00;00;03;08 - 00;00;04;12 Jess Welcome to the get together. 00;00;04;14 - 00;00;09;21 Joe All over the world. There are people thinking about and creating a future of live digital events and performances. 00;00;09;22 - 00;00;16;29 Jess They're disparate innovators who are artists, tech founders, non-profits and investors. And they need a place to gather and share ideas. 00;00;17;08 - 00;00;19;01 Joe That's what the get together is all about. 00;00;19;09 - 00;00;24;27 Jess I'm just a theater creator who loves bringing people together around technology, art and the Internet. 00;00;25;01 - 00;00;30;08 Joe And I'm Joe, a tech and media startup that with over ten years of experience growing and operating businesses. 00;00;30;08 - 00;00;46;19 Jess Thanks for getting together with us. Let's dig in. 00;00;48;04 - 00;00;54;08 Joe I keep forgetting that's happening this week. One part of my brain wants to avoid it altogether and the other parts are really excited about it. 00;00;54;09 - 00;01;20;05 Jess That's super tracks for this this podcast, if you don't know. It's seems to be a weeklong celebration of NFT communities and businesses here in New York. And it's everywhere. All over the city. So Joe picked out some interesting panels for us to go to that are specifically put on by a company called Stardust. That will be interesting to see what we learn this week and report back to you all also. 00;01;21;06 - 00;01;32;23 Jess Hope you enjoyed our silly, silly platform smackdown. As promised, our first episode, complete with a lot of sound effects which were super fun and stupid to make. It made me laugh while I was editing it. 00;01;32;24 - 00;01;48;06 Joe Yeah, that was a great episode and the sound effects obviously in room I couldn't hear them and just add them and post spoilers, but so listening back to the episode, I just got to giggle along as if I was an audience member. I mean, like, what is this? What is this sound effect? 00;01;48;06 - 00;02;04;28 Jess Or Where did this come from to have such a great back stock of sound effects from all the years of making videos? So most of them, even I was like, Oh, I know about boxing bells from this video that I did, and I know I have this womp womp, which by the way, on the womp womp and the sad trombone that. 00;02;04;28 - 00;02;06;20 Jess Did you just say that out of nowhere? 00;02;07;06 - 00;02;08;01 Joe No, that's what it's called. 00;02;08;09 - 00;02;23;24 Jess AD Oh, I didn't know that. So I had to go looking for that one. And I didn't know what to search for an epidemic until I got. I just tried sad trombone after, like, a thousand tries for that. What I thought you should search for. For that, which was basically like, womp, womp, womp. 00;02;24;04 - 00;02;26;03 Joe Yeah. Other than it's called the sad trombone. 00;02;26;04 - 00;02;26;21 Jess Had no idea. 00;02;27;14 - 00;02;28;01 Joe Hilarious. 00;02;28;01 - 00;02;48;17 Jess That's amazing. Well, I should have called. You would have saved me a lot of time for today's episode. We. We. Our newsletter came out last week. If you are not on the list, go to All Together Now live. To sign up. It's once a month. I think it's pretty helpful. And we decided to do a little Tales from the Vault this month. 00;02;49;20 - 00;03;26;17 Jess We were sort of talking about how much I really just like how how close we are to really smart, well-executed, interesting instances of live digital experiences. And we were talking about how maybe we shouldn't just hog all that knowledge for ourselves. So we wrote a newsletter breaking down Miscast, which of course, you know, we just did. And we thought we might do a podcast episode today and other Tales From The Vault on a really cool and very interesting, I think, experience we helped make a reality with a really cool company called a. 00;03;26;29 - 00;03;57;03 Joe D as A, which does not Stanford Dance Studios of America. No, but rather it's the Dance Studio Owners Association. And it's a gathering and a bringing together of all these dance studio owners to learn from each other, to swap stories, to bond and be a community. And so for this specific event, it was their inner circle retreat. You know, Hailey exclusive, highly sought after status and event down in Miami. 00;03;57;23 - 00;03;58;17 Jess Thank you. 00;03;58;17 - 00;04;22;26 Joe A very fun place to go in January of this past year. But the whole point was a three day retreat to yeah, talk strategies, hear speakers, learn things and improve one's ability to knowledge of how to strategy and tactics for running a dance studio. So as people from all over the country, maybe even all over the world, I feel like there were some some people from like, Scotland or something came over. 00;04;22;27 - 00;04;54;18 Joe Yeah, very cool, very fun. And like we're seeing more and more the world is going back to in-person events. We're all so excited about it, but we haven't fully left behind the idea of digital engagement, virtual events, people on the Internet, those audience that were built up and cultivated across the past few years, they haven't gone away. And not all of them can fly across the world to go to Miami or fly across the country or even fly, you know, just down the Eastern Seaboard to to get there. 00;04;55;19 - 00;05;13;09 Joe And so the head of DSO reached out and was like, hey, I need help. We're doing this thing in Miami. There were a whole bunch of people who can't make it. We do not want to leave them out. They are part of the community. Can you help bring this event that's happening in Miami to them via the Internet? 00;05;14;16 - 00;05;15;14 Joe And that's exactly what we did. 00;05;15;19 - 00;05;36;17 Jess It's true. And I think this one's really interesting because we kind of worked in two layers that I think are relevant and hopefully will be helpful for you all as we talk through them today. Right. There was layer one, which was the task at hand, right, which is come to this event that they already hired a VP people for plug in to all of that and design an experience for those digital attendees inside these things. 00;05;36;17 - 00;05;52;27 Jess We've already decided, right, that is going to be satisfactory to them, that they're going to make is going to make them feel like they're part of the community and that they really enjoy it. But also the layer two that sort of emerged across the weekend as you know us, were never ones to sort of fall back on our laurels. 00;05;52;27 - 00;06;11;16 Jess We started thinking about how they could actually use live digital in an ongoing manner to do more than just solve for people who couldn't make it there. Rather, how could it add to the business? I think there's some interesting things there that we can get to towards the end as well, but I think first we go where everyone loves to go, which is the gear. 00;06;11;16 - 00;06;15;24 Jess It's sexy, do you know what I mean? And how to do it? How did you plug in what was going on? 00;06;16;01 - 00;06;39;17 Joe Yeah, all the mechanics. And as Jess was saying, the AV teams were already hired. There was a videographer there to capture. You know, they had a a camera set up in the middle of the thing, pointed at the stage. All right. That was already there. But it wasn't explicitly rented, purchased a set up with the intention of a livestream, just one little one little hiccup. 00;06;39;17 - 00;07;00;21 Joe But we'll get to that in a second. And then as well, like many venues, you know, this was in a hotel in Miami. They have their sort of tried and true, maybe even legally bound to use audio company. So, you know, that was already there and already being set up and you know, we therefore had the component pieces to plug in it. 00;07;00;27 - 00;07;18;23 Joe There was a joke somewhere in there for like a V, like it's been shorthanded, you know, just audio, video. It's been shorthanded in such a way that like in my mind, it's kind of almost lost the value of what those original words were, which is audio and video and sort of like come back to it and be like, Oh yeah, like, who's handling that audio and who's handling that video? 00;07;18;23 - 00;07;24;08 Joe It's not just the concept of ABC and a whole bunch of cables that are being mapped around like Spider-Man. 00;07;24;19 - 00;07;26;28 Jess Which is exactly what happened. 00;07;26;28 - 00;08;05;03 Joe But rather it's like actually a function, right? There is a videographer, video biographer, if there is a videographer there capturing and there was a whole team to make sure that the audio centigrade, that the microphones work, that everyone could hear that the video had audio. And I don't know just something about that event and going back to in in-person event because this was again back in January reminded me of like the tangibility of these things maybe isn't just like a concept, it isn't just a, you know, a smart string of things that we have to maybe consider, which we do, but is actual like teams of people in audio and video. 00;08;05;04 - 00;08;12;15 Joe Yeah. All fun. All fun stuff. Yeah. Good teams and live stream sits at the intersection has two things. 00;08;12;15 - 00;08;15;20 Jess Smack in the middle of all of it. 00;08;15;20 - 00;08;29;05 Joe So we were we were lucky enough to be able to run a cable out from the main camera that was shooting the stage into our live switcher. So that was HDMI out directly from the camera. I can't remember what the camera was, a Sony, something. 00;08;29;09 - 00;08;33;11 Jess That was of a seven and it was a yeah, it was a7i think. 00;08;33;23 - 00;08;34;02 Joe Yeah. 00;08;34;02 - 00;08;35;02 Jess So fancy. 00;08;35;08 - 00;08;36;10 Joe High quality. 00;08;36;11 - 00;08;38;12 Jess Had an HDMI like out. 00;08;38;12 - 00;09;17;09 Joe HDMI attending DP output. Yeah. I believe it was coming at 30 frames per second, but might even come in at 60. So we, we took that via a nice long HDMI cable, a 50 footer, because that's what we needed. And it's kind of like the max range of a of a HDMI cable without any sort of additional amplification or powering of that cable into our A10 Mini, which is a fun little out of the box live switcher that has become extremely popular in the age of live streaming made by blackmagic design and designed for events just like this, you know, slightly lo fi, not too many input livestream productions. 00;09;18;03 - 00;09;37;09 Joe So boom pulled that in HDMI and then as well we got an audio directly from the board from our A of that A-Team that we brought as well into the A10 Mini where we were mixing everything. And then an hour drive, you can talk to us a little bit about one camera is not enough it's true. 00;09;37;09 - 00;09;56;28 Jess I mean it'll do you know, it'll do in a pinch but yeah. And also I wanted to just as I was listening to all that back, want to just take a second to compliment the videographer that was hired for this? Because for people whose real job was to capture video to be used in a sizzle reel, they were pretty chill about us and the wrench that was thrown that they were going to have to send their feed out to us. 00;09;56;28 - 00;10;29;10 Jess I really appreciated the way that they handled that because I have worked with fussier videographers than that in my career. So that was really nice. And we also had I don't want to miss also we had we had imag like video that the V and V we had that too, right? Because there were slides and a couple of instances across the weekend videos that they the AV team from the hotel was broadcasting via IMAG, which is magnified, you know, the big screens in the front and we had to get those into our sort of thing as well. 00;10;29;10 - 00;10;36;07 Jess Right, because they had the call script for that. So we didn't know when like slides should advance and all of that stuff. Do you remember how that came over to us? 00;10;36;20 - 00;10;50;13 Joe Oh, it's funny in my mind right now I'm going through the inputs on the attempts to input. Number one was camera number one. Input number two was camera number two. Input number three was presentation. So in my mind, I was like, okay, camera one. Now let's talk about camera two and. 00;10;50;13 - 00;10;52;06 Jess Then look at the reason data. Oh, I see. 00;10;52;06 - 00;10;54;13 Joe And then four was our overlays and stuff like that. 00;10;54;13 - 00;11;13;20 Jess Yes, yes, yes. Okay. So skipping back to so, so just to recap, yeah, we have the fancy Sony camera coming in via HDMI. We've got video presentations being controlled by someone from the hotel but coming into our lives stream so that we can switch them. We have the audio coming in. We definitely added more cameras. We had iPhones with us. 00;11;13;20 - 00;11;34;14 Jess And so we we added one sort of cutaway iPhone for us to player. Oh, it wasn't even our iPhone, was it? It was my, uh, my lumix. That's right. So we actually used I have a Panasonic too, so it's like one of the older ones, but it still looks so good. We set that up on a tripod. Tripod, I believe we also had HDMI. 00;11;34;14 - 00;11;36;12 Jess I straight out from that camera, right? 00;11;36;12 - 00;11;41;29 Joe Yep. Straight out. I think it was HDMI mini technically out of the camera. But we had a converter because we are prepared. 00;11;41;29 - 00;11;43;09 Jess So many converters. Yeah. 00;11;43;16 - 00;11;50;24 Joe You remember what sort of angle were we on for that shot? So we had our sort of straight on what's at the proscenium. What's the word that you use in the theater world. 00;11;50;24 - 00;11;55;07 Jess Yeah, proscenium. Yeah, yeah, sure. But the establishing shot in the film shot. 00;11;55;07 - 00;12;00;18 Joe Yeah, beautiful. But then we were coming at it now from a different angle and like what was the logic behind setting that up? 00;12;01;00 - 00;12;20;22 Jess Yeah. So when you switch right with cameras, you, you can do it as you can upgrade from one camera to two cameras as simply as having a establishing shot and a cutaway shot. And that'll do it that, that turns all of a sudden your broadcast into something much more interesting and much more close to what your eyes used to watching on television. 00;12;20;22 - 00;12;39;11 Jess Now, of course, you can add more cameras and have different incidences, angles of incidents for cutaways and audience cameras and all of that stuff, which we certainly got talking about across the weekend. But yeah, at the end of the day, one cutaway does pretty nicely, so I'm terrible with angles, but I think that was like halfway between 180. 00;12;39;11 - 00;12;43;28 Jess Like what does that I can't do math 92 I no, it's like a 45 degree angle. I feel like. 00;12;44;00 - 00;12;54;05 Joe Cool coming in. Yeah. How do you think about it? If not through angles, you're just looking at it and being like that feels different enough from the establishing shot that if we cut to it, it won't be jarring for the audience in this instance. 00;12;54;05 - 00;13;03;04 Jess Yeah, because it was so sort of on the fly, so we didn't have a lot of choice. We didn't have a long enough. We we were constrained by the length of the cable, if I remember correctly, because we were out of long cable. 00;13;03;04 - 00;13;04;00 Joe 15 foot was. 00;13;04;00 - 00;13;24;10 Jess The longest we had. Right? So you start there because, you know, like our friend Jonathan, who came and helped us on the first day, he was showing us a really beautiful set up. He did, I think maybe for Walmart or something like that that was establishing shot. And then I believe, if I remember correctly, his cutaway was on like a 18 degree angle or something like that. 00;13;24;10 - 00;13;36;12 Jess It was like really shallow. It was like this beautiful sort of shot almost side shot with just a little tiny bit of angle towards, you know, the front of the stage. And we just didn't have the cord to try anything like that. 00;13;36;13 - 00;13;56;15 Joe We couldn't get that close because dear audience viewer, imagining the stage as being sort of a a line and now we're calculating angles coming out of it so that that straight on sort of establishing shot that's 90 degrees because we are 100% perpendicular to that that stage that is that that plane that line. And then yeah 18% would be if we like came up. 00;13;57;14 - 00;13;57;24 Jess Just a. 00;13;57;24 - 00;14;05;09 Joe Little bit off of that that stage line that's existed and getting yet like Jess was saying that sort of just like almost at the side of that person's. 00;14;05;09 - 00;14;25;08 Jess Face. Yeah. And when you have a nice camera and a good telephoto lens to be able to do that, you can get a really nice depth of field, which is the name for if you you're watching TV, right? And let's say Jo is the primary object that my camera is focused on the background. Whatever is in his background is just a little bit out of focus. 00;14;25;08 - 00;14;44;29 Jess That's called depth of field in camera and lens stuff. And it looks really beautiful that also we didn't really have the chance to play around with because I only have two lenses for the Lumix one's prime and one's telephoto and the prime lens. We just were too far away. My prime lens does have a really nice depth of field. 00;14;44;29 - 00;14;55;25 Jess It's super beautiful, but it's much better for low light and like getting a little closer to things. We were so far away that we had to use a telephoto and it didn't have that same depth of field. But look, it looked different enough, as you said. 00;14;55;29 - 00;14;56;18 Joe Well, let's cut away. 00;14;56;19 - 00;15;12;07 Jess Exactly and let us cut away. And it also ended up being we sort of were able to position it so that it could kind of double as an audience cam, especially for breaks. When we were like we want something on screen during these big, long ten minute breaks that gives you a sense of what you're part of. You know? 00;15;12;24 - 00;15;19;10 Jess And we were able to double that camera to sort of capture the rest of the room on those breaks. We put a really nice overlay over that, but I'm getting ahead. 00;15;19;10 - 00;15;37;13 Joe Of myself really pretty stuff. All right. So we've got our two cameras set up so that we can cut back and forth and make it a little bit more interesting for the audience. We've got our presentation coming in, which I think may be helpful to say that coming out of the system that they were using, I can't remember the exact piece of tech that they were using, but we had to come out via an SDI hook up. 00;15;37;27 - 00;16;02;18 Joe But the A-10 requires an HDMI input, so we intermediated it by using a decimate, a really cool piece of technology that allows you to take SDF feeds and convert them to HDR feeds, allows you to loop that SDF feed, allows you to take an HDMI and convert it back to SDR. If you need a really cool piece of technology and allowed us to get the signal from there, they're board and into the format that we needed for our live switcher. 00;16;02;26 - 00;16;16;26 Jess Yeah, I might note if this is all making your eyes crossed, if you have someone technical on your team or you are working with us, it's the first time you sort of put all this together. It can be a lot. There's a lot of names for a lot of devices and types of cords, but it really is a repeatable process. 00;16;17;02 - 00;16;32;10 Jess It never changes audio visual. The way we hook those things in, there's a little bit of variation depending on what camera, what generation, but but for the most part, it's kind of the same recipe just done a tiny bit differently each time. It gets easier once you sort of have a handle on all these bits and bobs. 00;16;32;10 - 00;16;50;00 Joe Yeah, I feel like there's like there's four of each thing. Yeah. Four different types of cables or four different types of Yeah. Camera angles are four different types of that. And it's all just about mixing and matching them based on what is actually on the ground. So actually HDR, HDMI and actually SD great. We have the converter for that. 00;16;50;28 - 00;16;57;13 Joe So you build up a stack of the various tools that you need and cables and converters and then anything becomes possible. 00;16;57;21 - 00;17;10;00 Jess Didn't it? Was it Marco One of our tech directors was like, Oh yeah, we keep like 100 dosimeters in stock or something. Remember that it was Jonathan, maybe. Jonathan, Yeah. And he was like, We just have a bazillion dosimeters because you always need ten of them. 00;17;10;01 - 00;17;22;22 Joe Yeah, because you never really know what you're walking into on site. You always need to be able to adapt on the fly. Yeah, but it's just for saying all that adapting and all those tweaks and changes and it's all within a small ballpark of what's possible. Yeah. 00;17;22;22 - 00;17;29;29 Jess All right. So then with the audio, I know Jonathan set up a lot of that rather than us, but do you recall any of the specifics? 00;17;29;29 - 00;17;34;13 Joe Yes. So they were coming out of their mixing board, I believe it was a Barringer, but I can't remember exactly. 00;17;34;13 - 00;17;35;13 Jess What to make. Yeah. 00;17;36;10 - 00;17;58;27 Joe And I think we didn't have a cable that we needed or wanted on day one. And so we were coming out via quarter inch because we had to get down to an eight inch or, you know, 3.5 millimeter into the atom. So a little headphone jack essentially. So I think, yeah, we were coming out of the board and it wasn't ideal because we want to come out via the SLR, but we didn't have the right cable. 00;17;59;04 - 00;18;01;28 Jess That's because of audio quality, right? We just get better audio quality. 00;18;02;27 - 00;18;24;18 Joe So on day two, the wonderful audio technician, this guy named Omar, brought in the cable that we needed, converted us from SLR down to an eighth inch and allowed us to get direct audio. And I believe he he made us a separate mics that was mirroring the in-house mics, but allowed us to adjust those levels specifically for the digital audience, which. 00;18;24;25 - 00;18;49;24 Jess It can't be understated, is so tasty. If you can make that happen, it's really helpful. Not even just like because volume obviously changes when you're listening in a room and listening on a screen, but also the quality of the audio changes a little bit. And when you're doing something live, I like to have a little bit of like reverb, a little bit of room effect on the audio feed for the live stream. 00;18;49;24 - 00;18;56;28 Jess So that the live streams not hearing that sort of like dry mike straight to computer sound because then it sounds like a. 00;18;56;28 - 00;18;58;01 Joe Movie and Israeli our. 00;18;58;01 - 00;19;02;01 Jess Live yeah totally so that's just like a little aside that I think it's. 00;19;02;01 - 00;19;24;00 Joe Fun. It's super fun. And then so our sort of final visual input that we had was actually a whole separate laptop that was running a really cool presentation program called PDP. And we're using that to input event cards, videos and various overlays to give people lower thirds with their names on them as they came up onto stage. And so that was a very fun source that we usually keyed in using a Chromebook here. 00;19;24;25 - 00;19;40;17 Joe So they were all on pretty green backgrounds. That allowed us to review them, remove those layers and then just have that that cute little graphic that was animating in their name that would come up over either camera one or camera two, depending on which shot we were in. 00;19;40;23 - 00;19;50;04 Jess Yeah, I love that. And that's a great transition over to the fourth component of what we were dealing with on this, which is of course the digital audience and what we were doing for them and how we knew. 00;19;50;13 - 00;19;50;29 Joe There was a digital. 00;19;50;29 - 00;20;13;24 Jess Audience has were like a group of people. Yeah, I know. So I think about in this particular instance with DSA, we sort of looked at them in three buckets. What can we do with overlays? Like you were just saying on the on the broadcast screen to make it feel exciting to include them, whatever. You know, that all that is we could talk about that. 00;20;14;08 - 00;20;31;23 Jess We did a ton of work obviously, and how we engaged through the chat. So that's the second bucket. And then the third is what we ended up asking the live talent to do to include the digital audience when they were on stage as well. Is there anything else big that I missed that we could talk about? 00;20;32;22 - 00;20;54;07 Joe Maybe we could just start quickly with like the mechanics of what was actually happening, what technology we use, and we'll use that to transition and yeah, sounds good. Yeah. So all that fun tech that we were bringing into our live streams, which are the A10 Mini Pro, was being ported out to a Vimeo. So specifically Vimeo premium is the account level that you need in order to do that. 00;20;55;01 - 00;21;17;19 Joe And the ATM can be set up to stream directly from that machine. So it's a little supercomputer in there as well as a live stream switcher that it lets you send out your broadcast directly to YouTube, Facebook, any, any sort of RTP source. And so we brought it out to a Vimeo, which was the destination ultimately for all of those, those attendees that couldn't make it in person but really wanted to be part of a digitally. 00;21;17;27 - 00;21;38;08 Jess Yeah. And so we were working with screen and chat and that was about it. So, so working with, starting with the screen, we, we thought about the overlays in a couple of different ways. Just to reiterate what Joe said, obviously adding lower thirds so that you could, you know, know who was on screen. And I was thinking a little bit about the mechanics of that for a digital audience. 00;21;38;20 - 00;21;57;28 Jess And I think like because like, you know, theoretically, why doesn't the in-person audience need lower thirds? And I because, you know, that's the question I was asking myself. And I think at the end of the day, with the digital audience, it's so much more likely that they are going to get distracted and missed something. But that is one of the reasons I like lower thirds a lot and why. 00;21;57;28 - 00;22;07;08 Jess And you know, the best case, we're throwing them a couple of times across someone being on stage so that if someone leaves and comes back, you know, they can catch up to who the heck they're watching. 00;22;07;08 - 00;22;11;12 Joe Yeah. Then I challenge that the audience in person doesn't need that just as much. 00;22;11;12 - 00;22;12;05 Jess That's fair. 00;22;12;05 - 00;22;18;05 Joe That they're also checking their phones or using something down or chatting with the person next to them. And then they're like, well, you know, is this. 00;22;18;05 - 00;22;23;29 Jess Yeah, what? I didn't hear. Yes, I'm listening. Yeah. Tell anyone. No, it's so true. 00;22;23;29 - 00;22;29;07 Joe So to have it up on that, that sort of image magnification screen and things like that I think is super valuable. 00;22;29;11 - 00;22;49;12 Jess I agree. And actually it's worth mentioning, like this was like a pretty simple application and they did not they were not doing camera to I'm ag in the room but on bigger things like amplify where we are doing IMAG like it's actually simplest for the tech team to be throwing the exact same thing to both places. Right? And absolutely. 00;22;49;13 - 00;23;07;04 Jess Yeah. But in this instance we, we threw some lower thirds on which are really nice and then we did a bunch of thinking after the first break. We hadn't, we hadn't really we did this really quickly. We got pulled in very last minute. And so we hadn't really you know, we didn't know the full sort of like breakdown of what was actually going to happen on the ground. 00;23;07;12 - 00;23;28;09 Jess And it was evident really quickly that there were going to be these ten minute, 15 minute breaks. You know, if everybody go to bathroom, get coffee work sessions, that happened a lot. And so we just sort of thought on the fly about how to make those a superpower instead of a weakness, which I think is what is looked at often in digital broadcast. 00;23;28;09 - 00;23;47;23 Jess What are we going to do about the part that no one wants to watch at home? You know, and for us, the answer sort of ended up being in a combo platter of that audience cam that we were talking about with a really cool overlay that was we took the transparency down on a little bit. That said, we'll be right back, I think. 00;23;47;23 - 00;23;48;02 Jess Right. 00;23;48;04 - 00;23;50;02 Joe You know, like we'll be right back. And then like work. 00;23;50;07 - 00;24;08;20 Jess Or work session. Work session. Yeah, work time or whatever for the work ones. Yeah. So you were looking at this like cool pink, which is one of the main colors of DSA way, like 50% opacity overlay that says. We'll be right back. But then you could see, because it was partially transparent, all of the buzz and hubbub going on in the room as well as hear a little bit of it. 00;24;08;20 - 00;24;20;12 Joe Yeah, we pulled in a little audio from the camera that was set up in the middle of everything. And so we turned on the audio channel that was coming from that camera. And so I picked up a little bit of that room noise. 00;24;21;02 - 00;24;28;19 Jess Yeah. And then we combo platter that with the chat and our strategy on the chat. So I think we could probably move over to that if you want. 00;24;28;21 - 00;24;55;12 Joe To touch that. Yeah, I think interesting to reiterate that the digital experience was, you know, arguably flat, right? It's a video and it's a chat, but you can do so much with those two things. If that's all you have access to, you can still make a really exciting, really interesting, really fun and compelling digital experience that brings people together to interact around what's going on on that screen through the chat. 00;24;56;15 - 00;25;08;26 Joe So I think for anyone out there who is thinking like, oh, well, like I only have a YouTube page or I only have a this or only have a that. You can do really cool and exciting things with just those, those simple tools, just those really sort of palatable and approachable tools. 00;25;08;27 - 00;25;27;15 Jess Yeah. Yeah. So when we were working inside the chat and this sort of evolved across the weekend as we got to know those digital audience members a little better through their, you know, chat avatar, some of the techniques and sort of like principles we applied and how we worked through the chat because we were in the chat as days away as well. 00;25;28;03 - 00;25;51;07 Jess Spoiler alert don't tell anyone. One is just personalization, right? And like Bin, I talked about this a lot, but like trying tricking a person who is alone in their living room into feeling like they're being seen and tricking in the good way, right? Like not tricking in the bad way. So the person in the chat that's the representative of DSA, seeing people inside quotes, right. 00;25;51;15 - 00;26;03;27 Jess Like calling them out, recognizing when someone's repeat, you know, said something really smart, you know, more than once, I don't know, whatever it was, that's one one technique and principle that we apply. And what's one on your list? 00;26;03;27 - 00;26;23;29 Joe Yeah, everything. Like encouraging the community to help each other. Yeah. So you have. Oh, hey, I miss what she said or. Oh, what was that book that she was talking about, you know, referring to like the speaker that was on stage. And you can't rewind the presentation and go backward, but someone in the chat who is, you know, just feeling like connected to the community is like, Oh, I heard it. 00;26;23;29 - 00;26;49;24 Joe I'll type in and say it was this book and then having the the representative from. So in this instance say like Thanks Helen that was awesome. So, so glad you could jump in and sort of like drop that, that information because it helps to sort of decentralize and de-stress the one individual who's probably in the chat from days away and empower the whole community of people to be helping each other, responding to each other, dropping thoughts and notes and feelings without it having to just come from DSA. 00;26;49;24 - 00;27;08;03 Jess Yeah, and that was so prevalent across this entire experience. And what I love, particularly about it, is we've been talking a lot recently on a project we're working on about the principles of community management, which like number one, is you have an explicit need you're gathered around, which for DSA is, you know, I guess we need to be better studio owners and learn how to want to do it. 00;27;08;11 - 00;27;32;18 Jess And the secondary one is how do we help each other? And that way you just describe that like it goes so far to explain what we saw happen across the three days with this digital audience, which was a self-organizing of an identity and a self-organizing of their own sort of sub events for the digital audience only, such as like recap zooms, you know what I mean? 00;27;32;18 - 00;27;37;24 Jess Or getting together during one of those work sessions that to break out. Yeah. The DSA had nothing to do with putting together. 00;27;37;27 - 00;27;41;05 Joe Yeah. So much so that I think they even named themselves it. 00;27;41;17 - 00;27;45;09 Jess They remember what that name was. I do. I love a dream team live stream. 00;27;45;12 - 00;28;17;05 Joe Yeah. So, you know, before even halfway through the first day this identity came out of the digital audience, they were like, We are here. We are, you know, part of this event, too. We're going to name ourselves. Yeah. And then like just saying downstream of all that was this self-organization that, you know, nothing was actively planned for the lunch break during day two, but dream team livestream was like, Hey all, do you want to get on a zoom breakout thing and hang out and talk about all the stuff that we just learned from that presentation? 00;28;17;05 - 00;28;36;07 Jess Yeah. And that all is powered by just a couple of simple, simple things. One, put some thought into the broadcast and make it look nice and make it, you know, serve that digital audience. So it's enjoyable for them. So and as soon as they start enjoying it, recognize them and interact with them and engage with them via the chat. 00;28;36;26 - 00;29;00;06 Jess Hopefully, as you mentioned, Joe, around helping each other help helping each other help each other. Yeah. And if you're enjoying it and you feel like you're helping other people and you're, you have something in common with all of them, you get to that sort of organization and identity part of it where it's all because you don't feel like you've been sort, you're an afterthought as a digital audience. 00;29;00;06 - 00;29;03;19 Jess Right. But it didn't take us doing all kinds of fancy tricks to get there. 00;29;03;20 - 00;29;21;26 Joe Yeah, absolutely. Like I missed said original sin. But there's probably many more other original sins in of digital audience development. But I think a big sin is to consider or not think about that digital audience as a real audience, as real people who really part of that community. They are not sort of second class audience members. They are just as important as the end room people. 00;29;22;00 - 00;29;44;19 Joe Yeah, the in-person people. But they are a little harder to to take care of, to try to incorporate because we're just not used to it yet. We haven't figured out all the tricks, we haven't figured out all the ways that we want to engage with them. Yeah. So going that little extra effort, making the broadcast feel special, making it feel inclusive, making it making those audience members feel seen so important. 00;29;44;23 - 00;30;05;19 Jess Yeah. All right. And then the last little bit we did with that digital audience, which was really nice, was the founder of DSA, was really open to having some interactive moments that were not planned beforehand. Again, because we came on so late and those sort of happened two ways. Sometimes they were on stage where he would acknowledge the the livestream. 00;30;06;12 - 00;30;19;16 Jess This is a tip I always give people for hosting. If you can specify, just grab one specific thing that happened in the chat and then reflect it back while you're on stage at the end person thing like that goes so far, right? 00;30;19;17 - 00;30;21;18 Joe They see us, we're here, we're real. 00;30;21;18 - 00;30;22;13 Jess Yeah. 00;30;23;08 - 00;30;48;21 Joe Yeah. I thought a really nice thing, too, in that realm was the founder of DSA would pop into the chat as himself. Yeah. And say, hey, I am here. You know, he has like a really great connection with all of these people who are part of his community. They know him, they celebrate him. And he was there. He showed up as himself and interacted with them because he cares about them and he wants them to know that they aren't, you know, just avatars on the Internet. 00;30;48;21 - 00;30;50;13 Joe They're the people that he knows and cares about. 00;30;50;13 - 00;31;11;28 Jess Yeah. And then the other thing, I'm not sure if we actually ever ended up doing this because everything got so crazy, but we did. We would certainly plan for it. We had those spare iPhones that I was talking about in the beginning. So like setting up a station for him or anyone else to swing by, like as they come off stage or when they have a break to come, just like chat with the, you know, digital audience during one of those breaks. 00;31;11;28 - 00;31;30;11 Jess It's so easy for us to switch to that iPhone as a as a video source, depending on what software you're using. But that's technical and stuff and that's something like it got a little crazy, I think, during the day and it just never happened. But that's the sort of like other way that we think about like engaging in-person talent with the digital audience. 00;31;30;11 - 00;31;35;07 Joe Yeah, digital exclusive content, having those people even just come off and say hi, right? 00;31;35;09 - 00;31;35;28 Jess Totally. 00;31;35;28 - 00;31;43;05 Joe So much, so much. Just be like, Hey, digital audience, like, I see you. I hope you enjoyed that thing that I was just saying. Yes. I can't wait to see you next time. 00;31;43;05 - 00;32;00;13 Jess Yes. Which I want to take this 1/2 to just say an idea that did not come from days away. It came from I think amplify that I'm obsessed with that exemplifies what you just described. We were we were recapping and I would totally do this with days away. Right. Like because the founders pretty down to do interesting things and silly things. 00;32;00;13 - 00;32;17;11 Jess But so the amplify the host for amplify was like, I want more. We were debriefing afterwards. She was like, I want I want to be able to talk straight to that to the odd digital audience. But I didn't ever know what camera you were on. Right. Because it's unlike a TV studio where you got producers behind all those cameras we had. 00;32;17;11 - 00;32;33;12 Jess Ptz is hung up and there's a light when it's on. But we don't you don't know which one we're switched to, you know what I mean? And I was like, Oh, what are we do it like the Jon Stewart camera three, you know. Yeah, I'm going, Oh, I wish you could see Joe going. I'm going to go to camera three. 00;32;33;12 - 00;32;34;27 Jess And he like swings around. 00;32;34;27 - 00;32;36;02 Joe Invites the audience to. 00;32;36;13 - 00;32;37;11 Jess Meet him at. 00;32;37;11 - 00;32;41;04 Joe Camera three, which which gives the tech director her second to switch over that camera. 00;32;41;04 - 00;32;48;15 Jess Literally. I think that is such a clever device. I think my own idea is such a clever idea. But I didn't invent Jon Stewart's idea. 00;32;48;15 - 00;32;48;28 Joe Yeah, Jon. 00;32;48;28 - 00;32;56;08 Jess Stewart's. Which by the way, another aside, I just watched his acceptance speech from last night for the Mark Twain Prize, and you should definitely watch it. It's it's really good. 00;32;56;08 - 00;32;57;27 Joe Oh, cool. Yeah, you know, super good. 00;32;57;27 - 00;33;14;24 Jess He's great. But anyway, that's a great way to, like, incorporate all the things we did with DSA and even make it a little more fun and special, right? Because that has a little bit of what is the right word. Like frivolity and frivolity is not what I have our fanciful ness, do you know what I mean? But it's it's a little it's playful. 00;33;14;24 - 00;33;18;10 Jess It's playful, and it's just for the digital audience. 00;33;18;10 - 00;33;21;20 Joe Yeah, I like to. It's one of those bridges between the audiences. 00;33;22;07 - 00;33;23;08 Jess Yeah. Because yeah, it's. 00;33;23;08 - 00;33;31;29 Joe Really easy for the digital audience to recognize and acknowledge the presence of the in-person audience. They, they see them, they see their heads over the top of certain camera angles. 00;33;31;29 - 00;33;32;11 Jess Yeah. 00;33;33;15 - 00;33;51;24 Joe But it's a little bit harder for the in-person audience to see, see, quote unquote and acknowledge the presence of the digital audio. Right, which it's important to know that both of those are operating. So a couple of the ways being like there is a camera operator actually moving around in space. Yeah. You know, which makes it feel cool. 00;33;51;24 - 00;33;52;05 Jess Yeah. 00;33;52;21 - 00;34;04;17 Joe And then as well. Yeah. The host of Amplify calling out the digital audience in such a way that that brings all of our shared attention to it. Yeah. Yeah. So people on the Internet also enjoying this. That's cool. 00;34;04;21 - 00;34;25;22 Jess There's a Hoppen report that just came out on engagement and hybrid things and all that stuff. I think it literally came out today and I was skimming through it and they sort of propose just give up trying to cross your audiences over just design experiences for each of them. And I will say this until the day I die over and over and over again, I don't know. 00;34;25;22 - 00;34;34;22 Jess I don't know if you have to like design and have all the kinds of crazy crossover experiences. But I do know you have to have a sense that you're part of something bigger than yourself. 00;34;34;22 - 00;34;55;15 Joe Mm hmm. Agreed? Yeah. Don't give up. Don't give up on blending the audiences, I think too happens point. Yeah. Maybe you don't need, like, active video chatting booths between in-person and digital, right? Like feels heavy handed, feels clunky. How much is it actually going to get when there's a live human five feet to your left that you could talk to? 00;34;56;15 - 00;35;16;29 Joe But that doesn't mean you shouldn't have. Those two groups of people know and acknowledge and respect the fact that they both exist and make it feel. Yeah, kind of delightful. The surprise and delight idea of like, I am part of something bigger. While it's amazing that there is someone right now, you know, in Bangalore watching, consuming, interacting is part of this, right? 00;35;16;29 - 00;35;21;13 Joe Contributing. Yeah, right. And you're like, wow, that's crazy. This is huge. Yeah. 00;35;22;02 - 00;35;40;17 Jess Yeah, it's interesting. It's one of the reasons, too, I think I'm thinking back to like even bigger productions we've done why I'm so big. On if you have a remote while having a remote guest and specifically having a remote guest interact in real time with an in person that is just in through like Zoom or Hangouts or whatever Google Meet. 00;35;40;27 - 00;35;57;02 Jess Because when you don't fancy it it up. They become the avatar for the digital audience. Yeah. I mean and I think just even that little subconscious bit says I matter. I as a digital audience member so much, they even brought one of us into the, you know, the show. 00;35;57;02 - 00;35;58;28 Joe Yeah, yeah. Very cool. 00;35;58;28 - 00;36;21;17 Jess Yeah. All right. Well, so and so that's sort of like that whole layer. One of how we sort of approach to this particular three day really cool summit or retreats, the layer two piece that I think is really interesting as a conversation that started to emerge around what does a hybrid component of this mean in the future for this company? 00;36;21;17 - 00;36;46;27 Jess And specifically, what I think is interesting, a company who's who doesn't need to make revenue on this particular event. Right. This is a this is a benefit for revenue. There already receiving for a membership. Right. They being days away. And that really, I thought made the conversation and the sort of like brainstorming really, really interesting because it's so different than so much of the stuff we're building for on a regular basis. 00;36;46;27 - 00;37;16;08 Joe Yeah, absolutely. It comes back to that that early. An important question in any of these conversations like what are the goals, what are we actually trying to do here? I think every snap in calling that, what's the what like just was a lot like just get get it down on paper. What is the what here. Yeah and like Jess was saying, this event, this inner circle retreat was a moment in time to bring all these people together who had opted into a certain level of status or subscription, and they weren't individually paying for this one specific event. 00;37;16;08 - 00;37;24;01 Joe You know, it wasn't a ticketed event. I didn't pay $25 to watch that movie. You know, I was invited to join it as as a special member of this community. 00;37;24;01 - 00;37;29;19 Jess And pay my travel and hotel. Yeah hashtag Miami's expensive that too. 00;37;30;20 - 00;37;33;06 Joe And that was even before airfare was insane. Yeah. Oh, yeah. 00;37;33;06 - 00;37;33;20 Jess Oh, God. 00;37;34;01 - 00;37;39;18 Joe Oh, table that for a second of like airfare. Being crazy is going to impact these sales. 00;37;39;22 - 00;37;40;15 Jess That's right. 00;37;40;19 - 00;37;43;05 Joe People going to be like, I can't afford a $900 plane ticket. 00;37;43;07 - 00;37;49;21 Jess Have you guys a no. Have you have you noticed this? We were looking at plane tickets for a thing we're doing because across is so fucking expensive. 00;37;49;25 - 00;38;04;00 Joe Yeah, I bought a ticket to San Francisco recently, actually. San Jose because it was cheaper. Oh, my gosh. And it was still crazy expensive. And like, that's one of those places I flew a whole lot before the pandemic and I was like, Yeah, this is normally like 2 to $300. And it was easily like double or triple that. 00;38;04;01 - 00;38;26;09 Jess I have to make a note to write about this because I think it'll be a good thing that because and not only the price of the ticket, but the mess you end up in like our friend and collaborator Jermaine, who, you know, bought his extremely expensive plane ticket to get back from K.C. to New York on Saturday last week in order to make an event we were all supposed to go to on Sunday and United canceled 4000 flights. 00;38;26;10 - 00;38;31;20 Jess Yeah. And so he didn't get in. And so I think that too, like that unreliability of travel. 00;38;31;26 - 00;38;40;10 Joe Yeah. Yeah. Because, yeah. You're not planning an extra night in a hotel just in case United cancels 80% of their flights. 00;38;40;11 - 00;38;45;13 Jess Or even excited or interested in the idea that you might end up having to sleep at the fucking. 00;38;45;13 - 00;38;47;09 Joe Airport. Loves sleeping at the airport. 00;38;47;13 - 00;38;50;02 Jess Never had to do it. Thank God. Oh, my God. 00;38;50;02 - 00;38;51;16 Joe Anyway, I've had to do that once. 00;38;51;22 - 00;38;53;04 Jess So yeah. Layered with a. 00;38;53;04 - 00;38;53;16 Joe Aside. 00;38;53;21 - 00;39;18;13 Jess Yeah. With days away and I think any of you all who have similar situations, right. A big part of this conversation was we don't want to deter people from coming in person because we make it so easy for them to be digital participants and, and the founder had a lot of very specific, like, metric driven, you know, reasons for that that were really valuable and made a ton of sense to both of us. 00;39;19;11 - 00;39;31;06 Jess And so that got us thinking about like, what ways can we turn again, turn this into a superpower instead of a weakness to maybe grow this program instead of just provide a replacement for being in person. 00;39;31;06 - 00;39;55;15 Joe Yeah and I love to that the the old Broadway I don't want to cannibalize our in-person audience yeah extends well beyond the magical community but yeah so we we got to thinking after you know talking about what are the goals right what do we want this event to be? We're not selling tickets to it. It's really it's a way to cement the value of of membership in this organization. 00;39;55;15 - 00;40;13;29 Joe And so there's a huge value in being there in person and that like the kinetic energy that happens between human beings when they're sharing space. And so we got to thinking about like these different groups of audience members and we kind of boiled down to four kind of five of like, okay, there are people who are showing up to this thing, hell or high water, right? 00;40;14;18 - 00;40;32;23 Joe It doesn't matter what tickets cost, doesn't matter what stage of this pandemic we are in, they're gonna be there. And so we're like, not one, we're not particularly worried about that group, right? If you offer them a livestream, they're like, No, yeah, no, thank you. Now I'll be coming to Miami, see you soon. But then it gets down into other people who are like, Okay, is this person on the edge? 00;40;32;23 - 00;40;53;26 Joe Right? They would like to go in in person, but if you offered them the livestream, they would actually choose the livestream instead. So how do we, you know, encourage that person to know you should still go go in person. You're going to get a lot of value out of that. Like don't don't fall back on this. And then going one layer down, there's the person who is not showing up in person, hell or high water. 00;40;53;26 - 00;41;11;13 Joe You know, that's hey, we're in a new stage of the pandemic. Hey, the cost of this ticket is way too high. So they're not you're not losing out on that person, showing up in person. So it's really that middle category of people that you're like, okay, let's think about them, because they're the ones who might be swayed or influenced or changed based on the availability of a live stream. 00;41;12;01 - 00;41;18;25 Joe And sort of inside of that. Now, is this one other group that I'm trying so desperately to remember and I just cannot. But if you have. 00;41;18;25 - 00;41;45;07 Jess It, there is like a double where we got around to and trying to solve for that middle group, which was interesting and really felt with the DSO team for reasons like again that we totally understood was it got us thinking about two other groups that fall into the growth like an acquisition side of DSO, which is people who are haven't joined yet, haven't joined, but are part of their bigger, wider programs because this is like a level up program. 00;41;45;11 - 00;42;09;16 Jess Yeah. As well as it was mentioned, I think across this, there's an audience of like those folks who are going to come to Miami no matter what that run dance studios being able to extend some of this content across to their their peoples back in their hometown and where their studio is that those, you know, that are going to benefit in the business I think from, you know, having access to some of this. 00;42;09;19 - 00;42;11;24 Joe Yeah maybe I can find because that was category number five. 00;42;11;28 - 00;42;13;07 Jess Oh geez. Sorry. 00;42;14;23 - 00;42;35;29 Joe See how by identifying those different groups of people, we were able to sort of hone in on like what do we actually need to talk about? What's the actual strategy of designing what the next version of this live stream is going to be with a specific focus on those, there's two groups, right? The people who would be swayed away from going in person, which we don't want to do, but then also these other people who wouldn't have otherwise even been involved. 00;42;36;13 - 00;42;54;06 Joe But we can get them in. I'm like, you were just alluding to giving a little sneak peek. Give me a little taste. Give them a little oh, I want to be part of that community. I want to, you know, upgrade my membership to now be able to come in person the next time. So actually taking digital audiences and converting them into in-person audiences. 00;42;54;06 - 00;42;55;06 Joe Yeah what a. 00;42;55;06 - 00;43;20;12 Jess Concept. You know, we love that. Yeah. So it's super fun. We like threw out a huge amount of ideas and different things that could or couldn't work and just because some of them didn't work and it was it was really fun. And I think like at the end of the day, that's one of my favorite things about the live streaming part of what we do is it's so scalable, like it's the the delivery mechanism is technology. 00;43;20;12 - 00;43;42;19 Jess So it's not like we can only if we decide to livestream the whole thing. There's no other options. Like we as a team can do like two things at once, you know? Yeah, we could send the whole thing out just to one destination for people who already paid for it. And we could send only a little bit of that same thing out to a destination at the same time with the same equipment. 00;43;42;27 - 00;43;52;09 Jess No extra costs in like personnel and technology to another place where people who haven't paid for it yet get to be enticed by it instead. 00;43;52;20 - 00;44;09;08 Joe Yeah. So instead of three days full of programed content, you know that that second audience is getting just the keynote and maybe just one session. So they're getting to see it, taste it, feel it, but they're not getting the full value of it. So that they are you know, we're effectively using the event that is happening live as a marketing tool. 00;44;09;08 - 00;44;10;18 Joe As an upsell tool. Yeah. 00;44;10;26 - 00;44;29;01 Jess Although that gets me thinking about and I hadn't thought about this back when we did it, like how do you the community layer of it in that funnel of, of community takes a deeper level of engagement. And how do you if you're doubling and you're sending two feeds out, how do you also, as we know, the broadcast is not the only thing that like encourages communities. 00;44;29;01 - 00;44;36;18 Jess So how do you give all those people only watching a little sliver of the broadcast? Also a little taste of the community that organizes around this? 00;44;36;18 - 00;44;41;15 Joe Yeah, give it a give everyone. Day one all together and then split it day two and three, maybe. 00;44;41;16 - 00;44;57;17 Jess Oh, that's interesting. Yeah. That way it also the OG is like don't feel like they're just playing host to a bunch of people who don't really know all the lingo and the Yeah, you know, the vibe of a community. But because I think that's a really interesting right at the end of the day, that's the funnel we want to build of like someone's coming to us from scratch. 00;44;57;17 - 00;45;15;13 Jess We want like a future where this exists everywhere. You're sending out a little bit of this to people who aren't a part of your thing, and then they're going to take that easy step to upgrade to the digital experience, right? Because there's a lower barrier to entry and then they're going to have so much fucking fun and they're going to learn so much that they're going to come in person, right? 00;45;15;13 - 00;45;19;18 Jess And that's just like this great wheel that just keeps spinning if you do it, right? 00;45;19;19 - 00;45;37;25 Joe Yeah. Yeah. I mean, let's go back to marketing funnels. This is live. Digital is a mid funnel conversion tactic, right? Right. You capture their attention via ads, via video recordings of this event and that's really at the top of that final just capture that attention. Maybe they sign up at some mid-tier level or no level at all yet. 00;45;37;25 - 00;45;58;08 Joe But they're they're interested. They know what the ISO is. They're like, Oh, I'm kind of interested in this. And the live element and the community element are what help to bring them down that funnel and bring them closer to conversion and maybe, maybe take them all the way to the end of the funnel into conversion by giving them a little bit better taste of what it's like to be part of this community. 00;45;58;19 - 00;46;22;19 Joe Because, you know, a, an asynchronous 30 minute video of a presentation that happened in person. Cool. I understand what the content is, but I don't understand the feeling of being connected to that community and the value of having 150 other people doing the same thing that I'm doing all really warmly and like happily sharing their expertize and like that's what's going to hook someone that's going to sell someone. 00;46;22;19 - 00;46;55;22 Jess Yeah. Yeah. And that's always been at the center of all of this. Right. And why it's so clear like how this started in theater, because they want it to be a part of that. Right? Like that's why we started doing any of this at all. And now it's just so exciting that it it extends out to associations to, content, studios, to all anything that's looking and has a community, a wellness brand, whatever it is, people who are fans, who care and who like help each other when they come together. 00;46;56;02 - 00;47;01;20 Jess And that's great guide for I think like putting life digital experiences together. 00;47;01;20 - 00;47;03;12 Joe I agree. No notes. 00;47;03;13 - 00;47;13;27 Jess No notes. Oh, well, we hope you enjoyed this episode of Tales from the Vaults. It was fun reliving that because we're like six months away from having done that. 00;47;14;05 - 00;47;20;29 Joe I'm impressed by both of our memories. True. We had literally zero notes up until that moment where I tried to search for those different audience. 00;47;20;29 - 00;47;21;11 Speaker 3 Types. 00;47;22;10 - 00;47;27;15 Joe And it was just like, that's actually a funny metric in its own right. Like we enjoyed being there. 00;47;27;15 - 00;47;28;05 Jess Yes, we did. 00;47;28;11 - 00;47;35;27 Joe We enjoyed being part of that community. We enjoyed helping to bring together that community in such a way that it is burnt into the memory in really nice place. 00;47;35;27 - 00;47;37;08 Jess Yeah, it's true. I'm really. 00;47;37;08 - 00;47;37;17 Joe Happy. 00;47;37;17 - 00;47;54;04 Jess Place. Yeah. So thank you for listening and being a part of the get together. And as you all know, the goal of this podcast is bring people together and have these important conversations. So share this with someone who could benefit from a tale from a vault, or who who just wants a nice story burned into their happy place is how much you said. 00;47;54;07 - 00;48;02;18 Joe Yeah, I was thinking about like the different parts of the brain, but I don't actually know where memories get stored. But you know, the idea that like, there'd would be like a happy memory place and a sad man. 00;48;02;19 - 00;48;03;06 Jess Love it. 00;48;03;06 - 00;48;04;06 Joe I don't think that's real. 00;48;04;17 - 00;48;09;14 Jess I think about Swarm Miami, except that we also were there on the coldest day maybe in recent history. 00;48;09;14 - 00;48;10;26 Joe I think the last decade it. 00;48;10;27 - 00;48;20;26 Jess Was like 35 degrees. So was mostly happy with one. Why the fuck is a circle anyway? Share this episode with someone if you if you know someone who could benefit from it. 00;48;21;12 - 00;48;21;28 Joe I'm Joe. 00;48;21;29 - 00;48;22;18 Jess I'm Jess. 00;48;23;00 - 00;48;25;04 Joe And we will see you back here next week. 00;48;25;11 - 00;48;45;22 Jess By.