The MKBHD Team's Comprehensive Guide to High-Quality Video Post-Production: Editing, Color Grading, Animation, and Sound Design

The Studio

Core Principles for High-Quality Videos [00:00]

Marques Brownlee introduces the MKBHD team's post-production workflow, emphasizing that editing is a series of tiny decisions. He outlines four key principles for creating high-quality videos:

1. Good in, good out [00:41]: Poor planning and execution cannot be fixed in editing.
2. Focus [00:48]: What you cut is as important as what you keep.
3. Don't be boring, but don't be insulting [00:54]: Editing involves more than just fast cuts; it's about engaging the viewer without overwhelming them.
4. Know your audience [01:02]: Tailor content to your specific audience to ensure it resonates effectively.

Story Crafting With Mariah (Lead Editor) [01:19]

Mariah discusses two common editing scenarios: having too much footage and too little.

Scenario 1: Story With Too Much Footage [01:49]

• Example: Robo-taxi video [01:36]: This project had excessive footage, making subtraction key.

  

  • Workflow for too much footage [02:00]:
    • Sync and review all footage from multiple cameras to decide what to keep or discard.

      

    • Keep drafts of all footage to allow for revisiting decisions later.

      

    • Color and label everything on the timeline to visualize usage and avoid over or under-utilization.

      

  • Problem: Over-reliance on script [02:29]: Initially, Mariah tried too hard to force A-roll (Marques talking) with B-roll (on-site footage), leading to a confusing mix of present and past tense.

    

    

  • Importance of feedback [03:44]: Editors, knowing all the footage, can miss clarity issues. Sharing cuts with others provides fresh perspectives.

    

  • Removing irrelevant scenes [04:16]: A scene about Marques losing his phone in a robo-taxi was removed.

    

    • Decision-making for cuts [05:00]: Evaluate if a scene adds value to the audience or distracts from the main message. In an informational video, entertaining but irrelevant content should be cut.

Scenario 2: Story With Too Little Footage [05:18]

• Example: "How I pick videos" [05:24]: This project was challenging due to its non-visual nature.

  

  • Avoiding "tell, don't show" [06:07]: The worst thing is to only tell without showing.
  • Revising the intro [06:31]: The initial intro felt slow. A re-edit added momentum.

    

  • Montages and audience expectation [07:10]:
    • A good intro not only hooks the audience but also sets expectations (e.g., showing a clip is from "11 years ago" manages perception).

      

  • Transitional music [08:08]: Simple music can uplift a video, help move things along, and provide context. It should convey something not already told visually and set the tone or expectations.

    

Color Grading With Vinh [09:58]

Vinh, the art director, explains color grading, focusing on prep, LUTs, and plugins. He uses DaVinci Resolve but notes principles apply to any editor.

Prepping for Color [10:21]

• On-camera importance [10:43]: 80% of the image quality should be achieved on camera; only the last 20% is color grading. Bad lighting cannot be fixed in post-production.

  

  

• Shooting in Log [10:52]: Always shoot in log format, and preferably with a 10-bit codec (8-bit offers less dynamic range and flexibility).

  

  

LUTs (Lookup Tables) [11:06]

• Definition [11:07]: LUTs are essentially filters applied to footage.
• Camera-specific issues [11:41]: Default conversion LUTs from camera manufacturers (e.g., Canon, Sony) often don't account for the subtle differences in log profiles across their various cameras, leading to inconsistent results.

  

  

• Preferred LUTs [12:04]: Vinh prefers LUTs from Red or Arri, or even custom YouTuber LUTs that are specifically catered to particular cameras.
• Example: Tyler Stalman's LUTs [12:16]: These are based on Arri's color space, offering a more stylized, saturated look that requires less post-processing.

  

• Basic adjustments [12:36]: Adjust exposure (offset tab in a three-wheel editor) if the image is underexposed, and fine-tune saturation.

  

Our Favorite Coloring Plugin: Dehancer [12:47]

• Cost and features [12:50]: Dehancer is a professional plugin (around $400 for two seats) that offers camera-specific conversions, ensuring accurate color interpretation for different camera models.

  

• Workflow [12:57]: Select the specific camera and log profile (e.g., C70, CLOG 2 Cinema Gamut) in Dehancer for a better starting point than stock LUTs. Adjust exposure and saturation as needed.

  

• Stylistic effects [13:25]: Dehancer includes stylistic effects like:
  • Halation [13:32]: Adds red fringing to highlights, creating a retro, warmer look.

    

  • Bloom [13:42]: A diffusion filter that can be dialed in post, simulating film stock (e.g., 8mm for a softer look, 70mm for modern).

    

    

• Stylization during production [14:17]: Stylized looks must be planned and partially achieved during production; post-production cannot create what wasn't there.
• Purpose of color grading [14:24]: Color grading should always serve the project's story and overall aesthetic.

Animation with Michael (Head of Motion Design) [14:41]

Michael, the head of motion design, breaks down the animation process. (Note: Due to "lost footage," he is represented by a cartoon avatar for this section).

Prioritizing Design [15:21]

• Illustrator first [15:21]: Michael spends more time creating flat static graphics in Adobe Illustrator than animating them.

  

• Vector paths [15:41]: Using vectorized paths allows independent movement of elements without quality loss.

  

• Oversimplification for clarity [16:18]: Screenshots of interfaces (like YouTube or Final Cut Pro) are oversimplified to highlight only the essential elements relevant to the message, preventing viewer distraction from too much detail.

  

• Transfer to After Effects [16:59]: Uses a plugin called Overlord to seamlessly transfer Illustrator designs to After Effects.

  

Michael's Top 3 Principles of Animation [17:13]

1. Easing [17:25]:
   • Concept [17:34]: Makes movement feel lifelike and real, with objects starting slow, accelerating, and ending slow.
   • Application [18:04]: Applied to every keyframe in the video to ensure natural movement.

     

     

     

     

   • Tool: Motion Studio Plugin [18:26]: This plugin for After Effects simplifies precise easing adjustments, offering a more efficient alternative to manual graph editor manipulation.

     

     

     

2. Timing [19:24]:
   • Concept [19:28]: Ensures that visual beats align perfectly with spoken words, preventing disconnect or delay that can confuse viewers.
   • Example [19:42]: Shifting a spotlight and eyeballs from one screen to another precisely when the speaker mentions "other person's content."

     

3. Staging [20:05]:
   • Concept [20:06]: Intentionally guides the viewer's eye to specific elements on screen, especially when combining visuals with spoken dialogue.
   • Application [20:24]: Introduce elements sequentially (shapes, then YouTube video, then timeline) and use visual cues like spotlights to direct focus, preventing visual overload.

     

     

   • Goal [21:17]: Make it as easy as possible for the viewer to understand the information without strain.

Michael’s Favorite Effects [21:23]

• Glow effect [21:28]: Adds energy and brand consistency to graphics. It should be used subtly and intentionally, often duplicated and fine-tuned.

  

• Turbulence Displace + Wiggle expression [22:03]:
  • Effect [22:08]: Creates a hand-drawn, stop-motion-like look on clean vector shapes.

    

    

    

  • Mechanism [22:24]: Turbulence displace gives shapes a slight, randomly generated wobble. The "posterizeTime[3]; wiggle(3,150)" expression makes this wobble change every 3 seconds by 150 points, creating a dynamic, imperfect outline.

    

• Good design is invisible [23:18]: The ultimate goal is for viewers to absorb information effortlessly, without noticing the underlying animation complexity.

  

Picking Music with Ellis [23:33]

Ellis discusses the importance of music selection in video production.

• Audience resonance [24:10]: When choosing music, prioritize songs that will personally resonate with your viewers, not just what you like. Music should convey a mood, tone, or expectation that isn't already expressed visually.
• Bebop rhythm sections [23:51]: The MKBHD channel often uses uptempo jazz rhythm sections as underscore for a "frenetic," "behind-the-scenes," or "industrious" sound, which viewers subconsciously associate with such content.

  

• Strategic music use [08:31]: Marques generally prefers music running for no more than 20-30 seconds to avoid making videos feel like ads, especially for product reviews. Music is best used as a transitional element to signal a shift in content.

Saving Hours with Rufus (Recording Audio) [25:21]

Rufus, who records most of the MKBHD videos, emphasizes how proper audio recording saves editing time.

Microphone Placement is Key [25:58]

• "Hear like a microphone" [26:15]: Unlike the human brain, microphones don't filter out background noise. You must strategically place the mic.

  

• Proximity over direction [26:40]: A microphone pointed the wrong way but close to the source will perform better than one far away pointed correctly.

  

• Identifying and avoiding noise sources [27:16]:
  • Air conditioner [27:19]: Avoid pointing the microphone upwards if the AC is on the ceiling.

    

    

  • Lights with fans [27:30]: Keep the microphone away from noisy lights.

    

  • Reflective surfaces (desk) [27:42]: Avoid placing the microphone where sound can bounce off surfaces like a desk and create unwanted echoes or phasing.

    

• Ideal placement [27:58]: Position the microphone's pickup pattern (e.g., a shotgun mic's cone) directly at the desired sound source while avoiding all noise sources.

  

  

Common Questions About Recording Audio (Lightning Round) [28:10]

1. Recording levels [28:10]: Aim for an average of around -20 dB, with the loudest peaks around -12 dB, to prevent clipping (hitting 0 dB).

   

2. Low-cut filter [28:36]: Turn on a low-cut filter (often on the mic or recording device) to reduce wind noise, bumps, and rumbling, which helps dialogue clarity.

   

   

3. Shotgun microphone recommendations [28:58]:
   • Entry-level [28:58]: Audio Technica AT875R is highly recommended for its quality relative to its low price.
   • Mid-range [29:11]: Generally not worth the upgrade; the improvement over entry-level isn't significant enough.
   • Flagship [29:19]: For serious creators, investing in high-end mics like the Sennheiser MKH416, Sanken CS-M1, or DPA 4017 offers a noticeable difference and lifetime value.

     

• Simplicity of sound recording [29:35]: The core principle is simple: point the microphone at what you want to hear and away from what you don't.

Sound Design With Ellis [29:56]

Ellis explains how sound design enhances video believability and emotional impact.

Rule 1: Things That Move Probably Make a Sound [30:11]

• Example: OnePlus 13S intro [30:16]: Animated phone movements needed sound.

  

  

  • Matching sound to visuals [31:06]:
    • Size/Mass: Since the phone appears ginormous on screen, its movements should sound big, low-pitched, and have "mass."

      

    • Motion: As the phone turns and moves through air, a "whoosh" sound is appropriate.
  • Applying "easing" to sound [32:00]: Just like visual animation, sound should also "ease" in and out. Whoosh sounds naturally start slow and accelerate, matching the phone's animated turns.
  • Responding to animation glitches [32:28]: If an animation lacks easing, choose a sound that reflects that (e.g., a "boulder" sound for an abrupt stop, rather than a whoosh).

    

• Intuition [33:07]: Sometimes, sound design can involve freestyle and intuition (e.g., adding a slide whistle).

Rule 2: Silence Makes a Sound [33:19]

• The illusion of silence [33:31]: Real-life environments are never truly silent. Complete silence in a video feels unnatural and painful.
• Filling "sound holes" [33:53]:
  • Reverb [34:02]: Sound bounces off objects, creating reverb. Our brains subconsciously use reverb to understand a space. Using long reverb tails during quiet moments indicates a large, empty space, enhancing believability.

    

  • Ambience (Background Noise) [34:49]: Adding subtle background noises (e.g., birds chirping in an outdoor shot) injects realism, even if those sounds weren't present during filming. Good ambience goes unnoticed by the viewer, signifying its effectiveness.

    

Rule 3: Use Sounds That Mean Stuff to Your Audience [36:12]

• Emotional connection [36:19]: Certain sounds evoke emotions or memories in an audience.

  

• Example: Mid-air tracing sound [36:27]: Instead of a generic writing sound (pencil on paper, chalk), Ellis used sounds from the iconic Disney Channel intro (roadside flare, bell tree) for a mid-air tracing animation. This leverages the audience's childhood memories for an emotional connection, making the sound resonate deeply without being consciously noticed.

  

  

  

• Goal of sound design [37:53]: Sound design is successful when it goes unnoticed, seamlessly enhancing the viewer's experience without drawing attention to itself.

Marques' Advice to Creators [38:07]

Marques Brownlee shares his insights on choosing video topics and creative approach.

• Criteria for video topics [39:25]:

  

  1. Audience interest [39:27]: If the audience has shown interest in the topic in the past.
  2. Creator interest + audience connection [39:33]: If Marques is personally interested and can connect it to existing audience interests.
• Looking backward to look forward [39:41]: Review past video performance and reception to identify successful themes (e.g., robotic hand review connected to past prosthetic videos).

  

  

• Connecting tech to everyday life [40:50]: Videos, even if seemingly niche, should connect to how technology affects the average person in the future. If this connection cannot be made, Marques typically passes on the opportunity.

  

• Avoiding direct copying [41:17]: A common mistake for new creators is to copy what works on other channels one-for-one. This gives viewers no reason to watch new content over existing, successful content.

  

  • Recommendation [41:35]: Create your own interpretation or draw from diverse inspirations.
• Moving beyond "list" videos [41:42]: Marques stopped doing "top 5" or "top 10" videos because while they optimized for attention and were easy to produce, they didn't provide as much value as he hoped. He aims to help viewers learn and experience gadgets, rather than just be entertained.

  

• Avoiding burnout [42:29]: Constantly chasing past success on YouTube can lead to burnout. Creators should prioritize making what they enjoy as much as what previously performed well.