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This week, Sidney sits down with Sarah Haines, the Media Coordinator here at Revision. During their conversation, they discuss the post production process for both EntreNetwork podcast and young+creatives podcast, and offer their insight as well as tips and tricks on video podcasting.
In this episode of EntreNetwork we cover several key topics including:
Our love for Premier Pro (2:24)
The post production workflow for both of our video podcasts (5:40)
Working with multi cam switches (16:28)
Making cuts in the video (23:20)
You have to make it your own to feel like its worth it (25:51)
Getting as much as possible from a content standpoint (35:36)
Making social cuts (36:39)
Storing all of the collected footage (47:17)
The benefit of using templates (48:45)
This is brought to you by Revision Marketing Group
View on YouTube, listen on Spotify, or Apple Podcast:
Interested in joining us on EntreNetwork? Visit our website and fill out the contact form at www.revisionmg.com/entrenetwork
Sidney Jackson 00:00
Welcome back to the Action Network podcast where we talk about the good, the bad, and the ugly. So this episode, we’re talking to Sarah, who’s the newest team member on our team. And this episode will, we’re going to talk about the overall process for post production, which is going to be a lot
Team RMG 00:20
entre network brought to you by revision Marketing Group. This podcast is meant to serve as an entrepreneurial knowledge base of wisdom and practical tips, and marketing, branding and technology to help grow your business effectively.
Sidney Jackson 00:40
Sarah Haines 00:42
hi, thank you for having me,
Sidney Jackson 00:43
of course. So Sarah is our media coordinator. Just kind of give everybody a brief history of who you are, professionally.
Sarah Haines 00:54
Well, I went to school at LSU s and got my Bachelor’s in fine arts. And then from there, I really just worked at my job that I had throughout college, which was working at sports spectrum as a shoe salesperson. And then from there, I moved into management there and then shipping and receiving but this is my first art graphic design, video editing type job here revision.
Sidney Jackson 01:23
Yeah, so extremely great talent to have on a team and fresh off the boat, for most of us are though, but it’s a process of just learning and applying everything. So yeah, we’ll get right into post production for video podcast. So we have two separate video podcasts. One is called young creatives, which is a collective for an entire team. And then other one is entre network, which is the one we’re on now. It’s more so geared towards educating small business owners and CEOs about marketing, branding and technology to help them grow their business. So within these video podcasts, of course, we have a lot of data with video. So as far as our podcast, we use Premiere Pro, which is a video editing platform, specifically for video production. So Sarah, what is your background with just Premiere Pro? And have you worked with any other kind of video editing forms?
Sarah Haines 02:31
Um, well, I mostly used it in school. But I also worked with Fairfield studios as an intern company about it. Yes, yes. They’re so awesome. And they do so much, especially just with the community here. I feel like they really get about, like outreach and like small businesses and helping with that. But I did a couple videos for them. And it was a big variety, like one of them was of like footage of a shooting gun range, or doing like an advertisement for them. And then we did an opera and there was a multi cam sequence. And so that was that was pretty cool. I really liked that. But that was like my first taste of like multi cam, and really working with like a bigger, more than just my own footage at school. So yeah, it was there were other projects, too. But those are the ones that really stuck out in my mind for using Premiere.
Sidney Jackson 03:30
Yeah, Premiere Pro is extremely cool. I mean, extremely powerful. I had a friend or I have a friend who uses Wista platform for Max. It’s not avid Final Cut Pro. Oh, yeah. Okay, yeah, I’m okay. So he uses Final Cut Pro and you know, Max, it’s more so intuitive as far as they, they know how to predict what you’re trying to do. But with that, it kind of limits the editing performance. That’s what I’m keep hearing but what Premiere Pro is, so you can pretty much do anything and everything within Premiere Pro, you have a lot of at your fingertips, which can be both good and bad. Because you have so many tools to kind of learn and work with, to the point where it’s sometimes overkill, as far as like trying to learn all of these different things. But I did think that we use is after effects. So after effects is pretty much the graphical animation stuff. It’s much more powerful than Premiere Pro at certain aspects, right? So we use After Effects and a lot of different pre compositions that we do such as title, the lower thirds, which is the text that goes on the lower third part of the screen with your name or some kind of social profile or something like that. But pretty much as the two platforms that we use for post production, we use audition once upon a time, which is a audio editing platform, also Adobe Suite. But with that, we just kind of brought that workflow back into Premiere Pro, as you can well, as you saw within the last few weeks, how long have you been here? I know it’s been,
Sarah Haines 05:26
I believe it was the second week of January.
Sidney Jackson 05:30
And I know it’s been over a month.
Sarah Haines 05:32
Yeah, definitely. Yeah, I think it’s been about two months, almost
Sidney Jackson 05:36
correct. So with our post production workflow, we mainly start with the video first. So even though it’s a audio podcast, we start with the video first, because that’s a little bit harder to get right. Or it takes a lot more time to edit the video than it takes to professionally touch up the audio. So at first, that wasn’t the workflow. At first, we brought it into audition. We brought it into audition and professionally mastered the audio. And then we exported the final professional audio, and then brought that to, of course, outer and things like Spotify and anchor and stuff for the audio, right? And then the video was the second step in that process, where we brought professional audio and to Premiere Pro and matched up the video sequences and stuff. And then we went ahead and edited it.
Sarah Haines 06:41
So whenever you were doing it in Audition before, did you go ahead and make cuts to it? Or it was just like whatever it was said, that’s what you paid on the podcast?
Sidney Jackson 06:50
That’s a really good question. So at first, it was pretty much the entire episode. So no cuts in between. Because you know, once you bring that audio into Premiere Pro, you have to sync it with like Camera A and Camera B. And if you have cuts with audio, it doesn’t sync. So you’ll have like the ending two minutes before the actual, especially make cuts. So we had, we was running into a lot of issues like that. And that’s why we focused on a video first, and then get the video right with all of the cuts and then audio. Because at first it was just limited as far as like the cuts that we weren’t able to make. So most of the podcast was all the way through and you couldn’t really make too many mistakes. Because the audio was first and you couldn’t really make any cuts.
Sarah Haines 07:46
Yeah, that’s intense. Definitely.
Sidney Jackson 07:51
But now it’s flipped where video content is the primary focus. And then audio, we just kind of touch that up afterwards. Make it sound good, which is it’s easier now than it was before. I don’t have a background and audio engineering. So pretty much all of this stuff is years of learning and years of kicking the tire down the road because just did not want to touch Oh, yeah, yeah,
Sarah Haines 08:22
I think it’s very intimidating. It is.
Sidney Jackson 08:25
But people think that about Premiere Pro as well. And it just takes time to get to know it I guess because after effects is one of those animals as well. As far as intimidation right then and there. And then after you see all of these pathways to a final product, and it becomes a lot easier. So audition extremely tough at first but once you get to know and understand tools and what you’re really trying to do it’s pretty cool.
Sarah Haines 09:00
Yeah, I always felt like with like starting off with Photoshop. That was like the first Adobe program I used from there it just kind of linked all together which I mean is kind of like the point okay, they’re all the same like from the same company. But I don’t know after that it just it just all made more sense. And then going from after effects to premiere I found it was actually probably one of the easiest programs for me to get into. So you went from after effects into I was really into After Effects. I really loved doing typography like little videos where it’s like we’re going across the street screen stuff like that, like I had a whole class dedicated to that like typography in After Effects honest I really enjoyed that.
Sidney Jackson 09:46
That’s pretty cool. I went from also started in Photoshop. So funny story so back in my previous life I’m gonna keep saying that for anything bad that I did when I was like your whatnot, probably in high school 2012 to 2014, or something like that. I was heavily into like photography and then getting into video production. So I used to take these photos with the camera that I had. And I used to do like a photo montage, it’s not really a montage, because it’s pretty much the same photo, but you’re in a different position. So I was like, in a mirror on one of the photos, and then I made a funny face or something like that in the mirror for the second photo. And then I erased the reflection in Photoshop, merged them together, and say you see a different reflection. So I was into stuff like that. And that’s where I kind of picked up and learn how to do Photoshop with all of the layers and adjustments and things like that. And then transitioned over to After Effects as well. Because I don’t think I was like truly into, well, no, I think it was Premiere Pro first, and then after effects. But Premiere Pro was just kind of natural, especially the layering would from like Photoshop and stuff like that. And adjustment layers and things to pre comps, and a sequencing was different, but it wasn’t like too bad. But an After Effects. I really enjoyed the animation side behind it. And then gone to school for Computer Information Systems always looked at, like expressions. So you go deeper into the settings within each layer. And you say, hey, go ahead and wiggle Tom’s to based off of this cameras movement, so on so forth. So I was into the technical side of it a lot more than the aesthetics of it. But yeah, that’s my background and After Effects. But lately, it’s been stuff for of course, the podcast. So. But yeah, so we don’t we try not to reinvent the wheel. And we’ll get we’ll get into that I’m skipping ahead. So yeah, we start with the video. First, we make sure that that is professionally done. So the format of podcasts that we have, right, so sometimes we have one guest, that’s mostly me what entre network, which is not a good format for me, because I have to engage with somebody, it’s intimidating to kind of stare into the camera and talk. Just the camera without and interactions. So that’s one of the format’s that we have and then I don’t want of course is to two person, or three or four, what a two camera setup. So with that comes into the multicam edit. So you have background, of course experience with multicam edits. I didn’t, when we first started this, and it was like 4k footage, trying to do a multicam edit with that on a computer that wasn’t really built for it. So it’s fun to try to break down barriers from a technical standpoint, and see what’s possible. But yeah, so we have the synchronization first, which is like the first thing that we do with the footage. So you have camera a you have Camera B and then we have external audio going directly into the road caster Pro. So we dump all of that footage into a project folder, right. So what comes after that?
Sarah Haines 13:50
Well, then you want to pull it all into open up premiere, and then you want to start a new project, dump it all into one project. And then from there, you’re going to pull it onto the timeline and try to sync up the sound, you can use a tool that premiere offers, but it does take a while. Sometimes it will usually do a clap, which we actually did not do before this video. But I don’t think it’ll be too long. So I’m sure that we’ll figure it out. But we used to do a clap. And then you can see on the timeline for the sound waves where that peaks and so you just line up those that footage all together. Usually it’s just two because of course just two cameras. So
Sidney Jackson 14:35
yeah, so yeah, that’s usually just like well, for our setup is two cameras. And then you just sync those together with audio because it’s a separate file and then video and then the second camera video. For us, it’s a little bit more complex because we have the so I think well the GH four. So we use G Ah fours and fives GH fives, which is a Panasonic line of cameras, Micro Four Thirds getting into the technical stuff. Um,
Sarah Haines 15:08
which I don’t know. I should and which
Sidney Jackson 15:11
I love. But no, I don’t think it’s truly necessary to know everything about the camera, you’ve got somebody who does
Sarah Haines 15:21
just want to keep up, you know?
Sidney Jackson 15:24
change every year. So, yeah, it’s definitely tough. But yeah, so we have the GH four, which cuts the video files into like five minutes segments based on the resolution, right. So I think it’s four gigabyte file or something like that for every five minutes or so. And that’s dealing with something about the overall file structure without diving too deep. And then a GH five, it has just as one big file. So the first thing that we do is consolidate or do a pre comp of all of those videos that were cut up. And it’s pretty much one file. Now, it’s not true. It’s like a pre composition. But in reality is just one combined file within Premiere Pro, and then we sync those up with the sound, which is not professionally done at that time, right, it’s fresh out of the recording device. And then next thing that we do is we pre competition, we do a pre comp for that one, and we work on the multi cam switches. So you want to dive a little bit more into that one.
Sarah Haines 16:40
It’s pretty easy to do, I mean, you select all the footage that you have. And then I believe it’s just like a setting on there where you can say MultiCam sequence, and then it switches so that you can either like one for camera a and then switch switch two for Camera B. And from there, it’s really easy to do, because you can just play it the whole time it doesn’t stop or start. And then you can also like go back and like just pull, like drag your foot like drag your mouse along wherever you need it to be on the footage and go back. And then you can play it again. And it will actually cut over what you already cut. So it’s really quick. And especially if you watch the sound waves, you can see who’s talking. And then it’s a little bit easier to switch back and forth to. But we mostly just try to keep it on the person that’s talking. Sometimes try switch it up. Because if one person talks more than the other, sometimes you want to see the person’s reaction. Like if they tell a funny joke, is that the person laugh? Like that.
Sidney Jackson 17:45
Yep. So with that, that is exactly that’s exactly right. So at first when we was getting into like video production or video podcasts, and specifically, we didn’t know what to expect, as far as the post production workflow. Because the sheer volume of episodes that we have at first, it was a weekly podcast. And now it’s bi weekly for pretty much both of the podcast, but we have different projects within to push out like content. So it’s a lot of post production needs. But with that, we just didn’t know what kind of anticipate. So with the with the multi cam, or was I like cuts. So with the multi cam switch. A really good automation that she touched on was pretty much looking at the sound waves. So from a technical standpoint, we use the road caster Pro, which breaks down the well it’s it’s a multitrack tracks session or multitrack audio so your camera or your microphone, it’s just one track. Same for this one. And then same for the other two ones that we have. So you bring that into Premiere Pro and you sync it with all of the footage you can see which camera or which mic is actually talking. So with that. So that’s where my train of thought went. So with that we didn’t know what to expect from audio or video production standpoint. But we found that it’s easier to edit video for the multitrack session anyway, our multi camera edit if someone is just talking the most selves for instance, if I’m talking the most in this episode versus you just kind of button in and sound a few words and then it’s back to me done like a lot of talking that that’s a little more optimal because you can quickly see as far as like the overall Audio, um, what is audio wavelengths? Who’s talking to most? And then you can just kind of skip through the entire session instead of listening to the entire. Yeah.
Sarah Haines 20:14
Yeah, that was. Yeah. For the Nick Nick podcast. That is one thing that I actually missed on though, because I was doing that. But then also, well, it was mostly when I was doing cuts. I was like, Oh, just dragging it along. I was like, Oh, he’s just talking right here. And I missed it, like burped. Just missed it in Christian when she was watching, like the final final video, but she was making for the social media cuts. Like the timestamps, she was like, Oh, thank you for leaving that in. I was like, Thank you for telling me.
Sidney Jackson 20:48
Yeah, because it’s a lot of, um, a lot of layers that you have to kind of go through for the entire production. As far as like editing the long form video. And then we haven’t even gotten into the social cuts yet. Oh, yes. A little bit. But know that that’s a really good take. Because with that, it, it goes from the Maathai cam, to the actual cuts where you cut out those things. So with the multicam, edit, we want that to be as quick as possible because the bulk of the task has been completed, is just switching between the camera angles based off of who is talking,
Sarah Haines 21:28
right. Yeah. And you don’t even need to like cut anything out yet. Yeah,
Sidney Jackson 21:32
yeah, so pretty much no cuts for the multicam edit, you’re just switching the camera. That way, for cuts, free sequence, which we’re moving into the cuts, you’re pretty much listening to what’s awkward within a podcast and making those cuts. As far as like if someone says something wrong, or if they didn’t want that part portion in there or something like that. Or if you guys took a break, that’s where you would make those final like cuts to the overall storytelling element of the podcast and make sure that it flows. And with that, we ran into like some issues with the video versus audio. Which one do you optimize for? Right? Then you’re like, Okay, do I cut on like the audio, or do I cut on a video because one has to take presidents maybe presidents, and we decided on video, because video is the tougher one to get right. But it has more potential to reach the audience that we’re looking for. So we prioritize video as far as like, where to make the cut. And then think of audio as a not as a sub after that. But it comes after that as far as priority. Of course, the quality of the audio is there. But as far as like the hard cuts and things like that, we focus mainly on like the video content, because we pull social cuts and everything from video. And audio is a little easier to manage.
Sarah Haines 23:20
Yeah, I feel like sometimes it comes off smoother actually, for audio, when I’m able to cut like the video and just make it like work. Like sometimes I’ll just be cutting and I’ll cut out like a big chunk of what somebody is saying because all of a sudden they’re on this like rabbit trail. Plus, sometimes it just goes so long that I’m like, people just want to hear the point sometimes. And so I’ll just like cut that big chunk out and then somehow I can make it I try to make it so their voice inflection is still on the same as like they’re going up and obviously they’re down here. But I try to make it so it’s like and then I went to the store one day and but you know, like it still works. And if anything, it’s more choppy for the video sometimes just because they’re a little bit moody versus the audio. I feel like sometimes it just works but to me it’s almost like if you can edit the video right the audio unless it’s just like peeking really bad then it’s gonna turn out like pretty pretty well as long as the smooth as far as it goes with like smooth transitions. I think
Sidney Jackson 24:23
yeah, definitely agree with that. And for the most part, it’s also about the overall style of the podcast, because for us, we don’t want anything to be like overly produced. Sometimes we want like rough and rugged video footage just for us like Ben shakey where it has that more realistic feel but it’s not unapproachable or it’s not like ad style quality right where you have just as talking head of course we have that with the cameras now for long form video. content but like for short form, just depends on what you’re trying to go with.
Sarah Haines 25:06
Like emphasizing, there’s somebody else behind the camera, and there’s just more intimate. Yep.
Sidney Jackson 25:11
And then also doing that with sequencing as well. So put putting a personal spin on it. So that’s interesting, because that’s a different podcast episode that I have with, I want to say, Christian, talking about social media, and where we’ll go go into how she does the social media for clients, and then of course, revision, and then how she incorporates her personality, personality into it as well. So it’s important as far as like creativity, not necessarily for me, but for like creative people, I think you have to make it your own, to feel like it’s worth it. So having as much creative freedom as possible, or interjecting your creative creativity into it as well. So the next thing is the final sequence. So this is the section of the podcasts or production post production, where we pretty much stitch everything together. So we edit the color, pretty much last, where’s just some basic tweaks. But with that, we always shoot flat, which is pretty much so flat, it’s pretty much where the color isn’t saturated. So it’s a grayish, not muddy kind of look. But it’s, um, it’s just kind of gray ish, as far as like right out of the camera. So with that retains a lot of the data, because it’s not saturating the color. So my Black isn’t pure black, where if you try to get some more data out, which is basically, if you push down or push up the exposure, this is gonna look noisy, or it’s not going to render the color correctly, because it came right out right out of the camera dark because of the settings or whatnot. So we shoot flat as possible to retain as much data as possible. And it’s also easier to it’s also easier to match the different cameras as well. So we use like white balance on the camera, making sure that we do a white piece of paper, hold it up. And it’s rendering the white balance on both cameras correctly. So it can save us time in post production because trying to match two cameras as far as like lighting is tough. I’m not sure if you had to go through it. But the last season that we did, I want to say for young creatives, we had one camera with a white balance was just off directly out of the camera, and then the other one was somewhat correct. So once we got into post production, we had to do some tweaks and really just
Sarah Haines 28:14
as much as possible. Yeah.
Sidney Jackson 28:17
It was fun. It was definitely fun. But, of course, if you can shoot to edit, make sure that you’re shooting flat, and then the colors look somewhat the same. from camera to camera, and even lens to lens, they look different, which is fine as well. So yeah, after that, the last thing that we do is just color grading everything I’m putting the intro on there, we also record a brief recap, which is a summary of what we discussed in that podcast. So with that we record it after the podcast is finished. And then we just kind of stitch that together in a final composition, which is the recap the intro for like young creative or entre network, and then you have to long form video, or long form interview podcast right? That you already make cuts to for the overall storyline. Or if you have any awkward periods that’s already cut out. And then you have an outro which is the ending for the video. And that is pretty much it. And then I think in that composition, you also have the logo along with the adjustment layer which is for the color correcting.
Sarah Haines 29:41
I’ll get to use the onshore network outro for this video. I love it. I don’t know. I know it’s so simple, but it’s just like, I just love how it looks like that should be on every single video we do.
Sidney Jackson 29:54
Yes, Dad design that one. And it probably shows because it’s super simple. But I’m not like the most creative. So I tried my best to make everything easy as far as
Sarah Haines 30:08
aesthetics, I did it in After Effects.
Sidney Jackson 30:10
Yes. So that one, I never try one, I try my best not to reinvent the wheel. So we use libraries, of course, I combined two elements. And it was pretty much a template, where you just had to go in into After Effects and change the colors and typography to make it on brand. And that is pretty much it, adding logos and making like micro adjustments to like the timing based on the audio and stuff like that. But yeah, it was, it took longer than I thought it would take. Because for the most part I haven’t really been using After Effects too much. But I’m knowledgeable enough in it. Get these things pushed out. But yeah, After Effects, and I’ll share that one with you. So you can come up with something different, probably more creative, or incorporating it on different videos. Sudden, next thing that we do is the export. So well, before that we did the audio. So we just make sure that the audio is good. As far as the the quality of it, we reduced the noise by something called noise reduction. And then we also bring more dynamic vocals into the mix. So most times for audio. So I touched on, I touched on the road, the road caster Pro, which is the audio audio device that we record on gee whiz. And then it takes the audio from just different mics into just one track. But it also has a stereo, which means it combines all of those mics into these two layers for left and right as well. So with that most times that audio is fine. But if you have like us a talent or guest or host, where it’s completely different vocals for both. So if you have someone who talks a lot louder, versus someone who talks so quiet like this, that stereo may not work. So we try our best to make sure that it’s all taken care of on the road caster first making sure that the levels are consistent across. So that stereo file or stereo track is the track that we use. So once we get into the post production, and you see that the stereo just doesn’t work. So you throw like different filters on there to make sure that everything is consistent, but you listen through and it’s still just out of whack. That’s when you can dive deeper into like an audition, and separating those tracks into one to just boost up your vocals versus mine. But most times, you just don’t have to get into the individual individualized tracks if you shoot to edit, same for pretty much the video shooting flat edit. So audio, make sure that that is good. And then the fun part exports. So we we pretty much export two files. So we have the audio file that we export, which is of course geared towards different podcasting platforms such as anchor, well anchor is the distributor. So you have Spotify, Apple, podcast, Google, so on, so forth. So that’s where the audio file goes right. And then we use that to get transcriptions and things like that. And then we have the long form video, which goes on YouTube. So yeah, that’s pretty much the export. And then after that, we pretty much make sure that the quality is good, making just one final review of the overall content from an audio standpoint. So what to transcription, if we find any errors within the overall edit where we need to cut something out, then that’s the time to go ahead and cut it out within that and then we just re export the audio and the video for upload. And pretty much Christian takes care of that front, making sure that we have quality assurance and then Kayla oversees that. Not in a micro sense, but pretty much in batches to make sure that okay, we crossed all our eyes and dotted all our T’s and stuff like that. So pretty much after that is the social cuts. So how do you do solo social cuts or social snippets? Pretty much. We’re talking about post production, but also want to just kind of touch on marketing. So from a marketing standpoint, for video podcasts, it takes a lot of manpower to do like one episode, because you have to actually plan a you have to schedule things you have to do outlines, you have to post production and then promotion after that. So you want to get as much as possible from a content standpoint as much as possible from each individual episode. So we do that in a lot of different ways. So we bring different clips or different sound bites into things like Canva. And we create graphics, we create carousels, but the meat and potatoes is creating video content, or video snippets. So you have the long form YouTube video, which has content, but also the short form edits. So like 90 to 30 to 120 seconds word social media content, or quick snippet of what the episode entails or quick topic that someone touches on. So with that, that’s the second part of production post production that we do. So how do you actually get social snippets out of a long form video?
Sarah Haines 36:39
Well, Christian goes through and watches the whole video. And then she gives me like, usually around six different spots where she feels like there’s some really good content, something that would be short enough to put on social media. And so then I’ll just scroll through it, I’ll bring the, I’ll just go back to the premiere, the original premiere video, and then I’ll just scroll through it. And I believe I’ll make a whole new sequence just to make those social cuts. But I’ll just, I’ll just keep it all in one sequence. And then I cut out the little spots, I think are good. So I’ll just listen to where she has that timestamp. And then wherever I feel like it’s good, I’ll try to cut it. And then sometimes I even will listen a little bit longer. And if there’s something a little bit further on, that still applies to it that even if it’s just one sentence, you know, because with social media clips, it’s just about really, really tiny bits of content, meat and potatoes. But yeah, so then I will sometimes put those little clips together. But then I separate them and just make them sequences all separated all six or seven clips. And then from there. I will go ahead and put our like logo, I’ll try to put Well, we we make it so that is it a template, it’s a template that we already have, where it makes it the right size for social media. Because we want like a two color blocks on the top and the bottom. And on the top color block, usually I will have at least the old way I was doing it, I would have a summarization of what the clip is about. But now the new little template we’re doing I think is it’s going to be at the bottom along with what episode of podcast or I guess even if it’s short form video, but usually it’s for podcasts. But then I’ll do like the name of the podcast underneath it. And then we still have our like little revision logo and then either the young creatives or entre network pretty short for
Sidney Jackson 38:55
entrepreneurs. Yeah, network. But entre network social network next time though, just say it five times. But it’s not bad because I still forget people’s name. So yeah. Um, but no, awesome. So for like social cuts. Yeah, that’s where you just try to get those different thoughts out. So for like that segment that you just kind of did, it would probably be how we make social cuts for video podcasts, right? And then at the bottom with you. So that’s the high level topic, the text that goes on, like a square video, so you have left the top, and then you have the name of the snippet. So you can stop people from scrolling. Um, that’s the biggest reason why you have like texts on a video. And then at the bottom you have the name of the put the podcast or the episode, right. So for this one, just the name of the podcast and then how you You can listen or watch online for the full form, or long form content, as it relates to that specific snippet, right? The website, where you is pretty much a directory, so you have the long form video, you have to try and script you have photos and different things like that. And then links to Spotify and anchor, or Spotify and Apple. And Google, what is anchor. So anchor is the platform that we use to upload the raw audio, not raw audio, the final audio, and then that platform, shoots it over to Spotify. Oh, shoot it over to Google, and Apple. So it’s pretty much the I cannot think of the word but it’s a nice synergy. Yeah, so is that where it transmits it to different providers? Gotcha. I cannot think of the word because it is a word, not from real estate, but it also applies to real estate.
Sarah Haines 41:08
So it’s just like quicker, because you are able to just do it one time, and then it does all the other different places, versus like, you could still just send it to like, all the different avenues we used to just take longer,
Sidney Jackson 41:22
correct. And also the updates. So if you had to make an update to Apple, and you’re done it individually is just going to take longer to go to each platform to update that content. So yeah, so that’s the social cut. So just make as many as possible per episode to get the most out of the episode and also have shareable content, because bite sized snippets perform extremely well. And it also engages the audience for like social media purposes. And even with that, even with the content that we have talked about one previous episode of like multi purpose or repurposing some of the content, so the last three, or three episodes from like season one, you went ahead and went through that and got more snippets out of it. Because it’s pretty much evergreen content. So from a marketing standpoint, Evergreen is pretty much Hey, this is not going to fade over time, as far as the quality of the content, and the relevant relevancy of the content. So you can pretty much push it to people 365 Not the same people every single time. But you can just use that content over and over and over again, if it provides value. So yeah, um, so social cuts. Um, for social media cuts, you have a lot of different platforms, a lot of different aspect ratios. So to 16 by nine, which is just a standard YouTube video that we do. That aspect ratio is good for like YouTube. It’s also good for let’s say, Instagram, it’s also good for Instagram, and Facebook and different social media platforms, but it’s pretty much just a raw video most times, right, um, you don’t see like graphics, or blue up top and white at the bottom with text overlay and things like that. And then you have the one by one, which is square, which is optimized on things like Instagram, Facebook, as well. LinkedIn is doing pretty well with that aspect ratio two, and then you dive into like, the vertical videos, where it’s things like four by five and two by three. So it’s longer than a traditional one by one box, but only by a little. So it takes up the length of the phone a lot more. So we do our carousels I want to say a four by five. Because on Instagram, on Instagram, if you have like a and this is off topic from post production, but on Instagram. If you have like a four by five aspect ratio, image or carousel for the preview, I’d suck at the terminology about like Instagram and social media. Christian would know a lot more about it. But the aspect ratio on like the gallery view is one by one box. So that extra space at the top of the photo and at the bottom, it doesn’t show in a gallery. So we use that for things like putting like revision at the bottom and then at The tarp or something like that, but in the name of the episode and things like that, and then the, the preview, which is the one by one, having the meat and potatoes, so pretty much the purpose of that individual carousel. So that’s a really good format to kind of hide information until someone clicks on it. Or if it’s in someone’s feed, they see the entire thing. But on a gallery view, just making it a little bit more cleaner and consistent across the gallery. So we’ve been experimenting with that, specifically with like carousels but video content as well, because it gives you more lint to work with, especially if you have a 16 by nine within the middle of it. And then at the top, you have like a text content. And then at the bottom, it’s promotional things such as the name of the podcast, or, Hey, follow us on such and such. So that there’s definitely a lot of numbers, but I want to provide as much value as possible, and educate our audience on what goes behind the scene. Because it’s a lot of technical stuff. And I haven’t touched on storage. So for us our storage, just to quickly touch on it, we use q nap today, a server where we store all of the information that we have, I want to say it’s 18 terabytes of information, where we have redundancy built in, says like 10 terabyte drives, three or four of them, I want to say four, and we have 18 terabytes of workable data. So from that standpoint, Sarah, she works on one of the editing stations and is connected to Ethernet. So none of the footage lives on her local computer, it lives on the network drive. That way, Christian links into it via the file structure. And then Mikayla as well and myself as well. So with that, it’s super expandable. So if you bring on like another editing station, you can edit the same data. That’s not ideal, but you can edit the same own like source files at the same time as someone else. Versus if it all just kind of lives on one editing station, then you only have access to that one computer with that information, then you would have to do like copies to the other computer to actually edit. So the overall capacity for like, this system is a little bit greater. Of course, you run into technical issues with Ethernet, and a speed of it. But that’s beyond the video. So yeah, as far as automation tips, so Sarah, how. So just coming into like revision, and seeing some of the templates that we use or some of the templates that we create based on overall need? Is it helpful? Is it like overkill? What is your take on like, different templates? For like, repetitive task?
Sarah Haines 48:21
I definitely don’t think it’s overkill. I mean, so far, it’s been, like very, very helpful to me. I would like to learn how to make templates, because I think that that would really help me too. But yeah, I can only see benefits to it. Because, you know, once you get to a point where you’re getting more and more comfortable using the programs, I think that you just want to go ahead and get that production done, he realized how much you can get done once you have the templates, because I mean, it’s just like a double click. And then like you’ve already got all that extra stuff you already were going to have to do. So it instead of it being put in or input fitted or footage, or I guess it’s bringing in the footage, multi cam cuts, cut, finalize, with all the extra stuff, it’s just put in the footage, multicam cut, and then the templates already there. So all that that long extra like, like lining it up just right, I mean, that part’s like so easy once it’s already in there. And also once you do it over and over and over again. I think that you kind of get like how you want your flow to go. And it just becomes more easier but everything becomes more easier once you do it. And more and more
Sidney Jackson 49:43
indeed, yeah, what would like multicam edits it’s it’s it’s a lot more than just like the traditional one camera or one, one camera and then B roll footage and you just have like One sequence or sub sequence underneath, but the flexibility that’s involved with just multi cam, and then you’re throwing a multitrack audio on that as well. It’s just, yeah, um, at first, it was just a lot to work with a lot to handle, especially if you really needed to get the most out of the audio with those multi tracks, or multi tracks. But over time, you learn how to do different things. And you see, oh, that’s a lot easier to do it this way. So what our overall processes are always like constantly improving, sometimes too much like across different things. Because I’m so focused on like, the overall efficiency of different workflows. So what time, like months go by, and then you see different ways to improve upon something or automate a certain process, or it’s like, willingness to save like two or three minutes, but over the course of 20 episodes, it’s a long time, right? So looking for more ways to optimize the efficiency within, like video production, of course, but different areas of the business to me, it’s always fun to me, that’s what I enjoy most. And most times, I get feedback from y’all. And it’s like, oh, I wouldn’t have never would have thought of that. And I’m like, Well, I mean, if you just kind of, I pretty much study y’all to see what your workflow looks like. And then incorporate mine into that as well. But I’m getting to the point where it’s like, you guys are doing extraordinary, extraordinarily well, on different things, to the point where you guys are becoming better than me at a lot of different things. Which is good, because, jeez, it’s, it’s just always a lot. So to see someone be better with that, I just kind of study you guys, and then look for different ways to automate it. Which is super fun, because most times, it’s like, Why did not think of that. But as a collective, it’s like, well, pretty much got it, we’ve pretty much got it. Because you still need to learn as far as the overall experience that you get from doing it wrong. And then using that data to improve because I’m the workflow is going to change constantly or should not too dramatically, hopefully, by especially in the early stages, the process changed a lot. But yeah, templates as much as possible. So we utilize our own, I wasn’t able to find any templates online, that really was able to do what we were trying to do specifically for like the multicam edits. So just after episodes and episodes of practice and trial and error, it was able to get a few different templates out, that has pretty much Hey, drag this into the sequence, and then this one here, and then everything else is pre comp. So you go to the next sequence, and it’s the multi cam, and then go to next and this the cuts. And then final one, which is is not the hardest to build out. But it has the most assets that are repetitive, right. So you have like the intro, you have the outro you have the consistent adjustment layer for like color, and then you have the music. So those things do not really change over from project to project specifically for consistent video podcast. So making templates for things like that, where it’s just repetitive and you’re pretty much dragging the same assets into the sequence. But the other one is libraries. So from a marketing standpoint, we always stay on brand. So we look at the typography, we look at the color scheme and what libraries within Doby, it helps us stay on brand we tuck different elements for the podcast on there. So thanks like the intro and outro video. What is it Voiceover The theme music the separated voiceover versus the sorry, gee whiz verse versus the separated theme music. So if you want to get like more creative Have you seen that, hey, we need some more lead time, as far as like the audio transition between the intro and gone a little bit into the actual podcast and you have that flexibility to just drag it over from libraries into the composition. Yeah. And then yeah, I think that is pretty much it. But as far as like automation, we do that with like, repetitive tasks, or we see that it’s repetitive as far as, okay, we want to stay consistent with this. So instead of creating something from scratch every single time, you have a template where you can just copy those different elements, you place it into the working drive, and then you just kind of edit from there.
Sarah Haines 55:50
No, well, not only does it make it faster, but it also makes sure that you don’t forget anything. Because it you know, it comes down to like so many layers, you know, and, and you wanted to also be consistent and on brand. So you wanted to kind of be in the same place like you want the the sound to come in. Right as this part of the video comes in, you know, like, I just think that it doesn’t have to be perfect, but it’s definitely makes it easier just to be consistent in those templates definitely help. And even just like not doing everything in the right step, like I’ve totally made cuts in the MultiCam sequence before. And it’s been more I just had to start over like completely it just like that was really frustrating day. But yeah, just the more and more you do it. And the templates help as a guide really to? Yeah,
Sidney Jackson 56:45
yeah, it is. Because at first, at first is pretty much just dragging everything. So building out a complete project from scratch, where you know that you have the final composition where you have the intro, or outro. And these elements that just stay consistent. And the only thing that really changes is the middle section, the beginning where you have that recap. So yes, it’s just more efficient to work like that. And then as far as like organization, as far as the organization, I try my best to be like organized, because you have different team members that are accessing these different files. So repetitive or not repetitive. But consistent file structures are also important. For instance, like exports, that was that’s what we use for like the final export a version, and then footage and things like that for the raw footage. Because different team members just work on different portions of that specific project. So having that consistency, and then also consistency within like Premiere Pro or overall files. Because the way I edit is extremely different from the way that you edit. And it’s not to say one is good or bad. But as far as like being able to collaborate together, we have to have like some kind of middle ground where you have different practices in place to make sure that you kind of know where things are. And that took a long time to build. Because for me, I was organized. As far as like a small business, we’re still pretty small, but like a one man shop doing video production, it’s just me. So I kind of know where everything is. And then bring on team members is like, Okay, you have to organize the post production workflow. And you have to have checks and balances in place to make sure that we get different things in and out. And that’s pretty much across the business. So while I’m trying to work on that, as far as transparency and resources that we use in different formats, but different not procedures, but just the different workflows that we have in actually putting it down on paper instead of saying, Okay, this is how we did do, but actually creating templates so we can practice consistency. It’s I enjoy it the most as far as like, Um, as far as the day to day activities that I have to do because at heart I’m a Systems guy I really love phone as much as possible from systems and try my best to automate different things or sin of something can be automated. Yeah,
Sarah Haines 59:46
I think that I’ve learned that I really need to be organized like strict like very strictly because I think that I just forget. I just forget like so easily and There’s nothing worse than like me, like, let me show you this thing. And then you’re like, I don’t know where it is now. Like, what? I don’t know, there’s something wrong up here. But if I get organized, I think I’ll be okay. I’ll be able to work around it.
Sidney Jackson 1:00:19
But notice, um, but no, that’s all we have for today, unless you have anything else to add. But no. So this was just to give you guys insight into our post production workflow. But not only that provide value by letting you guys know, what we do. And then some of the improvements that we were able to make, from like Season Two season, or first season to this season. Because it’s been a lot of growth, we did a recap of season one, where we just talked about the overall workflow. So if you guys look at that, and then compared to where we’re at right now, as far as like all of these different workflows, and been able to consistently push out different content, specifically for like social media, we always somewhat had the long form video content. Good as far as being able to solidify that workflow. It’s always been just improving, but the most work has been done on the social media template that we use as far as like the snippets and trying to be as efficient as possible with that, and that goes into our overall workflow for podcasts as a whole, which we’ll touch on in later episodes. But yeah, thank you so much for coming on. Entre network podcast.
Sarah Haines 1:01:48
Thank you for having me. out, you guys
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