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How to Make A Short Film? Important Tips and Advice

Daniel Brain here. So today we’re going to be sharing tips on how to make a good short film so shorts can be anywhere from 45 seconds to 40 minutes but the general rule of thumb is the shorter the better if you intend to submit your short film to film fest once. You’re done with it then you probably want to keep it between a minute to 15 minutes. Because they’re much easier to program audiences, in general, tend to favor shorter short films over longer short films.

A short film that is from one minute to 5 or 10 minutes is going to fare a lot better than a short film that’s 20 to 30 minutes or even 40 minutes because the longer short films are much more of a time commitment almost but not always there are exceptions as usual you want to keep the film really short. Because it’s not going to be as time-consuming or costly to make time is not free and when you have a hungry crew to feed it can get a little costly and that brings us to us.

First tip know your resources a common mistake is being overly ambitious with your projects if you don’t have access to horses or you don’t own horses or you don’t have a boatload of cash don’t write a Western and don’t write car chase scenes that’s going to cost you a lot of time money and resources that you don’t have these things are all very ambitious for a short there are exceptions.

If you have a ton of money and a ton of experience and for sure go shoot a Western or a car chasee if you only have access to modest resources then think smaller show don’t tell everybody’s heard this row but still, a lot of people don’t listen to it. Because there’s an awful lot of really chatty talky shorts out there film is a visual medium you communicate with images.

You’re telling stories with pictures it’s the most economical way to tell a story and when you’re making a short film. It’s all about the economy if you’re trying to communicate someone’s an alcoholic show them drinking. If you’re trying to communicate someone’s bully show him picking on someone as an audience member things tend to stick a lot better when you see it for yourself and not just hear about it.

You want to start off with a strong open the way you open your film is exist super important.
It’s the very first impression. You’re making with your audience. So you don’t want to open your film with just like dialogue or two people sitting in a room talking. I mean if you’re going to have talked have it be an argument. You should start off with some action some conflict. There’s an interesting shot something powerful something engaging something.

That’s going to hook your audience and next up conflict is king why is conflict king because it gets your attention it’s something we can all relate with we all tussle with conflict Our Lives when’s the last time. You’ve watched a movie where there was nothing happening to any of the characters and you actually sat through the whole thing. You haven’t right because it gets boring there’s nothing to watch you need conflict in your story conflict allows you to see what your characters are made of try to infuse it into every scene.

Even if you have a scene with two friends just talking to each other get conflict in there they don’t have to be enemies they don’t have to be screaming and arguing even with your friends. You know when you hang around your friends. There’s always this kind of unspoken power dynamic between you maybe one makes a couple personal jabs at the other just jesting just having fun.

But that still conflicts your short film is not a feature film you can’t Jam 2 hours worth of content into 10 minutes. It’s not going to happen you want to minimize your backstory. You don’t want to pick subject matter that has a ton of backstory that you have to fill the audience in on if you spend 3 minutes of your 5-minute short film showing flashbacks and explaining everything that happened.

Before the film started your story is going to be very clunky flabby and unengaging try to avoid using narration. This is one of those narrative tools that has been overused to the point of being cliche and yes some stories work off the narration and some stories need narration. But most stories that do don’t need it oftentimes. You’ll see narration used in ways where it’s only reinforcing what we’re already seeing.

It’s not really adding anything to the storytelling if you do use narration it should contradict or be ironic to what we’re seeing, for instance, narration tells us that this guy Johnny can get any chick that he wants and he’s smooth with women. But what we actually see on-screen is? I’m getting slapped in the face by a chick that’s ironic it contradicts what we’re seeing so the narration, in this case, is adding value to the story.

It’s adding content it’s adding another perspective if not just humor but it’s doing something that is enriching the way we’re translating what we’re seeing you should pick subject matter that’s filmic and by filmic. I mean something you can point a camera at there’s a reason why action movies the hero is always after a briefcase or codes or a CD or money or drugs.

Because all of these subject matters are filmic. You can point a camera at it we know the story is over when Chucky carves up the babysitter or the boyfriend kisses the girlfriend or the hero gets the suitcase full of money. Because we can see the opposite would be making a story about someone. Who’s depressed in trying to find thoughts to get himself out of his mood or trying to find happiness and really really small things.

That’s not the film that’s not something you can point a camera at it now if you show someone getting depressed but then strike to get his medication and you make some kind of suspense out of it. That’s filming so try to infuse your characters with a goal that is outside of themselves something. We can point a camera at then your story will be much more filmic and easier to communicate without dialogue or a narration many of the best shorts tend to revolve around an event or an isolated moment by an isolated event.

I mean you have your protagonist who is presented with an obstacle or conflict and with that conflict comes a choice. He’s got to make a choice to resolve that obstacle or that conflict but there are stakes on either side and there are pros and cons to either choice. Which makes it a dilemma he chooses one and then. There is a resolution and usually when you write an event-based story.

It can happen in one location as in one game of pool one night one day at dinner at a party you know? But one spot where this thing happens to this person and they are forever changed after whatever choice they made when you’re writing your script you want to try and keep your characters to a minimum. Because the last thing you want is to hire a whole bunch of actors and open yourself up to the risk of someone dropping out on you have maybe two three four characters at the most.

But don’t write an ensemble cast if you’re asking actors to work for free with a promise of maybe a DVD copy or something afterward then you know? You stand a much higher risk of someone dropping out on you before or during the shoot or after when you need ADR from them that sucks to the same thing for locations the fewer the better. There’s a reason why most stories happen at one or two locations.

Because it’s much easier to manage as far as money as far as crew and equipment try and write for locations that are interesting to look at and practical. There’s a short that takes place in an elevator. It’s interesting and it’s practical very controllable when you think more along the lines of practicality. You’ll find yourself not pulling your hair out as much take risks.

You have the advantage of asking an audience for a small portion of their time you can follow an unlikable character in a short film. Because it’s only like ten minutes but with a feature film. It’s really hard to ask an audience to follow a character that they don’t like for an hour and a half so take risks explore and this one. I know everybody’s heard a million times but it is so true to write what you know your stories tend to be much more authentic and original when it comes from a place of honesty and a place of experience and lastly.

If you want to make a short film or you want to get good at making sure watch a ton of shorts not only will you get a lot of ideas. But you’ll get a good sense of what’s already out there and what’s already been done and redone after you watch a hundred short films. You’ll have a pretty good idea of what the cliches are out there less prone to follow a cliche if you’ve seen that same cliche done in like 20 other movies and that’s all.

I got for it if you liked what you saw please like and share if you really liked it and share it with your family or your grandma or your dog. So we’re sending a movie out to California to get a professional color greed and sound mix done yeah so over the next week the goal is to package the film up and get it ready to be sent off to California.

#Step up your Filmmaking: The Importance Of B-Roll

What’s up, everybody? Daniel Brain here and today, we’re talkin’ about B-roll. What it is, what it ain’t. How you can use it to make your footage, your films, and your videos, VLOGs, whatever, way better. And now that I think about it, I should have probably cut some B-roll over that intro.

So maybe we should redo that? What’s up, guys? Daniel Brain here and today, we’re talkin’ about B-roll, what it is, and how you can use it to make your footage and your videos better. What is B-roll? B-roll is the alternative or supplemental footage that you can use to cut on top of your main angle. So if this frame was my main angle, I could use B-roll to overlay and cut on top of this shot, anything I want, to make something more interesting, to tell a point, to bring you in a direction that I wanna bring you into, or simply to just cover up the fact that this is my face rambling for the next 10 minutes.

Because let’s be honest, I tend to do that. So to start, as an example, I’m gonna use the VLOG. A lot of VLOGs I start with a cinematic sort of intro, using B-roll shots to kind of tell the mood, portray how I’m feeling that day, where I am, what the weather’s like, and it kind of sets the tone for the episode. So let’s say I’m gonna go do a photo shoot in a forest. We’re gonna start the VLOG off in my car, but I’m not gonna use any B-roll.

This is what that would look like. Choo! What’s goin’ on everybody? We are outside a really cool forest right now that has some awesome light. So we’re gonna pack up our gear, and we’re gonna go inside and shoot, let off some smoke, get some cool B-roll, and yeah, we’re gonna go do that right now. Okay, so that was fun. We are freezing. We’re gonna get back in the car now and go do something else ’cause it is way too cold outside.

The wind is just killing… Okay, pretty boring. Not much substance, not much to look at. It wasn’t very much fun to watch. Yeah, just not feelin’ it at all. Let’s see what that looks like again using B-roll. Choo! What’s goin’ on everybody? We are outside a really cool forest right now that has some awesome light. So we’re gonna pack up our gear and we’re gonna go inside and shoot, let off some smoke, get some cool B-roll, and yeah, we’re gonna go do that right now.

Okay, that looks a lot better. The problem is, I only shot B-roll of us. Me taking pictures, my friend taking pictures. You don’t really know where we are, what we’re taking pictures of, what we’re doing at all. I didn’t really give you enough information. So that’s when we gotta shoot B-roll with the environment that we’re in as well. Cut those two together, it’s gonna look like this.

So now, we’ve got something. Now you can see that we’re taking pictures of this forest. You can see what we’re looking at when you see footage of us looking at something, which just helps fill in the blanks. It helps fill in the gaps and it gives you a whole experience. How do we take even more B-roll footage? Well, you can use drone footage, you can use your iPhone. Anything goes at all.

So let’s see what some drone footage would look like. It looks pretty good but because this is a VLOG, I wanna shot footage of me using the drone as well because I’m trying to tell a story of my day. I’m trying to tell a story of this photo shoot. So if it’s only shots of the footage, if it’s only shots from a drone, I’m not really giving you the full picture. So, let’s take a look at the drone shots with me operating the drone.

Nobody’s listening. Now we’ve got the B-roll of us shooting, we’ve got the B-roll of our environment, we’ve got the B-roll of the drone, we got the B-roll of me using the drone. So, how else can we make some cool footage? Well sometimes, you just gotta do cool sh– that looks awesome on camera. So for us, we used some smoke grenades. These things are awesome.

You’ve probably seen them before. I’ve used them in many photographs on my Instagram. I’m sure you’ve seen other Instagramers using them. They are all the rage. If you’re gonna use them, don’t do it inside or in an area that’s gonna get you into trouble. Be smart about it but I’ll drop a couple links below on where you can pick them up for yourself. So, what do they do and why do I use them?

They do, they just billow smoke, they just billow colored smoke and what’s the purpose of them? They look dope, that is it. If you’re not into that kinda thing, skip forward. No hard feelings. I’m into that. Pop a flare billows a bunch of colored smoke, looks badass, yes please, I’ll take five. So let’s see some footage of this smoke and what that looks like. So there’s not really much context there.

This guy’s just playing with smoke and it, alright cool, yeah it looks cool but it’s completely useless because we didn’t show the whole picture. ‘Cause we gotta smash together these shots of us shooting, the drone, me using the drone, the smoke, the whole mood, the environment, you gotta use these pieces to complete the meal. Right, it’s like throwing all this stuff into one big soup to finish off the dish so that everyone can jump in and enjoy it.

Really weird analogy and I think it makes sense, but now something to keep in mind is, I shoot my B-roll, a lot of it at 120 frames a second. Now, why do I do this? Because I feel that it inherently makes your footage look more cinematic when it’s slowed down. Do you have to do that? Absolutely not. There’s still great B-roll and everything to be shot at 24 frames a second or 30 frames a second.

I don’t really like 30, I feel it looks a little weird. I don’t know why, it just makes me feel like ugh, creepy inside. So if you’re gonna shoot 24 frames a second, that’s perfectly fine. That would definitely give off a whole different vibe. The slowdown of the frame just inherently makes it feel and look more cinematic, my opinion. Now, what you’re saying, I don’t have an expensive, fancy camera that can do 120 frames a second.

Well, if you have an iPhone, the seven-plus does 120 frames a second. It does 240 frames a second and it shoots in 4K. I know the Pixel phone has a ridiculous image stabilization. I saw a shot from my friend the other day of him literally one-handed driving down a driveway holding his phone out and it looks like he flew a drone, it’s insane. So, phone’s have come a long way.
Don’t underestimate them. Now when you combo a 4K smartphone with image stabilization and throw it into a DJI Osmo, you basically got yourself a 4K steady cam rig right there that you can bust out at any time to shoot incredible B-roll. I use mine, I throw it in the backseat, I throw it in the camera bag. Anytime that I am somewhere where I’m like, “Woah, this looks so good.” I put my phone on it, I run around for like 20 minutes, my wife’s sittin’ there waiting for me.

This is not a sponsored post, I was not paid to say that by DJI, I just think it’s a great product. I get the B-roll because here’s the thing. Just because you’re not shooting a project doesn’t mean that you’re not going to need that or could use it down the road. It’s important and sometimes, it’s real, really helpful to actually shoot a ton of B-roll throughout different trips, throughout your day, throughout the months.

Because you can backlog that into an archive and then if you’re shooting something or you’re running into a problem and you’re editing and you can say, “Do I have any, “I have like 20 minutes of B-roll that I shot “when we were going for that walk in that forest “’cause I had the Osmo in the car “or I just stopped at a traffic light “and filmed the clouds for two minutes “’cause they looked insane that day.”

That’s a really good pro tip for something that you guys can do to just make your stuff better and make sure that you have enough material. You can never shoot too much. The worst thing is when you get back and you’re starting to edit and you realize, “I’ve got a 10-minute clip of this guy in his kitchen “talking about B-roll, but I only have “like two minutes of actual B-roll to cut on top.

That’s the worst scenario to be in. I would rather be like, “I’ve got a 10-minute clip “of this guy talking and I have like 15 minutes “of awesome B-roll footage “and I’m not even sure what not to use “because I love all of it.” That’s where we wanna be. That’s the sweet spot. So, all in all now, when we take everything that we’ve shot and we mash it into one final piece, using the footage at the beginning of me saying we’re gonna go on a shoot and then, using all of that B-roll to right at the end, you’re gonna get away more whole experience of our experience on this photo shoot.

That would look something like this. What’s going on everybody? We are outside a really cool forest right now that has some awesome light. So we’re gonna pack up our gear and we’re gonna go inside and shoot. Let off some smoke, get some cool B-roll and yeah, we’re gonna go do that right now. Okay, so that was fun. We are freezing. We’re gonna get back in the car now and go do something else. So that’s it, guys.

That is the crash course in B-roll. I hope you enjoyed it. I hope you got something out of it and I hope that you start to use some of these tips and tricks to start applying these concepts to your own films and VLOGs and projects. Remember, it’s the details that matter. When we add all the different layers of details, that just gives us a more rich experience as a viewer and as a filmmaker when we’re trying to tell our stories across the world. So, that was a nice deep exit. I think I will leave it there. See you again.

DSLR film making: How to achieve a Film Look? | Oblivion

A film look is broadly defined as the look and feel of the footage you would see in a feature film. As you know there are many techniques involved in creating the video, but there are a few which are especially important to achieve this look.

This look is best achieved through techniques involving both the settings of the camera capturing the video, as well as editing in the post-production stage. Creating a film of some sort starts with the camera, so it makes sense that the camera settings are especially important in controlling the look of footage. It is still possible to create a cinematic look in post-production with just about any footage, but controlling the camera settings will give you much greater control over the final product.

First up, make sure that the camera is operating in the manual mode to allow for complete control of the settings. In most Canon DSLRs this setting is called Movie Exposure – so make sure that this is set to manual. A frame rate of 24 or 25 frames per second is one of the most important aspects of shooting video that will look like film. The frame rate is one factor that changes the amount of motion blur in the footage, and this is why it is so distinctive from other formats. I can’t show you what 30 frames per second or 50 frames per second looks like because this tutorial itself is being played back at 25 frames per second, however it easy to find examples.

If you search for the comparison of frame rates on the internet you will get a taste of what the others feel like. High frame rates have an odd feel to them. The technical reason for this is that the motion is smoother and there is less motion blur than traditional film. Also, we have been conditioned to perceive 24 or 25 frames per second as film, because this is the traditional frame rate shown in cinemas. Higher frame rates look more realistic but realism is not what we’re looking for in this case. You can change the frame rate of Canon DSLR’s under the movie recording size.

The shutter speed also changes the look of motion blur, and so this needs to be matched with the framerate. The general rule is that for natural-looking motion set the shutter speed at double the frame rate. This means that when filming at 24 or 25 frames per second, choose a shutter speed of fifty. This is known as the 180-degree shutter rule and it comes from the traditional shutter size of film cameras. Here’s an example of what a high shutter speed can look like.

As you can see the motion of the cars appears to stutter. This is what a shutter speed of 1/50th of a second at 25 frames per second looks like. The motion of the cars appears more natural. A shallow depth of field is usually associated with the film look. The depth of field is the distance between the nearest and furthest objects that are in focus. A shallow focus means that you can get shots that look like this. The subject is in focus and the background is blurred.

This is good for directing the attention of the viewer. A deep focus works better for wide shots when you want to keep everything in focus. To control the depth of field, adjust the aperture. The f/stop: value controls the aperture: a lower f/stop value means a wider aperture (and a shallow depth of field), while a higher f/stop value means a smaller aperture and a deeper depth of field. It’s reversed to what you think. To control the exposure change the ISO setting. In bright daylight, the picture might still be overexposed at the lowest ISO when you have the aperture wide open so you will have to reduce the aperture and sacrifice the shallow depth of field to maintain a proper exposure (Correction: Please see comments on ND Filters).

By default, most cameras increase contrast and sharpness while filming.This makes footage look good right out of the camera, but if you intend to color-correct footage later it reduces the flexibility that you have. Many cameras have a neutral picture style preset for this reason. Make sure that you enable this to have more flexibility in post-production. Remember that you can always add contrast or sharpness later.

Whatever footage you have to work with you can always make it look better in post-production. A common issue with low budget DSLR filmmaking is making smooth camera movements. A shaky effect can have its applications but in most feature films you’ll see that the camera movements are silky- smooth. The professionals use hardware stabilizers like this, but these are expensive.

We can achieve a similar effect with the software that we already have. Beginning with after-effects CS 5.5 and Premiere CS6, Adobe included an effect called Warp Stabilizer which is super easy to use. To use Warp Stabilizer search for it in the effects panel and drag it onto your footage. It will start to analyze the motion in your footage and then try to stabilize it after it does some processing.

Keep in mind that it could increase render times a fair amount, and that it usually reduces the resolution slightly. In some cases artifacts appear when the footage is too shaky. Sometimes lowering the smoothness in the effects control panel can help but this could just mean that the clip just isn’t suitable for stabilization. This effect usually works great without any tweaking, but you can adjust the settings for your taste.

The smoothness control does just what it says: it controls the amount of smoothing applied. along with stabilizing the footage for smooth motion, Warp Stabilizer can also make the camera look completely still. To do this change the motion result to “No Motion”. This is helpful for shots that should have been done on a tripod but weren’t. One of the most powerful ways to change the emotion of a shot is through color grading.

Feature films use color grading to convey the mood of footage visually. For example dark blues convey a depressed or dark tone while warm colors suggest happiness. Without any color grading, it is very hard to achieve a cinematic look. Here’s an example of a shot with the original footage and the color graded footage side by side. you can see there is a massive difference.

There are plugins that can automate color grading but by doing it manually you can have full control. Some useful tools built into Premiere and After Effects that will effectively grade your footage are RGB curves and Three-Way Color Corrector. Other compositing applications have similar effects. You can use RGB curves to adjust the darkness of the darks and brightness of the highlights in your footage. To start using RGB Curves, search for it in the effects panel and then drag it onto your footage.

You will see these graphs on the left here. Basically, this graph shows the highlights and darks of your footage and by adding a point to it you can change the response of these different areas of your footage. A popular cinematic look is to have the darks darker and to make the highlights even brighter. To do this, and two points to your line by clicking on it; bring the bottom point lower, and bring the top point higher to increase the highlights.

How you change the curve depends on the footage that you have and the effect you are looking for. For example, a comedy short film will have a different look to a thriller. The Three-Way Color Corrector effect can change the color tone of the darks, mids, and highlights of your footage. To use it; search for it in the effects panel and drag it onto your footage. Once we scroll down here we can see there are three circles for each of the parts of your image – the shadows, the mid tones and the highlights.

A popular cinematic effect is to make the shadows a blue hue and to make the highlights a warm color. So to do this, we drag the circle for the shadows to the blue part of the spectrum and move the highlights circle into the orange and yellow part. There is an infinite number of ways to color grade footage so it’s best to experiment and see what you like. You will notice that most films are not framed in the same aspect ratio that most DSLR footage is.

Standard video from most consumer cameras is in the 16 by 9 aspect ratio, also known as widescreen while most modern films are shown in the 2.35 to one ratio, also known as ultra-widescreen. There are numerous ways of achieving this ultra-widescreen effect in Premiere, but the easiest way is adding a black pass to the top and bottom of the picture, also known as letter-boxing.

You can achieve this by making an image mask yourself in the right aspect ratio or downloading this image in the description. After importing the image to Premiere you can use it by dragging it to a video layer above your footage. It will then mask off the top and bottom with black bars. That’s all there is to it. One of the drawbacks of this method is that you lose the detail at the top and bottom of your image, so it’s best to decide if you will use this format before you start filming say can keep it in mind when you frame your shots. So that’s the basics of achieving a film look with your footage.

There isn’t one right way to developing this look, and there are all sorts of plugins and overlays that you can apply to help the effect. As always the best way to learn is the experiment with the tools that have – because you don’t always know what you want until you see it. Thanks!

Toaster Oven Review: Stainless Steel TSSTTVCG03

Hey there this is Oblivion the undaunted dad. Today we are going to be reviewing the austere countertop oven and this can be considered as best toaster oven 2017 with truthful reviews for everybody.

Our Opinion On Toaster Oven Stainless Steel TSSTTVCG03

We bought at a Costco about a month ago and we really like it so far it’s Model Ts SCTV GC.o 3 say that three times fast. It is like I said a Costco brand in a Costco product rather and as you know Costco carries and doesn’t carry things depending on when you need it. So we’re going to go over what this toaster oven like how-how works and give you some tips and tricks.

We did have a previous toaster oven from Costco that was a Cuisinart. But we really did not like it. Because it took an age to toast anything it was like 20 minute toast time so this thing is much much quicker. We really like it a lot better the other one was a convection slash toaster oven. But the toasting feature was really what we wanted most of and quick heating up and this really does the trick?

We’re very happy with it so far and like I said it’s been about a month I don’t like to give a review until we’ve used it for a little while so we can really know what we’re talking about. Let’s go over everything and thanks for reading, of course, one thing. You’ll get is the instruction manual and it’s pretty basic. It gives you a few pages of you know information and then some warnings have a bit used convection heat and then it gives you a bunch of recipes so ah nice little book.

You know we’ve cracked it open once or twice but not too often and the other thing that this comes with is a little cookie sheet so you can use this if you like to bake cookies on they say is a removable tray. It’s really nice and one feature that I like is this crumb tray, unfortunately, this unit does not have a bottom that opens up. I know some you know our Black & Decker we had a while back the bottom opened up and it was really easy to dump crumbs out so.

It works pretty well but you kind of have to be a little tricky when you take it out. Because you tilt it when you take it out and invariably some of the crumbs will fall off. You’re sweating it out but one way to resolve that is put a piece of foil underneath it. So you can catch any of the crumbs that fall out in the foil and you don’t have to mess with you know sticky cheese or whatever.

Overview Toaster Oven Stainless Steel TSSTTVCG03 For You

So you know if we’re doing that we’ll put a piece of foil underneath on top of this and you know making grilled cheese sandwiches or something like that. It’s great for making grilled cheese sandwiches actually and that will help keep the inside clean and not messy so that’s about this now this the placement of this rack is pretty important. Because if you’re if you want them to be looking at the top.

You know the top rack has positions good but if you don’t then you go to be putting it on the bottom because the top will get brown very quickly we usually do keep it on the middle rack. Because we like to use the bacon toast feature the most and this is great for doing that so what I’m going to do is? I’m going to heat up some lasagna really quick. So we can see how that is? And don’t worry I’ll fast forward it so you don’t have to wait in anticipation like me okay so I’ve got my hose on you here it’s from Easter.

I watched Italian so we do lasagna and ham and I’m going to go into here I sure to preheated this but you know I did so one thing you got to remember with this toaster oven is you have to turn it’s all done on a timer. So if you want to stay on you have to turn it all the way to the end here like this and it will stay on. But I don’t want to do that so one thing to remember is you have to turn the knob past 20 the time 20 time to get it to stay on.

Because if you just do this it won’t start heating up you have to turn it past 20 and then back so I’m going to pause for 10 minutes at 350 and I’m going to be baking it here bacon is top and bottom which I will show you right now okay so like I said baking is top and bottom and you can see that because there’s a line some heat and in another line so that means heats coming from both sides Broyles is of course.

Only the top toast is both warm is just keeping something warm and a turbo is the convection side of that where it heats things up quickly so of course. We’ve got below that we’ve got your temperature gauge and you know you go anywhere from warm up to roast. Which is 450 I’m Kate the – 350 right now and then lastly. You’ve got your timer and like I said you see that little note well it says turn to 20 and then to a desired time.

So you have to go past 20 and then you know go to 45 or 5 or 10 or whatever it is so that’s how that works to make sure you remember that because if you don’t you’re not going to be doing it too much cooking so the timer has a little toast. It’s about the 10 mark we find that 5 is more than enough. Because the toast gets brown real quick with this and this is a nice quick oven much better than a Cuisinart we had before so like I said right now.

I’m cooking my lasagna heating it up from Easter Sunday one thing with this oven is you’ll and probably a lot of ins is waiting to start heating up you’ll hear the metal you know pop and click a little bit of normal, not a big deal. But as you can see I put some foil down underneath my lasagna. Because it’s very cheesy and I certainly don’t want to clean up melt the cheese off of my oven so we’ve been about five minutes for the last five minutes.

I’m going to put on the turbo to get the convection part going so I can have some nice hot air circulating all around my lasagna and that will help speed things up and give me a yummy lunch you can hear the quiet and start going with the timer. It’s not too loud at all. I wouldn’t call this a hardcore convection other by any means. But it certainly does help all right so we’re just about done with my lasagna.

I don’t want it to get so hot that it’s too hot to eat so I’m going to stop just before that point nice and gooey cheesy here so I am going to take this foil out the photos not hot set that aside okay so my lasagna is done now. I’m going to piece of put a piece of toast in what you should do is turn the knob the temperature up all the way to 450? Which is toast put the top knob on toast and put my piece of toast in the Oh a nice piece of sourdough bread here?

If you want to learn more information about Toaster Oven Stainless Steel TSSTTVCG03, you can watch the video below to reference:

I’m going to turn it past 20 and then back up to 10. Which is the toast I’m sure? It’s going to be done before 10. Let’s see let’s get nice and brown toasty Brown hear that so as you can see it’s been about two minutes and the toast is just about done two and a half minutes. Maybe I think I’m going to take it out. Because I don’t want it to burn so that was certainly less than ten minutes less than five minutes even and I have a nice beautiful brown piece of toast if a little bit hot. I pull off my lasagna so there you go that’s the Oscar toaster oven from Costco.

I’ll provide a link in the notes it may or may not be available of course. So maybe I’ll put a link in there too but I hope you enjoyed it and they share this post. We’d really appreciate it thanks so much and hey let us know what you want to hear about in the comments. See you again.

Holster Review: Zorn Wraith Holster – The Best IWB Kydex?

Hi, everybody! Daniel Brain here. Today we are going to be taking a look at the Zorn Wraith holster.

Overview Zorn Wraith Holster For You

This is a holster that I bought just recently for my Glock 19. I previously carried only leather holsters typically Alesi holsters and I’ve had I think like most of you probably had on the use and some of the lower end models. But recently I kind of got on this Kydex kick. I have a PJ holster for the XDS 45, which my wife conveniently stole.

Because she loved it so much great little holster and I’ll kind of do some comparisons and I will do a separate post on this. But today we’re going to focus on this guy. This is probably one of the coolest and most and highest quality Kydex holsters that I’ve seen granted I haven’t seen them all and I’m not a professional in the in the area by any means. But very cool holster.

I mean even if you just do a comparison quality wise all of these guns are safety checked by the way just the level of detail that he puts into these Zorn holsters. I don’t know if you can see this on camera but the thickness of the Zorn look at that look at the difference between the Zorn. It, which is the gray one here and the PJ holster the green one here. I mean the thickness of these things is ridiculous.

The post is so sturdy that you can I mean it’s going to loosen up a little bit and one of the things that I do like is he puts these rubber washers in between the clip and the actual holster itself. You can see those on the camera there whereas the PJ. He just kind of does you know? I don’t want to say the lazy man’s job.

Some Of My Guide For You

But it’s probably the convenient way of just folding this over. This is not a review of the PJ but when I do the review of this. I had some frustrations, to say the least. I had to go back and heat it again and get it squeezed in to get it to actually snap a little tighter. So I’ll probably never order another one of these. But these I already contacted them and told them.

I’m already thinking of ordering the one just in a different color. Because originally I ordered the gray and it took a few weeks in the meantime my flat dark dearth the slide here and now I have a complex about it not matching like that matters. But so anyway uses big thick grommets in here can you see those big thick grommets and you can adjust the tension of the holster by simply squeezing me and tightening these.

These screws anymore another thing that you can do and I don’t know? If you can see it there’s a little dimple right there that is where it actually yeah it doesn’t snapper but it does kind of lock into that spot now on the PJ. I heated this and squeeze these in so much you see these here how deep these are that you actually get a snap when it clicks in at that part.

I do like but I had to do that myself the PJ did not come like that. So I’m probably going to take this Zorn and heat this and push it in a little bit more look at this though look how flush he owns all of these. I mean you can’t you can just barely see the clock sticking out right there just a little bit.

I mean but that is high-quality and if you look you can see he even has a channel in there in case you have like the excess big dot sights or something of that nature. There’s a nice channel groove down in there in case you did want to have a bigger set of sights on there so he really kind of thinks ahead on this great customer service, when I originally ordered I was thinking it would be.

You know two-three weeks to get him and but great communication on their part they kept me abreast of you know what the order status was and I reached out to him a few times an email just had some questions and Nate responded very quickly beautiful holster and you can buy it at the website: . I mean I can’t say enough the thickness of this clip is ridiculous. I love this thing every time. I put it on it bites great right on the bill we move the camera here get a great bite in your belt here.

If you want to learn more information about Zorn Wraith Holster, you can watch the video below to reference:

I mean that thing is not going anywhere the guns going to come out every time that holster will never come out so overall very impressed with the quality of this thing again this is the Zorn Wraith you can get them at Zorn holsters calm and be on the lookout for my review of the PJ holster I’ll probably be doing that here in the next couple days thanks guys. Please follow Oblivon.

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