While editing is its own beast entirely, the thing with shooting video is that your equipment can make or break a shoot. A lot of mirrorless cameras still have limits on them to prevent overheating or other issues, like corrupted files. 

So what are the best things you can get to ensure that you don’t end up with a failed video shoot? Well, we’re going to cover field monitors, recorders, as well as gimbals and cover other things for those who are more studio focused. 

Best accessories for shooting better video: Monitors

Field Monitors

Field monitors and recording monitors are just a little different from each other. The field monitor is more for, well, monitoring, while recording monitors handle that and provide you with an external option for recording video to get around the camera’s limits.

Field monitors are one of the best accessories for shooting better video, as they not only provide you with a much larger screen that is usually brighter than your camera’s viewfinder, but also often provides a more colour accurate vision of what you’re shooting.

This can be incredibly handy when you come to edit and colour grade, as you can apply a LUT for an estimated view of what you’re going to use as your base, then work from there and have the RAW footage unimpeded.

These often come out through the HDMI port, so you’ll also need to invest in the correct size HDMI cable, often either Mini or Full.

For the price, the best - and you’ll sense a theme here - is the range from Atomos.

The Shinobi is a 1080p, 5-inch monitor with a 1000-nit brightness, which is roughly the needed brightness for editing HDR, making it doubly great for those who colour grade. Combine this with the REC709 HDTV colour gamut and a colour depth of 10-bit, it is a great and cheap entry point for getting an accurate picture for your project.

Alternatives come from Swit, which provide low-cost monitors in 5, 7 and 9 inches. While their 5-inch model can take up to 4K video to downgrade it to 1080p, it is an excellent choice for budget setups. It can also take in LUTs but doesn’t hit the 1000-nits for HDR accuracy. It does however come with a sun hood and standard size HDMI cable.

Recommended Field Monitors

Recording monitors

There are only two real choices when it comes to recording monitors. Blackmagic Design and Atomos. 

The Blackmagic Design option is great, especially if you want to work with both HDMI and SDI, so if you’re looking for a more professional end camera, this would be a perfect choice. Certain cameras now support recording to this with BRAW, Blackmagic’s proprietary file format that works great with DaVinci Resolve. This Blackmagic Design Video Assist 7" 12G-SDI/HDMI HDR Recording Monitor is a great example.

Then we come to Atomos Ninja V, the ultimate on-camera recording monitor. There is the upgraded version, but the original Ninja V is such a good deal for everything it provides, we recommend the V+ due to it being over double the price. The Ninja V is an HDR equipped recording device that uses HDMI. This allows it to be your main source of control for certain functions, but it also records to 2.5-inch SSDs in 4K, making the barrier to getting storage no problem at all.

Recommended Recording Monitors

Best accessories for shooting better video: Gimbals

Gimbals are slowly becoming more needed than your traditional tripod. Providing support and new alternative ways to shoot video, is a great option for those who want not only smooth video and unique shots. 

DJI rule the roost. We love their DJI RSC 2 - 3-Axis Gimbal Stabilizer for DSLR cameras, or the Osmo Mobile 6 Gimbal Stabilizer for smartphones. Both promise easy attachment. The former features the Titan Stabilization Algorithm, which ensures smoother image capture. Plus the SuperSmooth mode effectively counteracts micro-movements and enhances torque, providing stabilization even when using 100mm zoom lenses.The new gimbal has a focus wheel built-in for cameras that support it, while also having a portrait mode for those who shoot TikToks.  With the smartphone gimbal, you are afforded higher quality promising a professional, stable finish even without the expensive equipment.

However, there’s no counting out Zhiyun, which offer some seriously good value for money when it comes to tripods. We're a big fan of their Smooth 4 Gimbal stabilizer, which comes with an app to help you shoot better.

Moza also offer a great selection of tripods. We're big fans of the Mini MX Gimbal for lightweight, on-the-go shooting, or the MOZA AirCross 3 Gimbal Stabilizer 9 for heavier cameras.

DJI also packs in the ActiveTrack software, which uses your phone to track a subject while the gimbal follows it for accurate shooting. As well as this, for those who are wanting to stay out the way, setting it up on a tripod you can use Force Mobile to use motion controls to point where you want to shoot. 

We have also covered gimbals for mobiles more fully, so you can utilise the ever-increasing quality of your phone's camera to its best ability. 

Recommended Gimbals

Best accessories for shooting better video: Studio kit

Studio life has become more common than you think. With streaming, COVID and working from home becoming a regular occurrence, video equipment is also coming down in price or different options allowing for content creation to be taken up a notch. 

Vision Mixer

For the budget-conscious and those looking for better streams, the Blackmagic Atem Mini line is probably the best option you can take. The mixer line’s most basic comes with four HDMI ports and a USB-C out, allowing you to bring in four sources as a USB device, rather than a dedicated video source. This means you can use it for things over Discord, Skype, Teams and more. This goes all the way up to the ISO and Extreme models, which capture the sources as different files rather than mixing them down into a single file that the other models provide. The ISO and Extreme output to either the PC with OBS or your dedicated recording software or an SSD device. 

Recommended Vision Mixer

FAQs

How do these camera accessories help in producing quality images and videos?

These camera accessories help with shooting by providing stability and better angles, be that with a professional camera or iPhone. 

Should I get a tripod or a gimbal?

Choosing between a tripod and a gimbal depends on your preferences and needs. Tripods provide stability and precision, making them great for still photography and controlled video shots, while gimbals excel at capturing dynamic, smooth video footage with motorized control. Tripods are versatile and budget-friendly, suitable for stable setups, while gimbals offer portability, stabilization, and creative flexibility for on-the-move shooting. Consider your shooting style and projects to make the right choice, and some photographers/videographers even opt for both tools for a comprehensive toolkit.

Final Thoughts

So, there are a range of useful accessories to help boost your shooting abilities. We've tried to include a items across a wide range of budgets and needs, so there should be something to suit everyone.

What is Micro Four Thirds?

In our camera buyer's guide, we discussed the different sensors that are available on the different cameras. Micro Four Thirds is a relatively small, but powerful sensor that allows for smaller bodies for shooting with, while not ditching features. The lenses that are within the system are also plentiful, affordable and varied, allowing you to explore different options without any real worry.

Micro Four Thirds came about when Olympus and Panasonic partnered to create an ecosystem that they'd be able to both use when they move to a mirrorless system. Later down the line, Blackmagic Design also joined them with their Pocket Cinema camera ranges, before opting to use the Canon EF adaptor instead for the 6K and above.

What's new in the GH6?

Other than the beefed-up sensor, the GH6 can now shoot 5.8K footage at 30fps, while 4K has been boosted to 120FPS. For those in the colour grading business, the camera now supports 10-bit internal recording, with all resolutions other than 5.8K supporting 4:2:2 internal, with anamorphic allowing 5.8K to record at 4:2:0 internal or 4.4K to shoot up to 60fps with 4:2:2 10-bit colour.

4:2:2 internal is a major upgrade for the GH6, allowing for people to begin ditching external recorders if they don't require them and shift to external monitors to ensure colours are correct.

However, those still wanting to use the external recorder will find that they can shoot DCI 4K up to 120fps with a future firmware update that will also include 4:2:2, 12-bit RAW footage.

Outside of video, the photography aspect has been sped up considerably, with the camera now able to shoot up to 14FPS with the mechanical shutter, besting the GH5 II's 12fps in AFS mode. Where it really comes into its own, the AFS shooting mode will allow for a whopping 75FPS continuous shooting when using the electrical shutter, but a reduced 7 over the 9 in AFC (continuous focus) when using the electrical shutter in the GH5 II.

ProRes on the GH6

ProRes is Apple's video data format, allowing for compressed data at huge resolutions and when thrown into a video editor, takes off some of the strain.

This is especially helpful when shooting at 5.7K, as you'll be able to edit a bit more smoothly without major hiccups. Of course, shooting at this high a resolution will still need a beefy PC, but for all intents and purposes, it's an easier way to work with large video files.

The ProRes included maxes out at 422 HQ, which compresses but doesn't lose any visual quality when you begin to work with it.

So to break it down:

Lumix GH6 Specs

Here's the short version for those of you who might have their eyes glaze over when they see the table below:

Where to buy the GH6

The GH6 is currently on preorder for a base price of $2197.99 or £1999. This is just the body without a lens.

Meanwhile, if you want an included lens, you're looking at around an additional 500 dollars or pounds, with it coming it at around $2797.99 or £2599. The current kit lens on offer is the 12-60mm Leica lens.

If you purchase from one of the three retailers above, you'll also be able to take advantage of Panasonic's offer of a free CFexpress card, a much-needed card to keep up with the data rates of the highest end video camera can output.

What is NDI?

Network Device Interface, or NDI, is a network protocol that allows high-quality video streams to be sent around a local, eliminating the need for long spools of SDI or HDMI cable to be run through a studio. 

The protocol is split into versions, a “full fat” NDI, which uses the full capabilities of a connection to transfer up to 4K video over Ethernet and HX, a lower-end variant that can be used to beam video over Wi-Fi. 

Companies like BirdDog have taken full advantage of the technology, offering dedicated devices to convert traditional equipment into an NDI point for programs like Wirecast, OBS and NewTek’s Tricaster hardware to pick up by just simply being on the same network.

HX is commonly used in mediums that don’t require the 1-to-1 connection that full NDI brings, or might require a wireless connection to transfer the video over. 

This can still be in broadcast, where cameras set up will be connected to an NDI HX point (over a capture card to a PC outputting it) where it’ll transfer over to on-site endpoint which will do the transmitting, but it is often ‘lagging’ behind in both physical time and quality, due to the lower tier connection being used.

NDI HX can sometimes be found in things like digital advertising displays or at conventions, where the timing doesn’t particularly matter as it’s simply just going to be viewed, not needed on a broadcast.

NDI HX 3 is designed to bring the HX version a new lease of life with reduced need for bandwidth over the full version while offering better quality than the prior 2.

It doesn’t even need any real hardware updates, as it seems that NewTek is going to offer it as a software update alongside the prior version for those that might not be able to work with it just yet.

As indicated in NewTek's charts, the latency between HX3 and High Bandwidth will be 'very low', bringing a great alternative for those without the capacity to work with a much higher quality image that doesn't suffer from the latency issues that can cause issues with productions using the NDI HX2 protocol.

The latency thing does have that caveat of some cameras' processes still causing image lag, but the overall latency of NDI HX3 is only a mere 8ms.

The various app stores are filled with fake apps too, made to grab data and or rinse you for pro versions and ad revenue. There's always an easier way and this time, there is!

Of course, I recommend this with an ad block on anything but a mobile phone. The website is filled with adverts and its those pain the butt ones, where it secretly fills the whole screen until you hit the button you want and then bam, you've been presented with genitals or a fake virus scan.

So rather than doing it that way, get onto a desktop or laptop and navigate to TikTok Downloader, over on SnapTik.app. It's going to not only download the video for you, but it'll rip it straight from TikTok's servers without the watermark, giving you a fresh version to use of your favourite, thrice downloaded and overly compressed meme.

If you're on a desktop and don't really want to use the website - it might get pulled down at some point - you'll want to check out our tutorial for YouTube-DL and DLG, which is now Open Video Downloader. It's the same thing, it just looks nicer and seems to have ditched the overall user interface from the late 00s. It also manages to pull out TikTok videos without any issue, plus without any watermarks.

Really, you shouldn't be doing this, but also, if it's of a clip of a show or something by a celebrity, whatever. PC Guide isn't a parent and we're literally riding that middle line all day, every day with our talk about emulation.

However, the thing is, TikToks come with a watermark for a reason. If it is original content, be sure to use the TikTok built-in downloader to give credit where needed, or simply tag the original creator in the post to ensure that you don't get any flak if your video decides now is the time to take off.

Even iPhones with their built-in OIS (Optical Image Stabilization) can sometimes be victim to this and major Android phones might not even have it at all due to costs. This can render video utterly useless if you don’t have steady hands. 

This is where gimbals come in. Originally built off of massive rigs for cinema, these devices help stabilize the image with a mechanical arm that is balanced and reinforced by motors to ensure that your footage remains as stable as possible.

Get the Hohem iSteady X2 gimbal for 15% off right now on Amazon! (UK only)

The Hohem iSteady X2

Hohem’s iSteady X2 is a sleek, portable mobile gimbal that supports both iOS and Android, with its own app to offer a few extra features that the built-in apps might not be able to provide. 

The iSteady X2 needs very little fiddling, as the balancing is taken care of and on first set up, handy stickers lead you through the process of getting your phone ready to go. 

Using Bluetooth, the app will do a lot of the heavy lifting and before you know it, you’ll have your phone ready to go. 

Hardware-wise, the iSteady X2 comes with a simple amount of controls, easy for anyone to pick up and use the device without any learning curve. 

On the front of the device, there’s the function button to turn it on and off, as well as switch through different options without the use of the app. The joystick gives you full control over the direction of the gimbal, offering smooth sweeping motions from side to side. If you set it to look up a little bit, you can run forward with the gimbal straight on, for some neat run-and-gun shots to give your footage a little edge. 

There’s also a sliding switch that you can toggle between zooming in and out or changing the focus. This focus change is something not usually available in the native cameras, making the Hohem’s a really good option for those who want to add that level of depth of field to their work.

Gimbals often have to be balanced, especially on larger camera sources and this can lead to frustration for first-time users. Hohem’s gimbal however immediately allows you to just jump in without any issue and is perfect for beginners to begin making their video projects exceptionally better with the added stabilization. 

This isn’t where it ends though, as the device might be easy to set up, but the app comes with a range of features that takes advantage of the motorized head of the gimbal, plus the additional controls.

Using Hohem’s camera app, the camera can begin to do multiple different actions without any needed input from you! These cool shots include a replication of the classic Alfred Hitchcock Dolly Zoom, an Inception rotation and a manually adjustable Timelapse function where the gimbal will rotate around a set area, stitching together footage and photos into a unique looking Timelapse. 

The X2 comes with a stand for the gimbal, plus can be used with any standard threaded tripod or monopod. With this in place, not only are Timelapses a breeze, but you can also use it for your video content that you might be having to shoot solo. 

Every mode offers a preview and a reshoot option, immediately ditching the captured footage on iOS so you can retake it. 

Talking to a camera and then moving around might sometimes become an issue due to accidentally walking off-camera or being out of shot. The X2 features a tracking mode, where you stretch a green box across the screen with your finger and it will begin to track whatever you’ve told it to follow. This can be a boon for those who might be filming themselves or even filming fast-moving objects like kids or sports. 

The head moves quickly and silently, so the internal microphone on your phone won’t pick it up, causing footage to be effectively wasted effort. 

A neat feature in the app is the gesture control, so group photos or hands-off solo photos can be taken without even needing to be near the device, as it’ll not only track you, but then recognize when you throw up a sign to the camera to initiate taking the photo. 

The great thing about the X2 gimbal is that you don’t need to even use the app, as the Bluetooth control gives you the functionality of the gimbal at a base level, while you use the device’s native camera app for any features you particularly like out of it. 

All footage comes out in the usual formats and can be used in any and all editing programs, even those on the iPhone or Android devices themselves. Once you’ve edited or just done shooting, uploading is quick and easy through your usual methods. 

Gimbals are great devices, making family home videos watchable by whoever happens to shoot them, eliminating shakes, or adding a new level of quality to vlogs, TikToks, and YouTube content. Even ones as small and inexpensive as this one can be a boon to indie filmmakers looking to hold their camera phone steady while they shoot a scene. 

The added support from the iSteady X2 will change the way you shoot video, offering much more than just steadiness, as the excellent app will also take over any more intricate duties you might want to try out via the different shooting modes.

Hohem’s iSteady X2 is available from Amazon for a low cost of just $89/£89 and comes with a carrier pouch, tripod stand, and Bluetooth remote for taking photos away from the gimbal at a distance that the gesture function can’t see you. It comes in black and has a USB-C charging port, as well as included charging wire that can charge the device from any standard plug you might already own.

Recently, TikTok added the function of closed captions to be more inclusive across the board with those who are hard of hearing, but also cunningly, add them so that those of us on mute can still consume the endless scroll of faces. It's a win-win across the board, as much as it pains anyone to admit it.

Either way, the closed captions are just part of the current issue, as once you've posted a video to TikTok it can't be edited in any capacity unless you pull it down to re-edit and upload it.

This also hits the cover images, which once the video is posted, you can't change either. Unlike on YouTube which lets you edit anything posted in a great capacity, as well as Instagram, it seems TikTok just aren't interested in having the currently available content that you might have posted and want to edit to be changed for some reason.

Whether this is to reduce stress on their servers or that it prevents algorithm manipulation is unknown, but the answer to your burning questions is, no, there's nothing you can do once the video is up other than pull it down, re-edit it and then post it back up.

It's an interesting platform to take on, with a hard limit on the length of videos and a genuine focus from TikTok to grow the millions of users every day that are uploading content there. So, outside of using your phone and the built in TikTok video editor, which is surprisingly okay, what about those of us who want to ensure that the video looks and feels exactly how we want?

What about those of us who maybe want to not have a video stuffed into the cage of a vertical outlet, but provide the landscape thing and utilise the informationless segments?

Below is a video that we made based on an old video from 2020 on the game, Disaster Report 4. which gives you an indication of what you can do with DaVinci Resolve to provide higher quality content off of your PC than directly on your phone. We can't promise anything about gaining views, but we can certainly help you get things going.

Set up a timeline for TikTok

When you create your project from the Manager and get dumped into your default starting page - Cut, Edit or Media - you'll want to right-click in the Media Pool and press 'Create new timeline', which then will bring you into the New Timeline menu. From here, press the little 'Use Project Settings' to alter the individual timeline. This is great if you intend to reuse the content for multiple platforms in different aspect ratios.

If you want to have Resolve automatically make multiple timelines without having to faff with the Create New Timeline menu each time, we can alter the master settings of the project overall. This won't affect the rest of your work in other places but does mean you'll have to create new timelines with this particular menu if you intend to make landscape things later down the line.

Using Shift+9 or File > Project Settings, you'll be brought into a giant menu. At the very top, you'll see the familiar layout of the Timeline settings we're trying to avoid and you can make the overall alterations there.

In both the New Timeline Menu and the Project Settings menu, scroll up until you see 'Custom'. Here, you can type in the aspect ratio you need, which for TikTok is vertical. 1080x1920 instead of the other way around if you intend to edit in HD. It's actually a bigger overall resolution, but you'll be fine.

Once that's done, you'll be left with your empty project ready to be used.

From here, creating your video is pretty much down to you. Import footage and photos from your PC with CTRL+I, edit with either the Cut Page for an easier method of putting the video together or use the Edit page for a more granular experience.

For instance, I've edited the audio a little to 'bleep' out the swears in the original file, so have used the blade tool (B) to slice those particular bits and then overlayed audio to cover up the indecency. TikTok best practice is to avoid swearing, but we're not your mother.

Drag and drop your clips onto the timeline, using 'in and out' points with I and O to ensure you're only bringing in what you want from longer pieces of footage to ensure you're not clogging up the timeline.

Lip-Syncing videos with DaVinci Resolve

If you've synced yourself up to a song and want to use TikTok's built-in music overlay feature when you're ready to transfer it to your phone, hover over the source window and choose the video only icon.

When you choose and drag this onto the timeline, you'll be able to have a muted video for you to export out. Then transfer it to your phone or tablet and use TikTok's function there. This way, you won't get caught out by copyright by using other music without the express permission or TikTok's backing.

Best DaVinci Resolve settings for exporting to TikTok

DaVinci Resolve gives you a hell of a lot of control over your exporting settings, so be sure to pay careful attention to them if you're planning to export to a particular platform. For me, as the video is going to be under three minutes, I never needed to use a 'best' setting for Bitrate and never needed it to be higher than 1080p, as TikTok might support it, TikTok will crunch the video down into a compressed mess if it's too high to fit it on the platform - even if you get it the right size.

TikTok supports .mp4 and WebM, but because we're not lunatics, we'll just stick with MP4. For me, I found the best success with just keeping it as simple as possible, by relegating the video to MP4 with an H.264 codec. H.265 would be ideal, but don't overcomplicate things for them. Choose an encoder, if you have a GPU, hit that for a faster render time.

Bitrate is the literal data being transferred, which TikTok needs to be under 512Kb/s. YouTube uses a maximum 8Mb/s, but I found no issue using a larger bitrate for higher quality video. Essentially, if you're all confused, use the Twitter preset in the latest version of Resolve, as it'll hit the right spot.

The higher the bitrate, the higher the size. On PC, you can upload a TikTok under 1GB, on iOS and Android, it's a bit of a mess of information. On iOS it's under 287.6MB and on Android, under 72MB. But in all honesty, if your video is going over the 100MB mark - especially for a sixty-second clip - you might need to reconsider.

The video above with a drop shadow effect, gaussian blur and at 60fps with the Twitter 1080p preset came in at 63MB, for reference.

If you're uploading game footage, be sure to switch to 60FPS and if you're just shooting a video of yourself, 24-30fps. No, don't use 60FPS on footage of you doing something on camera, you'll look weird and like you crawled out the uncanny valley. The only time this should be permitted is when you're on camera with the game footage, but Resolve is pretty good at mixing resolutions and framerates, so don't fret.

We can all agree that ShadowPlay is simple, it's effective and for the most part, works just as you'd expect. The one thing that's currently tripping some creators up is the shift to HDR, which can play havoc with the way that it captures video.

See, HDR - High Dynamic Range - is the step above your typical TV output and has entered almost every consumer method of watching something in the last few years. While editing for it is expensive (EIZO's monitors run upwards of several thousand dollars), opening up your video editor to be greeted by the flat, dull footage of your SDR based user interface of the video editor can be demoralising.

For instance, the clip we've used as an example is that of Lost Ark, a new role-playing game from Smilegate and Amazon, wherein the stallion behind the keyboard defeats a wicked demon boss. The issue is, when originally captured, the brave warrior forgot to turn off their HDR on the monitor before capturing. This then resulted in the footage looking like this:

Horrible, right? Well, it's actually easy to do a quick botch fix in post, but you'll need to download and there's a free method to do it with DaVinci Resolve, so if you happen to edit in your 'acquired' copy of Premiere Pro or other software, you might want to give it a download and check to see if you can run it comfortably.

However, I wouldn't worry about smooth playback in the software itself, as we'll be using the colour page, but if it's going to become your primary editor, you might still want to consider the hefty specs it requires.

Import media

First, let's import our footage by going to either the Media, Cut or Edit pages and hit CTRL+I (or right-click in the Media Pool and choose Import) to begin the importing process. Find your media and create a timeline to your liking. For this instance, we were in the midst of making a TikTok best settings and practices page, so we'll be using custom settings.

For gaming, you'll want to choose custom, as it's one of the ways to just simplify everything when bringing in footage to the timeline. Deselect Use Project Settings, then head into Format and choose your framerate to be more in line with 60FPS. Anything higher than 120 won't work and most platforms don't particularly support it just yet. If you chose to capture at 30FPS, set it to 30.

In your timeline now, you should see the dull-looking footage when you drag the whole thing onto it. Your Source Viewer should also be showing the same thing if you have one set up. There's nothing we can really do from here, so head into the Color Tab to begin the process of converting your footage over into an SDR colour space.

Convert HDR to SDR

Now we're not strictly 'converting', but it's the nice catch all to the process and makes things simpler. You won't get the original file to playback in SDR no matter what you try, so we'll be creating a new file for you to use in the future.

The Color Page might look intimidating if you've never used it before, but it's broken down into several segments and for this tutorial, you won't need to look at most of the stuff in here anyway.

We'll be using the Library function, Node graph and source viewer (in green).

The Library function houses all the specific effects for the Color Page, along with some others that can be accessed elsewhere in DaVinci Resolve. We need to head into Resolve FX Color and choose Color Space Transform. This is where the magic happens.

Color Space Transform allows us to convert our HDR colour spaces to that of SDR or others entirely. If you for some reason want to apply a specific LUT to the footage to mimic say, a Fujifilm F-LOG shot, you can do this by forcing the colour space to alter over into that one specific one.

Drag the effect onto the node graph and then connect up the green lines as indicated in the above screenshot. When you press that particular node, you'll be given the options seen below.

HDR footage from NVIDIA's ShadowPlay usually comes with the Colour Space of Rec.2020 (VLC will say BT.2020, but they're the same thing) and an Input Gamma of either Rec.2100 ST2084 or just ST2084. Choose whichever one looks more natural to you. In the screenshot it might say I chose Rec.2100 ST2084, but I actually decided to go with just the regular ST2084.

We then need to turn the footage's spaces and gamma into Rec.709. 709 is used across every monitor as the very basic method of bringing colour data to the screens. The game might still look a little washed out, so you can make adjustments to the settings, but I found the defaults with Saturation Preserving made it look as close to how I think it should look on screen.

If you still feel that your footage isn't matching up, make a new correction node after the Color Space Transform to make any further alterations with the colour wheels underneath.

This was the end result, embedded via YouTube for those scared of TikTok.