Skype Chat with Dan Foster
Will Crockett
Lessons
11 Pre-Show
09:04 2Shoot: Talking Protrait Demo
16:07 3Free Preview: Making Talking Protraits Profitable
22:05 4Tools and Delivery Workflow
32:16 5Equipment: Tripods and Slings
26:37 6Equipment: Sound and Cameras
24:25 7Equipment: Recording System
33:03The Audio Element That Helps Hybrid Sell
23:11 9Audio: Equipment and Workflow
39:29 10Shoot: Examples to Test Different Delivery Platforms
21:17 11Delivery: Options
24:54 12Delivery: Compression Differences
26:05 1311 Wrap-Up
09:28 1420 Pre-Show
08:32 15Overview of the Day
31:13 16Shoot: Dancer Talking Trading Card
26:34 17Shoot: Swimmer Talking Trading Card
27:53 18Intro to eCard Pro
19:30 19Shoot: Rocketman eCard
40:19 20LED Light Problems
38:44 21Skype Chat with Dan Foster
39:48 22My eCard Web Demo
10:24 23Editing Sites Demo
24:34 2420 Wrap-Up
02:41 2529 Pre-Show
10:09 26The Birth of Hybrid Sales
23:15 27Rocketman eCard Critique
26:29 28Attracting Commercial Clients
33:35 29Introducing Hybrid to Your Clients
24:16 30Introduction Step by Step
45:37 31Show and Sell
24:01 32Skype Chat with Patty Bradley
38:36 33Sales Q and A
36:04 34Thanks and Credits
17:00 35Fitting eProducts into your Current Sales
26:27 3629 Wrap-Up
03:32Lesson Info
Skype Chat with Dan Foster
when we talk about pre processing, we're talking about processing our camera with every possible setting that we can in order to allow it to give you the best possible file. I would love to introduce you to a dear friend of mine via Skype, who is one of the brightest, smartest folks that I know who helped me learn the importance of some of this because I would have problems with color quality. And I wanted to get rid of those quality color quality problems because I wanted to be able to go to my client and saying, I got it. Don't worry about it, bro. Then I wanted to move into digital. And then when I needed help moving into digital, I went to some of my friends that knew quality because I wanted to do the same thing in digital that I did with film and when it can to film. I was really picky to really picky to really picky, too. Hey, Dan, I wanted to first of all tell you thank you very much for joining us today on the program. We're we're in the top segment that I told you about the o...
ne that that a lot of photographers don't want to talk about one that a lot of labs don't want to talk about. And it's all about how we can remain profitable and how we can be as profitable as we possibly can. Now most folks don't know your background, so if you don't mind, I'd like to just give you. It's a little synapses here. Dan Foster, for the longest time, was the head of the quality control as well as the photo processing at one of the top the top color labs in America. And it was called BW still is around. Well, I don't know. A BBC down in Texas and Bt Busy was known through my connections at Fuji Film because I was Fujifilm speaker for decades. And Fujifilm said, Please, when you go to Texas, I want you to speak for B two B C. Because they have some of the tightest quality control test strips in the entire world. You knew that, didn't you? Yeah. Who processed those test strips? By the way? You did. I didn't. You did well. Used Well, Rocket used to come down the Texas all the time and it shoot and We called him this back in the transparency days. Of course, we used to call him Mr Clip Test because, you know, he's always will. Here's what I need you to do this role and clip this. But that was our nicknames. Perfectionist. Thanks. I think that's usually the G rated version for what you guys. Yeah, well, during those times of shooting film and bringing them into you and he's talking about a clip test, which is where we would actually take the 1st 08 inches of film or so and they go into a dark room. They cut it off, they'd run it through the machine. They process that I wouldn't have to be there because I have Dan. And I'd say, Danny, would you please look at that and make sure that the colors correct. And if there's any sort of fluctuation whatsoever, they could adjust the chemistry as they process the film, and it would dial in the island. The film is it needed to be, and I know it was a lot of times I didn't need to do it, but it made me feel a lot better. When I was doing it, I will. Thank you. Thank you. Plus, you made money on the deal there, too. So come on with it. Okay. So together you and I have discovered that there is this huge problem popping up, and that is that color of led lighting is turning into a huge problem. And you're on the forefront of hybrid photography, as am I, and thank you for the things that you do for the rest of the hybrid photographers. But the biggest problem that I'm seeing Buddy is that there are so many photographers that are just giving up on the pre processing thing. And here's why. They have developed work flows, and these work flows are and and and And I'm not trying to offend anyone, trust me. And I'm not the slightest. Their work flows are as efficient as they can make them. And they take these beautiful cameras thes beautiful canon and Nikon cameras and beautiful lenses, and they put him in whatever mode they want to, and they shoot raw, and then they go and they plot these raw files into a processor that automatically cleans up a lot of the problems, right. The camera raw software, the capture one software, for instance. It automatically takes care of, I don't know, 60 70% of the problems that you'd see in color issues. Give me an idea. Yeah, well, you know, there's nothing wrong with a raw workflow or say it takes a lot more time. It's not something I really want to set up on. Run. Here's and I'm going to just tell you that the real truth and this is coming from somebody that's process and printed. I think this is what your lap doesn't want to tell you that they don't want you. But I'm gonna tell you the God's honest truth. Most people I don't care if you've got the greatest monitor and you're got a profile that you're very characterized and you got the best equipment. You know what? The real problem comes down to rods and comes and I trained color directors for many years, and unfortunately, a lot of us just can't see it. You can't and which really need to do is use the tools on the front end to set up your equipment so you're not trying toe really repair or fix it. Later, when you get into post you don't, Danny, let me interrupt you right there. I don't know if you were able to see the previous segment there, but what I did is I popped up a color checker chart and I ran the digital color meter over the top of their and showed Well what? You know when you got it in balance, The white is 2 50 to 50 to 50 in the black in 16. 16 16. That's great. Once it falls out of collar, you can see two or three points. There goes real quick. Now, I said to the audience here, and I'm sure this will be different Different to you that when I see that when? When I'm measuring the color checker chart. When I see a difference of three points, I'm I'm alarmed by it. I don't act on it. I'm gonna leave three points go. But if I see red, green and blue that are further apart, any two of those air further apart by five points or more, I'm gonna react on that now, Were you out with that? I would say five points is the place where you want to start being concerned because that's where most people are going to detect. Look, Astor, three points. But as you start to get into five and six points, a lot of work. All right, So now you as a trained professional, when it comes to color, your I can see the difference between what? 234 points. Can you see one point different shift? Really? No, no, no, no. How many points do you think you can actually see? And I'm on a monitor, for instance, and say up there's a problem there. Three. Ok, ok, It used to be better, but I'm getting old. Yeah. Yeah. So I can't see those with my eyes. I have to use tools to see those because my eyes don't perceive anything. I mean, less than 10. I mean, that's really my eyes really that bad? I know yours are much tighter, but the tools better than anybody. Yeah, true. Well, you and I also have had deep discussions with photographers all over the place about how they're going to move into hybrid when photographers want to be able to shoot a piece of video that they're going to either sell that piece of video by themselves, which could totally happen or if they're going to blend the video, plus the photo plus graphics plus music plus audio plus whatever together into one. Whatever piece, they're going to have to learn a set of skills. And you and I refer to that as pre processing. Can you tell me what the difference is between pre processing and post processing? Sure, uh, pre processing is really just all about fretwork. Look, all automation is what you put into the front end of your job. Not not fixing it later or trying to repair things later. We want to make sure all the lights are balanced. We test our equipment. I don't know how many photographers up seeing that show up shoot. They just want the camera the day before and test your equipment. But sorry. Anything Good, really. You should have this thing's fine to before that shutter ever gets breast. And that's in a state. Don't don't buy into that way. We can take care of all this layer. Do you really want to color grade your work? Yeah, works? No, because it's hard and I don't even like that. I get and it takes expensive software. Why would you do that. You want to press the button right now? Are you talking about color grading like the artistic color grading? Are you talking about repair colored rating? No video color grading? Yeah. Yeah, way Kind of. Think so, too. Now, that's That's a creative disagreement that some photographers think that they wanna have a specific look that they want their blacks toe have a green look to them on purpose. Now, I've seen some TV commercials where they've raided the color and they've shifted it kind of bad on purpose. And I see it does have an effect. And it, I guess, does work. It doesn't work on me from time to time. I do find it interesting. And I do watch a bit of a television commercial. We're not talking about a creative decision that we're making first, you can at least start neutral, right? Then you can make any creative decision you want, but you gotta at least start in the middle, starting. Great. And the problem is that you see what 152 150 hybrid photographers on a regular basis, right? Okay. And of those photographers, they're all trying their returned us right to make to make great images. How many of them are in control with their pre processing that when they send video and they send photo to you that they're okay? And they don't need any of your magic touch in order to make them neutral? Just let's just say neutral the first time around, I would probably say only 50% 15. They get their 1st 1 back. Then they go. OK, well, really kind of get this 70. Okay, so you're saying now that 70% of the work that comes through that you see photo and video that's coming out of both DSLR and mirror less cameras? And by the way, while we're on that subject, can you? You can see the difference, right? Which ones? They're muralists and which ones are DSLR for? Shooting hybrid. Where are you seeing? Well, I think that personally, I think the biggest difference between shooting the two ISS it's so much easier to switch back and forth between the video and the still image. The delis are just it's just it's difficult, it's cumbersome. There's you can't flow in between two right, and with the Marylise, it's just right one button one, but all right, so let's go back to the 50% of the people who send in their work to you the first time. Here you are, one of your one of the first hybrid labs, of course. One of the best hybrid labs in my personal opinion. But that 50% that that said work in and all of a sudden it needs to be repaired, and you let them know that this needs to be repaired. What's the repair that needs to be made? What's the biggest problem, then? Uh, mostly they've used a auto white balance on their camera, and it's just not right. Unfortunately, the auto white balance doesn't always line up with what you really your your or s into your and the colors after it shows up. So auto white balance. For the most part, we we will only use auto white balance when we're using, say, for instance, an on camera led that has an adjustable temperature control and then we're using auto white balance because we're having some fun with it Now If I take my niece and my nephew to downtown to the zoo or something like that, Of course I'm gonna handle my camera. It's gonna be auto white balance. And that just means that that little kids could use auto white balance. But auto, white balance, particularly when we use in a studio environment, you're right. It gets me in the big problems. However, we just I don't know if you were able to hear the first part of the conversation here. There's a lot of photographers that go and they buy a low cost led, and then they fire that up and they take a picture on. They leave their camera in auto white balance and the auto white balance of any digital camera will get rid of that green problem in that led pretty darn quick. Then all of a sudden, they turned the auto white balance off and they go to a fixed white balance and then they see that there's a green problem. Well, then those people come back to you, and they tell you that you're wrong, because auto white balance works great on my camera. The other ones don't work well at all. How how often does that come to you from a professional photographer? Uh, well, honestly, is so far. Not that much. Uh, three darling, You know, through Arlington Group and everybody as they come to this as kind of, uh, got in with the other photographers and seeing everybody else's mistakes. Aziz, this kind of grows, the knowledge base is growing, and people tend to jump in and go. OK, well, someone sit down the street already made this mistake. I'm going to try not to do the same thing. They're smart, and they just pay attention. Everybody else's. Oh, man, no, I'm seeing that lesson left. You know, when you have a controlled studio environment, there's really no reason, you know, dialled in the absolutely perfect with the color. There's just no reason. And what? Whoa. You mean she has? If you have a studio environment, there's no reason to dial in the color. Is that what you just said? You know, there's absolutely no reason not. Not too. Yeah, right. You scared? You scared me for a second there. I thought you broke bad. Was gonna have to take you on. Yeah. Yeah. Okay, so we're talking about pre processing in order to be able to send files to the lab to save us money Now let's say that you've got a customer that insists that they don't want to deal with all this color, temperature stuff and all this pre processing stuff, and they want to use auto white balance because they're used to it. Whatever. And you're gonna take that job and you have to repair that video and that audio that I'm sorry, the video files and you have to repair photo files. Just tell me what you charge for those services. Well, we charged by the minute, and it's pretty expensive, and it's in the upwards of $50 an hour You don't want to be. There is no reason, no reason to do it. It's It's really easy. And frankly, we don't want to wait. Really Don't want to color correct video. So the video footage that way sent you today of Chris Adams, who's here? The guy did rocketman creative. I made sure that I dial that in that had it all exactly where it was supposed to be and sent it down to you. Now that was I don't know, 12 seconds, maybe worth of footage total between those hole between those tube. If those needed to have some sort of color repair and say that they were They were off. Say the lights were green and say you had to go ahead and fix that green. Like, give me an idea. What? That would that would have cost to fix that. $30. Okay. And then how much time would that take to fix for you to repair that time? Waited overnight. Yeah. Yeah. Well, normally, when I send in a job, the turnaround time is supposed to be 24 hours, right? Typically isn't with you. Thank you. Thank you for that. You see, it's it's from us, and you get even though we don't need to turn around right away. You guys get it turned around right away. But if somebody sends in a big job and say that there's a bunch of video files that need to be color corrected and you know that there's gonna be an hour worth of I don't know your victor's time on there. How much extra time does that take that photographer to get that turned around? No, that's a few days. Everything about it. You know, if you have 50 guys Yeah, that's gonna just just don't do it. Like I said, You really it's not far right? Yeah, I know that, Theo industry today, uh, kind of in push down the road, you know, post process and do it later and don't worry about it. And but with video, it just It doesn't work that way. What you're gonna buy, There's not wrong with video. That's my next question. Teoh. I'm surprised that I haven't got the question so far of Well, I'm waiting. Teoh, go to all this hybrid stuff when we get raw video files. So I know that that red or wherever it is makes the raw video file. And it's a $50,000 camera, and you gotta by the the software to process it, it's I'm not sure it's going to become mainstream. Answer this question. Are we goingto have mainstream raw video for photographers? Regular photographers? E I don't know. I don't think so. Different did. If we did, do you think we would have seen it by now? Um I would think, um uh I guess I guess that's not really a great quest in the great, Really. The question is, is it hard to set it up and do it right now. I can't wait till I could be sloppy later. So people might get mad at me for saying that. But that's kind of talking about you know, you can I wait later till I could be a lot sloppier on the front end or when I start making these products now and just put a little work in on the front end? Yeah, a lot less lower price. Yeah, just take a little time and she's right, and it's gonna help you if you're still work to do so. So if a photographer takes our advice and they learn a little bit more about pre processing, for instance, they take a little extra time and they make sure that they framed their shot. The way that they want to, of course, focuses never really a problem when it comes to that, but they had just their color. They adjust their contrast the way they want to. They light it correctly, so it's the way that they want their whites in their blacks toe actually appear. And then they were able to make you know proper exposure. Send it along with proper color and proper exposure. Then you got sound to deal with, right? All right, How much do you see as faras problems when you've got good quality video, good quality photo, The explosion of the colors? Great. But then there's a sound problems. The two the two greatest problems I'm seeing are people. She are recording the audio too hot. It's splitting and most of at least, the mirror less cameras. Some of the deals that lars cameras you could. You can actually adjust that in the camera. Or you can buy a pre AMP like. You're a mixture like your evening. That's probably the best way to do it is yeah, but a lot of cameras. You can adjust that mike level within the Yep, The slinking issue is a lot, and it's probably your hearing. A little bit of it today is echo. The room is to live. It's too much down, bouncing around, and I found some cheap alternatives. Is moving blankets? I just recently and I had some extra blankets around. I was like, Wow, this will help. Didn't sound so. You find you don't have to spend a ton of money right up front to get started and looking for creative. That's right. Okay, so if you were going to get into the business of, let's say, a hybrid photography and you were going to open up a studio much like one of your customers that does the e card pro product, right? Do us a favor. The folks that are watching here might not know what E card Pro is. I know you're gonna handful of customers that pretty much that's their entire job, right? It's to make any car pros, Phillis said on what he card pro is. And then how that whole template system works just quickly, will you, please? Sure. Uh, actually, what I want to do is going to give you my elevator pitch, uh, photographers and not so much talk about exactly. My car got pro. But at for years, I've been looking at this, and we know front sales are on their way on the decline. We know that print sales and what are people had. I want you to think about it, guys. When's the last time somebody pulled their wallet out and showed you a picture of their kids through? You know, they don't do it. What do they do? They hold up one of these star selling to the device. Whether you use my system or somebody else's or somebody else's product, find a good solution yourself. This is really how consumers are consuming images. So you keep that in mind that that's really what I wanted that that's really what I didn't want to so much talk about. My car got broke. Yeah, we'd love to work with you if you want to come over and give us a try. But if you're going to stay in the imaging business, start thinking about this and start figuring out how you're gonna sell their customer. I guarantee you, this is what they want. You got it. We gotta sell the the screen being a TV, be it an IPad being an IPhone, be it whatever else. Great. And your last questions before we say goodbye. Oh, we Oh, hang on. It looks like you would do from this side. Sure, you'll take some questions from from the folks. What? You you don't mind, do you? He's a great OK, here's our 1st 1 This is from I am Chase says Hi. I am 17 and I'm from Nebraska. My photography teacher has been telling me all about this creative live of them for weeks. I would like to know if there's a way that I could create my own e templates for the hybrid photography. Yeah, we can. You want to answer that one? Yeah. Here's the deal. You're going to use final cut, pro or pro chauffeur way use pro show producer way. Use it a lot. Another great Texas company, by the way. No. Perfect. I talked to this guy by chance a little while ago, and I'm always looking for new talent. So it told me Contact me. Uh, yeah, uh, templates. And what's your pretty easy to make? And we loved everybody to start participating. You got it. Approach Pro Show producer is probably my favorite piece of all approach, Producer Is is the kind of a super powerful engine that actually dance. Entire system is built upon. That pro show producer has the ability for you to make a template. And what it does is it gives you commands. It says, take video number one and video number two, and I want you to put them together by using a cross, dissolve or put them together by using a band. Dissolve. Then, when you get to this point, do something else and do something else. So basically, the photographers like jasmine mash ins that makes those beautiful templates. She makes her own templates in Pro Show producer. Then she's able to send those into Danny to get him. Process. What? She doesn't want to do it. Louis. My guy Louis. He knows pro show producer. He could make his own tax his own templates. He can process his own templates. Does he want to dio? No way, he says. I'd rather send it to Dan. It cost me nine bucks and setting him wrestling around for 45 minutes, Getting it all done. Sorry. 10 bucks on a $1 way. Get a discount. We get a 10% discount. Way would rather send them over there. And that's exactly where she should be working and working with with those type of machines. Now you can do templates with things like Premiered with Final Cut, but it's really not the same. Something like Pro Show producer isn't is a really great way to go really Well, we picked it because the learning curve is a lot lower than it is on premiere or final cut at, but the tool is a very powerful way. We're hoping a lot of people would participate in the process, but that so that was a big reason Pick two. Plus, they do support us in many ways because we did ask pro shipping to pursue that if we were gonna if we were gonna jump into this full blast that we like to use Pro Show Web, their Web version in order to make small slide shows, which we can then export and weaken, then put them into other video products. So would we have a Siris of five or six photos, for instance, that need to dissolve from one to the next. We use pro show Web toe, upload the photos to their then they make all the dissolves. Then they download him. We download from there, and we put that into whatever piece that we're adding any ending into. And when we talk to the folks at Pro Show, we told them we said, Look, we got this really smart guys, not too far away from you. He's got a, really is that he's got a really great idea. He wants to help photographers learn how toe auto edit. Dan's whole mission in life was to teach himself Adobe Premiere, which is beautiful Final cut pro, which is terrific. And then say to photographers, You don't have to do this if you don't want to. If you want to do it, go right ahead. If not, how about I build you an automated system? Or as long as you use the templates that I show you or make your own templates that you want Teoh, you can send them into me and al convertible for you. And when he showed me what he could do with that, that's when I said you got the right idea, son. I'm right there with you. So I align myself with Dan. When I saw what his intentions were and his tensions weren't to make him a bazillion dollars, his intentions were to be able to go to photographers and say, Look, you're gonna need to make these pieces. You don't have to learn how to edit if you don't want to, if you go right ahead. But if you don't want to, don't just like a lab, right? We went to Pro Photo Labs years ago, even though I could have bought all the chemistry and a collar and larger and put all that stuff in my studio instead of sending my work to be W C, I could have printed all that stuff in my home. It would have been crazy, expensive, which it already is, Right? Well, you know, it's funny you remember of years ago when Edison told everybody that they could be their own little processing land. Everything that's going Teoh Angels, we're gonna sing and everything is gonna be nice. And I remember when people used to come to me and say again, you know, we really have enjoyed using you as your life. But, you know, we're gonna be on lap and I would always tell him, Hey, you know what, This great And it's six months when you pulling your hair out and you bullheaded I'll see you. And six months later they'd be back, and we're probably going to go down That same learning curve with photographers and making these needy products or video is think they're probably gonna learn that they don't make much money sitting in front of computer than they shooting, And But I just want to see people, uh, get into making any products where they used hybrid lab or not. You know that. That's great. I just like to see him do it because I think it's a really nice addition to the art. You know, that's a brilliant point that you just came up with their that I never thought of before. And that is that once upon a time, we were told that we were gonna lose labs and we were going to all have a jet printers in our studios. Wait. Gonna It is going to be cheaper and easier and faster. And we thought it was really great, and it didn't quite turn out that way. So that's and that's the way photographers are. It's a natural reaction. Well, I wonder, as hybrid photography becomes mawr popular, more common mean look, run Khyber Live are were on creative life, for goodness sakes. Well, that's gonna bring it out to hundreds if not hundreds of thousands of people that are going to get the idea that they're going to be able to sell an electronic product and e product that's gonna help them boost their sagging print sales. That, of course, the lab's want you to think that all that stuff is going to come back when the economy comes around and I know you're still a Philly with a lab, but I'm not asking you to say anything that's unusual. But I I love the idea that you're open to me doing it either way. I want to that if I want to go ahead and use final Cut that I have right hair, go ahead. If I want to use your service, go right ahead, see which one I want to use more. Well, here's the rial. Here's the real thing, Will and I've been the end of imaging business a long time, and I've never, ever, ever seen a panacea for anything. There's never 1 to 0. R one system or one way I do. Anything ever will fit every situation, and I certainly can. You know, I just want people to go out and try this because I think it's what their customers and I think if people really start to look at it and see what the potential is, and we're just kind of the beginning of it, yeah, I think that really kind of spark their imagination. It did mine, and I think a lot of fun with it. Well, 11 thing here that we're gonna once we wrap up on our this this portion here is all about pre processing and how how to do things the smart way, right? Shooting smarter instead of shooting harder is the the ideal settings in order for us to take advantage of ah, service like yours. I know you don't process in 11. 80 HD video. You process in 7 20 Correct? Yes. OK, so when I send you an 11 a 10. 80 hp video, what do you do with it? Well, on the delivery platform. Yeah. It's actually gonna be made in tow. Six different file formats Now it might be seven. I can't remember the last time I checked, but it's actually gonna be made into several formats in several different resolutions for different devices, IPhones and android phones. And I add Yeah, it stops. You mean trying? No, no, I'm sorry, man. I asked the wrong question. What about for hybrid lab? Say, I want you to know I want I want you to make me a template. Say, I've got a pocket portrait like that one of sky that we did earlier today. Say, I got a pocket portrait. I know that you're set up for 7 20 HD. That's the number that you've picked when I send you source files. T produce that in. But they're 11. 11. 80 h d. Do you do you downsize those before you put him into your system? Or do you just process? It doesn't render side way import your original file and then we as we render resize down. Okay, Okay, so it's all done in the middle of the process. So if I send you some video that I shoot at, say, 11 11. 80 HD and then I send you another one that's at 7 20 in that senate to you to make in the same piece. Is it gonna matter? No. Now, now, boy, that's nice. All right, we've got another question earlier today about four K. What are we going to do about two K and four K and be polite? Well, I were case I saw CS and wow, it's it's pretty amazing, but I think a it's gonna take all right or working televisions to actually disseminate and and your expensive. And I think it's cute. It's nice, but honestly, I don't have a huge opinion on it, right, so you don't have any plans at all to take hybrid lab and move it into two K or four K? Why? Because most of what we're talking about is getting display. I mean, let's be honest, most of this is on IPhone. I had, uh, android tablets, and that's not four K C mobile devices coming out for That's right. Yeah. So, like I said, the four K TVs airport, but around four K devices, and I don't think so if we don't have any four kids devices and what does it matter? Uh, right now, I just don't think it's a factor, But, honestly, don't you know I've been wrong born okay? Yeah, Dan, you said so when it comes to pre processing your your advice to photographers is in order to have the nicest, highest quality, most profitable product that goes through your system, right? Say, for instance, I'm out subscriber to both sides of your system, which means I hire you to do my auto editing for me. I take the templates that you tell me will work in your system. I fill them up with photo and video and audio and whatever text needs to be put into them, I send them to you. You receive them, you magically make him with your belittle cast a little wizard, you leper cons, whatever you got that they turn into that piece of video and then you say, Hey, will, what would you like to do with this? And I'd say, Dan, please do me to do things. Put it on my Zen folio account, which I like for you to dio. Then also make sure it goes on to my my e card dot com My Sorry, my e card got pro account. Okay, so when that's part of my daily workflow, just give me an idea. What does that cost me to do that? Well, process single video is gonna cost You said earlier and 10 bucks a star is my card a pro? It cost depends. It is by fact, you by a certain number of uploads, but you get a certain number of upload spots for the year and more You buy the cheaper it is a matter of fact. At some point, when you buy at the $300 level, you're down and you will lose 1000 cards down toe. Three cents Sense that the average user starting out eyes probably gonna make most people started 20 or so. They get some samples up in a couple of customers that runs about $ so but it drops pretty fast, as if you're looking at this as a business. Small? Yes, sir. Don't bother looking at 20. Let's get started with eventually lets the extent of your business model. Okay, well, that is not gonna work. But as soon as you Soon as you get past 20 it really starts to drop really fast. So actually, it is lowest three cents a car. That's right. That's right. Okay, I love it. I love the way it works. Very, very excited that you're doing there. Is there anything new that we need to know about before we say goodbye? Uh, we just didn't put it because of you that are already current customers. We just put it in a button and a custom called the action, and you can change the color of the button and change the text color so it sticks out. Wow. Did we have any questions from you guys in the studio audience? I know people have are curious to know, as you just mentioned about the templates and any any upcoming changes. Warren Dan, when will be seeing any new templates? The sky template that you saw this morning for the kids That will be up on the day. It might be this evening. It's tomorrow. Don't be really. And then what do you think? How many temples for months you're gonna be having on your normal upload next? Not that. Look for three. Yeah. Straight. In the worst way. Try to make these things like a real product. So we don't throw up a bunch every bond way. Try to make a product that we think somebody didn't concern itself. You are you you You are the best guy when it comes to under under promising and over delivering. That's right. That's what you do. All right. All right. Thanks. Last questions. Wait, there's more. We just wanted to give film a big shout out who is from F F s creative in the UK who wants to say thank you has been in the chat rooms this whole time and is a huge supporter and fan and very appreciative of everything that you're doing. Dan so wanted to give a shout out there. Thank you. I say a lot of Philip two. He's actually, uh, he started using our products in the UK, and it's been an earlier doctor, and thanks. Very cool. And once again, if you can let us know where everybody can find you, follow you on social media, all your good links and everything. Let us know everyone confined. You, uh, Facebook is facebook slash my car Rome. I don't have a Twitter account. I don't have anything that interesting to say. You know, I don't Tweet. Tweet? Yeah. No. Okay. You can contact me at info at my card number. There you go. Well, thank you so much. Damn. It was a pleasure to have you and thank you for that conversation. And Dan has been I think everyone has seen them dance. Been in the chat rooms. So he's answering folks questions in those chat rooms. It's well, terrific. Will probably be there tomorrow as well. Teoh. Okay,