1123 Presents
1123 is an advertising agency based in Omaha, Nebraska. We are constantly learning and evolving, not just for ourselves, but for the brands we champion. Join us as we delve into a multitude of subjects related (or adjacent) to the world of advertising.
1123 Presents
5. From Script to Screen: The Often Overlooked Art of Video Production
In this episode of 1123 presents, Adam Turner, our editor & producer joins us as we dive into the world of video production! We break down the entire process, from pre-production planning and shooting, to editing and post-production. Whether you're a beginner or looking to level up your skills, this episode has everything you need to know about creating professional-quality videos.
Welcome to the latest 1123 Presents podcast. I am, as usual, your host, dave DeStefano, chief Creative Officer at the agency. Today, we get to talk with one of my favorite multi-role people ever. I'm looking around the room and I'm trying to see who Adam Turner, our editor and producer at the agency. Say hi, I think that's me. Hello, what's going on? We are going to talk today about what it takes to create your video content. When I say you, I mean clients. When I say you, I mean people that are making anything that has to do with moving pictures. This could even apply to some still pictures, so we're going to talk about that with Adam Throughout this episode.
Speaker 1:We're going to talk about what a producer does, what it takes to break down like you know a shoot day for us, how we're estimating and putting things together and when we look at gear and all that stuff. So stay tuned. We are going to kick off here in a second.
Speaker 2:Adam. So give us a little intro, give us a little. Was a student. I'm born and raised here in Omaha, nebraska, went to school down at the Johnny Carson School for Theater and Film in Lincoln and through going to school and down there focusing on film and new media, I had opportunities to get some real-world experience here in the market. And through the process of that I met Dave on one of our Crayton shoots I think was the first thing. And then from there I kind of continued to freelance with them throughout a little bit of my junior and senior year and then after I graduated I came back up to Omaha and you know Dave was looking for an editor and he decided that he liked my editing enough then. And here we are in 2024 and I'm still around, but I'm also now producing too and getting to direct and stuff. So that's been really fun for me.
Speaker 1:Absolutely. So let's talk a little bit. I did like your editing, by the way. Yes, the importance of video content in today's marketing landscape. How important is motion content? It's pervasive, it's. What is it? Social media now?
Speaker 2:It's broadcast is a way to make people really see and get personalities out of people, kind of find relatability through different ways and connect. For all the reasons why people used to enjoy going to watch films is the same reason why I think people enjoy seeing videos of people engaging with the things they like or working with brands or products in different ways. That make it seem you know that, make it seem like genuine, make it seem like a real place where there's common ground, where they can see themselves in those places and doing those things.
Speaker 1:Right, and I mean, when it comes to these projects, there's levels to all this. Right, you have to put together something according to the scale of the shoot, whether it's whether it is a film I mean you went to Johnny Carson Film School whether it is a film or it's ad work that we do, there's levels to all of it. I mean, a social media shoot is going to be a little more run and gun, a little more quick and dirty, like as a. When it comes to that, there's estimating, planning, coordinating. Which brings me to what. What does a producer do in these situations? Like, let's talk, small, medium, large production? Like, what does a producer do when it comes to these things?
Speaker 2:you know. So I'd say from a producer standpoint, what the producer usually is doing is working with all the different facets of the team, uh, and production wise, to make sure that we're all ready to go before the shoot day, on the shoot day and then at the end of it all, when we're putting together all the edible deliverables and getting everything together for the client. And so you know to some degree that stuff changes from job to job based on the scale, but it really more doesn't. It's really the real change I think exists in what are the different tasks that you have to do, based off the size of a job. You know, for a smaller social media shoot, we probably aren't hiring talent, for example.
Speaker 2:So instead of coordinating talent, call times and stuff and working and getting all that together, it's more about making sure that we are going to have all the key crew people we need. It's more about making sure that we are going to have all the key crew people we need, that being just one or two people with our setups for the social media shoot on that day and just making sure we're staying on schedule for our shoot day itself, versus needing to make sure, okay, well, we have to stay on schedule at this point because we need to have X talent come in at this time and move along that way. And so I mean, yeah, I mean, and I guess I'd also say to the producer really their role is to really help make sure that the production goes as smoothly as it can from start to finish. And that probably would be my concise way.
Speaker 2:I'm not very short-winded with anything else. So you know, good luck throughout the rest of this podcast, everybody, but I'm not always short-winded the this podcast everybody, but I'm not always short-winded.
Speaker 1:The long and short version is what you gave us and both of those are correct. Um, do you think it? You know, is there, is there nuance and skill to this? I mean, like working with clients sometimes, because the social media stuff, yeah, there's no talent, but you're coordinating crew and then you're there's more contact with clients and stuff like that. I, I like that we get involved with like how to you know how to execute a shoot at that scale, and then we can also go big and we can. You know, at our agency we get to do this wide range of work, and so that's what's fun about that for me is like, you know, we, we can scale this is. Is that true?
Speaker 2:yeah, I mean I I think from, um, from, like my viewpoint of the different clients and stuff that we work with, I feel that we kind of balance between I mean, I feel like I believe in balance between, like, trying to make sure I understand the full vision of what the client is going to need the, the fine deliverables for, and then figuring out, well, how's our best way to go about producing those things and getting that done for the client, um, within the you know parameters of what they need. Gotcha.
Speaker 1:Yeah, no for sure. So the other thing is that's that's a benefit when it comes to any size production, us having this in-house. There's familiarity with, let's say, a project that a client's doing because the entire creative scope of it I mean any producer would have view of, like hey, this is the creative direction of the shoot, and all those things. But I think, even more so when it comes to like, if you're doing that inside of the agency, you know you're saving the client and us a lot of time. What areas do you think you know save time? As far as this goes, where does it become efficient to have you like doing what you do?
Speaker 2:I think it becomes really efficient in the role of basically like, because I am in house, I do know what the creative concept is, usually well beforehand.
Speaker 2:So instead of having questions that like if I was producing outside of the agency but for the same job, let's say it was out of house I would come in asking a lot more questions, maybe needing some more clarification on refining of things, finding of things, and there, honestly, would be a little bit of times where I'd probably be given a lot more pushback on concepts or ideas because I hadn't had an opportunity to have input to try to help, you know, produce this project for them in the best way possible.
Speaker 2:But with being in-house, I'm able to have those conversations earlier in the process, which helps prevent us from having issues and hurdles later down the line. That's not to say that we won't have issues. There won't be things that do crop up here and there that you know I shouldn't say issues but challenges won't arise still, but there's a lot less challenges that arise because I'm involved some early on in the process. And then I'd also say too, especially in my role on any job that I am producing, I'm also usually editing on, I kind of am there at the very beginning, I'm not there at the very end too, so that when I get to the edit, it's easier than to compile the components together and know how it's supposed to come out at the end. And I think that's probably the two biggest places I see where we save time, and I think that's probably one of the biggest advantages that we do have.
Speaker 1:So we've talked a little about the setup, what goes into what you do as far as producing for us and at times too, just for everybody, like the producer role here in the agency. I mean, we have that at a certain level. When a production gets to a certain size or a certain specialty, we kind of associate produce and sometimes we'll have a producer that we work with. Outside we have folks that we love that are independent contractors, that are really skilled at that as well, and so we enhance the core on all these projects, depending on the scale. So just wanted to make that clear. It's not just us doing this and we're like that's what we do and nobody else. No, it's a team thing. I mean, there's a lot that we do. That's part of what you do is hey, is this the right person for camera or talent scouts or whatever? Right?
Speaker 2:Very much. So. I mean, I think one of the big reasons why I like doing what I do is that I like collaborating earlier. When you know, as a job does get bigger in size, um, you then have more uh people that you're working with and they have to, you know, fill in different roles x, y and z but by the same token, that does bring levels of uh relief in my viewpoint, because I am then able to not have to fully focus on multiple different pieces at the same time as much as I get to kind of oversee stuff, give input, give guidance, but then still you know the people that we're collaborating with and they were bringing on, for you know different jobs and different roles.
Speaker 1:Okay, so let's talk about shoot days. Once all the pre-production stuff is done, once everything's set up and everyone's coordinated, all the dots are connected typical shoot day. I mean, you know what is. What does a typical shoot day look like? Let's discuss.
Speaker 2:When we start off on a shoot day basically, where everyone has a call time we're supposed to arrive there by and get you know, go on the day, start making sure that talent's taken care of, make sure talent knows you know what the order of the day is. The crew knows the order of the day, where we're going to from thing to thing, what we're going to be filming and capturing. You know, yeah, shot order. You know no one's scheduling of things like you know if we're going to do any. You know relighting or return around set, basically just communicating with all different departments. You know talking with hair and makeup, talking with props, uh, you know talking with the, with the director, if you know.
Speaker 2:If it's not, you know myself or you it's doing it, um, and so we're kind of dealing with all those different pieces, you know. And then, of course, we're having the fun of actually filming the pieces itself. You do come into days with a shot list and with you know what you plan on shooting and capturing. But there are a lot of fun times where you can have some creativity in the moment and you do the work beforehand so that you can have, you know, a framework there in place. But then, on the day of that, gives you the freedom to create more and to see opportunities that you maybe didn't necessarily fully think about doing it a certain way beforehand, which is fun too.
Speaker 1:I think for people that are listening, that are clients or maybe potential clients, that are kind of like scoping us out Thanks for listening I think those, those folks would do well to learn to know, like, if you haven't been on a lot of shoots, a lot of production shoots, how many times has the shot schedule been a hundred percent accurate? How many times have you shot just what's on the shot list and not improvised, and never been like, ooh, we need to get this or that needs to change. How many times has that happened to you? Never, exactly. So there's always a little bit of planning for some some scooch, some some changes, and I think with us, we do a great job of scheduling everything, planning out shots, making sure we know shot order, even if things have to be shot out of sequence, which happens all the time.
Speaker 2:Usually, things yeah, I mean rarely things are shot in sequence unless it's to the full benefit of the you know, the cast and crew. A lot of times, I mean and this goes for just about anything rarely is something that you see on television shot in the order in which you see it. Yeah, yeah for sure.
Speaker 1:So for those that didn't know that, I mean, that's how that goes, we goes, I'd say we're very nailed down with when we do pre-pro and we talk about things and we discuss things with the DP and all the crew and everything, but there is always that one, there's always that one shot of that one variable. That happens where we're going through the process and we're like, ooh, we need to get this Right, and I love that part of it. I love the collaboration's great. I love shoot days in general with everybody around and all of it coming together, but also that, like that, many creative minds in one room can be really good, and so that part I just love that. You know, you can almost expect us to get a little more juice out of the squeeze when it comes to the production day. Oh, for certain, yeah. So then how much would you say we shoot in a production for like, like, for coverage, for b-roll, things like that? How important is it to shoot that when it comes to a certain type of spot?
Speaker 2:yeah, I mean, in a lot of situations there's there's different ratios out there. I mean some one ratio I know I see throwing around often is, like you know, 12 to 1 being for every one minute of footage there's. You know, for every one minute of finalized footage there's 12 minutes worth of stuff that was shot beforehand with it. But you know, I think it really depends on the job we do. For some of our social media stuff, I do think we go through and we do a lot of different takes for stuff. Still, I would say sometimes that's a little bit more closer to like it being, you know, maybe a five to one, some a little bit smaller. We were not shooting as much um, but what kind of depends on the job.
Speaker 2:I mean, I've dave knows very well that whenever, uh, I'm directing something, I always am uh, and even we even produce, I'm usually championing for more coverage of stuff, because I know, as you get in the edit room, it's good to have more options for things, um and stuff, because I know, as you get in the edit room, it's good to have more options for things. And even too, you know it's not just. You know some people might think when we're saying this stuff. That's just like getting more takes of the same thing done the same way, but it's really getting more takes done in different ways that allow us to have again more room for creativity when we're in post-production on something which gives, you know, our clients, more flexibility with, you know, laying the vision of their idea, continue to grow and, you know, maybe even potentially adapt in a way that works even better than what we initially planned from the offset you know, it's good to have those tools in the toolbox.
Speaker 1:That's a byproduct Having that opportunity is a byproduct of producing a shoot. Well, I think, because then you know if you, if you're planning it out the right way and you have that padding. I mean, yes, some shoots are very like bang, bang, bang. We got to get all this stuff out, you know. But if you do that way, yeah, there's a lot of hurry up and wait. That's true. That's another fact of life when it comes to productions is like there's a ton of setup.
Speaker 1:You know, I think we've had clients that have been newer to larger productions, even medium sized productions, and they've they've been like, okay, are we going yet, are we going yet? Well, we're tweaking light, we're getting this you know this person's hair, like there's all that stuff. The more components and facets and angles and set pieces and stuff like that, the more there is set up and planning so that when the shot gets done, yes, you spent 30 minutes getting ready for that shot and then the shot took two minutes. Yeah, but that's because that's why it took two minutes. You know it was all planned out the right way. So let's talk a little bit about the size as a production, really quick, just touch on the things that we offer. Or, in general, like a production company would offer, would offer um, you know, we, we definitely offer the smaller quick shoot things. We do medium-sized stuff where there's interview and studio stuff. Maybe there's some location. Um, yeah, going a little bit is it?
Speaker 2:is it cool for me to give examples of like exactly of clients, wise and stuff too no absolutely all right.
Speaker 2:So, yeah, I mean I if, if it's on the website, you're fair game man. We're looking at, like you know, love the different sizes some of these productions we've done and kind of talking about scalability of things like Taylor Quick Pick, which that is, a smaller social shoot, that really we are doing more stuff that's being shot on more smaller camera setups or doing some stuff on phones, which is then a couple other like additional gimbals and things like that to help us get certain shots, and that doesn't require that those type of shoots at least you know, scale wise, we aren't doing a lot of additional lighting and stuff like that. Those can be more, I'd say, like some people refer to as, like you know, diy lighting, which is really to me, I kind of think more like natural lighting for a lot of that stuff, because we aren't really bringing along any lighting gear or anything of that nature. But then, as you like, kind of move your way up in some of these productions, I'd say medium and large. In my mind those can be kind of like there's definitely a mix in there, but they kind of are closer to one another than the small one. I think the small is a huge differentiating piece. But I think of medium.
Speaker 2:I think of something we did a couple of years ago for Creighton, their honor choir. They had an event going on where they want to showcase the choir and they want to do these interviews with the choir students themselves. They wanted to do these interviews with the choir students themselves and so we had a crew put together where we had a couple different guys running around with cameras. We had some lighting done for the interview portions itself, but we had basically two different places that we had set up for filming that day, and so that's, I'd say, almost more like in our space, like our mediums area, same thing like any interview-type stuff that we do. I think that's it doesn't require as much as our larger productions Like we've done things like Well, nfm would be one of the ones I was thinking of. Yeah, nfm's the first one. I think of that. That's a much bigger production because that has all the moving parts and facets of, like you know, multiple cameras, multiple crew members. You know we have what 50 extras for that in total with crew on that shoot?
Speaker 1:I think there were 95. Okay, there were 95 cast and crew on that shoot.
Speaker 2:Yeah, I mean it was like that was, that was a big one, and that was I mean I had a blast.
Speaker 1:That was a big one and that was I mean I had a blast. It was a lot of moving parts, super fun, but like it was, that was I mean in a store with all those extras, right.
Speaker 2:Oh my gosh, that was so great. And also, too, that's something that again, like we talk about, like how much we shoot, or you know the time it takes compared to you know the end product, Like that was a multiple day shoot.
Speaker 1:I mean, we scouted down in Texas for like three days. There was a three-day shoot there, and then I think we were down there, for were we down there for four or five?
Speaker 2:Yes, in total, In total yeah.
Speaker 1:So it's. I mean, that was big. I loved that one because the client got so much out of that. Like, in my opinion, when we shot the B-roll at the store there, which is where the most of the crew was, there was some story and vignette stuff that was at a house and but that location was humongous and to have, you know, everybody with walkies and an AD and you were there and we were, everybody was coordinating and doing stuff. It was, I mean, it was amazing to see it all come together and then all the content that we had after that for them, for B roll and everything it. You know it. It was just. It's just so much fun. Like I can go on about, I can gush about these productions and stuff like that. Even the small ones are fun. Like I love shoot days.
Speaker 2:Yeah, I mean it's time that I'm able to get out of the office and go on location and shoot. And you know, work with like working with our clients in that capacity is so much fun. Right, because fun is to be there and be around them and then also to be around some of their people that are creating as well yeah, for sure.
Speaker 1:Um, we're going to take a break in a second, but when we come back we will talk about the quirkier side of production. We'll do some goofy stories, but come back in just one second. So, adam, what do you have? Any quirky silly stories about? Shoots, even if it's not one of ours, like anything where? You do not incriminate those who are incriminatable. Oh but uh. But I mean because I mean I got a couple. I mean I could launch off with one, if you want to think for a second, but I've got a couple.
Speaker 2:You go ahead and you give me one first, because I have so many that just came into my mind I don't know which one would be the most fun to tell. So you start. I'm going to keep it tame.
Speaker 1:Okay, the first one I will go with is I remember one of the years we shot for Creighton basketball. We needed to be on like a walkover bridge and at night and it was going to look great. I mean, we had that. There's a, there's a bridge here in Omaha downtown and it it's. It's lit really nice. But also you're going to have people walking on it. You got to light them and we had people walking, like players walking that were all dressed up and everything dressed up and everything.
Speaker 1:And, um, rdp, uh, I just like his ingenuity when it comes to some of the stuff that we shoot in light. Um, I, it blows my mind sometimes and that was one of the situations like, all right, we built this rig and it was like, oh okay, we're going to put lights on top of a, we're going to make a mobile light rig on um, like a gator, like a, uh, um, for everybody who doesn't know what that is, it's a. It's a meaty go-kart, it's a meaty golf cart. You know it's a golf cart with rugged wheels and, you know, can help transport things, like if you work at a, if you worked at a stadium at all ever, and you've got to move.
Speaker 1:You know ground groundskeepers move things those are gators, those things but it had a cage on top of it and we had drivers that would drive them and we actually put a bank of lights on top of these and we were able to roll those backwards on the closed bridge. We didn't hit anybody, I promise, but the players would walk toward us and we'd have even light that way. There was all these really cool ways that we've solved stuff like that. So those kind of rigs are fun. Obviously we work with drone people and all that. But when that stuff all gets solved and it and it's like, oh, how do we solve this and how do we get around this corner? And then somebody comes up with something like that, that again always exciting, always cool to see.
Speaker 2:Uh, give me one, what do you got? Yeah, um, well, it's funny because you've mentioned his ingenuity for things I just was thinking of on production recently. We needed to have a. We need to have some form of having water drop onto talent during, back in the middle of them talking and stuff. And I remember talking with him about it the day before and he's like, ah, I think I got something. And so we come in the next day and it's this. I mean it was just kind of insanely long like use of like speed rail pipe that had a water bottle attached to the end of it, that had a hole poked in it in a certain way to make to where it wouldn't drop enough water out of it for the effect, but not so much that the town would have a whole water bottle spill on them. That was something from one of our productions that immediately came to my mind. But another thing I think that's goofy from a place of having to think about stuff and figure it out beforehand and comes back into producing stuff.
Speaker 2:One of the products I did in college it was for my Capstone film. We had to. We were looking for a location for this like farm setting and we had a lot of conversations of the script that happened at the door of the entrance of the house, the location that we liked for the exteriors of the house and the location that we had that we liked for the interiors of the house. We had to match to different places together. No-transcript that stuff. That was really a different thing to kind of think and wrap your mind around.
Speaker 2:Um, but it was fun because I get like challenges like those are a lot of fun, um, because it also it's one of those moments where you you would maybe think you know, if you were, you know, not you know in the room, like with us as we're talking about this stuff, you would think that like, oh well, I mean, the house I film at from outside has to be the house I film at for the inside. But but that's not really the case. You know, that's a lot of the you know, as they call it, movie magic of things. It's pretty common. Yeah, you know you can have to go and do those things and make it work.
Speaker 1:Yeah, that's a common thing and that's you know again. Hey, why do you scout so many days? Why do you need so long to scout Sometimes?
Speaker 2:you've got to match up stuff. I also just thought about, too, the fact on one of those shoot days of that same project we had a cow get loose. Yeah, that was interesting, as you do, I mean yeah, I really don't need to give any context to that. Besides, the cow got loose.
Speaker 1:I mean that's not quirky.
Speaker 2:I don't know what to tell you Moo.
Speaker 1:But yeah, Did the cow walk into a shot the? Did the cow walk into a shot the cow? Now I'm interested in the cow because I don't think I know this story.
Speaker 2:See, the cow didn't walk into the shot so much as the cow somehow got out of the corral that it was supposed to be in, and so then everyone on the set was like a little concerned. It's like, wait, what if the cow rushes anybody? And it's like, yeah, that would be a bad idea. So it was like everyone needs to get away from the cow. Also, we had, um, we had like chickens that we needed for like a shine, so like there was a chicken running up towards the cow and so trying to corral the the cow back to where it needed to go. So it was away from the chicken was a interesting thing animals filming with kids.
Speaker 1:Yeah, there's a lot that goes in there, sometimes just pas and people that are just that's their job is, you know, make sure the chickens don't run across or make sure the cow goes when it goes, exactly Do we have any problems with the dog on Marion.
Speaker 2:I saw about that. I'm trying to remember if Tucker didn't really give us any issues. For the most part, I love.
Speaker 1:Tucker. Yeah, I think the amount of takes wasn't too bad. We had some where Tucker would just sit or not walk. Yeah, he wouldn't turn unless they look. We were like, hey, look at us. We were trying to get a shot where tucker would walk and then turn toward us. And so we were. I mean, all of us were acting like you know, somebody's grandma at a house, like come here, look at the dog, like trying to get the dog's attention, look over here, look over here, like everybody's you know, four or five, six takes. But that that wasn't bad. I mean he was he was a great dog.
Speaker 1:He was a service dog so he kind of knew people. Anyway, he wasn't nervous. That's fun stuff. Let's talk for a sec about editing. All this stuff comes together in the edit suite. You are unique in the fact that you help us produce. You sometimes actually step in and you direct, you've AD'd, but also you edit and you do a lot of editing at the agency here, the. The thing that I say here is this is where the magic happens, this is where it all gets put together, right? So you Give me your thoughts on editing. How important is good editing?
Speaker 2:It's very important because I think you it's. I think about like running a relay race. You know, if the last leg doesn't deliver, then it doesn't matter how fast everyone else ran beforehand. You know, I think it's also can be the difference to what makes or break a lot of productions, because with good editing you either can help enhance that vision or you can kind of pull away from it. But the thing about editing that's nice is that you have the ability there, based off of all the hard work of people, for you to get, you know, the coverage, to make sure the things are filmed properly, to have a lot of room for more creativity still coming to place.
Speaker 1:I think there's a lot of things that aren't thought about too. When people say like, hey, something's in edit and that takes time, right, I mean there's a length of time involved in editing. You have to start with okay, the footage is in organizing files Like it's. It's that, it's that clerical at the beginning, to where, if you don't organize things and get things cataloged and like these are the good takes, these are the bad takes, you start there, Um, and then it goes into like color correction and all that.
Speaker 1:If you don't set it up at the beginning of the process the right way, um, a good editor will organize things first and then go into creating, you know, timelines and like rough cuts and things like that. All of our offlines, what we call offlines. Rough cuts involve that first and then we're pulling takes together and watching, not with sound sweetening, not with any effects on it, not with color on it. A lot of times sometimes there's a little base color on it, right, but like we set stuff up and kind of like, look at it, it's an art form.
Speaker 2:Yeah, it's, you know, a skill set I think that you have to develop as an editor is being comfortable looking at it before it's the final live product. You know, I think I'm very big too on talking about and I'm not sure this may be getting ahead of stuff a little bit, but like I know I'm big on what stages of the edit do you do certain things at? When we film something and we take it into the editor, like Dave said, you go through the process of organizing all your footage together. But then from there you go and you synchronize your sound clips together and you start pulling and cutting the different snippets of what you shot together. And then from there people might think, oh, you could go any direction you want.
Speaker 2:And I feel like that's not necessarily the case. I feel like you know it's better to get all your. You know you really want to operate in a way where you get all your cuts done and then from there any other like thing that's going to go on the video that's going to be visibly seen also needs to be applied there. And then, once you do that, once all that is finalized and improved and stuff of that nature, then you can go into doing things of like sweetening and fix the color you can add. You can go and do your sound mix pass whether that's on. Well, that usually consists of being on dialogue, that's said, but also sound effects, music leveling and sweetening all those things and mixing that all together.
Speaker 1:Room tone, ambient sound, room tone is super important. Yes, yeah, I mean, that's a, that's a big aspect to the people just overlook is like every space you're in has a different sound. I guess space it has a different sound landscape to it. So you're going to, you're going to a room tone underneath somebody's voice in one room and then if you go to the next room and you record it again or like, say, you're trying to do something where you're picking up a line but you're in a completely different space and you don't have that room tone mixed in the right way, there's a mix that's involved in just getting pickup dialogue Right In order to make it sound like, in order for the viewer to, with their eyes and ears, not just completely get pulled back and be like, oh, I'm out of this. Now it sounds like they messed something up.
Speaker 1:You don't want to take the viewer out of the experience.
Speaker 2:Well, yeah, one of the biggest things I think a lot of people end up kind of putting to the side is good sound. Yeah, you know, you want everything ideally to be great in a space, you know. But like, when your sound is bad, it's one of the first things that will pull a person out of it, you know. So that's one of the biggest and most important pieces to make sure you get done correctly.
Speaker 1:Yeah, no, for sure the sound helps paint the visual picture too. Sometimes it all connects and then final outputs on the technical side won't spend too much time on this, but I mean we do make sure that we are spec'd out for any of our vendors, our agency places and a lot of places. So we're looking for things as far as formatting for social in the right way. When it comes to broadcast or streaming or anything like that, there's going to be frame rate and size specifics, there's going to be bit rates and all this boring nerd stuff that a lot of us on the service level that are listening don't care about. But in the background we do that. I mean, it's just like somebody who you know. It's like if you get on an airplane and you're like I don't know, he flies from point A to point B. That's what he does. Yeah, but in the process of all of that there is, you know, there's umpteen million factors, adjustments and settings that involve you taking off in Omaha and landing in Chicago. You know it's the same thing with an edit.
Speaker 1:There's a lot of technical stuff in the background that we worry about and make sure that nobody has to be concerned with. We take care of those things. We see them, we fix them and then the final product goes out, and that goes all the way to final outputs. And I think that's something we're good at is being versatile there too. It seems like a trivial thing, but it's actually a really important part of the process. I've seen a lot of videos as you probably have too where the final product is a great story or a great message or whatever, and then they delivered it in the wrong way, with the wrong volume or a different color correction. That doesn't work for the rights. You can't miss that.
Speaker 2:Yeah, there's something I mean, just the same way as in the initial conversations with a client of wanting to figure out, well, what's the best way to convey the message that you need.
Speaker 2:It's the same. I didn't really talk about this earlier, but you know, with producing, you know the producer is there through all different stages of production. You know, in my head when I think about the different stages of production, I go, you know, there's development and there's pre-production, there's production, there's post-production, there's distribution and, in our role, distribution is making sure that the things that we create for our clients are placed in the right spots for the right people to get the message they want to see. So, where that means something is placed on TikTok or Instagram Reels or Facebook versus if it's living on YouTube versus if it's on TV. You know there's all these different things that you have to really consider about where something's going to live, but in the process of what we do as well is making sure we capture those things in such a way so they can be presented all in these different formats, in these different spaces where our clients are trying to reach their clients yeah, so that's I mean that's the strength of the editing process.
Speaker 1:Like all those things have to be checked off and again, the whole race is shot if you don't get the ending right. So, ultimately, there's a lot that goes into video production. A lot of goes into producing. Producing is an esoteric word that people are like. Oh, a producer, a producer.
Speaker 1:I think it's just a big shot with money. No, a producer in most situations, is putting the right people in the right place helping schedules, make timing work and all that stuff. People where, you know, in media and accounts, we're placing things, we're strategically thinking about where stuff goes. But then also those folks are collaborating with the creative department on like can we make this? Can we do this this way? How do we solve this? And then we execute on something like a video project and straight through from point A to point B, the project. You're like we've got it all in view and we can be like here, client, we've got all this in view and here's how this all works. And then also, if there's any issue in the process with editing or whatever, it's still with us. So, like you know, they can come to us and say, hey, could this be adjusted a little later on? Yep, absolutely.
Speaker 2:Yeah, I think that, at the end of the day, is probably one of the biggest benefits because, I mean, it's why you like going to places that can be like, you know, a one-stop shop. Yeah, you know you're able to go there and they can cover you in all the things that you need and you can have all the conversation with the same people, instead of you know like, when you call into some place and you get, you know, transferred two or three times and you have to keep retelling the same.
Speaker 2:You know pieces again three times and you have to keep retelling the same. You know pieces again. No, everyone is involved there and is, you know, working with you and pertains to those different pieces. So it's all makes it really more simplified, you know.
Speaker 1:Yeah exactly Imagine. I mean imagine having one of our actual one of our clients actually says this imagine having a project where you're doing a remodel in your house and you've got to deal with all the onesie, twosie, you know like, oh, this guy is coming in and do the drywall, this guy's coming to do this. This guy, what if you had that group in one spot? You know what if, how much more efficient and how much better is the job and how much better is the communication if you don't have a ton of contractors, you only have the specialists.
Speaker 1:And then the core of it is with one place like that makes the job all that much better, and so I mean this is a little salesy for us as an agency to talk about this right now, but I still think it's a strength and I get excited about it. But yeah, that's a strength, okay. Well, we will stop there. Wanted to thank everybody for listening to this episode with me and Adam, and if you want any other content, to see any more insights or any more knowledge from us, we have plenty of it going all the time At WeAre1123,. At WeAre1123 is our social accounts and our website is WeAre1123.com. Once again, the numbers 1123. Please, if you liked this and you came across it by happenstance on YouTube or Spotify or anywhere else, subscribe, follow us, keep your eyes open and watch for more projects and good stuff. Like and comment. Yeah, have a good one.
Speaker 1:The views expressed in this podcast are intended for multiple purposes some informational, some educational and some entertaining. They should be regarded as thought leadership, not hard advice. The opinions of our guests are their own and do not necessarily reflect the views of 1123. 1123 presents Copyright 2024. You heard?