Mia Fileman 0:05
Life's too short for crap marketing. The Got Marketing Podcast is for marketers, business owners and entrepreneurs who want marketing that's fun, accessible and meaningful. Join me, Mia Fileman for inspired chats with my favorite marketing insiders about marketing that works, campaigns that inspire, and the fads, fakery and false prophets to avoid.
Mia Fileman 0:32
Welcome to a really special episode of the Got Marketing podcast, which is being recorded and filmed in a production studio. Since I've got your attention, I just want to remind you to hit that subscribe button and keep the good marketing rolling.
Mia Fileman 0:46
Today, we are talking about how to work with a production team for your campaigns. And so I'm here with Tiffany Manzie, who is the chief executive and producer at Global Headquarters. Thank you so much for hosting me today.
Tiffany Manzie 0:59
Oh, welcome. It's all very serious, isn't it?
Mia Fileman 1:03
So fancy! From my home office to like this whole set.
Tiffany Manzie 1:08
What you can do with the studio?
Mia Fileman 1:09
Yeah, absolutely. Okay, so I was really excited about this episode today, because a lot of our listeners are planning campaigns. And it's always that sort of difficult thing, working with a production team, if you've never done it before. They speak a different language. It's a whole other list of jargon and vocabulary that you need to learn. So I guess what I'd love to start today is busting some myths about your industry and working with a production team.
Tiffany Manzie 1:41
Well, yes, that's exactly right. There are so many myths out there. And the big one is, is that it is difficult, and it's a different language, it is the job of the production company, to be able to speak in a way that really works for you, and that you understand what we can do to help you with your messaging. There are so many myths, we get people that will ring and say, I need you to come and film something, it's just gonna take 10 minutes, it's all we need as a 10 minute shoot. Nothing is 10 minutes, it takes an hour to get kit organized and ready. It takes travel time to get where we're going, then we have to film it. But what about the pre production? That's a big one that everybody forgets about. Pre production is possibly the most vital part of the whole of the whole game.
Tiffany Manzie 2:26
There are myths around how many people need to be on set. What is a set? Where are we doing this? My favorite one is wardrobe. And people: Oh yes, I know that I can't have this pattern, because it's going to strobe and this color. It's really quite cute. The different things that people come up with. So there's so many myths, and it's very much. Obviously our industry is kind of influenced from Hollywood, right and movies. So people are kind of educating themselves, obviously, from what they're watching in the movies or what they're seeing in media, they're taking that on board as to what what happens with a production. But often, it can be a little bit different.
Mia Fileman 3:06
Yeah, sure. One of the myths that I've heard recently is that you can't shoot a social media video, so portrait, with a professional camera, and I had to have a little chuckle at that, so what say you?
Tiffany Manzie 3:20
It's so cute, isn't it? And maybe they think that we can, but we turn the camera sideways?
Tiffany Manzie 3:26
We've had all of those. No, that's not how it works. So we work in a in an aspect ratio, we call it which is the rectangle, which is 16:9. And in that our camera operators are completely trained, and it's their craft and their skill to work within the thirds. And when they're trained, they're actually thirds on the screen. So what 9:16 is, is social media, it's that vertical rectangle. What they do is that they just make sure the primary activity of what's happening in that scene is actually in that middle third. They've been doing that since the 100 years of television and film have been working within their thirds of the screen. That's all it is, is just making sure they're focusing that the primary is in the middle third of that screen.
Mia Fileman 4:23
Right. So you don't take the camera with masking tape to turn it sideways?
Tiffany Manzie 4:28
No. But if you are on site, if we're on shoot, and we have a director's monitor, certainly what we do is we put up we have grid marks that come on the monitor to show you exactly where that middle third is so that you can actually see what's being filmed and really get a good idea of what is actually going to be in that middle third.
Mia Fileman 4:52
Yeah, right. Okay, great. So, Global Headquarters, you're the leading video production company here in the Northern Territory. So what is your sort of scope of work? Like, what kind of projects do you do here? Because it's, it's quite broad. Right?
Tiffany Manzie 5:07
Exactly. And that's why we came up with the name Global Headquarters. Because we are remote. We're in Darwin in the Northern Territory, but we work our clients range from right across Australia, over to the UK, we do a lot of work in America, for American production companies. And we also obviously have our client base here in the Territory. We are a boutique production company in that we have that high end broadcast quality equipment and skilled staff to be able to do the high end work that comes our way.
Tiffany Manzie 5:42
We used to live in Sydney and my husband was a camera operator in Sydney, and we decided that we were going to move to the Territory, because it became very obvious to us that we didn't need to be on the Eastern Seaboard to actually stay in our industry and work in our industry. So we are, Global Headquarters is very adept at working remotely. We've got all the skills and tricks up our sleeve for working in what is an incredible environment, but a very harsh wash to work in. And it also means that all of our clients in the territory are getting top notch high end production, quality value, but not having to go to the eastern seaboard to actually access that.
Mia Fileman 6:29
When you say high end production, what does that mean? Does that mean like TV shows? Or does that mean like television campaigns? Like what what is the definition of high end?
Tiffany Manzie 6:42
Well, in a small market like this, we do cover the full gambit. So right from, we do live crosses for news, so anything that you see on Sunrise or on SBS or NITV, or any of those networks, or 10, that's coming from us if it's in the northern region of Australia, we're doing that. We also do corporate video type activities for people. We do TVCs, the brand television commercials, we tend to try to stay into a very full campaign type of TVC environment. And we're doing a lot of digital content work as well, because that's where the market is asking for a lot of that. So that so we work in that space.
Tiffany Manzie 7:27
We also do a lot of documentary editing, post production and filming in drama and documentaries, mainly for commissioned work. So production houses that are coming to us to get us to film and do post on there work for them.
Mia Fileman 7:45
Yeah. And that's how we got to working together. We started collaborating on government campaigns, and I was doing the campaign concepting and the creative and then global headquarters were brought in to do the production. And so we've actually been working together now I've thought about this coming into today for eight years. Yeah, and I still don't know half of what you're talking about. It's good to educate myself in this process as well.
Mia Fileman 8:12
So you mentioned earlier pre production. And I definitely it's definitely something that I say that we follow the 80/20 rule of pre production to production. But if you could take me through the different stages of production, that would be really helpful. What happens in pre production, what happens in production, and then post production?
Tiffany Manzie 8:32
You're absolutely right, 80% of the whole job is pre production. And that's how you actually have a brilliant shoot. So it all comes down to pre production where the very first questions are, who's your audience, and what are we telling them? What do you want them to know from what we're filming? In pre production, we're looking at things like treatment, how you would like it to look the end product to look. How we're going to film that for you so that it looks the way you want it to be. We're going to look at do you want talent, you know, like actors? Or is it yourself or maybe a client? Or who are we going to put in this piece that we're filming for you?
Tiffany Manzie 9:15
We get down to scripting now that might not necessarily be say it's a testimonial from one of your clients that you want to go in there, we kind of have what we call ghost script. So we know the golden points that you want them to hit. And so we can get that out of them when we go to film them. Right down to the scripting and then even into the graphics and animation. So what's what look do you want to have? What's your style guide? How are we going to incorporate that into the piece what what elements are we going to put into into what we're doing? And then it's down to what cameras that we're using? How long is this shoot going to take? What kind of music are we going to put with this? We the whole the whole gambit is planned for and thought about before we even take a step to going on set.
Mia Fileman 10:03
Yeah, like this, there is that misconception that the video production team just rock up and and just start filming, and then it's all on the client or the customer to do all that pre production work. But what people I guess don't know is that you are the creatives. Like, this is a creative field, right?
Tiffany Manzie 10:21
Yeah, I think I, I have this thing that I always say. My client has a language, a corporate language, they've got their corporate intelligence that they're bringing to the party. It's my job to learn that, to be able to get the message out using their corporate language and their understanding. It's not for my client to have to learn my language, and what we're doing we are we've got the tools and the skills to be able to, to, to create what we need to do to get that language across, so that what is going out is not something that the client should feel very intimately like, this is something that is absolutely me. This is absolutely what I'm wanting to say about my business. This is exactly what we as a company are all about, and feel an incredible amount of pride with whatever it is that we've made. Not necessarily feel one step away from it. No, oh, that looks nice, kind of says what I wanted to say.
Mia Fileman 11:25
So your job is to translate their vision not to impose your vision on them?
Tiffany Manzie 11:31
100%. And look, often people will come to us and say great idea.
Mia Fileman 11:43
Okay, yeah.
Tiffany Manzie 11:44
They do. And that's fair enough, because they've seen something and thought, this is really going to work for me.
Tiffany Manzie 11:51
We go to how many times we go to hair salons and say to the stylist, I want that. And it's their jobs, they want different shape face different, you know, and it's our job to say that's so cool. That is a great treatment. And we can work within that treatment. But how about we do this? Or can I give you an example of like this, and just molding everything, again, understanding their corporate intelligence and knowledge and language to make sure we're getting back out exactly what's tailor made for them?
Mia Fileman 12:21
And that's all in pre production, as you said. Exactly. And what if the client doesn't have a vision, they just have a set of objectives. And it's like, look, it's our 60th birthday. And we need to get the message out there. And we need to sell some insurance. But you know, they're not creative, and they don't know how to bring that to life. Is that Is that something that you do as well?
Tiffany Manzie 12:45
That's our super favorite client. Because what that enables us to do is come up with some ideas, never one, usually about three ideas and say, What do you think about these? And this is why we could shoot something like this or put it together like that? What do you think of that? And it's really, it's a very much a two way street. Not that they have to understand what we do, but they can give us feedback. Like, I hate that I never want to see that kind of thing. Or they can say oh no, with our company, we prefer to have dada. So we can then move it along. But it's there our favorite kind of client, because that gives us the creative license to be able to present ideas to them, for them to give us feedback on
Mia Fileman 13:28
Yeah, same. Absolutely, for sure. So for people who may not have had experience working with the production team or thinking about doing it for the next campaign, what would you say are some of the best ways to work with a production team like yours?
Tiffany Manzie 13:42
It really is about having an initial meeting, and talking it through know your budget, and have that initial conversation. And it's it can be daunting, of course anything where you're not kind of in that wheelhouse. It's really daunting to try and step into it right? But have that first meeting and chat about what it is you're wanting or sometimes a lot of clients don't really know if they want a 60 second a 30 second or a 15 Second, do I want it to go on TikTok? Do I want it to go on socials? A lot of the time, the decision is still not there. But I know I need to communicate and video and I know this is what I want to communicate through video. So it's about having that meeting and just talk through that your production company is going to sit down and say oh, okay, so who are you trying to talk to? What messaging are you trying to get out? What's the plumb line, you know, what's the real message that you want to get out? And if they've been working with someone's like yourself, they'll have an idea of where, where they want things to go. And then you can start to develop what we call devices. They end up getting out of the project.
Tiffany Manzie 14:56
And I think one of the key things to think about is that you might get one thing made, but you've got all of this footage that has been filmed. So that's all your asset. So you're investing in your own business, with visual assets that you've got. So you could turn that around and say you made a 30 second TVC, for television, for free to air television, you could turn around and in a month's time, say, look, I want to make a 15 second social for Instagram. And that can be cut down. And that can be you can use that footage to change it. So it's not always about big heavy production, pre production going into post. So you can you can start to use once you build up that visual Asset Library, you've got, you've got a lot of lock it in your back pocket that you can play with.
Mia Fileman 15:42
I'm so glad you said that, because that's definitely where, you know, each entrepreneur has their quirks about where they spend money. And some people are like, you know, they love to spend money on fancy tech, or they like to have their own, you know, cool apps and subscriptions, my 100% on campaign videos. Like I my first campaign was 15 grand, second one was five grand, and the last one was $1,200. But like, that's a lot of money for a small business, you know, to invest, but those campaigns have built my brand. Like we still have people coming to us who have seen The Gurus We Deserve for the first time and being like, Oh, my God was that was a you. And i'm like yep, that's us. So I love that you said that it is an investment. And that is an asset in your business when it's done properly, right. Can you answer a big question for me, which I've sort of been a little bit embarrassed to ask, but why there's so many people on a production set? Like what do they all do?
Tiffany Manzie 16:40
Looks pretty dramatic, doesn't it?
Tiffany Manzie 16:43
Look, it's, um, it varies. And there is our industry has been around for just over 100 years, right. And it was very structured. And obviously, it's based around film. So there are a lot of traditional roles that are filled. And it does, it's because there are a lot of different buttons to push cameras to hold lights to fix all of that kind of someone to make sure there's continuity, all of that type of thing. One set of eyes can't do it all. So yeah,
Tiffany Manzie 17:17
You start with your director or producer, and that that title swivels depends on what it is, if it's a television commercial there until they're a producer, if it's a documentary, they're a director, it changes we've got creative directors might be there where you've engaged an agency, and they come and make sure that the scene is exactly just so.
Tiffany Manzie 17:40
Then you have your crew and your crew are your camera operators or your directors of photography. And they often will have a camera assistant, you may have a sound tech or a sound recordist on set, that person is there too. And usually it's because they're using an external mixer. So they're recording lots of different audio from different people and recording it and mixing it. So each line, each person has their own line of recording. You have then you've got your camera assistants. As I say you've got an assistant producer who may be around who's making sure you might have a lot of talent coming at different times. Or you might be going to lots of different locations where that assistant producer will ring them and say we're coming in 10 minutes or we're running late. They organize where lunch is so that you because time is money, right? So they make sure catering is where it needs to be, when it needs to be. All of these roles tend to be on your bigger, chunkier productions. So there are a lot of people that are on set, but they all have pretty important jobs to do.
Mia Fileman 18:46
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Mia Fileman 19:34
I think it's because there's no do over right? You go to so much trouble to plan the shoot and you've got the location, you've got the talent. You've got everyone in the same room. You can't be like, Oh, well, we've forgotten a cable. And so we're just going to have to postpone this and do it again tomorrow. Like that's not how it works. So there's no do overs. You have to make sure that absolutely everything is present and accounted for and that everything is happening because yeah, you can't just do it again tomorrow.
Tiffany Manzie 20:08
Exactly. Well, you can do it again tomorrow, but it's going to cost you exactly the same amount of money as it cost you for today. And that's the thing, it can be an expensive waste of time. So it's, it's, it's really eliminating every element thing that could go wrong. You try to eliminate and cater for that so that everything goes right. It could be we could be filming. And it's happened with a shoot for you, where we're filming outside. And the lawnmowers going.
Mia Fileman 20:33
Yeah, that's right. That's a good story. We should talk about that about how we shot Make Marketing Great Again, together down in Darwin City. And it's very close to the Navy base at Larrakia. And we just couldn't get the microphone packs to work. And it was we've figured out that it was probably because the Navy was scrambling the microphones.
Tiffany Manzie 20:54
And who woulda thunk it? Right? Like you can plan for everything. And then stuff still happens. And then the lawnmower, the ride on lawnmower in the park lands?
Mia Fileman 21:03
Yeah, that's right.
Tiffany Manzie 21:05
That's the sort of stuff that will happen. But our production crew are the people that have no qualms with politely going over to the council guy, right on the mower saying, could you just stop for a while? While your average bear would never dream of telling somebody to be quiet when they're doing the job. But we will do that just because yeah, it's it's expensive to do it all again.
Mia Fileman 21:25
Yeah, totally. It might one of my favorite photos from that shoot was we had big campaign posters with a stick that you would put into the ground, and there's a photo of you, and you've grabbed something out of the kit, and you're hammering it down into the grass. And I'm just like, she's taking out some frustration
Mia Fileman 21:45
Amazing. So your industry is changing completely, like, as we've spoken about, it's gone from television commercials, which, you know, nowhere near as many brands. I actually saw a really good stat that says that 56% of all marketing budgets are now being spent in digital. And so that's, digital advertising, but also predominantly, social media is the number one part of that budget. So it used to be completely the other way around where you know, 70% of budgets were spent on offline, you know, television commercials, Billboards, radio, and now it's completely shifted. So what does that mean for you? And what other shifts are you seeing in your industry? And how are you as, as a production company adapting to that?
Mia Fileman 22:38
Yes, our industry is changing constantly, right down to the cameras. I mean, we're refreshing cameras constantly because of that. But mainly the digital space, and the content generation for the digital space, is very much a huge shift. We all know that that's the case. It's really important. There is a layover of what what is happening as far as socials and digital content. Corporates like hero videos and things that are going being sent in EDMS and all kinds of there's so many different ways content is being used. So the the aim of the game is to make sure that we're keeping on top of what is relevant content and what is comfortable for the audience that are watching what you want to say.
Tiffany Manzie 23:32
We've just talked about all of the roles that happen on a big chunky film shoot, well, now there's a need to be adaptable. And very much people are wanting to have that relatable in situ type of videos being made as well. So we, for example, and it actually was born out of COVID When all companies started to hibernate, we came up with a product called digital motion. And the reason digital motion came about was because I was dying inside that these incredible companies that we had worked for all went into hibernation, and to stay relevant and to stay in the minds of their customers. They were making their own videos with terrible audio and posting that out there. So what we did was we came up with digital motion, which is a very efficient one camera operator, you are actually the director, you work out your own content. And you get a professional broadcast camera and a professional skilled DOP out to you and you film what needs to be filmed. It's audio is great, because audio is everything with video. I know that sounds strange, but it really is. So get that done. And then we can turn it around within a 48 hour period. And you can have it back so that you can pop it on socials or wherever you want. We can even do it in all of the different aspect ratios that you might need for all of the different places that you want to put it.
Mia Fileman 25:00
Asking for a friend, how much would that sort of set someone back?
Tiffany Manzie 25:04
Starts at $2000.
Mia Fileman 25:05
Oh my god, that's amazing.
Tiffany Manzie 25:08
Right? Two hours, they're out there with you. And not only that, remember, you've got some video vision content there, you've got asset already. So you might even be able to later just add another digital motion on to that. But you can create four or five different things throughout the year. So that content generation and being logical and how that works for the client is something that's an example of a product that we make available. So they don't feel like they have to shoot it on their phone, and then spend hours. I have so many clients who say, the cold sweat of 15 hours of trying to edit this thing together? It's not my wheelhouse, while you know, that we take that all the way.
Mia Fileman 25:51
Yeah, I think that's such a clever product in response to the just the demand of video content that you have. Now I heard something really clever being said, which is that if content is king, video is the master of the universe, like that is the world that we're living in with TikTok and Instagram. But it is a hungry beast. Whereas back in the day, you could record a 30 second, television commercial, and then just flog that to death, you know, through whatever, you know, mash episodes and just play that same creative time after time. Now, you've got to come up with new content every single day for social media, and it's just so hungry. So this idea that you can, you know, go and get that bank of content and have it. Because like you said, people will put up with a lot, but they will not put up with shaky visuals and crappy audio.
Tiffany Manzie 26:44
Yeah, it's such a shame, because it just ruins the message.
Mia Fileman 26:49
Totally. And what about this, like what we're doing right now recording podcasts, not just as the audio but also as the video that's like, that's the biggest trend I've seen in 2023.
Tiffany Manzie 27:02
100%. And we have a studio here on site. And now Winnellie studios. So exactly that content gatherers can come in here and actually get set, they can put up whatever whatever set they want. And we can get it recorded.
Mia Fileman 27:18
Love the shameless plug!
Tiffany Manzie 27:21
Not even in the heat, I could go on.
Mia Fileman 27:25
Amazing. So we're getting close to wrapping up this episode. But there's a few things that I would love your help explaining, because I just have not been able to
Mia Fileman 27:37
Breaking the fourth wall. What is that? How do you explain that? And when should you use that?
Tiffany Manzie 27:42
How to explain it? So what happens is the audience is watching this. There's, again, treatments. So the audience is watching. And they're observing what we're doing. It's fly on the wall type of thing. But as soon as I go like this, and start talking at the audience, I've broken the fourth wall, all of a sudden the audience is going, Oh, right. And that's a deliberate technique. Sometimes it can be kind of cool to say don't pay attention. But that's what breaking the fourth wall is.
Mia Fileman 28:10
Right? So you're the audience is a spectator to the action. But then something happens and they turn and they address the audience, and then that sort of
Tiffany Manzie 28:20
Funky.
Mia Fileman 28:20
Funky, right?
Tiffany Manzie 28:23
Hey.
Mia Fileman 28:26
And so come to think of it. Do you know, who does that all the time? Is The Office.
Tiffany Manzie 28:33
Exactly
Mia Fileman 28:34
right. Right. Right. Right. Right. Okay. So it's that. So every time Jim turns to camera, and he rolls his eyes because of something that Steve Carell did, then yeah, that's okay. So that's breaking the fourth wall.
Tiffany Manzie 28:46
That can be, they use it as a relatability tool. So it's kind of like you and I've got a private thing going, she doesn't understand what's happening.
Mia Fileman 28:54
Right.
Tiffany Manzie 28:54
And that's where you can draw your audience in so many clever things you can do with.
Mia Fileman 28:58
Tell me more? Honestly, this is what like, this is what really like turns me on.
Tiffany Manzie 29:03
Do you know the angles angles is another one that's really fun. It's 101 when you go to Media School, but if you are shooting down and up, you are making somebody almost an authoritarian type of vibe. And then they're good, and they're authoritarian. If you shoot down on somebody that makes them more inferior, and just by positioning it it puts them in a lesser up position when you're interpreting that as an audience and when the front on so that all news all interviews, all everything. We're right on the eyeline so that there's that equality, there's that sense of. There's so many things you can play with. And I guess that comes down to the difference between self shooting things and having a qualified, skilled technician like a DOP and a producer on board to help you just with simple treatments like that work out exactly how you want something to work.
Mia Fileman 30:02
Yeah, totally. I remember with Make Marketing Great Again, we had like a wide shot that was like an establishing shot for context. Because otherwise, if you're really tight in on someone, you don't understand that what's going on around them. So we need to have that shot where you see, oh, okay, looks like there's a podium, and that someone's going to speak at the podium, and there's an audience and there's a microphone. So maybe this looks a little bit like a press interview. So it sets the scene. But then, during some of the, like, really emotional times of the speech, Simon, your DOP really like came right close, like, you could see my nasal hairs.
Mia Fileman 30:40
And it was like, because that, you know, that's where you can really see someone's eyes and the emotion and all of that adds to the Yeah, the the emotion and the story getting the story across. Right.
Tiffany Manzie 30:52
Exactly, exactly. And how, then the editors put that together with the perfect timing to make sure that it all makes sense.
Mia Fileman 30:58
Yeah. Okay, we haven't spoken about post production, actually.
Mia Fileman 31:03
Shout out to the editors. Yeah, so what happens then, okay, so we've, we've done 80% pre production, we've rocked up on the day, we've got all the kit, it's, you know, there's a million people on set all doing their things to make sure that we get exactly what we came for, then what happens.
Tiffany Manzie 31:20
So what happens then is all of the footage is brought back into the studio and processed and ingested. Then it's also checked to make sure there's no glitches or anythings wrong with it, then that goes into the edit suite. Now the producer or director will then have a meeting with the editors. And think of it like a handover almost where they sit with the script, or whatever, or the editors aren't new to the game at this stage. They've been involved in pre production. They've sat in all of those meetings and those those WIP meetings where we've talked about how should we shoot this, what do you think, and they've, they've given their two cents worth as to how they would like things to be filmed, or, or ways things can be said, because they're starting to get a vision of how they're going to cut it. So they actually start in pre production with us. Once it's with them, the director will sit in with them and have a meeting and a handover talk about what didn't quite go to plan on set, or a really good reason why they went in a different, slightly different way. Because there was an opportunistic moment in the environment that we shot it this way, because it was so much better. All of that kind of stuff gets handed over. And then the editor will start to put together an assembly version, which is usually version one now assembly versions. Clients can have heart attacks, because they the whole point of an assembly version is to put together the story and the audio, to make sure that that's the messaging. Things like color grading, things like making sure that cut is seamless. All of those types of things. That's money, edit time is money, again. So we sticky tape it all together for you, you have a look at it and say yeah, that's saying exactly what I want. And then we start the beautification process, the audio sweetening all of that kind of thing.
Tiffany Manzie 33:16
So we have a system in post production, which is offline online, offline is where we're pulling all of the pieces together. And you might say, No, I didn't, I don't want that statement in there, can you put this other statement in there. And so that's when all that happens. And then we go into audio sweetening, color, correcting all of that type of stuff. But you can be as involved as you want in that process. And we, we send versions to our clients so that they can have a look at it, they can literally click on a shot and put a comment in there if they want to. So that's very, it's a very two way street, you're still part of the process.
Mia Fileman 33:55
Yeah, I've used that. That's super handy. Because like, instead of having to go and like, move the little tweak li thing and be like, Oh, zero point 48 seconds, you can just click and then it just comes up with a comment and it timestamps that without you having to like, try to find that second to leave that comment. So how much editing for how much shooting? So if you have an if you want a 90 second output, how much footage do you need to get a 90 second output? Does that make sense?
Tiffany Manzie 34:26
Yeah, look at it depends, but, it's a half day, you know, it's certainly a few hours.
Mia Fileman 34:33
Yeah. Right. Yeah. So you don't shoot 90 seconds to get 90 seconds.
Tiffany Manzie 34:39
Well, you can if somebody is, you can if you've got an auto cue on a camera, and somebody's got a scripted piece of camera that they're doing, which is exactly 90 seconds, bada bing bada bang, yeah. And then we just put what we call overlay footage on top of that. But typically, if you're if you're creating a 90 second piece, then you will you'd need to shoot for a few hours to make sure that you get everything you need.
Tiffany Manzie 35:01
So we've just, we've just finished shooting a campaign for the storm season for Power and Water Corporation here in the territory. And that's a 30 second TVC. And we film from three o'clock in the afternoon until nine o'clock at night, as an example.
Mia Fileman 35:19
And I guess it all depends on how many moving parts, how many different locations talent that you have, and so forth.
Tiffany Manzie 35:24
Yes, that's what needs to be. Yeah. Yeah. A lot.
Mia Fileman 35:27
Yeah. All right. Final question. So you've been running Global Headquarters for over 20 years, you've got some stories about how the sausage is made. Because it doesn't always go to plan. Can you give us a story? You don't have to name names, but something that was just like, wow, like, we really pulled a rabbit out of a hat to get that shot?
Tiffany Manzie 35:48
Yeah, do you know and you were actually part of this one. We we were filming at the airport, for for a client and we were making a series of commercials. And the airport's a place where, you know, there's lots of rules. You can't kind of film the airlines, you can't do all of these different things.
Mia Fileman 36:07
No drone.
Tiffany Manzie 36:08
No drone. There's no, you know, you really can't be filming the general public collecting their luggage and things. There's privacy issues. So we were we were creating a scene at the baggage, the carousel, and we had sheduled four hours to be able to do this. We got told
Mia Fileman 36:31
I remember oh yes.
Tiffany Manzie 36:33
20 minutes into it. We were told that we had half an hour.
Mia Fileman 36:39
What a way to light a fire cracker under your derriere.
Tiffany Manzie 36:41
It's just, we all just looked at each other. And it's not that easy. Because you've got to have the timing of the bags coming around when the person picks it up when they walk away. Nightmare, let alone the camera operators and they're kind of in this movement with their cameras, and is that the choreography alone was enormous.
Mia Fileman 37:03
So true. I remember that because we had extras. And the extras did realize, they forgot that they were being filmed. So then they started doing things I'm like, Excuse me. Could you stop doing that? We're currently trying to film this thing. like just Yes, so true. And then to add to that, the client had their television commercial on one of the digital displays at the airport, but it was on a timer that it was only coming up every three minutes or something.
Tiffany Manzie 37:31
Yeah.
Mia Fileman 37:32
And so we needed to get the audio in time to see the video, the visual the filming in time with the clients television commercial in the eye anyway, it was it was a symphony of Yeah. Oh, yeah.
Tiffany Manzie 37:45
That's an example of how weeks and weeks and weeks and weeks of pre production, weeks of meetings at the airport. And then on the day, it was just you've got half an hour.
Mia Fileman 37:56
Yeah, right. Yeah, but we got it done.
Tiffany Manzie 37:58
We got it done.
Mia Fileman 37:58
Well, you got it done. I don't know why I'm taking credit for this, but.
Tiffany Manzie 38:01
You're madly running around with suitcases.
Mia Fileman 38:05
I did all the heavy lifting.
Mia Fileman 38:08
Amazing. That was such a pleasure to chat to you. Tiffany. Thank you so much for hosting us. And yes, if anyone wants to come and record their podcast or their video, this is such a sweet space, such as sweet studio in Winnellie. So thank you once again. Thanks. It was fun.
Mia Fileman 38:24
Thank you. You listened right up until the end. So why not hit that subscribe button and keep the good marketing rolling. Podcast reviews are like warm hugs. And you're also the best way to support a small business. You can connect with me via Feilden on Instagram or LinkedIn and feel free to send me a message. I'm super friendly.
