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Speaker 1: Get in touch with technology with tex Stuff from there

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Speaker 1: and welcome to Tech Stuff. I'm Jovin Strickland, your host,

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Speaker 1: and today we're going to take another peak behind the

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Speaker 1: scenes at How Stuff Works. I have a predator in

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Speaker 1: the room, which is our term for producer editors here

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Speaker 1: at How Stuff Works. Chandler, welcome to the show. Well,

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Speaker 1: thank you very much. It's good to be here. This

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Speaker 1: is actually my first time ever podcasting. Yeah, you've appeared

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Speaker 1: in some of the videos for How Stuff Works. Yeah,

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Speaker 1: I've been in some videos because you knocked at cotting

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Speaker 1: away from me very brief cameo. So far, there seems

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Speaker 1: to be an undercurrent of cruelty directed at me in

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Speaker 1: the What the Stuff series. It's fun. It's fun. I'm

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Speaker 1: not arguing that it's not fun, and I'm just saying

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Speaker 1: it's you know, I'm just detecting it. So I wanted

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Speaker 1: Chandler to come onto the show so we could talk

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Speaker 1: a little bit about what what he does here, what

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Speaker 1: it means to be a predator at house Stuff Works.

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Speaker 1: And honestly, I don't know how how do people in

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Speaker 1: the video department feel about the title predator? I loved

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Speaker 1: it actually, first time I heard it because I immediately

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Speaker 1: think of Predator, the Schwarzenegger movie. But when I started

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Speaker 1: saying to other people and they're like, oh, what do

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Speaker 1: you what do you do a house to works, I'm like, oh,

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Speaker 1: I'm a Predator And then they get this weird look

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Speaker 1: on their face, like, oh, yeah, that can mean that

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Speaker 1: can mean something else too. Yeah, so I have to

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Speaker 1: explain it's a producer slash editor, right, So essentially what

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Speaker 1: you're doing is two jobs. That's really what it boils

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Speaker 1: down to. So so here at How Stuff Works. We've

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Speaker 1: we've got lots of different shows. What shows do you

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Speaker 1: personally work on? Personally, I work on What the Stuff,

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Speaker 1: which is our list based show where every week we

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Speaker 1: give four or five list items of something. It can

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Speaker 1: be science, e. It can be pop culture, can really anything, um,

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Speaker 1: but yeah, just tibots and information about each list item.

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Speaker 1: And yeah it's a fun show to work on. Yeah,

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Speaker 1: it's a little bit different from some of our other shows.

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Speaker 1: Like there there's some conventions with What the Stuff that

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Speaker 1: aren't in other uh not all How Stuff Works videos.

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Speaker 1: For example, the idea of the cold open, uh, the

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Speaker 1: idea the shooting something that may or may not have

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Speaker 1: any relation to the content of the video. But it's

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Speaker 1: kind of a fun way to get into the video,

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Speaker 1: and I usually like to start it with a joke. Yeah,

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Speaker 1: just a little laugh. Usually mind tend to be self

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Speaker 1: deprecating once in a while, I'm doing a terrible impression,

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Speaker 1: like Walter White or something. You got your Shakespeare, Yes,

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Speaker 1: I got the Shakespeare monologue one coming up. So yeah, guys,

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Speaker 1: who if you are big into Shakespeare and you like

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Speaker 1: tech stuff, you should definitely check that episode out when

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Speaker 1: it comes out, because I wax poetic um. Yeah, so

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Speaker 1: so What the Stuff is a little bit different in

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Speaker 1: that respect, and it also means that, uh, we we've

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Speaker 1: also experimented going beyond the studio, right, because our brain

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Speaker 1: Stuff series that we shoot inside the studio, right, so

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Speaker 1: we're up against the what what's called the what would

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Speaker 1: be called a psych if it were in fact, in fact,

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Speaker 1: in fact, if it were a real psych wall, but

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Speaker 1: it's really a white backdrop. Uh spoiler for anyone who's like, oh,

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Speaker 1: you're destroying the illusion of lamour. Um. But but what

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Speaker 1: the Stuff? We actually tend to go out at different locations,

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Speaker 1: and not only that, but sometimes depending upon the episode

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Speaker 1: and the amount of time we have. You will go

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Speaker 1: so far as to set up separate shots for each

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Speaker 1: item in the list, right, Yeah, it just depends on

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Speaker 1: I mean that it's I really feel like I do

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Speaker 1: it more for my my own sake, just because I

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Speaker 1: enjoy you know, different different setups, and I feel like

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Speaker 1: it it adds a nice, nice flow, nice variety to

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Speaker 1: the the episode. But a lot of times I feel

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Speaker 1: like the viewers don't even notice or care. They just

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Speaker 1: want the information welltimes, which I think is hilarious. I

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Speaker 1: feel like I'm doing it more for myself, I think,

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Speaker 1: I think for a lot of people, they may not

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Speaker 1: pick up on it consciously, but it helps break up

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Speaker 1: the monotony that you might have otherwise, Like if it

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Speaker 1: were just a person standing in front center frame of

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Speaker 1: a camera a green screen. You're right that that even

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Speaker 1: with the benefit of of additional video or of illustrations

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Speaker 1: or whatever, it can get very monotonous. And you know

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Speaker 1: this is why, Like if you watch lots of very

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Speaker 1: popular YouTube series, you'll see that people experiment with different angles.

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Speaker 1: There are a lot of depending upon the show, there

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Speaker 1: might be a lot of jump cuts, cut of ways

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Speaker 1: to just random be roll. Yeah, we don't tend to

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Speaker 1: do that as much. Um, we don't like, Like, I

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Speaker 1: don't think I've ever seen any Hell Stuff Works episodes

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Speaker 1: that have had lots of jump cuts in them, where

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Speaker 1: you know, like the little quig joke and then right

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Speaker 1: back into the stuff the content. I know, I know

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Speaker 1: we've experimented with it at times, but yeah, I don't

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Speaker 1: think that's really the style I enjoy. Yeah, I feel

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Speaker 1: like most of the editors edit edit the videos to

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Speaker 1: to be the way they would like to view them, right, which,

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Speaker 1: there's so many different audiences out there that prefer different

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Speaker 1: types of online videos. Well, well, let's let's walk through.

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Speaker 1: Let's let's talk about what it's like, uh, to to

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Speaker 1: do a full episode of what the Stuff. So let's say,

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Speaker 1: all right, you have it on your schedule, you know

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Speaker 1: who is going to be shooting on a particular day. Um,

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Speaker 1: what is it like like like from the point where

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Speaker 1: you know, from scheduling all the way through shooting and

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Speaker 1: editing and then publishing. Um, well, so I don't write

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Speaker 1: the episodes. The writers right the episodes and basically once

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Speaker 1: we've decided which episodes we're gonna do, we uh, I

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Speaker 1: mean everyone's pretty busy around here. I've slee with multiple projects,

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Speaker 1: so we just kind of we've we've decided Friday as

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Speaker 1: our data shoot, but try to figure out time period

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Speaker 1: that works for everyone involved the host UM and Casey

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Speaker 1: is our DP, so he's always got to be there

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Speaker 1: and make sure he can he can help out and

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Speaker 1: as it as it goes with the script, I basically

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Speaker 1: just read over it a few times before we actually shoot,

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Speaker 1: and my injections are usually pop culture references or if

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Speaker 1: I think of interesting cutaways to add all write down

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Speaker 1: or interesting references that kind of relate, um, you know,

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Speaker 1: I'll suggest that. And then yeah, it's a matter of

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Speaker 1: finding a location. Um, it's kind of been dictated to

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Speaker 1: have a different location for every single episode, which is challenging.

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Speaker 1: It can be very challenging, especially as of lately because

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Speaker 1: we're working we're working within the still developing which um,

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Speaker 1: I don't know when will be fully complete. Yeah, it's

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Speaker 1: it's not fully operational. It's kind of like the Second

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Speaker 1: Death Star right in more ways than one. This is

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Speaker 1: an enormous building and you've probably heard us mentioned Pont

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Speaker 1: City Market in previous episodes, but just to give you

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Speaker 1: an an indication, of what we're talking about here, because

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Speaker 1: I don't think I've ever gone into detail about what

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Speaker 1: Pont City Market actually is. So in Atlanta, we have

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Speaker 1: this enormous building. I mean, it's essentially the size of

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Speaker 1: like a city block almost, and it's it used to

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Speaker 1: be a distribution and retail center for Sears. And it's

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Speaker 1: built right along the old rail lines that used to

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Speaker 1: pass through well, I mean technically they still pass through,

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Speaker 1: but they're they're inactive, that um that passed through Atlanta,

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Speaker 1: downtown Atlanta, and once upon a time, the trains would

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Speaker 1: pull up next to this enormous building. Cars would be

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Speaker 1: decoupled from the train and rolled directly adjacent to the building,

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Speaker 1: like there was a The third floor of our building

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Speaker 1: is at the level of the train tracks, and so

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Speaker 1: they would unload and load things there from this massive

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Speaker 1: distribution center. And it was also a shop, so people

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Speaker 1: in Atlanta could come here and shop for stuff, but

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Speaker 1: it was you know, it was also distributing goods throughout

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Speaker 1: the rest of Sears stores. In the Southeast Baseball Diamond.

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Speaker 1: There's a baseball diamond across the street, which is which

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Speaker 1: is where the Whole Foods parking lot is across from

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Speaker 1: there's details you guys don't care about, but no, there

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Speaker 1: there was a there was a baseball park, and there

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Speaker 1: was also an amusement park nearby because there were natural

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Speaker 1: springs that were not far away before they got covered

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Speaker 1: up tragedy. Um. Atlanta is not known for keeping its

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Speaker 1: history intact, but partially helped by the North as it

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Speaker 1: turns out, But so so. Pont City Market is huge.

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Speaker 1: It is nine stories tall. It is you know, imagine

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Speaker 1: like fitting I don't know, maybe four department stores in

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Speaker 1: to end for each floor and like full department stores

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Speaker 1: and to end. It's huge, like to the point where

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Speaker 1: when we take the elevator to get up to this floor,

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Speaker 1: it's still a heck of a walk to get to

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Speaker 1: our office. There's getting to your office, and there's the

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Speaker 1: extra ten minutes it takes to to park and take

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Speaker 1: the elevator and walk down the hallway. Yeah, it's it's

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Speaker 1: pretty it's pretty intense. So the good thing is that

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Speaker 1: means potentially there are lots of interesting places to shoot. However,

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Speaker 1: we do we we make sure that we go through

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Speaker 1: the right channels to secure permission so that the management

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Speaker 1: company knows that we are there. So we're not going

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Speaker 1: to be in the way of anybody. We also have

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Speaker 1: to make sure that there's not gonna be any construction

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Speaker 1: going on because we don't want to get their way,

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Speaker 1: and we also don't want all that noise to bleed

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Speaker 1: into our videos. So the idea is like anything that's

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Speaker 1: being developed, they don't want anyone to see it until

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Speaker 1: it's ready. Right. That also makes so many spots that

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Speaker 1: are limited. There's did available one day and not the

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Speaker 1: next day, and some and some of them look really awesome, right, Like,

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Speaker 1: there's there's a space and office space to be that

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Speaker 1: is adjacent to ours or right across the hallway from

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Speaker 1: ours that looks like straight out of Highlander. It looks awesome.

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Speaker 1: The Highlander fight should happen in in this space. There's

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Speaker 1: all these stone pillars and giant windows that looks out

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Speaker 1: in the front of the property. It's pretty amazing. But

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Speaker 1: we can't shoot there, and I mean, I understand why.

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Speaker 1: So when this place is completed, there will be a

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Speaker 1: lot of other interesting spaces, like the rooftop will have

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Speaker 1: some interesting spaces to shoot. But yeah, it's getting to

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Speaker 1: a point now where we may have to start using

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Speaker 1: the same locations and then alter the angle. But it's

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Speaker 1: it's it's amazing how much changing the angle can effect

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Speaker 1: the visual the visual elements of a shot. I mean,

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Speaker 1: you can you can just pan the camera thirty degrees

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Speaker 1: and you have a completely new background and it looks

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Speaker 1: like you're in a totally differ location. And that's a

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Speaker 1: trick that everybody uses obviously, not just not just people

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Speaker 1: making YouTube videos. Movie makers do this all the time.

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Speaker 1: So all right, so you you've got the point, you've

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Speaker 1: got scheduled, you've you've scouted out your location. It's time

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Speaker 1: to shoot. Explain to the audience what a shoot is

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Speaker 1: like from your perspective, Well, figure out uh yeah, the

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Speaker 1: angle of the shot itself that we usually do, um

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Speaker 1: we we we kind of have a formula as as

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Speaker 1: of lately where we do a cold open and then

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Speaker 1: the host does the intro and the host host does

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Speaker 1: an outro all within the same shot. And cold open

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Speaker 1: can be anything. It's literally just like a three to

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Speaker 1: five second joke. It can be related to whatever the

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Speaker 1: the content is, or it can just be completely random

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Speaker 1: that can be inspired by the the backdrop we're in,

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Speaker 1: or just whatever we're currently we've currently been talking about. Yeah,

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Speaker 1: it can just be anything fun like that. And then um,

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Speaker 1: depending on the host, some hosts do um use a

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Speaker 1: telepropter and read off a telepropter because you know, a

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Speaker 1: lot of the stuff is like heavy information that there,

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Speaker 1: right they're giving out. You want to make sure you're

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Speaker 1: hitting the right facts and figures you're not. You don't

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Speaker 1: want to gues estimate that, oh it's around twenty miles

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Speaker 1: if you've got it's twenty three point seven miles. But

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Speaker 1: that you know, of course, the more of that you have,

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Speaker 1: the harder it is to make sure that you're hitting

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Speaker 1: all the numbers correctly exactly. And yeah, that's we also

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Speaker 1: have a script supervisor there that um just kind of

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Speaker 1: cross checks whatever is being said to make sure we're

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Speaker 1: saying it right and right, yeah, not missing anything or

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Speaker 1: making any mistakes. And then yeah, we get through the

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Speaker 1: meat of the shoot. Um, well, we usually push in

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Speaker 1: a little bit more for the meat was what we

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Speaker 1: caught the meat the actual list portion of the episode.

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Speaker 1: And by pushing you mean you get a tighter shot,

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Speaker 1: usually get a tighter shot. And from there we go

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Speaker 1: through a few times. If if we want to experiment

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Speaker 1: with the delivery of certain certain sentences or certain parts

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Speaker 1: will do that. If someone mush mouth something, which I do,

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Speaker 1: I do pretty much at least once per episode. There's

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Speaker 1: at some point where there's a usually a series of

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Speaker 1: soft seas or says and at some point I'm either

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Speaker 1: slurring it or I'm running things together. Yeah, and and

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Speaker 1: I will tell you I love him to death. Okay,

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Speaker 1: I'm proceeding this with I love him to death. But

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Speaker 1: Ben Bolan can write some of the hardest things to

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Speaker 1: say out loud with the human mouth, right, They're brilliant,

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Speaker 1: but they're hard to say. But when you complete it, it

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Speaker 1: it sounds great. Oh yeah, no, if you can. If

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Speaker 1: it's really putting the responsibility on the presenter, if the

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Speaker 1: presenter is capable of taking the time necessary to make

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Speaker 1: certain they enunciate properly, then it sounds fantastic. Lauren does

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Speaker 1: that to ourself too. She writes most of her own scripts,

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Speaker 1: and she'll start fumbling away through a long sentence very

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Speaker 1: difficult sinists to say, and she's like, who wrote this?

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Speaker 1: Oh yeah, I've done the same thing. Not, I mean

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Speaker 1: for forward thinking. I have. I have written episodes for

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Speaker 1: forward thinking. And I get to a point where I

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Speaker 1: realized in my head this made perfect sense, but as

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Speaker 1: as a person attempting to actually say it, it is

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Speaker 1: a better way to say, I've got to find a

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Speaker 1: different Uh. Yeah. So, and you usually are actually monitoring

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Speaker 1: sound during these so you you are present at these shoots.

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Speaker 1: Oh yeah, well, I mean yeah, I'm like generally directing,

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Speaker 1: if you will, and running sound too, because we kind

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Speaker 1: of like to run with a skeleton crew, right. Oh yeah, no,

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Speaker 1: that moves faster that way. That's being generous. So we

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Speaker 1: usually have one person on the camera, one person on sound,

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Speaker 1: and then maybe you have a script supervisor, and then

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Speaker 1: and then there's the host, the host, the talent, the talent. Alright,

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Speaker 1: so I don't want to put you on the spot, Chandler,

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Speaker 1: but who's the best person on camera? Thank you? All right?

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Speaker 1: Well then, um, you know you heard it here first books,

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Speaker 1: So okay, so now we've got the episode in the can,

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Speaker 1: it's shot. What comes next? Ah, the editing comes next? Um.

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Speaker 1: I generally, actually I don't even know if I have

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Speaker 1: an order of events. I generally just do whatever I

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Speaker 1: feel like doing at the time. But yeah, it always

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Speaker 1: begins with obviously downloading the footage, putting it all in

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Speaker 1: the timeline within um the editing software. Um, I use Premiere.

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Speaker 1: We all the editors here now use Adobe, Adobe Sweet Creative,

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Speaker 1: Creative Sweets, and I stand by it. It's it's pretty

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Speaker 1: amazing all the Adobe programs under one umbrella kind of software.

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Speaker 1: And UM, yeah, I used to be final cut, um

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Speaker 1: un till till till it's dying breath. I was that

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Speaker 1: was all about final cut. Finally made the switch. I

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Speaker 1: was like an old ramp. I was like, but I

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Speaker 1: know all my shortcuts on fine Okay, Oh no, I

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Speaker 1: I was the same way. This is taking me back.

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Speaker 1: I was the same way going from word perfect to

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Speaker 1: word like word perfect, I knew all the keyboard shortcuts

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Speaker 1: for everything, and then word I just felt was dumbing

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Speaker 1: everything down these days. If you put me on a

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Speaker 1: computer terminal, that's how old we're talking here, that's running

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Speaker 1: word perfect. I doubt I could accomplish anything, at least

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Speaker 1: not in a timely manner. All right, So you're using Adobe,

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Speaker 1: you are you're editing. So typically, do you have like

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Speaker 1: maybe an average range of how long, how many hours

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Speaker 1: of editing it takes you to do a single episode.

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Speaker 1: It really varies to how much content was how much

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Speaker 1: content was written, Usually the length of the scriptum directly

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Speaker 1: UM effects how long it takes edit. I'd say average

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Speaker 1: is anywhere from eight hours on the shortest side to

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Speaker 1: sixteen hours on the longer side. Wow, So it could

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Speaker 1: be up to two days of editing for a single episode. Yes, yes,

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Speaker 1: and that also it depends on the content. How difficult

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Speaker 1: it is to find UM I guess, I guess you

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Speaker 1: call it b roll or like pictures and video to

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Speaker 1: cut away to UM. And also like how kind of

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Speaker 1: into the episode. I am like, sometimes I'll get in

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Speaker 1: the zone and I'll spend like two hours just working

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Speaker 1: on like one kind of transition or section, and I'm

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Speaker 1: like and sometimes it doesn't even work out. I'm like,

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Speaker 1: I don't like this. This is terrible, Like I just

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Speaker 1: wasted two hours. That's tough. So yeah, it also depends

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Speaker 1: on how and also how much time I have. Sometimes

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Speaker 1: it's like, well, I've got six hours left before I

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Speaker 1: need to publish. It's like I work until I guess

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Speaker 1: it's finished and I just throw publish it. Well, Uh

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Speaker 1: so with that in mind, you know this this these

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Speaker 1: hours of of putting in for editing, Uh, are there

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Speaker 1: any particular episodes that you've done where you feel and

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Speaker 1: we talked about this offline a bit, where you feel like,

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Speaker 1: wow that that came together better than I had anticipated,

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Speaker 1: or you know, this this flows, this ends up flowing

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Speaker 1: so well. I'm really proud of this particular piece. Yeah. Yeah,

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Speaker 1: there's quite a few. I I really liked. Um. I

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Speaker 1: really liked the one with the Star Trek gadgets, the

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Speaker 1: five Star Trek gadgets. That's the one where Ben Bowlan

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Speaker 1: sat stone face next right, here was your co pilot.

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Speaker 1: You were at a bowling alley and we sat down

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Speaker 1: at a table that looked vaguely spaceship ish, like it

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Speaker 1: could have fit aboard the original Enterprise, and then I

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Speaker 1: would deliver stuff into the camera and just stared straight

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Speaker 1: ahead with no expression on his face. I also glad

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Speaker 1: that we made it work because you know, that day

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Speaker 1: we just had a bowling alley to shooting and were like,

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Speaker 1: these are the episodes were shooting. What does Star Trek

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Speaker 1: have to do with the bowling alley? Absolutely nothing, right,

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Speaker 1: So yeah, the co pilot idea was great. A lot

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Speaker 1: of people didn't get it there, like, what what does

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Speaker 1: that dude just staring into the camera for Yeah, it was.

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Speaker 1: It was one of those things where I was like,

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Speaker 1: you know, I'm fine with it. And my favorite was

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Speaker 1: that that Ben was wearing a sweat for that particular

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Speaker 1: shoot that was reminiscent of Wesley Crusher's sweater from Star

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Speaker 1: Trek the next generation had like little color stripes on it,

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Speaker 1: so it made me think of Wesley. I was like,

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Speaker 1: this is perfect. He's He's like Wesley Crusher and of

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Speaker 1: course I'm not going to acknowledge him, and he's just

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Speaker 1: gonna sit here unhappy the whole time. But I thought

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Speaker 1: I had a really good flow to it. I really

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Speaker 1: like the song I chose. It's That's another actually big

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Speaker 1: challenge as finding um Creative Commons music to use for

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Speaker 1: these YouTube videos, because you know, like when you're putting

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Speaker 1: out as many videos a week as we do, we

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Speaker 1: can't afford to just buy a song for every single

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Speaker 1: YouTube video. Yeah, how many? How many? What the stuffs

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Speaker 1: are published? Each week? There's as as and now there's

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Speaker 1: two each week. It used to be one, but around

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Speaker 1: I think like August or October last year, we started

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Speaker 1: going to a week. So yeah, I mean you're you're

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Speaker 1: talking about a lot of groundwork to get the just

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Speaker 1: the basic components. It's not like we have We don't

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Speaker 1: own a data base of music that we know, so

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Speaker 1: we we we look for the free music and uh

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Speaker 1: I found I found a couple of artists that are

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Speaker 1: amazing and they put all their music out under what's

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Speaker 1: the free music archive dot com or dot org. That's

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Speaker 1: where I go. But I'm just gonna say big, big

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Speaker 1: shout out to Jizar j h z z a R.

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Speaker 1: If you need good, like quality UM creative commons music

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Speaker 1: for your video, check him out. He's he's amazing, awesome.

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Speaker 1: So all right, so we got to the point where

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Speaker 1: you've done all the edits, it's been eight to sixteen hours.

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Speaker 1: You've got the transitions lined up, you have the supporting

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Speaker 1: material that is augmenting whatever the script and the host

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Speaker 1: are trying to get across. You also, uh, at the

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Speaker 1: at the end of the YouTube video when they're on YouTube,

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Speaker 1: you have the the various call to actions where they've

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Speaker 1: got the annotations or or rather the extra videos to point,

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Speaker 1: do you pick those out? UM? I can sometimes if

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Speaker 1: I if there's like other videos, even if it's like

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Speaker 1: a different UM not channel, a different show, if there's

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Speaker 1: like a similar video that would relate to whatever the

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Speaker 1: content was in that particular What the Stuff, yeah, I'll

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Speaker 1: pick that. But in general, if I'm just kind of

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Speaker 1: throwing out annotations for whatever other other what the Stuff

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Speaker 1: videos there, I'll just do the most recent stuff videos

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Speaker 1: there that came out, so all that happens, you publish

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Speaker 1: it and sounds. Can't forget about sounds. Yes, please, let's

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Speaker 1: talk about sound. I didn't know anything about sounds going

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Speaker 1: into this job, and I gotta say, like that was

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Speaker 1: That's been the biggest learning curve for me, is realizing,

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Speaker 1: like how I mean, if you think about it, like

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Speaker 1: a video is one half the audio and one half visual.

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Speaker 1: I was always on the visual side of things and

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Speaker 1: don't really think too much about sound. And now now

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Speaker 1: they've been doing it for a year, I realized I

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Speaker 1: knew nothing, and I'm still learning to this day. Like

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Speaker 1: you gotta gotta make sure the levels are right. You

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Speaker 1: can't can't let the audio peak too much, can't let

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Speaker 1: the music peak too much. It's been a big learning curve.

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Speaker 1: You'll actually if you go back and see some old

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Speaker 1: What the Stuff videos, you'll see some comments they were

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Speaker 1: like the music was way too loud in that one. Yeah,

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Speaker 1: And I'm just like I've seen some sometimes it sounds

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Speaker 1: good to me in my earphones, but other people don't,

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Speaker 1: you know. Well sure, and sometimes sometimes there might be

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Speaker 1: like different pitches that hit certain people extra hard. Um.

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Speaker 1: I can think of one show's opening theme that has

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Speaker 1: a high pitch repeated sound that sometimes, depending upon the volume,

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Speaker 1: might have my heading. So that can be a little

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Speaker 1: a little much sometimes. So we're talking about talking about

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Speaker 1: tech stuff. Um, but alright, so yeah, the sound is

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Speaker 1: really important. And also I should point out, like like

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Speaker 1: you would see in a lot of a frit professional shoots,

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Speaker 1: I mean, ours is a professional shoot. We're not recording

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Speaker 1: sound directly into the camera. We're not using a camera

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Speaker 1: mounted microphone. You're recording sounds separately. We're wearing lab mics

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Speaker 1: that are have a wireless transmitter that transmit to a

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Speaker 1: different recorder. And so therefore there's a moment where we

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Speaker 1: have to have the audio synced with the video. But

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Speaker 1: we don't slate, which is the what you would see

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Speaker 1: with your typical television or movie where you know you

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Speaker 1: have the clapboard out, it's got the scene number on there,

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Speaker 1: clap is where you line up the audio with the yea.

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Speaker 1: You look for the spike in the audio and then

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Speaker 1: you line the spike in the audio with the motion

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Speaker 1: of the clap, and then that lets you have the synchronization.

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Speaker 1: So how do you sync the sound to the audio.

427
00:23:46,400 --> 00:23:51,280
Speaker 1: We actually just use a software called Pluralize, where you

428
00:23:51,400 --> 00:23:55,119
Speaker 1: just give them the audio and the video and it'll

429
00:23:55,160 --> 00:23:59,280
Speaker 1: find the on the onboard camera audio and line that

430
00:23:59,400 --> 00:24:02,399
Speaker 1: up with the lava audio that you recorded. So what

431
00:24:02,440 --> 00:24:05,119
Speaker 1: it's doing is it's taking we are recording audio with

432
00:24:05,200 --> 00:24:07,440
Speaker 1: the camera, but that's not the audio that you're hearing

433
00:24:07,960 --> 00:24:10,440
Speaker 1: when you watch one of these episodes. It's being used

434
00:24:10,480 --> 00:24:13,960
Speaker 1: as a reference track, and then the software does it

435
00:24:14,000 --> 00:24:17,840
Speaker 1: all for you, which it doesn't always work out. Yeah,

436
00:24:17,960 --> 00:24:19,679
Speaker 1: a lot of times. And when we're filming outside, if

437
00:24:19,680 --> 00:24:22,720
Speaker 1: the wind is blowing pretty heavily, the onboard audio, all

438
00:24:22,760 --> 00:24:25,480
Speaker 1: you hear is just the blowing of the wind, and

439
00:24:25,520 --> 00:24:28,760
Speaker 1: it's just like so in those cases you have and

440
00:24:28,760 --> 00:24:30,520
Speaker 1: then you have to do it manually, which can be

441
00:24:30,520 --> 00:24:34,000
Speaker 1: pretty tough. Pretty tough, Yeah, I can't. It's not it's

442
00:24:34,000 --> 00:24:36,520
Speaker 1: not difficult to just it's a little time consuming sometimes

443
00:24:36,600 --> 00:24:39,040
Speaker 1: right to find that one moment where you thinking, oh,

444
00:24:39,080 --> 00:24:41,760
Speaker 1: this is where he made that noise. No, that was

445
00:24:41,800 --> 00:24:44,480
Speaker 1: a different noise, Jonathan. Sometimes you'll line up yeah, like

446
00:24:44,520 --> 00:24:47,600
Speaker 1: an intro, and you realize you're lining up a completely

447
00:24:47,600 --> 00:24:49,720
Speaker 1: different take and you're like, why is that? Why is

448
00:24:49,760 --> 00:24:52,919
Speaker 1: the audio off? Now? Yeah? Yeah, that's and see that.

449
00:24:53,080 --> 00:24:54,920
Speaker 1: That to me is one of those fascinating things because

450
00:24:54,960 --> 00:24:56,520
Speaker 1: I take it for granted all the time, you know,

451
00:24:57,560 --> 00:25:01,600
Speaker 1: because people have consistently done really good jobs in television

452
00:25:01,600 --> 00:25:04,280
Speaker 1: and movies. You know, you just assume, oh, everything is

453
00:25:04,320 --> 00:25:06,199
Speaker 1: picked up at the same time, and you're fine, and

454
00:25:06,560 --> 00:25:09,440
Speaker 1: you don't really think necessarily, oh, this was recorded in

455
00:25:09,520 --> 00:25:13,800
Speaker 1: two on two separate media simultaneously and then had to

456
00:25:13,800 --> 00:25:17,600
Speaker 1: be married together to become the thing you're actually experiencing.

457
00:25:18,160 --> 00:25:20,359
Speaker 1: So I always find that fascinating. Well, you know, I

458
00:25:20,400 --> 00:25:23,200
Speaker 1: had also asked you about the possibility of talking about

459
00:25:23,280 --> 00:25:28,360
Speaker 1: things that you find particularly interesting or inspirational as a creator,

460
00:25:28,520 --> 00:25:31,360
Speaker 1: Like when you when you watch things, are there any

461
00:25:31,400 --> 00:25:35,159
Speaker 1: examples of things that you've seen, whether their movies, television,

462
00:25:35,240 --> 00:25:38,800
Speaker 1: or other YouTube videos? Uh that you're you you see

463
00:25:38,800 --> 00:25:41,680
Speaker 1: it and you think, now that is really an interesting approach.

464
00:25:41,760 --> 00:25:45,440
Speaker 1: That's something I would love to give a shot at man.

465
00:25:45,640 --> 00:25:49,800
Speaker 1: I mean, yeah, see things all the time every day,

466
00:25:49,840 --> 00:25:52,640
Speaker 1: like YouTube videos, movies, anything like that. I mean as

467
00:25:52,680 --> 00:25:56,320
Speaker 1: an editor, I've only been a quote unquote professional editor

468
00:25:56,359 --> 00:25:58,840
Speaker 1: here at How Stuff Works for a year now, a

469
00:25:58,880 --> 00:26:02,719
Speaker 1: little bit over a year, and I've never i mean,

470
00:26:02,720 --> 00:26:04,600
Speaker 1: I've been editing since I was in high school, but

471
00:26:04,720 --> 00:26:07,720
Speaker 1: I've never edited at such a such a clip with

472
00:26:07,880 --> 00:26:11,119
Speaker 1: so so much content per week that I feel like

473
00:26:11,160 --> 00:26:14,439
Speaker 1: I've learned a whole lot um, mainly in terms of

474
00:26:14,480 --> 00:26:21,080
Speaker 1: like flow and pacing and how much power the editor has. Yeah,

475
00:26:21,600 --> 00:26:24,200
Speaker 1: and an editor has the power to take something that's

476
00:26:24,240 --> 00:26:27,439
Speaker 1: good and turn it into something that's amazing, and like

477
00:26:27,480 --> 00:26:29,879
Speaker 1: you're talking like yeah, just like the difference in like

478
00:26:30,000 --> 00:26:34,080
Speaker 1: one frame of time can make a complete difference of

479
00:26:34,160 --> 00:26:36,760
Speaker 1: like how how how a scene feels or how an

480
00:26:36,760 --> 00:26:40,600
Speaker 1: episode can feel. Like you take I'm gonna say, like

481
00:26:40,720 --> 00:26:43,199
Speaker 1: a shot of a of a man who's looking at

482
00:26:43,200 --> 00:26:46,399
Speaker 1: a woman, kind of a flat affect um and facial tone.

483
00:26:46,840 --> 00:26:48,840
Speaker 1: You hold it for a certain period of time, you

484
00:26:48,880 --> 00:26:50,520
Speaker 1: get the sense that he's in love with this person.

485
00:26:50,960 --> 00:26:52,880
Speaker 1: You hold it for a second longer, he's in love

486
00:26:52,960 --> 00:26:56,280
Speaker 1: but unsure of whether this love means something, hold it

487
00:26:56,320 --> 00:26:59,119
Speaker 1: a second longer. He feels sorry for holding a second longer.

488
00:26:59,600 --> 00:27:02,520
Speaker 1: He does, trust you know, it's just like completely Yeah,

489
00:27:02,640 --> 00:27:06,320
Speaker 1: just the timing of and I mean within within you know,

490
00:27:06,720 --> 00:27:11,719
Speaker 1: movies or sort of like dramatic narratives or even just

491
00:27:11,840 --> 00:27:15,040
Speaker 1: in um a YouTube video or like a an interview.

492
00:27:15,080 --> 00:27:19,960
Speaker 1: Even I did an interview with Christian and Annalie knew

493
00:27:20,000 --> 00:27:24,199
Speaker 1: It's from IO nine, and just that was that was

494
00:27:24,240 --> 00:27:27,440
Speaker 1: a big learning experience for me, just realizing like there's

495
00:27:27,480 --> 00:27:31,600
Speaker 1: a lot that goes into editing an interview, especially when

496
00:27:31,600 --> 00:27:35,840
Speaker 1: you're limited in how much like how many how many

497
00:27:35,880 --> 00:27:39,879
Speaker 1: pieces of equipment you have, like if you're lucky you

498
00:27:39,880 --> 00:27:42,439
Speaker 1: here at holstaff Works, because this was an interview that

499
00:27:42,480 --> 00:27:46,520
Speaker 1: was done on location, right Dragon, Yeah, So like like

500
00:27:46,880 --> 00:27:49,280
Speaker 1: it's not like we could set up you know, a

501
00:27:49,359 --> 00:27:53,760
Speaker 1: multi camera approach with three cameras, right yeah, I think

502
00:27:53,760 --> 00:27:57,720
Speaker 1: you're camera. You only had one, Yeah, which I mean

503
00:27:57,800 --> 00:28:01,080
Speaker 1: obviously that means that you have to make that critical

504
00:28:01,400 --> 00:28:05,040
Speaker 1: choice right up front of where's the camera, what's the

505
00:28:05,080 --> 00:28:09,639
Speaker 1: how are we framing this? Because like a four K camera,

506
00:28:09,920 --> 00:28:11,880
Speaker 1: but we were going to put the video out as

507
00:28:11,920 --> 00:28:18,400
Speaker 1: a shoot it wide digitally push in yeah, yeah, fake

508
00:28:18,600 --> 00:28:21,119
Speaker 1: multiple camera. We've done the same thing with forward thinking,

509
00:28:21,200 --> 00:28:24,080
Speaker 1: where which I love, By the way, I love. It

510
00:28:24,119 --> 00:28:26,320
Speaker 1: was terrifying when I found out that I was going

511
00:28:26,359 --> 00:28:30,760
Speaker 1: to be shooting on four K, because this in four

512
00:28:30,840 --> 00:28:34,360
Speaker 1: K detail, that is yeah, no, gosh, I don't want

513
00:28:34,359 --> 00:28:36,879
Speaker 1: to I don't want to see that. But then finding

514
00:28:36,880 --> 00:28:39,240
Speaker 1: out that four K means half the number of takes,

515
00:28:39,280 --> 00:28:42,200
Speaker 1: I was totally on board because I don't use it.

516
00:28:42,240 --> 00:28:45,040
Speaker 1: I don't use a teleprompter for um, for forward thinking,

517
00:28:45,040 --> 00:28:47,240
Speaker 1: but I do use one. I use one for what

518
00:28:47,320 --> 00:28:51,840
Speaker 1: the stuff, um yeah, no, yeah, there's no teleprompter for

519
00:28:51,840 --> 00:28:55,080
Speaker 1: forward thinking. There's no It's just me and the crew,

520
00:28:55,920 --> 00:28:58,400
Speaker 1: uh and so. And in the early days it was

521
00:28:58,400 --> 00:29:00,920
Speaker 1: a full crew. These days we've we've got the skeleton

522
00:29:00,960 --> 00:29:04,040
Speaker 1: crew approach because we've really figured out how to streamline

523
00:29:04,040 --> 00:29:06,959
Speaker 1: the whole process. It took more than a year of

524
00:29:06,960 --> 00:29:09,240
Speaker 1: hard work to figure that out. And that's the thing

525
00:29:09,280 --> 00:29:10,960
Speaker 1: is that it's just like any other job, right, the

526
00:29:11,000 --> 00:29:14,840
Speaker 1: more you do it, the more you start realizing, oh,

527
00:29:15,440 --> 00:29:17,240
Speaker 1: I can do this thing, and it'll save me all

528
00:29:17,240 --> 00:29:18,640
Speaker 1: this time. I think of all the time I would

529
00:29:18,640 --> 00:29:21,520
Speaker 1: have saved if I had known this before it's so

530
00:29:21,640 --> 00:29:24,680
Speaker 1: daunting to think about, like how much you don't know,

531
00:29:24,960 --> 00:29:27,720
Speaker 1: and like how much time you could save, Like once

532
00:29:27,760 --> 00:29:29,760
Speaker 1: you learn what it is you need to notice, save

533
00:29:29,840 --> 00:29:32,480
Speaker 1: that time. Like, yeah, I thought I was a good editor.

534
00:29:32,560 --> 00:29:35,840
Speaker 1: I really did, like going into going into this job,

535
00:29:35,880 --> 00:29:37,760
Speaker 1: and then a year later, I'm like, man, I knew

536
00:29:37,760 --> 00:29:43,560
Speaker 1: nothing exactly is coming. Uh yeah, no, it's it's I

537
00:29:43,600 --> 00:29:46,160
Speaker 1: know exactly what you're what you're saying, because it's kind

538
00:29:46,160 --> 00:29:49,640
Speaker 1: of like doing the video hosting stuff. I had done

539
00:29:49,720 --> 00:29:54,760
Speaker 1: plenty of stage performances, I had done presentations, and I

540
00:29:54,800 --> 00:29:56,880
Speaker 1: had done some video work, but I had not really

541
00:29:56,920 --> 00:30:00,160
Speaker 1: done video host work, right, And that's a different set

542
00:30:00,160 --> 00:30:04,040
Speaker 1: of skills than other types of prefermance, same sort of thing,

543
00:30:04,080 --> 00:30:05,800
Speaker 1: though you know, you you do it enough times, and

544
00:30:05,840 --> 00:30:08,160
Speaker 1: if you, I mean, if people like you enough for

545
00:30:08,200 --> 00:30:11,360
Speaker 1: you to stick around, you learn people don't like you,

546
00:30:11,360 --> 00:30:15,040
Speaker 1: you find out pretty quickly. So uh But at any rate,

547
00:30:15,640 --> 00:30:17,640
Speaker 1: I wanted to talk also about one of my favorite

548
00:30:18,360 --> 00:30:21,440
Speaker 1: videos that we've worked on together. It was an incredibly

549
00:30:21,480 --> 00:30:26,080
Speaker 1: daunting task. It was a huge amount of material we gathered.

550
00:30:26,720 --> 00:30:31,120
Speaker 1: We're talking specifically about how the w w E experience works.

551
00:30:31,560 --> 00:30:33,760
Speaker 1: Now I've talked about this on the show in the past.

552
00:30:34,840 --> 00:30:38,880
Speaker 1: I am UH, I am a Rasslin fan, like back

553
00:30:38,920 --> 00:30:41,800
Speaker 1: in the day when it was Rasslin. Uh here in Georgia.

554
00:30:41,840 --> 00:30:45,560
Speaker 1: We're talking Georgia Championship Wrestling, World Class Championship Wrestling, World

555
00:30:46,000 --> 00:30:49,000
Speaker 1: w c W, eventually UH all that kind of stuff,

556
00:30:49,000 --> 00:30:51,600
Speaker 1: and then eventually w WF and then w w E.

557
00:30:52,240 --> 00:30:56,479
Speaker 1: So we got the opportunity to go to UH the

558
00:30:56,480 --> 00:31:01,360
Speaker 1: the nearby arena to shoot behind this footage of the

559
00:31:01,400 --> 00:31:06,960
Speaker 1: crew setting up for a taping, so a SmackDown which

560
00:31:07,000 --> 00:31:11,320
Speaker 1: is taped and then and then broadcast later. And we

561
00:31:11,440 --> 00:31:14,280
Speaker 1: got access to the arena early on when the crew

562
00:31:14,440 --> 00:31:17,240
Speaker 1: was really you know, setting up, and they had already

563
00:31:17,280 --> 00:31:19,440
Speaker 1: been working for a couple of hours by the time

564
00:31:19,480 --> 00:31:22,800
Speaker 1: we got there. Um, but we got to shoot a

565
00:31:22,960 --> 00:31:26,760
Speaker 1: whole bunch of material. And how many cameras do we

566
00:31:26,800 --> 00:31:29,680
Speaker 1: have there? We had the go pro, the go pro,

567
00:31:30,040 --> 00:31:32,760
Speaker 1: we had a five D No, we had to five

568
00:31:32,840 --> 00:31:36,360
Speaker 1: d s and in a seven S, so we had

569
00:31:36,400 --> 00:31:39,160
Speaker 1: we had we had four cameras there, so four cameras,

570
00:31:39,200 --> 00:31:42,600
Speaker 1: one of which was just sitting there gathering footage. That

571
00:31:42,680 --> 00:31:44,560
Speaker 1: was the time that was the most fun because we

572
00:31:44,560 --> 00:31:46,440
Speaker 1: were setting that up. And that's when security came by

573
00:31:46,480 --> 00:31:48,480
Speaker 1: and said, hey, guys, how are you doing, Hey, what's up?

574
00:31:49,080 --> 00:31:50,880
Speaker 1: When are you doing? And they jumped on us pretty fast.

575
00:31:50,920 --> 00:31:52,920
Speaker 1: But but but they were they were super cool. I mean

576
00:31:52,960 --> 00:31:55,640
Speaker 1: everyone at w W was super cool. And we we

577
00:31:55,800 --> 00:31:57,760
Speaker 1: told them like, oh, we're here with how stuff works,

578
00:31:57,800 --> 00:32:00,400
Speaker 1: and uh down there's our our ba us. You can

579
00:32:00,400 --> 00:32:02,360
Speaker 1: talk with them and everything they were. They talked with him.

580
00:32:02,400 --> 00:32:03,960
Speaker 1: Everything was awesome and like all right, guys, you're good

581
00:32:03,960 --> 00:32:06,600
Speaker 1: to go. And that was it. They've never gotten our way.

582
00:32:06,640 --> 00:32:08,680
Speaker 1: They helped us out, they talked to us whenever we

583
00:32:08,680 --> 00:32:11,920
Speaker 1: needed to talk to them. I don't think anyone, like,

584
00:32:11,960 --> 00:32:15,040
Speaker 1: considering how much orchestration was going on with them putting

585
00:32:15,120 --> 00:32:19,680
Speaker 1: together this massive show, I don't think anyone got yelled

586
00:32:19,720 --> 00:32:22,040
Speaker 1: at for like being in the way or anything. And

587
00:32:22,080 --> 00:32:24,280
Speaker 1: I'm sure we were in the way they were. Yeah,

588
00:32:24,280 --> 00:32:26,880
Speaker 1: it's probably a case of they're just their masters in

589
00:32:26,960 --> 00:32:29,080
Speaker 1: their domain. They knew exactly what they were doing, and yeah,

590
00:32:29,080 --> 00:32:31,720
Speaker 1: they were very friendly and eager to help us out

591
00:32:31,760 --> 00:32:34,360
Speaker 1: with anything, or you know, like a couple of times,

592
00:32:34,360 --> 00:32:36,400
Speaker 1: like if I was we were getting a shot of

593
00:32:36,440 --> 00:32:38,240
Speaker 1: like you know, somebody setting up a certain light, and

594
00:32:38,280 --> 00:32:40,400
Speaker 1: I didn't really get it in time. Sometimes a crewman

595
00:32:40,440 --> 00:32:41,960
Speaker 1: would notice me, like you want me to do that again?

596
00:32:42,240 --> 00:32:44,120
Speaker 1: You know, Yeah, he'd do it for us and we

597
00:32:44,240 --> 00:32:46,600
Speaker 1: get a second take. Yeah, we get a second take. Yeah.

598
00:32:46,760 --> 00:32:49,360
Speaker 1: The crew was amazing. Everyone everyone that was really awesome.

599
00:32:49,320 --> 00:32:52,160
Speaker 1: And the referees were phenomenal. They were super nice and

600
00:32:52,280 --> 00:32:54,600
Speaker 1: very informative and would would stop and talk with us

601
00:32:54,600 --> 00:32:57,240
Speaker 1: about anything, you know, if we were interested in something,

602
00:32:57,480 --> 00:33:00,320
Speaker 1: and it was crazy like they were just picking the

603
00:33:00,400 --> 00:33:04,280
Speaker 1: veil away to explain exactly what goes into and why

604
00:33:04,480 --> 00:33:07,200
Speaker 1: things are the way they are, which was great. That's

605
00:33:07,240 --> 00:33:10,720
Speaker 1: exactly what we were there to capture. And the superstars

606
00:33:10,720 --> 00:33:14,000
Speaker 1: were awesome too. We interviewed a few superstars yeah, how

607
00:33:14,000 --> 00:33:20,120
Speaker 1: many four? It was right Back Ziggler seth rawlins Italia

608
00:33:20,960 --> 00:33:23,800
Speaker 1: and they were all fantastic. Yeah, they were great interviews. Yeah.

609
00:33:23,840 --> 00:33:27,160
Speaker 1: My favorite was were you doing sound for those two?

610
00:33:28,240 --> 00:33:31,080
Speaker 1: Was when when we were interviewing right Back and you said,

611
00:33:31,600 --> 00:33:33,960
Speaker 1: I thought at first all the low levels were going crazy,

612
00:33:33,960 --> 00:33:36,480
Speaker 1: and then I realized it's just his voice has so

613
00:33:36,600 --> 00:33:38,960
Speaker 1: much base to it, Like that was I was shaking

614
00:33:39,400 --> 00:33:41,560
Speaker 1: while listening to his audio. Yeah, I guess it was

615
00:33:41,560 --> 00:33:43,880
Speaker 1: good that we didn't have the big show Mike at

616
00:33:43,880 --> 00:33:45,680
Speaker 1: the time, because he came and chatted for a while.

617
00:33:45,760 --> 00:33:48,560
Speaker 1: Yeah that was hilarious. Yeah, but yeah, I remember putting

618
00:33:48,560 --> 00:33:52,480
Speaker 1: the laws on right back's shirt right like Ray and

619
00:33:52,640 --> 00:33:55,560
Speaker 1: the collar around his neck and realizing his neck was

620
00:33:56,040 --> 00:33:59,720
Speaker 1: larger than the thickest part of my thigh. Oh my god,

621
00:33:59,760 --> 00:34:03,440
Speaker 1: he's guys. Yeah he has called the big guys. Yeah, yeah,

622
00:34:03,600 --> 00:34:06,640
Speaker 1: we uh So anyway, that was a full day of shooting.

623
00:34:07,440 --> 00:34:11,760
Speaker 1: How how much footage? And I realized the term footage

624
00:34:11,800 --> 00:34:14,120
Speaker 1: is kind of outdated since that dates back to the

625
00:34:14,120 --> 00:34:16,920
Speaker 1: film days, but how much how much footage did you

626
00:34:16,960 --> 00:34:21,200
Speaker 1: guys have? Do you do you think? Um? Not including

627
00:34:21,200 --> 00:34:24,640
Speaker 1: the interviews, we probably had about six hours of fote.

628
00:34:24,800 --> 00:34:27,000
Speaker 1: That video, by the way, is around ten minutes long,

629
00:34:27,800 --> 00:34:30,799
Speaker 1: so it was like six hours maybe a little bit more,

630
00:34:31,120 --> 00:34:33,520
Speaker 1: um because yeah, we were unn multiple cameras at the

631
00:34:33,520 --> 00:34:35,280
Speaker 1: same time and we were there most of the day.

632
00:34:36,040 --> 00:34:38,359
Speaker 1: Um so yeah, about six hours of footage and in

633
00:34:38,360 --> 00:34:41,400
Speaker 1: interviews on top of it, and that was that was

634
00:34:41,400 --> 00:34:42,840
Speaker 1: a lot of fun. That's like my favorite kind of

635
00:34:42,920 --> 00:34:46,120
Speaker 1: video to edit and also my least favorite in terms

636
00:34:46,160 --> 00:34:48,640
Speaker 1: of like how much brain power it takes because how

637
00:34:48,640 --> 00:34:52,440
Speaker 1: do you pick. I mean it was after making videos

638
00:34:52,440 --> 00:34:55,240
Speaker 1: like that that I had a lot more respect for

639
00:34:56,200 --> 00:35:00,680
Speaker 1: documentary editors anyone that's ever edited a documentary. If you

640
00:35:00,719 --> 00:35:03,160
Speaker 1: think about it, it's like, most of the time when

641
00:35:03,200 --> 00:35:05,560
Speaker 1: you make a documentary, you have like just a wealth

642
00:35:05,600 --> 00:35:08,719
Speaker 1: of footage and you're like, how do I craft a

643
00:35:08,800 --> 00:35:10,799
Speaker 1: narrative out of all this footage? You literally have to

644
00:35:10,840 --> 00:35:13,120
Speaker 1: create a narrative. You don't really have a script. Well

645
00:35:13,120 --> 00:35:16,520
Speaker 1: you do have a script eventually, but but kind of

646
00:35:16,560 --> 00:35:19,000
Speaker 1: make it based on what you what you got, what

647
00:35:19,040 --> 00:35:21,720
Speaker 1: you got? Yeah, yeah, exactly. I didn't. I didn't write,

648
00:35:22,640 --> 00:35:25,440
Speaker 1: Like the voiceover was something I recorded well after we

649
00:35:25,520 --> 00:35:29,400
Speaker 1: had shot everything. I had specific questions that I wanted

650
00:35:29,440 --> 00:35:35,040
Speaker 1: to ask the ring crew and the superstars, But apart

651
00:35:35,120 --> 00:35:38,359
Speaker 1: from that, I didn't have, you know, the narrative written

652
00:35:38,400 --> 00:35:39,759
Speaker 1: out because it didn't know what we were going to

653
00:35:39,800 --> 00:35:42,640
Speaker 1: get and it would depend entirely upon what we were

654
00:35:42,640 --> 00:35:45,480
Speaker 1: able to to see and record while we were there.

655
00:35:45,760 --> 00:35:47,280
Speaker 1: And as it turns out, we were able to record.

656
00:35:47,280 --> 00:35:49,120
Speaker 1: I mean, we were the first video crew allowed to

657
00:35:49,120 --> 00:35:51,080
Speaker 1: go under the ring at w w E. Yeah, it

658
00:35:51,120 --> 00:35:53,640
Speaker 1: was pretty sweet. Yeah, that was pretty awesome. I was.

659
00:35:55,200 --> 00:35:58,320
Speaker 1: I remember being under there and thinking, I can't imagine

660
00:35:58,320 --> 00:36:01,680
Speaker 1: being one of the guys who hides under the ring

661
00:36:01,760 --> 00:36:03,799
Speaker 1: while the match is going on to pop out and

662
00:36:03,920 --> 00:36:06,920
Speaker 1: sabotage like that. That's one of those story elements that

663
00:36:06,960 --> 00:36:12,040
Speaker 1: you see pop up occasionally in storylines. Man, I can't

664
00:36:12,440 --> 00:36:19,000
Speaker 1: imagine the sound of that compressing. Yeah, just be nearby

665
00:36:19,080 --> 00:36:20,359
Speaker 1: and hearing it. I was like, yeah, I don't even

666
00:36:20,400 --> 00:36:22,880
Speaker 1: want to know what that's happening. Yeah, we got to.

667
00:36:23,000 --> 00:36:24,520
Speaker 1: We got to hear some of it because we were

668
00:36:24,560 --> 00:36:27,960
Speaker 1: there while they were doing some rehearsals and stuff and uh,

669
00:36:28,000 --> 00:36:31,120
Speaker 1: you know, just just warm ups things like that, and uh,

670
00:36:31,160 --> 00:36:33,040
Speaker 1: you know, we didn't shoot any of that, but but

671
00:36:33,080 --> 00:36:35,360
Speaker 1: it was really exciting to kind of just be present

672
00:36:35,480 --> 00:36:37,360
Speaker 1: for it. It was, you know, like it was getting

673
00:36:37,360 --> 00:36:39,279
Speaker 1: a chance to peek behind the scenes and it was

674
00:36:39,320 --> 00:36:43,440
Speaker 1: really neat. So you had a huge amount of information

675
00:36:43,480 --> 00:36:47,400
Speaker 1: to sort through. You you really in in many ways,

676
00:36:47,440 --> 00:36:51,319
Speaker 1: you've got to really shape the way that story played out.

677
00:36:51,360 --> 00:36:53,719
Speaker 1: And I wrote some voiceover, but you and I worked

678
00:36:53,719 --> 00:36:55,799
Speaker 1: together on that too, where you even came back with

679
00:36:55,840 --> 00:36:57,880
Speaker 1: some notes so I could come back in and record

680
00:36:57,960 --> 00:37:01,040
Speaker 1: some other things. A little differently, so it worked matched

681
00:37:01,120 --> 00:37:04,160
Speaker 1: up better with the footage that we had exactly. So

682
00:37:04,160 --> 00:37:07,200
Speaker 1: it's a really collaborative process. There's a lot of fun. Yeah,

683
00:37:07,280 --> 00:37:10,320
Speaker 1: and then you know, um, but yeah, it's it's always

684
00:37:10,320 --> 00:37:13,279
Speaker 1: a daunting task at first because you just go, how

685
00:37:13,840 --> 00:37:15,360
Speaker 1: how the hell am I going to take six hours

686
00:37:15,440 --> 00:37:18,120
Speaker 1: and put it down into ten minutes and and like

687
00:37:18,480 --> 00:37:21,960
Speaker 1: it's it's a blessing and occurs to have cameraman as

688
00:37:21,960 --> 00:37:25,200
Speaker 1: good as we have. Casey and Paul were like their

689
00:37:25,200 --> 00:37:28,879
Speaker 1: footage was spectacular, So we had a lot of once

690
00:37:28,880 --> 00:37:30,279
Speaker 1: again it's a good problem. We had a lot of

691
00:37:30,280 --> 00:37:33,319
Speaker 1: issues where it's like we have five different ways to

692
00:37:33,440 --> 00:37:38,080
Speaker 1: show this one thing happening the fun and they're all good, Um, yeah,

693
00:37:38,080 --> 00:37:40,480
Speaker 1: which way is the best? Yeah? So maybe maybe one

694
00:37:40,520 --> 00:37:42,600
Speaker 1: day we'll do we'll do the outtakes where it will

695
00:37:42,680 --> 00:37:46,880
Speaker 1: just be two hours over random b roll. There's like,

696
00:37:46,960 --> 00:37:49,360
Speaker 1: there's probably a hundred different ways this video because it

697
00:37:49,400 --> 00:37:51,040
Speaker 1: turned out and all of them would have been good.

698
00:37:51,080 --> 00:37:52,719
Speaker 1: And of course we got to work with w W

699
00:37:53,000 --> 00:37:56,160
Speaker 1: and they sent us some footage which was fantastic then,

700
00:37:56,200 --> 00:37:58,799
Speaker 1: but that of course means that you had even more

701
00:37:58,960 --> 00:38:02,360
Speaker 1: tough choices, like where do you put these things? How

702
00:38:02,400 --> 00:38:06,400
Speaker 1: how how do we use the footage to emphasize points

703
00:38:06,520 --> 00:38:10,080
Speaker 1: in the in the arc of the w w E experience?

704
00:38:10,640 --> 00:38:13,480
Speaker 1: And are there elements where even if you really like

705
00:38:13,560 --> 00:38:15,960
Speaker 1: a shot, you're like, man, I hate losing this, but

706
00:38:18,080 --> 00:38:21,160
Speaker 1: you gotta you gotta be ready to to to cut

707
00:38:21,200 --> 00:38:23,319
Speaker 1: the best of the best if it isn't serving the

708
00:38:23,360 --> 00:38:26,880
Speaker 1: purpose of whatever the video is. Um. So yeah, that

709
00:38:27,000 --> 00:38:30,600
Speaker 1: was one where uh uh we were all really proud

710
00:38:30,760 --> 00:38:32,080
Speaker 1: of the work we did. I mean, it was a

711
00:38:32,160 --> 00:38:35,279
Speaker 1: huge amount of work, but it was also, like I said,

712
00:38:35,280 --> 00:38:38,200
Speaker 1: a really collaborative experience and everybody really pulled their weight

713
00:38:38,200 --> 00:38:41,719
Speaker 1: on that one. So that was a great kind of

714
00:38:42,239 --> 00:38:48,640
Speaker 1: uh deep dive into a mega episode, which that's not

715
00:38:48,680 --> 00:38:53,880
Speaker 1: a what the stuff that was its own how Yeah,

716
00:38:53,920 --> 00:38:57,320
Speaker 1: that was a good one. Yeah. There are several episodes

717
00:38:57,440 --> 00:39:00,520
Speaker 1: that that I've been part of or that I watched

718
00:39:00,520 --> 00:39:03,400
Speaker 1: that I've really enjoyed. Are there any others that you

719
00:39:03,480 --> 00:39:08,520
Speaker 1: are particularly fond of or Yeah, there's one with Chuck

720
00:39:09,040 --> 00:39:13,480
Speaker 1: Um where he does five false history facts. I really

721
00:39:13,560 --> 00:39:16,000
Speaker 1: enjoyed that one mainly just because you can really see

722
00:39:16,280 --> 00:39:20,160
Speaker 1: Um Chuck's personality kind of shows through really well on

723
00:39:20,200 --> 00:39:22,239
Speaker 1: that one. He's just a fun guy to be around.

724
00:39:22,280 --> 00:39:26,400
Speaker 1: So Chuck's just, yeah, he's just one of those genuinely affable,

725
00:39:26,520 --> 00:39:31,480
Speaker 1: fun guys. And he's I felt like in that episode. Yeah,

726
00:39:31,520 --> 00:39:35,120
Speaker 1: he's he's He's definitely got a wicked sense of humor too,

727
00:39:35,400 --> 00:39:38,359
Speaker 1: which is fantastic. Uh. And that's the other neat thing

728
00:39:38,400 --> 00:39:41,880
Speaker 1: about what the stuff is that there's so many different houses. Yeah,

729
00:39:42,000 --> 00:39:45,319
Speaker 1: it's kind of like each each episode has its own

730
00:39:45,320 --> 00:39:50,000
Speaker 1: flavor depending on who's hosting. Lauren. Lauren's great. She brings

731
00:39:50,040 --> 00:39:54,040
Speaker 1: the kind of dark and twisted side to science a

732
00:39:54,080 --> 00:39:57,319
Speaker 1: lot um. She did one on waves Space is Trying

733
00:39:57,360 --> 00:39:59,200
Speaker 1: to Kill You. I really like how that one turned out.

734
00:39:59,600 --> 00:40:05,320
Speaker 1: We have coming out today called um Bizarre Medical Treatments,

735
00:40:06,480 --> 00:40:08,680
Speaker 1: and we did an interesting cold open. It doesn't really

736
00:40:08,680 --> 00:40:10,879
Speaker 1: have anything to do with medical treatments, but we did

737
00:40:10,880 --> 00:40:13,480
Speaker 1: a Blair Witch Project intro. We kind of recreated the

738
00:40:13,560 --> 00:40:16,759
Speaker 1: ending to the Blair Witch Project. And she's standing in

739
00:40:16,760 --> 00:40:19,479
Speaker 1: the corner. She was standing in the corner. Yeah, that's great.

740
00:40:19,600 --> 00:40:22,359
Speaker 1: I've been forbidden doing that by my wife. By the way,

741
00:40:22,719 --> 00:40:28,120
Speaker 1: what standing in the corner affected her so much too? Man,

742
00:40:28,320 --> 00:40:30,160
Speaker 1: I was just I was going back and looking at

743
00:40:30,160 --> 00:40:33,279
Speaker 1: it after we shot it, just just kind of see

744
00:40:33,320 --> 00:40:36,120
Speaker 1: it again because it's been years and yeah, my skin

745
00:40:36,200 --> 00:40:39,560
Speaker 1: was crawling immediately again. Again, It's one of those things

746
00:40:39,560 --> 00:40:43,279
Speaker 1: where you know, using the right image at the for

747
00:40:43,360 --> 00:40:47,240
Speaker 1: the right amount of time can evoke a very strong

748
00:40:47,320 --> 00:40:50,520
Speaker 1: emotional response in the audience exactly, and and you know,

749
00:40:50,560 --> 00:40:54,279
Speaker 1: it's it's it's really kind of remarkable how a lot

750
00:40:54,320 --> 00:40:58,880
Speaker 1: of the job is maybe not manipulating your audience, but

751
00:40:58,880 --> 00:41:02,759
Speaker 1: but encouraging the right kind of response so that you're

752
00:41:02,880 --> 00:41:05,280
Speaker 1: the stuff you are creating has the greatest possible impact.

753
00:41:05,400 --> 00:41:08,200
Speaker 1: Whatever that impact might be, you know, will be dependent

754
00:41:08,280 --> 00:41:12,520
Speaker 1: upon the content itself. Um. Yeah, I mean I love

755
00:41:12,560 --> 00:41:14,400
Speaker 1: the fact that we have all these different hosts and

756
00:41:14,440 --> 00:41:17,200
Speaker 1: that in general, I would say that what the stuff

757
00:41:17,360 --> 00:41:20,560
Speaker 1: voice is a little tongue in cheek, a little a

758
00:41:20,600 --> 00:41:23,520
Speaker 1: little snarky, maybe not snarky, but definitely tongue in cheek,

759
00:41:24,040 --> 00:41:28,640
Speaker 1: definitely a playful uh. And then depending upon the host,

760
00:41:28,840 --> 00:41:31,840
Speaker 1: that playfulness comes out in different ways. So, for example,

761
00:41:31,880 --> 00:41:34,279
Speaker 1: all the Jonathan Strickland hosted ones tend to be a

762
00:41:34,280 --> 00:41:37,200
Speaker 1: little dorky and goofy because that's who I am, which

763
00:41:37,239 --> 00:41:39,879
Speaker 1: I embrace, that's I mean, I realized I am never

764
00:41:39,920 --> 00:41:44,120
Speaker 1: going to be the cool dude who is like like

765
00:41:44,800 --> 00:41:47,920
Speaker 1: super laid back and is funny, and everyone's like like,

766
00:41:48,080 --> 00:41:50,360
Speaker 1: I'm not going to be the cocktail guy. That's not

767
00:41:50,400 --> 00:41:52,880
Speaker 1: gonna be me. You're cool in your own right, thank you.

768
00:41:52,960 --> 00:41:57,080
Speaker 1: I appreciate that. Alright, alright, alright, so yeah it's uh,

769
00:41:57,120 --> 00:41:59,120
Speaker 1: you know, but but that is awesome. Now, it's a

770
00:41:59,120 --> 00:42:02,719
Speaker 1: it's a great opportunity. Do you. Kristen actually made me

771
00:42:02,719 --> 00:42:06,680
Speaker 1: think of different personalities. Kristen has one on phobias, and

772
00:42:06,719 --> 00:42:09,520
Speaker 1: you know, she clearly comes from some sort of drama

773
00:42:09,640 --> 00:42:13,120
Speaker 1: improv background because she has like so many different characters

774
00:42:13,200 --> 00:42:17,520
Speaker 1: and styles and voices, and it just it blows my mind.

775
00:42:17,560 --> 00:42:20,640
Speaker 1: Sometimes I'll just like let the camera run with her,

776
00:42:20,880 --> 00:42:24,279
Speaker 1: and even when she's done with like the section that

777
00:42:24,320 --> 00:42:27,440
Speaker 1: she was recording, I won't say cuts. Then she'll just

778
00:42:27,440 --> 00:42:29,799
Speaker 1: start riffing because she doesn't know how to stop until

779
00:42:29,800 --> 00:42:33,520
Speaker 1: I say cut, and I get some great stuff from her,

780
00:42:33,800 --> 00:42:36,760
Speaker 1: fantastic Maybe I'll maybe I'll try and give you some stuff,

781
00:42:36,800 --> 00:42:38,920
Speaker 1: because you know, that's one of the reasons why I

782
00:42:38,960 --> 00:42:41,759
Speaker 1: love working with Ben um. Ben and I both have

783
00:42:41,800 --> 00:42:44,719
Speaker 1: an improv background. Christ Is great at that. So, yeah,

784
00:42:44,760 --> 00:42:48,560
Speaker 1: all the three of us have improvisational comedy backgrounds, and

785
00:42:48,600 --> 00:42:52,080
Speaker 1: so like, whenever I get into a video where Ben

786
00:42:52,120 --> 00:42:54,799
Speaker 1: and I are both in that video, it's always fun

787
00:42:54,800 --> 00:42:59,000
Speaker 1: to play off of him, definitely, because we know we'll

788
00:42:59,040 --> 00:43:02,960
Speaker 1: support one another in our various bizarre choices. And sometimes

789
00:43:03,000 --> 00:43:06,480
Speaker 1: that works out too to video gold. Sometimes that's in

790
00:43:06,480 --> 00:43:10,560
Speaker 1: a blooper reel. Sometimes yeah, just will forever remain on

791
00:43:10,160 --> 00:43:13,759
Speaker 1: the editing floor, I say, I always say go for it,

792
00:43:13,840 --> 00:43:15,319
Speaker 1: and people like, should we try this? I'm like, yeah,

793
00:43:15,400 --> 00:43:18,440
Speaker 1: let's try it, and if it doesn't work, it won't

794
00:43:17,520 --> 00:43:20,400
Speaker 1: so much easier to pull it back than it is

795
00:43:20,440 --> 00:43:23,279
Speaker 1: to tell people to give me more, right, because give

796
00:43:23,320 --> 00:43:26,760
Speaker 1: me more makes a person feel like they are somehow,

797
00:43:26,920 --> 00:43:30,600
Speaker 1: like they're underperforming. That's not necessarily what you mean. You

798
00:43:30,680 --> 00:43:33,400
Speaker 1: might just mean I just need like this needs to

799
00:43:33,400 --> 00:43:37,160
Speaker 1: be intense, I need more intensity or whatever. Um, And

800
00:43:38,040 --> 00:43:40,000
Speaker 1: these episodes are so easy to set up, like why

801
00:43:40,040 --> 00:43:43,080
Speaker 1: not just kind of play around, you know? And I

802
00:43:43,120 --> 00:43:46,000
Speaker 1: mean it's as as an actor, it's definitely one of

803
00:43:46,080 --> 00:43:49,000
Speaker 1: those things where I had to teach myself it's much

804
00:43:49,080 --> 00:43:52,560
Speaker 1: better to make a big choice and be told to

805
00:43:52,560 --> 00:43:55,359
Speaker 1: pull it back than to do a small choice and

806
00:43:55,400 --> 00:43:59,080
Speaker 1: have a director think that's all you're capable of doing. Yeah,

807
00:44:00,200 --> 00:44:02,239
Speaker 1: and I and I yeah, and I hope everyone like

808
00:44:02,480 --> 00:44:05,040
Speaker 1: trust me enough to know that, like if you know,

809
00:44:05,320 --> 00:44:07,200
Speaker 1: you should be brave enough to try something even if

810
00:44:07,239 --> 00:44:09,279
Speaker 1: it seems a little outside of your comfort zone, and

811
00:44:09,320 --> 00:44:11,800
Speaker 1: just know that, like if it didn't work out, it

812
00:44:11,840 --> 00:44:14,279
Speaker 1: won't make the final part, like I'll be able to tell.

813
00:44:14,760 --> 00:44:19,960
Speaker 1: So do we have any blooper reels in planning stages? Um,

814
00:44:20,120 --> 00:44:23,480
Speaker 1: I've constantly um any any good bloopers. I'll kind of

815
00:44:24,040 --> 00:44:25,960
Speaker 1: make my own seat as I make my own timeline.

816
00:44:25,960 --> 00:44:27,480
Speaker 1: I can go back through the project piles and I

817
00:44:27,520 --> 00:44:30,040
Speaker 1: could piece together, but I actually do put I still

818
00:44:30,400 --> 00:44:32,400
Speaker 1: on occasion put some good bloopers at the end of

819
00:44:32,440 --> 00:44:35,880
Speaker 1: the episode itself. I mean, I don't make any because

820
00:44:36,239 --> 00:44:40,040
Speaker 1: I'm one takes tricklin. But you know, I also know

821
00:44:40,200 --> 00:44:41,920
Speaker 1: you you you actually do have a talent for that,

822
00:44:41,920 --> 00:44:43,600
Speaker 1: because like sometimes I was like, man, do we just

823
00:44:43,640 --> 00:44:47,439
Speaker 1: shoot this in like ten minutes? Well, whereas I'm thinking,

824
00:44:47,480 --> 00:44:50,800
Speaker 1: I guess we can reshoot it just to have two options.

825
00:44:50,840 --> 00:44:52,640
Speaker 1: But it was already good for this And that's the

826
00:44:52,640 --> 00:44:54,520
Speaker 1: thing that I'm always asking you guys, right, I'm like,

827
00:44:54,640 --> 00:44:57,239
Speaker 1: are you sure you guys don't need another one? Because

828
00:44:57,280 --> 00:44:59,680
Speaker 1: I'm always second guessing myself. You know, when I'm when

829
00:44:59,680 --> 00:45:02,160
Speaker 1: I'm in the moment, I can't tell if it's good

830
00:45:02,239 --> 00:45:05,160
Speaker 1: or not because I'm I'm just doing it, doing it

831
00:45:05,200 --> 00:45:07,680
Speaker 1: the best way I know how, And then I rely

832
00:45:07,960 --> 00:45:10,239
Speaker 1: very heavily upon a director to tell me if I

833
00:45:10,280 --> 00:45:12,759
Speaker 1: have you know, like like Jonathan, could you try this again,

834
00:45:12,800 --> 00:45:15,120
Speaker 1: but do it in this other way? Like I think

835
00:45:15,120 --> 00:45:18,799
Speaker 1: it might be more beneficial for you to have more gravitas,

836
00:45:18,920 --> 00:45:21,279
Speaker 1: which I don't know where I'm going to pull that

837
00:45:21,320 --> 00:45:25,959
Speaker 1: out if that's over the direction, but whatever. Um. But yeah,

838
00:45:26,200 --> 00:45:28,480
Speaker 1: it turns out that I guess it's my sensibility. It

839
00:45:28,840 --> 00:45:31,719
Speaker 1: tends to go well with the scripts that I tend

840
00:45:31,760 --> 00:45:34,560
Speaker 1: to do, and and it also speaks highly of the

841
00:45:34,560 --> 00:45:38,279
Speaker 1: writers who, when they know which person is going to

842
00:45:38,360 --> 00:45:41,600
Speaker 1: host a particular episode, they tend to write to that

843
00:45:41,640 --> 00:45:46,000
Speaker 1: person's strengths. There's some episodes where we have a script

844
00:45:46,080 --> 00:45:48,440
Speaker 1: and we haven't assigned it a host, and in that case,

845
00:45:48,520 --> 00:45:51,160
Speaker 1: the script is kind of like a it's kind of

846
00:45:51,200 --> 00:45:54,960
Speaker 1: waiting for personality to be injected into it. Um. But

847
00:45:55,000 --> 00:45:57,200
Speaker 1: there are other times where like, oh, it's Jonathan, let's

848
00:45:57,200 --> 00:46:00,400
Speaker 1: make him do that terrible Christopher walkin impression. Does write

849
00:46:00,400 --> 00:46:02,560
Speaker 1: that in and I don't do it. I heard that

850
00:46:02,719 --> 00:46:05,759
Speaker 1: can give me a crisper walking impression. I like to

851
00:46:05,760 --> 00:46:08,839
Speaker 1: do Christopher walking as if he were hot spur from

852
00:46:08,920 --> 00:46:10,960
Speaker 1: Henry the fourth part one. So you're gonna get a

853
00:46:10,960 --> 00:46:15,640
Speaker 1: little Shakespeare took. But for mine own bot, my lord,

854
00:46:16,000 --> 00:46:19,160
Speaker 1: I could be contended to be there in respect for

855
00:46:19,320 --> 00:46:27,960
Speaker 1: the love I bear your house. That good. Yeah, you

856
00:46:27,960 --> 00:46:29,959
Speaker 1: gotta do that. You gotta do the like no good

857
00:46:30,000 --> 00:46:32,960
Speaker 1: for you. That was good. It's also good to It's

858
00:46:32,960 --> 00:46:36,120
Speaker 1: also good to occasionally occasionally do like a whisper, like

859
00:46:37,000 --> 00:46:41,880
Speaker 1: you know, you gotta run down the road fast, like

860
00:46:41,920 --> 00:46:43,719
Speaker 1: you gotta do what I'm goner. I'm gonna have to

861
00:46:43,719 --> 00:46:46,680
Speaker 1: practice my walking. Now is the world. I don't do

862
00:46:46,680 --> 00:46:49,000
Speaker 1: an impression of walking. I do an impression of an

863
00:46:49,000 --> 00:46:53,000
Speaker 1: impressionist doing impression of walking. That's that's how far removed

864
00:46:53,000 --> 00:46:55,080
Speaker 1: mine is. But that's all right. Reminds me of Michael

865
00:46:55,120 --> 00:46:57,840
Speaker 1: Caine doing an impression of people doing Michael Caine impression.

866
00:46:58,000 --> 00:47:01,160
Speaker 1: I've never seen that I have. It was in an interview,

867
00:47:01,160 --> 00:47:04,279
Speaker 1: and I don't remember what it was. Yeah, some some

868
00:47:04,320 --> 00:47:07,480
Speaker 1: sort of show. You know, everyone does impressions of you

869
00:47:07,520 --> 00:47:09,560
Speaker 1: and he's like, yeah, they're terrible. I do see that.

870
00:47:09,600 --> 00:47:12,160
Speaker 1: The secret to saying his name the way he says

871
00:47:12,200 --> 00:47:18,440
Speaker 1: his name is to say the words my cocaine, cocaine, cocaine. Yeah,

872
00:47:18,960 --> 00:47:22,040
Speaker 1: that's the secret to saying his name. It's a little

873
00:47:22,040 --> 00:47:24,120
Speaker 1: off topic, but then you rate, Yeah, where do we go?

874
00:47:25,920 --> 00:47:28,640
Speaker 1: So this was great. I love that we had a

875
00:47:28,719 --> 00:47:30,560
Speaker 1: chance to sit down and kind of talk about what

876
00:47:30,600 --> 00:47:33,640
Speaker 1: it is you do and how it's done, and also

877
00:47:33,680 --> 00:47:36,280
Speaker 1: to maybe introduce people to the series What the Stuff,

878
00:47:36,280 --> 00:47:38,399
Speaker 1: because it it is one of those where you're going

879
00:47:38,440 --> 00:47:42,160
Speaker 1: to get a full view of the capabilities of how

880
00:47:42,239 --> 00:47:46,600
Speaker 1: stuff works. We're talking about a team of writers, many

881
00:47:46,680 --> 00:47:49,200
Speaker 1: of whom are also some of the hosts of the show.

882
00:47:49,880 --> 00:47:53,160
Speaker 1: You have a variation of hosts so that people from

883
00:47:53,239 --> 00:47:58,400
Speaker 1: your favorite podcast. They're all in these various episodes, huge

884
00:47:58,480 --> 00:48:02,760
Speaker 1: number of topics ranging from science to technology to pop

885
00:48:02,800 --> 00:48:06,799
Speaker 1: culture to everything in between. Um, and we're having a

886
00:48:06,800 --> 00:48:11,080
Speaker 1: blast doing them. Um. Any passed any final thoughts before

887
00:48:11,160 --> 00:48:15,200
Speaker 1: we sign off? Really? I mean, I guess, yeah, if you,

888
00:48:16,800 --> 00:48:19,800
Speaker 1: if you, if you're a casual movie watcher, or watch

889
00:48:20,160 --> 00:48:23,319
Speaker 1: videos on YouTube or any sort of video content. Try

890
00:48:23,360 --> 00:48:24,960
Speaker 1: to try to think about the editing every now and then,

891
00:48:25,239 --> 00:48:27,560
Speaker 1: try to try to actually analyze what's going on there,

892
00:48:27,560 --> 00:48:31,480
Speaker 1: because you you'd be surprised at how impressive of of

893
00:48:31,480 --> 00:48:33,759
Speaker 1: of a job it is. A lot of times it

894
00:48:33,800 --> 00:48:36,000
Speaker 1: goes kind of like good sound design too. It's like

895
00:48:36,200 --> 00:48:38,840
Speaker 1: it goes unnoticed, like if you did your job correctly,

896
00:48:39,440 --> 00:48:41,399
Speaker 1: people don't even think about it. Yeah, it's it's when

897
00:48:41,600 --> 00:48:46,040
Speaker 1: editing has been poor that it becomes noticeable, right, because

898
00:48:46,080 --> 00:48:48,480
Speaker 1: then it becomes a detriment. I think of films where

899
00:48:48,520 --> 00:48:51,799
Speaker 1: I feel like the story was disjointed, and often that's

900
00:48:51,840 --> 00:48:57,120
Speaker 1: because you'll have a narrative moment happening in the film,

901
00:48:57,239 --> 00:49:00,440
Speaker 1: there's a cut to a new scene before the previous

902
00:49:00,480 --> 00:49:04,640
Speaker 1: one has had any distinct resolution, and it might move

903
00:49:04,680 --> 00:49:07,799
Speaker 1: on to something different, and ultimately that can cause an

904
00:49:07,840 --> 00:49:12,640
Speaker 1: audience to feel a little lost or unsatisfied. And if

905
00:49:12,680 --> 00:49:15,960
Speaker 1: you're watching a great movie with great editing, then you

906
00:49:16,000 --> 00:49:18,120
Speaker 1: know that doesn't you're just like, oh, that was a

907
00:49:18,120 --> 00:49:20,440
Speaker 1: fun movie. But if you watch one where the editing

908
00:49:20,600 --> 00:49:23,360
Speaker 1: was disjointed, either on purpose in order to achieve a

909
00:49:23,360 --> 00:49:27,680
Speaker 1: specific effect or just incompetently done. Then you could be

910
00:49:27,719 --> 00:49:31,160
Speaker 1: feeling a little uncertain and lost. But then there's also

911
00:49:31,200 --> 00:49:34,719
Speaker 1: the movies that the editing is almost a character in

912
00:49:34,760 --> 00:49:38,840
Speaker 1: itself because it's just so jarring. Um Mad Max, the

913
00:49:38,880 --> 00:49:41,279
Speaker 1: most recent Mad Max here, I think, yeah, I just

914
00:49:41,320 --> 00:49:44,279
Speaker 1: saw that the other night and blew my mind. But yeah,

915
00:49:44,280 --> 00:49:48,960
Speaker 1: the editing is so intense. Do do Warrior for the wind?

916
00:49:49,040 --> 00:49:53,880
Speaker 1: That like guitar? That that was next level? Yeah. I

917
00:49:53,920 --> 00:49:57,719
Speaker 1: think of Tarantino's films. Tarantino's films where the editing is

918
00:49:57,920 --> 00:50:01,759
Speaker 1: very much upon it. He's manipulating the audi and uh,

919
00:50:01,800 --> 00:50:04,719
Speaker 1: yeah you can. I mean that some of the best

920
00:50:04,840 --> 00:50:07,920
Speaker 1: editing I've seen in films consistently came out of the

921
00:50:07,960 --> 00:50:12,719
Speaker 1: Tarantino movies. Um so yeah, I mean, very good point.

922
00:50:12,800 --> 00:50:15,120
Speaker 1: Definitely pay attention to that. Keep in mind if you

923
00:50:15,239 --> 00:50:19,840
Speaker 1: have a goal of getting into the video industry. Editor

924
00:50:19,920 --> 00:50:21,960
Speaker 1: is one of the best things I can think of,

925
00:50:22,040 --> 00:50:25,359
Speaker 1: simply because you have a direct hand in how that

926
00:50:25,440 --> 00:50:28,960
Speaker 1: story plays out. I mean, you know sometimes you know,

927
00:50:29,000 --> 00:50:32,719
Speaker 1: a director's job is to get the performances that is

928
00:50:32,840 --> 00:50:34,959
Speaker 1: that are needed to tell the story, but the editor

929
00:50:35,040 --> 00:50:37,279
Speaker 1: is the one that puts it together. And you know,

930
00:50:37,400 --> 00:50:39,120
Speaker 1: like I said, you can have you can have a

931
00:50:39,160 --> 00:50:42,759
Speaker 1: good amount of material from a director and turn it

932
00:50:42,800 --> 00:50:46,839
Speaker 1: into a great movie with a very talented editor. Yeah.

933
00:50:46,880 --> 00:50:51,680
Speaker 1: So I'm I am constantly thankful for the skill of

934
00:50:51,680 --> 00:50:55,040
Speaker 1: the editors here at How Stuff Works because I might

935
00:50:55,120 --> 00:50:57,239
Speaker 1: do there are times where I'll do it take and

936
00:50:57,239 --> 00:50:59,000
Speaker 1: I'll think I probably could have done that better, And

937
00:50:59,000 --> 00:51:01,080
Speaker 1: then when I see the video and my wow, they

938
00:51:01,120 --> 00:51:03,719
Speaker 1: really put that together in such a way that it

939
00:51:03,840 --> 00:51:07,719
Speaker 1: was it was perfect. I couldn't the thing that the

940
00:51:07,800 --> 00:51:11,000
Speaker 1: doubt I felt in the moment was completely removed by

941
00:51:11,080 --> 00:51:15,440
Speaker 1: the skill of the editors. So oh no, I won't

942
00:51:15,480 --> 00:51:19,680
Speaker 1: because you keep me employed, all right. So um, anyway,

943
00:51:19,760 --> 00:51:22,080
Speaker 1: thank you so much Chandler for joining us. Guys. Make

944
00:51:22,120 --> 00:51:25,040
Speaker 1: sure you check at What the Stuff episode Man, that

945
00:51:25,280 --> 00:51:27,959
Speaker 1: is what the Stuff shows are so much fun to do,

946
00:51:28,320 --> 00:51:30,640
Speaker 1: so check those out, and if you have any suggestions

947
00:51:30,680 --> 00:51:33,080
Speaker 1: for future episodes of tech Stuff, you can send me

948
00:51:33,120 --> 00:51:35,919
Speaker 1: a message. The email addresses tech Stuff at how stuff

949
00:51:35,960 --> 00:51:39,080
Speaker 1: Works dot com, or drop me a line on Facebook

950
00:51:39,200 --> 00:51:41,120
Speaker 1: or Twitter or Tumbler. The handle it all three of

951
00:51:41,160 --> 00:51:43,560
Speaker 1: those is tech Stuff h s W. And I'll talk

952
00:51:43,600 --> 00:51:50,319
Speaker 1: to you again really soon. For more on Mix and

953
00:51:50,360 --> 00:52:01,479
Speaker 1: thousands of other topics, stuff works, dot Com look