WEBVTT

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Hello and welcome to the first

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lesson of the shoot organization module.

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If we look at the whole

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curriculum, we can see that this

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is the last module of the

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whole pre-production step, so we're getting

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closer and closer to the actual

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shoot.

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After the storytelling and the scriptwriting

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module, you should now have a

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good understanding of how to identify

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great stories and how to tell

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them on paper.

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If you were an author and

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you wanted to publish your stories

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as books, then this would be

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enough, but as you are a

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filmmaker and you want to tell

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your stories at their full potential,

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It is now time to explore,

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define and plan the visual side

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of your story.

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I believe that it is extremely

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important to first understand the bigger

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picture before diving into the actual

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workflow of organizing your shoot.

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And that's why this lesson is

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dedicated to teaching you the fundamentals

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of shooting, which is going to

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set the foundation for the upcoming

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lesson and also for the shooting

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module.

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There are basically three different topics

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I want to touch on.

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First, the different stages of shooting.

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Second, the visual structure.

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And third, the visual elements.

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So let's get started by looking

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at the different stages of shooting.

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So in my opinion, there are

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three different stages of shooting, and

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every filmmaker is going to experience

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each of those stages on their

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journey of becoming a visual storyteller.

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Stage one is cinematic shooting.

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Most people who get into filmmaking

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and buy their first camera or

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drone simply go out and capture

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whatever looks the most beautiful.

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A drone shot of a colorful

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sunset, a gimbal shot of another

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person spreading their arms, or a

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slow-motion shot in an interesting light

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setup.

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At this point, you're so amazed

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by the tools of filmmaking that

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you only explore the visual potential

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of your camera and gear.

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Oh, if I change this camera

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setting, then this happens.

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Oh, if I use a gimbal,

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then I suddenly have smooth shots.

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Oh, if I record in slow

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motion, then my shots look even

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more professional.

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You slowly learn all the ins

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and outs of your tools, but

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you're not really concerned about how

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the shots you capture are going

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to work out in the actual

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video, and you also don't really

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think about how they are going

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to help you tell a story.

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You treat filmmaking like photography, where

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you simply head out to capture

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whatever looks appealing to the eye,

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and in the editing, you make

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a compilation of those random shots.

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With more and more practice, you

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become really good at making things

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look good, aka capturing cinematic shots.

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And you also get better at

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understanding how you need to film

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in order to make those shots

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connect with each other in the

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editing.

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You know that you first need

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to capture a wide shot, then

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a medium shot, and then a

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close-up shot in order to improve

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the visual flow of your video.

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And maybe you also know how

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to create some cool transitions by

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capturing similar camera movements and

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connecting

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them in the edit.

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Congratulations, you cracked the code of

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how to create cinematic videos.

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If you don't know any of

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these concepts and you didn't invest

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much time into creating cinematic videos,

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there is no need to worry.

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I'm going to teach you all

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of those cinematic basics in the

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upcoming modules, so each and every

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one of you will be able

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to get to this stage.

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So as I said, you cracked

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the code of how to create

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cinematic videos, but still, you are

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far away from being a visual

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storyteller.

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Maybe you already wrote a few

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voiceovers for your cinematic compilations, but

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the truth is that you put

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the visuals before the story.

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You try to build a story

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around the visuals you captured instead

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of capturing the visuals that support

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your story.

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I myself have been in this

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first stage of cinematic shooting for

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many, many years when I started

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with filmmaking.

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I headed out with friends and

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told them to do some random

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movements so I can capture cinematic

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shots that are then put together

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into a video without any story.

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If you go on my YouTube

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channel and you look at some

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of my oldest videos, you're actually

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going to find those videos in

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which I was only focusing on

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the visuals.

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Please do me a favor and

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don't watch them.

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Stage two is intentional shooting.

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As soon as you get a

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grasp of your tools as a

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filmmaker and you have a general

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understanding of how you can frame

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and capture beautiful shots, you're able

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to create cinematic videos.

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But your videos don't really have

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any story and you don't know

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how to create a visual experience

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that is going to impact the

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viewer.

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And that is where you're naturally

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going to become more and more

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interested in storytelling.

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At this point in time, you

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would buy a course like this

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one or watch a lot of

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YouTube videos about storytelling and script

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writing.

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Instead of heading out for every

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sunrise and every sunset to capture

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the most cinematic shots, you now

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spend time figuring out the story

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you want to tell in your

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video.

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You write a voiceover or a

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whole script, and you already have

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an idea of what the different

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parts are going to look like

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in the final video.

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You know exactly what feelings and

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emotions you want to transport to

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the viewer, and therefore you have

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a completely different approach to shooting

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your videos.

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Because now it is not only

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about capturing cinematic shots, but it

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is about capturing the right shots

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that are going to help you

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tell your story at its full

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potential.

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You realize that not every shot

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of your video should be filmed

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during golden hour just because it

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looks the most cinematic.

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You realize that not every shot

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should be filmed on a gimbal

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just because it looks the smoothest.

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And you realize that not every

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shot should be filmed in slow

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motion just because it looks the

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most epic.

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You start to think that maybe

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it makes more sense to shoot

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a specific scene at night in

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order to support the dark and

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sad mood of your story.

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You start to think that maybe

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it makes more sense to shoot

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without a gimbal because you can

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emphasize the character's hectic movements and

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increase your story's pace.

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And you start to think that

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maybe it makes more sense to

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switch between real-time and slow-motion in

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order to show the contrast between

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different parts of your story.

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The important change from stage one

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to stage two is that you

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now put some thought into creating

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a visual experience that supports the

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story.

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And that makes all the difference.

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Because now, instead of only trying

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to make your video look cinematic,

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you capture those visuals with intention.

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The point when I started to

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transition to stage two was when

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I worked full-time for a racing

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driver to create videos for his

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YouTube channel.

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I worked for him for two

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years and I accompanied him to

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all the different races around the

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world.

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And now that I had to

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tell his story of the racing

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weekends with the many different ups

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and downs, I needed to focus

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on how I can capture the

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right visuals to tell that story.

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While stage two is already a

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big step forward in your journey

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to becoming a visual storyteller, there

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is one last stage that is

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going to help you elevate the

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quality of your videos and the

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efficiency of your workflow to a

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completely new level.

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And that's where stage three comes

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in, which is organized shooting.

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So after stage two, you now

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have a good understanding of how

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to shoot with intention.

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But still, you don't tell your

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stories at their full potential.

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While shooting, you find out that

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the location doesn't really fit to

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the mood of your scene, you

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run into timing issues and miss

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the perfect light because you spent

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too much time figuring out the

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shots you need to capture, and

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in the editing, you realize that

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you're missing specific shots that would've

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helped you to tell that part

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of the story.

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All in all, you don't have

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the necessary organization to execute the

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visual side of your story as

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you imagined it to be.

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That's why in stage three, you

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as a visual storyteller take the

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necessary time to work out the

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visual side before the shoot.

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You come up with a concrete

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plan that is going to guide

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you through the shoot, and that

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ultimately enables you to tell your

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story at its full potential.

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You sit down and figure out

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what the different parts of your

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script are going to look like

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by creating mood boards, you search

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for locations that fit the mood

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of these scenes, you figure out

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the best lighting to achieve that

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mood, you write a shot list

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that defines the different angles and

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actions you need to capture, and

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if you want to shoot multiple

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scenes in a short period of

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time, you also create a film

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schedule that tells you the timings,

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events, participants, and locations of your

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shoots.

00:07:17.257 --> 00:07:18.858 align:center
Don't worry, I'm going to explain

00:07:18.938 --> 00:07:19.978 align:center
each of those steps in the

00:07:20.038 --> 00:07:21.519 align:center
next lessons of this module, but

00:07:21.559 --> 00:07:23.040 align:center
for now, it is only important

00:07:23.060 --> 00:07:24.521 align:center
to understand that the shift between

00:07:24.581 --> 00:07:26.542 align:center
stage two and stage three happens

00:07:26.602 --> 00:07:27.842 align:center
because you start to put more

00:07:27.963 --> 00:07:29.783 align:center
effort into organizing your shoots.

00:07:30.084 --> 00:07:31.204 align:center
The moment I started to write

00:07:31.244 --> 00:07:32.705 align:center
shot lists for my videos was

00:07:32.765 --> 00:07:33.825 align:center
when I really felt like I

00:07:33.886 --> 00:07:35.606 align:center
gained true control over how my

00:07:35.646 --> 00:07:36.947 align:center
story was being told.

00:07:37.167 --> 00:07:38.408 align:center
One of the best examples is

00:07:38.448 --> 00:07:39.708 align:center
my video on how to actually

00:07:39.768 --> 00:07:40.549 align:center
find your passion.

00:07:40.789 --> 00:07:42.090 align:center
As I already addressed this video

00:07:42.110 --> 00:07:43.670 align:center
in many other lessons, by now

00:07:43.710 --> 00:07:45.331 align:center
you probably have a good understanding

00:07:45.431 --> 00:07:46.912 align:center
of what the visual side story

00:07:46.972 --> 00:07:48.292 align:center
of this video looks like.

00:07:48.592 --> 00:07:49.873 align:center
I sit in a train station,

00:07:50.033 --> 00:07:51.414 align:center
I fall asleep, and I wake

00:07:51.454 --> 00:07:52.594 align:center
up in a dream world where

00:07:52.654 --> 00:07:53.755 align:center
I find my passion.

00:07:54.035 --> 00:07:55.115 align:center
So here we have a transition

00:07:55.155 --> 00:07:56.516 align:center
from the real world into the

00:07:56.576 --> 00:07:57.917 align:center
dream world, and on top of

00:07:57.957 --> 00:07:59.497 align:center
that we have a visual metaphor

00:07:59.537 --> 00:08:01.278 align:center
that exactly needs to connect to

00:08:01.318 --> 00:08:02.919 align:center
what I say in my voiceover.

00:08:03.159 --> 00:08:04.960 align:center
Therefore, this is definitely some advanced

00:08:05.000 --> 00:08:07.021 align:center
storytelling, and a complex scene like

00:08:07.081 --> 00:08:08.802 align:center
that doesn't allow for an assembly

00:08:08.862 --> 00:08:09.762 align:center
of random shots.

00:08:10.062 --> 00:08:11.363 align:center
in order to package this part

00:08:11.383 --> 00:08:12.803 align:center
of the story into an immersive

00:08:12.864 --> 00:08:13.944 align:center
visual experience.

00:08:14.164 --> 00:08:15.185 align:center
All of the shots need to

00:08:15.245 --> 00:08:17.186 align:center
seamlessly connect with each other, and

00:08:17.226 --> 00:08:18.466 align:center
they need to fit the timing

00:08:18.526 --> 00:08:19.467 align:center
of my voiceover.

00:08:19.687 --> 00:08:21.188 align:center
That's why I defined every single

00:08:21.248 --> 00:08:22.568 align:center
shot that I needed to capture

00:08:22.869 --> 00:08:24.269 align:center
by creating a shot list.

00:08:24.489 --> 00:08:26.150 align:center
And honestly, the two hours I

00:08:26.190 --> 00:08:27.931 align:center
invested into writing that shot list

00:08:28.211 --> 00:08:29.752 align:center
paid off big time during the

00:08:29.832 --> 00:08:30.212 align:center
shoot.

00:08:30.372 --> 00:08:31.413 align:center
Because when me and my friend

00:08:31.453 --> 00:08:33.074 align:center
Patricio showed up to the location

00:08:33.114 --> 00:08:34.374 align:center
and started to film the video,

00:08:34.654 --> 00:08:36.275 align:center
we knew exactly what shots we

00:08:36.295 --> 00:08:37.796 align:center
need to capture in order to

00:08:37.836 --> 00:08:38.977 align:center
make the scene work in the

00:08:39.077 --> 00:08:39.517 align:center
editing.

00:08:39.757 --> 00:08:40.957 align:center
Don't get me wrong, you can

00:08:40.997 --> 00:08:42.998 align:center
become a great storyteller by only

00:08:43.038 --> 00:08:45.339 align:center
shooting with intention and practicing over

00:08:45.399 --> 00:08:46.199 align:center
and over again.

00:08:46.359 --> 00:08:47.700 align:center
But you're never going to reach

00:08:47.780 --> 00:08:49.300 align:center
such a high level of efficiency

00:08:49.360 --> 00:08:51.201 align:center
and quality if you don't plan

00:08:51.261 --> 00:08:53.562 align:center
certain aspects of your shoot beforehand.

00:08:53.862 --> 00:08:55.843 align:center
A few simple documents can immensely

00:08:55.883 --> 00:08:57.643 align:center
improve your shooting workflow and make

00:08:57.683 --> 00:08:58.884 align:center
sure that the visual side of

00:08:58.924 --> 00:09:00.905 align:center
your story seamlessly integrates with the

00:09:00.945 --> 00:09:02.005 align:center
script of your video.

00:09:02.165 --> 00:09:03.465 align:center
And that's exactly what I'm going

00:09:03.505 --> 00:09:04.846 align:center
to teach you in this module.

00:09:05.206 --> 00:09:06.407 align:center
So these were the three different

00:09:06.447 --> 00:09:07.568 align:center
stages of shooting.

00:09:07.808 --> 00:09:10.691 align:center
From cinematic, to intentional, to organized.

00:09:10.951 --> 00:09:12.292 align:center
First, you become interested in the

00:09:12.332 --> 00:09:13.854 align:center
camera and editing tools that let

00:09:13.874 --> 00:09:15.775 align:center
you create something visually appealing, then

00:09:15.835 --> 00:09:17.056 align:center
after some time of doing that,

00:09:17.177 --> 00:09:18.478 align:center
you start to put more thoughts

00:09:18.518 --> 00:09:19.559 align:center
into the way you shoot your

00:09:19.599 --> 00:09:21.160 align:center
videos, and at a later point,

00:09:21.200 --> 00:09:22.621 align:center
you start to plan and organize

00:09:22.661 --> 00:09:24.083 align:center
your shoot to tell your stories

00:09:24.163 --> 00:09:25.404 align:center
at their highest potential.

00:09:25.624 --> 00:09:27.426 align:center
This is the progression of becoming

00:09:27.526 --> 00:09:28.867 align:center
a visual storyteller.

00:09:29.267 --> 00:09:30.688 align:center
From picking up your first camera

00:09:30.728 --> 00:09:33.489 align:center
to creating an extraordinary documentary, you

00:09:33.529 --> 00:09:34.590 align:center
will have to go through each

00:09:34.630 --> 00:09:36.030 align:center
of those stages to a certain

00:09:36.070 --> 00:09:37.931 align:center
degree because they simply build on

00:09:37.991 --> 00:09:38.751 align:center
top of each other.

00:09:39.092 --> 00:09:39.932 align:center
If you don't learn how to

00:09:40.092 --> 00:09:41.273 align:center
use the tools, then you will

00:09:41.313 --> 00:09:42.693 align:center
be limited in your abilities to

00:09:42.713 --> 00:09:43.354 align:center
create videos.

00:09:43.554 --> 00:09:44.654 align:center
If you don't learn how your

00:09:44.774 --> 00:09:46.535 align:center
actions influence the viewer, then you

00:09:46.575 --> 00:09:47.936 align:center
won't be able to tell compelling

00:09:47.996 --> 00:09:48.436 align:center
stories.

00:09:48.756 --> 00:09:49.877 align:center
And if you don't learn to

00:09:49.917 --> 00:09:51.437 align:center
establish a plan, then you will

00:09:51.477 --> 00:09:52.778 align:center
leave a lot of potential on

00:09:52.818 --> 00:09:53.298 align:center
the line.

00:09:53.538 --> 00:09:54.359 align:center
Do you see what I mean?

00:09:54.619 --> 00:09:55.859 align:center
Each of those steps sets the

00:09:55.899 --> 00:09:56.980 align:center
base for the next one.

00:09:57.320 --> 00:09:59.141 align:center
and therefore there is no shortcut

00:09:59.241 --> 00:10:00.642 align:center
to jump straight away to stage

00:10:00.702 --> 00:10:02.342 align:center
three without first putting in the

00:10:02.422 --> 00:10:03.983 align:center
work to understand stage one and

00:10:04.023 --> 00:10:04.623 align:center
stage two.

00:10:04.823 --> 00:10:06.124 align:center
So you might ask yourself, why

00:10:06.184 --> 00:10:07.344 align:center
am I watching this course if

00:10:07.364 --> 00:10:08.605 align:center
there is no shortcut?

00:10:09.025 --> 00:10:10.026 align:center
Well, let me tell you this.

00:10:10.306 --> 00:10:11.786 align:center
There is no shortcut to becoming

00:10:11.846 --> 00:10:13.767 align:center
a great filmmaker and storyteller, but

00:10:13.787 --> 00:10:14.908 align:center
there is a fast track to

00:10:14.948 --> 00:10:15.608 align:center
becoming one.

00:10:15.728 --> 00:10:17.089 align:center
Going through each of those stages

00:10:17.149 --> 00:10:18.409 align:center
by yourself is going to take

00:10:18.449 --> 00:10:19.950 align:center
you many, many years of time,

00:10:20.090 --> 00:10:21.531 align:center
and most likely, you're going to

00:10:21.551 --> 00:10:22.531 align:center
get stuck in one of the

00:10:22.631 --> 00:10:24.392 align:center
earlier stages for a long time.

00:10:24.672 --> 00:10:26.173 align:center
But by taking this course, I

00:10:26.213 --> 00:10:27.194 align:center
can assure you that you will

00:10:27.234 --> 00:10:28.875 align:center
excel in each of those stages

00:10:29.036 --> 00:10:30.457 align:center
in a fraction of the time.

00:10:30.677 --> 00:10:31.538 align:center
It took me more than ten

00:10:31.598 --> 00:10:32.739 align:center
years to go through all of

00:10:32.779 --> 00:10:34.440 align:center
these stages and establish the right

00:10:34.500 --> 00:10:35.161 align:center
workflows.

00:10:35.341 --> 00:10:36.722 align:center
But with the concepts and learnings

00:10:36.782 --> 00:10:38.083 align:center
of this course, you will be

00:10:38.183 --> 00:10:40.325 align:center
able to become an extraordinary filmmaker

00:10:40.345 --> 00:10:42.406 align:center
and storyteller within only a few

00:10:42.527 --> 00:10:42.867 align:center
months.

00:10:43.107 --> 00:10:43.968 align:center
I'll show you how to shoot

00:10:44.008 --> 00:10:45.269 align:center
cinematic, I'll show you how to

00:10:45.309 --> 00:10:46.770 align:center
shoot intentional, and I'll show you

00:10:46.790 --> 00:10:48.111 align:center
how to shoot in an organized

00:10:48.192 --> 00:10:48.452 align:center
way.

00:10:48.652 --> 00:10:49.973 align:center
I will teach you everything from

00:10:50.013 --> 00:10:51.374 align:center
the ground up, so even if

00:10:51.394 --> 00:10:52.996 align:center
you're an absolute beginner with no

00:10:53.056 --> 00:10:54.877 align:center
experience, you're going to become a

00:10:54.938 --> 00:10:56.819 align:center
great storyteller in no time.

00:10:57.099 --> 00:10:58.581 align:center
While it is important to improve

00:10:58.621 --> 00:11:00.422 align:center
in all stages of shooting, it

00:11:00.462 --> 00:11:01.724 align:center
is not that important in which

00:11:01.844 --> 00:11:03.025 align:center
order you learn about them.

00:11:03.425 --> 00:11:04.646 align:center
What's important is that you are

00:11:04.706 --> 00:11:06.588 align:center
aware that those stages exist, and

00:11:06.608 --> 00:11:07.809 align:center
that you work on the areas

00:11:07.869 --> 00:11:09.250 align:center
where you're lacking the knowledge and

00:11:09.330 --> 00:11:09.731 align:center
skills.

00:11:10.291 --> 00:11:12.032 align:center
As the majority of organized shooting

00:11:12.072 --> 00:11:14.112 align:center
happens before shooting the video, we're

00:11:14.152 --> 00:11:15.353 align:center
going to talk all about it

00:11:15.433 --> 00:11:16.273 align:center
in this module.

00:11:16.473 --> 00:11:17.673 align:center
But later on in the shooting

00:11:17.693 --> 00:11:19.414 align:center
module, I'm going to cover everything

00:11:19.454 --> 00:11:20.654 align:center
you need to know in order

00:11:20.714 --> 00:11:22.235 align:center
to master stages one and two

00:11:22.395 --> 00:11:24.876 align:center
of cinematic shooting and intentional shooting.

00:11:25.096 --> 00:11:26.456 align:center
Alright, now you should have a

00:11:26.496 --> 00:11:28.357 align:center
better understanding of what the journey

00:11:28.397 --> 00:11:30.137 align:center
of improving your shooting skills looks

00:11:30.238 --> 00:11:30.538 align:center
like.

00:11:30.778 --> 00:11:32.118 align:center
Next up, I want to briefly

00:11:32.178 --> 00:11:33.939 align:center
touch on the visual structure of

00:11:33.999 --> 00:11:34.479 align:center
a video.

00:11:37.150 --> 00:11:38.730 align:center
So this chapter is quite short,

00:11:38.830 --> 00:11:40.111 align:center
but really important.

00:11:40.311 --> 00:11:41.651 align:center
From this module on, I'm often

00:11:41.691 --> 00:11:43.511 align:center
going to use the terminologies frames,

00:11:43.691 --> 00:11:44.791 align:center
shots and scenes.

00:11:44.971 --> 00:11:45.791 align:center
And as some of you might

00:11:45.811 --> 00:11:47.112 align:center
be completely new to the world

00:11:47.152 --> 00:11:48.872 align:center
of filmmaking, I quickly want to

00:11:48.912 --> 00:11:50.392 align:center
explain what all of those are.

00:11:50.552 --> 00:11:51.952 align:center
The easiest way to understand the

00:11:51.992 --> 00:11:53.073 align:center
difference is to look at the

00:11:53.153 --> 00:11:54.993 align:center
micro and macro perspective of a

00:11:55.033 --> 00:11:55.473 align:center
video.

00:11:55.833 --> 00:11:57.053 align:center
So at the micro scale, you

00:11:57.093 --> 00:11:57.833 align:center
have frames.

00:11:58.214 --> 00:12:00.114 align:center
Multiple frames make up a shot.

00:12:00.414 --> 00:12:02.274 align:center
Multiple shots make up a scene.

00:12:02.494 --> 00:12:04.375 align:center
Multiple scenes make up a chapter.

00:12:04.615 --> 00:12:06.295 align:center
And multiple chapters make up a

00:12:06.355 --> 00:12:06.755 align:center
video.

00:12:06.995 --> 00:12:08.536 align:center
So let's slowly work ourselves back

00:12:08.596 --> 00:12:10.117 align:center
to the micro level and explore

00:12:10.137 --> 00:12:12.018 align:center
what each building block is about.

00:12:12.358 --> 00:12:13.779 align:center
The video is obviously your full

00:12:13.819 --> 00:12:15.420 align:center
video from beginning to end.

00:12:15.680 --> 00:12:17.782 align:center
Then video consists of different chapters

00:12:17.842 --> 00:12:19.923 align:center
that differentiate themselves by their specific

00:12:19.983 --> 00:12:21.784 align:center
topic or purpose in relation to

00:12:21.824 --> 00:12:22.905 align:center
the overall story.

00:12:23.125 --> 00:12:24.426 align:center
These chapters are the ones that

00:12:24.466 --> 00:12:26.027 align:center
we already defined in our script.

00:12:26.367 --> 00:12:28.088 align:center
But besides the story structure, we

00:12:28.128 --> 00:12:30.068 align:center
now also have a visual structure.

00:12:30.208 --> 00:12:31.489 align:center
So basically, we have a structure

00:12:31.509 --> 00:12:32.609 align:center
for what the viewer is being

00:12:32.689 --> 00:12:34.090 align:center
told, but also for what the

00:12:34.130 --> 00:12:35.290 align:center
viewer is being shown.

00:12:35.410 --> 00:12:36.791 align:center
There is the story side and

00:12:36.831 --> 00:12:37.791 align:center
the visual side.

00:12:37.991 --> 00:12:39.732 align:center
And everything below the chapter level

00:12:39.932 --> 00:12:41.733 align:center
only aims to divide and clarify

00:12:41.773 --> 00:12:43.453 align:center
the visual side of the story.

00:12:43.713 --> 00:12:45.474 align:center
So as I said, chapters consist

00:12:45.534 --> 00:12:46.154 align:center
of scenes.

00:12:46.514 --> 00:12:48.535 align:center
Scenes are basically visual chapters.

00:12:48.795 --> 00:12:50.015 align:center
Or in other words, a scene

00:12:50.096 --> 00:12:51.536 align:center
is a series of shots that

00:12:51.576 --> 00:12:53.457 align:center
happens in one location for a

00:12:53.517 --> 00:12:55.117 align:center
continuous period of time.

00:12:55.358 --> 00:12:56.758 align:center
That means a new scene begins

00:12:56.938 --> 00:12:57.778 align:center
as soon as there is a

00:12:57.838 --> 00:12:59.479 align:center
change in location or a change

00:12:59.519 --> 00:13:00.039 align:center
in time.

00:13:00.279 --> 00:13:01.980 align:center
Scenes are needed to properly plan

00:13:02.040 --> 00:13:03.741 align:center
and structure a shoot, because a

00:13:03.801 --> 00:13:06.102 align:center
single shot doesn't hold enough significance

00:13:06.422 --> 00:13:07.642 align:center
to advance a part of the

00:13:07.702 --> 00:13:08.122 align:center
story.

00:13:08.282 --> 00:13:09.423 align:center
Now, if we go deeper into

00:13:09.483 --> 00:13:10.643 align:center
a scene, we can see that

00:13:10.683 --> 00:13:12.324 align:center
it consists of multiple shots.

00:13:12.664 --> 00:13:13.824 align:center
A shot is defined as a

00:13:13.904 --> 00:13:15.465 align:center
series of frames that runs for

00:13:15.525 --> 00:13:17.525 align:center
an uninterrupted period of time.

00:13:17.725 --> 00:13:18.606 align:center
So as soon as there is

00:13:18.666 --> 00:13:20.126 align:center
a cut in your video, one

00:13:20.186 --> 00:13:21.687 align:center
shot ends and a new shot

00:13:21.747 --> 00:13:22.247 align:center
begins.

00:13:22.647 --> 00:13:24.627 align:center
While shots are moving images, frames

00:13:24.707 --> 00:13:26.028 align:center
are only still images.

00:13:26.268 --> 00:13:27.868 align:center
Depending on your base frame rate,

00:13:28.068 --> 00:13:29.349 align:center
one second of your video is

00:13:29.369 --> 00:13:31.089 align:center
going to consist of either twenty-four,

00:13:31.189 --> 00:13:33.770 align:center
twenty-five or thirty different frames slash

00:13:33.870 --> 00:13:34.330 align:center
images.

00:13:34.590 --> 00:13:36.131 align:center
And the combination of those frames

00:13:36.271 --> 00:13:37.532 align:center
is what makes your shot appear

00:13:37.573 --> 00:13:39.174 align:center
like a moving flow of visuals

00:13:39.334 --> 00:13:41.115 align:center
rather than only a still image.

00:13:41.356 --> 00:13:42.336 align:center
The two levels which are the

00:13:42.397 --> 00:13:43.738 align:center
most important when it comes to

00:13:43.838 --> 00:13:45.399 align:center
organizing the shoot are both the

00:13:45.499 --> 00:13:46.620 align:center
scenes and the shots.

00:13:47.020 --> 00:13:48.742 align:center
Scenes are the visual chapters, and

00:13:48.802 --> 00:13:50.323 align:center
shots are the small building blocks

00:13:50.443 --> 00:13:51.824 align:center
that help us create the different

00:13:51.904 --> 00:13:52.325 align:center
scenes.

00:13:52.745 --> 00:13:53.947 align:center
I hope that this animation could

00:13:53.987 --> 00:13:55.468 align:center
give you a better understanding of

00:13:55.508 --> 00:13:56.910 align:center
what the visual structure of a

00:13:56.970 --> 00:13:57.951 align:center
video looks like.

00:13:58.111 --> 00:13:59.893 align:center
This visualization should make it much

00:14:00.013 --> 00:14:01.635 align:center
easier to understand everything I talk

00:14:01.675 --> 00:14:02.756 align:center
about in this and the next

00:14:02.816 --> 00:14:04.618 align:center
modules, and you're also going to

00:14:04.658 --> 00:14:05.840 align:center
see me refer back to this

00:14:05.900 --> 00:14:07.561 align:center
animation over and over again.

00:14:07.862 --> 00:14:09.083 align:center
Next up, I want to talk

00:14:09.143 --> 00:14:10.525 align:center
about visual elements.

00:14:13.392 --> 00:14:14.553 align:center
When it comes to shooting your

00:14:14.593 --> 00:14:16.656 align:center
video, there are basically eleven different

00:14:16.716 --> 00:14:18.678 align:center
visual elements that influence how your

00:14:18.718 --> 00:14:20.340 align:center
story is being received by the

00:14:20.420 --> 00:14:20.861 align:center
viewer.

00:14:21.041 --> 00:14:22.102 align:center
Or in other words, there are

00:14:22.182 --> 00:14:23.684 align:center
eleven different factors you need to

00:14:23.724 --> 00:14:25.626 align:center
be aware of while shooting in

00:14:25.666 --> 00:14:27.088 align:center
order to capture the right shots

00:14:27.148 --> 00:14:28.349 align:center
that support your story.

00:14:28.549 --> 00:14:29.390 align:center
So let's have a look at

00:14:29.430 --> 00:14:30.532 align:center
those different elements.

00:14:30.972 --> 00:14:32.113 align:center
All in all, we have three

00:14:32.173 --> 00:14:33.253 align:center
different categories.

00:14:33.474 --> 00:14:35.275 align:center
The setting, the character, and the

00:14:35.315 --> 00:14:35.835 align:center
camera.

00:14:36.095 --> 00:14:37.276 align:center
The setting is the place where

00:14:37.316 --> 00:14:38.777 align:center
you film, the character is the

00:14:38.837 --> 00:14:40.298 align:center
person that is being filmed, and

00:14:40.338 --> 00:14:41.599 align:center
the camera is the tool being

00:14:41.719 --> 00:14:42.959 align:center
used to film the character in

00:14:42.999 --> 00:14:43.580 align:center
the setting.

00:14:43.820 --> 00:14:44.861 align:center
Now, in each of these three

00:14:44.921 --> 00:14:47.422 align:center
categories, we have different visual elements.

00:14:47.722 --> 00:14:48.743 align:center
For the setting, we have the

00:14:48.783 --> 00:14:50.804 align:center
location, the lighting, and the color.

00:14:50.984 --> 00:14:52.225 align:center
For the character, we have the

00:14:52.365 --> 00:14:54.266 align:center
actor, the outfit, and the action.

00:14:54.486 --> 00:14:55.607 align:center
And for the camera, we have

00:14:55.647 --> 00:14:57.348 align:center
the camera type, the settings, the

00:14:57.408 --> 00:14:59.610 align:center
focal length, the composition, and the

00:14:59.670 --> 00:15:00.170 align:center
movement.

00:15:00.570 --> 00:15:01.390 align:center
So let's have a look at

00:15:01.491 --> 00:15:02.611 align:center
every single one of them.

00:15:02.891 --> 00:15:04.432 align:center
The location is the specific place

00:15:04.452 --> 00:15:05.172 align:center
where you shoot.

00:15:05.352 --> 00:15:06.473 align:center
It can be your living room,

00:15:06.593 --> 00:15:07.774 align:center
a spot in the park, or

00:15:07.814 --> 00:15:08.734 align:center
a street in the city.

00:15:08.994 --> 00:15:10.395 align:center
The lighting is the light situation

00:15:10.415 --> 00:15:11.716 align:center
that influences the setting.

00:15:11.916 --> 00:15:13.336 align:center
If you rely on natural lighting,

00:15:13.416 --> 00:15:14.657 align:center
it can be a cloudy sky,

00:15:14.777 --> 00:15:16.358 align:center
a colorful sunset, or a dark

00:15:16.458 --> 00:15:16.738 align:center
night.

00:15:16.898 --> 00:15:18.499 align:center
And if you use artificial lighting,

00:15:18.559 --> 00:15:19.479 align:center
it can be the glow from

00:15:19.539 --> 00:15:21.680 align:center
a street lantern, a large softbox,

00:15:21.780 --> 00:15:23.361 align:center
or a proper studio setup with

00:15:23.421 --> 00:15:24.622 align:center
multiple light sources.

00:15:24.962 --> 00:15:26.182 align:center
And the color paints the mood

00:15:26.203 --> 00:15:27.243 align:center
of your scene, and it is

00:15:27.303 --> 00:15:29.084 align:center
influenced by the two previous elements

00:15:29.144 --> 00:15:30.624 align:center
of the location and lighting.

00:15:30.784 --> 00:15:32.085 align:center
So it can be blue dominant,

00:15:32.225 --> 00:15:33.665 align:center
red dominant, or a mix of

00:15:33.725 --> 00:15:34.586 align:center
multiple colors.

00:15:35.026 --> 00:15:36.126 align:center
Next up, let's look at the

00:15:36.206 --> 00:15:37.527 align:center
elements for the character.

00:15:37.747 --> 00:15:38.987 align:center
The actor is the person that

00:15:39.067 --> 00:15:39.908 align:center
is being filmed.

00:15:40.028 --> 00:15:41.568 align:center
It can be yourself, your friend,

00:15:41.648 --> 00:15:43.529 align:center
another person, or multiple people.

00:15:43.709 --> 00:15:45.010 align:center
The outfit are the clothes that

00:15:45.030 --> 00:15:46.750 align:center
your character wears, which can be

00:15:46.830 --> 00:15:48.391 align:center
a warm winter jacket, a light

00:15:48.431 --> 00:15:50.312 align:center
tank top, or simply some underwear.

00:15:50.612 --> 00:15:51.772 align:center
And the action is what your

00:15:51.812 --> 00:15:53.673 align:center
character is doing during the shot.

00:15:53.893 --> 00:15:55.294 align:center
They can work on their computer,

00:15:55.374 --> 00:15:56.716 align:center
go for a run or scroll

00:15:56.736 --> 00:15:58.077 align:center
through their phone while laying in

00:15:58.117 --> 00:15:58.557 align:center
bed.

00:15:58.778 --> 00:15:59.939 align:center
And last but not least, let's

00:15:59.979 --> 00:16:01.240 align:center
look at the elements for the

00:16:01.260 --> 00:16:01.760 align:center
camera.

00:16:01.940 --> 00:16:03.142 align:center
The camera type is what kind

00:16:03.182 --> 00:16:04.503 align:center
of camera you use to capture

00:16:04.543 --> 00:16:05.604 align:center
the shot, and it can be

00:16:05.624 --> 00:16:07.245 align:center
a mirrorless camera, a drone, an

00:16:07.325 --> 00:16:08.727 align:center
action camera or a phone.

00:16:09.087 --> 00:16:10.528 align:center
The settings of your camera include

00:16:10.548 --> 00:16:12.730 align:center
your frame rate, shutter speed, aperture

00:16:12.871 --> 00:16:13.751 align:center
and ISO.

00:16:13.952 --> 00:16:14.832 align:center
So it can be a shot

00:16:14.872 --> 00:16:16.714 align:center
in real-time with a small aperture,

00:16:17.074 --> 00:16:18.155 align:center
or it can be a slow-motion

00:16:18.196 --> 00:16:19.617 align:center
shot with a wide aperture.

00:16:19.837 --> 00:16:21.637 align:center
The focal length represents the amount

00:16:21.697 --> 00:16:23.378 align:center
of zoom and compression of your

00:16:23.418 --> 00:16:23.778 align:center
lens.

00:16:24.038 --> 00:16:25.138 align:center
So it can be a wide-angle

00:16:25.158 --> 00:16:26.299 align:center
lens with a focal length of

00:16:26.379 --> 00:16:28.499 align:center
sixteen millimeters, a standard lens with

00:16:28.539 --> 00:16:30.820 align:center
thirty-five millimeters, or a telephoto lens

00:16:30.880 --> 00:16:32.300 align:center
with two hundred millimeters.

00:16:32.760 --> 00:16:34.380 align:center
The composition is the framing of

00:16:34.420 --> 00:16:35.621 align:center
your shot, and it can be

00:16:35.701 --> 00:16:37.841 align:center
a wide shot, a medium shot,

00:16:38.161 --> 00:16:40.142 align:center
a close-up shot, or a macro

00:16:40.202 --> 00:16:40.442 align:center
shot.

00:16:40.802 --> 00:16:41.863 align:center
And the movement is the way

00:16:41.903 --> 00:16:43.525 align:center
the camera is being moved, which

00:16:43.585 --> 00:16:45.947 align:center
can be differentiated into stabilized and

00:16:46.008 --> 00:16:48.190 align:center
handheld shots, and examples would be

00:16:48.270 --> 00:16:50.472 align:center
a dolly in, an orbit, a

00:16:50.512 --> 00:16:52.494 align:center
top-down shot, or a follow shot.

00:16:52.755 --> 00:16:53.776 align:center
If you don't know what some

00:16:53.816 --> 00:16:55.998 align:center
of these camera terminologies mean, that's

00:16:56.078 --> 00:16:57.880 align:center
totally fine, because I'm going to

00:16:57.920 --> 00:16:59.462 align:center
explain everything about them in the

00:16:59.522 --> 00:17:00.503 align:center
next two modules.

00:17:00.843 --> 00:17:02.224 align:center
So each of those eleven different

00:17:02.304 --> 00:17:04.246 align:center
elements has a strong impact on

00:17:04.286 --> 00:17:05.848 align:center
how your story is being received

00:17:05.928 --> 00:17:07.049 align:center
on the visual side.

00:17:07.509 --> 00:17:09.091 align:center
And as a good visual storyteller,

00:17:09.171 --> 00:17:10.292 align:center
you need to know how to

00:17:10.352 --> 00:17:12.013 align:center
nail down every single one of

00:17:12.073 --> 00:17:12.254 align:center
them.

00:17:12.674 --> 00:17:14.095 align:center
Because as soon as one element

00:17:14.135 --> 00:17:15.497 align:center
of your shot is not supporting

00:17:15.537 --> 00:17:16.798 align:center
the story you want to tell,

00:17:17.158 --> 00:17:18.920 align:center
it can ruin the full experience.

00:17:19.220 --> 00:17:20.380 align:center
If you shoot a happy scene

00:17:20.440 --> 00:17:21.801 align:center
in a very dark and dramatic

00:17:21.861 --> 00:17:24.041 align:center
environment, the visuals won't match the

00:17:24.102 --> 00:17:25.062 align:center
mood of your scene.

00:17:25.342 --> 00:17:27.242 align:center
If your actor looks really demotivated

00:17:27.362 --> 00:17:28.543 align:center
even though your story is about

00:17:28.583 --> 00:17:30.063 align:center
his love for editing, it is

00:17:30.103 --> 00:17:31.724 align:center
going to be extremely confusing to

00:17:31.784 --> 00:17:32.104 align:center
watch.

00:17:32.444 --> 00:17:33.664 align:center
And if you show smooth gimbal

00:17:33.684 --> 00:17:34.865 align:center
shots of a runner in slow

00:17:34.905 --> 00:17:36.285 align:center
motion, even though you want to

00:17:36.365 --> 00:17:38.286 align:center
emphasize the exhausting and hard work

00:17:38.346 --> 00:17:40.226 align:center
of their training, your visuals are

00:17:40.286 --> 00:17:41.987 align:center
not going to transport that feeling.

00:17:42.287 --> 00:17:44.108 align:center
As you see, the smallest details

00:17:44.168 --> 00:17:45.709 align:center
can throw the viewer off track

00:17:45.829 --> 00:17:47.409 align:center
and create a mismatch between the

00:17:47.449 --> 00:17:49.050 align:center
story and the visual side.

00:17:49.230 --> 00:17:50.491 align:center
And that's the reason why you

00:17:50.511 --> 00:17:52.472 align:center
need to truly understand the psychological

00:17:52.572 --> 00:17:54.533 align:center
impact that those eleven visual elements

00:17:54.633 --> 00:17:55.633 align:center
have on the viewer.

00:17:55.893 --> 00:17:56.714 align:center
You need to know how to

00:17:56.754 --> 00:17:58.794 align:center
pick the right locations, shoot in

00:17:58.834 --> 00:18:00.695 align:center
the best lighting, focus on the

00:18:00.755 --> 00:18:02.896 align:center
right colors, select the right actor,

00:18:03.256 --> 00:18:04.337 align:center
choose the right outfit,

00:18:04.677 --> 00:18:06.398 align:center
Direct the action of your character,

00:18:06.698 --> 00:18:08.380 align:center
decide on the best camera type,

00:18:08.560 --> 00:18:10.281 align:center
use the correct settings, pick the

00:18:10.321 --> 00:18:11.922 align:center
right focal length, frame the right

00:18:11.962 --> 00:18:14.864 align:center
composition, and execute the fitting movement.

00:18:15.044 --> 00:18:16.265 align:center
Because only if you make the

00:18:16.365 --> 00:18:17.706 align:center
right decisions for all of those

00:18:17.806 --> 00:18:19.987 align:center
eleven visual elements, you can tell

00:18:20.027 --> 00:18:21.288 align:center
your story as clear and as

00:18:21.348 --> 00:18:22.489 align:center
intense as it can be.

00:18:22.949 --> 00:18:24.190 align:center
As you can imagine, it can

00:18:24.230 --> 00:18:25.952 align:center
become quite stressful to think about

00:18:26.032 --> 00:18:28.074 align:center
eleven different things while shooting, and

00:18:28.114 --> 00:18:29.656 align:center
the chances of forgetting about one

00:18:29.696 --> 00:18:31.117 align:center
of those elements along the way

00:18:31.278 --> 00:18:32.219 align:center
are very high.

00:18:32.439 --> 00:18:33.940 align:center
And this is the exact reason

00:18:34.000 --> 00:18:35.402 align:center
why you need to organize your

00:18:35.462 --> 00:18:35.882 align:center
shoot.

00:18:36.063 --> 00:18:37.584 align:center
The goal of organizing your shoot

00:18:37.664 --> 00:18:39.046 align:center
is to figure out and define

00:18:39.106 --> 00:18:40.607 align:center
as many of those visual elements

00:18:40.687 --> 00:18:42.449 align:center
as possible before the shoot, so

00:18:42.469 --> 00:18:43.850 align:center
you know exactly what to do

00:18:43.951 --> 00:18:45.832 align:center
and minimize your decisions during the

00:18:45.873 --> 00:18:46.133 align:center
shoot.

00:18:46.553 --> 00:18:47.494 align:center
I know that this might sound

00:18:47.574 --> 00:18:49.875 align:center
quite overwhelming, but those visual elements

00:18:49.975 --> 00:18:51.175 align:center
are exactly what we're going to

00:18:51.235 --> 00:18:53.156 align:center
talk about throughout this module and

00:18:53.216 --> 00:18:54.157 align:center
the shooting module.

00:18:54.357 --> 00:18:55.698 align:center
For each step of the shoot

00:18:55.738 --> 00:18:57.859 align:center
organization workflow, I'm always going to

00:18:57.939 --> 00:18:59.219 align:center
come back to this overview of

00:18:59.239 --> 00:19:00.640 align:center
the visual elements, and I will

00:19:00.660 --> 00:19:01.841 align:center
explain which of them we have

00:19:01.881 --> 00:19:03.461 align:center
to focus on during the different

00:19:03.501 --> 00:19:04.722 align:center
steps of the process.

00:19:05.182 --> 00:19:06.903 align:center
As mentioned, the overall goal of

00:19:07.023 --> 00:19:08.743 align:center
organizing your shoot is to define

00:19:08.783 --> 00:19:10.964 align:center
as many visual elements as possible.

00:19:11.124 --> 00:19:12.525 align:center
But before we can define them,

00:19:12.625 --> 00:19:14.065 align:center
we first have to envision them

00:19:14.425 --> 00:19:15.426 align:center
in order to know what we

00:19:15.466 --> 00:19:16.346 align:center
want to achieve.

00:19:16.566 --> 00:19:18.407 align:center
So basically, a visual element can

00:19:18.447 --> 00:19:19.767 align:center
have one of the following three

00:19:19.847 --> 00:19:20.267 align:center
states.

00:19:20.587 --> 00:19:22.828 align:center
It can be undefined, envisioned, or

00:19:22.868 --> 00:19:23.508 align:center
defined.

00:19:23.789 --> 00:19:24.829 align:center
Right at the beginning of your

00:19:24.869 --> 00:19:26.910 align:center
project, all visual elements are going

00:19:26.950 --> 00:19:27.850 align:center
to be undefined.

00:19:28.050 --> 00:19:29.371 align:center
but then throughout the different steps

00:19:29.411 --> 00:19:31.053 align:center
of the shoot organization workflow.

00:19:31.133 --> 00:19:32.514 align:center
We're going to envision what those

00:19:32.594 --> 00:19:33.915 align:center
elements could look like, and in

00:19:33.955 --> 00:19:35.176 align:center
the end, we're going to define

00:19:35.296 --> 00:19:36.598 align:center
one after the other, so we

00:19:36.638 --> 00:19:38.519 align:center
are perfectly prepared for the shoot.

00:19:38.920 --> 00:19:41.082 align:center
Alright, so this covers the fundamentals

00:19:41.122 --> 00:19:42.383 align:center
when it comes to shooting the

00:19:42.423 --> 00:19:43.824 align:center
visual side of your video.

00:19:44.024 --> 00:19:45.245 align:center
I hope that these concepts made

00:19:45.325 --> 00:19:46.687 align:center
sense to you, and now I'm

00:19:46.727 --> 00:19:48.048 align:center
going to do a quick summary

00:19:48.388 --> 00:19:49.489 align:center
of what you should take away

00:19:49.549 --> 00:19:50.270 align:center
from this lesson.

00:19:53.035 --> 00:19:54.116 align:center
On your way to becoming a

00:19:54.176 --> 00:19:55.956 align:center
visual storyteller, you're going to go

00:19:55.996 --> 00:19:58.057 align:center
through three different stages of shooting.

00:19:58.277 --> 00:20:00.098 align:center
Stage one is cinematic shooting.

00:20:00.318 --> 00:20:01.719 align:center
At this first stage, you explore

00:20:01.739 --> 00:20:03.140 align:center
the potential of your gear and

00:20:03.160 --> 00:20:04.840 align:center
you're solely focused on capturing the

00:20:04.900 --> 00:20:06.421 align:center
most beautiful-looking shots.

00:20:06.661 --> 00:20:07.942 align:center
You're not really concerned about how

00:20:08.002 --> 00:20:09.242 align:center
those visuals are going to tell

00:20:09.323 --> 00:20:10.903 align:center
a story, but your main goal

00:20:11.003 --> 00:20:12.264 align:center
is to make things look good.

00:20:12.784 --> 00:20:14.825 align:center
Stage two is intentional shooting.

00:20:15.065 --> 00:20:16.345 align:center
At this point, you decide to

00:20:16.385 --> 00:20:18.106 align:center
put your story before the visuals,

00:20:18.286 --> 00:20:19.706 align:center
and therefore you try to capture

00:20:19.726 --> 00:20:21.067 align:center
the right shots that are going

00:20:21.107 --> 00:20:22.507 align:center
to help you tell your story.

00:20:22.688 --> 00:20:23.908 align:center
You think about what effect your

00:20:23.948 --> 00:20:24.968 align:center
shots are going to have on

00:20:24.988 --> 00:20:26.909 align:center
the viewer, and therefore you capture

00:20:26.929 --> 00:20:28.870 align:center
your footage with the right intention.

00:20:29.270 --> 00:20:31.311 align:center
Stage three is organized shooting.

00:20:31.511 --> 00:20:33.211 align:center
At this last stage, you realize

00:20:33.231 --> 00:20:35.012 align:center
that you need some organization in

00:20:35.072 --> 00:20:36.312 align:center
order to tell the visual side

00:20:36.332 --> 00:20:37.593 align:center
of your story at its full

00:20:37.633 --> 00:20:38.253 align:center
potential.

00:20:38.453 --> 00:20:39.935 align:center
You take the necessary time to

00:20:39.975 --> 00:20:41.037 align:center
figure out what you want your

00:20:41.057 --> 00:20:42.259 align:center
shots to look like, and you

00:20:42.299 --> 00:20:43.781 align:center
come up with a concrete plan

00:20:43.881 --> 00:20:45.123 align:center
to execute your vision.

00:20:45.323 --> 00:20:46.325 align:center
This is what you're going to

00:20:46.365 --> 00:20:47.566 align:center
learn in the next lessons.

00:20:48.007 --> 00:20:49.970 align:center
Each of these stages is essential

00:20:50.030 --> 00:20:51.132 align:center
if you want to tell visual

00:20:51.192 --> 00:20:52.954 align:center
stories at their highest potential.

00:20:53.635 --> 00:20:55.496 align:center
shortcuts to being an incredible visual

00:20:55.536 --> 00:20:57.356 align:center
storyteller, but you need to develop

00:20:57.376 --> 00:20:58.917 align:center
your skills in all areas from

00:20:58.977 --> 00:21:01.117 align:center
learning the cinematic basics, to shooting

00:21:01.157 --> 00:21:03.358 align:center
with intention, to organizing the shoot.

00:21:03.758 --> 00:21:04.878 align:center
Just like we have a story

00:21:04.918 --> 00:21:06.379 align:center
structure with the different chapters in

00:21:06.419 --> 00:21:07.919 align:center
our script, we also have a

00:21:07.999 --> 00:21:09.880 align:center
visual structure for the visual side

00:21:09.920 --> 00:21:10.660 align:center
of our story.

00:21:10.820 --> 00:21:11.820 align:center
If we go from the macro

00:21:11.860 --> 00:21:13.961 align:center
perspective to the micro perspective, we

00:21:14.001 --> 00:21:15.241 align:center
can say that the full video

00:21:15.301 --> 00:21:17.842 align:center
consists of chapters, chapters consist of

00:21:17.922 --> 00:21:20.542 align:center
scenes, scenes consist of shots, and

00:21:20.622 --> 00:21:22.123 align:center
shots consist of frames.

00:21:22.563 --> 00:21:24.426 align:center
The most important levels are scenes

00:21:24.506 --> 00:21:26.028 align:center
and shots, because they're going to

00:21:26.089 --> 00:21:27.651 align:center
help us plan the shoot, and

00:21:27.751 --> 00:21:29.253 align:center
also they provide us with concrete

00:21:29.273 --> 00:21:31.477 align:center
terminologies to communicate when we're out

00:21:31.517 --> 00:21:32.158 align:center
in the field.

00:21:32.478 --> 00:21:33.760 align:center
All in all, there are eleven

00:21:33.800 --> 00:21:35.884 align:center
visual elements that influence how your

00:21:35.924 --> 00:21:37.506 align:center
story is being received by the

00:21:37.586 --> 00:21:37.947 align:center
viewer.

00:21:38.147 --> 00:21:39.728 align:center
There are three categories, which are

00:21:39.768 --> 00:21:42.190 align:center
the setting, character and camera, and

00:21:42.230 --> 00:21:43.692 align:center
within those categories, we have the

00:21:43.752 --> 00:21:44.693 align:center
following elements.

00:21:44.993 --> 00:21:46.114 align:center
For the setting, there is the

00:21:46.154 --> 00:21:47.935 align:center
location, lighting and color.

00:21:48.296 --> 00:21:49.517 align:center
For the character, there is the

00:21:49.677 --> 00:21:51.298 align:center
actor, outfit and action.

00:21:51.598 --> 00:21:52.799 align:center
And for the camera, there is

00:21:52.819 --> 00:21:55.181 align:center
the camera type, settings, focal length,

00:21:55.262 --> 00:21:56.783 align:center
composition and movement.

00:21:57.083 --> 00:21:57.884 align:center
If you want to tell your

00:21:57.944 --> 00:21:59.805 align:center
story at its full potential, you

00:21:59.845 --> 00:22:00.886 align:center
need to be able to nail

00:22:01.006 --> 00:22:02.547 align:center
all of those visual elements down

00:22:02.607 --> 00:22:04.348 align:center
to the point, and the organization

00:22:04.368 --> 00:22:05.529 align:center
of your shoot is going to

00:22:05.569 --> 00:22:07.631 align:center
help you define these factors before

00:22:07.671 --> 00:22:08.711 align:center
you start shooting.

00:22:09.032 --> 00:22:10.112 align:center
Okay, so I hope that you

00:22:10.152 --> 00:22:11.333 align:center
got a better overview of your

00:22:11.353 --> 00:22:12.674 align:center
journey as a filmmaker and the

00:22:12.714 --> 00:22:14.375 align:center
mechanics behind the visual side of

00:22:14.415 --> 00:22:14.976 align:center
the story.

00:22:15.216 --> 00:22:16.617 align:center
As I said, this lesson builds

00:22:16.637 --> 00:22:18.238 align:center
the foundation for all the lessons

00:22:18.258 --> 00:22:20.320 align:center
that follow, and especially the concept

00:22:20.360 --> 00:22:21.981 align:center
of the visual elements is going

00:22:22.021 --> 00:22:23.202 align:center
to make more and more sense

00:22:23.342 --> 00:22:24.943 align:center
as you progress within this module.

00:22:25.183 --> 00:22:26.546 align:center
In the next lesson, we're going

00:22:26.586 --> 00:22:28.009 align:center
to find answers to the questions

00:22:28.049 --> 00:22:29.752 align:center
of how, why and when to

00:22:29.852 --> 00:22:30.834 align:center
organize a shoot.

00:22:31.235 --> 00:22:32.217 align:center
So I'm going to see you

00:22:32.257 --> 00:22:32.477 align:center
there.