Vipul Bindra: 0:04

Welcome to another episode of Studio B Sessions. I'm Bendra, the owner of Bendra Productions here in Orlando, Florida. And we have Mario again on the producer table. How's it going, Mario? I'm good.

Mario Rangel: 0:16

How are you guys?

Vipul Bindra: 0:17

And our guest today is Logan. Hello, my name is Logan Walker. And you do vetting videos, corporate social media content. Yes. What else? What am I missing?

Logan Walker: 0:30

I do a little bit of real estate on the sign for uh John who you've had on the podcast before. I haven't done it myself, though. I don't think it's something that I would ever pursue by myself. I don't have that love for it like he does.

Vipul Bindra: 0:41

That's pretty awesome. So, somebody who knows about video production, the point of this podcast is, you know, just a raw, unfiltered, unscripted conversation between two video professionals, and maybe we'll get some entertainment or education out of this. So I'm six excited to have you. Let's just start with that. Why wedding videography?

Logan Walker: 1:01

So I think a lot of people that are in the wedding industry didn't always want to go there and intend to be there. It always started with you have the passion for film and you have family members that are getting married. And they see that. Like, oh, you you have a camera, how much to film my wedding, how much to shoot my wedding. So I shot a few of them like that in 2020. I think I had yeah, one for extended family back in Michigan, and then my sister originally had a very big wedding planned. And of course it got canceled due to COVID, and we eventually squeezed down to 12 people. Yeah, it was immediate family for both sides. And she said, Hey, I need you to do photo and video. Like now, I knew it was a lot of work, but at the time I also wasn't super seasoned, so yeah, it's fine. And I think when you're trying to do both and you're new, it's one they're both gonna get very hindered because I'm trying to get a nice shot. And she's like, No, no, no, I want a photo right now. Like, well, I want a video right now because video is my passion, but of course I was gonna do photos too.

Vipul Bindra: 2:08

Yeah.

Logan Walker: 2:09

So that's kind of how it started. Um after those weddings, though, they were kind of we made an Instagram, my girlfriend and I, for the uh company, and I kind of just sat there for a while. She's like, Well, everything's slow right now, why don't we just work on building this up? And that's what we did. So we filmed a lot of some kind subcontractor weddings for a bunch of different companies across Florida, and that's kind of how we built our portfolio before we actually got direct bookings with us.

Vipul Bindra: 2:39

That's pretty cool. But you know, funny enough, what you uh that you talk about direct family or relatives or people you know, it's happened to all of us, including me. I've never shot a wedding, uh, don't want to. Uh it's not my LE, like I said, but that does uh but that doesn't mean I've not been asked. And it's funny, long time ago, before Binder Productions, when I was just a freelancer, um, you know, uh relatives just going, hey, why don't you film my wedding, right? It's like just assumption. And and that makes you actually wonder how many people actually don't care how their wedding video looks because they're not once checking if you've done one. They're not asking, like, you know, sure, you're a relative, but they don't go, hey, let me see a wedding that you've done. They just say, Hey, do you want to do it? Because they're looking for that cheap or low-cost solution or free solution. But I'm like, it's your one day, right? You're not gonna get to see it again unless you record it properly. Obviously, sure, you and I probably could have done it, and and you probably did. I I obviously I said no. Uh, but I'm like, but they had no idea, is what I'm saying. Right. And so, how many people don't care about a quality? Uh, but that and an approach, like you said, people they know in their life that do video and photo. Uh, but that's pretty cool how it started and where you are. And you work with your girlfriend, right? You guys are a team.

Logan Walker: 3:52

How did that start? Um, so we've been together since 2019, and it actually started with so when I shot the first few weddings, she actually wasn't with me when I shot my sister's wedding because it was so small. But when I did another one of my cousins' weddings, she was there kind of being my assistant. She's like handing me the Sigma 50 to 100. So she was helping me pull equipment around. And then after a while, she's like, Well, why don't I just get another camera so I can help you and then we can be a team? So then she got another Pocket 4K. Look at that.

Vipul Bindra: 4:23

Yeah. So was she uh now currently does she do photo, right? And you do video, or you both do video, right? Yeah, so you are a two-person video team. That's incredible, though. You you know, you can keep it in in-house, I guess, yeah uh for both. And uh, so who's the second shooter, you or her?

Logan Walker: 4:42

Well, she likes to say she's the first shooter, but when we actually dump footage, I'm a camera. You're a camera. So I make sure that's how it goes into Da Vinci.

Vipul Bindra: 4:49

You begin, we get it. You're the A camera. Yeah. I mean, I mean it's funny, but yeah, I don't think it matters. But you you know what I mean. It's it's a little bit of healthy competition. Um, so what are your um do you think um juice have certain things like like the the you're good at versus what she's good at that forms a good team or or what makes you guys a good team?

Logan Walker: 5:11

Um I'm definitely more technical than she is. I'm the one that finds the gear, buys the gear, convinces her that we need to buy the gear. Um, I'm always like, need to get this lighting right, we need to do this, and she's she kind of is like a she's kind of an AD in a way, where she's like, no, you need to get the shot, we need to keep moving. Um I think she's more of the people person in the company because she's the one that also does like the client calls, uh the first meeting. She's like, I need you to leave the room when I when I do this uh consultation because you're gonna make me nervous. Oh wow. But I mean, hey, if it works, it works. It works. No, yeah, I get it. She's like, after we get the booking, you can be in the room with me. That's funny.

Vipul Bindra: 5:56

Uh so uh do you guys edit then as well? So you shoot it, obviously. You edit as well. Uh-huh. Uh, do you have an editor or you two do it?

Logan Walker: 6:04

Um so when we after COVID, I don't know if you knew this, but there is a huge wedding boom. Crazy. Um yeah, baby boom, wedding boom, car boom, house boom, all kinds of booms afterwards. Of course. Um, when we started, we were charging sub thousand dollars. Pretty cheap.

Vipul Bindra: 6:21

Yeah.

Logan Walker: 6:21

Um right during the boom, I'd say like early 21 up until maybe early 22 was the boom. We were shooting a wedding almost every other weekend for the first half of the year. It was crazy.

Vipul Bindra: 6:37

Yeah, that's a lot.

Logan Walker: 6:38

Um, and we were only charging twelve, thirteen hundred dollars. And I I'd say our work was pretty good for that price. Like we could have definitely charged more, but we didn't want to charge that much yet because we didn't have the experience. Yeah. So we were getting booking after booking after booking, and she was getting stressed because she handles a good chunk of the editing. We we split it up now, we can talk about that later. But um, we did outsource some edits and we just had them cut um find music, but we still exported it and um did the coloring as well. But now we've kind of slowed down and we're more selective about what we pick. So now we we edit everything a hundred percent ourselves.

Vipul Bindra: 7:15

Okay, that's pretty cool. No, it makes sense, you know, when you're new and then there's a boom, you were just trying to do the volume game, right? Uh uh, but there is a lot of money in weddings if you do them, you know, a luxury way, right? You could charge more and then you don't have to take as many, and then you can pay more attention, you know, you can do more detail or whatever, I guess. Um, but but and I guess there's approaches to it, you know. Uh the volume game's not bad for somebody, that may be the right thing. Um, so what made you uh switch to the this this selective approach? Was it just burnout or was it just uh too much work or or more just wanting more money?

Logan Walker: 7:54

Or um, you know, it's kind of a combination of things. Um I wouldn't say we're super seasoned veterans, but we've shot easily over probably 120 weddings now. Yeah, that's a lot of weddings. You know, after a while, you kind of just get sick of the same thing. When you're charging a certain price too, you expect the weddings to be I mean, this isn't always the case, but you have an idea of what the wedding's gonna be like. And we do a lot of filtering now to find people because we did a lot of weddings that kind of were rough, and when the wedding does not go smooth, the content that you also capture is not good, which makes our videos not look as good. Was it because of bridezilla's or something else? No, not really bridezillas, it's mostly just bad coordination, uh things running behind. Um yeah, it was just kind of burnout, and you know any stories you can tell us? Well, this wasn't directly booked with us, but we subcontracted a wedding that was out in South Carolina, and we were dumbasses. And I think we started at like 10 a.m. and we're like, just gonna leave the morning of and drive from here. Oh so we ended up being 30 minutes late, so that's our fault. I'll take that. Um, but the wedding party was already running behind. The groom was plastered before the ceremony. Definitely not a good sign. Um during the ceremony, he looked like he was not there at all, completely looking around, just super drunk. During the speeches, the uh the mother of the groom was like, Oh, you're the only girl that can handle him. We're we're so happy he found someone, like not good. Wow during the cake cutting, super drunk, and the the bride was like, Oh, come here, let's look nice. For the photos of the cake, he filled his mouth with cake and went like into the camera. Yeah, and then uh she disappeared for us tonight. She's hiding in the bathroom crying, and he was on the dance floor dancing with his buddy and didn't even realize it.

Vipul Bindra: 10:00

I can't I can't imagine what she's feeling.

Logan Walker: 10:02

Yeah, she came out later and he tried going up to her and dancing. She pushed him off. During the uh, you know, like the final exit, the sparklers, she went down with her friend. Wow. It was bad.

Vipul Bindra: 10:14

I can't imagine how you cut that. Oh, well, thank goodness. Thank God.

Logan Walker: 10:18

Yeah, so you had none of that problem. When we when we sent that footage, we're like, this is what happened. Don't know what you're gonna do, but here it is.

Vipul Bindra: 10:24

Yeah. I mean, that's not on you guys, right? That's just the the wedding going the wrong way. Yeah. I I I don't think the shooters would have do you have anywhere uh something you did and it's okay you were new learning some mistake or whatever that happened.

Logan Walker: 10:39

Um you mean like handling people or in like the shooting side?

Vipul Bindra: 10:46

I don't know. Where you feel like, oh, this is what we did wrong and now we know not to do that, obviously.

Logan Walker: 10:53

Taking the word of DJs that the audio is good.

Vipul Bindra: 10:56

I learned that. Funny enough, that applies to car corporate too, because we do so much conference work, dude. Not DJ specifically, but the saw audio guy, you know, they're like, oh yeah, yeah, I pulled the audio from here, and yeah, I don't trust them one bit because you're right. Unless you absolutely hear it yourself, and now I made sure, thank goodness, for devices like the Sync E from uh the track E from uh Tentacle Sync, because you know it's 32-bit float, independent recorder. I literally tell them, no, no, up the volume more, and I'd rather go and fix it in post because you know it's 32-bit float than trust them with anything because you're right. And I'm not not saying that all bad, but I'm saying I've had enough bad experiences, so I'm guessing yours was similar.

Logan Walker: 11:37

Yeah, luckily this really only happened once and when we were starting. So I have an old like task M DR60D Mark II. I still use it, yeah. It works, yeah. It works. Um, it's not 32-bit, but it works. Um, and I was using the first version of the DG or the uh road mic go. It doesn't have internal recording. So this was early 2021, and it was also red flag because the couple booked us a week before, which now we're like, oh yeah, now um so I mic'd the officiant and then I went up to the officiant and I said, Hey, where can I plug in my recorder? And he's like, Oh, I have the single speaker, just plug it in. I plugged it in, was like, oh, there's levels, I'm good.

Vipul Bindra: 12:21

Yeah.

Logan Walker: 12:21

So I get home, the uh road mic was cutting in out the entire time. It was barely usable at all. Wow, yeah, because probably interference or whatever, yeah. Yeah, and I was far. Yeah. So then I listened to the uh recording from the from the recorder, and once the music stopped, it was nothing. Like it didn't even go to it didn't get anything from him.

Vipul Bindra: 12:43

Wow, so there was no vocals in it, just music.

Logan Walker: 12:45

Well, the good thing is what we delivered to the couple was just a highlight film and a few lines we could pull out from the DGI mic. Or sorry, from the road mic. Yeah, and it was fine. And they never asked for it.

Vipul Bindra: 12:59

Okay.

Logan Walker: 12:59

We did message them and were like, would you guys mind rereading your vows and then just sending us an audio file? Okay, so that's good that you and but they they're like, sure, and then they never did it, so they they didn't care. Yeah, they were fine, they never caught it.

Vipul Bindra: 13:12

Because they booked you a week before. That looks like it was a last-minute thing thrown together, and that happens too. Um, you know, some people don't care, but some do. I guess it just what it becomes if you like, for example, for me, you know, growing up, I just saw these big fat Indian weddings all the time. And you know, when you and for some people, there's two I've seen reactions when it's like, wow, I can't wait for mine to be like that. Or it's like, what this is absurd, like you know, thousand people at a wedding, they're going for days and days, and I just was like, nope, I want none of this. And uh, so it was very easy. It was just like whenever I'm getting married, I'm just going to a court signing some papers and I'm done. Yeah. And um, I was like, hopefully, I can find a girl who's okay with that, because I don't want any of this. And that was just because I'd been to so many weddings where I was just like, I don't know, I don't see the point of this. Because you know, I'm never gonna see these thousand people again. It's one thing if it's an intimate ceremony or something, but then there's people who love that. They're like, this is what I want. I want a big in uh or not even just Indian, even in America, you know, they want a big wedding where they go all out for it, and then there's weddings where you know, they're just like, let's wear jeans, yeah, and then just do it, you know.

Logan Walker: 14:26

That's that's that's kind of where I am too. Like, do an elopement, just have your best, closest friends, don't spend over 10k. There's no 5k 10k, there's no reason to unless you really want it.

Vipul Bindra: 14:37

Yeah, or go on a vacation. My point is you're gonna spend money, spend it on yourselves, go somewhere, travel somewhere, do something. I don't know. To me, seem and again, this remember, this is my opinion, doesn't mean it has to be for everyone else. I get it. People love to throw big vettings, and that's where your business is. I mean, you want them to do it, yeah. So so that's okay, but it wouldn't be for me, right? Yeah, yeah, yeah. Yeah, same. Yeah, so but that's pretty cool though, man. Yeah, you've been able to start uh, you know, uh through and and start you said right around COVID or before COVID, was it your first wedding?

Logan Walker: 15:10

It was probably like mid-I think it was mid-2020, like summer 2020 is when I did my first one.

Vipul Bindra: 15:16

So around COVID then, right? Because that's after, I think, when the world shut down. So yeah, so through COVID, and now we're in 2025. You guys are doing uh weddings, but you've also branched out, right? Now you're what doing also corporate stuff?

Logan Walker: 15:31

I do a little bit of corporate, it's only when I'm asked to come in as like a secondhand. Um I've done a little bit of corporate work by myself, just doing like interviews and b-roll, and it's finally taken me long enough to figure out that's where the money is, and it's usually the easiest work, it's just very long hours. Yeah. Um, and the black magic cameras are not good for that.

Vipul Bindra: 15:52

Yeah, yes. How much I like black, and uh a lot of people think after this, like uh, you know, maybe listen to me like I like Sony or whatever. I'm like, I love where like all the tech companies, I don't care, you know, like it's a tool. Uh but black magic cameras may be awesome. Like, you know, like uh people have been like say talk about the Pixis or whatever right now. Yeah, it's like they're great, and if they work for your workflow, then they're great. But as far as I know, uh in corporate worlds, you want to move fast, you want to be, you know, because sometimes they'll give you 15 minutes and they'll be like the CEO is gonna be here, or they're here, roll now. Like it doesn't matter what you set up, and you have to somehow make it good. Uh, because when they see the video, they'll be like, Why doesn't it look good? Right? They don't remember all that they had no time. So you have to be really fast and efficient, and a lot of times, um, you know, the cameras that are good for it just happen to be, you know, speedy cameras. So, yeah, if you especially if you have the older anything black magic like Pocket 6K or 4K or whatever, G2 or Urstas, those would be really hard to do corporate work with, especially at speed.

Logan Walker: 16:58

And no one wants B-RAWs in a deliverable, yeah.

Vipul Bindra: 17:00

Yeah, no.

Logan Walker: 17:01

And ProRes is heavy. How do you shoot ProRes for clients when you do Corporate? Okay. No.

Vipul Bindra: 17:07

Now uh we we'll see on the Ronin 8K what we do because it can do ProRes. Um, I don't know yet, but yes, most likely it depends on the level of client. But again, if I'm using these levels of cameras, I'm talking FX6s, FX3s, uh, anything like that, uh, or even in the Canon's ecosystem when I was, which was C70s, now it would be C80s, C400s, C300s, you know, I'm talking. Uh, I would not shoot the raw option that's in these cameras or or that we shoot the highest MP4 or MXF, whatever the highest is, but in regular. The reason being is uh, and obviously log still, but right most are clients, if we don't have the time and budget to grade RAW, but raw is not necessary. I make sure that the raw is where you know you make a mistake or whatever, or you really need the 16-bin. Uh usually what we're doing on these is we are we want to make sure it's exposures right, so there's no recovering anything because we're not letting anything go past the waveform. And if we are, then that's intentional. That's part of what we're we're trying to do. The only thing we want to do is color grade, and 10, 12-bit footage is enough for corporate level color grade. Anything higher end, I'm either using higher end cameras that I'm renting, then that's fine. Then yes, on um Ari, I have done Ari Raw Raw sometimes. But even then, Pro Res on those looks great. But I'm saying that's a completely different level of client. But most corporate work, I'm saying, like where you're working with a company, uh, yeah, you don't need raw. And if you are, that's just overkill. And if an agency asks for you, that'd be rare. Because I've worked with a lot of agencies, I've never had anyone say, I want raw, they just want whatever's the highest, and the I'm talking H264, compressed codec basically, and they're happy with that. So yeah, I would I would be amazed if anyone ever wanted B-Raw from yeah, maybe bettings again, I don't know, but not definitely not in corporate side.

Logan Walker: 19:04

Yeah. So kind of bouncing off what you said about shooting higher than Sony. Where do you see the industry going right now of people buying higher-end cameras like Alexa's and Reds? Because from what I see, everyone's even in our group, I see people selling their FX6 or saying, like, it's I'm not using it anymore. Yeah, you think that's just gonna trend that's gonna continue?

Vipul Bindra: 19:24

See, it depends on what you're doing, right? Uh, yes, as far as industry goes, again, I I don't I don't I don't have a magic eight ball, right? But I can tell you that you can easily see the trend. Gear's getting better, it's getting more accessible, yet it's getting harder for brands to outcompete because there's so much noise, right? So even though it's harder to make nice get better content, it's easier to make content, right? So I do see the industry turning more and more towards smaller crews, like kind of like the project we did, and we can talk about later, but like that documentary, uh Bower and all type of thing. Uh, but the crews are getting smaller, and that's where the trend is. So if you're somebody who's like, I am union, I only work in you know 50 per 100% commercials, I don't know how long those roles will last. And I guess I could be wrong to keep having those. Uh but I don't think video industry overall is going anywhere. It's just going to be more one person, two person, five person, ten person crews. I hope that makes sense. Less than 20 people basically, and the highest may turn become from 100 people, 200 people to like 40 people. I hope that makes sense. Basically, we're trending towards just smaller crews, more nimble crews, people who can move move faster. Um, same thing, smaller lights, smaller um, you know, microphones. Everything's basically trending towards a faster um package, if that makes sense. So people who can work faster, they're gonna succeed. Now, that does that mean not having an FX6? I don't know. Because I think it's more particular. So people I think who are selling FX6 are doing reels, so that's too broad. But same thing, if you're currently filming on an Ari, FX6 is small. Uh, the way I see it is I don't think RE cameras are going anywhere, they're gonna they rule movies. Uh, the only company that's been able to come and you know, can't even compete with them is Sony with the Venice and the Venice 2 system. But like I said, I don't live in that world. I have shot some you know short movies or whatever, I'm making my own feature. But that's the limit of you know where I am. And if I'm using those cameras, it's for a commercial, it's for a high-end commercial where we have the budget to bring them. The only time I'm using those for interviews in B Roll where it's not a high end commercial, is where somebody just went overboard. And I have friends or people I know that are like, no, we gotta do this fancier. They will they will rent those. And if they have the budget, absolutely go for it. But it's a rental item. I don't see the point of owning it unless you want to consign to a rental house. But even that, that only works. Works if in a bigger market like uh Atlanta, New York, Vancouver, you know, LA, and even LA is slowing down right now. The point I'm trying to make is those cameras are only a good investment if you can rent them out and you can only rent them out in your bigger market. Uh, so those are mostly rental items, and if you need it, you just add it to your invoice and you just rent it. Uh, but so so again, I don't think those cameras are going anywhere, just like FX6 isn't going anywhere until a new one comes out because everywhere. Uh I can't imagine uh like I go to every shoot and there's an FX6 if that doesn't tell you, and I'm talking not even my shoot, like I was in a completely different shoot, no, none of my equipment, and they had an FX6 as the A camera. So it just really depends on what you're doing. What I'm saying is if you're doing reels, short form content, then maybe an FX3 even is an overkill, right? But if you're doing corporate work, FX6 is kind of like the standard now, and I'm sure there's equivalent on each brand. It's just if you're working with other people, you have to be in the Sony ecosystem as of right now, 2025. That could change in the future. Who knows? But as of right now, Sony's kind of cornered um the agency market, at least. So if you're trying to fit into other crews, you kind of have to have FX6s, FX3s, just that's what it is. Which is why I switched. I was like, oh, we want to be able to work, continue working with the people that we work with, and now they're no longer happy with Canons, even though the image quality in the C70s was amazing. It was just like either you switch or you only continue to work with your direct clients, right? You you will lose access to this other chunk of money, and I as a business that makes no sense. Yeah. So I switched, if that makes any sense. Yeah. So people will always continue to sell cameras. You know, full sale gives you an FX6 if you do their film course uh as part of the equipment they package that they give you. So so many of those kids uh graduate and decide not to, or they're going to post or whatever, like they don't want that camera. Uh so FX6 are always flooded into Orlando market for sale. That doesn't mean the demand isn't low. You go to any reality show, there's six of them usually like deployed.

Logan Walker: 24:03

So yeah. It's crazy too, like the value of certain cameras are plummeting to, like reds, for example, because when I was in film school, like, oh my god, we get to touch a red camera. It's crazy. This is like $30,000, and now it's like $4,000.

Vipul Bindra: 24:18

Yeah, and no, you can buy them, and and again, and the reason is um the way they operate is different than Ari operates, right? You buy a 10-year-old Ari camera, it still consider shoots amazing, you can still use it, look beautiful. The problem with the Reds is they're they're innovative, which is good. Uh, but you know, they come out with like DSMC uh three, then the all the DSMC2 cameras that you talk about that were 50 grand and now four grand. It's like because it's completely just you know, uh, I don't know, uh obsolete essentially. The other thing is there was no demand. The demand was created, the hype was uh from a couple people. I think it was Michael Bay was using it for Transformers, and then um I think um uh some YouTubers started showing it off. But uh ultimately, uh, as somebody who's in the industry, and again, I can only speak from the corporate commercial side. Uh-huh. I have never had anyone ask for a red camera. The only time was if we're doing virtual production, we tend to prefer the new V-Raptors, and that too because of the global shutter. It's nothing to do with the red. They are very high-quality cameras with a global shutter, which is perfect for virtual production. So that's when they tend to get deployed. But to be honest, I don't remember the last time somebody asked me, like, we need a red camera. It's usually, again, the hype that you're going into, you know, not that they're bad cameras, especially the new ones. Um, you know, the the Raptors and the Komodo X's or whatever. They're they're beautiful cameras, but they have their limitations, you know. Uh they take forever to start. You know, usually, I at least for me, when I used to shoot a lot more red, it was like you always have to have a backup body. Can you imagine having a $40,000 camera and then having another $40,000 camera that sits there because you never know when this one's gonna stop working on you? It was ridiculous, you know, exactly. So uh, but then there's the advantages. And to be honest, the advantages are again, if you're not shooting correctly, because it has that, you know, that traffic light system, as long as you're not peaking your RGB or whatever value, then you can go and post and recover it. You could completely be off with your white balance and ISO and everything, and you just go, as long as you didn't, you know, uh what do you call um overshoot, you know, the channel, each of the channel, like it's not lost. Yeah, you can basically go and post and recover it, which is amazing, you know. But but the whole point is then how bad of a filmmaker are you, or or you know, how uncontrolled of a situation are you in where all that matters, and that deeply am saying that you really need to recover all that information that comes back to again choosing between raw and not raw, right? And obviously, their raw is one of the best because I think they have patents on it and everything as well. Uh but anyway, my long short is I as a business, nobody wants red, and if they do, it's usually in music videos or maybe some short films or movies where they don't have budget. Anytime there's a budget, I have never seen anything else asked outside of either an Ari or a Venice or Venice 2. And um, and even Ari, like there it's really literally nowadays mini LF or 35. Very rarely have seen a mini even now. So those are going almost obsolete, at least for my type of work. And then same thing, corporate is just Sony, it's just somehow they've cornered the market. Uh, like I said, no, I've I had one request for Canon in the last four or five years. Nobody wants Canon anymore, but it's the buttons, it's the opposite, Logan. But think about this way: like you're doing reels, you can shoot them, whatever. You bring a black magic, a Lumix, uh, uh, a Sony, a Canon, even in our. I mean, it's what do you want? Who who's gonna care? As long as you can rotate it, and you can and you can give them the reels that they want. So, uh, and and funny enough, I've done more shoots on an iPhone. Talk about requests. I'm so glad I just thought of this. I've had more people ask for an iPhone than red or black magic or Canon or any of these cameras. So that is now a trend. Yep, you better get good at making full videos with iPhones, and and a lot of people think iPhone means oh, cheap videos. No, a good client when they're making UCG content or or any of the content where it needs to be shot on an iPhone, that does not mean my budget or team gets reduced. We still have lighting and sound and really high quality talented people. Yeah, the rate doesn't change. Like my rate doesn't change if you ask me to shoot an iPhone or an FX6. Why do I care? You know what I mean? I hope that makes sense. It's but it is a tool that is getting very popular. So I do see value in that. That learning all these apps, you know, the Black Magic app or whatever app to be able to get the most out of your cell phone. Uh so that trend is something new, you know.

Logan Walker: 28:53

Yeah, yeah. So when you are doing shoots with an iPhone, you're always using the Black Magic app.

Vipul Bindra: 28:58

Well, it depends. To be honest, I like the default app. People may not like it. Uh, but yes, you can control, you know, your shutter speed and all that. So if it that does matter. If I'm doing a reel or whatever, a lot of times I may just even use the default app. But no, if I'm doing like, yeah, paid video, I'm talking with budget. Yes, we want to use an app like Blackmagic where we can control the shutter speed, we can control the ice, so we can get you know some some control back into it. Yeah, we can also shoot in log, you know, all all the all the stuff.

Logan Walker: 29:24

Yeah, yeah, it's it's so incredible what the phones can do now. I um I finally got a phone that supports the Black Magic app in S25 Ultra, and they finally added Samsung Log to it, and I've been playing around with it. I'm just amazed. Like I was thinking about five, ten years ago. I never thought it would look this good ever.

Vipul Bindra: 29:42

No, we just did a shoot, and I don't mention it in the season before, but like the shoot that we did of the car track, Mario. Talk about the footage, how incredible that looked. That was just pocket threes.

Mario Rangel: 29:53

Yeah. I think both we were amazed, like we were shocked like how good it looked like with a tiny, tiny camera.

Vipul Bindra: 30:02

Yeah, it's one-inch sensor and it looks incredible. Um so now, yes, there's limitations. We can tell it's a small sensor, the depth of field, you know, the the the the I don't know, the lens choices that you have. I mean, there's a lot of limitations, what I'm saying. Right, but at the same time, you go back to the first Osmo, it looked bad. And I don't I don't I never liked that footage, but even I'm like pocket three, and and you know what's annoying me? Because I never considered that camera, it's not part of my workflow. I never needed it. You could have bought like I think Hosco, I saw them selling for like 400 bucks or something like that. And I was like, oh, good for vloggers or whatever. And I just passed that, didn't care, you know. And now, because of tariffs, the camera's doubled. I think uh it's like nine, eight hundred uh nine hundred, two thousand dollars for the package with the creator combo. But point is a camera that I saw, and Justin kind of introduced me to it more than you know, just YouTube videos. Uh Justin, who's on last season, you know, he was doing a lot of pocket content. Um, and I know in that uh the title makes it look like that's Holly Shoots on he shoots on other cameras too. But that was just the primary conversation because it was different to me that you can make a living with a Pocket 3 camera. Anyway, so I never considered could have even bought one then. And now when we needed it for a shoot, I was like, I need a Pocket 3, let me go buy one. Thousand dollars. I'm like, what happened? I personally remember just walking past it, you know, like seeing for $400. So the prices on these cameras more than double. I think even without accessories, it's like $800. So it's quite literally double of what I've seen the price for it. Um, and I think same thing, creator combo was like about $500 or like uh at a discounted rate. Um, so yeah, the prices have doubled, and I don't know if it's worth a thousand bucks, but again, the quality on the camera is so incredible. Like I said, just like your cell phone, I think this is the chips or whatever the processing is going on. But at the end of the day, if you're making reels or you're making cheaper content or or content where you want it to look like a person made it, even if it's professional, I think these cameras have come a long way. It's just surprising to me like what you can capture with a tiny sensor.

Logan Walker: 32:10

I I mean at this point, I think it's it's mostly just the software carrying everything. Because if you can look at a video that's comparing something small like a phone or micro four-thirds and a large format camera on a phone screen, and you're looking at them, some people won't be able to tell the difference at all if if you're not doing like a dynamic range test.

Vipul Bindra: 32:28

Yeah, whatever. Or or if you're not trained, and that's what like and I get it. Filmmakers are snobs, I get it. I can look at footage and go, and I've done that sometimes, you know, I'm like with a clam, like uh, you know, like but but point I'm trying to make is most regular people don't care. I don't know how much we think that people care about dynamic range and windows being blown. Like if you go watch real Hollywood movies, it it like Killbill, I think, is one example, or where Quentin Tarantino, like quite literally, the windows are blown out. Like, here it'd be like if you nowadays, I'm saying you make a video, windows are blown out, you put on YouTube, first comment would be you know, you overexpose the shot or whatever, right? So, point I'm trying to make is we are all snobs, we all have like the skin tone is too green or pink or whatever, like there's a certain thing you like, but the truth is in art, right? There's two elements to filmmaking. One's the science of it, right? The shutter speed, the motion bladder that's gonna cry. Yeah, the technical side of it. But and that those are the choices that you make, right? And then the other side of it is the art of it, you know. Does that mean if you you know, if the shot is overexposed, it's just wrong? If the the skin, the color grading is a certain way, is that wrong? At the end of the day, it's it's an emotion and storytelling tool that you're using. And as long as your audience gets it, they get it. You know, I think it's just also and it's okay. I'm saying your filmmaker buddies will always critique it and find things in it. Like I say, you give me a video, I can I can probably find a million flaws. And I'm sure the same thing. Somebody's like, oh, his video, I can do that, right? They don't see the other side of it. What's creative, what's intentional, what's actually getting us the results, which is what matters, especially in corporate world. A business does not care how expensive the camera is. Like, shout out again to Steven. Listen to his episode last season, the the president of the Chamber of Commerce. He had a very good perspective on it. He's hiring you, if let's say he, and as a client perspective, I'm saying if he's hiring you or anyone else is hiring you, they're hiring you. They're leaving the technical and creative to you. They may have some ideas, but the rest is on you. They don't care if you bring a black magic. They probably wouldn't even know. And if they were, let's say, a nerd who does like technology, they'll be like, oh, black magic camera, right? They're not gonna be like, oh, you're using black magic camera. Like, I hope that makes sense. Yeah. Sense for so mostly what they're looking for is creative vision, and that has to be what you like and your client likes, and then their audience likes. I don't think it you are trying to appease in filmmaker audience, or if you keep doing it, then I mean that's fine, but then you'll just never progress because you know they will find now. That's why when I people ask me for critique, I always ask like you're asking from the business perspective to or creative perspective. Because to me, creative is a little uh, you know, unnecessary in corporate filmmaking. Now, business perspective is very important. I'm like, is this video gonna get you some results? Then I can talk about hey, storytelling elements like hey, this could have been cut faster or slower, or this video could be cut, you know, shorter, or why is the person looking straight at camera when we should be observing them? Or why are we observing them when they're talking directly to the audience? You know, it's things like that, framing the choices that actually affect uh how the story is being told and how the audience is perceiving it, to me, is far more important than you know, technical or creative. 100%, yeah.

Logan Walker: 35:56

With our uh couples for all the years we've been shooting, not once has anyone asked what camera do you guys shoot with? They don't care.

Vipul Bindra: 36:02

Yeah.

Logan Walker: 36:03

You when especially for weddings now, I mean in social media in general, you're selling yourself. Like I like your personality. Yeah, I know that if I hire you, my day's gonna go well. I want you to be there. They don't they don't give a shit if we show up with a Canon M50 or a Pixas 12K. Yeah, they don't care.

Vipul Bindra: 36:20

As long as the tool does the job, it's kind of like okay, I hired an electrician to come do some work in my house. Do I care what pliers and what wire strippers they bought? Now I expect here's the here's the minimum though, on the other side of it. I do expect a professional that I hired that I'm paying a lot of money to will come with the right tools, right? As long as they come, they do the job, they leave, the job is done correctly. I'm like, awesome, right? And yeah, if they came in and they did a bad job or didn't have the right tool, they're you know, trying to strip wires with their mouth or whatever, I'll be like, uh, you know what I mean? Yeah, so so it's so I get it. Like, you know, you showed up with a disposable camera. I'm sure the client would be like, What? But at the end of the day, they don't care the difference between this, like say DSL. So I had Jason Cannon on the podcast, right? Photographer, he does vetting photos. Same thing. He's like, I'm still on DSLR, and you know, uh, somebody listening to this will be like, what? You know, mirrorless has been out for so long. But at the end of the day, clients don't care. If it's giving you good images, the vettings are going great. Why does it matter? You have been moved on. You know, there's a mirror in your camera, sure. Like you know what I mean, like doesn't change anything. It doesn't change now. Sure, again, maybe the cameras nowadays are better or whatever, but again, you can do your job, you can get the results, clients are happy, is how business works. And this is what I'm saying. There's a difference between being in love or passionate about the industry and then doing this for someone else for money, if that makes sense. And that's where the the the line needs to be found. And it's there's it's okay. I'm just saying if somebody's listening who's like a filmmaker and they want to make the best movies, they want to use a red camera to get the most dynamic range and uh go make some really, really amazing footage, they can, especially if you have time, everyone's volunteering their time. You have two hours, three hours to set up every little thing, then you can. And and that'd be great. But that does not mean that's a business thing, right? Uh, versus when you're selling, you're going to a company and you're saying, hey, pay me thousands of dollars of money, and I'm gonna give you something in return that's gonna make you at least 5x, 10x that money. Because nobody's gonna give you $2,000 if they're gonna make $500 from it or nothing from it. I hope that makes sense. Yep. And that's where the value is. The value isn't how beautiful the image is. Now, yes, you want it to be professional, good looking, got nice color grade. All those are because they expect you to already do that. Yeah, right. They they shouldn't even have to ask for it, shoot it well. Uh-huh. Because if you're at that stage, then you need to go work for other people, right? Uh right, don't do you agree with that. No, no, no. Yeah, so I think people are just the two mix a lot, which is the creative and like making the art with you know, filmmaking for making money for the client, whether it's directly or indirectly. Because sometimes video may be about training, so there's no direct ROI, but there is indirect ROI. Because if you don't have to keep training that person over and over again, or you can save hours with a real trainer, there is money being saved, right? But it may not be as direct as sales, right? So, not all videos are immediate moneymakers, but they are still making money from that video, if if it's in even if it's indirect. So, anyway, I like it. Like I said, I like doing corporate and commercial filmmaking. I love being able to make some something amazing for my client, and then they make money. And to me, that's filmmaking. I put my heart and soul into it. But I get it. Somebody who makes movies may be like, that's not art. You know, yeah, you're just making some interviews and you know art. Yeah, exactly. So it's like at that point, you know, you just go, okay, that's fine, you know. Uh, but anyway, but I at least for my projects, I am planning everything. I planning ISO app, you know, like what aperture I'm gonna be at, what shutter speed I'm gonna be at. Like when we show up, quite literally the only thing you can change is lighting. Because I'm fixed or ND. I'm fixed. Like, this is the settings even before I show up, because that's the look I want for the project. You know, so it's like it is what we want, and then we can control lighting, and that's why lighting is key. You have to go there and you know, you have to light, and then sometimes what happens is the other side people don't look at it. That's why I don't judge most people's work because I've had that happen where um you know you go in and it's like, oh, you 15 minutes. Mario was me with me on a shoot where you know we would be set up the first set for two hours, and then it was like, Oh, you 15 minutes, and it's like uh what to change the set completely, and it's like uh, and then you know, we're trying to move as fast as possible, and it's not done because it's not realistic to swap sets in 15 minutes. Um and uh and and I'm not even counting the 45 minutes we spent switching the furniture out. Uh, and then you know, and then like we gotta roll. And then what do you do as a professional? You I'm not gonna sit there and be like, no, I need more time to set up the lighting correctly. So you gotta do it. Okay, we're rolling. And you know, to be honest, it wasn't bad for 15 minutes. Now, first if somebody looked at our first shots, they'd be like, wow, you know, the reactions we got were Netflix and beautiful and amazing. And I'm sure next thing they're like, uh that person there looks a little darker, that looks a darker, right? So I'm just like, same, same quality of people, same level of equipment. It's just the difference is we didn't have time to to set anything. It doesn't matter how talented people are or how much equipment we have. If there's no time, there's no time.

Logan Walker: 41:44

And that's the thing with when you go online too and look at YouTube or um corporate stuff, when you critique other people's work, you don't know the circumstances it was shot in. You don't know if they had hours to set up or if they're like, you need to do it right now and you have 10 minutes.

Vipul Bindra: 41:57

Yeah. And that's the art of that's how you make it into business. That's why so many people I know who were great artists, who could great make great images, didn't make it. You know, they went out of business. And the simple thing is that it's just they couldn't figure out the business side of things. Like uh, you have to understand what you provide, right? And that could be different for everyone, but you have to sit down and say, what is the value that I'm giving to this client, right? And uh, and we can talk more about pricing structures based on that, because that's why some people go, like, what do I charge? And I'm like, I don't know because I don't know the value that you're giving to your clients, right? And the value doesn't always have to be in direct, like sure, direct can be like I'm bringing four people and four cameras and this much equipment, right? But it's all a lot of times indirect. It's like, look, I I know what I'm doing, and I know my video will make you, you know, 10x more sales or whatever. And that just comes from experience having done that. You know, it's not like uh you can just magically wake up one day and like I mean, if you can, sure. But but you know, like you can make a video where you're like, oh, their business is doubled. So once you do this enough and you keep hearing constantly from your clients that that it did work, then that's the value you're providing. Then you can go tell other people, like, look, this is what I did for them. Let me do that for you. Then at that point, that's the value you're providing. And people are willing to pay that. I'm not like I've said this example before, I'm a video company. But if somebody comes and says, Hey, I'll make a video for you that gives you, I don't know, 10 new clients that are worth X number of money, you know, I'd be like, sure, sign me up. Like people get weirded out about it. I have I've actually open to making videos for other video companies and I've had help people in the past. I have helped countless other filmmakers because I'm like, why would I care? My job is to help brands and businesses. I don't care that they're filmmakers. There's no competition because we're we're there's enough work for everyone. Yeah. So what I'm saying is, my goal is to help brands and businesses. I don't care what type of business they are, as long as you know we I see a value that I can provide. Value they can get from me and we can come to terms on a f on a number, then absolutely. But you're talking about that pricing. How do you price uh you you see at least pricing from corporate work? So you said you're doing more social social media stuff, right?

Logan Walker: 44:18

So I don't know pricing for social media because I work for a company where I do the shooting, but I don't handle the client and delivery.

Vipul Bindra: 44:26

Okay, so you're doing you're basically the freelancer, right? So what what rates are you charging to do corporate stuff like that?

Logan Walker: 44:33

So I'm kind of on I'm a contractor, but I'm also kind of like a retainer. Um so I get paid like a fixed rate every month, and then on the days that I need to fly or travel to go to a client, I'll get like a little bonus on top of it.

Vipul Bindra: 44:51

Okay. So how many days do you is it like that uh so it's a retainer, so I have to booked you for a certain number of days every month?

Logan Walker: 44:59

It's not a very traditional setup. So basically what my job entails is I shoot content for about a four-hour period at a time for each client. Okay, and it's every week is different. I could have one shoot, two shoots, or no shoots.

Vipul Bindra: 45:14

Okay.

Logan Walker: 45:15

Um, and then when the reels that I shoot get sent off to editors, they'll get updated or uploaded to frame, and then I'll do like quality control and make sure they're good to go. And then I re-upload them into a drive saying like now these are ready to be posted, and then someone else will create the uh upload schedule for those.

Vipul Bindra: 45:34

That's pretty neat that uh you've been able to find that. How'd you how'd you land that gig?

Logan Walker: 45:39

So it's actually um my friend and his wife have known them for a couple years. They had an opening and I just said, Hey, I want to do it. So they pulled me in. So it's nice because it's a very nice job, and uh, I've already known the people for a while, so I know it's it's legit and it's good, and it's it's been interesting. A lot of it's the first time in my life I've flown somewhere and came back the same day. It's it's weird. Where did you fly? Um, in the past month I've been to Washington, DC, Mississippi, New York twice, California, and then this coming Tuesday, I'm going back to California. But those ones I will I'll stay one night.

Vipul Bindra: 46:15

That's so crazy though, that you so you're basically traveling to cities that you can shooting reels or whatever and just flying back. That's literally the job. Wow. Does it pay well? Yeah, is it like a day rate? Or is it like uh you said it's a salary though?

Logan Walker: 46:30

So yeah, it's like a fixed rate per month. Like no matter what, you're gonna make this amount. Yeah. Um, and then the days that I travel, I get a bonus. So or the days that I fly. So sometimes we have clients here in um like Tampa, Orlando, Quinta Gorda, and that's just I don't think I get a bonus for those, but the days that I fly have to go to the MCO or Sanford, like they'll give me a bonus.

Vipul Bindra: 46:51

Okay, that's pretty neat. That's a that's a weird, interesting gig. I've never heard of it, but I mean, hey, if it works for them, so I'm guessing they're an agency, they're landing these clients that need these reels. Uh, what gear are you taking with you?

Logan Walker: 47:05

So we're either we're using all Sony's, of course. Um, either an FX3 or an A7S3.

Vipul Bindra: 47:11

Yeah, so pretty similar. Uh yeah, awesome. That and and you own these, or they even provide the gear? They provide. Wow.

Logan Walker: 47:18

I show up with my favorite little top handle and a pair of headphones and my Kindle. That's it. That's it.

Vipul Bindra: 47:24

Wow. That's a job, right, Mari. You want it? It is. You show up with a top handle, a Kindle too for entertainment, headphones. That's about it. Maybe a backpack, you know.

Mario Rangel: 47:35

I don't know. And you get to travel. Yeah, that's really cool.

Logan Walker: 47:38

Yeah, it's fun. But it's it's kind of hectic. I mean, it's cool that we're flying everywhere, but I'm not really vacationing or there to see a lot because get it, we get out of the airport, take an Uber to the client, shoot, back to the airport.

Vipul Bindra: 47:50

Yeah, that's pretty much it. Have you had an issue where the flight got delayed or canceled and you didn't make it?

Logan Walker: 47:56

So last not this, not yesterday, of course, but last Friday before, we were going to Cedarhurst, New York, which is just east of Queens for a client there. A um, so most of the clients are martial artists, okay, uh, instructors. And uh we were flying jet blue, and we got stuck on the plane on the tarmac for three hours because of the weather, because they it took them forever to load the luggage. Then they had uh Deload. We go back and they're like, okay, well, shoot was supposed to happen today. Do we want to move it to tomorrow morning and still fly, or do we want to reschedule? I'm like, you know, we're at the airport, we have our gear list, let's just do it. So we ended up flying that night and then shooting the next day. Um, but yeah, it was just a long time staying at the airport. I wasn't packed to stay the night anywhere, so I just had some deodorant with me. So that wasn't fun.

Vipul Bindra: 48:50

Yeah, that's what you gotta do. You gotta do what you can do. No, that's why I'm like always hesitant when client wants to, you know, fly the day you gotta do anything. And I'm like, there's a high chance you know the flight gets delayed or something happens. Like you said, I've had wherever you sit on the tarmac, and it's like, what? It sucks. And then uh, and it's also yeah, annoying too, because you're in a cramped seat, you know, basically sitting doing nothing. Um, and then also um sometimes uh obviously you didn't have check baggage because you only had limited equipment, but if you're bringing a decent amount of equipment, sometimes baggage doesn't make it, you know. So the last thing you want to do is be there and then like uh but all my tripods and lighting and everything else is in this check bag that's not here, that could also be a problem. So I'm I always like to come a day early, and that was for sure, you know. You you know you can do it. But like you said, if you're just moving fast and nimble and uh the budgets aren't there, because I'm sure reels they can only charge so much, uh, you know, and then they gotta pay you and make a profit and all that stuff, right? That that is the best way to go about it.

Logan Walker: 49:53

So the clients don't, to my knowledge, because I don't handle this side, but the clients don't pay for for a per reel basis. It's I think it's for a session. So when we go, we try to get usually around at least 45 reels done in four hours, which is a lot of reels, yeah. Um, and then we mark in a calendar, okay. We have 45 reels, one post a day. We need to come back at least this date so we get more content. Yeah. So of course, the more that they're prepared, the more they're in the game, we can get more reels, which means they don't have to pay for us to come back sooner.

Vipul Bindra: 50:28

Yeah. So what kind of reels are they? They're just talking to the camera, giving tips and stuff, or they actually doing uh martial arts or whatever.

Logan Walker: 50:35

Uh it's a combination of both. So good variety. What's really popular on social media is of course reactions, just reacting to someone calling you out, someone doing something crazy, and people want to hear your thoughts about it. Um, so it's that it's explaining something to camera, um, and also like showing moves, uh martial artists. We do mostly um jujitsu, Muay Thai, and karate. So it's interesting. Not that the company only does that, but word of mouth spreads. Yeah, you get one client, they're like, Oh, I want why I want who do you use? Yeah, exactly.

Vipul Bindra: 51:11

And then you end up doing all the same thing. Yeah, I mean, it is that's why like the the the thing people give advice is like always niche down. The more you niche, the better it is, even though it sounds crazy. The thing is, when you're an expert in the in in one thing, then you are the expert in that thing, right? Yep, and then everyone wants in that niche wants to work with you. When you're broader, you know, you're generic and it's just hard to but but I get it. For people like me, I would just get bored out of my mind. Like when you're telling me, I was like, oh, this sounds exciting, but then I'm like, oh, gotta do this always, every single day, over and like not day, every single day, but you know what I mean, over and over and over again. And I was like, oh, that may get boring. So it's kind of like that. At least for me personally, I like going to a variety of different brands and businesses where they're doing completely different things. And I don't know, to me, that's exciting and fun. Uh, but that is a limiting factor because then you're like, you know, you're doing everything, so then it's like, uh, who are you expert in, you know? And so I've kind of narrowed it to I'm expert in brands and businesses, but then that could mean you know, anything, yeah. It's a little broad, but at least keeps me happy, you know. Then I mean, because if my thing is if I burn out, then what's the point? You know, yeah.

Logan Walker: 52:23

Well, the good thing is with this job is even though what we're filming is a lot of the same content, same same topic, you're dealing with different personalities, yeah. And there's a wide range of personalities that cover the same topic. So one shoot could be very um what's the word I'm looking for? There's just very strong personalities that teach martial artists or martial arts. So sometimes you show up, you don't know what you're gonna get.

Vipul Bindra: 52:50

Wow, that's crazy. So basic basically, yeah, that I'm sure that keeps it entertaining because for you, you don't know. Or I guess once you know, you know what to expect, I guess, with each person. Yeah. Um, but that's pretty cool though. That sounds like an interesting job. So doing vettings and then doing this corporate thing. Uh, any preference, which do you like so far? Or what what do you want?

Logan Walker: 53:13

You're saying if I had to pick between the two pick between I'll definitely go with weddings.

Vipul Bindra: 53:19

Weddings.

Logan Walker: 53:20

Because you know, I like this job because it it it pays well and I'm I like working with the people, but at the at the end of the day, I'm I like doing very um particular framing, lighting, grading. Like that's where my passion is. So I think if my career in filmmaking went down to just reels, I couldn't do it. I think I would lose interest and burn out. Yeah.

Vipul Bindra: 53:43

And and that makes sense. That's why it's a good combination. And I tell people, like, if it works for you, what works for you, do that. And that that sounds pretty good because weddings are primarily on the weekends. So if this job requires you to usually be out in on during the weekdays, then it's like a perfect combination. Exactly. Right. Do you want to do more corporate? Because I know so let's talk about the gig that we did together. We did like a I would call it a documentary vow renewal for some famous celebrity couple with Adam, right? That's the that's the gig we did together. Yep. And what'd you think about that gig?

Logan Walker: 54:18

I had a really good time. Yeah, it was fun.

Vipul Bindra: 54:20

Very different than a real wedding, right?

Logan Walker: 54:22

It's very laid back. I know that we didn't get any of the um like bri I don't think there was a bridal party. We didn't get any like setting up shots. So, you know, I typically with weddings. I did go in and get some, you know, shots with her, but it wasn't like traditional yet. Yeah, I mean, with weddings, a lot of like the style that we shoot is kind of documentary, but we will pose them a little bit, especially for the portraits and getting ready. But that one was just very fly on the wall, just shoot it as it is. Yeah, so it's it was laid back.

Vipul Bindra: 54:50

Yeah, it was like really a documentary, you know what I mean? Like just capture what's happening here and then you're done. Yeah, that was very interesting to me because like I said, normally I said Saver from Weddings or whatever, but it was like, no, no, this is a documentary, Adam. That's how I at least Adam sold it to me. He's like, no, no, it's just a Vower and all, and but we're shooting it like a documentary, and that's how you got up. Yeah, exactly. I was like, okay. And he's like, it's gonna go to some entertainment tonight, some some famous magazine or whatever, I don't know, or online news outlet or whatever. And but it was interesting to me because you know, I guess those were famous people, but I had no idea. So uh everyone around us was like, oh, you're gonna, you know, this is gonna go out this place or whatever. I don't know if you heard those comments, you know, that people were making like this is gonna go to this website, whatever, they're so famous. And I was like, okay, pretty cool. I have no idea who you are, but that sounds good. We're here to make you know good content.

Logan Walker: 55:42

I had for them. I had no idea who they were until and I this is funny because I know who the groom was, yeah, because he was on a show that I just finished watching. Oh, really? And I was I had I was his on him the entire ceremony, so I was looking at his face, I'm like, You look so familiar. And then when we were eating dinner and he came in, he's like, How's everyone doing? I'm like, Oh, it's him. So um, yeah, that was interesting, right?

Vipul Bindra: 56:07

And see, I hadn't even seen anything, but I met them, so I did go to the location scout day, I guess, with Adam, and she was incredible, really nice person. And that's what I like. Uh, a lot of people, and again, I don't want to jinx it, but a lot of people say negative things about celebrities or famous people. I every single famous person that I've shot or been around or whatever, they have all been just nice. Like, I've not had one bad experience. Now, it could be that we're filming them, so they want to be they don't want to piss us off. Yeah, exactly. But I've never had a mean interaction, but then you hear these stories where like, oh, this happened and this happened, and I'm like, wow, I've never experienced that. They're generally nice, they come in, they're professional, they do their thing, they go, you know. And if they need somebody now something, there's always usually handlers or somebody who can give them what they need. So I don't know. My experience has been positive. Um, how was your experience with that, right? They were really nice, no problems at all. Yeah, pretty chill, pretty laid back. Uh, how would you categorize it? Like, how different is it and and uh like from a typical wedding? Because we did do some of those shots. Like, how would you have shot it differently if you were shooting it? A regular wedding, let's say.

Logan Walker: 57:16

Um I think the ceremony coverage would have been very similar how we did it. Um I think for well, when we do weddings, we don't really get a lot of cocktail hour. Usually that time is me flying the drone if the wedding or the venue permits and it it looks nice enough to do so. Getting ceremony shots, and of course, this or not ceremony, sorry, um reception shots, and of course the reception was just their pool area, so there really wasn't a lot to get. Um, yeah, it would have mostly just been getting like venue shots. Um maybe it would have been a little bit more in their face, but I know that because I think we're on like we were on a uh 400 millimeter lens. So we would have probably been in there a little bit more, yeah, a little bit more um involved, whereas this one we kind of just backed up a little bit.

Vipul Bindra: 58:05

Yeah, that no, that also like a lot of time I was like, what are we uh supposed to do here? Because it was very intimate, it was very small, right? And it's like you can only get so many shots of the same thing happening. They're having a good time. It's like I can only zoom into this person's phone for so long until I'm like, okay, that's enough content uh for quite probably a quick cut, if anything. Uh, but no, it was fun, it was good hanging out with you. I think Doron was there too, right? It was the four of us. Uh and oh, Marco too, the sound guy was there, which is so crazy. I would never think that we would have a sound guy. Have you never experienced anything like that?

Logan Walker: 58:42

No, when you're when you shoot a wedding, you do everything.

Vipul Bindra: 58:44

Yeah, no, but what's crazy to me is like this is uh a fancy vowel renewal, or whatever you call it, is happening, and then there's a sound guy with this antenna and sound bag. I don't know. I've just uh never seen anything like that. But I'm sure it happens in documentaries, but I've never done a documentary like that. But anyway, and and having worked with sound guys, I'm like, it's okay, it's normal, but I'm just saying, I don't know. That to me that was very interesting because I've never seen that at a wedding. Um, you know, I don't know. It was very interesting to me.

Logan Walker: 59:16

It was great. I would love to have dedicated sound at a wedding. I don't even want to think about it. I hate doing sound, but it's just a necessary evil.

Vipul Bindra: 59:23

Yeah, that was like that that must have been so crazy for him. He showed up, he stayed just for the wild part, and then he left. That was it. Yep, because he wasn't there for any of the after stuff. So I'm like, this has to be the the shortest, coolest job ever for him. And uh it was pretty chill too, like I said, laid back people laid back people. And uh yeah, that that was very interesting to me. I I really had a good time. I think that's where we we talked a little bit and got to know because we had met at the the networking meetup, David's networking meetup, but didn't get that much chance to talk until uh that shoot. And I was like, oh wow, that's pretty interesting that you're doing all this, you know, talk about your you know your wedding business, especially um working with your girlfriend. Does it get uh does it get I don't know, does it get weird at home if your girlfriend is your business partner? You know?

Logan Walker: 1:00:10

Um no, I mean it's pretty great. Her and I have a great relationship, so we never really argue or fight or anything. I think 95% of the time we're on the same page, otherwise you can resolve it pretty quick. Um the days of maybe we'll disagree a little bit about how to shoot something, but we'll find like a middle ground or we'll resolve it. I haven't had any issues. I know a lot of people are like, I can never work with my partner ever because they need that space apart. But yeah, like her and I, it's been pretty good. Um yeah, I mean maybe a few things during the day where I ask her to do something or she doesn't agree and we'll we'll give each other like a look. Yeah, but then it passes.

Vipul Bindra: 1:00:51

Yeah, because see, it's like it happens, you know, it's it's work, right? And and I mean every relationship can have conflicts. But what's interesting is if you're working with someone, like uh, you know, I'm working with um, you know, Adam or Mari or whatever, and I don't like what they're doing, something, then you know, I'm like, okay, I think, you know, nice. But then you don't see them. I'm just saying, like you go home, right? Uh you're away from whatever negative thing happened, which it doesn't happen. I'm just I'm just saying that. But point is, um, you know, like you're done, right? You you go uh you go home. But versus when you work with someone, say you go home or home. Yeah, or if most time you may even be working at home, that's probably it. Then you know it's like there's no escape. Uh that can be an interesting environment unless you two really have good communication. So I get it why it wouldn't work for most people. I mean, to be honest, we had Julie on the podcast, and I was surprised that that went uh how it went, because you know, again, when you have to, you know, work with someone all the time, um, you know, there can be friction. So but I do the same thing like that. I work all day, you know, around each other and it just works. So it works, you know.

Logan Walker: 1:01:58

For some reason, too, the wedding industry, uh to my knowledge, is one of the few maybe um uh niches where it's mostly couples working together. Most like you either have solos, people who do like photo video and they're a one-person team, or maybe they'll hire a second occasionally. Or I I just see like couples all the time where maybe like the guy does video and the girl does photo. Yeah. Or they can both do both, they can do both.

Vipul Bindra: 1:02:27

Yeah, no, I mean that that makes sense because you know, because like you said, a lot of times you have to travel and behavior from home. So it'd be nice if your partner is just with you. Yeah, but you know, it makes sense uh why it would work that way. And as long as you guys can come home and not hate each other, you know, that's the main thing, right? Yeah, so how's the edit going? You said now you're doing half of the edit and she's doing other half of the edit. So how's that going on? Um how do you split the edit? Like who takes the reception, who takes the the vow, or is it like a different wedding? She takes a whole different wedding, you take a whole different wedding.

Logan Walker: 1:02:59

When we started, I think we were kind of just shotgun approaching it. We're like, oh, you um and how did we structure it? I don't even know if we had a structure. I think she would just do the whole thing and that would color it and I'd do the audio, and we're done. Yeah. Um, but that was a lot of work on her, and I think it was starting to burn her out because the worst thing about putting a wedding together is the spine. It's like finding very good lines and building a story with it, and you're stuck with what you have.

Vipul Bindra: 1:03:28

Yeah.

Logan Walker: 1:03:29

Now when you're working with like a lower budget or you're not getting a good audio, you're just doing like a montage edit where it's just like a music video. Yeah. But when you're trying to put a story together, which is what people are expecting when they pay you a certain amount, like I want to feel the story, I want to see, I want to hear this person, I want to hear what they said. So what we do now is I organize all the footage, uh, put it into resolve, and then I have resolve AI transcripts of the audio from like adventure session, which we'll talk about what that is. It's kind of like a engagement session, ceremony, uh, the first look, the speeches, and anything else. So I get like a text file, I feed it into Chat GPT, and I say, Look, I'm building a spine for a wedding film. It needs to be this long. I'm looking for this, this, this, and this. And then it spits it out to me. And I make sure take it verbatim, don't paraphrase because I can't work with that.

Vipul Bindra: 1:04:30

Yeah.

Logan Walker: 1:04:30

And so it gives me a script, and then what I'll do is find the clips and then I'll put it in the timeline. Now, Marie might reorganize it, cut them some things out, or say, hey, I want a line this line from someone, but that's kind of how we do it now because before ChatGPT, you had to manually sit there and listen to everything, which is exhausting.

Vipul Bindra: 1:04:49

Exactly.

Logan Walker: 1:04:50

Yeah.

Vipul Bindra: 1:04:50

That's pretty good. Yeah, no, I know a lot of people who've kind of getting deploying AI tools, and this seems like the best use of it because, like you said, um you I mean you could sit there and listen to all of it, which is fine, but uh but it's I'm pretty sure it's a lot faster to one chat with AI transcripts and just go tell me uh what's good. And it it has, you know, I guess consumed enough content that it kind of knows what it's looking for. And then you guys can go in and obviously refine what kind of you're looking for or whatever, right? Exactly. Uh and and then and that's where the human element comes in, but I'm sure it reduces hours and hours of time listening and trying to figure out what the story could be, yeah.

Logan Walker: 1:05:32

Yeah, I mean, we at the end of the day, we're still approving everything that's getting put in, so it's not losing the human touch, just helping us find those moments faster. And uh, you know, I'd like to speed up our turnaround time, which right now we have four months, which is still pretty good, but you know, when you compare it to photography, people are doing three day turnarounds now for weddings because of AI, which is insane.

Vipul Bindra: 1:05:55

Yeah, we don't even even when we didn't use AI, I have a 14 day turnaround. That can mean Something, especially when we're doing like 15 videos, 20 videos for a client. My my delivery has been the same. Um, the day we shoot after the 14 days after that, as long as we have all the content because sometimes you know it can be split into multiple days. The final day of shooting, you get the videos within 14 days of that. It doesn't matter how small or big the package is, and even animated ones, it's 30 days. So the the day we start animating within 30 days, get the the get the project, which is crazy to think about. I'm just saying. Uh so yeah, uh, but so no, four months is pretty standard, I think, in weddings, right? I've heard that.

Logan Walker: 1:06:34

I think like pushing six months. Um, yeah, I mean, once it kind of hits the three-month mark, um, I get kind of even if the couple doesn't say anything to us, I'm like, we should probably like get this out and get it going, make sure it gets Yeah, I'm pretty sure you could speed it up, right?

Vipul Bindra: 1:06:46

With more and more AI tools coming the way, I'm sure you could bring bring it down, you know, uh, you know, as you catch up, as you speed up using this workflow. You should be able to. So how many vettings does do you guys film in a year now that you're being very selective?

Logan Walker: 1:07:02

I think we want to limit to maybe around like eight to ten um before we were pushing 20, and it was way too much. Yeah.

Vipul Bindra: 1:07:10

No, makes sense. That'd be a lot. And a lot of editing, like you said. Because each one you're capturing so much content, then you gotta film. What what is there a certain length that you aim for, or you guys just edit to this is the story, so this is how long it needs to be, or is there a goal like it needs to be this many minutes?

Logan Walker: 1:07:27

Uh um, we usually aim for five to seven minutes. We never give them a time, of course, we just don't know. Yeah, depends on the music choice, depends the content that we get, because uh what we do is before the wedding, uh I don't know how many people do this, we do something called a story or like an adventure session where it's just us two and the couple, and we get together and we film uh like B-roll of them being together, like doing an activity, something outside where they live. Uh-huh. And we do like an interview session where we pull audio from them. Because what happens is during a wedding day, you want to get really crystal clear audio of the couple's either vows or just them giving their thoughts and reflections about the relationship and their day. Now, if the wedding is not managed correctly or scheduled, you won't get that. And then you get home, you're like, I have no content. So this also guarantees guarantees us that we have the footage and the audio we need to piece a story together. And it's also getting the couple on camera before the wedding with us, so they're comfortable, so we're not showing up as strangers.

Vipul Bindra: 1:08:32

Yeah. Absolutely. No, that's actually a very smart idea. Because you'll have all those lines from those interviews that you can cut in and merge and see, I s I see what you're doing. Is this normal? Is that something unique you two came up with?

Logan Walker: 1:08:45

Um, I wouldn't say it's unique to us. I know a couple other people that do it, but we I don't know if it's standard or not. Okay. Because we also they don't pay for it. It's like complimentary in our package. But I mean, if they ask for like we don't want to do it, can we get a discount? No. No, okay. Yeah. Because it's something extra that you just do. Yes. Yeah.

Vipul Bindra: 1:09:04

No, that makes sense. So what pricing are you now looking at? Since you're exclusive, you're doing limited. Is what what's the range of like price to do a wedding now compared to us? Uh with us? Or are you saying in general? No, no, with you guys. So what are you aiming for now?

Logan Walker: 1:09:17

So local to Central Florida with like no travel fees, we start at 4200. Okay. Um, once you have us fly out or you want extra add-ons, that's of course when it goes up.

Vipul Bindra: 1:09:28

Okay. And um that includes this adventure time. Uh yeah, and then the the obviously the the actual shoot and then the edit, right? That's basically the deliverable. Yeah. Uh, is there anything else they get besides that five to seven minute cut?

Logan Walker: 1:09:43

So they can get a um like we call it a documentary edit, which is just everything that we shot in chronological order. And for that edit, we'll outsource because it's not as creative, right? Yeah, it's not as creative and it just takes too long. So we'll just have someone else do it. Um they can also get like a whole clip of their um the speeches and like the ceremony, and a good amount of people get it, but I don't know how many people want to sit there and watch their whole ceremony again, unless it's maybe like one of their um relatives is the officiant. Yeah.

Vipul Bindra: 1:10:17

So that's basically um extras, right? Then you can now start billing more for that, I'm guessing. Yep. Uh so what's the highest you think you could go with all the add-ons? If somebody's like, I want everything. Uh maybe pushing six right now.

Logan Walker: 1:10:33

Yeah. That's that's pretty good.

Vipul Bindra: 1:10:35

I think you guys are pricing it really well then. Then because I've heard people charge seven, ten, fifteen K for a local wedding. So I think you're you're giving them really high quality product, um, and you're you're charging pretty reasonable. Again, it's not cheap, obviously, but it's not like highly expensive either for a high quality product. Are you uh guys? Um uh was gonna say my thought. But anyway, uh what I was gonna say was, yeah, um, have you guys done any Indian weddings?

Logan Walker: 1:11:06

We've done one.

Vipul Bindra: 1:11:07

One, how was that?

Logan Walker: 1:11:09

We had a lot of fun. Um, so this was actually a subcontracted wedding, which is why we took it because I was like, I don't know what the deliverables would be for this. I don't it was my first one, so I'm like, I don't know what's going on, I don't know who's talking, who they are. So yeah, we uh we sh we shot for I think 17 hours total across two days.

Vipul Bindra: 1:11:29

Wow, it was a lot it's and I was and hey, just two days that's already short for an Indian wedding, yeah.

Logan Walker: 1:11:34

Yeah, it wasn't here in Orlando at the um Orlando World Center, it's right next to Disney Springs. Um and the couple we're still friends with. We hang out with them, so it was great. But yeah, we were using a Pocket 4K package all day, so we were getting tired. But I did use an easy rig for that wedding, which helped a lot because I was I was burning out.

Vipul Bindra: 1:11:52

Yeah, that's a long, long time, yeah. Was that your first Indian wedding? Yep, yeah, it's crazy. And like I said, two days is already short, so they probably cut a lot of it because uh the to fit in two days. That's that's crazy. What equipment are you guys out now? Are you still using Pocket 4Ks or have you moved on to something different?

Logan Walker: 1:12:09

So we still use Pocket 4Ks as our A and B. Um for C and D we use a Lumix S5 and S52X, or sorry, S52 and S52X. Um, we'd love to move up to like Pixas 6K or 12k when it when it makes sense for us. Um because we just we want to go full frame and we still love using black magic, so we're gonna stick with those.

Vipul Bindra: 1:12:29

Isn't the Lumix S5s? And again, I'm like I said, I'm not that following each of their new cameras. Isn't that a better, technically a better image than the uh 4K, Pocket 4K, or no? I'm saying, is your C and D camera giving you better image than your AMD camera, or is that not true? It could be, but I don't want to admit because dude, Lumix cameras, even their cheat ones, are like really pushing the limit as far as quality goes, I'm saying so. Yeah, that's um but that's I think you're right.

Logan Walker: 1:13:00

I just don't want to admit that you're right because I mean you own them, they are your cameras, yeah. Um the thing is though, I just I love B-RAW so much. And something about the So you guys are actually filming in RAW. Yeah, we shoot B-RAW. Wow, um, but I mean we're shooting 12 to 1, so the file sizes aren't ridiculous.

Vipul Bindra: 1:13:16

Yeah, it's very highly compressed B RAW, yeah.

Logan Walker: 1:13:19

Yeah, I would I mean you could say objectively the S5 footage is technically superior to the Pocket 4K, but I just love using the Pocket 4K, even though it's not the most like practical camera for weddings. It's actually not at all.

Vipul Bindra: 1:13:32

Yeah, which is why I I find it interesting that you say when it makes sense you switch to Pix 6K or 12k or whatever. I'm like, that does and I get I don't shoot weddings, but that doesn't seem practical for weddings. You think it would be? You think that you guys could deploy it correctly?

Logan Walker: 1:13:49

Um, well, I rented a Pixas 6K for an adventure session that we had in California, and I loved using it. I loved it so much because as much as I didn't want to admit it, the the form factor for the 4K and the 6k, and those the pocket cameras kind of suck, and the Pixas is kind of what I was waiting for. Um But the thing is when we started shooting weddings five years ago, we only were using the pockets, so we're used to manually focus everything, no IBIS. So we're used to it when we like it. Now, for the Lumix, we'll use it because if we're running and gunning or we like the higher ISO for reception, yeah, we'll take advantage of it. But it's not like make or break if we don't have ibis or autofocus. We that's just how we learned.

Vipul Bindra: 1:14:34

Yeah, you know what's crazy, and again again, maybe you stick to it, but to me, trust me, it was like a big difference. So essentially, like I said, I started with Lumix 2. Well, I started with Canon, and well, point is anyway, this company started, let's say, with Lumix, and uh, you know, same thing. I was just used to everything being manual focused, manual lenses, manual everything. And then when we switched to C200s, I literally had to be like, because you know, I was like one of those people, I'm like, what's the big deal? I can just auto or like sorry, manual focus. I I'm doing this anyway, or you know, like what's the big deal? But anyway, switching to an good autofocus that actually works was a game changer because I was genuinely like, oh, now I can focus on so many other things. That's true. It's not perfect for every situation, but in a lot of corporate and again, maybe wedding where you're just focusing on people, being able to just tap like this is my focus point, and then being able to focus on everything else around you, uh, maybe your movement or whatever, right? Uh is this a uh it's a freeing thing. Now, that does not mean we still don't like put on our Cine lenses on uh on a cinematic day and manually focus or whatever, right? I'm just saying for most corporate stuff, having autofocus is actually a beneficial thing. Do you think uh you are not using it just because you haven't tried an autofocus that works? Like it have you like think of this way how about an FX3 at a wedding? You think uh that wouldn't work for you? Because I think it's a better image than the Pocket 4K, it's gonna autofocus. You could probably put the uh uh you know lenses on it, like you can have really good reach, but then it's still being a compact package. No? Yes?

Logan Walker: 1:16:14

I mean, when we did use the FX3, like it was great to work with. Yeah, and that was actually the first time I use an FX3, but now I'm I'm used to it now because that's what I use for the social media content. Objectively, yeah, it's a better camera, but I think just inside me for legacy, I'm just a little bit of a black magic fanboy.

Vipul Bindra: 1:16:30

I get it, I get it. No, I I know people, like I said, Quentin, who's on the podcast, he loves black magic. Like you go to his studio and it's just black magic everywhere, pocket cameras everywhere. So I I totally get it. And if you like something, you like something and your clients don't ask for something specific anyway. So you can continue to use, I mean, if you wanted to, you could continue using Pocket 4Ks forever forever. I doubt the quality is gonna like not like clients will always be happy with that quality. Cameras are all so good now that you only upgrade because you want to. Like, for example, like, yes, the 12k looks great, but I'm like, you're only upgrading to that because you want to, not because you need to, or clients asking for it. Because I think the only use case I saw of that camera is I was genuinely thinking, I was like, where do you use the RCS any 12k or you know, or or the pocket, uh not pocket, uh the RC the the Pixis 12K. I was like, well, Apple Vision Pro, you know, would be one where I can think of it where you do need like very high resolution per eye. But outside that, I'm like, you don't actually need 12k. So yeah, and plus they don't even have global shutter, so it's not even like you they're good for like virtual production. I mean, you can still deploy it. I'm just saying they're not the ideal cameras. Uh so I I was like personally, I was like, I I don't see, and then I was like, oh, maybe Apple Vision Pro, you know, filmmaking or whatever. Sure, but I'm like, outside of that, everyone, you're just getting that because you want to get it, and it's a great image, but not because it's necessary, right? Right? So uh so I think cameras are just so good that you don't have to upgrade um unless you really want to.

Logan Walker: 1:18:06

Yeah, I mean, if I bought a Pixis 12K, it wouldn't be to shoot 12k or shoot 4K. I would shoot 4K on cropped open gate. Yeah, so I have options, and then at that point, the rolling shutter is pretty fast. It's not global shutter fast, obviously, but I would just shoot 4K. That's what I want. I want that camera because I can shoot multiple resolutions without any crop or like whatsoever. That was my appeal with that camera.

Vipul Bindra: 1:18:29

Do you guys put cameras on gimbals for weddings?

Logan Walker: 1:18:31

Never. Never. So it's all handheld. We never use a gimbal. We'll use a monopod and sticks, but um, yeah, we've never owned a gimbal or never used a gimbal.

Vipul Bindra: 1:18:39

So you don't do any of those tracking shots or whatever, or you do do them, they're just handheld.

Logan Walker: 1:18:43

Yep. We'll do it handheld, or maybe we'll do like a little gyrone post. But our our look when we started, and what we kind of start now is um no no gimbal except for maybe like a drone.

Vipul Bindra: 1:18:55

Yeah.

Logan Walker: 1:18:55

Everything handheld. Because our look was kind of more, it still is kind of more vintage slow. It's not fast paced. Because what I see is a lot of people focus on the reception where we focus more on like the couple and their story. We want it to look very slow and kind of timeless and not kind of like a hype party. Yeah, that's just our style.

Vipul Bindra: 1:19:14

No, that's pretty good style to have because it's more uh, like you said, classic. So you the video will last long too. So I have to have this explain this to my clients a lot on the corporate side. They want the latest thing. They're I saw this transition on TikTok or whatever. Can we do it? I'm like, yes, we can, but that limits your video to being cool for the next week or two and then it's dated. Yeah, right. Versus I always prefer to not throw transitions in my videos because the thing is the video then will be more timeless because we're not like dating it to what's trending now or whenever. And and trends will always come and go, and it's fine if you're doing again reels, then it's like, sure, now it's trending, it'll go and it'll be gone. Yeah, but then I'm like, but you don't want to do that for uh you know expensive piece of content that's going on your website or whatever. You want it to at least last a few years for it to be worth the money you're spending on it. So you have to talk them down out of using some weird transitions or whatever, yeah.

Logan Walker: 1:20:07

You don't want to make a wedding film look like a product of its time.

Vipul Bindra: 1:20:10

Yeah, exactly. It should be timeless. Because they will watch it, and you know, as assuming they stay together, then you know their kids will watch it, uh, and then you know, uh you know, have you heard of those stories? I've heard where somebody, you know, charged a deposit and shot the wedding, and then by the time they were ready to deliver, the couple wasn't together, and then you're you don't even get your other 50% on you to go, and they're like, we don't want this. Have you heard of those stories?

Logan Walker: 1:20:32

Yes, luckily that hasn't happened to us. Our couple stay together.

Vipul Bindra: 1:20:36

I was like, that would be crazy. Like you went in, you enjoyed this wedding, and you're here, like, here, we're ready to deliver your your uh video, and they go, uh we're not together anymore. We don't want that. And that'd be I don't know. You put it, yeah. So because you guys charge 50% up front, right? And then the other 50, or do you charge all of it up front?

Logan Walker: 1:20:53

They have to pay everything before we show up. That's so smart because yeah, you don't want because you don't know. Yeah, yeah, yeah.

Vipul Bindra: 1:20:57

Exactly. No, that is very smart.

Logan Walker: 1:20:59

Uh we used to make it so you'd pay 50% up front, and then the day of you pay 50%, which that made sense in our minds, but then we're like, the bride isn't thinking about paying vendors the day of the wedding. Yeah, they're stressed. So we say like a week before the wedding to give us 100%.

Vipul Bindra: 1:21:15

No, that and that makes sense because if this you're in a situation like this, then you're not stuck. But I've heard of nightmare situations like that, or uh again, those more photography, but situations that you heard that trend online are like uh they they refuse to feed the photographer and then he deleted all the photos. Yeah, I've seen that. Both unprofessional on both sides, but I'm like, why why wouldn't you like you don't have to be that cheap, they don't have meal for your vendors? That's crazy. Do you put that in your contract or something? Like that you need to be have a meal provided or whatever, or no?

Logan Walker: 1:21:47

We put in our contract that we need to eat the same thing all the other guests are just to avoid getting like a cold turkey sandwich. And that doesn't always happen, but it's not it's not really worth us causing a scene, also because sometimes the couples don't know what we're eating. Yeah, they assume that we're getting the same thing as everyone else, and the catering company is like, here's your cold, yeah, here's your apple and your cookie.

Vipul Bindra: 1:22:09

Yeah, it's kind of so annoying. So I'm again sampling not particular about it. Uh, you know, and I felt my thing is we're charging so much, like meal is like last of my concern. But it is annoying because then but if you have different tiers of clients, and then you know, there's clients like, let's go eat out steakhouse, you know, eat the most expensive steak or whatever, and then you have um clients that are like, Oh, you like you said, here's here's your tur, here's your sub, you know, or here's your uh turkey sandwich or whatever, and you're like, I mean it's fine, I'll eat that, but you know, like it doesn't match up anyway. It's like uh or or worst case, in my mind, at least you know, you have catering because a lot of our clients don't understand how video world works. You know, we're technically they're supposed to feed us, but I get it. You know, we're a vendor or whatever, not a vendor, but like a partner or whatever. Somebody they hired, they don't know they're supposed to feed us. So lots of times they don't even know. They're like, okay, let's break for lunch, see you guys in an hour. And then usually what I do, I'm like, okay, guys, like whoever I'm with, let's go eat lunch somewhere. Uh to me, like you said, I to me, last thing I want to do is for a hundred dollar lunch or whatever, go to my client and go, hey, you know, you're supposed to feed me this because I'm probably charged them five grand, ten grand, twenty grand. I'm like, it wouldn't, it doesn't make sense to to argue or whatever. Yeah, and and a lot a lot of times it's not ill, at least in the corporate side, just they don't they don't know that's the expectation. So I'm saying it's a wide variety where a lot of times it's like, oh yeah, we're going to the steakhouse for lunch, let's go, everyone go, and it's fine. Again, we don't expect the fanciest stuff from our clients, but I'm just saying clients are like that, where do they know when they're like, oh yeah, money's no object. And then the other ways they're like, they don't even know. They're like, okay, we'll see you in an hour. Yeah, you know, like it is what it is, you know. Yeah, 100%. Yeah, so I get it, but on weddings where there is food for sure. And yeah, I I wouldn't like it. Now, I mean, I don't mind, like I said, food is not that important to me in a job, at least. But you're right, it's not like you can just go some random place for the lunch or whatever, because you guys are filming the wedding. You, you know, you need to be there to go grab whatever food from somewhere, yeah, or Uber eating to a wedding that would look so weird, but then at the same time, uh, you know, you don't want to be fed something that I don't know, that just whatever. Like, it doesn't look good.

Logan Walker: 1:24:20

Yeah, or whatever. We've had some weddings where the couple will be like, Oh, do you want steak or do you want lobster scallops? Oh, steak. Yeah. And then uh dinner time comes, like, oh my god, I'm so excited for steak that would hit. And then we go to the back and I'm like, here's your turkey sandwich. Yeah, have you ever said to the catering company, I thought that we had picked steak, or you haven't sometimes we do, and then they're like, Oh, I didn't, I didn't know anything about that. And we're like, we communicated to the couple that we get this, and like, no, and then other times we had an amazing prime rib, and I made a joke to the kitchen, like, oh, I just love another one, and like, okay, and they bring me another prime rib.

Vipul Bindra: 1:24:57

I'm like, what? Yeah, so you see, so it's and you can't predict, and I don't like you said, I don't think, and I it could be the couple, but most times it's probably the catering company, right? It's not the couple. The last thing they're trying to do, especially if they're paying you four or five grand, you know, for a wedding, last thing they want to do is probably save on a I don't know, a hundred dollar meal over there. I don't know.

Logan Walker: 1:25:16

Yeah, and I never want to go to the couple while they're trying to enjoy their meal and relax and be like, we're not getting the food that you promised, and it's fine. Same thing, suck it up.

Vipul Bindra: 1:25:24

Yeah, same thing. Like the other day when we were at this really nice shoot that I was mentioning on a track. Like, I was like, this client probably doesn't know they're supposed to feed us. They were like, Okay, we're gonna meet here. And I was like, you know, all right, we have to dump footage anyway. Let's go. I saw this restaurant. Uh, and then we went and I paid for the lunch. And I was like, that's fine. I mean, it's not that big of a deal. They already paid me enough money, you know. But it's kind of like that, where I'm like, I am not even sure. I'm like, I brought you guys here, but I have no idea what's about to happen for lunch. Like, we'll f we'll we'll see how it goes. Yeah, and then uh then I was like, okay, this is not gonna happen. There's no lunch here, so that means okay, I'm buying everyone lunch. Let's go. We're gonna program it. Yeah, yeah. Uh where did we go? It was Huey Magoose. I'd never had that chicken, right?

Mario Rangel: 1:26:05

Yeah, Huey Magoose.

Vipul Bindra: 1:26:07

Yeah, well, uh, did you like it? I like it. How about you? Do you like it? It's pretty good, yeah. But it was my first time, so uh trying that place. Yeah, first time for me, also. And it was pretty good, like I said, chicken. Chicken tenders, right? Yeah, chicken tenders. And uh uh but yeah, so there was something that these type of things happen, and then I'm like, at the end day, look, uh at least on my side, I'm like, I'm charging them a premium. Last thing I want to do is worry about some meal or whatever. Uh yeah, so it is what it is.

Logan Walker: 1:26:34

Yeah, I mean, those those are just situations where just to maintain the great relationship I have with the client, I'm just not gonna bring it up and suck it up. It's not a big deal.

Vipul Bindra: 1:26:42

Yeah, you're just gonna eat the cold turkey sandwich.

Logan Walker: 1:26:44

Yes. Yeah like a champ. Or just slam the diet coke, yeah.

Vipul Bindra: 1:26:49

Continue work. Oh, that's so funny. Uh uh, but no, I mean, yeah, that's life. That's life as uh as a vendor. I've had Disney's so annoying. Uh Disney's a great company, but they're so annoying as far as meals go. I've had the biggest issues locally, at least with Disney. So we'll do events, you know, either not directly for Disney, but either they're sponsoring it or they've just been hired to the event. But I'm saying every time it's like uh A, they want to do, they don't want to do vendor meals, and if they do, then they insist like you just eat right there. And I'm like, a lot of times I'm like, well, we're doing an event, it'd be really nice if you can eat after, or you could just put in a box or whatever. Like we it we don't have to because I get the event is over now. Just by you know, we're filming the event, so we cannot just take a break in the middle of it. So I'm like a lot of times we can eat um after the uh event is over, and then they don't want you to stay. So I've given them multiple options. I'm like, okay, just give us uh the meal in a box or let us eat after. Like those are the only options, and they're like, nope, you they insist like you eat now, and then a lot of times, same thing. Like they're like, No, no, you're not getting the main meal, then it'll give you something different. I'm like, what are you doing? You're Disney World, like you know, you can afford it, but they I've had a lot of issues where a lot. Times we've just left our meals, so they're like, Yeah, no, we are not allowed to put in a box or whatever. And I'm sure they have some rules, and I'm like, This makes no sense. If you bring me a box and the meal, I will put it in the box, and then they won't. So, so I tell people like anytime I'm shooting in Disney, I'm like, look, this could go either way. Like, they they may be really nice to you or they may not feed you at all. Because I can't have you stop. And I know I'm not saying they've refused food, they they'll always offer food. It's just they'll offer food when everyone else is eating. I'm like, that's when we're supposed to be filming. So I tell people like there's a high chance you are not getting food. I will buy you a meal after because having worked with Disney enough, uh or at Disney location, I should say. Um, that they're they're very particular about that, like not putting their meal in a box.

Logan Walker: 1:28:44

Where where Disney are you shooting?

Vipul Bindra: 1:28:46

I'm talking resorts, any of their resorts, contemporary, contemporary or uh Coronado Springs, or what else? Yacht and Beach Club, any any any of their resorts. I'm saying I filmed that. I have found Boardwalk. That's a common threat, at least for me. I'm saying when I'm filming as a vendor, uh asking them to put a meal in a box, they usually usually refuse, especially the main meal. Now they may have a separate vendor meal that's different, but I'm saying I usually they give you the same meal. I'm saying the guests are eating that meal they do not want to put in a box for some reason. Have you filmed at Disney? I've done a micro wedding at the Swan and Dolphin. Okay, but that's not Disney, so it's not owned. Uh it's so weird. Swan and Dolphin is on Disney property, but it's not owned by Disney. That's why. So the experience there would not relate to Disney.

Logan Walker: 1:29:35

So it's not Disney's Swan and Dolphin?

Vipul Bindra: 1:29:37

It is Disney. Oh my gosh. Okay, wait a minute. Wait a minute. It is not owned by Disney, no, and operated by a different company. So it's it's technically, yes. It's on Disney property. Yes, it's not.

Logan Walker: 1:29:49

Is that the only hotel on Disney property that's not Disney property? Yeah.

Vipul Bindra: 1:29:54

Well, technically, the the role on um by Disney Springs, I believe, is technically Disney property, too. There's a lot of hotels. Okay. I mean, there's there's a decent amount of hotels, but I'm saying no, Disney resorts uh um are owned that are owned and operated by Disney are different because they're they're actually Disney. Okay. I know, I know it's weird, but yeah, no, Swan and Dolphin is I filmed there. That's what I'm telling you. It's not Disney. It's very different. Even though they're on Disney property, they are you know approved by Disney and all that, they're not actually Disney.

Logan Walker: 1:30:24

I think I shot there because the couple wanted a Disney wedding but didn't want to pay the prices, which totally understand.

Vipul Bindra: 1:30:30

Because I just I mean the Swan and Dolphin's expensive.

Logan Walker: 1:30:33

Yeah, I mean, it's still expensive, but it's not like put me in a theme park expensive. Yeah. Or one of their main resorts. But I've only heard negative things about shooting with Disney. I've heard they just treat it.

Vipul Bindra: 1:30:43

Yeah, they're very yeah, they have way too many rules, which again, again, it is Disney, but yeah, their rules are a little complicated and not easy. But I mean, and talk about other hotels. I mean, they're four seasons again on Disney property, not owned by Disney. So there's a lot of hotels and things that are on Disney, but uh the Swan and Dolphins is the most confusing one because they make it look like it's integrated, like it's the same thing, but it's not. Uh, but yeah, though they have they have a lot of rules and they're very particular about what they want you to do and where do they want you to be, how you want the film. A lot of times our clients are like they charge them money too, I think, to bring video crews. So we we'll just go in with like tiny FX3s, small lenses, so it looks like we're just part of the group, right? And then shoot there or whatever. You know, you gotta do what you gotta do, right? But that's kind of like LA. I go most cities, I'll just pull out the camera. Like, I don't care. Like, here's an FX6. Most people are just excited to see what's happening or whatever, right? They don't care. LA's one place you pull out any camera, there's like person just waiting. I feel like they're just parked there ready to stop you from filming. They're like, Permit, where's your permit? You know what I mean? I can imagine. It's funny that once they asked me something we did in Orlando where they orchested me, where they asked me to like get a permit, so I had to do the whole permit process. And again, do your permits, do it correctly, whatever. But you know, we're doing corporate video inside a company's video building. Like, we don't usually need permits for what we do. But anyway, they made me fill out a full permit again. Whole shoe they went. Nobody ever asked, checked if you had a permit or wanted a permit, but we had to go through the whole permit.

Logan Walker: 1:32:12

Making sure you have your ducks in a row, yeah, exactly.

Vipul Bindra: 1:32:14

So that that can happen, but I'm like, it also depends on where you are. Like I said, LA, I feel like you pull out a camera and the partisans is waiting to ask you for your permit, but it doesn't happen most of their locations. Most people are chill. They're like, I've even had rather the opposite where the clients are like, I'm not sure if we can film here. And I'm like, don't worry about it. I pull a big camera out. Most people just think you're uh you assume that you're supposed to be there, which we are, we're supposed to film this, but you don't need to get like 10 permissions. Usually just pull out camera, start shooting, look like you, you know, belong it's just the confidence.

Logan Walker: 1:32:45

Yeah, trying to look shady and get the shots versus like this is my crew, we're here. People are okay, they must be here, they're supposed to be here.

Vipul Bindra: 1:32:52

Yeah, we did something at the Orlando Conference Center or whatever for like a client from Australia, and she was very nervous about we set up literally in the middle of the walkway, too. We were like, This is the shot, this is the shot we want. And she was like, What they like to shut us off or whatever. I was like, No, we're we're meant to be here, and technically you're supposed to be here. So we we even marked, we taped the the whole area where we wanted our stands and everything. So we'd come back four days in a row, our marks would be there, you know, and we just set up, and the securities are even like saying hi or whatever. You know, like if you act like you belong and you are actually supposed to be there, not doing something wrong. Most people don't bother filming.

Logan Walker: 1:33:28

You smile, you look nice, you say hi to the people that work there, they're gonna leave you alone.

Vipul Bindra: 1:33:33

Yeah, and a lot of times they're just intrigued by what we're doing. They go, like, hey, that's a nice camera or whatever. Rather, you have the opposite issue. So apparently that conference they were doing some video or photo session somewhere, right? So people would come to us through the days like, is this where we get our headshot taken? Is this where we get our headshot? We'd have to be like, no, no, no, no, no headshots here. It's just video. It's just video not on the FX. Yeah, not on the FX. I mean, I could give you a screen grab, but you know what I mean? Like, that's not what you're looking for. Anyway, and plus we're not technically directly there with that conference, though. We were like with a partner, right? So anyway, so this this these type of things happen quite a bit where you just have to roll with the punches, but a lot of times it's just confidence, it's just acting like, yeah, I'm supposed to be there. Yeah, and this is. This is my job and I gotta do it. Exactly. Yep. Yeah, we've done that with the Kia Center. I hope they're not watching. Where we once we're when we're allowed to be there. I mean, we'll get past this. I'm saying we're allowed to be there, but I'm like, sometimes like, where are we allowed to be? I'm just like, just freaking walk with confidence and just go where we need to go. We're gonna film what we need to film. I'm not gonna stand here and like ask permission, you know. I I guess do it and then ask for forgiveness later, type of thing. Yeah, and no, usually nobody has a problem with it. Like, but but it can come with parks. What was the level that we went to where we had that great meal? Was it the fourth level or wherever? Some club lounge or whatever at the Kia Center? For the buffet, right?

Mario Rangel: 1:34:55

Yeah, but thoroughforth, I think.

Vipul Bindra: 1:34:57

Yeah, we went to some private lounge when we were we were done filming, we were taking a little break, and I'm pretty sure you need some kind of exclusive access. And we just went there and we just sat down and we just had a really good meal. It was a very high-quality meal, you know, with like you said, prime rib and steak and everything. And we just had a good old time, and it was like nobody questioned us. We sat there, they even, you know, they were like, Oh, sorry, we didn't serve you drinks. What do you want? And we're like, I'll take a Coke or I'll take this, you know, and whatever, and we're chilling right down. You know, we're watching the game because we when we're actually filming, you don't get to really see the game or whatever, right? We're doing whatever we're supposed to do. So I'm saying those are the fun experiences where you can just act like you belong and just do your thing and you get out of there, you know. To be real, no harm done, you know. No, not at all.

Logan Walker: 1:35:42

That's the thing, too, with filming like live events when you start is you kind of have the imposter syndrome. Like, I know I'm supposed to be here capturing this, but I don't want to get in the way or obstruct anyone's view.

Vipul Bindra: 1:35:54

Yeah.

Logan Walker: 1:35:54

And I I mean, when we start with weddings too, that's how we felt like in the ceremony, like, I don't want anyone to look at me, I don't want to be in the way. But that's just kind of something that you get over with time.

Vipul Bindra: 1:36:03

Yeah, because you have to, because you you're for you have to get the shot that you need to get the shot, even if you're in the way, I guess. Um, and then also just like I said, the the level of access you get, like it took me a while to accept that like we have full access. I don't I'm not a biggest fan of event videography, right? Because to me, that's the only videography that they do, right? The difference within videography and filmmaking is you can control light, right? It's a controlled situation versus an uncontrolled situation. So I prefer where I can control lighting or whatever. But the thing is, we live in Orlando where conferences and you know uh events is is uh corporate events is a huge thing, so you cannot let that market go. Right. And so I'm not the biggest fan of it, but I do love the access that comes to it. Sometimes you're doing something really cool or some conference or whatever, and then I love it that um, you know, you basically I can go wherever. Like you said, nobody ever stops you. I'm like I'm going backstage, going behind, like where most people wouldn't even be allowed to, like, we can just go essentially full access. Yep. So that's pretty cool, like to have access to. Like sometimes they have a special band playing for some night or whatever, or something's happening, and then you know, you're able to just essentially go, oh, I want a shot from the stage. Like I have had where we're doing events, and I'll tell in the mic I have somebody with me. I'm like, hey, go on the stage, and they're like, What? I'm like, no, go on the stage. Yeah, I was like, no, go on the stage, get in front. I don't care, get the shot, you know, get me some tights. So essentially we can do that, and and and that's the butt so that I'm like, oh, we have a Bindra shirt, and I want that to be on wherever they're live streaming that right now.

Logan Walker: 1:37:35

Yeah, so it's advertising, yeah.

Vipul Bindra: 1:37:37

Exactly. I'm like, but in in general, though, I'm like, uh not to again take advantage of it. We're there to get the shots. I'm like, we will do whatever it takes to get the shot, and and most times the client gets that. They're like, no, they're there to do this thing we hired them to do, they're not gonna limit or restrict us. And same thing with location. You go with confidence, you have whatever past badge they give you, and then yeah, nobody really stops you. But it can be fun, it can it can have its parks.

Logan Walker: 1:38:03

It's interesting. When you're in the profession of videography, there's so many things and places that you're gonna see and do that most people are never gonna experience.

Vipul Bindra: 1:38:12

Yeah, that's true, and it's so different. Like I said, I've the I like to do variety of type of clients, so like the things that we're doing are so different on a day-to-day basis, even though they're the same. Yes, if you boil it down, we're making a video, we're shooting some interviews somewhere, some B-roll somewhere, right? That's that's a narrow way of looking at it. But if you actually think about the the places and the type of businesses we're doing are so different from a service like an app to to a car company, to a chemical company, uh I don't know, to two CEOs that are talking about uh something, you know, I don't know, to to dentists, to doctors. Like, I mean it can be literally all over the place, and then what they're doing is so different, and it's so cool to be able to like go into I can talk about medical practices, going being able to see some very expensive machine that does something very specific that we would not know. Um, like one of the coolest things I did again talk about Adam was uh the the pet thing that he do. He does work with a lot of vets, vet hospitals to so being able to go see in surgery, like pets, I'd seen human surgery or whatever recorded that, but to be able to go and see how pet surgery happens and where it happens, to go in their clean room and you know, put on all the stuff. I don't know. I I just think it's fun, like and and it's interesting to be able to get access like that that you wouldn't normally get because why would I be backstage in a surgical center, right? You know what I mean? Yeah, I was like, why would I go? And if I had my own pet, I would never want to go there because you know that's trauma-induced. Yeah. I'm like, but here we are, and you know, you're able to see uh in you know, the two ways I look at it. We're making great content, they're gonna get more work, everyone's gonna win. But then also I'm seeing behind the scenes what happens, how they take care of these animals, how they're passionate about what they do, right? Uh so if I ever need the services, I would know, like, yeah, I trust that place to send my pet or whatever, or my my it can be my doctor or whatever it is. So it it it is confident in the using. Plus, I like at least that A, I'm working with a nice person, like I'm promoting a business that actually cares. It's not just they're not just like making this video just so they can sleaze ball to their customers or whatever. It's good to know that when you're in there and you can see really what's actually happening. Yeah. Awesome. Let's switch gears. Let's talk about um uh Orlando in general. So you have always been here, or you moved here, you said.

Logan Walker: 1:40:33

I moved here the summer of 2016, right after I graduated high school.

Vipul Bindra: 1:40:38

Okay, what brought you to Orlando?

Logan Walker: 1:40:40

Well, kind of taking it back a little bit, I've known I've always wanted to be in film um since probably early middle school. And not that there aren't opportunities in Michigan, which is where I'm from, but he only had like one film school there, and of course, film school of course is not necessary. Um I wanted to come to UCF. I also wanted to get out of Michigan because it's very different than it is here. I just needed like a change of change of pace. Um, I originally wanted to go to UCF for their film program. I started it at Valencia, and then I realized, oh, there's lots of prereqs I don't want to do like Spanish, which you know that probably would have helped now because Spanish is important to me. Yeah, especially here. My girlfriend's Venezuelan, so yeah. Um but yeah, as well.

Vipul Bindra: 1:41:28

I guess she can swear at you and you have no idea what she's saying. Oh no, no, I'm good enough now. I know you're you're catching on to that and she's mad.

Logan Walker: 1:41:35

Yeah, I'm I'm the potty mouth in Spanish. She's like, I don't want to hear that word. So it's it's it's actually flipped. Um so yeah, I realized I didn't want to spend all my time and money doing those classes that it was just a waste of time. So I ended up going to Valencia uh college for the film program there, and it was fantastic, and it was not expensive. I already I don't have any student loans, so it was great and it was worth it. But yeah, that's the main reason I came down. I was just wanted to change my location, meet new people, and um go to that school.

Vipul Bindra: 1:42:06

Yeah, no, that's pretty cool. That's uh that's awesome, and I guess you liked it here enough that you stayed. Yeah, yeah. Yeah, that's pretty cool. I I always love most people have I don't meet that many native Floridians who are like, oh yeah, I was born here. Usually it's not super yeah, super common. Yeah, most people moved here from somewhere. Um, and that's pretty cool. So you came from Michigan to Orlando. Do you plan on staying?

Logan Walker: 1:42:28

Or do you where are you at with um as of where I am now? I don't see myself leaving Florida. I've been to a good chunk of states, and I don't think there's one that I would change to. Maybe I would change location in Florida. I've considered Miami, but I've constantly hear it's too hectic, too expensive, which it is expensive 100%.

Vipul Bindra: 1:42:51

Um I mean Orlando's expensive too, but yes, Miami is.

Logan Walker: 1:42:55

It's it can be a different level. Plus, I'm worried about when I buy property, having it be in Miami with the hurricanes. Like Orlando's pretty safe, but anywhere else is kind of like a roll of the dice.

Vipul Bindra: 1:43:07

Yeah, I mean, even Orlando gets hit. It's rare though, yes. Yeah, uh, but no, Miami for sure that there's a high chance. I mean, what's the predictions? I don't I don't know about uh, but it's like hundred years or whatever, it's gonna be all underwater or something. And I'm like, I go there all the time and I'm like, you're telling me this is all gonna be supposedly underwater? I don't know. That'd be crazy. I mean I won't be alive in a hundred years. It doesn't matter, but I guess we won't be there to see it. Yeah. That's crazy to think about. Um, but yeah, while while our lifetime is there, Miami's a great city, but like um, like you said, it at least not for me, but I do like going there. I do like going there and filming and and and just seeing the culture or whatever, or trying the restaurant.

Logan Walker: 1:43:50

Yeah, I love the feeling of the city, it's very different than Orlando.

Vipul Bindra: 1:43:52

Exactly. Well, we can play in GTA 6. Do you are you a gamer? Yes, I'm excited about that. My favorite game as a kid growing up outside of Age of Emparts 2, like was Vice City, because you know, but um but it wasn't like that well done, like Miami. Uh-huh. Having now been to Miami and having seen trailers for GTS6, I'm really excited. For that reason, I don't know how much time I'm gonna get because I'm already barely running on fumes, you know, sleep. But I was like, that would be really cool now to actually play it, having you know been to that city enough times that uh I don't know, I think it'll be cool. I'm excited. Yeah, I mean, when I I know off topic for this podcast, but I don't know.

Logan Walker: 1:44:27

When I went to LA earlier this year, um I fired up GTA 5 again and I was like, okay, now I need to see how this location compares to the real life one. How the pier looks, right? Yeah, yeah. In uh Griffith Observatory. Oh my god. Yeah, it's interesting.

Vipul Bindra: 1:44:41

Yeah, I mean they they try to not make it exact, you know, but it's it's it's close. It's close, it's very close. It's close. Yeah, because the scaling issues, obviously, if they made a real LA, you would never in a video game be able to get to it. So it's scaled, you know, in a way that's you can get from one end to the other, you know. Uh but no, it's done done really well. And GTS6 is supposed to be even nicer. And the things I looked at, I was like, oh, that does look like Miami. So we'll see how nuts. Oh yeah, how how nuts that gets. That's gonna be fun. Uh, but no, like I said, coming back to the the the the point of the podcast, I would like I like shooting in Miami, but yeah, you're right. At least on my perspective, I don't know if I'd ever move there. And having moved and having seen again, think about what I like about this, having traveled to a lot in a lot of the states. I'm just like, ah, really nice. Like, I enjoyed coming here, beautiful, but I don't know if I'd move here. Yeah, you know, it's good for coming for a few days and then enjoying it and then leaving and going back home. I don't know. Yeah, it seems fairly chill here, and that's what I like.

Logan Walker: 1:45:38

And the good thing about being from Michigan is that a lot of people, I mean, I guess around the world, but a lot of people from Michigan vacation here. So I've had the opportunity to see a lot of like old friends and relatives that come down here to like go to the parks or just go to the beaches, and I just happen to be here too. Yeah. So it's really accessible.

Vipul Bindra: 1:45:57

No, that's pretty cool. Yeah, because you're right. People will come down here anyway. So you you it's not like you're not gonna get to see your family and friends because at some point everyone's coming down here, whether it's to go to the beach, to go to the theme parks, or to go to any of the million things that you can do in Florida. I mean, just the keys is so beautiful, man. Like, there's so many things to do anyway. Yeah. Uh, so that's pretty cool. Um, awesome. So, what's next for you guys? What are you thinking about doing next? In terms of like our wedding company? Yeah, the whole thing, videography, life in general. You're gonna get married. What are you gonna do next? Oh my goodness. I don't want to put you on the spot. Don't put me on the spot. Yeah, no, I'm just saying, what are you thinking? What's next? I don't I don't want to cause any problems there. Uh yeah, we'll see if she loves it. Yeah, hopefully, hopefully not anymore. I was looking for it, but now I'm like, uh, anyway. Um, in terms of the company, I just yes. You were supposed to bring yes, yeah. You're like, I'm shopping for rings right now.

Logan Walker: 1:46:49

Anyway, um, we want to rebrand to do more elopement style because we love weddings or elopements that are small, yeah, less hectic. And even when not only when you get to really know the couple, but you get to know the wedding party, immediate family. You the crop the product that you create when you have when you build a personal relationship with the people you're filming, it's much better than just show up and shoot me or film me. Yeah. Um, so we want to do more destination stuff because you know, I also told her told her I'm tired of going to the same venues, filming the same thing. I want to explore the United States or travel abroad, and with elopements, you get both of those, plus it's small. So that's kind of like where we're gonna start heading to.

Vipul Bindra: 1:47:38

So what's your approach? How would you film an elopement different from let's say standard wedding? Is it just that it's faster or do you change your approach?

Logan Walker: 1:47:48

Well, an elopement would probably be slower. Um because I th to my knowledge, I mean, uh granted, we haven't done like a full-on elopement yet. Um it's gonna be like a multi-day event with some with uh less people, so I think you'll have more time to maybe do more lighting and you'll have more control over the day. Versus I'll I'll use this for an example. During a wedding, we try to light the speeches and we tell everyone who's speaking, stand right here. That's where we have it lit. And then they stay there for 10 seconds and then they walk somewhere else. I'm like, this is why we can't have nice things. Exactly. So I think with an elotement, you have more can creative control. Yeah, there's less going on, it's less busy.

Vipul Bindra: 1:48:32

Do you do any lighting right now or no? For receptions, or maybe do you guys put up some lights or yeah?

Logan Walker: 1:48:37

So um we use like the aperture uh 60x uh light storms. Um I don't really use like a lantern or balloon to to give up, like pull up the ambient. Um maybe I will in the future because I just bought a 600x, but um, even then that might be kind of overkill for some things like thing.

Vipul Bindra: 1:48:57

Yeah, mainly what are you trying to do? Just light the person who's speaking or whatever, or just bring up ambient light or a mixture of both.

Logan Walker: 1:49:03

Yeah. Um, if we didn't have to crank the ISO, it'd be nice. But you know, with weddings too, you write a fine line of what looks good for video, and then the couple's like it's too bright in here. I want it to be darker for the dancing. Yeah, yeah.

Vipul Bindra: 1:49:16

No, I get that. That's pretty cool.

Logan Walker: 1:49:18

I would love to push more lighting and creative control and do like full filmmaker mode on a wedding versus kind of just run and gunning. But I mean, with the wedding, it's it's trade-offs.

Vipul Bindra: 1:49:28

Yeah. Uh, do you do any kind of marketing or no? How do you get clients?

Logan Walker: 1:49:33

Uh, mostly Instagram. Um, we haven't been pushing ads for a while, but um, we will start pushing them again soon once we rebrand.

Vipul Bindra: 1:49:40

Are you getting enough leads though already from the existing couples and Instagram that you don't really need to do ads?

Logan Walker: 1:49:45

Yeah, and we get referrals as well. Okay. But um, she's on top of posting on our Instagram a couple times a week, so we get pretty good traction on there too. We finally had a real post a million views, which is crazy.

Vipul Bindra: 1:49:57

Oh wow, that's yeah, that's pretty cool. Yeah. Wow. That's that's pretty cool. Did that I'm I'm uh I'm guessing that brought a lot of traction in too. Yeah, yeah.

Logan Walker: 1:50:06

Yeah, we got a lot of followers from that.

Vipul Bindra: 1:50:07

That's awesome. How many followers do you guys have?

Logan Walker: 1:50:10

I think right now we're only pushing three thousand. Okay. That's pretty good to get them. We started from nothing years ago.

Vipul Bindra: 1:50:16

So do you have three thousand followers? Also have one of the reels hit a million views. That's yeah. That's kind of crazy. It's something. Yeah, I'll take it. Yeah, exactly. So do you ever see doing anything like what we do? Obviously, not the podcast, but I'm like, you know, the corporate and commercial type of filmmaking that I do, which is I don't know, a couple of FX6s, A roll, you know, getting B roll with the FXTs, maybe on a gimbal or something like that. Uh helping a client, I don't know, make a blank brand story, testimonials, training videos. I don't know. Any any of this type of work? I mean, I know you're already branching into reels, so uh for corporate do you see doing any of this type of work?

Logan Walker: 1:50:52

I'm completely open to it. Yeah. I don't really know how I would start doing it. I know a lot of people use like upwork, but um, I've been I've done enough like um convention center shoots where I like I understand how to do it and how it works. Um, yeah, but I just haven't pursued it yet by myself. But it's something that I'm open to.

Vipul Bindra: 1:51:09

Yeah. I mean, I think it just is very similar. You just have to nail down uh because you know you're still doing camera, you're still doing audio, you're still doing lighting. I think it just obviously beginner, it's very easy. You just set your cameras, get the framing right, you get the audio right. Yeah, but I think as you get advanced, the main thing comes down to again is the the lighting, right? And then the ability to move fast is the key. Yeah. Because which is where, like, again, lean into the technologies, right? For me, it's like lean into the autofocus, lean into the of the bigger and better light sources and stuff like that. Because at the end of the day, you never know. I mean, sometimes you get lucky, you show up and they're like, Yeah, you have four hours set up, and you're like chilling, you're like, oh wow, I can move. But usually it's not like that. Usually it's like you have CEO in 10 minutes, you have this person, and they only have a 15-minute lunch break or whatever, you know, especially when you're saying you're doing important people at a company, they are very tight on schedule. So you have to move fast. That's just the key. And a lot of times I may approach, like, you know, when we plan a shoot, I'm like, okay, so we'll start this, then for the next person, we'll switch the scene a little bit, just so it looks, you know, different background. Then we'll switch different. But a lot of times, like, oh, next person's here, so you're like, okay, well, we gotta go. There's no switching, yeah. Right? There's stuff like that. You just kind of roll with the punches a little more, and then but you do get to be more creative, you do still like get to see lighting more, do the three-point lighting, and and you then you can take keep taking that more advanced. Uh, and seems like you already have kind of the equipment to start with it because a 600x uh is my favorite key light, what we're using here on corporate shoots. If I'm doing a fast-paced shoot, I throw a 600x with a light dome 150, maybe throw a grid on it, you know, a couple of cameras. It's like the easiest way to start a tube or a 60x as a backlight. Yep. And then obviously, this is like the most basic thing. Then you can obviously start building on it as it gets advanced. If the budget is higher than like, okay, let's put a frame here instead of a dome, right? Yep. Or I don't know, do let's do more for the the background, let's throw Gobo in there or whatever. But I'm saying it's it's not like something unique that you're not already doing, it's just kind of bringing it all together and then doing it faster. Right. So, like, are your pocket for us good enough? Probably. But it's like if it's you're by yourself, you know, and now you have to focus on both, and you know, it may become and then you have to ask questions. Sometimes it can be really small crew where it's just you, then you're like, how do I make sure both stay in focus? And you can also ask them questions, so stuff like that. So it may be a little challenging, but nothing you know, you can't handle type of thing.

Logan Walker: 1:53:35

Yeah, and I I had an interview where I was like, Well, I can just do manual focus, they're just sitting the whole time. Like, should be fine. And then I go back to watch it and they're leaning and out moving around. I'm like, oh yeah, you guys. This is why I believe autofocus.

Vipul Bindra: 1:53:50

And I mean, we do it, like you said, the one we're gonna do on Tuesday with uh Mario and uh Emmanuel and stuff, they're gonna have to manually because we're using thinny lenses, uh-huh. So they're gonna have to manually focus uh because there's no autofocus in them. But yeah, autofocus does help, especially with the ones with eye tracking, you know. Because like you said, it's not a lot, but they are a lot of people will go back and forth a little bit. And uh, if you're using the type of lenses I do, like my interview angles is 514 and 85.1.4, your focal plane's less, especially on these GM lenses, because they're photoglass. Yeah, at least with cining glass, the follow-off is really nice, right? Um, so but again, I'm saying when we do Cininglass, you have to manually focus. But then I like a person on each camera. I don't like one person. That's when I'm I like autofocus. Like it's just me or me and assistant, then we're we're picking, you know, autofocus. Yeah, that's just it is what we understand. Yeah, but and usually when you want to go cinematic anyway, you have a higher budget. That's when I go, okay, I can be on one, Mari can be one, or rather, I'd rather be directing than I can have one person on each camera. And then, like you said, it's not like you're focusing a lot, you're just turning uh the focus hour a little bit. Exactly. Yeah, you want to have focus speaking on the eye and kind of track it a little bit because they will. This is a very common thing. And I try to find the most stable seat, you know, that you can that you that can be tough in some locations. Anywhere I can bring it, especially locally, I'll bring like a stool or whatever that I know is perfect for interview. But most times, you know, you can't. You don't have room for it, or or you're traveling far where you don't you can't. And that's where you know, I'll try and at least that's that can be one of the biggest things, finding a chair or a bar stool or something that you know it doesn't swivel, you know, it doesn't lean. Because they're already gonna try and do that. You want to restrict them as much as possible so they're not doing too much of this. And I always tell them, like, hey, talk with your hands. I like that, not with your body, you know, because it's really good. And then the other thing being shirts, you want to tell them to wear solid colors and stuff like that. The patterns can be distracting. What is that called more A? It's not a that big of an issue on this. I heard the 6K, which is why I didn't buy the Ronan 46K for a while, because apparently um uh it had a lot of that issue uh on that sensor, but apparently the 8K doesn't, and uh but I've never had that issue, but in just general, you want to avoid busy patterns because cameras can just do weird things with patterns, they're not perfect yet. Yeah, yeah. So, but I mean saying again, vetting and event photography, I would put in or videography in one thing, so it's very easy to go from wedding to video event because it's pretty much the same thing. Uh but the the switch to corporate is very similar, just slightly different. Those things are similar, you know. You gotta do more lighting, more more cinematic, whatever you call it, but and then move it faster. Not that you don't move weddings faster already, but it's not nothing hard. I tell people like the whole goal is do what you enjoy, you can do anything. Like, you spend time with like, for example, me, I can show you corporate and commercial filmmaking in a couple of months. It's not that complicated. Um, you know, same thing, I'm sure if I hung out with you for a couple of weddings, I would know what to do. It's just more like, do I'm passionate about it? Could I do what you guys do? Probably not. I mean, could I do it? Yes, but do I want to do it? No. Same thing, you know, it'd be like, like you said, maybe you're interested, and then you could you do it? Absolutely. You just have to do it, you know. Like I said, you're already doing reels. It's not that complicated to add some lighting. Uh it's just it's just building blocks. Yeah. I think the biggest thing is finding those clients, giving them results, making them uh get they want, you know, and then slowly don't do it like me, and then you end up with all this gear because you needed it, and then now you're like, oh I what can I use? And then I, you know, you're throwing so much gear at it. I mean, sure, it looks nice. People appreciate it, especially on higher-end projects when you know we create some beautiful images. Too bad it's most of the time it's NDA, but it's like, you know, I'm really proud of what we create, um, you know, images-wise. Um, and even for low low clients that you know that that don't have high budgets, my opinion. Again, and it depends on who you're looking at. For someone, five grand is a lot of money. For someone it's not. But point is even for our low budget clients, I think we create incredible images. I like to not cut corners. My entire thing is I'm gonna do the best I can at that price point, and um and at least I shoot for it. I don't want ever to be a limitation. I like to roll with it, and then we're gonna do it. I don't want once to say, oh, if only I had this, then I could do better. Then to me, it's like uh, you know, it's an excuse. I don't know. I know now there's things I can't control. Like I can't control timing and availability of the people or cruise size because they have to pay for that. But uh beyond that, I'm not gonna have any limitation. You know, I'm gonna give them the most foolproof thing that I can. At least that's what I try to aim to. Yeah. But yeah, if you were interested, I would love to work with you. I had such a good time on Adam's shoot. Yeah, uh, yeah, definitely. You were the best part of that shoot. Uh, I hate working with Adam. I'm not just joking. I'm just probably listening going well. Yeah, I know. He's so annoying, right? The whole time I was like, uh, why does he have to be Adam? What does he want from me now? Yeah, too demanding. He's like, just stand here.

Logan Walker: 1:58:53

I was waiting for him to crash the drone. Yeah. He's lucky he did it.

Vipul Bindra: 1:58:57

No, but Adam shooter, like to be real for a second, they're so easy, right? That's why I like working with him. A lot of people ask me, they're like, You work with him a lot. I'm like, yeah, because he gives the easiest shoots ever, and it's fun to hang out with. It's all his fun people. Like I said, this one obviously I've worked with Doran a lot, but I like working with him. Then it was a good chance to work with you, and I'm like, we genuinely barely just did anything, in my opinion. You know, I was like, this is a fun shoot, you know. Yeah. Uh so it's like that. I was like, this is pretty fun, yeah.

Logan Walker: 1:59:24

So do you think Adam's shoots are like that because of the clients he gets and the expectations he sets and like how he structures it, or it's just everything.

Vipul Bindra: 1:59:32

I think he's smart as in like finding clients that are cool. A, right? B, setting the expectations correct, and then three, overdoing it. There was no reason for three of us to be there, four of us to be there. Actually, five of us. It looks good that we're looking obviously the content's great, and then uh I think um that's basically it, you know. And this and anytime I have a budget, to be honest, I'm doing the same thing. Like, I'm doing a shooting Tuesday, we're gonna have seven people there. I told the client there'll be three of us. I hope that makes sense. So, so you know, it's like when you overplan your production company and you do it really well. Now I know everything should hopefully go smoothly because we have more people, right? Um, and and or more talented people, not just bodies of any person that is gonna everyone there is talented and expert in their field, so you can like deploy them more efficiently. Same thing, like we were all there, like like I said, we were we kind of knew what we were doing. It's very easy, like hey, for him to as a director to say, like, I want a camera here, here, here. This is what I'm kind of looking for, and then we just make it happen, right? Right, like I said, there was no need for four of us to be there in five, if you include Marco, two of us could have done it, right? And that's not bad. That's what I'm saying. That's what why it was so smooth and easy because he already planned it and he needs a certain amount of shots. Now we're getting three X that shots. That's why we were all like, we're getting too much, but if that's why it's like it's by design, and the advantage that he gets is when he goes to edit again. That's what I'm assuming. I can ask Adam when he's here uh, you know, uh in a few episodes, but uh most likely that's by design. It's like, hey, I want a if somebody for some reason F's up or doesn't show up, then he's enough angles, and then B, um, you know, that he has enough shots to make whatever the edit needs to be. And there's there's things like that, and that's where separates you know a premium option from just any option, right? Because you have to be prepared for anything and everything. That's why you're the company, you're not just an individual. Um, because it's your name on the line, right? When you go work for AK Studio, right, or Adam K Studio, you are representing him, right? So if you F up, it's still his name and his company on the line. That makes sense. Yeah. So and and so that's why I'm saying it was easy. They're easy because it's overdone. And I'm pretty sure Mario can chime in. You haven't had a chance to work with me. Are my shoots easy or no? Tell the truth. Yes, they are.

Mario Rangel: 2:01:46

I think the other easy, they're fun. Uh the clients are are also fun to work with. Yeah.

Vipul Bindra: 2:01:52

You find good clients, you find good people to work with, and you make their life as easy as possible. Like, like I said, when I show up, most things are dialed in, most things are already set. So it makes your job as a camera operator or whatever you're doing a lot easier. And I would say if you ever step into this role, then same thing. Just make everyone, and if you've been in the all the roles, then you it's easier to do it, right? Because I go work as a gaffer or a sound guy or DP on other people's shoot, then I learn, and then I just apply that to my shoot. Like, how can I make it easier? That if I bring you on as a cam op or as a DP, how can I make your life easier so you can get me the best image? Right? That makes sense. Just creating like the vibe on set, expectations and yeah, giving the right crew crew, getting the right equipment, giving you the right amount of time that we can. Corporate shoots again, usually not possible. Yeah, yeah, yeah. But but at least plan for it, like you said. Like the shoot I'm talking about, they were like, come at eight or nine. I was like, no, no, we're coming at seven. We can shoot at nine because they don't understand the setup time. I'm like, no, we can set start setting up at seven so that we can shoot at nine. We're not gonna show up at eight, eight thirty to shoot at nine.

Logan Walker: 2:02:53

That's when some people don't understand, like you can't start shooting the minute you you show up. Yeah, exactly.

Vipul Bindra: 2:02:58

And that's okay, because you know they're they're they're business owners, they're good at what they do. So after we're like, no, no, it takes us a couple hours. Let us show early. We're happy to show up early. You don't have to worry about it. Like, you don't have to be ready at that time. We will be getting ready at that time. You still show up the time you want to. So these are the type of things I'm saying that you overplan, you overdo it, and you you do it right, and then you do it enough that you fix holes, and ultimately you became become such an efficient workflow that clients hire you because you're easy to work with, you make it fun, you make it easy, you get great results. You know, it's like a whole package, right? Um, and then, like I said, and then you work with your friends so you can pass off each other things like, hey, you want to be second cam here, or let me come be second cam and you're or I need this equipment, let me rent this from your. Why don't you come and bring this equipment with you, right? Like in that shoe, like I think I brought all the cameras, or did he have a camera? I think he had a camera there. But I think more like I brought a ton of equipment there. So maybe. Yeah, that one, and then I brought the other one. So it made it easy for him too, you know, because nobody needs to own four FX3s or 30s or whatever we have there. So it's kind of like that. That's where you tap into the the your friends and in in your and even if let's say he had not needed me, uh, you know, to be honest, he didn't, but you know, he didn't need I'm saying that many people that we were there, uh, but uh he could have just rented that equipment for me or whatever, and I would have happily given it to him. That's basically where I think resources come in. It's not just him when you build a big network, you know, uh then then you help each other out and um and everyone wins in the end. Yeah. Awesome, Logan. Can't believe it's already been two hours. Uh I know it always goes by so fast. So before we go, anything else you want to touch on before we wrap?

Logan Walker: 2:04:41

Okay, I'll ask you this question. So after that experience with Adam and us shooting together, would you be open to doing more weddings in the future? Or no. No.

Vipul Bindra: 2:04:52

That's an easy answer. No. Because again, uh, if it's that style, to be honest, it's documentary where we're we have more freedom. Like I said, we had we could basically do whatever, right? Like we're we're not like it has to be cut this way, right? It has to be like we have to go get them ready and first look or whatever the standard wedding formula is. That's not for me. Because I said that's videography, and there's great videographers out there. But what we did to me is more interesting because we were a working in a group, uh, we were there to capture some documentary that's gonna probably end up on some uh news outlet or whatever, whatever. You know, I don't know. That to me, that's that I'm okay with where we have a sound guy. You know what I mean? Like an anomaly. Yeah, yeah, yeah. It's an anomaly, but I that I would be open to. But to be honest, no, if somebody asks me to be a second shooter at a wedding, I'm probably not the right guy because you have so many other people that you can ask to for, you know, who can now that this is the opposite. If you're like well, I'm doing a commercial, I'm doing a corporate shoot or whatever. I want somebody, I'm the perfect guy there. Like I could, you know, I've done thousands and thousands and thousands of those shoots. Uh, you know, I can do it. But then I do do anomalies. Like I did that shoot with with you guys, but then also I've shot movies, you know. Funny enough, like I don't even know, like a lot of people like IMDB, I don't even go there, but maybe something is there. But I've had people like, hey, I'm doing an indie movie, can you plus DP for me or whatever? I did one for Daisy, uh, somebody he works, he worked with. So uh, you know, I'm down to do that, is what I'm saying. But that's an anomaly, that's an exception. Okay. Uh, not a normal thing. On a normal day, I'm kind of happy where I am, uh, which is like, but what I'm looking more for is more commercials, more carpet stuff, where you can be nimble, right? That's where I'm trying to bring my expertise. I can do more with a smaller crew where I see the market going. Like, I know to some people who are like single videographers, it may look like, oh, he's like this big company with this big van, he has too much equipment. I'm like, I'm no, but I'm trying to build the opposite. It doesn't look like it. I'm saying let's replace that $200,000 uh you know shoot into a $50,000 shoot. I hope that makes sense because that's where I see the industry going. Like, how can I do this with 10 people instead of 30 people? Yeah, right? Being more nimble, being more fast. So I'm trying to do that. I'm saying, hey, how can we do something that would have taken, you know, like I said, 30 people, three-ton grip truck, uh, you know, a separate camera department, a separate audio department. Now let me come in, let me do it with 10 people and my van that has everything, right? And that's so I'm trying to look where I see the future going, which is like I want to be the most to get you the most out of your money. Uh, but that doesn't mean you know that helps when I'm doing smaller shoes, then I can be like the premium option like this guy's like so high-end and everything. But I'm trying to capture the next generation of high-end content, which I think will be uh done at a lower end if that makes sense. So I'm the high end, sorry, I'm the uh I'm the low end of the high end, if that makes sense, uh, in the future. That's where I see myself being like, you know, as a safe bet. Yeah, and and and I and I see in that ways we can be nimble, we can be fast, we can work with our friends, uh, but and I don't have to have too much approval times, lead times, you know, with like big brands or whatever. And then we can still assist agencies here and there where they're like, oh, we need this. Can you support us? Absolutely, where they handle all the nonsense that comes with, you know, um stuff like that. You know, some say, okay, and we can just be the production company, we can come in, we can roll with the punches, we can, we can make everything happen. I want to be that guy where it's like you handle everything, and then we can we can come in, or we can then branch it out. That's why it was split into four ways. We just need you to do lighting, we just need you to do camera, or we just need you to do audio. We can split it into four you know, packages, so it makes it easier. We can do one or we can do all, and we can be nimble and fast and a lower cost compared to your high-end option, right? And do it almost as close, if not the same. Or you know, I hope that makes sense. So, so for somebody like Sam, the low option for somebody on the really high options is really how you look at it, and at least that's where I see myself going. But who knows? Industry's changing so fast it's hard to keep up. Yeah, yeah. Awesome. Well, thank you, Logan. This has been a great conversation. Uh, before we go, please tell everyone where they can find you, maybe your company, and follow you or find more about you know, get getting hiring you for a wedding. Okay.

Logan Walker: 2:09:10

Yeah, if you want to follow us on Instagram, it's at Silver Civet Pictures. That's S-I-L-V-E-R-C-I-V-E-T Pictures. Um, also my personal is Logan Walker, but without the A and Logan, because it was already taken. And I can't get it.

Vipul Bindra: 2:09:25

Another Logan Walker, wow.

Logan Walker: 2:09:26

So it's like Logan Walker. Wow. Yeah.

Vipul Bindra: 2:09:29

I mean, hey. Awesome. Well, thank you. Uh, yeah, if you guys are interested in learning more about vetting videography or um, you know, reels or just in general, just reach out to Logan and I'm sure he'd be helpful to assist you. But thank you, Logan, for coming. This was a fun conversation. I had awesome. Had a great time. Thank you, Mario, for again helping us produce this thing, switch this thing. Oh, thank you. And uh, we will see you next time. Thank you. Bye.