Patrick's Podcast

GovCon, Media, and the Pivot

• Patrick

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A volatile federal market and a sprinting commercial landscape don’t usually share the same playbook—until you dig into the tactics that actually work. We sat down with insights from Patrick Rafferty, a veteran producer whose credits range from federal PSAs and training films to shoots with Quincy Jones and Bill Gates, to map the real-world strategies media teams can trust when budgets are tight and timelines are brutal.

We unpack why SINS confusion, GSA schedule rumors, and sudden cancellations are shaking small GovCon vendors—and how to stay in the game by repurposing existing assets with strong editing, modern graphics, and clear voiceovers. You’ll hear why being local to D.C. now creates a decisive cost advantage, why LinkedIn beats cold outreach for reaching contracting officers and program managers, and how empathy isn’t soft—it’s smart business when clients face layoffs and cuts. Then we pivot to the commercial side, where speed, volume, and variety define success: a two-to-three-minute main video, plus 60-, 30-, 15-, and even eight-second cuts built for attention-poor feeds. We dig into the rise of custom stills to replace tired stock images and the planning discipline needed to leave every shoot with a full library of reusable content.

Compliance gets a spotlight too. Bilingual deliverables and Section 508 accessibility are non-negotiable in federal work, adding complexity that teams must bake into budgets, schedules, and workflows. The through-line: partner up across video, web, and PR to look bigger, move faster, and reduce risk. If you’re ready to stabilize your pipeline—federal or commercial—this episode gives you an actionable blueprint to market smarter, deliver stronger, and prepare for the rebound that’s likely to arrive fast.

If this resonated, follow the show, leave a review, and share with a teammate who needs a practical plan for the next quarter.

SPEAKER_01:

Welcome to the deep dive. Today we're jumping into, well, a really dynamic and sometimes confusing world where government contracting or GovCon meets media production and marketing.

SPEAKER_00:

It's a fascinating space and definitely volatile right now.

SPEAKER_01:

Absolutely. And we're drawing heavily from an interview with a real veteran in this field, Patrick Rafferty of Rafferty Weiss Media. He's got what, over 25 years in, doing everything from PSAs, TV spots, all the way to complex training videos for federal agencies.

SPEAKER_00:

Yeah, a huge amount of experience.

SPEAKER_01:

So the market's seeing some big shifts. Our goal here is to really unpack what Rafferty's seeing, pull out some solid strategies that you can actually use today. We need to figure out how to market effectively, especially in the federal space where things feel a bit tense, and crucially how that pitch changes when you're talking to, say, a big company versus Uncle Sam.

SPEAKER_00:

Aaron Powell And it's Rafferty's background that makes his take so valuable. I mean, he hasn't just dealt with government rules, he's been in the room with some truly major figures, people like Bill Gates, legendary Quincy Jones. Trevor Burrus, Jr.

SPEAKER_01:

Val Kilmer, Whitecliffe Jean, even Coach Bobby Knight.

unknown:

Trevor Burrus, Jr.

SPEAKER_00:

Right. An incredible roster.

SPEAKER_01:

Trevor Burrus, Jr.: That list is something else. Did he mention which of those big names really stood out? Maybe gave him some unique insights?

SPEAKER_00:

Aaron Ross Powell He did, yeah. He highlighted three Quincy Jones, Bill Gates, and perhaps surprisingly, Coach Bobby Knight.

SPEAKER_01:

Trevor Burrus, Jr.: Okay, Bobby Knight. That's interesting. There's a story there, isn't there?

SPEAKER_00:

Oh, yeah. And it says a lot about dealing with, let's say, intense personalities, which honestly isn't that different from navigating tricky government contracts sometimes.

SPEAKER_01:

Aaron Powell I loved this story. So Rafferty flies out to Bozeman, Montana for an interview with Knight. He's expecting, you know, the usual professional setup.

SPEAKER_00:

Maybe a car service waiting.

SPEAKER_01:

Exactly. But nope. Coach Knight himself picks him up at the airport, personally, takes him straight out for cheeseburgers.

SPEAKER_00:

Just like that.

SPEAKER_01:

And then Rafferty says they spent the next 24 hours just talking about everything but basketball or the video project, life, whatever.

SPEAKER_00:

It's about reading the room, right? Yeah. Reading the person before you even get down to business. That's such a key skill.

SPEAKER_01:

Aaron Powell Definitely. Aaron Powell And he mentioned that despite Knight's uh fiery reputation, he found him to be a true gentleman, really a what you see is what you get kind of person.

SPEAKER_00:

Aaron Powell Which builds trust. That ability to manage those high-stakes interactions, whether it's a celebrity or a complex federal procurement process, that's the common thread.

SPEAKER_01:

Aaron Powell Right. And that unique blend of experience dealing with huge personalities and the government machine makes his views on the current market chaos really relevant. So let's dive into that chaos. What's been happening in the GovCon media world, say, over the last uh 60 to 90 days?

SPEAKER_00:

Aaron Powell Yeah, things have felt unstable. Rafferty pointed out some specific high-level worries that are, frankly, making small GovCon businesses nervous. A lot revolves around the uncertainty of how the government actually buys services.

SPEAKER_01:

Okay, let's clarify that. What are the specific concepts causing this instability?

SPEAKER_00:

Well, first, there's a big question mark around SINS that's special item numbers. Think of SINS as categories on the government's shopping list, defining exactly what you offer, like video production services.

SPEAKER_01:

Aaron Powell Got it. Like a specific code for your service.

SPEAKER_00:

Exactly. And if the government suddenly changes how it uses or values those SIS, or if they wonder if your past performance under a certain SIN still matters, well, your whole way of getting contracts could be upended.

SPEAKER_01:

Okay, that sounds disruptive. What's the second major concern?

SPEAKER_00:

Aaron Powell It's this growing fear, this rumor maybe, that all contracting might get funneled through GSA schedules. Now, GSA schedules are basically these huge pre-approved vendor lists. They simplify things for the government, sure.

SPEAKER_01:

But maybe not for everyone else.

SPEAKER_00:

Right. If everything has to go through GSA, it could potentially squeeze out smaller, more specialized companies that maybe rely on different, more direct ways to get contracts.

SPEAKER_01:

And the real world impact he's seeing is actual contract cancellations.

SPEAKER_00:

Yes, he mentioned seeing those happen. But, and this is where it gets tricky. Even with cancellations happening, there's still work popping up. Sometimes with pretty decent budgets, seemingly out of nowhere. He described it as coming in fits and stops.

SPEAKER_01:

So it's unpredictable. Work is there, but you can't rely on a steady flow.

SPEAKER_00:

Precisely. And that unpredictability, combined with the stress over SINS and GSA changes, it really forces a shift in strategy, especially for federal clients. The name of the game becomes efficiency, maximum efficiency.

SPEAKER_01:

How do you achieve that? What's the core strategy?

SPEAKER_00:

It boils down to leveraging what you already have, or rather, what the agency already has.

SPEAKER_01:

Aaron Powell Existing assets, you mean.

SPEAKER_00:

Exactly. Federal agencies often have mountains of existing content, old video footage, photos, documents. The smart play right now is to build new messaging by cleverly piecing together these older materials.

SPEAKER_01:

Aaron Powell So less focus on big brand new shoots.

SPEAKER_00:

Aaron Powell Much less. It avoids the big price tag associated with new production, which is a tough sell when budgets are tight and under scrutiny.

SPEAKER_01:

Makes sense financially, but isn't there a risk it looks well, cobbled together. Or dated.

SPEAKER_00:

That's where the skill comes in, you know? Good editing, modern graphics, a strong voiceover. You can tie disparate pieces into something that feels fresh and delivers the message clearly. It's not about Hollywood production values. It's about effective, compliant communication on a budget.

SPEAKER_01:

Okay. Speaking of budget and efficiency, there's a geographic element at play right now, too, isn't there? Especially for folks near DC.

SPEAKER_00:

Oh, absolutely. Being local, like physically within about 50 miles of the DC agencies, is a surprisingly big advantage currently.

SPEAKER_01:

Why is that?

SPEAKER_00:

Because contractors who aren't local, who might normally fly in for projects, are now actively looking for local crews to handle the on-site work. Travel costs, flights, hotels, all that logistical overhead have become a major barrier in this cost-cutting climate.

SPEAKER_01:

Aaron Powell So being local saves the agency or the prime contractor money. Simple as that.

SPEAKER_00:

Yep. Proximity equals cost savings right now. It's a significant differentiator. Trevor Burrus, Jr.

SPEAKER_01:

Okay. So that's navigating the work. What about finding the work? How do you market yourself in this stressed environment? If you're a GovCon company wanting to showcase your capabilities, where should you be focusing?

SPEAKER_00:

Aaron Powell The consensus, and Raffordy was clear on this, points overwhelmingly to LinkedIn. He sees it as the safe professional platform. It's where the eyeballs, you need the contracting officers, the program managers are actually looking and engaging professionally.

SPEAKER_01:

So the strategy isn't broad advertising, it's more targeted.

SPEAKER_00:

Aaron Powell Exactly. It's about building that professional presence, making connections, and maybe reaching out strategically to the right decision makers. Very targeted.

SPEAKER_01:

Aaron Powell, which leads us to what you should not be doing. What's the big no-no right now?

SPEAKER_00:

Aggressive cold outreach. So definitely no cold calling, no mass email blasts. And the reason isn't just because it's annoying.

SPEAKER_01:

Trevor Burrus, Jr.: It's about the climate, right? The sensitivity.

SPEAKER_00:

Trevor Burrus, Jr.: Yes, it's about emotional intelligence, really. Rafferty mentioned getting calls from federal clients, people who actually lost their jobs. Wow. Yeah. So when your potential client is possibly facing layoffs or massive budget cuts, hitting them with a hard sell is just well, it's tone deaf and ineffective. Trevor Burrus, Jr.

SPEAKER_01:

It feels insensitive. You might be talking to someone genuinely worried about their livelihood.

SPEAKER_00:

Exactly. The approach needs to be softer. More about partnership and understanding their current pressures, not adding to them.

SPEAKER_01:

That makes sense. It's a relationship game, always, but maybe even more so now.

SPEAKER_00:

Aaron Powell Definitely. Now, interestingly, that whole careful, sensitive approach contrasts sharply with what's needed if those same companies pivot to the commercial sector. You know, corporations, nonprofits, associations.

SPEAKER_01:

Right. How different is it?

SPEAKER_00:

Night and day, almost. The first thing is speed. Federal work can be glacially slow, bogged down in regulations.

SPEAKER_01:

The paperwork alone.

SPEAKER_00:

Right. Commercial work happens fast. They often need things turned around in a month or two, sometimes quicker. That's lightning speed compared to GovCon timelines.

SPEAKER_01:

Aaron Powell, and you're talking to different people too, presumably?

SPEAKER_00:

Completely different context. Forget navigating procurement officers. In the commercial world, you're likely talking to creative directors, marketing managers, maybe VPs of communications, even C-suite execs sometimes.

SPEAKER_01:

Aaron Powell People who can say yes based on the idea and the business need, not just compliance.

SPEAKER_00:

Aaron Powell Exactly. It's a different decision-making process. And that difference impacts the deliverables, too.

SPEAKER_01:

How so?

SPEAKER_00:

Well, in federal, often the end goal is one main piece, like a single training video or one PSA designed to meet a specific requirement. Trevor Burrus, Jr.

SPEAKER_01:

Very focused.

SPEAKER_00:

Very focused. The commercial side, they want variety and volume. They're usually not looking for just one thing. They need like six to eight different assets from a single project.

SPEAKER_01:

Aaron Powell, six to eight? Why so many?

SPEAKER_00:

Because they can and have to use all the channels: social media, website, internal comms, presentations. So they need traditional video, yes, but also maybe stuff for live streaming and definitely custom photos.

SPEAKER_01:

Okay, so that demand for multiple assets must shape the whole content creation process. Let's dig into that. What are the actual content trends being driven by this need for speed and variety?

SPEAKER_00:

The absolute biggest driver is attention span. Or rather, the lack of it. Rafferty basically confirmed what we all feel attention spans are incredibly short now, functionally under two minutes.

SPEAKER_01:

Aaron Powell So clients aren't asking for long-form videos anymore.

SPEAKER_00:

Rarely. The main deliverable might be two or three minutes max. But the real demand where the focus is is on the cutdowns.

SPEAKER_01:

The shorter versions.

SPEAKER_00:

Yeah. They need that main piece. But then they absolutely need the 60-second version, the 30-second, the 15-second. And get this, even tiny eight-second bites of information.

SPEAKER_01:

Eight seconds? Wow. Why so short? What can you even convey in eight seconds?

SPEAKER_00:

It's all about those super fast platforms, like Instagram reels or TikTok. You have literally seconds to grab someone before they swipe. So that eight-second bite has to be incredibly punchy, a hook, a key stat, a compelling visual. It has to stand alone almost.

SPEAKER_01:

That sounds like a production challenge. Planning to shoot footage that can be effectively diced into so many different lengths.

SPEAKER_00:

It is. It requires really careful planning up front to make sure you capture everything you need to make all those variations work.

SPEAKER_01:

And you mentioned still photography earlier. How does that fit into this multi-asset demand?

SPEAKER_00:

It's become crucial, especially customized stills. Private sector clients, Rafferty noted, are really tired of generic stock photos.

SPEAKER_01:

Yeah, you see the same ones everywhere.

SPEAKER_00:

Exactly. Especially after COVID, when stock usage went through the roof. It just looks lazy now or impersonal. They want authenticity, they want pictures of their people, their offices.

SPEAKER_01:

So the smart move is to capture those stills during the video shoot itself.

SPEAKER_00:

Absolutely. It's a relatively low-cost add-on during production, but it provides huge value. It lets the client quickly build their own library of unique proprietary images.

SPEAKER_01:

And what do they use those stills for beyond just social media?

SPEAKER_00:

Oh, loads of things. Internal presentations, PowerPoints, white papers, annual reports, and importantly, for showcasing company culture, showing the actual workspace and team for branding and recruitment. It's very versatile.

SPEAKER_01:

Okay, that makes sense. Before we wrap this up, there's one more critical difference we have to touch on something really unique to the federal side.

SPEAKER_00:

Ah, yes. The regulatory stuff. Trevor Burrus, Jr.

SPEAKER_01:

Right. The non-negotiable compliance demands.

SPEAKER_00:

Aaron Powell This is a huge factor. It impacts complexity, it impacts cost. First off, federal visual media generally has to be bilingual.

SPEAKER_01:

English and Spanish.

SPEAKER_00:

Typically, yes. That means either creating two versions or ensuring compliant subtitles are available simultaneously.

SPEAKER_01:

Aaron Powell Okay. That adds a layer. But the really big one is 508 compliance, right? We should probably explain what that means.

SPEAKER_00:

Aaron Powell Definitely. So Section 508 refers to a part of the Rehabilitation Act. It mandates that all federal electronic and information technology must be accessible to people with disabilities.

SPEAKER_01:

And for video, what does that translate to practically?

SPEAKER_00:

It means absolute compliance is mandatory. It covers things like uh the technical quality, but most commonly it requires both closed captions and open captions, meaning captions burned into the video itself sometimes. Plus, things like precise text descriptions for any graphics shown on screen and ensuring the video player itself meets accessibility standards.

SPEAKER_01:

That sounds complicated and expensive.

SPEAKER_00:

It adds significant technical hurdles and checks, and therefore cost and time. It's a level of mandatory compliance that you just don't usually encounter in the commercial sector unless a client specifically requests it for their own reasons.

SPEAKER_01:

Got it. So if we boil down the core strategies from Rafferty's Insights, in GovCon, it's survival mode. Efficiency using existing assets, being sensitive to the client's stress.

SPEAKER_00:

Right. Efficiency and empathy almost.

SPEAKER_01:

And then in the commercial world, it's completely different. Speed, volume, variety, multiple short custom assets for every possible channel.

SPEAKER_00:

Aaron Ross Powell Speed and versatility are key there.

SPEAKER_01:

Aaron Ross Powell So what was Rafferty's final take? What's the outlook, especially for smaller businesses trying to navigate this? Is there hope?

SPEAKER_00:

Aaron Ross Powell There's hope, definitely, but it comes with advice. He really stressed the need for small businesses to team together.

SPEAKER_01:

Aaron Powell Meaning partnerships.

SPEAKER_00:

Yeah. Like a video production company partnering with, say, a web design firm or a PR agency, pooling resources and capabilities to look more substantial and increase their odds of landing those bigger federal contracts, especially now.

SPEAKER_01:

Makes sense. Strength in numbers.

SPEAKER_00:

Right. And his long-term view is optimistic. He believes the work will come back. Government programs, agencies, they have to communicate eventually. When the uh dust settles and budgets stabilize, that need for messaging will return.

SPEAKER_01:

So the advice is don't just wait it out.

SPEAKER_00:

Exactly. His parting shot was basically don't be ostriches, don't bury your head in the sand, get ready now, be proactive.

SPEAKER_01:

Which leaves us with a really practical thought for you, the listener. Given everything we've heard about stress, speed, and the need for efficiency, the advice is clear. Prepare now for when that demand snaps back, because it likely will end quickly. So how can you right now take stock of your own existing internal assets? What old videos, photo libraries, or even training materials do you already have that could be repurposed or updated? How can you start preparing those shorter bytes of information so you're ready to move fast when the faucet turns back on?