Speak Well On Camera | NICK SARAEV | Skillshare
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7 Lessons (50m)
    • 1. Eyes on the Prize

      6:32
    • 2. Facial Expressions

      8:05
    • 3. Arms and Gestures

      7:56
    • 4. Vocal Tonality

      6:36
    • 5. Loudness and Timbre

      6:21
    • 6. Cadence

      4:57
    • 7. Bonus: How not to Stammer

      9:08
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About This Class

Speaking to a camera is the most important skill to have in the 21st century. Video is soon to be the most common way people share ideas, businesses, and relationships, and if you don't know how to speak to a camera effectively, you'll be left in the dust.

Consider this:

  1. Over 3 billion people use social media sites like Facebook, Instagram, YouTube, Skype, and Udemy

  2. Video content is by far the most pervasive and effective way we communicate on these platforms

  3. Development in recording technology isn't slowing down - it's speeding up. If you thought people filming concerts with their iPads was crazy, that's nothing compared to what's coming

According to Forrester Research, a single minute of video is worth 1.8 million words.

What does this mean?

It means the businesses, the innovators, and the world leaders of the future are going to be spreading the equivalent of several thousand books'  worth of ideas, emotions, and experiences in the same time it takes for you to finish a single video on YouTube.

That's world-changing potential.

Entrepreneurs today are faced with the same dilemma they had twenty-five years ago when the internet was first becoming widespread:

"Should I try and adapt? Or is this just a passing fad?"

Newsflash: just like the internet, it's not a fad. Get in or get left behind.

Now, where is this "in" anyway?

"In" is where the majority of people currently aren't. Most people out there have no idea how to talk to the camera - the second somebody starts filming, they freeze, get awkward, and manage to look more out of place than a penguin in the middle of the desert.

But cameras are all around us. On every street corner. On every laptop. And in every kid's, young adult's, and granny's pockets. And by neglecting to spend any conscious time working on your camera skills, you're potentially missing out on huge opportunities. Like:

Marketing videos. Personal branding. Skype interviews. Business meetings. Instagram stories. Virtual acting calls. News segments. Online dating. The list goes on and on. Take any activity, social situation, or career and apply video to it. Because if it doesn't already involve a camera, it will eventually.

Here's where we come in.

We coach communication. Body language, vocal tone, public speaking - you name it.

Recently, we started applying what we know about the fundamentals of human interactions to the relatively esoteric sphere of communicating on camera. We compiled peer-reviewed articles, spoke to professional journalists, and watched a ton of crappy speakers.

And we came up with a short list of 6 easy steps anyone can take to master their camera speaking.

6 short steps, with each one taking less than half an hour to practice and get down pat. Do the math, and you end up with just under 3 hours total to master one of the most important skills of the 21st century.

We're proof that they work: we personally used these 6 steps to get over 4,000 students worldwide to enroll in our courses in just a few months.

Because what most people don't realize about content creation is that it doesn't really matter what you're saying.

It matters how you say it.

And we'll teach you the how. Whether or not you actively create content, the tools, skills, and techniques you learn in our short information-packed course will benefit you the rest of your life.

Let's get you started. Enroll now and we'll see you inside.

Talk soon,

Meet Your Teacher

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NICK SARAEV

Body Language, Productivity & Technology

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Hi there,

 

Welcome to my teaching page! I'm Nick - a gigantic nerd with a passion for body language & self improvement. I run a body language YouTube channel and have over thirty thousand students online.

 

A little bit about me: I'm a body language coach & technology enthusiast with a background in behavioral neuroscience. I love helping people overcome social anxiety and blossom into the best version of themselves.

 

I want to:

Provi... See full profile

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Transcripts

1. Eyes on the Prize: What's up, guys? Nick here, Welcome to the first real instructional video of our course. Now, as we talked about in the intro, the way we've structured the next hour or so of your time is gonna be very logical and very methodical. And given that we are first going to start from the top of our bodies and then we're gonna work our way progressively down and down and down, and along the way we're gonna learn the best practices for each body part. So what we're gonna do is we're going to start off with body language and then in the next module, we're gonna learn a voice control as well. So let's get started from the top down. The first most important aspect of speaking on camera is the eyes. I want you guys to think about your eyes as the bridge by which the viewer or the audience connects with you invite crossing that bridge, they get to see into your personality, and they start to actually mirror your own emotional state. Your eyes instantly tell the viewer whether you're engaged or corky or anxious or uncomfortable or even dramatic. And this is very different from work, general public speaking like during a Ted talk or something similar because chances are during a more classical public presentation, like again during a Ted talk, for example, the audience can't really see into your eyes, usually too far away. But while speaking on camera, usually the cameras within a meter or two of your face and the people that are watching can scrutinize you a tiny bit more so. Rule number one. Stare directly at the camera as much as you can shoot for 100% of the time. But if you guys slip up a couple times, it's really not that big a deal now, just a heads up. This is going to seem a really weird toe. A lot of you, especially if you guys aren't already comfortable doing something like camera speaking. It's going to seem artificial. It's going to seem fake, but at the end of the day, remember, so is talking on camera in the first place. Human beings were not wired biologically to speak into. These tiny little black circles were used to faces were used to feedback, and we're all so used to being able to look away every so often to kind of re gain a bit of cognitive strength. So again it will be weird. But this is the most important part of talking to cameras in the first place. And if you guys take just one thing away from our entire course, please let it be this because just by staring at the camera non stop, you're already ahead of, like, 80% of everybody else out there again, your eyes of the bridge between you and the viewer. So if you guys air constantly demolishing that bridge than the viewer isn't gonna be able to connect with you and what purposes speaking if not to form a visceral connection with your audience Now we talked a bit about how the camera drains 20% of your energy and the most noticeable place that it actually does. This is at the eyes. Normally, when you're speaking to your friends or your colleagues, the muscles around your eyes air constantly moving, you're either fidgeting with your eyebrows, right? You're either squinting. Are you just doing a bunch of other stuff? And this stuff actually helps human beings communicate with one another. For example, it allows us to really stress a point, or if you're telling a story, it allows us to really convey a surprised emotion. And every one of the great camera speakers over the last half century has used these tools to help express themselves. But most novices do not, because due to the fact that when you're speaking on camera, there's no real human being in front of you. Ah, lot of the time your brain subconsciously lets a lot of that stuff slide. It thinks, Hey, there's no human being here. No need for me to be all expressive. Let's just shut that part of me off. And what the sense of doing is it turns you into an emotional zombie. You start looking like this and a lot of the time. The rest your body follows suit, and this is low energy. It's boring, and it's not gonna emotionally connected to your viewers at all. Which, remember, is the point of presentation in the first place. So what we have to do is we have to go back into our brains. We have to reactivate that part of the social module, Let's say, and the only way to actually do that is to consciously force your eyebrows to move and your eye muscles to squint, at least initially into your brain kind of clicks in and goes, Oh, that's what we're supposed to be doing. Which brings us to rule number to force your eye muscles and a lot of the time in the beginning, it's not gonna look nice because you're gonna be overcompensating and your eyebrows, they're gonna go all like 0 to 100. Anya with nothing in between. You're gonna look kind of strange or hyper and crazy, manic and maybe perhaps emotional. But that's fine. Everybody who's anybody in the camera world actually went through that same stage, too. But after maybe 2 to 3 total hours to speak in front of a camera, what you'll do is you'll naturally reign it in, and it'll seem a lot more organic. So we've gone over staring at the camera and forcing eye muscles. The last thing I want to talk about is Rule number three, which is moderate engagement. A lot of the time with new camera speakers will do. Is they'll other look too engaged will keep their eyes open like this and look kind of cookie or the go the opposite way, though. Close them too much and then looking really tired and low energy. And if you were talking to somebody in person, you most of the time would not really have to consciously think about this kind of stuff because, like we said earlier, brain will actually take care of a lot of the social stuff automatically in the background . But because this time it's a camera, those sections of your brain are often shut off until you can learn how to consciously reactivate them. So at the end of the day, you want a happy medium instead of here or here. You want something like here, maybe 70% of, and you're gonna have to take a few practice shots and experiment with this kind of thing because it's hard enough just how open your eyes are on sensation or feeling alone so you can record a couple sentences. You know, look at the footage to engage. Dial it down by 10%. If you look not engaged enough, dial it up by 10% that kind of corrective thing. And if you need a benchmark, you can either use me or you can Google, your favorite public speaker. Okay, so that takes us to the end of the first video we talked here about I control, which is one of the most important parts of speaking on camera. And to recap we learned three rules. Rule one was stare stare of the camera as much as possible. Rule two was forced. My muscles ache. A For the first bit, you're gonna need a consciously recruit those muscles around your eyes to keep things interesting. And rule three was moderate. Engagement don't want to be too engaged. But at the same time, you don't want to look bored out of your mind. Go for the happy medium in between, which I think is around 78%. 2. Facial Expressions: All right. Welcome, Nick. Here in this video, we're covering the face. Now, if the eyes were the bridge between you and the viewer, rent in your face and your facial expressions are instead the struts that hold up and support that bridge. Meaning if you guys have got killer eye contact, but you're completely lifeless in the face, no amount of fantastic wordplay is gonna be able to get the viewer over onto your side. And just like with the eyes, your regular somewhat smooth ability to make facial expressions during a normal conversation often doesn't translate over super well to the camera because that portion of your brain is perceived is just not necessary at that moment in time. And so, in order reactivated, we're gonna use rule number one, which is exaggerate your emotions. Basically, due to the fact that the camera drains around 20% issue of your energy, you need to consciously and often uncomfortably act at least 20% more emotional than you normally are. So you're telling a story of some kind during the happy part seemed to be 20% more happy than you normally are, and during the sad parts you got to be 20% more sad, and it'll feel like you're kind of being cookie again. Like I'm not gonna lie. It's super weird, but the reality the situation is the camera cars a lot more energy than most people are used to putting out in a typical day today conversation. So you're gonna need to very consciously fake and actually exaggerate those emotions. And don't be weirded out by it because every great public speaker out there has spent hours attempting to perfect every little part of their presentation. And the reality of the situation is you're gonna need to do the exact same if you plan on captivating audiences like they do a lot of the time. When I'm coaching people through this process, they told me, I think it's kind of strange to have to put this much work into perfecting a facial expression or analyzing a smile. But at the end of the day, what would really make you guys feel weirder? Would it be uploading successful videos and easily getting a large audience? Or would it be creating hundreds, potentially thousands of hours of content and only getting like two followers because your presentation skills suck, so this will take some practice to get right. What I did and I highly recommend you guys do as well is that I spent two or three hours just telling stories from my childhood to the camera. And obviously a lot of them are very emotional. So I got a very prime opportunity to really crank at my own facial expressions. And then over the course of those 2 to 3 hours, what I do is I film a bit, and then I'd play back the video and just look at my face. But I would turn off the audio from the video and that turning off the audio bit is really important because it allowed me to separate the auditory components from the visual components and at the same time I was working on the visual. So this gave me a significantly higher degree of granularity with which I could really dissect my own presentation without needing to care too much for the audio or get distracted. What I do then is I'd keep that video playing, and I put that over here, and then I'd load another video. Except this time I'd find a really engaging public speaker on YouTube or something. And then I put them over here and then with no audio from either video, I could compare the two. And after a few seconds, I can usually figure out if I looked strange or was trying too hard, that kind of thing. And if I was overly emotional, I just dial it down by 10% and then repeat the process. And eventually I kind of successively approximated where I wanted it, and the rest is history. So I encourage you guys to do the same. Pablo Picasso, one of the greatest and most successful artists of the 20th century, once said. Good artists copy but greater steel. And I think that quote kind of like this. There's nothing inherently wrong with having a role model or somebody that you emulate, especially when you're first starting out in any skill and in public speaking and camera. Speaking specifically, there is nothing that has helped me myself more than one, finding somebody who's already really successful to studying and analysing of things that make them so successful, and then three applying those behaviors to myself and occasionally tweaking them for the better. When I can now. The next rule is something that a lot of people think that they already know something that I think actually, everybody already knows. And it's Rule number two, which is genuine Smile. Outrageous. You're probably saying, I already know how to smile and some of you probably do. But realistically, around half of you guys likely don't and I know it's shocking. I've mentioned this a couple times, my other courses, which should be a testament to how important this is to most public perception. But smiling is actually a full face enterprise. It does not just involve the curling of the ends of your lips upwards. A true smile involves micro contractions of a Siri's abandoned muscles around the eye as well. And often times these eye muscles are very, very difficult to recruit voluntarily, like if you're told to smile for a photo or something, which results in a super lifeless kind of creepy half smile thing that looks like this. And the reason human beings find this creepy is because evolutionarily we were wired toe look for full face smiles as indicators of genuine comfort or relief and happiness, and both the lower and upper half of your face coordinated to provide that indicator. But when you see a smile on Lee on the bottom half of the face and not the top half of the face, it starts setting off some uncanny valley. Weird alarm bells. If you've ever been told that you're not photogenic, this is likely one of the big reasons why when you're out with your friends and somebody tells you a joke, you look totally normal because these muscles are typically directly related to the brain machinery that processes humor. And so what'll happen is the brain will send signals down to contract these eye muscles as a show of enjoyment, happiness or relief. But when you're posing for a picture and nothing's particularly funny or heartwarming, just like when you're speaking on camera, that brain module that does that activating is usually off. So just like we did with the other facial expressions, we have to consciously learn how to reactivate it, at least for the first little while. Now, if you've been kind of falling along up till this point, but you don't really know what I'm talking about. An exercise that helps is to go on YouTube load of your favorite comedian or funny show, and I want you to take your hands and I want you to put them like this. And then when you laugh, I want to feel the different muscles contracting around your eye when you smile. Most people have never done this before, and usually it feels really weird. But doing this will give you an understanding of the kinds of muscles I'm talking about. It's this thin ring right around here now, because these air muscles and just like any other muscles they grow with use. You can actually train these eye muscles to become stronger, and you can make it so you can contract them at will. Take a whenever you want, and a lot of you guys can actually probably already do this already, especially if you've already had particularly funny or heartwarming lives. But if you can't do that, exercise that that I told you about where you put your fingers underneath your eyes and then watch maybe half a hour to an hour of comedy or a funny show every single day. Since these muscles are usually so small and tiny, almost people need is typically a couple days of conscious awareness and practice before they're able to start contracting them on their own. And then any time you're on camera and your storytelling, or maybe you're telling a joke of some kind smile using those muscles, it'll make a big difference. All right, that takes us to the end of the video on facial expressions. Here we went over the two important rules of controlling your face during a camera presentation. And those rules, just for a recap were one. Exaggerate emotions. Take a crank up every facial expression by around 20% to compensate for the low energy drag of the camera and rule to genuine smile, which was to consciously control that small sets of strident muscle right here. Next time you need to smile on camera and remember. The reason for that is because evolutionarily the full face smile is an indicator of both relief and happiness, but you need both the upper and the lower halves of your face to participate or else even look kind of weird. 3. Arms and Gestures: What's up, guys Shoma here today. I want to talk about something that a lot of people miss when it comes to public speaking both in front of the camera and off the camera, and that's talking with your hands. Talking with your hands is one of those things that basically nobody is going Teoh consciously pick up on. But the effects it can make to the viewers subconsciously is huge. And what I mean by that is nobody is going to watch your video and go, Wow! The guy executed his hands movements really well, but instead it will be more like, Wow, that guy was really passionate, and obviously it's something that you want, so let's get into it. When human sock, they use three separate groups of gestures. The first are called adapters. Adapters are basically signals that you're nervous or anxious, and it's your body's way of getting rid of that extra tense energy. A lot of the time, this involves playing with some kind of an object, like your pan or a phone, or twirling your hair, even running your hands through your hair or, you know, rubbing the back of your neck. Because when you're nervous is very hard for you to remain totally 100%. Still, you get all this extra energy and excitement, and your body wants to find some way of getting rid of all that. The reason adapters signal nervousness is because other people use adapters as well. And we have all evolved to pick up on adapter displays, subconsciously to kind of assess how comfortable or anxious other people are. If you've ever seen an interview or I talk show and you know this is someone was really fidgety and you know always playing with their hands or just, you know, couldn't sit still, then it's usually because they were nervous and adapting. So adapting behaviors are quite clearly not something that you want to be doing well, speaking on camera because of the subconscious, signaling that you're nervous and a lot of the time, if you show that you're nervous, it can be really distracting to the other person. Obviously, many of us have some sort of anxiety while speaking, and from the camera or public speaking in general, and that's fine. Honestly, guys, the most important thing is to be able to hide your anxiety so that it doesn't interfere with the information you're trying to get across. The second kind of gestures or what's called emblems thes are really simple. There basically gestures that we as a society collectively agreed, means something like, for instance, a thumbs up or thumbs down, ruling your eyes or sticking your tongues out those kinds of things. And, in contrast, adapters, you do want to use emblems while on camera. The often express emotions and represent extra dimensions that you can get feelings across to the viewers with So whatever you have an opportunity to use them, go ahead. If your telling a very sarcastic story, roll your eyes. Or if you're re creating that very epic scene from Gladiator, thumbs down all you want. And if you're new to speaking on camera in general, don't worry about over using them. At least at first. It's better to get into the habit of being comfortable doing very silly things on camera as quickly as possible to cut down on your learning curve. The third kind of gestures are the really meet of the pie. They are the ones that you're gonna want to be using most of the time while you're on camera and they're called illustrators. Illustrators are basically hand gestures that either convey visual information, like how big something is sequential information like. Here's one thing than another thing that another thing or emotions like you really, really need to remember this. And they're almost free form. There are no real hard and fast rules on what your hands need Teoh look like or how they need to be shaped when you're doing them, especially since most people already subconsciously do at least some of them while they're talking. But there are a couple of guiding principles that I want to mention to help again cut the learning curve down. The first thing is speed. I myself struggle with this when I first started and had a lot of people tell me that I looked really jerky and not at all smooth on top of adding emphasis or providing more information about what you're saying. Hand gestures also imply that you're a confident speaker that knows what you're presenting inside and out. But if you're darting around from one place to another or your movements don't look smooth , Ah, lot of the time this can actually give the viewers, the exact opposite impression. Another principle is to stay close to your body. Don't just You're out here, for example, since that looks inorganic and somewhat awkward. If you're going to make a hand gesture, stick to generally no more than a foot away from your silhouette, and sometimes even that's too much. So this would be fine. But this might seem a bit strange, and another principle is to stay away from pointing, since in many places in the world, pointing can be perceived as a sign of either disrespect or aggression. If you're addressing your viewer, use an open hand palm gesture something like this instead. Since this is relatively neutral and the last principle is, don't move your hands all the time. In order for something to be emotionally impactful, it also needs to be absent every once in a while. Otherwise, your gestures become mawr, less background noise and you'll look like you're trying way too hard, and the entire point of using your arms is the seem. Organic and natural focus on flow on, blending the different hand gestures together, as opposed to thinking about each one as a separate behavior and at the same time. Don't be afraid to break out of your patterns every few minutes to add emphasis to a particular sentence or point. The best analogy have seen so far has bean to pretend like you're conducting an orchestra. The majority of the time, the movement of the conductor are slow and graceful, But every now and then they do something intense to break out of that mold. And if you currently don't speak with your hands, then you add least Meteo have some kind of a home base. So don't be afraid to just blatantly copy someone, at least initially. What Nick and I used to is, we'd find a video of someone successful that we'd like to emulate. Then we'd play the both video side by side of us speaking and then speaking. And then we turn the audio of both all the way down so we could focus on the gestures and not the words. Then we take notes on the differences between us and the example speaker, and then use that as a guide to are speaking. And if you can't think of anybody to emulate, feel free to just use me, just turn off the audio and have me side by side with a video of you speaking with arm gestures. Once you successfully learned my gestures over time, you'll naturally tweak them to become your own. All right, so that takes us to the end of the video. We started off by learning the three different kinds of gestures adapters, emblems and illustrators. We that mentioned how adaptors were primarily negative, stressful behaviors that we should avoid. Whereas emblems were agreed upon signals like a thumbs up or a peace sign. And because they convey emotions, we should use them as much as possible. And the last gesture illustrators were the meat of the pie. These are gestures that you're going to be using the majority of the time, and we learned a few general principles about them as well. Stay smooth, stay close to the body. Avoid pointing at people and said, Use on open palm gesture. And don't move your hands all the time. Remember, in order for something to be emotional, it also needs to be absent every now and 4. Vocal Tonality: Hi there, Nick. Again, this part of the courses on vocal control and effective vocal practices for speaking on camera Many of the characteristics that make a great public speaker in general carry over very well to the camera. But there's still a few important differences, particularly in your rhythm and your emphasis in this video. We're gonna be going over how to get effective vocal tonality on camera. So before we talk about how to get effective vocal tonality, we all need to first know what vocal tonality is. So here's a quick primer and just a heads up. If you guys have already taken some of our previous courses on vocal tonality, feel free to skip ahead a minute to, because this is just gonna be the basics. Okay, so first of all, all vocal tonality really refers to is the change in the pitch of your voice over time throat either a sentence or a single word? And if you guys have ever heard the idea that you can say the same word, a bunch of different ways to change its meaning, this is it. And for a quick example, there's Hey, hay and hay. Hear the word. Hey gets a bunch of different connotations based on how the pitch changes throughout that word. So with that basic concept, we can now group all of the very many possible permutations of different vocal tonalities into three major groups for simplification. And those are seeking report, neutral report and breaking report and don't get too caught up in the names. But the word report here generally refers to approval or friendship. So seeking report tonality can basically be thought of as the tonality that you'd use when you're either looking for approval or looking for a friendship with the other person. Whereas breaking reports analogy is the tonality that you use when you don't really care for approval or for a friendship. And then the last one neutral report is just the middle ground. It's neutral. It's not really super. One way or the other, you don't really care. Each tonality sounds different. For example, this is seeking report. Do we have to notice how my pitch goes up throughout the sentence seeking report, tonality is characterized by an upwards inflection throughout the course of the phrase, whereas this would be neutral report. Do we have to here my pitch doesn't really go up or down. Super noticeably, it does maybe a tiny bit. But at the end of the day, those differences don't really matter. Neutral port tonality is characterized by more or less a flat pitch from the beginning to the end of the phrase, and this would be breaking report Do we have to here my pitch goes very down. Throughout the sentence breaking report, tonality is characterized by a strong downwards deflection over the course of the phrase seeking report. Like its name pretty much suggests, is where you're looking for approval or your insurer yourself or you are generally unconfident. You don't really want to step on anybody's toes. And so everything that you say more or less sounds like a question. Let's eat it, johns. Here we're seeking the other person's approval for whether or not we should. Yet John's breaking report, like its name, also kind of suggests, is where you don't give a damn about anybody's approval. You're really sure of yourself or your really confident think of like ah, boss, talking to an employee have the file done by four. In this example, the boss is not seeking the other person's approval that is plainly clear. If anything, the employee is actually seeking the boss's approval, and they will be by doing that task and neutral report is neutral. This is what use when you're either hanging out with people that are already your friends or your family, and you typically don't need to really suck up to them. But the same time you don't really need to talk down to them, either. They do pass the chips. You're not really seeking approval. But at the same time, we're not exactly begging for the chips. So these were the three types of vocal tonality. So the question is, which ones should be using when you're presenting on camera and the answer. That question is obviously nuanced because you could technically be presenting in a 1,000,000 different ways. But in the majority of cases, as in over 90% of situations, you're gonna want to speak to the audience and either neutral or breaking report, and you really want to avoid seeking report entirely. This is for the very simple reason that you should almost never be seeking approval from your audience. The very notion of seeking approval is usually a unattractive, be distracting or C can actually interfere with the intellectual integrity of your content , your content. And this especially goes for stuff like informational content should be strong enough to stand by itself without you needing toe. Suck up to an audience that most of the time you do not actually know. And it's incredibly difficult to get through any sort of video. When the speaker of always talks like this with seeking reports, analogy is in their voice always goes up at the end of the sentence. I'm sure you guys have all heard that before. It's better to assume report and then work off that most of the time. You guys are probably gonna want to stick to treating the audience like your friend or your family, right with neutral report. And that's actually another problem with seeking report. It kind of implies they have yet toe win over the other person. They're not already your friend, but instead of that, pretend the audience already likes you and then use both neutral and sometimes breaking report to deliver whatever piece of information that you need to say. Just like that example where you were talking with your friend. Hey, dude, pass the chips. If you went up to a completely random person and you're all like, Hey, dude, passing ships, odds are they probably wonder, Do I know that guy from somewhere? And that's the vibe that you wanna have with the audience you want them to think and I know him from somewhere. Jeez, he seems really familiar. So speak to them like you'd speak to anyone here. Friends, a k with primarily neutral report breaking report. Tonality comes in when you need to either stress something really well or really back up what you're saying with confidence. You're saying something you think might be somewhat controversial, or even just something that you really want the audience to think that you believe in something that you really, really trust. Then breaking report is good for that. It's also get if you're making more of like an argument against something, or for something in your video. So quick Recap tonalities the change in pitch throughout a phrase. There are three camps of vocal tonality seeking report, neutral rapport and breaking report. And at the end of the day, when it comes to you presenting on camera always assume familiarity. Talk to the people on the screen like you talk to your friends A K mostly with neutral report and, at the end of the day of Boyd, seeking report as much as possible because it's distracting and it detracts from the strength of your actual content. Let your own skills speaking to the camera stand for themselves. 5. Loudness and Timbre: What's up, guys? Show my hair. I want to talk a bit about loudness today, and this isn't the first video I've done on being loud, and it's definitely no going to be the last. But because we're dealing with speaking on camera specifically, this video is going to be a slight departure from what I normally say. So normally a K off camera, you want to be as loud as possible without yelling. This is beneficial because it adds to your perceived social value and you come across as a more confident and competent speaker. Science has actually shown this. People perceive loudness as more confident, and we perceive confident people to be more attractive and just better in most ways. So that's just a very quick breakdown of the research on that. In summary, you want to be allowed, but on camera, obviously we have to deal with stuff like the microphone clipping and distortion. So just a second before we talk about loudness specifically, I want to talk a bit about Mike placement. Normally, if you were to speak as loudly as you could tell microphone that was within a few feet from you, the mike would clip, it would Red line. This would cause a bunch of funky noises and you'd end up with Canada sound. And obviously, if your viewers were watching with headphones or her something, this could be very unpleasant and a total deal breaker. But at the same time, being loud is so important. And if you come across as soft spoken a mumbly just because you don't want to red line the mic, it can often completely change the energy of your presentation. So what do we do? Well, this is going to be pretty counterintuitive to a lot of the best general practices out there in terms of Mike placement. But you're going to want to move the mic far there away from you, obviously not too far. You don't want to have it in next room, but I would double sometimes even triple the distance between you and your mike right now. Well, this is going to do is to allow you to speak much louder and gain many positive benefits of loudness like mawr, energy on camera, more confidence, attractiveness and so on. Despite the fact that, yes, the audio quality will probably suffer the degree to which the audio quality will suffer will likely be barely perceptible, if at all, as long as you increase the loudness of your voice to compensate. And obviously you'll have to play around with this a bit by recording at certain distance listening to it and that moving the bike, adjusting your voice accordingly and so on. But it's worth it instead of talking like this, although energy on boring, you seem excited and energetic pretty much all the time, and that energy is going to translate to your viewer being mawr interested. But okay, we talked about my placement. Now, how do we actually become loud? While it's a two step process, Part one is where your breathing and part two is, where you're speaking from. So part one. Most people mistakenly use their chest to breathe. What I mean by that is, when they breathe, their chest rises like this. But believe it or not, the musculature that surrounds the lungs is actually very weak at this area. A much stronger band of muscle exists near the stomach, which is called your diaphragm. If you breathe at your diaphragm and then your upper chest should barely move and instead your stomach should go up and down pretty significantly. Kind of like this. So if you ever want to make sure your breathing the right way, make sure your stomach is moving way mawr than your chest. Now Dia framing breathing is way more efficient because the diaphragm basically wraps around the base of your lungs and pulls them open way mawr extensively than your chest muscles do. If you think about a glass getting water port into it, which part of your glass fills first? Obviously the bottom right. Think about your lungs as if they were a glass of water. Always fill it from the bottom first by breathing dia frantically. This will ensure you get a lot more air into your lungs. Now, Part two is to use this air correctly by resident in your voice in the right place. Most people, unfortunately, speak in a really nasal, lee kind of soft voice, and the reason for that is because they place their voice resonates is usually up here. It's near the nose, and the face and the chambers of the tricky and your voice box are actually pretty small and weak up here. And just so you guys know what I mean by this would be an example of this kind of speech. Notice how this is kind of a bit higher pitch and it almost sounds like my nose is congested and said, What we want to do is we want to bring her voice to resonate down and down and down into the bulk of your throat, where the chambers are much larger and your voice can come across as thicker and ultimately , louder. You can do this by simply humming from high and then transitioning low and feeling where your voices coming from throughout the process. And it may feel kind of weird, but this is the simplest way to fix where you're speaking from then, when you feel that the hum is as far down your throat, it's possible somewhere here starts speaking. So it should sound a little something like this. Mm. Notice how my voice got a lot deeper and I could actually feel a little tickle in the base of my throat. The tricky thing is to maintain this over a long period of time. Obviously, if you're not used to this, this is going to be a conscious process at first, but just like anything, after a short while of speaking louder and thicker, it will become second nature and the added confidence, attractiveness and energy on camera Wilmore than pay back for any of the time that you had to practice. All right, so that success to the end of this video here we started off by talking about Mike positioning and how counter intuitively, you should actually move the mic further away from you. We, the learn about, have to breathe correctly and how to resonate your voice correctly so that at the end of the day, you can project a louder and deeper voice that seems a lot more energetic. 6. Cadence: What's up, guys? It's shoma, So rhythm is a really interesting topic in public speaking. It's generally accepted that the best practice is to speak slightly slower and in a more persistent rhythm. The mangle is the sort of hypnotize your audience and get them to synchronize themselves with whatever pace you set. But as always, camera speaking has a couple things that make things slightly more nuanced than that. It's true that you want to speak with a slower, persistent rhythm. However, the thing that video can do that realize simply can't is that with video, if you make a big mistake, you can just cut it out. Just come back a couple words than reshoot. Now this may be a necessary to say, but you can't do this in real life. Not unless somebody has some sort of a time machine that I wasn't told about. If you mess up halfway through your big, beautiful camera speech, all you need to do is stop talking room line to inappropriate cup point and then begin again, making sure not to cut in the middle of a word or a sentence or something like that, and pretty much everybody does this as much as like the thing. I'm completely flawless. The truth is, we're all flawed human beings and we make mistakes. And given that people very rarely perfected first takes, there is a strategy that we can employ to are speaking to make this a lot easier. The strategy is this, at the end of each sentence, pause just a little bit longer than you normally would in day Today speech and the at the end of each paragraph a k a. The end of any big speaking point pause for maybe an extra second longer. So the goal is to make this barely imperceptible to anyone. But you, assuming you're the one that's going to be editing this later, and if you're not, all you're going to be doing is making someone else's life immensely easier. The reason that this is beneficial is because it provides opportune and non destructive cut points. It's almost like a quick say from a video game. It's like, Ah, backup point that you can return to if anything else fails, and if you do fail, then you just refined one sentence to the last sentence cut right at the half second pause and then just keep going. So it becomes immensely easier and your workflow gets like two, if not three times faster. In most cases, it also helps to avoid the jarring mid sentence cut that a lot of people, especially on YouTube, dio I don't know about you. But cutting inside of sentence itself really throws me off, especially if you're delivering some kind of informational content now granted, in some cases you want to have those fast jump cuts because it's part of your aesthetic or something like that. Or maybe you need your video under a certain time. In that case, go for it. You cut, however many times do you want to. But because of the way human beings process speech, cutting in the middle of your sentence can often throw people off. So in all other situations avoided so aside from that sick to the best practices for public speaking, which are take however fast you normally speak and slowed down by 10% and focus on maintaining that average speed throughout your video. Little changes and speed here or there are fine and are actually necessary. Divide dynamics to your speaking, but if you start the video speaking like this and end the video speaking like this, Well, that can be a little bit jarring to your audience. This is going to give you a lot more breathing room when it comes to improvisation as well , allowing you the opportunity to more dynamically change your tonality and emphasis throughout a sentence. It's really hard to be impactful when I'm speaking like this, but when I talk slower, I can add pauses between my words to really emphasize certain points. And that's the end of yet another video. This one was pretty short, and in it we talked about rhythm. We sort of out by mentioning the big difference between real life and the virtual world, which is that in the virtual world you can cut out your mistakes. We then use this to inform our on camera rhythm strategy, which, if you remember Weston, pause just a bit at the end of every sentence and then pause more significantly at the end of each paragraph or big point. And last of all, we talked about how other than that stick to the general breast practice republic speaking , which were to talk 10% slower than you normally do on average, and add dynamics ums to your presentations through pauses and tonality changes 7. Bonus: How not to Stammer: Hey, that and welcome to the bonus section of our course. Now, this is a section I'm really excited about, actually, because this is basically the sort of how I stop my own stammering, a little bit of background. I used to stammer a lot, and by stammering, I mean, like the ums and ahhs that you put in a lot of, you know, at random and unnecessary places in things you say. Now this isn't the king's speech you've ever seen that movie I don't claim or pretend to be qualified in any literal sense. I'm not a speech therapist or anything even remotely similar. But I use ever really bad stammer, and it sucked simply because it really, really killed my self esteem. However, I found a way around this. This method also has actually helped a lot of my friends whom I've told, and so I thought I'd share it with you. But again, this isn't a solution for everyone, but I'd venture to say that the vast majority of people, at least in my experience, would greatly benefit from this. Most people have at least a minor, stammering problem, and in all honesty, you probably do as well. And you do have to be a bit humble to realize that. But this may actually apply to you more than you realise. The problem that I had with stammering is it wasn't just killing my self esteem. It killed my ability to communicate with people, too, and hit. Did this not only because I would actually avoid speaking to people on days where I got really bad out of fear of being laughed at, but because anything I did end up saying automatically looked, ah, lot less credible simply because I didn't seem confident. But like all good stories, I eventually found a solution. I noticed that around my really close friends I didn't stammer at all except at times when I became stressed and at those times ID stammer at my way through everything. This happened over and over again, and at first I didn't really notice it, But after a while it became really obvious to me. But honestly, just because something is obvious does not mean it's easy to fix. So basically, I would stammer because I was feeling and confident because of the pressure that was on me every time I spoke. Now The funny thing about this kind of anxiety and honestly anxiety in general is it's all in your head, which is good for us. It's good for us, since anything that goes on in your head, in theory, we should be able to control. Now, I know this isn't the case 100% of the time, but in this case, it very much is since anxiety that we feel is very much dependent on the amount of emphasis that you put on people. And because of this anxiety, I would just kind of blurt out whatever I was going to say without first thinking about it , then a boat halfway through my sentence. I'd usually catch up with what I was going to say and what I had just said and get all jumbled up in my head since I started to actually revise what I was saying as I was saying it, this cause me to lose my train of thought and stammer because suddenly I was trying to say two different sentences. Obviously, this didn't help and made me even more self conscious, which only perpetuated this negative downward spiral. If this sounds familiar, which if this sounds familiar, which I'm sure it is to at least a few of you than there is good news. It's not actually a very hard fix, but it does take a bit of time and deliberate effort first, what you want to do, and I get that this is a big cliche, but believe that what you have to say is worth saying This is the first step, and some of you might be passes a long while. But for those of you that aren't, this is where you need to start. If you are there, it's not a nisi step, and there isn't any real way to get over it. You just have to take a deep breath and just let yourself be. The second step is to think of your interactions and identify the people who may have the most amount of trouble speaking Teoh that essentially give you the most amount of anxiety to be around, be it your coworker or your boss or that cute girl. You keep bumping into think of this and proceed to step three. Step three is to take a beat 1 to 2 seconds and just let yourself think about what you're going to say, because this is the next big obstacle. Someone comes up to you that you know will cause you anxiety and make you stammer and thereby starting that downward spiral that we talked about. Take a second before you respond to them and compose what you're going to say. One thing that you don't want to do is to overthink everything in that beat. Think of the first appropriate thing that comes to your mind. Phrase it into a sentence and don't rephrase it. Once you start speaking, go with it and own it. If you're using proper tonality and projection, it almost doesn't matter what you end up saying because you will sound confident and so you won't be questioned as easily as had you had a week. Beta voice. Basically think of everything we talked about in this course and apply it. Step four is where it starts to get hard, like with all things you have to practice. So go out there and actually seek out those people who know will make you stammered. But this time use the strategies who talked about above, which was to believe that what you have to say it was worth saying than taking a beat before saying anything toe someone who you know will make you stammer. And using those strategies we talked about in the course will help you immensely. I know it's hard to fail, but don't think of this like life or death like you're probably thinking of right now. Remember, social isolation is justice threatening nowadays as having the Alfa threatened to beat you up was back in our tribal days, meaning you'll actually feel something pretty closed toe life or death when speaking to certain people in fear of social ostracism. And this was actually a big thing for me personally to realize once I realized that it's not life or death. Suddenly it was a lot easier to go and have those tough conversations. This is by far the best way to practice your tonality because it's live and you have no safeguards, and so you'll learn to pretty quickly speak smoothly without stammering. But there is actually a much less intense way that will work for you, at least at first. This is a fantastic way to start out speaking smoothly because the camera actually adds a lot of pressure Even now, after all my practice, I get really nervous every time this camera starts rolling. So his the ideal for step to practice. If you don't want to be thrown into the deep and right away, what you want to do is to pick up your camera and hold it and speak into it. Well, it's recording, and that is actually key. You can speak about anything that you want. How your day, Waas, why you love cats so much It doesn't really matter what you speak about. What does matter is that you're putting pressure on yourself by pretending you're gonna put this somewhere where potentially millions of people are going to see it. This will be a great simulation speaking in a high pressure environment. Do this for as long as it takes. But I suggest doing it every day for at least a month doesn't have to be long or super professional. Just 10 minutes of you saying whatever you want. But one thing to keep in mind is to take a beat before each sentence, if necessary, to really be as smooth as possible, because that is key. You want to practice to be as smooth as humanly possible for as long of a period of time as possible without stammering. When you're comfortable with that, try step for again. Go out and say hi to that pretty girl or have that conversation with your coworker. Or, you know, whatever made you anxious. Use the tools that taught you in this course, and you'll b'more than prepared for anything that comes your way. Well, this is the end of this video. I hope you found it useful just as a quick recap. If you stammer, that's most likely due to you being nervous because of that life or death mentality we talked about. You can squish this through the thought that what you have to say is worth hearing. Then remember to take a beat before saying anything and really composed what you want to say. Thin said. Exactly how you compose it without any alterations. Again, that whole alterations bit is actually probably what killed you in the first place. And then the hardest part. You have to go out there and actually practice, or if that's too much for you. For now, vlog for a month or so than attempt to get that crucial life practice in Thank you so much for watching my course and from the bottom of my heart. Good luck.