WEBVTT - Behind the Scenes at HowStuffWorks - Video 0:00:04.240 --> 0:00:08.119 Get in touch with technology with text Stuff from com. 0:00:11.960 --> 0:00:14.960 Hey there, and welcome to Text Stuff. I'm Jonathan Strickland 0:00:15.040 --> 0:00:18.000 and joining me in the studio is Mr Matt Frederick, 0:00:18.400 --> 0:00:20.440 co host of Stuff. They don't want you to know. 0:00:20.560 --> 0:00:24.440 You've probably heard his voice full horror. Hey Matt, Hey, Jonathan, 0:00:24.480 --> 0:00:26.360 it's wonderful to be in this room with you, sir. 0:00:26.520 --> 0:00:29.440 It's it's wonderful to have you on that microphone. We 0:00:29.600 --> 0:00:31.960 have done a couple of episodes of tech Stuff together 0:00:32.920 --> 0:00:36.320 where you mostly asked me questions, and that was purposefully done. 0:00:36.680 --> 0:00:39.760 I think it was a C E S episode or 0:00:39.880 --> 0:00:42.240 forty three something like that. It was what, yeah, what 0:00:42.280 --> 0:00:44.680 you did? And I just got to sit there and 0:00:44.720 --> 0:00:47.160 listen to the stories. Yeah. And this time it's gonna 0:00:47.360 --> 0:00:50.080 the shoe is on the other flip, my friend. I'm 0:00:50.080 --> 0:00:52.199 going to be asking you questions. You're going to be 0:00:52.240 --> 0:00:57.080 telling stories. So for those who do not know, Mr 0:00:57.120 --> 0:01:00.640 Frederick has done many things here and how stuff works. Uh. 0:01:00.680 --> 0:01:02.920 In fact, you have produced episodes of tech Stuff in 0:01:02.960 --> 0:01:05.440 the past. I have you have sometimes been the one 0:01:05.480 --> 0:01:09.240 saying they're listening as Chris Polette and I would chat 0:01:09.280 --> 0:01:12.200 on and on about something. Yes, prior to super producer 0:01:12.360 --> 0:01:17.040 Noel being here. I was generally the person behind what 0:01:17.440 --> 0:01:20.600 he does. It was sometimes sometimes Matt, sometimes it was Tyler. 0:01:20.920 --> 0:01:23.600 Once in a while it was somebody else. Uh. And 0:01:23.760 --> 0:01:25.840 you guys were great, but then you've got more and 0:01:25.920 --> 0:01:29.400 more work to do in your in the other job 0:01:29.520 --> 0:01:32.840 you had. Yes, the actual reason that we were hired, 0:01:32.959 --> 0:01:36.200 so Matt, for people who do not know, you were not, Like, 0:01:36.319 --> 0:01:39.280 I was not hired to be a podcaster or a 0:01:39.360 --> 0:01:41.920 video guy. I was hired to be a writer. You 0:01:41.959 --> 0:01:44.600 were not hired to be a podcaster. What were you 0:01:44.720 --> 0:01:49.120 hired to do? I was hired to be an intern. Okay, 0:01:50.200 --> 0:01:55.880 that's not really hired. Were paid? Yes, we were paid 0:01:55.880 --> 0:01:59.680 interns and our videographer had to leave. So I came 0:01:59.720 --> 0:02:03.240 on a originally um as an employee of How Stuff Works, 0:02:03.920 --> 0:02:08.639 officially getting paid through I guess the standard payment from 0:02:08.880 --> 0:02:11.000 How Stuff Works Inc. Back in the day or whatever 0:02:11.040 --> 0:02:15.520 it was, as a videographer. So you are a videographer? Uh? 0:02:15.560 --> 0:02:20.000 And be your role has evolved over time? Yes? So 0:02:20.200 --> 0:02:23.480 what tell people what it is you do today? Like, 0:02:23.600 --> 0:02:28.359 what is your your main responsibility here at How Stuff Works? 0:02:28.440 --> 0:02:32.440 My main responsibility here is to produce stuff they don't 0:02:32.440 --> 0:02:35.080 want you to know, and that I think that is 0:02:35.080 --> 0:02:38.320 my primary goal now when you're when we're talking about 0:02:38.320 --> 0:02:40.080 stuff they don't want you to know. We're not just 0:02:40.280 --> 0:02:44.320 talking about the audio podcast, but also the video series, right, Yes, 0:02:44.400 --> 0:02:47.440 the video series in fact, and I would say probably 0:02:47.520 --> 0:02:53.320 primarily because originally it was a video series. Uh, just 0:02:53.560 --> 0:02:58.280 it was just a video series. So this responsibility involves 0:02:59.120 --> 0:03:02.000 working very close Slee with your co host Ben Bolan. Oh, 0:03:02.120 --> 0:03:04.880 very closely. Yeah, to the point where the two of 0:03:04.960 --> 0:03:08.919 you can be inseparable for the portions where you're getting 0:03:08.919 --> 0:03:12.000 ready to shoot. Uh. You are very often the guy 0:03:12.080 --> 0:03:15.560 behind the camera during the actual shooting. Yes, mostly, I 0:03:15.560 --> 0:03:19.400 would say. Yeah. So sometimes if you ever watched stuff 0:03:19.400 --> 0:03:20.760 they don't want you to know, and you see that 0:03:20.760 --> 0:03:24.280 they're in some sort of creepy location, usually it's Matt 0:03:24.360 --> 0:03:27.320 who's doing a double duty at that time, actually triple duty. 0:03:27.680 --> 0:03:31.639 You're shooting, you're monitoring audio, and you're keeping an eye 0:03:31.639 --> 0:03:33.680 out in case you need to make a run for 0:03:33.760 --> 0:03:36.320 it because you're gorilla movie making at the time. Yes, 0:03:36.960 --> 0:03:40.320 usually I'm monitoring audio, making sure the shot is correct, 0:03:40.640 --> 0:03:44.160 and then kind of keeping watch. Yeah, that's a good assessment. Yeah, No, 0:03:44.280 --> 0:03:48.360 I've been. I've been the subject of gerrilla filmmaking where 0:03:48.640 --> 0:03:50.840 the director made it known to me that there was 0:03:50.840 --> 0:03:53.600 not necessarily clearance to shoot where we were shooting at 0:03:53.600 --> 0:03:56.080 that time. Wait what We do our best to keep 0:03:56.120 --> 0:03:59.040 it above board. Yeah, yeah, I mean occasionally it's just 0:03:59.080 --> 0:04:01.080 one of those things where you're like, well, let's go 0:04:01.080 --> 0:04:02.840 ahead and shoot here. I think it'll be fine, and 0:04:02.880 --> 0:04:05.480 then ultimately we might be told hey, you guys shouldn't 0:04:05.520 --> 0:04:07.640 be in here, and then we're like, okay, we won't 0:04:07.680 --> 0:04:13.320 be in here. Yeah, you're doing you are. I know 0:04:13.440 --> 0:04:16.480 this looks like just a big empty basement, but technically 0:04:16.520 --> 0:04:18.359 there's a lot of stuff going on that we can't 0:04:18.400 --> 0:04:21.440 have you here while we're doing it, like like wiring 0:04:22.080 --> 0:04:23.960 part of the building. Because keep in mind, the building 0:04:23.960 --> 0:04:26.039 we are in right now, Pont City Market that's where 0:04:26.040 --> 0:04:30.279 our office is is UH is still largely unoccupied on 0:04:30.320 --> 0:04:35.400 certain floors. So um, that leads the potential for awesome 0:04:35.440 --> 0:04:38.000 location shoots, but obviously we have to clear everything with 0:04:38.040 --> 0:04:40.640 the building first to make sure that everyone is safe 0:04:40.839 --> 0:04:42.040 and we're not going to get in the way of 0:04:42.080 --> 0:04:45.080 any construction crews. Yes, insurance in a building like this 0:04:45.200 --> 0:04:48.440 is a big deal. Yeah. Yeah, and uh and obviously 0:04:48.520 --> 0:04:50.880 the safety of other people also very important. So it's 0:04:50.920 --> 0:04:53.720 not just our safety but the safety of other folks. 0:04:53.760 --> 0:04:55.800 So we take it very seriously as much as I'm 0:04:55.800 --> 0:04:59.920 being flippant earlier. Uh. Now, when you're talking about produce 0:05:00.120 --> 0:05:01.640 a show like stuff they don't want you to know, 0:05:02.120 --> 0:05:04.080 some of our shows here at how Stuff works are 0:05:04.120 --> 0:05:08.440 fairly straightforward, right, Okay, I'll go with you there, But 0:05:08.640 --> 0:05:11.000 I would say that the ones that even look pretty 0:05:11.000 --> 0:05:13.800 straightforward to have a lot of stuff going on in 0:05:13.839 --> 0:05:16.080 the back end. Sure, you have to do lots of 0:05:16.080 --> 0:05:17.800 things like you have to. You have to make very 0:05:17.800 --> 0:05:21.200 careful edits to make sure that the everything flows properly. 0:05:21.839 --> 0:05:23.640 You want to make sure that the sound is just 0:05:23.720 --> 0:05:27.360 perfect because sometimes levels are different at different points. And 0:05:27.400 --> 0:05:31.120 also we often will include things like supplemental video to 0:05:31.160 --> 0:05:33.960 help illustrate a point. Stuff they want you to know 0:05:34.080 --> 0:05:37.279 is one of the I think more heavily produced videos 0:05:37.320 --> 0:05:39.599 compared to some not not all, I mean, we do 0:05:39.680 --> 0:05:44.640 have some that are are equivalent. So I want you, Matt, 0:05:44.760 --> 0:05:49.080 to walk me through what it's like to produce a 0:05:49.240 --> 0:05:52.640 typical stuff They don't want you to know. So from 0:05:52.640 --> 0:05:56.480 the point where you've identified what the subject is going 0:05:56.520 --> 0:06:00.560 to be to the point where it's published online, can 0:06:00.560 --> 0:06:02.840 you walk me through? Well, first thing I would say 0:06:02.880 --> 0:06:06.760 is identifying what we're going to uh do use as 0:06:06.760 --> 0:06:10.200 a subject is a big part of the story. Because 0:06:10.240 --> 0:06:14.200 we generally get our audience too. They will interact a 0:06:14.240 --> 0:06:16.320 lot of times and kind of lead us on a 0:06:16.400 --> 0:06:19.680 thread that will take us to a bigger story. And 0:06:19.800 --> 0:06:22.440 once we once we've established what the story that we 0:06:22.480 --> 0:06:26.479 want to tell, and I would say Ben does of 0:06:26.680 --> 0:06:32.039 that end because I'm usually over in this cave editing um. 0:06:32.080 --> 0:06:35.120 So once we've established that, we will go and then 0:06:35.160 --> 0:06:38.039 I will go to these various places on the internet 0:06:38.080 --> 0:06:41.200 like archive dot org. We have several places that we 0:06:41.240 --> 0:06:45.240 go like video blocks or I stock photo and try 0:06:45.240 --> 0:06:48.680 and gather as many images and assets that I can 0:06:49.000 --> 0:06:54.120 that will pertain to that story. Then then there's this 0:06:54.240 --> 0:06:57.480 other back end after we record the audio, which is 0:06:57.520 --> 0:07:00.000 a process in itself where we'll sit in this room 0:06:59.800 --> 0:07:03.640 and have been do his creepy voice right, which still 0:07:03.680 --> 0:07:06.159 to the stay cracks me up because you know people 0:07:06.160 --> 0:07:08.600 have listened to Ben on my show where Ben has 0:07:08.640 --> 0:07:11.240 just been and when Ben has just been or if 0:07:11.240 --> 0:07:13.600 you've watched you know, brain stuff or what the stuff 0:07:13.640 --> 0:07:15.440 one of the episodes that has been on it, you 0:07:15.520 --> 0:07:18.880 hear Been just being himself. Uh. And then you compare 0:07:18.960 --> 0:07:22.280 that to the character the persona version. That's some stuff 0:07:22.320 --> 0:07:24.480 they don't want you to know, and it just seems 0:07:24.640 --> 0:07:31.040 so not Ben. He is that character for me now, 0:07:31.080 --> 0:07:33.560 and when he's playing regular Ben, I feel like that's 0:07:33.560 --> 0:07:35.960 a and for a lot of people who are fans 0:07:35.960 --> 0:07:37.680 of stuff they don't want you to know. That's a 0:07:37.720 --> 0:07:41.040 lot of the response or like he's not doing his 0:07:41.200 --> 0:07:45.200 voice where pitching it down a little bit. I can't 0:07:45.240 --> 0:07:49.000 even do it. Here's where it gets crazy. I can't 0:07:49.000 --> 0:07:51.520 do it either. It's impressive. We only have one person 0:07:51.560 --> 0:07:55.280 in the office who can really mimic Ben, and that's Annie. 0:07:55.320 --> 0:07:58.720 She's really well. She dressed up as Halloween that one 0:07:58.800 --> 0:08:01.480 year she did a smashup of and the visuals here Yeah, yeah, 0:08:01.600 --> 0:08:06.520 she she mimicked him from an imagery perspective anyway. Alright, 0:08:06.560 --> 0:08:11.000 So so Ben is writing you are you? You get 0:08:11.000 --> 0:08:13.760 to the part where you record the audio. Alright, move on, 0:08:13.840 --> 0:08:15.840 now we get the audio, and what I have to do, 0:08:16.320 --> 0:08:20.880 particularly with his audio is chop up every single sentence 0:08:21.040 --> 0:08:25.000 and or even sometimes word, because what I like to 0:08:25.000 --> 0:08:28.280 try and do is make it match up with the 0:08:28.440 --> 0:08:32.120 sound the theme music that I've written for the show, 0:08:32.240 --> 0:08:35.000 so that it feels you wrote the music for the show. 0:08:35.200 --> 0:08:37.840 I did. I recorded and wrote the music just with 0:08:37.920 --> 0:08:43.480 a little MIDI controller. Still, that's incredible. Well it it's okay. 0:08:43.760 --> 0:08:47.160 I think I think any discerning creator of music would 0:08:47.240 --> 0:08:50.199 laugh at it. Come on, I'm well from someone that 0:08:50.400 --> 0:08:54.079 can plank out a tune on a ukulele, it's really impressive. Okay, 0:08:54.200 --> 0:08:57.640 I didn't forget thank you, I love you, made a 0:08:57.679 --> 0:09:04.640 couple of videos you awesome stuff. Um. Okay. So I 0:09:04.760 --> 0:09:07.360 matched that up so that it has almost a lyrical 0:09:07.520 --> 0:09:11.760 feel to it um spoken word almost um. And it 0:09:11.800 --> 0:09:13.920 has a very driving beat in the song. So when 0:09:13.960 --> 0:09:17.120 it matches up, it just works so well. See that 0:09:17.240 --> 0:09:19.000 that's incredible to me, Like you have to have a 0:09:19.040 --> 0:09:21.280 real ear for that. I I can appreciate it when 0:09:21.280 --> 0:09:26.080 it's done, I can't imagine actually constructing it. So what 0:09:26.080 --> 0:09:28.839 what tool? Well, what's the the editing suite that you're 0:09:28.840 --> 0:09:32.600 actually using when you're doing this? It has evolved over time. 0:09:33.160 --> 0:09:38.360 Originally it was the old Apple soundtrack application that we 0:09:38.440 --> 0:09:41.640 used to use, and then using that in tandem with 0:09:41.960 --> 0:09:46.120 Final Cut Final Cut seven in particular, and now we're 0:09:46.240 --> 0:09:50.720 using all Adobe products, so Premiere Audition, those are the 0:09:50.760 --> 0:09:54.120 two primary ones and after effects. So you're using this 0:09:54.280 --> 0:09:57.080 software to to get this effect where you're matching up 0:09:57.080 --> 0:10:01.880 the cadence of the the delivery to the score of 0:10:01.960 --> 0:10:06.360 the episode. So that lays down sort of your guideline 0:10:06.400 --> 0:10:11.280 for audio. Yes, what's what about the visual side? Okay, 0:10:11.320 --> 0:10:14.040 so I've got there are a couple of assets that 0:10:14.240 --> 0:10:17.040 remain the same throughout each episode, so you've got kind 0:10:17.040 --> 0:10:19.960 of the standard intro of the house that says on 0:10:20.000 --> 0:10:23.080 it and things that we shot gosh eight years ago 0:10:23.160 --> 0:10:25.520 maybe um, and then the c t A. You don't 0:10:25.559 --> 0:10:27.480 have to change very much, just plug in a couple 0:10:27.480 --> 0:10:31.040 of things. But when you're starting to c t A 0:10:31.120 --> 0:10:34.760 by the way, I apologize, yes, that's the place where 0:10:34.800 --> 0:10:37.199 you go, hey, subscribe or click on this video. So 0:10:37.240 --> 0:10:39.480 if you've ever wondered, uh, you know, you see that 0:10:39.520 --> 0:10:42.680 it's almost ubiquitous now in YouTube videos. But Call to 0:10:42.760 --> 0:10:45.920 Action and the reason why you see it everywhere is 0:10:45.960 --> 0:10:48.760 because it works. It works, and we want to hear 0:10:48.800 --> 0:10:52.520 from you. Yes, absolutely, the this may be a little 0:10:52.520 --> 0:10:55.240 too behind the curtain, but the click through rate generally 0:10:55.400 --> 0:10:58.480 in those c t a s, even on the biggest YouTubers, 0:10:58.800 --> 0:11:02.720 ranges between two you to like five, which means someone 0:11:02.800 --> 0:11:05.120 actually watching the video then clicking on the next video, 0:11:05.480 --> 0:11:09.920 so it's actually really low. But the subscribe function there 0:11:10.040 --> 0:11:12.880 is usually the best thing, and stuff they don't want 0:11:12.880 --> 0:11:15.319 you to know has a lot of subscribers, so it's 0:11:15.600 --> 0:11:18.760 it's one of those things again you want to you know, 0:11:19.000 --> 0:11:22.839 we're we're producing things so that people listen and watch them, 0:11:22.880 --> 0:11:26.000 but we're doing so out of a genuine desire to 0:11:26.000 --> 0:11:30.960 to impart cool information and to create a dialogue. You know, 0:11:31.000 --> 0:11:34.440 there's there's, there's the there's the business side of it that, yes, 0:11:34.559 --> 0:11:37.720 you want more views because that's good business, but there's 0:11:37.760 --> 0:11:41.200 from us as content creators. And by the way, we 0:11:41.280 --> 0:11:43.480 don't all like the word content, but we use it 0:11:43.480 --> 0:11:47.600 because what else are we gonna say storytellers? As storytellers, 0:11:48.160 --> 0:11:50.400 we want an audience to hear the story, and we 0:11:50.440 --> 0:11:53.280 want to hear more stories in return. Yes, while we 0:11:53.559 --> 0:11:57.160 all enjoy talking to ourselves and you know, learning about 0:11:57.200 --> 0:11:59.880 these wonderful things ourselves it's much more fulfilling to know 0:12:00.200 --> 0:12:03.160 that someone else now has this information. Yeah, and and 0:12:03.679 --> 0:12:06.199 I remember, I can't I'll never forget the first time 0:12:06.240 --> 0:12:10.040 I got a listener email and flipped out because for 0:12:10.080 --> 0:12:12.560 a while it just felt like Chris and I were 0:12:12.600 --> 0:12:16.160 talking into a microphone and then it would just go away. Oh, 0:12:16.960 --> 0:12:20.000 I know exactly, I know exactly that feeling, right, So 0:12:20.040 --> 0:12:21.800 all right, so I'm sorry I got you off track. 0:12:21.920 --> 0:12:24.840 So certain assets like the opening and the closing remain 0:12:25.280 --> 0:12:27.880 remain the same from episode episode. You don't have to 0:12:27.960 --> 0:12:31.640 change those, But then everything else has to be in 0:12:31.640 --> 0:12:33.840 a way. It has to be just filled in, so 0:12:33.880 --> 0:12:36.400 you make sure you've got coverage. So a lot of 0:12:36.400 --> 0:12:39.360 the time, the first pass that I'll do is, let's say, 0:12:39.400 --> 0:12:43.280 and that when I gathered footage earlier, if there's anything 0:12:43.280 --> 0:12:45.920 that I know matches up directly with the subject matter 0:12:46.120 --> 0:12:49.880 or will fit perfectly to um either contrast with what 0:12:50.000 --> 0:12:53.720 Ben is saying, two create a you know, a third 0:12:53.760 --> 0:12:56.920 idea position. Yes, a lot of times like I'll just 0:12:57.000 --> 0:12:58.480 lay that in and I won't mess with it. I 0:12:58.480 --> 0:13:00.720 won't do any of the zooming or any that kind 0:13:00.760 --> 0:13:02.640 of stuff or effects on it. I'll just leave it 0:13:02.640 --> 0:13:05.840 in there. Now I know I've got this um, then 0:13:05.960 --> 0:13:09.000 I will start filling in the hard stuff, which a 0:13:09.000 --> 0:13:11.280 lot of times is if I have to go and 0:13:11.320 --> 0:13:14.040 pull let's say, a quote from an article or something 0:13:14.160 --> 0:13:19.160 and actually type it in through premier or something. I'll 0:13:19.160 --> 0:13:22.600 do that kind of stuff. Then the next pass, once 0:13:22.640 --> 0:13:25.000 I've got the whole thing filled in, I have to 0:13:25.240 --> 0:13:28.520 color everything, which is a whole separate thing that normally 0:13:28.559 --> 0:13:34.559 it would be another person's job. Yeah, that's okay, that's fine. 0:13:34.600 --> 0:13:37.280 I I love I knew nothing about it when I 0:13:37.320 --> 0:13:41.120 first started here. So you've you've actually developed brand new 0:13:41.240 --> 0:13:46.080 skill sets by necessity, which is true for everyone in 0:13:46.120 --> 0:13:48.800 the video and audio departments. Oh, I think so, and 0:13:48.960 --> 0:13:53.280 even I mean especially the podcasters and writers and editors. Yeah, 0:13:53.320 --> 0:13:55.720 it's It's also true for writers and editors who started 0:13:55.720 --> 0:13:59.880 off as editors and writers and then and then graduated 0:14:00.120 --> 0:14:03.000 to a type of performer. Yeah. For some of us, 0:14:03.040 --> 0:14:05.920 we had had a performance background. Ben Bolan as an 0:14:05.960 --> 0:14:13.640 improvisational comedy background has a ham taking up the spotlight background. 0:14:13.720 --> 0:14:15.880 So it was not a big transition for me. But 0:14:15.960 --> 0:14:18.360 some of us, like Josh and Chuck, well, Chuck had 0:14:18.400 --> 0:14:23.240 done music. You know, but they had not necessarily sat 0:14:23.280 --> 0:14:26.400 down to be a performer in the classical sense. And 0:14:26.480 --> 0:14:31.480 now you know there are That's our flagship show. So anyway, um, 0:14:31.760 --> 0:14:34.560 you you have developed this new skill as a colorist 0:14:34.560 --> 0:14:37.120 as well. Sure so so can you can you explain 0:14:37.160 --> 0:14:39.840 a little bit about what that entails, Like, you know, 0:14:40.360 --> 0:14:42.480 I've heard things like color correction or whatever, but what 0:14:42.480 --> 0:14:46.800 does that actually mean. Really, it's just using plugins from 0:14:46.840 --> 0:14:51.360 a program like like after Effects or Premiere, where you 0:14:51.400 --> 0:14:56.440 are manipulating the color values on any given shot or image. 0:14:56.600 --> 0:14:58.720 And what would be the purpose for that? Really? You 0:14:58.760 --> 0:15:02.520 want to match. Either you're either going to match the 0:15:02.760 --> 0:15:06.000 entire video right to try and make things feel like 0:15:06.040 --> 0:15:09.800 they fit together, or you're going to try for some 0:15:09.880 --> 0:15:14.000 kind of emotional or effect. You're trying to affect the 0:15:14.080 --> 0:15:17.560 viewers perception of this image, so you're trying to emphasize 0:15:17.560 --> 0:15:19.960 it in something and and it's a weird thing, like 0:15:20.600 --> 0:15:22.880 trying to influence the way someone looks at this image, 0:15:23.280 --> 0:15:25.320 maybe sees it a little differently than the way it 0:15:25.400 --> 0:15:28.160 was originally there. Yeah, because you only have so much, 0:15:28.200 --> 0:15:30.960 I mean, you can just alter the thing that is 0:15:31.000 --> 0:15:33.280 already existing. It's not like you can go out and 0:15:33.960 --> 0:15:36.680 it's not like you have like, oh, let's turn this 0:15:36.680 --> 0:15:39.400 this angle seventy degrees so that we can look at 0:15:39.440 --> 0:15:42.400 it from a different way. We can't do that, yes, not, 0:15:42.600 --> 0:15:45.840 not unless we're in specifically going out and shooting b 0:15:46.000 --> 0:15:49.680 rollers or that we have some computer graphics thing that 0:15:49.760 --> 0:15:52.600 we have developed in house and thus can manipulate it 0:15:52.840 --> 0:15:55.920 that way. But most of the time we're talking about 0:15:55.960 --> 0:16:00.560 gathering assets from other sources. Yes, that is kind of 0:16:00.600 --> 0:16:03.640 what the show was built upon. Well, and it makes 0:16:03.640 --> 0:16:05.120 sense for stuff they don't want you to know. It 0:16:05.160 --> 0:16:08.560 has almost it feels almost like it has elements of 0:16:08.600 --> 0:16:12.280 found footage in it. It has this very patchwork kind 0:16:12.320 --> 0:16:17.160 of approach, not not in quality but the feel of 0:16:17.200 --> 0:16:20.080 like it's all these different sources of information that are 0:16:20.120 --> 0:16:23.840 combining to tell this one story, which is important especially 0:16:24.520 --> 0:16:28.280 with the tone and and uh and the aim of 0:16:28.360 --> 0:16:31.280 that show. So I think, I think you guys do 0:16:31.320 --> 0:16:33.560 a really great job. All right, So you do your 0:16:33.560 --> 0:16:36.840 color pass. Yes, what happens next? Okay, now comes the 0:16:36.920 --> 0:16:40.120 overall effects pass. So this would be adding things like 0:16:40.240 --> 0:16:45.280 noise to footage and or images to give it the 0:16:45.320 --> 0:16:47.200 stuff they don't want you to know. Feel so sort 0:16:47.240 --> 0:16:49.840 of that grainy look. Yeah, it makes it like, let's 0:16:49.880 --> 0:16:52.560 say I got an image that is just pristine from 0:16:52.680 --> 0:16:56.760 my stock of maybe a person's hands on a keyboard. Okay, 0:16:57.040 --> 0:17:00.920 so after I've color corrected it so it's not so saturated, 0:17:00.960 --> 0:17:05.560 the colors aren't so bright, and it still looks like 0:17:05.680 --> 0:17:08.520 a picture that someone took on purpose to look really nice. 0:17:09.160 --> 0:17:10.920 What I'll do is kind of break the image a 0:17:10.960 --> 0:17:14.960 little bit by adding some noise or again doing some 0:17:15.040 --> 0:17:19.000 other things with color shifting, which would is a little 0:17:19.119 --> 0:17:22.200 it's a little complex, but basically will make the thing 0:17:22.280 --> 0:17:24.640 look like someone screwed up when they were using their 0:17:24.680 --> 0:17:28.359 old eight millimeter cameras, right, And that's a specific effect 0:17:28.359 --> 0:17:31.520 that you're going for. It. It helps again kind of 0:17:31.560 --> 0:17:34.600 create the tone and the feel of the show. So 0:17:35.200 --> 0:17:38.040 it is fun to have all of these competing things 0:17:38.080 --> 0:17:41.000 of what what do I want the overall story to tell? 0:17:41.280 --> 0:17:42.960 Like what story do I want this video to tell? 0:17:43.000 --> 0:17:46.760 Then what what story to want this one image combined 0:17:46.840 --> 0:17:50.280 with this sentence to tell and then trying to do 0:17:50.320 --> 0:17:54.720 that on a video basis. So that's yeah, I mean 0:17:54.760 --> 0:18:00.280 that there's a huge amount of artistry and and uh, 0:18:00.440 --> 0:18:03.040 technical ability that has to go into making this work. 0:18:03.080 --> 0:18:04.240 I mean, I'm sure it was one of those things 0:18:04.280 --> 0:18:06.520 that has been a learning process, and I'm sure you're 0:18:06.560 --> 0:18:09.320 still learning. Oh yeah. There isn't a day that goes 0:18:09.320 --> 0:18:12.040 by where I don't go, oh, I can do this now, 0:18:12.760 --> 0:18:17.399 way easier I could have. I could have taken ten minutes. 0:18:18.960 --> 0:18:21.960 When Okay, So so we said that I started here 0:18:22.000 --> 0:18:26.959 as a videographer, and uh, well, not too long into 0:18:27.040 --> 0:18:30.680 that journey of learning how to be a videographer because 0:18:30.680 --> 0:18:32.760 I was fresh out of college. I got a degree 0:18:32.800 --> 0:18:36.000 at Georgia State in film and video production, and I 0:18:36.160 --> 0:18:38.720 really only knew what I had learned in a couple 0:18:38.760 --> 0:18:40.960 of classes where I actually got to hold a camera. 0:18:41.880 --> 0:18:45.920 I would say, my strengths are not there, that is 0:18:45.960 --> 0:18:50.639 not where they lie. They lie in this storytelling. I 0:18:50.680 --> 0:18:53.080 don't know we'd call it, I guess as an editor. 0:18:54.119 --> 0:18:58.680 And very quickly after that, we began hiring people and expanding, 0:18:58.680 --> 0:19:01.400 and we decided we wanted to make these things called podcasts, 0:19:02.160 --> 0:19:05.000 and we weren't really sure what they were. We had 0:19:05.040 --> 0:19:08.000 some ideas for what they would be, and I found 0:19:08.000 --> 0:19:11.760 that if I was behind a computer and taking things 0:19:11.800 --> 0:19:15.800 that Tyler actually Tyler Klang, who became our videographer at 0:19:15.800 --> 0:19:19.040 the time, shot if I took those things, I felt 0:19:19.240 --> 0:19:21.760 like I had a lot more. I don't know, there's 0:19:21.800 --> 0:19:27.120 more finesse for me back there. Um, I'm not really 0:19:27.160 --> 0:19:31.160 sure where I'm going with this, Jonathan, But all I'm 0:19:31.200 --> 0:19:34.439 all I'm saying is that the shooting shooting video and 0:19:34.480 --> 0:19:37.639 doing it really well, especially with the new cameras that 0:19:37.680 --> 0:19:41.359 around these uh these SLR camera cameras that have just 0:19:41.440 --> 0:19:45.600 some complex lenses that we were able to shoot at 0:19:45.640 --> 0:19:49.440 resolutions that a few years ago would have been unheard of. Yes, 0:19:49.520 --> 0:19:53.240 and and knowing how to make the best image from 0:19:53.280 --> 0:19:56.840 that device is just something that you have to really 0:19:56.960 --> 0:19:59.440 focus a lot of your time on. No pun intended, 0:20:00.119 --> 0:20:03.959 No one intended with focus. But but that is not 0:20:04.080 --> 0:20:09.400 my I don't think it is. I mean, hence, hence, Wow, 0:20:09.480 --> 0:20:12.880 am I really going to say that? That's why I 0:20:12.960 --> 0:20:15.680 continue to shoot on this Sony e X one, which 0:20:15.760 --> 0:20:20.720 is an older camera. Um, but it it does one 0:20:20.760 --> 0:20:23.520 thing that's really awesome for our show, in particular, it 0:20:23.800 --> 0:20:27.080 can it has built in x l R, which is 0:20:27.119 --> 0:20:29.760 just the way you connect up like this, Mike that 0:20:29.800 --> 0:20:31.280 I'm talking to you on a John this talking to 0:20:31.320 --> 0:20:34.040 you on UM. You can connect that directly to the camera. 0:20:34.080 --> 0:20:36.560 So when you're recording audio with Ben for our show, 0:20:37.520 --> 0:20:39.840 I don't have to have a separate piece of equipment 0:20:39.920 --> 0:20:42.639 hooked up, you know, with a mike that's hooked up 0:20:42.680 --> 0:20:44.960 to Ben and then also man the camera, so you 0:20:45.000 --> 0:20:47.760 don't You also don't have to then worry about marrying 0:20:47.800 --> 0:20:49.879 the audio track with the video track, which is a 0:20:49.880 --> 0:20:52.600 whole separate thing. And if you have something like pluralize, 0:20:53.359 --> 0:20:55.960 that's a really great program that you can match up 0:20:55.960 --> 0:20:59.120 audio video. You can way easier than it used to be. Yes, 0:20:59.240 --> 0:21:01.280 like it used to be. You know the slates that 0:21:01.359 --> 0:21:03.600 you've ever seen in any behind the scenes video of 0:21:03.640 --> 0:21:06.920 any television or movie production. They have a slate that's 0:21:06.960 --> 0:21:10.320 the clapboard where they have the name of the scene, 0:21:10.359 --> 0:21:12.399 the number of the take, all that kind of stuff. 0:21:12.680 --> 0:21:15.399 They clap it. The reason they clap it is that 0:21:15.600 --> 0:21:20.679 snapping sound is the que to match the video or 0:21:20.720 --> 0:21:23.760 the the image if you're shooting on film I don't 0:21:23.760 --> 0:21:26.719 know who is these days, assuming you are with the 0:21:26.760 --> 0:21:29.159 audio track so that the two match up, and if 0:21:29.200 --> 0:21:31.560 you get that off even a little bit, that's where 0:21:31.600 --> 0:21:34.040 you get that that Kung Fu movie effect of it 0:21:34.040 --> 0:21:36.560 looks like it's everything's been dubbed. Yes, And there can 0:21:36.600 --> 0:21:39.840 be problems with sinking where it will go out of 0:21:39.960 --> 0:21:42.080 phase or out of sinking. There is a list of 0:21:42.160 --> 0:21:45.760 problems that can come with that. So I don't appind 0:21:45.840 --> 0:21:49.639 it being the old dinosaur. Yeah, I still use that 0:21:49.720 --> 0:21:51.919 old camera, but it's great. It's still shoots to an 0:21:51.960 --> 0:21:54.879 ADP and it looks fantastic, and I would say it 0:21:54.960 --> 0:21:58.040 kind of lends itself to our show even. So let 0:21:58.040 --> 0:22:01.520 me ask you this. From from the moment when uh 0:22:01.680 --> 0:22:06.880 you are actually recording the audio and you or even 0:22:07.000 --> 0:22:09.119 from the moment when you start gathering the assets to 0:22:09.160 --> 0:22:14.120 the moment that it gets published, how much time has passed? Well, 0:22:14.160 --> 0:22:17.760 it varies quite widely depending on the subject matter and 0:22:18.000 --> 0:22:23.600 what footage is available. Um. Sometimes it will take two 0:22:23.600 --> 0:22:30.399 full days, so sixteen twenty hours. Um. Sometimes it will 0:22:30.440 --> 0:22:34.320