Follow Along

Episode 10

Vlog #10: Latest Shoots, Collaborations, and Gear Adventures

Hello, hello, and welcome to Vlog #10!

This past week was a whirlwind of different shoots and projects, and next week looks like more of the same. With so many overlapping commitments—weddings, music videos, and ongoing client work—I thought it best to highlight a few key experiences from the past week or so. Let’s dive right in!

Landscaping Company Shoot (Day Three)

I recently wrapped up my third filming day with a landscaping company. To recap how we structured this project: they booked three shoot days that included the cost of bringing a second shooter (plus all the needed equipment) on two of those days. This was the second of the “full equipment/full crew” days, and I partnered again with my buddy Ben from Morrison Media.

Scheduling Logistics and Flexibility

One big lesson with this client has been rolling with the punches on scheduling. Weather is a huge factor for outdoor shoots, and even crew availability can change things last minute. While it can be frustrating to nail down dates, they’ve also shown a lot of flexibility to accommodate me—and I’ve done the same for them.

Handheld vs. Stabilizer Shots

I’ve been getting more comfortable shooting handheld, which I used to overlook. My “Trinity” stabilizer system is fantastic for smooth, dynamic moves, but I’m learning that each piece of equipment has its time and place. Rather than viewing my stabilizer as a “hammer” that turns every shot into a “nail,” I’m learning to pick and choose the right tool for the right moment.

The Value of a Second Shooter

Having Ben on set was a game-changer. Beyond splitting the workload and reducing stress, a second shooter can bring fresh ideas you might not have considered on your own. For example, he suggested we set up a tripod for static shots and interview a few of the crew members. It seemed obvious once he mentioned it, but it was great to have someone else looking at the situation with a different perspective.

We have one more big shoot day left for this landscaping project before I head into post-production, and I’m excited to see how it all comes together.

Planning a Symphony Shoot

Next up was a trip to Eau Claire to meet with the executive director of a local symphony, regarding an upcoming shoot in December. This meeting reminded me how important it is to invite open, direct communication with clients—especially if you’re a naturally agreeable person like I am.

Embracing Direct Conversation

Sometimes clients have very particular ideas that might initially come across as blunt. But by talking it through, you can figure out exactly why they want something done a certain way—or whether there’s a better alternative. For instance, I had some flashy ideas for transitions, but the director didn’t see them fitting the overall vision. Once she explained her perspective, it made perfect sense. There were no hard feelings; it was just a matter of open, honest discussion.

Gym Footage on a Trade Basis

On Wednesday, I filmed at a local gym in exchange for promotional considerations. While I’m not usually a fan of “free” work, this was structured more like a barter agreement: they’ll display a short promo of my company on their gym TVs for three months, and we’ll both cross-promote on social media.

Tips for Barter/Trade Projects

• Clear Terms: We agreed on specific deliverables (footage for their website and social media) and specific perks for my brand (promotional display and social media shoutouts).
• Keeping Your End of the Bargain: It’s crucial to follow through on promoting the content you create so both parties actually benefit from the arrangement.
• Equipment Advantage: I used my Trinity stabilizer for smooth, dynamic shots of gym equipment and interior pans. Sometimes, a vest-and-arm stabilizer beats handheld or a simpler gimbal, especially when doing sweeping interior footage.

I see this as an “entry point” for the gym owner to understand the value of video. If it performs well, they’ll have some proof-of-concept to invest in more robust video projects down the road.

ORA Trails Collaboration: Another Free(ish) Project

I also worked with ORA Trails—a local nonprofit dedicated to building and maintaining nature trails. They approached me about drone footage after I got my drone license, hoping I’d film their new park for free. In return, they promised to put me on their sponsor list, promote me on social media, and give me shout-outs at the park’s grand opening.

Balancing Free Work vs. Future Goals

While free work isn’t ideal—time is money, after all—ORA Trails upheld their end of the deal by plugging my business. I met valuable new contacts at the grand opening, which could translate into paid work down the line. However, I really missed having a second shooter for some of the critical shots (like golden-hour drone footage), reminding me that you get what you pay for: if they want complex coverage, that usually means covering the cost for more staff.

Looking Ahead: “At Cost” Projects

I’m inspired by creators like Mike Perez, who advocate doing projects “at cost” rather than purely for free. That means your expenses—like hiring extra shooters—get covered, even if your day rate is discounted. In the coming year, I plan to rely more on this approach to ensure I’m not burning myself out with free or underpaid work.

MPB.com Equipment Trade-In Experience

Finally, I wanted to share my experience with MPB.com, where I traded in some gear for two Panasonic Lumix S5 bodies. I sent them my Lumix S5IIX, a lens, and my Atomos Ninja monitor, among other items. The company ended up upgrading my gear’s condition (and thus the trade value) because I shipped them all the accessories and original boxes.

Highlights

• Fair Quotes: They gave me more than I expected for my used camera and accessories, which ended up covering most of the cost of the two S5 bodies.
• Quick Turnaround: The entire process—from shipping my gear to receiving the new cameras—took about a week.
• Shipping Costs: They do charge if you want expedited shipping, but they stuck to the promised delivery schedule.
• Transparent Process: They reassessed my items at a higher value after seeing I’d kept everything in top condition, which isn’t something every reseller does.

Overall, I’m thrilled with MPB’s service. I’m not sponsored by them, but I’d happily recommend them to anyone looking to buy, sell, or trade used camera equipment.

Final Thoughts

This vlog was packed with shoots, new deals, gear swaps, and important lessons about scheduling, client communication, and balancing free work with proper compensation. It’s been a busy stretch, but every project—large or small—continues to teach me something new about videography and running a production business.

If you found any of this helpful, or if you have tips and experiences of your own, please drop a comment below! The more we share, the better we can all become at our craft. Thanks so much for reading, and I’ll see you in the next vlog!

Episode 9

Vlog #9: Landscaping Projects, Multi-Camera Shoots & Trading Gear

Welcome back! It’s Vlog #9, and I’ve got a lot to share—from working with a second shooter on a landscaping project to testing out a gear trade-in service and narrowly avoiding a drone disaster. Let’s jump in.

1. Landscaping Client Shoot (Big Project, Multiple Sessions)

About Us Video + Social Media Clips

I’ve been collaborating with a landscaping company that wants an About Us video, plus extra footage for social media and their website. One of my favorite options to offer is a footage & clips package: after filming, I deliver the best highlights (fully color-graded, no audio) so the client has plenty of extra material to use however they like.

Three “Heavy” Shoot Days

This contract calls for three full-on shoot days, complete with:

1. Another Videographer: My friend Ben from Morrison Media joined me.
2. Full Gear: Lights, microphones, harness rigs, multiple cameras.

Working with someone of equal (or better) skill is a huge help. We can split tasks and ensure we’re capturing everything needed, without me juggling every moving piece alone.

2. Meeting the Second Shooter

Before we started, I grabbed breakfast with Ben to go over the shot list, talk gear, and let him test out my Lumix cameras (he’s a Sony shooter). We ended up talking more than prepping—oops—but it still went smoothly on shoot day. Having someone you can hand a task to, knowing they’ll crush it, is an incredible stress reliever.

3. Learning Curve: My Trinity System Mishap

I’ve been using a homemade “Trinity” stabilizer system, which usually impresses clients and yields super-smooth footage. But:

• Overweighted Rig: I recently reconfigured my cameras to allow for handheld use. I didn’t balance the rig correctly beforehand.
• Result: It felt unmanageable after just 15 minutes. I had to switch gears to handheld, which, luckily, still fit the aesthetic.

Lesson: Always double-check your rig setup the night before, especially if you’re using heavier or more complex gear.

4. Splitting Big & Small Filming Days

Because this landscaping job spans multiple phases, we structured the contract with:

• 3 Major Shoot Days: Full crew, full gear, capturing the main work.
• Additional “Just Me” Days: A lower rate for quick visits (1-2 hours) to grab progress footage or drone shots.

It’s a win-win: clients don’t pay a full rate for every minor update, and I can efficiently cover everything without overbooking. This approach also ensures they get a complete story from start to finish.

5. Exploring MPB.com for Gear Trades

I’m prepping for a December shoot with a symphony and need five cameras. Since I love the Lumix S5 series, I decided to trade in some gear to acquire extra bodies. Enter MPB.com:

• Instant Quotes: You input your current gear (condition, accessories) and pick what you want to trade for.
• Flexible Trades: MPB suggests adding accessories (like spare batteries) to boost your trade value.

So far, the process seems promising. I’m awaiting final confirmation on condition and pricing, but it’s a great option to know about if you want to buy, sell, or trade used camera equipment.

6. That Time I Crashed My Drone (But Got Lucky)

During a recent project, I finally had my first drone crash—a dreaded milestone all drone pilots secretly expect. Thankfully, the damage was minimal, and my drone still works fine, but it was extremely nerve-racking in the moment. The real fear? Needing that drone for upcoming shoots and not knowing if it would survive!

Final Thoughts

That’s it for Vlog #9. Between multi-camera landscaping shoots, reorganizing my rig, and testing out a gear-trade service, it’s been a busy stretch. Plus, the drone scare taught me a valuable lesson: always be ready for the unexpected.

If you found anything useful or have questions, drop a comment—I’m an open book. Thanks for reading, and I’ll see you in the next vlog!

—Jake, Blue Tie Productions

Episode 8

Vlog #8: Editing Insights & Recent Project Breakdowns

Hey there—welcome to Vlog #8! This time around, I’m sharing behind-the-scenes editing tips from some recent jobs. I had originally planned to show more on-location footage, but I accidentally reformatted my Insta360 camera’s memory card before transferring those clips—ouch! So, I’ll focus on the post-production side of my process. Let’s get into it!

1. Seven Rivers Tree Service (Sizzle Reel)

The Power of the Right Song

This project was a sizzle reel for a tree-trimming and stump-grinding business, mainly to play on the client’s website. While the visuals were fairly straightforward—showing the crew trimming, removing trees, and grinding stumps—I spent a lot of time finding the perfect song.

• Chunks & Transitions: I looked for a track with distinct sections where I could naturally transition between the three main services (trimming, removal, stump grinding).
• Matching Tone: The chosen song had a driven, “work hard” vibe. It helped convey the grit of the job and gave me rhythmic cues for editing.

Takeaway: Don’t settle for a “close enough” track. The right song can make a huge difference in the flow and feel of your video.

2. Wedding Boutique Showcase

Next up: a wedding boutique project featuring various styled scenes (salon, movie theater, tattoo shop, bookstore). Think of it as a fun, trend-focused lookbook for brides-to-be.

Making Key Elements “Pop”

One of my favorite color correction tricks is desaturating the background so the focal subject really stands out. For instance, there was a wide shot of a salon exterior where I wanted to emphasize the building’s warm tones while toning down everything else. Using a power window in DaVinci Resolve, I isolated the building and cars, bringing up their color while desaturating the surrounding area.

Pro Tip: Sometimes it’s better to reduce color in other elements rather than piling on saturation where you want emphasis.

Lightbox in DaVinci Resolve

DaVinci’s Lightbox feature (found under the Color page) shows thumbnails of every clip in your timeline. By seeing them all at once:

1. You can quickly spot consistency issues in your color grading.
2. It’s easier to keep different shots in the same scene looking cohesive (especially in varied lighting conditions like a dark movie theater or a bright salon).

Dealing with Low Light & Grain

At one point, I was stuck in a movie theater location without my lights, resulting in noisy footage. To fix this:

1. Initial Color Grade in Resolve, accepting the noise.
2. Export to ProRes.
3. Run Through Topaz AI Video for denoising.
4. Apply a film-look aesthetic in Resolve, leaning into a slightly retro vibe.

This workaround worked reasonably well, but it was time-consuming. Always remember: “We’ll fix it in post” is rarely the best plan if you can fix it on set!

3. ORA Trails Bike Park Construction

I’ve been collaborating with ORA Trails—an organization building a new bike park in the area—and capturing their progress over several months. This was a trade project (they credit me as a sponsor, promote my business, etc.), and they’ve been fantastic partners who consistently introduce me to new people and projects.

Handheld Footage & Simplifying the Rig

For the final day of filming, I went handheld instead of using a steadicam. It was a great choice because:

• The shots were mostly static—showing asphalt being laid, close-ups of equipment, etc.
• I didn’t need a ton of smooth movement or dynamic camera moves.
• It’s quicker to reposition if you’re filming in short bursts.

Reusing Saved Color Grades

Since I’ve shot this project in multiple phases, I saved my color grading presets from earlier sessions. In DaVinci Resolve, use Grab Still on your final node tree, then reapply that grade to new clips to maintain consistency and speed up your workflow.

Pro Tip: Store these in Power Grades so you can access them in any project.

Looking Ahead

• Upcoming Music Video: I’ll be working with a local artist who has a really unique voice. Expect some fresh, creative behind-the-scenes soon.
• Symphony Work: I’ve been in talks with more orchestras, which aligns with my push into capturing live performance video (big passion of mine!).
• Periodontist Project: Filming a highly specialized dentist who’s rebranding his practice in October.

Plenty of exciting shoots in the pipeline, and I’ll keep sharing the details—both in the field and in the editing bay.

That’s all for Vlog #8! Thanks for reading, and stay tuned for more behind-the-scenes action. Let me know if you have any questions in the comments.

—Jake, Blue Tie Productions

Episode 7

Vlog #7: Navigating Sales, Marketing & Client Outreach

Hey everyone—welcome to Vlog #7! Today, I’m pulling back the curtain on my sales process, how I find clients, and the different methods I’m testing to keep my videography business growing. Let’s dive in!

1. Small Business Networking Events

I recently hosted a small business social in partnership with my local Chamber of Commerce. (They organize the gatherings, and I volunteered to host at the Pump House, an awesome local art center.) The event was simple: provide coffee and donuts, and open the doors for people to mingle.

• Why It Matters: Over time, regular attendance at Chamber events can help people remember your face and think of you when they need video work—or when their friend’s neighbor’s cousin needs a videographer.
• Hosting Perks: As the host, I had extra motivation to walk up and talk to everyone, which helps break the ice. I met four people I’m hoping to collaborate with soon.

I haven’t yet experienced a “direct line” from an introduction at a networking event to a paying job, but the indirect connections can be powerful. It’s like having sales insurance: the more people who know who you are, the better your odds of being top-of-mind for future projects.

2. The (Sometimes Painful) Art of Cold Calling

Like many folks, I’m not a big fan of cold calling—it’s nerve-wracking. Still, I force myself to do it at least once a week, focusing on a niche I’m passionate about: symphonies and orchestras.

• A Lucky Break: On one of my first calls, I ended up chatting with a symphony director for 40 minutes, which is almost unheard of. That conversation led to signing a contract for three concerts this season!
• New Territory: This will be my first time working with a professional orchestra (I’ve done youth symphony recordings before). It’s exciting and slightly intimidating, but I can’t wait to see how it all unfolds.

Cold calling is usually an uphill battle—30 rejections for every 1 yes—but when it works, it can open doors to dream projects you never knew existed.

3. The Website Factor

I’m constantly tweaking my website to be more client-friendly. While it doesn’t produce a flood of leads every day, I have landed two new clients in the past month—one being a specialist in periodontics who’s rebranding his entire practice.

• Building Trust: We first connected when he hired me to film a presentation. He liked the experience so much that he reached out again for a more significant video project.
• Continuous Improvements: Seeing this success makes me want to improve my site’s design and SEO even more. If a client lands on your website, make sure there’s a clear path from “curious” to “contact us.”

4. Email Outreach & Follow-Ups

While I don’t do a ton of formal email outreach, I’ve had small wins in the past. For instance, earlier this year I sent a cold email to a local bakery, shot some free test footage for them, and now I’m checking back to see if they need holiday content.

• Lesson Learned: Even if a project starts off small (or free), it can lead to paying gigs later—especially if you make a good impression and keep in touch.

5. Upcoming Prospects

Right now, I have a few promising opportunities brewing:

• A Realty Company: We had a great meeting, but I’m unsure if they’ll lean more toward a budget option or partner with someone who provides full-scale production.
• Several Other Leads: Some from word-of-mouth, some from networking, and a few from previous connections.

The Multichannel Approach

If there’s one takeaway, it’s that I juggle different marketing avenues because none of them alone gives me consistent, high-volume leads:

1. Local Networking (Chamber of Commerce, community groups)
2. Cold Calling (targeting niches like symphonies)
3. Website & SEO (slow but can yield high-quality leads)
4. Email Outreach (occasionally, to build relationships or re-engage past contacts)

For a smaller city, it’s tough to rely on just one channel to fill your calendar. You need a balanced strategy—and a healthy dose of persistence.

Final Thoughts

It’s tempting to dream about a “magic bullet” for sales and marketing, but reality is often a patchwork of multiple methods. In a smaller market—where you generally have to be a full-service videographer—it’s even more important to diversify your approach.

If you have any tried-and-true marketing strategies for a video production business, let me know in the comments. I’d love to hear what’s working for you!

—Jake, Blue Tie Productions

Episode 6

Vlog #6: Gear Prep & Wedding-Inspired Shoot Day

Welcome to Vlog #6! Today’s entry is split into two parts:

1. Evening Gear Prep: A quick rundown of the equipment I’ve packed for tomorrow’s shoot.
2. Shoot Day Breakdown: The context, schedule, and behind-the-scenes of a wedding boutique collaboration I’m filming.

Let’s dive right in!

Part 1: Evening Gear Prep

My Main Totes

I’ve been gradually refining my packing system to move faster and keep things organized. Here’s a quick look:

• Camera & Audio Tote
• Lumix S5IIX with a Laowa Ranger 28–75mm lens, plus a drop-in PocoMofaj variable ND filter.
• Lumix S5 with a Sigma 16–28mm lens, complete with matte box and external monitor.
• Multiple Blackmagic Video Assist 7” monitors (12G versions for 4K RAW recording).
• Wireless Follow-Focus system, extra boom mic, cables, rods, magic arms, and any emergency hardware.
• Lighting Tote
• Amaran 200X (traveling in its original box for extra protection).
• Two RGB LED panels, a set of sandbags, and three light stands.
• Various extension cords and spare batteries.

Why I Love This Setup

• Versatility: With two cameras ready (one wide, one tighter lens), I can switch between establishing shots and more detailed, close-up footage quickly.
• Portability: My main tote has wheels and a handle, making it easy to pull around.
• Backup Options: I keep extra cables, monitors, and power solutions on hand. Even if something goes wrong, I can usually fix it on the spot.

Part 2: The Wedding Boutique Shoot

The Plan

I’ll be filming at five different locations, each set up with a unique wedding “scene”: dresses, florals, stationery, and more. The wedding boutique wants to showcase fresh ideas for brides and highlight its expertise in on-trend aesthetics. My job is to capture the look and feel of each setting—think of it as a “sizzle reel” with no audio beyond upbeat music and natural ambiance.

• Call Time: 6:30 a.m.
• Wrap: Approximately 2:30 or 2:45 p.m.
• Scope: Filming multiple models, dresses, and decor setups at locations like a movie theater, a tattoo shop, and a bookstore.

Context & Collaboration

This project is structured as a trade. Instead of direct payment, the boutique will provide advertising for my company. It’s a strategic move because:

1. They Host Major Events: Partnering with them places me in front of more wedding-focused clients.
2. They Have a Clear Distribution Plan: They know exactly where and how they’ll use the final videos—ensuring my footage gets real traction.

Whenever I do trades, I always ensure the client has a solid plan for the end product. After all, a great video is only as valuable as the marketing follow-through that happens once it’s delivered.

Behind the Scenes: Shoot Day

1. Quick Setup: Upon arrival, I unloaded gear and introduced myself to everyone involved—models, stylists, photographers. I asked if they were comfortable being on camera for vlog footage (always a good idea).
2. Establishing Shots First: I used a wide lens for the general scene, then switched to my DIY “Arri Trinity” stabilizer for tighter, cinematic movement.
3. Logistics & Pace: We ran behind schedule by about 30 minutes, but that’s normal with multiple locations. I regretted not having an assistant to help lug gear from spot to spot—my legs definitely felt it by the third location!
4. Lighting Challenges: While most locations were well-lit, one movie theater was super dark, and I’d left my lights at the boutique. Note to self: next time, keep them closer in case the environment changes unexpectedly.
5. Multiple Camera Approaches: In tighter spaces, I went handheld with my wide-angle CineRig for quick maneuvering. In more open settings, I suited up with the stabilizer. This flexibility helped me grab diverse angles and vibes.

Overall, the shoot ran smoothly. Everyone was excited to collaborate, and despite a fast-paced schedule, we wrapped just a bit past our target time.

Final Thoughts

It’s been a long day—start at 6:30 a.m., finish near mid-afternoon—on my feet, moving gear, and capturing as many dynamic shots as possible. But it was totally worth it to see each of the styled sets come to life.

Thanks for following along on Vlog #6. If you have questions about gear, the wedding industry, or anything else I mentioned, feel free to drop a comment. As always, I appreciate you watching (or reading) until the end!

—Jake, Blue Tie Productions

Episode 5

Vlog #5: Five Lessons From Small-City Videography

Hello, hello—welcome to Vlog #5! Recently, I realized that much of the videography advice on YouTube comes from people based in major cities like Toronto, Miami, Los Angeles, or New York. While their insights can be helpful, I often think, “What about the rest of us?” Living and working in a smaller city, such as La Crosse, Wisconsin, brings unique challenges and opportunities that don’t always match big-city advice.

Today, I’ll share five key lessons I’ve learned about running a videography business in a smaller market. If you’re in a similar spot—or just curious—this might be for you!

Defining “Small City”

When I say “small city,” I’m talking about somewhere like La Crosse, Wisconsin. The city itself has around 50–60k people, and the surrounding towns range from 10–15k down to just a few hundred. Yes, we have an airport and some interstate traffic, but it’s still nothing like Chicago or Minneapolis. As you’d expect, the style of work and client demand here look very different from what you’d find in a sprawling metropolis.

1. Be Prepared to Go Full-Service

In smaller markets, you’ll rarely find businesses hiring just an editor or just a camera operator—they often want someone who can handle it all, from pre-production to final delivery.

• Client Education: Many local businesses might not fully understand the process. You’ll likely have to explain what goes into a shoot, how many videos they might need, where those videos can be used, and how to receive the final files.
• Bigger Budgets Still Exist: Even in a smaller city, some clients are willing to pay for more extensive projects. It may take more time to find them, but they’re out there. Patience and a clear, confident pitch can lead to work in the higher-price range.

2. Choose Your Learning Path

If you’re starting out, you can go one of two main ways:

1. Self-Taught
   Dive into online courses, YouTube tutorials, and trial-by-error. This can take years. I’ve been at it for about seven years, and only in the last two have I felt my work is truly professional.
2. Partner/Mentor
   Find someone local whose work you admire. Working with them, or even just tagging along on shoots, is a fantastic way to learn quickly. Plus, you’ll build valuable friendships and professional connections.
• Shout-out to Ben at Morrison Media—collaborating with him has been a huge boost for my skills.

3. Know When (and How) to Do Free Work

Yes, I said it: free work can still be valuable—when done with clear boundaries.

• Barter for Value: If you’re not getting paid in money, get something else you genuinely need. It could be social media promotion, a service you can use, or tangible goods (like custom woodworking!).
• Set Parameters: Always communicate your standard rates and the scope of what you’re providing. That way, nobody assumes you’re just “the free guy.”
• Build Skills Safely: Especially when you’re brand new to a particular skill (like flying a drone), offering a free test shoot can be a no-pressure way to practice and gain portfolio material.

4. Stay Consistent on Social Media

I’ve never been a big fan of social media, but it’s a simple truth:

“Social media shows you’re alive.”

Clients often scope out your social media to see if you’re active and producing new work. If you’re invisible online, they may assume you’re not currently taking projects—or worse, that you’re out of business.

• Leverage Those Passion Projects: Anytime you do free or discounted work, make sure it ends up on social media so people see what you’re capable of.
• Networking in Small Circles: In a smaller city, influential local pages can give you a big boost. Partner with people who have a strong local following—they’ll help get your name out there.

5. Renting Gear (Smartly) Can Save Your Budget

When you live somewhere without a big rental house down the street, it’s tempting to buy every piece of gear so you’re never caught unprepared. But do you really need it all?

• Rent Before You Buy: Online services like BorrowLenses or Lensrentals let you test cameras and lenses to see if they truly fit your style and needs.
• Focus on Specs That Matter: In my case, I love having 12-bit codecs and the ability to shoot RAW—features that can be found in gear far more affordable than a RED or full-blown cinema rig.
• Own Your Niche: Once you understand what you actually need to deliver high-quality work, invest in the gear that helps you excel. You can always upgrade later, once it makes financial sense.

Final Thoughts

Working in a smaller city can leave you feeling like all the “real opportunities” are in LA or New York. But the truth is, if you put in the effort, hone your craft, and stay consistent, you can build a thriving videography business anywhere. Over seven years, I’ve seen my work reach a new level—and each project I land keeps me excited about what’s next.

Let me know your thoughts in the comments, especially if you’re also navigating videography in a smaller market. And if you’ve made it this far, enjoy one of my favorite new drone shots at the end of the video. Thanks for reading, and I’ll see you in the next vlog!

—Jake, Blue Tie Productions

Episode 4

Vlog #4: Embracing the “Work” in Your Creative Business

Hey, everyone! Welcome to Vlog #4. Today, I’m sharing some behind-the-scenes drone footage while diving into something less flashy—but just as critical: the business side of running a creative venture. Specifically, I’ll discuss how I approach marketing, sales, and the “three personalities” every business owner needs.

A Tough Love Business Mentor

A while back, I had a business mentor who called me out (in the best way possible). He basically said:

“If you’re not willing to handle the non-creative parts of your business—like accounting, taxes, sales, and marketing—then what you have is a hobby, not a real business.”

As harsh as it sounded, he was right. I was spending too much time on tasks I enjoyed (like filming and editing) and neglecting the parts that would actually help me grow and earn money.

The E-Myth & The Three Personalities

That mentor recommended the book The E-Myth, which breaks down three essential roles every business owner must play:

1. The Technician:
   This is the doer—the person handling the hands-on, technical work (for me, it’s filming and editing).
2. The Entrepreneur:
   This personality dreams big, strategizes, and envisions the future of the business.
3. The Manager:
   This role keeps the ship running day to day—scheduling, organizing projects, handling accounting and paperwork, and leading sales/marketing efforts.

Many creatives naturally excel as the Technician (doing the craft) and possibly as the Entrepreneur (ideas and vision). But the Manager part often feels less natural and definitely less exciting. Yet it’s critical for a thriving, sustainable business.

Marketing & Sales: The Unsexy But Crucial Stuff

Building a Cohesive Brand

Lately, I’ve been working hard on presenting a more polished, professional front. That means:

• Refining My Website: So potential clients can see my past work and know exactly how I can help.
• Creating Structured Processes: Setting clear timelines and guidelines so clients understand the workflow from start to finish.

Leveraging Drone Footage

The drone shots you see here aren’t just for fun or YouTube “wow” factor. I use them as a marketing piece to showcase my drone skills and pitch potential clients—especially those in construction, real estate, or event promotion. It helps me say, “Look, I can do this for you.”

The Dreaded Cold Calls

Let’s be honest: cold calling can be nerve-wracking. But if you want to land new clients, you can’t just sit around hoping they discover you. Here’s how I push through:

1. Do It Even When You Don’t Want To
   I often get nervous right before dialing. But if I waited until I felt perfectly confident, I’d never pick up the phone.
2. Have a Plan
   Know who you’re calling and what you’re offering. Tailor your pitch to their needs, whether you’re targeting small orchestras, construction companies, or local businesses.
3. Practice Makes Perfect
   Every call helps you refine how you talk about your services. Even rejections are learning experiences!

Balancing the Roles & Putting in the Work

I’ve been in business for six or seven years, but I only count the last two as “real” years—where I’ve consciously treated my operation like a true business. That means:

• Being Prepared: For random opportunities when a potential client shows up.
• Maintaining a Portfolio: Keeping examples of my best work ready to share.
• Structuring My Workflow: Having a standard process that puts clients at ease.

All these efforts—bookkeeping, marketing, outreach—are the “work” in “do what you love, and you’ll never work a day in your life.” It’s the not-so-fun side of the job, but it’s absolutely necessary if you want to turn a passion into a profitable venture.

Final Thoughts

Pushing yourself to handle the less enjoyable tasks is part of being a complete entrepreneur. Over time, seeing your business grow becomes rewarding on its own, even if the day-to-day tasks are sometimes a grind. And trust me, the next time you land a great client because you had your processes and marketing in order, you’ll be glad you put in the effort.

That’s it for Vlog #4—thanks for sticking around, and I hope this gave you some insight into balancing creativity with business realities. See you soon!

—Jake, Blue Tie Productions

Episode 3

Vlog #3: A Day on the Job with My Favorite Camera Rig

Good morning, everyone! It’s about 6 a.m., and I’m loading up my gear for a new project. Today, I’m finishing shots for a tree-trimming sizzle reel—basically a quick, eye-catching video to showcase an old boss’s services on his website. I’m hoping this vlog gives you a closer look at my gear setup and general shoot-day process.

The Project: Tree Trimming Highlight Video

Over the past week, I’ve been filming various scenes to show off all the services my former boss provides. The only missing piece was capturing good footage of his stump grinder in action. But bad weather (lots of rain) forced us to postpone. Today’s the day!

My Go-To Gear Setup

Light, Mobile & Consistent

For most B-roll shoots where I don’t need extra lighting or in-depth interviews, I rely on a fast and stable rig. The key components are:

• Two Cameras:
• A Lumix S5 IIX with a Laowa 28–75mm lens (featuring my new Poco Mofag drop-in variable ND)
• A Lumix S5 with a 16–28mm for extra-wide shots
• Essential Accessories:
• SSD media
• A monitor (or two)
• An extra wireless follow-focus system
• Stabilizer & Vest:
• A Zhiyun Crane 3S gimbal mounted on a Red King stabilizer
• Everything powered by V-mount batteries connected via a Kondor Blue D-Tap hub
• Drone: For aerial footage, I keep my drone within easy reach in the trunk.

I love having this rig set up so I can work straight from the car. If I do need to move everything, I have a tote with wheels, making transport simpler.

On Location: Drone Shots & Adjusting the Rig

Checking Airspace & Getting the Aerials

Since we’re in Class D airspace, I used an FAA-authorized app to quickly request approval to fly up to 200 feet. With the green light, I launched the drone to capture footage of the crew removing a large tree. I already had some great overhead shots, but more flight time means more practice and variety.

The “DIY Trinity” Rig

My camera rig is heavily inspired by Best Boy Adam’s DIY Arri Trinity setup, minus the hefty price tag. It’s fantastic for:

• Stability on the Move: The vest-and-arm system keeps my shots smooth while I’m walking.
• Power Management: A single V-mount battery often lasts all day, powering the camera, monitor, gimbal, and follow-focus.
• Focus Control: Because I’m both operator and focus puller, I keep the monitor high and the follow-focus near my handgrip.

Pro Tip: If you’re testing a new rig, expect a learning curve. Even well-designed systems take time to master, so patience and practice are essential!

The Poco Mofag Variable ND: Finally Working!

If you caught my last vlog, you know I ran into issues installing the Poco Mofag drop-in ND filter. I had to swap camera cages and do some finagling to get it all to fit without blocking the lens mount. Thankfully, it’s now in place and works exactly as I’d hoped—no noticeable vignetting, easy to adjust, and perfect for quickly adapting to changing light conditions.

Wrapping Up & Post-Production

After grabbing the stump-grinder footage, I had everything needed to piece together the final reel. Once I’m home, I’ll:

1. Dump the Footage: Move files to my editing bay.
2. Quick Edit & Music Sync: Compile the best shots, sync with high-energy music, and add motion graphics if needed.
3. Client Review: Send it over for approval. The client’s been awesome about giving me creative freedom, which makes editing even more fun.

Final Thoughts

Even though today was a relatively simple shoot, it showcased exactly why I love my current rig: power, stability, and easy access to everything I need. Sure, it’s on the heavier side, but as long as you keep it well-adjusted and maintain your back properly, it’s totally manageable. Plus, you get a mini workout in the process!

Thanks for joining me on Vlog #3. I hope seeing the behind-the-scenes of my gear and shooting process was helpful. Let me know if you have any questions or suggestions—happy to chat about all things videography.

—Jake, Blue Tie Productions

Episode 2

Vlog #2: The (Sometimes Painful) Pursuit of a Built-In Variable ND Filter

Hey everyone! Welcome to the second installment of my vlog. Today, I’m sharing an adventure that involved a new drop-in filter system called the “Poco Mofag,” which goes between your lens and camera body to provide a built-in variable ND. Let’s just say it didn’t go exactly as planned—but I certainly learned a thing or two in the process. Here’s what happened!

The Goal: A Seamless Variable ND Setup

A while back, I stumbled upon a YouTuber called the Savage Filmmaker. Even though I was researching Blackmagic cameras at the time, I was intrigued when he mentioned a filter system called the Poco Mofag. The idea was simple: insert a variable ND filter between your lens and camera body so you don’t have to hassle with filter threads on the front of the lens.

I was especially excited because I recently picked up a Laowa Ranger 28–75mm lens in a PL mount, and I also have a bayonet (L mount) adapter for my Lumix S5 IIX and S5 cameras. This meant I could potentially enjoy an “internal” ND experience with all my standard L-mount gear. Cool, right? Well, it turned out to be a bit more complicated.

The Installation Fiasco

Swapping Lens Mounts

First, I needed to switch the lens from L mount back to the PL mount so I could install the Poco mofag in the correct position. That part should have been fairly straightforward: remove a few screws, store them safely, and reattach the appropriate mount.

The Black Ring Drama

Then I hit the problematic step: reattaching a small black ring inside the lens assembly. It kept catching on the threads, and I made things worse by trying to force it with pliers (I know, not ideal). After some metal shavings ended up in the threads, the ring became even harder to seat correctly. My planned 20–30 minute job turned into an hour-and-a-half battle.

Key Lesson: If something that’s supposed to screw in (like a lens ring) suddenly stops, don’t just force it. Check the threads for debris or damage first. Eventually, I used toothpicks to remove tiny metal shards, which helped a lot. The good news is the lens glass remained unscathed, but it was a stressful process!

Excitement and Another Roadblock

Once everything was finally assembled, I was so excited to see the Poco mofag ND filter in action. It has a geared ring for adjusting the ND intensity, which is super smooth and doesn’t seem to cause any vignetting. But then I discovered another hurdle:

• The Filter’s Gear Collides With My Cage
  The filter’s outer gear ring is slightly too thick for the camera cage on my Lumix S5 IIX. This means the gear literally bumps into the side of the cage, preventing full rotation.

So now I need a different, less bulky cage to make it all work properly. I’ve ordered a lightweight cage online, plus a universal cage as a backup. In the meantime, I’m using the clear filter the Poco mofag came with, so I still have a functional setup—just not the variable ND I’ve been dreaming of.

Business Updates: Editing, Marketing, and Cold Calls

After dealing with the lens drama, my main task for the day was to finish editing this vlog and another drone video. Then I planned to catch up on marketing—something I’ve admittedly been ignoring for a while now. Here’s what that looks like:

• Social Media Overhaul: I’m trying to be more consistent with posts and engaging my audience.
• Client Follow-Ups: I had a project for a client who’s now interested in another one, so I’m locking that down.
• Cold Emails and Calls: Not the most fun part of the job, but it can lead to good gigs. Small businesses often want a full-service approach (planning, filming, and editing), so it takes some education on my part to show them how video can help their brand.

Final Thoughts

That wraps up the second vlog! While the Poco mofag saga definitely tested my patience, I’m still pumped to incorporate a variable ND filter into my daily workflow. I’ll keep you posted on how it all turns out once the new cage arrives.

In the meantime, I’m focusing on editing projects, handling those less-glamorous but essential marketing tasks, and planning a future vlog on cold calling—because, hey, it’s part of the hustle!

Stay tuned, and if you have any tips or experiences dealing with tricky lens mounts or filter systems, feel free to drop them in the comments. Thanks for reading!

—Jake, Blue Tie Productions

Episode 1

Vlog #1: Why I’m Starting a Vlog for My Videography Business

Hello! My name is Jake, and I’m the owner of Blue Tie Productions in La Crosse, Wisconsin. If you’re reading this, you’ve stumbled upon the very first vlog/blog entry I’m creating for my business. I’ve seen other videographers do something similar, and after some thought, I realized this could be a great way to share my experiences—and maybe help others along the way. So, let’s talk about why I’m launching a vlog and what I hope to accomplish.

Goal #1: Promoting My Business

This year brought big changes for me personally: I’m going to be a dad. Anyone who’s had kids knows what a wake-up call that can be. I’ve been running Blue Tie Productions for a while, but the news really pushed me to take the “business” side of things more seriously.

• Why Vlogs Help: Social media and video content can be powerful tools for showcasing my work and connecting with potential clients. If you’re reading or watching this, you can get a sense of my style and personality, and see if it’s a good fit for your project.
• Showing My Process: By being transparent about how I work, I can help people decide whether they’d like to collaborate with me—or, equally important, if we wouldn’t be a good match.

Goal #2: Tracking My Journey and Learning

Another major reason I’m doing this vlog is to document my own progress as a videographer and business owner.

• Journaling and Reflection: You often hear advice about journaling, whether you’re learning a new skill or just trying to track your personal development. For me, this vlog is that journal. By talking about (and later watching) these posts, I can see what’s working, what’s not, and where I need to improve.
• Continual Growth: I’ve been doing videography for over six years, and there’s still a ton I don’t know. I’m not here to teach you “the right way” so much as share what I’m learning—and invite anyone reading or watching to give me tips in the comments. Sometimes just having an open forum helps us grow faster than we would on our own.

Goal #3: Insights Into Small-Town Videography

Finally, I want to give you a look at what it’s like to run a video production business in a smaller city. La Crosse has around 50,000 people, with maybe 100,000 in the surrounding area. We’re located between Minneapolis and Chicago, so we’re definitely not a major market.

• Local Collaboration: In smaller communities, there can be a sense of limited opportunities, and it’s easy to slip into a competitive mindset. However, I’ve found that connecting with other videographers and photographers can be a huge plus. For instance, I recently worked as a second shooter for Ben at Morrison Media, and it was a fantastic experience.
• Unique Challenges: Things like rental gear logistics, finding specialty equipment, and scaling a business can look different here compared to a big city. I’ll try to be honest about those challenges and how I navigate them—especially as someone who values staying near family and building a life in this region.

Looking Ahead

Going forward, I plan to upload weekly vlogs (and corresponding blog posts) that share whatever I’m working on—client shoots, gear thoughts, lessons learned, and more. I also see this as a personal challenge to get more comfortable on camera and more active with social media.

• Community Feedback: If you have any suggestions, or if you see me doing something that could be done better, please let me know in the comments. I’ll do my best to respond, though being online 24/7 doesn’t come naturally to me.
• Contact Info: I’ll include my business email and website links below, so if you’re interested in hiring me (or just want to connect), all the details will be right there.

Conclusion

That about wraps up my very first vlog/blog entry. I’m excited to see where this journey takes me—and, hopefully, it provides a little insight for anyone else running a creative business in a smaller community. Thanks for reading, and stay tuned for next week’s installment!

—Jake
Owner, Blue Tie Productions