Speaker 1: Get in touch with technology with tex Stuff from there
Speaker 1: and welcome to Tech Stuff. I'm Jovin Strickland, your host,
Speaker 1: and today we're going to take another peak behind the
Speaker 1: scenes at How Stuff Works. I have a predator in
Speaker 1: the room, which is our term for producer editors here
Speaker 1: at How Stuff Works. Chandler, welcome to the show. Well,
Speaker 1: thank you very much. It's good to be here. This
Speaker 1: is actually my first time ever podcasting. Yeah, you've appeared
Speaker 1: in some of the videos for How Stuff Works. Yeah,
Speaker 1: I've been in some videos because you knocked at cotting
Speaker 1: away from me very brief cameo. So far, there seems
Speaker 1: to be an undercurrent of cruelty directed at me in
Speaker 1: the What the Stuff series. It's fun. It's fun. I'm
Speaker 1: not arguing that it's not fun, and I'm just saying
Speaker 1: it's you know, I'm just detecting it. So I wanted
Speaker 1: Chandler to come onto the show so we could talk
Speaker 1: a little bit about what what he does here, what
Speaker 1: it means to be a predator at house Stuff Works.
Speaker 1: And honestly, I don't know how how do people in
Speaker 1: the video department feel about the title predator? I loved
Speaker 1: it actually, first time I heard it because I immediately
Speaker 1: think of Predator, the Schwarzenegger movie. But when I started
Speaker 1: saying to other people and they're like, oh, what do
Speaker 1: you what do you do a house to works, I'm like, oh,
Speaker 1: I'm a Predator And then they get this weird look
Speaker 1: on their face, like, oh, yeah, that can mean that
Speaker 1: can mean something else too. Yeah, so I have to
Speaker 1: explain it's a producer slash editor, right, So essentially what
Speaker 1: you're doing is two jobs. That's really what it boils
Speaker 1: down to. So so here at How Stuff Works. We've
Speaker 1: we've got lots of different shows. What shows do you
Speaker 1: personally work on? Personally, I work on What the Stuff,
Speaker 1: which is our list based show where every week we
Speaker 1: give four or five list items of something. It can
Speaker 1: be science, e. It can be pop culture, can really anything, um,
Speaker 1: but yeah, just tibots and information about each list item.
Speaker 1: And yeah it's a fun show to work on. Yeah,
Speaker 1: it's a little bit different from some of our other shows.
Speaker 1: Like there there's some conventions with What the Stuff that
Speaker 1: aren't in other uh not all How Stuff Works videos.
Speaker 1: For example, the idea of the cold open, uh, the
Speaker 1: idea the shooting something that may or may not have
Speaker 1: any relation to the content of the video. But it's
Speaker 1: kind of a fun way to get into the video,
Speaker 1: and I usually like to start it with a joke. Yeah,
Speaker 1: just a little laugh. Usually mind tend to be self
Speaker 1: deprecating once in a while, I'm doing a terrible impression,
Speaker 1: like Walter White or something. You got your Shakespeare, Yes,
Speaker 1: I got the Shakespeare monologue one coming up. So yeah, guys,
Speaker 1: who if you are big into Shakespeare and you like
Speaker 1: tech stuff, you should definitely check that episode out when
Speaker 1: it comes out, because I wax poetic um. Yeah, so
Speaker 1: so What the Stuff is a little bit different in
Speaker 1: that respect, and it also means that, uh, we we've
Speaker 1: also experimented going beyond the studio, right, because our brain
Speaker 1: Stuff series that we shoot inside the studio, right, so
Speaker 1: we're up against the what what's called the what would
Speaker 1: be called a psych if it were in fact, in fact,
Speaker 1: in fact, if it were a real psych wall, but
Speaker 1: it's really a white backdrop. Uh spoiler for anyone who's like, oh,
Speaker 1: you're destroying the illusion of lamour. Um. But but what
Speaker 1: the Stuff? We actually tend to go out at different locations,
Speaker 1: and not only that, but sometimes depending upon the episode
Speaker 1: and the amount of time we have. You will go
Speaker 1: so far as to set up separate shots for each
Speaker 1: item in the list, right, Yeah, it just depends on
Speaker 1: I mean that it's I really feel like I do
Speaker 1: it more for my my own sake, just because I
Speaker 1: enjoy you know, different different setups, and I feel like
Speaker 1: it it adds a nice, nice flow, nice variety to
Speaker 1: the the episode. But a lot of times I feel
Speaker 1: like the viewers don't even notice or care. They just
Speaker 1: want the information welltimes, which I think is hilarious. I
Speaker 1: feel like I'm doing it more for myself, I think,
Speaker 1: I think for a lot of people, they may not
Speaker 1: pick up on it consciously, but it helps break up
Speaker 1: the monotony that you might have otherwise, Like if it
Speaker 1: were just a person standing in front center frame of
Speaker 1: a camera a green screen. You're right that that even
Speaker 1: with the benefit of of additional video or of illustrations
Speaker 1: or whatever, it can get very monotonous. And you know
Speaker 1: this is why, Like if you watch lots of very
Speaker 1: popular YouTube series, you'll see that people experiment with different angles.
Speaker 1: There are a lot of depending upon the show, there
Speaker 1: might be a lot of jump cuts, cut of ways
Speaker 1: to just random be roll. Yeah, we don't tend to
Speaker 1: do that as much. Um, we don't like, Like, I
Speaker 1: don't think I've ever seen any Hell Stuff Works episodes
Speaker 1: that have had lots of jump cuts in them, where
Speaker 1: you know, like the little quig joke and then right
Speaker 1: back into the stuff the content. I know, I know
Speaker 1: we've experimented with it at times, but yeah, I don't
Speaker 1: think that's really the style I enjoy. Yeah, I feel
Speaker 1: like most of the editors edit edit the videos to
Speaker 1: to be the way they would like to view them, right, which,
Speaker 1: there's so many different audiences out there that prefer different
Speaker 1: types of online videos. Well, well, let's let's walk through.
Speaker 1: Let's let's talk about what it's like, uh, to to
Speaker 1: do a full episode of what the Stuff. So let's say,
Speaker 1: all right, you have it on your schedule, you know
Speaker 1: who is going to be shooting on a particular day. Um,
Speaker 1: what is it like like like from the point where
Speaker 1: you know, from scheduling all the way through shooting and
Speaker 1: editing and then publishing. Um, well, so I don't write
Speaker 1: the episodes. The writers right the episodes and basically once
Speaker 1: we've decided which episodes we're gonna do, we uh, I
Speaker 1: mean everyone's pretty busy around here. I've slee with multiple projects,
Speaker 1: so we just kind of we've we've decided Friday as
Speaker 1: our data shoot, but try to figure out time period
Speaker 1: that works for everyone involved the host UM and Casey
Speaker 1: is our DP, so he's always got to be there
Speaker 1: and make sure he can he can help out and
Speaker 1: as it as it goes with the script, I basically
Speaker 1: just read over it a few times before we actually shoot,
Speaker 1: and my injections are usually pop culture references or if
Speaker 1: I think of interesting cutaways to add all write down
Speaker 1: or interesting references that kind of relate, um, you know,
Speaker 1: I'll suggest that. And then yeah, it's a matter of
Speaker 1: finding a location. Um, it's kind of been dictated to
Speaker 1: have a different location for every single episode, which is challenging.
Speaker 1: It can be very challenging, especially as of lately because
Speaker 1: we're working we're working within the still developing which um,
Speaker 1: I don't know when will be fully complete. Yeah, it's
Speaker 1: it's not fully operational. It's kind of like the Second
Speaker 1: Death Star right in more ways than one. This is
Speaker 1: an enormous building and you've probably heard us mentioned Pont
Speaker 1: City Market in previous episodes, but just to give you
Speaker 1: an an indication, of what we're talking about here, because
Speaker 1: I don't think I've ever gone into detail about what
Speaker 1: Pont City Market actually is. So in Atlanta, we have
Speaker 1: this enormous building. I mean, it's essentially the size of
Speaker 1: like a city block almost, and it's it used to
Speaker 1: be a distribution and retail center for Sears. And it's
Speaker 1: built right along the old rail lines that used to
Speaker 1: pass through well, I mean technically they still pass through,
Speaker 1: but they're they're inactive, that um that passed through Atlanta,
Speaker 1: downtown Atlanta, and once upon a time, the trains would
Speaker 1: pull up next to this enormous building. Cars would be
Speaker 1: decoupled from the train and rolled directly adjacent to the building,
Speaker 1: like there was a The third floor of our building
Speaker 1: is at the level of the train tracks, and so
Speaker 1: they would unload and load things there from this massive
Speaker 1: distribution center. And it was also a shop, so people
Speaker 1: in Atlanta could come here and shop for stuff, but
Speaker 1: it was you know, it was also distributing goods throughout
Speaker 1: the rest of Sears stores. In the Southeast Baseball Diamond.
Speaker 1: There's a baseball diamond across the street, which is which
Speaker 1: is where the Whole Foods parking lot is across from
Speaker 1: there's details you guys don't care about, but no, there
Speaker 1: there was a there was a baseball park, and there
Speaker 1: was also an amusement park nearby because there were natural
Speaker 1: springs that were not far away before they got covered
Speaker 1: up tragedy. Um. Atlanta is not known for keeping its
Speaker 1: history intact, but partially helped by the North as it
Speaker 1: turns out, But so so. Pont City Market is huge.
Speaker 1: It is nine stories tall. It is you know, imagine
Speaker 1: like fitting I don't know, maybe four department stores in
Speaker 1: to end for each floor and like full department stores
Speaker 1: and to end. It's huge, like to the point where
Speaker 1: when we take the elevator to get up to this floor,
Speaker 1: it's still a heck of a walk to get to
Speaker 1: our office. There's getting to your office, and there's the
Speaker 1: extra ten minutes it takes to to park and take
Speaker 1: the elevator and walk down the hallway. Yeah, it's it's
Speaker 1: pretty it's pretty intense. So the good thing is that
Speaker 1: means potentially there are lots of interesting places to shoot. However,
Speaker 1: we do we we make sure that we go through
Speaker 1: the right channels to secure permission so that the management
Speaker 1: company knows that we are there. So we're not going
Speaker 1: to be in the way of anybody. We also have
Speaker 1: to make sure that there's not gonna be any construction
Speaker 1: going on because we don't want to get their way,
Speaker 1: and we also don't want all that noise to bleed
Speaker 1: into our videos. So the idea is like anything that's
Speaker 1: being developed, they don't want anyone to see it until
Speaker 1: it's ready. Right. That also makes so many spots that
Speaker 1: are limited. There's did available one day and not the
Speaker 1: next day, and some and some of them look really awesome, right, Like,
Speaker 1: there's there's a space and office space to be that
Speaker 1: is adjacent to ours or right across the hallway from
Speaker 1: ours that looks like straight out of Highlander. It looks awesome.
Speaker 1: The Highlander fight should happen in in this space. There's
Speaker 1: all these stone pillars and giant windows that looks out
Speaker 1: in the front of the property. It's pretty amazing. But
Speaker 1: we can't shoot there, and I mean, I understand why.
Speaker 1: So when this place is completed, there will be a
Speaker 1: lot of other interesting spaces, like the rooftop will have
Speaker 1: some interesting spaces to shoot. But yeah, it's getting to
Speaker 1: a point now where we may have to start using
Speaker 1: the same locations and then alter the angle. But it's
Speaker 1: it's it's amazing how much changing the angle can effect
Speaker 1: the visual the visual elements of a shot. I mean,
Speaker 1: you can you can just pan the camera thirty degrees
Speaker 1: and you have a completely new background and it looks
Speaker 1: like you're in a totally differ location. And that's a
Speaker 1: trick that everybody uses obviously, not just not just people
Speaker 1: making YouTube videos. Movie makers do this all the time.
Speaker 1: So all right, so you you've got the point, you've
Speaker 1: got scheduled, you've you've scouted out your location. It's time
Speaker 1: to shoot. Explain to the audience what a shoot is
Speaker 1: like from your perspective, Well, figure out uh yeah, the
Speaker 1: angle of the shot itself that we usually do, um
Speaker 1: we we we kind of have a formula as as
Speaker 1: of lately where we do a cold open and then
Speaker 1: the host does the intro and the host host does
Speaker 1: an outro all within the same shot. And cold open
Speaker 1: can be anything. It's literally just like a three to
Speaker 1: five second joke. It can be related to whatever the
Speaker 1: the content is, or it can just be completely random
Speaker 1: that can be inspired by the the backdrop we're in,
Speaker 1: or just whatever we're currently we've currently been talking about. Yeah,
Speaker 1: it can just be anything fun like that. And then um,
Speaker 1: depending on the host, some hosts do um use a
Speaker 1: telepropter and read off a telepropter because you know, a
Speaker 1: lot of the stuff is like heavy information that there,
Speaker 1: right they're giving out. You want to make sure you're
Speaker 1: hitting the right facts and figures you're not. You don't
Speaker 1: want to gues estimate that, oh it's around twenty miles
Speaker 1: if you've got it's twenty three point seven miles. But
Speaker 1: that you know, of course, the more of that you have,
Speaker 1: the harder it is to make sure that you're hitting
Speaker 1: all the numbers correctly exactly. And yeah, that's we also
Speaker 1: have a script supervisor there that um just kind of
Speaker 1: cross checks whatever is being said to make sure we're
Speaker 1: saying it right and right, yeah, not missing anything or
Speaker 1: making any mistakes. And then yeah, we get through the
Speaker 1: meat of the shoot. Um, well, we usually push in
Speaker 1: a little bit more for the meat was what we
Speaker 1: caught the meat the actual list portion of the episode.
Speaker 1: And by pushing you mean you get a tighter shot,
Speaker 1: usually get a tighter shot. And from there we go
Speaker 1: through a few times. If if we want to experiment
Speaker 1: with the delivery of certain certain sentences or certain parts
Speaker 1: will do that. If someone mush mouth something, which I do,
Speaker 1: I do pretty much at least once per episode. There's
Speaker 1: at some point where there's a usually a series of
Speaker 1: soft seas or says and at some point I'm either
Speaker 1: slurring it or I'm running things together. Yeah, and and
Speaker 1: I will tell you I love him to death. Okay,
Speaker 1: I'm proceeding this with I love him to death. But
Speaker 1: Ben Bolan can write some of the hardest things to
Speaker 1: say out loud with the human mouth, right, They're brilliant,
Speaker 1: but they're hard to say. But when you complete it, it
Speaker 1: it sounds great. Oh yeah, no, if you can. If
Speaker 1: it's really putting the responsibility on the presenter, if the
Speaker 1: presenter is capable of taking the time necessary to make
Speaker 1: certain they enunciate properly, then it sounds fantastic. Lauren does
Speaker 1: that to ourself too. She writes most of her own scripts,
Speaker 1: and she'll start fumbling away through a long sentence very
Speaker 1: difficult sinists to say, and she's like, who wrote this?
Speaker 1: Oh yeah, I've done the same thing. Not, I mean
Speaker 1: for forward thinking. I have. I have written episodes for
Speaker 1: forward thinking. And I get to a point where I
Speaker 1: realized in my head this made perfect sense, but as
Speaker 1: as a person attempting to actually say it, it is
Speaker 1: a better way to say, I've got to find a
Speaker 1: different Uh. Yeah. So, and you usually are actually monitoring
Speaker 1: sound during these so you you are present at these shoots.
Speaker 1: Oh yeah, well, I mean yeah, I'm like generally directing,
Speaker 1: if you will, and running sound too, because we kind
Speaker 1: of like to run with a skeleton crew, right. Oh yeah, no,
Speaker 1: that moves faster that way. That's being generous. So we
Speaker 1: usually have one person on the camera, one person on sound,
Speaker 1: and then maybe you have a script supervisor, and then
Speaker 1: and then there's the host, the host, the talent, the talent. Alright,
Speaker 1: so I don't want to put you on the spot, Chandler,
Speaker 1: but who's the best person on camera? Thank you? All right?
Speaker 1: Well then, um, you know you heard it here first books,
Speaker 1: So okay, so now we've got the episode in the can,
Speaker 1: it's shot. What comes next? Ah, the editing comes next? Um.
Speaker 1: I generally, actually I don't even know if I have
Speaker 1: an order of events. I generally just do whatever I
Speaker 1: feel like doing at the time. But yeah, it always
Speaker 1: begins with obviously downloading the footage, putting it all in
Speaker 1: the timeline within um the editing software. Um, I use Premiere.
Speaker 1: We all the editors here now use Adobe, Adobe Sweet Creative,
Speaker 1: Creative Sweets, and I stand by it. It's it's pretty
Speaker 1: amazing all the Adobe programs under one umbrella kind of software.
Speaker 1: And UM, yeah, I used to be final cut, um
Speaker 1: un till till till it's dying breath. I was that
Speaker 1: was all about final cut. Finally made the switch. I
Speaker 1: was like an old ramp. I was like, but I
Speaker 1: know all my shortcuts on fine Okay, Oh no, I
Speaker 1: I was the same way. This is taking me back.
Speaker 1: I was the same way going from word perfect to
Speaker 1: word like word perfect, I knew all the keyboard shortcuts
Speaker 1: for everything, and then word I just felt was dumbing
Speaker 1: everything down these days. If you put me on a
Speaker 1: computer terminal, that's how old we're talking here, that's running
Speaker 1: word perfect. I doubt I could accomplish anything, at least
Speaker 1: not in a timely manner. All right, So you're using Adobe,
Speaker 1: you are you're editing. So typically, do you have like
Speaker 1: maybe an average range of how long, how many hours
Speaker 1: of editing it takes you to do a single episode.
Speaker 1: It really varies to how much content was how much
Speaker 1: content was written, Usually the length of the scriptum directly
Speaker 1: UM effects how long it takes edit. I'd say average
Speaker 1: is anywhere from eight hours on the shortest side to
Speaker 1: sixteen hours on the longer side. Wow, So it could
Speaker 1: be up to two days of editing for a single episode. Yes, yes,
Speaker 1: and that also it depends on the content. How difficult
Speaker 1: it is to find UM I guess, I guess you
Speaker 1: call it b roll or like pictures and video to
Speaker 1: cut away to UM. And also like how kind of
Speaker 1: into the episode. I am like, sometimes I'll get in
Speaker 1: the zone and I'll spend like two hours just working
Speaker 1: on like one kind of transition or section, and I'm
Speaker 1: like and sometimes it doesn't even work out. I'm like,
Speaker 1: I don't like this. This is terrible, Like I just
Speaker 1: wasted two hours. That's tough. So yeah, it also depends
Speaker 1: on how and also how much time I have. Sometimes
Speaker 1: it's like, well, I've got six hours left before I
Speaker 1: need to publish. It's like I work until I guess
Speaker 1: it's finished and I just throw publish it. Well, Uh
Speaker 1: so with that in mind, you know this this these
Speaker 1: hours of of putting in for editing, Uh, are there
Speaker 1: any particular episodes that you've done where you feel and
Speaker 1: we talked about this offline a bit, where you feel like,
Speaker 1: wow that that came together better than I had anticipated,
Speaker 1: or you know, this this flows, this ends up flowing
Speaker 1: so well. I'm really proud of this particular piece. Yeah. Yeah,
Speaker 1: there's quite a few. I I really liked. Um. I
Speaker 1: really liked the one with the Star Trek gadgets, the
Speaker 1: five Star Trek gadgets. That's the one where Ben Bowlan
Speaker 1: sat stone face next right, here was your co pilot.
Speaker 1: You were at a bowling alley and we sat down
Speaker 1: at a table that looked vaguely spaceship ish, like it
Speaker 1: could have fit aboard the original Enterprise, and then I
Speaker 1: would deliver stuff into the camera and just stared straight
Speaker 1: ahead with no expression on his face. I also glad
Speaker 1: that we made it work because you know, that day
Speaker 1: we just had a bowling alley to shooting and were like,
Speaker 1: these are the episodes were shooting. What does Star Trek
Speaker 1: have to do with the bowling alley? Absolutely nothing, right,
Speaker 1: So yeah, the co pilot idea was great. A lot
Speaker 1: of people didn't get it there, like, what what does
Speaker 1: that dude just staring into the camera for Yeah, it was.
Speaker 1: It was one of those things where I was like,
Speaker 1: you know, I'm fine with it. And my favorite was
Speaker 1: that that Ben was wearing a sweat for that particular
Speaker 1: shoot that was reminiscent of Wesley Crusher's sweater from Star
Speaker 1: Trek the next generation had like little color stripes on it,
Speaker 1: so it made me think of Wesley. I was like,
Speaker 1: this is perfect. He's He's like Wesley Crusher and of
Speaker 1: course I'm not going to acknowledge him, and he's just
Speaker 1: gonna sit here unhappy the whole time. But I thought
Speaker 1: I had a really good flow to it. I really
Speaker 1: like the song I chose. It's That's another actually big
Speaker 1: challenge as finding um Creative Commons music to use for
Speaker 1: these YouTube videos, because you know, like when you're putting
Speaker 1: out as many videos a week as we do, we
Speaker 1: can't afford to just buy a song for every single
Speaker 1: YouTube video. Yeah, how many? How many? What the stuffs
Speaker 1: are published? Each week? There's as as and now there's
Speaker 1: two each week. It used to be one, but around
Speaker 1: I think like August or October last year, we started
Speaker 1: going to a week. So yeah, I mean you're you're
Speaker 1: talking about a lot of groundwork to get the just
Speaker 1: the basic components. It's not like we have We don't
Speaker 1: own a data base of music that we know, so
Speaker 1: we we we look for the free music and uh
Speaker 1: I found I found a couple of artists that are
Speaker 1: amazing and they put all their music out under what's
Speaker 1: the free music archive dot com or dot org. That's
Speaker 1: where I go. But I'm just gonna say big, big
Speaker 1: shout out to Jizar j h z z a R.
Speaker 1: If you need good, like quality UM creative commons music
Speaker 1: for your video, check him out. He's he's amazing, awesome.
Speaker 1: So all right, so we got to the point where
Speaker 1: you've done all the edits, it's been eight to sixteen hours.
Speaker 1: You've got the transitions lined up, you have the supporting
Speaker 1: material that is augmenting whatever the script and the host
Speaker 1: are trying to get across. You also, uh, at the
Speaker 1: at the end of the YouTube video when they're on YouTube,
Speaker 1: you have the the various call to actions where they've
Speaker 1: got the annotations or or rather the extra videos to point,
Speaker 1: do you pick those out? UM? I can sometimes if
Speaker 1: I if there's like other videos, even if it's like
Speaker 1: a different UM not channel, a different show, if there's
Speaker 1: like a similar video that would relate to whatever the
Speaker 1: content was in that particular What the Stuff, yeah, I'll
Speaker 1: pick that. But in general, if I'm just kind of
Speaker 1: throwing out annotations for whatever other other what the Stuff
Speaker 1: videos there, I'll just do the most recent stuff videos
Speaker 1: there that came out, so all that happens, you publish
Speaker 1: it and sounds. Can't forget about sounds. Yes, please, let's
Speaker 1: talk about sound. I didn't know anything about sounds going
Speaker 1: into this job, and I gotta say, like that was
Speaker 1: That's been the biggest learning curve for me, is realizing,
Speaker 1: like how I mean, if you think about it, like
Speaker 1: a video is one half the audio and one half visual.
Speaker 1: I was always on the visual side of things and
Speaker 1: don't really think too much about sound. And now now
Speaker 1: they've been doing it for a year, I realized I
Speaker 1: knew nothing, and I'm still learning to this day. Like
Speaker 1: you gotta gotta make sure the levels are right. You
Speaker 1: can't can't let the audio peak too much, can't let
Speaker 1: the music peak too much. It's been a big learning curve.
Speaker 1: You'll actually if you go back and see some old
Speaker 1: What the Stuff videos, you'll see some comments they were
Speaker 1: like the music was way too loud in that one. Yeah,
Speaker 1: And I'm just like I've seen some sometimes it sounds
Speaker 1: good to me in my earphones, but other people don't,
Speaker 1: you know. Well sure, and sometimes sometimes there might be
Speaker 1: like different pitches that hit certain people extra hard. Um.
Speaker 1: I can think of one show's opening theme that has
Speaker 1: a high pitch repeated sound that sometimes, depending upon the volume,
Speaker 1: might have my heading. So that can be a little
Speaker 1: a little much sometimes. So we're talking about talking about
Speaker 1: tech stuff. Um, but alright, so yeah, the sound is
Speaker 1: really important. And also I should point out, like like
Speaker 1: you would see in a lot of a frit professional shoots,
Speaker 1: I mean, ours is a professional shoot. We're not recording
Speaker 1: sound directly into the camera. We're not using a camera
Speaker 1: mounted microphone. You're recording sounds separately. We're wearing lab mics
Speaker 1: that are have a wireless transmitter that transmit to a
Speaker 1: different recorder. And so therefore there's a moment where we
Speaker 1: have to have the audio synced with the video. But
Speaker 1: we don't slate, which is the what you would see
Speaker 1: with your typical television or movie where you know you
Speaker 1: have the clapboard out, it's got the scene number on there,
Speaker 1: clap is where you line up the audio with the yea.
Speaker 1: You look for the spike in the audio and then
Speaker 1: you line the spike in the audio with the motion
Speaker 1: of the clap, and then that lets you have the synchronization.
Speaker 1: So how do you sync the sound to the audio.
Speaker 1: We actually just use a software called Pluralize, where you
Speaker 1: just give them the audio and the video and it'll
Speaker 1: find the on the onboard camera audio and line that
Speaker 1: up with the lava audio that you recorded. So what
Speaker 1: it's doing is it's taking we are recording audio with
Speaker 1: the camera, but that's not the audio that you're hearing
Speaker 1: when you watch one of these episodes. It's being used
Speaker 1: as a reference track, and then the software does it
Speaker 1: all for you, which it doesn't always work out. Yeah,
Speaker 1: a lot of times. And when we're filming outside, if
Speaker 1: the wind is blowing pretty heavily, the onboard audio, all
Speaker 1: you hear is just the blowing of the wind, and
Speaker 1: it's just like so in those cases you have and
Speaker 1: then you have to do it manually, which can be
Speaker 1: pretty tough. Pretty tough, Yeah, I can't. It's not it's
Speaker 1: not difficult to just it's a little time consuming sometimes
Speaker 1: right to find that one moment where you thinking, oh,
Speaker 1: this is where he made that noise. No, that was
Speaker 1: a different noise, Jonathan. Sometimes you'll line up yeah, like
Speaker 1: an intro, and you realize you're lining up a completely
Speaker 1: different take and you're like, why is that? Why is
Speaker 1: the audio off? Now? Yeah? Yeah, that's and see that.
Speaker 1: That to me is one of those fascinating things because
Speaker 1: I take it for granted all the time, you know,
Speaker 1: because people have consistently done really good jobs in television
Speaker 1: and movies. You know, you just assume, oh, everything is
Speaker 1: picked up at the same time, and you're fine, and
Speaker 1: you don't really think necessarily, oh, this was recorded in
Speaker 1: two on two separate media simultaneously and then had to
Speaker 1: be married together to become the thing you're actually experiencing.
Speaker 1: So I always find that fascinating. Well, you know, I
Speaker 1: had also asked you about the possibility of talking about
Speaker 1: things that you find particularly interesting or inspirational as a creator,
Speaker 1: Like when you when you watch things, are there any
Speaker 1: examples of things that you've seen, whether their movies, television,
Speaker 1: or other YouTube videos? Uh that you're you you see
Speaker 1: it and you think, now that is really an interesting approach.
Speaker 1: That's something I would love to give a shot at man.
Speaker 1: I mean, yeah, see things all the time every day,
Speaker 1: like YouTube videos, movies, anything like that. I mean as
Speaker 1: an editor, I've only been a quote unquote professional editor
Speaker 1: here at How Stuff Works for a year now, a
Speaker 1: little bit over a year, and I've never i mean,
Speaker 1: I've been editing since I was in high school, but
Speaker 1: I've never edited at such a such a clip with
Speaker 1: so so much content per week that I feel like
Speaker 1: I've learned a whole lot um, mainly in terms of
Speaker 1: like flow and pacing and how much power the editor has. Yeah,
Speaker 1: and an editor has the power to take something that's
Speaker 1: good and turn it into something that's amazing, and like
Speaker 1: you're talking like yeah, just like the difference in like
Speaker 1: one frame of time can make a complete difference of
Speaker 1: like how how how a scene feels or how an
Speaker 1: episode can feel. Like you take I'm gonna say, like
Speaker 1: a shot of a of a man who's looking at
Speaker 1: a woman, kind of a flat affect um and facial tone.
Speaker 1: You hold it for a certain period of time, you
Speaker 1: get the sense that he's in love with this person.
Speaker 1: You hold it for a second longer, he's in love
Speaker 1: but unsure of whether this love means something, hold it
Speaker 1: a second longer. He feels sorry for holding a second longer.
Speaker 1: He does, trust you know, it's just like completely Yeah,
Speaker 1: just the timing of and I mean within within you know,
Speaker 1: movies or sort of like dramatic narratives or even just
Speaker 1: in um a YouTube video or like a an interview.
Speaker 1: Even I did an interview with Christian and Annalie knew
Speaker 1: It's from IO nine, and just that was that was
Speaker 1: a big learning experience for me, just realizing like there's
Speaker 1: a lot that goes into editing an interview, especially when
Speaker 1: you're limited in how much like how many how many
Speaker 1: pieces of equipment you have, like if you're lucky you
Speaker 1: here at holstaff Works, because this was an interview that
Speaker 1: was done on location, right Dragon, Yeah, So like like
Speaker 1: it's not like we could set up you know, a
Speaker 1: multi camera approach with three cameras, right yeah, I think
Speaker 1: you're camera. You only had one, Yeah, which I mean
Speaker 1: obviously that means that you have to make that critical
Speaker 1: choice right up front of where's the camera, what's the
Speaker 1: how are we framing this? Because like a four K camera,
Speaker 1: but we were going to put the video out as
Speaker 1: a shoot it wide digitally push in yeah, yeah, fake
Speaker 1: multiple camera. We've done the same thing with forward thinking,
Speaker 1: where which I love, By the way, I love. It
Speaker 1: was terrifying when I found out that I was going
Speaker 1: to be shooting on four K, because this in four
Speaker 1: K detail, that is yeah, no, gosh, I don't want
Speaker 1: to I don't want to see that. But then finding
Speaker 1: out that four K means half the number of takes,
Speaker 1: I was totally on board because I don't use it.
Speaker 1: I don't use a teleprompter for um, for forward thinking,
Speaker 1: but I do use one. I use one for what
Speaker 1: the stuff, um yeah, no, yeah, there's no teleprompter for
Speaker 1: forward thinking. There's no It's just me and the crew,
Speaker 1: uh and so. And in the early days it was
Speaker 1: a full crew. These days we've we've got the skeleton
Speaker 1: crew approach because we've really figured out how to streamline
Speaker 1: the whole process. It took more than a year of
Speaker 1: hard work to figure that out. And that's the thing
Speaker 1: is that it's just like any other job, right, the
Speaker 1: more you do it, the more you start realizing, oh,
Speaker 1: I can do this thing, and it'll save me all
Speaker 1: this time. I think of all the time I would
Speaker 1: have saved if I had known this before it's so
Speaker 1: daunting to think about, like how much you don't know,
Speaker 1: and like how much time you could save, Like once
Speaker 1: you learn what it is you need to notice, save
Speaker 1: that time. Like, yeah, I thought I was a good editor.
Speaker 1: I really did, like going into going into this job,
Speaker 1: and then a year later, I'm like, man, I knew
Speaker 1: nothing exactly is coming. Uh yeah, no, it's it's I
Speaker 1: know exactly what you're what you're saying, because it's kind
Speaker 1: of like doing the video hosting stuff. I had done
Speaker 1: plenty of stage performances, I had done presentations, and I
Speaker 1: had done some video work, but I had not really
Speaker 1: done video host work, right, And that's a different set
Speaker 1: of skills than other types of prefermance, same sort of thing,
Speaker 1: though you know, you you do it enough times, and
Speaker 1: if you, I mean, if people like you enough for
Speaker 1: you to stick around, you learn people don't like you,
Speaker 1: you find out pretty quickly. So uh But at any rate,
Speaker 1: I wanted to talk also about one of my favorite
Speaker 1: videos that we've worked on together. It was an incredibly
Speaker 1: daunting task. It was a huge amount of material we gathered.
Speaker 1: We're talking specifically about how the w w E experience works.
Speaker 1: Now I've talked about this on the show in the past.
Speaker 1: I am UH, I am a Rasslin fan, like back
Speaker 1: in the day when it was Rasslin. Uh here in Georgia.
Speaker 1: We're talking Georgia Championship Wrestling, World Class Championship Wrestling, World
Speaker 1: w c W, eventually UH all that kind of stuff,
Speaker 1: and then eventually w WF and then w w E.
Speaker 1: So we got the opportunity to go to UH the
Speaker 1: the nearby arena to shoot behind this footage of the
Speaker 1: crew setting up for a taping, so a SmackDown which
Speaker 1: is taped and then and then broadcast later. And we
Speaker 1: got access to the arena early on when the crew
Speaker 1: was really you know, setting up, and they had already
Speaker 1: been working for a couple of hours by the time
Speaker 1: we got there. Um, but we got to shoot a
Speaker 1: whole bunch of material. And how many cameras do we
Speaker 1: have there? We had the go pro, the go pro,
Speaker 1: we had a five D No, we had to five
Speaker 1: d s and in a seven S, so we had
Speaker 1: we had we had four cameras there, so four cameras,
Speaker 1: one of which was just sitting there gathering footage. That
Speaker 1: was the time that was the most fun because we
Speaker 1: were setting that up. And that's when security came by
Speaker 1: and said, hey, guys, how are you doing, Hey, what's up?
Speaker 1: When are you doing? And they jumped on us pretty fast.
Speaker 1: But but but they were they were super cool. I mean
Speaker 1: everyone at w W was super cool. And we we
Speaker 1: told them like, oh, we're here with how stuff works,
Speaker 1: and uh down there's our our ba us. You can
Speaker 1: talk with them and everything they were. They talked with him.
Speaker 1: Everything was awesome and like all right, guys, you're good
Speaker 1: to go. And that was it. They've never gotten our way.
Speaker 1: They helped us out, they talked to us whenever we
Speaker 1: needed to talk to them. I don't think anyone, like,
Speaker 1: considering how much orchestration was going on with them putting
Speaker 1: together this massive show, I don't think anyone got yelled
Speaker 1: at for like being in the way or anything. And
Speaker 1: I'm sure we were in the way they were. Yeah,
Speaker 1: it's probably a case of they're just their masters in
Speaker 1: their domain. They knew exactly what they were doing, and yeah,
Speaker 1: they were very friendly and eager to help us out
Speaker 1: with anything, or you know, like a couple of times,
Speaker 1: like if I was we were getting a shot of
Speaker 1: like you know, somebody setting up a certain light, and
Speaker 1: I didn't really get it in time. Sometimes a crewman
Speaker 1: would notice me, like you want me to do that again?
Speaker 1: You know, Yeah, he'd do it for us and we
Speaker 1: get a second take. Yeah, we get a second take. Yeah.
Speaker 1: The crew was amazing. Everyone everyone that was really awesome.
Speaker 1: And the referees were phenomenal. They were super nice and
Speaker 1: very informative and would would stop and talk with us
Speaker 1: about anything, you know, if we were interested in something,
Speaker 1: and it was crazy like they were just picking the
Speaker 1: veil away to explain exactly what goes into and why
Speaker 1: things are the way they are, which was great. That's
Speaker 1: exactly what we were there to capture. And the superstars
Speaker 1: were awesome too. We interviewed a few superstars yeah, how
Speaker 1: many four? It was right Back Ziggler seth rawlins Italia
Speaker 1: and they were all fantastic. Yeah, they were great interviews. Yeah.
Speaker 1: My favorite was were you doing sound for those two?
Speaker 1: Was when when we were interviewing right Back and you said,
Speaker 1: I thought at first all the low levels were going crazy,
Speaker 1: and then I realized it's just his voice has so
Speaker 1: much base to it, Like that was I was shaking
Speaker 1: while listening to his audio. Yeah, I guess it was
Speaker 1: good that we didn't have the big show Mike at
Speaker 1: the time, because he came and chatted for a while.
Speaker 1: Yeah that was hilarious. Yeah, but yeah, I remember putting
Speaker 1: the laws on right back's shirt right like Ray and
Speaker 1: the collar around his neck and realizing his neck was
Speaker 1: larger than the thickest part of my thigh. Oh my god,
Speaker 1: he's guys. Yeah he has called the big guys. Yeah, yeah,
Speaker 1: we uh So anyway, that was a full day of shooting.
Speaker 1: How how much footage? And I realized the term footage
Speaker 1: is kind of outdated since that dates back to the
Speaker 1: film days, but how much how much footage did you
Speaker 1: guys have? Do you do you think? Um? Not including
Speaker 1: the interviews, we probably had about six hours of fote.
Speaker 1: That video, by the way, is around ten minutes long,
Speaker 1: so it was like six hours maybe a little bit more,
Speaker 1: um because yeah, we were unn multiple cameras at the
Speaker 1: same time and we were there most of the day.
Speaker 1: Um so yeah, about six hours of footage and in
Speaker 1: interviews on top of it, and that was that was
Speaker 1: a lot of fun. That's like my favorite kind of
Speaker 1: video to edit and also my least favorite in terms
Speaker 1: of like how much brain power it takes because how
Speaker 1: do you pick. I mean it was after making videos
Speaker 1: like that that I had a lot more respect for
Speaker 1: documentary editors anyone that's ever edited a documentary. If you
Speaker 1: think about it, it's like, most of the time when
Speaker 1: you make a documentary, you have like just a wealth
Speaker 1: of footage and you're like, how do I craft a
Speaker 1: narrative out of all this footage? You literally have to
Speaker 1: create a narrative. You don't really have a script. Well
Speaker 1: you do have a script eventually, but but kind of
Speaker 1: make it based on what you what you got, what
Speaker 1: you got? Yeah, yeah, exactly. I didn't. I didn't write,
Speaker 1: Like the voiceover was something I recorded well after we
Speaker 1: had shot everything. I had specific questions that I wanted
Speaker 1: to ask the ring crew and the superstars, But apart
Speaker 1: from that, I didn't have, you know, the narrative written
Speaker 1: out because it didn't know what we were going to
Speaker 1: get and it would depend entirely upon what we were
Speaker 1: able to to see and record while we were there.
Speaker 1: And as it turns out, we were able to record.
Speaker 1: I mean, we were the first video crew allowed to
Speaker 1: go under the ring at w w E. Yeah, it
Speaker 1: was pretty sweet. Yeah, that was pretty awesome. I was.
Speaker 1: I remember being under there and thinking, I can't imagine
Speaker 1: being one of the guys who hides under the ring
Speaker 1: while the match is going on to pop out and
Speaker 1: sabotage like that. That's one of those story elements that
Speaker 1: you see pop up occasionally in storylines. Man, I can't
Speaker 1: imagine the sound of that compressing. Yeah, just be nearby
Speaker 1: and hearing it. I was like, yeah, I don't even
Speaker 1: want to know what that's happening. Yeah, we got to.
Speaker 1: We got to hear some of it because we were
Speaker 1: there while they were doing some rehearsals and stuff and uh,
Speaker 1: you know, just just warm ups things like that, and uh,
Speaker 1: you know, we didn't shoot any of that, but but
Speaker 1: it was really exciting to kind of just be present
Speaker 1: for it. It was, you know, like it was getting
Speaker 1: a chance to peek behind the scenes and it was
Speaker 1: really neat. So you had a huge amount of information
Speaker 1: to sort through. You you really in in many ways,
Speaker 1: you've got to really shape the way that story played out.
Speaker 1: And I wrote some voiceover, but you and I worked
Speaker 1: together on that too, where you even came back with
Speaker 1: some notes so I could come back in and record
Speaker 1: some other things. A little differently, so it worked matched
Speaker 1: up better with the footage that we had exactly. So
Speaker 1: it's a really collaborative process. There's a lot of fun. Yeah,
Speaker 1: and then you know, um, but yeah, it's it's always
Speaker 1: a daunting task at first because you just go, how
Speaker 1: how the hell am I going to take six hours
Speaker 1: and put it down into ten minutes and and like
Speaker 1: it's it's a blessing and occurs to have cameraman as
Speaker 1: good as we have. Casey and Paul were like their
Speaker 1: footage was spectacular, So we had a lot of once
Speaker 1: again it's a good problem. We had a lot of
Speaker 1: issues where it's like we have five different ways to
Speaker 1: show this one thing happening the fun and they're all good, Um, yeah,
Speaker 1: which way is the best? Yeah? So maybe maybe one
Speaker 1: day we'll do we'll do the outtakes where it will
Speaker 1: just be two hours over random b roll. There's like,
Speaker 1: there's probably a hundred different ways this video because it
Speaker 1: turned out and all of them would have been good.
Speaker 1: And of course we got to work with w W
Speaker 1: and they sent us some footage which was fantastic then,
Speaker 1: but that of course means that you had even more
Speaker 1: tough choices, like where do you put these things? How
Speaker 1: how how do we use the footage to emphasize points
Speaker 1: in the in the arc of the w w E experience?
Speaker 1: And are there elements where even if you really like
Speaker 1: a shot, you're like, man, I hate losing this, but
Speaker 1: you gotta you gotta be ready to to to cut
Speaker 1: the best of the best if it isn't serving the
Speaker 1: purpose of whatever the video is. Um. So yeah, that
Speaker 1: was one where uh uh we were all really proud
Speaker 1: of the work we did. I mean, it was a
Speaker 1: huge amount of work, but it was also, like I said,
Speaker 1: a really collaborative experience and everybody really pulled their weight
Speaker 1: on that one. So that was a great kind of
Speaker 1: uh deep dive into a mega episode, which that's not
Speaker 1: a what the stuff that was its own how Yeah,
Speaker 1: that was a good one. Yeah. There are several episodes
Speaker 1: that that I've been part of or that I watched
Speaker 1: that I've really enjoyed. Are there any others that you
Speaker 1: are particularly fond of or Yeah, there's one with Chuck
Speaker 1: Um where he does five false history facts. I really
Speaker 1: enjoyed that one mainly just because you can really see
Speaker 1: Um Chuck's personality kind of shows through really well on
Speaker 1: that one. He's just a fun guy to be around.
Speaker 1: So Chuck's just, yeah, he's just one of those genuinely affable,
Speaker 1: fun guys. And he's I felt like in that episode. Yeah,
Speaker 1: he's he's He's definitely got a wicked sense of humor too,
Speaker 1: which is fantastic. Uh. And that's the other neat thing
Speaker 1: about what the stuff is that there's so many different houses. Yeah,
Speaker 1: it's kind of like each each episode has its own
Speaker 1: flavor depending on who's hosting. Lauren. Lauren's great. She brings
Speaker 1: the kind of dark and twisted side to science a
Speaker 1: lot um. She did one on waves Space is Trying
Speaker 1: to Kill You. I really like how that one turned out.
Speaker 1: We have coming out today called um Bizarre Medical Treatments,
Speaker 1: and we did an interesting cold open. It doesn't really
Speaker 1: have anything to do with medical treatments, but we did
Speaker 1: a Blair Witch Project intro. We kind of recreated the
Speaker 1: ending to the Blair Witch Project. And she's standing in
Speaker 1: the corner. She was standing in the corner. Yeah, that's great.
Speaker 1: I've been forbidden doing that by my wife. By the way,
Speaker 1: what standing in the corner affected her so much too? Man,
Speaker 1: I was just I was going back and looking at
Speaker 1: it after we shot it, just just kind of see
Speaker 1: it again because it's been years and yeah, my skin
Speaker 1: was crawling immediately again. Again, It's one of those things
Speaker 1: where you know, using the right image at the for
Speaker 1: the right amount of time can evoke a very strong
Speaker 1: emotional response in the audience exactly, and and you know,
Speaker 1: it's it's it's really kind of remarkable how a lot
Speaker 1: of the job is maybe not manipulating your audience, but
Speaker 1: but encouraging the right kind of response so that you're
Speaker 1: the stuff you are creating has the greatest possible impact.
Speaker 1: Whatever that impact might be, you know, will be dependent
Speaker 1: upon the content itself. Um. Yeah, I mean I love
Speaker 1: the fact that we have all these different hosts and
Speaker 1: that in general, I would say that what the stuff
Speaker 1: voice is a little tongue in cheek, a little a
Speaker 1: little snarky, maybe not snarky, but definitely tongue in cheek,
Speaker 1: definitely a playful uh. And then depending upon the host,
Speaker 1: that playfulness comes out in different ways. So, for example,
Speaker 1: all the Jonathan Strickland hosted ones tend to be a
Speaker 1: little dorky and goofy because that's who I am, which
Speaker 1: I embrace, that's I mean, I realized I am never
Speaker 1: going to be the cool dude who is like like
Speaker 1: super laid back and is funny, and everyone's like like,
Speaker 1: I'm not going to be the cocktail guy. That's not
Speaker 1: gonna be me. You're cool in your own right, thank you.
Speaker 1: I appreciate that. Alright, alright, alright, so yeah it's uh,
Speaker 1: you know, but but that is awesome. Now, it's a
Speaker 1: it's a great opportunity. Do you. Kristen actually made me
Speaker 1: think of different personalities. Kristen has one on phobias, and
Speaker 1: you know, she clearly comes from some sort of drama
Speaker 1: improv background because she has like so many different characters
Speaker 1: and styles and voices, and it just it blows my mind.
Speaker 1: Sometimes I'll just like let the camera run with her,
Speaker 1: and even when she's done with like the section that
Speaker 1: she was recording, I won't say cuts. Then she'll just
Speaker 1: start riffing because she doesn't know how to stop until
Speaker 1: I say cut, and I get some great stuff from her,
Speaker 1: fantastic Maybe I'll maybe I'll try and give you some stuff,
Speaker 1: because you know, that's one of the reasons why I
Speaker 1: love working with Ben um. Ben and I both have
Speaker 1: an improv background. Christ Is great at that. So, yeah,
Speaker 1: all the three of us have improvisational comedy backgrounds, and
Speaker 1: so like, whenever I get into a video where Ben
Speaker 1: and I are both in that video, it's always fun
Speaker 1: to play off of him, definitely, because we know we'll
Speaker 1: support one another in our various bizarre choices. And sometimes
Speaker 1: that works out too to video gold. Sometimes that's in
Speaker 1: a blooper reel. Sometimes yeah, just will forever remain on
Speaker 1: the editing floor, I say, I always say go for it,
Speaker 1: and people like, should we try this? I'm like, yeah,
Speaker 1: let's try it, and if it doesn't work, it won't
Speaker 1: so much easier to pull it back than it is
Speaker 1: to tell people to give me more, right, because give
Speaker 1: me more makes a person feel like they are somehow,
Speaker 1: like they're underperforming. That's not necessarily what you mean. You
Speaker 1: might just mean I just need like this needs to
Speaker 1: be intense, I need more intensity or whatever. Um, And
Speaker 1: these episodes are so easy to set up, like why
Speaker 1: not just kind of play around, you know? And I
Speaker 1: mean it's as as an actor, it's definitely one of
Speaker 1: those things where I had to teach myself it's much
Speaker 1: better to make a big choice and be told to
Speaker 1: pull it back than to do a small choice and
Speaker 1: have a director think that's all you're capable of doing. Yeah,
Speaker 1: and I and I yeah, and I hope everyone like
Speaker 1: trust me enough to know that, like if you know,
Speaker 1: you should be brave enough to try something even if
Speaker 1: it seems a little outside of your comfort zone, and
Speaker 1: just know that, like if it didn't work out, it
Speaker 1: won't make the final part, like I'll be able to tell.
Speaker 1: So do we have any blooper reels in planning stages? Um,
Speaker 1: I've constantly um any any good bloopers. I'll kind of
Speaker 1: make my own seat as I make my own timeline.
Speaker 1: I can go back through the project piles and I
Speaker 1: could piece together, but I actually do put I still
Speaker 1: on occasion put some good bloopers at the end of
Speaker 1: the episode itself. I mean, I don't make any because
Speaker 1: I'm one takes tricklin. But you know, I also know
Speaker 1: you you you actually do have a talent for that,
Speaker 1: because like sometimes I was like, man, do we just
Speaker 1: shoot this in like ten minutes? Well, whereas I'm thinking,
Speaker 1: I guess we can reshoot it just to have two options.
Speaker 1: But it was already good for this And that's the
Speaker 1: thing that I'm always asking you guys, right, I'm like,
Speaker 1: are you sure you guys don't need another one? Because
Speaker 1: I'm always second guessing myself. You know, when I'm when
Speaker 1: I'm in the moment, I can't tell if it's good
Speaker 1: or not because I'm I'm just doing it, doing it
Speaker 1: the best way I know how, And then I rely
Speaker 1: very heavily upon a director to tell me if I
Speaker 1: have you know, like like Jonathan, could you try this again,
Speaker 1: but do it in this other way? Like I think
Speaker 1: it might be more beneficial for you to have more gravitas,
Speaker 1: which I don't know where I'm going to pull that
Speaker 1: out if that's over the direction, but whatever. Um. But yeah,
Speaker 1: it turns out that I guess it's my sensibility. It
Speaker 1: tends to go well with the scripts that I tend
Speaker 1: to do, and and it also speaks highly of the
Speaker 1: writers who, when they know which person is going to
Speaker 1: host a particular episode, they tend to write to that
Speaker 1: person's strengths. There's some episodes where we have a script
Speaker 1: and we haven't assigned it a host, and in that case,
Speaker 1: the script is kind of like a it's kind of
Speaker 1: waiting for personality to be injected into it. Um. But
Speaker 1: there are other times where like, oh, it's Jonathan, let's
Speaker 1: make him do that terrible Christopher walkin impression. Does write
Speaker 1: that in and I don't do it. I heard that
Speaker 1: can give me a crisper walking impression. I like to
Speaker 1: do Christopher walking as if he were hot spur from
Speaker 1: Henry the fourth part one. So you're gonna get a
Speaker 1: little Shakespeare took. But for mine own bot, my lord,
Speaker 1: I could be contended to be there in respect for
Speaker 1: the love I bear your house. That good. Yeah, you
Speaker 1: gotta do that. You gotta do the like no good
Speaker 1: for you. That was good. It's also good to It's
Speaker 1: also good to occasionally occasionally do like a whisper, like
Speaker 1: you know, you gotta run down the road fast, like
Speaker 1: you gotta do what I'm goner. I'm gonna have to
Speaker 1: practice my walking. Now is the world. I don't do
Speaker 1: an impression of walking. I do an impression of an
Speaker 1: impressionist doing impression of walking. That's that's how far removed
Speaker 1: mine is. But that's all right. Reminds me of Michael
Speaker 1: Caine doing an impression of people doing Michael Caine impression.
Speaker 1: I've never seen that I have. It was in an interview,
Speaker 1: and I don't remember what it was. Yeah, some some
Speaker 1: sort of show. You know, everyone does impressions of you
Speaker 1: and he's like, yeah, they're terrible. I do see that.
Speaker 1: The secret to saying his name the way he says
Speaker 1: his name is to say the words my cocaine, cocaine, cocaine. Yeah,
Speaker 1: that's the secret to saying his name. It's a little
Speaker 1: off topic, but then you rate, Yeah, where do we go?
Speaker 1: So this was great. I love that we had a
Speaker 1: chance to sit down and kind of talk about what
Speaker 1: it is you do and how it's done, and also
Speaker 1: to maybe introduce people to the series What the Stuff,
Speaker 1: because it it is one of those where you're going
Speaker 1: to get a full view of the capabilities of how
Speaker 1: stuff works. We're talking about a team of writers, many
Speaker 1: of whom are also some of the hosts of the show.
Speaker 1: You have a variation of hosts so that people from
Speaker 1: your favorite podcast. They're all in these various episodes, huge
Speaker 1: number of topics ranging from science to technology to pop
Speaker 1: culture to everything in between. Um, and we're having a
Speaker 1: blast doing them. Um. Any passed any final thoughts before
Speaker 1: we sign off? Really? I mean, I guess, yeah, if you,
Speaker 1: if you, if you're a casual movie watcher, or watch
Speaker 1: videos on YouTube or any sort of video content. Try
Speaker 1: to try to think about the editing every now and then,
Speaker 1: try to try to actually analyze what's going on there,
Speaker 1: because you you'd be surprised at how impressive of of
Speaker 1: of a job it is. A lot of times it
Speaker 1: goes kind of like good sound design too. It's like
Speaker 1: it goes unnoticed, like if you did your job correctly,
Speaker 1: people don't even think about it. Yeah, it's it's when
Speaker 1: editing has been poor that it becomes noticeable, right, because
Speaker 1: then it becomes a detriment. I think of films where
Speaker 1: I feel like the story was disjointed, and often that's
Speaker 1: because you'll have a narrative moment happening in the film,
Speaker 1: there's a cut to a new scene before the previous
Speaker 1: one has had any distinct resolution, and it might move
Speaker 1: on to something different, and ultimately that can cause an
Speaker 1: audience to feel a little lost or unsatisfied. And if
Speaker 1: you're watching a great movie with great editing, then you
Speaker 1: know that doesn't you're just like, oh, that was a
Speaker 1: fun movie. But if you watch one where the editing
Speaker 1: was disjointed, either on purpose in order to achieve a
Speaker 1: specific effect or just incompetently done. Then you could be
Speaker 1: feeling a little uncertain and lost. But then there's also
Speaker 1: the movies that the editing is almost a character in
Speaker 1: itself because it's just so jarring. Um Mad Max, the
Speaker 1: most recent Mad Max here, I think, yeah, I just
Speaker 1: saw that the other night and blew my mind. But yeah,
Speaker 1: the editing is so intense. Do do Warrior for the wind?
Speaker 1: That like guitar? That that was next level? Yeah. I
Speaker 1: think of Tarantino's films. Tarantino's films where the editing is
Speaker 1: very much upon it. He's manipulating the audi and uh,
Speaker 1: yeah you can. I mean that some of the best
Speaker 1: editing I've seen in films consistently came out of the
Speaker 1: Tarantino movies. Um so yeah, I mean, very good point.
Speaker 1: Definitely pay attention to that. Keep in mind if you
Speaker 1: have a goal of getting into the video industry. Editor
Speaker 1: is one of the best things I can think of,
Speaker 1: simply because you have a direct hand in how that
Speaker 1: story plays out. I mean, you know sometimes you know,
Speaker 1: a director's job is to get the performances that is
Speaker 1: that are needed to tell the story, but the editor
Speaker 1: is the one that puts it together. And you know,
Speaker 1: like I said, you can have you can have a
Speaker 1: good amount of material from a director and turn it
Speaker 1: into a great movie with a very talented editor. Yeah.
Speaker 1: So I'm I am constantly thankful for the skill of
Speaker 1: the editors here at How Stuff Works because I might
Speaker 1: do there are times where I'll do it take and
Speaker 1: I'll think I probably could have done that better, And
Speaker 1: then when I see the video and my wow, they
Speaker 1: really put that together in such a way that it
Speaker 1: was it was perfect. I couldn't the thing that the
Speaker 1: doubt I felt in the moment was completely removed by
Speaker 1: the skill of the editors. So oh no, I won't
Speaker 1: because you keep me employed, all right. So um, anyway,
Speaker 1: thank you so much Chandler for joining us. Guys. Make
Speaker 1: sure you check at What the Stuff episode Man, that
Speaker 1: is what the Stuff shows are so much fun to do,
Speaker 1: so check those out, and if you have any suggestions
Speaker 1: for future episodes of tech Stuff, you can send me
Speaker 1: a message. The email addresses tech Stuff at how stuff
Speaker 1: Works dot com, or drop me a line on Facebook
Speaker 1: or Twitter or Tumbler. The handle it all three of
Speaker 1: those is tech Stuff h s W. And I'll talk
Speaker 1: to you again really soon. For more on Mix and
Speaker 1: thousands of other topics, stuff works, dot Com look