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30 Tips for a YouTube Studio 2020

Mar 30, 2020

Here is a video I've bene working on for some time where I share 30 awesome tips for building your YouTube Studio in 2020.  Below the video is the transcript if you prefer to read.


In this video, I'm going to share with you 30 tips for creating a workable YouTube and live video studio here in 2020. Let's get started right now. Hey there, I'm Todd.Live. I am a live video enthusiast and podcast professional and YouTube creator. And I spend a lot of time working on my studio, which is here in my home office. And in it I record podcasts, YouTube videos, live videos. I do a lot of work in here and I've spent a lot of time refining this studio. It's kind of a mess, but it has been refined over the last four or five years. And I'm here to share with you 30 top tips that I have to make your studio more workable, to remove friction from the process of creating video or creating podcasts to make your life easier, and to go from walking in the door and sitting in your chair and getting a broadcast going or getting a recording going and being finished with it. And the eliminating as much setup time, as much friction from starting the record button to getting the job done. So let's just get started. And I'm going to go through these really, really quickly, so I hope you enjoy this video. Hit the subscribe button down below if doing YouTube videos, doing live videos, podcasting, just broadcasting at large on the internet is something that you're interested in learning a lot more about. Hit the subscribe button, hit the

bell so you're notified. Let's get started. Number one: make removing friction from the process your number one overall priority. The fact is is if it takes us a while to get started to record and it takes us a while to get all the audio and all the lighting and everything set up, we're going to do it less. It's going to be less fun. You want to make it as quick as possible, like I said, from coming in the door and sitting in the chair to having everything going and moving along. You want to remove as much friction, as many steps along the way as you can so that you can get just started doing what you do best, creating content. So number one, remove friction. Number two, invest in your equipment. Okay. And I have three categories of equipment that I think about in my office. Audio, video, and lighting. And most people usually think about it in that order. Audio, everyone knows is number one most important thing when it comes to a broadcast. You've got to have good audio in your podcasts. You've got to have good audio in your live videos or your YouTube videos. Second of all comes video. People use video of all different kinds out there, different kinds of qualities. Some people use 4k, some people use 1080p. some people are using 720 or whatever. You can get away with a less than perfect or less than

4K video, but the audio, you really need to up it as best you can right out of the gate. So audio, video, and then lighting is kind of the last thing people think about. But lighting is terribly important. If your lighting sucks, people just aren't going to stay around and watch if you're in a shadow, if you're in the dark, if people can't see you, if the video is grainy because you don't have enough light for the lens, you know people just aren't going to enjoy your content the way they should. So audio, video and lighting always be pushing, always be striving to get better. So make that a priority as well. Along with removing friction from the process and in this video, the way I categorize the tips, we're going to go through some audio tips right now. We're going to go through some video tips and we're going to go through some lighting tips and then I've got some general category style tips to round out to get us to 30 so let's start talking about the audio tips. My number one audio tip is get your audio equipment out of the way. You don't want it right here in front of you. I see people with studios, they've got a mixer right in front of them. Between them and the camera. No, you don't need your audio equipment in front of you. Get it off to the side. Okay? If you're

doing a live show, if you're doing a YouTube video and you've got some hot keys or something so that you can play some certain sound effects during your production during your recording, great. But like mixers and compressors and audio interfaces and things that convert your audio from analog to digital. You want to get that stuff out of the way. You don't want it anywhere in front of you. You want to get it away and somewhere out of sight, out of mind. Get it all plugged in and out in the way you want it. Get it out of your way, which leads us to point number two. You need, if you can, if you've got the space for it, you need a dedicated space for your - actually, I think this is number four, a dedicated space for your audio equipment so that you don't have to touch it. Okay? You put it off to the side. And we're going to get to some tricks that make it so you never have to touch your mixer. You never have to touch your compressor. You never have to touch your audio interfaces. It's off to the side, out of the way. Set it and forget it. So you need a dedicated space. If you don't have space off to the side, maybe up underneath your desks, maybe you can have some sort of shelving up underneath your workspace

or some shelving on the wall off to the side or off in front of you. You want to get the audio equipment away from you so you don't have to screw around with it. A dedicated space is important to make that happen so that you don't have to set it up every time you get your camera out. You've got to set up your audio equipment and now you want a dedicated space. Number five, when you're buying cords, when you're adding things to your audio workspace and your audio production - maybe it's a microphone. Maybe it's - maybe you want to add an iPad for some sound effects. To have a little sound pad on there and load it up with sound effects. The thing is, is when you go on Amazon or you go to Guitar Center or whatever and you're buying cord, always buy more than you think you need. If you've got what you think is a three foot space between the mixer and your and your microphone, you think it's three feet, get six feet, okay? If you think it's nine feet between the mixer and the microphone, get 12. Trust me because your initial setup might change and you might find a better way to run the wires or a different place. You want to hang your microphone or whatever and all of a sudden your cord isn't long enough, okay?

We're going to deal with that extra length in the court if you end up with some extra length, but you want to buy cords, especially if you're ordering from Amazon, you don't want to have to constantly be sending cord back and this and that, order the right sized cord, which is extra long. Okay? Now if you have nine, if you think you have nine feet between the mixer and the microphone, don't order 25 - order 12 right? Be reasonable. But you want to have extra cord length in your cords all the time because you're always going to be moving things around and figuring things out and refining your process and refining your studio. And it sucks when you don't have enough cord to do that. Number six - zip ties. Okay? You want to get bags of zip ties. You can get bags to zip ties at Lowe's and Home Depot or on Amazon, whatever. But zip ties are going to be great for you. Okay? Not only are you able to wind up extra cord slack that you've got and when you buy extra length and zip tie it so that it's not all over the place, you're also going to be able to zip tie cords that are going from the same place, from starting from the same place and going to the same place. You're going to be able to zip tie those so that they are connected to one another and that's going

to eliminate clutter in your studio. Trust me folks, that is a lifesaver. One of the big things with doing a YouTube or a live video studio or podcast studio is eliminating the clutter. All this electronic equipment. If you're doing mixers and microphones and compressors and a digital analog interfaces and various things, you're going to have a lot of cords in your office and cords collect dust and cords are hard to clean around. So the harder or the easier you can make it by wrapping cords up with zip ties and taking out the slack of cords with zip ties. It's gonna make it easier to clean your office. It's gonna make it so there's less nooks and crannies all around your office to collect dust to get dirty. Because trust me, it is tough to clean an office that is a professional setup with audio equipment and video equipment cause you've got cords everywhere and it's impossible to nail them all down and make it perfect. That's why I always think my office is a mess to some degree or another is cause there's, I can't, I can't nail down every court. It's impossible. And when you nail them down too much, if you need to make a change, it's impossible to get it all untethered. So you're there, you're walking a fine line between chaos and total control and absolute order. So you're trying to find that middle ground where you've

got it good enough, clean enough, and controlled enough. But if you need to make a change, it doesn't blow up your whole office trying to remove one cord from this massive zip-tied controlled structure that you've created, trying to figure out which cord it is, cutting all the zip ties and freeing it all up and then having to tie it all back. So you've got to find that middle ground. Number seven: when it comes to audio equipment, plug all of your audio equipment into the same power strip. Okay? So what I did a couple of years ago, I was always having to crawl under things to turn on a mixer, crawl somewhere else, to turn on a compressor, crawl somewhere else to turn on this crawl somewhere else. To turn on that, I ultimately got enough cord length for all of those components. Some things required, extension cords or whatever, and I plugged it all in to one power strip and I had that power strip right beside me on my desk, so if I wanted to turn the audio on, boom, it all came on and on my mixer, the power was always set to on on my compressor. The power was always set to on on my digital analog interface. The power was always set to on, so when I would hit the button on my power strip, it all turned off. When I hit the button on on the power strip, it all turned on. It made

my life easier from climbing all around and reaching here and reaching there, trying to turn all the audio equipment on one button. It all comes on. And I lived with it like that for a couple of years. And then I was at Lowe's one day, I think it was Christmas season, two years ago or something. And they had the little remote controlled gadgets so that you could plug your Christmas lights and your Christmas tree into a little power interface that plugs into the wall and whatever is plugged in. Item number one, when you hit item number one, that turns on - whatever's plugged into item number two, when you hit button number two, that comes on and it turns off the same way it turns on. So you don't have to climb behind your Christmas tree or whatever. Well, I was getting tired of my power strip sitting right beside me on my desk collecting dust and I had all these cords coming up to my desk. What I was able to do was I was able to get the power strip somewhere else in the room, plug it into the little a converter for the remote control. And if I wanted to turn on my lights, I hit button number one, if I wanted to turn on my audio I hit button number two, if I wanted to, I had something, I think it was my lamps in my office. My standard light for doing when I'm

not doing broadcast, when I wanted to turn off that on, I hit button number three and I would turn it off the same way, but it got the power strips. All the audio is still in the same power strip, but then the power strip is plugged in to the receiver for this guy. And so if I, there's three receivers or there's three plugs on the receiver for this guy. So audio went in, one of them lighting went in, one of them video or actually a second set of lighting went into another one so, and it would clear across the room. And I ran all the cords over there so I didn't have to sit beside it. I didn't have to have all these cords in my workspace. This thing was a life...this was a lifesaver and initially got me through two years. I was thrilled with it. I helped people out. Because they were having the same problem I was and this was my recommendation. But then when I found this, it upped the game even more. Number eight, when it comes to audio equipment, you know, I have all my audio equipment on top of a desk in my office over to the side. And the problem is, is that electronic equipment collects dust fast. Okay. And this electronic equipment has little knobs and buttons and you can even have one of those nice little dusting things and kind of go over

the top of it. And even that can turn a dial. It won't hit a button, but it'll turn a dial. And when you turn a dial, when you've set your dials and you don't want to mess with them again, you don't want to make changes that you don't realize you're making. So I was trying to figure away to keep the dust off of my audio equipment so I didn't have to dust it as often. Okay? So my solution is that I got a blanket to lay over top of the audio equipment. Now, most of the time I wouldn't want to lay as a fire hazard, a blanket over top of electronic equipment. Now I don't leave the blanket there when I'm using the equipment, but I leave the blanket there when the equipment is turned off. Okay? And if you recall, I turn off the power at the source. Okay? The audio equipment is not plugged into the wall. It's plugged into a power strip and that power strip is plugged into a remote control. So when the remote control is turned off, the power strip is turned off, it gets no power, and then the audio equipment gets no power. So there's no way for anything to be warm underneath it. I lay the blanket over top of it and I only remove it, I only remove it when I am actually going to use it so that it doesn't get too hot. Now in

my office over to the side where my audio equipment is, it's not the most attractive thing for me to work around to always have this equipment under this blanket, but the alternative is dust all over the equipment. The alternative is dust all in the cords behind the equipment. Gumming up everything and getting nasty and dusty. I don't want to have to clean out under there all the time. Every time you clean around the knobs you might hit one. Every time you clean around the buttons you might hit one every time you clean around any of the cords, you might dislodge one little bit and then you go to use your audio equipment. You can't figure out what the problem is cause you've touched something. So I just lay a blanket across, across it very gently and just forget about it. And like 99% of my week, the audio equipment's not being used and it's covered up. Okay? When I'm broadcasting, well it's probably more than 99 or more than 1% but you know, that's the only time I uncover it is if I'm using it. So it keeps it clean. It keeps it fresh. Number 10, still in the audio equipment. Set your audio equipment and forget it. Okay. Like I said, you've got the power button on, you're running it into a power strip that's turned on somewhere, and then this controls the flow of power into everything. This one button. So that's what you

want to do, but you also want to set and forget your audio settings. I have found that people are often scared of getting mixers and compressors and things that are gonna make their sound so awesome because they're afraid they're going to have to be messing with all that stuff all the time and they're not trained to do it. Guess what? You're not messing with that stuff all the time. Okay? You're going to dial it in to where it sounds good for you, for your office and for the way your equipment all works together and then you're never going to touch it again. You're going to set it off to the side and the only time you're going to mess with your mixer with all those knobs and dials and buttons is when you turn it on with a remote control. The only time you're going to mess with that compressor is when you turn it on and it's going to turn on with the same button as the mixer. So you're going to hit one button and everything turns on and it's ready to go. You're going to be done with your broadcast or your recording and you're going to get hit one button and it's all going to turn off quick, easy, and it's set to the perfect settings every time. And it's beautiful and it's easy. I've folks, I've been doing this for years, I've been doing it for years. Okay. I

know that I'm never touching my mixer. I'm never touching my compressor, I'm never touching all that stuff. It's off to the side set under a blanket, ready to go. It's beautiful. And the sound when I'm using that microphone, which I'm not using now, I'm using one that's under my shirt, but the sound, what I'm using, this microphone is absolutely gorgeous sound every time. So to use the phrase that Ron Popeil used when he had the Ronco food dehydrator. Set it and forget it, and actually getting my microphone out brings me to point number 11: have a way to get your microphone out of your way. Okay, I've got some other tips for the studio coming up that'll help with this idea, but you do not want the microphone in front of you. You don't want it on a stand in front of you. You don't want it on a claw and a boom coming right in front of you. That's always in front of you between you and your camera and your computer or whatever it is. However you've set up your broadcast studio, you want to have a way to get the microphone out of there. I use a boom arm. I have it clamped to a table that's not my main desk and I can stretch it over with ease, get it in front of me when I'm ready to use it. If I need to position it, it's ready to go and I

can do all that. I can raise it up, I can raise it down, whatever and when I'm not using it off to the side out of my way. I just have total space. Okay? Space is really important in your live video, YouTube, podcast studio. Very, very important to have space. We're going to talk about that in a minute but have a way to get your microphone out of the way quick, easy and I have a way of course to get it back in your face with ease. Okay? That kind of wraps up my audio tips for this video. We're going to get right into some video tips. First things first, see what other people are doing and copy it. No, I'm not saying copy their content exactly. I'm not saying copy everything, but if you go on Livestream Pros and you see that David over there has a, an awesome bokeh in the background, which is the bokeh background where he's nice and crisp in the front. Find out what lens he's using. Find out what camera he's using and copy it. If you like the way Owen Video does something, copy it. If you like the way Todd.Live does something, copy it. Find out what people are using and copy it, what you know, if you like what effect they've got. If you like the way the lighting is, or the scene or the background or whatever, find a

way to copy it and copy it. Make it your own, personalize it, do whatever you can, but copy it. Learn from others. You don't have to reinvent the wheel. You can take something you see me do and make it better. Or you can take something that you see me do and make it better for you and see what I did there. You can make it better than me, right? Or you can make it better than me for your circumstances. So there's different ways of doing it. Like I use a certain camera, I use a certain lens. There are better cameras, there are better lenses out there, so you can make it better than me. Or you can be working with a certain kind of workspace and you can take what I'm doing and alter it a little bit to make it better for you. There's kind of a fine line there, but that's what I'm saying. You want to take what other people are doing and find ways to make it better for you. When I look at the way Owen Video does something, or the way David, I think it's Foster. a Livestream Pros does something, I'm not trying to one up Owen, I'm not trying to one up David. I look at what they're doing and I think God, that really is a great look that he's got. I wonder what camera lens he's got and I might get that camera

lens and then I'm going to try to work it in my environment because my environment is different than David's environment so that I can make my environment appealing in the background or appealing the way it's blurry or whatever. So you know, I'm not looking to one up other people. There's nobody, there's no creator out there that I need to best. There's just creators out there that I want to see what they're doing and I'm going to find a way to take what they're doing and make it better for me. Make it better for my studio, make it better for my videos, make it better for my podcast, whatever. Number 13, you want to dedicate a camera to your studio. If you're going to do a lot of point and shoot kind of talking head YouTube videos or live videos, you don't want to use that camera for vlogging at Social Media Marketing World or vlogging at People of Video or going out to your neighborhood supermarket to tell a story of some sort. You want a dedicated camera. I know that's expensive, okay? I'm, trust me, I've got like four or five awesome expensive cameras, tons of lenses in this room that I'm sitting in right now cause I want a dedicated camera for vlogging. I want a dedicated camera for my live video. I have another dedicated camera so if I've got somebody with me and I'm doing some vlogging

and I want them to record me while I'm vlogging myself, I've got cameras, I've got another, I've got a Canon 5D Mark III that I bought years ago for another business that I do certain things with. Okay? But you don't want to like that Canon that I bought years ago. I could do everything I do with that one camera but I don't want to move that camera around and have to move wires and batteries and tripods and no, I want when I go do a YouTube video. This camera that you're watching right now from is a dedicated camera? Yes. It's an expensive camera and its only purpose is to sit above my computer in my home office under the lights pointed at me the way I want it to be pointed at. So when I'm ready to go, I turn it on and start recording immediately. Okay? If I want to go vlogging, I have a camera off to the side, I grab it and go. If I want to do something with my Canon, it's over there behind me. I grab it and go. So dedicate a camera to your most used shot or shots. Okay? If you've got a couch and a couple of chairs and you're going to have this coffee table style point and shoot video where you're sitting on the couch and maybe you have guests come in and you know, you don't want to have to

take that camera down every time you set up to use that sit, have a camera that's sitting on a tripod pointed that all the time, ready to go. If, if you're using it enough, okay? You're not using it as much. It might be silly to have dedicated cameras, but you want to have dedicated cameras for the things that you use often so that you remove the friction. You get the broadcast or the recording going and it's easy and it's simple and it's the hit of a button or two and you're off and running. Number 14, select your lenses wisely. Trust me, folks, before you buy any lenses for whatever camera, be sure to select them wisely. I have a fortune in lenses because I've had to learn lenses as I'm buying lenses. I didn't start all this knowing a damn thing about lenses. I had to learn it as I go and I didn't ask a lot of questions. I'd buy a Sony A6400 and I'd get a Sony 10 to 18 millimeter lens to go with it. That would be my, that was my knee jerk or an 18 to 135 millimeter lens. That would be a knee jerk buy. I didn't think about. There's other manufacturers out there that make great lenses, maybe better lenses than Sony's offering lenses that do different things. Lenses that work better in low light lenses that better work, better in bright light. There's all

sorts of considerations when it comes to lenses. Now you don't want to get into analysis paralysis with lenses, but again, if you see David Foster of Livestream Pros doing gets the great bokeh background, find out what lens he's using and go straight to that lens. Okay. If you like the way Owen Video doing something, if you like the way Dan is doing something and you think it has something to do with the lens, figure out what lens they're using and get that lens. Don't just buy the lens that you think that goes with the camera because oftentimes that's incorrect. Now I don't mind spending money on lenses and doing trial and error because I've got a great lens collection. I use my lenses. I like having choices with my lenses. I've got backup lenses. If one breaks, I've got another one sitting back there. It's great. Okay? I can have multiple cameras going to events if I want. If I want to take my daughter or somebody else would think she could have a camera, I can have a camera. They're both loaded and tricked out and ready to go. I love all that. Not everybody has that budget. I get it. But I didn't buy all this stuff at one time. This was all over time. I might buy a lens in December and then buy another lens in May and by another lens and in August and you know, and over the couple of years then I've got

a lot of nice lenses. I got a couple nice cameras I get, you know, so, so you know, build slowly, but think about your lenses when you buy them and make sure that you're buying them for the right reason and you're getting the right lens. Okay? Most cameras do not come with a power supply that runs like a cord that you plug into your camera and it runs in plugs into the wall. Most cameras like the A6400, the A6500, the Canon 5D Mark III, which I think is now the Canon 5D Mark IV. There might even be a Canon 5D Mark V out. Now these are only going to come with batteries. They're not going to come with anything that allows you to plug the camera into the wall. You're going to have to buy, I think it's an analog - and I'll put it on the screen, but it's a, it's like, it looks like a battery and it has a cord coming at it and you have to shove that into the battery compartment and you have to close the battery compartment. Most battery or all of them that allow for this have a little rubbery thing that allows the cord to run through it so the battery compartment can shut because a lot of these cameras don't operate properly or operate at all if the battery compartments open. So you're kind of tricking it

into thinking that you've got a battery in there, which you don't have a battery in there, you just have a battery adapter and it runs and plugs into the wall. Trust me folks, when you're creating content, when you go live, you don't want the camera to stop running because you ran out of battery and you didn't check it or it drained fast, whatever. You don't want to, you don't want to worry about when you're recording, changing out batteries, you just want to have a constant power supply so that you can get the job done. And it's like the camera that's dedicated, it has a dedicated cord coming out of it and going into the wall. It's just what I do with this camera and that makes it so that I can go live. I can record with ease and I have full power. I don't have to even think about do I have enough power? It's removing friction, folks. If you have to think about the power and how much you've got left and do you need to change the battery, that's friction that slows you down, that makes your job harder. Remove it. Get the battery pack and or the adapter thing that plugs into the wall. And your camera cages are your friends folks. Even a dedicated camera that's in your home office right now. I've got a lavalier microphone that's underneath my shirt and it transmits the signal through the

air to the receiver, which is attached to the camera. And that receiver can attach to the camera because of a camera cage. Depending on what you're doing with your camera, you may have several things that you want to attach to your camera. You might want to put a screen on your camera, a bigger screen than the camera has. Maybe you have a camera that doesn't have a flip up screen, so you want to get a little aftermarket LCD cam, a video screen to mount on your camera. Most cameras are going to have one place to mount something. Okay? Usually that's for a microphone. You can really put anything there, but it's dedicated for a microphone. But if you want to have a receiver, if you want to have a dedicated microphone, if you want to have a bigger screen to attach to your camera, you're going to need a camera cage. Okay? Whatever devices that you're going to want to attach to your camera, you're just not going to have enough space to attach them. So cages work great. I have cages on my dedicated cameras. I have cages on my vlogging cameras, so that way I can have all the equipment that I need. I can customize it very quickly and easily, and I don't have to depend on that one place on my camera that allows me to connect something to cover everything. So camera cages are

your friends. Get a camera cage for every camera. You have a highly recommended remote controls for your cameras, folks. Canon 5D Mark III did not come with a remote control. I don't even think they make a Canon 5D Mark III remote control, but I have a Sony A6400 and Sony A6500 I've gotten both and neither one of them came with a remote control, but this remote control will work either one of them. I'm never using both of them at the same time, so I'm able to face my camera like when I started this recording. Instead of going behind the camera and trying to reach up over the camera that you're looking through right now and find the button, I'm able to hit the big red button and start the recording and when I finish it, I'm able to hit the button and stop the recording. Start, stop, start, stop with a remote control remote controls. Save your life in a home video studio and a podcast studio YouTube studio that you're building. Anything that you can put on remote control works great. I can mess with the focus on this thing. There's all sorts of things I can do with this. I can get into the menu and it's kinda hard for me to see the little screen that comes on my A6400, but sometimes I have a bigger screen attached to it and I can work the menu,

I can work the focus, I can work all sorts of things with this remote control. But it's great if I'm out vlogging and I'm holding the camera in my hand and I've got it pointed at me instead of having to hit the little button, find it and then go like that. I can just like have the remote control and I'm looking at the camera talking to it, remote control, turn it off. Maybe there's a disturbance, something that I need to make sure I'm safe or maybe my phone's ringing or something like that. Hit the button, stop, hit the button, start remote controls to work your cameras. You want to get one? Okay? So you're going to need audio for your video production. And so there's a couple things here. If I'm doing audio with this microphone, I don't run it into the camera because I don't, the camera is not gonna record the sound the way I want it to record. It's not, it's, it's too much. And I don't want to have to remove my wireless microphone, cords and equipment in order to use this. So when I use the microphone in office, I record in a different fashion than I am right now. I prefer using a wireless mic in the studio for creating my YouTube videos, especially if I'm going to move my hands around, if I'm going to have props and things

to talk about. I don't want the microphone in my face that I have to work around the microphone. I like to use the microphone. If I'm doing screen tutorials and I'm taking screenshots of my work and that sort of a thing. But most of the time I want to have the microphone out of the way. If I'm doing my videos, I want the microphone in front of me cause I'm going to get better sound in my live videos than if I'm using the remote control - the wireless lavalier mic. But you might consider using wireless mikes for your YouTube videos because it gets equipment out of your way. I know a lot of people that will put like a, a rode microphone on a big boom arm and hang it right above them kind of out of the frame where you can't see it. The sound sometimes isn't all that great and I've, I've tried it and I found that when I'm working in spaces where the sound can be tricky, the wireless microphone works beautifully. I'm using currently a Sennheiser AVX and I love it. It pairs instantly. I don't even have to work out. I turn one on and I turn the other one on and they pair. It's beautiful. If I'm going to record with my other microphone, that's great. I do, I do my recording a little bit differently, but I love using the wireless mics

when I can because it gives me space. Space is important to me when I'm doing my work. I don't want things in my way if I don't have to have them in my way. Number 19, dedicated tripods. The camera that you're looking through right now, I told you it sits there. It stays there. I do nothing. I don't even put a lens cap on it. Okay? It stays there and it hardly gets touched. It is on a dedicated, expensive tripod. I had to buy a nice tripod in order to get it to work behind my 27 inch Apple monitor the way I wanted it to. Okay. That was very, very tricky and I had to kind of just go for it and get a really nice tripod. And that's the only thing this tripod is used for. I have multiple tripods. I have a tripod there. I have a tripod there. I have a tripod over here. I have some tripods over here. And most of them are all the same brand. Geekoto and most of them are, they're all like 120 bucks. But I, I even have, I even have a Geekoto tripod for watering my garden cause I don't want to stand there with the hose and pointed at something for 20 minutes and let it get soaked. I put it, I put the hose in a clamp

and I, I put the spicket in there and I'm able to use that tripod to pointed at something and leave it so I don't have to stay in there. It's great. I love these tripods. So get dedicated tripods for the scenes that - if you have three different scenes that you normally do, don't have to move your tripod, one tripod or two tripods around between three scenes. Get three tripods, okay? And have them set up as best you can. I understand you might have to take one down in order to get past it when you're not using it, whatever. But even still, do you want to take down your dedicated camera behind your computer in order to have a - you know, save the 120 bucks and have to take everything apart and spend an hour screwing around with it to get that tripod, to use it over here for one recording. No - time is money. Okay? A friction is a frustration. So you want to have tripods so that you don't have to take things apart in order to use them somewhere else. And that brings me to number 20. Okay. So if you're gonna buy the same brand of tripod and you're gonna have multiple cameras, let's say you need three tripods, but you've got maybe four cameras that you might use or you've got whatever the release plates on the tripod. A lot of the times are proprietary. If you buy a tripod

from Geekoto I know it works on a lot of brands, but some brands, the release plate that attaches to the camera so that you can, you can turn this knob and remove the camera from the tripod and maybe put another camera back. A lot of the times those plates are proprietary, which means that they only work with that particular brand. So you want to think about this. I have like five cameras in this office - four cameras in this office. I've got one A6500. I've got two A6400s and I've got a Canon 5D Mark III. Okay? All of them have a, a release plate attached to them at all times. And that way I can move them around if I want to use the Canon 5D Mark III instead of the A6400, I can simply detach the camera in its entirety and get rid of it and put the can in there and attach it. So I get the same release plate for everything. So that way I can quickly and easily move things around between my tripods, move my cameras around and do out. I want to do without having to screw around with figuring out which one has which release plate. And actually even removing the release plates is a big pain in the butt. I just want to release plate that is on the camera at all times so that I can

just move them about. It's all about removing friction. Okay? Friction is frustration. We want to remove that. Get released plates, get tripods that all match. If you're gonna buy two or three tripods, get, make sure they're getting all the same thing and on Amazon or wherever you're going to be able to buy release plates a separate, for like 10 bucks, right? Get three or four of them so that way anytime you've got a new camera, a new piece of equipment and you want to put it on a tripod, perhaps you've got a release plate to dedicate to that piece of equipment. All right, that closes out video. We're going to move to lighting quick, quick, quick. If you can Mount whatever lighting you have to the wall. Okay. I've gone overboard with lighting in my office. I've got a ton of LCD dedicated lights and they're all mounted to the walls. I've got to have diva ring light. I've got lights and I like to get them. I used to have them on, they were on tripods that came with it. When you buy a nice led panel, a lot of times it comes with a tripod, a stand that you can so that like if, if you want to, you know, raise it up and lower it or whatever. And around my room here, I had these tripods all over the place and the lights were on and permanently, but those tripods,

they spread at the bottom right in order to be stable and they take up space and it was wonky. My whole room was wonky. The way I had to sit, the furniture was wonky because of all these, these legs that had to be stable in case there's an earthquake here in Southern California or whatever. So when I had the money, I went to the brand that sold me the led lights and I, they sell, panels that, that basically screw into the wall, into the studs. So you can leave them there and as you see, you can look around my office and there are lights attached to the wall in dedicated spots. It's a wonderful thing. It gets them off the ground, it eliminates the dust. They still collect dust up on the wall. But the, the tripods with wires everywhere, I mean my office was a convoluted disaster with the tripods that held the lights up, all the wires, everything else. So getting the lights up onto the wall, made life in my home office in my studio. Wonderful. Just like with the audio, you want to get all of your lights to one or two power strips you may have like in my office right now and I think I've got eight lights. Okay? Sometimes I only use two of them and sometimes I use all of them. And those are the two configurations in which I use my lights. So I

have a power strip for each configuration. So I've got two lamps going into one power strip and I've got the other six going into another power strip. And with one button I control two of the lamps. And with another button I control the balance of the lamps. Okay? So that way if I want to do the lighting where I'm only using two lamps, I hit one button. If I wanted to use the lighting where I use all the lamps, I hit both buttons, but they're all going to the same power source. They're all going to a wall somewhere and they're all controlled by remote control. That way I don't have to screw around with all these lamps. I have them all set. I don't even have to change the brightness or the contrast or anything. They are set the way I like them. The only thing I do when I want to use my lamps is turn them on. And when I'm done with them, I turn them off. I do nothing else. And you can do this too in your studio. It's not hard to do. It sounds scary. It sounds like it'd be tricky and you know, it's not okay. And that way you remove friction with your lighting. If you've got six lamps around your room to eliminate shadows and give you the best light, you don't want to have to go and turn them all on. You

don't want to have to go turn them all off. And some of them are kind of hard to reach. So when I go to reach them and turn them on or off, I move them a little bit accidentally. I don't want to have to touch them at all because I've got them set the way I want them. This is what you want to do in your studio so that you just turn it on and they come on, turn it off, they turn off and they're sent the way you want them each and every time. Removing the friction removes the frustration. And actually that was number 23 was have all the lights controlled with a remote control. So I kind of just gave you both 22 and 23 all lights are controlled by the remote control. So it's easy on, easy off. Well hell, I actually gave you a number 24 to have lighting for all different shots. Okay. If you do two or three different shots in your office, have the lighting ready to go. And so let's say you have three shots, have three different power strips going into something that has three buttons, right? And, but number one is lighting for a certain situation. Button number two is lighting for another situation, but number three is lighting for the final situation. The thing is though, you're not going to be able to use the same lamp for two different situations because if the

power is controlled by one button for a certain lamp, you can't turn that lamp on with another button. So there's some trickery involved. But in my office, which is pretty fabulous, I love my studio and I've worked very hard on it. I only have two situations. I have a lower light situation where I have a light in front of me to the left and a light behind me to the right. That's for my lower light lighting. And then I have another one which I'm using right now where I have one, two, three, four, five, six. I have six lamps, not eight, six lamps, and they're all on at one time to give me the best light possible in my office on certain days I'm on it dealing with the day to day where it's raining outside so I can't get any natural items. So I have more lights going, but I have the two different configurations and one button turns on one configuration, one button turns on the other and I'm ready to go. That closes out lighting. I have a few tactical kind of throw away and these are maybe some of the most valuable tips that I'm going to give you to round us out to number 30 okay, so number 25 we've kinda hit on a few different times, but number 25 is making sure that you have the space in front of you as clear as possible when you're doing your work, whether you're

podcasting, whether you're doing live video, whether you're doing YouTube or whatever else. I actually use my workspace for whatever I'm doing. This is my space. This is my broadcast space. This is my workspace. If I'm going to sit down and write a blog post, I do it right here. This is my workspace and I have it set up to where I can clear the space, get room around me with ease. I have a big desk in front of me with about three feet of space with really nothing on it other than a keyboard, a mouse and a laptop. And the screen in front of me that you can't see, uh, that's in front of the camera that you're looking through is actually on a second desk away from me so that I get the, the my 27 inches kind of away from me too. So I'm clearing space, I'm making it so I've got room to breathe, room to work. It keeps me happy. It keeps me less stressed and I think it will for you too. As you build your studio, be sure to give yourself as much space as you can. Another thing, I'm running all this power away from me, right? I've told you I get it away from me and I put it in, I put power into, um, you know, if I run a cord from a mixer or a camera, I run it into a power strip and the

power strips going into a remote control thing and the remote control thing is plugged the wall. Well, I've got several lines of things happening. So I might have a cord, an extension cord going from the wall out. And then in that extension cord is a power strip with six, or 3 places to plug in there. And from that there might be other power strips and other things going on. So there's a chain of things going on and a lot of the times one button can turn it on when button can turn it off. But the problem is is there's all this equipment, there's extra power strips, there's extra cords, and if you have it run under your desks, if you haven't run across the ceiling, wherever you're having it run, it's still going to be a big giant disaster somewhere. So recently I figured out that I could use plastic bins that I get at target and I can use a big drill bit and I can drill holes in both sides of the plastic men or all the sides of the plastic man and run cords into the plastic bin. And that keeps it cool by having those multiple holes in it. And then I can put a lid on it. And guess what that does? It keeps the dust off it. And so any extra Slack in cords, I make sure it's inside bins, any power strips and other things. I make sure

everything is inside the bin as much as I can. And then I run one cord out of the bin and into the wall or one car cord out of the band and into the router or whatever. But I'm do as much as I can to move as many cords and everything as possible into a bin. And I even got it to where like I have things that are controlled by battery. My battery packs for my cameras and extra mice in case I run out of juice in the one I'm using and all sorts of other things that I take out into the field. I don't want those just plugged in, sitting anywhere on my desk collecting dust. I put those inside bins and plug them in inside the bin and put the lid on it and get it out of the way. And that's where it stays. So it's about eliminating clutter in the office and making it more controllable, cleaner, more desirable, easier to use, and gives you a lot of space. Now, this is going to sound funny, but as, as I'm recording right now, I'm actually recording with my camera onto an SD card instead of in my computer. Depending on what I want to do, I'll record in the camera to an SD card. Sometimes I record it in my computer, but when I run my video onto an SD card on the camera that I'm using, when it comes

time to remove the SD card, it's hard to reach up and get the SD card because the camera's in a cage. It's sitting on a tripod. I don't want to move anything. I don't want to touch anything, so I'm talented enough that I can get my finger up under there and open the little door to where the SD card is, but then it's hard. I can push the button for the SD card, but I can't get the SD card out tweezers. Okay. This is a very specific answer to a very specific problem, but if you have your camera somewhere where it's a little tricky to get to and get that SD card out in on my camera, the A6400 it comes out from the bottom, then I stick the tweezers up in there and I grabbed the card and pull it out. That keeps me from dismantling everything just to get a card out. Okay. Ideally you're going to record on your computer, but sometimes I like to record onto the SD card cause I get better quality and if I want to use my lavaliere or mic, my wireless mic, I like to record in the camera because that's where the lavalier or mic, the wireless mic doesn't work well with the mixer. So I in the mixers what? Where I send audio into a computer. So if I'm recording onto the computer, I'm running it through the mixer, which means I

use the microphone on my boom arm. Right? The one that we were talking about a few minutes ago. Okay. But if I want to record on the SD card, I want to use the wireless mic. I'm recording directly to the camera. That way I'm not later trying to pair audio. I recorded somewhere else with video I recorded somewhere else. That's a big hassle. That's a bunch of friction. I don't even want to get into that. You don't want to spend your time trying to pair audio and video. It's a pain in the butt. A lot of people do it, but I don't like to do it. It's too much friction, so tweezers are the answer for getting the SD card out from tricky places. Then another thing when you take the SD card out of the camera on, I'm using a Mac on the back of the Mac is where you plug the card in so that the Mac can read the card. Well, I don't. The max on another desk has already told you and the Mac is over there. I don't want to try to fish my arm behind it and find that and mess something up. I have to actually move the Mac. I have to cast it to the side a little bit so I can get behind it. No, no, no. Instead, like this you green adapter. This right here plugs into a USB. It's got ports for micro SD and SD and all sorts

of things and I'm able to run that cord out. It's like a little remote control. It's, but it's, it's like a wired remote control and I can plug my SD card into that without even getting out of my chair. It makes life so much easier. Again, removing friction removes frustration. Then another thing with cameras, with computers, with audio, you're going to need a lot of USB ports for various things that you're trying to do. Okay? There's never going to be enough USB ports on the back of your PC or your Mac coming standard from the factory OEM. You're going to need more USB ports. These anchor USB ports are fabulous, okay? You can plug this anchor USB port into your computer, into one USB port on the back of your computer and all of a sudden you've got like 12 or 15 more USB ports to use and your computer will understand them all. It's a wonderful thing. These things aren't cheap. They're like 70, 80 bucks, but they make life so much easier. You can, you know, if you want to put your phone, run your phone screen into something like E camera, Wirecast. This is going to help you do that. If you're wanting to keep things powered, this is going to help you do that. If you're going to want to run audio here or there, this is going to help you do that. These things are a lifesaver. And finally, number

30, as you're building your shtick for creating YouTube content, podcast content, why videos, whatever, as you're building your studio and getting more sophisticated and trying to figure out, or even if you're just trying to break the ice, um, reach out and ask somebody if somebody is doing something that you like, reach out, reach out and ask. I know it can be scary. At first. Rewind about five years ago, I was trying to do something with wire cast and I didn't know how to do it and I didn't know my good friend who's now my good friend now Ross brand, he was already up and running and I thought, man, this guy, he's so busy and looking so good with what he's doing. He probably didn't have any time to screw around with me. I reached out and asked him a question and he went overboard to help me out. That's how creators generally are not all of them. There's some out there that are going to be like, you know, and you know what, don't worry about them. Okay. Um, but there's a lot of in the PR, the predominance of the, the creators out there are very, very generous with their time and sharing with you their knowledge. If you see something you like. If David Foster is using a certain lens, you know the first thing to do is try to figure out does he have, if you're watching his YouTube video, does he

have the lens listed in the comments below in the description? You might be able to get the answer to your question on your own, but if you can't get the answer your question on your own, reach out and ask. Don't be afraid to reach out and ask. I like to help people, other people out there like to help people reach out and ask. There's no reason for you not to move forward because you're stuck somewhere. Reach out and ask if one person doesn't give you an answer. Ask someone else. Go to best buy. Go to guitar center, call up whoever you need to call up some company that makes something that you're thinking about, but movement you want to move forward. Okay? Get these roadblocks out of your way and get to where you want to be asked questions. All right? That closes out folks. That's 30 tips, 30 tips, 30 valuable from the trenches. Tips that I have shared with you that I have learned on my own in the trenches, figuring out how to do this and do this with removing friction, making my life fun, making my life easy so I can create content and get it out there. And I mean, trust me, folks, all of these items are going to make your life so much better. If you like what you saw today, be sure to hit the subscribe button, hit the bell down below. There are links down in

the description for a lot of the things that I talked about in this video. Be sure to hit them. They're probably affiliate links. A lot of them, you know, it'll take you right to the product and you will be set. Leave a question or a comment in the description down below and I will respond to each and every one of them. Folks, have a great day. Thank you for watching. I hope this helped you out.



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