How To Make $10,000/Month as a Video Editor (Full Course)
A twelve-hour course that treats a video editor's income as four systems: brand, portfolio, editing workflow, and outreach.
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Big Idea
The argument in one line.
Editing income scales when you run editing as a business: a consistent brand that posts previews, a portfolio that converts, a written workflow that ships videos fast, and an outreach system you feed every single week.
Who This Is For
Read if. Skip if.
READ IF YOU ARE…
A freelance video editor with a few clients who wants to go from inconsistent $1K to $3K months to a steady $10K without working more hours.
An editor with real skills but no brand, no portfolio, and an X account whose only likes come from other editors.
Someone who edits for one or two YouTubers and panics every time a client goes quiet, because nothing is bringing in the next one.
An editor who wants a working professional's exact Premiere Pro SOP, from download to frame.io, including the audio chain most tutorials skip.
SKIP IF…
You have never opened an editing program. The course assumes you can already cut a video and want to sell that skill.
You want a quick trick. This is twelve hours of worksheets, SOPs, and a recorded workshop, built for people who do the action steps.
You edit for brands or agencies through marketplaces like Upwork. Every tactic here targets YouTube creators found on X, Discord, and YouTube itself.
TL;DR
The full version, fast.
Editing income is a business problem, not a skill problem, so the course builds four systems in order. Brand: fix your global assets once (name, handle, profile picture), build X, Discord, and Gmail around them, and make editing previews at least 70 percent of what you post while ignoring likes. Portfolio: a Carrd site on a custom domain that answers what you do, what your edits look like, and what to do next above the fold, with four to eight full-length client videos and one call to action. Workflow: a Premiere Pro SOP from download to frame.io, with a fixed audio chain, three cut passes, waveform-timed zooms, and three layers of sound effects. Clients: the Outreach Matrix of nine lead sources, three message types, and two closes, scaled by volume once it closes 2.5 to 5 percent, then protected with LTV thinking, proactive updates, and praise.
Free for members
Chat with this breakdown — free.
Sign in and you get 23 free chat messages on us — ask for the hook, quote a framework, find the exact transcript moment, generate a markdown action plan. Bring your own key when you want unlimited.
Credentials (Sidemen, 300M+ views, $100K of preset packs), four student results, and the promise: attract quality clients, edit fast without losing quality, scale income like a business. Free worksheets are in the description.
02:05 – 1:30:01
02 · Building a brand
Brand as a compounding vehicle. Global Assets worksheet (name, handle, profile picture), checking handle availability on X, Discord, and as a .com, then the Gmail, X, and Discord setup SOPs: bio formula, premium, DMs open, 70/20/10 content split, never post struggles, one portfolio link, only X as a Discord connection.
1:30:01 – 2:37:55
03 · Posting previews
KPI traps, then a live eight-step preview build in Premiere Pro: select, cut to edited sections, order best to worst, trim to 20 to 60 seconds, start and end strong, tighten cuts, crossfade and export at 1080p 20 to 40 Mbps, post with a short caption. Three long-term levers: input focus, reciprocation, trajectory. First Editing Lair ad read at 1:39:01.
2:37:55 – 4:15:49
04 · Portfolio configuration
Inspiration worksheet, Carrd signup and templates, six rules, the three-part structure (above the fold answers three questions; main body of four to eight full-length client videos plus stats and testimonials; one call to action), final adjustments, mobile view, buying a Namecheap domain live, DNS records, link updates, and a stress-test checklist.
4:15:49 – 4:16:39
05 · Editing workflow
Framing for the next block: these are the internal recordings and SOPs sent to editors who work for him, kept as short as possible.
4:16:39 – 4:18:15
06 · Download and scrub
Download everything, cross-reference the file list, then scrub the footage once to spot lighting, framing, and camera changes before cutting.
4:18:15 – 4:19:21
07 · Create project file
Project name is the project ID plus title. Keep every project file forever in one folder; five years of projects is under a gigabyte.
4:19:21 – 4:22:55
08 · Importing footage
Drag the main footage onto the timeline first so sequence settings follow it, then set 1920x1080 and match the frame rate of the most important footage. Rename the sequence ID Assembly.
4:22:55 – 4:27:17
09 · Syncing footage
Sync on claps and screen events with markers, nudge by single frames, then verify with plosive sounds late in the recording because sync drift cannot be fixed after the cut.
4:27:17 – 4:31:24
10 · Centering footage
A Transform effect in source effects, not clip effects, with a 50 percent guide: nose centered, eyes on the top third, zoomed only as much as needed (104 percent here) so no footage is wasted.
4:31:24 – 4:39:35
11 · Color correction
Lumetri Color: neutral temperature and tint, Vectorscope YUV with a skin mask to pull skin onto the skin-tone line via Hue vs Hue, light vibrance, then cut and paste the effect into source effects so it applies to every clip. Match other angles in Comparison View.
4:39:35 – 4:44:48
12 · Adjusting gain
Pick one monitoring volume and keep it. Gain the dialogue so peaks sit at -3 to -6 dB, then a tube-modeled compressor on the track at roughly 3:1 to 4:1 to tame the loudest moments.
4:44:48 – 4:46:16
13 · Adding a hard limiter
Hard limiter on the track mixer, true peak, maximum amplitude -1 dB, input boost zero, and a quick test by cranking gain to prove nothing clips.
4:46:16 – 4:52:30
14 · Enhancing audio
DeNoise, DeReverb, DeEsser, and parametric EQ only where the recording needs them, with a live de-essing pass that catches harsh S sounds without thinning the voice.
4:52:30 – 5:18:44
15 · Check assembly
Build the visual formats before cutting: cropped and keyed iPad recording in a 3D arch, face circle over screen, face only, screen only, each on its own colored track, with transform anchors set so later zooms aim at the face. Duplicate the sequence to ID Main and archive the assembly.
5:18:44 – 5:22:37
16 · Rough cut
Edit to the waveform: Premiere's transcript panel deletes all pauses, a middle-mouse shuttle speeds the scrub, repeated takes stay highlighted for the fine cut.
5:22:37 – 5:26:18
17 · Fine cut
Remove repeated lines and repeated points, reorder for coherence, drop markers for visual ideas, and apply shave the head, grow the tail: every clip starts tight and any pause lives at its end.
5:26:18 – 5:27:02
18 · Final cut
Watch at normal speed, confirm the video is postable as is, lock cut timings, and choose camera angles for multi-POV sections.
5:27:02 – 6:01:33
19 · Intro editing
Thirty-plus minutes on the first fifteen seconds: word-timed subtitles with VR glow, a red cross-out on freelancer and a green agency owner, a square one scene with emoji, a lower-third name animation, highlight boxes, and light leaks, all timed to waveform peaks.
6:01:33 – 6:44:32
20 · Zooms and animations
Zoom rules (5 to 10 percent, turning points and emphasized words, on the waveform peak, anchored at the eyes via an adjustment layer), a J-cut to hide a dead gap, a mocking persona with grayscale, reverb, and pitch shift, and a CTA build with a screenshot of the free outreach tracker. Includes a long stretch of voice-effect trial and error.
6:44:32 – 7:06:08
21 · Sound effects
Three passes with one pack: whooshes on every movement with length matched to the motion, functional sounds (green dings, red low hits, flicker rustles), and unique or environment sounds like wind. Pitch-shift repeats, then level everything to about -27 to -36 dB.
7:06:08 – 7:11:40
22 · Rendering the video
In point at start, out point one frame before the end, match source, maximum depth and render quality, VBR 1-pass at 70 Mbps with profile and level unchecked, audio 320 or higher, previews and proxies off. Watch the file, then upload to a frame.io project and share with comments and downloads on.
7:11:40 – 7:15:11
23 · Completing revisions
Duplicate the sequence to V2, read every frame.io note once for context, then complete them back to front so timestamps never shift. Re-export as V2 with identical settings.
7:15:11 – 8:18:36
24 · Complex animations (workshop)
Cuts to an in-person Editing Lair workshop. Start simple and build, one core idea per scene, match effect magnitude to the event, recreate niche UI as reusable assets, IRL rotoscope and content-aware fill tricks, lower thirds built centered then nested, pricing anchors, memes, retention, strobe flicker, reusing old project files, and all-nighters. Second ad read at 7:41:19.
8:18:36 – 9:46:05
25 · Productivity and deadline management
Workshop continues: deadlines as a tool (Parkinson's law, chunked estimates plus 20 percent, shorter external deadlines, work in layers), Goodhart's law, caffeine, breaking habits with friction, perfectionism versus procrastination, gym and social balance, minimalism as starting from zero, and the Alchemy of Self document.
9:46:05 – 10:21:57
26 · Outreach matrix
Standalone training on a Miro board: leads to interested leads to clients. Nine lead sources (X search and algorithm, YouTube search, algorithm and comments, Discord member lists, Instagram, Meta Ads Library, LinkedIn, Skool, Reddit, door to door), three message types (omni-channel, Loom Alchemy, high-value re-edits), DM and call closing, finding the time, personalization, and scaling volume once close rate hits 2.5 to 5 percent.
10:21:57 – 10:34:40
27 · $1,900 client case study
A private student training: screenshots of a 33M-subscriber creator's DMs, from a one-word opener to a 1,500 GBP payment. Threading questions, giving the client two options, not correcting a client who confuses file size with duration, honest praise for responsiveness, and anchoring the price to the workload.
10:34:40 – 11:58:22
28 · Income scaling
Back to the workshop: more videos before higher prices, stacking inconsistent clients until consistent ones surface, LTV and taking the short-term L, not charging for revisions, pre-firing updates, praise as conditioning, the current-to-desired gap with a staircase and trampoline, a live role-play discovery call, following up for years, and client flow as a feedback loop with a steam train analogy. Third ad read at 10:51:15, outro pitch at 11:56:41.
Atomic Insights
Lines worth screenshotting.
Branding is not a one-time setup; every post, reply, and public action either builds or destroys it, and the effect compounds for years.
Keep name, handle, and profile picture identical on every platform, because value earned on one platform only transfers if people recognize you on the next.
A handle with dots, numbers, or abbreviations costs you search traffic, since people type what they heard, not what you spelled.
Never post about being burnt out, scammed, or short on clients. Other editors will sympathize and no client will hire you.
Editing previews should be 70 to 100 percent of what an editor posts, cut to under 60 seconds so X loops them.
Likes from other editors are a trap; a giveaway or a meme attracts broke editors and teaches the algorithm to show your previews to the wrong people.
Preview consistency tracks income almost one to one; when an editor's income drops, the first thing to check is how many previews went out in the last few months.
A mid video embedded from the client's channel beats a great video on your own unlisted channel, because the first impression is proof you work with real people.
Only show statistics you win on; two 100K channels next to one 450-subscriber channel reads worse than listing nothing at all.
One call to action and one contact method. Every extra link or option lowers the chance a visitor does anything.
Put color correction and centering in Premiere's source effects, not clip effects, so a fix on one clip propagates to every cut of that footage.
Gain puts speech peaks at -3 to -6 dB, a compressor evens the louds and quiets, and a hard limiter at -1 dB sits last so nothing can ever clip.
Cut on the waveform first: delete every pause from the transcript panel, then shave the head of each clip and let any added pause live on the tail.
Zooms land on the peak frame of the waveform at a turning point or emphasized word, 5 to 10 percent, anchored at the eyes rather than the frame center.
Complete revisions from the end of the video backwards so earlier cuts never shift the timestamps in the client's notes.
Ninety-nine percent of Premiere Pro bugs disappear if you build the element centered, nest it, then position it, or simply reorder the effects.
Give a client a shorter deadline than you need and say it out loud, because a task fills whatever time it is given.
Estimate a video in stages (download, assemble, rough cut, fine cut, animations) and add 20 percent; people misjudge big vague tasks far more than small ones.
A client is only a client once money has landed. A promise of footage in two weeks is still a lead.
Apply for a job post on every platform the creator uses, not just the one they posted on; 300 editors reply on X and three send an email.
Send the Loom or the re-edit without asking first. Asking permission tells the creator you have not made it yet.
Once outreach closes 2.5 to 5 percent of conversations, stop tuning the message and raise the volume; that is also the moment to raise prices and outsource.
A $200 client who sends eight videos is worth four times a $400 one-off, so absorb the small revision instead of charging for it.
Clients who get an update before they ask stop asking; people tolerate a long wait when they know how long it will be.
Business owners paying $50K to $800K a month described their favorite editors as mid at editing and zero problems to manage.
Takeaway
Treat editing as a business with four systems.
WHAT TO LEARN
Income follows four systems fed every week: a consistent brand that posts previews, a portfolio that converts, a written workflow that ships fast, and outreach you measure and then scale.
02Building a brand
Brand is a compounding vehicle, not a setup task; fix name, handle, and profile picture once and keep them identical on every platform forever.
Pick a handle with no dots, numbers, or abbreviations that is free on X, Discord, and as a .com, and change it now if you might change it later.
On X: pay for premium so previews upload at 1080p, open DMs to everyone, use the location field as a call to action, and never post struggles.
Keep 70 percent or more of posts as editing previews, pin your favorite, follow 20 to 50 relevant people a day, and reply genuinely for 10 minutes daily.
03Posting previews
Platform metrics are a trap; giveaways and memes bring broke editors and retrain the algorithm away from clients, so optimize for cash, not likes.
Cut previews from work you already did: edited sections only, best to worst, 20 to 60 seconds, start and end strong, tight cuts on word boundaries.
Post a preview now, at whatever skill level; the editors who do best are input focused, generous with feedback, and show trajectory rather than perfection.
04Portfolio configuration
Portfolios convert when the videos are the only focus: no animations, embeds only, one video format, and built in a day then improved forever.
Above the fold must answer what you do, what your edits look like, and what to do next, with a client-channel embed large enough to watch without fullscreen.
Show four to eight full-length videos from client channels, only the statistics you win on, believable testimonials, and exactly one way to contact you.
A custom domain costs about $10 a year and changes the frame a client enters with; a Carrd-branded or Linktree link reads as cheap.
06Download and scrub
Download everything, cross-check the file list against the link, then scrub the footage once so no lighting or framing surprise appears mid-edit.
07Create project file
Name projects by ID and title and keep every project file in one folder forever; five years of them is under a gigabyte.
08Importing footage
Drag the main footage onto the timeline first so sequence settings follow it, then set 1920x1080 and the frame rate of the most important clip.
09Syncing footage
Sync on claps and screen events, nudge by single frames, and verify late in the recording with plosive sounds; sync cannot be fixed after the cut.
10Centering footage
Center footage with a Transform effect in source effects and a 50 percent guide: nose centered, eyes on the top third, zoomed only as much as needed.
11Color correction
Correct, do not grade: neutral temperature and tint, skin pulled onto the vectorscope skin-tone line with a mask and Hue vs Hue, then paste into source effects.
Match multiple camera angles in Comparison View so they look shot in the same room.
12Adjusting gain
Pick one monitoring volume and never change it, then gain speech so peaks sit at -3 to -6 dB.
Use a compressor at roughly 3:1 to 4:1 only to bring the loudest moments closer, never to rescue audio that gain already pushed into clipping.
13Adding a hard limiter
A hard limiter at -1 dB true peak goes last in the chain so nothing can clip, and a quick gain-crank test proves it.
14Enhancing audio
Add DeNoise, DeReverb, DeEsser, or EQ only when the recording needs it, and learn each from a dedicated tutorial.
15Check assembly
Build every visual format (face only, screen only, face over screen) on labeled, color-coded tracks before cutting so the edit behaves like a multicam.
Duplicate the synced sequence to ID Main and never touch the assembly again; the archive is the undo button.
16Rough cut
Edit to the waveform: delete all pauses from the transcript panel, bind shuttle to a mouse button, and leave repeated takes highlighted for later.
17Fine cut
Remove repeated points, not just repeated lines, and drop markers whenever a visual idea appears so it is not lost.
Shave the head, grow the tail: every clip starts tight and any pause for effect lives at the end, broken only on purpose for awkward comedy.
19Intro editing
The intro gets the most effort; subtitle the first words, time every element to a waveform peak, and use red for bad and green for good.
Reuse one style: VR glow on key words, a light leak on hard transitions, and a lower-third name animation copied from project to project.
20Zooms and animations
Keep zooms at 5 to 10 percent on turning points or emphasized words, exactly on the waveform peak, with the anchor point moved to the eyes.
A J-cut or deleting a redundant phrase fixes a dead gap faster than a motion tween.
21Sound effects
Three passes of sound: whooshes matched to movement length, functional sounds where logic demands them, then unique or environment beds.
Lower pitch reads as negative and higher as positive; pitch-shift repeated files and level effects to about -27 to -36 dB under the voice.
22Rendering the video
Set the out point one frame before the end or a black frame renders; export VBR 1-pass at 70 Mbps with max depth and quality, profile and level unchecked.
Watch the exported file once at 2x with full attention, then deliver via a frame.io project with comments and downloads enabled.
23Completing revisions
Duplicate the sequence per revision round, read all notes once, then complete them from the end of the video backwards so timestamps never move.
24Complex animations (workshop)
Start with the one core idea a scene must communicate, visualize the minimum, and build only if time allows; hide unused animations instead of deleting.
Match the magnitude of an effect to the importance of the moment; a slide-in in a raw video says more than an explosion in a heavy one.
Build graphics large and centered, nest them, then position; that plus reordering effects fixes almost every Premiere Pro bug.
The first attempt at any animation takes hours, the second half that, and eventually you copy old project files and swap assets.
25Productivity and deadline management
Deadlines are a tool: set one even when the client does not, pull it forward, and say it out loud so the shame of missing it starts working early.
Estimate by stage and add 20 percent; humans misjudge big vague tasks far worse than small concrete ones.
Work in layers so the video is viewable at the cut stage, then backfill the heavy animations with whatever time remains.
More time does not mean a better video; some of the best work ships under a crunch, and a metric that becomes the goal stops being useful.
Break habits with friction: remove the sugar, log out, turn the phone off, and clear the desk the night before so the good thing is effortless.
Perfectionism means finishing to your vision; refusing to start until it can be perfect is procrastination.
Choose one growth priority and hold health and social life at maintenance; two priorities is not a priority.
26Outreach matrix
A client is only a client once money has landed; everything before that is a lead.
Nine lead sources work: X search and algorithm, YouTube search, algorithm and comments, Discord member lists, Instagram, Meta Ads Library, LinkedIn, Skool, Reddit, and door to door.
Apply everywhere the creator exists, not just where the job was posted; hundreds reply on X and almost nobody emails.
Record the Loom or make the re-edit and send it; asking permission first signals it does not exist yet.
Follow up three to five times, and if a re-edit is still ignored, post it and tag them.
Close over DMs with discovery, pitch, and objection handling; calls are the same script on video, and bombing early calls is how you win later ones.
At a 2.5 to 5 percent close rate the system is proven; reverse engineer monthly volume from clients needed and client lifespan, then raise prices and outsource.
27$1,900 client case study
Open a stranger's DM by handing the ball back with a question, and thread every message so the client always knows what to answer next.
Never correct a client who gets a technical detail wrong; re-ask the question in a way they can answer.
Praise honestly and specifically for behavior you want more of, such as fast replies, and it continues.
Anchor the price to the workload you have just made them describe; $1,500 landed after a stated $600 to $900 budget.
28Income scaling
Take on more videos before raising prices when you have spare capacity, and stack inconsistent clients until consistent ones reveal themselves.
Think in lifetime value: a $200 client who sends eight videos beats a $400 one-off, so absorb small revisions and footage mistakes to keep them.
Pre-fire updates at the cadence the client would have asked, with a timeline screenshot, and batch revisions to the next morning so they do not compound.
What six-figure clients want is zero problems: on-time delivery, no excuses, and messages that make the reply obvious.
Sales is widening the gap between current and desired state until the price feels small; the client must say the pain, you only repeat it back.
Following up never costs you the client; a two-and-a-half-year chain of ignored messages still ended in the Sidemen.
Every paid video should feed back into previews, profile, and portfolio; inputs pay off with a delay, and stopping them fails with the same delay.
Glossary
Terms worth knowing.
Social trifecta
The three platforms the course treats as a brand's vehicles for video editors: X (Twitter), Discord, and a work Gmail, all set up with the same name, handle, and picture.
Global assets
The constants of a personal brand, meaning the name, handle, and profile picture, decided once and kept identical on every platform so recognition compounds.
Editing preview
A 20 to 60 second cut containing only the edited sections of a finished video, posted on social media to show an editor's work and attract clients.
KPI trap
Optimizing for platform metrics such as likes, impressions, or followers that feel like progress but do not predict paying clients.
Above the fold
The part of a web page a visitor sees before scrolling, borrowed from the top half of a folded newspaper.
SOP
Standard operating procedure; a written, repeatable step list for a task so it is done the same way every time.
Source effects
Effects applied to a master clip in Premiere Pro so every instance of that footage on the timeline inherits them, as opposed to clip effects that apply to one cut.
Hard limiter
An audio effect that caps peaks at a set ceiling, used as the last link in the chain so the mix can never clip.
De-esser
An audio effect that reduces harsh S and sibilant sounds in speech without thinning the whole voice.
J-cut
An edit where the audio of the next clip starts before its video appears, smoothing the transition.
Optical flow
Premiere Pro's frame interpolation method for slow motion, which generates in-between frames instead of repeating or blending them.
Lower third
A graphic placed in the lower part of the frame, usually a name, title, or label, often animated in and out.
Parkinson's law
The observation that work expands to fill the time available for it, so a five-minute task given three hours takes three hours.
Goodhart's law
When a measure becomes the target, it stops being a useful measure; here, taking longer on a video because long videos were once better.
LTV
Lifetime value; the total revenue a client pays over the whole relationship rather than on a single video.
Loom
A screen and camera recording tool used to send short personalized video pitches instead of text messages.
Re-edit
Re-cutting a creator's already published video in your own style and sending it as unsolicited outreach.
Close rate
The percentage of outreach conversations that end in a payment received.
Churn
The natural rate at which clients stop sending work, which new client acquisition has to replace to keep income flat.
Alchemy of Self
A self-authored document, popularized by Sam Ovens, describing the idealized future version of yourself in detail, reread to steer daily decisions.
Single-line rule for which proof to show.→ TikTok hook↗ Tweet quote
5:23:20
“We want to follow a principle called shave the head, grow the tail.”
Memorable name for a cut-timing rule editors fight about.→ IG reel cold open↗ Tweet quote
7:51:48
“99% of your Premiere Pro bug problems will either be center nesting or you just change the order of the effects.”
Bold technical claim with a checkable fix.→ TikTok hook↗ Tweet quote
8:30:28
“Deadlines are genuinely the best thing that you can do for yourself.”
Contrarian opener for the Parkinson's law segment.→ IG reel cold open↗ Tweet quote
8:53:24
“Goodhart's law is where as soon as a metric becomes the goal, that metric stops being useful.”
Clean definition tied to taking too long on videos.→ newsletter pull-quote↗ Tweet quote
9:30:45
“You can't have two priorities. That's the definition of a priority.”
Punchline from the minimalism Q&A.→ TikTok hook↗ Tweet quote
9:46:38
“Clients are only yours once you've actually been paid.”
Hard line most freelancers need to hear.→ TikTok hook↗ Tweet quote
10:03:05
“Everyone knows you haven't recorded it yet. Everyone knows you haven't done the re-edit yet. Just do the re-edit. Or do the actual loom. And send it to them.”
Calls out a universal outreach habit.→ IG reel cold open↗ Tweet quote
10:34:12
“It's all psychology. It's all being a nice person. A lot of these techniques, when you think about it, all we're learning is how to be a nice person.”
Self-aware summary of the $1,900 case study.→ newsletter pull-quote↗ Tweet quote
11:05:14
“The standard is so low now that you don't even have to be amazing. You just have to be not bad.”
Reassuring and provocative at once.→ TikTok hook↗ Tweet quote
11:38:45
“No one believes what you say. They believe everything they say.”
The whole discovery-call method in two sentences.→ IG reel cold open↗ Tweet quote
11:52:36
“You stop the inputs and you stop getting the outputs. It's just maths.”
Closes the client-flow loop with a blunt line.→ newsletter pull-quote↗ Tweet quote
The Script
Word for word.
Read-along
Don't just watch it. Burn it in.
See every word as it's spoken — crank it to 2× and still catch all of it. The same dual-channel trick behind Amazon's Kindle + Audible.
17px
metaphoranalogystory
I promise that this is the best guide on making money as an editor that you will ever watch. I'm Saif, I took editing from a hobby six years ago, to a side income, to now running a business making over 10k a month. And I did that by working with huge YouTubers like the ones you see on screen now.
And the truth is, it's not because I work harder than you, I'm not some god tier editor, and I wasn't born into some rich family. But it's because I treated editing as a business, not just as a freelancer. I scaled myself past 12K a month.
I also sold over $100 ,000 of editing packs where over 40 ,000 editors are using my presets right now. And I've even built a personal brand where I'm now in rooms with other entrepreneurs making hundreds of thousands of dollars a month. And I say that not to brag, but just to set the expectation of what you're going to get in this video.
Because it's the same trainings that other editors have paid four to five figures for. It's the exact same process that took Jackson and Artem to 8K a month. It took Aaron from...
1k a month to 10k a month. It took Carter who never had a client in his life from 0 to 10k a month now charging 10k a video. It even took Amir who was already busy.
He was going to a gym, he was editing, he was even enlisted in the army for a while and we still got him to 14k a month and we've done this process with hundreds of others because this system works. And I admit what you're about to go through is a long video and I don't expect you to go through all of it in one go. So that's why I've got the resources in the description for free so you can follow along with the action steps as you're going through the course.
By the end of this course, you're going to learn exactly how to attract quality clients, how to actually do those videos quickly without sacrificing quality, and how to actually scale your editing income and treat it as a business rather than an inconsistent freelancer. And the truth is, if you're looking for a shortcut or a quick win, this video probably isn't for you.
You might as well click off now. But if you're looking for long -term sustainable growth and you want to actually take your editing skills and translate it into the business world, then that's what this is for. So my fellow editor, grab a pen and paper, sit down and we'll jump into the first module.
Welcome to Brand Setup, where we're going to be setting up your social media pages and accounts ready to grow your brand and get. I want to start off by saying everything gets easier as you start and continue growing a brand. If you want to get inbound clients, which is people coming to you.
So that's a super nice thing that you can have of clients coming to you for work. That happens when you build a brand. If you want to raise your prices, whether it be with new clients coming in or with your current clients, you'd be surprised how much brand actually helps you.
your outreach to convert. A lot of people think that you can either get clients coming to you or you go to clients and it's completely separate things. It is not.
So if you want to have your outreach convert better, you want people to respond to it more, you build a brand because who would you be more likely to open a message of? Someone who hasn't grown their pages at all or someone who's grown their brand and not only grown their brand, but grown it in a way which is attractive to exactly what you want.
That's why your outreach converts better when you build a brand. If you want your deadlines to be not as harsh, you would be surprised how much more you can get away with when you have a brand. So imagine you're a client and an editor has just told you, hey, I'm going to need two more days on the video.
Now, if a small unknown editor who hasn't built anything says that. the client's probably going to get mad because it's like, well, you told me this, they get it done on that day for God's sake. But if you're someone who's built their brand up and he's respected in the community, the client would be more likely to be like, you know what?
Fair enough. He's probably just touching up on a video. Like I'll give him the benefit of the doubt.
That's what a brand does. And networking, if you want to meet other editors, you want opportunities that are golden. You can get clients and I want to be clear, you can make a lot of success without a good network.
But having a network not only makes it easier, but it makes it more fun too. You've joined an amazing network by being in the layer and growing your brand by using the others in the layer and also just venturing out. A brand does that for you.
So the better you build your brand, the easier life gets. And I want to make this clear because a lot of people sort of get this wrong. Branding is not a one -time thing.
It's not where you just set something up and now, oh look, I fixed my brand. You cannot just one day wake up and decide to fix your brand. It's a process and it's a continuous process.
It's a continuous process of either building or destroying and it's affected by everything you do. Every single thing you do either builds or destroys your brand.
side of you're an editor if you posted some controversial tweet well is that building or destroying by you joining the layer others have seen that you're someone that's investing into yourself does that build or destroy your brand in other people's eyes people think more positively of you because you're in communities like these so everything you do builds or destroys And our social media pages, our websites, images, profile pictures, our following accounts, the things that most people think of when you say brand, that's not actually what a brand inherently is.
These things that people think are brands, so your actual pages, these are the vehicles. to present our brand to the rest of the world because you could be the best editor in the world but if no one knows you exist you're still gonna struggle so we need you who has all these skills who's amazing at what you do who's communicative who is willing to work so hard who has all these amazing traits and there's an editor on the other there's a creator on the other side of the world we need a way to show this creator that you have all these traits a brand is that vehicle so while your pages are not the brand itself we do need to set them up initially and that's what we're going to be doing in this lesson now let's jump into something i call the social trifecta so while the concept of brand is global meaning that it occurs on every single platform remember what we said it happens every everything you do is building or destroying This occurs on every platform, on YouTube, on Twitter, on Instagram, on Facebook, even offline.
What you do in your real life has affected your brand because people who see you do certain things, it changes their perception of you. So everything you do affects your brand. But for the sake of this training in specific, so for the purpose of me getting you results as an editor, which is the purpose of this, we're going to be focusing on the platforms that i've tested and that we've all tested to reliably work for editors and these are going to be the social trifecta the base three that i want you to build if we do need others we'll build them during those sections but those are your gmail your twitter otherwise known as x and your discord so these three work super well together so let's take some action and set up the vehicles for your brand and i highly highly highly recommend going through this as you're watching.
The reason being, I used to always tell myself that I would watch things and then I'd go back to it later. My ass never went back to it later. And I want you to get results.
And I don't want you to be like past me because as soon as I started taking action on things, I've made a lot more progress in my life. So let's take some action and actually build it. And because I'm going to give you the exact steps, just saying, I'm going to give you whole damn worksheets and everything.
It'll be super easy for you. So Step zero out of three, before we can move on to the social trifecta, is we need to set up what's called your global assets.
Now, global assets are constants, meaning that they will not change over any social platform, over all three of the social trifecta and anything else you build over your career. These things stay the same. And the reason this happens is in order to see the compounding effects of branding, so meaning On day one, you might not see results.
On day 10, you might see a tiny, tiny bit of results. On day 30, it might see a tiny, tiny, tiny little bit more results. Two months in, now you're seeing results.
Three months in, now you're doubling your results. Six months in, now you're really, really seeing results. A year in, you don't even know what to do with the amount of high quality clients you have.
You don't even know what to do with this many potential clients. Like you're turning down people who are... willing to pay you hundreds and hundreds of dollars per video where you would have begged to work with them a year ago but you're going to be at a stage where you're going to have to turn them down because of you're getting so many other people that you want to work with so it's a compounding thing it's exponential in nature to experience that these things need to be kept the same everywhere because if you look like one person in one place and you've built up your brand here but you present yourself as slightly different somewhere else People don't associate the value from one place to another.
We want them. I want you to be able to build your brand in one place. And no matter which platform you run after that, you still have the value associated with you.
That's what we're going to do here. So what I want you to do is go through this worksheet and set up your global assets. This is going to be linked under this lesson.
And what you're going to be able to do is you're going to be able to create your own version of this. So here's how you're going to do it. Here you see this.
link saying click here for google doc i'm going to link it to you as a pdf what you're going to do is you're going to click on this and it's going to open up the google doc right then what you're going to do you're going to click file and make a copy so file make a copy and you can name this whatever you want so you can call it editing layer global assets worksheet or you can just call it global assets worksheet whatever you want to call it then you're going to click make a copy and it'll open it up in a way that you can actually edit it yourself and fill in these boxes that I've given you.
But let's go through this now. Welcome to the global assets worksheet. In this module, we'll be setting the constants of your brand, which will be used over all platforms.
And I want to make this clear, you don't want to spend more than 24 hours on this. This, it should honestly, in all honesty, take you maybe... 10, 20 minutes max.
I'm saying 24 hours because if you're spending more than a day thinking about it, it's taking too long. And I'll explain why. The truth is what you set these to.
So these are your name, your profile picture, things like that. They don't really matter. The important thing is keeping things like your profile picture, your name, your handle, which we're going to set up.
It's important to just keep them the same over time. The longer you stick with these, the more you will experience the compound effects of branding. As long as you're consistent with inputs, which basically means as long as you're posting properly and you're doing the right things, you will constantly, constantly grow.
As long as you keep your global assets, meaning your profile picture, your name, your handle that you use, as long as they're consistent and staying the same, you will see those benefits as you're putting these inputs in. And I just want to make a quick note. if you do feel as though you're going to change anything in the future so let's say you have a name right now that you think oh it's kind of cringe i want to change it but i don't want to lose all the momentum that i've built up just change it now i promise you i would rather you lose the little bit of momentum you've had and change it now so that you have a name that you're proud of or profile picture that you've been wanting to have and now you see your growth so that you're not in even even deep so you're not in you don't dig yourself and need to get out of an even bigger hole deeper hole when you've built up your brand under a name or profile picture that you don't actually like so we're going to keep these things for a while and especially if you're early in your editing in your brand journey where you haven't really grown that much trust me just change it now um this isn't me saying you should change it this is me saying if you feel like in the next year or two years you're going to change your
profile picture or your banner or things like that just change it now so let's get started it's not going to be too long but super important you follow along first thing sounds super super simple but we need to have a definitive name that you go by and the reason is when people hear your name we're just social creatures as humans where we like to put names on things and i want a name that clients can associate with you no matter the platform.
So you can either use your real name or an online Elias, meaning like a fake name. So here I've given an example, which might sound familiar, Malice. So that was the name that I went for.
Now I'm going to give you some rules to keep in mind, but I want you to realize I didn't know these rules when I first got started and I actually broke one of them, but I don't want you to break it. I'm saying I made this mistake. Don't follow it.
So here's some rules that you should keep in mind. First of all, keep it short and simple. This is one that I followed.
You want people to easily be able to remember your name. A lot of branding is essentially taking up people's brains real estate. Like how many thoughts do people think of you throughout the day?
In order for people to think about you throughout the day, they need to be able to remember your name. which means it should be short and simple, preferably one word. And it should be easy to pronounce.
So if it's something that's super hard to say, would recommend making it something simpler. And another thing, avoid negative connotations. Now, what that means is negative words.
So if you don't know, malice, the word, means negative intent, like evil intent. Now, This sounds silly, but the sort of subconscious thoughts that people will bring to that does not serve me in my branding journey.
It actually doesn't. i probably would have seen maybe five ten percent more growth just by having a more positive name now will we ever know objectively no because i can't go in the past and change it but if you have a controversial or a negatively connotated word like this is going to be a crazy example but if you had a name like terrorist mp4 or vfx vfx like osama bin laden like you probably don't want that because people will associate you with the bad thing even if you could be the nicest person in the world just because you had a negative connotation to your name it's hurt you so keep those rules in mind either use your real name or an online alias and follow these words and these rules and just choose what do you want your name to be what do you want to be known as once again if you're not sure between multiple names just ask yourself in two years from now What would I want people to call me?
And when you think about it in that frame, when you think longer term, it just becomes more obvious. So whatever you want it to be in one or two years, make it that name. Now, next, your handle.
This sounds very similar, but a handle is a bit different to your name. So your name is what people will call you. Your handle is what people search for.
So how will people search for your name? So this is on Twitter. This is on Discord, whatever platform.
And this is what you will keep as your account username and your website domain. So for your portfolio, we want it to be easy to read and remember. And preferably when we're making our handle.
So for me, it's VFX Malice. Preferably, we want to avoid using full stops. We want to avoid using numbers, avoid using abbreviations to get as close as possible to a clean looking name.
Meaning, if my name is Malice, which I've chosen, I don't want my handle to be M -L -C -E. I don't want to miss out letters or M -X -L -I -C -E. I just want it to be Malice in the name.
And I don't want to use numbers. I don't want to be like Malice1 because Malice wasn't available. So in a perfect world...
Your name on its own is going to be available on all the different platforms. It's going to be available on Twitter. It's going to be available on Discord.
Awesome. So malice is going to be available on those platforms. But however, this is often not the case.
Some random guy across the world has probably already taken your account. So if necessary, adjust your handle to be your name. So whatever you put here.
And put a suffix or prefix, meaning a little bit before or a little bit after. You know how a suffix or prefix is. let's say the word happy a prefix for that would be unhappy so un is the prefix so it comes before or you could have a suffix which is after which is happiness happiness so it's like the little bit after the word happy you can add a suffix or prefix to your name where you can change your handle so that you can get it available on multiple platforms and I'll show you how to get it available on multiple platforms later how to check that if yours is available but basically you want to make a ton of variations now so you're going to think of five to ten variations where things like malice if it wasn't available I could do malice vfx or malice edits or editor malice or FX malice or malice the editor or MP4 malice or probably not JPEG malice.
But you get the idea. You can be creative here. These are not the only ones.
I highly recommend just think through some. Try to get it related to editing, related to sort of video, get it related to being creative. That's the sort of vibe you want to go for.
You need inspiration. Find other people who... edit and see their names just for inspiration now once again avoid using underscores full stops numbers and things like that because they tend to be less memorable we want this to be ingrained in people's brains malice and vfx malice super easy to remember vfx dot malice sounds the same but people are going to forget the dot and then they're going to search vfx malice and be confused of where it is because it won't show up in search so Here, just think of five to 10 variations of your name that you can use as a handle.
So things like Malice VFX, Malice Edits, Editor Malice. Think of, I would suggest try to get around 10 names like this and put it in order of preference. So what would you personally want?
The truth is none of these names really have an advantage over each other, but it's just what would you want? Put it in order of the top being what you really want. And as you go on, your less preferred ones now once you've done that you can spend some time doing that check your handle availability on each platform now the way we are going to do this is we're going to check if your handle is available on x so what you're going to do is copy a link like this And you're going to replace the word example in the link with the handle that you would like.
And if it's available, what it will say is this account does not exist. So let's try that out. If I search, let's try malice.
You can see there's an account with the name malice. So that is obviously taken. And then I could try malice VFX.
Oh, it doesn't say that this. Account doesn't exist. It says suspended.
So what that means is I cannot take this tag with someone technically has it now if I did VFX malice Oops, sorry spelled it wrong VFX malice. You can see someone has that tag. I wonder who that is if I Pretend that I'm not this guy if I wanted malice editor.
Oh This account doesn't exist. That means I could actually take that tag if I want to now Quick note, if your tag is taken, what I would recommend is, it's a bit of a balancing act, but let's say your name is Malice and you search VFX Malice and it's like, oh, there's already an editor who has this name.
Now, this is where you need to make a judgment call. Is the person big enough to the point where they would absolutely shadow you in terms of they will get more traction than you? If the person has like...
50 ,000, 100 ,000, 200 ,000 followers in the editing space, that's when I would be careful of trying to get a super similar tag to them. If they are completely outside of the editing space, you are fine. So I will give you an example to this.
If I search up malice, what usually happens is there are other people who are sort of named malice um there's this guy named michael malice who's like um pretty big surprised my name is even coming up in search but um this michael malice guy keeps popping up he gets millions of views but here's the thing they're not in the editing space so i was going to be completely fine no matter what if there is someone who's popular in the youtube editing space i would try not to take that tag and that handle or something super close i would probably consider either changing the name or go for a handle that's super different.
But if they're under like 50 ,000 followers, you'll be fine. Just take a similar one. So that's how you check the availability on X.
So it should say this account doesn't exist or something similar. If it says suspended, do not try going for that. That is not available.
To check if a handle is available on Discord, you go to settings, my account, username. edit and you input the desired handle and i need to move that because that is actually incorrect there we are um so what you can do is you go on to discord so i'm going to open discord right now we will wait for this to load and what you can do is you go to your settings you go to username then you go to edit and what you do here is you need to type in a username that you want.
So I'm going to give an example. Let's say Malice. If I search up Malice, I can see this username is unavailable.
So yeah, it's not available. If I searched VFX Malice, it's like, it's not going to say anything because I've already got it. But let's say Malice VFX and see if that's taken.
You saw username is available. Nice. So that means I can take it if I wanted.
So what you want to do is you're basically going through one by one and going through these. I'll explain it again after I explain all of these. But yeah, so check it on X, check it on Discord.
And you also want to check if the domain is available. So the handle that you want to try out, I recommend Namecheap. So you can go into here and search up the handle that you want to test.
So if I want to test Malice, well, I recommend writing malice .com. And you can see this is unavailable. It was registered in 1999.
Probably not going to be able to buy that. If I search up vfxmalice .com, I recommend typing .com.
You will see registered in 2022. Surprise, surprise, because I have it. Malicevfx .com.
Now this is available and it's at less than 10 bucks a year. Now. That's a year, by the way.
Sometimes it will say .com is not available, but other ones are available, like .london .net .org. I would highly recommend only go for it if it's .com. If it's not .com, probably just want to try out a different handle.
So what you want to do is, once again, you think of your name that you want, you put variations of the handle, and you go one by one in order of preference. So you go on this one. And you test it out on Twitter, on X, sorry, on Discord and as a domain.
So if that's available, awesome. That is now your brand's handle. So you put that in your final choice.
If this failed one of these tests, then you move on to your second preferred handle. And then you try that. Then if that doesn't work, you go on your third.
So you just keep doing that. And usually you will find one that you can. do if not just go back to the brainstorming thing but that's very unlikely if you do go through this process you will find one that you like that will work so let's put your final brand handle that you've chosen which is available on both x on discord that you've tested and as a website domain and so your handle .com make sure that is all available and with the domain what i highly recommend make sure that it's not crazy crazy expensive so honestly anything under like a hundred bucks a year i would say is worth it but you're gonna get some that let's say for some reason your name is editing um things like editing .com if you find some they're just going to be crazy expensive um i don't know what else you would search for but like these aren't going to be really available but what you're going to find is there's going to be some that are super super crazy expensive like tens of thousands a year
I wouldn't say that's worth it, but most domains that you're going to be under like 50 bucks a year and it's super worth it just because you stand out. But I'm not asking you to buy it right now. You don't need to buy it.
All I'm asking you is check that they're available so that you can decide on your handle. So go do that. So now you should have your name and your handle.
Next, you're going to do your profile picture. This is the last bit of your global assets. How do you want to be represented online?
Humans, we're visual. We very much like... We just see and recognize images much faster than words.
So your profile picture is important that it stays the same. And it's pretty important that you like it because you're going to be sticking with it for a damn while. So this can be anything.
Honestly, the actual picture doesn't matter. It can be a picture of you. It can be a headshot, meaning like a picture of...
your face up close. It can be your favorite character from an anime, a TV show, from anything you like. It can be a cool image that you like.
For me, it's my cat right now as of recording this. So it can be basically anything. You don't want to overthink this because what you select as a profile picture doesn't really matter.
The goal is to have a profile picture that you keep for a very long time that people eventually get to recognize as you, meaning You basically kept this for so long and posted with it for so long and built your brand with it for so long that even when people don't see your name or they don't see your post, just your profile picture alone is enough for people to recognize you.
That's the power of keeping it consistent. So choose whatever profile picture you want. If you want to keep your current one, you can put it here.
If you want to add a different one that you want to keep for years, add it here. I would recommend if you're young and you know that over the next few years, you're going to change a lot. physically i would try not to keep a face shot the reason being your face is going to change so so damn much over the next even few months that you don't want to you don't want to change your profile picture that often if let's say i mean i'm 19 so my face is going to change a lot over the next few years but it's probably going to be four five six years before my face changes so much that you can't really recognize me properly so Add your profile picture here.
It can be anything, but we want to keep it here so we're consistent with it. And that's it for the global assets worksheet. You should have decided your name, brainstormed your handles, checked if it's available and decided the handle, and then decide the profile picture.
So in fact, I'm going to add it here. Check handle availability because we went through that as well. So decide name, brainstorm handles, check if they're available on the social trifecta.
So X, Discord and Gmail. Sorry, X, Discord and the domain, the Gmail we will sort out later. And then the profile picture.
So that is the global assets worksheet done. Once you've done that, the next one is your Gmail. So we want your email to be consistent.
with the rest of your brand. And I just want to say, by the way, you're doing really well. You're going through this.
You're doing amazing. This is stuff that took me years to learn. So don't worry if it feels kind of crazy.
I've made it as simple as you can. Just make sure you're following the worksheets. I just want to say you're doing really well, by the way.
So we want your email to be consistent with the rest of your brand. Whether you have a email for work already or not, I recommend just following this quick SOP. SOPs, by the way, just means standard of procedure.
It's like a set of instructions that you can follow. So I'm making it super simple for you. So this is where you go to set up your GMO.
Welcome to Gmail Setup SOP, where we will be setting up your email. We want to keep the email that we use consistent and on brand with our social platforms. So what we just set up with the global stuff, we want to be similar, the same.
So account creation, if you do not have an editing related email for work, make one now. So something related to your handle you want to have. And if you don't have one at all, this is how you make it.
You go to Gmail and you create a new email with the address being your handle at gmail .com. Now, the reason I didn't say you should test for this in the global assets worksheet is the likelihood is your handle will be available. With Gmail, you can get away a little bit more with not being so consistent with your handle.
So let's say for some reason, your handle that you chose in the global assets worksheet wasn't available. It's okay to go with another handle only for your Gmail. So go for handle at gmail .com.
If it's off brand, you should not be using that. So if you use your... real name in there that's not your work gmail make sure it's super closely related to your handle it should be one of the ones that you brainstormed and if you already have an editing work email i want you to use the judgment here so is it worth creating one with your official handle so the one that we had as a final decision in the last worksheet is it worth changing it so let me give you an example if my chosen handle was vfx malice but i already had the gmail malicediting at gmail .com, and I've been using it for years, so I've got accounts on there, I've got payment things on there, I'm in contact with clients on there, if I've been using it for years, then it probably isn't switching from Malice Editing to VFX Malice.
If I had an email called, imagine my editing name used to be Josh, just pretend, pretend. If I had a work email called Josh Editing, and my handle that i wanted was vfx malice then yes it would be worth switching but if it's super super close fair enough use your judgment here just keep it as the same if it's super close change it to your handle .com and handle .gmo .com if you want to change it or it's super different so once you've created your account we're going to edit your personal information on there so i recommend doing this as you're going through this lesson you want to go to manage Google account.
So in the top right, you'll be able to click your profile and click manage Google account, go to personal info, go to basic info, and then add the following details. So what this will look like is if I go to Gmail, let's go with this account. What you want to do is click this account profile picture, go to manage your Google account, go to personal info.
And then you'll have this basic info here. Now, what you want to do is for the photo, add your profile picture, specifically the one that we set before in the global assets worksheet. You're seeing why this is so important now.
Your name, you want the name that you set in the global assets worksheet, very specific. For your birthday, you can do your birthday. For your gender, you can do your gender.
Those two aren't too important, but what I would do is... you would make your birthday and gender visible to only you. So you can click on these and when you're setting them, you set them to only you.
That's for both birthday and gender. So that is with the personal info. Now, I will say your Gmail, it's important to set up, but there's a lot more leeway.
So if you don't follow the rules exactly for Gmail, for the other... platforms it's very important for twitter for discord super important but for gmail the rules are a little less strict purely because it's like you're not going to be using it that much compared to the other platforms um but yeah so edit your personal info and what you can do for gmail this is the last step for gmail super quick i know go to settings general signature what we're going to do is set up a signature which is every time you write an email at the like your name, then video editor.
So for me, whenever I type on an email, it automatically puts this dotted line and says Malice video editor. Just a nice little thing, keeps you looking, I wouldn't say professional, but it's clear what you do, who you are, the context of what you're writing. So if you want to do that, you go to your Gmail, go to settings, so we're here.
Then if you see all settings, Then you can scroll down it should be around here. Let's see.
Yep signature and then just you can create new and Write it out however you want and I recommend keep it super simple the simpler the better here. Honestly, you'd be surprised how Adding more can actually distract people So don't add any pictures. So like your logo and stuff and don't add any links like your portfolio and stuff like that in the signature specifically because what happens is it reduces deliverability meaning google will tend to pick it up as spam more often and put you in the junk folder if you have lots of emails with links then it is more likely to put you into spam and so we don't want to waste links on a signature because it's like if you want to send a link we'll send it so once you've created the signature what i want you to do is set the size to normal so Don't make the size crazy big.
You can sort of set the color of stuff like here. Keep it normal black. Well, I have background white and then set to black.
I have mine to bold, but basically you just want to make it like a normal size. Set the font to, I use sans serif. And yeah, you don't have to copy this exactly.
You can if you want. If you don't want to, you can change it slightly. But having a signature is nice.
And you can call it either main or I just called it my name and save that. So that's Gmail setup. You just create your account, edit the personal info so it's matched up with your global assets, then set the signature.
So that is your Gmail setup. We're moving quite fast, I know. So next, your Twitter.
If you haven't done the rest, feel free to sort of go through that now. You don't have to go through this in one sitting. Feel free to watch some, do it, then when you're ready, come back to it.
But I do recommend doing this before other modules. Next is your Twitter, otherwise known as X. And this is the most powerful platform that I found for video editors to reliably grow.
It's the easiest because most creators are on there. It's easiest to DM people. It's easiest to show your work off.
Everything is super easy on Twitter. Now let's go through it. Now I want to make clear, there's quite a bit in here, but if you follow it step by step, it's super easy to follow and you're doing well.
So welcome to the Twitter slash X set up SOP. We'll be setting up Twitter, otherwise known as X account. Account creation.
So we're going to start from everything from creating your account all the way to what to post. If you already have an X. editing account so you have an account already on x that you use for editing continue using that account and i want you to just follow this sop and make changes that you need to but keep using that same account if you don't have an account at all on x or you have a previous account that you grew or had for a long time outside of editing i would highly recommend creating a new account and using this sop meaning if you had some editing some twitter account or x account about football and you kind of used it a lot to tweet about that and you kind of interacted with a lot of people like that i would just create a new account for editing the reason being the algorithm will use your old interactions and serve your new posts to a weird audience that has nothing to do with it and it will tank your engagement and twitter will basically think that you are posting irrelevant stuff even if your stuff is relevant so you want an editing account
For your handle, it's super simple. You want to just use your handle that you used in your global assets worksheet. Super simple.
So that's when, let's say I'm on Twitter. Your handle is this. So edit profile, I believe.
So it is in more setting and privacy. If you go into account information, enter your password. It's there basically where you can change your, Tag, start closing some of these out.
Completed those already. So that's your handle. So for me, it's VFX Malice.
Should be the same one you use in Global Assets. And for your name, it should either be the exact name that you chose in your Global Assets worksheet. So for me, it would be Malice.
Or you can use your name, so Malice, with an extension to say that you're an editor. A little bit different to your handle. So it's your name still.
So either Malice or Malice the editor or Malice with this vertical line. You can copy this if you need to. So Malice video editor or editor Malice.
There's other forms that you could use to show that you're an editor. You can be creative with this. It's honestly a personal choice.
So whatever you want people to see your name as on the X timeline. So when people are scrolling through and they see your account or you get suggested. It's nice for people to see that you're an editor.
So if someone's interested in editing, that is what they will more likely click on. So mine, I believe is Malice the editor, just what I've used. I would recommend.
if you're watching this training you probably don't want to use malice the editor because there's other people that will see mine and copy it because they see that's what i'm doing so there's actually a lot of value in trying the others or thinking of your own that follows a similar framework so that's your name so that is the account that the name that you see here so that if you go to edit profile you maybe change it here Next, your profile picture.
Super simple. Just use the exact profile picture. You want it consistent over your other ones.
And verification. This is a topic a lot of people ask for. In all honesty, I would just get verified as soon as possible.
Let me explain why. And I want you to understand I get nothing out of you being verified, except the fact that you will get better results. First of all, you have 1080p uploads.
on without premium as of now you do not get to post in full quality now your video editor your entire career is based on videos and the quality of your videos you do not want yours being a pixelated mess when for however much premium is i believe it's less than 20 bucks a month right now do you think you would make 20 bucks a month more if you had higher quality previews high quality posts probably would make at least 20 bucks a month more over the rest of your career well if that wasn't enough what about boosted replies any replies you make will get pushed out more meaning it compounds and more people will come to your profile your dms have priority so you're able to dm more people a lot of people have their dms especially creators large creators have their dms on verified accounts only you want to be able to get in there and also a lot of people's dms verified accounts get pushed up so yeah essentially you want to get premium just get verified it's super worth it for which verified you get i personally right now use the middle version i wouldn't get liked i don't use premium plus right now
premium plus does have better reply boost if you have the money do it in all honesty my twitter growth isn't the focus right now within the next month i will likely upgrade to premium plus so i would get premium plus if for some reason you don't want to get premium plus at least get the standard version but you should definitely get premium it's just so worth it man for your banner You don't need to spend much time to create a cool banner.
It really doesn't matter. Instead, just use your name slapped on a background or use your favorite image, a nice painting, a lifestyle shot of yourself. Use a scene from an edit.
Doesn't really matter. I've seen all of them work. I've seen stupid things work.
I've seen good things work. Don't overthink this. Just spend a minute thinking about what you want and just add it.
So that's your banner. Now your about section. So that is this text over here.
Now. i'm going to give you the framework of how i think about these because i don't want to give you the exact thing to write because then you look like everyone else i'm going to give you the framework of what works well so a lot of people online right now as of recording this and some editors they use the internet marketer approach which is i help x to achieve y by z method so i help um online content creators to maximize business revenue by engaging visuals it's true but it's grossly overdone and hundreds if not thousands of people are shouting the exact same thing on their profile and here's the thing about the internet trends work in a way where when things are new people pick up on it then after like a while of people getting overexposed to it they get so used to it that it just annoys them so this will tend to hurt you instead i found that there's this format that works really well for editors in specific your about section should achieve two things the first part is say what you do so what is the thing that you actually help people with and second is give proof that you've done it before so
Yes, we can make bold claims, but what's even better is instead of making bold claims to show what we've done, if you want what these people have done, then you can join and you can join me for the journey and hire me and go for it. So that's the two parts and TLDR of this sort of short inversion is be clear with what you do.
Just say what you do and then give undeniable evidence where if someone wants the same thing, then they can join you. So let's talk about that. The first section, about section part one, say what you do.
So people should know that you're a video editor as soon as they read your bio, which there should be no doubt about it. And this can be done by explicitly mentioning as a title. So literally saying in your bio, I am a video editor, by saying like video editor, the first two words.
That works surprisingly well. The other method of showing what you do is through a catchphrase. like a short quirky little phrase that you can use so for me i say helping creatives reach their full potential now is it kind of cringe yeah i kind of like it um you can have completely different ones so maximizing views whatever you want it to be don't copy my one because i've seen so many people copy my one and they just look like the really crappy version of me i don't want you to be the crappy version of me i want you to be your own editor who's amazing in his own right um Or her, right?
If you're a woman. But yeah, so catchphrases. Short phrases that you want to be clear with.
And I want to give a quick warning. If you're going to do a catchphrase, be careful of this. Making claims in a catchphrase that you can't prove does more harm than good.
So for example, don't mention views if you don't have highly viewed edits. If you don't have highly viewed edits, don't say that you maximize views. If you do have highly viewed edits, mention it.
So you can mention, I've gotten X million amount of views. So you can see that I actually do that right now. I've got over 300 million views.
I've got over a quarter billion views on my work. I have a lot of views, so I talk about it. In the same way, don't mention retention if you don't get high retention.
Don't say you maximize retention if you don't maximize retention and you don't have proof of it. Because here's the thing. There's so many people that claim a thing and they think it's actually helping them when in fact, if you can't prove it, it actually does you harm.
It does you worse. But if you do have proof of retention, where you literally have screenshots of your retention graphs, by all means, mention it. And I'll have the humility to say.
I am not one of these people who can prove that I have high retention. My videos I know get high retention because I speak about it with my clients. I don't have undeniable proof of screenshots and stuff.
So I don't talk about it. So I just basically use what you can prove. So in a format, I'm trying to tell you don't mention X, Y, Z.
So don't mention anything if you don't have proof of that thing. And if you do want to go the catchphrase route, just make sure no one can question its fidelity. No one should be able to question a catchphrase.
So there's a bit of a nuance to this. If you're going to make a catchphrase which can be quantified, so views can be put as a number, retention, it can be put as a number, subscribers, it can be put as a number, revenue can be put as a number. If there's a claim that you want to make in a catchphrase that can be quantified it must be quantified it must be shown it must be proven if you have a qualitative qualifiable i think that's the word so the opposite of quantifiable so more non -statistical based claims so engagement fancy visuals smooth editing like these things aren't number based so you can get away with sort of making claims in that realm without having objective proof so your editing has to be at least closer to that that claim so if you're talking about storytelling it should be more storytelling based videos but those when they're not quantifiable so it's not views retention subs etc you can get away with it a lot more But in all honesty, the alternative to all of this catchphrase stuff.
So if you don't have a catchphrase right now in your head, completely fine, because this actually works just as well. The alternative is just to simply state that you're an editor without any quirky catchphrases. And this often works extremely effectively compared to difficult to understand catchphrases.
I want you to understand this. Clear is better than clever. I would rather you just say you're an editor than have a catchphrase that's difficult to understand.
So that's the first part. And the second part of your about section. So the catchphrase shouldn't take any more than half a line, one line.
The second part of your about section is giving proof. So whatever you just told people you do. give proof of that and also just proof that you've worked with other people if you can.
So this is where we want to show potential clients or people looking at our profile that we've done it all before. So people will feel safer to work with us if they see we've done it before. You can be creative here, but this is the type of proof of stuff that I've done that I usually use in my bio.
The most important one is tagging previous or current clients. So I have tagged Sidemen, CypherPK, Your Fellow Arab, TheBentist and Jessa.
And you can see these are pretty large channels. Now, I want to be clear here. You don't need to have big channels in your bio for it to work as social proof.
I have been doing this method ever since I've been working with channels with literally like 40 subscribers. You just use whatever you have and you upgrade as you go. So you use whatever you have.
I mean, as you Use that social proof to get more clients by running the client acquisition systems that we'll teach later. You'll just upgrade, put bigger people as you go.
So that's what I recommend doing, tagging previous or current clients. And also mentioning the total views on your edits. That's just something I do because I tend to play the views game.
If you have high views, play that game. If you get high retention, play that game. If not, just rely on your actual work and tagging people.
Just more of a visual thing, what I recommend doing, divide sections in your bio using symbols. It just makes it easier to read. So things like this vertical line or these bullet points or like a star, an emoji, whatever you want, it just makes it easier to sort of split up.
So I use bullet points. If you want, you can go to this website. It's called coolsymbol .com.
And what that will allow you to do is you see all these cool emojis sort of things. You can just copy it and paste it. to see what it will look like as a divider.
I recommend being consistent, so if you're going to use a divider, use it everywhere. And make sure you save it and test whether it looks okay. Test it on your mobile as well, because sometimes it looks different.
But yeah, using dividers works pretty well. Once again, any social proof works better than no social proof. It's not about do you have social proof or not, it's how much and how believable.
Just use whatever you have and upgrade as you go. The more social proof, the better. Now, if you've never worked with anyone, just skip this for now.
You don't need to tag people. Don't lie about it. But your priority is getting that first client, no matter the price, even if it's free, because you having that zero to one jump in social proof is so damn huge and useful.
Now that's your bio. Let's talk about website links. So this is where if you go to edit profile, you have a section that you can put a website link in.
You just want to link your portfolio here. Pretty simple. Now I have a different link because I've gotten past the point where I'm actively looking for clients because I've worked with everyone I want.
You want to link your portfolio here if your goal is to get clients. If you want to make more money editing, you put your portfolio here. And what you want to avoid, It's putting multi -link hubs, things like Linktree, where you click on one link and then it gives you options to click on another.
We don't want that. That's confusion. Confusion kills conversion.
And we also want to avoid host -branded links. So what that looks like is when you have your name .card .co. So it's by card and it shows that it's by card.
Card is an amazing website builder, but you don't want the branding of it. Or things like Behance. Or there's other websites that are free ways to have a domain.
It just looks ugly because now people know you're just a cheapskate and you're not a cheapskate and people don't like cheapskates. So it's like clients are going to think, if this guy can't even take care of his own damn website, how the hell is he going to take care of me? If he'll cheap out on his website, which will cost him 10 bucks a year, that's less than $1 a month.
He can't even do that to make his portfolio look clean. He's not going to put much effort into my work. So you want to avoid these things.
We will talk about custom domains later. But if you don't have this yet, if you don't have a custom domain portfolio, just add any current portfolio you have. So for now, you can add this.
You can add this. You can add whatever. I would recommend the link tree.
At least just put your card or Behance. Just put any current portfolio for now. Put any video you have.
Put any YouTube playlist that you have of your work. Just for now. And add your new link here after we set up your custom domain and your portfolio in the portfolio configuration lesson of this video.
As soon as you do that, please do that ASAP. Now your location in your Twitter account. You'll notice that I do not put my location.
Do not put your location here. It rarely ever gives you a benefit. You want to use your location as a call to action.
So what that means is saying, hey, use my work. Same way I have like three Premiere Pro presets and it points to this. That's what I have for now.
Yours will be your portfolio here. There's nuance. I'm at a different stage.
But your location you use as a call to action. So there's two parts of the call to action. The call to action phrase and the directional icon.
I recommend having both. So here's some examples. Things like check out my work with an arrow.
or see my portfolio with a colon or find my work here with a pointy finger once again you can go to coolsymbol .com see if they have any arrows um just look through they have a ton of arrows here make sure it's formatted correctly check it on your pc after you've um saved it check on your phone as well but yeah so that's your location and make sure it's not too long so it's on the same line and it points directly to your portfolio and it just looks kind of nice like that.
Now, I want to make it clear here, you want to be creative. Do not do monkey see, monkey do, where you see someone else did something or you found one of these, you just copy and paste it directly. You stand out by creating an account that's unique to you.
you can mix these phrases up use one of the phrases with a different icon think of your own phrase check your own icons mix things together that goes for everything in here except the principles so having your portfolio link that looks clean that's a principle that's not something you should get creative on because it's like some things just are better for conversion but things like how you what um divider you use you can use the same one or you can try a different one for your catchphrase if you do use a catchphrase be creative with it these are just all examples of how you can be creative now let's talk more about your other settings now your birth date you do not want to display this on your profile it rarely ever gives you an advantage for you to say your age online here's the thing editing and online businesses are a beautiful thing because your age doesn't like the market does not discriminate you for your age if you are good at what you do so i have seen 15 year olds make over 10k a month from editing i've also seen 28 year olds who are much older making nothing i've seen different
age range is making every single amount i've also seen it the other way around like your age has nothing nothing nothing at all to do with your income it's just about the value you give to the market so why show it because there will always be some people who have a negative connotation of that age so you might as well never say it unless someone asks then fair enough you can say it so you don't display this on your profile you go to edit profile go to edit birthday edit And you can have whatever birthday you want.
Oops, didn't mean to click that. Just set it to only you, so only you can see it.
Now, allowing DMs. You want to allow potential clients to reach out to you. You want to make sure your DMs are open to everyone.
So what you do is go to settings, privacy and safety, direct messages. And you want to enable allow message requests from everyone. And you also want to disable filter low quality messages.
So you go into here, you go into settings, then you go into privacy and safety, then direct messages. You see it's set to everyone. I do not filter for low quality messages.
The reason being I would rather manually not click on a message request rather than. Me have a genuine client who wants to reach out to me, a potential big client, and it gets auto -filtered and I never find out about it. I'd rather not have that.
So these are my DM settings. Now let's talk about posts. The more productive stimuli you post, so the more productive, I'm just going to write things here because we keep it simple.
The more productive things you post, the stronger your brand will be. And the better your inbounds, outreach, and negotiations will convert. If you want a price range, Raise, not rage.
You get angry when you want to raise your price. You just start screaming at a client. It's a price rage.
No, but if you want a price raise, if you want your inbounds to convert, if you want your outreach to convert, if you want anything, it will depend on how well you've built your brand. And your brand isn't just setting it up, which we're doing, but it's also the inputs you put in. Just having a profile isn't a brand.
It's how you build it over time. And you do that for your posts. So here's...
content ideas. This is just generally the type of split that you want with your posts. I recommend editing previews.
So we'll share about previews, but previews are basically short cut up versions of your work. We want that to be anywhere from 70 to honestly, a hundred percent of your posts, at least 70 % of your posts that you post on your main like feed should be editing previews because they're the most effective. They perform the best and they actually get you towards your goal of getting clients.
Now, maybe 20%. So these aren't exact numbers. Bear in mind, this is just saying roughly.
Maybe 20 % you can do things like editing preview teasers. So I like to sometimes put screenshots of like four different images and I'll post all four of them and say, oh, preview coming out tomorrow. Googly eye emoji.
like cooking or whatever like you just sort of write something like that or a screenshot of your timeline i'll sprinkle those into my posts or um sort of niche thoughts or like editing thoughts so what you're thinking about editing something new you've tried client wins testimonials that's where you want to keep about 10 of your posts want to make this very clear you never ever ever want to post that you're struggling in editing.
Ever. You do not post that you're burnt out. You do not post that you're struggling to get clients.
You do not post that you've been dropped. You don't post that you've been scammed. You don't post if you've been anything bad that's happened to you.
You never, ever, ever post about it. Because here's why. People will sympathise with you.
People will say they're happy or sad for you, whatever is societally acceptable. But when a potential client sees that, they now have a negative view on you. So I've seen editors get scammed and then they post about getting scammed and it goes viral.
But the thing is, it doesn't actually help them get clients because now, would you want to work with someone? who let's say there's two people you can work with one of them is just as good as the other but one of them has a post where he says he's got scammed and he's also complaining about not getting clients and he's also complaining about how hard editing is but the other one just post his work they're just they're as good as each other who would you rather work with like the guy that doesn't seem like he's going to be a brand nightmare right so when it says when i say editing thoughts once again it's a very small amount but you want to keep them generally positive things you've been learning wins things like that keep it upbeat So that's the sort of content split I prefer.
I highly recommend keep most of your things previews. We'll share that later about how to do it in one of the next few lessons. The goal here is to show that you're already in the game of editing and not an NPC editor.
People like working with people that have already done what they want them to do. If you want a haircut, are you likely to go to the guy that just started learning to do haircuts? Or would you be more likely to go with the guy that's been cutting hair for the last five years?
Here's the thing. You'd be more willing to pay him more. You'd be more willing to give him more freedom.
You'd be more willing to be like, fair enough. I'm not going to keep staring at you or asking you what you're doing. I'll just let you cook because you know what you're doing.
You've been doing it for a while. You're not an NPC barber. So same way with editing.
We just want to show people that we are in the game of editing. And I want to make a quick note with posts. Posting once or very few times will not get you results.
That's not what a brand is. A brand is not a one -time thing. Brand is a compounding vehicle, meaning it improves and gets bigger over time as you are consistent with it.
And the earlier you get started, the better. The best time to plant a tree was a decade ago. The next best time is now.
Don't hate yourself that you haven't been fully building your brand properly up till now. Just don't regret it in six months from now when you haven't started today. You start today, but what I'm saying is consistency over time.
is key so we're going to start doing these posts today i'm going to teach you exactly what to post in the next lesson but realize that over time that's what gets you results i've been posting consistently for over three years that's why that's why i am where i am now can you get there faster yes that's why i'm teaching you the shortcuts but realize it still takes time brand is a compounding vehicle now Your pinned post.
Your pinned post should be your favorite preview. So whichever one you like. And if you haven't got one, you can post one and pin that one.
But if you have multiple previews to pick from, so just kind of a few, you don't know which one to pick, just pick the one that best resonates with your avatar. Your avatar is the perfect client. Think, out of these previews that I am not sure which one I want to pin, which one would I rather have more clients like?
So if you have a gaming preview and a documentary preview. Putting random examples here. If you want more gaming clients, pin the gaming preview.
If you want more documentary clients, pin documentary preview, et cetera, et cetera. Now, followers slash following ratio. So this is the difference between how much people you're following, how much people you're getting followed by.
You want to follow relevant people in the space. Follow people, trust me. Other editors, YouTubers, streamers, people you want to keep up with.
influences in the space both big and small you want to follow all different types of accounts and the reason is i mean you're not you're not drake though i'm not drake either so i follow people and if you need people to follow you can look at my following so people that i'm following um to see other editors people i like and you can follow them or you can follow other editors and people that they're following.
Just see who's interesting. You can go through my account, go through my following, be like, oh, like that guy's interesting, that guy's interesting, whatever. And generally you want to stay within sort of the people that you find interesting.
And yeah, in general, you want to keep a positive follower to following ratio. Now, what that means is you are being followed by more people than you are following. Now, this does not apply when you're very new.
If you're under, 500 followers it's okay for you to be following more people than you are followed by but as you continue you want to start tending towards you're being followed by more people the reason being the algorithm tends to prioritize people's posts who their account has more followers than following but this does not apply to below i think it's a couple hundred followers so Follow a few hundred people.
You probably aren't going to be able to do it in one day because your account's going to get flagged for suspicious activity. So maybe follow 20 to 50 people a day. And yeah, just as you find interesting people, follow them.
And pretty closely related to that is replies. This is surprisingly effective for growing your brand. Now, X's algorithm is not like TikTok, where it's extremely easy to blow up on the first post.
Instead, posts are put onto people's timelines when they're mutuals. So other people that they follow have interacted with it. So if you have this random client that you want to see your post and he does not follow you, one of the best ways to get your post onto his timeline is have someone that he follows to interact with you.
And now your post will be shown to him. So we want to create a ton of these. connection so that you create this crazy interweb and you can do that through replies so interact regularly regularly with other editors other creators key people in your niche so if you're in finance follow the people in finance if you're in documentary follow the people in documentary if you're in gaming follow the big gamers even if you're not in the niche if you don't know which niche you're in if you don't honestly i wouldn't recommend niching down too hard when you're new i still work in so many niches um but just follow big creators follow editors big and small and reply under their stuff you want to reply under their posts engage in conversations you want to bounce ideas off of people give advice in a nice way um just giving possible feedback and you want to spend at least 10 minutes a day doing this and just replying to people as you scrolling twitter scrolling x you're probably spending some time on x or twitter anyways all you have to do is when you have a thought that genuinely pops up in your mind just instead of keeping it in your head say it out loud there's probably times you find people's previews or find people's posts that you find interesting or you haven't thought about all i'm asking is you just put it actually write it out because now that person first of all
That person benefits because you have shown your appreciation. You said, oh, nice work, bro. You've given feedback in a nice way or said this bit was really cool.
And you say a specific part of that edit. But second of all, more people will come towards your page over time. You don't want to post with the intention of people coming on your page, but realize after months of doing this consistently, people will tend to come to your page.
And then that's when you start getting that compounding effect. Be genuine here. Say whatever thoughts are on your mind as you scroll X.
That is everything on Twitter, on X. So here's the checklist. You want to create your account.
Set your handle. Set your name. Set your profile picture.
These are all from the global assets. Get verified. Super, super, super, super, super damn important.
One of the highest of high subscriptions that you can get as an editor. 1080p so full quality posts your posts aren't pixelated and when your when your work revolves around videos super important that they're not pixelated you get reply boosts you get dm priority like you have the blue check mark which people have become accustomed to the blue check mark to the point where they just automatically just like disregard anyone that hasn't got it so You put yourself at advantage in every way.
You can call it pay to win, but that's the game. Game is the game. Set your banner.
Just not that important. Say it quickly. Your about section, the two parts, what you do, and proof that you've done it.
Your website link, your portfolio. Put whatever portfolio or video that you've done for now. I will give a more in -depth portfolio thing, configuration later.
Set your location to a call to action to point towards your portfolio. Hide your birth date, it never serves you. Allow all DMs so people can message you.
Post, so mostly previews, some testimonials, some pictures of your work can work well, but mostly previews. Pin an editing preview, the one that you like the most. Follow other editors and creators, maybe about 20 to 50 a day until you are at least a few hundred.
And those people that you do follow, keep up to date with their stuff like reply under their stuff support them because those who give are those who get and it's very similar to in the layer where if you're active you're engaging you'll find more people engage with you the same way if you engage with twitter if you engage on people's accounts they'll end up engaging on yours so that's the twitter setup checklist now you're doing so well Well done on completing that SOP.
Last and finally, Discord is going to be so much quicker than the X one. If you've gone through the X one, you're going to be happy because this one's so much shorter. X is the hardest one because it's so important.
Welcome to the Discord setup SOP. This is the last SOP for this. lesson we're going to be setting up your discord account now discord if you don't know is a social media platform popular in the youtube and content creation world its main function are direct messages so with one -to -one and servers where there are client acquisition methods that i'll show you later where we use discord servers and we use that effectively but also just to network and get to know other people discord is super high over why for you to use now account creation if you do not have a discord account create one I'm not going to show you how to do this.
You're competent. You're not an idiot. Search Discord online, make an account.
If you already have a Discord account, continue using that account and optimize it using this SOP. Discord is not as based on algorithms. So if you didn't have an editing Discord account, you can just convert an old Discord account to an editing one.
So let's talk about actually optimizing this. Now your username is your handle. Whatever you used in the global assets worksheet, whatever you set, set that as your username.
Now, this should be the exact same handle as used on X. So if it's VFX Malice on Discord, on Twitter, it's also VFX Malice on Discord. The reason that is, is because you want your name to be as easily searched on different platforms.
So if someone sees you on Discord, Imagine how much easier it is for them to just copy and paste your name into Twitter. Here's the problem.
If your name is not exactly the same, let's say I'm VFX Malice on Discord, but on Twitter, I'm MaliceVFX. Super similar. If you put the two profiles next to each other, you'll know they're the same.
But if someone searches MaliceVFX on Twitter, my name doesn't pop up. Well, in most cases, it doesn't. Unless you already follow me, it might.
But for someone who's coming in cold, Your name is very unlikely to come up if your name is not exactly the same character for character. So make sure you set that as your handle.
So username being the thing people actually search up for a friend request. Now display name. This should either be, once again, the exact name set in your global assets worksheet or your name with an extension to say you have an editor.
So basically the exact same on X. you can set it as your display name this doesn't need to be the exact same as what you have on twitter on x if you want it as your name mine's just my name right now it's just malice but if you wanted you could have a variation of it as well now your avatar so your profile picture just use what you have in your global assets worksheet you're seeing a trend here on the first few sections isn't it so you just set whatever's on your global assets worksheet so people recognize you over platforms now your banner on discord it does not matter one bit at all leave it as any plain color right now mine is just set to a light blue um if you have nitro which is like the paid version of discord i don't have it it's not that important you can set an image if you like but in all honesty you do not want to waste time here and i'll actually bring up my profile my settings to show you so this is your display name click edit to change it and you'll be able to change it here your username
you'll be able to change it here, put your password in. And yeah, that is your stuff like here. Your banner, if you go to profiles, this is the banner.
You can see mine is literally just set to a light blue. If you add nitro, you can just click here and add a picture. It doesn't really matter.
Now the about me section. So this is this bit right here. Now, the way we set that is we want to have it short and sweet with a call to action directing to a portfolio link.
So you really want it if someone comes into our profile from Discord, they can quickly go into our portfolio and then to our Twitter. So what you do is you go onto settings and profiles and scroll down. And this is where you put it.
Let me give you the framework for this.
These are some examples of how I put it. So check out my work. Down pointing emoji.
Then your portfolio link. See my portfolio. Find my work here.
Here's my editing. There's a million ways that you can do this. If anything, you can even just put your portfolio link without a call to action.
That works too. What's important is the focus is your portfolio link. You do not want multiple links because once again, confusion destroys conversion.
People see multiple links. Now they're struggling to know what to click on. So one link, that's your portfolio.
And as of now, this is a recent change, but you do not want to go past three lines as what will happen is it will move the about me section and any extra characters into a read more section where people will need to click read more in order to see the rest of your bio, which is not optimal. So yeah, keep it two, three lines and you can be creative here.
There is no perfect phrase or call to action. The more original, the better. For a few years, my...
bio was literally, I am edit man from UK.
It was, I am edit man from UK, and then I just put my link. Like you can be creative and you don't want to copy the exact thing, but do whatever you want. Just make sure your portfolio link is there and you're not being cringe or don't put crazy.
I've seen people put like crazy or like racist jokes. So don't do anything stupid in there, but you want to optimize it like this. So yeah.
that's your about me section make sure you save that now your custom status and pronouns so that is if you look at my profile here that is this thing is actually my pronouns so like the he him type stuff um that's actually this and time zone i have here um that is the custom status this little thought bubble now i'm going to explain what to put in these The custom status and pronoun sections on a Discord profile are great for adding additional information.
Now, me personally, I use the pronoun section to mention that I'm a video editor. If to you, you putting he slash him is important, go for it. I do not judge.
That is completely fine. Me personally, I would rather get paid than someone know my pronouns. So I have it as video editor.
So that's how I have it. and what i use the custom status for is i use it as my time zone or a short catchphrase so like i said this for me for ages um i i believe i had it here for a while then i moved it to my custom status i literally put it as i am edit man from uk and i've actually had clients who joked about it in fact there was someone who brought it up so i know clients recognize it um yeah like this is your fellow arab he was like um He wanted to call.
I'm like, bro, it's 5 a .m. And he's like, oh, shit. Didn't realize you were edit man for UK.
So it's like clients realize it's just a little funny thing. So I use that's why I use my custom status for. You can change it by going here as well.
And clicking edit here. So, yeah. What you put in your custom status and pronouns can be either way around.
If you're going to include your time zone. It works much, much better if you are from a major time zone. So if you're from the UK, US, Australia, anywhere in Europe, I would recommend putting a time zone.
This is going to sound crazy, but just take this as I mean it. Like I'm doing this for your benefit. If you're from a third world country, I would not recommend adding your time zone.
Not because where you're from is bad or because where you're from can make less money. You can make the exact same money as anyone anywhere in the world.
But if you put your time zone or if you say where you're from, it will bring negative connotations to you. Let me give you an example. I started editing when I was pretty young.
I started when I was 16, like in terms of charging money for it. 16 is quite young. If I told everyone that I was 16, they would probably be less likely to pay me a lot more.
I didn't complain that oh I'm too young to make money it's not fair I just didn't say my age so it's like if you're from a third world country where people judge you for wrong reasons I'll be honest they're stereotyping you it's like oh this guy's from this country I can just underpay him that stereotype might exist you can just not say you're from that place so Yeah, if you are going to use time zone, I would do it if you're from a country where it benefits you.
Time zone isn't even that important. Honestly, if I took out the time zone, it wouldn't really do anything. It's just for the very rare case that I'm messaging someone like this.
But things like saying you're a video editor, saying your catchphrase, making a joke about editing, it's like, I am edit man. You didn't even have to say the UK bit. I am edit man.
That's what I would have done. I don't want to copy that exactly, otherwise it's going to be 50 people doing it. But yeah, you can set your custom status and pronouns to something like that.
And for your custom status, make sure you set it to don't clear. So if you set your custom status, let's say I edit this, you'll see it says clear after today. So if I change this to whatever and I click save, after 24 hours, it will remove it.
We want to set our custom status. And then clear after set to don't clear. So let's say I write, I am edit man.
I'm going to say this. Yeah, I say I am edit man. Clear after don't clear.
Now it will show I am edit man. If I go see this, it will say I am edit man. And I'll never have to add it again.
So just so you don't have to keep changing it again and again, just make sure whenever you change it, go to don't clear. Now, connections. What connections are, are essentially, if I right -click on my profile, these tags.
So what I recommend, just have your X connected. Once again, this is a social trifecta. This is a tight -knit system.
Adding other connections just looks silly, and it does more harm than good. This is basically a funnel where we want people to... Be controlled.
We want to control people and the path that they take. So all roads lead to working with us. Now, adding your PayPal, adding a YouTube that you don't really use, adding an Instagram, adding a Steam account, adding...
I mean, I've seen people add crazy accounts, but they don't serve you.
Okay, someone knows your Spotify name now, but who cares? Do you want someone to know what music you listen to? Or do you want someone to send you hundreds of dollars?
I would rather someone go on my Twitter and become a potential client. So you want to have one because conversion loves, no, conversion hates confusion. So go to user settings, connections, and add your ex account as a connection.
So settings, connections, and you see there's all these options you can add. All these options. People see that and they're like, let me add as many as I can.
That just hurts you. Simplicity is key here. So I literally just have my ex, my ex, not my ex like that, my ex profile.
So you can see I've added it. So you can go here, click on view more. You click on X and it'll give you an option to basically log in and give it access.
Just do that. Go click on display on profile and display details on profile. every few maybe months every few weeks every few months i honestly update every few months you want to just click this refresh button so what that will do is when you go on to connections it'll give you an option to refresh how many followers how many posts you have and how long you've been a member since so it shows in your profile just update it every few months um just click refresh so that's your connections and more importantly Disable everything else.
I have other things that I could add. I have my YouTube I could add. I have my Twitch I could add.
I have a Spotify I can add. I don't add them. Even if I post on them, that's not how I make money.
So why would I add it? I care more about money than, I mean, like me, someone knowing my music taste. So yeah, that is the Discord setup.
And once again. super proud of you if you're going through this you're doing genuinely so well like this took me first of all years in order for me to figure it out for myself then like another six to twelve months just to figure out how to reliably do it for editors um so discord setup checklist you should have created your account set your username display and avatar that we set up in global assets set your banner it's redundant um but you can set it up your about me section which is pretty important your portfolio and call to action custom status and pronouns making sure the custom status we set to don't clear and we can use time zones we can use a catchphrase we can put our title of video editor we can put a joke like professional pixel manipulator whatever you want to put it as that's what you can use that for just want to use it for additional information targeted to our client and setting connections only adding x Removing anything else because conversion hates confusion.
And if we have multiple links, that is confusion. So that is the Discord setup SOP. And you have completed not only the social trifecta of Gmail, X, and Discord, but you've completed brand setup.
And I want to say, I am so damn proud of you because here's everything you've gone through. You've understood sort of what branding is and the importance of it. You've learned about the social trifecta.
You've learned about global assets and you've created them. So now any platform you go on, you are like this unmovable rock, this unmovable mountain where people associate value with you. Any value created on any platform that has come out of you is associated back to you and it all compounds together because you have global assets.
You set up your GMO. You set up your X, which... was the longest part out of this but is one of the highest leverage platforms I would put my name on it to say the highest leverage platform for editors maybe the only platform or app slash software that is more important almost as important as your editing software itself like you set that up and also your discord so congratulations you've completed brand setup and when I say I'm proud of you you have moved across the editor ascension roadmap just one piece more and next i will see you in previews are king we will start doing the inputs and the very very effective and valuable inputs for your brand so i'll see you there so welcome to previews are king um in this lesson we're going to be discussing the bread and butter of building your brand, which is previews.
Now, in the last lesson, we went over brand setup and in the Twitter SOP, so the Twitter sort of process, there's a section in there called posts. And I shared the different types of posts you can do. And while there are other types, the majority of them are going to be previews.
So previews are basically short, cut up versions of a full edit, which you can post to basically show off your work. First, let's jump into something called KPI traps. Now, most social media platforms provide key performance indicators, so KPIs.
And that's things like impressions, likes, reposts, followers, retention, so as a percentage, replies. There's other things, but basically the numbers that a platform can give you to... Sort of gauge how well a post is doing.
And this is on most platforms. You've got Twitter, X, you've got Discord, you've got Reacts, I guess. But Instagram, you've got it on YouTube.
You've got it on basically everything. The problem is these KPIs are often terrible at predicting whether you are personally on the right track or not. Sounds weird.
It's like, oh, but I thought more likes, better, more followers, better, more impressions. better oh this got less it must be doing worse but let me give you a few examples if you did an editing assets giveaway so you gave away presets or you gave away a project file you gave away an animation that will get more engagement you will get more likes you'll get more reposts you get all of that however this is not from the people that you want to attract who it does attract is broke editors who can't afford to buy stuff and that are relying on free assets.
That's the type of person you attract. Do you want to attract the broke editors? Are they going to be the ones paying you?
Probably not. And you might be thinking, well, there might be some creators, some clients that do go through the giveaway and maybe now they follow me. But here's the problem.
I want you to ask yourself, who is the type of person, who is the type of creator or client who goes for a free editing assets giveaway or free giveaway?
Is it the type of client who has a huge following, is willing to invest in an editor, and they're grinding on their channel and they're willing to invest? Is that the type of person that goes for a free giveaway? Or is it the type of creator who goes for a free giveaway?
The type of creator who's editing their own videos, can't afford to hire an editor, and aren't really that serious about their channel. Probably not the type of person you actually want to attract. So it's like just because you've got more engagement doesn't inherently mean more results for you.
Another example, going a bit broader. A meme that's well received from a super wide audience. It might get millions of impressions.
You'll get tens of thousands of likes, maybe even a few followers. But the people interacting with your account now, it ranges from every Tom, Dick and Harry. And this is basically a saying to say the average person.
Every single person in the world could go through your profile now, but that's not what you wanted. You wanted clients who want to hire you for video editing, who are willing to pay you money. That's the type of person you want to attract.
But when you go super broad, what's going to happen is Twitter, the algorithm X, will basically say, this person's account is for very general audiences. So now when you next post an editing related thing, It's going to drop in engagement like crazy.
Then the algorithm is going to realize, wait, this type of post isn't that good. So now whenever you post that type of thing, when you post preview, when you post editing stuff, it's going to do even worse than usual. And even if you do get likes, it's from people that you don't want to attract, like broke editors and broke clients.
So you want to be careful about using KPIs and metrics like those. the platform gives you as a way of measuring your success. You really want to be careful of that.
Another example, a post about how much money you make from editing or a post that saying you're burnt out from editing or you got scammed or something like that. You will get lots and lots of validation. You will get people who pity you, who say, oh, you've just been working super hard.
Or if it's more on a positive note, how much money you're making. Wow, you're so amazing, well -deserved.
You get loads of editors that look up to you and it strokes your ego. But here's the thing. It deters clients who are looking for an editor to actually pay.
Do you want validation from editors who will never pay you? Or do you want your clients that actually will pay you to like you? Because you can just imagine how it's like.
Imagine some guy. who is like imagine you're the creator and you pay someone and the first thing he does is he posts on twitter look at this guy that i just managed to make a ton of money off yeah easy money like it's not a good look is it so don't worry about the traditional metrics that people use to measure success the second you can realize likes impressions repost replies replies getting there but when you realize these things aren't the things you want to optimize for it's cash Likes ain't cash.
Realize that your metrics don't have anything to do with your success. And just to drill this home, ask yourself these questions. Would you rather attract a thousand editors or 10 creators?
Would you rather have more followers or more clients? Would you rather get more impressions of people just seeing your tweet? or you're seeing your post, or would you rather make more money?
I'll speak for myself. I'd rather have the things in purple. I'd rather have more creators seeing my posts.
I'd rather turn more of them into clients. I'd rather make more money from them. So I'm okay with me not getting validation from other editors as much.
I'm okay with me not posting a meme and not getting thousands of likes. I'm okay with not posting giveaway if what I'm trying to do is get high paying clients. If you're posting what's optimized to attract clients, which for the most part is previews, and then you end up growing in a traditional KPI.
So you end up getting likes, you end up getting followers over time because that's normal as you grow. That's completely fine. So this is not me saying you actively want to tell people, don't like my stuff.
That's not what I'm saying. If you're posting the right things and you get likes, awesome. The problem arises when editors put these KPIs, these likes, these impressions at the forefront of their strategy.
When that's the thing they're optimizing for, that's when it's a problem. If you're optimizing to post previews and things that clients will like, and you end up getting the thing that, like the shiny number, fair enough. Problem if you're putting the number before your action results.
So that's the KPI trap you want to watch out for. So let's talk about previews because that is... the most optimized thing for you to post.
Editing previews in the shortest way possible are cut up versions of videos you have edited. And their sole purpose is to showcase your work and bring traffic to your account. So without traffic, you sounds harsh, but basically don't exist.
So we live in a harsh world where there are millions and millions of people that would like attention and for the most part most people don't deserve that attention and when you're posting and asking for attention you have to answer one question in people's mind why should i listen to you so you need to be able to say like hey i want to work with you and the reason i want to work with you and the reason it will be in your benefit is look at all this stuff that i've been doing not only has my work look good i'm on a positive trajectory my work is actually improving over time not only that but i've got social proof not only that but you can see i'm consistent with my preview so subconsciously now you're going to think i'm consistent in other areas of my life you'd be surprised how much effect previews have on every other part of your business real quick before we go any further i want to be honest with you Right now, you've got three options.
Option one is you tell yourself you're going to come back to this video. Life gets in the way and nothing actually changes. I see it happen all the time.
Option two is you take everything in this course and you try to apply it by yourself. And honestly, you can do that. But without someone looking at your exact situation, it might take you one, two, three years of trial and error to actually figure it out.
And by then, most of what you've learned is already outdated. Or option three, you shortcut the process. In the editing layer, I work with you one -on -one on an intensive 90 -day process.
We build a personalized plan based on where you're at right now in your editing career. We provide multiple coaching sessions throughout the week to make sure you're never stuck. And we even make sure you've got access to our private community where any questions you have are answered and you also have access to our internal referral board.
You get all of this alongside a system that we've already proven to work again and again for video editors. Carter started with us when he didn't even have a single client to his name. first client was $200 and now he's charging nearly $10 ,000 a video for videos that take one or two weeks.
Artem was stuck making 3 to 4k a month for months and we got him to 8k a month doubling his income in just four months. And the best part is he did that with the same clients and then he used that success to build his own personal brand and coaching program too. Then you've got Amir who was super busy.
He was balancing editing, his social life, the gym and a ton of other things that just life throughout him, but we were still able to optimise his workflows and get him just a single client to get him to pay $14 ,000 a month. The truth is, there is not a single person on this planet who has a better track record of helping editor scale than me.
So if this sounds like something you'd be interested in, just go to the link in the description. You can book in a call with the team and we'll see if this is something where we can actually help you or not. If it's not a perfect fit, then no worries, that's completely fine.
But either way, we'll continue with the video now. So if you want your outreach to convert better, if you want to get inbounds or people coming to you, if you want to improve the quality of your clients, so type of people that you're working with that don't send crazy revisions, that actually appreciate you as a human. If you want to be able to charge more, if you want to have a more reliable income where it's less likely for you to start spiking and then having low months and high months, that's normal.
But if you want it more reliable where you're not dropping to zero, you post previews consistently. So now you know previews are important. Let's just jump into creating and I highly recommend actually following this along.
So in fact, I'm going to do this with you. Let's go into Premiere Pro or whatever editing software you use and we'll get started. Previews do not take a long time to edit.
They're from videos you've already edited. So you're not editing to make previews. You're just editing anyways because you're an editor and the previews happen after.
So it's like, imagine a professional footballer wanted to make a montage of his best football clips, like a quick montage of him. Who do you think would have the better montage? The professional football player who spends all his time getting good at football and he just takes some clips from his professional gameplay or the guy that's trying to make a professional montage.
but he's not actually practicing football so he's kind of just trying to get clips but he doesn't understand the basics of like football and who who's going to get the better the better football montage it's going to be the professional player who focuses on his craft and when he gets clips he gets clips so you're spending your time editing anyways all we're saying is just cut the best bits out and post it and i'll show you the fastest way to do that so step one is going to be Select a video.
So pick a video that you've edited. This could be client work. This could be a practice edit.
This could be a re -edit. I do recommend doing it in this order. So in fact, I'll actually do it like this.
So preferably you're posting your client work. If you don't have client work to post, you post a re -edit of someone else's work, of someone else's video, which was... less edited and you added more editing on top you could post a preview of that and if you can't do client work if you can't do a re -edit then you post practice edit i will say these will tend to perform better and get you more results but i'd rather you post one of these than nothing so yeah make sure you've already exported that video this is a video that you've already completed in the past if not export it now should be a video that you've already done um next cut the video so what you're going to do is import the exported video back into an empty timeline and cut everything out except the edited sections within the video so what we're going to do is create a new project let's just call it editing preview we can create that and what we're going to do is actually bring up a video from
That we've already completed. So let's actually bring one up now cool So what I've got here is a video that I edited a while ago. She's gonna create a sequence with that now Let's see the next clip the next bit So what we're gonna do is cut out everything except the editing sections So we're gonna go through and see where are the edited sections.
So here we see the intro is edited So cool. When we see this bit is less edited.
So let's say we want to keep this section. Let's cut it there. And we find the next edit section.
Hey, this is just super simple subtitles. So I'm probably not going to show that because it doesn't really show off my skill much. This bit looks pretty cool.
Sort of like a rotoscoped. of him. So I'm just going to cut this bit out and notice how right now I'm not really listening to the audio.
I'm just roughly cutting out the edited, cutting back in the edited sections. This, I guess it could work. Anything that's really edited.
We want to not be too discriminatory about what we keep in or what we don't. For now, just anything edited, just keep it in. So got this section here so we can cut from there to around here let's keep scrubbing through so we've got this bit and i'm going through this live the reason being i want to share the actual process of me doing it so then we have this edited section that we'll keep in this bit's unedited We got an edited section here, so we cut that in.
So just going to quickly speed through this.
And you know what? In this case, purely for the reason that this is a lesson just to show you how to do a preview. um i'm gonna cut a few sections short so normally i would go through the entire video and complete this so get all the edited sections and we'll just get a couple more so i'll sort of bring up this and there's a last bit so here in fact we'll just do the whole video um get all these sort of edited sections cool and anything that's not really edited you can see we just cut out like so and super simple stuff i tend to not try not to keep in so things like just turning the screen gray because it just doesn't take any skill at all i'll tend to not add it in so yeah so that's the majority of the animations i'm gonna cut it short just because um yeah i mean normally i would take more time just to be fully transparent i would normally go through a lot more detail as in i would actually go in order i was just trying to go quickly for the sake of not taking too long while showing you but you can see now i've basically just got all the sections of the clip of the video where there's editing
in the video so you can see his toothpaste bits there's this bit where the thing jumps on his face and i edited that we've got the curtains with the teeth the milk splash this stupid little thing car crash transition poppins shake funny voice so there's all these animations basically now we've just got a minute of that so You've got the video.
And what I recommend is try to aim for anywhere from 30 to 120 seconds worth of clips. So in this case, we are at around 70 -ish seconds of clips. That's perfect.
The reason being, by the end of this, we're going to be at around 20 to 60 seconds. We want to keep it under 60 seconds. We'll explain why in a few steps.
But yeah, we want to have some room to play with. So I recommend going up to 120, up to 120 seconds, just so that we can remove stuff as we need to. So next step, you're going to reorder all of the clips in order of best to worst.
So this is going to be subjective. So what you think is best to worst. So what I recommend is in general, you want your intro to be at the beginning because it just.
for most videos it seems quite natural so I like to keep my intro at the beginning and most times while I'm editing the intro does end up being the best but now you're just going to go through and sort by the best and the worst sections so this looks pretty cool but it takes a pretty long time to show I'm going to put down the volume just so you boys don't find it so loud So there's that bit, but it's super slow, super long.
So I think this is one of the cool clips. What else looks pretty good? I like this scene.
Let's say I want to move everything and bring this scene forward.
And let's say I like this clip, bring that forward. This is a pretty mid clip. Let's put that backwards.
This is super long and boring. I'm going to leave that all the way here.
These are kind of two different clips.
Same here. There's another split in the clips here. I think this clip is okay.
So basically I'm just sort of roughly ordering stuff in terms of how good I think it is.
Once again, usually I'd go in a lot more in depth with this. So if I like something, I'll put it closer forward. If I think something's like kind of okay, but sort of mid, I will leave it towards the end.
I think this is pretty cool. So I'll move that forward.
But yeah, so you want to go in roughly just... go in and make it in order of best to worst. And then you can close these gaps by clicking here and then clicking backspace.
And now what you have is pretty much roughly in order, best clips to worst clips. Now, next, step four, adjust the length. We want the final preview to be around 20 to 60 seconds long.
So this is the post that you actually post. if necessary so if you're already above 60 seconds remove the worst clips to get the preview to the desired length so in this case i'm above 60 seconds so what i'm going to do is i'm going to go in and thinking in terms of are there clips where the same effect is repeated or are there clips where the effect is just not as good as the rest of the video so let's give some examples um this sliding animation.
So if I put the sound down here, it's like, it's a good animation, but it's simple compared to these other things. Now, if compared to your other parts of the video, that animation was good and you keep that in, but it's always relative to the video that you're cutting up. So in this case, This one's kind of mid.
I don't like deleting it I like just moving it super far away from the timeline in case I ever want to add it back. So Essentially deleted it. Let's say this clip.
I think it's pretty cool That's all right That's pretty cool I think I might delete these clips only because I showed the exact same thing on this bit so this same animation where things jump up I use the same one here now it just becomes which one do I rather keep do I rather keep this one or would I rather keep this one in all honesty I think I prefer the second one with the laughing gas so I'm going to move this one to the end Basically removing it because it's a repeat clip.
So you're trying to remove repeat clips and the worst clips This one's super super long and also does the same animation as as This pretty much so I'm just gonna remove this one. I can see we're already under one minute I recommend staying above 20 seconds So I like just make sure you like all the animations that you're keeping in Let's see this one.
I think this one's sort of made. It's just normal slides. Put that to the end.
That's cool. This one's cool. That's cool.
I think that last one's kind of dead as well. But you can see it's very rough. rough cut right now we will go in and cut it more precisely and that is super important for previews but you can see now we've got a good selection of clips and the point here isn't to show off this editing this is all relative to the videos you do so if you're super new you do what's best at your level and as you improve you just improve the level of clips you keep in so for this video this is sort of the better parts of this video we've gone up to 43 seconds which is all good so We've completed step four.
And if you are under 20 seconds, what I recommend is try adding more clips in. So go back in the original video and add it in. If you work with a creator for a long time, what you can do is add multiple of their previews and multiple of their videos if it looks very similar.
So if it's the same sort of... Face cam not face cam. If it's just the same creator you can add multiple Preview videos together into one preview if you can't reach to 20 seconds, which is super there But that's what I would do if you need to adjust the length step 5 Start and end strong now you want to reorder the clips So the best clip stays at the start of the video and the preview ends with another good clip The preview should start and end strong.
I want to add a caveat to this if possible Try to keep the intro and outro where they are if they follow the above rules. So pretty much you want the video to start really strong.
So you can see that does not show off my editing. So what I'm going to do is I'm going to start from a girl with piranhas. That's where I'm going to start.
So I'm starting the video strong.
So you can see, those are some of my strong animations. Let's say the intro for this video was genuinely terrible. Just pretend I didn't edit the intro.
I would look for a clip where I like the animations off. So let's say I want to... One of my better ones is this one then I would move this to the front.
I'm not removing this clip I'm just gonna put it in later So you want to basically start off the video super strong if possible keep the intro and the Last clip you want to have super strong as well. So what that looks like is let's say This clip what you want to do is have the last clip super strong in terms of editing but if possible if your last sort of outro of the video or the last few clips of the video are sort of like a call to action like hey subscribe or that's all for this video and you did actually edit that then try to prioritize that for the end of the video so of the preview sorry so ending on this would be pretty nice because it feels natural that it ends on an outro If your outro is dead, then feel free to either remove it completely or just add it towards the middle.
But I would try to keep call to actions and stuff like to subscribe towards the end of the preview. So now what we've pretty much gotten is start strong and it ends strong, which is awesome. But yeah, so step six.
is going to be tightening cuts so what we want to do is keep the cuts between clips quite tight we want to avoid keeping in silences or unedited sections and basically what that means is you don't want to have huge sections that are just not edited so already cut pretty tight here so here you can see the first few frames of this clip are unedited so there is zero reason to keep that in we cut we remove so that's basically one way that you're removing unedited sections same way at the end of this clip so remove that let's see if it happens again and i highly recommend putting more care than I am here.
So here you can see, you want to prevent cutting to a clip and then it's changing straight away. So if we went here, so you can see it from the last clip, it goes to the new clip and then it instantly changes. It has a cut.
It just looks silly. So you want to start off basically from when the animation starts.
and we had a random frame here that changed so we can remove that make sure it doesn't show and what i recommend doing so there's two parts of tightening cuts you want to first of all keep cuts between clips quite tight avoid keeping in silences but also avoid harsh cutting or cutting mid -phrase if possible so what that looks like is from a girl with can you see how with this first clip if it's extended from a girl it's like this bit i can cut out and the video still makes sense but if i cut let's say for the edited section if i cut straight from here with piranha with piranha it feels kind of weird to just start a sentence with with piranha teeth it's like the phrase was from a girl with piranha teeth so i just kept it in it's like find the balance between cutting out as much as you can while it kind of still making sense.
So I'll give you some more examples.
So here you can see the actual animation starts around here, around here. So if I cut it like this, the sentence starts with his wrist too, which just doesn't feel like it makes sense. So if I wrote broke his wrist too, Now it kind of makes more sense.
So I keep in broke.
And you can use the waveform here to see where the word actually starts. You can see the word here. Broke.
It starts here. You can see it peeking the waveform. So then I go there and then cut it.
Same thing here. Bad luck. I'd rather him finish bad luck.
So I just cut it there. Now.
There's two options here. Either I can keep in the whole talk about bad luck and risk losing some engagement because by engagement, I mean like the retention of how long someone stays on the video, provided it's still a good video. So that's talking about the KPI trap stuff.
Like the video is still serving its purpose, but we don't want to have unnecessary footage, right? So I can either keep in the bad luck and make it make sense, more sense. but I have unnecessary footage or I can cut at car wreck and I can take away talk about some bad luck.
This does work but it kind of cuts it off harsh and I think leaving it on for half a second actually adds to the effect to show that I've transitioned out of it well.
Same with this, let's see a bit before how it is. You want to start it as soon as the clip starts. Let me give you a bad example.
We don't want it to be like this. Where it's playing, it's playing, it switches clips and then a few frames later it switches again. Looks really silly and unprofessional.
So you want to cut it when the clip starts.
So here I have an option. I can either let it say the full sentence off, but we can cut off some time here. So because you can see at the end, there's not really any animations that are going on and it's just a slide out, which isn't that important.
You could keep this in, but you could also do this. Because for about 30 minutes and then brush that nastiness off, it's kind of two phases. So you can cut.
to freezes apart. About 30 minutes. So let's see how that looks.
So yeah, you could cut there or you could do the other. I'm just going to cut it for now. So cut out that last little section.
Top of your teeth, teeth gets cut off a little bit. So I'm just going to cut there. We have a one frame.
I saw it get messed up, so we'll just make sure that comes out.
Weirdo gets cut off a little bit too harsh.
He stutters here, so I'm going to cut out the stutter.
Then I'm going to make sure it cuts at the end.
With audio like this, where you can see it peaks at the start, it's going to cause this weird audio sound, like a little static -ish. I do this at the end usually, but I add a crossfade in between. We'll talk about that.
But in general, you can fix this by changing the way you cut. So this, you can see I did the cut as the waveform was peaking, so it'll have a weird, sharp audio sound. If we just extend it and then cut when the audio starts moving up it'll sound a lot smoother.
Over here gets cut off a little short.
So pretty much you can see this is how I'm tightening the cuts. I recommend going through it a few times go through and just watch each cut closely like so here preferably we don't show this next scene while this is going to show in the next clip his face looks really funny there um so you can see Here I kind of felt awkward when this clip changed and I think it's because It didn't switch fast enough.
This cut's a bit short. See how long we can keep it on.
So basically just making sure everything actually stays on screen how long it should.
Here. Sounds minor, but look at this. That first little sound, it's.
We could take out the word it's and the sentence would say laughing gas.
Taking out it's or is, whatever that first sound is, and just cutting to laughing gas straight away makes more sense.
I mean, these paralyzers don't need to be there.
So I would just cut, make sure we don't have this random thing. So we cut before the clip switches.
Injection. You know what? The audio cuts out super harsh here, but what we can do is we add a crossfade.
So if you search fade, it's let's say constant gain. You add it, you can extend it, you can shorten it.
If you want to make it longer, shorter, you can. I keep my crossfades literally about a few frames long.
And yeah, that's what I do when the audio sort of cuts off short.
Let's see if we can take it out unfortunately.
Because the last clip cut really short I'm probably just gonna keep in there unfortunately to add some space So that's basically Titan cuts let's go give it one more watch from a girl with piranha teeth to what you're supposed to do if you lose goes on tiktok broke his wrist too my man must have been in a car wreck talk about some bad loves go ahead and throw those in some water with a dinner towel let it sit for about 30 minutes and all they do is rub off the top of your teeth get back into your orthodontist and get it fixed you weirdo are we in a scene of alien are these alien fruits and the last case is milk sodium chloride over here some straight hollywood tea that's what i'm talking about check this out well hello there you better have an orthodontist degree laughing gas and we also use an So yeah, that's how a preview works.
Make sure this clip doesn't end on a black screen like this. So just carve that last little bit. And the reason we set it to under 60 seconds is what will happen.
This video will actually loop back on X. Under 60 seconds videos loop back. That will help with your performance.
Now. If you want some examples of editing previews, you can go here. I have some linked of previews that I've made.
Once again, the point of them isn't the editing, like the actual editing ability. It's to show the sort of cuts that I've used, the pacing that I've used of how closely do I cut the voice and the lines? How do I post them?
You can see. And yeah, like I said, the clips that you choose to keep in your preview are relative to your skill level. So I don't want you to look at my editing and think, oh, I can't edit like that.
Therefore, I shouldn't edit preview. That's not the point. I've been posting previews from the days that I literally learned Premiere Pro.
So that's not a good excuse. Waiting until I improve to post a preview is a horrible decision. Because the thing is, you're just delaying the progress you're going to make.
don't worry about your actual skill level to post previews so you post previews to show the skill level you even were that because you having a preview is better than no one knowing you exist because if no one knows you exist it's not even that they think you but you just you just don't exist at all so i'd rather you just post um but i wanted to mention that because i gave some examples and i know there might be someone who who has that thought i want them to make sure they understand like everyone feels that they're not good enough but i promise you like no one's judging you for your work i would rather you get results by posting your work so once you've tightened the cuts basically you're ready to export um what you can do before exporting is adding crossfades so what you can do is search up like constant gain and just add it to all of the sections between my constant gains are super short the way i have done that is if you go to settings, and I believe it's in timeline.
Yeah, you can see my audio transition default duration is six frames. That's why my default transitions when I drag it on is pretty short. I recommend doing that.
So I believe it's in, so on Mac, it's Adobe Premiere Pro settings and timeline. On Windows, it's in this similar one. It's just in preferences.
I believe it's in edit preferences. So I recommend adding these constant gains and just adding it to all of them. And what you can do is copy one.
So click it, control C, and then just go over all of them and basically paste all of them. And what I recommend doing is once you've done that, check over it. make sure none of the audios spike randomly and none of the audio bleeds over each other but once you've checked that you can do in and out points so click i at the beginning go right to the end go one frame back always do this then click o then you can do control m i believe it is on windows and on mac it's command m i believe let me try it on my Yeah, come on then.
But basically you're just going to export and just call it anything like editing preview and the client name or put a client name first. So Ben test editing preview and save it anywhere in your thing. So I'm just going to save it in desktop for the quality.
So you're going to export as a video file. The recommended settings that I use are 1920 by 1080 and then in a decently high bitrate so sort of 20 to 40 megabits per second.
So yeah, so I'll usually just start with a preset then go to video. Frame size I'll set as 1920 by 1080. Frame rate just keep it as whatever the original video was.
So you can first click match source and then if you want to change it you just click this. So 1920 by 1080 you click more. Now this is on the 2023 version just because It runs a lot smoother on mine, but this same concept applies to any version.
Just apply it to yours. Yeah, so then you can go down to bitrate settings. These, I haven't found too much of a difference between them, but like, let's say you go for VBR one pass.
You just put it anywhere between 20, 30, 40. The bigger you do it, the bigger the file size, of course. Let's say you do it at 40.
And then you can click export. If you have media encoder. and click media encoder but export works totally fine because this is not insane editing we're doing we're just cutting a video and re -exporting it so that will take a second to export let's see what the next step is once you've done that you're ready to upload it to x so you go on to x and you go click post and what you're going to do is drag in the file so let's say I have my file on the other desktop, but I'm going to drag my file into here.
And what will happen is it will start uploading. And you select 1080p quality for higher resolution. As of now, this is a premium feature.
This is why I recommend premium. It's so worth it because not only do you get higher quality in resolution, so 720 to 1080, it allows you for higher bitrate. It does not compress your video as much.
I explained all of this in brand setup, which you should have gone through. So as that uploads, we will talk about the next bit. For the caption, use a short and simple caption.
Do not use excessive text. And God forbid, do not use paragraphs. Because here's the thing, when people are searching on...
I'm so sorry, my light has died. I'll actually just plug it in for you. Apologies for the...
for the disruption but um yeah for the caption people are scrolling fast on twitter and you need to catch their attention and you don't catch their attention with the video at first because the video yes the first few seconds are basically the most important it's the hook of your preview so that's why we have the best clip at the beginning we cut out as much dead space as we can but the caption actually catches their attention before that so we want the caption to be short and sweet The way I like to do it is in a sort of form of editing preview for then tag the creator.
So like I said, adding a emoji here related to the client or the video can work well here and tagging the creator if you can. So what I might do for this is editing preview for at bentist. And then for the emoji, What I might do is look for tooth.
That's the caption done. It's not difficult. Editing preview, content, editing, highlights.
There's a million different ways you can do it. What I will say is if you're going to tag someone, which I do recommend because it will improve your reach, don't tag an account at the start of the caption. don't do something like this where you write the tag editing preview because what this will do it won't show it on your profile it'll show it as a reply which will not push out nearly as much as a post so always tag anything but the first word it can be like any point except the first letter um but yeah and if you want some examples of preview captions you can go here where i've just screenshotted some of my um my titles other people's titles this is just sort of the thing that works like what you title these isn't that important in all honesty like there's bigger things to worry about like consistency over like over time rather than what's the exact words i should use for my caption it's not that important and what's important is it's consistent it's um concise and
Yeah, it looks friendly. That's pretty much it. So I gave you some examples here that you can take inspiration from.
So yeah, you basically have all the information now because here's the thing. Once this is done, just posted. So you've written your caption.
Let's say I write content preview for at dentist and I put The dental emoji so tooth Once I've done this all I have to do after this is post I'm not gonna post it cuz I've already posted this preview, but There's nothing else to it so now might have sounded like it took a long time but when you think about it this is the The source of basically the majority of your growth So if you have time for anything else, do you not have the time for the highest leverage activity in your business?
It's arguably as important as editing itself. It's a getting clients part. So if you want everything to improve, you post previews and that's the steps for you.
And I was explaining it while doing it. So the first time you do it, it might take a while. After you do it a few times, you'll get so used to it, it'll take you less than an hour, less than half an hour.
But yeah, so your actionable step, Post a preview now. Now, instantly, as I said that, you may have had some thoughts of maybe I'll do it later or this doesn't apply to me.
I promise you, you will thank yourself for posting a preview now. In fact, it's part of the Ascension roadmap. And if you want the prize, I'm going to be asking you to send through the preview that you posted between the time that you've joined and you submitting your audit so I can give you the prize.
I want you to post a preview now. You have videos that you have edited in the past. Cut it and post it.
Don't overthink this. You don't need to be perfect. All I wish, want is you get it done.
You don't worry about how your previews perform. Honestly, for the first year of me posting consistently, I was posting consistently. I averaged less than 10 likes.
And I still have these posts on my account. Some of them may have passed 10 likes because as I've grown, people go back to years and years ago. But while I was posting, I posted for an entire year and I got less than 10 likes.
Most people can't post for a month without getting like, oh, why am I not getting more than 100 likes? It's like I posted for a year, basically every single week. So realize that business is a marathon, not a sprint.
This is not about who can run the fastest, who can run the longest without quitting. And I don't want you to be at the starting line and already say that you're waving the flag of surrendering. This is your chance to start the race.
Post a preview now. Now, it doesn't matter if you've never posted a preview before. You post it.
You post now. Today's the day. To take any video you've edited.
Or if you have no work at all. Which you shouldn't have. You should have at least one video that you've edited.
Whether it be a practice. Whether it be anything. You post that.
Because if you've never posted anything. Anything is better than nothing.
If you've posted recently. I still want you to get a video that you have not posted. And still post it.
Because it's about doing action. And I promise you. Taking action is.
Both the easiest and the hardest thing to do. It's the hardest because it means you can't just do nothing. But it's also the easiest because no one ever does it.
I will give you everything you need. All I need is when I give you the steps, you do it. I've laid out every single thing.
I'm so proud of you. The fact that up to this point, you're taking action. I'm so flipping proud of you.
I'm trying not to swear too much.
this is why the editors in the lair do so well because we take action so post that preview now if you need go watch this through again and follow the steps with any video and i know performance might still be on your mind even though you know it doesn't matter and it's just a trap to look at likes and stuff i'm going to talk about long term how to actually get previews to perform Because I know it might still be in your mind.
So over the years of posting previews, and I helped other editors post hundreds, if not thousands of previews, I found there's three main levers that help improve your long -term results. So yes, I can help you get short -term likes, but you're not trying to optimize for likes. I'm assuming you're optimizing for clients and making money.
This is for long -term results. I'm going to tell you how to get your previews to perform better and get you better clients over time. So three things.
First one. the editors that do best are input focused. Meaning, the consistency of previews is basically directly proportional to how well an editor is doing at any given time.
If I look at an editor who's doing very well, generally, I look at his profile and he's been consistently posting. And that same editor, when he comes to me and he says he's struggling, The first thing I check is how many previous have you posted in the last few months?
And then when I ask him, he realizes exactly why everything is going wrong in his business. He stopped the input. And as soon as he starts it back up, it starts working again.
So it sounds obvious, but the editors whose posts do well, they're the ones who actually post. It's not the ones who post once and then never post again and then maybe retweet it once every month. That's not posting.
That's retweeting. So editors that post, their posts do the best. And in the exact same way that thinking about working out isn't working out.
So just because you think about going to the gym doesn't mean you're going to put on muscle. You're not going to put on muscle until you do a workout. It's the same way that thinking about posting previews isn't posting previews.
Learning about posting previews isn't posting a preview. It's important to learn how to do it, which is what you've done. But learning more about posting previews isn't posting previews.
The editors that post previews do better. Now you know how to post previews. It's about posting previews.
Just take action. Do the actionable step. And remember that branding is not a one -time thing.
It's compounds. The more you put into it, the more previews you post over time, the more benefits that stack up on each other. So this is the trance.
Get into the habit of posting. the preview for a video when you finish any work so whenever you finish work post a preview but you do one now you don't wait until you finish the video for your next video you post one now please like doing this for your sake i gain nothing i gain zero at all from you posting a preview now versus you in one week but i'd rather you make faster progress because i promise you even if you think it's not good enough any belief you have of why you shouldn't post now I promise you, you will do better in your career if you just post one now.
So the inputs focus, they actually post previews. They're the ones who do better. The second thing that determines preview performance is reciprocation.
Now, this is a human law where humans are social creatures and we respond more warmly to those who have been nice to us in the past. So if you need to... Copy someone's homework.
Let's say you're super late. Imagine you're back in school. You need to copy someone's homework because you messed up and you got late.
Who is more likely to share the answers with you? Is it going to be some random kid in a different class who you've never spoken to? Or would your friend who you bought lunch for two weeks ago be more likely to share the answers with you?
Of course it'd be the guy that you were nicer to, right?
Branding. anything basically if you want to get anything in life it works the same way so as you continue to exist in this online world get into the habit of being the giver more than just the receiver so what this looks like is you being the giver of value so you helping other people you should get in the habit of that you getting used to being the giver of appreciation so you're getting used to when you see something nice you comment something nice under it rather than just having positive thoughts in your mind because there's times where you actually see someone doing well and you have good thoughts you're like oh i'm proud of that guy or oh w bro like you have these thoughts or that edit looks sick get used to giving that appreciation like writing it out and posting it it might seem cringe but honestly i like positive people when i see someone that is supporting other people i don't think like oh that's cringe i think like this guy's securing himself like he gets the game
He understands that it's not this weird thing where you can't support other people. It's like, if anything, supporting helps yourself as well. And I explain why.
It's being the giver of feedback, not just asking for advice, but also giving it. Even if you're not the best, it's being able to say like, here's my input. Here's my opinion.
Here's what I think. It might not be completely right, but I'm giving my feedback. I'm giving what I think.
Because here's what happens. Over time, The people who give the most are the ones who get the most back.
Like the universe works in weird ways, I promise you. And the more you give, the more you get. And I have seen repeatedly in my life, I have never gotten poorer from giving.
I have this on my phone where... I have a wallpaper, which is essentially the principles in my life. And the third last one on there is the word give.
And what it says is share what you know. Gatekeeping keeps you poor. there's editors who think that keeping an effect away from other editors or just like hiding information or keeping back their feedback or I don't want to help this guy because he's going to get too good and take my clients it's like that doesn't happen what does happen is you help a guy or you comment on someone's stuff and now that guy kind of likes you and a year later that guy's client is looking to take on the second editor and he remembers that one guy that helped him out a year ago and now he can recommend you it's like that's how the world works and here's some examples of you being able to give it's you helping other editors it's you replying under other people's posts whether that be inside the editing lab whether that be on x so on twitter it will help your previews and in a very real way it will also even just replying to people on discord replying to people on the editing layer it will get you more likes i promise you over time interacting with communities like we said because here's the thing in a very real way this improves the affinity people have with your brand what that means is like the likingness with the getting used to of your brand of your face of your name so if someone's seeing you help even if you didn't help them if let's say you help someone in the layer
or you help someone on discord or you replied a positive comment under someone's post and someone outside of you and the person you were helping saw that you were nice to this person and now two days later they see your post on twitter they see your preview they're going to be a lot more likely to like your post because they're like oh yeah i saw that guy on this platform oh yeah i saw that guy commenting nice stuff on that person's post as well like People will just like you more and more over time.
And over time, it compounds into your own growth. So those who give are those who get. Get used to becoming the creator of value, the creator of feedback, the creator of advice.
Like this is not me saying turn to some guru. This is me saying in very small ways, just get used to for 10, 20 times a day. Just like you apply to people's stuff, get used to it.
Even if it's just a couple of times, whenever you have thoughts. it will make your previews perform better, I promise you. Now, trajectory.
This is the third and final thing that I found improves long -term preview performance. The editors that gain the most growth in even the metrics and stuff, but also in terms of actual making money, and the ones that gain the most respect and longevity, meaning they make the most progress and sustain it for the longest time, are those that show a positive trajectory.
Now, what this means is that they're improving over time, not objectively how good they are. That's what I found so interesting. There are editors who are objectively really, really good, but they don't grow much.
They have no respect in the community and their careers ended in like four months because they end up quitting.
Trajectory is more important than objective standpoint, meaning where are you going? So think about where you are. right now in terms of your editing ability.
Now think about a few months ago. You probably improved. That means you're on a positive trajectory, meaning you're more valuable because people can assume if I work with this guy for another six months, he's probably going to continue improving.
Now with previews, you need to just show that you're on a positive trajectory. A lot of people are scared that, oh, I'm not good enough, or I want to improve before posting. But the thing is that actually just holds you back.
because previews aren't comparing you to other editors. It's not about your preview. Like your preview doesn't need to be like, oh, the last thing I posted was either nothing or it was like kind of dead.
And now I need to make some crazy thing that no one's ever seen before. It's like, all you need to do is either be the same or slightly better than your last one. And if you have never posted before, guess what that means?
You could literally post anything and it would still be better than your last post. or if you haven't posted in months the same the same thing applies so if you've posted within the last like week or two or like let's say three weeks because you want to post preferably between every like you want to post as often as possible when it comes to previews just post whenever you edit a video try to go towards one a week um but if you haven't posted in a while it's like i'd rather just see an edit just any edit it doesn't even need to be crazy good it just has to be like as good as the last one so Yeah, it's about showing your improvement over time.
It's your improvement, not comparing it to anyone else. And if you're not sure if a preview is good enough, just ask, is it as good or better than your last one? And realize that everyone feels scared when they post.
I still get this. Just want to keep it completely honest. You might be scared to post, scared of people not liking it, scared of criticism.
When you think about it, you're scared of judgment. get a rejection we have all these thoughts in our brains and it's funny how our own minds can take over our actions without us even realizing it's actually holding us back from the success we want but when you really look down to the emotion you're feeling if you're if you are scared and which will be not many of you but for those that are realize that everyone feels that fear everyone feels scared before they post everyone feels like they're cutting it they felt proud of the video and now suddenly they're not sure if it's good enough but it's like everyone feels those feelings the only difference between the people that don't make progress and the ones that actually make progress is they both felt the fear but the successful people just felt the fear and did it anyways they felt like kind of insecure but they posted it anyways it's like you can feel the fear and still do the action and By definition, that is the trait of courage.
So, I mean, for me personally, I would highly like to identify with the trait of courage. And that means that when there's emotions that stop me from doing an action that I know is good for me, I force myself to do it because I know that is what a courageous person would do. So if you feel kind of scared or you feel like you're going to put it off for later, realize that if you would like to resonate with the trait of courage.
you would post it now and um yeah basically just a quick reminder for the entire lesson post your preview and that is another step as soon as you do that it's another step closer to that prize i'm going to give you of that secret resource we'll call it and yeah so quick summary of what we covered in this lesson in previews are king we covered kpi traps which means People often follow the wrong metrics.
We're trying to optimize for cash, not likes. We covered what previews are. So it's just short cut up versions of our edits.
And then we went through the eight step process of creating those previews. Chose a video that we've already edited. We cut the video up.
We ordered the clips. We adjusted the length so that it's between 20 and 60 seconds. We started and ended strong because it's super, super important that we have sort of animations showing right at the beginning of the preview because people's attention spans kind of cooked.
We want to make sure we catch their attention and ending strong because there's something called recency bias, which is humans are more likely to remember the last thing they saw. So we want to end strong. We then tighten the cuts, making sure that we cut any small bits, making sure the timings are perfect.
And then we just export and upload to X with a short and precise caption with an emoji that sort of relates to the theme of the video or the client. And we tag them, hopefully. And that can be for an actual client video.
It can be for a practice edit. It can be for a re -edit. It can be for your own video.
Whatever it is, you post what you can. Now. then you had the actionable step which should have done by now if not you can do it straight after this video after you feel satisfied with watching it and we talked about preview performance which is the people who do best are input focused they post previews because you can't have a preview do well if you're not posting it they follow the law of reciprocation which is they give without expectation they support others without expectation they follow other editors follow other creators support their work because in a very real way the universe gives it back to them and third of all they focus more on trajectory they care less about objectively where they are and more about are they on a good path they're not scared of is my editing good enough it's Is my editing improving?
Therefore, okay. It's okay for me to post previews because no one is judging me. It's only me in my own head, but it's stopping me from posting.
And those are the three levers that I found affect the long -term growth of editors and their preview performance. So yeah, that is the entire previews are king lesson.
So welcome to portfolio configuration where We will be building and improving your portfolio. Your portfolio is like a CV or a resume.
It qualifies you for jobs. And in normal work, so in people's nine to fives, you create like this document which says, this is why you should hire me. This is the experience I have.
Please give me a job. It's honestly sad how you have to do it in the normal world.
So portfolios basically serve the same purpose of showing you off. But the difference is you don't need to be like a slave, basically begging for work. Your portfolio, if you can set it up right, all you have to do is push traffic to it and the rest will take care of itself.
So you build it once and you update it regularly as you get more experience. So the structure that I'm going to give you now. It's going to take a minute to set up, but once you set it up properly, for basically the rest of your career, you don't need to spend any more time on it.
All you have to do is switch out YouTube links or switch out one or two client names. That's all you've got to do. It makes it so much easier if you set it up right the first time.
And this is a rule of thumb, important to mention this. Portfolios should be kept simple. The simpler that portfolio generally, the better it converts.
Once again. Conversion hates confusion. Well, confusion, you get the point.
If something's confusing, people will not use it. And that means no crazy animations, no crazy website builders. You don't need it.
Your work is the focus. All we want is someone to come in, see your work, get fed the social truth that we want them to consume so they believe that we are competent and can solve their problems. and give them the next steps of how to hire us it's all we want them to do so let's actually do the first step which i whenever i'm doing something new or i'm trying to optimize something i'm trying to improve i like to collect examples of it being done well so i gave you this worksheet which i will link and i recommend you open up it's a portfolio inspiration worksheet so welcome to the portfolio inspiration worksheet where we're going to be collecting other portfolios to get some good ideas of what ours could look like so there's only one bit collecting examples let's collect some examples of portfolios you like so you're going to go out and do this on your own the reason being i can give you links to portfolios that i like but if i give you the same portfolios that you should take inspiration from as everyone else
Yours is going to look the same as everyone's else. And it's okay to follow the same structure, but we don't want to be the exact same. There's natural variances between different portfolios.
And I want yours to be something that you like, something that works, but you also like it. So here's some places that I recommend you look to get inspiration for portfolios. Look for portfolios of editors that I like.
So you might have editors that you like. Maybe it's me, maybe it's other editors, but basically editors that have portfolios and be wary because a lot of editing creators, so people that teach editing, don't actually have portfolios. So be wary of liking an editor just because he teaches you, but he doesn't actually do what he teaches.
So find portfolios of editors that you like and have portfolios and have done what you want to do. Other places that I like to look for inspiration portfolios is portfolios of editors that other editors follow. So there's some editors that you like.
Look at their following on X. See, are there any accounts where I look at their account, they have a portfolio link, and I actually like that portfolio. You might have to check out 50 or 100 of them to find some that you like.
It's worth the time to acclimate yourself and realize what's actually good. And if that's not enough, you can look through portfolios of others in the editing layer community. So some people will have it linked in their account and some people will have already sent through their Ascension audit, which means that you can look at their portfolios, get inspiration.
And yeah, those are the three main places that I look. So what I want you to do, this is the actionable step for this worksheet specific. link five to ten of your favorite video editing portfolios to take inspiration from.
They don't need to be perfect, they can be even you don't like the whole portfolio but there's this very specific part where you like the color scheme or you like the way they laid this out, you like the spacing on this one, the font on this one looks quite cool. So take different parts and just remember that as you're listing these, they're not guidelines.
What I'm saying isn't you get these inspiration portfolios and you copy it. I'm saying you can take parts from things that work. Many of them that you list here will look nice, but they'll be missing key principles that we're going to cover in this lesson, in the portfolio configuration lesson.
So what you want to do, get them, all these inspirations, and use them to get a feel for what a good portfolio is like. It's very difficult to do something well when you've never experienced something good. It's the same reason why I tell people, if you want to experience what you should make your client feel like, go buy someone else's product.
Go hire someone for yourself. Go hire a mentor. Go hire a coach.
Go hire an editor yourself. Because the thing is, you will realize what makes a good service and what makes a bad one. Unless you go through a good program, unless you have good mentors, unless you have...
you try hiring an editor and they're actually good, you'll never know what good looks like and you'll never be able to replicate it yourself. So I hope even me, just the amount of effort I'm putting into this program, I hope sort of inspires you as to the level of quality that's possible, even transferred to your own, editing your own portfolio.
But regardless, get the inspiration for your portfolio. And once you've done that, return to... portfolio configuration.
You can continue with this lesson. So spend however long you need to do that. You can pause it, come back now.
So by now you should have finished that portfolio inspiration worksheet. And let's get to actually creating your portfolio. We're going to jump right in.
There's not too much theory for this. It's quite practical. So card signup.
The website builder I recommend is Card. It's run by Pretty sure a solo developer right now.
His name's AJ. I got in contact with him because I genuinely loved his website builder. It's cheap, it's reliable and it works.
So yeah, what I recommend is sign up for the pro standard plan. And the reason is, is because it allows for video embeds. So you can directly embed videos.
And it also allows for custom domains, which is going to be so, so, so important for you. It will separate you from the majority of editors who don't want to spend like 10 bucks over an entire year. They want to be making thousands, but they're scared to spend around a dollar a month.
They want to make thousands, but they're scared to spend a dollar. It's like, so the pro standard allows you to do that. I recommend that.
And this is not me asking you to use my referral code, but I'm saying that I do have a code where basically. At first, it's a 30 % commission that I used to get. What I actually did is I got in contact with the founder of Card and I basically asked him, can you give me the least amount of commission possible?
So I make the least amount of money, but instead of me making the money from an affiliate, I basically pass that on to whoever's using the code and they're able to get a discount off of it. So I minimized the amount I can make. I wasn't able to...
negotiate a higher discount but um i managed to get a 20 discount for you so if you do use the code malice i get like a dollar from you using card i i don't need a dollar bro like um i hope you can trust me like um regardless so if you want to use um this code it'll give you 20 off it's cheap anyways um but if you want it it's there and templates that i give you will automatically apply the discount code as well just want to be upfront about that so you don't think i'm trying to make it literally $1 off of you.
So now moving on to creating the actual portfolio, I've added three templates for you to build from the reason being there's certain settings that you have. to make sure your page is the right size, the right width. And the ones I've created, the templates have the correct widths for your page.
So I've added three templates. The first one is an entry portfolio template, which if you open, you'll be able to see it sort of has the videos, the client, the client name, this stuff will be changing, but this is just sort of a template. It's a very, very raw base, simple testimonial type things here.
Once again, we'll talk about that more and a simple call to action at the end. So pretty basic. If you have less social proof, less experience, honestly, this simple one still works when you're more advanced.
But this second one, which is the more social proof one, you've got the initial video just like before, but this time we're highlighting views as well. So I recommend only doing this if your videos get high views, otherwise it just looks silly. same testimonial type bit but you've got a lot more videos that you're pushing through and you've also got a section where it says creators i've worked with now keep your say you can move it up but you're able to show who you've worked with their profile picture and sort of the number of subscribers they have i also added a third one which is very similar but a different sort of format so instead of this Side by side you've just got a top header with the first initial video being within sight but just slightly below so to use any of these you can just click select and You've used that.
I Mean you've used it. Yeah, that's how easy it is to use these templates now Gonna be sharing a little bit now about how to change templates to you. I'm gonna give you in this section As in for this point right now, I'm going to tell you the general how to use card.
The reason being, if you can learn how to use the software a little better, everything I tell you later on will be easier because you can actually implement it. So yeah, it's important that you make changes to the template so that your portfolio is original to you. That includes things like fonts, backgrounds, sizing.
So how big things are, spacings, the distance between things, shapes, whether it be a rectangle, a square, a rounded, a semicircle, whatever.
Duplicating, moving and moving elements as well. So whether you want to even keep a section at all, whether you want to add a new section, whether you want to have a second section of the same one, how to do all of that. So let's jump into it.
Let's start with... Fonts if you want to change your font click on the text Go to this button right here to go into appearance and you can change the font here. So if you want this font If you want that font, you can basically change it to any of these It does a ton of different ones sort of see what you like.
I recommend spend some time like see what you like in general you want to have all of it in the same font and there are ways to get around with two fonts, but I recommend generally keep the same font. So experiment with fonts, see what sort of fits your vibe because a lot of people will use the same one as the template.
Backgrounds, the way to change backgrounds, there's multiple types of backgrounds. There's the full actual website background where if you click in this top bit, you'll see the option for background. It's just set to black for now.
You can have a color background where you set it to a solid color. you can have the gradient background which is from one color to another and you can change how sharp it is you can change the colors you can change if it's a linear so it's just from one to the other radial so it's more like a circle you can change it to conic which honestly i do not like but whatever floats your boat and you can reverse it too for the colors um but yeah you can mess about with those gradients image is basically you can upgrade upload any image into there this is an image from a student success call um oh we've done jackson dirty there but let's say this is the picture for some strange reason you want at the back of your portfolio usually it's not going to be that you're going to search something like um when i did it it was like pink and blue gradient background now you can search for something cool like this or any colors like green and orange I Doubt you're gonna find stars, but you know what like you can find anything If you want you can throw this and blur it you can figure it out for yourself.
You're an editor But yeah, you can use image like that video I would not recommend in all honesty for the main background slideshow same thing would not recommend so one of these first few now I'm not going to spend the time to make this look pretty. I just want to show you what you can do.
But let's say you pick any color. The pattern, you can try one of these.
It just adds a little bit of uniqueness to it. You can add different sort of colorings and stuff like that. So yeah, that is how you change the background for this.
There's also the sort of background for different containers. So containers are things Things that contain elements.
So this is an element. This text is an element this container Contains the elements. So if you go to appearance, so this button here scroll down You can see there are options for things like background similar to before you can change the color so This is the opacity so let's say you want red, but you don't want it fully ready You just want it to be slightly red and show the background a bit then you can change the opacity here and you can use once again images if you want to let's say for some strange reason you're using this again i'm so sorry jackson if you're seeing that i'll you know i'll blur that bit just because out of respect um but if you want that and then you want to i mean i don't know like you can basically do whatever you want with the backgrounds here and Transparency color like I'm just messing about here just as much like as you could be so This is this is sort of how you do it.
There's a parallax effect, which is basically as you scroll it will scroll with you They are usually if I want to use this fill for a Container, I'll put it to color or gradient. I'll pick any color that I want So let's say it's sort of a bluish portfolio and I'll put Transparency super low.
So it's like You see that's the sort of thing I do if I want to add Into the container. I want a sort of borderish kind of thing So that's backgrounds sizings. So sizing of things you can change by clicking on it Same thing in appearance and you can literally just change how big things are Change how heavy the font is.
This doesn't apply to all fonts. So it depends on the font like this one The weight you can change like this And that is the sizing for things that are more based on not text similar, but it's just, you click on this.
I recommend keeping the videos the same that I've set it on just because that's the settings I found work well. You can change the aspect ratios, probably don't want to do that, but you can change the corner rounding, you can change the margins, but that comes more into spacing, which we'll talk about now. Spacing is basically the distance between things.
Now, if you want to change the space between these two, you can kind of just look through, probably line spacing. Yep, line spacing. You can move around that.
Letter spacing. See what sort of works with you. You can change that up.
The indent, I usually don't use the width. I would just keep as they are. If you ever have bugs with sort of sorting stuff out.
usually width for margin something like that basically you can move all of these to test it out and what I recommend doing is try resizing some of your screens like this and make sure it still works properly like it looks stupid but you want to sort of stress like stress test like this so if you have a wrong setting like full bleed it might look normal if you know it doesn't look normal in this case but it might look normal in some cases but then go completely wrong in others so that's where having it tested in different sizes really helps so that's sizing and you can change the distance between things like containers so the height of containers you can change you can change the padding so let's say it's like this how much distance is between here is padding the gutters is like this distance between things Margins, I mean, you can basically just move stuff around, see what you can change for spacings.
Just make sure everything basically looks aesthetically appealing. Now, shapes. Shapes, I kind of showed it when I was showing rounding.
So you can, let's see this. You can round videos with buttons. It's a very similar thing.
this yeah that is fine um you can should be able to round things yeah you can change the width you can change the height you can found it you can not round it you can do whatever the hell you want and also you can change the color stuff like that um Basically just F around and find out and there are things like this and duplicating removing and moving elements you can move entire chunks of things around like this just Dragging it if you want this to be here you can move it there If you want this to be here, okay, cool.
So you can move things around if you want to add another text you just click here Text it will add it here. You just drag it into where you want it And now let's say you want to make this smaller you want to make it a different font.
You want the weight to be lower. You want the spacing to be like that.
So however you want it, you can add things. If you want to duplicate something, you just click on it, click this duplicate button and you can now move it around. If you want to delete something, you click on it, click delete.
So that's generally just how you use Cod. I know it. Took a second, but it's really worth understanding how card works because it gives you so much more leverage when you have an idea and you want to execute it.
So yeah, that's how you use the templates. If you do want to create a portfolio from scratch, you just go to dashboard, new site, blank page. So what that looks like is you go to dashboard of card.
You don't even need to do that. Just search up card, basically. This is the dashboard.
And you will be able to go to new site and then blank. So new site, blank page here. And now you have a new site where you basically have to start from scratch.
So yeah, you add new things. So now you have to, honestly, I completely forgot how to use this properly, but it's the same concept of what I said before. Like you see how this is the entire page right now.
You know how before it was the full page. You see it's a box rather than like wide box. So you can see why the templates are useful.
I would recommend using the templates very highly. So yeah, let's start talking now more technical, more tactical, how to actually build a effective killer converting portfolio. Here's some quick rules to keep in mind before building your portfolio out.
There's going to be six. First, avoid website animations. They make it harder to navigate and your videos are always supposed to be the focus of the entire portfolio.
This is to show off your work, not to show off what some random website designer was able to make move using code. Like the point is your videos. And the thing, the problem with animations is let's say a creator doesn't have the best computer.
it's lagging. Even if they have a good computer, let's say for some reason, the internet just randomly lagged. Now there's things that aren't showing in your portfolio.
There's ways where if you scroll down to an element, but you just about aren't scrolling enough onto it, it won't show. People might think that at the end of your portfolio, that you don't continue scrolling. There's all these problems that can come up with website animations.
I just wouldn't add them. They don't help. The next one is avoid external links when possible.
The reason being it pulls people away from the funnel. Meaning if you need to embed a video, so you're showing your video completely normal embed the video. So it shows up as an actual video, as you can see, like this, this is an embedded video.
It's actually inside. I don't need to click away to go into it now. Links to external websites are things like, imagine this profile picture, if I clicked it and it went to the YouTuber's channel, that's an external link.
You don't want stuff like that. You can say the name, but you don't want people to be able to just go onto these channels too easily. The reason being, The second someone goes into that channel, they're going to watch a video.
Then in the recommended is going to be a next video. And they're going to find that interesting because the YouTube algorithm knows exactly what they want. The problem now is they're going to go down a YouTube rabbit hole.
And that was a potential client that you have now lost because they forget that you existed because now they're watching YouTube for two hours. You don't want that to happen. So embeds only.
Avoid external links as much as possible. Next, keep one form of video. So either keep long form or short form.
Do not mix both because if you want to get more long form clients, prioritize long form videos on. You might think, but what about short form clients if they want to hit me up? If you try putting both, what ends up happening is long form people who are looking for a long form editor, look at your portfolio and will think, hmm.
He is good at long form, but he dabbles in short form. I'd rather go with someone who's a specialist in long form. Now, the short form creator will think, I want to have a specialist in short form.
Oh, he has good short form, but he dabbles in long form. I want someone who would specialize in short form. You get the worst of both worlds.
It's like, if you want, in terms of client work, you should prioritize one of short form or long form, but you can take on short form clients. with a long form portfolio, but deal with it in the DMs, not in public where you hurt every single person that could potentially convert. So only keep one form of video.
Next, prioritize adding work that you would like more off. You attract what you put out. If you want a certain type of client, you try your best to post that type of client.
If you want long form videos, you post long form videos. If you want short form videos, you put short form videos. What if you don't have that?
Well, you put the closest thing you can. So if you want more documentary videos, because here's the thing, all niches pay well. Let's say one day you wake up and you want to get into a different niche.
You want to get into gaming, but you don't have gaming clients. Well, you get as close as you can. So let's say you've worked in VX before.
VX is kind of close to the gaming -ish style, gaming -ish niche. What if you added that on there? What if you don't have any of that?
Okay, cool. Get full length trials, get full length practice videos, get full length re -edits in that. So it's as close as you can to what you want.
So if you want client work, the best way to get more client work is to already have client work on your portfolio. If you can't get exactly what you want on your portfolio, that's when you go as close as you can. Cool.
Next, your portfolio is a forever work in progress. You build fast, iterate later. Do not overthink this.
So I'm going to give you a lot of rules, a lot of techniques, things like that, but you don't want to overthink to the point where you don't have a portfolio. I would rather you just get your portfolio done within one day and have something to show people, even if it's at 60, 70, 80, 90 % done, rather than spend two, three weeks.
I've seen people spend like a month on a portfolio to get it from 90 % to... 95 % or 99%. It's never going to be perfect, but it's like they spend months doing that.
And what they don't realize is they actually would have made more progress getting it to 80 % and just using that to get clients. And now their portfolio will improve faster. So build fast.
You will fix things later. And next, if you cannot follow a rule, anything in here, just follow it as closely as possible and you'll fix it later. Let's say So let's say for some reason you can't do either long form or short form and you want to do long form.
So you want to prioritize long form because you want to edit in long form, but you only have short form. You have literally never touched a long form video, but you know that's what you want to get into. Fair enough.
Put short form on there. Just as you grow, add long form videos on there and don't add more short form on there. So follow rules as closely as you can.
But you can fix it later as you go. I'd rather you just have a portfolio that you've built. So there are the rules.
Now let's talk portfolio structure. Now, I'm not going to tell you what to exactly put. I'm going to give you a structure, a framework.
Why? Because if I can teach you a framework, you can adapt this to any type of portfolio you want and it will be unique to you. Yet it will still do well, provided you follow the rest of the training.
but it will perform very well, even though it looks unique. So all portfolios have three parts above the fold, which is the beginning. And I'll explain what this means later, the main body, the meat of the portfolio, which is the middle bit and the call to action, which is the end.
So let's start with the beginning above the fold is what someone sees as soon as they land on your page. So if I search up my portfolio without touching my hat, my mouse, my keyboard.
What we've just landed on is called the above the fold section. If you imagine a newspaper, you know how in stores, this is very old, but in stores, they kind of store them while they're folded up. And if you want to read it, you pick up the newspaper and then you unfold it.
And then now you have the full length for the newspaper above the fold basically means what's that bit that you can see before you unfold it. So in website terms, what that looks like is As soon as you land, this is above the fold and anything below this, this is all below the fold.
So the above the fold section is the most important. It's the most important part of your portfolio as it determines whether someone scrolls further down or not. Now in the internet marketing and website design and funnel optimization world, there's this saying which is you spend 80 cents of your advertising dollar just on your headline.
Now what that means is just the first bit, what you first see is basically the majority of what you should put your focus on because it will determine whether people even scroll a tiny bit and continue looking or if they click off and never look at you again. So we want to make sure this above the vote section is super super well done.
Let's talk about how. to make sure it looks good. So the above the fold section, this section at the top should answer three questions.
So this is as soon as you land should answer these questions. What do you do? What do your edits look like?
And what should a potential client who wants to work with you do next? Answers all three. And I brought up some examples and you'll see, even when portfolios look different, they all follow this structure.
So first, a short phrase to explain what you do. I have stand out in your niche. Eros here has turning your raw footage into viral content.
Editing that speaks for itself. Keeping people engaged through visuals. There's different ways to do it.
If you want a catchphrase, then follow the same guidelines as the ex -SOP that we covered in brand setup. So if you go through... um if you went through brand setup which you should have so this catchphrase follows the same guidelines as the about section part one in the xsop so what you'll find is in this part we talk about exactly how to sorry it was here don't know why that says one that should actually say two my apologies for that um i'll make sure that's fixed for you by the time you have this document so saying what you do follow the catchphrase rules make sure you can back it up and what i recommend is don't directly copy anyone else the reason being people clients editors other people in your niche everyone people notice like i've seen editors that look at my portfolio and directly copy my phrase and it's like it's not like you're piggybacking off of my reputation you're just feeding into mine by copying me you just look like the worst version of me and you make me look
Like I'm better than I actually am. When you directly copy someone, you're just giving them credit. And when people look at you, they're just going to think of the other editor and think you're weird and they're better.
So you don't want to directly copy people. And if you genuinely cannot think of a catchphrase, you can just leave it. You don't need a catchphrase.
You can add your name if you'd like. This is both. If you're not going to use a catchphrase, just use your name.
If you are going to use a catchphrase, the name is more optional. So in my case, I have like some logo that I paid some guy on Fiverr like a year ago. I don't recommend doing that, but I did it.
You can just add it in normal text. As you can see, it works. But what I'll say is do not take too much space for it because your name is not that important.
And that's not me trying to be an arsehole, but people care about your work. Like we said, the first rule, your work is the focus. Your work is the focus.
Your work is the focus. Your name on its own doesn't mean anything. until you have proven to people why it is worth something, then people will like to know your name.
So you can use your name, just don't make it too big. That is answering what you do. So I do this.
Next, embed your best video. So this is to answer what do your edits look like? Why should someone hire you?
You embed your best video and this should be viewable from as soon as you land on the page. Preferably, this should be on a client's channel. Meaning, as you can see here, if I just hover over this, you can see the client's channel.
It doesn't actually matter how big this client is. All that matters is it's preferably not on your own channel or unlisted or on a third party host. It's on the actual channel that it was posted on.
It would perform so much better because this is the first impression someone has of your work and they will understand, oh, this guy actually works with people. I would rather you have a mid video that is posted on the client channel here rather than an amazing video, which is on your own channel unlisted.
The video should be large enough to view without the need for full screen. So you can see here, I have a bit of a larger screen. I'm actually zoomed out here.
So this is actually the above the fold, but you can see this is more than big enough to just be able to watch without needing to zoom in fully. It's a mistake I see a lot of editors make. They make their videos way too small.
And if you're deciding which video should be here, let's say you've got multiple videos you want to add and you have no idea which one you want to add, just think, which video would I rather work more in? So if you have a gaming video and a finance video, but you want to work in gaming more often in the future, whichever one you want more of, you put at the top.
So yeah, that is... the what do your edits look like. That's how you share it in the above default section.
And finally, you add a button with a call to action which links your ex account. A call to action is just saying, hey, do this thing. So here you've got work with Robzu, send me a DM, work with me.
I have work with Malice. You can be creative here. Just short, clear, concise.
It's better to be clear than be clever. With call to actions, just tell people what you want them to do. And that answers what they should do next if they like you.
And notice how everything here fits as soon as you land on the page. You want to change the size of elements, just like I showed you earlier in this lesson. Change the size of elements so that everything fits as soon as you land on the page.
You should be able to see everything that we've covered. So these three things. And also just a little bit more.
From the of like the main body. So let me explain here. You can see this is what I do This is what my work looks like.
This is the call to action But just on the screen you can see a little bit at the bottom saying creators I've worked with it's not enough to see the creators But it is enough to entice you to start scrolling so another example of this is With let's say Eros it's like because this blue bar kind of shows it being bigger um like there's more to go it makes people want to scroll a little bit more if i was remaking this bit i'd probably add the next video like make this slightly smaller make this slightly less spaced like less space here so that you can see the tiny bit of the edge of the top the next video um you can see here The video is half cut off screen.
So what that means is it basically entices people to keep scrolling. Here are the creators I've edited for, it's half cut off. Whatever you do add, we'll talk about the main body.
This is not me saying to add this, I'm saying the top of the main body, which we'll talk about now, should be able to see a tiny bit. So sort of allow yourself to change the sizing and stuff. You can see with this template, you can see that top bit of the next video.
Quick tip for this, if you want to know what your video, your portfolio looks like on different screens and what the above the fold section looks like, there's an app called Screenfly. So screenfly .org. What you can do, you get your website, your portfolio link, and this you may have to do after you've posted, but you can post a temporary link for now.
Once you've done it, you can use this to test it. So you type your link in, you click go, and this is essentially how your portfolio looks on certain screens.
So right now it's showing it on a 10 inch netbook, which is pretty irrelevant. It's at 1024 by 600 pixels. You want to test in 1920 by 1080 and test in 2560 by 1440.
So I normally go to this button TV, 1080p television, and then zoom out on your Chrome to see how it actually looks. This is what it looks like on a 1080p screen. You can see it's basically perfect showing what it looks like.
And if you go to a 2K screen, you can emulate it. So 2K television. In fact, yeah, that's basically how it would look on a 2K television.
If you want to go desktop, you can do this, or you can also, if you go to... Custom screen. So this is how I recommend doing it.
You can write 2560 by 1440. That's 2k Click apply You zoom out Now, this is how it will look on a 2k screen like a 1440p screen you can test 4k as well. It's rare people have 4k screens, but you can test it So you try out I think it's 3840 by 2560.
I may be wrong I may be wrong here. Yeah, that was completely wrong.
But basically, what is 4K resolution pixels 16 by 9? 3840 by 2160. So 3840 by 2160.
You can see what our portfolio looks like in a 4K screen. So, yeah. What I also recommend.
is test out on ultra wide so search up ultra wide 21 by 9 1080p resolution so that's 1024 that doesn't sound right yeah 2560 by 1080 so if you go to that website again you search 2560 by 1080 This is what it will look like on a widescreen 1080p widescreen you see everything still decently sized it still follows all these rules that we talked about and you can see a 1440p version as well, which is 3440 by 1440 and Yeah, look sound follows all the rules still That's just something I recommend using to test your portfolio and make sure it looks all good and sizing wise.
But yeah, once again, follow the guidelines here, but there is no single answer. What I'm giving you here is a framework. I'm saying these are the questions you must answer in the above to fold section, how you decide to lay things out, the words you decide to use, the colors of things, the button sizes, whether you put one video or two video.
it's up to you be creative here follow the rules follow the framework don't copy the method you don't want to copy things exactly feel free to move things around you want to try out a video here and then you realize it's too big so you change the sizing etc etc try things out and be creative here now that's the above the forward section done let's talk main body.
So this is the meat of your video of your portfolio. This is arguably the most important. This is what basically sells people.
So the main body is the meat of your portfolio. It's where we show the videos you want to show and any social proof that you have. Now let's start with videos because it is the most important.
Your videos should be the focus of your entire portfolio. I recommend having four to eight full length videos that you want someone to see. If you do not have four full length videos, you focus on that ASAP.
You get any kind of work you can. You re -edit full length video. You re -edit videos and you do the full thing.
You get practice footage from the layer. You get anything you can and you edit the full thing. Here's why.
If you are trying to hire a barber, I've given multiple barber references in this module, but if you want to hire a barber, a barber to cut your hair and the barber presented you a picture when you asked hey can you give me examples of what you what your haircuts look like and he gave you an example a picture which was half of the guy's head that was bowled and cut and the other half was like the hair from before the haircut it's like a half done haircut would you feel comfortable going to him it's like well if that's the work you're showing i don't really want my hair to look like that so i'm not going to choose you it's like if you're showing half done work on your portfolio people aren't going to expect that they should hire you for their full videos if you want to edit practice videos for the rest of your life prioritize adding practice videos that are 30 seconds long so it's like you can do the upfront work and add more videos that are full length and you get more outside
like past that or you can have instant gratification where you just do a 30 second practice and put it on your portfolio sure short term you saved time oh i'm not getting paid enough because i'm not getting paid to do this practice so i shouldn't try it's like people who say that don't get paid anyway so please prioritize full -length videos and once you've got them you want to embed them into your portfolio and keep them larger than any other elements on the screen so you embed them using this video embed so click here i believe it's this one yep it's that one so you click that and once you're inside you just change the link here set it to embed and you put in the youtube link so you basically literally just go to youtube and paste the normal link in here so you don't need to copy the embed link you just need to copy the normal link as if you're sharing it to a friend and if you do want to start it at a certain time i recommend starting at the beginning of the video but if you do want to start out 1 minute 54 seconds then you can um well you would have to do it 0 1 54 but you get a point
i recommend always turn off autoplay you don't want autoplay on ever don't turn on loop playback i mean these are the settings that i use you want to have related videos off captions off this i keep off to be honest i don't really know what it does um show player controls you want to have on so that's all the settings i have once again you have the templates for this And you want to keep them larger than any other elements of the screen.
I've seen a lot of people who have these texts huge and their videos are like tiny and it's like their work gets overshadowed by everything else. You don't want that to happen. They should be easily watched without needing to go full screen.
So just go for your own portfolio. Could you watch your own videos without needing to like do this? It should be fully viewable and appreciatable while watching like that.
Now the point of these videos is to show clients that you've previously done similar things to what they're looking for. So once again, if you want to attract long form client videos, prioritize adding long form client videos. If you want to get more 30 second intro clients, post 30 second intros.
If you want to get like, do you get what I'm trying to say? Like if you want to get people who care about, this is going to sound weird, but the same thing happens with non -tangible traits as well if you want to get people who care about their content and care about investing in themselves put content where you've actually cared about the video it's funny how that works so whenever possible embed videos from the client's channel rather than unlisted videos this works as social proof as it so shows the client channel in real time so for example this video you can see it's embedded from the actual client video rather than a third party host like this one today where this is just hosted on like a just like a normal not normal but like a private video host which i do not recommend um it's why i have it like in the middle of the portfolio rather than one of the first few or the last few because those are the most important with these i have it linked from the client channel
If you have a video which has not been uploaded onto a client channel, either because it was a practice, it was a re -edit, or because the guy just hasn't posted it yet, you can upload it to a YouTube unlisted on your own channel. I'm not going to show you how to do this, just Google it. But I don't recommend this.
I do always recommend client channel. Once again, I would rather have a mid -client channel video than an amazing unlisted video. But if you have to do it...
change the profile picture of your channel so the channel you're using to host the video change it and make the title and thumbnail so that it doesn't look like it's from a burner account so if you're gonna have a practice video don't make it say like practice video for editing or do you know what I mean like it shouldn't look like it's from a burner account or like an unlisted account, try to make it look like it's from some sort of client.
You don't need to lie, like it's not fake. You can just put like any face or whatever. So that's something I recommend.
Once again, don't recommend YouTube unlisted at all. If you have to, that's what you should do. And in general, you want the videos on your portfolio to tend towards an avatar.
What that means is the type of person you personally would like to work with. So think in terms of What niche would you genuinely enjoy working in?
Do you want to try out something new? Put that niche in. Think about that niche.
What style would you prefer working in? This is super interesting. My portfolio is very un -niched.
It's like you've got medical reacts. You've got art challenges. You've got Fortnite gaming.
You've got Amiga videos. You've got... um like irl like irl videos you've got minecraft smps then you have more reacts like it's a bit everywhere but it still works because everything is generally in the same style and also in the same audience maturity so if you can't match the style if you can't match the niche of all the videos which i actually don't recommend think in terms of What audience does this type of person attract?
And I want my portfolio to generally be all the same. So is it sort of that's under 16 or 16 to 25 or 25 to 40 or like 40 to 40 plus? Like, do you know what I mean?
Like you want all of that to be similar throughout the portfolio. So don't worry about breaking rules for now. if you need to but get as close as possible so if you can't get all of them in a similar not style but level of editing so you can see all of these are generally edited videos like pretty well edited sort of bridging the gap between it's not over edited all the time but if I need to I will be able to edit that's the sort of vibe I go for of like It's relatively raw videos, but if I need to edit, I will add it in.
That's the sort of style I go for. So all of them are like that. Audience maturity, all of my videos are sort of that 16 to 25 age range.
This isn't like a specific thing. Just keep it generally in your mind. Try to get as close as possible.
It's okay. Like I would rather you have videos on there than none. I'd rather you have videos on there that are kind of close or even super far than not have videos at all that are perfect.
It doesn't make sense. And realize your portfolio will never be complete. You'll always be adding, replacing videos for the entire duration of your career.
So do not worry about videos not being perfect from day one. And yeah, you want to start, this is another point, you want to start and end your portfolio with your best videos and you want to prioritize the ones with the engaging intros. Most people will only look at about five to 10 seconds of each video.
So most people, when they're looking through portfolios, if we refresh this, this is what it looks like. They watch this, they kind of watch for a few seconds, then they scroll. Oh, okay, cool.
Then that's pretty cool, I guess. Let's just sort of skip around. Cool, yeah.
I mean, hey, you know what? That's all right, let me go. That is genuinely how people treat portfolios.
So notice how the intros are basically the most important part. Take that into account while you're editing and also when it comes to the videos that you're prioritizing. This doesn't mean you need to make crazy, weird intros, but if you have some videos that have less engaging intros, some that have more engaging intros, the ones at the top and the one that's last, you want it to be the ones with the most engaging intros.
And just a few last things, do not enable autoplay. Avoid adding filler videos if you already have enough. If you're already at that sort of six to eight videos and the videos you add now are genuinely not as high quality, then just don't add them because you can actually have a negative effect and remove the momentum from other videos.
So that's the videos, that's the majority of your portfolio. You'll notice it's the bulk of the portfolio. Next is client details and statistics.
So adding the names of clients, profile pictures, their subscriber counts, view counts, it can be effective in the main body of the portfolio. However, in many cases, the client's name on its own means nothing. Just saying name is not too much.
It may be relevant to you, but most people probably haven't heard of them. You'd be surprised. Like most of the people that I fought.
oh i'm working with some huge guys a lot of people hadn't actually heard of them until they heard i had worked with them so the name doesn't mean anything on its own if you're going to mention a name or profile picture try to include their video or a statistic preferably both where you've got this many subscribers this many views etc etc but the profile picture or the name on its own this doesn't mean anything here's some examples of me doing it in my portfolio so If I'm going to mention the word sonar, that's the name of the creator.
I'm mentioning the views and I'm also adding the video that I edited. So the word sonar actually has value now because it's associated with these things that people can actually appreciate. Creators I've worked with, just having a profile picture means nothing because people probably don't know the channels.
But now that I have the name and a subscriber count, I could add the profile picture and just the subscriber count and it would work well. I couldn't add just... the profile picture because it means nothing i couldn't add just the profile picture and the name because it means nothing unless it's like mr beast even most big channels other than like mr beast i probably wouldn't put any other channels just because mr beast is like the main internationally known one and these are ways of putting statistics which just you can't battle the facts um what i recommend You only want to play games that you win.
Now, what this means is if your clients have a lot of subscribers, you mention it. If they don't, you don't mention it. If your videos have a lot of views, mention it.
So you can say how many views they get. If they don't have a lot of views, don't mention the views. If your videos get high retention, you mention it.
If they don't have high retention, you don't mention it. One of the silliest things I see some editors do is their videos will tank in views and then they add the view count. It's like, it'll be like 455 views.
I'm like, the whole point of it was that you're showing the best parts. So if a video got high retention and you know, you have the graph of it, you ask the client for the graph and you add a little screenshot next to it. Awesome.
Talk about retention. I don't have those graphs. Well, I have some, but like, I don't rely, like my view counts and subscriber counts are more impressive than my retention graphs.
So I just play the game that I win. If one of these games are one that you can win. play it.
If it's not, don't play it because you'll actually be stronger by only playing games that you'll win. There's only one caveat to the statistics rule where you can show off a client or you can show off someone even if they don't have objectively loads of subscribers or whatever. Now that's if you've worked with many other recognisable creators in a specific niche of the person you want to work with, of your avatar.
What you can do is you can list the names even if they have a smaller following and you just have to give them authority by other means let me give you an example this is an editor his name's aaron his portfolio he works a very very specifically or as of now he works very specifically with finance clients the internet like money making online that type of person It's quite a tight -knit niche to the point where people generally know each other and the niche is known for basically making a lot of money, not having a lot of subscribers.
So having subscribers on each of these creators, I mean Max Person I believe has around 60 ,000. Dan Bolton only has around 3 ,000 as of now. I mean, do you see how the subscriber count is impressive?
But the people he's working with are to the right person. So what he's done is he's given them authority by other means other than statistics. So he said the number one copyright channel on YouTube.
Max Persson, two times school games winner, number two on school .com. Dan Bolton, the hidden mentor behind some of the biggest online business owners. Altcoinist .com, tech startup solving the issue of monetization in the creator economy.
Do you see how he's given each creator the name? He's given the name, but he's given them authority. a reason that the name matters in a way that isn't just numbers because the numbers part isn't impressive in this niche so that's the caveat for the numbers rule and something to keep in mind and this is for all the statistics stuff we talked about if you're going to play a game be consistent with it let me give you an example if you mention a channel let's say you have three channels right if you mention a few channels with huge following so you add two of the three that have huge followings and you mention them but for the third one you don't mention it or you actually show how small like two of them are a few hundred thousand and this one's four thousand um it actually looks worse than if you just didn't put them there at all because here's the thing if you have it like this where some are big and some are like really really small people assume that they're the only large clients you had and now you're like you're like trying your hardest to scrape onto any social proof you have it's not a good look the reason this works well if i say 18 million 9 million 5 million 33 million 7 million 4 million 21 million 6 million and you see the smallest one is 4 million now this isn't me saying you can only do it if your minimum is 4 million this works out
I would say even like 50, 100, 200 ,000 minimum.
People assume that, okay, the lowest is 4 million. That means he's probably got like another 10, 20, 30 clients where he's working in that 3 to 1 million range. Truth is, a lot of my other clients are like sort of that 100K to a million range.
relatively small to what i'm showing off but people assume that i have loads of other million subscriber clients because all i'm showing is million subscriber clients so if you're only showing if you're showing only 100 000 plus subscribed clients people assume that others are also 100 000 plus which is awesome but if you show 100 000 100 000 450 just 450 subs people like oh the 100 000 ones were the only ones you had so you want to be careful of that um So compared to only if you had only mentioned large numbers, people extrapolate that information and assume there's many more examples of that statistic.
So TLDR, if you have big numbers, talk about it. Otherwise, let your videos be the talking, let your videos be the focus. Now, testimonials.
Adding testimonials and client reactions to your work can be effective. However, the initial requirement for social proof and testimonials is. It needs to be believable.
The person needs to believe social proof in order for it to actually work. Do not ever fabricate or lie about social proof, about testimonials or what someone has said about your work, as you will burn your reputation to the ground. Not only if the client that you are saying has said that thing, but also anyone that finds out.
And people can just feel it. It's a gut feeling when someone's lying. I see some people's portfolios, some editors, where they have these testimonials that they've written out.
And I just know that the client didn't write that. It's like they'll have no clients on their portfolio and then they'll have the craziest testimonial. And it's like, you just wrote out yourself.
So you need to be able to have a believable testimonial. There's levels to this. The most believable is a recorded testimonial.
The less edited, the better. So it's a creator literally looking at the camera like this and say, this person edited my videos. He's flipping sick.
Go hire him. You can't really fake that. So if you can get one, two of those, don't make it too big, but just like a tiny section of your portfolio, preferably towards the end, it could work well.
Somewhat believable is a screenshot of a written testimonial or a positive message.
That's, hey, oh, I appreciate it. The video came out perfect. I can't believe you got it done so well.
Things like that. The least believable is where you have basically rewritten the testimonial yourself. It's where you transcribed it or rewritten it.
Things like this one, honestly, where, This was Sona's message and I wrote it out myself on my website. It is the least believable I'm okay with having that purely because I know that the video did so well.
It's a five million view um video I've worked with her multiple videos. The video is actually good. It makes sense that it is believable because I mean It's completely reasonable for someone to get their highest viewed video and say that.
So it's believable enough. You want to be wary of these type of rewritten testimonials when it's reasonable that you could have lied. Even if you're not lying, it could look like it.
So you want to stay away from that. So what does this look like in practice? If you've worked with a client for a while, you can ask for a quick testimonial video.
You literally just ask, hey bro, appreciate you've been working for a while. So you can ask this after delivering a video. Be like, hey bro, here's the video.
He'll say thank you. And you say, no worries. By the way, would it be cool to record a quick testimonial video?
It'll literally be like two minutes and you can do it on the front camera of your phone. It'll really help me out. By the way, also, Also really glad with how this video came out.
Whatever, like you just move the conversation along. If you have chats of a client loving your work, you can screenshot it or you can do multiple like someone did here. This was Arturo.
If you want to only use a small portion of a message, you can write it out in your portfolio. Once again, keep these things in mind. It's important that you don't take too much space with your testimonials.
Your videos should always be the focus. And quick thing to keep in mind, the testimonials that you use will determine the type of people you attract. try not to keep testimonials where the client speaks about things that you don't want more of so if someone says oh he absolutely crushed my videos in a documentary style that sounds like a good thing but if you don't want to work in that style ever again you having a testimonial in that niche will actually make more people want to hire you in that niche or style meaning you hate it more so it's like you want to be careful of adding social proof of things that you don't want more of.
So that's videos. That is your statistics and stuff and testimonials. That's the main body.
Now we're moving fast. Well, we're going through a lot. So I very much appreciate this can take a minute.
Once again, business takes a while. This is the fast way. You don't have to, you don't have to read thousands of pages essentially to go through this.
that I had to use to learn all the psychology behind it. But besides the point, the call to action, this is the end of it. The final section of your portfolio is a call to action where you tell people what to do next.
Main rule here, keep it simple. Just tell people what you want them to do. Give them a way to do it.
Clear is better than clever. Here, let's create together. DM me your next, send DM.
Here's how to work with me. Honestly, this is mine. I'm probably going to simplify mine like mine.
cta is not optimized but it's like here's how to hire me send me a message to my twitter like send malice a dm it says what you want to do it's not um let's go let's go amplify your views and get engagement like just send me a message ready to work together dm me on twitter send dm so you want to give people a single message to contact you um you don't want to add your email your discord your instagram etc etc the reason being When you give people more options, they actually end up being less decisive and they end up just not making a choice at all.
It's called a choice overload. It's the equivalent of you walking into a restaurant or fast food place thinking you know what you want to get. So you think, oh, I'm craving a burger.
Then you open the menu and there's like six pages of things to potentially order. And now you're spending 10 minutes and part of your brain is saying, this is so exhausting. Let's just go somewhere else.
That's choice overload. So you want to have one single method and I recommend X. Well, I'll give you the framework of what platform to use, but likelihood is you'll be using X.
So you want to call to action to wherever the main platform is that you'll be using to push potential clients to your portfolio. In this training, I'm going to be teaching you X because it's the one that I've tested to work the best compared to anything else. So yeah, and you might be scared.
What about other people? In most cases, people that are coming from X will have an X account because they came from X. And for that one person out of 400 ,000 that you're going to lose, is it really worth getting rid of the 99 % of people and confusing them in order to secure 1 % who maybe would not pay you much anyways?
It's not worth throwing away the majority. The man who chases two rabbits chases neither. Stay focused.
give one single method of contact. So once you've done that, that is basically your portfolio done in terms of the actual structure. There's above the fold, the main body and the end.
And after that, it's just final adjustments. So making it personalized to you. Now, this is the bit just before creating the public, the custom domain and publishing, but let's talk about it.
So if you're using a template or taking inspiration from other portfolios, It's important that you do not look the exact same as other editors. Once you have the key parts of your portfolio made, like we talked about before, we can go back and make any adjustments we'd like.
These are not necessary, but it can hugely improve aesthetics as well as making you look unique. So the first part is color schemes. I recommend using this website called coolers .co.
You spell it C -O -O -L -O -R -S dot co. And you can click things, either start the generator. which is it just gives you a color palette and anytime you click space it gives you a new color palette which sort of they all all the colors on that color palette will work well together so it just gives you inspiration as you click more or you can explore trending palettes where these are popular ones as of now let's say you're using either that or the generator you like a color and you're like hmm what Oh, I can imagine this color going really, like these two really go really well.
And I can have this as an accent color for the call to actions. You can copy this. And that is how you basically set things up.
So you can say this color I want like that. I want it to be slightly here. Now this, I close these links.
Now this color in fact, no this color That's going to be the main background now Do you see how we're changing it completely and now this will be the call to action button from now on This will probably look better in white let's try white. Yeah, that looks pretty good Cool.
But do you see how that's how I'm using the color schemes? So you want to make sure that text and buttons stand out from the backgrounds. The way you do that is using contrasting colors, just like we did here.
Now you want to, this isn't too important. It's not necessary, but you can try to keep a consistent color scheme with other pages like X. So what you'll realize is.
I've got this sort of background. It's all bluey, pinkish. Same thing with this.
It kind of feels cohesive. Not too important, but whatever you set your portfolio and ex -banner to, you can sort of link or link it with your profile picture. My profile picture is quite light, so I kept quite light colors.
Completely up to you. Now fonts and capitalization. You want to experiment with different fonts for your portfolio.
In general, you want to stick to one font throughout the page for visual consistency. Different capitalization conventions will work better or worse with different fonts. Now, what that means is how you capitalize your words is very important and it's important you stay consistent with it.
So try out title case, which is basically um every single word is capitalized except for words like off the and words like that they're lowercase sentence case is the first letter of each word and then proper proper nouns are capital first letter every single letter of the first word of each every every single letter of each word is capital no matter what word it is so That's actually the convention I use for these titles.
It will always be first letter, all caps, pretty self -explanatory. Everything's capital, no caps. Once again, nothing capital letters.
Those are just some, keep it consistent. So you don't want this. So these type of headings, these two are like similar sized headings.
I'm using first letter capitalization. This is a smaller one. So I'm using sentence case.
and you'll notice that. So sentence case for smaller text, then I use all caps for names, but can you see how it's consistent with each thing? So if I'm going to do this name in all caps, I don't want this name to be in lowercase.
If I'm doing names in caps, I do names in caps. With this, this is basically just exactly how it's been written out. All of these names follow the same convention.
All of these millions have first letter. So it's small things like this you really want to check. Make sure that it all works.
If you want to try out different capitalizations or change it quickly, there's a tool called Capitalize My Title, where let's say you're editing part of it and you want to change this from, this is first letter. you want to change this from that to sentence case paste it in here turn it to sentence case copy paste it back in so that's sentence case and in fact no if you copy like that yeah there so that sentence case in this case i like it like this different fonts will look better with different ones just try it out now spacing and sizing showed this at the beginning so not going to go too in depth but make sure there's no awkward spacings between elements so it's not too big of a gap it's not too small of a gap things should be evenly spaced now to change spacing you click on an element go to appearance and just settings now shapes in the same appearance settings so when you click on something and you go in here you can change the shape of a lot of things so here you can see the corner rounding goes from square
sort of rounded to this cool semicircle -ish thing. Same with these videos. Just generally, you can change a lot of things.
Let's see if we can do this. Yeah, the shape of this. So you see, you can change a lot of things.
And animations, turn all animations off. Those are the final adjustments. Now, mobile compatibility.
This is where you want to make sure your website works both on your computer and also your phone. So what I recommend doing is however your website is made right now, just click the save icon. Give it any title.
Just call it like your name. So name portfolio. So whatever your name is.
Description, just write portfolio for now. You will change this for better. For now, just publish to a card URL.
make it whatever so temp domain handle so like basically your handle so temp domain malice let's say so you can just publish it like that um go to element what's unfinished this is an unfinished element you just have to upload something into here Think I'm gonna have to do that a few times. Oh, no, that's fine So now that's just publishing to a temporary domain now this if we copy this You'll be able to paste it into here and you'll be able to see your portfolio and the sizing and everything What I recommend you do Go on your phone type in that exact link Make sure that it's formatted correctly on your phone.
So Here's the thing it will look different on your mobile and card does have a function here which is switch to mobile view which does help and you can change things by clicking here going to appearance scrolling all the way down to mobile going from auto to manual which is super important because you can see auto there's weird sizings manual you can change things make sure on mobile that you resize things properly however it should be and let's say some texts are too big just go put it into manual you can make it smaller make the line spacing different letter spacing may be messed up whatever and then you can just copy paste this to do it onto the others and that is how you change just the mobile stuff and you want to just constantly save and then reference it back on your phone and make sure that everything is compatible and looks The right size is not awkward spacings, things like that on mobile.
So yeah, you're basically ready to publish. I just want to make a quick thing. Your portfolio will forever be a work in progress.
Get an MVP, which is a minimum viable product, which basically means just get your portfolio functioning for now. Don't worry about getting everything perfect. Just take maximum like a day or two.
Fixing your portfolio. And then what you do is you publish it with a custom domain. You don't need to worry about it being perfect.
You can fix, you can change this stuff as you go. Like this stuff, you can move anytime you want. Just log into card and do it.
Custom domain. I would rather have people coming to your portfolio and come to an 80 % done portfolio, which is ready for you to get clients. Then nobody coming to a, you're working on a portfolio.
So. I've seen a lot of editors who say, I don't have a portfolio. It's a work in progress to potential clients.
It's like, nobody's going to feel pity for them and think, oh, fair enough. He might be a good editor, but he's working on his portfolio. It's like, what can you show them?
So we want to launch fast. So once you've got like the sort of basics of your portfolio done, you followed this guide. We are now going to be publishing it.
So having a custom domain is a must and here's why. You can instantly separate yourself from the majority of editors who are just too lazy to set one up. And what a custom domain does is it strengthens the frame in which a potential client enters your portfolio.
So here's two stores. There's a broken down one with the windows broken and the boards are like covering up. It's a dilapidated store.
And on the opposite one, you have this beautiful store where it's nice and colorful and everything's perfect. Nothing's broken. Cool.
Which one would you rather go into?
Probably the one that actually looks nice on the outside. But here's the thing. The products in the store could be the exact same.
Could be the same thing you want to buy. But the frame in which someone enters changes the perceived value of everything inside. If you went into this store on the left, you'd probably be less likely to spend more money on the same thing compared to if you went to the store on the right.
It could be the same item, but you'd be willing to spend more just because it's like, oh, it's probably just higher quality here. So the frame in which someone enters really affects how they perceive everything inside. If someone goes into your portfolio and they see a like a card branded or a Behance or whatever, like Google Drive.
It's like the work could be insanely good, but the frame in which they entered was bad. So they're just looking for the problems in your work rather than actually appreciating the good stuff. When you have a custom domain, people go in expecting good work.
So they actually find good work in there, even if your work is still improving constantly. So what I recommend doing, set your domain to your handle. So for me, it's vfxmalice .com.
And the place I normally get my domains from, I just go Namecheap, some alternatives or GoDaddy and Squarespace. So I'm going to put my money where my mouth is. I am literally going to walk through making a custom domain.
Like I will pay for one as well, just to show how it's done. For the reason that... I already have a custom domain.
I'm not going to be able to register vfxmalice .com. And you should have already decided your custom domain from the brand setup. It's literally just your handle .com.
It should be available because you've already tested it. But because I've already claimed mine, I'm going to get editinglair .com, which hopefully is available. Awesome.
So this is 10 bucks a year. Here's how you do it.
So you add to cart and you don't need to add any of these. You then go to your cart.
Your domain privacy, you can keep on because it's free. Domain registration, this. You can set it to one year and set it to auto venue or you can just set it to a few years.
in all honesty it doesn't really matter it's just peace of mind if you do have a bit of money lying around i recommend just get a few years just so that um you don't need to worry about it ever um i'm going to try to apply these discounts you know what i have this thing called honey which is an extension to find discount codes it'll be funny if it does find one if it does find one hopefully it still works when you're watching this and you'll be able to use it if not no worries it's still cheap as hell for a um what's it called a domain so let's see what we can get here cool we got 43 cent of our our thing i think the code was the code was honey um but yeah so this is how you order it click confirm order It will ask you to either log in or create an account.
If you haven't bought a domain before, just create an account, then click create account and continue. In my case, I already have an account. Make sure there's only one inside of the cart.
Then I'm going to confirm order. Then just add your card details. So this will...
of course, be personal to you. I will make sure to hide this and then you click continue.
What should happen after that is you now have, not yet, you can click pay now and you want to make sure you've spelled everything correctly. Click pay now. It should confirm, might take a second.
Sick. So now I have the domain editinglayer .com. Awesome.
Now you have to connect this to your card. Let's show you how to do that. Once you've acquired your domain, you want to go back to your card website builder.
So just imagine that this is a fully created portfolio. In card, you want to go to save, publish the custom domain, and then enter your domain name. Then you want to scroll down to find your DNS records.
So let's do that. So you're gonna click Save Go here. Yo, yo future matters here one thing that I did miss out but I'm gonna add quickly here you want to set the title and description as well as the media for your portfolio before actually going ahead with the custom domain, so We're gonna do is for the title.
You just want to have it as your name and then portfolio so you can have malices portfolio and for the description what this is is if you ever link your portfolio anywhere this is the text that comes up so you can see it's got Brandon's here which it says his name portfolio need a video editor check this out you've got Carter's which says portfolio you've got find with editing work here you've got looking for a video editor take a look that's essentially the text that will be shown and you're putting that into the description I recommend having it in the structure generally of a question and then a call to action the question being looking for a video editor or want to hire me or um want to upgrade your visuals like whatever your thing is um that's the first phase and then check this out or take a look or um check out my work something like that so let's say need a video editor check out my work So something simple like that could work.
I'm just going to use that for now. Once again, be creative. You don't need to copy me exactly.
And yeah, so that's the description. Then you can go to media here. And the share image is you see these pictures that are showing.
So mine is just basic background with a logo. This is a logo with. So a logo slash profile picture.
Don't make a logo if you have a profile picture. Profile picture and portfolio. Click me.
Where's the portfolio? Click me. Cars portfolio.
VXX Brandon portfolio. You see the gist of it. How I recommend making this is you go to Canva and go to canva .com.
It's a free design website. Click create a design. Go to...
custom size and do 1920 by 1080 and create new design and this it doesn't need to be complex in fact i'll make one quickly now so it will be like malice portfolio and for the background color just have something that's sort of on ground i i'm normally sort of keeping pinks blues purple as they have purple make the text white so it stands out Let's just say I want a crown on there.
So imagine that's something that I just kept consistent with my brand. Imagine I did that often. So little crown, Manus portfolio, make it roughly in the middle, make the spacing quite aesthetic.
Yep, that looks all right. Click share, click download, click download. Then while that downloads on there, you can go click upload.
and upload that picture. Make sure you extend it to the full size. Once that's done, we're going to be setting the icon.
Now the icon is basically, it's called a favicon. If you go onto my portfolio, you can see in the tab, there's a custom icon that I've added. On Canva, you've got Canva's icon.
In Discord, you have Discord's icon. In Google Docs, you have Google Docs icon, et cetera, et cetera. On Quad, you have Quad.
So yeah, that is the icon. what I want you to do is go back to Canva and you're going to go back to the home page create a design and this time you're going to get custom size and make it around 500 by 500 you want it to be a square create new design and then you can just add your profile picture here get your profile picture scale it up and I can't be bothered getting my cat right now so I'm just going to put a smiley face so just put your profile picture here click download download that go back to your Website builder and an icon.
You can upload that image right now. Make sure it's full sized.
Click accept. And now when you go back and publish it to a custom domain, you'll have all of those things sorted. So we'll jump back into the lesson now.
Publish to custom domain and then type in your domain. So editing layer dot com. Now it will check.
and it will say available and it will give you these DNS records this is where you want to go to wherever you bought your domain from this is for Namecheap you want to go to your account so if we go here and in dashboard you want to find your domain list and then we're going to enter the DNS records from cards so I'll show you how to do that we are going to go to account then domain list then manage and then you're going to go to advanced dns then from your card you're going to find this so type a let's find where that is so i believe you remove these Add a new record.
It's what type? It's an A record. What's the host?
You just copy it from here. The IP address, so target, you put in here. TTL, I have no idea what it is, so I'm just gonna leave it as automatic.
Add a new record. Now the next one is a CNAME.
CNAME record. Then you put the host as whatever it says in COD. And then the target is in there.
Click the tick. And now you've added those. And yeah, you basically...
got a custom domain it's not difficult um you can click publish changes and what will tend to happen is it will initialize now so what that means is stuff is going on behind the scenes in the internet making sure that this actually leads to your card so as straight away it probably won't lead anywhere you got to wait around an hour for it to initialize so Now we're linking and testing may take a second for it to initialize.
But once you're done, you want to go everywhere that your old portfolio was linked or should have been linked and replace it with the new portfolio link. So I've got editinglayer .com. This will be your, whatever your website is.
Some likely areas that you need to update your link. You should copy this, that link that you have for your new thing. First, go to your ex.
So go to your Twitter. Ensure that your website in your call to action is your new portfolio link. Next, I recommend going into Discord and changing it in your bio.
So in the same way we changed in brand setup, we added the portfolio link or placeholder link in your bio. We want to change that now. And also your school profile.
So what you can do is you go to the editing layer. and you go to here. So you click on your profile, you click, I believe, profile.
Edit profile. And then you can change your profile social links and change your ex here to your new ex and your website to your portfolio. What this will allow you to do is whenever someone wants to see your work, because the editing layer is a ton of editors, imagine there's someone that wants to find an editor to refer to their client and they don't need to ask you hey can we see your work it's like your work's in your account so it's just a nice thing to keep all in one place there's times where i literally want to refer an editor to someone that i can't take on i will look at people's school profiles on the leaderboard so what i literally do is i'll go into here i'll go into leaderboard i'll check like the leaderboards here and i will basically just if i need to refer someone I'll go into their account and check their portfolio and see if it's something that they would be interested in.
So highly recommend updating your link in those places. And yeah, as you can see, editinglayer .com is now linked with my portfolio and didn't take an hour, did it? So yeah, once you've created your portfolio and linked it, it's extremely important to test it.
So what I hope... you can take even five minutes to do. Just stress test it.
So click every single link and see if they go where they're supposed to go. So if you go to your portfolio, click every single link. Does this link go where it's supposed to go?
I purposely made this go to the bottom of my page, so it's fine. Make sure these aren't linked. When you click these videos, do they play properly?
Make sure this isn't linked. What else? This call to action, does it actually go to my Twitter?
Every single link that could possibly go anywhere like make sure you click it go back towards your portfolio. Does everything work? So both from X towards portfolio and portfolio towards X Read through everything and I really recommend going through this Like stress testing protocol, by the way, are there any spelling mistakes?
So read every single word even like read it slowly big stand out in your You read it like that just one time, looking for spelling mistakes, making sure there's not even one because it just throws off your portfolio when you have spelling mistakes. Next, are words capitalized properly and consistently?
So if you're using a capitalization method for a certain word, if there's similar words like that, similar phrases, similar formats of text, It follows the same capitalization structure. So here I'm capitalizing the first of each letter of each word here.
I'm doing the same thing. It's the same type of text here. It's a name in this certain next to video format.
It's in all caps. So all of them are in all caps. You see, so consistency with capitalization applies to everything with this as well.
So these are all First letter of everything is always capitalized Now are things spaced evenly do you have awkward gaps where hey you can see this is the same as this It's the same as like similar to this So these two are the same because it's like that whenever you're switching sections It's this big as you can see it's keys out things are always consistent Spacings look aesthetic.
It's no weird huge jumps or things that are touching and how does it look on different devices check your website on your phone and see if it actually looks all right if it doesn't go into mobile view into your card and change things up remember that you have the rest of your career to upgrade and change the videos in your portfolio it doesn't need to be perfect in terms of the videos that are on there but You having the character trait of high standards and you being able to say, I might not be able to skip forward one year and time travel and make my editing 500 times better.
But what I can do is make sure that my links are working and I can check that regularly. But what I can do is make sure there's no spelling mistakes. What I can do is capitalize things correctly.
What I can do is space things correctly. What I can do is spend 20 minutes to fix the experience on mobile. So high standards is a trait you can pick up from now.
And I promise you the people that do best are just the ones that have the highest standards for themselves. So yeah, here's the entire checklist, what you have completed throughout this video. We collected portfolio examples to make sure we know what a good portfolio looks like.
We set up our cards and then we made a website using the templates or creating from blank. Then we used the above default section, which is the beginning, the main body, where we had the videos, the client details, and the testimonials, if necessary, but always focusing on videos. Then the call to action, which is, hey, go do this thing if you want to work with me.
The final adjustments where we make sure our portfolio is personalized to us. We set up the custom domain. We published it because it...
instantly just by having a custom domain makes us look so much different improves the frame in which people enter our portfolio we did that we linked our portfolio to where it needs to be so our x our discord and our school profiles and anywhere else we ever do link it from now on and we tested our website vigorously we checked it again and again to make sure there was nothing broken so that is portfolio configuration that's everything we've done i mean i'm not going to play the summary again because that was part of the checklist but congratulations you now have a well -optimized portfolio that you're going to be updating with your videos as you continue for the next few years and yeah well done i mean Most editors do not get to a point where they can say they actually have a portfolio or brand or previews which are optimized.
And now you can. You've ascended. And in the next lesson, I'm going to be going through with you the Ascension audit, which is essentially I'm going to go in and check everything you've done, making sure you're in a perfect situation to basically get the clients you want.
for your outreach to be converting for you to be getting inbounds for you to be negotiating as effectively as possible i'm going to be going in with a fine tooth comb and fine tooth comb is that how you say it yeah and making sure you've done everything right which i'm sure you have but it's always nice just those tiny optimizations i'll help you make and we'll do that in ascension audit which is the next lesson that i'll see you in the final lesson of ascension audit Hey there, it's Saif.
What you're about to go through is my actual internal recordings, documents, and SOPs that I send to video editors that actually work for me. This isn't shared anywhere else online, but the reason I wanted to share it with you is I think you'd find the insights useful from just watching me work on a real video. These videos are specifically made to be as short as possible in order to get as much value across in as little time as possible.
This is the actual process that I use to get editors from whatever state they are right now to the point where they're able to grind on videos and get as many done as possible without sacrificing quality at all. So I think you'd find this workflow super valuable and I'm excited for you to dive in. Cool.
So whenever you get a video, typically it's going to look something like this and you'll have a download link like so. To download the footage, it's super simple. You just want to select all of them, click download.
and that will start downloading. Once it's finished downloading, I recommend two things. First of all, quickly cross -reference the files that you've downloaded to make sure that you've got all the files downloaded.
The most annoying thing ever is to start editing a video, then realise you missed out syncing a piece of footage, and now you have to start from the beginning and assemble everything again. So check you've downloaded all the footage correctly. The second thing is once you've downloaded the footage, in my case I've already downloaded it here, Just give it a quick watch through so you understand the general format of the recordings.
So for example here I can see Okay, in general the lighting is pretty consistent. There's no crazy changes in the composition I can see there's like a auto blur. It's not 1920 by 1080 So there's all these different things that you'll notice while you're scrubbing through and in some recordings you'll realize problems But you want to find these problems out before the recording, not after.
For example, you might realise while you're quickly scrubbing through, oh, here the camera changes, so I'm going to need to do a certain zoom here, cut the clip and then do a certain zoom here, etc. So just quickly watch through, make sure there's nothing that's going to catch you off guard, understand the footage a little bit.
It'll take you 10, 20 seconds, but it really helps because it prevents issues from later down the line. So make sure that's downloaded and that's the entire process. Whenever you're creating a project file, this is exactly how you need to do it.
So click new project and for the project name, I need you to type the project ID of the video, just like so, and then the title of the project. Now, if it gets too long, you can just simplify it. For example, pretend this title was too long.
You can just write systems to scale, et cetera. So In this case, we can just leave it as the full title as such.
Also, I recommend having one folder for all your project files. Because project files are extremely tiny, there's no downside to just keeping them. For example, I've been editing for five plus years as of recording this.
I have this first project file I've ever edited, and all of my project files in my entire life don't even make up one gigabyte. yeah just keep all your project files because you might as well so just keep it in one project files folder you can skip import mode click create and that is how i want you to be creating the project file to import all the footage and audio into the timeline i want you to specifically do it like this so that we're using the right settings it's extremely important we use the right settings otherwise footage can get messed up so take the footage that you just downloaded import it into your project bin then what you're going to do is take the main recording and that's going to be the one that you drag onto the timeline first super important you do it in this order because otherwise the sequence settings get made weird what this will do is auto set to the sequence settings of this main footage now what i recommend is right click on that main footage so in this case it's the face
go on to properties, check the frame size and also the frame rate. So in this case, we can see it's 1920 by 1440. That's just so you have some space above and below.
And we can see the frame rate is 25. So in this case, I'm going to make it 1920 by 1080. So it's 16 by 9.
And I'm going to keep the 25 frame rate. So let's do that now. Go to click on the sequence.
Sorry, the timeline. Go to sequence, sequence settings. set it to 1920x1080 and make sure that it's in 25 frames per second.
Once I've done that, I'm going to make sure the other recording is dragged onto the timeline as well. The reason this is super important is because I want all of the footage on the timeline now so that we don't forget to add something in. For example, any microphones, in this case it was baked in with OBS on the actual footage.
But sometimes you'll have an external microphone file that we need to sync up because that's going to be the good microphone. So, yeah, we want to import all the footage and audio. In this case, it's a simple video with two pieces of footage, one piece of audio.
So it's super simple. In some videos, you're going to have it a bit more complex. Make sure everything's on the timeline.
So set the correct sequence settings. We've just done that. You look at the most important piece of footage and you set the frame rate to that.
If you have... a 30 frames per second video and a 60 frame per second video you want to set it to 30 frames per second if you have a 25 and a 30 these two aren't actually compatible what you want to do is set it to the piece of footage that's most relevant and going to be biggest on screen for example if i know i'm gonna let's say this was a 25 frames per second video and this was a 60 frames per second video.
I don't want to optimize for this video because this video realistically is going to be tiny or Like it's not gonna be the main movement, right? If you put a 25 frames per second video on a 30 frames per second timeline It cooks it because it's not an easily split up video. You're gonna find some sometimes when you're going left and right It's gonna go two frames.
Sometimes it's gonna go one. It's really inconsistent That's gonna be okay or not. Okay, but less bad if it's undermine a piece of footage.
So always optimize for the bigger, more relevant piece of footage and set it to that frames per second. And rename the sequence to ID assembly. So here we can see the sequence has been made.
ID in this project's case is 278. So we're going to call it 278 assembly. This is where we're going to assemble all of the footage.
Let's talk about syncing. So sync all footage and audio perfectly. You need to get the sync right from step one because to sync after, pain in the ass.
So let's start with this piece of footage. You've got the claps. So the first thing we're gonna do is just make some space at the beginning of the timeline so it's less annoying.
And I'm gonna option click the top track so I can move the track at the top independently. I'm gonna go on top of the clap and line it up so as my hands touch, that's when the audio actually happens.
So you can see if I go into this audio, my hands are touching. This audio, my hands are actually touching. This audio, my hands are actually touching.
So make sure you sync the claps up. It's very hard to fix this after you cut, so you need to get that perfect. So once that is done perfectly, and please double check it's done perfectly, because you can't fix it after.
And if it's done wrong, I'm going to ask you to fix it again. And that means you have to edit a lot of the video again, which I don't want to do. I don't want you to waste your time, so...
It's worth spending a couple of minutes syncing it properly. Now with the screen recording, you can see I've done this type of syncing. So you can see that's when the line starts coming up.
I'm just going to add a marker there for now. And if you bring up the recording, you can see we go slowly forward. This is where the line starts coming up.
So you put a marker there, line the markers up, double check. that it's synced up. You can see this didn't line up properly.
So you can see here, that's pretty much synced up. Let's see if it works better if we go one more frame back.
So if I go one frame back, so I just moved it one frame back.
Yep, now that's perfect. So these two are now perfectly synced up. What I'm going to do is just double check the claps.
Cool, let's just listen to it as well.
Cool, that should feel perfectly synced. And now with this, I'm going to make sure, first of all, the tap sound is synced up with the tapping of the pen, but also the sound here sorry the screen here shows up at the same time cool so now that's synced perfect if you have other pieces of footage make sure everything's synced you can also just go into the middle of the video play a little bit so that it feels good as well because sometimes throughout the video it can go slightly out of sync so you want to fix that now what i recommend is just quickly check towards the end and try a period we like your work what you can look at is plosive sounds if you don't know what plosives are Plosive sounds are like stuff like that.
These are sounds where the lips are fully closed and have to open in order to make a sound.
So what we can do is find a plosive sound is right now you are going to be on a B. So B. So we look for the wave in the waveform.
We look for B. So we can see this is the B in the waveform. So that should mean the mouth opens up as this B finishes.
That's how we know that sync. Let's find another plosive. Break.
So B is here. We know that because plosives make an explosion sound, meaning the waveform sharply goes up. So my ellipse should open on the B.
Yep, so that lines up here. It would have been off if, for example, here. We can see the B is here, but the mouth is already open.
That's how we would know that was unsynced. In this case, the process match up. Towards the beginning, towards the end, we've checked all of it.
Trial period. Now, let's quickly check here again. Is this correctly synced up?
Most editing trials, people think of them... Yep, cool. So that is now completely synced up.
Center footage through a transform effect and a source effect. This is the most effective way that I've found to center footage. Rather than doing it in the motion effect, which is here, what I like to do is bring in a transform.
So we find it here.
Then, instead of putting it into here, which is the clip effects, we do it here in the source effects. Then drag it into here. And now, whenever you drag it in here, I applied it to the wrong clip.
So it should be this clip's source effect. By dragging it into here, this now affects it no matter where this clip is. For example, if I just undo that, I'll show you what this source effect does.
So there's nothing in there right now. Let's say I cut this clip and this clip is all the way over here. You see this is unzoomed.
If I add it to the source effect here and I zoom it in, it will also affect it here. So when I say centering the footage, What we're doing for now is not doing the main zoom in.
We're just centering it enough to do two things. First of all, get me in the middle, get my nose into the middle throughout the video. And second of all, we want to consider that we don't want to zoom in any more than we need to in order to center my nose and also any lines in the video we want to straighten.
For example, we can find like a line here. In order for this to feel as natural as possible, we want this line to be actually vertical. in this case we can see it actually is like if you line this up with here in some pieces of footage you're going to find that it's sort of like this in that case you want to find the vertical line and just straighten it up as necessary and also get a guideline in you can do that through view and Show guides and you add a guide at 50 % vertical and all you want to do is zoom in and Make it so my nose is in the middle and you can see I want to get it so that I waste as little of the Footage as possible so you can see here.
I've only zoomed just as much So that I'm not like cutting off a ton of footage you can see So here I've had to cut that off in order to zoom in and get me in the center In fact, I can do that a lot less. Let's see.
What if I zoom in that much? You can see I don't want to have any black bars on the side, but I also don't want to zoom in a ton. For example, this would be a waste because after in the video, I can't zoom back out easily when I'm adding the zooms.
So I want to zoom just as much as I need in order to get me in the middle. And obviously, I'm going to move left to right. All I care is on average, I'm in the middle.
So here, I think I'm a little bit... To be fair, I'm happy with that.
Maybe a tiny bit to the left.
Nah, I want to go back there. Cool. Now I'm going to slightly zoom out just to see, am I wasting any footage?
I was wasting a little bit. So if I go 104, I can see there should be no black spot. What if I go like...
103 .5. Yep. That's there now.
So 104 is the minimum. So the most I can do in order to not waste footage, but still have me in the center. So you can see on average, the center of my face is in the middle of the screen.
Cool. And you want my eye line to be on that third line that you can see. So maybe we're a bit high right now.
So what I want to do is just bring me down a little bit. So on average, my eyes are sort of in this area. So on this third line.
Yep, cool. So I'm happy with that centering. Awesome.
Cool. Let's talk about using Lumetri Color to correct the skin tones and color correct in general. So we do this at this stage because it's just a lot simpler.
Quick tip. Whenever you're searching for LumetriColor, you don't need to search LumetriColor, all you've got to do is search, like, LumCo, and it'll come up. This is just a principle that might help you even when you're searching any effect.
For example, malice slide in left, M -A -S -L -I -N, there, and it'll come up. So you only, for me, it only looks at the first two letters of each word in order to actually search up, and that's usually enough, at least as of this update. So...
Yeah, you bring in your Lumetri color for now bring it into your clip effect We're going to bring it to the source after but it's easier for now to bring it into your clip effect We're going to do this for one clip first and then if there's multiple pieces of footage For example two camera angles or one camera at me one camera looking down You need to color correct one first and then the other one you have to match it So you always focus on one camera angle first.
So let me show you how we do our colour correction at a very basic level. First of all, the temperature. This is too warm.
This is too cold. You want it neutral, just as such. By the way, in your device settings, make sure you don't have night shift on, you don't have true tone on.
Anything that's made to reduce eye strain, it usually changes the colour, so you don't want that. Because otherwise, for example, I turn this... Night shift on.
My screen is now incredibly orange. You won't see it in the recording, but on my screen everything looks orange. So you want to make sure you turn this off during color correction.
So temperature, I'm going to make it neutral, just as such. With the tint, you don't want it too magenta. You don't want it too green.
You want to mess about with it until it's right in the middle of both. That's how you know it's neutral. Now with the skin tones, I can see in this recording my skin tone's a little bit red.
I'll show you how to fix that. Go to Window, make sure you have Lumetri Scopes enabled. That'll show something like this.
It may look like this for you, it may look something different, etc. What you want to do is right -click, then go up to Vectorscope, YUV. You can disable any others, but you need this one.
You can see it shows how much of each colour is in this scene. Now what you want to realise is that this line over here, super faint, is the skin tones line. Doesn't matter if you're black, Asian, white, whatever.
Everyone's skin tone lies on this. It's just a different shade of that. So what you want to do is get a mask.
So get a quick mask. Mask just a patch of skin.
And I can see here it's already added to the lumetri. If it's unassigned, just drag it onto the lumetri. And then, sorry, not onto the lumetri, I lied.
Onto opacity. So it's only that patch of skin showing. And we can see on this graph, it's actually more towards the red section than it is towards the skin tone section.
So what we're going to do is go to Lumetri Color, go to Curves, go to Hue versus Hue, select the hue of the skin, and you'll see as we drag this up and down, we can literally change what the skin tone is at. So we want to move it so that that little short line goes and lines up with this line.
So you can see we're going to do it right about there.
Let's see how that looks if we disable the opacity mask. And we can see the skin tone has become a lot more neutral compared to how red it was before. So that's fixed the skin tones.
Now this Lumetri color, let's say we're happy with this. I think truthfully, I might want to put the vibrance up a bit just because it feels a little washed out. Maybe the shadows down as well.
So the shadows down a tiny bit. You don't want to overdo the color correction. Like I don't want to look absolutely insane.
So let's just put a tiny bit. I want the contrast to feel good. Realize that whenever you're color correcting, you're going to have a bias to color correct too much and like change too much.
Just be wary of that.
Yeah, I'm happy with this. By the way, if you're concerned of how it should look, go on to one of my other YouTube videos that we can give as an example and just bring a screenshot of it into here so that you have something to refer against. I'm pretty happy with this to see what it looks like if we add more vibrance.
Yep.
I'm happy with this. This feels a lot more neutral. Let's just double check it with the opacity mask again.
I'm going to have to move it onto my face.
Make sure it's actually on my skin. And we can see it's actually on that skin tones line, which is amazing. We can delete the mask now.
So this, you can see, has become a neutral video, a neutral color throughout the video. And just check throughout the video that it doesn't change like crazy. Awesome.
Cool. If there's multiple pieces of footage, you want to now do the same process with other pieces of footage. Now, if you find that it's wildly different or even slightly different and you need to match, a cool tool that you can use is this comparison view, where here you select the good footage.
Let's say this is another clip, just pretend. What you can do is bring this up here, add a Lumetri color to this one, and just match it so that both are the same. So you make sure they line up, because this does multiple POVs.
Multiple POVs need to match up in terms of color. Get out of comparison view now. Go back to how we were.
So I'm happy with the color on this video.
Cool. Another little tip for skin tones. Let's say my face is, like, the lighting was kind of shit, and it was a bit dark.
what you can do is hue versus luma so you just select the skin tone you can brighten a little bit darken a little bit um in this case i'm not i don't need to lighten it but let's say you did because uh the lighting was terrible then you can lighten it like that in this case it's fine in fact i think i didn't use the best lights here so what i'm going to do i'm going to lighten it just the tiniest bit so let's see how that looks without without and with the color correction.
Awesome, I'm happy with this. Remember, the point of color correction isn't to change the entire look. We're just trying to correct, not grade, correct, which means make it look normal.
So that's the color correction done on the Lumetri color effect. What you want to then do is cut. So I'm going to do command X, go into source, and now command V.
So now anywhere where this clip occurs, the color correction will now be applied there. This is super useful because let's say midway in the video you realise, like let's say you've done the entire cut, right? And midway you're like, oh my god, the colour correction, I messed this thing up.
All you have to do is change it for one of the clips, and now it'll apply to all of the clips. If you do it in the clip effects, like normal people do in here, you'll have to change it with all of them. By doing it in source effects, changing it on one clip changes it in all of them.
So, super useful. So go ahead, colour correct the video. if there's multiple POVs or multiple pieces of footage, then make sure you color correct each and every one of them and make sure they match by using comparison view to make sure all of them match and look like they were actually taken in the same place.
So that is the color correction stage done. Awesome. Let's talk about how to use a gain and a compressor to make sure the audio is peaking around minus three to minus six.
So first of all, The audio should generally be kind of flat throughout the video, meaning there's no crazy highs, no crazy lows, and the worst thing that could happen is you have some sections that are high like this, some sections that are low like this. We never want that happening.
So what we're gonna do is first of all use gain to test that the audio is peaking at minus three to minus six. So the biggest, loudest pieces, the loudest should be around here. You need to see this.
You need to see this process. as fractal. Fractals you so maybe for this audio we need to bring it down by maybe one so let's just highlight all of that click g just say it by take away to your own that is assuming basically a hundred percent profit putting the adobe quick advice by the way you want to set your audio on your computer like this at a certain level throughout the entire audio process Because if you keep changing it, your brain won't have reference on what loud or quiet is.
So pick a volume and stick with it. For an editor, I'm going to decide that's the volume I'm going to use from now on. Also, if you're using AirPods, what I recommend, go to sound settings.
If you're using AirPods specifically, go to input. Make sure it's not on AirPods Pro. Otherwise, it will go into some weird call mode and the quality will sound really weird.
Go into any other input that's not... your Bluetooth, your Bluetooth one. Output, in my case, it says Loom, but it's technically my AirPods.
It's just because I'm recording, but the main thing is input shouldn't be that. When we post this menu, so just quickly watching through, but they're the only person working in it. It's like sort your own client side.
So we can see most peaks are gonna be in that minus three to minus six. Next, we're gonna use a compressor just to make sure that the louds aren't too loud and the quiets aren't too quiet. the way you want to add this in is go to audio track mixer open this up and whichever track the main audio is on let's say this is the one i'm just going to solo that because that's the one the main audio is on i can see it's audio one so i'm going to go to audio one add a track effect go to amplitude and compression single band compressor multi -band compressor tube model compressor truthfully i don't know what the um what each of them do i normally just use a tube modeled compressor And now what we want to do is this is basically going to put simply anything that's louder than this volume will be reduced by this multiple.
So anything above this volume will be reduced by this amount of this ratio. So what I typically do is find out like where is it getting kind of ridiculously loud so I'm going to disable it for now and just watch through and where does it get kind of crazy on paying client because a lot of people get promised work and consider it a client when in reality it's a client for visuals you might have in your mind sort of an idea of how you animate visuals but for that editor there's no way he's going to be able to let's say above minus three well let's say minus four and this depends on your video please don't copy these settings exactly because like notice how I watched for when the volume goes a bit crazy but you're doing it at a higher volume.
This is standard operating procedures. I actually don't have four clients. When I send this many out, if they don't know you exist.
So there's not too many times, but this is just for when it does. The ratio, this is like how much is it going to compress it by? If you have a video where there's a lot crazier ups and downs, this ratio might have to be like four, five, six.
In most cases, like it. three four will be fine because you don't need to it doesn't need to compress it as much um the worst thing you could do by the way is put the gain up to a point where for example like here fill these the gain is causing it to peak like hit minus zero which means that you're losing audio quality and then using a compressor to bring it back down you never want it to do that you want to use the gain to make sure it's not peaking it has and then use a compressor to just make the peaks slightly closer to the lower bits, and overall, the video should now be peaking at minus 3 to minus 6.
So we'll just go through the video and check that. And now, we're going to move on to the next stage.
A master at scale. We look at CV. Remember the certain virus that went around, I think.
So you get videos on time, and we're looking for your communication. So do you actually speak to us every single day, and keep us in the loop? If you break any of these three things within the first 10 videos, we're going to let go of you.
Cool. So that is now the audio done. You can see I've checked it.
Well, not audio done, but like the volume of the audio is done. You can see that all of it, knowing what you're peaking on minus three to six.
Next, we want to add a hard limiter. This is just so that anytime, for some reason, if it does start peaking, like hitting zero decibels and going a bit air vaping, at least we can catch that. It shouldn't have.
but it's just a final case. So what I like to do, go back into your audio track mixer, go into here, it's in amplitude and compression, hard limiter, double click inside, use true peak, maximum amplitude, minus one, input boost, make sure this is at zero, your look ahead time and release time, you can keep up seven and a hundred.
So that is your hard limiter done. To test this, what you can do, and by the way, just mute your volume for now. Make sure you just use the mute button or at least remember how loud your volume was.
I'm so sorry for what you're about to hear, but basically you put your gain up to however much. You can close the client. Oh, I didn't do anything.
One second. Why did I not do anything?
For multiple thousands of dollars. That's what I was trying to show you. So you can see no matter how much I put the gain up, these two red bars don't come up.
because it doesn't peak if this hard limiter wasn't there you can see it peaks because it is there it doesn't peak so yeah you can put the gain back down now but that hard limiter needs to be in place so that with we know that it's not peaking use other audio enhancers such as the noise the reverb dsr or parametric equalizer if necessary to improve audio quality so This will depend 100 % on the video that you are editing.
But if you notice issues with the audio quality, you need to fix it. What de -noise does is, let's say there's like a subtle hissing sound in the background, de -noise will fix that. De -reverb is if the video is slightly echoey, it can help.
De -esser is if there's a hissing sound on my S's. So if I say, psych. and the S is like really harsh and loud throughout the recording then you can use the DSR and a parametric equalizer is if the voice sounds kind of tinny or kind of thin it helps to deepen and enrich in the voice so what I want you to do is watch a YouTube tutorial on each of these and understand what the effects do that way you can use them they work in the exact same way that well you add them in the exact same way that I told you about with these gain effects so in the audio track mixer but like let's say this video has a that we give gets about i can hear it has a sibilance problem which is the s sound is where once someone's book once someone's so the s's sound really harsh all i'm going to do is go in here find a dsl i believe it's in i always forget which one it's in DSer, here we are.
Gonna find the S's. By the way, just watch YouTube tutorials on each of these because it's out of scope in this video.
So what I'm gonna do is quickly DS this video by finding the S sounds. Gonna do playback.
Someone, someone, someone, someone. Once someone's booked in, what emails do you send them to? What emails do you send them to nurture them?
Send, send, send, send, send, send, send. Just make sure I'm catching just the S.
What emails do you send them to nurture?
Emails do you send them to nurture them to get them to trust you before the fact and to actually show up then once someone's one once Let's see how it sounds without once someone show on someone Once someone wants to begin here the s is just slightly less harsh someone showing up Let's see how this sounds. That's doing it too much.
Can you see? When the S sound is made, it should have a gain reduction. What emails do you send them to nurture them, to get them to trust you before the fact and to actually show up.
Then once someone's showing up, you need to go through your sales process. So your sales process.
Might be down here. Let me just test that. Once someone's showing up, you need to go through your sales process.
Once someone's showing up, you need to go through your sales process.
Trying to test different amounts to be fair. So normally it's like a let's say Someone's showing up then once I think for me my s's go a little higher than normal someone's showing up once someone show then So we can see the harshest S's are getting the gain reduction done to them.
Once someone's showing up, you need to go, and we don't want to do it too much to the point where it thins the audio. So just enough to get rid of the harshness of the S, but not so much that the actual audio gets cooked. Then once someone's showing up, you need to go to test it without always do your sales process.
So your script, your script. Yep. So I'm happy with that DS.
So now, I'm happy with the de -essing. I don't think I need to add a parametric equalizer to this one because it sounds quite deep, so you expect quite rich script.
Then you need to go through the objection handling process, and then you need to collect payment. Let's see what it sounds like with a de -reverb, just so I can see if it needs it. I don't think it'll need much.
In general, there's just so many more moving parts that you need to take care of. when it comes to a call funnel, which is why I only recommend people to start with DMs and only go over to calls either once you have to because you just can't handle them. I don't think it just needs a de -reverb so I'm just going to remove that but in general I want you to watch a video on denoising, de -reverb, DSR and parametric equalizer just to fix audio because it's going to be a necessary thing in some videos when actually the audio wasn't taken absolutely perfectly in this video.
Seems pretty fine so That's everything for here. Okay, so this is the point that you need to check that you've assembled the footage fully.
So if there are multiple pieces of footage, make sure all of them are synced. If, for example, this one, I've synced this with the video, technically it's assembled. What I actually wanna do in this case is because I know there's this piece of footage, i know i'm going to be using this throughout so i'm going to be thinking what formats am i going to be creating within this video so let's actually create the formats now that way i can assemble it and it'll be ready to cut for me so i know i might have a format where this is going to be shown as like a like a piece over here so i want to go create that right now so what i'm going to do is get a crop get that crop on here oops there we go Crop the top out.
I don't know if the tools are showing. Crop the bottom little line out. Put a blend mode on there.
Actually, I don't think a blend mode would work well. I think it would be more a color key.
Drag that on there. Select the exact color.
Put the color tolerance up just so we can get rid of that. Make sure that's nice and clean. See if it needs any edge thinning.
Nah, I don't think so. Maybe Nah Does it need an edge feather? No, I don't think edge feather would be necessary here.
Cool. So that's that now I want it to stand out So let's put a drop shadow Let's just put a double drop shadow not a double sorry a Is it called a rings? Yeah, I call it rings drop shadow.
This is basically just one that has a Black and white drop shadow. So it looks kind of cool like this I want this to be basic 3D'd.
And to stop that annoying thing I need to have it in the right order for the effects. Does that need to be in a different order?
Let's see, does it bug out if I do it in the wrong way? It's functionally the same thing. So let's make sure that this is in the right position.
So let's say I know that this is a format that I want to have.
Cool. Now, throughout the video, I may move this slightly here. I may move this slightly here, et cetera.
But this is like a general position that I want to have. So I'm just going to keep that there for now.
Cool, because what was a few weeks ago, I have like a, I have it so like the footage is basically here and I have a recording there, but I'm just gonna keep this as a format for now. Now I'm gonna duplicate this. And in fact, what we're gonna do, I'm gonna create multiple versions of this timeline.
So, Pretty much it'll feel more like a multicam type of edit rather than anything else. So what I'm actually going to do is I'm going to almost like archive this sequence here just so that I can come back to it if I ever need.
If I mess everything up and I need to go back, it's super easy. So what we're going to do, we're going to go here and just like the instruction says, duplicate the sequence and rename it to ID main. So find the sequence, double click to make sure you're in here.
Just duplicate it. You can right click, duplicate or copy paste. And you're going to call it the ID and then main.
So the assembly, you will now no longer touch it. Like, I don't know if there's a way to lock it. There might be, but you just don't ever want to touch this in case you need to come back to the original, like, syncing.
They should have been cut like that. But if I ever need to come back to the synced version where everything's intact, I can come back to this. Now, ID main.
Sometimes you'll have to fix the audio again, but in most cases, just like this. it'll be 100 % fine just make sure it's been carried over so even get give a quick listen make sure it's fine it's fine now what I want to do is create a version where there's essentially multiple nests so I can almost like kind of make it feel like it's a multicam edit so there might be like two three different visual formats where one of them might be this side on side view one of them might be face cam only one of them might be me in the bottom right with the iPad showing but based on this video, I'm gonna go create those formats.
So for example, let's create one which is Just duplicate these perfectly on top of each other hide these Let's say there's one format which is sort of like this Now this we can use the motion. We don't want to use the source effect Let's bring this up so we can use the rule of thirds Get my eyes on that third line Say that right eye on the corner Just imagine watching it as a viewer.
I never want that to touch the edge, so what I'm going to do is kind of like that.
I'm going to be okay with it sometimes going over my face.
Do I want the crop above or below? Just trying to see if there's any bugs that come up. like that is there a way for me to fix that now let's see why it's happening looks like because the crop might need to come in a little bit i'm not sure why because that's just the edge screen okay i mean you want to see if reorganizing the effects fixes that because oftentimes it does This thing so we're cropping it in then we move it into its basic 3d position Then we get rid of the color and then we do that with a bit of tolerance up.
Yeah that fixes it Cool so you can see any problems like that we want to fix them as early as we can and so this is going to be One format that we can have Cool. Let's see if we can change the drop shadow to make it look cooler or better unless you're just messing about with it see what looks cool and what would be good for the viewer this is so that they have enough we might break the rule of thirds a little bit and While it would be cooler for this eye to be in the corner maybe work to do with that for now Just so that I give a little bit more space to that iPad screen And perhaps I add a feather to I'm thinking of adding a feather to this just so that there's no like harsh edges I'm not even sure how that would happen.
Maybe like a roughen edges could work. For now, let's remove the color key. So roughen edges, put the border up, edge sharpness put to zero.
Make it basically become a blur. I think that's how you do it in theory.
Let's see.
I believe that's everything. Just mess about with the effects until I get what I want. Cool.
Let's add back this color key. Oh, that's way too much.
Okay, so all I want is for this little edge bit to be in. Perhaps this needs to be above. The colicky well, maybe I'm wrong Oops, that's it Hmm I think what I might need to do is with this on the crop.
I think there might be an edge feather. I was just doing like that. Might work.
And if I add my color key back in. Yeah, cool. So now it kind of eases in to the edges.
And I kind of like this framing actually. In fact, now that I look at it, I want the basic 3D to kind of match the perspective of this archway in the room. So let's just make it match the archway.
That way it feels like it's in 3D space.
And then add that color key back in, maybe move a bit left. So now it feels like it's kind of filling in that archway area. So I think it's kind of cool.
So cool. So now we've got like softened edges a little bit more.
The edge is not very soft. Let's see if we can fix that.
And to be fair, I don't think we're gonna fix that completely, but I'm a lot happier with that than how it was before. We've got a little bit of a softening at the edges.
Cool, so let's say that's one format. So now what we can do is basically set that to a certain color so we know that's one format. I'm just gonna hide them for now so I can work on another layout essentially.
So let's... bring this up, duplicate them in, and I'm gonna reset the effects of this just so I can basically work on it from scratch again. So let's work on this now.
Cool. So the next type of format I can imagine that we'd be using is something like this.
So yeah, about that much. And then having my phase cam actually to be on top of this time. And instead of having it like that, we have it as a circle crop.
So if I circle no longer a friction from here, nice. Just create a circle real quick.
How can I not add it in? Am I being silly?
Okay, that works.
Cool, just quickly add a circle crop on the face. I want it to be generous so that anywhere I go it'll just keep me in.
and I'll be roughly in the center.
Cool, so what I can do now, assign that to, I believe the opacity. There we are.
Bring this into the center.
In the world of my guides.
There we are. Bring this into the center, so make sure. Top and bottom are all on these lines so you can see that's sort of how I Make sure it's in the center.
If you click on the mask these dots and these dots should be on the center lines And what I'm actually going to do is nest this once it's in the center Cool so I'm just going to nest that I'll call it face circles center I'm actually going to go in here quickly and make it slightly smaller if I can.
Like that. The reason being when I add a shadow, I don't want it to get clipped. So yeah, that's a little center.
Cool. Now I'm going to add a drop shadow to this.
Cool. And let's say this is now going to be a secondary format.
Cool, so that's format number two. Let's highlight both these into a different color. Cool.
Any other formats that I can think of? So now we can basically switch from one... What the hell am I doing?
We can switch from one format to another, which is going to be super nice. Let's have another one, which is literally just my face. That can be another one.
Let's do one, which is... Let's say... Let's make sure these are lined up.
Yep. i'm holding shift whenever i'm lining things up or duplicating and moving it up and down that way it stays in line super important and you can double check that the audio lines up as well so or you'll make sure you don't misalign the audio so here we could turn this into let's say let's make a different color first um this what we created ways could be we could have like a side by side so like a side here and that there, but does that serve the same purpose as the previous one?
I think so. Like, it basically serves the same purpose as this.
Realistically, are there any other formats that we need for this video specifically? Like, we've got this one. Sorry.
We've got this one. We've got this one. We've got this one.
We've got this one. Actually, I think these two are the same. But you get the point.
I guess having one with just the screen recording could be useful. Literally just like this.
And what I'm going to do is just take the previous one, so the one that was similar like this. It was this one. Just duplicate that so it's the exact same.
Give that its own color.
Now this is going to be screen recording only. Let's just go through. So these two I believe are the same.
So this is going to be screen recording only. This is going to be face only. Make sure it's centered.
Cool.
Let's just do that.
Cool. So we've got screen only.
Face only.
Face with screen face circle screen we've got Face and this on the each of their thirds and I think that's basically everything because they are the last two are basically just They stay there just for archiving reasons. I like to always give it like a poop color. Don't ask me why I give it a poop color the reason being it's kind of like oh this is the crap version you're never going to use it's just there in case you need to bring it back from the original so yeah we'll leave that there um so now we basically know okay blue is screen only this is face only the reddish version is like a loom style and what i'm going to do now is figure out how can i easily zoom in and out of this and what i might do is go in here find out if there's a way i could Add in a transform here that would allow me to kind of zoom in and out of this.
Okay, that's perfect So what i'm going to do instead of having this like in a nest i'm actually going to bring it out of its nest again Um, if I go here In fact, all I need to do is Undo that what i'm going to do is duplicate this up go into here copy and paste the effects So it's essentially out of its nest now And I like the transform on it.
I want a way of zooming into the face if I ever want it to So I'm going to move the anchor point upwards, copy and paste to the position. So now whenever I zoom in, it'll zoom towards my face, as you can see.
That's going to be super useful in case I later down the line want to change this. So if I later down the line want to change anything, I can zoom in and out, which is going to be super useful. And I'm going to use, if I just use an emotion here, will that work?
What if I add a drop shadow? I think the drop shadow needs to be on the actual, like, basically not on the same thing as the mask, I believe. Let's see, what if I added this lip mask to something else?
Nope.
Here comes the problem solving. Question is, am I okay with this without a drop shadow? I don't think so.
What I could do, you know what I'll do? Right at the end, when I'm finished with the video, I'm gonna duplicate it. So I have an archive and I'm just going to nest this and add a drop shadow because then I think that would be the easiest thing to do.
So let's say I use this. I'm going to use the... Which one is it?
Let me just undo that real quick. Cool. What I'm going to do is I'm going to use the motion to essentially move this into position throughout the video.
And... Hmm. No, that's not what I'm going to do.
This is going to sound stupid, but I'm going to go back to the nested version. I'm going to copy the transform just so I have that archived. We're going to go back to the nested version.
But what I'm going to do is I'm going to keep the transform inside here. So that way, if later down the line I need to reposition the zoom, I can. I can decide to just move the zoom.
Let's say I decide this is enough zoom, but later I decide I want it here. Then I have the decision to change that all in one go. easily.
I think that's going to be a useful thing to set up now. So that's going to be one setup. You'll realize I'm spending a lot of time on assembling because this will save me a lot more time later down the line.
So that's one way of having the clips and this I can move around so it doesn't cover anything. This is the face only. This is the screen only which I don't think I'm going to use but it's useful.
This is the thirds sort of Screen recording where this shows the cool fancy way which I can zoom in and out of throughout and This is sort of just like the archive that I'm never going to touch so Yeah, what I'm going to do. I'm just going to quickly name these tracks That way I can see what they actually are without having to check them every time So let's just name these we're going to call this the face archive rename we're going to call this a screen archive call this these two are going to be cool i'm going to call it the cool thirds and i don't know if you can have the same name no you can't call this cool third screen The reason I call it cool thirds is it's a cool effect and I'm going to remember it by cool thirds.
This we can call it, I'm going to call this the loom because it's sort of like a loom style like this. So loom face, loom screen.
This one I'm going to call it face only.
This one we'll call it screen only. and now those are like the different formats that we have so I can easily just say cool we're now in loom style, cool we're now in cool third style and what I'm actually going to do is also create a another variations of this one which is going to be this but inverted so let's just quickly do that this one I'm going to have it here maybe zoomed in a little bit Make sure my eye lines on that third line And this I'm gonna move To the right side.
I'm gonna turn off the color key just for now so I know where I'm moving it Change it from minus 22 to 22 Move it over here Make sure it's lined up nicely I want to make sure nothing ever gets in the way of each other so perhaps Moving it to the left more i have to zoom it in a bit move it down so my head's not touching that a lot of the time i'm looking kind of downwards so maybe moving this up to be honest i don't think i'm ever going to use this this side because i'm kind of looking to the left but this is to the right it looks nice when you're looking towards the writing side so this is the one i'm probably going to use the most but i'm going to create this version just so that honestly i'm never going to use this version in the video so i'm not going to create it um So yeah, these are going to be my formats.
You have archive, which kind of looks shit, but it's just for archiving. You have the cool thirds. You have Miro style, where we can move the face in any position.
We have face only, and we have screen only. What I'm going to do, I'm going to move the loom style at the top. That way I can easily just double click on this, because it's on the top layer.
And I can easily move it wherever I want. Yep, just gonna reorganize these. I'm gonna put the cool style near the top because it makes, in my head, more sense to have the face only and screen only at the bottom.
I'm gonna create a distance of one track between the shit version and that. In fact, I'm gonna have a one track difference between all of them just for the sake of me being able to easily see the difference between each of them. And this is now basically ready for me to cut.
What I'm gonna do, because I have changed a lot, I'm actually going to make another archive of this by duplicating the sequence. So what that's going to look like is me finding the main one, duplicating it, and calling one of them, let's just call it assemblyMultiPOV.
I'm just going to call it that way. It's kind of like the, I know in my head, like this is the advanced version of the assembly. And now I'm going to work in main from now on.
I'm never going to touch assembly again. But now it's actually ready for cut. And I'm just going to double check it quickly that everything's still synced up.
So let's just enable the audio. So in this video, I'm going to break down. Cool, that one's synced up.
Let's do the next one. Say that line again. Able to work with bigger and better.
Cool, that's synced up. Check the next one. Let me unlink this.
That way it doesn't keep. Attaching any to em so enable disabling the audio that you can add that is obviously going to be synced. It's just screen Let's try the face this video.
I'm gonna break down cool. That's still synced and Let's just make sure the archive is still synced in this video. I'm gonna break down it.
Yep, that's still synced So I'm just doing a quick check that it's still synced. So it's all good to continue with the cut and Essentially that is me just fully assembling it getting the POVs ready for me to be able to edit it a lot quicker later down the line and now we're ready to move on to the cut.
Now we're ready to cut the video time to move on to the rough cut which is stage one of three. We're gonna use the rough cut to remove the silences and the easy to spot mistakes. Now the technique we're going to use for this is called editing to the waveform.
We don't really need to look at the video much like we're not going to watch most of it. The first thing we're going to do is just go into the text window, click transcript, generate the transcript if it hasn't been automatically generated.
By the way, just turn on automatic generation, it'll save you a ton of time. Just go to premiere settings, media analysis and transcription, enable automatically transcribed clips, and from now on it'll automatically add this. So yeah, what you want to do, find all the pauses, delete, delete all.
and it just cuts all the pauses out also you can go to the beginning and just delete the parts that you know aren't going to be used for example like this first section was just me sort of syncing stuff like that so we know we're not going to need it so yeah the rough cut is essentially just coming through and looking at the waveform and basically just chopping away so i'm gonna do that now um just on video with you and also what I recommend is have a shortcut for shuttle right preferably one that you can click without moving your hand mine is the middle mouse button so on my mouse's software I have middle mouse button for shuttle right and that means I can just quickly speed up the clip like like this just to watch it quickly I know here I'm just chatting crap.
Here is where I've started.
See, I'm just chopping as much as I can.
It makes sense.
So here i'm literally just like trying to chop as quickly as I can This was a repeat take so i'm just going to highlight that for now just because I know I'm only going to keep either this take or this take so I'm just going to highlight both of them for now.
Here I can see there's multiple waveforms so I can save it forward.
Go over here and just cut that out.
so how do you know So you'll realize I'm not really thinking too much about like the cut timings right now. I'm just trying to get the general information across and if there's repeated lines I'm keeping them in for now if both the takes were good and I'll think about which one to keep in later.
Cool let's go into fine cutting the video. So at this point we should have the silences and easy to spot mistakes out of here. Now we're going to remove unnecessary lines meaning repeated lines but also repeated points.
So if we can get the same point across while removing lines, then we're gonna do that. Also, organizing slash reorganizing clips so that the video is as coherent and as easily understandable for the viewers as possible.
Quick tip, by the way, you wanna also add markers throughout the video as you're getting ideas. You can probably relate to this, but oftentimes your most creative ideas will come when you need them the least. So when you're cutting, sometimes you're going to have ideas for the visuals, but it doesn't make sense for you to do the visuals now.
Just add a marker when that happens. So I'm going to walk through the fine cutting right now. And yeah, I'm going to have my camera not showing.
Now, one important thing for the timings is we want to follow a principle called shave the head, grow the tail. So our default cut is going to be pretty. I'm going to show you.
by doing it on one clip and before we go ahead and go through the rest of the video because it's really important you use this concept with every single cut and find yourself back at square one so in this video so let's say this is the default cut so it can be pretty much super tightly cut on here um like this and here it's going to be super tightly cut like this this is like the default cut for a fast -paced video square one well probably around like If I'm going to add more pause to this, find yourself back at square one.
I'm not going to add it to this part of the clip. I'm always going to add it to this part of the clip. The reason I call it shave the head, keep the tail or grow the tail is I want you to imagine there's a cat looking to the left.
This is going to sound weird, but every single clip, imagine it's a cat, okay? So this clip right here is a cat, and it's pointing left. So the tail is on this side, and then the head is here.
Whenever we're changing a clip, imagine this is one cat, this is another cat, okay? They're both facing left. There's the tail, there's the head.
On this clip, there's the tail, there's the head. When we're adding a pause, we want to shave the head, so you can see the waveform has it shaved, right? It's like...
This is the head of it. We're going to keep that head shaved. The tail, we're allowed to grow the tail.
Because if you keep the paws on the head, it will look really awkward. Look at the face. Like it keeps my face just like staring at the screen for half a second before I speak.
So in this, it looks awkward. So we want to keep it pretty shaved. And if we're going to add paws for effect, we keep it here.
Back at square one. So in this, Now, it's important when you're adding pauses, you just want to make it sound natural.
That's the only thing we're thinking about. You're going to be listening to it after in terms of like, does it sound natural? You're adding pauses, removing pauses.
But just keep in mind that the pauses we add, we want to keep them natural. I recommend watching me cut this video. That way you understand how to get the pauses right.
Either the first time around or most of them the first time around. But yeah, this is a skill just like any other. I'm gonna walk you through the fine cut now.
And by the end of this process, we should essentially have a fully ready video from a pacing perspective. Cool, so we are now at the point that we can essentially just watch the video back at normal speed and just ensure the video is good enough to be posted as is. While we're going through, we're gonna be finalizing the exact cut timing.
So we're looking for issues like repeated lines, repeated points, making sure there's no awkward timings for the cuts, making sure everything sounds natural. And also I'm gonna be selecting some of the, what's it called, the camera angles as well throughout.
Typically for multi -POV videos, I'm gonna go through one whole time just to select camera angles. If there's some sections where I'm like, this obviously is going to be changed, then I'll just change it now. So if something's obvious to change, I'll change it straight away.
Hello, we are now at the stage of editing the intro. So the intro is typically where the most effort is going to go just because it's the highest leverage point. So let's watch it through and sort of think about what we're going to animate.
Once you've got some editing clients, it makes sense. So first few words, I like to subtitle them. In this case, once you've got some editing clients, I think I'm just going to literally write it out.
I've got another sequence, which is in our target style. And I'm thinking we just have some subtitles at the bottom. So let's find a section.
Sort of like this and I'm literally just gonna pull in The previous text just drag it in Make sure we've got it in the right layers once you've got some editing client Once you've got Some editing clients. I want the lines to be roughly equal and the word clients we have in this color text because once we have it in this text and it's sorry once we have it in this color and it turns and it turns with a vr glow like you add a vr glow onto it it looks really good so the vr glow makes it change color slightly which is why i use a slightly darker color but you can see that's the normal color that's once you add vr glow Once you've got some editing client And we want to add that tint as well sort of like a vignette Just like that we want to make sure it's on this video what I might do is just add on a Adjustment layer instead that way we don't have to worry about anything else You make sure that was the same sequence settings so 1920 by 1080 that's fine Add that there now we can see That's all good.
Now. I'm thinking of adding a Fade on for this. So what I'm gonna do is for the mask.
I'm just gonna add a path here So I'll match it up with as it's coming on screen Once you've got some editing clock So wait, I don't think the mask is working correctly or I've accidentally moved it for both of them. Which is no problem.
I'll just move it back. I think I'm accidentally moving it for both keyframes, that's why.
Am I being an idiot here?
Let's try that again. So...
Position one is let's say here Position two Am I being stupid? Apparently so What if we just use an extension instead so like it starts from here the expansion goes up to Here.
Just make sure these two are keyframed correctly. Once you've got some editing... Once you've got some editing...
Kinda harsh cutscene still.
That would be how we're gonna animate it Once you've got some editing And I want it to have an entry animation Just like so once you've got some editing clients It makes Makes sense And I know it's going to go from freelancer to agency, so I'm thinking about that ahead of time.
Makes sense. It makes sense for you to transition from freelancer. Here, let's get that same text.
You have all the assets and everything. My thought is we get rid of that transform. Go like freelancer.
Move that into position Such as that then this one agency I could do agency owner Freelancer to agency. I think I like having one word each. I think that looks cool or at least cooler Make sure both are like roughly centered Freelancer to a agency Perhaps because it feels kind of like Uncentered I think this balance is better and then we kind of zoom into the right side.
So what I'm going to do is have it like this From freelancer and This is going to be the point where we use an adjustment layer To zoom into the right so mal zoom right I might have to use the left instead because I think you have to do the opposite. No, I'm right.
I'll do the top right instead. Bring down the anchor point a little bit just so it's nearer to the eyes. From freelancer.
And we need a cool little transition. My thought is just do a little simple.
Do the same way. Freelancer. same way it did before but instead of having it move that much Freelancer sort of like that from Freelancer and then as that pause happens perhaps we just cross it out I think that could be cool so let's get a rectangle let's turn that adjustment layer off because it'll be easier get a quick little cross out like so get in the middle of that Get it in red because red equals bad and I'm thinking a bit deeper red Oftentimes I don't use like perfect reds just because it makes it feel a little different I don't know.
I like it like this and both sides are roughly equal. Let's use a crop effect And add it under here.
Make sure it's applying correctly. It is in fact not. Now it is.
So I want it to be from the right to the left. So it's got to be from here to agency owner. That's all good.
Now we've got to create the curves for this to agency owner.
To agency owner. Kind of like it speeding up like that. To agency owner.
To agency owner. I think it's okay not to have it at a perfect speed. To agency owner.
Have it a bit faster. To agency.
To agency. To agency.
Freelance.
and let's actually put the exact same transform and slide so it moves up at the same time but what I'm going to do is I'm going to offset the crop a little bit and then I want the sa sound to have the cross So I'm timing the free with the zoom up. Freelancer.
And the star with the fastest part of the crossing. So freelancer to agency. So freelancer to agency.
Then agency owner.
We can have that in green. In order to signify that it's better.
Open it up.
Smooth these up in a way where it makes more sense. Get that sort of in head height.
I like that composition. Sort of even spacing here.
freelancer to agency freelancer and let's just get the same transform effect on here the same fade to agency owner to agency owner but if once you've got some editing clients it makes sense for you to transition from it makes and let's get a subtle little zoom in here just so we can just so we can zoom in make it a little bit more dynamic during this phase i think we should zoom in a tiny bit let me just bring that in here so i want to have a slight overlap between this and this so we're going to do a mal zoom top sense for what this is going to do i've got to clear the previous one zoom in top makes sense for you to and instead of zooming right to the top it's going to zoom slightly lower transition from makes sense for you to transition from freelancer and for this i don't want to zoom in a ton it's literally just got to be by like 105 the tiniest amount makes sense for you to transition Once you've got some editing clients, it makes sense for you to transition.
And then let's just copy and paste this. Stack and transform. Do it again.
Transition from. Makes sense for you to transition from. You notice this.
I'm matching the peaks. Sense. The peaks with the peak in a waveform.
So sense. For you to transition. I want to match the timing of that.
Transition from. because that's the strongest part of the transition work. It makes sense for you to transition from freelancer to agency owner.
Cool, now this is cooked, so let's figure this out. Did I actually delete the agency layer? I think so.
What I'm going to do is just copy this, go to this timestamp, quickly just redo everything, then paste, then put that on top. That should fix things.
Cool. Let's extend that for now.
Now the problem is I don't like how little space I have from this edge. So what we're going to do is just slightly make this smaller.
Let's do that, that. This text we need to make smaller as well, just to accommodate.
Cool, just make sure the crop is applied correctly now. That crop is finished there. Should technically start, yeah, start.
Think on the law I wanna I want it to start zooming out or and start cropping up. Don't saw feel on saw feel on saw And that needs a slow slide up. So I don't know why it's not doing that Probably that's why I need to be starting there Just cut that get a fade in again.
We don't saw another red line matches the movement feel on saw feel on saw And let's get a flicker in on this.
Cool, let's see how that looks. And agency, we need to make a little smaller. Matching up with this.
Yep, so left and right are equal. and if you do it too early do I feel like this is awkwardly paced for you to transition from freelancer to agency owner but if that positioning is much better I kind of don't like the top and down positioning so let's move that down a bit Let's see how that looks.
To agency owner. Some editing clients. It makes sense for you to transition from freelancer to agency owner.
Now the easiest way for me to fade out from here isn't to do some crazy fade out on all of these. All I'm going to do is bring up this footage to the top layer and then just fade.
literally just fade that in because that's actually going to be the easiest way to fade that clip in and then here onwards I'm going to cut but if you do it as you can see there just make sure this has an extended section but if you do it too early once you've got some editing clients it makes sense for you to transition from freelancer to agency owner but if you do it too but if And that is way too long.
On the butt. I want it to last the length of the word butt. There we are.
So we just need a couple of frames. Up to here. And everything there can be cut.
But if you do. For you to transition from freelancer to agency owner. But if you do it too early or do it in the.
but if you do it too early now early um what i'm thinking is to do this early and instead of a slide in we can just have it like that you can have that font size bigger make that red let's use the same red as before bang bang copy this What I also want to do is add a VR glow to that. We'll do that in a second.
That way, that line matches the glow style of the other text.
And I also want to have a drop shadow on that. Let's just copy the exact same styling. So drop shadow, then a VR glow.
And I think for the drop shadow, we can have it smaller as such. Make sure the cropping is the right order. It just seems like it is.
Yep, so that's the wrong order. That's the correct order. Makes sense for you to transition from freelancer to agency owner.
But if you do it too early or do it too early, this, it turns pinkish. So I think I am going to put it fully red. Yeah, we'll do it fully red.
or do it in the wrong order let's make it so that this sizing can be the same for both order so now we've got that size let's just copy that over to this one but if you do it too early What I want to do is have that sort of subtle slide up transition like the others. But I want it harsher.
Or do it in the wrong order.
In the wrong order. Then you could. And this I'll just use a flicker out.
take out lose all your clients and once you've got some editing clients it makes sense for you to transition from freelancer to agency owner but if you do it too early or do it in the wrong order then you could lose all your clients and find yourself back at square find yourself back at find you lose all your clients and find yourself back at square do it too early or do it in the do it too This timing is bad.
So I want to move this a little bit earlier like that early too early or do it in the wrong In the wrong order In the wrong order then you could lose all your clients and find yourself I don't like how this is the exact same style as the other one What I might do is basically create a scene quickly with previous colors. So what we're going to do is bring up a scene from previously that kind of fits.
I like this kind of I want a scene that basically says zero clients. That's inspired by one of these. I thought it was something like this.
only problem is that flipping things up like that uh let's see i should be able to just paste in like can i not paste it in like that am i being silly damn all i have to do is paste drag up copy undo undo paste there we are yourself back at school all your clients and find yourself back at square one order, then you could lose all your clients and find yourself back at square one.
What I need to do is there's a track map key, I believe it's called, that I need to set up here. I don't know which one it is. I believe it's 16.
There we are. Find yourself back.
Is there a possible emoji font? Let's see.
Emoji. That's a thing. Only question is how the hell do I actually add an emoji?
By the way, if I type like that, it's to remove the HTML. Sometimes when you copy it from here, it might not work, so I always paste it in a text box, then just copy it back. Like, paste it in a text box and copy it again, that removes any HTML, usually fixes a lot of text issues.
How do I move just this?
Let's see.
Is that even? No, but we'll figure it out.
There we are. Stage zero.
Back at square one. You could... That looks stupid.
It shouldn't be stage zero. It should be square one. And find yourself back at square one.
And find yourself back at...
just trying to test different versions of this where one and find yourself back at square one if we haven't met already my name's safe Once you've got some editing clients, it makes sense for you to transition from freelancer to agency owner. But if you do it too early or do it in the wrong order, then you could lose all your clients and find yourself back at square one.
If we haven't met already, my name's Saeed Farhmed. I've edited for some of the largest... And find yourself back at square one.
If we haven't met already, my name's Saeed Farhmed. I've edited for some of... Let's get that purple to become red.
And that drop shadow as well needs to change. Like desperately. Is that or that?
I actually don't know. I think it's this one.
If we have a... End. Find yourself back at square one.
If we haven't met already, my name's Saif Ahmed. I've edited for some of the. Once you've got some editing clients.
Find yourself back at square one. If we haven't met all. And find yourself back at square one.
If we haven't met already, my name's. I don't like this because it's too little when I'm wording it. All your clients and find yourself back at square one.
And you could lose all. What if I finger up here? Use all your clients and find yourself back at square one.
Back at square one. Back at square one. If we haven't met already, my name's...
Find yourself back at square one.
That could work. If we haven't met already, my name's Saif Ahmed. You could lose all your clients and find yourself back at square one.
If we haven't met already, my name's Saif Ahmed.
Once you've got some editing clients, it makes sense for you to transition from freelancer to agency owner. But if you do it too early or do it in the wrong... order then you could lose all your clients and find yourself back at square one if we have make sure this transitions in well rather than hard cutting how did i do it previously i think i literally just hard cut it in to be fair now i used this light leak so let's just use the same light leak it's why we invent the wheel if there's something that works the only thing is this i should probably change Actually, it works.
You could lose all your clients and find yourself back at square one. If we haven't met already, my name's Saif Ahmed. I've edited for some of the largest YouTubers in the world and I've helped over 300 videos.
Here we can add our lower third animation. You will have access to this.
And you just want to time the name of when the name kind of comes up. I've edited for some of the largest YouTubers. If you haven't met already, my name's Saif Ahmed.
I've edited for some of the largest YouTubers. I'm going to speed this up a tiny bit.
I've edited for some of the largest YouTubers in the world and I've helped over 300 video editors.
So I just fit it to size, put it in the bottom right. I like that timing.
And with this, I think it followed the exact same format as this. So let's literally copy and paste. 300 video editors scale and get better clients and all that snaz if you're watching this this video isn't for you for you if you're new to editing cut it at a natural point if you're new to editing This we could have as red you're super new to editing This is for the editors This is This is for the editors who already have Clients and now Already have Make that green I want to make it the same green as previously that way we get a tie back Let's grab this text Normally we're gonna be using 00FF00 to be fair.
So I'm gonna be switching it to that Basically the same green it's just easier to remember and it's just a more pure green. You can actually use that for the agency too Super new to editing this is for the editors who already have clients and now they're ready to move on to the next stage Now they're ready to move on to the next stage and now and let's use wrong order instead of wrong order this time we're going to use scale change that text to green so 0 0 0 0 now the way to move on to the next stage so the main so the main so the main reason you want to make this free and let's use that flicker that we had from before Now lightly could be cool.
So we just add that on top Make sure that lightly covers it fully. So the main reason you want stage so the main thing this is for the editors who already See how we're gonna do this This is for the editors who already has if you're watching this this video isn't for you if you're super new to editing Here, I think we could do a cool thing where maybe it's like a highlight type animation.
So let's get that box like before um here it is i believe it's just this one so it isn't for you if you're super and i'm gonna hide that crop for now getting new to editing highlighted new to editing and i think i'm a huge fan of that drop maybe a little drop shadow like a darkened one would be good make sure we go nice and centered so it's an even spacing around the entire text cool this video isn't for you and i want you to time with the words new to editing and here what i've got to do is make sure this covers it correctly so putting this here Putting this at the end of the box.
Because I've ordered the drop shadow correctly, I can go right to the edge. If you're super new to editing... I feel like I probably should have gone a little bit further in.
If you're super new to editing... This is for the editors who...
and this used to go out in the same way so it could just be a fade this is for the editors who already have clients and now they're ready to move on to the next stage so the main reason you want once you've got some editing clients it makes sense for you to transition from freelancer to agency owner but if you do it too early or do it in the wrong order then you could lose all you have a more central composition for this just because Wait, first let me find this.
So basically I can move to 872. Just because I want it to be closer to my face. So it'll be roughly on that third line as you'll see.
Just about there should be fine. Maybe a bit higher. Let's see.
Or do it in the wrong order. then you could lose all your clients and find yourself back at square one. If we haven't met already, my name's Saif Ahmed.
I've edited for some of the largest YouTubers in the world and I've helped over 300 video editors scale and get better clients and all that snaz. If you're watching this, this video isn't for you. If you're super new to editing, this is for the editors who already have clients and now they're ready to move on to the next stage.
So the main reason you want to make this freelancer to agency owner transition. Yeah, I'm super happy with that intro. Cool.
I'm also going to be adding the sound effects, but that'll be the next stage. So that's the intro edited. Awesome.
Let's talk about adding zooms throughout the video. So zooms are going to be used when there's sections of uninterrupted footage and we want to make it more engaging by breaking it up a little with subtle zooms. Now with these zooms, we don't want them to be crazy intense.
For example, we don't want it to be like.
adding like 30 % of zoom and it looks silly like this like anything it doesn't zoom this much in most cases typically when we're saying zooms we mean like 5 % or 10 % or like 10 -15 % is like kind of pushing it when I say percent I don't mean the literal percent it's always going to be relative to like what the main footage is but in general it's going to be based on like whatever this fixed zoom is so you know how one of the first steps was to fix the main zoom and that's on the source effects this is the zoom on top of that i'm saying on top of that we should maybe have like this much difference it shouldn't be anything crazy um otherwise it looks kind of cringe when you have like a really big zoom now in terms of when you add the zooms typically it's going to be at the turning point of a sentence or a point of emphasized words so a turning point is something like this.
We were going to go to the park, but then I realized I had to go meet my friend. The word but is the point at which the story turns. So the word but would be where we just suddenly zoom in.
So I was going to go to the park, but I realized I had to go see my friend. So turning points in the story and words of emphasis.
I've got an example here. So a lot of this video is like this format, which doesn't have a ton of zooms because it's already quite zoomed in to make the format work. But in this section, let's just listen through and find the point that we should time it on.
But the reason this whole editing situation when I hired the team went wrong. So you can hear here, the word editing was emphasized. This whole editing, this whole editing situation.
so we could have it here now the exact point at which we add the zoom is really important we never add it just randomly on the word we add it at the peak of the waveform so the frame that it's at the peak for us it's here this is where we add the zoom the way we add the zoom is we do not just zoom into the center like this this is bad because look the eyes have just moved to a completely different position instead what we do is you've got two ways of doing it my personal preference is getting an adjustment layer Making sure that it matches up with the frame rate and everything when you created it and essentially Adding a transform onto that then clicking on anchor point and Basically moving it up to where the eyes currently are.
So without the transform showing you can see the anchor point Sorry, the eyes are at this level you can make sure that it's Representative of roughly the whole clip So I'm gonna put my finger roughly on that point And now what I'm gonna do is I'm gonna move that anchor point so that it goes to where my finger is exactly So that's the eye level.
Then what I'm gonna do is copy that value over to the positions Y value as well. And now what I can do now is when I zoom in it will zoom directly towards the eyes That's a really bad angle, but you get what I'm saying like it zooms directly towards the eyes compared to if You just zoom directly to the middle. It looks silly But if you do it with that anchor point trick I showed you, it zooms through the eyes and you don't have to keep changing the position values.
It will save you so much time. So let me show you what this actually looks like. So I can create one at 105 and by timing it exactly on the peak of this waveform, look at this.
But the reason this whole editing situation when I hired the team went wrong was... I mean, we can zoom out again. The reason this whole editing situation when I hired the team went wrong was because they were being incentivized to get videos done as quickly as possible and...
not care about quality this is the best and this is another sort of turning point in the story slash emphasized word so let's see this again this is the best incentive structure that i found for editors to keep keep i'm going to add another adjustment layer in fact i'm just going to use this point and the best part about this is you can just stack them on top so that you don't technically need to create new ones at 110 whatever you can if you want This is the best incentive structure that I've found for editors to keep delivery to a high standard.
What I might do is instead of having it keep delivery to a high standard, I might try to mask the cut by putting the zoom on top. This is the best incentive structure that I've found for editors to keep delivery to a high standard when I'm hiring editors. Whenever you're bringing people on, it's really important these adjustment layers line up correctly, otherwise it's going to look silly.
Whenever you're bringing people on, Now here, I can see there's a really awkward section of just nothing showing. So what I need to do is somehow make this seem more seamless.
So let's see. I could see if the motion tween effect works. Let's see.
I doubt it, to be completely honest. I have no idea how this would... actually play out let's see there is probably a way to do a motion tween but not sure how to implement it here in this case would it work to pull this forward Actually, now I'm listening to it.
I could literally remove this phrase and the video still makes sense. Let's try and test. The best incentive structure that I've found for editors to keep delivery to a high standard when I'm hiring editors.
You essentially bring them onto... Oh, yeah, that flows so much better. Cool, so we'll just keep that.
You essentially bring... I found for editors to keep delivery to a high standard when I'm hiring editors. You essentially bring...
Then that feels kind of awkward because it's a huge pause. Let's just do that. You essentially...
high standard when i'm hiring editors you essentially i think j cut here when i'm hiring editors you essentially bring them and let's get a slight j cut here what i do is pull this up here just drag this here get a slight j cut you essentially you essentially bring them essentially bring them on delivery to a high standard when i'm hiring editors you essentially bring them there i'm happy with that cut now and you you saw how i did those zooms now let's find another way to use the zooms so if we go let's say to this section often hopefully when i hire an editor so here we had an emphasis point on hopefully i'm going to just copy and paste this adjustment layer because we have that adjustment layer already made often hopefully when i hope So we line up with the peak, the waveform on the word hopefully.
Hopefully when I hire an editor, I'll be able to figure the outreach thing out. In fact, I see it all the time where an editor will be at like 2K a month or like 3K a month. And I got through word of mouth and hopefully when I got it for seven months, I got through word of mouth.
Let's see how this sounds. I've got a client I've had for seven months who I got through word of mouth and... Because this one seems more ranty, what I want to do is do more things.
I've got a client... Slow zoom in, like funny type of vibe.
Maybe a handheld will be useful here too. I've got a client I've had for seven months who I got through word of mouth and hopefully when I hire an editor, I'll be able to figure out which thing out. In fact, I see it all the time.
and we're gonna cut out here so let's just bring this in for now i know i want to zoom back out here because we're going out of the mocking mode so we're changing it in fact i see it all the time where an editor will be at like 2k a month all the time rather than i've got a client i've had for seven months who i got through word of mouth and hopefully when i hire an editor this i want to move this a little higher so hopefully Hopefully when I hire an editor, I'll be able to figure the outreach thing out.
In fact, I see it all the time. Rather than, I've got a client I've had for seven months. Here, I actually want to break that shave the head, grow the tail rule.
I'm going to break that. So I specifically have an awkward moment of silence here. I've got predictability.
Rather than, I've got a client I've had for seven months who I got through. i'm gonna add pauses on both sides because it'll make it sound even more awkward and stupid so you're allowed to break rules for effect other than i've got a car and i've had i've got and let's add a handheld handheld malice maybe like a medium loaf or like a small loaf you can see or small intermediate could work well here I've got a client I've had for seven months who I got through word of mouth and hopefully when I hire an editor I'll be able to figure that outreach thing out.
In fact I see it all the time. What I'm going to do is also do a reverb here. I know it's technically sound design but This bit feels natural to add now.
So let's just add a studio reverb. Let's see how it sounds. I want to make it sound stupid.
I've got a client I've had for seven months who I got through word of mouth. We need to do a gain.
We're going to have to add some gain because it reduces it a little bit. Hopefully.
I've got a. It's a bit too loud now. A client I've had for predictability.
Rather than. I've got a client I've had for seven months who I got through word of mouth and hopefully when I hire an editor, I'll be able to figure out which thing out. Okay, I want to maybe do a grayscale.
And I hate when it's full of metric. Let's use a tent.
Because it makes it so much simpler to do grey skills with a tent.
I've got a client I've had for seven months who I got through word of mouth and... I've got a client I've had for seven months who I got through word of mouth and hopefully when I hire an editor I'll be able to figure out which thing out.
And then here, because I seem disappointed, what I want to do is actually do that rule break again, where you actively see me get kind of pissed off at them, and then go back to recording mode. I like that. In fact, I see...
I've got a client I've had for seven months who I got through word of mouth, and hopefully when I hire an editor, I'll be able to figure the outreach thing out. In fact, I see it all the time, where... I've got a client I've had...
What I might do is just subtitle this quickly. I could auto -subtitle it, but it'll be quicker to just subtitle it manually. Let's see.
I've got a client I've had for seven months who I got... There's an extension called WhisperFlow that you could use. So I'm just going to use that audio.
Let me just enable it. Oh, my Mac's really buggy right now because I've had it on for so long. Let's just open WhisperFlow.
That is Zoom. I'm an idiot.
I've got a client I've had for seven months... I've got a client I've had for... I've got a client I've had for seven months who I got through word of mouth and...
Cool.
I've got a client who I've had for seven months.
And we're going to make this white. Well, we're going to make that the brand color white.
Probably should send this now. It'll make it easier for later.
What I'm actually going to do is just add the drop shadow from before.
Probably should have markered that. I think it was here because I had a marker from before. No, I lied.
Okay, I'm going to add a marker next time. Typically, I wouldn't do... Actually, no.
I would actually do this at this stage just because it's like I'm already here.
I've got a client I've had for seven months who I got through word of mouth. So I got through word of mouth.
And hopefully when I hire.
Got through word of mouth and. Hopefully when I hire.
i'll be able to figure it out i'll reach finger out cool let's add speech marks to make it seem like it's not actually me saying it cool Let's see this. I've got a client.
Make sure it lines up with the peak in the waveforms. I've got a client I've had for seven months who I got through word of mouth and hopefully when I hire an editor I'll be able to figure the average thing out. In fact, I see it all the time.
In fact, I see it all the time. Flanger might be funny as well.
I've got a client I've had for seven months who I got through word of mouth and hopefully when I hire an editor I'll be able to figure the average thing out. I've got a client I've had for seven months who I got through word of mouth and hopefully when I hire an editor I'll be able to figure out which thing I want rather than I've got a client I've had for seven months who I got through word of mouth and hopefully when I hire an editor so that's modulation rate I've had for seven months who I got I did that I've had for seven months who I got through word of mouth and Hopefully when I hire an editor I'll be able to figure that...
I'll be able to figure that Irish thing out.
Yeah, forget about... keep hearing from the outlets. I'll be able to figure that Irish...
I've got a client I've had for seven months who I got through word of mouth and... Hopefully when I... I've got a client I've had for seven months who I got through word of mouth and...
Hopefully when I... I've got a client I've had for seven months who I got through word of mouth and... I've got a client I've had for seven months who I got through word of mouth and...
What I want to do is just get this sounding funny enough but still understandable.
Hopefully when I hire an editor I'll be able to figure the average thing out. I've got a client I've had for seven months who I got through word of mouth and hopefully when I hire an aide I'll be able to figure that out.
I've got a client I've had for seven months who I got through word of mouth and hopefully when I hire him I'll be able to figure that Irish thing out.
I've got a client I've had for seven months who I got through word of mouth and hopefully when I hire him I'll be able to figure that Irish thing out. I've got a client I've had for seven months who I got through word of mouth and hopefully when I hire an editor I'll be able to figure the outreach thing out. I've got a client I've had for seven months who I got through word of mouth and hopefully when I hire an editor I'll be able to figure the outreach thing out.
In fact I see a client I've had for seven months who I got through word of mouth and hopefully when I hire an editor I'll be able to figure the outreach thing out. In fact I see a client I've had for seven months who I got through word of mouth and hopefully when I hire an editor I'll be able to figure the outreach thing out.
If I test you right now, I've had for seven months, and I got through word of mouth.
I've had for seven months, and I got through word of mouth. And I've got a client I've had for seven months, and I got through word of mouth. And hopefully when I hire an editor, I'll be able to figure it out, which thing though.
If I test you right now, I've got a client I've had for seven months, and I got through word of mouth.
let's see i want that pitch to start higher pitched that way it's clear like it's a new persona i've got a client i've had for seven maybe i do get rid of that extra b rather than i've got a client i've had i've had i've got a client i've had for seven months so i got from word of mouth and hopefully when i hire it i'll be able to figure out which thing out in fact i see it all If I can see you all the time.
If I can see you all the time. You can scale your predictability rather than. I've got a client I've had for seven months who I got through word of mouth and hopefully when I hire him.
He's too much. Let me see. Let's do it by less.
So you want more dry, less work.
I've got a car and I've had it for seven months so I got through word of mouth and hopefully when I hire an editor I'll be able to figure out how to reach things out.
I've got a client I've had for 7 months who I got through word of mouth and hopefully when I hire an editor I'll be able to figure out how to reach things out you're scaling up on your own scaling so make sure it's matched with the peak scaling up on your own for now maybe you're only making three three four k a month and you need to first get a couple more clients in because you're not at capacity scaling up on your own for now maybe you're only making three four k a month and you need to first get a couple more clients in because you're only you're That's the emphasis of the skip hitting there.
Any other sections like this is here. See if we need a thing here. Let's get rid of that marker as well.
Pretty good at jumping on calls. Essentially, we now have a big peak. I can tell that's an important word, like just by how I built up to it.
A functioning client acquisition machine where we can say, okay, when we do this many inputs, where we can say, okay, when we do this, where we can say, okay, when we do, Why are these two so different? Where we can say, okay, when we do this many inputs, we get another machine.
Where we can say, okay, when we have a functioning client acquisition machine, where we can say, okay, when we do this many inputs, we get... Let's see, this section may need one.
So you can... By the way, if right now you aren't tracking your outreach metrics or you're not sending much outreach at all, I highly recommend get the free outreach tracker.
I know I'm going to do this. I know technically I'm on the Zooms. but i know which animation to add now and it's super quick so i'm just going to add it real quick and get the free outreach tracker it's in the description it's completely free all you do is you put in your email I highly recommend get the free outreach tracker.
It's in the description.
It's completely free.
All you do is you put in your email. There'll be a full tutorial explaining how our outreach process works. Let's just cut that little section of pause out.
This works and how to use it.
how this works and how to use our free tracker so that you know so that you know your metrics and you can move on to the second system system system on tracking your outreach metrics or you're not sending much outreach at all i highly recommend get the free outreach tracker it's in the description it's completely free all you do is you're putting Just get some b -roll real quick I usually don't like to put links in the video but I will point towards the description I don't change the link but sometimes links can change I need to like get this out of the way for a second What I could do is just quickly use the screenshot tool.
So let's go to 1920 by 1080. 1920 by 1080.
there we are now we use the screenshot tool in I believe it's elements or is it console screenshot screenshot there we are now we have a high quality screenshot your email it's in the description it's completely free all you do and let's get video of the tracker what I might do is just find it from here Yeah, that crop is terrible.
Free outreach tracker. The free outreach tracker. It's in the description.
Free outreach. The free outreach tracker. The free outreach tracker.
The free outreach tracker. The free outreach tracker. The free outreach tracker.
The free outreach tracker. Oh, my dumb ass. Wait.
I'm moving the wrong one. The free outreach tracker The free outreach tracker The free outreach tracker It's in the description.
It's a free outreach tracker. It's in the description.
Let's get a drop shadow and perhaps a VR glow on here too. Yep, VR glow. Hell no.
I mean, that VR glow is terrible. Why?
No VR glow. It's a free outreach tracker. It's in the description.
It's completely free. All you do is you put in your email.
do is you put in your email do is you put in your email there'll be a full tutorial explaining there'll be a full tutorial explaining how um let's just download this video essentially i'm basically mixing together a few steps like i'm doing the zooms i'm doing the b -rolls and animations Now, SFX I'll typically do after, but I'm kind of doing both these steps right now.
Add a previous sequence as well. I don't think I'm going to use much of these, but here's what it is. Free outreach tracker.
It's in the description. It's completely free. All you do is you put in your email.
What I might do is actually just have that like that. Get the free outreach tracker. It's in the description.
It's completely free. All you do is you put in your email. There'll be a full tutorial explaining how our outreach process works and how to use our free tracker so that you know your metrics and you can move on to the second system.
And you can move on to the second system.
Hopefully that loads in or downloads soon. Know your metrics and you can move on to. the second system system number two is we need a way of converting the second system system number two is we need a way of converting i'm gonna add a quick little light leak there this feels kind of awkward otherwise System number two.
Trying to think. Change. Color.
Tint. So if I just turn this like. Purple.
That would look better.
That's the only problem. I think it's got to be the white parts. System number two is we need a way.
System number two. Oh, I like the purple one so much better. It's so much more on brand.
Let's turn all the lights like that. In fact, what I could do is just go into here. Instead of having it on this level, I can put it on the source, and now all of them should be purple.
System number two is we need a way to the second system. Here, I want more visuals. Download this video.
That download should take less than a minute. Suppose this works and how to use our I'll come back to that later. Let's go to the next Section that has a full video.
So I need zooms I believe that's a zoom No, it's not So That is a zoom How many air to themselves these problems aren't going to fix themselves when There's a point of emphasis when you scale to an age And you can see I've timed it with the waveform. When you scale to an agency.
See if it works better to go even another zoom in. When you scale to an agency. No matter how many edits.
Zoom back out. Selves. When you scale to an agency.
No matter. Let's do a little J cut.
Scale to an agency. No matter how many edits you get. No matter how.
Oh, that's a nice zoom point. No matter how many editors you get, no matter how much you pay them, they are never going to care more about the video than you.
This one, I'm just getting the vibes that we should do a smooth zoom, like a keyframe zoom. I don't know why, but this one just feels like a keyframe zoom mobile one.
Feels like more of a hard hitter.
but in the same way you still want to follow that same principle of like the peak sort of movement happens at the peak of the waveform than you than you than you and i'm going to show you exactly they are never going to care they are never going to care more about the video than you and i'm going to show you exactly when you scale to an agency how much you pay them they are never going to care more about the video than you they are never going to care more about the video than you and i'm going to show you exactly how to hire editors who actually care about your videos and who i want to cut out on this actually because it's sort of like the vibe of that actually care like Oh, we're being quite frank here.
Let's pull away the bullshit. Like that sort of vibe on the actually. So that's how I want to zoom out.
To hire editors who actually care about. Actually care about.
Actually care.
And I kind of like the actually care. I kind of want there to be something like dead space at the beginning. It makes it seem more like matter of fact or like quite frank.
who actually hire editors, who actually care about your videos and will deliver you consistent work.
But ultimately there's three systems that you need to have in place in order to make this freelance. But ultimately there's three systems that you need to have in place. Like that double checkers No matter how many editors you get no matter how much you pay them They are never going to care more about the video than you i'm going to show you exactly how to hire editors who actually care about your videos and whatever you can system work ultimately There's three systems that you need to have cool.
That looks good. Let's get back to this part because the video will be downloaded by now Cool it said the training video so let's just find the sexy part of it and add it here this works and how to use our tutorial explaining how our outreach process works and how to use our free tracker on the word tracker i want it to swap to the tracker just like that works and how to use our free track so on the free tracker it should swap to the tracker how our outreach process works and there'll be a full tutorial explaining how our outreach process works there'll be a full tutorial explaining how our outreach process here i'm thinking um do we want like a vignette or something i think it'd be cool perhaps we just put in the same vignette from the beginning so for example like this shot i believe there's a vignette somewhere um There's a noise and a tint.
Yeah, I think now there's a real vignette effect Before we were using tint, tint still works to be fair. So just use that here Should be working. I don't like the vignette to be honest What I could do is maybe frame it in a scene like this so dark purple grab that grab that then sort of just like bring it to the marker because that's where we were working and that was here and essentially just bringing it here i think could be quite cool There'll be a full tutorial explaining Just get a quick little rough and edges if we need it And then we get a Evolution And that's change over time Say by a X should be enough for it to change naturally Be tracker so that you know your metrics and you can move on to the second system What I want to do is make it all feel natural in your email, there'll be a full tutorial explaining There'll be a foot.
I always like doing these transitions even like a light leak on the peak of the waveform to something like here I Just realized like that doesn't technically cover Full to talk the entire senior before so tutorial And it is my fault full tutorial yeah, I don't mind it'll be like it looks good like the flash so happens here It'll be a full tutorial explaining well there'll be a full tutorial explaining how our outreach post and this is this work we don't really need a transform we can just use a normal tutorial explaining how our outreach process works and then here we can just do access for free and how to use our free then likely gonna have to add a adjustment layer here and I can go till the end don't really need to hide that out so that this we don't want to have it you know your metrics this let's get that text coming down a bit and you can move on to the second system system number two Show it last till the end.
System number two. In your email, there'll be a full tutorial explaining how our outreach process works and how to use our free tracker so that you know your metrics and you can move on to the second system. System number two is we need a way of...
I'm happy with that. Let's delete that marker. Any other sections?
Let's see.
was done i think but the reason this whole editing situation when i hired the team went wrong was because they were being incentivized to get videos done as quickly as possible um and not care about there typically i was subtitled but for this case it's fine range now if you found this video useful you're gonna love this video i'm not gonna do zoom -ins here because this is where the end screen would go i don't want to make it annoying for when i'm doing the end screen because i don't think it's possible to do zoomed end screens so don't leave the zoomed in, just keep it well composed and you're good.
In that case, I believe that's everything for this video. Normally, I would go deeper into, like, can I add animations, things like that, because this is a video with an iPad. The iPad basically does the animations.
If there are sections where it's not clearly enough explained through a diagram, then that's when you would animate it. Once you've got some editing clients, so yeah, that is the essentially zooms and the animations done throughout the video.
Right, let's get the sound effects done for this video. So I use the same sound effects pack that I give to my coaching students. I use the same one.
There's four main folders as of now. Anime sound effects for like more creative stuff. Ed, Ed and Eddie, there's some good wooshes in here and obviously just random sound effects.
Mr. Horse free sound effects, which has bloody everything and wooshes, which are surprise, surprise, ruches.
I do my sound effects in three main stages. You have ruches for all the movements. Then you have functional for things that just make sense.
For example, like a warning sign would have a warning sound, et cetera. If there was fire, there would be a fire sound. If there's green, then there should be a green, like correct type sound.
If it's bad, then it should have a bad sound, et cetera. That's functional sound effects. And unique.
you might not ever use these sometimes you will it's just trying a random effect that for some reason you had the idea of doing it you try it out and it somehow works so those are my three stages of sound effects let's jump in so i'm going to open this sound effects pack now first thing i'm going to do i'm going to search woosh and we can jump in once you've got some editing so you can see there's a slow one here what i'm going to do drag a woosh in i know ed ed and eddie wooshes Not perfectly, but I know them roughly and we can modulate them by doing things like slowing them down speeding them up and what we want to in general do is match up the Timings of the movement with the timings of the sound effect For example, the fastest part of the movement should have the loudest part of the sound effect.
So etc So here you can see this is the loudest so we want it about here That doesn't really match at all. I want one that has a movement that's a lot less harsh up front.
So maybe something like this. No.
This could work if it was slowed down. Cool.
I'm just going to load again as well. Once you've got some editing clients, it makes sense. Once you've got some editing.
Once you've got some editing clients, it makes sense.
And Mr.
Horse, it's not always called whoosh. Let me find what it's called.
I know there's a name for it. I think it's whistle. No, it's not whistle.
Swoosh. They call it swooshes.
So you can see for every movement I'm adding a Roosh.
So here there's a small zoom in.
Once you've got some editing clients, it makes sense for you to transition from... This one's super slow, so I'm probably not going to do it until this one.
Probably gonna do that sound effect. I was gonna do it for the main movement, but I think it works better for that red mark.
Freelancer to a... Freelancer...
So you can see the ruch, I want the length to specifically be the length of the movement. So a longer movement should have a longer ruch. You can either choose a longer ruch or you can pick one that's kind of long and extend it.
So you'll hear it if we just take care of the voiceover for a bit.
You can have another one here.
And just so that there's not two of the same sound effect right next to each other. unless it's full effect what i like to do is just use a pitch slightly adjust what a different pitch the same pitch could sound like the same sound if it could sound like so i can make it sound different even though i'm using the same sound effect Because this one has a flicker, I think it might actually work to have this.
Let's just search flicker, so this will be sort of like a UI.
I mean, I want it more like a positive type sound effect. So it does sound kind of positive.
And it matches the flicker, which is nice.
I don't want the sound effects too loud. You can see sort of where it's peaking. Now, this is what I'm doing for now.
I may change the sounds. In fact, I will change the sound levels later.
early repurpose some of these Say this one which one is similar. Let's see Now because these ones are bad what I'm gonna do is actually adjust the sound effects to be lower pitched and get lower the The more that they come up. So for example This one is a bad thing, and in general, lower pitch equals bad.
So I'm going to put that as lower pitch. Then the next one, because it's like, oh, I'm saying another bad thing, I'm going to make it even lower.
And let's see if we can find some UI beep, like a single UI beep.
and this is way too high pitched to sound negative so what I want is maybe like a pitch shifter lower the pitch you could add a low pass to that which only allows the lower frequencies to come through also we could have a studio reverb and what I'm going to do is place that no what I'm going to do I'm going to do this, nest it, and now add a studio reverb, you'll hear how it sounds.
So it does that cool sound effect. And what I'm gonna do, I'm gonna do two of them. And on the second one, when it hits, gonna lower the pitch even more.
i've got to do it on the outside of the nest because otherwise it would change it for both and under zero clients we can have it hit even harder so having the pitch even lower if possible that needs to be a bit higher Now we need a flicker sound effect. I think I've used one before so I'll see if we can find one.
Maybe a rustle?
That could work quite well for the flicker. to do the more functional sound effect.
And I know this is gonna be used for multiple clips, so I'm just gonna label that now with Lavender, that way I can quickly just find all the times this clip is on the timeline. In fact, I believe there's a way of doing that. Maybe wrong.
So if I find this clip in the, Project and click here. Yep.
I'll be able to go to all of these sections this clip is in and Then quickly be able to just add this sound effect Cool so let's just go to all of these points and add the sound effect because it's the same clip I know it's gonna It's the same transition, I know it's going to have the same sound effect.
As long as it's not too repetitive, and I know it's not going to be because I don't use them too close together.
I want it to time well with the actual visual.
Cool. That's that sound effect. Let's go back to the beginning, make sure it's all good.
That needs a whoosh 100 % I'm curious what sounds don't work well with this I prefer this view to be fair, maybe a glitch could work well what's this because it's negative maybe this could be a unique sound effect I think so because there's noise added as well so I think this will actually work perhaps on that higher beat that's when it starts coming in and then this sort of preemptively brings it in Perhaps all like that.
We definitely need a whoosh for this.
Whoosh.
so we can actually look at the animation find the fastest point and then match that up with the bush this i don't need to add sound effects for that's fine Perhaps a wipe sound effect could work. I feel like this is going to be a goofy one.
Yeah, didn't want that.
Let's find another swoosh.
I actually want this to be a different sound to the first one, the reason being it's a different vibe, like it's gone from negative to positive.
Maybe a ding.
And I want to sync that with the word already when I say it.
Because that's the harsh sound, stressed syllable. already have clients this is for the editors who already have clients already have already have already have you already have clients you already have clients and now they're ready to move on to the next day and this could be a another reverb one so we can do just like that add a Say pitch shifter, so it doesn't sound the exact same.
We'll do that properly in a second. And the studio reverb. Test out some settings.
So we'll write the pitch. Oh, they're ready to move on to the next. Add some reverb, make, add that.
Now they're ready to be editors who already have clients. And now they're ready to move on to the next stage. So the main reason you want to make this freelancer to agency owner transition.
Go with us. And make that a sound effect, so just listen to it.
Cool, let's level this out. So I want all of them to be around this like sort of minus 27 minus 36 range So let's work around that down a bit I'm gonna keep everything at the same volume. So you'll see I'm keeping at the same volume here Cool, that should be fine.
Now let's introduce the audio again. And how I'm checking the audio is good is I just want to make sure that it's loud enough that I can hear it if I focus on the sound effects, but not so loud that it's distracting from the main audio. Once you've got some editing clients, it makes sense.
Put that first one down a tiny bit. Once you've got some editing clients, it makes sense for you to transition from freelancer. Which is too loud.
Generally, it's a bit too loud. From freelancer to agency owner. But if you do it too early or do it in the wrong order, then you could lose all your clients and find yourself back at square one.
If we haven't met already. Which is so big. Where was that?
This one. Back at square one. If we haven't met.
That was so loud. Let me put that down. At square one.
Back at square one. If we haven't. Back at square one.
Back at square one. Do it in the wrong. order, then you could lose all your clients and find yourself back at square one.
If we haven't met already, my name's Saif Ahmed. I've edited for some of the largest YouTubers in the world and I've helped over 300 video editors scale and get better clients and all that snaz. If you're watching this, this video isn't for you.
If you're super new to editing, this is for the editors who already have clients and now they're ready to move on to the next stage. This is for the editors who already have clients and now they're ready to move on to the next stage.
effects other than this so we'll just do this quickly and this one's super simple full tutorial what i want to do is a sort of environment type one so what i call environment effects is where it's just like a constant sound sort of like this like imagine like a wind sound i chose wind let's see if it works i'm just going to test it out explaining how our outreach process works and Full tutorial explaining how our outreach process works and how to use our free tracker so that you know your metrics and you can move on to the second system.
System number two is... Yeah, all it is is just to make it feel more like realistic. Sounds weird, but I like it.
I call it environment sound effects.
Sometimes I use like fire crackling, sometimes I use water. It's just what fits to this vibe basically.
There's more like a unique sound effect because there's no paper here but it works.
could we just find any more animations that i have done maybe this would need a sound effect let's see knowing what your outreach metrics are rather than i've got a client i've had for seven months so i got through word of mouth and hopefully when i hire an editor i'll be able to figure the outreach thing out in fact i see it all the time where an editor you can scale with predictability rather than I've got a client I've had for seven months who I got through word of mouth and hopefully when I hire an editor I'll be able to figure out which thing out.
In fact, I see it all the time where an editor will be at like two... Putting a hard limit on this just because it feels off. I don't know why, but I don't want to take the risk.
Seven months who I got through word of mouth and... So I'm going to do a fill left with right. Whichever one I use doesn't matter, but I want to have them both equal.
A client I've had for seven months who I... I've got a client I've had for seven months who I got through word of mouth and hopefully when I hire an editor I'll be able to figure the average thing out. In fact, I see it all the time where an editor will be at like, that appears to be the sound effects stuff done.
In this case, it was literally just the intro and the CTA. Typically, you want to do this process with all of your animations. So all your ruches on every single movement.
You've got your functional sound effects where it makes sense, like greens, reds, etc. And just things happening. And your unique sound effects where it's just things that you have a crazy idea, you try it, and sometimes it works.
I would recommend doing that. So that is the sound effects done. Awesome, let's get into rendering this video.
I recommend checking the video thoroughly using our Video Checks SOP. That way we can catch any mistakes. It'll take you a little bit more time.
but you'll save more time than if we have to keep going back and forth with revisions and changes. So once you've checked it, here's the exact process for rendering out the video correctly. Go to the beginning, set your endpoint.
Don't go to the end, but instead go to the end and then one frame back and then click O. If you go to the end and click O, it's going to include a black frame in the render. So you go one frame back and then click O.
So go to the end, one frame back. Then you click O then command M or whatever you click to export and the name for the file should be ID Main video V1 Save that where you need and you're going to be sending this to us through frame So you can save it wherever is convenient for you right now Then you're gonna go to video click match source As long as you've set the sequence up correctly early in the workflow, these settings will all be correct.
You want to render at maximum depth. You want to use maximum render quality. Frame sampling.
You can use hardware encoding. These profile and levels, I keep them unchecked and you'll understand why in a moment. For bitrate encoding, we use VBR 1 post.
The target bitrate is set to 70. The reason I uncheck these is sometimes, It will only go up to 50 unless you uncheck those boxes.
Not sure why, but as of this version of Premiere, it's just a bug that happens. So this allows us to go up to 70. Audio, just keep at the defaults.
If the bitrate settings are under 320, keep at least 320 or higher.
Go to effects, make sure these are all under defaults. Make sure this is enabled though. Metadata doesn't really matter.
These. I just leave them on default. Make sure your use previews is off and use proxies is off.
Otherwise, it won't give you the best quality. Then just send that to media encoder and let it get rendered. Once it's rendered, I want you to check the actual file so that you can check it one more time.
It's really important you check it before you actually upload it because there are issues that can come up after you've rendered it or issues that you didn't find. Once you've got some, what I want you to do is watch the video through one time. You can do it at 2x speed, but really focus on it.
It shouldn't be like a passing video, like you're listening to a podcast, but rather you're listening to it to actually look for mistakes. So, for example, small things like, oh, like there's a black frame here, or this part is overlapping the face, or here it's not actually centered correctly. These should have been found.
the video checks before you've ended. If they were left in after the vendor, don't just leave them in because I'm going to ask you to go in and fix them. So that is once you've checked, then go into frame.
This comes with your Adobe subscription. Just create a new project and call it malice.
Or you can call it safe. You know, just call it safe. Then inside that project, you're going to be able to create folders.
So we go to, I believe it said assets. Sorry, go here. Then, oh, I'm an idiot, wait.
Once we've done that, once that's rendered and you've checked it, all that good stuff, and you've approved of it, then you're going to come to frame .io. It comes with your Adobe subscription. Create a new project.
You only have to do this for the first time. Just call it save. Then click create new project.
This is going to be the project that you give every video in from now on. Just click upload and upload that file that you have created. By the way, if you did end up having to check it and re -render it, still call it v1.
You can call the other one like v1old or something like that. The first one that you send to us should be called v1. So that is how you get it sent up into frame .io.
Any future videos that you send are also going to be sent within this project. That way we can have access to all of the videos in here. And while that is downloading, you can just share it through to us.
Click here. Create share link.
Then in the settings, make sure allow comments and allow downloads is enabled. Then you can just copy this link, click done, and you can check it in an incognito tab quickly to see that the link actually works. And essentially that is going to be the link that you're sending to us.
If you lose that link, all you do to find it, you go into share links, find that, click copy link, and you're going to be sending that to us. So send that through for review and we'll go from there. If you have been sent revisions you'll find out either on your tracker or by someone telling you.
You just go back onto the frame link and you'll see all the notes put as comments on the timeline. Now here's specifically how to do the revisions to prevent any issues in the future and also for you to get them done as quickly as possible. Firstly you're going to go into your project Find the main sequence Duplicate it And you're going to call this one V2 and you can call the previous one V1 you always duplicate between revision rounds that way if you Remove something that you later need to add back.
You don't have to do it again instead It's already in that V1 project, well sequence. So now that you're in the V2 sequence.
This is where you complete the revisions. Do not just complete the revisions from start to finish. Instead, read through all the revisions one time so you have context on all of the revisions, but you're going to complete them backwards to front.
The reason we do that is if you do it from start to finish, let's just say one of the revisions is remove this section.
So you remove it. Awesome. Then you go to the next revision.
which might say, oh, at 12 minutes, 10 seconds, change this animation. So before, this animation might have been here, but because you removed a section earlier, it's now here. So you see, it's a problem with one cut.
Imagine there's like five things you've cut out. And now by the end, these animations are like five, 10 minutes off of where they originally were, which is super hard to do revisions and follow the notes for. So instead, by following the revisions from...
the end to the beginning, you making a change here doesn't actually affect any of the timestamps earlier. So always start from the end, then go to the beginning. Now, what I do recommend is still read through all of the revisions one time, just quickly, just so that you have context.
That way, let's say there's an animation here that you fix because you just caught it and you're like, oh, I have another idea, but you don't realize there was a note. earlier in the video that said, oh, remove this animation and any that are similar. You don't want to work on a part which you're later going to remove.
So that's why I always recommend you quickly read through it and then your brain will have more context and you'll be able to complete the revisions in a much more natural and faster order. So, right. Once you've done that, you're going to go through the export process, same as last time.
Click I, go to the end, go one frame back, click O. and render it as main edit v2. So you're going to call it the ID main edit v2.
You're going to render that out in the same way we talked about last time. So match source, uncheck these, make sure maximum depth, maximum render is on, uncheck profile and level. Keep this as 70 Mbps.
And then you can just render that out, upload it back to frame.
upload it back to frame and then send it to the team through revisions. Sorry, send it to the team for revisions or approval in the same way you did in the last one.
Are you guys happy with dynamic principles? Like, do you feel like we've covered that? Basically, keep it digestible, timing.
When the person says a word, time the animation there. Constant movement keeps it moving. That's honestly it for dynamic principles.
What do you guys want to cover next? It's up to you. Complex scenes?
Cool. The way I like to think about this is I'm just going to make something as complex as it needs to be. I'm never going to try to make a complex scene.
You know how I said I've gone from thinking light visuals to heavy visuals to now saying I will just have an idea. and then build that as it needs to be, usually what will happen is you will have a glimpse of an idea, whether that be light or heavy, however complex, and you're just going to start taking steps towards it.
So the ideas you get, Adam, do they tend to be more complex or do they tend to be simpler? I would say more simple. So it feels like I'd like to develop more complex ideas.
Okay, got you. If you can already think of simple things, what's going to happen is you just need to either... take that simple animation that you're doing and sort of ask yourself, how can I build on this?
So it might be that, okay, I start with a simple animation of the guy is here and I just bring something up here. But then you ask yourself, how can I do something with this scene? So maybe to transition into the next one, instead of just going to the next scene, maybe you zoom this in so that it fills the whole screen and now you've got a new color to work with, a new background.
But do you see how... That is just one simple movement, but now you bring in the next thing. And now let's say you have a image in the middle.
You could do something with that image now. That's sort of how I think about complex scenes. I start simple if I have a simple idea and then ask myself from here, what can I do?
I very rarely think I want to create something complex. Make sense? A lot of this is figuring it out as you go.
Don't try to create something cool, which is weird. Anything else in complex scenes Details I Found that having less detail usually works better So you have one main focus of the scene and then yes, you can have like a few little things around Which I guess are details and you can build on them, but they usually don't make or break the scene It usually is having one focus Yes, it does still apply, but you want to be very careful with that as to not bring too much focus to shit that doesn't matter.
Yes, Carter's great at this. Carter, you do a lot of 3D scenes, right? You should speak to Carter after this.
It'd be good. Anything else on complex scenes?
Matching mood. We've kind of talked about this with context, right? Covered up.
Stylistic consistency.
Christopher, tell me, what's up?
And is that when you're trying effects that aren't usually used in that niche? The client didn't ask for this.
I would look at better videos in your niche and then try to If you are gonna experiment, start with those.
Because what's the reason you're trying new stuff on that channel? Just out of curiosity.
Yeah, and the main problem is the client just doesn't want them.
Okay.
It's usually not a huge problem as long... I mean, how different are we talking? Do you have a video you can pull up?
Give me context. How different is it to... If you could build a scene in our heads.
Okay, so instead of going for more of the round shape, what's stopping you from going for the hard corners with slightly rounded? You don't notice what? I don't even notice that I'm changing the style.
Okay. And when you're working in this new style, are you creating the assets or are you taking it from somewhere else? Yeah.
I would pay more attention to what makes... So let's say you're doing a Minecraft video. What actually are the characteristics of those Minecraft assets?
So just for example, like I told you now, for Minecraft, a lot of it is... shapes where it's not like hard corners, it's not round, but it's sort of like this a lot of the time, right? A lot of the time they have like this sort of bevel and there's like a shadow, I believe, on like two edges.
Starting to notice patterns like that, what I'd recommend is even if you have to directly one -to -one copy something, just to use as a base. So for example, let's say you have just an image that you use as a reference, you blow it up to the size of your scene and then you copy that. Like you literally remake it with Premiere shapes.
And then now that becomes an asset you can use. And let's say you want it to be a rectangle. You'd basically just extend it like that.
What that helps with is it basically integrates a lot better for gaming videos. This is easy. It becomes harder with like weird games, but with Minecraft, it's easy as hell.
Start noticing more things like this. Like, oh, they always bevel like this. The way you'll notice it, just recreate one.
Just like how you recreate UI a lot, right, Nicholas? Speak to him about how he recreates UIs. You know that when you low opacity it.
Speak to him about that. It'll help you a lot with Minecraft. Anything else on stylistic consistency?
Not overdoing animations, adding unnecessary animations.
The way I see it is, in fact, I'll add this alongside. Actually, no, we'll do this now.
If it makes the video clearer, I add it in. Whose was that? Come on, Arnold.
Basically, if it makes the video clearer, I'll add it in. That's it. if it makes the good visuals make a video easier to understand bad visuals make it harder to understand who's the one who lost this by the way yeah but sometimes i feel like i'm watching a video and i start and i have like a complex animation in mind and i'm like so in the flow of the video that i feel like this makes so much sense but i forget the perspective of just a regular viewer who's like overwhelmed by everything going on and it would literally be enough to just write like one sentence on the screen it would be clear yeah because i'm like so like in the i'm in the process of creating it i like lose myself and when you say lose yourself like you add too many elements so yeah just unnecessary complex like i actually said for example i had um one re -edit that i did and basically what he said is i help i'm a coach that helped over 1100 students Now what I ended up doing, because I remade everything, I literally just had the number 1100 plus come in with a drop shadow and it looked very easy.
What I initially had planned to do is literally visualize him helping a crowd of 1100 students and how he's helping with him holding a video camera. Way too complex. But I feel like while I'm doing it, it makes so much sense to me.
Okay, so like you you're complicating shit for no reason Okay, they before you start working on it, yeah Usually to keep it simple. I'm just asking myself. What's the one cool idea?
So when you said I've helped a thousand people whatever My thought was 1 ,100 people.
The core message that's being given here is he's helped a shit ton of people. That's the core message. That's what it means.
So my thought would be, can we visualize that many people? And I'm assuming that's the path you went down. Can we visualize this many people?
I still think that would have worked well. Maybe not as complex as him with a camera and then him as well. But even if you just show a crowd.
in some sort of way. What was going through my head was something like this. You have a scene and you have within the lower third, it's just a ton of people, if that makes sense.
But you have this huge crowd where it seems like there's just so many you can't see. You add a vignette so that you can't even tell where it ends. And it's just top -down view.
That was my thought. And then if you do want to add a text, it would be here. I think that could look cool.
In terms of like, can you just add simple text? Yes. Sometimes you want to push yourself visually.
I like to think of it in terms of time constraint. So let's say you have this idea that I want to do all this crazy stuff. You might just put the 1 ,100 first.
And then you're like, it's not like this video is due in two hours. Let's try this out. It might go right, and it might take you like an hour, and you get an amazing scene, an amazing preview, and the client loves it.
Or it goes terribly, but you've learned something. And the thing is, you never want to delete an animation if you're not going to use it. This is important.
Always hide the layers. Never delete an animation if you go back. Because it might turn out that in two months from now, you need that exact animation.
Or maybe it's the same concept, just with a different asset. Instead of recreating it all, you just copy and paste it and change the asset out. I don't see that as wasted time.
But ask yourself, what's the one core idea? And then visualize that rather than... Trying to make something complex Does that help you guys?
Yes, so I would just do it but in terms of like should I get rid of things I'd like to think less in terms of What can I get rid of more? Let's start from zero.
What's the minimum amount we need to visualize? Then if we want to visualize more, we can. So for example, like I spoke with Amir's example, 1 ,100 people.
Let's just show a lot of people. Have you played Rocket League? You know the little characters in the stadiums?
Imagine that sort of vibe. Then, okay, once I've done that, maybe I get another idea to add a number. Maybe I get another idea to zoom in now.
So it sort of builds on itself, but I'm not... I'm not worried about how it will look in the end. I have a rough idea.
I'm sort of just paving it as I go.
But yeah, so I'm starting with minimum and then adding as I go, not having the time and getting rid of. Make sense? Cool.
This is for like unnecessary. Or how for IRL? IRL?
In terms of not overdoing animations? Or IRL? Give me an example.
Yeah, you could. I would think in terms of matching the magnitude of the effect with the importance of the event. So if it was just like let's say they have to score ten goals and they scored number six Probably don't need some crazy huge like fire explosion But if they only needed six goals to win that goal is suddenly more important.
Yes, it makes sense Animations are all relative to each other. So it's not like one animation is big or small. It's how big is it compared to everything else?
So if you have an unedited video and now it is a slide -in, suddenly that slide -in is actually showing something really important. But if we take a really heavily edited video and something simply slides in, suddenly that means it's less important because relative to everything else, it's so much simpler.
So with IRL videos, I would just ask, is the thing I'm animating actually as important as I'm showing it is? Does that answer it? Yeah.
Cool. We can jump on ILL now, actually, if you want. Is that everything that's not overdoing animations?
Yeah? Cool. Sorry?
Cool. We can move into ILL animations. Who here has worked in ILL, is working in ILL, or wants to work in ILL?
Cool. Quite a few of us. Okay, awesome.
What do you guys want to know about ILL animations?
Like when someone goes flying with some shit Yeah Are you talking more tactically like how do I do it or are you thinking? When do I add it? Like how am I thinking when I'm I'm trying to find an ideal?
You bring it into after effects you mask him out Is it called generative fill? Content aware fill?
Content aware fill to basically fill them in. I'll show you.
Yes. So then you have... Okay, cool.
Let me figure this.
That's how he did the one Sideman animation where like someone was flying away, I don't know. Yeah. I mean, I've been bringing the Photoshop an extra step this time.
I do Photoshop. Let's do this animation. Let's see if it loads.
Yeah, I like subject. Cool, so this one, yeah? Something like this?
That's exactly the one that I like. Yeah, it's cool. So basically, in this moment right now, fuck, let me.
In this moment right now, he's actually here. Like in the actual clip. But what I did is I masked him out.
I put it into After Effects. I masked him out. That leaves this as like a transparent area.
Then you do a content aware fill on that. That tries to guess this. It will look really shitty.
In nature scenes, it looks a lot more natural. Because nature is always chaotic. So having some inconsistencies, like some blurs, is fine in nature.
It's harder in real life, but you can still get away with it. Then, that mask that you took out, you basically duplicate it, and then have the actual mask rather than, rather than having it masked out, you mask out everything else, so you invert it, exactly. And then, I usually have that in for me.
I just transform it to look like it's flying.
Sorry? Okay, with the background?
I didn't, no. I had him moving, so I just rotoscoped him out. So you can see.
He's actually looked to the side as he... You could freeze save it if you had to. Something I'll tell you about scenes like this, they are duct taped together.
They are holding on by the thinnest thread. If you see my animations, if you see Rush's, I actually learned this concept from Rush. If you look behind the scenes, there's bugs here, there's bugs there.
like sometimes there's like a patch in the video, you don't even fix the content -aware field, you add like a fucking flat image that sort of looks fine, it's all duct taped together, you just figure it out as you go. These are never, they never go how you want, you figure it out as you go. Does that make sense?
Like for this one, I think his foot got cut off, so like I faked a foot or something. It's like, you do weird shit like that.
But yeah, something else that could be useful for these, let's say, this camera angle changes really wildly, or the clip isn't long enough, you can just slow the clip down towards the end. Does everyone here know how to speed ramp?
Cool, yeah. So you basically speed ramp so that it slows down towards the end, put it onto optical flow. You guys know what optical flow is?
Does anyone not know what optical flow is? Cool. So you put on optical flow, especially if it's an IRL video, because it looks fine.
And then that just means you don't get that jerky movement at the end, that puts the focus on the thing that you're moving. This mostly applies if you're doing something like this.
If you're working in real time footage, obviously you wouldn't slow it down. Like for example, an example you wouldn't slow something down, let me find one.
Which one would it be? YouTube, let's guess.
Yeah, an example you wouldn't slide something. slow something down. Here, I took Toby, which is gonna sound really weird.
Yeah, you guys know this is gonna be a weird -ass scene. But yeah, basically the scene was him saying, like, I'm trying to get ahold of your cucumber. It was fucking weird.
So I basically turned Toby into a cucumber because he was saying it about him. So what I did is took this into After Effects, rotoscoped him out, then I duplicated it, So I now have one background, one foreground.
The background one I content -aware fill. So right now this is actually two layers. Toby's one and then the background content -aware is one.
And then now I have this where the anchor point is set here.
Yes, I transform with uniform scale off. And that means I can do this with him. And I just have a pickle come up.
Because Content -aware film. Can you see this is a bit messy?
You can't really tell perfectly but when stuff's moving you can't... viewers don't mind because they know it's not real. You know what I mean?
You can be a bit messy. So that's how you do stuff like that. And yeah, it's like this stupid shit like that.
Is that everything for IOL tactically?
Stop doing it because it looks awkward and I'll do something more simpler. Patches like what? Okay, let's say for example you talk about the content and you see the background is a little bit messed and something like that.
Yeah. It's kind of, in my eyes, it's noticeable. Maybe it's not for the views, but for me it is.
So I'll kind of go around and change it, make it something more simpler. Does that make sense? I wouldn't bitch out of the edit.
What I would do is, you want to, it's sort of, have you heard the 80 -20 rule? Yeah. It's like you want to get it 80 % of the way there.
So here, like, there's like some mess. I'll go to this part where it's more obvious. Be mistaken.
Like here, like his jump is getting doubled up. Before it was like his head went here. And you can tell when someone's face is doubled, right?
But with a little bit of jump, I'm like, it's fine. So it's like getting it most of the way there with the content aware fill. The better you can get it, obviously it's better, but there's a law of diminishing returns.
Like you get it 80, 90 % of the way there. Yes, you can spend an extra four hours changing that. You know what I mean?
But I'm probably not going to. Cool. Does that answer it?
Yeah. Awesome. Anything else on Iowa?
I have a random question. Go for it. Whenever you slow down your career, do you always use obstacle flow?
Because I've never seen like a time error. I would actually use frame blending. Frame blending is terrible.
Yeah, frame blending is terrible unless you intentionally want that weird ghosting effect. I use optical flow if I'm going below like 20 -ish percent. If it looks terrible, I'll just firm it and I'll go...
What's the first one? Frame sampling, no? Frame sampling is the...
It's just the regular one. Yeah, so the regular one. I'll try optical flow.
Optical flow tends to work better. on videos like these where it's a lot messier. It sounds weird, but iOS videos do really well with optical flow.
If it's in a gaming video, it usually doesn't do as well. That's just what I found. Have you found the same?
Yeah, so you can use it on purpose for that ghosting effect.
Yeah, cool. I have animations donezo. Um, we can go into Should you do lower thread animations?
I think that comes in quite cleanly.
Who here doesn't know what a lower thread animation is? Everyone knows? Okay, I'll explain it.
Lower thread is literally in the lower thread. So let's say you have a scene. It's shit that you keep here.
The way I like to create these is I will work on it in the middle of the scene first So let's say I'm creating Think of one you finally I'm sure I've done one for Sidemen Let's say, you know, let's just do this I Don't have the project following this laptop, but let's say I'm creating something like this It looks a bit buggy because there's transparency, but this is just like a shadow Pretty much.
Yeah, this is a shadow. It's fucked because it's in a different codec. But that's a lower third animation.
So it's in that lower third area. The way I create this is I first create it in the middle of my scene. So I'm literally just, let's just start, get a new page.
This is my Premiere preview tab. I'm not working here, or I'm not working here. I'm working here.
So I literally like, let's say I was making this one, it would look like this.
That's what it looks like. I'm leaving some edge. The reason you want to always leave some edge is, you know, when you add drop shadows and stuff, it gets fucked up if you don't leave some edge, but you make it as big as possible.
The reason you do this, it's easier for animations. It doesn't mess up your drop shadows and it just means that you can put it wherever you want. and there's less issues.
And also it means that when you scale it down, you keep high quality. If you make it small and then scale it up, you lose quality. If you scale it down, you don't.
So that's why I make it big like this. And what that means is I have so much more control over like, let's say this is server. I have so much more control over like, is this space the same as this space?
Is this roughly the same as this? Is this space big enough compared to like this and this? You just have so much more control.
In terms of hierarchy, so relative sizing, age 23 is less important than her name. So age 23 is smaller than her name. If these two were the same size, it would cause confusion.
I noticed that more easily because I'm working on such a larger scale. Does that make sense? And also it means that, let's say you work here and you want to move it here now.
You're not moving 15 elements. You can just work from the middle. Hello.
Got a new layer member. Cool. So you basically work like this and then you nest this and then place it into position.
Real quick, before we go any further, I want to be honest with you. Right now, you've got three options. Option one is you tell yourself you're going to come back to this video.
Life gets in the way and nothing actually changes. I see it happen all the time. Option two is you take everything in this course and you try to apply it by yourself.
And honestly, you can do that. But without someone looking at your exact situation, it might take you one, two, three years of trial and error to actually figure it out. And by then, most of what you've learned is already outdated.
Or option three, you shortcut the process. In the editing layer, I work with you one -on -one on an intensive 90 -day process. We build a personalised plan based on where you're at right now in your editing career.
We provide multiple coaching sessions throughout the week to make sure you're never stuck. And we even make sure you've got access to our private community where any questions you have are answered and you also have access to our internal referral board. You get all of this alongside a system that we've already proven to work again and again for video editors.
Carter started with us when he didn't even have a single client to his name. First client was $200 and now he's charging nearly $10 ,000 a video for videos that take one or two weeks. Artem was stuck making three to 4K a month for months and we got him to 8K a month, doubling his income in just four months.
And the best part is he did that with the same clients and then he used that success to build his own personal brand and coaching program too. Then you've got Amir who was super busy. He was balancing editing, his social life, the gym and a ton of other things that just...
life throughout him, but we were still able to optimize his workflows and get him just a single client to get him to pay $14 ,000 a month. The truth is there is not a single person on this planet who has a better track record of helping editor scale than me. So if this sounds like something you'd be interested in, just go to the link in the description.
You can book in a call with the team and we'll see if this is something where we can actually help you or not. If it's not a perfect fit, then no worries, that's completely fine. But either way, we'll continue with the video now.
Now in terms of the animations because you saw there was movement on this so it's in a nest movement so not just the whole thing moving but These elements moving there's two ways to do this You can do this before you nest or you can do it after you nest if you have division already You can do it before you nest but it's completely fine to just double click in your nest and do it after Where if you look at these fundamentally all this is is it's a slider And then this was a slide left with a crop.
Super simple animations. It's not anything crazy. But because I do it in this order rather than working here, it makes it so much simpler.
Now, when I've done all of this... Are you following, by the way? Now, when you've done all of this, you just nest all of it, place it here with a normal motion effect.
Yeah.
yeah so what you do yeah these were let me see i'll remember these were i believe these were just pictures yeah these are pictures taken from the video what i do is um let me find it i'll show you let's say let's just say this is the frame right you can go there's a way to do this with an extension but you go to this export frame just save it as whatever um track frame you can do import to project and then slide that in where you need it and what you can do is right click edit in adobe photoshop this is just the way i like to do it and i found it easiest I'm so shit at Photoshop.
There's like one of them that selects the subject.
I don't fucking know, man. But you get the point. Like you select it.
Quick selection. Yeah, like this. Sort of thing.
Yeah. Yeah, it's great. And then what you do, do that, make this bigger and make it fill the frame and get it centered.
Same concept as you know how we make that in the center. The reason you do it in the center is so when you do anchor points, let's say you want to rotate that in the bottom right corner. What will happen is the anchor points already in the middle.
So that's why with these faces, you want it to be sort of scaled. Oh shit. Do you not like export it and smooth it out?
Smoothing it out?
Yeah, you probably could but like on this scale you won't really notice it Okay Yeah, I mean I'm not perfect like there's like mistakes there I'm just showing this as an example and you can click ctrl s and it will directly change the PNG Which is why I use edit in Photoshop And now that asset gets used here. And now I nest face, bing, bang, bong, bosh.
Would that make the software more glitchy if it's not exploiting the PNG? It does save as a PNG. Because what that edit in Photoshop does, it changes the file on your computer.
So you'll see if I go to desktop, it's changed the actual PNG. So if you need the original PNG, make sure you make a duplicate. So that was a good point.
What did you do there? How did you change that file? Because every time I do it, I have to explore it.
If it's a PNG mode, JPEG it won't. It only works with PNG or files that support transparency. So Photoshop changed to PNG?
You don't have to. Basically, let's say you have a picture here. You guys saw the first frame, right?
Yeah. You right -click, edit in Photoshop, and you can just... Remove the background do what you want with it generous to fill anything and then just say then just save it and it's directly changed to file Now if it cut did you see it didn't come up with where do you want to save it?
If it does say where do you want to save it? You just have to save it as a PSD file and import it back in it usually doesn't like Good question Yeah, whenever they look in a decent spot looking sort of I like to have them all looking in the same direction.
So for example, with this, I want them all looking at about 30 degrees to the side. I don't care left or right because I can just horizontal flip. But you'll notice all of these guys are looking like they're looking in this direction.
Do you guys see that? That's the sort of consistency thing you want to keep in mind. You mentioned about consistency over the visuals.
This is like the concept in there. So you see all of them are looking in the same direction. I'm just waiting for that frame.
preferably with some sort of emotive expression. Like for this guy, he was funny as shit, so I got a laughing one. This guy was like awkward, awkward, because he was like one of the older guys.
Ser was like more bubbly. Riddler was like a funny guy. Ronnie and Aaron were more serious, so I got serious faces.
This is really in -depth, but that's just for face selection. I have a question. Go for it.
When you have that as a mess, Yes You have to do I'll good question, let me show you process Let's let's do it with this one quickly, okay, so let's say I have This is gonna be the shittest one. You guys have ever seen just saying now.
Cool. Let's say you're building this now Someone's gonna send me my own program Let's say you're making this vote need to make sure it's not touching the edges Bing Bang Bosch.
You have like some text, which is like, yo.
So you always want it like proper centered. So you bring your guides up. This one isn't even centered.
You know, I will just for the sake of doing this proper. Why am I doing that? I don't have a cable.
So you've done this. And what was your question? When you nest all of that.
And then you use that as a template to switch the face out. It switches all of them out. So this is now my lower third, right?
So let's say you have this lower third here. I'll show you what you're asking. Slide in left.
That one. Cool. So now you have a lower third, right?
If you want a new one, what I do is I just copy this. And then, oh shit, I have some, this is a messy file. Yeah, and then just paste it in here.
I'm gonna be nested. Okay, I'm gonna be nested What you can also do is just find this sequence These you want to be named by the way, these are like, you know how normally does everyone just leave as like nested sequence 150 I think we all do that With these it can be a bit annoying. This is the one case.
I do name my nests So I just name it to the name or like the person person. Yeah, so for example, let's say I rename this to yo You can go into here find yo Copy it.
So you have a duplicate and now this one you can call No And then you change this and obviously you would follow the design principles make sure shit is centered and Now you have like one that says no one that says yo, you can copy over all the effects And now you have one and you have a yo This would be different people.
This could be anything. This is how I work with lower thirds. So I will always work in the center.
This gives me more control. And then nest and put into position. And that's with all animations.
Anything complex that has been done by me follows this principle. It's going to be in the program. I will show you now.
When is the program going to come out? I'm recording it. I have no date, yeah.
Anytime you have any problems like this, where it's like, oh, why is it anchoring weird? Or why is it the shutter angle fucking up? Why is the edge clipping?
Why is the shadow messing up? Why is the glow messing up? Basically, 99 % of your Premiere Pro bug problems will either be center nesting, which is why I just showed you work in the middle and you nest it first, or you just change the order of the effects.
99 % of your problems will be solved by that.
Genuinely. But yeah, just wanted to cover that. Is that lower thirds done?
Yes, because that's the most important information.
If you can make it work, just think what would be easiest for the viewer to consume. Cool. Feeling a bit hot?
Yeah. Omar, is the AC on the lowest? Can we get it on the lowest?
Would that be possible?
Yeah. Let's try getting it lowest. I think keeping it open is fine for airflow.
What do you guys think? Let's just try to get it as low as possible. We're going to be careful about the mic.
Where's the guy that says we'll fix it in post? Just add some words with action, man.
Cool, that's lower thirds. What do you guys want to talk about now? Pricing.
Pricing? Yeah, we'll talk about that. That would have been a good transition.
We'll do pricing.
There's no such thing as what you should charge for a certain thing. In general, this is very general, The flashier your work looks the more you could charge And like in terms of how much can you charge For the same work.
I've seen guys charge 200. I've seen guys charge 1500. I've seen guys charge to 3000 like it truly is The fact that fancier the better you can edit and the better you can execute by editing so just because you can do a complex animation Doesn't mean it's good.
So following design, following dynamic principles, as long as you have that sorted, you can basically just follow that AFA framework. It has very little to do with your visuals once you're at a decent spot. Well, I'm asking because, for example, right now I will have an entire trial video that is very 3D heavy and I'm getting $40 per minute.
And I know it's way too low. But on the other hand, what would be right? Like I actually wouldn't know What would be the fair price?
I just know the 40 is too little. Do you know how long it would take you? No, because I never did it.
You've never done it. Yeah, often times the first time you're gonna either undercharge or overcharge Yeah, and what the way you can there's two ways you get through this long term You just work with someone realize it was either a lot or a little if it's a lot, it's fine If it's too little then you just raise from the next client or the next project If you want to make sure you solve this before you do a full video, all you do is you just ask, hey, would it be cool to take a look at the footage?
Even if you just go in your premiere, mess about with it, be like, oh, there's like a lot I need to cut out. Or it might turn out that there's so little time on cutting and there's only like six places you need an animation. So you can ask to look through the footage.
All good?
There's some guys with tissues. There's tissues there.
What was your thing? I don't know. The 3D scene.
Yeah. Sometimes you just need to guess and then iterate from next time. You will get better at judging how much work something will take.
If you're scared of taking on a huge project, like Carter is with... that 30 to 90 day project with 3D, just ask to work on a minute or have the footage sent first. And you can leverage that to get him more emotionally invested when you want to close him.
Because right now what I'm literally thinking, I'm basically expecting him, I'm expecting to disappoint him because it's literally my first time making such a big 3D video. But I'm also expecting that maybe he even like pisses out, doesn't want to pay me, but I will have a good ass video. Yeah.
Like to show off. Yeah, that's my only like Reason for taking for that pain. Yeah, the thing is if it's your first time doing that, is this something you want to get into more?
Yeah, it's worth it. It will pay you tens of thousands if not hundreds of thousands if you do it, right? Cool.
That will go to pricing work. I have a question. If someone looks at your work and says, I like this but I want it done a bit less, can we lower the price?
Do you go for that? Or is it depending on the situation?
Yes, but you just give your normal price and say that's the lower price. Okay, alright. You say like, let's say you charge like 300, you'd be like, yeah, I normally charge 500, but if it's less effects, I'll be 300.
It's just anchoring. Cool.
What should we do? We'll do these two together. We can do using memes, that'll be a quick one.
Actually, sorry for interrupting. About pricing, I just thought about that. How much of a role does...
having a big name in the scene mean for pricing? So for example, if a client would approach me with the exact same minimum, if me and you would deliver the exact same results, in my head, you could charge twice the amount of mine. Is that correct?
Probably, yeah. Okay. My work's not that good.
I need to be clear. My work's very basic. I'm being serious.
There's some videos that I've done that like... show my skill to the max but most like 90 % of the videos that I work on I was doing the exact same thing 3 years ago like skill wise but I'm charging like probably 6, 7x it's just because people are paying for communication people are paying for reliability people are paying for that social proof so you're right having the names that you've worked with is a huge part Using memes.
Who asked this? What did you want to know? I think it was like, it's what I was also asked, but it's like trying to find ones that are actually like suitable because if you don't keep up with like the cult meme culture, it's like hard to, it's like hard to gauge like what's funny, like what are people getting from it?
I don't know. Deep work. Deep work to explore.
Sometimes say, Like, they want memes in there, so it's hard to work around that. Yeah.
Yeah, like, some of them have, like, outdated memes that are fun to the channel. Like, the vine boob is funny for some channels, but to some, it's like, oh, that's cringe, that's all. Yeah.
Different eras. Yeah, a good website for this is MyInstance that you might like. It's all, like, the meme sound effects.
I'll find it for you.
Yeah, this... Mine is... You guys are fucking immature as shit.
I knew someone was going to laugh their ass off. But it's like... Like, fucking...
But it's like... The thing is, this basically purposely takes all the trending ones. So...
What about, like, visuals? Like, visual ones? That I really think it is you consuming that type of content Yeah, I mean that's the thing like I'm assuming The guy you're working with has he posted videos before?
Yeah Yeah, because the thing is with memes there's meme packs out there that are useless because like you're just gonna start forcing memes in. With memes it really is this thing like you just have to have like this random like moment where you almost make a joke in your head and then you realize oh wait there's a meme that was like that and then you add it in.
It's this very natural thing where you just kind of think of it while you're working on it you think of something funny in your head.
I've made memes before like I've dead ass like edited a meme. Like, I think it was this one. Let me find it.
So sometimes I can't find something that fits perfectly, so I will literally create it. Let me find it. Let me find...
It was a guy who looked like he was a Lego character.
I have no idea if I'll find it.
Shit, where was this?
Yeah, I couldn't find... I'm never gonna find this shit.
Basically, this guy looks like... Tico, the creator, made a joke where he was like, oh, this guy looks like a Lego character because of his haircut. So, you know...
You know those, like, Bob, I say no more memes? Fuck, man.
Like this Baba, what do you want? Just viewing my life father say no more. I mean it's that image base.
This is the value meme I knew I'm not clued up on memes. This is just one I saw like ten years ago. I made a meme where it's like a picture of that guy from Amigo and I was like Baba, what do you and what do you want?
It's like turn me into a Lego character and I just just a quick one Yeah, you can do both you can do both like It's just whatever pops up into your mind. That's literally it.
Yeah, that's all for the memes. But don't go deep work. That deep work dude's going to keep getting me, man.
Cool.
Knowing when a visual is done would be useful now. What do you guys want to do? Which one do you guys want to do from here?
I'd say retention. Retention. Okay, cool.
Does your animation make the concept clearer or more confusing? People click off when they're confused.
Yeah.
There's not much to that one, is there? Is there any questions on that? Yeah.
I remember that was actually super long ago. I don't know if you remember. Once in the editing feedback, I submitted the GTA video.
Yes. and you had explained to me how retention works with pacing where you have like fast pacing slow pacing exactly this I think wouldn't there be something similar with animations like where you can somehow visualize it with a graph because after you showed me that graph it was like perfect yeah um yes that animation that graph that you're talking about exists with animations but it's more to do with digestibility rather than retention So the graph you're talking about guys is this Well pretty much with your animations you don't want it to be like constant just animation Overload, but you don't want it when you can't have it low key animations just for the video What you want to have is a perfect middle ground, but not here because that just looks like the others You want it to be like this?
When you sort of have like a foster bit of animations where a few things happen then like even just half a second without animations where things sit for a second then you have a few more animations and then you let those ones sit that would be on like a a few second timeline and time frame but the same concept applies throughout the video you might have the intro which is super heavy then you have a little bit that just slows down a bit and then you have like another heavy section the reason you do this is otherwise it becomes overwhelming Yeah, it becomes overwhelming But that is more of a digestibility thing rather than retention per se because you can get crazy good retention with All high you can get crazy good retention with all low.
Just it's hard to get it like this without being overwhelming But isn't isn't the what causes retention basically? How should I say? You know how it goes from top to bottom.
Yeah, the quicker it goes the more it's catchy. No Because it's like I would say the opposite because imagine you're watching like this super chill video like some self -improvement video then out of nowhere it's just like everything unloads out of nowhere and then it just stops randomly I actually think it is an ease in thing and an ease out but weren't those literally Hamza's video where sometimes he was talking talking and then he was making like um an example and then it was like Jeffrey and everything like visualizing then it's calming him to be fair if you look at his videos yes some videos are super unedited some videos are very like some are very edited some are less edited they except the unedited ones they will still fit this um where it's like like this could be this it could be like you're right it could be like that more but like the same concept applies if you know what i mean um because i'm thinking more yeah because the intro what makes the what makes an intro catchy is when it like catches you off guard
Usually before you watch a video you're like in a calm state. That's what the intro has to be the opposite of like a very like Yeah, the main thing of the intro is you're setting expectations so the problem Comes when someone has like this crazy intro and then the rest of the videos like this, okay? Like if you're gonna set this up You basically set this up if you're gonna have like a medium like if you're gonna have like a video like here Set the intro up maybe here Does that make sense?
Yeah. Because you've got to like, you're setting an expectation here for what they're going to get. Part of this has to do with the thumbnail, but that's another topic.
Yeah.
What would that be? You still have this. If you look at a MrBeast video, you have moments where it's crazy animations, you show off the cool thing, then it cuts back to him and the main character, the character that's the subject for the video.
It closes in on him, and then they do something crazy, and now we have a visual of an aerial or something. You still have this. What makes a video boring?
What makes a video boring? It's the same information multiple times. So this is more a cutting thing, by the way.
With cutting, every new scene should have new information in some way. And new information doesn't, it doesn't mean literal information. It might be a new emotion that's been introduced.
It might be a new character that's been introduced, new stakes, meaning this, like everything that's happened is now more important because of this new thing that I'm talking about. What can often happen is people say the same thing. but in different words.
All of us here know that we should cut out repeated phrases, but not everyone cuts out repeated points. So let's say I say, we need to head to the park now. It's so important that we leave instantly.
Both of those phrases mean the same thing. They're different words, but they mean the same thing. It doesn't matter which one you keep in.
It just matters that you get rid of one of them. So with what keeps a video boring, it's just you have this section where it's like the story's not moving forward. It's just like, here's a point, here's a point, here's a point, here's a point.
And it's all the same concept.
Yeah.
I would say the constant movement thing, it just doesn't have anything to do with the video. It's like, it comes back to that context thing, like make it mean something for the video. Like I wouldn't do this unless it was for the introduction of a character.
So it makes sense in the context. So it's not really boring. But if this just came up on the fourth scene that Sarah came onto the scene, it's like, why is that there?
You know what I mean? Or if I imagine there was like a... They're just outside and I just put, like, tree.
Like, just labeled it. It's like, what do they do? But people do this in just different ways.
It's like... That would be funny. It would be funny as shit.
Like, you can use it to your advantage, but... People do that with unimportant topics in the video, but they make a crazy animation of it. Like, there was this Minecraft video I saw once where the guy, he literally just said something like, oh, the chicken just laid an egg.
And he made like this crazy 3D animation of like an egg with like a tile of like an egg. I'm like, dude, he said it as a passing comment. It didn't need that.
And then the most important part where like it was some modded video where there was an axe. He just like, he didn't do anything. And I'm like, the egg wasn't that important.
So with boring visuals, it's like visuals that don't fit the context or significance of the point.
Retention done. Basically, make it make sense in the context of the video. I have a question about retention, actually.
Go for it. Actually, I don't think you... When do you use that flickering thing?
That flickering preset? Yeah. When do you use that?
The strobe light. The strobe light, yeah. What is that for?
It just looks cool. Okay. It just looks fucking sick.
Let me find some videos.
Shit, was it this one? Did you hear that? What was that?
So it was like, why did you leave it? Why did you leave it? Yeah.
Here's a context of a flicker. So like an impact. So I just have it flicker on the impact.
Let's see if I have any more plane animation. Did I use it here? Yeah.
So let's see. Yeah, so when I wanted to let go like darker vibe, so basically this animation was about Like the fact that there's a shit on it mileage and there's bad carbon stuff. So it's a negative vibe So I tie it in the vignette and I also add a flicker dark in the scene.
So this is where is it? Can you guys see it? Is it big enough?
Oh wait, yeah, that's because I'm paused, wait. There, you see it? So that's the flicker It just looks cool, that's it.
Is it called flicker or strobe light? I call it flicker in my pack, but it's a strobe light. It's a pain in the ass to fix the settings, just use my presets.
Cool. That is... That's done?
Yeah. What are you guys going to cover?
Improving, I would say. Improving? Yeah.
Don't be worried about taking a shit ton of time with your edits. at first. Can you repeat that?
Don't be afraid of taking a long time on your edits when you're doing something new because obviously don't take ages on your animations now that I've said that we've talked about that earlier but in general the time that you take to create something will look like this Usually this is what your time taken will look like.
The first time you try something new takes you six bloody hours. But the second time, it literally goes to like half that time. So think about the best animation you've made.
Genuinely get that in your head. If I asked you to recreate that exact animation, do you think it would, how long, what percentage of time do you think it would take? Probably like 50, 60 % compared to originally.
You'd get twice as fast. And the next time you do it, it gets even faster because it's like now you've done this before. And now this doesn't mean you're literally creating the same animation, but it might be the same concept just in a different context.
So it might be the first time you did a 3D thing where something flies in and spins. You might have done it for a coin. But the next time you do it, you do it for a, you know those time things, sand timers.
Next time you do it for a sand timer, same concept. Next time you might do it in a complete different composition.
That's a sand timer and a person and you have this doing the same animation. First time to learn it might have taken you four hours to learn how to do that 3D spin. Second time probably took you like an hour and a half to get it perfect.
This one, you damn well just have the same animation. You could copy the exact keyframes, might take you 30 minutes. And the more you do it, the faster you get.
And this is without even thinking about how fast you are. You will do this by accident. Ultimately, you get to the point where you've done something so many times where you can...
Should we close that? Oh, it's loud as shit. Can we close that one more?
Yeah. Eventually, you get to the point where you can just copy your old project files. And that's the point where you have crazy animations and you're basically not even editing.
I'll show you a con... this in actual action.
Okay, for example, I was working on these animations in order. Let's see if this actually loads, please. I made this animation first, which was basically this mouse clicking the Figma thing.
When I wanted to create another thing with the mouse, I didn't recreate that mouse. I used the exact same nest. I used the exact same keyframes.
All I did was change where the keyframes go to.
Same thing with another one, I believe Same thing with this one same mouse now you can do this within the same project But it gets even better when you do it with different clients Because you can it doesn't matter if you use the same mouse If you can you can use the exact same scene all you have to do Let's say if you're doing something like this The first time you did it was with a dollar sign second time you do it with this just go in the nest So you copy it over to the project you want You go in the nest, change this asset, and it looks amazing.
How do you change the asset without having to do everything again? Is it replaced? I'll show you.
Let's say I wanted to VQA this. This, pretty much. But instead of a PS5, I have a cookie.
It's really random, but... Cool. I'm going to paste that in.
Let's see if this actually works. Yeah, that's fucked. What I would do then...
This is me going to show you how I should problem solve. So you saw that was fucked. That's basically sequence setting problems.
I can fix that manually, but I don't want to. So what I'm going to do is basically... Let's just copy this over to a new project.
I don't think I put in a new project. I think I put in a new sequence. Yeah, it's fine.
It works. Then what I'd basically do is just go here, find like a cookie PNG.
We'll get that one. That one looks nicer.
Then let's say you want it for the PS5. you go in you find which layer was the action ps5 okay it seems like that one you can see i've center nested this and then you would basically change this for a cookie what is that because is there any is there any like effects on the like the ps5 you can just check it if you want yeah um have you been through the automations Part of the program.
Look at copy attributes and paste attributes. Copy and paste attributes. That's going to be so useful here.
Isn't there a thing where you paste the assets? I don't like to do that because it fucks up the original animation. So you can see now, I can just change this text and now I have this whole new thing I can use in another video.
So how is the plugin called for pasting? Oh, CopyPasto. Everyone should have that if you're unfamiliar with After Effects.
Copy, paste on. Get that now. Cool.
Defining your task really helps. So I now no longer work without a predefined task. And what that means is...
You kind of catch yourself when you're about to go into an all -nighter because you'll notice patterns where it's like, oh, I actually don't know what I'm working on. Then it's just not valid to continue working. That's when it takes the discipline to actually go to bed.
I like to fully turn my computer off. Don't tell yourself you're going to go to bed. Just turn your computer off.
If you have a desktop, obviously fully close out of it. If you have a laptop, don't bring it into bed, which is a problem I had, which caused this.
Yeah, define the task and turn your computer off and realize it takes discipline. But if you're not doing actual work, just turn it off. There are going to be days you have to do these sometimes.
I still do, honestly, like once or twice a month because sometimes entrepreneurship requires that. the goal isn't to eliminate them it's just you can use these as a tool but you don't want to do all nighters without actually getting work done that's where you get that danger zone or if it's like really good you you go and you're like 3 a .m you go okay now yeah that's a good question like do you have a flexible bedtime or do you have like a set bedtime I have a set bedtime but I do sleep usually within an hour either side sometimes usually it's an hour after to be honest I'm rarely an hour earlier but I have a set time which for me is around 11 p .m And I try to sleep by then.
Sometimes I'm either super motivated during a deep work session or I did my work in the morning and now I'm out with my mates and we stay out until like 11 .30. So now I have like half an hour to go to bed. So there is some rhythm, but that's how I deal with the sleep time.
When you say all -nighter, do you mean going to bed at 6 a .m. or just literally skipping sleep until the next evening? Yeah, I guess this...
concept covers both because sometimes like you stay up and you don't even get any rest which fully cooks you like if anyone's done an all nighter you know it's bad when you do an all nighter and then you stop being tired and you're like whoa this is bad i don't know if anyone's had that but birds start chirping yeah yeah birds start chirping and like your tiredness goes away i'm like whoa this shouldn't happen and you know you're about to cook your body that's bad bad because that takes you like two or three days to recover from but When it comes to staying up really late, it is bad, but sometimes you have to do it.
It's just, if you're not actually doing work, just stop. It's about realising, am I actually getting work done, or is this just me coasting along a session? That's what I would consider.
How do you recover? How do you recover? If he goes there, they're like five.
Normally I just sleep for so long.
Yeah, I mean the ultimate cure is prevention so you want to try not to do that as much as possible and The main thing is you have you had a sleep hygiene Okay, it's this concept where? How can you have the best sleep possible? So it's things like not having your phone in your room not going on screens before bed all of that good stuff Your circadian rhythm so your body's clock won't get fucked if by doing these But sometimes just to recover you want to have no sunlight just so your body thinks it's kind of night Does that make sense?
That's what helped me like I did that last night. I was up to like 1 2 ish 3 a .m Because me and Imran were like sorting shit out for this event. So I had a late night and It was like getting it bright but you could see like the sun is going to come up in like two three four hours so what we did is we just blacked out the curtains the windows so that my body still thinks it's night because if anyone here has noticed you it's very difficult to sleep when the sunlight into them like even a little bit so black out everything no phones and realize as soon as your work output drops precipitously so you realize i'm not getting work done don't keep working Because you're just, now you're just, from that point you're just staying up, not getting work done but you're also not getting sleep, you get the worst of both worlds.
So it's about, if you're going to do this, the main skill is in noticing when is my work output dropping and when does it make more sense for me to actually just sleep. When is that the more productive thing?
Minimums? There's no set hours, to be honest. Sometimes I'm fine on two.
I... Whenever I do an all -nighter or I stay up late, I don't put an alarm on. That's important.
I don't put an alarm on. I let my body rest as long as it needs. Yeah, but let's say it's still a bit chill on that.
Okay. You go to the point where you just literally can't do anything. So, okay, I need to sleep.
So, what's the minimum? Like an hour, three hours? Or an hour of sleep and then you get right back into it and finish it up?
Oh, I don't usually do that. As in I don't usually say I'm going to rest for an hour and then go back into work because either the rest isn't enough or I just work like shit. What I usually do is I will work if I'm going to do an all nighter.
I don't do this too often. If I'm going to do like a super late night, what I will do is I will just at the point at which I'm just cooked, I will rest as long as my body needs. Like stacking all nighters, right?
Yeah, I wouldn't do that. I just wouldn't.
There's a way to prevent it. So look at why am I doing an all -nighter? If you see what I'm saying.
I guess it's the same concept, just on steroids.
Are you asking if you do two all -nighters, what do you do after?
You're so tired you can't even focus, you're just staring at the monitor and you're like, okay, I need to sleep. My mental, my body, work -wise, you sleep. But if you sleep like 12 hours, it's like, the video is going to be like here.
You can't just sleep until you're all happy and you're still going to sleep. So you need to sleep a little bit, so you can get as much as you can for the video. Yeah.
I've done nights like that, so I get what you're saying now. I understand it clearly. So you're asking how do I rest in that middle brick?
Yeah. Okay. I was small.
Yeah. Pretty much what I said to Owen, it was you I talked about the sunlight thing just now. Yeah, but the opposite.
So I keep it open so I wake up and then have an alarm. If I need to. But that should not happen often.
Like if that becomes a recurring thing where you are staying up like two, three nights in a row, ask yourself like why is it coming this late? Like attack at the root. How much all -nighters per month is acceptable?
Technically zero. When I was at my growth stage where I was growing the most in actual editing for clients, I was maybe doing it three, four times a month, which is kind of crazy. Now I maybe do it like one, two times a month.
The thing is, I actually stopped doing all -nighters completely. So I had meticulous sleep for probably around like three, four months. What I realised is I started hating my work.
And this is such a weird concept, but I actually started hating my work when I forced myself to sleep. And it was because I wanted to work on something and I would have to force myself to stop. And I was like, it feels like a job where...
when you don't like something you're forced to do it and when you like something you're not allowed to do it and I was like bro I'm gonna allow myself to stay up a little bit so probably like once every month I have one of these nights where I'm working on something and like inspiration just strikes everyone here must have had a video like that where you're like you start on a video and it's just flowing like you're doing visual after visual everything's coming out great like one idea leads to the next and it's It's like I don't feel like I even need a break.
I'm just a monster right now. Sometimes I'll do it all nighter. Not because I want to.
Not because I have to, but because it's like one thing just leads to another. But if I notice my work output drop, that's when I'll stop. Because that's where it's like saying I have the inspiration is cooked.
So work output drops, I will stop the night. Sometimes I go an hour or two hours ahead. Once a month, maybe I'll have this crazy inspiration night where I just really want to make something.
The smooth editing pack, you guys have seen that. The trailers for those are usually on one of those inspiration nights. Most people don't know this, all my showreels, every single pack trailer you've seen was made in one night during an all nighter.
I just felt super inspired one night. With the avoiding part, it's like a big thing is getting preventative. How do you actually not land yourself in that situation kind of thing?
Okay. uh did we come to that on like another topic like on the that's the all nighters thing yeah it's like just like because for me it's like when i have to do it i really can work like crazy like hours and hours but it's like i want to stop finding myself in my good situation for what i have to do yeah why do you feel like it's happening now i feel like i'm really bad at getting estimations for deadlines like i know the rule of thumb is like you need to like figure it's like 2x the like amount of work or something yeah it's like i always have like an impulse to say oh you can always like you can get it done in that time even though it's really like yeah like i'm setting too much pressure on myself how do i stop this like infamous repetition cycle okay so has this been happening with recent client work yeah i've been having this problem like for like months like i cool my estimations are so bad like i just can't do you usually overshoot or undershoot so do you think it
do you get it done faster than you think or do you take longer than you think i take way longer okay and how long how long do you take on a video right now for one of your clients um okay so i was working on a 20 minute video yeah and uh i've been working on it for well the thing is like the deadline was like 10 days but i wasn't available for like four days so then you think oh i haven't got a catch up and i start back with a day like if i want more to do where i get back Yeah.
Okay.
Yeah, let's talk about that. We'll talk about deadline management. Would you guys find that useful?
I think that leads into this quite well. Cool.
The frame I want all of you to have is deadlines are good. Like, so many people hate them. If you cannot get good at understanding why deadlines exist and how they affect you psychologically, you'll be fucked.
You'll be constantly late or you'll get things done on time but you'll hate your life and you'll feel like you're constantly on this treadmill. Deadlines are genuinely the best thing that you can do for yourself. In fact, they're so important that if the client says, I don't have a deadline, I will enforce a deadline on myself and communicate it with the client.
The reason deadlines are so important, has anyone here heard of Parkinson's law? Hand by hand. Who hasn't heard of Parkinson's law?
Okay, Parkinson's law is this concept where a task will fill up the time that you give it. So if you have a five minute task, but you gave yourself three hours to do it, that five minute task will suddenly take you three hours. And you don't know why.
It's like, oh, I'm going to start it now. Oh, but then I have this other thing I need to start on. And then, okay, I'm going to start on it, but then...
shit, this other thing needs to be in place. Let me go get that done. So you find yourself three hours later and now the thing needs to be done and you end up doing it.
So the way people leverage Parkinson's law is instead of giving yourself three hours to do a five minute task, just give yourself five minutes and have two steaks on the line. Because if your mom was going to die unless you got that video done on deadline, you would get it done. And I think all of us here would agree.
But then suddenly you have one week to do the video. And objectively, in terms of time, it takes you two days. When are you going to start it?
Exactly. So actually putting forward the deadline will make you get more work done. And for a lot of the guys we spoke about this yesterday who have a number of videos constraint, you will find this very useful.
It might not be that you can only get one video done a week. It might just be you're giving yourself one week. And it actually takes you two, three days or four days, whatever that number is.
So deadlines are a great thing. The way you would get better, if you find yourself... There's a way to reverse that for me.
It's like a task. You think it would take like 10 hours and it takes like 15, 20. Okay.
So do you mean more on an hour basis rather than days? Oh, no, it's just like an example, not specifically. Okay.
What can be good for this, if you feel like you're bad at predicting how long your video will take, you can chunk up. So there's something called human planning fallacy, I believe it's called, where as humans, we're just shit at judging time. Best example of this, when I was trying to organize all of this, it's like you think one thing will take five minutes, it takes you six hours.
And then another thing you think was going to be like a two -week job, you get it done in a two -minute phone call. Like, we're just terrible at judging time. In the same way, who here has had a time where they think the cut's going to take two hours, and now suddenly, two days later, you have been working, but it's just taken that long.
So humans are terrible at judging time. And the more vague and broad the task is, the longer, the further off our estimate is. So if I asked you, like, How long does it take you to build a business?
Yeah. I don't know. You know what I mean?
So, but then if I asked you, how long does it take you to walk to your laptop? You could figure it out reasonably. And then you could figure out, okay, how long does it take you to turn it on?
How long does it take you to open up your tabs? And then obviously that's like gone super granular. But you're a lot better at estimating the time for this tiny task.
rather than estimating the time for this huge task. So I don't like to... You can get better at predicting this video will take me X amount of time, especially as you work on more videos like that.
But if you're misjudging yourself often, break it up into, I think the cut's going to take me this much time. Usually you're still going to be wrong. You're just going to be less wrong than if you try guessing the whole thing.
So you ask yourself, how long will actually downloading the footage take? then how long will organizing it take? How long will assembling it take?
Then fine cut basically all the stages of your workflow. And you say like, I think this will take me 10 minutes, then 15, then 30, then one hour, 15 minutes, two minutes. And what you do then, remember we talked about the deep work protocol?
These tasks just become that task you put in that first question. So, This is how I do it.
And to figure out how long the video will take, you just add these. Usually I add like 20 % more as well. I was going to say, yeah, it's like a good like measurement to add on to each stage.
Yeah. Assume shit will go wrong. Yeah.
Yeah. Like I always think, let's say a visual take me 45 minutes and it always takes me like an hour and a half because there's things you want to change around. And the thing is you want to allow yourself to take that time.
Yeah. Because the thing is, I've seen your work. Your work's improving a ton recently.
If you force yourself to fit into the time you defined and you don't allow yourself to go over a bit, you're going to stop that improvement. You want to allow yourself. Yeah, I agree too.
That's like, maybe that's been a while I've been getting back. You spend like 10 hours on like four animations. Yeah.
Yeah, I've got you there. So give yourself the freedom to, like don't like middle yourself, I think. Yeah.
These are estimations, not constraints. Got you.
It's this paradox where you need to have externally, you should have longer, but internally you should know that it's like this, if that makes sense. So you should know that you have two, three days. You can give yourself one or two days extra for basically buffer in case it goes wrong.
If you're not good at self -regulating your own motivation, which is required for you to start working on day one, then I recommend putting the deadline forward. But if you're the type of person who can basically force yourself to work, then you can start leveraging. I'm going to tell the client it'll take seven days, but I'm going to do it in two or three.
That's when you can do that. But if you're at a stage where you can't manage your own deadlines right now, just shorten the deadline. So it depends where you're at.
Thanks, folks. If a client doesn't give me a deadline, just says, get it done, A, C, D, should I ask them to give me it? Yes, or you give it.
Like, is X date reasonable? He will say yes or no. Usually they'll say yes.
And then you just say, cool, I will. Not I can, or like, I'll try. It's I will.
The reason this works, by the way, and the reason I say, even if a client doesn't set a deadline, you set a deadline, is... When you say you're going to get something done and you don't, you're going to feel like a bitch. That shame around it causes you to work.
Think about it. Why do we actually have a week and we work on the last day? Because we start feeling the shame of like, oh, this guy's going to drop me.
I'm going to look like a liar. And I don't want to look like that. So basically, your brain understands that around day five out of seven.
And then it just kicks in. If we can just induce this feeling earlier. You will just start working which is why we pull the deadline forward and your brain needs to believe the deadline It's not enough to just say I want to get it done by this date It has to be like the client knows and I will genuinely look bad if I don't get it done make sense Is it the first video you're doing like this?
You can be a little more vague in these cases. I normally wouldn't recommend this to anyone else, unless you're working on these super fat projects like you are, Carter. You can be more vague on deadlines, where you would say, cool, I appreciate it.
Let's say the guy asked, how long do you think it'll take? And you could say something like, right now I'm thinking it'll take about one to two weeks. I can get you a better day once I've started working on it.
Because it's true. When you're like 20, 30 % in, you have a better idea, where you might say, Dude, I gave myself 30 days to still take down to 90.
But you have a better understanding as soon as you start. So you can be a little more vague, but you would communicate that. You're being vague about the deadline, but you're clear about it.
So you're saying, I think it'll take me about one to two weeks, but I'm not sure. I'll let you know more details once we get started. Is that all good?
I think that would sell well. But the thing is, I told him one or two months. He was like, ooh, I don't know.
because you thought the movie complex they kind of lose your uh what is it well it's like old news after him uh two months okay right so he wants to get done quicker and i'll say oh well i like i don't want to just conform like i don't know either i actually need this time otherwise i don't know when so like how would you go about if they want it shorter but In that case specific where it's a huge project and you know it's going to be huge no matter what and the guy needs it earlier rather than later because of the trending topic I would just frame it as as you can get like part of it sent or like you can give an update within about a month but you don't You don't want to rush it because it won't come out as good as you can get it done when you say I Don't want to rush it because I don't want to rush it for the sake of rushing it There's different ways of wording this but that's how I like to word it If you say I don't want to rush it for the sake of rushing it What happens is you make them feel silly if they said go rush it Like it's in their interest, right?
So I would frame it like that and then actually give them an update a week or two in because you'd have a better idea of how long it'll take. And it might turn out that you can get it done faster. If it does take longer, I'm of the opinion that I would rather ask for forgiveness than permission.
So sometimes I've done this before. I did it with Sonar and it became my best video. I told it it'll take one to two weeks.
It took me three months.
The whole summer time. Yeah. And think about it like this, that whole video, the 100 comments video, has everyone here seen that?
Yeah. Yeah, the 100 comments video, that was a video where she made a post. So it's like, it's as time sensitive as it gets because people will go and look at that post and it says like three, four months ago.
So I get it, but I would, if you know you can deliver, you can try it. It is a risky game. But for big ass videos that can change your career, I think it's worth the shot.
So I told him, he was asking, oh, can we not do 3D in some parts? And I was like, that's a make. You're cheap.
Since we're doing it in a simpler style, I don't think I want to do it. So I told him we could just do less complex 3D scenes. And I could get it done in four weeks.
Just one attempt to get it done in four weeks. And so now I have to... get this kind of done on a hard deadline for weeks.
I said we'll update it and he said he gives me permission to try to do like the best quality I can, but if I'm going a little, like you guys said, we're running late, it's totally fine just to keep it simple and adjust the quality sections, right? But keep the most important things, all the advanced 3D and more simpler. So how do I go about tracking what I'm doing, right?
Because I feel like once I start this, I will, oh, of course, I'll start off with the most complex and be like, oh, okay, I can get this done, right? And then I keep doing it and it's like, oh, I don't know when I should make it more simple so I can fit it in. Okay, so if you're not sure how long the whole video will take, how do you know how hard to go as you're working on it?
Yeah. Gotcha. I'll share my framework for this.
The way I like to think about V projects is, let's say you want to have, this is start to finish, and you want to have animations throughout. Let's say a big X is going to be a crazy animation, a small X is just simple animations. I won't usually work like this, and then get the first animation crazy done, then this, then this, because then you might be here, and the deadline's in two days now.
And then it's like, you don't even have time, even if you did simple editing. What I like to think of is I will work in layers. So I will get the video done to a point where preferably even by the cut stage, the video is good enough that it might not bang on YouTube, but there's no problems with it.
If that makes sense. It's like, it's a viewable video. Might not be the best video, but it's viewable.
Because as soon as you get the video done to the point where like you've done the cut, you've done like a base level of animations. let's say these are like small animations, not saying it has to be throughout, but where you feel it fits, you're doing, this is a documentary video. So like, you've got like that base level of footage as well, where you've placed everything in, and maybe you've got like one or two that just naturally the idea came up.
Once you've got it to this point, and you might, you might be at the deadline. Cool, you can hand this in. But if you do have extra time, Now you can go back fill these crazy animations, but you get the base level first rather than just bang The way I usually do You can't really have a base here.
We had a Simple start. Okay, some things. Yeah, but for this particular project, it's like He's like how to start everything from scratch Yeah, that is just the voiceover.
There's nothing like ero or anything. It's just voiceover So how would you do this simpler stuff because i'm thinking it's like I either Based on what you said like i'm thinking like okay i'll just start to I'll kind of like do it in like batches, you know, okay. I'll try to get two minutes done By this date simple two minutes here.
Maybe if I want a major part animations I guess I would think about it slightly differently, since I want to do it simple here, I want to do it hard here. I would more just think which ideas come up first.
Is ideation, because you were talking last night, you said that most of your work feels like just ideating, how should I visualize this thing? Do you feel that takes a decent amount of time? Yeah.
Instead of saying, I want to do this big one here, this big one here, this big one here, you're just sort of, building it, and as if an idea naturally comes to you, so let's say you're doing this, you've got a voiceover, what's sort of like the, I know you said there's no base footage, but what sort of assets are you using so I understand?
For this particular product, it's 3D, so I'll probably just put reference images of like the scene I want to create in Blender. Okay. Or like, the simpler scenes are going to be like, let's see, the simpler scenes are just going to be like, like a core -core with things on them.
So I could throw like images that I'm going to use in the core -core. So just like, I have reference images for the complex scenes and just like assets, like the core -core effect shelf on the timeline. Yeah.
So just to simplify language that we're using in this conversation, are you saying basically the asset -based ones are simpler, Blender 3D is more complex scenes? Is that the language you want to speak? Cool.
That would just be, okay, you're working through it and maybe you're working with mostly assets. And if you have like an idea, you know basically how to execute it. You know there's some scenes, you'll never know how to execute a scene start to finish before you've done it.
But you know how there's some scenes where you're like, I can see that happening. I have the idea and I have a decent enough path of how to create that where I can start now. That's where I would just do that animation there.
Because I get what you're saying. You can't really do a base layer of footage because you're just going to override it completely. But in that case, I would just go simple and only really capitalize on the ideas you naturally get.
And then let's say, You get a natural idea here. Let's say you don't get any natural ideas here, but you've just done like more simple asset based.
Once this is done, now this is a viewable video. Let's say you have time. Let's say you don't have time.
You've hit the deadline. You can hand this in. If you have the time, you can go in and now you start thinking, okay, is there anything that I can listen to that works?
And it's like, it might not that you're forcing it in. But you sort of have more intentional effort of, oh, I can fit an animation here. I can fit an animation here.
So that's how I would think. What comes naturally? And then start backfilling with forced ideas, you could say.
Does that help? Awesome. Perfect.
I think you want to say something, right? Yeah, but I actually kind of forgot what I wanted to say. No, I remember.
Yeah, so about the deadline topic before. Imagine you have a deadline for seven days, but you know you can get it done within three. Unless you get it done in three, do you deliver it after three?
Yes. Why? Because you've over -delivered.
But I would always start, if I show myself, I would almost spark a sense of showing that I don't really have any other clients. Why does it show you don't have other clients? I have had editors who have...
got it faster than i asked for i've never had a single thought like that i just thought every event it was late this guy's not only on time he's early okay was that uh make the client just like oh that guy yeah done three days uh all the wrestling videos three days yeah they could try and push it forward lane because they think you're faster when you say it's oh can we get something going three four days yes yes Yeah, I haven't had that concern because you guys understand establishing expectations.
You do that on a very big scale when you first work with a client, but you sort of do like a mini establishing expectations when you work on like two plus. So the first one is, oh, what's the reference style? Like where are you trying to take the channel?
All of that good stuff. But after that, you have like a short conversation. Thank you, man.
You have like a short conversation where it is. Oh, Nick, what's the next video we're working on? Oh, cool, how long do you think it'll be?
Okay, cool, the average. And you just jump back into it. It's the same framework of your threading, you're trying to find out about the video, just quicker because you already have rapport.
But in terms of how long the video will take, you just cover that here. So, cool, is there a deadline for this? I can get this done by X date.
If you say it, you'll usually get over that problem. So instead of waiting for him to say a deadline, just say, Cool, I think this will take about X days, so I can get it to you on Y date.
I've entered thread. Cool. Do you set deadlines for re -edits?
For trying to break into an issue? For re -edits? Yeah.
He's trying to do an edit for that one. Yeah, yeah. That, I want to have a rough date, I want to get it done, but honestly, with that, I don't have a hard time.
You just say, cook in the background. Like, why are they acting like that? It's dangerous to say that, because then you just don't work on it.
Yeah, that's what I have a problem with. Yeah. Yeah, that's the hard part of breaking into a niche or breaking into client work at all.
It's like it's all self -motivated. The way I like to see it is if you're trying to break into a niche, it's just would you rather break in now or later? And why?
Like would you rather delay it? Taking more time on a video doesn't inherently make it better. Some of my Some of my better videos.
So let's say I have a client where I worked on multiple videos. Some of the best ones where I was so crunched on time. A lot of people don't know this.
With the Sidewind channel, we basically work until the upload time. We're checking the video while it's uploading. That's how tight the deadlines are on that shit.
So you can create better videos when you're constrained on time. And I have this with just one of the projects as well.
Has anyone here heard of Goodhart's law? Okay, cool. This basically covers this.
To make a better video, sometimes it will take more time. But more time does not mean a better video.
Goodhart's law is where as soon as a metric becomes the goal, that metric stops being useful.
Okay, I made a good video. This video became better. Therefore, I should take longer on videos and I cannot make a good video unless it takes longer.
But you just end up wasting that time or yeah, you just waste that time. You don't create anything as good. So I wouldn't use I want to take longer as the metric that you're aiming for.
I would just say I want to make a good ass video. That might take less time than a shit video. So I would bear that in mind.
Yeah, some of your best videos will be on a time crunch telling you all now Any questions Good to move on. Let's see. What do we have?
We've done all liars We can do caffeine. Yeah Honestly, I'm a really shit person to talk about coffee Yeah, I'm a really shit person to talk about caffeine because I just don't respond much to it like I can sleep after the coffee So honestly, I have it more for taste.
But the recommendation, and I still do follow this, is you just want to have it in your first few hours if you're going to have it. Best case scenario, you have no craving for coffee and you don't need it, just don't have it. Here and there, it's fine for taste.
wouldn't really get but I felt like I Never I guess drink it. I just get in same way when you do drink it. Yeah If you find it works for you do it 100 % I just wouldn't do it towards the end of today.
That's why I stay away from energy boost but also it like your brain forms a mental association like as soon as you're drinking it's like okay i have to work and that's good of course this youtuber and so i do what i always do like i would i wouldn't want coffee but oh i didn't have coffee it's it's like an official start to the day and oh it tastes good too and yeah it's like like whatever i'm confident okay we're locking in now Is that like a bad thing?
I did that for a while, a few months ago, about two months ago, where every morning I'd have a coffee. I stopped it because I realised I was becoming reliant on it. And the reason I realised this is I would go outside without coffee and I would feel anxious.
I'm not a socially anxious person usually, but I'd find myself like, what's that person thinking? It's hard to notice it when you're in it. But I noticed it like a couple of times.
I'm like, oh, this is how I've been feeling for the last month. But I would just be sitting down and I have constant thoughts of like, do I look weird? Or like, how are people perceiving me?
And I realized I am so antsy and I think it's because of caffeine. So I stopped it for a while and it was, I kept getting those sort of anxiety moments. It went after a few weeks of no caffeine.
That's why now I don't build a routine of having caffeine.
I haven't looked into it. Right now, I just don't have a routine of it. Like, I believe that's a coffee.
Ironically. But I just have it... Basically, if I feel like having a coffee and it's decently early in the morning, like it is now...
I'll go for it. It's not this like thing I force myself to have a coffee or don't have a coffee. It's not binary.
So it's like, it's not that deep, but just don't make it that deep. Yeah. Like in moderation, it's fine.
And how do you find if you're getting addicted to something? Like caffeine or like, let's say you're texting somebody and you're like, oh, well, that's a guy. I guess you're getting addicted to your phone there.
Yeah. Is it just like...
Yeah, that's a really good one. There's multiple ways of basically stopping bad habits or addictions. The way I like to think about it is the first one is just cold turkey, where it's like, you just make a decision, I will no longer do this.
Most effective, but the hardest to implement. The method that I find best is just adding a shit ton of friction. So basically, I had a really bad sugar addiction.
I got rid of sugar in my household. I mean, I don't own sugar. I have honey.
I don't want sugar. I wanted to eat more protein. There's zero food in my fridge.
When there is food, it's steak or eggs. And milk. Like, I don't own bad food.
You know what I mean? So the friction for me to have, like, sugar is I have to go outside and, like... buy something sugary if that makes sense which is just a pain in the ass so when you're up late at like 11am 11pm working and suddenly you have a craving i'm there like having milk bro like that's not gonna kill me you know what i mean it's better than like downing some sweet it takes a long more discipline i'll be honest Yeah, so it's about adding friction.
Log out. Log out. If you can't handle it, delete it.
I've deleted it. I've just redownloaded it when I want to eat. Sign your iCloud.
I'm being serious. If you find that, then turn your phone off. Fully turn it off.
You know how we talked about for the deep work? Fully turn it off. Put it away when you're working.
All you want to do... So there's kind of two parts, right? Because it's not binary.
You have, like, you want to make the bad thing less sexy and less easy, and you want to make the good thing easy as hell. So, for example, my desk has nothing except my laptop, my mouse, and a monitor, and one cable connecting it. When I wake up in the morning, there's no, like, random thing I'm going to get distracted by.
And it's not always the thing that you get distracted by. Usually that just triggers something else, like you mentioned, like something that triggers it. you see, I see my wallet on my table.
Now I'm thinking, oh yeah, I should probably get that different card. I was going to apply for a credit card. And now you're like applying for a credit card.
It's just these random triggers that come up. It's like, this is why I don't even have decor. It's like, there's a plant there.
Oh, imagine like I had like a full on garden one day. Maybe I can rent a place with like a huge garden. It's like, you just come up with random shit.
Every little thing just brings up something else. So the less you have, the less triggers there are. Does that make sense?
And you can intentionally make things harder, like logging out if social media is something you want to make harder, having the food away from you for the phone, literally having it out of sight. You just make it a pain in the ass to do the bad thing. Then you just want to make it as easy as possible, like make it fun to do the thing you should be doing.
So for me, I found... Like for my work. I find it a pain in the ass when I need to Tidy my desk before I work.
So what I do is I tidy my desk like the night before So when I get up in the morning, I can just work I hate like, you know, even if it's just a few things you gotta move around. It's a pain in the ass So just making this the thing you want to do as easy as possible just thinking what you don't want to do is much of a pain in the ass and ugly and shameful as possible and Then it your your body would just want to go this way So that's how I deal with that in terms of removing triggers and stuff.
I personally, I love it. Not saying this as like dogma as you have to do it. I've done it.
I love it.
Yeah. I'll share my, do you guys want to, should we talk about like my paradigm on minimalism? Would that be useful?
Like sort of. how I get this as easy as possible. Would that be useful?
Like one question. Go for it. What if your addiction or maybe more like a habit is something healthy?
Like I personally, I cannot start my day without a cup of tea. Be careful not saying phrases like that. A cup of tea.
Yeah, what I'm saying is I cannot start my day without... You never want to say a phrase like that. Okay, okay.
Yeah, but it's been my habit since I was five or six. There's nothing wrong with T isn't it? The thing is you want to be careful about saying, I can't work without...
You can say I have a tendency to have T before I work, but I can work without T. It's important distinction, you know what I mean? If your work output is fine, I wouldn't worry about it.
If your sleep's alright, if your work output is fine, if you feel healthy, I wouldn't worry about it. So that's something to deal with. key and then...
Flo is playing way too much into the UK Stevia time. You're not doing us any favours, man. But yeah, that's fine, if you feel fine with it.
What if you can't change the positive Z? For example, whenever for assets on Google, the other images are always so much...
Wait, what do you mean by that? Is there some model there in the corner? Poison your area.
He keeps getting distracted, man. No, like, I would search up, like, let's say I would search up, like, I need a shoe asset. And for the video, it would be like, oh, perfect, like, just plain black shoes.
But then I'm like, oh, this is about, oh, look at these cool shoes. Oh, okay. It's on the side.
It's fine. Yeah. The advertisements are actually good to me.
Oh, get an ad blocker. If you don't have an ad blocker, holy shit. Well, it's not like an ad blocker.
Sometimes they are, but it's a perfectionism. Yeah. Oh, this shoes looks good, but I'm not going to use the black one.
Oh, like in terms of what you're using for your video or for your own buying habits? Which one are we talking?
Stay focused. So, Hmm.
Are you talking about like you get distracted and all I want to go buy these these look cool No, he means I have the same issue as well So say for example, you're looking for a shoe asset, right? And all of a sudden you find a cool black shoe black leather shoe that fits well with the video and all of a sudden you see a beige shoe A brown leather shoe and then kind of like thinking oh the brown will go well And then all of a sudden you see like a grey shoe and you say oh i'm gonna go grey So you have like these three options to go with then you find out you sort of like puzzle to which one to pick.
That is the hard work that makes your edits good. Yeah. It's the same thing as like, okay, you have like this curve that you're making and you change the bar from like here to like here and you see what it looks like.
Was you doing the first one a waste? No, because it was required for you to find this one. And this one might objectively look better, but you wouldn't have gotten to that if you didn't try this first.
In the same way with assets. Dude, when I'm using assets, I do that so much. But, like, the quality of your edit will be a lot of the time constrained by the quality of your assets.
You had this problem, right? Where his editing was good. Adam's editing was genuinely good.
But because he didn't put the time or, like, he wasn't using assets correctly, his work didn't look as good as it could. I told him, like, just fix the asset problem and your work will look ten times better. And within a week, he solved it.
So it's fun to jump around, look at different assets. Like, oh, I thought this was good, but this one's better. Well, I usually just, that's usually, for me, I'll just get distracted.
Like, I'll give you another example. Like, let's say I'm doing a video on, like, a famous person, right? It's like, everything, like, I would click on, oh, this is a good asset, and then I'd read the, like, the Google headline, like, oh, they did this one.
I click it, and I get distracted.
A part of it can be useful because sometimes understanding the context around what you're adding can help you find better images. So for example, let's say you're doing it on this celebrity and you see like they did this thing at the Met Gala. Then you can then search up this person's name, Met Gala.
So like sometimes a little bit of context can be useful. But if you're finding it's just straight up, you're falling into like a news article or whatever, it just comes down to this is you, this is the task. You're going to the task, you're going to the task, you start reading the article.
It's just a question of do you indulge or...
What do you like? Mind to stop refraction Like do it that tiny little bit because the set up by the 8020. Yeah, it's gonna go Yeah, I don't think perfectionism is a bad thing I'm a perfectionist The problem comes where people misdefined perfectionism as procrastination Perfectionism isn't I have this thing.
I want to create And because I want it to be perfect, I'm not going to start on it. That's not perfectionism.
You're just a pussy. You're procrastinating. Perfectionism is, I want to create this really cool thing.
I'm going to start here. I'm going to go. I'm going to go.
And I'm literally just not going to stop until I'm here.
What are you just defined of? Oh, how do you know, like, you change it a little bit? How do you know when to stop?
You stop when it looks like how you want it to look.
but I feel like when I like fall into the trap of like getting a thing perfect it's not because I have vision in mind and I try to go towards that I just like I see that I can always improve it somehow and I don't know when to stop you know yeah and just like like you just realize you start as a fact that you realize oh I've spent an hour I do the same thing.
I genuinely think that's how you improve. Well, it's like, it's like, you can add like three more hours for it to look 0 .1 % better. Okay.
I see what you're saying. So like, how do you stop essentially this from happening? Where like, I'm perfecting something.
I'm perfecting something. And now I don't have time for anything else. It's very similar to how we talked about the alternative to that.
So you sort of build up something base. For documentaries, you're right, it is a little bit harder. I would do more which ideas come first.
So if you're working documentary, instead of doing it in layers per se, you would just do, you're working on it and you basically indulge in the ideas that you find easiest. I wouldn't worry about forcing an idea. But if you're working on videos that have like normal footage, it would be more, by the cut level, it should be viewable.
With the simple effects that the ideas come easiest, do that. I wouldn't even, honestly, now that I'm saying it out loud, I wouldn't even think in terms of I want to make something simple, I want to make something complex. It's just which ideas come to me quickest.
So you know how sometimes you're just watching the video and something just, it's such an obvious thing you want to add. Sure, it might not be fully formed, but you know that something would work here. I would just work on those first and then get the video to, that one animation that you just started working on might take you an hour or two hours.
But then the next great idea that you have might be here. And then you go back in and force ideas. Like, actually think more intentionally of, like, you're just listening and you're thinking, like, what could I visualize?
What could I visualize? And then you catch onto a glimpse of an idea. But there's some that are super obvious.
Does that answer the question? Yeah. Is that cool?
Yeah, it's a super similar concept to before. I do perfect it when I'm working on something. You don't want to half -ass something.
Like, you see guys where... There's some edits that I've seen, that I review, where I'm like, how did you even let that render? You know what I mean?
Where it's like, okay, like, half the PNG is fucking off the screen. And I'm like, how did you not catch that? And he's like, I didn't have time.
I'm like, well, why did you make the edit then? What do you mean you didn't have time? If you told me I wanted to do another video and I didn't have the time, fair enough.
If you told me I wanted to add an animation here and I didn't have the time, fair enough. But if you've got to do something, do it right. That's my point.
Don't half -ass something.
Cool.
So I guess we've covered caffeine. And then we're jumping a little bit back and forth between like the mindset shit and the editing. School slash homework, should we quickly cover that?
The one guy that's in education has left, so we'll cover that in a second. We'll do gym balance. Good?
I believe everyone here trains, except the guy that's going to piss. Yeah? Cool.
Gym balance, what do you want to know? What do you want to know? Well, about my question of the training, when there's like a set time.
that you can't change so if you go to normal gym you just basically decide when you want yeah with my training there's just a set time when the training is and it's usually or do you remember what i said exactly yesterday or should i just repeat it so i'll try say you told me if i've got any gaps you said i believe there's just training you want to do it's at a certain time but then because you're training then you have to travel for it you get ready eating um coming back you're tired it's like 6 p .m and you just don't get worked on after is that correct yeah so basically whenever i have training i it's possible for me to work past 6 p .m and usually like i want to like work later or for example if the project is due i need to work if even if i just have to work until seven so i would technically still have like i would have time to train after but the training is over yeah when is your training session uh it's usually either at six or seven It depends.
8 or PM. Always PM. Yeah.
I personally really wanted to get into boxing and martial arts, and I made a conscious decision not to because of this reason.
That's what I did. I have it in my journal. I didn't bring it with me.
But every few months, I will usually have a journaling session where I ask myself, what am I willing to sacrifice? And again and again, MMA and boxing has come up.
I really want to get into it. I think it's such a sick thing for guys to do. That exact reason is why I'm not doing it, because it's just a focus thing.
If it is something you want to do, is there any way for you to change the time, even if it means moving to a different gym? That's what Hamza recommended as well. Yeah, but, I mean, the gym staff, it's always an evening.
okay if it's half seven or seven maybe that changes but you just wake up really before like four eight but that doesn't really work because when i come home from the gym i come home like minimum at 10 or half 11. so that's like the earliest i can go to sleep or be sure to work out and just do more training okay very well because it's the set train what time do you wake up Honestly, very unregular.
I want to wake up at 7. What time do you wake up?
Like 11, 12. I didn't mean to put you on the spot like that. Just smile.
Let's say 12. We'll even go with the later one. 12 to 6, what's happening?
Working. On. Whatever.
Like editing? Yeah. What song is that?
Maybe that's fine because I have... Now that you bring it up, I have a similar concept of 6pm past it's a bit cooked from a social perspective where I work in the morning and I enjoy having a bit of a social life towards the end of the day. And when you're like with your mates, you're all laughing, you don't want to go back to your room and be like, you know what I mean?
Just make more out of the hours in the morning. And if there's something that's super urgent, then you just work straight after. So you said you're tired after that.
Is it MMA? Yeah, you're tired after the MMA sessions. Sometimes it's just a part of a video you have to get done.
Sure, you're tired, but you get it done at like 60 % efficiency, whatever, here and there. But that first six hours, and especially if you throw out your sleeping time and waking time, you have like a solid eight hours to play with. You're not even going to get eight hours of deep work done.
Like you have more than enough time in the morning. That was a good point Carter, like in the morning. Is there something stopping you?
I think because I feel like there is, but I couldn't tell you more. I would audit your time. I would audit your time.
So you know that toggle tracker we brought up? Yeah. Do that with everything.
So gym, eating, socializing, everything. Just do it for a week. See where you're actually spending your time.
If you don't want to do that, just have like a notes app or a notion where you basically say roughly what you're doing. So let's say at 8 a .m. eating.
And then at this time, you're like on your phone. This isn't what you want to do, by the way. This is in the moment you write what you're doing.
And then you look at your time and you're like, well, that's where my six to eight hours are going. That's why I feel like I don't have time. Because once you identify the task, you can more easily say, what are the triggers to these tasks?
How can I eliminate slash automate slash delegate? And it just becomes a little bit easier to have that time back. Because you have the time.
We all do.
Like, always. What about, like, skipping the gym? Because you, like, procrastinate and you lose a lot of the days and you have to edit, like, later on.
So it's like, I really like the gym, but I have to tell myself, oh, I don't have time to go. It's happened continuously. Like, I used to go five, six days, and now it's like two or three because I feel like I have to edit instead and it's like you have to priority.
Yeah. Do you actually edit instead or do you procrastinate? No, I do end up doing the work, but it's like towards the end of the day, it's like I'm sort of like pushing it away or...
Okay. Then you lost the gym. Perhaps, yeah.
I've had moments like that. I still fall into it sometimes. What helped for me is train when I actually want to train.
And I found, I've tried... I like evening workouts. Now, every health guru says not to do that because it cooks your sleep.
Every time I try it early in the morning, my whole day I feel tired. Just as me personally. Some people...
get more energy. I get tired throughout the day. If I try it mid -day, I procrastinate.
Like, I tell myself I should go gym, but I have work. But then while I'm working, I'm thinking about I should be going to the gym, so I get nothing done. I found evening is just best for me.
Not saying you guys should do that, but I would allow yourself to experiment. Yeah, I mean, like, I kind of, yeah, it's pretty sporadic to be, like, sometimes two, then, like, six. But, um...
Yeah, I don't know, I just find that... you would all have to eat and then it's like you know that takes like an hour and a half and then you you think oh i don't have time to go to the gym now i just have to get like this amount of work done today yeah yeah if you it seems like you would you would benefit from trying evening workouts don't go right before you sleep but yeah like a few hours at least before you sleep would be great yeah um a big thing with this with procrastination is notice your own copes So, you know when you say, I should do this thing, but I have to...
It's because I'm kind of hating myself for not doing that thing. I work instead. Notice your own hopes.
And the reason I say that is you will lose more energy from saying, I should be doing this thing, just except you're not going to do it. Like, just say, I'm being a bitch and I'm not going to go to the gym. I do that all the fucking time.
And it actually helps, because it's like, I'm not in this weird middle ground. I either go to the gym or not. Don't be in this weird middle ground where I want to go, but I'm not.
It's either I'm going when I said I'm going, or if I'm not going and I'm saying I'm going to work, at least just accept I'm not going to go today and work. Because at least you're getting work done. Now, if the gym is your one and only goal, I'm assuming here for most of us, editing is the main priority in life.
Yes, we have other things, but editing is the priority. Gym might take a hit hidden there, and that's why I'm saying this is fine. If your sole goal is to get huge, Saying, oh, I don't feel like going to the gym, so I'm going to actually just accept I'm not going to go to the gym is a stupid idea.
But it does help with editing. And it just means that time that you're thinking about going to the gym at least isn't wasted. At least you're getting something out of it.
So if you're not going to go, just accept you're not going to go. And same way with work. If you're thinking about work and your social life, if you're thinking about your work or you're thinking about your social life, Either do it or don't.
Don't be in this weird middle ground where you think you should be doing something and you're not. Because that kills you mentally. What about if I go with other people?
Because it's quite a bit social. I don't know what it's going to be. So it's hard to go with my friends.
So they're not consistent with the time. So it's hard to gauge when I go to the gym. Every day is a set time.
So it makes it really difficult. Yeah. If that's your concern, because my social life, I get a lot of it from the gym as well.
But I don't do it with people I train with. It's more, if someone's in the gym, I'll speak to them. And this just comes to social skills of, yo, what are you training, man?
Oh, you look fucking huge, bro. And you start a conversation like that. You'd be surprised how many guys and girls would be very open to it.
Yeah, of course. Yeah, it's just like, I go with like, yeah, friends from a couple of years ago that were like regular friends and they're pretty sporadic. So it's like, it's like frustrating to deal with the inconsistency of the time.
Yeah. I said this to Owen yesterday about something else. If you don't like how someone acts, just do what you want and whoever likes, whoever joins you, joins you.
The thing is, if you do something for someone else, like, oh, they want to train at this time, so I'm going to put this off and train at that time. Let's say your work goes down, who are you going to blame? Yeah, yourself.
Yourself and them, mostly. Because it's like, oh, I only stopped this to train with you. If you fuck up your own work and it was like you chose your own gym time and you're unproductive, like some of us have been, at least you can blame yourself and you don't fuck up your friendship.
You know what I mean? But that's why it's like, if you don't like training with your mates because of the inconsistency, just train when you want. Let them know when you're training and say, if you'd like, you can join me.
That's how I do it. Yeah, like I said, I was doing this thing about boundaries and he just explained what happens in those boundaries is when you're presenting to the person, this is why you, like, oblige each other. So yeah, I would recommend you to tell him, like, and then we're focused on work and, like, it'd be best for me to go to the gym around this time or starting here.
Like, would that be, would that work for y 'all? Well, Sam would say yes. Yeah, and you go anyways, that's the main thing.
Cool, that's cool. What's up?
Late 23. Yeah, and then I stopped Because I broke my arm in it I began like this Like a background task Wanting to go back. Yeah like But it would just take time away from editing.
Yeah My opinion is either do or don't and it sounds obvious but So I had a similar thing, like I said, with the martial arts, like either boxing or MMA. I told myself that I want to do it and I was in this weird middle ground of should I do it or not.
That's when I did the journaling thing of saying I'm just not going to do it. And that put my mind at ease. Until the urge came again and I had to do that journaling exercise again.
I was like, I'm going to sacrifice everything. Everyone's going to get fucked.
If you keep having the urge, try it. I told this with Ala, I think he wanted to do badminton or something. I'm like, oh, golf.
I was like, dude, try it. You've brought this up three weeks in a row. It's clearly not going away.
Just do it one time. And he was like, yeah, it takes like two hours a week. It's pretty healthy.
I'm like, yeah, so there's no problem. So if you can eliminate and you feel okay with eliminating, I would see if you can. If the urge keeps coming up and you have this weird desire that just keeps coming up, try it out.
Don't be in this weird middle ground. You just lose energy and you don't get anything you want.
My Sundays are kind of cooked because I have a four hour training session from like 12 to like 4, 4 .30. It's like that. So it's a set that my Sundays are just cooked.
Why are your Sundays cooked from four hours of today? It takes an hour to drive down to my session. Four hour training session.
and then I'm back home in an hour. Cool. So it's like, I'm there for literally like six hours.
Yeah. Before I wake up in six hours. Yeah.
And then I'm tired. Obviously. If you do that, I think it would be a similar advice to what Amir has.
So, just do your work earlier. Because I've had times where I would go out for like six, seven hours. But I still get a shit ton of work done that day.
Realistically. Realistically, you can make a good amount of money if you just do about 1 to 3 deep work hours really consistently for two years. Wait, per day?
Okay.
Real deep work hours, which is important. But yeah, I would just do the work in the morning on that day. Cool.
Anything else before we move on? Yeah. What's up?
You know, like with my MMA situation, how you just like solve that for me like how to like go around that with adjusting the schedule why didn't you do that i'd rather eliminate why so i think we'll do the minimalism thing this i'll cover that in the minimalism basically most people think minimalism is i have all these things in my life, which usually people have hundreds of consecutive things.
And I'll give you some that might be relevant to us. I want to edit. I want to get good at editing.
I also want to get clients. I also want a brand. I also am thinking about starting this other personal brand.
And then I'm also thinking about my health. There's this jiu -jitsu thing. There's this other martial art.
And then I also want to get in badminton. I also want to get really good at social skills. Also flirting.
Fuck, I want to get good at game. And then my water intake also. Damn, carnivals have been kind of interesting.
Oh, wait, watches too. You know what I've been looking at is one certain watch. Oh, fashion, fuck.
Should I go minimalism? Should I go like... Most people have hundreds of fucking things.
People think minimalism is let me get rid of things.
The way I like to see it is instead of having all these things and getting rid of them, I like to start from I have nothing. What would I like to add? So it's like editing, social life.
I'm in decent enough shape where I don't have negative health effects. I don't care about getting huge. My business is the priority.
These are on maintenance where it's like, as long as my social life is good enough so I don't want to kill myself and I don't feel lonely, I'm fine. I don't need to be some social demon. That's fine.
For my health, I don't need to be huge. I don't need to be some martial art god. As long as I'm not fat, like, I can move and I can do shit.
That's dead -ass just how I think. Now everything just facilitates these goals. Like, what is the minimum amount that I can have for this?
So for editing, yeah, there'll be, like, for my business, there'll be, like, fucking 100 things, so that's the priority. For these, it's like, what's my social life? At the end of the day, I'll go to a cafe and work on this thing.
For the health, I'll do 50 push -ups in the morning every day. and I have a resistance band in my room, which is like the minimum amount, and I'll go gym like a few times a week. And that sort of helps the social life.
That's the minimum amount for this. So I'm not getting rid of loads of things. I'm just starting from zero, and then things will creep back into your life.
Like you'll see some random reel about like this different diet, and you're like, you start thinking about it again. You just have to catch it and be like... What have my thoughts been over the last month or two?
What hasn't been consuming my mind? Oh, I want to do jiu -jitsu, or I want to do this other thing. What thoughts are they?
And just make a choice, do I want to keep it or not? I try to eliminate if I can. If the thought keeps coming back up for months, maybe even years, I'll just do it.
For example, the car. I don't know if you watched my content like two years ago. I wanted the same car that I just got like last week for about two years.
And I didn't get it because of this. Because I just asked, can I eliminate? For two years, I was fucking ridiculed for not being able to drive.
But then recently, the thought has come up like, fuck, it actually makes more sense now. And I can afford it with this, if that makes sense. That's sort of why, this is how I think about it.
Do you get why I'm not doing the motion? Yeah, it's very good. But I have a question.
So in this scenario, you have, for example, these three sinks. Two for maintenance, one for growing. Yes.
What if you're growing two? You probably can. It's just I like to have one big thing that I focus on because then it just becomes like the whole gym or work thing.
Yeah, exactly. Do I go to the gym or do I have work? Having this just gives me a very easy filter.
But what... If you have two priorities, how would you go about it? You can't have two priorities.
That's the definition of a priority. Fair, but I mean like two things you want to grow, not just maintenance. You can grow both, but if there's a moment where you have to choose between one, you need to know from beforehand what's your priority.
So it comes back to, you know how we spoke about with clients? It was, you have two clients, maybe one's inconsistent, one's consistent. And you have another client you want to bring on and you have to replace one of them.
Who do you replace? Who do you replace? The inconsistent.
Exactly, why? Because that's the priority. Yeah.
Super easy decision because, yeah, it becomes a lot harder if it's like inconsistent, inconsistent. Now this happens in editing and it takes a fuck ton of thought. I'm sure most of us here have realised.
This takes more thought because now we have to think about the pay to effort ratio and all of this bullshit. You don't want to do that. with your day -to -day thinking.
This is worth it if anything's your main goal. This is just another thought. Imagine trying to put this many thoughts in this thing, and then with the gym it's like, oh, which workout, what macros, what time's the best to work out, what's my water intake, oh shit, you shouldn't actually have that much water when you're working out.
Or there's this thing to do with estrogenics, and now there's this testosterone maximization thing, and now, oh, I heard speaking to women raises your testosterone, so maybe I should do that before a workout. All this bullshit comes up, man. It's like, okay, I do 50 push -ups in the morning.
And whenever I feel a bit sloppy, I'll use the resistance band, and I'll go gym a few times. You know what I mean? So that's why you can't really have two, because you don't have the filter for when both of them come up.
But you can't go two. I'm still going in the gym. I'm going socially.
Just not as fast as I would if I put everything into it.
Yeah, that's great. Thank you. Cool.
With the gym and the social thing, it's like... Like you're about to go in and meet someone new, or your friend could be there and you're like, oh, it's Sukhwadi or something. Would that basically just be the same thing as what he was talking about?
Or it's like, since it could be longer, just get the word done before you go? Yeah, like, I have tendencies to want to, if I meet someone I like, I want to go out with them and spend time with them. I don't like this feeling of, I just met you, you're really interesting.
And I have to go. Because it just makes work this thing that stops you from doing what you want to do, which is a really bad relationship to have. So I will try my best to work in the morning.
And then later in the day, I'm still working, but it's more like socially working. So I'm working in a cafe or I'm in a gym and I'm speaking to people. The reason is, if there is someone I meet I find interesting, I have that extra three hours.
If I have nothing interesting, I'll just go back home and work. But it has that potential to go longer if I need to, if I want to. And also it gives crazy motivation in the morning because you will have days where you do all your work and you meet someone and you just have so much confidence because you know what you've done at home.
But then you have days where you told yourself you didn't work, you go out and just the way you speak, you have this timid energy. You know what I mean? And you'll feel that difference and it just motivates you.
me personally, to work a lot more in the morning. Cool. Awesome.
Anything else? Cool. We'll move on.
Let's do... We've done that. We just have personal issues and alchemy of self.
I'll cover alchemy of self because that's a quick one. Just a vase of hands. Who knows what alchemy of self is?
One question. Is it... I remember Hamza had like...
Like this this massive force like entrepreneur ascendancy or something. Was that part of it or no? I'm not sure what happened before.
Okay. And it may have been because Sam Ovens, who here knows Sam Ovens? Who here doesn't know Sam Ovens?
Okay, cool. Sam Ovens basically like one of the OGs in like the online business world. Everyone online that you see now that has like a big personal brand probably coached by Sam Ovens, or coached by someone who was coached by Sam Ovens.
So like big daddy of online business. He originally made the Alchemy of Self, which is this mindset training thing. And I'll show you it now.
But then Charlie Morgan got it from Sam Ovens, and then Hamza was trained, like coached by, somewhat by Charlie Morgan, like they're friends. But I'll show you the Alchemy of Self, so you guys understand it. Alchemy.
Let me find it for you boys. Does someone know where the TV is? Okay, now I'll find it.
Let's see. Cool.
I'll be honest, this is something you're supposed to read every day. I do not read it every day, but I will show you it. That's why we'll cover this quickly.
Cool. This is an alchemy of self. Alchemy of self is basically just like document where you are designing your life.
That's pretty much what it is. So let's say there's certain traits you want to have. Like everyone here has an idealized version of themselves in the future.
You're basically just creating that and then just working yourself to be that. The first page is basically just people, like certain aspects of people you want to be. So for example, Homozy.
Big guy, does business. You can do both. Not at the same time, probably, but you can do both.
This guy, Khaled Ibn Al -Waleed, is basically this warrior. I like his values. A lot of the layer is actually inspired by him, but besides the point.
I want to be fit as fuck. I like Goggin's mindset. Chris Williamson, his forearms are huge, and I want huge forearms.
And he's just an amazing speaker. This is sort of what my lifestyle to look like so I want to be able to work I don't want to be able to have just people I love around me Some of them I love his product philosophy so the way he thinks about building great products Vin Jiang he speaks amazingly Alex Becker. I like his windows As you can see Charlie Morgan, he's just great.
That's me I'm actually women. I love his health stuff. So these are just like people I look up to And usually there's not one person that I just admire everything of.
Like each of these people, there's things that I don't agree with, there's things I agree with. This is just what aspects of each person do I want to take and then amalgamate to myself. And yeah, it's basically just a journal of all these different belief systems that you want to make.
So for example, like where I want to be in terms of like how I look, where I want to live, what my lifestyle looks like, shit like that. I want the layer to be the best fucking program. This is an image of how I want my lifestyle to look like.
That's what yesterday looked like. I want to be able to look first. Fuck, I want to be able to have a place where I love working and it's just my laptop and monitor and that's all I do.
That's what I do. And this is all shit, bear in mind, I made before I was doing these things. This one's from 2024.
the last one was from like 2022, no, early 2024. But yeah, it's like, you're just basically building up everything. You have your story, which is like legacy to date.
So what have you done up till this point? So for me, by this point, I'd gotten the solo video done. We had about like five or 10, five -ish K on YouTube, had a successful pack launch where we made about a hundred K on one single pack.
Just released that, worked with these huge, fuck off huge guys, had the first iteration of the editing there. And I just got my first apartment, which is like, this was the legacy today. This is the story.
So you basically have, oh fuck, this is a bit personal. You have like, where have you started from and where have you gone to? You know how yesterday we spoke just like, where did everyone start?
Most of us have like this fucked up story. You know what I mean? For me, I was depressed as fuck.
I couldn't afford shit. Like I used to play, this is a keyboard and mouse in a PS4.
Yeah, basically anything got me out.
So then, yeah, I got my first client, got huge, started becoming more confident. That's just a fuck ton of women, I don't have to like blare that out. Got to like the top 1 % of careers, got my first 10K month, built my childhood dream set up, like quit uni, well actually not quit uni, but didn't go.
First office, now rebuilding. So this is where we are now.
But yeah, this can be really useful, especially if you have like a really, really, really, really shitty rot where you just go back on this and you're like, fuck, okay, like life ain't so bad. Like we've lost one client. I used to fucking hate my life.
Like some shit like that can sometimes be useful. The manifesto, which is like basically what your life looks like. This is more about the layer now because I feel as well, I've gotten to the point where I'm happy with my editing.
I just want to change the editing world now, which is basically what this is. Yeah, I prefer third person. Because it's a manifesto, it's like about this person.
If someone spoke about you, what would you want? So for me, it's like, I've revolutionized the YouTube editing space. I've built the world's best community of video editors who thrive and provide genuine value to high paying clients, changing everyone's lives in the process.
He completely transformed himself, his characters unrivaled, all of this stuff. See if leads the editing lab, which is the number one coaching program and community for video editors who want to scale their hobby or side hustle into a full -time income. The lab makes it easy for any editor to make money doing what they love.
See students conquer YouTube editing. It's like, this is just everything about me, my habits. See if never spends more than he could afford.
He's financially location time -free. He likes to stay light so he can relocate if required or restructure his identity to what is required of minimum friction. So that's the idea of you either decide you want it or you don't.
That's where I get that concept from. Today I decide I now want to get into martial arts. It's not going to be a two -month thinking process.
I decide. And now I'm all in martial arts, etc. I decide I don't want it, I don't do it.
And with the staying light, it's why I have no decor, it's why I own very little. Just so I can... I can lose everything in my life and the most thing I'd be kind of sad about is my laptop.
But it's like 6K. You know, I own nothing crazy. I have no emotional attachment to anything.
Yeah, with a product that dwarfs the competition, Saif feels confident to push traffic to a product as amazing as the editing layer. It was inevitable for such a well -oiled machine with constant care to reach and maintain 100K a month. Like, that's the goal, just so you guys know.
Yeah, basically, you're just like, it's such a cocky, self -aggrandizing thing. But you kind of have to be. You know what I mean?
People say, why do you act like your life revolves around you? It kind of does. And for all of us.
So don't take it as a bad thing if someone thinks you're egotistical. You don't have to show this to anyone. Do you write that for yourself or someone write that for you?
You've got to write it for yourself. These are the traits. This is exactly my body type.
This is how I dress. Wait, let me see if I've got it perfectly. Dress, black t -shirt.
Likes neutral smart pants Casio White trainers such loafers, okay cool Thin silver chain silver bracelet. I don't have a bracelet Casio watch hoodie over shoulders fuck Body type V taper muscular lean vascular body lean face grooming goatee and moustache well lined up healthy clear skin It's like you just design your life and this is I did last year I couldn't make this show.
I didn't know I was going to bring this up.
Yeah, you basically just build your life, say what your goals are, say... Because business doesn't exist in this vacuum in your life. Like, your life basically is your...
You are your business. And your business is a reflection of you. So if you can change the way you act and the way you think and the way you believe, your business will just reflect that.
And... Yeah, I remember, like, you know, when I got my first apartment, I still remember FaceTiming my dad and being like, dad, remember that weird image that paper I had in my room of that weird guy in a room? Because I had this in my last self, Alchemy of Self.
I literally, like, I showed my dad the room and then I showed him this document. And he was like, ah, I see it now. But even these windows, like, I'm a big fan of these windows because I've been wanting this shit for ages.
And you basically just keep doing this. The way you make these documents, if you are going to create it, is you want it to be the idealized version of yourself where it should feel out of reach, but it's somewhat reasonable within the next few years if you worked your fucking ass off.
You shouldn't be able to imagine it, genuinely. It should be slightly out of reach. Because the thing is, if it's already within your reach, it's not going to motivate you.
It's like saying, oh, I'm at 1K a month now, I want to be at 2K a month. That doesn't wake you up in the morning. Being like, fuck, I can have any woman I want.
Fuck. Everyone looks up to me. I can cover the bill without ever thinking about it.
I either have a house or I don't have a house, not out of financial necessity or scarcity, but by choice. That's worth working for. You know what I mean?
So this is my 3 .0. I had one 1 .0 when I was at like 5 -ish K a month. As soon as you achieve it, you just create a new one.
Because you are going to achieve it, given that you work. So that's Alchemy of Self.
There is but I didn't use it. Basically, just, I'll go through it quickly. You've got the first page, which is just like the title page with all the people.
This is the Alchemy of Self. It just says like, keep this journal on you at all times. I had it printed in my office.
Hey, how's it going, man?
You know what lads, what we'll do, we'll take a quick five minute break and then we'll jump into next topics, yeah?
I'm going to give you my entire outreach strategy that I used for myself to scale past 10k a month as an editor, but also the same one that we give to all our editors inside our training program. We call it the outreach matrix. This is how do you actually build a functioning client system part by part.
So let's jump into it. If you don't know me, I go by Malice Online, my real name's Steve. I've worked with guys between 1 and 70 million subscribers.
There's a few others outside of my portfolio that I'm under NDA with, but nonetheless, let's jump into it. every functioning client system has three core parts you've got leads which is someone that you can contact interested leads which is someone who has expressed interest in working with you and clients who are people that have actually paid a lot of people get confused between clients and leads where they're in a conversation with someone they haven't actually been paid but they call them clients clients are only yours once you've actually been paid now a functioning client system has a way of turning strangers into leads, turning leads into interested leads, and turning interested leads into clients.
So I'm going to walk you through actual tactics of what I teach for each one of these stages. And these are the ones that I've already proven. Are there more?
Yes. These are the ones that I've actually done. So let's start with lead generation.
So how do you turn a stranger into a client? The first one that I have used literally from the start of my career is Twitter. Twitter, X, whatever you want to call it.
There's two methods of you doing it. You've got search and algorithm. I'll walk you through both now.
For the search feature, this is as simple as going into the search bar of X and searching for terms that people would use when they're actually hiring an editor. For example, looking for editor, searching for editor, need video, hiring content editor. Putting together different strings of these words.
will find different pockets of people who are actually actively looking for editors and the best part about this is these are people who are actively hiring which just from the data that we've seen over all the editors that we coach when they go for these warmer people response rates tend to be higher and the close rate tends to be higher so search it finds really high intent leads.
Algorithm is another method that we personally use when it comes to finding people on Twitter and other social media platforms. As you're going about and searching actively for these job posts, a really cool method that you can use is just engage with the actual posts. You can like, you can comment, you can actually just spend more time.
So you teach the X algorithm that, hey, I like this type of content, serve me more of this. And what you find over time is X will literally serve you these job posts as they're being posted. So every time you restart on Twitter, you'll be served with job posts.
The second method that we use for lead generation is YouTube. I hope video editors get more clients in the YouTube space because traditional media is doing this and YouTube and social media is doing this. So why fight the trend?
So to find these YouTube creators, the best place to find them is going to be on YouTube. I found three core methods on YouTube to actually get these YouTube clients.
First one, search. Very similar to Twitter, but instead of searching for intent -based queries, for example, looking for editor, people don't really post that on YouTube. Instead, it's going to be finding creators within your niche.
And the way you do that isn't by searching finance creator or... IRL creator or documentary videos. That's not what you search up.
Instead, you type as if you are the viewer of that channel. For example, let's say you want to get into the documentary niche. You would find the top one, two, three documentary channels and their top videos.
You actually search the title or the format of the title back onto YouTube and you'll find that channel, but also others who post similar content. So that's using search. Algorithm, very similar to Twitter's algorithm, is as you start taking in and watching these videos in that niche, you actually end up getting served more of those videos.
So you can find people who are in the niche you want on your algorithm. And lastly, comments. This is a bit of an advanced one, but essentially what you can do is think about the channels that your perfect client would be watching.
For example, there's some great podcasts like Hayden Hillier -Smith's got a podcast and there's some creator podcasts. Ed Lawrence's channel is a channel all about helping YouTubers grow. These are places that YouTubers and creators will actually look at in order to grow.
A small portion of them will comment. And in order for you to find these creators, you can just go into the comment and scrape them. I'm not going to go into their tactics now because that's not what this video is about in terms of, oh, how do you scrape it?
in our programs and this is not me selling it but just truthfully we have like automated ways of scraping all the comments actively finding all the biggest creators but what this method does of being able to use youtube comments is you're able to find people who are actively trying to grow their channels which surprise surprise people who are actively trying to grow their channels are a lot more likely to hire editors so that's the second method third one is discord servers discord is sort of this social media platform i'm assuming you've used it before there's discord servers like creative paradise and there's a few others that we tend to use but by looking at discord servers that surprise surprise youtubers would like to join if you can get into those all you do is you just find youtubers in there and now they become leads people you can contact the trick here is yes you should go for the job posts where a lot of servers have these specific channels for job listings but the real magic isn't in the job post channel it's actually in the members list because what you can do is you can scrape the members list there's different tools for it but you can automatically scrape all the information from each person find their channels and then be able to just reach out to the people that are in the space you want and the channel size that you want next we've got instagram
This works a little bit different to Twitter. It sounds like it would work the same, but Instagram I found is less useful for just pure intent -based searches. Instead, you're going to treat it more like YouTube, where you find content that your avatar, your actual type of perfect client would want to watch, and then you scrape the likes if you can.
but more importantly, the comments and the followers, because you'll find large YouTubers on there. Instagram is also great, just more of like a long -term thing where you follow creators and sometimes they're going to put on their story, hey, we're hiring an editor, we're hiring multiple editors, and you being able to follow these people is going to mean you're first to actually reach out.
Next is Meta Ads Library. A lot of people don't actually know about this, but whenever you have someone who runs ads on Meta, on... Facebook, on Instagram.
These are people who are trying to sell their service and they obviously need their ads edited. Now, even if you've never edited ads before, they're usually pretty simple to edit. But by going on Meta Ads Library, and you can go search this up, you can find every single ad that anyone is currently running, but also has ran in the past.
So what you can do is search for ads in the niche that you want. And then it literally says their Instagram or Facebook there. And now you have someone that you can reach out to that you know is actively posting and making content.
Then you've got LinkedIn. LinkedIn works a lot better for B2B type work where you've got these creators that more serve businesses rather than just en masse entertainment content. You can find them, but typically it's a lot easier to find like finance type creators, actual businesses that have a business behind the channel and the content that they're making.
We've seen people make money in both types, entertainment and education, but LinkedIn is great for finding those education type creators. Can you find clients on LinkedIn if you're an entertainment editor? Absolutely.
In fact, one of my friends, I won't mention his name, but he's worked on channels pretty similar in size to me, sort of between that like 20 to 50 million subscriber range. He found three huge entertainment channels on LinkedIn. Doesn't seem like they'd be there, but hey.
next one is school you may or may not have seen the platform of school in fact i can just show you what it looks like we host a program inside here so it's basically like it's all in one platform where they have a community classroom calendar and people host like programs mentorship things on there it's also great to just find youtubers on there i believe and this could change by the time you're watching this video school does have i think it's a 10 dms per week limit of like cold dms if you're If they're not in a server that, sorry, a community that you own.
But that 10 per week, you can find really high intent people by joining YouTube groups and then searching in the tab, looking for editor or video editor and terms like these, scraping all of those and then actually reaching out to the people that are hiring. And I'll talk to you about how to message them in a second. Next, we've got Reddit.
Reddit is super useful and I'm going to walk you through two methods of using Reddit. The first one is more search -based and basically just going onto these places where YouTubers would hang out. The second one is actually finding people who are complaining about their editors.
The thing is, oftentimes people will have a bad experience with a service and oftentimes editors think that, oh, that person is no longer on the market. They wouldn't hire again. They've been burned before.
Oh, now I have to charge you less. Things like that. Oftentimes when someone has a bad experience with another editor, I get happy as hell because all that means is for me and the guys that we help, we're going to find it so much easier to, first of all, build more pain because we can just mention what happened last time.
But second of all, we can actually position ourselves as almost like the antithesis, the opposite of that. So a part of the sales process, and we'll talk about that in a second, but a part of the sales process is going to be asking questions about what happened before. Like, why have you not found someone before?
What are you looking for? Have you had an editor before? Where did it go wrong?
By us asking these questions, when someone has had a bad experience, we build more pain, meaning we are more likely to close, but also more likely to close at a higher price. So using Reddit to actually find people who have had negative experiences from their editor, it's an amazing way to just slide in and be able to get that.
And the last one, I personally haven't done this, full transparency, but door -to -door, I've seen actually work for quite a few editors now. It's only been over the last six months, so I don't know how scalable this is. But in terms of lead generation, realize that these are the ones that I've personally used and seen worked.
But door -to -door local businesses, which is going to them and saying like, hey, would you be looking for an editor? We'll talk about the exact messaging in a second, but this is lead generation. How do you get a stranger who you can't contact into a lead, which is someone you can contact?
Once you have... any of these methods working by the way these all work we need to know how to actually reach out to them and by the way it's important that we have all three because otherwise when even one of them's broken if you're missing one part it doesn't matter how many how well you're doing this if you haven't gotten one stage done none of it matters so you gotta have all of them in place right so let's talk about outreach messaging On any of these platforms, there's three outreach messaging tactics that I've seen work again and again and pull good metrics.
By the way, in terms of data, it's really important you have your data with your outreach messaging. In fact, there should be in the description like this free outreach tracker. It's the same one that we use in the actual program.
It's just so that we can know whether your outreach is working or not. So you can go get that in the description. But the first method that I have seen work.
and crush when it comes to outreach is the omni application for most people whenever they see someone put a post out for example let's say this is a creator right and they've put it on x you will see a thousand editors apply for this job role and just absolutely bombard this guy and what the creators dms look like is pretty much a million editors just reaching out to them so what they're going to do is basically just give this guy a watch Spend about three seconds on it.
Here, about one second. Here, about one second. These each about half a second before they click off.
Maybe this guy like four seconds. You're not going to get a chance. Should you reach out on the platform that they asked you to reach out on?
Yes. If someone posts a job post on LinkedIn, you should absolutely reach out on LinkedIn. But what you should also do is find all of the other platforms that this person is on.
For example, if you found a job post on X, you could find their YouTube and then find their email through their YouTube. You could find their, if you found them on X, find their LinkedIn. Damn, find their fucking phone number, dude.
Like you could literally SMS them. Well, maybe like an Instagram. By finding all of these platforms and reaching out here about the job posts that they posted here, what's going to happen is you have so much less competition.
For example, let's say you have a big creator. They might get 300 applications just on X, but there might be three people that actually emailed about it. And there might be one person that reached out on LinkedIn and no one that reached out on phone or Instagram.
So by doing an omni -channel application, so you have this omnipresence over everything you can find, they're so much more likely to give you a shot compared to anyone else. Now, granted, your work needs to be good. But this gives you so much of a larger shot of actually getting a reply.
The next method of the actual outreach messaging, so in order to get someone from a lead to an interested lead, so for them to reply to you, it's going to be Loom Alchemy. Loom is a video recording software. The free version goes up to five minutes, which is more than enough than what you need to do.
These videos are usually 60 to 90 seconds. Loom Alchemy is essentially where you record a quick video. basically breaking down like the guy's channel and these are super personalized there's different approaches you can use depending on your level of experience for example if you're a lot newer where not newer in terms of editing but newer in terms of just you don't have like a ton of clients where you can flex the numbers and things like that if you're newer and have less social proof you play more of like the effort and work style which means like hey I've put a lot of effort into breaking down your channel and also, hey, look at my work.
You wouldn't really mention the client side because you might not have as many. When I say effort, I'm actually going to give you a story of one of the best outreach looms that I've seen ever in my life. There was a guy who was reaching out to edit for me and he basically recorded a loom, like a video similar to what I'm recording here.
And he basically had my channel here, like a screenshot of my channel, right? These are all the videos. and around all of it he broke down every single part of my business he broke down all the products he found like three competitors he looked at my recent 10 videos and saw like hey you do this style this style this style i think this is good this is good this is bad for this reason i think personally i would do this but let me know what you're thinking of like he just had like this huge mind map of just as much information as you could find and when you actually think about it this is actually pretty easy to do it might look like it takes a long time but by you spending five minutes you just click around the links that someone has and find them on different socials and just take a screenshot and lay out on a on a loom or a miro board similar to this you're just recording a quick loom like this you instantly stand out from everyone else that says hey bro so you're looking for an editor want to work together
like think about how much more this stands out even if they don't want to hire you that 60 to 90 seconds that you take to record the video and maybe like the five minutes that you take to prepare this will increase your response rate like crazy even if they're going to negatively reply like you might get five percent that negative reply but the other 95 percent are going to be positively replying to this so loom alchemy that's how i do it now this is really important when you're sending looms i see agents make such a huge mistake here To send a loom.
You just send the loom. Because whenever people say. Hey I recorded a loom for you.
And let me know if you want me to send it through. Or hey I did a re -edit. Let me know if you want me to send it through.
Just give me a thumbs up. Everyone knows you haven't recorded it yet. Everyone knows you haven't done the re -edit yet.
Just do the re -edit. Or do the actual loom. And send it to them.
You're going to see such an increase. In your actual response rate. So that's loom alchemy.
And lastly. high value re -edits this is very similar to loom alchemy and by the way i'll let you know which one you should do at your stage in terms of reaching out to these leads high value v edits are essentially where you take someone else's video where let's say this guy's a youtuber you find one of his videos and you say hey i think i could do this better you're gonna basically rip out that video into an mp4 you could find a converter online yourself and you're basically gonna take that into your software and edit the video yourself.
Why do we do this? Because we're going to use that to actually reach out to this person and basically say like, hey, we did a re -edit. What do you think?
Now, there's going to be three outcomes that could come from this. The first one is basically the guy saying F off, which from my experience, I've coached one -on -one over 300 editors. We've used this method for them.
I have one time seen someone get even a slight negative reply. It wasn't even an F off.
It was just like a, hey, not looking for anyone at the moment. Could you actually take it down? We just took it down.
And this is after like 300 people who have done it, which is about a thousand or so re -edits. I've seen one negative reply. Everyone else either says like, hey, I actually really like this.
How much do you charge? Or they say, what's it called? I'm not looking for someone right now, but I'll reach out when I am.
That's the majority of cases that you're going to find. The third thing that can happen when someone doesn't reply to your outreach through a high -value edit is they just ignore. What you're going to do if they ignore it, and this is what most editors are scared of, all you do is you follow up or, well, and you post it.
What I recommend is you follow up about three to five times. Typically, you can go up to eight without them getting pissed off. And if they don't respond after that long, you just post it without permission.
The reason being, first of all, you will get other clients by doing this. But second of all, it actually, by tagging them, you actually get them to be more likely to respond to the messages that you previously sent. So that's what the high value re -edits look like in terms of where do you find the footage?
How do you know what to reach out on? I'm not going to go too in depth in that now, but in general, like you find creators that you want to edit content like theirs, then you re -edit for them. Now let's talk about the closing process.
So by this point, we've got people that we can reach out to. We've reached out to them using one of our proven methods. Now, how do you actually get them to say yes?
Because here's the thing. If someone responds to you, but doesn't actually pay you, that's not a client. That's just you feeling like you have a client.
And I see so many editors all the time where they say like, oh, I've got a client. Like I've got him. And then I ask him, oh, like how much has he paid?
Oh, he hasn't paid yet. Oh, he said he's going to send videos in two weeks. It's like, dude, you haven't closed them until the payment's been sent.
So let me walk you through two types of ways that you can actually close people. The first one is DM closing. This is where you literally just close them over text.
A lot of people think you have to get onto calls, which is the second one. A lot of people think you have to get on calls in order to actually close someone. Not true at all.
Genuinely, there's been, I think, three people in my entire career that I've closed over calls. The other like two to 300 that I've closed, not two to 300, that's a lie. It's like 150 to 200.
The other like 150 to 200 clients that I've closed over the last five years, it has been over DMs. Like all you do is you take them through a simple sales process, which looks like a discovery, which is basically finding out their problems. It's then a pitch, which is saying like, hey, based on discovery, I think that I can do this for you.
Here's what that would look like, X, Y, Z. And then you have the close, which is essentially overcoming any objections. Oh, I think your price is too high.
Here's how you overcome that objection. Oh, you think that I can't do that type of video. Here's how you overcome it.
Oh, have you done this type of niche before? And let's say you haven't done it. Here's how you overcome that objection.
So the close is basically reinforcing the pitch and overcoming any problems that they have. There's been so many times where someone has come to me. We've had that conversation.
I say a price, let's say 1 .5K per video. And they say, I can't afford it. And then through the closing process, we actually overcome that objection and they end up paying.
I had another guy, he said his budget was 400, no, $350. I quoted 700. We ended up going with 650, sorry.
So yeah, you can close people. A lot of people hear, oh, I'm not looking for someone right now or that's too much, sorry. And they just don't try to close it.
They just say, okay, no worries, man. Dude, you can close. a lot more than you think i've got a video on my channel you can find it it's something called i think how to how i close a thousand dollar plus videos in dms you can find on the channel um but you can do you can close on dms and you can also close on calls so call closing is where you actually bring someone onto a call and you actually in like a google meets or zoom you've got him and you on a call i recommend having camera on and you're basically taking through the exact same sales process that you would on dms but you're doing it on video so you take them through discovery you say like hey like what's the problem why are you looking to hire like you ask this line of questioning that gets them in the position that they feel like they need an editor then you pitch them saying like hey based on xyz i think i can do it is it cool we talk about that there you get them to say yes then you pitch your service you give the price and you wait for an answer
If they say yes, awesome, collect payment. If they say no, we go into the close, which is just objection handling. It's the exact same thing as DMs, it's just over video.
And the reason I say over video, by the way, I understand that you might feel uncomfortable to have your video on. You gotta get used to it. Like, I used to be insecure.
As a kid, I was a really quiet kid. I hated being on camera, I hated just speaking to people.
I had to grow the fuck up. Because I realized that I will make a lot more money by learning how to be on camera. Because being on camera, being on interviews, taking these sales calls for clients, it's a skill like any other skill.
Because let's say that you're scared that, oh, if I get on call, I won't be able to close the client. I would rather you completely mess up this client and this close and this interview and then learn from that mistake. And then when it actually matters with a bigger client who wants to be on call, you actually do that properly because you learn from previous ones.
So, however you do that, then the first time you jump on a call is with a huge client. And now you mess it up. So, in terms of calls, I recommend you just take as many as you can.
There's been a ton of calls that I just truthfully absolutely bombed. For example, there's one creator, I still remember it. It's Michelle Carvey.
I have no idea how many subscribers she has now. But I got into an interview slash sales call with them. fucking bombed it dude this is before i was working with like the sidemen or any other big creators she was going to be like i think my first like multi multi multi most subscriber a client but i just fucking bombed it the thing is i did it with them i had a call with beta squad which went pretty well um i never ended up working on the full videos but it wasn't because they didn't want to work together i just had other client work um and it was with the sidemen that we got into a call and i closed them on the spot not gonna say how much for but very healthy amount and imagine i didn't have all these calls that i messed up with and there was another guy whose name was glider guy i did end up closing this but it was a hectic close it was like i messed up the call completely and then we ended up continuing to chat over dms and they ended up working there so there's all these times where i've messed up but when it matters and when it when it mattered and when it matters i can now do it so take on calls whenever you can
Because you're going to wish that you had the practice when a big client actually wants you to do it. We'll jump into the other topics in a second. But generally, that is the entire outreach method system that I use.
The reason I call it the outreach matrix is because you can mix any of these together. So I've given you nine lead generation methods here. Three outreach messages here.
Two closing methods here. If you put all these together, there's literally 54 different combinations just here. that you can use to actually close clients over DMs.
Which combination works? All of them work. You just put enough volume through it.
Now, let's talk about some other topics. How do you actually find the time to outreach? There was a guy, I was coaching him, he was on a Q &A call with me.
And he basically had this problem where he said, hey, I'm so busy with work or I just am busy with life, I can't find the time to outreach. I tell people outreach because it will make them a lot more money, but he couldn't find the time. So I asked him a simple question.
Do you have your phone nearby? He said, yes. I said, bring it up.
And then I asked him to bring up his screen time. And he knew exactly where I was going. I didn't even have to go through the full exercise with him where I tell him to check his screen time and then tell me how much he has and then realize that that should be going towards outreach.
He realized as soon as I told him to look at his screen time that, hey, I have the time. It's just about priorities. So it's not that.
you don't have the time to outreach. Because I promise you, if you're watching this, your screen time is probably more than 20 to 30 minutes a day. It takes about 20 to 30 minutes a day to outreach.
Just do your outreach. In fact, when I was in the most busy period of my time, it was when I was studying and also doing editing and also going to a gym and learning how to be more social and I was wanting to travel. There were all these things that were stacked on top of each other.
I still found the time to outreach. Even when I was full on work, you would find the time. Oh, you're eating?
Just quickly just send a few messages. even times where i was let's say in a car ride in an uber going somewhere you got a bit of time to do some outreach i'll sometimes i'll be taking a piss do some outreach like you just find the time to outreach because it's not like this big scary thing you just chop away at it little by little next personalization on mass in order to get as much um replies as possible typically we've seen people get as high as like a 15 to 30 percent reply rate on this initial message where are we here we are you're going to want to personalize the few times that i've seen someone absolutely bomb with our client acquisition systems and this is inside the editing layer like our coaching program i've seen people go through it and they fucking bomb like it went terrible we do a dm audit where we basically tell them like hey jump on call show me your metrics tell me what's going on we look through their messages and they all of every time someone fucked it all up
it was when they sent like a generic copy and paste message, which we specifically say not to do. So just by solving that, we typically fix their reply rate. So it's all good.
So the way you actually personalize it en masse, you look at the three methods that we talked about. So you have the omnipresent, not omnipresent messaging. You've got like the omni -channel messaging where you reach out everywhere.
You've got the looms and then you have the re -edits. You'll realize they're in this order because they're in different levels of personalization. Omni -channel messaging might take you a couple of minutes to find all the places and then just change like the first name.
So rather than saying like, hey, name, like, hey, I saw you looking for an editor. Hey, name, I saw you looking for an editor. Something super simple like that.
And also the fact that you're going on all these different platforms and say, hey, I saw you were hiring on X platform. Being able to do that shows a personalization. Loom is obviously personalized.
So you have the person's channel. VEdit is hyper personalized because you've got a lot of personalization and it's a lot of effort. How do you know which one you should do?
Well, depending on how desperately you want the client. That sounds like a bad thing to say, but if you're already full on work, you should be using some of the less effortful or less time -taking methods. If you need the work and you want it quickly, you go for the more heavy time -taking methods.
And lastly, When do you scale a volume? How do you know how much you should be sending?
Truthfully, it just comes all down to the data. So we found with the editing layer systems, and I can only talk on the metrics of that because that's the average that we track. We found anywhere from like a 2 .5 to a 5 % overall close rate.
That means if you message 100 people, you'll get about two and a half to five clients. Well, two to five clients, right? For most editors, this is absolutely unheard of for most people they'll send like 300 messages and get like four replies and no clients out the other end or they'll have like one person promised them work and one zero actually hire them but typically you can get like a two to five percent close rate once you've actually optimized all of these three stages once you are in this sort of range of like two to five percent that's when you just absolutely fucking crank the volume Volume meaning how much messages you're actually sending.
The reason being, now you know you have a proven client acquisition system in place. This is the point where you can find it easy as hell to raise your prices because you know even if you get a no, you've got more than enough clients to work with. This is the point where you can start thinking about outsourcing.
The reason being, you actually have the work to outsource. This is the point where you can start thinking about scaling because you actually have the work. That's paying you.
Like no matter what you're trying to do in your career, whether you're trying to even maintain, let's say you're happy with how much you're making. If you even want to keep that consistent, you need to be able to get more clients. Why?
Because churn is a natural thing. There's a set number of videos that people will want to work on before they go with someone else or that they'll naturally just churn out. That's normal.
You're not going to work with someone for 10 years. You know what I mean? So to counteract churn and keep your income consistent, churn is just how many people leave you.
To keep your income consistent, you need new clients coming in. For example, let's say this happened recently with an aerostatic coach. When he first started reaching out to people, he sent 500 in the first month, like 500 outreach messages.
He closed, I believe it was nine clients out of that, which wasn't perfect, but he was using one of our more volume approaches. He closed nine clients out of that. From that, he ended up wanting to work with about four of them.
That got him to his 8K a month goal. That was literally within one month, by the way. Now for him to maintain that, I told him like, dude, you can't stop the inputs.
You don't have to send 500 anymore, but let's reverse engineer what it would take in order for you to maintain this. We found out he on average can keep a client for about a month and a half, like where he's working on super consistent videos. So we told him like, dude, you need to keep getting clients about at a pace of one per month.
So we reversed engineered the maths. We said, okay, for you to get one client a month, That means you need to get this many replies, meaning you need to get this many messages sent.
So we reverse engineered it. We realized he was getting about a 20 % to 30 % close rate, meaning, hey, you need to get at least three to five people that you're actually giving your price to and getting to that point of the conversation. And because he was getting about a 10 % reply rate, which wasn't the best, but he was using a more skilled approach, we need to reach out to about 30 to 50 people per month.
so by you doing this you will get one client because he did this and i have his trackers i can't be scared up but for the last three months as of recording this he's literally just been sending three i'm sorry 30 messages per month in feb he got i believe one client in march he got two clients april just finished he ended up getting two clients as well so his metrics actually ended up being a little bit better But the reason he's able to maintain his income and grow is because we've reverse engineered, like how much outreach do you need to do with your current metrics in order to keep your income stable?
Once again, the outreach tracker that he's using is in a description. You can find that. It's vfxmalice .com slash tracker, I believe.
But it'll be in the description so you can get that. By doing this, it just means that we can actually keep his income consistent. Now, how do you know, how do we go from...
him sending 500 and closing only like nine clients to sending 30 and closing one or two clients because this is a lot more efficient all we did is we found out which process in his outreach matrix was most effective in the outreach tracker you're going to be able to search okay was what was the conversion rate on twitter what was the conversion rate on discord what was the conversion rate on meta ads library you can find the conversion rate on each of these systems and whichever one is the highest that's the one you use if you want to send less volume because it's like hey if you're going to send less messages let's make sure that those have the highest probability to actually close so we found out for him personally the x algorithm and x search got him a crazy crazy um reply rate just compared to everyone else like he couldn't crack anything else like yt jobs had like a pretty shit conversion rate he would close like one or two clients before with yt jobs but it wasn't as good as
X search and X algorithm for him personally. So when you load it to 30 messages per month, that's what he was fully focusing on. I've seen other people where they do it through other platforms, specifically the ones that we've talked about here.
And they had a similar thing where for them to continue scaling while sending less outreach, it was with a different platform. For example, there was someone recently, we literally just got him to 14K a month. He did it through LinkedIn.
So it's like all of these methods work. It's just about first you send volume through the outreach matrix. Once you scaled and you've got the clients in order to become more efficient and lean down, that's when we look at your metrics with each stage.
I'm sorry, with each method and whichever one's most efficient, that's the one we keep doing more volume in.
Yo boys, so this is a client I secured for £1 ,500, which is about £9 ,000 per video. I'll show you it now. So, the first message.
Hi. This is probably the worst message I've ever gotten, but the fact that it was from a pretty large Twitter account, I was interested. So, I say hey, respond to the thing, and throw the ball in his court.
Give him something to actually answer. if this is about editing i'd love to hear what you're looking for smiley face here's a kid's channel so i added a smiley face and obviously a big creator if he's reaching out to an editor it's most likely about editing so i just say if it's about editing i'd love to hear what you're looking for hi it's a quick background i'm currently posting four long forms to my channel and as production goes higher and videos become longer my current editor struggles to keep up he already has an editor that's good it means he'll know how to treat me and i want to increase to six videos a month he knows what he wants which is an amazing green flag currently looking to work with another editor also and my videos also requires a bit quite a bit of effects and i saw some of your work so i thought i'd hit you to see what's popping this is what i mean by your brand is one of the most important things he's probably been seeing my work here and there for a while and the fact that he's been constantly exposed
means that he thought of me when he was thinking of effects do you know how like good of a like how good of a of a situation that is when when someone thinks about effects they think of your name that is a very positive association so sounds good thanks for breaking that down for me i had a watch for your recent videos and it's definitely something i can replicate and build on it's clear that he wants to continue with a similar style so I don't say that I'm going to improve the style.
The reason being, he's told me what he wants. What's his pain point here? Posting four long forms, one to go to six.
His pain is that he is not able to scale the amount of videos, not the fact that the videos aren't good enough. So I'm not going to say that I can maximize retention or I can make the videos look better. I'm going to show the solution to his pain.
It's something I can replicate and build on. So I could do a little bit more, but I'm not going to change anything. What's your typical budget for these long form videos?
I'll be raw. He was a channel that was so big. I think he had 33 million subscribers.
So it's like I knew that he had like he had money. He was raking in views. I knew whatever budget he had, I'd be sorted.
So it's between 600 and 900 dollars. Also, it depends as some videos might. be more work than others so i tried to figure it out as we go if it makes sense and if you have discord and if you are interested in testing things out let me know and we can discuss there i'll keep it so rule i heard 600 to 900 and i wasn't interested um i ghosted him i honestly i had more clients under my belt i was working with one other channel consistently who was paying me i think 1100 per video and it took me about one day each and i would do like once a week so i was super comfortable i had 600 to 900 i ignored him i probably wouldn't ignore clients if i were you if you want to get clients don't ignore them but um this guy really wanted me he said yo let me know this is what happens when you've built your brand to a point where you're working with large guys already i have leverage so you see me ignoring a client here if you're new don't ignore clients like if you don't have more clients than you know what to do with like i've gotten to the point and this sounds egotistical but
I can work with whoever I want. And it sounds really egotistical, but it's true. So when I ignore someone, people assume that it's because I'm busy, which I genuinely was.
I forgot to respond to him. But he reaches back out to me. He's like, yo, let me know.
I'm like, for sure, VFX Malice on Discord. So yeah, because he asked for my Discord. I'm like, VFX Malice on Discord.
I literally responded August, November, but I answered a month and a half later. Don't do this. This only happened and it works because I could tell he really wanted me.
Let me add, sent you a message, my guy. So we move over to Discord now. Bear in mind, he wants 600 to 900.
Yo, what's up? So I'm looking to get an editor for extra help for videos. Senior work, would love to work with you.
See how it goes. Maybe we'd be able to build a good relationship. It is clear he wants someone long -term just from that message.
Hey bro, I'd love to know more. Could you send some examples? videos through please or would it be similar to the ones we referenced before okay two techniques that i used here no quite a few so first of all threading your hey bro so i'm saying hey would love to know more cool could you send some examples videos through please i am trying to establish the expectations for how the videos will be what style are we working in to get a message that is easier for him to to give i'm giving him a feeling of control i'm giving him two options could you send me examples or would you like to continue going with the ones you are right now he answers so for another video i wanted to test um but i already shot is something similar with these two angles so he sends me a video from another channel that has a similar like setup and similar style of recording to what he wants so like this but if you can obviously do it better is the best Just I'm shooting more videos and I'm looking to get an editor that can help me edit one to two videos a month.
So you realize that this guy's typing kind of like really informally. I'm not going to send him a paragraph of text saying that like I can like saying it formally because it just wouldn't vibe with him. I just say got you.
Normally I would bounce something off, but I saw he was typing. You can see this was the same minute. So I didn't say anything else.
I let him finish typing. um yes the vid is short already i think he assumed that i was going to ask anyways um so he literally said yes the video is short already how much footage would would there typically be and is there a pre -cut this is me trying to understand what sort of videos are we working with notice how i haven't given my prices yet so if we can come to an agreement would be good hmm hmm bro misspelled like you can tell this guy is like mad informal um which isn't a bad thing some clients are different aiming for a 30 minute vid if it's not cut up.
I normally work with 10 minute videos. That's all good. How many POVs and raw footage length?
Two angles, 70 gigabytes raw on main and like 65 gigabytes raw on second angle because it needs to cut back and forth. I didn't ask for how big the files are. I think he's one of them creators where he literally does not know how to edit.
He doesn't even understand file sizes. I think He's like low -key a boomer who doesn't understand the tech side so when I ask him what's the raw footage length he just told me there's file size.
But file size doesn't really tell you anything about the footage because if it's a higher quality you could have like five minutes footage which is 70 gigabytes but you could also have five hours of footage which is 70 gigabytes so it doesn't really tell me anything. I don't call him an idiot. Don't tell them they're wrong.
Yep I can work with multicam footage and the file sizes are fine so the file sizes are cool i'm like okay cool for the actual durations of recordings how long are they roughly so i just re -ask it again don't make them feel stupid by the way i really appreciate how responsive you are just want to say thanks this is a chapter in how to infringe and influence people it's one of the early ones it's show your um it was it was something like be heartly in your approbation and like honest with praise or something like that.
Show your honest appreciation and be open with your praise, basically. If you genuinely like something that someone's doing, say it. I liked how responsive he was.
Look, the guy's literally responding in like 10 seconds. Most clients don't do that. If you want someone to continue an action which you like, you positively praise it.
If you see that one of your clients is being really nice to you this week, say, hey bro i noticed like your feedback been really useful recently i really appreciate that just saying that will make someone want to continue doing it um so when when he said when he's responding now to how long the recordings are he's like i'm not sure what do you think rate wise i'll be real he seems like a bit of a boomer with um sort of understanding how long the footage is and stuff i just assume that it's going to be about a couple hours he's got high quality footage in his videos He's got a couple of cameras.
He's rich. His cameras are probably like high bitrate. It's probably like only one hour or two hours.
I was right. That was an educated guess. 70 gigabytes footage was about that long.
What do you think rate wise? Now that I have context for how much footage there is, there's no pre -cut. I'm able to say, OK, with the reference video you've sent.
and considering uncut footage so i've anchored how much work there is i'm showing how much work there is i can get it done for 1500 pounds all right and you think you'll be able to to do it better and also make our own style so now he's slightly changing what he what he's saying before he said the same but now he's saying like slightly better cool like have you seen my other videos if we're able to keep the same quality on this video because i have two edges right now and we're working on multi -projects or looking to add someone.
He's just reiterating that he wants to make sure that I understand what he wants. This is completely normal. Don't get pissed off at clients.
They are spending a significant amount of money on you. It's completely normal. If you were sending hundreds and hundreds of dollars to someone, you would want to know what you're getting.
You'll see that in this client as well where just before we're about to send payment, he just double checks. Are you confident you can replicate my style? You just need to give them a confirmation.
That's all it is. You just need to make them feel comfortable. So the same thing happened here.
I'm like, yep, had a look through the videos just now as well as the last time we spoke. Is this something we're hoping to do long term? If so, I'll make sure to not overbook my schedule with anyone else for you.
So two things here. First line, making him feel comfortable. He just brought up a last minute thing, which is like he wants to double check that I'm able to do it.
Make him feel comfortable. And I'm showing that not only I'm saying yes, but I'm proving that I can. Like, bro, I went out of my way to double check your videos.
And I can tell that we're near to getting payments sorted. So I'm kind of making him feel more valued. Like I said, clients like the feeling that we're going to work long term.
And for me, even if I. See a creator I want to grow with I'm willing to work long term with them. I'm gonna go with the client.
That's my intention So I say that are we doing it long term this is something that is attractive Yes, I mean I want to focus on this video first and then if I do like it it goes well We can definitely go for something out right now. I only have two people I work with closely problem is one of them is finishing college. Everyone works for another client So yeah testing out a few other people and hoping to pick one out that I can consistently work with Sounds good looking forward to this Show that you actually are looking forward to it.
Just confirmation. You said you had the footage ready, right? Notice how I am moving on the conversation.
This is threading again. Yes, so you think you'll be able to start on it. 1 .5K, so basically 1 ,880 US dollars.
1 ,900. So straight after that, I basically just said, yeah, I'm going to start on it. Sent him a payment link.
He got the payment sorted. 1 ,900 for a single video. And I followed DM Mastery.
So this shit works, whether you're doing it for a $2 ,000 client or you're doing it for a $200 client, the same techniques work. It's just people at the end of the day. It's all psychology.
It's all being a nice person. A lot of these techniques, when you think about it, it's a bit autistic because all we're learning is how to be a nice person. That's all it is.
But this shit works. Hope you found this useful. And yeah, love you, bro.
This is fundamentally how I like to think through things now. When I'm looking at an editor and they're like, I'm stuck at XYZ, it's like, why are you trying to charge more? You're already charging 500.
Just get someone else. The opposite to what these guys gave often happens, and it's going to happen to you. You're going to try to just only take on people who are paying you more.
And the thing is, if you're in a position now where you're not maxed out on how much work you're taking on, which one's easier? If you're not maxed out on how much work you can take on. Number of videos.
Number of videos. Because it's like, it costs you nothing. And I think for most of us here, we're all right with working a little bit more.
But it's like, why would you try to raise your price if you literally have free space to take on someone else? Like, it's the lowest risk way. But yeah.
In terms of inconsistency, we can talk about that. Who mentioned it? Inconsistency.
How many people are you working with right now?
three three gotcha and how long have you been working with each one someone for like four or five months from when i started and then another guy a couple of weeks and another one like two months so it's like months basically okay gotcha and how many videos has each one of them given in that how you've worked with them um the one that's been uh quite a long time he's given me like he's really sporadic it's like maybe this guy We did like two when I started and I didn't hear from him for like two or three months.
And now we just did another two. So it's really odd that that happened. Yeah.
Does he post on his channel often or is all the videos on his channel yours? Yeah, they're all mine. So I guess it's sort of like to do with that guy in particular.
But yeah, it's just that sort of problem I want to address. Yeah. Yeah, we can talk about that.
We'll talk about ways to get over consistency first, but I think it helps to understand why it happens. So I'll just explain my line of questioning for Adam there. A lot of the time, the reason that you're inconsistent with your income and how many videos you're doing, it might not actually be because of you.
Especially if your productivity is at a decent level, it might just be the nature of who you're working with. So it's like, if this guy, you look at his channel and you're like, the last time he posted was four months ago, the one before that was two days before that, and then it was six months hiatus before that. It doesn't matter how fast you work.
Well, to an extent it does, and we'll talk about that in a second, but he's not going to give you consistent work. Now, should you try to take him on? Yes, and I'll explain that in a second.
But if you have the option between two people where it's like one guy's inconsistent, one guy's consistent, go for both of them. But if both of them offer you work or you're in a situation where, I'm sure we've all had this, where two deadlines, same day. Who do you prioritize?
Who are you going to prioritize? The better one. Exactly, right.
Just because longer term, the guy that's consistent with his own channel will more likely be consistent with you. Other reasons that inconsistent videos happen?
Honestly, that's the main one. Yeah, that's the main one. Okay, just like to add actually, I forgot about like the new client.
He's like just starting a new channel or whatever and it's like he's trying to upload consistently but I don't know what happened. We had a good flow today.
It's like he said he'd pay me and then like I haven't heard anything for quite a few days now. So it's like, yeah, we had a good roll, but then it stopped. And he was like, he's like my main like payee right now.
Yeah. So that's like another sort of thing. If it comes, if that's actually happened, was he like super open about like, I want to work with you long term, that sort of thing?
Yeah, definitely for sure. He was really enthusiastic. So I think it's kind of odd that he like disappeared almost.
Yeah. When was the conversation left off? I can have a look actually.
That might be the other side because you said like the most common one is just Yeah, and like let's say he's a good consistent guy it could just be like I Could happen like someone could just have a shitty week. Oh Okay, so yeah, he was like all my friends think the last video was really good or whatever I was like send the footage of the next one.
Yeah, I gave him the price. He said yeah sounds good I'll try getting that payment sent to you soon.
And that was like last week. And before he would pay like the next day or whatever. You should follow up with that.
I have, yeah, a couple of times. What did you follow up with? Yo just followed up because I'm sure you've been very busy.
Yeah. He said, I've been completely out. I'll try and get this to you soon.
But that was five days ago. Okay, it's good he's responding that. you can you can salvage that yeah um the way i would frame these conversations is how can i help not i'm trying to extract this video from you um that's the frame for a lot of follow -ups i think you guys will find useful it's how can i help you like is there something wrong with you giving me the footage or paying like oh did i send the wrong link just even if you know it's not the wrong link saying that because it opens up that conversation in a less awkward way um but i would definitely follow up with that from that frame um in terms of beating inconsistency I found there's two ways.
You either work with someone inconsistent. I'm sorry. You get rid of inconsistent clients.
You work with someone consistent, preferably multiple. That'd be awesome. So you just need like one or two.
For example, I did this with the Sidemen. I was making six, seven K a month working one day a week. It was like, I know they're going to be consistent.
It's piss easy. Same thing with basically any large channels. If you see there's a huge channel, and you get to work with them, fucking savor that guy.
Even if it's a thing where they might not be paying as much, purely because as you work with them more, your workload will get better. I'm sure we've all noticed, like you work with one guy once, it's a pain in the ass, but the second video is like, oh, it gets a bit slower, a bit faster, even though you haven't like intentionally gotten faster, right?
So just having one or two consistent guys can help. Or what you can have is basically just a fuck ton. of inconsistent guys.
And maybe you have like one consistent guy, but like everyone else is inconsistent. That can work too. Now, this is a little more chaotic, but you can make about the same.
In all honesty, like both of these make about the same. This one, the way you need to, the main mistake I think most people make with this play is they want it to be like this. So let's say this is a timeline.
Not up to metro timeline, like time. you they take on a project from an inconsistent guy here and then they sort of wait until it's finished and then try to bring on another guy instead what you saw i need to do is like okay i've brought this guy on i'm gonna bring someone else on and it's like okay i'm still midway a project i'm gonna bring someone else on and it's like you're gonna have a few more hectic moments and i'm sure some of us have had that where someone's inconsistent and you expected the video, they give it two days late, you take on someone else's, it happens.
This makes your income more consistent. The plan with this is just, I'm going to keep on taking more people. And one of these inconsistent guys, you think he's inconsistent, but it actually turns out he was a consistent guy.
That's usually how I find it works. Because you don't know if someone's inconsistent or consistent from just talking to them, if that makes sense. Because you get inconsistent guys.
where they will promise you the world and I'm sure we've all had this they'll promise you dude I'm gonna work with you like day in day out yeah yeah the long term like pay will increase as we continue like we've all heard that and then that guy turns out to be the inconsistent guy or you've had a consistent guy where maybe you go in expecting like I'm just gonna work with one video for this guy and it's like oh shit that was easier than I thought he's got a shit ton of videos and he pays well it's like hey Let's keep him.
The thing is, you don't know which one it's going to be. It's sort of like a first date. You've got to go on the date.
You don't know how a woman's going to be. But the only way you can find these consistent guys is just taking on a shit ton of people, sort of stacking it. So in the meanwhile, while they are tending to be inconsistent, you've got some consistency by the nature of all of them being inconsistent, if that makes sense.
And then one of them will usually be... a little more consistent than others and then that one just takes priority so oh we have two deadlines due um and one of them is gonna be pissed off i'd rather piss off this guy sort of like that um does that make sense yeah just okay just like one uh question about a specific scenario with another guy um he was like gonna be really consistent like i know because i i followed up with his channel like he's uploading yeah but um basically the like the ordeal was I worked on like a 15 minute video for like 200.
And I thought that was not that bad. And then he comes back and like the footage is like, he already pre -cut it. It was like 40 minutes long.
And he expects it to be the same price. So I was like, okay, it's gonna be like 400. But because it was consistent work, I'm thinking like, did I make a mistake by like not going with him?
Yeah, what can be worth it is, I like to call it taking the L short term. Sucking it up. Yeah, this is, This is a concept I think a lot of you will find useful.
In like general business, it's like a core concept, but I think if we take it into anything, it's really worth it. Who's heard of LTV? I know you have, shut the fuck up.
No, I'm joking, go on. You know what LTV is, I'm assuming. Lifetime value?
You work on business content, man. No, I'm playing with you. Has anyone heard of this concept?
New concept for everyone? You've heard of it? Explain it.
Yeah.
So this basically stands for lifetime value. I'm sorry, man. I'm a dick.
This basically stands for lifetime value. And what that means is for the duration that someone's working with you and your company, how much are they worth to you? So literally, how much money do they spend, not on day one, but throughout their journey with you?
Basically, how much is someone worth to you over the lifetime of working with you? So which one would you rather have? A $400 client who pays you one time and then fucks off and goes to you?
Or a $200 guy that works with one video a week for two months. So how many videos is that? Eight.
For eight videos. Which one do you have? The eight.
Exactly. Why? Because it's more money overall.
Exactly. So it's like you've got this LTV is $400. This LTV is $1 ,600.
You've already done the work to acquire this client. You have already posted the preview. You've already...
improves your portfolio you've already had the word of mouth done you fundamentally spent the money you might as well get as much money as you can now the reason i say that as it relates to what you were saying adam yeah is it might be worth let's say for you to go what would the exact situation it was like you wanted me to do a 40 minute video for 200 i just thought that was outrageous so yeah did you have other work that you could do yeah i was busy okay in that case it's fine okay so in the case where it's like i have other work go for that yeah but if it's a case where it's like a lot of time for ages it becomes an ego thing where it's like oh but my prices are this yeah it's like you can do this and just do a sick ass job so you charge a 200 you take the yield and then that becomes a recurring guy for like 200, 250, 400.
And you can raise prices quickly as well if you do your work well. Yeah, absolutely, yeah. That's why I meant it.
No, sorry, I just wanted to say, like, with this guy, he's, like, quite big. He has, like, a couple million subscribers, but he has, like, a really bad budget for some reason. Like, he gets...
His, like, channel died, basically. He gets, like, no views anymore, so I think he's, like, struggling to pay, you know, so... Yeah, yeah.
So I guess it could be a long -term investment, maybe, to, like, work with someone like that, but... You're taking a bit of a chance because there's no way you know that they're going to cop off. Sorry, lads.
No, you're right. Honestly, you are taking a bit of a gamble. Yeah.
We'll talk about him being a large client concept. How big was it? 7 million subscribers.
Who are the biggest clients that you've worked with? That is my biggest client. Who are the next biggest clients?
300K. Cool. That would mean fucking sick for you.
I'm going to be honest. Yeah, okay. The reason being...
sort of comes into this. He might be paying you 200. Yeah.
But he might, you having that name might bring you in a guy where his L, he might be this guy. Yeah. You might bring in someone that makes you 1600.
I mean, like, oh, we did one video that's, like, on my pool, so I guess, like... Yeah. Oh, you've got the name?
Yeah. Oh, you saw it. Yeah, yeah, you've got that.
No, you did well. You did well. Yeah, I just lost it.
Yeah, that's fine. But yeah, this is why I like to think about, like, taking the L short term. Now, you don't want to take the L every time.
So it's like, don't go in with the frame that, oh, I'm going to take the L2 to have him longer. Because usually that doesn't happen. They're just cheap.
They're shit. Frame yourself going in at the price you want. But sometimes if something small goes wrong, where it's like, he wants a revision and you think it's a bit shitty, it takes you 30 extra minutes.
Yes, you can charge an extra 200. You can charge an extra 50. And I used to do that.
I used to charge for revisions. I actually think now it is... worth taking that emotional L short term so that you can have that next video and even another.
So it's like, let's say that, let's say you're charging 300 for a video, right? And there's just two rounds of revisions. After the first one, you're like, this is a pain in the ass.
I'm going to charge for the second one. Cool. I have people asking me, should I charge $50?
I'm like, yeah, you could. It probably stopped him from sending you revisions more. But, If you had an editor who was good, charged you 54 revisions, versus an editor who was good, who didn't charge you 54 revisions, who are you going with long -term?
The guy who doesn't charge for revisions. You technically lose $50, but he's more likely now to give you another video. 350 LTV, 600 LTV.
Do you see what I mean by short -term Ls? So it might be like... I had this with Daniella recently.
Client forgot to send footage. They sent her the footage and it was multiple videos, multiple Bevo. She just forgot a core part of it.
She had to restructure the entire video. It's like, yeah, you can charge for it, but she seems consistent. Take the $50, $100 L.
You know what I mean? Now, if it's someone you want to get rid of, If you know, like, you don't want to work with them, you have so much other work, and it's like they're a pain in the ass, and you have other work you can keep up with, it might be worth just squeezing out another $200.
You know what I mean? But usually, you want to think like this, not like this. But yeah, that's the core concept of increasing income and the consistency side of things.
Like, I would rather have best case scenario, multiple consistent. Middle case scenario, one consistent or like two consistent and then some random inconsistent ones. Worst case scenario, you just bring in a shit ton of inconsistent people.
So if you're at a stage where right now you either have some inconsistent clients or you just don't have work or you start, basically you're not at a point where you have like multiple consistent. You just keep taking on people. You don't know who it is.
And then some will present as inconsistent. Some will present inconsistent. You prioritize the consistent ones when you have to make a hard decision.
and then over time it's like first you have like three inconsistent you have one consistent one and you keep taking on more people you replace one of these guys oh now you have two consistent and over time this just becomes like you have one to three consistent clients that's how you get to like keep going higher and higher real quick before we go any further i want to be honest with you right now you've got three options option one is you tell yourself you're going to come back to this video Life gets in the way and nothing actually changes.
I see it happen all the time. Option two is you take everything in this course and you try to apply it by yourself. And honestly, you can do that.
But without someone looking at your exact situation, it might take you one, two, three years of trial and error to actually figure it out. And by then, most of what you've learned is already outdated. Or option three, you shortcut the process.
In the editing layer, I work with you one -on -one on an intensive 90 -day process. We build a personalised plan based on where you're at right now in your editing career. We provide multiple coaching sessions throughout the week to make sure you're never stuck and we even make sure you've got access to our private community where any questions you have are answered and you also have access to our internal referral board.
You get all of this alongside a system that we've already proven to work again and again for video editors. Carter started with us when he didn't even have a single client to his name. His first client was $200 and now he's charging nearly $10 ,000 a video for videos that take one or two weeks.
Autumn was stuck making three to 4K a month for months. And we got him to 8K a month, doubling his income in just four months. And the best part is he did that with the same clients.
And then he used that success to build his own personal brand and coaching program too. Then you've got Amir, who was super busy. He was balancing editing, his social life, the gym, and a ton of other things that just life threw at him.
But we were still able to optimize his workflows and get him just a single client to get him to pay $14 ,000 a month. The truth is there is not a single person on this planet who has a better track record of helping editors scale. than me.
So if this sounds like something you'd be interested in, just go to the link in the description. You can make a call with the team and we'll see if this is something where we can actually help you or not. If it's not a perfect fit, then no worries, that's completely fine.
But either way, we'll continue with the video now. The way I like to think about it is more, what's the likelihood that this guy keeps sending me videos? Does that make sense?
Because you might have someone who gives you videos monthly, but you know he's been doing it every single month. Make sense? I would rather keep in on and it gives me space for other people.
I'd consider that a consistent client. So with the revisions concept, is it like you just established at the beginning about the revision rounds? Or would you say don't even charge for revisions if it's a new client?
If it's a new client...
If they take the piss and you want to get rid of them, I would. If they were a good client, I just wouldn't charge for revisions. Is anyone here having problems with revisions and those rounds being crazy?
Yeah, I wouldn't because my opinions of this have changed I used to think it was better to charge I would now rather not charge so I keep him for longer But instead it becomes more about process and psychology. This is what I found We spoke about this on call right? Yeah The problem that I found you had with revisions, and you guys might find this useful, you need to realise that the person you're dealing with is a person.
They are actually a human with the same psychological needs as all of us. They are triggered by the same stimuli and everything. If as soon as you have a problem, you bring it up, to let's say your phone, you search it on Google.
You have basically been trained that when I have a tiny problem, I go to my phone. Now this is fundamentally what happens with social media. You've got, I have a tiny impulse, no matter how small that impulse is, therefore I go on my phone.
If you train your client to do the same thing, which is they have a tiny problem, they give it to you and you instantly get it done, is that fine once or twice? Yes. But if longer term we train them well, even if this problem is tiny and you do it straight away, doesn't matter if it's 12 in the morning, doesn't matter if it's 4 a .m., doesn't matter.
If you just do this, you're basically just training them. It's classical conditioning. Like if you give the dog a treat every time it does something, it'll do that thing more often.
How quickly are you doing the revisions and how small are the changes?
Okay. The way I like to do it is more, I will work on them the next day. So that gives them the whole day to basically, let's say in the morning, they give some revision and then midway, they randomly, while having lunch, think of more things to do.
I don't lose out because of this. It's fine, you want to make the changes. That's your right as a client.
But I'm not going to make the change here and then... here they have more changes and because I've given something in now they have even more changes on that it just compounds on itself if you know what I mean and that's where you get people saying oh I know you did this last revision but can we go back to the original one and it's like you get these weird things like that but I just like to train them like hey appreciate you sending that through feel free to send anything else you want I'm going to be working on this tomorrow morning like you tell them as long as you communicate like people don't have a problem with it I mean because ghosting is a dangerous territory because it's like they've done research on this where people would rather people would rather wait longer but know how long they're going to be waiting rather than wait shorter but not know how long it's why you know how bus stops have oh in two minutes that happened because some guy some like organization realized people were complaining about times of times for travel they could either spend billions to make the trains faster
Or just let people put a sign up saying how long it takes. Yeah, I think I've seen that like study type thing. Exactly.
Yeah. So it's like people don't mind waiting six hours. They just want to know.
Same way, you know, who has had a client that just breathes down their back? Like, are you done yet? Have you started?
Or like, how's the cut going? How's the video going? Has everyone here had something like that?
They don't give a shit about the video. I promise. Like they don't actually, if they ask, how's the video going?
They don't really mind. You could say, yeah, I'm at the cut. You could say I'm 95 % done.
Emotionally, that is nothing to them. The fact that you said something is what's important. The way you can solve that, by the way, I like to call it pre -firing an update.
Before they even ask, how's it going? You just say like, hey, quick heads up. The video is coming along really well.
I've just finished this. They don't care where you are. They just want to know.
Does that make sense? How often would you update the client?
First, we just do it at major checkpoints. If they're being an asshole, not an asshole, because it's in there, but if you find that they ask for updates more often, just do it at that cadence. So if they seem to ask every day, just do it every day before they ask.
Cool. Because then you're training them not to ask. And about the loop, do I understand it correctly?
It's like you're basically kind of like programming a loop in them where they're becoming dependent on you. Yeah. Okay.
Cool. what was going to talk about with that um thing you just mentioned it's is it more of a like not how many updates you give them it's just like you kind of try to see see through them and see their like uh like kind of have high empathy quotient and just be like okay this guy is probably gonna need an update because he's this type of guy yeah honestly i don't have like a timer that i set up it's more This guy has been, not pestering, but he was super hesitant when he even paid me.
He asked me within five minutes, okay, that's probably going to be somewhere I need to give an update within a day. And the thing is, you don't need to send the whole video. The way I like to do this, send a message, hey man, just wanted to let you know the video is coming along really well.
Just finished the cut, or wherever you are. And then send a screenshot of the timeline. So it works really effectively.
I have a question. Can you use that loop in another way with the time? Yeah, I mean, it's fundamental human behaviour.
If you do something and then I slap you across the face, you're probably not going to do that thing as much. If you do something and then I say, well done, you're probably going to do that thing more. It's like how we all learn how to speak, how we learn how to edit, even.
In terms of with clients, how else could you use that? Honestly, just compliments are great.
I've worked with editors who have been in the lair and I've taught them this and they use it on me and I realise that I still fall for it. But it's like... Compliments.
Yeah, just compliments. Like, by the way, I noticed that you spoke really well during this video. I'm like, shit.
I look at it and I'm like, I spoke terribly. But it's like... Just a little compliment like that, when they do something you want, can work really well.
Because it doesn't even have to be directly related to the video. It could be, hey, I noticed that you've been a lot more consistent with communication. I appreciate that.
If... Let's say that your communication was mid. And the one...
Hypothetically, I'm joking. But let's say you were inconsistent with communication. If every single time you communicate to me, I told you, dude, why do you never communicate?
Thank God you communicate now, but why do you never do it? You're just going to want to not talk to me anymore. But if you don't communicate often and a few times you do communicate, I'm like, dude, I've realized that recently you've been communicating a lot more efficiently.
I appreciate that. You're going to want to communicate more often. So the principle for this is you want to compliment, you want to praise the things that they're doing that you like because they'll do it more often.
But even if there's something where they don't do it as often, as soon as they give you like a sliver of like they're going in the direction that you want, compliment that. It's a bit manipulative, but let's say the guy always sends footage like, dude, I appreciate you sending footage. It means I can start on it earlier.
Now they're going to want to do it more. They're going to want to do it a bit earlier. Oh, dude, I noticed you did this in three days.
That's sick. Thank you. Works really well.
Cool. Anything else? yes do you think there's a way somehow to leverage the compliments for raising prices yeah i mean through the whole relationship if you keep positively reinforcing that when i send this guy a video i get validated now that's not what he's saying but when you raise prices yes but i mean more like i mean you can't really say i appreciate that you pay me so little you know you can't really give a compliment to the pay that way yeah because if you said for example Well, let's say he pays me more for that video.
Should you say, I appreciate the higher pay? Because that, I don't know, that would sound kind of weird. The thing is, it doesn't have to be like one -to -one.
So it doesn't have to be, I like that Owen communicated, and then I compliment the communication. That's probably the strongest way. But even if it's like, when Owen is near me, I compliment his traits.
He's going to want to speak to me more. So if throughout the entire client journey, he sends video, you compliment, you say he's been speaking well, you say just randomly like, oh, your communication is really good, man. I appreciate that in the client.
When it comes to raising prices, there's so much more bonding that's happened. Like raising prices is rarely about what you say in the price range. It's all how do I feel about this guy?
I've kept editors where they've literally priced me out of my budget, but I've kept them because I'm like, I don't want to go through the pain of... finding someone else and this guy makes me feel nice and I work. Yeah, it's because the editors are more valuable to you.
Exactly. Like, I've, in fact, I was at Charlie Morgan's Mastermind recently and a lot of the conversations I have with the guys is about their editors. And so many of them, and bear in mind, these are business owners with like, between like 50 to like 800k a month.
Most of these guys literally say, the guy's editing is kind of mid, but he gives me no problems.
All of us here can do the level of editing that they're going for. But those editors, I ask them, like, what do you like about him? So I can tell you boys what the traits are.
Like, when he says something that's going to be done, it's done. And it's like, there's no bullshit of, like, my grandma died, or, like, some, like, third grandma that week. Like, you know what I mean?
Like, my uncle's grandma died as well. It's like, oh, my bus came late. It's like, no one cares.
You know what I mean?
Yeah, like just, the standard is so low now that you don't even have to be amazing. You just have to be not bad. Does that make sense?
Oh, sorry, no, finish. Sorry, my fault. I'm saying, why is the standard so low?
Head down. It just is, honestly.
Like, it just is. Like, it's not hard to stand it, genuinely. If you continuously improve your editing, and for most of us here, we already have clients, you have a proof of concept that your editing is good enough to charge for.
Like, even if you don't, like, you'd be surprised how not spectacular you have to be to get clients. If you communicate well... um and by well i don't mean like you've installed how to influence and influence people into your brain that's not what i mean i mean like you respond on time and you speak in their interest that's the main thing so yeah and you thread like give them a direction of where to go like make their life easier they shouldn't ever think what do i say to this guy it should be like super clear if you don't know what you would respond in their shoes don't send the message that's Sort of how I like to think.
Wait, can you say that again? If you were in their shoes and you wouldn't know what to respond to the message you just sent, that's a shit message. You know what I mean?
It's like when you're in a conversation and someone's like, yeah, man, I went to college in London.
Thanks. You know what I mean? You've got to give people some ventral, like some...
conversational velcro to stick onto something that you threaded. So it's like, oh yeah, I went to college in London. Where did you study, actually?
And now it's like, you know what would you respond with, your place of study, right? So similar to that. In a client context, this would be like, he sends you the footage, and you're like, I appreciate it.
You've killed the conversation. Can I give an example? Go for it.
So there was this baddie in my hotel elevator, and I was like, oh, I like your hair. And it was going pretty well. And then she said, oh, how are you doing?
And I'm like, great. These subway stations are terrible. And it was quiet for an uncomfortable night.
Yeah, yeah. I mean, that's the thing. With small talk, you can get away with it, to be honest.
Because I'm assuming you were trying to gauge whether she was vibing or not. That's fair enough. But it's like, when it's with a client, it's very much like, you want a response.
That's why people get ghosted. It's just, it takes too much energy to respond to you. Therefore, the guy doesn't respond.
And it's not out of malicious intent. All of us here have had someone where we see a message where like, we'll respond later, I need to piss. Or like, let me just finish my food.
And you forget until the next day. That's what happens when you get ghosted. You just took too much energy for that response.
I have a question. So basically, what is that about Charlie Morgan? So from what I understand from that is your biggest asset that you can provide is making him not think about the video at all.
So he just sends the footage and gets a result. But that brings him back. Someone like Charlie Morgan, where that's like the biggest value you can provide to him, wouldn't be sending updates to him like counter...
How do you say it? Counter to YouTube.
Because then you... Because basically your biggest asset is taking his mind off of the video. If you keep updating him, he's always thinking about the video.
Yeah. I get what you're asking. The reason I feel that you giving him updates actually takes less energy for him is he's thinking about it anyways.
If you paid someone like a grand, you're thinking about it. You know what I mean? It's why when someone puts a grand into stocks, they're looking at it.
It takes discipline to not look at your stocks once you invest it. You know what I mean? Imagine you had like everywhere you walk you just had like on your palm it would just say how much your stock is worth.
You wouldn't care about that one grand anymore. You know what I mean? So he's thinking about it anyways.
That loop is open. When you give him an update it just closes the loop like I'm not getting scammed. You know what I mean?
So like different things are valuable to different people?
Yes. Like they'll find... For example, there's two types of people.
The one who's balling and doesn't really care about his money. He can send you the $1 ,000. They still care, it's just to a less extent.
It's less important to them. So they can send you $1 ,000 and you don't need to update them and they get the video ASAP. They're like, cool.
But it's the guy who might be less financially abundant. He's caring more about the $1 ,000. He's like, oh snap, he's maybe stressed about it.
Technically, his value is placed on that more. So then he would give updates. Yeah.
So I want to give updates no matter what. Like we said before, the amount of updates will be how much hand -holding do I feel like this guy needs. So if he seems like someone where he keeps asking for updates even within 10 minutes of sending Payment and he's like did you receive it?
Like are you sure? I mean I was taking a piss like give me a second in it Then it's like yeah this guy I'm probably gonna need to update them like once a day once every two days And it costs you 10 seconds Would you say like with like asking for an extension do you think that's like causing a lot of grief for like creators or like business people for example?
If it becomes a recurring problem Similar to how with raising prices, it's less about the raising prices moment, it's more about the entire relationship before. Same thing with deadlines.
It's like, if you have a history of not responding on time, you asking for a deadline extension is probably coming across a little worse than this guy communicates. Even if he's not the fastest, I feel cared for the whole way. He's now told me it's going to take an extra two days.
I know it'll be an extra two days. That's fine. You know what I mean?
And if you frame it the right way, you say like, dude, I'm this much in the video and it seems genuine, which it should be, then yeah, you're no match. Go for it.
Is it just like killing in what uncertainty, like from the client's point of view? I mean, is it uncertain that the video's going to be done? Yeah.
I mean, if you paid even like 20 dollars for a video, would you want to know? Yeah, basically by checking Amazon. Yeah, yeah.
And it's like you don't need to Because people think giving updates pisses clients off. But I think that's cool.
It's like, oh, I don't want to annoy him. It's like, it's a message. If you spent however much on a video, you would want to know where it is.
So, yeah. Do you want to say something? Yeah.
Something to add to Carter is that every client has a value of something different. I think it goes back to what you said, that it's like about human psychology. I think the biggest value that you can provide for a client is if you can fix his trauma from a previous editor.
So if you know that his previous editor was slow, the biggest asset that you could provide to him is being fast. You say to him, I see your videos, they're good. You're only pumping out one a week.
With me, you could put out two a week. If you know his past editor was maybe just bad at editing, that's your biggest value. If you know he's bad at communicating, just something like this where you kind of...
Go back on what he's missing and that's like his most desired point. Yeah, that's a great point. That's a great point In fact that could lead us to another topic.
I think you boys will find useful You can go into sales processes and like sales psychology if you want because it blends with that I think you guys will find it useful. Cool for that? Awesome You know how you mentioned Amir that If the guy's been posting one video a week, you can tell him you've posted two.
Yeah. That's amazing. But there's a condition for that to work, which is the guy actually wants to post two.
What if he doesn't? Yeah, fair. And the thing is, that then poses the question, like, how do you know what this guy wants?
Does someone know how you know what the guy wants? Ask him. Exactly.
You can literally just ask someone what they want and then say that I would give you that thing. So fundamentally, sales is this. This is a human.
They have a current situation. Everyone has a desired situation. Every human.
All of us have somewhere we want to be either financially, maybe it's spiritually, maybe it's psychologically, maybe it's to do with relationships, maybe it's to do with status. Everyone has some fundamental desire. Maybe except some Buddhist monk, but I haven't reached that.
The fact that these two states exist creates a gap.
This gap causes pain. So we can visualize that sort of like a fire. The longer that this person stays in the current situation, the more painful it is.
And also the bigger the gap, the bigger the pain. So what you're pretty much doing with anything you sell, this is like how value is created. You are basically taking someone from Covent to Desired.
It takes them out of the fire. Now how can you make this more valuable? The most valuable thing to this guy is basically take out the fire, give him a staircase, and in case he falls, make sure he has a trampoline here.
So even if he does work with you, and it goes to shit, at least he starts at a decent spot.
That's the most valuable thing to this guy and people would spend a lot of fucking money for that and that's how we all get paid You might not know it, but this is fundamentally what you're doing. Now, how the hell does this relate to editing? The current situation So I'm posting one video a week.
The last guy had really bad communication. He told me that his frog died like I can't get videos out. Bizarre situation.
I can get videos out. So it's like You are basically saying, I can do that thing.
So when you're speaking to someone, and this is basically what establishing expectations is, by the way, you're uncovering what is the current situation, you're uncovering what is the desired situation, and you're basically just trying to make these seem as far apart as possible. You just want this to be as big as possible.
You want this gap to be huge so that suddenly 500 a video, 1 ,000 a video don't sound so bad. You know what I mean? I'll show you an example of this on a call, but the same concept applies on text, calls, whatever.
By the way, I'm used to that. I have no idea how to do it. I can show you guys something I think you'll find useful.
Let me see if I have the lube. Does anyone here know I am Lucid? What?
Yeah. I had a call with him recently that I think you guys would find useful. But I fundamentally did this with him and I got him to like 1 .5k a video.
His budget was like 200. So, um, do you know I am lucid? Okay, big youtuber he like hit a mill recently.
I am lucid is that? Yeah. Oh, he does the yeah.
Yeah. Yeah. Yeah Basically, he posted a job post where he was I think he said like two three hundred a video.
I wanted to test this I went to 1 .5k video. So it's like and I had to record it because I knew boys would find it useful. Let me find it Um, let me double check.
I should have it. I'm hoping I have it. Um Let's see Is that one?
No.
Let me find this for you boys.
Yes. Let me see. I wasn't thinking about how I look on camera, so please excuse how autistic I look.
Cool. This. Do we have a HDMI?
I fucking plugged out the HDMI like a dumbass.
Cool, actually, I think it's the audio that's more important.
Are you guys finding this useful? Yeah, very much so. If you guys find it useless, just tell me.
We'll move on to another topic. It's that thing. Cool.
Cool. This is me, bitch. What the fuck is that?
Dude, I paid for the whole TV. I want the whole TV, man. You're probably splitting it in half.
Why is it that? So it's like you have two devices. Does someone know how to sort this out?
TV. Someone help me out here. Someone just edit the screen.
Someone edit it. Increase the scale. Increase the scale?
I don't even have a TV at home. I don't have to use this.
Oh, it's fine. It's just about the Warriors. I didn't have a call with him, though.
No, no. How was he called? Oh, how was he called?
Ray Jimlinson, Minecraft YouTuber. That's crazy. Yeah, appreciate it, bro.
The thing is, like, he started a new series, and it was, like, the best -performing video, like, my one. I don't know whether to edit it or not for the other videos. I haven't checked.
Yes, but you should. He has a big video catalogue. 3 ,000 videos.
He should be earning, like... I don't know, but if you look at his latest videos, he doesn't make... He doesn't get many views anymore.
He gets, like, less now. Yeah, but a catalogue of 3 ,000 videos still gives him weight. Yeah, yeah, of course.
I mean, I've got the video in my portfolio. Hey, wait, wait, wait. I see, I see.
There we are, that's cool. This is a cool idea. As long as they give you some money.
Oh, yeah.
Cool, so pretty much This is a call with I am lucid who's a pretty big youtube of like one mil subs I was testing this because I wanted to make sure it works on calls as well it is on Dms, and it does you will hear me ask questions Cool, but basically what he's basically saying here is and I just asked him like what is it that you're struggling with?
So this is small talk So that's small talk you're basically starting a conversation this is pre all of this this is building rapport trying to get to know the guy By the way, I'm saying he's a US creator. I have a chat GPT open, which basically said, tell me everything you know about I Am Lucid, the YouTuber.
Tell me demographics, tell me how big he is, tell me what type of content he makes. I used to watch him, but I don't know him anymore. So if that's something useful you can do before the call, go and chat GPT.
If they're a big YouTuber, search up. Watch like one minute of their video. I found out his religion.
I found out he didn't used to reveal his religion. Now he does. Find out what area he's from.
it just helps it's more talk something else that i can add to that um i've had a call with a potential client as well and i kind of did a mistake basically i knew like the brand is building and i searched your brand up for like one minute i could have done like just 10 minutes of research and i would have like known a lot and on the call i said like yeah i checked out your brand and then he said oh yeah and then he asked me a question about it and i got it wrong that was kind of like embarrassing yeah yeah but on the other hand i feel like if you get that question right You impressed the clients in kind of a way and puts you like above others because you've actually done research on them.
You would be surprised if you do five minutes of prep before the call, you will seem like a fucking genius. Find out what niche is he in, when was his last video. Just click on like three of the recent videos.
Does he have a consistent style? Does it look like he has different editors? You'd be like, oh yeah, I saw for the last three videos, they'd be like completely different styles.
Did you have different editors? Oh yeah, I did. What is that?
Oh yeah, there was shit. Also, I've got pain now. So it's like, this is the small talk part.
That's small talk.
But you'll notice, this was framed as an interview, by the way. But can you see, I don't seem like I'm in an interview. It's like, I'm just fucking laid back with like my feet on the desk.
Like talking about how shit the weather is Can you guys hear this? It's really quiet A bit I'm sorry Can you put the subtitles on? Will that work?
Is that a thing? Is there subtitles there? Yeah yeah yeah Put it on the left, I think the left will be louder actually Yeah, hit So he's giving his whole life story, which I didn't ask for.
When someone yaps, you let them yap. If it's about what you want. If they yap about something irrelevant, cut them off.
But here, he just said, I'm going to summarize my life story. I know there's going to be pain in there. I put YouTube on pause, instantly pain.
It's like, why? I'm going to delve into why he put it on pause.
Stress.
Fire.
Better system. Do we see it clicking together? Research.
Script writing. Alone.
so you know how you were talking about um like i'm gonna tell this guy like i'm gonna do all this good stuff i'm not gonna say it until i know that it's the right answer You know what I'm saying?
He's kinda selling himself here.
So now the reason I'm saying likes animations, I'm noting that down. He's telling me what he wants his stare to look like. You know what I mean?
So when I'm talking to him, I'm not going to be like, oh, we're going to focus on storytelling and pace. I'm like, you like animation? I can do animations.
If he said storytelling, I'm going to say, you like storytelling? I can do storytelling. You know what I mean?
You just get the answer back. You find out what they want to hear. Then you tell them what they want to hear.
You don't just sell people. Otherwise, they zone out.
So he mentioned he wants to do short documentary videos. So I'm not going to show, now I know if I'm going to speak about something for social proof, I'm not going to mention like some finance guy. I'm going to find anything that has anything to do with short documentary or short videos.
I know he's an ILL creator. So if I don't have short documentaries, I'll show ILL. If I don't have ILL work, I might find a gaming video with a face cap.
I'm just trying to approximate as close as I can. This is all just like, I'm just trying to explain what's running through my head when someone's giving me information. Honestly, this is a call where he kind of just gave me all the ammo I need.
Usually what you're going to have to do is you're going to have to ask questions. We can role play a bit if someone's down. I can show you what that would look like on the call.
Because this one, he basically gave me all the ammo. Do you want to do it? Yeah.
Come. Give us some time to think. So I'm the client, right?
You're the client, and we've just jumped on the call. We'll skip the small talk. Yeah, I'll ask the first question.
Yo, man, how's it going? Yo, how are you doing? Yeah, I know we spoke earlier, but I saw the editor post, man.
What's going on? Yeah, so basically my last editor, he's like insane at editing. He's one of the best editors I've ever had editing wise.
However, he just kind of disappears. And by that, I mean he misses deadline and doesn't inform me. He then says, yes, something came up.
I will deliver in two days and then misses that again. And it's like... It's like working with a diamond skill -wise, but he's just trash with communication.
I mean, it's sick the fact that you've worked with editors already. What made you hire him in the first place? Honestly, I just look at his work because from his Twitter, I couldn't tell how his communication is.
Okay, first, I mean, I've noticed you mention communication a lot. Is that something that's important to you? I mean, honestly, especially now, I value communication over actual editing skill because communication just...
i know what i'm working with yeah makes sense and why is that just what i understand like communication being important i think because when you hire an editor even though you're you're in a client service relationship yeah you're still in some way partners and you wouldn't want a partner who just doesn't speak to you no that's fair i mean that's really interesting you mentioned partners because that's the way i like to see like clients now because dude i've gone past like working with youtube because i want to work with guys like you right where it's more of a partnership But just so I understand, when you say his edits were good, what sort of level are we talking?
Because good means something different to everyone, right? Well, he was Indian, so he was charging less. But if he was, for example, US, he'd probably be charging like $80 per minute.
Yeah, $80 a minute. So is that what you were paying him? What were you paying him?
I was paying him $35. And honestly, for me, it was way too cheap for the quality of work. But I would have honestly wanted...
Cheaper editing with better communication for that person. Fair enough man. I mean, you would have been willing to pay him more, he was too cheap.
Good problem to have, eh? Yeah man, but so in terms of with your channel now, are you still trying to keep the same type of editing? Assuming the communication is sorted, what's the goal of the channel?
Honestly, I've always just wanted to make documentaries. My channel is about animals and basically all the normal animal channels are like the... The basic documentaries were just people film lines, but I want to make like actual high produced documentaries.
The topic is animals. And the actual editing style for that is something that I've actually not figured out for myself. So I usually tell the editors to let their creative imagination do the work.
Not figured it out. And then basically I rate for myself if that's the kind I'm looking for. Okay, gotcha.
Yeah. So you're doing the documentary videos about the animals, all that good stuff. I think that's sick, by the way.
A lot of the people that come to me, they usually know what type of content they want to work on. It's just the fact that they haven't found someone consistent to push it out with. Is that sort of where you're at?
Could you repeat that? So, a lot of the people that work with me, they know what they want to post. It's just that they haven't found this partner type of editor to push it out with.
Is that sort of where you're at? Semi. Because I do know the content they want to push out, but I actually don't know the actual style.
As I said, I'm... I couldn't tell you a reference video. Yeah, what style you should edit them.
I usually that's why I just tell the editors like Do your magic interesting? Yeah, and how has that gone so far like with telling people to just do their magic? bad bad tell me how bad well I mean, I wouldn't be talking to you if I was happy with my situation Yeah, but do you see how like all i'm doing right now is you came to me with this like You came to me with these two being quite close.
I'm about to pay money. You came with these quite close, but the more I ask you questions, the further it's going. Your current situation seems even more shit because I'm making you speak about how shit your editor is.
And the desire, I would have gone that into more, but I want someone who feels more like a partner, all of that good stuff. But you'll notice I didn't tell him anything. All I did was ask him, never.
And then when I go into pitching, it's just going to be like... Usually he will ask something along the lines of like, oh yeah, but in terms of your editing, how does that work? And then you would say like, yeah, man, I mean, then you would transition to the pitch, which is more, yeah, so the type of people I usually work with are people that have these traits and you just list back what he says.
And then, yeah, and usually like the process that we use, that I use is like, you send me the footage, blah, blah, blah. You kind of give like a very simple like overview of how you would work. Don't go into details.
You can say something as simple as like, yeah, man, you'd send the footage. I know you had problems with communication where you're not really sure if the guy has got the footage or not. I'll give you a heads up when you send the footage, don't worry.
But you see, you're kind of just saying, you had this problem, I'm going to fill it in. You had this problem, I'm going to fill it in. And then when you basically match yourself up and he genuinely believes that you are the staircase, that when you give price to them, it will land so much better.
People will thank you for taking their money. Honestly, I realized even though I knew we're role -playing. Yeah, it like this psychological effect still worked when you said that When you kind of made me as a client stand out So you said that's actually very sick usually clients and then you say something like bad about other clients which like elevates me above them So you don't just elevate yourself, but you actually elevate me.
It's all about exactly even though I knew it's role play This is the entire sales process. In terms of this bouncy pad, it's just so that people don't have fear of working with you.
So it's like, you wouldn't want to work with someone if they promise you to work, but you're not sure if you might just end up poorer in the same situation, maybe even worse off because you've spent the money now. The way you get over this, you can do guarantees. I personally wouldn't in editing just because it's too volatile.
Like what are you going to do? Views? It's too volatile.
I think having a brand fixes this. Who are your past clients? Do you post regularly?
Instead of, if you've been on Twitter for like six months at least, posting regularly, just subconsciously, you'll know like, this guy most likely won't fuck me over because he has something to lose. So, yeah. I'm about to trample even.
Before I understood it in the way, you know how I made the example, the current editor produces one video every seven weeks. I can produce two every seven weeks. With the trampoline also be like interpretable as in I promise them two videos every seven seven days But the bad case scenario is two videos every nine days, which is still faster.
Yeah in the previous editor So it's also kind of the trampoline. Yeah, that's a good way to see it. Yeah, like worst case scenario I could be late.
I'm still fostering your vengeance i would kind of feel uncomfortable um talking about his previous editors and how much he charged they charged him you need to know why is it why would you feel uncomfortable because i feel like it's kind of personal do you tell other people about how much you charge openly uh yeah okay so why is that problem for your client to say how much you charge because like it's the details of this business And you're gonna help his business.
So you kind of got to know that Like you can't expect like you can't expect a mechanic to fix your car without looking under the hood I feel like the client is gonna think oh he's asking me so he knows how much he can charge I see that Chris I've never had that only because I like to speak about the traits first in the same way like with him I asked like I mean, why do you want to hire an Averito?
So there's gonna be different answers. The reason you ask why they want to hire an editor, there's different reasons.
It might be that he's happy with his editor, and he just wants to expand the team. But it might be that the editor's shit. But it gives context, because when it's like, oh, you're paying this much, you're getting this much value.
Like, you're paying 350, but you're not even being told when the video's late. It just, it's like, it's not, I haven't found it to be this thing where people are uncomfortable to say it. If they are uncomfortable to say it, you just question it.
So it's like, Oh, man, I would rather not tell you that. He did that a shit ton of times where I asked for footage beforehand and he was like, oh, I feel uncomfortable doing it.
I'm like, why?
Oh, I'm scared you might leak it. You think I will? No, no, no, no.
It's just that other editors might get... Dude, here's the thing. I like working with people XYZ.
I think we can do this for you. If this is the last hurdle, I mean, I guess we part ways. Oh, you know what?
Fair enough. You just attack the objection. Ask questions.
Cool. Any questions on sales process? What if you really, really want the client, but they don't really want you, so it's already decided that it's kind of more needy?
It's not about them wanting you. Wait, what did you say? It's not about them wanting you.
This isn't me. This is the state of their business. I'm not the star.
I'm this non -sexy staircase, bro. I'm the staircase of the trampoline, not the star. The star exists in everyone.
But it's like, this is having consistent videos. My videos look a certain way. I have comments that are complimenting the editing.
This isn't me. So, like, it's not a question whether they want you or not. It's a question of, like...
It's just a question of how bad do they want it? And then you say you can get them that thing. So if it seems like they don't want you, it's either you're not a good enough staircase for them?
Yeah, if they don't want you, they either don't believe they have a problem, they don't believe that what you're giving them will work, so it's like a fair thing, or they think that it's not worth how much you're charging. Which you can get over by charging less, or you can just make it more valuable. by making this bigger.
But like, this is what I realized. It's rarely about you.
Mostly. Unless it's like, everyone here has had an inbound client where it's just easier shit to close. That's like, yeah, it is about you.
You've been posting consistently, which is great. But this scales better because it's like, you need a repeatable process. And this is it.
If, for example, in this example, if the client doesn't believe that he has a problem, but you genuinely know how you could improve, like, his problem, which he doesn't see, how would you go about convincing him? You have to question him.
So you can't tell him he has a problem. So let's say you genuinely believe your fashion style is amazing. No, none of those like Y2K fashion fuckers can tell you like, no, you've got to wear these glasses.
No one can tell you. But if they question like, oh, I mean, you've been wearing these clothes for a while. I mean, why not change?
I mean, it's like, you say, oh, I find it fine. And it's like, oh, but you told me earlier that you wanted this thing. And then you sort of link the thing that they want to the thing that you saw.
So how do I put this? Okay, oh, dude, I'm super happy with... I'm super happy with how often we're posting.
Oh, I mean, why even reach out?
Oh, no, I'm happy with how much we're posting, but it's like the videos just aren't to the standard that I want, and then now you have pain. This looks different for everyone. Everyone has a different pain.
So it's like, you know how, even like all the topics you go through, these are all painless. Like all of you are painless.
So you never want to tell the client what his pain is. You always want him to tell. You get him to tell and then you repeat that.
No one believes what you say. They believe everything they say. Yeah, that kind of ties into how to influence people.
Like you don't want to confront them at all. Because that could hurt their pride. Yeah.
so it's like this applies to any product or industry by the way like this is just first principle sales if you have like a weight loss offer which is like you're teaching people how to be less fat it's like you can't tell them they're fat you can't get them to admit it though and then when you say like you told me you feel fat now it's a different vibe to i think you're fat you should buy my thing you know what i mean it's like it's one thing to say you need to post more often It's another thing saying you told me you want to post more often, but you can't.
Do you get a slight vibe switch? Yeah, yeah. Bro, that was a great example.
Okay, yeah. Cool. This is where you get the retention problem, by the way.
You know when people are like, I maximize your retention. It's like, the guy doesn't give a fuck. You're telling, you're dangling this habit that he doesn't even like.
He doesn't like habits. You know what? You're dangling like, I'll get you better retention.
He didn't say he wants it, though. So, yeah.
No, everything. Like DMs, doesn't matter if you sell over DMs. I think Imran, you know Imran's in the lair.
I did it all in person. I sold in person. Because he's from the same town.
Yeah. The sales process that a lot of you guys have gone through, I think if you were in the lair earlier, it wouldn't have been. But if you've been through a sales call, you would have experienced this.
I did it in person with Imran. I've done it with text with a ton of people. Do it over the phone.
No video. You can do it over video. All applies.
You can do it in Morse code if you fucking wanted.
But yeah. Any other questions on that? Cool.
Let's see. What do you want to talk about?
Carter, how are you finding by the way? Good? Yeah.
Good. Everyone good? Yeah.
Cool.
Shit, this is a lot of papers.
First one.
Cool, thanks. I guess we've covered... What have we covered?
Quite a lot. We've done clients, I guess. We have new clients, anything else?
Cool.
By the way, the reason I didn't go into the inputs, which is basically just post -outreach, is because I think all of us here know that we should be doing that. it's just that that process of um of like understanding this genuinely just helped me a ton like oh how many videos you're doing right now what's the goal with the channel oh cool i usually try i've done it for this person this person this person um it's that much so that's just helped me a lot it helped it worked with everything one like very niche question about like um outreach imagine me I outreach it to like quite a big youtuber and he goes through because I'm not good enough How do you know it's because you're not good enough?
No, I just whatever reason just see that it's like a million subs I don't know just any reason And then one year later, I'm much bigger much better and I still want to work with him. Should I double text?
You won't get pulled up by doing it I don't but I always think that I ruin my chances of him reaching out to me. Yeah.
This is the Sidemen. Yeah. I got ghosted once.
I got ghosted twice. This is like half a month later. then they reached out and then I got roasted again after they reached out and then I got roasted again like somewhere mid here it was like you you don't lose much you don't get pulled by following up okay you just don't okay that was 2022 I ended up working with them two and a half years later that's like that's how it works um cool any other questions just like a follow -up about like um yeah a follow -up about following up is like how many times do you think it's like acceptable like before it's like getting needy and annoying i would do that i would maybe do like it's not this like binary answer of like how many you've got to judge to like judge context so if they reached out and they said like i want to work with you you genuinely have full permission to like follow up as many times as you want like be shameless genuinely like if they've shown interest They've basically given you permission to follow up a shit ton of times.
I'm speaking like two, three, four, five. At minimum. If they haven't messaged at all, similar to this one, it's like, hey, we're following you, saw this, please.
And then they didn't respond. I took like two weeks to follow up. I would now do it within a day or two if I was going back.
But it's like, hey, you must get a ton of messages a day, so I just wanted to follow up on this. He didn't even respond to this. He responded months later.
People see their DMs even if you think you got ghosted. People see their DMs and now if he wants an editor and he's like, oh, I need an editor. There's like 500 out there.
My name's at top of mind because it's like he's been seeing my work because I've been posting even though I'm not working with him. And he's like, oh yeah, he messaged me that one time. It's not a needy thing.
In fact, I've done it with editors. I've ghosted them by accident and then I worked with them. like a year later cool does that answer yeah thanks yeah nice um anything else before we move on cool um that's clients first clients i guess should we go into client flow right cool so this is now you know how to get clients um outreach previews um basically have the conversation here Which is basically just establishing expectations, by the way.
I've simplified it to that. What are you now? Where do you want to be?
Let's do it. Let's talk about client flow. So now you're getting clients.
How the flippity -fuck do you get bigger ones? The way I like to see this is feedback loops and systems. So every system has an input.
So this is like an input. This is sort of like a process.
And then you have an output.
This is like very basic systems thinking, which is, is that big enough by the way? Okay, cool. Input is like, I have, I do X amount of outreach.
I, yeah, let's say outreach to keep it simple. I do X amount of outreach. I have a process for closing people.
I find out the current situation. I find out the desired situation. I give, I say I'm the staircase.
I give them a price. And then I close them and collect payment. That's the process.
The output of that system is you have a client that's paid you. Does that make sense? This system will die if you don't do anything with it.
If you don't keep putting inputs of people that are going into the sales process, it will die. And this is why you see people who they outreach five times. They maybe get one response.
They maybe close him. They have a client. Two weeks later, they're still back at zero.
This is why you see editors, even at bigger levels, they get to 1, 2, 3, 4K a month, 5K. I've seen guys get to like 8, 9, 10K a month. They fall off.
Why? They stop the input. What you need is a feedback cycle.
This is where your output comes back into the system and becomes the input. I'll give you an example. All of us here right now have probably come here because I posted some sort of content.
Would you agree? The input is content. With that, I have a certain sales process, which means that I have people who pay for coaching.
Correct? That's the process. The output of that is clients.
You boys are here. If I now no longer post content, yes, you boys will be here, but we won't grow. Or we'll slowly trickle off.
Correct? The feedback for this is I use current clients, to get more clients that's why we do student interviews that's why i post about the edges i help that's why we're recording right now it feeds back into itself because otherwise the system will die in the same way when you have um an input of outreach or maybe it's like an input of just pure luck like someone just came across your twitter and reached out has everyone here had that like they got reached out they didn't even post a preview recently Like you haven't even posted a preview recently and it's like a guy just reaches out randomly like where did this guy come from?
usually that's because you didn't input in the past and it's sort of like trickled and like It's got like you just about got another another output If you don't use that output and have a feedback system to for that to become an input you won't get any more clients How does this look more tactically? Basically, it's just social proof Does anyone here not know what social proof is?
Okay. Yeah, very basic level then. Social proof, monkeys see that other monkey do something, now monkey want to do it too.
That's basically what social proof is. It's like, I see another person doing this thing, they're similar to me, fuck it, I should probably do that as well. You see, if all of us right now ran out of the room except for you, you're probably going to run out too.
It's all like that. It's a survival thing. You want to use the output, which is your clients, to basically get you more clients through social proof.
So what does that look like? It's you posting previews. And I know I sound like a broken record player saying this, but it's because I just don't do it.
Previews, basically putting it on your profile. So that's, you know, the blue tags, stuff like that. And your portfolio.
So it became just like 3P. Wow. So yeah, basically, as soon as you get a client, you should be doing this preferably.
Now there's going to be some videos where you're like, this is just a thing where I just needed to get it done. It's a shit video. I got paid for it, but fuck it.
Like sometimes you're not going to put it as a preview. Sometimes you're not going to put it in your profile. Same with your port.
But if you want to grow, these should be your priority. Like when you're working on videos and it comes back to sort of that mindset of like, even when you're working on free videos, having a long -term mindset, it's this.
Like your input might be a practice edit. Well, the input would be like a practice video. Yeah, practice video because you haven't got anything else.
Process is I work on that and I post it on these things. The output is I have like a full video edited. But you're not going to get more work unless you use that to actually get more work, if that makes sense.
Like you need to use your work to get you more work.
You cannot do these things for a very long time without facing any problems. So let's say, who here has been posting previews, let's say, within the last six months, at least like three, four, five, six?
Naughty. But basically, you can get to a decent point with just like two or three decent previews, honestly. The problem is, There's a delay.
So this is sort of like system delay, right? You've got an input and an output. Just because you put an input in doesn't mean you're going to get an output instantly.
Sort of like the gym. You do an input of like, I do X amount of reps. Output, you're not going to get big in like two minutes.
Sure, there's a pump, but like it goes back down.
With previews, likelihood is you're not going to get it instantly. That random client that you've got reaching out to you. Might not have been because of that preview or even any reason at all.
It might have been something you did six months ago Know what I mean? So there's delay within this system. So you start out reaching you probably aren't gonna see results You're doing like 30 a day.
Oh shit now like a month later. I'm seeing results I'm assuming a lot of you have seen like this cloth That's why it happens it's like you do something here It doesn't do anything. This will actually pay off here This one will pay off here.
This one will pay off here. And then over time, you just get them like stacking on top of each other. That's why you get exponential growth.
The problem is it happens the other way too, where if you stop putting inputs in, it doesn't actually stop outputting instantly. Now, this is where you get editors who get to like a few K a month, 5K a month, and out of nowhere, income drops. And I ask them, what are your inputs?
How much outreach have you sent? How many previews have you posted? Oh, like, I had clients, so I stopped out...
You stop the inputs and you stop getting the outputs. Like, it's just, like, it's just maths. So, the problem is they don't realise it because, like, they're doing inputs, they're doing inputs, they're doing inputs, they're doing inputs, they get this growth, and now they stop doing the inputs, but they sort of, like, keep going.
And they're like, what the fuck? Like, I don't even need to do outreach anymore. I don't need to do previews.
And then like out of nowhere, it just sort of like does this. And now here, when they see that they're slowing down, they're like, let me do outreach. Let me do, let me, let me post.
And the thing is, this takes time. This is only going to pay off down here. So they're like, why is it still going down?
that has a certain process which may be posting, it may be updating your profiles. It's a sales process which you just get into a shit ton of conversations. The output is clients.
If you don't use that client or that work to get more work, you are going to slowly have a system that's dying. The way I like to think about this is imagine you have a train. You know those old steam engine trains where you literally put coal into a fire?
Imagine you've got one of those. You're at a standstill, you put fuel in, it doesn't go. Put more fuel, slowly burning it.
Oh, we start going. Now we're going like 200 miles an hour, right? Someone decides, hey, we're going fast enough.
Let's slow down. Let's like not put coal in. You realize you go from 200 miles an hour, still at 200 miles an hour.
And you're going for like, honestly, like an hour or something. Then out of nowhere, you just slow down. And you're like, bro, for the last few hours, we haven't even needed coal.
Like coal has nothing to do with the speed of the train. And it's like, why are we slowing down? It's like, when you stop putting in the thing that was getting you the results.
So these three, when I say profile, I basically mean like bio. These three are basically your inputs when you do work. Any work you do should be with the intention that I post a preview or I put it in my profile slash bio.
So, you know, when you get a big client, that's the main intention. Or I put it in my port. Best case, you have videos that you order three, but try to at least get one.
Every video should have that aim. And people come up with these excuses like, but the videos I'm doing are simple. It's like, have you tried doing it more complex?
Like, have you tried? Because I promise you, if you execute the correct style for a video and it's more complex than what the client asked, they will be fine with it. Like, genuinely, they will be fine with it.
It becomes a problem where people think complex means a certain style. And now they're editing a finance video. The guy asked for simple videos.
He takes this advice, he tries doing it more complex, and he puts the fucking neon text on there. You know those Sonev -type edits on a finance video? It's like, yes, the guy didn't like it because he did the wrong style.
So oftentimes you can go more complex than what the client asks you. You just have to do it within context of that niche, that style, what works well. And then that fixes this preview problem if you don't have work to post.
That's honestly client flow. Client flow is just how many client conversations can you get into? And that just means you can replace more of your previous clients and go for the higher leverage ones.
It's just have a feedback cycle.
Cool. Any questions on that? We're good.
Cool.
Okay, good Wi -Fi now. You got a Wi -Fi? Cool, that's that done.
I think we take a break now. How did you guys find out? Congratulations, you have completed the editing course.
I know we've covered a lot here, so feel free. to save this video so you can revisit it later. And if you are someone that wants help with implementing all this advice, then I invite you to join our coaching program.
It's called The Editing Lair and truthfully, we get amazing results. And the reason we're able to scale editors with such consistency and such speed is because we do this day in day out with hundreds of editors at a time. In fact, most of the editors that you either see coaching or making content now, they have likely come to me in order to get help.
And that's because I know my shit. Now, while I wish I could toot my own horn and say that it's because I'm amazing, I truthfully just learned this through trial and error.
When I started editing, it was just me making gaming videos. When I was doing client work, it was just me sending some outreach messages and hoping it would land. And even when I had enough client work to keep myself afloat, I didn't really know where to go with...
the business. I had to spend hundreds of thousands of dollars on coaching, mentorship, masterminds and stuff like that. The editing layer is what I wish I had when I was just growing my editing career.
We're going to make sure that any of those obstacles, those pitfalls that you might fall into, we're going to make sure you solve that before you run into them rather than after where you would have if you did it through trial and error yourself. Like if all this did was pull your editing goals towards you by one or two years, how much more money would that make you?
So that's exactly why we've got the biggest coaching program in the entire space. And it's why we undeniably have the best results. So if you want to explore this, go into the description, click the link, and we'll see if our coaching is the right fit for you.
If it is, awesome. We'll give you the opportunity to join. If it's not, no worries, man.
We still have all our free content to help you out. So appreciate you watching the full course and I'll see you later.
The Hook
The bait, then the rug-pull.
The promise lands in the first four seconds: the best guide on making money as an editor you will ever watch. What follows is not a tips video but a coaching curriculum poured onto YouTube, nearly twelve hours of worksheets, standard operating procedures, and a recorded in-person workshop, built on one claim: the editors who reach $10K a month are not better editors, they just treat editing as a business.
Frameworks
Named ideas worth stealing.
06:50list
Social Trifecta
Gmail
X (Twitter)
Discord
The three platforms that reliably work for editors, set up as the vehicles for a brand that is itself global and compounding.
Steal forAny creator deciding which platforms to actually maintain
08:30list
Global Assets
Definitive name
Handle (no dots, numbers, abbreviations)
Profile picture
Constants that never change across platforms so recognition built in one place transfers everywhere. Check the handle on X, Discord, and as a .com before committing; change it now if you might change it in two years.
Steal forPersonal brand setup checklist
46:10model
Two-part bio formula
Say what you do (title or catchphrase)
Prove it (tagged clients, total views)
Replaces the overdone I help X achieve Y by Z. Only make claims you can quantify and prove; clear beats clever.
Steal forAny social bio or portfolio headline
1:01:52list
70/20/10 content split
70%+ editing previews
~20% teasers and editing thoughts
~10% client wins and testimonials
0% struggles, burnout, scams
Post what clients want to see, never what earns editor sympathy.
Steal forContent calendar for any service provider
1:31:06concept
KPI Traps
Likes, impressions, reposts, and followers often reward the wrong posts: giveaways attract broke editors, memes retrain the algorithm, money and burnout posts repel clients. Optimize for cash, not likes.
Steal forDeciding which metrics to actually watch
1:42:49list
Eight-step preview build
Select an edited video
Cut to only the edited sections (30 to 120s of clips)
Reorder best to worst
Trim to 20 to 60 seconds
Start and end strong
Tighten cuts on word boundaries
Add six-frame crossfades, export 1080p 20 to 40 Mbps
Post with a short caption, tag the creator after the first word
Previews are cut from work you already did, so they cost under an hour once practiced. Under 60 seconds loops on X.
Steal forTurning any long deliverable into social proof
Long-term results track consistency, generosity, and visible improvement, not objective skill.
Steal forAny build-in-public strategy
2:59:36list
Six portfolio rules
No website animations
No external links, embeds only
One form of video (long or short)
Prioritize the work you want more of
Forever a work in progress; build fast
Follow rules as closely as possible, fix later
The videos are the product; everything else reduces friction toward one action.
Steal forAny service portfolio or landing page
3:02:38model
Portfolio three-part structure
Above the fold: what you do, what edits look like, what to do next
Main body: 4 to 8 full-length videos, stats you win on, believable testimonials
Call to action: one contact method
Above the fold decides whether anyone scrolls; show a sliver of the next section to pull them down.
Steal forLanding page wireframe
3:31:55concept
Only play games you win
Mention subscribers, views, or retention only when they are impressive, and be consistent: a small number next to big ones makes people assume the big ones were your only wins.
Steal forChoosing which proof to show anywhere
3:37:15list
Testimonial believability ladder
Recorded video testimonial (most believable)
Screenshot of a written message
Rewritten or transcribed quote (least believable)
Social proof only works if the reader believes it; never fabricate, and never let testimonials attract work you do not want.
Steal forTestimonial collection and display
4:15:49list
Editing SOP (assembly)
Download and scrub
Project named ID + title
Main footage on timeline first, then set sequence
Sync on claps, verify with plosives
Center via Transform in source effects
Lumetri skin tone on the vectorscope line, pasted to source
Gain to -3 to -6 dB, compressor
Hard limiter at -1 dB
DeNoise, DeReverb, DeEsser, EQ as needed
Build visual formats, duplicate to ID Main
The internal checklist sent to editors who work for him. Front-loading sync, color, audio, and formats makes the cut fast and reversible.
Steal forAny repeatable production checklist
5:18:44list
Three-stage cut
Rough cut: silences and obvious mistakes, edit to the waveform
Fine cut: repeated lines and points, reorder, markers
Final cut: watch at normal speed, lock timings, pick angles
Each pass has one job so you never watch the whole video more times than needed.
Steal forEditing any talking-head content
5:23:20concept
Shave the head, grow the tail
Every clip is a cat facing left: keep the head (start) tightly trimmed so the face is never staring silently, and add any pause for effect at the tail (end). Break the rule on purpose for awkward comedic beats.
Steal forCut timing on any dialogue edit
6:01:33list
Zoom rules
5 to 10 percent, never 30
On turning points (but) or emphasized words
On the peak frame of the waveform
Adjustment layer with anchor point at the eyes
Stack layers for 105, 110
Subtle zooms break up static footage; anchoring at the eyes means no repositioning per zoom.
Steal forAny face-cam edit
6:44:32list
Three sound-effect passes
Whooshes for every movement, length matched to motion
Functional sounds (green ding, red low hit, flicker rustle)
Unique and environment sounds (wind, fire, water)
Lower pitch reads as negative, higher as positive; pitch-shift repeats so the same file never sounds identical twice; level to roughly -27 to -36 dB.
Steal forSound design checklist
7:11:40concept
Revisions back to front
Duplicate the sequence per round, read every note once, then work from the last timestamp to the first so earlier edits never move later notes.
Steal forAny timestamped feedback workflow
7:15:11concept
One core idea per scene
Start from the minimum visualization of the message (1,100 students becomes a crowd), then build only if time allows. Match the magnitude of the effect to the importance of the moment. Hide, never delete, unused animations.
Steal forScoping any visual or slide
7:51:48concept
Center, nest, position
Build every graphic large and centered, nest it, then place it with a motion effect. Along with reordering effects, this fixes 99 percent of Premiere Pro anchor, shadow, glow, and clipping bugs.
Steal forReusable graphics and lower thirds
8:30:28list
Deadline framework
Set a deadline even when the client does not
Pull it forward (Parkinson's law)
Estimate by stage, add 20 percent
Longer externally, shorter internally
Work in layers: viewable video first, backfill big animations
Shame about missing a stated deadline is the engine; induce it early instead of on day five of seven.
Steal forAny creative project with a client
8:58:18concept
Friction method for habits
Make the bad thing hard (no sugar in the house, logged out, phone off) and the good thing effortless (desk tidied the night before). Fewer objects means fewer triggers.
Steal forEnvironment design for focus
9:27:00concept
Minimalism from zero
Instead of removing from hundreds of wants, start from nothing and add: one growth priority (business) plus maintenance-level health and social life. Two priorities is not a priority.
Steal forAnnual goal setting
9:46:05model
Outreach Matrix
Lead generation (9): X search, X algorithm, YouTube search/algorithm/comments, Discord member lists, Instagram, Meta Ads Library, LinkedIn, Skool, Reddit, door to door
Leads to interested leads to clients; any combination works with enough volume, and the tracker tells you which lane converts best so you can cut volume later.
Steal forAny B2B client acquisition system
10:16:52list
Sales process: discovery, pitch, close
Discovery: current situation, desired situation, past editor pain
Pitch: repeat their words back, outline the process
Close: handle price, niche, and trust objections
Widen the gap between where they are and where they want to be so the price feels small; the client must say the pain out loud, you only repeat it.
Steal forAny consultative sale
10:15:56model
Close-rate math
At a 2.5 to 5 percent close rate per 100 messages, reverse engineer volume from the clients you need per month and average client lifespan (one client a month from 30 to 50 messages in the example). Then scale volume, raise prices, outsource.
Steal forSizing any outbound effort
10:44:40concept
LTV and the short-term L
A $200 client sending eight videos beats a $400 one-off. Absorb small revisions and footage mistakes to keep consistent clients; squeeze only clients you want gone.
Steal forPricing and revision policy
10:59:01concept
Pre-firing updates
Send the status update before the client asks, at whatever cadence they would have asked, with a timeline screenshot. People accept long waits when they know the length.
Steal forClient communication for any service
11:24:24model
Staircase and trampoline
Value equals taking a client from current to desired state; the staircase is your process, the trampoline is the safety net (brand, consistency) so they do not fear ending up worse off.
Steal forOffer design and risk reversal
11:45:05model
Client flow feedback loop
Input: outreach, previews
Process: sales conversation
Output: paid client
Feedback: 3P, put the work into previews, profile, portfolio
Systems with delay: inputs pay off months later and stopping them only shows up months later, like a steam train that coasts after the coal stops.
Steal forAny pipeline with lagging indicators
CTA Breakdown
How they asked for the click.
VERBAL ASK
1:39:01product
“Right now, you've got three options. Option one is you tell yourself you're going to come back to this video. Life gets in the way and nothing actually changes. Option two is you take everything in this course and you try to apply it by yourself... Or option three, you shortcut the process. In the editing layer, I work with you one-on-one on an intensive 90-day process.”
The same scripted ad read is inserted three times (1:39:01, 7:41:19, 10:51:15) with three named student results each time, plus a softer outro pitch at 11:56:41. The description also sells a call and gives away four SOPs as lead magnets. Each read is pre-announced with 'real quick before we go any further', and the course is explicitly a public version of the paid program.
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Tom Noske breaks down the three-part sequence, holding versus sending, the open home vision, and the Rolex call moment, that took two of his coaching clients from posting weekly to record launches.
Creator Nicky Saunders walks through DraftLoop, her four-stage Claude system for turning one voice-journaled walk into a week's worth of threads, LinkedIn posts, a newsletter, and an AI avatar script.
Dan Martell's creative director breaks down the five-step weekly loop that took his boss's personal brand from under 100K to 12M+ followers on three hours a week.
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