Speaker 1: Welcome back to another episode of Cutting the Distance podcast.
Speaker 1: This week, I'm your host Dirk Durham, and I have
Speaker 1: a special guest for you. It's my good friend and
Speaker 1: Slash videographer Slash meat packer, Slash, the guy that makes
Speaker 1: me look good on film. I mean, I don't know
Speaker 1: how good he looks, but he.
Speaker 2: Does his best. He does.
Speaker 1: It's not his fault though. My buddy Dusty Rupe. Welcome
Speaker 1: to the show.
Speaker 2: Dusty.
Speaker 3: Hey, thanks, Dirk. Glad to be here.
Speaker 1: So this episode, I want to talk about best practices
Speaker 1: for filming your own hunts or filming your friend's hunts.
Speaker 1: Every year we get questions and I don't have any
Speaker 1: specific ones lined up today, but these questions kind of
Speaker 1: come from memory that well I'll be asking today. You know,
Speaker 1: it seems to be pretty popular these days to film
Speaker 1: your hunt, whether you're a fledgling YouTuber you know, want
Speaker 1: to build a really cool channel and share share your
Speaker 1: hunts and your activities with everyone, or maybe you just
Speaker 1: want to film some stuff to share with your family
Speaker 1: and friends when you get home. And we want to
Speaker 1: kind of cover today some of the best practices to get,
Speaker 1: you know, the most out of your efforts. So Dusty,
Speaker 1: I'm gonna put you on the spot right off the
Speaker 1: bat to kind of tell you or tell our listeners
Speaker 1: about yourself and maybe your background and filming and how
Speaker 1: you got to be the filmer today.
Speaker 3: Oh man, okay, yeah, So I'm Dusty group how I
Speaker 3: got into filmmaking. Let's see, So I've always filmed, specifically hunting,
Speaker 3: ever says I started hunting, especially bow hunting. I started
Speaker 3: in two thousand and me and my buddies would just decided,
Speaker 3: we just want to start filming our hunts just for
Speaker 3: those memories. And it was probably not until twenty ten
Speaker 3: when there was three of us that hunted, so two buddies,
Speaker 3: me and my other buddy who hunted, and his brother
Speaker 3: would come along and he would do all the cooking,
Speaker 3: and he'd hike with us and do some calling and
Speaker 3: just have fun. Well he would do the filming as well,
Speaker 3: so he would film us to hunt. And in twenty
Speaker 3: ten he couldn't be there, so I picked up the
Speaker 3: hunting slack. I thought we still got to keep this going.
Speaker 3: So I bought these little tiny cassio pocket cameras. If
Speaker 3: I don't know if you remember those, but they're just
Speaker 3: not much of a zoom or anything on them. They're
Speaker 3: just a handheld push a button to record, and that's it.
Speaker 1: Did it come with a hat? Did it come with
Speaker 1: a matching calculator?
Speaker 2: Watch? It should have. It looked like a calculator.
Speaker 3: It's about the size of a calculator and you just
Speaker 3: fit it right in your pockets. Super easy to carry around.
Speaker 3: But it filmed, which was pretty cool at that time.
Speaker 3: And yeah, so carried those around and I got that
Speaker 3: home and I was like, you know what, I'm going
Speaker 3: to start editing these because we hadn't edited anything. My
Speaker 3: buddy had the camera and he just recorded and put
Speaker 3: it away, and I thought, this is not good because
Speaker 3: I'm not seeing any of this fun footage. And so
Speaker 3: I started editing them and making DVDs and just having
Speaker 3: a good time doing that, and it just kind of
Speaker 3: just started really starting the fire within me to want
Speaker 3: to do more. So it was about twenty fifteen twenty sixteen,
Speaker 3: right in there is when I was sitting in my
Speaker 3: cube and I was thinking, Man, I got it. There's
Speaker 3: got to be more to life than just sitting in
Speaker 3: a cube for nine plus hours a day. And I thought,
Speaker 3: I need to figure out what I want to do
Speaker 3: with my life, and I started going through this test
Speaker 3: that was actually I found this test online and said
Speaker 3: something about like bow Hunter's Guide to Changing Careers.
Speaker 1: I think I took that same test. You know what,
Speaker 1: I told me I should do what they said, I
Speaker 1: should be a pig farmer.
Speaker 2: Nice.
Speaker 1: I don't know a thing about pigs except I like bacon. Okay, sorry, no,
Speaker 1: it's good.
Speaker 3: So I took this test is basically you just it
Speaker 3: just took you through a whole list of questions on
Speaker 3: you know, what are your favorite things to do in life?
Speaker 3: And it didn't matter whether you thought you could make
Speaker 3: a career out of them or not. That just made
Speaker 3: you list everything you like to do. And basically from
Speaker 3: that it started chopping things away. And my last two
Speaker 3: things on the list ended up being videography and hunting.
Speaker 3: And so I said to myself, that's it. I'm just
Speaker 3: going to start doing that. I don't know how I'm
Speaker 3: going to do that, but I'm going to start doing it.
Speaker 3: And long story short, it's a pretty long story of
Speaker 3: how the rest of that came to be. But so slowly,
Speaker 3: over time, I started buying video cameras, a better video camera, audio,
Speaker 3: all that stuff, and just started learning how to be
Speaker 3: better at videography. And in twenty seventeen, another long story,
Speaker 3: but we moved to Boise from Colorado, and I still
Speaker 3: had the dream of doing videography for a living, but
Speaker 3: was still working a cube job and just trying to
Speaker 3: figure it out, and thought I was gonna have to
Speaker 3: go through the YouTube route. And I was planning on
Speaker 3: doing that, starting up a YouTube channel and just showing
Speaker 3: films and showing haunts. And I got laid off from
Speaker 3: my job in twenty nineteen and I was following this
Speaker 3: guy named Dirk Durham on Instagram, and during that time,
Speaker 3: he posted a Instagram message saying he was looking for
Speaker 3: a camera guy, and he had a whole listing of
Speaker 3: funny things that he was looking for. And I had
Speaker 3: been watching this guy, Dirk Durham as I'm staring at
Speaker 3: him now, watching him him on YouTube, watched him hunt
Speaker 3: with the Bro crew and all that, and I always
Speaker 3: thought to myself, man, that guy's funny. I think I
Speaker 3: could get along with that guy pretty well.
Speaker 2: Well.
Speaker 3: Here he is asking for a camera guy, and I
Speaker 3: thought to myself, man, that would be so awesome to
Speaker 3: be his camera guy. But I didn't think I had
Speaker 3: a chance because I didn't really have any experience with
Speaker 3: than just my own hunts, and I thought, with his
Speaker 3: connections and all that he's going to want somebody who
Speaker 3: has been in the in the production side of things
Speaker 3: for a while. But my family said, hey, you might
Speaker 3: as well. You might as well do it, and I said,
Speaker 3: you know, you're right, I should just at least he'll
Speaker 3: know I'm alive and I exist.
Speaker 2: You'll see a video.
Speaker 3: So I put a video together, sent it to him.
Speaker 3: Didn't think i'd probably get anything back from it, and
Speaker 3: probably think it was A week maybe later, I got
Speaker 3: an email saying that he was coming through Boise and
Speaker 3: he wanted to have lunch with me, and that's where
Speaker 3: it started and rest his history. Really met you for
Speaker 3: lunch and hit it off.
Speaker 2: Yeah, yeah, so that was awesome.
Speaker 1: It's funny about that little ad I kind of put out.
Speaker 1: You know, I have had some pretty specific things I
Speaker 1: said that were kind of like tongue in cheek, a
Speaker 1: little bit kind of funny. You know, you had you
Speaker 1: had not You couldn't be afraid of beers or bears,
Speaker 1: you couldn't be a poopy pants, you know, you couldn't
Speaker 1: be somebody's got a crappy attitude.
Speaker 2: And then a few other things.
Speaker 1: But I did not really say what kind of a
Speaker 1: film I wanted you to make, just like send me
Speaker 1: a quick short film of about you and what you do. Yeah,
Speaker 1: And so I didn't put any guardrails, any training wheels
Speaker 1: on this thing at all. That I figured, like, let
Speaker 1: the creativity speak for itself from people who want to
Speaker 1: send me stuff. And some people they sent me videos
Speaker 1: like Hey, my name's ex. You know I do this stuff.
Speaker 1: I love hunting, I love the outdoors, and just kind
Speaker 1: of a generic like interview video which was pretty good.
Speaker 1: But Dusty put together like the next level type of film,
Speaker 1: Like it was like so well scripted, and like he
Speaker 1: checked all the boxes that I that I wanted, that
Speaker 1: I didn't even know I wanted until I watched him,
Speaker 1: Like this guy, this is exactly what I want. This,
Speaker 1: this guy is exactly what I want. He knew how
Speaker 1: to he used a high quality camera. It was beautiful footage,
Speaker 1: The storyline was beautiful, it was great. He got he
Speaker 1: captured some really great shots, you know, showed creativity and
Speaker 1: and mastering of the camera, and you know, he he
Speaker 1: knew he hit me hard. You know, he hit me
Speaker 1: with every town. Now and then as as he would
Speaker 1: talk a little bit, it would flash to like like
Speaker 1: movie quotes, like he'd have a little snippet out of
Speaker 1: a movie. And it was beautiful. It was it was
Speaker 1: an amazing little little short film production. I was like,
Speaker 1: this is the guy, this is the guy. I gotta
Speaker 1: go meet this guy. See if he's in for real,
Speaker 1: Like this can't this can't be true. So went and
Speaker 1: had lunch with Dusty and he's he's the real deal man.
Speaker 1: He's he's a quiet, soft spoken gentleman, but he has
Speaker 1: a wit that's very quick and very hilarious. But see,
Speaker 1: sometimes you don't always pick it up unless he you know,
Speaker 1: But every now and then he'll just like interject something
Speaker 1: like that's so funny. It just kills me. And that's
Speaker 1: what I love about him. And one part in the
Speaker 1: video is he had a snippet from I can't remember
Speaker 1: if it was from wedding Crashers or whatever, and Vince
Speaker 1: Vaughnson like, I'm not a talker. I'm not a talker
Speaker 1: because he's you know, he don't. I think that was
Speaker 1: one of the things I didn't want a chatty patty. Yes,
Speaker 1: if anyone knows me very well, I don't like to
Speaker 1: talk a lot before I don't know, nine o'clock, ten o'clock.
Speaker 1: It just takes my mind a while to wake up,
Speaker 1: you know, in the morning, and I'm just half brain
Speaker 1: dead down the middle of the day most of the time.
Speaker 1: So I was just like, this is perfect. But then
Speaker 1: as we started hunting and started filming, I was like, man,
Speaker 1: I thought you could talk a little bit more if
Speaker 1: you Then I was afraid he was afraid to talk,
Speaker 1: because the man's not a talker.
Speaker 2: He's not.
Speaker 1: But when he does talk, it's it's always of good substance.
Speaker 1: It's not like gibberish or nonsense. It's always really good stuff.
Speaker 1: So he's accompanied me since twenty nineteen on my elk
Speaker 1: hunts filming them. We've had some really awesome ones. We've
Speaker 1: had some rough ones. He's never complained a bit. It's
Speaker 1: always had a smile on his face, always been pretty
Speaker 1: lighthearted and always keeps me, keeps me going too, So
Speaker 1: I always appreciate that. And one of these days I'm
Speaker 1: gonna get to call you a bowl and you'll kill it.
Speaker 1: And twenty twenty twenty twenty. Then we tried hard, you know,
Speaker 1: A hundred was with Dusty and his son Easton, and man,
Speaker 1: we had some pretty close encounters and almost got it done.
Speaker 1: But one of these days it's gonna happen. It's going
Speaker 1: to be able to return the favor for all your
Speaker 1: hard work, and hey, maybe be able to call in.
Speaker 2: A bowl for you.
Speaker 3: So that'd be awesome.
Speaker 1: Anyhow, So that's Dusty's backstory, and then talk a little
Speaker 1: bit more. Now fast forward to twenty twenty three, and
Speaker 1: we got Dusty roups starting a production company. Correct, correct,
Speaker 1: what do you call your production company? Yeah, it's Depth
Speaker 1: of Field Productions, Depth of Field Depth of Field Productions. Yeah,
Speaker 1: so that's kind of a delicious little name, you know,
Speaker 1: kind of you know, leveraging videography, photography. So tell us
Speaker 1: about what all you're doing now.
Speaker 3: Just starting this business, filmmaking business and kind of specializing
Speaker 3: in brand storytelling is the idea and which is just
Speaker 3: another type of video marketing where we basically work with companies,
Speaker 3: small businesses, different brands that to help them develop a
Speaker 3: more emotional and deeper connection with their target audience through
Speaker 3: the power of storytelling. And we do that We choose
Speaker 3: story as our format because we believe that story just
Speaker 3: has is the most effective way at driving and impact,
Speaker 3: whether that impact is influencing buying behavior, or increasing of
Speaker 3: perceived value, or spreading an idea or something like that.
Speaker 3: So story is how humans connect with each other, whether
Speaker 3: you're talking around the water cooler or whatever. You know,
Speaker 3: you talk to somebody say how is your weekend, and
Speaker 3: a lot of times they'll go into a story about
Speaker 3: their weekend, right, And if it's something you relate with,
Speaker 3: you connect with that person at a deeper level. And
Speaker 3: it's a story. Story you just remember, You remember things
Speaker 3: a lot better through story.
Speaker 2: So that's kind of.
Speaker 3: Our our thing that we're trying to do, is just
Speaker 3: do it through story.
Speaker 1: I love that, Yeah, And it's I think using that
Speaker 1: kind of format is is so important. It just really
Speaker 1: lets you know the customers connect to the companies. You
Speaker 1: see it in outdoor space, you see it in other
Speaker 1: places where people once they understand and see other people's backstories,
Speaker 1: they're like, I like I like that that company, or
Speaker 1: like that guy or like that gal.
Speaker 2: I want to support them.
Speaker 1: And it's good to get people's individual stories out because
Speaker 1: sometimes you know, everything is so high tech these days
Speaker 1: and everything so fast moving kind of gets lost in
Speaker 1: the shuffle. I know, in my past life, my past career,
Speaker 1: you know, worked in retail or for a big tire
Speaker 1: company and building relationships with large accounts. You know, that
Speaker 1: was my one of my main fortes. And you know,
Speaker 1: when people are spending hundreds of thousands of dollars a
Speaker 1: year on tires for their fleet, they usually want to
Speaker 1: spend with the people and do business with the people.
Speaker 1: They've built a relationship with people, They trust, people, they
Speaker 1: like people that bend over backwards for them. They love
Speaker 1: to support those kind of people. It's not always bottom
Speaker 1: line price, right. They might have paid a little bit
Speaker 1: more sometimes for their for whatever they're paying, but they
Speaker 1: know the people that are getting it to them aren't
Speaker 1: going to leave them there holding the bag, or they're
Speaker 1: always going to be there to take care of them
Speaker 1: if they need anything. So I think that that building
Speaker 1: relationships and and it's important by telling people's stories or
Speaker 1: company stories.
Speaker 2: So I love that. Yeah, thank you.
Speaker 1: So if we fast forward from that kind of idea, so,
Speaker 1: you know, for for aspiring filmmakers now listening to this podcast,
Speaker 1: try to identify maybe the storyline within you know, your hunt. Okay, okay,
Speaker 1: every year it's going to be L hunting, right, we're
Speaker 1: going L hunting. But maybe there's an underlying story, like
Speaker 1: maybe this is a special place that your dad hunted
Speaker 1: and taught you had hunt. Maybe this is a place
Speaker 1: Grandpa used to take you. Maybe maybe you're hunting mentors
Speaker 1: not no longer around, and you want to you want
Speaker 1: to you want to talk about them and then you know,
Speaker 1: pay your respects through hunting and dedicate the hunt to them,
Speaker 1: and then all the little nuance that goes around with that.
Speaker 1: Maybe during the hunt, something really bad happens and you
Speaker 1: have to like recover, you know, maybe you wreck your car,
Speaker 1: maybe you hurt yourself. Maybe something happens to where it's
Speaker 1: completely out of character for the storyline for the for
Speaker 1: the hunt, and maybe the story you thought you had
Speaker 1: is immediately changed by this new story. You know that,
Speaker 1: don't don't take that for granted, like capitalize on that
Speaker 1: and you know, kind of spin that into your in
Speaker 1: your storyline of your hunt. Sure, it's always it's just
Speaker 1: it's just Dell cutting, right, It's like how many how
Speaker 1: many different ways can you slice it?
Speaker 2: Dice it?
Speaker 1: Like we get in the truck, we go out to
Speaker 1: the woods, We get out, we hike around, we bugle,
Speaker 1: We try to find an elk and kill it right and.
Speaker 2: Hack it out.
Speaker 1: But there's a lot deeper story sometimes or some little
Speaker 1: things that kind of go along there. They're there that
Speaker 1: make the that make the film more impactful. Right, So
Speaker 1: going back to like when we first hunted together, let's
Speaker 1: think about like some some things that or maybe not
Speaker 1: even hunting together, maybe when you first start filming. Let's
Speaker 1: say that when you first start filming, some things that
Speaker 1: maybe you just talk took for granted that you're like, Okay,
Speaker 1: I just got this camera. All I got to do
Speaker 1: is turn on, turn the power on, and push the
Speaker 1: button and start recording, and it's going to be awesome.
Speaker 1: It's gonna turn out awesome. Where are some things that
Speaker 1: might you might have took for granted that maybe went
Speaker 1: wrong that it's like, oh, I really need to do this,
Speaker 1: and I need to do this to like capture better footage.
Speaker 3: Yeah, so probably start back when I bought those cassio cameras.
Speaker 3: You know, my thought when I bought them was I
Speaker 3: just wanted something quick and easy to put in my pocket.
Speaker 3: Take out hit record, which it did its job.
Speaker 2: It was perfect for that.
Speaker 3: But I took for granted the idea of, well what
Speaker 3: about the audio? What about when that out comes in?
Speaker 3: You know it, you know, sixty seventy yards, but you
Speaker 3: want to get closer, you want to zoom in. That
Speaker 3: little hand camera does not zoom in, and so I'm
Speaker 3: left with this really tiny footage of this elk in
Speaker 3: the trees that you can hardly see. So having a lens,
Speaker 3: you know that you can zoom in and get a
Speaker 3: little closer.
Speaker 2: You know.
Speaker 3: That's that kind of stuff I took for granted at
Speaker 3: the beginning. Didn't think through any of that. I don't
Speaker 3: even think I thought through storage capacity. You know, how
Speaker 3: much space is this going to take for a week
Speaker 3: long hunt if I'm constantly recording, you know, can I
Speaker 3: can I get everything that I need to capture on
Speaker 3: that one little hard drive. All I thought about was
Speaker 3: lightweight and easy to put in my pocket.
Speaker 1: I think a lot of people think that, you know,
Speaker 1: like today, you know, everybody gets the GoPro right. This
Speaker 1: thing's easy. It takes amazing footage, YadA YadA, but it
Speaker 1: does have its limitations, like you can zoom with it.
Speaker 1: Sometimes the audio is not the best, but I think
Speaker 1: it has capabilities where you can do remote audio with
Speaker 1: GoPro now, But still you have some limitations. So maybe
Speaker 1: the right camera for the right occasion, Like maybe you
Speaker 1: use it GoPro, but you're using it for your b roll,
Speaker 1: your tricky shots where you can't get a normal camera steady.
Speaker 1: Maybe for walking, Maybe it's putting it into precarious places.
Speaker 1: You're walking along a cliff, you can put that thing
Speaker 1: right down by your feet and easily walk along the
Speaker 1: cliff and get some good shots like that. Just I
Speaker 1: think like the most creative part can come with a
Speaker 1: little small camera that doesn't zoom like that. But like
Speaker 1: you said, it has its limitations.
Speaker 2: It does. So what did you do after that? Yeah?
Speaker 3: I was After that is when I decided, Man, you know,
Speaker 3: I love doing this and I need to like I
Speaker 3: need to learn. I just basically need to learn, like
Speaker 3: what what cameras are out there and how much they cost,
Speaker 3: and you know, how do you how do you get
Speaker 3: great shots with the zooming with good audio? You know
Speaker 3: who what brands are good. So it's just a lot
Speaker 3: of research just on the computer, googling and reading a
Speaker 3: lot and watching videos a lot and just digging in
Speaker 3: to all that. I would make spreadsheet lists of different
Speaker 3: camera brands and audio brands, and I would like write
Speaker 3: down all the goods of each one and try to
Speaker 3: compare and all that.
Speaker 2: I think they call that geeking. I was geeking out,
Speaker 2: Yeah for sure. I think you have to a little bit. Yeah,
Speaker 2: yeah for sure.
Speaker 3: And you know, I mean, my my background is it
Speaker 3: so I I kind of have that geeky side of me.
Speaker 3: Likes compute stuff and it stuff, so so it was
Speaker 3: pretty easy for me to dig in. And I do
Speaker 3: like researching things too, so it all came together.
Speaker 2: Once you start figuring out what you wanted.
Speaker 1: Now, like picking out a camera is tough because there's
Speaker 1: a lot of great brands, whether you're Team Cannon, Team Sony,
Speaker 1: Team Panasonic, Panasonic, team Nikon, like your team Panasonic, And
Speaker 1: that's kind of real common camera in our in our world,
Speaker 1: in the hunting world. When you first told me what
Speaker 1: you're using, like, so what now? But the footage proof,
Speaker 1: you know, is the proofs in the pudding, right, all right,
Speaker 1: it's a great camera that the quality of the footage
Speaker 1: has been really good. Yeah, really enjoy it. I think
Speaker 1: there's always a trade off, like one cameras really well
Speaker 1: with this, but maybe the other camera lacks this but
Speaker 1: does really good with that.
Speaker 2: I think they all have kind of shared those kind
Speaker 2: of similarities to do.
Speaker 3: Yeah, especially now. But yeah, at the time, I was
Speaker 3: really looking at both Sony and Panasonic at the time,
Speaker 3: and it was a tough it was tough trying to decide.
Speaker 2: But what for me, what hit it was.
Speaker 3: The Micro four thirds brand of camera is lighter weight camera.
Speaker 3: So I still wanted that lighter weight feel because I knew,
Speaker 3: you know, packing weight around is detrimental, especially if you're
Speaker 3: gonna end up getting one and you got meat too,
Speaker 3: plus all the camera gear. Like I was just thinking,
Speaker 3: I don't I don't want to have to deal with
Speaker 3: extra weight if I don't have to. So like that
Speaker 3: was the stuff I was putting in the in the
Speaker 3: spreadsheet as well, is how much do these things weigh
Speaker 3: and comparing that, and so Panazid really won out on
Speaker 3: that side of it with the lenses are smaller, and
Speaker 3: and then the weather built of it at the time
Speaker 3: was better than Sony. It did good in rain and
Speaker 3: all that kind of stuff. So I thought, if I'm
Speaker 3: gonna hunt. If I'm gonna film hunts, you know, I
Speaker 3: need to be ready for the cold, the rn, the rain,
Speaker 3: the dust, and I want everything to be sealed pretty well.
Speaker 3: I want my camera to last in those elements. So
Speaker 3: that's why I went with Panasonic. I knew they had
Speaker 3: bad auto focus, but I thought probably I don't know
Speaker 3: how much I would use autofocus or not during a hunt.
Speaker 3: I had no idea at the time, and thankfully for me,
Speaker 3: I feel like you should manual focus when you're on
Speaker 3: a hunt, so absolutely that's that's the route I go anyway,
Speaker 3: So I don't really need the auto focus, you know.
Speaker 3: Of course, it would come in handy in times when
Speaker 3: you're doing these b roll type stuff. You could maybe
Speaker 3: do some focus grabbing and keep keep on the feet
Speaker 3: of the hunter walking and stuff like that. A little
Speaker 3: easier with a with a good auto focus. But anyway,
Speaker 3: that's why I went with Panasonic. And yeah, like you said,
Speaker 3: it's been a great camera. It's the footage is amazing.
Speaker 3: Has not done me wrong yet.
Speaker 2: So the color profile is amazing with that camera.
Speaker 1: I feel like Sony, their color is really hard to
Speaker 1: color grade, and sometimes some of them even falls apart
Speaker 1: a little bit if you depending on what mode you're
Speaker 1: filming in. Yeah, that auto focus, I want to talk
Speaker 1: a little bit of that about that for the aspiring filmmakers.
Speaker 1: You know, auto focus is a slippery slope. First, I
Speaker 1: feel like for some occasions it's acceptable, but for a
Speaker 1: lot of occasions you just you just can't even can't
Speaker 1: even do it.
Speaker 2: You cannot use it.
Speaker 1: For instance, so maybe if you're walking along and you're
Speaker 1: doing some b roll stuff and you know you're moving
Speaker 1: a lot or what, maybe your autofocus would be be
Speaker 1: okay to use it those times, or maybe just a
Speaker 1: quick interview.
Speaker 2: But when you're you're.
Speaker 1: Talking about calling in an elk and you're all set
Speaker 1: up and the elk comes in, especially in low light conditions,
Speaker 1: that can play heck with with a with an auto
Speaker 1: focus because as the as the ball starts walking into
Speaker 1: frame and it starts moving, auto focus you can you
Speaker 1: can touch the touch the screen and say, okay, focus
Speaker 1: on that elk. But as it moves through the frame,
Speaker 1: sometimes good old mister auto focus gets confused and it's like,
Speaker 1: I know you wanted me to focus on the elk,
Speaker 1: but there's a really cool branch right here that I
Speaker 1: really it's not moving, I'm gonna just go ahead and
Speaker 1: focus on that, and it can really foul up the
Speaker 1: shot at the most critical time. So one thing I
Speaker 1: think we found that and you can speak to this,
Speaker 1: is setting up the camera to where maybe you don't
Speaker 1: have as much blur in the background. What do you
Speaker 1: call that the depth of field? Now we're starting to
Speaker 1: now we're starting to come full circle. So without having
Speaker 1: so much depth of field, you can maybe make it
Speaker 1: easier to manually focus and everything's in focus instead of
Speaker 1: just like a portion whatever you're like really dialed in on,
Speaker 1: whether it's the elk or maybe a tweety bird in
Speaker 1: a in a tree or whatever. And what do you
Speaker 1: think is the best way to accomplish that? How do
Speaker 1: you what what are the camera settings that you get
Speaker 1: that you change to do that.
Speaker 3: Aperture So your lens goes to like some lenses go
Speaker 3: to one point eight, one point four or two point eight,
Speaker 3: it's pretty common. You just increase the aperture up to
Speaker 3: you know, three four five f stop. That'll start making
Speaker 3: the stuff in the background and foreground coming to focus
Speaker 3: along with your your subjects. So you don't have to
Speaker 3: worry as much about You're just that subject being in
Speaker 3: the in focus.
Speaker 1: Right, and as you change that, other things change too, Right,
Speaker 1: you're is s O and all the what what's ISO
Speaker 1: for the folks who don't even.
Speaker 3: Know, Oh, it's basically how the light comes in or
Speaker 3: out of the lens, how much light it takes in.
Speaker 3: So you kind of open that up or close it
Speaker 3: down a little bit, so you can control your ISO
Speaker 3: a lot on these run and gun hunts, because you'll
Speaker 3: be in the shade, then you'll be in the sun,
Speaker 3: then you'll be in the shade, then you'll be in
Speaker 3: the sun. So my thumb is on the ISO wheel
Speaker 3: that I have set up on my camera, so I
Speaker 3: can move that quickly as we were moving. Plus I
Speaker 3: have indie filter as well. It's kind of another way
Speaker 3: of controlling that sun. But between the two of those.
Speaker 1: Right, and if we want to air high or low,
Speaker 1: do you want to air on like a bright blown
Speaker 1: out picture, or do you want to air on like
Speaker 1: maybe a little darker air on the darker side, as
Speaker 1: we can always add, yeah, blown out, you can't get
Speaker 1: that back, yeah, because you lose all your color, you
Speaker 1: lose all your shadows and shading, whereas if it's a
Speaker 1: little bit darker, you can add on some light and
Speaker 1: post process to where it's still not totally shot correct.
Speaker 2: Yep, yeah, it is tricky.
Speaker 1: Like so by putting it on on auto ISO, if
Speaker 1: you don't set your parameters right on your AUTOWISO, as
Speaker 1: the evening gets darker and the shadows grow dark longer
Speaker 1: and you're starting to lose light, that AUTOWAISO may just
Speaker 1: jack itself way up to where it's like in your
Speaker 1: little screen you're like, oh yeah, I can still see
Speaker 1: what's going on, but when in post production you're like,
Speaker 1: oh my gosh, this is like so blown out. It's
Speaker 1: just horrible and grainy. Right, it's too bright, too grainy,
Speaker 1: and the images just fall apart. So if you're going
Speaker 1: to use auto ISO, put some better guardrails on, put
Speaker 1: in some commands where don't let it go above a
Speaker 1: certain amount, maybe in below a certain amount, or if
Speaker 1: you want to the ultimate control, you want to adjust
Speaker 1: that throughout the hunt on manual manual.
Speaker 2: Yep, Okay, that.
Speaker 1: Seems that's all. That's a mouthful. That seems like a
Speaker 1: lot like right there. Some folks would be like, oh man,
Speaker 1: that's that sounds a lot more complicated that I want
Speaker 1: to than I really want to do. But cap getting
Speaker 1: those good shots that are they're usable and and are
Speaker 1: going to look good. There's a little bit to it.
Speaker 1: So it's not simply you just pick up your camera
Speaker 1: and today and then tomorrow. It's like, hey, let's go
Speaker 1: film and elkin. You got to put in a little
Speaker 1: bit of time with it in the off season. So
Speaker 1: maybe that's filming your dog, it's uh, you know, filming
Speaker 1: your kids, maybe going to the local park or you
Speaker 1: know filming.
Speaker 2: Maybe that might get weird. People might brown on your
Speaker 2: filming them at the park over there. Weirdo. But you know,
Speaker 2: there's there's a lot of places.
Speaker 1: My son he wanted to get into videography and photography,
Speaker 1: and I said, well, he's like, I don't know what
Speaker 1: I should I'm like, well, he has cats. He has
Speaker 1: a couple of cats, like film your cats. So he's
Speaker 1: been following his stupid cats around filming him. And one
Speaker 1: of them is his male cat. His name is Vesuvius,
Speaker 1: like mount.
Speaker 2: They call him. But anyway, he followed that.
Speaker 1: Cat around, took all sorts of great pictures and took
Speaker 1: some little video clips and he put together a little
Speaker 1: silly video of Vasouve being being a cat, but it
Speaker 1: kind of twisted it to to like a darker theme,
Speaker 1: like like he was a bad, bad kiddie.
Speaker 2: But be creative.
Speaker 1: I'm you don't have to have an elk hunting. You
Speaker 1: don't have to have an elk hunt to like have
Speaker 1: your subject matter to film. Pick something common that's close
Speaker 1: to you. Common is great because then you really have
Speaker 1: to like think about ways of being creative to get
Speaker 1: different angles and stable shots. And back to that storyline,
Speaker 1: how do you want people? How are you gonna get
Speaker 1: people like Vassouve but ol Vesuvius, I mean, he's a cat.
Speaker 1: Some people aren't cat people. I mean you think I'm
Speaker 1: a cat person, but you yeah, I'm not a cat person.
Speaker 1: Dusty keeps thinking, I am.
Speaker 2: I saw it. You were petting my cat earlier. My
Speaker 2: wife's cat. Stupid cat.
Speaker 1: My wife gets a cat at his name's Olof. She
Speaker 1: gets the cat for her. Guess what, Olof loves me?
Speaker 2: Well, not leave me alone. That's how cats are they.
Speaker 2: They love people that hate cats. That's true.
Speaker 1: Okay, Sorry, we'd kind of derailed there a little bit there.
Speaker 1: Cat stories. Okay, so I mentioned stability when you're you're
Speaker 1: trying to maybe make some films around the house or
Speaker 1: in your in your community or whatever. Stability. Do you
Speaker 1: need a big tripod, heavy tripod? Should you handhold? Should
Speaker 1: you use a monopod? It's very popular use a monopod.
Speaker 1: What have you found for running gunell cutting?
Speaker 2: Like you and I do? What have you found that
Speaker 2: works best? Maybe?
Speaker 1: And I feel like it's like there always the unachievable thing.
Speaker 1: You're always looking in my mind. It's like if we
Speaker 1: could only have this, do a little better of this,
Speaker 1: or if we it's like how do you get there?
Speaker 2: Though?
Speaker 1: Yeah, that stable image is what is paramount. Great great
Speaker 1: stable image and great audio is super important. Right What
Speaker 1: are you doing to get your stable shots?
Speaker 2: Dusty?
Speaker 3: Yeah, I don't always get stable shots. So for me
Speaker 3: with the Panasonic I have, it doesn't even have embody
Speaker 3: stabilization in the camera. It does in the lenses, so
Speaker 3: I get a little bit there.
Speaker 2: But yeah, it's it's.
Speaker 3: Although hard, it's soft stepping, which can be very difficult
Speaker 3: in the woods, especially when you're chasing the elk. Sometimes
Speaker 3: I when we're chasing an elk, I don't even worry
Speaker 3: about it. I'm just like, this is what it feels like.
Speaker 3: It's like, go on the ride. Yeah, you're going for
Speaker 3: a ride. I'm not stopping the record button. Oh, we're
Speaker 3: gonna just film it. We cut out what we want.
Speaker 3: But so there's a lot of post production stuff. We
Speaker 3: use the stabilization in that if we can. Sometimes that
Speaker 3: warps things, so it doesn't always work. But there are
Speaker 3: some good cameras. Cannon has a really great camera with
Speaker 3: great I think five access stabilization in the body.
Speaker 2: That does a really good job.
Speaker 3: So if that is like a high priority for you,
Speaker 3: then you know that'll be something you want to look
Speaker 3: at in a camera I do. I have gone the
Speaker 3: monopod route with a full monopods stick, and I still
Speaker 3: have a monopod now, but it's a little shorter one
Speaker 3: that I can expand out, so I can keep it
Speaker 3: very short and keep three points. I have too both
Speaker 3: hands on both sides of my camera and the monopod.
Speaker 3: Sometimes I'll keep it on, you know, I'll angle it
Speaker 3: straight into my chest or down into my waist and
Speaker 3: have that support there and get my stabilization from that.
Speaker 3: So a three point of contact is always the best
Speaker 3: way to get the most stable. I've also found, just
Speaker 3: most recently with just not doing l hunts, but just
Speaker 3: doing other videography stuff. Kind of the more weight you
Speaker 3: have with a camera kind of helps with stabilization because
Speaker 3: you can't move it. You can't get those slight wobbly
Speaker 3: movements with your hands because the weight of it there
Speaker 3: kind of helps stabilize itself in your hands. So you
Speaker 3: get a little bit more smoother shots that way. So
Speaker 3: if you can weaight up your camera a little bit more,
Speaker 3: that can also help in stabilizing stuff.
Speaker 1: So yeah, now David Frame followed me around last year
Speaker 1: in Utah to film and l count for me. You
Speaker 1: were unavailable, you were up counting yourself with Easton. But anyway,
Speaker 1: David Frame, he was one of those cannons that's got
Speaker 1: the amazing stabilization and his camera's big, it's heavy, he's
Speaker 1: got he's got the what do you call it's got
Speaker 1: the extra battery capacity.
Speaker 2: In it, like a vmount.
Speaker 1: The battery it's the one that's underneath its hooks and yeah,
Speaker 1: what did they call it?
Speaker 2: The grip? The grip? They call it a grip.
Speaker 1: You know, he's got a bigger grip with double batteries,
Speaker 1: so so you get better battery life. And it's it's heavy,
Speaker 1: but he hand holds uh most of the time, and
Speaker 1: it's crazy to see the difference he's handheld for us
Speaker 1: in the past with our Sony, and it's an A
Speaker 1: sixty six hundred Sony, and the stabilization on it's okay,
Speaker 1: it's not great. The stabilization on that cannon, it's it's
Speaker 1: amazing night and day difference.
Speaker 2: And then just film.
Speaker 1: Quality, yeah, way better, way better. But when you're looking
Speaker 1: at price tags, the price goes up, so you know,
Speaker 1: the Sony it's pretty affordable. It's expensive, but pretty affordable.
Speaker 1: That Canon is the next level up. So but if
Speaker 1: you watch Dave film, he'll fold his he'll hold it
Speaker 1: with both hands and he'll fold both elbows in and
Speaker 1: embrace him on his chest and he will hold very still,
Speaker 1: very form, even with all that stabilization capabilities, he'll hold
Speaker 1: and then he'll make fluid motions. He won't make jerky
Speaker 1: motions like quick jerky motions. He'll make fluid, slow, fluid
Speaker 1: motions to where it lends itself to better, better quality,
Speaker 1: without less without as much shaking.
Speaker 2: So that's good.
Speaker 1: Now audio too, we talked about how audio is so important.
Speaker 1: There's lots of ways to get good audio these days.
Speaker 1: There is there's external microphones, there's lav mics if you will,
Speaker 1: there's just the shotgun mic do you put on your camera?
Speaker 1: What do we do for our hunts?
Speaker 3: Yeah, we mostly do our shotgun mic on the camera
Speaker 3: and we go with either road or deity microphones.
Speaker 1: So Deity, yeah, whatever time I hear that or see that.
Speaker 1: You ever watched that movie Conan the Destroyer? You ever
Speaker 1: watch that? At the end, then there was that big statue.
Speaker 1: They put the weird horn on it on its head
Speaker 1: and it started to coming to life, and I think
Speaker 1: it was a deity of something right, and then to
Speaker 1: save the world he went over there and ripped that
Speaker 1: horn off that things head different in.
Speaker 2: All right, Okay, sorry, we went down.
Speaker 1: It's a great film. Look it up, Conan the Destroyer
Speaker 1: and it's you know, it's it's a sequel to Conan
Speaker 1: the Barbarian, which is pretty good too. I mean, if
Speaker 1: you like sword play, yes, if you're a sword play
Speaker 1: nerd like me and big Arnold Arnold fan anyway, sorry,
Speaker 1: so okay, Deity or a road mike, shotgun mic?
Speaker 2: What do you like about him?
Speaker 3: Just I mean the quality is it's the they're the best,
Speaker 3: I would say, and and there lightweight. They can pick
Speaker 3: up sound bull elk bugling, you know, hundreds of yards
Speaker 3: away it can it can hear it usually, So yeah,
Speaker 3: I mean they just have not done me wrong either.
Speaker 3: One of those brands just very crystal clear sound. The
Speaker 3: only time it'll do you wrong is if you are
Speaker 3: too close to the bugler when he bugles. That can
Speaker 3: cause blowout, so you got to watch that.
Speaker 1: But what I like about that deity for when I'm bugling,
Speaker 1: and when I'm not bugling, it's got a knob on
Speaker 1: the side, which so it's like, oh, Dirk's gonna bugle.
Speaker 1: You turn it down so it doesn't blow the audio out.
Speaker 1: As soon as I'm done, you turn it back up
Speaker 1: to where it was. Yes, I think that's a cool
Speaker 1: important thing.
Speaker 2: Is a very good good feature.
Speaker 3: Yeah, especially if Yeah, for those situations it's huge. You
Speaker 3: just got to remember turn it back up. Sometimes you
Speaker 3: turn it down. He bugles, and I know with you
Speaker 3: there's going to be a sequence, probably a bugling. So
Speaker 3: I'll just leave it down and you'll do your sequence
Speaker 3: and then we'll move on and I'll stop recording, but
Speaker 3: I won't turn the volume back up, and then Dirk
Speaker 3: suddenly wants to talk, and then I turned it on
Speaker 3: and we're talking, and.
Speaker 2: Then I realized, oh no, no, I do not turn
Speaker 2: it up.
Speaker 3: But normally we can pick that back up and post,
Speaker 3: which it hasn't been a problem.
Speaker 1: But right, But a lot of times you catch it
Speaker 1: to it, which you probably have a little meter on
Speaker 1: there that shows like, oh, you're talking, but there's nothing
Speaker 1: happening just a second, and then we're like, okay, retake exactly.
Speaker 1: These are just kind of the cat challenges of filmmaking. Now,
Speaker 1: let's say a guy wants to or a gal wants
Speaker 1: to buy a road external lab mic cordless or uh
Speaker 1: what is that other one, the the DGI. I've heard
Speaker 1: great things about both of them. What are some of
Speaker 1: the they have excellent sound quality, what are some of
Speaker 1: the downfalls they running those.
Speaker 2: Downfall?
Speaker 3: For me, particularly, what I don't like is that I
Speaker 3: can't control if I have that DJI mike on you.
Speaker 3: I can't control from the camera, you know, turning it
Speaker 3: off and turning it back on, like I would love
Speaker 3: to be able to, like if the camera comes on
Speaker 3: and the receiver comes on. I would like the microphone
Speaker 3: to come on and when I turn the camera off,
Speaker 3: I'd love the receiver to go off in your microphone
Speaker 3: to go off like that would be huge.
Speaker 2: So you can't do that, so.
Speaker 3: Which means if we forget, you're just running on battery
Speaker 3: on that microphone. So so the downside is just running
Speaker 3: out of battery life.
Speaker 2: You do come. It does come with two so you
Speaker 2: can get through.
Speaker 3: The day, and you can two units sorry two unit transceivers,
Speaker 3: so you can't get through the whole day with them running.
Speaker 3: I think they'll last five hours for each one, but
Speaker 3: were our days are usually fifteen hours probably, so we
Speaker 3: would probably run out. So we would need two of
Speaker 3: two packs probably of those and they're expensive, and they're expensive. Yeah,
Speaker 3: so that's a downside. On other downside, I'm trying to think.
Speaker 1: Well, they have an internal battery, so you have to
Speaker 1: charge charge unit. You can't just replace the battery, right,
Speaker 1: That's that's a big bummer to me. It's like, man,
Speaker 1: they should make these where you can put a couple
Speaker 1: of triple as in this thing, a couple of triple
Speaker 1: A lithiums and just replace them. I mean it's wasteful
Speaker 1: in the environment, but dang it. I mean having to
Speaker 1: stop and recharge or swap them out, that's that's a
Speaker 1: big deal.
Speaker 2: It can be a big deal.
Speaker 3: And it does have a little it's container it comes
Speaker 3: in is charged and so when you put them in
Speaker 3: the container, it charges as well. But then you got
Speaker 3: to keep an eye on that because you got to
Speaker 3: charge the container if it starts uh dwindling. So it's
Speaker 3: just a lot of more just thinking involved in keeping
Speaker 3: track of your batteries and how much life you've got.
Speaker 2: Left on that.
Speaker 3: And so it's it's doable. It's definitely doable, but it's
Speaker 3: it's just more. It's just more stuff you've gotta just
Speaker 3: to keep track on. Yeah, and sometimes you just don't want.
Speaker 1: That, right, Well, it's so hard you get caught up
Speaker 1: in the hunt or we're moving from one spot to
Speaker 1: the next, right the exciting things are happening, or or
Speaker 1: maybe it's not exciting, and maybe we're the kind of
Speaker 1: film little poopy and like oh man, bummed out, Like
Speaker 1: you know, your mind gets distracted and you forget those
Speaker 1: things and then when it should when you go to
Speaker 1: use it again, it's like, oh, dang it, we missed
Speaker 1: all that and the battery was dead, right, So yeah,
Speaker 1: it's just one more thing you have to stay on
Speaker 1: top of. I think that's why we really, for the
Speaker 1: most part, we just used the boom mic on the camera.
Speaker 1: If I'm going to talk, Dusty gets close to me,
Speaker 1: let's just get up close. He'll he'll make sure the volume.
Speaker 1: I don't know if you call the volume or the
Speaker 1: gain or whatever, is the thing that that you can
Speaker 1: turn up. If I'm whispering, you can turn it up
Speaker 1: and capture what I'm saying. It works a lot better.
Speaker 1: And still sometimes you know, we have people complain on
Speaker 1: the YouTube channel. I wish you guys do close caption
Speaker 1: on all the talk and I can't hear what it says,
Speaker 1: you know, for maybe some of the folks that are
Speaker 1: hard hearing. I'm kind of hard hearing too, and that
Speaker 1: adding close caption is a whole other can of worms.
Speaker 1: Like you get the whole film edited and it's like,
Speaker 1: oh man, close, I haven't found a way to eat it.
Speaker 1: I mean, you can do it, but it doesn't always
Speaker 1: transcribe what the real words are, right, So it's kind
Speaker 1: of like you're autocorrect on your phone, you talk into
Speaker 1: it and send a message to your friend, and then
Speaker 1: they read it. It's like, what is this gibberation? I
Speaker 1: don't understand a word he just said. Sometimes that's how
Speaker 1: it transcribes. So it just adds another lay, a difficult
Speaker 1: layer of difficulty in and if you're on a time crunch.
Speaker 2: It's just kind of tough to get it all done.
Speaker 1: But okay, batteries. We talked about batteries on our on mics,
Speaker 1: external mics. What about camera batteries? How are you managing those?
Speaker 1: How are you keeping those? I mean, how many batteries
Speaker 1: do you pack a day? And then how do you
Speaker 1: like when we get home or not at home, but
Speaker 1: back to camp. How are you like keeping now that
Speaker 1: stuff charged?
Speaker 2: Yeah, so I'll keep.
Speaker 3: I have eight total batteries that I lug around with
Speaker 3: me at any given time. So, and of course there's
Speaker 3: you know, batteries are all different. I know of those,
Speaker 3: some batteries I have that lasts longer than the other
Speaker 3: batteries that I have in there. I have no idea why,
Speaker 3: but I keep those at my forefront all the time.
Speaker 3: Those are my main batteries, and then I have my
Speaker 3: backups with me in my in my pack as well,
Speaker 3: just in case. But and then at the end of
Speaker 3: the the day, you know, I keep I'll keep good
Speaker 3: batteries on my on my right side, and then as
Speaker 3: I have bad batteries they have gone dead, I put
Speaker 3: them in my left pocket. So right pocket good batteries.
Speaker 3: Left pocket not good batteries. And then at the end
Speaker 3: of the day, I'll take those left the batteries, I
Speaker 3: will left pocket and charge them.
Speaker 2: Either by a.
Speaker 3: Portable battery pack like a art anchor or the what's
Speaker 3: the dark.
Speaker 2: Dark energy energy?
Speaker 3: Yeah, I don't black some of the black magic and
Speaker 3: I don't know, so yeah, using that or just a
Speaker 3: charger in the car, in the in the cigarette lighter
Speaker 3: and use that to charge up. And if we're you know,
Speaker 3: if we're driving around a lot, then you know, I'll
Speaker 3: use that time too to have a battery charging on
Speaker 3: that thing in the car. Just so I've always always
Speaker 3: on top of that, keeping that, keeping something charged.
Speaker 1: I feel like any time we're not like in the field,
Speaker 1: Dusty is charging batteries or swapping out batteries, and the
Speaker 1: charge you like, that's that's the life blood of your
Speaker 1: camera and you can't let him go. You have to
Speaker 1: have as many, like every time you leave the truck
Speaker 1: or camp, you have to have as many charge batteries
Speaker 1: as you possibly can.
Speaker 2: Yep. That way you don't run out. Yeah, that would
Speaker 2: be awful. That would be that's a nice.
Speaker 1: Tragic And they always run out when something good happens.
Speaker 2: Yeah, they do. I'll see that little right start blinking.
Speaker 3: Right when we finally are on an ELK, I'm like,
Speaker 3: oh no, I better, I better just change it out now,
Speaker 3: because I'm not waiting until, you know, hoping that we're
Speaker 3: gonna get it. It's gonna last for the shot, if
Speaker 3: there is a shot that takes place. So yeah, keeping
Speaker 3: an eye on that battery is huge.
Speaker 1: And Dusty will stop me. He'll be like, hey, I
Speaker 1: gotta change out my battery. Yeah, and I'll be like,
Speaker 1: I know the ball's gonna be here in a second,
Speaker 1: here pretty soon. Usually don't wait till the last minute.
Speaker 1: But but it's like, oh man, it's kind of just like, okay, pause,
Speaker 1: I'm getting worked up here wanting to get this elk,
Speaker 1: and then we have to take a pause. But as
Speaker 1: this people being filmed and the filmer, you have to
Speaker 1: have that good rapport, good relationship and and sometimes tempers
Speaker 1: can flare. Dusty and I get along great because I
Speaker 1: have so much respect for him and vice versa, so
Speaker 1: we don't we don't. We don't butt heads, but I
Speaker 1: could see some people they get so wrapped up and excited,
Speaker 1: and like I could see where emotions could flare. And
Speaker 1: so you know, if you're the person filming, try to
Speaker 1: swap out your batteries at opportune times. Maybe not at
Speaker 1: im an opportune times, but don't wait till last minute.
Speaker 1: It's like, Okay, we're hiking to the bowl. If it'll
Speaker 1: be a little bit, I'm gonna go ahead and change
Speaker 1: it now before we get there. But sometimes things happen
Speaker 1: and we're on the same bowl and we're filming the
Speaker 1: same bowl for forty five minutes, and you're like, I
Speaker 1: got to change the battery, and that happens too, and
Speaker 1: there's nothing you can do about it but stop change
Speaker 1: the battery. And it hasn't affected us the outcoming all.
Speaker 1: Like people always say, you know, oh, it's a like
Speaker 1: hunting with a cameraman. For me personally, I've done a
Speaker 1: lot and Dusty and I moved really well together, will
Speaker 1: work really well together. I think he probably reads my
Speaker 1: body language really well. And we've always kind of said, like, okay, Dusty,
Speaker 1: you're in my right hand back pocket.
Speaker 2: Stand there.
Speaker 1: When we're trying to call in a bowl and the
Speaker 1: bulls come in, or we're set up to get a bull,
Speaker 1: we don't want him four feet off to my right
Speaker 1: hand side, you know, we want him right behind me.
Speaker 1: That way he can see, he can catch me draw
Speaker 1: on my bow. The bull walks in the frame, you
Speaker 1: get me shooting and the bull when you do that,
Speaker 1: when you set up like that, more than likely you're
Speaker 1: going to get the shot. If you're three feet to
Speaker 1: one side or another, chances are you're not going to
Speaker 1: get the shot because there may be a.
Speaker 2: Branch or a tree in your way.
Speaker 1: I've seen it a hundred times, right, But we practice
Speaker 1: that constantly unless there's been a couple of times where
Speaker 1: it's just like okay, I move super fast and Dusty
Speaker 1: tries to get it where it needs to be in position,
Speaker 1: but oh no, right there. Here's like last year we
Speaker 1: had that last day in Idaho, that bull come in
Speaker 1: and you weren unable to get in the right position
Speaker 1: because I was kind of kind of running up there.
Speaker 2: And then I just stopped and knocked in and drew my.
Speaker 1: Bow back, and you're so you you froze instead of
Speaker 1: just like, oh no, you just you zoomed out, got
Speaker 1: the got me and like everything in the frame that
Speaker 1: you could and recorded, And if you zoom in you
Speaker 1: can see the elk after I missed, after I missed,
Speaker 1: So had you been right behind me, you might have
Speaker 1: been able to get a little better shot. Maybe not
Speaker 1: because it was pretty brushy anyway, but with that extra
Speaker 1: movement for him getting right behind me. That was one
Speaker 1: of those occasions it's like, what do you do? You can't,
Speaker 1: there's nothing you can do about it. And I think
Speaker 1: you you did well. You did as good as anybody
Speaker 1: could have, and I was happy with with it. So
Speaker 1: there's always some exceptions to it. But if you try
Speaker 1: to make that your your rule, it's like you're always
Speaker 1: behind me. Try to get that over the shoulder shot,
Speaker 1: whether it's if you're out left handed, right hand, if
Speaker 1: you're right handed, right back pocket, left handed, left back pocket,
Speaker 1: and then sometimes depending off that where the elk's moving,
Speaker 1: you may have to switch sides and go from one
Speaker 1: shoulder over the next shoulder, which which works isn't acceptable.
Speaker 1: You've done that, like on my mouth that bowl that
Speaker 1: was on the left side. Yeah, it worked great. You know,
Speaker 1: you got the shot. That's the hardest part. I think
Speaker 1: a lot of people struggle with it, just getting the
Speaker 1: getting the shot. When the bowl finally comes in, you
Speaker 1: can get all the cool beat role you want because
Speaker 1: it's beat roll time is not as much pressure. It's
Speaker 1: a lot less exciting, and but when that bull's coming
Speaker 1: and it's getting exciting, it's like, oh man, if you're
Speaker 1: right behind the shooter shooting over their shoulder, you know,
Speaker 1: number one, the shooter is blocking a lot of your movements,
Speaker 1: so you can get it with a tiny bit of movement,
Speaker 1: you know, as far as you know, positioning yourself a
Speaker 1: little bit like swaying one side to the other. But
Speaker 1: then you're just gonna have You're gonna have the best
Speaker 1: what You're gonna have the same view the shooter has,
Speaker 1: and ultimately that's that's what you want. I don't know
Speaker 1: how many shots, how many times I've watched, you know,
Speaker 1: could have been spectacular videos when the camera guy was
Speaker 1: standing four feet to the right or four feet to
Speaker 1: the left, and then all they have is the guy
Speaker 1: drawn his bow and then they pan over to where
Speaker 1: the elk is and all you see is brush or
Speaker 1: a tree and where you might see an antler sticking
Speaker 1: out on one side. And then they make the shot
Speaker 1: and they run off and he's like I got him,
Speaker 1: and it's like, yeah, I didn't get him. Yeah, that's
Speaker 1: a heartbreaker for a filmmaker. Wow, that's kind of write
Speaker 1: that down heartbreaker for a filmmaker. Okay, you know what
Speaker 1: you can, you can start selling those T shirts with
Speaker 1: your new endeavor depth of Field.
Speaker 2: I'll just you know, I'll need my royalties. Okay, Okay,
Speaker 2: they're in the mail. They're in the mail. Yeah, okay.
Speaker 1: So yeah, it's super important for the videographer to work
Speaker 1: closely with the subject, you know, yeah, and discuss all
Speaker 1: this stuff before we get to the right. We talked
Speaker 1: about you and I talked about all that stuff. On
Speaker 1: the way of the woods. We geeked out, if you will.
Speaker 1: On the way there, we had a long drive and
Speaker 1: we talked about all these different scenarios and thoughts and
Speaker 1: ways we thought we should do it and capture it.
Speaker 1: And then as the as the hunt progresses, we continue
Speaker 1: to communicate. If Dusky has a concern, he tells me.
Speaker 1: If I have a concern, I tell him, and neither
Speaker 1: one of us take offense. We're just like, oh, maybe,
Speaker 1: what do you think about this? Or what do you
Speaker 1: think about that? And we're because ultimately we both want
Speaker 1: to make the best film we can. But if we
Speaker 1: work together communicate, it's a lot easier. If you don't communicate,
Speaker 1: and you're like, gee, whiz, I wish the guy would
Speaker 1: stand in one spot so I could film him if
Speaker 1: you walked around all day thinking that to yourself, but
Speaker 1: the guy never does stand still. Well that's on you
Speaker 1: as the filmer, right, you have to say, hey, why
Speaker 1: don't you do that again, like stand right here in
Speaker 1: this one spot or walk through this here, and I'll
Speaker 1: get ready and get in focused, and I'll get a
Speaker 1: really cool show of you walking through this beautiful meadow
Speaker 1: or or walking over this cliff or whatever it is.
Speaker 1: Those little those little requests, and that those are paramount
Speaker 1: for great filmmaking. So okay, now we've got we've been hunting,
Speaker 1: we've we've done all the best practices, we've had our
Speaker 1: batteries charged, we've learned how to use the camera, We've
Speaker 1: got her audio nailed. Okay, we've got it. Okay, yeah,
Speaker 1: day one in the bag.
Speaker 2: Now what do we do?
Speaker 1: We just go back to camp and eat and sleep
Speaker 1: and go to bed. Well, we have a little bit
Speaker 1: of homework to do. Still, this seems like the videographer's
Speaker 1: work has never done. He seems like he's always the
Speaker 1: last one to go to bed just because he has
Speaker 1: to do he or she has to do some things.
Speaker 1: So we get back to camp and we're gonna do
Speaker 1: file organization. That's when we take the SD card out
Speaker 1: of the camera. We're gonna plug it into the computer
Speaker 1: and we're gonna upload all that day's hunts, all the
Speaker 1: video clips from that day onto external hard drive.
Speaker 2: Okay, and we're.
Speaker 1: Gonna label these when we put it in there. We
Speaker 1: just don't dump it, right, So we're gonna create folders
Speaker 1: day one and then the date, right okay, so day
Speaker 1: one date this bam, you you upload those, put them
Speaker 1: in the folder, walk away.
Speaker 2: Feel good about it? Right? Yeah?
Speaker 1: And typically I like to keep enough SD cards to
Speaker 1: keep one do we have a fresh one, a brand
Speaker 1: new one every single day, So we're not like, okay,
Speaker 1: day one, we got it on this card, but we
Speaker 1: still have more space on it. Let's just keep recording
Speaker 1: on that and then till day two through day two, Well,
Speaker 1: it just creates a nightmare. If you have one card
Speaker 1: that's got multiple days on it, then you have to
Speaker 1: just creates more time later you have to sift through
Speaker 1: all that and be like, okay, oh here's the here's
Speaker 1: where we are in day one, Okay, day two, sift
Speaker 1: it out. It just creates more work. And I feel
Speaker 1: like if you can, if you have enough cards, you
Speaker 1: can have a new one every single day, that's actually
Speaker 1: your That's another form of a backup.
Speaker 2: So backup footage.
Speaker 1: Best practice is to have two external hard drives, so
Speaker 1: you copy all the clips to one hard drive, then
Speaker 1: you copy it to another. Now, especially if it's like
Speaker 1: a high priority, you know film, it's like you've spent
Speaker 1: money for the videographer, you spent money for film permits,
Speaker 1: you've spent money on tag Like, this is a production, right,
Speaker 1: this is a this is a professional production.
Speaker 2: Maybe it's not.
Speaker 1: Maybe this is just you want to take it home
Speaker 1: and share share it with your friends, but you have
Speaker 1: to do some best practices to where that stuff's there
Speaker 1: when you get home. I don't know how many times
Speaker 1: I've heard people say, you know, they've had problems with
Speaker 1: SD cards getting lost or recording this or actually erasing
Speaker 1: that or whatever. I mean, if something bad can happen,
Speaker 1: it can happen. So being organized and doing that will
Speaker 1: make everything better, don't you agree?
Speaker 2: I totally agree.
Speaker 3: And I think the other good thing about backing everything
Speaker 3: up onto two external hard drives. Even though we have
Speaker 3: quite a few SD cards, there can be moments when,
Speaker 3: like we usually get a fresh SD card in each one,
Speaker 3: but towards the end of the a fourteen day hunt,
Speaker 3: we start to get close to the end of those
Speaker 3: SD cards. But if we have everything backed up twice already,
Speaker 3: then I could potentially go back and start reusing SD
Speaker 3: cards because I know I've got I've got two good backups.
Speaker 3: And that's just another great way of just being able
Speaker 3: to think things through. If you don't use all the
Speaker 3: SD cards and then you've got three backups and you're
Speaker 3: should be golden, Yeah for sure. But yeah, I think
Speaker 3: think the two hard drives is the way to go.
Speaker 1: Yeah, that's a great point, because you know SD cards
Speaker 1: are expensive, yes, And or let's say maybe you've got
Speaker 1: like you thought you had enough and you have a
Speaker 1: couple that for whatever reason that can't you put plug
Speaker 1: them in. You've used them in the past. Today you
Speaker 1: plug it in and your camera is like, I don't
Speaker 1: like this, this card sucks. I'm not going to work day.
Speaker 1: So then it's like, now your card game is different.
Speaker 1: So yeah, good point. If you have the two backup
Speaker 1: hard drives, then whatever may happen, you can always still
Speaker 1: go back through and start reading were using cards and
Speaker 1: removing you know, the clips from those and feel good
Speaker 1: about it, right exactly, So, but why, you know, why
Speaker 1: is that all so important? Like you guys are just
Speaker 1: being like nitpicky, like why is all this organization so important? Well,
Speaker 1: my son, Austin so I said, he's an inspiring videographer photographer.
Speaker 1: So he was using this this winner him and his girlfriend.
Speaker 1: We're going up here to Bogus Base and you're out
Speaker 1: of boy see snowboarding, and she'd never done snowboarding before
Speaker 1: and and so he went from like the beginner phase
Speaker 1: till like by the end of the season she was
Speaker 1: doing really good. So he's filming all this and he's
Speaker 1: using his his sony camera, he's using a go pro,
Speaker 1: but his file management is crap. So he gets home,
Speaker 1: and he gets home and he starts messing around. He
Speaker 1: goes post production, so he's using Adobe Premiere. He starts
Speaker 1: going through this and he starts building all these timelines
Speaker 1: and stuff, and then he moves some stuff around. And
Speaker 1: then anytime you anytime you move anything around and post
Speaker 1: or any anytime you move into your files around. Let's
Speaker 1: say they're not in a specific folder, and then you
Speaker 1: create a timeline in Adobe, and then you take those
Speaker 1: files and you move them from where they were into
Speaker 1: a different folder. Well, when you open Adobe again, it says,
Speaker 1: I can't find the files. They're lost. It's not intuitive
Speaker 1: of to like, We'll just look in the next fold
Speaker 1: it's on the same hard drive. Just look in the
Speaker 1: next folder.
Speaker 2: It doesn't know that.
Speaker 1: It just knew the pathway to where they were originally.
Speaker 1: So then anyway, he doesn't have all that, he doesn't
Speaker 1: have good file management, and he's got hours and days
Speaker 1: of footage that he spent a whole bunch of time
Speaker 1: in his time. But then start moving stuff around and
Speaker 1: it's all wrecked. So all of his I told him,
Speaker 1: He's like, how do I fit? I'm like Austin start over,
Speaker 1: start a whole new project, nuke that one. Start over
Speaker 1: for me, I'm like, there's there's probably some Adobe guys
Speaker 1: on here, like, oh yeah, that's it's easy. You just
Speaker 1: do this for me because I've done this. I've deleted
Speaker 1: the whole thing. Yeah, organize my stuff, then a start over,
Speaker 1: and it's so much nicer if you can start out
Speaker 1: with a good clean slate of everything. So I sort everything,
Speaker 1: you know, whether it's day one, day two, day three,
Speaker 1: and then go pro footage and then you can label
Speaker 1: those day day whatever. You have a new folder with GoPro,
Speaker 1: and then with that you have folders with day one
Speaker 1: to two whatever labels you want them, and then drone
Speaker 1: like have all these things separated where it's quick and
Speaker 1: easy to where when you're looking for a shot, it's
Speaker 1: like I.
Speaker 2: Think I had a pretty cool go pro shot. Bam.
Speaker 1: You go in your folder, find it, put in your
Speaker 1: put in your project, put it on the time line,
Speaker 1: and you're good to go.
Speaker 3: Yeah, yeah, I've done this. I've done the same thing too.
Speaker 3: Like even even when you try to be organized and
Speaker 3: you think, oh, this is this, I'll label it this way,
Speaker 3: and then you realize, wait a second, you've already put
Speaker 3: dumped anything of everything in your project and your timeline,
Speaker 3: and then you realize that you weren't thinking straight with
Speaker 3: the sequence of your foldering, and so I've enough had
Speaker 3: to change it that and then I lose You know,
Speaker 3: I can't find it, but you know you can. You
Speaker 3: can locate those files within Adobe. But yeah, if you,
Speaker 3: if if you, but if you have them everywhere, what
Speaker 3: a nightmare? What a nightmare. If it's not organized and
Speaker 3: you're moving stuff and you've already started a project, it's
Speaker 3: that is not good.
Speaker 2: Yeah.
Speaker 1: I've seen some challenges where let's say I'm trying to
Speaker 1: build a commercial for Phelps and I want to take
Speaker 1: shots from this hunt, shots from that hunt, shots from here,
Speaker 1: shots from there, and make it into a kind of
Speaker 1: a little montage Instagram reel video. Right, So I've got
Speaker 1: like every external port plugged into hard external hard drives
Speaker 1: and I'm pulling from those those into my timeline. Great,
Speaker 1: all done, It's made it really cool, cool, real awesome.
Speaker 1: Well then a year later, I'm like, man, I remember
Speaker 1: I did that reel. I could use that some of
Speaker 1: that stuff again, reusing a different spot maybe for repurpose
Speaker 1: that same thing with a little bit different edit and
Speaker 1: I'll repurpose it. So I'll go back in there, I'll
Speaker 1: pull it up, and then my thing says, hey, these
Speaker 1: files are not found, and you see a bunch of
Speaker 1: Chinese writing all over. I thought I thought Adobe was
Speaker 1: maybe you know, maybe Spanish, you know Adobe, you know Spanish. No,
Speaker 1: it turns out a Chinese. Adobe's a Chinese word for
Speaker 1: video editing.
Speaker 2: Anyway.
Speaker 1: So then I have to be like, oh man, where
Speaker 1: did I Where did I pull all this stuff from?
Speaker 1: So then I have to plug and find the right
Speaker 1: hard rice. I got a boatload of hard drive so
Speaker 1: I plug them all in like oh man, that it's
Speaker 1: just enough to make your brain hurt, and finally it's like, okay.
Speaker 2: I got it.
Speaker 1: So best practice is what I've should have done, is
Speaker 1: whenever I first started that project, is before I even
Speaker 1: started that project, I should have created a new folder
Speaker 1: on the external hard drive that I wanted that particular
Speaker 1: project to live, and then I should have pulled in
Speaker 1: the clips from all those other hard drives into that
Speaker 1: folder and then worked off that one folder and hard
Speaker 1: drive that way. When I go back a year later
Speaker 1: and try to mess with it, it's all right. There,
Speaker 1: I've done this a bunch of times, and it's like
Speaker 1: every time, I'm just like, ah, you idiot, stop doing
Speaker 1: it like that. I'm getting better. I'm getting better. I
Speaker 1: won't say I'm not backsliding every now and then, but
Speaker 1: for the most part, if I can remember, I'll do that.
Speaker 2: Yeah I did. I've done the same thing. Yeah. It's
Speaker 2: just you get going. You just you just start right. Yeah,
Speaker 2: you start dumping files. Yeah, you're like, I'm king of
Speaker 2: the world. This is going so good. And then oh no,
Speaker 2: oh I shouldn't have done that.
Speaker 1: Yeah, so so more on post production. So post production
Speaker 1: that's when you take all your files, you load them
Speaker 1: on your computer in your program, whether you're using Adobe Premiere,
Speaker 1: you're using iMovie, you're using Vinci Da.
Speaker 2: Vinci, Yeah, da Vinci about it, you're just busting your beans.
Speaker 1: Sorry inside joke, they laugh. But anyhow, there's all these
Speaker 1: different these different editing softwares I guess if you will,
Speaker 1: And it's really helpful if the person who films it,
Speaker 1: edits it, or whoever was there at the time, like
Speaker 1: let's say Dusty films it, then I edit it because
Speaker 1: I kind of know what happened that day, you know,
Speaker 1: as I go through the thing, go through the clips.
Speaker 1: I kind of know what happened. I kind of know
Speaker 1: the mood. I kind of know how it all kind
Speaker 1: of laid out.
Speaker 2: And the clips are.
Speaker 1: Always you know, sequential, right, you know, one, two, three, four, five, six,
Speaker 1: you know, but sometimes you know, you're just like, man,
Speaker 1: how do I make to put this all together? To
Speaker 1: do the right thing? And sometimes just having the same
Speaker 1: person that was involved. People who were involved, their boots
Speaker 1: on the ground do better editing. So if you don't
Speaker 1: have somebody that's doing that, if somebody, let's say some
Speaker 1: third party is editing your stuff, you have to have
Speaker 1: some notes, like on on the days. Like so if
Speaker 1: you were to say, okay, did Dusty filmed it? I
Speaker 1: was the I was the talent, if you will, pretty
Speaker 1: face not really face for radio. That's why they put
Speaker 1: me on a podcast. Now, so me or Dusty we
Speaker 1: could go through every day and we build we build
Speaker 1: a document and say, okay, day one, this is kind
Speaker 1: of the stuff that happened, and day one special things
Speaker 1: to note, by the way, clips X y Z this happened.
Speaker 1: Let's say Dirk said a bad word, Let's cut that
Speaker 1: bad word out. Make sure we cut that bad word out,
Speaker 1: or maybe dirk ate too much. We'll cut out the
Speaker 1: scene where dirk ate a lot of food, right, or
Speaker 1: you know, if we want to leave something in, take
Speaker 1: something out, or make sure we want to highlight a
Speaker 1: certain part of that day, the highlights of that day,
Speaker 1: maybe we write down and then that way, when you
Speaker 1: pass on to the third party they have they have
Speaker 1: kind of a guide like, okay, day one, day two, three,
Speaker 1: these are the things that happened that were important. Okay, cool.
Speaker 1: They start editing through there. They may have questions like, hey,
Speaker 1: you said this, but I didn't really understand that. I
Speaker 1: didn't really see that, and then you can go back
Speaker 1: through it and kind of help them through. I don't
Speaker 1: know anything harder than taking like being a third party
Speaker 1: editor and.
Speaker 2: Editing it right.
Speaker 1: Like, so the folks at meat Eater, you know, they
Speaker 1: have a whole team of people who edit everything. Wow,
Speaker 1: chances are that the people weren't there on the hunt.
Speaker 1: Nine we're not on the hunt, but they'll have maybe
Speaker 1: a producer there that will be taking notes during the
Speaker 1: hunt for day to day to day or let's say
Speaker 1: this is super important too. So I've seen Jason Phelps
Speaker 1: do this, He'll he'll as he's talking, or he'll like
Speaker 1: turn the camera on, haven't turned the camera on, and
Speaker 1: he'll like he'll talk and give a note to the editor, say, hey, editor,
Speaker 1: this part of the day. We want to talk about this,
Speaker 1: or we want to highlight this. Take that part out
Speaker 1: about where we say the location. I said this was
Speaker 1: big Jim Crick and we don't want people to know
Speaker 1: it's big Jimp. Make sure you take that part out
Speaker 1: so you can do that too, like live in the
Speaker 1: field messaging to the editor within the clip.
Speaker 2: That way they can say, oh, okay, got.
Speaker 1: To make sure we don't tell people where big Jim
Speaker 1: Crick is because there's really big bulls there.
Speaker 2: That's right.
Speaker 1: Now. Damn shoot every time, every time, every time. I
Speaker 1: can't be trusted. So anyway, and then for final production,
Speaker 1: you know it can. I don't think a lot of
Speaker 1: people realize what it takes to edit a full film,
Speaker 1: especially if you've got five ten days. If you got
Speaker 1: ten days worth, that's a lot of time. What would
Speaker 1: you say, eighty hours? Yeah, easily eighty hours. That may
Speaker 1: be way undershot. We may, I mean it takes a
Speaker 1: ton of time. I know what when I started getting
Speaker 1: editing mode. I'll set my butt there for eight hours
Speaker 1: straight and only get up to pee and take it
Speaker 1: and get a drink of water and then go right
Speaker 1: back to it for days. Oh it's there's a lot
Speaker 1: to it. But when you're in the zone, and especially
Speaker 1: if it's a good hunt where there's things happening and
Speaker 1: and it's exciting, like that kind of carries me through.
Speaker 1: If it's kind of one of those tough hunts you
Speaker 1: have to fight for the through the tough days, it's like,
Speaker 1: oh my gosh, this is my numbing to come through
Speaker 1: all of this and then okay, here's the good day finally,
Speaker 1: and then you know, I feel like you get a
Speaker 1: lot more boring days than you do exciting ones. But
Speaker 1: so we'll have how many hours of stuff by the
Speaker 1: end of a ten day hunt, four or five hours
Speaker 1: maybe of content clips?
Speaker 2: Oh yeah, easily easily six.
Speaker 1: Hours of content clips, and we have to carve those
Speaker 1: down to well, you know, at one time an hour video,
Speaker 1: people would sit down and watch an hour video. Nowadays,
Speaker 1: I don't it, man, it have to be so it
Speaker 1: have to be a spectacular film for people to be
Speaker 1: able to sit down through. I mean, you have so
Speaker 1: many distractions, so maybe forty minutes or less, you know,
Speaker 1: twenty to forty minute film. To hack down six hours
Speaker 1: into a meaningful twenty minute or forty minute film, yeah,
Speaker 1: it's daunting. It's a daunting task.
Speaker 3: It is, because it's you're editing six hours to three hours,
Speaker 3: and then you're going back again taking the three hours
Speaker 3: down to one and a half hours, and then you're like, oh,
Speaker 3: I got to keep cutting more out. So you're going
Speaker 3: through it several times just trying to figure out where
Speaker 3: do I stake out now? Yeah, you know, yeah, it's
Speaker 3: very daunting.
Speaker 2: Yeah. Yeah.
Speaker 1: If you watch some of our films, it's like, man,
Speaker 1: I would have loved to share the whole thing with you,
Speaker 1: but I don't. I think it takes a special person
Speaker 1: to want to set through an hour's worth of film,
Speaker 1: and and you know, maybe some of it's not meaningful
Speaker 1: to a particular viewer. So we try to cut out
Speaker 1: any kind of fluff, like don't try to put too
Speaker 1: much walking in there. We want to the film has
Speaker 1: to kind of tell you what's going on to it,
Speaker 1: because I don't really narrate my films. I want to
Speaker 1: I want the the what that what we captured to
Speaker 1: tell you what's going on. So we're hiking, we're bugling,
Speaker 1: we're moving towards elk, you know. So you have to
Speaker 1: leave a certain amount of that in so the day
Speaker 1: makes sense. But you can't make it too long to
Speaker 1: where it bores the viewers. Like all I've seen was
Speaker 1: like an hour of Dirk walking around bugling and he
Speaker 1: finally killed an elk. We have wanted to be more
Speaker 1: than that, so we have to cut out the fluff
Speaker 1: and and then just leave the good stuff.
Speaker 2: That's a lot of work, it is.
Speaker 1: But anyway, well man, thanks so much for coming on today, Dusty.
Speaker 1: If any of our viewers have questions they want to
Speaker 1: call in with or or email us with you can
Speaker 1: email us at c T D at Phelps game Calls
Speaker 1: dot com, or you can call into our super secret
Speaker 1: number that's right Wow. You call in, you leave a message,
Speaker 1: and the message can be three minutes or less. At
Speaker 1: three minutes the machine cuts you off. So if you
Speaker 1: call in, leave your message. The phone number is two
Speaker 1: zero eight two one nine seven seven zero one. Leave
Speaker 1: your question, we'll read it on the air and we'll
Speaker 1: answer it the best of our ability. As always a
Speaker 1: pleasure Dusty. I can't wait for a few weeks here.
Speaker 1: We're gonna be chasing off again. Thank you so much
Speaker 1: for coming on the show.
Speaker 2: Thanks for having me. Yeah, and how do people find you?
Speaker 2: I do have a website.
Speaker 3: It's called ddof Productions dot com, Great Duf Productions dot
Speaker 3: com and I'm also on Instagram d F Underscore Productions,
Speaker 3: So you can deem me there, or you can go
Speaker 3: to my website and con have a contact page.
Speaker 2: You can contact me through that.
Speaker 1: Great people need a video, Yeah, guy, the man there,
Speaker 1: you go. As long as I'm not using him, that's right.
Speaker 1: If I'm not using him, you can have him, all right,
Speaker 1: Thanks buddy, Thank you, buddy.