 So then the creative brief, so this is like what you would need to outline if you were going to engage and start working on a video, if you're doing it in-house or if you're going outside of house. And this is sort of a, you know, a handful of things to know. So what are your goals and expectations? You know, if it's a firm-wide piece, what are your value propositions? What is your claim for the firm? What is the value proposition you're adding here? Is it about the, you know, and essentially you want to prioritize this. What's the most important thing? Right? Is it the timing, you know, is it getting clients? Is it attracting talent, you know, and then overall what are your sort of long-range goals with this, with this medium? Brand and value propositions, this is, this is more sort of marketing speak that I don't really want to get into, but again, when I was talking about SEO, but you know, what are your keywords? What are the keywords that represent your company? This is an exercise that every business should do, and this profession does not do. You know, I go into, we work with so many markers, and we're like, can you just give me a couple bullets of what your firm stands for? And it's like crickets, it's amazing, and it's kind of terrifying, right? I mean, design is this sort of, you know, ethereal thing, and then there's the final product, and we show the final product. What we do as a service, you should be able to communicate why your company and the services that you add are different than your competition. So differentiators, story, right? The fun part. So beginning, middle, end, you know, it's a typical structure. You don't need to reinvent the wheel. Again, this is baby step stuff. So tell me sort of the format. I showed you four from earlier. Inform and entertain, entertaining is critical. A lot of videos that we do, or the multiple chefs, too many chefs involved, right? You get involved with a lot of like ego architects. Every principal in the firm wants to have something to get their hooks on. I mean, architects are their own worst clients. Straight up, everything that an architect complains about, they do it in multiple folds to everyone that they work with. It's amazing. Like just look at, analyze how the practice is done, and it's phenomenal. So, you know, so don't just inform and entertain. Don't sort of use video as a, you know, bastardized version of a PowerPoint where you're just talking through video at somebody with, you know, some images. Entertain them, take them on a journey, educate them to something. You know, what is your story? What is the, what is the essence of this? Again, sort of getting away from the hard sell to the soft sell. Don't talk at your viewer, show them, right? That's what people want. You're not making a worldwide PowerPoint, yes. What is the tone, right? Tone is very critical. The gammy piece was like warm, warm color palette, warm and fuzzy, right? It was like trying to pull you out of the cold, dark winter of New York, right? It was like, I think it was shot right around this time of year, March, right? So they're out at the Highline cutting out of the grasses. So we wanted to do a palette that was warm and matched that quality, right? We found a sort of a guitar, plucky, stringy music piece that the composer actually made for that. So it's sort of all connected and collected together. So it really helped tell the story of gammy, right? Which was very effective. So the tone, everything that you do is to support that tone. Hook or struggle, we always fight for this and it usually gets thrown out. Like, come on, just tell, is there any tension in this process? What did you overcome maybe in this building? Most architects don't want to sort of talk about the hardships unless you turn the camera off and then that's all they want to talk about. But I don't want to hear about the thing that you're going to get sued for, obviously, right? Like, oh, there's a leak, I don't want to talk about it. Of course, you're not going to put that on camera. But tell me what were some of the design challenges? This is what is the way to illustrate the value of the entire profession, right? Which is sort of what I'll get to towards the end. And then is there anything that you've looked at, any videos that you like, right? If there's something you're trying to emulate, just like a precedent, include that in your creative brief, in your outline for this video. Stakeholders, this is something that is another thing that we're constantly fighting for. Architects should not be the ones paying for the videos, all right? That's counterintuitive to what I do every day. The architects are the ones that are hiring us. But slowly and suddenly, we're getting the architects to have their clients pay. We're getting some of their subs to pay, and you want to think of them as stakeholders. So if you're going to put them on camera, have them throw some money in on this. Share the costs. It's a big, expensive thing for the architects to be doing. They shouldn't be paying for it. Some firms are already starting to use us and basically shop us out, right? They're going to their clients and saying, hey, we can produce a video for you guys, right? So they're upcharging me. I'm cool with that. Do the video, right? It's more sort of in the retail environment because story and narrative is so critical to retail. And that narrative is very direct and very prescient and quick and speedy. And there's a lot of money there. So it's a great way to create video content. And there's screens everywhere now, right? So there's screens in every environment that we're in. There needs to be content on there. So you have these surfaces, right? So again, the video content is only going to increase and expand. And another critical aspect of this is you can have multiple edits of the same video. So you can slightly change the messaging a little bit, spend a little bit more time on the engineer. And the engineer gets his own video, his or her own video, right? You get one for the architect. You get one for the client. Maybe an organization that also uses the building is involved and they throw a little money and it's not difficult to make slight adjustments to the same cut. Interview leads. So who's going to be on camera? And the best way to say this, who needs to be is not always who should be. So you want someone that's passionate. Our job is someone that's producing this and directing these shoots. We try to loosen up and liven up the architects that we put on camera as best we can. But a lot of times we're putting someone on camera that doesn't even want to be on camera, right? They're like, why is the marketing department making us do this video? Jesus, okay, what, okay, all right, put me on. So that person you might know in your office or who you're working with is probably not the person that you might want to spend the most time. Maybe they have to be in there politically for like a snippet, but don't waste a half hour or an hour of an interview time to try to find a jewel out of them. Get the people in your office, get the users, right, the passionate people that are involved on this project that talk about it. That comes through directly in the messaging of the video, right? It's the same thing as like bad acting. If you're watching a film that has bad acting, all you can see is the bad acting, right? No one that we're putting on camera is an actor. So they're not talking from the gut, passionately. You are instantaneously bored. So do not put someone on there that's going to bore you. Your clients don't want to watch it. Your talent, future talent doesn't want to watch it. No one cares about someone just going through the motions on video. It's a waste of money. It's a passion entertaining. Moor is not mayor, so you don't need a lot of talking heads. You get sort of lost. Simplify it. A few minutes, a few people. You don't want to go crazy. You can show, obviously, humans and multiple people, but don't give them a lot of talking space. Don't give them a lower third. You don't want to have too many people introduced, and it also explodes your budget. And people love people. I mean, architects love buildings, but they also like people in their buildings. And it's a personal pet peeve, and I think it's why we're sort of backed into a corner with this industry, is that we've done a very good job of dissociating the built environment from people. And we don't show imagery with people using our buildings. And so, when a lot of times with our projects, I push to actually include the people. Now, we don't want messy, you know, we're talking about trash cans today, you know, put the trash can around behind the column, so you don't see it in the shot, but you want to see this building used. All right. We're going to hack off the end of this presentation, guys. So audience, who's the audience who you're talking to? Really importantly, sort of where they act, both digitally and physically, when you get to distribution. But asking your audiences is going to directly impact every single move you do. And, you know, you can cut something for different audiences. You can also, you know, we like to think of the audience as like a target, right? There's a bull side, there's another ring outside of it, so you have this primary core audience that you're always thinking of, and then there's maybe a secondary audience. So the CLR, Zoo Exhibit Design firm, you know, they were doing that to talk to potential clients, which is zoo directors, and that's where they distributed at the National Zoological Conference. But they also, secondary audience, was all these people that work in zoos. So this video got traffic all over these zoo blogs for zoo workers, zoo enthusiasts, because look at this great, this great work that's happening in these other zoos. All of a sudden, you have this huge swath of people that are probably not going to be writing the check, but they're the, you know, your name, your firm needs to get out there. And that's going to further increase the profile of your firm, raise you up at SEO, all of that stuff that I've sort of covered. Assets, graphics, again, what do you have already that you can use in the video? So you have models, right? You have sketches. Are they scanned? Do you have computer-generated graphics? What format are they in the vector? Are they rasterized? You can take that stuff, pull it into After Effects, animate it, you know, or choose your favorite program. Are there graphic standards? Is there a sort of certain color palette you're going to be going for in this whole piece? Because that'll impact how you shoot the entire video and sort of what format you shoot it on, as far as the compression of the file. So, you know, what is the sort of graphic essence of this? And are there other sort of marketing campaigns or drivers that are happening at the same time? Oh, oops, that's a shift key. Schedule, sort of obvious, you know, when is it going to be done? When can you get to the site? When can you get, you know, be on site? That Campbell video, we shot that opening weekend so that the shades that were coming down, we had to wait a long time to get it to happen because they were still fixing the shades. And then we couldn't shoot in the room because they had huge giant, you know, genie lifts out there, scissor lifts going up to the ceiling to try to fix the shades. So opening weekend is a dangerous time to be there. There's a lot of moving parts. There could be things that aren't fixed, but it's a nice time to get there, to get it right when it's opening up, right? So there's a lot of conflicting needs. But, you know, when are you, the architect, allowed to come back on site? You know, and also what's the availability of your interviewees? Maybe there's an event happening nearby where a whole bunch of the people that are involved in it are going to be there. That's going to make it much more cost-effective to get those interviewees at the same time than doing them individually over different dates and locations. All right. And distribution. I'm not going to get into the case study. There's no way we have like, it's five till one, which is later. So I'll just cover a little bit of that here. But distribution, basically when you make a film, when you make a video and sort of like an indie filmmaking world, basically at this point, you spend about a third of your time after the film is done, still working on the film. And what that is is a distribution, right? So in today's day and age, you actually need to go out there and engage your audience, be a part of the conversation, be there physically, right? It's like taking your video on tour, right? Which is sort of what we did with the documentary film, Art Culture. I went to about over 20 schools, talked in panels about the film, about architectural education, right? That was a way to generate interest in the film, right? And so as that interest is being generated on each campus and each school, more people are finding out about it, more people are posting about it. And it takes a lot of time. So distributing the video. And so when I'm talking about a couple of minute piece that you're doing for your firm, just posting it on YouTube and then putting it on your website, it's going to disappear, right? You're going to get a handful of views. That's obviously great. If the goal is only clients, then you don't care about views. All right, so let's kill it. All right, so that's distribution and budget, how much are you going to spend? And I'm not going to talk about process. I'm going to jump to the end. Pre-production, production. I thought I was going to go through this faster with you guys. Then there's all this distribution outreach stuff. We like distribution. I wasn't even going to go into all this. This was all just so I could skip ahead. Yeah, what's different? There's a really great case study on YouTube, free YouTube metrics and films. So how do you use all this stuff? I'm talking about the metrics. You can use it for graphics and ways to illustrate how effective your video is being done. This is everything we covered. And so to wrap this up, and so why do I do this and why do I believe the ACI machine that needs to do this?