Zero to Hero: Become a Video Training Content Master

00:45:09 | May 28, 2015

Learn what it takes to create effective video training content to wow your organization. Joining us on this webinar is video training expert, Gary Lipkowitz, COO of GoAnimate. You'll learn what makes effective content, the strategies to produce this content, and how to leverage tools such as GoAnimate to create this content.

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And welcome to our webinar this morning hosted by Vidcaster and GoAnimate on how to become a video training content master. My name is Kieran Farr. I am the CEO and founder of a Vidcaster, and in just a minute we're going to be joined by Gary Lipkowitz, the chief operating officer of GoAnimate. We're very excited to bring this presentation to you. This is based on a lot of feedback we received from our presentation a few weeks ago about video first training, and really what happened was that, when we went over the statistics of the revolution and changing the way that training is delivered in organizations, we got tons of feedback from people saying, hey, this is great, but I'm really interested in learning how to make this content. So that's the topic that we're going to be covering today. So last week we reviewed the fact that more than 50% of the training methods used right now is still traditional types of in person classroom training, or what we call a fixed path-- so forcing a viewer through a specific path for one or more hours of training content. So that's kind of the standard view that we've been doing for decades, and now we're seeing the significant switch over to video based training, and we see it in consumer behavior with platforms like the Khan Academy or lynda.com. So again, what video first training is compared to legacy forms of training is thinking about video as a library, not a classroom. In other words, you're trying to create resources that can be used for years to come when your employees or stakeholders have a problem that they're trying to solve. In the market now, a lot of people are calling this just in time training. It's just a fancy word for creating resources. So when people have problems, they know how to solve those problems. So our feedback was positive from the last webinar, but you wanted more, and specifically we wanted to cover today a lot more content creation. And that's why we decided to invite our guest today, Gary Lipkowitz, the COO of GoAnimate. Gary, welcome. Can you hear us, Gary? Thanks, Kieran. I can. Thank you, and glad to be here. Thanks. Yeah, so one of the exciting things, Gary, of having you on board on this webinar is that you actually have significant experience in production. Before we get started, can you just tell us a little bit about how you learned a lot of these skill sets and what sort of production experience you've been doing? Sure, it was very simple. I began my career as a video producer in a training department of what's now Accenture. Long ago at the time it was Andersen Consulting. Those of you who know the word St. Charles know exactly where it was, and it was a great experience. We had a huge studio, lots of equipment, and we, when I joined, were making videos just for training purposes, and then immediately after I joined, our mandate was broadened and we began producing videos to support firm wide endeavors, including marketing and sales. Got it. So this is literally right up your alley. You've been doing-- I would call that traditional content production, and so that's the world that you came from. And it sounds like you've really been able to adapt that into the way the technology is changing to make these production tools more accessible to the general audience. Yes, and I think it's been a continuous shift. I don't even think it's like somebody just recently flicked a switch and technology made a big boom. The costs have been coming down consistently over the past decade. I lived through the advent of desktop digital editing workstations, which we all thought, oh, this is the end. We're all out of jobs. Everybody will make videos at their own desk. And no, people weren't able to do that, but it's still didn't need of professional video production. And then cameras got smaller, lighter, cheaper, more light sensitive, and yet-- and that's great. So more and more people were able to do this themselves, and for those with big budgets and time, they can still go to a professional department or professional production company, but the ability to make a higher volume of smaller, more tactical videos is now in everybody's hands. Totally agreed. And so just to go over the quick agenda for today, the first topic we're going to talk about is what makes video content engaging. And then once we kind of go through what is really the essence of good video training content, then we're going to talk about what the tools are to actually get this stuff done. So I'm just going to throw the first question right back to you, Gary. So what does make effective video training content? How do we think about that when I'm faced with the challenge of training my organization? I'll give you and the audience two key variables to focus on. The first one is relevance, and the second one is engagement, but I'm going to raise the stakes on that one slightly to speed of engagement due to the video first environment that we're focusing on today. Actually, I believe speed of engagement matters everywhere, but it will matter even more in that environment. But first one for relevance-- we all know this word, and 90% of the audience probably could have predicted that would be the first word out of my mouth, but that doesn't make it any less important. And how do we ensure that? Well, even for this video first training, I think you would go through a similar process that you go through doing your traditional top down curriculum based training for an audience. So for each video-- or for each problem that your solving with video, more accurately-- who's the audience? You're going to have geographic, demographic factors. You may have organizational factors-- industry background, functional background. Where are they coming from is the question you're going to answer. And you've probably done some kind of needs analysis that identified a skill gap that you're trying to fill, or otherwise identified a problem that you think is being experienced by this audience that you're trying to solve with this bit of always on training. And that will be broken down into objectives. And as was beaten into my head when I began my career, I hope that you all also are committed to those objectives being tangible, which means you must be able to phrase them in this form. At the end of the video, the audience should be able to do blank. With that information in hand, you can then proceed as you ordinarily would to prepare a content outline, arrange for subject matter experts or other kind of expert content input, and from there, you'll proceed to prepare the video treatment, followed by the script and the storyboard. If you're not familiar with a video treatment or you're not familiar with that phrase, think of it as a one page document that says this is my conceptual approach to the video. These are the facts about the audience. This is the problem we're trying to solve. These are the tangible objectives. I think we should take this content outline and put it on its feet by X, Y, and Z. We need to shoot at a carnival, or we need a man in a suit talking next to a plant, which I hope you don't choose. You're going to say this is how I'm going to approach the video. It may seem like an unnecessary step, especially if you're in an environment with slow turnarounds on deliverables, but please trust me that it's worth the effort. Before you dive into scripting, which is labor intensive, getting everybody to agree on the conceptual approach to the video will save a lot of time. I totally agree, Gary, and something that I've found to be really effective-- there's a lot of different ways to do it, but the simplest one for me has been just making a PowerPoint presentation that represents the different key areas of the video content and then reading it out loud-- just a very basic draft script-- and making just a very brief kind of visual recording almost. And then I use that to then show the other stakeholders in the organization. And by no means is that anything that anybody will ever see, but it had been really helpful for them to basically buy in and say, hey, I see where this is going. We should change the order here or there. Is that the sort of concept that you're talking about? Yes and no. So what you're doing-- doing a sort of a table read and recording it-- it's still very valuable, especially in getting scripts reviewed, which is a little downstream from where I was located, but while we're focused here, let's say here. We're all in environments, I believe, where your deliverables and ultimately the video are going to have to be reviewed by a lot of people. Everyone is going to need to give their input. Most people are busy. Most people multitask. And most importantly, especially when combined with those two previous variables, most people read words. They don't actively visualize while they are reading. They may say, oh OK, me and Kieran-- the sound of my recorded voice, that doesn't solve the visualization problem, but it does a little bit. It's the first step in that direction. Hearing the words is closer to the experience of watching a video than reading the words. We can all read really fast, and there's some kind of background mental processes that says, oh, I understand these words. Yeah, I follow. I follow. I follow. And somebody doing that really fast and saying, yeah, this is great-- they would approve the raw content outline as a video because it looks good. You're trying to get a video, a piece of rich media that's going to combine multiple elements none of which, or only a little bit of which, are text approved. So the table read is a very positive step in that direction. I was a little bit upstream describing a treatment that you would send around. That's a document that forces people-- that says visualize me while you read it. Got it. For this part, section A where we're introducing the problem, I want to have motion graphics going around the screen showing that ships can't dock at the harbor because they've underestimated the demand. Something like that. It forces them to have a mental picture. And from there, I think storyboards, after the script is written and approved-- because the script is still going to be perceived as text, so you're immediately going to want to follow that up with storyboards, and yeah, these table read recordings are a great idea. Anything that puts pictures and sound and gets it approved before you spend money on cameras is going to have a very, very positive effect. Got it. Cool. And you had mentioned before needing to be concise, and we showed this slide here that shows data from video content that reflects where people drop off of the video. How do you think about what is the right length? How do you answer that question? I have two thoughts on the subject. The first is sort of the second bullet. If you go back, you remember I said relevance and speed of engagement, which is always important. So the first one-- look, we can't control the amount of content that it takes to solve the problem. We can manage it a little bit, but there's a problem that needs to be solved. So the length or the amount of content it's going to take to educate somebody is going to be driven upstream of this process. So you don't have total control over it. So what's imperative is that your approach the video-- and this should be covered in the treatment-- is that sometime in the first eight seconds-- we used to say 10 seconds. Now we're getting more aggressive. We're saying eight seconds. I hope everybody out there is saying, yeah, OK. I get the point. We don't need to split hairs between 8 and 10-- very quickly because you never get a second chance to make a first impression. You need to grab the viewer. And the first part your chart shows a steep drop off really early on because a lot of people are going to be like oh. If we start out and say these are the tax law changes for 2015 for deferred revenue in Asia Pacific said the man in a suit next to a plant, everybody's going to leave. Nobody's going to learn the content. Whether it's always on in a video first library, whether they're forced to watch it in the fixed learning path, the screen may be on, but they have disengaged. If it starts with an IRS auditor walking in, and people being led out in handcuffs, and file cabinets being knocked over, drives being seized, people will be like, wow. What caused that? That's because you booked your deferred revenue incorrectly. Maybe you want to pay attention. Even if we fail to really get this material on its feet for the rest of the video, and even if it's long, we've made the first impression. So to kind of summarize, what I'm hearing is that the question of how long it should be is almost not the right question to ask, because getting the point across for whatever answer you're trying to produce is going to take a certain amount of time, but you want to make sure that, regardless of length, at the very beginning of that asset that you're grabbing the attention of the viewer. Yes. Got it. Regardless of any other variable in the equation, speed of engagement is a must. Got it. Having said that, there's no right and wrong for a training video. When we talk about for marketing purposes homepage explainer videos, we're like, yeah, 90 seconds to two minutes. You need enough material to motivate the viewer to want to act on the call to action, but if you wait too long, they will get bored and go away before they see the call to action. But here, as I think the audience knows, sometimes I've got a lot of material I need to get in their minds, so overall length is not going to be 100% within the trainer's locus of control. There are still some things that can be done to manage for an optimal. Let's call it that. So no hard guidelines saying a training video must be two minutes or less. We all know that's impossible. This is driven by the needs analysis in the content outline. I would, however, encourage everyone to think that axiomatically, on average, less is more. You have to manage-- if I include every last detail, they may lose the forest for the trees. And so many of the people in the audience are instructional designers. I know they think like this a lot. I would just encourage them that, in this process, if you have a lot of material, especially in video, especially in an always on just in time video first type video, to really lean on the less is more more than you otherwise would. So you had mentioned something earlier about visual [INAUDIBLE]. I just want to start with one more related point before we move on. If you have a lot of material-- and [? yeah, ?] stay on this chart, plese-- and your analytics are telling you people are falling off right at that two and a half minute point. You said it wasn't a hard rule, but the analytics are telling me this is where they're getting mentally tired, and they're switching off. If you have a lot of material, especially for this kind of always on video first video library environment, serialize it. Break it up into a lot of videos. Got it. In the audience, raise your hand if you binge watch on Netflix. This is a very comfortable behavior for people to watch things in a serial. Plus you give them a chance to pause when they're mentally tired and come back when they're ready to go again. If you leave them a little bit wanting more, they'll be happy to come back and continue the series. They may just not take all the content in one sitting, and I think that's a better outcome than them falling off of a long video. They fall off of a half an hour video after two and a half minutes and never watch the rest. And if you're now saying, well, what's the difference? Can't they come back and pick up a video in progress versus watching a serialized one? There is a difference, and we'll cover that when we get to scripting, and it's the cliffhanger that will leave you hanging. Make you wanting more. Exactly. But let's leave as a cliffhanger. Let's keep them hanging. And go on to your next point, and we'll catch up with that later. Sure. So you talked about visuals. Maybe you can help us understand when it's helpful to go through the extra steps to create visuals and when it's not. When you're working on your video, as early as possible in the process, you should be thinking in pictures. Really you should be thinking in video. You should be thinking in movies, but that's-- yeah, let's just stick with that. You should be thinking in movies. You should be thinking about all the happy times you had in the darkened cinema or on your sofa watching Netflix, and you should be thinking in movies, because that will keep the power of the medium fresh in your mind. And then especially when you proceed to take a concept outline and describe in your treatment how you're going to put it on its feet in a rich media environment, that treatment should reflect your love of the cinematic experience. You should be demonstrating the fact that you have been thinking in movies right then. You should be doing your best to write movie moments when you write this treatment. More accurately, you'll be writing the movie moments in the script. You'll be describing the type of movie moments that you're going after so that everybody in the process can prepare themselves. What happened to me a lot in my career-- I was a newbie producer, and my internal client was often a training manager. And we would go through the treatment and often three drafts of a script. I'd be happy with it. They would be happy with it, and then they would show it to their director or some kind of senior manager, who is coming into this cold, late in the process, multitasking, reading words on the page. Says I don't understand why the unicorn is doing a somersault. Just have a guy in a suit stand next to a plant in the studio and read the content outline. This literally happened a lot. It was a huge source of not only worsened training deliverables, but waste of time and money on the scripting process, because they weren't engaged visually earlier in the process. Nobody said we're going to take this creative approach. Had we done so, they would have been better prepared. They would have better understood the script, and we would have achieved a better outcome. So your first question was when to start thinking individuals. Think in movie moments as early as possible. Got it. There's another aspect to the power of the medium, because I'm afraid to say, oh, think about your favorite movie moments and bring that to your training video sounds a little artsy fartsy or not achievable. So I want to phrase it another way. And this is a little more, again, about the totality of the medium than just visuals, but I still think it's appropriate here. You, as a person who are going to produce a video, should think of yourself as the tour guide, right? You have all this content, and you're in command of all these on camera elements, whether they're people, places, and things that you aim a camera at, or graphic or animated elements, you're in charge of all these audio elements, whether they're narration, or dialogue, music, and sound effects. And you get to combine them-- maybe you think of yourself as a crazy which stirring the pot with double, double, toil, and trouble. But you're going to combine all these things with the other metaphor I want to use as I mix them gratuitously-- is the tour guide. Ultimately you are going to control what the audience sees and hears. You're going to control what they see and hear and when. And this is very important, because in today's interactive world, linear is king. Everything's interactive. People are used to being able to click around, skim, and scan. Everybody has, for lack of a better term, functional ADD due to being overwhelmed by information all the time. But when they see video-- this is why everybody likes video. It gives them a chance to lean back and stop doing that. You're promising them that, hey, you can lean back and stop being so crazy, and you'll still be productive and get something done. So just by promising video, you get a captive audience, and you have total control over that time. So if there's a point needs to be elaborated, or spend more time on it, or just have a big number that says 78% on the screen, and you want sit there for 10 seconds with white text and a black background, you can. And if you want to visually dash some kind of crazy Prezi deck in and out of bits of an infographic at breakneck speed, you also can. [? You guys ?] control what they see and hear, when, and for how long. You are the tour guide, and you have total control to manipulate their mind to maximize their learning. That's a strong word. Well, kind of on that same topic then, how do you think about the audio component when you're creating this experience and trying to be that tour guide? Audio is both essential, especially in a voiceover piece. Then the narration is essential. If it's a scenario based piece, the dialogue is essential, but the music and sound effects should not be forgotten as complementary factors. But let's go back for a moment, because I just want to, in the wake of the tour guide thing, come back to your question about visuals and talk about the different visual tools in the training video producers tool kit that they may or may not be aware of. And then we'll come back to audio, because these are also more tools in the tool kit. Sure, yeah. But on the visual side, I'd give you four tools, and I'm just trying to make this as practical as possible. Descriptive-- so maybe this is something very simple about product assembly or disassembly, or maybe it's about a piece of [INAUDIBLE] and you to aim camera at the steps of the process. Remove these three screws. Put the top of the chassis back to reveal the motherboard-- that kind of thing. Very easy and effective to aim a camera at it. It almost seems like-- [INAUDIBLE] In explainer videos, what I would-- a lay person may call that. Well, I'm going to call it descriptive. For me, explainer is a little more conceptual, because it could also apply to abstract things. So these are descriptive things, and the rule of thumb is, can I easily aim a camera at it if I'm trying to teach somebody the steps in a process? For software, we're all familiar with screen grab or screen capture videos. And then part two, as you made a nice segue for, conceptual things. Think about topics that are very hard to describe and perhaps impossible to aim the camera at it. If you've worked in global logistics, how do you aim a camera at ships moving in lockstep on opposite sides of the globe without causing a logjam. Here in the Bay Area-- you're here in the Bay Area-- we know lots of microprocessor manufacturing companies. If there's a new technology about the way the ones and zeros are captured inside the piece of silicon, you can aim a camera at it, and it's going to look like a black rock. Right. Or you can get out it on its feet with motion graphics or animation, because it's very conceptual. Bitcoin was very sexy last year. How do you aim a camera at bitcoin? You don't. So these are conceptual topics that still might need to be explained, and they're the tools in your toolbox. It can be animation or motion graphics of some kind. Data visualization-- a lot of people have to communicate numbers in the course of their job, and I was giving me the 78% example before. What do we do if we have to talk about performance, or market potential, or why we're shifting our sales training from focusing on North America to focusing on Asia Pacific because these the trends that we see. We could publish a report made in Word and Excel and send it to people. We could do it in PowerPoint. We could make an infographic, and that would be really cool. Everybody loves infographics. But again, they skim and scan those. What if we wanted the tour guide power in a data visualization piece? Then we would think of making the video infographic. And the last one and my personal favorite are the scenario based ones, which I think are very effective for soft skills and behavioral training. How to give customer service in response to different types of customer queries. How to manage a sales call and go for the close based on different types of responses of push back that you get from your client. And these are the ones with actors, and the lines, sometimes settings. You direct actors. Those are my personal favorites. So four tools in your toolbox as far as visual approaches to video-- descriptive, conceptual, data visualization, and scenario based. Well, that's really helpful, and I really like the distinction between the descriptive, which I'm thinking of is very concrete-- like you said, you can aim a camera at it-- and the conceptual, which is much more abstract. And that's a really helpful distinction because I think a lot of people don't necessarily make that distinction when they jump in and start trying to make this content that, in many ways, you're trying to express something that's abstract very often with this sort of content. And two related points-- most training video production processes start with words. And for the reason discussed before, that reviewers can't visualize off of words, they will perceive them as words, and they will miss important things about your approach to the video, and after getting blindsided by it, will attempt to reduce the process back to words, thus destroying your entire investment in producing a video in the first place. So it's good for people to know these tools in their toolbox when they're approaching the treatment phase. And I was giving different industry examples, right? Software, training video, descriptive. Global logistics, conceptual. But I bet for the majority of people in the audience, regardless of industry, they would have use of all four of these approaches. Yeah, I agree. I mean, even thinking about the content that we create here at Vidcaster, it goes across all these four. We do a lot screen captures, which would be descriptive. We do a lot of conceptual, explaining where video fits in training or marketing use case. We do a fair amount of data visualization to show here's the actual results. Here's how you can mix the stuff together to prove the success. And then we do a fair amount of scenario training as well, especially for our own staff. So I see where that fits into the equation of what we're doing, too. Same for us. Cool, so we have talked a little bit about audio, and we're going to come back to that. What advice would you give folks for being able to easily have an audio solution that they can understand, that's not too expensive, but still meets the requirements? Sure. First I'll talk in the skills, then we'll talk in the tools. But we've gone through those four visual approaches, and so let's keep those in mind for lack of a better checklist. So many of them will have voiceover, therefore you need a voiceover narrator. So in preparing to produce narration, I would raise three topics for you to think about learning to do or learning to manage. And I don't think we're going to get down in the weeds during this webinar, but we can do it in a future one, or a lot of this information is available or very easy to find quickly online. But I would first consider the technical aspects of recording a voice. You can easily go out to a studio, and it's often not that expensive, but you can also go into a conference room, quiet the room down, and use simple tools to record a narrator in an ordinary office space. So there's technical aspects to that. Directing the performance-- very important to make sure the narrator emphasizes the right things. And then casting correctly. And sometimes those last two go together. People come to voice over narration from many different sides. Some of them come in, and they've got one voice, and that's what they do. They've been on radio for 30 years, and they read everything like this regardless of the intent of the line. And they finish strongly on the ending consonant every time. That's not always what you want. So they're great on the technical flourishes. Their voice sounds rich and full. They sound authoritative. Everything is enunciated well. Even after you produce a video, if it all gets really, really compressed, it will still sound great. But they may not have communicated your content or what you're trying to say about the content properly. And then there's a lot of times people are actors, and they have a lot of theater and film experience, and they come in. Theater people are generally good at this. They're used to projecting and enunciating while still sounding natural. A lot of film actors will often play small. They'll give you a very small signal that doesn't survive the process. They're often very, very good at, if not getting your intent the first time, taking your direction and making these subtle adaptations so that the right emphasis is given a word, or even that certain things are read in a way that reflects your corporate culture correctly. I hope everybody knows what I'm talking about that sometimes things get in the script, or we're referring to internal departments, and we just need to say something with a little more respect or make it sound a little more important or a little more accessible. So those with an acting background are often excellent at taking this kind of feedback and surprising you with how well they can do it. So important for you to know the future of the video, the kind of read that you want, the kind of voice that you want. Do you want omniscient and powerful? Do you want sensitive and understanding? And casting the right talent and directing them appropriately. For scenario based-- yes? Well, I was just going to say we have about 15 minutes left, and I want to make sure that we have an opportunity to also review what you guys are doing at GoAnimate and see how that connects to the concepts of the different content that we're talking about. So if it's OK, could we transition to talk a bit about what you guys are doing with GoAnimate and when it's appropriate to use that tool, and what is it? Sure. Absolutely. Cool. So we've talked about a couple different styles of content. You had mentioned descriptive, conceptual, data visualization, and scenarios. When is a tool like GoAnimate useful? And can you describe to the audience what is it? What do you guys do? Sure. GoAnimate is a cloud based do-it-yourself animated video creation tool. So especially for folks in the audience who have done e-learning, they've actually been through this revolution before previously to make e-learning. First you had an instructional designer map out all the pads, and then there was an instructional technologist who would come in and code everything from scratch. And then there's people that like [? Tora ?], and Articulate, and Adobe Captivate, and many others came and reduced this to a point and click drag and drop experience where an e-learning developer who might have an ID, or IT, or any other background could come in and create all of this just by point and clicking, dragging and dropping. They could create interactive e-learning. So that's kind of what GoAnimate is. Making a video used to be really, really difficult. You needed specific video production, lighting, casting, audio type experience, running around with cameras, cordon off locations, worry about wind noise. And it was very complicated, and expensive, and scared people. And now we've reduced it-- at least the animated part-- to something you can do sitting at your desk pointing and clicking, dragging and dropping. You don't need any kind of production background to do this because it's all simply drag and drop. We can't support the descriptive. We don't have cameras. You can import photos and existing video clips, but that's about as far as we can help you with descriptive, but we are tailor made for the conceptual and data visualization pieces. And for scenario based, we're very well suited for that, but you will have animated characters that will be more like Family Guy than like Modern Family. Got it. And this screen that you're on is great for why you might like to choose animated video versus live action, and these notes are sort of parallel and extending the points made before. Descriptive-- you want naturalism. You want reality, and you want to aim a camera at it. So if you want naturalism and you want to aim the camera, you should be doing live action production. But if you need conceptual, then animation is great. If you want to really make points impactfully-- we use the expression the forest for the trees a lot, but what if you wanted to start on a super close up of tiny little insects in a rotted piece of bark, and then pull out to the tree, and then pull out to the forest, but then pull up into outer space looking down at the planet, and then pull out to the galaxy view, and very quickly in one camera shot give all these different layers of perspective, animation is very good for that. Similarly, if you want to literally hit people over the head with points like the Roadrunner used to get hit in the head with anvils, you can do that with animated video. Things can go a million miles an hour. They can go very slow. Some other thoughts now that you're on the bottom of this graphic. Animation is very good for representing diversity. So one of the reasons you might put a scenario based soft skills video-- you might do it in animation-- other than to cut costs, shorten the timeline, and simplify production-- is, for one, people won't obsess on your casting choices. Often it's sometimes hard to get actors who feel natural wearing suits and talking about ethics in the workplace or sexual harassment in the workplace, because they may not have lived inside these corporate cultures. And sometimes the way they represent themselves can distract the viewer from the content, where with animation all you need is to get good line reads, and then you put them in these animated characters that everybody kind of buys into right away, because we've abstracted from enough level of detail that we get it. We know they're characters, and we dive right in. We don't wonder if their hair is right, or if the suit is the wrong color, or why does that guy keep scratching his nose. Right. Also, diversity. How do you do proper diversity in a scene for two? All right, I choose two people of different races, but ideally I would represent four or five different ethnicities, or groups, or races in a scene, but I only have two characters. Well, with animation it's much easier because nobody is from any particular background. People are just different shades of skin tone. They have different eye shapes, and nose shapes, and ear shapes, and head shapes. And you can make two people look very different from each other, and they effectively-- again, due to the abstraction from detail, you've represented diversity despite differing between the two characters that you had to work with. Got it. Cool, well you had actually had me set up the GoAnimate platform just on my computer. I just logged into it, and you were going to show me a little bit on how to get started. So if it's OK with you [INAUDIBLE]. Yeah, [? we can do that. ?] I'm just going to tab over, and all I've done here-- so the people who are watching understand, all I've done is just open up the GoAnimate app. And I just I just created a new project, and here it is. So Gary, maybe you can tell us first what are we looking at, and what do we do with this interface. Sure, this is what we call the studio. This is where you make your videos. So the big part where you see the cubicle, that's the stage, and that's your video in progress. To the left, you see a multi-tabbed asset library. We call that the tray. There's six tabs. We're on the first one, which is backgrounds. There's also characters, props, text, widgets, which are like animated charts or your little bits of animated infographics you can drop in anywhere, and the last one is music and sound effects. We default to a cubicle because pretty relevant for most people. Nice. So let's say-- and this is great for numerous styles. Scenario based, obviously, and also voiceover style videos. We're talking about a person sitting in the cube. Let's say we want to start at the beginning. So Kieran, why don't you just take the one with the guy and the green background and just drag it on the stage. So I'm just going to drag this guy and just let it go right here? Yep. So what's going to happen is it blows out the previous background. Oh, cool. All the elements, and adds this. Most of our backgrounds are composite. Had we played with that cubicle background, we could have removed each cue ball individually, or we could have removed or added a guy who wasn't there. We could have made the desk bigger or smaller. So usually these backgrounds are composite. And here, yeah, this is a title screen. We've built, as you can see-- Kieran, you can scroll down. Back in the tray there's a scrolling bar. Yeah, scroll down. So we made about 20 or 30 of these to help you get started quickly. And as Kieran did while I was talking, you can customize it in about five seconds. And let's say this guy with a tie video is about your dress policy. So we've got the title screen. Because in your treatment you said we want to make this really engaging, so we're calling it a guy with a tie. Guy with a tie instead of you must wear a navy blue suit with a tie. Right. So in the bottom is the timeline, and it's all your scenes arranged sequentially with one row for video and a couple of rows for audio, specifically some broken up for dialogue and narration, others for music, but click the plus sign, and we'll make a new scene. The new scene is automatically going to match the end of the previous year. Here it's a carbon copy because the scene had no movement, but if we had a scene with a lot of movement, especially where the start and end were different-- like the guy drove a forklift across the screen, and he started in the left and ended on the right-- he would match the ending position case you want to continue from where you were. I see. So let's go to locations, and let's go to a location. There's a lot of options. So why don't we scroll down, and Kieran, when you see one you like, just drag it on the screen. You see a lot of them have characters in them already. Yeah, that's really convenient. Yeah, why don't we do that reception one. Right here. Customer service. So I just drag this up to-- Yeah, just drag it there. It'll blow everything up. Awesome. Our guy was a tie looks unhappy. Yeah, he looks unhappy. Well, we can fix that too real easy. If you just click him, you can change his expression. So I've clicked him, and I just-- And you see at the bottom where it says auto? Uh-huh. [INAUDIBLE] the bottom. You can just click that, and you change his expression. Now he's happy. And while you're there, why don't you give him a different action other than holding the bag. Some of them-- Maybe he's happy he's getting [INAUDIBLE]. --are acting in place. Some of them-- they actually will move across the screen. Yeah, so now he's very happy because he got a refund. That's cool. Because he's wearing a tie. Good things happen, and they gave him better customer service. Right. That's really cool. Now if you select him again and click on the dialogue tab, which is to the right of actions back in the tray, let's see if we can give him a line of dialogue, which he would automatically lip sync. And you could use any of these four methods to input your dialogue. You could record directly into the app. You could upload a file that you had recorded in your conference room or at a professional studio, which will get you the best results by far. You may have uploaded existing audio clips. Let's say you've built this character in our character creator to resemble your manager or your CEO, and he had previously given speeches on this subject, and you have existing audio clips. You can drop those onto him and he will lip sync them. And we have a text to speech function where you can type lines and the character will say them in a robot voice that kind of sounds like Siri. Not that helpful. OK if you're just timing things out. Strongly, strongly do not recommend you use these in the finished product. Got it. If you've [? even ?] written that in the tool, it's going to sound robotic. But it is [INAUDIBLE] for the timing. But it's usually a little bit slow. So somewhat helpful for timing as long as you understand it's a little slow, but we also have links to partners from whom you can order voice over online as well. And some of these voiceover [INAUDIBLE]. They promise 24 hour turnaround on their fast services, but you usually get it in a couple of hours. That's really cool. The third tab we don't need to play with now. It says enter and exit. It's just PowerPoint style entrance and exit effects. Every asset in GoAnimate, including characters, and props, and seen elements can fly in and out and do blink on, blink off, window blind, all that stuff. But with the characters it's much better work with the real actions, because they represent hundreds of different industries and occupations. Go back to actions and just type-- I don't know-- type run or just click through the categories. Click through medical doctor. You'll see MRI machines, or farming, or logistics. We have a whole team of creatives who just sit around and animate stuff based on what we think our users need-- what industries and occupations need to get represented. Well, I think that the-- Here's a farming-- the farming ones are new and pretty cool. It's pretty fascinating if you think about how many different applications this can satisfy. I mean, we're talking about everything-- almost any industry you can use this content for. And if you're in an industry and your stuff is not represented, we encourage people to send us a note to support at goanimate.com. We have literally built asset packs off of customer suggestions so they can get started. That's so cool. We can't do it overnight. We have a forward looking production queue, but we can certainly and repeatedly put customer suggestions in the queue because our point is our users know what they need better than we do. So if they're going to take the time to write to us and say-- as this really happened-- I need a power grid. I need guys fixing the underground, wires that are inside metal conduit underground [? put ?] by Klieg lights. It's like, OK. Put it in the queue, and we'll do it. If that's what you need to train your team, then we'll get right on it. Well Gary, this is so much fun. I think I could get down the rabbit hole here and play with all this stuff for a long time, but I also respect our audience and wrap this up at the 45 minute mark. Before we head out, how do folks learn more about GoAnimate for training purposes? What do you recommend they do to get in contact? You can just got to goanimate.com and sign up for a free trial. Very cool. We also have a resource center, which is brand new, but we'll be publishing a lot of training related content in the coming weeks and months. Personally, I'm working on a white paper about story structure and dialogue writing for scenario based videos. So if you're doing something scenario based and you're like, you know, all these guys, you know, the dialogue always sounds wrong. It trips up the actors. We'll be publishing a white paper about that very soon. And any questions you can write to us at support@goanimate.com, and our customer success team will be happy to help. If you need help getting started, we can give you a 30 minute demo that will-- as Kieran pointed out, a lot of people make the rabbit hole metaphor when they get in there because it's so much fun clicking around. If you want a 30 minute demo and can invest 30 minutes in that, we think we can save you hours down the road getting oriented. Awesome. Well Gary, I really appreciate your time. Thank you for going through really kind of everything-- the basics and then a lot of detail how we can actually move forward as instructional designers to make compelling content. So we look forward to inviting you to join us again. It would be really fun to dive a bit deeper around those specific types of content. I think that would be a lot of fun. So thanks again and looking forward to the next one.