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