YouTube is changing. It's always changing. And now we live in an era where feels like anyone [music] can make a viral video.
That's cool and everything, but I feel like we've lost the bigger picture, which is it's not always just about making a video. It can also be about building a channel. So, if you don't want to just hustle for views, but actually want to create a sort of a community, then this video is for you.
Our entire team is going to teach you how to create a channel from the strategy to the business to the branding. But first, let's start with a simpler question. Are you even ready to start a YouTube channel?
All right. So, I'm with Andrew to help you answer the question, should you even start a YouTube channel? And this can be kind of a complicated question, so we've built something to help you answer that.
A flowchart. And uh I suppose it all starts at the very beginning with the most important question, which is just do you enjoy making videos in the first place? >> Yeah, so if you don't like shooting, editing, writing, all that, that's a no.
>> Yeah, what if you do enjoy making videos? Okay, you've done the process a few times, you know it. The next question is You could make videos, but not as a job or or not full-time.
You can make videos for someone else. >> For someone who does have that interest. >> Exactly.
So, do you enjoy making videos? Yes. Do you have some sort of an interest or passion you enjoy making videos about?
If yes, then we suggest make videos. >> Marques, what's this? >> That's the third option, because I think there are a lot of people out there who don't know the answer yet, cuz they haven't tried.
>> Oh. >> So, I'll throw them over here. I don't know if I enjoy making videos yet or not.
If you don't, the first thing you should do is try and make a videos. >> Find out. >> See how it goes.
>> Make a few. >> So, you've made some videos. The next question I think you should ask yourself is was that fun?
>> Marques, I made my video. I had no fun. What do I do now?
>> Fast forward to the end. You didn't enjoy it. come >> keep ending up down there?
That's not great. >> But if you do enjoy making videos and you had the fun, you can consider taking it more seriously, doubling down, and making it your own thing. >> If job is not what you're looking for, follow this arrow right back up and keep making some videos because you had fun doing it.
And then you ask yourself if it's going to be a job again and you say no and that's okay. We've seen all types of YouTubers doing it like Internet Shaquille, Doctor Mike, they made a million videos before it was their full-time job. Marcus, how long do you think you were in this circle?
[music] >> I was in that loop for longer than I wasn't in that loop. Then >> you come back and one day that answer is yes. What happens?
>> Then this is your little [music] YouTube play button. You've you've graduated, you've gotten to the end where you realize you have a passion, you enjoy making videos, you want to take it seriously. You can start a channel and join that journey.
Uh and that's the part where you should start listening to what Eric and Harper have to say. Take it away. >> So we're going to show you our two favorite methods for growing a YouTube channel and getting views in the door, but we'll also show you how to retain your audience and make sure that your YouTube channel is sustainable through a strategic lens.
All right, let's start with my personal favorite way to grow YouTube channels, outlier theory. Basically, this is just looking for supply and demand imbalances on YouTube. You can go through YouTube right now, refresh your homepage, and you'll find a video that did hundreds of thousands of views on a channel that maybe only does like 200.
That's a great indicator that whatever it was about that video's packaging, whether it's the topic, the way the title was phrased, or the composition of the thumbnail, is something that you might be able to adapt into your own niche. You can actually install Chrome extensions on your computer like 101 or vidIQ, and then your YouTube feed will show you these scores right next to videos. The [music] bigger the number, the bigger the outlier score.
Once you notice these patterns, you'll see it everywhere, and your instinct is going to be to go and copy those outliers one-for-one. And you might actually be rewarded for that short-term. But, it's not the real reason we care about outlier theory.
These gaps in supply and demand tell us where audiences are thinking, how they're feeling, and give us an idea for the psychology of viewers on YouTube as a whole. Here's a nuanced way to apply an outlier. Last year, there's a video titled Bro, I Am Begging You to Read Some Fiction.
It is a fantastic video that's up to 1. 2 million views on a channel where that is huge performance for them. Now, a bunch of other people copied it and just made videos titled Bro, I'm begging you to read some fiction.
But, the really smart creators did two things that I noticed. The first is that creators started using it as a hook and then introducing other fiction books and putting people on. It actually became an entire sort of genre within the self-development or book YouTube niche.
The second most interesting thing was inversion. Someone else made a video titled I'm begging you to write some nonfiction. The reason I like these adaptations over straight-up copying is that, first of all, it brings your own unique spin, which we'll get into more in a second.
But, second, it understands why people watch these videos and what it was about the original outlier video that actually spoke to people. And when you understand the fundamentals behind why a video pops, adapting it becomes really simple. >> So, if outlier theory is about taking a single video and extrapolating outwards, trend theory is about taking a larger topic from the zeitgeist, whether it be a movie or something going viral on TikTok, and bringing it down into a smaller niche.
I know following trends can sound really obvious, but it's all in the approach. the topic of AI, ever-present. You could [music] copy the trend by doing something that lots of people are doing, like I bought every AI product or ad.
But, you're going to be fighting against a lot of larger, more established channels for views, and ultimately probably get lost in the algorithm. So, you need to find your way in. Take all of these videos, which are great examples of trend theory.
Each of these creators took the larger concept of AI, brought it into their niche, whether that be baking, music, commentary, CGI, and then narrowed the scope even further. Rather than I made AI music, it's I took Charlie Puth's AI music [music] class. Instead of can we tell it's AI, it's we're VFX artists and we're trying to teach our moms to recognize AI.
The result is content that might seem really narrow in scope, but actually has really mass appeal. It's about taking the trend and then building off of it and going into your niche more specifically. What is a little bit harder with trends is that it's a little bit more ineffable.
You have to be online, you have to be in the zeitgeist to really be able to do it. But, you also have to be able to identify the small kernels. So, if it's not as big as a Barbenheimer, what are people consuming?
What has secretly kind of seeped its way into your life that you can either analyze or build off of? >> The reason both of these work, whether it's outlier theory or trend theory, is because nobody really cares about you when they're clicking on these videos. They care about a broader topic.
But, if you want the audience to stick around for a while and you want your YouTube channel to be sustainable, you have to find a reason that people are going to not just watch your videos, but come back to them. And that is where we get into the sentence that defines all of content strategy at MKBHD, but across YouTube as a whole. Go where your competition isn't.
So, we actually have two kind of like differing opinions on what go where your competition isn't actually looks like. To me, go where your competition isn't looks like combining two really different genres or interdisciplinary skills. One of my favorite examples here is Coffeezilla.
He does fantastic investigative pieces about topics in tech, crypto, finance. There have been people breaking down the stories behind massive frauds for years, but what Coffeezilla does that The New York Times doesn't touch is he has this fantastic editorial visual direction on top of it. He's taking the aesthetics of a Denis Villeneuve Blade Runner 2049 film and slapping it on top of a neo-noir investigative piece, and it creates these huge events that the community can really rally around.
In my opinion, the simplest way to know how to go where your competition isn't is to take two skills that you would think have nothing to do with each other, whether it be music video direction and tech videos, or investigative journalism and science fiction visual effects, and bringing them together. >> Well, it's a great approach. The titles that I watch have a slightly different interpretation.
Going where others aren't is more about what do you have at your disposal that you can use to stand out. So, do you have a lot of free time? Do you have access to an industry?
Do you know how to make something really specifically? Let's take Swell Entertainment for example. Swell Entertainment is a commentary channel, but she has a real focus on events.
She brings in her knowledge of event logistics, which may not sound super exciting on paper, but when paired with her other skills, she's bringing in a lot of insight and information to the topic that others just can't. What she brings to the table is a lack of fear. She's going to take you inside the belly of the beast rather than just talk about it.
>> It's funny hearing about Swell strategy because Miles, who you're about to see in the next section of the video, is currently in Beijing shooting a video about Chinese EVs because he saw in the car niche that car YouTubers were doing videos about Chinese EVs. Audience members were really interested in it, but people weren't making comprehensive videos about what it's like to drive a Chinese EV in China. And so, he bought himself a plane ticket and literally flew to where the rest of his competition isn't.
>> Really importantly, finding your competitive advantage, outcompeting other people doesn't mean that you have to book a flight to China today. >> Like, hold on a second, okay? Take a step back.
>> You'll eventually. >> You'll get there. >> Because you can think of YouTube strategy as a triangle.
You're trying to find supply demand imbalances. Then you're trying to compete against those with something unique that other people can't do. But then you also need to be consistent.
The simplest way to be consistent both in your uploads, but also in the quality between uploads is a format. What are you actually making that remains the same video to video? >> And a format can be anything.
It doesn't have to be like a full game show. It can literally be just that you're sitting in front of a desk talking about a topic or you're you know giving a phone review. But most importantly what you want to have is just something that people know they're coming back for.
Why are they going to return to your channel? >> This is going to be a big theme in the brand building section that we'll get to with Brandon, Tim, and Michael later in the video. So first before we get there, why don't we answer some of your questions?
>> We got the reflections in the glasses. Could you could you lose them? >> Oh, okay.
Well, okay. Never mind. How often should I be posting?
>> However often you can sustain posting. Don't burn yourself out. There's no magical number of posts per week that are going to make you show up in the algorithm.
Whatever you can sustain, do that. Should I batch my videos? >> Don't batch so long that you're just on some copium.
You have to eventually release, but I like to batch up three or four videos before I launch a channel just so that I have the habit of creating before the dopamine loop of a video performing really well or poorly can mess up my flow. >> My views are declining. Is my channel dead?
>> Two questions you need to ask yourself. One, did I just try something new? If you try something new and the views are declining, you need to figure out if you want to stick it through or not.
Maybe you tried something too new and you need to integrate some of the things that were working from your last format. Or alternatively, you haven't tried anything new and now your views are declining cuz the audience is burnt out. You need to find a way to up the ante, continue to innovate, or potentially pull some new topics from other channels.
Take some time, find some inspiration. Am I shadow banned? >> No.
Honestly, probably not. Occasionally you can have things be demonetized or age restricted which can mess with your video's performance, but on the whole just because you had one or two videos do poorly, it doesn't mean you're shadow banned. Usually, it's an issue with the content, not the platform.
>> You can check in your settings on YouTube Studio and upload a government-issued ID, and this will build more trust with the algorithm if you have a brand new YouTube channel, but for the most part, just make better videos. >> Or keep posting. Should I clip out my long-form videos for shorts?
>> Yes, but that decision needs to be made before the video is made. This is why formats like pop the balloon or live streaming are great, because they're thinking, "How can I have a setup and payoff within a minute on this show regularly, so that it's built to be clipped? " You can't just take a long-form video and expect it to do well on shorts.
It has to be built with that format in mind. How can I use AI? >> AI is a tool, so you can use it as a tool.
You can use it to help you assess your metrics, you can use it maybe for to help with ideation, but it should not be what is driving your channel. AI often times is a regression towards an average. You don't want to be average, you want to be exceptional.
Use your brain. >> Should I optimize my videos? >> You want to be making content that is interesting to your audience the whole time, but you don't need to be looking at every spike and wondering, "Uh, do I need to give a preview of the next moment?
" >> Don't be boring, but don't be insulting. You can watch our video about editing if you want to learn more. >> All righty, what numbers should I pay attention to?
>> If you want to grow your overall channel, focus on views and find better outlier videos. If you want to deepen the relationship with your audience, make longer videos that aren't boring, and you'll see that reflected in your watch time and your YouTube AdSense. If you want to speak to broader audiences, or you want to know that your audience has a really deep connection to you, monitor your subscribers.
And if you're trying to make sure that you can sell ad space on your videos, reduce the volatility in views between each video. You should be sitting within a pretty tight range. >> Figure out what your goals are, not everyone has the same ones, and then dive in.
>> So, you know how to grow your YouTube channel. The numbers are rolling in and you probably want some dough to roll in, too. Let's pass it to the two richest people on the face of the earth, Johnny and Miles.
>> The best YouTube channels in the world all have something in common, great sound. >> And more specifically, a massive library of sound effects and music from today's video sponsor, [music] Epidemic Sound. >> We've been using that since this channel started.
In this video alone, we've been able to move from jazz [music] to ambient techno to Latin grooves to whatever this is, easily. >> And that's because Epidemic has a fantastic library of music and sound [music] effects and is filled to the brim with search tools and AI features to help you always find the perfect track. >> Even though Epidemic has fantastic search tech like the ability to copy and paste a Spotify link and find similar songs, the music itself is all made by real humans.
>> And Epidemic Sound has restriction-free licensing, so you can [music] publish your videos anywhere and everywhere. >> Everywhere. >> Making great videos almost always starts with great sound.
So, if you want to use the sounds that we've been using in our videos for years, use code TS50, link in the description down below, for 50% off your first 2 months of Epidemic Sound. >> How many times have you seen a YouTuber take a brand deal that actually destroys their channel? Where you get your money from is actually going to be really important to make or break the audience's trust.
>> So, I'm a producer for AutoFocus, our car channel here at MKBHD, but I also run my own little car channel, 400,000 subs. So, today I want to ask Johnny about money, how to make it, how to get brand deals so I can eat more food. How early do I monetize my channel?
I need that money. >> It's That's a really layered question. Uh you're at 400,000 subscribers, right?
So, that's actually a really good time. This is like to monetize and get brand deals. >> All right, so BMW wants to give me money.
I love BMW. I love money. I love money for my BMW.
Is this a good deal? Is this a bad deal? >> Because just for you, cuz you make car review content, bad deal because it starts muddying the optics for your future videos as you keep saying great things about BMW.
You said something bad about another car that competes against BMW, people are going to be not trusting you with that opinion anymore. >> What if I say bad stuff about BMW after? >> It depending on what your contracts are, they might come after you.
>> So, I just got an offer for a dedicated video from a tire shop. Good deal or bad deal? >> Depends on the tire shop.
Is it a reputable brand or the ones that kind of scammers? So, just do a little bit of research and you can kind of find out. But, a tire shop's not bad because it services a lot of brands.
You don't have to be specific to Michelin or Pirelli or whatever. So, it's not a bad deal. It's good to consider.
>> How much money should I be charging for one brand integration? >> It really depends on your current niche. So, for the car channel's automotive industry is [music] really high because they're trying to get butts into seats.
Uh but, if you're like a family channel, it's going to be quite small because it caters to like families, mothers, kids, so >> I don't think I have any of those, so. >> I don't know. It really depends on what niche you are and how many views you get and you do your quick calculations on a CPM rate and then you get your number.
>> So, what is a CPM and what would be like the low end and the high end? >> So, CPM is cost per mil, so that's cost for 1,000 views or impressions. I've seen CPMs go as low as $3 per 1,000 to in the finance industry to like $80, [music] so just figure out what category you're in.
So, automotive, I think that's around 40 like could be about 30 to 40 and just kind of base on what your average views are and put your price to that. >> What's the CPM for the main channel? >> I'm not going to tell you that.
>> Should I put an ad in every single video I make? >> Depends on how many videos you make [music] in a month, in a week. Are you a daily uploader?
If you're a daily uploader, sure, go right ahead cuz yesterday's ad is going to get overwritten by today's ad. But if you're kind of like once in a while, I would kind of always stay into doing every other. You don't want to create audience fatigue again.
If they get kind of bored with [music] you, then they're going to be lost. >> Now, should I put two ads in every video? More money.
More ad, more money? >> Depends on how long your videos are cuz if it's like a 5-minute video, two ads in there like or roughly about a minute each, that's like almost half your video. So, if it's like a 30-minute video, sure, go ahead, put two ads in there as it's they'll space apart, it's not really going to hurt your attention in the long run.
Go right ahead. >> But what about if I did three ads in one video? Four ads one video?
>> This man's a shill. >> I think I want like a managerial or ad sales guy. Should I hire one?
>> Do you not like doing that kind of stuff? >> I don't like it. No, not at all.
>> I would definitely suggest like explore the option. Some of them are going to be charging quite a bit um but [music] 20 30% in most cases. A good one's going to get you about 10 to 15% but it depends on what the rates are and how much you're willing to spend on that person [music] on that position.
>> Okay. But we're friends, right though? >> Yeah.
>> I love five. Should I launch my own product? >> Let me ask you, are you passionate about launching a product?
>> No. >> Then don't don't do it cuz it just looks like an obvious shill kind of move. but >> I mean >> [laughter] >> To not alienate your audience is to promote something that you yourself feel passionate about, that you have no problem with putting your name behind it.
>> Don't be afraid to talk about products [music] you like, even if you're not getting paid to use them, cuz you never know if that company then stumbles upon a budget and then wants to put it towards a creator who they know is already enthusiastic [music] about the product they make. So, if you can then be paid to talk about products that you like and use and don't conflict with the structure of the content itself, I think that's a win-win. >> Hi, I'm Brandon.
>> I'm Tim. >> And I'm Michael. >> And we are three parts of the design and creative team here at MKBHD.
Today, we're here to talk about brand, all the different elements, video, motion, design, all that. >> So, I I guess the million-dollar question is, what is what is brand to you guys? >> Brand is like a gut feeling that like a consumer or person has about a product or service or experience.
>> In an infinite sea of content, it's important to always stand out in some way. Um largely that's driven from the content itself, but being able to have some type of noticeable attribute that a subscriber can always keep coming back for, someone [music] can notice in a thread of different thumbnails that is you. >> But what if you don't even know what your brand is?
Well, lucky for you, we built this exact [music] brand from scratch. >> You know, when we started rolling the ball with like the studio channel idea, there were a bunch of different pieces. >> You have brought different pitches, like, you know, we pitched a car series, like a short-form car series hosted by Vin Dang called The Vin number.
>> So good. Just just as you know, one example of just like we were being ridiculous at that point in time. >> Well, I think for context it's important to remember that we had MKBHD main channel and we had >> [music] >> the podcast and that was it.
>> We didn't have Autofocus yet. >> podcast had just started. >> Right.
We didn't have a range of content. >> Mhm. >> And so I think we knew we had a lot of room to play with what what we wanted to do with the studio channel.
I think the original idea was behind the scenes. >> But then it was like how do we grow from there? >> So how do you even get started here?
The the short answer for us was we just wanted to compile every single thought, every single [music] through line that we could possibly have. And we're a team of different creative people and we had a lot of ideas. So we put them all on a whiteboard, we sort of constructed certain through lines between them and we got messy.
We got our hands dirty and we figured out, okay, these ones kind of float to the top, these ones not as strong as some other ideas. One of the ideas that >> Brandon had on his mood board was like this Gaussian blur kind of like studio-esque light with like gels and stuff. It felt like theatrical and it had this beautiful like blur and grain to it.
So I was like, oh, this is >> [music] >> really unique. Like I think this has like a cool style to it. And I think where that stopped was like, I don't know how this applies to photography, I don't know how this applies to thumbnails.
Like I just don't see the theme really having as much reach. >> So in terms of boiling things down with curation, it's about longevity, it's about usefulness. Some ideas might be perfect in a vacuum.
[music] But in terms of having that longevity, in terms of being useful to what you're making and [music] to the delivery to your audience, that's what you have to be not too precious about. >> that's a testament to how many different avenues you can go down and sometimes you think there's like one direction that feels like it's it and then you get further down in it and you have to like be willing to give it up. Like you're like, this was cool.
This was a really great idea, but then we got far enough in that it just just stopped. It kind of fell apart. >> Yeah.
>> But I think having the [music] courage to back away from something that you put a bunch of time into is actually kind of hard sometimes. >> All right. So we threw out a bunch of different ideas.
We boiled it down a bit. We selected the the cream of the crop. Now, how do we double down on those things and flush them out a little bit further?
>> And then we explored three distinct categories that we have ended up pitching to the whole team. Um one was very like tech focused and we had like kind of a custom typeface with like icons and there was like an actual logo. And then the other one I think Michael you actually developed like the logo for and it was like an S and it was like pieces and pills.
Um which is what you know now. And [snorts] that had its own kind of like plug and play imagery kind of thing with like a pattern and then the third one was like the one that we were like, let's really take it into like totally different territory. The first one went well.
The second one was also like, okay and then the third one literally I heard like six or seven like, >> After all the different concepts and versions we finally ended up somewhere that we were happy to like move forward with like this is the Studio Channel. >> Ultimately this is not exactly the most linear process. We did start with design.
It is ultimately about the themes and foundations above all else. You find it in different ways. We started again with design and then it influenced sound and then it influenced video and it's this ever evolving thing.
Again, design isn't going to be the perfect start point for everyone. It's not about the technical skills. It's about the thematic foundation.
>> Yeah, I think a lot of times you think of a brand as just a logo and color palette, but as we finished this round of understanding what we wanted the brand to look like, it was obvious to us what sort of the supporting language was around the brand. It was like Studio Channel is authentic and real and unrefined and run and gun. Once we defined those sort of underlying foundational elements, that [music] lent itself to, okay, what typeface do we pick for this?
What kind of camera are we going to shoot [music] with? What kind of sound are we going to do? How scripted are our videos?
So, everything kind of follows from that. >> Like, I think, you know, going all the way back, like we had these ideas that influenced design a bit, and then design influenced production, and it's just this ever-evolving thing. >> Yeah.
Well, I think we're getting to the point in the process where you start to talk about how chaotic this whole thing is. You don't You don't really have this like A B C D and then you're done with your brand. It's like we did our best to come up with the style that worked, and then that lent [music] itself to kind of the general idea of what we all felt, and then it was like video number three or four, and we're kind of getting into the groove of like, that felt right, that didn't feel right.
>> I think two themes keep coming back. That's about being precious and also about working in a vacuum. Sometimes when you work on something, when it actually goes out to the world, it doesn't deliver exactly the same way that you'd planned originally.
It's pretty easy to get stuck in ideation phase, and it's it can be quite addictive, and it can be fun, but at some point you have to stop, and now it has to get put to use. Thumbnails, intro, banners, like all of that stuff was like, all right, now we have to actually like [music] utilize this. And thumbnails was like, oh, I mean, that's like the big thing.
[music] After about, I don't know, a dozen videos, we started realizing like, okay, it's starting to get in the way of people understanding what they're looking at, and it started to become more of like a friction point, and that became something that we moved. >> Being able to adapt and change is important, for sure. >> Yeah.
So, if you're someone that's just starting out, and you're one-person team, and you're trying to figure out like, what is my voice and what I want to do. Someone that I've admired their channel and like their growth over the last couple years, Becca Farshace took like a a really unique approach and like take tech outside. And even down to like her merch, like she has this really beautiful just like nature aesthetic with like tech type I think there was a t-shirt with like a phone and then a nest of eggs.
>> The statement [music] take tech outside is so true to who Becca is. So, the whole brand can has come from that. >> Mhm.
>> I mean >> Like who are you as a person? >> Yeah. >> And then what what are you trying to do and just go from there.
>> Honesty and truthfulness is brand. >> So, let's wrap this up with three main takeaways. First of all, do your assets actually feel >> [music] >> useful and applicable for your videos?
Second, what is your audience's reception [music] as to what you're making? What do you have to fine tune? What do you have to throw out?
What do you have to just reformat a bit? And third [music] is truth and honesty, something that people can see from a million miles away on the internet. >> [music] >> I find it also to be a very important thing for sustainability because you'll burn out if you aren't true to your morals, aren't true to the content that you make.
>> Okay, so all is good with branding and packaging and all of that, but let's pass this back to the person who actually presses the publish button. >> So, I'll just close this by giving you a couple of things that helped me find what was true for me making a YouTube channel. So, you guys know me as MKBHD and you know me as a tech guy, but my YouTube channel is called Marques Brownlee, just my name.
And that's intentional. There's actually a period probably seven or eight years ago where Google Plus like forced us to use our real name instead of a channel name, but it was a blessing in disguise because having it just be me allows me to make videos about whatever I want instead of it being just a brand or just a topic that sort of restricts it a bit. There's nothing wrong with having a really catchy brand name as a channel name, but I find that after a long time it can actually kind of restrict what you feel like you're able to do.
And if you ever get tired of that one thing that you've been doing for a long time, if it's just your name, that's fine. Move on to the next thing that you want to do. Now, a lot of people know the MKBHD brand as being super high-quality videos.
Like cinematography, I mean, you're look This is an anamorphic shot just cuz it's fun, right? And that's actually a part of it just because that's what I like. MKB is me, HD being high definition but also high quality, is just something I'm into and that's a part of like the theme that goes through all the videos that we make is I just have a good time messing with video gear and making high-quality stuff.
So, that's why it's authentic to me. It kind of feels like a happy coincidence that the tech guy also likes using high-tech cameras, but there's also plenty of other tech channels that don't go crazy with production quality and that's fine and that's authentic to them. And then when it comes to the way we run the business, that impacts truth and brand a lot.
There's a lot of scrutiny about which sponsors people choose to take and also how often they choose to take said sponsors. And everyone draws a line in the sand in a different place. I think when we make tech videos you guys know that we do a pretty minimal sponsors but tend to be really closely knit with that sponsor cuz we believe in them.
That's one way to do it. Some people do lots of high volume sponsors so you're used to that. Some people do as few as possible.
But finding where you want to be somewhere in between is a healthy place to be. A question I've heard a little bit is should I take a little bit more or a little bit less sponsors? Does that make a big difference?
And I kind of feel like that's a bit of a dangerous gray area to be in. It almost doesn't matter to me. I think you either do take sponsors or you don't and it's more about the quality of that sponsor.
If you don't take sponsors, going from zero to some amount of sponsors is a big change for audience expectation. But going from a few sponsors to a few more or a few less, I don't think that makes as much of a difference to the way the audience perceives it. That's more of a business question.
I would say the fact that I have a channel that is what it is today is definitely a combination of luck and skill. But you know what they say about luck? Luck is just when preparation meets opportunity, and there's always opportunity.
So, just get in there and do you. It's YouTube. >> We need you to tell them to watch another MasterClass.
>> Watch another MasterClass. There's going to be like a thing you can click. Do it.
>> Yeah, that was strong. >> Yeah.
