Film Yourself 101: How to Create a Talking Head Video

1. Class Introduction: One of the most valuable skills that you can learn as a video creator is how to talk in front of the camera. Whether you're just starting out or you have experience, this class will have insights on how to efficiently and effectively film yourself for a talking head video like this one. Hi. My name is Scott Lu and I'm a video creator on YouTube. I've created over 100 videos at this point and I'm here to share my knowledge on how I personally record Talking Head Videos. In this class, you'll go through three essential components of filming yourself. Number 1, camera and composition. We'll start with how to dial in the best settings for your camera and how to achieve a good composition. We'll also talk about the best lenses for Talking Head Videos and teleprompters. Also note that throughout each lesson, I'll be covering all the equipment I use and recommend. Number 2, audio. I'll cover how to properly set up a boom microphone, optimize the levels and use proper microphone technique. I'll also discuss the importance of using backups and other microphone options for Talking Head Videos. Number 3, lighting. We'll take a look at the three-point lighting system and how to ensure your image looks clean and pleasing. I'll also include a checklist of everything you need to do right before the recording. Aside from those three main components, we'll also cover some mental challenges that come about when you're trying to record yourself. In addition to all of that, I'll give you tips on the two different styles of Talking Head Videos, scripted and freestyle. Finally, I'll go over how I edit a talking head video from start to finish. It'll be one of my more in-depth editing tutorials I've done so far. The class project will be to create your own talking head video. There will be a lesson assignment for each of the lessons, so be sure to follow along if you want to make the best out of this class. There's also a worksheet available for download that outlines the class and class project. So be sure to download that. Talking Head Videos are a staple of YouTube and one of the most common video types out there. By the end of this class, you'll have all the knowledge you need to confidently make your own. Let's get started. 2. Getting Over Camera Shyness: One of the biggest hurdles when recording yourself is camera shyness. Whether that takes the form of not wanting to talk in front of the camera or just not wanting to watch the footage of yourself during the editing. It's something that all video creators that show their face needs to get over. In this lesson, I'm going to give my personal best tips on how to get over camera shyness. It's a different process for everyone, but hopefully some of these tips can resonate with you. First off, understand that camera shyness is natural. We as human beings are very keen and careful about our own self-image. We don't want others to see us in a bad light because it makes it seem like we don't fit in and that we won't be accepted by others. Our natural instinct is to want the tribe to like us, so that we can thrive in life. Recording yourself on camera when you feel like you don't know what you're doing is like purposely exposing yourself in a bad light, because you don't have the confidence that what you're creating will turn out polished and presentable. That's one of the reasons that bad feeling comes about. You're essentially fighting against your nature. But luckily as human beings, we are very adaptable. The more that you do it, the more that it'll feel normal to you. Not only that, but you'll get a lot of practice from doing it often, and with practice comes confidence. This class intends on accelerating the practice and confidence aspects of recording yourself. By going through this class, you'll understand all the technicalities of recording yourself and what it takes to make it look good. However, even if you have all the skills in the world, the final hurdle is to learn to be comfortable with yourself. I think that for me personally, I had to break through a lot of resistance before I ended up feeling comfortable in front of a camera. I personally am prone to acne, my hair is always a mess and I do feel insecure sometimes about the way I look. But somehow over time by continuously putting myself on camera and releasing it to the public, I started to just let go of those insecurities and I became comfortable with myself. Just keep trying your best in an uncomfortable situation and eventually you'll strengthen your will and mental fortitude. Basically the moral of the story is keep practicing the muscle and you'll get over camera shyness completely. Let's finally get into the technicalities of recording yourself now so that you can at least have the confidence in the process, which should help a lot. Also by following along with the class project and actually producing a video where you're recording yourself, you'll be practicing that mental muscle. So I highly encourage you to take action on the class project. It's a step forward in the right direction to conquering your camera shyness. 3. Video & Composition: In this lesson, we're going to cover the first essential component, which is the camera and composition. Throughout these processes, throughout the components, I'll be mainly talking about my personal setup. But, of course, a lot of these concepts can be applied to any camera or any microphone, for instance, so just keep that in mind as we go along. My camera, the one that you are currently seeing me through is the Sony A7 IV. Personally, this is my favorite camera. It has 10-bit color 4k and right now I'm recording in 24 FPS as well as S-Log 3. If you don't understand what a lot of those things mean, don't worry about it. For now, just know that this is the camera that I use. Personally, I've owned other cameras. My camera right there that's recording, the camera B is the Sony A7C. That camera is only 8-bit color, but it's still really good, and I'm just recording it in its natural mode. I've also owned the Sony A7 III, as well as the Sony A 6600 or Sony Alpha 6600. These cameras, in my opinion, are some of the best mirror-less cameras that you can get and are the ones that I recommend. Of course they are at a higher price point, so I do recommend other mirror-less cameras like the Canon M50. We can talk about cameras all day but what really matters for a talking head video when it comes to cameras is number 1, try to get a camera with a flip-off screen. That way you can actually see yourself while you're recording so that you can adjust the composition without needing to go back and forth. Honestly, that's probably one of the more important things for talking head videos that's just specific to the camera. Out of the cameras that are recommended, the Sony A7 III doesn't have that, so you might want to go with the A6600 or the other ones. The other three cameras also have no limit on how long you can record for. For instance, the Sony A7 III has a recording limit of 30 minutes, and I believe the canon mirror-less camera also has that limit. Those are just two specs to look out for when buying your camera. Next, let's talk about lenses. Lenses actually play a more important role in recording yourself than you might think. As an example, right now I'm using a 35-millimeter lens to record myself this way, and an 85-millimeter lens to record myself using Camera B. The reason why the focal length matters, Number 1, if you want to use something, for instance, like a teleprompter, you want to be close to the teleprompter so that you can actually read it. That's why 35-millimeter works pretty well. If you actually go less than 35-millimeter and it's too wide, depending on what teleprompter you're using, you might actually see the inside of the teleprompter, so that's not what you want either. For this point, people might argue with it, but the 35-millimeter to 50-millimeter range is more representative of how we naturally see with our eyes. For instance, if you were to look through a 16-millimeter lens, it looks way too wide and that's not how our vision works. Then something like the 85-millimeter, it looks more flattering on the face. It thins it out a bit. It's almost like a nice filter versus more realistic. Then anything above that 80-millimeter mark, we're starting to get into telephoto lenses, which also look pretty flattering on the face but personally, 85-millimeter for me is my favorite, and that's why I use it more than other focal lengths. Try to keep that in mind when you're buying your lenses. Another spec that you want to pay attention to when buying your lens is the aperture or F-stop number. Right now the lens that's in front of me has an F-stop number of 1.8. The lower the f-stop number, the more separation you have with the subject and focus compared to the background, which is going to be more blurred out. That's why personally for me, I like having a lower F-stop number for my main camera. Another thing to pay attention to when you're buying your camera and your lens is whether you're buying a full-frame camera or not. If you buy a full-frame camera, then the lens that you buy has to also be for a full-frame camera. Just make sure that you pay attention to those details when buying these things. Otherwise, you might end up buying an APS-C lens for a camera that's full-frame. Also to note, the Sony A6600 is an APS-C camera, which means that it's going to have a crop factor with whatever lens that it's using. This means that if I were to put my 35-millimeter lens on the APS-C camera, it would end up being somewhere around 52-millimeters instead. Be sure to pay attention to those specs when you buy your camera and lens. Let's move on to composition. Composition is actually rather simple for a talking head video. For the main camera, you just want to be as centered as possible. Don't worry if it's not completely centered because we can fix this in editing, but you want to try to be as centered as possible in the beginning. There's also something called the rule of 3rds. Most cameras have a setting where you can make the grid lines for the rule of 3rds pop up. I recommend turning that on. I always have it on for my cameras. Basically, one of the rules is try to have your eyes around the level of the upper third. Next, you want the height of your camera to stand around the range of from your chin to about your forehead. This high range ensures that you're level with the camera and that the camera is not coming from an angle below you or above you, that looks unflattering, and that's basically it for the front camera. In terms of Camera B, the composition that I use the most of is either putting myself again in the middle and sticking to similar rules or putting myself on one of the 3rds in the columns, and that's basically it for composition. If you are recording with a second camera, I also recommend that you try to make the angle between the two cameras at least 30 degrees. That's a rule that most filmmakers agree on. However, if you can't achieve that, I do find that angles around 20 degrees still work pretty well. Basically, it's a guideline, not a set rule. From there let's go into the camera settings. Firstly, like I mentioned, I set my camera to 24 FPS. Most cameras have the option of 24 FPS, 30 FPS or 60 FPS. Sixty FPS is mainly for capturing action or if you're trying to go for some slow-mo shots, so if we're talking head videos, let's avoid that one, it's between 24 and 30 FPS. There's a pretty big debate between these two but overall, the rule of thumb for me personally is to just go with whichever is easier to use. For instance, the Sony A7C over there has a crop factor whenever it's set to 4k 30 FPS. That's why I personally set my frame rate to 24 FPS. It makes it easier for there not to be a crop factor, so I don't have to worry about my 85-millimeter lens turning into a 120-millimeter lens. But if you don't have to worry about anything like you're not worried about file size, you're not worried about crop factor or anything of that sort, and you're just trying to figure out which frame rate is better for you or better for a talking head video in general, I would go with 30 FPS most of the time. It looks more natural versus 24 FPS, which is more cinematic and a film like. From there I set my camera to the highest setting, which is 4k, and then I record. Basically with this camera, I use S-Log 3 primarily because it has 10-bit color and I can color grade it the way that I want to. However, that is beyond the scope of this class, so don't worry about picture profiles and just record with whatever you're comfortable with. The assignment for this lesson is to dial in the best settings for your camera. For me, that is 4K 24 FPS S-Log 3. For my camera, there's a setting where I can save this preset to one of the numbers on the dial. I'll set that to number 1. Whenever I shift it to number 1, it's going to be 4K 24 FPS S-Log 3 with the ISO of 800 and the aperture wide-open, meaning the lowest number I can go, which is 1.8. For shutter speed, the rule of thumb is to just make it double whatever your frame rate is. For me, that's 1 over 50 because 24 FPS times 2 is 48. For this camera, 1 over 50 is the closest. After that, set up your camera so that you have good composition overall and then we'll move on to talking about audio. 4. Audio: In this lesson, we're going to cover audio equipment. This is the second essential component, and audio is like half the video, and that's why I put it before lighting. Personally, for me, a video without good audio and a bad image is much more bearable compared to a video that looks really, really nice and has bad audio. Let's go ahead and cover how to achieve good audio. Firstly, the easiest thing you can do for a talking head video is to just use a camera mounted microphone. For me, personally, right now I'm using the Rode VideoMic Pro and it's just sitting on top of the camera on the hot shoe mount. All you got to do is mount it, connect it, turn it on, and it's good to go. If you want to optimize the levels, then what you can do is set the camera's recording level to its lowest possible because the preamble of the camera is a lot weaker and more noisy compared to the preamble of the camera mounted microphone. The Sony camera, you can turn it all the way down to one in terms of audio recording level, and then for the Rode VideoMic Pro you can dial up to plus 20. However, for me personally, I found that the difference is negligible, so I just have it set to audio record level about 10 or 12 depending on whether I'm outside or indoors. Then I have the Rode VideoMic Pro just set to its normal level, and then I adjust it and post. I do have classes on how to optimize audio as well as which microphone is best for you if you want to check out those two different classes. But for this class, we're mainly going to be talking about the boom microphone. Right now I have a boom microphone right here above me, pointed right towards my chest area. The technique for boom microphones is to point towards your chest area versus your mouth. This is because, if you go backwards, it's still capturing the audio okay, and then if you go forward, it's still capturing the audio okay compared to if you were to have this thing pointed at your mouth. If you were to move forward, even by a little bit, it would capture it a lot less clearly compared to having it pointed at your chest. You also want to have it pointed downwards. Having it pointed downwards means that the floor is going to absorb the noise, and if you have carpeted floor, that's even better because we're trying to avoid reverb, which is basically sound bouncing off walls, bouncing off solid surfaces, and making your voice sound really echoey and washed out. Those are two very important tips when using a boom mic. However, what equipment should you use? For me personally, I like using the Zoom F6, which is an audio recording device that's considered a field recorder, but can also be used as an audio interface. This is my favorite for one reason. It's a 32-bit float and the second reason is that it has six input channels, meaning it can record six different microphones at once. Let's start with 32-bit float. What this means is that when you're recording in 32-bit float, there's no such thing as clipping. Meaning, if I were to talk really, really loud into this microphone and create loud noises, it's not going to clip. For a 24-bit recording, which is the normal recording that most audio recording devices have, that will clip if the noise is too loud. It also means that if I recorded with an audio level that's too soft, I can still bring it up but the noise levels will also not be overly loud. If you were to do the same thing with the 24-bits recorder, a lot of noise will be brought up if you increase the gain of the whole clip and post. Basically what this means is that the Zoom F6 gives more room for error. If you make mistakes with the audio levels or you just get overly loud and excited, you don't have to worry about it, and that's why I love this 32-bit float device. For me personally, I use a mic stand to boom my microphone. I do have an actual boom arm plus a stand that can hold it. However, I do find that this is the most convenient. What I personally do is I mount the Zoom F6 to a quick release plate and then I mount it to a clamp that clamps onto the mic stand itself. From there, I attach the XLR wire, wrap it along the mic stand, and then connect it to the microphone. The current microphone that I'm using is the Sennheiser MKH 50. This is a very pricey microphone that is great for indoor booming, but there's a lot of other options out there. For instance, the Rode MDG5 is a popular and much cheaper microphone that you can use as a boom microphone. There's not too much else other than that for how to set up your boom microphone. As long as you have it on a mic stand and it's pointing downwards, and you have surfaces around you that aren't super hard and reflective, you should capture good sound. What I recommend is using the boom microphone alongside with the camera mounted microphone. Your camera mounted microphone will serve as a backup for in case your boom microphone fails for whatever reason. Trust me, if you record for long enough and you've recorded like 100 videos plus, you will encounter a moment, just one moment where you forget some setting in the boom microphone and your camera mounted microphone comes in clutch and saves you. It's just bound to happen at least one time if you're going to be doing this for a long time. Another good option for recording talking head videos are lav mics or lapel microphones. Personally though, I would only use a lapel microphone as a backup microphone because boom microphones sound, overall just richer and fuller. The standard technique for recording a lavalier microphone is just to clip it on somewhere near the mouth and then attach it to a recording device. My personal favorite one is the Tentacle Sync E, which is also a 32-bit float recorder. Again, if you want to dive deeper into the microphone world, I have a dedicated class to that, which is a staff pick, as well as a class on how to enhance dialog audio in Adobe Audition. But for now, that covers how to set up your audio equipment for a talking head video. The assignment for this lesson is to go ahead and set those things up, and then we'll move on to setting up the lights. 5. Lighting: In this lesson, we're going to cover the three-point lighting system and how I personally set up my lights. What is the three-point lighting system? It's basically consisting of three things, which is the key light, the fill light, and the back light. They have different names for different systems, but basically the key light is whatever light is in front of you, so for me that is going to be my aperture light right here, which is the aperture 120D Mark 2 and I have a Softbox, which is the light dome mini, which acts as a diffuser making the light shining on my skin and just me in general, softer and less harsh. Next, we have the fill light. This is a light that basically counteracts whichever direction your key light is in. For me it's on my right side, the camera is left side, and it's bringing light to this side of my face while this side of my face is slightly dark. What I would want is a light on this side. In my case, I'm just using a ceiling light to cover the darker side of my face. It's up to you how much you want your fill light to cover your face. If you want a more fuller, bright, vibrant look, that's more welcoming, more nice, more commercial like. Then you want to fill up and make the lighting very even so that you appear more friendly. If you're going for a more dramatic look, then you might not even need a fill light at all. For me personally, I'd like the dramatic look so that's why my fill light, as you can see on Camera B, is not very present. Then let's get into the back light. For me personally, I use a whole bunch of back lights that are mainly consisting of colors. First, we'll talk about the ceiling lights, which are the aperture B7Cs. These lights are what I mainly use to add color to my images and they connect to an app called a Sidus Link, which I can use to control which color I want and change at any moment's time. The light right behind me is the PavoTube light, it's the smallest version and it also has the option to change into any color. One thing that I really loved about it is that the backside of it is magnetic, so I can place it on any metal object and it'll stick. The light that I actually have right behind me that acts as more of a backlight is the Aputure MC lights. These are basically similar to the PavoTube lights, except that there are rectangular and they come with a Softbox. Usually the three-point lighting system, you only need one backlight and it's basically to get this, the shine on the back of your head or your hair or just behind you in general. Personally, I didn't buy all of these lights out once. I mainly just had the key lights and then I had an LED panel light beam, my backlight. However over time I accumulated all these small back lights and for me it makes the overall image look more interesting and that's why I have them. That is basically the three-point lighting system. If you're worried about purchasing all these lights because they are expensive, there is the option of just using natural lighting. Basically, find a place in your house where there's a good window with the natural source of light, which is the sun, and then have it faced somewhere in front of you. Probably not directly in front of you, but 45 degrees is a good spot for a key light. But I do highly recommend that you eventually invest in a real key light and backlight. Those are really the only two lights you need, because for the fill light, you can actually use something like a white panel or a white screen. Next, let's talk about nailing exposure. The question is, how bright do we set each of these lights? The general idea is to have the key light be the brightest one so that the subject is lit up the most. But you don't want to overexpose your skin or underexpose so how bright should we actually set it? The easiest way to set up exposure correctly, in my opinion, is to use a setting in your camera called zebras. For me, after accessing of zebras, I turn the dial so that I go to the custom settings and then I go to standard, I go down to 60 and then plus or minus 5. At this setting, what I want to see on my face or the zebra stripes. some people say that 65 plus or minus 5, or 70 plus or minus 5 are better numbers. But it's really highly dependent on whatever setup that you're using. For me, I'm using S-Log 3 plus something called the phantom lots to edit, I'll mention them later. But basically the lead system that I use indicates that I should be using these numbers. Whatever system that you're using, just try to pay attention to essentially what their guidelines are for how to set up exposure for your skin. Generally, those numbers should be good numbers to follow though. For the system that I'm using, the aperture 120D will be set to around 50 percent and then for the back lights, I essentially just eyeball it. What matters the most is that the subject is more bright compared to the background and that's essentially yet for how to let yourself for a talking head video. The assignment for this lesson is to set up your key light, setup your fill light, and then set up your backlight. From there we'll move on to talking about the two different types of talking head videos. 6. Scripted vs Freestyle: In this lesson, we're going to cover two different types of talking head videos. The first one is scripted talking head videos and the second one is freestyle. Basically in this class so far, I've had a mixture of both scripted and freestyle videos, and both of them come with their own pros and cons. For instance, if you scripted your video, you'll spend more time in the scripting process, and then most likely you will want to use a teleprompter so that you can read it without mistakes. If you're going the scripted route, it'll most likely be a better crafted video since you spent more time on the script. However, on the other side, if you're going the freestyle route, it will probably feel looser and a bit more spontaneous. It gives you an opportunity to show your personality a bit more. But the downside is if you mess up a lot and you're not good at the skill, you're probably going to have to spend more time in the editing process. In my opinion, these are two very different skills. For me personally, the majority of my videos are scripted videos. That's why for freestyle content like the one I'm doing right now, it's not as well-polished overall. However, I am working on the skill of freestyling in front of the camera. I recommend that you try both methods as well. If you go with the freestyle method, I highly recommend that you actually create an outline for the video regardless. An outline is basically just the main topics with subtopics that you have as bullet points. That way there's an actual flow to the video versus you just talking about anything at all at a random moment. On the other side of things, if you go with a scripted video, I highly recommend using a teleprompter. The one that I'm using is the Parrot Padcaster and in my opinion, it's all you really need. It's very cheap, less than $100 at this current moment. Basically, all you need to do is download an app on your phone called parrot and copy and paste your script. For me, my script is always written on a Google document. Then I copy it from there. Then I paste it onto the parrot document. Then once you open it up, you can set it the way that you want to. You will need to mirror your screen. Decrease the margins a little bit so it doesn't look like your eyes are moving left and right and that you're reading. Then adjust the speed according to how fast you want to go and adjust the font size to whatever that makes it legible. You can look at my settings here and copy them if you'd like. But from there, all you need to do is thread in the teleprompter, slide in your phone underneath, and then you have yourself a teleprompter that you can read off of. For me, I've been only recently using this teleprompter during this year. Before that, I still scripted my videos and tried to just memorize the scripts. I find that this takes a very long time and it requires a whole lot of takes which defeats the purpose of having a script. It's up to you which method that you choose, but I do highly recommend trying out the teleprompter. That's just a quick rundown of the two different styles and the tips I have for the two different styles of talking head videos. The assignment for this lesson is to choose which style you want to do for the class project. Next, we'll be talking about the checklist. 7. Recording Checklist: In this lesson, we'll cover the sequence in which you should set up your equipment, and I'll provide a checklist for you so that you won't ever forget a crucial step. First off, the camera. Turning on the camera and dialing in the right settings is the first step. For me, that's turning the dial to one, where it's 24 FPS and S-Log 3, auto white balance, and the ISO of 100. Next, I turn on the RODE VideoMic and do a tap test to check that the levels are right. After that, I turned on the Zoom F6, move the boom mic into place, and perform a quick microphone check for levels. For me, I have a 32-bit float device, so I don't need to worry about it too much, but it's still best practice to test the levels. From there, I turn on the key light and then all the other lights and adjust the brightness. This is when I adjust the composition of the image and place my wooden board under me to mark my location. After that, I set up the teleprompter, if I created a script for the video, and if I did it, I just have my phone out with the list of bullet points for my freestyle talking video. From there, I recommend that you do a little warm-up before you start talking to the camera. Talk to the camera about absolutely anything. The whole point is to just get your voice warmed up and increase your overall energy. Be overly enthusiastic at first, and then dial it back a little. With that, everything is ready for you to record. I highly recommend that you always use a checklist when you start out. There's a lot of moving parts and it's really easy to overlook something when you do it a lot. For me personally, I like to keep all the equipment necessary for a talking head video laid out right next to each other. By leaving it on standby mode, the setup time is significantly decreased because I don't need to position the tripod or set up the boom microphone or the lights from scratch. Setting things up from scratch takes a lot longer. Ease of access is very helpful in this case. If you have the space, try to dedicate a spot for recording your talking head videos, if you want to be as efficient as possible. However, I will say that it's good to practice setting things up from scratch sometimes, just so you don't forget how to do it and so that you practice the skill of setting things up quickly. But once you have it down, a default setup can be very helpful. Anyways, the assignment for this lesson is to finally start recording your talking head video. You have everything ready to go, so now you just need to hit that "Record" button and start talking. In terms of the topic, you can choose anything you want to talk about. If you're stuck, just talk about an object that you feel passionate about or something that you really like. As an example, I would choose my piano, camera, the Zoom F6, my desk setup, my laptop, and so on. Don't overthink it, just record or write the script and then record if you're using a teleprompter. 8. Editing Walkthrough: Audio & Cutting: In this lesson, we're going to do the editing walk-through. This is going to be a little bit different from what you're used to. Most of the time I write a script and try to make the lesson as concise as possible, but this time I'm going to dive deep into actually how I edit from start to finish. If you're looking for a more concise lesson, I will be eventually creating a course or class to that. It's going to be editing in Premiere Pro and it's going to be like the best techniques on how to optimize and make it as fast as possible for cutting. If you're interested in more concise lessons, be sure to hit that "Follow" button and check out my class later on, but for now, let's go ahead and get into the deep dive. Right now I already have Premiere Pro open and what I'm going to do is go through the importing process. I've already imported the footage into my computer from the SD card. Both Camera A and Camera B are here in the video folder. I'm just going to go ahead and import that first. I'm going to drag it in, Film Yourself. Then I'm going to import the audio. Right now it doesn't matter too much that it's not organized because what I'm going to do is highlight everything, right-click and then Create Multi-camera Source Sequence. I have the settings on audio. I leave the name as sync just because it's easier that way. Enumerate Cameras, Stereo, Camera 1 and Automatic. Then I click "Okay", and I wait for this to finish. What multi-camera source sequence does is it syncs up the audio with the video and if it can't find any synchronized clips, then this message will pop up. I'm just going to click "Okay", and it's created four different sequences. Right now, this is all of basically what I've recorded for these classes. What I'm going to do is just go ahead and show you how I edit one of the lessons since basically it's like a talking head video. Right-click and then you can click "Edit" or "Open timeline." I have shortcuts for this usually, so it's a lot easier for me to do it quickly. For this one, I'm going to go ahead and go with the scripted content, which is this one, I believe. I'm going to go ahead and exit out of everything else. This is basically how I synchronize audio with video really quickly. I have both the Camera A and B here. From this point on, I actually don't really need to use the multi-camera method I can if I wanted to. For instance, let's go ahead and create a sequence. I use the shortcut. Basically you can right-click a new sequence from clip is what I did. Then you can just drag. I believe it was this one, so let's rename it, Scripted Content and then you can drag this on. The cool thing about the multi-camera source sequence method is that, as you can see, this is Camera A and then if I click "2", it'll switch to Camera B. It's pretty cool to just be able to switch back and forth and you can also turn this preview right here into the multi-camera mode. From there you'll see all of the cameras that were synced up. I only had two Camera A and Camera B. If you play it and then switch while it's being played, you'll see that after you stop it, it makes the cuts for you. I have a whole class dedicated to actually how to use the multi-camera method. I'm not going to worry about that too much here. Check out that class if you're interested in it, but for now, me personally, if I only have two cameras, I really don't care that much about using the multi-camera source method. I'm just going to copy everything and place it into this timeline right here. I'm going to rename the timeline. Still going to be Scripted Content and I'm going to get rid of this thing since I don't need it anymore. From here, I highly recommend this is going to be my concise editing methods, but I like to use E as add edit to all tracks for our keyboard shortcuts. You can bring up keyboard shortcuts by going to Premiere Pro tab and then Keyboard Shortcuts and then you can look for it, add, edit. Click on this area and then just type in whatever you want. For me, that's E. I also have automatic saving on, so that's why does that sometimes. I just like chopping off the front and end just to make sure everything is aligned. I get rid of the audio that was from the camera. It was basically there just for sinking purposes. Then this audio right here, you can see it's very low right now, but let's go ahead and edit that in Adobe Audition. I have the three audio from here, and it's basically linked up with Premiere, so I don't have to worry about it. We have multiple. I believe it's the first one. I clapped every time I recorded a different lesson. Let's go ahead and just normalize this really quick. You can access that by going into favorites and then normalize to negative 3 decibels is what I just did. Again, I have a class dedicated to enhancing voice-over. That's basically what I'm doing here. I'm going to do it quickly. I'm going to hard limit up to negative 18 just to make these claps softer. That's what they are, claps. What I'm going to do next is use the super fast method that I came up with, which is drag this into match loudness. Honestly, I might as well do this for the other ones while I'm at it. What I'm going to do is just target loudness set to negative 28. This is in the Match Loudness window where you can just bring it up here. Then these are the parameters I set and let's run this thing. What that just did was it made the loudness negative 28 for all of them. Negative 28 LUFS, it's just like a measurement of loudness and the standard for mono files, which is what this is, is negative 19 LUFS. What we're going to do from here is I created a preset of, basically I made a favorite. I recorded a favorite that contains a whole bunch of different actions that will essentially bringing it up to negative 19 LUFS or somewhere around there. Most of the time it ends up being negative 20. Let's just go ahead and try it. I call this Favorite Optimize Audio Quickly. Again, if you're interested in how I set this up and what all this is doing, it's going to be in my voice-over class, but this is just me showing you a quick method of doing it. The rundown is that I did an EQ where I did a high-pass, low-pass and then I did dynamics, which is somewhere around these, like in-between negative 2 and 3. You don't really need the auto gate or the expander that much, in my opinion, unless you have a really noisy recording setup, but I include it anyways. Threshold I set to be around usually negative 20ish, when it's at negative 20 LUFS. Then after dynamics, that's pretty much it. Like after dynamics you normalize it. Try to get it as close to negative 19 LUFS such as possible. Right now it's negative 23 LUFS. I suspect that's because there's a lot of claps that made the normalization harder to do. Let's see, these are claps. Let's go ahead and just raise it up by three decibels and then I'm just going to do a hard limiter at negative 3 decibels as well. One of the most valuable skills that you can learn, insights on how to efficiently and finally, I'll go over how I edit. Make sure to follow along if you want to make. The audio sounds pretty good to me overall, except I made it hard to find where the clapping points is. I'm going to go to the history. You can actually see what my Favorite did here as well. Started with the parametric equalizer and then dynamics. This parametric equalizer right here is just a very simple standard. Increase just a little bit at the high-end and decrease a little bit at the low end. That's it. Normalize amplify. Let's do it right here. There's a clap right there, I believe. Clap right here and clap right here and maybe right here too. These markers are essentially just going to help me figure out where I should be cutting right here. As you can see, the changes were reflected from Adobe Audition to Premiere, which is really cool. I'm just going to make these cuts real quick. These are all going to be separate videos. This is probably just me starting off, so I don't need that. A video right here, a video right here, a video right here and a video right here. Then now I can do the hard limiter. Then I'm going to save, you have to save for it to reflect on Premiere Pro. Finally, I outlined a checklist for whenever you record a talking head video and we went through the editing process together. This is the conclusion right here. That's what I'm going to do. I'm going to go ahead and edit the conclusion, since it's probably one of the simpler videos to edit. This walk-through won't last super long. The reason I'm doing that is just to create a new sequence very quickly based on the same settings as my camera. I don't really care which one I did it off of, I'm just going to delete it. Boom, we have something to work with right away. The first thing I'm going to do is actually, I should have done this earlier, but I'm just going to highlight all of these a different color. I set it up as a Command Control A To make a teal. You can also do that by just right-clicking, go into Labels and then choosing the color that you want. But it makes it easier to distinguish this is Camera A and this is Camera B. Most of the time the way I work is, I will just leave it like that for now so I have the main camera. The main camera is shot in S-Log 3 so we can color it later just because it's smoother playback when there's less effects on the clips. Let's go ahead and enter the cutting phase. The way that I cut is very simple. I use the audio waveform to just indicate where I should be cutting. Right here it looks like a phrase, right here it looks like a phrase, and basically, I start from the end if it's scripted content, because it's easier in my opinion to just know that the last take. For me personally, the last take is usually the best take, so I use the last take most of the time. If it sounds good and I hear the same thing, I'll just cut it instantly versus like if I were to start from the beginning, I will listen to a bad take, listen to another bad take, listen to finally the good take, and then erase two bad takes. But I listen to two of them so it takes up more time versus just listening to the good take and then cutting the bad ones. An easy way to do it even quicker that I haven't utilized too often quite yet is you can transcribe the sequence. This is in the text window right here and you just find Text and open it up, Transcribe Sequence, and then hit that "Transcribe" button. Adobe Audition will create basically captions for you. If you see repeating texts, then it's clear that it's basically the same thing. That way you don't even have to listen at all, you can just use your eyes. I'm also going to change this back to the normal view. After that's created, you can hit "Create Captions". I leave everything as default especially since I'm not actually really going to use it. As you can see here, I'm not too worried about the image right now, it's mainly just editing. The text is also laid out here, so we have free rein to just edit really quickly. The shortcuts that I'm using are the native Q and W. Basically, what these do, if you have a cut point right here and you use W, it erases everything from wherever your timeline cursor is to that cut point. I'll make it obvious by making this red. Actually wait, that's going to make it harder, but okay, here I'll just zoom in a lot. This area right here is going to be deleted in between the blue cursor and this cut point if I hit "W". Then I undid, and then if I hit "Q", it's going to go to the cut point from the left side to the blue cursor like that. That is essentially a really fast way of editing and my preferred way. Just make sure that you have these toggled on, otherwise it won't work. Video Channel 1, 2, and 3, just make it all blue, it's the fastest and easiest way to do it. If you'd like to check out what I'm up t o, you can find me on YouTube. Everything sounds good. Basically these points right here where there's just no audio or no talking, I just cut them. You can play it back to see the transition. But it's clear that these two are the same as these two. I'm just going to go ahead and cut it. This is the same right here so I can cut that as well. Let's listen to this transition. We can make it a little bit shorter. That feels fine to me. Everything looks good. I'm also zooming in and out of the timeline by clicking equal sign and minus. Let's listen to this transition. There's definitely a lot of space there, so I'm just going to cut out the space. Feels good. This is the same thing as I can see based on the text. It looks like all the text is different here so it does look like I didn't make any mistakes, fortunately. Then boom. That's basically all the cutting. Based on the cuts, I can tell where I would want Camera B or Camera A to pop up. There's definitely going to be B-roll across this one so I don't have to worry about it too much. But for now, what I can do is just alternate it. I'm going to hold Shift and then click on these ones. Then what I did earlier that I didn't really explain too much is I enabled and disabled. I'm going to click "Enable" right now and this pause backup, so now it's visible. It will alternate between the main camera and the secondary camera every time there's a cut. That's what I usually do for my talking head videos. That's why I don't really need the multi-camera method because this one is just faster actually. This is like a short version of what I would normally do because this is only a minute. Usually some of my talking head videos range to five minutes, but that's essentially the entire process that I do, is just go over the whole thing from back to forward. For the shortcut for enabling and disabling since I had mentioned it, what I like to use is just Command Shift E. If you highlight this clip, you can disable it and enable it. It's just a fast way of seeing the bottom layer or stacking layers that you're trying to choose between two things and you can actually highlight both of them, you hold Shift, click the other one. If you do the shortcut, then you can alternate between the clips and see which one you prefer basically. That is essentially how I cut things up in Premiere Pro. In the next lesson, we'll cover how I add effects, B-roll, and some color. 9. Editing Color: In this walk through, I'm going to go over four main things, Number 1 is color, Number 2 is how I add on B roll, Number 3 is how I add text and some motion graphics and then Number 4 is how I add on music. So this one's going to be a bit of a longer one, but let's go ahead and get this done. Let's go ahead and start off with color. Color is actually pretty simple, at least the method that I use to color my footage for talking head videos. What I personally do, and I'll give multiple methods just in case you don't really have the same camera as me, but I'm going to delete this subtitle track just to get it out of the way and have more space to work with. I don't actually need subtitles so just reorganizing this. Then what I personally do is I go to Lumetri Color, it's a Window that you can make it pop up by just going to this Window tab right here, and then looking for Lumetri Color. Then I go to the Source, because the Source basically edits everything that is this video clip right here, it will apply the color effects to it. So that is the entirety of this whole row that I made teal, so video Layer 1. That way I don't have to add an adjustment layer. So this is another method that people use pretty often, which is they add an adjustment layer right here, new item, adjustment layer. They add it on top and they pretty much do the coloring on the adjustment layer. This is so that there's no destructive editing so that you're not permanently affecting this but honestly, for my purposes for talking head videos, I don't need to do that because I would need to apply it to every single adjustment layer. Then change it once this camera B pops up and it's a lot of work that is unnecessary. So if you're color correcting and color grading B roll footage it's understandable, but for talking head videos it's not really necessary in my opinion. So what I'm going to do is my method, like I said, go to the Source. The first thing I do is go to the Creative tab and add a lot or lookup table. The one that I have personally, they're called the phantom lots, it's something that I had to buy, but I'll just go ahead and apply it first so that you can see how it looks. So as you can see, it's definitely changed from before and after. Just applying the lot alone, honestly, that's pretty much good. You don't have to really do too much else other than that but if you wanted to, you can go into the basic corrections, white balance, you can find something that's white. For me, there's not too many things that are white because I have very colored backgrounds so I'm not going to change white balance because it looks good overall but if you wanted to, you can find something that was white. I guess skin tone wise, it's a bit better. You can tell using Lumetri Scopes. Basically, if you were to create a mask, I'll use that. I do that by going into effects control using the pen tool and then going over my face like this, I'm just creating a triangle. You can tell through the Lumetri Scopes right here that if the skin tones are too red, they'll be pointing in the red direction and if there are too yellow or orange, they'll be pointing towards the yellow direction or green, sometimes your skin tone is a little green. So right now, it's actually perfect skin tones, like I mentioned earlier you can always rely on your sight, but for me I can just tell that my skin tones looked correct. I've done enough editing where I can tell if it looks too green or red. I'll show you an example of it moving so if it's too green, which it will probably never be like that green but if it's a little bit green, then you can tell it's towards the yellow side for this Lumetri Scope. If you're not seeing this one, you have to right click the Lumetri Scope area. You go to Window, Lumetri Scopes is right here and then right click and it is the Vectorscope YUV. I just moved this position, so when it's greener or more yellowish, it will point towards here and you want to add red or magenta to fix it basically. So this is like adding magenta right here, which fixes the skin tone but let's say it's green, let's go to the mask. I'm using shortcuts to switch between the tabs. Right now, I changed it to shift X as Effects Control and then shift C as Lumetri Control or Lumetri Color and those windows, you can bring them up by just typing it in and adding your shortcut right here so let's switch between them. Effects Control, I'm going to remove the mask really quick so you can see that it's definitely greener now and we'll just go back and fix it, very simple. That is pretty much how you do skin tones. If you don't want to affect the entire thing, only your skin is the issue, then you can use HSL Secondary. Just select where your skin is, this is the hue saturation and luminance so if you want to select more of it, you just expand these but right now, this selection is only on my skin. So if I were to change the color, it would mostly just remain on my skin and not the background. That is how you basically just change your skin tones without changing the colors in the background but obviously, for me, I didn't really need that because I shot with correct white balance and good exposure. Most of the time as long as you're doing that, you don't have to do too much correction. Back to the lot, if you don't want to buy a lot, for me personally, since I am shooting with the Sony A74 what you can do is go to their website and just download their free lot, that is for S log3, which is the one that I'm shooting with. It's absolutely free and I've used it before. It pretty much does a similar thing where they just color correct it. So you don't need to actually go buy any lot at all, you can just use the ones that whatever your camera manufacturer, their company, whatever they have for free, and it should work. This phantom lot, it's supposed to match a camera called the Arri Alexa, so it's matching a look that is a bit different from just color correcting. That's why I personally like this one and that's why I bought it but it's not necessary to buy it. That is pretty much it for color in terms of color correcting. If you want to grade it a bit further, you can give it a bit more contrast if you like that look. If it's too dark, you can expose it higher, that's what this Lumetri Scope is for as well. You can see 0 -100, this one is the Waveform Luma. Basically, you don't want anything to go below zero or above 100. Although, this small sliver right here, which is the window, I don't really care too much if it's clipped meaning that it's completely white, there's no more information. So if I increase the highlights just to make it overall closer to 100, because generally the rule of thumb is to try to make this as spread out as possible so you're getting the most contrast in terms of the shadows and the highlights. So I could do that, but again, this is all pretty subjective so as long as it's not super crushed in the middle, or it's not clipping into complete blackness or complete whiteness you'll be fine. You don't really need to particularly always expand it as much as possible. It's just if your film making and you're trying to grade something as best as possible, that's what you would do but for talking head video, it's not completely necessary, but it's just something to note if that's what you want. Whites and blacks are basically just the lower ends. It goes from blacks is the complete darkness, you're controlling whether or not the things in the image that are black either become brighter or even darker. Then shadows are not quite black, but the more darker things, and the hair and anything that's a shadow basically. You're basically controlling the most black things and then the lesser black things and then the lesser bright things and then the most white things. That's how these sliders work right here but again, personally for me, I was very purposeful with the way I lit things up in terms of the lighting. So I don't need to adjust it too much in post but these are what these main sliders do in case you want to adjust them. But that's basically all I do for color. I usually do it in source, it looks like I accidentally did it in the clip itself and not all of them at once, but that's easy to fix. I'm just going to go into this right here, click on this "Copy" so command C, go to "Source," and then I'm going to paste it in "Source." I just doubled up so I'm going to delete this one. Now you can see there's a red line under these. It's applied to every single one of them, where back then it was just applied to this single clip and not the other ones. So that's the benefit of applying your effects to the Source and not just one clip at a time. That's the way I personally do it at least. That's pretty much it for color. 10. Adding B-Roll & Effects: Let's move on to adding B-roll. The way that I handle B-roll is I usually have a script and then based on the script, I go shoot whatever I feel is necessary depending on the script but luckily for this, let's go ahead and listen to it. First, you learn how to get over your fear of tensions. It's something that will take time and practice to break through. Next, you learn how to set up your camera with the best settings and composition. After that you cover how to properly set up your audio. [MUSIC] For the conclusion, I'm basically just reiterating what you guys have learned. What I need is B-roll of the camera stuff, and then a B-roll of the audio stuff, and the B-roll of the light stuff. Luckily, I've already shot all of it. It's very simple to find because I have a folder called B-roll. Like I said, I just look at the script of that particular video line by line and go, do I want to shoot B-roll for this? If I'm talking about the Rode VideoMic Pro, then I just shoot B-roll for that. Then if I talk about the F6 audio recorder, I shoot B-roll for that. Then I just bring it back here and then add it one at a time. I try to go along with the script, so it's like easy to add because it's in chronological order, but the easiest way to look at B-roll is to double-click and create a bin. Then I use icon view right here. That way you can see after it's loaded, what you're about to add onto the timeline. As you can see, there are things that I shot. I double-click it just to look at exactly where the goods sections are that I want to add. It looks like what I did here was I just focused in on the A7C. After it focuses in, I'm clicking in and out, which is I and 0. Then I just drag video only onto here. I like making this one red as B-roll, or at least a different color from this one. I set the shortcut for read as Command Control R and its rows. Alternative way, like I mentioned before, you can right-click it label and then do that, but shortcuts will save you a lot of time. I basically set up and use shortcuts so much that I forgotten how to do the original way. Sometimes I forget that this is actually here but this one is also shot in S-Log 3, so I need to actually apply. I created a quick preset for it as well. [MUSIC] All it does is add this light on it. That's it. You can do that by going onto the effects control, right-clicking and say preset. I could probably do a bit more work on it. It looks like it can use a bit more contrast. On the darker and it's not quite reaching zero. Let's add some blacks and shadows. That is good enough for me. It still looks pretty good. I think I want two, not just one shot. Sometimes when it's like a repeat of B-roll, I just go into the other timeline. For instance, I've edited every other lesson as well. All I need to do is grab a shot from here and put it in here. You want to not have these two selected so that you can paste onto Video 3. I set up a shortcut that is shift 1, 2, 3 where it just toggles the videos. I can easily do that quickly. Then toggle them back on because these blue toggles, they control a lot of things. Like for instance, if this is too long of a break, and I wanted to use the method of editing of q and w, if I don't have these two things toggled, and I didn't have this, it wouldn't quite work because if I click Q right here, it's going to go to whatever is toggled on, which happens to be the audio as well, but let me toggle that off. There you go. It works for the audio too, but say you had just Video 1. It still works this way because you have Video 1 but if you don't have these toggled on, then you'll be confused to why q and w are not working. That's why I always keep them on unless I need to pay something. Let's grab that back. Let's go ahead and show you guys how to add some keyframes real quick. This one is just so it's not as static. I'm going to just add a keyframe where I'm upping the scale not too much, 110. I set a keyframe at the very end and a keyframe at the very beginning. You can click this symbol right here to add the keyframe. I just adjust it by scooting left and right, but I'll keep it at 100 so that it zooms in. Next, you learned how to set up your camera. That is not quite subtle enough so I'm going to just do 105. Next, you learned how to set up your camera with the best settings and composition. After that, we covered how to properly set up your audio equipment and lighting equipment. I say audio and then lighting. I'm just going to do that for marker purposes. I could just add markers by clicking M, but I personally don't like the way markers look, so doing this is enough for me. Again, the intro has most of the B-roll organized already, but this is basically the process of adding B-roll. It's a very simple process overall. The reason that you see some of these things already have this thing is because I did it earlier for the previous lessons, but again, just I and O and then just drag the clip on. Also, a very neat trick that I like doing is moving this blue cursor quickly. I set up the shortcut of command and minus to just go to the previous track point, and then plus for the next one is just a fast way of moving around that I've gotten used to. It's like instinctual in a teleprompter compared to freestyle talking. Finally, I outlined a checklist for whenever you record a talking head video. We went through the editing process together. Editing process together. For that one, I can just add a screen recording thing from the editing timeline. Looks like that's not the one, this one. [MUSIC] Basically, just select anything that works. This works. Makes it this and paste it on. Again, that was a bit much and that's the process of B-roll basically. We went through the editing process together. The checklist, I don't mind just showing myself saying that. I'm about to regroup the editing process together. I hope you were able to connect your class project and create your own [inaudible] . Please feel free to submit your class project below and I'll try my best to review it and give you feedback. Finally, I want to thank you for making it to the end of this class. It's been fun getting to talk about some videos. The rest of it is basically just me talking. Now, let's talk about some motion graphics and some effects stuff that I usually use for my video and that's premier composer. It's basically a plugin. You can find it after you download it. The way you download it is through a website called MisterHorse.com and then you go to their products, Premier composer, products, Premier Pro, and Premier composer right here. It's actually a free plugin, but there are stuff that you can buy, but they do come with free presets so you don't need to buy anything for you to use it. But personally, I did buy some of their packs but you could just use their startup pack. I'll just use this starter pack so then you guys can get a sense of how to use it. After you download it, you'll see something like this and let's go ahead and just use the zoom out preset right here. You need to have the blue cursor in-between the cut points. That's what I did earlier. I had it in-between here and it takes some time for this to preview, for the preview to load but hopefully, you can see it through. Next, you learned how to set up. You can hardly see it but basically, it applied the preset where it zooms out into the next scene. That's what I usually use for my transitions. I'll go ahead and apply one right here as well. Let's just do the shading of the story but since this is the conclusion video, you guys can see the effects at the very end. That's one of the reasons I decided to edit the conclusion video. Then you basically can see the final result of the editing. I just thought that made the most sense and that's why I chose that, but the Premier composer also has tech stuff that you can add, which is really cool. I don't really use too much of the starter pack anymore because I did buy the other ones. This is an awesome set of stuff. It's like a tool that speeds up your editing like crazy. What I did personally is I added my favorite ones onto a timeline that's 4K. Then I just group them together and I can just copy it and then paste it on here. Boom, now I have one where I can just edit the text in premier composer. You just have to select one of them by holding Alt or Option and then now, I can change it into whatever I want. I also grouped up the transition. Just like zooms in and zooms out, that's just a super-fast way of having these at the ready, copy and pasting them onto the timeline. [NOISE] This is like a method that I have not really seen anyone use. I just thought it made the most sense to do this. You don't have to redo it over and over again. Yeah, that is my method. It's like a template, but the cool thing about this is that you can actually add sound and transitions to the template if you were to use something called Essential Graphics, where you can open window and it's essential graphics and you can create templates and stuff in After Effects. I mainly create in After Effects, these templates right here. That's what I have been using for some of the topic headers is this one right here. It's actually in 1080, but I've been just up-scaling it. This is basically something I created in After Effects and just brought it over, but you don't have to do that as long as you're using the plugins and the timeline method pretty well, it's not necessary. I personally think that this Essential Graphics way is actually slower, but that is how I personally handle motion graphics and text. It's definitely not a common way I feel. I think that most people would go the Essential Graphics route, but yeah, that's just my two cents on how I do things. 11. Adding Music & Exporting: From there, let's add the music. For me personally, what I usually use in terms of copyright-free music and stuff, I go to the YouTube Music Library. For this, you actually have to have a YouTube account. You go to YouTube Studio, go down to your Audio Library, and you can basically find some copyright-free music right here. Other choices, you could find copyright-free music if you subscribe to something like Epidemic sound or Soundstripe, those are two services that I previously used that I no longer use just because you have to pay for those on a monthly basis. These days, I've just been using YouTube's Audio Library basically. After I find some copyright free music that I like either on YouTube library or on Google, just looking it up and finding sites that have it for free, that is copyright-free. I just go to the timeline and I add it right here. What I do is I add the music over and over again so that the one that I use a lot is a song called Lottery. Once you add it, what you can do is just clone it, which is what I did here multiple times. I just hold Alt and then you can clone it. I cloned it multiple times, also you can go into the Window, which is Audio Meters or Audio Clip Mixer. There's multiple of them that you could do, but I use the audio track mixer mainly and then I do negative 25 on Audio Track 1. I never really have to do too much with the music because the effects are applied right here. But after you have that in a timeline and you just create a new timeline, either based on this clip right here or you can just do command N to create a new timeline. But I created this timeline. Now I can just add it at the very end. There's going to be no video, it's mainly for the music so I'm going to delete that by holding option, deleting it. Then I cut off whatever I don't need. I don't like having the beginning because the beginning is a little soft and the music hasn't fully come in yet so this is what I do, stretch it all the way. At a cross constant power, it's a cross fade. You can do that by command Shift D and that'll just add the transition, assuming that you have the transition as the default, right here. Set Selected as Default Transition and that's what I have as the default one, is constant power. That's pretty much it. We have completed the conclusion. From there, you just need to command M or go to export, basically, so you can go file, export and choose the location, filenames, stuff like that. Right now I have it as adaptive, like match source adaptive medium bit rate. Obviously this depends on what you're doing. You can make it as high as possible if you want. I think I'll actually do that, and then video, more. Render at maximum depth, use maximum render quality and you can actually see the bit rate right here. Target bit rate right now is 60 and that's quite high actually, but I did choose the highest one. This will affect your file size by a lot so if you are dragging it down, you can see that the file size right here goes down considerably. But let's just leave it at 60. Basically, all it does is it makes this video like look the best that it can if you're setting it to be higher. But of course, if you were to set it super low and then you export it, it's not going to look very good. Any motion is going to look very wonky and weird so you do want this to be like a decently high number. At least 10, it depends on what you're doing. For me it's 4K, so around 4K, ideally you have this around 30-40 and that's a pretty important number right here when you export things. That's pretty much it. Let's go ahead and export this thing. That is pretty much how I edit my talking head videos. Just as a summary, what I did was, number 1, I edited the audio in Adobe Audition, dynamically linked it and then we did like a multi-cam to sync things up. Then we brought it into a normal timeline. I cut it up from the end to the beginning because it was scripted content and I could use captions to just see where I repeated lines and I just took the final tick. From there, what we did was we added color. I use the source setting basically to edit all videos or all clips that was from the same recorded video. That's how I added the color to that. Showed you guys how to basically look for lots and showed you guys the basics of manipulating contrast, highlights, shadows, that stuff. Then we took a look at Premiere Composer which is the plug-in that I use most of the time for a central graphics and text and transitions as well. Basically, any effects that you see on my videos most of the time I use Premiere Composer. So that was effects and then we looked at how I added music, and from there, we just export the video. Hopefully, this whole walk-through was a learning experience for you guys. I know it was a lot in a condensed period of time and I did use my habits of just shortcuts and stuff like that. But hopefully, by seeing the work, you guys can understand how the workflow looks like when you get used to it. Again, I will have classes where it's a bit more in depth in terms of the editing in Premiere Pro, because I haven't quite created a class specifically for Premiere Pro yet, but I will definitely look forward to that. This walk-through in particular was mainly just to give you guys an idea of each step of the editing process in a quick way. Again, it's very much how I personally edit things and it's not necessarily a standard way. The video has finished exporting. Now you guys can check out the conclusion video next to see the finalized work. 12. Class Conclusion: Congratulations on making it to the end of this class. Here's a summary of what you've learned. First, you learned how to get over your fear of camera shyness. It's something that will take time and practice to break through. Next, you learned how to set up your camera with the best settings and composition. After that, we covered how to properly set up your audio equipment and lighting equipment. We also talked about using a teleprompter compared to freestyle talking. Finally, I outlined a checklist for whenever you record a talking head video, and we went through the editing process together. I hope you were able to finish the class project and create your own talking head video. Please feel free to submit your class project below, and I'll try my best to review it and give you feedback. Finally, I want to thank you for making it to the end of this class. It's been fun getting to talk about some videotapes with you. If you learned something or enjoyed the class, I'd appreciate it if you gave this class and review and hit that follow button. I'm looking forward to making more classes and I'd love for you to be a part of it. In the meantime, if you'd like to check out what I'm up to, you can find me on YouTube. My channels are called Dreamlit and Scottie loop. Anyways, best of luck with your projects, and I hope to see you in the next class.