He arrived to find the sun on the wrong side, left his shot list at home, and had the camera's mic fail. His phone could have solved all three. Six kinds of app that replace equipment, and what to test before you leave.
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He spent three nights on a three-second animated intro, and in the analytics people were leaving before it finished. When a graphic genuinely helps, four shapes you can make yourself in minutes, and what to postpone.
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He published a video, gained forty subscribers and lost twelve, and looked only at the twelve. What unsubscribing actually means, how to find the cause in the video that preceded it, and three kinds of departing subscriber.
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He put a company's name in his title and its logo in the thumbnail, and a takedown request arrived. Naming it was not the problem; the logo was. The difference between descriptive naming and use that implies sponsorship, and a checklist before you publish.
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He stretched his video to ten minutes because somebody told him that was better, and people left at minute four. Length comes out of the number of stations rather than a general rule, how to estimate your script before filming, and when to split a video.
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He sent his guest fifteen questions before filming, the guest arrived with memorised answers, and the video came out cold, like an interrogation. A four-station map instead of a question list, three places you write word for word, and the agreement before you roll.
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He opened a second channel for a new subject, then found himself publishing on two and keeping up with neither. Both died in four months. Three cases that deserve a second channel, four that do not, and how to widen the channel you have instead.
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He promised a film in three weeks, and by week five he had stopped opening the project, because opening it meant facing the delay. Three real causes of delay with a fix for each, the scope decision, and when letting go is right.
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The rain came, he covered the camera with his jacket and filmed ten minutes, and back at the hotel the lens was fogged and the card threw an error. And the scene he had travelled for went unfilmed because he was busy protecting gear.
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He filmed forty minutes alone, and on the computer the frame cut the top of his head, the focus was on the wall behind him, and the mic was across the table. A seven-item checklist before every take, the focus fix, and a mark on the floor.
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He bought a ring light first, and his face came out flat with the ring reflected in his glasses. Then he moved his desk next to the window and the picture changed for nothing. The buying order from first to fifth, and what actually matters in a lamp.
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He put a different transition at every cut: spins, wipes, flashes. Then he watched a film he loves and counted its transitions, and found they were all straight cuts. Five transitions that last a lifetime, and why the audio transition matters more than the visual one.
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