Creative Context
Creative Context blends professional advice with a friendly, down-to-earth approach, making it a valuable resource for anyone navigating the complex relationship between clients and creative professionals. Through stories and practical tips, the podcast helps both sides understand each other’s perspectives and work toward more successful outcomes.
Creative Context
Turning Discarded Creative Concepts into Business Opportunities
In this episode, co-hosts Douglas Duvall of Motif Media and Eric Wing of Darby Digital dive into the concept of creative residue, exploring how unused ideas, footage, and design assets can be repurposed or recycled in creative industries. They discuss the ethical and legal considerations of reusing content, potential business opportunities, and the importance of organizing and valuing creative work that didn't make the final cut.
Video Version
https://youtu.be/eZ0nvT4j6a4
Creative Residue and Repurposing Ideas (0:00)
Ethical and Legal Considerations in Repurposing Content (5:35)
Challenges and Opportunities in Repurposing Footage (11:11)
Intellectual Property and Ownership Rights (17:41)
Practical Applications and Future Considerations (32:19)
📌 Topics Covered:
Creative residue, intellectual property, video production, graphic design, marketing assets, content recycling, client relationships, portfolio development, business strategy, creative ideation
📢 Key Takeaways:
Unused ideas valuable, footage repurposing, client-friendly approach, considerations, hidden revenue potential, creative organization, cross-industry inspiration, portfolio development, content recycling, business innovation
🚀 Don’t forget to like, subscribe, and hit the notification bell for more insights into the world of creative professionals and those who work with them!
🔗 Connect with Us:
Douglas Duvall
motifmedia.com for high-end video production.
Eric Wing
withdarby.com for digital marketing and web development services.
Reactivate a former client and maybe stir up some new business by going back to old footage. I
Douglas Duvall:think a lot of business owners would just be like, we've redone our front office. Our trucks have been re wrapped. That's probably the biggest issue. Is people get hung up on kind of silly details. Yeah, in reality, they'd be saving a ton of money on production. Yeah, that's what I'm thinking, relatively short dollars for fresh edit. Of course, video quality has changed in 567, years, but it's not like we're pulling stuff from VHS tapes. Welcome to another episode of creative context. Today we're going to talk about creative residue. And when we say residue, you worked on a project, you maybe came up with three or four ideas, and obviously the maybe the client picked one that you maybe it wasn't your favorite idea, and you had this great idea that they didn't pick what happens to that? Does it? Does it go on the burn pile? Does it just file, file for use later, or does it get kind of repurposed somewhere else? And then, to Eric's point, as we chatted briefly before we joined here, especially with video, there's, there's probably, I'd say, terabytes of video that really hasn't seen the light of day, not because it's not good, but it just didn't fit in a particular project. So there's potential for that to be kind of repurposed and boiled down to something new. So it's a it's an interesting topic. I think people are going to kind of be pretty polarized, probably from the client and the creative professional perspective is probably going to be a pretty clear dividing line and where people stand. But how does this kind of, how does this kind of articulate in the marketing, web development world, Eric, the first thing that
Eric Wing:comes to mind is anything graphic design related, very similar lane to video production, where you have you have sketches, you have mock ups, you have examples, you have like version twos and version threes of, say, a logo or a flyer, postcard, something, and, and then eventually you get down to the winning design. But along that process, yeah, there, you know, we are sometimes vetoed by the client not liking the one that maybe that we prefer. And, but ultimately, we do have some. We have, like a scrap pile after graphic design specifically, what comes to mind graphic design projects and but what what we do is we may, through that process, discover fonts like font families that we hadn't, hadn't used in the past, or, you know, textures or or layouts or balance or something that we can apply to future projects. So we made, you know, because of the nature of of graphic design being very specific to the client. We can't always just use the logos that didn't work, you know, but we can. We can take aspects of it, and honestly, we probably could be better at doing that. We sometimes start with a blank canvas and in redo a lot of work on the on the web dev side, very similar. You know, there's, there are things that we pitch to clients and they they don't like for one reason or another, and but again, we can apply the logic to to the next project. On the marketing services side, that's an interesting thought exercise. You know, we do, we do create assets and campaign materials that, again, similar to the other two examples I just gave, could be revisited, and I would say that's probably the area that we're able to recycle. Because, you know, if, if we're trying to sell, if we're trying to book appointments for company, a and we, we went down a route, visually, or just program set up, targeting, whatever it might be that stuff can be recycled if it's a similar industry, right? So if it's if it's a cardiologist looking to book appointments, or it's a hair salon trying to book appointments, we can use some similar logic there, maybe not the same assets, obviously, but from a composition standpoint. We can, we can borrow ideas, and in fact, I almost pitched that we talked about, maybe for a future episode, we can talk about the cross pollination of disciplines. You see in one industry working well in bringing those into an industry where it may initially seem like an awkward fit, but because of the awkwardness, it works, right? And so, but yeah, that's, that's how I see, you know, sort of discarded assets kind of showing up in our world. But again, I think that we could do a better job from an efficiency standpoint, if we had a system to organize the work that we didn't use that scrap pile, you know? How can we organize that? So we can, you know, we had a project that was similar to this, and we had five versions of the logo that were not, not used. What can we that was a cool font. Maybe we can borrow from that font, something like
Douglas Duvall:that. Yeah. Video, it's definitely like, if you're thinking this from an ethical, even legal standpoint, obviously, you know, we're not going to take something, a carbon copy of something for one client and use it on another right, like, yeah, it's going to be a new version and essentially inspired by an artwork that was not selected. So I think you can kind of put that to bed, if anybody's thinking about it from that perspective, especially on, like a logo or something. You know, companies have different names and they're going to want different colors and all that, like you said, like you taking the composition or the spirit of something and sort of re tweaking it for a new client. Yeah, that's just where my head, when you were talking about logos, is kind of what I was thinking. Yeah, if somebody was gonna push back like that, you know, they didn't pick it, right? So I think as long as there's nothing being carbon copied or outright stolen, I think it's, it's fair game. So from a video perspective, there's a weird, there's a weird. Actually, I've watched a lot of, you know, I watch a lot of videos about video production, and there was, this is, this is probably about a year ago, and I can't remember the person's name, they there's a video production company. They made an edit the client didn't like, but they loved. They delivered the edit the client wanted, right? So the client got the product they wanted, and in their mind, which it makes sense. On paper, they posted the Edit they made for the client, but the client didn't select they shared it on their socials. And I don't know what they called it, a director's cut or something to that effect. And, you know, I remember, of course, the comments are always going to be kind of the site polarizing and that sort of thing. But it makes sense. I mean, if I, if someone's hired me to create a video for them, I I own the video? Yep, right. So we could kind of have a co ownership situation. So if I choose to make an edit that's, you know, say, 20% different than the edit that was delivered to the client because they didn't want that version. I don't see the Hartman. I don't know if I'd actually do that. I've never done it, but it does raise this interesting question of, okay, that was pretty I thought it was a pretty interesting and bold take, because there have been those times you're like, Damn, that edit would have been so much better, but they wanted the the logo at the big, I don't know, whatever they wanted something to be, you know, making it more generic or similar to other videos or something, yeah, where you kind of had A more artistic, you know, creative take on it. Yeah? It's definitely an interesting thing to think about. And I think what more we've played with, and Nick's a big proponent of this, is going back to some of that old footage and making new stuff from it. We do that a lot. There was a project that I think it finished in 2018 or actually it's 2019 we made a bunch of content from it. And then I think two years ago, I went back and remade some social edits from that footage, like and we just call I called them retro edits. And, you know, they came out. They came out great. And he used them and got some new life, and drove, drove some new traffic to old YouTube videos, and just kind of brought that project back to top of mind. And that's the beauty of something of video. If you're recording a lot of it, you. A, you know, project two, three years old, and you haven't posted in a while, you can go back, do a refresh, edit or something new, something completely new.
Eric Wing:Yeah. Now, what comes to mind would be, so that example that you mentioned of the other firm posting the director's cut, and then you revisiting content to post on your socials for portfolio purposes, or is the company's logo or any of their IP, or anything included in those
Douglas Duvall:I don't That's a good question. See that, because then that's when you get into the
Eric Wing:that's what comes to mind. That's when you
Douglas Duvall:get into, yeah, they probably excluded it. I'm guessing. I don't recall there being logos in either of the edits in this particular instance, but because I watched the two versions, that's a good question, though. I don't
Eric Wing:know. I think that's where it gets sticky, and I think the client would have really firm ground to stand on, because it's if there's a reason they picked version two instead of version one, right? And if you're distributing something with with their company name on it, it's like impact. It could potentially impact their brand or whatever, but, but what about this from a you know, as you were talking, what was coming to mind is so that project that you mentioned from 2019, do you have example, not examples, but do you have opportunities to reactivate a former Client and get new and maybe stir up some new business by going back to old footage and saying, hey, you know, we had an idea this and that we could, we could, we could layer on top of this, some, some new footage, something like that. Is that something that you guys have tried, or maybe, I
Douglas Duvall:definitely think there's potential for that. I definitely, I have not done that. It's usually, you know, like Nick. I've been working with Nick for, you know, basically a decade. So it more comes from that, like, hey, let's, let's, let's reuse some, some stuff from the from the past, when maybe we're, you know, maybe he's on vacation for a week or two or something, and we're just trying to generate some content in the in the gap he's gone, yeah? So, yeah. I mean, I didn't really think of that. There's, there's probably some potential there. Yeah. The issue is that I've run into is like, there's not a lot of Nick's. Kind of Nick's kind of an anomaly in a lot of ways. And I think a lot of business owners would just be like, well, it's not, you know, we've redone our front office. Yeah, that's the old front office, or that's the old our trucks have been rewrapped, or what have you, whatever it is, pick a pick a thing they've redone in the last three years or something, and they get kind of hung up on something most people don't really care or pay attention to or or notice. I think that's probably the biggest issue is people get hung up on kind of silly details, yeah, whereas there's, in reality, they'd be saving a ton of money on production, yes, from thinking, and, you know, relatively short dollars for fresh edit. Yeah, there's definitely potential there. I think I just have to be the right forward thinking business or client that just was not going to get hung up on. Okay? It's it's because, honestly, of course, video quality has changed in 567, years, but not too drastically. Like, it's not like we're pulling stuff from VHS tapes, like it's very much the same. It's very much in the same neighborhood. You know, in 2019 we're shooting on a Panasonic GH five, which I care to wager there's still some people shooting on that camera. And obviously our new cameras a step above that, but it's, it's all I still have. I'm looking at right now, because we're actually going through some of our equipment. It still fires up. It's still do good work. So, yeah, I think it's, I think it's definitely a potential. I think it just be more of opening people's minds to it,
Eric Wing:right? Yeah. I mean, that could be a campaign on its own, even for for a video production or videographer listening to this conversation, I think it could, you know, you went back, revisited footage from what six years ago, and posted it to your socials, for for activity. But. But there's value to that for the client too, because everyone is is content hungry, so even going back to the footage and not changing much and just re re, not re editing, but just isolating clips, you know, for socials that could create a little bit of a revenue stream, or at least something, to reach back out and see if there is an opportunity to do work together again, so that could be something to explore. You know, I don't know if the effort, because it would be, it would be a lower cost project. It's more of like a isolated, you know, clip isolation Edit Project than it is production, I suppose. But I don't know if the prospecting effort is worth the revenue gain, but something maybe to look at.
Douglas Duvall:It might even be like a loss leader, like make a RE, edit, send it to the client and be like, hey, you know, miss, miss those fun times. Here's an edit. You know, if you have another project coming up, keeping us in mind, this is for you, no no invoice, just for you to edit, just for you to post. That's probably just my mind. That would probably be more beneficial than like emailing them like, Hey, we're going through your hard drive. Saw your footage. Would you like us to do a re edit of this video? Right? And I feel like you're not, maybe you get some people, but I feel like if you sent them the RE edited video or a fresh video from the old footage, maybe That'd be better. Sort of, you know, lead, whatever, yeah, because
Eric Wing:they don't have to do any work. They don't have to think, consider, you know, all this stuff. They just receive something. And even if they don't want to do any more business with you, you're you're putting that you're putting that energy out there, right? You did something for free to be helpful, and if that's the goal, then you've succeeded. And if you get business from it, then that's just kind of like, bonus, yeah. But of course, it requires time to do this, and it's like, taking away from your paying gigs can be, can be tricky,
Douglas Duvall:definitely a loss leader. I mean, it could, it could lead to another big project. You know, you never know.
Eric Wing:I'm trying to think, on my end, if there's anything that's similar, not really in terms of, like a stockpile of footage that could be, that could become like lead gen or lost leaders, but, yeah, nothing. Nothing comes to mind there.
Douglas Duvall:There is kind of an interesting and this would probably fall more into the marketing slash, well, maybe not marketing. This would fall more into intellectual property. So, like, I've had this idea and I've pitched it to three companies, roughly, it's all the same idea. I'm just looking for someone to essentially, you know, buy it, if you will. Yeah, I won't go into the idea, not that it's anything groundbreaking, but I am still actively trying to get the series off the ground. I guess, since I'm not, it's my idea that I'm sort of, I'm offering it to them as though it's sort of like a white list, I guess, for the way to explain it, like I'm looking at for it to become their like I'm giving them the IP effectively, just for us to produce it. And that's been an interesting I've gotten pretty close with one. It just, you know, I guess so it just came down to budget. They didn't want to spend the money to produce it. But I think that's, I guess that's a little different. I guess this is kind of out of this realm, but it is sort of the same spirit of trying to get something off the ground. That's the idea has been tweaked over over the time I've worked on it, but I mean, it's roughly the same idea, just trying to get it off the ground.
Eric Wing:Yeah, you just, you just brought up, you brought up IP again, and I want to go back to what you said about the ownership. IP ownership. And this came up for me recently, not from a well, I've got a couple of examples, actually, but the idea that a website is technically the IP is owned by us, the company that creates the website. And we essentially don't, we don't uphold a licensing agreement or anything like this. We just give it to the client right for the for the websites. We do want to put a little link back to our website at the bottom, which is customary nowadays. Some some clients will push back on that and. And if, if I had a legal arm of the business, I probably, you know, would, would push back on the pushback, because, you know, there is a there people are not aware of IP law, and I'm barely aware of it. But what I what I do know, is that we have, we have created, like, licensing release forms where we've we've just handed over, like, in actual writing, we've handed over ownership of the IP, but, but, yeah, it's something to something to consider. I guess that it sounds like that pops up into your world too.
Douglas Duvall:Yeah. So I mean it does. I mean that usually the bigger the client and that sort of thing, the more that sort of conversation takes place, yeah. And then, of course, there's some people that are, you know, there, there's always people that are very aware and savvy of those things, and they start the conversation with that, almost to let them know, like, not that I'm, I'm not trying to take anything from anybody. We're, I'd say we're very, more so than any company I know of. We're very forward thinking about ownership, you know, with our photography and that sort of thing. We have very affordable approach to everything that's client friendly. Yeah, because I think there, there are some photographers, and, you know, it's their prerogative that make very large sums of money purely off licenses every three or five years, or something, whatever the terms are. Oh, wow. I mean, that's talk about some serious residual income. And I, that's not my, that's not my approach to it. And there's, there's a lot of different ways to do this. That's just not how I want to do it. So I'd say we have pretty, pretty favorable to the client when it comes to things like that, but there are people that kind of start the conversation with we want to, we want to own it, blah, blah, blah, and so on and so forth. But which is good, I mean, it's a good thing to someone's thinking about that already. Those are
Eric Wing:the clients that I want. I want those clients that are sophisticated enough to to even broach that topic, right? Sure, and you know this, this brings us back to that example you, you were talking about of that company posting the, you know, the file that wasn't accepted by the client. If they, if they remove the badging, and they don't, they don't mention the client's name in the post at all. It's they. They have every right, from what I understand, they have every right to use that footage. It's their IP, right? And I think that's where, gosh, maybe we should do a whole, no, I was gonna say we do a whole episode, but I don't know enough. We should have an expert. Yeah, we should, we should try to find an IP lawyer. Yeah, because that that now I'm all, I'm all, like, interested in it, but, yeah, you know, and I think, I think a lot of times, and it goes back to themes that have kind of come up in our conversations around how, how our work is perceived to clients. You know, what? What do they own? What do they not own? What? You know, are we? Are we just a vendor, or are we a partner? Right? Where? Where does all this? Where does all this come in? And I think it's going to be different per per situation, but for sure, yeah, yeah.
Douglas Duvall:And just put a bow on all this, you know, the two different versions thing I, I don't think I would do that, you know, I appreciate the sort of boldness and not that, yeah, I think the boldness to do that, especially if you're not stepping on logos and all that sort of thing. But I don't think I would do that. And I think, I think what we the where we kind of use that thing, that we own, the footage, and that sort of thing is if we make a little behind the scenes edit. And I usually, if I'm not super like, if it's like a new client or something, I still run it by them, just like, hey, I'm going to post this. Is there any sort of, you know, do you have a any sort of pushback on it? Just because, to me, it's not worth it for something like that. And maybe, if there's a where this, where this all really comes into play, is if you're making some sort of demo reel, like as a videographer, right? You can plug all that footage in and not sort of feel worried about it. And, well, I know. And I left the big company, those the small, small ad agency I worked at. You know, when it, when it came time for me to make a demo reel to help promote my new business, it was kind of a crude awakening that,
Eric Wing:yeah, because they, they, they weren't on board with it. I,
Douglas Duvall:you know, I didn't even, I didn't make a thing of it, you know, I just started from square one, which I think was the right move. And I think if I really sort of pleaded my case, I think, I don't think they would have said no, like, but to me, it was just, it wasn't a, I wasn't gonna die on that hill and destroy a relationship over that.
Eric Wing:Yeah, yeah. That's, that's, that's an interesting thing too. I guess technically, the agency owns the IP, right? Yeah, yeah, but, but I wonder if it's, is it a creative gray area where you're just using it as like a demo, and not posting it anywhere, and not gaining from it, aside from like?
Douglas Duvall:So the way I understand it, if something is posted publicly, yeah, you know, let's say I, let's say I added something for this old house, and they don't credit me or something, but it's public. I can say, hey, I edited this portion of this. Yeah, and you know, if it's on YouTube, I can put that on my, you know, website or something. If it's in the public domain, you can say, hey, I did that thing. Yet, pretty sure that's standard. But there's a lot of agencies that just want to control everything kind of thing. If anyone, anyone that's worked with me and done stuff with me, I'm always like, yeah, I use it, yep. Just say what you did on it, right? If you edit, if you shot it, or you edit it, or whatever, all of it, just say what you did on it. But otherwise, go for it. Yeah, because I I've never want someone to feel like I felt in that position, if that makes sense.
Eric Wing:Oh, totally Yeah, yeah.
Douglas Duvall:But yeah, there's, there's definitely a gray area to it. You ask one person, they tell you one thing, you ask another person, they say another
Eric Wing:Yeah. Well, the way I see it, and it doesn't really apply to our, our work so much. But you know, for you, if you were to put a demo reel together that you just sent, you have it on, like a private it's like set to private on YouTube or whatever, and you send that link directly to the prospect, and they're the only ones looking at it like, I don't see, I see no harm, no foul there. But I suppose if I were in, if I were in your shoes. The the ethics of the situation may look different, I suppose, right.
Douglas Duvall:The way I always figure justify, like the decision making that took place was like, if I just create a demo reel that's my own, then there's, there's no, there's no mental gymnastics that take place.
Eric Wing:Yeah? Well, also, like, what about the, yeah, I get that, but what about, what about, like, using footage from from past clients of yours in a demo reel that there's no issues, there shouldn't be any issues, even using their logos, right like that. That's fair
Douglas Duvall:game. I think that's fair game. Yeah, you know, because if that ever came up, it's like, well, they paid us to do this, yeah, it's public, right here, yeah, yeah, YouTube, or they put it on Instagram or whatever. Yeah, they never posted it. Or, you know, it never became public. Okay, now we're in a interesting area, so, but still,
Eric Wing:they would never know. I don't know. Maybe this is revealing on, like, my moral standings, but I think, I think they would never like you did the work. Yeah, I think the only gray area is like you're using their brand identity in some way. But if I, if I wanted to do work with you, and I asked you for a link to see like your demo reel, I'm gonna, I want to see the names of the businesses that you worked with, right? Yeah, and you want to be associated with those, those businesses. And it's not like I'm going to go out and post this demo reel to like my website or something, I'm going to just basically show it to the people in my office to make, help make a decision, right? So I think, I think maybe the distinction, again, I'm, I'm not a IP expert, but maybe the distinction is if it's, if it's something you're using for. For prospecting. If you're kind of standing on the shoulders of a past project to get attention for your business publicly, it's one thing. It's another thing. If you're privately using that footage with with a prospect directly, maybe there's something, something there, yeah,
Douglas Duvall:yeah. And honestly, I don't know too much of the the gray area, yeah. All I know is that, generally speaking, the clients that, thankfully, the clients that I want to share, that I work with, are all would never say a word if I had their logo on my website?
Eric Wing:Yeah, yeah. Most times. Most times. I mean, let's, let's face it, is more exposure. You mean, it's right, like our websites get traffic. People see logos. We have a bunch of logos on our website. We never, we didn't ask anyone's permission. Yeah, one thing I wanted to throw in here. I did think of an example. So with the with web development, I just remembered, in our contract we have, there's a line item that says that we have the ability to use their project in a portfolio, right? And I suppose, like a lot of our conversations, if it comes back down to expectation setting in the beginning, and if that's, if it's in your contract, and they read the contract, they sign the contract, then I think a lot of the stuff that we just mentioned kind of gets pushed to the side. But if you're kind of, you're flying by the seat of your pants, and you're just taking work in, and you're not, you're not doing some of these things, I guess it can be, could you could be liable for things down the road and
Douglas Duvall:everything we share on our website, like the Anderson windows, stuff we've done, I take the URL from the Anderson YouTube, right? So I'm not reposting this on a motif channel, even though I could, I'm taking it from Anderson's channel, yeah, like, that's public. Anyone can go find that video. And, you know, just stating what we did, you know, yeah, it's not hard. I mean, no, and Anderson's, you know, they're not they, I think, if anything, they like to share the fact they work with us. So, yeah, yeah. And, I mean, I think we've, we've gone down a bit of a rabbit hole here, off of creative, creative residue.
Eric Wing:Okay. I mean, I like it when we because you never know where these conversations are going to go. And I think for those listening, I may get a little it's nice to listen to something that's unscripted. I think we just kind of roll with it, you know, but, but, yeah, in terms of, like, creative scrap pile, I think I've, I think I don't know if I have anything else on that. I think it's an interesting thought exercise. And if someone listening hasn't considered that in the past, there could be revenue, potential revenue, sitting in that scrap pile. Whether it's repurposing, it's re engaging that client, it's any number of any number of things. So maybe it's just worth taking a look at it, or just having an eye to how it's organized. Is it just deleted after the fact, or is it sitting on a hard drive somewhere? Where is this, where is this creative data sitting? And that could be a first step for some
Douglas Duvall:to your point, I think it sounds like a good idea to put a, like, a process in place. So, like, if it's, maybe it's like, tiered, like, there's a tear of, like, Yeah, this is an absolute winner. This is an absolute great idea. And they just, it didn't click with a client or whatever, that sort of gets into the top folder. And maybe there's two or three things put in their ear. Maybe there's, you know, maybe it's more, maybe it's less, but yeah, and then so on and so forth, maybe down to deletion, but maybe there's a system to think about, kind of to recycle those ideas that otherwise would just go nowhere.
Eric Wing:Yeah, yeah. You know, in maybe my, maybe my closing thought on this would be, I just got back from a conference. And, you know, the conference, part of it really focused on just, just identifying the the hidden revenues within your business. There's, we identified a few of them just today, but there's, there's a lot of money on the table for, for most creative businesses to to whether it's, we engaging a former account, it's, it's what we're talking about here, recycling content for IDEA ideation. You know, there's, there's a lot of things. I go back to Michael Fauci. Phelps, speaking of like jumping around, like when I go to Michael Phelps, and he, when he was at the top of his career, winning all those gold medals, he talked about his training regimen being a lot of his competitors would take Sundays off. They take one day off a week from training. And I guess if you're in that field, if you if you take one day, it's almost the equivalent of two, because when you do get back into it like you're not, you're not quite where you were momentum wise, before you stopped and took a day off. So he didn't take days off, and he credited that to being his competitive advantage in the end. And it's very similar, if you're looking within your business for these hidden revenues, and you're consistently doing it. It's likely your competition's not consistently doing these types of activities and and it could open up a lot of opportunity for people.
Douglas Duvall:Anything you checked out over the last week?
Eric Wing:Well, the Tour de France is going and I noticed I say France, but then when I say I'm going to France, I don't say it the same way. And I think it's because the guy, the lead commentary guy, is English, and he says, Welcome to stage four of the Tour de France and but it is where stage four yesterday was stage four, I think so I've been watching that. I'm that geek that I watch every every minute of every stage I watched, the pre and the post, I just can't get enough of it. And so that's basically I'm that's all I'm doing right now, in terms of, like, entertainment, it's like four hours long each, so trying to keep up with that. Yeah. How about you nice?
Douglas Duvall:I went to see the New Jurassic Park. Yeah, that looks good. We took, well, we took children that were probably too young to go see it. My three year old son and my seven year old niece. We went in there. We're like, man, you're way too young for this. But it was, it was okay. The movie was pretty good. I like it a lot better than the last probably four or five films, or how many ever I'd put, you know, obviously the first Jurassic Park, and then I put this one. Oh, wow. It paid tribute to the first film with some, like, little easter eggs. And it wasn't the typical structure of a Jurassic Park movie, and obviously the biggest structure of being chased by dinosaurs. Yes, we, we all know that going in, but it was kind of a newer take on it. I wasn't groundbreaking or anything, but it was, it was good. It kept my attention despite being worried about, like, Should we just walk out right now with this? Yeah, with my three year old, but he didn't really pay much attention to the movie. He was more concerned about eating gummy bears and looking at the people behind him. So, yeah, classic, Judge me a few months that was probably a rookie parenting mistake. But, and I just saw today, I watch YouTube on my I take a little lunch break, usually, before this Christian Horner got sacked today, Red Bull principal,
Eric Wing:oh, oh, I didn't know, yeah, wow. It
Douglas Duvall:literally just happened this morning, huh? So he's been there 20 years. Wow.
Eric Wing:That 20 years is what most of us know about Red Bull. I mean, they're amazing marketing, all their awesome sponsorships, like, it'll be interesting to see what this next, this next chapter brings,
Douglas Duvall:yeah, I mean, they stuck by him during the whole there was a con, I'm not even sure in the details, but there was, like, a potential sexual harassment thing last I think it was about a year ago, okay, which maybe this Is stems from that? I'm not really sure, but, yeah, six constructors cups and eight driver championships in that time, just pretty wild. Yeah,
Eric Wing:so it must have been non perform. It must have been something besides performance, because unless their expectations are just so elevated that he couldn't reach them, you know,
Douglas Duvall:it seems speculation is max might have wanted him gone. I don't know. I don't
Eric Wing:know if that's true. I hate that when the stars, like you see that in sports a lot, yeah, it's
Douglas Duvall:that because he's frustrated with the car or something. I don't know if that's true. There is also speculation that's Max is leaving for Mercedes. So who knows what's what I know. Another big, big top guy at bread bowl left, a couple months ago, the top designer or aerodynamics person left, which is, like, a big deal, okay, I can't think of the guy's name, but he's, he's, he's renowned in f1 Uh, I'm not, I'm not, I don't
Eric Wing:know, but my, my, my name, my name, knowledge is only sort of yeah, just barely past the pilots, like, I don't,
Douglas Duvall:you know, Yeah, same here. I do recognize him from the drive to survive. Oh yeah. Christian Horner, that is, but yeah, just that's, that's dating this to July 9, when we record. But just some f1, f1, news there,
Eric Wing:yeah, I think Max is a bit of a prima donna when, yeah, when you're blaming your performance on your equipment, you know, like, maybe you've lost a step, you know, like you You ripped it up for years, and maybe you're just, it's a biological thing. There's a reason why they're all in their early 20s. I mean, you know, mid 20s, you know, and they get to 30, the reaction times not quite the same. I don't know how old he is, but
Douglas Duvall:I think he's pretty Yeah, he's a good guy. Well, shout out to Hulkenberg, who podiumed. He's 37 years old. Is his first podium? Good for him, 235 grand prix. It's his first podium. Good for him. Started, started in 19th or 20th and all the way to podium. So that's awesome. Shout out. That was pretty impressive. I actually did watch the I watched the second, the last hour of Silverstone.
Eric Wing:Yeah, those usually, that's the hour to watch. But those are the, those are the races I like to watch. Is when the winner comes from, from within the field. It's not, it's not the the pole or like, the second position winning and, you know, or they, they hold the, they hold the lead the entire race, and it's just, you know, you can't get around them. So it's awesome. Someone that far back wins it. So
Douglas Duvall:that's, I mean, obviously, well now lando's Only eight points behind pistari for Drivers Championship,
Eric Wing:yeah, because he won, he won last, last week, right? I thought Lando,
Douglas Duvall:think this story, I'm not sure, yeah, I could be mixing it up their their neck and neck for, yeah, driver championship. And that's
Eric Wing:good. I think it's good for the sport. It's to get some different names up there. You know
Douglas Duvall:so well if you don't follow f1 sorry, we're just I'm new to the sport and excited about Yeah, things happen. Creative context.net, and creative context podcasts on YouTube and anywhere you listen to podcasts. And creative context. Underscore Instagram, if you want to, we will be better about that, getting our shorts, getting our clips and behind the scenes stuff up there, but that's all we got today. Thank you for stopping by taking a listen. You
