 Our first presenter is Bob Beringer, the director of the Schultz-Holmes Memorial Library in Michigan. He's going to present on I'm Gonna Make You Famous, Raising Awareness in Building Community on a 3-inch Screen. Bob, are you there? I'm here. All right, I am switching presentation control over to you. You should be able to share your screen. All right, we see your screen. You're all set. I'm playing some video, actually because I mean this presentation is about making videos. So I'm playing some video and you're going to be hearing the audio through my computer. So I'm sure someone, it's as loud as it can be. So someone will tell me if it needs to be quieter or there's feedback or something. Let me just start the slideshow. So what you should see obviously is my library's logo. This, I thought I would show you, I actually added this. I've done this live before and I always make a disclaimer that everything looks better on the 3-inch screen on Facebook when you start blowing it up on a PowerPoint presentation or something like that to a 5 foot, 6 foot high image in a conference room then it picks up a lot more of the errors and things that are inevitable with a cell phone camera. But it does look a lot better on Facebook and it might look better on just a regular computer screen too but I guess some of you are probably in conference rooms projecting this on a screen. Anyway, let me show you this field. That's the library. We're snowy right now so it doesn't look like this. This is obviously a summer picture but I thought it looked bright and better and it shows the library off pretty well. But you can see we're pretty small. It has 3400 people and we're actually one of the few communities in Michigan that's actually showed an increase from the last census to the most recent one. So we're small but as I like to say, we're not that small. This is Blissfield. This is beautiful downtown Blissfield. This is pretty much it. As with most places, there are other pockets of business development on the edges of town but this is downtown Blissfield right here. And if you could actually see about another half a block down, you would see the library because that is where we are. We're in a residential area just off the downtown square. So I'm going to make you famous. We'll talk about how I came up with that because that is actually key to, or at least it's part of what I do with this project. Obviously, we try to make the people famous who are in it. We make the library famous and we make Blissfield famous. So that's sort of always the idea. This is a promotional effort. We made the first movie which is Blissfield Reads the Raven in response to my colleague at the Adrian Public Library, Carol Susha. She was putting together a Linaway County as the county were in. She was putting together a Linaway Reads program for Halloween. She had a little bit of grant money to do it. And I said I'd be part of it. Well, given my nature, I put it off to about October 24th. And I said, well, we've got to do something. And I knew they were doing some readings of the Raven at the Crosswell Opera House, which is a big historic building in downtown Adrian. Adrian is a county seat. There are like 20,000 people there. So it's the big city here. And I knew we didn't have a Crosswell Opera House. I did not have time to get a lot of people together to read it in one room, even at the library anyway. So I said, well, I'll take it to them. I thought about those, sometimes they have readings of the Declaration of Independence that you see celebrities do line by line on the 4th of July. And that occurred to me. And so I went out and I got copies of the poem. And I went door to door. And I said, I'm going to make you think. I don't really know if that came because I got out of the car with my cell phone and the script. I actually made cue cards. And that becomes important too because I found another use for the cue cards. But I got out of my car and I thought, what the heck am I doing? I'm going to walk into people trying to do their jobs and I'm going to ask them to read a line of a poem. And I'm sort of naturally shy anyway. And I didn't know how I was going to approach them. And the line that occurred to me for some reason, just out of the blue, it's a line from a movie that is otherwise unremarkable. It's called Young Guns. And Emilio Estevez plays Billy the Kid. And just before he kills anyone, he says, I'm going to make you famous. And so that's what occurred to me. And so that's what I walked in. And the first person I looked at, I said, I'm going to make you famous. And she actually read the third line in the poem because I had library employees who I can make do things, write the first two lines. So that was easier. And then that third one is where it starts. So what we'll do now is I'm going to show you a list to read the Raven. And that's the first one. And then we'll talk later. This takes about 10 minutes. So it's not short, but this is the longest one by far. Once upon a midnight dreary, while I pondered weak and weary, over many a quaint and curious volume of forgotten lore, while I knotted nearly nothing, suddenly there came a tapping as if someone was simply wrapping, wrapping in my chamber door. It is some visitor, I mutter, tapping at my chamber door, only this and nothing more. I think distinctly each separate I am her pocket's ghost. Eagerly I wished the Marl, vainly I had sought to borrow from my books for seas of sorrow, sorrow for the lost Lenore. For the rare ingrateate maiden, whom the angels named Lenore, nameless here, for evermore in the silken, sad, uncertain rustling of each purple curtain, thoroughly filled me with fantastic terrors, never felt me hurt. Till that now, to spill the beating of my heart, I stood repeating to some visitor in treating entrance at my chamber door. Some late visitor in treating entrance at my chamber door. This is it and nothing more. Presently my soul grew stronger, hesitating, and no longer. Sir, said I, or Madam, truly, the forgiveness I implore. But the fact is, I was napping, and so gently you came wrapping, and so faintly you came tapping, tapping at my chamber door. I scarce was sure I heard you. Here I opened wide the door. Have to stare and nothing more. Deep into that darkness peering, long I stood there wondering, fearing, doubting, dreaming, dreams no mortal ever dared to dream before. But the silence wasn't broken, and the darkness gave no token, and the only word that's open was the whispered word, Lenore. This, I must say, and I know my word back to where it's Lenore. Nearly this and nothing more. Back into the chamber turning, all my soul was in me burning. Soon again I heard a tapping, somewhat harder than before. Surely, sir, I, surely there is something that my window lattice. Let me see then what there is in this mystery explore. At my heart be still a moment in this mystery explore, to the wind and nothing more. Open here I flow in the shutter, when with a flirt and flutter, in their step the stately raven of the stately days of yore. Not the least obeisance may he, not a minute stop or stay he, but with meat of lord or lady, perched above my chamber door. Perched upon a bust of holly, just above my chamber door, perched and sad and nothing more. And this ebony bird beguiling, my sad fancy things smiley, by the brave and stern decorum of the countenance. If though thy crest be shorn and shaven, thou, I said, are sure no craven. Gasly grim an ancient raven, wandering from the nightly shore. Tell me what thy lordly name is on the ninth plutonian shore, called the raven, nevermore. Much I marveled this ungainly fowl to hear discourse so plainly, though its answer little meaning, little relevancy bore. For we cannot help agreeing that no living human being ever yet was blessed with seeing bird above his chamber door. Bird or beast above the sculptured bust above his chamber door, with such a name as nevermore. But the raven, sitting lonely on the plastic bust, spoke only that one word as if his soul in that one word he did outbore. Think further than he uttered, not a feather that he fluttered, till I fiercely more than muttered. Other friends have flown before him, as my hopes have flown before. And the bird said, startled at the stillness broken, by reply so aptly spoken. Doubtless said I, what it utters, is its only stock and store. Caught from some unhappy master, whom unmerciful disaster, followed fast and followed faster, till his sum's one burden bore. There is just under its hope that melancholy burden bore. But the raven still beguiling all my sad soul into smiling. Straight I wheeled to cushion seats in front of bird and bust and door. Then upon the velvet sinking, I betook myself to linking, fancy unto fancy, thinking what this ominous bird of yours? What this grim ungainly, ghastly, gone and ominous bird of yours meant in croaking, nevermore. I shall engage in ghastly, but no syllable expressing to the foul, mysterious number into my bosom, this being more I'm sad, divine, with my head at ease reclaiming on the cushion's velvet lining, that the lamp-light loaded oar. The velvet-violet lining with the lamp-light loading oar, she shall press, ah, nevermore. Then he thought the air-free dentsen, perceived from an unseen censor, swum by seraphim, whose footfalls tinkled on the tufted floor. Wretched I cried, thy God, Bethlehem, sent thee, by these angels he has sent thee. Respite, respite, in mea-pente, from thy memories of Lenore. Quoth, oh, quoth this time, pente, and forget this lost Lenore. Quoth the raven, nevermore. Prophet, that I think of evil, prophet still, if bird or devil, whether tempt or sense, or whether tempest toss be here ashore. Just let me get all my daunted, on this desert land enchanted, on this home by order of constant. Tell me truly, I implore. Is there a balm in Gilead? Tell me, tell me, I implore. Quoth the raven, nevermore. Prophet, that I think of evil, prophet still, if bird or devil, by that heaven that bends above us, by that God be both adored. Tell this soul with sorrow laden, if within the distant aden, it shall class a saint and maiden, whom the angels named Lenore. Quoth the raven, nevermore. Be that word, our sign of parting, bird or fiend, at a shriek of starting. Get me back into the tempest, and the nice plutonium shore. Leave no black plume as a token, of that life I so hath spoken. Leave my lonely list unbroken, with the bust of both my door. Take thy beak from up my heart, and take thy form from up my door, quoth the raven, nevermore. And the raven, never flitting, still is sitting, still is sitting, on the pallet bust of pallets, just above my chamber door. In his eyes, have all the seeming of the demons that is dreaming, and the lamp light for him streaming throws his shadow. In my soul, from out that shadow that lies floating on the floor, shall be lifted. Nevermore. So that was Westfield Reads the Raven, and that's the first one that we did. And a lot of people have asked me who these people are. No, they're not professional actors. So I just put together a very quick slide show to show you what they do in their day jobs. So that's them, the guy I call the voice. His name is Don Reinick, and I put the voice on there because he had this incredible voice, and I realized what I had until I got back, and I told him, he comes in the library a lot to use the computers, and I said, get into a car and go to Hollywood now, because this is that you're calling in that you've missed all your life, evidently. So, the first thing you have to do when you get started doing something like this is you have to find, decide what it is you're going to read. Poems seem to work well, although if we have time I'll show you Peter Rabbit. If we did that, you have to find it obvious. It's a short story, you don't want something too long. I would say that the Raven is probably the limit. That always seems a little long to me, and certainly it was longish making it, so it took quite a bit of time. I didn't know what I was doing, so that helped, that I had absolutely no preconceived notions. A holiday, obviously, I think that all the ones we've done so far have been for a holiday. We've done two on Halloween, two times a day, and one on Easter, or one for Easter. And it's what, you know, that can be seasonal, but I want to do is Casey at the back for the beginning of baseball season, because Blissfield is baseball town USA. We've won seven state titles in 25 years, and I think it's maybe 25, 30 straight division championships, so it's a baseball town, and so I think that's what I have to do next. You want to find out if it's in the public domain or not. Practically anything at Project Gutenberg is you can obviously take the chances that no one's going to sue a library. I mean, take the... If you're showing movies in your library without a site license, then maybe just take the chances. Google Books is another place to go. Portraitgot.com is, I think, is where actually I got the copy of the copy of The Raven to print out. And then you can just do a web search for stuff, but I think it's... I feel more comfortable if it's in the public domain anyway. Those cue cards, what I did was I took and I just blew the poem up so everyone could read. A lot of times you go into places like restaurants where the light's not very good anyway. You may have people who are reading. I mean, if I were reading, I would have trouble reading a book in the light of a restaurant. That's for sure. And so I just blew it up so people could read better. I think that helps to reduce the nervousness factor of the whole situation. Basically, you've got that to overcome. I mean, that's always what you've got to overcome. So I try to do preparation both to help my own shyness and innocence about approaching people to do this and then to help people who may be nervous about doing it. So I think preparation helps that. So I try to make it as easy on them as possible. So you can read line by line. You can read sentence by sentence. I think you get better flow and understanding if you have them read a complete sentence or thought. And then of course some writers work better for that than others but there are ways around it and we'll talk about that in just a second. Then I take the complete work in for context because sometimes people do want to know what's awesome. They want to know what comes before, what comes after. What exactly is the sentence I'm reading? I mean, what does it mean? People will say, I have offered, I say, you don't need to read it for you so that you know how it's supposed to be read. I'm an English teacher by training really. I'd not trained to be a librarian. I have a PhD in English American Literature. I do not have a library. I've read a lot of poems. I've taught a lot of poems. So I kind of know how they're supposed to sound. Interestingly enough though, if people don't ask me to read it for them or they say, no, I got it, you can come up with some readings that you would have never thought about and as an English teacher an English scholar you actually, sometimes I think you find meanings in the poems that you wouldn't have seen before. It's someone else who had read it. The interpretation has some unexpected benefits. Let's see. I'm going to post or the conference organizers, you're going to post a handout that I would be giving you if this were a live conference and it contains some links on it for finding texts and some other suggestions and things. I'm actually getting suggestions for texts from people in Blissville, which tells me that they're engaged with the whole process to say, this is a poem you should do next or whatever. So I probably will try to do that. You can also you saw in that first one a lot of times people were just holding the cue cards and then there are others, again if you think about it, you saw people looking above my head, above the camera that's because someone was standing on a chair behind me with the card up over my head. So we found different ways of doing it. If you take one of those loose site literature stands that you probably have in your library and just take that with you everywhere, then you can set that on the table and everybody can read off that, but I didn't discover that to one of the later videos. At any rate, something like The Raven, we were just talking about some parts that works better, the line-by-line stuff will work better with some poets than with others. This is Ed Graham Poe. You can see you have nice, wonderful little breaks. We actually did two lines because I thought I looked at the length of the poem and it was 108 lines and I said I will never get 108 people to do this in two days. So I cut it half so it ended up being 54 lines, 54 people I got to do it in two days. But you can see the Ed Graham Poe breaks really well with either commas or periods at the end of every single line. So this is actually two lines obviously. It's converted for a larger cue card, but this is an actual cue card that I used. So that works out really easy. When we got to the Valentine's Day stuff, we used Elizabeth Barrett Browning. Shakespeare worked really well to Shakespeare. We had the men read the Shakespearean sonnet and we had them read Shalak and Pethy to a summer's day and we had the women read Sonnet's from Portuguese. How do I love Elizabeth Barrett Browning? Elizabeth Barrett Browning while not a modern poet is certainly much more modern than Shakespeare or even Ed Graham Poe in her style. Shakespeare is great because Shakespeare is short, choppy, pity line. Shalak and Pethy to a summer's day. Now more lovely and more temperate. So you don't have to worry about the end of the line is the end of the thought. So it's great. Elizabeth Barrett Browning is different. You can see that the sentences and the thoughts go across many lines. This is just the three lines and so you have to find a way to otherwise you're just going to have like six people read the poem which seems to defeat the purpose. So what we do there, what I do then is I have first of all cast it as prose because it's just easier to read. I'm going to say this is a sentence. Read this sentence and so then I had actually three people because it's three lines I had three people read the entire thing and then you cut it up when you're editing and I'm just going to show you that really quick and then you'll see the whole poem being read later. We'll try again. I love thee to the depth and breadth and height my soul can reach when feeling out of sight for the ends of being an ideal grace. I love thee to the depth and breadth and height my soul can reach when feeling out of sight for the ends of being an ideal grace. I love thee to the depths and the breadth and height my soul can reach when feeling out of sight for the end of being in ideal greats. This is the end. I love thee to the depth and breadth and height my soul can reach. I'm feeling how to settle for the end of being in ideal greats. Whoops. I love thee to. So anyway, you have to decide whether you want to announce the recording or not. And there are two ways of looking at that. Listfield, even though we've done this several times now, is still not quite ready to just come in and volunteer to do it. So I have to ambush them. And ambush recording certainly has its place, because you go in and I think people, if I'm standing right in front of them, it's hard for them to say no, because I'll pout and stuff. And so that helps. If you announce the recording, it can be an event itself. And you can get a press release in the paper, which is always one of my big goals, is to get a press release in the paper. So if I'm bigger, I always say, if you can make the library unignorable, if you make it seem like lots of stuff is going on in the library, then that's just about as good as lots of stuff going on in the library. So if you've been announced, though, you have to rely on people wanting to do it and being willing to come and do it. So I ambushed the people who were in the library, except for the library board president who I had who I said, come in and do this. You have to do this for the library. What sort of library board president would you be if you didn't? And even I ambushed my son and my wife, although you can probably tell my son didn't have to be asked twice. The Rotarians didn't really have to be asked twice either. They were pretty good about it. They're always eager to help. But sometimes people, you have to talk them into it. And part of that is preparation. I always say it's like the play and movie, Glenn Berry, Glenn Ross, they always said, ABC, always be closing. And I think it's important not to appear rushed, but you're prepared, but you're always moving toward that one thing. And that's reading a line of a poem on the screen. It's just one line. It's just two lines, whatever. And you don't have to read the whole thing. I'll read it for you and tell you how to do it. I always say, we will do this until you're happy with it. And I can play it back to them on the phone. And that always helps. I have had people, especially with that first one, I had a couple of people who, because I didn't know what I was doing and I was having technical trouble with the phone or something like that, who backed out before I could get it done. So I always try to get it prepared. While we're talking about the phone, you have a couple of choices. You can use your phone, which is free. I've had some issues with where, if I go into a building with wireless, it's constantly trying to latch on to wireless. Obviously, you can turn that off. You have limited ability to adjust focus, lighting, sound. So that's trouble, obviously. You should turn the phone off because that would be embarrassing. It never actually happened. But I assumed it probably would eventually. The phone would go off while I was filming somebody. You can get a camcorder for a couple hundred dollars. And they're really good. And so if you have money in your library budget at all, you can get a pretty good camcorder that's intended to do the job. It's not going to be trying to latch onto your wireless. You have lots of ability to adjust focus, lighting, sound, and stuff like that. Obviously, it does cost money. And then you don't have the wireless capability to connect it, which is convenient when you're trying to connect it to your computer or to upload this to Facebook or whatever, which is ultimately the point. But that's just something to consider. When you go in, you turn off the phone or the wireless. You make sure you have batteries. You have memory cards for the phone or the camera. A tripod will help. And you'll see that when we get to Annabel Lee. Especially, it's like my phone had no problems adjusting for my hand shaking, which happens. Like I said, I'm not terribly comfortable with this myself. But the phone was much more sensitive. I'm sorry, the camera was much more sensitive. Once I changed the camera, it's much more sensitive. So next time I do it, I'm taking a tripod. And tripods are also like you can get all sorts of, you get a whole accessory pack for your camera for $25, which will include a tripod, both a tabletop tripod and a tripod that sits on the floor for $25, along with some other stuff, carrying cases and things, for like $25. Certainly a reasonable investment because you can use the camera to film all sorts of things. It's not just all sorts of library programs and stuff. And you may already have one in the library anyway. It's not just for these videos. But then I think it's a good promotional investment. You take the cue cards in a folder. I try to keep everything together. You take a book or a full copy of the work you're reading. You take pins for autographs. We're going to have everybody who reads autograph the cue card they read from. And we're going to use that later. If you want some sort of backdrop, I've tried using, we used a styrofoam tombstone in one time. But generally speaking, I'm filming too close for you to see much in the background anyway. But if you wanted to do it, I think for Peter Rabbit, we had a Easter basket with a bunny and an egg and everything. So you see that sometimes in some of the shots for Peter Rabbit. It does help if you're going from place to place. I always thought that would be cool. You have that same prop, no matter where you are. You have that same prop. Then I say, use your game face. I have to cite myself up to do this. So you just kind of, you know, so I always feel like I have to kind of be on. But that's what you take with you. You want to allow enough time. You want to allow enough time for settling in, for chit-chatting, for making the performers feel comfortable. Allow enough time for rehearsal. Let them read it without filming at all. Allow time to retake it because I'm sure you noticed when we did the Raven, there was lots of noise in the background. That's fine. I mean, if you're going to go into a working business, a restaurant, particularly, it's going to be noise in the background. And that's okay. That's part, that's one of the things that music will help you with. But sometimes, you know, someone drops a bunch of dishes or something. You just assume you do that. Or the person who's reading might want to redo it. And so you just give them enough time to do all these things. Allow more time for kids. You have to get permission for kids to I use a list rather than individual forms. So I just have to child think, children are difficult because you have to, you have to have the parent there. What so in order to do the permission? So I just do this permission list rather than permission forms. It's easier to carry around since I already have all those cue cards and everything. I tend to lose stuff if I had too many permission forms. It's also good for in the library as well. I've been trying to film towards the night for Christmas for a couple of years now. But it's hard for me to get enough kids in, well, you know, I had to announce that because I needed them to come to the library with parents to give me permission. And I've had some difficulty getting that done. So we'll keep doing it, we'll eventually get it done. The kids may be 20 by the time we get it finished, but at least we'll get it done. Get everything in order, because I filmed a lot of this out of order because I wanted it to move around a little bit. I actually had a demo point. So you see all those shots in the dentist office. But I sped them out so that it wasn't just in the dentist office for six lines straight. You can fix some errors, you can't fix a lot of them, especially, you know, what goes on the cell phone, stays on the cell phone, so there's not much you can do. You create titles. And that makes everyone and every place a star, that whole idea is to kind of film down location, Blissville, Michigan is really part of it. You can give thanks to people and obviously you're promoting the library. Use the library logo, we try to blend everything around here. So that's part of it. Editing software. Windows Live Movie Maker is absolutely free. If it didn't come with your computer, you can download it from the Microsoft website. That's what I edited that first one. In fact, that's what I've edited all of it. It's Windows Live Movie Maker. Someone told me about Adobe production premium, which was very cheap at TechSoup. If you're all familiar with TechSoup, there's a steeper learning curve. It's much more complicated software and I simply have not had time to sit down and learn it. It looks like there'll be a lot, a lot more stuff you can do with it. And eventually I will do it. But as for now, Live Movie Maker has served my purposes and it's free, which is all here. You put in music. I think music helps create flow from disconnected images. You're moving from place to place. You're changing speakers. You need something that promotes continuity. It also helps to promote continuity because the background is just gonna change constantly. So you just, I think it feels just much more complete with the music there. It's fuller. Kevin McCloud at incompetent.com. I gotta send this man some money because I have used his music in everything I've done. It's on, it's completely royalty free music on his website. Suggest donations. It's always good. Another website for royalty free music is Partners in Rhyme. Links to both of those places are on this handout that will be available to you. And then this is what we did for Valentine's Day. This is the two, the competing sonics. Oops, that's not, we'll try again. Shall I compare thee to his summer's day? How art more lovely and more temperate? Brooklyn's do shake the garland clutch of May. And summers least have all too short a day. Sometimes too hot, the eye of heaven shines. And often is the gold combustion dim. And every fair from fair sometimes declines. By chance or nature's changing course untrimmed. But thy eternal summer shall not fade. Nor lose possessing of that fair, thou o'er the partial death-grade, thou wanderst in the shade, when an eternal mind's too tight, not gross. So long as men can breathe, their eyes can see. So long as this, this is life too late. How do I love thee? Let me count the waste. I love thee to the depth and breadth and height of my soul and grief, and the feeling out of sight for the end of being an ideal grace. I love thee to the level of every day since most quiet me, my son who can't find me. I love thee freely as men strive for right. I love thee purely as they turn from grace. I love thee with the passion put to use in my old griefs and with my childhood state. I love thee with the love I seem to lose with my lost sins. I love thee with the breath, smiles, tears of all my life. And it's got to my soul, but love thee better after death. So, anyway, once you get it edited, you wanna post it on Facebook. And that's actually fairly easy. If you're familiar with Facebook at all, you post it just like you post a photo or anything, it's pretty simple. I promote the video then. I like to tell people, because one of the purposes of this was to put content on our Facebook page, is it a content-based marketing? To put content on a Facebook page, it would draw people to it. So they weren't just, they would come, then they would like the Facebook page, then they would get updates on library programs and services, but you had to actually have something to get them there in the first place, especially people who didn't normally come to the library or who weren't already on the library, weren't already friending the library's Facebook page. So I send out a mass email. This is one word of caution, but it's of course, someone who did not follow this word of caution is the reason I have so many email addresses to send it to. When you send mass emails, you should always use blind carbon copy because if you don't, you stick everybody's email address in the two line and I'm going to seal all those addresses. And that's what I did. I didn't have a lot of addresses in my address book when I got started. Fortunately, I was on the mass within the address book of someone who did, and someone who had a practically everybody in town, practically everybody in the county, once I got a few more in that address book. So I'm sending out something like 1,500 mass emails. And anyway, you just post those addresses and put them in your own address book and you send them out. And I'm of course not condoning this probably immoral and maybe illegal act. You want to get it in the paper, say tell them, our paper's very good about just running simple notices from the library. We have a weekly, actually a weekly at the library column which has library programs and a sample of new materials and things in the library every week. It's just a weekly paper anyway. But so every issue we have, we have that in there anyway. So you want to get that in the paper because it's like as if it is an event, because it is. We increased our, we had something like 24 people because we had just started the Facebook page. A few months before we had like 24 people if we liked our Facebook page. And by the end of that weekend, it went up on, I think Friday, I think how many was on Friday that year, it went up on Friday and by Monday, we had like 103. So it did really well that first time now. Of course it slowed down, but it did really well. Then we put up images, still images. I had my student worker put up still images, screenshots from the people reading the poem and their autographs, those autographed cue cards in the library. And that's what it looked like. We actually have these doors to the auditorium where I'm sitting now that we don't use. There's actually a booth in front of it anyway. So we just use that space to stick it up there. This is actually for Annabelle. And you can see that's where it is in the library. And then up close, you can see how everybody signed it and you're just the screenshots from the thing. And this is Annabelle, but I'm thinking that maybe we don't have time to do this. And we will just, perhaps I should take questions at this point. Or I should answer questions, because I have to go back to you. Yeah, Bob, you still got about 10 minutes. How long is this last video? Oh, it's not as long as the others. It's about as long. It's a little longer than the last one, but not as long as the first one. Yeah, I think we got enough time. I got, here we go. Let me close this. It was many and many a year ago in a kingdom by the sea. That a maiden there lived whom you may know by the name of Annabelle. And this maiden, she lived with no other thought than to love and be loved by me. I was a child and she was a child in this kingdom by the sea. But we loved through the love that was more than love. I and my Annabelle. With the love that the winged seraphs of heaven coveted her and her. And this was the reason that long ago in this kingdom by the sea, the wind blew out of the cloud chilling my beautiful Annabelle. So that her highborn kinsman came and wore her away from me. To shut her up in a cell booker in this kingdom by the sea. The angels not half so happy in heaven went envy in her and me. Yes, that was the reason as all men know in this kingdom by the sea. That the wind came out of the cloud by night, chilling and killing my Annabelle. But our love was stronger by far than the love of those who are older than me. Of many far wiser than we. And neither the angels in heaven above nor the demons down under the sea can ever discover my soul from the soul of the beautiful Annabelle. For the moon never beams without bringing me dreams of the beautiful Annabelle. And the stars never rise, but I feel the bright eyes of the beautiful Annabelle. And so all the night tight I lie down by the side of my darling, my darling, my life and my bride. In the sepulchre there by the sea, intertuned by the sounding sea. And you see in that one, particularly, it becomes a way to promote blessful businesses too. People often, or I'll direct them to stand in front of a logo or something that identifies the business in the background. And then when I post it on Facebook, I provide links to the businesses of all the people who performed. So it becomes sort of a promotional effort, an economic development effort too, which in Michigan we can use. So it's just one of the things we try to do there. One of the services we provide at the life. That's all, that's what I have. That's if anybody has questions, I'd be happy to take them. Yeah, I think we got a few questions coming in from the audience. So Krista, you wanna pass those along? Yes, we do have some comments and questions that came in. One comment just about, I guess, equipment that someone, this says that they recently got a flip video camera, one of those nice little ones, via techsoup.org. Techsoup is a great website for libraries and non-profits to get discounted in equipment and Microsoft products and things. $60 for six cameras. Wow. Wow, yeah. Yeah, I think because I've stopped making them. Yeah. So they're starting to sell them off. So just looking. You're looking to get them fixed or whatever. I mean, of course, if they're $10 a piece. But I used to put video for one of the ones you didn't see and I was not too happy with the sound that's actually why I upgraded to the other camera, but they're great. I mean, they're certainly great for inside the library stuff. And at $6, you could give them to patrons and let them go out and film stuff and then bring it back and edit it together. So I mean, that's certainly worth it for that much. Check them out. Okay, a couple of permission form questions. One is, will the example of the form be in the handouts that you were talking about? Yes. Okay, great, we'll get that. And are the only people that you have signed the permission form, the parents, or do you have everyone sign it? No, I just, my assumption is that I speak to adults and they understand that I tell them it's gonna be on our Facebook page that I'm not gonna put it on YouTube or anything like that. Although once it gets onto the web, I have very little control over it at that point. I suspect adults understand that, but I would never put someone's child on the internet without asking. So that's basically the thing there. We don't generally ask for parents' permission for library programs or to use their pictures in the library and stuff like that. We never have. Now, if you feel the need to get permission for everybody, I would encourage you to do so. Do what you're comfortable with. Okay, another question about dealing with your actors. How did you handle any mispronunciations? Or did you handle that? Well, I loved it pretty much. There were a couple there in that first one. And I essentially said, this is folk art. It's not supposed to be perfect. So I had to kind of, I had to put my own tendency to be anal at bay and just let it go. Nice. How long did the editing take for these kind of things? It takes, and actually the handouts that I'm going to put up are actually broken down to time and money. And so what I, the edit takes, as I say, that the filming takes more time than you think and the editing takes less time than you think. I would say that the editing took me an average of three to four hours. And that includes, well, that doesn't include putting the music in, so maybe if you talk about putting the music in, then maybe five or six hours. But the music takes a long time for me to choose just because there's so much of it and I want the right thing, you know? And so that takes me a while to choose. But I will say this too, it takes me that much time I know absolutely nothing about this. I mean, I had never edited anything like this. So it takes that much time to learn it and stretch and get it done. Time for one more. Looking to see what we have here. Now, I know you got, someone asked a question which can kind of answer in the context of the other questions. I wanted to know, like, someone came in late to ours to our conference this morning, wanted to know who did you ask to participate? I was to that staff. And yes, if you go back and watch on the video and we'll have the PowerPoint presentation available, it was actually a whole bunch of people from the town, business owners and whatnot. And someone has a question related to that actually. Did you have to worry about featuring one business over another in your community? Politically? It's a pretty small town. I didn't and maybe because I didn't think to worry about it. And I'll try to get him next time. I mean, I think that's what I try to do in the library too. Sometimes you go out and get people to sponsor a program or something in the library. So you get a big poster for that, sponsor up in the library and then, you know, the other insurance agent comes in and sees that poster and I say, wow, you know, I've got another program coming up, you've got an opportunity to do it too. So I just try, I just spread it around. If it was just a one shot thing, then I guess it might be a bigger deal, but we plan to do this for a while. So I'll cover everybody eventually. Okay, great. All right, yeah, that's almost all our questions. If we didn't get here, sorry. You know, we do have a limited time here. Just a couple of responses to some of the just comments on here. On one person, one just lasts like kudos for you says, I love someone says, I love this. It's like a living read poster. Oh, yeah. Nice description. Yeah. And so we did ask the PowerPoints in this presentations will all be available afterwards for everyone to get a hold of. So it'll be on the website, along with our recordings, all of our speakers presentations will be available. So you'll be able to have them after that. My email address will be on the handout that I, that I, that you post, I mean, post the PowerPoint. So if you have questions that weren't answered, I'd be happy to think of questions along the way. Be happy to respond. All right. Thank you, Bob, for kicking off the show this morning. That was wonderful. Video is something we'd like to promote around here. And this was sort of a project I hadn't thought of. So another way of looking at creating video for the library. So thank you very much.