today I'm going to show you how to shoot a hyperlapse sequence
a hyperlapse is basically a time-lapse but the difference is that the camera is
moving and it moves over quite a long distance so this is a time-lapse and
this is a hyperlapse now Instagram do you have an app called hyperlapse this
can create some really great sequences for Instagram but if you want better
quality for YouTube videos you need to make your hyper lapses with a decent
camera any DSLR point-and-shoot or mirrorless camera will work really well
you just want that a little bit better quality to produce a much better
hyperlapse there are several different ways to
shoot them the easiest way is to fit your camera to the inside of your car if
the road isn't too bumpy and it's quite a smooth tarmacked road you'll get a
really nice sequence alternatively you can be in the front of a train or maybe
even a bus because the vehicle is moving you make sure that the camera is locked
into place and you just keep firing a time-lapse as normal if you're not sure
how to shoot time lapses click on the eye in the corner or the link in the
description this will take you to another of my videos the other way to
shoot a hyperlapse is to do it manually you can either
shoot from a monopod a tripod or handheld in the example today I'm going
to shoot handheld the best way to start is to shoot in the middle of the day
when there's enough light about to shoot handheld without getting any motion blur
now with the time-lapse you'll keep the camera perfectly still if you move it at
all we tend to ruin the time-lapse with a hyperlapse you'll move with intention
you'll either measure out certain distances or take certain steps of the
same distance there is a trick to this and you need a little bit of rhythm but
it's quite easy and straightforward to do to start with I suggest taking even
size steps sideways this will ensure the gaps are the same between frames you
will feel a bit silly doing this but if you stitch the images together well and
you've shot a good sequence you can get a really good hyperlapse from it so this
is how I do it work out your settings in manual mode
the reason you do this is to keep the setting
exactly the same throughout the sequence I basically make sure my shutter speed
is fast enough to shoot handheld the ISO is as low as possible and the aperture
is about f/8 to f/11 I shoot no wider than 24 millimeters any wider than this
and the sequence starts to become hard to stitch because of distortion on the
edges of the frame work out the path that you'll be traveling along here I
walked a few hundred yards along the bridge
I'll make sure I've got a target point which I'll either keep on a crosshair or
where some of the grid lines cross then I'll keep that point on the crosshair
every time I take a photograph for instance in this shot I've lined up the
top of the building with this top crosshair to select grid lines go to
menu to page six out of nine I then select square grid so I have lots of
crosses all over the image so I can choose one of these and lock onto my
target next focus on your chosen subject and then set the focus to manual mode
for this sequence I was shooting with a manual focus lens I focused in to make
sure I had critical focus on my cityscape the reason why you set it to
manual focus is because you don't want the focus to hunt around while you're
shooting the sequence you set your settings and your focus to manual so
everything stays exactly the same just make sure you don't touch the focus ring
during the sequence for their next bit you need to get some kind of rhythm
going frame up your shot take a shot take a
step frame up your shot take a shot take a
step and then repeat you'll keep doing this for around about 300 shots then
this will give you 12 seconds of footage at 25 frames a second the two main
things that you need to do is keep your horizon straight and also keep that
target on the crosshairs that you selected as long as you do these two
things and be quite straightforward to build the sequence afterwards once
you've completed your sequence the next thing to do is process it your arms will
get tired when doing this and it'll feel a little bit like endurance photography
but if you stick with it you can get some really good looking sequences once
you get comfortable doing them this way you can try them
with a monopod we're off a tripod I've done one or two at night off a tripod it
did take about two or three hours to complete the whole sequence but I'm
really happy with the sequence that I got I use Lightroom and After Effects to
process my hypothesis if you don't have these and you want to try this out click
on the link in the description this will take you to a 30-day free trial so first
of all bring the shots into Lightroom make the Corrections for the lens that
you are using make any adjustments you want to make the image look a little bit
better sync all of the settings so they are all exactly the same then export as
full size JPEGs named in a sequence it's important that you get them in the right
order and name them as a sequence then after effects will have a much easier
time of working out the image sequence that it's going to process into a video
then export them to a separate folder so they are separated from any other images
you may have taken once Lightroom has processed the images open up after
effects once you've opened up After Effects import them as an image sequence
make sure image sequence is ticked it normally does this automatically when it
sees a sequence of images then drag the sequence down to this little square to
create a film strip when you initially play it on the timeline it'll be quite
jittery now it needs some stabilization click on effects and presets search for
warp stabilizer when you find it drag it onto your clip it will take a while to
process so now it's time to go and get a cup of tea or have a bit of a break once
it's processed select the timeline and press the spacebar
it will then render and play the clip now I've never had great results from
just doing one round of warp stabiliser maybe it's the way I shoot or maybe my
hands are a little bit shaky but I find this doesn't stabilize it fully there is
a way around this though right click on the clip click on pre-compose and select
move all attributes into the new composition
and then click ok you'll then be presented with another clip add warp
stabiliser to this clip again and wait for it to process I've done some hype
lapses that have been ok with just one layer of warp stabilization and I've had
some others that it's taken up to four rounds of warp stabilization to get it
perfectly steady just keep doing it and keep previewing the clip once it's
steady you don't need to add anymore the more careful you are when shooting the
hyperlapse the less stabilization you'll need so this probably needs one more
round of stabilization so again I'll pre compose making-of selected move all
attributes to the new composition and click OK then I'll add more
stabilization now you can see it is a lot smoother to output click on
composition and add to render queue I'm on a Mac so I'll change the output file
to a pro res file click on lossless format options video codec and Apple
ProRes for - to HQ and then click on OK and then ok again find a place to save
it and then click on render once it's rendered you can bring it in to your
normal editing software and add it to your video now there are a few things
I've learned from shooting hype lapses and sometimes it can be really
frustrating you know spend all that time getting the sequence and then you bring
it back onto your computer and it's got really big errors that are almost
impossible to get rid of so if you avoid these mistakes you'll get better looking
hyper lapses you want to avoid shooting into the Sun this will cause the lens to
flare and this lens flare will jitter around even when you stabilize the shot
the lens flare will still move around in the shot and it's almost impossible to
remove you want to keep your horizon as level as possible then warp stabiliser
will find it easier to process the sequence you don't want to shoot with
anything wider than a 24 millimeter any wider than this and it has a lot of
distortion either side of the frame any small movements will
exaggerated and then after effects we'll find it a lot harder to stabilize the
footage you also want to shoot the hyperlapse
when it's quiet the worst thing is when you're walking along a path and someone
else by the stops and takes a photo there or gets in your way and doesn't
realize what you're doing so you make sure you go at a quiet time and the path
is clear one thing to take into consideration when you're planning your
path is to make sure that nothing comes in front of your subject even though
this might cause a nice parallax sometimes warp stabler really struggles
when something comes in front of the subject it may lock on to that or the
stabilization might move around a bit so I tend to move around the subject and
have the parallaxing effect with the things behind the subject that I'm
shooting one last thing is to try and shoot with a manual focus lens if you
have one in an automatic lens whenever you take a shot with a smaller aperture
the aperture blades will close down you'll take the shot and they'll open
back up so they'll close down every time you press the shutter button as they
move backwards and forwards you'll get minor differences in the
aperture and this will cause a slight flickering with a manual focus lens
you'll set the aperture on the lens and it'll stay in that one position for the
whole time this tends to give a much smoother sequence and that's about it
hyper lapses do take a lot of time and effort but once you've created a few
they can get quite addictive you will look a little bit of a weirdo stepping
and taking a shot and people will look at you funny but it's well worth the
effort as always if you like what you see give me a thumbs up if you didn't
give me a thumbs down and for weekly tutorials hints and tips in photography
and videography subscribe and turn on notifications I'll see you next time
For more infomation >> How to photograph and build a hyperlapse with the A7iii - Duration: 10:57.-------------------------------------------
Building a beat from scratch *INSANE* | Beat deconstruction // Episode 3 - Duration: 5:55.
(soft music)
Hey, it's Joey here and in this video
I'm gonna show you how I take a very simple sample,
flip it into a very hard hitting beat.
This is the beat deconstruction video episode three.
(electronic hip-hop music)
I'm Joey.
If this is the first you've come
along to the channel then welcome.
On my channel you'll find free beats,
hip hop beats, tutorials, anything
to do with making hip hop.
So if that's the kind of thing you're into,
make sure you hit the subscribe button and
hit the little bell and make sure you keep up to date
with all the new videos I'm gonna be putting out.
So today I wanna talk about this sample
that I found on good old Splice.
I basically needed a little bit of inspiration
so jumped onto Splice, looked for some melodies
and a couple of samples and that kind of thing
to see if there was anything interesting that
I could mess around with and make a beat out of.
I found this really cool sample and I was like,
yeah it sounds good and I think I can flip this.
(strong piano music)
Pretty sick little sample.
So what I decided to do, instead of just
keeping it at that same kind of tone,
I decided to actually drop it down by an octave.
(piano music)
And I also created a third version where
I kind of brought the octave up.
(modified piano music)
So I've got the sample, now the next step
was really just to play out some drums.
Start nice and simple with a kick and snare.
(simple drum beat)
Throw some really cool percussion in to make
it sound a little bit more kind of my style I guess.
(layered drum beat)
(layered drum beat)
(layered drum beat)
Some hats.
(layered drum beat)
Throw an 808 bass in there just to give the kick
a bit more depth, and give the song a bit more depth.
(multi-layered drum beat)
I wanted to add like a vocal stab to the beat
because I find that adding a little vocal in,
a little stab like this, can really create
a bit of atmosphere around the beat.
I found the sample and then I threw the octave
up a couple of notches cause I felt like it
sounded a bit better at a higher octave.
At the original kind of level it was at
it sounded a little bit odd.
(vocalizing and music)
(vocalizing and music)
So now that I've got the sample kind of
in three different levels, I felt that I
could basically create different arrangements
using the different levels.
So, does that make sense?
It's like I don't even know what I'm saying.
Let me try again.
I have three levels of that sample.
I dropped the octave on one, I kept one
at the same level, and then I had a high octave one .
You can use them in different parts of your
arrangement to make the beat more interesting.
So, you've got the low ones playing in the verse
and then you can play the high one by itself
and then when you get into the chorus
you can play both of them at the same time.
(rhythmic electronic music)
(rhythmic electronic music)
(rhythmic electronic music)
I also went and processed the sample as well.
So I used Reaktor.
By processing it made it sound a little bit
more interesting, gave it a bit more depth.
Now the one thing I felt like the track was missing
is in the chorus there wasn't enough of
a big thing, like a big moment.
So what I'd done was I played a bigger bassline
in that I can play during the chorus section.
(multi-layered musical beat)
Then, to finish it off, I added a couple
of bells that I found in Serum.
Dropped that into the chorus section just to
kind of create an ending of the chorus section.
(electronic music beat)
(completed electronic song)
So now, I mix it down, get it mastered up
and then I'm gonna let you guys go ahead and download it.
So here's a question that I've got for you.
What do you look for in a sample?
Like what kind of thing do you look for
to help you start building a track out?
Do you like piano melodies, do you like
string melodies, or like a synth type thing?
Like leave in the comments below,
I'd be happy to check it out.
And leave a comment on what you think of the beat as well.
I hope you enjoyed that quick breakdown of the beat.
Make sure you subscribe to my channel
if you enjoyed this video and watch out for the next one.
Here's the beat.
(melodic, rhythmic electronic song)
-------------------------------------------
Create a custom made Ring with Rhino 3D Part II (2019): Jewelry CAD Design Tutorial #59 - Duration: 9:34.
In this video we are going to continue the CAD model we were talking from last
video, and specifically talk about the production process, and how to make this
ring into this one. Are you ready? Let's get started!
if you haven't watched this video how to make this model. Don't forget to watch it
first. This video it's about the production process. Let's starting with
3D printing they are different kind of 3D printer there. I use B9 creation, and
this is the result image that I would like to show you. After that, I cast them
and get rid of the sprue, and this is the starting for finish. At a very beginning
you're going to find out on the casting, you have some line creating by the
printing layers. Depends on the resolution that you have, you always will end up
with some small lines and those lines are easy to remove by sandpaper. Here's my
homemade sandpaper by wrapping a stick with 280 grit sandpaper. Make sure they
are flat and tight, and I'm just going to some larger area you don't have to worry
too much inside, because my stone is not transparent. I just need to make sure
outside is nice and polished before I actually get into the stone setting. You
can see I try to smooth out as much as possible, and then you can go a little
bit finer after this one. You can go up to 400 grits. Anything after that I think
it's just personal preference. I would like to use polish machine to do the
rest of the job.
After that, I will use the brown polish wheel. I bought this from the Rio Grande,
and here's I will put the link below for you to check out them. Everybody have
the different preference. I've been using this for a while this is a little bit
abrasive. If you have minor scratches, it will be easy to remove. Be really careful on
one thing. Anything is abrasive that creates heat, so if your stone is heat
sensitive like opal, then you will be really careful once you have a stone in
there using this wheel, and I will show you just in few minutes. Now we finished
the outside. Let's clean the inside a little bit. You may have some rough
surface left from the casting. we don't have to polish in size because
it's opaque stone, however, I would like to remove any of the bumpy surface
inside if possible. so here I'm trying to use the ball bar to clean up inside, and
try to rough the surface a little bit. My stone is very soft so if inside is not
completely flat, or you have any of the imperfection close to the edges, when you
tries to push the metal against it, you will crack the stone and double make
sure the size is correct. Using the plastic hammer on the ring mandrel to
shape the ring. If your ring is not smooth you can use the file, and I
usually use half round file to smooth out the bottom, especially where you had
a sprue in there. Sometimes when you just cut off the sprue, it is not smooth
so I want to make sure the ring shank is tapered down smoothly. I just wanted
to work on it a little bit. The same rubber wheel you can shape it into a
smaller size or use the old one. You can shape the robber wheel with
the a piece of old file, and use that for shaping it. Here I want to make sure
all the corners are nice and round, so it's not gonna cut into the finger or scratch
the finger when the customer wear it. Once again, it's a lot of back and forth
filing smoothing and make sure everything's a nice and perfect before
we get into the polish machine, and I just realized my focus is on the stone
sitting behind. it not necessarily on the ring, so I apologize for not super focus
the ring. Here, I tried to fit it and see if that fit well. The ring looks fit
really well. Let's get on the buffing wheel, and again sorry to lose the focus.
We want to polish every part. I was using the white diamond and then I jumped into
a Fabuloustre, and I will put the link here in the bottom, and this is the images of
the polish compounds that I was using. now let's get to the stone setting. First of
all, examine and make sure everything's are nice and polished because the wall
is pretty thick for one millimeter or close to 0.8 millimeter, so I like to
use parallel pliers to bend them first because it's almost impossible just push
it against it. The regular bazel pushier is not going to work because
the thick wall looking so I try to get it as close as possible that I can still
slice the stone in. So pretty much is the top I try to bend it. The film is in
2X to 3X speed, so you don't have to sitting the whole section, but I
just want to show you some key point of it, so there will be a lot of trying
fitting. It won't be done at just once. At final we put the stone, and I would
like to tight it a little bit more because of the thickness on the wall I
won't use able to use the bezel pusher, so I actually use the hammer to hammer
on it. Be really careful for the angle that you are hammering it. If you hit the
stone the stone will crack right there. What I do is I use my finger to cover
the stone so if it does hit the stone it will hit my finger first. You rather to
have a blues finger instead of a cracking stone. Don't try to hammer
it too hard at once. What we like to do is bring it in close one by one, so you
want to hit a three o'clock and then nine o'clock and twelve o'clock and come
back to six o'clock. This orientation multiple times. You don't want to
push for example three o'clock all the way so your stone will be crooked, or you
won't be centered. Make sure you hit it at the right angle. You don't want it
the corner to hit the stone, and sometimes it is really helpful if you
have a smaller face of the hammer instead of a big face. When we get into
the tight corner instead of using a hammer, I will get the tracing hammer and
with the tracing tool, and then that will have the better control. So I will
having a hammer hitting on the end of the tracing hammer to push the stone
down to tight it, and this is actually the point you tight the stone, and make
sure that the stone is not moving. Then we can go into the polish process. Once
again I'm using the rubber wheel here. The rubber wheel will create heat and
this is really heat sensitive stone, so make sure that your finger is always
somehow testing the temperature of the ring that you are setting. You can see my
finger is always sitting there to make sure that it's not getting too hot. If I
feel is too warm or too hot I will really quickly to stop it. We want to get
rid of all the hammer marks that we have, and that's why I have this thick wall so
I can kind of smooth it out into the angle that I'd like, and I like to
have everything nice and round and more like an egg shape, so you can see that I
try to getting to not only remove the hammer mark, but also smooth it out to
the side, and once it is tight, and everything is smooth out, we can go into
the polish one more time. I'm using the white diamond first and then fabulous
start to shine up the ring things we already have it pretty polish and always
need to have a high polish before you set a stone. So when we the second time
when we polish we just need to polish off where we leave the hammer marks.
so your stone has the less chance to get too much heat.
Thank you for watching there are more making videos those linked here. I hope
you enjoy. Please like, share, and comment on my video let me know how I am doing and
what else you would like to see in my channel. Thank you for watching I will
see you next.
-------------------------------------------
9 shipping containers to build a stunning family home - Duration: 2:26.
Spectacular 24ft Off-The-Grid Shipping Container Homes
-------------------------------------------
How To Build A Real Personal Brand Online - Duration: 7:51.
How do you build a real personal brand online?
Honey green tea,
shaken, not stirred.
A lot of people want to know,
how do I build a personal brand around what I do,
around my expertise, my skills, my hobby?
Just like Jay-Z said,
"I'm not a business man, I am a business, man."
It's very very true, I want you to look at
some of the biggest personal brands in the wold today.
Michael Jordan, Floyd Mayweather, Martha Stewart,
right, George Foreman Grill,
there are many many personal brands in the world,
but exactly how do you do it?
Now with social media nowadays, it's much easier
for you to get your message, your story,
and your just, persona out there.
The problem is I can see even young kids,
they come up to me, they're 16, 17 years old,
and ask me, "Dan, how I do build a personal brand online?"
and my reply is always very very blunt,
I say, "On fucking what?
"On fucking what?
"You're 17 years old."
You see, in order for a brand, I mean a brand,
I'm not just talking about being famous.
Now there are some people out there, let's say Paris Hilton,
Kim Kardashian, they are getting paid because they are
simply famous, they're famous for being famous.
You see, that's only a very very small percentage
of the influencers in this world that are able
to just be rich simply by being famous.
I always say fame without fortune is frustration.
Nothing is worse than having fame,
and not fortune because if you think about it,
if you've got no money, and you're broke,
you should be thankful that you're broke
which is worse.
You are famous, and your fans think you're rich
but you're broke, and you can't even pay rent.
That sucks big time.
So when it comes to a personal brand, in order to build
a long term sustainable personal brand,
you need to build on something that has substance.
I want you to look at again,
the biggest brands in the world.
Most of them, almost all of them
build it around either the person's skill,
their performance, their excellence.
They're known for something,
I'm fucking good what what I do.
Only a handful of things, but I'm very very good
at what I do.
You look at Michael Jordan,
why does he have such a brand, a personal brand?
Even now he's retired playing basketball
for many years now, but Michael Jordan,
Nike, they're still selling shoes,
they're still selling merchandise
because he is an icon, right?
He's an iconic personal brand.
Now, how do you do it?
I could only share with you my own experience.
Now this is not a sexy answer, this is not a trick,
this is not a shortcut.
But I'll share with you what I know when it comes
to building a personal brand.
You do that one fan at a time,
I remember back then when I was a speaker
just learning how to speak professionally,
and I would conduct my first workshop
that only had a few people, two, three people
coming to my first workshop including my mom.
But even that workshop with only a few people,
I gave my 100%, the best that I could,
that's it, that's what I did.
And from there, it grew, and grew,
and they tell other people,
and I started building my reputation,
and personal brand, if you think about it
is nothing more than your personal reputation,
that's the way that I see it.
That when people buy your personal brand,
when people buy from you,
they have certain exceptions because you're known
for something, you're known for being great
at what you do.
Or you're know for a certain characteristic
that when I wear that Michael Jordan shirt,
or when I wear the Michael Jordan shoes,
it is a statement, it's a status, right?
It represents something,
that's what it is, that's why people
are buying those merchandise.
Not just the product, they're buying a feeling,
they're buying emotions.
So I want you to think about that.
When I was speaking, two, three people, it doesn't matter,
I gave 100%.
As it grew, when I speak to 10 people, 20 people,
50 people, 100 people, 2000 people,
it does not matter, I always always give my 100%,
and that's how you build your personal brand.
You don't become famous, then you say
I'm gonna build my personal brand,
that's not how you do it.
You build your personal brand one fan at a time.
How you treat that one fan, your first fan,
your first 10 fans, 100.
When you upload a video, even if you only
have a handful of views,
even you have that first comment,
give them a heart, look at the comment,
look at what they're looking for.
Get feedback from them so you can become better.
That's what I did, my channel didn't start off
with 1 million subscribers, I started off with one.
And I earned that one fan, one at a time,
you gotta earn it.
I believe personal brand, you gotta fucking earn it,
one at a time.
Think about even the greatest personal brand,
like say, David Copperfield, if you know his history,
now has a big personal brand, one of the greatest
magicians of all time in history.
And guess what?
He started off performing magic
just for his mom, his dad, his relatives
in the living room, doing some small tricks,
trying different things out, illusions,
that's how he got started,
that's how a lot of us got started.
Starting small, so I don't care where you start,
you start small, and you earn it one at a time.
Even great magician, great artist,
you think about it, they were performing
maybe as a kid, piano, guitar, drum,
doesn't matter, in the living room for the parents, right?
Then they grew, and they grew, and they grew,
and then a small fan base, and then social media,
more exposure, more people know about them.
One at a time, one a time,
there's no shortcut, you have to earn it one step at a time.
And you have to cherish your fan,
the minute you lose connection with your fan
that's when you lose your personal brand.
Many think well, I'm so successful,
I'm so famous, I don't need to pay attention
to my personal fans, that's when you lose
your brand equity.
Still, when I upload a video,
I look at your comments on YouTube.
I look at what you're saying,
sometimes the comment is good, I will heart it,
sometimes I'll even give you a short reply
because I know that's what builds a personal brand.
So if you can do that one at a time,
and you build on something solid,
I'm not talking about doing stupid shit,
or doing like, meme videos
where you're known for being a drunk,
you're known for doing stupid shit.
If that's your path, that's perfectly fine,
but I think down the road you will be regretting
that's the decision that you make
because if my son go, "Hey, I'm very popular,
"I'm very famous, I got a lot of people
"watching my stuff."
Yeah, but just because they're watching your stuff,
doesn't mean they're buying your stuff,
there's a big difference.
So you could have fame, but doesn't mean
that you will have fortune.
The only way you'll convert that
is through what I call a conversion mechanism,
how do you take that attention,
and convert it into revenue, into income, into money?
That conversion mechanism, it could be product,
it could be a service, it could be a merchandise, right?
Just look at all the people that's out there
because some kind of conversion mechanism
convert that love, the respect, the attention,
that fan base into actual revenue.
Until you have this,
all this fame in the world means nothing
because you cannot convert it.
Don't wait until that you know what,
I will get to a million fans,
then my problems will go away.
Then suddenly, I will be rich.
No, you need to be getting rich along the way
with a proper conversion mechanism, right?
Just like this green tea,
I think it's like 30 minute vintage,
so think about that.
Until next time, keep working your personal brand,
I'll see you in my next video.
-------------------------------------------
How to Make a Stacked Storage Bin - DIY Network - Duration: 4:13.
For more infomation >> How to Make a Stacked Storage Bin - DIY Network - Duration: 4:13. -------------------------------------------
7 Steps To Build a Digital Marketing Agency While Traveling - Duration: 11:58.
I'm here with a couple people.
I'm in Cancun.
I don't know if you can tell by the cool background.
But yeah, we have a couple people here, but everyone
on the team is able to kind of just move around.
There's not really a lot of operating costs
in regards to, we have a bunch of stuff
that doesn't necessarily make money, but we need to do it
anyways, as in we kind of need to buy supplies for everyone.
We need to have a monthly expense, 'cause we are
paying this much for rent to rent out an office.
We just get to work in places
which are much more affordable, and then we also have
kind of set processes in the business that like,
we need to hit certain milestones, and we can't really
go back and make changes, and we don't have a bunch of,
we're just able to kind of cut costs by just focusing
on the process, like, yeah, making sure
that everything's unique, everything's cool,
everything is going to be custom built for the client,
but we do have a set kind of process and system
that we go through when we create videos for people.
It helps to keep our cost down in that sense.
- Yeah, so basically, you keep the clients happy,
and they get exactly what they want,
and they get custom work.
It's not some cheap template stuff.
And at the same time, you don't have those huge overheads,
because everything is done in a very cost-efficient way.
Like, here's no offices.
There's coworking.
There's the delivery process that's kind of a process,
not just, oh, let's just keep going back and forth forever
and have 7,000 revisions are completely not necessary.
So, I guess the reduction
in the 17,000 revisions is also a process.
So what type of process do you have for that,
so that the clients don't need
to ask you to change stuff all the time?
Like, how do you do that?
- Yeah, a big part is just setting things up ahead of time.
So before we even start on doing any script writing,
before we start on game planning for the animations
and what the video's gonna look like,
we really wanna figure out the strategy,
like how is this video gonna be used?
Who's going to see it?
What's the awareness level of these people?
And you wanna have a built-in strategy
so that when you start coming up with a script,
it's like, it's built to something that you guys both
agreed on, and it's just like your communication is right.
You're front-loading it right at the beginning
of the working relationship, where you know,
here's who we're making this video for,
here's the purpose of the video, here's where it's gonna
be used in different parts of our client's funnel,
or maybe it's just for training videos as well.
So we know exactly what the goal is with the video,
so we don't have people going, hey, we actually made
a change in sort of what we were doing with the company,
and we want this video to reflect that,
midway through the process, right?
And then yeah, there's certain milestones so that you
make changes until you hit that milestone, but then,
then, once we've passed that, it's like we can't just
keep going back and making revisions and restarting
from scratch over and over again.
So having that conversation
at the very beginning is very important.
- Yeah, that makes sense.
And I guess, you're also not charging cheap, right?
So I don't wanna make it seem like you guys are doing
some kind of cheap work, obviously,
'cause you are charging at premium.
You are doing high-ticket sales,
as we mentioned before as well.
So, how come you don't build a business
that's just, here's a bunch of $500 videos?
Like, here, buy $500 videos from us,
as many as you want, and get thousands of sales?
Why don't you do that?
- That's a big headache.
You have to make a lot more transactions with people,
and you have to balance a lot more stuff.
It's not that we wanna make a bunch of videos, you know?
We don't really care to make just a bunch
of cheap stuff that's gonna be template-based,
that they provide the script.
We want to make stuff where it's not so much a cost to them,
like it's not like you're spending $500.
It's like you're investing into something that's going
to bring more return than the investment that you put in.
We also don't wanna make stuff that's boring, you know?
I wanna make something that we're proud
of and the team's all proud of, so we get excited
by being able to make new stuff every time.
Like, I don't want to just do the same thing over
and over again on repeat, 'cause I get bored pretty easily.
- Right, right.
So you're also working with bigger clients
than before, if I'm not mistaken?
Did you make that decision last year, or when did you decide
to also focus on these big projects, like the 50k one,
or how did you make that decision?
- Yeah, that one was just sort of, it came about.
We had the capacity to do it.
We have a team in place to make stuff like that.
But then yeah, some of our bigger clients,
a lot of our biggest clients that we've worked with,
they have kind of came out.
They reached out to us through referrals.
They've reached out to other companies and said like, hey,
who'd you get to do your video, and then they just
suggest us, and then we go from there.
They just reach out, like hey, you were recommended to us.
Let's talk about what we're looking to have done,
and then we can talk from there.
- Right.
And you mentioned before you were traveling.
You said this is Cancun?
That looks quite nice, actually.
(coach laughs)
- Yeah, this is Mexico.
This is where I live most of the time.
- Right, right.
So how come you're able to travel while doing all this?
I guess most people wanna meet up
for sales meetings or something, I don't know.
How come you don't do that, or you don't prefer to do it?
- I wouldn't be against it, like, even just flying out,
kinda shaking hands, meeting people.
I'd be open to doing that, but people are busy, man!
We're sitting here talking through Zoom right now,
and most of my communication with people is through Zoom.
There's not too much benefit to kind of staying in one spot
to make sure that you can sit down
and have a lunch with someone.
When I'm back in Canada, where I'm from,
I'll meet up with people every once in a while,
but it's not as much as you'd think.
So there's not really any benefit
to even living in sort of where you're doing business.
We have a bunch of clients in Canada,
and I very rarely see them. - Right.
And what's the process for sales?
So, people will think, this is not possible.
You can't close big deals if you don't meet people.
You need to sign there with a lawyer present or I don't
know, all kinds of weird stuff people think about sales.
So, what are some ways that you use to actually
close people on a call, even with bigger deals?
Like, how come you're able to do that?
What is the process, more or less?
- Hmm, I feel it's just trust, you know?
When people speak to me, they can hear my voice.
I've been doing this for a while.
I think another big thing is we have a lot of clients.
We have a lot of social proof,
so people know we're been in this industry for a while.
If they send me money over the internet, there's a pretty
good chance that it's not going to disappear, you know?
They know that, because we have a proven track record.
We've worked with a lot of people before.
We have a lot of good publicity, and we've kind of developed
that over the last couple years we've been in business.
So, yeah, I think it would just come down to trust.
People know we've been in business.
They know we make what we say we make, and if they work
with us, they're going to get pretty much exactly
what we discuss over the phone when we're talking.
- Yeah, and what is the consultative selling process?
Like, in what used to be Businessmen Insiders,
we used a process where we kind of instruct people
on how to make a decision.
So, do you do this, or do you use just proof,
or what do you do exactly?
- Yeah, well, you just get on the phone with people,
and you just talk to them.
Like, what is it that they're involved with?
What is it that their goals are?
What is it that their strategy is,
and then you just kind of figure out.
You just kind of game plan with them and for them, in a way,
just hey, like, here's what I think would work.
Here's what I think you guys
could start implementing in your business,
and then, you're pretty much just there to help out.
I wouldn't even say it's closing the deals.
You're just kind of having a conversation,
and people wanna work with you, and then if you
can help them, then you guys work together.
- Right, so what if they say
they need to talk to their boss?
- Then you reschedule, and you talk to the boss with them,
or you kind of send them a message after the call,
like hey, it was great to speak with you.
Looking forward to it, lemme now what your boss says.
Here's a quick summary of what we discussed,
and then they show that to their boss as well.
- Right, and what if they say that this project,
that they're in the discovery phase?
It's not really a project yet; they're just discovering.
So what would you tell them early in the call
if you find out about this?
- Yeah, early in the call, I would just
kind of see what their game plan is.
They're probably not ready to work with us just yet.
I would just give them some advice and speak with them
about what they're looking to have done and what they're
looking to do, and then just help out the way I can,
and down the line, they would, sometimes they'll come back
if they realize, hey, it's time to need this,
and then you just kind of keep the relationship going.
Just keep talking to them every month, every two months,
something like that, and just speak with 'em then.
- Yeah, interesting.
I guess we call this the deposit funnel.
We just get a deposit from them, and we set a date
for later on so that we know they'll show up,
'cause they paid the deposit
to hold the spot to work with us.
That's the standard process.
Your variation is, well, it's almost the same,
but just follow up, follow up, follow up, basically.
It definitely, definitely works.
I guess we've also noticed that 75% of sales
comes from this and not from sales on the first call,
because not everyone's ready to buy immediately.
Some companies are just not ready yet.
They're figuring out what they're gonna do
in three months, or sometimes even six months,
and sometimes even two years.
(coach laughs) Sounds ridiculous,
but if they end up buying, it's worth following up
for a couple of hours over a period of a few months or even
a year or something like that, for a big enough sale.
And people don't realize this.
People just throw away leads for no reason whatsoever
instead of just developing relationships, getting referrals.
From your current sales that you're getting on a monthly
basis, how many of those are referrals, as a percentage?
Like 50%, 40, 12%, or what are we talking about here?
- Yeah, I would say like 50 to 60%
are just referrals right now.
Just people we worked with before, they just
kind of either need more stuff that we make,
or they have people that they're communicating
-------------------------------------------
How To Build A Timeless Wardrobe For Work – 5 Tips - Duration: 7:34.
For more infomation >> How To Build A Timeless Wardrobe For Work – 5 Tips - Duration: 7:34. -------------------------------------------
My Tank Sucks (roblox build a boat) - Duration: 14:01.
my tank sucks XD tell me how to build 1 in the comments
Why is it flipping XD
it really sucks XDD
How are U FLYING
jeez your a good boi/gurl
at the end it stops recording because I cant record for long only 14 Min
Không có nhận xét nào:
Đăng nhận xét