A Practical Guide to Creating a Podcast

1. Course introduction and overview: Hello and welcome to this course. A practical guide to creating a podcast. I'm Dan Lefebvre, and I'm excited to share the steps that I take to create my podcast with you. Maybe you're looking to start your own independent podcast. Or maybe you've already got a podcast and you want to see if you can pick up some tips and tricks? This is the course for you. So how can learning about how I make my podcast help you with making your podcast? Well, if you're anything like me, as great as it is to hear vague statements and suggestions about what you can do personally , I like to learn by example. I like to see practical examples of how someone gets stuff done. Now I'll be the first to admit that my podcast is not the most popular podcast out there. As you can see, I am not Joe Rogan, and I'm not sponsored by NPR. But then again, if you are watching this an adventure to guess that you aren't either. And even though my show is not created by a team of people as of this recording, when compared to the industry standard stats that lips in publishes My show ranks higher than 90% of shows and you want to know a secret. I spent 90% of my time creating the show. I don't do any fancy marketing. In fact, I hardly market the show it all. I don't say that to brag, but to let you know that I'm doing all of this on my own, and you can, too. In fact, that's one of the great things about podcasting is you don't have to have a massive team or a massive budget, so I hope you'll embark with me on this journey as we walk through the steps of creating a podcast. 2. Section overview: Podcasting strategies: When you're starting to think about creating a podcast, there's a lot of questions that you'll have. Where do I start? What sort of podcast should I create? It's worth mentioning right up front that the answer to every single one of those questions is It depends. What kind of podcast should you create? What sort of format should you do? What sort of equipment should you use? The answer is the same. It depends. Every podcast is different, and more importantly, you are different than every other podcaster. So your answers won't be the same as any other podcasters mine included. And that's OK with that, said, though I know it doesn't really help answer any questions when you don't even know where to start. So in this section will use my podcast as an example and learn all about the strategic decisions that I've made behind my podcast. We'll start by learning about the choices for the show's format and the process that I go through to plan out the episode topics. From there, we'll get a look at the project management tool that I use to track both listener requests and the status for episodes as they're being created. Finally, we'll discuss my work flow in strategies behind batch processing episodes to be as efficient as possible. This section is going to be a lot of high level discussions, but I'd encourage you to take notes or think about how you can steal ideas from my processes to implement them into your own podcast, because it's important to make conscious decisions about what your show is and what your show is not. That's how you get a solid plan in place. So it's easy to recognize what the right content is and what the wrong content is for your podcast. And all of that comes through for your listeners so they will know what to expect from your show. So when you're ready, I'll see you in the next video, where we'll dive right in by getting really about just how much time it takes to create a podcast. 3. Let's get real about the time to create a podcast: in this video will kick off this strategy by getting realistic about how much time it takes to create a podcast. Now, how much time it takes to create a podcast is probably one of the most surprising things that I think a lot of people don't expect when they get into podcasting. And personally, I think that plays a huge part into why so many people get burned out and why so many people just stop creating their show. So the first question I'm going to ask you is, What will you give up in order to create your podcast? Now, I know you might be thinking, Wait a minute, I have to give something up. And the answer is yes, yes, you do. You have to give something up in order to create your podcast. And the reason for that is because in order to create time in one place, you have to take it from somewhere else. It's a simple is that we all have the same 24 hours in a day. Speaking of 24 hours, in my case, in order to create one episode of my podcast, it takes roughly 24 hours in order to create that. That's from start to finish. Writing, researching, recording, editing. It's gonna take roughly 24 hours for each episode to get created. Not every podcast is going to take that long, and later on we'll talk about the specifics of what that goes into and to make up those 24 hours. But every single podcast takes time. So I like to use the metaphor of pizza because when you have some pizza and you take out a piece of pizza from that overall the overall pizza, then there's only there's one piece missing. You take another piece than there's another piece missing. You can't put that back. You can't recreate that. I mean, you can create a, you know, a whole new pizza. But if that is a metaphor for the day when you take one of those slices, that slice is gone. Now you have another day and you have other days. But there's only so many days before you need to release another episode, depending on what your release schedule is. So there's Onley so much time in a day, and when you get realistic about how much time you have and how much time you condemn IC eight to a podcast. That's when you can start to make some decisions about what you're going to be giving up to create that podcast and then that you can set that priority level for the podcast and realistically, long term. That's gonna make you much happier because you're going to be aware of what you're giving up in order to create that show. So that begs the question. What what did I give up when I was going through this process? What did I give up in order to give myself at 24 hours per episode? Well, in my case, I gave up mostly video games. I play it used to play a ton of video games, and I still love playing video games. I don't know how many hours I've dumped into games like and will be the show or Europe a Universalist or my favorite game hearts of iron. But I made a conscious decision to give that up, so any time that I wanted to start playing you ain't a game. Instead, I would start working on the podcast, and after a while that became the habit. And so now any given time, maybe a wake up in our earlier maybe our ah, stay up an hour later. So maybe I'm giving up some sleep as well. It's not just necessarily one thing, but giving up those little things to then accumulate that 24 hours. So the example of sleep that's one that ah lot of people might give up is, you know, waking up an hour early or staying up an hour later, and that's that's great. But if you when you do that, make sure that you're putting that time to the podcast. So if you wake up in our earlier that you want because you want to put that time towards the podcast, then you know sit down and maybe crank out a couple 100 words or do some research or get 15 minutes of the episode edited, or whatever that might be start to make incremental pushes towards getting that episode done. So now it's your turn, and I want you to think about this. How will you make the time that it create that that it takes to create your podcast? Now again, your podcast might take a completely different amount of time. It probably will, because your show is going to be different than mine. But regardless, it's going to take some time, and you have to figure out where that time is going to come from. And so especially at first, if you're just starting off on this journey of creating a podcast, it's going to take more time because everything's going to be new. It'll get faster, you'll get faster at it, but it will still take time. And so you want to make a conscious decision about what you're going to do and what you're going to stop doing so that you can start creating a podcast. All right now, with that said, Let's move on to our next video because one of the first things that you're going to want to look into is really deciding what your podcast is about. So we'll take a look at some of those questions that I answered for my podcast, as well as kind of looking at some of the ways that you can go about this in the next video 4. What's your podcast about? Coming up with your podcast topic: in this video, we're gonna take some time to help decide what your podcast should be about Now. Everybody's podcast, I believe, should be about the exact same thing. And that is your passion. Now. The key here is that everybody's passion about everybody is passionate about different things, right? Your passions may be different than mine. Ah, in mind or different than somebody else's and somebody else's. And so that's why we get so many great podcasts out there. But the key thing is that everybody is passionate about the topic, that they're podcasting. So the question here is, what is your passion? What's something that you can talk about a week in and week out? Or even if you're not releasing on a weekly schedule? What's something that you can dive into every single day? You can wake up an hour early every day in order to start creating the podcast that you could just be so passionate about that it can come through in your voice Now, In my case, when I was sitting down to try to figure out what I wanted to create a podcast about, um, I decided that, you know, I'm I'm passionate about movies. Now that's I used to work very closely with the visual effects industry. So not just watching movies, but really how movies are made and and the the process to create them. So there's that. And then I've always been passionate about history. I'm not a historian by any means, but it's always something that's fascinated me. I know countless times. Going to the library is as a child reading books about King Arthur and legends in history and all of those fascinating things. And so those two topics really kind of stuck out to me as things that I was passionate about. Now there's a lot of other things that I could have done a podcast about. I mentioned in a previous video Love video games and even that creation process and game development and game design. I love visual effects that I mentioned just a moment to go where so the process of creating vfx and that are videography is another passion of mine. Ah, technology in general. So you know, microphones and audio and all of these different things and computers in general technology is just something that I definitely could have done. A podcast about or photography. Photography is another passion of mind, and so there's a lot of different passions that I have. And just like you, there's a lot of different passions that you have. But when you want to create a podcast, do you want to make sure that it's within the realm of something that you're passionate about? So in my case, I walk through this the origin story for my podcast and see if that that helps you kind of spark some ideas for your own. So I'm passionate about movies and history. So there's a lot of different types of ideas that I had that could circle around movies and history. Maybe something like talking about the top 100 movies in history, you know? So maybe watching those and talking about how they've impacted me and and some of those most biggest historical movies in cinema history, or even just the history of cinema itself movies since the inception of of when movie started being created. There's so much great history there that could just be discussed and talked about, and and I could I would love to learn about all of that, Um, or maybe it is film reviews of some of history's best movies finding the best top 100 lists from various websites or various places like IMDB or, um, Metacritic or, you know, places that rank movies. And and then just doing my own reviews of those movies that be another way of looking at movies and history. Or maybe it's Oscar winning movies throughout history. There's been so many movies that have won Oscars for different categories that that could be an entire podcast in and of itself. But really, the idea for my podcast came from one particular place, and I'll tell that story so that you can kind of get an idea for how the nebulous around my podcast idea was created. And that came from 24601 Now I know if you're a fan of this, you know, he already know what I'm talking about. I'm talking about Les Mis 24601 was his prisoner number, and really, this came about where I went to see the musical Les Miz with my wife. And after it was done, the story was I mean, sore is so fasting. I've never seen the musical before This is the first time that I've seen, and I seen it since then. But I'm not talking about the movie, the actual musical theater, and coming out of that, the entire drive home. She drove home and I sat in the passenger seat and I just looked up the actual history behind the French Revolution and things that were happening when Victor Hugo wrote the book and and we're, you know, the the barricades that they had in the play where things like that real did they actually do that sort of thing? And it is a fictional story, but it's set in a very real historical time during the French Revolution. And so I just spent the entire trip home, try to figure out how much of it was real and how much of it was was fiction. And so when I was sitting down and I was, I was trying to come up with some ideas for podcast that might be good, a good mixture between movies and history. I remembered that that drive home that happened about a year before I actually started the podcast, and so I just remembered that moment and I was like you know, I bet there's a lot of there's a lot of movies that that claim to be based in history, that claimed to be, you know, actual events. And so from there Ah, that's really where based on a true story was born. I went out and I found the based on a true story. Podcast dot com was available, and I found that the social handles were available to. So I grabbed those and I kept the name Super simple because based on a true story is just the term that happy that we see before movies that claim to be based on a true story. So it was one of those where, when you say the name of the podcast, then it's pretty obvious what the podcast is about, I think, and so it really just kind of clicked from there. So now it's your turn. Now. You kind of heard the origin story behind my podcast and kind of some of the thought process that went into that. What is your podcast going to be about? What are some of the things that you're passionate about? That you want to create a show around now? I'd encourage you before just diving in. Take a little bit of time and just write out some of the things that your passion about, because now is the time to decide if you want to actually go down that road. And, you know, in my case, I decided not to talk just about movies, not to talk just about history, but to meld those two things together. And so you could have done the same the same sort of thing around history and games. There's games that are based in history, but I decided to to niche into that one single area, and so do that same thing. Walk through that process, find what you're passionate about and find some way to make that your own. Even if it is, you just want to talk about movies. Movies in general doesn't really. There's no niche there. That's something if that's something that you're passionate about, something that you want to create a podcast about, make that a conscious decision. Okay, so I know we've covered a lot in this video. Now, when you finally picked out a topic, it's time to go through coming up with your podcast name and like I did. It was really easy to do. Once you find out what domain names were available with, social handles were available. Sort of like naming anything these days that's going to be one of the key drivers into deciding what the name of your show is going to be. So once you come up with your topic, start to formulate some names and come up with names. Make sure the domain names are available. Social handles are available. And once you have your topic and name established, then it's time to start to figure out kind of what your show's format is going to be. Are you going to be releasing weekly? Are you going to be releasing monthly and start to kind of make some decisions around how your show show is going to be formatted? So when you're ready, we'll look at it. That process in the next video 5. Deciding on your podcast's format: in this video won't go through some of the decisions that you'll have to make to decide on your podcast format. All right, so we're gonna be answering some of the questions, some of the common questions that a lot of new podcasters have things like, What is the podcast? What is a podcast? Best length. What is the best day to release your podcast? And unfortunately, the answer to questions like these are exactly the same. The right answer is whatever you decide. I know that's a bit of a trick answer, but it really is true. So what I mean by that is the best length for your podcast is what you can create on a consistent level. Right now, The best day to release your podcast is when you can release it on a consistent schedule. So let's talk about podcast length because, ah, lot of people might think, while the perfect length has to do with whatever the average commute is because that's when people listen to podcasts. Well, maybe Maybe that's correct, but you never know with your listener base. They might listen at a different time, and so there's a lot of great podcasts out there that are anywhere from 4 to 6 hours long. That's really really long for a podcast. If you look at somebody like Dan Carlin, look at his lengths as we can see here. We're talking, you know, 56 hours for a single episode. That's one episode that's five hours, 56 hours long. And then on the other side of that, there's some great podcasts that are 5 to 10 minutes long. So a couple of my favorites are fairy tales for Unwanted Children by Scott Thrower and the story behind by Emily Pro Cop. If you look at the duration for their episode, you can see they're really between 5 to 15 minutes long for each episode. Nothing like the 46 hours that Dan Carlin has for hardcore history or Joe Rogan is another very popular podcast where the episodes air hours and hours long and that's that's great. There's nothing. Nothing that says it has to be one way or the other. You can have a successful podcast that is really, really long and hours and hours long, or you can have a successful podcast that's five or 10 minutes long. It's it's really up to you and something that will be determined by the rest of the factors that go into your show. So one of the ways I like to phrase this is if we think of a book, if you I think when you're sitting down to write a book, do you ever stop to think what is the best length for a book? You when you're reading a book? Do you ever think me and this? This book is not the right length. You think of books like Game of Thrones and and You Know, Fire and Ice and those those books from Martin George R. R. Martin The really, really long and yet nobody ever sits down and second me and this is this is just way too long, Um and well, I guess I take that back. Some people do say that some people do say, You know, this is just way too long and some people say the exact same thing about ah hardcore history or Joe Rogan, and I'll be completely honest, I never I've never listened to an episode of Joe Rogan or hard core history, and it is for that reason, because those episodes are so long and but that's fine. I'm not their target audience. I can listen to episodes of fairy tales for unwanted Children or the story behind and those five or 10 minute episodes. I can listen to those all day long. I can listen to those binge those four hours long and so it might seem like an episode of hardcore history. But it's really just for some reason, it's just kind of my preference toe. Listen to shorter episodes, and that's fine. There's no real right or wrong length for a podcast, just like there's no right or wrong length for a book. It's really, however long it takes to tell that story. And so that is really going to be up to you and how long that right, how, how long it is to tell that story the right way. So that brings us to release schedules and when you should release your podcast. Now the answer to this is again whatever will keep you podcasting. If you can release on a weekly schedule, great, go for it. If you can release every other week, do that. If you can release once a month, great do that If you're not sure when you can release, then you know just be up and open forward and honest with your with your audience and let them know that you'll release them as as you can. So that's exactly what Dan Carlin of Hard core history does is he doesn't have a consistent release schedule. He drops them whenever he gets it done. So a couple of the more popular formats for podcast and this is by no means an all inclusive list. But be thinking about what sort of format your podcast is going to be, because that's going to drive the length as well as the release schedule so you could be a single host podcast. That's what my podcast is. Is single host podcast. Ah, you could be doing interviews where you call somebody up on Skype or Zoom and and you have an interview. Or maybe you do an in person interview. You could be an audio drama where it's more like more like a movie, but an audio version where it's you have actors and and high level of production where you have sound effects and all these things that come together to tell a story. All of those are great great podcast formats, and there's no right or wrong. Necessarily. It's what you want to create now that brings us then into podcast types, because once you've decided on the format, you're gonna want to decide on when what type of podcast it is. So is this a seasonal podcast where, just like TV, you're going to release Season one and then ah, have a break for a few months and then you release Season two, and then you have a break for a few months. Cereal is one of the more popular podcasts out there that does seasons like this, and they actually kind of take a Netflix model where they release the entire season all at once instead of releasing, you know, one episode a week for the season, or you could go episodic. So there are some great podcasts out there that are episodic. The aforementioned Joe Joe Rogan and hardcore history or episodic podcast where every single episode stands alone. It's not a season of episodes that kind of center around a theme, but it's every single episode. You can listen to it on its own, and it's It is its own episode. So be thinking about what type of podcast you want yours to be and then leading into that would be popular. Times two. Release your podcast, right? So when is the best time to release your podcast? You could release on a weekly ah weekly schedule. So that would be, you know, every episode, Neumann every new episodes every Monday or new episodes every Wednesday, or whenever that released A is or you could say fortnightly. I prefer the term fortnightly instead of bi weekly, because Bi Weekly can also mean twice a week as opposed to every other week. So fortnightly would be every other week. And so you could say, you know, a new episodes every other Monday or new episodes every other Sunday or whatever day that it is that you decide to release on or you could release monthly. Those are really three of the most popular release formats where you have a monthly schedule or bi weekly or a weekly release. So what works for you? Take some time to think about what works for you and remember, it can change. It doesn't have to stay the same. In fact, let's use my show as an example, because here's here's how I did it. My my podcast has changed its release schedule since I first started. So for length, I try to keep my show roughly around 45 minutes. Okay, so that's not a harden hard and fast rule. Some stories take longer to tell some don't take that long to tell, and but I try to keep it roughly 45 minutes. That's kind of the target that I go for, and the primary reason for that has to do with that is the length that I've determined I can get to after doing it for years and years and years. I can create a 45 minute episode and still hit my release schedule, right? And so the challenge there became. Well, that's what I initially I started off going every other week. And then I went to, um, every every week. And then I went to every other week, and now I'm releasing on more of a hard core history style where it's, you know, as I get them. Ah, released. But at that point I kind of determined that 45 minutes was the length roughly for an episode, and so, in order to create a 45 minute episode, it takes me roughly 24 hours to get done. And so the time that I have to get that done really is spread out across that release schedule. And so I've had to change that release schedule based on making sure I hit that same level of quality. Now I picked the release day for my episodes to be Monday, and a big reason for that has to do with the weekend. So on in my schedule, I like toe have that weekend in case I need to button up any last minute items, or if there's anything that I need to get done over the weekend, I can do that. And then I can release it on Monday morning and then that way, before I go into work for the week, I can make sure everything is good to go for the episode. Release that and then let it, you know, let it go for the week. Essentially well, while I'm while I'm working. So Monday turned out to be the best release date for me and from my schedule, in order to keep the podcast going now, As I mentioned a little bit ago, the frequency that I release my podcast is more on a variable level. And again that might change. That's as of this recording its variable. It might change if my schedule changes. I might drop it to, ah, fortnightly release or I might change it to a weekly release. It really might change depending on my schedule. And so those that really factors in that all of these things are things that you can change . But the key here is to really make it more of more of a conscious decision, right? So rather than the night before, there's so many podcasters out there, and not that there's anything wrong with this. This is just something that, um, really, I think starts to trickle into. Getting burned out is you're working on it the night before, and then you release it as soon as it's done because you've promised your listeners that it's gonna come out once a week, every single Tuesday and you're working on it until two o'clock in the morning and you finally get it done. OK, now I got to get the next one done now I got to get the next one done. It starts to become a drag, and it's no longer fun. And so it becomes. It becomes more work than fun, and you don't enjoy doing it. And so you're not going to keep that going. That's really how you can start to get burned out. So that's why I would always recommend figure out what works for you. And so if if you're releasing weekly and you're really struggling to release weekly Goto every other week and and you give yourself that time to create a quality show rather than just cranking out an episode every week because you've promised your listeners that it will come out every week, you know your listeners would be very understanding. I've switched my schedule multiple times now, and every time they've been very, very understanding that that's how much time it takes in order to create an episode. And so they're happy when it comes out and and then you know there's there's no no complaints there, So now it's your turn kind of figure out what works for you if you do have to change your schedule to keep from being burned out just let your audience know they will understand You're giving them free content, and your listeners would much rather get less of your quality content than lose it altogether. Or to see that quality drop where you're just putting out an episode just for the sake of putting on episode, take the time to figure out what your format will be. Do you want to be single host? Do you want to do interviews? Do you want to do an audio drama? Remember again, you can. You can mix these together. So even even though my podcast is a single host podcast, I do some interviews from time to time. If if I feel that this story would be best to be told by doing an interview, then I will do an interview so it doesn't have to be one or the other necessarily. But put some conscious effort your conscious decisions into what your format is going to be . Also, put some thought into what your show type is going to be. Do you want it to be seasonal, or do you want it to be episodic? Some of the great benefits to seasonal is that if you decide I'm going to do 10 episodes in a season, then you can really focus on creating those 10 episodes and then release them. And while those were out in the wild, you can then start to work on the next 10 episodes. And so maybe you're releasing those 10 episodes once a year. Then you know you have a lot more time in order to create those, and and so you can make sure that the quality level is is there as opposed to episodic where it's, you know, if you're releasing once a week, then as soon as you get done one done, you have to start working on the next one. And so that release that deadline comes up much faster and start to figure out your schedule. You know, does weekly work for you. Be realistic about your time, just fortnightly work. Better for you, monthly or maybe a more variable release schedule, kind of like my podcast currently has. Now, in the next video, we're going to talk about the process of planning out your episodes so we'll take a look at kind of how I've done that from my podcast and some tips and tricks that you can start to do when you start to sit down and plan out your episodes 6. Planning out your episodes: In the past couple of videos, we've learned about the strategy behind coming up with your podcast topic and the format for your show. So hopefully at this point, do you have an idea for what your show will be about and what sort of schedule you want to shoot. For now, the next step is to figure out what your actual episodes will be. So let's walk through that process in this video. Now the first thing I want to mention is really something I've mentioned before, but it bears repeating, Really, From this point forward, from this point forward, after you figured out your podcast topic and your podcast format, it's going to start to very, very ah lot from the results that I've gotten from my podcast, Right? So we're going to continue on throughout this course, and I'll show you behind the scenes on my podcast and how it's created and all of that. But your results are going to very because, for example, my show is a single host podcast, and so if you're doing interviews and you have multiple people in the same room, then your results are going to be very different or if you're doing an audio drama where you have to have actors come in and and you're doing sound effects and all of these different things, of course your audio editing is going to be very different than the editing on my podcast. So your results are going to very, really from this point forward. I just want to point that out. So with that said, Here's the process that I went through in order to come up with my podcast episodes, and this is when I was first starting out the very first thing I did. Once I decided that I was going to do a podcast about movies and history, it was gonna be a single host. I was goingto be the only host on on the podcast. I wanted to be episodic episodes roughly 45 minutes or so is kind of what I was shooting for, and I wanted to start releasing. Initially I was releasing every other week. I had kind of changed that since then. I've talked about that before, but what I wanted to sit down and do is figure out what my episodes were going to be. So that very first planning session, I sat down and figured out one year worth of podcast. Now, at that time, I was planning on doing Ah, weekly release. So one year worth of episodes was 52 episodes. I sat down on a Saturday afternoon, took a couple of hours and just started researching movies. Now, in my case, because the podcast was about movies and every single episode, it was episodic. So every episode is about a different movies. What I decided that basically meant I needed to find 52 movies that were based on a true story that I wanted to cover. And, of course, there's a ton of movies that we can kind of think of off the top of our head. You know, Titanic Schindler's List. Catch me if you can. There's a lot of movies that are based on a true story that we can think of off the top of our head. But when I first started this podcast, realistically, I'd never sat down and figured out. Are there enough movies that are based on a true story for this to even be a viable podcast idea? And so what I learned from that process of sitting down, and figuring out one year worth of episodes was extremely valuable. First, I learned that my idea was a viable one, that I could do a podcast about movies that were based on a true story, and I would have enough content to do it for at least a year and just doing that research I found even more than 52. But really, that was my stopping point there. That was the goal that I wanted to hit. But there there were so many more. And so it gave me the confidence to know that this is an idea that I can move forward with him that I can keep doing and not run out of content to create now. It also helped give me a direction for those first few episodes. So once I sat down and came up with 52 topics, 52 episode topics in my case they were just new movies. Then I had an idea for what some of my first episodes could be. All of a sudden, I had a list of 52 movies and 52 episode topics that could pick from. So what were my first 1st 2 or three episodes going to be. I had a list of 52 topics to pick from and decide which ones I wanted to be first. So from here on out, and this is something that I do on an ongoing basis, and if you've already got a podcast going, I would encourage you to to kind of continue to do this in some sort of former fashion. I've settled on quarterly planning sessions, so rather than once a year I will sit down once 1/4 and figure out what the episodes air going to be. Four that next quarter. So what may there's new movies that have come out? There's movies that are coming out that maybe I want to cover in that quarter. I look at listener requests and I start to factor those in how many times the movie's been request requested. And I'll sit down and put out, put down the order of the episodes that I want to cover in the next quarter, and that way, when I actually sit down to record, I don't have to figure that out. All I have to do is figure out what that next episode is going to be. When I sit down to research and write a new episode, I've already figured all of that out ahead of time. So here's the process that I go through in order to pick out what episodes, what episodes will become an episode. What topics will become an episode first? Of course, you know it has to be a movie that's based on a true story. That's kind of the core foundation for the podcast. But from then there's so many different factors that I try to that I tried to put into the episodes in order to give some variants. Because then and listeners are going to have different preferences for movie types as well as different lengths for my own purpose. So this is a great example. Here you can see three episodes that I've put together for the podcast, and this is a great example to illustrate what I'm talking about. Ah, first was Mata Hari, and then a week later, the right stuff came out and then a week later, the movie loving So the story of Matahari is about probably one of the most popular spies during World War, and there's not really a lot of movies about world war these days. It seems to be about World War Two. But, um, I wanted to cover Mata Hari story and her story of of how she became a spy and how she was tried and eventually killed for being a spy. And then there's recently been some some evidence that has come to light that maybe she wasn't a spy at all. So it is a fascinating in a tragic story, but one that I wanted to tell and you can see. That episode ended up being about 35 minutes long. So that was how long it took in order to tell that story. Now, I knew when I was doing the quarterly planning session beforehand that after Mata Hari I wanted to do the right stuff. And the right stuff is a completely different story, right? So that's gonna hit a completely different target audience because people who are interested in spies during world war might not necessarily be interested in the technology behind the space race, which is what the right stuff is all about. They might be. Hopefully, you know, they like to listen to both episodes, but that's the some of the decisions that I make in the genres and the topics that I choose back to back and then loving is the story of Richard and Mildred loving. So they were an interracial couple that back then it was illegal to be toe have interracial marriages, and their story is actually the the marriage that went to the Supreme Court and changed that ruling so that now it is legal toe, have interracial marriages. And so it's a great story of of Just Love. No matter, no matter who you are, it's just just a story of love. And so those stories back to back are very, very different stories, and so it kind of helps show some of the range that I try to do between episodes. But you can also see kind of from a strategy standpoint, the right stuff is a really long movie hits us around three hours long, and so you know, it's a It's a long movie. So I knew that that was gonna take a lot longer to research and to, uh to create that episode. And of course, the episode itself is gonna end up being longer. And so everything about that. It's gonna take longer. So if it's going to take me a week and 1/2 or two weeks in order to create that one episode , then I needed episodes around it. That would take less time and really as something I could knock out maybe a few days instead of an entire week. And so those like some of the factors that I think about when I go into my quarterly planning session, not only the topic itself. What's the story? What what is that? Who is this going to target? You know, somebody who is interested in in the right stuff, and the technology behind that in the space race in the history of that, may not be interested in the movie loving or vice versus somebody who's interested in the movie. Loving may not be interested in the right stuff. That's just, you know, everybody has different preferences, and so I try to factor some of that in and give a wide range of genres, but also give myself the time in order to create those episodes and tell those stories. So now it's your turn. Start to put some thought into your episodes. I would encourage you if you first just starting off your podcast. Sit down, take the time it needs a few hours and just figure out what it would look like, what those episodes would look like to do one year worth of your episodes. Now, if you're already have a podcast going and encourage you to think ahead, maybe do the next quarter, take a few hours and figure out the next quarter worth of episodes and again, you don't need to add a ton of detail into them. When I did this, all I did was just jot down the movie title cause that was gonna be the topic, right? You just want to get the basic idea down. That way you can focus on creating great content instead of trying to come up with what the next topic is going to be and what that next topic might be might end up taking ah, lot longer, and then you're only going to start getting burned out. And if you take a step back, then you have the ability to kind of give some foresight into that. Okay, now, the next step for your podcast is jumping. Start recording start recording your episode now, we actually have still have some strategy to do. So here is a decision point. You can skip ahead to where we start recording my podcast and you can start to see some of the bus behind the scenes for that and get some tips and tricks for how to start recording your podcast. But we have some strategy that I still want to cover. That is more on an ongoing basis. So, for example, how do we organize the podcast on an ongoing basis to see what the status is for each of the episodes? If I wanna wake up an hour early and work on something, how do I know what to work on that kind of thing That's really boils into how I organize the podcast, things like tracking listener requests and stuff like that. So we're gonna have to hop onto the computer in order to do this. So when you're ready, I'll see you over there. Or if you want to skip ahead to the recording session, Piau means go ahead and skip ahead there. But for now, in the next video, we're gonna talk about organizing the podcast 7. Organizing your podcast: In our last video, we learned about planning out episodes. Now is your going through the day today process of creating your podcast. There are still some ongoing strategy, things that you need to figure out, and one of those things is how you're going to keep your podcast organized. And of course, you're free to do that. However you like. There's really no right or wrong way to stay organized as long as it works for you. But in this video, we'll chat about how I organize my podcast. So hopefully it will give you either a starting point or some tips and tricks to use in your own. So the tool that I use for my podcast is jeer up. Now let's open up Ghira in a browser here so we can see what this looks like. So this is Jeron. This is my dashboard. But I had a day to day basis. This is what it looks like. If I come over here and go to my board, we can see here is how I track the podcast. Right. So this is a list here of all of the episodes, so these are the ones that are not started yet. These are the kind of ones that I have to write these, the ones that I have to record. So my basic process is once once 1/4. I've talked about quarterly planning sessions out go through the process of deciding what episodes I want to create. So that's coming through my backlog here. And these are all of the different episodes that I have that I have people have requested or I've come up with or whatever that might be. These are all the different episodes, right? There's Aton of different episodes in here. So I sift through these ads some or take some away if I've already done them, whatever that might be every quarter and decide these are the ones that I'm going toe work on for the next quarter, and then throughout that quarter, I don't really focus on the backlog it all. I don't focus on all of those episodes that I could create. I already have figured out what I want to create. So once I'm done with one of them, I'll start watching the next episode, or what sucks watching the next movie and go through that process. So once say if I'm doing Mary, Queen of Scots once I watched that movie, Okay, I've watched it, which means it's ready to write. I'm ready to take that next step, and I've walked through what those steps are. But basically what we do is go through that next step of of watching and and taking notes on that. I have another video that walks through what each of those steps aren't, how long that takes and so on. But this is kind of the visual side of that where we can see how I tracked that. So once I have watched it, I have the notes and I'm ready to actually recorded. I've written that episode that attracted to record same, you know, this is ready to edit, so I've already recorded it. It's ready to edit. I've edited it, which means I need to upload it to Q Way to listen to it. Um, I've added this some episodes I will add to YouTube some I do not. It's it's kind of on a time basis, and when I am able to do that Ah, and then I have you know, I've created the graphics and the block post for its. I've uploaded it to pay Triana. It's ready to be uploaded there and then it's finally done. Once it's done, then it will disappear from the board. So I'm gonna take this all the way back to not started because that's actually where it should be. So that's basically the process that I used to track it. So if I were to wake up in our early in the morning and say, You know what, I want to work on the podcast. I can look at this board and see exactly what needs to be done and what needs to to move into the next column. So you know, I can come in here and add any notes that I want to on this. So if this pops open here, we can see. There we go so I can see the notes I can add in notes. You can see this has already been requested another time. Um, I can add in whatever sort of comments I want, just as a note to myself later on, that kind of thing. So really, really handle really, really handy tool. In order to be able to track all of this now, when you're choosing your tool, don't overthink it. Here is an example of what I used to do. So I used to actually use Ah, just annex an Excel spreadsheet. I used to use an Excel spreadsheet in order to organize my podcast. And the reason why I switched Ajira wasn't because the spreadsheet wasn't working. It's really I had been administrating Jura for years and years and years at work, and I wanted to create some tutorials around it. So I was really killing two birds with one stone. It was giving myself away to organize the podcast in another way, but also an opportunity to create tutorials around Jiro because I couldn't use my works jury for nd a purposes. Um, one other tool that I do use actually here is ah, Google calendar so you can see these episodes. Jura does have a calendar capability, but it costs an extra subscription fee. So rather than pay for that, I just use Google calendar so that I can see what episode you're going to be coming out on what day? And that's just a matter of coming in here and adding that so you can see all of these different episodes, and that's just so visually. Aiken, see what's coming. Where and help with this in the quarterly planning session. To be like, You know, I don't want this one to come out. Then I want this one to come out here. Google Calendar is nice. You can click and drag in order to change those around and move them around however you want to. It's a nice way to to do that in the planning session. All right, so now it's It's your turn. How do you organize your podcast? The first step of that is to figure out what the status is our for your podcast and again coming back to jeer A. I went through the process of figuring out what each step of the podcast is, what each step for each episode to get it from, not started to done and all of those steps in between. And then that way I can plot those steps out. Ah, once you have figured out what those steps are, find a tool to track those statuses. And again it doesn't. You don't have to overthink it. You find it if you Google Sheets works. If Excel works for you. That's great. But if you're looking for a place to start, here's a few recommendations. You could start with Trela. Trillo is free. It's very, very popular. It looks kind of similar to jeer here, and there's actually reason for that. At last Seen is the company that creates Jura. They're also the company that creates Trillo. So Jura is really trail owes kind of big brother, right? So if you think of, uh, trail Oh, and if you start to hit the the limitations on customer customizing trail oh, then you might want to upgrade to jeer up eso those air both great options for ah can band style board like this here. Jerry also has the ability for scrum and and more agile capabilities. But it's it's higher end, um, the higher end version of trailer. Essentially another great tool that I use personally for my own task management is to do it . That's a great tool that you can use to track things that you need to get done. Another one might be Google keep. That's a great tool as well, and that's something that big benefit to that is. If you have a Google account you already have access to keep because it's completely free with your Google account. It's simple. You don't have to overcomplicate things by using keep another tool that I use actually used to create all of my research material on all my writing is Evernote too great Tool integrates with just about everything that you can think of. It's very flexible and kind of how you want to work with it. Ah, and it's more than just tracking. As I said, I actually use it. I don't use it to track my episodes cause I used era. But I use Evernote for research material, clipping different articles from websites and all of that as I'm researching, as well as all of my writing as well. Another tool that, ah, great alternative to Evernote is one note. Ah, that is Microsoft's version of Evernote. Basically, because it's Microsoft's. It integrates really well with the other office suite. So if you're using Word and Excel and things like that, one note is a great great tool, and it's really I actually used to use one note to creates the entire podcast. For all of my research and all of my writing before switching over to Evernote. So one note is fully capable of doing pretty much everything that ever note can do. Now. They've really added a bunch of capabilities to it. But at the end, the tool that you use doesn't matter. You could use a white board. You could. It's completely free. You can customize it to your heart's content. Draw whatever you want on it. Take a break from the computer screen and use a white boarding in your room wherever you're creating your podcast. In order to organize it all, you could use post its post it. You're a great way to organize things. Their chief. They're easy to use it. You can organize it however you want. And of course, it makes great decoration for your monitor. The tool that you used doesn't really matter. It's really how you use it. And the goal here is to keep track of your podcast episodes. That's not going to make the content of the podcast any better. Use what you want, really. The goal here is to be able to jump in, know where you're at at any given time and keep track of it all so that you can spend more time creating that great content and less time organizing what content you need to create. All right, now, in the next video, we're gonna go a little bit deeper into the organization side and look at how I keep track of listener requests for episodes. 8. Keeping track of listener requests: in this video, we'll look at some of the ways that I track listener requests for episodes. Now having listeners reach out to you is one of the greatest parts of podcasting. It's great to be able to interact with people that are listening to the content that you're creating. But it also introduces ah, logistical challenge when they offer up suggestions for feature episodes for your podcast. And by that, what I mean is, listeners can get in touch with you from anywhere so it could come from Facebook or from Twitter or your website or email or instagram. And even from there, you know there's multiple places you might have a Facebook group, a Facebook page. There's Facebook Messenger Twitter. You can have tweets sent to. You can have direct messages. You could have multiple ways to contact on your website. Or, if you're like me, you probably have multiple email addresses. And so any of those have to be organized. And then there's Instagram. You can have comments or direct messages from Instagram as well. So with all of these different inputs, how do you track them? How do you organize all of it? So if somebody request something in your Facebook group, and then somebody send you a message on Twitter with the same request. How do you know that? Well, now you have that requested twice. So in jeer A. The way that I track all of this is through jeering. I walked through jeer a very briefly before, Um, and kind of how I used that. But I actually use it to track listener requests as well. So here on the dashboard, this what Jared calls the dashboard. I have a couple gadgets that I've built out, and you can see I have listener requests. So this is the number of times that these episodes have been requested and you can see there's quite a bit here As I get them completed, I actually knock them off. So I will take them off of this list if I get it completed. Um, but let's walk through this process to see what this looks like. So if I get a request from any of the places that I mentioned before, you know Ah, Facebook, Twitter, the website, email, anything like that. I need to come into this right here. I'm gonna open this up in a new tab. So let's I'm getting a request for Les Miz because even though it's funny, even though that's one of the the kind of the reason why I started the podcast, I still have not covered that movie yet. Maybe I need to fix that. It's getting requested a lot, So if that comes in here, you can see all of these different requests that have come in Aiken just up this. I can just add another another number. So it's just a simple number that I'm tracking, and it just for my own purposes, to organize and say, You know what? I had somebody reach out to me, and they wanted me to cover Les Miz. I will bump that number up, and that's all I need to do right then and then during my quarterly planning session, I look at this and if I refresh this now, you should see Les Miz come up, bump up, See? So now Les Mis is up there. Me, like these are things that I factor in very heavily when I start to do my quarterly planning session is how many times it has been requested. Ah, how many you know, of course. And then, of course, there's the genre and the ah time that I think it will take to create that episode as well and talked about that strategy as well. So that's basically how I manage it from all of those multiple inputs. It's the same way I just store it all in one place. And that way I can right away, I can access juror from anywhere cause it's it's based on the web. So right away I could just log in and be like I'm gonna add a new request to Les Mis and there we go. All right, it's done. So, men, when I do my quarterly planning session, I have an idea of how many times things have been requested. Eso this one. I'm gonna I'm gonna knock this down here, since this was just shown for, for example, purposes. But here you can see multiple different issues. So these air multiple different tickets. Each one of these has been somebody who requested it through the website. So on the podcast website, I have another way that you can request, and that is right here. I added this. This is a feature injera and I added this because I wanted an easy way for somebody to be able to request an episode. Of course, they can reach out through Facebook Messenger and Twitter and Instagram or email. I get requests like that all all the time, right? But I wanted a dedicated place. So if somebody says, How do I request an episode or somebody comes to the website? They want to know how to request an episode. It's super simple to do, and that's just clicking on this tab, and that opens up this bar, this box right here. And if we were to type this in. So let's say I want to do like, Miss, this is a test just so you can see what this looks like. I'll go ahead and submit this. What that does is it actually has been recorded. You can see it's been recorded as number 8 56 So over here injera it will come into my backlog, so I'll show this here once this loads. Let's look for here we go. Let's do a search for Les Miz and here it is 8 56 So that's the one that I just created. So I've given people the ability to create that, um, to create an issue in my backlog. And then what I do is again in that quarterly planning session. I'll come through this and I'll take this and I'll say, OK, this is where I'm tracking it. If I come to my dashboard, that's open this up. I try to keep just one issue, one ticket that has been, ah, requested for that. So this is the primary ticket that I use. I have all of these other ones that people have requested, but I'm only keeping track of this one, and these others, I just close them, but I keep track of them, so I know that they've been requested multiple times, but I closed them so that I only have one that is going to actually get tracked between the different statuses. So what I need to do here is I need to come in and add a It's actually duplicate duplicated by, and I can do a search for 8 56 That's the one that I just created, Link that. Okay, so now that is linked. And now I can come into this ticket here, and I can just close this out and say that this one is done. I've done everything I need to do to this. Okay, so that's done. Now let's go back and add in one more listener request. And yes, this does take a little bit, but it's one of those things that I do on as part of the quarterly planning session. And that's kind of the first thing I do is go through the listener requests. Um, so there we go. So I've tracked this. This has been closed. And now if I wanted to do lame, is all I need to do is to take this original ticket. It looks like I have another one here. I need Teoh close out as well, but this is the original ticket here. You can see it's 3 82 3 82 So I just take that one, pull it in and be like, OK, I'm going to start working on that one. And now it's ready to actually start working on and dragged through the different steps of the process. So that would be how I actually track creating that particular episode as I start working on that. All right, So let's take this. I'm gonna pull this back to to do, and that will pull it back into the backlog That way. Um, my next quarterly planning session, I can actually start working on that. But now, now it's your turn. That's kind of how I track all of my listener requests. But now it's your turn to start to think through the process of how you track your listener requests. The key there is to be accessible. You want people to be able to reach out to you again. That's one of the best things. And podcasting is when people reach out to you and and share their love for whatever the topic. Is that your podcasting about because they're going to be passionate about the same things that your passion about It's just great to build that community with similar passions, so be accessible, but then find a way to organize it on the back end. So I have multiple inputs coming in. I can come in from anywhere, and then I use Jezeera as my one tool where I could organize all of it and keep track of it and know that when I go into my planning session and try to figure out what episodes I need to create that I've collected all of the requests from listeners in different areas. All right now, in the next video, we're gonna chat about one of the primary ways that I've been able to get stuff done for my podcast through the process of batch processing, so we'll go over that in the next video. 9. Batch processing episodes: in this video, we'll take a look at how I batch process my podcast. Now, before we begin, I want to explain the reason for why I batch process and that's really to avoid switching gears. Now. I'm a huge productivity nerds, and there have been studies that have been done that will show that you lose roughly about 30 minutes whenever you have to switch years between wildly different tasks. So if you're working on something and then you get up and you go outside and you water the garden and then you come back inside, that whole process of switching years will take you about 30 minutes or so before you're mentally back to where you were. Figure out where you left off and pick right back up and get mentally back into the gear. That's just kind of how how it works on average. So the reason for my batch processing is to help me avoid switching years like that. Realistically, I don't really know how true that is for the 30 minutes I know. I've I've read that research before. Don't take my word for it. There's a lot of research out there that you can do. But what I do know is that when I'm in the mindset of writing and researching, I'm usually listening to music or have something playing in the background. I have a TV show or a movie going on in the background that I'm not really paying attention to is just noise in the background. I'm doing whatever it takes to kind of get into the zone for writing and researching. Then the process of recording is very, very different. It requires a very different kind of zone. You can't listen to music while I'm recording. Of course, I can't have a TV show or movie going on in the background while I'm recording. It's just a very, very different process. And so going from one to the other, from writing to recording to editing to all these different steps that it takes to create a podcast episode, can really kind of switch a lot of gear. So I like to avoid switching those years as much as possible and do them in batch. So my batch processing for my podcast means that basically, I try to write about a month's worth of episodes once I get that done and If I'm releasing on a weekly schedule, then that means Ah, then I am creating about four episodes. So let's say, for the sake of argument, let's use the weekly example. Uh, writing a month's worth of episodes means writing four episodes. And then I record for episodes because on then I'm in the recording mindset. I just knock him out back to back, taken entire ah, Saturday or Sunday on the weekend and just record all of those episodes. And again, if you looked at the strategy where I kind of go over all of the different steps, then you'll snow that that takes roughly about 2.5 hours to record an episode. So from recording four episodes, that's a pretty good time sent sitting behind the mic. And that's why it's helpful to kind of get into that that mode and just knock all of those out. And then the same for editing. I'll just edit all of those. Once I get that done, get those four episodes edited, and then I scheduled those four episodes, and it's just a rinse and repeat process on kind of a monthly basis. Now, at any given time, I tried toe have about two months worth of episodes scheduled to release. So, for example, if I'm if it's in January, then I'm actually working on marches content. All of the content in January in February has already been recorded, scheduled, ready to go, and I'm working on marches, content. And then by the time March rolls around, I've already got March in April's content done and finished, and I'm actually working on May's content. And so I try to stay a little bit ahead, and that keeps me from always being in a rush. And so if life happens, if if something happened and something comes up, then I have a little bit of time to figure out what I need to do before actually pulling the trigger and making that decision. Now I know there's a lot of podcasters out there who record immediately before publishing. They just can't get away with creating a show a month or two in advance, and that's okay, depending on the type of show that you're doing. Maybe you can't do that. Ah, fortunately for my podcast, one of the ways that I actually thought ahead of time was to create a show that would be evergreen, Which means if I create a show in January, still gonna be just as relevant in March or in May or next January. It's just as relevant as it is the day that I release it. So recording ahead of time, I recognize, is not something that everybody can do. But if it is something that you can do it when you're starting to think through your podcast, if that's something you want to do, make it a conscious decision. That's something that I made a conscious decision to do for my podcast. So at that point now, as I alluded to earlier in this course recording ahead of time is a very conscious decision , and that was really something that drove me to do a single host show. I will do interviews from time to time, but as of this recording, I've done four interviews across Ah, 135 episodes, so very, very small, small amount, and so as a single host, I can batch process my episodes that much easier now, as I just mentioned, I have done for interviews on my podcast and I mentioned that on purpose because I want to showcase an example of something that will date this recording. So just by mentioning that I have four as soon as I have 1/5 interview than this recording will be dated. And that is an example of evergreen content and things that you want to be aware of as your recording or as you're writing or as you're creating your episodes. What is something that's going to date this episode? And realistically, are you okay with that? So I just dated this video by saying that I have 44 interviews that I've done on the podcast, and I'm OK with that because I was using it to showcase an example. But typically, I would try to avoid that sort of thing and keep it evergreen. Now there is a downfall to batch processing. Probably one of the most common downfalls to batch processing is the inability to take in listener feedback. So, ah, for example, let's say a listener reaches out to me to say that the audio is just too quiet on the episode that was released today. Well, if I have the next two months worth of content already done, I can't really make a change until those that two months worth of episodes are are done right. I can't make that change. Well, that depends. I mean, to be completely honest, you can make a change. Those episodes had not been released yet. In the case of low audio, it's super easy to bump up the volume. You can re export those audio files and replace the scheduled episodes instead of inside of the podcast host. If there are edits that you need to make, then you could re record that you already have it written out. In my case, it's a single single host. And so I just matter of finding time to go in there and re record those Ah, yeah, it means redoing that work. But it is something that you can do so you're not completely limited by by that that process there are going to be, of course, sometimes where maybe you can't go back there and do that. If it is an interview, it's gonna be really tough to go back there and re record that. But those are things that you want to think about and keep. Keep in mind when you're making the decision to batch process now in another at a point. Now, just because you're scheduling episodes ahead of time doesn't mean now there's a downfall to batch processing, one of the most common downfalls that I hear people talk about batch processing. It has to do with the inability to really take in listener feedback. So, for example, let's say I'm working two months ahead of time and a listener reaches out to me and says, You know what? The audio is just too quiet on that episode that released today. Well, I already have the next two months worth of content already done recorded scheduled, and I'm working on episodes way out in the future. So there's really nothing I can do about those two months worth of episodes that are already done right? Well, that depends. So in the case of Low Audio, it's super easy to bump up the volume, re export those audio files and then replace the scheduled episodes inside of the podcast host. That's things that I've done before. I've actually done that. But just because you're scheduling episodes ahead of time doesn't necessarily mean that you have to record it at the last minute. All the time. So to solve this challenge, to get the best of both worlds, I found a solution in a completely different industry. Realistically, I just stole the idea from sports. Not any sport in particular, just sports in general. Have you ever wondered how a team can win a championship? And then the players are wearing shirts and hats that declare them the champions immediately after the game? Did they go often and print off the shirts and hats for the entire team coaches? And then as soon as the game is on ended, they just go ahead and create those as soon as the game has ended. Of course not. That's not realistic. That's not how that works, Really. What they did is they created both versions. After all, when there's two teams playing in a championship, there's really only two outcomes that can come from it. One team's gonna win or the other team's gonna win, so the winner gets the shirts and hats, and then they burned the shirts and hats of the team that does not win. You never get to see them. You can do that sort of thing on your podcast if you want to batch, schedule and release. So a great example of this that I actually did for my podcast was the movie lie in. So when I released an episode talking about the movie lion, it was actually nominated for best picture at the Oscars, and the episode was set to release the day after the Oscars. But in the episode, I mentioned the results of the Oscars. How did I do that? Well, I didn't record it that night, I can tell you that. Instead, I still recorded it months ahead of time. I just thought ahead, just like with E sports team at the championships, drilling on a two potential outcomes toe win the Oscars. Either movie that's nominated for the Oscar is going toe win or it doesn't so. I recorded a single line that talks about the results of the Oscars, and I just recorded that twice. And then I exported two different versions of the episode, one that talks about how Lyon won the Oscar and then the other one that talks about how it was nominated but didn't come home with the award. Then I got everything scheduled and ready to go. The rest of the episode was talking about the historical accuracy of the movie, so it didn't have to do with the Oscars and then whence once the actual correct results were announced. I was watching the Oscars that night, and I just swapped out the scheduled episode on my podcast host with the one that actually mentions the correct results. And no one will ever hear the other version of that episode. In fact, until this moment, nobody ever knew that that other version even existed. Now, even if there were more than two options, recording a few different versions of an episode is easy to do, and it can add some relevancy to your podcast. If that's something that you're wanting to do now, it's your turn. What's what's your take away from this? I know we've talked about some different strategies in this video about how I batch process my podcast, and I'm not trying to say that you have to batch process your podcast by any means, say that 10 times fast batch process your podcast. But if you are able to steal an idea from something that I've said now, hopefully help you stay on top of your podcasting schedule and keep podcasting, then it's worth it. But for now, we come to an end of this strategy section. Now, in the next section, we're going to take all the high level discussions that we've had in this section, and we're gonna make a little bit more concrete by going through the overall process that I walk through for each episode before sitting down behind the mic. 10. Section overview: Basics of recording and editing: before you sit down to record your first episode or any episode, really, it is important to be prepared. You should never sit down, hit record and then start your podcast with Okay, What are we talking about today? Figure out all the technical stuff ahead of time. Figure out the content that you want to talk about ahead of time and then you'll be delivering better value to your listeners and that will result in higher download numbers. Now, in our previous section, we were more high level with the podcast overall, talking about some of that strategy to figure out what that content will look like in this section. We'll get a look at the set up that I used to record and get an explanation of that before starting our full episode recording and editing. This should be a pretty quick section, but it is an important one. So when you're ready, I'll see you in the next video, where we'll get an overall picture of each step of the podcast. 11. Overview of my podcasting workflow: in the last section, I explained the topic and the format for my podcast. Now, how you make a podcast episode is going to very differently than mine because your shows, topic and format are probably going to be very different than mine. And so, of course, is you being you. What works for me isn't gonna necessarily work for you. So I'm sure I've mentioned this before. I will mention it again. And just to set the expectations, the steps that I go through to create an episode of the podcast, it's gonna be different for you, right? And that's perfectly fine. That's the beauty of podcasting. Make it unique to you. But hopefully you can pick up some tips and tricks as you see each step of the podcast that I do and start to try it on your own show to become more productive and really just keep you podcasting for longer. All right, so with that said, here are the steps that I go through to create an episode of the podcast. So my podcast is about movies and history. So the first step that I take to create an episode is to sit down and watch the movie, so I will sit down and watch a movie and ah, that takes roughly three hours on average. So some movies or longer some movies. If if a movie is actually three hours long, it will probably take me more like five or six hours to get through it, Um, an average movie. If it's an hour and 1/2 long, then it'll probably take me about three hours to get through it. And that's because I'm not just watching the movie. I'm taking notes. So if I see something on the screen, the movie gives him text on the screen. That gives a time in a place to set the context. I'll actually jot that down a pause the movie, and I'll jot that down. And so that way I get this bulleted list and here I'll show you on the screen. You can see a list of, uh, kind of what? That what those notes look like. You can see it's just a bulleted list of notes as I'm watching the movie now. The next step is to highlight the questions so you can see some of these questions are highlighted. Some of the different questions that I might have as I'm watching the movie, and depending on the movie, those questions are going to be different. Did this actually happen? Or or as I watched this scene, is this scene re alors, that Are these people of these characters riel? Ah, lot of times in movies they actually added. Amalgamation is where there's no multiple people in the real world that we're kind of condensed into a single character. Or maybe the character's name was changed or things like that or the timeline was changed. I'll start to highlight those questions, and then the next step of the process is to start writing and researching the episode. So I start at the very beginning, and it's just the way that I write is kind of in a Stephen King style, where it's just sitting down and cranking through it. Um, and so I'll start at the beginning, and I'll start with the beginning of the notes, and I follow the movies timeline. So every single episode of my podcast actually follows the movies timeline and then uses that. So as I'm watching the movie, I'll follow that timeline, that outline that I've created and If I have a question that I want to answer, I will then kind of give that answer and then jumped back to the movies Timeline and ask another question through the movies Timeline. Answer that question and back and forth, and that's kind of the process. So writing and researching the episode is by far the longest amount of time that it takes and that that takes about 11 hours on average. So we're up to an average of about 14.5 hours up to this point. So Step four is to build out a pronunciation guide. Now I will be the first to admit that pronunciations are the weakest point of my show, and that is really just because I am an English speaker and and English is the only language that I speak. And a lot of movies that I cover have have characters and places and things like that that are non English, and so I do my best. I will actually build out a pronunciation guide based on looking up interviews of the actual characters or the actual real people. If I can find that or interviews with historians or authors or um if I can find a lot of times, you know, in the audio books that will pronounce their names and places and and find those. And so I build out a pronunciation guide where I will actually spell those things out phonetically. And that way, when I'm recording, I can I can pronounce it and try to replicate that as much as I can. Sometimes I still from fail miserably, but that's that's that's part of part of the process, Um, and that'll take roughly half an hour or so to to do. That's not usually not too long at the point at which I create the pronunciation guide. Um, I already know what the names are and things like that that I need to look up because I've already written that out. And I've already done all the research so already kind of have an idea where I might go to actually find those pronunciations. And then the next step is to sit down and record it. So again, the average episode that I try to go for is roughly 45 minutes, and it would probably take me a couple hours 2.5 hours or so on average in order took record. That and that is including all the mistakes that I make you know, again, the pronunciations. You know, if I go back and I'll record that a few different times and try to get it correct hours close to correct as I can. And ah, and so those are the kind of things that ah kind of take the recording session to take a little bit longer, and I have to factor that in. So a cumulatively were up to about 17.5 hours up to Step five. The next step is editing. So once I have the podcast recorded, I need to actually edit that down and again. That'll probably take an average of about 2.5 hours to edit that down. And that's just editing out all of the mistakes and adding in a simple music bed. Um, I try to keep the editing fairly straightforward. It's a single host episode. So again, if you're doing an audio drama you're editing, is probably gonna take a lot longer than mine. But just, you know, in order to create a good quality episode, it takes me about 2.5 hours. Ah, and that brings our told time up to about 20 hours. Now. The next step is Q A so quality assurance process. And this is something where I'll take the episode that I've edited, and I will actually upload that to a private RSS feed. And I'll show that process, um, here in this course, But I upload that to a private RSS feed, and that way I can listen to that on my commute on my phone or because I'm going for a walk . Or however I listen to normal podcasts. I will throw my podcast into that mix and listen to it as as a listener. I'm not an editor at this point, and so the benefit here is I'm actually stepping away from the computer. I'll listen to this a different day, even or a different week and and that way I'm listening to it with a fresh mind. I'm listening to it as a listener, and I'll listen for any mistakes that I might have made, and I'll make a note of those mistakes. I have some family and friends that help with this as well, and they'll they're willing to listen to my episodes before they go life and they'll let me know. Okay, you know what? At ah, around two minutes or so you you made a mistake, and so I'll go back in there. I fixed that mistake record if I need to or edit that out or whatever that might be, and then, ah, finally get to that final episode without any mistakes that actually publishes and goes live. The next step is graphics, and that is something I create a new graphic for every single episode that goes live on the podcast website. So I have template ized this down quite a bit. It used to take a lot longer, but now I'm down to about 45 minutes or so. Um, it's because it's just finding imagery around that that is royalty free, that is public domain that I can use and then creating that graphic. So we have our total time up to about 20 hours and 45 minutes now and then we have the, ah, the block post itself. So that's creating the block post, embedding it from ah, my podcast host. I use lips. And so uploading that and embedding that into the block post, um, creating the actual block post itself, scheduling that out, That takes roughly 45 minutes or so. Again, it's very template ized at this point. So ah, lot of it is, you know, taking a previous episode that I've already created copying that and then just swapping out the information. I mean again, we'll walk through that process in this course but takes roughly 45 minutes or so on average. Ah, and so we're up to about 21 hours and 21 a half hours or so. The next step is scheduling. So that is scheduling up with the block Post, scheduling out the actual episode. Ah, on lips in my podcast host scheduling, uploading to patri on and scheduling out that on the private patri on feed. Uh, that only takes about 15 minutes or so. That's not really too long already have all the information at that point. It's just going to those different websites and scheduling that out. So I try to stay roughly ah, roughly a month or two ahead on the episodes that I create. So the episode that I create today will come out roughly a month from now or two months from now, and that gives me a little bit of breathing room. So I'm not always working at the last minute. So all of my episodes are released ahead of time and scheduled out ahead time. Um all right. So the final episode where the final step here is really just some other stuff and just kind of ancillary, ancillary things, you know, um, making some of those edits or, you know, going in there uploading. Sometimes I'll upload to YouTube. Sometimes I'll do live streams to YouTube. Ah, marketing the episodes once those goes out. So that averages roughly around three hours or so per episode. So Ah, we're up to about 24 hours or so. Um, almost 25 hours. Ah, that we're up to roughly four an episode. So that is roughly how long it takes for me to create. An episode is about 24.9 hours, or about 24 hours and 54 minutes. So little, almost 25 hours. But you know, for this, for the sake of argument, I'll say over 24 hours to create a single episode. So now it's your turn now that You know the steps that I take to create my podcast. I encourage you to walk through those same that same process, figure out the steps that it takes for your podcast. Start to put some thought into how long it takes reach of the steps. Where can you start to pull some time and actually start to toe home that down? So after I started to realize how long it was taking me, I started realize how long was taking me to create things on YouTube or how did longer, just taking me to create the graphics. I had to take a step second step at it, take a step back and take a second look at it. And is it really worth that? How many people are going to visit the website to see that the graphics are different for everyone, really in Ah, the bigger scheme of things. Not that many. So it's not worth that time. So then I created a template that I could just swap things out, still have something different, but not take nearly as long to create those. And so you can start to toe benefit from that. Okay, so with that we will wrap up this module now in our next module, we're gonna go behind the scenes on the process of recording an episode of the podcast. 12. Understanding the hardware: in this video, we're going to get an overview of the hardware to record the podcast. Now, I know I've said this many times before, but I will repeat it. What works for me isn't necessarily going to be what works for you. And the hardware that I use for my podcast doesn't have to be the same hardware that you use for your podcast. Think of it this way. Do you like to write with a pencil? Or maybe you prefer a pen? Or maybe you prefer typing on a computer or maybe a tablet or typing on your phone, Really end of the day. What tool you use doesn't matter as much as if you're writing something. So you're taking notes that you're able to capture those notes and be able to refer back to them later. That technology that you use, whether that's a pen, a pencil, a computer, ah, phone, whatever that technology is, whatever that tool is doesn't matter as much as the end result. And in podcasting it's very much the same. The actual technology that you use to create your content doesn't matter as much as the content itself. So with that, said Let's walk through all of the different pieces of technology that I use on my show so that hopefully, it'll at least give you a starting point. If you're just starting out or give you some tips and tricks to factor in for your own show , all right, so let's start with the microphone, because that's going to be where well, what you talkin to in order to actually record the audio? So the technology behind microphones, really any of the equipment that we're gonna be talking about can be an entire course by itself. But in a nutshell, there's two kinds of microphones, and it really has to do with the type of technology inside the microphone to capture Audio One is a condenser microphone, and the other is a dynamic microphone. Now a lot of podcasters might tell you that condenser microphones are not good for podcasting, but that's really not true. It really depends, and this is something that you'll find throughout really all of podcasting. It depends, so one of the reasons why a lot of people think that condenser microphones are not as good for podcasting is because condenser microphones are a lot more sensitive to sound. They pick up a lot more sound. Now there's pros, and constant at the Pro is that it has a much better frequency range. So the sound that it picks up tends to sound. Um, well, this is gonna be opinionated, but I think it sounds a little bit better because it has a higher range of frequency. And so the other side of that is because it picks up mawr sound. It's more sensitive to sound. Then it's gonna pick up a lot more background noise. And that's why a lot of people say that it's not good for podcasting because a lot of podcasters are recording at home or they're recording in a new environment that is not a professional studio, and so they don't have a treated room. And so any extra background noise is going to get picked up by those microphones. So this is the microphone that I used for years and years on the podcast. It is a rode NT one microphone, and this is a condenser microphone, and it worked great, right? I mean, the sound quality that came out of it, it was just a great great microphone. Now, in order to get good sound out of this without picking up much background noise. I had to make some changes in the way that I record because this is a condenser microphone . And so with with this, basically what I had to do was change my schedules. That was what happened A lot with, You know, my neighbors start mowing their yard when I start recording, and that would get picked up with this microphone because it is much more sensitive. And so I would have to change when I would record. I would record late at night or early in the morning when people aren't going to be doing chores outside or I would actually treat my room for sound. So like the room that I'm currently in is carpeted and you'll notice behind me there's actually some, ah, a little bit of sound treatment. Those air, actually moving blankets, hits a very budget sound treatment. But it works. Ah, but for a long time I actually just used clothes. I used a rack of clothes that I would put behind the microphone to help absorb some of the sound, so there's a lot of great budget ways that you can. You can help with that microphone in order to get a good sound from a condenser microphone if you want to. Now, one of the key pieces of equipment that I used with the condenser microphone was a db x to 86 s and the DB X to 86 s is a great piece of equipment. And it worked really, really well to remove some of that background noise. Things like air conditioning in the background, computer fans, things like that. Unfortunately, my to 86 s died in a storm. And so, for budget reasons, I decided to switch to the microphone that you see here now and this is a dynamic microphone. And so my decision, rather than replacing the to 86 s, was to switch to a dynamic microphone, primarily because it was much cheaper than replacing the to 86 s. But the dynamic microphone now pretty much has a has what's called a super cardio had pattern this particular microphone, This is an S E V seven microphone. And so really, if I'm talking from behind it, it's not gonna pick up much noise, and we can see what this sounds like if I move this microphone, listen to what happens on the audio as I start to move the microphone. You can see it's really not picking up that much audio, so I'll move this back here so that we can actually see. But you can, or so we can actually hear me. But you can see that it's not picking up much noise. And that has to do with how this microphone functions, as opposed to something like the condenser microphone that would pick up noise all around. So those are a couple considerations to keep in mind when you're thinking about the microphone that you want Now the next piece of equipment is the zoom are 16 and the Zumar 16 is a great piece of equipment. It's, Ah, what's called an audio interface, and again, the technology behind this could really be a course in and of itself. But basically, an audio interface will take the analog signal from the microphone and then convert it to a digital signal. Or, in other words, it will take the audio from this this microphone. This microphone is XLR. That's what this type of cable is that coming out of the microphone, and then it will allow me to take that plug that into the are 16 and then out from the are 16 into my computer through USB in order to record. Now, realistically, if you're just starting out, you don't need something as expensive as the Zumar 16. Realistically, I'm primarily using that piece of equipment because I got a great deal on it. Um, but I've also got this focus, right, Scarlett that you can see right here. And this is a great little audio interface that I've used to record tutorials. And it's ah, great alternative to something more robust, like the are 16. Now, another common debate among podcasters comes down to using an audio interface or a mixer. And, as you can see, the are 16 here is sort of a mixture between both. It has a bit of a mixture of board to it, but it's also an audio interface, or you can have a more traditional mixer like this one here. In my mind, it's not really an either or situation. They're really both great tools. Think of it like the difference between a pen and a pencil. They both do some similar things but ended the day. There's gonna be some instances where the pen is better and there's somewhere the pencil is better. Same with a mixer and an audio interface. There's somewhere a mixture is better and somewhere on audio interfaces better. Same with a condenser versus dynamic Mike. Sometimes one is going to be better than the other, and it really kind of depends on your particular situation. All right, so let's take some time to walk through the set up for my podcast, step by step. So it all starts with the microphone. Now, the microphone that I'm using ah, I mentioned before was the S E V seven and that has an XLR output. Now XLR is that connector that it's, ah, round plug and it has three little connectors inside of it. And from the microphone, then that's going to go into the audio interface. And again, as I mentioned, the interface that I'm currently using for my podcast is thes Zoom are 16 so it goes from the microphone. XLR are out into the XLR input of one of the channels on the audio interface now coming out of the audio interface. This is what begins the mix minus set up for the interviews that I do when I'm recording through Skype or Zoom. So basically, I take the output of the entire mix from the audio interface, and that goes into the USB sound cart. So it goes into the microphone input of the sound card that I have. So that's how that connects there. And then from the sound card, I actually have another little device that is kind of in between. It's the ground loop noise isolator, and this is not really something that's required. But in my set up, I noticed that I had some some ground noise and it's kind of ah, buzzing, and you'll kind of notice it if if you if you're recording you noticed some buzzing, that could be a grounding issue. And I tried a bunch of things, tested a bunch of things. It wasn't able to get rid of it entirely. And so I found this little device, and it's pretty cheap in order to just take that noise out, and it does a pretty good job of just taking that out and sew coming out of the sound card . I have it going into the ground loop isolator, and then that just is kind of a pastor. It's just in and out. There's no settings. It just kind of does its thing. And it works. And so it comes out a 3.5 millimeter. That's the 1/8 inch connector that's typical for headphones and things like that. And so that comes out and then goes back into a 6.5 millimeter connector into the audio interface in a different channel. So that way I have two channels. One is my microphone XLR, and the other one is essentially what's coming out of the, um, the sound card. So the output of the sound card there and the key there is that the computer is not on this diagram in particular, but you can. The computer is coming out of that 3.5 millimeter output of the sound card as well. All right, so from here, the interface then has a USB out, and the sound card has USB as well, cause it's it's a USB sound card that plugs in, and so those actually connect into the computer, right? So that's where the computer sound is then also being patched through the 3.5 millimeter output that I mentioned earlier, and so that way. All of that then passes back into the interface, as I mentioned before, in order to get essentially two different tracks. One track is just straight up my microphone, and the other track is whatever is coming through Skype or Zoom or whatever computer program I decided to use in order to do an interview. That way, I get them on separate tracks and then pass that back through to whoever is listening on the other end without getting their own, their own feedback and things like that. That's the mix minus set up. Okay, so on my computer, I have multiple USB inputs coming in, one from the audio interface and one from the sound card. Now, the way I have this split is on my computer. I have a dog or digital audio workstation and personally, for my podcast. I use Nix craft as my daughter to record in, but there's a lot of great software out there. You certainly don't have to use exactly what I use. Ah, lot of people like software like audition or audacity. Those Air Reaper those or some other great pieces of software that you can use. But what I do is have the audio interface that comes in through USB, and then I can split that into multiple tracks in side of mixed craft. So one track is basically going to be the input from the microphone, and then the other track is going to be the input from Skype or Zoom or wherever that is coming in. That's going to be coming in through that other channel because I have that plugged in. If you recall, I have that plugged into my audio interface as well through another channel. So Aiken separate that here inside of the dock, and then the other USB input is going to go directly to Skype. And that's through the USB sound card that I have that goes directly to Skype and that way what they're getting on the other end of Skype or zoom or whatever software that I'm using in order to do an interview. They're not getting the exact same thing, so they're not getting that feedback, and that completes that mix minus set up that I have for interviews so that in a nutshell, is my set up. And by all means, if you have questions, feel free to reach out. I'm happy to explain things a little bit more, but you can also go ahead and download this diagram. If you want to take a look at it yourself and get a little closer. Look, take your time and kind of see how things are set up. So that is a look at my podcasting set up. Now it's your turn. Take a step back and think about your set up. What kind of podcasts are you going to be doing? Where are you going to be recording? Are you going to be doing a solo show like mine where you have a single Mike? You probably be fine plugging that into an audio interface and and going from there, Or do you have five microphones that you need to be set up in the same room? You're probably going to need a mixer at that point in order to plug all of those in. I know there are some interfaces that will allow multiple inputs as well. And so those air definite, uh, options there as well do some research into it. but first start to figure out what the solution is you're trying to solve. So if you're trying to solve a challenge for five microphones, that's a different challenge to solve than than one for a single microphone. And don't over think it. It can get really easy to go overboard with podcasting equipment. Don't overthink it. They're just tools to get the job done. And your podcast won't be any better. Just because you have a massive, expensive mixer instead of a simple audio interface, it's not going to affect the content of your podcast itself. Find what works for you and stick with it. Okay, so now that we have a better idea of how the hardware is set up, let's move on to the next video, where we will walk through the software side of things 13. Understanding the software: in the last video, we walked through the hardware set up to get an understanding for the equipment used to actually record the podcast. In this video, we're going to continue on by looking at the software side of things. And again, just because I'm going through the software that I used to record doesn't necessarily mean you have to use this software either. So let's get started in the software that I used to record. The podcast is software called Mixed Craft. So this is the mixed craft interface here that you can see. And once I have my microphone plugged into the are 16 the first step to recording is toe arm, the track for recording inside of mixed craft. So to do that, I'm going to come over here to this arm right here on the track and in the little drop down , we'll see. There's multiple different input channels now. These import channels are showing up because I have my are 16 plugged in through USB to the computer. Now which one of these I choose depends on where the microphone is plugged in. Now I happen to know that the microphone is plugged into the are 16 and Channel five. The primary reason for that. I could plug it into a Channel one. But the primary reason for that is because, ah, as I mentioned in the previous video, I used to use a condenser microphone that required phantom power. And on the R 16 in particular, there are only two lines that have phantom power. Ah, that will be aligned five and line six. And so I just got in the habit of plugging into Line five. And then when I made the switch to a dynamic microphone that does not need phantom power, I just still used Line five. So with that said, basically the input channels here, this is Channel One, Channel two, Channel three, Channel four. And so Channel five is going to be this left channel right here and watch what happens as soon as I select this you can see now this is going to start bouncing because now mixed craft recognizes the input from this microphone. And so, in order to record, all I need to do now is to come down, hit the record button, and we'll see that mixed craft is recording the episode. And so Really, what's being recorded right here is I would just have to start recording the actual episode , and that's really all there is on the software side of recording. It's pretty simple and straightforward again because my show in particular I only have one Mike. Now there are times. Let me stop this recording here. There are times where I need to record a second track, and that's what I'm doing. An interview now from my show. I do interviews remotely so through either Skype or Zumar, two tools that I use very commonly. So let's walk through what that process is. So I have this track going and this is my microphone. So usually I'll do something. I name this, you know, my mike. So I know that that's what that is. Then I'll come in and create a new audio track. I like to drag this to the bottom so that I have mine there, and then this will be made. Skype. I can name that now. The input for Skype again is going to be different, depending on where it's plugged in. And I happen to know that Skype is plugged into Channel two, and so this will be the correct channels arm for Skype. No, we're not going to hear anything until we actually hear Skype start. Ah, actually starts Skype. So let's pop that open real quick. And this echo sound test service is a great way to check and make sure that everything is going as soon as I call this. This is an automated call just to test it. We should see levels bouncing on here. That mixed craft is picking up. There we go. So we can hear he stops this week in here where we can see that Skype. He's being picked up on this track. So really, it's just a matter of knowing what channels you're plugging into and then connecting to those channels in the software. Um, there is one thing I would recommend in here. If you are making changes in Skype, you'll notice that, uh, when I call, you'll notice that the levels on Skype for a little bit quieter. Now you can adjust that on your computer. Of course, if you want to, once everything is actually recorded. Um, if we were to record this, let's just do a quick recording with Skype so we can see what that looks like when we hit record here, come over to Skype. There we go, so you can see the audio on both sides being generated. As as it's recording, we're going to get both different tracks and it's testing all right, and should play that back here in a little bit. There we go. Come on. All right, so we can hear it playing back. Okay, so everything works. So because it's playing back, Skype is getting that. Which means the person on the other end is going to get that. They're Onley getting their side. They're not getting both, and that will work. Great. Now this is going to be a little bit quieter. And so again, we can bump that up because I have this going through a mixture. I can actually turn that up on the board itself. If I wanted to do that, and it probably would, this is kind of quiet here, I probably would want to turn that up a little bit. We can also after it's done, as soon as I turn off that arm, we can adjust the volume level on this track in order to make it louder. or quieter. Now, another little trick that I'll do sometimes in order to bump up the volume level, especially for a remote call, would be to take this track and just duplicated. And as soon as we duplicate that track, Well, now, if I play this back, here's what it sounds like without the duplicated track with me. Meet one of these. And now if I a mute this and we hear both of them together testing here we go. You can see the, um, let me meet myself up here so we can just hear Skype. Please record a message afterwards. So by duplicating that track, it's bumping that level up a little bit again and again. I can still crank this up if I wanted to see more in order to increase the volume level. But you want to find a good volume level that mixes with your microphone, and then on the other side of that, when we walk through the entire process, we'll see at the very end, I'll actually level everything out. But I still like to do a little bit of leveling. Ah, here as well, so that the final level, when it does that automated. It doesn't have to, uh, doesn't have to do as much in the less processing that it has to do than the less of a processed sound it will have. All right, So with that, we've walked through the process to record using mixed craft, and now we are just about ready to record an actual episode of the podcast and walk through the entire steps. So with that in mind, recording an episode of the podcast and editing that down can take hours to two. So that's a lot longer than I can do in a single video, but I think it will be helpful for you to see the entire process. So let's walk through that whole process in the next section. 14. Section overview: Behind the scenes of a podcast pipeline: up until this point, we've talked about strategy and some of the thought process that goes into creating a podcast, but we haven't actually walked through the process of creating a podcast episode, so that is exactly what we're going to do in this section. Now this section is a step by step through the entire process of creating an episode of the podcast, although admittedly I'm not including the part where I sit down to watch the movie, you know, copyrights and all, and my show is entirely scripted, so I'm saving you the dozens of hours of just writing and researching that it takes. Trust me, that's boring toe watch, but you'll get to see what that script looks like once it's done and you'll get to see what it's like to record the script from There will take the final audio and edit it down into the final episode will create the podcast. Graphics will create the block post around the episode, And of course, we'll get the episode scheduled on our podcast host four Publishing. Now we've got a ton to cover in this section, so let's not waste any more time and let's get started in the next video 15. Starting to record: hello and welcome to this special video going through the process of recording an episode. So up to this point, we've going into some of the strategy, their pre planning, actually, how the episodes are recorded. And so I thought it would be great. Teoh, just go through the process, take everything we've learned so far and learn and see what it's like to actually record an episode of the podcast. So this is actually an episode that's going to be We're going to then edit it, and we're going to publish this episode, and we're not actually going to edit this video. This is just the recording side. Um, let's walk through the process. So before we begin the thing I want to point out mostly is that because this is actually recording a full episode of the podcast? I'll try to explain things here and there between recording, but for the most part I am going to be focusing on the audio itself. I'm not really gonna pay as much attention to the video, and I also want to point out that my computer is down here. That's what I'm looking at. And so I have my computer kind of off camera a little bit here, and that's what hooked into this microphone right here. So let's pull up the computer screen here and you can see mixed craft interface, and this is what I'm recording with. So I'm gonna get myself a little bit more space to see here, and I need toe arm the channel so I actually have this plugged into Ah, the fifth input on my mixer. And so this would be 12 34 and five, and that's the one that I have it plugged into in. The primary reason for that is because, um, as soon as I arm that you can see it's bouncing. So it's recognizing this microphone here, and the primary reason I haven't plugged into five instead of one is because on the zoom are 16. Ah, there's only two phantom powers five and six. This microphone is a dynamic microphone, so it doesn't really need phantom power. But I used to use a condenser that did, and so I just got in the habit of of using Channel five. All right, so the next thing I want to change, I want to change us from beats two time, so I can see the time a little bit easier here. And let's give this and name. So let me reach down here real quick. So I have a wireless keyboard that I used to type things out sometimes. So give us a name. This is the name of the episode loving Vincent, and I was saved this. So I just save this. I saved this locally, the file locally. And then, um, I will end up actually sending it over here to edit, and again, we'll cover that in a different video. But this computer is a lot more powerful, and so that's the one that I used to actually edit on. All right, so I think we're ready to go. Let me pull up. So I'm not gonna be able to show this screen the entire time. And the primary reason for that is because I need this script. So this is the script that I've written here and Evernote, and this is what I'm essentially going to be reading. That is the the episode of the podcast. And so I can't really is only so much screen real estate on the computer to be able to show things. So let me Usually what I'll do is I'll just have it up something like this. So I have my pronunciation guide for some of the, ah, words that I'm not as familiar with, that I need to pronounce. And I've looked up how to do that and have that ready to go and and other. But I need to be able to see this just to make sure I like to keep this just to be able to know that it's actually recording. So let me do this. I'm going to take this and move this over a little bit. I don't need to see that part of it. I just like to be able to see that it's actually recording. There we go. I'm just kind of positioning my windows here. How you do this is really up to you. Um, these are what I'm gonna be paying the most attention to. Really? This part right here and all right. Okay. So, um, the way I record is, basically I'll come over here, and then the keyboard shortcut is are So I keep this in my in my lap, so that way I could just hit our and then hit are again to stop so that I'll start and stop recording when this window is in focus. So if you see me switching over here, that's what probably what I'm going to be doing for the rest of it. I'll just kind of keep these and focus over here. I'm going to be reading this script that I've written for the episode, and if I make a mistake, you'll probably see me will make a lot of mistakes, especially when it comes to the pronunciations. Um, but, ah, if you see me make a mistake, what I'll do is I'll actually stop recording, go back and then make ah, just record it again. So that way I know when I go into editing and you'll see that when you see that video, when I go into editing, the final take is the take that I like. I keep going until I get the final take that I like. So, um, all right, so let's just jump into this and here we go, it our to record. You can see it's moving. You'll be able to see it kind of show up over here on the left hand side. All right, so here we go. Before we begin, I want to point out that we're going to be talking about some very serious subject matter in this episode, including mentions of suicide. All right, so that's going to stop that. So, um, this is one block here. Ah, and I didn't mention this before this video, but f y I This is a very serious episode. Um, some episodes air that way, but this is a very serious one. If you know anything about Vincent Van Gogh that he actually committed suicide or that's the mystery around it, that will kind of dive into some, but that that's a very serious topic, and not one that I take lightly by any means. Um, all right, so now that this is here, I'm gonna get myself a little bit of space, and that will tell me in audio editing that I have that. That's the very beginning. And then this starts the introduction on today's episode of Based On a True Story, we're going to compare history with a 2017 movie loving Vincent. If you've seen our movie today, you'll know how it stands apart. from, well, every single other movie you see loving. Vincent is the very first full length feature film to be made up entirely of oil paintings at the helm behind this crazy idea, where co directors Derrota Kobe Yella and Hugh Welshman. In an interview with BBC after the movie was released, Watchman explained Quote. We were told many times by film financiers by people in the animation industry that this was a crazy undertaking and almost made a mistake. He did not say almost. He said. Also. All right, let me do that again. In an interview with BBC after the movie was released, Welshman explained quote, We were told many times by film financiers by people in the animation industry that this was a crazy undertaking and also an impossible undertaking. When you start to break it down, it's just a matter of how maney painters you confined. And if you confined enough painters at the quality level, we needed end quote and they did. In fact, the very first line of text we see in the movie explains that there were over 100 artists who teamed up to hand paint the entire film. It seem a lot of sources came really agree on the exact number of paintings used. Some said there were over 40,000 while others said that there were some 65,000 or 67,000 oil paintings. No matter how you look at it, though, there were a crazy amount of oil paintings that were created to make the movie. So even if you haven't seen the movie, of course we'll have some spoilers in this episode since we'll be walking through the movies Pivotal plot points. But even still, it's worth taking the timeto watch the movie to see for yourself how amazing the movie is purely as a work of art. But then there's the story that to co directors also wrote the film along with Ya Take Don L. I didn't like that. I assumed that that was starting a new sentence, but it's not. It's ending, so I mean that again. But then there's the story. The two co directors also wrote the film along with Ya Take Darnell. Ultimately, the movie is a biopic for Renowned. I don't like that timing, either. Ultimately, the movie is a biopic for the renowned artist Vincent Van Gogh. That's why all the oil paintings throughout the movie are done in. Van got unmistakable style. So let's take some time to learn more about Vincent van Gogh as we dig into his life and the suspicions around his untimely death. Comparing history with Loving Vincent. I'm Dan Lefebvre's and this is based on a true story. All right, so that's the introduction. Made some mistakes there. You can see those. I'm gonna have to edit those out later on. Let's give myself a little bit of a break, so I know that that's Ah, break point here. Now we need to do the two truths and a lie So I'm gonna hit control us to save quick Just toe. Never know. Play it safe before starting our story today. We need no start that over before starting our story today. That makes no sense. We need to dio. That's why it's messing me up. We need to There we go. We need to set up our game all right. Before starting our story today, we need to set up our game Two Truths and a lie. Here's how it works. I'm about to give you three fax two of them are true. Which means one is an all out like. Your task throughout this episode is to find out which one is the life. Are you ready? Okay, here they are. Number one. Vincent had mawr siblings than Theo. Number two. Vincent stopped painting for the last few years of his life. Number three. Vincent claimed to have shot himself. Got him. Okay. Now is you're listening to our story today. Keep your eels years. Okay. Now is you're listening to our story today. Keep your ears peeled, because somewhere throughout the episode, I'll mention the two facts. Those No, I don't like I can me do that again. Okay, Now is you're listening to our story today. Keep your ears peeled, because somewhere throughout the episode, I'll mention the two fax and those are the true facts. And then, by a simple process of elimination, you'll know which one is a lie. And then, of course, we'll do a recap at the end of the episode to see how well you did. All right. Now let's begin our dive into the true story behind the movie loving Vincent. All right, so that's the middle two truths and a lie there no, again. I will give myself a little bit of space, and I'm gonna hit save, so you can see the little asterisk there and control us to save. All right, so here's some highlights. So that means I need to pronounce them. Ah, and I will be very up front and honest with you. Pronunciations are not my strong suit because I only speak English. And ah, lot of these are French and Dutch, which is Ah, Vincent is ah was Dutch and lived in France. And I don't speak either of those languages. Um, but you know what? If ah, it's one of those things, you know, I do the best that I can, and hopefully it doesn't deter too much from this story. And if it does ah, there's hundreds of thousands of other podcasts out there, and I'm sure they do a much better job than I do it. Prints, pronouncing things that I'm that are not my native native tongue. Um, for I guess, another way of putting that is Ah, the way I a lot of do it is even though I just said my last name, if you were to actually look at the spelling of my last name. Most people can't pronounce it, and that's just the way it goes. So I'm very familiar with that. All right. Anyway, let's Ah, let's continue on here. So, um, this is all there, and this is Ah there, sir. Waas over there. So, uh uh there, sir Wise. Um, So I found you can see I found a different YouTube. Videos don't necessarily put all of them in there sometimes. You know, I put a few of them, um, so different YouTube videos to find. Ah, how these people's names pronounced that this one in particular was an actual interview with her. And so it was, you know, introducing her, and so I could figure out how that was pronounced. Um, same with, ah, with this gentleman here. Ah, yeah. Tech Donell. Another pronunciation that I got through an interview. Ah. Some others are just through various news reports and things like that. Um, and sometimes it's through. There's a lot of pronunciation guides online and things like that. Once you do a few of them, you can kind of verify. Okay. Ah, you know, you get three or four of them and That's kind of how it's pronounced. Um, you know, I don't need to link all three or four if I need to pull it up. That's what this is if I need to pull it up, All right. So that's all Verster Wise and Vincent Van Gogh, and this is our all right. So let's ah, let's begin. Are moving today opens with a blurb in the newspaper. It says, All right, so So this here it's italicized. So that means inaction. It's an actual direct quote. Uh, and so what I'm going to do is tell myself there's no edit here, not in at a point. Um, this is a quote, the beginning of a quote, and so I'll add a little effect in post and you'll see that when we go through the ending for this part right here. Over there, sir, was on Sunday, July 27th 1 van got named 30 named age 37. What's Binga? You know, So that ones the, uh, typical American that I am, I always assumed that it was van Gogh. But ah, you know, it's it's Ah, it's not Van Gogh kind of like like luck like the knock block. Next Loch Ness monster. All right, I'll there, sir. Why? No. Do that again. Over there, Sir. Wise on Sunday, July 27th 1 ven got age 37. Dutch painter, staying at all there. Shot himself with a revolver in the fields. Buts being Onley wounded Returned to his room where he died two days later. All right, so again, no edits here. Um, this is the, ah ending of the quote and we will continue on. Sadly, that report is true and it's pretty self explanatory. Sadly, that report is true and it's pretty self explanatory, although I think it's worth pointing out that the year because not that the year just the year. Sadly, that report is true and it's pretty self explanatory, although I think it's worth pointing out the year because the movie doesn't do that. The fatal gunshot took place on July 27th 18 90 and Vincent died two days later, on July 29th. The next line of text in the movie explains that the events in the movie took place one year after Vincent Van Gogh death, and it starts in our all in the year 18 91 after the opening credits, we see the movie's main character, a man named Armand Rule. In He's voiced by Douglas Booth. Armand picks a fight with someone in a bar. The policeman comes to investigate and hands something back to Armand. It seemed that he dropped a letter that he had on him. But Armand insists that it's not his letter. It's Vincent van Gogh Slater addressed to Theo Vincent's brother. This leads into a conversation with a woman in the bar who overhears Vincent's name. Apparently she knew Vincent and the man said, I said, the man said. Instead of said the man. This leads into a conversation with the woman in the bar who overhears Vincent's name. Apparently she knew Vincent and said the man was mad. The policeman then returns his own opinion about Vincent. No, he wasn't mad. The policeman says he was. He was interesting. He goes on to say Vincent's Onley got strange when his friend go gin came. We double check that pronunciation. Gogan. Yeah, that's right. Do that again. Hey there. I'm gonna have to cut in here because this video is running a little bit long, and unfortunately, I can't upload it if it's too long. So let's stop this video right here and we'll pick up in the next video. Right where we're leaving off. See you over there. 16. Continuing to record: Hey, you're back. Are you ready to continue? All right, let's do it. He goes on to say, Vincent on Lee got strange when his friend Go Gin came. As the policeman is talking, the movie shifts to a black and white flashback. The scene is that, as the policeman says, his yellow house according to the movie here, Vincent and Gauguin are wanting to set up Vincent's home to be an incubator for painters. Initially, it starts off enthusiastically, but quickly turns to the two men being at each other's throats. Then the movie shows a shot of Vincent walking up to a woman in a bar, handing her a napkin. She opens it to find an ear. Vincent's ear. Apparently he cut off his own ear and handed it to the woman. The movie doesn't give a lot more context than that. So let's stop the movies Timeline here because we've got a lot to cover already. Starting with Armand Berlin. He was a very real person, and just like Vincent van Gogh, the Rule and family lived in Arles, France, in 18 81 although that no screw them mess it up, although one thing the movie doesn't really mention is that Vincent and Armand knew each other. In fact, they were neighbors. That yellow house, the movie mentions was right next door to the rule in family home. It's also worth pointing out that Armand was only 16 at the time, so the movie is probably a little more accurate that if Vincent knew any of the ruling family, it was probably Armand's father, Charles, more than Armand himself. But Vincent described Armand in a letter to his brother on December 1st 18 81. All right, so this is again no edits here. But this is a begin of a quote in the letter, Um, so I'm going to highlight that more. Make a mark around that. I have done the portrait of a whole family, that of the postman whose head I did earlier. Husband, wife, baby, the young boy and the 16 year old son, all of them characters and very French, though they look Russian. So that was the end of the letter. They're so I mean do again. No, it and the letter all right, continuing on that painting of Armand that Vincent did served as the inspiration for the look of the character that we see in the movie The Yellow Jacket and all. And speaking of the letter from Vincent to Theo, that actually real quick, let me mention the pronunciation of Theo. You see, the movie pronounces it, Theo. Well, in my research, I found that a lot of other people pronounce it Te'o. But since the movie says Theo, that's what I'm going to use for this episode. All right, Now where? Hold on. Here. So let me do this. Um, you can see I said for this movie, not for this movie for this episode. So I need to fix this, and sometimes I'll do that where, you know, make a mistake in the episode. That's fine. As I'm reading throughout. Fix that for the final transcript that goes on the site. Um, so let me do that. And, ah, pick right back off on. Ah, where was I? Where was I? Oh, that's right. Vincent's letter to Theo. As you can probably guess, Theo van Gogh was indeed really the brother of Vincent. The movie talks very briefly about Vincent's family a little later in the movie, but since we're on the topic, Theo was not Vincent's only brother. The movie was correct to mention that the first child born to Vincent's parents the orders and in a the odorous I don't like how I pronounce that. Let me do that again. The movie was correct to mention that the first child born to Vincent's parents, Theo Tourists and Anna were worse. Worse, what? Where's what wears to make sure of was and were is what that is. The movie was correct to mention that the first child born to Vincent's parents, the odorous in Anna, was another baby boy. They named Vincent, of course, as the first board. It's not like they planned on having two Children with the same name, but the name Vincent was a common one in their family, shared by few odorous, his own father. So when they had their first child, they named him Vincent. Sadly, little Vincent was stillborn. That was in 18 52 one year later, the odorous in Anna had another baby boy in honor of the child they lost and also for theaters. His father, this new baby boy, was also given the name Vincent. Four years later, in 18 57 Theo was born or his name was actually motorists as well. Samos, his father. But everybody called him Theo. But Vincent and Theo were not the only Children. Anna was born in 19. 1955. That can't be right. It was 18. 55. That's a little air. There was 18 55. Four years later, in 18 57 Feo was born. Well, his name was actually theater restaurants, like his father, but everybody calls him deal. But Vincent and Theo were not the only Children. Anna was born in 18 55. Elizabeth was born in 18 59. Willimon was born in 18. 62 the youngest and the family was a boy born in 18 18 62. I said they were both born in 18. 62. That can't be right. Um, let me look that up real quick. See, I say Willimon was born in 18. 62 boy born in 18. 62. So that can't be right. It's the benefit of ah, report my notes here. Um, pointless. So what I'm doing, I pull up, pull up my notes on my arm. Evernote essentially on my my phone. Um, I want to mess with the screen here as it's recording. Sometimes this happens as as I'm recording. I'll have toe make edits. Sometimes I pulled open on this computer, but I also don't want to shift over and do all that as I'm recording this behind the scenes . Um, come on. Nothing's coming up. Let me find Ah, will. I mean, I was born in Will was born. Um, no, that's not interesting. Little fact Van Gogh's middle name was William Can like Willem Dafoe or let me in. Um, see, corn was core. I said what people called him. Um huh. All right, I'm gonna pull up this. Tell you what, Uhm, I'm going to pause the video real quick and Ah, I'm gonna look this up. Find the answer. Um, and I will continue recording once I have found that answer, so I'll be right back. All right, so I am back. So ah, core or journalists was Cornelius. Sorry. Was born in 18 67. That was, um so he was the youngest. Ah, will mean was born in 18. 62. Some people call her Will Amina. Um but ah, actually, they called her will in the name and the family. Um all right, so let's I'm gonna do this part again. Um, this whole four years later part four years later. No, not happy with that. Four years later, in 18 57 Theo was born. Well, His name was a theater restricts like his father, but everybody called him feel. But Vincent and Theo were not the only Children. Anna was born in 18 55. Elizabeth was born in 18 59. Will mean or sometimes called Will Amina. They really called her will in the family was born in 18 62 and the youngest in the family was a boy born in 18 67 Corn Ellis or core, as everybody called him. None of the other van got Children are in the movie. And perhaps there's a reason for that. After all, it was very true that Vincent was closest with Theo. He was closest. You see that little bit of male that popped up there? Everybody gets spam, right? Or even in the middle of podcasting. He was his closest friend, his confidante, and not to get too far ahead of our story. But it was Theo who helped financially support his older brother for much of their adult lives. After all, Vincent Van Gough didn't sell many paintings during his lifetime. It was more common for Vincent to trade paintings for food or his paintings applies than it was for him to sell them for money. Today, his paintings are some of the most valuable pieces of art in the world. But Vincent's tragic life was the epitome of a starving artist. He was broke from most of his life and unappreciated in his time. It was more common for Vincent to trick. I just said that, So here we go really there today. His paintings are some of the most valuable pieces of art in the world, but Vincent's tragic life was the epitome of a starving artist. He was broke for most of his life and unappreciated in his time. That brings us to the man briefly mentioned by the policeman in the bar in the movie. In the movie, the character is simply named Gogan. That was his last name, albeit spelled slightly differently, thanks to language differences. Paul Gogan was an artist who befriended the to Van Goch brothers when they both lived in Paris in 18 87. But then, in early 18 88 Vincent was growing increasingly sick, probably because of all the smoking and drinking that he did and decided to move out of the city toe are all it was here that he started. It was here that he continued to paint, and many historians believe he had the intention of starting sort of an art colony there. That makes the implications that we see in the movie to be correct, although it's also worth pointing out. Well, that's just a lot we don't know. I've mentioned the letters between Theo and Vincent, and quite honestly, it's those letters that are the only reason we know a lot about Vincent. For his part, Theo was a bit of a hoarder. He saved all sorts of paperwork, including the letters from his beloved brother. On the other hand, Vincent hardly saved any of his, and because he wasn't famous during his lifetime, the letters serve as the most documentation we have on the events in their lives. My point in mentioning this is just a lay the groundwork that there's a lot of things we don't know for absolute certain about the events surrounding Vincent's life. One great example of that is something we see in the opening moments of the movie will re see Vincent handing Anakin to a woman with his ear in it, As the story goes on December 23rd 18 88 at roughly 11 30 PM or so, Vincent walked into a brothel and are all cut off his ear with a razor blade, wrapped it in a cloth and handed it to a prostitute named Rachel. Although many decades later, historians would make an amendment to the story that the woman named Rachel was actually named Gabrielle and with the daughter of a local farmer. When she saw the bloody ear, she fainted and Vincent ran off. Why would he do this? That's a very good question. The truth is, we just don't know for sure. We don't even know if he cut his old has ever known flashing. We don't even know if he cut his whole ear off. The police at the time, who arrived on the scene, reported that he cut off the entire exterior of his left ear. Others close to Vincent, who were there in the aftermath of his recovery after nearly bleeding to death, later said that he only cut off the lobe. Beyond that, there's been a lot of speculation, and many historians have come up with explanations for why he would do that. The two versions of this that I think are the most plausible, both circle around one very important fact that we've touched on very briefly. Vincent Van Gogh wasn't well, not just physically, though. Vincent suffered from mental illness is, too. But we'll chat about that here in a moment. One explanation for why he might have cut off his ear was that Mr Start that over one explanation for why he might have cut off his ear that people have thrown out there was because of Paul Gogan. Basically, as the friendship between Vincent and Paul soured, the stress levels rose. Then Paul told Vincent that he was moving out. As I mentioned earlier, Vincent was broke for most of his life. At that time, he was rooming with Paul in the Yellow House. All of a sudden, Vincent would have faced the possibility of losing his roommate. Would that affect the roof over his head as well. The food on the table. Maybe so. That's one possible explanation for something that could have caused him to go into a state of mind that ended with losing his ear. The other possible explanation is similar, but has to do with his brother, Theo. Something else happened around this time. That was something was happening that happened. Something else happening around this time was Theo's engagement to a woman he'd fallen in love with. Up until that point in Theo's life, it was Vincent who took up the entirety of Theo's emotional and financial investment. With Theo getting married and starting a family again, Vincent was faced with the possibility of losing his brother not in a literal way, but obviously, Theo's priorities would change. He'd have a new emotional and financial priorities with the new family. So this version suggests that Theo's new family could have been the straw that through Vincent into the state of mind, where he'd cut off his own ear. In the end, we don't really know, and there are more theories out there. Those are just a couple. Speaking of Vincent state of mind. Unfortunately, the science of the time just didn't know a lot about mental health concerns during his lifetime. So most of the diagnoses for Vincent friend got have been done long after he died. As you can imagine, the truth is a matter of debate, since so much we don't know for sure. But many sources suggest that Vincent most likely suffered from bipolar disorder. To make matters worse. Ever since Vincent was young, he was very physically active out of those really out of necessity due to I will not having much money, Vincent walked a lot. That by itself isn't bad. Of course, exercise is good, but he also didn't eat much. For example, there's one story where Vincent was having a lonely evening, and then he happened upon a dog in the streets of The Hague on the western coast of the Netherlands. He went to a nearby bakery and took what little money he could spare to buy some bread for the dog. Then, when the dog appeared to scarf that down and still be hungry, he went back to the bakery to spend all the rest of his money to get even more. That left nothing for him. Yet another night without a meal for Vincent. And yet another skipped meal that he didn't seem to care that he missed. On top of that, he drink more often than most, but his most common pleasure was smoking a tobacco pipe. Most doctors who have tried to diagnosis Vincent after his death have said that whatever Vincent suffered from was made much worse by the drinking, the smoking and the overall lack of nutrition. With each passing day, it got a little worse going back to the movie. Using the excuse of delivering the final letter from Vincent and Theo, Armand embarks on a journey of people who know about the brothers. He learns right away that Theo van Gogh passed away six months after Vincent did. Sadly, that's true. Vincent died on July 29th 18 90. Like his brother FiOS physical health with I mean it. Like his brother, Theo's physical health was never great throughout most of his life. After Vincent died, Theo was devastated. Understandably, he was. He was heartbroken. This impacted Theo's health, health, saying health about an effort. The end. Sorry, this video starting to run a little bit long, so I'm gonna have to stop this here and split this into multiple videos. Don't worry, it's a great opportunity. Go stretch your legs. Maybe grab a cup of coffee on when you're ready. I'll see you in the next video. We'll pick up right where we're leaving off here. 17. Part 3 of recording: all right. Did you get your cup of coffee? You ready to go? All right, let's get to it. This impacted Theo's health. It spiraled down. After being hospitalized in November of 18 90 Theo died on January 25th 18 91. Back in the movie, one of the key people that Armand Berlin talks to is someone named Dr Gachet. According to the movie, he's the doctor who tended to Vincent before endearing the time that he was shot. The story the movie lays out is that Vincent checked himself into Sandra Me after a period of time. The movie doesn't indicate he checked himself out with a letter suggesting that he was quote perfectly calm. End quote. I think I said, Son were me. It's son Rami. They're saying Rami Sorry. I mean, maybe that again. The story the movie lays out is that Vincent checked himself into Sandra Me after a period of time. The movie doesn't indicate he checks himself out with a letter suggesting that he was quote unquote, perfectly calm. Then, six weeks later, he walked into a field near all there to paint one day and shot himself in the chest. But he didn't die. Instead, he stumbled back to town and ended up dying. Two days later, after laying out that story, the movie starts to poke holes in the official story. It asks questions like, How could someone go from being perfectly calm to suicidal in six weeks? How could someone shoot themselves in the chest at an angle? That Vincent claimed to The basic idea here that the movie is building up to is the possibility that maybe Vincent did not commit suicide. Maybe he was shot and simply didn't want anyone else to be charged. The truth is, well, we just don't know the questions. The movie surfaces are exactly the sort of questions that historians and art lovers around the world have tried to answer ever since Vincent's death in 18 90. So realistically, there's no way that I could hope to magically have the answer in this episode. With that said, though, let's lay out the things that we do know so you can come up with your own conclusion about what might have happened in Vincent's final days. As we learned earlier, Vincent's mental health was in a near constant state of deterioration, while Vincent was living in ARL between the situation, with Paul Gauguin and his brother getting married and the ongoing battles with mental health, Vincent was pressured to take care of himself by checking into a hospital. So in early 18 89 he did exactly that. That was like, the movie says at a psychiatric hospital in Sandra Me France. That's roughly 16 miles or about 26 kilometers from our Theo paid for the costs of the hospital. The letter, the movies, referring to came from the doctor who treated Vincent at the hospital. It was sent to Vincent's brother, Theo, and dated May 26th 18 89. Here is that letter, right? This is a new edit letter. Begin with the letter beginning. So do that. Here's a letter. Sandra me May 26 18 89 sir. In answer to your letter of the 23rd I have the satisfaction of telling you that Mr Vincent has been sir. In answer to your letter of the 23rd I have the satisfaction of telling you that Mr Vincent has been perfectly calm since his entry into the house, and that every day he observes that his health improves. In the beginning, he was subject to distressing nightmares, which troubled him. But he observes that these distressing dreams. But he observes that these distressing dreams have tended to disappear and decrease in intensity, resulting in a more rest ful and restorative sleep for him. He also has a better appetite, in short, sends his entry. He has made a slight improvement in estate, and this makes him hope for a complete recovery in the future. He is preoccupied all day, drawing in the park where he is now. But since I see, he is perfectly calm. I promised him that he is occupied all day, drawing in the park where he is now. But since I see, he is perfectly calm. I promised him that I would allow him to go to different points of view outside the establishment. You asked me for my opinion. You asked me for my opinion on the likely course of his malady. I must tell you that I reserve my prognosis for the moment. But I am afraid it is serious because I have reason to believe that the attack that he had was caused by an epileptic epileptic epileptic because I have reason to believe that the attack that he had was caused by an epileptic condition. And if this is confirmed, it will be necessary to be concerned for the future. I intend to go to Paris during the month of June. I will have the honor of seeing you and better a coin to you about your patient. Then one conduce by letter. Sincerely yours, Dr Parent. Sincerely yours, Doctor. Th parent for at the teach. All right hopes. No edit. Ah, letter and all right, So you notice I did. A couple takes their on some of those. And I didn't really just just explain why I just wasn't happy with the way I phrase things or that aspect. All right, so let's continue. So yes. The doctor said that Vincent was perfectly calm, but he also said that his prognosis quote is serious. End quote. Sadly, if things did get better for Vincent, it wasn't for much longer. As we learned earlier. Theo got engaged in early 18 89. Then, in April of 18 89 Theo married Johanna Bunger. Most people just called her Joe. In May, Vincent checked into the hospital for the next few months, Vincent dealt with some serious bouts of depression. He'd be fine for a month. Then he'd go through serious depression for a month. He'd be fined for a couple months. Then he dip into a deep depression for a couple months. Vincent was at the hospital for about a year. He checked in. Vincent was at the hospital for about a year. He checked out in May of 18 90. It was while he was at the hospital of Vincent, painted some of his most famous works of art, including my personal favorite Starry Night. Of course, those didn't become famous until after his death. His immediate destination after leaving the hospital was to stay with his brother and his new sister in law. So he traveled to Paris to stay with them for a short period of time. Just a few days before he found a place on the north side of Paris. That would be all there, Sir Waas. It was while in all there that Vincent continued to paint and write letters to Theo amid discussions of what paintings he was currently working on. The letters themselves would paint a picture of how much Vincent was still suffering. For example, in a letter dated May 24th 18 90 Vincent wrote this the Theo and Joe. I'm in each of my eye. All right. Wait. Did I call her Johanna? Thank you. I think I did. Pretty sure it's Joanna. What? I'm gonna record that again. And then I'll look that up later. As we learned earlier, Theo got engaged in early 18 89. Then in April of 89 Theo married Johanna Bangor. Most people just called her Joe. In May, Vincent checked himself into the hospital. All right, so normally, I would actually look that up. I don't have it. My pronunciations here. So normally I would look that up. But since I'm got everything recording and I don't want to stop all of that because browsers and all that fun stuff with their noises um, I'm going to ah, make a note of this, and then I'll look this up later. Which one is correct? And then I'll inter splice that, um, here much. Vincent was still suffering. All right, so that's where I ended over here because it was so suffering. So I won't go here. Um, Another love fun. little fact, I did mention this in the episode, but one, actually, whether we're in Paris, um, we don't really know a lot about what Vincent in Paris when he was with his brother because they didn't have a need to write letters, and so they were just talking. And so we don't really know a lot about that. We only know through the letters amid discussions of what paintings he was currently working on, the letters themselves would paint a picture of how much Vincent was still suffering. For example, in a letter dated May 24th 18 90 Vincent wrote this to Theo and Joe. All right, so this is no edit here. This is a letter begin myself. All I can do at the moment is say that I think that we all need some rest. I feel ah, failure. That's it has regards me. I feel that that's the fate I'm accepting and which won't change anymore. But one more reason. Setting aside all ambition, we can live together for years without ruining ourselves on either side. You see that the canvases that are still in Sandra me there are at least eight of them and with the four. From here, I'm trying not to lose my touch. That, though, is the absolute truth. It's difficult to acquire a certain facility of production, and by ceasing toe work, I would lose it much more quickly, more easily than it cost me in troubles to acquire it in the prospect darkens, I don't see ah happy future at all can. It's the end of that letter. Continue in the movie. One of the people interviewed by Armando Berlin is the innkeeper's daughter, who was there when Vincent stayed at the inn. Her name is Adaline Ravo, and she was a real person. She was only 13 years old in July of 18 90 but it wasn't until she was in her seventies that she wrote what is probably the most detailed account of the final moments of Vincent Van Gogh life. According to her, Vincent left the in on the morning of July 27th. That was perfectly normal, as Vincent would often spend the entire day painting on Landscape Sky River, whatever else he was working on at the moment. But he always returned as the sky turned dark. This time, he didn't headline recalled that they started to worry about him until around 9 p.m. Vincent returned. He was clutching his stomach when add lines. Mom saw Vincent holding his stomach. She asked if something was wrong. He replied, No, but But I have. Then he trailed off as he climbed up the stairs with much difficulty to get to the room. He was staying in add lines. Dad went to check on Vincent and found him lying on his bed, groaning. At first, he thought Vincent was ill. But then Vincent showed him the wound, a gunshot to the chest, Vincent said. He tried to kill himself. According to this version of the story, Vincent said he was in a wheat field painting when he shot himself with a revolver. He passed out from the wound on Lee, coming to when the evening started to cool down. But then, in the darkness, he couldn't find the revolver to finish what he had started. So he stumbled back to the. In hearing this, the innkeeper's immediately sent word to Dr Gachet, who was Vincent's doctor. He came and dressed the wound but didn't do much else, he said. All right, I'm gonna have to stop right here. I'm sorry, This video starting to run a little bit long. Don't worry. We're not gonna miss anything. I just need to stop this here. And then let's pick up in our next video. Right where we're leaving off so that we don't miss anything. I'll see you right there. 18. Finishing our recording: As I mentioned at the end of the last video, we split this one into multiple videos in order to be ableto upload and well, let's let's just get right to it. Let's dive right back in where we left off in the last video, he came and dressed the wound but didn't do much else. He was said to have claimed there wasn't much more he could do who was hopeless. The next morning, messages were sent to the police, as well as a telegram to Theo. Police ask Vincent about the shooting, to which he replied, This is a quote, My body is mine, and I am free to do what I want with it. Do not accuse anybody. It is I that wished to commit suicide. Theo was quick to arrive by train, getting there. That same afternoon, he stayed by his brother's bed for what would be the rest of his life. That night, Vincent slipped into a coma and died Officially. His death certificate is at 1:30 a.m. On July 29th 18 90. We don't know exactly what happened that day. We don't know what Vincent's final moments were like exactly. Probably some of the best insight will ever get into. Vincent's final moments came from a letter that Theo wrote to Elizabeth, his sister, dated August 5th, 18 90. Have it better begin to say we must be grateful that he rests. I still hesitate to do so. Maybe I should call it one of the great cruelties of life on this earth. And maybe we should count him among the martyrs who died with a smile on their face. He did not wish to stay alive, and his mind was so calm because he had always Vaught. He did not wish to stay alive, and his mind was so calm because he had always fought for his convictions convictions that he had measured against the best and noble list of his predecessors. His love for his father, for the gospel for the poor and the unhappy for the great men of literature and painting is enough proof for that. In the last letter, which he wrote me in which dates from some four days before his death, it says quote, I try to do as well as certain painters who I have greatly loved and admired. End quote. People should realize that he was a great artist, something which often coincides with being a great human being in the course of time. This will surely be acknowledged and many will regret his early death. He himself wanted to die. When I sat at his bedside and said that we would try to get him better and that we hoped that he would then be spared this kind of despair, he said. Quote the sadness will last forever. End quote. I understood what he wanted to say with those words. I'm gonna redo that without the quotes. He himself wanted to die. When I sat at his bedside and said that we would try to get him better and that we hoped that he would then be spared this kind of despair, he said. The sadness will last forever. I understood what he wanted to say with those words. A few moments later, he felt suffocated and within one minute he closed his eyes. A great rest came over him, from which he did not come to life again. Read it and the letter, as I mentioned the beginning is pretty heavy stuff. In the end, we have to turn to the personal letters in the recollections of people like Adaline Revo to paint the picture of what happened to Vincent Van Gogh. How accurate of a story does that tell? Well, that's for you to decide. All right, that's the end of the episode. I'm gonna get myself since face here, start the Outro. This episode of Based on a True Story was written and produced by me, Dan Lefebvre's Now I know we talked about some very serious subject matter on this episode as someone who has had loved ones impacted by some of the things we talked about on this episode. I know it's something to take very seriously. I know life is tough at times, but remember, you are loved. Talk to someone, huh? The National Suicide Hotline in the U. S. Is 1 802 73 Talk as 1 802 738255 As I mentioned earlier in this episode, the movie does a pretty good job of raising some important questions to combat the official story of Vincent's final moments. There was some mistrust of Dr Gachet in one of Vincent's letters to Theo, he said. Dr Gachet wasn't to be trusted because he was sicker than Vincent. What did he mean by that? Or there's the sick secretary. Or there's the secretary Boys that the movie mentions and seems to imply, might have had something to do with Vincent's death, possibly even being the ones who shot Vincent. Those are all possibilities. It's a mystery that has haunted generations of art lovers and historians. In the center of it all, Vincent's life has grown to become an example of an artist who suffered during his lifetime . He wasn't rich and famous exactly the opposite. In fact, on top of the challenges that come with poverty and struggling to survive, he also suffered from illnesses that simply we're not understood by the doctors of his day . Throughout it all, Vincent gifted us with some of the most beautiful paintings the world has ever seen. If you want to learn more about the life of Vincent van Gogh, you can. If you want to learn more about the life of Vincent Hancock, there's a ton of great resource is out there from authors and historians, and so, like I always do here on the show. Here are a few recommendations for places to start down that path. The first is a book edited by H. N. ESU called Then Goes Letters. The Mind of the artist in paintings, drawings and words 18 75 to 18 90. The title is pretty self explanatory about what you can expect from it. If you're looking for more of a biography stylebook, there's two recommendations I'd like to make. The first is called Dear Theo by Irving and Jean Stone, and the second is called Vincent and Theo by Deborah Hi Gelman. Not Heikal Heilig. The second is called Vincent and Theo by Deborah. Hi Legman. OK, now it's time for the answer to our to truth and a lie game from the beginning of the episode as a refresher. Here are the two truth and one life number one. Vincent had more siblings than Theo. Number two. Vincent stopped painting for the last few years of his life. Number three. Vincent claimed to have shot himself. Did you find out which one is a lie? Let's start with number three. As we learned, the generally accepted version of the story would say that this is true, Vincent said. He shot himself so officially, his death was ruled as a suicide. Yes, a lot of people have questioned that over the decades. But regardless of what actually happened, as far as we know, he claimed to have shot himself. So Number three is true. That brings us to number two. That is the life. As we learned. Vincent didn't stop painting even when he was at the psychiatric hospital in San Rami. He was even painting a wheat field when he shot himself. And in this way, the movie brings up a great point when it asks the question, What happened to his painting? Supplies in the field, the canvas, the paints, brushes, etcetera if he was painting in the field but stumbled back to the end without them where they go, I need only add to the mystery. Finally, we have number one, and as I'm reading this, I'm actually realizing the way I phrase that is a little confusing. I said Vincent had more siblings than Theo, but of course they were brothers, and so they have the same number of siblings since they were brothers. But really, what I meant by that statement was that there were more siblings than just Theo because Theo is the only one that we see in the movie. And as we learned, Vincent and Theo were not the only Children in the van Gaal family. There was also Elizabeth Anna Will a mean and corn Ellis, six Children total. That brings us to an end of this episode. If you're still listening to this, Thank you so much. You are truly one of these super fans of this show, and I would love to hear from you. What do you think of the mystery surrounding Vincent's death? Are there other versions of the story that you think add some answers? Or maybe you noticed something that I missed and want to clarify things a little bit more. The best place to share anything that you'd like to add to the story is in the based on a true story Facebook group. Or you can reach out to me directly on Twitter, where I'm at Dan Lefebvre, d a N l e f e b. And if Social Media isn't your thing, you can shoot me a good old fashioned email at Dan at, based on a true story, podcast dot com Until next time. Thanks so much for listening. And I'll chat with you again really soon. All right, that's the end. All right, so that's the end of recording, and I'm gonna stop this video here, but, um, the ah, the basic next processes and we'll do this in a different video is I'm going to save this file. And what I do is I actually take it. Actually, let's do this right now because I'm just gonna walk through this process so I can close out of that. And let's open up where we have this stored. So I have This is on the local drive loving Vincent. I'm going to cut that. Move it to Ah, the file stream. Actually, I have this here. So, um, this is going to be Episode 1 35 Living content. We go and paste that in here. Ah, All right. So as this pace in here and then it's basically going to sink that. So if I right click down here, you can see it's going to start sinking that that sinks to my Gould Google drive. If I could speak properly that speaks, Teoh sinks to Google drive, and then I have that over here as well. And that way I can get it over here. I could pass it across through the network, and I used to do it that way rather than using Google Drive. But I like using Google Drive because, um, that allows me to also have it on my laptop when I'm not at home. Or if I'm not in my local network, then ah, have access to it there as well, to be able to do some editing or pull pull things down or whatever I need to do as I'm doing that. So that's kind of my process. I will save that off there, and then the next step in the process for this particular episode is going to be to edit that together, and we'll tackle that in a different video. So hopefully you enjoy this process. I knew it was a super heavy episode. It was just the next one in line. For as I'm creating this course is, I'm working on this course, Um and, ah, they may not be the next one that you actually hear. This 1 may already be live. I'm not sure how long it will take me to put together the rest of the course, but, um, it was the next episode, and I wanted to get this recorded. So thanks for sticking around. Hopefully, you learn something. Maybe picked up some tips and tricks throughout this video that you can use in your own podcast. And I'll chat with you again next time. Bye for now. 19. Starting to edit our podcast: Hello and welcome to this video where we're gonna walk through the editing process for one of the episodes of the podcast. So in a previous video, we actually walk through the entire recording process, and we're going to now take what we've recorded and edited that I'm sorry. Edit that. I could speak properly. There we go. I should have edited that right. Um, but you're again, just like with the recording process. You're getting all the behind the scenes on this. So this is how I go through editing an episode of the podcast. So the episode that we did if we hop over to the computer here, is covering loving Vincent, the movie loving Vincent. So let me open up this folder here and basically the way that mixed Kraft works. That's the software that I use. The way that it works is each one of these files. These are wave files. So these the actual audio files Ah, that got recorded in a way. It works. Is each one is when I stop and start. So you remember from when I was recording, I would stop and start a lot, depending on when I made a mistake or there was a new take that I wanted. I wasn't happy with how I said something. Things like that. So that's what each one of these are. My first step here is I'm gonna come down to this dot mx eight file. That is the actual project file for mixed craft. And I like to come in and rename this. I'll give this a version one. So version one is in my mind. And this is the way I've always done this. And this is just an incremental thing. Um, because I always like toe work as non destructively as possible where I can walk all the way back to the very beginning if I need to have had to. Sometimes that's why I do that. So this is version one, and then I'll just hit control C and Control V in order to copy that. And that gives me version too. So this will be version two of the file. So if I double click on this to open up the project in mixed craft now, as I'm editing version two, I still have that original. What? I actually recorded the order that I recorded all of that. And if I ever need to go back to that and I'm not anticipating that I will for for this particular project. But as I said before, I've had to do that before where I have to go back and and ah, make adjustments are really kind of see some of the markers that I made, and and and recall those and see what's going on there. So ah, give this a moment. As this loads, you can see it loading down here in the bottom left hand. It's loading in all the all the different way files, all the different audio files for the project. There we go. All right, so this problem here, this is very, ah, common and really what this is saying is it's saying it can't arm one or more of the tracks . And the reason for that is something that I mentioned in the recording episode where, if you remember, as I was recording that you could see a computer off in the background, well, that's the computer that I'm currently using right now, and so because it's a different computer, I don't have this microphone plugged into that computer. I'm actually recording this on. Ah, separate computer, then I'm actually editing on. And so it's saying, Well, I can't find this microphone so it can't arm that track. Basically, this is just an error. That is Ah, it's okay to just click, OK? And and move on. Because this is a different computer, so Ah, there's no problems. I'm not actually recording on this computer. I'm just editing on this computer. All right? So my basic process here, let me explain this before I dive into it, and then we're just gonna Then we're just going to dive right in. So my basic process is you can see each one of these tracks here. If I select each one of these, Um, I should say files not track. So each one of these are one of those wave files. Okay, so if I zoom in here, you can see each one of these is a file. So this is one way file. This is another way file. I'm not sure what the exact name of this particular way file is. It doesn't really matter at the end of the day. Um, because what I know from when I recorded this and I kind of explain this as I was recording . Is this at the end of this here? I made some sort of a mistake. Whether it was ah, you know, pronounce something wrong. I just said the wrong thing. Sometimes that happens while you're talking and you just say the wrong things. That happens. Or maybe I just wasn't happy with the way that I I made. I said that. Take whatever it was. Um, I need to basically take this the next one and merge it into this so we'll we'll hear what this sounds like as I'm editing, Um, but that's my basic process for version two of this project is to go through and get one long file that is edited and all good. It's a good take the entire way through, or it's all the good takes put together. So let's let's dive in here. And I know right away because I have this gap here. This is the little introduction someone to trim this a little bit, pulled us in and just getting rid of some of that empty space and the primary. There's really no noise there, but the primary reason for that is just in case, you know, there's a mouth breath or really just kind of trimming it in a little bit. That's that's That's really what that's for. And this is the first edit that I'm really gonna have to do. So I'm gonna have to listen to this to see what sentence I started on, and then find that sentence back here and trim that off. So let's see what this looks like. So let's listen to this. I don't have that set up properly. I have that support output in. Yeah, I have that out putting their I need. Okay, there we go. I had out putting too. I have, Ah, focus writes. That plugged in here that I, um Do you see me do that? Should be here, here in an interview. There we go. Output to the correct in an interview with BBC after. Okay, So I'm saying in an interview with BBC, so I need to find that we were told that this was a in an interview with BB. There it is. So this here I continued on basically what that means. I continued on here, and then I made a mistake at the end and almost so. I wasn't happy with the way I said something or whatever that was. So what I need do is I need to take this, move this in and get rid of that and then take this and move it over. Give myself a little bit of pacing. I don't want to do it to close because that will make it seem too quick. There's always going to be a natural pause in as you're talking. It's just natural. Ah, conversation. But directors Derrota Kobe Yellow and Hugh Welshman in. And so that's a little bit too far the hue Welshman in an interview with a little bit less que Welshman in an interview with BBC there ago. OK, so I'm happy with that. So one other thing I'm going to do, and this is something that I like to do from the onset because it really helps me get an idea of what the actual episode will sound like is I'm going to apply a little effect to my , um, to my to my track. So this is on effects chain that I've created and I've used over the years, um, let's walk through this really quickly. Um basically these air just different, Um, equalizers, for the most part. Ah, these two here. So really, I have, Ah, an isotope mastering essential. So this is one and then I have these and these are the two effects that I apply on my track , my vocal track. And really, what this does is this helps add a little more warmth to my voice, and I kind of like that effect that it has a little more warmth and what is originally recorded. So let me close out of this. And then the last thing I'll do is I'll add something a master effect, and this is just a compressor. Again, this is adding a little bit of warmth to it. Um, and that really just kind of helps. Ah, compress it. Compresses it down. Right. So the the threshold is determining what the what the decibels are that is going to go the the, uh, ratio. And the attack is kind of how quickly it's going to do that around what I'm saying. Um, and it really just kind of helps. Ah, tied up into a nice, pretty bow, if that's a nice way of phrasing that, um all right. So with this, with these applied, we can hear the difference here. I'll just play this and then I'll turn it off and you'll be able to hear So in an interview with BBC at So You hear what that sounded like. Now let me turn this off interview with BBC after the so you can hear that difference in an interview with BBC after the even with this off Tuchman in an interview with BBC in an interview with BBC After them. So you can you can hear the difference that those effects making interest adds a nice little warmth to it that it took me a while to figure that out, and I was pretty much trial and error. When it comes to effects for your voice, keep it. Keep it simple. I like at a little bit of warmth, but not too over the top. There's a few episodes that I did where it was probably too much. Ah, too much kind of base in the voice and and that, um, and that boils down to two things. There's personal style. So what you like, but also your voice. So everybody's voice is unique, and that's One of the amazing things about podcasting is you get to put your voice out there and because your voice is unique, that means the effects that I use on mine aren't going to work for years. And that's perfectly fine. I mean, you might be able to take the exact same effects, imply and be like I'm happy with that. Maybe, maybe not. But there's no rule book that says, Oh, it has to have this NPR sound or it has toe sound like one thing or another. You know, it's it really is what you think is best for your podcast, and that's one of the great things about it. So don't be afraid to play with it. Ah, kind of figure it out. Listen to it in a few different places through headphones in your car. Ah, where people might be listening to your podcast and get an idea of what you like. And as I mentioned, I don't remember the episodes off the top of my head, but I know as I was dialing that in and kind of figuring that out, there were a few episodes that I released that you know, I If I were to go back, I would probably tone it down a little bit on the base side because I was playing around with that. And, um, I still released him. I mean, I haven't had any complaints about that. They're still popular episodes. There's no issues with that. But, you know, it's just one of those things that's kind of boils down to personal preference. All right, so let's continue on. And I'm gonna try to kind of fast track this and and really start just going through the editing process, because if I explained every little thing, then it's going to take quite a while. But what I mean by that is most of this is pretty much the same. So the edit that we just did where we had to find, uh, I said in an interview, and then I had to go find that that's exactly what I'm gonna be doing over and over and over and over again in order to cut this together. So ah, let's let's start going through this faster. But then there's the story, but then, so that there and I can tell from the way form you, the more you do this the more you get used to it, and you can start to see and identify really what your voice sounds like in wave forms and what you might be saying. The movie is purely as a work of art. But then let's pull this over. Ultimately, the move. A biopic for Renowned, the two co director Darnell. Ultimately here along with Ya, Take Darnell. All right, so there's a little bit of a breath there if you hear it now, So that's gonna be obvious that that's an edit point. So if I pull that in all the way with ya, take Darnell, then it doesn't sound. You don't hear that half of a breath, and that is half of a breath is very, very obviously an edit point. Ah, when you're listening to the podcast. So, um, I always try to pull it. I don't take out all of the breaths because that starts to sound too robotic, and you can tell if you're listening to a podcast or audio where somebody took out all of the breaths. Then it's like, Well, this this isn't a person anymore. This is a computer talking to me, you know, it's doesn't. It takes out some of the personality. Everybody breeze. Um, so I'm not gonna take out. I'm not gonna take out all of the breast, but, ah, those where those edit points are, If it becomes 1/2 breath, then I will pull those out and start toe mitigate. Some of them. Might be a good term for that, based on a true story. All right, so this is is based on a true story. All right, so that's the end of the introduction. So I'm gonna leave this gap here, and I leave these gaps because I'm gonna lay a music bed in between these And in order to figure out that exact timing, um, I'm gonna have to edit this back in a little bit more, but we'll walk through that process here in a little bit. Okay. Now is you're OK now is your listening Go. Got him. Okay. Now is you're listening. Got him. Okay. Now, as you're listening to our story today, keep and let's pull this in a little bit on the front end here, the movie loving Vincent loving Vincent. All right, there we go. So happy with that, Um you know what to me? I think I hear something. Hold on. Tourist story behind the movie loving Vincent. Do you hear that? I don't know If maybe it's just in my headphones. Vincent, It sounds like there's a little bit of static in the background, Vincent. Okay. I don't I don't know if you can hear that or if that's just me. Um, but let me do this. And let me see if this over here has it, too, just to make sure it's not just in one place before starting our story today before starting before. Okay, I hear it there too. So let me do this. What I'm gonna do is I'm gonna leave these kind of open to the end here, and then, uh, after I export this, I'll run this through isotope to get rid of that little bit. Just it's just a slight little hiss. Um, it's not so much that it wouldn't. Wouldn't be horrible if I left it in. Um, but I'm gonna I'm gonna clean that up. So after I'm done editing this, I'll run that through as a token. We'll walk through that process. So in order to do that with the reason why I'm I'm leaving some of that in is because it needs to actually have some of the noise in order to basically run a fingerprint on or analyze what that is so that it knows what to take out are moving today. Opens with a ago. And this is a quote. It says so on here. What I'm gonna do, I'm gonna let's create a new track. So this is gonna be a quote. So I'm gonna take this track and move over this this little bit right here and move it to this track that supply that same effects chain. So it sounds the same, and I will be applying a different effect to that. Ah, but for now, I'm just going through an editing. But by putting it out of new track, I can then get rid of these markers because I know that I've added those It says over there , sir Wise. Okay, so that timing there it says up. That's good. Days later, listen where he died two days later. Sadly, Ah, but mortar. He died two days later. Sadly, we go, And as far as that timing is concerned, you'll get used to it. It's one of those things where you kind of the more you listen to it, the more you edit them or you go through that process, the more familiar you're going to be with what should stay in what should stay out. The timing for everything. This leads into a few Converse brother. This leads into this leads is the edit point there to Theo Vincent's brother. This leads and go, he goes on to He goes on to say, Wasn't mad. The policeman says he was. He was interesting. He goes on to say, Get a little bit more timing since there was kind of a pause in that quote from the it wasn't a direct quote, but, you know, just a what kind of the gist of what the police officer said, although one thing, although, hey there, I'm gonna have to stop this video right here because unfortunately, this is starting to run a little bit long. And so in order to upload this, I'm gonna have to split this into multiple videos. So let's stop here. And don't worry, we're not gonna miss anything, will pick up in the next video right where we're leaving off. So I'll see you there 20. Part 2 of our editing session: Welcome back. Without further ado, let's pick up right where he left off at the end of the last video go. So if you look, there's a little bit here, but that's kind of a tick, although a little a little bit of a mouth take their that happens. But I can get rid of that since I'm editing there anyway. One, although kind of like breaths. 81. Ah, you know, it's one of those things where I mean, if you have too much mouth noise, that can be really annoying. But, um, you know, every so often, eso kind of sporadically 81 although what it's kind of like like breathing where it doesn't get to be too annoying unless there's to L. A. Unless there's too much it could be. Ah, mouth noises get annoying a lot faster than than breathing does. But, ah, depending with them. A noise are just one little tick. Every so often isn't gonna be a huge deal, not a make or break not worth going in. And finding every single one bribed Armand in a letter to his brother on December 1st 18 81 . I have done the port all right. So this is gonna be another in 81. I have done the portrait. So this is gonna be another at it, or I'm sorry. Another quote here that needs to be have that effect applied to it. So I'm just putting it onto another track. So it's easy to know they look Russian. That painting of Armand that Vincent didn't though. They look Russian, that painting of are going back into the episode. Where was I? But since the movie. All right, now where? Right. So this is where was I going to use for this episode this episode? Where was I? Oh, that's right. Vincent's letter to Theo The movie was correct. The movie was correct. Their movie was correct. And you could tell him kind of speeding along a little bit more now. Topic Theo was not Vincent's only brother. Um, these are the kind of things that, as I said it since only brother, the movie was, As you get more familiar with it, you can start to just move along a little bit more, and I have the benefit of immediate control s here to save as ah, as a backup. Um, I had the benefit of, you know, I've been doing this for years and years and years and years, and so ah, because I'm editing my own Ah, stuff because I recorded this. That's a huge, huge benefit because I can also remember what it was when I recorded um, sometimes out edit things weeks after the fact, and so I don't remember quite as well. That's why I still put markers and all that kind of stuff in there. Um, but it is a big benefit to be able to have recorded. Ah, what you were editing. So I know that, you know, And I know that my editing or my recording style is Ah, the final take is always going to be the take that I like. So I'll keep redoing it now keep you know, editing. Or I'll actually do a little bit of editing on the fly. If you remember when it was recording, I don't remember if I pointed this out or not. But sometimes if I record something and I don't like it, I'll just delete that right there. I'll just delete this entire file if I'm not happy with that. Um and that is a little bit of editing on the fly is your recording. It's less toe have to sift through as you're actually editing stuff. Four years later, four years later, in a before theaters, his father, this new baby boy, was also given the name Vincent. Four years later, in a so some of this, I'm able to tell from the way form. So this right here looks a lot like this right here to me. So I bet those are the same things. Four years later, in 18 57 Willimon was never mind. That's all the way up here. Four years later, in 18 57 four years later in 18. 57. Okay, so that's that's ah great example of it. I was just talking about where I should have just deleted this whole thing because this replaces that. And so normally I'll try to do that as I'm recording. Ah, but obviously I did not there. Sometimes that happens. Try to catch that as you're editing. Also given the name Vincent. Four years later, it we go. Let's Ah, let's zoom out a little bit and move these over. He was his closest friend. None of the other After all it was he was closest. It was closest. So he was. He was his closest facist with Theo. Yep. There. So another thing you can do rather than moving this over and mix craft, is I could just hit control T and that's going to actually break that up. And then I could just select this hit delete on the keyboard or just delete that Ah, one. It doesn't really matter one way or the other. The end result is the same. It's a matter of preference What you prefer. Vincent was closest with Theo. He was his clothes closest with Theo. Okay. Making sure there's no breath there that I can hear. Um, something else I haven't really explained as I'm moving around. So this I'm just using the mouse wheel in order to zoom in and out on the timeline and then , uh, hold down control and used the mouse wheel in order to scroll left and right. That's how I'm able to move around really quickly. I would really encourage you, no matter what editing software you're using. Get familiar with the short cuts like that because it's so. It's so much faster to be ableto bounce around and you can see I'm shifting around really quick and I'm moving around and all of that, and you'll be able to do that, too, when you get familiar with the interface and how you can navigate the timeline. And I would really encourage you to take the time to get familiar with that today his but Vincent's today his paintings 11 of the, ah benefits that I have Ah, just from my background being mawr, you know, in the video side is it's also there's also timelines and video, right? And so I'm familiar with, um, I started with final cut, but, you know, familiar with ah Premier, an avid and DaVinci and and those where you have you have timelines and you have these clips, clips and things like that that you have to throw together. And so it's very similar, uh, the audio's difference either. You know, obviously the workflow is a little bit different there. You doing audio instead of video and you know, the ah stories Air told differently and all that kind of stuff. But as far as just navigating the timeline, you know you're shifting back and forth in year and you're moving things around and, ah, similar process there. So, Ah, when I jumped into mixed craft, that was one that just seemed very natural to me. And that was one of big reasons why stuck with mixed craft? Because navigating this, uh, is just super super simple today. His paintings are so him to sell them for money. So there's another breath that I need to cut Was for him to sell them for money today. His paintings air something this little bit, sell them for money. Today is so you can see up here. So this is 15 minutes and 32 seconds, and, uh so it's not quite a couple seconds. Um, And if you think about it, you know, when you're talking, you have a break. It's a normal break between a sentence or, you know, a thought. Eso don't as you're editing, don't you know? But things up right next to each other. You want to leave a little bit of a break. Whatever's kind of natural for your talking style. It was here that he was here that he continued to. It was here that to move out of the city toe Orel. It was here that go if he cut his old. We don't even know if it's a very good question when she said, Although many decades as the story goes under, we don't even know we don't even know it. Truth is, we just don't know for sure. We don't even know why he might. One explanation that one explanation for spurred from mental illnesses to But we'll chat about that here in a moment. One explanation thing else happening around this. The other possible explanation. Something else happening around this, something else happened. Something up. So cut this control T late has to do with his brother Theo something else happening or go like his brother like his brother. FiOS. Physical, 90. But this hold this in a ZAY said it. It's Ah, 9th 18 90 Like his brother, this is the probably the most monotonous part of editing. Is just getting this first cut together This impact? This impact is heartbroken. Understandably, he was. He was heartbroken. This impacted Theo's health. Notably he was he was heartbroken. This impacted. OK, there we go. Perfectly calm and quit tips. Let's find this The story. The move after appear the story. The movie He was shot. But this who tended to Vincent before endearing the time that he was shot. The story that moved Go scrolling over. Okay, so this is a letter. So that means it goes down to this track to get rid of these markers. Right? Click delete. And this letter is a little bit longer so than the other. So it's moon broken up. There's a couple of points there. Go through these and dated May 26th 18 89. Here is that letter. Sandra, Me, You know, this is probably right here. See it? That see how that looks similar? That's kind of what I'm doing is I'm reading the way form in order to kind of guess where that at a point might be. Sir. Sir, see 36 18 89 sir, in answer to girl. But he observes that these in the beginning he was so he observed. But he of him. But he In the beginning, he was subject to distressing nightmares which troubled him. But he observed, but too distressing nightmares which troubled him. But he observes that the so that one needs to be a little bit closer together because if you listen, that's actually in the middle of a sentence. When I changed was subject to distressing nightmares which troubled him. But he observes that so kind of Ah, comma instead of a periods a little less of a ah break point. There he is occupied. He is preoccupied all day. He is occupied all day drawing. And this makes him hope for a complete recovery in the future. He is for a complete recovery in the future. He is occupied. All go. You asked me for my You asked outside the establishment you asked me for my because I have It is serious because I have reason. It is serious because I have reason to believe that one last little bit here for this quote Sincerely yours, doctor patient then one conduce by letter sincerely and sincerely in this by letter. Sincerely yours. Okay, so that's the end of the letter. Pull us over. So yes. The doctor said that Vincent was or th parent. So yes. The doctor said that Vince go. It was at the hospital. Vincent was at the Vincent was at the hospital up into a deep depression for a couple months that the ha section for a couple months, Vincent was at the hospital. This the Theo and Joe. So this is gonna go into another letter, I think. Oh, that's right. So if you remember when I was recording, I'm looking at this here. I need to look up if it's pronounced Johanna or fits Johanna. Um and I have not done that. I should have done that. I did not do that until I just remember this. So what I'm going to do here is let's do this. Um let's find where that is yet destination. After leaving the hospital just a few days, it was well in while he was at the hospital in 89. Then in April of 18 89 Theo married Johanna Bunger. So this is where I pronounced it Johanna right here and then This is an edit point for that as, um pronouncing it differently. See, we learned earlier Fio got engaged in early 18 89. Then in April of 89 fio married Johanna Bangor. So Joe anniversary. Oh, Hannah. So they moved this up here. So this will be an edit point right here, and it kind of determines how it's pronounced. Let me delete this. Um, and I'm gonna mute this track. And so that way, if I play back end quote, you got engaged in early 18 89 then in April, so you don't hear the other track? Um, so I'm not I'm not gonna bore you with going to try to figure that out. Basically, I'm gonna go look for new sources. I'm gonna look for it. Always does not interviews with her, but, um ah, historians or authors or various people, YouTube is a great resource for that to try to find. Ah, I try to do at least between 3 to 5. Ah, sources to kind of verify how something is pronounced. Um, And then I tried my best to replicate that, and sometimes it's a failure. And sometimes, ah, it works out. So ah, the, um So for this, I'll have to go spend some time digging down YouTube to figure out which one is best. But so I'm not gonna walk through that process in this particular video since we're focusing on editing. But this is all cued up and ready to go. So I have both pronunciations that I recorded. Um, And if there's a new one, if it's something completely different or you know that I'm not expecting that I can just record just that one sentence and cut that in here. But this is all cued up, and I've got it kind of identified where that needs to go. Um, so let's continue on editing here amid discussions of what paint. So this is right here the end of this. This guy here, for example. Discussions of what paintings He was currently working amid discussions of what pain, Theo amid discussions of amid discussions of then write letters to Theo amid discussion. Ah, so this is another letter. So this goes down here. I'm reading these markers up here. 90. Vincent wrote this to Theo and Joe myself. All. I don't see a happy future at all. Um, okay, so these this year, these air, But it's in the movie a happy future at all. In the movie he came and hearing this the innkeeper's immediately. But then in the darkness, he could but didn't do much else. He came and dressed the wound. He came in dressed the he came in dressed, Go! That's the edit points. Who was Vincent's doctor? He came, and you know it's in there. Ah. Hey there. I'm gonna have to stop this video right here, because unfortunately, this is starting to run a little bit long. And so in order to upload this, I'm gonna have to split this into multiple videos. So let's stop here. And don't worry. We're not gonna miss anything. Will pick up in the next video right where we're leaving off, So I'll see you there. 21. Even more podcast editing: as I mentioned at the end of the last video, we had to cut that one short. Don't worry. Not missing anything. What's pick right back up? Quote right here. You know, I don't quote, and that's the end of the quote. That and then this. And then this is a letter. Yeah. Okay. Quotes in here sent about my body. Police ask Vincent about the shooting. To which he replied, My body is mine. Feel was quick to arrive by train getting there that same August 5th to commit suicide. Theo was August 5th, 18. 90. So this is the letter from Theo to Elizabeth? No. And it. So what I mean by no edit is that that's not This is the beginning of something new. It's not. I'm not gonna find that in here. This is just something new. And that's what I mean by no edit there. It's still kind of in a point, but that's just a internal memo. Just fifth put to my 17 90 August 5th, 18 90 to say we must be grateful that he rest. He did not wish he did not wish this on the martyrs who died with a smile on their face and with a smile on their face. He did not wish to stay alive, and his mind was. I wanted to say with those words he himself wanted. I understood that he would then be when I sat at his. But he himself wanted to die at that point. Here, surely be acknowledged, and many will regret his early death. He himself wanted. And that's the end of the letter. Um, these are up here. He did not come to life again in the end, and in the end, well, which in my hand it's over this episode of Based on a true story, that's for you to decide. Okay, so that's the end of the episode. So let's get myself a little bit of space here, because again, there's gonna be a music bed there. Ah, and this is nowhere to continue. I just continued on, so there's no quote or anything. It's just continuing from before the national suicide. But remember, person or there's the secretary boy, or there's the What did he mean by that? If you want to learn more, if you want to learn more, go and you know the more than I'm I'm listening to this. Ah, I can hear that the world has ever seen. If you want this'll slight, little hissed. And that's something that I can hear it because these headphones are great. You know, getting yourself a good pair of headphones to edit with is is certainly worth it. Um, if you're driving down the road, you probably won't hear it. Realistically, if you're at the gym, you're probably not gonna hear you're going for a walk. You're probably gonna hear it where you know, doing chores around the house. You're probably not going to hear that little hiss. Um, but ah, you know, if people are listening at work and they've got good headphones on or wherever that might be in, um, noise canceling headphones they've got these days it's a good idea, toe. The second is called. If you're looking Teoh, invest in some good headphones. The title is pretty, it goes, then goes letter in the second. The second is called the second is called. So, uh, these, um actually got these used and I think knew they were only like, 100 bucks, but I got him used, so it was like half of that, which is even better. Jean Stone, The second in stone. The second, um, and I knew the original owner. So it wasn't, You know, they were nice and clean and well taken care of. Ah, all right. I think that's the end. That with you again really soon. Okay, so that is the end of this episode here. So what I've done is this is all of this is a good These are all the good takes. So now my next step is I'm going to export this, Um, and I'm gonna run this through isotope in order to get rid of that little hiss. So let's come up here mix. It's down to away file. Um, you know what? Yeah, this will work. I'm trying to think of the best way to do that. Ah, this is ah, 1 35 This is, uh this is, um, for for isotope. So I know what that that file is, so we can see this is going to start cranking that out down here in the bottom left. It's going to start creating that file. Um, and then once that's done, would open up isotope and run it through that processing. Um, so I've given myself enough breaks there I'm trying to think of because I have multiple tracks. The best approach for that. You know what I think I might I think what I might do. We do this, I'm gonna cancel this. So cancel that. Let me do this. Um ah. On these guys here. Do I have enough enough empty space to be able to find that hiss? There's not a lot around that. Like to give myself a maybe a couple of seconds or so that one has some. All right, so here's what I'm gonna do it with a solo, this track, and that only plays this track. It meets all the others. Um, and then, ah, let's export just this guy, and then I'm gonna export. The other ones will have two tracks. Basically, Um, so this is just the quotes, um, and then that way, because I need to apply another effect of that. But I don't want to apply to you. I don't want apply the effect and then run it through as utopian or to try to take out that his because it might take out some of the effect um, the ah, the warming effect that I have on here. That should be okay. Um, it's It's not, uh shouldn't be affected by taking out those that slight hiss. Um, but ah, yeah, Let's give that a moment. Is that creates? And I should be able to pull up isotope. It's here by, but huh? Maybe I don't have isotope installed on this computer. I thought I did. Well, okay. Um interesting. I wonder why I don't have that installed. Um, I know, I've used it. I know I've used on this computer, but it showed it. Don't see it installed on here. That's weird. Well, we might be able to run it through a different we might be able to run it through audition in order to do the same thing I stopped is usually a little bit better. Um, but the other side of that is realistically, the haste is not that big of a deal. So it's not Ah, it doesn't require it might not require the power of isotope. Hey. Ah, We might be able to get away with running it through audition in order to clear that. So So Yeah, this is Ah, just sitting here waiting for this due to render out. Um, And then the next step, I'm going to render out, um, the other frame or the other track as well. And get that, um, those exported into two separate files. And if you look at this, you can kind of see the structure of it. So this is the introduction here. This is the bulk of the episode. And so because even though these air separate tracks it, keep those together, they'll fit together perfectly because they're edited together in here. And then this is, um, the outro. The ending. And I could I could take these tracks individually and run them through to get rid of that little bit of hiss. Ah, but that would be a lot more tracks to to do that, too. And, um, this helps render that down. So in I don't know if you're familiar with visual affection up, but if you are familiar with the effects, that's a very common thing in something like after effects, our motion graphics and such, where your pre comping it basically you're taking Ah, the everything you're making a bunch of edits. You're taking all of that and then you're rendering that down into a new file. And that's also common in just video editing, where you're going to, uh, make your edits, and then you render that down. And so that way, the computer doesn't have to render that every single time it saves time in the long run. Um, that's essentially the same workflow that I'm doing right here, where I'm taking all of these and I'm rendering them down into, ah, new wave file. And that way file is still high quality. Ah, would you do not want to do it to a an MP three file? Um, because MP three files by their very nature are compressed, whereas you could do un compressed way files and so think of it like, ah, a copier. If you were to save this to an MP three file and then you make your changes and then you say that to an MP three file and then you say, Make your mate say we clear out the hits and we say that to an MP three file, we bring that back into ah, mix craft in order to edit with the other part that other track right and so that then gets exported to another MP three file each time. It's losing a little bit of quality. It's exactly like a copier where if you make one copy and then you make a copy of that copy and you make a copy of that copy each time, it's gonna degrade and quality just a little bit. And so to avoid that you want to work in un compressed files like away files. It takes up a lot more space. But while you're editing, if you work in that and then the final final prod, the final final file that you export is going to be an MP three file, Um, And again, that's ah, very common in video editing where you're cutting things together. You're gonna be working in high quality files for that. Um, all right, so that's this guy here. Let's solo this one and export this. This is ah, the main track isotope. There we go. And while that's going, I'm going. Teoh, launch audition in the background and get that opened up and ready to go. So here's audition launching, Um, while this is exporting, So yeah, I mean, I know MP three files air very common. And that's another thing to keep in mind while you're recording. I know a lot of ah might be very tempting to, um, record in MP three or a lot of software, especially the one that comes to mind, is ah, MP three Skype recorder. I mean, I use that as a back up for when I'm recording interviews, but it's not the primary source that I do. I will record directly into mix craft Ah, as a way file because it is a little bit higher quality and again, one of those things where you may not notice it unless you have headphones, like based on your listening in a quiet room. You know, that's been some proved in, Um, you may not notice that at all, but every little bit, especially as you're editing things and as you need to make changes, Um, the more that you saved MP three, and the more that you do that, the more it's going to ah hurt that file and degrade the quality a little bit. So let's find this. Well, this is still exporting over here. Let's find this quotes track here. Let's pull this in So this is what this looks like. And Ah, see if I can find I may not have given myself enough here. Let's see. Um, trying to find a good. Here we go. This might work. Yep. Right there. Little work. Okay, so it doesn't need much. So what I'm gonna do is ah, with this, I'm gonna select this part here. And the effect is ah, believe it's Yes. Ah, noise reduction. So control, shift P. All right. So what that basically is going to do is it's going to capture the noise print. So it makes ah, kind of, ah, capture of what this noise sounds like. And now, if I select the entire file, I can apply this, and it's going to try to get rid of that noise in that entire file and the key thing here and this is kind of the difference between isotope and audition. So this works really well in audition sometimes, Um and what I mean by that is you want to make sure to actually listen to some of the other audio and make sure it doesn't start to get that kind of tinny. Ah, to its been over processed feel to it. It can get to be that way very, very quickly. Whereas isotope there are their algorithms. Um, I found are much, much better. And you can you can pullout mawr without getting that. Ah, over processed, compressed, tinny, tight sound to it. Um, it doesn't tend to happen as much, but so you can see the difference here. Even if I would listen to this for the future, I intend to go to Paris steering and do by letter. Sincerely yours, doctor. Th parent. So you see, I don't I don't hear that hiss anymore. That hisses gone. Um, So, um, in this case, it's on, and it sounds fine. The rest of the audio sounds fine. I intend to go to Paris during the month of June. There we go. This is confirmed. It will be necessary to be concerned for the future. Shouldn't all across the entire father, husband, wife, baby, the young boy and the 16 years. So yeah. So I'm, um I'm happy with the way that that worked. And because this isn't Ah, a separate file. Um, what I'm gonna do is I'm just gonna hit control s and that's going to save this file and then overwrite the one that I had. And that's perfectly fine by me, because that's just ah, that's what I'm gonna end up editing anyway. Hey, there. I'm gonna have to stop this video right here, because unfortunately, this is starting to run a little bit long. And so in order to upload this, I'm gonna have to split this into multiple videos. So let's stop here. And don't worry. We're not gonna miss anything. Will pick up in the next video right where we're leaving off, So I'll see you there. 22. Continuing to edit our podcast: As I mentioned at the end of the last video, we split this one into multiple videos in order to be able, tow, upload and, well, let's let's just get right to it. Let's dive right back in where we left off in the last video and let's go back to mix crafts here. It looks like it's still exporting. That doesn't want to actually pull open cause it's still exporting. It's exporting this main track. That's that was gonna be a little bit bigger. Um, look at the size. Yeah, so this is so you can see the file size here. So 197. While we're waiting for mixed craft months, we'll chat through some of the technical specs behind this in case it helps. Um, so 197 K that's a roughly 100 97 megabytes or, you know, roughly 200 megabytes. Ah, which is pretty big. And you're not gonna want to actually use that. Of course, for your final file. Ah, by any means, but it's ah lot higher quality, and you're not going to lose. Your quality isn't going to degrade, um, as your making this at it because I'm gonna pull this file right back into mix craft, and then we're going to use that to actually edit for the final episode. Um, and again, typically so, typically, on the editing side. A lot of times, I don't even have to go through this because, ah, um, usually, you know, there's not that little hiss. I probably had the gain up a little bit too much. Um, on the are 16 in order to on this. And that's probably where that his came in. Um, if you wanted to realistically. Ah. So I used to use a to 86 s and Ah, that was that was great. And I didn't have any sort of hiss, and so I would never have to do that. Ah, that actually died. Um, I think a storm knocked it out. And so I don't have that anymore. And so I have to run it through this Sometimes if I hear that little hiss Ah, that comes from there. Um, I could do away with that. If that's something that's if you're if you're coming across that and you have that issue Ah, the to 86 s is a great piece of hardware that you can use in order to, um, not only get some nice, clean gain as you're boosting, but also eliminates some background noise. I used it to knock out things like air conditioner in the background or computer fans. Things like that Really, really great for that. Um, but then, ah, there's also the ah, cloud lifter that I have never used myself personally, but, ah, some of my podcasting friends have used it and swear by it as a great way to boost gain and not it's clean gain. So you're not getting that hiss? Um, that ah can so often get introduced as your as your cranking up the gain in order to support the microphone. Um, all right, so it's dealt. There we go. All right, so I just finished. I just finished exporting. Yep, that's done so pulls up. All right, so let's let's pull this in. This is the main track. Now pull this in its called for isotope. I'm doing audition. Whatever. Find a clear of just that hiss right here and again. The shortcut control shift P, in order to bring up the noise reduction, captured that noise print you can see a little bit of difference there in the noise print that's capturing most of it is all down in the lower registers and that hiss, um and, ah, we should be good to select this file. There we go and run through that noise reduction pretty quick way of getting rid of some of that. Some of that hiss in the background and again, Like I said, I do use isotopes. So isotope Ah, the version that I have is Theis elements, which is the cheap version. It can get really, really expensive. And if you have the budget for it, it's amazing. I mean, I've used it, used it at work, Um, the full on professional version and it is amazing. Ah, for it is amazing what it can do. It's pretty much like it's it works magic. It's the type of stuff that it can get out. Um, but, you know, for for this podcast, with the budget being a lot less than Ah, What I did was I think b NH photo had ah, a sale for 10 bucks one day where they were giving away or not giving away. But for 10 bucks, they had eyes atop elements for sale. So I picked that up, and I've been using that, um, and it it is It's great. It has. It doesn't have nearly as much as the full version, but it does have the ability to remove that hiss and d hiss your audio, which is a great way of pulling that out. So let's let's find ah, space here to listen and see how the sons all the level we needed end quote. And they did, in fact, the very pretty good job. I don't hear that hits anymore. Film. It seem a lot of sources. All right, so with this, I'm just gonna again, just I'm gonna hit control us in order to save that. I'm over reading that file, and I'm okay with that. Um, the ah last thing. I have this other file here. I don't know if this actually has too much hiss going on in it. Ah, you know what? While we're at it, let's let's go ahead and do that. Let's this is gonna give me Give me some more space. Um, you know, might as well. I never you know, like amount. 100% sure. which pronunciation is correct. So let's ah, do this. Just that. One word. So it should take nearly as long to export. You can see it's it's going a lot faster now, um, to export that because it's really just this one. I mean, it's the entire timeline the entire length, but that's the only bit that we're going to have on that file and the benefit of having. But that there is because it's going to give you, like, you know, 27 minutes 34 seconds before it starts is going to give you 20 more four minutes or 27 minutes and 34 seconds of a blank space. All in front of it on that file is how that's gonna go. So if I were to pull this in, you can see um, all that blank space right before the file, right? So which is going? Which is going to line it up perfectly when I pull it back in to edit? Yeah. Bulletin patrol shift P. Capture the noise print. Select the file. Apply it again. That should take less time than the last one, because there's not nearly as much for it, too. Calculate take a little bit of time, and here we go about to wrap up. There we go. All right, so that's done, as we learned earlier. There we go. Ah, that one apparently does not have the effect applied to it so that I would need to apply the effect to it. Um, that's right. I can do that again in mixed craft. That shouldn't be a difference. There is. I can just, ah, apply the effect and then re exported and run through this process again. All right, so we are good to go hear. What I need to do now is, um I'm gonna take these and let's create new tracks. So this is loving Vincent. This is the clean track. Goats cleaned, and then I commute thes thes guys. And that way, um, they're not going to play. So now I need to pull in loving Vincent. That's the overall track. The main track. Pull that in, find the quotes and pull that in. I need to wait for this one to pull, and you could see its loading. Give it a little bit of time there. And once this loads 7 88 1985 100% stun loaded, loading the quotes. So I So you notice that the file is is consistent all the way through instead of having those breaks, let it like I did when I was recording, um, so I may need to chop this up a little bit more in order to give myself some of that space , like, you know, the space between the end of the episode in the outro. But for this I should be able to just bump this up all the way, and you can see how this lines up, right? So you can see how this lines up with this. And then this is the quote tracks that's down here and everything lines up perfectly. Um, because I exported and I haven't made any edits there at that point. Although it looks like this guy here could move up a little bit. There we go. All right, So with that, that is Ah, I have removed the hiss. If we listen to this, we shouldn't shouldn't hear it anymore. Um, are moving today opens with a blurb in the newspaper. It says so there's no more hits there, even between which means one is an all out like your task. See? Ah, I don't hear that hiss anymore. Um, all right, So the next step to this is to start to lay in our music bed. So let's do that. And I have in my assets folder for that I have our theme song. So this is, Ah, relative free track that Ah, I've used as the theme song for this for the podcast for many years. There's two versions. There's Thean tradition. And then there's the 32nd edit that goes at the end. So this will go at the end on the outro, and this is used in the beginning. So put this in, and typically what I'll do is so this this year is actually going to be in the very beginning before the music because there's a little bit of ah ah, warning beforehand before to begin. I want to point out that we're going to be talking about some very serious. So that's, uh, you know, giving a heads up on the seriousness of this particular episode. If you recorded this girl, know what I'm talking about? If you were watch the recording rather, you know what I'm talking about. So let's give a little bit of timing here before the music starts. Tens of suicide you right here is where I will cut that in and pull in the introduction. So, as I said, probably gonna have toe chop this up a little bit. So there we go. That's fine. Move this around to ah, get this to come in right around this key frame here on today's episode of Based On a True Story, we're going to compare history with a 2017 movie Loving Vincent. If you've seen our movie today, you'll know how it stands apart from, Well, every there we go. All right, so that was good. Ah, and again, that's the kind of thing and comes with practicing, knowing that it always comes at the same spot. So normally, that's five seconds in, um, but because we have the little bumper in the beginning, Um, then that's ah, a little bit further, but it's the 55 seconds from the song Ah, before the actual episode episode there begins. So this I need the this track again, and this is gonna be the ending now. So what the's are these air volume. So this is controlling the volume of that particular track. So basically it's going to start to kind of get a little bit louder, a little bit louder until right here. That's probably too much there. So like that. And then pull this up so fade in and then get louder right here and then kind of lead into the middle. The two co directors also wrote the film along with Ya. Take Darnell ultimately, so you can kind of hear it start trickling in there at the end. I'm Dan Lefebvre's, and this is based on a true story so that that's there. And then I don't like to leave any dead air. So I'm gonna pull over the two truths and a lie, Um, section here. And while that one note is going out, I'll have the that coming before starting our story to Sofia notice. It's still kind of going in the background, so it's not really dead air, but it's obviously wrapping up there. All right, so now the next section is also the same track. Um, and it's just a different part when the actual ah full thing comes in. So let me find that here. And I normally. So normally I have a template that I I work from on all this. I'm doing this from Ah, scratch. So you can kind of see the process a little bit better. But normally I found all these parts, and I've got the template, and I just I just pulled it in with you. That's the part right there. So that is where this comes in as, ah, the beginning of the book episode. So fade that in very, very quickly, as if it's kind of the beginning loving Vincent and then right here, start to pull this down, and then I'm gonna I'm gonna, um, need to and it's that and that's so I I need both of these, um, because one of them is the quotes and that timing And keep that timing there. So, introduction, quote I don't have to snap these. If I needed to snap these, I could, you know, snap to the grid, um, to get him to be lined up. Exactly. Realistically, you know, it doesn't really have to be because, um, this timing is really what's important. Not were it not that it lines up right where it Starts are moving today are moving today. Opens with a blurb in the newspaper are moving today opens with a blurb in the newspaper It says Go. All right, so that's that. So I have that there and then at the end, Um, this is the ending here, and so normally and again I'm gonna I'm gonna mention this, even though it's gonna cause me a little bit more work. Ah, later on, after this, I'm done recording this video. Um, so as I've been because I've been moving this and this is gonna shift into the kind of more of the timing of the final episode, Um, this marker right here is no longer accurate because I got rid of all that space in between here. So where Johanna Johanna is, actually, eyes probably gonna be somewhere in here. Um, and that's okay. I'll go back and find that after I figure out exactly which one is the correct pronunciation. Um, but that process is pretty straightforward. We've we've found where it is. We know that that kind of section, and so really all I would have to do is to just come in here and ah, move not select those, um, for this guy, just move this, you know, essentially toe wear where it begins, and so it's gonna be around here. It's pretty much the process. Um, so that's not that big of a deal toe. Find that again, and then just pop that one little file in there. Ice a great this right here. Same ending. But you know, the sadness that's for you to decide. Okay, Now, um, this is the ending, the Outro rather earthy final part, and then this again, this is done. Do this. I have this very formulaic. And I do this exactly the same way. Every single time goes down to a negative 25 decibels. And again, I've got a template that I typically pull from. But this is the process for how that to put together. So a negative 25 decibels and I will pull this in. Take this. Make a copy of it for the end. Thanks so much for sticking through this. Unfortunately, this is running a little bit long, so I'm gonna have to stop this video right here. Don't worry. We're not missing anything. I'm gonna pick up right where we left off in the next video, and I'll see you there. 23. Another editing video: Welcome back. Without further ado, let's pick up right where we left off and this part first to pull this in. So this is the very ending it is a couple of seconds after not too much. And really soon, that's the end. And then the beginning is gonna be right here. So it comes in right in this blink. So this is where I say, you know, this is this is my name basically. And then it comes timed right on the off beat. This episode of Based On a True Story was written and produced by me Dan Lefebvre's Now I know we talked about like, just like that. Um And then pretty much it's coming in here, finding and again, just like with two truths and a lie. It's a to the end of this, um, Trump's miss that's lost that selection a to the end of this part here where that track is still there. So there's no real dead air. This episode of based on a true Story was there we go. Now what I need the last bit of this is I need to connect these two together, and this is just repeating, um So I just find a place where, you know, kind of in the middle and just have basically this will fade it out and this will fade it in. And so because it's kind of talking, it's real quiet in the background. You won't ever really notice. So let's see if you can notice where it actually fades. And so, like I always do here on the show. Here are a few recommendations for places to start down that path. The first is a book edited by H. N. ESU called, Then goes letters that you notice it. I mean, you can see it right there. Ah, so you probably noticed it more than somebody who's just listening to the episode. Um all right, so that is, that is it. We're done editing this. Um, What I'll do. Oh, I'm sorry. We're not quite done. Let me save this real quick as version three. Um, the name is Where is 1 35? That's weird. Oh, I know why. In a way, it's because I'm in the wrong wrong place. Well, then I'm in the wrong wrong, Dr. So that's my backup drive. Year ago. Um, all right, so let's save. This is version three. Version three is the one that I've typically added the music bed, and it's pretty much ready to go. Um, the last thing I need to do is to apply my, um, effect toothy quote. So let me duplicate this and apply my, um, reading newspaper effect. And really, this is these air again. This is another effects chain that I've just created, um, playing around with things. And it's again a lot of isotope mastering essentials. Ah, just pretty much kind of a mixture of a lot of their, um, a lot of their presets tweaking them just a little bit. But, you know, it's it's a lot of mids, a lot of a lot of heavy mids, a lot of, um, supposed to sound very old timey, that kind of thing. So if if you listen to those, you'll hear Sandra me. May 26 18 nightmares which troubled him. So it's kind of got that on the phone kind of effect to it. And then what I do is I mixed that with the actual Ah, I think so. Those two are both playing at the same time, and then typically, I'll bring it down just a little bit. Is that letter Sandra Me? May 26 18 89 sir. An answer to your letter of the 23rd. So the effect that does is it still has my voice, obviously there, and so it's not difficult to understand. The key is that it still needs to be clear and understandable, but it's also got that effect to it so that it is, um, it's it's clearly not. It's clearly a quote is the key is that it's clearly, you know, not the script that I wrote. It's clearly, ah, quote from something. Um so that's that's kind of the thing there. Ah, all right. So we are done with this episode, Um, the only other thing we need to do. And as I mentioned before, I'm going Teoh dive into this. Next is figure out. Um, which the pronunciation is, and that is Ah, not really that big of a deal. Um but you know, now that I'm thinking about this, I say it's not that big of a deal, but let's go through step by step. So what I will do next is I will stop this video and I will take the time to figure out which one is the correct pronunciation. And then we'll come back and I will up pick this back up and go through that minor little edits and then export the final file. Um, that should be ready for Q A. So ah, well, go through that process in another video. Bye for now. 24. More podcast editing: welcome back. So in a previous video, we went through Ah, majority of the editing process. Um And then what I did was, um there was that one pronunciation of Theo's wife, Johanna or Johanna wasn't really sure how that's pronounced. And actually I went through and I got the last name wrong as well. So, um so those are the kind of things that sometimes I'll have to re record a little snippet and then pull that in. So I re recorded that just this one little sentence here so we can hear what that sounds like as we learned earlier. Theo got engaged in early 18 89. Then, in April of 18 89 Theo married Joanna Bangor. Most people just called her Joe. In May, Vincent checked himself into the hospital. So Joanna's name was the primary reason for recording that, and but I gave myself a little bit of buffer just to see how it fits. So what I need to do is to merge this into the file that we were editing previously, and, ah, get that finalized. So let's hit control C in order to copy that, um and then I need to come in and go to my projects. Open the other one. And this is really how mixed craft does this. You have to In order to copy from one project to another, you have to be in the same instance you can't have multiple versions of the window open. Um, so other software might be a little bit different. Um, that's just ah, how mixed craft does it. It's alright. Moving around the microphone there. All right, so this is the part that needs to be replaced. Let's come in. Let's add a new track. This is Thea Jill on a track. And, like I said before, in order to find where this is located in this main track here, um, let me just hit control V in order to paste this in first. Um, what I need to do is let's take these, move this up and let's move all of this over because this is where, um the where it begins, Right? So this is where this begins. And so that's basically what this is here. Remember, we exported all of that into a single file. So if I line all of this up, this should all line up and then I'll get the idea for where this is, which is right here. So with that done, what I should be able to do now is solo this? Yes, The doctor quote. As we learned earlier, Theo got engaged in early. Really? 18 80. That's the part right there. So this part here few months. Vincent dealt with some in May, as we learned earlier feel in May, Vincent. So I might be able to just get away with this part. Let's see how that sounds. If I were to take this, I didn't want to split all of those. Just this one. You saw it split all the tracks. I just wanted to split this one track. Um, let's things did get better, for it wasn't as we learned earlier. So this part here as we learned earlier, bunger in May Vincent 2 may. So this clip here is what I'm taking out. And this is the one that I'm putting in for much longer. As we learned earlier. Theo got engaged in early 18. Um, and so I'm coming across a bit of an issue here because the effect is applied here, but not on there. So, um, what I'm going to have to do is I'm gonna have to keep this on a separate track. Wasn't for much longer. Isn't for much longer as we learned earlier And then apply this effect to that track, which is my Ah, the voice boots Longer as we learned earlier. It's called her Joe. In May, Vincent checked into the hospital, was called her Joe in May. You know there's that breath right there at the end, but I think I like it. Just called her Joe in May because it ties this into this. Normally, I would take out the breath, but that ties that in and because those are completely different takes people just called her Joe in May with that breath there and the breath right after that, you would be really hard to tell. Just called her Joe in May. Vincent checked in. I think I'm gonna keep that breath in there. Sorry. So these I can get rid of. Let's save this as version for and I could have as many versions as I want now the benefit to doing it this way and the reason why I do this is because the next step in the process is to run this through a key way process. Um and, ah, talk more in depth about that process. You know that that process in different video But, um, the basic process there is I'm going to upload it to, ah to an RSS feed that then I can listen to in my car on my commutes, as I normally listen to podcast. Ah, I have some family and friends that can listen to it. And if they find any issues, what they're what they're going to do? That file is going to be called version four, right? And so Ah, they'll be like, Oh, I noticed in issue in version four at about 22 minutes and 20 seconds in, Um, then I know exactly which file it is. I know exactly where that is, and I can hone down exactly toe where that particular issue might be to fix that. So that's why that's a big reason why do the versions there? Um, and really, realistically, with this, we did not run this through the cleaning process. Lee 18 89. Then in April of 18 89 fear most people just called her Joe in May, Vincent checked into. As we learned earlier. Theo got engaged, then it for much longer, as we learned earlier. Theo. Then you know, it's it's OK. Um, I'm not really noticing that same sort of hissing. Um, but just for the sake of continuity, now is the time to do it. Um, let's export this as, um, the sea take two. Um, so I'm exporting just this here. And then we're going to run that through audition and the note noise cleanup like we did previously. So get rid of those tracks. Once this is done, we can take this. This is take two of that's and let's find. Come on, There we go. Right here. Might be a good noise print. A little bit of breath in there might make it kind of squirrely with the noise print. Let's let's try it and see. Ah, there's too much breath in there that then, when you're trying to run the noise print a lot of times, what will happen is that will start to add, then actually affect the rest of the, uh, the rest of the firearm or because it's take. It's trying to take out some of the voice as opposed to, um, actual. Just that Elektronik home or whatever that is in the background. Um, usually, it's not too bad, but that's that usually is not too bad to where it's gonna be a red flag in my mind. But that's usually where I start to. Ah, the flag starts to kind of race. That makes sense. So it's not you. It's not really that bad. And this may not sound too bad longer. Most people just call there, you can see it. It still has the breath in there. And it took out some of that back, called her Joe. So I'm okay with that. But, you know, those are the kind of things where it's just, you know, just be aware of it and just do a double check and just make sure that you're okay with ah , how that sounds. And and there's not any excess noises in there and things like that that you don't want, um, and that again good headphones is a good Ah, a really good help with that. All right, so now, with this, uh, saved, we can hop back over to mix craft and pull it in. So if I I should just be able to delete this file, actually, actually, you know what? I don't even need to do that. Let's do this. Let's pull in. Take two. And because we exported that, it should fit right in here. Now, um, because I'm creating essentially that. Ah, the exact same effect that we did for that track. So let's find this squish all this. We only need this one little bit commute. This track don't need that in there. And this should fit in here perfectly tripping that down. Here we go. So we shouldn't hear a difference here. It wasn't for much longer. As we learned earlier. Theo got engaged people. Just called her Joe in May, Vince. Okay, so there is there is that cut there? Her Joe in May, Vince. There we go. As the breath cut a little bit, You can see that it isn't quiet. Lined up. That's probably a little more lined up. Called her Joe in May. Vincent checked into there we go. All right, so we're good with that. We have our audio is edited. We have all of our, um, quotes. This is the one with the facts. I like to just so I differentiate between those. Ah, all right. So we should be good to go. Um, really, The last step of this, as I mentioned, is to, um, send this over to Key Way. But I'm not going to send the way File over to Q A. Ah, I'm actually going to send a, um, an MP three, and so I need to compress this down. Ah, this is Episode 1 35 Version four and I could export away file or Ansari MP three file directly out of mixed craft. But there is one step that I haven't quite mentioned yet and that is leveling. Ah, that is leveling everything so that, um it's all consistent and you'll see what I mean here in a second. So let's export this and then I'm going to take that way file and bring it into audition for one last step before we actually export the MP three file. Um, almost done were wrapping up this editing process. Once this is done here, we're going to pull it back into audition. So let's pull open audition. I could make this a little bit smaller so we can see this going on down here in the bottom left hand corner. So So, Yeah. So, um, just chat about as that as that is exporting. Um, the ah. The next step in that process is to level everything out. So basically, what that's going to do is it's a process called match loudness in, um, in audition and you can see so the target loudness is going to be negative. 16 lusts and ah, basically loves of trying to remember it's loudness, something frequency separation. Maybe I don't remember exactly what Thea what that term stands for, but basically it is what? How How loud is this? What's the average loudness for, um, this file? So if you were to say, Listen to ah rock song, right, that is probably going to be, ah, lot louder. And the left son that are going to be a lot louder than something like, you know, ah, a classical violin piece. Because those air typically quieter and it's not like one is right or one is wrong. It's just does. That's different loudness levels to get across different things. So in podcasting Ah, there's kind of there's no official industry standard, but kind of an industry. Ah, default. You might say that a lot of people gravitate towards is either negative 16 or negative 14. Negative 14 is actually a little bit louder. So if you look at the levels here, you can see So this is zero. This is the loudness. Ah, the loudest. Um there it is going to start to clip at zero. Ah, once you get above that and then it's really a negative scale. So typically, I've tried negative 14 in my ears. It's a little bit loud. Um, I also base it on what other factors there are. So if you're using a voice assistant like Siri or Google assistant or, um, Alexa, then it's going to that has its own loudness level. So if you're talking to it and then that's really quiet and then the podcast is really loud . The lefts are where you need to go in there. Um, I think Spotify recommends negative 14. Um, in my mind, that's a little bit loud. Just let me just slight. It's really slight. So I I level of all of my episodes out at negative 16 and in all my tests really in primary tests that I've done are, you know, in my car as I'm listening to both other podcasts. And you know, if you listen to one podcast in that one ends and then the next one is really loud or really quiet, those with loves being different. That's the loudness Ah, factor being different there. And, um so there's that. But then there's also, as I mentioned before, the system sounds so GPS is a big one. Like as I'm commuting, I'll pay attention to that. Like how loud is the GPS versus the podcast? Cause if you ask and I have Android auto in my car, and so if you ask, um, for directions, it'll it'll say, OK, I'm, you know, opening up Google Maps and I'm going to start directions or I'm opening up ways to start directions and that loudness if it's super super loud compared to the podcast. Ah, that could be really annoying, cause you'll turn up the volume for the podcast on the car system and then all of a sudden the GPS just blares at you that, you know, you need to make a right turn, right? So those types of things are things to keep in mind. Um, as your as your exporting what you choose. If you need a starting point, I would recommend negative 16 laughs. Ah, I set a tolerance of 0.5. Ah, so that it's it's pretty tight. And then a Max peak level of negative three. So it won't go above negative three and all Kind of cut it off there? Um, the negative three. I got that from my days When, um, I used to Ah, I used to do radio commercials. Um, I was not. I did not work for a radio station at all, but, um, I worked for a video production company, and we also did some radio spots, and the radio stations would always require, um, Max. True. Peak of negative three. Where's nothing was louder than negative three. So that's kind of where I got that from. Um, and I'm kind of stuck with that. Ah, to be there, so Ah, we'll see. What? That How that affects the way file. Once this is done exporting here. This is still going. Um, that's fine. He's got a lot, lot to crank through, You know, we have Ah, um looks like roughly 35 36 minute episode or so Looks like. So let it crank through that and I could pause the video. So you're welcome to skip ahead. Um, I I, uh, normally, you know, for a lot of the videos you probably noticed, You know, I'll pause the video if if I'm just sitting here doing something like this, but but, you know, it's a good chance toe chat about some of the strategy behind things that were going to be doing rather than actually actually doing them. He right, So So the That's the loudness. The next step that I'm going to do is I'm going to be exporting the file as an MP three file and well, I'll show you what that looks like once we actually get to that dialogue. You can't see that dialogue here on the on the screen right now, but, um hey, there. I'm gonna have to stop this video right here, because unfortunately, this is starting to run a little bit long. And so in order to upload this, I'm gonna have to split this into multiple videos. So let's stop here. And don't worry, we're not gonna miss anything. Will pick up in the next video right where we're leaving off. So I'll see you there 25. Finishing our editing: As I mentioned at the end of the last video, we split this one into multiple videos in order to be able, tow, upload and, well, let's let's just get right to it. Let's dive right back in where we left off in the last video. Basically, the way that I export them is I will export them at 96 k So if you think of, ah, a lot of music online is like a 128 um, 128 k is kind of their for a lot of streaming music online. Ah, seed equality is that 3 20? Um, you can get even higher than that. You start to get into, you know, super super high quality audio. Of course, the file size is much larger, so it's a trade off that you have to think about what is thief file size versus the quality , Um, and you don't want quality to be diminished, but you also wants listeners to to enjoy your podcast. And so, if you're shoving CD quality audio at 320 k down the your RSS feed for a 35 minute episode , that's probably going to be, you know, 150 megs or so. That's a good size file, and you think about cell phone plans. You know the data that's getting eaten up, Um, this space on their phone that's getting eaten up as their you know, if they download it instead of streaming it even streaming, it's kind of cashing it. So it's going to stay, start to eat up more of their space, at least temporarily. So those are all considerations just to be just to be considerate of your listeners and try to get it down to the lowest file size that you can. Ah, without sacrificing quality. Fortunately, especially for, you know, for most podcast mine included, it's just talking voice. I mean, there's a little bit of music in there, but really, it's just a talking voice, and so you don't need a lot of quality, for you don't need CD quality audio for a talking voice to still sound good, so I will go at 96. I have dropped as low as 64 before at mano a mano 64 um, and ah, that is a much smaller file size and a lot of times it will work, but you start to notice. Some things sometimes start to notice. Um uh, audio quality loss there sometimes. Um, so I kind of stick with 96. And that's just kind of the way I run it for for my show. And it ends up being a pretty, you know, Pretty pretty small file. Not not too large. Um, of course. Ah, huge part of that, too, is you know how long it is. Right? So 35 minute episode for this is not gonna be nearly as large as an hour long episode. Right? So those are other factors you can keep into keeping as well. Where? Maybe if you have a longer episode, um, maybe you can crank that down a little bit more, you know, compress that a little bit more. Um, for that. So this is looks like this is starting to wrap up here. It's nearing the end. At least. We hope you've enjoyed walking through this ah editing process for this. It's pretty straightforward. Not a lot of ah, difficult edits unnecessarily. Ah, key Part of that is making sure that you're recording set up is good, you know? So you know you have good quality going in, and then you have good quality audio coming out. Um, we go almost almost there. Almost finishing up. We can see the file is it's being built. This is it. Here. Um, So if I refresh, you can see it's a 188 so we refresh again. You can see it's starting to go up a little bit. So it's building that file. See? Refresh. I'll have to right click on your state of F F five on the keyboard. To refresh that. You can see the file being built this file up. Here we go. Almost there. It looks like it's gonna be a, you know, a couple 100 couple 100 megs for that file. But again, that's the way file, right? So that's the high quality. And, um, not not losing any inequality there on that. Almost there. You can see the Progress Bar. All right, so it's done nice. All right. So with that done, I will bring this into audition, pull it into match loudness. So here is what the file looks like beforehand you can see the peaks there. Um, and we have a nice nice range. What match loudness is going to do? It is going to compress all that down, and it's going to level all that out. So the quieter parts is going to bring up a little bit the lot of parts. It's going to bring down a little bit, and it's going to try toe level that out. So it's not nearly as, um for lack of a better term all over the place. Not that it's really all over the place, anyway. But you know, you have some quieter moments. If you're talking a little bit quieter versus talking a little bit louder, it can try to balance some of that out. It's not going to do it so much that you know it's going to sound exactly the same, because if you talk a little bit quieter, it's still going to sound like you're talking a little bit quieter. Um, and that's that's perfectly fine. But you can see what it's doing to the file here. Ah, it's compressing. Compressing that and then has the Max True peak at negative three. So you can see because of that setting there, Um, all right, so that is good. If we win with Armand Berlin. He was thing to do with Vincent's death. Possibly you could see all that's mixed together nicely. Um, and the next step is pretty much to save this out. So I'm going to save this as an MP three, as I mentioned before, 96 k bps kilobytes per second. And, um, we could change that if we wanted to. Like I said, I have done 64 before. Ah, 1 28 is kind of typical for a lot of, um, music. When you start to get into that. Ah, 1 92 is also common to 56 or 3/20 seed equality, as I mentioned before. Um, so you can really start to get into higher quality there, but it's going to be a much larger size. Ah, The other part of that is cut constant versus variable. And this is the bit rate, um, the type. So you always want constant. And the reason for that is because the way podcast APS stream episodes, it bases it on the file size so the variable bit rate is going to go through, and it's going to adjust the file size. So like for some of these parts, like this sliver right here. It's a lot quieter right here. It's gonna compress that down a lot more, right? Because it does. There's not as much audio there, so it's going to compress it a lot more, which means the file size is going to be smaller. But the other side of that is, then it's the file. Size is a lot smaller, and so when the podcast app is streaming that, it's like, Oh, well, this must be how the rest of the episode is. It doesn't know that it's going to get louder and a little bit it on. Lee knows what it conceals right then as its streaming. And so it thinks. Oh, if this is what the rest of the episode is, and I know that the overall file sizes say 20 megs, then at 20 megs this file must be two hours long, and then it gets to this part, and it's like, Oh, there's a lot more data here. So if the rest of the file is like this and it's 20 megs is the file size, then this must be 10 minutes long, and so that's why in a podcast app. If you listen to something in variable bit, rate is going to bounce back and forth on times, and it's really not going to know what, um, what the time code is and how long that actually is and that really starts to play havoc when you're doing things like book marking a lot of podcast absolutely bookmark because it uses that time code to determine where that is. And so, ah, long story short. That's the kind of the technical side, long story, short stick with constant bit rate. I will stick in 96 we'll see how big that is. You can see that's 24 megs is what's going to estimate. If I were to do this at 320 you can see it's going to be 80. Mix right, and there's really not going to be that much of a difference. Ah, in the quality behind just It's just talking voice. And there's not gonna be a big, noticeable difference for 99.9% of people who are listening to podcast while they're driving or while they're working out or while they're doing something else. There's kind of going to be some background noise anyway, in a lot of cases, even if there's not, um, there's not gonna be a big difference that you're going to hear between those four talking voice. So I'm gonna hit, Okay, I'm gonna That's going to save that off. It's just this is just saying it's saving to, ah, compressed or lossy formats. So it is going to lose quality when I save it from away file to an MP three file. We've talked about that before, and that's why we're only doing this at the very end. Um, and that's that's gonna be it. So this file is going to be exported here in this folder right here and okay, it's saying it's not available. For whatever reason, let me make sure this path is good here and switch to MP three. Here we go. All right. So with that ah saved off. The next step is to send that file to my cue a side. And, um, that's pretty much it. So we have our MP three file. This is the MP three file. Right here. Refresh. You can see it's about 25 megs, roughly, and ah, that hopefully will be the final file that gets uploaded, published and scheduled. We'll talk about that in different video. Ah, The next step for this particular file is to run it through Qiwei, where I will actually go back and listen to the entire thing. Make sure that everything is good to go. There's nothing missing. Um, I didn't mess up in any of the air. The audio edits, you know, accidentally leave two versions of something in, um, make sure that everything sounds good as a collective whole as an episode. And ah, and go from there. But that is where I will lead you for this particular video will cover those steps in other videos. I hope you've enjoyed this editing process both the overall as well as kind of this final little wrap up of that editing. And I'll see you in another video. Bye for now. 26. Creating our episode graphics: in this video, we're gonna walk through the process of creating the graphics for our episode. All right, so let's start here. I'm going to open up my Windows Explorer. And basically what I do for each episode is I work off of a template. So I'm gonna take that template from an older episode. Let's say this Troy episode here and really this graphics folder here is what I want to copy. So I'm just gonna take this entire folder. Let's right, Click copy it. And I'm just gonna copy it into the folder for the episode that we're working on. So that's loving Vincent here, So I'm gonna pace that in and give this a moment to copy the files. Over here we go. All right. So as that Copies, What I want to do is actually want to rename this because you can see the PSD. That's the Photoshopped document That's 1 33 dash hero is because it's from Episode 1 33 So this is Episode 1 35 I'm going to rename this to be 1 35 That way it's a new file and ah, it's properly named I mean copying. It makes a new file, but ah, that way it's properly named once this is done here, you had a few more seconds. All right, so that's copied. Here we go. So this is 1 35 and then this is the actual ah, file. This is the actual file that's gonna get uploaded. So I'm just gonna copy this Control C control V Paste that That way, it's the same same name. And if I double click on this, we can see what this template kind of looks like. Ah, so this is obviously for episode 1 33 This is for the movie, Troy. Ah, this is actually Ah, the walls of Troy. A photo that I found there, That's ah, is Creative Commons so able to be used, And then I put it into this template. So let's walk through that process. I don't need these images here. I can delete those. First thing I need to do is to actually download an image to go into this frame right here , cause I pretty much used the same template for each episode. I used to go through a process and create entirely new graphics for every episode. Um, that could get really time consuming. It's a lot of fun, but I think it's time consuming. So now I work off pretty much this template here that I've created. Um, and if you want to see how this how this template was actually created, I can do that in a different course. That could be an entire course by itself. Ah, feel free to reach out and let me know if that's something you'd like to see. Um, but going through photo shop and all that is not really something that I'm focused on here on this in this particular course. All right, so speaking of photo shop, we want to have that open. So we have Photoshopped open and I'm gonna pull open a browser and let's find an image of ah, Vincent Van Gough. Now I have one in mind that I think might work, and it's actually one of his ah, one of his self portrait. And there we go. It's actually that one right there. This is this self portrait that I was thinking of. Ah, very famous self portrait of Vincent van Gogh. So let's take this. And this should be public domain. Let's verify just to make sure that we have rights to use this. Yes. This is public domain. Verify this. Ah, other diet things. You know, you said work is public domain. Author's life plus 100 years. Okay. All right. So that is Ah, public domain. We can use this. Let's download the full resolution image here. Here we go. Oh, that's huge. Okay, perfect. Full resolution. So let's copy this. I don't even really need downloaded. Thanks to the wonders of technology these days, let's take this PSD file double click that to open it up in photo shop. Once we have this open, I'll take a little bit just to explain how it's laid out. Um, again, this is not really the focus of this course is not really around Photoshopped. But if you're new to photo shop, by all means, feel free to let me know. And I can create more content around this, but, um, basically over here in the in the layers, this is how I have things organized. So this is the background. That's the ah, the wood here. So if I ever wanted to change this out, I could just change this. Ah, would And I've done that before. Um, I can change the color if I want to. Kind of change the style of it. Okay, so it's colorizing it. Um I have ah, hue saturation. You know, it's a little bit of a blue tent to that very, very slight. You can see that on there every little bit there. And then we have our This is the key to this, right? So this is the top part. It's actually the bottom. I kind of have it ripped. So this is actually the top of it. And then this is the bottom of it that you can see here. So and then we have our hero image, and that's basically the set up. This is a little bit because that particular image needed that extra attribution there. I don't really need that for this particular one. And then we have some adjustment layers up top just to add some style. I zing to it. Okay, so that's a very quick in a nutshell overview of how this file is organized again. If you have questions about photo shop, that's something that I do for a living. So by all means, feel free to let me know and I can go into more depth there. So I'm gonna open one of these up. Now, these here are actually exact copies of each other. So in photo shop, if you see this little icon on the layer, that's a smart object. And what I've done here is I've actually instance to these. So it's the same. It's basically a copy. So this down here, even though I have these in two different groups, right, this is actually the same Ah, the same design being instant. So once I update one of them, it'll update both of them. So let's take a look at what I mean by that. I'm gonna take this and this is the core design here. This boats layer and all I need to do is come in here and I'm gonna update the episode number. So this is 1 33 Switch to my text tool. And let's change this to 1 35 There we go and I need to update the title of the movie. So this is loving Vincent's. That's gonna be a little bit too long. So let's put that on second second line there, and you'll notice. I just switched to the marquee tool. That's a selectable. That's really just a habit that I have for using photo shopped for gosh going on Probably 20 years or so. No, Um, I got in the habit of switching to the marquee tool whenever I'm not doing anything whenever I'm you know, because that way I'm not trying to make an edit is what I should say. So the marquee tool, what that's going to do is if I accidentally left, click and drag, it's just going to select something. It's not gonna accidentally move something. It's not gonna accidentally make some sort of edit that I don't want. So that's just a habit that I've gotten into. Ah, the shortcut for that. It's em. If you want to switch to that, if you want to. Kind of get in that habit is not a not a bad habit to get into. One of my teachers taught me that. That's a a great thing that I've learned. Um, all right, so we're ready for this pretty much. That's all we have to do on this. So I'm just gonna close out of this Yes, and save. So when this saves watch what happens on the original file. So that's going toe update Both the top and the bottom of that original file. See? So that's really all we have to do. Their Ah, the next thing we need to update is this hero, and that is Ah, this right here. So this particular frame is a stock that I bought. I believe on design cuts. If I want to say, you know, that a creative market both have great resource is for designers and picked those up at some points in the past. Um and so that is the frame here and is pretty easy to come in and change the color if you want to the color of the frame. If you wanted to do that so we could change that. However we wanted Teoh, um I usually like kind of keeping it pretty simple and something kind of neutral because we don't really want the frame to be the highlight or the focus of this. Um, all right, so let's bring our design in here somewhere. DoubleClick again. This is a smart object. You can see this is actually rotated. That's because this is landscape. Instead of portrait. So the painting of Ah Vincent is actually going to be portrait, though. So if I hit Control P to pace that in double Click distressed. So I know like to give it names and when a right click, convert this to a smart object. And then that way, when I hit control T, I'm going to free transform this that is up here. Ah, free transform and edit free transform to do that. So the reason why I changed that to a smart object is because the smart object will keep it at the size that it originally was was huge right now, as soon as I scaled that down. If I if I don't change that to a smart object than photo shop, is going to re sample those pixels and then if I wanted to skilled it back up again, it's going to essentially ruin the image. You know what? Let's just let's just let's just walk through this. I'll just show you what I mean by that. So I just pasted this in again. You can see the difference between these two, so this is painting with no smart object and let's see what this difference is here. If I hit control t to get to my free transform, right, and I'm going to scale this down. And let's scale this down to something pretty small here. Okay, so let's say something like this, right? So this is let's just say 10% of the original. Okay, So 10% width and height of the original would enter in order to finish that transform. And that is the new size of this layer. Now, for this one, if I hit control T and then just type in 10% So we have that height and width. There we go. Let's turn off the walls of Troy just to make this a little bit easier to see. Um all right, so we have these two different paintings here, And these air, actually. Ah, the same size. When I hide those so I can move this a little bit easier we go. Let's look this guy here, we should have, actually, this one should be. Where is that? Um, hips. I ended a little bit too far. Um, all right, so let's redo this. So redo. Right. So re do that. I'm not sure why this one was not showing up. They're so let's just re scale this down. It was probably off off the workspace somewhere. All right, so about the same 10% right? Okay, So here's Here's what I was trying to show. If I take this one here, that is not a smart object. And then I say, You know what? That's too small. I want this to be scaled up. Watch what happens. You can see this image here is going to be heavily pixilated, right? So we're really going to be able to see it. The difference here if I take this this one here and scale this up, right? So I pretty much did the same thing. But look at the difference. So this is the smart object, and then this is the one without the smart object. You can see how pixelated this one is compared to the one with the smart object. And the reason for that is because if I double click on the smart object and open this up, it still has that full size image. So it's not. It's still sampling that original image. It kept that original size. You can see this full size images is only 12%. So that's just a little tip there when you're working in photo shop, if you pull in an image especially if you're pulling in in you know it's a large size, you're probably gonna want to scale it down. I would always recommend, uh, turning that into a smart object. It will make your Photoshopped document your PSD file a little bit larger because it's storing that full size image inside of the file. Ah, but if at any point you want to scale it back up again, then you have that ability to do that. So, um so hopefully that's a nice little tip for you there. Ah, for this particular I don't want that. So I'm good with that. All right, so that is good there. So let's just close out of this. Save our design and that will pop that into the frame, although you can see the frame is sideways. So in order to rotate this a super simple to do, I'm just going to select the group and come into free transform again. Shortcut is control T, and over here you'll notice the cursor change so I can rotate they hold down shift That's going to rotate in. Ah, 45 degree, actually. Sorry. 15 degree increments. Ah, it's 15. You can see Appear right, so as it so it's at 45 then I hold shift. You can see it goes toe Ah, 30 45. 60. So it's 15 degree increments. If you let go of shift, you can see what it's doing. It's just rotating, Um, as as you rotate it. So I want to rotate this. Let's say, Ah, something like this. Go. Let's move it down. And there we go. All right, so we have our hero image created. Ah, pretty quick process. As you can see, I want to save it over top of this one. So I'm gonna select this, copy the path, and then let's come in. I'm gonna do I won't use the keyboard shortcut. I'll show you where it that So if we come into ah exports safer Web control, Ault Shift s says its legacy it's still is a really nice way of being able to export that file as a J peg. That's a little bit smaller. If you just come in here and do a save as it's not, it's gonna be a little bit bigger. Um, let's just show this. So this is save as I'm, uh There we go. So that file is saved. As you can see, we have the option that say, let's move it down to something like six. So even by doing that now, if I come into exports, save for web, we have this so rough equivalency of that would be we were at quality of six. The ref equivalency would be a 60 out of Well, maybe not quite because it went up to 12 but you get the idea. So this is actually a little bit higher, but save this as the hero replace. There we go, and we can see the difference so we can get out of photo shop and we can see the difference here in the file size. Ah, so you can see this one here. I saved it a little bit less, actually. So there we go. Ah, but this one again was a little bit higher quality, so you can see the different file size they're usually it's going to depend on the actual image, but usually that's gonna be higher, but this is not the final step. So that's that's 500 K files. Pretty big toe upload to your Web server. So we're gonna do go to tiny PNG dot com. And this is a great way to come in here compress this file. You can see it's uploading a 550 k file. I'm gonna compress that down. I always like to do this for any Web graphics that I'm doing just to compress the little bit of extra that you can. So ah, that got rid of 30%. So it's ah, under 400 K So download that file and let's hop over to our downloads. Here, take that control X to cut control C V to paste. There we go. So now we have this new file and this is the new hero that we're going to use. All right, so we walked through the process of creating our graphics file. Now, in our next video, we're gonna walk through the process of creating the blawg post that this file is going to go in. So I'll see you in the next video 27. Creating a blog post: in this video, we're gonna walk through the process of creating the block post that accompanies our episode. All right, so let's pull open our browser here. Now. I am using WordPress for my website. Ah, if you're using something else, of course, everything is going to look differently. Even if you're using word price, it might look a little bit different because every installation of WordPress is really powered by a lot of the plug ins that it has. So what? Plug in to have what themes you have, what customization is you have. All of that is going to go into what it looks like and how it operates. But hopefully by getting a peek at how I do things, maybe you'll learn some things. Ah, in the process for your podcast. All right, So let's hop into this. And of course, if you have any questions, by all means, let me know. I'm not really going to go too in depth into WordPress and all that again. Ah, Web development is something that I do in my day job. So if you have any questions, by all means, let me know. Um, but ah, let's get started So the first thing I need to do is to come in. Ah, these were all posts. So let's go to all posts. I need to create a new post for the new episode. Okay, so basically, what I'm going to do is I'm gonna take one of these that is already created. I'm going to clone this now by default. You're not going toe have that option to clone. Ah, that's because that is actually ah, plug in That I have. So if you look at my installed plug ins Ah, this is probably one of the first plug ins that I install As soon as I install a new version of WordPress and it is duplicate post great plug in by Enrico. And I've donated to him because he ah, he has done saved me a ton of time. Ah, having to copy pages or copy posts and things like that Amazing plug in super super simple , but ah, super timesaver. So Ah, let's just clone this post and that's going to get us started. That's going to make an exact copy of something that's already there. And then all we have to do is just, ah, just update it with our new information. So if we edit this again, this is the draft. So that way I know that that's the one that is the clone. So let's edit this. And here we go. All right, so you'll notice that. Ah, this does it Does not have Gutenberg. I have Gutenberg disabled. I use Ah, page builder by WP bakery. Um And so as part of that, the option is to disable Gutenberg. I could go in there if I want to, but that's not something I use on this website. I have many other websites that I've created for clients that do use Gutenberg. But I chose Justo. Leave it off for this. Um all right, so the first thing you do is to change the title. So this is 1 35 and then I'll just ah control A to select select All control. See, in order to copy. Ah, just copy that text. Edits the slug here. And then let's just do control V in order to paste this in now you cannot have Coghlan's in your rails. But WordPress is smart enough here when I hit, OK, it's going to add that as a dash. So that is the, ah, the slug for this. And I would highly recommend that you have your title be the same or be in your slug as well. That's going to help with S e O. Because Google, when it's looking for ways to bump up on s CEO, it's actually looking at the u R L as well. And so if the Ural matches the page title and the content on the page Ah, that's going to help your S e o. All right, so we need to come in. We need to create this copy here. So this is going to be just a brief little little bit of copy. So let's say, um well, come out artist in the movie loving Vincent's Go. So this is basically kind of the show description. Um, I'll use that for the podcasts as well. We don't have the episode actually uploaded yet. Um, but when we do have the episode uploaded, I use lipson. So when we have that uploaded will edit this, um, we don't have this. Ah, the resource is built out yet. I'll do that in a different video and show how I do that. Let's just come in here and and tweak some of these. Here we go. Same goes for this. We need all of this copy. That's fine. We'll do that here in a little bit in a different video on wheat. When we update that would remove this featured image. We need to add a new featured image that is the one that we created in a different video. So let's hop over to explore here. Ah, 1 35 hero. Upload that. And there we go. So that's uploaded. Go. That should insert that. So that's good. I'm gonna change the tags here. So this is, ah, biography. And this is, uh, also arts. Hey, we could probably call it a drama as well. Pretty much every single movie ends up being a drama. If you look at IMDB, biography, Arts and drama Now, um, really, which one you use here? You'll notice I'm using categories and tags the same way. It's really up to you and how you want to organize things. Um, it's just different ways of organizing things. I used them in the same that way. It's kind of universal, and no matter what Ah, it will. It will show up there. Um all right, so we have everything here pretty much ready to go. What we need to do now is we need to upload to Lipson in order to do this. And we need to create this here, and we need to copy all of this in here. So tell you what. Let's move on to our next video, and we'll take a look at how we can upload toe lips in and get the code for this player. So see you in the next video. 28. Scheduling our episode: In a previous video, we created the Blawg Post for our podcast episode. So in this video, we're going to upload the episode two lipson and get that embedded onto our website. All right, so here I am, logged in tow. Lipson, let's add a new episode. And of course, if you're not using lips in than the interface is going to look different Ah, there's a lot of great podcast hosts out there. I'm partial toe Lipson because obviously that is what I use. Um, so and I must say, you know, I'm I'm not gonna work for them. I don't have any affiliation with them. Ah, but I have had absolutely no issues with them whatsoever. Eso let's upload this and I really love the feature set that they have to. I'm gonna just keep talking about them, but, um all right, so we need to upload the file, add media file, upload the one downside toe. Lipson is their interface. I'm not a big fan of the user interface, but, you know, they're feature set is worth it. So I want to upload the MP three file. Now, at this point is worth pointing out that I haven't actually listened to this MP three files . So I'm going to listen to this through Q way, basically just listening to this, as it were with any other podcast. Listen to my podcast app as I'm driving down the road of my car, going for a walk, walking the dogs, whatever. Um, that way I can make sure that the editing is good. Everything is good to go, right? So if if there are any mistakes, one thing I like about Lipson is that it makes it super simple to swap out that file. I'll show you where you can do that once this is done. Uploading. Ah, but in the meantime, let's come in here and start adding some of these details. It will upload in the background. No, no problem. So the episode is loving Vincent. The description is something that we created in a in the previous video. That's this year, and you know, let's find actually, that's fine. A previously published in order to grab some of this so we can see the description here. So find the show nuts and supports. I was gonna copy. That's and some people do a lot more in depth Show notes. If you want to do that, by all means, go ahead. Ah, I personally never used show nuts for the podcast. I listen to, um and paste that in there. Um, I need to switch this so it's actually a link. There we go. All right. Um, all right, so that is good. We're good there. And I think Van is actually not capitalized. Um, fairly certain on that, I should know that I just did a ton of research on him fairly certain. Yes. Fan is not capitalized. All right, One of those things. You I very quickly forget things like that. Ah, all right. So that means we will need to up at that over there, too. But So here's here's like, if there was something wrong in key way that I needed to edit that file, I would make a version five file. I would just replace this file right here, and I would just like to upload a new file. Now, the key to this is, um, I'd want to do that, obviously, before it's actually scheduled before it actually publishes. You know, you want to be able to find any of that stuff. So that's kind of the key to, um, to the Q a side. All right, so have the details. Here. We're good here. Ah, let's. This is 1 35 We go. All of this. I can leave blank because it will pull in this default stuff. Let's schedule this said a new release dates and schedule it for its release dates, which is June 17th at five in the morning. I always release on Mondays at five o'clock in the morning. Um and that is Ah, just, uh, what's always been. So that's the new release states. Ah, it's ready to go. Everything should be good to go. And yeah, I think I think we're good here. So was scheduling with that's set Once I hit Publish, it's actually not going to publish it right away. It's not immediate. It's going to publish when this is set. So as soon as that's done, this is scheduled for release. Weaken. See that here and this i d. Number in the u. R. L is all I need. So I'm gonna cut that. We can get rid of this. Let's come in and edit this text block. And in the code. Okay, so this is the embed code. If you're afraid of code, don't worry. This is really super simple stuff. After this, I d slash This is the i d of the actual episode. So if I paste in that new I d watch what happens here as soon as I save my changes, you can see now I have the Loving Vincent episode embedded on the site. Great. All right, so let's actually you know what? Let's switch this real quick to a lower case V, as I mentioned ago. All right, so with this, we're gonna want to schedule this on the same day. So that was June 17th. I actually scheduled the block post about an hour after the ah, the episode goes live that way. The episode goes live, and then the block post goes live. It's just kind of Ah, almost like a domino effect there. Um, and there we go. So once I have scheduled this, that will be ready to go. Ah, with the exception of this bid right here. And of course, the transcript. Right. So we still need to update a transcript for the site. And the resource is so let's move on to our next video and tackle those 29. Understanding the QA process: in this video, we're gonna walk through the process that I use for Q way or quality assurance Toe. Listen to each episode of the podcast before it actually goes live. All right, so after we have the episode edited, we have the MPRI three file. I actually upload that file to a private WordPress installation. Now, by recording this course, it's not gonna be private anymore. Don't worry. I'm going to change it so it won't be available if you try to hit that. But, um, here is what it looks like. So this is just another installation of wordpress. It's super super simple. It's just a default installation of WordPress. The only thing that I use a four is using the podcasting. Ah, the podcasting plug in this seriously simple podcasting. Plug it. I also use stats just to be able to see, um if I noticed that a lot of people are starting to hit it, then somebody must have shared the ah, the feet. Now what I do here, let's come in. Let's add a new episode. And this episode that we've been working on is 1 35 version four. I need the pod cat file to upload. And if you want, um, while I'm doing this, let's find the actual episode here. Ah, this is the MP three. Let's upload that while that uploads, um, if you want a walk through and hottest set up something like this, you know how to install WordPress How to set up the podcasting plug in. Um, how to get this kind of set up? I'm more than happy to create a course around that again. That could be an entire course by itself getting into more in depth WordPress stuff. Ah, Web development is something that I do for my day job. So and something that ah, I'm pretty familiar with. And this is Ah, very, very simple. Set up. And even if you're not familiar with WordPress, you're not familiar with, ah Web development at all. Ah, you can do this. It's It's a super simple set up. Um, all right, so with this file selected, let's choose that and up, it's off the screen for me. Let's select. There we go. Sorry is cutting off on my monitor for some reason. All right, So we have that file uploaded. All we got to do now is publish. So there we go. Technically, now, technically, this is public, which means anybody in the world could access it. That's one reason why I use the stats. Ah, because I want to make sure that there's really, really those two listens this week. That was me. I have some family and friends that have access to this, and they'll listen from time to time. But I keep pretty close track on these stats to make sure that it doesn't get out. Um, because there's probably going to be a lot of mistakes that I make in there. I mean, hopefully not. But that's the whole purpose, for this is to be able to catch any of those. Ah, once this is up loaded, then all we need to do is to check it, and here's what it looks like. So this is the Web interface for pocket casts. This is the app that I use on my phone as well as on the computer. So this is subscribed to that feed. And here is that episode, which means as soon as I hop into my car, whether I'm going for a walk, whatever that might be, then I will have access to this in pocket casts and be able to listen to this alongside all of the other podcasts that I listen to just to make sure that everything is good. Ah, if there are any mistakes and of course, I'll jot those down, find the time code. I know the version number. It's version for um and then I'll make those edits upload Version five. Do another. Listen through. Make sure that everything's good to go. Ah, and then finally, there aren't any changes. And then the version that's uploaded toe lipson stays. If there are changes, I just need to replace that file. Um, unfortunately, you know, I've been doing this for years and years, so the number of mistakes that happen I tend to tend to tend to go down. So that's Ah, that's a basic look at the queue, a process here for the podcast. Of course, this is just how I do it. How you do it is completely up to you. But I would recommend listening to your episodes before you actually released them, because that will help you not only improve your own process, but be able to catch any mistakes before they go life. And that way you can fix that. You can put your best foot forward and make sure that when it publishes its actually ah, 100% correct. The last thing I want to point out on that is a big reason why that's important. Other than just putting your best foot forward is some platforms, at least as of this recording. Ah, for example, Google play not Google podcast, but Google play as well as, ah, Spotify are a couple that come to mind that actually take your file. Whatever file you publish, they take that file and then they cash that on their servers. So if you were to replace the file say there's a mistake, it goes live and then you realize, Oh, man, I mean a mistake, and you have to go back and you replace that file it the one with the mistake is still going to be on Spotify. Right? So, um, now there are ways to get around that you can contact support and you can you can. There are ways to get around that, but by default, it's still gonna be on their, um and people aren't going to be able to find ah, the episode that does not have the mistakes. Eso really long story short. It behooves you to find those mistakes before they go life. And a good way to do that is by setting up something like this. 30. Finishing our blog post: in a previous video. We actually built out this block post here, so let's go ahead and finish this out because there's a couple things that we need to do. Ah, the first thing we need to do is to update these resource is so basically, these resource is are all of the links that I capture in ever notes. That's what I use for research and writing, basically all of those links. That's not necessarily everything. Because, for example, newspapers dot com is a great subscription service that I subscribed to in order to find a lot of things. But because it's behind a paywall can't really linked to those individual things. So these air really just the public links that I have, Um, but it's it's enough that if somebody wants to learn more about the topic that we're talking about, so in this case ah, Vincent Van Goch, then we can actually ah, give them a place to start. And that's really one of the key things I like to do with. The podcast is, um highlight Some of those authors and historians that spend decades, ah, years and years and decades and, you know, researching a lot of these topics that there's just no way I could do on a, you know, on a single podcast episode. All right, so here's how I go through this process. Um, and let's start by opening up Evernote here. So here, basically, I have a tag with for each individual episode. Right. So this tag is for this episode. So all of these are the different things that I found that I have read that I've done research on ah, throughout the writing and research of this episode. So what we want to do here is I want to get all of the you are rails. So, for example, this right here you can see this actual you, Earl, right. I want to be able to copy this. Um, but it's it's really a pain to have to coin and copy each one of those individually. So if there's a way to speed that up, that's usually what I try to find. And fortunately, ah, we can do that inside of Evernote. So here's how you do that. Um, we want to change all of these columns to be on lee the items that we want. So I'm gonna come in. Let's get rid of updated. Let's get rid of location. I don't care about that right now. Let's get rid of tags. We can always add these back. And if we want to get rid of sink spirit of size and let's add in source URL Okay, so that source your l is where it was when I clipped that. So I'm using ever notes Web clipper, and it's gonna keep that you are well, and that is what I want. So all we need to do now control a in order to select all of them, control, See, in order to copy. And now, if I come over into a new Excel, watch what happens. I'm just gonna hit control V in order to paste this and it's going to paste it with the columns that we kept said these columns, right, So we have each of those. So already we're winning, right? It's pretty cool. Um, all right, so here's I don't really need created I guess I don't I could have gotten rid of that. Um, So the next next step to this is to convert this into HTML. Now, if you're not familiar with html. Don't worry. I'll explain as we go for this. Ah, basically, I need to convert it to ah, these links here. So what I'm gonna do is I'm going to select all of these all the way down to the bottom. Let's find the bottom here. There we go. Select this control, See? And I'm gonna open up a new um, I use visual studio code. RVs code. Ah, just gonna paste this in here. So this is pretty much just a text editor. Um, this is actually a code editor that I I like to use. Ah, you could use no pad, I suppose, or text at it or whatever you want. But here's what I'm doing in here. So this right here, this is not just a space. This is actually Ah, this is actually, um, a tab. Right? So because it came from different cells. But move this over here so we can see because it came from different cells. That's actually a tab. So what I need to do is I need to add in the code in the beginning, right here and then at the end. Okay, so this will make a little bit more sense once I start to come in here. But I'm gonna bounce back and forth between these Let's add in a new cell here. So let's clear our selection inserts a new column and in here, I'm going to add in. This is the code here. So this is a list. That's a list item L I for list item and then a to anchor. Ah, reference H reference equals whatever that is there and actually need this to be over here . So let's take this title and move it over here. There we go. So you noticed This starts with http. This ends with http. Right. And I just need to take this and paste it into all of those. I don't need the top one, but now it's on each of these, right? And then I need to end this. So this is just the your l. I need to end this, which is going to be quote and then end bracket. And again, this will, I'll explain. This doesn't make a little bit more sense. Ah, once I copy this into the text editor here, so that's going to end that. And then the title is going to be the actual text. That's the actual text right here that you see. And then I need to end the anchor. So end the link. That's ending the link and then end the list item. Okay? And then again, I'm gonna take this. I'm going to paste all of its don't need the top one. And there we go. All right, so we have all of these now, there's some extra ones there. That's fine. We can clear some of that out, so I just need down to here, Control. See? All right. So here's what we have. Right. Um, what I need to do now is I don't need this top one here. I'm just kind of trimming some of this. I need to take these and actually, let's do this. Let's search for this hit control H in order to find a replace. So anything Http with the, uh, tab and then http, so I'm gonna replace it with that, and that's going to squish those down. The reason why I have those separate is that way. I'm not going to catch it anywhere else. I make sure that it's only happening in that one location right, Um, so if I replace all of these, you can see that's going to squish that down. Ah, looks like this one here. Oh, this is, Ah, pronunciation guide. So that if we look in every note, this doesn't actually have a source. You are? Well, that's just a note that I created. So that's why there's nothing there. That's fine. There's no source. U R L Then there's nothing dealing too. So there we go. Um, and for whatever reason Oh, I didn't copy this. Of course I didn't copy that. So this year, I didn't copy all the way down. See, um, that's okay. So we can we can learn from that. So let's take this and let's select this and do something similar. Where this here, just those tabs. You can see where that's highlighting. I want that to end this. So let's do that. There we go. And then this here. I don't I don't actually want that top link. That's the actual script. And I think the rest of these should be pretty well, good to go. There's some extra spaces in here. Let's get rid of those. I don't need any of those just empty some of those there. Get rid of that. And I think I think that's pretty well done. Double check the end of these guys here because they're too long ago. Ah, Shortcut in visual studio code. If you used that, all too easy is going to Ah, change the word wrap. Top of the word wrap. Right here. Um, that way you can see it all without having toe scroll over and things like that. All right, so I think I think that's good. Let's copy this control. All control. Eighth. Sorry, Control. See, in order to copy that hot back over here, let's come into our editor in WordPress. Come over to text. That's gonna give us all this coat. So these are all the list items, right? So this is again something that, um if you're familiar with HTML, You know what that is? Just these are essentially a bullet list, right? That's essentially what that is. Um, and we should have all that to copied in there. So if I save this there we go and we're done. We have that. All right. So the next thing we need to do is to copy the actual script. So when edit this, let's hop back into Evernote. Ah, version two is This one is the most recent version. One version two pretty self explanatory. All I need here is the actual script. I don't need the intro and outro. I don't copy any of that. Just this, right. So, control. See? Ah, control A delete paste that in And there we go. So we have our transcript done, and I need to update this the 2000. When did loving Vincent come out? I think it was 2017. Yes, 2017? Yep. Ah, 2017. This is Thea. So if you search for it Ah, use you, Yoast. Seo. So if you search for this sort of look like in Google loving Vincent. And again, this is kind of hoops, the leader the wrong thing. There. There we go. Close that snippet. All right, We are good to go on this post. All right, So this is scheduled. Everything is scheduled. And with that, we wrap up this process. The only thing that would be left to do. Ah, once I update this, it's scheduled for the date we scheduled the episode in Lips in everything is ready to go. The Onley thing that's left to do, um is one I do have a patri on, so I will upload it. There were not going to cover that in this particular course, But if you want to know how I do that, by all means, let me know. Pretty straightforward for patri on. Um And then the only other thing would be if there is a mistake. And I already mentioned that a couple times over the past few videos where if there is a mistake than all I need to do is to replace that file in Lipson. And I don't need to make any changes here. This I d stays exactly the same. It's automatically going to, ah, Poland. That new file, thanks to Lipson replacing that, um all right. And with that, we are wrapping up this section here where we're talking about going through the process of actually creating, recording and editing and scheduling and creating the graphics and pretty much every single step that I do for each episode of the podcast. And again, as I've mentioned before, just because this is the way I do it doesn't mean it has to be how you do it. Ah, In fact, I would venture to guess that it will not be how you do it, because we do not have the exact same show and we do not have the exact same website and we do not have the exact same set up and all that kind of stuff. But hopefully you've been able to pick up some tips and tricks throughout the past few videos and be able to learn something that you can then ah, use in your own podcast to make things better. 31. Course conclusion and where to go from here: thanks so much for sticking with me for the past few hours. In the end, even though we used my podcast as an example for each step of the process, I hope you're coming away with some tips and tricks that you can start to incorporate in your own podcast. Now there's so many more questions that you will have as you embark on this process of creating a podcast. And in my opinion, that's just part of the fun. Learning new things and overcoming new challenges as they come. Don't stop here. Keep learning podcasting. It's about the journey, not the destination. And what's better to continue learning than a podcast about podcasting? There's a ton of great ones out there, but here's a couple great suggestions for where you can keep learning. School of Podcasting by Dave Jackson and Better Podcasting are a couple great podcasts that you can add to your list and before you long, you'll find even mawr tips and tricks that you can start to incorporate into your podcasting journey. Now it's your turn. I've shared my podcast with you, and I hope you'll share your podcast with me. Like most podcasters out there, I am also an avid listener of shows, and I'm always looking for new podcast to listen to. So don't be afraid to reach out and share your podcast with me. Thanks so much for watching.