How To Be A Videographer: Start to Finish.

1. Introduction To The Course 1: Hey, what's up? My name is Mark Cushion killed Calvary Army filmmaker based in Manchester, UK. I've got over eight years of filmmaking experience. And in this course, I'll be teaching you guys essentially the basics of filmmaking. So we'll be going over camera basics. So how to fully utilize your camera to get a cinematic image. How to shoot video from pre-production to post-production. How to edit a little overview because editing is a huge topic that kind of deserves its own course. And lastly, how to get clients because I think that is, if not the most important thing ever when it comes to filmmaking. So really looking forward to teaching this stuff to you guys, I'm a news for a long time ago, a lot of experience doing it. I've start start from the bottom and now I'm a little bit higher up. But I have got a lot of knowledge, got eight years of knowledge to share with you guys. I'm really looking forward to teaching you the basis of filmmaking. See you guys in the next video. 2. Lesson 1: Camera Basics & Exposure: Hey, so you carried on awesome sauce now first of all, please ignore my hayfever face. I've got like a red nose. I'm suffering today. I don't know. It's like peak springtime, almost summertime in the UK and it's just like I didn't use to get hayfever before I moved to England and now it's just terrible. So in this lesson, in this video here we're going to be going over the basics of your camera. So to fully understand your camera means you'll be able to get a better image out of your camera. A lot people don't know how to use a camera properly, and therefore they actually give themselves their own handicap on their image. Their cameras are probably way more capable. They know. So if you fully understand how to get the most out of your camera, then you'll be able to do more in terms of filmmaking in videography. Now that most basic thing to start off with, exposure, there are three things that affect your exposure within your camera. Key thing within your camera lighting is a whole other thing, ISO, aperture and shutter speed or shutter angle. Shutter speed and shutter angle are the same thing. They're just shown on the screen as either an angle or a fraction. So I'll talk about that a little bit later. It don't get confused. It's basically just three things. So ISO, shutter speed and aperture all influence the amount of light that hits your sensor. Therefore, the exposure of your image, how bright or how dark it is. So just to get the little confusing thing out of the way, Let's start with shutter speed. Shutter speed, typically on a mirrorless or DSLR camera is shown as a fraction. Typically it's one over something. Now, to have correct motion blur, we want to have a shutter speed that is double our frame rate. So correct motion blur looks like this. And incorrect motion blur. You can seem a bit darker. Now, what I've done is I have increased my shutter speed and incorrect motion blur looks like this. You can see there's less blur now with my hand compared to how it was previously. I just wave again. You can see this, this is what our eyes typically see. So this is what filmmakers have deemed to be the most natural and correct looking motion blur. So we always stick to a role of your shutter speed should be double your frame rate. So before I said shutter speed can also be called shutter angle. When it's called shutter angle, you have a full circle. Now, there's a bit of history behind this and if you're interested, I would recommend Googling the history of shutter angle and like why it's called that. So now touching on shutter angle just so that we covered really quick is nothing to be confused about. And it may not even apply to you because of the camera that you have. For example, I'm shooting on a Blackmagic pockets in my camera. For K, this camera can show shutter speed or shutter angle. It's just which way they're displayed on the monitor. Now, the benefit of using a shutter angle of a 180 degrees is double the frame rate of whatever frame rate I'm shooting, which as I said before, we always want our shutter speed to be double of our frame rate. So if I have a shutter angle of 180, it will always be double my frame rate. So if I shoot at 25 frames per second, my shutter speed will be one over 5080 degrees. If I change my frames per second to 200 frames per second, my shutter speed will automatically change to one over 400, which is still 180 degrees. 180 degrees is always going to be double your frame rate. So that's the benefit of using shutter angle compared to shutter speed. But overall, they're the same thing. It's just with using shutter speed. It means I'd have to change it manually myself every single time I change the frame rate. So in terms of convenience, it's convenient to use shutter angle. Now with shutter speed, you may notice, well, there's loads of other numbers like, why can I use those? Well, here's the thing. You can. Actually, it's completely situational. It's a creative choice. Rules in filmmaking are there as guides, but they're not set in stone. You can break them if you want to. For example, I shoot a lot of music videos, as you can see from all the BTS has been playing this whole time. Music videos. Sometimes you'll want the artist to look a little bit faster pace, a little bit less motion blurry. So I'll increase my shutter speed to make that happen. And then it will just create a different look in a different field. And on the other hand, I can also go the other way, make things look more dreamy by decreasing my shutter speed or increasing my shutter angle. They go the other way, but they do the same thing to create more motion blur and a more dreamy look. So you can use these in interesting ways. It just depends on what you're doing, but it's very important that you keep these rules in mind because like I said, they're guides and they will help you tremendously as you begin your filmmaking journey. Now let's touch on ISO. Iso, back in the days it was set in stone. The film, really the physical film reel you had, it had a set ISO and so you had to adjust the aperture and the shutter, shutter angle, actually back in those days. And then of course, add lighting or removed lighting to compensate for the fixed ISO that you had. Nowadays though, you can change your ISO at the press of a button or the top of the screen. Now, ISO digitally boosts the light that is in the image. It doesn't actually increase the amount of light hitting the sensor because it's done digitally. Now, this is great. However, the problem with ISO and cranking up too high to add to brighten up your image. Is that it introduces artificial noise and this is not good. It makes the image look muddy, noisy, dirty, and overall just bad. It can ruin an image. So that's where people typically tend to stick with native ISO is for cameras. Now quickly, What's a native ISO? And native ISO is the ISO your camera shoots its best image at. So for example, my camera, the pocket for k, has a native ISO of 400 and a secondary native ISO of one hundred, ten hundred, six hundred. It has what's called a secondary native ISO. And this helps in low light situations to have a clean image, even when the image is kind of dark, you can boost the amount of light in the image digitally and still have a relatively clean image, ISO typically doubles in value. You'll start at one hundred and two hundred and four hundred and eight hundred and so on and so on and so on. Certain cameras are better than this and others. And certain cameras have a higher limit ISO than others do. For example, my older cannons, 70 D, could max out at one hundred, six hundred ISO, but my A7 S2 can go over 100 thousand ISO. Now of course 100 thousand ISO doesn't look great. But the fact that I can go to 50000 ISO and the image kinda looks okay, is pretty insane. And now lastly, aperture. Aperture is important in not only affects the exposure of your shot, but it also changes the way your shot looks. For example, this T1 0.5 lens. So there's T sub and there's F-stop. There. Kinda similar has a T stopped of T 1.5. This means wide open. There's a very shallow plane of focus. It means everything that isn't in focus looks extremely blurry. This can be quite cinematic and a very appealing look. It does make it harder to focus though. So bear that in mind. Now this lens can also go up to a much higher T stop. And when you whack it all the way to the max, you can see that now everything's in focus, but everything's a lot darker now as well. In fact, we can't really see a lot. Karen. We now physically what's happening here is there are aperture blades within every single lens that you have. These aperture blades opening and closing are what create these different depths of field within our image. So when the aperture blades open up, all the way wide open, we have a really shallow depth of field and a lot more light is let in because there's nothing blocking the sensor. When we close the aperture blades into a smallest circle, we're letting in a lot less light and at the same time, making everything in focus again. Now for filmmaking, we don't do either or we do a mixture or maybe we will shoot one scene at T2 0.8, and then we'll show another scene at t 5.6 and another scene at t 3.5 and so on and so on. There's no right or wrong answer. It's just all up to creative choice and what looks good to you. However, typically, a shallower depth of field is considered more cinematic, but you don't want to shoot everything at the lowest T or f-stop that you can with your lens. Just because you can shoot at F1 0.4 doesn't mean you always should. Sometimes subject calls for a higher f-stop, say for shooting a city skyline. There's no point really shooting at f 1.4 because then you're only going to be showing like a single window pane from one building in focus when really what you want to show is the city as a whole. So you should have at a higher f-stop of like F five. For this, I'd recommend playing around, seeing what looks good to you and just understanding how it works because then you can make a creative decision based on the project you're doing and what is good for that shot, okay, in the next video, I'll be touching on frame rates because they deserve their own little video. So I'll see you next week. 3. Lesson 2: Framerates & Shooting In LOG: Hello, Let's continue. Frame rates. So frame rates, they relate to the shutter speed, shutter angle thing I mentioned in a previous video. So continuing on with that, the base frame rate depends on what country you're in. If you're a PAL or NTSC country here in the UK were POW. If you're in the states, your NTSC, everywhere else. I'm not sure. So Google is your best friend here? Just Google is my country, NTSC or PAO. And it will tell you NTSC countries use 24 frames per second or 23.976 frames per second. In the UK and other pile countries, we use 25 frames per seconds. So for my friends back in Singapore, we use 25 frames per second as well. 25 frames per second is just the standard for real-time movement, real-time video. That's all it is. Now, if you want to shoot slow motion, what you'll have to do is increase the frames per second that you're filming out. So in power countries, you can shoot at fifty one hundred, one hundred and fifty two hundred increments of 25 typically work best because of the lighting situation we have here, the Hertz of the lights in this country match 25, 5100, et cetera, frames per second. Whereas in the States it's the other way round, they match 24, 60, 120, 240, et cetera. Now, obviously, if you're outside away from any artificial lights, you can shoot whatever frame rate you want. But if you're inside, bear those things in mind. I just said because hey, i've, I've learned a few shots from shooting the incorrect frame rate. You see this very, very ugly flickering effect that a lot amateur filmmakers may I guarantee you're going to do it because I did it more than once. It happens. It's not the end of the world, but it's something to bear in mind. It's also sometimes unavoidable with certain types of lighting fixtures just because they work differently to the main lighting grid. As I said, you can shoot a higher frame rates for slow motion. So when he won a shoe, slow motion, shouldn't you just shoot everything slow motion. So you have the choice to do it in post if you want to. Here's when you should and shouldn't use slow motion for close up shots that are refocusing on emotion. Or you want to highlight a specific action that a character is doing. Slow motion works very, very well because you have the ability to slow down that moment to show the audience, Hey, look at this for a little bit more. Focus on the emotion that this person is showing you in this load down shop. Whereas if you have a much wider shot, say it's some kids in the park playing. You don't need to shoot out in slow motion because it's such a wide shot. Kids are further away, the people are further away. There's no point having it in slow motion because there's not that much of an intimate connection because you're not close to them, you're further away from them. So it would make a lot more sense to shoot that in a normal frame rate, 25, 24. Now, like I said before, everything is kind of creative choice. It's up to you. But these are just good things to keep in mind because if you shoot everything in slow motion, bigger files, it means more hard drives if the buy and things like that. Additionally, though, as I said before, your shutter speed correlates to your frame rate. Your shutter speed has to be double your frame rate for every single shot you shoot. Now, again, there are rules you can break for that, but I'll explain that in another little video. If you were to shoot everything in slow motion, you will not have the correct looking motion blur. If you were to leave a shot at normal speed, everything will look a little bit sharper and a little less blurry and a little less correct, life-like. So that's where you actually need to sit down and think about your shots. What am I going to shoot in real-time world? My shoe in slow motion. What makes sense? Because if you were to play something back in slow motion, then you have the correct motion blur. But if you have a shot that's shots in a higher frame rate, but you play it at normal speed, then everything will look less blurry and a little less life-like, little less cinematic. Okay, Now let's touch on picture profiles. Depending on the camera you use. It's either gonna be called picture profiles or it's just going to be called raw. Now, I'll be touching on picture profiles because it's very, very likely that you have a mirrorless or DSLR camera. If I'm wrong, you can skip ahead a little bit. For example, with my Sony A7, S2, we have what's called picture profiles. You can choose between P, V4, V5, V6, blah, blah, blah. You can customize these to use different gammas. And essentially, what you're looking for is to shoot in what's called a log image. A log picture profile is a flat image that has very little contrast, very little of saturation, but it gives you the most dynamic range that your camera can give. This image is what you want to shoot in, because then it gives you the most flexibility in post. Now on your camera you may have a few different choices. For example, my A7, S2, A7, S3, the A7, 3 and 4, and all l, the Alpha series lines. They'll have what's called side2 or seeing for they'll also have hybrid log gamma, which is H LG, and they'll have something called NSLog two and S LAG-3. Try them all out, see which one you're more comfortable with because they all have their own rules. S log T2 will be the flattest picture profile you can get out of your Sony camera. Now for Canon, It's called C log and for night Nick on it's called z log. I think. I don't know about the rest of the cameras, but it's something log Panasonic I think is V log. So utilizing a log flat picture profile will give you the most dynamic range, keep the best coloring options and post and is really, really beneficial for getting the most out of your camera. Now, I also said it may be called raw. If you're using my camera, the pocket for k from Blackmagic Design, they have Blackmagic video, Blackmagic video extended, and then black magic fill. Now, whether you're shooting in raw or progress doesn't really matter here. But for example, if you're using a red Komodo, you'll probably be filming in raw and you'll be shooting in red rod. And there'll be like in log already. By default, you'll want to shoot in log to get the most out of these cameras, regardless of the camera you're using. I would always, always, always highly recommend shooting in log. Now to access this, typically it'll be within your menu pages, somewhere on there, the filmmaking tab, and then find a picture profile settings, PP, something. There'll be called different things on different cameras. Okay, now in the next video we're going to be going over how to shoot video, the main bread and butter. How do you plan a video? How do you shoot a video? And how do you edit video? See you next one. 4. Lesson 3: How To Make Videos: So harsh record of course, when you have hay fever, I'm really sorry if I keep sniffling or anything but carrying all guys how to shoot video, pre-production, production and post-production, aka editing. Let's talk through all three points because making a video is so much more than showing up to set or on location and hitting record. It's actually many, many, many stages before you even hit record. And then there's a whole thing after you hit record as well. Let's talk about one of the, if not, the most important step, pre-production. Pre-production is where you plan everything with the video now, depending on your level of experience. And if you're watching this and you're probably a beginner, you're most likely going to be planning everything yourself. So this means you'll be choosing the locations, deciding what shots you're going to shoot, deciding the models, actors, actresses, cars, prompts the set design, literally everything to do with the video. You'll be deciding yourself. Now on a higher level, this gets spread out amongst a team of people. So you'll have someone who's dedicated to deciding what props we're going to use or making the prompts. You'll have someone dedicated to set design and managing this set on a shoot. You'll have someone dedicated, the DP director of photography to the shots and lighting and how the shots would be shot and wass or of lighting look it will look like and you'll have someone who decides where the budget is going to be allocated. The producer, producer does a lot more than just that, but this is more for someone who's starting out. So typically, you'll be doing all of these roles by yourself. Into is a big task, is a lot of work, but good pre-production can make or break a video. Really good planning can make the production side of things way smoother shoots where I have planned everything to the t, go so smooth, we finished ahead of time where it has shoots where I don't literally plan everything. Usually we're a little tight for time, but we always get it done. Now, this doesn't mean every single project you have to plan out every single detail. Personally, I have a certain threshold with clients where if they pay more than that threshold, then I will plan literally everything to the t because they're paying for it. Okay, So let's break it down real quick. One more time. Pre-production is the planning stage for your shoot. This is where you decide literally everything, the location, the props, the models, actors or actresses, what shots you're going to get, what equipment you'll need. This is where you will book everything and organize every one. And lastly, any scheduling, anything to do that you need to do before the shoot to happen on the shoe. This is the stage when you do it it. Now, let's talk about the fun stuff. Production. Production is essentially just the shoot day. This is going to be 1, 2, 5, 10, however many days you need. It depends on the project you're doing. It typically, again, if you're someone of a lower experienced level, you probably only need one day of production for the projects that you're doing. So if you're filming, Let's use an example of you're filming an advert for a Low Cafe. You'll probably only need a full day, maybe even half a day to SHE what they need. It depends a little on the Schultes you're getting. Because, for example, some shots, even though it's just one shot, require a lot of setup. So they may take longer to create. Never ever rush. What needs to be done properly because sometimes rushing will make you take even more time because you're probably mess up just a little tip or production. You want to make sure everything runs smoothly. So this is where the role of a producer would come in. A producer organize everything, like books, everything, and organizes all the people before the shoot. And then during the shoot, they make sure that they are all those people, all those things are staying organized there on time there where they're meant to be, things like that. Very, very crucial role. Hi, helpful to have it produced on set if you do have one. So making sure that you keep everything on track during production is key. Last thing you want is to be three hours behind on your production and your clients getting annoyed at you because they need to close up soon. If you've planned all your shots correctly, then production is pretty straightforward. All it becomes is ticking off a checklist of what shots you need to capture. Obviously, capturing those shots takes time. It takes how long it needs. But once you've kept it up shop, you can just cross it off, Take it off, whatever, and you go on to the next one and then you go on to the next one, and then you go to the next one. This is why pre-production is so important because it makes the most important part, while pre-production the most important part. But it makes production way smoother and way easier. And if done correctly, if you have a small team or a big team, everybody is organized, everybody knows what they're doing and everything happens like cohesive, cohesively. Very well. You know, it, it's a well oiled machine and that's what we want for shoots. A shoe that goes well, means a client is happy because their production experience with you was a good one. Okay. And now post-production, like I said already, I'm going to do a whole other course on editing because there's all a lot to discuss with editing. But when it comes to editing, Here's a few key things that you need to bear in mind. Editing can make or break your video? Yes. It seems like everything can make or break your video. But the two things I'm most important art of pre-production and then the post-production. Because during production, you can actually fix a lot of mistakes that happened during production, in post-production, and also vice versa. You know, if you ruin the edit, then it can ruin what was shot really, really well. So you have to make sure you do every single step very, very well. If you're shooting an advert that is scripted, then editing is quite easy because all you need to do is sort out all of your clips, get the good parts of every single shot that you need and just slot them in where they need to go. If you've done a scripted shoot, then this is pretty easy. You've done a shoe that isn't scripted and you need to create the story and post, then this requires a lot more thinking on your part because you're essentially creating a story after the fact. Now, typically if you're shooting an ad for a client, this isn't going to be the case, so I'm just going to leave that where it is because it's not really the main way of shooting an ad. You don't just shoot loads of things and then think of the story afterwards. You would plan this before you even shoot. So you know exactly what you're shooting and what the story is. Same goes for music videos, Fashion adverts, any kind of commercial work. When it comes to editing, you can use any nonlinear editor at all. So this includes Premiere Pro, Final Cut x da Vinci result. You can even use Vegas, Sony Vegas, I think it's called, I don't use this. We know what's called. You wanna make sure you have an editor that you're comfortable with, that you know how to use pretty well. And if you don't know how to use any of that, It's completely fine. If you're using Mac, then Final Cut, Premier Pro DaVinci Resolve, they're all great options. If you have a Windows machine like I do, DaVinci Resolve or Premier Pro are both great choices. So I'd recommend just, just picking one. Learn how to use it and learn how to use it. Well, the faster you can edit, which comes with time and experience and just learning keyboard shortcuts and things like that. Faster you get it editing, the faster you can do your work and turn around projects really quickly to clients, impress them and make them happy. One more tip with editing is take the time to trim the fat with your clips. They'll go through every single clip, find the best ones, trimmed, the star and the end so that you only have the actual bit you need for your video. If you do a little bit of organization before you actually start editing, it makes the editing process a lot smoother. And now I'd say last thing. If I already said the last thing was the last thing, that's my bad, but color grading and color correcting. Color correcting, I should've said that first is where you take a flat image, like we discussed in a previous video and you correct it, you make it look like real life. So this is where you'd add back contrast. You add back saturation near tweak the exposure and the white balance and things like that. And then color grading is where you create the look you want for your video. So this is where you typically see things like in Hollywood films, teal and orange color palette. This is a very, very, very commonly used color palette. It's there, so there's a good reason for it, because it's a great color palette. Teal and orange are what are called complimentary colors. Now what this means is that basically on the color wheel, which you'll see here, they are complimentary to each other than, you know, they're opposite ends, right? They worked very, very well visually, you know, blue shadows, orange highlights a little bit pop here in there. It gives a very pleasing image and as many variations to the teal and orange look. So, you know, just a little tidbit on coloring stuff because I'm actually going to be talking about lighting in a whole other class. When all is said and done and you have edited your edit, make sure you explore it and a high-quality codec, H.264 is typically what we all export in. And just make sure all the settings are tuned for like a high-quality export, depending on the software you're using, these settings will differ. So just, just do a little bit of research on Google just to see which is right for you. All right guys, now, almost on to the last section of this video, I've got a little bonus section here for you guys in the next video, so I'll see you next time. 5. Lesson 4 Equipment: What Do You Need?: Hey, you're back. So I wanted to throw in a little extra subject that I fall on the way through this whole course. I was like, You know what MC, That's a good idea. Let's talk to you guys about this equipment. What equipment should you be using for your production? You know, we've just learned pre-production, production, post-production, but what sort of equipment should you be using for it? So I've already said to you guys how I'm using a black magic pocket cinema camera for k. That is a mouthful. I have also mentioned my Sony A7 S2, which I wouldn't recommend anymore because it's been replaced by like two or three generations of cameras. What I would recommend to you guys is looking at a sort of work you want to be doing. Looking at different cameras and seeing which camera is right for you. But beyond the cameras as many other things we should think about here. So first of all, of course, there's the camera, but then there's the lens and the lens dictates look so dramatically. That is frankly more important than the camera. I would rather have 20 lenses and no cameras, then have two cameras and four lenses, which is what I have. Well, I think I have six lenses, but anyway, lenses are crucial for your shoot and they can make or break. I keep saying make or break. And they can hugely dictate like the overall look of your film, whether you shoot on an anamorphic lens which looks like this. Or you shoot on the standard Canon L series lens which looks like this. You get a nice sharp image, but maybe you want something different. Now beyond that, you have various attachments like cages, rods, handles, things that go into bottom, things to go on a sad things that go into top of your camera cage. All these things that go around your camera that helped improve its usability and help you do more with your filmmaking. So for example, this top handle here, I have some wooden camera. It lets me hold my camera more easily. That's basically it. Lets me do low down shots and it lets me just hold the camera more comfortably. Whereas if I didn't have that, I'd have to hold it by the side. But considering this rigs a little bit heavy, this kind of uncomfortable after awhile. So it's both for convenience, but it also has a function in terms of filming. Now after this, in front of the lens, you can attach filters. Now, there are two important filters that I use frequently the I'm going to touch on, well actually there's many important filters, but here's to the, I'm going to talk about ND filters be at variable or hard stop hand. Tiffany Black promised filters. Now there's various promised filters from different companies doesn't have to be tip and that's just the one that I use. Variable ND filters or ND filters in general, they're essentially sunglasses for your camera. They are crucial if you're shooting outside or in a brightly lit environment. The reason they're crucial is because if we go back to what we discussed about learning your camera, you know, you need to keep your shutter speed at double your frame rate to have correct motion blur, we want to have a shutter speed that is double our frame rate. But what happens if you're shooting outside in the middle of the day? If you're shooting at 25 frames per second, that means you have a shutter speed of one over 50. Your image is going to be overexposed unless you crank your aperture all the way to like F22. But what if you want to shoot a shallow depth of field shot like an F2 shot or an F2 0.8. Or even if you just want to shoot at f 4.5 is very likely that you're shooting midday with bright sunlight, that the image will be overexposed. So what do you do? This is where an ND filter comes in. If you have a hard stop ND filter, this just means that whatever the filter you put in front, that's how much it's going to cut the light by. So by one-stop to stop three stops or four stops of light. Or you can use a variable ND filter. A variable ND filter basically just lets you vary how much you're cutting the light by a very, very useful. But the reason you may use one over the other variable NDAs, they do have a little bit of a color shift when you're using them. Typically they can shift the image to green a little bit, but when you're editing, you can always easily correct this I find, so it's not too big of a deal. Typically this pushes me towards using higher-quality variable ND is with better glass and noise batch color shifting, something to look out for when you're looking at different filters. Now it's had been promised filter I'm actually using on this video right now. And you'll notice right here that there's a glow around this line over here. So I've got a small little lie, just can be a bit of hair light so that I pop from the background. And there's a little bit of a haze around, a little bit of a glow. Now if I were to take off the filter, you can see there's no more haze, no more a glow around it. It's much more straight edge. And additionally, actually my skin now it looks a little bit less smooth. So you can see before and after here, I look way more straight edge, more, I guess a little bit shiny liberal or less. But this filter back on and there we go. A little bit of spots, a little bit of a red nose. I just kind of went to. Cover the up a tiny bit. So this really helps if you're shooting a fashion or beauty commercial, typically the most really won their skins, be nice and soft and just look polished and not a 100 percent real I suppose, but look good. And using a Tiffany Black promised filter can really, really help with that. They come in different strengths. Be it like 1 sixth, 1 eighth, a quarter and a half, and then a full. I'm using a half right now, which is pretty strong, but I like it because it also lends to the filmmaker look. And I think if you're gonna go for the filmic look, go for it. You know, these two pillars are to the I'd recommend, but they're not totally necessary. That ND filter that is necessary, I would want a 100 percent recommend that being your first filter purchase. Now on top of this, lighting is a key thing for filmmaking. Filmmaking is just capturing an image, a subject that is lit in a good way. So if you don't have any lighting, that's going to be a bit of a problem, a bit difficult. I'd recommend getting a lie as soon as possible. It is more important than having a camera that can shoot six K at 60 frames per second. I would rather shoot something at 10 ADP, but have incredible lighting because then your image will look better than if it was shot at six K, but you have no lights. Additionally, audio. Very, very important if you do a lot of interview setups or anything all it requires audio, YouTube, videos, podcasts. If you make courses as well, you need to have good audio so that your audience can hear you properly for your client work if you're shooting talking head stuff, it is crucial that they sound Excellent. Because if they're paying for your service than they need to receive a good service. So good audio is ideal. Outside of this, there are things like Gimbels which helps stabilize your camera. There are things like tripods, sliders, motorized sliders, go pros as well. And lots and lots of different cables, hard drives, SSDs, storage solutions. The list goes on and on. And as you do more filmmaking, row, your career in your experience, you will learn more about the different sorts of equipment that you need and what you should be using and what is right for you. And not everybody needs the same type of equipment. I would say everybody needs lighting. That's probably a given. And you need a camera to film with. But not everybody needs to have the latest and greatest camera features. Not everybody needs to have a specific aperture light. I'm using a light from light panels, the Gemini one-by-one. It's not a cheap lie. It's pretty expensive, but it is incredible and it suits my needs. I've also lived the background with another Gemini one by one. These make a great pair of lights for most situations I film. Another important thing to think about as you're powering solutions, your batteries, as you're shooting on a pocket for K or a pocket six K, like I've gotten their background, their, you'll need an external power source because the internal batteries are pretty bad, that they're pretty bad to be honest, if you're shooting on a different camera though, maybe your internal battery life is actually pretty good. So, you know, buy a few extra batteries and you're good for an entire day or two. Batteries come in all sorts of shapes and sizes, all sorts of weights and different ways that they work. For example, there's something called female batteries, which are shown here. I have eight different kinds of VMM batteries. You know, some of them being much larger capacity, some of them being much smaller capacity for different situations. You can use these to power our lives. When you're outside, you'll have access to a generator or just a plug socket. And also I use these power my cameras, like I've said already. Now, there's a lot of equipment, like I said. So take the time, do your research, see what kinda work you wanna do. And then finally, equipment that best suits the work that you are looking to do. Our guys now in the next video, last one, how to get clients. 6. Lesson 5: How To Get Clients: Okay, Hey, this last one of this course, how to get clients, okay? Now you know the a to Z. Now you know a general overview on how to do filmmaking, how to be a filmmaker, pre-production, post-production and editing and coloring, and what equipment's again. And now let's talk about how you actually get work. Here's a few tips. Tip number 1, clients need to see what you're capable of. If you have no portfolio, if you have no body of work, they don't know what you can do. It's all well and good saying, hey, I can film this for you. But if they can't see that you can fill in this for them, they're not going to trust you. Now this does lead into another tip that I'm going to come to in a second. But if you don't have a body of work, then they have no way of being able to trust you that you can do what you say you can do. So to rectify this, starts shooting some stuff. Ask someone like a friendly, hey, I want to make this commercial just for fun, like less use of parents car. That's make a car ad or hey, no, uncle Bob, you've got a cafe, right? Can I films and stuff. I want to make a little ad for you, things like that go a long way. And if you can build a small portfolio, this will help you at least get one or two clients. Now that loads, if I said I was going to come to here, it is doing free work. Now. Personally, I don't like doing free work because my time is worth something, but I'm at a different level to someone who's just beginning. If you're just beginning. And like I said, you don't have a portfolio already or you have very, very little to show. Doing free work is absolutely the way to go because you're going to grow your portfolio very, very quickly. Because who doesn't want something for free? The last time I checked, nobody business owners are very, very likely to say yes to you. If you say, Hey, I'm new, I want to film some stuff on a film of commercial for you guys completely for free. I'm just looking to grow my portfolio, so I'm happy to do this work for free with you. Would you like to jump on a call and discuss your needs and what we can do. They are more likely to say yes because it's free. So you don't have to worry about this too much. And you can really develop some great client relationships this way because you started with them from the bottom. And if you produce something great, they'll be like, Hey, this was really good. Let's do it again, but I want to pay you this time. That does happen quite frequently. And the more clients you do this with you, more free work, the more relationships you can start. Now on the other side of things, if the client isn't happy with what you've done, it isn't really any expense to them. They haven't spent any money on you? Yes. They've invested some time into you, but at the end of the day, they won't really be mad with me if you do a poor job or a not so great job because it didn't cost them anything. All they had to do was give you access to whatever it is you need to film, what they need you to film. So don't worry if you mess up a little bit because they didn't pay you anything. Just something to bear in mind. Now, like I said, for the pre-production stuff, you need to plan out your video. So with your first clients video, make sure you plan everything out. This not only makes the production side of things easier, but it shows the client like, Hey, I'm taking this seriously, I'm giving it my all. I'm showing you that I am and can be very professional. This will change their optics on you. Their view on your optics are incredibly important. The equipment used to how you behave throughout the entire production. It influences how the client thinks of you and if they have a good impression of you, they will use you again. Okay? Now your shell, some stuff. Now you have a little bit of a portfolio going. It's time to talk about Client Relationship Management. Crm is extremely important because the better your client relationship is, the more work you'll get with them, the more you can charge them more than happy to pay, the bigger your projects can be with these clients because they trust you to deliver on what you're planning. Now there are a lot of things that come to Client Relationship Management. And there's frankly too many to mention in this video, otherwise it will be extremely long. Probably make another course about that. But here are two main things to keep in mind for your CRM. These two things are Client Outreach and how to manage your client after the shoot. So Cline now reach its very simple. No clients, no pay, no pay, no bills paid, no bills paid, no home. So you need clients for paying to fix this issue. You need to be and to fix this issue, you need to be reaching out to clients all the time. Eventually, you will get through a phase in your career where you're getting referrals and stuff. You're getting recommended people are finding you. You don't need to find them anymore. But if you're at the start and frankly, even with where I'm at, I'm still reaching out to people anyway because not everybody is going to see me. There are a lot of people who do what we do. We need to always reaching out to other companies, other clients so they can see what we're capable of and give us a shot. So reaching out to your clients is crucial, be it via e-mail, Instagram, DMs, calling people, all sorts of ways. Mail a letter, smoke signals. But a key thing with Client Outreach is get them on a phone call. Getting them on a phone call is so, so important because you can discuss a lot more over the phone in a five-minute conversation, then you can through Instagram DMs or Twitter DMs. If you send someone a DM, it's very, very easy for them to ignore you. They can read it, give it a thought, and then be like Nat. But if you can get them for five minutes on the phone, you can convey to them of what you wanna do, what you're looking to help them with, and they can actually say anything, right? Okay. I do actually have some business issues. Let me talk to this person about it and see what they offer and see what they can do for me. And then you can go from there. I've had clients phone calls go from five minutes to 30 to 40 minutes just because we really got into it. I told them one looking to help them with and they're like, okay, this is where we're at right now. This is where I want to be worser of ideas. Do you have? What can, what can you do for me? What you propose, and what's it going to cost, Of course now will come to that in a second also with costs. The other thing is if you tell them over dM, you charge because typically you'll send what you say, Hey, my name is this, I do this in this city, you know, I'm looking to help you out, has a sudden you, and they'll say, what's your price? And then you say, Oh, this, or you say it depends on the project, but it ranges from this to this. And then they just airtime you. That has happened to me so many times, at least hundreds of times. I can't I can't count. I've lost count, but that's going to happen to you and you need to be prepared for that. But if you can give them a phone call, then maybe instead of being like not, they'll just discuss it with you to say, Okay, there's a little bit of our budget. We're looking to do something a bit like this. What could you charge for that or like could we meet in the middle somewhere? You can discuss meeting the middle or you could discuss with them why it's worth what you're charging them, and how they should actually increase their expectations on pay because of the results that they're gonna be getting from you. Now, sales and all of that is a whole other conversation, definitely suddenly for another course, it's a whole other topic that I personally, I'm still working on to this day. And it's definitely something that you need to work on very, very hard at. Because if you're good at sales, are good at closing sales, you'll close and our clients and made more money. Now next, you can discuss all the shoes details over the phone. It's way easier than doing it via DM because it's just a load of typing. People come Ebola to do that, it's much easier just to discuss everything on the phone. Point-blank, period. So because of all these reasons, I would recommend highly cutting your client on the phone. And if they call you on the phone or if you don't have access to their phone number or whoever their assistant is, doesn't want to give you access our phone, just e-mail them, but then follow up on that e-mail a few days later just to make sure like, Hey, you know, I've not forgotten about you. I hope you haven't forgotten about me. Like Let's jump on a five-minute call when you have some time. Just, you know, encourage them to get on a phone call with you and then you can close that deal. And now the next thing to bear in mind with your clients, and this is after you've done the shoe. So this is like after you've edited it, after you've delivered the the the assets, the videos, whatever you're delivering, you know, just middle of the week, send a message like, Hey, how are you, How's business going? How's the wife and kids or how's the husband and kids or how's your dog checking up on your client showing that you care and that you're not just after their money all the time. You're not just additive business all the time. It sets you apart from the other videographers. There are a lot of people who do what we do and there's a lot more people getting into it every single day because it's a really fun career. No lie. This is great. I love that. This is how I make money. Now because of this, you have to make sure you do extra things that set you apart from the rest. Checking up on your client's, shown them that you care, sending them a Christmas card or an Easter card or a whatever. It shows that you value them as a person and not just as a client. And because of this, they are more likely to stick with your services over anyone else because they feel a personal connection to that is crucial. Emotional connections are what drive humans to do a lot of things, even if rationally don't make sense. So when it comes to client relationships, showing them that you care, establishing an emotional connection with them, a personal connection with them. It will help in the long run with business because any little problem they have that they think they can be solved by you, then they will ask you to solve it. All right, that's it for this video. In the next video, we're still continued discussion about clients, but we're gonna be talking about budgeting, pricing, things like that, the nitty-gritty and the fun things. 7. Lesson 6: Deciding Your Rates: Welcome back. Okay, So I still get this to this day. Hey, what are your rates? What's your hourly rate? Was your day rate? How much does this cost? Their rates and stuff, whether you do them or not, It's up to you kind of, you know, I think it's quite a common question, so it's probably a good thing you work out what you would charge for a day rate of just filming, right? Let's say you're you're the camera man. You're just filming. Right? There you go. Good day rate or a set expectation of like this amount of planning, this amount filming, amount of editing costs, this much, right? As like a base, right? You know, finding out your rate. Is it something that you're probably always be unsure about? And to this day, I still go back and forth and wash recharging people. Sometimes I'd have projects where I charge several 1000 pounds. And sometimes I have projects where I only charge a few 100 pounds. And sometimes it makes me question like am I, am I justified for charging the higher rates I charge, or should I be charging less? Or maybe you look at other people and you find out their prices and you're like, Wow, okay, it's a, it's a bit lower than what I'm charging people. Maybe I should be charging that rate because let's say that person is busier than you are or things like that. You know, you will go back and forth on this all the time. The way I see it is higher price. If that price works, next project, increase it a little bit. If it works, keep going until you get to a threshold where people start saying no to a lot. And then you kinda know where you're at at that time in your career. Give it some time, try increasing it a bit more. And you know, the thing is like whenever you increase your rates, you will lose some clients write this. This is before we jump into discussing your day rates and things like that. But you will lose clients as you increase your rates because maybe it's just those clients have expected to work with you for a $100, right? A $100 a video. That's what they're expecting. They don't want to pay $200 video. If they wanted to pay $200 video, they were going to someone else, right? Hundreds of video. That's what a happy with. Sometimes clients will stick with you and that's good. But the way I see it right? And the way I've had it read to me before is if you double your rates and you have your clients, you are still making the same amount of money as you were before, but you're doing half the work. Now you have more time for other business ventures or finding other clients who pay you more or, you know, free time, relax if you want to. So that's how, that's how I see it. I think it's a good way to go about it really. But you always want to play around with finding your ray and then just go from there. Okay. So what the hell do you charge your client? What is your day or a what your hourly rate? There's no algorithm to this, right? There's a lot of people online selling their little Excel spreadsheet that calculates what a project should cost. But the reality is that every single project is unique. What, what Bob needs is different to what Bill needs, right? Even if they're both music video artists, bulb needs a $10 thousand music video and build needs a $100 thousand music video. And it's not that they're so different, but the scale of production they need for their idea. That's what's different. Or maybe it's, this one's gonna go on TV and this one is only going to go on YouTube, things like that. There's so many things to take into account when calculating the cost of what a project will cost, what you need to charge people. Let's dive into a few things, okay, So these points go back to a previous video. They discuss a little bit of stuff that we've discussed already, but let's go over them again one more time. What is the video being used for? Is it to promote a course that you're selling for $1000 is to promote a cup of coffee you're signing for $5, or is it to promote a shoe that your son for $400 if your video generates a 100 sales. And this is why I say every time, then you've made that person a $100 thousand, you've made that person $500, you've made that person for $40 thousand. Like you've got to bear those numbers in mind. A cup of coffee. Probably a lot more than a 100 sales, but I say a 100 because if you lowball it and is still an impressive number, there you go, It just sounds like easy maps to the person to decline. The next thing is, what do they want in the video exactly. So the props, the models, the cars, the location, things like that. It's going to list off the points I have written down in my notes here. So how many hours, days, or weeks do we need to film for? Do we need to rent any equipment? Do we need to run any specialty equipment for a very specific shot? For example, this lower probe lens, which has a very unique perspective that can only be captured with this lens. And you know, that's going to be an extra cost because whatever their rental house charges, it was what it charges and then you have to pay for tax on top of that. So here in the UK, 20% VAT on top of anything. Do we need to hire extra crew members? So do you need a camera system? Do you need to hire a DP because you're going to direct or do you need to hire a director? Because you're going to dp? Do you need to hire an editor and a colorist? You need to hire someone to handle the sound, set design, prop design, costumes. Do you need to pay for costumes? Do you need to hire? So many things, how much editing is required? Do you need one video or Ginny 20 videos? How many revisions are you expecting? Because yes, you need to put a cap on this. Because quickly, if a client turns around and asks you for 20 rounds of revisions, it's going to take the pace. So yes, you need to put a capitalist because if a client comes back to you for changes, right? Once, spine, twice, that's fine. A third time. Okay. Sure. But if they keep coming back with more changes and more changes and more changes, every time you send them a draft and you go to the tenth draft and they want more changes. This is you're wasting your time and they're not paying you more for it. So the reason you put a cap on it in the contract, which if I haven't said already, which I don't think I have, you need to contract your clients by the way, you put a cap on it in the contract because then they know, right, I need to really sit and think about this. Let me get all the important stuff down. Okay, these are changes I want bright. And then if it gets to a point where they've had their, let's say three was the max. They've had their three rounds of changes. Now, just to quickly clarify this, I'm not saying only let them have three changes. I'm saying let them have three rounds of changes. So they have three separate opportunities to ask for a number of changes, whatever number of changes it is. Now if they hit the max and they want another change done, then you tell them, right? As it says in the contract, it will cost this much. You will need to send that for me to make the next change. Then they either agree or disagree. If you disagree, then you don't do the next changes, do you? Like right, there you go. There's the video is done. Do they want the raw footage? This is a big one. I've had clients argue with me on this. I have had bad experiences with clients argue me on this because raw footage, Here's the thing with raw footage, what you produce, the end result, the video is a piece of art that has your name on it, right? It's a video that has your brand, your name, your company, company's name on it. People will know you for that specific look, coloring, tone, editing, pacing, all of that, framing, everything. But if you give someone the raw file, then they have the raw file, the thing that you made from scratch that you have, you've turned and crafted into this beautiful video. They have the RAW file of it that has none of the crafting you've done on it. So if they then publish that saves done by you, but they do a poor job with it. It's gonna give you a poor reputation. So for that reason, I charge people for the raw footage, not only because it's right in like you want you want more things from me. I'm gonna have to charge you for it, but because there's a chance they could ruin my reputation. So as a way of, you know, because of that risk, I'm charging you for it. But, but also as what's the word a bit of a deterrent for them to then one the raw footage because like I said, if they if they edit it and they color and they don't know what they're doing and they do a poor job, posted sales by me, it affects my my company's image and we'll make someone who sees that not want to hire me versus someone seeing the final product that I've made. And it looks good. And then like, right, I'm going to hire that person because they did a good job. It looks great. So that's another thing to think about. Discuss with your client. Obviously, don't say to your client, you're going to edit it poorly and that's why I'm not going to give it to you. Just discuss it with them. Have them understand that right leg. This is a lot I'm giving you. This is my brand's reputation and things like that. So that's why, you know, I have to charge you extra for this. So all these things lean back to why you need to have a phone call with your client first to get all the details out of the way so there's no surprises on a shoot. And you shoot exactly what needs to be shocked, and then you can deliver what needs to be delivered. Now, if you have, for example, a client that asks you to produce something new from what you shot, say they want five videos instead of four videos now, then yes, that's something you charge them for because they're asking for something new. They're asking for another, another video. Essentially, even though you're not doing more shooting, you're doing more editing, and you have to create another unique video that is different from the four other videos you've just edited for them. Okay. Now we've discussed all that. Let's touch on day an hourly rates. Sometimes someone will message you and you're like, Look, I need this specific role films. Let's see, a director of photography. What is your day rate, right? So your dairy as a director of photography, a director of photography has a very set specific job, right? They're in charge of creating the look, the shots, which the shots in the light. They are in charge of the look of the film or video. They plan the shots, create the shots and plan out the lighting as well, which they plan out and discuss with the gaffer. It's very common for a DOP, a DP to have a De Re and editor will have a de re I direct, it will have a day rate. All these little crew members will have their own day rates. Because it's just very common within the film industry. This is separate to if you're kind of like a one man band starting out and doing multiple roles. This is what I've done personally, but I have started to grow my own team and give them their own little role is to take some weight off of my shoulders. Now for example, a DOP may have a day rate of $1000. They'll show up with all their gear, having done all the planning and prep. They'll shoot everything, deliver all the footage to the editor, and they're done. That's it. One Day's work for $1000 now it sounds great. And it is great. The only, the only downside is that filmmaking is all about networks and connections. So getting that specific job, it takes knowing people. So this is where relationships are very, very important, like I've said before. Now on the other hand, you may sometimes get a client who asks you what your hourly rate is now, I don't really like to do hourly rates I have done in the past and before I used to charge 200 pounds an hour. Now, I don't really do hourly rates anymore. But if someone were to ask me, I'd probably say the same thing. It's a 100 pounds for one hour filming. It doesn't sound like a lot, but typically people need you for maybe like three hours. That's actually what happened for three hours of filming, 600 pounds. It doesn't sound too bad to me really. You know, sometimes that's going to be the full price of someone else's projects. So for just like filming a small project and then a little bit of quick editing is not too bad. It's not very common. You'll get asked your hourly rate, but if you do, it is good to kind of figure it out. So maybe you can take your day array and just divide it by however many hours your full day is. So typically a full day is like 10 hours. So someone asked what your hourly rate is. If it's a $1000, then it's a $100 an hour. Now, you can set your own price. You won't have to divide it by your day rate. And I would do this because my day rate would be more value for money for the client, which is usually the reason people book you for a day rather than on an hourly basis because it's more value for money, they could pay $1000 rather than paying 200 an hour. And then if it's a 10 hour day, they've just paid me $2 thousand, which yes, would be great for me, but value for money and $1000 a day is still amazing. Now you guys remember earlier how I spoke about contracts, right? That's the next video and the last video. So I'll see you next one. 8. Lesson 7: Contracts: Okay, This video is so important, I actually contracts. So important. They are one of the most important things with filmmaking because if you don't have a contract of your client, they can run away with your video and they don't owe you one thing, harsh reality, but it's happened and it's true. So you've discussed all the details with your client. You've sorted all the expenses, worked out, all the costs. Now, it's time to have them sign a contract. Contracts are there to protect you and the client. Dictate that you will get paid for providing a service. If you deliver what you're meant to deliver, then the client has to pay you what they owe you is as simple as that. A good thing to mention is if a new client is very hesitant or doesn't want to sign a contract at all. Nine out of 10 times they are not worth working with. I have had clients in the past say no, no. I will make the contract which red flag? 100 percent. Never worked with them again and yeah, never work for them again. The reason that you haven't signed a contract is to make sure you actually get paid. Like I said, they can take your video and runoff. They can delay paying you or, you know, just just never pay you at all and block you on phone number, WhatsApp, e-mail, Instagram, Twitter, everything. You've just spent all that hard work, all that time, all that planning video, all of your effort into getting nothing. So having a contract is absolutely crucial. The reason contracts are so important is because they protect your company. They make sure the client understands the other legally obliged to pay you and pay you on time and pay you the correct amount. They also ensure that the client understand in general that legally obliged to pay for any damages caused, they also ensure that you are not legally responsible for any damages to climb in, in, endure from the film production animal, say something falls on them and it wasn't your fault. If you don't have a protection clause in your contract, they can sue you for him to say like if a lifetime fell on them, but it wasn't you who pushed it. It just broke, for example, right? Poorer lifestyles utilize them. I don't know. They can sue you for it. If you don't stay in there in your contract, that they cannot sue you for any damages caused. Contracts also ensure that the client can not ask you for more without proper compensation. Meanwhile, I said before where if they ask you for more, you have every right to charge them for it. And the contract that they're going to assign dictates exactly that on top of all of this, on top of all the protection for you, your company and also the client because on their side it says they don't have to pay. If you can't deliver what you're meant to deliver. On top of all of this, it makes you look a lot more professional. It shows you're taking this very, very seriously. You're a professional who's getting paid to do a professional job. The client will understand this and they will respect you and your company, your work, and what you're doing. For my contracts. I always use them as an invoice as well, but I send another invoice after the shoot, What's left over to pay and if there were any expenses incurred during the shoot, for example, parking, food, things like that, you you charge that to the client. They are responsible for covering all of your expenses as well as paying for you, especially if that's in the contract. So I always send a secondary invoice after the first contract slash invoice it sent. Now for every single shoe I do with a client, they have to pay the positive secure their shoot date. So typically, I just do 50 percent on front, 50 percent when I deliver the video. Sometimes some people will do 25 percent upfront, 25 percent on the day that we're shooting. And then the last amount. Once we deliver the video, you can do it however you want. If you want to do 15, 25, 50, and then fifth, 18, mats, you can do it any way you want. I think just having two payments is more straightforward rather than having three. Because if someone who has to pay you on the day, then technically they're breaking their contract with you. So just making bit simpler for the client makes it easier overall, but that is always upfront. This is the total you have to pay. This is the policy of the pay. It's ju as soon as possible if you want to secure your shoot date. Remember, no contract, no deposit, no shoot. And then we also have the remaining amount once they receive the video. And then I have all the terms and conditions and all of that. And at the very bottom of the contract is already assigned by my company name. And then you have a blank line for your client. You want to go through all this with your client, have them read and make sure they understand it. They're comfortable with it in any terms that they're unsure about, they don't understand, just go through them, talk them through it and things like that. And because you guys have sign-ups this class and you're watching it through premium Skillshare, you get access to my contract templates. So I have two types of contracts. I've got one for weddings and I've got one for general video work. For like all types of video work. The wedding one is different just because it's very specific to weddings and weddings, they're quite different or quite niche. So I have a separate contract for that. I don't do a lot of weddings anymore, but it's still useful contract to have. And I do have a wedding in the books. At some point when, you know, things are semi back to normal, the wedding contract is separate to the other contract I have just because weddings are very, very niche, but the main contract I use and a wedding one will both be available in the downloads for this class. If you have any questions about the contract template, feel free to message me on Instagram, that's my username. It will also be in the class notes as well. All right guys, so this is the last episode. This is more or less a basic, kinda basic in that sort of overview on filmmaking. I really, really look forward to seeing what you guys create. Tag me in wherever you create. Tell me you've, you've watched my course and I will be happy to wash your creations. Filmmaking is a lot, It's a lot of work. It's a lot of money. It's a lot of effort. It's a lot of headaches and heartache and frustration. But I wouldn't want to do any other job that because for me personally, filmmaking is capturing the beauty of the world in a way that you can't see with your own eyes. Like you enhance how the world looks. And I just think that's really beautiful. So even though maybe you're making a coffee ad or you're making an ad for some sunscreen, you can create something that is so visually captivating that normal day-to-day things just don't compare to. And that's just really, really exciting. Hope you guys learned a lot from this course. If you have any questions, feel free to send me a message on Instagram. I get back to as many people as I can. Also check me out on YouTube where I discussed a lot of filmmaking topics. I do gear reviews. So if you're unsure about equipment or you want to know more about different equipment, check out the channel. I'm sure you'll be able to learn a lot from there as well. Thank you so much for watching this course. This is my first Skillshare course and I hope it was good. Have a great day. Please.