Recording Guide
How to record every Fridex content format correctly: where to put the camera, what angle, how to frame, where to cut, and what margins to respect.
How to use this guide
One way to record each format. No improvising.
Every Fridex format has a correct way to be recorded. This guide defines it: the set, the framing, the angle, the cuts, and the margins. It's not film theory — it's the recipe so anyone on the team or any client can record a format and have it come out the way it should.
Everything assumes a fixed baseline: phone on a tripod, vertical 9:16. What changes between formats is the setup, not the gear. Formats share recording families — master the base of each family and you've got almost everything solved.
- Set: where the camera, the light, and you go — seen from above and from the side.
- Framing: the 9:16 with the safe zones and where to place yourself in the frame.
- Step by step: what you do, in what order.
- Cuts: where to cut and at what pace.
- Avoid: the mistakes that ruin that particular format.
Format index
The base of everything
Fundamentals
This applies to every format. Get it right here and 80% of the video is already right. Each card after this only adds what changes.
What matters lives in the central band. Top and bottom, the app lays its interface on top — put text or your face there and it gets covered.
Key light in front and at 45°, never behind you. Fill or a window on the opposite side to soften shadows.
Lens at your eye height. Not from above (shrinks you) or below (distorts you), unless the format calls for the opposite.
- Phone's rear camera, 9:16, 1080p or 4K at 30fps. The rear camera beats the front one.
- Always a tripod. No shaky camera (except “to phone,” which is handheld on purpose).
- Look at the lens, not at your image on the screen. If it's hard, mark the lens with something.
- Audio first. Lav mic or the phone within 1 m, in a room without echo. Audio matters more than the image.
- Light in front, at face height or just above. Avoid a window or strong light behind you.
- Tidy background with depth. Not up against the wall, and it shouldn't compete with you.
Family A
Talking to Camera
The base. They all use the same Fundamentals set. What changes between these formats isn't how you record — it's the content structure, where the on-screen text goes, and the pace of the cuts.
Talking to Camera
Direct message, no visual aids. Just camera and clarity. It works when the message stands on its own: a reflection, a warning, a lesson. It's the base of almost every other format.
The Fundamentals base set: medium shot, eyes on the upper third, and eyes on the lens. Everything else builds from here.
- Set up the Fundamentals: tripod at eye height, light in front, medium shot.
- Eyes on the upper third, eyes on the lens. Don't read from a script off-frame.
- Record in one take. If you stumble, pause two seconds and keep going — you make the cut later.
- Even energy from start to finish. The first second decides if they stay.
Talking to Phone
Same as Talking to Camera in structure, but the setup makes it feel like you're talking straight into the phone: more intimate, more casual, like a personal message to whoever's watching.
The only exception to the tripod. An angle just above the eyes flatters you and sets the “I'm talking to you” tone.
- Front camera, handheld with your arm extended — or a tripod up close — just above the eye line.
- Get close: tight shot, face and shoulders. It's a message, not a lecture.
- Eyes locked on the lens, low conversational tone, as if you were talking to one person.
- A bit of natural hand movement reinforces the casual feel. Without making it dizzy.
Bad / Good / Excellent
Same format as This or This, but with three levels of the same action or decision: bad, good, and excellent. You show all three, explain each with judgment, and the progressive contrast teaches. Amber marks the excellent level.
The three levels as on-screen text plus your breakdown of each. Amber marks “Excellent”; the bad level stays neutral.
- Base set. Show the three levels up front with on-screen text: Bad / Good / Excellent.
- Break down each level with judgment, one at a time. The progressive contrast is what teaches.
- Close on the excellent level, with a wrap-up or CTA.
This or This
Two strategic options in the niche and which one fits depending on context. First the two alternatives, then the pros and cons of each, and finally a reasoned recommendation. It sparks debate and shows judgment.
A / B overlays while you talk, or split the screen. Mark the winner in amber when you close.
- Base set. Show the two options up front with on-screen text: Option A / Option B.
- Break down the pros and cons of each, one at a time.
- Close with your reasoned recommendation. That verdict is the format.
Matters or Not
Same engine as Myth or Fact: niche beliefs or tactics, one by one at a fast pace. For each, you give your verdict with a big card —Matters in green, Doesn't matter in red — plus a short argument. You become the niche's information filter.
Identical to Myth or Fact in setup and pace. The only thing that changes is the card: green for “Matters,” red for “Doesn't matter.”
- Base set. State the belief or tactic, one per block.
- Big on-screen card: Matters (green) or Doesn't matter (red).
- Short, concrete argument. On to the next.
Myth or Fact
Common niche claims, one by one at a fast pace. For each you answer “Myth” or “Fact” with a one- or two-line explanation. The strength is in the pace and the volume, not the depth. The viewer guesses before you answer — that's what retains.
Big, legible overlay over your face, in the central band. Hard cut between claims.
- Base set. A niche claim, one per block.
- Big overlay: Myth or Fact.
- A one- or two-line explanation. Next.
Answering Questions
You answer questions — real or simulated — from your audience. Educational content in a conversational, close format. It positions you as an accessible authority with concrete answers.
The question on screen up top, just below the interface zone. Your face in the central band.
- Base set, tight medium shot (close). Close tone.
- Show the question on screen up top: a screenshot of the IG questions sticker or text. One per block.
- Answer to camera, direct and concrete.
Case Study
You analyze a real case in the niche —a company, project, or situation— breaking down metrics, what they do well, what they do wrong, and what you'd do. It's recorded talking to camera or with green screen using the case screenshots as the background. Professional tone. Ideal for LinkedIn or to position yourself as a consultant with judgment.
To camera with the screenshots as overlays, or green screen with the case in the background. The structure is the same in both.
- Choose the setup: to camera with a sober tone (neutral/professional background), or green screen with the case screenshots in the background.
- Follow the structure: metrics → what they do well → what they do wrong → what I'd do.
- Show the data: as an overlay if to camera, or in the background if green screen.
Family B
Whiteboard and screen
You explain by showing. The camera no longer frames just you: it frames you + what you're drawing or navigating. What's written has to be readable.
Whiteboard
You explain a strategic concept on a physical or digital whiteboard. You break down a framework, draw a funnel, structure a model. It combines visual clarity with depth.
Camera facing the whole setup. The entire whiteboard inside the frame, no cropped edges. You in full, off to one side.
- Physical: whiteboard behind or beside you, fully in frame. Camera facing the setup, tripod at eye height.
- Medium/wide shot: fit you and everything you write. Write large and legible.
- Even light on the whiteboard, no glare or hotspots.
- Digital (tablet): screen recording of the tablet + your voice, or camera on the setup.
Miro
The Whiteboard, but in Miro. The screen splits into two halves: one is the Miro board you navigate, the other is your recording explaining. The digital environment allows more visual order and complexity.
One half the Miro board navigating, the other your recording. You can record yourself with the webcam or with the phone/camera in landscape.
- Prep the Miro board beforehand: define the path, what you show and in what order.
- Record your part assuming you take up one half. Webcam, or phone/camera in landscape. Leave plenty of room for the crop.
- In editing: one half the Miro screen recording, the other your recording.
- Zoom into each area of the board so it's readable.
Family C
Creator + visual
You and a visual element appear at the same time: a chart, a screen, a video, a resource. The key is where you place yourself so you don't cover what you're showing.
On Camera + Visual
The video splits into two halves: a supporting visual on top (chart, image, video, text) and you talking to camera below. You back up the spoken message with a visual without cutting your presence.
You film your talking head assuming you only take up the bottom half. Frame your face toward the center with extra headroom.
- Record your talking head assuming you'll take up the bottom half. Place your face in the lower third of the original frame.
- Film with extra headroom: when cropped to the bottom half, it shouldn't cut your head off badly.
- In editing: the visual (chart/video/image) goes in the top half, you in the bottom.
Use This For…
You present a list of tools or resources in the niche and assign each a concrete function. You go in the center of the frame and the resource visual appears on top, one at a time, while you point or look toward it and explain what it's for. It organizes options the audience already knows but doesn't know how to use.
You centered, medium shot. The resource comes in on top one at a time and you point or look toward it.
- To-camera setup (talking head) or green screen. Camera at eye height, medium shot, you in the center of the frame.
- The resources appear on top, one at a time (screenshot/logo). Point or look toward the resource.
- One function per resource: “use this for ___.” Cut between resources.
Green Screen
You appear over an image, cover, or video in the background with the green screen effect. The background gives the topic's context — a news item, a cover, a chart, a product — and you talk over it as if pointing to it.
Stand off to one side so you don't cover the background you're commenting on. Gesture toward the element.
- Use the green screen effect in IG or CapCut: put the image, news item, cover, or chart in the background, and appear over it.
- Medium shot. Stand to one side so you don't cover the background. Gesture, pointing to the element.
- If you use a physical green cloth: uniform, well lit, no wrinkles or shadows. Stand 1 m from the cloth so you don't get “green spill.”
Reaction
You react to a trending reel or video in the niche and give your expert take. You position yourself as an authority with your own judgment and tap into the original video's organic reach.
The original video in the background with the green screen effect; you cut out on top, off to one side. Pause the video to comment.
- Put the original reel/video in the background with the green screen effect (IG or CapCut). Keep the credit visible.
- Film yourself in a tight medium shot and stand to one side: the video you're commenting on should be visible.
- Pause the video at the key moments to drop in your expert take.
- Look at the video or the lens depending on what you're commenting on.
Tier List
You rank tools, strategies, mistakes, or decisions in the niche into tiers (S/A/B/C/D) or a top 5 or 10. The key isn't just ordering: it's justifying each position with judgment while you build the list live.
You record as talking-to-camera on the right side. The graphic (tier list or top 5/10) goes on the left and fills in with each decision.
- Record as talking to camera, placing yourself on the right side of the frame. Leave the left half free.
- In editing, the tier list or top 5/10 goes on the left (or behind you to the left), filling in with each decision.
- A short justification per item. The “live” build is what hooks.
Tournament
A single-elimination bracket where 8 or 16 concepts, tools, or methodologies face off one-on-one until one winner remains. Each matchup lasts a few seconds: you announce the two, justify why one knocks out the other, and move on.
You record like a normal talking-to-camera, with more room on every side. The bracket goes bottom-center, nearly full width.
- Record like a normal talking-to-camera, but leave more room on every side: the bottom is taken up by the graphic.
- Narrate the matchups in one take, in order.
- In editing, the bracket goes bottom-center, nearly full width (respecting margins), filling in round by round.
- Fast pace: a few seconds per matchup, a decisive justification.
Family D
Voiceover and visuals
You barely appear talking: the visuals and text carry the weight. Your voice or narration runs over them. It's recorded differently — first you gather material, then you assemble it.
Voiceover
You narrate in voiceover over supporting footage (b-roll), with a hook and a close looking at the camera. You combine the closeness of your face at the start and end with the dynamism of the visuals in the middle.
The hook and the close are recorded to camera, medium shot and eyes on the lens, like a Talking to Camera.
You record three things separately: the hook and close to camera, the narration in clean audio, and the b-roll that illustrates.
- A-roll: record the hook looking at the lens (medium shot) and the close/CTA the same way.
- Voiceover: record the narration separately, in clean audio with no echo.
- B-roll: film actions, screens, or ambience that illustrate what you narrate (process, hands, product).
- Edit: hook to camera → b-roll with the voiceover → back to camera for the CTA.
B-Roll
Essentially it's raw material the client sends us and we edit: it has no recording method of its own. The message is assembled in editing with text over the footage. If we need a specific shot that isn't there, we ask for it made to order.
We start from the client's raw footage. We string together the best shots and the text carries the message. If something specific is missing, we request it.
- We start from the raw video the client sends us. There's no recording setup of its own.
- If a specific shot is missing, we ask the client for it: the framing, action, and shot we need.
- In editing, we string together the best shots. The on-screen text carries the message, synced to the cuts.
- Cut pace in time with the music.
Family E
Acting
You play two roles by yourself. Everything depends on the two takes matching: same framing, same light, and a character difference that reads instantly.
Fool vs Expert
You play two opposite characters —the one who does things wrong (“fool”) and the one who does them right (“expert”)— to contrast approaches. It also works as Person A vs Person B: two archetypes compared. The humor and the contrast make the lesson memorable.
You record each role separately without moving the tripod. In editing, a hard cut between the two — or split screen showing them together.
- Fixed tripod. Don't move it between takes: the cut only matches if the framing is identical.
- Record each character separately, from the same framing and with the same light.
- Differentiate the roles with wardrobe, posture, energy, and tone — not with the camera.
- Edit: same shot with a hard cut between roles, or split screen showing both.
Structure and publishing
Not ways of recording
These three don't tell you how to place the camera. One is a structure that mounts on any format; the other two are publishing formats — how the piece is assembled, not how it's filmed. They're here so the system is complete.
Step by Step
You teach a concrete process split into numbered, sequential steps. It's not a way of recording: it's a content structure that mounts on any format — talking to camera, voiceover, whiteboard, green screen.
You number the steps and show the number on screen. One step per block, with a transition between steps.
- It's a structure, not a way of recording: you number the steps (1, 2, 3…) and show them on screen.
- One step per block, with a transition between steps.
- It mounts on whatever format you want: talking to camera, voiceover, whiteboard, green screen.
Story
A publishing format in Stories, not a way of recording. You adapt any format to a rawer, more direct tone. The technical key: stories have their own interface that covers parts of the frame.
Top: the progress bar and the user. Bottom: the “reply” box. Don't put anything important in those bands.
- Publishing format: you adapt any format to Stories, rawer and more direct.
- 9:16 framing, but watch the UI: the progress bar and user up top; the reply box at the bottom.
- Don't put key text or your face in those zones. Center what matters.
- If there's aushottion, add the sticker or keyword inside the safe zone.
Carousel
A sequence of slides you swipe through, one idea per slide. It's not recorded: it's designed. The hook goes on the first slide and the CTA on the last. Ideal for developing a topic with depth and its own reading pace.
Slides in 4:5. Safety margins so the feed doesn't crop the text. Slide 1 hook, last one CTA.
- It's not recording, it's design: slides in 4:5 (1080×1350) or 1:1.
- Safety margins on every slide. One idea per slide, clear hierarchy.
- Slide 1 = hook. Last slide = CTA.
- If you use your own photos or shots, frame them for the slide's ratio.