00;00;00;00 – 00;00;03;23
Unknown
And I think people are kind of craving for that content right now.

00;00;03;26 – 00;00;06;02
Unknown
You know, I think they they want to see

00;00;06;02 – 00;00;19;11
Unknown
that there’s people behind what they’re watching and being able to showcase. That is, I think, an extra level of trust that you bring almost to your audience

00;00;19;14 – 00;00;26;21
Unknown
it’s authenticity. We talk about authenticity on this podcast. And now, especially with video being AI created,

00;00;26;25 – 00;00;27;26
Unknown
is that the next step?

00;00;27;26 – 00;00;32;29
Unknown
Is AI going to start creating behind the scenes of AI videos? That would be

00;00;33;07 – 00;00;43;20
Unknown
the beauty of AI. I don’t think is going to be very unique, because it’s just somebody sitting at a computer, right,

00;00;43;23 – 00;01;04;28
Unknown
Hello and welcome to Think Fresh, a podcast brought to you by the Nova marketing collective. Creative. Coming to you from our Ideas Institute and here to talk about all things marketing. Insights on new trends, innovative ideas and marketing tools you can use in your day to day life and whatever else we deem relevant. I’m Jen Neumann, de novo CEO and your host.

00;01;05;00 – 00;01;06;06
Unknown
And I’m Ryan, NFL

00;01;06;14 – 00;01;10;01
Unknown
head of digital account manager. And your other host.

00;01;10;03 – 00;01;17;10
Unknown
Today we’re going to talk about creating quality video content, and we’re joined by our senior video producer Andrew Rivera.

00;01;17;12 – 00;01;43;18
Unknown
Andrew, welcome. Hey now, you might have heard his voice before from some producer notes or other things, but Andrew has been behind the camera and the microphones for every single episode of Thing Fresh. Right? I’ve been here. Right? Yep. Right. Our predictions episode. Oh, yeah. That’s right. So I don’t remember. Oh, wait. Oh, what was it? It was AI video.

00;01;43;20 – 00;01;44;21
Unknown
That

00;01;44;24 – 00;01;53;08
Unknown
right? Yeah. Discernment. But my prediction was that there was going to be a fully featured AI like movie created at some point in this

00;01;53;10 – 00;01;55;28
Unknown
well.

00;01;56;01 – 00;02;15;12
Unknown
Well, Andrew, thank you for officially joining us for your first full episode of Think Fresh. This side of the cameras in the microphone. Yeah, thanks for having me, guys. It’s it’s really cool to be on this side. I it’s funny, I like, set up everything today. And I spent extra time on my angle to make sure I had a really good side today.

00;02;15;13 – 00;02;17;17
Unknown
Yeah, it’s it’s weird

00;02;17;20 – 00;02;20;00
Unknown
So Andrew got a little sun, got some tan.

00;02;20;02 – 00;02;21;11
Unknown
You were just on vacation, right?

00;02;21;11 – 00;02;39;16
Unknown
Yeah. Becca and I went to Oregon, and it’s the second time I’ve been to Oregon. But it’s the first time Becca’s been. And I was really excited for her to go because I love Pine Forest. That’s like my. I don’t know, it’s like my. Yeah, I there. Yeah, yeah, there’s just something about them.

00;02;39;16 – 00;02;44;18
Unknown
They’re just magical. You like, walk through them. It’s just there’s like a mysteriousness to them.

00;02;44;23 – 00;02;50;23
Unknown
I just, I love them. The place where it’s the scenery from The Goonies. Like the rocks and the Astoria. Yeah.

00;02;50;23 – 00;02;56;17
Unknown
So we went to Astoria, and we actually got to go see The Goonies house. So I have a photo of the Goonies house.

00;02;56;17 – 00;03;01;27
Unknown
You can you can walk up and, like, take photos of it, and it looks literally the same.

00;03;01;29 – 00;03;18;28
Unknown
I would I did not know that was in Oregon. The Goonies is one of my favorite movies. My sisters used to make me do the Truffle Shuffle. Oh, when I was younger, I was kind of mean. I will not be doing it on the podcast, but if I went there, I would definitely pose on the stump on the other side of the fence and take a picture during the trial.

00;03;19;04 – 00;03;28;22
Unknown
I was so excited to show that movie to my kids, and they were probably still a little too young for it, but I thought they could handle it. Except I do. You know what the first word in that movie is?

00;03;28;24 – 00;03;33;13
Unknown
Shit. Oh, man. You know, Anna’s pride spray eight. And

00;03;33;16 – 00;03;35;09
Unknown
Doug just looked at me and he’s like, nice.

00;03;35;09 – 00;03;36;10
Unknown
So yeah,

00;03;36;13 – 00;03;38;23
Unknown
I got clueless because I thought I heard this

00;03;38;23 – 00;03;52;12
Unknown
I just checked it and it is correct. They are currently in development of The Goonies to using portions of the original cast as parents. I don’t know. I don’t like it. I’m on board, I, I aggressively I’m here for it. I don’t know,

00;03;52;14 – 00;03;54;13
Unknown
I will say like Top Gun.

00;03;54;14 – 00;04;05;11
Unknown
The second one was delightfully cheesy and corny and did like hit all the right notes. So maybe. But I just feel like we’re just out of ideas. Oh yeah. Yeah,

00;04;05;18 – 00;04;13;14
Unknown
And that it’ll be very similar. It’s like, oh, they’re being evicted or they can’t live in their current apartment or something. It’s like they’re just going to recreate it and do the exact

00;04;13;14 – 00;04;17;22
Unknown
same thing without some of the more problematic aspects of that.

00;04;17;25 – 00;04;19;24
Unknown
Yes, yes. Just cut those out.

00;04;19;26 – 00;04;37;06
Unknown
Well, we talked about nostalgia, and that’s a very common trope right now in in some videos. But Andrew, I want to get right into it. I want to get right into it. Let’s do it. When when we’re talking about video, as an account manager here, it’s like, oh, yeah, we just need a camera and we can show up.

00;04;37;07 – 00;04;47;09
Unknown
That’s you’ve trained us over the past 15, ten years of us working together. That is not how it how it works. Can you talk through Dino’s process for creating a video a little bit more?

00;04;47;09 – 00;04;56;03
Unknown
Yeah, absolutely. And this kind of stems from back when I was in college. It was something I learned. And it’s it’s something called the Train.

00;04;56;03 – 00;04;59;26
Unknown
And it’s not an actual like choo choo train, but it’s, it’s a,

00;04;59;28 – 00;05;09;05
Unknown
I like to use metaphors. The last time I was on this show, I used a food metaphor. I think it just helps explain things. And the train is this whole concept about

00;05;09;07 – 00;05;28;02
Unknown
a narrative. It’s the the driving force behind what your story is. So I’m going to kind of play off of that a little bit and kind of add more cars as we go and explain kind of the process, because like you said, the video processes, it’s a little scary.

00;05;28;08 – 00;05;38;08
Unknown
You can. It’s there’s a lot to it. And if you don’t do it all correctly then you can kind of get derailed essentially.

00;05;38;11 – 00;05;50;24
Unknown
And you are then there with the client or with the talent and you’re trying to you make it all. You always make it all work, but you don’t want to have to be solving all of those things on the fly.

00;05;50;24 – 00;05;54;20
Unknown
You want to be able to preplan you want to be efficient with everyone’s time, their dollars,

00;05;54;20 – 00;06;00;12
Unknown
because some things will go wrong. Like, you need to be focused on that when it happens, not whether you didn’t plan for

00;06;00;17 – 00;06;07;23
Unknown
something. Yeah, that’s something I think there’s always going to be something that goes wrong because there’s just so many moving components to video production.

00;06;07;26 – 00;06;22;04
Unknown
we’ve learned here that you just have to like go with the flow. That’s just something that we we’ve learned to kind of accept. And I think that no matter what size production you have, it’s going to just that’s how you have to have to look at it.

00;06;22;06 – 00;06;27;19
Unknown
So even those smaller scale social content videos still it’s a train.

00;06;27;26 – 00;06;29;21
Unknown
Yeah. Yeah. It’s it’s all like

00;06;29;23 – 00;06;38;07
Unknown
you can all you can bring everything back to this. What we’re going to explain today, it all kind of like works no matter how big. And

00;06;38;10 – 00;06;46;23
Unknown
I think it’s better to start small scale and then go bigger with it because it’ll work at all levels of production.

00;06;47;01 – 00;06;53;11
Unknown
and you mentioned the the train is a metaphor for the narrative.

00;06;53;14 – 00;07;01;06
Unknown
How do you determine like what the narrative is, especially when people are trying to cram as much as they possibly can into one video?

00;07;01;06 – 00;07;15;18
Unknown
Yeah, I was thinking about this earlier today. I think it boils down to usually when we go into a project, we kind of have an idea of the narrative, like the client has an idea of what they want to say or what direction they want to go with.

00;07;15;20 – 00;07;22;23
Unknown
But I think the narrative, when you boil it down, it’s the most simplest way to explain what you’re trying to explain

00;07;22;26 – 00;07;30;17
Unknown
if you have that simple narrative, it doesn’t matter what you throw at it. As long as it goes back to that same narrative, then it’s all going to work.

00;07;30;17 – 00;07;42;10
Unknown
So you just have to make sure that all of the components that you’re throwing at it, like if you’ve got 2 or 3 extra stories, you just have to make sure that those 2 or 3 extra stories are coming back to that original

00;07;42;13 – 00;07;46;29
Unknown
narrative. Then you’ve got the basis for your next 2 or 3 videos. Exactly, exactly.

00;07;47;00 – 00;08;10;22
Unknown
And I think you know you talk about you you you’ve trained us over the years to, to do the pre-planning that’s needed for video. We have, I think, in many cases, trained our clients to think long term in these aspects. And when they want to have 2 or 3 differing narratives in a video, for us to be able to say, look, you should always be building a video library, right?

00;08;10;25 – 00;08;34;25
Unknown
Those are all valid narratives. But if you put more than one narrative in a video, you are absolutely going to lose the thread or derail. Yeah, yeah, your metaphor and I think most people understand that now video used to be a video is still an investment, but at one point in time video was not. It was something that you maybe got to do once in a great while.

00;08;34;27 – 00;08;49;22
Unknown
It took a lot. You had to hire, you often had to fly in crews. And I think that most people understand now that it needs to be a regular part of their storytelling as a, as a business or an organization or a community, and that you can’t do it all in one video.

00;08;49;25 – 00;08;59;13
Unknown
Yeah, absolutely. And I think both Annie and I and our other video producer have we kind of think about these types of things on the fly.

00;08;59;14 – 00;09;21;06
Unknown
So a good we were on a shoot yesterday with a client and we’re compiling a bunch of footage and they kept kind of like throwing a bunch of stuff at us and we’re like, okay, that would make a really good series. This would make a good series and this would make a good series. So it’s just kind of training your, your brain to just think about what’s the narrative and what do we want to say.

00;09;21;07 – 00;09;31;29
Unknown
And exactly like you said, if you throw way too many things at it, then the audience is going to be like, what am I? Watching? What am I looking at? Exactly, exactly.

00;09;32;03 – 00;09;39;27
Unknown
So you’re saying when we were trained to do this, you realize you don’t have to take everything from that shoot and put it in one video? No.

00;09;39;29 – 00;09;44;27
Unknown
So then you can have multiple narratives, multiple potential campaigns for this one piece.

00;09;44;27 – 00;10;05;12
Unknown
Exactly. And I think that that also helps the client because then they see the the value in having a video shoot where we can compile multiple different things in one like session. And now we have like this library built up, and now we’ve got like months of stuff that we can like use.

00;10;05;14 – 00;10;12;00
Unknown
What if you don’t have the narrative? What if you don’t have the the, the locomotive of the train

00;10;12;02 – 00;10;14;14
Unknown
you derail? Yeah. I

00;10;14;15 – 00;10;29;12
Unknown
mean, simply put, I don’t think we’d start a project with a client if we didn’t know what they what their end goal was. I think it can be very obvious when you see some of the more amateur video out there, even some of the creators and video out there can be a little unfocused.

00;10;29;12 – 00;10;38;25
Unknown
And I don’t mean the camera focus. I mean the, the the narrative is unfocused and it’s lose interest really quickly because you can’t follow it.

00;10;39;00 – 00;10;45;14
Unknown
Yeah, exactly. Oh, that’s a pretty shot. Or that’s a, that’s a cool that’s a cool shot. But then you’re like, what? What did I just want.

00;10;45;17 – 00;10;50;09
Unknown
Yeah. Without a narrative you’re your video is a bunch of really pretty shots.

00;10;50;11 – 00;10;56;26
Unknown
Like you said. But with a narrative you have meaning and people will remember what they’re watching.

00;10;56;28 – 00;11;03;08
Unknown
In the industry they call that the big idea. Right. Your narrative, the big idea of the campaign or of your of your video.

00;11;03;11 – 00;11;14;02
Unknown
So you’ve got the big idea that is your narrative. What are the next steps to make sure that everything goes smoothly day up. Like we’re still talking planning, right? We’re not to the point of going to the shoot yet.

00;11;14;04 – 00;11;19;04
Unknown
Exactly. Yeah. You need you need a couple more steps in there before before you get to the to the shoot.

00;11;19;04 – 00;11;22;22
Unknown
And the next step I like to call. We’re going to call the

00;11;22;24 – 00;11;40;17
Unknown
the coal car or this is your pre-production phase. And pre-production has a lot of stuff in it. You’ve got you know this is where the you take the narrative that you’ve you’ve created, usually from our writers, we take that narrative and now we’re going to actually bring visuals to it.

00;11;40;18 – 00;11;59;15
Unknown
We’re going to storyboard it out. We’re going to sit down and talk about how do we want the camera to look in this scene, to this, to the next scene? What camera lenses are we going to use? What lighting are we going to use? What? I usually make a lighting diagram. There’s all these components that you figure out in this stage.

00;11;59;15 – 00;12;06;05
Unknown
And it’s extremely essential because this will set you up for the next stage.

00;12;06;07 – 00;12;15;19
Unknown
What’s a lightning diagram. So I ever seen one of those or is that something that the video team uses themselves. I’m like, I don’t know if I’ve seen a lighting diagram from the Am standpoint.

00;12;15;21 – 00;12;19;14
Unknown
Yeah. It’s a it’s a cool feature we use. They’re called aperture lights.

00;12;19;14 – 00;12;41;00
Unknown
And there’s an app that you can use with them. And you can essentially put together like a little diagram. And it has little like icons and stuff. So I can take this scene right here. I’ve put a lighting diagram together for this scene. And I can put where the camera placement is. And I like to do those because it just makes it easier.

00;12;41;01 – 00;12;47;28
Unknown
Day of for the people who aren’t in my mind. So it gets the things out of my head onto paper.

00;12;47;29 – 00;12;58;22
Unknown
So they can see it and they can be like, okay, so this light needs to go over here. This camera needs to be set up here. This camera needs to have this lens on it. We need the actors here here and here.

00;12;58;22 – 00;13;01;01
Unknown
We need fill over here

00;13;01;02 – 00;13;16;22
Unknown
blah blah blah. Whatever it is you can add. And they’re really they just basically just give you a diagram of the scene. So then you’re not like so then I don’t have to like tell everybody, okay, I want the camera over there. I want it just basically gives everybody a visual indication of how I want things set

00;13;16;29 – 00;13;17;06
Unknown
up.

00;13;17;06 – 00;13;30;11
Unknown
More of that pre-planning. So you don’t have to be doing it live day out. You can go in prepared. Yes. You can repeat this like this is we have a similar lighting setup for every one of our episodes. And that brings some continuity to the to the video.

00;13;30;16 – 00;13;36;17
Unknown
Yeah, I literally have a document with all of the camera settings for all three cameras that we’re shooting with,

00;13;36;17 – 00;13;40;02
Unknown
the settings for the light and the mix.

00;13;40;02 – 00;13;57;28
Unknown
So if I’m gone, Annie can be like, do do do do do, set it up, set it up, set it up, and we’re good to go. So it just makes things, like you said, very repeatable. And it’s just. Yeah. Then I don’t have to remember. What settings did I use on the last podcast.

00;13;58;01 – 00;14;05;00
Unknown
Right, right. And the I don’t know if you mentioned this, but this is where scouting also comes into play, right?

00;14;05;01 – 00;14;13;29
Unknown
Yeah. Scouting is a huge component, especially when you get in bigger productions, like if you’re going to somebody’s house or you’re going to a building or whatever it is,

00;14;14;05 – 00;14;23;09
Unknown
and you need to set up for interviews or scenes, you need to know what the lighting is going to be like, what the conditions are in there. Can I turn the lights off?

00;14;23;09 – 00;14;55;02
Unknown
Where are the plugs? What is going to be in the scene so I can ask them, hey, that like trashcan over there? Can I move that out of the scene day of or that like coke machine around the corner is making a bunch of racket. Can we unplug that for a couple hours? So this this is where you can kind of go in and make a huge list of potential failures before they fail, and it just helps out a lot with day of the shoot, because like Jen had mentioned earlier, you’re going to deal with hiccups.

00;14;55;02 – 00;14;56;09
Unknown
Someone’s going to go wrong.

00;14;56;09 – 00;15;09;17
Unknown
So speaking of day of event failures, there’s probably going to be some buzzing in the background of this because we work in a 100 plus year old building and something is going on with Wise in the basement that is pretty noisy right now.

00;15;09;17 – 00;15;20;22
Unknown
So, you know, that’s just something we deal with. But like when you think about like day of event failures that you couldn’t account for or couldn’t plan for, what’s one of your best stories?

00;15;20;22 – 00;15;27;11
Unknown
So this was a huge one and it could have actually ruined the entire day. Shoot, you were actually on it and Annie was on it.

00;15;27;12 – 00;15;35;29
Unknown
It was it was the We Are Waterloo series. When we went over to Waterloo and we were shooting at a place called Basil Pizza

00;15;36;02 – 00;15;54;18
Unknown
and the entire blocks, electricity went out. You can’t account for that, right? Luckily, the lights that we had had battery power, so we were able to continue shooting because we had rented these lights. And I was like, there might be something that would be like just a good thing to have.

00;15;54;20 – 00;16;07;03
Unknown
I was just kind of like pre thinking about things. I’m like, hey, I might be in situations where we need a battery power. And it came in clutch because the power didn’t come on until we got literally done with that shoot.

00;16;07;09 – 00;16;25;04
Unknown
This is why we had to buy a van for all our video equipment, because we were. It was taking 2 or 3 cars to get all the equipment and the people needed to these things because of that, because we have to think about battery packs, because we have to bring stands, because we can’t assume that things are going to go as planned.

00;16;25;06 – 00;16;28;27
Unknown
Yeah, it’s backups for your backups is kind of my like,

00;16;29;02 – 00;16;47;07
Unknown
train of thought. When I go into a shoot where I’m not in the office because what I’m here, it’s like, oh, we can just go into the studio and grab another battery. But when you’re in Dubuque or Des Moines or wherever it may be, you can’t just be like, oh, man, run to the hardware store, grab me a, you know, a Sony camera battery.

00;16;47;07 – 00;16;48;27
Unknown
They don’t make them, right. Yeah.

00;16;49;03 – 00;17;02;23
Unknown
And that’s why that that’s all part of the pre-planning, right? Yes. Got a lot of gear and you have to know which gear to bring. It’s like oh this lens has to match this camera. All of these pieces, this light has to match this. I have to have the battery packs. There’s so many pieces that go into.

00;17;02;25 – 00;17;12;11
Unknown
Yeah. And that and that really like is the the fuel for bringing the story together. I think it’s kind of like the, the hidden thing.

00;17;12;13 – 00;17;26;17
Unknown
So we’ve got checklists for all of our gear, our, our our screens, our cameras, all of that. That’s the technical side. But from the stylistic side, the actual video and the artistry of it. How do you plan for all of that?

00;17;26;19 – 00;17;30;03
Unknown
That’s a lot to do in the storyboarding as well.

00;17;30;04 – 00;17;39;10
Unknown
I think we it kind of goes hand in hand almost. There’s, there’s the, the technical side where you have to know all the settings that you’re going to use for a camera,

00;17;39;13 – 00;17;52;19
Unknown
but then that artistic side comes out in when you storyboard things. So how are you going to bring visuals and life to your narrative? And this is where you kind of a storyboards, almost like a visual playground.

00;17;52;20 – 00;18;12;15
Unknown
You get to test things out and see, you know what? What would look cool? What transition would look cool here? What new camera angle can we introduce into this to make it not normal, but like a unique angle or perspective that the viewer isn’t like used to seeing. So that that storyboard area is kind of where you’re bringing in that like creativity.

00;18;12;15 – 00;18;34;07
Unknown
But then a lot of it also just happens day of like there’s inspiration that just happens when you’re out there in the field and sometimes annual be like, well, what if we do it like this? And I’m like, oh, we can do it like that. Let’s do it. And that’s that’s also the fun part is you, you do all this like immense pre-planning to make this production happen.

00;18;34;07 – 00;18;56;28
Unknown
And then the fun part is when you get there day of and then even more inspiration hits. So there is a balance though. But you need to have that like technical side nailed down so you know what you’re shooting and how to shoot it correctly, proper exposure, yada yada yada. But then if you’ve got that nailed down, that’s gives more space for being

00;18;57;04 – 00;18;57;22
Unknown
creative.

00;18;57;23 – 00;19;14;24
Unknown
Yeah, because if you didn’t plan for all of it, if you if you weren’t ready with everything else, you wouldn’t have the time to then get those bonus shots or those bonus creative angles and all of that. Yeah, you’d be running around figuring out like, oh, how do I, how do I, what’s the setting I need for this or what’s the whatever it is completely off the rails.

00;19;14;25 – 00;19;33;29
Unknown
Yeah, completely off the rails. Can you think of. So we talked about the best day of failures. Are there any pieces like that where you got that special shot? I have one that I can think of, but I want you to go first. Yeah. I think and this was just a happenstance. I didn’t know I wanted this moment until the moment was happening.

00;19;34;02 – 00;19;54;19
Unknown
And we were in Dyersville and we got to shoot with the ghost players at the Field of Dreams. And I’ve seen that movie and I’ve seen them coming out of the corn, and I got to go be a ghost player and come out of the corn with him. I and actually come out of the corn because they wouldn’t let me.

00;19;54;19 – 00;20;15;23
Unknown
But I got to go be in the corn with them and be a part of that moment. And I was just like, oh my gosh, I literally had goose bumps. It was the coolest moment because I’m like, I was like recreating movie scenes in my head. Day of it was like the I don’t know, it was such a fun day of filming because it like, wasn’t work to me.

00;20;15;23 – 00;20;27;15
Unknown
I was just like, oh, what’s that one scene? I can recreate that and go and do this. So that was like one of the more special moments that I’ve had probably in the field. And being able to do this job is, is, is doing

00;20;27;17 – 00;20;31;27
Unknown
you got to experience all of the all the wonders of being a ghost player.

00;20;31;28 – 00;20;52;26
Unknown
Yep. Mine was this was a decade ago in Indian Creek Nature Center. Shoot. We were talking. We were there. They were talking about their preschool, I think, and there was a teacher playing with the kids, and they were in like the butterfly garden or near it. And all of a sudden the butterfly just comes up and lands on someone’s finger.

00;20;52;27 – 00;21;15;25
Unknown
Yeah. That was that was that was insane. I wish I’d been there for it. It’s it’s those little moments. If you’re prepared, you have all your stuff. The creativity just kind of flows and happens because you’ve got your, your settings nailed in. You know the narrative, you know what you’re there to get. And then you can just show up, dev and be creative.

00;21;15;27 – 00;21;25;28
Unknown
Keep the camera roll. Yeah. Keep the camera rolling all the time because you never know what you’ll get. And sometimes when people don’t think about the camera rolling, they’re a lot more natural.

00;21;26;01 – 00;21;47;10
Unknown
Yeah. And that’s that’s an art form in itself is getting people comfortable on camera and kind of being a ninja with the camera. In a sense, it’s kind of hard, but when you can be that fly on the wall, like you said, you get those like really unique moments that really bring out the like heart of what you’re trying to tell.

00;21;47;12 – 00;22;11;08
Unknown
I think one of our the biggest challenges when you’re interviewing people is, you know, they see that camera and they just kind of freeze up. They could be the most polished public speaker. And that camera just three come out. I mean, I kind of like I’m just not thinking about what’s the there I’ve adjusted. But like, I just it’s really hard when you’re being interviewed to speak coherently and.

00;22;11;10 – 00;22;12;18
Unknown
Yeah. And

00;22;12;20 – 00;22;22;24
Unknown
we’re kind of intimidating. I’m not going to lie. We bring a lot of equipment. There’s a lot of big sayings there because they’re probably used to most people are used to like phones.

00;22;22;26 – 00;22;25;11
Unknown
There’s a light in your face like it’s a Spanish. Yeah,

00;22;25;14 – 00;22;29;21
Unknown
yeah. And there’s, there’s a ton of stuff. There’s like a microphone over top of you.

00;22;29;25 – 00;22;43;23
Unknown
There’s like a multiple people there. And you know, the, the, the funniest look is when some somebody comes in and they’re just like, oh my gosh. Oh yeah. They’re like, I didn’t realize it was this big of a production.

00;22;43;25 – 00;22;48;27
Unknown
You know we go cinematic for a lot of things. Yeah, we bring it in. But I think that’s one of the benefits.

00;22;48;27 – 00;23;01;20
Unknown
I think you had mentioned Andrew or Jen. You said it. Keep shooting. Keep shooting. If you’re there saying cut, if Annie’s back here yelling cut at us every single time we have to rerecord something that would freak me out. That would make me very nervous.

00;23;01;20 – 00;23;04;13
Unknown
So I think I started doing that now. I think

00;23;04;13 – 00;23;05;18
Unknown
that’s that’s part of it.

00;23;05;18 – 00;23;16;05
Unknown
I think that part of being comfortable with it is getting used to it. Then you can realize like, oh, they’re just cameras. It really is a phone essentially, like don’t, don’t overthink it.

00;23;16;08 – 00;23;23;10
Unknown
And from being at so many shoots with with our video team, you guys do a great job of trying to, like you said, be a ninja.

00;23;23;10 – 00;23;31;04
Unknown
And she’s interviewing. She makes him feel very comfortable right away. And I think that that’s a skill set that you just develop over the years and you can’t just get.

00;23;31;07 – 00;23;50;04
Unknown
So, Andrew, we talked about all the planning, all the pieces that go into it. Now it’s day of right. It’s production. It’s happening. What? Talk through that car, if you will. A production car? Yeah. The the day of. If you’ve done all your pre-planning, you’ve you’ve got your narrative locked down and you’ve got your, your location scouted, all

00;23;50;06 – 00;23;54;14
Unknown
your gear packed up and ready to go, production should just kind of come together.

00;23;54;14 – 00;24;08;02
Unknown
And, you know, we’ve been kind of talking about it. It just that’s when you can get those really cool moments that really bring out that narrative that you’re looking for, and those special times where you can’t plan for

00;24;08;06 – 00;24;18;05
Unknown
always be shooting when you’re all, yeah, I don’t always keep the camera recording, but there’s a lot of footage that comes back I can only imagine, and you have to the other side.

00;24;18;06 – 00;24;27;29
Unknown
If you keep cutting, you have to remember to turn it back on, and you don’t want to just be like, oh, I wasn’t recording for that. Has that ever happened to you?

00;24;28;02 – 00;24;31;11
Unknown
Yes.

00;24;31;13 – 00;24;43;05
Unknown
To everybody. Yes, it’s happened to me. Yes. I’m not perfect, but yes, it’s happened to me. I think it happens to everybody. It’s just it’s one of those things you get in the moment

00;24;43;08 – 00;24;56;13
Unknown
and you’re thinking about so many things. You get really excited. And sometimes I’ll have hit record before something and then I’ll hit it again thinking that I’m hitting record, and then I go to do it.

00;24;56;13 – 00;25;09;03
Unknown
And I didn’t get it, but I’m usually pretty quick on catching it up. Cameras nowadays have a lot of like indicators, like red lights around the screen. So it’s like, hey, you’re not recording.

00;25;09;05 – 00;25;17;29
Unknown
So yes, it’s happened to me, but really great tape. We’re gonna do it again. Yes, one more time. That’s actually one of the tricks I use.

00;25;18;01 – 00;25;34;14
Unknown
Yeah, I heard you say it. Yeah. It’s not it’s not always because I’ve, like, not gotten a shot. It’s it’s more because like, oh we just we like to get multiple takes. Yeah. Now we know code. Yeah. So this is like where everything starts to physically take their shape.

00;25;34;14 – 00;25;38;07
Unknown
So we’ve got we’re actually getting the we’re getting the footage.

00;25;38;09 – 00;25;42;14
Unknown
Then what comes after that. Like what are all the steps that go into I guess that’s that’s post-production.

00;25;42;18 – 00;26;09;18
Unknown
Yeah. Then it’s your, your post-production car. You’re now you’ve, you’ve gone out and you’ve collected all of the items that you need to create this story. And now it’s time to bring it in and actually piece it together. And this is kind of where the magic kind of happens is in the editing, because you’re going to be adding, you know, visual effects, sound effects, music, your voiceover, your color correcting, which is one of my favorites.

00;26;09;18 – 00;26;39;24
Unknown
And then any or other video producers great at piecing together the actual story, because when we go and get an interview, it’s going to be, you know, an hour or two hours long. So you have to kind of cut that up and piece it together and take things out that are actually needed for your narrative. So you can kind of see how these cars are stacking up, and you just have to keep going back to that narrative and making sure that when you’re all the way down here in post-production, you’re still balancing that out.

00;26;39;26 – 00;26;53;06
Unknown
And all of these pieces, all the preplanning it, it makes it, I would assume it makes it easier to get that base right of, of the video, but then you get to add in all of the other bonuses, all the magical shots you didn’t plan for.

00;26;53;09 – 00;27;09;20
Unknown
Exactly. Yeah, yeah. If you if you’ve done your if you’ve done your, your work in the, in the previous stages, then post-production should kind of just come together because you have all your components now you just have to like place them in order.

00;27;09;22 – 00;27;20;17
Unknown
There is definitely it’s not that easy. I don’t I don’t want to make it sound like it’s. Yeah, it’s I don’t want to make it sound super simple because there is an incredible art form to it.

00;27;20;24 – 00;27;28;29
Unknown
where you can really have a fun, fun time playing with all the visual effects and adding in the extra components to really bring something to life.

00;27;29;01 – 00;27;50;03
Unknown
And there have been situations where unfortunately, if you don’t have the footage, you can’t, you can’t use footage you don’t have. That’s why it’s great that we get so much when we’re there. But also, I’ve seen some amazing shots that Andy pulls in, like some historic artifacts, some old photography, things like that. That’s those magical pieces that of course you plan for it.

00;27;50;03 – 00;27;55;17
Unknown
But once they’re talking about something, once the talent is talking about, it’s like, oh, what else can we get?

00;27;55;20 – 00;28;08;20
Unknown
Yeah, it’s a great opportunity to take the camera off the person for a moment to. It’s just from a visual standpoint of not only providing context and maybe history, but also kind of giving that visual break to people.

00;28;08;25 – 00;28;09;00
Unknown
Yeah.

00;28;09;01 – 00;28;25;04
Unknown
And that’s another like area where you not necessarily plan for those things. Sometimes it just comes to you during an edit, like you have this storyboard all pieced out and you’re like, okay, this is how we’re going to do it. But then you get in the editing bay and

00;28;25;04 – 00;28;36;27
Unknown
maybe something doesn’t quite work, or you just need another component, like you said, like some, some history thing that like shows some component that the person on screen is talking about.

00;28;36;28 – 00;28;49;20
Unknown
So there’s if you this kind of gets back to the technical side, like if you’ve got your technical nailed down, then you can kind of be creative with it. So that’s, you know, again, it kind of comes when you’re in the edit.

00;28;49;22 – 00;29;04;07
Unknown
So Andrew, we talked about all of this planning, all of these pieces that go into it. And something that I’ve been seeing more of from the standpoint is us getting not just photo behind the scenes, but also some video behind the scenes. Yeah, you have to plan for all of that, right?

00;29;04;08 – 00;29;16;10
Unknown
Or do you plan for all of that or is that where we’re just there getting getting what we can get? Of course we plan for it. What are you talking about? Well, moving right along. We added a new

00;29;16;10 – 00;29;25;10
Unknown
cart to the train. We call it the caboose. And this is our. We’ve recently been doing this where we’ve had what’s called TTS.

00;29;25;11 – 00;29;26;20
Unknown
So behind the scenes.

00;29;26;22 – 00;29;44;19
Unknown
We’ve been messing around with showcasing our process during the day of. And we do plan for this on larger shoots, sometimes on smaller shoots. We’ll at will bring somebody else to show the behind the scenes of behind the scenes, if that makes sense, because

00;29;44;21 – 00;30;09;29
Unknown
there is so many components that go into this. Some of the setups are super elaborate, and it’s just it gives the viewers and our team a really cool insight into how video production works, because you have multiple cameras with multiple lights and there’s cool rigs sometimes that we build out, we I, I like to tout my own my own horn here because I built a cool rig with a box and

00;30;09;29 – 00;30;13;02
Unknown
did like a up through a bag shot.

00;30;13;04 – 00;30;35;02
Unknown
And you know. Yeah. And like, we know that we were going to do that behind the scenes video when you. We did. We planned to do. I because I built this rig and I was like, this would be a fun one to do. Yeah. Shout out a new video. This would be because you see these shots and my mind immediately goes to, well, how do they do that?

00;30;35;08 – 00;30;47;06
Unknown
So I’ve we’ve been messing around with a lot of this, you know, showing how we did that because, you know, it’s sometimes it’s, you know, it’s super simple or sometimes it’s super elaborate. Yeah. And

00;30;47;08 – 00;30;56;06
Unknown
like we said that this could be video for de novo, but also this gives us the opportunity to create additional content, behind the scenes content for our clients when we’re there filming as well.

00;30;56;07 – 00;31;14;05
Unknown
It’s like, hey, your customers, they’re going to see the final product. Yeah, but what if either before you post it, have a teaser about it, or after you post it, have something that says like, this is how we made it, this is how we got the shot. Something, something cool like that, I think is a cool opportunity. Yeah, it’s it’s a great way to follow up.

00;31;14;05 – 00;31;36;23
Unknown
And I think they also like it because they’re not necessarily in the spot themselves. So we can kind of get footage of them day of in the, in the, you know, on set doing certain things. So it gives them kind of a little like in on, you know, hey, I was there, I did this and they, you know, they might brag to their coworkers like you weren’t you weren’t there I was type of thing.

00;31;36;24 – 00;31;37;05
Unknown
You know,

00;31;37;07 – 00;31;40;21
Unknown
That makes me think of I, I go back to this okay, go video.

00;31;40;22 – 00;31;59;15
Unknown
This was 20 years ago, where they’re on the treadmills and they’re doing all of this and it’s one shot. The video itself was amazing, but then they showed a video of how they were doing, like they showed just another angle of the actual camera crew and all of that, doing all of that. Like that’s another huge part that is from from the consumer standpoint, can

00;31;59;17 – 00;32;02;06
Unknown
sometimes be more entertaining than the final product.

00;32;02;06 – 00;32;17;08
Unknown
I hate to say that, but. But it is because it’s sometimes crazy. Yeah. I mean, you you watch the, the final version and you’re like, oh man, that’s really cool. But like I said, your mind kind of goes to, well, how do they do that? And when they come out with these extra components

00;32;17;10 – 00;32;43;14
Unknown
Showcasing how they created this, whatever it was. And it’s like, wow, that’s like, that’s extremely interesting. I like I get I love it. I know our our producer Andy likes it too, because we as video producers are always trying to figure out new ways to like, create things. And it gives us ideas on how to like, you know, rig up a different camera or light something differently or, you know, whatever it may be.

00;32;43;16 – 00;32;53;18
Unknown
I love a good like DIY rig on something, you know, like, and I think we’ve talked about this, I don’t even know if it’s still a channel out there, but shitty rigs?

00;32;53;20 – 00;33;02;01
Unknown
Oh yeah. There’s just crazy things that people have duct taped together to get a shot of something and how bad it looks when you look at it behind the scene. It’s it’s great.

00;33;02;03 – 00;33;11;02
Unknown
I think that’s kind of the coolest thing is you, you see the chaos that is outside of the scene, and then you also get to see the actual scene.

00;33;11;02 – 00;33;30;16
Unknown
On what that chaos is creating. Cords everywhere. Oh yeah. So yeah, it’s maximizing your content, right? That’s another video that you can get out of because sometimes video shoots are are expensive. Yeah, absolutely. Of equipment, time, people on set. And if you can maximize your content in your time. Heck yeah. Why not.

00;33;30;19 – 00;33;34;20
Unknown
Yeah. And I think people are kind of craving for that content right now.

00;33;34;23 – 00;33;36;29
Unknown
You know, I think they they want to see

00;33;36;29 – 00;33;50;08
Unknown
that there’s people behind what they’re watching and being able to showcase. That is, I think, an extra level of trust that you bring almost to your audience

00;33;50;11 – 00;33;57;18
Unknown
it’s authenticity. We talk about authenticity on this podcast. And now, especially with video being AI created,

00;33;57;22 – 00;33;58;23
Unknown
is that the next step?

00;33;58;23 – 00;34;03;28
Unknown
Is AI going to start creating behind the scenes of AI videos? That would be

00;34;04;06 – 00;34;10;20
Unknown
the beauty of AI. I don’t think is going to be very unique, because it’s just somebody sitting at a computer, right,

00;34;10;27 – 00;34;23;19
Unknown
so Andrew that that really we’re talking about the caboose. Right. But at the same time this all is pointing back to our overall narrative and the creativity that goes into all of these pieces. Do you think that the

00;34;23;22 – 00;34;28;14
Unknown
the authenticity and the behind the scenes do speak back to that original narrative?

00;34;28;16 – 00;34;38;11
Unknown
Absolutely. I think it really it kind of brings it full circle, and it kind of shows the audience like we’re real people, we’re creating something.

00;34;38;14 – 00;34;58;12
Unknown
We’re being creative on set. These are all the, the, the issues or the, the humps that we had to overcome to create this thing from nothing. So I think it really brings that like authentic, authentic human side to video production.

00;34;58;12 – 00;35;14;16
Unknown
So at the end of the day, your video is not just going to be one train car, right? It is the full train. There are so many pieces that go into the finished product that you see that you don’t even necessarily realize we’re there. Absolutely. And you can add as many cars as you want.

00;35;14;18 – 00;35;26;24
Unknown
And this whole conversation today makes me think of, well, one particular de novo video that we’ve done recently that we’ve, that we’ve won an award for. So I want to transition this into creative reason. We join us for our Creative Brief

00;35;26;25 – 00;35;36;08
Unknown
section. Absolutely. You’re familiar because you’ve been back here for for all of them. But create a brief is where we dig into

00;35;36;12 – 00;35;43;04
Unknown
an existing marketing campaign, a company, an idea, and we try to glean what insights we can learn from their marketing moves.

00;35;43;07 – 00;35;49;14
Unknown
And Jen, you brought a creative brief last time. Do you have an update on The Goldfinch?

00;35;49;17 – 00;36;00;05
Unknown
Yeah, yeah. So if I’m sure that our listeners are attuned, finally attuned to all of our podcast with it, but in case we have a new listener.

00;36;00;05 – 00;36;06;19
Unknown
goldfish did a promotion in April for Tax Day. And so we all take that snack tax with our kids.

00;36;06;26 – 00;36;28;13
Unknown
Oh, I’ll hand you this bowl of goldfish, but I’m taking a tax of it before I give it to you, fry. So it was always the fry tax in our house. So they came up with a pretty clever promotion where they created a website that on tax day I think it like for 15 for 15 years. Yeah. You could file for a refund on the snack tax.

00;36;28;13 – 00;36;33;02
Unknown
And I think you could get up to two bags of goldfish while supplies last.

00;36;33;05 – 00;36;54;03
Unknown
I think the jury is still out on whether it’s successful or not. And and I think about this and I did a little research. So last month I noted that like it wasn’t I heard it in a really brief mention on NPR, and then I couldn’t really find it anywhere else except for what I call just sort of obscure media outlets, which I thought was interesting.

00;36;54;05 – 00;37;03;17
Unknown
There wasn’t much on the page until, you know, 415 that afternoon, which was I think they were going for not only scarcity, but a little bit of mystery with that.

00;37;03;20 – 00;37;13;18
Unknown
promotion happened. I, I think they ran out of goldfish. Right. Like if that was their goal. So what I’m curious about is was it a successful promotion from that.

00;37;13;18 – 00;37;34;28
Unknown
So looking at it in retrospect, a month later, there’s a whole lot of Instagram videos out there by creators who jumped on it and saw it as a way to potentially, you know, generate some, some views for themselves, be unique, almost still really missing, not even like what I call top level mentioned

00;37;35;01 – 00;37;43;26
Unknown
on media outlets. But, you know, I kind of expected something like the BuzzFeed level or something like that really wasn’t any of that.

00;37;43;26 – 00;38;02;10
Unknown
But I think about like, what were their goals, right? They captured probably a lot of primary information from people who signed up. If they gave their information, and then they had like a quick on your tax return fund asking you about your snacking habits. So they probably got a little insight from that. This they’re owned by Campbell Soup Company.

00;38;02;11 – 00;38;23;20
Unknown
I don’t think this is going to rise to the level where they’re going to talk about it in their quarterly earnings report or anything like that, but I think the real test of whether it’s it was successful or not is whether we see it again next year. Yeah. We have all the infrastructure built now. Right. I would say I don’t know if it was their goal for better visibility.

00;38;23;22 – 00;38;26;09
Unknown
I don’t think that they got that. Maybe the

00;38;26;17 – 00;38;41;10
Unknown
true visibility that they need. Outside of our many listeners on this podcast, I’ve heard about it, but I still give it an absolute A+ for creativity like that. That was great. I hope they do it again next year, and I hope we hear a little bit more about it.

00;38;41;16 – 00;38;46;10
Unknown
be curious to see if they put how much money they put forward to like the campaign.

00;38;46;15 – 00;38;52;02
Unknown
Like, I don’t know if there was like a whole campaign because I didn’t know about it until we talked about it on the show. We

00;38;52;02 – 00;39;05;19
Unknown
can only see what I call Halo metrics, right? Yeah. You know, there actually is some evidence out there that they had really good website traffic, but it’s really hard to tell. And like I said, like, I don’t think this is going to be on a quarterly earnings call.

00;39;05;19 – 00;39;18;26
Unknown
But we we learned about it. So I thought it was really interesting. And you know, if they want to sponsor us for more visibility I mean that could be also, you know like that energy drinks I’m ready to get in bed with big energy drink or something.

00;39;18;28 – 00;39;22;18
Unknown
You heard it here. Jen loves energy. Big energy. Reach out. Yeah.

00;39;22;20 – 00;39;24;15
Unknown
Big energy drinks,

00;39;24;17 – 00;39;32;14
Unknown
girl. I’ve had enough of that that I met blinking anymore. But, yeah, I’m. I’m curious if they do it again next year.

00;39;32;14 – 00;39;44;12
Unknown
Yeah, admittedly, I did buy a bag of goldfish. I did last time I got Burger King. This time I got not goldfish, the cheddar one. I got the pretzel goldfish. Love those. So it worked on at least one

00;39;44;12 – 00;39;44;22
Unknown
person.

00;39;44;24 – 00;39;51;04
Unknown
You are a victim of marketing. Oh, definitely. All the time. Definitely. Very easily. Impression. So successful.

00;39;51;06 – 00;40;06;18
Unknown
A successful campaign when it comes to the goldfish. But many of you, all of you watching right now. And if you’re not watching, remember, you can watch this wherever you watch your favorite podcast are curious, what is this box that Ryan has had next to him?

00;40;06;18 – 00;40;08;16
Unknown
The entire podcast? What’s in the box?

00;40;08;16 – 00;40;09;23
Unknown
What’s in the box?

00;40;09;26 – 00;40;12;17
Unknown
What was he found? What would he say? I don’t know.

00;40;12;17 – 00;40;29;18
Unknown
you. I was gonna say Blue’s Clues also. They probably said that there. Yeah, well, I just figured out. So for today’s creative brief, our new creative brief, I want to chat about a recent award winning video project that De Novo had. And

00;40;29;21 – 00;40;38;13
Unknown
look at that. We’ve got some hardware for this one. We partnered with our friends at Frontier Co-op to create a video highlighting one of their hiring programs.

00;40;38;13 – 00;40;47;27
Unknown
This one was called Second Chance Hiring, and for this, we didn’t want that traditional video, right. And actually, can we pull it up?

00;40;48;00 – 00;40;58;15
Unknown
Oh my gosh. Like magic technology I love it. And I’m actually going to sneak out of frame. So we do have a case study on the Genova website that talks a little bit more about this project.

00;40;58;15 – 00;41;16;25
Unknown
But also you can watch the longer form video there as well. We’ll put it in the show notes, but it is a great opportunity where we can talk a little bit more about the narrative side of all of these pieces, right? Because it wasn’t just hit these points and be done with it. We had the opportunity to go and actually

00;41;17;00 – 00;41;20;27
Unknown
tell an individual story, but not even tell it.

00;41;20;28 – 00;41;29;06
Unknown
Let her tell it, which I think is the magical part here. It was an opportunity for her to get to share and tell her own story. Yeah,

00;41;29;09 – 00;41;51;25
Unknown
Yeah, I think this is a perfect example of what we’ve been talking about this entire podcast, because it brought all of the components of the train together, and we had to bring all those components together to create this thing. It was a lot of a lot of behind the scenes, a lot of storyboarding, a lot of pre-planning and then day of shooting.

00;41;51;25 – 00;42;04;07
Unknown
And if we didn’t utilize all the things from our quote unquote train, then I don’t know if it would have been as successful as it is. And what. So this was more this was more than just one location.

00;42;04;10 – 00;42;04;23
Unknown
to write.

00;42;04;24 – 00;42;10;10
Unknown
This was we were at the the towns or not town. We were at the employees house at one point. Right.

00;42;10;14 – 00;42;24;12
Unknown
Yeah. We had it was a it was a multiple day shoot. And the it was actually at frontier Co-op. So we, we filmed in their actual like production warehouse area. And then we shot all of the

00;42;24;18 – 00;42;28;09
Unknown
interview stuff in there, like really nice.

00;42;28;11 – 00;42;31;00
Unknown
I think they call it the testing testing house or

00;42;31;00 – 00;42;45;19
Unknown
something. They’re testing kitchen. Yeah, they’re testing kitchen. So it was like a it was like a two day shoot, two full day shoots. And we kind of broke it up between those two days. One day it was all about interviews and then the other the next day it was all about

00;42;45;23 – 00;42;50;07
Unknown
kind of bringing that story together and getting what we call B-roll.

00;42;50;07 – 00;43;04;03
Unknown
And Alicia, who is the the lady here kind of showcasing like what she does, how she how she performs her job. And that all just kind of helps show her story in in this.

00;43;04;10 – 00;43;13;06
Unknown
Yeah. And it’s not I think I mentioned this. It’s not the business telling her story. Right. It’s not frontier telling her story. It is her telling her story.

00;43;13;07 – 00;43;29;19
Unknown
Heard it in the opportunity to talk about her, her second chance with the company. So you’ve got that business goal. But at the end of the day, she is telling her story that relates back to that business school. Yeah. Narrative there that really that relates back to the big idea.

00;43;29;21 – 00;43;36;19
Unknown
And as a major employer, I think it’s really important that they are leading in this second chance hiring program.

00;43;36;21 – 00;43;47;23
Unknown
And I just it’s it’s a gorgeous story. It’s it’s kind of a tear jerker. I assume we’re going to have it in our show notes here. Everybody should watch it. Maybe with a couple

00;43;47;26 – 00;44;02;21
Unknown
tissues. Yeah. Well how cool for the from the clients perspective, 2 to 1 realize that this story is what it is. And then to come to us and be like, hey, we’re trusting you with this baby and we want you to tell it.

00;44;02;21 – 00;44;23;22
Unknown
So that’s another component is, you know, we have to we have to be really careful because we’re telling somebody story. This is their their life, who they are. Yeah. So yeah, for the person whose story it is to and that takes a lot to be willing to do that. And also kudos to the team for making her feel comfortable enough.

00;44;23;23 – 00;44;29;12
Unknown
Yeah I remember the day of when we were we were filming her interview. There was tears crying everywhere

00;44;29;12 – 00;44;45;26
Unknown
because it’s just it’s such a like an emotional tug. It’s, you know, she’s overcoming a ton of stuff. And everybody loves an underdog story. Right? And she’s got like a great underdog story. And now she’s like flourishing. And it’s just it’s you know it’s a beautiful it’s a beautiful story.

00;44;45;26 – 00;45;10;23
Unknown
So what part of the of the caboose is getting a beautiful trophy and winning first place for, for an award. What part of what part of the train is that? Andrew. Maybe we need to add another car to trophies. The trophy car. The trophy. We’re gonna have to add this. I’m looking around. We’re gonna have to update some of our hardware.

00;45;10;25 – 00;45;15;04
Unknown
Yeah, let’s use spots available in the big show. Yeah,

00;45;15;04 – 00;45;21;17
Unknown
Andrew, thank you so much for joining us on today’s episode. How how is being on this side of the cameras in this side of the microphone?

00;45;21;20 – 00;45;30;04
Unknown
I don’t mind it. We’ll see what the final product is. I think I got my face like we got the good side, so I like it. It was it was fun. I always like telling.

00;45;30;07 – 00;45;31;07
Unknown
I always like

00;45;31;13 – 00;45;39;11
Unknown
giving people information and helping people learn because video production is it’s a beast. And, you know, I love I love teaching

00;45;39;13 – 00;45;49;27
Unknown
I love it. You do a great job with it. Well thank you. Thanks for for the whole analogy today. That was helpful. And I hope that I know that our listeners learned something today about video.

00;45;49;27 – 00;45;51;27
Unknown
So thank you so much. Yeah, absolutely.

00;45;51;29 – 00;46;14;03
Unknown
Well, thank you Andrew. And remember, friends, if you are subscribed to this on a podcast app, you could also be checking us out on Spotify to watch the video on YouTube, to watch the video, to see the hardware for yourself. And if you know any aspiring videographers, if your company is curious, or if you know somebody whose company is curious about video, send them this podcast and you would be happy to talk.

00;46;14;04 – 00;46;17;18
Unknown
Thanks for listening.

00;46;17;20 – 00;46;18;28
Unknown
Are we swearing on this or now?