OVERVIEW:
During this crisis, I started creating YouTube videos and podcasts, but creating videos was taking much longer, and with going back to work looming in the future, considering giving up video production (and just doing audio podcasts) was something I didn't really want to do. So, I started trying to figure out a way to make creating videos as easy as creating podcast episodes, and as crazy as it may sound, I think I may have done it!
NOTE: This was the first blog post I ever published, and it was quite complicated, so I'm working on streamlining it.
ABOVE: To simplify production, I started treating my YouTube videos more like a podcast: I would simply clap when I made a mistake, edit out the claps, and switch cameras.
"Why can't making videos be as easy as creating a podcast?"
Before I heard about Anchor (which is now Spotify) I had been uploading podcasts to YouTube (I know, that is not what it's for). I had captured lots and lots of ideas as audio recordings, and I thought I should share a few. It was so much faster to create an (audio only) podcast episode than it was to create a video, and that was discouraging. So, I started asking “What if I could make creating a video as easy as creating a podcast? Would that solve my problem?" Now, after a lot of testing, I've come up with a list of things that helped me make the process of creating videos easier & faster, while maintaining good quality.
TIP 1 SIMPLIFY YOUR IMAGE (WEAR A HAT?)
Anything you can do to simplify your self-image (yet still maintaining the appearance you want) can save time. To record a podcast, I don’t have to comb my hair or dress nicely, but just get a solid audio recording. This has been one of the main reasons I've been able to capture so many audio-only podcasts: I can record any time inspiration strikes (in the morning, at night, in the middle of the night.) I don’t have to prep my wardrobe (do laundry) comb my hair, put on a tie (which I did to hide the lavalier mic) or even shave! For video, you want to look presentable, so it's a little more work.
ABOVE: The reason I started wearing a hat was to keep from having to do my hair. I thought it was pretty neat to have my logo embroidered onto it (Vistaprint) but then I got tired of wearing it.
TIP 2 SIMPLIFY YOUR SET (& KEEP IT SET)
One of the most important time-saving ideas I came up with was to keep my "set" in a state of readiness. For podcasting this was easy, as it could be as cluttered as ever and I didn't have to worry about it. For video however, I knew I would have to come up with a system to keep things ready, so here's my (short) list of rules:
The rules for keeping my set ready:
Keep desk clean and in shape for recording
Blankets need to stay over the windows (for lighting and audio reasons)
Background (back table) needs to be empty (unless I'm featuring a product there)
TIP 3 SIMPLIFY YOUR PRE-PRODUCTION
Most people who read from a script sound like they are reading from a script (only good actors can make reading a script sound natural.) So to start out, don't write a script. Just write down your MAIN points (on a PowerPoint, a Word document or even on a napkin) and just make sure to cover those points while recording. This helps me stay on topic, and it makes the videos shorter (both things audiences usually like) and it reduces time spent in "pre-production".
TIP 4 SIMPLIFY YOUR PRODUCTION
The overall idea is to reduce the setup and tear down so this is easy enough to do (even when you are stressed or have little time.) This way you can keep the production value up and get other things done too!
ABOVE: To simplify production, I mount 2 or 3 cameras on one tripod using a camera rig #ad and two ball heads. Then, to simplify POST production, I capture the signal FROM ALL 3 CAMERAS into a single HDMI recorder.
My Production Checklist
Leave the set set up (Leave at least the lights and tripod set up.)
If you can afford extra cameras (to leave set up in the studio) this can help save time.
Use a single, heavy-duty tripod to mount 2 cameras on a "dual camera cage" (one camera for the "WIDE" shot, and another for the "TIGHT" shot). This saves space and yet lets you capture two camera angles (check out that blog post for more information about the camera angles).
Tape the floor with gaffer tape #ad where any pieces of furniture which need to always be in the same place go (perhaps where you stand, etc.)
Use manual focus lenses and tape them with gaffer tape #ad (so you don't have to focus & zoom each time you set up) and take them off when you need to use your camera outside of the studio.
TIP 5 SIMPLIFY YOUR POST-PRODUCTION
I think I've come up with some real time-savers for this part. The biggest timesaver has been to use the footage from the 2 cameras that external HDMI recorder (SSD hard drive) instead of taking the footage from each camera's memory card. Using the ProRes files will speed up your computer, and also provide better-looking footage, but there is an even more important (or should I say "more timesaving" side effect.) You will be able to just dump all clips from the SSD drive onto your timeline AND THEY WILL BE IN ORDER (because when you switch before going to the HDMI recorder, they stay in sequence.) Doing this is super simple, and if you haven't tried it I encourage you to try. You can also edit directly off of the SSD drive (if your hard drive is getting full.)
My Post-Production Checklist
Use the video files captured to the HDMI recorder (instead of pulling the memory cards from each camera) because these HDMI clips contain footage from BOTH CAMERAS!
Drag the MAIN POINT screens (which were exported from PowerPoint) into the timeline and place them where you refer to that main point
Edit and export (it's really easy using Davinci Resolve as there are presets for YouTube, Vimeo, etc.)
ABOVE: I've since added a mount for an overhead camera for top-down shots (it's a dog grooming frame #ad ) but other than that, I've had the same setup for years now.
The long version (every step):
STEP 1 SET UP 2 CAMERAS (ON ONE TRIPOD)
I will go into detail about this setup in a video, but the short story is that I use two identical cameras #ad on an inexpensive dual-camera cage #ad mounted on a single (heavy-duty) tripod. Then, I prefer to use 2 manual focus lenses (a Nikon-mount 50mm f/1.8 #ad and Tokina 12-24mm f/4 #ad each on a on Viltrox .71x focal reducer #ad ) which are gaffer-taped to the correct focus point and aperture setting (so they are ready to go any time).
STEP 2 SET UP AN HDMI SWITCHER (OR AN "ATEM MINI")
Feed the two cameras VIA short, 50cm right angle HDMI cables #ad into a small HDMI switcher #ad (or an ATEM Mini) then into an Atomos recorder #ad .
STEP 3 SET UP YOUR AUDIO
After testing a number of (more complex) audio setups, I've settled on using a lapel-mounted lavalier mic (either wireless or wired to a recorder in my pocket). Using the wireless option lets me feed the audio into one of the cameras while recording, instead of having to sync it in post, but either way it's a lot easier than what I was doing before. I also prefer the sound from a lavalier, because it picks up just a little bit of the environment (instead of sounding like I'm in a recording studio, which doesn't sound very "REAL" to me, though I sometimes do that with my podcast).
ABOVE: I set my AUDIO settings using a method I'm calling the "proximity" method (it's based on setting the levels specific to the recording distance, the mic (and audio recorder) being used, and the wind protection. This doesn't matter AS MUCH if you use a 32-bit float recorder.
STEP 4 START RECORDING (AUDIO & VIDEO)
I mention this even though it’s obvious, because I have at times, skipped this step (smiling). So, make sure to start the 2 audio recordings (on the computer and on the external audio recorder) the two cameras and on the Atomos HDMI recorder.
STEP 5 SWITCH CAMERAS OFTEN (WIDE & TIGHT)
There are a few reasons to do this, so let me explain. First, if my primary audio (the audio plugged directly into the Atomos external HDMI recorder) is not satisfactory, I will need to sync the video to a second audio file, the recording from either the computer or the external audio recorder. If this is the case, the programs that provide features to sync video to audio (it’s now built into Premier Pro and Davinci Resolve) work consistently well only if there is a spike in the audio (e.g. the clap). I know this because I tried this with clips in which I was speaking more quietly, with no loud parts (and no clap) and those two previously mentioned programs (Premier Pro and Davinci Resolve) told me the audio did not match the video (which it DID, but perhaps there was not enough volume to match the waveforms.) So, clap at every clip, and I will next talk about clapping after every MIS-TAKE.
ABOVE: Let's face it, you're going to make mistakes (on camera and in life) but even if you're broadcasting live, it's not the end of the world. If you're NOT broadcasting live however, you can simply "clap after every mistake" (and edit the claps out based on the audio waveform).
STEP 6 CLAP AFTER EVERY MISTAKE
In addition to clapping every time you start a new clip, I clap every time I need to make an edit. This is the EXACT system I was using when editing my podcast audio and it makes the editing process go very fast.
STEP 7 SWITCH CAMERAS AFTER EACH MISTAKE
As we have all probably seen, editing out a mistake and staying on the same shot usually results in an obvious jump (in the position of the person’s mouth or body) revealing that a piece was taken out. To avoid this, simply switch cameras after every mistake (and clap at the end of the first shot and the beginning of the second.) Check out the next step to see how this makes it much easier when editing.
STEP 8 EDIT THE VIDEO (CUT OUT CLAPS)
So, here is the biggest secret: I use an external HDMI recorder (such as an Atomos Ninja 2, or a newer recorder such as the Ninja V #ad ) which is either attached to a Blackmagic ATEM Mini (or an HDMI switcher #ad ) which results in all of the footage, from multiple cameras, ending up on one hard drive. If I use the ATEM Mini switcher, this results in a single file. If I use the HDMI switcher I linked to above, it results in multiple files, but they're sequential, and they're all on one drive. (This is what I used to do before I got the ATEM Mini, and it has it's pros and cons...the good part is you can color grade each camera separately, but the bad is you've got to sync the audio to every, single clip.)
ABOVE: All I have to do is edit it in the same way I do for a podcast, which is by looking for the spikes in the audio that occurred when I clapped after each mistake, and then edit those out.
STEP 9 EXPORT & UPLOAD (TAKES LONGER THAN AUDIO)
As I mentioned above, this step is REALLY EASY if you're using Davinci Resolve, since all you have to do is click to navigate to the "Deliver" section (button at bottom) and select "YouTube" (or the destination platform) wait a little bit (depending on the speed of your computer) upload, and you're done!
UPDATE: I no longer recommend the "YouTube" preset in Davinci Resolve, especially for the compressed footage that comes out of the super-low budget filmmaking cameras I'm using. I use the "H.264 Master" method now (certain cameras like the Panasonic G7 really need this, or the footage will show lots of compression artifacts). It takes longer to upload, but it's faster to export, and the improvement in quality is worth it!
CONCLUSION:
Does this cover everything? Let me know in the comments below. I know that in many scenarios you may want to add a few graphics (such as screenshots, etc.) to support the dialog in such a video, but we're going to give it a try without much added and see if it works out. Thank you everyone!
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