The How To Film Weddings Show
The How To Film Weddings Show is a weekly conversation with filmmakers, wedding pros, and creative storytellers from all over the industry looking to raise the standard, together.
The How To Film Weddings Show
Why Watching Other Wedding Films Is Holding You Back ft. Outside In Studios
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In this episode, Ric and Vic from Outside In Studio break down their journey into the wedding video world and why chasing trends quietly erodes your creative voice. It's a conversation about staying original in an industry drowning in the same reels and the discipline it takes to author your own style instead of borrowing someone else's.
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Weddings are a different beast, I think, altogether. I think uh if you can do shoot a wedding, you can shoot absolutely anything.
SPEAKER_00Most wedding filmmakers think watching more wedding films will make them better. But what if it's actually making you worse? Today I'm sitting down with Rick and Vic from Outside Inn Studios, two filmmakers who have some of the most cinematic wedding films I've ever seen. But they admit at their very first wedding, they probably shouldn't have even been there.
SPEAKER_05They should have hired a real wedding cinematographer for sure. I don't know why they decided to kind of uh go with complete beginners.
SPEAKER_00They were university students, they had no real wedding experience, but yet for their very first wedding, they booked a luxury event.
SPEAKER_05It was the same day at it. We charged $1,500, and I remember after the ceremony, I ran to the car. We had to get to the next location, and I yelled back at Vic, do you like this?
SPEAKER_01Do you like doing this?
SPEAKER_03Rick was like, I don't know.
SPEAKER_01I'm like, I want to go home.
SPEAKER_00It's honestly one of the most relatable moments I've ever heard as a filmmaker because every single one of us has had that moment where we ask ourselves, are we really even cut out for this? But fast forward 15 years, and Rick and Vic are filming some of the most exclusive weddings in the country. But what surprised me the most wasn't what camera they used, wasn't their filmmaking techniques. It was actually what they refused to do.
SPEAKER_05We do try and avoid social media as well, like we watch the least amount of wedding films because I don't want to know how other people are doing something in a way that inspires me to chase that. We're always trying to create something new, but I also want to be the author of that creativity. I don't want it to be driven by anything else.
SPEAKER_00In an industry where everyone is watching everyone else, people are scrolling for inspiration and weaving into their process what everyone else is doing. How do you stay ahead by simply avoiding it? This is the Had of the Money Show.
SPEAKER_02Okay, the whole backstory. I guess to start, Outside In is Rick and Vic. Um, we met when we were teenagers, and we've been running outside in for the past 14 years. At its core, our work is really simple. Um, we just want to tell real stories and make really beautiful imagery.
SPEAKER_05Yeah, and I guess how we got started, um, I mean, that's a like that's a pretty convoluted story. Um, please condense or stop us like as much as you feel. But um, I mean, we started like Vic said 14 years ago, which was like, I guess, in the middle of like kind of like the DSLR revolution. Um, we were in university, um, we were studying multimedia and communications, and we were really just um kind of we were specializing in film and we wanted to learn more, and we discovered still motion, um, which kind of I think like led the charge in terms of uh not only like DSR DSLR wedding filmmaking, but kind of like wedding storytelling as we know today, um, or I guess in those beginnings. Um, so we really gravitated towards their work. Um, I mean, I still have some of their tutorials kind of like ingrained in my head, like their lunch choice tutorial and whatnot. So as we kind of like were um thinking more about documentary and narrative filmmaking, we started um feeling like wedding filmmaking was something we wanted to follow. And I guess it might have just um fallen on our lap or not, but we had a friend who was uh kind of also aspiring to be a wedding planner, and she put us in contact with a couple who was two weeks out from their wedding and they needed a wedding videographer. Um, it was not by any means like a small wedding at all. Like it it should they should have hired a real wedding cinematographer for sure. I don't know why they decided to kind of uh go with complete beginners, um, but um it was a same day edit. It was um that's crazy. It was a same day edit. Um, we charged $1,500. We couldn't believe, like we were in university, and at the time, like that was like, oh my god, we can afford another lens.
SPEAKER_02Yeah, we couldn't believe it. We were like, absolutely, we can do it.
SPEAKER_05Um put us in. We uh met with um the bride. I think like out of so we we went to meet with the bride in uh Yorkville. It's like a swanky like Toronto neighborhood.
SPEAKER_02Um we we had to get new outfits because we were students, so we had to get nicer outfits to even be able to meet this like luxury bride.
SPEAKER_05Yeah, and um yeah, we we met with her after that. Um, we went to celebrate, so we're like just chimping away.
SPEAKER_02Yeah, we booked it, we're like, let's go out for dinner, like this is insane.
SPEAKER_05Um, but yeah, anyways, we we uh shot this wedding. Um it was crazy out of like absolutely like I don't know if we were ready at all for like we had never been to a wedding, we had never been part of a wedding. Um, but yeah, we shot it, and I remember um like after the ceremony, I ran to the car. We had to get to the next location, and I yelled back at Vic, do you like this?
SPEAKER_03Do you like doing this? Vic was like, I don't know.
SPEAKER_01I think I want to go home.
SPEAKER_05But we got to the reception, and I think everything just clicked in that moment. Um I think like I mean, uh weddings are a different beast, I think, altogether. I think uh um they'll teach you. I think if you can do shoot a wedding, you can shoot absolutely anything. I think like it teaches you to think on your tails, and I think uh to step in that at the age that we did and and to to with the stress that was saying they added, like I think that was. But it totally worked out.
SPEAKER_02Like it totally worked out. Like, yeah, by the like by the time you showed the same day edit, Rick edited it, people were blown away. I couldn't believe people were both lying. But they were, and we thought we looked at it and we were like, we really have something here. And I mean, we were young, but we we just like felt something. We felt a connection with the um with the speeches. I remember crying, like I don't cry at every wedding now, but I just remember tearing up, being like, wow, people are being so emotional and vulnerable.
SPEAKER_05We couldn't believe it. Yeah, I remember looking back at Vic like during the speeches and being like, these are so eloquent, these are so like people are really telling you. I know.
SPEAKER_02And I think we realize that there's like really a depth to weddings. Um, you know, it's documentary storytelling, it's human connection, it's emotion, it's beautiful imagery. Yeah, and while all these moments are fleeting at the same time, it's it's kind of addictive. I don't know. I think that's how it went on from there.
SPEAKER_00Yeah, that's kind of insane because well, the contrast between y'all's first wedding story and my first wedding story is is night and day. Um, but I love the whole just the questioning life choices in the middle of the wedding. I feel like that's so relatable, that's so real, because you're just like, uh, do you like this? Is this okay? Are we are we still gonna do this? But the second thing is it's kind of crazy that I feel like that first wedding, like y'all charged $1,500 and it was a pretty luxury style event. I feel like looking at y'all's work now, it's like y'all kind of carried through to like continuing the legacy the luxury um uh wedding market, and which is which is so interesting because I feel like a lot of people have to kind of like build up to that. I feel like y'all really started like strong.
SPEAKER_05Yeah, I think like that kind of fell onto us, and and like I said, like they should have hired by the by all means, they should have hired someone with experience, but that did kind of start um a pattern in our first few years that kind of like uh we eased off of uh in the middle of our career, but like in those first few years, we never worked at this is a uh neighborhood called Bridal Path in Toronto. Drake lives on it, and for some reason, I don't think that these people hire real like real wedding cinematographers. We've never worked more in that area of Toronto than in our first year, first couple of years. We've been to it was really shocking for us to be yeah in university.
SPEAKER_02Yeah, we were lucky enough to cut our teeth on some extremely luxury weddings. Like to the I've been in since yeah.
SPEAKER_05So like I think after that, after we started to kind of like we that's where we kind of honed in our skills, and and then things kind of like became normal for us. I think like we kind of played more into like the um like yeah, more like your normal weddings, and I think uh eventually we ended up like back more into like luxury weddings, but really like it was absolutely bananas to us like to be starting um doing same day edits, doing these um yeah, the type of weddings we were doing back then.
SPEAKER_00I was gonna say the first wedding to offer a same day edit is unreal. That is wild, that is just so stressful. Um, but no, you pulled it off. Obviously, it you know, it worked out in your favor. And I am curious to like what because in the DSLR revolution, I know my first camera was the 60D, or actually no, sorry, it was the T3i with the flip-out screen. What was the with the camera you guys were using for this first wedding? Was there audio involved or was it just visuals? Like, I just to walk me through the technical of it.
SPEAKER_05Yeah, it was two T2Is that we love it, yes. Uh I mean, like we were doing narrative back then, and we were like we had this thesis project we were working on. Um, but yeah, it was two T2 eyes, and like it was so bizarre. Like, I didn't know whether to touch on it or not, but we had the most bizarre kit. I remember opening up the back door of the car for that first wedding and looking at what was sitting in the back seat. I think like I had like a red rock shoulder mount that I don't think anyone would realistically use for a wedding day, but I'm like, this is gonna come in handy.
SPEAKER_01We were like, we're gonna need this.
SPEAKER_05We definitely bought a shotgun, like there was no lab situation. Like, for the like, I think we did have the wedding vows in there, but they were just like straight out of camera. Um, yeah, it was just like a makeshift. I remember looking at like what still motion was suggesting their wedding kit should be like and being like, that's not gonna happen for this one.
SPEAKER_00We're not we're not there yet.
SPEAKER_05I think we can make deal with this, and and yeah, like we like a 2470 was the the lens that kind of shot most of it. I think we had a 7200 we borrowed from a friend, and and yeah, that was pretty much it. I think that was basically it. We had um some SD cards that I barely trusted, but they worked out, they weren't Sony tough like resilius or anything. So yeah.
SPEAKER_00It's so funny to think back to like our first weddings. I know my first wedding, I I charged zero dollars. I was just doing it for a friend. Um, and then my next wedding was like 300, and like I had like a slow build up to like $1,500 for me was like it was it took me three years to have the confidence to like actually charge $1,500 for a wedding. Um, so I love I love just hearing that you guys were just like, yeah, $1,500 is like what we're what we're doing. We're doing this. I love it.
SPEAKER_04Honestly, we wanted to do it with a lot of bravado, I think.
SPEAKER_02I feel like that now hearing Jared say that though, like I feel like that explains a lot of our stress. Like, you know, we we charge this, we felt like, yeah, we felt like somehow we felt like we deserved it, that we could make it happen. And then we showed up to the day, and it was like right away the homes, and then it was like a private country club, and we were like, okay, like we have to make that 1500 completely worth it to be able to do that.
SPEAKER_05It wasn't like it wasn't like this couple could definitely like afford this or anything, it was more like, oh no, like this is a lot, and like we have to make this like work, and and no, like I mean, like from that very beginning, I think like we have been like working, like we have been our own hardest critics. I think like we always look at our work like this can be better, and I think what we got out of that, aside from like what Vic said, like we were hooked right away, like with the emotion of the day is such a it's it's an adrenaline rush. Like, I don't know sometimes how I carry the gimbal for 12 hours, but it's somehow it happens, and yeah, I wouldn't be able to do that without that adrenaline rush. And I think um, aside from being hooked on telling um like stories and and and and capturing everything that comes with a wedding, I think we've always been chasing uh I think like the perfect wedding film, and whether that will ever happen, I don't know. Like the one that you I think everyone looks at their work and and you see although that could be better, but I think that's always to us like what we're always working towards. That we're gonna get it, that perfect wedding film where the story, the visuals, every single aspect of the day comes together in the perfect the way we wanted it to.
SPEAKER_02Yeah, right.
SPEAKER_00Yeah, yeah. Yeah, we'll always notice the imperfections, but it's like the couple themselves, they'll always see straight magic. And that's obviously the point. It's it it it keeps us growing and innovating and striving for um just you know perfecting our our approach to the day and just getting better, better shots um in easier or um more manageable ways, whether it's with advanced tools or all the things. And so to that, just transitioning into your work today, because for one, it's absolutely gorgeous. I've obviously, like I said before we started the podcast, I've been a huge fan of you guys for like it's been eight years at this point. You had made a YouTube video about balancing the C100 Mark II on a gimbal. I don't remember what gimbal it was. I want to say it was like either I don't know if it was the Zion or if it was one of the first DJI gimbals. I can't remember, but it's it's been eight years, so it could be it could be either or. Um but then just watching y'all's work, it just feels so effortless. I will say, like when I'm watching an outside-in studios film, I am mesmerized by the color, the composition, the motion, the movement, just the way you guys just piece everything together, just feels so pro. Like it doesn't feel generic and one line that's on your website that I absolutely love. It's like it's real wedding films without the cheese. I I love that because it's like it there's no cheese in the film. It it's very much just very magical. And so I know there's a long-winded statement into the question, but yeah, I'm just curious to hear how the philosophy of outside in um has really evolved and what's like the cheese that you try to try to avoid. Yeah.
SPEAKER_02Okay, first of all, like thank you so much. Like it's so nice to like hear all of that. Like, I feel like as filmmakers, and I think that's what's so great about your podcast, is that you are bringing people together and that we can like hear from other filmmakers because it is we are all in our own little bubble. So it's just so nice to think hear about all the things we stress about, like, even down to our brand and what we put on our website, it's like noticed. So yeah, I think um I think our philosophy, a word that comes up for us a lot is um intention. Um, I think that everything we do, filming, editing, storytelling, intention is at the heart of it.
SPEAKER_05Yeah, for sure. Like I think uh I mean we do have like uh we have our own little systems and mantras in place that we all like kind of live by. And I think like one of them is um shoot with the action, not at the action. Um like I think like I've been saying that for years, and I think like Vic kind of like always feeds it back to me as well. Sometimes like um, but basically if you've uh picked up your camera to shoot at something, like you've done it wrong already. Like you should be you should have anticipated that moment, you should be shooting within it, and you should be shooting it in a way um that uh brings the view the viewer in, that immerses the viewer into that scene, makes them feel um what it was like to be in that, not shooting at um I mean like uh um like dance floors are uh are a big uh uh I think like dance floors are kind of like as silly as it is, it's almost like the the perfect way to say this. Like you could either shoot at something and it's just people dancing, or you could could completely immerse yourself and they're like you feel like they're interacting with the camera. Um you feel the emotion, you feel the fun, the party, the energy of that. Um, but yeah, I think like basically from shooting to editing to the way we carry our brand, everything is with intention. I think uh um we are when we're editing, uh one thing I always say as well is our film by the end of it always has to be A roll. Uh the whole film will be A roll. There's gonna be no B-roll in it, and that seven-hour timeline is gonna become four hours, and then it's gonna go down to three hours, two hours, and then you are playing with your different scenes and making pretty much five minutes of condensed just energy, your best shots. Um basically, I mean, you're never gonna sacrifice story, like there's gonna be shots that make it in there that just aid the story.
SPEAKER_02Um, but yeah, I think like essentially there's no throwaway shots, and every piece of audio has to earn its place. Yeah, and so when we're talking about cheese, um, we're not like talking about emotion essentially, we're talking or sentimentality even. Yeah, we're talking about um what tells the best possible story?
SPEAKER_05I mean, I guess this is another convoluted way to get to it, but I mean, it's two-sided. I think cheese for one film isn't necessarily gonna be cheese in another couple's film. Like at the end of the day, we're trying to tell the most authentic story. I mean, if we're talking about cheese, like I mean, universally, I think like me and Vic can agree on that uh one of our films isn't gonna have like, doesn't the bride look beautiful today? Or um put your hand on top of the other and and this is the last time you'll have the upper hand, kind of like thing. Like, that's not gonna make it into a part. But yeah, but um, in terms of cheese, like uh what I think like how we define that is it's basically what doesn't feel authentic to a storyline, what doesn't feel like it's gonna advance the story. I think what Vic said um is very important. Like every line in our films has earned its spot there. And the narrative doesn't necessarily mean um it's one speech that's telling one story. It can be a layered narrative. It can sometimes not even tell a complete story. You can tell the story visually, but the the audio cues are kind of aiding what you understand of that story and and whether you get it as a third-party viewer, like maybe like it's just more important for the couple to understand that final narrative. Um, but I think um, I think honestly, as long as it's an authentic story that that tells that does the couple justice and tells the the the most impactful narrative of that day, I think that's um I think you've done your job there and you've already done the cheese. Yeah, yeah.
SPEAKER_02I basically think nothing performative and nothing that feels forced. That's I feel like for us where cheese kind of comes from.
SPEAKER_00Yeah. Let's just be honest with ourselves for a second. If you're a wedding filmmaker and you've been doing this thing for four or five years, even if you've been doing it for two, if you filmed 20 to 30 weddings a season, you've probably felt it at some point. The pressure, the stress of deadlines, staring at empty timelines, watching your backlog continue to rise while you're filming weddings on the weekend, you're doing family stuff during the week, and you start to wonder, how in the heck am I gonna be able to sustain this? Truthfully, that's the big question we all ask ourselves at one point because that fire, that passion, that hustle, that grind, that ambition that we had so fiercely at the start of this journey does start to dwindle because we get exhausted, we get tired managing everything by ourselves. And that's really where you start to realize that when it comes to entrepreneurship, when it comes to running a business, you need help. You need people that can be in your corner to alleviate some of those burdens so that you can get back to doing other things in your business, doing other things in your life, and focus on what really matters. And that's really where Uncut Gems, the official presenting partner of how to phone weddings, comes into play. They're not just the presenting partner here in this episode. They are also my tried and trusted video editing team that I have been using in my wedding business wayward north. They really have taken my films, taken a lot of the backlog off my plate so that I can focus on making videos like this, or I can focus on spending time with my family and still retaining the same quality and expectations that my couples have when they watch their film. And they have been kind enough to offer you guys listening 60% off of your first edit. So head over to Uncut Gems. I will link them down in the show notes below. Use my code HTFW for that sweet discount and see if they can be a good fit for you. Yeah, that's that's such a such an eloquent answer, and honestly, that's what I envision the cheese really being. It's just anything that's manufactured that doesn't feel like it's a part of who the couple is, it's just more forced. Um I've run To so many weddings. I actually had like two weddings the past few weeks where it just felt it felt like very much cheese was just like riddled throughout a lot of it. And a lot of that is just, you know, sometimes other creatives are still in their process is different than your process, like photographers versus video, where it's like you work with a photographer that's got a different style, a different approach. Maybe they're editorial, like you know, we're documenteans by its nature, but we also try to capture the day in an artful way, and sometimes that doesn't always translate on the wedding day, which is still a challenge for me. I mean, 13 years in, it's still hard when you're um kind of going against the grain on the wedding day, where it's like you have two completely like polar opposites. One's gonna set up a very like posy editorial shot where they're motionless. And me, I want just that interaction. Have y'all guys ever ran into those obstacles on wedding day? Like, how do you how do you balance that um that friction?
SPEAKER_05We always say working with photographers, different planners and whatnot. Like you're all hopefully working towards the same creative, and you're all kind of making room for each other to um to I think when you work with a good photographer, you are both enhancing each other's work. You are um both collaborating. Sometimes they'll have an idea that you didn't have, they'll see something in a different way, and and that plays into your work, and and hopefully you're inspiring them to create something different.
SPEAKER_02Um, and hope like by the time you get to a wedding day, that your portfolio, your website, and what you put on social gets you the kind of weddings where the creative team has the same vibe. Yeah, and that's that's the dream. But like you said, there are those times.
SPEAKER_05There's a couple that like sometimes sneak in. I mean, like we we we don't do, we we do uh brand work as well, and like we try and balance our portfolio around. So like we only do like I think like 15 weddings a year is what kind of what we're maxing it out these days. So we're lucky that those couples that choose to work with us, um, they understand the the vibe and what we're going for. Um we are very regardless if we're working with a photographer that we work with constantly, we uh even during the photo session, we are very segmented in terms of I mean, we're always rolling, and and hopefully they direct something that we can use, but it's their turn and our turn, and then we we can all kind of like I mean, someone's gonna get the perfect middle, and that's why we kind of take those. Right. So we can all benefit from having those perfectly composed shots. I mean, it's also I feel like sometimes it's understanding like different couples have different vibes and different creative tendencies, and I think if they've hired that photographer, sometimes embracing the fact that they are gonna be a little more still and playing into that drama, it's not really. I feel like in Toronto, we we are just coming off of leaving like a very dramatic wedding scene where like uh I think we're luckily we started off shooting 24p, everything I remember. We fought slow-mo so hard. Like, I I think we were like three years late to incorporating slow-mo, and even to like I when I did, I felt like I was cheating, and it wasn't until seeing the perfect the level of perfection you can achieve when you when that moment is no longer a second, but three. Um, that was very addicting, and I think like we heavily embraced slow-mo after that, but it's kind of exhilarating that now things are going back. I mean, social, I think maybe because of social, maybe because of what's happening and happening in Europe. I think maybe people even just seeing more everyday motion. I think uh the new generation feels that slow-mo might feel more contrived. Um, and I think I we we're embracing a lot more 24p. Like I think the last fighting we shot was almost exclusively 24p. Um and we are we're happy to be back in that. It feels even those moments that might feel still. If you're just running up to a couple that is standing still on a gimbal, you can introduce that energy. So I think like it's important to know that couple is gonna play within your style, but also it's important to see who they've hired sometimes, even if it's outside of your zone. Um, maybe like you see the decorations and you see the photographer and what they're doing, you understand, okay, like this isn't totally my vibe, but but you also have to um create something for your couple, something that's meaningful. And I think like the biggest pushback that we sometimes get, and I mean, like this, there'll be like a handful of meetings each year that are just like, can you do maybe like less storytelling? Could we do more music and oh yeah, less uh audio cues? And I think like we always kind of uh push back against that. And I for us, like, if there's no storytelling, we've always had this philosophy where, like, I mean, even from the beginning, you could have the most beautiful wedding day if they didn't want storytelling or like the story wasn't there for any reason. You don't have a portfolio piece, like there before Instagram, there wasn't even a platform for us to showcase a music video type wedding. Now you can make a real and whatnot, but that wasn't something that we were gonna showcase. So I think uh it's always it's being true to yourself in that regard. I think like regardless, I think the style of the wedding day is probably the least important thing to us. I think as long as we're telling a story that is authentic to that couple, um, I do think like we can always make we can always find ourselves, our style within that wedding day.
SPEAKER_00Yeah. It's always the couples for me that you know say, Oh, I don't like hearing my voice on camera, or I I I feel awkward. And I think a lot of that is just because it maybe it's like the introvert inside of me is just kind of uh like empathetic to that. It's like what my wedding day, I was a little more reserved, but it's also just because you're a little bit more not, I don't want to say scared. I guess you are kind of scared to be yourself in a certain capacity. Like you see all these like um reels on social media and you see like the audio or the story, and you just in a way, maybe it's a level of insecurity almost that couples come to me or come to you guys and say, like, oh yeah, we don't really like a like a ton of audio, and it's just but then I feel like when you push back on it and then they see what you produce, like uh against their, you know, I don't want to say against their wishes, but like you just you make something that right. I mean, you show them what they had no reason to be scared about. It's like, oh my gosh, thank you for just like that's the that's the part of serving that I love. It's like, you know, this is this is our field, our expertise. We know what's gonna be meaningful 10, 20 years from now. We know that this field, this industry, this job, is more than just today. It's not really meant for couples today, it's meant for those years down the road when you're sitting on that front porch, when you're reminiscing and you're looking back on life and you're you're getting to relive those moments where it's just like if you are watching a video that has no audio, no like, you know, connection with your relatives, your friends, your family, you're gonna just you're gonna miss out on something very special. And that's what we understand, and that's why when we can translate that and say, hey, listen, I understand like what you might be feeling about not having audio like captured, I still think, let me just capture it. I'll just have it, just so, you know, in case you might change your mind later. I don't have to include a ton in the edit, but just so we have it, I'll still capture it. Um, and usually, yeah, I mean it's like when I still create the film that I feel like is gonna be the most impactful and meaningful, I never have a couple that says, Oh my gosh, I need you to take out all this audio because it's it's just terrible. You know, they see it, they feel it, and it's just completely changes their mind. And I mean, that's just you know, that's the power of what video offers and what we um can provide, which I always find so beautiful. And um I was gonna I was gonna touch on another thing you said because you were talking about some really important stuff, and I just completely had um, I go on tangents.
SPEAKER_05You can you can lost my trade of thought. No, it was great. I go on tangents and meetings and YouTube videos and everything, so just no, it was it was good.
SPEAKER_00I really, I really just I wanted to relate and connect to the point you made about how couples push back on audio sometimes, and then um the other part of it too, it's just like not every wedding film is gonna be that portfolio piece. Um that's something that was hard for me to accept in the early days. I was like, what is happening? Why am I getting all these weddings that I can't show? That it just feels like you it just kind of like you come back to the whole purpose of the job, and it's not just to build a portfolio, but it is um to serve to serve couples and families. And um, yeah, it does kind of hurt, you know, the creative, like the artist inside of you when it's like, man, this is not gonna be one I can showcase, unfortunately, but I'm still gonna do a good job. I'm still gonna serve the family and um do the best I can. But yeah, those those do hurt from time to time.
SPEAKER_05I mean, I feel like like we again, like we are our own, like I feel like the things that we notice in our films and the things that we're aiming for are completely noticeable. They're they serve us, and I think like it's it's hard to explain to a couple that I mean I think there's two different types of vendors, and and I think there's there's you can go about this in a business-centric way, and I think those people have incredibly successful businesses, I think they are fulfilled in their own realm, and I think they probably make a killing in this industry. I think there's also the creative way of doing it. I think like when you have a creative that is working for you, of course, like this is to make the best wedding film for you. But there, I mean, I'm not gonna lie when I say that that I shoot weddings for myself as well. I think we both are trying to create the best possible um work for ourselves, and you want somebody who wants to create this. Like, I think it would yeah, art is meant to be exhibition and seen and appreciated. And I think there's something very important uh uh about that. And when you hire, I think um someone who is passionate and someone who maybe independent like us. Like, I mean, I know we do um some big high-profile weddings, but at the end of the day, it's it's me and Vake. I don't know if it'll ever expand to a team. I think this is how we can keep that quality control and how we can keep ourselves inspired. I I don't know if running a team is my inspiration. I think making these films is is what inspires me to creating work that is better than the last. We are always going out there to make our portfolio piece. Yes, we are going out there to make a portfolio piece. Um, and and every couple will benefit from that. Unfortunately, yeah, that doesn't always play play into it. And we have had couples who are even just like can't wait to see myself in your website or on the blog or something.
SPEAKER_02And but it doesn't always mean a portfolio piece. Um, so much has to come together for a portfolio for us to create a portfolio piece. It has to be different than anything that has been on our portfolio before. Um, there's many criteria, it depends on like the level of speeches, the level of vows. Um you know, how it does look is important. How the couple um, you know, is towards each other and their families, that's important. You know, every wedding is beautiful and unique, and there is definitely something there in all of that, but for it to just all come together right, it's it's special, and and it and it's something people want to see, you know, people want to see magic, and that's why people watch wedding films and get wedding films, even just like like different imagery, like maybe we have too many forest weddings, maybe we need a city wedding, like it's all yeah, yeah, it's just balancing out the portfolio.
SPEAKER_05So for us, like just having those 15 films, whatever it is, right now, like it doesn't mean that there's some like even right now, I'm working on condensing um projects.
SPEAKER_02You fight for every wedding, you fight for every couple, every wedding. You're always like, This one, like this one is it, like this one is it. Right now, like I'm on the D need another one at this venue, and we know so.
SPEAKER_05The past six months I've been working on creating systems for us that kind of streamline everything, and I've also just been going back and maybe not so I keep minified projects. We keep minified projects of all of our weddings, but maybe it was just exporting these in pro rest because that's gonna be enough for us to have some versatility in the future, and then deleting that project, and every I feel like every wedding, I'm like, like this one's a keeper, like we're keeping this.
SPEAKER_02Maybe like six years ago, and it's like it's beautiful, but it's just like not a representation of us anymore.
SPEAKER_05Yeah, yeah. I feel like they're bigger than life in your head forever, forever. Like, I feel like yeah, yeah.
SPEAKER_00I mean, I still I still have my first like wedding film from 2013. Um actually, I have every wedding film I've ever shot. Let's just be real. I I I have not deleted a thing. And it's just I probably need to at this point because my hard drive collection is just stupid. It's just insane. I'm a hoarder over here of people's memories. I need to I need to get this under control. Yeah, but um one thing you said that I I really did love is you know, art is meant to be experienced and shared. And one thing that I've I've said many times, and um it it is true, but there is there is a nuance to it. It's you know, weddings aren't about us, but they are also for us, because like you said, I mean, there's a level of passion to what we do. And I mean, if you're not passionate about it, you're it you really shouldn't do it. And I I say that with with love. I mean, if you are just like coming into the wedding world and you're just looking for that paycheck because you heard a friend was making five, six K, 7K per wedding, you're like, oh, heck yeah, weddings are where the money's at. It's like that's the wrong mentality. It's like, because weddings are not about us, it's about families, but the love of this art and this craft that we do, that's for us, you know. We wanna we wanna find that fulfillment and contentment with the work that we're putting out. And because it means a lot, you know, it's it's not just for the families that it means a lot for, but it also means a lot to us. And that's I feel like what translates towards like creating really good films is when you have that level of love and passion for it. Um, so I love that. I'm actually like gonna have to reframe my mindset on it's not about us, but it is for us because it's like um so no, I love I love that that you said that. Um, and another thing that made me think about a great transition piece is you know, you both have been doing this for how long have you been doing it? Since 2013. 13, 14 years?
SPEAKER_0315 years now, yeah.
SPEAKER_00Wow. Okay, so 15 years, and you all been doing it together. I I'd love to just like hear that journey, like who owns what on the wedding day? What's how has the process like evolved and yeah, what does that look like today?
SPEAKER_02I think um I think in the beginning, um we definitely had our um like set roles. And I think since the lines have been blurred a little bit, I think we both obviously both film, we both edit, we both have our hands in absolutely everything. I would say that um right now Rick is more of our technical um guy, gear systems, um, everything business related.
SPEAKER_05Yeah. Um I guess like it starts with our personalities. Like, I'm definitely more pragmatic. I've always been gear driven, uh more technical driven. I've always kind of um like established what our gear is gonna be, um, even like to an extent like what our style, like what style we're kind of like gearing towards. Um, and then I think Vic has always been like more romantic, um, more um, I think like if there's a true creative director in our in our company, it's Vic. She makes uh the final calls. She she really she whether it's our brand work, our commercial work, or our our weddings, she really uh can identify um what we're focusing on for a wedding day um from the schedule, from uh emails, and then kind of guide us towards making that creative piece. Um, and even I mean, like Vic said, I'm I'm less involved in the editing these days. Um, I I think I tapped out like a few years ago where I um I I've reached a level. I think I spent what was it? Like Vic says, I think it was two weeks. Vic says I spent two and a half months editing a highlight film for a couple. Um and and uh that's kind of like where I get to. I think like especially these days where you have the technology has evolved to a point where um I think we were playing with a four-hour foot footage pool and like a few years ago, now it could be six hours, seven hours of endless possibilities.
SPEAKER_02Do I want to back to that A roll timeline? Everything's A-roll, so there's like six hours of A-roll.
SPEAKER_05I cannot, I can there's slow shutter angle, and like there's there's every shot is is a footage now or a roll. So like I've found it really hard to condense just for the same reason I can't uh uh delete a project that I can't let go of different uh pieces of the day. So I think like me editing, I do get a few edits in there every year, but Vic is like our Yeah, sure.
SPEAKER_02Like 14 years is a long time to do anything. So I yeah, like um Rick just got like decision fatigue, and I mean when you're just running a business, just two of us, you get decision fatigue so easily. You're making uh like so many decisions every day, and a project is making an edit four to five minutes, even making a 30-second edit is a million tiny little decisions and important decisions, again, just not for your couple, but for like you as well.
SPEAKER_00Yeah, I mean, we live in the age of abundance. It's like abundance of information, of choices and decisions, and as technology just grows and um just the level of output that is being constantly poured into like the internet itself, you start just the lines start to get blurred, and sometimes I have to just like stay off social media when I'm like in editing mode because I'll I'll get influenced if I just you know try to get inspiration from like social media. So I mean for you guys, yeah, I mean 15 years is a long time to be doing it. So I I definitely know um what that feels like when you run into those walls of decision fatigue. Um but on the like topic of inspiration, I mean what is what are some of the ways that you're you're staying inspired, or um even a better word is probably just staying consistent. Because one thing I will say about you guys and your work is just like it is so consistent every time I see something that you post, and it's like you're not like swayed by the trends on social media. It's like you're very firm in your in your creativity, and I I love that because it's rare uh and it's hard. I mean, let's just uh for anyone who is swayed by influence, it's hard. I fall into it, we all do. So I'm not saying it's not uh yeah, not to fault anybody that does, but yeah, I'd love to hear how you guys are staying inspired and consistent.
SPEAKER_05Again, like thank you. Like I feel like I feel like when you kind of summarize the our work, I feel so seen because like honestly, like we do we do we do try and avoid um social media as well, like you said. Like I think consuming other wedding work is is just so it it confuses the creative process. I think it's yeah, it's hard. I try to avoid like wedding photos, wedding wedding inspo anything. Like I don't want to consume any wedding content because like you said, I do I think like very early on, I did say we watch the least amount of wedding films because I don't want to know how other people are doing something in a way that inspires me to chase that. Like, I maybe I've been shooting bridal walk downs wrong my whole life, but I don't want to know how other people do it. And I want to always like it's not that we I don't want to fall into we're always trying to create something new, but I also want to be the author of that creativity. I don't want it to be driven by anything else, and I think that's even been what's been the hardest part of maybe like the past two or three years. It's not us, it's couples who are consuming so much, they see so much. They I feel like what photographers have been dealing with with Pinterest for I don't know how long, we're finally getting that end of the thick um with uh inspiration and and other I don't think I've ever seen as many wedding videos as we have in the past three years. So I think right, yeah, in terms of inspiration, I I try and stay off of social that way. If you look at our work, like we we post very rarely.
SPEAKER_02Yeah, because like you That like when you're editing, it just gets in your head and you wonder like if the dis decisions you're making are right, and then there's just so much noise, and then by the end of the day you feel like you're just like screaming into the void of like, what do I do? And yeah, so I think like it's important to stay um for us to stay um off of weddings, like kind of completely when we need to be inspired and when we're creating, just like you said. Um, so for us it's like films, music, music videos, books, yeah, restaurants, interiors, cities, like just all those kind of things, like really make us like feel creatively restored.
SPEAKER_05Yeah, we're very introverted and we're very um like homebodies and also appreciate the little things. I think those those like having that time to uh just um be with yourself and consume something that's not within this crazy, like I mean, our business is everything. I feel like a wedding day is so it's an overload, it's a sensory overload in every mean. I don't need to outside of the wild.
SPEAKER_02Well, we give like so much of our energy to our couples and their families, and like that is probably the best of us. Like, you meet us on a wedding day, and we are just like the best that we can be, and version, yeah.
SPEAKER_00Yeah, best version we can be.
SPEAKER_02Yeah, and I think like a lot, and that is great, and we need to tap into that when we do, but to kind of restore that, like we just do need a lot of quiet time and just time to notice things in the world that aren't um wedding related.
SPEAKER_05And I do think oh yeah, like it has like really affect like I think like music videos music is a big part of of our what has inspired us over the years, and I think like it has led us to create like different work. I think I don't know if we like operate within like I I definitely like I don't want to say like we're we're the only ones like doing something like this, but I think like our work does stand out in terms of like other luxury work and whatnot, like that doesn't really play into that luxury framework of making films, so um yeah, I think it does keep us our work creative, honest to our couple and whatnot.
SPEAKER_00So I think maturing as like a wedding filmmaker is realizing that you don't have to follow the trends in order to find any level of success um in the industry. Really, it's just about creating in a way that's true to you and the way you see the world, not the way other people see the world. And that's that's something that I had to realize um you know back in 2017, 2018 when I was going through like an identity crisis in this whole journey, and it's like when I rebranded to Wayward North, um it was uh the best thing I could have done because it really did take a lot of the pressure off. Because I feel like when you try to appeal to the masses, it just creates these unrealistic expectations. And it's just not sustainable to try to like just keep up with that pace. Because then at the end of the day, you feel like a fraud almost. Like you're you're like, well, I am creating a film that looks like four street films from David Rennoso, or I'm trying to be like White and Reverie today, or now in today's age, it's like everyone wants to be Roma Vera, everyone wants to be plus two. And they're fun films, don't get me wrong, they are so much fun. It's just like you can watch them and be like, oh well, this is really cool. This is I and I understand the appeal, I really do, because they are just so lively and it's just different, and it's like the new generation that's getting married. Um but there is there is something to just holding firm into your way of creating um that it's still desirable, that that there's still a market for. Um not to say that you know we shouldn't strive for innovation, but innovation doesn't always have to look disruptive, especially in like the wedding industry. I feel like innovation can mean different things in how we create. Maybe you stop filming handheld and you pick up a gimbal that you haven't used in like seven years, or maybe you're just like experimenting with different tools, or um, you know, practicing different framing techniques and just slowing down on the wedding day instead of feeling the the need to always be moving, which is like my thing sometimes. I'm like, why am I swaying right now? Stop moving. You don't need to sway right here.
SPEAKER_03Sway your phone and movement is important.
SPEAKER_00It's like sometimes sometimes I should be like, there's no music going on. Why are we swaying right now? Let's just let's settle down. Um, but yeah, I I I've lost my train of thought, but ultimately it was um just about staying true to yourself. And if you haven't found that yet, it's okay. Keep experimenting until you do. Um but yeah, that's one thing I've I've always appreciated about your work. And um, yeah, I just it it's hard though. It is hard, uh, especially in this day and age when you can be easily influenced. Um so but at the end of the day, if you're if you're having fun with it, no one's opinion really matters at the end of it. You you should have fun.
SPEAKER_05People are connecting with it and and you're making work that you're happy with and fulfills you like there's nothing, then go for it. You're good. Like uh I think what you're saying is very important, has always been a key part of our philosophy as well. Just uh trends are so dangerous in this, and that's how you get to a place where, like you said, you feel imposter syndrome and and you burn out because you're making work that you're because it's not authentic to you, you're just constantly questioning it. Every time that we have tried to make something um that didn't feel true to us just led to us constantly questioning what are what is what is the end goal of this because we don't know what we're creating, you know, right?
SPEAKER_02Or you have worked at plateaus and you know you've been doing it for a few years, and then you're just like, why isn't this hitting anymore? Why aren't I getting the same kind of couples?
SPEAKER_05And it's key to identify like it's identifying that different people at different styles. I mean, like again, that European like plus two formula is so enticing as a filmmaker. It's it's incredible to see what they're creating in, but it's also understanding that that's a very specific style, and every couple that has asked for that, and every time that we've seen that and tried to be replicated in America, it yeah, a European couple is a European couple, that's a different culture altogether, and I think that is something that can't be translated uh over and over again in that same way here. So I think it's it's hard to explain that. Uh, because right now there's so many new filmmakers coming up who are replicating this excellently, because they have maybe like two couples that can sell this style, but they're not learning the basics of how to properly shoot a bride walking down, how to shoot a walk out. There, you have to understand these basics because once we all go back to uh appreciating full wedding coverage, which I think is what couples like we grew up documenting, they wanted yeah, learning to make a documentary out of a ceremony and learning to properly capture a speech is is just a key fundamental part of a wedding. You're right.
SPEAKER_02Yeah, and I think like while it's fun, like you also have to one or you have to think about the kind of couples you have in your um region or who's around you or who's hiring you or who's connected to your portfolio, and and you know, like it really does come from the couple, so like you know, like there's just like really fun energetic work, but you need a fun, energetic couple, like you can't force a timid couple to be like that, even if they they want that. Yeah. So I think like you said though, like there's things to take away, and it's important to always be innovative. And so, like, that feels fun and fresh. Why does it feel fun and fresh? Is it because it's more handheld? Is it because we're holding shots longer? Is it the music? And those are those are great takeaways, and it's definitely making it hasn't had an influence in our work and it's made um filming a little bit more fun the past couple years.
SPEAKER_05Yeah, yeah, for sure. Like, I do I do think again, because we are getting more inspo being scrupulous. I do think uh that style definitely has positively um affected our work in terms of like we weren't like we can make a straight replica of us, but we were just like, what elements feel true to us and what elements maybe have we um been overdoing? Maybe what have we settled into over? I mean, like COVID kind of like was a reset that kind of like I feel like forced our like whatever you were doing before then, even after we came back from COVID, I think you kind of like doubled down on. So I do appreciate the the re the I guess another reset that we've had in in this European style of coming in and and affecting our work in a way that we never thought of handheld. Like we used to be monopod gimbal, monopod gimbal, and and I think we were to a fault not embracing that that our newer cameras and then the lenses that we had could be held by hand and create a feeling that yeah that maybe feels more organic than than what we were putting out.
SPEAKER_02So I feel like your work alone, um I slow shutter would people say, like slow angle or slow shutter. Okay, slow shutter, like see, I'm not the technical person at all. Like I know what I want to see and do, but I just don't know what technical. Um put a camera in my hands and fine, but yeah, um your work has like, yeah, all the slow shutter. And I was like, we need to incorporate more of that because that texture is just so nice to have in a film, and it's a way to have like show emotion without you know putting so much on the couple to bring that.
SPEAKER_00When it comes to just this new wave of creating, I think there just needs to be a level of awareness about like just the the techniques and the things that you can take away from it versus just fully emulating the same thing. And it's like you said earlier, it's like we're kind of experiencing that Pinterest board uh for filmmakers now with these trends and these viral reels, and you just need a level of awareness and you also need to set the expectation more than ever today. There needs to be expectations properly set. Um, and you also nailed it too when it comes to these fun reels um and just like the high energy, it's it's all a vibe. That's just that's the one word that describes it. It's just very vibey. And I understand like what couples want, but then there's gonna be an aspect to the final delivery where it's like you maybe you deliver that vibey vertical reel that they wanted. But then a year or two years down the road, like, hey, did you capture the full-length speech of my my dad during the reception? Or did you get the full first dance? Like, it's just those aspects of what we do. It's like, yes, we're very creative in the editing room, but we're also very intentional on wedding day. We're still capturing the long form of these moments because those are the moments that you know people want to like experience again. Like for me, I've started offering like home videos. Um, they're basically just a play on raw footage. Um, but I don't send hard drives to couples anymore. Honestly, I can't believe I did because that's a terrible way to view all your wedding memories. Um, like I I want couples to just like be able to sit down, grab some popcorn on a Sunday, rainy Sunday afternoon, and just experience their wedding day from start to to finish, right? Like all the moments from the prep, all the first look, the full ceremony, all the speeches, uh, the full first dance. And it's like you can still create the the showpiece, the the one that you're gonna put on Instagram, the one that's gonna get the clicks and the attention, but you still need to create and film those uh bigger moments in its entirety on the wedding day. Um, and I feel like that's where a lot of couples might not they just need that expectation set, right? Or like these new filmmakers coming in, they just need to like maybe think about instead of just the you know the left to right movements all in every shot, you know, maybe like hey, have a tripod right next to you just in case, you know what I mean? Just to be safe, yeah. But yeah.
SPEAKER_05No, I definitely appreciate the time that we came up the time that we came up in because yeah, it did it toughened our skin. We didn't have 32 orders. We didn't have, I mean, 60p was 720, or yeah, 60p was 720p. It wasn't usable for us in a final edit until much later. So it teaches you when you're capturing everything in in real time with that pressure, not converting 60p to 24 or whatever, like it teaches you to be ready and anticipate.
SPEAKER_02So I feel like how it's so much easier, but I still feel just as stressed. I just feel just as like and even after like all these years, too, a wedding day just still feels just ginormous. It feels so important, like it is not lost on us.
SPEAKER_05I mean, I do like there credit paid where credit is due. And I I I mind you, I don't know, like like we're saying, yeah, capturing a ceremony perfectly is a craft and whatnot. I I will give that this new filmmaker can probably switch frame rates and fast and slow mode and change all the settings like in a way that like I'm teaching myself how to how to do because I'm just like capture it, like just capture it perfectly and capture it. Right. Like I think uh taking that risk and and and creating that way, it takes a certain level of revato, I think, that that that I think you like uh someone who came up in our time probably is learning to have for better or for worse. I do think like we've incorporated what I want to incorporate from that style and and staying true to ourselves in the end is ultimately what what fulfills us. Yeah, yeah.
SPEAKER_00For really the last question that I love to just ask every every guest on the show is you know, if you were starting over as a wedding filmmaker today, knowing kind of what you know now, what would you do differently?
SPEAKER_04I mean, I think I think I'd probably be a wedding photographer. Oh my gosh, it's so real.
SPEAKER_05So real. Honestly, I think like I'm jealous of of the amount of weddings they can do and their workflow and and just how quick, like when I see uh wedding photographers in our industry, when they wrapped up that season, all the editing work is done. I'm like, we're just getting started.
SPEAKER_02Or just like we're talking about beer and they're like, Oh, I haven't upgraded in years. It's just like uh so nice. The need to get into this is so high. Um, but I don't know.
SPEAKER_05Yeah, I think I think honestly, I mean that's my joke answer. There, I think the real answer is uh um probably to know your worth and increase your prices um yearly. I think that's one of the hardest lessons that we learned. Like at the we were probably at the height of um our career in terms of like shooting NHL weddings and and getting athletes and and all this, and I and we thought we were capped at what we could charge. And I think we spent like three to four years without increasing our prices. And I think that when you're a creative, I think like it's it's hard to it's hard to be like a business, uh like business driven and be creative at the same time.
SPEAKER_02But I think we thought busy being busy, uh we romanticized it. We were like, well, the busy you are, the more successful you look, and and we're doing fine, right? Like we're gonna be able to do that.
SPEAKER_04We're shooting 25 to 30 weddings, like crazy. And then none of nobody battles it.
SPEAKER_02And we had one athlete even just send us the deposit, the whole amount.
SPEAKER_05Like you paid the full invoice thinking that that was the deposit. What are we doing? I definitely think uh yeah, that's probably like the most important um advice I could probably give to like new new wedding filmmakers for sure.
SPEAKER_02Yeah, yeah, and invest in relationships. Um, I feel like again, we came up in a time without podcasts and Facebook groups and YouTube education being where it is now, that um we just kind of felt like we were on our own and figuring things out on our own. And I think it's just really nice now that there's community to like you know, foster your community, get involved, comment on people's stuff, on people's work, we're all doing our own thing. And then planners, photographers, every vendor is important. Some of our biggest weddings have come from the relationships we've cultivated and in terms of sustainability in having a career like this is is is relationships with your couples as well, like for sure.
SPEAKER_05I think like we exist luckily and a part of like the I I don't like the word like luxury industry. Like I think like I think even like our couples while they are very high profile, like I do think like they would they would cringe at at being described as that. But I think part of of like being in this level of like wedding filmmaking is does come from um cultivating those those relationships with planners and photographers who are like-minded. I I I don't think I think there's a different level of of uh what I think people would typically describe as luxury wedding filmmaking, which is is it's gonna be those room shots, and you're basically working for the planner um at that point. But I think we've been lucky enough to cultivate relationships with um planners and photographers who are like-minded and appreciate our work for what it is, and they find those couples who while they are exist in this atmosphere, they they don't want that kind of work and and and they gravitate towards what we're creating.
SPEAKER_00So yeah, beautiful answer. Love it. Relationships really is the the name of the game, I feel like.
SPEAKER_01Come on trio of introverts. Yeah, really hard.
SPEAKER_00Oh my gosh, I know. Well, that's that's a solid, that's a solid point. I mean, I I'm the same as you guys, I'm super introverted, so like it's it can be hard sometimes like to really nurture relationships when you're more reserved and like you kind of have you're forced to like come out of your shell, yeah. You know, like and that's why I think waiting wedding days are so draining for us because we're like having to be like extroverted, like and use all of our mental capacity, and then by the I it takes me like three to five business days to like actually recover from one wedding now, and I like it's just yeah, and I mean it's good because it's like it helps you grow, like you're not just gonna stay a hermit forever, like you do like get out of your shell, and like as much as it like the build-up to a wedding is sometimes very painful as an introvert. It's like then when you're finally there and you're in the the motion of it and you've connected with everybody, now you kind of feel a sense of calm. You're like, okay, cool, okay, I can breathe a little bit better. I was I was kind of stressing, like my heart palpitations were acting up again. I don't know what was going on. I was having a little bass reflux. I don't know if that was what I ate earlier or whatever. Maybe I should eat before wedding days. But like, yeah, I I think as introverts, you you have a tendency to kind of build the the the job, the task, because it is it's a huge thing, like like you were saying, Vic. I mean, it is it's a big thing, it never fully like is lost on you, even after 13, 15 years in. Weddings will will always be a big thing. And if it doesn't feel like a big thing anymore, maybe that's your exit sign. I don't know. Um maybe that's your your cue that it's you don't really care as much anymore. Um, but yeah, it's it's hard for me not to care. You know, it's like it's so hard. I mean, I I don't know that I'll ever lose that. I mean, I hope I don't because I mean you want to you want to care about people and you don't want to lose, like you don't want to be numb to that. But um, and I don't even know where I was going with that that sentiment, but I just think you're playing.
SPEAKER_01It feels like I'm watching YouTube.
SPEAKER_00Well, I appreciate that. I appreciate it. Yeah, they're a little bit more scripted because I will literally uh sometimes I'll go off on a tangent if I don't stop myself too. So um, but no, I appreciate you guys for anyone listening that hasn't connected with you and found your beautiful work. Where can where can they find you?
SPEAKER_05You can find us on Instagram at outsideinstudio um or just outsideinstudio.com.
SPEAKER_00Perfect, perfect. Well, thank you guys so much again. This was this was so good. So good. Thank you, thank you.
SPEAKER_02We feel so honored. Like we said, we feel so seen, we're so happy to be a part of it.
SPEAKER_05Big fans of you as well, so this is completely surreal. Yeah, we're just happy to be featured there.