Our Clients

We travel frequently in and around Texas, as well as needed nationally.

Today, our clients stretch from the city of Los Angeles to New York state. Our actual resume of clients and venues includes retailers and wholesalers like JCPenney; bankers; insurance companies like Homeland HealthCare and their clients AWA and the City of Dallas; marketing companies like Texas Law Marketing and ProSolutions Group; manufacturers like Col-Met and Flextronics; noted World Painter Lap Ngo; universities like Southwestern Adventist, the University of Texas at Arlington (Fine Arts Dept) and Jacksonville College; electronic tolling companies like ETAN Industries; OSHA compliance trainers like Worksafe and Safety Source; pharmaceutical companies, homebuilders, marketing agencies like CGI Communications; real estate businesses like ReMax; construction companies; wellness firms; assisted-living communities; festivals like the Forney Arts Festival and the Woodstock Celebration at FireWheel; telecommunication contract service providers; credit unions like Neighborhood Credit Union; accounting firms; public and private schools like the Duncanville, Boyd, Canton, Decatur and Greenville ISD's; medical industry service providers like Hunt Regional Medical Center; oil field drillers; non-profits; small business owners; authors like Kristie Smith and David Blewett of 'The Pony Trap'; advertising agencies like Build Buzz Launch and Johnson & Sekin; internet service providers; conferencing companies; food service designers; paralegal firms; radiologists; dentists like Seagoville Dental;  pool builders; sports marketers; corporate event planners, pharmacies, national speakers like Marsha Petrie Sue and Kristin Kaufman; broadcast producers, illusionists like David Hira and Daryl Sprout; former college football All-Americans like Rickey Dixon and Super Bowl XXVI winner Eric Williams; publishers like Adriel Publishing; actresses like Ellen Fox of "Rotten Tomatoes!"; hypnotists, doctors like Dr. Kyle Smith from Lafayette; charity leagues like the NCL of Rockwall; state and local agencies; home health care providers - and more!

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Friday
Mar132015

A Speaking Rhythm - do you know yours?

Here's a concept for you to consider if you, or someone you know, is dying in front of their audience. It's what I've learned on my job.

Your ‪#‎Speaking‬ Rhythm is the cycle rate of your delivery and rest. Without the rest, you're out of rhythm. No rest = no audience connection.

An example of this is when you're in the audience and the speaker is going 100 miles an hour. The words, meaning, thought and emotion are only blowing one way - to you in the audience. There's no room (rest) for you to give any of it back to the speaker, there's no time for meaningful interpretation by you- the result is you don't "feel" anything, connection wise.

The other side is when the audience is doing all the pushing, with little or no "love" back from the speaker. They're resting way too long.

You have to ask yourself ,if YOU'RE the speaker, "Am I giving pause, giving rest - so that the words I'm saying can mean something to the audience?"

Getting and staying in rhythm - and this rhythm can and should speed up and slow down - is very important in connecting.

 

Here's a fabulous example of being "in rhythm" - one of the best speakers and a member of the Speakers Hall of Fame.

 

 
Tuesday
Feb102015

Speakers, step into the Speaking Red Zone!

You can be an ordinary speaker, or you can stand out.

Making a lasting audience connection doesn't mean you stood on a stage, they listened, then clapped for you when you finished.

I know because I've been immersed and submerged into producing, shooting, editing, directing talent and speakers for over 30 years. I know what connects them to their audience - and I help them do it when asked.

You can't just stand on that stage and expect them to listen. It doesn't work that way.

One of the ways to connect in a BIG way, is to step into the Speaking Red Zone. It's where you can score! It's that area between the stage and the back reaches of an audience, a place where for some reason, most speakers are afraid to go.

It's like they're afriad there's a trap door out there somewhere - one step,  and they think they'll be gone forever. Well, I know the real reason they don't do it. It's that they've been taught not to.

A speaker that wants to connect puts the focus on THEM (the audience) and not themselves. A speaker that wants to connect should be DIVING into that Red Zone. It's closeness, it's power and it's 2-way love.

There is no line, no wall that separates a speaker from the audience. Get into that Zone - and when you do, commit to pulling in every single person in that audience.

Rob "Waldo" Waldman is a member of the Speakers Hall of Fame and understands about commiting - about getting and staying in that Red Zone with his audience. Here's a clip from his YouTube channel - a clip I shot of him here in the Dallas area that should prove to you that what you've been taught is wrong. It's OK to walk past them if you're continuing to engage with them - as long as you're in their ZONE.

Do this as well - I want you to pay attention to the little things in this clip that help solidify the connections he's making. Look for the physical connection Rob makes. The handshake. There's humor. The language he uses - words like "passion" - emotional evocative language, words that mean something personally, like "dad" and "children", "love", "kids" and more. Listen to the visualization techniques. Also, the short and strong sentence construction is important because it makes for an easy and fast focus for the audience.

He does all of that, in the Speaking Red Zone, in a very short amount of time. It's a wonderful confluence of connecting techniques.

Here's the clip.

Wednesday
Feb042015

What a pro looks for on a simple, single camera shoot

So really, how "hard" is it to do a video shoot - just one person - interview style?

The answer is . . .  that it depends on who's shooting it.

You could ask the same type of question to a doctor on a visit. How hard is it to give a shot to a sick patient? Well, it's not hard, but I'm pretty darn sure you'd want a doctor that's done it many times before, AND knows what he's doing. Right?

It just makes good sense to go with a video professional that's been there and done that as well. The alternative is wasted time and money. I don't like to waste my time and my money. You don't either, I'm sure.

So I thought it would be educational for all, to go down my mental checklist of preparing for a normal single person, interview style shoot, in an interior location. You could title this, "What a pro looks for on a simple, single camera shoot." Clever, huh?

Here's my "real-life" list of (6) "what's running through my head" bullet points -  as I'm walking into that room.

1. I'm looking at the walls - what's on the walls, as well as the colors. I want rich colors and textures as well as interesting angles and lines. That would be ideal.

2. I'm looking for a room with some length to it, so I can bring depth into the shot. I want my interviewee to NOT be up against a wall. I want them to be the focus. In fact, I might shoot them with a narrow depth of field, so I can actually throw what's behind them out of focus. I can only do that in a room with some space.

3. I'm listening. Is there an air conditioner running? Traffic noise? People noise? Phones? If so, I might try searching out a quieter room.

4. What are my challenges with lighting? Is there some natural light spilling in from the windows? If so, I love that. Is all my available lighting coming from above? If so, I'll want to introduce at least a few of my own lighting instruments to give the interviewee a more realistic look.

5. What am I supposed to feel when I watch this interview after delivery? Is it a corporate, straight up piece? Or is supposed to have some warm and fuzzy moments? Depending on the answer, I'll need to decide on the camera set to go with. Sharpness, saturation - by adjusting these in camera I can help set the mood of the interview for the viewer. Shooting indoors means that I go through a different set of options, vs shooting outdoors.

6. What's my audio preference? Do I go with a lavalier microphone or do I go with a boom? And if it's a lavalier microphone, should I hardwire or go wireless? The answer for me usually is dictated by how wide my shot will be and if I have an audio assist in the room or not. Booming means I almost have to go with another checklist in my head during the shoot - watching and listening differently than if I go with a lavalier microphone.

So, what do you think?
This hopefully gives you an idea what the pros are thinking before they begin recording and after the initial client meeting. A great video shot doesn't happen by accident. It's usually when preparation meets creativity.

Make sure you work with a video professional that's willing to do both - to prepare and to create. I can't imagine NOT preparing before a job. First of all, it's disrespectful of the client's time, as well as a disservice to them.

The goal is to walk out of every scheduled shoot not being able to wait to review the footage - because you know you just did something fantastic.

Thursday
Jan222015

The Geometry of Taking an Interesting Picture

So how do you take what really is just an innate approach to taking pictures, and explain that in a visual way. All without making it too complicated or pompous sounding?

Well, I'm not sure if this little picture does it or not, but take a look and see if it works for you. I appreciate all the follows on Twitter - happy to help when I can!  @LegendMediaPros

The Geometry of Taking an Interesting Picture