Secrets of Editing the Perfect Video and Audio Panel at NAB Show 2024- Ep 6

0:16 The inspiration of spoken word tech and connection spoken spoken. Well, welcome back to spoken life. In this episode, episode six of the series, I'm going to be bringing you the full panel conversation from the NEB Show down in Las Vegas on April fourteenth of this year, twenty twenty four. So sit back and enjoy the conversation around exploring the secrets of editing the perfect video and Audio. I have Chris Fenwick as well as Gary Rebolts and Paul Samson joining me for this in depth conversation about all of the issues happening around the latest and greatest of editing perfect video and audio in this aid of AI and the changing landscape around creating online content these days. So sit back and enjoy this conversation. Here it is, let's get started. I think we have all our panelists up on the stage and welcome to the session's Secrets of Editing the Perfect Video and Audio at the ADEV Show.

1:21 Thank you so much for being here and joining me. We have an excellent panel for you this morning. Lots of experience on the stage that can help shed some lights around the trends around editing and actually the production side too. So editing is the process of making content consumable, right and there's a lot of trends involved in that around music and around cuts and how we transition. So we're going to cover all that kind of stuff. And then also, really I think the tools of editing are changing and evolving right now as well, and so this session is really going to focus on on all of the key issues that are happening in that side of the industry right now, which tends to be a little bit not front center, but is critical to having a great product that comes out at the end. So let's go ahead and meet the panel of sorts and hopefully each one of you will share a little bit more detail.

2:16 But I have Chris. Fenwick here who's the director and lead editor and chief technology officer for Slice Editorial. So Chris, tell us a little bit about you, but don't go too long. I'll make it real brief. I've been making television shows for forty years, television and corporate video. The much better money in corporate, by the way. And it's I obviously highly opinionated. I've seen many trends. I've been through eleven different edit systems in my career and things. The only thing that you can guarantee is that everything will change. Yeah, and I think that's probably a good thing to some degree. Gary, tell us a little bit. About you, and you are the CPO provis for with the Vegas Creative Software and that's part of the Magic's side of things.

3:05 But tell us a little bit more about your background and how you got in bold in all this. Hey, everybody, thanks, Yeah, I work with Vegas Creative Software. We are the creators of Vegas Pro, which is a non linear video and audio editing system. I've been with the software for twenty five plus years now and we work with people at all levels of video creation to edit their projects. We have a particular focus on the creator economy, the creator section, people that are doing We started out doing and really supporting people that were doing weddings and videograph event videography things like that, but that has morphed really nicely into people who are doing social media, YouTube kind of productions and so forth, because they have the same needs as those guys did in those days.

4:00 They have to produce tons of content and they have to do it quickly, and we're really well soon into doing that and that's why we served that market terrific. Paul Samson, tell us. A little bit about you. You're the founder at CEO of a lickt, which is so music platform of sorts, But tell us a little bit about that. Yeah, I founded lickt seven and a half years ago. Licked is the world's first mainstream music licensing platform for content creators. When YouTube first came about and it built its audio recognition tool called content ID, content ID recognizes music and presumes that all music used on YouTube is a copyright infringement, and that led to the unintended consequence of that was that creator to start to earn money from YouTube actively avoided using famous music. And that seemed nonsensical to me because there was the fastest growing production sector in the world, and so we set about solving that problem with software, which we did, and then on top of that, we built Spotify for content creators. So there were ten thousand plus labels and publishers scientilicts as one point four million songs available from people like Coldplay and Buno Mars, Justin Bieber Lizzo Dua Lipa for the first time made available to content creators without fear of punitive damage or copyright in Finland.

5:18 Yeah. Yeah, And just to say who I am. My name is Rob Greenley and I'm a twenty plus year podcaster. I started on the radio. I I used to work for Microsoft, ran the Zoom podcasting platform as well as did the Zoom Video experience, and now granted that platform has gone away, but I've been working as a content creator as well as an executive in the podcast space. I comment this a. Little bit from the bandage point. I think as a content creator as well as working with content creators and being one myself, I can definitely associate with a lot of the challenges on the post production side, and it's interesting and there's a lot of directions we can go with conversation. But I think the most important thing that we all need to think about when it comes to editing is what is the story that we're trying to tell, What is the message that we're trying to deliver, What is the value that we're trying to give to the consumer of this content? And Chris, let's talk a little bit about that about the storytelling aspects of editing, and also it's around pre production too, But how do those kind of coalesce with each other in your mind.

6:27 What I would say as an editor is that I am always looking for a spine. Every video that I create has a spine. Sometimes it is dialogue. It's purely just these are the words that have to get across. And sometimes, and is where Paul comes in, that spine is music. What's interesting is there are times when you're looking for not only story transitions, but emotional transitions. And music really plays into that. And there are times as an editor will I will favor the dialogue as that spine. And then there's times when it's like, you know what, I really want this to happen with this swell of the music. And even though the client has absolutely said all these words need to be before that swell of the music, I'm like, come on, watch this. I'm gonna pull this out. I'm gonna show you that those words were superfluous because what we really need to do is change and the music is going to bring us there.

7:31 But that spine is where you hang everything off on. Right. The other thing I say really quickly is tempo and pacing. One of the things I do all the time in whatever I use Final Cut pro but shift Z, I can see my entire timeline and I can look at it. I can see where the graphics are stacked up and it's oh, we had a little breakaway there, and a breakaway is like and then there's nothing, and then it's Okay, I need to put something here because that's gonna help in the pay. He used to always say, we have an internal body clock of eight minutes, two minutes, or thirty seconds. Eight minutes was between commercial breaks. Two minutes was the commercial break, and thirty seconds was the commercial.

8:11 That's all changed now, but those that kind of tempo, it's all tied. To our whatever our heart is supposed to beat at. Mine's not good, but you know everything, you know, we are biologically set to a tempo and we just need to we need to be sensitive to that as we cut. So we've had this assumption for many years, I think, coming out of broadcast radio, that things are done in a certain way to make things palatable for the broadcast space. More in a traditional media standpoint, how do you think the new online media expectations are different and how that's going to drive that storytelling and then thus the tools and then the music that creates the ambiance of that me yeah, go oh hell so here, we can go down there.

8:57 So here's the deal. I think what I like to call the kids YouTube, they're doing it way better than broadcast. They're doing it way better. When I have time off and I want to just sit and watch something, I'm watching YouTube. It's better. And they have better metrics, and they have better ability to see what they did well and what they didn't. And broadcasters, we're two set in our ways. We got up. This is the way it's done. No, you're not holding your audience. There's this false sense of security because you're CBS and CNN that you have this huge audience. And yet YouTubers take Jimmy mister Beast. He squashes any network television channel. Oh yeah, definitely. The YouTubers are doing it way better. So what do you think from a content production standpoint?

9:39 The YouTubers are doing it better than broadcasts. It seems like that there's a lot to learn from broadcasts, right that can be brought into the online side. Or are we completely remaking everything? Yeah, I think it's the other way around. YouTube has real time analytics. Right when I finish your video, wait for as long as it takes to play the video, and then see exactly where your audience was engaged, where they dropped off, where you lost them, or how you retained them. The example of mister Beast is he took those analytics and obsessed over them twenty four hours a day, three sixty five for fourteen years until he created the perfect retention video and you get what's time Like that, then YouTube pushes you to the algorithm that means you get promoted, that means you get more views, and then it's a virtuous cycle. Right and broadcast doesn't have that. They have to wait weeks before they get a Nielsen report that tells them what the viewer figures were and what the feedback loop was on the content.

10:33 You were able to do that they could afford. Right, it was Broadcast. Nobody was pushing them. They had the time to figure it out. You don't have the time now. You need to be dialed into the analytics, as both said, and you need to know what's going on now in One of the things we were talking about is that you've seen the democratization of video editing. Just like thirty years ago, everybody suddenly became a graphic designer because PageMaker made it easy to make a newsletter that what's what's going on now? Final cut pro vegas Pro for a few dollars, you can have a production powerhouse that is far beyond what you could ever afford a traditional broadcast sense.

11:16 I hate to say this, but I think page Maker is closer to forty years old then. Yeah. I was just trying to make you feel good. Yeah. So, as you think about your tools, the magic tool, what is the thinking around how you guys are thinking about that for speed of production, speed of getting content out, the expectations of the market now for shorts, for various derivative content from a master recording? Is that challenging you guys to come up with tools that are simple to use but very powerful and feature film? Yeah, that's. It is a challenge, but it's a fun challenge and it's not rocket science. How do you make it easy for somebody to edit? You do that by the same way you do good creative work is by thinking differently, thinking outside.

12:02 Of your normal realm. And that's what software like vegas pro does. If it does it well, yeah, you don't have to think about it. It just stays out of your way while you're creative. Yeah, So how important is AI technology to what you guys see going forward. With the Vegas software. It's going to be obviously really important to Vegas bro, it's important to the industry. Everybody's talking about it is the buzz around. What's important to us when it comes to AI is to be really intentional about what we're doing with AI. Not just here's a bunch of AI features because that's what somebody said was cool, but what can actually help.

12:45 You get your job done? So we start talking about text based editing where the AI analyzes the text and then you edit the text, and then that can help edit your timeline, or automated masking tools that cut hour zone man, you will work out of the process. It's not a magic button. It's really important for users to understand this when we talk about AI. It's not that you're just going to push the AI button in your videos done. You still have to create, you still have to correct and the mistakes and AI miggs. But it's really important to us. Can I just go back to the christion before about yeah, making things easier for creators? Hands up in the room here, anyone that's ever tried to license music before?

13:32 How many of you enjoyed the experience. Yeah, so this is the point I'm making, like we in order for us to make that music available on linked we have had to what's called pre clear the publishing on one point four million songs. That means there's probably six million entities that we have had to contract with just to. Get that music clear. I would say a challenge here if I said you pick a song, pick your favorite song from the last ten years, and if I asked you now to try and clear it for a piece of content, and the first person if anyone does it within the next seven to two hours, I'll give you a million dollars. I would be so confident in that that I would bet a million dollars I don't have if I bet Rob's million dollars, and we can't have. The fact that we've done all that work to make that music available at a single click of a button.

14:20 Is really that there are two innovations that next. One that we're doing that for the first time for this set of rights, and two that we then protect the video when it goes up onto YouTube from copyright clips. Yeah. And I think it's a very hot topic right now around copyright moderation at places like Spotify and YouTube whenever. It's definitely wrapped up. In the last year from what I'm seeing in the market, and because there's technology companies out there that we're developing, like music water marketing of sorts, technology that can actually detect it in content. Because YouTube, when you upload your video to their platform, they're analyzing lots of stuff and running algorithms against it, checking it for context content because they're pulling transcripts.

15:03 Yeah, Chris, I just want to say something for Paul, not that he's not too shy to say this, but I'm going to brag for him his software. What he does tell me, if I get this right, is of the songs that you've licensed, YouTube. Is going to talk to Paul first, right, and then he goes. Oh, that's one of pauls Okay, good, Yeah, And not only does it do that, but it says, oh, that's one of Paul's songs and it's cleared for this YouTube channel. So it's just a much smoother operation. I really think what you're doing is super brilliant. Thank you very much the software that we built, But does that has to be integrated into the YouTube cms of every partner that signs with US, so not the Channel, but Warner Music, Sony Music, BMG, Cobalt, all these big multinational companies sign with us, and then I give them the software and they make it viable through their YouTube cms.

15:53 So it's no mean feat. And our goal is to democratize music for the world's creators, and I won't be happy and I won't stop until we've got every song in the world available for content creators, just like it is for big business. Because this is. The fastest growing production sector in the world. Why would the music industry treat it like second class citizens. Unfortunately, the music industry specializes in one thing, and that is being able to walk into a dark room with a blindfold still manage to find a gun and shoot themselves straight in the middle of the foot right. And everything they've done in the last fifty sixty one hundred years has been about a monetizing scarcity. And everything that the UGC sector is asking them to do is about democratizing and liberating assets.

16:35 And they scared shitless about it. And that's why it takes us so long even to get to pass one million song, which is by far the largest catalog of music ever made available to any production sector ever in the world, but we're still ninety million short of having everything. Yeah, I think one of the biggest worries that content creator has ever right now in using music, even if they go and license it from a royalty music platform or something like that, that they're still going to get called out on the platform because maybe that royalty free music platform is not embracing a data connection with YouTube or Spotify or whatever, and they're going to have to prove that they have the license somehow.

17:15 You're trying to say that the AI is broken. No, no, it's not the AI. It's individual companies not having that data connection with YouTube or Spotify. Do you see that resolving itself? So everybody is sharing license information with Spotify and YouTube and all of these consumption platforms. It's getting there, right. We've just seen Universal Music partner with YouTube or an AI generative music incubator. It's pretty shitty, if I'm honest, But there's twenty artists that have given their voices for cloning and their music for training of the AI. So they're beginning to touch these spaces. But they've just moved so slowly. And that's why I always talk when I speak to creators. I'm telling like, you better start using LIGT because if you want to get to a place like I do, where there's every song in the world available, every time I send the dollar to the music industry, they feel more comfortable releasing more music, right, And that's the point, Like, we've got it this far. Now we need an army of creators behind us.

18:11 So you said a really good thing there that I'm not sure everybody picked up on these platforms are basically analyzing the music using AI. Yes, and it's basically creating, let's say, a digital fingerprint of the music. So when they detect it through their AI algorithms, pulling transcripts and doing the analytics of it, that is what triggers the copyright connection with the platform for verification of license. Correct, Yeah, But in terms of music for content ID, it just said to them, what do you want me to do if I find your music? And the answer is. Well, there's nowhere to license it, so every use must be an infringement. And what our software does is tell content ID hang on, this music is now available for license, so you have to check with me. Essentially, it was guilty before proven innocent, and our software tends to innocent, proven guilty. Yeah, right, and we convet. The software that we build the interacts with content ID is called VOUCH, and we call it VOUCH because it vouches for our customers, right, yeah.

19:16 Yeah, that makes sense. Yeah, is there any thought on that on your side with the software on the post production side. Or obviously the more music that people can use without worry of getting in trouble copyright strikes and all that garbage, Yeah, that's just beautiful for us because then people can get on with their creativity without all the garbage in their heads. So you guys haven't had to connect with any of these platforms for your own platform protection. At all or anything like that or not us. But our users, they're the ones at risk. We provide the tool for them to build their thing. It's up to them to add. It's up to the user to add things that they own the rights to. That's that's not us, but you guys making it easy for them to do that. It makes it easier for them to engage with our tool without their creativity being squashed by worries about legal issues and things like that.

20:12 Yeah. Yeah, Chris, you touched on, mister beast let's do a little bit of a deep dive on that, because I think there's a lot of lessons to be learned, not just from the kind of content that mister Beasts is creating today and the kind of scale on a global scale, but I think the real things is that the creator of mister Beast, the founder of it, he has put out publicly that he is tired of his format. And he is going to renew. Himself or remake himself. Chris, what's your thought? What does that indicate to the market about where we are with these productions? Like we touched on earlier, everything changes, Everything is going to change. You're going to use in five years, you're going to be using totally different software than what you're using today. And if you dig your he in like I do often and say you're not going to change, you're gonna be in trouble. Jimmy, mister Bees is aware because he's analytical and because he watches those analytics. But he also, and this is the important thing, he's not.

21:14 What he's doing now is he's not just reading the analytics. He's actually going back and watching the videos. So you got your metadata, and then you've got the entertainment factor And on a recent podcast that we talked about the other day, what is. It? No, it's a zamir and. Yeah, so he's on this podcast, he's doing this thing and he goes, yeah, I'm watching my old videos, and I'm like, why. Am I yelling? Why am I screaming? Why? You know, there's not a there's no point to take a breath. Space is okay? And Jimmy is starting to see that, and he's getting that not by looking at the analytics, but he's getting at it by taking a step back and actually watching what he's done. That's why I'm not a big fan of AI. You know, I've seen all the Terminator movies.

22:02 I know where it is. It's not good for us. So we need to be careful. But we need to grasp on to the human element of what we're doing. What we need. The best way to. Communicate with anybody anytime, whether it's business or politics or personal or anything a cooking show, the best way to communicate is emotionally right, and when the computers understand human emotion, good luck, because we don't even understand it. Yeah, it's true, and we've seen that in tagging even like when you tag music, how does. Music is? But how you can teach you what rock is and what a tempo is? But how do you explain heartbreak?

22:48 And how many genres does heartbreak cross? Just on the Beasting Chris is absolutely spot on. He basically watched the analytics. He obsessed so much though I need a cut or a format explanation of thirty seconds or if not twenty seconds, otherwise people drop off. And it's became it's start giving him headaches to watch the content because it was so fast. But mister Beasts is a regular user of Licks. He's our biggest customer that goes without saying any software he uses, he's that software's. Biggest customer, of course. But their team came to us. I spent a day actually out of their campus in Greenville, North Carolina, about ten days ago. It's amazing what they're doing out there. He's got three hundred and seventy star four hundred acres of land, six studios and it's really incredible. But they're talking about elevating the level of their content right and the sidemen out of the UK are having the same conversations with us, and one of the best ways and simplest ways to do that is through music, because at any point in when your storytelling, if you think about the best storytellers you know in your friendship group, the raconteurs, they're able to bring you into the story. They're able to create an emotional connection so you feel like you're there.

23:57 And one of the easiest ways to do that is to use a song that you know is going to create an emotion, a song associated with an event, a song associated with the time in your life. Because more than like this also evoking nostalgia with the viewer, and if the viewer feels emotionally connected to the content, then they're going to watch for longer. And what we've seen, particularly through things like fitness videos or sports content, that the move from stock music to famous music is paying for itself because people are commenting about the music use in under the video. People are watching longer and sharing videos because of how it made them feel, and all of those analytics drive you into the algorithm. If you're driven into the algorithm, you get promoted and you get more revenue. So we see people come into litt, come in at the entry point price bracket, start using and very quickly migrate up the prize bands that and not be concerned about it because the music starts to pay for itself.

24:54 It's an interesting phenomenon. Well, it's interesting about this discussion about mister Beast and his analytics and Chris's dislike for AI. What's really important for us as creators to keep in mind is that it's so easy to get caught up in the analytics and it's so easy to get caught up in the technology of the AI that you forget why you're doing what you're doing. You forget to be a creator, you forget to be a creative person. And if you start letting your obsession of the AI tools or your obsession of your analytics, not that it's not important, that stuff is all important, but if you let that stuff start dictating what you do as a creator, then you're only chasing.

25:36 You're chasing mister Beast and you're never going to catch him. So use all that stuff, leverage all that stuff. But as a creator, you've got to touch keep in touch with why you're creating and what you're trying to do and the story you're trying to tell. Let that stuff support you, not driving. Have you ever heard Casey Nystat talk about the mist beastification of YouTube because the number one creator in the world made his content a cert of way and it was so fast and he was screaming. Everyone started mimicking it. And it's turned into a bit of a shit show. And even Jimmy's looking back on his content now and going, I would just have to relax a bit more when I'm watching my own content.

26:18 Well, it was super ironic for me. Is the same month I heard Casey talk about or coin the term. Maybe he didn't coin beastification. The same month I hear Jimmy go, yeah, I'm over it. But doesn't mean that he's at risk of creating more boring content. That's the other end of the spectrum. No, I think it's the perfect mix. The guy he was talking about about using the analytics to drive optimizations but understanding what it is to be a viewer and what it's what the experience is like watching the content. Be a human before you lean into So does that. Mean that from a psychology standpoint and the expectations of the audience are shifting? Right? Is it based on Chris? What do you think? What's it based on? Why are we shifting towards more emotional content, less kind of flash bang pow type content that mister Beasts has been doing.

27:10 I don't know that we are. Let's see if Jimmy can pull it off. Pasification is explosions and no breaths. So when you do your podcast, do you edit the breaths out or do you just gate him out? Or do you just let him fly? What do you usually just let him fly? Especially? I just wanted to do a podcast. I wanted to get that EUI of the way. So we got to see if Jimmy's successful, if he can actually slow things down and he could take a seven minute video make it into. A twelve minute video and retain the audience. Awesome? Yeah? Or is he just growing up and getting a little more conservative in his content? I wonder he may be. I know, is there any comment on that that maybe this is the natural evolution of a.

27:52 Content that plays a big part in it. But I wouldn't call it grow it. How did you phrase it? Getting older, growing up thinking a little. He's he's thinking about what he's doing, and he's nobody wants to be stagnant doing the same thing. Forever. I saw that the broadcast industry to some degree, or the streaming platforms were embracing his content now too, So that means that maybe that's a sign to him that maybe he's crossed the rubicon that he doesn't want to cross. Right, You asked before if YouTubers were learning from broadcasts or if broadcasts were learning from YouTubers, And that's the first sign, right, If one of the biggest streaming platforms in the world is throwing nine figures at you to try and bring your audience to their platform. Amazon Prime has fewer subscribers.

28:33 Than this debaate, He's going to a small audience for this, and that's because broadcast needs to learn from contact creators. Yes, he does throw a lot of money around. So that's the other thing too that's different than most YouTubers. That is that a lot of them don't have the money to do like a half million dollar prize or something like that for a squid game type of experience. Right, Reube, Right, it's not I mean, it's not that he doesn't have the money to do it. It's just it'll be interesting. And maybe I don't understand likely if Jimmy's calling the shots in because he very famously says, I put all the money back into the videos. I put all the money back into the he puts it all he's eating.

29:14 But if he's putting all the money, would a big company allow him to do that, because there's a point where autonomy gets squashed by the politics of a big company, and that could be that could be the death of things. It'd be interesting because would be the first time that he's putting out successive episodes where he can't take a learning from one episode and implement it into the next, because they will shoot the whole thing and edit it and then it will just go live and be released episodically or even in Win one Go. But there's a gentleman here in. The audience who should probably be up on this stage with us, called Hayden because he was editing for Mister Beast and people like Logan Paul in the past.

29:56 So let's let we just have a few more minutes. But I just wanted to back up and just bring to the four what the key takeaways are of what we've been talking about here and what you can take away from this to help you be a better maybe content creator or a producer or something like that. What are the important things that you've heard in this conversation, Chris, do you. Think AI is going to rule the world? Okay, I don't know. What does that mean? No, I don't. I think the important. Thing about editing, I'd go back to what I was saying about finding that spine. Things have to have purpose, things have to have a reason for being there. I had a great discussion just this morning with my friend Keenan about great television scripts, and to me, a great television script is one where every word is important, and you take certain things and you look at it and you're like, there's not a word in this I could take out that wouldn't affect the quality of it right to the downside. And you find that spine and you remain true to it, and you keep the emotion in the forefront.

31:03 Yeah, Garrett, here for me take away. Chris has mentioned this spine analogy several times, and I don't mean to be corny, but if it has to have a spine, it also has to have a heart. And that's the most important thing to me is that you bring the heart to your production. You bring the heart to what you're creating, and nobody else can do that. You can do that better than mister beasts can do that. Let mister beasts do what mister beast does. You do what you do. You learn from what he does, you learn from what other people do, and then you bring it your own heart and you create something. That's what it's really all about. I would say that great content evokes emotions, and one of the best ways to evoke emotions is creating a rap pol with your viewer. And a way to do that is to use great fucking music. Guy Ritchie once said, if you watch a great film, it's fifty percent the visuals of fifty percent of the music, right, And that's why his soundtracks are always epic in fact, than the content.

32:00 Most of the time. Let's be honest and really putting value on the music choices you make and the music you can use to help tell your story is going to benefit your content, no end. So one last or towards the end here topic that I wanted to mention too is as we think about shorts and longer form content in the production side. So we have TikTok, we have YouTube, we have shorts on a variety of different platforms. How do you walk that line these days with content and your post production and your editing and all this kind stuff like that to make all that work together. Chris, do you have any thoughts on that one. I am pretty old school.

32:42 I know that a lot of people want to have a button or a thing or a tool that's just gonna seek it out and find it and automate, automate. I tend to work very old school, and I'm going to go through the content and I'm gonna I might market as i'm doing it. God, it'd be a good clip or something that'd be a good lift for later. And I'm not looking for a magic button that makes everything vertical. I'm gonna do. I still work, and I think that there's a place for that. And I'm not saying it's wrong, but I think that I might be more worried about retiring than doing things quicker. And so I'm not so much worried about all those things.

33:22 But it's okay to work. Editorial is a job. There's a reason why I get paid. I do a lot of. Things for you, and I'm doing a lot of things for you that you probably don't. Realize I'm doing for you. And I think when you have that relationship with your editor, you realize you got to lean on that person and they're going to cover a lot of stuff for you that you're not even cognizant of. Yeah, because it does seem like that the short form content that we're seeing in the market today is not really always being seen as a referential medium to longer form content, though I'm seeing some overlap there where people will become a customed to your brand and who you are and your message in the shorts, and that may translate into consumption of the longer form content. But as you look at the tooling side, Gary, how do you guys think about shorts versus longer form content? Are you guys building that short capability into the tools?

34:16 The tool can do whatever you want it to do. That's not the issue to me. The issue is there's it's become a bit of a meme now in the business world. But start with your why are you doing what you're doing? If you start from there, if you start from your message and you decide what it is you're trying to do and why you're trying to do it, then you can then figure out how you're going to deliver it and whether that's a short, or whether that's a nine x sixteen or sixteen by nine or a square for Instagram or whatever. But if you start there instead of starting with why you're doing what you're doing it, you're just chasing shadows. It doesn't make sense. And I would add to that, just be thematically consistent of course, on the platforms. Right, if people are watching you long form because you provide real value on a specific topic, don't go start making shorts that are about something completely different like reaction videos.

35:09 Use it as a promo. Toe'll find out where you're earning your money, where you're earning your income, if it's brand paying you because of your Instagram or if it's had sense from YouTube, and then use the other verticals to drive traffic to that one base. Yeah. I think the other part of this too, and I don't know if you can hear me, but is that a lot of AI tools are being utilized to create shorts now and yeah, and it seems like that they're still struggling to find those cutpoints that are optimal and it's not always the best experience, and it drives people back to maybe putting up short form content that's less optimal. I don't know what you think about. The AI can't do it for you. AI can help you do it. You still got to do it yourself.

35:52 You still have to correct the mistakes that AI is going to make. Maybe someday AI will magically do it, but then it's no fun. Right, Let's go in and take a couple of questions. If anybody in the audience wants to ask any of our terrific panelists any questions on some of the things we've talked about, just raise your hand. If you want to make a comment, speak again. I won't be speaking again. I'm speaking on Tuesday here at eleven am about eggs. Yeah. Yeah, And I'm doing a workshop for stream Yard here at four o'clock today here in the same area here. I'm going to be making some shelves in my friend Keenan's garage later this week, So if you want to drop by, we could have a chat.

36:39 There you go. Yeah, does anybody else have a question about editing or tools or AI or what you guys are saying licensing person, Yeah, there you go. There's a topic that that triggered some interest. Yes, I think we've got a couple of questions in the back there. I don't take it from the guys. I don't think think license. Ah, Jesus, this is gonna go bad. Maybe I get. Good, all right, if you don't have any questions? All right. There was a lot of fears and a lot of thinking, and we talked before about oh yeah, and I.

37:20 Think welcome around and you guys should get you few opened by some of our exhibitors. You guys should think about more short form and is there a right form? I believe you watched short form and then you short but did you find out a little more about that? Yeah? Thank you, Thank you all for being here and spending time with Thank you. Thanks to Chris, Gary and Paul for taking their time out to share. Thanks the inspiration, Spoken Word, Tech Connection, Spoken Light, Boken Spoken Light, Spoken Light, Spoken Lights with Rob Greenley with Rob Greenley with Rob green MHM