Video Transc Flashcards
Peterson
“Hello everybody. I wanted to give you an update and also offer an invitation in relationship to ARK.
ARK is the Alliance for Responsible Citizenship, and it’s a relatively new international organization focused on cultural and philosophical issues—focused as well on issues of narrative. We’re trying to bring really classical liberal and centrist conservatives together all over the world to lay out something approximating a new and invitational vision of the present and the future.
We had our first conference about a year and a half ago. We had 1,500 people at that—that was purely invitational—and it was a high-level success. A lot of art, a lot of music, a lot of great talks. You can find the ARK talks on YouTube if you’re inclined. Some of them went viral—at least for talks of their form.
We’re having another conference February 17th to the 19th in London, where the last one was—London, UK. We have a thousand tickets available to the general public, and they’re now on sale. So, you could come to the ARK conference if you’re interested in participating in the formulation of a new and positive vision of the world.
Key Points of ARK’s Mission:
An optimistic story:
An optimistic and realistic pro-human story.
Key focuses:
The provision of cheap energy.
Environmental stewardship rather than nature worship.
A rejection of corporate, government, and media collusion and fascism.
A renewed emphasis on the value of the family and children.
“We’re going to bring together what I think is the best slate of speakers that’s ever been organized for any conference anywhere. I think we already achieved that in the conference a year and a half ago, but I think we did better this time.
This time, we’ll have about 4,000 people—so a larger conference, and I think one that will be more influential. We tried to structure the conference so that everyone we invited is worth listening to—every speaker we invited is worth listening to. And everyone who attends is well worth meeting.
It’ll be a fine place to make new connections, and connections are very valuable as you move through life. I think it’ll be—no, I know it’ll be exciting and beautiful, because I went to the first one, and I know how this one is shaping up.”
How to Join:
“So, if you go to arkforum.com, you can find the tickets. I suspect they’ll go relatively quickly. So anyway, you’re invited to participate if you’re inclined to do so.
And, as a responsible citizen, perhaps, maybe you’re inclined to join the Alliance and to participate in what it is that we’re building.”
Update.
In relationship.
Cómo filmarse uno mismo
“So, do you want to make videos for YouTube but you don’t have any friends to film you? Well, you clicked on the right video. That’s right, in this video, I’m going to teach you how to go out and film videos all by yourself.”
[Music]
“You can take these tips and be a master at creating videos all by yourself. Because who needs friends, right? Am I right? I don’t have any friends… Well, let’s get into the video.”
[Music]
“Hello, hi! How are you guys doing? It’s, of course, your boy Verland, back with another video. And as you guys can see, we are not in the office today. That is because we are in the Sunshine State of Florida. But needless to say, this video is going to be all about how to film yourself.”
“As you guys know, I film 99.9% of these videos all by myself—just me, my camera, and a tripod most of the time. And I know that the idea of filming yourself and making a full video, especially for YouTube, all by yourself can be daunting, like it can be a very difficult thing to think about and execute.”
“So, hopefully, some of the things that I mention in this video, and just trying to tell you guys how I go about doing the filming that I do by myself, will give you guys some motivation and inspiration to go out there and do it yourself.”
“Anyway, y’all know that before I started filming videos by myself, I was doing a lot of photography videos—film photography videos—here on YouTube. So, most of the time, I would have a friend, my girlfriend, or whoever I was with for the day, just walking around and filming me taking pictures. But as most of y’all may be aware, some people have jobs and other things they need to do. So trying to find somebody to go out and shoot with you on any given day that you want to go out and shoot is going to be difficult.”
Tips for Filming Alone:
Plan and Overshoot:
“For me, my number one thing is to overshoot. A lot of the time, I like to have a script and a conscious idea of what I’m going to be filming for the day. I like to have a shot list of all the shots I need to get. But while I’m out shooting, I’ll go off course and shoot some things that aren’t on my shot list and get extra shots of extra things.”
“We’ve all been in the predicament of having to edit a video and not having enough footage. I can’t tell y’all how many times I’ve gone out, shot a full video—or what I thought was a full video—and then I came back, started putting it together, and realized I didn’t have enough footage.”
“For me, I feel like there’s no such thing as overshooting. Just taking a couple of seconds to film the grass blowing in the wind, a leaf blowing in the wind, cars passing by, or just some extra footage to throw into your story. It pieces your story together, gives your story a feeling of environment—where you are, what’s going on, the type of day it is. If it’s a hot day, if it’s a windy day, all these elements help.”
Be Creative:
“Since the camera isn’t moving and most of your shots are going to be static, you have to do something to grab your audience’s attention and keep it. Otherwise, if things keep looking the same—just you standing there or walking to and from the camera—it’s going to get repetitive.”
“I personally like to film a lot of my videos at home. I don’t even leave the house for many of these videos. But I think taking the time to get a little more creative with your shots makes all the difference. For me, I like to do a lot of POV shots, whether that’s putting my camera in the dishwasher, the stove, the sink—whatever I can do to make these videos a little more creative, I try to do it because I think it’s important and worth it.”
“For example, the shot of me leaving the parking garage—I could have just left my camera on the ground and driven past it a couple of times, and that would have got the job done. But I think adding elements from inside the car, the parking garage, and piecing that together with a few more shots makes it more engaging.”
Be Patient:
“When I have an idea, the first thing I want to do is go out and do it, whether it’s at night, raining, or sunny. But I’ve learned that being patient and waiting for the right time is always worth it.”
“For example, the shot of me on the beach—it wasn’t actually shot at night, but I edited it to look like it was at night using a ‘day-for-night’ technique.”
Final Thoughts:
“Also, if you don’t already have a nice tripod, get one. A good tripod is one of the most important things in my camera bag after my camera itself.”
“And always think about the story you’re trying to tell—whether it’s a lazy Sunday at home, or a trip to the beach, make your videos engaging by tying in elements of your environment.”
“I hope this video helps you. Don’t forget to like, subscribe, and ring the bell for more videos. Until next time—take care and keep creating!”
[Music]
How to go out and film videos.
You don’t have any friends.
Quantity over quality
“All right, so you’ve definitely heard the saying ‘quality over quantity,’ but in today’s conversation, I wanted to talk about quality through… [Música].
Hey, listen, this shifted my perspective. Embracing the concept of ‘quality through quantity’ is something I’ve been thinking about a lot recently, and I just want to make a video today talking about the concept in general and how it shaped my career and my workflow.
So, the idea of quantity through quality essentially is: by increasing the amount of work that you create, the amount of reps that you put into your craft, the more quality overall that exponentially grows from that work that you put in. While that may seem like a pretty matter-of-fact explanation and something that seems pretty obvious, I think the overall concept is a little bit more difficult when it’s put into practice.
When I started to shift my focus from the pursuit of perfection to really a calculated pursuit of creating more—creating more quantity, creating more reps, more pieces of work—that’s where I saw a shift, really, in the overall quality and my overall skill set, particularly as a videographer and a photographer.
Now, the commonly used phrase of ‘quality over quantity’ basically means that you don’t want to really detract from your overall quality just purely by outputting more. Let’s say videos, for example. I can totally understand this concept of you don’t want to sacrifice your overall quality of work just by putting out garbage into the world. However, I think there’s a sweet spot between quality and quantity, leaning more towards quantity, that overall increases your quality. Let me explain.
Let’s talk about increasing your quality through repetitions. So, the overarching theme is that by creating more work, your quality incrementally grows. And this is the idea, basically, of just compounding interest: where by putting in the work every single day, your work overall increases almost exponentially on a curve. This makes total sense. The more times that you practice a specific type of photography, the more accustomed you are to (A) your tools and (B) certain situations. By putting yourself in certain situations more and more, you become more accustomed, more natural, more confident, and your overall work increases. That’s not rocket science.
The more times that you work on a lighting technique, the better that you become at it. The more times that you’re put in certain situations—or a new situation—the more adaptable you become and the more confident you are in certain scenarios. That’s also a given. The more editing that I did, the better editor I became. I’ve been working in Premiere Pro almost daily for the past five years, and if you compare my work from the beginning of that time period to now, it’s almost night and day.
And that’s clearly going to be the case in any skill set that you do—whether you’re a painter, whether you’re a photographer, whether you’re a talk show host. The more repetitions you put in, the better they become. Easy. Now, the difficult aspect of that is finding the balance between quantity and quality. How do you not sacrifice your quality when you’re in the pursuit of putting in more repetitions, becoming a better whatever you’re trying to become?
This is where the power of time constraints and goals has become so important. The key here is shifting your mindset from the pursuit of perfection to the pursuit of progress. To give you an example, currently, I have a goal of creating a short-form piece of content every other day at the bare minimum—and actually, my goal is every day.
For a long period of time, I had a strict deadline imposed on myself of getting out either a reel or a photo on my socials every single day. Now, there are two ways to go about imposing a strict deadline like this on yourself. The first way is, when you start out, you have a lot of confidence, you have a lot of motivation, and you are working towards your goal. But after a while, the self-discipline sort of diminishes, and you start to put out content just to put out content. You start to put out repetitions just for the sake of repetition.
A better method to this madness—and the way that I’ve really embraced both introducing the idea of a lot more quantity but also trying to keep up the quality aspect—is being extremely self-analytical. And extremely self—I wouldn’t say critical—but really analyze the work that you produce and be very organized in the way that you assess it.
I like to use just a traditional pen and paper. A lot of times, when I look at the work that I produce, I just kind of go through things that I like about it after I produced it, and things that I don’t like about it, and things that I could do better the next time out that I’m doing a similar sort of project. Currently, one of my goals is: I’m trying to go out once a week and do a self-produced, self-ideated short-form video introducing new transition techniques once a week. That’s sort of like my hard deadline to myself.
One way that I’m really analytical, and I really want to embrace the amount of quantity but also keep up the quality, is I like to do a lot of pre-production and after post-production. I like to do a lot of self-reflection. That means sitting down with pen and paper and just figuring out what I thought I did well, some things that I thought didn’t go well, and some things I wanted to try out the next time I go out to do a photo shoot.
These time restraints and goals essentially force you to not put out perfection but put out ‘good enough.’ A piece of work could always get better—you can always put more hours into the edit or more hours into your final painting. But at the end of the day, if you’re right before your deadline and you have to publish, you have to put out a piece of work, you’re going to have to accept the level of quality that you’ve finally kind of figured out and gotten to that point. And you’re going to have to throw perfection out the window.
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Transcripción Literal (Parte 2):
“I think this is a very positive thing because if you’re not happy with the work that you put out in your self-imposed restrictions, then next time you can start to figure out systems that help increase your quality—to help get closer to that level of perfection each and every time.
This is where tracking growth becomes very valuable. And when you talk about tracking growth, basically, you’re not trying to look at your work in a negative light; you’re trying to look at your work in a very self-critical and evaluative light. And so you’re essentially looking for things that you thought went extremely well—maybe you like the lighting in this particular photo, but maybe you didn’t like the posing that you worked with your model on. These are examples of notes that I often take on my own images, and these are things that I keep lists of for future shoots.
Just keeping track of trends—whether that be things that you don’t like about your images—by tracking your growth, you can see these sorts of trends grow over time. And that’s when you go ahead and sit down and figure out areas of growth, figuring out ways you can become better in, let’s say, lighting—and maybe going on YouTube, figuring out different ways to light a subject, testing that out the next time you go out to do a photo shoot.
That’s where embracing the nature of being a student becomes handy—not necessarily putting yourself down through your weak points, but just figuring out ways that you want to level up. I’ve taken a step back this year and analyzed my overall process for creative projects and noticed that my pre-production is an area that I really want to improve on. Pre-production is so important, and the overall planning phase is integral in order to really achieve the vision that you have set out for any project.
I’ve been using a platform really heavily in the pre-production phase to grab references for storyboards, mood boards, really build the aesthetic of my films, and that’s Fram Set. Fram Set is honestly kind of ridiculous because they have so many high-profile movies and so many amazing commercials shot by the world’s top DPs, top directors, and it’s basically an archive of stills and references you can pull into your own pre-production.
Really plan out how you want a scene to look—whether it’s in terms of set design or even just the focal lengths, color grading—basically whatever you need for reference work, this archive has it. The way I like to use it is just to search for a specific shot type or location and try to find the vibe that I’m looking for. If you’re interested in trying out Fram Set, I’ve got a code—’GakuYen’—for 10% off your first purchase, or you can just click the link in the description below.
By refining your techniques through quantity, you also start to develop a specific style. The thing about a specific style is it’s something that a lot of people strive to do; it’s something that’s kind of difficult if you’re not putting in the reps, but it’s something that happens naturally when you put out more work into the world. Really get your repetitions up and practice a specific style or craft that you’re doing.
If you work with the same setup—let’s say the same lens, the same camera body—hundreds, maybe thousands of times, you start to figure out ways that you like to shape light, the ways that you like your models posing, certain kinds of shots and angles that you like. And all of a sudden, your style becomes more apparent in the more work that you produce.
Developing your own style is something that’s very fun—it’s very easy if you put enough work in—and it’s also something that’s very important and hypercritical in today’s day and age. With so many people picking up a camera, so many different people figuring out ways to enter the market, you need to find a way to differentiate yourself, and the best way to do that is to really develop a specific style. And this comes out naturally by putting out more work—you really figure out what works for you in the flow of your work the more times that you do it.
The easiest way—and the way that worked for me—by really embracing quantity and also increasing quality over time is developing a routine. Now, I’m not going to sit here and say that there’s a specific rhythm that works for everybody. Whatever your time schedule is, whatever sort of circumstances that you currently are, I think the best way to go about this is to figure out a routine that works for you.
However, I think there’s a benefit to really pushing yourself just that little 10%, 15% extra in whatever you think you’re currently able to do. By pushing yourself and imposing some strict deadlines that really push you just a little bit… For instance, maybe you feel comfortable going out and shooting just on the weekends. If possible, if you can sneak in an extra shoot every week—so you’re shooting maybe one weeknight every week—all of a sudden, you’re increasing output by a third. And those sorts of small, incremental gains that you can really adjust to your own time schedule can really be compounded and produce a lot more quality over time.
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Transcripción Literal (Parte 3 - Final):
“For me, for a very long time, that was a self-imposed strict deadline of producing one piece of content every single day—whether that be a reel or a post. For most of the time, it was producing reels. And over time, I realized that there were certain things about the video content that I produced that I didn’t like, so I tried to refine it, tried to fine-tune it.
If I look back at even a piece of work that I produced a year ago, there’s so many things I hate about it. Of course, that’s a result of continuously practicing, continuously producing, and finding new levels of which are now my average standard. But a year ago, two years ago, three years ago, were almost unthinkable levels of quality that I couldn’t even imagine myself doing.
Even now, the videos that I produce currently, I’m sure I’m going to see in five, ten years, and I’m going to think, ‘Why did I think that was good?’ But this is all part of the process of growth—figuring out new levels that you want to achieve and not looking down on your past, but just figuring out ways to level up each and every… [Música].
It’s not just creating more for the sake of it; it’s creating more to learn, to improve, and overall refine your craft over long periods of time. If there’s one takeaway from this video, it’s: don’t wait for perfection. Set goals, put in the reps, and trust that the quality will come. Keep creating, and I’ll see you guys in the next one.”
The saying.
Today’s conversation.
I wanted to talk about.
