 These are four quick little snippets, and I probably won't even play them completely because I don't want to spend too much time. But these are the four styles, the video that we sort of say, this is the baby steps beginner sort of ideas that we present when we talk to a firm when they've not touched video before. So one is a company-wide profile. So tell me the story of the firm. We do this a lot for firms that have been around for 20 years, 10 years, 50 years, right? We've been around for a really long time. What also happens is firms will, after a period of time, maybe the people who started the firm are retiring and there's a new group of people that are taking over. So it's a way to illustrate the transition that could be happening. That happens quite frequently, right? Tell us the culture. Tell us the sort of range of work that you do. This is a lot of sort of like talking heads, right? Interviewees in there sort of explaining. The next would be the portfolio segment showcase. So here's my really amazing residential work. I'm just going to show you one single column of my work, one, you know, one segment of our portfolio. Here is an array of my beautiful residential work, right? You can do the same thing for, you know, name it in the building type. So that's another product. Third is the most probably traditional is the sort of legacy project. I've got one project that we know is amazing. We love it. It's going to be phenomenal. Let's start documenting it. Let's make this into a short film. You could have people talking in it, or it could be just simple, no narration. You could just have beautiful cinematography and maybe text popping in. So there's a lot of different ways to do that. And then the last is a series, which is a way to sort of think about breaking apart a collection of similar storylines, right? It's similar structures of content. So maybe, and, you know, you can mix these up. So the portfolio segment could then be broken up. And then some of the projects that you showed in the portfolio segment could then have their own individual project that fits into a series. So, you know, this is, you know, all connects together. So I'm going to jump into these. We've had a great experience working with CLR design. The most important aspect of our relationship with CLR is the ability to come to the table. CLR design has been an aggressive design process to take place. And it's because CLR is extremely talented at conceiving of and executing Zoo exhibit. CLR design has been a zoo and animal exhibit design since the middle 80s. And we're very strong believers that we've got a legacy to carry on. So it's important for us to continue the same solid thinking that helped establish a firm. You know, we started with just a handful of folks back then. And now, you know, we're over 25 professionals just focused on Zoo design. We think, you know, like exhibit designers, we just don't think like architecture or landscape architects. We've kind of created our own niche as exhibit designers. That's what's fascinating, you know, about our job. The range is absolutely amazing. We can, it can range from a little mole-wreck to a, to a biggest land, animals on Earth. That's what makes the work exciting to be able to, for each client, do something really unique. All right. So that product, right, we took sort of the three new heads of the firm, weaved in their commentary and their interviews, brought one of their clients in. There's the film, this is actually, it turns into a nine minute piece that they, they made kind of longer than what we traditionally do. But it weaves in, it then gets into showing, you know, cinematography of their actual work. It has a couple more clients. It actually has users that use some of the space. So it's a very comprehensive over arching story of, of the firm of CLR. So next, portfolio segment. As our clients grew our business into, we ended up following them around the globe. That their business model started to influence our business model and how we approach design, how we approach workplace. And those partnerships still flourish today. One of the key things that we learned very early was to be very careful listeners. We've learned a lot from our clients. It's migrated into the way we work and allowed us to serve a much broader set of clients. We wanted to understand what, what a client's needs were, how we could develop an environment that was a strategic tool for them that allowed them to be more productive, allow them a better quality of life, and also create a tool that becomes a competitive advantage for them. So this is studios talking about, you know, their corporate office style architecture and it goes in and then shows you a handful of, of the projects and buildings. You know, most of that segment, there was a lot of still images in there, right? There's a lot of still photography. So you can, we tell our clients oftentimes the best image you're going to get is still the photograph. Photograph is still most likely going to be the best image because the photographer is there to get a handful of images, right? When we go out on site with video production, we're bringing multiple times the amount of equipment that a photographer is bringing on site, right? There's like rigging, there's dollies, there's all kinds of stuff, there's certain motion things, there's tons and tons of equipment they're bringing on site, which is why video costs a lot, right? Photographers that go out on site and they're usually shooting sunrise sunset shots, they're getting a handful of select images and then traditionally they're done, right? So use the photos, still have photographs, still get those photographs, but use them in the video. You don't need to overlap them and compete. Yeah, I'll just, I'll stop there. Eventually it'll just all be the same thing, right? I mean, the video is going to get high enough resolution that we're just going to be pulling stills from video. So, you know, photographers are coming into our world because they're scared and they're freaked out because photography is, you know, it's being squeezed and more and more people are moving into video. And photographers usually can't light that well, human faces or interior spaces that well for video. That's not, that's continuous shots and they usually can't do sound that well. So it's, you know, but they're coming in, you know, we work with a lot of architectural photographers to collaborate with them because they, you know, they have a great eye. Next example, Legacy Project. There's no narration in this, in this example. So this is just a quick little, the expansion that just happened down at the Kimball, like a little over a year ago. So quick shot, very, very, you know, we shot that over two days on site. Very quick production. And then this is, this is a series, this is a series that we've done for the, for the High Line where we actually highlight some of their volunteers. So it's actually some of the people that, the premise of the series is my High Line. So it's, they sort of say what the High Line is to them, which is a great way to showcase the people that use the High Line. So instead of doing a video where the High Line, you know, the leaders of the High Line talk about the High Line means this to us, as the people that made the High Line. Why don't you use the people that use the space to tell your story? Because they're going to have a totally different perspective, right? And this is, I'll show it to you and you can get a feel for what, what that can mean for, for the organization for the High Line. I love being in New York City. I think it's the only city, but I also love the natural world. I was looking enough to see a kid whose parents like gardening. We all had to garden when we were little kids. So we each had a little plot of land. That was my growing up experience with gardening. And that led to the work that I do as an artist, which is very much involved in the natural world. And that drew me to the High Line. The High Line is my garden. I'm not new to volunteering, I've done a lot. It's a way of giving back to the city, but it's also a way of having a hands-on experience with nature and gardening. Spring cutback is my favorite time of the year. It's after the winter, so it's really exciting to get back. And it's an amazing group effort. And it allows me to use what I know for a greater cause. My name is Ganny Miller. This is my High Line. Alright, so series, right? So you let the users tell the story, because they've got a better story than sort of the top-down design process.