 For the last seven years, The Verge has been creating video reviews for everything from phones to laptops to electric cars. And to say the least, we've come a long way since then. This is Neil Ipatel with The Verge. Water resistant. And as we got better, the amount of you guys out there watching grew and grew and grew. But how do we do it? Before you roll the cameras, you have to have something important to say. Here at The Verge, we care about technology and the future, and how that technology is going to change our future, and low-key the way we interact with the whole entire world. And to do that, we have this incredible editorial staff that dives in on every product we're given and then reviews it. But hold on, I'm going to call Dan because he would say this much better than me. Hey, Becca. First things first, we need to get a product in our hands before we can review it. So a lot of times we get demo devices from companies who loan them to us for a short period of time and then we send them back when we're done, or other times we actually go out and buy the products. And most importantly with this, no company ever pays us for coverage and they won't ever in the future either. Now, once we actually have the product in, our approach is really a mix of three different things. It leaves a lot in our experience, there's a huge dose of skepticism, and then on top of that is a big curiosity about it. You know, sometimes it's really easy to get overwhelmed with the marketing messages from all these companies that are pitching us, but our job is to cut through that BS, find the story, and then tell everyone about it. So after editorial has it in their hands and they've kind of figured out the story that they want to tell, we head into a creative meeting where we take the meaning of this product and translate it into a visual narrative for all of you to see. Now there is one constant thing in our whole process, and that's the gear we use. We also have a team on the West Coast, so, hey Viren, how's everything going out there? Hey, it's going pretty well. So you want to talk about gear? Well for the most part it's going to be C100 Mark IIs, C300 Mark II, C200, or Sony A7S Mark II. Canon is great for in-house studio production and Sony is just perfect on a gimbal. And I know you might be wondering why we're not shooting 4K. Well, editing and shooting 4K raw footage on a 24-hour turnaround is just not fun. Now each product we review calls for a different environment. Let me go get Alex, she could probably speak to this. Alex in the house! There's a ton of things to take into factor with location. First the device, that'll inform whether you want to shoot indoors or outdoors in a homey place or an office. But there's some things that we always look for, and that's a place with natural light, a place that has a lot of surfaces and nooks to put the devices in, and something with a lot of depth. We love depth. Sometimes we'll look for days for a perfect location and other times we'll just shoot here in the studio. And what's most important for a location is a good spot to do stand-up, and that's when the host is talking directly to the camera. We're looking for something that's easy on the eyes, has a lot of depth, but is not too distracting and here being quiet is very important. These stand-ups make up the bones of the video. It's the thesis, it's the why does this matter, it's the oh my gosh the future's low-key scary. But the next priority for us is how we visually show you these things. The Verge has had a distinct style from the day we started and we're continuing that and furthering that and only making it stronger. One of our favorite ways to do that is our hero shot. And oftentimes it's the first thing you see in our videos, but in reality it's typically the last thing we film. Let me get Will. The hero shots to our reviews are meant to be evocative and really be bespoke. We're trying to find new ways to reveal the phones or the products and we're always trying to incorporate some sort of visual element that ties back to a feature of the phone, but usually in an abstract way. Regardless of what that shot ends up looking like, it has to support the narrative of the whole piece and it absolutely has to be in our style. This will continue into the edit and yes we have desks that go up and down. Okay, we see you, we hear you, we know you want us to review everything under the sun and we so wish we could. But the pace at which tech is evolving is insane, but we try to pick the most impactful for you. Like what's going to change the world that you live in and what are you going to be using every day that didn't exist two weeks ago? And what's just plain out there? The future of boxers, smart underwear, Spartan that can protect my most important gadget from all that harmful radiation. Oh my gosh. Either way and above all else, we get to go to work every day and we get to make stuff and we get to tell stories about the future. It's freaking cool and mind blowing and I simply don't understand that this is my job, but it is. And I also get to work with the coolest people in the whole entire world. Like these people are sick. Like not sick, but like sick. Thank you so much for keeping it locked to the verge. We're stoked to bring you everything that's to come and we hope that you'll stay tuned. Be well guys. I'll see you in the future.
 For the last seven years, The Verge has been creating video reviews for everything from
 phones to laptops to electric cars.
 And to say the least, we've come a long way since then.
 This is Neil Ipatel with The Verge.
 Water resistant.
 And as we got better, the amount of you guys out there watching grew and grew and grew.
 But how do we do it?
 Before you roll the cameras, you have to have something important to say.
 Here at The Verge, we care about technology and the future, and how that technology is
 going to change our future, and low-key the way we interact with the whole entire world.
 And to do that, we have this incredible editorial staff that dives in on every product we're
 given and then reviews it.
 But hold on, I'm going to call Dan because he would say this much better than me.
 Hey, Becca.
 First things first, we need to get a product in our hands before we can review it.
 So a lot of times we get demo devices from companies who loan them to us for a short
 period of time and then we send them back when we're done, or other times we actually
 go out and buy the products.
 And most importantly with this, no company ever pays us for coverage and they won't ever
 in the future either.
 Now, once we actually have the product in, our approach is really a mix of three different
 things.
 It leaves a lot in our experience, there's a huge dose of skepticism, and then on top
 of that is a big curiosity about it.
 You know, sometimes it's really easy to get overwhelmed with the marketing messages from
 all these companies that are pitching us, but our job is to cut through that BS, find
 the story, and then tell everyone about it.
 So after editorial has it in their hands and they've kind of figured out the story that
 they want to tell, we head into a creative meeting where we take the meaning of this
 product and translate it into a visual narrative for all of you to see.
 Now there is one constant thing in our whole process, and that's the gear we use.
 We also have a team on the West Coast, so, hey Viren, how's everything going out there?
 Hey, it's going pretty well.
 So you want to talk about gear?
 Well for the most part it's going to be C100 Mark IIs, C300 Mark II, C200, or Sony A7S
 Mark II.
 Canon is great for in-house studio production and Sony is just perfect on a gimbal.
 And I know you might be wondering why we're not shooting 4K.
 Well, editing and shooting 4K raw footage on a 24-hour turnaround is just not fun.
 Now each product we review calls for a different environment.
 Let me go get Alex, she could probably speak to this.
 Alex in the house!
 There's a ton of things to take into factor with location.
 First the device, that'll inform whether you want to shoot indoors or outdoors in a homey
 place or an office.
 But there's some things that we always look for, and that's a place with natural light,
 a place that has a lot of surfaces and nooks to put the devices in, and something with
 a lot of depth.
 We love depth.
 Sometimes we'll look for days for a perfect location and other times we'll just shoot
 here in the studio.
 And what's most important for a location is a good spot to do stand-up, and that's when
 the host is talking directly to the camera.
 We're looking for something that's easy on the eyes, has a lot of depth, but is not too
 distracting and here being quiet is very important.
 These stand-ups make up the bones of the video.
 It's the thesis, it's the why does this matter, it's the oh my gosh the future's low-key scary.
 But the next priority for us is how we visually show you these things.
 The Verge has had a distinct style from the day we started and we're continuing that and
 furthering that and only making it stronger.
 One of our favorite ways to do that is our hero shot.
 And oftentimes it's the first thing you see in our videos, but in reality it's typically
 the last thing we film.
 Let me get Will.
 The hero shots to our reviews are meant to be evocative and really be bespoke.
 We're trying to find new ways to reveal the phones or the products and we're always trying
 to incorporate some sort of visual element that ties back to a feature of the phone,
 but usually in an abstract way.
 Regardless of what that shot ends up looking like, it has to support the narrative of the
 whole piece and it absolutely has to be in our style.
 This will continue into the edit and yes we have desks that go up and down.
 Okay, we see you, we hear you, we know you want us to review everything under the sun
 and we so wish we could.
 But the pace at which tech is evolving is insane, but we try to pick the most impactful
 for you.
 Like what's going to change the world that you live in and what are you going to be using
 every day that didn't exist two weeks ago?
 And what's just plain out there?
 The future of boxers, smart underwear, Spartan that can protect my most important gadget
 from all that harmful radiation.
 Oh my gosh.
 Either way and above all else, we get to go to work every day and we get to make stuff
 and we get to tell stories about the future.
 It's freaking cool and mind blowing and I simply don't understand that this is my job,
 but it is.
 And I also get to work with the coolest people in the whole entire world.
 Like these people are sick.
 Like not sick, but like sick.
 Thank you so much for keeping it locked to the verge.
 We're stoked to bring you everything that's to come and we hope that you'll stay tuned.
 Be well guys.
 I'll see you in the future.