What everything does
Every part of the studio, grouped the way the app is. A tag on a heading means that action needs a link carrying that capability; anything untagged is available to anyone who can open the studio. Where a function is more general than the example given, an Also line says so.
Which parts of this are yours
Two different jobs happen in this studio, and most people only ever do one of them. Knowing which you are saves reading the half that is not about you.
If you run the business
Your job is recording your own videos: the eight plan videos below, plus quotes, comparisons of the products you recommend, and the ones that say why somebody should choose you. Record, Library, Review, Compare and sharing a video are the parts you use.
You will not see the campaign machinery, and you are not missing anything. It exists to run outreach on behalf of a business, which is a different job from being one.
If you run campaigns for other businesses
The Campaign tab, backgrounds, list imports, holding and releasing a batch, and the whole of Settings. One video, personalised per person on a list, sent as a batch.
You can do everything above this as well. An operator link carries every capability a client link does.
Telling them apart on this page
The tag on a heading names the capability that action needs. Record, Approve and Share come with an ordinary studio link. Campaign, Setup, Issue and Release are the campaign and administration side.
Your eight plan videos
The studio calls these your plan videos, and numbers them the way your plan does. The set a service business records once and uses everywhere. Your scripts come from your own workbook, so the words are written before you open the studio. Eight numbered jobs rather than eight recordings: Claims is four clips and Customer Journey is two, so the finished set runs to thirteen videos. The numbers here are the studio's own, and the ones your finished video is emailed to you under.
1. FAQ
The seven questions you get on every quote, answered once, in one video. It stands in for you in the conversation you are not in, the one that happens at the kitchen table after you leave.
One sitting of about 8 to 12 minutes, not seven recordings: give each answer 60 to 120 seconds and tap Next section between them. Each question becomes a section the viewer can jump straight to, and it is also filmed as its own piece, so an answer you fluff can be redone on its own afterwards rather than costing you the whole video. Filmed on a real job site. Goes on your website pre-quote page, YouTube unlisted, and your enquiry auto-reply, sent the moment somebody enquires and before the site visit.
2. Bio
The digital handshake. The buyer meets you before you knock on the door, so you arrive as somebody they have already met.
60 to 90 seconds, straight to camera, filmed in your world rather than an office. Goes in your email signature, your About page, your CRM auto-reply, and on the cover of your quote PDF.
3. Landing Page
Defuses the four fears somebody is holding while they look at your contact form and decide whether to fill it in.
60 to 90 seconds, straight to camera. Goes beside every contact form on your website, so it starts the second a visitor opens the form.
4. Claims
Stop saying things and start showing them. Four separate clips, each one proving a single claim on camera rather than asserting it.
60 to 90 seconds each. They go on your service pages, one claim per page, in the proof section of your home page, and pinned to YouTube.
5. Cost
The first question anybody asks, which is what this costs. It answers with the market range and the things that drive it, deliberately not with your own price.
About 5 to 7 minutes, filmed on site, walking through what moves a number up or down. Goes on your pricing page and in the pre-quote SMS, so buyers arrive at the visit with realistic expectations.
6. Pricing
How you charge. What is included, and what happens when the scope changes. Cost is about the market; this one is about your commercial model.
About 4 to 6 minutes, straight to camera. Goes inside the quote itself, on page one or in the follow-up email, so the buyer reads the number with context.
7. Fit
Who you are for, and who you are not for. The velvet rope, and the one where turning work away in public is the entire point.
3 to 4 minutes, straight to camera, in a slightly more serious register than the rest. Goes on your About page and in quote follow-ups: before consultation for a low-fit lead, after the quote for a hesitant right-fit one.
8. Customer Journey
A real customer telling their own story: the fear before, the experience during, the result after. The one video in the set where you are not the person on camera.
Two separate videos with two different customers, 3 to 5 minutes each, filmed at their place. They go on case study pages, pinned on YouTube and social, and in the follow-up to somebody sitting on the fence.
Where the scripts come from
The scripts are read out of your own workbook rather than written in the studio, so what you record is what you already worked out. Your plan is where they get written; the studio is where they get filmed.
You see your own, and only your own.
Why somebody should choose you
Videos 2, 7 and 8 are the answer to that, recorded once. Bio makes you a person, Fit says who you are not for, and a customer says the rest in their own words.
What happens after you record one
The dead air is trimmed and captions are burned in, and you get an email with the finished video, where it goes, and a link to it in your library. The uncut original is kept as well.
The other videos you will record
Beyond the eight, three things come up constantly. None of them needs a campaign, and all of them are a take plus a share link.
A quote video
Walk the job, say what you are quoting and why, and send it to that one person. Filmed on the move with no script and no background, and shared as a link that opens one video.
AlsoThe same shape covers a site visit report, a progress update, a variation, or an explanation of why the number moved.
Comparing what you recommend
Two things side by side, so the difference between the option you recommend and the one they asked about is seen rather than argued.
AlsoThe comparison does not have to be two websites. Two products, two finishes, two approaches, or the same thing before and after.
Why choose you
Videos 2, 7 and 8 above are this, recorded once. When you need a version for a particular person, record it as a take and share it to them.
Sending any of themShare
Every take can become a link that opens one video and nothing else, with a passcode if it should not travel further. The person watching needs no account.
One set of functions, many jobs
Mostly about the campaign side. The studio has no single use case built into it: the functions are the same whatever you are doing with them, and for a campaign two choices decide what any given video is actually for.
The words you read
The script is the whole of what the video says. Everything downstream of it, the recording, the review, the sending, the tracking, behaves identically no matter what those words are.
AlsoThis is the first of the two levers. Change the script and the same machinery runs a first approach, a follow up, an onboarding message, an update to people you already work with, or a recruitment pitch. Nothing else has to change with it.
What is on screen behind you
The background mode, and the address it is pointed at. It can be a live read of how someone shows up, their own website, their Google listing, two pages side by side, or your own branded slide that needs nothing about them at all.
AlsoThis is the second lever, and it is the one that decides what the video is ABOUT. Point it at a different address and the identical script becomes a different campaign.
Where the two levers meet
A script that refers to something circled on screen can only be read over a background that draws a circle. The studio checks this rather than letting the pairing through, and says which part does not fit.
This is the only place the two choices constrain each other. Everything else about them is free.
Reading the rest of this page
Where an example appears below it is there to make a sentence concrete, not to mark the edge of what the function does. If a description sounds like it is about one line of work and yours is a different one, the function is almost certainly still the one you want.
Record
Where a take is filmed. Two questions in order: which kind of take this is, then how you are going to record it.
Which kind of take
The first choice on the screen. A campaign take is one video that goes to a list of people, read from a script over a background. A walkthrough is filmed on the move, in a place, with no script and no background.
They are separate because they need different things, not because one is for a particular trade. A walkthrough has no teleprompter because you are walking, and no background because the place itself is the background.
AlsoEither kind can carry any subject. A walkthrough is a site visit, a stock room, a venue, a property, a workshop, a before and after in person. A campaign take is whatever the script and the background make it.
How you record it
The second choice. It sets the camera, whether the teleprompter appears, and which review checks the take is measured against later.
Campaign type
A named shape for a campaign take, pointing at a background mode and a script. Your location's own types are offered ahead of the shipped ones.
A type says what it requires per row, worked out from the mode rather than stored, so a type cannot promise a field the mode does not use.
Walkthrough typeSetup
The same idea for walkthroughs, with no background and no script, since neither applies. Carries its own four review checks.
A type is never edited in place. A change writes a new version, and each take records the version it was filmed under, so a take is always judged by the rules that existed when it was made.
Teleprompter
The script scrolling over the camera, on or off from a toggle. Off whenever you are not reading, which is most of the time on a take filmed on the move.
Background mode
What the take is composited over. The picker lists what each mode needs per person, and a mode a campaign may not use is shown with the reason rather than quietly missing.
AlsoOne of the two levers that decide what a campaign is. The same recording over a different background is a different message.
Script
The words for a campaign take. Your own scripts come before the shipped ones.
A script records whether its words point at something circled on screen, which decides the backgrounds it can honestly be read over. Read-only here; scripts are not written on this screen.
AlsoThe other lever. The script is what makes a video a first approach rather than a follow up, or an update rather than a pitch.
Flip camera
Switches between the front and rear camera without stopping the take, so you can turn from yourself to whatever you are showing and back.
Mark a section
Tap while filming to mark the start of a new section, at the moment you move on to the next thing. The button reads New bit on a walkthrough and Next section on a plan video, because on a plan video it does one thing more.
A tap beats anything detected automatically at the same moment, because you were there and a detector was not. See Sections on a take.
AlsoThe sections become a list the viewer can jump around, so a long video stays useful whether it is five rooms, five products or five points.
Next section, on a plan video
On a plan video the same tap also ENDS the piece of film you are on and starts the next one, so each answer is recorded as its own section rather than as part of one long file. That is what lets you redo one answer later without recording the video again.
Sixteen sections at most, and the count is shared: the studio also starts a new one on its own as a recording gets large, so a very long video spends some of them without being asked. The line under the button says while it is still true that a section can be redone, and says so the moment it cannot. Everything you have filmed is kept either way.
AlsoWorth the tap on anything you would hate to film twice. The FAQ is the clearest case, being seven answers in one sitting, and the same is true of any video long enough that one fluffed minute would otherwise cost you all of it.
Saving the take
The recording uploads in parts as it saves, and a part that fails is retried on its own rather than restarting the upload.
An unsaved take is remembered. If you close the studio mid-save, the screen offers it back rather than losing it.
Library
Every take you have recorded, as a grid of tiles.
The grid
One tile per take, showing its poster frame. A tile paints before its image arrives, so the grid is usable on a bad connection.
A take with no poster shows nothing rather than a grey placeholder. Nothing is honest about what we hold; a grey block looks like a picture that failed to load.
Play a take
Opens the recording. Once a take has been trimmed or tidied, that is the version you see.
Rename a takeRecord
Change what a take is called. The name is what you see in the Library and what a share link shows the person watching.
Suggest a nameRecord
Offers a name taken from the first words of the take's own transcript. You can accept or ignore it.
Set as defaultRecord
Marks the take that gets used when something needs one and none is named.
FoldersRecord
Create, rename and delete folders, and file a take into one.
Deleting a folder unfiles its takes. It never deletes them.
Redo a sectionRecord
Lists the pieces a take was filmed in, plays any one of them, and records one again in place of the one that is there. The rest of the video is untouched.
Only on a take that was filmed in sections. One recorded in a single piece says so, and recording it again is the only way to change it. After you save the new section the video is put back together, and until that finishes what plays is still the video as it was.
AlsoThis is what makes a long video worth making. An eight to twelve minute FAQ used to be seven answers you could not fix one of; now the fluffed one is ninety seconds of work instead of an afternoon.
Remove a takeRecord
Sends it to the trash rather than deleting it. See Recently removed under Settings.
Email me this take
Sends the take to your own inbox as a preview, when you ask for it rather than automatically.
Review
Everything that happens to a take after it is filmed, and the gate a campaign passes through before it goes out.
The checklist
The checks a take is measured against, drawn from its own type. A campaign take and a walkthrough have different cores, and a type can add checks on top.
Added checks are additive only. A type cannot remove a check from the core it inherits.
TrimRecord
Set the start and end of a take. The cut is made from the original every time, so trimming twice does not compound.
A trim can be cleared, which puts the take back to its full length.
Poster frameRecord
Attach the still that represents the take in the Library grid and on a share page.
Correct the transcriptRecord
Read the take's transcript and fix what was misheard. Names and street names are the usual reason.
Corrections feed the section titles, so fixing a word can improve the rail on the watch page.
Sections on a take
The chapter rail: the boundaries you tapped while filming, merged with quiet stretches the system found, each titled from the words spoken just after it.
A section with no title shows its timestamp, which is true, rather than a name invented for it.
Name a sectionRecord
Type your own name for a section, in your words.
Your name is kept in its own place, so a re-trim or a re-polish cannot wipe it, and it wins over the automatic title everywhere. If a section disappears, the name waits for it rather than being thrown away.
Batches waiting on review
Campaigns held before sending, listed for a decision.
ApproveApprove
Says the creative is right on a held batch.
Drop a contactApprove
Removes one person from a held batch before it goes.
ReleaseRelease
Sends the batch. This is the irreversible one.
Approve and release are deliberately separate authorities, so the person who says the video looks right does not have to be the person who sends it.
Compare
Two things shown against each other, so a difference is seen rather than claimed. What the two things are is up to you.
Side by side
Two captures shown against each other on the page the recipient opens, so a difference is visible rather than described.
AlsoWhatever two states are worth contrasting: before and after, theirs and yours, today and the proposal.
Live versus demo pair
Captures both sides in one go rather than as two separate jobs.
Capturing a pair replaces the previous pair rather than adding to it, so a comparison always has exactly two sides.
Upload a side
Supply your own image or video for one side instead of capturing it.
Captions
The words under each side. Written rather than derived, because what the difference means is not visible in the pictures.
Delete a comparison
Removes the stored capture and its record together, so nothing is left pointing at a picture that has gone.
Results
What happened after the videos went out.
The funnel
Sent, opened, watched and replied, counted per campaign so you can see where people stop.
Watch depth
How far through a video somebody actually got, rather than only whether they pressed play.
Depth only ever moves forward. Rewatching does not inflate it.
Opens versus depth
A share link records opens as well as depth. Opens say how often somebody came back; depth says how far they went.
Outcomes
A reply or a booking recorded against the person, so the numbers reflect what the campaign was for rather than only what was clicked.
Campaign
The campaign side, and the part a business recording its own videos never opens. One take, a list of people, personalised per row, held until somebody says go.
New campaignCampaign
Creates a batch and holds it. Nothing sends until it is released.
AlsoA campaign is a list plus a script plus a background. Who is on the list, and what the script says, is entirely yours.
Campaign typesSetup
The named shapes a campaign can take. Your own sit above the shipped defaults.
Creating a type checks that its mode is real and available and that its script suits that mode, rather than accepting the pairing and failing at send time.
Find contactsCampaign
Searches your CRM for the people a campaign goes to. Read-only, and only within this location.
AlsoThey do not have to be new leads. Existing customers, past enquiries, applicants and members are all just rows on a list.
Create a contactCampaign
Adds one person ahead of a campaign, so their background can be captured before the campaign is built.
Import a listCampaign
Hands over a whole list at once. It is checked in full before anything is created, and you get an import to watch rather than a spinner.
A campaign holds at most 500 rows, and a list over that is refused up front rather than discovered halfway through.
Import progress
Per row: what happened and why. A job whose heartbeat has gone cold is reported as stalled rather than shown as still running.
Delete a campaignCampaign
Removes a campaign that has not gone out.
A released campaign cannot be deleted. It is the record of what was actually sent.
Settings
Six folded rows. Most of it is operator setup and stays closed unless you are doing that job.
Your business
The name, area and branding that appear on whatever a recipient opens.
Your accessIssue
Which links hold access to this location, when each was last used, and sign out.
The list carries a link's identity, never the link itself. A credential nobody can read back is one that cannot leak from this screen.
Mint a client linkIssue
Creates the link a client uses to open their own studio.
PeopleIssue
Who may act in this location, and the open invitations.
Invite someoneIssue
Invites an email address in, with the capabilities they should hold.
An invitation is keyed on the address, not on a link, so forwarding the email gives the recipient nothing. They sign in as themselves or they get nothing.
Remove someoneIssue
Takes a person out of this location and cuts every live link and session they hold here.
The last person who can invite cannot remove themselves, because a location nobody can get back into is unrecoverable.
Your CRM keySetup
Stores this location's own CRM token, so this location acts as itself.
The token is refused unless the CRM confirms it belongs to this same location, and it is never shown again after saving.
Your own video domainSetup
Serves your videos from your own domain instead of ours.
The status shown is the one the certificate authority actually reports, not an assumed one, and only a live domain is ever used to build a link.
Email setupSetup
What the mail provider actually holds: the streams, the verified domains, and every gap between that and what is configured.
It reports whether a token is set, never what it is.
Auto-email
Whether a finished video is emailed out automatically.
Recently removedRecord
Takes you have removed and how many days each has left. 30 days, then it is gone for good.
Put a take backRecord
Restores a removed take out of the trash, back into the Library where it was.
It never comes back as the default, in case something took its place while it was away.
Getting in, and who can do what
Signing in proves who you are. It does not, on its own, give you anything.
Sign in with Google
The usual way in. Proves the address you sign in with, and nothing more than that.
Sign in with a code
A six digit code sent to your email, for when signing in with Google is not an option.
The code lasts ten minutes, is single use, and is burned after five wrong guesses.
Signing in with no invitation
You are signed in and see an honest empty state. An address nobody has invited holds nothing, and that is the intended answer rather than a fault.
More than one location
If you belong to several, you act in one at a time and can switch.
Your membership is checked again on the way in to each one, never taken from the link you arrived with.
Client links and operator links
A client link opens one location's studio. An operator link additionally carries setup and administration.
RecordRecord
Film takes, and edit them afterwards: rename, trim, poster, transcript, sections, trash.
ApproveApprove
Say the creative is right on a held batch, and drop contacts from it.
ReleaseRelease
Actually send a held batch to the people on it. Held separately from Approve on purpose.
CampaignCampaign
Build campaigns, search the CRM for contacts, and import a list of people to send to.
SetupSetup
Location administration: the CRM key, your own domain, email, campaign and walkthrough types.
IssueIssue
Invite people, mint client links, and cut links off.
ShareShare
Mint a viewer link to one take.
Sharing your own video is a client action, not administration, so a client link carries it.
Signing out
Ends the session everywhere it was valid, immediately.