I appreciate you tuning in. If you have questions, feel free to ask. I'm happy to answer them for you.

I appreciate you tuning in. I did a little research on your camera with its native duel ISO. I have not used your specific camera as far as I can remember (I might be wrong), so I’m going by what others have said. This article explains the duel ISO: www.cined.com/blackmagic-pocket-cinema-camera-4k-dual-iso-explained-and-lowlight-footage/#:~:text=In%20addition%2C%20we%20have%20learned,from%20ISO%201250%20to%206400. First off, generally, it’s considered best to keep the camera set to a native ISO (either 400 or 3200). Suggestions include using ND filters to correct exposure from there. There seems to be some debate around lower ISO settings (under 400) that the dynamic range is improved. Some say. “yes,” and others say, “no, there is no improvement.” This shooter has an interesting video on his basic/starting settings you might find helpful: signaturesound.com/black-magic-pocket-cinema-camera-4k-basic-settings/ This is an older video, but seemed helpful: kzfaq.info/get/bejne/n82Bos5m15q6lqM.html Regarding other settings, I’ve found these suggestions: Set your zebras to 100%, set your aperture, shutter speed, ISO to what you want. Dial your variable ND to the point where no zebras appear (if you don't care about the areas that the zebras appear on, then don't worry about it). This is a simple way of exposing well as you are basically giving the sensor as much light as possible without clipping any highlights. Some folks have recommended either using 95% zebras or stopping down an additional 1/2 stop (if you're at 100% zebras). You would then pull the footage back down in post. By shooting this way in film mode, you maximize Dynamic Range. If you are shooting in video mode, the camera will pull the footage down for you. Now, assuming you are using an "iris-able" lens, the camera does the same exact thing in film mode. When you hit iris, it will stop the lens as far down so as to not clip any highlights. If you were to already dial down your ND just to the point that no zebras appears, clicking the iris button will likely show no changes to aperture. In video mode, the camera actually does take an exposure average, so you are likely to see the camera stop down a bit. Just be forewarned that you are giving up some DR by shooting via auto-exposure in video mode. The same idea applies whether or not you are using a vari-ND, you would stop the lens down instead of using the vari-ND, Hope this helps a little.

I appreciate you tuning in. If you have any questions, please let me know. I'm happy to try to help answer them for you.

@@jimcostafilms At the grand old age of 60 and not owning a camera since my father gave me a Pentax film camera 52 years ago, I have just purchased an old Canon 40D and started a new hobby. I find your videos most helpful. Thank you.

@@dogzero1 Here's the manual for your amera: www.the-digital-picture.com/owners-manuals/canon-eos-40d-manual.pdf

@@jimcostafilms Thank you. My camera came with the owners manual. But always nice to have it on my PC.

I'm glad you found the info useful. If you have questions. Feel free to ask them. I'm happy to try to help you with answers.

@@jimcostafilms thank you professional photographer

@@mounikaveerababu896 Happy to help.

Hii photographer I wanna sell my photos to earn money can you suggest me any photoshop who sell nature photographs... Pls help me

How to sell nature photographs

The film and television industry doesn't have a standard definition of what "treatment" means. For example, if someone asks you for treatment, they could mean a two-page overview concept or a thirty-page document, basically the script without the dialogue or any detailed logline. However, film project treatments are generally defined as a summary of a TV show or film. A treatment should contain all the essential elements of the story, including scenes, themes, and the project's tone. Film treatments can also be referred to as story treatments. As you approach writing a treatment, for any reason, here are a few tips that will help in creating your slides. You should approach writing a treatment as if it were a film pitch deck. You're trying to win over executives, producers or agents as if they were investors and your film is an invesement, which it ultimately is.‍ Six critical elements of a film treatment‍ While each treatment may differ a bit, generally, your treatment should contain: • Title of story • Name and contact information of the writer • Logline • Key characters • Summary of the story • Additional information about the themes and tone of the projects Now that you know the generalities let's dive into the details.‍ Why are film treatment pitch decks necessary?‍ Learning how to write a film treatment is essential for the emerging screenwriter. Often, producers and executives want to check out your story before signing a contract with you. That is understandable since a lot of money is at stake. It's much more money than is at stake than, for example, in a book deal or a commission for a newspaper or magazine. Film treatments are an excellent way for you and producers and anyone in the creative time to save time and energy on projects. Thus, being able to write an excellent film treatment that executives can understand from a visual perspective could be what stands between securing you a job, without having to commit to writing the screenplay. Having said that if this is your first screenplay you are advised to polish and write your script first as executives are likely to expect this so they can get a sense of your writing on top of a pitch. So, how do you write a film treatment?‍ How can you make sure a film treatment pitch deck is engaging? There are some key steps you can take to make sure your film treatment pitch deck is engaging. Decide on the type of treatment or pitch deck you're creating‍ ‍Make sure that you understand your goal in creating the treatment. For example, is it to serve as a pitch document for others? Or is it so you can explore the story you're prepping to write out as a script? Having a solid sense of the target will help you decide what the treatment will look like. For example, a treatment for others may need to spell out a bit of the feeling or mood that you would otherwise keep in your head. However, a treatment for yourself may not have to be as precise, so long as you understand what you meant when you refer back to it. How long should a film treatment pitch deck be? Largely determined by the decision mentioned above, knowing the length will help dictate how you write. A one or two-page document can be great for producers and execs to get a sense of the project, but it means you'll have to paint pretty broad strokes. A longer document can get into the details, but of course, it will take longer for others to read. And sometimes those details themselves can get in the way of the purpose of the treatment, where all you'll see is trees but no forest. Deciding on the length ahead of time can give you a target to aim for. You may be a little off in the end, but that's okay. How much should you include? There's a reason that the treatment isn't the script. It can't include everything, and it isn't very smart to try. Sometimes this means little bits that will show up in the margins of the scenes getting cut from the treatment, but other times it will mean whole subplots. When deciding on what to include and what not to include, ask yourself if evaluating is essential to understanding the protagonist's journey. If it's not, it may be best to leave it out of the treatment. That being said, as you're first drafting your treatment (and yes, I said draft, because just like a script, you will revise this!) when in doubt, include it. So it's easier to trim something out if it's there from the start. Should you write in proper prose? This may seem like an obvious point but your pitch should be complete sentences unlike screenwriting format which is not proper prose. While this is helpful for what we do in scripts, it can sometimes feel a bit like the scraps of a language that isn't fully codified. By sticking with correct grammar and syntax and the like with your treatment, your technical writing will have a stable base and allow you to focus on what's crucial in the treatment: the story. Screenwriting isn't just telling what happens but also how we see (and hear) what happens. A treatment isn't supposed to worry about the latter, which is why writing it in proper prose is a good idea. Additionally, it's easier on readers. Should you just tell the story? Writing a treatment, regardless of the reason (for you, for others, for fun), can bring up as many problems as writing a script. So, for example, if you think about the treatment as simply telling the story to friends around a campfire, it can help get you out of your head. The best thing you can do while writing your treatment is to write without the delete key. It is always easier to edit a written document than a blank page. BONUS TIP: don't include dialogue If you include lines of dialogue, even a few, it can start to blur the line between treatment and script. It's best avoided. Save that masterful dialogue for the script itself.‍

That is a gear topic idea. I'll do some research. Thanks for tuning !

????

Awe, thanks. I appreciate you tuning in!

Futsal, being a sport similar to soccer (football), is somewhat difficult to shoot in manual mode, I will admit as there is a lot of movement and action. It’s not impossible, but does offer some challenges. Try shooting in 1920x1080 60i FH mode (17Mbs) to start to see if there’s sufficient lighting in auto. If not, shoot in manual starting here: 1920x1080/60i FH mode f1.6 Shutter: 1/60 Gain: -3 PICTURE PROFILE SETTINGS: BLACK LEVEL: master -4, r 0, g 0, b 0 GAMMA: ITU709 BLACK GAMMA: range middle, level 0 KNEE: auto 95% middle COLOR MODE: ITU709 MATRIX, level 8 COLOR LEVEL: +3 COLOR PHASE: 0 COLOR DEPTH: all 0's DETAIL: level +7, manual - v/h balance 0, b/w balance type 4, black limit 3, white limit 7, crispening 7, hi light detail +2 SKIN TONE DETAIL: Off Use this guid to help you: www.annenbergprograms.com/IMPACT/resources/NX5Guidelines11.pdf

Check description.

You are free to expose however you would like once you get the exposure correct for middle grey.

@@jimcostafilms that's right. But 18% is not a standard for middle gray exposure

@@user-ok8xx8wf2c That I disagree with. Middle gray is the very center tone between absolute back and absolute white which is 18% grey.

@@jimcostafilms The situation is truly unclear. It appears that the 18% gray value comes from the print world. Light meters are calibrated at the factory using ANSI standards. The standard has always been for a luminance value that is roughly equivalent to the reflectance of 12% gray. Moreover, Sekonic's web page mentions 14% and claims Minolta uses a higher setting, while Minolta's English pages claim yet a different value. So, the truth is out there...

@@user-ok8xx8wf2c See if this helps: www.greatphotography.com/blog/2016/6/14/18-gray-the-middle-value#:~:text=18%25%20gray%20cards%20have%20been,of%20light%20that%20they%20receive.

Thank you. I appreciate your kind words and support.

I guess a camera mode could be confused for filled dumplings...

Thank you. I appreciate the kind words. I have some free cheat sheets available and I'm currently re-doing the DSLR one into a full e-book then will be free as will once completed. It's about a150 pages currently with more to come as I have time to work on it. The courses mentioned int his video are no longer available, but I'm working on a new one that is partially completed on shooting different types of videos solo such as sports, weddings, tv commercials and others.

I'll take it. Thanks for tuning in.

I appreciate you tuning in. If you have any questions, ask away. I'm happy to answer them for you.

@@jimcostafilms thanks...I am a Nikon user with a D7100 and D500 and I use P mode frequently as I battle with either S or A mode to get better photos...P mode always seem to give great exposure without the fidling around with adjustments when out & about taking pics... cheers 😀

@@robertdavis1255 If it works for you, then I encourage you to stick with it. As long as you're happy with your images, then keep it up. I did do a tutorial on Aperture Priority vs. Shutter Priority Mode that might help you a bit to work out the kinks. Check it out here: kzfaq.info/get/bejne/bMuUospeqLG1eYk.html

It's true. it's an old video and not as relevant today as it used to be. Still, thanks for tuning in.

And that works wall for the type of work you shoot?

Sounds interesting. Thanks for tuning in!

1) I appreciate you tuning in & I’m glad to hear that you found the info useful. 2) You didn’t mention the type of only camera you’re using so I can’t explain exactly how to set the zebra pattern on your specific model, but generally, on Sony A series, the zebra helps avoid overexposing images which causes bright spots to loos detail. The detail in overexposed areas is often not recoverable. The zebra pattern appears over areas on the image that meet the brightness level you set. The Zebra Pattern is a highlight warning indicator that is common in cameras. It does not control exposure but just warns you that your highlights are blown out. It is not recorded into the image. Zebra Pattern is a camera feature that overlays some stripes into the image that indicate exposure levels. It is a function that aids exposure by showing a striped pattern over areas that are close to overexposure. If the maximum brightness that can be expressed in shooting is defined as 100, use the Zebra function to check the amount of brightness to which the subject has been exposed. The Zebra Pattern will appear over the part of an image if the brightness level exceeds the Institute of Radio Engineers (IRE) that you set (IRE level can be set between 70 to 100). IRE is the measure of the video signal level that is used as the basis of brightness. How to avoid a white object become dark (underexposed): Set the Zebra setting between 90 and 95, and adjust the exposure so that the Zebra pattern appears on the white subject you want to shoot.
 How to take a photo of people with optimized brightness: Set a Zebra setting between 70 and 80, and adjust the exposure so that the Zebra pattern appears on the face of the subject.

@@jimcostafilms A73

@@DeanVincent1960 Use the general value settings I mentioned above and then set the zebra according to the instructions here: helpguide.sony.net/ilc/1710/v1/en/contents/TP0001667679.html

You do have a point. It's always best to use a higher quality card to assure the most accurate colors.

I appreciate you tuning in. If you have questions, please let me know. I'm happy to answer them.

The short answer is yes to both. The long answer is a bit more complicated. Regarding a white sheet of paper for the white balance: If your goal is to get the white balance pretty close to spot on in most situations, then, yes, it’s fine to use a white sheet of paper. However, some say that white paper isn't a very good reference because standard printer paper contains bleaching agents that can affect the color balance. For example, most bright white office papers contain OBAs, which makes them unsuitable for white balance targets when exposed to UV light, like outdoors. Just remember, white paper reflects its environment. Thus holding paper near a red curtain will give a red cast. Regarding a grey card: This is always the best choice to use in either situation. A gray card is 18% gray, and the camera's meter perceives the light reflected from this as “normal” exposure. This can help you get good exposure in almost any situation, especially for portraits and products. It will give a near perfect exposure in almost any situation.

@@jimcostafilms ah I see. So basically use grey card for both, but a white paper if you have to for white balance. By the way, I understand that you can use grey card for exposure on a subject, but what about if I'm doing landscape shot when it's sunset or dusk time, do I still need to consult the grey card for exposure and white balance?

@@smann7236 Golden Hour: Yes, you can use a grey card to white balance during golden hour, which is when the sun is near the horizon and has a warm 4000 Kelvin range. You can use the grey card as a reference image to correct your colors in image editing. For example, you can use the Lastolite 12'' Grey Card to isolate the sky color temperature from the sun color temperature. It can be a bit tricky to get proper white balance during golden hour but will work provided the card is lit by the same light as the subject. For easy reference: During golden hour, you can manually adjust your white balance to 6000-6500K, which is within the Cloudy or Shade mode of your camera. This setting enhances the reds and oranges, creating a cozy, inviting atmosphere in your images. You can tweak the white balance up or down to bring out the warm, rich colors of the landscape while making sure your images reflect real life. Blue Hour: When taking photos during blue hour, you can set your white balance between 3400K and 5000K to boost the blues. Some recommend setting your white balance to capture the temperature of light as your eyes see it, which is more blue. Others recommend setting your white balance between 6500K to 7500K to keep things cooler, or 9,000K to 10,000K to render the light more neutral. You can then add warmth to the image in post. I like 4000K - 5000K, personally. Don’t use auto WB for Blue hour as you’ll loos the rich blue hues.n If your camera doesn’t allow for setting the WB in degrees Kelvin, try using the fluorescent light preset instead, I did a couple videos on Golden Hour and Blue Hour shooting: kzfaq.info/get/bejne/qb-elMiQv8iboX0.html

@@jimcostafilms thank you so much for details! I always love shooting low light magic hour and dusk..I will try it out. ♥

@@smann7236 Let me know how it goes.

Thanks for tuning in!

I appreciate you tuning in!

Wow! Thank you! Your comment made my day.

@@jimcostafilms The information is straight forward, easy to follow, and doesn't veer off in to tangents like many other channels, which becomes annoying. You have a great way of explaining. The whole channel is a treasure trove of information, that I will revisit frequently! Know that there is someone in Stockholm, Sweden who appreciates your work! Im glad I stumbled upon you! Tim

@@timothy790110 If you have any questions, please let me know. I'm happy to answer them for you.

@@jimcostafilms Absolutely, thank you. Im just setting up my Epson P900 with an xrite spyder elite and a passport color checker 2!

@@timothy790110 Here’s the manual for your printer: files.support.epson.com/docid/cpd5/cpd58636.pdf How to adjust color: download4.epson.biz/sec_pubs/sc-p900_series/useg/en/GUID-0B1FCBDF-9262-42FD-ABBE-7E4098BC1F68.htm

That is a good idea for a tutorial. I’ll look into it. For now, you haven’t mentioned the program you use so try this for Photoshop 2024: Adjusting image color and tone with adjustment layers 1) In the Adjustments panel, click the tool icon for the adjustment you want to make: ◦ For tonality and color, click Levels or Curves. ◦ For adjusting color, click Color Balance or Hue/Saturation. ◦ For converting a color image to black and white, click Black & White.
 2) In the Properties panel, adjust the adjustment layer tool settings. Adjusting image color and tone in Camera Raw 1) Choose File > Open. 2) In the Open window, select one or more camera raw files, TIFFs, or JPEGs, and then choose Camera Raw from the Format menu.

3) Click Open. 4) Use the controls in Adobe Camera Raw to adjust the settings. You can use the Adjustment brush to apply edits to specific areas of the image. 

Enable editing of JPEGs and TIFFs in Camera Raw 1) Choose (Windows) Edit > Preferences > Camera Raw or (Mac OS) Photoshop > Preferences > Camera Raw.

 2) In the JPEG and TIFF Handling section of the Camera Raw Preferences dialog box, do any of the following: • In the JPEG menu, choose Automatically Open All Supported JPEGs. • In the TIFF menu, choose Automatically Open All Supported TIFFs from the TIFF menu. For Lightroom to apply local adjustments: 1) Select a photo to edit in the Library module and press D to switch to the Develop module. To switch to a different photo in the Develop module, choose it from the Collections panel or the Filmstrip.
 2) Select the Adjustment Brush tool or the Graduated Filter tool in the tool strip of the Develop module. 3) Choose the type of adjustment you want to make from the Effect pop-up menu, or drag the sliders: 
 Temp 
Adjusts the color temperature of an area of the image, making it warmer or cooler. A graduated filter temperature effect can improve images captured in mixed-lighting conditions.

 Tint 
Compensates for a green or magenta color cast

 Exposure 
Sets the overall image brightness. Applying an Exposure local correction can achieve results similar to traditional dodging and burning.

 Contrast 
Adjusts image contrast, mainly affecting midtones

 Highlights 
Recovers detail in overexposed highlight areas of an image

 Shadows 
Recovers detail in underexposed shadow areas of an image

 Whites 
Adjusts the white points in a photo

 Blacks 
Adjusts the black points in a photo

 Texture 
Smoothens or accentuates textured details in your photo. Move the slider to the left to smoothen details; move it to the right to accentuate details. When you adjust the Texture slider, the color or tonality does not change.

 Clarity 
Adds depth to an image by increasing local contrast

 Dehaze 
Reduces or increases existing haze in a photo

 Hue 
Adjusts the hue in a photo. Select Use Fine Adjustment for precise adjustments.

 Saturation 
Adjusts the vividness of the color

 Sharpness 
Enhances edge definition to bring out details in the photo. A negative value blurs details.

 Noise 
Reduces luminance noise, which can become apparent when shadow areas are opened.

 Moiré 
Removes moiré artifacts, or color aliasing

 Defringe 
Removes fringe colors along edges

 Color 
Applies a tint to the area affected by the local correction. Select the hue by clicking the Color swatch. The Color effect is preserved if you convert the photo to black and white.

 Other effects 
Additional effects are available for specific tasks, such as whitening teeth, enhancing irises, or softening skin tones. 
Note: If Burn (Darken), Dodge (Lighten), Iris Enhance, Soften Skin, or Teeth Whitening is not available, choose Lightroom Classic > Preferences (Mac OS) or Edit > Preferences (Windows). In the Presets panel, click Restore Local Adjustment Presets.

4) Drag the individual effect sliders to increase or decrease the values.
 5) (Adjustment Brush tool only) Specify options for Adjustment Brush A: Size Specifies the diameter of the brush tip in pixels. Feather Creates a soft-edged transition between the brushed area and the surrounding pixels. When you use the brush, the distance between the inner and outer circle represents the feather amount. Flow Controls the rate of application of the adjustment. Auto Mask Confines brush strokes to areas of similar color. Density Controls the amount of transparency in the stroke. 6) Drag in the photo to apply the effect. A pin appears at the initial application point, and the Mask mode changes to Edit. For a Graduated Filter effect, three white guides represent the center, low, and high ranges of the effect.

How to see all Adobe RGB colors when Converted to SRGB… Without actually seeing it for myself, It’s a bit hard to say, but try this as a start/sample and let me know how it works. I will say that your suggested solution at the end of your question should work (having SRGB calibration in another slot and toggling between them), but it is an additional step. I think you could do that for simplicity or try this below. I’ve done something similar to this (although not for print) for web export and done the following: I open the Adobe RGB image > Export > Save for Web > Embed Color Profile, Convert to sRGB. This way the conversion should happen automatically during export. This seems to be a similar issue to what you re having. I can only see the changes after export, not before. I have tried (in a few cases) to do the conversion first, prior to export like this: Open the Adobe RGB image > Edit > Convert to Profile (sRGB Profile ...) > Export > Save for Web > Embed Color Profile, Convert to sRGB. Yes, there is a slight difference when viewing a histogram, although just looking at the images on a computer, they look the same. After further research in the described case, I found that the conversion uses the same color engine whether you convert in Save for Web or in Edit > Convert to Profile. However Convert to Profile offers additional control over the rendering intent. This affects how colors that are out of gamut, i.e. colors that exist in Adobe RGB but cannot be contained in sRGB, are treated. The two options applicable here are Relative Colormetric and Perceptual. Simplistically, Relative colormetric moves out of gamut colours into the smaller gamut, Perceptual does the same without of gamut colors but also moves some in gamut colors to maintain a perceptual difference between them. Which is best depends on the individual image. You can turn on proof colors and see where those changes as you switch proof on and off and then adjust the image accordingly. Save for Web will use your defaults but will not give you the functions to override them (provided the profile contains the tables to do so). This article is old, but still has relevant info: ninedegreesbelow.com/photography/srgb-profile-comparison.html Another consideration: Standard sRGB profiles only have a relative colorimetric table. You could try an sRGB profile with a perceptual rendering table (generally found in output printer profiles, not working space profiles): www.color.org/profiles/srgb_appearance.xalter www.color.org/srgbprofiles.xalter Once converted to sRGB using both methods and viewed in a web browser, you can then make your own call.

Right here: jimcostafilms.lpages.co/dslr-mirrorless-camera-video-cheat-sheet/ I'm currently updating it to an ebook with a lot more information (still free), but it's not ready for release yet. It's about 70 pages now and could get up to 100 when done. I plan to send out an email to everyone who gets my old one with a link to download the new one when it's completed.

@@jimcostafilms Thank you very much for your reply and for the good news about the new update on ebook! I'm looking forward to read it! Just to let you know, I just tried the above link you sent, it opens and it lets me enter my email address. But after clicking the "send me the guide" button nothing happens, I mean I received no email yet. I also entered a second different email address using two different browsers but still the same result.. any suggestions? thank you!

@@robertolotti2669 I'll send it out momentarily.

Much appreciated. it's kind of you to say. Thanks for tuning in.

Some of the listed sites are free and others are pay sites. Go to the websites listed in the description to join.

Go to the websites listed in the description to join.

I'm glad you found the info useful. If you have any questions, please feel free to ask. I'm happy to answer them.

2 reasons: First, I originally started my channel years ago to help teach senior citizens about technology. However, it didn't grow as well as I'd hope so I later changed the focus. Second, A relative worked for in the railroads his entire life and died from a disease caused by the exposure to the chemicals, diesel fuel, etc. associated with trains in the USA. I made this particular video early as an aid to seniors, but also to honor someone important to me in hops that others don't have suffer a slow agonizing death as he did.

I appreciate you tuning in!

I watched minutes open minutes to hours of your videos today. I will try and get you Mr course

@@godwinkenny1436 I very much appreciate that. I'm happy to answer any questions you have. The courses mentioned in the video are no longer available. I'm working on a new one that will be ready soon.

I'm happy to hear that you found the info useful. If you have any questions, please let me know. I am always willing to answer them.

You can find the manual for your camera here: cam.start.canon/en/C013/manual/c013.pdf I believe the MODES start on page 34. You can start with these settings for landscape photography: www.adobe.com/creativecloud/photography/hub/guides/camera-settings-landscape-photography.html I’m certain it’ll take you less than 10K hours to improve.

Great to hear. I appreciate you tuning in. If you have ay questions, let me know. I'm happy to answer them.

Sir: Thank you. I’ve two iKan Monitors: iKan D7C and iKan VV9w I don’t know how to use it. Do you have any courses that I can buy?

I don’t have training courses on those specific monitors, but I looked them up on line and found the user manuals for you to you can review the manuals and learn the features of the units. Ikan Delta D7C Manual: www.manua.ls/ikan/delta-d7c/manual Ikan VX9W Manual: ikancorp.com/Downloads/VX9w-QSG.pdf

Sir: Thank you very much for helping me. Now can you tell me which course I should buy?

@@danielsahagun4367 What do you need to learn?

I'm happy to hear that you found the information useful. Thanks for tuning in.

Very kind of you to say. I appreciate you tuning in!

Thank you. Your comment recognizing all the effort I put into my tutorials is much appreciated.

You need to go to the web sites online and sign up from there.

They absolutely are. Thanks for tuning in!

I appreciate you tuning in. Links are in the description for Camera and Premiere Pro cheat sheets on all my tutorials. I am currently updating them with more info and will be releasing the updated ones soon.

I'm glad you found the info helpful. Feel free to ask any questions. I'm happy to answer them for you.

Very kind of you to say. I appreciate you tuning in!

Everyone has their own style. Thanks for tuning in.