Ooh! Make them look better, more professional, slicker even. -Yeah. We're
going to talk about how to improve your video quality.
Alright. So, we're starting this video with the what not to do kind of a bad
example. This hopefully is extreme. -Yeah. -You can't even find our face. Becuase it
can't even... If I brighten it up to try and... -Even still. You have to make all
these adjustments on the fly like this. It's... Now, there we are.
-Oh, wow. Yeah. -Now, look at the back. So, the problem here obviously is that we're
shooting into the light. Our front side needs to be lit. If the camera were out
that way looking back at us, that would be beautiful because it would be natural
light. But as it is... And I like the way you fixed it. -We did an
extreme example here. If we want to show anything in the background, then
now you can start to see it. But look at that. I mean you can tell that there's a
fence back there maybe. But you can't really see us. It's just a
silhouette. -It's a terrible place to shoot. General rule: Don't shoot by an
exterior. -Again, we're fairly close. If I go right there, now I'm touching the mic.
-Yeah. -We're a little ways away and in a moment, we'll click the lighting first
and then we'll correct the audio. Okay, because the Sun came out from behind the
clouds, we actually want to show you another bad example. We're indirect light
and we've got shadows on our faces. So, if I correct it so that our faces look
better... Well, it like... To make the background look better is what I meant.
Look how dark our faces get. And it's still bright around us. -Yeah, this poor
camera is trying to shoot almost directly into the Sun. -Yeah. So, it's
really hard to shoot indirect light. So, this is another what not to do. -And again,
you still have the kind of the bad audio. That's a little shotgun mic up there on
the camera. -Let's just walk this way. -Come around and we'll just reverse. -If you have to
film indirect light... Let's actually do a little bit of an angle. -Yeah. You want to
kind of cut the difference.
So, we'll stand here by the tetherball stand. But if you're going to film in direct
light, at least have the light over here so it's shining on us. I didn't adjust
any of the settings. I just turned the angle so that will really help.
Now, let's... -But this way, also because the light is too at an angle, we're not
as squinty either. You know what I mean? -That's a big deal.
-Because if we turn completely 180 into the Sun... -And looking like this. -Will be lit great
but we're going to be squinting. -Or just killing ourselves trying to keep our
eyes ope -Especially if I'm reading copy off of that. -So, if you're
filming outdoors and you want your subject and the background to kind of be
matched in lighting... So, if we had a shaded background, that would appear
black. Or if we're in the shade, let's say we're in a covered pavilion.
But the background is still lit. Let's show you what that looks like. There's an
area here. So, you come in the shade. So, if we're in the shade but the background is
lit, we've got a brighten it way up. -Crowd looks beautiful. -I went too far.
Let's try and get it just right. Okay, so if the lighting on us is okay, right?
We don't have any lights or reflectors on us.
Look how bright I had to make the background. It's just, it's way too bright.
So, if we're in the shade, you want the background to be in the shade as well. So
now, let's go one more spot. -Further. Now, this is the best of both worlds. -Oh, you're
in the Sun. -Yeah. That's okay. That's alright. -Alright. So, I haven't adjust the
settings on this. But now, we're here and we've got some sunlight. But some shade.
Obviously, this is even better. -It's still natural light which is the best light
there is. You know, it's been diffused quite a bit by the shade and the house
that's blocking a bit of the Sun here. But you can see everything matches. The
colors come alive. Look at those blue eyes. -I was actually
disappointed... You want to see? -Huge. Like Bambi. -When I... When we were first coming
outside, there's a lot of clouds in the sky and the Sun was behind the cloud.
That actually is such good lighting that filming. You don't mean you don't have to deal with
the harsh direct sunlight with you know, solid shadows or anything like that. But
then, the Sun came out like, "Okay, now we can show a better bad example." -Bad, yeah.
We've got a couple of bads. -Alright. Now, let's do one last thing with the audio.
-So, we've been going off the road shotgun mic. Which is just attached to
the camera body there. -Now, we are talking into my zoom external mic. This is
recorded to an SD card. -Yeah. -Can you hear us? Do we sound any
better? Now, switch back to that audio. This is how we sound on the
shotgun mic. -Hi, this is how we sound. -Now, switch back to the zoom mic. -And
switching back. Isn't it... It's just so much fuller and richer? -I mean I sound so
much better now. I can hear myself. -And
you know, there's... It does pick up you know both of our voices becuase there's
some omnidirectional characteristics to it. It does tend to minimize a bit more
of just the same level ambient sound. Like we always sound the same as the
birds and the cars. But here as close as we are to this, it's just... That's... -In fact,
this exact mic I was using at downtown Salt Lake City. We were doing a street
interview. I was filming. Kris was doing the interview and a tracks train came by.
It's really squeaky and loud and I was thinking, "I wonder if we're going to be able
to use this audio." We ended up being able to use the audio just fine. It was just
this far away. Kris was holding the mic. It's not like... Sometimes when we do
interviews I actually hold the mic just like this. But in all the videos that we
filmed earlier, we had it upside down just out of the shot.
So, see you can't see the mic right now. But you can still hear us just great.
-It's point... Bring it down a little show how you're pointing it. He's
angled towards the general area of our mouths. Or we could have gone with
lapel or lavalier mics. -Yeah. That is a great advantage when you need more
distance or you're going to be walking and you don't want to have... Because if
we're putting this on an arm, you have to carry the boom arm and mic stand.
Which that can be a pain. -Indeed. -But anyway...-It's still better than that.
Still better than the shotgun. So, we're well lit. We sound good. If only we had
something important to say. -Yeah. That's that's we're going to work on next.
-Fairly simple stuff. You know, it ends up looking great but still really easy to
do if you paid attention. -Yeah. Absolutely. So, what they need to do?
-Everything you just said... And more. -I'm talking about subscribe... -Oh! Right,
yes. Next to the subscribe button, there's a bell and if you click on it, what
happens is you'll get notified each time a new video is uploaded. So, do that. -Yeah,
please do. We'd like to see you again here.