Build a low-cost video studio with iPad and iPhones | Robb Montgomery | Skillshare

Build a low-cost video studio with iPad and iPhones

Robb Montgomery, Film director, author, and teacher

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
21 Lessons (1h 14m) View My Notes
    • 1. Getting started

      1:43
    • 2. Tour of the Video Studio

      2:05
    • 3. The Truss

      3:36
    • 4. Sound control

      2:54
    • 5. Backdrop

      1:37
    • 6. Teleprompter

      1:14
    • 7. Using a Teleprompter

      3:25
    • 8. Unboxing the Parrot Teleprompter

      4:14
    • 9. Setting up the teleprompter system

      5:37
    • 10. DEMO: How to use the Teleprompter to read a script

      3:15
    • 11. Gear for a live studio

      0:59
    • 12. DEMO: In the studio with Teradek Live:Air Action

      9:49
    • 13. SFS 12 Live Intro Action Action app

      6:25
    • 14. Live: Air Action - Adding video sources

      3:43
    • 15. Overlays - titles and graphics

      6:14
    • 16. Shots for a live show

      3:27
    • 17. Microphones for video studio

      1:38
    • 18. Lighting instruments

      3:29
    • 19. Table top setup

      2:42
    • 20. Where to put all those cables?

      1:50
    • 21. Production workflow

      4:31

About This Class

Low cost video production studio setups - For online videos, corporate video, and live video shows. From an iPhone video expert.

You don't need a huge budget to Setup a Home Video Studio for YouTube tutorials, Online Course Creation, Live Streaming & Video Production. 

Join video expert, Robb Montgomery, on a detailed tour of his video studio in Berlin - a DIY, budget-conscious studio design that produces an amazing amount of broadcast quality video with only a one-person crew. 

Montgomery has designed many professional-level video studios around the world for clients and will will lead you through the keys aspects of studio design and production. Please glance through the lesson titles and watch the free previews.

Every lesson is designed to show you how to get the maximum value for your own video studio design.

You don't need a green-screen to make awesome instructor videos, live streaming and corporate videos.

DIY: Home Video Studio for Live Streaming & Video Production will set you off on the right foot for building a small, but powerful studio in a small space.

Enroll today!

Transcripts

1. Getting started: you don't need a big budget to set up a home video studio for live streaming and video production. My name is Rob Montgomery, and in this course I will take you on a detailed tour of my video studio in Berlin, a D I wide budget conscious studio set up that produces an amazing amount of broadcast quality video with only a one person crew. I have designed many professional level video studios around the world for clients, and in this course I share my best secrets and best practices from those experiences. I will lead you through the key aspects of studio design and production. I've built several bestseller courses on Oda Mae with this video studio set up, and my students frequently leave high ratings for the quality of videos in my courses. And that is no accident. This course will teach you how to organize the lights. Installed backdrops control the sound and also get in depth, step by step blessing modules for setting up a low cost teleprompter and even producing live multi camera video shows using only an iPad and some iPhones. Yeah, please do glance through the less entitles and watch the free preview lesson to get a sense of the quality of lessons in this course, Each lesson is designed to show you how to get the maximum value for your own video studio projects. This course will get you started on the right foot for designing a small but powerful video studio. So what are you waiting for? Let's get started. 2. Tour of the Video Studio: Here are a few key concepts that we're going to discuss when talking about designing a studio for live or other type of video and film production without spending a lot of money . This is my studio space in Berlin. It's part of the smart film school where we produce a lot of video tutorials like this one , as well as do live broadcasts and do work with actors and models. It's a very versatile space, So in my studio design, I wanted all of this ideas to even do sound recording. That meant there are some several problems to solve, but they're not that hard. They do require some attention, such as How do we clean the floor space so we don't have a lot of light stands or tripods around? Well, if you look up into the ceiling here, I've suspended just some PVC pipe and have made very strong connections to the ceiling rafters so that it can support lights and cameras and power or whatever I need to do to bring equipment down to set a scene to set lighting for video recording or four lives. I could do it all right here, even with an app like this, talking to wirelessly to a camera phone that's flown from the ceiling using very low cost equipment, low cost lights for lighting and, you know, commonly available supplies like heavy curtains. Some of the keys are, of course, use layers of curtains, so you have sound and light control, especially if you're living in a noisy street like we are here. We have the ability now to film in any conditions, night or day, loud or not, and get the same professional results. Those air. Some of the goals for a studio design and I think you're going to really like the next tutorials is we're gonna go in depth for everything about sound, light and stability. 3. The Truss: before we talk about the lighting trust, I want to show you that this small step stool is all I need to be accessing all of the attachment points up here. So if you follow me up here, he can see I've got a camera rig. This is attached to the lighting trust. I've got power hanging up there so I don't have cords. I don't have anything down on the ground, and I don't have to go up a very high stepladder in order to make adjustments, attach a security cable. This is called a safety. Definitely when you're hanging lights or anything heavy and it's not that heavy, but it's heavy enough that if it falls down and might break, might hurt something. You want to safety up there to make sure that if this comes loose in any way, shape or form, got an extra layer of security, you can see I've also got just a couple of low cost baffles here. This is some paper with some lead tape with some low cost curtain clips. Just a old curtain rod hanging up here, and this just allows me to control where that light and how much of that light goes on the subject and how much of that light goes to the backdrop. And that's the simple idea with the lighting Truss is, it gives you this ultimate control averse Italie. I can hang a light anywhere on this circuit. I've designed three co centric tracks, won it four meters wide, one of three meters wide and one at one meter wide. Now maybe that's overkill. You can sometimes just get by with two parallel tracks. But my thinking was, is that I always wanted to be able to put a key light and to put back lighting. I want to be able to, um, here this black backdrop followed me Over here. This black backdrop could be a green screen, and then I can use my lighting truss up here to have light for the faces of the actors. And I can use hang lighting up here like wash lighting and even used some floor lighting there to make sure that the green screen is lit evenly. So that's the power of using lighting trust in coming up with a really good design for your space that lets you think about all the ways that you're gonna use your studio creatively, whether you're gonna do sound recording and you want to record videos in here for that of musicians, where you gonna put microphones? Cause the floor space gets really full very quickly with guitar amps and and other instruments. So my strong advice is to really think about your studio design from the ceiling first, because once you get that part of your design locked in, you really have ah lot of control. Now how high is my studio lighting trust? It's two meters 30 now I'm 185 centimeters, so that works for me. You may need to use. I can reach everything pretty much without that step stool. But that's why I showed you that little step stool, because it just gives you a little bit easier access to all of the clamping that you might need to do our stringing wires. But the idea is that I can set this studio up one day for film production. The next day could be having a Thanksgiving dinner in here. I'm not locked into anything fixed or rigid, except for my lighting trust 4. Sound control: So let's talk a little bit about what you're hearing. What you're hearing now in this studio space is a semi live space. I've got certain surfaces that are hard and reflective, like the floor, the table and the ceiling. And I've got other surfaces that have been treated with layers of acoustic material. Acoustic material. This is These are curtains from my Kia, and these are our heavy, the heaviest I could find the thickest, so that when sound comes from anywhere in the room, it has to travel through here and it gets slowed down and the volume level of it gets slow down. And guess what? It has to go through another, even heavier lined curtain, right? So this is really thick material before it ever reaches another home, hard, reflective service and daylight there. So having these layers of low cost sound control and having this air gap between those curtains, that's what starts to allow those reflections coming from these the's huge walls here and from the window area to not be so strong in the reverberation. We're still going to get some reverb from the floor. Some bounce of my voice coming off or if there's music playing here, and that keeps it a little bit, but I call it Semi live. If we treated every surface, it would be very dead room. And that's something you do in a small room, sometimes for a vocal booth. Or if you're doing voiceover recording, you might even take a corner of your studio okay and say What we really want to do is treat every surface, floor, ceiling wall, even maybe make, too. Go bows here and put sound panels on them on. Then I could go in here and make a very quiet voiceover recording area, so sound control is done through many, many layers. There's one other layer that it didn't show you, and that is I did put a little bit of carpet down here, um, under my primary recording area. Mostly when I'm recording my tutorials, I'm talking to that camera, and so I want to make sure I've got good sound layer and absorption in, in and around me as well as underneath. If I were really fussy, I might even put some sound panels up there in my light trust Teoh. Help prevent even more reflection. I might even bring that gobo over right next to me here and make it just, you know, flexible, manageable sound control. Again, I'm not gluing foam panels to my walls. You can do that. And you see a lot of people do that. But what? I'm trying to show you something a little bit more elegant and more versatile, and, let's face it, a little more spouse friendly. 5. Backdrop: Let's talk a little bit about backdrops again. I don't like to have permanent backdrops. Sometimes I just want to be able to over here and reach down and pull down what's sold idea as a window shade, I chose the blackest widest one that would fit and now cover this door. And now I can again because my lighting trust I can light. Or I could sit down here and now I have another filming location within my studio. I could change the color of this. I could clamp anything I wanted to my lighting trust or to this backdrop to change the color. So that's just a little e small backdrop. If we go around to the other side, you can see I've got, ah, black backdrop here. That's four meters wide, and now this allows me a very large stage space where I could have multiple actors doing screen tests reading lines. I could dio product demonstrations with the table. I have a lot of options. I could even change the color of this toe white to grey to green. I could do chroma key work here with the green screen, and all I did was put again one layer of curtains here with the heavy curtains for sound control. And then I just use some of these clamps and the fabric to give myself a backdrop. So again, what you're not seeing there is sound control behind the backdrop and the air gap that helps prevent those reflections. 6. Teleprompter: one other fascinating camera you can use in your video studio is a teleprompter for recording someone reading lines to a camera, whether they're actor, whether it's for a corporate presentation or whether you're an instructor and you want to read, Ah, script that's promoting something. Well, you don't have to spend a lot of money on these big teleprompters here. I've made one very cheaply from a recycled Canon Eos 5 50 I got this used on eBay. Look, this Nikon 28 millimeter lens I've had for 30 years. I got amount so I could put those two together. And then I put $100 parrot teleprompter on there and recycle an old iPhone. And this rig is again low cost camera gear. A ball head lets me get the angle. I want this desktop. Little tripod lets me get the height I want, and this weight, just a wait, gives it the stability I need so that when I film, I can get good results with my existing lighting and backdrops set up 7. Using a Teleprompter : Hey there, Rob Montgomery in the smart film school. And I'm preparing a script that I want to read for a new lesson that I'm creating. And maybe that's something you'd like to do. You'd like to be able to use something called a teleprompter toe. Have the script appear between your eyes and the camera's eyes. Now, I built some video studios over my time out in the consulting field. You know, we've used iPads as a low cost solution with professional video cameras. And what I want to look at now is a way to use an old iPhone or a smartphone in this studio . And we're gonna use something today. We're gonna look at something called the Parrot Teleprompter. This is really low cost. It's about 120 U. S. Dollars, and it's got its own remote. So if you're trying to do this on a budget or you want to make a live studio, you want to record lessons for an E learning course. This is a nice, low cost way to get professional results, So follow me. Let's go around on the other side. I just want to show you a couple things One of the things is I'm recycling an old camera, and I've just got a really low cost Mike stand with a pan and tilt head here so I can get the exact angle I want for my camera shot. Now I'm recording lectures, and maybe you're doing webinars or something similar. So the idea is that you've got the eye of the camera at this I of the person sitting in the chair, or if you're doing a two shot with an interview at the eye level of the people, and that's how I can get that here again with low cost, all the links to this gear I know you're gonna ask robin Comey dot com at the gear section , the video gear section. So this is on a quick release, and what we're going to be looking at is a way to attach the teleprompter, this parrot teleprompter to the front of this camera lens. It doesn't need any additional support because it's so lightweight, and because the phone doesn't weigh much, the phone will carry the script. So that's what we're looking at. You can see I've got a permanent battery replacement here. Another low cost Amazon. Add on for my old Canon 5 50 d, which is a great 10. 80 p camera, and I'm using an old Nikon lens. This one's probably 30 years old when the first lenses I had as a photo journalist. So I like to repurpose older gear and try and make something super high quality for not a lot of money. And that's what this TelePrompTer is going to do. We're gonna find a way to attach it to the front of this rig where it'll sit up here. So this is my iPhone six. This went around. The world's is six plus. Now it's going to be using the parrot app where I can put scripts. I can write him in here or I can Adam into Dropbox. Yeah, and synchronize that. It's a really, really great app. It's free. C synch with Dropbox. You just set it up. Once it works great, you can change the size of the font, how fast it's scrolling and also margins. And that might be important because we've got an iPhone six plus, which is a larger one. But if we need it to be a smaller screen area, that's something we'll be looking at when we get into setting up the parrot teleprompter. We're gonna do that in the next segment. 8. Unboxing the Parrot Teleprompter: So let's get to it. Let's see what's inside the parrot teleprompter box. Okay, first up we've got Well, some instructions. We might look at those. Oh, here's a remote control. So this is how they're going to do it. This is blue tooth, and so Bluetooth will go and talk to the parrot app running over here. So those two things were gonna work together to get us into the opportunity where we could even just singlehandedly control this script, going by with this remote control and also control the speed next up, we have the real meat of the operation here. This is the unit. Almost. I don't know where to put some of this stuff. Let me just figure that out. Hey, um, this is going to go between the camera. The camera's gonna go fear and our phones gonna go in there somewhere. And then look, they also package together all of these different rings that you would need to attach it to different size cameras. So I think at that point, the box is useless. So let's just get rid of it and see what we've got here. We might just be referencing those instructions So one of these rings is going to connect this box This box to the front of our antique camera are anti camera being something we can also talk about briefly Because I know you guys are probably a lot interested in in what camera I'm using. We will be looking at the instructions here and figuring out how to put this together. But this camera is an Eos 5 50 D. Now that's the European version of this. I think it's like the t two I or something as it sold in other markets. Anyways, you can find these on eBay really cheap, and you can hack them by running a magic lantern software. You put that on the on the SD card in here, and then you can unlock full manual control over the sensor. And that's really the key to get in good, stable teleprompter shots. Whether you're doing a webinar, whether you're recording lessons for an E learning course, where you doing Facebook lives? Because you can also take the feet out of the HD my port here and take it through a converter and bring it in as a web. There's a lot you can do with you might think obsolete cameras, but this is by no means obsolete because we can get access to the sensor and we can provide constant power. And we can improve the optics here I'm using Ah, film lens 35 millimeter film lens. It's all manual, you know, all manual controls. He said it and you can kind of forget it. Got consistent lighting. Consistent aperture, consistent, great quality sound. That's the other thing I'll talk about later. Then what you really need is good screen presence, and that's where the teleprompter is going to come in. It's gonna allow the the person on camera doing a piece to camera if you will toe look directly into the lens, that lens. Yeah, and actually see the script here, right? And the way that happens is I don't want to break this, but I just I can imagine there's a piece of reflecting. Yep, material something what you might call a mirror. But this is a semi settle silvered mirror, so that's the front hood, so you can see once this gets on to your camera with the Mt. The words from the script are going to be bouncing up on this mirror, and that way you'll be able to look right into there and see those words. That's what that's where were headed here. So let's figure out how to do it. 9. Setting up the teleprompter system: This is what it looks like to use a teleprompter. You're seeing the script here in the camera is looking right down the barrel of your face. You see, it just holds the smartphone in there nice and secure, and it's firmly attached to the front of the lens. Let's just break it out a little bit here so you can see exactly how quickly can come together. It's a couple things will talk about with the smartphone. Let's first get this mounted securely to your camera. This is the rial unit here. This is the spring that holds the phone in, and when it's not in use, you've gotta dust cover here for the front and the back. Now, when you first unpacked the parrot, there's going to be a 77 millimeter adapter ring in here. You see how it just snaps in, So when you get it, it's gonna be like this. Just snap it out unless you have a 77 millimeter lens that you're attaching to. Not the 77 millimeters long lens but 72 millimeter thread. That's a little confusing. Let me just show you on my camera. This is a nick or 24 millimeter F 28 lens, and it has a traditional 52 millimeter threaded filter mount. So it's the filter says are the filter size that you need. And so that's gonna go from there to there. So this will see a slight. It will slide right in there once I attach it to the camera. So let's do that first. It's pretty simple. I'm just gonna screw those two things together. 52 millimeter and I'm going to slide this on now. The last centimeter There last a little bit there. It's gonna need a little bit of pressure. Here you go. And it snapped securely on there. So there you go. That's not going anywhere. And you see, this is an angle piece of semi silvered mirror glass. That's the rial magic trick in the teleprompters that uses an angled semi semi uh, silver means you could shoot through glass, but it also reflects what's happening below. So that's the real magic trick. Will just save these parts for later, and then you've got to set up your app and your phone. So let's do that. And we are. And if you go look first of all. Look, I've got this mirrored. That's what you have to do in order to have the mirroring effect, right, Because it's a mirror. It means you have to flip it backwards. I'll show you where you do that. This is the parent app, and you just toggle the mirror mode when you're ready to go in and attach it to your teleprompter. The parent app is pretty straightforward. It lets you synchronise or write scripts. You can use Dropbox one time set up. It works great and also will pair with this remote. Now see the parent TelePrompTer used to sell this separately from the set of different filter rings through camera. Well, I found that I could get the whole package together, and that was a really good deal for about 100 and 20 U. S. Dollars. So now let's see how what it takes to synchronize this remote so that will remotely controlled the script. Right now, if I move these buttons, nothing's happening here on the phone. So it's pretty straightforward. It's I read the instructions, and it's a Bluetooth experience, so we've got to make sure that the Bluetooth is on and that the remote is on. Now that the controls, you're gonna need a on the backside here. So I've taken the little piece of plastic out here that will allow the battery toe work when they ship things from China. Probably. Ah, that's a good idea. Take that little piece of plastic out. I've got it on. And I saw a little led turn on over here and it says, Just press and hold the con button. And I tried to do that with my finger. Now guess what? Con button has to be pushed down. So here I'm just using a little visual aid there. Look immediately. Bluetooth remote controller shows up. So if I say I'm gonna pair to that Yep, I'm getting some light action over here. And look, it's now under the list of my devices. So this is now paired to my phone when it's running the parrot app. So let's just try the parent teleprompter app and see what happens if I Yeah, look, I'm clicking here, and it's making things happen over there. If I push the, uh OK button. So it's these controls that you're going to use if I want to go back to Okay, that's so that Stop and start the okay button. That's good enough for me. But I think and if I just click the up arrow or down air, I could go forward or backward in my script. I have start and stop on. I think yes, this left and right button will control the speed. So if I go left, it's slower, right? It's faster. So I'm just about ready to practice reading a script here and using the teleprompter. So without further ado, let's see what the results can look like. 10. DEMO: How to use the Teleprompter to read a script: So now it's the moment of truth, right? I'm in the hot seat. I've got my camera powered up pointed right at my face. I've taken care of the lighting. I've got a hair light. I've got focused set. Oh, and one more thing. I'm using the road filmmaker, Wireless kid. I found through my testing that with this camera and in this situation, I tend to sound pretty good and have few problems using this rig. So I'm just gonna make sure that's turned on and that I can see a level up here and yeah, I could see the two bars up there. That's good. And I'll just stick this in my pocket. Point is now I want to be relaxed. I've suffered enough trying to put all that together, but now it's pretty much set. I don't have to do anything else. All I have to do is load script, synchronize the Dropbox and just make sure it's in mirror mode with a yellow font. And I could rehearse it a couple times and ah, that I've got my remote. So hey, let's give it a try. Welcome to this smart film school. My name is Rob Montgomery, and I'll be leading you through this course step by step. I began my career as an editor in two Pulitzer Prize winning newsrooms in Chicago, and in 2005 I started making film documentaries and teaching video journalism. Since that time, I've trained thousands of broadcast in digital journalists in more than 30 countries how to make films and video reports with small mobile cameras. In 2010 I developed the world's first Charles in school, built completely around mobile video reporting, also developed the mobile reporting app in mojo training for field reporters working at large broadcasters like Radio Free Europe Radio Liberty, The method shown in this course are drawn from these real world experiences. And today my video training courses air used by reporters at CNN, The New York Times, Reuters BBC Look, I'm glad you're here. This platform is where I introduced the equipment, the apse and step by step video techniques for getting great results every time. Smart film school courses take the confusion out of video production by focusing on the fundamentals. The lessons are structured to allow you to practice each new skill until it becomes second nature. I want to make sure you're getting a great value from your purchase and that thes lessons will serve you well. I encourage your feedback and seek your support going forward. Smart film school, after all, is also a global community, and we share tips and tricks on our Facebook page. So be sure to like us there to get the latest news, and you can always reach out to me through my contact form at rob montgomerie dot com. And now I'd like to invite you to dig in and get ready to have some fun while learning how to make better videos in films. Happy filming. 11. Gear for a live studio: one great thing you can do in your live studio is use wireless technology and an app, for example, running on an iPad to control an iPhone camera or two and actually do television production . Because with this app, you can set Jo's cameras as sources. You can do text overlays, graphics. You can even have some pre recorded clips like maybe you've recorded something on your teleprompter is an introduction. You can put all that material and do a live broadcast right to any platform. Facebook, Twitter, YouTube, you name it live production doesn't have to cost a lot of money, and once you get everything set up with your light and sound, it's a lot easier. 12. DEMO: In the studio with Teradek Live:Air Action: everyone welcome. I'm Rob Montgomery in Berlin and we're doing some testing with the Terra deck live air action APP and two iPhones running the remote camera app. And we're trying to find the best settings for the bit. Raid the resolution, lock down manual exposure and focus. So, you know, even if a one man band here, um, can turn this on and go live to any platform using the app right here on the iPad could do all the switching between the shots and the title graphics, for example. And you know, that's what we're really interested in doing while we're doing it for a client in Austria. Big publishing House wants to set up a studio like this in their newsroom so they can do lives and we can develop some show programming with them. So without further ado, I just wanted to go back to the main shot camera one. And the things we're looking for, of course, the audio which is coming over a wireless Sennheiser e the X right into the iPhone. What, the skin tones? Are they good or the consistent? I mean, it's just me, so I realize I'm probably not the one to be on camera. How do graphics look? Overlays and, um, titles. Are they crisp? Are they clear? That's what the kinds of things we're looking at testing. How does that fade in? Is that fade out smoothly? What's it look like when we cross fade to camera Two is the edge detail holding. How are the highlights Now? See, this one is not in manual exposure. So I'm going to try and take it out of auto and, um, locked down the I S o. I've got the I s so locked down right now to about 38 0.17 that looks pretty golden pretty nice. And for, you know, especially for your piece to camera shot that's important to keep steady and fixed. You don't want auto focus auto exposure on a white balance, constantly changing things as the sense you know the subject might move in and out of where you have the they focused in exposure radicals place. So just little little touches for professional television production with IOS devices. Here's a little bit more pre recorded clip where you can see a little bit of what we're trying to go for and how you can get started doing that. So now we're going to use the Terra Deck app for the iPad Live air action to add our iPhone camera sources on the lower section is the sources, and you can add a new source and your iPhone running the live air remote app is technically now a terrace deck device. So this is where we will add are two iPhone cameras, one which is fixed for a the host to directly address the audience. Any other is an osmo action cam, where you know the host in this case me can switch to during the broadcast to show close up shots and motion shots from items on the table, for example. So that's what we've got set up on iPhone six plus as Camera one and an iPhone six s plus set up is the Osmo Cam. It's on Osmo Mobile and, uh, nothing else. So both of those devices are running the remote app, which is free need downloaded from the APP store. So let's start with camera one. I can choose camera one. There's a green frame border and I click done, and now Camera one will be added as a source list, and you can see there's a little bit of a delay there. Hi, everyone. I'm down there in that little window, and if you press and hold, you can see some of the settings. Now I've set it up for automatic set up in the remote app and at 7 20 p, which is high definition. Ah, I told it to use the settings I showed in the other video, and this is what's now going to be coming in. So it looks good. It's identified, it's live, it's a source, and the always on there is for the microphone. So basically, I have Sennheiser, a V X wireless mic that I used to attach to me. The host and the receiver is attached to Camera One, Um, and it's got an SC four road adapter cable, so it will go from the A V X into right into the iPhone, and so that should sink up for the main dialogue. And I want to make sure and I'll show you later how I want that to be. The only mike used in this too camera set up two cameras is pretty typical for a live television production. Now I'm gonna add the second source and I click Done there on camera one. I'm gonna go to again, go to add new source on the bottom again. My Osmo cam is now a terra duck devices. Well, so I will select by tapping on the osmo, get a green frame to confirm and go done. Now, if you have other terror deck devices, if you've got you know, HD cam connected to one of their devices that will broadcast on your WiFi network, then it will also show up as another device. So now I've got my two cameras, Cam one and Osma. And you wonder, how did I get those names? Well, that was in the remote air AP on each phone. I was able to give it a custom name. So when I'm in here in the live action app on the iPad, I can see those names. And I know exactly which camera I'm talking about. So now if I press and hold here on the osmo app, I can see it's settings are very similar, identical in fact, to camera one, and that's it. If that's all I wanted to do. If I just tap on that source. It'll go up in the preview. If I tap on the cut, it will go into the program, which is what the viewers will see. The audience will see and I can then tap on that source for the Osmo. And now I'm ready to when I'm ready to cut. That shot is already pre loaded, You see, with the Osmo, I'm letting the Osmo do the stabilization me to turn the Osmo Mobile on. I'm learning that Osmo Mobile do the stabilization. So in the remote app, I made sure it turned the optical image stabilization from the iPhone off. So I'm gonna let that see, even if I move my hands, that shot doesn't move so much. And that will allow me then to show my audience some shots here. And when I want to switch to that, I just tap on the cut and it will go live during the broadcast. So basically, as a host, I've got everything set up here and I can switch right here on the iPad. All of the television production is done right here. And in additional, uh, in the next tutorials, I will show you how you can set up. Also, um, some overlays like this, so that when you want to send those out, you can have some overlays. You can have a have a logo, or if you've got some show graphics, you can preview that and also cut to that when you want to. And that might be good for the opening segment on this one. We might be talking about the asthma mobile, for example, but I could always pre load my next shot and say, Hey, I'd like to talk about my book blah, blah, blah. So it's really cool. You set up, um, your sources first. Then you set up your graphic overlays, Um, and you can also add pre recorded clips. So I want to show you that in another tutorial, it's basically just adding another source. So this is, Ah, quick way to get started with the terror deck, Live air action AP running on iPad pro. In this case, and just to repurposed iPhones, some iPhone six is that you may have lying around. It's a really amazing system to be able to have everything you're used to in a much bigger control room, right into your fingertips in iPad app. It is a little bit frustrating, kind of go through, dig through some of the sub menus with terror deck stuff, but you confined most everything. What I can't find is the camera controls where I can lock, focusing, exposure or manually controlling with the app here. I have to do that from behind each camera, um, and set that manually. So that's a little bit tough to do here, even more trial and error and making settings and testing when there's just me, you know, if you got a camera operator, it's a little easier if you get a tech. It's even easier if you get to do it all yourself. Well, welcome to the Smart Film School. 13. SFS 12 Live Intro Action Action app: So now we're going to use the Terra Deck app for the iPad Live air action to add our iPhone camera sources on the lower section is the sources, and you can add a new source and your iPhone running the live air remote app is technically now a terrace deck device. So this is where we will add are two iPhone cameras, one which is fixed for a the host to directly address the audience. Any other is an Osmo action camp where you know the host in this case, me can switch to during the broadcast to show close up shots and motion shots from items on the table, for example. So that's what we've got set up on iPhone six plus as Camera one and an iPhone six s plus set up is the Osmo Cam. It's on Osmo Mobile and nothing else. So both of those devices are running the remote app, which is free need downloaded from the APP store. So let's start with camera one. I can choose camera one. There's a green frame border, and I click done, and now Camera one will be added as a source list, and you can see There's a little bit of a delay there. Hi, everyone. I'm down there in that little window, and if you press and hold, you can see some of the settings. Now I've set it up for automatic set up in the remote app and at 7 20 p, which is high definition. Ah, I told it to use the settings I showed in the other video, and this is what's now going to be coming in. So it looks good. It's identified, it's live, it's a source, and the always on there is for the microphone. So basically, I have Sennheiser, a V X wireless mic that I used to attach to me. The host and the receiver is attached to Camera One. Um, and it's got an SC four road adapter cable, so it will go from the A V X into right into the iPhone, and so that should sink up for the main dialogue. And I want to make sure and I'll show you later how I want that to be. The only mike used in this too Camera set up two cameras is pretty typical for a live television production. Now I'm gonna add the second source and I click Done there on camera one. I'm gonna go toe again. Goto add new source on the bottom again. My Osmo cam is now a terra duck devices. Well, so I will select by tapping on the osmo, Get a green frame to confirm and go done. If you have other terror deck devices, if you've got you know, HD cam connected to one of their devices that will broadcast on your WiFi network, then it will also show up as another device. So now I've got my two cameras, cam one and asthma. And you wonder, how did I get those names? Well, that was in the remote air, uh, app on each phone. I was able to give it a custom name. So when I'm in here in the live action app on the iPad, I can see those names. And I know exactly which camera I'm talking about. So now if I go and double, I'm sorry, tap and hold press and hold here on the osmo app, I can see it's settings are very similar. Identical in fact, to camera one, and that's it. If that's all I wanted to do. If I just tap on that source. It'll go up in the preview. If I tap on the cut, it will, um, go into the program, which is what the viewers will see. The audience will see, and I can didn't tap on that source for the Osmo. And now I'm ready to when I'm ready to cut. That shot is already pre loaded. You can see with the Osmo. I'm letting the Osmo do the stabilization me to turn the Osmo Mobile on. I'm learning that Osmo Mobile do the stabilization. So in the remote app, I made sure it turned the optical image stabilization from the iPhone off. So I'm gonna let that see, even if I move my hands, that shot doesn't move so much. And that will allow me then to show my audience some shots here. And when I want to switch to that, I just tap on the cut and it will go live during the broadcast. So basically, as a host, I've got everything set up here and I can switch right here on the iPad. All of the television production is done right here. And in additional, uh, in the next tutorials, I will show you how you can set up also some overlays like this, so that when you want to send those out, you can have some overlays. You can have a have a logo or if you've got some show graphics, you can preview that and also cut to that when you want to. And that might be good for the opening segment on this one. We might be talking about the asthma mobile, for example, but I could always pre load my next shot and say, Hey, I like to talk about my book blah, blah, So it's really cool. You set up, um, your sources first. Then you set up your graphic overlays, Um, and you can also add pre recorded clips. So I want to show you that in another tutorial, it's basically just adding another source. So this is, Ah, quick way to get started with the terror deck. Live air action AP running on iPad Pro In this case, and just to repurposed iPhones, some iPhone six is that you may have lying around 14. Live: Air Action - Adding video sources: when you launch the Livestream Air Action App, you'll need to give it permissions for your microphone. And, of course, any assets like photos that might be on your device that you want to bring into your show, and then it's up to you whether you wanna do the location and or the notifications. I tend to turn those last two off, but you got to give it access to Mike and photos. And then once you get into the device, you need to add your camera sources. So I use to iPhone cameras that are on the wireless in the same wireless network as the iPad Pro. And when I go, um, too, this bottom section down here, it says, add news source. I want to choose a terror deck device. Basically, the iPhones are now terra duck devices. There's camera one, and there's Osmo so I can choose Camera one as my first source. Now Camera one and I click Done is a fixed, uh, camera position that shows me basically Hey, that's me. That's me in the preview window and that's me. I've already got some title over lays on there. I'll show you how to add those in the next tutorial. Um, I want to add a new source again. A terra deck source. And I'm gonna choose the Osmo can. The Osmo cam is this. It is Ah, iPhone six attached to an Osmo Mobile. The Osmo cam done. Okay, let me just add the source before I get carried away. Here. Um, that source terror deck Osmo should be coming in now. Do do, do, do, do do do do now I can go up there to preview Now you can see both cameras ones in preview as it's ready to go live and the other one is going alive So that's camera one over there on the program on the right side of the screen And in the preview you're seeing what's on the old Osmo Mobile Nice Turned off those overlays again I'll show you how to add those on their pre cool Pretty easy to dio So that's it for your camera sources. But when you're ready to do another source So let's just look at some of those other choices I could add video files. I could even use the AIF uh, the IOS camera here on the iPad or I could add core devices, part of tear index product line. Now for my show. I just want to be able to do some piece to camera, go to the Osmo Cam and then show a video clip and then come back to me. And I just want to go get that video files right there. It's a pre recorded clip. It's just a short demo of setting up a terror deck device. You've already seen that, but I'm gonna put it here. So when I broadcast this live those air, my primary sources there on the bottom camera. One Camera two, which is the Osmo Mobile Action Cam and Source three, which is a pre recorded clips. So now it's like a traditional new show, right? I've gotten two cameras and some clips, and I've got some show graphics up here, which I'll show you how to make in the next tutorial. 15. Overlays - titles and graphics: I've added a camera source to camera sources, in fact, that our iPhones and I've added a source as a pre recorded video clip. Look, there's thes two screens up at the top here. 1st 1 is the preview on the left and the program on the right. The preview lets you set up your next shot, where, when you cut to it, then it goes to over to the program window, and that becomes then what the viewers will see. Now we've got our sources for this show that we're gonna build already established. And now let's just go in a little bit and look at adding what are called overlays. Overlays are and overlay there like a transparent layer over the video. So we see that often when we want to, um, put someone's name on there. So let's put my name on there. I'm gonna tap on that and then tap on custom text, and here I can write my words. I've just tapped over on the right side. There were it, said text, And then I can just type my name Montgomery. And if you look over on the left side, there's this checkerboard and and the title is there. And if you tap on there Ah, you can Oh, I need to say, done with the text entry there. Yeah, Good. Now you can work on the placement of that. Who We can rotate it, weaken, tap it up or down, using the arrows over here on the right side. So, generally speaking, I think we want this title. It's like a lower third. It's the lower third of the video there to be small. And you can also, um, you know, adjust the size and you can adjust the font that you want to use in. Smaller is better. If I need to adjust the placement again, I can do that again, tapping the arrows over here to get it into a good position. Now that's pretty small. It looks really small on the screen. I know, but let me just clack click done there and see if we, uh, if it's starting to look good and I was going to tap on the icon of that overlay and there is my name. I don't wear it out right, so there's my name. If I don't like that fund and I have to say it pretty much. Don't. I'm gonna tap and hold on the icona, that overlay and I will audition some new types. Fonts. It looks a little cleaner. Ah, I wanted to be in the right position. Let me just look at the placement again. Maybe just tap more, right? Tap down left, maybe something like that. And that's my first overlay. Just a simple name. And I can take those two shots and I can to two samples there of the camera source and the overlay of the name. And I could save that as a shot over here on the left side so that any time I want that, I've got it so I can audition. I can preview there, and I can say, OK, now, let's cross fade and go there. So that's how to use an overlay with a simple camera shot to create a shot that you could just tap during your show broadcast. I'm gonna show you another type of overlay, and that is to add an image. And in this case, I want to, um, wanna look for mm somewhere in here, huh? Somewhere in here. I've got my logo. Four smart film school So I just need to scroll through my Brazilian images to see if I can find that quickly and what it is is. It's a logo with a black background so that will show up transparent. There it is. So there's the smart film school logo by tap on that, it's gonna load that as another image overlay. And my God, it's huge now with an image overlay. If I tap and hold on the icon of it, I could just take two fingers and squeeze here in the middle until I get that thing reduced and then repositioned up into the top right and click done. You can also change the opacity there so I might just go a little bit more opaque or to let some of the the stuff go through. So that means that if there's see my hand into their, so that's what opacity does. So that's, Ah, graphic overlay. That's, um, it's nice, because you can just take the two fingers and reposition it, you know, with the text. You just kind of have to manually move it in there. Two types over overlay graphics. 3rd 1 will be the show title, and this will be a full screen 1920 by 10 80 graphic that I created in photo shop. And again, that will be an image. I can find it here. There it is. And now I've got an image overlay that looks like that. So when I start my show, my first frames will look something like that. And if I wanted to get my, uh, face with my name set up as the next shot So I do my introduction and then I can cross fade as I run my show and say it. Welcome to my broadcast. That's how we work with overlays to start to build some show production. In another tutorial, I go Maurin Death about building shots so but that's how it starts. 16. Shots for a live show: when you want it, um, run your show. You want to think about shots so that you can have one button tap access to preset shots. So let's start with the title graphic. That will be the first thing I want people to see. And that's what it looks like. It's now in the preview window now in the bottom left of the iPad app. There's a little icon of a floppy disk. Well, that in the shots pain will save that as a shot. So that image overlay of my title graphic is right there as the first shot. The next shot I'm gonna want is a picture of me, and I don't want that overlay. But I do want my name that made that as a separate overlay. And I want my brand, my logo. So those air that's like my main shot when I'm alive and I've got those three elements, Camera one and two image overlays, and again I will go over to this shot list pain and tap on that little floppy disk icon, and now I've got a shot made for my main shot. The next shot I'd like to do will be the Osmo Cam, and there it is in the preview window and you could see Well, that's might be awkward to have my name on there if I'm not on screen, but I do want the logo on there. So I've got now the Osmo Cam and the image overlay with my smart film school logo. I'll go back over to the shop pain tap on the floppy disk icon, and there's my third shot. My fourth shot in my sequence will be the movie, so I'm going to tap on the movie. Tap off on the image overlay of the logo when you add pre recorded clips here tapping. Hold on that. I kind of that clip down there and you want to turn off the video completion. You just want it to stop, or you could have it automatically transition to what's in your preview. So while that's what that means is, I could just have it stop. But I could have it just come out of the out of the payroll and come right back to what's ever in the preview. So I want to make sure when I'm playing my pre recorded clip that I will choose you know, the main shot of me talking to the camera or the title card graphic so that I can continue the show broadcast uninterrupted. So okay, now that I've done that, I can add that clip to my shot list and I want transition. And now that is a shot on the shot list. And in the final of the closing shot, I like to have, um, Camera one. And I like to have my name and my book and my logo, blah, blah, blah, branding so important. So I will say that as the final shot. So that is pretty much the sequence of my show from the opening title card to the closing remarks. So that's how you organize your assets to make a shot list that follows the sequence of your show. 17. Microphones for video studio: When you want to really make professional looking and sounding videos, you've got to take extra care for microphones. Different microphones are used in different situations. Sometimes you might use a little small lab mike and other times you might use a shotgun Mike. Now, for most of my video recording for lectures, pieces to camera or screen demonstrations, I'm going to use a radio microphone here. This is the road pro Castor, and I've attached a fete head, which is a nice little pre AMP that uses some phantom power coming from your mixer to provide 23 to 25 decibels of clean gain before your microphone single even goes into your pre EMP. And this type of microphone really responds well to that. This is a dynamic microphone, but I'm feeding it some phantom power and using this little trick called a fete head in between a combination of doing that and having your microphone have a nice pop filter, have a suspension mount, have a cantilevered arm to see you can position exactly where you want and get it out of your camera shot. But close to your voice. All of those little things add up to the ability for me to be on camera and have a really professional broadcast voice without spending a great deal of money, just trying to spend the right amount of attention and get the right pieces together. 18. Lighting instruments: So when you're designing your video studio, you might start out with some low cost lights like I've got here. This is a compact fluorescent light. I can't change the color and I can't change the power. But it does have a nice, big, broad light source with this shoot through umbrella, and it's not too expensive. And so this is one type of light that I will use in my studio for filming overhead shots. I can film recipes here on boxing's Aiken, do close ups of gear and be relatively sure that it's going to look good on camera because the light sources so broad that there's no real shadow cast by the camera here. So a big, broad light source is one type of light source. It's really effective in a live studio where any kind of film studio what kind of light source. If we look up, you might not notice. It's really important when we don't have our studio lights on. We've just got some utility lights, and these were just some low cost led rope lights. I've got just strung around my lighting trust one of my circuits of the lighting trust and when we're doing some basically talking head type of videos. We're gonna have some some small lights. Here is Phil. We're gonna have a key light up here that provides the primary light source to illuminate the face. And then I just improvised kind of hair light appear again with a low cost strip led something you can get at your bowel marked your Home Depot without spending a lot of money . The key is to try and get the colors in the same range in the daylight color balance. Because that's what I've got with these low cost lights. Right now, if I go around to the other side, I'll show you. Ah, just one more detail when you're dealing with lighting and lighting trust and you're designing and that is if you have the opportunity when you're installing your lighting trust also talked your electrician's about placing some power at the same height again. I'm two meters 30 off the ground. That's where the lighting trust is. And that's where I've now got switch double power for my studio lights and for my work lights. And so now I've switched off my work lights and you can see if I'm going to do some tabletop filming. I'll need this light. Otherwise I've got it right here on a switch. And now we're ready for filming some talking heads, basically me either reading a script to the TelePrompTer, me doing a live shot here to the iPhone or just using that iPhone and the filmic pro app to record some video segments that I will then build into a tutorial. Because a lot of what I do video tutorials. And that's how I use my life studio in this configuration. So the key light is lighting my face. The fill lights fill in any shadows under the eyes in the hair. Light is slightly behind me and above, and what that does is that it gives a very three dimensional effect, especially since I've got a very deep space black background there. And the other thing is, I don't have barn doors for these lights, so I just improvised with some black paper and some lead tape and some black gaffer tape, some waited baffles that prevents the light from spilling onto the background. What? I just really wanted to come down onto the subject 19. Table top setup: when I feel my gear test videos. I like to set up a big, broad light source to put very soft light and very makes very soft shadows on my table top . And then I put my camera between the light source and the objects in the table so that I can get the proper perspective because the light sources so broad you really don't see the shadow from this camera rig here. And this camera rig is just, you know, a helium core cage, former an iPhone six. And you know, if I wanted to change lens, I can put different lenses on there. But right now, this distance works pretty well to get between for filming objects of this size. Now, if I had to film larger material, of course I would need to make adjustments may be used a different lens either wider or smaller, depending on how big the objects where I was filming. But this would work pretty well. So for recipe videos. So I'm sitting on a stool here, so I'm comfortable, and I'm gonna be filming some short segments to get this effect. I've gotta have a good tripod. Now, I've had this tripod. It's the seer. U E N Dash 22 04 have had this tripod for 10 years. It's made of carbon fiber. It's really, really light. I can get any angle I need. I have an extension bar here. It folds down really small so I can put in my suitcase when I need to travel around the world, get a tripod. But when you've got it angled like this and you've got maybe a slightly heavy camera on the end all the way at the end of that angle, you got to be smart and put the counterweight back here on the back leg. This is now very stable. It's isolated from the table, may look like it's it's resting against the edges of the table, but it's not, I assure you it is not, and that gives me a lot of security to know that even if I'm moving around or something moves on the table, it's not gonna shake the camera. So that's what you want is a really stable camera. If I could find a way to fly the camera from my ceiling trust, I would get rid of this tripod set up because you know how I feel about having tripods and stands around when I don't need him. But in this case, it's a special type of filming. I'm going to be doing this type of filming for maybe a day or two, and then I break it down and then it goes away. So that's one tip or maybe 10 tips for doing overhead shots that look really great, even if you're filming with an iPhone. 20. Where to put all those cables?: Let's spend a minute here and talk about what's going on on the back side of this studio set up. Basically, there's just a few ideas here. One is that we've got to get power toe all the gadgets, so we try to make a clean power strip here. We've got a battery charging station over here because we have so many battery operated devices, whether they're wireless microphones, whether the the led lights, it just got a little charging station here. And then this is the USB hub. Having a USB hub here lets me attach several hard drives to my computer. Helps me attach the I K multimedia I read duo interface, which is right here. I'm just using one channel of it. You can see I've locked it down to almost zero db gain because I'm getting all the gain from my fet head and from my Joe Meek pre amp. So the job preempt goes right to the audio interface. The audio interface gives me USB power here, and with the audio interface, I just go out to a headphone for channel headphone splitter, and that goes to headphones and two speakers, or what's called monitors and basically that's it. It just looks a little bit like a spaghetti western back here. No one here is Ah, the Raid the dedicated road filmmaker kit that I used with my canon DSLR for filming my pieces to camera with the teleprompter rig. So I hope that de mystifies a lot of the tech. Here is just some basic ideas for power charging and then signal routing. 21. Production workflow: So in this segment, I want to share with you a little bit of behind the lens of what it's like to sit in the producer chair here where you are managing perhaps a live broadcast on video. Or perhaps you're recording something a za piece to camera to get a nice testimonial or a nice promotional read on camera. Or you're editing those shots together here in final cut pro, and you want to get the best sound quality. So you might be using your audio monitoring so that you've got speakers for playback. And when you don't want speakers, you can go to headphones. So these air additional layers for the video studio, and in this configuration, I can do everything I need to make of very high quality broadcast quality of video tutorials. All of the elements of my video production gonna go into final cut pro if they started on a canon camera or they started on an iPhone, it doesn't matter. Or even the Osmo like this scene is being filmed in with the deejay I osmo, a handheld mobile rig so you can see in this final cut project. This was a tutorial. I made on making a TV documentary with your smartphone in the corner There, I've dropped in my my head shots. So here I had basically used the program Final Cut, and I'm explaining what I'm doing while I'm editing so it will alternate between when I'm addressing the viewer. And then I want that continuation of the teacher. They're showing what they're doing while seeing what he's doing. So you basically get the view from my computer screen, which is just recorded in Quick Time Pro, which is free. You just go to quick time player and you just say screen record, right? And then I've got my, uh, camera. I often use just the iPhone for this shot, and I've got the audio coming in to my computer so I could just pick up the audio from my quick time that goes through my audio interface and then into the computer. And then I could just drop in the shot of me, and I can resize it to a little small window there and see. This is one of the reasons why you may wonder, why is he like shooting against black? And it's just a style for me that I I think it looks good. Looks good for me. When you're shooting on black, you can see that hair light is really important to get that separation. And for me it's nice because this way, your instructors always with you on their demonstration. And they may not always be looking at you because they're obviously driving the machine here to show how video editing is done. But it just makes it a little bit more personable. And that's how I put some of those elements together. You can see I've got my little iPhone for just running a free teleprompter app here. This is Ah Devi prompter. It's pretty easy you can tap in your script here. It starts to you just have it looping, so there's just ah, I can see that on screen. As I look right through that all I see are the words. But what the camera sees is me. All of the letters don't get recorded by the video because it's so close to the lens. So it really does. It's a really cool effect, and it simulates the very expensive teleprompters that you see in television production. One other detail. While we're on that shot is I will have a dedicated wireless mic that have already set up for the TelePrompTer. So I will. When I'm doing that, I've got a dedicated rig for teleprompter, so I can just set it and forget it. And basically, that is, um, how I like to produce when I only have basically myself to do all of the elements of production. So you can see it's kind. Maybe an extreme examples. Like, I'm trying to make the most out of small um uh, inexpensive techniques and gear so that I could do it all myself. So when I have the inspiration, I can make a video. But when I'm blessed with a beautiful camera operator here like my wife, I could do another type of shot, and that is what you're seeing in this video.