Community Questions + Descript Season 8 Updates

In the three cameras to kind of keep it kind of dynamic and interesting. And then I realized, kind of when I looked, I kind of looked at your tips on, you know, closing the eye on two cameras, opening it on a third and kind of cutting back and forth. But sometimes I'd look and it would say, like, I had, like, whatever, 50 layers because they're just all piled up, all these different angles of the camera. But I started putting in. Forget what they're called scenes, I guess, kind of every 10 seconds or so, just so it wasn't like a million different angles I was dealing with. So that helped a little bit. But, yeah, I guess if you have any advice on the best way to organize. Yeah.

Well, if you're seeing that many layers, did you bring in the sequence like a bunch of times, like, multiple.

No. Seems to be like, what? And maybe this isn't the best way to do it, but did I share my screen and just show you what I've got?

Yeah, that'd be great.

Okay. All right, there. This. Yeah, this is it here. You see it? Okay.

No, I don't see it yet. Did it say that it started?

Oh, sorry. No, dude.

There we go.

Perfect. What I was doing was kind of starting. Sorry, we're kind of blocking my. This is just my husband and I goofing around. I'm just doing a million tests before I really do it. So kind of this wide, though. I had that shot. So this is my guess. Audio.

Yeah. Okay, so you don't have it in a sequence. It's just the. You're just. You just got them layered.

Yes.

Do you. You mentioned a sequence. Do you also have them in sequences? Do you. Did you set that up?

Oh, I probably didn't know what I was saying.

Okay.

Okay, so what I did was kind of. I put in the script layer and then I just dragged the audio and then three cameras into the project.

Yeah. Okay, so can you pull your. The descript window over a bit? Because it's getting cut off on the right side. So if you go to project over here, what you're going to want to do is select your three cameras, like hold, shift and select. And. And your mics as well. You're going to want to select everything and then right click on them, that big selection, and then create sequence and then label them. So Takashi and then his cameras. Yeah. Make sure it knows.

I'll give it a speaker name. Okay.

And then with that said, hit create sequence. And now this is all five layers are together. And did you. Did you do Like a clap or anything.

I did. Yeah. Yeah.

Okay. So you can find that clap and then sync it at that part.

Yeah.

And so, yeah, when you get all five layers together, then that's when we're going to do the stuff you saw in the course with like the multicam.

And cutting back and forth between them all.

Yeah.

Okay.

Hey, Ross, I got a question that applies to this whole stuff because you know that I had to go through this same process. Not as many layers or cameras, I should say. But my question that relates is as soon as you insert all of your files, like your camera, whatever, do you create the sequence first or do you want to edit your transcript first?

Yes, that's one of my questions too.

Yeah. Because like, I know, like, after doing this I'm like, I think I did things out of order so that I, like, like, I probably spent too much time editing something else when I should have done that first. So I know you did one YouTube video of like, how you go through your process of editing and it was awesome. But like, if you could do something like that with these kinds of podcasts, with different cameras, voices, and go through your step by step process of how to edit these kinds of videos. Because I, like, I said, like, what do you do first? Create the sequence or do you edit your transcript first?

Yeah, I don't edit the transcript first. But you could. That's a. I hadn't really thought to do that, to be honest.

My viewers, though, just matching up the cameras after that might be tricky. Right? I guess that's my challenge with this. Like, you know, if I cut out from Takashi like a second sentence and then the fifth sentence, like, how do I cover that with. Because now the cameras are going to be all off. Because now.

Yeah, you definitely would. You wouldn't want to make any cuts to the video when you're editing the transcript if you were to do it that way. Because you can still edit everything from when it's in the sequence. You can still edit it. Like, that's why I, I've never thought to do that. And also you would only edit your main microphone because you're gonna mute the cameras anyways, right? So, yeah, I'm just trying to think of any. I could show you how you could do that and then you could decide if it's. If it's worth doing. Like if you hit done.

Okay.

And we'll come back to the syncing it in a moment. But if you click the three dots next to one of your main mics. Mic files, and then you say new composition from file. So now that just created a composition where just that mic is by itself. And so you could go through and edit the transcript and clean it up again. I wouldn't cut the video. I wouldn't make any cuts to the content. I would just like mute out parts or do something like that. But if you. Because if you make any cuts, then when you put it in the sequence, the whole thing's going to be off.

Yeah, that was my fear.

So that's why I just wouldn't do this. But you could. This is how you would. This would be fixing the transcript. So if you go back to the sequence. And by the way, when you created the sequence, now there's that little folder called sequences. And then if you had multiple sequences, they'd be under that. That drop down.

Okay.

But you could click on this one and then you could hit these three dots and then edit sequence. And now find your claps and let's. And drag them so that each layer is synced up.

That's probably a clap there.

It looks like it. And does that make sense, Kelly? Like, kind of how that works?

I'm still trying to figure out. When you. When you upload all your files is the first thing you do is create a sequence? Because then. Because then when you go back to your transcript, anything that you do in your transcript reflects into your sequence. Am I right?

Yeah. Yeah.

Okay. Okay.

Which is why it's best to. To do it there. Because then the. The sequence will stay together, all the files inside of it.

Right.

And basically when we get to that.

Point and then get rid of the art before it, like, cut this.

Yeah, yeah, you could. Yeah, yeah, you could. That's. That's actually a very good way to do it. You could just do that and then slide the clap all the way to the beginning.

Yeah.

Of every. At the 0 second marker.

Words. I don't. Maybe they're not.

Is there multiple claps or.

Yeah, it's weird if you.

So there's a lot of nuance to the sequence. And like if you click up here, that's how it'll move the playhead. You gotta click in the numbers.

Oh.

Oh, yeah. I don't know why there's some.

Oh, that's a click. Okay, here it is here. Okay. Yeah, I noticed that too. Sometimes. Okay. Oh, no, that's another click. I can mess around with this at another time. I don't have to.

It's not my favorite part.

Yeah, it's super annoying. And it.

This is a better way to do it, I think, which is. I wasn't sure what I was missing, but.

Yeah, yeah, this was, this is the key skill is to do a sequence first sequence. Yeah. And so I think you got the gist of it. Like, you'll find the clap, sync them vertically and then as soon as you hit. Done. When you make a. It'll. You'll probably want to make a new. Actually, I'll walk through it even with the unsynced file, because once you do sync it, it'll still work. So if you create a new composition up here in the top or right where your mouse was, that works as well. If you hit the plus button there and then new composition and then drag in the sequence that you created just like that. Oh, and switch it to video. Cause it, it made it audio only. Just click. Yeah. So there we go. So now you see what happened? You got your separate. If you hover over those, those are your separate cameras. And if you fast forward it a couple seconds, we should see your camera too.

Amazing.

Yeah. And this is what you saw in the course where I could do the automatic multicam and the.

Yeah.

Decide how each scene looks. And so once it's all synced, the underlying sequence, when you make a cut in the transcript or any changes whatsoever, it'll cut all, all the layers proportionally, keeping everything in sync for the rest of the video. Wow.

So basically, bottom line is create a sequence. So this script here, the script as I just dragged and dropped it, created that script that quickly like that. That's where that came from.

So every underlying source file, your two audios and your three videos were already transcribed. Like they probably happened automatically when you brought it in, if you told it to. And so when those went into the sequence, each of the files inside of it were transcribed and the order is going to be off because you haven't synced it yet.

Yeah.

But once you sync it, then it should all line up. And then just to reiterate, you're going to mute your, your video layers and then just have your good mics be the only layers that are actually audible.

Which. How would I find my mic layers?

So to go back into the sequence, another way is if you hit show timeline in the bottom left.

Okay.

And now you see, so it just shows up as one layer, but that is in fact your sequence. And if you double click on it, you're back inside your sequence editor. And then this is where I can.

Just go through and edit the audio.

Yeah, and you could, like, if there's cross talk, something that might happen. That Kelly learned. If you're in the same room and there's mic bleed, then.

Yeah.

You could isolate, like, portions where that's happening and mute.

Yeah. Which is what I do with the podcast.

Okay. Yeah, yeah.

Usually.

Say that again.

Yeah, Say like, he was. He said that. That's what I do with my podcast. What. What do you do with your podcast.

When you got exactly what Ross said, like, with the mic bleed. It's kind of a pain in the ass, but I'll go through the audio. So there's my track and Tekashi's track. And so if I want to. I don't want to see, like, there's. We're talking on top of each other there. Usually go through. And I'll. I don't know if this is the most efficient way, but I'll split the clip and I'll go through and I'll just mute the. So now you just hear me.

Yeah.

I don't know. Is that the best way to do it, Ross?

Yeah, no, that is.

Or sometimes I'll push it over like that. If.

So if I want to hear both. Careful with that, because now the whole rest of the sequence is going to be out of.

Yeah, yeah, yeah. It. It works fine with just audio, but. Yeah. With video, too. It's messed up. Yeah, yeah. Usually I just go through and I cut it. Yeah. If they're talking over each other and unmuted.

Yeah, yeah. So same principle here.

You can just go back and forth like that. Yeah.

So Josh, my boss, was wondering, like, how he could prevent this from happening again. And the other friend of mine, who is like, a video editor, had just suggested to be farther apart in the room.

Yeah.

And then have their microphone a little closer to their mouths because they were kind of out there. And so he's hoping to. To start doing that.

Yeah.

On me. Because this. That kind of stuff takes a long time if you're just gonna.

It does. Yeah.

You know.

Yeah. It's very laborious. Yeah. To go through every single line.

Yeah, exactly. So there's things you can do in the environment, like being further apart. That's a big one. You could also turn the gain down on the mic so it doesn't pick up. Like, this would be an alternative to me being physically further away. Make the mic less sensitive and then move it closer to each speaker's mouth. Yeah, that would be a good move.

Yeah.

Yeah. Oh, and. And also beyond that would be to just, like, sound. Deaden the room more, if possible. If you have, like, carpet Is a good start. Sound panels, if you got the budget for it. Acoustic panels, like that kind of stuff helps a lot.

I did notice, like, with this setup where you have here, like, I didn't really get a lot of mic bleed, which is. I don't know why. Maybe because it's a bigger room. I don't know. But last time I did, it was a smaller office where this is a big space. So. And they were lined up with the flat perfectly. So I didn't really. Yeah, it sounded a lot better.

Yeah. Something about the acoustics of the room, which I'm surprised. It looks like you got, like, brick wall or something. Like hard surfaces.

Yeah, it's a big open loft, so it's pretty big. So.

There'S also like, all sorts of stuff. Like if. If with. In Josh's setup, I don't know if the middle between the two are showing, but you could set up like a. Some sort of acoustic shield type of thing that. That could help cut down on the cross. They make mic. I've talked about this before, where they make shields for the microphone itself that. Oh, dead sound from going out and around.

Oh.

So there's things you can do to the. The physical environment that could save you a lot of time on editing.

Right.

This is recorded, right, Ross, If I want to go back and watch this. Okay.

Yeah. I'll post this on the.

Okay.

The community and then the live stream on YouTube as well is going to be there.

Awesome. Now, this will save me a lot of time. Just what we just did there, but I probably can't do it on my own again, so.

Yeah. And I'm redoing. I'm systematically redoing the whole course, and I'm planning to redo the audio lessons, like, sequences and stuff like that very soon.

It's high.

High on the queue.

Yeah, it works super well. Like, I. That's what I was doing with editing the podcast, but just when I added in the video. Yeah, I guess I totally forgot that I can just do the same thing. I guess it was because, like, rooms automatically put it in a sequence. And, like, I could just right click over that timeline and it would say edit sequence. I'd click on it, and right away I'd get the. So, yeah, I never had to. What we just did there. Create a sequence. Yeah, I always got the sequence automatically, so I didn't know I could do it kind of retroactively after I have three video channels, two audio channels, and then put that all in for a sequence.

Exactly. Yeah. Rooms makes that Easy, that whole flow and you don't even have to think about it and.

Yeah, exactly.

There's some other. I mean, yeah, doing it, doing it in person. You got to do it manually or unless you have a device where you start all your devices at the same time, your mics and your cameras and stuff. But otherwise. Yeah, gotta do. Gotta do it the old fashioned way with a clap or a something.

Yeah, the clap surprisingly worked really well. Like, I thought. I didn't really have any, like, mics were perfectly synced up. There was like. But then I noticed what I was doing there. I started like cutting back and forth and cameras are flying all over the place and so, yeah, I gotta do it in a sequence that'll save me. Yeah, like weeks of work. So that's super helpful.

Yeah, definitely.

Especially where, like, I was nervous with, you know, cutting ums and Oz or whatever out of the. Out of the interview, and then I'm like, oh my God, like, what if all the cameras start moving around and going crazy? So it's all. I can make us cut like that and not have to worry about. That's why I want to do the guest on two separate cameras, so I can cut back and forth between them if I want to cut out little bits and pieces. So. Right. Gave me lots of options.

Yeah, absolutely. Yeah. That's the way to do it. Anything from you, Kelly? Any questions? Further questions about that or.

No, I think my. My last project was a big enough headache.

Did you finish it? Is it published?

I did, yeah. It was like a. But Josh was really like, he understood that it was like, it's partly his mistake because he didn't set up the mic. So like, he. He wasn't. He didn't know really what he was doing when he was setting it up as well. So it was fine. Like, it. It's. It's not. Doesn't sound the best, but it works so well.

I'm glad. I'm glad you got through it. It's always the, you know, just learn as you go.

It's the only way to do was weird, though. I think you were right, though. Like, that particular composition that we had started with just really got corrupted and like, it didn't seem like anything I was trying to do was working for me. So I basically started from scratch and. Which helped me because I had to line up all the voices. And I know you helped me that first time. So then I kind of was forced to do it my own. My.

Yeah.

And so I was like, oh, okay, this is how you do it. And. But then I just deleted that other composition, which I was a little worried about, because when you make one composition, it, like only anything within the composition is. Gets messed up. Right. If since I started a new one, like, I didn't have to worry about, you know, all my uploads.

Right, Right. Yeah.

Right.

Unless you, like, you can have one sequence that is being referenced, being used in multiple compositions. Oh, really? Yeah, yeah. So. And in that case, the sequence, like, trying to think how to explain this. If you make changes to the sequence, it'll change in all the compositions where it's being used inside of the same project. So, like, if your first project had its own sequence and your new one had a sequence, those would be separate and you wouldn't have. They wouldn't interfere. But if you mess up the timing of a sequence that's being used in multiple compositions, it would mess up in everywhere that it's being used.

Yes. Okay, so I meant. Yeah, I didn't mean to say I started a new project all together. What you're saying, like, within a composition, anything that you change with that same sequence is going to mess up or change the rest of them. Yeah, yeah, I think I know what you're saying.

Yeah. But within a composition. Yeah. Any cuts in there is just going to be how that one looks.

Yeah, yeah.

So, yeah. And that file definitely was. I mean, there was times I would have to open it multiple times and it would have an error or it would just take forever. And it's like, okay, that's. That's not normal.

Yeah. I spent way too much time trying to, like. And I feel like, because I was learning, it wasn't allowing me to learn because it was not really doing what I wanted it to do. And I didn't know if it was my fault or if it was. The. The whole thing was just.

Yeah.

Messed up.

I've been having a new problem. I was editing a sequence today that came from rooms, and it just didn't transcribe some or it transcribed each individual speaker, but it didn't put all the transcriptions into the composition, into the transcript. And so, like, if I looked in the sequence, they were all transcribed, but then on the main transcript, things weren't showing up. Which, yeah, I think was what was happening with Josh. Right. That was.

Yeah. Like, it was weird.

Yeah. But it was happening, like, really bad on this. This one project I was working on because there's five different speakers and I. There's some workarounds I'm trying, but it definitely shouldn't be happening. I don't know what's going on with that.

Yeah, that's crazy.

I had some trouble with Rooms last week or the week before. Like two interviews. It was a. The. The host could hear herself like delayed by a couple seconds in her mic. So I ended up doing them on Zoom, which was fine, but it was just within a couple days there, there was a little delay twice when I was doing it. So I'm not sure.

I wonder if that was because of the. The guest audio was coming or her voice was coming through the guest speaker.

Yeah.

Picked up by the guest mike and then just creating a feedback.

Yeah, yeah, there was something weird like that.

Yeah. I don't know. And because about having built in noise cancellation. So yeah, so she's.

She. I don't think she appreciated Rooms until we did it on. She also said let's just do it on Zoom. Shall she just say that? And I say, well like there's not as many options. So we did it on Zoom. And then she realized like the cross talk or like, you know, the. Her mic, the last word kind of would go down while it was switching to the person was talking and oh yeah, it was useful for me to explain to her like the limitations. That's why Rooms is so much easier for me because I do everything in a sequence where I can mute the other mic or I can pull the crosstalk apart and like gives me so many options. So it was a useful exercise for her because she finally went, oh wow. I didn't realize Rooms could do all. She did stuff on Riverside as well. So she had done stuff on that but she didn't appreciate the difference between, you know, Rooms or Riverside and Zoom and how. Yeah, there's so many limitations with what you're capable. We had to redo a bunch of questions just because I mean again it was just a podcast audio only. But a couple times I said like it's switching to the other person's mic. That's why your last syllable is kind of down because it went to the other guest mic. So.

Right. And you can't control where it changes. So like somebody coughs or laughs and then.

Yeah, it's gone. Yeah, exactly.

Yeah. I've had that conversation many times. It's hard for non editors to understand. Yeah, like what do you mean?

You can't just fix that.

Yeah, yeah.

I said no, that's the way.

One thing that is is if you're going to use Zoom then make sure in your settings you have the gallery view and the active speaker. View on.

Oh, okay.

And then you can kind of. You can make a sequence out of it where you have those two different layers, and then you can switch between the two. You could. So anytime the camera doesn't change where you want it to, you could manually change it to the speaker or the gallery view where everyone's showing, and then just. Yeah, manually. Like, do it like that. And that can work pretty well.

You can. When you go to say. Because we're starting to do webinars in about a month or so, which I'm going to record live and people will attend them, and then I want to bring it in to descript after and edit it and tighten it up and stuff like that. So when I go to schedule a webinar, like, usually I just click on Speaker View, but should I click on Gallery View as well? Is that what you're suggesting?

Yeah. Yeah.

Okay.

Then you have that option. So in the moments where the camera switches and you don't want it to.

Yeah.

You could cut to the gallery view.

Okay.

Or you could be primarily on the gallery view and just sometimes switch to the act. You know, there's more options. And then the way you do that is with the sequence that you just learned today.

Right. So what I. So when I take the Zoom record and put it into script, it would give me that sequence of speaker view and gallery view two separate.

If your settings are set up for that. Yeah.

Oh, well. And what would the people attending the Zoom see? They would usually see the speaker view, I think.

Well, with Zoom, it depends on each person's own settings, like if they choose to pin somebody or if they have Self View on or off.

Okay.

I'm trying to pull up my Zoom settings right now to show you.

Because I'm doing a million tests for that as well. So maybe my next test, when I go to set up the webinar, I'll click on Seeker View and Gallery View and then import it into descript and see if. And build a sequence that way.

Yeah, it's worth trying. Here's the.

Like this right now. Is this a Zoom meeting you have us on?

Yeah, we're in Zoom.

Okay.

So. And actually, I don't remember if I have this particular meeting recording. I think I have this recording in my computer, so I won't actually be able to use this in descript with the integration. So as you probably know, you have to record to the cloud to do the integration where it brings in the recordings automatically. And then here's the settings, which I actually don't have. The gallery view on right now. But what you'd want to do is have. Well, actually, you could do this one. This would be the most inclusive. This would record active speaker, gallery view and shared screen separately.

Whoa.

Or you could do gallery view a shared screen. I don't know if shared screen's applicable for you, but that's the thing. And then, yeah, somebody in the. In the chat on YouTube mentioned this, but record audio only files. You can record a separate audio file of each participant. And that. That's really useful because you can mute out crosstalk and all the options you can do with. With rooms or just in a sequence in general. But yeah, so having a separate audio file I recommend adds a lot of complexity, but that's. That's the best way to do it for really clean editing.

Oh, okay.

And then when you do your cloud recording and you do an int import from Zoom, then all those files will come in into a sequence.

Wow. Okay, awesome.

So, yeah, and then you can use that sequence to switch between the views.

Yeah, that's good to know.

And there's some pretty good help articles on descript's website about setting all that up too.

Okay.

If you type in Zoom, you can see this screen still, right?

Yeah.

Okay.

This is on descript. Sorry.

Yeah, so this is help. Descript. Com.

Yeah, yeah, yeah.

And they tell you so, like, based on what you're looking to do, like single combined video track. This is the simplest, straightforward production.

Right.

Just active speaker with shared screen. That's it. And then. Or gallery view, alternatively, like. And the multi cam, then here. Then record each one separately, basically.

Wow, cool.

And then they talk about sequences, all that stuff.

Bring it in as a sequence.

Yeah, yeah, it comes in as a sequence.

Oh, no way.

Okay, so here's what it looks like inside of the sequence. So there's a shared screen view or its own layer, gallery view, speaker view, and every single one of those has their own audio file. So you would need to mute all of those except for your audio individual speaker files. And then those are. Those I would leave unmuted. And then you could fix the crosstalk, which is what they're showing here, where you just splice out like the little blip and then mute it.

Okay, so if I do zoom again, I should probably have these settings.

Yeah, yeah. It's worth it.

I would be able to fix the crosstalk.

Absolutely.

Okay.

And yeah. Yeah, check it out. Yeah. I mean, the problems with rooms lately has me wondering if. If I should stop suggesting it to people and go back to Zoom for Most purposes.

Because, God, I've been like. I started at Christmas, I guess, and right up till two weeks ago, it was seamless. Like everything I was doing and it went so well. Like, I used to always have a backup zoom link just in case it crapped out and I needed to launch it immediately. And then I even stopped doing that. And then two weeks ago, all of a sudden, it got a little wonky. I don't know. But up till then it was like effortless. Like, it was so fast and easy and then would even switch between the languages. But I noticed actually yesterday. Well, no, it wasn't rooms, but I did import had people speaking English and French and I put it into script and it didn't. You know, lately it's been flipping back and forth between English and French, but it didn't do it yesterday. It just trans. It just put everything in his English. So that was a little weird. Yeah. Maybe they're kind of messing or changing something a little bit.

And it translated the French to English, right?

English, yeah. So everything just came in as English, whereas the last time I did Rooms, people were speaking French and I just imported it directly into Descript and it just automatically translated everything or transcribed everything in French. I didn't have to select a language or anything. So it was. That was another reason why I was. Wow, this is so convenient and fast and easy and great.

And when. When you first brought it in or I wonder if in your settings, if you changed it to say English and then it. I haven't. I haven't had that exact use case where there's multiple languages in the. The same conversation. So I'm wondering if you had it. You told it to just do English for the transcript and before you might have said auto and it switched between the two.

Yeah, probably you're right. The first time. Yeah. Someone had sent me something in speaking English and French back to. Back and forth to each other. So true. Like in the past it was just all either French or all. Either English. It wasn't people flipping back and forth. Maybe that was part of the problem. But it could be a setting. You're right off to check.

Yeah. Because when the transcription box pops up, it prompts you for the language and it usually says auto. And that makes me wonder if it can. If it's switching between the language within the same conversation. It probably is.

Yeah, it's done that actually. Because I can think of one I did where the guests and the host started speaking English and then when I. They started. When we. They started the podcast they both speak. Switched to French and when I. That automatically went into the script, it did the first part in English and then it automatically switched to French, which I was really surprised.

Huh.

But somehow knew exactly how to which language was being spoken. I didn't have to do anything. That was again, it was like so convenient and fast.

Yeah. I've had it in, in Mexico where I'm walking around taking video and yeah. When I put it into Descript, it'll just. It picks up the Spanish around me. Yeah. Puts it into English. It's like. It's pretty awesome.

Yeah. That's amazing.

That kind of stuff.

Yeah.

But any other questions from you, Kelly, or anyone in the chat that's watching this?

I was just kind of on to see if you had learned anything new with the late. The layouts. But like, I know you were on that one call earlier today and.

Right.

I was kind of curious on what question you asked and then just like if you had any feedback from that.

Yeah, so. Yeah, that's right. That was the main purpose of the call that we haven't gone into that much. So I asked the. I asked the CEO if it's the pronunciation, is it descript or descript and he didn't give a clear answer. He said it's context dependent. He said it's like, like sometimes it's descript, sometimes it's. Descript was what I took away from it. I'm still going to say descript, but. Yeah. And then let's see, I asked about a brand kit, if they're going to do a brand kit.

Yeah.

And it sounds like they don't really have that in the works. A brand kit meaning like whenever you add a text layer, if it's always going to be like your brand font or when you pull up the color swatch, if there's like a palette where it would always be your colors. Like.

Right.

That type of thing. And yeah, it sounds like they don't really have anything in the works like that yet. But I, I know I'm not the first, first person to suggest it because I've seen it on their, their features request log. But anyways, yeah, there wasn't anything that was like breakthrough for me about like applying layers. They just, they showed like how, just how it all works, which I can. We can just talk about that the OR layouts rather. And let me just get my screen set up here. So they talked about a few like use cases like where you might use the different layouts and here we go. So if you go to Scene. Here's your. Where you apply the layouts, you change layout pack, and then you pick any of your layouts with descripts built in stuff they just showed. Like, if you're an educator, you might be doing a lot of the text overlays. And have you, have you used these at all, Kelly, or are these all new to you?

No, like, I was playing around with, you know, the, the layout for the two cameras because, like, I. I didn't want to manually do it all myself for an hour and a half, you know, podcast. And so I was just. I, like, I just picked one that was just two. The two cameras. And then. Yeah, I think it's. I think it was that one with the border. Yeah, yeah.

If I apply it, it's just gonna put placeholders in there.

Right. And then.

Yeah.

I would. I would maybe play around with it, like do my own. Maybe I. I kind of customized it. At first I didn't think I could, but I was able to customize it the way I wanted it and then saved it as a. As a layout that, like, I'll use again sometime.

Yeah. And that's exactly what I would suggest. You know, change the color or what I like to do on things like this is go into one of the backgrounds here, like something like that, and.

Then.

It'S not showing up. Oh, I think this gradient is in the way. Yeah. Okay. And then you got like just a little bit of movement, like barely perceptible, but. And so exactly like you're describing, like, change it to make it your own and then click on the scene thumbnail and save new layout. And then that becomes your layout. And then when you go to Apply Multicam in the future, you can select it and it'll automatically put all those scenes into that view.

Yeah, yeah, like that. But I thought it was really important for you to remember that when you're saving the layout, like how to pick drive and not private. Because, like, I don't know why. I was like getting really confused on, like, where it was getting saved.

Yeah.

And I was like, I thought I saved this layout. Where is it? And so it was interesting, like, why there's different categories of where it's being saved.

Yeah. So you want me to explain that or you're sure?

Yeah, you can just.

So the. If I go to change layout pack, you got these tabs at the top. This is what she's talking about. Drive Private gallery. So drive means if you have other editors in your drive, then they can. This is shared basically as well as you can make these completely public. Like I have downloadable templates on or layouts as they're now called them. It's going to take me a long time to break that habit. Yeah, but so mine are like completely public where I think even a Google search you could find them and then anyone could download them. Or the level more restricted than that would be like just people that have access to your drive could access these templates. And then private just very simply means only you can see it, no one else at all. And then gallery is just descripts, pre made stuff like these you can't change. And so yeah, it defaults to private. Like if I go through right now I click save scene as new layout and I click save to layout pack, it puts me into the private tab by default. So if you miss that.

Yeah.

Then when you go to apply it and you're like looking through your drive you're like, where the heck is it? That's probably what happened.

Yeah, something like that. I, I don't remember. I think too when I was saving it, like I didn't realize like the pack was like the first name and then you saved it as a different name. Like you're saving it kind of twice.

Yeah, yeah. So the first time if you're saving.

It as a pack.

Yeah. And then if you don't already have a pack, then you gotta make that.

Yeah, right. That was a little confusing to me at first. I'm like. But I thought I was saving it as this. And then yeah, I was like, oh, it's a pack. Because then I like I named my pack podcast and then if I had different layouts within the, the podcast pack, like I named one shorts and then I named one, you know, YouTube because they're all on the, they're all applying to my podcast. But you know what I mean?

Yeah. So that like what I would do is have a pack for each type of project. Like kind of like what you're doing, like podcasts and then YouTube ones. Or if you had different clients like all together. Or maybe for, for your one client for your boss, if you had like his podcast template and then you have like maybe he does videos where he's like out and about or something. You have a template for that or a layout pack rather.

Sure.

But yeah, so from this first view, if you've never created one, you got to click create new pack and then this could be your YouTube pack.

Right.

And then again yes at the privacy here share publicly again that'll generate a link that you'd Share with the whole world and then create. And now. So now it's saying add to add to. And then YouTube is the pack I just created.

Yeah.

And then this could be my two cam view.

Yeah.

And then scene type. Do you know how this works? You want me to go into that?

Sure.

Yeah. So it defaults to other. But this is like labeling it just for your own uses. So this one would probably be a multi cam layout. And it's kind of up to you how you want to do it. Like, it could be a camera, it could be a multicam, it could be a speaker. Like, it's up to you how you want to organize this for your own packs. But I'll call it multicam. And then inside of. If I go change layout pack private. There it is. There's my YouTube pack I just created, say C layouts. And then there's the. You can view. I can't see the. The multicam label that I gave it because there's. It's the only one in there. I'd have to have multiple. So I'll show you how that looks. If I go to gallery and I go to descripts default ones. If I hit use layout package, then in this view, like under camera, there's five things that have been labeled as camera. So if I click on that, there's all the options.

Yeah.

And then if I go to Zoom, they got a total of three media. They got seven.

That doesn't show up unless you put your. Your cursor over that. Like, if your cursor is not there, you. You don't even. You didn't realize there was more to look at.

Yeah. That is kind of weird, isn't it? Because it would.

Yeah. Because like, if your cursor wasn't there and you didn't realize what you were doing.

Right. Like, yeah, there's a few things like that in descript. Like the classic one is the. These dots, they don't show up until you're hovering over the. Yeah, you never know. There's more stuff you can do with it, right? Yeah, that's a good. A good point. It doesn't show up. And it would. It could easily just always be there. So. Yeah. So these are the different, like things that paragraph, text, list. Those are the different categories you can label things as. And again, for the sake of our YouTube pack, we could have an intro, we could have an outro.

Yeah. And I think I asked you one other time that you can. Can you save like a music layer as an. As a layout or Not.

Yeah, you can. Yeah. Like, if I go to my layout packs. So here's my Descript Mastery one, and these ones are public. You can download this from my site.

And that's just music?

No, it's not just music, but music is part of, like, my outro here.

Okay.

I think. Yeah. See, it has a music layer, but what I could do is just delete everything. I could just have it where the music is in the script layer. Like, now it's just music, and I can save scene as new layout, and then that's all it would be is.

I see. Yeah.

Actually, in this case, though, what I would do is, like, that I would have it as a layer above, because if it's in the script layer, it'll get replaced by whatever's in the script layer of the scene you're applying it to. But you'd want to have it up here. But that could be your layout right there.

Yeah, Yeah.

I used to have layouts used to work really differently. And I had an entire sound effects. I think I deleted it. Oh, here. No top 25 sound effects. So these were just things that I used a lot that I saved as templates back when they used to work differently. And so it was just faster to have these in one place than to always search and find the right one. And.

Yeah.

And so if I applied one of these, let's see what'll happen. It still does. It just stacks it on. These would kind of still work. Yeah, it would work, but for audio only projects, there's. Templates don't even. Layouts. Layouts just don't even exist. Like, if I switch this to audio only and I go to. There is no scene. There's not even a scene button. So there's just nothing you can do.

Yeah.

Is that. Is that what you had in mind was specifically with music, like, how to just add it on top of something?

Yeah, Like, I haven't. Like this intro music that will start at every podcast, but it's like a minute and. No, it's more like two minutes. But my. My. I. I don't use all two minutes, so I just want to use, you know, part of it, and I don't want to have to find which part I always use. So I just need to, like, cut it or whatever and then just save that part so I don't have to edit that music anymore.

Yeah. So, yeah, you could. Let's pretend this is your music layer. You could just cut out the first. Like that.

Yeah. Like, I. Huh.

And then just put it to start right where you want.

Yeah. And then like I just want to use that part every time I start the podcast.

Yeah, yeah. So exactly. Just cut it and then drop it at the beginning like that. With layouts too. If I have this staggered, where this clapping sound effect starts two seconds in, that's exactly how it'll get applied. So you could do that as well. Play with the spacing so that it all is timed how you envision.

Yeah.

And then if it fills the scene. So if this was. Let me make this scene shorter.

And.

Let me make it even shorter than that. So pretending that this is like a two minute long song, but you're applying it to a minute long scene, the song will fill the scene completely. If the layout is set up to fill the scene.

Yeah.

But if you have it where it's like it cuts at a predetermined spot like this goes from 0 to 4 seconds, then that's how it'll get saved. There's a lot of nuance to layouts, the ins and outs. Okay. Yeah, sorry, go ahead. Do you have another question?

I was just saying it takes a lot of practice.

Yeah. And they've gotten a lot better. Like way it used to work was even more complicated, but I think they've done a good job of making it simpler compared to what it was. Yeah, but somebody in the. In the chat asked a related question that when they save a pack, it saves the whole episode. And so what's probably happening is your whole episode is one scene, because layouts work scene by scene. So if I save this right now, pretending this is a long episode, it's going to save the whole thing as a layout. But if I click right here and I type a slash to add a scene and now I go to save it, I say scene two right here and save that. It's only going to save scene two, the currently selected scene. So that's probably what's happening is you're whole podcast isn't split up into separate scenes. Anything else? We're at the top of the hour.

I'm good. I did another test today, so I'm going to go edit it now with this new way you showed me. So thank you for that. Appreciate it.

Yeah, thank you for joining.

All right, see you later, guys.

Yeah. All right, see ya. Thanks for joining, everyone.