# The Real Secret to Building a 7-Figure Video Agency

An episode of [THE 505 PODCAST](https://invisiblenetwork.ai/podcast/1591279585), 14 Aug 2026, 1 h 46 min.

Audio: https://podcasts.beehiiv.com/3f71d8b4-2a8c-40eb-8500-c62b76bd9acc/019d43e4-0103-7741-b37f-b81b41dca056/019ffef0-b76a-7aef-ac09-9989fd3e67b1/019ffef0-b868-7169-9fc1-f7fc8914bb6a.mp3

Try Seedance 2.5 on Artlist plus get 2 extra months free when you use our code on an annual subscription: https://artlist.io/artlist-70446?artlist_aid=the505podcast_2970&utm_source=affiliate_p&utm_medium=the505podcast_2970&utm_campaign=the505podcast_2970 What’s up, Rock Nation! Today we’re joined by Shareef, co-founder and Head Director of Blue Stripe Studios. In this episode, we break down what it actually takes to go from one-man-band shoots to six-figure productions, the lessons Shareef brought from working at 72andSunny, why communication and building the right team matter more than doing everything yourself, how to bid and negotiate bigger commercial projects, and a full breakdown of a real $65,000 three-day commercial. We also get into building relationships that lead to repeat work, running a business with your friends, why production companies need multiple streams of revenue, and how a great pitch deck can be just as important as being a great salesperson. Check Out Shareef Here: https://www.instagram.com/sheefy_ap/ Timestamps: 00:00 – Intro 01:02 – One-Handed Crack 01:21 – Should Entrepreneurs Keep Their Full-Time Job? 03:51 – Quitting Your Job to Start a Business 05:03 – How Blue Stripe Got Started 08:09 – How Shareef Broke Into the Agency World 10:56 – Getting Hired at 72andSunny 12:37 – Artlist 13:09 – Building the Company After Work 14:53 – What Shareef Learned at 72andSunny 16:40 – What Makes a Great Producer? 18:49 – Going From $10K Shoots to Six-Figure Productions 21:18 – Why Being a One-Man Band Holds You Back 23:17 – Learning How to Bid Bigger Projects 26:03 – How Large-Scale Commercial Productions Work 27:15 – The Real Value of Your Network 30:19 – Why Your Work Has to Be Good Enough First 31:12 – Why Comparison Can Make You Better 33:18 – How to Network Without Being Transactional 35:54 – Breaking Down a Real Commercial Budget 37:05 – How Production Companies Actually Make Money 38:18 – Negotiating Bigger Budgets With Clients 39:05 – The Cash Flow Problem in Production 42:28 – The $65,000 Commercial Breakdown 44:18 – Building a 15-Person Crew 46:22 – Breaking Down Production Costs 48:46 – How Much They Made on the $65K Job 50:28 – Why Professional Production Costs So Much 56:42 – Breaking Down Post-Production Costs 58:56 – Why Production Is a People Business 59:37 – Turning One-Off Clients Into Repeat Clients 1:02:05 – Why Clients Keep Hiring Blue Stripe 1:03:02 – Leaving Your Ego Off Set 1:06:26 – Staying Calm When Everything Goes Wrong 1:10:42 – Should You Start a Business With Your Friends? 1:12:17 – Having Hard Conversations With Your Business Partner 1:17:41 – Why Failing Is Part of the Game 1:20:18 – Their Biggest Misconceptions Starting Out 1:21:43 – Why Production Companies Need Multiple Revenue Streams 1:25:26 – Why Pitch Decks Win Commercial Jobs 1:27:44 – A Pitch Deck Is Another Form of Sales 1:29:59 – How to Build a Winning Pitch Deck 1:32:29 – How Shareef Made Himself Valuable at 72andSunny 1:33:10 – The Sacrifices That Led to Bigger Opportunities 1:37:37 – Post-Pod Debrief 1:41:05 – Brayden’s Insane Tick Story 1:43:57 – Behind the Scenes of the Carhartt Shoot If you liked this episode please send it to a friend and take a screenshot for your story! And as always, we'd love to hear from you guys on what you'd like to hear us talk about or potential guests we should have on. DM US ON IG: (Our DM's are always open!) Bfiggy: https://www.instagram.com/bfiggy/ Kostas: https://www.instagram.com/kostasg95/

## Transcript

[0:00] Building a pitch deck is just as important as being a good salesman.
[0:04] It is the same skill in a different vehicle That's Sharif Achekssair, my co-founder and head director of Blue Stripe Studios, the production company we built over the last two years working with brands like Nike Swim, Zillow, Skechers, Adobe, and HOKA.
[0:16] What makes a producer really, really good, number one thing is communication. If you can't communicate well, then people don't understand the task at hand.
[0:24] Before we started Blue Stripe, Sharif worked at 72andSunny, where he learned how major agencies and large scale productions actually operate.
[0:30] He brought that experience into our partnership, and helped us go from working late nights after our full-time jobs to producing six-figure commercial projects. Every production is like running a micro business.
[0:40] The more people you have, the faster the machine moves, and the more things you can get done.
[0:44] In this episode, Sharif breaks down what it actually takes to scale from small shoots to six-figure productions, and we do a line-by-line breakdown of a real commercial that we shot for 65,000.
[0:54] It doesn't matter how much money the job is, you always act like you're making a million dollar piece of product.
[1:02] All right, Sharif, 'cause you already ruined the one-handed crack, \[can opens\] that's how you do it properly. See how I- That was pretty good... see how I did that one? Go ahead. Let me show you what not to do.
[1:10] \[laughs\] Classic fucking Brandon. \[can opens\] You know, it's not terrible. Oh, okay. Ooh, heard the pop. 5.2, go ahead. All right. \[can opens\] Fucked it. Mm. That was horrific. Yeah, I'm usually better.
[1:23] I'll have that drink from you now, 'cause Sharif opened his before we started. Yeah. That, it was karma- And it's all good... it was karma. It's all good, dude. Like- It happens...
[1:30] that's really embarrassing that I fucked this one. I wanna start you off on, on the hot seat. I think something that a lot of people have a misconception about is entrepreneurs shouldn't work a full-time job. Mm.
[1:41] Do you think that entrepreneurs should work a full-time job to start, or no, should they just go right into making a business? I mean, I personally think yes, every single entrepreneur should work a full-time job.
[1:53] I did, and that's the only reason why I understand how to run the business that we run right now, 'cause
[1:59] you, you get a better understanding of how it's done on the highest scale, and then what it will take from ground zero to get up there.
[2:08] And so I've taken on a bunch of processes from working at my previous agency, 72andSunny, and watching all of our partnerships with production companies and post-production companies, watching all of their systems, and how we implement that into Blue Stripe.
[2:23] I think it was, yeah, I think it was pivotal, honestly. Yeah, 'cause Brandon didn't know shit. \[laughs\] And then Sharif came and like, "Let me show you how, how the big guns do things around here."
[2:32] Yeah, yeah, yeah, exactly. Exactly. I, I, I honestly, I wish I would've gotten a production company job. I think I would've learned more, because that's what our business is. But at the same time, I feel like it did...
[2:44] Sports teaches you how to do a million things with one job. Mm. You're like, you're the director, you're the editor, you're the producer, you're the colorist, you're the sound person.
[2:52] And I feel like at least with what we do, what we've noticed is a lot of people don't, they don't do that. They're just like, "Oh, I do this one thing really well." Mm-hmm.
[3:00] But when you're a little company and you're starting out, you gotta do 16 things, so you're wearing so many different hats.
[3:05] So I feel like it did help us out a lot, but I wouldn't have been able to do it had we not had the experience you had at, like, a big agency, seeing how, how to make a bid, how to pitch- Yeah...
[3:16] how a company actually operates, not just like, "Oh, I got job, I edit job, I send invoice." Mm-hmm. You know? Yeah. But I think the balance of our split responsibilities actually made it really perfect- Mm...
[3:29] and easy for us, because you came in with this, like, one man band mindset- Yeah... and I had the experience of working on larger scale- Mm...
[3:39] productions with big teams, and we get jobs that are one man band kind of jobs, like the Uber job. Yeah.
[3:45] If, if you didn't have that experience, we wouldn't have gotten that job and we wouldn't have been able to execute it at the level that we did. Shout out to Uli. Shout out to Uli and the gang.
[3:53] \[laughs\] Um, but then Beehive, for example, we wouldn't be able to do that if I didn't have the prior experience with growing a, a bigger scale production, or making, producing a bigger scale production.
[4:07] What do you think was the hardest part about quitting a comfy salary job to then start your own business?
[4:13] 'Cause I think a lot of people listening to this right now, they might be a successful business owner, maybe they're littler company or they're at a full-time job right now, and they're wondering how, like, a seven-figure agency runs and what, what it kind of takes to get to that, that level.
[4:26] Mm-hmm. I think the hardest part was literally just financial stability ahead of time, because I had no doubt in my mind that we could do what we're doing right now and be in the position that we're in right now.
[4:38] I had no doubt in my mind. I was 100% confident. But the scariest part is, like, do I have enough money if we don't get work?
[4:46] And we luckily built ourselves a pad ahead of time with the, the budget, or with the, the funds in our business bank account as well as my personal bank account, where I was like, okay, if I don't work for six months, I'll be fine.
[4:59] Which obviously wasn't ever going to happen, 'cause we weren't going to let that happen. Bro, I remember we had a crazy, we had, like, a, I don't know if you'd call this, like, a coop, but we went to fucking Joshua Tree.
[5:09] Oh, yeah, yeah. And we, like, we're like, "We're gonna take off work and we're gonna make the company-" Yeah... "and we're gonna, like-" Spend the weekend- Spend the weekend...
[5:15] and all we're doing is building- Felt like we're, felt like we were in, like, an inside job, like, driving out there. Yeah. People were, "Oh, how was your weekend?" I'm like, "It was fine." Yeah.
[5:21] "We were just hanging out." Yeah. Like, we were just, like, in an Airbnb in Joshua Tree- Grinding for 12 to 14 hours... making the LLC, making a reel- Yeah... making our website, making decks. Yeah.
[5:30] Like, just putting all of the energy and, like, okay, now it's, like, a real tangible thing. It's no longer this, like, fugazi thing that we keep, that we keep talking about. Mm-hmm.
[5:39] What do you feel like stops people from making the leap and, like, actually doing it?
[5:43] Because I think there are a lot of people hearing that, like, "Oh, that sounds good in practice," but they're still there in a situation that maybe isn't serving them anymore.
[5:49] 'Cause I think that is probably the scariest thing, especially when you tell other people who aren't at a full, or at a job that they fuck with, you're like, "Oh, I'm working at this cool company." Mm-hmm.
[5:59] Like, why would you ever leave? Yeah. You know? So I think it can get weird to tell other people about the idea that you're trying to do- And I feel like I really didn't tell many people.
[6:07] It was just, like, a couple people that I knew- Yeah... that knew what we were going to do eventually. Mm-hmm. I think a majority of people have fear that they don't have enough experience, but I think... Ah.
[6:18] I don't know. I just think experience is such, like, an ambiguous term because you could have the talent, but you don't have the experience, and somebody with more experience may be not as talented as you are.
[6:33] And so I don't think that should ever be a deterrent of people for pursuing that goal and that dream. Like, if you don't feel like you have enough experience, create the experiences for yourself.
[6:42] If you're like, "I wanna be a photographer," I was actually talking with the creative director at 72andSunny, and she was telling me how she wants to, like, pursue photography and make that be her new full-time thing.
[6:54] And obviously, it's scary because at a big agency, you've been there for a decade plus, you make a lot of money, and you're like, "I don't feel comfortable making that jump," which is fine, but do that...
[7:05] Get that experience while you are making this full-time salary.
[7:08] Like, s- find people in your community to be your photo assist, be your lighting director, be your grips, and, like, make a spec shoot or do a photo shoot that, like, you haven't ever done before at the highest level.
[7:22] And all... Like, I... We don't know what the fuck we're doing. We just find the people that know what they're doing- \[laughs\]... and we assemble the team- Dude, yeah... and put them together.
[7:29] \[laughs\] I think that's the biggest misconception about, like, the biggest companies in the world, Fortune 500 companies, is that people, everyone knows what, what's going on, and it's just not the case.
[7:38] That's not the case at all. Yeah. Every- everyone's figuring it out- Mm-hmm...
[7:40] as you go, and, like, it's, it's like you're on a, on a big ship going across the Atlantic, and you're building it, and you have pieces that are flying off as you go.
[7:48] \[laughs\] And you're like, "Oh, shit, we gotta patch that piece"- Yeah... "and then you gotta patch this," but- But the thing is, is we bring on the guys that know how to patch it. Exactly.
[7:54] Like, we don't know how to patch it, but we have the teammates that do know how. That's the cool, that's the cool thing about running a business, though.
[7:58] I think that you think when you do a company that you're like, "I have to know how to do all of the things." Yeah. You should have, like, a general understanding of it, but you don't need to be the best at the one thing.
[8:09] No. That's pointless. Mm-hmm. There's so many other people that are like, "That's the only thing I wanna do, and that's, that's why I'm here." And I'm gonna let you do that. Let...
[8:14] \[laughs\] 'Cause I don't want to do that. \[laughs\] How old were you, how far out of school were you when you got the job at 72? Let's see. So I had...
[8:26] As soon as I graduated, before I graduated, I started an internship at Digitas Chicago, and I was actually working in the DEI department. I wasn't even producing.
[8:34] I was just, like, making calendars for different holidays of all the ethnic groups and, like, just doing different activities and events for the diversity, equity, and inclusion at this company.
[8:46] And at the end of my internship, I asked my manager if I could speak with the production team because that's what I really wanted to do. She was like, "Yeah, I'll connect you with them."
[8:55] And I went and I spoke to the head of production in Chicago. This was 2021, by the way. So I was at home, uh, in Portland. It's middle of pandemic, like, working from home, and I talked to them.
[9:08] I told them about my experience, and I was like, "Like, I'll do literally anything. I just wanna get in the door and understand how this world works a little bit more."
[9:17] And the head of production in Chicago was like, "I like you. I'll, I'll pass you along to the director of production for North America." So then I spoke with him, and they were like, "Okay, the...
[9:27] Like, you seem like you have a lot of potential. Unfortunately, we don't have any open positions right now, but we'll make one for you." \[laughs\] And so they- Oh, wow...
[9:35] literally made a job out of thin air for me, and I became their first associate producer out of Chicago, which when people ask me how did I get my job, I'm like, "Dude, I'm an anomaly.
[9:46] You're not gonna get a job the same way." Like, nobody is going to create a job out of thin air for you. I have no idea why they did. I think they just saw a lot of potential in me, and I was- So were-... very hungry...
[9:57] were you working in Chicago? No, I was working at home. Just remote. It was just remote. I see. Yeah. Okay, okay. But they were- I was like, I, I missed that chapter- Yeah. \[laughs\]... of Tariq living in Chicago.
[10:06] \[laughs\] Yeah. No, but it was, it was hard because that December, I, I felt very depressed because I didn't really know if I wanted to move to Chicago. Sure. I was like, "All my boys are in LA.
[10:19] Like, that's where I've always wanted to be," and I was just at this crossroads for weeks. And one day, my mom just sat me down and was like, "Dude, you're going to continue to kill yourself over this." Um,
[10:35] what's the word when you're, like, in a limbo? I guess limbo. I think a limbo fits right there. Yeah. \[laughs\] I was just in a limbo. \[laughs\] Hey, don't make it more difficult than it needs to be. Yeah.
[10:43] Dude, don't make it harder, man. Um, just make up your mind. Uh-huh. Just make a decision- Mm-hmm... and commit to that decision, and if it works, it works.
[10:51] If it doesn't, it doesn't because you are just stressing out, out over absolutely nothing. And so I decided I was gonna move to Chicago. Like, I was 100%- Oh, wow... determined that that was going to be my path.
[11:03] And a few weeks, maybe a month or two later, I get a LinkedIn message from the, from 72andSunny, and they're like, "Hey, uh, we love your work. We're looking for a production coordinator.
[11:15] Would you be interested in interviewing?" And I was like, "Hell yeah, I would be interested." \[laughs\] Like- So the associate producer job was not for 72andSunny. It was for- Mm-mm. Digitas... Di- okay, just Digitas.
[11:24] Yeah. Big, big Ag- another big agency. I see. Yeah. Okay. Mm-hmm. I see. They're, like, a big global agency owned by Publicis, which is a huge holding company, da, da, da, da.
[11:31] But then I went through five interviews at 72andSunny. They just reached out to you randomly? Okay. Yeah. 'Cause you're that guy. 'Cause I'm that guy. Yeah. Yeah, yeah. \[laughs\] Thank you. Thank you.
[11:41] \[laughs\] Um, but then yeah, I went through five interviews, and they offered me a job and offered to move me out to Los Angeles, and I mean, I wasn't gonna say no to that.
[11:51] And I felt really bad telling my boss at my other company, like, "Hey, I really appreciate you doing this for me, but at the end of the day, this is where I wanna be.
[12:00] I get to be closer to my family still on the West Coast.
[12:03] Like, I've wanted to move to Los Angeles ever since I was 14 years old," and it just feels like the universe was listening to me and gave me this opportunity, so...
[12:12] And we sent to LA, and I started working on the Zelle project while I started my job at 72andSunny- Oh, wow. I didn't realize-... in the back end. \[laughs\] Oh, wow. Yeah. I didn't realize it was that fresh.
[12:22] Dude, it was so fresh, and people are like, "How did you do it?" Bro, I was always working on something else outside of work. Yeah, yeah, yeah, yeah. Like, I never- It would have been, yeah...
[12:30] was only working on work unless it was Super Bowl. That was it But every other project I had something going on in the backend with us Plug and play. What's going on?
[12:39] We got crazy news 'cause CDance 2.5 is now on our list. What does that mean? That means you can generate a single scene up to 30 seconds.
[12:46] And you can use up to 50 reference images, so that means the same face, different locations. It'll all keep consistency over the scene, which is, like, actually insane.
[12:55] Yeah, it's crazy because typically you're kinda limited to, like, the four to eight second range, which is great for a single clip, but 30 seconds allows you to really build out a full scene.
[13:04] People are going absolutely nuts with this. It's the top link down in description. You get a little discount if you use our code. Let's keep it going.
[13:10] I feel like the first three or four years at 505, I was talking to Chloe about this the other day, I didn't really see her a whole lot. She was in my room. Yeah. \[laughs\] But I... No, I'm serious.
[13:21] Like, I, we were just working on shit. All the time. It was, like, an obsessive, weird fucking behavior- Mm-hmm... that I was on 'cause, like, I was just... We would finish Laker stuff. You would finish 72 stuff.
[13:31] We would hop on meets. Yep. We would work till, like, 2:00 or 3:00- Yeah... AM. Yeah. And then I'd go to bed, and we'd redo the whole thing the next day. Running back. And I'd wake up at, like, 8:55- Yeah...
[13:40] right before I need to be on Slack. \[laughs\] Yeah. I'd be like, yo, 8:55, like, wake up out of bed. Mm. And then I'd be ready to rock and roll for the fucking day, but it was so bad for my mental health. Oh, yeah.
[13:51] I feel like I w- I, it didn't really work out much. Mm-mm. 'Cause it was just- I wasn't sleeping. We weren't sleeping. Still not working out a ton. I've been working out a lot. Yeah.
[13:58] I'm actually on day three in a row, and we're gonna go today. That'll make four. Yep, that's good. But I feel like- It's cute... it's f- you don't need to do it if you have it. \[laughs\] You know what I'm saying?
[14:07] Like, that's the, that's the difference. Lifting the same amount of weight. \[laughs\] That's, that's the difference. Same routine, dude. I feel like, though, in our 20s we had to do that- Yeah...
[14:17] 'cause it wouldn't have gotten off the ground. No. And I had- I have so much energy in my 20s.
[14:21] I'm like, "This is the only time that I'm ever going to be able to do this, and be able to recover and bounce back, and then just keep going." Dude, you were kinda like, uh, sincere, right?
[14:31] \[laughs\] Where you had, like, the main thing, and then you're like, "I gotta explore-" I gotta explore this- "... this other connection"... this connection. Exactly. Exactly. Yeah, dude. It's like Love Island. Yeah.
[14:38] Yeah, it's, like, sort of the same, just- \[laughs\] Your career is kinda like Love Island. Yeah, dude. Yeah, it's the same sort of situation.
[14:43] The reason I ask about, um, you know, the, the job when you were first starting out, like, were you still considered an associate producer at 72 when you first started out? I was technically less. Okay.
[14:56] Like, I technically took a downgrade in position where I was a coordinator. So I was only assisting people on jobs. At Digitas they were, like, opening me up to take on my own productions. Yeah.
[15:09] But then when I moved over to 72andSunny I was only, like, coordinating and assisting a, a more senior producer. I see. Which honestly I am so grateful for. Shout out Danny Norrie and Leah Karabenik.
[15:21] I, and Jennifer Curcio. Sorry, Jen. Um, I learned so much from these people and, like, found the systems that helped them, and then took all the things I liked from every producer and then just made it my own system.
[15:37] So I'm very, very grateful that I got to work under such smart, talented, um, organized, strategic producers, and creative producers.
[15:47] I'd love to go into what makes a badass killer producer, because I think it's kind of a thankless job, but it's arguably one of the most important in production.
[15:57] So what are some of those things that you learned from your time at 72, um, that has allowed you to do what you guys are doing with Blue Stripe at the highest level?
[16:04] Producers are the whole thing for those that don't know. Yeah. They're the whole, they're the backbone. They're your quarterback. Yeah. Or, but I feel like they're more your office manager.
[16:11] They're the game offensive coordinator. Offensive coordinator. Yeah, that's fair. Like- That's fair... you know what I mean? They're the boss behind the scenes. Yes. They're hiring. They're making all the moves happen.
[16:18] The shoot doesn't- I more, ah What do you think? I feel like even the GM. Low-key- They're the general manager of the club. Low-key GM. GM. You know? That's a, that's a better fit. Yeah.
[16:25] Yeah, that's, that's funny because I remember asking Sharif the question and then- Sorry... Brayden started- Just got excited, man... \[laughs\] answering about producers. My bad. My bad, man.
[16:32] I just wanted to make, make, make sure the people knew how important it was. No, and he wants- Okay... he wants to make sure- I want-...
[16:36] that he knows how important my role is You, you, y'all know that this is, this is the guy behind the scenes running the shit, okay? Yeah. This is the, this is the reason why it all works. \[laughs\] Yeah.
[16:45] Well- I love him, man. He's a really good partner. Wait, so Brayden, so what makes a badass producer? \[laughs\] Uh, no, I appreciate that though.
[16:52] I think being a producer is a thankless job because every single person who is the creative ideator gets all of the credit because they are the forefront on the outside of like, "Oh, this came from this person's head."
[17:06] Yeah. But yeah, it did, and then it just sits as a thing on paper if there's no producer to actually make it happen. Like, an idea only gets you so far until you have the people that put it together to execute it. And so
[17:19] there are very different types of producers. There's executive producers, there's line producers, there's production coordinators.
[17:26] Like, there, there's various levels to it, but essentially the producer handles all of the logistics and ensures the project gets done from start to finish. And I think what makes a producer really, really good,
[17:40] number one thing is communication, and, like, ensuring everybody understands what's going on, when it's going on, where it's going on, and who's a part of it.
[17:49] I think that is hands down the most crucial component of being a good producer because if you can't communicate well, then people don't understand the task at hand.
[18:00] So that organization, of course, like, your whole job is, like, sifting chaos and making it controlled, and figuring out how to make it make sense for everybody, and condensing it down to small, tiny bite-sized pieces of information where you read it, you read it, you read it, I read it.
[18:18] We will all understand what's going on. Mm-hmm. So communication, organization, and I mean, just like being a good vibe and a good person to be around. I don't want...
[18:30] If my whole job is to kind of annoy people to do their job, and if I'm actually annoying- \[laughs\]... then nobody's gonna wanna do their job. Like, I- So fair... have to find a nice way to say it- I see...
[18:41] and remind people, and get on people's ass without being, like, a micromanager. Mm-hmm So I th- I think those are the top three things Yeah, yeah, yeah. That's awesome.
[18:50] I think on, on a bigger shoot, could you talk about the differences between maybe when we first started to now, like a six-figure job, and what it, what the main differences are? Mm-hmm. 'Cause I think, like,
[19:04] we came from a world of, like, quick, fast, and we always said when we were in school, we're like, "When you get out of school," 'cause I'm two years older than Reef, we're in the same fraternity, I was like, "We're gonna make a company.
[19:13] We're gonna figure out how to make a company." Yeah. I don't know what it is. My first company failed, and it, I think it was like a great experience- Mm-hmm...
[19:20] to like learn stuff, but then coming out of it, I still was probably the jo- like the cap of the jobs I was doing were maybe 10K at maximum. Mm-hmm. Mm-hmm.
[19:29] And then I feel like once we really were like, "Let's put all of our heads together," we started to get a 20K job, and then a 30K job- Mm-hmm... and then a 50 and then 100, and- Yeah...
[19:36] we've kinda sat in that, like, under 200 range. Mm-hmm. Mm-hmm. You know?
[19:41] Like, what do you feel like someone could take from a bigger production and put it into something small to k- like keep elevating it, keep making it get better so they can make more money? I think,
[19:51] I really do think it doesn't matter how much money the job is, you always act like you're making a million dollar piece of product. I love that. Like, even our jobs that were $10,000, I'm like, "What?
[20:05] We're gonna figure out how the hell to make this look like a million bucks." And then we go \[laughs\] to other people and we're like, "Yeah, this cost 25,000." \[laughs\] Even though we only spent 10,000 on it,
[20:19] at the end of the day, it is a $25,000- No... piece of product because we put the attention, intention, and care into it to make it look and be the best product it could possibly be. I think you're right.
[20:30] I think the, the biggest thing is when you get more money, it's not like, "Oh, how can we, like, hoard more money?" It's like, how can you make it so sick that someone else is like, "That was unreal." Yes.
[20:39] "Can we pay-" And they see the value- Yes... of it being greater than what- Than what it is... was actually spent on it... what was actually spent. Yes. Uh-huh. 100%.
[20:45] In which everything we do, I feel like every single project we've made h- is more valuable than what somebody spent on it, and that's us just continuing to grow and get better and up our prices because we have more experience and we are learning how to make every single video or photo the best possible thing.
[21:07] What do you think that most young creatives get wrong when getting into this industry? Hmm. That's a good question. Yeah, that one kinda stumped me. I feel like,
[21:23] I feel like the motto nowadays really is for all of these younger kids being a one-man band and figuring out how to do it all yourself, but I promise you, you're going to make better content if you surround yourself with people you enjoy working with, and bring new insights and new value to the project.
[21:44] Like, if I was doing things all by myself and I didn't have Fig, it wouldn't look as how I want it to look, honestly, 'cause I don't have the technical aspect behind a camera that you do.
[21:58] Like, you are able to see things that I don't see, and then set it, and then I can kinda push from there. But, like, I wouldn't have had the first thought on how to set things, set the camera up where we want it. Mm-hmm.
[22:11] Like, I give you a shot list- Mm... and then, like, similar references, and then you just take it and put your own spin on it, and then we adjust from there.
[22:18] But I, I guess I've also just always played team sports, and I feel like- Mm-hmm... that has been a crucial part of how I just move in my day-to-day.
[22:28] Like, I played soccer my whole life, and on a soccer field, everybody's a role player. Show them the belt, man. I'll show them the belt. Yeah. Columbia representing. Viva Columbia. Sad day. RIP bro.
[22:39] Sad day, but continue. Yeah. Um, but everybody's a role player. Like, on a basketball team, you have your guys, you have your stars, and then you have your role players.
[22:47] Obviously, you have that in soccer, but, like, their role is to be the striker, to be the goal scorer. Mm-hmm. That's the role that they play. Mm-hmm. And so I just, I don't know, I'm a very team-oriented person.
[22:59] I always have been. I've always liked being the captain of the team- Mm-hmm... and, like, figuring out who fits best where. And so, um, I think just know, like, find your team.
[23:12] Find your people that make you a better version of you, and make the projects the best possible thing they can be.
[23:19] Can you take me back to a specific moment at your time at 72 that you learned something specific, or you observed someone higher up than you do something a certain way, or go about a project a certain way that you were like, "Man, that is, like, a key learning.
[23:37] When I go to make Blue Stripe eventually," even though we didn't have the name yet- Mm-hmm... it's like, "I'm gonna remember this thing that they did because it was a game changer."
[23:48] It's tricky because 72andSunny isn't a production company, it's an advertising agency, and I hired out the production company. I see.
[23:55] So there wasn't necessarily, like, direct correlations between what they were doing and what we are doing. Sure. Like, we still can help develop creative, but that's not, like, our main thing.
[24:06] I will say is looking at a bid changed my entire perspective on how production works, though. Okay, let's talk about that. So my first- What's a bid?
[24:16] A bid is a estimate breakdown of how much you think things are going to cost. Like, this is my es- my guesstimate.
[24:25] It's a very \[laughs\] like reasonable guess because of prior experiences and looking at how much things cost. Obviously, I'm not always correct, and sometimes we spend more, sometimes we spend less.
[24:36] But it's essentially just a breakdown to showcase to a client, like, "Here's every line item of how much X, Y, and Z costs."
[24:44] Um, and I just, it, it totally changed my perspective on how much money is poured into commercial advertising.
[24:51] Like- Now, was it from the, was it from the perspective of- Oh, they're allocating budget for things that I didn't even think about? Or oh, they're actually charging more than I thought for each line item?
[25:04] I think the latter because, I mean, we... It all felt like made up numbers to me at first. Sure. I was like, "Well, I don't know. Charge 1,000 bucks for sure." \[laughs\] Yeah.
[25:15] Yeah, well, just see that, and that's how it starts, I think. Yeah. In the beginning of a creative company, you're like, uh... \[laughs\] I remember when I graduated and we went and pitched a smart home company.
[25:23] We went in there and I go, "Dude, if we make 10 grand, I'll feel like a millionaire." And we locked them in for 10 grand, and I'm like, "Actually, this should have probably been, like, 40K." Yeah.
[25:31] And they laughed in their heads at 10- Mm-hmm... thinking, "These guys are a joke. They're so cheap." Yeah. "This is insane." Yeah. "10,000 bucks for this much shit? This is insane."
[25:38] And then when we did it, I was like, "Oh, we suck." Yeah. "And that's why this, this turned out like shit." Yeah. You know? And it's like you see the level...
[25:47] Like, even when we've done BTS on those r- million dollar spots- Mm-hmm... you just see how the shit goes. It's so much different. It's similar things are happening.
[25:56] They're still the same lights, they're just bigger- Mm-hmm... and more of them. Mm-hmm. There's still the, there's still grips, there's still gaffers, there's just six of them- Yeah...
[26:02] instead of one, or just having no one. Mm-hmm. And you're just showing up with your camera. Yeah. And you wonder why it doesn't look good, and it's- Mm-hmm...
[26:09] because there's a great team of people that are crafting it and making it look gorge- There's an art department. There's six of them- Yeah... that are ready- Yeah... for anything that could wanna be changed. Yeah.
[26:19] You know? And, uh, going back to your question, though, I think I learned that every production is, like, running a micro business- Mm... in that sense, where, like- Mm...
[26:31] we have every c- department that is their own team that has a greater goal.
[26:37] And so like Bradon's saying, we always have a grip, we always have a gaffer, but on these multimillion dollar projects, they have six grips, they have six electric team, so they can move super-duper fast like a well-oiled machine.
[26:50] If the client's like, "What, what happened?" They wanted, um, they wanted- The ball, the ball... on the CarMax shoot, they wanted these basketballs, like, dangling over the rear view mirror.
[27:00] Of course the art department had something to make that- \[laughs\]... and they were able to do that in five minutes just because the client requested it. Mm-hmm.
[27:07] And they had already built the business to provide the things on the spot that they wanted. So- Yeah. Yeah. We have said on this show a couple of times the famous phrase that your network is your net worth.
[27:24] You take it even a step further and say, well, the quality of your network is actually the most important thing.
[27:31] Being that you were able to work at 72, you were able to foster incredible relationships, and your network is incredible, and it has led to you guys being able to do some awesome jobs for Blue Strut.
[27:41] Can you talk to us about your network, how you've been able to foster those relationships, and, like, how important networking or your network actually is in this business? Wow.
[27:52] I really appreciate how pointed Kostas' question was there. It was very well, elegant, uh, elegantly spoken. Thank you. Which is rare for me, dude. I stumble- \[laughs\]... a lot. I was like- Fig knows... "Oh."
[28:02] Dude, sometimes I'll be talking, and, like, mid-sentence I just see Fig look at me. \[laughs\] And he's just like, "Fucking what playing coast system." "Let's get out of here." I'm like, "I'm really trying, dude."
[28:10] \[laughs\] Um, so I feel like being in Los Angeles, I've come to understand how the perception of this city is on the outside.
[28:21] Like, people say it's very pretentious, everybody's very fake, all relationships are transactional, yada, yada, yada. And I think while there is truth to that sentiment, I believe that
[28:36] every, every relationship that I make could lead to something, but I'm never thinking about that. Mm-hmm. Like,
[28:42] I just want to meet great people and spread good, positive energy wherever I go, and if it leads to something, amazing. If it doesn't, it doesn't matter, it wasn't meant to be.
[28:54] And so I think when people meet new people, they are in the head space of like, "What can I get out of this relationship?" Or, "What does this person bring to my life or offer to me?" In which
[29:05] it's a reasonable mindset to have, but I don't think it's beneficial in the long run if that's what your actual purpose in networking is, is to meet people who can bring benefit to your life.
[29:17] Having that mindset will do the exact opposite. Mm. I just wanna m- like, make friends and be a good person to others and hope that they bring good to me. And again, like I said, if it works out, it works out.
[29:31] If it doesn't, it doesn't. So I'm never going into any relationship looking for something from someone. I just, I just like meeting people. It's fun.
[29:39] Everybody has their own unique story, and they have l- their own lived experience, and you can learn something from literally anybody. Mm-hmm.
[29:49] So you can learn something new about the world, about them, but you can also learn something about yourself. So that's how I approach every relationship.
[29:57] So then let me ask you this, 'cause you guys were able to get quite a few jobs from 72. Mm-hmm. Um,
[30:04] if you didn't have that prior, like, network and relationship with them, how do you guys think, and this is a question for both of you, how do you think you would've gone about starting the company and getting business and, and new work?
[30:17] Would've been a hell of a lot harder. \[laughs\] Yeah. Would've been way harder, that's for sure. I mean, I think it's like we've talked about on the show, we've talked about this, I think it's quality of the work, one.
[30:29] Like, you can't, you can't sit and pretend like, "Oh, we should be getting these jobs," when you look at what they produce and you're like, "Our stuff isn't even half as good." Yeah.
[30:37] Like, your stuff needs to be better or at least on par with whatever said company is doing, so then you have a chance at, like, throwing your hat in the ring. Like, there's literally no point in reaching out.
[30:47] If you look at your stuff, I think, like we talked to our boy Ed about this, but you can't be reaching out to these companies like thinking, "Oh, I should be getting these jobs-" Mm-hmm... but, like, your stuff sucks.
[30:56] Yeah. It's just not there yet. Mm-hmm. There's a reason why it's not... Like, you're still just on the peashooter land. Yeah. And it's fine- It is...
[31:01] 'cause that's where we all were, but you gotta be real with like, okay, do I need to rent a camera and invest in a, a home, or invest in lighting so I can, like, make this look good?
[31:10] Or just, like, thinking about the steps- I think comparison, everyone says comparison's so bad. Comparison is good 'cause it shows you where you can go, and, like, the gap- Mm...
[31:19] between where you're currently at and where you're going. When they're like, "Oh, comparison's the thief of joy," that's when you're like, "Oh, my work isn't there, so I feel, like, sorry for myself."
[31:26] But- Don't feel sorry for yourself... no, you should compare 'cause then you can see, like, okay, the big dogs are doing this. I'm right here. The gap here is, like, these people and this camera and this shooting.
[31:36] Mm-hmm. Like, that's how you get good. I think comparing is good. People fuck that up. They're like, "Oh, comparison is so bad." No.
[31:41] That's how we got good is we were always looking at these companies that were doing $100 million- Yeah... and being like, "Okay, if we wanna do h- like half of that- Yeah... how the fuck are we gonna do it?"
[31:51] We gotta look at what they're doing, how their thing is orged, how many creative directors they have, whatever- Mm-hmm... so then we can kinda, like, start to just chip away at going up that route. Yeah.
[32:00] I actually really appreciate that perspective, and I haven't thought about that like that 'cause I found myself constantly comparing myself to you, to Hayden, to Owen- Mm...
[32:11] to Henry, and those are, like, people that we made content with for Go Ducks in college.
[32:16] And I was like, "I'm not of that caliber," but I also understood that I didn't necessarily wanna be doing the things you guys were doing. Like, I don't wanna be the photographer. I don't wanna be the cinematographer.
[32:27] Mm-hmm. Like, I just, I just wanted to direct, and I wanted to put together the teams to make my vision come to life. And so even then, comparing yourself, it,
[32:39] it's tricky 'cause there are people my age that are doing way cooler- \[laughs\]... way bigger, crazier productions. We have people making feature films based on their YouTube series.
[32:49] We have, like, kids making music videos for Bad Bunny and, like, Drake and all these big names, and I'm like, "I wanna be there," but I, I'm comparing myself to those people in the sense that, damn, they got lucky and got those opportunities earlier.
[33:05] What do I need to do to set myself up for success to get those opportunities moving forward? Mm. Um, wait, can you say your question again? \[laughs\] Yeah, what, what was the question? We went on a little run there, dude.
[33:17] Yeah, yeah. \[laughs\] I think- Oh, the networking, how- The network, like-... we would've went about it.
[33:21] I would reach out to every single producer at every single advertising agency in my area and just get coffee with them and ask them questions about themselves. I don't even need to talk about myself.
[33:32] I think a lot of people go into these, like, networking opportunities and just wanna spew about themselves. Mm-hmm. Everybody loves to talk about themselves, every single one. Yeah, you were pitched all the time. Yeah.
[33:44] We were talking about this. Reef was pitched every single week by multiple companies. I would get at least three emails a day of somebody wanting to get coffee with me.
[33:51] So we would joke, and we'd be like, "What are the best ones? That's what we should do." Exactly. \[laughs\] Like, at, like- At 72... at 72 Digital, I was, yeah, like- Yeah, yeah.
[33:58] I would get three, like one to three emails every single day to hop on a call, get a coffee, get lunch, da da da da da. And as a producer, you were down for it? Because sometimes-
[34:10] You wanna work with sick folks, and one of them's gonna be sick. Well, su- sure. I just think that, um, the classic, like, "Can, can I pick your brain and grab coffee for 30 minutes?"
[34:20] is like- That's why you don't say it like that- Yeah... you know? That, the people that had the most outlandish \[laughs\] emails to me- Yeah...
[34:28] I, I said yes to, or if they brought something unique or cool to the table- Sure... then I'm like, "Okay, I got some time. Yeah, I'll get lunch. Sure."
[34:34] So just actually being mindful about how you approach that initial interaction is going to be crucial in your acceptance rate \[laughs\] of these meetings.
[34:43] And that's also why I think Bradon's point to why the actual work is so important is such an important point.
[34:50] I think a lot of times people are so caught up and worried about, oh, I need to network, I need to build my network.
[34:57] If you just focus on your own stuff, like, people only wanna network or connect with people who, like, have cool shit going on. Yeah. Yeah.
[35:04] And so worry about yourself first, and then, then you have stuff to talk about, and you have value to actually provide to this person as opposed to just, like, asking for a handout or- Yeah...
[35:14] opportunity and trying to pick somebody's brain for 30 minutes. I agree. And I think somebody who, like, really taught me that was Henry Aman because- Mm... that dude would be in the lab- \[laughs\]...
[35:25] like, locked in his room for hours and hours and, like, would hang out every once in a while. But for the most part, he was just getting better at his craft- He's so good... like, all the time. That's an OG episode.
[35:36] Yeah. Episode, like, 13, I think, or something. Damn. Yeah. No, shout out Henry. Like, I- No, you're so right there... I was inspired by Henry in college. You're so, you're so right. Henry would never be out at the bars.
[35:46] The motherfucker was working. Yeah. Mm-hmm. And I was like- He was working...
[35:49] I wanna be like that because Henry's getting jobs, and Henry's getting paid to do what we're doing \[laughs\] and I wanna get paid to do what we're doing. Yeah.
[35:56] So I need to find the time to lock myself in my room and get better at what I do. Yeah, 100%. \[laughs\] Can we go into the budget breakdown? Ooh. Yeah, yeah, yeah. Do we have that? Yeah, we can break down a budget.
[36:08] 'Cause you brought up the bid. Yep. And so- Let me grab my laptop real quick. Okay. We'll break down a budget of sorts. We can break one down. We got the b- b- b- budget breakdown. Budget breakdown.
[36:19] You know what's interesting though, too, and I think this will be really helpful for people to hear, like, this breakdown, is you might hear it and be like, "I would do it a totally different way," and that's okay. Yeah.
[36:31] That's why this, this company, that's why, or that's why the creative stuff exists. Like, you can- Everybody can do it their own- You can do it through your own way. Yeah. You can have the rates be higher.
[36:39] You can have the rates be lower. You can profit more.
[36:42] And I think that the most important thing, though, when we go into any of these jobs is how, like he said, how can we make the best possible thing with the resources that we have at our disposal for this specific dollar amount?
[36:54] Without giving away too much, tell us what you can about this job and, like, what it entailed.
[37:00] Multi-day production, pretty solid-sized crew, like, not the biggest crew ever because we didn't have a ton of money to spend. But typically production companies are operating anywhere from, like, 10% to 20% profit.
[37:13] The way you can make more is if you own the stuff, right?
[37:17] So, like- Your biggest roles at a production company, like if the founder is the director, if the founder is a DP, or if the founder is the executive producer, or like people on full time are doing those jobs- Sure...
[37:29] they can make more, 'cause either they're paid a salary, like 72, you have all these people on salary, right?
[37:33] So it's like, okay, w- we get these big jobs or they have like a monthly retainer or whatever, and then you make off of your production fee, which you can raise as you go up.
[37:41] I think we started at 10% when we first- Yeah... quit our jobs. Probably, yeah. And now it's at 20%. But like I'd say a standard is like 15 to 20%. Like you can bring it down if you wanna do the job really bad. Yeah.
[37:52] 'Cause like when someone comes to you, and let's say you make a bid and you're like, "Oh, this is 50,000 bucks," and they're like, "Well, we only have 40," it's like, well, I can't just knock everyone's rate, 'cause then they won't do it.
[38:02] They won't do the job. Like that's how much people's rate costs. Then you're like, okay, how can we move money around here? Could we lower the fee a little bit? Like what can... We could...
[38:09] Could we bring our own rates down, and then move money around like that? What was the deliverables for this specific spot? Was it one video? Well, at first it was just one 90 second... Here, let me adjust this.
[38:22] At first it was just one 90 second video, but they were like, "Oh, we only have this much to spend." And so my pitch back to them was, "Okay.
[38:33] Well, we'll make you four 15 second cutdowns that you can run as ads from this 90 second video," and then they gave us more money.
[38:41] So like being able to utilize deliverables in a negotiation sense can be really helpful, and it's not gonna be like that much more work for us.
[38:52] So what was the original budget that they proposed that they had, and then what did you guys end up getting them up to? 20 to 30, and it ended up at- 35- 35?... I think. Yeah.
[39:00] They were like 25 to 35 is the range we wanna spend. And this is the important thing, too. It's like you hear that number and you think, wow, that's so much money. That's not how much you profit in production land.
[39:10] Like in production land, I think to really be successful you need to be doing... You can do the smaller shoots, and by smaller I mean like 30 to 100. You just gotta do them more consistently. Mm-hmm.
[39:20] And be shipping them out quicker, 'cause the sales cycle takes anywhere from, could take a week, could take four weeks. Yeah. Could take even, you know- Six... six. Yeah. You know?
[39:30] So it's not like you're just immediately you close it, oh, now we have this capital coming in. It's like you're typically getting paid in thirds, so you...
[39:39] Capital becomes a problem, and I think we did a good job of that at the beginning. We didn't pay ourselves shit. Yeah. And we stacked our account to get to six figures. Like that was our whole goal.
[39:48] We were like, "Let's get our bank account to six figures and not touch it, and then we can start to pay ourselves out a little bit more money."
[39:55] But like we were paying ourselves dog shit, and that's just how we did it, though, and I don't know if that's smart or not, but I think that like we had... N- now it doesn't...
[40:04] If you have a lump sum of income or that we're like waiting on, people aren't getting, waiting to get paid, don't have to be like, "Oh, I can't pay you this month." Yeah, yeah.
[40:11] Like, and I think that keeps the relationships high where- And that... Yes, 100%. 'Cause like nothing is more annoying than hunting people down. Like we're dealing with a company right now who's 60 days late to pay us.
[40:19] Yeah. And like it, I will literally never work with them again. Yeah. 'Cause it's just ridiculous. Like 60 days is absolute- Insane... insane. And we're being good partners by not charging them- Interest... yes.
[40:31] You know? Which is fine. In the future moving forward, maybe that's something we need to continue to do and be more strict on, but we're just not gonna work with these people again. Yeah.
[40:41] But go ahead and talk to me about- Wait, so okay, so they came to you and they said 25 to 35? Yeah, but then once- And then did you end up getting to higher than 35 with- Oh, yeah... the four cutdowns?
[40:50] Yeah, because you gotta think like whatever number the c- the client comes to you with, then they're gonna show you examples, and then you're gonna say, "Yeah, there's just like no way." Yeah. Yeah.
[40:59] Like typically- We can't get it to this caliber- You can't... Yeah. You j-... for this amount of money. Exactly. And usually that's like, and it's your job to be able to articulate the why.
[41:08] Not like, "Oh, we want more money 'cause we wanna make more money." It's like, "No, no, if you want this, look, this house is gonna cost us six grand just for the house." Yeah.
[41:16] Like that's- Just for the location for the day. For one day. Yes. You know? And then it's like, okay, uh, you, do you guys want to, like want art department? Obviously, yes, they do want art department.
[41:26] That makes the whole damn thing look good. Mm-hmm. It's like everything in the scene. How does it look? If you don't have that role, it looks like shit.
[41:31] And I still am learning how to bid out art, to be perfectly honest with you. It's a very, uh, articulate way to bid a job depending on what's needed.
[41:40] We just have a absolute unit of a man that can build, paint, draw, design- Shout out to Nick Vawter, bro... anything. Nick Vawter, love you so much. So he's our saving grace when it comes to art.
[41:51] I'm like, "Can you figure out how to do this for this much?" Yeah, we have, we have an, we have an architect that- Yeah... is the king of art. Yeah. Because it's different than just this is this person's day rate.
[42:00] It's- Yeah, they gotta buy all the stuff... what's the cost- Yeah... of the actual stuff- Of the goods to make the thing... of the art. They gotta paint. Yeah. They do, they do d- they, they work way before the day rate.
[42:09] Yeah. Yeah. And then you have to factor that in. They're like, "Oh, why is this person's rate more?" It's like, well, they're gonna work for days leading up. Yeah. You know?
[42:15] It's like all that stuff just- All the prep days, like that's- All that stuff just adds up. Yeah. You know? And then wrap days too.
[42:20] Like we often buy things, and if we don't use them, then Nick has to go and return them \[laughs\]. So that's like more- There's another couple hundred bucks- Yeah... you need to throw someone. Exactly.
[42:28] You know, it just keeps adding up. And so I, I'll go through this. I think, no, I know there should've been more money in the end. Okay. In,
[42:39] when it comes to the amount of prep days, the amount of wrap days, and actually paying ourselves out, we needed a lot more money than we actually made, because Braden and I ended up spending pretty much- A month...
[42:51] nine, yeah, a month, but like 90% of the budget, where typically we would save 80%, or we would save 20% for the production fee and then our rates, but we forgoed our rates.
[43:03] We, we put our rate, we put our rates back into it to make it cooler. Yeah. Okay. So let's get into this breakdown. Yeah. So we'll get into this. It was, so I ended up getting a $65,000 budget, three-day shoot.
[43:17] We had- Wow, 65 from an initial 25 to 35. And that's ty- That's awesome... you know, that's typically what-...
[43:24] ends up happening, the number that they say is never the real number, and it's all, it's just all dependent on the creative though. That's not like, "Oh, we're trying to make- Yeah...
[43:32] uh, like, yes, of course I wanna make more money, like I'm not gonna bullshit you guys. But when you see what Reef draws up and you're like, "I want that," that has a cost to it.
[43:43] It's not like, "Oh yeah, we just kept everything cheap." Like, you can keep it all cheap, it's just like everything gets crappier.
[43:48] The camera gets smaller, the lenses aren't as nice, the team gets smaller, then you move slower. So it's like if you have more- That part for real...
[43:55] if you have a more- Like we need to reiterate that Yeah You move slower.
[43:59] You move slower, waves- And people need to understand that the more people you have, the faster the machine moves, and the more things you can get done. Yeah, exactly.
[44:06] Where people are like, "Well, why do we need this extra support?" It's like, because you're gonna ask me to do something- Yeah...
[44:10] on the day, and we gotta pivot last second to be able to do it, otherwise you're gonna be upset because we can't do it in time. And every, every minute you waste is like, in a really big shoot, thousands of dollars.
[44:22] Yeah. On movies they're tens of thousands of dollars. Every minute they're playing around. We've never done a movie, but like you just add up the jobs. Yeah.
[44:29] \[laughs\] Thousands of dol- tens of thousands of dollars are being wasted. Yeah. You know? So- Hit me. Okay, 65K budget. Three-day shoot, we had 15 crew members. Um, so we had,
[44:42] I mean, I direct and produce, so we s- theoretically save money there, where I'm the director and the producer. We had a first AD, we had our cinematographer, we had a first assistant camera, who is our focus puller.
[44:54] Uh, we had a second assistant camera who is also just, he's slating, he's, he helps us with the- Lenses... DIT stuff in the end, swaps lenses. Like, love Reese by the way, shout out Reese.
[45:08] Reese works on every single project of ours as our second AC. Um, we had our gaffer. We had a key grip and a swing, who was helping with the grip stuff and the electric stuff.
[45:18] Uh, art/props, Nick, on literally every job ever. Uh, we had our hair and makeup artist, our wardrobe stylist. We had two PAs and a BTS/social shooter, Yuli. Um,
[45:34] every day was 10 day, or 10-hour days. The first day all took place in one location, and then the second days we split locations. So two on the second day, two on the third day.
[45:47] Uh, we saved a lot of money by utilizing friends' homes for those. Like, one of our talent, we used his home for his scene.
[45:59] Uh, we also have our, our buddy Muzzer, who's one of our photographers at Blue Stripe, he allowed us to use his home for something.
[46:06] And so we got our second day for, our locations for our second day for 1,000 bucks, which is just c- unheard of. You're not gonna get that cheap of- Yeah, unheard of, especially in LA. Yeah.
[46:16] Um, going through, I'm gonna go through the actuals breakdown versus the budget that I put together- Yeah, I think that's a bit, yeah... because this is how much money we actually spent in the end. Mm-hmm.
[46:28] Um, so our gaffer was $2,256.20. That extra little bit comes from their mileage, so when your teams are having to transport themselves in between shoot days, then they get to add up their mileage and charge us back that.
[46:45] Uh, our production designer, Nick, he made two racks, which heavily underpaid. Nick should've made at least $5,000 on this job. He was, he painted a whole backdrop for us.
[46:59] He painted different thi- like, Nick spent a lot of time on this, and I'm just grateful because he's my boy and does favors for us. So thank you, Nick. Um, our hair and makeup artist was 1,900.
[47:12] So it w- her original rate was 600 a day, but then she was a PA, or a background extra in one of the things, so I paid her an extra hundred bucks.
[47:22] \[laughs\] Um, our first AD was 1715.61, and that's because she went and did, um, crafty runs for us. So like I paid her back for her expenses. Um,
[47:37] our talent was each around 1 to $2,000 a pop. Our extras I paid $100 each. Um, our swing, he was just doing us a solid honestly.
[47:51] We paid him 1,250 in total, and it was like, it was like 500, 400, 350 or something like that, and he was just being the homie and helping us out. Um, our first AC ended up making 2,927, so $2,927.
[48:07] Um- Their kits get high. Yes. That's where things increased too, 'cause we paid her for her kit. And she also did us a solid. She normally charges $600 a day for her kit.
[48:18] She let us pay her 300 a day or 350, something like that. Mm-hmm. Um, our second was paid 1,650. Our KG 2,250. Our stylist 2,000.
[48:32] Uh, our PAs were about 200, 300 a day. Yuli on the BTS was 1,525. Um, what- Getting paid, Yuli. Getting paid, Yuli. \[laughs\] You got paid more than me, man. \[laughs\] Yeah. No, and then Braden and I,
[48:51] I believe, oh, nope, we're in the negatives right now. So \[laughs\] in the end our rates combined, the production company made $5,000. Which again, we should've made a lot more than that, but that's okay.
[49:05] I'm, I'm happy with how the final product turned out. Um, equipment-wise, we spent $3,209 at Old Fast Glass. Braden, do you wanna tell us what we rented from them? Yeah, really nice Cooke Panchro lenses. Mm-hmm. So nice.
[49:20] Alexa Mini LF, um, and then all just the shit that comes with a big camera like that, which sucks. It's just every single thing you're adding like- Anywhere from 5 to 100 bucks.
[49:32] It's like, "Oh, that cable, that's 25 bucks." And it just keeps adding up. And, "Oh, you need a, you need a Rotopol for a circular polarizer," and all these little things. The matte box. The matte box. Or the NDs.
[49:42] The NDs for the matte box. Like, all those things just really add up, which is why we're in the market for a truck.
[49:48] Like, we wanna own everything, and that's how you start making more money even though you fork up a lot of money up front, which is why this stuff costs so much money, is it's, like, all the lenses, all the gear, the insurance is so expensive.
[50:03] Yeah. And it's something that we didn't even realize.
[50:05] I remember we got this job, and we had to shoot at a venue that you all know and love in Los Angeles, and have been there before, and the insurance they needed was, like, a $5 million umbrella, which is fucking high.
[50:15] And then you go to the insurance company, like, "Oh, you need, oh, over a million bucks, $5 million. That's gonna be 25,000 a year." You're like, "Whoa, holy shit. How is it getting up so, so high?"
[50:24] So all of those things just run up the costs, and that's just operating a company, and it's just the price of rice. But when people are like, "Oh, why is it so expensive?"
[50:33] It's like you're also paying for it to, to be great and not fuck up. \[laughs\] Yeah. Like, that's it. That's really what you're paying for. And if it fucks up, the experience to be able to pivot and make- Is, needs-...
[50:43] and unfuck it. \[laughs\] E- exactly. Yeah, like, I think the...
[50:46] You know, you get a few companies together, and, like, a lot of these jobs are triple bids, which means there's three companies all saying, "Hey, this is how much this is gonna cost."
[50:52] I remember we've talked about this, and we've talked to other producers about this, but if there was a job and there's two of them that are a similar range and one's way low, they just fucking throw it out.
[51:00] Like, get this person out of here. Like, they don't wanna go with the cheap option. So you should never be thinking like, "Oh, how can we cheapen this up?" It's like, no, no, make it what it needs to be.
[51:10] I will say the only way is if you have the work to back it up. Mm. Mm. If you are like, "I am foregoing some of my rate- Some money. Yeah, yeah, yeah...
[51:20] or money, whatever, because I want the job, and I have the portfolio to back it up that I can do it at the high level," then they may go with you, and you can be a little bit more competitive in your bid.
[51:30] But yes, for the most part, I agree with Brady. Did you put on there editor? Or did we sit in- Yeah, we haven't gotten there yet. Oh, okay, okay.
[51:36] So then at special purpose, it was 3,040, which was all of our grip and electric that we rented. So the lights, the stands, the, um- Flags... flags. Bouncers.
[51:50] Stingers, bounce, da, da, da, da, like anything- Car, car rigging... to shape light or place a camera in certain places, that's how much we spent there.
[52:00] Um, and then to rent, we just rented our buddy Austin's van, and $1,400 for four days 'cause we rented it on the Friday before to go do camera prep.
[52:13] And then the actual shoot days we rented it as well, and he gave us a jump scare, Austin. He thought, we thought that the car got towed.
[52:21] \[laughs\] Didn't get towed, thankfully, but we were in the airport like, "Yo- The car is gone... the car is gone. Where did you guys park the car?" And we're like- Like, bro... "What do you mean?
[52:29] We parked the car where w- we picked up the car." Was he joking with you? No, they actually thought that- No, they, they moved it...
[52:33] yeah, somebody else on their team moved the car, but- Moved the car we didn't know, and they were like, "It's gone. It's towed." Oh my God. Bro, that was, like, such a jump scare. \[laughs\] Like, dog. Right?
[52:41] Like, gotta be kidding me. We just got the car towed. It's gonna be so much money 'cause the big van. Um, okay, locations. The first day was 2,500 for the house.
[52:52] And so, like, 10 hours, 250 bu- actually, no I got it for 11 hours, so 250, uh, 2- 240-something. Yeah. Little 200 range per hour. Then let's actually talk about the house because- Oh, yeah...
[53:09] we fucked up on this house a little. Our, our car was way too big- Mm... for the driveway. We didn't measure the driveway. And it was up in the Hollywood Hills,
[53:20] and we got there and essentially just had to park the car in a spot, or park the van in a spot that wasn't necessarily supposed to be parkable, and then we just unloaded everything- The whole-... and ran it upstairs...
[53:31] Reef and I unloaded an entire, like, one-ton grip van in, like, 60 minutes. Yeah. With Vacher. Wow. Yeah. Up a flight of, like, big stairs. Yeah. Like, hustled to get that up there.
[53:44] Because, dude, you, you also need to, you need to, like, be so careful, and this is why also we wanna own a truck, so you just know everything about it. Mm-hmm.
[53:52] Those things are so heavy, and if you're on a hill, gets a little... There's just, just not a- Sketch... not a place you wanna be on a hill- Mm-hmm... with a big heavy truck like that. Yeah.
[54:01] So all that stuff you need to be thinking about, um, and just, like, a- accessibility via a ramp- Yeah...
[54:09] via just two little stairs or whatever the heck the thing may be so that you can just plank up wood and not have to be like, "Oh, we're trucking up." Yeah.
[54:17] All this stuff needs to truck up 'cause you want everything to be right there so then it's like, "Oh, I need that." \[snaps fingers\] It's there. Yep. Exactly.
[54:23] You're not, you don't wanna play this game of like, "Oh, let's hike into the woods six miles." People are like, "Dude, what do you mean we're- Yeah... hiking in the woods six miles?" Mm-hmm. You know?
[54:31] You're very limited on what you can bring out there. And I'd say just being mindful of those carts are heavy. So heavy. Those carts are, like, 300 pounds. Oh my gosh. Maybe more. I don't know. Maybe less.
[54:42] \[laughs\] But they're heavy. I think they're, I think they're more. Yeah, with all the shit on them, they're hundred- Yeah... hundreds of pounds. Yeah.
[54:45] And so finding a safe space to bring the lift gate down, roll off this cart, and then bring it to a safe splace, s- Mm... safe space that you need on location. So 2,500 for day one of the house.
[54:59] Um, day two we got second house for 1,000 bucks and first house for free, so 500 each, each house, each location.
[55:08] Then the third day we started at this house, and then we moved to a more public space, and that was about $3,121 to rent those two locations. So in total on locations alone, we spent $6,620.
[55:27] Um, and then miscellaneous, uh, craft services 'cause we had, let's see, we had breakfast day one and two- And then every single day we had lunch, and then we had dinner on day three, and then all the crafty and snacks.
[55:44] We spent $1,478.37 on crafty and meals. Uh, on drives alone we spent $1,600, which drives are more valuable than money nowadays.
[56:00] \[laughs\] Like, Mother literally texted me yesterday and was like, "Hey, do you have a, a T7 I can buy from you?" \[laughs\] I'm like, "No, dude, that's more valuable than money." Those are gold- Yeah...
[56:08] those are gold right now. Yeah. Uh- I got a... Dude, we have a definitely a nice, like, Honda Civic in drives. \[laughs\] Yeah, we do. I've been going back and just being like, "I don't think I really need that stuff."
[56:19] \[laughs\] "Let me just- Just delete it... let me just format this whole five terabyte drive." Uh, you gotta do what you gotta do. I know, dude. Um, on props, we spent $1,250. And then
[56:34] on wardrobe we spent 2,000 because our wardrobe stylist, while she can, she can buy some stuff and return, if people wear it, if she has to take the tags off, if people are wearing shoes, she can't return that.
[56:46] So unfortunately, we have to actually spend the money on a lot of these things. Um, now going into post-production, so for our editor that did the 90 second and then the 4:15s, we're paying $4,000.
[57:03] And this is... Editors can charge as little or as much as they want. For this, we didn't do, like, day rates.
[57:11] It was more a project fee, a flat rate, where she was doing other things during the day, and then in the evening she was able to work on it.
[57:18] So that's how we were able to get away with this, and she is also a very, very high, highly talented editor at a big edit house. Like, this is what she does for a living. So 4K for that. Uh, we paid our colors 2K.
[57:35] Um, our VFX and cleanup, got one of the homies to do for 1,000. We wrote a script for this that- Didn't get used... yeah, not used on the client version, but we're gonna make a director's cut and it'll be utilized there.
[57:49] Spent 500 on that. And then we had a custom score, which we spent 1,200. Oh, wow. Well, that's awesome. I think that people, um...
[58:03] I think sometimes people just don't know what certain things cost- Yeah... and everything that goes into production. 'Cause I think when you're first starting out, it's just like,
[58:13] "Okay, it's just me with my camera and it's gonna be 1,500 bucks, and I'll show up and I'll edit, and that's kind of it." Yeah.
[58:19] I'd say one thing all, like, s- maybe more mid-level videographers should do, or photographers, is look at your local rental house and see how much they're renting out every single item of equipment you have.
[58:33] And then keep that tally so then any job you do, that's one of your line items is equipment. Because if you didn't have that equipment, they're gonna have to rent it from somewhere. Yeah.
[58:42] So- It also just depends, too, like, if you wanna do the job and what the relationship is like with the company. Also true, yeah. You know? Like- Like, we take out equipment- Yeah... on some of our jobs that we own.
[58:54] Yeah. Because we're like, "We really wanna do the job, and we like working with you guys." Yeah, exactly. So it just all depends.
[58:58] If I'm like, "Oh, this, these people call us all the time," like, I'll be more, much more lenient with- The rates... the rates and all- The line items. Yeah... yeah, and all the stuff.
[59:07] You just wanna, you wanna help out people that are, like, feeding you constantly- Mm-hmm... and, like, helping you grow. So I think that's another big thing to remember is, like, you're in the people business. Yes.
[59:17] They're gonna hire you if they like you- Yeah... and if they have a good time. So regardless if shit's on fire, if everything's going wrong, it's make it smooth, make it as easy on them as you can.
[59:26] 'Cause the moment that you meet, like, force with force, you'll never work with them ever again. Mm-hmm.
[59:30] And I, I would like to talk a little bit more about that, because I think there's a lot of people who get one-off jobs, and then they never talk to those clients again.
[59:41] And I think I've even gotten pushback on people in our crews being like, "Well, why don't you just charge the clients more for that?" And it's like, because they're my client and I have this relationship.
[59:53] I'm not going to deter them from wanting to work with us again over 500 bucks.
[59:59] Like- Yeah, over some bull- Like, even we've, we've talked about this before, but, like, if we get a revision that's gonna literally take two minutes,
[1:00:08] why would we charge them 1,000 bucks or 500 bucks or whatever- For an additional revision... for an additional revision? Yeah. It's like, just do the fucking revision and then keep growing with them. Yes.
[1:00:18] 'Cause you also gotta think, like, all these companies that hire you, regardless of their level, you do this shit so hopefully they can grow, and then you get more money as they grow. Yeah.
[1:00:28] And then at the, at the end of the... Even when we started, we've been in business two years. The companies that we started with are far bigger than when we first all met and what- So true... you know what I'm saying?
[1:00:38] So true. Like, they all had 10 employees. Now they have 25 employees, but, like, we still get hit up all the time by- Yeah... most of the companies that we work with. Like, very high rebound rate.
[1:00:47] So you think, "Okay, well, now we're at this level. What's it gonna look like in two years when we're all much bigger? We have more employees." They have, they have bigger clients. Mm-hmm.
[1:00:56] And then you make more money as a team. It's like, you all can't work without the other. Yeah. Like, I think people forget that. It's like, "Oh, no, we can just... Fuck them." It's like, no, like- Mm-hmm...
[1:01:04] they're the ones that are helping you guys grow, and they stack your account, and then you can get- Don't bite the hand that feeds you. Exactly.
[1:01:11] Like, even 72 and Sunny were not doing as many social campaigns when I was working there. All of a sudden they hire us for a Zillow campaign, do a 10-part series, does really well. Clients really love it.
[1:01:26] Now we're getting hit up for more social campaigns back to back to back, and they're continuing to grow.
[1:01:33] They're able to pitch this to more of their clients, and they're already a m- like m- multi-$100 million- Hundreds of million, yeah... company that has global ties all over the world. Yeah. But
[1:01:43] they're still growing in that sense. And we're growing with them, and they continue to bring us on because they had a really great time the first time we worked with them.
[1:01:51] You guys also just recently worked on a project, and you, again, you don't have to s- share the details of, like, what the project was, but Fig was telling me how this company had worked with other production companies or other agencies and, like, hated every single one, but they loved working with you guys.
[1:02:09] What were some of the things that you guys made sure you did on that recent shoot that- Mm...
[1:02:14] allowed the client to be like, \[clicks tongue\] "We really like these guys and we wanna continue to work with them," where every past experience- Mm... has been a negative one for them?
[1:02:23] I always just say yes, and, like, if it's never a no, I'm like, okay- Unless it's, like, actually \[laughs\]... unless it's, like, actually outlandish, it's like, "Okay, yeah, I can figure, I can figure something out."
[1:02:33] \[laughs\] Like, just problem solve.
[1:02:35] Like, I, I think that the, the thing a lot of creative people do, and, like, I've done BTS when I was starting out and seen high-level DPs how, uh, almost, like, rude some of them can get. Mm.
[1:02:46] 'Cause they're just like, "That's not how we do it," and I'm not like that. Because I came from sports, where it was like, I'll get- Figure it out... yeah. Fifo, figure the- Fifo... fuck out.
[1:02:55] I would get hit up on Friday night and they'd be like, "Yo, tomorrow, LeBron," and then we're doing a pickleball tournament 8:00 AM. I didn't get to say no. Yeah. I would just be like, "Sure, great."
[1:03:04] Like, I, do I wanna wake up at fucking 7:00? Absolutely not, but we're gonna figure it out and it'll probably end up being fun. But I always just take into account...
[1:03:13] A- and I don't come into it, I try to not come into it with an ego, uh, because it just makes everyone's life so much easier. If you show up on set and you're, like, Mr.
[1:03:23] Pretentious and you're like, "I won't carry that fucking stand," like, if a table needs to be moved, I will move the table. Yeah.
[1:03:28] And I think everyone that's worked with us will attest to that, of I'm not just gonna sit there if something needs to be done.
[1:03:34] Like, I'll just pick up the combo stand and move the combo stand, or help move the light, or, like, you need me to move the sandbags, I'm not gonna say no to moving the sandbags. Yeah.
[1:03:42] And I think that that trickles, like, all the way down to the team, 'cause then they're like, "Wow, this guy's not a bitch. I wanna work-" \[laughs\] "... like, I wanna work for this guy," partially, you know?
[1:03:51] No, but it's the truth, though, and I think that we try to make it fun 'cause it is fun. This is- Yeah, what we're doing is fun... this is not a real job, bro. Yeah. \[laughs\] This is fun. This is a fun job.
[1:04:02] I'm having a good time. We get paid- Like-... we get paid to make videos for a living... yes, dude. We're not, like, it's not like we're in an, a, a surgery room- Yeah... and it's like, "Shit is on the line."
[1:04:10] It's like we're- We're not doing rocket science. No. And we've worked with rocket scientists- Yeah. \[laughs\]... before. This is fun, like, this is cool, and you get to do it with your buddies. Yeah. Yeah.
[1:04:18] Do you get annoyed when Brayden asks you to help him move the combo stand- \[laughs\]... 'cause he can't pick it up by, by himself? I knew there was something stupid coming.
[1:04:24] No, it's \[laughs\] I was like, "There's gonna be a dumb joke coming out of this." Yeah.
[1:04:27] So I was, over the weekend, I was hanging out with my buddy Evan, and he was telling me a story about how one of his friends was working f- or he was getting interviewed to get hired by some, like, tech company.
[1:04:38] It was, like, Google or something. Mm-hmm. And one of the interview questions was some, like, some math question of, like, "Okay,
[1:04:48] there's a jet, a plane that is this size, and how many golf balls do you think can fit inside of this?"
[1:04:55] And so normally they were getting questions being, or answers being like, "Oh, well, if the plane is this big, I think it can..."
[1:05:04] And \[laughs\] he goes, yeah, my buddy just goes, "You tell me how many golf balls you want inside this plane, and I'm gonna make it happen." \[laughs\] \[laughs\] And he got the job. No, he did. Yeah.
[1:05:13] \[laughs\] That is so Brayden. That is epic. \[laughs\] Dude, what a great answer. That is epic. Yeah. How many fucking golf balls need to be in this plane?
[1:05:18] You tell me how many golf balls you want in this plane, I'll make- I'll make it happen... I'll make it happen.
[1:05:21] Dude, but that's just how it be, 'cause your clients will come to you with some outlandish shit, and sometimes they're fantastic ideas- Yeah... and sometimes they're like, \[clicks tongue\] well- Not so fantastic...
[1:05:29] that's not the best idea, but we can make it work. And I, I think you, you only know, though, from doing it.
[1:05:35] Like, when we first came out of school and I was trying to do this other company that ended up not working out, I just didn't know anything. Sure.
[1:05:43] So you think that you know what the fuck's going on, but you don't know a thing. And then after we've done it for a few years, \[laughs\]
[1:05:49] I saw someone make this, and like, business is every six months realizing how stupid you were six months ago. \[laughs\] Yeah. \[laughs\] And that's exactly how it feels. Yeah.
[1:05:55] Like, two years, I'm like, I giggle thinking about the shit we were doing when we started. Yeah. I'm like, "That is the dumbest thing I've ever heard of in my life." So dumb.
[1:06:01] But that's just how it works, and every single month, you get a little bit better and you meet people that expedite the time times, like, 1,000. Yeah. Mm.
[1:06:09] You're like, oh, one conversation puts you eight months ahead of where you were- Yeah... just at, just because they told you a couple of things. Mm-hmm. And, like, every month, shit like that happens- Mm...
[1:06:18] and that's why it's fun- Yeah... is because every single time you're like, "Ah, \[clicks tongue\] we could have made more money here if we did that," or- Mm...
[1:06:25] "Maybe we should use this software," or, "We should use this person for sure, for sure. They're a total difference maker." I also wanna go back real quick and talk about why clients wanna continue to work with us.
[1:06:35] Oh, tell me. Adding on to the yes, and, I also think we are very, very good at being cool as a cucumber 100% of the time. Like, even if we're frustrated as hell with our clients- \[laughs\] Mm Or with each other...
[1:06:51] or, or with each other, or, like, the circumstance is it's really hot and it's 100 degrees- \[laughs\]... and I'm sweating outside, or, oh my goodness, our thing just broke, like- Yeah...
[1:07:01] we don't let our clients know that. Yeah. Yeah. Because they don't need to know that. They don't need to know. Like, they just need to be under the perception that everything is, like, easy breezy, CoverGirl- Mm. Mm...
[1:07:14] 24/7. \[laughs\] And that's how it should be, and I think back to when I was at the Lakers,
[1:07:19] they had, like, a massive majority of that business was corporate partnerships, meaning Verizon, Taco Bell, whatever the heck, Jack in the Box. BiBilo, BiBiLo or whatever. Yeah, BiBiGo, right? Yeah.
[1:07:30] Their whole thing, though, there's a group of people who kiss their ass- Yes... and make their lives easy. Yes. It's like, oh, that content didn't do well? Let me figure out how we can make that right. Mm-hmm.
[1:07:38] And that's how, like, the Lakers president always said this at meetings. He'd be like, "We are in the people business. Like, never forget that.
[1:07:45] We don't do, like, basketball is our product, but we are in the people business, the fans. We serve people."
[1:07:52] And I think I just took that into, like, everything that we're doing, no matter, like, if it's hot, if- It's cold... I'm not having a good time. Yeah. It's like, dude, my job is to make them super fucking happy, and-...
[1:08:03] be just a rock for the group that you're around. Mm-hmm. 'Cause then they all feed off of that. Like, if the director's rattled and then- Mm-hmm...
[1:08:09] I get rattled, and then the team gets rattled, and then everybody's rattled- Chaos... and then it's just a shit show. Mm-hmm. You know? Okay, I have an idea that I wanna, like, workshop with you guys, and I'm- Sure...
[1:08:18] curious to know what you guys are doing slash I think there's maybe some stuff you can take from other industries that might be interesting. Okay. When you guys wrap a shoot and it, like, went really well- Mm-hmm...
[1:08:29] um, what are things that you guys do, like, after you have delivered it, um, to, like, stay in contact with the client to potentially get hired again? So we send them work that we do that's cool.
[1:08:45] I stay up to date with them on social. Send them a message if I see something they did that was really cool. Um, I think, and just like a sh- I think we should be doing more. We should be doing more. Like, for sure.
[1:08:55] Yeah, we definitely should be doing more. So there's a guy that I follow on Instagram, and his Instagram handle is First Class Jerk, and he has a whole personal brand. He gets to go to the most luxurious hotels ever.
[1:09:07] He made a recent video about how hotels need to stop doing the free fruit plate, 'cause he's like, "Nobody gives a fuck. It's typically really bad." \[laughs\] And it's not memorable. It's like a 10% coupon.
[1:09:18] But he goes, "There's certain things that I think luxury hotels do really well that I've experienced." So he went to the Aman in Tokyo- Okay... and they had a customized, uh, suitcase bag tag- That's sick...
[1:09:31] that they give to every guest. Oh, that's- Oh, that's fire... really cool. That's brilliant. Okay. He goes- That's brilliant... he goes,
[1:09:37] "I think instead of a fruit plate, you should do, like, either sock, like, custom socks- Mm-hmm... 'cause it's easy to size, or, like, a custom shirt, or, uh, like, postcards or something." Mm-hmm.
[1:09:48] I think it'd be really dope if you guys maybe even did some, like, physical stuff. Like, I don't know if it's like merch- No, I like that idea. No, I like, I like that a lot. Yeah, I like that a lot.
[1:09:55] I don't know if it's merch or maybe even taking some of, like, the BTS photos or something and making it into- \[laughs\]... like, a magazine or something and sending- Ooh... sending it to the client.
[1:10:05] So now you're talking. That'd be, that's a great idea. Or, like, Polaroids and making them into, like, a book or something and sending. That'd be really cool. It got me thinking about how- That's brilliant.
[1:10:13] Yeah, just do this, how-... collectibles or certain, like, physical stuff. Goods, yeah. Because of everything that we're doing is digital- Yeah... I think having, like, a physical- Tangible product-... tangible thing-...
[1:10:21] that is a key reminder- Could be really cool... of this experience, yeah. Yeah, that's fun. I like that. It's a good, it's like a, it's a good little advertising they see in their closet. Yeah.
[1:10:29] Like, "We should call those guys." Like, oh. They were never \[laughs\] It's like y'all need, like, blue stripe match. I need this candle and my matchbook. They were my, yes. Yes. No, we do, we do need a hat.
[1:10:35] I'm tired- Wouldn't that be cool? I'm tired of wearing other people's hats. I would love to wear a hat. \[laughs\] It fucking pisses me off to wear these other hats, but, like, I wanna wear our own hat. Yeah.
[1:10:43] No, that's fair. Like a cool swaggy- Mm-hmm... little hat. We'll figure it out. Okay, I have a question for you guys. They typically say you shouldn't work with your friends- Mm. Because- Mm...
[1:10:54] it's typic- it's hard to mix business and, and pleasure and, uh, it can be difficult. And I think a lot of people will sometimes start something with a friend and be like, "Oh, what can go wrong?
[1:11:06] Like, we're best friends," and then business starts to happen, and it's hard to separate friendship and business. And so, um, how has it been with you guys working together?
[1:11:14] And have there, like, what have you guys learned about how each other works, and how has, how have you guys been able to, I guess, be very, very good friends and also run a company together?
[1:11:29] I think it's super hard, but you spend so much time with the people you work with, so I wouldn't want it any other way. Totally.
[1:11:37] Like, I think that there is that misconception of like, oh, you shouldn't get into business with your friends, but, like, I think that's bullshit. Mm.
[1:11:45] I think it's, I prefer it, because my best friends are who I wanna hang out with, and then you two happen to have great complementary skills to, like, what I do. So I, I think, I think that it's...
[1:11:57] The first business I ever started, we did the same thing. That was dumb, and I realized it after we were already in business a year together, and I'm like, "We do the same exact shit. This is so stupid." Yes.
[1:12:06] Like, I needed someone who does everything that I can't do really well, really at a high level.
[1:12:12] And I think that if there's road bumps, which happen as you grow, you just gotta be upfront with each other, and the conversations suck, but it's just the reality of it's not like friendship, it's money, and it's trying...
[1:12:27] You're, you, you both have the same common goal- Totally... of, like, growing.
[1:12:30] It's not like I'm not, I'm not attacking your character, which is probably the hardest thing about difficult conversations, is you're not trying to say like, "Oh, I don't like you."
[1:12:40] It's just like, "I don't like this thing that you're doing. Could you help me figure out how- Mm-hmm... we don't do that thing anymore?" And then we go forward, and it's just like, it's done there.
[1:12:50] And I think, like, the, whatever pent-up anger you have towards the person is usually, like, far greater than whatever the conversation ends up- Yeah... ends up being, and most,
[1:13:02] most the time everyone's very understanding and it's like, ah, fuck. Like, your goal isn't ever to make that person feel, uh, the way that they're feeling. Mm-hmm.
[1:13:10] And once you know it, you're like, "Oh, shit," like, yeah, I didn't realize I wasn't putting that effort into this, and that would make our lives easier. Like, I can totally do that. Yeah.
[1:13:18] Um, but I think that, I think running a business is really fucking hard. There's a reason why, you know, 9 out of 10 of them don't make it to a year, and we're at two years. And it's, it's super difficult.
[1:13:30] It is always changing. There's no playbook that you can follow, and no one out there has all the answers by any way, shape, or form. So I think all you can do is just, like,
[1:13:41] literally have the one thing that you want together, and then you just try to run as fast as you can towards it. Mm-hmm. I also think Braiden, he just, and probably myself as well, just have the personality type for it.
[1:13:54] I don't think everybody's meant- That's so fair... to go into business- Yeah... with their friends. Yeah, I think you're right.
[1:13:58] I think it does ruin a lot of relationships, and I could foresee it ruining a lot of relationships. But just knowing our personality types and how neither of us really...
[1:14:09] like, take anything to heart when somebody's having a hard conversation, it, it makes it easy. Like- Yeah...
[1:14:17] Brayden and I have had very hard conversations with each other, but we know we're not attacking each other's character.
[1:14:22] We are simply explaining the situation and actions that were made that were not beneficial for the greater goal, like you were saying. Mm-hmm. Like, I got really pissed off
[1:14:35] outwardly on one of our sets at one of our friends, and he was like, "If a client was here, I would be so fucking pissed off with you right now. Like, you cannot act like that."
[1:14:46] And I was like, "That's so valid, and I'm sorry that I acted out." He had been pissing me off all week, and I kinda just snapped right then. Mm-hmm. So it wasn't him attacking me as a person.
[1:14:56] It's him attacking \[laughs\] but my actions that were incorrect. I should not have been doing that, or there have been times where I've been, like, down, head down, and I felt like Brayden wasn't supporting me- Mm...
[1:15:10] in all the things, and I'm like, "You are being more reactive than proactive right now." Mm-hmm. And he took that to heart, and he started becoming more proactive in all the things that we need to do on a daily basis.
[1:15:21] So I think because we are not very sensitive people, like we are, but we, when it comes to having hard conversations, we take it at face value, and we move forward. Mm-hmm. And so it works out for the both of us.
[1:15:34] And like he said, I wouldn't wanna do this with anybody else. Like, I, I get hit \[laughs\] from friends now that I haven't seen in a minute that are like, "Dude, I only see you when we're working," da da da.
[1:15:45] I'm like, "I only see any of my friends when I'm working." Yeah. Like, I'm always doing this, but I wouldn't wanna be doing anything else. I think, yeah- Yeah, exactly...
[1:15:52] that, that's I think the, the tricky thing about it is for a certain period of time, all the work that you do, none of it shows. It either monetarily- Yeah, yeah... it doesn't show, in a numbers it doesn't show.
[1:16:08] So you're doing all these things, and you're telling people you're doing these things, but there's literally nothing to show for it. Sure. And then for, like, you finally get one win that's like, ah, there- Yeah...
[1:16:19] is like a trend in the right direction, and you really have to have this, like, delusional optimism- Yes... because if you told anyone else, they'd be like, "This is batshit crazy." Yeah.
[1:16:31] \[laughs\] But, like, someone else has been in the arena and is working on it and knows, like, no, no, you just have to, like, keep weathering the storm.
[1:16:36] And entrepreneurship is this one massive game of how long can you sit at the poker table and continue to play more chips until one of the chips in one of the hands, like, goes your way. You go off.
[1:16:47] \[laughs\] Goes your way. Yeah. And then you have, great, fantastic. Like, now we can keep building- Mm-hmm...
[1:16:51] and keep scaling, but that I think is by far the most difficult thing of running a business is having this foresight to that you know stuff is going to happen for you- Mm-hmm...
[1:17:02] but stuff isn't happening right now for you, and that's why I think it's not cut out for everybody 'cause it gets so frustrating. You get so down, and you can't. Yeah.
[1:17:11] You can only just be like, "Something's not working right now- Yeah... because of the lack or my decision-making up to this point, so, like, we have to change something, or it's not going to keep working."
[1:17:21] Like, you know? It's also just way more fun to win with your buddy. God, it's so fun. Yeah. When you close- Like, if I close \[laughs\] a deal by myself- Yeah, it's so boring... I'm like sh- oh, yeah. Yes.
[1:17:30] But then I get to be like, "Let's fucking go big." Let's go.
[1:17:33] Like, we fire each other up, and then failing with your buddy is also f- like, it makes it more enjoyable because you're learning together and you're making sure that you don't make the same mistakes twice.
[1:17:43] And you're like, "I'm not the only one having a shitty day." \[laughs\] It's only stupid if you don't learn from it. Yes. Like, the whole game is- I love failing. I love failing... the whole game is failing.
[1:17:51] The entire thing is, like, making mistakes and then never making the same mistake ever again. What you just said, though, about it taking time is so key. It's kind of like an actor. Yeah, for sure.
[1:18:04] Like, everybody out here in LA is trying to be an actor, and you know there's actors who go back home for the holidays, and then their family's asking them like, "Oh, how is it going?" \[laughs\] Yeah.
[1:18:18] And, and you know, the, what they wanna say is, "Oh, it's going great. Like, I booked this role and this role and this role." But, like, a huge win sometimes for an actor is even getting, like, the first callback. Yeah.
[1:18:31] Like, you didn't even- Mm-hmm... you didn't book the role, but, "Oh, they liked me enough to call me back," and that's a win.
[1:18:38] Or, you know, "I feel like I, uh, I really delivered this monologue really well in this audition" or something. Mm-hmm. And they have to keep, keep going, and you, like you said, you have to weather the storm.
[1:18:50] How long can I weather the storm of eating shit? And then eventually, like, you're continuing to get better.
[1:18:54] You have micro wins, and then some- eventually, you're gonna get a big break, and I think that with production, freelance, using a camera, making content, especially when you're first starting out, it's like- Same thing...
[1:19:06] you, you see these people doing these big things. You know you wanna get there, but it's unfair to compare yourself to where they're at, what kind of clients they're working with- Mm...
[1:19:15] and what kind of work they're producing because they've already put in their five to seven years. Yep. And they, you didn't see, you didn't know them- Mm-hmm...
[1:19:24] when, or you didn't see them when they were eating shit in the beginning, and you so badly wanna, like, move quicker than you are. Mm-hmm. But y- you can only control what you can control.
[1:19:35] Sometimes it's, like, not the right time with a certain client, or, like, their sales cycle is a little bit longer than you want because the email hit your inbox or you connected with them on Tuesday.
[1:19:46] You're ready to fucking sign the contract on Thursday, but they have a few more people that they n- need to talk to, and, oh, maybe it's not the right time, but, like, let's keep this conversation going. Mm-hmm.
[1:19:54] Maybe something can happen a little, few months down the line, but that's just how it is, and you really aren't gonna see the real fruits of your labor until you are in year two, three, four- Yeah... of the business.
[1:20:07] Exactly. You n- you can, and you can only imagine what year five is like- Exactly... because the learnings are all exponential. Mm-hmm.
[1:20:13] Like what we were saying, that six month thing, like, that is so real, and, like, just think back to how much shit we didn't know when we were in Joshua Tree- Yeah... that we thought we knew. Yeah.
[1:20:21] We thought we knew it all. Yeah. \[laughs\] You think. You're like, "Oh, I think I know. I know how this rolls." Yeah, we figured it out. "I figured this out. Yeah, we got..."
[1:20:27] Okay, so what are the s- what are a few of those misconceptions that you guys had that you now looking back are like, "Oh, we for sure-"... camera team- We're going about that the wrong way...
[1:20:37] camera team 100% because \[laughs\] we were always like, "Yo, why do we need, like, a first and a second?" Yeah, why do you- I don't know what. That- Why do you need, why do you need all this team? That's the whole thing.
[1:20:45] Yeah. Like, the team is the whole... The team is the backbone of all the spots, all the commercials- Yeah... all the movies. But when you come from one man band land, you just don't understand- Yeah...
[1:20:56] 'cause you've never seen it before, so, like, how could you know and understand? Yeah. Um- Like, we've, we've made something so great with just us two... with just us two, yeah. So why, why can't- Sure... why can't...
[1:21:05] But then you- But there's a time and place for that. Yeah, there's a time and place for that. \[laughs\] You know? Uh- Just depends on the project...
[1:21:10] I think the other thing is just, like, keeping expenses as low as possible, and I think you see a lot of business owners who at least I've followed, they don't pay themselves a lot for the first few years 'cause you can't.
[1:21:23] Mm-hmm. Like, you just can't do it. You have to, like, grow the company, and this is a labor intensive, uh, business to be in. Mm-hmm. It's not like it's digital where it's like everything is profit.
[1:21:34] Like, you have to account for all these expenditures and insurance, and, like, we had no idea about any of that stuff. Like- I also think that
[1:21:43] we thought we could grow a multi-million dollar business strictly on production, and now we understand that we need multiple streams of revenue. Like- Y-... need- Yeah... multiple streams of revenue.
[1:21:54] Like, doing production really well is a fascinating engine of a c- of, like, how these companies are operating, how many people they have in-house, uh, the types of jobs that they're doing.
[1:22:06] Because if you think about it, like, if you do or you're doing a million dollar commercial twice a month, so that, that company's probably profiting, you know, 400,000 bucks. Yeah.
[1:22:14] You do, okay, you times it by 12, like, okay, that's their n- that's their net for the year. That's after paying out all these crazy day rates, these big dog directors and DPs that they're hiring.
[1:22:24] So there's just so many different models, and then there's, like, you know, there's an agency model where, okay, you have clients at 2 to 5K a month, and you service them with social content.
[1:22:34] I personally think that's really boring, and it doesn't excite me at all. So you really have to just kind of live and die with the avenue that you pick, but then also be understanding of that's just, like, a wing. Yes.
[1:22:45] That's not, like, our whole entire business model. Like, okay, consulting, huge business right there. Uh, so- Did, wait, do you guys want to talk about the kickoff that you guys are gonna start doing?
[1:22:53] Yeah, we can talk about it. Or no? Yeah, we basically are starting another offer to help brands with social content that basically can't afford to work with us where they're at right now.
[1:23:02] So they can't do a $50,000 commercial, but hopefully you can get them to a place to where they're kicking hard enough and making enough money from social from teaching them how to do it- And developing their social strategy...
[1:23:13] developing it so they're not just, you know, shooting things at the wall and praying- Yeah... something sticks.
[1:23:17] You know, so we've talent- uh, partnered with a talented strategist, Lucas, and he's helping us kind of build out this offer, which is gonna start this week, which I'm super excited about.
[1:23:25] But, you know, taking a brand who has either tried social and thinks it doesn't work, because it definitely works, or maybe ran paid ads and they did terrible, or just feels lost when it comes to creating content, like- And, like, what they make, how they do it- Mm-hmm...
[1:23:40] generating ideas. Yeah. So- We wanna, we wanna eliminate all of that for these brands. Mm-hmm. So, like, come in,
[1:23:46] intake everything that they're doing, figure out formats that are gonna work for them, script their videos, give them great hooks, allow them to just go out and make the videos, but h- hold their hand while we make them.
[1:23:56] So while they're cutting these videos, give them feedback on how it can be better, and then just grow with them and help them reach, you know, trust, earn more dollars at the end of the month, and keep growing their brand so it's no longer just a commodity- Yeah...
[1:24:11] it is an actual brand. And I think most, most brands in quotes are commodities. They're, there's no reason why they buy you over your competitor, and I think the most successful brands win because of the word brand.
[1:24:26] They are a brand name. Yeah. You know what I'm saying? Yeah. It's like why does Aesop have a $48 soap that people buy? Why don't they just buy it at Target? Mm-hmm.
[1:24:33] It's 'cause they, they wanna feel a part of the tribe of Aesop. Mm-hmm. And they want it to say a certain thing. They want this luxury experience- Exactly... when somebody walks into their home- They go, "Ah"...
[1:24:40] this is a symbol of, of status. Of wealth. Yes. Of, or you're doing good or whatever the heck- Mm-hmm... that thing may be. So those are the companies that continue to succeed, the ones that build brands. Brands, yeah.
[1:24:52] Not just rely off of, like, oh, we have a million dollar company, but we, all of it's Facebook ads. If we turn this off, no one would buy our shit. Mm-hmm. You know?
[1:25:00] Which is, like, the luxury market is so fascinating in that way- Mm-hmm... 'cause it's... People are spending 1000X, 2000X on a very similar product that someone could get for a few hundred bucks. Yeah. You know?
[1:25:12] Or they sell it on Canal Street, and you can buy the same purse, but it's not as cool unless you go to the store. Yeah. You know? Yeah, it's like, um- It's fascinating...
[1:25:21] people talking about the economy and the shitter, but it's like, you know, Nobu, g- they're fully booked. Nobu, Nobu ain't- Yeah. People are spending money. Yeah. Yeah, seriously. \[laughs\] No, seriously.
[1:25:31] A big reason you guys have been able to lock in some pretty awesome jobs is because of how dialed your pitch decks are. Mm. Like Brayden mentioned, you're typically going up against other companies.
[1:25:44] In an ideal world, they find you, they love you, they wanna work with you, they tell you the budget, and then you're just off to the races.
[1:25:51] But oftentimes it's not that easy, and you're going up against other competition. And so talk to us about how important pitch decks are, and is, is that something you really learned while you were at 72?
[1:26:05] Reeves the GOAT of decks, by the way. Yeah, no, your decks are insane. I, I wouldn't claim being the GOAT. I, I've gotten really good at them \[laughs\] but there are definitely people that are way more talented than me.
[1:26:13] When you, dude, when you see some of these crack decks, you're like- Yeah... I get why they charged what they did. Mm-hmm. Like, people's full jobs- Are designing decks... are designing beautiful decks.
[1:26:23] Yeah, which is crazy. Insane. And I'm super grateful that I learned how to design in college. Like, I just- So true, bro...
[1:26:32] found \[laughs\] an interest in it, and then I started doing our fraternity's apparel, and then I learned how to use Photoshop and Illustrator, like- We would be cooked without Reeves' knowledge of design making. Yeah.
[1:26:43] From the frat perspective, like you guys wouldn't have been able to get- Yeah, we wouldn't have been able to grow... good rushees. \[laughs\] Yeah. That was the, that was the different, that was the difference maker.
[1:26:50] Oh, from Blue Stripe. Yeah. Yeah, yeah, yeah. Yeah. You love doing those ones. Yeah, I do. That joke where you like- \[laughs\] But see, see that's what, that's what you gotta do though.
[1:26:58] If you're thinking about doing a company with anybody,
[1:27:01] think about all the skills that you have and write them down, and then write down the other person's skills and make sure, for the most part, that they don't overlap. Yeah, my list is a lot longer than Brady's.
[1:27:11] \[laughs\] Some bullshit on that list. It's like- \[laughs\] How, where does Brandon fit in the design category? Brady goes- Negligible on the, on the floor. I go right- "Yeah, that looks great, man."
[1:27:19] "That looks great, Reef." \[laughs\] That, these are my two phrases of design: "That's not it," or- \[laughs\]... "That is, that's great, dude." That's so real. \[laughs\] "That's actually great." I'm like, "That is not it."
[1:27:27] There's something about this that's bothering me. That is not it. \[laughs\] That looks great. And that's called having taste, Liam. Do you remember that? Yeah.
[1:27:32] It's like Brady's like- I'm a creative, I'm a creative director now. \[laughs\] Yeah. Telling the clients when you're editing something, a good piece of feedback is not, "This doesn't look good."
[1:27:41] What does he do when he sees... \[laughs\] That doesn't look good. That just doesn't look very good. But I'm, but I tell them, and you know, with designers- Yeah...
[1:27:47] I go, "I don't know how to speak your language, so you can say I'm an idiot." Yeah, yeah, yeah. Okay? Go ahead. \[laughs\] Um, no, it's really important. I think it's
[1:27:55] building a pitch deck is just as important as being a good salesman. I think it is the same skill in a different vehicle. Mm-hmm.
[1:28:03] You are pitching an idea and you are selling an idea, and taking somebody down a little path or a little journey reading through this presentation that you've built and understanding the vision that sits up here and making it make sense in their head.
[1:28:18] 'Cause a lot of times people who work in corporate allowed themselves to lose their creativity and their imagination- Mm-hmm... over time.
[1:28:28] And it's an unfortunate thing that society has kinda like pushed on people, 'cause I, I'm a true believer that everybody can be creative and everybody had an imagination at one point or another, but a lot of people- I like that...
[1:28:43] have let that go. And so how do you provide that imagination and that visual painting picture in somebody's head when they don't exercise those muscles anymore? And it's really just like sifting through references.
[1:29:00] And I, I don't know what everybody else's strategy is when they build their decks, but for me, I just go through and find things that I like, and then it's, it's basically just like the shit sheet of imagery \[laughs\] where it's like there's everything.
[1:29:16] And then I'm like, "Okay, what actually, like, looks good next to each other and what feels cohesive?" Like, okay, I'm talking about lighting, so out of all the references I pulled, which ones have the same lighting?
[1:29:28] 'Cause in my brain it made sense when I was, like, going on this- Yeah... discovery phase, but then if I just take everything and I'm talking about everything at once, it doesn't make sense for somebody else.
[1:29:38] So w- every... And, like, cinematography, which of these are actually the shots that I want to emulate for what we're doing?
[1:29:47] Now strictly lighting, now strictly color, and then I, I, I write up what I'm thinking and then I pull the images that actually fit for what I've written.
[1:29:56] Because otherwise it's like, "Okay, well, you wrote this, but these images don't match," or, "These images are all over the place and they're not very cohesive." Can you give me two or three tips for
[1:30:11] crafting and designing a winning pitch deck that, like, maybe a beginner wouldn't necessarily know? I think simplicity is key. Mm.
[1:30:26] I think there's oftentimes people wanna do way too many things in a frame. Just keep it simple.
[1:30:32] Take one photo, do a few little details on the edges, like I always put Blue Stripe, I put the, uh, client's logo, I put directed by Shrifah Treksai or whatever, and then a page number.
[1:30:45] And then I'll have the image and then a write-up about what's in my brain. And people wanna make, like, these mood boards and these collages and da-da-da. You don't need all that.
[1:30:54] That's, like, very overstimulating for people. So take it little bite-sized pieces at a time and make it simple, sleek, and elegant. Okay. That's, like, the biggest tip I think I could, could give.
[1:31:05] Simple, sleek, elegant. Shebang right there. \[laughs\] I just saw this video of this dude. He goes, "Dads anytime they get a new song stuck in their head," and he's like, "Ah, shebang." \[laughs\] He's like...
[1:31:19] \[laughs\] I've been saying it for everything here, dude. Yeah, you have been saying it a lot lately. He's like, "Yeah, yeah." Like, shebang. Yeah, he's like... It's like, "Babe, where are those Diet Cokes in the fridge?"
[1:31:26] He's like, "Oh, never mind, I found 'em. Diet Coke, shebang." \[laughs\] Oh, shit. But yeah. And then also try and take the client's brand identity that they've already built and give it back to them. Yeah.
[1:31:42] Because you wanna live in their world. So find all their logos. If- Yes... you can't download a high-res, ma- remake their fucking logo. I do not care.
[1:31:51] I will sit in Illustrator and make a bunch of shapes until I make their logo. Wow. Find what their fonts are. Like, if they have a, a color palette, make sure you stay in that color palette.
[1:32:01] Like, they will love the little attention to details that you've put together to showcase their brand back to them in your own unique way. It's like a
[1:32:13] pretty easy thing that you can do that they're normally pleasantly surprised by. Yeah, 100%. Um- I think it's the easiest thing you can do that they're very- Yeah... appeased by. Going back to your days at 72 for a sec,
[1:32:28] how long did you work there for? I worked there for, uh- Almost three... I think, like, almost three years. Yeah. Okay.
[1:32:38] During your time at 72, what did you do during your tenure there to make yourself more valuable to the company and to, you know, start working on bigger jobs, um- And have your, have your, your role grow in the company during your three years there Yes, and.
[1:32:58] \[laughs\] Yeah, 100%. Yeah. I think I sacrificed a lot of my social life- Mm... to get put on better jobs and work, like, more and work on cooler things.
[1:33:14] And not everybody's willing to do that, but I think life is a game of sacrifice. I think- I'm so with you... you cannot continue to move forward without taking things away. Totally.
[1:33:26] It's all, it's all push, pull, give, take, yin, yang. It's all about balance. So I, the, I think the second summer that I worked at 72ANDSUNNY, I always worked one weekend day. The entire summer- Mm...
[1:33:41] I went without a weekend day, whether it was Saturday or Sunday, to work on whatever NFL job I was working on.
[1:33:49] And not everybody's willing to do that, but did that also allow me to then work on a Super Bowl campaign and win an Emmy at 22? Yes. So it's, it's just a game of sacrifice.
[1:34:02] And being a good person and a good vibe, it's really easy. Like, just being kind to other people, checking in on people, asking where you can help. "Oh, I'm grabbing a leisure out of the fridge.
[1:34:16] Would you like a leisure as well?" \[laughs\] Doing those little things go so far. Saying hi to people. Like, meeting somebody new. I'm walking in the office and somebody walks out of the bathroom as I'm walking in.
[1:34:29] I haven't met this person. I'm not gonna ignore them and be like, "Oh, my goodness. So sorry. Yo, what's your name by the way?" Just being a friendly face. Mm-hmm.
[1:34:37] And I walked through that office and a majority of the people in there knew who I was because I was just the happy-go-lucky dude who was working hard.
[1:34:46] Sometimes when I was in the office I'm like, "People here don't think I work, man," 'cause I'm \[laughs\] fucking off, working- Personality hire, just back at it again He's a personality hire...
[1:34:54] like, I promise you, when I'm at home, I am locked in for like- Yeah... 10 to 12 hours a day. This is, like, the only time I'm getting to talk to people, 'cause it was at, towards the end of the pandemic and \[laughs\]
[1:35:05] yeah. So just, just being a good person and putting... I don't want to ever put my name on something that I'm not proud to share. Mm.
[1:35:14] Like, I am going to make sure I do my part to make sure it's the best possible outcome, best possible product, 'cause I don't want people knowing that I touched that if I'm, I don't think it's sick. Yeah.
[1:35:25] I don't always get to be the decision-maker on whether it's sick or not \[laughs\] Yeah... but at least I did my part to ensure that I put my best foot forward. So at a larger ad agency like 72, are there...
[1:35:42] Like, were there multiple people with your similar role that are, you guys are k- like, kind of fighting for to get put onto different projects? Kinda, yeah.
[1:35:53] So there are executive producers sh- who oversee, like, a few of the different accounts. So let's say one is on... Gosh, should I, like, use brands? I'm- I wouldn't. Yeah. Okay.
[1:36:07] So the EPs will oversee, like, four different clients, and then they will be the person that's working with the, like, group director of account who oversees those other ones.
[1:36:19] And they're like, "Okay, we have these things coming in the pipeline. The creatives are developing this. We need some producers who aren't working on things or have the bandwidth to do it."
[1:36:28] And so they will also work with, like, the resourcing team, figure out who's working on what, and then put different people of different, um, seniority on the project depending on how big the projects were.
[1:36:41] So there's the EP, then senior producer, then mid-level producer, then junior producer, then production coordinators.
[1:36:48] And I feel like I moved up pretty quickly in comparison to most people just 'cause I was, like, always on something, always down to do the next thing and keep working and keep going. Um, but I don't...
[1:37:02] A- I didn't ever feel like it was a competition because there was so much work to go around. Did I get all the coolest ones? Yes, but also other people might not think that they were cool for them either. Mm.
[1:37:15] Like, I liked working on the NFL. I like sports. If you don't like sports- Yeah, NFL... you don't care. Yeah, no one cares. Yeah. Yeah.
[1:37:21] So it's, it's like, it, it can be competitive if all the people have the same interests, but it's not necessarily an actual competition between other people at your level. Mm-hmm.
[1:37:31] But I also started getting, owning my own work when I was a junior producer, and when I left they put senior producers on my jobs, and I was like, "What the fuck?" Mm.
[1:37:41] \[laughs\] I'm laughing so hard because Brayden \[laughs\] Brayden's got four open cans next to his seat. \[laughs\] He looks like one of those kids who just, like, doesn't clean his room, just, like, playing video games.
[1:37:53] You know, you walk in, he's like- He is. You got the, you got the- \[laughs\]... half the plate of pizza rolls. Dude, my, my room is clean right now. Your room is clean right now. It was, it was- I was remodeling.
[1:38:03] I had a fish tank in my room. That's fair. Yeah, yeah. Dude, the new tank- Sick, right? New tank Everyone's talking about it... looks fire. It looks sick. \[laughs\] Everyone's talking about it.
[1:38:08] So should we just go into a little PPD because- Yeah, we can go into a little PPD... we got our good friend, Reece. Yeah, yeah. That's good. What's PPD? Post-pod debrief. You're- The after party...
[1:38:16] he m- he made it to the after party. Dude. Can you believe that? Unbel- Well, Reece been going to other after parties, and now he came to ours. Stopped by ours. You made it in, man. Welcome.
[1:38:26] This is a, this is a great place to be. It's hard to get through that door, so. \[laughs\] Yeah. Yeah. Now we can talk about Colombia- Mm... and that game. We've been crushing World Cup. Yeah. Not so much this guy.
[1:38:39] Bro, she and I just went and watched the US play- No way Yeah, dude... and got absolutely That was brutal... dicked on. \[laughs\] Dude. That was brutal. World Cup's been sick though. World Cup has been amazing.
[1:38:49] It's, like, literally my favorite thing every four years. And I'm not a big-... like emotionally attached sports guy- Yeah... except to my University of Oregon Ducks and the Colombia national team.
[1:39:02] And our, our team lost yesterday in penalty kicks, and I was really sad.
[1:39:07] And then I, I was able to sit back and reflect, and I'm like, "Oh, I understand men that like have that emotional attachment to their teams- Sure... a lot more now," 'cause- You get it 'cause you felt that.
[1:39:16] I felt it, dude. Like I actually... I have no control over whether this game \[laughs\] wins or loses. Yeah, yeah, uh-huh. And I was just sad. I- But Colombia had it, though. The... It was... There was w- I texted you.
[1:39:32] I was like, "Dude, I can't believe he missed that." Dude, dude, dude, dude. So did you guys lose in PKs or what? Yeah, we lost in PKs. They did. Oh, no. But in like... It... I think it was extra time or like...
[1:39:42] Yeah, I think it was in extra time. Fuck. Buddy just has one-on-one with the keeper, absolute sitter. Yeah. Could just totally put, put your head down, put your body over the ball, just rip it to the far corner. Dude.
[1:39:54] Just sends it- No... skies it to the stands. Yeah. Oh. Yeah. Man. You hate to see that, man. You hate to see it. You hate to see that. But that's the beauty of the World Cup, man. It's just anything, everything goes.
[1:40:05] Who do you think's gonna win? Dude, probably France, but I don't really want them to win. Dude, the French are good, huh? The French are disgusting. So can Mr. Erling, can, can he stop the French? That's the question.
[1:40:17] That's the golden question. Do you think it's gonna be them two? Well, it's Norway, England, and then Morocco, France up in that side of the bracket. Oh. If Andrew Tennant's watching this, I fucking hate England.
[1:40:29] \[laughs\] I really want England to lose. They got us out of the World Cup the last World Cup we were in, and he always sends me that, that YouTube video- That-... of those penalty kicks.
[1:40:40] 'Cause again, we lost in penalty kicks- Damn, damn... the last World Cup we were in. So they've kinda cursed you guys.
[1:40:44] Wait, but is, so is it possible that Norway and France plays in the finals, or would they be in the semis? It would be the semifinals. Semis. Yeah, which would be pretty elite, I can't lie. Yeah.
[1:40:54] It would be awesome to see England lose to Norway. Fuck you, Tennant. \[laughs\] And then it would be really... I mean, I would love if Morocco beat France. I don't think it's gonna happen. Sure. But that would be sick.
[1:41:06] Man. Brown boys gang- Yeah... type shit. \[laughs\] Yeah. \[laughs\] What else is, uh, going on? Dude, I gotta tell you guys a crazy story. Yesterday we're in a meeting, right? I'm sitting there. I just shaved my beard.
[1:41:17] Oh, are you sure you wanna tell \[laughs\] this? We're gonna cut this out, but I have to tell you about this- Okay... 'cause this is f- Well, I'm not cutting it out. \[laughs\] This is insane. Okay. It can stay in.
[1:41:24] This is crazy. I just shaved my beard. I'm sitting there in the meeting, and I go like this, and I go... I felt something right there. And I go, "Do I have a mole?" And I- And Brady goes on the call.
[1:41:33] \[laughs\] And then no, I flick, remember I flicked it. I flick it, and I go, "When did I get a mole? Like, did I just grow a mole on my chin?" I'm like, "I never-" You said this out loud? No, no, no. Oh. They...
[1:41:41] I muted myself during the call and- Oh... and I turn my camera off. Mm. And then I go to the mirror, and I look. I go, "Oh my God, I have a little mole." No. I touched it. Had legs. It moved. It was a tick, bro.
[1:41:54] It was latched onto me, dog. What? Bro, I was so rattled. He had a tick in his beard. I had a tick on my chin, dude. It fucking kinda hurts now that I just touched it right there. Damn. Yeah, bro. Hm.
[1:42:04] So I popped the little guy out. He was flat though. I look it up 'cause I'm like where would I get a tick? We're in LA. Like ticks don't live- Yeah, it was the East Coast.
[1:42:12] Bro, we were just in, in the woods for this Carhartt shoot. Oh. I was literally staying in the woods, and I went on a walkabout through the woods. I went to Jack's cabin, and I took the scenic route through...
[1:42:23] I didn't go on the trail. I went through the woods. So the little fucker must have just popped onto me. \[laughs\] Yeah, or something. What... How do you think that happens?
[1:42:29] Do you think it gets on you, like- Bro, but like-... legs works its way up, or do you think it just- No, I, I literally have no idea how I wouldn't have felt it. Yeah.
[1:42:38] But you know what's crazy too is that I'm asking chat, and I'm like, "Am I gonna get Lyme disease or something? Like what's the vibe with this?" Oh. 'Cause they're deer ticks, and it was the exact... It was a deer tick.
[1:42:46] Oh. Of course, dude, it's so funny. I go, "I'm... I live in Los Angeles." He goes, "Oh, no. In Los Angeles you have nothing to worry about it." I go, "I think I got an album in New York." "You have a lot to worry about."
[1:42:55] \[laughs\] Lyme disease is prevalent \[laughs\] there. Yeah. I'm like, "Bro, of course." But the little guy wasn't big. He had just gotten onto me, so I don't know if he was just living life.
[1:43:03] Wait, so are you still worried about this Lyme disease thing? I'm just riding it, man. I feel pretty good. I'm a tough guy, but yeah. Dude, you know Beebs had Lyme disease? I'm aware, and I'm terrified- Yeah... of that.
[1:43:11] Yeah. She said monitor symptoms. Yeah. No, I know. When you said that, I was like, "Bro, you might wanna go to the doctor." Yeah, it was pretty traumatizing. I was like, what the hell?
[1:43:21] It was like, dude, I ke- I saw a video of someone getting like an earwig in their ear. \[laughs\] Yo. Oh. You know what I'm talking about? Have you not seen this shit? An earwig? Yeah. You know what an earwig is?
[1:43:29] It's a little long- Those little like slimy-... little slimy long things... little... Oh. I guess they're not l- slimy, but- They're not slimy... they're long. They got hella legs. Yeah, yeah, yeah. They got like two...
[1:43:35] Kind of like a mini centipede in a way- Yes... kind of thing. Oh. Yes, yes, yes. But yeah, bro, I was like, "Oh my God, this is such my luck." Everybody please tell Brayden to shave his beard down further.
[1:43:47] I'm gonna keep... This is great. Yeah, I think you could even go a little less. Really? Yeah. Wow, okay. I feel like it allows- Do you think-... your, your jawline to be more prevalent when you go less. Wow, okay.
[1:43:56] I'm just getting unsolicited advice. Well, I think it would look- I like it this length... we'll let the, we'll let the Rocks comment. Yeah, yeah.
[1:44:02] The Rocks can let me know if, with the beard, but I need to keep it this length in case I go to New York ever again. Or less. Oh my God. Yeah. That was terrifying. Yeah. \[laughs\] It's like actually insane. That's true.
[1:44:11] We, we had like a f- four-day shoot in North Carolina and New York. Shout out to the squad that helped us out over there. It was super dope with Carhartt.
[1:44:19] Can't talk about like what we filmed, but it's gonna come out here in like a month, and we- Is it actually? I think a month, yeah. No way. Sick. Swear. Both? I believe so. We got to do it with our buddy Jack Cook. Yeah.
[1:44:31] He directed it, so it was fun. It was a great time. Jack. That's awesome. We were braving the elements. Hotter than heck, but we got it done, and then our... Literally where we stayed was just in the middle of the woods.
[1:44:41] Bro, I'm sitting out there, and they gave you a little campfire to start, so I started a little campfire. I'm sitting there. A little fire. Hear something in the woods. It's dark. I don't like that.
[1:44:48] Um, you know, I don't have a pocketknife on me. I'm like- Do you carry a pocketknife typically? Do you? I, I used to all the time. I used to carry like my, my Swiss Army like- Yeah, yeah...
[1:44:59] multipurpose tool, but- Just in case, man... then TSA took it, so that's gone... oh, do you carry one, Hughie? Do you carry one usually?
[1:45:03] Dude, my girl's like on me about that I don't carry a knife, and it never like dawned on me.
[1:45:08] \[laughs\] I used to carry a knife all the time 'cause my grandpa carried one, and my dad always has carried a knife, so I used to always have one, but like I haven't in a while.
[1:45:14] But I \[laughs\] was out in the woods, and I'm like... You get a little scared by yourself, dude. Jack wasn't sleeping right next to me. Yeah. He's like up on the mountainside. So I'm like, hear something in the woods.
[1:45:24] I'm like, "Holy shit," and it's just pitch black. There's no lights. There's literally nothing. It's just my little fire, and then out of nowhere three deer just pop up in the woods- The woods. Oh...
[1:45:33] and I was like, "Yo," \[laughs\] Oh, shit. \[laughs\]... "y'all scared me." \[laughs\] We're good. It's fine. You, you guys can stay around. \[laughs\] You scared me. Don't, don't do that again. That's funny.
[1:45:41] No, so we had to get up at like 4:00 AM, and I heard shit outside. I go, "Hopefully it's deer, not a bear." And there was like nine deer like right outside of our cabin- Dang... just hanging.
[1:45:51] They're just- You should've had some carrots, man. Yeah, just posted up. I don't know if deer like carrots, man. Feel like they like carrots. I think they do. Yeah. Or is that reindeer?
[1:45:58] \[laughs\] I think that- \[laughs\] Or is that reindeer? Might be, might be a caribou, man. Hm. But it's all good. This has been an absolutely insane episode of the 505 podcast.
[1:46:08] If you're still here, please hit the subscribe button, drop us a comment, leave us a like, follow Blue Stripe, and we'll see you guys all next week. Peace.

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