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Finding the Facts: Is it even possible?

By
Erik Fritts
-

Facts: they make the story, they build our reality, but does anyone actually know what they are or where they come from?

Content creators come in all varieties; some upload videos of their cats, some create comedic short films and some relentlessly seek out The Truth in a quest to inform the public about the realities of the world around them. YouTube creators in the last category find themselves in a hard position: verifying information as credible before reporting on it to their audience.

These days, it’s hard to know that the news we’re getting is reliable. Mainstream media is controlled by The Man and benefits from maintaining the social order, censoring any story that doesn’t fit into their predetermined narrative. The alternative media is a breeding ground for wing-nuts and wackos from the political extremists to holistic new-agers. Many people stay informed through social media, which tends to be an echo-chamber where users filter out voices they don’t agree with and surrounded themselves with reports that confirm their preconceived notions.

Where can you turn for research if you’re a content creator who just wants to run an honest, grounded story, based on the undeniable facts? How can you make sure your YouTube channel is reporting the absolute, undeniable truth about the Reptilian Overlords’ most recent crackdown on the Mermaid Resistance? Is it even possible to know the truth?

Is it possible to be sure that everything you’re reporting is fact?

Where do facts end and subjective perspective begin? Say a study is done, under utmost scientific rigor, that finds 82% of people enjoy strawberries. One reader of the study might conclude the results proved strawberries are pretty good. Another might conclude that a majority of people have wonky taste buds. A third person might recognize a conspiracy from the scientists that take hush money from Big Strawberry. Maybe no one would recognize the absolute fact of the matter: strawberries are just government propaganda and don’t actually exist.

Is it possible to be sure that everything you’re reporting is fact? Unless you’ve experienced something personally, aren’t you just trusting other people’s accounts — other people that can be misinformed and/or liars? Even if you’ve seen something with your own eyes, you can’t always trust your own experience; optical illusions show us that our brains can be confused by simple tricks. Memories are fragile; they fade over time and can be influenced after they are formed. What is there that can be trusted as undeniable fact?

Everyone seems to have an agenda they’re pushing, which, in the search for facts, can leave us feeling like we’re grasping at straws. The quest for reliable facts could be a wild goose chase, devised to keep us too busy to overthrow the Reptilian Overlords. But perhaps, there’s something more to it. Maybe by checking and cross referencing, by researching and reviewing sources, by reading more of an article than just the headline — maybe we can find the truth about what’s going on in the world.

But we should proceed with caution, because The Truth has a way of changing things — even things we didn’t want to change.

Or maybe, that’s just what The Man wants you to think.

YouTuber Magazine is a digital periodical. Subscribe here to have the next full issue delivered for free.

Following KHS: An Interview with Kurt Hugo Schneider

By
Jeff Chaves
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Kurt Hugo Schneider has massed a huge YouTube following by being creative on a number of different levels. We caught up with the busy artist to find out how he got started and how he keeps it going.

Kurt Hugo Schneider
Subscribers: 8,205,624
Uploads: 368
Video Views: 2,059,766,168
Channel Type: Entertainment
Created: Oct. 16, 2007

As a child of the ’80s or the ’90s, you’re drawn to a video called “Michael Jackson Medley” with over 34 million hits. It starts with a group of guys walking out on stage who — wait, that’s all the same guy! He/they sing, in incredible harmony, a song that fits together lines from practically every Michael Jackson hit. Amazingly, it works together perfectly and you wonder, “Who could have edited something like this?” If you’re in production, you think, “Who could have shot this so it fits together so seamlessly?” If you look to the left side of the screen, there’s one singer who is different from the rest of the bunch. He’s the producer and creator, Kurt Hugo Schneider.

We caught up with the YouTube creator, who has not just a single multi-million hit song, but currently has dozens and just keeps producing. He even has two productions that have crossed the 100 million hit line. Kurt is sometime called KHS and goes by many titles: “Some people call me a producer, filmmaker, YouTuber. None of those titles is incorrect. I usually say musician.”

Musical Roots

Kurt grew up in Blue Bell, PA and is the son of Laurie and Michael Schneider. He says music has always been an influence in his life, “When I was really little my parents, took me and my sister to ballet a lot, which obviously has a lot of amazing musical themes. I guess we used to listen to classical music growing up.” He continues, “I grew up in a very musical household, my sister, she’s older than me, is a professional pianist. My parents were never into music as a profession, but both are very musical people and did music when they were younger. Honestly, for a little bit when I was growing up, I was the only person in my family who didn’t play a musical instrument.”

“Pass It On” features an innovative use of Coke bottles as improvised instruments to give Kurt’s original composition a unique sound.

That environment paid off because, although he was never formally trained, Kurt can play almost every instrument. On his videos, you’ll often see him behind a piano or playing guitar, but, because he just thinks musically, he often will often use non-musical objects as instruments. “I just recorded a track the other day where I used a hoodie zipper and scissors as part of the percussion. I like to just find music in things that you wouldn’t think of as a musical instrument.” You can a great example of this on his video called “CUPS!!”, which has more than 43 million hits, or on his amazing “Pass It On,” in which Kurt sits at a picnic table with five other people and the music is made by hand clapping and passing around Coke bottles. Kurt’s a master at untraditional concepts.

Growing up in the suburban Pennsylvania town, he met Sam Tsui. Sam is the primary singer on the “MJ Medley” and on many of his tracks. “I’ve known Sam forever. We grew up ogether. We lived down the street from each other. We went to the same middle school, high school and college. He was the next stop on the bus route.” Kurt remembers with a laugh. “We rode good old bus 21 at our local public school. I got on one stop, the bus drove down the road, and Sam got on the next stop. That’s how I met Sam. And we’re still working together to this day.”

Kurt’s first and most frequent collaborator is Sam Tsui, who often performs the songs Kurt has written for the camera. Kurt and Sam have known each other since grade school and continue to work together today.

Music surrounded Kurt, but he says that in junior high and high school music was just an aside. “When I was little, I was a nerdy, geeky math guy. I don’t know how many people know that.” He became a chess master at 15 and went to Yale for mathematics. “I’ve read that math and music are related; I guess so, in some way. I’ve always loved math and I’ve always loved music. It just so happens that the music won out.”

It’s also very helpful to have a supportive family. Kurt tells us that his parents have always encouraged him, “You hear some horror stories about people with musical aspirations whose parents don’t support them on their journey. They want them to become a doctor or whatever. That’s never been the case with my parents. My parents have always been very supportive, have always been encouraging me to do what I love.”

Yale to YouTube

In college, Kurt began to discover other talents, like video production. At Yale, he found his outlet for his music on YouTube. “When I started uploading, there weren’t people who were making a living from YouTube.” At first he had no idea that his songs would gain millions of viewers.

Primarily a producer, Kurt often collaborates with other signers and musicians, and he makes sure to have fun while doing so.

“There were no people who had YouTube as a central pillar for their business. YouTube was just a destination for videos that you wanted to share with your friends.” Kurt tells us, “I was watching a bunch of stuff, and a lot of music stuff was just people just singing in their bedroom or living room. Some videos were quite good. I watched it and thought that there was a chance to deliver something that was a little bit more professional and that’s what I tried to do.”

Kurt wrote and played music while Sam would sing, but his stuff never really caught on until he decided to clone his friend. “I was going to do a duet with Sam and this girl, but the girl backed out at the last minute. Instead of finding another one, I said to Sam, ‘We could have you do both the guy and the girl part.’ It turned out great!” Kurt edited the video together so it seamlessly worked in harmony. He says that the video got 1000 views in the first day. “Back then, to us, it was really encouraging, and a lot more than we had expected.”

The wheels started turning, and Kurt developed other video ideas, like the “Michael Jackson Medley” uploaded in the Fall of 2009. There were immediate results, he says: “There started to be more people who were subscribing to our channel and there were more people who were following it. We kept uploading stuff. The numbers started to build up, and I think that it was then when I realized that there was a real opportunity here.”

He still wasn’t sure that YouTube could be the way for musicians to gain an audience. Most people thought of it as an outlet where an artist might get seen and discovered. “I think that for me, the lightbulb moment was when I thought YouTube itself could be just the outlet for us that we use to break into this industry.” So Kurt began to get even more creative. He did more cloning songs with Sam and other collaborations that included unique musical styles.

Open Doors

As the numbers went up, more opportunities came. For example, Kurt was asked to collaborate with Coca Cola in 2013 on a campaign called “The Sounds of Aahh”. In the videos, you’ll see Kurt and others, using Coke bottles as musical instruments.

But the most surprising thing for for him was being able to play music at live venues, on a month long tour of Asia, “I got to play some great shows, meet awesome fans. I’ve gotten to see the world. I never imaged that I’d be going, much less performing, in places like Thailand, Taiwan and India. Just tons of crazy places.”

Kurt tells us that his goal right after college was simply to see how far the music could go: “I figured that I would just take a year and just focus on YouTube and videos and see what happens. I’m still here doing it. I guess it worked out OK” He now makes a living through his work, and he loves what he’s doing. “I love that I get to wake up every day, and basically think of something new and creative to do, then go and do it.”

His current goal is to just keep on creating, “I’m producing like seven videos a month on YouTube, which is significantly more than I used to. A year ago, it was closer to a video a week. A couple years ago it was three videos a month. I’d love to keep on increasing the rate” But he says that it’s not just about numbers, “My motto has always been ‘quantity and quality’. You need both. You can’t sacrifice one.”

Creative Tools

In order to get that quality, Kurt has had to get new and better equipment. “Back then, I was filming on little DV tape,” Kurt says of the “MJ Medley” days, “I didn’t even have a camera, I was borrowing stuff from our college.”

But eight years later, Kurt has moved to the West Coast and added to his creative toolset: “I use a bunch of different stuff,” he eplains, “My main camera is probably the [Blackmagic Design] Ursa Mini right now.”

He tells us that a lot of the audio work is done right at home. “I record people in my house. I have a dedicated recording space. I’ve got a little JVC mic that I record people on.” Kurt says that great audio is a key to what he does. “I used to primarily use Logic. Now, I’ve mostly switched over to a new program called Studio One.”

Post-production also happens at home. “I use Premiere Pro. I switched over from Final Cut three or four years ago, and I’ve never looked back.”

Because Kurt is all about innovation, he’s also been experimenting with new tools like spherical video. On the morning of our interview, he uploaded “Built To Love.” The production features Sam walking from the street to the stage singing while a troop of dancers performs all around him. Kurt tells us that they used a Jump rig with GoPros, but they had a challenge: “It’s very difficult to move the camera, because anyone moving it is obviously seen in the shot, as opposed to normal filming, where you can put the camera on a Stedicam rig or on a track or whatever.” So they devised a lower tech solution, “We had a little rover, it’s kind of like an RC car, holding this camera and moving around the space.” The rover was then masked out for the final edit.

Kurt tells us that this is just the beginning, “I love 360! I think it’s a really fun medium. I’m sure at some point we’ll be doing more 360 stuff, definitely.”

Sound Advice

What kind of advice would Kurt have for aspiring musicians and YouTubers? “Keep at it. Do what you love!” But he would also throw in that, as he did, you have to find something that is unique in what you do. “There are so many talented musicians on YouTube. So many amazing singers. It’s so hard to get started. I think what’s really important is finding something that’s a little bit different.”

He uses his “Michael Jackson Medley” as an example. “We’d been uploading videos for a year. But the difference is that this video is — one, the arrangement is pretty cool. It’s a mash up of basically every Michael Jackson hit in three minutes. But on top of that, visually, it’s one guy cloned singing it with six or seven different parts. I think if I did that video with just Sam singing and me at a piano, it wouldn’t have been shared on the internet.” He says that you’ve got to find a way to stand out. That could mean using unique video tools or musical instruments like he does.

Kurt also is very much in tune with popular music. He wants to know what people are listening to: “I listen to a lot of pop music. Anything that is Top 40 on the charts, I want to listen to. On top of genuinely loving pop music, I also want to know what people are listening to, what’s popping up.” This is where he finds his inspiration.

Additionally, he tells us that collaboration is key, “Being primarily a producer, I’m always working with other artists and singers. Virtually every video I put up on YouTube is some sort of collaboration with some other artist.” And he says that he would love more collaboration from pop artists.

“Justin Timberlake, Bruno Mars, Taylor Swift, if you’re reading this then hit me up!”

The Future

So where is KHS going? Of course, you can always expect something unique and creative, but he’s looking forward to performing at more live events: “I’m headed to India again, and traveling all over Mumbai.” Plus, he tells us that he’s always making videos, even when he’s on the road. “I’ve made and shot videos in a lot of different parts. When I’m traveling I make videos with local musical artists and singers and performers and YouTubers in the area. So, I always find cool stuff.” You can expect to see videos with a more international flair.

As long as people keep watching, Kurt is going to keep creating. “This is like eight years later, and people are still watching. People are still commenting on stuff. I feel blessed. Hopefully, I’m here for another eight.”

You can keep up with Kurt on the web at kurthugoschneider.com or join the more than 8 million fans who subscribe to his YouTube channel, Kurt Hugo Schneider.

YouTuber Magazine is a digital periodical. Subscribe here to have the next full issue delivered for free.

How to choose your YouTube channel’s focus

By
Jason Miller
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There are literally millions of dollars to be made on YouTube, but how do you know what kind of content to produce? Should you make something with broad appeal or videos that have a niche but dedicated audience? You may be surprised, but a channel with a strong focus almost always does better than a channel without one.

With over 1.3 billion people watching five billion videos everyday, YouTube is the world’s most popular platform for video content. The highest earning channels are each making millions of dollars per year, and the number of channels making six figures is up fifty percent year to year the past three years. If you’re like many people, you want a slice of that pie. How hard can it be? Just throw up some videos and wait for the cash to start flowing in right? It’s more work than you think.

Your channel is essentially a pact with your viewers; they tune in expecting something specific, and you deliver on that.

Running a successful YouTube channel is like running a business, it takes hard work and focus. Most importantly you need to find your audience. Many people make the mistake and think they can be just like Casey Neistat and do a daily vlog (RIP) about their life and be successful. While he is very successful, he’s an outlier. To be successful you need to find your niche — your corner of the internet.

The Benefits

A focused channel will get more subscribers more quickly than an unfocused one. Can you image a TV show that one week was about an emotional former sheriff trying to survive the zombie apocalypse with his son, then the next week it was an overly tan, sunglasses and bowling shirt wearing man traveling the country trying America’s various restaurants, then the next week it was tennis? No one would tune in. YouTube is the same.

You need to develop a brand that viewers can trust. Your channel is essentially a pact with your viewers; they tune in expecting something specific, and you deliver on that.

It’s not just that you need to be focused to get subscribers, you will also have an easier time creating content. It’s much easier to have a direction when you know the destination. Choosing your brand, the niche corner of the internet you want to speak to, is one of the more important decisions you will make. I know you’re probably thinking you should choose something with broad appeal, but having a specific focus is key.

MinutePhysics

One of my favorite channels along with 1.5 million other subscribers is Hydraulic Press Channel. It’s literally a close up of a hydraulic press crushing something, slowly. Another favorite of mine is Minutephysics with over three million subscribers. Each video is a description and example of something related to physics animated to hand drawn stick figures. Neither one of these channels post content one would assume is easily marketable, but both channels are very successful nonetheless.

What’s Your Passion?

But what about you? What should you focus on? That’s entirely up to you. A YouTube channel takes a lot of dedication, a lot of time and many, many over-nighters to get your videos done as scheduled. It has to be something you are passionate about. It has to be a subject that you are willing to spend the time every week to crank out a video, a subject you get excited about every time someone brings it up. Your passion and enthusiasm will come through to the viewers. If you are not excited about the content of the video, your viewers won’t be either.

Rick Bayless

Start by asking: what am I willing to spend hours on each and every week without getting paid for it?

Taco Tuesday

Your channel also has to be something you are knowledgeable in, skilled at or willing to learn. For example, if you love cooking but know nothing about it, the channel can be your journey learning to cook each dish.

If you’re an accomplished chef, you can start a channel like Rick Bayless’s Taco Tuesday. Each week he shows the audience how to cook a different type of taco.

It sounds counter intuitive, but the exact subject of your channel is less important than you think, just as long as you stay focused. Chances are if you are interested in it, there are other people interested in it, too.

When thinking about what your niche should be, start by asking: What am I willing to spend hours on each and every week for the foreseeable future without getting paid for it? Do you have a hobby you’re already doing? If so, you’re halfway there. Maybe you enjoy playing with LEGOs. Well, there are a bunch of successful LEGO channels.

A friend of mine reviews toys. That’s it. He started by heading down to Toys R Us every week, buying a toy and then talking about it on camera — now companies send him stuff to review. The subject options are limitless.

What about cost though? Time isn’t the only consideration when deciding what you want to focus on. Perhaps you want to start a travel vlog — Hey Nadine seems to be doing really well, and you love traveling — but do you have the resources to spend that much dough or even the time availability? Starting your YouTube channel sounds romantic, but you need to think about it as a business. When considering what you want to focus on, you’ll also have to think about all the practical aspects of actually getting the content done.

Staying Focused

Starting a YouTube channel can be very rewarding and even profitable if you have the ambition and time do it. If you want to crush it on YouTube, take a lesson from Minutephysics and Rick Bayless’s Taco Tuesday: Be focused. A niche channel with a simple focus will almost always do better than one that tries to cover everything. Pick your niche, grab your camera and get started.

YouTuber Magazine is a digital periodical. Subscribe here to have the next full issue delivered for free.

Gotta’ Get ’Em All: Your YouTuber Holiday Shopping Guide

By
YouTuber Advertiser
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Too naughty for that Samsung Gear 360 Camera but too nice for a lump of coal? You already know that asking your family for Pokemon Go Plus, no matter how much you really want it, will cause headaches and heartache. So what should you say when you’re asked, “What do you want this holiday season?”

Here are some suggestions of gifts that retail for under $100 that will help any YouTuber create.

Power Through the Holidays

RAVPower 26800mAh 3-Port 5.5A Portable Charge

Costing only $50, this should be on the top of everyone’s list. With enough power to get you through a day of run and gun shooting with your phone or tablet, this battery should even survive a full day of extreme Poke-hunting. You can charge three devices at once with this unit, and there’s enough power to charge an iPhone 6 Plus or Galaxy S6 more than six times.

Make Sure They Hear What You Want Loud and Clear

Zoom H1

Available from many brick and mortar retailers, this digital recorder features two built-in mics in an X/Y configuration to capture stereo sound in .wav or .mp3 formats. Zoom recorders are also really useful if you’re shooting live events with a DSLR because you’ll maintain audio despite having to power your camera on and off. The Zoom H1 runs on one AA battery, which will get you about 10 hours of recording. It records to microSD cards and retails for $100.

Shure MVL Omnidirectional Condenser Lavalier Microphone

This omnidirectional microphone with a great signal-to-noise ratio plugs into the headphone jack of iOS and Android devices. Using a 1/8” (3.5 mm) TRRS connector, you get the quality of a Shure mic at a fraction of the cost by using the recording capability of your mobile device. It includes a windscreen and retails for $69.

Rode VideoMicro

This compact on-camera microphone retails for $59 and features a cardioid condenser mic with a frequency response of 100Hz-20kHz. The mic is powered by camera plug-in power (min. 3V), so no battery is required. The VideoMicro also includes a Lyre shoe-mount and a furry windshield.

Rode VideoMic Me

This also retails for $59 and offers a great compact, directional microphone solution for mobile devices that connects directly to the TRRS microphone/headphone socket. It can be used to capture audio for primary camera or front camera (selfie) use with its flexible mounting bracket.

Although it can work with Android devices, it’s designed for the iPhone, and we would double check compatibility with your specific device since issues arise from how the microphone mounts to the phone — it often blocks the camera on Android devices.

Make Your Season Bright

Neewer 20 LED 700LM Flash

For $30, this waterproof (up to 131ft/40m), dimmable, wide-angle, 700 lumens, max. 5500K 20 LED light is great for shooting underwater with your GoPro. Rechargeable via USB, it includes white, orange and purple colored filters.

Fancierstudio H69G

Why are we listing this 6' X 9' chroma key kit under lights? Because this green screen unit comes with two lights, stands and umbrellas. The lights have a 400 watt capability that can be increased with the use of LED bulbs. In addition to the green screen, you get an 8-foot by 10-foot backdrop support system and a soft-sided case to carry it all in for a great price of $80.

Edit This onto Your Wish List

Adobe Premiere Elements 15

Some of the best things in life are free, but video editing software isn’t always one of them. If you’ve been looking for a few more bells and whistles in the edit suite, then you might want to try Adobe Premiere Elements 15. Designed for Mac OS X 10.10–11 and Windows 7, 8, and 10, it includes some great features such as a sound effects library, the ability to edit and organize with touchscreen devices, the ability to edit and view 4K videos and the ability to do some basic but effective visual effects. Retailing for $100, the software even includes built-in social media sharing as well as visual and location-based tagging.

Kris Kringles under $20

GoPro The Tool

Tighten your thumb screws, then open your beer! This combo specialty wrench and bottle opener will provide all the extra torque you need for your high-vibration, high-speed activities. Priced at $5, it’s a great gift for any GoPro lover.

Nite Ize Gear Ties

These reusable, bendable, soft rubber ties should live in everyone’s camera bag. The small ones work great on cables. We’ve used the larger ones on set to make stands for mobile devices; we’ve even used them to mount a tablet to a camera as an external monitor. The 8 pack includes two each of the 3", 6", 12", and 18" ties and retails for less than $9. My favorite is the 12 pack, which includes three 3", three 6”, two 12", two 18”, and two 24" and retails for $19.

Sabrent Fetch

Have fun letting Fido shoot the videos; this dog harness mount is compatible with all GoPro cameras. Start a new channel that showcases videos made by your dog. The adjustable belts on the harness fit dogs from 15 to 75 lbs (7 to 35 kg) and allows for two mounting locations — on the back or the chest — for a variety of perspectives. The harness has a quick release base, so attaching and removing the camera easy. Priced at $15, this is another great gift idea for the GoPro owner who has almost every accessory.

Neewer 5 in 1 Portable Round 32" Multi Camera Lighting Reflector/Diffuser Kit

Add a little bounce to your holiday and your videos. This set of collapsible reflectors has grips on both sides and includes one each of the following: gold to warm up the picture, silver to brighten the picture, white to bounce light into shadows, black to block out unwanted light and translucent to soften and diffuse light. It even includes a zippered carry case for only $15.

For the Person Who Has Everything

LimoStudio AGG779 Chromakey Green Suit

This green chroma key body suit provides complete invisibility. The suit even covers the face with green transparent see-through fabric. It claims to be one-size-fits-all but we all know that’s really not true, so we wouldn’t get too excited if you’re overly small or large. Priced at $32, you can let your imagination and your visual effects skills run wild.

GoPole GPSL-16 Scenelapse

This 360-Degree time-lapse device just may be the GoPro accessory you don’t happen to have. Priced at $35, the GoPole Scenelapse mounts between your tripod and your GoPro and can spin up to 360 degrees offering panoramic time-lapse views. For non-GoPro the GoPro connector is removable allowing for a ¼"-20 screw mount for other cameras.

Memory is a Gift Not Worth Forgetting

SanDisk Ultra 64GB USB 3.0 OTG Flash Drive

For Android devices, this OTG drives offers both micro USB and USB 3.0 connectors. With speeds up to 130MB/s for file transfer from the drive to your computer, this makes downloading footage either for use or archive quick and easy. A survey of retailers found this drive pricing at $18 or less.

SanDisk iXpand 64GB USB 2.0 Mobile Flash Drive

For iPhones and iPads with Lightning connectors and iOS 7.1 and higher, this drive allows you to transfer photos and videos between iPhone, iPad, PCs and Mac computers. It also allows you to encrypt files for a secure transfer, and it works with wmv, avi, mkv, mp4, and mov video formats. A 64GB drive is priced at $68, although you can get a 16GB for $33 or a 128GB for $107.

Sponsored

DJI Phantom 4

The Phantom 4 pioneered the use of state-of-the-art computer vision and artificial intelligence technology. It flies smartly and with minimum effort, automatically creating seamless tracking shots with ActiveTrack, senses and avoids obstacles and captures brilliant 4K with its integrated aerial camera and gimbal. Flying is no more difficult than tapping your finger, and the Phantom automatically returns safely with Smart Return Home.

G-TECH G-DRIVE slim SSD USB-C

Built with stylish content creators in mind, G-DRIVE slim SSD USB-C portable drives are the perfect storage companion for your MacBook.
But don’t let their sexy looks fool you. These high-performance external solid state drives (SSD) pack a powerful punch — with lightning fast transfer rates up to 540MB/s and a USB-C (USB 3.1 Gen2) connection. Available in 250GB, 500GB and 1TB sizes, road warriors and speed demons alike will also appreciate their color choices of silver and space gray.

So don’t settle for boring when your work is anything but! Rely on the slim, sleek, and speedy G-DRIVE slim SSD USB-C portable drive from G-Technology.

Little Audio Miracle!

Capture pro audio directly to your camcorder or DV camera with the amazing Beachtek DXA-MICRO PRO. Powerful, low-noise preamplifiers ensure clean, hiss free audio. Super easy to setup and use. Works with virtually any microphone. From the makers of the worlds most popular audio adapters. $199

Final Shopping Tips for Your Family and Friends

Why deal with crazy, holiday crowds and traffic? Tell your family and friends that all of the above listed products can be purchased from the comfort of their homes. Amazon, B&H, Adorama, and Best Buy are just a few of the retailers that carry these products.

Remember, holiday shopping can be very stressful, especially for those loved one who want to find you the perfect gift. Try to make their jobs as easy as possible. You can offer to put products on a wish list or in a shopping cart. When telling them exactly what you want, be sure to suggest multiple choices so you can still be surprised this holiday season. And who knows, maybe you’ll find some real holiday magic and open a festive package containing Pokemon Go Plus.

YouTuber Magazine is a digital periodical. Subscribe here to have the next full issue delivered for free.

How To Start A New YouTube Niche: An Interview With VariantComics

By
Scott Niswander
-

VariantComics became one of the first popular YouTube channels centered around comic books and superheroes and has helped spark the creation of the comic book vertical on YouTube. Its creator, Arris Quinones, tells us his origin story.

VariantComics
Subscribers: 1,206,600
Uploads: 383
Video Views: 149,186,517
Channel Type: Entertainment
Joined: April 17th, 2012

Arris Quinones, creator and host of VariantComics, recently sat down with YouTuber writer and host of NerdSync Scott Niswander to fills us in on how VariantComics got its start and why he continues to work hard to produce the best videos he can.

Scott Niswander: Who are you?

Arris Quinones: Who am I? I am Arris Quinones. I am the host, co-creator and producer of VariantComics, which is a YouTube channel where we talk about all things comic. We review comic book movies, comic books, top 10’s, history ofs, versus episodes. Basically anything in the comic world is not off limits.

SN: I even saw recently you made a Harry Potter video.

AQ: That’s true. Variant is always going to be being focused as comics but like I like other things like most nerds out there, like Harry Potter. I like Ghostbusters. I like Dragonball Z. Whenever I get a chance to talk about that stuff I definitely go for it.

SN: Take me back into the archives. How did VariantComics get started?

AQ: VariantComics got started, as you know, Scott, back in late 2010, early 2011, the creator of Film Riot, Ryan Connolly, who is also the owner of Triune Films, approached me. We’ve been lifelong friends for a long time and we were working out at the gym. He’s basically like, “Hey, man, I know you like comic books. I’m looking to do another show for my production company. Would you consider doing a comic book themed show?” I’m like, “No, I never really thought about being a host but I would love to be able to talk about comics.”

At the time on YouTube there weren’t very many comic YouTube channels like at all. I’m sure there were some but at least nothing like how what Variant came to be. This is a good time to jump in. Definitely be one of the first in.

Basically, just started spitballing ideas like, what do I want to do? He’s like, “What’s a good way to teach people about comics?” I’m like, “there’s nothing really like … a School of Comics,” which is why I like history-ofs. [It’s] probably the show’s biggest segment. That and alternate-versions-of, those are similar but it’s basically alternate versions is like telling you 50 different versions of a character and history-ofs is 50 years of a character in 10 to 12 minutes.

Anyway, we did a lot of pilots and then Film Riot was already on Rev 3 so we had it in there. We pitched it to Rev 3 and they’re like, yeah. Rev 3 is owned by Discovery Digital so it’s like an offshoot of Discovery. It’s their online market, I guess. They liked it, and then they accepted it, and it all snowballed from there. Just grew and evolved like anything. It changed, and it’s going to constantly be evolving and probably definitely be — five years later — it’s going to be a different show than what it is today.

The graphics were way different back then too. It was very After Effects heavy where a bunch of lens flares a lot more emotion to it. I guess, After Effects heavy. It looked really cool. I want to get back to that. It’s just as the show — we all got busier — it just got harder to do.

SN: Yeah, which leads me into the next question — what were some challenges growing and maintaining the channel? Obviously, keeping that original style was not really something that was possible with the number of videos that you were producing.

AQ: Yeah. [VariantComics] was basically in development for a year, maybe a little bit over before one ever went live to the public … because it was one of those things where I’m very much a person like I’m going to do something, it needs to be done right. Original goal was to be like, this should be able to look TV ready in the sense if someone was like, “Hey, we want to put you on TV,” it’d just go right over, right? That was the goal. I’m not saying that’s exactly what it is, I’m saying that’s the mindset before it.

As best and good-looking as possible, not just me talking and pictures over the whole time. Good graphics, good motion, good music, all that stuff. It’s difficult because currently I’m the only editor. I write the episodes, I host and I edit.

SN: You said that when you started, there weren’t a lot of other comic book channels on YouTube. There are some other ones out there now. I’m a big fan of NerdSync.

AQ: That guy, the show is pretty good. The host isn’t really a nice guy, though.

SN: I could do without him. But watching everyone else’s channels, it’s almost gotten to a point where everyone’s feeding off of each other’s styles in some capacity.

AQ: Yes. Well, it’s crazy. I feel like … because there’s so many comic book YouTube channels that are out there, which is only inevitable, you’re only going to be one of the firsts for so long. It’s going to happen with anything. I always use the example of any new trend on YouTube, like any new gimmick, reaction or something, there’s always a first. I always go, I guess iPhone would be the most prolific, and then all the other smartphones came after it. Right?
A bunch of competition. Some that are arguably just as good. With any good idea, there’s going to be a lot of stuff to follow. I think it’s cool in the sense that we’re all throwing to each other because YouTube’s algorithms are like, “Oh, if you like this you’re probably going to like this.” It’s cool to see that evolve, and now it’s like, literally, I guess there’s a bunch.

SN: Are there any stories or personal experiences that would help an up and coming creator?

AQ: The number one thing is be consistent, right? At least for me, like let’s say you started a show, I would say make a pattern or platform, like TV shows. You know every Tuesday at 7pm Central time “The Flash” is going to be on TV, right? You have to think of it like that.

If you’re starting a channel — I mean let’s say you want to talk about I don’t know, cars. Do you want to talk about how to make cars? Do you want to talk about the cars that are out there? What do you want to do? Pick your topic and then pick a day, a schedule, a routine, like you’re going to do two a week, and stick to it.

For me, quality is a really big thing. I know that’s clearly just a personal thing because there’s people with way more subscribers than me and their quality is, like, nothing. That’s not really a must, but I know for me, just a personal thing in everything I do, I like to do it the best that I can.

I took like a year and a half before Variant even went live. I would say do a lot of pilots. Do a lot of research before, and before you even put anything live, like, rework it out, see, watch it back. That didn’t work. Oh, no, I want the camera here. Maybe I want to do green screen maybe I want a set. Maybe I just want to do all voiceover and I’ll do graphics. Pick the format in general of how you want to do it.

Then once you do that, be consistent.

SN: I want to get back to something you were talking about a couple minutes ago, which is when you’re starting out you were talking about picking your format whether you want to be voiceover or on camera or that sort of thing.

As someone who was one of the first major comic book channels, how did you pick your format because I feel like a lot of people, if they’re going into cars, to use your example, might look at other YouTubers who are talking about cars and go, “Well, I want to do what they do because that’s what the car audience on YouTube is used to so I want to try to use that same format to get a lot of those same fans.”

How did you craft the Variant Comics format?

Variant offers fans a deeper look at their favorite comic books and characters with well-researched history lessons and roundups.

AQ: Well, I wanted to give the show I think because end of the day, everyone’s channel should be their brand. Variant isn’t just me, it’s a brand. I look at it like The Tonight Show, right? Eventually one day I’ll hand it off. I’ll do stuff behind the scenes. I may still host every now and then, but Variant is — that’s why we have two different social medias for everything. I have my personal and I have the Variant. My personal [account] is for everything because Variant is the brand, I’m just — even though I’m the co-creator and host, I’m the face of the brand, but it’s two different entities.

It’s like The Tonight Show with Jimmy Fallon. It’s not like he’s The Tonight Show. It’s The Tonight Show, but he’s the face of it. I wanted to have a face and a personality to the brand because I think that’s more inviting. I wanted to do that instead of just being a voiceover. It also lends [itself to] a lot of different things because let’s say I’m always voiceover and one day I’m interviewing Scott Snyder, then obviously you’re going to see my face. You’re like oh, wait. Oh, so that’s what that guy looks like? It’s off-putting.

SN: Unsubscribe.

AQ: I think people like to see a person more than just hearing a voice — I think. That’s my personal opinion, again, especially in the comic book community, I feel like it’s split. Half the people are on camera, half the people are just voiceover. Clearly that doesn’t really matter as far as success. Me personally, though, I just wanted to put a face to the brand.

SN: What would you say is the most rewarding part about doing Variant?

AQ: The appreciation of the fans and viewers of the show. I get messages and tweets, some of the best messages and tweets I get, which are fairly often, at least several a month, are the ones where dads or moms text me — text me, message me or tweet to me — saying that they watch Variant with their son or daughter every morning while eating cereal.

I think that’s the most rewarding part because to me, I’m just stupid old Arris — I’m just a normal guy. I’m nothing special at all. I like comic books like you or any other guy at the comic book store. It’s really humbling and flattering that people invite me into their home every week whether they watch it on their TV, their iPad, their phone.

The people who say, “Thank you for doing this,” I’m always like, “No, thank you for watching because if you didn’t watch, I could not be doing this.” That’s a definitely the most rewarding part.

Then obviously, I just like to create things. It’s cool to create because it’s like I get to do whatever I want with the show because I do the show. It’s my show.

That just — that is cool, too, and the flexibility. People have the 9-to-5’s having to do this and that where I could literally I make my own schedule, I create my own content, whatever I want to do as long as I get it done when it needs to be done. Those two things, the appreciation from the fans and the creative freedom I get are my favorite things.

Keep up with Arris and VariantComics to learn everything you’d ever want to know about your favorite comics and characters — new episodes every Wednesday!

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How to Improve Your On-Camera Performance as a Cosmetics Vlogger

By
Rhiannon McGavin
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Messy vanity counter? Liquid lipstick stuck under your nails? At a loss for words, or clean brushes? Blend away any problems with your makeup tutorials with the following tips on how to highlight your online presence.

Some people can execute winged eyeliner in the bed of a moving truck over a backwoods road, and some people need tape, concealer and patience to get the perfect flick. Regardless of skill level, there are lots of ways to improve your on-camera presence in makeup tutorials. Everyone has their own personality, but here are some suggestions on making videos less awkward or stilted. These tips will also hopefully cut down on time spent shooting and editing, so you can spend more time sparkling.

You’ll be able to concentrate on your words and performance more easily if your tools are clean and organized before you start recording.

Preparation

Before you even turn the camera on, you should practice the look. I find the best time to test new makeup is at the end of the day, before I wash my face. If I make any mistakes or something looks really weird, I can just wipe it off. If you want to compare products or experiment with colors, split your face in half and apply varying goods to the different sides. If you’re constructing a look meant for a specific occasion, it’s recommended to actually test the look in that situation. For instance, a school or work look should be applied in the morning so you can see how the products progress throughout the day, and a summery style should be tested in heat, et cetera.

When you’ve settled on your style, lay out all the supplies beforehand, within reach, so you don’t accidentally knock over your tripod while pulling out a drawer; this may or may not have happened to the author. Make sure any brushes or sponges that you want to use are clean! This prevents bacteria from spreading and keeps colors from getting diluted. There are specially-made tool cleansers on the market, but olive oil and dish soap mixed together work fine. Rub the tools with the liquid, rinse with warm water, then hang to dry.

In my last cosmetics article, I went over lighting techniques, backgrounds and more for a nice on-screen image. Make sure everything is in place before you hit record! Just as important as prepping the stage is prepping the body. On camera, every facial movement, voice fluctuation and gesticulation will be amplified, which is perhaps why some vloggers come off as over-enthusiastic or superficial — something to keep in mind!

As for the voice, I am a strong proponent of warm tea, preferably lemon or ginger, and with lots of honey. Cough drops and throat spray are also great for especially sore days. I detail a few more warm-ups in this video, but my favorite ones off the top of my head are alternating consonant sounds to wake up the throat and mouth! The pattern goes: TA DA, GA KA, MA NA, PA BA, ZA SA, with each letter repeated three times. Or: I am a pleasant mother pheasant plucker. I am the most pleasant mother pheasant plucker to ever pluck mother pheasants. Try saying that sucker ten times fast!

Reading from a prompter can be helpful if you have a lot of information to present in a single take. Scripting your video in advance will also make adding captions easier later.

Process

I think it’s a good practice to script videos. It makes closed-captioning easier, so your videos can be accessible to a larger audience, and it keeps you organized while filming. You can also add captions afterwards by dictation if you want to improvise everything. Improvising can be more casual, but allows space for comedy to slip in. The halfway point between these two methods would be a general outline of the steps you want to do and the products you plan on using. Junie doesn’t script every word she says, whereas Jenn Im plans things very carefully, but both of them have sharp editing skills so there’s lots of room for creativity either way!

If you do have a script, read over it as part of your preparation. Decide whether to read it off a phone or computer or even printed out while shooting. There are also some cool teleprompter apps available across devices. Definitely practice pronouncing any long words — hyaluronic acid trips me up every time — and look up the phonetics for any products in different languages.

It’s your decision where you want to look while filming. Looking at the camera builds a connection with the audience, so that’s better for talking and narration. For application of makeup, some cameras have reversed imagery in the viewfinder, which makes a proper mirror necessary.

Every facet can be customized to let your personality shine through.

It’s also your choice for how much of the process to include in the video. You can narrate over the footage, add music, or speed up the process while editing. Instead of going over their full routines every single time, some creators have videos of their most-common base routines, like foundation or eyebrows, that they refer back to. By linking to earlier videos, they can focus on whatever the topic of the current video is, like a new eyeshadow.

Results

There’s also tons of options for modeling the final result! Some people go for full-on glamour shots with lens flares and pumping music! Whatever you do, make sure your clothes don’t clash with the look, and decide whether you want to show it under natural or camera lighting.

Personality is the most important part of these videos, of course! Every facet that I discussed can be customized to let your personality shine through. For instance, Jackie Aina always starts her videos with a Bible quote title screen, and she’s never afraid to speak her mind. Junie has lots of cute characters and emojis in her thumbnails. Jenn Im revolutionized the “What’s In My Bag” genre with this snappy video. Don’t be afraid to be a real person. Talk about your thoughts, be sincere, and don’t try to be relatable based solely on whatever’s trending on Instagram.

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How to Set Up a Green Screen Face-Cam

By
Peter Zunitch
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Ready to up your game stream presentation? Want to place yourself into the picture, but not in a box? Get your green screen on.

Though the debate over whether or not it should be done goes on, with strong supporters on either side, the opportunity to green screen your reaction shots into your video is a popular trend among gamers who record or live stream their gameplay. Achieving this effect is not entirely difficult, but just look around at these live streams and what becomes immediately apparent is that the actual hard part is getting it to look good. Your success or failure will come down to your equipment, your investment and your attention to detail.

Choosing a Screen

The effect is achieved when the software looks for a specific color — usually green — and removes it. In its place is displayed whatever video background you place behind it, in this case your game. If anything in front of your screen is also green, it too will disappear. Likewise, anything not your chosen color will remain.

To achieve the right effect, you’ll need a screen that is two to three times larger than the dimensions of your foreground. If you’re sitting down and all you want to ever project is your head and shoulders, you’ll need a screen that is about four to five feet wide. If you’re going to show your whole body head to toe, you’ll need something significantly larger.

Full body appropriate kits can be found for about $115. They should provide all you need to setup a consistent wash of mid-range green from an optimized cotton fabric. If you have lights and just need the green, consider a pop-up screen as it comes with its own framework. These are usually smaller, but would work for most gamers. If you still can’t afford that, you can certainly kitbash something on the cheap. A medium green slightly fuzzy cotton blanket, or even cardboard painted green, can be all that you need to get started. You’ll want a dull matte surface, not shiny or reflective.

Mount the green behind your performance area on a stable frame. It should be stretched tight so it doesn’t move, and so there are no wrinkles whatsoever. Shadows and loose fabric mean variation in color; that’s bad.

Controlling Light and Spill

The ultimate quality of your effect comes down to one key element: lighting. After you have your green screen in place, your next step is to light the backdrop as evenly as possible. To begin, try placing lights at 45-degree angles to your screen. Hotspots can destroy the effect as easily as a shadow, so you’ll need soft, diffuse light, as from Chinese lanterns or photo umbrellas. You’ll never achieve what you need with a naked bulb. Constantly check your lighting in your camera, as it will see things differently than your eyes do. What you’re ultimately looking for is a light that makes the surface lightly glow in a sort of neon effect.

Proper placement of your lights and green screen will be vital in making a clean key easy to pull.

Now the green light is being sent from your screen to the camera in a nice even wash. Unfortunately, it also means green light is heading towards your foreground object — you. To compensate, place your screen far enough back that only a minimal amount of this light hits the foreground. If the green light is too bright, it will spill on to you and ruin the effect. Remember, too, that this light may even travel past you and bounce off the wall in front of you, tinting you yet again from the front. Increasing distance between foreground and background will alleviate all these issues.

Next, you’ll want to light your foreground including yourself and your chair, if it has a high back. This should be a white light with the average intensity being about the same as your green screen. Light from 45-degree angles and do your best to not let any of it hit the screen behind you.

One final issue is your monitor screen itself. If it projects green onto you, your effect will diminish yet again. Lowering brightness, angling the monitor and shooting your facecam off-axis to the monitor can help eliminate issues.

Pulling the Key

If you’ve done your setup with care the final step will be a lot easier. Open Broadcaster Software (OBS) and other streaming programs include the system you need to create your color key. You’ll find the names are always different from program to program, but the method is generally the same. You’ll choose the value of the middle green on your screen and then adjust the rest of the sliders in turn to adjust how much lighter and darker green to include, and the overall tolerance of near-green colors.

If you’re having issues, go back and tweak your lighting.

Enthusiast and professional edit systems like Camtasia, Pinnacle, Movie Studio or Premiere Pro have excellent tools for key effects. As a general rule, the higher on the list a setting is, the more likely it is that you should adjust it first. Beware of the simpler systems, however, which have limited options or no adjustments at all. You’ll almost never achieve a quality result without some level of control.

If you’re having issues, go back and tweak your lighting. You’ll also notice that a high-quality webcam will make a big difference. Logitech’s C920 is a great web camera for green screen, and their C922 even comes with a limited subscription for Xsplit. If you understand how the system works and what it needs, your green screen will not only produce professional results; it will be a breeze to operate.

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6 of the best free video editing software

By
Nina D. G.
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Choosing video editing software can be challenging, and most creators will agree with that. Some tend to think that a well-known brand or high price guarantee the best results, but that’s not exactly so. Indeed, there are dozens of free video editing programs with feature sets so advanced that they leave the expensive ones far behind. And that is what a new YouTube creator should be looking for.

Here’s a piece of advice: When choosing video editing software, don’t look for the best one — look for the right one. Each program has something special to offer, so you need to figure out whether that something helps achieve your goals. Whether you stick to the list below or decide to continue searching on your own, we recommend you to keep the following characteristics in mind.

First, supported formats. You might use a professional camera or you might decide to shoot videos with an iPhone and a selfie stick — that’s your choice. What you might not want is to be forced to convert your videos to the required format each time before editing, so make sure your videos can be effortlessly opened in the chosen program.

Second, features available. Will you benefit from numerous visual effects or avoid them entirely? Are you planning to use screen capture or chrome key? Will your videos need color correction or voice over? Don’t be misled by an endless list of features — they might all be useless if the right one isn’t there.

Third, video export options. As a creator, you should be able to save your project in formats supported by YouTube: .MOV, .MPEG4, MP4, .AVI, .WMV, .MPEGPS, .FLV, 3GPP or WebM. H.264 codec is considered a current de facto standard for videos uploaded on the web — see if the program has it on the list.

Finally, check software limitations in advance. Some free editing programs put watermarks on videos, disable certain formats for export or restrict exporting all together. It can be an unpleasant surprise after hours of working, so make sure to read the fine print before starting a project.

Sounds a bit overwhelming? We’ve got you covered. Take a look at a brief overview of some great video editing programs below. Not only do they have comprehensive functionality, but they are also available at zero cost.

Lightworks

(Windows, Mac and Linux)

Lightworks has been on the market for 20+ years, and it’s the only multiplatform video editor at this level available for all three major operating systems. In the words of the developers, the program is compatible with “almost every format you can think of,” including ProRes, Avid DNxHD, AVC-Intra, DVCPRO HD, RED R3D, DPX, AVCHD and HD 422.

The free version of Lightworks allows you to play with titles, perform multicam editing and apply more than 100 built-in presets to improve the way your video looks. Yet its strongest side is not a set of transitions and visual effects, but a superior trimming feature designed to be fast and simple. That’s why, according to the website, Lightworks was chosen for such Hollywood movies production as “The King’s Speech,” “Bruce Almighty,” “The Wolf of Wall Street” and others.

Export options: Lightworks archives, YouTube, Vimeo
Pros: Clean interface, spectacular ultra-precise trimming
Cons: Export options in Lightworks free version are limited to YouTube and Vimeo. That means you can only upload your project from timeline directly to a web account.

VSDC

(Windows)

VSDC has been on the market for six years and deserves its reputation as a comprehensive all-in-one tool because of its rich feature set. Full format compatibility is the key advantage here, and unlike most free video editors, VSDC does not limit export options. In other words, it reads all the video formats and allows you to save in any of them as well. You can even export your project in H.265 codec for better compression qulaity.

Despite an old-school website design, VSDC is clearly up to date with the latest video editing trends. Among its features you’ll find numerous visual effects, a masking tool, Chroma Key and blending modes. As a YouTube creator, you might also make use of built-in screen capture and numerous ways to work with text and subtitles.

Export options: AVI, DVD, VCD/SVCD, MPEG, MP4, M4V, MOV, 3GP/3G2, WMV, MKV, RM/RMVB, FLV, SWF, AMV, MTV
Pros: VSDC has an impressive feature set and full format compatibility. The free version has no limitations.
Cons: The software interface will not be intuitive for someone who is switching from linear programs like Movie Maker. It might take some time and effort before you’ll be able to turn on your video editing conveyer machine.

DaVinci Resolve 12.5

(Mac and Windows)

When it comes to color correction and grading, DaVinci Resolve is a game changer. If you tend to be a perfectionist about image quality, you won’t find anything better. There is a tiny difference between the free and the paid version of DaVinci ($995), as the latter is aimed at filmmaking professionals and includes such features as noise reduction and 3D stereoscopic editing.
DaVinci Resolve allows you to perform multiple video editing procedures, such as trimming, applying transition effects or waveform audio editing. With OpenFX plug-in support, you can set up video filters according to your needs. Users love this software for its incredible color palette and automatic Shot Match tool, but using DaVinci for simple edits is probably like using a steam hammer for cracking nuts.

Export options: AVI, QuickTime, MP4, MOV, APNG
Pros: Unparalleled color correction
Cons: High system requirements: at least 4GB of graphics RAM. Also, you might encounter issues trying to import certain file types. Davinci’s preferable format to work with is ProRes, so conversion is highly recommended before starting.

HitFilm 4 Express

(Mac and Windows)

HitFilm is initially positioned as a video editor for independent movie makers, though lately it has become quite popular among Youtuber creators as well. This program is all about unleashing your creativity and letting your imagination fly. HitFilm focuses on visual effects — you’ll find over 140 of them including shake, rain, blood spray, explosion and procedural fire — but what makes it unique is 2D and 3D compositing tools that can easily compete with the ones in Adobe After Effects.

HitFilm 4 Express includes standard titling tools, color grading, a Chroma Key feature and audio editing. It is compatible with Quicktime, AVI, MOV, MP4, MPEG-1, MXF, DV, HDV and WMV.

Export options: QuickTime, MP4, AVI, YouTube direct upload
Pros: HitFilm 4 Express has a feature set for basic video editing and very few system requirements.
Cons: Some essential features are only available with a subscription, which makes the idea of HitFilm 4 Express free version inconsistent.

OpenShot

(OpenSource Linux. Windows and Mac installers in Beta)

As with most open source projects, OpenShot video editor has a supportive fast growing community and frequent updates. It works with all the formats supported by FFmpeg, for example, WebM, AVSHD, HEVC and popular audio codecs.

At a glance, the Openshot feature set does not look too outstanding in comparison with some previously mentioned products. You get a non-linear video editor with trimming, resizing, scaling and rotation features. You get multiple color Chroma Key, transition effects, audio editor and multiple tools for titling. Yet the “open source” tag is what makes this option special. For instance, due to FFmpeg support, you can customize output formats and create your own combination of bitrate, formats and codecs.

Export options: Simple mode: web-ready formats for YouTube and Vimeo, Advanced mode: customizable
Pros: The only high-end open source video editor.
Cons: According to user feedback, Openshot might be unstable and crash periodically.

VideoPad

(Windows and Mac)

If all you’re looking for in a video editor is being able to quickly cut out fragments, VideoPad might be suitable for your needs. This video editor is simplistic and feature-limited. However, it does what it says.
There are around 50 visual effects, Chroma Key, text overlay, basic audio editor and shaky footage stabilizer. You can also create voiceovers and add subtitles to your video. The free version’s interface is clean and will look familiar to those who’ve used Movie Maker before. The advantage of having a paid version of VideoPad is an ability to edit multiple video tracks simultaneously and use external plug-ins.

Export options: AVI, WMV, MPG, 3GP, MP4, MOV, direct upload to Youtube, Flickr or Facebook
Pros: Immediate installation, clean interface, drag’n’drop editing
Cons: Lack of documentation and support. Exported video seem to have minor quality loss, probably not visible on small screens.

Now that you have this list with all the shortcomings pointed out, we hope you’ll be able to pick one that suits your video editing needs and style.

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How to Take Product Shots that Sizzle

By
Peter Biesterfeld
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Product reviews and unboxing have become big business all over YouTube. Here’s how to make your video stand out with amazing product B-roll.

Now that online video has surpassed all other modes of showcasing product, the internet is bursting with advice columns for DIY content creators on how to improve the production values of their videos. We surveyed the digital landscape to save you some click time.

Shooting Space

If you haven’t yet graduated to a professional studio facility, you can still capture high-quality visuals if you can make room for a controlled space in your basement or your garage to set up a dedicated shooting area. A folding table, some white mat board mounted in a sweep, or curve, for a seamless backdrop, perhaps a turntable for your product and a basic light kit will get you started shooting professional looking video of your widgets.

Creating a designated space for shooting B-roll will make your shots look more professional. This DIY lightbox is perfect for small products.

Lighting

You want your product to pop out the frame and dazzle. To do that you’ll want to put it in the best light, as it were. Lighting is the most important element in product shooting. What you don’t want is distracting highlights kicking off the product too harshly. And you want to avoid that amateurish look of multiple, hard shadows cast in all directions.

The best lighting for product illumination is indirect or soft light. Have at least one umbrella in your light kit. Bouncing a light source off the umbrella directed at the product produces a pleasing soft light as well as soft shadows. Soft boxes are a pricier but more effective lighting solution to achieve this. Bouncing light off foam core or white reflector cards mounted out of the camera’s view has a similar softening effect of light and shadow.

For optimal shadow placement, move the main light source around the object and watch where the shadow falls until you’ve got the look you want. Shadow placement gives you a sense of shape of the displayed object. Lighting from the side shows off details and texture. For dramatic shadow placement to create mood, use a single light fixture and place it to one side or about 45 degrees to the rear of the product.

If you want no shadows, raise the lights so that the shadows fall to the table or out of frame. If your background is something other than white, a rim light mounted high behind the object and flagged off to prevent light spilling onto the background will ensure crisp separation of widget from background.

In product video shooting, the basic lighting objectives of visibility, texture, shape, detail and accuracy of colors are particularly important. Most products are either cylindrical or cube shaped. To light these shapes, most of the time you will be using a variation of a three point lighting set-up. Set the white balance on your camera manually for best color results.

Depth of Field

You can control how much of the main attraction you want in focus by setting your aperture or f-stop accordingly. The aperture is the adjustable opening behind the lens that controls how much light it transmits. The smaller the opening — large f-stop number — the sharper the focus.

Using cinematic shallow depth of field provides a dramatic look and can help direct your audience’s attention to specific details.

With a large aperture — small f-stop number — the focus will be critical since the depth of field will be shallow or narrow. This can be a nice look when shooting extreme close-ups of electronic gagetry or jewelry, for example.

To highlight a particular element of a product, manually focus on the featured area with the aperture wide open. The shallow depth of field will render other parts of the object and the background in soft focus.

Another cinematic convention for achieving sharp foregrounds and soft backgrounds is to shoot from a distance. Shooting on a long lens, zooming in and focusing on the product produces a classic selective focus effect.

A smaller aperture produces a look where all planes, foreground, middle and background, are in focus. Heads-up: this huge depth of field, aka the “Citizen Kane” look, needs a lot of light since it requires you to bring the aperture down and restrict the light that makes it to your camera’s sensor.

The opposite will be true for shots with shallower depth of field and larger aperture openings, so you may need to compensate for the extra light in those shots to achieve proper exposure. If your camera has a neutral density filter, switch it on. You can also mount an ND filter on the front of the lens to achieve good exposure at the stop of f/2.8 or lower needed to produce the focus effect you want.

Placing the product on a turntable is an easy way to add motion to your shot for more dynamic results.

Motion

Whether it’s moving the camera or moving the object, motion spices up any shot. Achieving motion for video is not as complicated and expensive as it used to be. Motorized turntables, available for under a hundred dollars at camera stores, allow you to move the product itself to create a variety of looks.

For a super dynamic effect, frame the product on the turntable in a close-up and slowly tilt or pan your camera against the rotation of the product. The result can be stunning as featured elements of the product move subtly in and out of focus as they travel across the frame without you having to touch the focus ring. There is a wide range of affordable aluminum rail and other motion control products on the market that can put the motion in your motion pictures and make your widget stand out from the rest.

Bringing It All Together

Combine these elements and you’ll have all the tools needed to create great-looking B-roll. Experiment with different setups to find the best one for the particular products you want to showcase and instantly up the production value in all of your future videos.

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5 Reasons the Canon EOS 80D is Made For Vloggers

By
Canon
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This post is brought to you by Canon and the EOS 80D. Learn more at Canon.com.

Vlogging is a popular way to take an idea and turn it into a video on whatever topic a person desires. The one drawback has been the need to be able to shoot the video outside of those situations where subjects and lighting can be controlled, such as in a studio.

The Canon EOS 80D camera possesses an Intelligent Viewfinder with approximately 100% coverage so as to provide for a clear view while taking superlative still photos and shooting Full HD video at 60fps. It is well suited for vlogging, and here are the five reasons why.

1. Focus

A moving subject requires that a camera’s autofocus is able to keep up with their movements and make adjustments “on the fly” as necessary, for example, keeping focus on a person in a crowd or wherever the subject is not stationary. The EOS 80D uses a powerful 24.2 Megapixel APS-C CMOS sensor and improved Dual Pixel CMOS AF for fast and smooth autofocus that locks in on the subjects with a tap of the touch screen and keeps it there automatically. This allows the camera operator to keep their attention focused on framing what is being shot and not have to worry about the focus.

2. Vari-angle Touch Screen Monitor

Being able to correctly monitor exactly what is being seen even as the camera’s position changes can sometimes be difficult due to the angle the camera must be held at. But since the EOS 80D’s touch screen is articulating — able to swing out and rotate up to 270 degrees vertically and up to 175 degrees horizontally — it becomes possible to shoot video at varying angles while still seeing it on the screen, even if it is the camera operator who is being filmed. The screen is also coated to help minimize smudges, responds to touch commands and maintains a clear image even in bright light.

3. The ISO range

Vlogging can occur in any kind of light, be that bright or dim, and isn’t confined to only situations where the subject is well lit. The EOS 80D has an ISO range of 100–12800 (expandable to 16000/25600) and its DIGIC 6

Image processor’s noise-reduction technology provides for outstanding performance regardless of light conditions when shooting video.

4. High Dynamic Range

Vlogging requires the ability to shoot anywhere, no matter what the quality of the light is. The EOS 80D takes advantage of High Dynamic Range by employing HDRM movie mode — which captures two HD movie frames at different exposures, one standard and one underexposed, and then recombines them together for playback at up to 30fps. This enables a greater range of highlights and shadow detail to be captured and viewed, especially in contrasty lighting.

5. Wireless Control

Being able to control a camera wirelessly from a smartphone/tablet broadens the opportunities for the camera operator. The EOS 80D incorporates wireless technology right into its compact design for controlling and monitoring using the free Canon Camera Connect app. Besides being able to review images, video can also be uploaded for sharing on social network sites through the CANON iMAGE GATEWAY.

The Canon EOS 80D has built-in NFC (Near Field Communication) for seamlessly connecting to numerous compatible Android smartphones and the Canon Connect Station CS10, and is compatible with most EF lenses. It retails for $1,199.00 (body only).

Learn more about the Canon EOS 80D.

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