30:27.658 --> 00:30:29.760 align:center
those landscapes could only be captured

00:30:29.780 --> 00:30:31.121 align:center
from an aerial perspective.

00:30:31.581 --> 00:30:32.662 align:center
In the case of this trip,

00:30:32.802 --> 00:30:34.304 align:center
I actually flew my drone manually

00:30:34.344 --> 00:30:36.045 align:center
while riding the dog sled, but

00:30:36.085 --> 00:30:37.006 align:center
if you don't yet know how

00:30:37.066 --> 00:30:38.287 align:center
to fly like that, you can

00:30:38.367 --> 00:30:40.489 align:center
also use DJI's Active Track feature.

00:30:40.850 --> 00:30:42.231 align:center
Active Track allows you to select

00:30:42.291 --> 00:30:44.173 align:center
a specific subject on the controller,

00:30:44.513 --> 00:30:45.954 align:center
and then the drone will automatically

00:30:46.014 --> 00:30:48.096 align:center
follow the subject while avoiding obstacles

00:30:48.156 --> 00:30:48.677 align:center
in the way.

00:30:48.877 --> 00:30:49.758 align:center
So this can be a great

00:30:49.878 --> 00:30:51.520 align:center
option to film yourself when moving

00:30:51.560 --> 00:30:52.601 align:center
through an environment.

00:30:53.141 --> 00:30:54.702 align:center
Active Track can also be useful

00:30:54.782 --> 00:30:55.843 align:center
if you stand at a fixed

00:30:55.883 --> 00:30:57.345 align:center
position and you don't want the

00:30:57.385 --> 00:30:58.806 align:center
viewer to see the controller in

00:30:58.846 --> 00:30:59.486 align:center
your hands.

00:30:59.827 --> 00:31:01.268 align:center
In this case, you can simply

00:31:01.308 --> 00:31:02.909 align:center
let the drone circle around you

00:31:03.070 --> 00:31:04.451 align:center
while you hide the controller on

00:31:04.491 --> 00:31:05.151 align:center
the ground.

00:31:05.432 --> 00:31:06.753 align:center
However, if you film yourself from

00:31:06.793 --> 00:31:08.014 align:center
the back or from a further

00:31:08.074 --> 00:31:10.035 align:center
distance, you can also manually fly

00:31:10.075 --> 00:31:11.337 align:center
the drone as people won't be

00:31:11.457 --> 00:31:12.818 align:center
able to spot the controller.

00:31:13.198 --> 00:31:15.000 align:center
As you see, stabilized drones are

00:31:15.060 --> 00:31:17.162 align:center
incredible tools to film yourself, so

00:31:17.202 --> 00:31:18.723 align:center
if you have the necessary budget,

00:31:18.903 --> 00:31:20.305 align:center
I recommend you to get one.

00:31:20.625 --> 00:31:22.266 align:center
Lastly, the fifth item which is

00:31:22.326 --> 00:31:23.748 align:center
nice to have is an action

00:31:23.788 --> 00:31:24.268 align:center
camera.

00:31:24.608 --> 00:31:26.350 align:center
As I mentioned earlier, an action

00:31:26.370 --> 00:31:27.851 align:center
camera isn't the best choice for

00:31:27.891 --> 00:31:29.593 align:center
the primary camera to film yourself,

00:31:29.753 --> 00:31:31.054 align:center
as you're limited to only one

00:31:31.154 --> 00:31:31.815 align:center
focal length.

00:31:32.095 --> 00:31:33.336 align:center
However, if you use an action

00:31:33.376 --> 00:31:35.137 align:center
camera as an additional camera, it

00:31:35.177 --> 00:31:36.538 align:center
can be extremely useful.

00:31:36.838 --> 00:31:37.699 align:center
As you're going to see in

00:31:37.739 --> 00:31:39.440 align:center
the shooting tips, you always want

00:31:39.480 --> 00:31:40.941 align:center
to look for unique angles when

00:31:41.001 --> 00:31:41.821 align:center
filming yourself.

00:31:42.162 --> 00:31:43.943 align:center
And as you might remember, action

00:31:43.963 --> 00:31:45.504 align:center
cameras allow you to capture shots

00:31:45.544 --> 00:31:47.105 align:center
from impossible perspectives.

00:31:47.605 --> 00:31:49.007 align:center
You can mount an action camera

00:31:49.087 --> 00:31:50.890 align:center
on all sorts of vehicles, you

00:31:50.930 --> 00:31:52.251 align:center
can mount them on different types

00:31:52.312 --> 00:31:54.094 align:center
of objects, and you can also

00:31:54.154 --> 00:31:55.195 align:center
mount them on yourself.

00:31:55.656 --> 00:31:57.058 align:center
Action cameras provide you with an

00:31:57.138 --> 00:31:59.421 align:center
almost unlimited amount of possibilities to

00:31:59.481 --> 00:32:01.123 align:center
mount your camera, and this gives

00:32:01.143 --> 00:32:02.465 align:center
you a lot of creative freedom

00:32:02.525 --> 00:32:03.506 align:center
when filming yourself.

00:32:04.047 --> 00:32:05.328 align:center
While many shots of my dog

00:32:05.348 --> 00:32:06.709 align:center
sledding video were captured on a

00:32:06.769 --> 00:32:08.430 align:center
normal camera or a drone, I

00:32:08.490 --> 00:32:09.650 align:center
also filmed a lot of shots

00:32:09.750 --> 00:32:11.051 align:center
with an action camera and a

00:32:11.091 --> 00:32:12.172 align:center
three-sixty camera.

00:32:12.392 --> 00:32:13.833 align:center
I simply mounted the cameras on

00:32:13.853 --> 00:32:15.113 align:center
the different parts of the dog

00:32:15.133 --> 00:32:16.854 align:center
sled, and then while riding, I

00:32:16.894 --> 00:32:18.555 align:center
let them capture the experience.

00:32:18.835 --> 00:32:20.156 align:center
There are no other cameras that

00:32:20.196 --> 00:32:22.057 align:center
hold up in such challenging environments,

00:32:22.377 --> 00:32:23.978 align:center
and the unique perspectives help me

00:32:24.018 --> 00:32:25.639 align:center
to really transport the viewer right

00:32:25.699 --> 00:32:26.520 align:center
into the action.

00:32:26.980 --> 00:32:28.041 align:center
As I explained in the last

00:32:28.121 --> 00:32:29.823 align:center
module, you can also mount main

00:32:29.863 --> 00:32:31.384 align:center
cameras in all sorts of angles,

00:32:31.684 --> 00:32:33.246 align:center
but it always requires much more

00:32:33.326 --> 00:32:35.408 align:center
time, effort, and mounting gear.

00:32:35.668 --> 00:32:37.089 align:center
So with their lightweight factor and

00:32:37.129 --> 00:32:39.151 align:center
the huge variety of mounting accessories,

00:32:39.512 --> 00:32:41.173 align:center
action cameras make this process much

00:32:41.213 --> 00:32:42.895 align:center
more convenient, and that's why they

00:32:42.955 --> 00:32:44.356 align:center
are a great tool when filming

00:32:44.396 --> 00:32:44.837 align:center
yourself.

00:32:45.417 --> 00:32:46.738 align:center
Now, this covered the five most

00:32:46.818 --> 00:32:48.439 align:center
important items that are nice to

00:32:48.499 --> 00:32:48.799 align:center
have.

00:32:49.219 --> 00:32:50.420 align:center
A flip screen and a remote

00:32:50.460 --> 00:32:51.761 align:center
control will make your shoot more

00:32:51.821 --> 00:32:54.162 align:center
efficient while saving storage, a remote

00:32:54.342 --> 00:32:55.803 align:center
app can replace a flip screen

00:32:55.843 --> 00:32:57.504 align:center
and a remote control, but usually

00:32:57.564 --> 00:32:59.345 align:center
it is much less convenient, and

00:32:59.385 --> 00:33:01.006 align:center
drones as well as action cameras

00:33:01.146 --> 00:33:03.247 align:center
open up many more possibilities as

00:33:03.307 --> 00:33:04.788 align:center
they allow you to capture yourself

00:33:04.808 --> 00:33:06.069 align:center
from different perspectives.

00:33:06.489 --> 00:33:07.851 align:center
Lastly, let's have a look at

00:33:07.891 --> 00:33:09.473 align:center
the first advanced piece of gear,

00:33:09.513 --> 00:33:10.474 align:center
which is a slider.

00:33:10.914 --> 00:33:11.935 align:center
As you know from the first

00:33:12.015 --> 00:33:13.817 align:center
lessons of this module, the movement

00:33:13.857 --> 00:33:14.959 align:center
of your camera is one of

00:33:14.979 --> 00:33:16.741 align:center
the most important visual elements to

00:33:16.781 --> 00:33:18.703 align:center
influence the psychology and aesthetic of

00:33:18.743 --> 00:33:19.283 align:center
your shots.

00:33:19.664 --> 00:33:21.186 align:center
However, when filming yourself with a

00:33:21.246 --> 00:33:23.408 align:center
normal camera, it is basically impossible

00:33:23.468 --> 00:33:24.830 align:center
to create camera movements.

00:33:25.330 --> 00:33:25.630 align:center
Why?

00:33:25.851 --> 00:33:26.852 align:center
Because you need to be in

00:33:26.912 --> 00:33:27.773 align:center
front of the camera.

00:33:28.033 --> 00:33:29.533 align:center
While drones solve that problem by

00:33:29.593 --> 00:33:31.234 align:center
allowing you to create camera movements

00:33:31.274 --> 00:33:33.214 align:center
with a remote controller, you won't

00:33:33.274 --> 00:33:34.595 align:center
be able to control the movement

00:33:34.635 --> 00:33:36.515 align:center
of a normal camera without additional

00:33:36.555 --> 00:33:37.316 align:center
accessories.

00:33:37.816 --> 00:33:38.936 align:center
Now, one of the best ways

00:33:38.976 --> 00:33:41.017 align:center
to create automated camera movements is

00:33:41.057 --> 00:33:42.857 align:center
by using a motorized slider.

00:33:43.137 --> 00:33:44.517 align:center
While there are manual sliders that

00:33:44.577 --> 00:33:46.038 align:center
have to be operated by hand,

00:33:46.378 --> 00:33:48.178 align:center
there are also motorized sliders that

00:33:48.238 --> 00:33:49.459 align:center
allow you to set a start

00:33:49.499 --> 00:33:51.099 align:center
and end point after which the

00:33:51.139 --> 00:33:52.960 align:center
slider will automatically execute that

00:33:53.020 --> 00:33:53.500 align:center
movement.

00:33:53.940 --> 00:33:55.721 align:center
Many motorized sliders will allow you

00:33:55.761 --> 00:33:57.903 align:center
to create both directional and rotational

00:33:57.963 --> 00:33:58.463 align:center
movements.

00:33:58.703 --> 00:34:00.084 align:center
That means you can create perfect

00:34:00.144 --> 00:34:02.566 align:center
push-ins and pull-outs, you can create

00:34:02.626 --> 00:34:04.667 align:center
normal slider shots to either side,

00:34:05.047 --> 00:34:06.468 align:center
and you can also create perfect

00:34:06.608 --> 00:34:08.650 align:center
orbits that focus on one subject.

00:34:09.110 --> 00:34:10.291 align:center
On top of that, you can

00:34:10.331 --> 00:34:11.772 align:center
program the slider to move from

00:34:11.892 --> 00:34:13.413 align:center
any start point to any end

00:34:13.493 --> 00:34:14.854 align:center
point as long as the camera

00:34:14.894 --> 00:34:16.135 align:center
moves on one axis.

00:34:16.495 --> 00:34:18.777 align:center
Quite frankly, a motorized slider allows

00:34:18.797 --> 00:34:20.158 align:center
you to create a large variety

00:34:20.218 --> 00:34:22.480 align:center
of stabilized movements, and when used

00:34:22.520 --> 00:34:24.141 align:center
correctly, it can really step up

00:34:24.181 --> 00:34:25.843 align:center
the quality and storytelling of your

00:34:25.883 --> 00:34:26.243 align:center
shots.

00:34:26.623 --> 00:34:28.465 align:center
In addition, sliders can execute a

00:34:28.525 --> 00:34:30.807 align:center
movement very fast or very slowly.

00:34:31.187 --> 00:34:32.208 align:center
So for example, if you want

00:34:32.248 --> 00:34:33.389 align:center
to capture a time lapse of

00:34:33.429 --> 00:34:35.170 align:center
yourself, you can set the slider

00:34:35.230 --> 00:34:36.771 align:center
to execute the movement in five

00:34:36.851 --> 00:34:38.793 align:center
minutes, and just like that, you're

00:34:38.813 --> 00:34:40.334 align:center
going to have an extremely dynamic

00:34:40.414 --> 00:34:41.055 align:center
time lapse.

00:34:41.535 --> 00:34:42.776 align:center
While a slider can improve the

00:34:42.816 --> 00:34:44.617 align:center
quality of your shots, it's important

00:34:44.657 --> 00:34:45.878 align:center
to say that a good slider

00:34:45.918 --> 00:34:47.239 align:center
costs quite a bit of money,

00:34:47.559 --> 00:34:49.220 align:center
and it always takes additional setup

00:34:49.261 --> 00:34:50.882 align:center
time for every single shot.

00:34:51.182 --> 00:34:52.463 align:center
So this piece of gear won't

00:34:52.503 --> 00:34:54.004 align:center
be very practical if you're more

00:34:54.044 --> 00:34:55.265 align:center
of a run-and-gun shooter.

00:34:55.525 --> 00:34:57.146 align:center
Now the second advanced item is

00:34:57.206 --> 00:34:57.746 align:center
a gimbal.

00:34:58.127 --> 00:34:59.688 align:center
While most sliders can create both

00:34:59.728 --> 00:35:02.250 align:center
directional and rotational movements, a gimbal

00:35:02.270 --> 00:35:04.151 align:center
can only create rotational movements.

00:35:04.471 --> 00:35:05.872 align:center
However, as gimbals are much more

00:35:05.933 --> 00:35:07.894 align:center
common, chances are that you already

00:35:08.015 --> 00:35:08.475 align:center
own one.

00:35:08.775 --> 00:35:11.218 align:center
Just like motorized sliders, gimbals also

00:35:11.278 --> 00:35:12.259 align:center
work with motors.

00:35:12.559 --> 00:35:14.001 align:center
And that's why many gimbal models

00:35:14.061 --> 00:35:15.162 align:center
have a feature to set a

00:35:15.222 --> 00:35:17.024 align:center
start and end point for executing

00:35:17.084 --> 00:35:18.945 align:center
a keyframed rotation that will be

00:35:19.066 --> 00:35:21.288 align:center
executed without you touching the camera.

00:35:21.628 --> 00:35:22.929 align:center
Again, you can adjust the speed

00:35:22.949 --> 00:35:24.410 align:center
of that rotation, so it is

00:35:24.510 --> 00:35:26.771 align:center
also possible to create moving timelapses

00:35:26.851 --> 00:35:27.491 align:center
of yourself.

00:35:27.992 --> 00:35:29.493 align:center
While many gimbals allow you to

00:35:29.573 --> 00:35:31.954 align:center
program a specific rotation, some of

00:35:31.994 --> 00:35:33.695 align:center
them also offer options to track

00:35:33.735 --> 00:35:34.255 align:center
yourself.

00:35:34.576 --> 00:35:35.656 align:center
So if you want the camera

00:35:35.696 --> 00:35:36.837 align:center
to keep you at a specific

00:35:36.897 --> 00:35:38.098 align:center
part of the frame at all

00:35:38.158 --> 00:35:39.979 align:center
times, this might be worth looking

00:35:40.099 --> 00:35:40.479 align:center
into.

00:35:40.999 --> 00:35:42.500 align:center
As you see, the two advanced

00:35:42.660 --> 00:35:44.781 align:center
items of motorized sliders and gimbals

00:35:45.002 --> 00:35:46.562 align:center
only help you add camera movements

00:35:46.602 --> 00:35:47.303 align:center
to your shots.

00:35:47.723 --> 00:35:48.945 align:center
So to sum it up, when

00:35:49.005 --> 00:35:50.687 align:center
filming yourself, I believe that you

00:35:50.727 --> 00:35:52.790 align:center
must have a camera, a tripod,

00:35:52.910 --> 00:35:53.851 align:center
and a microphone.

00:35:54.092 --> 00:35:54.973 align:center
It is nice to have a

00:35:55.093 --> 00:35:57.075 align:center
flip screen, a remote control, a

00:35:57.176 --> 00:35:59.419 align:center
remote app, a stabilized drone, and

00:35:59.459 --> 00:36:00.400 align:center
an action camera.

00:36:00.560 --> 00:36:01.481 align:center
And if you want to capture

00:36:01.521 --> 00:36:03.504 align:center
advanced shots, you can also consider

00:36:03.544 --> 00:36:05.146 align:center
getting yourself a slider or a

00:36:05.226 --> 00:36:05.607 align:center
gimbal.

00:36:06.007 --> 00:36:06.767 align:center
If you want to know the

00:36:06.847 --> 00:36:08.628 align:center
exact gear I personally recommend to

00:36:08.668 --> 00:36:09.949 align:center
buy, you can find a link

00:36:09.969 --> 00:36:11.670 align:center
to my updated gear recommendations in

00:36:11.690 --> 00:36:13.050 align:center
the description of this lesson.

00:36:13.290 --> 00:36:14.271 align:center
So now that we covered the

00:36:14.331 --> 00:36:15.952 align:center
gear tips, let's dive into the

00:36:15.992 --> 00:36:17.492 align:center
meat of this lesson by talking

00:36:17.532 --> 00:36:18.653 align:center
about the shooting tips.

00:36:21.553 --> 00:36:23.835 align:center
Tip one, use creative concepts.

00:36:24.436 --> 00:36:25.457 align:center
As I mentioned in the last

00:36:25.517 --> 00:36:27.459 align:center
chapter, when filming yourself, you don't

00:36:27.499 --> 00:36:29.020 align:center
have any control over the camera

00:36:29.061 --> 00:36:30.682 align:center
movement, which eliminates one of the

00:36:30.742 --> 00:36:32.384 align:center
most important visual elements.

00:36:32.744 --> 00:36:34.566 align:center
For this reason, videos of yourself

00:36:34.606 --> 00:36:36.148 align:center
have to be original and creative

00:36:36.248 --> 00:36:37.189 align:center
when it comes to all of

00:36:37.229 --> 00:36:38.190 align:center
the other elements.

00:36:38.770 --> 00:36:39.852 align:center
Maybe you film yourself in a

00:36:39.892 --> 00:36:41.614 align:center
location you usually don't film in,

00:36:42.054 --> 00:36:43.576 align:center
maybe you think about very interesting

00:36:43.716 --> 00:36:45.318 align:center
actions that make the viewer intrigued

00:36:45.358 --> 00:36:47.101 align:center
in what is happening, or maybe

00:36:47.121 --> 00:36:49.263 align:center
you capture unique compositions that transport

00:36:49.283 --> 00:36:50.505 align:center
the message of your story.

00:36:50.805 --> 00:36:51.746 align:center
If you want to refresh your

00:36:51.766 --> 00:36:53.448 align:center
memory on how each visual element

00:36:53.489 --> 00:36:55.010 align:center
helps you influence the psychology and

00:36:55.070 --> 00:36:56.052 align:center
aesthetic of your shots,

00:36:56.412 --> 00:36:57.892 align:center
then please feel free to rewatch

00:36:57.932 --> 00:36:59.493 align:center
lessons six point two and six

00:36:59.533 --> 00:37:00.133 align:center
point three.

00:37:00.613 --> 00:37:01.653 align:center
But while it's good to think

00:37:01.693 --> 00:37:03.894 align:center
about unique options for individual elements,

00:37:04.254 --> 00:37:05.654 align:center
it is even more powerful to

00:37:05.694 --> 00:37:07.634 align:center
think about creative concepts that help

00:37:07.674 --> 00:37:08.975 align:center
you visualize a part of your

00:37:09.035 --> 00:37:09.455 align:center
story.

00:37:09.695 --> 00:37:11.035 align:center
Here are three ideas for what

00:37:11.075 --> 00:37:12.495 align:center
these concepts could look like.

00:37:12.876 --> 00:37:14.116 align:center
Number one is to use a

00:37:14.156 --> 00:37:14.756 align:center
metaphor.

00:37:15.196 --> 00:37:16.576 align:center
A powerful way to capture a

00:37:16.616 --> 00:37:18.177 align:center
scene is to create a metaphor

00:37:18.217 --> 00:37:19.357 align:center
of what you talk about.

00:37:19.677 --> 00:37:20.538 align:center
So if you talk about the

00:37:20.598 --> 00:37:22.359 align:center
constant need to chase bigger goals,

00:37:22.680 --> 00:37:24.021 align:center
you can for example step onto

00:37:24.081 --> 00:37:26.022 align:center
higher and higher objects in order

00:37:26.082 --> 00:37:27.083 align:center
to show that none of those

00:37:27.123 --> 00:37:28.985 align:center
goals actually satisfies your needs.

00:37:29.345 --> 00:37:30.866 align:center
Metaphors like this keep the viewer

00:37:30.946 --> 00:37:32.948 align:center
constantly engaged, and also they help

00:37:32.968 --> 00:37:34.569 align:center
you simplify complex parts of your

00:37:34.609 --> 00:37:36.211 align:center
story that are hard to describe.

00:37:36.491 --> 00:37:37.852 align:center
The second idea is to play

00:37:37.892 --> 00:37:38.753 align:center
a stereotype.

00:37:39.393 --> 00:37:40.974 align:center
If your story tackles a relatable

00:37:41.034 --> 00:37:42.715 align:center
topic, it can be very engaging

00:37:42.775 --> 00:37:44.356 align:center
to act like a different character

00:37:44.436 --> 00:37:46.317 align:center
that fits a specific stereotype.

00:37:46.657 --> 00:37:47.858 align:center
So for example, in my alarm

00:37:47.878 --> 00:37:49.339 align:center
clock video, I play a phone

00:37:49.399 --> 00:37:50.739 align:center
addict who can't stop looking on

00:37:50.759 --> 00:37:52.540 align:center
his screen in order to visualize

00:37:52.580 --> 00:37:53.841 align:center
the problem of my story.

00:37:54.181 --> 00:37:55.842 align:center
Lastly, the third idea is to

00:37:55.902 --> 00:37:56.963 align:center
change the perspective.

00:37:57.503 --> 00:37:59.104 align:center
Instead of working with a tripod

00:37:59.164 --> 00:38:00.945 align:center
and capturing normal shots of yourself,

00:38:01.346 --> 00:38:02.747 align:center
it can be super interesting to

00:38:02.807 --> 00:38:04.248 align:center
switch up the perspective from which

00:38:04.288 --> 00:38:05.348 align:center
you tell your story.

00:38:05.609 --> 00:38:06.850 align:center
So for example, you can film

00:38:06.910 --> 00:38:08.190 align:center
a scene where most shots show

00:38:08.230 --> 00:38:10.452 align:center
your own POV perspective in order

00:38:10.492 --> 00:38:11.913 align:center
to make the viewer more immersed

00:38:11.953 --> 00:38:12.954 align:center
in the experience.

00:38:13.614 --> 00:38:16.075 align:center
Using metaphors, playing a stereotype or

00:38:16.115 --> 00:38:17.775 align:center
changing the perspective are only a

00:38:17.915 --> 00:38:19.375 align:center
few examples of how you can

00:38:19.415 --> 00:38:20.576 align:center
capture your scenes in a more

00:38:20.656 --> 00:38:22.156 align:center
interesting and creative way.

00:38:22.376 --> 00:38:23.917 align:center
But depending on your story, there

00:38:23.957 --> 00:38:24.917 align:center
are going to be many more

00:38:24.957 --> 00:38:27.257 align:center
opportunities to capture strong visuals.

00:38:27.557 --> 00:38:28.878 align:center
So don't settle for the average

00:38:28.918 --> 00:38:30.558 align:center
sequence of shots, but try to

00:38:30.678 --> 00:38:32.559 align:center
use creative concepts that challenge the

00:38:32.599 --> 00:38:32.939 align:center
norm.

00:38:33.179 --> 00:38:34.499 align:center
Tip two is to write a

00:38:34.539 --> 00:38:35.079 align:center
shot list.

00:38:35.659 --> 00:38:36.800 align:center
As you might know, it is

00:38:36.860 --> 00:38:38.140 align:center
often quite hard to come up

00:38:38.160 --> 00:38:40.261 align:center
with creative concepts and shot sequences

00:38:40.401 --> 00:38:41.581 align:center
right on the spot when you're

00:38:41.661 --> 00:38:42.081 align:center
filming.

00:38:42.341 --> 00:38:43.722 align:center
When there is time pressure, you

00:38:43.762 --> 00:38:45.163 align:center
don't really have the mental bandwidth

00:38:45.223 --> 00:38:47.184 align:center
to think through creative ideas, and

00:38:47.224 --> 00:38:48.485 align:center
that's where writing a shot list

00:38:48.565 --> 00:38:49.706 align:center
is really going to help.

00:38:50.086 --> 00:38:51.627 align:center
You basically take time before the

00:38:51.687 --> 00:38:53.188 align:center
shoot in order to already think

00:38:53.248 --> 00:38:55.190 align:center
about creative ways to visualize parts

00:38:55.230 --> 00:38:56.691 align:center
of your story, and then you

00:38:56.711 --> 00:38:58.452 align:center
can define visual elements for one

00:38:58.532 --> 00:38:59.593 align:center
shot after another.

00:38:59.893 --> 00:39:01.094 align:center
Let's look at an example.

00:39:01.574 --> 00:39:02.875 align:center
For the staged intro of my

00:39:02.915 --> 00:39:04.956 align:center
dopamine detox video, I created this

00:39:05.016 --> 00:39:06.357 align:center
metaphor of a guy who has

00:39:06.377 --> 00:39:07.758 align:center
to choose between a carrot and

00:39:07.818 --> 00:39:08.859 align:center
a piece of chocolate.

00:39:09.159 --> 00:39:10.720 align:center
Long story short, I grab the

00:39:10.760 --> 00:39:12.281 align:center
piece of chocolate and I turn

00:39:12.301 --> 00:39:13.562 align:center
into a chocolate addict.

00:39:13.862 --> 00:39:15.523 align:center
In my opinion, this staged scene

00:39:15.563 --> 00:39:17.164 align:center
is a very creative approach to

00:39:17.224 --> 00:39:19.145 align:center
visualize the introduction of my story.

00:39:19.386 --> 00:39:21.067 align:center
It is entertaining, but it also

00:39:21.107 --> 00:39:23.048 align:center
provides a simple explanation of how

00:39:23.108 --> 00:39:24.629 align:center
dopamine and addiction works.

00:39:25.009 --> 00:39:26.231 align:center
But as you can imagine, I

00:39:26.291 --> 00:39:27.393 align:center
wasn't able to come up with

00:39:27.413 --> 00:39:29.135 align:center
this idea right during the shoot.

00:39:29.436 --> 00:39:31.118 align:center
Instead, I created a small shot

00:39:31.178 --> 00:39:32.360 align:center
list where I figured out how

00:39:32.460 --> 00:39:33.602 align:center
each of the shots is going

00:39:33.642 --> 00:39:34.784 align:center
to connect to each other.

00:39:35.184 --> 00:39:37.868 align:center
Me standing and opening fridge, carrot

00:39:37.908 --> 00:39:39.050 align:center
and piece of chocolate in the

00:39:39.110 --> 00:39:39.390 align:center
fridge,

00:39:40.031 --> 00:39:41.852 align:center
me looking at carrot and chocolate,

00:39:42.372 --> 00:39:43.893 align:center
my eyes switching from side to

00:39:43.973 --> 00:39:46.414 align:center
side, POV looking at carrot and

00:39:46.474 --> 00:39:49.695 align:center
chocolate, grabbing the chocolate, me taking

00:39:49.735 --> 00:39:51.996 align:center
a bite of chocolate, me opening

00:39:52.076 --> 00:39:53.557 align:center
fridge grabbing a whole bar of

00:39:53.617 --> 00:39:56.118 align:center
chocolate, repeat many times with different

00:39:56.158 --> 00:39:58.419 align:center
chocolate bars and outfits, and me

00:39:58.459 --> 00:39:59.959 align:center
laying on couch with many bars

00:39:59.999 --> 00:40:01.660 align:center
of chocolate around me and eating

00:40:01.720 --> 00:40:01.840 align:center
them.

00:40:02.220 --> 00:40:03.841 align:center
Planning the action for each shot

00:40:03.961 --> 00:40:05.121 align:center
made it a lot easier to

00:40:05.181 --> 00:40:06.662 align:center
seamlessly connect the shots in the

00:40:06.782 --> 00:40:07.282 align:center
editing.

00:40:07.462 --> 00:40:09.043 align:center
But besides the action, I also

00:40:09.083 --> 00:40:10.784 align:center
defined other visual elements like the

00:40:10.844 --> 00:40:14.345 align:center
shot size, settings, camera type, movements,

00:40:14.546 --> 00:40:15.446 align:center
and locations.

00:40:15.886 --> 00:40:17.667 align:center
Also, this additional information makes it

00:40:17.707 --> 00:40:19.028 align:center
a lot easier to capture the

00:40:19.088 --> 00:40:20.988 align:center
right shots while being sure that

00:40:21.028 --> 00:40:22.609 align:center
your creative concept is going to

00:40:22.649 --> 00:40:24.310 align:center
work out in the final sequence.

00:40:24.910 --> 00:40:25.970 align:center
As you learned in lesson four

00:40:26.010 --> 00:40:27.551 align:center
point six, the entries of a

00:40:27.591 --> 00:40:28.931 align:center
shot list can be as strictly

00:40:29.031 --> 00:40:30.411 align:center
or as loosely defined as you

00:40:30.451 --> 00:40:31.292 align:center
want them to be.

00:40:31.532 --> 00:40:32.852 align:center
So you can either define every

00:40:32.892 --> 00:40:34.412 align:center
single shot, or you can define

00:40:34.452 --> 00:40:36.133 align:center
multiple shots at the same time.

00:40:36.413 --> 00:40:37.873 align:center
No matter how strictly or loosely

00:40:37.913 --> 00:40:39.414 align:center
you define your shot list, it

00:40:39.434 --> 00:40:40.574 align:center
will always help you come up

00:40:40.614 --> 00:40:42.334 align:center
with more creative concepts to capture

00:40:42.374 --> 00:40:43.915 align:center
your visuals, and it will give

00:40:43.935 --> 00:40:45.455 align:center
you a clear direction during the

00:40:45.535 --> 00:40:45.975 align:center
shoot.

00:40:46.315 --> 00:40:48.416 align:center
Tip three, embrace the static look.

00:40:48.936 --> 00:40:50.418 align:center
As you learned throughout this lesson,

00:40:50.618 --> 00:40:52.320 align:center
filming yourself makes it really hard

00:40:52.340 --> 00:40:53.981 align:center
to add camera movements, as you

00:40:54.021 --> 00:40:55.883 align:center
can't operate your camera while standing

00:40:55.923 --> 00:40:56.724 align:center
in front of it.

00:40:57.024 --> 00:40:58.666 align:center
For this reason, the majority of

00:40:58.706 --> 00:40:59.827 align:center
your shots are going to be

00:40:59.887 --> 00:41:01.009 align:center
completely static.

00:41:01.329 --> 00:41:02.971 align:center
Obviously, you can create camera movements

00:41:03.031 --> 00:41:04.652 align:center
by capturing insert shots of other

00:41:04.692 --> 00:41:06.554 align:center
subjects, mounting the camera on a

00:41:06.614 --> 00:41:08.756 align:center
vehicle, or using advanced gear such

00:41:08.817 --> 00:41:10.058 align:center
as sliders or gimbals.

00:41:10.378 --> 00:41:11.959 align:center
However, I don't recommend you to

00:41:11.999 --> 00:41:14.020 align:center
obsess about adding camera movements when

00:41:14.060 --> 00:41:15.300 align:center
filming shots of yourself.

00:41:15.621 --> 00:41:17.181 align:center
Instead, I actually urge you to

00:41:17.241 --> 00:41:19.142 align:center
embrace the static look, because seeing

00:41:19.202 --> 00:41:20.803 align:center
no camera motion adds a very

00:41:20.863 --> 00:41:22.364 align:center
special feeling to your shots.

00:41:22.864 --> 00:41:24.865 align:center
First, you focus the viewer's attention

00:41:24.985 --> 00:41:26.166 align:center
on what is happening in the

00:41:26.246 --> 00:41:26.606 align:center
frame.

00:41:26.866 --> 00:41:28.347 align:center
Instead of distracting the viewer with

00:41:28.427 --> 00:41:30.588 align:center
unnecessary movements, you allow them to

00:41:30.648 --> 00:41:32.629 align:center
focus on the character, recognize the

00:41:32.689 --> 00:41:34.610 align:center
nuances of an action, and take

00:41:34.630 --> 00:41:36.271 align:center
in the details of an environment.

00:41:36.611 --> 00:41:37.611 align:center
This is the reason why the

00:41:37.651 --> 00:41:39.892 align:center
filmmaker Casey Neistat tries to avoid

00:41:39.952 --> 00:41:41.773 align:center
camera movements whenever possible.

00:41:42.053 --> 00:41:43.733 align:center
And as a second benefit, static

00:41:43.773 --> 00:41:45.734 align:center
shots appear more authentic when capturing

00:41:45.774 --> 00:41:47.395 align:center
documentary scenes of yourself.

00:41:47.775 --> 00:41:49.635 align:center
If you're documenting your own experience

00:41:49.675 --> 00:41:50.836 align:center
and there are no other people

00:41:50.896 --> 00:41:52.516 align:center
visible in your shots, it only

00:41:52.556 --> 00:41:53.977 align:center
makes sense to have no camera

00:41:54.017 --> 00:41:55.918 align:center
movements, as the viewer expects you

00:41:55.978 --> 00:41:56.898 align:center
to be by yourself.

00:41:57.338 --> 00:41:58.579 align:center
When the viewer sees a camera

00:41:58.619 --> 00:42:00.620 align:center
movement that isn't achievable by yourself,

00:42:00.780 --> 00:42:02.442 align:center
they immediately assume that there was

00:42:02.482 --> 00:42:04.323 align:center
another person involved, which makes your

00:42:04.343 --> 00:42:06.224 align:center
shots look staged and inauthentic.

00:42:06.584 --> 00:42:08.346 align:center
This psychological link makes the viewer

00:42:08.446 --> 00:42:10.067 align:center
doubt the intentions of your actions,

00:42:10.367 --> 00:42:11.888 align:center
and therefore, it also lowers the

00:42:11.928 --> 00:42:13.249 align:center
connection to your story.

00:42:13.689 --> 00:42:15.551 align:center
So again, the benefits of static

00:42:15.591 --> 00:42:17.252 align:center
shots are the focused attention on

00:42:17.292 --> 00:42:18.573 align:center
what is happening in the frame,

00:42:18.913 --> 00:42:21.255 align:center
and the increased authenticity for documentary

00:42:21.335 --> 00:42:21.735 align:center
scenes.

00:42:22.115 --> 00:42:23.396 align:center
Over the last years of filming

00:42:23.436 --> 00:42:25.058 align:center
myself, I honestly fell in love

00:42:25.098 --> 00:42:26.599 align:center
with static shots that don't have

00:42:26.720 --> 00:42:27.901 align:center
any camera movements.

00:42:28.101 --> 00:42:29.662 align:center
The static look simply feels raw

00:42:29.702 --> 00:42:31.404 align:center
and authentic, plus it gives the

00:42:31.464 --> 00:42:33.166 align:center
viewer a break from the exaggerated

00:42:33.226 --> 00:42:34.867 align:center
camera movements in the modern world

00:42:34.907 --> 00:42:35.688 align:center
of filmmaking.

00:42:35.988 --> 00:42:37.490 align:center
So for this reason, I urge

00:42:37.530 --> 00:42:39.051 align:center
you to embrace the static look

00:42:39.091 --> 00:42:39.732 align:center
of your shots.

00:42:40.192 --> 00:42:42.735 align:center
Tip four, evoke emotions with composition.

00:42:43.235 --> 00:42:44.316 align:center
As you know from lesson six

00:42:44.376 --> 00:42:46.458 align:center
point two about visual psychology, the

00:42:46.518 --> 00:42:47.760 align:center
movement of your camera has a

00:42:47.820 --> 00:42:49.561 align:center
strong impact on the emotions of

00:42:49.602 --> 00:42:50.202 align:center
the viewer.

00:42:50.402 --> 00:42:51.724 align:center
However, as you aren't able to

00:42:51.764 --> 00:42:53.666 align:center
do camera movements when filming yourself,

00:42:54.046 --> 00:42:55.527 align:center
you need to create emotions with

00:42:55.627 --> 00:42:56.688 align:center
other visual elements.

00:42:57.089 --> 00:42:58.250 align:center
And one of the best elements

00:42:58.310 --> 00:42:59.932 align:center
to do this is your composition.

00:43:00.392 --> 00:43:02.574 align:center
As you might remember, balanced compositions

00:43:02.674 --> 00:43:05.977 align:center
create stability, harmony, and focus, and

00:43:06.097 --> 00:43:08.500 align:center
imbalanced compositions create instability,

00:43:08.680 --> 00:43:09.741 align:center
disruption, and

00:43:09.801 --> 00:43:10.482 align:center
confusion.

00:43:10.762 --> 00:43:12.243 align:center
So depending on what emotions you

00:43:12.283 --> 00:43:13.544 align:center
want to achieve with your shots,

00:43:13.865 --> 00:43:15.006 align:center
you can either choose to follow

00:43:15.046 --> 00:43:16.747 align:center
the ten rules of balance, or

00:43:16.787 --> 00:43:18.649 align:center
the ten broken rules of imbalance.

00:43:19.090 --> 00:43:20.471 align:center
Here are a few examples on

00:43:20.531 --> 00:43:22.513 align:center
how to evoke emotions with composition.

00:43:22.833 --> 00:43:24.493 align:center
Place the camera further away to

00:43:24.534 --> 00:43:26.534 align:center
make yourself appear lost, leave a

00:43:26.574 --> 00:43:27.794 align:center
lot of headroom to make the

00:43:27.834 --> 00:43:30.175 align:center
environment feel more dominant, leave less

00:43:30.255 --> 00:43:31.916 align:center
leading room to make yourself look

00:43:31.936 --> 00:43:33.996 align:center
confused, look for symmetry in the

00:43:34.056 --> 00:43:35.677 align:center
environment to make a scene feel

00:43:35.717 --> 00:43:38.077 align:center
calm and harmonious, tilt the horizon

00:43:38.097 --> 00:43:40.118 align:center
of your camera and embrace asymmetry

00:43:40.178 --> 00:43:41.758 align:center
to make a scene feel unsettling,

00:43:41.978 --> 00:43:43.479 align:center
or create an imbalance between the

00:43:43.539 --> 00:43:45.319 align:center
subjects in your composition in order

00:43:45.359 --> 00:43:46.320 align:center
to make one of them look

00:43:46.420 --> 00:43:47.300 align:center
insignificant.

00:43:48.040 --> 00:43:49.801 align:center
One solo filmmaker who is extremely

00:43:49.841 --> 00:43:51.542 align:center
good at creating emotions and visual

00:43:51.602 --> 00:43:53.764 align:center
interest through composition is the YouTuber

00:43:53.804 --> 00:43:54.524 align:center
Jake Frew.

00:43:54.764 --> 00:43:56.445 align:center
He mostly captures shots of himself,

00:43:56.666 --> 00:43:58.427 align:center
but he heavily influences the stories

00:43:58.467 --> 00:43:59.727 align:center
he tells by coming up with

00:43:59.787 --> 00:44:01.609 align:center
creative ways to frame his shots.

00:44:01.969 --> 00:44:02.629 align:center
So if you want to get

00:44:02.669 --> 00:44:04.050 align:center
more inspiration for how you can

00:44:04.150 --> 00:44:06.191 align:center
use composition to your advantage, I

00:44:06.252 --> 00:44:07.472 align:center
recommend you to watch some of

00:44:07.532 --> 00:44:08.193 align:center
his videos.

00:44:08.713 --> 00:44:09.594 align:center
Also, if you want to get

00:44:09.634 --> 00:44:11.335 align:center
a deeper insight into the psychology

00:44:11.375 --> 00:44:12.916 align:center
and aesthetic behind the different rules

00:44:12.956 --> 00:44:14.977 align:center
of composition, then please make sure

00:44:15.037 --> 00:44:16.478 align:center
to watch the according chapters in

00:44:16.518 --> 00:44:18.059 align:center
lessons six point two and six

00:44:18.099 --> 00:44:18.679 align:center
point three.

00:44:18.959 --> 00:44:20.460 align:center
Tip five is to capture shot

00:44:20.500 --> 00:44:21.221 align:center
diversity.

00:44:21.721 --> 00:44:22.962 align:center
As I explained in lesson six

00:44:23.002 --> 00:44:25.103 align:center
point five, it is extremely important

00:44:25.143 --> 00:44:26.744 align:center
to capture a variety of shots

00:44:26.824 --> 00:44:27.965 align:center
when covering a scene.

00:44:28.325 --> 00:44:30.366 align:center
Especially when filming yourself, your shots

00:44:30.426 --> 00:44:32.067 align:center
don't spark any visual interest with

00:44:32.107 --> 00:44:32.748 align:center
their movements,

00:44:33.128 --> 00:44:34.089 align:center
so you need to put even

00:44:34.129 --> 00:44:35.951 align:center
more effort into capturing a diverse

00:44:35.971 --> 00:44:37.412 align:center
selection of shots that you can

00:44:37.452 --> 00:44:38.633 align:center
choose from in the editing.

00:44:38.933 --> 00:44:40.495 align:center
Here's a negative example of a

00:44:40.575 --> 00:44:42.156 align:center
sequence that has almost no shot

00:44:42.176 --> 00:44:42.817 align:center
diversity.

00:44:57.451 --> 00:44:59.052 align:center
As you see, this sequence only

00:44:59.092 --> 00:45:00.733 align:center
includes three shots that are all

00:45:00.793 --> 00:45:02.154 align:center
very similar to each other.

00:45:02.474 --> 00:45:03.655 align:center
All shots were captured on a

00:45:03.695 --> 00:45:05.756 align:center
low focal length, all shot sizes

00:45:05.856 --> 00:45:07.537 align:center
are pretty much the same, all

00:45:07.597 --> 00:45:08.857 align:center
shots were filmed from a straight

00:45:08.998 --> 00:45:10.638 align:center
angle at a medium height, and

00:45:10.758 --> 00:45:12.600 align:center
all compositions have a similar balance

00:45:12.680 --> 00:45:14.160 align:center
between the ground and the sky.

00:45:14.521 --> 00:45:16.262 align:center
Sure, especially because there are different

00:45:16.282 --> 00:45:18.163 align:center
locations, each shot looks different from

00:45:18.203 --> 00:45:18.623 align:center
each other.

00:45:18.943 --> 00:45:20.365 align:center
However, the sequence could be ten

00:45:20.425 --> 00:45:22.166 align:center
times more interesting if it included

00:45:22.226 --> 00:45:24.048 align:center
more shots and a larger variety

00:45:24.108 --> 00:45:25.209 align:center
of visual elements.

00:45:25.510 --> 00:45:26.871 align:center
So here is the same sequence

00:45:26.931 --> 00:45:28.393 align:center
with a lot of shot diversity.

00:45:49.004 --> 00:45:50.607 align:center
As you see, this sequence was

00:45:50.687 --> 00:45:52.229 align:center
much more interesting to watch and

00:45:52.269 --> 00:45:53.351 align:center
it gave the viewer a better

00:45:53.411 --> 00:45:55.013 align:center
insight into what is happening.

00:45:55.334 --> 00:45:56.436 align:center
So how did I create such

00:45:56.476 --> 00:45:58.058 align:center
a large diversity of shots?

00:45:58.519 --> 00:46:00.361 align:center
First, I captured shots with various

00:46:00.462 --> 00:46:03.526 align:center
focal lengths, shot sizes, angles and

00:46:03.586 --> 00:46:04.408 align:center
compositions.

00:46:04.768 --> 00:46:06.148 align:center
These are the four most important

00:46:06.188 --> 00:46:07.849 align:center
visual elements to make your shots

00:46:07.889 --> 00:46:09.069 align:center
stand out from each other.

00:46:09.449 --> 00:46:10.809 align:center
Instead of capturing a shot of

00:46:10.869 --> 00:46:12.470 align:center
me walking towards the gate, I

00:46:12.570 --> 00:46:14.130 align:center
also captured a second angle from

00:46:14.170 --> 00:46:14.950 align:center
the other side.

00:46:15.130 --> 00:46:16.711 align:center
Instead of only capturing shots on

00:46:16.771 --> 00:46:18.471 align:center
low focal lengths, I also captured

00:46:18.511 --> 00:46:20.032 align:center
shots on higher focal lengths where

00:46:20.052 --> 00:46:21.772 align:center
the camera was positioned further away

00:46:21.832 --> 00:46:22.192 align:center
from me.

00:46:22.452 --> 00:46:24.173 align:center
Instead of only capturing wide shots

00:46:24.233 --> 00:46:25.953 align:center
with my whole body visible, I

00:46:26.053 --> 00:46:27.813 align:center
also captured medium shots that only

00:46:27.873 --> 00:46:29.234 align:center
show my legs or my upper

00:46:29.274 --> 00:46:29.574 align:center
body.

00:46:29.774 --> 00:46:30.974 align:center
And instead of sticking to one

00:46:31.014 --> 00:46:32.935 align:center
and the same composition, I captured

00:46:32.975 --> 00:46:34.615 align:center
shots with different and unique compositions.

00:46:35.695 --> 00:46:36.856 align:center
Now, on top of varying your

00:46:36.916 --> 00:46:38.837 align:center
focal length, shot size, angle, and

00:46:38.897 --> 00:46:41.018 align:center
composition, you can also add more

00:46:41.058 --> 00:46:43.559 align:center
shot diversity by capturing POV shots.

00:46:43.999 --> 00:46:45.239 align:center
As you might remember from lesson

00:46:45.279 --> 00:46:47.220 align:center
six point four, a POV shot

00:46:47.280 --> 00:46:48.961 align:center
shows the actual perspective through the

00:46:49.101 --> 00:46:50.302 align:center
eyes of the subject.

00:46:50.562 --> 00:46:51.442 align:center
If we go back to my

00:46:51.502 --> 00:46:53.403 align:center
example, I didn't only capture shots

00:46:53.443 --> 00:46:55.063 align:center
of myself, but I also captured

00:46:55.124 --> 00:46:56.424 align:center
a POV shot that shows my

00:46:56.484 --> 00:46:58.085 align:center
legs, and I filmed an implied

00:46:58.145 --> 00:46:59.545 align:center
POV shot that shows how I

00:46:59.645 --> 00:47:00.846 align:center
observe the environment.

00:47:01.346 --> 00:47:03.287 align:center
Besides POV shots, you can also

00:47:03.327 --> 00:47:05.068 align:center
capture insert shots in order to

00:47:05.149 --> 00:47:06.329 align:center
add more diversity.

00:47:06.710 --> 00:47:08.070 align:center
As explained in lesson six point

00:47:08.130 --> 00:47:09.851 align:center
four, an insert shot focuses on

00:47:09.892 --> 00:47:11.713 align:center
a specific detail or object.

00:47:11.973 --> 00:47:13.814 align:center
So again, instead of showing yourself,

00:47:14.014 --> 00:47:15.475 align:center
you can show other objects or

00:47:15.535 --> 00:47:16.736 align:center
parts of the environment.

00:47:17.116 --> 00:47:18.237 align:center
In the case of my example

00:47:18.277 --> 00:47:20.098 align:center
sequence, I captured a wide shot

00:47:20.178 --> 00:47:21.279 align:center
of two birds sitting on a

00:47:21.339 --> 00:47:22.880 align:center
power line, and I captured a

00:47:22.920 --> 00:47:24.481 align:center
close-up shot of the wind blowing

00:47:24.521 --> 00:47:25.282 align:center
through the grass.

00:47:25.662 --> 00:47:27.003 align:center
These shots connect to the other

00:47:27.043 --> 00:47:28.604 align:center
shots where I am visible, and

00:47:28.624 --> 00:47:29.885 align:center
they really help to convey the

00:47:29.925 --> 00:47:31.406 align:center
feeling of the environment I am

00:47:31.527 --> 00:47:31.647 align:center
in.

00:47:32.207 --> 00:47:33.508 align:center
So to sum it up, you

00:47:33.528 --> 00:47:35.409 align:center
can capture more shot diversity by

00:47:35.469 --> 00:47:37.851 align:center
filming various focal lengths, shot sizes,

00:47:38.151 --> 00:47:40.313 align:center
angles and compositions, as well as

00:47:40.353 --> 00:47:42.474 align:center
by capturing POV shots and insert

00:47:42.515 --> 00:47:42.815 align:center
shots.

00:47:43.275 --> 00:47:44.696 align:center
Obviously, it takes more time to

00:47:44.756 --> 00:47:45.757 align:center
capture more shots.

00:47:46.097 --> 00:47:47.659 align:center
However, I can assure you that

00:47:47.679 --> 00:47:49.060 align:center
your shot sequences are going to

00:47:49.100 --> 00:47:50.761 align:center
be a lot more interesting if

00:47:50.801 --> 00:47:51.982 align:center
you have a good variety of

00:47:52.062 --> 00:47:53.263 align:center
coverage to choose from.

00:47:53.623 --> 00:47:56.185 align:center
Tip six, pay attention to continuity.

00:47:56.506 --> 00:47:57.947 align:center
As we already discussed in lesson

00:47:57.987 --> 00:47:59.108 align:center
six point five on how to

00:47:59.148 --> 00:48:00.609 align:center
cover a scene, it is really

00:48:00.649 --> 00:48:02.771 align:center
important to maintain continuity throughout

00:48:02.791 --> 00:48:02.951 align:center
your

00:48:03.011 --> 00:48:03.351 align:center
shots.

00:48:03.771 --> 00:48:05.673 align:center
As a recap, continuity is the

00:48:05.713 --> 00:48:07.775 align:center
consistency of the setting and character

00:48:07.935 --> 00:48:09.296 align:center
within a series of shots.

00:48:09.756 --> 00:48:10.897 align:center
This means that if you move

00:48:10.937 --> 00:48:12.438 align:center
an object within one shot and

00:48:12.478 --> 00:48:13.559 align:center
you want to capture a second

00:48:13.619 --> 00:48:15.380 align:center
shot of the same action, you

00:48:15.400 --> 00:48:16.801 align:center
should reset the object to its

00:48:16.861 --> 00:48:19.062 align:center
original position and execute the action

00:48:19.102 --> 00:48:20.243 align:center
in the exact same way.

00:48:20.543 --> 00:48:21.704 align:center
If you don't pay attention to

00:48:21.744 --> 00:48:23.906 align:center
continuity, the viewer will recognize these

00:48:23.946 --> 00:48:25.687 align:center
continuity errors and they might get

00:48:25.727 --> 00:48:27.068 align:center
distracted from the story.

00:48:27.408 --> 00:48:29.349 align:center
While continuity isn't that important for

00:48:29.389 --> 00:48:30.750 align:center
shot sequences where you show the

00:48:30.790 --> 00:48:32.711 align:center
character over a longer time period,

00:48:33.072 --> 00:48:34.673 align:center
it is absolutely essential for shot

00:48:34.693 --> 00:48:36.314 align:center
sequences where you want to seamlessly

00:48:36.354 --> 00:48:37.995 align:center
connect the actions of the character.

00:48:38.335 --> 00:48:39.437 align:center
Here's a scene where I had

00:48:39.457 --> 00:48:40.458 align:center
to pay a lot of attention

00:48:40.498 --> 00:48:42.381 align:center
to continuity in order to connect

00:48:42.521 --> 00:48:43.562 align:center
one shot to the other.

00:49:31.397 --> 00:49:33.339 align:center
Again, this sequence was quite interesting

00:49:33.379 --> 00:49:34.520 align:center
to watch as I captured a

00:49:34.560 --> 00:49:36.042 align:center
large diversity of shots.

00:49:36.422 --> 00:49:38.744 align:center
I captured wide shots, medium shots,

00:49:39.004 --> 00:49:42.168 align:center
close-up shots, POV shots, insert shots,

00:49:42.368 --> 00:49:43.769 align:center
and even some macro shots of

00:49:43.809 --> 00:49:44.370 align:center
the screen.

00:49:44.630 --> 00:49:46.071 align:center
But while the variety of shots

00:49:46.111 --> 00:49:47.453 align:center
helped me make this rather boring

00:49:47.533 --> 00:49:49.595 align:center
series of actions look very interesting,

00:49:49.975 --> 00:49:50.896 align:center
I also had to pay a

00:49:50.956 --> 00:49:52.738 align:center
lot of attention to continuity.

00:49:53.098 --> 00:49:54.599 align:center
Opposed to the example from earlier

00:49:54.659 --> 00:49:56.480 align:center
of me walking outside, I now

00:49:56.540 --> 00:49:57.740 align:center
had to match my action from

00:49:57.880 --> 00:49:58.961 align:center
one shot to another.

00:49:59.421 --> 00:50:00.542 align:center
When I put my phone down

00:50:00.582 --> 00:50:02.122 align:center
with the left hand while opening

00:50:02.162 --> 00:50:03.543 align:center
the drawer with the right hand,

00:50:03.783 --> 00:50:04.524 align:center
I had to do it the

00:50:04.584 --> 00:50:06.024 align:center
same way for the next shot.

00:50:06.324 --> 00:50:07.485 align:center
When I grabbed the hard drives

00:50:07.525 --> 00:50:09.026 align:center
with both hands, I also had

00:50:09.066 --> 00:50:10.286 align:center
to grab them with both hands

00:50:10.366 --> 00:50:11.407 align:center
in the shot that followed.

00:50:11.887 --> 00:50:13.007 align:center
When I moved the hard drives

00:50:13.027 --> 00:50:14.308 align:center
within a shot, I had to

00:50:14.348 --> 00:50:15.628 align:center
put them back to their original

00:50:15.688 --> 00:50:17.609 align:center
position before doing another take.

00:50:17.889 --> 00:50:18.869 align:center
And when I held one hard

00:50:18.909 --> 00:50:20.710 align:center
drive to inspect the required cable,

00:50:21.130 --> 00:50:21.950 align:center
I had to hold it in

00:50:21.990 --> 00:50:23.510 align:center
the exact same way when capturing

00:50:23.550 --> 00:50:25.091 align:center
the action from a higher angle.

00:50:25.551 --> 00:50:26.871 align:center
Once I found the cable, there

00:50:26.891 --> 00:50:28.492 align:center
was actually a compression in time,

00:50:28.672 --> 00:50:29.692 align:center
so I didn't have to match

00:50:29.792 --> 00:50:31.133 align:center
all actions as closely to each

00:50:31.213 --> 00:50:32.093 align:center
other as before.

00:50:32.713 --> 00:50:34.094 align:center
Now, if you paid close attention

00:50:34.134 --> 00:50:35.615 align:center
to this whole sequence, there was

00:50:35.695 --> 00:50:37.556 align:center
actually a small continuity error from

00:50:37.696 --> 00:50:38.756 align:center
one shot to another.

00:50:39.036 --> 00:50:40.077 align:center
When I put the hard drives

00:50:40.137 --> 00:50:41.337 align:center
on top of each other after

00:50:41.377 --> 00:50:42.678 align:center
taking them out of the drawer,

00:50:43.078 --> 00:50:44.519 align:center
the orange hard drive was placed

00:50:44.559 --> 00:50:45.099 align:center
in the middle.

00:50:45.359 --> 00:50:46.780 align:center
However, in the next shot, the

00:50:46.860 --> 00:50:48.021 align:center
orange hard drive is at the

00:50:48.081 --> 00:50:48.401 align:center
bottom.

00:50:48.721 --> 00:50:50.342 align:center
Most likely, you didn't realize the

00:50:50.382 --> 00:50:51.943 align:center
small mistake, as the movements of

00:50:51.983 --> 00:50:53.624 align:center
my actions connected so well to

00:50:53.684 --> 00:50:54.164 align:center
each other.

00:50:54.404 --> 00:50:55.745 align:center
However, if you saw it, it

00:50:55.825 --> 00:50:57.486 align:center
probably distracted you from what was

00:50:57.566 --> 00:50:58.006 align:center
happening.

00:50:58.346 --> 00:50:59.527 align:center
It really comes down to the

00:50:59.567 --> 00:51:01.469 align:center
small details of continuity if you

00:51:01.489 --> 00:51:03.010 align:center
want to establish a fluent visual

00:51:03.090 --> 00:51:04.992 align:center
flow without any distractions.

00:51:05.392 --> 00:51:06.753 align:center
As explained in lesson six point

00:51:06.814 --> 00:51:08.415 align:center
five, the goal of a montage

00:51:08.495 --> 00:51:09.396 align:center
is to make it look like

00:51:09.416 --> 00:51:10.697 align:center
the action of a scene only

00:51:10.737 --> 00:51:12.478 align:center
happened once, even though it was

00:51:12.559 --> 00:51:14.800 align:center
captured from multiple angles or cameras.

00:51:15.141 --> 00:51:16.722 align:center
Therefore, you need to pay extreme

00:51:16.762 --> 00:51:19.284 align:center
attention to continuity when filming yourself.

00:51:19.685 --> 00:51:21.767 align:center
Tip seven, capture insert shots.

00:51:22.387 --> 00:51:23.808 align:center
Even though I already mentioned that

00:51:23.888 --> 00:51:25.168 align:center
insert shots help you create more

00:51:25.208 --> 00:51:27.309 align:center
shot diversity, I think it's important

00:51:27.349 --> 00:51:28.830 align:center
to address insert shots in their

00:51:28.910 --> 00:51:29.671 align:center
own section.

00:51:29.931 --> 00:51:31.531 align:center
Just because you're filming by yourself

00:51:31.772 --> 00:51:33.052 align:center
doesn't mean that you only need

00:51:33.092 --> 00:51:34.413 align:center
to capture shots with you as

00:51:34.453 --> 00:51:35.233 align:center
the subject.

00:51:35.473 --> 00:51:36.854 align:center
In fact, it is actually really

00:51:36.914 --> 00:51:38.715 align:center
important to also show shots of

00:51:38.775 --> 00:51:40.456 align:center
how you experience the world around

00:51:40.516 --> 00:51:40.696 align:center
you.

00:51:41.116 --> 00:51:42.757 align:center
As I mentioned earlier, when telling

00:51:42.817 --> 00:51:44.618 align:center
a story about yourself, the viewer

00:51:44.658 --> 00:51:46.378 align:center
knows that you're both the storyteller

00:51:46.539 --> 00:51:47.379 align:center
and the character.

00:51:47.659 --> 00:51:48.560 align:center
They know that you are the

00:51:48.600 --> 00:51:50.641 align:center
person behind the camera, and therefore

00:51:50.681 --> 00:51:52.262 align:center
they interpret every shot that doesn't

00:51:52.302 --> 00:51:54.224 align:center
show yourself as an implied POV

00:51:54.284 --> 00:51:54.604 align:center
shot.

00:51:54.884 --> 00:51:56.565 align:center
In other words, whenever you capture

00:51:56.625 --> 00:51:58.427 align:center
inside shots of something else, the

00:51:58.467 --> 00:51:59.668 align:center
viewer is going to see those

00:51:59.728 --> 00:52:01.029 align:center
shots through your eyes.

00:52:01.589 --> 00:52:03.030 align:center
If you show beautiful and calm

00:52:03.090 --> 00:52:04.591 align:center
shots of the nature around you,

00:52:04.611 --> 00:52:05.952 align:center
the viewer thinks that you're in

00:52:05.992 --> 00:52:07.253 align:center
a moment of bliss and you're

00:52:07.293 --> 00:52:08.794 align:center
taking in the environment.

00:52:09.074 --> 00:52:09.935 align:center
On the other hand, if you

00:52:09.955 --> 00:52:11.496 align:center
capture more hectic shots that show

00:52:11.516 --> 00:52:13.177 align:center
the busyness of a city, then

00:52:13.217 --> 00:52:14.898 align:center
the viewer thinks that you're overwhelmed

00:52:14.959 --> 00:52:16.219 align:center
with all of the things happening

00:52:16.259 --> 00:52:16.800 align:center
around you.

00:52:17.100 --> 00:52:18.581 align:center
The visual language of your insert

00:52:18.601 --> 00:52:20.221 align:center
shots gives the viewer an insight

00:52:20.281 --> 00:52:22.202 align:center
into your experience as the character.

00:52:22.422 --> 00:52:23.883 align:center
This can be an incredibly powerful

00:52:23.943 --> 00:52:25.964 align:center
storytelling tool as you can visualize

00:52:26.004 --> 00:52:27.505 align:center
the emotions you're going through.

00:52:28.165 --> 00:52:29.826 align:center
One person who uses insert shots

00:52:29.886 --> 00:52:31.887 align:center
extremely well is the filmmaker Tim

00:52:31.927 --> 00:52:32.587 align:center
to the Wild.

00:52:32.987 --> 00:52:34.749 align:center
He creates short videos about different

00:52:34.789 --> 00:52:36.671 align:center
places where he films himself, but

00:52:36.711 --> 00:52:38.472 align:center
the majority of his videos consist

00:52:38.492 --> 00:52:40.234 align:center
of insert shots where he himself

00:52:40.334 --> 00:52:41.175 align:center
is not visible.

00:52:41.395 --> 00:52:42.476 align:center
But even though he is barely

00:52:42.556 --> 00:52:44.458 align:center
visible throughout the video, you as

00:52:44.478 --> 00:52:45.699 align:center
the viewer get a really good

00:52:45.759 --> 00:52:47.881 align:center
understanding of how he experiences those

00:52:47.941 --> 00:52:48.462 align:center
places.

00:52:48.822 --> 00:52:49.563 align:center
So if you want to put

00:52:49.623 --> 00:52:51.445 align:center
more intention into your insert shots,

00:52:51.805 --> 00:52:53.046 align:center
feel free to watch some of

00:52:53.086 --> 00:52:53.747 align:center
his videos.

00:52:54.147 --> 00:52:56.529 align:center
Tip eight, find unique mounting options.

00:52:57.210 --> 00:52:59.572 align:center
As you probably realized, creativity and

00:52:59.652 --> 00:53:00.994 align:center
uniqueness are some of the most

00:53:01.054 --> 00:53:03.155 align:center
important skills as a solo filmmaker.

00:53:03.396 --> 00:53:04.857 align:center
And for this reason, I also

00:53:04.917 --> 00:53:06.438 align:center
recommend you to get creative with

00:53:06.478 --> 00:53:08.220 align:center
your camera angles by mounting your

00:53:08.240 --> 00:53:09.701 align:center
camera in different places.

00:53:10.002 --> 00:53:11.483 align:center
Here are some examples of unique

00:53:11.523 --> 00:53:12.364 align:center
mounting options.

00:53:12.924 --> 00:53:14.005 align:center
You can mount your camera on

00:53:14.045 --> 00:53:15.586 align:center
a sturdy tripod and place it

00:53:15.606 --> 00:53:16.707 align:center
in the back of your car

00:53:16.747 --> 00:53:18.148 align:center
to film through the front window.

00:53:18.328 --> 00:53:19.509 align:center
You can place your camera to

00:53:19.569 --> 00:53:21.531 align:center
point upwards and put some plexiglass

00:53:21.591 --> 00:53:23.152 align:center
or normal glass over it in

00:53:23.232 --> 00:53:24.814 align:center
order to capture unique shots where

00:53:24.834 --> 00:53:26.095 align:center
the water hits the lens or

00:53:26.115 --> 00:53:27.256 align:center
you can see objects from an

00:53:27.356 --> 00:53:28.477 align:center
unconventional angle.

00:53:28.677 --> 00:53:29.758 align:center
You can mount your camera on

00:53:29.798 --> 00:53:31.059 align:center
a tripod and place it on

00:53:31.099 --> 00:53:32.860 align:center
a moving part of the environment.

00:53:33.100 --> 00:53:34.201 align:center
You can mount your camera on

00:53:34.261 --> 00:53:36.103 align:center
different objects to show the perspective

00:53:36.143 --> 00:53:37.664 align:center
of those objects, and this looks

00:53:37.724 --> 00:53:39.185 align:center
especially good if the object is

00:53:39.265 --> 00:53:41.027 align:center
moving or you somehow interact with

00:53:41.127 --> 00:53:41.187 align:center
it.

00:53:41.467 --> 00:53:42.447 align:center
On the other hand, you can

00:53:42.507 --> 00:53:44.308 align:center
also mount your camera inside different

00:53:44.408 --> 00:53:46.008 align:center
objects and interact with them by

00:53:46.128 --> 00:53:47.548 align:center
opening or closing parts of the

00:53:47.628 --> 00:53:48.049 align:center
object.

00:53:48.229 --> 00:53:49.689 align:center
You can build yourself a POV

00:53:49.729 --> 00:53:51.309 align:center
setup and capture shots from your

00:53:51.409 --> 00:53:52.270 align:center
own perspective.

00:53:52.510 --> 00:53:53.650 align:center
You can mount your camera with

00:53:53.730 --> 00:53:54.910 align:center
a suction cup on the window

00:53:54.970 --> 00:53:56.330 align:center
of a car and capture shots

00:53:56.371 --> 00:53:58.211 align:center
of yourself while driving, in which

00:53:58.251 --> 00:53:59.451 align:center
case the camera can either be

00:53:59.511 --> 00:54:00.992 align:center
mounted on the inside or the

00:54:01.112 --> 00:54:02.012 align:center
outside of the car.

00:54:02.252 --> 00:54:03.412 align:center
You can mount your camera on

00:54:03.452 --> 00:54:05.153 align:center
a boom stand and capture top-down

00:54:05.213 --> 00:54:06.053 align:center
shots of yourself.

00:54:06.393 --> 00:54:07.333 align:center
And if you don't have a

00:54:07.373 --> 00:54:08.813 align:center
boom stand, you can also place

00:54:08.833 --> 00:54:10.234 align:center
your tripod on a bad frame

00:54:10.334 --> 00:54:11.274 align:center
and achieve the same you

00:54:11.354 --> 00:54:12.054 align:center
unique angle.

00:54:12.495 --> 00:54:13.836 align:center
As you see, there are almost

00:54:13.916 --> 00:54:16.457 align:center
limitless possibilities to find unique mounting

00:54:16.597 --> 00:54:17.058 align:center
options.

00:54:17.338 --> 00:54:18.799 align:center
While you can achieve many interesting

00:54:18.939 --> 00:54:20.640 align:center
angles by simply placing your camera

00:54:20.680 --> 00:54:21.680 align:center
at the right part of the

00:54:21.720 --> 00:54:24.342 align:center
environment, other angles require quite a

00:54:24.382 --> 00:54:26.323 align:center
bit of time, effort, and mounting

00:54:26.363 --> 00:54:26.664 align:center
gear.

00:54:26.964 --> 00:54:28.165 align:center
Especially if you're shooting with a

00:54:28.225 --> 00:54:29.886 align:center
main camera, the weight might be

00:54:29.946 --> 00:54:31.807 align:center
holding you back from achieving specific

00:54:31.987 --> 00:54:32.387 align:center
angles.

00:54:32.687 --> 00:54:33.908 align:center
That's why I want to emphasize

00:54:33.968 --> 00:54:35.809 align:center
again that lightweight cameras such as

00:54:35.929 --> 00:54:37.630 align:center
action cameras or phones can be

00:54:37.650 --> 00:54:39.131 align:center
a great choice for those kinds

00:54:39.191 --> 00:54:39.672 align:center
of shots.

00:54:40.192 --> 00:54:41.714 align:center
Instead of buying yourself a heavy

00:54:41.774 --> 00:54:43.696 align:center
boom stand with counterweights, you can

00:54:43.756 --> 00:54:44.998 align:center
simply tape your phone to the

00:54:45.038 --> 00:54:46.539 align:center
ceiling of your room, and you

00:54:46.559 --> 00:54:48.421 align:center
will achieve the same unique angle.

00:54:48.642 --> 00:54:49.923 align:center
Or instead of building yourself a

00:54:50.003 --> 00:54:52.046 align:center
complicated POV camera rig with a

00:54:52.106 --> 00:54:53.627 align:center
helmet, you can also put an

00:54:53.728 --> 00:54:55.490 align:center
action camera or a three-sixty camera

00:54:55.510 --> 00:54:56.811 align:center
in your mouth, and you will

00:54:56.851 --> 00:54:58.513 align:center
be able to capture amazing shots

00:54:58.613 --> 00:54:59.855 align:center
from your own perspective.

00:55:00.415 --> 00:55:01.816 align:center
As you see, there are always

00:55:01.957 --> 00:55:03.798 align:center
options to achieve unique angles on

00:55:03.838 --> 00:55:04.819 align:center
a lower budget.

00:55:05.059 --> 00:55:06.341 align:center
These kinds of shots are always

00:55:06.401 --> 00:55:07.582 align:center
fun to watch and they make

00:55:07.602 --> 00:55:09.083 align:center
the visual experience a lot more

00:55:09.143 --> 00:55:09.764 align:center
engaging.

00:55:09.924 --> 00:55:10.945 align:center
So the next time you film

00:55:10.965 --> 00:55:13.047 align:center
yourself, think outside the box and

00:55:13.127 --> 00:55:14.788 align:center
find unique mounting options.

00:55:15.229 --> 00:55:17.331 align:center
Tip nine, capture time lapses.

00:55:17.951 --> 00:55:19.072 align:center
As you learned in lesson five

00:55:19.132 --> 00:55:20.793 align:center
point three, you can capture shots

00:55:20.854 --> 00:55:22.035 align:center
in a lower frame rate and

00:55:22.095 --> 00:55:24.196 align:center
speed them up to create timelapses.

00:55:24.557 --> 00:55:26.058 align:center
Timelapses are a great tool to

00:55:26.098 --> 00:55:27.659 align:center
film yourself as the camera has

00:55:27.699 --> 00:55:28.920 align:center
to be locked onto a static

00:55:28.960 --> 00:55:30.141 align:center
tripod either way.

00:55:30.401 --> 00:55:32.503 align:center
Timelapses always look interesting as we

00:55:32.583 --> 00:55:34.345 align:center
usually don't see such strong changes

00:55:34.405 --> 00:55:36.006 align:center
in an environment within only a

00:55:36.086 --> 00:55:36.887 align:center
few seconds.

00:55:37.407 --> 00:55:39.049 align:center
But on top of that, timelapses

00:55:39.089 --> 00:55:40.811 align:center
are also a great storytelling tool

00:55:40.951 --> 00:55:42.312 align:center
as they allow you to compress

00:55:42.412 --> 00:55:44.194 align:center
time and transport a huge time

00:55:44.234 --> 00:55:45.476 align:center
investment to the viewer.

00:55:45.836 --> 00:55:47.638 align:center
While I sometimes capture timelapses of

00:55:47.678 --> 00:55:49.219 align:center
the environment to help the viewer

00:55:49.259 --> 00:55:50.961 align:center
move forward in the story, I

00:55:51.061 --> 00:55:52.843 align:center
often create timelapses of myself.

00:55:53.284 --> 00:55:54.745 align:center
Even though you can capture timelapses

00:55:54.785 --> 00:55:57.047 align:center
of basically any activity, I often

00:55:57.088 --> 00:55:58.749 align:center
like to transport the time investment

00:55:58.829 --> 00:56:00.371 align:center
of me working on a project.

00:56:00.791 --> 00:56:02.072 align:center
In these shots, I as the

00:56:02.132 --> 00:56:03.352 align:center
subject and the screen of my

00:56:03.412 --> 00:56:05.713 align:center
computer constantly change while the rest

00:56:05.754 --> 00:56:07.354 align:center
of the environment stays the same.

00:56:07.855 --> 00:56:09.215 align:center
However, you can also take your

00:56:09.255 --> 00:56:10.976 align:center
timelapses to the next level by

00:56:11.016 --> 00:56:12.717 align:center
capturing them over a longer period

00:56:12.757 --> 00:56:13.297 align:center
of time.

00:56:13.657 --> 00:56:14.698 align:center
This allows you to show a

00:56:14.738 --> 00:56:16.759 align:center
transformation in both the subject and

00:56:16.819 --> 00:56:18.680 align:center
the environment as the lighting starts

00:56:18.720 --> 00:56:19.420 align:center
to change.

00:56:19.780 --> 00:56:21.541 align:center
Just be aware that strong changes

00:56:21.601 --> 00:56:23.242 align:center
in lighting require you to use

00:56:23.282 --> 00:56:25.223 align:center
specific camera settings, and in many

00:56:25.283 --> 00:56:26.904 align:center
cases, you also have to even

00:56:27.004 --> 00:56:29.205 align:center
out the exposure with special post-production

00:56:29.225 --> 00:56:29.725 align:center
software.

00:56:30.105 --> 00:56:31.406 align:center
Another way to spice up your

00:56:31.446 --> 00:56:33.848 align:center
timelapses is to introduce camera movements

00:56:33.949 --> 00:56:35.410 align:center
by using the advanced gear I

00:56:35.470 --> 00:56:36.531 align:center
mentioned in the beginning.

00:56:36.811 --> 00:56:38.012 align:center
So you can use a motorized

00:56:38.072 --> 00:56:40.394 align:center
slider to create directional and rotational

00:56:40.454 --> 00:56:41.996 align:center
movements, or you can use a

00:56:42.056 --> 00:56:44.458 align:center
gimbal to create only rotational movements.

00:56:44.798 --> 00:56:46.600 align:center
While timelapses provide you with unique

00:56:46.660 --> 00:56:48.401 align:center
shots that visualize the compression of

00:56:48.481 --> 00:56:48.782 align:center
time,

00:56:49.302 --> 00:56:50.622 align:center
I recommend you to use them

00:56:50.682 --> 00:56:52.263 align:center
sparingly throughout your video.

00:56:52.583 --> 00:56:54.243 align:center
I often like to capture timelapses

00:56:54.323 --> 00:56:56.083 align:center
of one action from different angles,

00:56:56.403 --> 00:56:57.584 align:center
which I then combine into a

00:56:57.644 --> 00:56:59.744 align:center
dedicated sequence that emphasizes the

00:56:59.784 --> 00:57:00.344 align:center
investment

00:57:00.384 --> 00:57:00.944 align:center
of time.

00:57:01.244 --> 00:57:02.805 align:center
Tip ten is to use manual

00:57:02.865 --> 00:57:03.345 align:center
focus.

00:57:03.945 --> 00:57:05.425 align:center
As you can imagine, setting the

00:57:05.485 --> 00:57:07.146 align:center
right focus without being able to

00:57:07.186 --> 00:57:08.346 align:center
look on your screen can be

00:57:08.406 --> 00:57:09.366 align:center
quite difficult.

00:57:09.646 --> 00:57:10.726 align:center
That's why this and the next

00:57:10.806 --> 00:57:12.167 align:center
tip are all about how to

00:57:12.207 --> 00:57:14.447 align:center
adjust your focus in different situations.

00:57:14.847 --> 00:57:16.289 align:center
In many scenarios, it will make

00:57:16.349 --> 00:57:18.050 align:center
sense to shoot with manual focus

00:57:18.171 --> 00:57:19.232 align:center
in order to make sure that

00:57:19.272 --> 00:57:21.254 align:center
the camera doesn't accidentally focus on

00:57:21.314 --> 00:57:22.055 align:center
something else.

00:57:22.435 --> 00:57:23.776 align:center
In my past, it often happened

00:57:23.796 --> 00:57:25.778 align:center
that I used autofocus and executed

00:57:25.818 --> 00:57:27.660 align:center
a long action only to find

00:57:27.800 --> 00:57:29.222 align:center
out that the focus shifted to

00:57:29.302 --> 00:57:30.103 align:center
another object.

00:57:30.483 --> 00:57:32.184 align:center
However, this can be avoided by

00:57:32.244 --> 00:57:33.725 align:center
setting a manual focus to the

00:57:33.785 --> 00:57:35.466 align:center
right distance of where you're going

00:57:35.526 --> 00:57:35.966 align:center
to be.

00:57:36.426 --> 00:57:37.727 align:center
If you're capturing shots where you

00:57:37.767 --> 00:57:39.187 align:center
are close to the camera, you

00:57:39.207 --> 00:57:40.568 align:center
can often use the flip screen

00:57:40.668 --> 00:57:42.009 align:center
in order to adjust the focus

00:57:42.029 --> 00:57:43.529 align:center
to the perfect distance of where

00:57:43.569 --> 00:57:44.510 align:center
you want it to be.

00:57:44.790 --> 00:57:46.291 align:center
However, if you're further away from

00:57:46.331 --> 00:57:48.092 align:center
the camera, this method is not

00:57:48.172 --> 00:57:48.912 align:center
going to work.

00:57:49.192 --> 00:57:50.032 align:center
So how do you set the

00:57:50.073 --> 00:57:51.793 align:center
right manual focus on your camera

00:57:51.953 --> 00:57:53.334 align:center
if you as the subject aren't

00:57:53.434 --> 00:57:54.154 align:center
even visible?

00:57:54.455 --> 00:57:55.535 align:center
The best way to do this

00:57:55.675 --> 00:57:56.976 align:center
is to position an object at

00:57:57.016 --> 00:57:58.537 align:center
the exact distance of where you're

00:57:58.557 --> 00:57:59.137 align:center
going to be.

00:57:59.437 --> 00:58:00.677 align:center
While I often use an additional

00:58:00.758 --> 00:58:02.578 align:center
tripod, this can basically be any

00:58:02.698 --> 00:58:04.019 align:center
object you have available.

00:58:04.519 --> 00:58:05.479 align:center
As soon as you place the

00:58:05.579 --> 00:58:07.140 align:center
object at the right distance, you

00:58:07.160 --> 00:58:08.360 align:center
can adjust the focus of your

00:58:08.380 --> 00:58:10.021 align:center
lens to make it appear perfectly

00:58:10.081 --> 00:58:10.461 align:center
sharp.

00:58:10.701 --> 00:58:12.282 align:center
I definitely recommend you to activate

00:58:12.362 --> 00:58:13.943 align:center
focus peaking and also use the

00:58:14.003 --> 00:58:15.903 align:center
focus magnifier, as this will make

00:58:15.923 --> 00:58:17.344 align:center
the process a lot easier.

00:58:17.624 --> 00:58:18.924 align:center
Then once your focus is set,

00:58:19.184 --> 00:58:20.445 align:center
remove the object out of the

00:58:20.525 --> 00:58:22.986 align:center
frame, hit record, and position yourself

00:58:23.046 --> 00:58:24.106 align:center
where the object was.

00:58:24.366 --> 00:58:25.807 align:center
And just like that, you have

00:58:25.847 --> 00:58:27.468 align:center
a shot of yourself with perfect

00:58:27.528 --> 00:58:27.968 align:center
focus.

00:58:28.508 --> 00:58:30.209 align:center
In some scenarios, you will also

00:58:30.249 --> 00:58:31.650 align:center
be able to orient yourself at

00:58:31.711 --> 00:58:33.732 align:center
existing objects in the environment.

00:58:33.972 --> 00:58:35.373 align:center
So instead of placing an additional

00:58:35.493 --> 00:58:37.235 align:center
object as a stand-in, you can

00:58:37.295 --> 00:58:38.676 align:center
simply adjust your focus to an

00:58:38.796 --> 00:58:40.417 align:center
object that has the correct distance,

00:58:40.557 --> 00:58:41.718 align:center
and then you can start filming

00:58:41.738 --> 00:58:42.299 align:center
yourself.

00:58:42.739 --> 00:58:44.480 align:center
Using manual focus makes sure that

00:58:44.520 --> 00:58:46.042 align:center
there are no unwanted focus shifts

00:58:46.082 --> 00:58:48.123 align:center
throughout your shots, because the sharpness

00:58:48.223 --> 00:58:50.085 align:center
always stays at a specific distance.

00:58:50.445 --> 00:58:52.406 align:center
However, there are also other scenarios

00:58:52.466 --> 00:58:53.707 align:center
where it makes more sense to

00:58:53.807 --> 00:58:54.868 align:center
use autofocus.

00:58:55.148 --> 00:58:56.829 align:center
So let's continue with tip eleven,

00:58:56.909 --> 00:58:58.470 align:center
which is to know the autofocus

00:58:58.530 --> 00:58:58.851 align:center
modes.

00:58:59.491 --> 00:59:01.232 align:center
Generally speaking, you want to use

00:59:01.352 --> 00:59:03.554 align:center
autofocus in five different scenarios.

00:59:03.954 --> 00:59:05.455 align:center
First, if your face is visible

00:59:05.555 --> 00:59:06.776 align:center
and your camera has face or

00:59:06.936 --> 00:59:07.837 align:center
eye autofocus.

00:59:08.117 --> 00:59:09.638 align:center
Second, if you change your distance

00:59:09.678 --> 00:59:11.099 align:center
to the camera throughout the shot.

00:59:11.539 --> 00:59:12.700 align:center
Third, if you want to shift

00:59:12.720 --> 00:59:14.301 align:center
the focus from one subject to

00:59:14.361 --> 00:59:14.721 align:center
another.

00:59:15.042 --> 00:59:16.563 align:center
Fourth, if you don't have objects

00:59:16.603 --> 00:59:17.864 align:center
to use as a stand-in.

00:59:18.104 --> 00:59:19.285 align:center
And fifth, if you are under

00:59:19.325 --> 00:59:21.126 align:center
time pressure when capturing your shots.

00:59:21.446 --> 00:59:22.547 align:center
So let's start with the first

00:59:22.567 --> 00:59:24.148 align:center
scenario, which is if your face

00:59:24.208 --> 00:59:24.828 align:center
is visible.

00:59:25.229 --> 00:59:26.450 align:center
If your camera has face or

00:59:26.590 --> 00:59:28.251 align:center
eye autofocus, you have a big

00:59:28.291 --> 00:59:29.892 align:center
advantage when filming yourself.

00:59:30.272 --> 00:59:30.572 align:center
Why?

00:59:30.793 --> 00:59:32.114 align:center
Because every time your face is

00:59:32.154 --> 00:59:33.354 align:center
visible in a shot and you

00:59:33.394 --> 00:59:34.755 align:center
want it to be sharp, you

00:59:34.795 --> 00:59:36.096 align:center
can be sure that your focus

00:59:36.156 --> 00:59:36.797 align:center
is on point.

00:59:37.257 --> 00:59:39.219 align:center
Obviously, the autofocus of some cameras

00:59:39.299 --> 00:59:40.700 align:center
is better than the autofocus of

00:59:40.800 --> 00:59:41.581 align:center
other cameras.

00:59:41.821 --> 00:59:42.542 align:center
But if you have one of

00:59:42.582 --> 00:59:44.083 align:center
the more recent Sony or Canon

00:59:44.103 --> 00:59:45.765 align:center
models, you should have a reliable

00:59:45.825 --> 00:59:46.886 align:center
face autofocus.

00:59:47.386 --> 00:59:49.148 align:center
Using face and eye autofocus is

00:59:49.168 --> 00:59:50.129 align:center
going to save you a lot

00:59:50.169 --> 00:59:51.670 align:center
of time, because you can simply

00:59:51.710 --> 00:59:53.712 align:center
hit record and position yourself wherever

00:59:53.772 --> 00:59:55.734 align:center
you want, instead of using objects

00:59:55.794 --> 00:59:57.555 align:center
as a stand-in to manually adjust

00:59:57.575 --> 00:59:58.216 align:center
your focus.

00:59:58.756 --> 01:00:00.277 align:center
Let's look at the second scenario,

01:00:00.357 --> 01:00:01.397 align:center
which is if you change your

01:00:01.437 --> 01:00:02.637 align:center
distance to the camera.

01:00:02.977 --> 01:00:04.498 align:center
If you use manual focus, you

01:00:04.538 --> 01:00:06.339 align:center
keep subjects at a specific distance

01:00:06.379 --> 01:00:06.759 align:center
sharp.

01:00:07.099 --> 01:00:08.779 align:center
However, if a subject moves closer

01:00:08.859 --> 01:00:10.400 align:center
or further away from the camera,

01:00:10.560 --> 01:00:11.920 align:center
it will leave the focus distance

01:00:11.960 --> 01:00:13.361 align:center
where it is, and therefore the

01:00:13.401 --> 01:00:15.301 align:center
subject becomes more and more blurry.

01:00:15.521 --> 01:00:16.682 align:center
While it might be an artistic

01:00:16.742 --> 01:00:18.222 align:center
choice to let your subject enter

01:00:18.262 --> 01:00:19.903 align:center
the focus or leave the focus,

01:00:20.043 --> 01:00:21.503 align:center
there are also situations where you

01:00:21.543 --> 01:00:22.684 align:center
want to keep the subject in

01:00:22.744 --> 01:00:24.484 align:center
focus at all times, and this

01:00:24.544 --> 01:00:25.445 align:center
is where you need to use

01:00:25.585 --> 01:00:26.265 align:center
autofocus.

01:00:26.845 --> 01:00:28.166 align:center
Again, if your camera has face

01:00:28.246 --> 01:00:29.807 align:center
or eye autofocus and your face

01:00:29.867 --> 01:00:31.408 align:center
is visible in the shot, this

01:00:31.448 --> 01:00:32.549 align:center
will be the right mode to

01:00:32.749 --> 01:00:32.989 align:center
use.

01:00:33.389 --> 01:00:34.590 align:center
However, if your face is not

01:00:34.650 --> 01:00:35.931 align:center
visible and you still want your

01:00:35.971 --> 01:00:37.672 align:center
focus to adjust, then it makes

01:00:37.712 --> 01:00:39.113 align:center
sense to use the spot focus

01:00:39.153 --> 01:00:39.493 align:center
mode.

01:00:39.793 --> 01:00:41.194 align:center
So you simply position the spot

01:00:41.254 --> 01:00:42.234 align:center
in the right part of your

01:00:42.295 --> 01:00:43.515 align:center
frame, and as long as the

01:00:43.555 --> 01:00:45.296 align:center
subject stays in that part, the

01:00:45.356 --> 01:00:47.017 align:center
focus will adjust automatically.

01:00:47.338 --> 01:00:48.799 align:center
Obviously, it becomes a lot harder

01:00:48.899 --> 01:00:50.440 align:center
if your face isn't visible and

01:00:50.460 --> 01:00:52.081 align:center
you also change your position within

01:00:52.121 --> 01:00:52.581 align:center
the frame.

01:00:52.901 --> 01:00:54.122 align:center
In this case, you would need

01:00:54.142 --> 01:00:55.644 align:center
to use the tracking focus mode,

01:00:55.784 --> 01:00:57.285 align:center
but that's often quite tricky when

01:00:57.325 --> 01:00:58.126 align:center
filming yourself.

01:00:58.626 --> 01:01:00.208 align:center
Next, let's talk about the third

01:01:00.248 --> 01:01:01.709 align:center
scenario, which is if you want

01:01:01.749 --> 01:01:02.930 align:center
to shift the focus.

01:01:03.330 --> 01:01:04.532 align:center
If you want to purposely shift

01:01:04.572 --> 01:01:06.333 align:center
the focus between yourself and another

01:01:06.393 --> 01:01:08.075 align:center
part of the environment, you can

01:01:08.175 --> 01:01:09.476 align:center
also do this by using the

01:01:09.536 --> 01:01:10.457 align:center
spot focus mode.

01:01:10.857 --> 01:01:12.298 align:center
You can simply position the spot

01:01:12.358 --> 01:01:13.358 align:center
at the right part of your

01:01:13.418 --> 01:01:14.858 align:center
frame, and then you can either

01:01:14.898 --> 01:01:16.259 align:center
walk into the spot which is

01:01:16.299 --> 01:01:17.539 align:center
going to shift the focus from

01:01:17.579 --> 01:01:19.600 align:center
the environment towards yourself, or you

01:01:19.640 --> 01:01:21.041 align:center
can slightly move your body out

01:01:21.081 --> 01:01:22.521 align:center
of the spot so the focus

01:01:22.541 --> 01:01:24.682 align:center
shifts from you towards the environment.

01:01:25.202 --> 01:01:26.603 align:center
As you can imagine, there are

01:01:26.643 --> 01:01:28.523 align:center
certain focus shifts that simply aren't

01:01:28.583 --> 01:01:30.644 align:center
possible when only filming by yourself.

01:01:31.024 --> 01:01:32.805 align:center
However, with the required patience and

01:01:32.845 --> 01:01:34.685 align:center
the right autofocus speed, you can

01:01:34.725 --> 01:01:36.286 align:center
achieve some pretty cool results.

01:01:36.666 --> 01:01:38.387 align:center
Let's continue with the fourth scenario,

01:01:38.487 --> 01:01:39.588 align:center
which is if you don't have

01:01:39.648 --> 01:01:40.309 align:center
a stand-in.

01:01:40.789 --> 01:01:42.670 align:center
In certain situations, you simply don't

01:01:42.710 --> 01:01:43.931 align:center
have any objects that you can

01:01:44.051 --> 01:01:45.452 align:center
use as a stand-in, and in

01:01:45.492 --> 01:01:47.173 align:center
those cases, it also makes sense

01:01:47.193 --> 01:01:48.454 align:center
to use autofocus.

01:01:48.874 --> 01:01:50.055 align:center
If your face is visible and

01:01:50.075 --> 01:01:51.096 align:center
you want it to be sharp,

01:01:51.276 --> 01:01:52.497 align:center
then use the face or eye

01:01:52.557 --> 01:01:54.198 align:center
autofocus mode, but if your face

01:01:54.278 --> 01:01:55.719 align:center
isn't visible, you need to use

01:01:55.759 --> 01:01:57.380 align:center
the spot focus mode and position

01:01:57.420 --> 01:01:58.661 align:center
the spot at the exact part

01:01:58.681 --> 01:02:00.002 align:center
of the frame where you're going

01:02:00.042 --> 01:02:00.682 align:center
to stand.

01:02:01.022 --> 01:02:03.124 align:center
Lastly, let's talk about scenario five,

01:02:03.264 --> 01:02:04.304 align:center
which is if you are under

01:02:04.364 --> 01:02:05.045 align:center
time pressure.

01:02:05.465 --> 01:02:06.745 align:center
If you have to capture multiple

01:02:06.765 --> 01:02:08.166 align:center
shots in only a few minutes,

01:02:08.366 --> 01:02:09.926 align:center
you won't have the necessary time

01:02:09.986 --> 01:02:11.587 align:center
to use objects as a stand-in

01:02:11.727 --> 01:02:13.347 align:center
and manually adjust your focus.

01:02:13.668 --> 01:02:14.928 align:center
So in this case, I also

01:02:14.968 --> 01:02:16.788 align:center
recommend you to work with face-slash-eye

01:02:16.869 --> 01:02:18.509 align:center
autofocus or to use the spot

01:02:18.569 --> 01:02:19.329 align:center
focus mode.

01:02:19.749 --> 01:02:22.030 align:center
Obviously, using autofocus always comes with

01:02:22.050 --> 01:02:23.551 align:center
the risk of focus breathing or

01:02:23.571 --> 01:02:24.931 align:center
the focus shifting to the wrong

01:02:24.971 --> 01:02:25.931 align:center
part of the frame.

01:02:26.071 --> 01:02:27.692 align:center
So always make sure to double-check

01:02:27.732 --> 01:02:28.732 align:center
if your shot has the right

01:02:28.812 --> 01:02:30.533 align:center
focus before moving on to the

01:02:30.593 --> 01:02:31.193 align:center
next shot.

01:02:31.733 --> 01:02:34.218 align:center
Alright, so this covers all storytelling,

01:02:34.378 --> 01:02:36.082 align:center
gear, and shooting tips that are

01:02:36.122 --> 01:02:37.544 align:center
going to help you capture videos

01:02:37.605 --> 01:02:38.206 align:center
of yourself.

01:02:38.566 --> 01:02:39.829 align:center
Let's now do a quick summary

01:02:39.909 --> 01:02:41.332 align:center
of the most important points.

01:02:44.252 --> 01:02:45.553 align:center
If you yourself are a part

01:02:45.593 --> 01:02:47.074 align:center
of your own story, you need

01:02:47.094 --> 01:02:48.695 align:center
to be both the storyteller and

01:02:48.755 --> 01:02:49.475 align:center
the character.

01:02:49.736 --> 01:02:50.656 align:center
You need to wear both of

01:02:50.696 --> 01:02:52.117 align:center
these hats at the same time,

01:02:52.337 --> 01:02:53.578 align:center
and each role comes with its

01:02:53.618 --> 01:02:55.059 align:center
different responsibilities.

01:02:55.419 --> 01:02:57.080 align:center
Your first job as the storyteller

01:02:57.180 --> 01:02:58.261 align:center
is to have a clear vision

01:02:58.321 --> 01:02:59.061 align:center
of the story.

01:02:59.302 --> 01:03:00.602 align:center
Before you head out to shoot,

01:03:00.823 --> 01:03:01.763 align:center
you should try to get a

01:03:01.803 --> 01:03:03.885 align:center
good understanding of the story's overarching

01:03:03.925 --> 01:03:06.206 align:center
question or theme, the physical journey

01:03:06.346 --> 01:03:07.587 align:center
and the emotional journey.

01:03:07.987 --> 01:03:09.767 align:center
Your second job as the storyteller

01:03:09.887 --> 01:03:11.828 align:center
is to assess the story development.

01:03:12.288 --> 01:03:14.149 align:center
While staged videos are often completely

01:03:14.189 --> 01:03:16.969 align:center
defined, documentary videos are almost always

01:03:17.029 --> 01:03:18.049 align:center
subject to change.

01:03:18.390 --> 01:03:19.870 align:center
So whenever you can't predict the

01:03:19.910 --> 01:03:21.570 align:center
development of your story before the

01:03:21.610 --> 01:03:23.291 align:center
shoot, you need to reassess the

01:03:23.331 --> 01:03:25.311 align:center
development during the shoot in order

01:03:25.351 --> 01:03:26.471 align:center
to know what events in the

01:03:26.551 --> 01:03:27.992 align:center
future are going to help you

01:03:28.032 --> 01:03:29.072 align:center
progress your story.

01:03:29.532 --> 01:03:31.193 align:center
Your third job as the storyteller

01:03:31.273 --> 01:03:32.713 align:center
is to capture the right shots.

01:03:33.113 --> 01:03:34.374 align:center
As a video tells a visual

01:03:34.454 --> 01:03:36.096 align:center
story, you need to capture shots

01:03:36.136 --> 01:03:37.677 align:center
that serve as visual evidence for

01:03:37.717 --> 01:03:39.779 align:center
your statements and voiceovers, and you

01:03:39.799 --> 01:03:41.160 align:center
need to capture shots that help

01:03:41.200 --> 01:03:42.941 align:center
you transport the right emotions.

01:03:43.502 --> 01:03:45.103 align:center
Your first job as a character

01:03:45.223 --> 01:03:46.984 align:center
is to provide authentic statements.

01:03:47.545 --> 01:03:49.266 align:center
If you document your own experience,

01:03:49.446 --> 01:03:50.948 align:center
you need to capture statements that

01:03:50.988 --> 01:03:52.329 align:center
give the viewer an insight into

01:03:52.369 --> 01:03:54.190 align:center
your physical and emotional journey.

01:03:54.430 --> 01:03:55.711 align:center
Here it is really important to

01:03:55.771 --> 01:03:57.733 align:center
stay true to yourself, because authentic

01:03:57.773 --> 01:03:59.214 align:center
statements make your story a lot

01:03:59.254 --> 01:04:00.055 align:center
more relatable.

01:04:00.395 --> 01:04:01.896 align:center
Your second job as the character

01:04:01.997 --> 01:04:03.958 align:center
is to execute believable actions.

01:04:04.359 --> 01:04:05.420 align:center
If you are the subject of

01:04:05.460 --> 01:04:06.861 align:center
your own shots, you need to

01:04:06.901 --> 01:04:08.843 align:center
perform actions that appear believable,

01:04:09.063 --> 01:04:09.463 align:center
progress

01:04:09.503 --> 01:04:11.365 align:center
the story, and engage the viewer.

01:04:11.645 --> 01:04:13.186 align:center
If you purposely try to portray

01:04:13.226 --> 01:04:14.908 align:center
a different character, it's okay to

01:04:14.928 --> 01:04:16.069 align:center
go over the top, but if

01:04:16.089 --> 01:04:17.390 align:center
you want the viewer to experience

01:04:17.410 --> 01:04:19.192 align:center
your authentic self, then make sure

01:04:19.252 --> 01:04:20.353 align:center
to keep it realistic.

01:04:20.933 --> 01:04:22.555 align:center
Lastly, your third job as the

01:04:22.575 --> 01:04:24.218 align:center
character is to convey the right

01:04:24.278 --> 01:04:24.958 align:center
emotions.

01:04:25.539 --> 01:04:27.622 align:center
A story without emotions almost always

01:04:27.682 --> 01:04:30.466 align:center
appears superficial, boring and unrelatable.

01:04:30.706 --> 01:04:32.088 align:center
For this reason, you want to

01:04:32.128 --> 01:04:33.850 align:center
pay extra attention to the feelings

01:04:33.870 --> 01:04:35.772 align:center
you convey with your facial expressions,

01:04:36.033 --> 01:04:37.475 align:center
actions and statements.

01:04:37.935 --> 01:04:39.836 align:center
Being aware of your responsibilities as

01:04:39.876 --> 01:04:41.938 align:center
the storyteller and character allows you

01:04:41.978 --> 01:04:43.439 align:center
to focus on the right aspects

01:04:43.539 --> 01:04:45.160 align:center
behind the camera and in front

01:04:45.180 --> 01:04:45.901 align:center
of the camera.

01:04:46.141 --> 01:04:47.862 align:center
For most videos, you constantly have

01:04:47.882 --> 01:04:49.283 align:center
to switch between those two different

01:04:49.343 --> 01:04:50.964 align:center
roles, and the more videos you

01:04:51.024 --> 01:04:52.485 align:center
create, the better you're going to

01:04:52.525 --> 01:04:53.306 align:center
become at it.

01:04:53.626 --> 01:04:55.087 align:center
While you can capture amazing shots

01:04:55.127 --> 01:04:57.048 align:center
of yourself with any camera, there

01:04:57.088 --> 01:04:58.569 align:center
are certain pieces of gear that

01:04:58.630 --> 01:05:01.071 align:center
improve your quality, ease the process,

01:05:01.231 --> 01:05:02.632 align:center
and save you time when shooting

01:05:02.712 --> 01:05:03.093 align:center
solo.

01:05:03.713 --> 01:05:05.294 align:center
The must-have items as a solo

01:05:05.334 --> 01:05:07.555 align:center
shooter are a camera, a tripod

01:05:07.695 --> 01:05:08.696 align:center
and a microphone.

01:05:08.956 --> 01:05:10.017 align:center
The aspects you want to look

01:05:10.057 --> 01:05:11.458 align:center
for in a camera are multiple

01:05:11.538 --> 01:05:13.299 align:center
focal lengths, a low weight and

01:05:13.359 --> 01:05:15.020 align:center
good autofocus capabilities.

01:05:15.320 --> 01:05:16.560 align:center
For the tripod, you should go

01:05:16.600 --> 01:05:17.961 align:center
for a sturdy model that has

01:05:18.001 --> 01:05:19.242 align:center
an adjustable ball head.

01:05:19.642 --> 01:05:21.123 align:center
And for the microphone, it either

01:05:21.143 --> 01:05:22.444 align:center
makes sense to have an external

01:05:22.564 --> 01:05:24.245 align:center
on-camera mic or to use a

01:05:24.285 --> 01:05:26.186 align:center
lavalier microphone that connects via a

01:05:26.246 --> 01:05:27.347 align:center
wireless transmitter.

01:05:27.747 --> 01:05:29.508 align:center
While these items are must-haves when

01:05:29.548 --> 01:05:31.529 align:center
filming yourself, there are also additional

01:05:31.689 --> 01:05:33.070 align:center
items that are nice to have.

01:05:33.410 --> 01:05:34.992 align:center
This includes a flip screen, a

01:05:35.072 --> 01:05:37.254 align:center
remote control, a remote app, a

01:05:37.314 --> 01:05:39.616 align:center
stabilized drone and an action camera.

01:05:40.016 --> 01:05:41.237 align:center
A flip screen allows you to

01:05:41.297 --> 01:05:42.979 align:center
see yourself, and therefore it helps

01:05:42.999 --> 01:05:44.460 align:center
you to nail your compositions at

01:05:44.480 --> 01:05:45.381 align:center
the first try.

01:05:45.601 --> 01:05:47.082 align:center
A remote control allows you to

01:05:47.142 --> 01:05:48.604 align:center
start and stop the recording from

01:05:48.664 --> 01:05:49.905 align:center
a distance, which saves you a

01:05:49.965 --> 01:05:51.466 align:center
lot of unnecessary storage.

01:05:51.786 --> 01:05:53.308 align:center
A remote app basically gives you

01:05:53.348 --> 01:05:55.009 align:center
a wireless monitor and a remote

01:05:55.049 --> 01:05:56.811 align:center
control in one, but often it

01:05:56.851 --> 01:05:58.272 align:center
doesn't work as seamlessly as the

01:05:58.352 --> 01:05:58.933 align:center
other tools.

01:05:59.273 --> 01:06:00.794 align:center
A stabilized drone allows you to

01:06:00.834 --> 01:06:02.714 align:center
film yourself from an aerial perspective,

01:06:02.874 --> 01:06:03.815 align:center
and it makes it much more

01:06:03.875 --> 01:06:05.615 align:center
efficient to capture actions that happen

01:06:05.715 --> 01:06:07.336 align:center
over a longer distance, and an

01:06:07.456 --> 01:06:09.017 align:center
action camera allows you to capture

01:06:09.037 --> 01:06:10.797 align:center
shots from unique angles without a

01:06:10.837 --> 01:06:12.658 align:center
lot of time investment or effort.

01:06:13.078 --> 01:06:14.479 align:center
If you want to create stabilized

01:06:14.559 --> 01:06:16.459 align:center
movements when filming yourself, you can

01:06:16.519 --> 01:06:18.240 align:center
also get yourself some advanced gear,

01:06:18.360 --> 01:06:19.740 align:center
which includes items such as a

01:06:19.821 --> 01:06:20.961 align:center
slider or a gimbal.

01:06:21.281 --> 01:06:22.923 align:center
A motorized slider allows you to

01:06:22.983 --> 01:06:25.145 align:center
capture smooth translational and rotational

01:06:25.185 --> 01:06:25.645 align:center
movements,

01:06:26.045 --> 01:06:27.647 align:center
and many gimbals offer the feature

01:06:27.687 --> 01:06:29.889 align:center
to create automated rotational movements.

01:06:30.289 --> 01:06:31.590 align:center
All in all, there are eleven

01:06:31.630 --> 01:06:33.692 align:center
different shooting tips when filming yourself.

01:06:34.213 --> 01:06:35.914 align:center
Tip one is to use creative

01:06:35.994 --> 01:06:36.635 align:center
concepts.

01:06:37.195 --> 01:06:38.475 align:center
Instead of filming your scenes in

01:06:38.495 --> 01:06:40.136 align:center
the most simple way, I urge

01:06:40.156 --> 01:06:41.336 align:center
you to come up with creative

01:06:41.396 --> 01:06:43.256 align:center
concepts and provide the viewer with

01:06:43.296 --> 01:06:44.656 align:center
a unique experience.

01:06:45.036 --> 01:06:46.817 align:center
Ideas for creative concepts would be

01:06:46.857 --> 01:06:48.677 align:center
to use a metaphor, play a

01:06:48.737 --> 01:06:51.118 align:center
stereotype, or change the perspective from

01:06:51.178 --> 01:06:52.378 align:center
which you tell your story.

01:06:52.738 --> 01:06:54.038 align:center
Tip two is to write a

01:06:54.098 --> 01:06:54.858 align:center
shot list.

01:06:55.278 --> 01:06:56.239 align:center
As it is hard to come

01:06:56.299 --> 01:06:57.879 align:center
up with creative concepts during the

01:06:57.939 --> 01:06:59.879 align:center
shoot, I recommend you to plan

01:06:59.919 --> 01:07:01.139 align:center
out the shots and actions of

01:07:01.199 --> 01:07:03.380 align:center
more complicated sequences by writing a

01:07:03.460 --> 01:07:04.040 align:center
shot list.

01:07:04.560 --> 01:07:06.060 align:center
Tip three is to embrace the

01:07:06.100 --> 01:07:06.821 align:center
static look.

01:07:07.201 --> 01:07:09.021 align:center
While filming yourself limits your options

01:07:09.041 --> 01:07:10.502 align:center
when it comes to camera movements,

01:07:10.742 --> 01:07:12.122 align:center
I believe that the static look

01:07:12.162 --> 01:07:13.903 align:center
of tripod shots helps you focus

01:07:13.923 --> 01:07:15.723 align:center
the viewer's attention onto what's happening

01:07:15.763 --> 01:07:17.424 align:center
within the frame, and it also

01:07:17.464 --> 01:07:19.104 align:center
makes your documentary scenes a lot

01:07:19.144 --> 01:07:19.884 align:center
more authentic.

01:07:20.344 --> 01:07:22.205 align:center
Tip four is to evoke emotions

01:07:22.245 --> 01:07:23.185 align:center
with composition.

01:07:23.485 --> 01:07:24.865 align:center
While you can't impact the viewer's

01:07:24.906 --> 01:07:27.086 align:center
psychology with your camera movements, you

01:07:27.126 --> 01:07:28.967 align:center
can still convey strong emotions with

01:07:29.007 --> 01:07:30.147 align:center
the right compositions.

01:07:30.547 --> 01:07:32.007 align:center
If you want to create stability,

01:07:32.147 --> 01:07:34.068 align:center
harmony and focus, you can follow

01:07:34.108 --> 01:07:35.388 align:center
the ten rules of balance.

01:07:35.768 --> 01:07:36.568 align:center
And if you want to create

01:07:36.629 --> 01:07:39.589 align:center
instability, disruption and confusion, you can

01:07:39.609 --> 01:07:41.010 align:center
follow the ten broken rules of

01:07:41.130 --> 01:07:41.710 align:center
imbalance.

01:07:42.210 --> 01:07:43.810 align:center
Tip five is to capture shot

01:07:43.850 --> 01:07:44.630 align:center
diversity.

01:07:45.011 --> 01:07:47.111 align:center
Especially when filming yourself, you want

01:07:47.151 --> 01:07:48.431 align:center
to have a diverse selection of

01:07:48.491 --> 01:07:49.792 align:center
shots that you can choose from

01:07:49.852 --> 01:07:50.612 align:center
in the editing.

01:07:50.932 --> 01:07:52.733 align:center
Therefore, I recommend you to capture

01:07:52.773 --> 01:07:54.633 align:center
shots with various focal lengths, shot

01:07:54.673 --> 01:07:57.634 align:center
sizes, angles and compositions, plus it

01:07:57.734 --> 01:07:59.294 align:center
also helps to film POV and

01:07:59.394 --> 01:08:00.895 align:center
insert shots that don't show you

01:08:00.955 --> 01:08:01.855 align:center
as the subject.

01:08:02.235 --> 01:08:03.896 align:center
Tip six is to pay attention

01:08:03.956 --> 01:08:05.016 align:center
to continuity.

01:08:05.356 --> 01:08:06.456 align:center
Whenever you want to make it

01:08:06.496 --> 01:08:07.577 align:center
look like the action of a

01:08:07.637 --> 01:08:09.357 align:center
scene only happened once, even though

01:08:09.377 --> 01:08:10.998 align:center
it was captured from different angles,

01:08:11.418 --> 01:08:12.758 align:center
I recommend you to pay close

01:08:12.798 --> 01:08:14.839 align:center
attention to the continuity between your

01:08:14.879 --> 01:08:15.559 align:center
different shots.

01:08:15.939 --> 01:08:17.561 align:center
This allows you to avoid distracting

01:08:17.641 --> 01:08:19.583 align:center
errors of consistency and it helps

01:08:19.603 --> 01:08:21.264 align:center
the viewer to immerse themselves into

01:08:21.304 --> 01:08:21.965 align:center
your story.

01:08:22.365 --> 01:08:24.267 align:center
Tip seven is to capture insert

01:08:24.287 --> 01:08:24.628 align:center
shots.

01:08:25.208 --> 01:08:26.910 align:center
Besides shots of yourself, you should

01:08:27.010 --> 01:08:28.731 align:center
always capture insert shots of other

01:08:28.792 --> 01:08:30.713 align:center
subjects that help the viewer understand

01:08:30.813 --> 01:08:32.375 align:center
how you perceive the world around

01:08:32.435 --> 01:08:32.615 align:center
you.

01:08:32.976 --> 01:08:34.617 align:center
Tip eight is to find unique

01:08:34.677 --> 01:08:35.618 align:center
mounting options.

01:08:36.099 --> 01:08:37.420 align:center
It's always worth it to put

01:08:37.460 --> 01:08:38.641 align:center
in the effort and look for

01:08:38.721 --> 01:08:40.503 align:center
unique angles to mount your camera.

01:08:40.823 --> 01:08:41.964 align:center
No matter if you position your

01:08:41.984 --> 01:08:43.565 align:center
camera on a moving object or

01:08:43.585 --> 01:08:44.646 align:center
you tape your phone to the

01:08:44.706 --> 01:08:47.128 align:center
ceiling of the room, unconventional angles

01:08:47.228 --> 01:08:49.430 align:center
automatically spark visual interest and they

01:08:49.470 --> 01:08:50.971 align:center
make the viewer more engaged in

01:08:51.011 --> 01:08:51.632 align:center
your video.

01:08:51.932 --> 01:08:53.573 align:center
Tip nine is to capture time

01:08:53.633 --> 01:08:54.114 align:center
lapses.

01:08:54.754 --> 01:08:56.295 align:center
Capture time lapses in order to

01:08:56.335 --> 01:08:58.177 align:center
show the viewer a visual transformation

01:08:58.237 --> 01:08:59.978 align:center
of yourself and the environment.

01:09:00.459 --> 01:09:02.560 align:center
Time lapses naturally look aesthetic, but

01:09:02.600 --> 01:09:03.761 align:center
they also help you convey a

01:09:03.821 --> 01:09:05.823 align:center
long time investment within your story.

01:09:06.283 --> 01:09:07.924 align:center
Tip ten is to use manual

01:09:07.984 --> 01:09:08.445 align:center
focus.

01:09:08.985 --> 01:09:10.567 align:center
In many scenarios, it makes sense

01:09:10.607 --> 01:09:12.229 align:center
to shoot with manual focus in

01:09:12.309 --> 01:09:13.290 align:center
order to make sure that the

01:09:13.310 --> 01:09:15.552 align:center
camera doesn't accidentally focus on something

01:09:15.732 --> 01:09:15.992 align:center
else.

01:09:16.373 --> 01:09:17.694 align:center
In order to adjust the focus

01:09:17.714 --> 01:09:19.276 align:center
to the right distance, you can

01:09:19.316 --> 01:09:20.977 align:center
position an object as a stand-in

01:09:21.058 --> 01:09:22.599 align:center
at the correct distance of where

01:09:22.639 --> 01:09:23.580 align:center
you're going to be.

01:09:24.021 --> 01:09:25.682 align:center
And lastly, tip eleven is to

01:09:25.722 --> 01:09:27.204 align:center
know the autofocus modes.

01:09:27.844 --> 01:09:29.625 align:center
The five scenarios where I recommend

01:09:29.645 --> 01:09:31.506 align:center
you to use autofocus over manual

01:09:31.566 --> 01:09:33.387 align:center
focus is first, if your face

01:09:33.447 --> 01:09:34.787 align:center
is visible and your camera has

01:09:34.847 --> 01:09:37.128 align:center
face or eye autofocus, second, if

01:09:37.148 --> 01:09:38.329 align:center
you change your distance to the

01:09:38.369 --> 01:09:40.530 align:center
camera throughout the shot, third, if

01:09:40.570 --> 01:09:41.750 align:center
you want to shift the focus

01:09:41.770 --> 01:09:43.831 align:center
from one subject to another, fourth,

01:09:43.991 --> 01:09:45.192 align:center
if you don't have objects to

01:09:45.332 --> 01:09:47.053 align:center
use as a stand-in, and fifth,

01:09:47.253 --> 01:09:48.513 align:center
if you are under time pressure

01:09:48.573 --> 01:09:49.714 align:center
when capturing your shots.

01:09:50.134 --> 01:09:51.836 align:center
In each of those scenarios, you

01:09:51.876 --> 01:09:53.557 align:center
have to pick the right autofocus

01:09:53.617 --> 01:09:55.478 align:center
mode, but in most cases, you

01:09:55.518 --> 01:09:56.799 align:center
will use the face or eye

01:09:56.839 --> 01:09:58.621 align:center
focus mode or the spot focus

01:09:58.661 --> 01:09:59.041 align:center
mode.

01:09:59.662 --> 01:10:01.423 align:center
With these eleven different solo shooting

01:10:01.463 --> 01:10:02.924 align:center
tips in mind, you will be

01:10:03.004 --> 01:10:04.906 align:center
able to capture incredible shots that

01:10:04.946 --> 01:10:06.907 align:center
together build an engaging sequence.

01:10:07.228 --> 01:10:08.369 align:center
I really hope that this lesson

01:10:08.389 --> 01:10:09.850 align:center
could give you a detailed insight

01:10:09.930 --> 01:10:11.291 align:center
into what it takes to become

01:10:11.331 --> 01:10:12.472 align:center
a better solo shooter.

01:10:12.712 --> 01:10:14.173 align:center
There is no doubt that filming

01:10:14.253 --> 01:10:15.454 align:center
on your own can be challenging

01:10:15.474 --> 01:10:16.875 align:center
in the beginning, but I hope

01:10:16.915 --> 01:10:18.537 align:center
that my YouTube videos are evidence

01:10:18.577 --> 01:10:20.058 align:center
that you can create amazing videos

01:10:20.178 --> 01:10:20.979 align:center
all by yourself.

01:10:21.319 --> 01:10:23.020 align:center
In lesson six point fourteen, you

01:10:23.060 --> 01:10:24.742 align:center
will get a behind-the-scenes look into

01:10:24.802 --> 01:10:26.383 align:center
how I document an experience all

01:10:26.403 --> 01:10:27.024 align:center
by myself.

01:10:27.324 --> 01:10:28.705 align:center
So that lesson will provide you

01:10:28.725 --> 01:10:30.607 align:center
with even more practical insights into

01:10:30.647 --> 01:10:31.948 align:center
my solo shooting workflow.

01:10:32.508 --> 01:10:34.128 align:center
As always, your job is now

01:10:34.168 --> 01:10:35.329 align:center
to take the learnings of this

01:10:35.389 --> 01:10:36.989 align:center
lesson and implement them into your

01:10:37.089 --> 01:10:38.690 align:center
own workflow one video at a

01:10:38.770 --> 01:10:39.130 align:center
time.

01:10:39.390 --> 01:10:40.470 align:center
So when you plan your next

01:10:40.550 --> 01:10:42.191 align:center
shoot, make sure to stay aware

01:10:42.211 --> 01:10:43.831 align:center
of those different tips and try

01:10:43.871 --> 01:10:44.931 align:center
them out for yourself.

01:10:45.312 --> 01:10:46.312 align:center
Now, this was the last of

01:10:46.352 --> 01:10:48.172 align:center
the three technique lessons that equip

01:10:48.192 --> 01:10:49.373 align:center
you with the right tools to

01:10:49.433 --> 01:10:50.433 align:center
capture your stories.

01:10:50.813 --> 01:10:52.094 align:center
The next three lessons will teach

01:10:52.134 --> 01:10:53.255 align:center
you everything you need to know

01:10:53.315 --> 01:10:55.057 align:center
about lighting, and on top of

01:10:55.117 --> 01:10:56.438 align:center
that, we're now going to shift

01:10:56.458 --> 01:10:58.059 align:center
to live lessons where I give

01:10:58.099 --> 01:10:59.440 align:center
you tips while being out in

01:10:59.480 --> 01:11:00.081 align:center
the fields.

01:11:00.481 --> 01:11:01.522 align:center
So I'm going to see you

01:11:01.642 --> 01:11:02.563 align:center
in the next lesson.