Travel, Menus and Drones with Sony Shooter Luke Reither

The boys tackle wedding videographer Luke Reither - the last name that Robert screws up on air!  Luke has two sweet overseas weddings lined up and "might" consider bringing along some help IF you are willing to pay your own travel.
We also discover the real reason behind the 29:59 clip limitation on cameras AND we won't believe it!  Someone needs to verify this information for us just to be sure we don't pass along erroneous information.
Sports photographer Ron Lane also steps up to the mic on this episode and tags along to one of the coldest #FotoWalk we've hosted because of the high wind. 

Check out our guest online:

Luke Reither
Website | Facebook | Instagram

Ron Lane
Website | Facebook | Instagram

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Transcript

Speaker 1: 0:09

[inaudible]

Speaker 2: 0:10

gang. It's Joe Edelman, that crazy Todd from youtube. And you're listening to the photo facts podcast@photofactspodcast.com. Now here's your host, Jim and rubber. Hello. Hello. Hello. Okay. I didn't know we were live or not. Hi, it's Robert Trebek here with Jim Felder on the food affects podcast coming to you live from Tulsa, Oklahoma, where we're at Bedford's Fuji Demo days with Jamison Ford from Fuji. Yay. So we had a couple of the previous podcasts with his pile stoking board talking about photo con. Right. But why we're in Tulsa. We have a, a friend of the show, Luke reefer reefer reefer ran. And I knew it was got through a drug. It's not the drug, not the drug, it's not the drug. You told him how to remember it. He is high on life without the drug. But the one thing that I was really like, I've known him, it's been a couple of years now, right? It's been a couple of years. But he has been shooting video and he's doing a lot of traveling and I know that Jim shoots a lot of videos. So I thought that we would have Luke on the show to talk about, well one, one thing I want to know cause I just switched to Fuji. I want to hear about your transition over to Sony and then all this traveling. How, what is your logistics for this? Cause I've looked in his bag. If you look in his bag. No, not yet. Oh my God. You got to look in his bag. I will. But before we go any further, I also want to introduce Ron[inaudible], who's also the fourth person standing here next to you. Hello? I'm sorry. I'm sorry Ron. Sorry Ron. That's okay. Ron Rode with us up here to Tulsa along with Leslie. Vine laughed all the way up here. Yes we did. And he is a sports photographer, so he shoots a lot of sports. Oh wait a minute. Hang on. This is kind of interesting because right now, so I'm all Fuji. You're all Sony. He's all Canon and has Kim right now is still a hybrid when he's out. But he's, but these days, Panasonic Kit, I'm probably gonna stay hybrid. No, no, that's fine. It's just a different tool. Nikon. Fuji. Yeah. So, but I definitely want to hear, cause I heard that in the video arena, like Sony seems to be like where it's at. A sorta. Yes. I've actually dealt with someone using a food GX T3 in a wedding. Uh, he was my assistant in a wedding now shot in Richmond, Virginia recently.[inaudible] and right out of the camera it made, it made my sone look really, really bad. Really? Yes. What was that? Oh that was my phone. Sorry. He's keeping, he's keeping note. Yeah. And why did you choose Sony? Was it this full frame or was the capabilities?

Speaker 3: 3:00

Um, I basically switched over to Sony just because you know, the picture profiles and it was more user friendly. Um, you know, I can actually throw someone else if they don't have its own. He never used it. I can actually teach them really quick with it. So, cause you're already familiar with it.[inaudible] wow, that's great. I'm sure Jim has some good questions on the video quality. Well yeah. What's the video quality like? I mean, not that it matters. I'm not going to go Sony, but I'm just saying like, yeah, we're just making content. I'm not going to go Sony, but I want some content. But if he was to hand me a Sony as a hey, a gift for you, I would say hell yeah and take that. But you know, it's, there's a lot of sugar in a lot of factors. Sony. I did, yes. Last, last in Memphis, Memphis shot photos for Bedfords. I did, yes. Um, of course. I don't think that you'll see any of that footage, but that's okay. No, but you're very happy with, I remember I was talking on the way back on how pleased you were with operation of the camera. It was really good. Um, I think the menus were, were actually easier than Fuji, but yeah. Well, and I have to say that Sony, I really got it for the low light capability and I know that for a fact that, that Sony actually blew away the Fujifilm XD three in low light. Sorry.[inaudible] that you're here. But yeah, it's all moved away and they blew it away and dynamic range as well. Um, that's one thing I really love about Sonja. So dynamic range if I'm not mistaken and I could be wrong, but I think Sony makes the sensors for all the other cameras except for Canon. Canon, Canon, Canon does not have a Sony sensors. Everyone else does. Even the phones do so really? Yeah. Did I did not know the phones had so many sensors as well. So all the stuff that we're seeing difference wise isn't really based on the sensor. It's based on the hardware and software that the manufacturers put in. Exactly. It's almost like everybody has the same cylinder engine but like everybody soups there's up in different ways I guess. So. So what is the clip time like? What's the duration of each clip? Well that one has a 30 minute buffer but the a 6,400 out which just released that, which I'd just preorder. It's coming in tomorrow, which we're so excited for as no buffer time. You can literally record as long as your SD card last. So the sensor doesn't heat up and stop the now, cause I know early on when I first started doing this video with DSLRs, it was like a 20 minute thing. Otherwise it would get heated up and you'd say, oh no, we can't go any further than that. Yeah. That was the a 6,300 and a 6,000 had really bad overheating issues, but they fixed it with the a 6,500 and then, you know, da seven had that same issue in[inaudible] had the same issues, but they are three and all the three issues, all the new ones that just came out, no issues with overheating. You know, I don't even know what the[inaudible] duration is before it stops. Takes 30 minute buffer in the middle. Yeah. So explain that. Explain the buffer thing. What's the 30 minute buffer thing? What is that? Well, basically it'll record nonstop for 30 minutes and then you know, it'll go into another, uh, Sutcliffe. Yeah. Okay. Another, okay. You guys got changed. Would you use something like an atomos? Um, I have never used an atmos, actually, no, I think, I think I, well I don't know. It depends on the[inaudible] gets heated up. Yeah, I'm not, yeah, I would say I would think that the sensor would still get hot if that's, if that's the issue. I would think so. But you know what, I, you know, I've seen plenty of videos and stuff where some guys are not having that issue with some people are. But yeah, I don't know if they're shooting up Arizona. I'm just talking from early on whenever I started thinking about doing video with the DSLR and I'm sure that it's, I know it's better now, but yeah. You know, the thing is you can't go and shoot a, an hour long, uh, program and like, like you can't a video camera, you know, it's not for that, you know, so at that point when you were in and out in 30 minutes, you just restart automatically. So you never have to stop it. It just does. It does different files. Yeah. It just does different files. So[inaudible] sensor. So if the sensor gets hot, I mean is that an issue anymore? I mean, okay so it's just, it's just doing the vault segments on per second. I take that back cause my ace 73 actually did overheat on me, but that was after recording six hours continuously. Wow. Yeah. And so what did it do? Just shut down. It just stopped. It just had a, a little thing on the screen saying battery overheating, you know the battery was, it was literally hard rubber rubber camera was so hot. But again I was recording[inaudible] usually tested according for six hours. Nothing was in my house. I just asked the cord tested out to see if it will overheat. Okay. Okay. I've got some information that is going to be mind blowing and just remember listeners, you heard it here first on the photo facts podcast. So I have just asked our Fuji Rep, what is the clip limit on the XD three are you ready? Let's hear it. Okay. So the clip limit is 29 minutes and 59 seconds. And I'm like, oh, I said before it overheats. And he says, no, it has nothing to do with overheating. The reason they limit it to 29 minutes and 59 seconds is because if it goes longer than 30 minutes, there's a different import tax because it's under a video camera versus a still camera that shoots video clips. Interesting. He said if you take the x t three and you hook it up to an atmos Adam, a record, Adam, is it called Adam? Almost Ninja. Yeah, a and you put power to the XT three you can record as long as you want. So basically, and I, I don't know what the Sony's are the same, but from what I'm understand him saying is any camera that the clip is limited to 30 minutes, it's because that manufacturer is not paying the import tax on that device to be rated as a video camera. But most, if not all could record externally beyond that limit. That clip limit is going to the SD card online. Okay. Let me ask you this. So crazy. With the clips segments or whatever, so it's recording you. You get to 29 minutes and it flips over to the next segment. It's not, you're not losing any footage. No. Yeah, so you just keep scrolling in post. You just put them together and there. Exactly, and that's why I'm excited about the 6,400 because like you said, it has no import limit. You know, it just keeps going. It just keeps, never stops. So pretty cool. I need to get me an animal's then. No, I have never used an admin. It's really cool. I have never used it. I mean plus you can get raw, what on the word it's called, but that log is all s log. Yes. Log. It's[inaudible]. Depends on the camera log is Sony Canon C log. We useF log. Oh well I think y ou're my log i con is in l ogged.[ inaudible] Panasonic is p log. But I have to say my favorite picture profile on the Sony is actually Signifor and I only use that because it's so much easier to Keller. Great in post. Just the way it has. It already lays out. Exactly. Now, Fuji, I mean they're, they're logged profiles are a whole lot better cause they record I think in 10 bed versus Sony records, I think an eight bit. Um, so yeah, it doesn't hold as much. I see your lips moving and I know it's important, but dude is like completely over my head. This is all Jim's area. So, well actually, so explain to us, to me and the listeners the whole color grading thing. Well, haven't researched, I haven't tried anything. I've, you know, when you're, uh, when you're done filming you get this flat image. If you're using a picture profile, right. Or it's straight out of the camera, it just doesn't look as good. So what you do is that you, um, killer, correct. At first and when you're Keller, correct it, it brings it back up with the saturation to contrast, you know, basic touch-up and they talking about like a setting and premiere or final cut. Yeah. One of your nonlinear editing softwares, which could be premiere Davinci final cut after effects. Is it a button you say you say enhanced like an auto thing, like an auto correct. Or talking about white balance, I'm talking about well white balance and your basic exposure. Yeah, that's, that's your color correction. Now there's a difference between color correction and color grading. Cause when you're done killer correcting, which is your basic exposure, you know, making sure everything is exposed proper, make it look like it's true to life. Yeah. Right. Exactly. Then you start killer

Speaker 2: 11:54

grading and killer grading is where the fun and the magic happens where you can do like really, really cool cinematic, uh, colors, you know, and make everything match all across the board. You want to make sure all your video clips match because it's a win when you're done watching a video or watching a video itself. You don't want it to words jumping into a different type of, uh, Keller, you know, you want everything seamless. So that's what the grading comes into play on the grading when you're talking about that, just so I can understand, cause we talk about that also in the steel area is where we take color tones and apply those to a highlight and shadow. Yup. Of the image. So we're, we're applying like a tent. Exactly to the photograph and then of course the different clips would have different tents. So they all are color graded the same? Yes. Or was it still Robert with a steel out, we'll use color grading on a lot of times on a portrait to maybe de Saturate by reds, a little[inaudible]. So I'll use a Photoshop action to actually[inaudible] that out so I can get some detail out of that red instead of it just being bright, bright red and then you can take that up, add some of that same rent that you pull out and the one you can add that in the highlight area. Right, exactly. It adds this little beset balance of tinting black. If I have a rate, if you have a red shirt on, I've taken a bit of you, that's that red's also going to pull up into your face. I can pull that red out of your face as well. Cool. And everything. We can make you orange if we really want it to. Hey, we didn't make it orange. It's like, you know, Rashaun on Jon Surf shop a lot with head shots like these guys that I don't know. Some guys are red and I have to, I actually de Saturate their red a little bit and then I think I've changed the orange a little bit back to orange off a little bit. And I kinda mess with that a little bit and make them look kind of like me. I had really bad rosacea when I get photographed under light flash, like I get like really? Okay. I'm sorry I got sidetracked by this. Beautiful try puppet. Wow. Oh my God. Wow. Look at that tripod. I think I have that same head, that sucker. Like how high is that thing going with this guy? Let's go 10 foot, it'll go 10 foot. He's going all the way up. He's 10 Oh, oh, oh yes. It's going, it's going. Oh, it's at least seven foot. Yeah, that's 70 do you think it's seven, seven foot? Easy. Yeah, I think it's beautiful. That is that beautiful. It is. Things that guys geek out of. Alright, so I want to jump into the whole traveling thing. So you're traveling like all over the world, you getting some overseas location. I know traveling from, you know, in the states we can actually carry more bag limitations or larger and elaborate what goes in your bag, like what do you take with you for the shoots that you do but you're doing primarily wedding videography? Yes, that and sometimes commercials, but it really depends on the shoot itself. But I tried to limit myself on what to take. I learned that I learned a very valuable lesson the first time I traveled to New York because when I went to New York I loaded up everything I had like my, my Ronan m Gimbal, I had everything in like three or four different suitcases and yeah, that was a nightmare. And I ended up paying like Allah Wazoo for checked baggage. And after the second time I learned to carry light. So now I'm literally only tearing my camera bag and a laptop bag everywhere I go and it's all carry on. Wow. So I don't have to check any baggage in. I don't want to pay for baggage. What about your Ronan and your big gear? Like I actually sold my Ronan. Um, yeah, I sh I sold my Ronan and went to the Xi'an we bolt, which is a lot smaller and I can actually fit it right in that bag. So it carries you, holds your Sony. Yeah. Okay. You're going to have to talk to me afterwards. Oh yeah. We're going to definitely be doing some gear exchange in here. Yeah. So can you give us a couple of tips for guys who are gonna fly with gear? I'm getting ready to go to Spain this summer and of course I'm just going to take like my Fuji, a couple of, I'm not going to go crazy, but man, there's a part of me that really wants to take studio lights, you know, and yeah, the wife is talking like, well how much clothes got taken? I'm like, you know, not very much cause I may, I might need to have the suitcases for like camera gear. Now you gotta keep in mind on to check baggage on planes. You have a limit of 50 pounds, right? Or you pay an over bag weight, which is expensive. And I don't recommend you doing that the first time I paid like a hundred and some odd dollars for baggage. I don't recommend that. I recommend just keeping as little as possible, you know, with you and um, like what I have in my bag and make sure all your batteries are in your, uh, your carry on. Do not put it in your checked baggage cause you cannot carry that. I heard that. I heard you can't put, um, wait a minute. Hang on. It can't go in the cargo the of the aircraft. Yes, exactly. It has to be on your path to be on your person. Exactly. Those little better battery packs either. You can't put those on there. Right. You can have it on to carry on, but you can't have it in your chart baggage. And that's the same with your drone batteries as well. So do you carry a drone with you? Was yellow. So say I could go, which drone? Like you're carrying a drone and cameras in their bag. I carried the phantom four pro. It's in that bag right there. Oh, we're taking a photo of that for the podcast. Yeah. So technically what I carry with me, I have a phantom four pro. I have three camera bodies in that bag. Three lights, which are the spectrum. RGB Lights, amazing little lights. I love those ones by s Smith and victor aren't the SMV. I don't know their spectrum. RGBs are like that big, you know, I think, I think they fit on a hot shoot to the blue six. Yeah. Yeah. Um, they're extremely bright too. I love those things. Then I carry my road video, Mike, uh, for Lapel Mikes, uh, two recorders and uh, a gimbal and nine lenses and that's it. That and that and Gimbal and my Gimbal, my monopod, nine lenses. And that's it. And that's it. That's all I carry. That's all I carry on his back flying than I had in my toolbox at home. That shit. So my Gimbal, oh my, in the same bag. Yes.

Speaker 3: 18:25

I want you to do is when we wrapped this podcast episode up, I want you to distract him and take them in the back and I'll take it.

Speaker 2: 18:31

Dubai bloated folks came back to Oklahoma City with a bag. Like where'd you get that? If it doesn't add to it? I do carry my Mac book pro and my ad Pod in that bacteria. Oh my God. That's, that is nuts. So advice again for people traveling, carry just the bare minimum of what you need. Have you ever rented on location? Have you been in a situation where it's like, man, I want to take this but I'm just going to rent on location when I get there. I tried and I learned a lesson not to because a lot of places don't have like a Bedford there. So like, we're in Florida, I don't, I still don't know where you can rent gear at in Florida. Um, especially in the Orlando area. And so I'm like totally lost on that. Um, if I have to rent gear, it's gotta be from Bedford and I'd take it out there.

Speaker 3: 19:21

Well, what or why don't you rent from someone online like lens rentals or borrowed borrowed lenses, borrow lenses.

Speaker 2: 19:27

I'm wondering if Bedford's could just ship it out to you. Yeah. Robert. Robert said that he could yes. In case. Yeah. That's rough thinking. Same thing with the other box. You could, yeah, you can rent it and say I want it delivered there and have show up. Oh, sorry. Somebody called that was my Mama. Oh, you should let me talk to Mama. Yeah, we could have put mom on the podcast.

Speaker 3: 19:47

So Luca, before mere, before you were shooting mirrorless, what will you shooting a, before I was shooting Nikon, I was, uh, I had the Nikon d SevenFifty I used to, anyway, I still have my Nikon at five though. Um, but then I had to pay 300. Okay. So that being said, how do you feel about the size difference and, and you, your weight, I mean, I know you've got a lot of freaking gears, probably didn't notice much, but as far as shooting and handling that, the mirrorless, what, what's your I'm in love.

Speaker 2: 20:16

Yeah. Like literally the lenses are lighter to camera's lighter. My bag is heavier. Yeah, it's a trade off. Have you found any quality issues that are different? Like, you know, going to a mail list, like I've been shooting Fuji full time since August and I, I haven't except for the positives on the system, I'm not, I'm not getting any negatives unless it's a, unless it's another photographer going, oh, but that's not full fine. Well that's not what the negative like other clients do. The only negatives I've heard you say is the menus. Oh yeah. Learning curve. You're correct. Yeah. The learning curve on the menus just for me too. That is crazy. Yeah. Like you know you're an icon shooter so you can appreciate that all the Nikons have an instruction manual built into the menu. You have a question mark button you go to and say, Hey, what's this push? It is actually what it is. Yeah, please. Fuji Canon, Nikon, Sony, everybody speaking English. No, no. He can common language like, yes, I do feel that that's a setback on Sony as well. There are many systems, so complex. It's nuts. That's why I did not use Nikon points. You cameras. Yeah. I would buy a canon point and shoot camera and I still have it. I have a Canon g 10 I have a g 16 you have a g 16 because the menus made more sense than the, not my own brand menus sucked horribly. And now look at Fuji and it's like Grazers, we're pros. They think, oh well they can, they can understand this and no, no, I need the ABC menu. Wow. That is crazy. So you've got a, you're going to Paris where you're gonna look at a payer's. Yes, I'm headed there in November to do a wedding and that's actually a sister of the bride from Dublin. So it's, it's crazy, you know, cause you book one, you booked the other one, you know. So are you taking anybody with you like local talent? Uh, no. Huh? I'm maybe you should know like if I travel I fold up easily until like a slightly large carry on. Like, dude, I'll go to Paris. Like are you kidding me? I shoot video. So I could go. You could either to be your second hand, man. You know, it's funny when I posted that saying I've got a wedding booked in Paris. It was like my Facebook women who love what photographers, you get lots of friends, don't you? Yeah, exactly. And I'm like, well, um, I'd rather have someone there cause I, I'd rather save on costs, you know? Yeah. That's so, yeah. But I bet you, okay, so, but if a photographer, let's say a photographer really wanting to go to Paris with you, and that photographer paid their own trip to Paris, would you let him come shoot with you? Yeah, of course. All right. So you heard it here on the photo off air. What if they're like an amateur? Uh, I could train them. Oh, so there's a challenge to our listeners. You heard it first. If you want to go to Paris with Luke, you got to pay your way, but he'll get you into the wedding. Yeah. If you don't know what you're doing, he'll train you. Okay. So back to the podcast here. So, no, I have a legitimate question. So you're shooting weddings and you're the videographer, right? That's all you're doing. You're not doing stills and you're, you're doing, you're doing like video footage with your Sony. Yeah. And so are you doing Facebook live? No, I'm instagramming. Oh, it's an Instagram TV. Oh yeah. Well here,

Speaker 3: 23:46

let me get, let me get film. You guys talking. Oh, wait a minute. That's not me. So how are you doing all of the different viewpoints like of drone, uh, and your, your gimbal. And I know you're doing different things, but let's say the kiss, you know, are you able to do both?

Speaker 2: 24:04

Mm, well what I have to, what I do for weddings, you know, I have a second shooter, so that second shooter I normally have on a gimbal the whole time or running around doing the locked off shots. So I have two cameras on each side, locked off at all times for ceremony, one facing groom, one facing bride. Then I have one on the gimbal in the back and then I have one locked off in the back. So that's what I normally use.

Speaker 3: 24:26

Okay. Okay. And your drone, you just do as you can or as needed? Yeah,

Speaker 2: 24:32

sometimes I like doing like establishing shots with drones. I have not yet used it for like the bridal portrait shots or anything like that. So,

Speaker 3: 24:41

okay. So in, in, uh, August, it was supposed to be next month, but in August, um, I don't shoot weddings, but I got offered or got up, I got called to do a wedding and now almost referred it to Robert. But she says, well, what before you refer me, I want you to hear what we're doing. And I'm like, after she told me, I'm like, Oh yeah, I'm in, I'm in. So she's, I don't shoot weddings, but I shoot weddings. Yeah. So they're sort of, so they're getting married on a plane. We're flying to New Orleans, hanging out for a couple of years or

Speaker 1: 25:18

[inaudible] for a couple hours

Speaker 3: 25:21

and we're flying back to go eat at the Skirvin here in, in, in Oklahoma City. Um, so I'm like, hell yeah, I'm doing that. So best of one, I don't get to refer to. Yeah. Old Ladies or having the family reunion, but I don't get this one, so this is not the one I get. So anyway. Um, that's what I was thinking is like, she wants me to do video and stills, so I'm like, okay, I'll shoot some video. I'll probably take a Nikon with me just because I'll have a couple of cameras, but I'm shooting video with the, with the Fuji and I'll shoot stills with an icon or both or whatever. But, and then of course I didn't, she didn't say anything about drone, but I mean I might take one[inaudible] on a, on a plane. Come all hell no. We're going to go to New Orleans and we're coming back here. Thrown on a plane. Yes. Yes. You can fly it on the plane. I have a little in there. Carry on. I have a spark DGI spark private plane. Aren't you going to plot that plane? It's a commercial plane, but we're the only ones on it. Higher commercial aircraft. That is hilarious. That's awesome though. Cat come with you. Uh, possibly. Yeah. So now I don't even get to[inaudible] on this podcast. You're, you're just, next thing I know, I'm going to see the invite will be to Ron and Deluca. I'm just including you, Robert. I know you can't come, but

Speaker 2: 26:46

even though I don't know what airplanes you could carry your drone on as long as it's on carry on. So yeah, I mean I w he wants me to fly it on the fly it on there. Yes. B, a short flight for, yeah. You know what, that, that'd be pretty interesting actually. I saw a couple of dynamic guys on Youtube, but it's what they called themselves and they do these weird, really cool youtube, um, drone footage. And this guy was literally taken a drone coming down, catching it and running through an a. I saw the same one. Yeah. Throwing through the home and then lifting it back off. Slide off. Yeah. It was really cool. It was so did about 13 times. We get the right one. So they're getting married on the plane? Yes. So then you would need the drone, the drone during the ceremony? Yeah. That's why the drone, you can fly the drone outside the plane and gets better. They might need to duck a little that way. Cool. I'd be like, Jim, do you have insurance with drones? Why it just got talk to the agent.[inaudible] going down. No going down. Oh No. But before it crashed, I got great footage. Two windows. Wait, so you keep the SD card[inaudible] the crash. You're good. Oh Wow. So, okay, so any, any insight or tips on this whole, I would say that, um, are you gonna have an assistant though? Cause that's[inaudible] I'm telling it because it's the bride sake. You know, she's asking to do both video and stills. Like you want your focus primarily on one or the other. You don't want it on both. I explained that to her. Um, and uh, I don't know that she wants to pay for another person, but I don't want to pay for another person either. So if someone wants to come for free, well amateur would you pay them? Just write them cause you teach them. Oh sure. Just hold this for, you know, there's a lot of amateurs out there that want to learn photography and videography. They're hungry to learn. And there's Facebook groups out there. You just reach out there and say, hey, I need a photographer campaign. But if you want to learn, you know, I'll teach you some stuff. If you want a free trip to New Orleans or to Paris. Yeah. Okay. Not Free travel free. If you want to talk about New Orleans or to Paris. Yeah. Yes. You've got an extra foot. The whole airplane. I mean, yeah, dude, you could have like six or seven photographers for free ride New Orleans. I mean, that's pretty cool. She even asked me what I want to eat, like, Ooh, let's curve it. And I'm like, really? Whatever. I mean, what was your answer? She said to steak. Okay. And I said, yes, fine. You know, you know, but I thought you'd go home with like Arabian chicken fingers, chicken. I'll eat it, but I'll eat steak. I mean, good grief is a preference. Is chicken like it's the other white meat. See how they were white guy. It's[inaudible]. Okay. That was good. That was, that was, that was a good pig photo con this year by chance. Actually. I was hoping to, but I got to load my budget truck up and get to Florida by the 25th for a wedding. What do you mean? Oh, he's moving you and you're actually moving. I'm actually moving to winter haven, Florida, but you know that's gonna be my new base station. But I'm traveling everywhere still, so don't worry. Oklahoma. I'll be back. Alright. I like terminator size. That's, that's, that's funny. All right. So we're going to wrap this up. I'm gonna wrap it up. We can let go look in his bag. Yeah. One thing I can say is, is that if you guys are looking for a great bag, look at the think tank airport Heli Pack v 2.0 dude, I love mouthful. It is a mouthful. But that bag is what I use. And you can literally carry your whole house in it. You'd have that with you today. Yeah. It's still up there. Strong God right now. Cause I actually, I'm using one that think[inaudible] think tank sent to me for a project and it's the, um, now of course I'm going to complete this shapeshift or 17. Yeah. So, and that thing, I mean it holds a lot of gear, but it zips up really tight after you pull the gear out to shoot. So the bag isn't real bulky while you're on location shooting, but it's not gonna hold like all the stuff you have in there. Like that's the kitchen, that's the kitchen sink, the kitchen sink[inaudible] crazy. But it's crucial when you're traveling to have all your gear somehow and not have to, you know, go underneath the belly to plank. So you don't want your expensive gear going underneath the belly of the plane. That's so risky. So that's crazy. Well, look what kind of viewers find you at so they can contact you about this. But this free trip to Paris. Yeah, exactly. Yeah, you can find me on my website. It's got a media pro.com. Perfect. One more time. I've got bay media pro.com that's a g a p e. So yeah, like the love, like the love, it's all about the guppy that got paid lot. You know what, you know what that is, right? Breathless. That's what it means in Greek. Yes. Okay. So Ron run lane, where can we find you lane in Oklahoma's images, like a football field near you. Most baseball, I guess baseball season that's coming up in the on your business card. Yeah, I'm into a football field near you. That would be a good motto for your company. Exactly. That'd be also lane dash image images.com you get all that lane-images.com we'll Robert Traywick images.com I remember because we had this recently, I'm, I'm looking@anewtravelcamewithjust.com and trade with, give me just workshops.com but I'm trying to find something easy to remember. The shorter, something like when we were talking about was episode. Hey, hey, hey, hey, oh hey Giovanni. I think that's what it is.[inaudible] dot com so I want to find something like a, I don't know, sexy robert.com but it's already taken. What about photo nerd.com AU photo nerd.com that's, I like that. His eyes glassing over with that.[inaudible] there's so many good ones. I don't know if I want to have with words with Robert in it or beautiful. I don't know about that part. Well, cause you know, it's a drinking game. Whenever I do youtube videos, just to every time. Oh. And he is now killing me. I'm fading the whole thing. Next x next. Yeah, I can't, yeah, you leave the number out, you're leaving number out the next x, x photographer

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and Jim[inaudible].[inaudible].