Passion Projects vs Keeping the Lights On (ft. Jukebooth)

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Dario00:25I shall take the reins. Alright guys, welcome to episode 51 of Creatives Grab Coffee. Today we got Sean from Jukebooth with us and he's from Boston. So we're now breaking into Massachusetts. And yeah, happy to have you on Sean.

Kyrill00:28Yeah

Sean Collins00:43Happy to be here. Thanks guys for having me on.

Dario00:47Thank you. So why don't you just tell us a little bit about yourself and your company.

Sean Collins00:51Yeah, yeah, so I got started in the photography world, a little bit different than some of the other people you've had on. I don't have like a film school background at all. I went to college for new media. So kind of everything collectively. And while I was in college, I was looking for an internship. And I had the opportunity to intern at Converse at their headquarters and in their photo studio, which was super cool. So I just wanted to learn everything I could about lighting and sneakers and how to like light just different product. So I did that my junior year and that opened up a world for me of like, this could be a profession. So I started to do more of this photography thing out of school. I shot in some other studios. to more video editing. When I was in high school, I filmed fun videos with my friends, like snowboarding and things like that, but never got really serious about it. And so I got to try new projects and some people gave me some editing. projects here and there to kind of do. And then I started filming my own stuff and really took off and switched over from photo to video. And just saw that the video world just seemed a little more interesting to me. And like, maybe there was more there. Like, photo is still great and I'll do it all the time. But the video aspect seemed like there was so many more opportunities. So that's kind of.

Dario02:23So you learned how to light sneakers, how am I doing with my background? Is it good?

Sean Collins02:26Yeah, looks pretty good, man. Yeah. Yeah, it was cool to learn all that. I mean, there's a lot more that goes into it than people think for sneakers.

Kyrill02:29I was gonna ask

Dario02:38You know what's rare is that a lot of photographers find it hard to switch to video. But I have heard of several video people easily switching into photography. So you might, you're the odd man out basically, because it's pretty rare. Like you don't hear about that. They have a hard time switching to video.

Sean Collins02:50Yeah.

Kyrill02:54Yeah.

Sean Collins02:57Yeah, I'm not sure what it is. I think, I mean, I always loved filming, like I said, like snowboarding films with my friends. And like, I liked how there was like more to put together. Like you weren't just done with the image and like, that was it. Like you could actually change the story or change the way it feels because of the way you put it together. And there's just more to work with, which seemed more fun to me.

Kyrill03:20I mean, you also dabbled in it for a while as well, like just even on the fun side. And I feel like anyone who gets into video usually does it for fun first for a little bit before they make a con. At least that's a lot of the people that I've met, that's how they got into video, was just making videos for fun with friends or for projects or anything like that. And then, you know, once you start making your first few videos, it's like, oh, well, this is actually, this is actually fun. This could actually be something. Let's see where this can go kind of thing, right? I think Dario, maybe those situations where you think might be harder is for people who have been maybe in the industry for a while doing just photography and then thinking, oh, maybe I need to do video now kind of like out of a necessity rather than also kind of like in a genuine interest in it maybe. That's probably where it could get a little bit harder. What do you think?

Dario04:12I don't know. I don't know. I always thought it was strange because usually photographers… The key thing to be good at video or photography is just to really know lighting. And once you become a good photographer, you know you're lighting. Because that's the main requirement, right? So I always thought it'd be an easy transition of video, but apparently it's more tricky. Maybe it's the storytelling aspect. Yeah, maybe it's that. Yeah. Or, yeah, I guess.

Sean Collins04:12Yeah, I think.

Kyrill04:32but it's the storytelling aspect. It's the storytelling aspect that's trickier.

Sean Collins04:37Yeah. Sometimes the equipment too, though, I think, like, I know a few people that it's also a big jump, you know, like if you're already a professional photographer and doing this and been doing it for years and then you're like, should I jump into the other world? It's like kind of starting from scratch in a way, especially if you're like, you're already developed in this world of photo. So I think it depends where you are in your career, like where you're going to jump. But video has been awesome.

Kyrill04:56Yeah.

Kyrill05:07I think there needs to be like a genuine interest in it to really excel in it in some way. To do it out of necessity is gonna make it very difficult because of all those other elements that go into it. As you said, the equipment aspect alone could be something very daunting and potentially overwhelming. I mean, a lot of photographers can some, a lot of photographers just work with very minimal equipment, you know? One backpack and maybe a light stand just to have an off-camera flash and that's it. But then getting into video.

Dario05:33That's it. I'm so jealous of them. Every time I see them, I'm like, oh my God, that's all you gotta bring to a set? I gotta bring like, trolleys, yeah.

Kyrill05:36Hehehehe

Sean Collins05:40So jealous. I'm like rolling a cart with like, we have like two or three carts.

Kyrill05:40I know

Kyrill05:45And usually that's just for one setup, not even for the whole project. Like the most basic. Yeah, that's the other thing, is the amount of hard drive space you need to do. And anytime we're trying to purchase a hard drive space for any of our projects, I always whip out the calculator. I'm like, all right, is this a good deal? How much am I spending per terabyte really? You know, those best buy places and those tech stores, they really try to get you with some of these.

Sean Collins05:50Yeah, and then the hard drive space.

Dario05:53Oh.

Dario06:09Hehehehe

Kyrill06:14sales, but when you break it down to a per terabyte cost, it's like, ah, you're really screwing me with this particular drive. But.

Sean Collins06:15Yeah.

Dario06:20Mm-hmm

Sean Collins06:21Yeah, that's how we look at it too. Like, okay, should we get the 20 terabyte drive to put a bunch of projects on it? Should we get the hundred terabyte drive? Because we have two hundred and 22 terabyte hard drives, one for. Yeah. So one that lives here in the studio and one that lives off site just as a backup. So it gets, and that's hopefully going to last us a year. I mean, that's, that's kind of what we're doing per year is like 80 to 90 terabytes.

Kyrill06:31Oh

Kyrill06:35Oh my God, wow.

Kyrill06:51Jesus, yeah, it really adds up. It also depends on the equipment you use. I found that the Blackmagic cameras, for example, those ones take up the most space out of everything. I remember when we went down to the US to do a few projects there. Two days shoot alone was, I think, 2.3 terabytes, and I had 2.5 terabytes in SSD space, so just had enough to copy everything over.

Dario06:51Oh, wow.

Sean Collins06:55Right.

Dario07:14Hehehe

Sean Collins07:19Yeah, yeah, it's crazy because that's like one other aspect you don't think of when you do jump from photo to video. You're like you don't think about the equipment costs, the storage costs and like all the things that you need. Because Dario, like you said, you just need a backpack, which is I mean, I miss those days of just the backpack was pretty cool.

Dario07:36Hehehe

Kyrill07:39Yeah, but the other.

Dario07:40Back back, backdrop and you're good.

Sean Collins07:43Yeah.

Kyrill07:43The other aspect though is that because there's also so much equipment, a lot of people think, oh I need all this. in order to do a good video. But sometimes even, depending on what the story is, you really don't need all that much equipment or you need to know what is the right equipment to incorporate for this project, right? Like just because you have a tripod, monopod, gimbal, slider, all that stuff, you don't need that for every single video project, right? And this was actually a challenge that every, I feel every video creator faces at one point when they're starting out is, okay. I need to buy the next piece of gear. I will need this in order to do this. But then over time you realize, you know what? We need to stop getting into this habit of nonstop buying of equipment because otherwise we're never gonna make money in this business. It is fun. Everyone wants the new toy, you know? Like that feeling of getting a brand new lens, brand new camera, brand new tripod or whatever. You know, it's like a kid at Toys R Us, you know?

Sean Collins08:33Yeah, I mean it is fun. Yeah, I was going to say.

Dario08:33Yeah, but it is fun.

Dario08:47It's like getting a new phone. It's just a fun, fun thing to do. A very expensive thing to do. Okay, so then you transition into video and you just like, how did that, what was the next step after that? Like, at what point did you go from being a freelancer to starting your own company?

Sean Collins08:47Yeah.

Kyrill08:49Yeah, exactly.

Sean Collins08:51Yeah. Yeah.

Sean Collins09:10So I did the freelance thing for a while. So I was in the studio at Converse. So after college, I did a bunch of different studio work at different places. And then I jumped back into Converse because they needed some photo help. So as I was there, I also got the opportunity to do some editing because they didn't have the editing bandwidth that they needed. So they were like, Hey, have you done any editing? I'm like, yeah. So I did some video editing. So I was like putting together like sizzles and like small things here and there. And then slowly some things came up like, Hey, do you also shoot? Can you shoot this small thing? And it would be like kind of studio esque, just shoot that sneaker or whatever it is spinning. So I would do some of these small projects. And then I started to really get into it and started to find other storytelling projects outside of work that I wanted to follow. Like I found a musician that I really liked who was local and I followed him around, made like a little documentary of him making his first album. So I started to really get into it myself and not necessarily just chasing clients. And I think that's what brought forward more clients is that I was just out there filming and creating and putting things out. Um, and I wasn't necessarily like, Hey, how do I get hired by this person? And so then slowly, as I was doing the photography thing and the editing thing, I started to develop some clients outside and did the freelance, um, thing. And then fully went freelance by myself, just doing video and picked up as many clients as possible. And then it just grew to the point where I was like, this is too hard to do by myself. It's, I mean, you could, but it gets crazy. Like if you try and do it all yourself. I know there's a lot of people that still do and there's plenty of projects out there that you can do by yourself but even just having like the one extra person on set or when you get bigger budgets and you start getting like a gaffer and like ACs and produce it's nice because it allows people to do the thing that they're good at and so you're not just like stretching yourself so thin

Kyrill11:16Yeah, and right

Dario11:16Even just having like a PA is leagues above just doing it all yourself.

Sean Collins11:21Yeah.

Kyrill11:23It saves a lot of time and energy than just being the one man band for so long. And it's funny, you actually just proved it right there. What I was saying was that you got into it because you were genuinely curious about the process. You found projects that you really enjoyed and were passionate about. So you had your motivation to kind of get into it. You didn't do it out of necessity. You're like, oh, I need to do video in order to survive in this industry. It's like, that's such a weak goal to have in order to jump into. a whole business line because if you're doing any kind of business with just that, it's going to be very difficult to be successful in it.

Sean Collins12:01Yeah, it's true. If you're chasing… Like what everybody else is because you're like, well, this is where everything's shifting. If that's not where you belong and you don't feel like you enjoy it, you shouldn't go after it. I mean, this whole industry is built off of a lot of people who find curiosity in different spaces. And you're like, I want to shoot music videos because that's something I have interest in, not because there's more money or less money or whatever it is. It's like, people just follow the path or you should at least follow the path that you're interested in. fall into place.

Kyrill12:35but what happens now if you're trying to do that, but also you need to pay the bills, right? There's also that balancing act.

Dario12:41I was going to say like our previous episode that we were talking about, I kind of like touched on these topics that works when you're trying to find your footing. And then once you become like a business owner, like we all are now, then you kind of go, okay, I need to now pivot my business towards where the money is. So within that field, right? So like now we're all in the corporate field and you kind of figure out, okay, not so much money and not nonprofits, for example.

Kyrill12:50Yeah.

Sean Collins12:58Totally. Yeah.

Dario13:07but more so in manufacturing. So let's try to do more videos in that industry.

Sean Collins13:08Right.

Sean Collins13:13Yeah, you do start to look into that for sure when you're a business owner, because you're like, you're obviously passionate about stuff. Like we'll stay, we'll still take on projects that like. I'm really passionate about, but maybe it's more of a passion project and there isn't because a lot of things that like a lot of the storytelling stuff that's really fun doesn't usually pay that well unless you can tag a brand onto it, which is too bad. I think there's a lot of companies moving that way though, which is nice is like, let's tell a story and let's find real people instead of this commercial ask thing. But to your point, we like work with all kinds of different corporations and we do all the walking head type videos because a lot of those pay really well and you go after the bill, like you have to pay your bills and that helps you then do these like fun things.

Kyrill14:04Yeah, I think there's like that balancing act you have to try to figure out. It's like, if you wanna do passion projects, do it, but also be sure that you're also putting attention to the side of the business that is actually helping keep the lights on, right? And I feel like it's a lot harder once you've been in the industry for a while rather than just kind of starting out because that's like the time to just explore and kind of play as one would say, right? Figure out what you like, what you don't like and. And to what we were talking about before, this is probably why a lot of photographers who have been in the industry for like 10, 15 years, thinking about jumping into video, it's gonna be a lot harder because then they're trying to think of like, all right, but what do I know? What do I don't know? What do I have time for? No, no, I've just… No, no, no.

Dario14:46Why do we keep going back to photographers? Like you keep bringing you have. Carol has like a hatred for photographers today. My God, did someone burn you on the weekend? It was just like a side remark and it keeps getting brought up. Leave him alone. Whole episode is like, that's why if you're a photographer. Jesus, be inviting, let him come on, let him join the industry if they want to.

Kyrill15:00Anyways, okay to that point that's all I was saying

Sean Collins15:07haha

Kyrill15:07Don't jump into video.

Kyrill15:15Just saying why it was difficult, right? I'm not saying impossible, but anyway. Yeah, as I was saying, like in terms of finding the balance between passion projects and projects to keep the lights on, that's essentially what you have to always keep doing.

Dario15:28To be honest, a lot of conversations we've had with guests that have come on, it's they're all trying to do passion projects and they can't find the time to do it, or they just are running creatively dry. Like I know I'm running creatively dry. I want to do a passion project, but I don't know on what. So, yeah, like it's pretty interesting. Yeah, yeah. When it comes to passion projects, everyone wants to do them, but you stop wanting to do them as soon as you start your business.

Sean Collins15:43Yeah. It is a challenge for sure.

Kyrill15:44That's the challenge.

Sean Collins15:49Yeah, I mean, I find myself. Right. And I find myself doing that. Like I find an interesting project that I want to chase and then we either start developing like a small treatment for it and then we don't have time for it. Or we film one day and then we're like, well, we'll go back to it. Cause like we started something recently that was just for fun and.

Dario16:05Mm-hmm.

Sean Collins16:15we still have like three or four days to put into it just for fun. And I mean, we're not gonna, before it snows, we're probably not gonna find that time. I think it's worse though, cause then you're like, ah, we started this thing and now I wanna finish it. And like, I've done it before. Like even when I was freelance without a crew.

Kyrill16:24I mean you guys got at least one day in that's more than a lot of other people

Dario16:25Yeah.

Dario16:29Hehehe

Kyrill16:32Oh man

Sean Collins16:40I would start things on the side and I would film something and I would never get to editing it because the editing process alone takes so long. You could go out and film a bunch of stuff, but that's where the funnel is. That's where things get backed up, at least for us. If you can have 20 editors on something, you could probably do it, but with a smaller team, it's hard to keep up with the editing.

Kyrill16:48Yeah.

Kyrill17:07I feel like any production company, if you have a staff of at least five to 10 editors, it's like the sky's the limit. It's like you just have an idea, go shoot it, and then you have your team to just work on it. But yeah, there's otherwise always going to be a backlog.

Dario17:08Yeah.

Dario17:19My god, if you had that many… If you had that many editors, I would just… If I had that many editors on staff, I would just get them to edit like… Personal family stuff. It's like, hey, I just, uh… I grabbed a bunch of stuff for Thanksgiving, giving a weekend, you know what? Just create like a 30 second reel out of it. I can post it on my personal. Oh my god. That's the only way.

Sean Collins17:28Yeah, see?

Kyrill17:29Hahahaha

Sean Collins17:36You. Yeah, you get all those passion projects done.

Kyrill17:36Yeah

Kyrill17:43Do you find that maybe one of the reasons why you might have trouble focusing on finishing also creative projects is because, because this is now also our careers, right? This is our work that we do on a daily basis is that after like a whole week of like a constant work, you're exhausted, you get home. Is it like the last thing you wanna think of is just what next video I need to start shooting rather than winding down? Is that maybe it or how do you? how it was your approach to it.

Sean Collins18:11Yeah, I mean for passion projects, it's definitely hard because I mean, I always am like, constantly consuming different videos and like finding new ways to tell stories. And so I'm like hyper obsessed with it, I guess, in a way. So like, I'll get home and I like want to watch like what people are working on. And it will lead me into places where I want to start finding new projects. Like, The other day I started writing a treatment for a project that I want to start. And it's like an eight part series. And there's, there's no brand behind. I've been trying to, I've been trying to tag a brand to it or like, get some interest before we start. Um, but, and that happens sometimes where I'll, I'll pitch, we'll pitch an idea. We'll come up with something creatively and we'll pitch it to somebody. But a lot of the times. Yeah. When I get home, it's nice to. unwind and not have to think about it, but it's hard because there's so many good stories coming out like every day that like when you see one you're like, oh man, like it makes you want at least for me, it makes me want to go like, create that thing like or go find a story similar to that.

Kyrill19:09Yeah.

Kyrill19:20Yeah, I know that feeling where you're watching out of amazement to what other people have been able to create. And it's like, man, I need to be doing something. It's like, I need to be doing something like this as well. Like, what am I doing just sitting here watching these videos only?

Sean Collins19:35Yeah, it's tough.

Dario19:37You know, there's a big difference between watching something you really like and then going, I want to create something like that versus just, I enjoy watching stuff like that. There's a very key difference between that. And I feel like, you know, a lot of people that get into this industry at first are like, oh, we're getting into it to then go and make movies because that's what inspired us to get into this in the first place. And then you finally, and then when you get into it and you realize it.

Sean Collins19:48True.

Dario20:04what that career path is like. It's more of a, you know what? I think I just enjoy watching movies versus I actually wanna get in that industry and create movies.

Sean Collins20:10Yeah.

Kyrill20:12Yeah.

Sean Collins20:14Yeah, I feel that way. Like if I watch a movie on Netflix or something that is like highly produced with all kinds of actors and sets, I love consuming that. And that's amazing. I don't feel like I need to create that because I don't know what that's like, but I've seen little glimpses into it. I'm like, nah, I'm good. I'm good.

Kyrill20:30Yeah.

Dario20:36Nah, for me. Fourteen hour days for weeks at a time, I'm good.

Kyrill20:38It's such a hard, such a hard process.

Sean Collins20:41It looks cool. I would love to be on set sometime to see what it's like. I don't think I would ever, I don't think that's the path I would ever wanna go on. And I think, yeah, it's not for everybody. I think my path, if I were to go into that realm of like Netflix and things like that with the production company is like documentary. That's the passion behind a lot of the things we do is storytelling. So it's like, that's where I would go, is like the thing that,

Kyrill20:46Yeah.

Sean Collins21:09you sort of make up as you go, like you know the story, but stuff changes rapidly. And I like that versus like, hey, let's set this set up and like, we're gonna do this scene four times or whatever and have the actors come in. I like more of the organic way of the video coming together.

Kyrill21:14Yeah.

Kyrill21:27No. It's also, what was I gonna say about it? Like the, like, yeah, I honestly, I think I forgot already what I was gonna say, but let's move on to the next bit.

Dario21:41So let's go back to the business side of things. Okay, so how long you been running Jukebooth?

Sean Collins21:47It's been about, let's see, I think eight years now, eight or nine years, yeah.

Dario21:51how nice i think that's almost as long as uh… we've been running laps right we start twenty fourteen

Kyrill21:56Is it? Well, 2014 is when we like registered it and I think 2015 was when we were really starting to push it. So yeah, I guess eight years. Yeah.

Sean Collins22:04Yeah, that's about the same time. Yeah. Yeah, I think it was May 2015 for me. Yeah. Yeah, I checked out your stuff. Your stuff is awesome. Your laps, yeah, yeah. Yeah.

Dario22:05Eight years. Yeah, eight years, yeah.

Kyrill22:10What was like some of the first?

Dario22:13Thank you. Yours too, obviously. That's why you're on here.

Kyrill22:14Oh, thanks. Yeah. What were some of the first like, hurdles that you've started facing once you switch from freelancing to being like an actual business? Like, what was some of the first major challenges you faced?

Sean Collins22:32I think to start the business, the major challenge was I needed a little bit of like assistance and help to make some of the things that people were asking for. So I think finding freelancers that I could work with, that I could trust. And that were skilled to do the thing like I was doing, but just like next to me. So like one of the people that started working with me right off the bat was, uh, one of my best friends growing up. So like he went to photo school, um, he was big into like video and film. And so he and I just started to like tag team projects together. Um, he's also a musician. So he was like doing that at the same time. So there was definitely a little crossover where he wasn't a available all the time. So I had to start like growing the roster of like if he's not available, who's next? So I think that's the struggle is like finding people that you work well with to like not only are they skilled. But I mean, in this industry, you have to have people that can get along and also get along with your clients. Because if you're client facing and you have a team and they're not good with the clients, it's just not somebody that could be on set with you. So I think that's the hardest thing is to find the right people to work with you. And that was a challenge. And it always is a challenge. I think it's one of the biggest challenges in this industry is like, most of the people that I find freelance, they'll be like, hey,

Kyrill23:54Yeah.

Sean Collins24:02down to work on something. Love to work on that like cool project like you guys did at that music festival or whatever. I'm like, yeah, like those are cool. That doesn't happen every day. So you have to be cool with working on the other things too.

Kyrill24:13Yeah

Sean Collins24:16And like a lot of people just want to work on the cool stuff. And the minute somebody says that I'm like, okay, yeah, I think we'll put you on the list, but probably not going to be a regular because we need people that are like, yeah, I'll go film that bank video or whatever it is. And like, I think you need the people that are willing to adapt and work on all the videos, like the corporate talking heads, the cool studio videos, the cool music videos, so finding the right people. I think is the biggest challenge when starting a production company.

Kyrill24:46That's a good filter. That's a…

Dario24:46How do you find your people? How do you find your freelancers normally? For us, it's usually been through word of mouth. Like someone in our network we've done work with, we always ask, hey, do you know a gaffer, for example? And they're like, yeah, I've worked with this guy and that guy and they're pretty good. And then from there, like if they're not available, they'll recommend someone else. And again, whenever you're recommending someone, it's always your reputation's on the line. So you never get recommended bad people because then you'll go back to the guy and say, yo, who'd you send me, man? Like this guy stinks.

Sean Collins25:17Yeah, totally. Yeah. I think where I've found most people is word of mouth. I think the same thing, like, especially for like audio or gaffers, like we have a couple of people that we use for audio all the time, and then if they're like completely not available, they'll give me like a little list and it's people that they trust.

Dario25:25Yeah.

Kyrill25:37Yeah, yeah we

Sean Collins25:39And, um, it's bad when you can't find anybody doing audio. I mean, there's like, sometimes there's a massive demand for it. And other times there's a lot of people available. So I think word of mouth for sure.

Kyrill25:49Wow. The one thing with finding freelancers is that it is hard because they also, the only way to really test someone and get to know fully if they're gonna be a good fit is if you actually hire them for a project. And sometimes you have to figure out, okay, what is like the right project to bring someone on where you can test them, where if they're not as good as you expected, you can still deliver on the project, no problem, right? And it's… The hardest that we found over the years was finding editors, good editors that we can bring on. And it's very, very difficult. And the only way to really get a sense of how good an editor is, is to start completing those projects and getting that confidence. And the one thing I always try to do is if we can bring editors on for a small project, because then getting that first win under the belt is important because

Dario26:25Editors are hard, yeah. Editors are hard.

Sean Collins26:27So hard.

Kyrill26:51essentially you get to figure out what their process is like, how it is to go from start to finish. If it's like a very small video that you can get that out of the way first, it's like, okay, you get a sense of how they work. Now you can bring them on for a bigger project and then a bigger one and then a bigger one. And then the more completions you have with any freelancer, the more confidence you have with them, obviously, right? And that's the hardest thing. And then sometimes people apply, it's like on paper they may look good, but then like you said, that filter you have right there, you've gotten from your own experience if they're like, oh yeah, I wanna do that cool project only, not willing to do the one, I mean, basic project, maybe being a second camera operator for, like you said, a bank video. That's so key because even though it's a boring project, you can get a sense of how good these people are to collaborate with, right?

Sean Collins27:40Yeah, I think the editing thing for sure is one of those like, it's hard because like, okay, we're gonna take a leap and you can't really you can look at their reels. But that really doesn't help you because you have a specific project that needs to be done. And you also have like, your production company has a style. Like, that's why people hire certain companies. That's why we can all exist. That's why we can all work together too. It's like, we have different ways of doing things, and that's why certain companies will hire you. It's not because you do something way better necessarily. It's just maybe like, you have this sort of style and this look that people want. And hiring the editors is hard, So you're like bringing somebody in you're like can you help match like what we're doing and you can put your own stuff into it But let's like kind of like walk the line So we don't go too far out to like what maybe you did over here with this video So it's I think that editing like finding editors I think it's one of the hardest things and that's one thing that I mean it You like you said you don't know until you just like give them work

Kyrill28:44Yeah, and…

Kyrill28:50Yeah, that's the only way you'll ever know because then you'll get a sense of how they are working with your work. And the one other filter that we have is we never ask really for editors to send us their reels, maybe as like another thing to just throw in, but reels are the worst thing to determine an editor's skillset because it's just a highlight, it's just a short highlight video. It doesn't tell anything else on what their abilities are. So we always ask for three key examples of like maybe a certain type of

Dario28:51Yep.

Kyrill29:20industry, it's like if we're looking for someone to edit a corporate video, send us three of your best corporate videos that you've worked on. And if we start to see a consistency between them, good creativity and you know, they can tell a good story with that. Okay, that should give us enough to work with. But if only a real and maybe one or two other projects, they could have just grabbed a bunch of clips and thrown them together. It doesn't mean they know what they're really doing.

Sean Collins29:42Yeah. It's true. Yeah. It's, it's hard to tell from anybody's really even like a DP is real. It's like, yeah. Can you show me something that you did that was like a full project? I mean, we, I, the funny thing with certain people when they're so like, we'll get people that reach out to try and get a position here, they're like, Hey, you're hiring and a lot of times people will just send a resume and I'm like,

Dario29:45Yep.

Sean Collins30:11I don't know, like send me something visual. Same with like voiceover actors. I'm like, if you're a voiceover actor, don't send me an email, send me a voice. Like send, like at least do that. Cause like, I'm not gonna hire you unless you like, like send me something funny. Like I had one voiceover actor call me and left me a message. I'm like, that's cool. Like if you send me an, cause if you send me an email, I'm like, I don't know. Like everybody sends emails.

Dario30:14Yeah. Oh my god, they're the worst. Yeah.

Dario30:30yeah

Kyrill30:31Oh, yeah.

Dario30:35I get spammed, do you get spammed a ton by voiceover actors? Oh my God, horrible.

Sean Collins30:39tons, tons.

Kyrill30:41They're on LinkedIn now too. I get the LinkedIn ads.

Sean Collins30:43Yeah, I'm like, they're all over. Yeah, I get those too.

Dario30:44I can't stand their emails. I can't, no, you get ads. No, no, I don't get ads. I get like messages, I get a ton of emails. And I have a ton of people that apparently can't read because on our website it clearly says, okay, if you're a freelancer, fill out this form. And they always email me. So I always spam those emails. And the other thing is they'll put links in there and I don't wanna get phished. I don't know what's in that link. I could click that God knows what's in that link. I'm not clicking it.

Sean Collins30:50Yep.

Sean Collins31:00Yeah.

Sean Collins31:06Yeah. Right. Exactly. Yeah. I know nowadays. Now all set. Take all my money or whatever. All my bank accounts my passwords or something. I don't know.

Kyrill31:08Yeah.

Dario31:13Yeah, I'm not gonna click your PDF, God knows. Yeah. Not taking that chance.

Kyrill31:20Yeah, Dario was mentioning that in the States you guys get the scam artists.

Dario31:25Oh, no, no. So this is this is when I was calling Sean last week. He thought my number was one of those scam calls. Right. So I was asking him what type of scam calls they get in the U.S. Because here in Canada, you hear two types of accents and you right away, you know, it's a scam call. If you hear a Chinese one, it's they're trying to trick Chinese people into something.

Kyrill31:34Hehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehe

Sean Collins31:38Mm.

Kyrill31:39Hehehe

Kyrill31:44Yep.

Dario31:49And if you hear an Indian one, it's always the air duct guys. So I was asking Sean, I was like, Sean, what do you guys get? And it was wild. They get like people pretending to be Google reps. It's like next level like scam calls.

Kyrill31:52The air duct case.

Sean Collins31:57Yeah. We get people pretending to be bank reps. Like it's happened to somebody I know where they call and they're saying, Hey, we need some of this information. It looks like there's some fraud on your account. Like they act like legit. And then like, if you give them sort of like I anytime I get a call like that, I'm like, I'll call the bank myself. Because like, I'm even if they're like, I'm from this or like, whatever it is, like, hey, we need

Kyrill32:11Yeah.

Kyrill32:18Always.

Sean Collins32:23Like the other one I get a lot now as a business owner is, hey, you've just been pre-approved for like a massive loan. Like all you have to do is call us back. It's like relief money. I'm like, they still giving out relief money? I'm like, I don't know. That one seems to be overused, but like they must be getting some people. And so you'd call back and then they would sign you up for the loan, I guess.

Dario32:35Ha ha

Dario32:46They're advanced over there. Here it's all like, it's like they don't try over here.

Kyrill32:48So they're getting Dario. No, no, they've moved over to here actually with that specific scam Sean you were talking about like someone I know was going through a similar thing and they were talking to me about it and like they were going through it and saying, hey, like the bank just called me in there and they're telling me this they need some they're saying I'm frauded this and that and I'm like, okay, just call them back rather than just go through that. That was exactly my initial response. But they said

Dario32:58Yeah?

Sean Collins33:17Right.

Kyrill33:18but they started telling me about how some specific transactions that I had recently done that were very specific, that were accurate. And I'm like, what? I'm like, how the hell did they know that? And that's what I was wondering. And I was like, okay, let's listen in and listen to the call. We're listening in and something was off like the whole time. Like, okay, this is, even though it sounds legit, just end the call and call them back. And so that's what we did, called back.

Dario33:26Really? How did they figure that out?

Dario33:43But how did they know?

Kyrill33:44That's what we'll never know. We'll never know how they knew this specific information. Maybe they got some bank statements from, I don't know, but that was the scary part is that, but that's the scary thing. You just call them back. So that's exactly it. If it was real, you called them back and, oh, okay, so that was legit. All right, let's actually go through and fix this.

Sean Collins33:46That's crazy.

Dario33:53That's pretty bizarre. What if it was real? It was a real car.

Sean Collins34:01Yeah.

Dario34:04Listen, listen, you guys wanna laugh? You guys wanna laugh? This happened back when I was a kid, okay? So this must've been when I was like 10 or something and my dad got a letter in the mail and it was the African Prince one, right?

Sean Collins34:06I mean that happened to me once. Yeah.

Dario34:20So he's like, yeah, bro, it was a yellow letter. And it said, it was the African one where it's like, oh, you know, blah, died and he left you as the executor of the will or whatever. So my dad's like, come here and look at this for rich. He was messing around with me. He's like, look, I just got $10 million. And me, I didn't know at the time. So for like five minutes, I'm like, holy shit, we're millionaires.

Kyrill34:20When they gave letters back in the day

Sean Collins34:21Hehehehe

Kyrill34:32Soul error.

Kyrill34:38HAHAHAHA

Sean Collins34:39I'm sorry.

Kyrill34:43Oh my god.

Sean Collins34:45Hehehehehehe

Kyrill34:46That is the best prank a dad can pull on his kid.

Dario34:48And he was alive. You know, if it was like nowadays, he probably would have recorded me and posted it as a real. Oh my God.

Sean Collins34:55Yeah, for sure.

Kyrill34:56Instant viral sensation.

Sean Collins34:59Yeah, it's crazy.

Dario35:03uh… was they gonna say uh… actually i forgot to mention is that one interrupt but you mentioned audio people, right? Well, we have a new sponsor for the show as our listeners probably heard at the beginning of the episode, but audio process is a sponsor of the show. So if you need audio personnel or recording spaces in Toronto, make sure to reach out to them. Contact info is in the description and you probably heard it at the in the beginning and probably in the middle and at the end because we got a 30 second ad going. But yeah, Sean for you as well. If you have a shoot in Toronto and need an

Sean Collins35:10Yeah.

Sean Collins35:34Yeah. That's cool. Are they just in Toronto?

Dario35:39Yeah, they're based in Toronto. When it comes to personnel for us, audio people, I now just use them for all of our shoots. And then when it comes to equipment or Gaff, Grip, or PA, I usually go through Canada Film Equipment, who's also the sponsor of the show. But Sean, you don't know about that, because it's going to air in episode 50. And that's not out yet. That'll be out this week.

Kyrill36:03Yeah. Yeah.

Sean Collins36:06Yeah. Do you, do you guys. So do you usually have a hard time finding people without using those spaces? Like, is it hard to, or is it just hard to like vouch for certain people? Cause it's hard to trust.

Dario36:07or last week if you're listening to this.

Dario36:16No, we've… No, no, we… No, we have P… Well, actually, what's funny is for… The thing is for people like… Grips or gaffers or PAs… We were using CFE anyways, so it was just… Like a natural change. Even for our audio process, we started using them… More often than we just proposed, hey, do you want to be a sponsor for the show? And they're like, yeah, of course, so…

Sean Collins36:33Yeah, that's cool.

Kyrill36:34Yeah, it was a natural thing.

Sean Collins36:43That's awesome. Yeah, we don't really, not that I know of that we have anything like that in Boston. I think it's just like, everybody's on their own unless they're union. So I don't believe I've never heard of it, but I don't believe we have anything like that, but it would be helpful. I mean, I don't know a ton of gaffers either. Like we only know a few around this area. It's not, it's interesting that. Yeah. It's interesting that it's not, I think there's some like high ups that do like.

Kyrill36:54Mm.

Dario37:00Yeah, I know for us it's…

Kyrill37:05Oh really?

Sean Collins37:11big films in Boston. But as far as like this small like corporate video and type stuff like that, I only know a few, to be honest. Like I think it's definitely not something that you find as much here. I know other places people like you go to big cities. I mean, Boston's a big city, but like you go to New York, all over the place, Miami, same thing, LA. But for some reason Boston, and maybe it's just because we haven't connected with as many, but I've only found a few of them.

Kyrill37:31Yeah.

Dario37:40For us, it was really a matter of just simplifying our process because we do know enough for our needs. But for me, it was always like, OK, I don't know if I will have these people available on a short notice or something happens. What if you get sick? Anything like that. For us, it was a matter of just simplifying everything because with

Kyrill37:40Is it like?

Kyrill37:44Yeah.

Kyrill37:54Forever.

Sean Collins37:55Right, totally.

Sean Collins38:00That's the hardest thing.

Dario38:05With these two companies, I can even let them know the day before and say, hey, I need an audio op, last minute project. They have a staff of like five or so.

Sean Collins38:11Yeah, true. That's awesome.

Dario38:16And they'll just send someone and I know they're all qualified by them So I know they're good because the rep is on the line going back to you know everything is your rep and It was just a matter of you know, I get them at a good price and I know they're always available So it's just less stress for us, right? even our photography partner Indigo events like it's just the fact that I know like if I need a photographer I can just reach out to them and They'll send me someone and I know they're good

Sean Collins38:23Yeah.

Sean Collins38:32Yeah.

Sean Collins38:42Right.

Dario38:45because it's with them, like they're qualified.

Kyrill38:48We've had situations where we had some video projects that were planned for a little while and then the client would say maybe a day or two prior, hey, can we also do photo on this day? It's a very short notice. Normally it's not easy to find people that are available on such short notice, especially if they're good, right, because they'll be busy. But that's why it's come in clutch for us and helping us with that.

Sean Collins38:57Yeah.

Dario39:06They'll be busy, yeah.

Sean Collins39:09Yeah, that's great.

Dario39:10Yeah, like we know several photographers where like we're trying to book them for projects and it's like, oh my God, they're only free on these days. So then we had to ask the client, Hey, what if we do it on that day? And they're like, Oh no, we can't. And that's like, Oh my God, this is too much. This is too difficult. Yeah.

Sean Collins39:17Right.

Sean Collins39:23I know we do that too. We do a lot of photography, like the corporate events ones or even corporate videos. They're like, hey, can we get some like headshots during it or some like shots of them here and there and so.

Kyrill39:23lot of back and forth.

Sean Collins39:36It's usually asked ahead of time, but we've definitely got the last minute. Like, so now most of the time when I talk to new clients, I'm like, would you also like photography because I don't want it to come up at the end, which it does, it does more often than not where they're like, actually, can one of you guys just take photos? I'm like, that's not really how it works, but we will find somebody.

Kyrill39:41Yeah.

Kyrill39:48Yeah.

Kyrill39:57Yeah. Yeah, cause…

Dario39:58Mm-hmm. The other good thing is when you have like a photography partner is like for us, we get it at a discounted price. And we offer it to our clients at like slightly below market value. So it works out for both companies because they get to send their people out and it pays for their overhead cost.

Sean Collins40:14Yeah.

Sean Collins40:19Right.

Dario40:20And then for us as well, we get like a little bit on top of that and our clients get a good discount out of it too. So all three parties benefit out of it.

Sean Collins40:25Yeah.

Kyrill40:29Everybody wins. Essentially.

Sean Collins40:31Yeah, I think that's a big thing with the production world now too, is like less… I mean, there's still people spending money, like lots of money on projects, but I think there's a lot of companies looking at like smaller agencies and like agencies that can like adapt to projects. And like, we'll do that too. We'll like push and pull prices just to like, fit in and make, make it happen for the most part, because it's like, we want to work on this project. And we know, like, I think there's probably some big production companies that are like, we have to make this if we don't, we're not taking the project. We have a little more bedroom.

Dario40:48Thank you.

Dario41:05Yeah.

Sean Collins41:06and we're like, yeah, we wanna work on this. And I mean, it is what it is, but as long as we're making money off of it still, we're gonna take it. And I think there's certain companies that might not do that.

Kyrill41:15Yeah.

Dario41:20How big is your team?

Kyrill41:20Yeah, like.

Sean Collins41:22So we have just like four of us internally and then everybody else's external partners like a lot of the audio So we have a couple editors and another camera operator And then we have a freelance producer that we work with she works with us almost all the time And she's great and then we have all of our audio ops are

Dario41:29What are the positions?

Sean Collins41:48Um, hired freelance just because like, there's a lot of projects where we don't need audio because they'll be like, oh, it's a sizzle reel or, or it's this, or like we do an event and we'll have like an AV company come in to do the event. Cause they need like a PA system. So.

Dario41:54Mm-hmm.

Kyrill41:57Yeah.

Dario42:05You have exactly the type of team set up that we have planned for our future. Right now it's just Carol and I running the company and then… we scale up and down with freelancers depending on the project. But long term we have had conversations about wanting to bring on like a senior editor and then maybe a junior. And then I would say maybe a production coordinator and that would be it. And that PC would, you know, in the long term maybe up him or her up to a producer level. But other than that, like that's our goal for the long term. Keeping it small and nimble because again,

Sean Collins42:16Totally.

Kyrill42:27Yeah.

Sean Collins42:28Totally.

Kyrill42:36producer.

Sean Collins42:38Yeah.

Dario42:44with this industry, like, you never know. One year you could be flush with work and the next year it's dead, you know? Like, I don't.

Sean Collins42:47now.

Kyrill42:47Yeah.

Sean Collins42:50I think that's the hardest thing for me is finding out who to hire, when to hire. That's been so difficult.

Dario42:55Yeah. Tell us a bit about that, like I was-

Kyrill42:59I think as long as you cover the key roles that you know are going to be, you're gonna use for a long time, then that's all you need at the very minimum. Like you said, you don't need to have a audio operator on staff full-time, right? Because every project is different. I'd say like the production crew roles are the ones that you don't need to have full-time staff for too often, like maybe just one kind of Swiss Army knife.

Sean Collins43:14Right.

Kyrill43:27might be cool to have, but again, it all depends on the kind of projects you do. But anything that helps make the pre-production or post-production process smoother and helps deliver projects to clients effectively, those are the roles you'd wanna fill up, which is exactly what you've kind of developed for yourself and that's what Dario and I are aiming for. And it's a good way to make sure that everyone keeps busy rather than struggling to find work to keep everyone working, right? That's the other thing.

Sean Collins43:29Yeah.

Dario43:56But you know, Kyrill, it wouldn't even make sense to bring on someone that's part of the production crew on full time, because they make so much freelancing that for you to pay them the equivalent, they'd be making as much as you almost. I know for…

Sean Collins43:56Yeah.

Sean Collins44:08Yeah, that's been my tough. That's been tough for me too, because there's certain people that are like, yeah, I would come in full time. And I'm like, okay. And they're like, I want X. I'm like, oh, this isn't Netflix. Like, yo, like I can't, like, yo. I mean, I think that's amazing. Yeah, exactly. It's like, I know that that's what you get as a day rate, but that's like, and when people see day rates, they're like, damn, that's what you make per day. And it's like, I do not work.

Kyrill44:09Yeah. Yeah.

Dario44:20Yeah, yeah, yeah.

Kyrill44:22Ha ha ha. Cut your day rate in half.

Dario44:27Yeah.

Sean Collins44:36five days a week on set. I mean, if you did, it would be amazing. But most of these people that are making the day rates, I mean, they're not working five days a week.

Dario44:46I don't know, a lot of people I've met are working that much. That's why I said, yeah, I know for… Well, let's say for audio ops, I was speaking with one of them and…

Kyrill44:47Yeah.

Sean Collins44:48Really? Dang. So it'd be hard to compete.

Kyrill44:52Yeah.

Dario44:58He's like, yeah, once you get established, you can easily make 150 up. So I'm like, yeah, I would never afford to be able to afford having an audio op on staff because it wouldn't even make sense for our projects. It's like, I would send them out what? Three, four times a month? And they'd be sitting at home the rest of the time? Like, it wouldn't make sense. Because think about it, they're making whatever their day rate is, a lot of these, they get it, once they build out their network.

Sean Collins45:02Wow. Right.

Sean Collins45:10Yeah, it just doesn't… You would-

Sean Collins45:21You're right. Right. And.

Dario45:22Everyone's asking for them, right? So if you have 10 producers and those producers have 1 to 2 gigs a month, that's 20 gigs lined up right there a month, right? So that's 20 working days times their day rate.

Sean Collins45:29Yeah, perfect. Right. Yeah.

Kyrill45:33Sean, what do you think of maybe, like for example, the hybrid approach? Because I've also seen some studios where they have people who have a certain role behind the scenes, maybe in pre-production or post, but then they also have a role on production days. So I've seen, I remember, I forget which, we had a guest, I remember like many years ago, who they had, for example, an audio operator on staff, but was also an editor. or I think it was like a production coordinator, for example, so it's kind of like a hybrid role. Do you think that would potentially work or what are your thoughts?

Sean Collins46:02Cool.

Sean Collins46:09Yeah, I mean, like one of the guys that shoots for us, he also edits and like, he's been just crushing edits recently. So like he will go on a lot of our shoots too, but he's also. So he's so close to the project that he also comes back and edits it. Or if like there's something he needs to edit, he'll edit and then somebody else will go out and shoot or vice versa. It's like having those people that can do that. Um, and then also like our freelance producer, she's great because she's worked in different industries. She worked in New York for a bit and then she came back to Boston. Um, but she will work in studio here on some studio shoots with us.

Sean Collins46:52things are like, even if say we don't have the budget to go like, on the road with a producer or something like that, like she'll plan out like our shoot if we're like shooting in Dallas or Miami, and then she'll stay home, because we won't actually have a budget to like bring people in. So I think it's like having those hybrid people. Are great. And I think the biggest hybrid position is like somebody that can edit and do something else because like editing is the, I mean, I still edit a ton. I mean, it's just like, it's part of it. Like I'm working on, uh, we have a hunting documentary coming out in November, early November.

Kyrill47:20Yeah

Kyrill47:30Oh.

Sean Collins47:32Yeah. And so I'm putting that together because I was on the project and I directed and shot and I had another, uh, guy shoot with me who's been shooting with us forever and it was just the two of us. We couldn't bring anybody else because it was, um, a hunting thing. So like, you can't have a crew. Like we didn't have, we didn't have audio. Like I wanted an audio up there, but we just ran all audio ourselves. Um, it was wild. And so now we're sitting here.

Kyrill47:51No, no.

Sean Collins48:02worth like seven or eight days of footage. And so like right after this, that's, that's what I'll be doing. It's just like sitting here, like plugging away and trying to build out this story. Cause we're trying to launch it before the end of the hunting season this year.

Kyrill48:16Wow, that sounds like a fun project. Is that like one of your passion projects that you're working on right now? Or is it sponsored or funded by a client? Oh, nice, that's great.

Sean Collins48:25It's sponsored. It's funded. Yeah. So it became, it was, it started off as like, uh, this would be so cool. Um, so we found, so the other camera operator, uh, he grew up with this guy who's a hunter, professional hunter, and he has all these different sponsors. We were like, all right, like, let's try and do some stuff for them. So we did like a couple short videos, um, and put them out and gave them to the sponsor and they're like, oh, these are great. And then he was like, I'm going on this hunt coming up. Um, we were like a month out. He's like, I'm going on this hunt coming up. Be sweet if you guys filmed it. And I was like, well, if we can get the trip paid for and like the editing and all that stuff paid for, like we would come out there. And so we hit up a sponsor and they were very interested and we like built a treatment. And it was like this last minute project build in like two weeks. And then they green lighted it, bought flights. We went to a steamboat, Colorado and yeah, it was, it was definitely one of the hardest things I've ever done physically because it was like, we were hiking for seven days.

Kyrill49:23Oh wow.

Kyrill49:31Mm-hmm.

Kyrill49:35That's incredible. And like to get it, so basically they covered all expenses type thing and they just basically paid for like all the labor that would go into putting it together. And that's essentially a portfolio piece for you guys. That's great.

Sean Collins49:48Yeah, yeah. So Dario catching you up real quick. We were just talking about this project that we're working on right now. We're working on a documentary, like a hunting documentary. It was an elk hunting documentary that we did out in Colorado. And so we just like planned it last minute, got a sponsor on it. And it was incredible, but that's kind of what we're working on now. And I'm actually editing that. So I was just talking about how

Dario50:00Oh, nice.

Kyrill50:03Cough.

Sean Collins50:16I still do a lot of editing as well, depending on what the project is, if I'm close enough to it.

Kyrill50:21Yeah, I feel the same with that.

Dario50:22Yeah, I abandoned editing. I abandoned editing early on. I'm a very slow editor. But I think this winter, I think this winter, I'm going to try to get back into it. I want to get the certification for Premiere and then try to do some stuff as well. Because there's a lot of marketable content Kyrill and I need to pump out. And uh.

Kyrill50:28Dario was never an editor. That was never his thing.

Sean Collins50:46Yeah.

Dario50:47Kyo can't do it all himself because he's also editing this podcast. So I gotta I gotta chip in.

Kyrill50:51It… Yeah.

Sean Collins50:52Yeah, I think editing is fun. I mean, there's times where it's like tedious and you're like, oh my God, I can't believe I have to keep doing this. But if you can choose what you edit, it becomes a little more fun. I mean, I started my career editing basically.

Kyrill51:06Yeah.

Sean Collins51:10Um, so I think that was kind of how I got really into it. And, uh, now I do it every now and then, but try and get other people to do it so I can start working on like pitching and other things.

Kyrill51:21Yeah, I mean, editing takes a lot of time, so you can't be doing it all the time if you're running a business, like maybe on just some select things, or if it's something that is, in a way, kind of like business development, right? So, like I'm doing, like a lot of our client projects, we hand that off to editors, because they're able to, like we can give to multiple people to be handling a few different projects at the same time, whereas a lot of the editing I do right now is focused on…

Sean Collins51:27Right. Yeah.

Kyrill51:50pushing the business forward in some way. And then Creatives Grab Coffee is one of those platforms where we do that. And I think to your point, selective editing, that's where it kind of comes in. You wanna focus on work and projects that can kind of help either progress the business forward via business development or creativity, portfolio development, things like that, that can help evolve it in some way, right? I mean, you spending time editing a corporate video like a similar one that you've done before, is not going to push the business to the next level in any way, shape or form, right? It's part of the process. It's one of the products you're servicing. But if you say, focused on editing like this documentary series, you know that this doc could have some big potential for your business to grow, expand or…

Sean Collins52:29Right.

Dario52:41Who's the doc for? Like, are you doing it for a client?

Sean Collins52:44Yeah. So we, so this guy, so the other camera operator, he grew up with this guy who's like a professional hunter now, and he had some sponsors, we shot some small stuff for them and then they, we basically pitched to them. He was like, Hey, I'm going on this hunt with my friend and you guys should film it and it's his first elk hunt ever. He's been hunting his whole life and like, it was a bow hunt too. So like.

Dario53:07That was nice.

Kyrill53:08Oh wow.

Sean Collins53:09Yeah, it was, it was crazy. So he was like, let's pitch it and see if they'll, they'll take it. So we basically pitched the, one of his sponsors and they were like, let's do it. Let's, let's make this thing happen. And I mean, our goal is to make it like Yeti's films. So like we, we hiked for miles. Like we did, I think probably like 10 miles a day and we had like 50 pound bags. We did seven days.

Dario53:25Hmm.

Dario53:33for how many days?

Dario53:37Well, what was it? So did you guys get the elk by the end?

Sean Collins53:38So yeah, I mean, yeah, we did. We got an elk and it was less than a 10% chance of him getting one. That's basically the odds out there. Yeah, he's very, we did get lucky, but he's also very skilled at tracking. But yeah, we had to be nimble. Packing for that was insane. We had so many things that we wanted to bring and we had like.

Kyrill53:38You have to be nimble, right?

Dario53:43Nice.

Dario53:48Really?

Kyrill53:55Mm-hmm.

Dario54:03I can't imagine.

Sean Collins54:04The one thing we had to figure out is like, how many batteries are we gonna shoot? Cause like we weren't charging. So, but like batteries weigh the same amount if they're full or if they're empty. So it's like, so you're like, like you can eat all your food that you bring out and be like, sweet, my bag's lighter. But like batteries, so that was hard for us. We chose the C70s. So we shot the whole thing raw on the C70s.

Dario54:08Oh yeah. Yeah, yeah, yeah.

Kyrill54:16Yeah

Dario54:16Yeah, that's funny.

Dario54:28Nice.

Kyrill54:29Nice.

Kyrill54:33Wow.

Sean Collins54:33And the raw is incredible. Like we've been just doing some color stuff here in the studio and. I'm glad it's, it's incredible. I mean, we have, so we have a red Vista vision Raptor, the 8K, which is beautiful camera, but like, you can't bring that out there. It would have taken 14. It would have been like 14 batteries a day to run that thing. So we took the C seventies and we wanted to bring like.

Dario54:39It's equivalent to Ari from what I've seen on some YouTube comparisons.

Dario54:52Not enough batteries.

Kyrill54:52No way you would have been able to.

Dario54:57Jesus.

Kyrill54:58Jesus.

Sean Collins55:03Three lenses a piece, but we're like, I mean, we had to bring our tents. We had to bring our water, our food. So we brought, yeah. So we shot a 70 to 200 on one of them and then, uh, 24 to one Oh five.

Dario55:07zoom lens.

Dario55:166th in a… DRF?

Sean Collins55:19Yeah, so we went RF for everything because one last piece of tech in between. Cause we were thinking like, what, what if something breaks? We also each had, we had like an R with us to do photos and then I had a Fuji XT4. So like we had options because we were doing time lapses. So like these just.

Kyrill55:37Nice.

Dario55:37Hmm.

Dario55:41But the batteries on that one stink on the X-T4.

Sean Collins55:45Yeah, but so we had solar panels with us, like little solar packs. They'd hang off your little ones, very small. And so you'd hang them off your pack and they would charge cause we were running tentacles for time code. I mean, we had, we had a lot of gear, but it made everything work. So like you look at some of the scenes and they'll be like, they would be like 200, 300 yards away from us. You can still hear them cause they have tentacle recorders on.

Kyrill55:48Yeah, I was wondering about that.

Dario55:50Oh my god that's hilarious

Dario55:58Nice.

Kyrill56:11Yeah.

Sean Collins56:12So they're like whispering because a lot of the hunt was like no talking and it was very quiet and we had to like creep through the woods. So it was an incredible experience because you're here trying to film this thing but also trying to like make sure you don't stand out and you don't like ruin the hunt.

Kyrill56:29Yeah, that makes sense, because you have to be, like you have to be almost like a hunter with the hunter. You know, you're hunting the hunter with your cameras in a way.

Dario56:29Jesus.

Sean Collins56:33I'm sorry.

Dario56:34Yeah, yeah, you know what it's like? You know, you know those videos where they show I've only seen it for CrossFit where the guy sprinting and then the camera guys matching his speed sprinting with him.

Sean Collins56:36Yeah.

Kyrill56:47Yeah

Sean Collins56:48Yeah. You know, it's like that. I mean, we've done stuff like that. We used to film a lot of stuff for the Spartan races. So we would do that. We would run with the runners and like, so it's, yeah, you have to like adapt to your situation. Right. And that was the thing with this hunting thing. Like we had vests that we like clipped our cameras into so you could always have it available to shoot. Um,

Dario57:00You're better than the runner, because you're holding like 20 pounds worth of gear.

Kyrill57:13Yeah.

Sean Collins57:13So like you can't have it in your bag. So you're hiking up these like crazy pitches. We did like, I think we were camping at like 10,000 feet elevation. So like, I mean, it was beautiful and we got some like lightning shots. We got caught in a lightning storm. It's going to be cool. It's just like, it's a lot to go through. Yeah.

Kyrill57:23Wow.

Dario57:28Nice. Wow.

Kyrill57:32I can't wait to see it. Honestly, when you release it, send it to us. We can't wait to see that. That would be cool.

Dario57:33Wait a minute, how did, did you have like a, we gotta ask him what kind of rain cover he had for the C70, because that thing's not waterproof, so, or weather sealed.

Sean Collins57:36Yeah.

Sean Collins57:42We didn't. Well, so that, yeah, so we didn't have, we had like, you can get like water covers for the cameras. Like they build like these, they're not, they're not very ergonomic and they're hard to use. So yeah, that was the thing. Like the minute it rains, like your audio is gone. Like you're not gonna be.

Dario57:55And they make a lot of noise too.

Kyrill58:02Yeah.

Sean Collins58:03You're going to have to do some, so we're going to do some post production stuff where we have a team in Boston that's going to help us do some like Foley and build some sound into it. So we've got like a small sound budget for that. And so we're trying to make it like the best it can be. And hopefully, like you said before, it's like going to grow the business. That's the goal is for this thing to maybe get us into more of the outdoor space because that's, we want to live in that space more than, I mean, we love the studio, but we're really trying to get into this like outdoor adventure, mountain biking, hiking, hunting, that kind of situation.

Kyrill58:38It's a whole different market. And I've always been curious how people jump into those types of spaces. And I'm guessing it's more so, yeah, like this, preparedness meets opportunity, you know, and then putting a lot of investment and effort into a big project like this. And honestly, I'm still amazed that you tackled such a audio-centric, challenging project without an audio operator. That's incredible.

Dario58:45Like this.

Sean Collins59:06It wasn't my choice. I mean, I asked for it. I was like, can we have one more person to even help us carry gear? And they were like, we're only going to have four people on this hunt. That's it. So it wasn't a budget thing and it wasn't, it was literally just a hunting. These two guys were going hunting already just as friends. And now they're bringing a camera crew.

Dario59:17Wow.

Kyrill59:18Yeah.

Kyrill59:26Yeah.

Sean Collins59:29And they both, they're both very good on camera because they've been, so they're both pro snowboarders. So they have this other world that they've been a part of. So on camera, they're great. So they were cool with the cameras being around. It was just like, number one, can you guys keep up? Which was a little daunting at first, because I mean, these guys, they're like big mountain snowboarders, park snowboarders, and they travel all over. They're hiking. So that was, I mean, it was physically taxing. And I think there were times where we were like, I don't know how we're going to do this. We dropped batteries halfway up one of the trails, because we were like, We're not bringing these batteries and we're just going to shoot less. Like one of the trails was just so intense. So we put them in a dry bag. We marked them on our app. We came back and got them. Yeah. I mean, I, yeah, I mean, I gave like, it was, I think five pounds worth of batteries and we were like, just not worth it. I mean,

Kyrill01:00:16I was gonna ask about that. Yeah, that makes sense. Sorry, go.

Sean Collins01:00:28That was the hardest thing. We brought 25 cards in case so we could just shoot because we're not dropping footage, which is also super scary to do.

Kyrill01:00:35No.

Dario01:00:37Yeah.

Kyrill01:00:38Yeah.

Sean Collins01:00:38Cause you're shooting cards and then you're putting them, we had a card holder that was like labeled just shot. And then you didn't, you only put stuff in there and you never took anything out. And then when we got to the car, we would drop stuff. Cause we had a couple times where we went to a different zone. Dude is scary. Like that whole part was scary. Cause like, not only are you filming it, but now you have all these great shots and you're like, we need to make sure we drop it and you're so I would carry.

Kyrill01:00:46never take it out.

Kyrill01:00:55Heh heh heh. Ahem.

Sean Collins01:01:05the cards in my backpack anywhere we went. So like we would set up our tents and leave them there, but I'd never leave media. Like I'd bring all the cards we shot in case we got lost, whatever happened. And then when we dropped cards, we left a drive in the car and then we brought the media back with us. So like if something happened to our backpack or something, we have a drive in the glove box.

Kyrill01:01:13No.

Kyrill01:01:29Did you do it daily? Did you drop off the footage daily or was it like every two three days kind of thing?

Dario01:01:30How many?

Sean Collins01:01:34So we only came out of the woods once because we moved. Yeah, so we shot for.

Kyrill01:01:38Oh boy god.

Dario01:01:39How many batteries a day did you use?

Sean Collins01:01:43We ended up shooting, I think we, so when we first went out, I think I brought like seven or eight batteries because they thought we were gonna be out there for, yeah, they thought we were gonna be out there for like eight days, like straight. So they didn't know, because like once you track the elk, you're out there and you're like, you're not coming back in. So a lot of it is dependent on where the animals are.

Dario01:01:52The big ones, right?

Sean Collins01:02:06If there's other hunters around all of that stuff, what the train is like. And then we were like five miles from the truck and it was like five miles off trail. So it'd take you probably like six hours ish to do that five miles. Yeah. It's crazy.

Kyrill01:02:22Wow.

Dario01:02:25Well he's in the bush right? There's no trail out there right?

Kyrill01:02:27Yeah, I… Yeah. No, no, this…

Sean Collins01:02:28There's a trail leading in, like we did a trailhead in the very beginning, which was like maybe a mile in. And then for hunting, you just want to be as far away from people as possible, especially it was like opening season. So it got really crowded. I mean, we would see people across on another peak. And so you're wondering, are they pushing elk this way? Are we pushing out towards them? So you had all these factors going on.

Dario01:02:44I see. Oh.

Sean Collins01:02:54It was, it was cool. I'd never been on an elk hunt before. Um, so it was very cool to see. We haven't eaten it yet. So it got butchered in Colorado and then it's going to get freeze dried and shipped here. So it'll be here soon. So we're going to get some of it to try. He said we could have as much of it as we want. Yeah, I could do that. Yeah. I mean, I hiked it out. We helped hike it out too, as the camera crew, which was pretty wild.

Dario01:02:58How was the meat? Was the meat good?

Dario01:03:12Send some up our way, you know, we haven't tried, we haven't tried oak. Hahaha. But ex some of that up here. Hahaha.

Kyrill01:03:15Hehehehe

Kyrill01:03:23guys were technically hunters there too so you deserve you deserve some of the game that was that was caught

Dario01:03:24Yeah, yeah, yeah. Well, he's shooting, he's shooting clips. He's still shooting. He contributed. Carol, do you have an L cat?

Sean Collins01:03:25Yeah. Yeah, for sure.

Kyrill01:03:32Yeah

Sean Collins01:03:33Yeah, it's crazy.

Kyrill01:03:38I do not I do not but now that no I might have to get that I Have to get one if Yeah, yeah, so the way Dario is with shoes is how I am with hats specifically this one brand called Gourm bros Which has different animals with different sayings on them, and they're just there. They're all it's hard to find

Dario01:03:39okay i think i think you yeah you gotta get one now

Sean Collins01:03:44Do you collect hats?

Sean Collins01:03:50That's cool.

Dario01:03:56He's like Noah. He wants to get- he's like Noah. He wants to get a hat with every animal on it. He's got 50 million of those things.

Sean Collins01:04:02That's cool.

Kyrill01:04:02There you go.

Sean Collins01:04:05That's cool.

Kyrill01:04:06But no, honestly that sounds like that whole experience was definitely something new for you guys. What was probably the biggest learning experience from that? Maybe that you can pull from, whether it's business related or not, what was the biggest learning experience?

Sean Collins01:04:23I think something like that for us was like planning was huge. And so like understanding a pre-production plan is massive for something like that. And also not getting caught up in gear. Like we have some cool stuff, but like, like we have sin lenses, but you're not bringing, like you're bringing autofocus out there. You may not use autofocus, but you're going to bring a zoom lens, a Canon RF lens, cause it's better. So I think.

Kyrill01:04:28Ahem.

Sean Collins01:04:53Being able to step back from the amount of gear that you have and use what you only need. I think that was the biggest learning thing and we brought more than we needed. The nice thing is we could leave some of it in the car. We swapped out for certain things when we came out. So I think that was the big thing. The other thing looking at it from a business standpoint is this opportunity came up. What do you do? Do you take it? You take it and you just…

Kyrill01:05:07Yeah.

Sean Collins01:05:21learn to adapt. Like it's, it was going into it. It was a crazy, um, planning and like hiking and prepping. Like I was walking around with a pack and like trying to like basically practice. So I think being outside of your comfort zone is something that allows you to grow. And I think this was like outside of our comfort zone for sure. I mean, we both do things outside and we're very active, but hiking mountains like this with camera gear was not something we had done. And it's, I mean, it's scary. It's definitely scary to be like, all right, we're going to be out there for eight days. Um, you got to bring in what you eat and all that, and you bring in the gear and you have to bring back the product, which is the video. And if you don't get what you're supposed to get, like that's scary. Like you were paid to be out here on this crazy trip. And it's only, it's a once in a lifetime thing. It was like his first elk hunt. So you have to come home and then recreate that. So I think that's crazy. It's like the com the comfort zone thing is like, I think allows you to grow, like being outside of your comfort zone.

Kyrill01:06:22What I think is… Sorry, I gotta go.

Kyrill01:06:31The one cool thing about that though is that you have an idea of what you're going there to capture but it's kind of like you make of it what you did, right? And I think that's kind of like the exciting, one of the more exciting aspects of it, right? It's not like you're doing a corporate video where like you need to get these specific soundbites, this, this and this, right? And you're in a controlled environment. This is a completely uncontrolled environment and it's just a matter of like what you can make of it and everything you bring with you. Every pound of weight that you put on your back is something you have to consider. And I think, yeah, you have to really think about consolidating as much as you can, whether you need it or not, because I can't imagine eight days constantly hiking and being on the move with these guys who probably didn't have as, well, actually no, probably the same amount of gear as you guys did, but you had to keep up with them, right? So you were guys being.

Sean Collins01:07:25Yeah.

Kyrill01:07:27uh, your, your limits were being tested in so many different ways as well. So it's like, they were focusing on the hunting, the elk, and you were, as I said, you were focusing on hunting them and getting that story exactly as you, as you were hoping to get.

Sean Collins01:07:41Yeah, and you're like, you're hiking up with them, but then you're stopping to get the shots of them hiking. So then you have to get and catch up. Or you can't shoot everything from behind them, right? Because it's like, that's kind of boring. So then you're like, hey, guys, just wait for a second. We're going to hike as fast as we can up. And then we're going to film you down. And you're going to pass us. And then we're going to follow you. So it was like planning as we go. We had shot list ideas. One of the cool things that we were able to do, which was really small and simple, but.

Kyrill01:07:50Yeah!

Dario01:07:54Yeah.

Kyrill01:07:59H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H-H

Dario01:08:01And you gotta be quiet. You gotta be quiet.

Kyrill01:08:03Ahem.

Kyrill01:08:11Yeah.

Sean Collins01:08:17We, one of the guys had a tent, it was a white tent. So we used the top cover of his white tent to like scrim while we were on top of a mountain to get some like really cool portrait shots. So we were able to like bring this like studio aspect into the film a little bit, which was cool.

Kyrill01:08:24Nice.

Dario01:08:28Oh, nice.

Dario01:08:33Can you fly a drone in national parks over there?

Sean Collins01:08:37So it's national forest so you can fly. So, but it's, yeah, so it's a little, the only thing about it is it's hunting season. So if somebody sees you, it's not only that, but they can also get you for like, they're thinking you're scouting that way, even if you're not. So like, when we're out there as.

Dario01:08:41Hmm. Here you can't.

Kyrill01:08:49scaring the game.

Sean Collins01:09:01Filmmakers were technically hunters because we're with the hunters so we can't so we didn't use our we wanted to but we didn't use our drone Because if other hunters or somebody were to see us they could basically say like hey you guys were using that to find elk And it's like no we weren't we were filming this like ridge shot, but They could No, no, you can't. Yeah, you can't. I mean, I'm sure people do stuff like that, but it's like

Dario01:09:18Is that not allowed? You're not allowed to use it to find out? Really?

Sean Collins01:09:28I guess you could say it's like cheating in a way. So I think they just like, yeah, cause it's like, okay, you found them. They're like, whatever. Cause that will tell you like GPS coordinates and stuff. I think it, it takes away from the whole thing. So they just said, no, you can't use that. So we didn't use them while we were hunting. We filmed drone, like after the fact of like the scenics and the stuff around. We wanted to bring one and you might've been able to get away with it, but it was. It's kind of like a gray area and we didn't want to like.

Kyrill01:09:31on Sportsmanlike.

Kyrill01:09:39Yeah.

Kyrill01:09:42Ahem.

Kyrill01:09:54It's not worth it.

Sean Collins01:09:57mess up this hunt. So like they said we probably shouldn't bring it. We're like, fine. All good.

Kyrill01:10:03Well, not to mention the, like you're only gonna use it here and there, not that often. And that's a lot of weight on your back. I mean, obviously it depends on what drone you bring, but still, it's still, but Dario, every gram in weight, everything adds up, you know? Like if he imagined he did that with every other tool he brought, yeah, it's only like 500 grams of gear, but then also another lens and then another this. Next thing you know, you have 20, 30 pounds that you're not gonna be using.

Dario01:10:11Depends, if he's got the Mini 3 Pro it's pretty light.

Sean Collins01:10:14Yeah, we had that.

Dario01:10:18The amount of batteries though, the amount of batteries.

Sean Collins01:10:23Yeah.

Sean Collins01:10:27Right.

Dario01:10:31But drone shots are good though.

Sean Collins01:10:34Yeah, well, it was like a gimbal. We had a gimbal and we never, we brought it out for like a half day because I mean, it's a gimbal and it's heavy and it's like, so we didn't, we would have loved to have it for a lot of the shots, but I mean, we had tripod and all the other things and it's like, you can't bring everything.

Kyrill01:10:34but he said, yeah.

Dario01:10:44Yeah, it's heavy.

Dario01:10:54I can't imagine you trying to move around in that terrain with a gimbal. You'd be like tripping and falling every other step. Like, that'd be too much. Plus, you need the RS3 Pro at a minimum for the C70. That with the C70 is going to break your elbow. It's too heavy for long amounts of time.

Sean Collins01:11:01Yes. Yeah, the whole thing was crazy.

Kyrill01:11:02Yep.

Sean Collins01:11:07Right. Totally. We actually shot with, um, the iPhone 14 pros too. So like there were times where it was like two crazy, like trees everywhere with a scratch lenses. So we're just like cinematic mode, which actually looks pretty good. I mean, it's, I think it would have been nice to have the new phone that just came out where it shoots log.

Kyrill01:11:11Yeah.

Dario01:11:24Nice.

Dario01:11:3015. Yeah, yeah.

Kyrill01:11:31Hehehe

Sean Collins01:11:32Yeah, it shoots log, but I think it was nice to have that option. It's like, you can't really like write that off like, oh, well, the phone's not going to match. It's like, it's really about the moments. Like if the phone's the only thing you have or the only thing you can shoot with at the moment, then that's what you go with.

Kyrill01:11:44Yep.

Dario01:11:50That goes with the saying, the best camera you have is the one you have on you, right? Whether that's a C70 or an iPhone.

Sean Collins01:11:54Yeah.

Sean Collins01:11:58Exactly.

Kyrill01:11:58especially in those remote places where you're kind of limited with options. And I mean, it's also a documentary. So you're not making like a feature film that's very specific where it needs to be in that format. Like with a documentary, you need to capture the moments, especially that are key because you'd rather have it on maybe a slightly less better camera than not to have it. Cause then you're not gonna have a story at the end of the day, right?

Sean Collins01:12:21Right, exactly. And that's what it's about. I mean, that happened to us. Like you'll see in the film when he took the, when he was taking the shot on the elk, all I had was my iPhone because it was pouring and my camera was in my bag.

Kyrill01:12:27Cough

Sean Collins01:12:36So I shot that part on my phone and the other guy had his camera, but I couldn't get to my camera fast enough without scaring the elk and I'm like, do I scare the elk and get my cinema camera or do I just suck it up and shoot with the iPhone? Which I'm not in love with that, but it's like a once in a lifetime opportunity. He has a shot. I'm going to just use my phone.

Kyrill01:12:45Yeah.

Sean Collins01:13:01So yeah, and it worked. I mean, it was great, but it wasn't exactly what I wanted, but it's still like, you feel the moment, you see the story and it was the only thing available.

Kyrill01:13:01Yeah, because you…

Dario01:13:13Yeah.

Kyrill01:13:13people aren't gonna care. People watching that are not gonna care whether you got that with the C70 or the iPhone, but just probably the way you're gonna put it together, building the tension, then showing the moment as it's unfolding, I mean, it's also, it kind of plays into it, right? You're filming a hunting documentary. So that kind of grittiness and like a DIY kind of nature of shooting it with maybe a phone also mimics the style of like what it's like to be in the woods, to be a hunter. to see these things. Nothing's perfectly cinematic, stable constantly throughout. Like that lends itself to the story. And again, it's all about the story and how you capture it rather than making sure you have it with the perfect setup, with the perfect camera, the perfect light and yeah.

Sean Collins01:13:46Totally.

Sean Collins01:13:58Exactly.

Dario01:14:00What was a crazy moment you had? Like, did you run into any bears? Any close calls?

Sean Collins01:14:05Yeah, we saw bears very close to us. Yeah, we saw bears with cubs, which is like the worst. Like, cause so like they were.

Kyrill01:14:06Oh

Dario01:14:13Yeah, dangerous.

Kyrill01:14:13No.

Sean Collins01:14:16coming, we were going up a ridge and they were coming at us. They were pretty far when we first saw them. So we were able to make it up the ridge before they even like spotted us. And we just filmed in that direction. We also, when we brought our C70s, we wanted to bring external monitors, but more batteries, more things. So we shot with the internal small monitor, which was great at times, but I mean, you're shooting something like there's a bear that's really far away. Like you can't really see it on your screen. So you're just filming.

Kyrill01:14:26That's good.

Kyrill01:14:36Yep.

Sean Collins01:14:46But we were sitting in the studio the other day looking at the shot. We're like, Oh, we actually got it. Like you can see the bears and like the cubs there. I think there were two cubs and the mother. And you're like, that's like the worst scenario. So like we got no, they're black bears. The, the cubs were brown looking, but I guess they must change color. Um, I don't. Yeah. I don't think they have grizzlies anymore out there. They used to. Um, so that's what I was told at least.

Dario01:14:49see up there. Nice.

Kyrill01:14:58Yeah. Grizzly? Okay.

Dario01:15:06Maybe it's a hybrid.

Sean Collins01:15:16I don't, we didn't see any. So, I mean, that would be scary in steamboat steamboat, Colorado. Yeah. And we were like, we were pretty far north of caught like in Colorado, no, like north of steamboat. So closer to the border. Um, and it was crowded. I mean, there's so many people that go there just to hunt. Like the hunting industry is massive there. People fly in from all over the place. So

Kyrill01:15:19Where was this again? Oh, okay. Right, right.

Dario01:15:21Colorado.

Dario01:15:44Oh, interesting.

Sean Collins01:15:45It was cool to see all the different people there for that. And the bow hunting makes it even cooler because it's like, you have to be close to take a shot, so you have to get as close as you can quietly. And that was kind of the fun. Like I felt like we were on a mission the whole time.

Kyrill01:15:54Yeah.

Dario01:16:03It's like Rambo.

Kyrill01:16:03Oh my god. Heh.

Sean Collins01:16:05Yeah, it was kind of like that. Like we would, we would see them from afar. Like they had binoculars and they'd be like, okay, here they are. They're like this far away. We'll go around. We're going to go up the mountain and like towards them. So we're doing a lot of like stalking and like finding places to like hide and like sit for a little bit. The wind changes, so you have to like stay in one spot because if the wind flips towards them, they'll smell you and they'll go the other way. So like you really like relying on the wind to do certain things and sometimes it's in your favor and sometimes it's not.

Dario01:16:40Poof, humans are scary, man. Seven days, this guy stalked this poor elk. He was just eating grass and whatnot, not knowing what's happening. Seven days, this guy's out there with his camera.

Sean Collins01:16:42Yeah.

Kyrill01:16:53And you know, it was.

Sean Collins01:16:54I guess you could look at it that way. I think the cool thing about it Like I don't I've hunted a few times in my life and like I have a bow and I shoot but I think that would be the only way if I ever were to kill an animal would be with a bow because I feel like it's like You have to get close enough. You have to put a lot of skill in it and you have to like track, which is very much like it used to be when we were like hunter gatherers. So that's like, that feels the closest. The rifle hunting people are shooting from like a hundred yards. They have like literally no idea. I don't think that's fair, but I don't need to, I mean, I'm not going to get into it, but I just, I feel like the bow thing gives us a little bit of a chance for everybody. So.

Dario01:17:17back in the day.

Dario01:17:24Yeah, yeah. I feel the same. Yeah, I feel the same.

Dario01:17:35Mm-hmm. Yeah.

Kyrill01:17:36Yeah, it's literally, it turns it, it's a sporting chance for the animal, right? Where it's kind of like, it's at its core, man versus animal rather than, you know, technology. Yeah, cause if you got to that point and where you got that close enough to the animal, you surprised it, you managed to kill it with a bow, then it's like you deserve at that point, you know.

Dario01:17:48Machine versus… Machine versus animal.

Sean Collins01:17:50Right. Yeah, exactly.

Sean Collins01:18:03Right.

Kyrill01:18:04like you've proven yourself to be able to be worthy enough to do that. Whereas, yeah, like if you're just with a rifle with a scope from a hundred, 150 yards away, sure there's skill at shooting from a distance, but at the same time, it's like, you're too far. Like you're not really putting any skill. You're just there lazy sitting and waiting for the thing to come in.

Dario01:18:14Hehehehe

Sean Collins01:18:15Right.

Dario01:18:19Hehehe

Sean Collins01:18:19Yeah, totally.

Sean Collins01:18:24Totally. Yeah, I agree.

Dario01:18:26Good thing too is that I guess you end up with like a lot of meat by the end of it, right? It's better than… than how… Yeah.

Sean Collins01:18:30Yeah, yeah, yeah. And you have to hike it all out. That's the other thing. And there's only four of us. So, I mean.

Dario01:18:37Gives you a lot of respect for the animal.

Kyrill01:18:37How heavy was it, that elk?

Sean Collins01:18:40The whole thing, I don't know. I mean, yeah, I mean, we had to pack in, they had bags, so we like would pack in the meat, the legs, all that stuff into like bags, and then each person got a bag to go.

Dario01:18:42Probably like a ton.

Sean Collins01:18:55into their bag of all of their gear. So like we still had our camera gear. We'd never tents, but we still had our camera gear and we had to hike down a ravine to a spot where we didn't get to the truck because it was too far. So then we had to like hang it for the next day. Cause it was so cold out that you could do that and then come back and get it. We had to go get our tents. So we had to do two hikes in and out to bring the meat and the. Yeah. So like if you.

Kyrill01:19:15Yeah.

Dario01:19:20You hung the meat? Covered? Like in the plastic or?

Sean Collins01:19:25Yeah, in the bag. So like, if you can't, that happens a lot. So like, if you can't make it to your truck, like you're not going to bring number one, they're not going to bring the meat back to your tent because like, you're just attracting animals. And also, yeah, and also like where our tents were, it was another like, I don't know.

Dario01:19:26Okay.

Kyrill01:19:38It's a big buffet line.

Dario01:19:38Hmm. Yeah, yeah.

Sean Collins01:19:44Thousand foot up like it was crazy to you'd have to go back up and back down. So yeah, we just left it Hoping nothing would touch it. Nothing did so it's like that's part of it is like you get it now You have to get it out which is like a whole nother thing

Dario01:20:00Yeah, I didn't even think about that. Holy, yeah, yeah. Ha ha.

Kyrill01:20:03I saw this series that got released, I think it was on Netflix called Alone, where they basically dropped a lot of different, like 10 different people into remote parts of Northern Canada. And the last one to call in to be picked up, Who Can Survive Out in the Wilderness the Longest, was actually a very interesting concept for a show. So like, as you're talking about it, yeah, it was actually a very interesting show.

Sean Collins01:20:08Yeah.

Sean Collins01:20:23It was cool.

Dario01:20:26Did they have a camera crew or was it they had a GoPro?

Kyrill01:20:28No, they had to film it themselves. They had to film it themselves. So they had to be trained and it was actually done pretty well. And it was kind of interesting to see how these people psychologically would get through a lot of it. Some people would get injured in very simple ways but to the point where they can't move forward, they would accidentally eat something that's like spoiled and then they would have to call it in. There was one guy who got a moose, who hunted a moose. And

Sean Collins01:20:35Yeah.

Dario01:20:51Jesus.

Kyrill01:20:56The biggest challenge for him after that was, exactly what you were talking about, how to keep the meat away from the coyotes and the other animals that were trying to get to it. And he would basically build these big wooden structures where he would keep the meat hanging from above. And yeah, I can't imagine. So when you mentioned that you guys had to butcher basically the animal there and then bring in the meat, because otherwise you wouldn't have been able to, right?

Sean Collins01:21:03Yeah.

Dario01:21:03Wow.

Sean Collins01:21:20Yeah. Yeah, I mean, that's how it's always done on any hunt. Unless it's, I think deer people can carry the deer out depending on how big it is. But with an elk, they're, I mean, I think they're at least, I don't know, 800 pounds, 1000 pounds. I mean, it's a lot. I have no idea.

Kyrill01:21:32Okay.

Dario01:21:39I miss you.

Kyrill01:21:41Did you, how, so how?

Dario01:21:43So about, was it a male or a female that you guys got? 320 to 330 kg, so that is how many pounds?

Sean Collins01:21:46It was a ball, so now.

Kyrill01:21:52It's about like seven, 800 pounds.

Sean Collins01:21:55Yeah, I mean, it was big. So.

Dario01:21:58pounds it's 705 wow

Kyrill01:22:00So how long did your camera gear smell like elk? Cause you had to pack it in the same bag.

Dario01:22:04Ha ha ha. Oh my god.

Sean Collins01:22:05It's so the nice thing is the bag I had, I borrowed it from one of the guys who's a hunter. So it has a like a outside compartment to hold me. So like my Yeah. And so like mine was good. The other guy had just as he had his video bag. So he used a rain cover over the bag and then he put it inside his camera bag.

Dario01:22:17It's double layered? Okay, okay.

Kyrill01:22:17Uhhh

Kyrill01:22:23Hehehehe

Dario01:22:26Oh my god.

Kyrill01:22:27No!

Dario01:22:34Oh my god.

Sean Collins01:22:34I don't know, I think he got it dry cleaned when he got back, but he wasn't too happy about it, but he still did it. It seemed fine, but there was no other option. That was it. It was like, either we help them or they have to come back, which would have taken another day. We were like, true. Yeah, I just don't know how that would have felt if they would have been upset with us. They were very…

Kyrill01:22:53I mean, it would have been more footage for you guys. So, yeah.

Sean Collins01:23:02appreciative that we helped hike it out, which was cool. And I think it also was like, it was part of the journey for us. It's like, we're gonna do this thing cause like we've never done it. We're gonna be a part of the team. Like we were all out there as a team, like even though they're hunting, we're filming, we're like checking in on each other. Like somebody may have brought like extra snacks or something and like we're like trading snacks and like we're out there like hanging out. So it was like a very fun and enjoyable experience as far as like. getting along with everybody, it was just like very grueling and wild hiking, which was, it was cool for sure. It was a good experience and I think it will help the business ultimately grow.

Kyrill01:23:42Yeah, I'm very like, Dario and I will definitely keep an eye to see like what's going on after this. This is cool

Dario01:23:48Yeah, let us know when it's out. We'll let people know.

Sean Collins01:23:51Yeah, I think first week of November is our goal. So like around November 3rd, 4th-ish. So it'll be coming out around then.

Dario01:23:59What was it gonna be coming out on?

Sean Collins01:24:02Um, my guess is it will be on YouTube. I think the brand will put it on their YouTube. Um, they're a camera, a camera company for like game cameras. So they make the cameras that like track animals. Um, Moultrie mobile.

Kyrill01:24:14Mm.

Dario01:24:15What are they called?

Sean Collins01:24:18So the cool thing with this is this is their first thing. They went all in on this. They were like, we've never done a video like this and we want to amp up our content. So we're like, let's they're like, roll the dice on this. And they're like, let's do it. Or we've never done it as a production company and they had never done it. So it was like one of those moments where everybody was all in on it, which was very cool.

Kyrill01:24:43It's a lot of potential for just eight days of, well, obviously not just eight days, so with all the pre-production that probably went into this was probably months to get it done exactly how you guys needed to, but like the potential reward for this type of effort is, you never know, right? And at the very least, it's a… yeah.

Sean Collins01:25:01Yeah, I think that's why you take it. When you get these opportunities, you're like, it's scary when they come up because you're like, oh, it's actually going to work out. Like part of me thought, oh, I doubt they'll pass the budget or whatever. And then I called the other camera operator and I was like, we're good to go. He's like, oh no, he's like, now we've got to train. I'm like, we got two weeks. Let's go.

Dario01:25:22It's always like that, I always find whenever you think the project's not going to go through, it always goes through.

Sean Collins01:25:27Yeah, which is great. But then the work starts. So.

Dario01:25:32Yep.

Kyrill01:25:34Well, the hard part is done. Now it's just a matter of crafting the story together. And I think, or at least this is, what is it, like this is where the fun begins kind of, you know?

Sean Collins01:25:42Yeah, start to build it and put it together.

Dario01:25:47Before we end off, I just was curious about the Boston scene. So for corporate video, what's the scene like? How's this year been in terms of work? Have you guys noticed any less work coming in because of the interest rate hikes or just because of the economy?

Sean Collins01:26:06Yeah, I think it started out really great. And then things sort of tapered down like they did around the country. And I think in Canada, it was probably the same thing. It seemed like production slowed down. People were sort of trying to figure out their budgets. Should they be spending on certain things like this? So we definitely had a slowdown period, but it gave us some time to like start to build some ideas, some pitches.

Dario01:26:17Yeah.

Sean Collins01:26:35really look at where we're trying to go next. And then things picked up again. Um, the other thing that we do is we try and to adapt as much as possible. So we have the studio that we film a lot of product in. So like, if things are slow, there's some of our clients are, um, sneaker. So they make sneakers and, and they basically need to put those up online all the time. So it's like, if there's no video in-house to film or commercial to film, they always need that e-commerce type stuff. So we've.

Kyrill01:26:51Ahem.

Sean Collins01:27:07branched out to do some e-comm type stuff. And then we also do live events. So like now whatever the corporate stuff dries up, like we'll go into some live events and we'll just do camera work on those and edits. So we'll have like an AV team do all the actual like in-house production. But I think adapting when things slow down is the name of the game is like, where, where are things still happening? But we did notice usually in the winter, it's slower here. Um, but it was slow in the summer, which is not usual for us.

Dario01:27:42Mm-hmm. I noticed September was very slow for us and usually September is our busiest month. But for us, I noticed like, it's consistent month to month. And again, because it's just two of us, our overhead is very low. I mean, if I was actually like insanely low, if you don't consider our salaries, I think our overhead costs are like under 2k, because we don't have offices or whatnot. So it's like very easy to run our business. But I think if we had…

Kyrill01:27:42Yeah, that was very similar.

Sean Collins01:27:49Yeah.

Kyrill01:28:07Yeah.

Sean Collins01:28:07Yeah.

Sean Collins01:28:11Which is awesome.

Dario01:28:11A lot more over. Yeah, but that's not including our salaries. It's just like costs of like our main costs are like subscriptions, like financing for some of our equipment, which will be done soon. Yeah, just operating costs, just subscriptions, really.

Sean Collins01:28:15Right.

Sean Collins01:28:18Yeah.

Kyrill01:28:22Just operating costs. Yeah, mostly.

Sean Collins01:28:23Yeah. Which is great. I mean, having a studio is cool, but it's hard because we're not always using it. Like as much as I'd love to. But it does give us the opportunity to test and shoot here as much as possible. And we have like a small editing suite in here as well. So it's kind of like a group space and

Dario01:28:33Yeah.

Sean Collins01:28:46If somebody has an idea and wants to test or shoot, they can do that while other people are editing. We're trying to get as many more people in here as possible. We also do photo shoots in here as well. So we'll have a brand that just wants photos. So we'll hire a freelance photographer and build out the crew that way. So we're trying to adapt with whatever situation comes up.

Kyrill01:28:51Yeah.

Dario01:29:06We were about to get an office this year and then I broke down the numbers and I told Carol, I'm like, it's not worth it. Cause I think over the course of three years, it would have been like a hundred K and I was like, Ooh, I'd rather put that towards like a down payment where we get to purchase something. But I guess that that's on a, that's unobtainable. Uh, I now like back then there was some slight hope. Now it's now there's like no hope at all.

Kyrill01:29:14Not yet.

Sean Collins01:29:15Yeah.

Sean Collins01:29:22Oh yeah, it's tough.

Kyrill01:29:25It's also unobtainable.

Sean Collins01:29:25Yeah, like… This… Yeah. I mean, this space was a insurance office. So like it came up and, and I was like, I looked at it and I was like, ah, it could be, we had like a smaller studio before and I'm like, this could be a studio. So I came in, ripped up all the car. I mean, that's the thing when you are the owner and you're a small company, you do a lot of the things, like a lot of the operation things. So I came in and I ripped up all the carpet and then.

Kyrill01:29:32Yeah.

Dario01:29:35Oh yeah?

Kyrill01:29:35Ha ha.

Sean Collins01:29:57I had somebody paint the walls and then my friend helped build that wall. So we have like a 20 foot psych wall, but you just, you end up spending money on all these things that you didn't realize were going to cost so much. And like, we had to refinish the floors because the cement was all poured, not as good as it could have been. So like it all adds up and is it worth it? I don't know. It's like, so hard to tell. We've had this space since April. Um, we've had.

Dario01:30:03Nice.

Kyrill01:30:24Oh, okay.

Sean Collins01:30:25Yeah, so like this is new. This, this big space, so it's 1800 square feet. Um, it's new for us. The smaller space we had before was good. It was basically like a gear closet. Um, and so this is kind of like expanding and growing. So it hasn't even been a year yet, but it's, it's evolving.

Dario01:30:44Do they have a commercial rent control down there?

Sean Collins01:30:48Um, I don't think so, but I'm not a hundred percent sure. I mean, this, so the studio is actually in New Hampshire. So we're an hour north of the city. Um, one reason is I live in New Hampshire, so we have a small office in Boston.

Dario01:30:56Hmm.

Kyrill01:30:58Ah, okay.

Sean Collins01:31:05that we don't shoot in at all. It's really just for like meetings. And then this is where like operations happen. And that's because driving to Boston every day for me, it would just be crazy. So I wanted something close to home.

Kyrill01:31:18It's not easy to drive in Boston either. Dario and I, once upon a time, used to shoot a lot of these Indian weddings. And we had one where, this was like in 2016, where the studio we were working with had us drive all the way down to Boston from Toronto. And we remember that driving in Boston was just such a nightmare because streets would start.

Sean Collins01:31:21No.

Dario01:31:23Brutal.

Dario01:31:44Terrible.

Kyrill01:31:44and lanes would end without any warning. And I'm like, how do people drive here? Ha ha ha.

Sean Collins01:31:49It's crazy. And then you miss your turn and you have to go like a mile or two down to take another turn. It's all one ways because it's like used to be for horse and buggy and they decided to never change it.

Kyrill01:31:55Yeah.

Kyrill01:32:01Yeah.

Dario01:32:03Hey, Toronto's turning into that, too, like they're closing off streets. Yeah, you're not, you're not, you're not missing much.

Sean Collins01:32:03Yeah, it's crazy. I've never been to Toronto, so I'll have to come. No, I think it'd be cool. I don't know, I'd like to check it out.

Kyrill01:32:08Oh no? Yes.

Dario01:32:14It's like, it's like baby New York.

Kyrill01:32:17Baby New York is the best way to describe it.

Sean Collins01:32:17That's cool.

Dario01:32:18Or like teenager, teenager version of New York. It's slowly turning into like 70s New York, which is not a good look, but. All the crime and, yeah. Maybe like the alley behind Studio 54. Ha ha ha.

Kyrill01:32:22that acts out.

Kyrill01:32:30construction.

Sean Collins01:32:31Like Studio 54 style, you have that going on there?

Kyrill01:32:42Well.

Dario01:32:43Um, but yeah, no, I think, I think that's good. You guys want to chat about anything else?

Kyrill01:32:49Yeah. Was there any questions you had for us or something you were curious about as well? Or?

Sean Collins01:32:55Yeah, I think what what's the scene I guess in Toronto for film? Like what's the I think everybody always looks at like filmmaking in the US and in Canada and they're like, well, why is everybody not living in LA and like that's where the film scene is. It's like, what is

Dario01:33:12Do you mean for film or for corporate?

Sean Collins01:33:14Well, I mean, I think anything like even corporate stuff or like, I mean, you guys do looks like product stuff to like car type stuff. I saw some of the car real stuff that you guys you guys had. What do you think is the most prominent, like corporate style video in Toronto? Like what is the big thing for you guys? Like is it is it banks? Is it business like certain businesses?

Dario01:33:38gotta be yeah it's gonna it's gotta be three major yeah three major ones here in Toronto it's finance it's manufacturing and then I would say it's just anything else that's business related yeah I guess like a tech our tech industry in Canada is not that strong I would say because as soon as they get big they just leave right

Kyrill01:33:41Finance Space.

Kyrill01:33:50Maybe tech, like tech software. Yeah.

Kyrill01:34:00Yeah.

Sean Collins01:34:01Yeah.

Dario01:34:04Why stay here when your valuations are going to be tiny? Just go to the U S right away. Like I guarantee you the same idea. Like let's say, let's say you have two tech companies, identical. The valuation in Canada is going to be tiny compared to what the valuation in the U S would be. So a lot of them just transfer over, right? Um, but I guess, yeah. So finance, I would say manufacturing in Toronto, and then just varied business as the third category, like whatever.

Kyrill01:34:09Yeah.

Sean Collins01:34:23Yeah.

Sean Collins01:34:32Yeah.

Kyrill01:34:33B2B. A lot of B2B. Yeah.

Dario01:34:34Whatever B to beep is, yeah, B to C is just, I don't know, it could be anything, right? Just gets lumped into.

Sean Collins01:34:40What do you think the biggest challenge is, like filming in Toronto?

Dario01:34:44Filming in Toronto, biggest challenge is just, biggest challenge for I'd say all of Canada is just a tiny, tiny market. So the budgets are always gonna be limited because of that, right? I mean, you guys have 10 times the population we have, right, so right away, whatever company is, whatever they're outputting, they have like… 10 times the amount of potential targets that they would have versus here in Toronto, right? Or Canada, right?

Kyrill01:35:15This is why we're curious about what the scenes are like in every different state, because it's like its own oasis of work. Whereas in Canada, it's Vancouver, Toronto, maybe Montreal, Ottawa area, depending on whatever the work is there. But it's very secluded to just few places. And then the headquarters are there and then it spreads throughout to different provinces. Like, yeah, there are some…

Sean Collins01:35:20Yeah.

Sean Collins01:35:36Mm.

Kyrill01:35:43projects in like Winnipeg and in Quebec and stuff like that. But, but yeah.

Dario01:35:46Well, the types of industries vary, right? Like if you go to the Midwest, it'll be more like agricultural type of projects. The oil and gas, if you go to like Alberta, Vancouver, BC, I guess, would be similar industries to Toronto. But and then like Ottawa, Ottawa is the capital, so it's a lot of like government work out there. And then tons of…

Kyrill01:36:02There are smaller, there are less companies here.

Kyrill01:36:10Yeah.

Sean Collins01:36:10Have you guys thought about getting into like short films or any of that space or like series or anything? Are you staying corporate? Yeah.

Dario01:36:14No, no, it's staying corporate. We used to we used to like we used to like Daydream talk about that stuff. But I don't know, it's just it hasn't really clicked with us over the years, so we just. Have let it go, I would say, like we haven't really. Hunting films, yeah. I would like to do like, yeah, that sounds like a lot of fun.

Kyrill01:36:20Yeah, for now that's where we're at.

Sean Collins01:36:34You guys should get into some hunting films. There's big hunting in British Columbia. Dude, British Columbia is like massive for that stuff.

Kyrill01:36:37You know, I think that would be a lot of fun, you know?

Sean Collins01:36:44You guys could get some like outdoor clients. If you go to British Columbia, like plan the shoot out there. Like, I mean, that's where a lot of like big companies shoot, like hiking. The mountains are incredible. Mountain biking is big out there too. And, um, so like the mountain stuff you could get into, especially since you're already in Canada, like say a U S company wants to do it. It's like a lot easier to hire the.

Dario01:36:47Probably.

Dario01:37:09Oh yeah, I guess so. Yeah, yeah.

Sean Collins01:37:09company that's in Canada. So there's like a ton of like Patagonia, like you can start like looking at pitching to some of these companies that are going to try and film up there anyways, and you would be like, Oh, we know that space well, like it just, I mean, it's not next to Toronto, but yeah. Yeah. Like how far is BC from Toronto? Like you fly there like eight, six hours sale. So I thought, yeah, no. Yeah.

Dario01:37:23Just need to find a hunter now.

Kyrill01:37:28Yeah, we-

Kyrill01:37:32It's like five six hours It's not that close

Dario01:37:36As a plane flies. No, like right now we're, yeah, no, like right now, like we're, we're just trying to gain more work in Toronto in like finance or manufacturing. We've had a ton of manufacturing work this year actually, like it's pretty good. More B2B. But other than that, I want us to expand to the US

Sean Collins01:37:39Yeah, you gotta find some hunters up there.

Kyrill01:37:54Yeah.

Sean Collins01:38:03Yeah.

Dario01:38:04So we're gonna see how to do that because…

Sean Collins01:38:07Do you think the podcast is something that you're doing just to explore or is it something that you think will help the business a little bit?

Dario01:38:13No, no, no. Podcast has been mainly to network with other companies, develop relationships, because the cool thing out of it is that we've had several projects come up where we've utilized the network we've built with this show, right? Not to mention all the knowledge we've gained off of it, we'd apply to the business and we've seen it. We've seen.

Sean Collins01:38:18Yeah.

Kyrill01:38:19develop relationships with other people.

Sean Collins01:38:28Cool, that's awesome.

Kyrill01:38:35Improvements, big, big improvements. Yeah.

Dario01:38:35many returns on investment on that front right like we've just whatever we've learned we're like hey you know let's apply that little tidbit of knowledge and it's worked out

Sean Collins01:38:36Yeah.

Sean Collins01:38:42True. Yeah, it's a good way to just hang out and meet and then also get tips from, learn from each other. It's a great idea. Yeah, exactly. It's fun.

Dario01:38:49Yeah. We are trying to… Yeah.

Kyrill01:38:51And shoot the shit, you know, like, yeah, that's the other thing. It's a, it's a lot of fun to, it's a lot of fun to get to know people that are like outside of our immediate network and, you know, just get a sense of like what it's like in different, different parts of the world. Cause we've had people from the UK, Australia as well. And, um, yeah, essentially the next step that we're, we're aiming to do is to try to, uh, reach out to every state and just get a good sense of like what the scene is like in, in every, every part of the U S as well.

Sean Collins01:39:00Yeah.

Dario01:39:21Yeah, we were gonna do some more international, but then we figured, you know what? Because Canada's just right next door to the US, I'm sure there's a ton of other US companies that would need to do work in Toronto, so we're just like, let's focus more on the US for now once we build out that network, then we'll kind of expand to some other, you know.

Sean Collins01:39:21awesome.

Kyrill01:39:39Yeah.

Dario01:39:43countries like the UK or Australia or whatever other country speaks English and then we'll do that but for now we figured

Sean Collins01:39:45Yeah.

Sean Collins01:39:51Yeah, there was that one guy you had on recently. I was amazed when he said he had 57 editors or something, or not editors, but he had like, it was that guy that had the group of editors. He just has like a, yeah, he's like crazy amount of employees, I was like, dang, how'd you get that big? Cause even, got it, got it, yeah, yeah. Yeah, that was pretty wild. Yeah.

Kyrill01:40:05Edit crew.

Dario01:40:06Oh, Atacrur, yeah.

Kyrill01:40:12They're worldwide. That was the difference. He has remote people.

Dario01:40:14They're worldwide, yeah.

Sean Collins01:40:19That's what it sounded like was a lot of remote people, but it was interesting to see that that's a need in the space is like just editing. I guess it's, I mean, we all need it, so.

Dario01:40:29His business model, like what he's doing is smart because as long as they're qualified, it seemed like the kind of post-production system he had is something that a lot of companies have anyway. So it'd be an easy way to just bring them on board for projects, right? So.

Sean Collins01:40:40Yeah.

Sean Collins01:40:46Yeah, I mean, it's a great idea. Seems like everybody needs editing. So.

Dario01:40:49Yeah, I want to reach out to him and see if he wants to sponsor the show, because that's actually a pretty I feel like a lot of people would use that. We were planning on using it as well.

Sean Collins01:40:59I think so. I'm interested in learning more about it because it's, I've heard about those businesses, but I've never really like, it was good to hear him talk about it because like he's the business owner. So I feel like I know a little bit more about it.

Dario01:41:13Yeah, it sounded like I haven't tested it out yet. I want to. So if someone out there has tried it, let us know how it is. But he seemed like he knew what he was doing. Like it seemed legit to me.

Sean Collins01:41:16Yeah.

Sean Collins01:41:23Yeah.

Dario01:41:30I think we'll probably end it when Kjol comes back. I need to go for another pee break too. I'm dying right now. I don't know how Rogan does it where he does those three hour podcasts.

Sean Collins01:41:34Yeah.

Sean Collins01:41:39Yeah. Dude, I know right? Well sometimes they'll just do it then like he'll just leave and like then the guest has to like talk.

Kyrill01:41:44I'm back.

Dario01:41:49That's what I did earlier.

Kyrill01:41:52Yep, I needed to do the same. I'm like, I've been, I was like holding it for like the last like maybe 15 minutes. I'm like, yeah, I just got to do it.

Sean Collins01:41:53Yeah.

Dario01:41:59Okay, we gotta end this right now because I can't take it anymore. My bladder is about to burst.

Sean Collins01:42:00Yeah, for sure.

Kyrill01:42:03Yeah. Sean, thanks for jumping on, man, and sharing, I think even this awesome docs, just the story of like how you went about this one major project. Very cool. And we can't wait to see how it turns out.

Sean Collins01:42:16Yeah, thanks for having me. This was awesome. I mean, we'll have to do it again sometime.

Dario01:42:20Sure. All right, thank you, Sean. And we'll let everyone know when your doc comes out.

Kyrill01:42:20Sounds good. All right, man. Thanks again.

Sean Collins01:42:21Cool.

Sean Collins01:42:27Cool, sounds good. All right, see you guys.