Vipul Bindra: 0:04

Welcome to another episode of Studio V Sessions with me, Bendra, owner of Bendra Productions here in Orlando, Florida. Uh, this is a podcast for you know filmmakers, video people, photo people, anyone in the creative industry. Uh A Raw Unfiltered Conversations. And we've got Mario again on the producer desk helping us. Hey guys, how are you today?

Mario Rangel: 0:25

Nice to see you.

Vipul Bindra: 0:26

And our guest is a favorite from season one back, Emmanuel. You're uh DP, uh studio owner, production company owner. I mean, you do everything. Uh with the sporting a new look. What happened? Oh, new haircut. Yeah.

Emmanuel Gallegos: 0:42

Rush from they might not recognize me from season one.

Vipul Bindra: 0:45

I know. I'm I've I've I don't think I've ever seen you without either a beanie on or your long hair.

Emmanuel Gallegos: 0:50

So it's been it's been at least four years of me with long hair. So this is uh something new for me. What made you want to change the look? Three years, man, or three three, four years of long hair. It's it's a lot uh to it's a lot of upkeep. I gave it up to to the the people with long hair. Are we sure it wasn't that girlfriend? Well, funny enough, so so my girlfriend was like, um, I don't like guys with long hair. But then we started dating and I was like, I guess you're gonna deal with that guy with long hair. But uh it wasn't necessarily because of her, yeah, but like the last six months. Uh I would say once 2025 started, I was like, uh, this probably the year I'm gonna I'm gonna cut my hair. I don't know when but I'm gonna cut it 2025. I was thinking probably near the end, but then you know the hair started like drying up, it started like breaking apart. The edge, like I would put it in a bun, and the front hairs were just like all fizzy. And for everybody that lives in Florida, we all kind of know that when you live in Florida, it's all humid, your hair's all frizzed up. So I almost cut it in March, but then I only did that cut below. Yeah, then after that, I was like, there's nowhere else I can go. I can only go short after this. And you went? Yeah.

Vipul Bindra: 2:02

I had how did you do this before the birthday or after the birthday? Uh right before the birthday. Right before the birthday. Like two days before the birthday. Yeah, which we were we as we were talking before we started, we weren't invited, Mario. Uh but we did hear about it. Yeah, so you said you were up until 6 a.m. partying?

Emmanuel Gallegos: 2:17

We we always do um Floridians. I mean, people that probably grew up in Atlanta, some people might have done this, but we used to do like Airbnb parties before COVID. We'd go have a huge Airbnb party, everyone has a room, everyone parties, everyone has like a pool. Yeah, good old time until COVID. Until you get kicked out for making too much of a mess of some house. Yeah. Goal is to make as much noise and get kicked out as little as possible.

Vipul Bindra: 2:41

Yeah. That's awesome, man. I'm so glad you're older, like you say, perpetually 27.

Emmanuel Gallegos: 2:46

You know, apparently for for people, I've been 27 for four years. Yeah.

Vipul Bindra: 2:52

I don't know. I just feel like every time I meet you, you're like, I'm 27. It's like a birthday goes by. What are you telling me? You're actually 27. I'm 27. That's crazy.

Emmanuel Gallegos: 3:00

I gotta look at my birth certificate, but yeah. I think I'm 27.

Vipul Bindra: 3:03

Yeah, you think you're 27. That's so crazy though. I can't believe I've known you a few years now, and that means you were what 26.

Emmanuel Gallegos: 3:11

I was like 25 when we met. Which is so crazy.

Vipul Bindra: 3:14

25 or maybe 24. Yeah, wow. That's that's nuts to think about. Time flies. Yeah, I know. Uh wow. Uh, but hey, I mean, that's good. Congratulations on your birthday. Um, also, obviously, we talked about this last season, but you know, you started a studio, you uh started a company. Now I know you had your own company, but you started one with Fernando. Yeah. Then uh, you know, you're also doing shoots as a DP, but I mean, you you're basically like all and you moved out, right? That happened, you know. Yeah, you got your own place. I mean, like uh I don't know, I feel like you're growing up.

Emmanuel Gallegos: 3:50

In one year, yeah. Yeah, it's crazy that all that happened in one year.

Vipul Bindra: 3:53

Isn't that crazy?

Emmanuel Gallegos: 3:54

Yeah, yeah. So a little a little background for new and you know, not people that know me too too well. I have E-Men Films with just my freelance. People just can hire me out. They they need a CP, they need a gaffer grip, uh, and then just they see my portfolio and then they bring me on. Uh I've had that the longest uh ever since I started, and you know, it goes pretty well. We get tired I get hired a few couple times a month, uh sometimes a couple times uh a week. Then early last year we started Adapt Media, which is Fernando and I's goal to get either commercial clients or retainer clients. Because I know a lot of a lot of filmmakers, that's the big talking point. How to get you know yeah uh retainer clients, how to like lock in those clients. Uh and then we started the the studio. Uh it's about to be a year since we started this studio. That's with Val and another partners. Yeah, Val and Mariana. So we have that studio, and then this month we're doing a lot of uh photo shoot events. So we're racking those up, photo shoot events and networking events.

Vipul Bindra: 4:52

So look at that, that's pretty cool. That's what I'm saying. You have uh for a young guy, you're doing really good. I think you're also very talented. We've been able to, you know, anytime you've been with me on set, we've been able to produce great images. So I feel like that's that's a lot to be doing at your age, which is good though. That means you have head start, right? Uh by the time you hit your 30, you should be doing pretty well. I mean, you already kind of are.

Emmanuel Gallegos: 5:18

Uh it it's interesting how like you really look at like the the landscape right now of like people, you know, even at my age or people in their 20s and 30s, and how much like complaint there are is about like money and and and paying rent or paying bills, and how like this industry itself, if you you know, do a good job, if you pay attention, if you get into the right niches, that you can support yourself pretty well as like I'm a I'm a person in you know, I'm 27. But I mean back then that wasn't that big deal, 27 years old by themselves. But you'll be surprised how many people I know that are 27 or 30 that it's a struggle to to pay for a whole apartment by themselves. It's it's a lot, it's a lot of things.

Vipul Bindra: 5:56

Because rents are so high in Central Florida, and I'm sure in many other cities across the country and the world. Uh so yeah, so just to be able to be independent is huge nowadays, which wasn't in the past. Um, and then on top of that, like I said, to have the kind of lifestyle that we do as filmmakers, we're traveling, we're all over the place. Yeah, um, you know, it's it's it it can be nuts, you know. I mean, but it's fun, like yeah, right?

Emmanuel Gallegos: 6:18

And then it's it's a fun and exciting. I think the fun and exciting part is when you're busy every single day. Yeah, and then don't get me wrong, after like seven days, you're like, oh, I want this, but like just having that excitement of doing something new every single day.

Vipul Bindra: 6:31

Yeah, and then also you having the flexibility, like I work the the amount I work because I want to, not because somebody's telling it me to, right? Like you do. Like, and then we can take vacation whenever we want to. So we're like, I I just need a few days off. You just take the few days off. You don't need permission, you don't need anyone to like tell you that you can. Uh, didn't you just go on vacation recently somewhere? Where were you?

Emmanuel Gallegos: 6:53

Uh Costa Rica.

Vipul Bindra: 6:54

Costa Rica.

Emmanuel Gallegos: 6:55

Look at that. Yeah, how was that? The whole week in Costa Rica, that was beautiful. Yeah, yeah. We went to uh La Fortuna and just like walked around, uh, did some hikes, jumped in some rivers, zip lining. That was crazy.

Vipul Bindra: 7:05

Yeah, look at that. And that and that's the freedom that I'm talking about. Is this lifestyle for everyone? No, but then there's parts of it, you know. Uh you can just go whenever.

Emmanuel Gallegos: 7:14

I was even talking uh to my girlfriend because she's in the complete opposite world of like she just works at like startups and works like nine of fives and is like is building her career and her net worth in that way. And she just like, oh, what if I do this, which is like build a company? And then she starts looking at all the things she has to do, and she's like, Oh no. Yeah, because it's a lot of woman.

Vipul Bindra: 7:35

And that's what I'm saying. People don't uh realize this again, freelancing or even just uh running a company. You do more hours, it's just it doesn't feel like it because you love it, but it's not because it's less work, yeah. Because you know, you have to do so much more than that actual business, right?

Emmanuel Gallegos: 7:51

And I think it's that thing where it's it's more work, but you can you know enjoy it in the long term more because now you know, once you have the money, you can hire people below you, you can just manage, you can just kind of make sure things go by smoothly. Um, but once you know doing a nine to five, you're gonna be doing that, even if you just get hired higher up, you still have those hours. You have those 40-hour weeks on you know regular jobs.

Vipul Bindra: 8:14

You don't have and plus, like you said, if you want to go on vacation, you need permission. Uh no matter what level you are in, you need to make sure it's you know it's okay with the company and all that, right? So there's and again, it there I don't want to discount just nine to five. For some people, that is right, and that's why I brought on some guests, you know, who are like, hey, I have a full-time video job and I love it, and that's okay too.

Emmanuel Gallegos: 8:34

And you can make a lot of money. I I I've been learning a lot from from my girlfriend about the tech startups and how much they pay, and then how much like tech jobs pay. And you like start realizing like the differences between these industries and how much the average pay is. It's like, oh, this industry gets paid you know, 100k.

Vipul Bindra: 8:52

Yeah, and and it's worth it, you know, um, especially on the tech side because a lot of times they're trying to just raise funds. Not all tech startups make it, but to get VC funded funding, a lot of times a part of that they use is we got this engineer from Google or Apple or what not that it matters, you know, it depends the quality engineer, but I'm saying that you will use that to as a fundraising tool. Yeah, so sometimes you can get a lot of money to leave your you know, good job, as I say at a big tech firm to go to a new startup, uh, and then you can get a lot of stock and you know options. And obviously, if you make it great, but if not, it's still great because you know, you didn't something entrepreneurial, whatever. Yeah, um, so yeah, no, there's a lot of money. I guess there's money in every industry as long as you're willing to put in the work time and work and effort, yeah.

Emmanuel Gallegos: 9:36

Yeah, and adapt to what you need to be able to make that money. Like that, it's more you know, education, more learning the different uh IT requirements, uh all the tech stuff. Here it's just like learning your your skill set, learning the industry, learning your gear, learning how to sell, and then boom, you you'll make some good money.

Vipul Bindra: 9:54

Yeah, exactly. Uh like I said, not the easiest way to make money, but it's a good way to make money, especially if you're passionate about it. Yeah. Because I feel like uh what we do is help other people sell, right? And that's my favorite part is that we can come in and we can because we do, you know, primarily corporate and commercial video production. So we can come in and help them uh, I don't know, get to their target audience and their to their audience and to to explain their complicated situations more simple. I don't know. It's like we are a partner, yeah, and it's really good to be a partner for someone else in helping them get their you know their vision to life or whatever.

Emmanuel Gallegos: 10:30

I think that's something always when we're meeting with a new client, that's something we uh kind of bring up. Like, hey, just remember like what these packages and these things is kind of like making us partners of you. Our goal is to see you succeed. Our goal isn't just to take a paycheck and leave it. Yeah, our goal is like I you need marketing video, you need social media, you need to grow your your company. Yeah, like you you know, find up our video partner to help you build your uh your social media or your your commercials or your marketing uh portfolio to be able to make sales.

Vipul Bindra: 11:03

Yeah, I think that's exactly what we're trying to do, right? We're we're trying to be partner because it's also in the best interest of everyone because we want repeat clients or retainer clients because that's easy for us, right? Because we don't have to go keep hunting for new clients, and so it's in our interest to actually make them succeed because then they need more and more video content as they grow. And obviously that's what they want to do. They already obviously are doing whatever it is that we're helping them, yeah. And uh they want obviously, let's say, to fundraise or to sell their product or service or whatever. And that's what I'm saying. This is why that's why it has to be approached as a partnership. If you sell teach uh and that's why I have uh approach, if you approach them as a customer, I'm sure can you do it? Absolutely, but I feel like then you know, I don't know, it's not a long-term solution for either one because now you're like, okay, uh, you're a customer, my product uh that I sell to your service is video production, then you go, you do it, and you get out of there, and then it's like you know, nobody wins, I feel like in that situation. So that's why I'm like it's very important to approach it like a partnership perspective, even if though they don't let's say for some reason become a repeat client or whatever, you still approach it in the correct manner. Yeah, you know, because because you never expect anything, and you know, uh, you know, if you do good work, I think it's it'll be rewarded. And if you do it enough times, you don't need everyone to keep hiring you over and over. But if enough do, and it becomes a high paying career career, yeah, exactly.

Emmanuel Gallegos: 12:30

Yeah, and it's just like customer service, making sure they're having a good time. It's not just only about the video, but if they don't enjoy the process, if they don't feel comfortable, if they don't feel like their money's going in the right way, yeah, even if it doesn't end, it's not gonna make that big of a splash.

Vipul Bindra: 12:46

Yeah, even if it means sitting in a conference uh uh center for four days and talking about politics that we don't want to talk about. Yeah. Remember that one? Which one? Uh the one in the uh the convention center with that client where we uh we were Oh yeah, because you had such so much downtime. Dude, I think that went great. Yeah, no, no, we loved it, but she kept bringing politics up over and over again. We both normally don't talk about it. We were just like, We can't believe we're getting paid to right now sit here and that's my number one no no.

Emmanuel Gallegos: 13:16

Never never bring up politics.

Vipul Bindra: 13:18

But she was such a sweet lady, and to be honest, she was genuinely queer because she was in from America, so she was just like, What the crap? Yeah, so yeah, uh, but that was fun shoot, and then talk about the big shoot we did this year. Yeah so finally I was like, this year's been weird for me, you know. Uh like I said, because of the economy or whatever. So I've been doing different type of stuff than I normally do. Uh, but then uh Zay called and he wanted to do it again. Last year, we did this in Philadelphia. We help a nonprofit tell their client stories, you know, we can say. And uh so we wanted to capture them again at their conference this year. Again, we weren't gonna do the conference, we were just gonna be at the conference getting these high-end story elements. So uh, you know, I try to get you involved, and uh it took me a couple of tries and finally got you in. And I was like, I was really trying to bring you in because I know you you're you're you know, you're a good person to have on set and fun, and you kept turning me down. I'm like, what's happening here? So finally I was like, okay, here's the world, Emmanuel. Can you come now? And then you said yes. I'm like, uh so, but anyway, it was great having you. Remember from your side?

Emmanuel Gallegos: 14:22

It was great. I was like, uh, you know what, I'll do it. And then we show up to the airport and we're on frontier.

Vipul Bindra: 14:26

And I was like, no, right. I think we shot ourselves in the foot. So initially essentially we were gonna initially we were gonna go in Delta because you know we were gonna bring gear and all that stuff. And then what ended up happening is because the way the project was gonna be, we're gonna need a certain amount of gear and it was cheaper, plus you know, better gear, and also we're familiar with all my gear. We decided to send my van uh to Chicago with Mari and Jared. Uh funny enough, that meant that we were not carrying any gear anymore, so our flight quality does not matter. Yeah, so we were put on uh a frontier flight, and I had to be honest, I've been on cheaple flights, not a fan of Spreader, all those, but this was my friend's first time on Frontier. I try to strategically avoid them as much as possible, and I was so worried for most of the flight. Yeah. And uh, what was your experience? You've flown uh frontier before, right?

Emmanuel Gallegos: 15:18

Frontier Spirit. I've I've flown all the other cheapo flights for sure, usually on vacation, but um I would say my only real gripe was that um we landed in Chicago and then there wasn't any gate for us to uh unload. Yeah, so we were we it was like an hour flight from I think Nashville, yeah, right? Nashville, no Atlanta, no, an hour and a half from Atlanta. We show up and then we're just on the Tarmac. Tarmac, yeah, for like an hour waiting to get off.

Vipul Bindra: 15:47

Yeah, because I remember, yeah, you're right. We went from here, because of course, Frontier, no direct flights at least. We went from Frontier to Atlanta to Chicago, and uh when we got there, I guess they don't give priority or whatever. They're like, Oh, there's nowhere for you to go. And I texted Zay, I was like, Oh, we're we're here, and he's like, Oh, we're landing too, because he flew Delta. Uh talk about no talk about putting us in a cheap light. I mean, I get it, like I said, we didn't need gear, but come on. And then uh, so he's like, Oh, yeah, we just landed too. And I was like, Great, all right, see you in a little bit. And then an hour later, it's like, Where are you? We've even gotten the rental car and everything. We're like, We're still in the plane, we're still sitting here. I know what's gonna be. I think it was just that you're right. It's just frontier, that's not a priority, I think, for them to give you a gate over there.

Emmanuel Gallegos: 16:31

And then it's always it's always when the flight's not a a priority. We get unloaded in like the furthest, yeah, the furthest gate, and then we have to walk.

Vipul Bindra: 16:42

Literally the last gate, so it was like a very long time. Yeah, we walked for like 20 minutes to to get to the to the pickup area. Yeah, thank goodness we didn't have any checkbacks because I don't know. Oh, that's what I'm saying. It wasn't that bad, to be honest, to to again go back to it. It see, it depends on what you're doing. If you're carrying just a backpack or a carry-on, and uh and you know, going short flights like we did, it's not the end of the world. Yeah, I think the biggest issue is how critical it is because I think these cheap airlines are known to, you know, uh cancel flights or delay flights or not have baggage, baggage make it and stuff like that, which is all can be a hassle, but on a shoot like this where everything is being sent, uh we just need to make sure we arrive and we have no bags. The good thing is that we don't have to shoot that day. Yeah, we also didn't have to shoot that day.

Emmanuel Gallegos: 17:28

It was gonna be uh like a what, like a location shooting.

Vipul Bindra: 17:31

Yeah, but we didn't get to do that. Uh which is good. I mean, I guess, but uh oh, I'm gonna talk about that. So anyway, so we get there uh and uh you we we're like okay, let's go to the Airbnb, because you know they had made it. Uh funny enough, somehow you know, timing worked out great.

Emmanuel Gallegos: 17:48

How long was the drive, Mario, for you guys to to make it?

Mario Rangel: 17:52

How long? How long was the drive? Well total we're like if we count like the hotel and this and like five hours sleep was like maybe so yeah, we we left Orlando around 9 a.m. Sure okay. Let's say that's so that's that's the time I pick up Jared and and we arrive at Chicago at uh what what was it to 2 p.m. I would say between 2 p.m. and 3 p.m. next day so yeah you didn't sleep much you did get uh but we get the sleep so just try like 30 hours. Yeah, that's like 30 hours. But without without we without that, without sorry, the the hotel and the and the sleep hours was my yeah 24 24 hours yeah that's with all the stops and everything, you know.

Emmanuel Gallegos: 18:48

Uh it's laying like it's so late. No, it's okay. 24 hours driving. No, that's fine. Oh, wait. I've done it. I mean you gotta put a poll on this video. Like, would you drive 24?

Vipul Bindra: 19:03

I mean, to be honest, I've driven uh six, seven hundred miles in ten and a half or non-stop, but that also depends on the person. You know, my my attitude in life is like I want to just get there. So if I was driven it, I would have pretty much gone all the way to Nashville and then I would have stopped, you know. And I'm again not saying everyone likes to do what I do, you know, and then I would have been like, okay, swap with the other person, and now you drive and we get there, and uh and then I can sleep or rest, or uh the other way, I wouldn't mind, it's just a preference thing, but it also depends on um you know who it is. Because I'm I literally used to drive from Alabama back and forth, and we're literally an hour away from Nashville, so I know I can make that drive easy. So uh, so what I'm saying is, but yes, no, this is is it for everyone? No. Uh, but all all these m uh modern vehicles, you know, you put it on that adaptive cruise control, yeah. You go on the right lane, put it on the speed limit, you just go, you know. It's not, and most of my van can even recognize speed limit changes, so it can even slow you down or speed you up or whatever. So I'm saying, is it yes, is it fun? No. Uh but it uh that's why I didn't want to do it. That's why we flew. Because I wanted to be, I'm like, if you're telling me I'm gonna be irresponsible for all this, I wanna be all, which which again I want to come back to why I wasn't my hundred percent. I wanted to be my hundred percent because the goal was to you know do the best. But here's what happened. So, all right, you guys made it and we made it. So on the way, we're like, oh, they probably got funds, though they probably ate or whatever. We need to eat. So, what was the suggestion you made to stop out of all the places in Chicago? We could have stopped to eat.

Emmanuel Gallegos: 20:38

Well, we we weren't, we weren't, we were kind of in a rush too. We were trying to get back to the Airbnb. So, right when I looked up, we found what was it, like Dave's hot chicken. Yeah, I've never been to Dave's hot chicken. I didn't know if it was a Chicago place or not. Apparently, there's like a few in Orlando I didn't know about. And we had a nice good. Yeah, so we had to there.

Vipul Bindra: 20:57

It's so funny. The lady and the counter, she was so like not happy to be there or whatever. She was like, because I don't know, I've never been there, so I'm asking her, like, ask her a question. I think you did too, and she didn't want to respond. She's like, hot or spicy, like hot or mild or whatever. Like, you know, she was short. She did not want to be there.

Emmanuel Gallegos: 21:12

I showed up, I was like, I'm thinking this, and she was like, hot, or or no, she was like saying like the different things, hot, spicy, this, and I was like, What?

Vipul Bindra: 21:22

The first time here. Yeah, calm down for a second. And she was a manager or whatever, right? But she was not wanting, she was not wanting to be there. Did not want to be there. And then, but as soon as uh, so we we go there, you I think you order whatever, and I'm looking at it, you know, and I'm uh, you know, I eat Indian food and I can eat spicy. Usually in America, uh like nothing is that spicy for me. So I'm like, whatever, give me the spicy option. But you know, it's it's one thing to not find regular spicy hot. Like I can eat hot chicken, but then you know, they had an option for what was it, ghost pepper, Carolina Reaper?

Emmanuel Gallegos: 21:53

It's a Carolina Reaper.

Vipul Bindra: 21:54

Yeah, which is the hottest spice, I think pepper or whatever, I think, or that or pepper X, whatever. Point is they had like their They're mild, you know, hot, uh, hot ear, so whatever, like all little rays, and then the last one was Reaper or whatever, uh, or Ghost Pepper, I don't know, whichever one. Point is it was very, very spicy. So normally I'm like, you know, and and there's a difference, there's a flavorful spicy, then there's the just hot to be hot. So uh so I was just checking, and then I or when my turn came to order, you're just egging me on. You're like, no, get that one. Because I was like, yeah, no, I don't find spicy, but you know, I want to work.

Emmanuel Gallegos: 22:28

Because he said it out loud. He said, Yeah, the spicy here in America isn't that bad. Uh yeah, no, like me. Try it. Yeah, try it.

Vipul Bindra: 22:37

You know, it's it's meant to hurt you. That's the point of it. Anyway, point is I was like, no, no, no, I gotta work. I'll just take the hot one. So I think I took their slider or whatever option for food. Um, and then you know, I was thinking about getting a milkshake, but also she turned me away. So I was like, Oh, that milkshake looks good. And she was like, No, our milkshakes are like more thin or whatever, and I think they're not worth the eight dollars. I was like, whatever the price was. She was like, basically, she turned me away for it. So I wanted to get a milkshake. Said nah. She said, don't get, which was again a mistake. Yeah. Point is so she was like, Yeah, you don't need a mixed milkshake. I was like, first of all, she's telling me what I need. Okay.

Emmanuel Gallegos: 23:09

Question, was the milkshake good when you when you did get it? No, no, hold on.

Vipul Bindra: 23:12

So she was being honest. Yeah, yeah, yeah. But but no, she turned me away from it. Uh, so I was like, okay, whatever just give me a cup of soda or whatever. But you know, that doesn't help with actual spicy. And then you're egging me on, you know, the tell the truth. You were like, no, no, you gotta try it. You got and then, oh my goodness, a smile on her face. She went from being uh uh like not happy at her job to you could see instantly the evil. She's like, Yeah, yeah, yeah, I can give you sample. I can give you sample. Why don't you try it? And I'm like, uh no. And then like in my brain, I'm like, is is it, you know, I I know what a Reaper tastes like. It's not like I've never had it, and it's actually spicy, you know. Like those two million Scoval units is not like a joke. So anyway, but I but I'm saying it's entirely your fault because you're like egging meal. You're like, try, try. I'm like, okay, whatever. How hot can it be? And then uh Yeah, and yeah, go ahead.

Emmanuel Gallegos: 24:01

No, she yeah, she she got so happy, and then she was like, Oh, I can give you a sample. You want a sample? And you were like, Yeah, why not? Yeah, so she goes over here with like a sample of like freshly hot like chicken, yeah, with like it wasn't even like the the sauce wasn't even in the chicken, it was like on top.

Vipul Bindra: 24:18

Yeah, and it was all over, like if you was fully coated. It was a it wasn't you say sample, it was like this big huge piece, it's a whole chicken tendon, yeah, yeah.

Emmanuel Gallegos: 24:27

And then you took a bite, and then you're like, Oh, it's not bad.

Vipul Bindra: 24:30

No, I was and and then here's the funny thing. So you you know, you people are just now looking at me. So I'm like, whatever, you know. I I know I can I can take spicy, but I'm expecting it to be, you know, because if it's real Carolina Reaper or whatever, ghost pepper, it's like gonna be very spicy. The the crazy thing is it was actually hot, like not spicy hot, but like it had come out of the oven. Yeah, and I didn't know that, like she wouldn't let me touch it, which I get the point, because it's whatever. Like she just had held it out like for me to just pick it up. I would have waited like 30 seconds or whatever. So I didn't know that, but it was like so hot, like it burned my tongue. So now imagine it's in my mouth, and now it burns my tongue, and uh, so now you know I could taste spice even more, and then I'm like hot, and like you guys think I'm saying it's spicy hot. I'm like, no, my mouth is burning from the the heat. So anyway, so I'm like trying to drink soda, and and you guys are just laughing your butt off, and I'm like, no, it's not that spicy yet. So anyway, so I ate it. I'm being real with you, I'm not making up. It wasn't not that spicy, you know, because I was like I said, my mouth was numb from the heat uh of like uh you know, the temperature basically. So I just I and I I didn't even get to chew much, I just freaking swallowed. I was like, I drink it cool. I'm like, what the f why would it be so hot, like you know, off the off the fryer or whatever? And so I was like, okay, that wasn't that bad, you know. But then I started to feel it everywhere freaking the chicken barned me. I was like, oh, that was her intention, or maybe not the intention, either way, but at least at that moment I'm like, oh, come on. I was like, I was like, I gotta go to the bathroom to like put something in my mouth to calm down the um uh the the heat first. Because remember, spice isn't kicked in yet for me. Uh and you can tell your perspective in a second, but anyway, so I come back and I'm like, no, I need I need the milkshake. Because uh here's the crazy thing. So my mouth, not spicy, right? Coke is fine, and then obviously it's burnt from the the the heat um from the how hot the chicken was. Anyway, but then like it's literally right here. I start to feel it. I'm like, I can feel the literal my stomach here exactly where it is. See, and I'm like, this has nothing to do with how much spice you can take. It's like your body cannot take it. So now I know exactly where my stomach is, where are the spices, and my body does not like it. And now I'm like, I want the milkshake lady. Uh I mean, she was nice enough. She, I don't think she charged us for it. No. I was like, I want, and you she was right. Yeah, it wasn't the best milkshake. It was kind of crap. But then at that point, I'm like, I need it, and then here's the opposite thing that I don't know if you know this. The milkshake's not helping because it's not in my mouth, right? It'd be one thing if my mouth is hot, then yes, uh, milk products calm your you know, spice level. Uh so it was hurting, kind of where the you know, the where it had barned me, but it was not like helping with the situation because the situation was in my stomach, and funny enough, I realized this quickly. So I don't know if you noticed, I didn't finish that milkshake until after the Airbnb. Because I would take a sip and it would burn even more. And I was like, this is not helping. So whatever's happening, it's not helping. Yeah, exactly. So I was like, okay, I stopped. So I left the milkshake, and then I was basically just uh uh just eating the the food, regular food, and that was helping. The fries was helping a lot, so yeah. So that was my perspective. What were you what you did you guys see? My perspective after that, I laughed for like a good 20 minutes.

Emmanuel Gallegos: 27:52

Then we got in the car and I'm having a good time, looking out, looking at the the train that stopped us for like an hour, then the drive, blah blah blah blah. And then we get back to the Airbnb, and you're like, Yeah, I thought I was gonna throw up with you.

Vipul Bindra: 28:04

So uh, you know, I'm like, oh, 15 minutes to the Airbnb or whatever, I can I can be I can be good. And um honestly, all I wanted to do was just lay down, you know, let my stomach rest. And funny enough, like I said, milkshake is not helping. The only thing that's helping is fries, and I've eaten all the fries, right? I have nothing left, and I don't want to eat the chicken right now. Uh and uh the train, because apparently Chicago has a train issue, wherever we were, uh the road we would like we were stopped for an hour almost. I felt like multiple spots just because of trains or whatever. And I'm like, this is at one point where I quite literally was like, I'm about to open the door and just lay down on this ground. It was bad. It was and I was like, entire time I'm blaming you. I'm like, why did I bring this guy on the shoe? I was like, I asked him, he said no, and that was it. Why did I have to keep insisting? Let's bring Emmanuel on this shoot. I'm like, Look what I did to myself. He he this is the second time food related. You've egged me on to go turned out good. Do you remember the Chinese food? The Chinese, you forgot you were there, yeah. The Chinese food, you forced us to eat some crappy Chinese food.

Emmanuel Gallegos: 29:07

But that was my my logic was was sound with the Chinese food. Yeah, you say that. It wasn't the only Chinese food in like miles. Yeah. And you said my thought was gonna be good. It makes sense when it's like the only people that eat there are like people over like 60. Yeah. Like, oh, maybe the taste buds aren't you know up the car. But uh, yeah, it wasn't that good.

Vipul Bindra: 29:25

Yeah, no. No, funny when you when we tried each person's chicken and it all tasted the same and it was four different types of chicken, that's when you know it's yeah, it's it's the same thing, they're just putting in three different bowls, anyway. But no, that was at least still food. This one was completely like I was like, why did I and then to be honest, I take blame. I was like, Yes, could I have done it like at home? Like we're hanging out, sure, it wouldn't be that big of a deal. But I'm like, I'm there to be a DP, you know, trying to try to make this huge project happen with five cameras and you know, all this lighting and everything. And I'm like, and next thing I know is like I'm freaking wanting to just lay down. Thank goodness we weren't gonna shoot, so it didn't affect us that much. But I was definitely done for that day. I was like, this is this is not good. There's nothing I can control, you know, because it's internal, you know. Yeah, there's nothing I could have made it better or worse or whatever.

Emmanuel Gallegos: 30:13

I was having a good time that first day. Yeah, we're walking around.

Vipul Bindra: 30:16

Yeah, that's why I'm like third time. I'm never listening to food. Really, I've learned my lesson in life.

Emmanuel Gallegos: 30:21

Yeah, I was hanging out with Jared and Mario. We're going around, yeah, exploring.

Vipul Bindra: 30:25

Yeah, that was that's yeah, that's why you guys went on a walk that day too. And I was like, you guys go. I'm just chilling. I'm just I'm just gonna rest. But no, that was a good, and then actually, I think that whole day one wasn't that great because now that I think about it, we're like, oh, we're in Chicago, let's try deep dish pizza. I don't know what place you uh found. Okay, Jared found because that was not real deep dish pizza, that was just a thicker pizza. Yeah, so first pizza we tried, and we were like, uh, I was eating. I was like, this is not what deep dish pizza is supposed to be. So we got also unlucky with the pizza that we got.

Emmanuel Gallegos: 30:57

Yeah, that was an interesting, but we did play uh, or I played at least, um ping pong. Yeah, you did play ping pong. I almost won. So you won that and I think that became a recurring thing we did throughout the whole trip. Yeah, we kept finding ping pong tables and just mini competition.

Vipul Bindra: 31:13

Yeah, because there was one at the location too where we're filming. What a beautiful location. Great location. Uh, but I've never had anyone give us so much trouble at a location before. Have you ever had anything like that? No, I wouldn't say the name, but you know, super nice, super nice location. But you I'm talking about the troubles that we have at the loading dock, at the um just moving the touching the furniture was I I mean that was the craziest thing to me.

Emmanuel Gallegos: 31:35

They're like so for people that don't know, we we go to this location, it takes like an hour for us to unload the first day because we just can't find the the unloading dock. We finally get to the loading dock, uh then there's a truck on in our way that we can unload because they had parked taking up two loading docks, yeah. So yeah, we're so I I forgot, I don't know how we unloaded, but we finally unloaded. Uh it took us like 30 minutes to finally get to the location, and then like, oh, we're actually gonna use that location for for like two hours. So you have to set up in a whole different room.

Vipul Bindra: 32:06

Exactly. We were supposed to make high-end images, so we discussed it needs, you know, like I said, can we we do corporate video? You emmanuel, you've been with me on shoots where you know we have to set up in 15, 30 minutes, whatever. Can we do it? Absolutely, but that's not the point. That's not why five of us are there to make something in 15 minutes. We're there to make some really nice images. We need time. So I was told, yeah, we can have this room, and then all of a sudden, you know, they're like, oh, we need to use this room for some some internal thing, whatever, for two hours, which is fine. But I'm like, all of a sudden, I'm like, already this is starting off to like a corporate shoot. Because now we have two hours to set up uh to make anything happen, and that's limiting time for what we wanted to do there. So you I remember, yeah, you guys are playing basically ping pong, we're having a good time. We we said we were able to at least use some of the time. We did get some of the rigs set up and you know with the camera setup, yeah. Camera, the Dana Dolly setup. So it wasn't like completely waste of time, but yeah, it was it was a lot of waste of time.

Emmanuel Gallegos: 33:00

Yeah, like a little summary about that. That lady, we go, I don't even I didn't even see her the first two days. Yeah, no, but we go there and then we're setting up um the the gear and we're moving the whole furniture. We completely rearranged the whole room the first two days, and then we're moving furniture, moving stuff around. And then on the third day, I guess because we can't provide her with like what like two million, three million dollars of insurance. Yeah, she wanted really high insurance. No one can touch a single thing. You can't breathe, you can't move the if you need to move something, you gotta let us know.

Vipul Bindra: 33:31

No, that wasn't even insurance, so that was just the loading unloading. That's the crazy part. No, they said we couldn't touch the furniture regardless. We had already uh I said we they had given them all the you know liability insurance and everything, so they had that. It's they're talking about insurance for loading. I'm saying they didn't want us to touch it anyway, and they're saying uh they're somehow friendly, film-friendly, because they had like Batman movie or something shot there or whatever. I don't know. Point is they're supposed to be this friendly location for filmmakers, and now they're like, Oh yeah, you can't touch any furniture, like you can't even move it a little bit. And it was so funny. One of the ladies like they came in.

Emmanuel Gallegos: 34:06

Yeah, so so she says that like in the middle of us changing interview setups, yeah. So we go, like, hey, we well, we need this couch moved, and it's like what's like five guys in there that can move the couch, and she's like, No, no one can touch it. Yeah, I'm gonna, I'm gonna move it with my with with my with my team. Yeah, so we're like, okay, uh it's gonna be a big team of like people coming in, and then it's like her, and then it's like one skinny dude, and they go and the dude's like, nah, like I'm not I'm not moving this.

Vipul Bindra: 34:34

Exactly. He's he's like uh janitorial stuff or whatever. He's like, he literally just looked, he's like, nah. The look on her face, and she she was so puny, and she tried to lift it. It's like and not a light.

Emmanuel Gallegos: 34:46

And then she was like, Okay, well, I'm gonna go do something, I'm gonna call somebody else. Then it was like a 50-year-old, like, yeah, like lady that was like five one, five, five foot. And then she tried it and she was like, nah, I'm not.

Vipul Bindra: 34:59

There's no way, and you know, we could have moved that in like the the thing that would have taken us 30 seconds ended up being like a 15-minute adventure.

Emmanuel Gallegos: 35:07

Yeah, it was a lot a lot of setbacks on that.

Vipul Bindra: 35:09

On that, yeah, and I think it was just all the location base, like I said, and then from being able to load out to being able to uh just you know, like do all this. It wasn't us, I feel like we were all on point. What and and still I think what we achieved was incredible because we were able to set up how we wanted to set up the first day. I think uh the plan again. Remember, we I had planned to have five, six hours to be limited to two hours, and then that two hours was supposed to also be for just um setting up our end, what we're responsible for technically production. I thought he was gonna have somebody doing set decoration, so somebody else would be anyway setting up the furniture, whatever. And if you realize, which he didn't, and that's fine, location limitations or whatever. So corporate, you know, we're we're used to rolling with the punches, so and it ended up being two hours, and out of that two hours, we spent an hour 15, I would say, just moving and getting the all the furniture out of it because there was so much furniture there, getting it how we wanted it to be. And I think it was 45 minutes of setup where we set up an eight by eight, we did a book light, uh, we did a top-down camera where we built like a goalpost type of rig. Uh, we did um, you know, uh uh you know, go bo in the back. I mean, we did a lot in 45 minutes. I was actually surprised how much we were able to do uh in in the 45 minutes. What did you think about that first setup? That was my favorite one. Look great.

Emmanuel Gallegos: 36:30

Yeah, I think that's probably the one we had the most time. And then we we went in there, like you said, it was a whole we had the two novas toning up in that that golf style uh softbox. So bounce back, we had the the camera above that got a great shot.

Vipul Bindra: 36:46

Yeah, so basically it was two novas that uh so we basically put an eight by eight at a 45, which we'll get to do again soon. But we put two novas, so the novas bounce of the ultra bounce through a magic clot, so it's very, very soft, eight by light, yeah, and then we put Dana Dolly, so it was a camera's Burano, then there were three FX6s, so it was four on the ground, and then the fifth was the um uh the FX3, and they all had the Rl uh the primes from DZO Film at 1.4 with the Hollywood black magic in front of it, which I would say is a heavy, heavy lens.

Emmanuel Gallegos: 37:22

Yeah, the the whole time I I I was I was subject to be the the the guy, and then I'm holding the camera, and the first time I'm like, why is it why is my wrist hurting so much? The whole everything in that camera was so fun heavy that I was holding the camera like this, like literally the whole time. The whole time.

Vipul Bindra: 37:40

You needed extra weight in the back, even though you had V mount. I don't I think you needed a bigger V mount than like a 300 V mount. Yeah, that that thing is heavy. I was surprised. So it looks like the cook, uh, I'm saying visually, uh, like on camera, the the characteristics, but then the feel in hand is like a signature prime. The weight is like, I don't know even what know what, like a Tukina Vista uh prime or whatever. But the point is, it was like very heavy, very heavy. They're very beautiful lenses. I'm keeping them, obviously. I really like them, but I was very surprised how how heavy it is for what it is. Um, and and you were stuck. Look, I tried to, so Zay had an idea the next day. He's like, hey, why don't we because we looked at the footage and you know, obviously you guys did great, but he's like, would it be cool to put you know um Jared on handheld and you on Dana Dolly? And I swapped you guys for a little bit, and then I was like, nah, back because I really liked how you guys were doing. That's what I'm saying. It's just a personal thing. I liked how Jared was on Dana Dolly, and uh Mario said three things. He got the I think the short and the stick, which he was having to deal with, which obviously they were static, but he was having to do the Burano, the FX6 that uh what we call yeah, uh artsy angle, and then he was having to deal with the uh the audio. Also, the other camera, the new thing that they added last second, the audio and the interviewer that was in part of the plan. So he was having to do four things, so uh hats off to you. Yeah, uh, how did that feel?

Mario Rangel: 39:06

Well, uh no, it felt great. Really, really, once we uh begin began shooting, it just was like me checking the audio, the everything was uh recording fine. And then from time to time, just looking at the cameras, uh, the framing is is looking is looking good, now everything is in frame. Um but yeah, it was great.

Vipul Bindra: 39:27

Uh I think it's I loved what you were doing too, Emmanuel. The the the handheld footage was just so creamy, so nice. Like I said, like I said, I know even though it was very front-heavy, you weren't you were doing great. And I was just like, this is incredible. Like I know I can cut, and I don't even cut footage anymore, but I'm like, I know I could cut something incredible out of this, so I can't wait to see what they do with it, right?

Emmanuel Gallegos: 39:49

Yeah, it was uh at least for the handheld, there was definitely a bunch of funny, funny angles I had to put my body in to hold the weight. I had to have the camera like on my knee, like on my shoulder, yeah, or like an easy rig would have helped you, you know.

Vipul Bindra: 40:02

That's one thing I'm gonna add if we were to do something like that again. But something you really needed uh an easy rig to just take some of that weight off so you can focus on what you're doing. But again, like I said, as far as shots go, they were still what we wanted. Like that late, the first one, just you know, that tier. First one was like, this was like just get into that tier or whatever.

Emmanuel Gallegos: 40:22

Right in there, yeah.

Vipul Bindra: 40:22

Yeah, and then I was like, this is this is gold, this is what we want. I got that tier. Yeah, yeah, you didn't.

Emmanuel Gallegos: 40:28

You're gonna send me just that clip, that rock.

Vipul Bindra: 40:30

Yeah, no, I can't wait to see it. Uh because uh, like you said, even the color grade on that is they sent me some you know, screen grabs with some, you know, uh I would say dailies, you can call it. Like they're not final frames, but they look amazing. I was like, I told you. Uh and that's two hours of us.

Emmanuel Gallegos: 40:48

Is he happy with the the final frames?

Vipul Bindra: 40:50

Yeah, uh I I think so. Uh, but what's crazy is like that's two hours of the five of us. Imagine now if it was a whole day. What would you have? Or we had a pre-light day or something like that. Because we did everything, like the sound, camera, lighting, you know, uh grip. So no, I had a lot of fun. I think that was your first time shoot using all this new uh cart-based system. How did that feel? That was great.

Emmanuel Gallegos: 41:15

It was the my my only getting the cart to the location, I guess, is the hard part, right? My only thing I always get nervous. I always feel like the wheels are gonna just pop and it's gonna it's gonna fall on me.

Vipul Bindra: 41:23

Yeah, but other than that, yeah, I mean they're supposed to be designed for those carts, so I don't know obviously the the limitation of uh that. But yeah. The tire pressure. Yeah. I mean, we had to make sure before he left, we made sure all the tire pressures were good. Every every cart had the right amount of air pressure, uh, you know, everything was loaded correctly and all that.

Emmanuel Gallegos: 41:43

But yeah, it was great to have all that type of equipment in that room. Once we once we rolled it into that room, once we finally got up the elevator, down a couple mazes once we got to the location.

Vipul Bindra: 41:53

We didn't have to go anywhere. Yeah, yeah.

Emmanuel Gallegos: 41:55

It was just all there, and it was just like pull, did like three different light setups. Yeah. All the all the rigging equipment, all the stands were there.

Vipul Bindra: 42:02

Yeah, it was fun. And now uh and then the the talk about craziness that you're talking about, the second. So again, it was supposed to be just again one person interviews, then here's the monkey wrench. Oh, you're gonna switch to a five-person table type of setup like Hollywood Reporter, which is amazing. I've done one of those before. But then it's like, oh, by the way, there's no table, and you can't touch the furniture. So I still remember us trying to like get the set ready, and we spent an hour trying to like get this set cancelled, and we had a whole plan, and uh yeah, no, I would say for hour. We didn't have an hour, we had like 30 minutes anyway, and then they came in, like you said, they said you can't touch the furniture. So it's like uh what? So that took us set us back. Yeah, just like no, we need the furniture. So now we're just standing there, and then we had literally 15 minutes to do anything, and we wanted to build a menace arm. So it's so funny. I'm like telling you guys, and you're like, Ripple, this is leaning. I'm like, yeah, because there's no ratchet trap, like we don't have time. So it's like 86 that, like, we're not using a menace arm. And then Zay's like, no, we gotta roll, we gotta roll, we gotta roll. And yeah, they were putting pressure on him.

Emmanuel Gallegos: 43:08

It was like fully different setups, and then for like, because we had what one person, and we had a two person, then we had a five person. And I was like, for 15 minutes, this is this is gonna be a little tricky, yeah. Exactly.

Vipul Bindra: 43:22

And then so and I'm like, and remember this full lighting change, full camera change, full everything change uh to go from one to five, because then you know, then went to two. So I was like, this is not enough time. I told him before in Orlando when we left, so he knew, but it's not him, like I said, he's just a director, like somebody else is making the schedule because these people's availability are very limited. It's not um that you know they're just purposefully making our life difficult, and that's what I'm saying. In situations like this, you have to getting the content is more important than being getting the best content, uh, or best lighting or whatever. Because uh that's why I was like, this is not gonna happen. Fifty is too little time to set up a Whole new menace arm to set up um you know the lighting that we wanted to and uh cameras and all the other stuff. So I was like, okay, guys, 86 that because you know he's in my ear because they're in his ear. So I was like, okay, 86 that. So we basically used the setup we had used for single and kind of changed things around. And then it's so funny, we started rolling because it was like roll, roll, roll. So I'm like, roll, guys, and everything. And then they looks at the camera, he's like, that brag person could, it's too dark. I was like, yep, because we have no light on her. Yeah. I was like, the good thing is this is all log, this is all 10-bit footage. Verano is ACM. We should be able to hopefully 8K, you know, punch in, you know, up the uh up the uh the um the highlights or or mid-tones or whatever on her to basically bring her back a little bit, yeah.

Emmanuel Gallegos: 44:47

I forgot about that. That uh you you wanna jump into the Brano and tell me your your review about the Burano.

Vipul Bindra: 44:54

Yeah, I was really excited. So I've been wanting a Burano since it came out, right? As soon as it's launched, I was like, okay, it'd be a good ad. Uh, because you know, I want something mid-tier to add that's somewhere between RA and FX6s, and it's just a camera didn't exist. And when Burano was announced, I was like, oh, this is perfect, you know. Because for years I thought it was the red cameras, and I bought them a couple times too, but nobody wanted to use them, at least in the work I do. So it was a base of investment every time. So I was like, I'm not definitely buying a red again. So Burano could be that fit. But then again, it launched. A, there was a lot of firmware issues, but then nobody ever called me for it. And this project was like the perfect catalyst where um, you know, we thought about multiple cameras and and and it ended up being multiple FX6s, and I was like, okay, we we should definitely do something nicer with the A cam. So it's like, well, let's add a Burano, and then it was quite literally, I was thinking about let me just buy one. And then I was like, you know what? No, let me just try it. You know, this is a perfect opportunity to see if I like it. So I was very much interested in acquiring one. Uh so the two cameras I was eyeing was that and then the Ronin uh 8K. You know, and um and Ronin 8K is not cheap either. I know the 6k is like 5k, but the Ronin 8K is like 10 grand plus accessories, becomes at least $13,000, $14,000. So uh so I was like, if I'm gonna spend that much, might as well add another $10 and you know get the Virano. Yeah. So that was the debate. Anyway, but we set it up, we turned it on, and I think I think we all had the same reaction. I looked at it, I was like, that's it. Like it's not that it looked bad. Here's the thing, I want to be very correct. It looked great, but it but we had a quad wheel, you know, the monitor with all the four cameras, and I'm like, this looks just like the other three, just slightly sharper, but so we can punch in more, maybe. Yes, that's the advantage. But I'm like, I didn't see a 5x improvement, did you?

Emmanuel Gallegos: 46:43

Nah, not really. Especially with the setup we were using. Like, I get why we got the the 8K to prop in. But yeah, when you're just looking at it for what it was, like that that frame, it just looked like a regular FXX.

Vipul Bindra: 46:55

Yeah, and it's actually again, we're we don't need the the uh the OC and or whatever the raw format is. It's like because we you know what we're doing is um you know, we have exposed it correctly. We don't need the latitude, uh, we need maybe colors and stuff, you know, and then that was fine. Um, as in um what I'm saying is like at the end of the day, I was a little disappointed. And I was disappointed because I expected more, and I think that's just a testament to how good cameras have gotten. Not the Buranas bad, it's just like FX6 is so good that looking at the footage, I'm like, other than this being 8k, um I didn't, and and obviously I'm sure outdoor it may have been a bigger difference, but at least indoors, the environment we're in with control lighting, I honestly did not think it was 5x better, it was maybe 1.2x better. I would pay maybe 8 grand for it over to the 6 grand, 9 grand, maybe like an FX6 price, FX9 price. Yeah, but I definitely did not feel that it was 25 grand worth. Now, would I still want it? Yes, I still am eyeing that camera to be honest, uh, because it does fit in my lineup so well, you know, that I have. Um and that's why I ended up getting the Ronin. So I was like, okay, might as well getting the Ronin now because that makes more sense because I can use it more than the Verano. Uh I'd still like to add a Burano, but yes, I was very disappointed. I was like, mm-hmm.

Emmanuel Gallegos: 48:14

Yeah, I think it would be useful if you know you're gonna crop in, like a conference job.

Vipul Bindra: 48:18

Like I cam. Yeah, but am I gonna bring Burano at a conference? A $25,000 camera. Does that even make sense? I don't know.

Emmanuel Gallegos: 48:25

True. Yeah, I mean, it's just like like you said, it's like cameras gone so good. I think the FX6 line is so common nowadays that it's like that slight difference for how much is that like 25 grand? Yeah, just a body only just for 25 grand and then the FX6 is what, like, five grand, six grand? Yeah, six grand, yeah. But it's like you juggle it and you're like, eh, I just got a few a few uh FX sixes.

Vipul Bindra: 48:48

Yeah, I think you can get two FX6s and make more money than with one Burano. Now, yes, it does bring, like David was saying on his vlog, it does bring an element of prestige, you know. And I don't know it's silly. You can go say, Oh, I own a Burano, and you know, that's I'm a DP with a Burano, you know. That does bring you that high, could bring you, let's say not does, could bring you that high tier of clientele who could be like, Oh yeah, you know, he has that camera. But I'm saying as far as functionality goes, most deliverables for end clients are still in 1080. I'm amazed by that. Yeah, but most clients do not care about even 4K yet and talk about 8K. 8K is just a tool to be able to crop in, you know? And and that that's fine. I like that. I like being able to have that freedom in post, but I don't know if that freedom is worth uh 25 crend. That's that's the whole thing, right?

Emmanuel Gallegos: 49:39

And I'm like as a business owner, that's the biggest thing, just the prestige, and that I think that's probably what people got read uh a few years ago, where people you know shoot with Aries. Like, don't get me wrong, like I think Aerie is definitely worth it when you see the image. But a lot of cameras in between that range, it's just like the prestige of it. Because at least nowadays the cameras, you can get a five grain camera and it can it can look like any Hollywood movie.

Vipul Bindra: 50:02

Yeah, no, if in a controlled environment, it's really hard to tell. That's why I'm telling you, like a lot of these people will do camera tests and they're like, Look, and and you know, most people are like, Yeah, it looks close. I can see some differences because it's controlled lighting. Most cameras and controlled lighting look great. It's only I think we need to go outdoors, I think, or or uncontrolled lighting to be able to see or a huge dynamic range to see a difference. Because yeah, you put you put a huge dynamic grade in C and you could clearly see an LF or a 35 easily apart, I'm saying from a $5,000 camera. But you can do smart. Like I tell my clients if they want to shoot outdoors, I'm like, okay, we can smartly place where we are, or it's Florida, let's just go indoors anyway. And I can much easy very easily make it look like very high in footage with what we have because uh we're not we're not dealing with these external elements that out clearly outshow that's the NLF. Now it takes more effort for you to go 5k versus you know 10k versus 50k, whatever camera price difference, or to even 2k, you know, a lot of really cheap cameras are now starting to look really good. So I think uh it really comes down to is uh what's the right tool for the job. Uh but I don't know if it's worth the price. I mean, like you said, with Ari, at least we see a value of those jobs plus those clients are willing to pay those rental rates. I don't know where Burano fits currently, honestly.

Emmanuel Gallegos: 51:27

I think it's like you said, like they're all tools. Like I if this camera doesn't have the setting or this feature, then you're gonna have to use another tool to suffice. It's like do you want your camera to have more of the tools and less of the work on the on the outer end, or more of the tools inside the camera with lesser tools, which meaning like I didn't make range, the the the soft bar or you're breaking with set already. Everything's everything's breaking, it's messing me up. But uh, you know, the damage the dynamic range, the the ISO, all these little different tools, uh, and then you know the backup of the lighting and all the things you need.

Vipul Bindra: 52:01

Exactly. So I think like I said, I was just the truth being as simple as that is that I was disappointed. Uh not because it wasn't good, it was just it wasn't good enough like I had expectations off the image. Uh, but like I said, still nice camera, still like to own it. Uh, maybe I'm waiting for the used market to come down because like I said, I still the the part for me to justify is yes, like you said, there's prestige, but is the prestige gonna bring me extra 25 grand? I don't know. Because my clients already don't care, my end clients, uh, if I have it. And then the clients who do care what camera I have, you usually don't mind paying a rental rate. Um, however, like I said, if the prices come down, maybe 15 KUs, I would probably be picking one up. I'm very interested. Um, but I think what I have, so I've said this before, but like my goal for this year, I sat down uh after we returned from Chicago. What's gonna be my lineup that makes absolute sense? And I think the lineup that I'm going with is what I have is um, you know, two FX6s, two FX3s, one FX2, and the Ronin uh 4D 8K, plus adding a Burano to it. And that I think by the end of the year, if I can, I think that'd be a very good lineup to lead into 2026, unless something like a Mark II or whatever of these is announced, because I think I'm happy. I think with uh with the new ad we can basically do what we need to do, right? And um, you know, I was even surprised with the mini cameras. I think a couple of little pocket threes here and there, uh Insta360X5s would be good additions to where we can't put a big camera in, uh, and we can put these tiny cameras because they are actually getting really good. Yeah, um, you know, especially places where you can't put a book camera, big camera, it's not like they can fully compete, but where they are now, they're actually usable in paid projects. So I think it's good for us. Like I said, tools are getting cheaper, smaller, uh better priced. So it's like a win-win, you know, uh on our end. But as you know, most clients don't care.

Emmanuel Gallegos: 54:00

I think that's the biggest thing. It's like it's all about like your in-house and how you want to, you know, work inside your in-house and get the good images. Um, at least a lot of my clients they don't. I mean, you know me, like I don't even shoot with Sony, I shoot with uh the Canon Canon line.

Vipul Bindra: 54:16

Yeah, the one I liked, and uh now you're so crazy. Yeah, I kind of still miss that camera. And when the whole C70, sorry, and then when the C7 C80 came out, C400, I really wanted those cameras. Because you know, I was in that ecosystem and they made me a lot of money, and I really liked them. But to be honest, uh having switched to Sony, I haven't I personally may have missed the canon or whatever. Um, but honestly, as a business goes, it's nothing but up and up for me because I feel like there's so many people whose ecosystem I can fit in. Like it's so crazy to like tell my agency clients, like, oh yeah, I've got FX6 here or FX3 there, and they're like perfect. Yeah, you know, like it's just an easy blend into their their workflow.

Emmanuel Gallegos: 54:58

Even me, like I I just talk to people and I don't even tell them the cameras I use. I just like hey, I have a professional camera, blah blah blah blah. And if they need an FX6, if they need a I don't know, an icon or the yeah, whatever they want, whatever they need, a red or whatever, like you know you can rent it out.

Vipul Bindra: 55:14

Yeah, exactly.

Emmanuel Gallegos: 55:14

And it's like you you just need to have your limit of like I what am I gonna profit off of this project? Rather than I think a lot of people, I I saw this uh this job request on what's it called on production hub, and it was like two cameras, all day shoot, uh multiple lighting gear, uh sound gear, running gun, everything, blah blah blah blah. $400. And I was like, dude, come come on.

Vipul Bindra: 55:38

Yeah, what do you yeah? The expectations are getting crazy for the money. But and you know what's crazy? Here's the thing they probably got some people who said. Who said yes. So it's it's also devaluing. I also don't think people should overcharge because it we have people who are like, oh, I'll bring this, you know, I don't know, uh FX30 and charge you three grand to show up or whatever. I mean, we have people like that. I think we're they're overcharging, but then we also have people who are like, oh yeah, I've got this Komodo. Let me come shoot for 200 bucks, and then you go, uh, you're I just catch what your camera package should be like.

Emmanuel Gallegos: 56:12

A year ago, I was like, I was at Crunch Fitness working out. I'm working out. I'm doing like uh I forget what I'm doing, but I'm doing like a I think a leg pull or something or a leg extension. That's very important to the story. Very important to the story. Because I'm looking at my thighs as you know, they're going up. Then I look to the right and there's a guy pointing a camera at me. He's pointing a red Komodo at me at the gym, and I'm like, who the heck is this guy? So after after I do my do my workout, I go up to him and say, Hey man, I see you have a red Komodo. And he was like, Oh, you know what this camera is, and I was like, Yeah, man, I uh I'm a videographer. He's like, Oh no way, blah, blah, blah, blah. Yeah, I just got I just got accepted to um um what's the what's uh full sale? Full sale, yeah. Full sale or like right down the street, like full sale. Uh yeah, right down the street over there. Uh and um I was I was so excited and they told me this is a good camera to get, so I just bought it and I was like, You're not even you're not even in the you're not even working, you just go to school and you're gonna get the city.

Vipul Bindra: 57:05

And they give you a camera anyway. I'm pretty sure uh full sale gives you a uh FXX for the Delta Cinematic Cinematography.

Mario Rangel: 57:13

They give you an FX6 as part of the of the program, the FXX.

Emmanuel Gallegos: 57:19

And FX6?

Vipul Bindra: 57:20

Yeah, well they charge you 80 grand or whatever for it. Yeah, they charge those.

Mario Rangel: 57:24

You pay for it really for when when you pay for for the for for the class, for the course. Uh-huh. Yeah. But they give you that, yeah.

Vipul Bindra: 57:32

Yeah, they give you an FX. You don't need to buy anything. That's the whole point. They give you the whole kit, they give you laptop, software.

Emmanuel Gallegos: 57:37

So that's why so many people are just walking out of full sale with this spin or whatever.

Vipul Bindra: 57:41

Fix six is so easy to buy here in Orlando because so many people then don't end up doing that.

Emmanuel Gallegos: 57:45

So they're like, oh, is full sale a reason everyone has an FX6?

Vipul Bindra: 57:49

Yes, probably. Why does everyone have an FX6? No, I was telling, like, how uh so who was telling us to? But like they have also captured uh captured the uh the the aperture of the lighting market because of I think places like full sale. So I was there shooting for three days, and I noticed that every single light in in all of full sale was aperture, and I was like, so if these kids are now studying here, that's what they're using all the time, then guess what they're gonna go buy for themselves or use on their sets is aperture. That's why it's like synonymous because they are basically make counting on this next generation of filmmakers to go and buy all these aperture lights, and I think that's crazy to think about that what is happening on an education level and how these companies are becoming the standard. Yeah, so yeah, if they give you an FX6, they you use all the aperture lights. Guess what you're gonna shoot on and use when you get out of the school, yeah.

Emmanuel Gallegos: 58:39

I mean, the same thing happened to me. Reason I stuck with Canon is that they would just give us Canon at Valencia. They're like, hey, use this camera to learn on, use this camera too. Um I I played with the the um Canon Mark III, uh 5D Mark III for like two years in Valencia. And then I was like, why would I do anything else? I wouldn't know the Canon menu. There you go.

Vipul Bindra: 58:59

That's what you know. Yeah, exactly. And that's what I'm saying. This the school, if you go to school, not necessary because of YouTube University that you can learn from YouTube. Uh, but I'm saying, yeah, if you go to school, there's a high likelihood you're gonna continue with what you learned on. You know, like for example, I I went to school and then they had Nikon for photography and they had these Panasonic cameras um for broadcast, because you know, it was more journalism-oriented than film-oriented, but they they had Panasonic cameras, so you know, uh, when I came time to buy a camera, I was like uh looking in Nikons and Panasonics. Thank goodness none of those were within the range I wanted to buy, send over the Canon just for that reason. Um, because I bought a T4i because that was the most affordable thing that I could find. Uh, but otherwise, but I'm saying initially my entire search was based on what they taught me on, because like that's all I know. So that's what you're kind of looking. Um, and that's why I'm like, uh, these schools have that power. Yeah. And I currently see them giving you an FX6 and giving you these aperture lights or letting you use it. Then you're more like an Apple computer. So you're most likely to just use the tools that they give you. Yeah. Um, but yeah, that's crazy though. He had a Komodo. Yeah, but also it's inappropriate to film people.

Emmanuel Gallegos: 1:00:09

I'm saying in uh yeah, it's it's uh it's uh I get it. We're in the gym. Yeah, but why are you putting a camera in?

Vipul Bindra: 1:00:14

Yeah, that's like not an appropriate place to uh I never saw the footage either way, so I don't know what he did with it.

Emmanuel Gallegos: 1:00:19

Yeah, well, we'll we know where it is. I don't know if he knows how to color grade. I think that's uh semester three or four of the postal. I'm still I'm so like mind blown about the about the what's it called? Um that 80k and then they give you FXX. I feel like as like uh if like a couple years down the line someone like asshop, I'll just be like, oh, just give me 80k and I'll I'll train you to be a professional DP.

Vipul Bindra: 1:00:48

I was like, hey, again, I am totally against, and you know, we've had this discussions about paywalling education. So I personally believe in free education. Uh, but yes, if you've got 80k burning a hole, I mean they do give them loans. Uh, but please, I will teach you on the job, and I'm pretty sure there's a high likelihood you you spend three to six months with me, you're gonna be making six figures straight out. Uh because you can learn from real-world scenario, real world clients what to do. I mean, again, you could probably watch this podcast and do it. But I'm saying if you got 80k burning in your hole in your pocket, please I'll take it, I will teach you, and I'll even give you an FX6 at the end.

Mario Rangel: 1:01:28

You can you can found uh Bindra University.

Vipul Bindra: 1:01:30

Yes, I know, right? Let's do it. Let's start next.

Emmanuel Gallegos: 1:01:33

And then I'll bring you on set, you know, you do this by the end of the couple semesters, you'll be a full-time worker.

Vipul Bindra: 1:01:41

No, for real, though, it'll be actually worthwhile. I'm not saying again, I don't want to put down full sale that they're giving you bad education, whatever. The thing is, any university, you cannot keep up. So that's why I'm against courses. Not that courses inherently are bad. What happens is most people um, you know, they're doing these courses started out as full-time filmmakers and they were like, oh yeah, this is this course would be great. They make a course, but then they become full-time course salesmen. And to two years later, three years later, they're still selling the same stupid course, or if they're updating it, their information is so old how to find clients, how to be in business, because they're not no longer in the field of video production, they're in the field of education. And so you never get the most up-to-date, latest information on uh, and you need to be learning from people who are in it.

Emmanuel Gallegos: 1:02:28

I don't necessarily think that they're not in it. I just think that they've by having a course and by making all this money, you just get a different tier of clients. Like the type of clients that they're getting and the type of connections they have are the type of connections you're gonna have the first year or two.

Vipul Bindra: 1:02:41

Yeah, but I but I don't know that many people that are actually selling a course and also doing full-time video production.

Emmanuel Gallegos: 1:02:46

Really? Do you know any people? I don't. Well, the the AOD, they they they still do productions, but they do productions that they want to do.

Vipul Bindra: 1:02:54

Yeah, that's what I'm saying. Let's not let's not go out in the world that you would do, uh, you know, like I don't know how many people, sure. Like, again, nothing against AOD. I think it's a great course. I know a lot of people gotten value out of it. But what I'm saying is, how let's say you want to make documentaries, you go do the AOD course. I don't know how many people who are, and then that's the stat maybe I'd like to know. Somebody can chime in the comments, but like how many people from AOD are coming and then they're getting instantly, like after the course, somebody giving them here's 10k, go make a documentary, here's 100k, right? If they're doing AOD, they want to make documentaries. But the problem with documentaries is you need budget, you need, you know, or you gotta do it for free, then you're putting time. Most people in the real world can't just six months, you know, dedicate to do a passion project or whatever. The reality is what I'm like I said, I'm not trying to teach people how to be better filmmakers. There's enough people teaching you that. It's easy to learn. My entire point is you know, you gotta then do something with it. Do you you gotta make it a full-time career? If you want to, then I can hopefully help you make it. But that I don't know if art of documentary is the way to do it because I don't know that many people, you know. I know a decent amount of network.

Emmanuel Gallegos: 1:04:05

They don't only have the documentary, I think they also have like the course. I don't have any of the baptists from the things I've heard.

Vipul Bindra: 1:04:10

But yeah, maybe we're not the right people to be talking about it. Maybe I should have asked David when he was there what he thinks because he has the course. Yeah, uh, but ultimately, my my entire thing is, and like I said, this is just a personal thing, doesn't mean I'm correct. I just feel like education should be free. And the best education is to go learn what we're doing. I'm just talking this this thing, not doctor. Please don't learn on the job or be a doctor. That'd be funny. You're you're watching a doctor do surgery and you know you're live learning on a person, that'd be bad. Uh, but I'm saying what we do, I think you're easily able to go intern with you for three months, six months, intern with me. You can easily, I feel like, get in everything, the important soft skills, yeah, um, to be able to go do this and make six figures. So, not that I want to compete with full sale, but I'm just saying if you really have 80k burning a hole in your pocket and you want to pay do a paid insurance, uh, you know, with me, like I'm like, I wouldn't be open, uh I would be open to it, but again, I don't think they need to because they can listen to podcasts like this, learn education from other filmmakers around their area and get to that.

Emmanuel Gallegos: 1:05:14

There's so much knowledge, and I think probably why people like the the courses is because it's all condensed into one thing. I think YouTube is valuable, but you have to be really driven to find those nuggets of information. You have to go through all the repeating lines, the repeating lessons, all that to find those nuggets of value. And I still think overall the best way to learn is just being on set.

Vipul Bindra: 1:05:35

Yeah.

Emmanuel Gallegos: 1:05:36

Uh, I think you need a little bit of YouTube to kind of like know what you should be doing, but then once you're on set, then that's when you really start absorbing all these all these lessons.

Vipul Bindra: 1:05:44

Yeah, no, I I do the same thing. So when I'm watching, uh, you know, I don't know, or doing something tedious or organizing the studio or charging the batteries, I like to play videos in the background, right? And I'm telling you, like a lot of time it's just the same information that's being you know repeated over. And over again, and I'm just tuning it out. And then I'll hear that one second, you know, the five-second thing they throw in. By the way, this camera on this setting does this. And I'm like, oh, what, what, what? Then I have to like pause what I'm doing, run their backup, and I'm like, oh, that was a valuable information. So you're right. Everything you need to learn is on YouTube. But the problem is you have to find it. And that information is hidden in, like, even I'm sure in these podcasts, in two hours is like 60 seconds of real valuable information. Yeah. The rest is just us having fun. So somebody, if they don't listen to the whole thing, they're not gonna they if they miss that, they miss that, you know. It is just what it is, and then sure, in a college, like you said, or in a course, they could condense that. But again, my entire point is there's so many people out there that are just grifters. You have to then really find you the right course with the people with the right intention who are trying to help you because how much good information is on YouTube, the same amount of bad information is YouTube from people who are actual YouTubers, and all they want to do is shove products down your throat just to make a living, and because that's how they make a living. They don't make a living going out and finding clients, giving them value and making a living that way. Uh, I don't know. I feel like a real world experience is great unless you want to be a YouTuber, which is fine. Then you go learn value there, then from us.

Emmanuel Gallegos: 1:07:14

And YouTubing is a very like, I think most people can be quote unquote YouTubers if you really just have a niche. But it's like some people just don't like talking to the camera. Like I'm I'm 50-50 that I do like talking if it's a very specific video, but I don't want to walk around and talk about my day. Yeah, like my day is my day. Yeah, and then even when I get home and I'm talking to my girlfriend, she's like, How's your day? I'm just like, it was the day. Like, I don't know.

Vipul Bindra: 1:07:40

Like, I don't want to like it's a you don't want to vlog, you don't want to pull up for and start saying, Hey babe, today I went out and did the.

Emmanuel Gallegos: 1:07:46

So I did this, this and this, and I found this, this and this.

Vipul Bindra: 1:07:48

It's yeah, like until next time, you know, like watch what happens in 30 seconds. You know how they also do like the whole YouTuber thing, it's its own career. And no, no offense to these people. I really like like watching some YouTubers, they make great content, but we have to know that that is a different content, you know. When I'm making content, it's for a business or a brand to achieve whatever that is, it's not to gain you know views or whatever. YouTube is like you're trying to get views, you're trying to get conversions to whatever then now you're pitching in there because you know you have to have a sponsor integration, so it's a completely different thing. And now, like I said, I've been taking inspiration from uh Sean and I've been trying to post you know YouTube videos.

Emmanuel Gallegos: 1:08:26

Um and uh end up posting the Chicago one?

Vipul Bindra: 1:08:29

It's gonna it's gonna be posted by the time people probably see this, so hopefully uh they would have a reference point. Uh but that's what I've been doing, and it's awkward to be real. Like I've been actually, but you know, it's so hard. I know how David does it because you know, I'm actually like actually getting paid to do whatever I'm doing. Then I'm like, I have to remember, he first, oh let me pull out my phone, and then you know, I'm like, how do I now film this? Like I'm like, you know, and then like this is just awkward. I don't know. Uh so but I'm trying, I'm trying. I do want to share more and help people more, so I see value in it. Um, and like I said, I like watching that type of content. My entire thing is I want to create what I want to watch, but is that gonna be like high quality, like what I'm creating for my client? No, I'm not gonna carry an FX3 ND filters to do this. I don't have time for that. But I can do it like David is doing or cranky cameraman is doing. I can definitely pull a you know, uh pull a phone and make a clip here and there and then throw some voiceover on top of it for it to make sense. And I think if that's how I can I can do it, then that's how it's gonna be done. Now, um, you know, the studio tours and all that, that was helped me done by Josh, who's kind enough to come and do it, but not all videos are gonna be like that. The the the vloggy style videos just are gonna have to be made with a cell phone, that's just nature of what it is, right?

Emmanuel Gallegos: 1:09:46

And uh yeah. For me, I'm interested. Me and Fernando have been talking about this with our productions. Just hiring a BTS person that goes around, gets footage of every single scene, and just pulls us to the side for like a minute or two, and then we explain.

Vipul Bindra: 1:10:00

Yeah.

Emmanuel Gallegos: 1:10:00

Um, we did something similar to that on a commercial we did last year, and we want to start doing that. The only thing is like that that that's a whole different position. That's a position of just a camera guy just capturing BTS of us, which is great. Uh, but you know, sometimes you gotta really see like uh it's a budget or it's it's it makes sense.

Vipul Bindra: 1:10:20

I mean, you know, uh it was.

Emmanuel Gallegos: 1:10:22

I think it's always good. I don't I don't think there's never uh a negative to get footage or photos of you working, your company working, your your brand. But I think either way, every single time you do that, you grow a brand. I've seen some people here in Florida, some people in different states that they always have a BTS person and their commercials, their YouTube videos, or not even they're just they're just BTS, just looks as good as their commercial.

Vipul Bindra: 1:10:45

Yeah, and I and I I do see value in that, but again, that's there's a cost to it. Either somebody's doing it for free because they wanna, you know, get involved, but then that's still them giving that value, or um, you know, it's like you're spending actual money on it and having paid someone to do BTS in the past that you know and not use that then that but that's on me. But I'm saying that that has cost. So either way, there's cost, it's just how you're gonna pay for it. And at the end of the day, there's value to it. I'm saying the way I found so far is to do it like how David is doing it with a cell phone, keep doing what I'm doing. Yeah, real, real, it doesn't need to be pretty, it just needs to be in the moment. Like, look, this is what I'm doing, this is real life. Now, is it gonna be the nicest, the prettiest, the most elaborate? No. But if I if if it works, maybe in the future I can go back to adding a uh you know, BTS person or whatever. But currently I don't see the fast-paced environment that we're moving in. You've seen where would we have put a BTS person uh in what we were doing?

Emmanuel Gallegos: 1:11:46

And it was yeah, even that the for Chicago was just tight either way.

Vipul Bindra: 1:11:50

Like I mean, Tay was nice enough, he was recording some stuff, but you know, again, even he was put into a handheld mode for something. We're like, oh, here's a camera, here's an R. So because we had we had taken the top-down camera down for the I think the two-person setup. So we're like, here's that camera, there you go. So, but I'm saying even he he got put into work to do something completely different. So it's like you have to have a dedicated person just for that. Uh, I mean, I do see internship opportunities. We just had on a shoot uh um Adam's intern. So Adam has an intern right now, uh, and and she did great. So Adam wasn't there, but he was like, she, you know, if you if you have a job, you can bring her uh to get her more experience, and that was good, and that's what I would did. I was like, hey, hey, by the way, here's an FX3. So what are you interested in? She said more camera side. So it's like, well, uh my style is not like Adam's. I'm gonna throw you in it. That's how I feel like you learn, right? So it's like, here's an FX3, go go have fun, do BTS, right? And then, you know, and I I was like, that's basically where I feel like also they can learn because you know, I I have no expectations as in their learning, you know, they can ask me questions, but um, if they don't do good, I'm saying it wouldn't be the end of the world. But if they do good, that's footage we can use now to use on YouTube or whatever. Yeah, but at least that's my attempt is keep doing this twice a year, two seasons, but then also be more active in YouTube and social media and share with people what we're doing.

Emmanuel Gallegos: 1:13:10

Because I think what we're doing is my goal is be more active on social media, not too much you because I think YouTube, I think at least for me, it's way more investment, at least for the video edits. Uh, you you've seen my my my podcast clips, right? We've been doing. I've just been adding to just podcast clips.

Vipul Bindra: 1:13:27

Did you post the one you did with me already or not yet?

Emmanuel Gallegos: 1:13:30

No, no, no, no. So me, me and Fernando, just like us two. Oh sure, just so we have like a mini podcast and just talking about specific topics that we want to bring up. Okay. Uh, but I haven't done that one yet though.

Vipul Bindra: 1:13:41

I I should because it's the amount of podcasts I've recorded with you that haven't seen the light of day. It's like crazy, right?

Emmanuel Gallegos: 1:13:47

I I I will probably, you know what I'll probably do? Yeah, I'll I'll probably just make more reels of them. Yeah, but I think real, I just enjoy the real versions better than like the the whole conversation. Yeah, because I just feel like at least when you're just starting a podcast, you feel like you have all this content and then like five people are gonna watch it. Yeah, I'd rather have it on my social media platform, a shorter version where someone is gonna get value off of it.

Vipul Bindra: 1:14:10

Yeah, my thing is that see the way I'm treating it, why I like this going to YouTube or other platforms than Instagram. The way I treat it is YouTube is my space for other filmmakers, right? This is me sharing what I do. I don't expect to get clients out of it if they redo whatever. But the the Instagram is where I expect, like, because clients sometimes will come to us to refer all, they just want to check us out, and that's where they may go and check out what who Bendra is or whatever. So I I don't know if I want to put too much BTS content. I've thought about, I think we Marionava talked about maybe doing like BTS than the final shot, kind of like this is how we did it and this is the final result, something like that. I think would be more relevant for social media than the stuff I'm putting on YouTube because I want to put stuff on YouTube like look, this is a setup, look, this is how we set up, and this is what we're doing on the podcast, or whatever, right? I I don't know. I feel like it's different type of content, it's different content and different audience. Because one is a filmmaker audience, one maybe a potential client audience.

Emmanuel Gallegos: 1:15:11

I think it's a big conversation with a bunch of filmers I have um have conversations with. It's like what do we post on social media? Like, what do we push out? Uh some filmmakers are in that world of like they only make content for smaller companies and their social media, so they're kind of more in tune with it. And then some kind of like you, like bigger commercials, bigger things. So it's separate from social media, but it's I think social media each year is just becoming more and more important. Important.

Vipul Bindra: 1:15:39

Yeah, uh-huh. I completely agree. And that's why it's like we're we're we're diving more into packages and stuff for social media clients because we don't want quick question for you though.

Emmanuel Gallegos: 1:15:48

Um, how are you feeling about the the new AI thing everyone just keep talking about? Which one? VO3? Just seeing all the I don't know, like just the the what you just get on social media, like the new.

Vipul Bindra: 1:15:57

I think it's just AI slop, it's garbage. It is garbage. But that doesn't mean it'll always be garbage. See, the thing about products is like I said, you look at the simply talking equipment wise GGI Pocket One, Osmo Pocket 2, Pocket 3. It's a huge jump in quality and usefulness. Um, so I think AI is just like that, you know, where initial chat GPT was eh, all right, but where chat GPT is today, I use it on a daily basis. So I and again, it's so incredible that AI can even do video. You know, I remember just a year or two ago, it couldn't even freaking write text, you know, properly. So um I I do see can uh that it will continue to improve and I do see its use cases, but I do not see it replacing what we do, you know. So I'm not worried about it. But current state, yeah, it's just all garbage. And what's happening is the world is getting just flooded with more and more and more garbage.

Emmanuel Gallegos: 1:16:52

You know what I see is gonna happen? Yeah, the the cheaper companies are gonna start using it more. And I think every company's gonna use it, but the cheaper company is gonna use it more for everything. Instead of a video production company, they're gonna try using that as a replacement, then they're gonna have trouble with it. I think the bigger companies are just gonna, you know. I think everybody, I think our companies, I'm doing it too. Like AI is part of how I run my business now.

Vipul Bindra: 1:17:17

Exactly.

Emmanuel Gallegos: 1:17:17

Um, I just used it as like a mood board the other day. Like, hey, I need this mood board done in the next hour.

Vipul Bindra: 1:17:23

Boom, boom, boom, boom, boom, boom, boom. Got everything. Which one did you use? Mid journey or I use Canva. Canva, look at that. Yeah, because they built it in. Yeah, it's built in. I don't know who they're using because a lot of these companies are just integrating into one of the other services. But yeah, uh no, AI is completely integrated into what I do. That's what I'm saying. I think it's just another tool. People get too obsessed with like, well, it's gonna happen. Yes, the industry is gonna evolve. Stop worrying about 10 years down the road. You know, worry about six months down the road, a year down the road, two years down the road. I think is uh is our job being taken in the next couple of years? Probably not. So I'm not worried about it. Yes, the industry is changing, it's changing really fast. And um, I don't think it replaces you and me because, for example, one of the cool projects we just did is like capturing this car being built from scratch, right? It's a new model. How is AI gonna make any of that? Because the car doesn't exist. Yeah, you have to there be there with the client. The project that you're helping me on is to, you know, this the the car is getting built from scratch. We are capturing parts of how the car is being built to the final reveal, right? The whole story. Yeah, that story doesn't exist. AI cannot make something it has never seen. I hope that makes sense. It's only you know, taking data. It's a new product for sure. Yeah, come putting it together or whatever, and regurgitating or whatever.

Emmanuel Gallegos: 1:18:41

Like if you rely on like AI as advertising or or videos like that, it's gonna feel disingenuous. Yeah, I think people are are not as stupid as people make it out.

Vipul Bindra: 1:18:51

Like, I know when I see an AI video, people can be stupid, but what I'm saying now, there is purpose. Let me talk about it right now. Attention grabbing. Yes, you can do uh something really stupid on purpose, you know. Like we've talked about, like people said, like what was it? John who was saying that in that last meetup that he did an ad where he just had a random spatula in it, unnecessary, but it got more views than the ones where he's just normally talking to Kevin.

Emmanuel Gallegos: 1:19:15

I've seen people do this, and since I'm in this world now, I know they're doing it on purpose, but they say something wrong, like a wrong information just to capture your attention. And then you watch the video twice. And then you're like, damn, they got me. They got me here because megapickles. Yeah, they say something's interesting, or they have someone like in the background and like a thong, and you're like, wait a minute, did I just see that? And then you stay on that video.

Vipul Bindra: 1:19:39

See, you get it. And that and that social media is different than regular video. I tell people it's different than somebody coming on your website. Like, let's say you want to hire a plumber, you go that you find someone and you go to their website, you're watching a video. That's a different thing, you're intentionally watching it. Social media is entirely designed completely on you finding content, right? You're randomly scrolling, and their idea is to stop for attention. The more crazy, the more stupid you do it, the better. Is it good? No, it's garbage. What I'm saying is, like, right now, you and I could use VO3, and I've thought about it, but then I I just didn't because I was like, my clients are not that, you know, they're high-level clients. But I'm saying, like, you can go on VO3 and write something very absurd like happening, put that in there so people scroll and they just stop, and then you could talk some garbage happening, like, hey, do you want to make a video? Like, you know, like and then the idea was not that the video was great, it was just it was stupid enough to stop people and and get get their attention. So it has a purpose there right now, but I feel like does it resonate with the brand that you're in? Do you want to make AI slop? Is the word I think I would use for it because it's just ultimate garbage, attention-seeking garbage. Uh, but we also know, like you said, it works. Doing something attention grabbing on screen on social media works. And uh, so yeah, I would just say if if you if that aligns with your brand values, then for sure. Um, so I'm currently not deploying that, at least for my company, but I am definitely open to when it gets really good being able to pull some shots. Yeah, if I need like a flyover, like hey, I need to fly over this building. If I don't have that drone shot available, uh you know, and I'm sure that it has enough data from Google Earth and other drone shots that it can make me a flyover of something. Uh I would absolutely use that shot. You know, I don't know why I wouldn't. It makes that AI will have its uses. I do not think it replaces me. Yeah, I I'm not worried about it. And if it does, then that day we can retire, you know, and chill.

Emmanuel Gallegos: 1:21:36

You still need something in the top to tell it what to do. You still need something with the idea and the the plan and the goal. It just creates things, it doesn't really, you know, create a really good sometimes it's hard to tell what's real and what's not, but you're still trying to tell a story, you're not trying to just show that something's real or not.

Vipul Bindra: 1:21:54

Exactly. Yeah, I think uh, like I said, I I think people are just overly worried about AI. It is a new cool thing. I think it's gonna keep getting evolved. I'm only surprised. Look at that, people not putting their phone on silent. Whoops. Uh and then uh Whoops, and then uh, but you know, uh I think I can't wait for it to be good enough, actually. That's my entire thing I'm looking forward to. Is when it gets good enough and then we can use it and actually deploy it in our videos where it's doesn't obviously look like AI. That's the point, yeah. But I'm saying, like, can you imagine the future that I get more worried about is we don't know what's real. Like you could be on social media or anywhere on the line.

Emmanuel Gallegos: 1:22:35

That's what, yeah, for the news aspect, I think as a you know citizen of this country.

Vipul Bindra: 1:22:41

Yeah, I think you're like, you could be watching a video and you've no idea it's real, and then that could be also a defense mechanism. You see something you're like, oh yeah, that's AI, right? And then you will never know the difference between I don't know how we find out the difference is a real or AI.

Emmanuel Gallegos: 1:22:54

The one thing, and this isn't necessarily about video products, but the one thing I'm actually happy that we're getting into the world, I think I'm happier that we're more skeptical with the news or with more skeptical with things that we hear. I think years ago, and I think especially many years ago, we would just hear whatever the news would say, be like, oh, that's 100% fact. I think now, even even in our industry, like someone tells me something, I'm like, mmm, like I'm always on.

Vipul Bindra: 1:23:20

No, and that's very important to be because, like you said, there's so much misinformation, but here's the opposite end of it. You know, this is how, but scammers or people who are trying to do bad can get away with it. Because now we're so used to being skeptical, also, that if something major happens, if it's like, oh, this company, I don't know, took 12 billion from its company. I'm just making up a random headline. You'd be like, but did they, and you know, and what if they actually did? You know what I mean? Like they did really bad, they can get away with it because they can literally put out this looks like uh, you know, AI driven or just scam or whatever, and then you're you it all they have to do is put doubt in your head, right? And you go, maybe they didn't, and you know, this is a good way to get away with also doing major harm because you can just always blame media for saying it wrong. So I'm thinking there's both sides to the coin, and as a citizen, like you said, you have no way of knowing when it's the truth and when it's not, so uh if you're skeptical, good, because you you can avoid misinformation, but then on the other side, somebody could be like you know, taking advantage of you, and you have no idea. You're like, I don't know, this is probably wrong. I don't know. So exactly. So yeah, I don't know.

Emmanuel Gallegos: 1:24:25

I don't know, I don't think about it too much though. I I have a memory. Like my grandma passed away a few years ago, but I have a memory when she was still alive. There was a video, and it was way before AI was a thing. A video of like a giant shark coming and like eating a boat, and she runs up to me, she's like, Look at this thing. She was so convinced it was real. I'm happy that she's not seeing the things that are going on now just because it's like she would be extremely overwhelmed.

Vipul Bindra: 1:24:48

Yeah, no, my mother believes things, man. But now apparently it was trending, like people are buying, and I'm pretty sure it was AI, but I don't even want to know deep into it. That some, you know, some grocery bags or whatever in India that they give you for free when you leave a shop are being sold as like high designer rare here. She's like, I have 20 of those bags in my home. They're, you know, I could have brought them and sold them for $300 each. And she was like, This free items at my home would have been worth thousands of. I was like, Um, hey, probably nobody's paying $300 for a dress with a grocery store. And if somebody is there, the rich idiots. So there's not that much market, and they're not gonna buy from you, they're gonna buy from a designer just because that's what makes it high value, not the actual garbage bag making a dress. But you seem to say, but people will see that video and they go, the the trending video on TikTok was something like, People are buying this free garbage bag for $300 in America, or something like that, right? And then, but people like my mother fall for it.

Emmanuel Gallegos: 1:25:42

I always hate those get rich quick scans, or get there, could even if like you can't even get like you know, like the stocks or all this stuff, like I have to really research myself to feel comfortable putting single dollar in rather than like, hey, buy this now and then you can sell it for later or this, that.

Vipul Bindra: 1:25:59

Yeah, if it sounds too good to be true, it usually is. That's just the truth. If it was, then all everyone would be doing it. Because I'm like, why wouldn't I be doing it? You wouldn't be doing it, yeah. You know, if there was a way to why isn't my grandma doing it? Yeah, everyone would do it. Yeah, yeah, exactly. So it's usually anytime somebody's telling you something that's too good to be true, it usually is. That's what I'm saying, like video production. If somebody's selling you a course and they're like, hey, buy my course for a thousand bucks and you can make ten thousand dollars a month guaranteed. It's like, are you sure about that? I know videographers have been doing this for years and don't make that kind of money. Yeah, so you have to quite literally go in the reads. Nothing's gonna replace networking, you know, go learning your skill and craft and you're gonna pay that and then they're gonna tell you to do that. Yeah, exactly. It's like I fucking ask for your refund, they go, Well, did you do that? You know, did you do networking? So, you know, it's so that's what I'm saying. It's just yeah, yeah, it's just kinda again, it's a get rich quick scheme for uh that is how they're kind of selling you on.

Emmanuel Gallegos: 1:26:55

I also think too, like I think uh at least in America, the way we're educated, is that we're so used to getting told what to do uh in high school and even in college, like hey, do this, this, and this, and you get an A. We kind of like are used to being told the tasks that we have to do, even in corporate jobs as well. So I feel like freelancing and and building your own company is such a complete opposite of that, because you don't know what to do. There is no like full next step, you have to make your own next step, or you have to ask people and get advice that people feel comfortable behind those courses. Like they don't want to figure that out by themselves, they just want to someone to tell them.

Vipul Bindra: 1:27:33

I I see the point of that, yeah. Because you're right, because schools train you to follow the next step, and if you ever get a job, it's the same thing. They train you, they tell you what to do, so life is easy because you're told, like, I want you to do this to this to this to this. This is a process, uh, which is great. But yeah, when you are the company owner, you have to build your own processes. Funny enough, like you know, I'm actually uh currently in the way of even optimizing my processes, and I'm going like, so what software to use for? You know, project management or whatever. What is there something new out there? Because you know, when you've been running a company six, seven years, again, I don't want to become uh, you know, the dinosaur, right? I want to keep making sure we are innovating, we're using whatever's latest out there. Um, but like you said, if there's no one, then I have to figure every little thing out. I have to make processes that people count on. Um, like, for example, ask you for a help in the shoot. Like, you know, you're counting on me to make sure you know what you're supposed to do, right? And same thing. If you hire people on your sets, they're they expect you to know everything, whatever they need to get their job done. So, like you said, it's not for everyone because you have to figure out everything yourself or at least go ask for advice. Um, but again, I don't know how many of these courses are useful. But if they are, I mean, at the end of the day, like look, it's for people. If you buy some course that helps you, uh, you know, then sure, for for sure, do it. Like, why do I care? You know, like it's it's your value again. But I'm just saying that information is available for free. Most people don't need to, and if you do feel like you need to, then I think you're better off taking that money, calling somebody, and again, I think most people would do it for free. Uh, but I would rather call a filmmaker that you want to be like in your area and just offer it to them, be like, hey, can I come work for you for you with you for free for three months? Like, I like to learn this business, and I don't mind putting time into your business because you know they have to gain something out of it too. Or if you have money, then be like, Yeah, I'll give you a couple grand or whatever. I'm sure most filmmakers would, like I said, just do it for free because at the end of the day, you can learn so much from them and they can like take use an intern or whatever to get them to do basic things that they don't want to do. Uh, point is everyone wins and you'll learn way more than any course because that'll be real world, like how to get clients, how to approach them, what wrong goes wrong in a set. You know, I feel like a course can't really teach you that. It can teach you the basics, but it can't teach you everyday life. Because then maybe you may have been doing this for three years and something random never happened on set. And that one time that one accessory is just not working, and now you're like, well, now what? Right? And that happens. You can't be pressed. It still happens, yeah.

Emmanuel Gallegos: 1:30:04

On that's for sure. Um yeah, I think this is the a fun career that you have to just be on the fly and just learn on the spot and remember what you've learned the past couple years.

Vipul Bindra: 1:30:16

And also be keep innovating because things are changing. AI is coming, new equipment's coming. You gotta always be on your toes, ready to accept new things. Because if you don't, then like I say, you get left behind.

Emmanuel Gallegos: 1:30:27

So what's what I I think it's I think it's an advantage for the people that are just starting off because to be honest, if they're good at the AI thing, yeah. They're they could buy surpass.

Vipul Bindra: 1:30:36

It'd be I mean, I wonder how many people are doing that. I mean, you just approach clients and like, okay, give me 50 bucks and I'll churn you 10 reels.

Emmanuel Gallegos: 1:30:43

There's people that just uh they post like music videos or like relaxing music on YouTube that's AI made, the graphics are A-made, and then they make like 10 grand a month.

Vipul Bindra: 1:30:56

Yeah, because it's just that they're going for those ad the ads add your revenue or whatever. That's gonna be my my side hustle. Yeah, there you go. But you know, there's only so much relaxing music people need, you know. So at some point you go.

Emmanuel Gallegos: 1:31:08

Yeah, some sometimes it's gonna you know oversaturate. But hey, if I get a couple thousand, yeah.

Vipul Bindra: 1:31:14

Next thing I know, you're just at home making relaxing music for YouTube, man.

Emmanuel Gallegos: 1:31:19

Imagine I'm like, nah, I make more, you know, I make 10 grand a week with this.

Vipul Bindra: 1:31:22

You know, I don't know if I want to do uh yeah, you're like putting up your C70 for sale, right? Uh so is that next for you? I was like literally, I was gonna lean into towards where where to tail end. Are you what what's next for you? Uh is it making AI slop? Is that what your future is?

Emmanuel Gallegos: 1:31:41

Run the business smoother, run some things faster, outreach easier. I definitely do want to do what um what um John Roos is doing with like hiring other people to run some of the yeah, some PAs, some VAs, uh to kind of run some things a little easier. Uh right now I'm finally using some some different programs to kind of organize the outreach I'm doing. So I think that's always been the thing I've been most uncomfortable with. So I think I'm finally like locking that in. Uh Fernando and I want to get more retainer deals. And I think that's gonna be our focus the last six months of 2025. Lock in a few retainer deals. Uh studio, just get keep doing more events. Uh we're doing a uh a back to school photo shoot in August, a few in July. Hopefully some master classes in the next couple weeks or next couple months. Uh, and then just do more fun projects, like the project in Chicago. Uh like I said, I think there's always, at least for me, you know, I'm juggling three things. Yeah. Uh just keep juggling those three things and just kind of uh lock them in.

Vipul Bindra: 1:32:49

No, absolutely. That's so that's what I think we all do, right? We're trying to figure out again, like we just mentioned, like you as an entrepreneur, you just have to figure out the next step, but you have to do it yourself, right? You have to come up with an idea, try it, hopefully it works. If not, you go back to the drawing board, try again until you know you find what works. Yeah. Uh, but it's pretty awesome, man. I'm just happy for you. I'm just happy to have you set. Now I get it, you're growing in your own career. You're you're you have so much going for you. It's hard to like make time for me, but I really still have still like working with you. No, I I love working with you. I love when you give me a channel. Yeah, I had so much fun on Chicago, and I'm excited about this.

Emmanuel Gallegos: 1:33:26

It's and same with the opposite. I I keep trying to justify like a like even now, like we we just had like a two-meeting discovery call and a sales pitch with a client, meaning Fernando, for like this big deal for their their social media. And then they just responded to me on the way on the way here, and they were like, Yeah, uh, we love the packages, but this is our budget.

Vipul Bindra: 1:33:45

And I'm like, uh, the budget was what so give me a reference number. Where were you guys and where were they? People would love the difference.

Emmanuel Gallegos: 1:33:53

Um, so it was one third of the cheapest package we had. Wow. So I was just like, can we is it even profitable for even for us to try? Yeah. Even like one day of that is already like I'm already at a loss if I do any other project. Yeah. Um, so it's just kind of like, damn, like you want to help a client out because I I invested, I I've worked with that client before. But it's like it's interesting when you get to that point, like you can make way more money by getting either hired as a freelancer or getting an actual company that is willing to pay or invest in and those kind of commercials.

Vipul Bindra: 1:34:31

Exactly. And I and that's what I struggle is. Like, I love helping small businesses, and I tell them too like the truth is I go do these big jobs just to subsidize my small clients. The truth is I know that and I tell them that. I'm like, look, this brand story video that you're getting for five grand, which sounds like a lot of money. The tools and the people and the equipment I'm gonna use, I wouldn't normally use that. The only reason I have all this is I use it on my bigger jobs, and now, hey, since we have it, might as well use it on this smaller job. But if I was only doing these smaller jobs, I would never own any of this and it would never make financial sense for it. And that's why I have to tell them, like, look, I only help so many small businesses, and this is this is not a the how the it would normally happen. You know, now obviously I love what I do and I love what you're doing, so this is like I'm happy to come out, help you guys, make things happen, and it's a it's a win-win for everyone because you know you're you're also building a relationship with them that you don't typically with a bigger client, but like you said, they don't typically have the budgets to do anything and think grand. And and five grand, like you said, for small business can be a lot of money. Well, yeah, for a lot of people, yeah, exactly. And then versus for a big client, here's a funny thing you say, you know, 100 grand. A lot of time they're thanking you, like you know, you'll you'll say a project, and I it's such an opposite experience. I've had that where I'm like, I'm pitching a client a project, I'm like, hey, this is it. And I'm like, uh, what kind of budget do you have? And then they'll say, Oh, it's it's gonna let's say it's gonna be 120 grand. I'm like, well, that seems very low for what you want, because obviously the expectations are higher too. I'm like, uh, could you push it up to 140? And they're like, no, this is most we have. And I was like, okay, I can cut a few things and get you there, right? It's not gonna be 100% the same, but I I can get you almost there, right? Yeah, and I'll do my best. But then, but then they're they're thanking you. They're like, oh my goodness, thank you. Because they don't know how much this costs, right? Because if it's not like they just reached me, they're people companies don't spend that kind of money just going to one person. So I'm saying that that but it's so such a funny experience where I say small businesses are like, oh, that's too much money, you know, like I don't know, and versus when you're talking these huge numbers, and then these brand big brands are thanking you. They're like, Oh my goodness, thank you for doing this for cheaper costs. It's like a it's funny, yeah, conversation.

Emmanuel Gallegos: 1:36:40

It's crazy too, where like you realize what industries you really want to hit, you really want to charge those big numbers because for example, like we I do social media for this lawyer and she pays a lot for the social media videos. But then if she gets one client, she already pays three months of social media content. So it's like really find the clients that are gonna benefit from putting that big investment in.

Vipul Bindra: 1:37:04

Yeah. So obviously you've been doing this a long time. I'm sure since last we talked, you've improved more. Uh what do you what type of rates uh are you gonna up your rate? What type of rates are you trying to charge people now?

Emmanuel Gallegos: 1:37:16

For just my DP rate?

Vipul Bindra: 1:37:17

Yeah, your DP rate. Has it upped? Have you upped it, obviously, since last time?

Emmanuel Gallegos: 1:37:22

Um I'm fine saying it. Do you want me to say it? Yeah, yeah.

Vipul Bindra: 1:37:24

I mean, yeah, this is we don't gatekeep anything.

Emmanuel Gallegos: 1:37:26

Usually my my my my day rate for like let's say eight hours, uh, you know, lights, cameras, audio equipment. Um usually it's around twelve hundred dollars. Which is pretty good, yeah. Yeah. For doing everything. Yeah, and then I still with some clients, I still charge a half day rate, and the half day is eight eight fifty for the half day rate. Yeah. Um, but I for the new clients I don't try bringing up the half day rates.

Vipul Bindra: 1:37:53

Yeah, I don't even offer that because my thing is it's not like I can I get unless I get lucky, I'm happy to offer it if I have two real like two jobs I can do the same day. But usually, you know, you can only take one job. So I'm like, like, look, there's no half days. Obviously, I'm willing to work with people I know or like or or a relationship. I'm like, hey, we could work a deal out, but it's not like there's no half day. Yeah, you know. Uh but uh the other side, what about what about projects? What are like the type of projects are you aiming for? Is there a certain range, like you can say five to like fifty, or what what what ranges are you now at this stage where you have so much going on, what ranges are you trying to reach?

Emmanuel Gallegos: 1:38:29

For the social media, because we have two for the social media. I think the lowest we're doing right now is like two thousand for like monthly content up to um by like eight thousand. And that's just like social media content. That's not like any big commercials or crazy latest. A lot of editing. Yeah, that's kind of where bulk of that goes, and that's just the price ranges were how many reels can they even get for two grand? Because that's not a lot of money. It's yeah, like like by like four. I we have one that you know that client I I told you about that lowered it. Her rate was I think I think it was 1800. We lowered it a little bit for her, and that was five reels for that, and then a lot of you know, copy, uh, and then with the higher ranges, we would have done social media management, analytics, all that stuff. Um, but yeah, even you know, that's way more. That was a couple of thousand more. Uh and then yeah, they just they they can't even for for just five reels uh and and the copy. Because it was five reels, copy, and then um what else? And then it was like monthly meetings about what videos they they need to create to be able to get that audience. Um but then for commercial for commercial work, um we s we it's interesting because Fernando, Fernando and I, we get to we uh do our own outreach, and then he gets different type of clientele than I then you do. So it's interesting how how some of the things we're doing.

Vipul Bindra: 1:39:48

But it's a good partnership though, right?

Emmanuel Gallegos: 1:39:49

And then you guys can bring in different he's worked with a lot of agencies, so a lot of the projects he brings in are are previous agencies, uh agencies that need video production, which is great. Yeah. It's uh it's uh uh they get bigger clients, so it's funner to work with, but you'd be surprised that usually the agencies get the majority of the money.

Vipul Bindra: 1:40:06

Yeah.

Emmanuel Gallegos: 1:40:07

So usually we get you know, we get it locked in, but we don't have the biggest budget for those. But then if I get my client, for example, I got a corporate job, um conference work two weeks ago. And it was me, two other people, and that was around it was like two days of work, two, three days of work, and that was around like seven grand uh of of budget. And then obviously, you know.

Vipul Bindra: 1:40:30

You said seven T or 17?

Emmanuel Gallegos: 1:40:32

Seven grand.

Vipul Bindra: 1:40:33

Seven grand or seven grand. I was like, what, seventy grand?

Emmanuel Gallegos: 1:40:35

Yeah, seven grand, and then you hire, you know, you hire the two people. Yeah, I was there for I think three, three days. I was doing the editing and the other things, but then yeah, though that's a pretty good corporate type of job.

Vipul Bindra: 1:40:46

No, that's pretty awesome. Yeah, no, I'm excited to talk to Fernando. We're gonna be talking to him in a few weeks. So I'm really excited about um talking to Fernando about all this. I had such a good time with him in that on that Miami shoot. Yeah. Um, uh, so yeah, it was pretty cool.

Emmanuel Gallegos: 1:41:00

We're doing one next week, funny enough. That one's gonna be fun.

Vipul Bindra: 1:41:02

It's uh is it Googa again or or just you and Fernando? Me and Fernando, yeah.

Emmanuel Gallegos: 1:41:06

Me and Fernando. Um, and I always wish and that like like some similar thing as an agency job, and that's why I was like, damn, I wish we had a big job to just have you with the grip track.

Vipul Bindra: 1:41:17

Well, I'm always down to collaborate. That was a fun job. I had such a good time, man. And funny enough, I had only their book me as a grip, and uh funny enough, like I had felt like everything was mine. Like at the end, we were like using cameras and everything, and I was like, and and who was it? One of the was like, Yeah, you saved the production, whatever. And I was like, I'm just happy to help, you know, it's a pretty fun job, and I'm so glad to be part of it. And uh Fernando is and his friends were so great because you know, they you know, I was the only non-Brazilian there, yeah, but they made me feel like a part of the production, so I had such a good time. Um it's important uh to have fun, it's important to bit build that relationship. Yeah, no, I had such an incredible time, and I was so happy for him to invite me there, or get me, I guess, tell Guga to invite me there or whatever. Uh, and you know, I had known him through you for a while now, yeah uh, but never had a chance to work with him. So that was really good. I try to get him on board the um the Chicago shoot and this shoot uh that we're gonna do, but he is scheduled in lineup, otherwise it would have been cool to have him on both those shoes. Yeah, it was out, yeah. But we'll we'll work it out, we'll get him on my set too, you know. But I think you two are already doing such great things, but you know, and Always happy to collaborate if you ever have the budget, uh, you know, or or just in general, reach out. We can figure something out. Uh this this would go longer, but somebody needs to get a watch, but you have a watch. You were late coming in here. Um, you know, I feel like I every shoot I need to just start telling you to come 15 minutes before you actually need to be there. Because I feel like you're always 15 minutes behind. Anyway, this is gonna be the shortest episode, I guess, because we're gonna kill soon. You're welcome, guys. The show is an episode just for you. Just because you were late. Uh anyway, you were like, I'm just 10 minutes behind, 20 minutes later.

Emmanuel Gallegos: 1:42:59

No, I was 15 minutes behind after I said 10 minutes. I got I got here like 1215 on the dot.

Vipul Bindra: 1:43:05

Oh, that's so funny. But no, it's always a pleasure talking to you. I feel like you and I have such great conversations, despite you putting me in bad situations by having me eat really hot chicken for no reason. And I was like, when I ate, I was like, who am I trying to prove anything?

Emmanuel Gallegos: 1:43:19

And then you were also mad about the exploring with the bicycle.

Vipul Bindra: 1:43:23

Oh my goodness. Okay, before we go, quickly. So I think I've told the story, but yeah, you were like, so we had such fun. We talked about this one last season. We went to DC for Adam, and uh that time I had so much fun because you know, we rented those bikes, uh, we explored the city, and normally, you know, I wouldn't do that after shooting you're tired, you go back to the room and you sleep. And you encouraged me to go explore the city, and that's such a good time. I was like, Yeah, that's why I like traveling with you. Because like I need, you know, you need that motivation from someone with you, like, let's go do stuff, let's have this city here. And uh, so the this shoot, same thing, you were there, which is like I said, why I wanted you to part of it. Like, it's not only fun on set, it's fun outside. You're like, let's go see the bean or whatever. Uh, and it was so funny uh that you were like bikes, and I was like so excited. I genuinely was like, Wow, we're gonna have a good time, and then we started rolling, and I was like, uh, my bike is broken. And then come to find out, oh, these are like old school mechanical bikes.

Emmanuel Gallegos: 1:44:22

Yeah, a regular bicycle.

Vipul Bindra: 1:44:23

Yeah, regular. That's what I was saying. This old school nowadays, you know, bicycle have all these electronic features, you know. We're in 2025. Anyway, I'm just saying they were all like the traditional, you know, regular bicycle where you have to pedal, which is fine, but Chicago has a lot of incline, you know. So it was it was fun. It was it was a lot of decline. We went all decline, we were like, and I was trying to do this stupid podcast. Uh sorry, not podcast, a vlog thing that I started. So I was like, this is really hard. I'm like gonna fall down because I'm like trying to vlog, I'm trying to ride this bicycle, taking a lot of effort, and I've just spent all day standing up, so my knees hurt. And on top of that, I'm freaking riding this bicycle. Oh, and you also made it seem like, oh, it's just right there. And it was like it was right there. We got there in like 10 minutes.

Mario Rangel: 1:45:03

Yeah, it was at least 15 minutes of oh, 10 minutes of whatever. I think you still have that picture. Put that picture up.

Vipul Bindra: 1:45:09

Uh oh, yeah, yeah. Because I think I sent it for the other podcast. We had such a good time there.

Emmanuel Gallegos: 1:45:14

Um, come on. Oh my god, it was fun. Look at your I wish I wish I had because we were there on set for like 12 hours. Look at that. There we are. Look at that. Look at the big group of guys. You can't even tell the Vipple's mad enough.

Vipul Bindra: 1:45:27

Zoom zoom in. Pinch, pinch to zoom. There you go. Look at us. Look at that. This is such a good team.

Mario Rangel: 1:45:35

He's mad.

Emmanuel Gallegos: 1:45:35

Yeah. He's like, oh, my knees hurt. My knees hurt. And then after that, we walked for another like two hours.

Vipul Bindra: 1:45:40

Yeah, exactly. No, yeah, because you also made us then go to the river. We had a drink there, then we walked the whole river. Uh the whole river. We're like a few blocks. Okay, a few blocks, whatever. And then we took an over back. Yeah, but I mean it was a good time. I'm not complaining. You know, but I was complaining then, but I'm not complaining. I was like, guys, we have to work all day again tomorrow.

Emmanuel Gallegos: 1:46:01

I realized too, like, even I was tired because we had full-day shoots, and then every every call time was six in the morning. Yeah.

Vipul Bindra: 1:46:07

And then we why did Zay do so? I can't wait to have him on the podcast. That's my only question to him. Why do we have to be there every day six of the recording times? Eight. I don't know. Anyway.

Emmanuel Gallegos: 1:46:18

We would no, we would show up and then we'd be like, We're doing something? No? Okay, we sit there for like two hours.

Vipul Bindra: 1:46:22

Yeah, exactly.

Emmanuel Gallegos: 1:46:23

And then we would start shooting.

Vipul Bindra: 1:46:25

So uh, but no, we but you're right. No, we were all tired. We we did whole days, but then we also would, you know, walk to get uh dinner or whatever, or or just see the city or whatever. I like I say it was fun. I'm not complaining. I just wish the bicycles were had some electronic uh uh you know assists would have been nice. Yeah, we just didn't look for them. We got the ones right in front of the Airbnb. It's perfect. Yeah, which is perfect, and then but they were mechanical, and like I said, it would have been fine if we were just doing that, but after a full shoot day, I was just like my knees were hurting, my legs were hurting, and you know, and and at least you guys got to sit down because you especially, I made sure because you know we're doing handheld that you had a seat. I on the other hand, a lot of time was just standing. I I mean I did sit down too, but I'm saying a lot of times I was just standing, so like my knees were were definitely tired. So that was a not so fun, fun experience. Yeah, right. But but I think it was a good time. It was a good time hanging out with us. It was great. It was a good time being able to bring us all together. I thought that was like the dream dream team of the the all of us.

Emmanuel Gallegos: 1:47:27

I think the the footage came out great. We all had fun, we all had some fun afterwards. Um, I can't wait to see the final video.

Vipul Bindra: 1:47:34

Yeah, can't wait to do it see that. Hopefully, we get to go again next year to the new location. It's always fun uh, you know, doing this project with Zay. Um, also, again, thank you for coming. It's always a pleasure to talk to you. Before we go, anything else you want to say or add or or talk about? I know that we didn't touch.

Emmanuel Gallegos: 1:47:50

I guess for for anyone that's uh that doesn't know me, you guys can always follow me. Uh I have three social media accounts. Oh my god, pitch everything. So be prepared. Uh for the for the commercial or for the production company, it's a dot media, datmedia.pro on Instagram. Uh the studio, studio 124. If you guys want your headshots, we do a lot of events. Or if you guys want a studio, you guys want to do a photo or video ad, we're always uh welcoming people to rent out the studio. And then for freelancing from my own portfolio, you can find me in emanfilms underscore FL for Florida. Because then apparently there's another one in Texas. Wow. Um, so I don't go to Texas because of that. That's you know, we have our own little uh areas, our own territories we cover. But yeah, if you guys want to find me, if you guys want to uh follow me and see what I do, you guys can always uh check it out there.

Vipul Bindra: 1:48:37

That was too many uh pitch uh to what you call too many, too many call to action. Have you not learned anything about marketing? You go win CTA. Nobody's gonna go do nothing now. No one's gonna do nothing. I'm not expecting that there were too many CTAs. Now where do I go? Uh how about this? How about you watch next Thursday the same podcast, Studio B sessions with Bindra?