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!