 You know, I was thinking about sort of as we interact with the other catalyst professors and how we're all such a product of our environments, right? So I'm coming from New York City. It's cutthroat, it's fast-paced, right? I'm working with huge firms and I'm trying to make production budgets that they can digest, right? And you're like, well, they're the big firms, they've got money. You know, they do have more than small firms. But, you know, we as a production company are a direct product of working with the type of clients that we work with. So, you know, it's very different than being purely artistic, right? But we see these sort of four formats as just scraping the surface of what is possible. And so, you know, as we work with clients, we sort of try to plant the seed of saying, you know, there's so much more that can be done. Let's just test this out, see what happens, and then let's start actually coming up with a video content strategy. So if you were, you know, trying to pick of what to do, this is my sort of, you should be shooting some documentation in the house right now as an architect, right? And you guys do this in your studio projects, you document it. I'm really driving this home with my class right now. They're doing it in teams of two, and one person is shooting and the other person is shooting the shooter, right? The other person is actually photographing the person shooting so that we can all learn from the setups. And then the same way as an architect, you need to be documenting your process, right? So, beyond just sort of scanning and taking photographs of your sketches and your models, but get out there and also take some clips and video of the building going up, of it being built, and beyond just sort of like, here's the thing that's broken, this is what's wrong, or here's the nice detail that works, and some broader shots, you know, get the same shot every couple of weeks so that you have a way to show the progression of the project so that when you do engage a video company down the road, you have assets, which are critical. So an in-house option, why would you want to shoot some stuff in-house? Super inexpensive, right? It's very easy to start shooting. It's a great way to create your content now. Capturing your own process, you know, we come back, we come to the firms all the time, they're like, oh, we want to talk about our process. Well, there's lots of great stunts that we've developed over time to fake the process, right? So we have architects hold up models and stare at them and stuff, and draw random stuff, like point-end stuff on the wall, architects have terrible actors, and they're like, why am I doing this? You know, just look like you're normal for five seconds. Just talk to the other person about your favorite color, because the auto doesn't matter, right? Just sort of give me some motion, look like you're enjoying yourself, show me what you do. But it's much easier to actually capture that in the moment, right? So my students are taking photographs of the whole week, right? So we want to document our own process. So capture the process, future assets, super critical if you ever work with a marketing department, you know, where's the image for that? There's so many projects that we work on, we get into the edit, and they're like, oh yeah, we've got renderings, we've got stuff. And then we get into the edit, we've given them the first cut, and we're like, we really need those assets now. Where are those images? You know, they're like low quality, poor, you know, we demand them at the beginning. So you need assets still and video. So steps for doing that. Most firms and folks are somewhat familiar with the DSLR camera, right? So it's a really nice photo camera that also shoots video. They're amazing, they're super powerful, they're very simple, they don't take that much. And you know, basically what I'm doing in my course this week is we're learning fairly simple editing techniques. The edit doesn't really need to be that complex, it's more about capturing the shots. So get some nice shots, slap them together, right? With a narrative, a simple narrative, right? It could just be like, this is the progression into the building. This is the experience of being in this building. Tell me the experience of the building. We all love to talk about the narrative of our designs. Just show it in video form with using these simple tools. A fluid head tripod will go a long, long way. They get kind of pricey, but you know, low end, 800 bucks, higher end, they get up to like two or three thousand and you do get what you pay for, but it's sort of, you know, it's like 800, 1500, two and a half thousand, you know. So it's, and that's sort of the stages essentially. But an $800 fluid head tripod will give you those really subtle, slow-moving pan and tilts that all architects love, right? So just real simple movements, and then if you want to be, you know, push the bounds, a time-lapse remote or some way to do time-lapse, because that's another really easy way to capture. So, you know, firms, a lot of firms have this gear, and if they don't, they'll be getting it. This is, you know, it's going to be common. And you know, so we, what we do is we go in and we will, we actually go in and sort of teach architecture offices how to actually use this equipment and what to actually purchase depending on what they're trying to do. So, on the other end of the spectrum, you know, going with the production company, if you were, you know, you had your firm and you were like, okay, well, why would we want to go outside of the office to do this? You know, press release content, it's large and complex production, right? There's, we're doing, you know, we're going to budget last night to have a production that needs to be done by May, because this company is getting an award, and you know, of course, the timeline, they've been sort of sitting around on doing something with this video for months, and now they're like, we got to go, we got to green light it. Okay, we're going to travel, we're going to do all this stuff, so it's, you know, it can get complex when you're doing it in a short period of time. Broad skill sets experience, higher quality of production, sound and lighting, you know, that's where you're still going to need to go with someone professional to be able to do quality sound and to delight someone well or space well. And then quick turnaround steps, which the creative brief is what I'm going to talk about next. You know, these are like the very, very beginning questions of, you know, who needs to be in it, right? Where do you need to go shoot it at? Are there any video examples that you're looking at? There has to be a budget range. Are you talking about like 500 bucks? Are you talking about $20,000? You know, there's a range that you're going to be dealing with here to go talk to a firm and sort of what's the timeline. And that's some sort of quick production stills from various shoots. I'm not zooming into this, I'm trying to pull it all too slow. And then there's obviously sort of a, I skipped over that, but there's obviously sort of a hybrid where you mix the two, right? So you might have the production kind of become an entrainer staff or you shoot some of this yourself and then you hire a production company for certain things. We've done stuff with firms that do a lot of graphics and they all generate all the graphics and we put them in the edit. There's a lot of back and forth.