May 8, 2024

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

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

In this must-listen episode of the Spoken Life Show, host Rob Greenlee transports listeners to the heart of the National Association of Broadcasters (NAB) Show 2024. Rob assembles a distinguished panel of industry veterans to explore the intricate...

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Apple Podcasts podcast player iconSpotify podcast player iconRSS Feed podcast player icon

In this must-listen episode of the Spoken Life Show, host Rob Greenlee transports listeners to the heart of the National Association of Broadcasters (NAB) Show 2024. Rob assembles a distinguished panel of industry veterans to explore the intricate world of audio and video editing. The episode features insights from Chris Fenwick, director and chief editor at Slice Editorial; Gary Rebholzi, product lead for Vegas Creative Software; and Paul Sampson, CEO of the revolutionary music licensing platform Lickd.com. The discussion kicks off with an in-depth look at the current and emerging trends that are defining the editing landscape. The panelists share their extensive experience and discuss the evolution of editing tools, which are becoming more integrated and user-friendly, transforming how professionals and amateurs approach content creation. They cover everything from cutting and transitioning to the complexities of using music to enhance narrative flow. A significant portion of the conversation is dedicated to the role of music in storytelling. Paul Sampson provides a fascinating overview of how Lickd is tackling the challenges of music licensing, making it easier for creators to incorporate mainstream music into their projects without legal hurdles. This segment illuminates the often-overlooked impact of soundtracks on viewer engagement and emotional response. Analytics in content creation also takes center stage, with the panel examining how data-driven strategies can optimize viewer retention and engagement. They debate the influence of real-time analytics on creative decisions, highlighting how platforms like YouTube allow creators to adapt swiftly based on viewer behavior. This episode is not just about the technical aspects of editing but also delves into the philosophical and creative considerations that editors must balance. The dialogue continually circles back to the importance of maintaining a human touch in a tech-driven field, with each panelist sharing personal anecdotes and professional wisdom on creating content that resonates on a human level. Tune into this episode for a comprehensive guide to the latest editing technology and strategy, direct from the experts at the forefront of the industry at NAB Show 2024. Whether you're a seasoned editor or just starting, you'll find valuable insights and inspiration to enhance your next project. RobGreenlee.com | YouTube.com/robgreenlee Apple Podcasts - https://podcasts.apple.com/us/podcast/spoken-life-show-with-rob-greenlee/id650684607 Spotify Podcasts - https://open.spotify.com/show/5OUXQ6wLZKxKIibxOQFD8t

WEBVTT

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The inspiration of spoken word tech and connection spoken spoken.

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Well, welcome back to spoken life. In this episode, episode

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six of the series, I'm going to be bringing you

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the full panel conversation from the NEB Show down in

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Las Vegas on April fourteenth of this year, twenty twenty four.

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So sit back and enjoy the conversation around exploring the

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secrets of editing the perfect video and Audio. I have

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Chris Fenwick as well as Gary Rebolts and Paul Samson

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joining me for this in depth conversation about all of

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the issues happening around the latest and greatest of editing

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perfect video and audio in this aid of AI and

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the changing landscape around creating online content these days. So

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sit back and enjoy this conversation. Here it is, let's

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get started. I think we have all our panelists up

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on the stage and welcome to the session's Secrets of

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Editing the Perfect Video and Audio at the ADEV Show.

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Thank you so much for being here and joining me.

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We have an excellent panel for you this morning. Lots

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of experience on the stage that can help shed some

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lights around the trends around editing and actually the production

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side too. So editing is the process of making content consumable,

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right and there's a lot of trends involved in that

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around music and around cuts and how we transition. So

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we're going to cover all that kind of stuff. And

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then also, really I think the tools of editing are

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changing and evolving right now as well, and so this

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session is really going to focus on on all of

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the key issues that are happening in that side of

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the industry right now, which tends to be a little

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bit not front center, but is critical to having a

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great product that comes out at the end. So let's

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go ahead and meet the panel of sorts and hopefully

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each one of you will share a little bit more detail.

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But I have Chris.

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Fenwick here who's the director and lead editor and chief

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technology officer for Slice Editorial. So Chris, tell us a

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little bit about you, but don't go too long.

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I'll make it real brief.

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I've been making television shows for forty years, television and

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corporate video.

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The much better money in corporate, by the way.

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And it's I obviously highly opinionated.

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I've seen many trends.

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I've been through eleven different edit systems in my career

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and things. The only thing that you can guarantee is

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that everything will change.

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Yeah, and I think that's probably a good thing to

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some degree.

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Gary, tell us a little bit.

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About you, and you are the CPO provis for with

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the Vegas Creative Software and that's part of the Magic's

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side of things.

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But tell us a little bit more about your background

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and how you got in bold in all this.

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Hey, everybody, thanks, Yeah, I work with Vegas Creative Software.

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We are the creators of Vegas Pro, which is a

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non linear video and audio editing system. I've been with

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the software for twenty five plus years now and we

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work with people at all levels of video creation to

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edit their projects. We have a particular focus on the

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creator economy, the creator section, people that are doing We

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started out doing and really supporting people that were doing

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weddings and videograph event videography things like that, but that

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has morphed really nicely into people who are doing social media,

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YouTube kind of productions and so forth, because they have

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the same needs as those guys did in those days.

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They have to produce tons of content and they have

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to do it quickly, and we're really well soon into

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doing that and that's why we served that market terrific.

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Paul Samson, tell us.

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A little bit about you. You're the founder at CEO

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of a lickt, which is so music platform of sorts,

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But tell us a little bit about that.

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Yeah, I founded lickt seven and a half years ago.

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Licked is the world's first mainstream music licensing platform for

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content creators. When YouTube first came about and it built

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its audio recognition tool called content ID, content ID recognizes

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music and presumes that all music used on YouTube is

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a copyright infringement, and that led to the unintended consequence

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of that was that creator to start to earn money

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from YouTube actively avoided using famous music. And that seemed

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nonsensical to me because there was the fastest growing production

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sector in the world, and so we set about solving

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that problem with software, which we did, and then on

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top of that, we built Spotify for content creators. So

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there were ten thousand plus labels and publishers scientilicts as

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one point four million songs available from people like Coldplay

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and Buno Mars, Justin Bieber Lizzo Dua Lipa for the

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first time made available to content creators without fear of

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punitive damage or copyright in Finland.

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Yeah.

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Yeah, And just to say who I am. My name

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is Rob Greenley and I'm a twenty plus year podcaster.

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I started on the radio. I I used to work

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for Microsoft, ran the Zoom podcasting platform as well as

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did the Zoom Video experience, and now granted that platform

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has gone away, but I've been working as a content

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creator as well as an executive in the podcast space.

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I comment this a.

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Little bit from the bandage point. I think as a

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content creator as well as working with content creators and

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being one myself, I can definitely associate with a lot

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of the challenges on the post production side, and it's

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interesting and there's a lot of directions we can go

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with conversation. But I think the most important thing that

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we all need to think about when it comes to

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editing is what is the story that we're trying to tell,

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What is the message that we're trying to deliver, What

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is the value that we're trying to give to the

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consumer of this content? And Chris, let's talk a little

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bit about that about the storytelling aspects of editing, and

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also it's around pre production too, But how do those

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kind of coalesce with each other in your mind.

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What I would say as an editor is that I

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am always looking for a spine. Every video that I

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create has a spine. Sometimes it is dialogue. It's purely

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just these are the words that have to get across.

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And sometimes, and is where Paul comes in, that spine

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is music. What's interesting is there are times when you're

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looking for not only story transitions, but emotional transitions.

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And music really plays into that.

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And there are times as an editor will I will

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favor the dialogue as that spine. And then there's times

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when it's like, you know what, I really want this

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to happen with this swell of the music. And even

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though the client has absolutely said all these words need

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to be before that swell of the music, I'm like,

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come on, watch this. I'm gonna pull this out. I'm

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gonna show you that those words were superfluous because what

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we really need to do is change and the music

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is going to bring us there.

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But that spine is where you hang everything off on.

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Right.

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The other thing I say really quickly is tempo and pacing.

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One of the things I do all the time in

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whatever I use Final Cut pro but shift Z, I

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can see my entire timeline and I can look at it.

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I can see where the graphics are stacked up and

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it's oh, we had a little breakaway there, and a

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breakaway is like and then there's nothing, and then it's Okay,

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I need to put something here because that's gonna help

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in the pay. He used to always say, we have

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an internal body clock of eight minutes, two minutes, or

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thirty seconds. Eight minutes was between commercial breaks. Two minutes

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was the commercial break, and thirty seconds was the commercial.

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That's all changed now, but those that kind of tempo,

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it's all tied.

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To our whatever our heart is supposed to beat at.

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Mine's not good, but you know everything, you know, we

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are biologically set to a tempo and we just need

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to we need to be sensitive to that as we cut.

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So we've had this assumption for many years, I think,

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coming out of broadcast radio, that things are done in

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a certain way to make things palatable for the broadcast space.

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More in a traditional media standpoint, how do you think

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the new online media expectations are different and how that's

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going to drive that storytelling and then thus the tools

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and then the music that creates the ambiance of that

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me yeah, go oh hell so here, we can go

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down there.

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So here's the deal. I think what I like to

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call the kids YouTube, they're doing it way better than broadcast.

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They're doing it way better. When I have time off

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and I want to just sit and watch something, I'm

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watching YouTube.

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It's better.

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And they have better metrics, and they have better ability

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to see what they did well and what they didn't.

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And broadcasters, we're two set in our ways.

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We got up. This is the way it's done. No,

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you're not holding your audience.

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There's this false sense of security because you're CBS and

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CNN that you have this huge audience. And yet YouTubers

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take Jimmy mister Beast. He squashes any network television channel.

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Oh yeah, definitely.

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The YouTubers are doing it way better.

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So what do you think from a content production standpoint?

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The YouTubers are doing it better than broadcasts. It seems

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like that there's a lot to learn from broadcasts, right

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that can be brought into the online side. Or are

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we completely remaking everything?

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Yeah, I think it's the other way around. YouTube has

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real time analytics.

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Right when I finish your video, wait for as long

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as it takes to play the video, and then see

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exactly where your audience was engaged, where they dropped off,

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where you lost them, or how you retained them. The

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example of mister Beast is he took those analytics and

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obsessed over them twenty four hours a day, three sixty

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five for fourteen years until he created the perfect retention

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video and you get what's time Like that, then YouTube

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pushes you to the algorithm that means you get promoted,

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that means you get more views, and then it's a

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virtuous cycle. Right and broadcast doesn't have that. They have

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to wait weeks before they get a Nielsen report that

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tells them what the viewer figures were and what the

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feedback loop was on the content.

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You were able to do that they could afford. Right,

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it was Broadcast. Nobody was pushing them. They had the

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time to figure it out. You don't have the time now.

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You need to be dialed into the analytics, as both said,

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and you need to know what's going on now in

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One of the things we were talking about is that

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you've seen the democratization of video editing. Just like thirty

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years ago, everybody suddenly became a graphic designer because PageMaker

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made it easy to make a newsletter that what's what's

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going on now? Final cut pro vegas Pro for a

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few dollars, you can have a production powerhouse that is

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far beyond what you could ever afford a traditional broadcast sense.

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I hate to say this, but I think page Maker

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is closer to forty years old then.

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Yeah. I was just trying to make you feel good.

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Yeah.

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So, as you think about your tools, the magic tool,

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what is the thinking around how you guys are thinking

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about that for speed of production, speed of getting content out,

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the expectations of the market now for shorts, for various

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derivative content from a master recording? Is that challenging you

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guys to come up with tools that are simple to

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use but very powerful and feature film?

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Yeah, that's.

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It is a challenge, but it's a fun challenge and

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it's not rocket science. How do you make it easy

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for somebody to edit? You do that by the same

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way you do good creative work is by thinking differently,

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thinking outside.

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Of your normal realm.

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And that's what software like vegas pro does. If it

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does it well, yeah, you don't have to think about it.

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It just stays out of your way while you're creative.

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Yeah, So how important is AI technology to what you

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guys see going forward.

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With the Vegas software.

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It's going to be obviously really important to Vegas bro,

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it's important to the industry. Everybody's talking about it is

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the buzz around. What's important to us when it comes

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to AI is to be really intentional about what we're

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doing with AI. Not just here's a bunch of AI

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features because that's what somebody said was cool, but what

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can actually help.

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You get your job done?

242
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So we start talking about text based editing where the

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AI analyzes the text and then you edit the text,

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and then that can help edit your timeline, or automated

245
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masking tools that cut hour zone man, you will work

246
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out of the process. It's not a magic button. It's

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really important for users to understand this when we talk

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about AI. It's not that you're just going to push

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the AI button in your videos done. You still have

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to create, you still have to correct and the mistakes

251
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and AI miggs.

252
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But it's really important to us.

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Can I just go back to the christion before about yeah,

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making things easier for creators? Hands up in the room here,

255
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anyone that's ever tried to license music before?

256
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How many of you enjoyed the experience.

257
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Yeah, so this is the point I'm making, like we

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in order for us to make that music available on

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linked we have had to what's called pre clear the

260
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publishing on one point four million songs. That means there's

261
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probably six million entities that we have had to contract

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with just to.

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Get that music clear.

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I would say a challenge here if I said you

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pick a song, pick your favorite song from the last

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ten years, and if I asked you now to try

267
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and clear it for a piece of content, and the

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first person if anyone does it within the next seven

269
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to two hours, I'll give you a million dollars. I

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would be so confident in that that I would bet

271
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a million dollars I don't have if I bet Rob's

272
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million dollars, and we can't have. The fact that we've

273
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done all that work to make that music available at

274
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a single click of a button.

275
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Is really that there are two innovations that next.

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One that we're doing that for the first time for

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this set of rights, and two that we then protect

278
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the video when it goes up onto YouTube from copyright clips.

279
00:14:30.840 --> 00:14:31.039
Yeah.

280
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And I think it's a very hot topic right now

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around copyright moderation at places like Spotify and YouTube whenever.

282
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It's definitely wrapped up.

283
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In the last year from what I'm seeing in the market,

284
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and because there's technology companies out there that we're developing,

285
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like music water marketing of sorts, technology that can actually

286
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detect it in content. Because YouTube, when you upload your

287
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video to their platform, they're analyzing lots of stuff and

288
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running algorithms against it, checking it for context content because

289
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they're pulling transcripts.

290
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Yeah, Chris, I just want to say something for Paul,

291
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not that he's not too shy to say this, but

292
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I'm going to brag for him his software. What he

293
00:15:11.799 --> 00:15:15.799
does tell me, if I get this right, is of

294
00:15:15.879 --> 00:15:19.279
the songs that you've licensed, YouTube.

295
00:15:18.960 --> 00:15:21.519
Is going to talk to Paul first, right, and then

296
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he goes.

297
00:15:21.879 --> 00:15:23.919
Oh, that's one of pauls Okay, good, Yeah, And not

298
00:15:23.960 --> 00:15:25.759
only does it do that, but it says, oh, that's

299
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one of Paul's songs and it's cleared for this YouTube channel.

300
00:15:29.320 --> 00:15:33.120
So it's just a much smoother operation. I really think

301
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what you're doing is super brilliant.

302
00:15:34.399 --> 00:15:36.720
Thank you very much the software that we built, But

303
00:15:36.840 --> 00:15:40.240
does that has to be integrated into the YouTube cms

304
00:15:40.279 --> 00:15:43.039
of every partner that signs with US, so not the Channel,

305
00:15:43.320 --> 00:15:47.759
but Warner Music, Sony Music, BMG, Cobalt, all these big

306
00:15:47.919 --> 00:15:50.799
multinational companies sign with us, and then I give them

307
00:15:50.799 --> 00:15:53.720
the software and they make it viable through their YouTube cms.

308
00:15:53.759 --> 00:15:55.000
So it's no mean feat.

309
00:15:55.240 --> 00:15:58.279
And our goal is to democratize music for the world's creators,

310
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and I won't be happy and I won't stop until

311
00:16:00.320 --> 00:16:04.440
we've got every song in the world available for content creators,

312
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just like it is for big business.

313
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Because this is.

314
00:16:06.600 --> 00:16:08.799
The fastest growing production sector in the world. Why would

315
00:16:09.000 --> 00:16:12.360
the music industry treat it like second class citizens. Unfortunately,

316
00:16:12.399 --> 00:16:14.759
the music industry specializes in one thing, and that is

317
00:16:15.600 --> 00:16:17.320
being able to walk into a dark room with a

318
00:16:17.360 --> 00:16:20.159
blindfold still manage to find a gun and shoot themselves

319
00:16:20.159 --> 00:16:23.120
straight in the middle of the foot right. And everything

320
00:16:23.120 --> 00:16:26.240
they've done in the last fifty sixty one hundred years

321
00:16:26.399 --> 00:16:30.480
has been about a monetizing scarcity. And everything that the

322
00:16:30.600 --> 00:16:33.759
UGC sector is asking them to do is about democratizing

323
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and liberating assets.

324
00:16:35.080 --> 00:16:37.039
And they scared shitless about it.

325
00:16:37.399 --> 00:16:39.879
And that's why it takes us so long even to

326
00:16:39.919 --> 00:16:42.679
get to pass one million song, which is by far

327
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the largest catalog of music ever made available to any

328
00:16:46.440 --> 00:16:49.159
production sector ever in the world, but we're still ninety

329
00:16:49.200 --> 00:16:50.559
million short of having everything.

330
00:16:51.720 --> 00:16:53.720
Yeah, I think one of the biggest worries that content

331
00:16:53.720 --> 00:16:56.480
creator has ever right now in using music, even if

332
00:16:56.480 --> 00:16:59.360
they go and license it from a royalty music platform

333
00:16:59.480 --> 00:17:01.440
or something like that, that they're still going to get

334
00:17:01.440 --> 00:17:05.640
called out on the platform because maybe that royalty free

335
00:17:05.720 --> 00:17:10.480
music platform is not embracing a data connection with YouTube

336
00:17:10.599 --> 00:17:13.000
or Spotify or whatever, and they're going to have to

337
00:17:13.359 --> 00:17:14.920
prove that they have the license somehow.

338
00:17:15.240 --> 00:17:17.240
You're trying to say that the AI is broken.

339
00:17:17.759 --> 00:17:18.839
No, no, it's not the AI.

340
00:17:19.000 --> 00:17:22.759
It's individual companies not having that data connection with YouTube

341
00:17:22.839 --> 00:17:27.319
or Spotify. Do you see that resolving itself? So everybody

342
00:17:27.480 --> 00:17:32.519
is sharing license information with Spotify and YouTube and all

343
00:17:32.559 --> 00:17:34.000
of these consumption platforms.

344
00:17:34.359 --> 00:17:35.559
It's getting there, right.

345
00:17:35.599 --> 00:17:39.000
We've just seen Universal Music partner with YouTube or an

346
00:17:39.039 --> 00:17:43.400
AI generative music incubator. It's pretty shitty, if I'm honest,

347
00:17:43.960 --> 00:17:46.720
But there's twenty artists that have given their voices for

348
00:17:46.799 --> 00:17:50.079
cloning and their music for training of the AI. So

349
00:17:50.119 --> 00:17:52.519
they're beginning to touch these spaces. But they've just moved

350
00:17:52.519 --> 00:17:54.880
so slowly. And that's why I always talk when I

351
00:17:54.920 --> 00:17:57.720
speak to creators. I'm telling like, you better start using

352
00:17:57.759 --> 00:18:00.000
LIGT because if you want to get to a place

353
00:18:00.160 --> 00:18:02.599
like I do, where there's every song in the world available,

354
00:18:02.799 --> 00:18:05.079
every time I send the dollar to the music industry,

355
00:18:05.200 --> 00:18:08.160
they feel more comfortable releasing more music, right, And that's

356
00:18:08.200 --> 00:18:10.200
the point, Like, we've got it this far. Now we

357
00:18:10.240 --> 00:18:11.920
need an army of creators behind us.

358
00:18:11.960 --> 00:18:14.519
So you said a really good thing there that I'm

359
00:18:14.519 --> 00:18:19.119
not sure everybody picked up on these platforms are basically

360
00:18:19.920 --> 00:18:25.200
analyzing the music using AI. Yes, and it's basically creating,

361
00:18:25.279 --> 00:18:28.200
let's say, a digital fingerprint of the music. So when

362
00:18:28.200 --> 00:18:32.160
they detect it through their AI algorithms, pulling transcripts and

363
00:18:32.200 --> 00:18:36.079
doing the analytics of it, that is what triggers the

364
00:18:36.079 --> 00:18:41.599
copyright connection with the platform for verification of license.

365
00:18:42.519 --> 00:18:45.640
Correct, Yeah, But in terms of music for content ID,

366
00:18:46.279 --> 00:18:47.880
it just said to them, what do you want me

367
00:18:47.920 --> 00:18:49.160
to do if I find your music?

368
00:18:49.440 --> 00:18:50.200
And the answer is.

369
00:18:50.200 --> 00:18:53.000
Well, there's nowhere to license it, so every use must

370
00:18:53.000 --> 00:18:55.839
be an infringement. And what our software does is tell

371
00:18:55.920 --> 00:18:59.359
content ID hang on, this music is now available for license,

372
00:18:59.519 --> 00:19:01.880
so you have to check with me. Essentially, it was

373
00:19:01.920 --> 00:19:05.440
guilty before proven innocent, and our software tends to innocent,

374
00:19:05.720 --> 00:19:08.880
proven guilty. Yeah, right, and we convet. The software that

375
00:19:08.920 --> 00:19:12.160
we build the interacts with content ID is called VOUCH,

376
00:19:12.680 --> 00:19:16.200
and we call it VOUCH because it vouches for our customers, right, yeah.

377
00:19:16.559 --> 00:19:17.359
Yeah, that makes sense.

378
00:19:17.440 --> 00:19:20.400
Yeah, is there any thought on that on your side

379
00:19:20.480 --> 00:19:22.839
with the software on the post production side.

380
00:19:22.720 --> 00:19:27.079
Or obviously the more music that people can use without

381
00:19:27.119 --> 00:19:31.680
worry of getting in trouble copyright strikes and all that garbage, Yeah,

382
00:19:31.720 --> 00:19:35.160
that's just beautiful for us because then people can get

383
00:19:35.200 --> 00:19:38.880
on with their creativity without all the garbage in their heads.

384
00:19:39.000 --> 00:19:41.240
So you guys haven't had to connect with any of

385
00:19:41.240 --> 00:19:44.319
these platforms for your own platform protection.

386
00:19:44.039 --> 00:19:46.720
At all or anything like that or not us.

387
00:19:46.720 --> 00:19:50.640
But our users, they're the ones at risk. We provide

388
00:19:50.640 --> 00:19:53.200
the tool for them to build their thing. It's up

389
00:19:53.240 --> 00:19:56.039
to them to add. It's up to the user to

390
00:19:56.079 --> 00:19:59.319
add things that they own the rights to. That's that's

391
00:19:59.319 --> 00:20:02.839
not us, but you guys making it easy for them

392
00:20:02.839 --> 00:20:05.200
to do that. It makes it easier for them to

393
00:20:05.480 --> 00:20:10.759
engage with our tool without their creativity being squashed by

394
00:20:10.799 --> 00:20:12.640
worries about legal issues and things like that.

395
00:20:12.720 --> 00:20:12.960
Yeah.

396
00:20:13.039 --> 00:20:17.400
Yeah, Chris, you touched on, mister beast let's do a

397
00:20:17.480 --> 00:20:19.200
little bit of a deep dive on that, because I

398
00:20:19.200 --> 00:20:22.319
think there's a lot of lessons to be learned, not

399
00:20:22.559 --> 00:20:25.240
just from the kind of content that mister Beasts is

400
00:20:25.279 --> 00:20:27.920
creating today and the kind of scale on a global scale,

401
00:20:28.839 --> 00:20:32.400
but I think the real things is that the creator

402
00:20:32.599 --> 00:20:35.559
of mister Beast, the founder of it, he has put

403
00:20:35.559 --> 00:20:39.720
out publicly that he is tired of his format.

404
00:20:39.759 --> 00:20:42.160
And he is going to renew.

405
00:20:41.920 --> 00:20:46.319
Himself or remake himself. Chris, what's your thought? What does

406
00:20:46.359 --> 00:20:49.119
that indicate to the market about where we are with

407
00:20:49.279 --> 00:20:50.200
these productions?

408
00:20:50.640 --> 00:20:53.319
Like we touched on earlier, everything changes, Everything is going

409
00:20:53.359 --> 00:20:55.480
to change. You're going to use in five years, you're

410
00:20:55.480 --> 00:20:57.480
going to be using totally different software than what you're

411
00:20:57.559 --> 00:21:01.119
using today. And if you dig your he in like

412
00:21:01.160 --> 00:21:03.759
I do often and say you're not going to change,

413
00:21:03.799 --> 00:21:07.279
you're gonna be in trouble. Jimmy, mister Bees is aware

414
00:21:07.640 --> 00:21:11.079
because he's analytical and because he watches those analytics. But

415
00:21:11.160 --> 00:21:13.759
he also, and this is the important thing, he's not.

416
00:21:14.000 --> 00:21:16.960
What he's doing now is he's not just reading the analytics.

417
00:21:17.319 --> 00:21:21.160
He's actually going back and watching the videos. So you

418
00:21:21.240 --> 00:21:23.559
got your metadata, and then you've got the entertainment factor

419
00:21:23.839 --> 00:21:25.720
And on a recent podcast that we talked about the

420
00:21:25.759 --> 00:21:26.400
other day, what is.

421
00:21:28.200 --> 00:21:28.279
It?

422
00:21:28.559 --> 00:21:31.440
No, it's a zamir and.

423
00:21:32.279 --> 00:21:35.079
Yeah, so he's on this podcast, he's doing this thing

424
00:21:35.240 --> 00:21:37.279
and he goes, yeah, I'm watching my old videos, and

425
00:21:37.279 --> 00:21:38.000
I'm like, why.

426
00:21:37.839 --> 00:21:38.519
Am I yelling?

427
00:21:38.599 --> 00:21:40.839
Why am I screaming? Why? You know, there's not a

428
00:21:41.279 --> 00:21:46.319
there's no point to take a breath. Space is okay?

429
00:21:46.880 --> 00:21:49.559
And Jimmy is starting to see that, and he's getting

430
00:21:49.559 --> 00:21:52.200
that not by looking at the analytics, but he's getting

431
00:21:52.240 --> 00:21:56.440
at it by taking a step back and actually watching

432
00:21:57.160 --> 00:21:59.240
what he's done. That's why I'm not a big fan

433
00:21:59.319 --> 00:22:02.519
of AI. You know, I've seen all the Terminator movies.

434
00:22:02.519 --> 00:22:03.079
I know where it is.

435
00:22:03.200 --> 00:22:06.640
It's not good for us. So we need to be careful.

436
00:22:06.799 --> 00:22:11.519
But we need to grasp on to the human element

437
00:22:11.599 --> 00:22:12.359
of what we're doing.

438
00:22:12.839 --> 00:22:14.400
What we need. The best way to.

439
00:22:14.359 --> 00:22:19.960
Communicate with anybody anytime, whether it's business or politics or

440
00:22:20.079 --> 00:22:24.359
personal or anything a cooking show, the best way to

441
00:22:24.400 --> 00:22:30.039
communicate is emotionally right, and when the computers understand human emotion,

442
00:22:30.799 --> 00:22:32.680
good luck, because we don't even understand it.

443
00:22:32.759 --> 00:22:35.920
Yeah, it's true, and we've seen that in tagging even

444
00:22:35.960 --> 00:22:38.440
like when you tag music, how does.

445
00:22:40.079 --> 00:22:40.640
Music is?

446
00:22:41.880 --> 00:22:44.880
But how you can teach you what rock is and

447
00:22:44.960 --> 00:22:47.640
what a tempo is? But how do you explain heartbreak?

448
00:22:48.119 --> 00:22:51.240
And how many genres does heartbreak cross? Just on the

449
00:22:51.279 --> 00:22:55.519
Beasting Chris is absolutely spot on. He basically watched the analytics.

450
00:22:55.519 --> 00:22:58.279
He obsessed so much though I need a cut or

451
00:22:58.319 --> 00:23:02.440
a format explanation of thirty seconds or if not twenty seconds,

452
00:23:02.559 --> 00:23:05.599
otherwise people drop off. And it's became it's start giving

453
00:23:05.680 --> 00:23:08.480
him headaches to watch the content because it was so fast.

454
00:23:08.720 --> 00:23:12.200
But mister Beasts is a regular user of Licks.

455
00:23:12.519 --> 00:23:15.640
He's our biggest customer that goes without saying any software

456
00:23:15.640 --> 00:23:17.160
he uses, he's that software's.

457
00:23:16.799 --> 00:23:19.920
Biggest customer, of course. But their team came to us.

458
00:23:20.039 --> 00:23:23.079
I spent a day actually out of their campus in Greenville,

459
00:23:23.119 --> 00:23:24.880
North Carolina, about ten days ago.

460
00:23:25.440 --> 00:23:27.200
It's amazing what they're doing out there.

461
00:23:27.359 --> 00:23:29.680
He's got three hundred and seventy star four hundred acres

462
00:23:29.680 --> 00:23:33.440
of land, six studios and it's really incredible. But they're

463
00:23:33.440 --> 00:23:36.640
talking about elevating the level of their content right and

464
00:23:36.680 --> 00:23:38.559
the sidemen out of the UK are having the same

465
00:23:38.599 --> 00:23:41.599
conversations with us, and one of the best ways and

466
00:23:41.720 --> 00:23:45.440
simplest ways to do that is through music, because at

467
00:23:45.480 --> 00:23:48.759
any point in when your storytelling, if you think about

468
00:23:48.839 --> 00:23:52.160
the best storytellers you know in your friendship group, the raconteurs,

469
00:23:52.400 --> 00:23:54.559
they're able to bring you into the story. They're able

470
00:23:54.559 --> 00:23:57.160
to create an emotional connection so you feel like you're there.

471
00:23:57.359 --> 00:23:59.359
And one of the easiest ways to do that is

472
00:23:59.400 --> 00:24:01.960
to use a song that you know is going to

473
00:24:01.960 --> 00:24:04.440
create an emotion, a song associated with an event, a

474
00:24:04.519 --> 00:24:07.160
song associated with the time in your life. Because more

475
00:24:07.160 --> 00:24:10.759
than like this also evoking nostalgia with the viewer, and

476
00:24:10.799 --> 00:24:13.599
if the viewer feels emotionally connected to the content, then

477
00:24:13.599 --> 00:24:15.839
they're going to watch for longer. And what we've seen,

478
00:24:15.880 --> 00:24:20.519
particularly through things like fitness videos or sports content, that

479
00:24:21.720 --> 00:24:26.240
the move from stock music to famous music is paying

480
00:24:26.319 --> 00:24:30.599
for itself because people are commenting about the music use

481
00:24:30.759 --> 00:24:34.480
in under the video. People are watching longer and sharing

482
00:24:34.559 --> 00:24:36.960
videos because of how it made them feel, and all

483
00:24:36.960 --> 00:24:39.440
of those analytics drive you into the algorithm. If you're

484
00:24:39.480 --> 00:24:41.480
driven into the algorithm, you get promoted and you get

485
00:24:41.480 --> 00:24:45.160
more revenue. So we see people come into litt, come

486
00:24:45.200 --> 00:24:48.000
in at the entry point price bracket, start using and

487
00:24:48.119 --> 00:24:51.119
very quickly migrate up the prize bands that and not

488
00:24:51.200 --> 00:24:53.400
be concerned about it because the music starts to pay

489
00:24:53.440 --> 00:24:54.039
for itself.

490
00:24:54.680 --> 00:24:55.880
It's an interesting phenomenon.

491
00:24:56.720 --> 00:24:59.680
Well, it's interesting about this discussion about mister Beast and

492
00:24:59.720 --> 00:25:04.200
his analytics and Chris's dislike for AI. What's really important

493
00:25:04.200 --> 00:25:07.599
for us as creators to keep in mind is that

494
00:25:07.880 --> 00:25:11.079
it's so easy to get caught up in the analytics

495
00:25:11.400 --> 00:25:13.200
and it's so easy to get caught up in the

496
00:25:13.200 --> 00:25:16.880
technology of the AI that you forget why you're doing

497
00:25:16.960 --> 00:25:19.279
what you're doing. You forget to be a creator, you

498
00:25:19.440 --> 00:25:22.319
forget to be a creative person. And if you start

499
00:25:22.359 --> 00:25:26.200
letting your obsession of the AI tools or your obsession

500
00:25:26.279 --> 00:25:29.720
of your analytics, not that it's not important, that stuff

501
00:25:29.759 --> 00:25:32.599
is all important, but if you let that stuff start

502
00:25:32.599 --> 00:25:36.400
dictating what you do as a creator, then you're only chasing.

503
00:25:36.559 --> 00:25:38.880
You're chasing mister Beast and you're never going to catch him.

504
00:25:39.359 --> 00:25:43.720
So use all that stuff, leverage all that stuff. But

505
00:25:43.799 --> 00:25:47.319
as a creator, you've got to touch keep in touch

506
00:25:47.359 --> 00:25:49.759
with why you're creating and what you're trying to do

507
00:25:50.079 --> 00:25:52.400
and the story you're trying to tell.

508
00:25:52.440 --> 00:25:55.039
Let that stuff support you, not driving.

509
00:25:55.200 --> 00:25:57.960
Have you ever heard Casey Nystat talk about the mist

510
00:25:58.079 --> 00:26:02.119
beastification of YouTube because the number one creator in the

511
00:26:02.160 --> 00:26:05.119
world made his content a cert of way and it

512
00:26:05.240 --> 00:26:12.160
was so fast and he was screaming. Everyone started mimicking it.

513
00:26:08.799 --> 00:26:11.720
And it's turned into a bit of a shit show.

514
00:26:11.960 --> 00:26:14.559
And even Jimmy's looking back on his content now and going,

515
00:26:15.039 --> 00:26:17.680
I would just have to relax a bit more when

516
00:26:17.680 --> 00:26:18.839
I'm watching my own content.

517
00:26:18.920 --> 00:26:20.200
Well, it was super ironic for me.

518
00:26:20.319 --> 00:26:24.279
Is the same month I heard Casey talk about or

519
00:26:24.599 --> 00:26:25.319
coin the term.

520
00:26:25.319 --> 00:26:29.119
Maybe he didn't coin beastification. The same month I hear

521
00:26:29.200 --> 00:26:30.880
Jimmy go, yeah, I'm over it.

522
00:26:32.000 --> 00:26:34.519
But doesn't mean that he's at risk of creating more

523
00:26:34.599 --> 00:26:35.559
boring content.

524
00:26:36.119 --> 00:26:38.000
That's the other end of the spectrum. No, I think

525
00:26:38.000 --> 00:26:38.880
it's the perfect mix.

526
00:26:38.920 --> 00:26:41.160
The guy he was talking about about using the analytics

527
00:26:41.160 --> 00:26:45.119
to drive optimizations but understanding what it is to be

528
00:26:45.160 --> 00:26:47.799
a viewer and what it's what the experience is like

529
00:26:47.839 --> 00:26:48.960
watching the content.

530
00:26:49.440 --> 00:26:52.519
Be a human before you lean into So does that.

531
00:26:52.519 --> 00:26:55.880
Mean that from a psychology standpoint and the expectations of

532
00:26:55.880 --> 00:26:57.759
the audience are shifting?

533
00:26:58.039 --> 00:26:58.240
Right?

534
00:26:58.680 --> 00:27:01.480
Is it based on Chris? What do you think? What's

535
00:27:01.480 --> 00:27:05.359
it based on? Why are we shifting towards more emotional content,

536
00:27:05.599 --> 00:27:09.319
less kind of flash bang pow type content that mister

537
00:27:09.319 --> 00:27:10.000
Beasts has been doing.

538
00:27:10.000 --> 00:27:11.519
I don't know that we are. Let's see if Jimmy

539
00:27:11.519 --> 00:27:16.400
can pull it off. Pasification is explosions and no breaths.

540
00:27:16.759 --> 00:27:18.440
So when you do your podcast, do you edit the

541
00:27:18.440 --> 00:27:20.440
breaths out or do you just gate him out?

542
00:27:20.519 --> 00:27:21.640
Or do you just let him fly?

543
00:27:22.160 --> 00:27:23.440
What do you usually just let him fly?

544
00:27:23.519 --> 00:27:23.920
Especially?

545
00:27:24.480 --> 00:27:26.000
I just wanted to do a podcast.

546
00:27:26.079 --> 00:27:27.200
I wanted to get that EUI of the way.

547
00:27:27.480 --> 00:27:31.359
So we got to see if Jimmy's successful, if he

548
00:27:31.519 --> 00:27:34.960
can actually slow things down and he could take a

549
00:27:35.039 --> 00:27:36.559
seven minute video make it into.

550
00:27:36.440 --> 00:27:38.880
A twelve minute video and retain the audience.

551
00:27:39.960 --> 00:27:41.319
Awesome? Yeah?

552
00:27:41.440 --> 00:27:43.920
Or is he just growing up and getting a little

553
00:27:43.920 --> 00:27:45.240
more conservative in his content?

554
00:27:45.279 --> 00:27:46.799
I wonder he may be.

555
00:27:47.960 --> 00:27:50.000
I know, is there any comment on that that maybe

556
00:27:50.079 --> 00:27:52.200
this is the natural evolution of a.

557
00:27:52.359 --> 00:27:55.119
Content that plays a big part in it. But I

558
00:27:55.160 --> 00:27:57.279
wouldn't call it grow it. How did you phrase it?

559
00:27:57.559 --> 00:27:59.640
Getting older, growing up thinking a little.

560
00:28:00.119 --> 00:28:03.240
He's he's thinking about what he's doing, and he's nobody

561
00:28:03.279 --> 00:28:04.839
wants to be stagnant doing the same thing.

562
00:28:04.880 --> 00:28:05.240
Forever.

563
00:28:05.640 --> 00:28:08.440
I saw that the broadcast industry to some degree, or

564
00:28:08.480 --> 00:28:12.519
the streaming platforms were embracing his content now too, So

565
00:28:12.599 --> 00:28:15.200
that means that maybe that's a sign to him that

566
00:28:15.240 --> 00:28:18.119
maybe he's crossed the rubicon that he doesn't want to cross.

567
00:28:18.400 --> 00:28:21.759
Right, You asked before if YouTubers were learning from broadcasts

568
00:28:21.839 --> 00:28:24.160
or if broadcasts were learning from YouTubers, And that's the

569
00:28:24.200 --> 00:28:26.680
first sign, right, If one of the biggest streaming platforms

570
00:28:26.720 --> 00:28:29.400
in the world is throwing nine figures at you to

571
00:28:29.480 --> 00:28:31.400
try and bring your audience to their platform.

572
00:28:31.559 --> 00:28:33.920
Amazon Prime has fewer subscribers.

573
00:28:33.359 --> 00:28:37.720
Than this debaate, He's going to a small audience for this,

574
00:28:38.440 --> 00:28:41.359
and that's because broadcast needs to learn from contact creators.

575
00:28:41.680 --> 00:28:44.480
Yes, he does throw a lot of money around. So

576
00:28:45.119 --> 00:28:47.640
that's the other thing too that's different than most YouTubers.

577
00:28:47.680 --> 00:28:49.599
That is that a lot of them don't have the

578
00:28:49.640 --> 00:28:53.039
money to do like a half million dollar prize or

579
00:28:53.039 --> 00:28:56.799
something like that for a squid game type of experience.

580
00:28:56.359 --> 00:28:59.559
Right, Reube, Right, it's not I mean, it's not that

581
00:28:59.640 --> 00:29:00.960
he doesn't have the money to do it.

582
00:29:00.960 --> 00:29:02.440
It's just it'll be interesting.

583
00:29:03.319 --> 00:29:06.960
And maybe I don't understand likely if Jimmy's calling the

584
00:29:06.960 --> 00:29:09.559
shots in because he very famously says, I put all

585
00:29:09.559 --> 00:29:11.279
the money back into the videos.

586
00:29:11.319 --> 00:29:13.480
I put all the money back into the he puts

587
00:29:13.480 --> 00:29:14.720
it all he's eating.

588
00:29:14.880 --> 00:29:17.559
But if he's putting all the money, would a big

589
00:29:17.599 --> 00:29:21.400
company allow him to do that, because there's a point

590
00:29:21.440 --> 00:29:26.519
where autonomy gets squashed by the politics of a big company,

591
00:29:27.079 --> 00:29:29.000
and that could be that could be the death of things.

592
00:29:29.160 --> 00:29:31.279
It'd be interesting because would be the first time that

593
00:29:31.359 --> 00:29:35.039
he's putting out successive episodes where he can't take a

594
00:29:35.160 --> 00:29:38.160
learning from one episode and implement it into the next,

595
00:29:38.599 --> 00:29:41.079
because they will shoot the whole thing and edit it

596
00:29:41.400 --> 00:29:43.240
and then it will just go live and be released

597
00:29:43.240 --> 00:29:44.960
episodically or even in Win one Go.

598
00:29:45.759 --> 00:29:47.359
But there's a gentleman here in.

599
00:29:47.359 --> 00:29:50.440
The audience who should probably be up on this stage

600
00:29:50.440 --> 00:29:53.559
with us, called Hayden because he was editing for Mister

601
00:29:53.599 --> 00:29:55.519
Beast and people like Logan Paul in the past.

602
00:29:56.839 --> 00:29:59.359
So let's let we just have a few more minutes.

603
00:29:59.400 --> 00:30:01.839
But I just wanted to back up and just bring

604
00:30:01.880 --> 00:30:05.759
to the four what the key takeaways are of what

605
00:30:05.240 --> 00:30:08.480
we've been talking about here and what you can take

606
00:30:08.519 --> 00:30:11.240
away from this to help you be a better maybe

607
00:30:11.279 --> 00:30:14.319
content creator or a producer or something like that. What

608
00:30:14.359 --> 00:30:17.359
are the important things that you've heard in this conversation, Chris,

609
00:30:17.440 --> 00:30:17.680
do you.

610
00:30:17.640 --> 00:30:20.319
Think AI is going to rule the world?

611
00:30:20.680 --> 00:30:21.680
Okay, I don't know.

612
00:30:21.759 --> 00:30:25.000
What does that mean? No, I don't. I think the important.

613
00:30:24.519 --> 00:30:27.400
Thing about editing, I'd go back to what I was

614
00:30:27.440 --> 00:30:31.519
saying about finding that spine. Things have to have purpose,

615
00:30:32.680 --> 00:30:35.960
things have to have a reason for being there. I

616
00:30:36.039 --> 00:30:38.440
had a great discussion just this morning with my friend

617
00:30:38.519 --> 00:30:42.519
Keenan about great television scripts, and to me, a great

618
00:30:42.559 --> 00:30:47.400
television script is one where every word is important, and

619
00:30:47.680 --> 00:30:49.319
you take certain things and you look at it and

620
00:30:49.359 --> 00:30:51.440
you're like, there's not a word in this I could

621
00:30:51.480 --> 00:30:54.519
take out that wouldn't affect the quality of it right

622
00:30:55.200 --> 00:30:59.200
to the downside. And you find that spine and you

623
00:30:59.359 --> 00:31:02.559
remain true to it, and you keep the emotion in

624
00:31:02.599 --> 00:31:03.200
the forefront.

625
00:31:03.480 --> 00:31:07.119
Yeah, Garrett, here for me take away.

626
00:31:07.240 --> 00:31:12.279
Chris has mentioned this spine analogy several times, and I

627
00:31:12.279 --> 00:31:14.319
don't mean to be corny, but if it has to

628
00:31:14.319 --> 00:31:16.000
have a spine, it also has to have a heart.

629
00:31:16.039 --> 00:31:18.640
And that's the most important thing to me is that

630
00:31:18.759 --> 00:31:21.440
you bring the heart to your production. You bring the

631
00:31:21.480 --> 00:31:25.000
heart to what you're creating, and nobody else can do that.

632
00:31:25.640 --> 00:31:27.599
You can do that better than mister beasts can do that.

633
00:31:27.839 --> 00:31:29.759
Let mister beasts do what mister beast does.

634
00:31:30.359 --> 00:31:31.240
You do what you do.

635
00:31:31.480 --> 00:31:33.599
You learn from what he does, you learn from what

636
00:31:33.680 --> 00:31:36.160
other people do, and then you bring it your own

637
00:31:36.200 --> 00:31:39.839
heart and you create something. That's what it's really all about.

638
00:31:41.559 --> 00:31:45.440
I would say that great content evokes emotions, and one

639
00:31:45.480 --> 00:31:48.039
of the best ways to evoke emotions is creating a

640
00:31:48.119 --> 00:31:49.640
rap pol with your viewer. And a way to do

641
00:31:49.720 --> 00:31:52.720
that is to use great fucking music. Guy Ritchie once said,

642
00:31:52.720 --> 00:31:54.720
if you watch a great film, it's fifty percent the

643
00:31:54.799 --> 00:31:57.000
visuals of fifty percent of the music, right, And that's

644
00:31:57.039 --> 00:32:01.160
why his soundtracks are always epic in fact, than the content.

645
00:32:00.839 --> 00:32:01.640
Most of the time.

646
00:32:01.839 --> 00:32:04.920
Let's be honest and really putting value on the music

647
00:32:05.000 --> 00:32:06.960
choices you make and the music you can use to

648
00:32:07.000 --> 00:32:10.240
help tell your story is going to benefit your content,

649
00:32:10.519 --> 00:32:10.960
no end.

650
00:32:12.640 --> 00:32:15.880
So one last or towards the end here topic that

651
00:32:15.920 --> 00:32:18.400
I wanted to mention too is as we think about

652
00:32:18.440 --> 00:32:22.759
shorts and longer form content in the production side. So

653
00:32:22.799 --> 00:32:26.519
we have TikTok, we have YouTube, we have shorts on

654
00:32:26.559 --> 00:32:29.200
a variety of different platforms. How do you walk that

655
00:32:29.359 --> 00:32:33.480
line these days with content and your post production and

656
00:32:33.519 --> 00:32:35.680
your editing and all this kind stuff like that to

657
00:32:35.759 --> 00:32:38.960
make all that work together. Chris, do you have any

658
00:32:39.000 --> 00:32:39.680
thoughts on that one.

659
00:32:39.839 --> 00:32:41.680
I am pretty old school.

660
00:32:42.000 --> 00:32:45.000
I know that a lot of people want to have

661
00:32:45.119 --> 00:32:48.119
a button or a thing or a tool that's just

662
00:32:48.160 --> 00:32:51.039
gonna seek it out and find it and automate, automate.

663
00:32:51.799 --> 00:32:55.319
I tend to work very old school, and I'm going

664
00:32:55.400 --> 00:32:57.839
to go through the content and I'm gonna I might

665
00:32:57.960 --> 00:33:00.000
market as i'm doing it. God, it'd be a good

666
00:33:00.720 --> 00:33:02.799
clip or something that'd be a good lift for later.

667
00:33:03.319 --> 00:33:05.720
And I'm not looking for a magic button that makes

668
00:33:05.759 --> 00:33:06.640
everything vertical.

669
00:33:06.960 --> 00:33:10.000
I'm gonna do. I still work, and I think that

670
00:33:10.359 --> 00:33:11.359
there's a place for that.

671
00:33:11.599 --> 00:33:14.160
And I'm not saying it's wrong, but I think that

672
00:33:14.240 --> 00:33:18.480
I might be more worried about retiring than doing things quicker.

673
00:33:18.720 --> 00:33:22.160
And so I'm not so much worried about all those things.

674
00:33:22.519 --> 00:33:26.000
But it's okay to work. Editorial is a job.

675
00:33:26.319 --> 00:33:29.279
There's a reason why I get paid. I do a

676
00:33:29.279 --> 00:33:29.680
lot of.

677
00:33:29.640 --> 00:33:31.640
Things for you, and I'm doing a lot of things

678
00:33:31.640 --> 00:33:34.279
for you that you probably don't.

679
00:33:34.079 --> 00:33:35.240
Realize I'm doing for you.

680
00:33:35.279 --> 00:33:37.759
And I think when you have that relationship with your editor,

681
00:33:38.079 --> 00:33:40.200
you realize you got to lean on that person and

682
00:33:40.240 --> 00:33:42.160
they're going to cover a lot of stuff for you

683
00:33:42.400 --> 00:33:44.480
that you're not even cognizant of.

684
00:33:45.160 --> 00:33:47.160
Yeah, because it does seem like that the short form

685
00:33:47.240 --> 00:33:50.039
content that we're seeing in the market today is not

686
00:33:50.519 --> 00:33:54.880
really always being seen as a referential medium to longer

687
00:33:54.920 --> 00:33:58.359
form content, though I'm seeing some overlap there where people

688
00:33:58.400 --> 00:34:01.640
will become a customed to your brand and who you

689
00:34:01.680 --> 00:34:04.400
are and your message in the shorts, and that may

690
00:34:04.519 --> 00:34:08.119
translate into consumption of the longer form content. But as

691
00:34:08.159 --> 00:34:10.320
you look at the tooling side, Gary, how do you

692
00:34:10.360 --> 00:34:13.119
guys think about shorts versus longer form content? Are you

693
00:34:13.159 --> 00:34:16.519
guys building that short capability into the tools?

694
00:34:16.960 --> 00:34:19.000
The tool can do whatever you want it to do.

695
00:34:20.079 --> 00:34:22.480
That's not the issue to me. The issue is there's

696
00:34:22.880 --> 00:34:24.559
it's become a bit of a meme now in the

697
00:34:24.559 --> 00:34:26.679
business world. But start with your why are you doing

698
00:34:26.719 --> 00:34:29.480
what you're doing? If you start from there, if you

699
00:34:29.519 --> 00:34:32.599
start from your message and you decide what it is

700
00:34:32.599 --> 00:34:34.840
you're trying to do and why you're trying to do it,

701
00:34:36.119 --> 00:34:39.119
then you can then figure out how you're going to

702
00:34:39.159 --> 00:34:41.480
deliver it and whether that's a short, or whether that's

703
00:34:41.519 --> 00:34:44.039
a nine x sixteen or sixteen by nine or a

704
00:34:44.079 --> 00:34:48.159
square for Instagram or whatever. But if you start there

705
00:34:48.880 --> 00:34:51.519
instead of starting with why you're doing what you're doing it,

706
00:34:51.639 --> 00:34:52.880
you're just chasing shadows.

707
00:34:52.920 --> 00:34:53.800
It doesn't make sense.

708
00:34:54.599 --> 00:34:57.320
And I would add to that, just be thematically consistent

709
00:34:57.360 --> 00:34:59.840
of course, on the platforms. Right, if people are watching

710
00:34:59.840 --> 00:35:02.480
you long form because you provide real value on a

711
00:35:02.480 --> 00:35:06.159
specific topic, don't go start making shorts that are about

712
00:35:06.199 --> 00:35:08.360
something completely different like reaction videos.

713
00:35:09.079 --> 00:35:09.840
Use it as a promo.

714
00:35:09.880 --> 00:35:11.760
Toe'll find out where you're earning your money, where you're

715
00:35:11.800 --> 00:35:14.039
earning your income, if it's brand paying you because of

716
00:35:14.079 --> 00:35:16.559
your Instagram or if it's had sense from YouTube, and

717
00:35:16.599 --> 00:35:19.039
then use the other verticals to drive traffic to that

718
00:35:19.079 --> 00:35:19.599
one base.

719
00:35:20.559 --> 00:35:20.719
Yeah.

720
00:35:20.719 --> 00:35:22.840
I think the other part of this too, and I

721
00:35:22.880 --> 00:35:25.920
don't know if you can hear me, but is that

722
00:35:26.039 --> 00:35:28.280
a lot of AI tools are being utilized to create

723
00:35:28.320 --> 00:35:34.360
shorts now and yeah, and it seems like that they're

724
00:35:34.440 --> 00:35:38.280
still struggling to find those cutpoints that are optimal and

725
00:35:38.320 --> 00:35:41.440
it's not always the best experience, and it drives people

726
00:35:41.480 --> 00:35:45.159
back to maybe putting up short form content that's less optimal.

727
00:35:45.880 --> 00:35:47.119
I don't know what you think about.

728
00:35:47.840 --> 00:35:50.559
The AI can't do it for you. AI can help

729
00:35:50.599 --> 00:35:52.599
you do it. You still got to do it yourself.

730
00:35:52.639 --> 00:35:55.400
You still have to correct the mistakes that AI is

731
00:35:55.440 --> 00:35:59.119
going to make. Maybe someday AI will magically do it,

732
00:35:59.280 --> 00:36:01.920
but then it's no fun.

733
00:36:02.440 --> 00:36:05.679
Right, Let's go in and take a couple of questions.

734
00:36:05.679 --> 00:36:07.639
If anybody in the audience wants to ask any of

735
00:36:07.679 --> 00:36:10.760
our terrific panelists any questions on some of the things

736
00:36:10.760 --> 00:36:13.920
we've talked about, just raise your hand.

737
00:36:13.960 --> 00:36:17.719
If you want to make a comment, speak again. I

738
00:36:17.760 --> 00:36:18.800
won't be speaking again.

739
00:36:19.039 --> 00:36:22.320
I'm speaking on Tuesday here at eleven am about eggs.

740
00:36:22.440 --> 00:36:23.480
Yeah.

741
00:36:23.639 --> 00:36:26.960
Yeah, And I'm doing a workshop for stream Yard here

742
00:36:27.119 --> 00:36:30.119
at four o'clock today here in the same area here.

743
00:36:32.039 --> 00:36:34.199
I'm going to be making some shelves in my friend

744
00:36:34.280 --> 00:36:37.519
Keenan's garage later this week, So if you want to

745
00:36:37.559 --> 00:36:39.000
drop by, we could have a chat.

746
00:36:39.199 --> 00:36:39.679
There you go.

747
00:36:41.159 --> 00:36:45.199
Yeah, does anybody else have a question about editing or

748
00:36:45.280 --> 00:36:50.599
tools or AI or what you guys are saying licensing person, Yeah,

749
00:36:50.760 --> 00:36:56.800
there you go. There's a topic that that triggered some interest. Yes,

750
00:36:56.880 --> 00:36:58.440
I think we've got a couple of questions in the

751
00:36:58.440 --> 00:36:58.800
back there.

752
00:36:59.079 --> 00:37:00.320
I don't take it from the guys.

753
00:37:00.760 --> 00:37:03.840
I don't think think license.

754
00:37:04.280 --> 00:37:08.800
Ah, Jesus, this is gonna go bad. Maybe I get.

755
00:37:08.639 --> 00:37:13.679
Good, all right, if you don't have any questions? All right.

756
00:37:14.599 --> 00:37:17.159
There was a lot of fears and a lot of thinking,

757
00:37:17.239 --> 00:37:20.920
and we talked before about oh yeah, and I.

758
00:37:20.800 --> 00:37:23.400
Think welcome around and you guys should get you few

759
00:37:23.519 --> 00:37:26.920
opened by some of our exhibitors. You guys should think

760
00:37:26.920 --> 00:37:31.199
about more short form and is there a right form?

761
00:37:31.320 --> 00:37:33.920
I believe you watched short form and then you short

762
00:37:35.079 --> 00:37:37.519
but did you find out a little more about that?

763
00:37:38.960 --> 00:37:39.159
Yeah?

764
00:37:39.199 --> 00:37:42.519
Thank you, Thank you all for being here and spending

765
00:37:42.559 --> 00:37:46.800
time with Thank you. Thanks to Chris, Gary and Paul

766
00:37:46.920 --> 00:37:48.440
for taking their time out to share.

767
00:37:48.719 --> 00:38:02.519
Thanks the inspiration, Spoken Word, Tech Connection, Spoken Light, Boken

768
00:38:03.719 --> 00:38:08.719
Spoken Light, Spoken Light, Spoken Lights with Rob Greenley with

769
00:38:08.960 --> 00:38:10.400
Rob Greenley with Rob green

770
00:38:16.519 --> 00:38:16.840
MHM