Shooting on the Sony A7s III – ‘Tinbeerwah’ – Beauty film and BTS.

Episode Transcription

Den Lennie (1s):
Well, good day, folks! It’s Den Lennie here, host of the How to scale a video business podcast. Back from a short break, shall we say, I took a few weeks off. The podcast truth is we just got slammed. We had something land in our lap that we couldn’t say no to. So I dusted off my production shoes and got back into bed with Sony to produce our eighth commercial project for them. And what I want to do today is bring you up to speed with what we did, why we did it, and also a bit of an insight as to why after about eight years, they’re still coming to us to do projects.

Den Lennie (44s):
So I want to start this story by telling you that when Sony and Singapore first approached me to get involved in this project, I actually said, no, the I’m a contact of mine who had met whilst doing the YouTube popup events a couple of years ago in Bangkok, Matthew got in touch and said, look, we’ve got a new project. And we wonder if you’d like to get involved. And they introduced me to the marketing manager and their first questions. Well, you know, what, what kind of stuff are you working on just now, what cameras are you using? And we’d love to help you get you involved in helping us launch this new camera, to which I said, look, guys, I’m, you know, I’m a big, I’m a big believer and living your purpose.

Den Lennie (1m 28s):
And my purpose is to help video producers succeed through our video business accelerator program and this podcast. And I said, look, guys, I’m not really in the production space anymore. You know, I made a decision a few years ago to really focus my efforts on the business coaching side of things and helping many, many clients achieve, you know, sometimes double or triple the profit in a year. And that’s where my kind of real value I think lies at the minute. But I told them this, I actually said, look, you know, this is not really my 40 anymore. This is not really what I’m doing anymore. You know, as far as projects, I haven’t really shot anything commercially since the <inaudible> launch film, not, not a big scale, we’ve done a few projects in between some carpet stuff, but really I haven’t done a proper production for a couple of years.

Den Lennie (2m 18s):
So I said, look, I’m probably not the best person to ask to do this. And as far as gear, you know, I’m using my SNS with Zeiss 35 F two on my webcam and that’s, that’s kind of it. And, you know, kind of use my SNR to, to take some stills and occasionally use some video. Yeah, we did the B reel series shooting on that a couple of years ago. And if you’re interested check out the BBL cities, I’ll make sure and link it below. It’s quite a fun sort of documentary where we went round to Asia, making these sets of behind the scenes, four minutes, sort of them lifestyley type vlogs.

Den Lennie (2m 59s):
I was trying blogging. I was doing what Gary V said, you’ll go out and go and tell your story. So we did about 18 episodes of that. But what’s interesting about that is that, and I guess the lesson I want to share is that you never know where opportunities are going to take you. So I did that trip around Asia over a number of months. In fact, probably about 18 months. We did Bangkok twice. We did Jakarta, we went to Saul, we went to Taipei, deli, Hyderabad, and Bangalore, a lot of different places. And they were really, you kind of fly in fly.

Den Lennie (3m 40s):
I mean, Gwen for a day and come out again and I’d speak at a YouTube event in front of YouTube and other creators. And what got me realizing was that how big the Asian market is for camcorders and camera equipment. And I remember someone at Sony telling me that, you know, the Asia market is bigger than Europe and the U S combined. And China’s huge. So anyway, I got, I got asked to by, by Matthew to come and talk to these guys and they originally said, look, you know, what would it cost to make a one minute film and a BTS I’m thinking, well, you know, how long is a piece of string? And one of the lessons that I always share with my video business accelerator clients is Dawn.

Den Lennie (4m 23s):
Don’t give a price too early. And if you’re in that stage of being a kind of freelancer, who’s migrating to becoming a business owner, there’s a typical tendency to kind of think small and just think in terms of day rates. And the truth is you can really shortchange yourself because there’s so much more work involved than just a day rate when producing content like this. And you know, this is my eighth time doing a project for sorting and the, you know, there’s always an awful lot more under the surface that you’ve got to think about than, than perhaps is first apparent. And what made me realize is that oftentimes clients will come to you and say, Oh, we’ve got this idea for a video.

Den Lennie (5m 8s):
How much, or what do you think it’s going to cost to do this? And that the big mistake I see a lot of filmmakers make, cause they go, wow, that’s probably a couple of these filming two or three days editing. So we’ll call it, you know, five grand. And, and oftentimes that’s in fact, almost always that’s the wrong approach because until you can fully understand what’s required, there’s no way of you being able to fully scope the job out. And so, you know, and I see this is something people I was going to hire for this project is one guy, particularly who’s very much still in that freelance mindset where it’s like, here’s my dairy, here’s my charge for mileage. Here’s my charge for extra lighting. Here’s my charge for overnights.

Den Lennie (5m 48s):
And, and that is okay, but if you want to be a business owner, you’ve got to think beyond what’s in it for me, you’ve got to think, how can I provide the client with exactly what they want in a timeframe and in a budget that they’re happy with. So the scope back to circle back around to this, the, the person who was in charge of marketing and in Asia said to me, so how much to do this? I said, look, I’ve no real idea of what you want. And so why don’t you tell me what you’ve got and I’ll see how we can come up with something.

Den Lennie (6m 28s):
And I really was kind of, you know, I’m willing to walk away. I think it’s probably the best description. And I think that’s a really healthy approach to have in your business is like, if you know, you’re aligned and you know, you have value to bring, don’t try too hard to win the job. So I said, look guys, it’s probably not for me, but they came back and said, no, no, no, we understand all of that, but we really want you because you’ve got a perspective on not only helping people develop businesses, but you’ve got the podcast and the books. And so all of that collateral, the books, the podcast, they play a really important role in Building trust and credibility and authority.

Den Lennie (7m 10s):
And so I said, look, let me know what you’ve got. And they came back with a very healthy, multi five figure budget at which point I went. Okay. That, that sounds pretty good. I think we can probably do something with that. And then we had a few challenges because we were originally going to film mountain biking down in Melbourne with a good friend of mine and a client to March, March creative. And Tim is a, is absolutely a specialist in and sports and, and making beautiful photography and films around athletics, mountain biking. And we were all set to go down there when then COVID kicked back in, in Melbourne and locked us down.

Den Lennie (7m 51s):
So we had to kind of pivot from doing, you know, a whole kind of concept for Sony. It’s a pivot in a couple of days and do something completely different. And that is an example of where if you charge too little, you end up doing what for free, because that was an unforeseen expectation that an unforeseen circumstance that, that blew us out the water and I’ve thought, fortunately, we hadn’t booked any travel we were just about to. So we had to completely turn the idea on its head and we had a very limited amount of time to do it. And so I was very fortunate that sort of gave me a pretty open book. Mmm. I kind of knew it was gonna be the <inaudible>. And for those of you that are new to the show, you know, I launched the <inaudible> in Scotland, back in 2012, we made a film about a fishermen catching headache and smoking them in the ground on the beach.

Den Lennie (8m 47s):
And that was the first film that we’d made for Sony where, well, not for the first film, the first one we made was the annex five. And then we did the PX w one 80, I think I forget the name of it now and where we produced a lot of different content. Not always mean presenting, but we did the, <inaudible> sorry, the A7S Mark one. And we’d filmed something in Scotland for the Forcier version. But two days into the edit, I got a call from Japan saying, look, there’s a problem. We, we used the wrong setting that the family wasn’t quite ready. And that’s always a challenge with, with pre-farm where pre-release cameras is that they hadn’t quite finished the farmers.

Den Lennie (9m 28s):
So we shot it in S log two, but it was really underexposed. So they said, you need to come to Japan tomorrow. And at that point I was like, well, we’re just about to do the grade for the main film. And I was in Brighton working with that. So I said, look, you know, we, we can’t get there tomorrow, but how about he said, well, you need to get here for Friday. And so my first time, my first response was, well, we’ve just finished a two week shoot and edit we’re exhausted, and you want us to come out and reshoot something on Friday. So we’re certainly not flying economy at which point they turn and said, okay, you know, scope two business class tickets. And, and so, so often, and this is the business lesson. So often you just have to state your position and say, look, this is what I think is fair and reasonable.

Den Lennie (10m 12s):
And, and I’ve never had anyone say no. And I think a lot of that comes from just confidence and knowing your value, knowing your worth. So we did the Fs, the S of an S and that was a huge success. And they flew us out to Las Vegas to do any beat, to launch that. And that was a really big moment of ever being in the press conference when the people gasped, when they saw the temperate 10,000 dinosaur. And ironically, you know, I just shot some shots in this CBTS film at 40,000 days. So in essence, Three years, cleanness phenomenal. But yeah, we did the <inaudible>. Then we did the Fs seven James Tonkin, the man from hang man in London. We went to Kanazawa in Japan, and I think it’s East of West of Tokyo.

Den Lennie (10m 57s):
And we shot the, the film. We did the, the handmade communal, Excuse me. And, and then we did the two films actually handmade Memorial. And then we did this kind of, this, this model Yulia who was, was modeling the kimono when kind of being dressed by this, this, this, this, this kind of traditional Siemens dress. And then from there, we did the <inaudible> in Sydney with Mick Jones and filthy looks. So there’s a kind of, you know, we produced a lot of content for Sony. So we were kind of a very much a trusted partner and that relationship has been built over, Oh, let’s see, probably 2004 or 2005 was when it first began.

Den Lennie (11m 42s):
So there’s a 15 year relationship. And so when you think about is, if you, if you’re in fairly early into your business career, like be patient like these things take time, everybody. I, in my coaching group who is very successful, I’ve been doing it awhile and understand that patience is really important and that you build relationships over a period of time. I come across people who, who typically don’t spend a lot of time in our community who kind of come in and go quite quickly, because I think they’ve learned to all and they tend to be younger. And, and I think that tends to be because there’s an impatience, has an impatience around wanting to learn on their own and get the next goal.

Den Lennie (12m 26s):
Whereas the, the more experienced, the more successful businesses ultimately are the ones who recognize that this is a long game for business. I mean, if I were to ask you today, if you could make a connection with a client in an industry today that I could tell you were still paying you multiple five figure budgets in 15 years time, what would you say? Because I can tell you something that I said no to this job first. And they came back and gave me a number that I couldn’t refuse, and I didn’t have to provide a court. They just agreed to budget. I invoice 50% upfront, which is something I want to touch on. Actually, I hear people telling me all the time, Oh, I can’t get 50% up front from a client.

Den Lennie (13m 9s):
I’m here to tell you, yes, you can. If you asked for it the right way, you will always get it. And then if you’re not getting it, it’s because you relationship isn’t strong enough for the client and perhaps they don’t trust you enough, or they don’t feel that they’re understanding why it’s important. And I’ll share with you. Why it’s important is I said to every client, we are a small business video. Production is very expensive and the expense comes in the preproduction and the post, the hard costs of time and labor and, and crew on location. And I say to them, we can’t focus on the creative if we’re worried about the money.

Den Lennie (13m 50s):
So what I like to do is make sure we get 50% upfront. And that means that you’re committed and we’re committed. We know that money’s in. So therefore we can spend on pre-production. We can boot locations. We can boot crew knowing that it’s not going to come out of our pocket. And then what we do is we then do the production in the knowledge that my production costs are always covered in that frustrated percent. And the latter half is usually all my profit. So I want to encourage you to always ask for 30% up front. It’s a great measure of a relationship. Anyway, I I’ll talk to you. Talk to you a little bit about walking with this camera. We’ve just actually finished a livestream into Asia. I think we’re going to 10 countries in Asia and that’s happening while it, when a bad tennis was.

Den Lennie (14m 35s):
Well, it just happened, but I’m recording this a few hours before. So let me share with you, you know, a bit more about my journey with Sony. So I’ve been shooting Sony since 1994, professionally. That means being paid. My very first job was with writers, television, working for GMTV in Scotland. And I began life as a sound recordist, but I was shooting pretty quickly in pieces to camera and bits of B roll. So I, I started life on a beat cam SP and then moved into a career with GMTV. And then I went to the BBC for a year. So it was GMTV for a couple of years, BBC in East Anglia for a year as a single shooter.

Den Lennie (15m 16s):
Then I moved to London and went and got a job with London tonight. And then after three and a half years, London tonight, I went freelance. And in my freelance career, I was largely shooting on digital media cam back in the days of tape. And then I bust my leg in 2001 that kind of a couple of years back on the tools about six months after that. But it was about 18 months later. I was out in South Africa, filming a place in this, on Homer away, the pilot for that film or that series and angle didn’t feel right. And I went, Pat Corman saw specialist. He said, look, you’ve got arthritis. What do you do for a living? It was like, well, I’m sorry, Kara, man.

Den Lennie (15m 57s):
He’s like, no, not anymore. You’re not so very quickly it kind of all changed. And then I went to pro cam television where I’d been hiring my kit from John Burton and Cal Barton. And they offered me a job as the warehouse manager. So, you know, I kinda went back down to grassroots, but very quickly we got the gear sorted out and then started developing some business, ended up with a stake in that company. And then in Las Vegas and about 2008, I think Mark Ford said, you know, why don’t you come and work for us at MC Corp? And I said, well, you know, I want this number. And it’s like, I want out on a hundred grand. And he said, okay. And so I went over there and then in 2009, we started doing the DSLR stuff.

Den Lennie (16m 41s):
And that’s when the kind of next incarnation happened for me because the cameras got smaller. And we started developing these training DVDs with Phillip bloom and, and we kind of saw meteoric rise with me producing all of that content and feel fronting it. And so then I started getting more and more involved in Sony. Once I went to and set my own company, I stop Academy in 2009. And then we had a kind of catalog of things happen that got us to the point where we’re launching cameras and I’ve used the <inaudible> <inaudible>. And then when we got to Australia in 2015, the Sonya puts me Cantor.

Den Lennie (17m 21s):
And this is a great example of relationships. So Canty I’m a motto who was then running, who he started in. The UK was from Japan. He came to the UK in about 2005 and 2008, 2009. And I, and I got him involved in some projects or to come along to do some shoots. He was to come at the, kind of the rookie guy who is being sent from Japan to work out in the, in the colonies. And, you know, eight years later, cannabis yelling, running the entire division in Japan. So, you know, a lot of that relationship was through my relationship with Kantar. And, and so, you know, you’ve always got to remember that that people are in jobs for a very long time, and you, you never quite know where they’re going to end up, but really my, my secret, if you like is always caring, always, over-delivering always giving people way more than the expect.

Den Lennie (18m 16s):
And I think that’s part of the reason that we keep getting, being asked back and know my network with Sony extends from Sony Europe, Sony, UK, Sony. I’ve done stuff for Sony Belgium. I’ve done stuff for Sony all over Asia, Australia. It’s kind of phenomenal. You know, we’ve been all over the place with them, but really the secret thing too, if I can share any wisdom as to why it’s because we care, we genuinely care about the result. We don’t think about what’s in it for us. We think about how can we serve the client? And I’ve got to tell you it’s not easy. You know, Sonya are very, very demanding client people. Don’t give you multiple five figures on a short project unless they expect a lot in return, but it’s a real collaboration and there’s an enormous amount of trust.

Den Lennie (19m 3s):
So let me tell you a bit more about this project. So when I’m choosing a camera system, I’m always looking at, you know, three things size and portability functionality and workflow. I like to keep my footprint small when I do shoot one to two people, it’s just, I’ve got to credit James Tonkin for bringing me into this realm because James from hangman shoots all over the world for the rolling stones beyond C called play. You know, he’s done stuff with you, name it, every major artist on the planet you to hang out in London are a phenomenal outfit and James largely does it himself. So I like the idea of, you know, especially coming from a broadcast background where we always did things a very broadcast way.

Den Lennie (19m 47s):
James taught me that small is beautiful and it can put the camera in places with traditionally might not feel very natural. So I like to carry everything in a backpack. I’m going to pick the same backpack. And this film I made with the SNS Mark three, the seven hits 200 F two eight G master a 12 to 24 FQHC master. And I think I used a 16 to 35 and a couple of shots and maybe a 50 macro. I actually don’t think I’m using the 50 macro shot. I shot most of it on the 1224 and 70 to 200. And they, the five-access Emmett stabilization, the inbuilt as stabilization. It’s just phenomenal with the lens. So there were times when I would just shoot handheld at 200 millimeters, 120 frames a second, and just shot the most beautiful buttery images.

Den Lennie (20m 38s):
I shot everything a and S log three S gamuts Sydney giving me the full 15 stops. And, and are you look at my gear? I use a slide. I use a Kessler stealth slider. I think it’s like the middle land, the traveler I use the tripod it’s SAR. It’s a good tripod. It’s what is it? It’s the Miller <inaudible> 20 had that for a good 10, 15 years, phenomenal tripod. And had, I think one of the mistakes, a lot of new filmmakers make is they just don’t buy a decent tripod. Good solid set of legs is just your best friend. So a slider tripod to lenses, mostly nor filters didn’t even use any, any, any NDS.

Den Lennie (21m 20s):
I’m sure everything at 500 ISO. And that’s the other thing S log three we’ll record easily at 500 ISR. So it’s really clean. And that high sensitivity meant we could shoot in this surf shaping B, which is quite a dark room, not very big with two sets of strip lights, kind of waist height, either side of the room that allows the shaper to see the contours of a board. So I thought it was perfect, you know, great example of using the space. So let’s talk about the image quality. You know, we started the film up on mountain view, which is why we called film film term BOS. It was the mountain that 10

Den Lennie (22m 2s):
Luke’s Noosa Shire where we know live. So the opening shot, the film is kind of not far from where we live. We live down in the, by the, by the river mouth. You know, we, we do live in paradises, there’s no two ways about it. It’s, it’s a beautiful place that we we’ve ended up. And we’re very grateful for that, but we got up very early. So why wanted to shoot shot straight into the sun? And when you see the, the film itself, which is probably below this, on the page, on the website. So if you don’t, if you’re not, if you’re listening to this on a year of your favorite podcast app, go to Dan lenny.com and click on blog or podcast, and you’ll see the, the films, but we wanted to shoot straight into the sun. Cause I felt that what I wanted to do is make a film that that filmmakers would appreciate the reality of the situation.

Den Lennie (22m 45s):
Most of the film was shot just by me. I had a couple of assistants and a BTS guy on, on some of the shoot days in the shaping Bay, but everything else was shot single camera with me. One of the fortunate opportunities I had was I got to shoot late shots, the perfect time of day. So I’d shoot the sunrise. And the next day I’m going to shoot the surfing and I’m going to shoot the Creek at a specific time of day for one angle and then another angle on different kinds of days. So I had that luxury, but the opening shot of the film that I love the star bars coming off the sun that is the 12 to 24 lens at 12 millimeters. It’s stunning. There’s no distortion. And, and you can see full dynamic range, 15 logs and S log three.

Den Lennie (23m 26s):
Yes, gamut Sydney, brand new sensors. So anyone who said issues with S log three, before they’ve gone away with a sensor. I remember Mick was telling me when he was grading it. You said our man, that’s just a totally different look to this. He said, it’s clean as a whistle and beautiful tonality. Actually, that’s something that I loved was even an S log three, even just for luminance and putting a bit of saturation back in, brought things back very beautifully, very filmic in my view, very clean, but very filmic and really faithful skin to reproduction and, you know, shooting in four K 10 bit four to 200 frames, a second, 120 frames a second, which just has, it’s just such a treat, you know, up to 280 megabits per second and bit rate.

Den Lennie (24m 11s):
So, you know, there’s a lot of information there and I wanted to shoot some really challenging subjects. We’ve got a plane planning, like a, an electric plan planning, ear, polystyrene surfboard. So you’ve got very fine dust, very fine detail moving very fast. So I think when, you know, you agree that the camera does a great job of capturing that. As I mentioned before, you know, 40,000 dinosaurs, what I shot the night time stuff that for the BTS film, and it’s pretty good. And that’s S log three. So the advantage of shooting S log three at night is you get those tonal gradations on the highlights of things like neon shop signs. So he don’t blow out.

Den Lennie (24m 52s):
And that’s really, really, really helpful. And for the river crossing scene, as we call it Australia a Creek, and I wanted to test the camera’s ability to process all of that information. So what you’ve got is a surfer walking across the frame, wearing a black wetsuit, carrying a white surfboard, going across the Brown river, which has water moving. You’ve got paperbark trees and lots of shades of green leaves. And, and the shot is back lit. So, you know, this was a very choreographed shot. We start on the 12 mil wide with a very, very slow creep track, right?

Den Lennie (25m 32s):
You don’t really notice it it’s very subtle, but I like to, I like to shoot a hundred frames, a second, 120 from second with always a bit of movement. So even if you don’t see it, it’s the, camera’s always feeling like it’s moving and I want it to amass mash you in this film. But then we cut to one of my favorite shots of the film, which has actually using the world cam light. We actually strung a cable cam across the river for the, for the mid shot. And that’s the thing at 10:24 AM. And we just, we distract with Brynn as he went across the Creek. And so, you know, some interesting challenges that, and I think the camera panel that really, really well. And then the final shot of the film is the sunset shot, which wouldn’t let into little secret.

Den Lennie (26m 13s):
It’s the East coast of Australia. So the sun doesn’t set in the East, of course, it’s that sets in the West. We don’t get sunsets over the water in Australia on the East coast. This was actually shot at sunrise, probably about 20 minutes after sunrise. Maybe not even quite as it broke, the horizon would be 10, but, but Mick did a beautiful job grading it and, and it feels like a sunset. And I think that’s one of the things, the great tools you want with the camera system is that you wanna be able to create things and cheat things for the story or the narrative without necessarily compromising again, really helpful that it’s, <inaudible> got the 50 lenses and the 56 lenses, the Sony lenses have really stepped up and I don’t know about you, but they used to be about between, you know, Canada, Nick on for stills cameras.

Den Lennie (26m 58s):
And I think now it’s very much, you know, Sony at the forefront and maybe kind of Nick are neck and neck behind. Maybe Canon’s a bit high than Nick and I’m not sure, but certainly I think Sonia is a dominant player now in the space cause they’re making such great tech. So you’ve got, you know, you can swap lenses between <inaudible> whatever email camera you’ve got. And it works really well as a kind of second camera as well. You know, you can have a B cameras and <inaudible>, and it will match with the S gamut Sydney or match your <inaudible> beautifully heat management has been massively improved in this camera, brand new body, brand new heat dissipation system. And it is a weather sealed camera, but it’s got, it’s got this new kind of built in heat sink, which just, we, we just didn’t have any issues.

Den Lennie (27m 45s):
I think we must have filmed for about an hour and a half and maybe not running the whole time, but I felt like we got a whole hour and a half out of a battery. It was like, well into the morning before I was like, Oh shit, the batteries died. That’s like, I wasn’t expecting that. And you know, it to, to last so long because I <inaudible>, and like, they’d be burned through batteries and no time, but this has got much bigger battery. And so we didn’t have any issues with losing power about, I’ve actually bought five batteries for this project. And we only use two at Juul card media slot. It’s a uses CF express type II, which are 160 gigabytes. And they’re good for the slow motion stuff. And the high bit rate stuff like the 600 megabit stuff. But the rest of the time you can shoot on, you know, class to SDLC.

Den Lennie (28m 32s):
I’ve got a few hundred megabits, right, and re re three, 300 megabits and rates to 99 megabits super fast to cover everything else. And then got a new XLR adapter, which is really interesting. It’s a four channel XLR adapter. So with a future firmware upgrade, they’re good. There’s going to be the opportunity to plug in. There’s like a stereo mini Jack, which gives you left and right from your camera mic, and then to farther input. So you end up with four channels of audio in the <inaudible> and that, I mean, that’s mind blowing. I love the form factor of the <inaudible>.

Den Lennie (29m 14s):
You know, I got rid of my Fs seven a couple of years ago and just stick with the smaller cameras because we’re not really doing production anymore. So it kind of suited us for the kind of things we were doing, but honestly, it was just, it was just such a, such a treat to make this film. And so if you look underneath this band blog post, he will see the actual beauty film and I’ll link to the BTS as well. There’s a five minute BTS of us working behind the scenes, but honestly, guys, it’s been a real pleasure and a real honor to kind of continue to work for someone as prestigious as Sony. And when I was coming up with a name for this podcast, it’s like, fuck, it’s like he year eight different projects.

Den Lennie (29m 55s):
And those are just the commercial projects we’ve done for like, like a lot, you know, fairly healthy money and certainly very good profit. And, and I’ll be sharing with my, my, my video business accelerator clients, as we do, you know, we break down these projects and I show them everything, the communication, the workflow, the budget, how we priced it, what our margin is, because, you know, I want you guys to understand, you know, you can make money whilst being creative and make beautiful films and be paid so you can enjoy the nicer things in life. Anyway, guys, I am taking off and now heading off to port Douglas for a few days, downtime podcast is now back.

Den Lennie (30m 37s):
We’re going to be going back one episode a week for the time being just because we’re so busy with our accelerator clients and then that’s really going well. And so I need to focus my energy and effort on those guys and butts. And we’re sending me doing one episode a week and I’ve been doing a few shorties in between, but it’s great to be back. And I hope you found this to be of some value and be sure to check out the, the page and watch the films. And I’ll see if I can make sure the comments are on. So you can, I’d love to know what you think of it and any questions you have about it. Let me know. And you guys talk to you soon. You’ve been listening to the how to scale a video business podcast with me, your host, Den Lennie, if you’re a video business owner hits a ceiling and we benefit from mentorship support and coaching and check out how you can work with me over at the denlennie.com.

Den Lennie (31m 31s):
Don’t forget to subscribe and rate the show over on iTunes. And we’d really appreciate you taking a few minutes to leave a review and don’t forget to share if you feel you’ve gotten value from this episode and you think it would be useful for other filmmakers, you know, and please do me a massive favor and share it on social media and in groups that you might be in see you next week.