Year: 2026

Getting Your Recording Setup Out of the Way

Sometimes the hardest part of making a video is getting to the point where you can actually hit that record button.

The microphone needs setting up, the lights need switching on and the script is still sitting somewhere on your computer but you’re not sure where!

By then, the enthusiasm you started with may have wandered off somewhat!

Over the past few weeks Gabriel VIP has been working toward a studio he can get ready in sixty seconds.

In this third installment he tackles the audio setup and transferring his script to the teleprompter.

One useful point of note is that he uses a Fairlight preset in DaVinci Resolve, which saves him rebuilding his recording tracks and settings each time.

This is a habit that can be adopted regardless of which video editing software you are using.

The more useful question to ask yourself is which part of your routine keeps getting in the way.

Saving a preset or leaving a suitable connection ready may remove that irritation without replacing equipment you already like.

Gabriel’s final point is that reaching sixty seconds isn’t compulsory, making recording less of a chore is the part that matters.

Audacity 4: Check Your Workflow Before Upgrading

A few months back now, Audacity, the free digital audio workstation introduced the first major upgrade of the software for many years.

Like most redesigns of an interface the aim os to make familiar software much more pleasant to use.

On the other hand, it can also leave you looking for that one command you use every day, which rather takes the shine off the new paintwork!

In this video Mike Russell takes a closer look at Audacity 4, covering both its improved editing experience and the tools missing from the previous version.

He covers moving and trimming clips, arranging the workspace and using effects, then explains why omissions such as macros matter to people with established audio routines.

A macro is simply a saved sequence of operations, useful when the same voice cleanup needs doing repeatedly.

For anyone recording narration, interviews or a podcast, the useful takeaway here is to try a normal job before committing an important project to a new version.

A good example of this is that the Open Vino AI plugins that can be used with Audacity 3.0 versions are not yet compatible for the 4.0 iterations.

Softer Movement for Filmora 16 Animations

Very often you can get a title moving across the screen and still feel that something isn’t quite right.

The timing may be fine, but everything about it seems so sharply defined that the movement looks kind of mechanical.

This short tutorial introduces motion blur for keyframed animations in Filmora 16.

Keyframes mark changes in position, size or rotation over time; the blur adds a trail to that movement.

The example uses text inside a compound clip, which groups the text into a clip that can receive the effect.

The lesson also explains the controls rather than just switching it on and leaving it at that.

Shutter angle changes the length of the trail, shutter phase changes where it sits relative to the frame, and the sample setting affects its smoothness and the processing required.

Those names sound a little forbidding, but the job is simply to control how the movement is drawn.

This is useful for quick title entrances, moving logos and animated graphics.

You need some movement already in place for the feature to do anything, and a little restraint helps keep the text readable.

It is a focused finishing technique rather than a reason to add movement to every item on the screen.

That old rule still applies, “Just because you can, doesn’t mean you should!”

Giving Flat Footage a Direction in Filmora 16

A lot of the time when it comes to color correction and grading you start out with colors that look a certain way and you know you need to do something about it.

Being presented with a panel full of sliders in the color tools doesn’t really tell you what that something should be or how you should change it.

Moving all of them until the picture looks dramatic is certainly an approach… although it can be difficult to repeat and more often than not, gets you some messed up results!

In this tutorial from Filmora, the presenter works through some log footage in Filmora 16 but don’t get distracted by that.

Most of us are not shooting in that format and just for clarity: Log is a recording profile that looks pretty washed out before an appropriate conversion and grading.

The reason it is used by some creators for shooting is that whilst it displays rather gray and flat, a great deal more of the underlying data has been retained allowing for more aggressive color work.

The useful part is the move from auto color correction designed to get you into the ballpark rather than be a total solution unto itself.

A reference image then supplies a direction for AI Color Palette tool, while a color mask lets the you adjust the surroundings separately from the person.

The strengths of the automatic adjustments can be reduced where needed rather than accepted without question.

I look at this as an excellent trade of between totally automatic color correction and it’s inherent problems and AI tools that can’t actually “see” the results.

A First Complete Edit in Movavi Video Editor

I have been looking around for a complete end-to-end run through of the Movavi Video Editor for a while now.

The Movavi tutorial channel on YouTube certainly has a bunch of great task specific videos available, but there seems to be no start to finish one up there.

Learning an editor in a fragmented, one button at a time manner can leave you knowing quite a few buttons without knowing how it all fits together.

Sometimes it is easier to follow one small project from the first import to the exported file and see where everything fits.

Matthias Dangl does that here in Movavi Video Editor 2026, combining a talking-to-camera clip with drone footage and music.

He starts with saving the project and choosing the frame shape, then moves through cutting, silence removal, transitions, beat markers, subtitles and export.

There are also examples of changing speed and tracking a blurred area and the beat detection section is a useful introduction to editing with music.

This is a broad beginner walk-through rather than a detailed course in every feature so if you already have the editor, followinging along with a handful of your own clips should make the layout and basic workflow much less mysterious.

Fewer Ums Before You Reach the Timeline

Listening back to yourself after recording a video can often reveal an impressive collection of ums and uhs that you don’t remember putting there!

Once you’ve noticed them, two things tend to happen:

• The first is that you realize you can’t unhear them and the more you listen, the worse it sounds!
• The second is that you are tempted to spend the rest of the day removing every last one.

The article below offers a more manageable approach which is to reduce the problem while recording.

The article also covers trimming the leftovers and distinguishing filler words from silence.

A final reminder is to leave enough breathing room for the you to still sound like a real person.

A tighter cut for a tutorial is helpful and in many cases desirable but a conversation with every hesitation surgically removed can sound stiff and unnatural.

Building a Frosted Glass Graphic in CapCut

A name card or any information panel needs to stand out from the picture without taking over the whole screen.

A translucent glass-style panel is one way to give the text its own space while keeping some of the background visible.

Agnes from Dina and Agnes builds that look in CapCut using rectangle shapes, transparency, masks and blur.

The tutorial runs through creating the panel itself, developing an animated lower third, a moving highlight around the edge and a floating card with layered text.

Masks control which parts of a layer remain visible, so the apparently elaborate result comes from several quite ordinary pieces working together.

Look out for the useful workflow lesson tucked into the construction too: save the basic glass panel as a preset before developing the animations.

Once you’ve done the fiddly work, it makes sense to keep something you can use again with a different name or message.

What Goes Into an AI-Assisted Video Edit

With the releases of Claude Code and Chat GPT Codex versions that have been specifically developed with video editing in mind there has certainly been a lot of chatter going on about it.

The idea of handing over your footage and having a finished edit appear while you do something else is certainly appealing.

The real questions are, how much work has to happen before you get to that point and how effective are the results in the real world.

This tutorial from Content Creators works through an editing setup using Claude, with a ChatGPT/Codex route also described integrating with DaVinci Resolve as the editing software.

The only current consumer level video editor that I am awre of that can be set up the same way is CapCut.

The video shows asking the assistant to remove mistakes, apply a supplied color conversion, build captions and graphics and place sound effects, then turns the refined process into a reusable skill.

There is a fair amount of preparation involved and as far as I know you will need some kind of paid account with Claude or Codex to be able to set it all up.

If you are interested then be warned that this is an experiment to set time aside for, especially if that kind of installation is unfamiliar to you.

My own experience in working with this kind of arrangement from a “start to finish” point of view is that the results are just OK but nothing spectacular.

The projects I have completed were fairly simple in nature and required that I go back into the project a number of times to refine or correct what the AI had done.

At the end of the day I could pretty much manually do the work in about the same amount of time.

I think over time these types of functions will get better but right now for me anyway, I think I’ll stick with the human approach.

Using a Drone for More Than High Views

Getting a camera into the air is exciting enough that it is easy to keep sending it higher and higher because… well you can!

Unfortunately, a distant view of the top of your head doesn’t necessarily help someone follow what you’re saying!

Chris Goor looks at using a drone as a moving camera for a solo presenter but instead of relying on high aerial views, he discusses lower tracking shots, walk-and-talk sequences and preset moves that reveal the surroundings.

The planning advice is particularly useful showing that he writes short lines to fit the length of a preset move and describes matching a turn between a normal camera shot and the drone shot.

That gives the edit a connection rather than simply dropping an impressive aerial clip into the middle of a sentence.

He also explains recording speech separately and using a visible clap to line up the sound with the drone footage.

This example uses a tracking-capable DJI drone, so the available moves depend on your equipment.

If you already have something suitable, it offers a way to think about the shots that could add to your videos giving the camera movement a job, rather than finding another excuse to take off.

Keeping the Subject in a Vertical Crop in DaVinci Resolve

Changing a horizontal video into a vertical one is easy enough until the person you were filming disappears off to the side of the frame.

Casey Faris works through that problem in DaVinci Resolve, starting with the timeline shape and getting the footage to fill it.

He shows ways to apply scaling across several clips, then moves on to the decision that still needs your attention: which part of each shot the viewer should see.

For a fairly static subject, adjusting the position may be enough, when the subject moves, position keyframes can move the crop along with it.

Casey also smooths those changes so that the reframing doesn’t keep calling attention to itself.

The tutorial finishes with Smart Reframe, a Resolve Studio feature that can automatically track a chosen subject.

Casey’s examples also show why an automatic result needs to be checked, and why a few manual keyframes can sometimes be quicker.

If you’re adapting existing YouTube footage for Shorts or Reels, the manual methods give you a useful place to start without needing that Studio feature.

Always check the full shot, not just the frame where you first adjusted it.