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Speaker 1: Welcome back to another episode of Cutting the Distance podcast.

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Speaker 1: This week, I'm your host Dirk Durham, and I have

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Speaker 1: a special guest for you. It's my good friend and

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Speaker 1: Slash videographer Slash meat packer, Slash, the guy that makes

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Speaker 1: me look good on film. I mean, I don't know

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Speaker 1: how good he looks, but he.

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Speaker 2: Does his best. He does.

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Speaker 1: It's not his fault though. My buddy Dusty Rupe. Welcome

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Speaker 1: to the show.

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Speaker 2: Dusty.

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Speaker 3: Hey, thanks, Dirk. Glad to be here.

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Speaker 1: So this episode, I want to talk about best practices

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Speaker 1: for filming your own hunts or filming your friend's hunts.

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Speaker 1: Every year we get questions and I don't have any

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Speaker 1: specific ones lined up today, but these questions kind of

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Speaker 1: come from memory that well I'll be asking today. You know,

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Speaker 1: it seems to be pretty popular these days to film

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Speaker 1: your hunt, whether you're a fledgling YouTuber you know, want

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Speaker 1: to build a really cool channel and share share your

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Speaker 1: hunts and your activities with everyone, or maybe you just

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Speaker 1: want to film some stuff to share with your family

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Speaker 1: and friends when you get home. And we want to

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Speaker 1: kind of cover today some of the best practices to get,

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Speaker 1: you know, the most out of your efforts. So Dusty,

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Speaker 1: I'm gonna put you on the spot right off the

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Speaker 1: bat to kind of tell you or tell our listeners

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Speaker 1: about yourself and maybe your background and filming and how

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Speaker 1: you got to be the filmer today.

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Speaker 3: Oh man, okay, yeah, So I'm Dusty group how I

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Speaker 3: got into filmmaking. Let's see, So I've always filmed, specifically hunting,

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Speaker 3: ever says I started hunting, especially bow hunting. I started

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Speaker 3: in two thousand and me and my buddies would just decided,

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Speaker 3: we just want to start filming our hunts just for

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Speaker 3: those memories. And it was probably not until twenty ten

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Speaker 3: when there was three of us that hunted, so two buddies,

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Speaker 3: me and my other buddy who hunted, and his brother

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Speaker 3: would come along and he would do all the cooking,

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Speaker 3: and he'd hike with us and do some calling and

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Speaker 3: just have fun. Well he would do the filming as well,

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Speaker 3: so he would film us to hunt. And in twenty

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Speaker 3: ten he couldn't be there, so I picked up the

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Speaker 3: hunting slack. I thought we still got to keep this going.

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Speaker 3: So I bought these little tiny cassio pocket cameras. If

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Speaker 3: I don't know if you remember those, but they're just

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Speaker 3: not much of a zoom or anything on them. They're

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Speaker 3: just a handheld push a button to record, and that's it.

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Speaker 1: Did it come with a hat? Did it come with

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Speaker 1: a matching calculator?

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Speaker 2: Watch? It should have. It looked like a calculator.

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Speaker 3: It's about the size of a calculator and you just

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Speaker 3: fit it right in your pockets. Super easy to carry around.

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Speaker 3: But it filmed, which was pretty cool at that time.

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Speaker 3: And yeah, so carried those around and I got that

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Speaker 3: home and I was like, you know what, I'm going

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Speaker 3: to start editing these because we hadn't edited anything. My

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Speaker 3: buddy had the camera and he just recorded and put

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Speaker 3: it away, and I thought, this is not good because

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Speaker 3: I'm not seeing any of this fun footage. And so

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Speaker 3: I started editing them and making DVDs and just having

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Speaker 3: a good time doing that, and it just kind of

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Speaker 3: just started really starting the fire within me to want

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Speaker 3: to do more. So it was about twenty fifteen twenty sixteen,

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Speaker 3: right in there is when I was sitting in my

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Speaker 3: cube and I was thinking, Man, I got it. There's

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Speaker 3: got to be more to life than just sitting in

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Speaker 3: a cube for nine plus hours a day. And I thought,

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Speaker 3: I need to figure out what I want to do

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Speaker 3: with my life, and I started going through this test

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Speaker 3: that was actually I found this test online and said

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Speaker 3: something about like bow Hunter's Guide to Changing Careers.

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Speaker 1: I think I took that same test. You know what,

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Speaker 1: I told me I should do what they said, I

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Speaker 1: should be a pig farmer.

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Speaker 2: Nice.

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Speaker 1: I don't know a thing about pigs except I like bacon. Okay, sorry, no,

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Speaker 1: it's good.

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Speaker 3: So I took this test is basically you just it

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Speaker 3: just took you through a whole list of questions on

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Speaker 3: you know, what are your favorite things to do in life?

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Speaker 3: And it didn't matter whether you thought you could make

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Speaker 3: a career out of them or not. That just made

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Speaker 3: you list everything you like to do. And basically from

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Speaker 3: that it started chopping things away. And my last two

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Speaker 3: things on the list ended up being videography and hunting.

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Speaker 3: And so I said to myself, that's it. I'm just

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Speaker 3: going to start doing that. I don't know how I'm

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Speaker 3: going to do that, but I'm going to start doing it.

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Speaker 3: And long story short, it's a pretty long story of

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Speaker 3: how the rest of that came to be. But so slowly,

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Speaker 3: over time, I started buying video cameras, a better video camera, audio,

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Speaker 3: all that stuff, and just started learning how to be

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Speaker 3: better at videography. And in twenty seventeen, another long story,

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Speaker 3: but we moved to Boise from Colorado, and I still

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Speaker 3: had the dream of doing videography for a living, but

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Speaker 3: was still working a cube job and just trying to

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Speaker 3: figure it out, and thought I was gonna have to

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Speaker 3: go through the YouTube route. And I was planning on

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Speaker 3: doing that, starting up a YouTube channel and just showing

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Speaker 3: films and showing haunts. And I got laid off from

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Speaker 3: my job in twenty nineteen and I was following this

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Speaker 3: guy named Dirk Durham on Instagram, and during that time,

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Speaker 3: he posted a Instagram message saying he was looking for

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Speaker 3: a camera guy, and he had a whole listing of

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Speaker 3: funny things that he was looking for. And I had

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Speaker 3: been watching this guy, Dirk Durham as I'm staring at

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Speaker 3: him now, watching him him on YouTube, watched him hunt

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Speaker 3: with the Bro crew and all that, and I always

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Speaker 3: thought to myself, man, that guy's funny. I think I

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Speaker 3: could get along with that guy pretty well.

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Speaker 2: Well.

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Speaker 3: Here he is asking for a camera guy, and I

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Speaker 3: thought to myself, man, that would be so awesome to

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Speaker 3: be his camera guy. But I didn't think I had

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Speaker 3: a chance because I didn't really have any experience with

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Speaker 3: than just my own hunts, and I thought, with his

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Speaker 3: connections and all that he's going to want somebody who

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Speaker 3: has been in the in the production side of things

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Speaker 3: for a while. But my family said, hey, you might

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Speaker 3: as well. You might as well do it, and I said,

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Speaker 3: you know, you're right, I should just at least he'll

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Speaker 3: know I'm alive and I exist.

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Speaker 2: You'll see a video.

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Speaker 3: So I put a video together, sent it to him.

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Speaker 3: Didn't think i'd probably get anything back from it, and

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Speaker 3: probably think it was A week maybe later, I got

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Speaker 3: an email saying that he was coming through Boise and

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Speaker 3: he wanted to have lunch with me, and that's where

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Speaker 3: it started and rest his history. Really met you for

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Speaker 3: lunch and hit it off.

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Speaker 2: Yeah, yeah, so that was awesome.

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Speaker 1: It's funny about that little ad I kind of put out.

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Speaker 1: You know, I have had some pretty specific things I

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Speaker 1: said that were kind of like tongue in cheek, a

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Speaker 1: little bit kind of funny. You know, you had you

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Speaker 1: had not You couldn't be afraid of beers or bears,

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Speaker 1: you couldn't be a poopy pants, you know, you couldn't

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Speaker 1: be somebody's got a crappy attitude.

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Speaker 2: And then a few other things.

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Speaker 1: But I did not really say what kind of a

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Speaker 1: film I wanted you to make, just like send me

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Speaker 1: a quick short film of about you and what you do. Yeah,

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Speaker 1: And so I didn't put any guardrails, any training wheels

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Speaker 1: on this thing at all. That I figured, like, let

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Speaker 1: the creativity speak for itself from people who want to

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Speaker 1: send me stuff. And some people they sent me videos

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Speaker 1: like Hey, my name's ex. You know I do this stuff.

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Speaker 1: I love hunting, I love the outdoors, and just kind

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Speaker 1: of a generic like interview video which was pretty good.

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Speaker 1: But Dusty put together like the next level type of film,

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Speaker 1: Like it was like so well scripted, and like he

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Speaker 1: checked all the boxes that I that I wanted, that

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Speaker 1: I didn't even know I wanted until I watched him,

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Speaker 1: Like this guy, this is exactly what I want. This,

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Speaker 1: this guy is exactly what I want. He knew how

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Speaker 1: to he used a high quality camera. It was beautiful footage,

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Speaker 1: The storyline was beautiful, it was great. He got he

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Speaker 1: captured some really great shots, you know, showed creativity and

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Speaker 1: and mastering of the camera, and you know, he he

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Speaker 1: knew he hit me hard. You know, he hit me

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Speaker 1: with every town. Now and then as as he would

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Speaker 1: talk a little bit, it would flash to like like

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Speaker 1: movie quotes, like he'd have a little snippet out of

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Speaker 1: a movie. And it was beautiful. It was it was

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Speaker 1: an amazing little little short film production. I was like,

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Speaker 1: this is the guy, this is the guy. I gotta

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Speaker 1: go meet this guy. See if he's in for real,

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Speaker 1: Like this can't this can't be true. So went and

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Speaker 1: had lunch with Dusty and he's he's the real deal man.

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Speaker 1: He's he's a quiet, soft spoken gentleman, but he has

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Speaker 1: a wit that's very quick and very hilarious. But see,

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Speaker 1: sometimes you don't always pick it up unless he you know,

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Speaker 1: But every now and then he'll just like interject something

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Speaker 1: like that's so funny. It just kills me. And that's

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Speaker 1: what I love about him. And one part in the

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Speaker 1: video is he had a snippet from I can't remember

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Speaker 1: if it was from wedding Crashers or whatever, and Vince

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Speaker 1: Vaughnson like, I'm not a talker. I'm not a talker

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Speaker 1: because he's you know, he don't. I think that was

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Speaker 1: one of the things I didn't want a chatty patty. Yes,

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Speaker 1: if anyone knows me very well, I don't like to

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Speaker 1: talk a lot before I don't know, nine o'clock, ten o'clock.

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Speaker 1: It just takes my mind a while to wake up,

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Speaker 1: you know, in the morning, and I'm just half brain

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Speaker 1: dead down the middle of the day most of the time.

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Speaker 1: So I was just like, this is perfect. But then

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Speaker 1: as we started hunting and started filming, I was like, man,

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Speaker 1: I thought you could talk a little bit more if

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Speaker 1: you Then I was afraid he was afraid to talk,

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Speaker 1: because the man's not a talker.

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Speaker 2: He's not.

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Speaker 1: But when he does talk, it's it's always of good substance.

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Speaker 1: It's not like gibberish or nonsense. It's always really good stuff.

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Speaker 1: So he's accompanied me since twenty nineteen on my elk

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Speaker 1: hunts filming them. We've had some really awesome ones. We've

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Speaker 1: had some rough ones. He's never complained a bit. It's

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Speaker 1: always had a smile on his face, always been pretty

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Speaker 1: lighthearted and always keeps me, keeps me going too, So

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Speaker 1: I always appreciate that. And one of these days I'm

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Speaker 1: gonna get to call you a bowl and you'll kill it.

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Speaker 1: And twenty twenty twenty twenty. Then we tried hard, you know,

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Speaker 1: A hundred was with Dusty and his son Easton, and man,

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Speaker 1: we had some pretty close encounters and almost got it done.

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Speaker 1: But one of these days it's gonna happen. It's going

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Speaker 1: to be able to return the favor for all your

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Speaker 1: hard work, and hey, maybe be able to call in.

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Speaker 2: A bowl for you.

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Speaker 3: So that'd be awesome.

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Speaker 1: Anyhow, So that's Dusty's backstory, and then talk a little

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Speaker 1: bit more. Now fast forward to twenty twenty three, and

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Speaker 1: we got Dusty roups starting a production company. Correct, correct,

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Speaker 1: what do you call your production company? Yeah, it's Depth

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Speaker 1: of Field Productions, Depth of Field Depth of Field Productions. Yeah,

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Speaker 1: so that's kind of a delicious little name, you know,

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Speaker 1: kind of you know, leveraging videography, photography. So tell us

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Speaker 1: about what all you're doing now.

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Speaker 3: Just starting this business, filmmaking business and kind of specializing

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Speaker 3: in brand storytelling is the idea and which is just

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Speaker 3: another type of video marketing where we basically work with companies,

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Speaker 3: small businesses, different brands that to help them develop a

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Speaker 3: more emotional and deeper connection with their target audience through

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Speaker 3: the power of storytelling. And we do that We choose

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Speaker 3: story as our format because we believe that story just

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Speaker 3: has is the most effective way at driving and impact,

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Speaker 3: whether that impact is influencing buying behavior, or increasing of

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Speaker 3: perceived value, or spreading an idea or something like that.

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Speaker 3: So story is how humans connect with each other, whether

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Speaker 3: you're talking around the water cooler or whatever. You know,

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Speaker 3: you talk to somebody say how is your weekend, and

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Speaker 3: a lot of times they'll go into a story about

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Speaker 3: their weekend, right, And if it's something you relate with,

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Speaker 3: you connect with that person at a deeper level. And

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Speaker 3: it's a story. Story you just remember, You remember things

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Speaker 3: a lot better through story.

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Speaker 2: So that's kind of.

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Speaker 3: Our our thing that we're trying to do, is just

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Speaker 3: do it through story.

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Speaker 1: I love that, Yeah, And it's I think using that

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Speaker 1: kind of format is is so important. It just really

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Speaker 1: lets you know the customers connect to the companies. You

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Speaker 1: see it in outdoor space, you see it in other

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Speaker 1: places where people once they understand and see other people's backstories,

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Speaker 1: they're like, I like I like that that company, or

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Speaker 1: like that guy or like that gal.

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Speaker 2: I want to support them.

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Speaker 1: And it's good to get people's individual stories out because

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Speaker 1: sometimes you know, everything is so high tech these days

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Speaker 1: and everything so fast moving kind of gets lost in

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Speaker 1: the shuffle. I know, in my past life, my past career,

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Speaker 1: you know, worked in retail or for a big tire

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Speaker 1: company and building relationships with large accounts. You know, that

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Speaker 1: was my one of my main fortes. And you know,

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Speaker 1: when people are spending hundreds of thousands of dollars a

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Speaker 1: year on tires for their fleet, they usually want to

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Speaker 1: spend with the people and do business with the people.

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Speaker 1: They've built a relationship with people, They trust, people, they

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Speaker 1: like people that bend over backwards for them. They love

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Speaker 1: to support those kind of people. It's not always bottom

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Speaker 1: line price, right. They might have paid a little bit

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Speaker 1: more sometimes for their for whatever they're paying, but they

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Speaker 1: know the people that are getting it to them aren't

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Speaker 1: going to leave them there holding the bag, or they're

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Speaker 1: always going to be there to take care of them

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Speaker 1: if they need anything. So I think that that building

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Speaker 1: relationships and and it's important by telling people's stories or

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Speaker 1: company stories.

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Speaker 2: So I love that. Yeah, thank you.

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Speaker 1: So if we fast forward from that kind of idea, so,

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Speaker 1: you know, for for aspiring filmmakers now listening to this podcast,

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Speaker 1: try to identify maybe the storyline within you know, your hunt. Okay, okay,

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Speaker 1: every year it's going to be L hunting, right, we're

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Speaker 1: going L hunting. But maybe there's an underlying story, like

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Speaker 1: maybe this is a special place that your dad hunted

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Speaker 1: and taught you had hunt. Maybe this is a place

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Speaker 1: Grandpa used to take you. Maybe maybe you're hunting mentors

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Speaker 1: not no longer around, and you want to you want

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Speaker 1: to you want to talk about them and then you know,

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Speaker 1: pay your respects through hunting and dedicate the hunt to them,

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Speaker 1: and then all the little nuance that goes around with that.

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Speaker 1: Maybe during the hunt, something really bad happens and you

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Speaker 1: have to like recover, you know, maybe you wreck your car,

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Speaker 1: maybe you hurt yourself. Maybe something happens to where it's

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Speaker 1: completely out of character for the storyline for the for

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Speaker 1: the hunt, and maybe the story you thought you had

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Speaker 1: is immediately changed by this new story. You know that,

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Speaker 1: don't don't take that for granted, like capitalize on that

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Speaker 1: and you know, kind of spin that into your in

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Speaker 1: your storyline of your hunt. Sure, it's always it's just

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Speaker 1: it's just Dell cutting, right, It's like how many how

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Speaker 1: many different ways can you slice it?

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Speaker 2: Dice it?

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Speaker 1: Like we get in the truck, we go out to

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Speaker 1: the woods, We get out, we hike around, we bugle,

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Speaker 1: We try to find an elk and kill it right and.

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Speaker 2: Hack it out.

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Speaker 1: But there's a lot deeper story sometimes or some little

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Speaker 1: things that kind of go along there. They're there that

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Speaker 1: make the that make the film more impactful. Right, So

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Speaker 1: going back to like when we first hunted together, let's

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Speaker 1: think about like some some things that or maybe not

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Speaker 1: even hunting together, maybe when you first start filming. Let's

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Speaker 1: say that when you first start filming, some things that

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Speaker 1: maybe you just talk took for granted that you're like, Okay,

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Speaker 1: I just got this camera. All I got to do

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Speaker 1: is turn on, turn the power on, and push the

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Speaker 1: button and start recording, and it's going to be awesome.

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Speaker 1: It's gonna turn out awesome. Where are some things that

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Speaker 1: might you might have took for granted that maybe went

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Speaker 1: wrong that it's like, oh, I really need to do this,

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Speaker 1: and I need to do this to like capture better footage.

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Speaker 3: Yeah, so probably start back when I bought those cassio cameras.

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Speaker 3: You know, my thought when I bought them was I

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Speaker 3: just wanted something quick and easy to put in my pocket.

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Speaker 3: Take out hit record, which it did its job.

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Speaker 2: It was perfect for that.

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Speaker 3: But I took for granted the idea of, well what

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Speaker 3: about the audio? What about when that out comes in?

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Speaker 3: You know it, you know, sixty seventy yards, but you

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Speaker 3: want to get closer, you want to zoom in. That

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Speaker 3: little hand camera does not zoom in, and so I'm

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Speaker 3: left with this really tiny footage of this elk in

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Speaker 3: the trees that you can hardly see. So having a lens,

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Speaker 3: you know that you can zoom in and get a

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Speaker 3: little closer.

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Speaker 2: You know.

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Speaker 3: That's that kind of stuff I took for granted at

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Speaker 3: the beginning. Didn't think through any of that. I don't

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Speaker 3: even think I thought through storage capacity. You know, how

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Speaker 3: much space is this going to take for a week

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Speaker 3: long hunt if I'm constantly recording, you know, can I

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Speaker 3: can I get everything that I need to capture on

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Speaker 3: that one little hard drive. All I thought about was

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Speaker 3: lightweight and easy to put in my pocket.

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Speaker 1: I think a lot of people think that, you know,

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Speaker 1: like today, you know, everybody gets the GoPro right. This

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Speaker 1: thing's easy. It takes amazing footage, YadA YadA, but it

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Speaker 1: does have its limitations, like you can zoom with it.

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Speaker 1: Sometimes the audio is not the best, but I think

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Speaker 1: it has capabilities where you can do remote audio with

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Speaker 1: GoPro now, But still you have some limitations. So maybe

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Speaker 1: the right camera for the right occasion, Like maybe you

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Speaker 1: use it GoPro, but you're using it for your b roll,

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Speaker 1: your tricky shots where you can't get a normal camera steady.

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Speaker 1: Maybe for walking, Maybe it's putting it into precarious places.

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Speaker 1: You're walking along a cliff, you can put that thing

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Speaker 1: right down by your feet and easily walk along the

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Speaker 1: cliff and get some good shots like that. Just I

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Speaker 1: think like the most creative part can come with a

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Speaker 1: little small camera that doesn't zoom like that. But like

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Speaker 1: you said, it has its limitations.

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Speaker 2: It does. So what did you do after that? Yeah?

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Speaker 3: I was After that is when I decided, Man, you know,

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Speaker 3: I love doing this and I need to like I

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Speaker 3: need to learn. I just basically need to learn, like

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Speaker 3: what what cameras are out there and how much they cost,

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Speaker 3: and you know, how do you how do you get

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Speaker 3: great shots with the zooming with good audio? You know

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Speaker 3: who what brands are good. So it's just a lot

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Speaker 3: of research just on the computer, googling and reading a

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Speaker 3: lot and watching videos a lot and just digging in

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Speaker 3: to all that. I would make spreadsheet lists of different

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Speaker 3: camera brands and audio brands, and I would like write

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Speaker 3: down all the goods of each one and try to

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Speaker 3: compare and all that.

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Speaker 2: I think they call that geeking. I was geeking out,

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Speaker 2: Yeah for sure. I think you have to a little bit. Yeah,

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Speaker 2: yeah for sure.

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Speaker 3: And you know, I mean, my my background is it

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Speaker 3: so I I kind of have that geeky side of me.

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Speaker 3: Likes compute stuff and it stuff, so so it was

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Speaker 3: pretty easy for me to dig in. And I do

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Speaker 3: like researching things too, so it all came together.

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Speaker 2: Once you start figuring out what you wanted.

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Speaker 1: Now, like picking out a camera is tough because there's

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Speaker 1: a lot of great brands, whether you're Team Cannon, Team Sony,

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Speaker 1: Team Panasonic, Panasonic, team Nikon, like your team Panasonic, And

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Speaker 1: that's kind of real common camera in our in our world,

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Speaker 1: in the hunting world. When you first told me what

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Speaker 1: you're using, like, so what now? But the footage proof,

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Speaker 1: you know, is the proofs in the pudding, right, all right,

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Speaker 1: it's a great camera that the quality of the footage

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Speaker 1: has been really good. Yeah, really enjoy it. I think

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Speaker 1: there's always a trade off, like one cameras really well

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Speaker 1: with this, but maybe the other camera lacks this but

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Speaker 1: does really good with that.

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Speaker 2: I think they all have kind of shared those kind

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Speaker 2: of similarities to do.

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Speaker 3: Yeah, especially now. But yeah, at the time, I was

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Speaker 3: really looking at both Sony and Panasonic at the time,

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Speaker 3: and it was a tough it was tough trying to decide.

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Speaker 2: But what for me, what hit it was.

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Speaker 3: The Micro four thirds brand of camera is lighter weight camera.

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Speaker 3: So I still wanted that lighter weight feel because I knew,

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Speaker 3: you know, packing weight around is detrimental, especially if you're

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Speaker 3: gonna end up getting one and you got meat too,

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Speaker 3: plus all the camera gear. Like I was just thinking,

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Speaker 3: I don't I don't want to have to deal with

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Speaker 3: extra weight if I don't have to. So like that

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Speaker 3: was the stuff I was putting in the in the

399
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Speaker 3: spreadsheet as well, is how much do these things weigh

400
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Speaker 3: and comparing that, and so Panazid really won out on

401
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Speaker 3: that side of it with the lenses are smaller, and

402
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Speaker 3: and then the weather built of it at the time

403
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Speaker 3: was better than Sony. It did good in rain and

404
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Speaker 3: all that kind of stuff. So I thought, if I'm

405
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Speaker 3: gonna hunt. If I'm gonna film hunts, you know, I

406
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Speaker 3: need to be ready for the cold, the rn, the rain,

407
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Speaker 3: the dust, and I want everything to be sealed pretty well.

408
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Speaker 3: I want my camera to last in those elements. So

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Speaker 3: that's why I went with Panasonic. I knew they had

410
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Speaker 3: bad auto focus, but I thought probably I don't know

411
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Speaker 3: how much I would use autofocus or not during a hunt.

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Speaker 3: I had no idea at the time, and thankfully for me,

413
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Speaker 3: I feel like you should manual focus when you're on

414
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Speaker 3: a hunt, so absolutely that's that's the route I go anyway,

415
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Speaker 3: So I don't really need the auto focus, you know.

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Speaker 3: Of course, it would come in handy in times when

417
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Speaker 3: you're doing these b roll type stuff. You could maybe

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Speaker 3: do some focus grabbing and keep keep on the feet

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Speaker 3: of the hunter walking and stuff like that. A little

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Speaker 3: easier with a with a good auto focus. But anyway,

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Speaker 3: that's why I went with Panasonic. And yeah, like you said,

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Speaker 3: it's been a great camera. It's the footage is amazing.

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Speaker 3: Has not done me wrong yet.

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Speaker 2: So the color profile is amazing with that camera.

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Speaker 1: I feel like Sony, their color is really hard to

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Speaker 1: color grade, and sometimes some of them even falls apart

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Speaker 1: a little bit if you depending on what mode you're

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Speaker 1: filming in. Yeah, that auto focus, I want to talk

429
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Speaker 1: a little bit of that about that for the aspiring filmmakers.

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Speaker 1: You know, auto focus is a slippery slope. First, I

431
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Speaker 1: feel like for some occasions it's acceptable, but for a

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Speaker 1: lot of occasions you just you just can't even can't

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Speaker 1: even do it.

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Speaker 2: You cannot use it.

435
00:23:42,920 --> 00:23:46,400
Speaker 1: For instance, so maybe if you're walking along and you're

436
00:23:46,440 --> 00:23:50,200
Speaker 1: doing some b roll stuff and you know you're moving

437
00:23:50,200 --> 00:23:53,080
Speaker 1: a lot or what, maybe your autofocus would be be

438
00:23:53,200 --> 00:23:55,920
Speaker 1: okay to use it those times, or maybe just a

439
00:23:56,000 --> 00:23:56,680
Speaker 1: quick interview.

440
00:23:57,520 --> 00:24:00,399
Speaker 2: But when you're you're.

441
00:24:00,280 --> 00:24:02,440
Speaker 1: Talking about calling in an elk and you're all set

442
00:24:02,520 --> 00:24:06,040
Speaker 1: up and the elk comes in, especially in low light conditions,

443
00:24:07,240 --> 00:24:09,880
Speaker 1: that can play heck with with a with an auto

444
00:24:09,960 --> 00:24:13,520
Speaker 1: focus because as the as the ball starts walking into

445
00:24:13,600 --> 00:24:16,879
Speaker 1: frame and it starts moving, auto focus you can you

446
00:24:17,000 --> 00:24:20,480
Speaker 1: can touch the touch the screen and say, okay, focus

447
00:24:20,560 --> 00:24:22,800
Speaker 1: on that elk. But as it moves through the frame,

448
00:24:22,920 --> 00:24:26,680
Speaker 1: sometimes good old mister auto focus gets confused and it's like,

449
00:24:27,119 --> 00:24:29,040
Speaker 1: I know you wanted me to focus on the elk,

450
00:24:29,080 --> 00:24:31,879
Speaker 1: but there's a really cool branch right here that I

451
00:24:32,000 --> 00:24:33,720
Speaker 1: really it's not moving, I'm gonna just go ahead and

452
00:24:33,760 --> 00:24:36,399
Speaker 1: focus on that, and it can really foul up the

453
00:24:36,480 --> 00:24:40,680
Speaker 1: shot at the most critical time. So one thing I

454
00:24:40,800 --> 00:24:43,080
Speaker 1: think we found that and you can speak to this,

455
00:24:43,680 --> 00:24:46,800
Speaker 1: is setting up the camera to where maybe you don't

456
00:24:46,840 --> 00:24:49,119
Speaker 1: have as much blur in the background. What do you

457
00:24:49,200 --> 00:24:53,600
Speaker 1: call that the depth of field? Now we're starting to

458
00:24:53,920 --> 00:24:57,000
Speaker 1: now we're starting to come full circle. So without having

459
00:24:57,040 --> 00:25:01,240
Speaker 1: so much depth of field, you can maybe make it

460
00:25:01,359 --> 00:25:05,879
Speaker 1: easier to manually focus and everything's in focus instead of

461
00:25:06,119 --> 00:25:09,399
Speaker 1: just like a portion whatever you're like really dialed in on,

462
00:25:09,520 --> 00:25:11,840
Speaker 1: whether it's the elk or maybe a tweety bird in

463
00:25:11,880 --> 00:25:14,720
Speaker 1: a in a tree or whatever. And what do you

464
00:25:14,760 --> 00:25:16,480
Speaker 1: think is the best way to accomplish that? How do

465
00:25:16,520 --> 00:25:18,440
Speaker 1: you what what are the camera settings that you get

466
00:25:18,800 --> 00:25:20,040
Speaker 1: that you change to do that.

467
00:25:21,480 --> 00:25:25,840
Speaker 3: Aperture So your lens goes to like some lenses go

468
00:25:25,960 --> 00:25:28,080
Speaker 3: to one point eight, one point four or two point eight,

469
00:25:28,080 --> 00:25:31,320
Speaker 3: it's pretty common. You just increase the aperture up to

470
00:25:31,840 --> 00:25:37,760
Speaker 3: you know, three four five f stop. That'll start making

471
00:25:37,800 --> 00:25:40,960
Speaker 3: the stuff in the background and foreground coming to focus

472
00:25:41,040 --> 00:25:43,720
Speaker 3: along with your your subjects. So you don't have to

473
00:25:43,800 --> 00:25:47,240
Speaker 3: worry as much about You're just that subject being in

474
00:25:47,320 --> 00:25:48,600
Speaker 3: the in focus.

475
00:25:48,720 --> 00:25:53,199
Speaker 1: Right, and as you change that, other things change too, Right,

476
00:25:53,320 --> 00:25:56,040
Speaker 1: you're is s O and all the what what's ISO

477
00:25:56,119 --> 00:25:57,320
Speaker 1: for the folks who don't even.

478
00:25:57,240 --> 00:26:02,920
Speaker 3: Know, Oh, it's basically how the light comes in or

479
00:26:02,960 --> 00:26:05,760
Speaker 3: out of the lens, how much light it takes in.

480
00:26:06,320 --> 00:26:08,040
Speaker 3: So you kind of open that up or close it

481
00:26:08,119 --> 00:26:11,159
Speaker 3: down a little bit, so you can control your ISO

482
00:26:11,400 --> 00:26:15,280
Speaker 3: a lot on these run and gun hunts, because you'll

483
00:26:15,280 --> 00:26:16,440
Speaker 3: be in the shade, then you'll be in the sun,

484
00:26:16,440 --> 00:26:17,520
Speaker 3: then you'll be in the shade, then you'll be in

485
00:26:17,560 --> 00:26:21,440
Speaker 3: the sun. So my thumb is on the ISO wheel

486
00:26:21,520 --> 00:26:23,359
Speaker 3: that I have set up on my camera, so I

487
00:26:23,440 --> 00:26:27,320
Speaker 3: can move that quickly as we were moving. Plus I

488
00:26:27,400 --> 00:26:29,680
Speaker 3: have indie filter as well. It's kind of another way

489
00:26:29,720 --> 00:26:32,840
Speaker 3: of controlling that sun. But between the two of those.

490
00:26:33,080 --> 00:26:36,160
Speaker 1: Right, and if we want to air high or low,

491
00:26:36,400 --> 00:26:38,320
Speaker 1: do you want to air on like a bright blown

492
00:26:38,320 --> 00:26:40,119
Speaker 1: out picture, or do you want to air on like

493
00:26:40,240 --> 00:26:43,200
Speaker 1: maybe a little darker air on the darker side, as

494
00:26:43,240 --> 00:26:45,840
Speaker 1: we can always add, yeah, blown out, you can't get

495
00:26:45,880 --> 00:26:47,639
Speaker 1: that back, yeah, because you lose all your color, you

496
00:26:47,760 --> 00:26:50,680
Speaker 1: lose all your shadows and shading, whereas if it's a

497
00:26:50,720 --> 00:26:53,520
Speaker 1: little bit darker, you can add on some light and

498
00:26:53,600 --> 00:26:57,120
Speaker 1: post process to where it's still not totally shot correct.

499
00:26:57,440 --> 00:26:59,159
Speaker 2: Yep, yeah, it is tricky.

500
00:26:59,280 --> 00:27:04,280
Speaker 1: Like so by putting it on on auto ISO, if

501
00:27:04,320 --> 00:27:07,560
Speaker 1: you don't set your parameters right on your AUTOWISO, as

502
00:27:07,720 --> 00:27:12,320
Speaker 1: the evening gets darker and the shadows grow dark longer

503
00:27:12,840 --> 00:27:15,520
Speaker 1: and you're starting to lose light, that AUTOWAISO may just

504
00:27:15,680 --> 00:27:19,639
Speaker 1: jack itself way up to where it's like in your

505
00:27:19,640 --> 00:27:21,440
Speaker 1: little screen you're like, oh yeah, I can still see

506
00:27:21,480 --> 00:27:23,200
Speaker 1: what's going on, but when in post production you're like,

507
00:27:23,240 --> 00:27:25,520
Speaker 1: oh my gosh, this is like so blown out. It's

508
00:27:25,560 --> 00:27:29,360
Speaker 1: just horrible and grainy. Right, it's too bright, too grainy,

509
00:27:29,920 --> 00:27:35,399
Speaker 1: and the images just fall apart. So if you're going

510
00:27:35,480 --> 00:27:40,200
Speaker 1: to use auto ISO, put some better guardrails on, put

511
00:27:40,280 --> 00:27:42,200
Speaker 1: in some commands where don't let it go above a

512
00:27:42,280 --> 00:27:46,679
Speaker 1: certain amount, maybe in below a certain amount, or if

513
00:27:46,720 --> 00:27:48,960
Speaker 1: you want to the ultimate control, you want to adjust

514
00:27:49,040 --> 00:27:52,199
Speaker 1: that throughout the hunt on manual manual.

515
00:27:52,359 --> 00:27:53,280
Speaker 2: Yep, Okay, that.

516
00:27:53,359 --> 00:27:55,639
Speaker 1: Seems that's all. That's a mouthful. That seems like a

517
00:27:55,680 --> 00:27:58,800
Speaker 1: lot like right there. Some folks would be like, oh man,

518
00:27:58,880 --> 00:28:01,160
Speaker 1: that's that sounds a lot more complicated that I want

519
00:28:01,200 --> 00:28:05,560
Speaker 1: to than I really want to do. But cap getting

520
00:28:05,600 --> 00:28:10,000
Speaker 1: those good shots that are they're usable and and are

521
00:28:10,040 --> 00:28:11,960
Speaker 1: going to look good. There's a little bit to it.

522
00:28:12,080 --> 00:28:14,320
Speaker 1: So it's not simply you just pick up your camera

523
00:28:14,600 --> 00:28:16,639
Speaker 1: and today and then tomorrow. It's like, hey, let's go

524
00:28:16,720 --> 00:28:18,680
Speaker 1: film and elkin. You got to put in a little

525
00:28:18,680 --> 00:28:20,920
Speaker 1: bit of time with it in the off season. So

526
00:28:21,080 --> 00:28:24,480
Speaker 1: maybe that's filming your dog, it's uh, you know, filming

527
00:28:24,520 --> 00:28:27,560
Speaker 1: your kids, maybe going to the local park or you

528
00:28:27,600 --> 00:28:28,080
Speaker 1: know filming.

529
00:28:28,560 --> 00:28:32,159
Speaker 2: Maybe that might get weird. People might brown on your

530
00:28:32,160 --> 00:28:36,159
Speaker 2: filming them at the park over there. Weirdo. But you know,

531
00:28:36,320 --> 00:28:37,680
Speaker 2: there's there's a lot of places.

532
00:28:38,240 --> 00:28:40,760
Speaker 1: My son he wanted to get into videography and photography,

533
00:28:40,800 --> 00:28:42,720
Speaker 1: and I said, well, he's like, I don't know what

534
00:28:42,760 --> 00:28:44,800
Speaker 1: I should I'm like, well, he has cats. He has

535
00:28:44,840 --> 00:28:47,160
Speaker 1: a couple of cats, like film your cats. So he's

536
00:28:47,200 --> 00:28:51,120
Speaker 1: been following his stupid cats around filming him. And one

537
00:28:51,200 --> 00:28:54,680
Speaker 1: of them is his male cat. His name is Vesuvius,

538
00:28:54,960 --> 00:28:55,600
Speaker 1: like mount.

539
00:28:56,960 --> 00:29:01,000
Speaker 2: They call him. But anyway, he followed that.

540
00:29:01,040 --> 00:29:03,360
Speaker 1: Cat around, took all sorts of great pictures and took

541
00:29:03,440 --> 00:29:05,680
Speaker 1: some little video clips and he put together a little

542
00:29:05,680 --> 00:29:08,880
Speaker 1: silly video of Vasouve being being a cat, but it

543
00:29:09,280 --> 00:29:11,280
Speaker 1: kind of twisted it to to like a darker theme,

544
00:29:11,480 --> 00:29:14,080
Speaker 1: like like he was a bad, bad kiddie.

545
00:29:15,520 --> 00:29:16,800
Speaker 2: But be creative.

546
00:29:16,840 --> 00:29:20,320
Speaker 1: I'm you don't have to have an elk hunting. You

547
00:29:20,360 --> 00:29:21,800
Speaker 1: don't have to have an elk hunt to like have

548
00:29:21,960 --> 00:29:26,320
Speaker 1: your subject matter to film. Pick something common that's close

549
00:29:26,360 --> 00:29:28,800
Speaker 1: to you. Common is great because then you really have

550
00:29:28,920 --> 00:29:31,720
Speaker 1: to like think about ways of being creative to get

551
00:29:31,800 --> 00:29:37,480
Speaker 1: different angles and stable shots. And back to that storyline,

552
00:29:37,840 --> 00:29:39,560
Speaker 1: how do you want people? How are you gonna get

553
00:29:39,560 --> 00:29:43,080
Speaker 1: people like Vassouve but ol Vesuvius, I mean, he's a cat.

554
00:29:43,200 --> 00:29:45,760
Speaker 1: Some people aren't cat people. I mean you think I'm

555
00:29:45,800 --> 00:29:51,240
Speaker 1: a cat person, but you yeah, I'm not a cat person.

556
00:29:51,880 --> 00:29:53,000
Speaker 1: Dusty keeps thinking, I am.

557
00:29:54,320 --> 00:29:57,480
Speaker 2: I saw it. You were petting my cat earlier. My

558
00:29:57,600 --> 00:29:58,920
Speaker 2: wife's cat. Stupid cat.

559
00:29:59,240 --> 00:30:05,160
Speaker 1: My wife gets a cat at his name's Olof. She

560
00:30:05,280 --> 00:30:08,040
Speaker 1: gets the cat for her. Guess what, Olof loves me?

561
00:30:08,960 --> 00:30:11,400
Speaker 2: Well, not leave me alone. That's how cats are they.

562
00:30:11,720 --> 00:30:14,360
Speaker 2: They love people that hate cats. That's true.

563
00:30:16,080 --> 00:30:18,360
Speaker 1: Okay, Sorry, we'd kind of derailed there a little bit there.

564
00:30:18,560 --> 00:30:23,600
Speaker 1: Cat stories. Okay, so I mentioned stability when you're you're

565
00:30:23,760 --> 00:30:25,800
Speaker 1: trying to maybe make some films around the house or

566
00:30:26,080 --> 00:30:30,120
Speaker 1: in your in your community or whatever. Stability. Do you

567
00:30:30,200 --> 00:30:34,440
Speaker 1: need a big tripod, heavy tripod? Should you handhold? Should

568
00:30:34,520 --> 00:30:37,160
Speaker 1: you use a monopod? It's very popular use a monopod.

569
00:30:37,920 --> 00:30:40,320
Speaker 1: What have you found for running gunell cutting?

570
00:30:40,400 --> 00:30:42,520
Speaker 2: Like you and I do? What have you found that

571
00:30:42,600 --> 00:30:44,680
Speaker 2: works best? Maybe?

572
00:30:45,120 --> 00:30:49,240
Speaker 1: And I feel like it's like there always the unachievable thing.

573
00:30:49,440 --> 00:30:52,000
Speaker 1: You're always looking in my mind. It's like if we

574
00:30:52,040 --> 00:30:54,120
Speaker 1: could only have this, do a little better of this,

575
00:30:54,280 --> 00:30:56,040
Speaker 1: or if we it's like how do you get there?

576
00:30:56,080 --> 00:30:56,240
Speaker 2: Though?

577
00:30:56,560 --> 00:31:01,280
Speaker 1: Yeah, that stable image is what is paramount. Great great

578
00:31:01,320 --> 00:31:04,640
Speaker 1: stable image and great audio is super important. Right What

579
00:31:04,800 --> 00:31:07,000
Speaker 1: are you doing to get your stable shots?

580
00:31:07,080 --> 00:31:07,440
Speaker 2: Dusty?

581
00:31:09,040 --> 00:31:13,000
Speaker 3: Yeah, I don't always get stable shots. So for me

582
00:31:13,280 --> 00:31:15,920
Speaker 3: with the Panasonic I have, it doesn't even have embody

583
00:31:16,000 --> 00:31:19,320
Speaker 3: stabilization in the camera. It does in the lenses, so

584
00:31:19,440 --> 00:31:20,400
Speaker 3: I get a little bit there.

585
00:31:22,200 --> 00:31:23,480
Speaker 2: But yeah, it's it's.

586
00:31:24,880 --> 00:31:29,680
Speaker 3: Although hard, it's soft stepping, which can be very difficult

587
00:31:29,840 --> 00:31:32,600
Speaker 3: in the woods, especially when you're chasing the elk. Sometimes

588
00:31:32,680 --> 00:31:34,720
Speaker 3: I when we're chasing an elk, I don't even worry

589
00:31:34,720 --> 00:31:36,960
Speaker 3: about it. I'm just like, this is what it feels like.

590
00:31:37,280 --> 00:31:39,720
Speaker 3: It's like, go on the ride. Yeah, you're going for

591
00:31:39,760 --> 00:31:43,720
Speaker 3: a ride. I'm not stopping the record button. Oh, we're

592
00:31:43,760 --> 00:31:45,560
Speaker 3: gonna just film it. We cut out what we want.

593
00:31:45,640 --> 00:31:50,080
Speaker 3: But so there's a lot of post production stuff. We

594
00:31:50,240 --> 00:31:53,120
Speaker 3: use the stabilization in that if we can. Sometimes that

595
00:31:53,240 --> 00:31:56,760
Speaker 3: warps things, so it doesn't always work. But there are

596
00:31:56,840 --> 00:31:59,120
Speaker 3: some good cameras. Cannon has a really great camera with

597
00:31:59,320 --> 00:32:02,720
Speaker 3: great I think five access stabilization in the body.

598
00:32:04,000 --> 00:32:05,000
Speaker 2: That does a really good job.

599
00:32:05,600 --> 00:32:08,160
Speaker 3: So if that is like a high priority for you,

600
00:32:08,400 --> 00:32:10,160
Speaker 3: then you know that'll be something you want to look

601
00:32:10,200 --> 00:32:13,880
Speaker 3: at in a camera I do. I have gone the

602
00:32:13,960 --> 00:32:18,440
Speaker 3: monopod route with a full monopods stick, and I still

603
00:32:18,480 --> 00:32:20,400
Speaker 3: have a monopod now, but it's a little shorter one

604
00:32:20,440 --> 00:32:22,240
Speaker 3: that I can expand out, so I can keep it

605
00:32:22,800 --> 00:32:26,280
Speaker 3: very short and keep three points. I have too both

606
00:32:26,320 --> 00:32:28,760
Speaker 3: hands on both sides of my camera and the monopod.

607
00:32:28,880 --> 00:32:31,520
Speaker 3: Sometimes I'll keep it on, you know, I'll angle it

608
00:32:31,880 --> 00:32:35,040
Speaker 3: straight into my chest or down into my waist and

609
00:32:35,200 --> 00:32:38,320
Speaker 3: have that support there and get my stabilization from that.

610
00:32:39,960 --> 00:32:41,960
Speaker 3: So a three point of contact is always the best

611
00:32:42,000 --> 00:32:45,720
Speaker 3: way to get the most stable. I've also found, just

612
00:32:46,240 --> 00:32:48,840
Speaker 3: most recently with just not doing l hunts, but just

613
00:32:48,920 --> 00:32:52,600
Speaker 3: doing other videography stuff. Kind of the more weight you

614
00:32:52,760 --> 00:32:56,160
Speaker 3: have with a camera kind of helps with stabilization because

615
00:32:56,160 --> 00:32:59,480
Speaker 3: you can't move it. You can't get those slight wobbly

616
00:33:00,040 --> 00:33:03,560
Speaker 3: movements with your hands because the weight of it there

617
00:33:03,680 --> 00:33:07,200
Speaker 3: kind of helps stabilize itself in your hands. So you

618
00:33:07,280 --> 00:33:12,040
Speaker 3: get a little bit more smoother shots that way. So

619
00:33:12,200 --> 00:33:14,560
Speaker 3: if you can weaight up your camera a little bit more,

620
00:33:14,600 --> 00:33:17,080
Speaker 3: that can also help in stabilizing stuff.

621
00:33:17,160 --> 00:33:21,920
Speaker 1: So yeah, now David Frame followed me around last year

622
00:33:21,920 --> 00:33:25,680
Speaker 1: in Utah to film and l count for me. You

623
00:33:25,760 --> 00:33:30,080
Speaker 1: were unavailable, you were up counting yourself with Easton. But anyway,

624
00:33:30,160 --> 00:33:32,160
Speaker 1: David Frame, he was one of those cannons that's got

625
00:33:32,200 --> 00:33:37,960
Speaker 1: the amazing stabilization and his camera's big, it's heavy, he's

626
00:33:38,000 --> 00:33:41,040
Speaker 1: got he's got the what do you call it's got

627
00:33:41,080 --> 00:33:42,840
Speaker 1: the extra battery capacity.

628
00:33:42,440 --> 00:33:43,840
Speaker 2: In it, like a vmount.

629
00:33:43,960 --> 00:33:47,920
Speaker 1: The battery it's the one that's underneath its hooks and yeah,

630
00:33:48,040 --> 00:33:48,720
Speaker 1: what did they call it?

631
00:33:50,240 --> 00:33:52,280
Speaker 2: The grip? The grip? They call it a grip.

632
00:33:52,560 --> 00:33:55,320
Speaker 1: You know, he's got a bigger grip with double batteries,

633
00:33:55,560 --> 00:33:58,200
Speaker 1: so so you get better battery life. And it's it's heavy,

634
00:33:58,280 --> 00:34:02,320
Speaker 1: but he hand holds uh most of the time, and

635
00:34:03,440 --> 00:34:05,760
Speaker 1: it's crazy to see the difference he's handheld for us

636
00:34:05,840 --> 00:34:08,520
Speaker 1: in the past with our Sony, and it's an A

637
00:34:08,680 --> 00:34:13,880
Speaker 1: sixty six hundred Sony, and the stabilization on it's okay,

638
00:34:14,280 --> 00:34:18,440
Speaker 1: it's not great. The stabilization on that cannon, it's it's

639
00:34:18,520 --> 00:34:21,520
Speaker 1: amazing night and day difference.

640
00:34:21,840 --> 00:34:23,000
Speaker 2: And then just film.

641
00:34:22,840 --> 00:34:27,719
Speaker 1: Quality, yeah, way better, way better. But when you're looking

642
00:34:27,719 --> 00:34:31,480
Speaker 1: at price tags, the price goes up, so you know,

643
00:34:32,160 --> 00:34:36,520
Speaker 1: the Sony it's pretty affordable. It's expensive, but pretty affordable.

644
00:34:36,920 --> 00:34:41,399
Speaker 1: That Canon is the next level up. So but if

645
00:34:41,440 --> 00:34:45,360
Speaker 1: you watch Dave film, he'll fold his he'll hold it

646
00:34:45,440 --> 00:34:47,920
Speaker 1: with both hands and he'll fold both elbows in and

647
00:34:47,920 --> 00:34:51,360
Speaker 1: embrace him on his chest and he will hold very still,

648
00:34:51,520 --> 00:34:54,719
Speaker 1: very form, even with all that stabilization capabilities, he'll hold

649
00:34:54,920 --> 00:34:57,680
Speaker 1: and then he'll make fluid motions. He won't make jerky

650
00:34:57,760 --> 00:35:01,480
Speaker 1: motions like quick jerky motions. He'll make fluid, slow, fluid

651
00:35:01,560 --> 00:35:05,360
Speaker 1: motions to where it lends itself to better, better quality,

652
00:35:05,719 --> 00:35:07,640
Speaker 1: without less without as much shaking.

653
00:35:07,800 --> 00:35:08,960
Speaker 2: So that's good.

654
00:35:09,600 --> 00:35:13,080
Speaker 1: Now audio too, we talked about how audio is so important.

655
00:35:13,520 --> 00:35:15,959
Speaker 1: There's lots of ways to get good audio these days.

656
00:35:16,200 --> 00:35:20,719
Speaker 1: There is there's external microphones, there's lav mics if you will,

657
00:35:21,160 --> 00:35:25,120
Speaker 1: there's just the shotgun mic do you put on your camera?

658
00:35:26,719 --> 00:35:28,200
Speaker 1: What do we do for our hunts?

659
00:35:29,239 --> 00:35:31,920
Speaker 3: Yeah, we mostly do our shotgun mic on the camera

660
00:35:33,320 --> 00:35:37,320
Speaker 3: and we go with either road or deity microphones.

661
00:35:37,719 --> 00:35:42,320
Speaker 1: So Deity, yeah, whatever time I hear that or see that.

662
00:35:42,520 --> 00:35:45,600
Speaker 1: You ever watched that movie Conan the Destroyer? You ever

663
00:35:45,640 --> 00:35:49,880
Speaker 1: watch that? At the end, then there was that big statue.

664
00:35:49,920 --> 00:35:52,040
Speaker 1: They put the weird horn on it on its head

665
00:35:52,400 --> 00:35:54,600
Speaker 1: and it started to coming to life, and I think

666
00:35:54,680 --> 00:35:57,480
Speaker 1: it was a deity of something right, and then to

667
00:35:57,600 --> 00:35:59,400
Speaker 1: save the world he went over there and ripped that

668
00:35:59,480 --> 00:36:01,600
Speaker 1: horn off that things head different in.

669
00:36:04,880 --> 00:36:07,200
Speaker 2: All right, Okay, sorry, we went down.

670
00:36:08,600 --> 00:36:11,240
Speaker 1: It's a great film. Look it up, Conan the Destroyer

671
00:36:12,000 --> 00:36:14,040
Speaker 1: and it's you know, it's it's a sequel to Conan

672
00:36:14,120 --> 00:36:16,160
Speaker 1: the Barbarian, which is pretty good too. I mean, if

673
00:36:16,200 --> 00:36:19,040
Speaker 1: you like sword play, yes, if you're a sword play

674
00:36:19,200 --> 00:36:23,360
Speaker 1: nerd like me and big Arnold Arnold fan anyway, sorry,

675
00:36:24,520 --> 00:36:27,839
Speaker 1: so okay, Deity or a road mike, shotgun mic?

676
00:36:28,600 --> 00:36:29,520
Speaker 2: What do you like about him?

677
00:36:30,920 --> 00:36:35,560
Speaker 3: Just I mean the quality is it's the they're the best,

678
00:36:35,680 --> 00:36:41,000
Speaker 3: I would say, and and there lightweight. They can pick

679
00:36:41,080 --> 00:36:45,799
Speaker 3: up sound bull elk bugling, you know, hundreds of yards

680
00:36:45,840 --> 00:36:50,839
Speaker 3: away it can it can hear it usually, So yeah,

681
00:36:51,000 --> 00:36:53,759
Speaker 3: I mean they just have not done me wrong either.

682
00:36:53,800 --> 00:36:58,200
Speaker 3: One of those brands just very crystal clear sound. The

683
00:36:58,239 --> 00:37:00,920
Speaker 3: only time it'll do you wrong is if you are

684
00:37:00,960 --> 00:37:04,640
Speaker 3: too close to the bugler when he bugles. That can

685
00:37:05,000 --> 00:37:08,160
Speaker 3: cause blowout, so you got to watch that.

686
00:37:08,440 --> 00:37:11,280
Speaker 1: But what I like about that deity for when I'm bugling,

687
00:37:11,320 --> 00:37:13,440
Speaker 1: and when I'm not bugling, it's got a knob on

688
00:37:13,520 --> 00:37:16,400
Speaker 1: the side, which so it's like, oh, Dirk's gonna bugle.

689
00:37:16,600 --> 00:37:19,200
Speaker 1: You turn it down so it doesn't blow the audio out.

690
00:37:19,480 --> 00:37:21,080
Speaker 1: As soon as I'm done, you turn it back up

691
00:37:21,120 --> 00:37:23,399
Speaker 1: to where it was. Yes, I think that's a cool

692
00:37:23,440 --> 00:37:23,920
Speaker 1: important thing.

693
00:37:24,120 --> 00:37:25,480
Speaker 2: Is a very good good feature.

694
00:37:25,719 --> 00:37:30,200
Speaker 3: Yeah, especially if Yeah, for those situations it's huge. You

695
00:37:30,360 --> 00:37:32,400
Speaker 3: just got to remember turn it back up. Sometimes you

696
00:37:32,480 --> 00:37:35,880
Speaker 3: turn it down. He bugles, and I know with you

697
00:37:36,600 --> 00:37:38,840
Speaker 3: there's going to be a sequence, probably a bugling. So

698
00:37:39,360 --> 00:37:42,360
Speaker 3: I'll just leave it down and you'll do your sequence

699
00:37:42,520 --> 00:37:44,960
Speaker 3: and then we'll move on and I'll stop recording, but

700
00:37:45,040 --> 00:37:47,000
Speaker 3: I won't turn the volume back up, and then Dirk

701
00:37:47,080 --> 00:37:50,040
Speaker 3: suddenly wants to talk, and then I turned it on

702
00:37:50,280 --> 00:37:51,520
Speaker 3: and we're talking, and.

703
00:37:51,520 --> 00:37:56,000
Speaker 2: Then I realized, oh no, no, I do not turn

704
00:37:56,040 --> 00:37:56,319
Speaker 2: it up.

705
00:37:57,200 --> 00:37:59,240
Speaker 3: But normally we can pick that back up and post,

706
00:37:59,360 --> 00:38:01,799
Speaker 3: which it hasn't been a problem.

707
00:38:01,520 --> 00:38:03,160
Speaker 1: But right, But a lot of times you catch it

708
00:38:03,200 --> 00:38:04,960
Speaker 1: to it, which you probably have a little meter on

709
00:38:05,040 --> 00:38:07,560
Speaker 1: there that shows like, oh, you're talking, but there's nothing

710
00:38:07,640 --> 00:38:11,040
Speaker 1: happening just a second, and then we're like, okay, retake exactly.

711
00:38:11,920 --> 00:38:15,759
Speaker 1: These are just kind of the cat challenges of filmmaking. Now,

712
00:38:16,440 --> 00:38:19,000
Speaker 1: let's say a guy wants to or a gal wants

713
00:38:19,040 --> 00:38:25,719
Speaker 1: to buy a road external lab mic cordless or uh

714
00:38:26,160 --> 00:38:29,759
Speaker 1: what is that other one, the the DGI. I've heard

715
00:38:29,840 --> 00:38:31,719
Speaker 1: great things about both of them. What are some of

716
00:38:31,800 --> 00:38:34,640
Speaker 1: the they have excellent sound quality, what are some of

717
00:38:34,680 --> 00:38:36,160
Speaker 1: the downfalls they running those.

718
00:38:37,560 --> 00:38:38,239
Speaker 2: Downfall?

719
00:38:39,520 --> 00:38:42,400
Speaker 3: For me, particularly, what I don't like is that I

720
00:38:42,480 --> 00:38:45,880
Speaker 3: can't control if I have that DJI mike on you.

721
00:38:46,840 --> 00:38:49,440
Speaker 3: I can't control from the camera, you know, turning it

722
00:38:49,560 --> 00:38:52,560
Speaker 3: off and turning it back on, like I would love

723
00:38:52,600 --> 00:38:54,520
Speaker 3: to be able to, like if the camera comes on

724
00:38:54,880 --> 00:38:57,080
Speaker 3: and the receiver comes on. I would like the microphone

725
00:38:57,120 --> 00:38:58,799
Speaker 3: to come on and when I turn the camera off,

726
00:38:58,800 --> 00:39:01,240
Speaker 3: I'd love the receiver to go off in your microphone

727
00:39:01,239 --> 00:39:03,879
Speaker 3: to go off like that would be huge.

728
00:39:03,920 --> 00:39:05,000
Speaker 2: So you can't do that, so.

729
00:39:05,080 --> 00:39:08,760
Speaker 3: Which means if we forget, you're just running on battery

730
00:39:09,239 --> 00:39:15,200
Speaker 3: on that microphone. So so the downside is just running

731
00:39:15,200 --> 00:39:16,279
Speaker 3: out of battery life.

732
00:39:17,000 --> 00:39:18,960
Speaker 2: You do come. It does come with two so you

733
00:39:19,040 --> 00:39:19,720
Speaker 2: can get through.

734
00:39:19,600 --> 00:39:25,680
Speaker 3: The day, and you can two units sorry two unit transceivers,

735
00:39:26,960 --> 00:39:30,000
Speaker 3: so you can't get through the whole day with them running.

736
00:39:30,080 --> 00:39:32,160
Speaker 3: I think they'll last five hours for each one, but

737
00:39:32,360 --> 00:39:35,680
Speaker 3: were our days are usually fifteen hours probably, so we

738
00:39:35,719 --> 00:39:38,160
Speaker 3: would probably run out. So we would need two of

739
00:39:38,440 --> 00:39:43,399
Speaker 3: two packs probably of those and they're expensive, and they're expensive. Yeah,

740
00:39:43,520 --> 00:39:48,400
Speaker 3: so that's a downside. On other downside, I'm trying to think.

741
00:39:49,120 --> 00:39:51,480
Speaker 1: Well, they have an internal battery, so you have to

742
00:39:51,880 --> 00:39:54,879
Speaker 1: charge charge unit. You can't just replace the battery, right,

743
00:39:55,280 --> 00:39:57,120
Speaker 1: That's that's a big bummer to me. It's like, man,

744
00:39:57,200 --> 00:39:59,200
Speaker 1: they should make these where you can put a couple

745
00:39:59,200 --> 00:40:01,680
Speaker 1: of triple as in this thing, a couple of triple

746
00:40:01,719 --> 00:40:06,280
Speaker 1: A lithiums and just replace them. I mean it's wasteful

747
00:40:06,640 --> 00:40:10,920
Speaker 1: in the environment, but dang it. I mean having to

748
00:40:10,920 --> 00:40:13,920
Speaker 1: stop and recharge or swap them out, that's that's a

749
00:40:13,960 --> 00:40:14,359
Speaker 1: big deal.

750
00:40:14,440 --> 00:40:15,279
Speaker 2: It can be a big deal.

751
00:40:15,360 --> 00:40:17,439
Speaker 3: And it does have a little it's container it comes

752
00:40:17,480 --> 00:40:19,640
Speaker 3: in is charged and so when you put them in

753
00:40:19,680 --> 00:40:22,880
Speaker 3: the container, it charges as well. But then you got

754
00:40:22,960 --> 00:40:25,000
Speaker 3: to keep an eye on that because you got to

755
00:40:25,040 --> 00:40:28,640
Speaker 3: charge the container if it starts uh dwindling. So it's

756
00:40:28,719 --> 00:40:32,280
Speaker 3: just a lot of more just thinking involved in keeping

757
00:40:32,440 --> 00:40:34,879
Speaker 3: track of your batteries and how much life you've got.

758
00:40:34,880 --> 00:40:35,360
Speaker 2: Left on that.

759
00:40:35,600 --> 00:40:39,319
Speaker 3: And so it's it's doable. It's definitely doable, but it's

760
00:40:40,120 --> 00:40:43,600
Speaker 3: it's just more. It's just more stuff you've gotta just

761
00:40:43,680 --> 00:40:47,040
Speaker 3: to keep track on. Yeah, and sometimes you just don't want.

762
00:40:46,960 --> 00:40:49,880
Speaker 1: That, right, Well, it's so hard you get caught up

763
00:40:49,920 --> 00:40:52,680
Speaker 1: in the hunt or we're moving from one spot to

764
00:40:52,719 --> 00:40:55,880
Speaker 1: the next, right the exciting things are happening, or or

765
00:40:56,120 --> 00:40:59,759
Speaker 1: maybe it's not exciting, and maybe we're the kind of

766
00:40:59,760 --> 00:41:02,560
Speaker 1: film little poopy and like oh man, bummed out, Like

767
00:41:02,800 --> 00:41:05,560
Speaker 1: you know, your mind gets distracted and you forget those

768
00:41:05,640 --> 00:41:08,719
Speaker 1: things and then when it should when you go to

769
00:41:08,840 --> 00:41:10,959
Speaker 1: use it again, it's like, oh, dang it, we missed

770
00:41:11,000 --> 00:41:14,080
Speaker 1: all that and the battery was dead, right, So yeah,

771
00:41:14,120 --> 00:41:15,560
Speaker 1: it's just one more thing you have to stay on

772
00:41:15,600 --> 00:41:17,880
Speaker 1: top of. I think that's why we really, for the

773
00:41:17,960 --> 00:41:21,360
Speaker 1: most part, we just used the boom mic on the camera.

774
00:41:22,080 --> 00:41:24,120
Speaker 1: If I'm going to talk, Dusty gets close to me,

775
00:41:24,880 --> 00:41:28,080
Speaker 1: let's just get up close. He'll he'll make sure the volume.

776
00:41:29,000 --> 00:41:30,320
Speaker 1: I don't know if you call the volume or the

777
00:41:30,360 --> 00:41:32,480
Speaker 1: gain or whatever, is the thing that that you can

778
00:41:32,520 --> 00:41:34,759
Speaker 1: turn up. If I'm whispering, you can turn it up

779
00:41:35,040 --> 00:41:38,759
Speaker 1: and capture what I'm saying. It works a lot better.

780
00:41:38,840 --> 00:41:40,880
Speaker 1: And still sometimes you know, we have people complain on

781
00:41:40,920 --> 00:41:44,280
Speaker 1: the YouTube channel. I wish you guys do close caption

782
00:41:44,480 --> 00:41:47,200
Speaker 1: on all the talk and I can't hear what it says,

783
00:41:47,320 --> 00:41:49,440
Speaker 1: you know, for maybe some of the folks that are

784
00:41:49,480 --> 00:41:53,680
Speaker 1: hard hearing. I'm kind of hard hearing too, and that

785
00:41:54,360 --> 00:41:57,280
Speaker 1: adding close caption is a whole other can of worms.

786
00:41:57,360 --> 00:41:59,200
Speaker 1: Like you get the whole film edited and it's like,

787
00:41:59,239 --> 00:42:01,520
Speaker 1: oh man, close, I haven't found a way to eat it.

788
00:42:01,520 --> 00:42:03,120
Speaker 1: I mean, you can do it, but it doesn't always

789
00:42:03,120 --> 00:42:06,960
Speaker 1: transcribe what the real words are, right, So it's kind

790
00:42:07,000 --> 00:42:09,759
Speaker 1: of like you're autocorrect on your phone, you talk into

791
00:42:09,840 --> 00:42:11,440
Speaker 1: it and send a message to your friend, and then

792
00:42:11,480 --> 00:42:14,320
Speaker 1: they read it. It's like, what is this gibberation? I

793
00:42:14,360 --> 00:42:17,080
Speaker 1: don't understand a word he just said. Sometimes that's how

794
00:42:17,120 --> 00:42:19,600
Speaker 1: it transcribes. So it just adds another lay, a difficult

795
00:42:19,719 --> 00:42:22,840
Speaker 1: layer of difficulty in and if you're on a time crunch.

796
00:42:22,600 --> 00:42:24,279
Speaker 2: It's just kind of tough to get it all done.

797
00:42:24,480 --> 00:42:42,120
Speaker 1: But okay, batteries. We talked about batteries on our on mics,

798
00:42:42,280 --> 00:42:46,080
Speaker 1: external mics. What about camera batteries? How are you managing those?

799
00:42:46,239 --> 00:42:49,720
Speaker 1: How are you keeping those? I mean, how many batteries

800
00:42:49,719 --> 00:42:52,320
Speaker 1: do you pack a day? And then how do you

801
00:42:52,680 --> 00:42:54,680
Speaker 1: like when we get home or not at home, but

802
00:42:54,760 --> 00:42:56,680
Speaker 1: back to camp. How are you like keeping now that

803
00:42:56,800 --> 00:42:57,520
Speaker 1: stuff charged?

804
00:42:58,080 --> 00:43:00,560
Speaker 2: Yeah, so I'll keep.

805
00:43:01,040 --> 00:43:04,239
Speaker 3: I have eight total batteries that I lug around with

806
00:43:04,360 --> 00:43:09,080
Speaker 3: me at any given time. So, and of course there's

807
00:43:09,480 --> 00:43:13,759
Speaker 3: you know, batteries are all different. I know of those,

808
00:43:13,840 --> 00:43:16,680
Speaker 3: some batteries I have that lasts longer than the other

809
00:43:16,760 --> 00:43:18,640
Speaker 3: batteries that I have in there. I have no idea why,

810
00:43:18,719 --> 00:43:21,399
Speaker 3: but I keep those at my forefront all the time.

811
00:43:21,840 --> 00:43:23,759
Speaker 3: Those are my main batteries, and then I have my

812
00:43:23,880 --> 00:43:27,080
Speaker 3: backups with me in my in my pack as well,

813
00:43:27,239 --> 00:43:29,960
Speaker 3: just in case. But and then at the end of

814
00:43:30,000 --> 00:43:33,239
Speaker 3: the the day, you know, I keep I'll keep good

815
00:43:33,280 --> 00:43:37,239
Speaker 3: batteries on my on my right side, and then as

816
00:43:37,320 --> 00:43:39,520
Speaker 3: I have bad batteries they have gone dead, I put

817
00:43:39,560 --> 00:43:41,960
Speaker 3: them in my left pocket. So right pocket good batteries.

818
00:43:42,040 --> 00:43:44,520
Speaker 3: Left pocket not good batteries. And then at the end

819
00:43:44,520 --> 00:43:46,800
Speaker 3: of the day, I'll take those left the batteries, I

820
00:43:46,800 --> 00:43:48,680
Speaker 3: will left pocket and charge them.

821
00:43:49,040 --> 00:43:49,759
Speaker 2: Either by a.

822
00:43:51,560 --> 00:44:00,319
Speaker 3: Portable battery pack like a art anchor or the what's

823
00:44:00,400 --> 00:44:01,880
Speaker 3: the dark.

824
00:44:02,920 --> 00:44:04,040
Speaker 2: Dark energy energy?

825
00:44:04,440 --> 00:44:08,600
Speaker 3: Yeah, I don't black some of the black magic and

826
00:44:09,320 --> 00:44:11,880
Speaker 3: I don't know, so yeah, using that or just a

827
00:44:12,080 --> 00:44:14,919
Speaker 3: charger in the car, in the in the cigarette lighter

828
00:44:15,480 --> 00:44:17,960
Speaker 3: and use that to charge up. And if we're you know,

829
00:44:17,960 --> 00:44:20,359
Speaker 3: if we're driving around a lot, then you know, I'll

830
00:44:20,520 --> 00:44:23,040
Speaker 3: use that time too to have a battery charging on

831
00:44:23,160 --> 00:44:26,960
Speaker 3: that thing in the car. Just so I've always always

832
00:44:27,000 --> 00:44:30,640
Speaker 3: on top of that, keeping that, keeping something charged.

833
00:44:30,960 --> 00:44:33,720
Speaker 1: I feel like any time we're not like in the field,

834
00:44:34,200 --> 00:44:37,360
Speaker 1: Dusty is charging batteries or swapping out batteries, and the

835
00:44:37,520 --> 00:44:39,600
Speaker 1: charge you like, that's that's the life blood of your

836
00:44:39,640 --> 00:44:42,160
Speaker 1: camera and you can't let him go. You have to

837
00:44:42,200 --> 00:44:44,200
Speaker 1: have as many, like every time you leave the truck

838
00:44:44,360 --> 00:44:46,840
Speaker 1: or camp, you have to have as many charge batteries

839
00:44:46,840 --> 00:44:47,640
Speaker 1: as you possibly can.

840
00:44:47,800 --> 00:44:52,080
Speaker 2: Yep. That way you don't run out. Yeah, that would

841
00:44:52,120 --> 00:44:54,360
Speaker 2: be awful. That would be that's a nice.

842
00:44:54,239 --> 00:44:57,160
Speaker 1: Tragic And they always run out when something good happens.

843
00:44:57,320 --> 00:45:00,800
Speaker 2: Yeah, they do. I'll see that little right start blinking.

844
00:45:00,920 --> 00:45:03,200
Speaker 3: Right when we finally are on an ELK, I'm like,

845
00:45:03,320 --> 00:45:06,520
Speaker 3: oh no, I better, I better just change it out now,

846
00:45:07,000 --> 00:45:10,200
Speaker 3: because I'm not waiting until, you know, hoping that we're

847
00:45:10,239 --> 00:45:12,920
Speaker 3: gonna get it. It's gonna last for the shot, if

848
00:45:13,080 --> 00:45:15,919
Speaker 3: there is a shot that takes place. So yeah, keeping

849
00:45:15,920 --> 00:45:17,520
Speaker 3: an eye on that battery is huge.

850
00:45:18,200 --> 00:45:20,560
Speaker 1: And Dusty will stop me. He'll be like, hey, I

851
00:45:20,640 --> 00:45:22,520
Speaker 1: gotta change out my battery. Yeah, and I'll be like,

852
00:45:24,200 --> 00:45:27,160
Speaker 1: I know the ball's gonna be here in a second,

853
00:45:27,480 --> 00:45:30,080
Speaker 1: here pretty soon. Usually don't wait till the last minute.

854
00:45:30,080 --> 00:45:33,360
Speaker 1: But but it's like, oh man, it's kind of just like, okay, pause,

855
00:45:34,719 --> 00:45:36,560
Speaker 1: I'm getting worked up here wanting to get this elk,

856
00:45:36,600 --> 00:45:39,799
Speaker 1: and then we have to take a pause. But as

857
00:45:40,480 --> 00:45:44,840
Speaker 1: this people being filmed and the filmer, you have to

858
00:45:44,880 --> 00:45:49,400
Speaker 1: have that good rapport, good relationship and and sometimes tempers

859
00:45:49,440 --> 00:45:52,600
Speaker 1: can flare. Dusty and I get along great because I

860
00:45:52,680 --> 00:45:54,880
Speaker 1: have so much respect for him and vice versa, so

861
00:45:55,040 --> 00:45:58,120
Speaker 1: we don't we don't. We don't butt heads, but I

862
00:45:58,160 --> 00:46:01,200
Speaker 1: could see some people they get so wrapped up and excited,

863
00:46:01,239 --> 00:46:04,200
Speaker 1: and like I could see where emotions could flare. And

864
00:46:04,600 --> 00:46:09,640
Speaker 1: so you know, if you're the person filming, try to

865
00:46:09,680 --> 00:46:13,040
Speaker 1: swap out your batteries at opportune times. Maybe not at

866
00:46:13,120 --> 00:46:15,279
Speaker 1: im an opportune times, but don't wait till last minute.

867
00:46:15,280 --> 00:46:18,640
Speaker 1: It's like, Okay, we're hiking to the bowl. If it'll

868
00:46:18,640 --> 00:46:19,920
Speaker 1: be a little bit, I'm gonna go ahead and change

869
00:46:19,920 --> 00:46:23,200
Speaker 1: it now before we get there. But sometimes things happen

870
00:46:23,239 --> 00:46:25,360
Speaker 1: and we're on the same bowl and we're filming the

871
00:46:25,400 --> 00:46:27,880
Speaker 1: same bowl for forty five minutes, and you're like, I

872
00:46:27,960 --> 00:46:30,040
Speaker 1: got to change the battery, and that happens too, and

873
00:46:30,080 --> 00:46:32,479
Speaker 1: there's nothing you can do about it but stop change

874
00:46:32,480 --> 00:46:36,200
Speaker 1: the battery. And it hasn't affected us the outcoming all.

875
00:46:36,400 --> 00:46:38,680
Speaker 1: Like people always say, you know, oh, it's a like

876
00:46:38,800 --> 00:46:43,400
Speaker 1: hunting with a cameraman. For me personally, I've done a

877
00:46:43,480 --> 00:46:46,680
Speaker 1: lot and Dusty and I moved really well together, will

878
00:46:46,719 --> 00:46:49,239
Speaker 1: work really well together. I think he probably reads my

879
00:46:49,320 --> 00:46:56,160
Speaker 1: body language really well. And we've always kind of said, like, okay, Dusty,

880
00:46:56,239 --> 00:46:57,960
Speaker 1: you're in my right hand back pocket.

881
00:46:58,719 --> 00:46:59,239
Speaker 2: Stand there.

882
00:46:59,320 --> 00:47:01,239
Speaker 1: When we're trying to call in a bowl and the

883
00:47:01,280 --> 00:47:03,839
Speaker 1: bulls come in, or we're set up to get a bull,

884
00:47:03,920 --> 00:47:08,600
Speaker 1: we don't want him four feet off to my right

885
00:47:08,680 --> 00:47:12,200
Speaker 1: hand side, you know, we want him right behind me.

886
00:47:12,360 --> 00:47:14,239
Speaker 1: That way he can see, he can catch me draw

887
00:47:14,280 --> 00:47:16,520
Speaker 1: on my bow. The bull walks in the frame, you

888
00:47:16,640 --> 00:47:20,759
Speaker 1: get me shooting and the bull when you do that,

889
00:47:21,200 --> 00:47:25,600
Speaker 1: when you set up like that, more than likely you're

890
00:47:25,600 --> 00:47:27,440
Speaker 1: going to get the shot. If you're three feet to

891
00:47:27,520 --> 00:47:30,200
Speaker 1: one side or another, chances are you're not going to

892
00:47:30,239 --> 00:47:31,360
Speaker 1: get the shot because there may be a.

893
00:47:31,400 --> 00:47:32,520
Speaker 2: Branch or a tree in your way.

894
00:47:32,920 --> 00:47:38,720
Speaker 1: I've seen it a hundred times, right, But we practice

895
00:47:38,760 --> 00:47:41,879
Speaker 1: that constantly unless there's been a couple of times where

896
00:47:41,880 --> 00:47:45,720
Speaker 1: it's just like okay, I move super fast and Dusty

897
00:47:45,800 --> 00:47:48,200
Speaker 1: tries to get it where it needs to be in position,

898
00:47:48,320 --> 00:47:50,640
Speaker 1: but oh no, right there. Here's like last year we

899
00:47:50,719 --> 00:47:54,040
Speaker 1: had that last day in Idaho, that bull come in

900
00:47:54,160 --> 00:47:56,240
Speaker 1: and you weren unable to get in the right position

901
00:47:56,320 --> 00:47:58,399
Speaker 1: because I was kind of kind of running up there.

902
00:47:58,400 --> 00:48:00,560
Speaker 2: And then I just stopped and knocked in and drew my.

903
00:48:00,560 --> 00:48:03,920
Speaker 1: Bow back, and you're so you you froze instead of

904
00:48:04,040 --> 00:48:07,239
Speaker 1: just like, oh no, you just you zoomed out, got

905
00:48:07,320 --> 00:48:11,360
Speaker 1: the got me and like everything in the frame that

906
00:48:11,440 --> 00:48:16,520
Speaker 1: you could and recorded, And if you zoom in you

907
00:48:16,600 --> 00:48:21,480
Speaker 1: can see the elk after I missed, after I missed,

908
00:48:22,680 --> 00:48:26,360
Speaker 1: So had you been right behind me, you might have

909
00:48:26,440 --> 00:48:28,080
Speaker 1: been able to get a little better shot. Maybe not

910
00:48:28,160 --> 00:48:31,040
Speaker 1: because it was pretty brushy anyway, but with that extra

911
00:48:31,239 --> 00:48:33,960
Speaker 1: movement for him getting right behind me. That was one

912
00:48:33,960 --> 00:48:36,359
Speaker 1: of those occasions it's like, what do you do? You can't,

913
00:48:36,480 --> 00:48:37,960
Speaker 1: there's nothing you can do about it. And I think

914
00:48:38,040 --> 00:48:40,680
Speaker 1: you you did well. You did as good as anybody

915
00:48:40,719 --> 00:48:43,800
Speaker 1: could have, and I was happy with with it. So

916
00:48:43,960 --> 00:48:46,040
Speaker 1: there's always some exceptions to it. But if you try

917
00:48:46,080 --> 00:48:48,600
Speaker 1: to make that your your rule, it's like you're always

918
00:48:48,640 --> 00:48:50,600
Speaker 1: behind me. Try to get that over the shoulder shot,

919
00:48:50,719 --> 00:48:52,759
Speaker 1: whether it's if you're out left handed, right hand, if

920
00:48:52,800 --> 00:48:56,080
Speaker 1: you're right handed, right back pocket, left handed, left back pocket,

921
00:48:57,160 --> 00:48:59,960
Speaker 1: and then sometimes depending off that where the elk's moving,

922
00:49:00,440 --> 00:49:03,840
Speaker 1: you may have to switch sides and go from one

923
00:49:03,920 --> 00:49:08,000
Speaker 1: shoulder over the next shoulder, which which works isn't acceptable.

924
00:49:08,000 --> 00:49:09,800
Speaker 1: You've done that, like on my mouth that bowl that

925
00:49:09,960 --> 00:49:12,600
Speaker 1: was on the left side. Yeah, it worked great. You know,

926
00:49:12,719 --> 00:49:15,640
Speaker 1: you got the shot. That's the hardest part. I think

927
00:49:15,640 --> 00:49:17,400
Speaker 1: a lot of people struggle with it, just getting the

928
00:49:17,760 --> 00:49:20,200
Speaker 1: getting the shot. When the bowl finally comes in, you

929
00:49:20,239 --> 00:49:22,000
Speaker 1: can get all the cool beat role you want because

930
00:49:22,480 --> 00:49:26,799
Speaker 1: it's beat roll time is not as much pressure. It's

931
00:49:26,800 --> 00:49:30,360
Speaker 1: a lot less exciting, and but when that bull's coming

932
00:49:30,880 --> 00:49:34,680
Speaker 1: and it's getting exciting, it's like, oh man, if you're

933
00:49:34,800 --> 00:49:38,680
Speaker 1: right behind the shooter shooting over their shoulder, you know,

934
00:49:39,520 --> 00:49:42,800
Speaker 1: number one, the shooter is blocking a lot of your movements,

935
00:49:42,920 --> 00:49:45,080
Speaker 1: so you can get it with a tiny bit of movement,

936
00:49:45,160 --> 00:49:47,719
Speaker 1: you know, as far as you know, positioning yourself a

937
00:49:47,800 --> 00:49:51,480
Speaker 1: little bit like swaying one side to the other. But

938
00:49:51,560 --> 00:49:53,319
Speaker 1: then you're just gonna have You're gonna have the best

939
00:49:53,680 --> 00:49:55,440
Speaker 1: what You're gonna have the same view the shooter has,

940
00:49:56,040 --> 00:49:59,279
Speaker 1: and ultimately that's that's what you want. I don't know

941
00:49:59,280 --> 00:50:01,560
Speaker 1: how many shots, how many times I've watched, you know,

942
00:50:02,760 --> 00:50:06,600
Speaker 1: could have been spectacular videos when the camera guy was

943
00:50:06,640 --> 00:50:09,600
Speaker 1: standing four feet to the right or four feet to

944
00:50:09,680 --> 00:50:12,480
Speaker 1: the left, and then all they have is the guy

945
00:50:12,719 --> 00:50:14,640
Speaker 1: drawn his bow and then they pan over to where

946
00:50:14,680 --> 00:50:16,360
Speaker 1: the elk is and all you see is brush or

947
00:50:16,400 --> 00:50:18,960
Speaker 1: a tree and where you might see an antler sticking

948
00:50:19,000 --> 00:50:20,799
Speaker 1: out on one side. And then they make the shot

949
00:50:20,880 --> 00:50:23,160
Speaker 1: and they run off and he's like I got him,

950
00:50:23,200 --> 00:50:27,239
Speaker 1: and it's like, yeah, I didn't get him. Yeah, that's

951
00:50:27,280 --> 00:50:30,840
Speaker 1: a heartbreaker for a filmmaker. Wow, that's kind of write

952
00:50:30,880 --> 00:50:35,560
Speaker 1: that down heartbreaker for a filmmaker. Okay, you know what

953
00:50:35,840 --> 00:50:37,759
Speaker 1: you can, you can start selling those T shirts with

954
00:50:37,880 --> 00:50:40,120
Speaker 1: your new endeavor depth of Field.

955
00:50:41,360 --> 00:50:43,960
Speaker 2: I'll just you know, I'll need my royalties. Okay, Okay,

956
00:50:44,440 --> 00:50:47,080
Speaker 2: they're in the mail. They're in the mail. Yeah, okay.

957
00:50:49,040 --> 00:50:54,239
Speaker 1: So yeah, it's super important for the videographer to work

958
00:50:54,480 --> 00:50:58,480
Speaker 1: closely with the subject, you know, yeah, and discuss all

959
00:50:58,520 --> 00:51:01,239
Speaker 1: this stuff before we get to the right. We talked

960
00:51:01,239 --> 00:51:03,120
Speaker 1: about you and I talked about all that stuff. On

961
00:51:03,200 --> 00:51:06,000
Speaker 1: the way of the woods. We geeked out, if you will.

962
00:51:06,560 --> 00:51:08,320
Speaker 1: On the way there, we had a long drive and

963
00:51:08,440 --> 00:51:11,040
Speaker 1: we talked about all these different scenarios and thoughts and

964
00:51:11,440 --> 00:51:13,920
Speaker 1: ways we thought we should do it and capture it.

965
00:51:14,080 --> 00:51:17,160
Speaker 1: And then as the as the hunt progresses, we continue

966
00:51:17,239 --> 00:51:21,560
Speaker 1: to communicate. If Dusky has a concern, he tells me.

967
00:51:21,680 --> 00:51:24,319
Speaker 1: If I have a concern, I tell him, and neither

968
00:51:24,400 --> 00:51:26,479
Speaker 1: one of us take offense. We're just like, oh, maybe,

969
00:51:26,719 --> 00:51:27,880
Speaker 1: what do you think about this? Or what do you

970
00:51:27,920 --> 00:51:31,040
Speaker 1: think about that? And we're because ultimately we both want

971
00:51:31,120 --> 00:51:34,840
Speaker 1: to make the best film we can. But if we

972
00:51:34,960 --> 00:51:39,719
Speaker 1: work together communicate, it's a lot easier. If you don't communicate,

973
00:51:39,840 --> 00:51:41,560
Speaker 1: and you're like, gee, whiz, I wish the guy would

974
00:51:41,600 --> 00:51:44,640
Speaker 1: stand in one spot so I could film him if

975
00:51:44,680 --> 00:51:47,279
Speaker 1: you walked around all day thinking that to yourself, but

976
00:51:47,400 --> 00:51:50,279
Speaker 1: the guy never does stand still. Well that's on you

977
00:51:50,560 --> 00:51:53,480
Speaker 1: as the filmer, right, you have to say, hey, why

978
00:51:53,520 --> 00:51:55,600
Speaker 1: don't you do that again, like stand right here in

979
00:51:55,640 --> 00:51:57,279
Speaker 1: this one spot or walk through this here, and I'll

980
00:51:57,280 --> 00:51:59,239
Speaker 1: get ready and get in focused, and I'll get a

981
00:51:59,320 --> 00:52:02,160
Speaker 1: really cool show of you walking through this beautiful meadow

982
00:52:02,280 --> 00:52:05,080
Speaker 1: or or walking over this cliff or whatever it is.

983
00:52:06,400 --> 00:52:10,560
Speaker 1: Those little those little requests, and that those are paramount

984
00:52:10,600 --> 00:52:16,320
Speaker 1: for great filmmaking. So okay, now we've got we've been hunting,

985
00:52:16,360 --> 00:52:18,640
Speaker 1: we've we've done all the best practices, we've had our

986
00:52:18,680 --> 00:52:21,279
Speaker 1: batteries charged, we've learned how to use the camera, We've

987
00:52:21,320 --> 00:52:25,480
Speaker 1: got her audio nailed. Okay, we've got it. Okay, yeah,

988
00:52:25,760 --> 00:52:26,839
Speaker 1: day one in the bag.

989
00:52:27,920 --> 00:52:28,560
Speaker 2: Now what do we do?

990
00:52:28,920 --> 00:52:30,760
Speaker 1: We just go back to camp and eat and sleep

991
00:52:30,800 --> 00:52:33,799
Speaker 1: and go to bed. Well, we have a little bit

992
00:52:33,840 --> 00:52:37,040
Speaker 1: of homework to do. Still, this seems like the videographer's

993
00:52:37,120 --> 00:52:39,160
Speaker 1: work has never done. He seems like he's always the

994
00:52:39,280 --> 00:52:42,880
Speaker 1: last one to go to bed just because he has

995
00:52:42,920 --> 00:52:46,080
Speaker 1: to do he or she has to do some things.

996
00:52:46,320 --> 00:52:48,560
Speaker 1: So we get back to camp and we're gonna do

997
00:52:49,200 --> 00:52:52,600
Speaker 1: file organization. That's when we take the SD card out

998
00:52:52,640 --> 00:52:55,120
Speaker 1: of the camera. We're gonna plug it into the computer

999
00:52:55,239 --> 00:52:58,200
Speaker 1: and we're gonna upload all that day's hunts, all the

1000
00:52:58,280 --> 00:53:01,080
Speaker 1: video clips from that day onto external hard drive.

1001
00:53:01,920 --> 00:53:02,680
Speaker 2: Okay, and we're.

1002
00:53:02,520 --> 00:53:04,640
Speaker 1: Gonna label these when we put it in there. We

1003
00:53:04,760 --> 00:53:07,560
Speaker 1: just don't dump it, right, So we're gonna create folders

1004
00:53:08,440 --> 00:53:11,160
Speaker 1: day one and then the date, right okay, so day

1005
00:53:11,200 --> 00:53:15,000
Speaker 1: one date this bam, you you upload those, put them

1006
00:53:15,040 --> 00:53:16,880
Speaker 1: in the folder, walk away.

1007
00:53:17,160 --> 00:53:18,680
Speaker 2: Feel good about it? Right? Yeah?

1008
00:53:19,400 --> 00:53:21,880
Speaker 1: And typically I like to keep enough SD cards to

1009
00:53:22,040 --> 00:53:24,359
Speaker 1: keep one do we have a fresh one, a brand

1010
00:53:24,400 --> 00:53:27,799
Speaker 1: new one every single day, So we're not like, okay,

1011
00:53:27,920 --> 00:53:29,840
Speaker 1: day one, we got it on this card, but we

1012
00:53:29,880 --> 00:53:31,840
Speaker 1: still have more space on it. Let's just keep recording

1013
00:53:31,920 --> 00:53:34,680
Speaker 1: on that and then till day two through day two, Well,

1014
00:53:35,680 --> 00:53:38,239
Speaker 1: it just creates a nightmare. If you have one card

1015
00:53:38,320 --> 00:53:40,360
Speaker 1: that's got multiple days on it, then you have to

1016
00:53:40,480 --> 00:53:42,279
Speaker 1: just creates more time later you have to sift through

1017
00:53:42,320 --> 00:53:45,200
Speaker 1: all that and be like, okay, oh here's the here's

1018
00:53:45,200 --> 00:53:47,360
Speaker 1: where we are in day one, Okay, day two, sift

1019
00:53:47,400 --> 00:53:50,360
Speaker 1: it out. It just creates more work. And I feel

1020
00:53:50,400 --> 00:53:53,480
Speaker 1: like if you can, if you have enough cards, you

1021
00:53:53,600 --> 00:53:57,160
Speaker 1: can have a new one every single day, that's actually

1022
00:53:57,239 --> 00:53:59,120
Speaker 1: your That's another form of a backup.

1023
00:53:59,400 --> 00:54:00,480
Speaker 2: So backup footage.

1024
00:54:00,760 --> 00:54:04,759
Speaker 1: Best practice is to have two external hard drives, so

1025
00:54:05,200 --> 00:54:08,000
Speaker 1: you copy all the clips to one hard drive, then

1026
00:54:08,080 --> 00:54:10,920
Speaker 1: you copy it to another. Now, especially if it's like

1027
00:54:10,960 --> 00:54:13,640
Speaker 1: a high priority, you know film, it's like you've spent

1028
00:54:13,920 --> 00:54:17,360
Speaker 1: money for the videographer, you spent money for film permits,

1029
00:54:17,400 --> 00:54:20,080
Speaker 1: you've spent money on tag Like, this is a production, right,

1030
00:54:20,239 --> 00:54:22,640
Speaker 1: this is a this is a professional production.

1031
00:54:23,000 --> 00:54:23,520
Speaker 2: Maybe it's not.

1032
00:54:23,760 --> 00:54:25,920
Speaker 1: Maybe this is just you want to take it home

1033
00:54:26,000 --> 00:54:28,440
Speaker 1: and share share it with your friends, but you have

1034
00:54:28,600 --> 00:54:32,359
Speaker 1: to do some best practices to where that stuff's there

1035
00:54:32,400 --> 00:54:34,560
Speaker 1: when you get home. I don't know how many times

1036
00:54:34,560 --> 00:54:36,640
Speaker 1: I've heard people say, you know, they've had problems with

1037
00:54:36,920 --> 00:54:41,560
Speaker 1: SD cards getting lost or recording this or actually erasing

1038
00:54:41,680 --> 00:54:45,839
Speaker 1: that or whatever. I mean, if something bad can happen,

1039
00:54:45,920 --> 00:54:50,920
Speaker 1: it can happen. So being organized and doing that will

1040
00:54:50,960 --> 00:54:52,680
Speaker 1: make everything better, don't you agree?

1041
00:54:52,800 --> 00:54:53,560
Speaker 2: I totally agree.

1042
00:54:54,760 --> 00:54:58,040
Speaker 3: And I think the other good thing about backing everything

1043
00:54:58,120 --> 00:55:02,000
Speaker 3: up onto two external hard drives. Even though we have

1044
00:55:02,280 --> 00:55:05,799
Speaker 3: quite a few SD cards, there can be moments when,

1045
00:55:06,600 --> 00:55:09,640
Speaker 3: like we usually get a fresh SD card in each one,

1046
00:55:09,680 --> 00:55:13,359
Speaker 3: but towards the end of the a fourteen day hunt,

1047
00:55:14,120 --> 00:55:15,960
Speaker 3: we start to get close to the end of those

1048
00:55:16,080 --> 00:55:19,040
Speaker 3: SD cards. But if we have everything backed up twice already,

1049
00:55:19,440 --> 00:55:22,000
Speaker 3: then I could potentially go back and start reusing SD

1050
00:55:22,120 --> 00:55:25,000
Speaker 3: cards because I know I've got I've got two good backups.

1051
00:55:25,400 --> 00:55:29,239
Speaker 3: And that's just another great way of just being able

1052
00:55:29,280 --> 00:55:31,520
Speaker 3: to think things through. If you don't use all the

1053
00:55:31,640 --> 00:55:33,759
Speaker 3: SD cards and then you've got three backups and you're

1054
00:55:34,040 --> 00:55:37,560
Speaker 3: should be golden, Yeah for sure. But yeah, I think

1055
00:55:37,840 --> 00:55:39,600
Speaker 3: think the two hard drives is the way to go.

1056
00:55:39,920 --> 00:55:42,719
Speaker 1: Yeah, that's a great point, because you know SD cards

1057
00:55:42,719 --> 00:55:46,839
Speaker 1: are expensive, yes, And or let's say maybe you've got

1058
00:55:47,480 --> 00:55:50,279
Speaker 1: like you thought you had enough and you have a

1059
00:55:50,320 --> 00:55:52,480
Speaker 1: couple that for whatever reason that can't you put plug

1060
00:55:52,560 --> 00:55:54,600
Speaker 1: them in. You've used them in the past. Today you

1061
00:55:54,680 --> 00:55:57,120
Speaker 1: plug it in and your camera is like, I don't

1062
00:55:57,239 --> 00:56:00,200
Speaker 1: like this, this card sucks. I'm not going to work day.

1063
00:56:00,800 --> 00:56:04,440
Speaker 1: So then it's like, now your card game is different.

1064
00:56:05,640 --> 00:56:07,880
Speaker 1: So yeah, good point. If you have the two backup

1065
00:56:08,000 --> 00:56:11,799
Speaker 1: hard drives, then whatever may happen, you can always still

1066
00:56:11,920 --> 00:56:14,920
Speaker 1: go back through and start reading were using cards and

1067
00:56:15,280 --> 00:56:18,279
Speaker 1: removing you know, the clips from those and feel good

1068
00:56:18,280 --> 00:56:22,879
Speaker 1: about it, right exactly, So, but why, you know, why

1069
00:56:23,000 --> 00:56:24,880
Speaker 1: is that all so important? Like you guys are just

1070
00:56:25,040 --> 00:56:30,000
Speaker 1: being like nitpicky, like why is all this organization so important? Well,

1071
00:56:30,120 --> 00:56:34,040
Speaker 1: my son, Austin so I said, he's an inspiring videographer photographer.

1072
00:56:34,480 --> 00:56:37,360
Speaker 1: So he was using this this winner him and his girlfriend.

1073
00:56:37,800 --> 00:56:39,960
Speaker 1: We're going up here to Bogus Base and you're out

1074
00:56:39,960 --> 00:56:43,160
Speaker 1: of boy see snowboarding, and she'd never done snowboarding before

1075
00:56:43,239 --> 00:56:46,320
Speaker 1: and and so he went from like the beginner phase

1076
00:56:46,520 --> 00:56:47,960
Speaker 1: till like by the end of the season she was

1077
00:56:48,040 --> 00:56:51,080
Speaker 1: doing really good. So he's filming all this and he's

1078
00:56:51,160 --> 00:56:56,600
Speaker 1: using his his sony camera, he's using a go pro,

1079
00:56:57,440 --> 00:57:03,279
Speaker 1: but his file management is crap. So he gets home,

1080
00:57:03,360 --> 00:57:05,279
Speaker 1: and he gets home and he starts messing around. He

1081
00:57:05,320 --> 00:57:09,200
Speaker 1: goes post production, so he's using Adobe Premiere. He starts

1082
00:57:09,280 --> 00:57:11,360
Speaker 1: going through this and he starts building all these timelines

1083
00:57:11,360 --> 00:57:15,000
Speaker 1: and stuff, and then he moves some stuff around. And

1084
00:57:15,080 --> 00:57:18,360
Speaker 1: then anytime you anytime you move anything around and post

1085
00:57:18,840 --> 00:57:22,240
Speaker 1: or any anytime you move into your files around. Let's

1086
00:57:22,240 --> 00:57:25,720
Speaker 1: say they're not in a specific folder, and then you

1087
00:57:26,320 --> 00:57:29,600
Speaker 1: create a timeline in Adobe, and then you take those

1088
00:57:29,680 --> 00:57:31,960
Speaker 1: files and you move them from where they were into

1089
00:57:32,040 --> 00:57:35,600
Speaker 1: a different folder. Well, when you open Adobe again, it says,

1090
00:57:36,080 --> 00:57:39,960
Speaker 1: I can't find the files. They're lost. It's not intuitive

1091
00:57:40,000 --> 00:57:42,360
Speaker 1: of to like, We'll just look in the next fold

1092
00:57:42,360 --> 00:57:43,680
Speaker 1: it's on the same hard drive. Just look in the

1093
00:57:43,720 --> 00:57:44,160
Speaker 1: next folder.

1094
00:57:44,240 --> 00:57:44,800
Speaker 2: It doesn't know that.

1095
00:57:44,880 --> 00:57:47,320
Speaker 1: It just knew the pathway to where they were originally.

1096
00:57:48,200 --> 00:57:50,680
Speaker 1: So then anyway, he doesn't have all that, he doesn't

1097
00:57:50,680 --> 00:57:54,960
Speaker 1: have good file management, and he's got hours and days

1098
00:57:55,760 --> 00:57:59,480
Speaker 1: of footage that he spent a whole bunch of time

1099
00:57:59,520 --> 00:58:01,640
Speaker 1: in his time. But then start moving stuff around and

1100
00:58:01,720 --> 00:58:05,240
Speaker 1: it's all wrecked. So all of his I told him,

1101
00:58:05,320 --> 00:58:09,080
Speaker 1: He's like, how do I fit? I'm like Austin start over,

1102
00:58:09,480 --> 00:58:12,280
Speaker 1: start a whole new project, nuke that one. Start over

1103
00:58:12,520 --> 00:58:15,320
Speaker 1: for me, I'm like, there's there's probably some Adobe guys

1104
00:58:15,400 --> 00:58:18,080
Speaker 1: on here, like, oh yeah, that's it's easy. You just

1105
00:58:18,160 --> 00:58:22,800
Speaker 1: do this for me because I've done this. I've deleted

1106
00:58:22,840 --> 00:58:27,040
Speaker 1: the whole thing. Yeah, organize my stuff, then a start over,

1107
00:58:27,480 --> 00:58:29,680
Speaker 1: and it's so much nicer if you can start out

1108
00:58:29,720 --> 00:58:33,840
Speaker 1: with a good clean slate of everything. So I sort everything,

1109
00:58:33,920 --> 00:58:35,720
Speaker 1: you know, whether it's day one, day two, day three,

1110
00:58:35,880 --> 00:58:38,880
Speaker 1: and then go pro footage and then you can label

1111
00:58:38,920 --> 00:58:41,200
Speaker 1: those day day whatever. You have a new folder with GoPro,

1112
00:58:41,280 --> 00:58:42,920
Speaker 1: and then with that you have folders with day one

1113
00:58:43,000 --> 00:58:45,800
Speaker 1: to two whatever labels you want them, and then drone

1114
00:58:46,520 --> 00:58:48,800
Speaker 1: like have all these things separated where it's quick and

1115
00:58:48,920 --> 00:58:51,920
Speaker 1: easy to where when you're looking for a shot, it's

1116
00:58:51,960 --> 00:58:52,160
Speaker 1: like I.

1117
00:58:52,160 --> 00:58:54,760
Speaker 2: Think I had a pretty cool go pro shot. Bam.

1118
00:58:55,160 --> 00:58:57,800
Speaker 1: You go in your folder, find it, put in your

1119
00:58:58,320 --> 00:59:00,320
Speaker 1: put in your project, put it on the time line,

1120
00:59:00,600 --> 00:59:01,280
Speaker 1: and you're good to go.

1121
00:59:02,760 --> 00:59:05,400
Speaker 3: Yeah, yeah, I've done this. I've done the same thing too.

1122
00:59:05,520 --> 00:59:08,640
Speaker 3: Like even even when you try to be organized and

1123
00:59:08,760 --> 00:59:11,000
Speaker 3: you think, oh, this is this, I'll label it this way,

1124
00:59:11,400 --> 00:59:14,600
Speaker 3: and then you realize, wait a second, you've already put

1125
00:59:14,680 --> 00:59:17,120
Speaker 3: dumped anything of everything in your project and your timeline,

1126
00:59:17,120 --> 00:59:20,640
Speaker 3: and then you realize that you weren't thinking straight with

1127
00:59:21,760 --> 00:59:24,880
Speaker 3: the sequence of your foldering, and so I've enough had

1128
00:59:24,920 --> 00:59:27,400
Speaker 3: to change it that and then I lose You know,

1129
00:59:27,440 --> 00:59:29,640
Speaker 3: I can't find it, but you know you can. You

1130
00:59:29,760 --> 00:59:35,080
Speaker 3: can locate those files within Adobe. But yeah, if you,

1131
00:59:35,280 --> 00:59:38,440
Speaker 3: if if you, but if you have them everywhere, what

1132
00:59:38,600 --> 00:59:42,720
Speaker 3: a nightmare? What a nightmare. If it's not organized and

1133
00:59:42,800 --> 00:59:46,440
Speaker 3: you're moving stuff and you've already started a project, it's

1134
00:59:46,960 --> 00:59:47,840
Speaker 3: that is not good.

1135
00:59:48,760 --> 00:59:48,960
Speaker 2: Yeah.

1136
00:59:49,920 --> 00:59:53,640
Speaker 1: I've seen some challenges where let's say I'm trying to

1137
00:59:53,640 --> 00:59:56,600
Speaker 1: build a commercial for Phelps and I want to take

1138
00:59:57,080 --> 00:59:59,640
Speaker 1: shots from this hunt, shots from that hunt, shots from here,

1139
00:59:59,680 --> 01:00:01,600
Speaker 1: shots from there, and make it into a kind of

1140
01:00:01,600 --> 01:00:06,640
Speaker 1: a little montage Instagram reel video. Right, So I've got

1141
01:00:06,760 --> 01:00:11,080
Speaker 1: like every external port plugged into hard external hard drives

1142
01:00:11,320 --> 01:00:16,200
Speaker 1: and I'm pulling from those those into my timeline. Great,

1143
01:00:16,480 --> 01:00:21,160
Speaker 1: all done, It's made it really cool, cool, real awesome.

1144
01:00:21,480 --> 01:00:24,640
Speaker 1: Well then a year later, I'm like, man, I remember

1145
01:00:24,640 --> 01:00:26,560
Speaker 1: I did that reel. I could use that some of

1146
01:00:26,640 --> 01:00:30,840
Speaker 1: that stuff again, reusing a different spot maybe for repurpose

1147
01:00:30,920 --> 01:00:34,120
Speaker 1: that same thing with a little bit different edit and

1148
01:00:34,160 --> 01:00:36,440
Speaker 1: I'll repurpose it. So I'll go back in there, I'll

1149
01:00:36,480 --> 01:00:40,000
Speaker 1: pull it up, and then my thing says, hey, these

1150
01:00:40,040 --> 01:00:41,920
Speaker 1: files are not found, and you see a bunch of

1151
01:00:42,000 --> 01:00:46,600
Speaker 1: Chinese writing all over. I thought I thought Adobe was

1152
01:00:46,680 --> 01:00:51,960
Speaker 1: maybe you know, maybe Spanish, you know Adobe, you know Spanish. No,

1153
01:00:52,080 --> 01:00:56,720
Speaker 1: it turns out a Chinese. Adobe's a Chinese word for

1154
01:00:57,800 --> 01:00:58,640
Speaker 1: video editing.

1155
01:01:01,800 --> 01:01:02,200
Speaker 2: Anyway.

1156
01:01:02,720 --> 01:01:05,000
Speaker 1: So then I have to be like, oh man, where

1157
01:01:05,040 --> 01:01:07,440
Speaker 1: did I Where did I pull all this stuff from?

1158
01:01:07,480 --> 01:01:09,120
Speaker 1: So then I have to plug and find the right

1159
01:01:09,200 --> 01:01:11,880
Speaker 1: hard rice. I got a boatload of hard drive so

1160
01:01:12,000 --> 01:01:15,720
Speaker 1: I plug them all in like oh man, that it's

1161
01:01:15,760 --> 01:01:18,800
Speaker 1: just enough to make your brain hurt, and finally it's like, okay.

1162
01:01:18,680 --> 01:01:19,080
Speaker 2: I got it.

1163
01:01:19,560 --> 01:01:22,320
Speaker 1: So best practice is what I've should have done, is

1164
01:01:22,400 --> 01:01:25,360
Speaker 1: whenever I first started that project, is before I even

1165
01:01:25,360 --> 01:01:27,440
Speaker 1: started that project, I should have created a new folder

1166
01:01:28,640 --> 01:01:33,800
Speaker 1: on the external hard drive that I wanted that particular

1167
01:01:33,840 --> 01:01:37,320
Speaker 1: project to live, and then I should have pulled in

1168
01:01:37,480 --> 01:01:40,400
Speaker 1: the clips from all those other hard drives into that

1169
01:01:40,640 --> 01:01:46,880
Speaker 1: folder and then worked off that one folder and hard

1170
01:01:46,960 --> 01:01:50,600
Speaker 1: drive that way. When I go back a year later

1171
01:01:50,760 --> 01:01:53,120
Speaker 1: and try to mess with it, it's all right. There,

1172
01:01:53,960 --> 01:01:55,960
Speaker 1: I've done this a bunch of times, and it's like

1173
01:01:56,120 --> 01:01:58,880
Speaker 1: every time, I'm just like, ah, you idiot, stop doing

1174
01:01:58,960 --> 01:02:02,360
Speaker 1: it like that. I'm getting better. I'm getting better. I

1175
01:02:02,440 --> 01:02:04,360
Speaker 1: won't say I'm not backsliding every now and then, but

1176
01:02:04,720 --> 01:02:08,360
Speaker 1: for the most part, if I can remember, I'll do that.

1177
01:02:08,680 --> 01:02:11,280
Speaker 2: Yeah I did. I've done the same thing. Yeah. It's

1178
01:02:11,360 --> 01:02:15,520
Speaker 2: just you get going. You just you just start right. Yeah,

1179
01:02:16,040 --> 01:02:19,440
Speaker 2: you start dumping files. Yeah, you're like, I'm king of

1180
01:02:19,520 --> 01:02:23,280
Speaker 2: the world. This is going so good. And then oh no,

1181
01:02:23,680 --> 01:02:24,680
Speaker 2: oh I shouldn't have done that.

1182
01:02:24,920 --> 01:02:29,560
Speaker 1: Yeah, so so more on post production. So post production

1183
01:02:29,680 --> 01:02:31,400
Speaker 1: that's when you take all your files, you load them

1184
01:02:31,440 --> 01:02:36,040
Speaker 1: on your computer in your program, whether you're using Adobe Premiere,

1185
01:02:36,120 --> 01:02:39,479
Speaker 1: you're using iMovie, you're using Vinci Da.

1186
01:02:39,440 --> 01:02:45,000
Speaker 2: Vinci, Yeah, da Vinci about it, you're just busting your beans.

1187
01:02:47,800 --> 01:02:53,120
Speaker 1: Sorry inside joke, they laugh. But anyhow, there's all these

1188
01:02:53,200 --> 01:02:58,320
Speaker 1: different these different editing softwares I guess if you will,

1189
01:02:59,000 --> 01:03:03,720
Speaker 1: And it's really helpful if the person who films it,

1190
01:03:04,360 --> 01:03:09,040
Speaker 1: edits it, or whoever was there at the time, like

1191
01:03:09,200 --> 01:03:15,120
Speaker 1: let's say Dusty films it, then I edit it because

1192
01:03:15,240 --> 01:03:17,120
Speaker 1: I kind of know what happened that day, you know,

1193
01:03:17,200 --> 01:03:19,920
Speaker 1: as I go through the thing, go through the clips.

1194
01:03:20,000 --> 01:03:21,440
Speaker 1: I kind of know what happened. I kind of know

1195
01:03:21,640 --> 01:03:23,680
Speaker 1: the mood. I kind of know how it all kind

1196
01:03:23,680 --> 01:03:24,200
Speaker 1: of laid out.

1197
01:03:24,840 --> 01:03:25,640
Speaker 2: And the clips are.

1198
01:03:25,600 --> 01:03:28,960
Speaker 1: Always you know, sequential, right, you know, one, two, three, four, five, six,

1199
01:03:29,200 --> 01:03:32,880
Speaker 1: you know, but sometimes you know, you're just like, man,

1200
01:03:32,920 --> 01:03:34,920
Speaker 1: how do I make to put this all together? To

1201
01:03:35,000 --> 01:03:37,560
Speaker 1: do the right thing? And sometimes just having the same

1202
01:03:37,640 --> 01:03:41,160
Speaker 1: person that was involved. People who were involved, their boots

1203
01:03:41,200 --> 01:03:45,480
Speaker 1: on the ground do better editing. So if you don't

1204
01:03:45,560 --> 01:03:48,120
Speaker 1: have somebody that's doing that, if somebody, let's say some

1205
01:03:48,360 --> 01:03:51,000
Speaker 1: third party is editing your stuff, you have to have

1206
01:03:51,200 --> 01:03:54,040
Speaker 1: some notes, like on on the days. Like so if

1207
01:03:54,080 --> 01:03:57,280
Speaker 1: you were to say, okay, did Dusty filmed it? I

1208
01:03:57,480 --> 01:04:02,920
Speaker 1: was the I was the talent, if you will, pretty

1209
01:04:02,960 --> 01:04:06,000
Speaker 1: face not really face for radio. That's why they put

1210
01:04:06,080 --> 01:04:12,640
Speaker 1: me on a podcast. Now, so me or Dusty we

1211
01:04:12,680 --> 01:04:15,200
Speaker 1: could go through every day and we build we build

1212
01:04:15,240 --> 01:04:18,640
Speaker 1: a document and say, okay, day one, this is kind

1213
01:04:18,640 --> 01:04:21,720
Speaker 1: of the stuff that happened, and day one special things

1214
01:04:21,760 --> 01:04:27,080
Speaker 1: to note, by the way, clips X y Z this happened.

1215
01:04:27,400 --> 01:04:31,560
Speaker 1: Let's say Dirk said a bad word, Let's cut that

1216
01:04:31,680 --> 01:04:33,760
Speaker 1: bad word out. Make sure we cut that bad word out,

1217
01:04:35,400 --> 01:04:37,600
Speaker 1: or maybe dirk ate too much. We'll cut out the

1218
01:04:37,640 --> 01:04:40,800
Speaker 1: scene where dirk ate a lot of food, right, or

1219
01:04:41,040 --> 01:04:42,600
Speaker 1: you know, if we want to leave something in, take

1220
01:04:42,640 --> 01:04:45,000
Speaker 1: something out, or make sure we want to highlight a

1221
01:04:45,080 --> 01:04:48,160
Speaker 1: certain part of that day, the highlights of that day,

1222
01:04:48,240 --> 01:04:50,800
Speaker 1: maybe we write down and then that way, when you

1223
01:04:50,880 --> 01:04:53,760
Speaker 1: pass on to the third party they have they have

1224
01:04:53,960 --> 01:04:56,240
Speaker 1: kind of a guide like, okay, day one, day two, three,

1225
01:04:56,360 --> 01:04:59,200
Speaker 1: these are the things that happened that were important. Okay, cool.

1226
01:04:59,480 --> 01:05:02,760
Speaker 1: They start editing through there. They may have questions like, hey,

1227
01:05:03,200 --> 01:05:05,720
Speaker 1: you said this, but I didn't really understand that. I

1228
01:05:05,800 --> 01:05:08,040
Speaker 1: didn't really see that, and then you can go back

1229
01:05:08,080 --> 01:05:10,479
Speaker 1: through it and kind of help them through. I don't

1230
01:05:10,560 --> 01:05:14,280
Speaker 1: know anything harder than taking like being a third party

1231
01:05:14,440 --> 01:05:15,400
Speaker 1: editor and.

1232
01:05:17,200 --> 01:05:18,080
Speaker 2: Editing it right.

1233
01:05:18,480 --> 01:05:21,080
Speaker 1: Like, so the folks at meat Eater, you know, they

1234
01:05:21,120 --> 01:05:24,680
Speaker 1: have a whole team of people who edit everything. Wow,

1235
01:05:25,120 --> 01:05:28,360
Speaker 1: chances are that the people weren't there on the hunt.

1236
01:05:28,760 --> 01:05:32,520
Speaker 1: Nine we're not on the hunt, but they'll have maybe

1237
01:05:33,040 --> 01:05:35,600
Speaker 1: a producer there that will be taking notes during the

1238
01:05:35,680 --> 01:05:39,400
Speaker 1: hunt for day to day to day or let's say

1239
01:05:40,600 --> 01:05:42,800
Speaker 1: this is super important too. So I've seen Jason Phelps

1240
01:05:42,840 --> 01:05:45,800
Speaker 1: do this, He'll he'll as he's talking, or he'll like

1241
01:05:45,880 --> 01:05:47,760
Speaker 1: turn the camera on, haven't turned the camera on, and

1242
01:05:47,880 --> 01:05:52,280
Speaker 1: he'll like he'll talk and give a note to the editor, say, hey, editor,

1243
01:05:53,400 --> 01:05:55,040
Speaker 1: this part of the day. We want to talk about this,

1244
01:05:55,160 --> 01:05:57,560
Speaker 1: or we want to highlight this. Take that part out

1245
01:05:57,880 --> 01:06:01,680
Speaker 1: about where we say the location. I said this was

1246
01:06:02,000 --> 01:06:04,560
Speaker 1: big Jim Crick and we don't want people to know

1247
01:06:04,640 --> 01:06:06,720
Speaker 1: it's big Jimp. Make sure you take that part out

1248
01:06:07,160 --> 01:06:09,720
Speaker 1: so you can do that too, like live in the

1249
01:06:09,800 --> 01:06:12,960
Speaker 1: field messaging to the editor within the clip.

1250
01:06:13,280 --> 01:06:14,800
Speaker 2: That way they can say, oh, okay, got.

1251
01:06:14,760 --> 01:06:16,680
Speaker 1: To make sure we don't tell people where big Jim

1252
01:06:16,760 --> 01:06:18,960
Speaker 1: Crick is because there's really big bulls there.

1253
01:06:19,960 --> 01:06:20,600
Speaker 2: That's right.

1254
01:06:22,600 --> 01:06:28,760
Speaker 1: Now. Damn shoot every time, every time, every time. I

1255
01:06:28,840 --> 01:06:34,720
Speaker 1: can't be trusted. So anyway, and then for final production,

1256
01:06:34,840 --> 01:06:36,360
Speaker 1: you know it can. I don't think a lot of

1257
01:06:36,400 --> 01:06:39,320
Speaker 1: people realize what it takes to edit a full film,

1258
01:06:39,360 --> 01:06:41,960
Speaker 1: especially if you've got five ten days. If you got

1259
01:06:42,000 --> 01:06:44,880
Speaker 1: ten days worth, that's a lot of time. What would

1260
01:06:44,920 --> 01:06:49,120
Speaker 1: you say, eighty hours? Yeah, easily eighty hours. That may

1261
01:06:49,200 --> 01:06:51,600
Speaker 1: be way undershot. We may, I mean it takes a

1262
01:06:51,720 --> 01:06:53,840
Speaker 1: ton of time. I know what when I started getting

1263
01:06:54,200 --> 01:06:57,160
Speaker 1: editing mode. I'll set my butt there for eight hours

1264
01:06:57,240 --> 01:06:59,920
Speaker 1: straight and only get up to pee and take it

1265
01:07:00,080 --> 01:07:01,560
Speaker 1: and get a drink of water and then go right

1266
01:07:01,600 --> 01:07:05,360
Speaker 1: back to it for days. Oh it's there's a lot

1267
01:07:05,480 --> 01:07:09,120
Speaker 1: to it. But when you're in the zone, and especially

1268
01:07:09,160 --> 01:07:10,960
Speaker 1: if it's a good hunt where there's things happening and

1269
01:07:11,560 --> 01:07:15,200
Speaker 1: and it's exciting, like that kind of carries me through.

1270
01:07:16,320 --> 01:07:19,320
Speaker 1: If it's kind of one of those tough hunts you

1271
01:07:19,440 --> 01:07:21,400
Speaker 1: have to fight for the through the tough days, it's like,

1272
01:07:21,600 --> 01:07:24,000
Speaker 1: oh my gosh, this is my numbing to come through

1273
01:07:24,080 --> 01:07:26,320
Speaker 1: all of this and then okay, here's the good day finally,

1274
01:07:26,840 --> 01:07:28,880
Speaker 1: and then you know, I feel like you get a

1275
01:07:28,920 --> 01:07:31,840
Speaker 1: lot more boring days than you do exciting ones. But

1276
01:07:32,320 --> 01:07:36,520
Speaker 1: so we'll have how many hours of stuff by the

1277
01:07:36,640 --> 01:07:39,480
Speaker 1: end of a ten day hunt, four or five hours

1278
01:07:39,840 --> 01:07:41,800
Speaker 1: maybe of content clips?

1279
01:07:42,200 --> 01:07:44,520
Speaker 2: Oh yeah, easily easily six.

1280
01:07:44,440 --> 01:07:46,920
Speaker 1: Hours of content clips, and we have to carve those

1281
01:07:47,040 --> 01:07:51,720
Speaker 1: down to well, you know, at one time an hour video,

1282
01:07:52,160 --> 01:07:54,720
Speaker 1: people would sit down and watch an hour video. Nowadays,

1283
01:07:54,760 --> 01:07:56,960
Speaker 1: I don't it, man, it have to be so it

1284
01:07:57,120 --> 01:07:59,480
Speaker 1: have to be a spectacular film for people to be

1285
01:07:59,520 --> 01:08:01,560
Speaker 1: able to sit down through. I mean, you have so

1286
01:08:01,600 --> 01:08:06,280
Speaker 1: many distractions, so maybe forty minutes or less, you know,

1287
01:08:06,480 --> 01:08:10,440
Speaker 1: twenty to forty minute film. To hack down six hours

1288
01:08:10,520 --> 01:08:14,760
Speaker 1: into a meaningful twenty minute or forty minute film, yeah,

1289
01:08:16,320 --> 01:08:18,280
Speaker 1: it's daunting. It's a daunting task.

1290
01:08:18,880 --> 01:08:24,400
Speaker 3: It is, because it's you're editing six hours to three hours,

1291
01:08:24,479 --> 01:08:27,599
Speaker 3: and then you're going back again taking the three hours

1292
01:08:27,680 --> 01:08:30,880
Speaker 3: down to one and a half hours, and then you're like, oh,

1293
01:08:31,040 --> 01:08:33,479
Speaker 3: I got to keep cutting more out. So you're going

1294
01:08:33,560 --> 01:08:37,160
Speaker 3: through it several times just trying to figure out where

1295
01:08:37,200 --> 01:08:39,880
Speaker 3: do I stake out now? Yeah, you know, yeah, it's

1296
01:08:40,080 --> 01:08:40,679
Speaker 3: very daunting.

1297
01:08:41,120 --> 01:08:42,160
Speaker 2: Yeah. Yeah.

1298
01:08:42,160 --> 01:08:44,800
Speaker 1: If you watch some of our films, it's like, man,

1299
01:08:45,000 --> 01:08:47,000
Speaker 1: I would have loved to share the whole thing with you,

1300
01:08:47,160 --> 01:08:49,400
Speaker 1: but I don't. I think it takes a special person

1301
01:08:49,439 --> 01:08:51,360
Speaker 1: to want to set through an hour's worth of film,

1302
01:08:52,080 --> 01:08:54,599
Speaker 1: and and you know, maybe some of it's not meaningful

1303
01:08:54,880 --> 01:08:58,120
Speaker 1: to a particular viewer. So we try to cut out

1304
01:08:58,160 --> 01:09:00,559
Speaker 1: any kind of fluff, like don't try to put too

1305
01:09:00,640 --> 01:09:03,599
Speaker 1: much walking in there. We want to the film has

1306
01:09:03,640 --> 01:09:04,920
Speaker 1: to kind of tell you what's going on to it,

1307
01:09:05,000 --> 01:09:07,400
Speaker 1: because I don't really narrate my films. I want to

1308
01:09:07,560 --> 01:09:10,760
Speaker 1: I want the the what that what we captured to

1309
01:09:10,920 --> 01:09:13,360
Speaker 1: tell you what's going on. So we're hiking, we're bugling,

1310
01:09:13,400 --> 01:09:16,640
Speaker 1: we're moving towards elk, you know. So you have to

1311
01:09:16,720 --> 01:09:18,479
Speaker 1: leave a certain amount of that in so the day

1312
01:09:18,600 --> 01:09:22,360
Speaker 1: makes sense. But you can't make it too long to

1313
01:09:22,439 --> 01:09:26,680
Speaker 1: where it bores the viewers. Like all I've seen was

1314
01:09:26,760 --> 01:09:29,080
Speaker 1: like an hour of Dirk walking around bugling and he

1315
01:09:29,160 --> 01:09:31,760
Speaker 1: finally killed an elk. We have wanted to be more

1316
01:09:31,840 --> 01:09:34,559
Speaker 1: than that, so we have to cut out the fluff

1317
01:09:35,560 --> 01:09:38,599
Speaker 1: and and then just leave the good stuff.

1318
01:09:39,040 --> 01:09:40,600
Speaker 2: That's a lot of work, it is.

1319
01:09:42,280 --> 01:09:47,000
Speaker 1: But anyway, well man, thanks so much for coming on today, Dusty.

1320
01:09:48,320 --> 01:09:51,160
Speaker 1: If any of our viewers have questions they want to

1321
01:09:51,200 --> 01:09:55,200
Speaker 1: call in with or or email us with you can

1322
01:09:55,360 --> 01:09:59,639
Speaker 1: email us at c T D at Phelps game Calls

1323
01:09:59,680 --> 01:10:04,759
Speaker 1: dot com, or you can call into our super secret

1324
01:10:04,920 --> 01:10:08,559
Speaker 1: number that's right Wow. You call in, you leave a message,

1325
01:10:08,640 --> 01:10:12,080
Speaker 1: and the message can be three minutes or less. At

1326
01:10:12,080 --> 01:10:14,680
Speaker 1: three minutes the machine cuts you off. So if you

1327
01:10:14,800 --> 01:10:18,360
Speaker 1: call in, leave your message. The phone number is two

1328
01:10:18,479 --> 01:10:24,160
Speaker 1: zero eight two one nine seven seven zero one. Leave

1329
01:10:24,160 --> 01:10:26,240
Speaker 1: your question, we'll read it on the air and we'll

1330
01:10:26,439 --> 01:10:29,400
Speaker 1: answer it the best of our ability. As always a

1331
01:10:29,439 --> 01:10:31,640
Speaker 1: pleasure Dusty. I can't wait for a few weeks here.

1332
01:10:31,640 --> 01:10:34,599
Speaker 1: We're gonna be chasing off again. Thank you so much

1333
01:10:34,640 --> 01:10:35,479
Speaker 1: for coming on the show.

1334
01:10:35,520 --> 01:10:37,800
Speaker 2: Thanks for having me. Yeah, and how do people find you?

1335
01:10:38,520 --> 01:10:39,479
Speaker 2: I do have a website.

1336
01:10:39,640 --> 01:10:46,120
Speaker 3: It's called ddof Productions dot com, Great Duf Productions dot

1337
01:10:46,200 --> 01:10:49,360
Speaker 3: com and I'm also on Instagram d F Underscore Productions,

1338
01:10:50,560 --> 01:10:52,000
Speaker 3: So you can deem me there, or you can go

1339
01:10:52,080 --> 01:10:54,599
Speaker 3: to my website and con have a contact page.

1340
01:10:54,640 --> 01:10:55,640
Speaker 2: You can contact me through that.

1341
01:10:56,080 --> 01:11:00,479
Speaker 1: Great people need a video, Yeah, guy, the man there,

1342
01:11:00,560 --> 01:11:03,240
Speaker 1: you go. As long as I'm not using him, that's right.

1343
01:11:04,080 --> 01:11:07,960
Speaker 1: If I'm not using him, you can have him, all right,

1344
01:11:08,000 --> 01:11:09,360
Speaker 1: Thanks buddy, Thank you, buddy.