Speaker 1: So Archie says, pull focus or autofocus? Great question. Went through this last week. Let me be real. The A7S III is the first camera where I really feel comfortable with the autofocus. There has not been a camera before that where I really, maybe a C200, maybe a C100 Mark II with a Canon lens on it, maybe. The A7S III is the first camera I feel comfortable with any lens on it. And it depends who you got. If you got a person that's doing this, it depends on what you're shooting, autofocus. If you got somebody that's still, and you don't have to always shoot at F2.8. That's what I like about the A7S III is it allows me to shoot at F2.8, F1.4, lock on the eyes and get great focus, even though they're moving slightly. Because at F1.4, you can go from here to here and it's out of focus. Let me give you an example. Right now, I'm shooting at F1.2. I'm shooting at F1.2. It's a very thin layer of focus. The A7S III is keeping up with it. Can you further explain communication videos? Okay. Yes. Ty Martin gave you a great explanation. I'm going to read what he's saying, then I'm going to touch on it. What he said is if a company needs to make an announcement to their existing customers or departments, then that's when you use communication videos. That's pretty much it. Anytime someone within a company wants to send a message to either internal or external. An example of external would be Bill Gates apologizing for how bad Windows 11 is. He's probably not going to do that, but it is what it is. A good example is Steve Jobs saying, thank you guys for supporting ... Look at Jim, he's flipping over there. I'm doing it just to mess with Jim. That's a great example of external. Internal a lot of times is a lot of companies run contests for different departments. A lot of companies have giveaways. A lot of companies change policies. A lot of companies want to announce that healthcare is opening up for the company and you need to sign up and buy it. A lot of companies want to talk about what happens with 401k within the company. Those are internal communication videos. She said, I recently had such an offer, $400 for a video that has promised that more videos will come and more money. If you know me, and you probably know me, there's no way in hell I do these deals. You got to be P. Diddy himself. You have to be somebody that taking a picture next to you is as valuable as working with you. If you are not that, I am not falling for that. Especially, and I'm going to tell you, a lot of people who like to use this and I've failed for it before, it's political figures. Oh man, they think they're celebrities. They're not. If I get a chance to work with the vice president or Kim Kardashian, I'm going to take Kim Kardashian. It's not a political issue at all. It's just, I know I can get further. People will buy what Kim Kardashian is saying more than anybody in the Senate, White House or whatever. I don't care what side you're on or whatever. That's why celebrities get endorsements. Congressmen, they kind of do, but they kind of don't, if you know what I mean. You know what I'm saying? A lobbyist endorsement is the same thing, but I'm not going to do it for you if it doesn't instantly help the brand. What helps my brand is that I shot a music video for Cardi B, is more than whatever. I can shoot six weeks of C-SPAN video, don't nobody care. When clients get to talking like that, I don't do business. In fact, I'm to the point now, and this ain't going to work for everybody. Let me say that. And you got to be at a level of, you know what I'm saying? You got to be a level 10 to kind of push back and kind of punk somebody a little bit and kind of say, hey, it's okay if you guys can't afford this. Let me know when you can. So let me guess, your passion is this, and you want to attract this or this. So you can make more of this, but your portfolio or demo reel is not this. I've worked for these companies in the past. When it comes to finding a job or getting the attention of potential clients, a demo reel or portfolio with random clips and music won't cut it. And that's why I created this. The five key steps for creating an effective demo reel that converts. It's an online course designed to show you how to market your skills and past experience and create a video portfolio that's designed to blow away your competition and 10 X your results. Remember, if you can't tell your story, how do you expect someone to hire you to effectively tell their story? Enroll today at Flash Film Academy. It's time to turn passion into profit. John says, what do you do if there's a service that they want, but it's not on your proposal? That's easy. Oh, we can add that. That's what you say. Repeat after me. Oh, definitely. We can add that. Unless it's something you can't do. You want to shoot a scene in space? We can add that with a green screen. I can't tell you how many times we've sent video proposals that ended with photography stuff. Hey man, I got everybody here in the office. I was thinking about bringing in a headshot photographer so we can get two at one time. We can do that. No problem. Say no more, bro. We can bring the backdrops and everything. Here's a second proposal. Click that. Hey, we need lifestyle images. You know, while you guys are here filming, you know, I got the whole staff day off. Listen, when you work with businesses and it's a staff involved with your shoot and they're pulling people away from money to take pictures and video, that's a great time to offer other things because in their mind, I can knock out two birds with one stone. You mean to tell me I don't have to pay labor for people to take pictures later? I can do it now at the same time? Two areas going at once? That's when you need to start pitching that stuff because those are significant upsells that are another 2, 3, 4, 5, 10, $20,000 that you leave in and somebody else walking right in behind you with a whole different company with the same camera you got. And you'll learn to ask those questions based off experience.

Speaker 2: So she showed me the template of the St. Louis, kind of what they were looking for. It looks simple enough. So I shot it the way I would normally shoot it and I gave him my motion graphics and that's not good enough. So three revisions later and I told her after two revisions, you're going to have to pay. This is one of those things where she didn't tell me upfront, this video has to be exactly like this production company did it. If she had said that, I couldn't get mad, but she didn't say that until I delivered mine and she goes, oh, we want it more subdued, we want it like this.

Speaker 1: Two things I usually do in that situation. One is make sure that in your proposal, in your contract, it talks about revisions. I like to explain what a revision is so people can know what are we, because people will try to, well, this is a revision. Well, no, we, let me explain the step, the revision steps. And this is for those who are on the outside looking in, we go, I go deep into this. I think it's in module two, but so the way I do revisions is the first round is clip order. Are the clips in the right order? The second round is, um, image quality and color. The third round is going to be motion effects and sound mixing. So when we get the motion effects and sound mixing, you can't say, I don't like this clip. No, no, no, no, no. That's a revision. We got to go back because that should have been agreed on in the first initial stage of our revisions. That's why I don't completely do a project and be like here. That's why I have the intro video to say, Hey, the clip you're about to see is probably not going to be color corrected. It's probably the audio is going to be bad. It's not going to have graphics. The goal of this round of revisions is to make sure that you're happy with the selection of clips. Yes or no. Yes. We like it. Bet. Now let's go to the next one. That's color grading. You know what I mean? Let's, let's add our motion graphics. This is a time where you need to make changes on color grading and motion graphics. Everything's cool. Cool. But if you say no, you say, I want to change this color. This is, this is a time where we change it. Now we can go through that all day long, but we can't go back to changing clips. That's when we got a problem. You have to set those parameters because people will get you all the way to the point where you color grade and you done, you adding the final twist to it. And they're like, you know what? Let's put the clip. But no, no, no, no, no. We got it. Cause I got to go back and reedit this to the whole music again. Like I got to, you know what I mean? Like this is going, this is an issue. So you have to set those parameters and they can understand what a revision is because revision means they can just, they think it means they can just change their mind. Every time I got three chances to change my mind. Cool. No, we're going through each stage. I have a returning client who's interested in having me run their social media for art studio with type of pricing system. Should I use structure based or subscription based kind of both? I talk about that in module one, but it talks about a social media man in module one and module three talks about social media management for a client and allowing them to pick out what they need per month. And then you keep that client on an ongoing basis. That's huge right now. A lot of people want you to manage their social media. If you have the ability to create content, Hey, keep in mind that the video you just watch contains clips from a longer lecture. That's available to our gold members at flashfilmacademy.com. You can go to flashfilmacademy.com to watch the complete lectures. If you want to get all the gems and all the information, or you can stay on the channel and continue watching some of our content here. Just click one of those boxes somewhere around here. Just, yeah, you know where to go right up in here, somewhere, wherever it pops up, you know what to do. You got this.