Simplify Video Production with These Must-Know Terms (Episode 190)

[00:00:00] Chris Schwager: Welcome back to another episode of DIY Video for Professionals, where we dive deep into the world of video creation with tips, tricks, and insights to enhance your skills and empower your content. I'm Chris, here to guide you through the fascinating landscape of video production. If you're enjoying the show, please subscribe on Spotify, stay up to date with our weekly insights and for more in depth resources and extra content, make sure you go and visit ridgefilms.com.au

[00:00:26] Chris Schwager: click on the resources tab. Don't forget to join us. for ongoing discussions and more resources just like this. Today we're diving deep into the top 35 essential video production terms. These are definitions and frequently asked questions that everybody experienced video creators should know.

[00:00:44] Chris Schwager: Whether you're setting up your first shoot or looking for a polished production, you got to understand these terms are critical for navigating the technical terrain of video making, particularly when you're talking to. Professionals other people about your content and remember you can download this entire list as a handy PDF from our website to keep as a little reference guide whenever you need it Now if you feel there's something missing from the descriptions or if there's a term you want more clarity on And let me know and I'll be sure to add it in.

[00:01:13] Chris Schwager: So grab your notes and let's start rolling, right? Number one, aspect ratio. What does aspect ratio mean? It's basically the ratio between the width and the height. Now, typically you might've heard 16 by 9. That's for a standard screen. That's what you'd watch on your TV. And 9 by 16 is for mobile devices.

[00:01:33] Chris Schwager: That's the portrait aspect. Okay, so 16 by 9 landscape. 9 by 16 portrait. Now there are other aspects ratios, one to one, five to four, and four to three, if you have been around for as long as I have. Now it's really just the dimensions of the length, if you like, in pixels of the width versus the height. So 16 by 9 could be 1920 pixels.

[00:02:01] Chris Schwager: By 1080 high and that can also that's still 16 by 9 or a smaller version of 16 by 9 could be 12 1270 pixels wide by 720 pixels high. Okay, I've given you enough of that But it's good to know particularly if you're converting your content from 16 by 9 to 9 by 16. Number two b roll What's B Roll?

[00:02:25] Chris Schwager: Supplementary footage used to provide content and cutaways from the main scene. So if you've got, say you're presenting your content to camera, maybe you're a DIY video client, you can just do all your stuff in front of your DIY desktop studio. When you give that to the editor, they're going to apply what's called B Roll.

[00:02:39] Chris Schwager: And that's supporting content that goes over the top of you speaking and it adds more context. Okay. And it also makes it a bit more interesting for the viewer. So B roll, some people call overlay. It's pretty much the same stuff. And I think cutaway, I think is a term that's coming up as well, but cutaways, it's a similar type of thing as well.

[00:02:57] Chris Schwager: You're cutting away to something else. Now, Mike, I'm sure you probably know what a Mike is, but there are different types of mics depending on. What you're recording. So overhead mics is something I refer to a lot for our desktop studio users. They have an overhead mic, which is out of shot captures all the audio discreetly without you getting your hands, bumping the microphone or at some, or the microphone creeping into shot lapel microphones, which is something that we're looking to introduce into studio packages for larger studios which is a little lapel Clothing, they call it a lapel microphone or a lavia microphone because it's attaching to your clothes or your, the lapel of your coat, right?

[00:03:44] Chris Schwager: That's why that could be. It can be attached anywhere. Some people have put lapel microphones into hats and hair in behind the ears and things like that for when you're on film sets. That's how they're used. And the other microphone I want to refer to because. We do offer the podcast upgrade for our DIY clients, which is a podcast mic, which is going to deliver far clearer audio because the proximity of the mouth to the microphone is far closer.

[00:04:07] Chris Schwager: You can see I'm, if you're on my YouTube channel now, having a look at this, microphone's in shot. I'm going to get a lot far deeper, more resonant sound out of a podcast microphone just because it's closer to the mouth and it's a bigger microphone, right? As opposed to the lavier mic green screen, look, it's green screen is like funny how it's been broken over the years, but green screen in the professional world is a Quite a complex set up to make sure that the green screens even the color green is even so that they can actually key that out.

[00:04:37] Chris Schwager: But basically it's a technique used in the backdrop or the background of a presenter, which allows digital effects to be added in after editing has taken place. So you can replace the background with any image or video or graphics, whatever widely used in film and television to create various visual effects.

[00:04:56] Chris Schwager: But now Because you can virtually do green [00:05:00] screen on any iPhone on virtually any app like TikTok or whatever, it's like now green screen is actually not that complex, because so many people are doing it. It's not the greatest, of course when they're doing it. But. It still is technically a type of grand screen or chroma keying is another word, but I purposely haven't added that to this definition list because I just don't think that's worth noting.

[00:05:27] Chris Schwager: Five closeups, mid shots, wide shots. It's a shot definition, in this particular scenario that talks about tight frames on people or subjects or objects or. Emphasizing detail close up in our mid shot, I'm not going to go into great depth around this, but mids are slightly wider version and a wide is a wide version, right?

[00:05:48] Chris Schwager: So what we sometimes call master shots, the big wide shot that captures the entire thing, the entire room, the entire building, the entire scene, right? So people have context of where we are in situ of the environment. Now, arguably my B camera here is. Like a master, because it is capturing, some of the wider version of this studio.

[00:06:10] Chris Schwager: Six, cross dissolves. Common type of video transition where one scene gradually fades into another, often used to signify a passage of time or a soft transition between segments. Really common back in early cinema. And you can also cross dissolve into black as well, which is what we call fades. Fade up, fade out, fade up.

[00:06:31] Chris Schwager: Fade out, et cetera. Composition. Oh the arrangement of visual elements. Composition is, musical composition to visual auditory elements, but in this case, visual within the frame, crucial for engaging, balancing visual. So composition is where do you put yourself so that you look even in the frame.

[00:06:50] Chris Schwager: So arguably, if you're looking at me on the YouTube channel right now, I in a certain amount of composition to make sure that I'm evenly spaced left and right of me and above my head. And that's what is going to make sure that I'm safely in shot while I'm not too hard, too low, too left or too right.

[00:07:08] Chris Schwager: So I'm composed in this particular situation correctly. Number eight, cutaways. I mentioned that earlier, it's got like B rolls nine fade in fade outs. It's, you get that by now. That's another transit form of transition, but you're just fading the black. Usually gimbals gimbal is on, you pretty much gimbals are everywhere now, like five, Years ago, not so common, but now, oh my God, every video guy, every amateur in fact, has some kind of gimbal and gimbal is a stabilization tool, right?

[00:07:39] Chris Schwager: A pivotal, it's a pivoted support that allows the rotation of an object camera. About a single access using to keep the camera steady during handheld shooting and dynamic movements, man. Ah, when I started out like 20, over 20 years ago, I dreamt about gimbals, hadn't been invented, hadn't seen it, but God, it was like, if I could get my hands on something like that, when it came out, it just blew me away.

[00:08:05] Chris Schwager: Now it's typically uses electronics to, to keep. Actually not typically, but it does. That's what the gimbal does, keeping the camera steady by using a whole bunch of different accesses to hold the camera steady. You can buy them for as little as probably 20 bucks, 50 bucks now for your iPhone, a more expensive ones.

[00:08:23] Chris Schwager: You can pay up to several thousands of dollars for them, but really great tool. So good. And particularly if you're going out and shooting. on location. It's great at just holding everything steady for you. Eyelines or eyeline match. This is another one that is important. Like I'm sitting at a very safe eyeline right now in terms of how it's sitting in the frame.

[00:08:44] Chris Schwager: But if I was also talking to somebody else, I wouldn't want them down low. I wouldn't want to be trying to look down at them while I had them in shot. That would look a bit. Unless they were a child, maybe I'd usually try and prop them up. So I'm looking at them on an equal level and it just makes the camera view just a far far easier for the crew for one, but also it's just a bit easier to manage the camera.

[00:09:11] Chris Schwager: And also the way that the audience interprets the scene as well. So eye lines. There's more detail around the eye lines and quite intricate detail in particularly in scenes where you might have a whole bunch of people sitting around the table. Where do you shoot? How do you shoot that? That's a lot to do with eye lines and also crossing the line.

[00:09:29] Chris Schwager: That's pretty pretty important. And whenever we set anyone up on their DIY desktop studio, you probably noticed that. Every time we set them up, the camera and the teleprompter is about exactly the same height as their eyes. So the center of the lens is usually at the same height as the eyes.

[00:09:50] Chris Schwager: Okay. And that, that ensures that everything's looking nice and balanced. We're not shooting up the nose, we're not shooting down on them. And it's easy or so for them to present that way as well. They're [00:10:00] not looking down with a weird kind of look in their eyes. So 12 backlighting, I've included this in, it's lighting behind.

[00:10:07] Chris Schwager: You can see I've got backlighting. You're probably not registering how important the backlighting is. If I turn this off, I'd be in complete blackness. You wouldn't see anything. So it's really important at creating the ambient light. So this is effectively lighting up the room, but it's also lighting me.

[00:10:22] Chris Schwager: You can see a little hair light on me at the moment, hitting my shoulders, hitting my hair. That's all part of backlighting from behind the subject. And it's really, it really takes. The professionalism of a shot to a next level typically used to create a silhouette effect or to separate the subject from the background headroom again, great example.

[00:10:43] Chris Schwager: Geez, I'm doing well today. This is the same setup that I've had for years, but you can see I've just got a nice little safe bit of headroom. My, my hair's not falling out. I'm not chopping off my head, right? The headroom is the space between the top of the subject's head and the top of the frame, and it's important to just allow.

[00:11:01] Chris Schwager: I go by rule of thumb, like two finger space just as a general rule for when we're framing up our DIY clients which is a useful, it's just, it just ensures that they don't, that the hair is not getting on top of the the frame that got this weird hair chop off.

[00:11:17] Chris Schwager: Scenario and also that has to do with the framing as well. So sorry, I line so that the height of the camera, so the camera is tilting down, that headroom will change depending on whether they're leaning forward or back. That'll completely change. Whereas I can pretty much keep fairly balanced in this frame at the moment because the cameras at the right height.

[00:11:38] Chris Schwager: Very technical, but it's part of my everyday and it's probably good for you to learn that as well, particularly if you're out shooting on your iPhone or a DSLR camera and getting some B roll yourself. Now, number 14, insert shot. Okay. Probably similar to it's an editing term, right? Inserting a shot.

[00:11:56] Chris Schwager: So it's similar to B roll and cutaways, et cetera. It's just basically allowing again, context, inserting a shot. It could be, you might be inserting. An interview, for instance, inserting a shot means that you might insert a response in just after the cut. You've put someone else and something new, something contextually relevant into that area of the timeline.

[00:12:20] Chris Schwager: Okay. So timelines, you left to right start to finish. You can, nonlinear edit suite, which is every edit suite in the world. You can actually insert a shot wherever you like, which is pretty amazing. Jump cut is where you've got the camera locked off in this particular case, all the DIY clients, all of your cameras are locked off.

[00:12:40] Chris Schwager: Okay. So you're not moving the camera. So when you're doing. So if you're doing a sequential shoot or you're doing a, say for argument, so you're doing a one minute video and you have several cuts throughout that video. So you made a couple of mistakes or whatever, or you've put in a lot of ums and ahs or pauses that you don't need.

[00:12:58] Chris Schwager: Then you can actually, the editor will remove those, but they don't necessarily do anything with it. They just remove it and nest. The clip together or butt cut the clip together. So yeah, butt cut is actually another term. Jump cut, butt cut. It's effectively, and a crash cut, that's the other term as well.

[00:13:15] Chris Schwager: So it's pretty much the same thing. You're just taking out or omitting the stuff that you don't want and you're bringing the clip together. Now, if you're looking at what I'm doing on YouTube, you'll see what I'm talking about. You're just effectively pushing those clips together. Now, when you do that, what happens is you create this weird effect.

[00:13:33] Chris Schwager: It's called a jump cut, right? Where the. It clicks to a different part where you may have a dramatic change because you've removed part of the scene. Actually got really trendy about 10 years ago, really trendy to a point where I pretty much don't care if there's jump cuts anymore. Our editor always seems to do something with jump cuts and cover them up and also zoom in, do digital zooming to, to help the eye so it doesn't look so awkward.

[00:14:00] Chris Schwager: Too many jump cuts, I'd say it. Not great, but if there's only a few, I think it's okay these days, most people usually cope okay with it in a professional sense, professional video, perhaps not cover it up with some B roll. 16 key lights. Now I got a key light right here. If you're on my YouTube channel, you'll see exactly what my key light is.

[00:14:20] Chris Schwager: If I turn off all the other lights, this light, which is lighting up my face, would be this. doing most of the job. Now, if I turn off the key light, it's going to be very difficult to see my face. That's why it's key light. It's the key. It's paramount in making sure that I'm lit correctly. So we always refer to it as a key light.

[00:14:40] Chris Schwager: It's a great way to reference it. Because it is key. It is the key to the whole lighting the scene, lower thirds is graphics that go over the screen. Now, why they call it lower thirds is because it usually happens below the face in that lower third of the [00:15:00] screen. Okay, so it's down here where you have maybe title, name, title, position, company, for instance, that might come up.

[00:15:07] Chris Schwager: At the bottom, and it's really why it's a lower third is it's just not trying to obstruct the the viewer's attention. In some cases, want it discreet or perhaps you want it to really stand out. And that depends on what you're doing. Graphics you put with it, how flashy you make it. Lower third, you're super useful and particularly good for keeping things relevant and letting people know who's speaking.

[00:15:33] Chris Schwager: Montage, everyone loves a montage with music. Usually it's a series of shots edited together to condense time and convey information quickly. So you would have seen a lot of that. Lots of it going on social media at the moment, particularly easy because you don't have to add any necessary narrative to it.

[00:15:50] Chris Schwager: You can just literally put shots and music together and you've got, if you've got a video number 19 match cut. Oh, I did not see this one. Okay. Let me just have a look at a cut from one shot to another, where the two shots are matched by the action or subject and subject matter. Okay, cool. So this is what's also used.

[00:16:11] Chris Schwager: To as a trick tool, like a, as magic, right? So you don't you lock off the camera for instance. And, just by a flick of a finger, you could, by, by doing a jump cut, you can quickly flick the fingers. And then you're putting something like think about Jesus Blair, not Blair which, what's the call Jesus Christ which is, Bewitched.

[00:16:34] Chris Schwager: Bewitched. Remember the Bewitched days where they did that on set live where they were matching a new scene with a new element in the scene. And they do that virtually every episode, which is pretty amazing, actually that, That actually happened with a live studio audience, right at 12 pan man, some of these are so simple to me and yet I am always reminded that people don't know all these things and that's, I'm so happy I'm doing this video, a horizontal camera movement where the camera moves right to left.

[00:17:05] Chris Schwager: Around a fixed axis, right? So it's basically if I move the camera left or right, that would be a pan. Pre and post production, all stages of production before and after filming have what's called pre production involves planning, scripting, and casting, or post production involves editing, sound mixing, and effects.

[00:17:26] Chris Schwager: Guys in my industry are like, Oh, pre production. Production on post production. I think, oh man, that's still a bit too technical for people. I still don't think they fully understand what's involved in those three stages. I don't typically use it, but it may come up from time to time. And it's good to know.

[00:17:45] Chris Schwager: 22 Dutch angle. Oh, Dutch tilt type of camera shot where the camera is set. At an angle on its roll axis. So if you can imagine the camera set up and you just push it to the, push it to the side on its tripod, whatever you would have, what's called a Dutch tilt or a Dutch angle where it's on the side.

[00:18:03] Chris Schwager: So cool. Really artsy. But you also got to be careful that you're not accidentally putting Dutch angles in and you're not aware of it. And then it's only when you get it back to the studio or the edit suite where you see that you're slightly off. It can Dutch, Dutch angles can be tricky. And lots of the time it has to do with the camera height when you're shooting buildings or rooms or anything like that.

[00:18:30] Chris Schwager: Just by, if things look Dutch and you're not sure how to fix it, sometimes it's to do with the camera height, not to do with the tilting of the camera. If you get things higher and reframe it, you'll find that the Dutchiness of it. And that's keystoning. Again, you might have heard of keystoning in the world of data projectors and video projectors and whatnot.

[00:18:50] Chris Schwager: So a similar type of thing is just trying to fix those, knowing how to fix those as well is, can make a big difference in terms of things looking a bit more professional. 23. Raw footage. I'm on the homestretch here. Oh, am I? No, I've still got 10 to go. Raw footage, or sometimes called rushes.

[00:19:07] Chris Schwager: Now I don't commonly use that anymore because people don't understand what it is, but they typically understand what raw footage is. The unedited original content captured during filming. Now, if you've recorded a little video, for instance, from your desktop studio on to say Windows camera app. That would be considered raw footage because it's the origin.

[00:19:28] Chris Schwager: It's where it started. Okay and you've got your little start and end and little fumbles through it. That is perfect example of raw footage where it goes to an editor and then it's edited up. Okay, time lapse. I've done a couple of time lapses from time to time filming technique that captures frames, usually a single frame at a much slower rate and sometimes very slow.

[00:19:48] Chris Schwager: If I've ever done time time lapses and stop motion. They will be played back very quickly. And with the stop motion you're nesting all of those single [00:20:00] frames together so that it looks sped up in the end. It makes the process appear much faster in the end and it's great at quickly showing a process of a setup of something.

[00:20:10] Chris Schwager: It might be a house building, it might be a demolition, it might be setting up some camera gear or whatever it might be. You can lock off a time lapse. And you'll see the whole process of the set up, which is really cool. Such a handy thing, but again, don't overuse it, just use it sparingly because it can get pretty boring as well.

[00:20:29] Chris Schwager: 25 sound mixer, a professional responsible for recording all the sound on set. Yes, that's true. But also a sound mixer could be well, in this case, a. podcast, a podcast option. And what I'm recording into at the moment is a sound mixing desk. And by virtue of changing the faders, it will It will change the microphone from my overhead microphone to the podcast microphone.

[00:20:53] Chris Schwager: So that's all. So that was my original reason for sound mixer. So I'm going to have to change that when you go to download the document. 26, two shot. You can have a two shot. You can have a single shot. You can have a three shot, four shot, five shot. It's basically a camera shooting Two or more, one to one or more subjects at a time, commonly used in interviews and conversations.

[00:21:16] Chris Schwager: So if you've got a multi camera shoot, so multiple cameras in a, say a three person interview situation, you might have one camera doing a single shot, another camera doing a single shot. And the third camera doing a three shot, for instance. Okay. And that's how we define them. It just makes it a bit easier for people to digest exactly what the cameras are shooting.

[00:21:37] Chris Schwager: And when you're talking to video guys, you can say, Oh, can you shoot me as a two shot? Or that, that kind of sometimes makes things a little bit easier for them to understand what your direction is. 27 switcher, a device used as a video production to switch between different via sources live, often using in used In broadcast and live event production, if you're using a multicam upgrade from the desktop studio, you will have a video switcher and be doing exactly what I'm talking about here.

[00:22:07] Chris Schwager: Glamour light. We talked about that earlier, which is the little light that's shooting and taking shadow underneath. My chin underneath my eyelids mainly is what it's doing and it just makes everything look a lot better. It's not as vital as the key light but it is still great at filling the shot.

[00:22:25] Chris Schwager: And because these lights are all dimmable too, including the background lighting, you have full autonomy over the lighting. You can control it however you want because you can adjust, sometimes percentages, tiny little Bits at a time just to get that desired look that you're after.

[00:22:38] Chris Schwager: 29. Tilt. Okay. Like a pan, left to tilt is up and down. Okay. A vertical camera movement. Some people call it tilt a pan. It's not. Tilt is up and down. Okie dokie. Handheld shot. This is a locked off shot. Okay, I've talked about locked off shot, which is the desktop studio, but you might go out and shoot some stuff on your own from time to time.

[00:23:01] Chris Schwager: And you might do that from your iPhone. That's handheld. A filming technique where the camera is held, either held in the hands to create a dynamic personal engagement with the scene. You can shoot your interviews and testimonials from a handheld camera or mounted on a tripod to remain static, which is the locked off version.

[00:23:18] Chris Schwager: Depending on the desired visual effect, you're looking for 31 voiceovers and narrative added over the top of the video, typically used to explain or enhance the narrative white balance. This is a little bit tricky but it's an adjustment made to make the colors of video look accurate to how they appear in real life, compensating for different types of lighting sources.

[00:23:42] Chris Schwager: Bottom line is there's a whole bunch, and you might have, you might get into Bunnings and understand this as well. You'll have warm light, cool light, cool white, daylight. Those kind of a typically the different variations that you might find in a domestic sense that's pretty much what we're talking about is changing that lighting and changing the white balance.

[00:24:01] Chris Schwager: You can adjust the white balance settings of your camera. All of the cameras for the desktop studios are all manually adjusted. White balances means that it's not going to fluctuate. If somebody turns on the house lights the camera is not going to try and adjust and change the color and bug it around.

[00:24:15] Chris Schwager: It's going to keep it, the manual white balance in the camera, it's going to keep everything set in place. Subtitles. Sometimes people think subtitles are they actually be confused with this, but it's text displayed on the bottom of the screen that translate or transcribes the dialogue and other audio elements in videos enhancing accessibility and compensation for diverse audiences.

[00:24:37] Chris Schwager: Yes, or just the person. Yeah it is diverse audiences could be hearing impaired, could be somebody that just wants to watch a movie. The video who doesn't have headphones on a train, for instance really good. And also a great way to enhance like this stimulus of video. So there's more going on on screen and there's some great subtitling apps, captions is one of them that [00:25:00] are out there that just make it really easy.

[00:25:01] Chris Schwager: You can just be transcribing your videos into subtitles, with great accuracy now too. It's phenomenal. So go check out captions and have a look at that. That's on your iPhone by the way. 34 closed captions. Yeah. Yeah. So this is probably the other version, right? Subtitles versus closed captions.

[00:25:18] Chris Schwager: Closed captions are where text overlays on the video that provide a transcript of the dialogue and auditory cues, aiding accessibility for viewers who are deaf or hard of hearing. But the main thing with closed captions is they're usually selectable, right? Meaning that you can switch them on and off.

[00:25:33] Chris Schwager: And you might see on LinkedIn, for instance, where you've got that little CC button, you can click that to read the video in case you are on a train, you don't have headphones, you can still follow along. Okay. So most videos these days, particularly with social media, come along have that. It's an automated process for, I think more actually LinkedIn.

[00:25:53] Chris Schwager: It automates it now. It's part of its function of uploading the video automatically does it. It doesn't, it's not always accurate, but you've got to go in and either adjust it, fix spelling or whatever, or just turn them off. If you're already using subtitles on your video. 35. And finally, this is the last one.

[00:26:10] Chris Schwager: Thank you for sticking with me video script. Now I put this in because I use the word script or scripting with someone once. And because I Add the word video in there. There was a, what do you mean by scripting? So I thought I'd just clarify this as well. Such a big, important part of video, highly underestimated.

[00:26:29] Chris Schwager: So I thought I'd explain it. A written document outlining the dialogue, actions, expressions, and movements, as well as visual elements and scene settings serving as a blueprint for production. So those that are speaking. From camera, reading teleprompter, all that sort of stuff, as well as the post production team, right?

[00:26:46] Chris Schwager: The edit team, the people that need to see this video right through. What's also important with video scripts is it serves as a contract, if you like, for stakeholders involved in the delivery of the video. While there might be people that aren't doing anything on set, don't have any control over the video itself, they might be signing off on the communication side of what the video needs to do and therefore they would be involved in the scripting process.

[00:27:13] Chris Schwager: They'd see the script, they'd sign off on the script and therefore going through the several rounds potentially of approvals needed. to complete the video. So video script, really important. Don't do anything till the video script signed off and completed. And once it's done, signed off and completed, you have permission not to change it.

[00:27:33] Chris Schwager: It's that's going to be it. That's the contract. That's what you are working to finish. So just keep that in mind. I know there's a lot of guys that kind of do whatever they like. I think you've stick to a process where you really lock down that script. You say it's done. Signed off.

[00:27:49] Chris Schwager: Let's go shoot the video. Now that's an important part because it just enables you to go shoot without any obstructions, without everyone going, Oh, actually we should change that word. It doesn't make sense. Like all of that should be worked out in the black and white prior to filming. Thank you.

[00:28:02] Chris Schwager: Thank you. Thank you. That's it for the episode. That's a wrap. Remember you can download this full list. As a PDF, stick it on your wall, put it in a little envelope, whatever it is, have it ready so that when I'm talking to you next, you'll be able to clearly understand me. You can download it, the full list, the PDF from the resources section under this video.

[00:28:22] Chris Schwager: You probably see that right there at ridgefilms. com. au. Use it as a quick reference in your projects. In this episode, if this episode I should say was helpful, please share it with someone. Who you know, could also benefit from these terms. And don't forget to subscribe and leave a review on Spotify or our YouTube channel.

[00:28:44] Chris Schwager: If you feel there's something missing, as I mentioned from the description, or if there's any term you want more clarity on, let me know. I'll be sure to add it in. Keep filming and keep connecting. Bye for now.