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