I'm back.

So,

in the past years,

you've seen video kind
of explode everywhere.

Facebook's made this clear.
They've gone all in on video.

Cisco says they project
video increasing

four times by twenty twenty one.

B to b companies are
finally seeing the light.

They're seeing video as a very
powerful medium for their messages.

And I just wanna kinda get a
show of hands, who's here today.

How many of you guys are
just getting into video or haven't

started yet but are interested?

Raise your hand.

Okay. About twenty, ten percent.

And how many of you guys have
already been using it successfully?

Okay. Okay. So you guys
are fairly seasoned.

I'll introduce myself.
My name is Alan Martinez.

I'm the founder of Noble Digital,
a digital marketing agency.

We're a creative production
agency actually in Southern

California.

We primarily focus
on digital marketing.

That means building brands,
funnels, it means websites,

apps, videos, you name it.

I've got my start at the Art
Center College of Design,

where I was on track to
be creative director.

So I've learned all kinds
of content production flows,

photography, video, websites,
graphic design, you name it.

One of my teachers
there was Linda Wyman.

You may know her from Linda
dot com. That was her platform.

She sold LinkedIn for one point
five billion dollars And if I

was smart, I would
have continued on that path.

But instead, I chose to be
a filmmaker, a director.

And so I'm gonna show you
a piece I did as a student.

Let me give you some context,
what you're about to watch.

Okay? This was done in the
nineteen hundreds. No joke.

This is when CGI was just
coming out with video.

Today you can buy templates,
you can buy wireframes,

you can sell this
pretty quickly now.

This was done from scratch.

This took months
and months of work,

hour, months of rendering,
on mainframe computers.

It wasn't on a Mac.

I could probably do this
in a couple days now,

but I'm just gonna give you context
of the blood, sweat, and tears.

I even had, like, this film
students kinda saying, like,

what is they don't
understand what we're doing,

so check this out.

Hey, you. Over here. Hey.

You want a piece of me or what?

Alright, pal.

I'll put it right
in the old pocket.

Oh,

I'm still standing.

So I was kinda in the Coen
Brothers Hudsucker proxy.

I'm paying homage to
Bugs Bunny and Tex Avery.

That's where it came from.

But, this got me around town,

and I was lucky enough to get
hired by Quentin Tarantino's

company, A Band Apart, and they
had a new commercial division,

and they wanted someone young
to kind of go with their whole

troop of directors that
they already had there.

And so I was kind of launched
into the whole Hollywood system.

I've worked with these Hollywood
crews, which are amazing.

They're some of the
best on the planet.

I can say that because
I've filmed all over the planet.

They're amazing.

And I'm not going to even
talk about that today. Okay?

We're gonna talk about
how to make money.

I'm holding a storyboard.

These guys are laser focused
on my board because this

commercial is gonna run every
day, several times a day,

across several channels
for over a year.

There's a hundred million
dollars of media spend behind

this one video.

Okay? So this is video at scale.

Over the years, I've been really
fortunate to work with some of the most

amazing brand managers.

And somehow, they've entrusted me with
about twenty five billion dollars of

media spend behind the work
I've produced for them.

And so you're gonna see a lot
of the companies I've worked

with, they're all
over the gamut.

They they are telecoms,
SaaS platforms, API,

you know, food and even,

outdated video rental companies.

But, I've even done a film with

Milo. Any, This Is Us fans?

Yeah? Gilmore Girls, right?

I don't know if he takes
his shirt off. I don't remember.

But check it out. Prime Video.

It's actually for free if
you watch it on Prime Video.

But it sounds like I'm
all over the place,

but the fact is creatives work
across horizontals and verticals.

This is because we're
basically trained to engineer experiences

around a human
storytelling vibe.

When we deal with, like,
a starter, for example,

these are some of the investors
that have been involved with,

the clients that we serve.

We like to look at a startup
from the whole picture.

We like to get a whole
picture of what's going on.

This is the business
model canvas.

This is a picture of
your entire company,

and so we focus on where
we can create value,

and we tend to focus on
value on this side of the spectrum.

And we do that with
creative content.

We do that with funnels.

We do that with,
Facebook campaigns,

programmatic, you name it.

Okay?

And so if we were to actually
break this all down in a bunch

of elements, it looks
something like this.

This is how we build
something from scratch,

or this is how we actually
diagnose a company when they're

having problems with their flow.

We're not gonna talk about
any of that today, though.

We're gonna talk
about just video.

But I wanna show it this way because
video is not this isolated thing.

It should fit into
an entire experience,

and that's part of the problem
why some of your videos don't

perform as well as it should.

Quick question, which one of these
three account for eighty percent of

campaign success?

How many believe it's the
right message? Raise your hand.

A couple. How many believe
it's the right time?

How many believe
it's the right place?

How many believe have no idea
what I'm talking about right now?

Okay.

The answer is the right message.

These are kind of the three pillars
of what makes a campaign work.

Andrew Robertson
made this clear,

when he confirmed this through
Facebook's data and Google

North America's data,

that the right message accounts
for eighty percent of the

return path.

And I confirmed this
also with smaller SMB,

statistics where it doesn't
matter what I'm talking about b

to c or b to b.

It's pretty much kind of
saying the same thing.

And what that means to you guys
is that instead of focusing so

much of your energy on
all these placement and timing

platforms, and and
tech and tools,

it's only about twenty percent
of the impact that you're gonna

have when someone's actually
considering you guys.

Right?

So you need to focus on your
creative message first and foremost.

And that's now that
you understand this,

when you see a prompt like
this in Facebook, asking about,

are you running the
best placements?

That's not the right
question to ask.

They're a media company, of
course, they're gonna ask that.

They're not gonna get into your
business about your creative,

because that's not what they do.

Okay?

The real question is are you running
the best ads for your objective?

Okay.

So we're gonna talk about
how to optimize your video before

you start to promote it.

Okay?

And some of you marketers are
thinking, how is that possible,

Alan? I'm in a feedback
loop. We'll get into that.

But we have to be a little
bit more proactive about this.

So first and foremost,

your brand and your business
need to be tethered tightly,

and that's one of the
biggest problems I see.

When someone asked me to make
a video, I'm going right to here.

I'm I'm saying, okay.
What are you guys about?

What are your users about?

And if I don't get
really clear answers,

that's really where we need
to focus some of our energy.

And then once we have
that figured out,

then we wrap that
around in a story.

The problem I see a lot in a lot
of companies is that they're using

a different kind of workflow
than what I would use.

They're using crisis and
management workflows to do

something creative.

And this kind of workflow
leaves no room for insights,

no critical thinking,
let alone creativity.

Okay?

So you can't really
let new ideas flourish,

in this in this
kind of, climate.

Right?

So Brian Chesky made this clear
when he said the design of an

experience uses a different part
of your brain than the

scaling of that experience,

And he really understands
the separation between,

executing and actually
ideating something.

So make sure that you plan enough and
and figure this out ahead of time.

And if you don't,

you're gonna start getting
prompts like this where

Facebook's telling you to
cut your video in half.

That's epic failure.

So invest in ideation.

Put some proper time,

and don't put that
under a clock deadline.

Frameworks, they're nice.
That's a great starting point.

A lot of times,
I see frameworks,

as an ending point
sometimes too.

And so make sure that you're
actually getting what you

really want in your head,

the vision that you
were hoping for.

Make sure that you're
dealing you know,

getting fidelity out of
the piece that you want.

Now if you're a start up,
you're just getting going,

maybe you don't
need full fidelity.

But then again, you know,

if you don't look quite as
polished as you need to be,

that could be a problem.

So it's really, what I'm talking about
here is getting what you pay for.

So it's really up to you.

So this gap between
strategy and execution

really stems from the users
and your product market fit.

And we need your brand
messaging house to be in order.

This is just a
front facing slide,

but there's actually
all this is documented,

goes really deep on each
pillar and the foundation,

and this informs everything
that we're gonna make across

the entire funnel.

A funnel is meaningless
without this.

I'm not gonna talk
about this today,

but if you ever wanna talk to
me, I we can go deeper on that.

So another view of where video
sits is I'm assuming that you

have this foundation of your
branding and messaging down to a tee.

Story comes from
thesis and antithesis.

Your thesis is your product.

Your antithesis is your
customer's pain points. Okay?

And that tension between them
being brand loyal or not even

understanding why they need to
go with you is that story you

need to tell them until
they have a change.

This is nothing new. This
came from Aristotle's Poetics.

He defined these key metrics
around emotion and and the

changes in an emotion,

all the crises that happened
two thousand years ago and

still being used today.

If we take just one point,

let's look at a beat.

Skyler says, this is,

Walt's wife. Where,
where, where were you?

So that's a loaded question
for anybody to to take. Right?

You have to understand this
is built upon other scenes. Okay?

Every scene is built
upon multiple beats,

and each of those scenes
build upon, like, sequences.

So we start to map this all out.

You have sequences,
you have acts,

and then you have
your whole story here.

And then on top of this,

you have to layer in all these
different episodes and build up

to a climax at the
end of the season,

and then go on for
years and years.

This is story design. Okay.

So when you think about a
screenwriter building out a

character for a film,

it's not that different
than creating a customer profile.

And by the way, marketers,

you guys are worried about someone
watching your video for thirty seconds.

This guy's got people hooked
for years. Think about that.

You guys need story.

Okay? It's not that
different. It's very similar.

Our KPIs are
emotional goals. Okay?

Did the actor have an emotion?

If they have an emotion,
you're gonna have an emotion,

and you're gonna feel something.

That's it. That's
what story is about.

Marketing needs more of that
because if they have if they

feel something, then
they're gonna take action.

Okay?

And so if you look at the three
act structure through the lens

of marketing, it's really
your customer journey.

And it starts from the one
end to, I don't want it.

I don't I'm not interested. I
already got the brand I like.

Well, it looks kind
of interesting.

Maybe I'll try it to
okay. I'll give it a shot.

To oh, it's actually
pretty good.

And then, wow. This is
actually pretty amazing.

I want to tell all my friends
about this. That's it.

And that's why we can
work across any company.

B to B, e com, doesn't matter,
because it's that same story.

But then customizing that
journey so that people actually

feel something along the way.

Now Aristotle also contributed
to modern marketing.

He said all persuasive
arguments must have three

elements in order
to be effective.

He called these
elements the appeals.

The three appeals were
ethos, lojos, and pathos.

So I know what a lot of you guys

are thinking, like,

this is where all your
marketing is working.

This is where the
intent is at. Right?

And so, you know, you
have your case studies, your explanation,

that's logic, it's it's
an argument to, to reason.

And then who are you guys?

What's, you know, what
are you guys about?

What are your what do your
customers say about you?

This is pretty much
what marketing's been digital

marketing has been
for fifteen years.

What you're missing
is that top layer.

And you're thinking like, Alan,
but all the intents there,

why would I even bother
to build that top funnel?

Well, have you ever taken a look
at what search might look like at

any given hour of any given day?

It looks a lot like this.

Okay? It's a very
tough space to be in.

People are not in their
heart. They're in their mind.

They've already
made their mind up,

they're already brand loyal,
they're not listening to you.

A lot of things are
going on there that you're combating.

So when you start
to introduce pathos,

and this is what
he said, not me.

Aristotle said ethos and logos
are irrelevant in the absence

of pathos, which is emotion.

The reason why you need this is because
there's low friction at the top.

People haven't even made a decision
about what they're gonna do.

They might even know that
they need you yet. Right?

And this is a wonderful
place to be at.

And so people are more
curious, they're more open,

and they're able to
recall you better,

because you're
telling them a story.

It it video allows you to
create a space in the user's

mind, so they remember that.

I mean, when's the last time you
guys remembered the last AdWords

sentence that you saw?

Anybody?

What you say early in the sales
cycle is far more influential

than what you say late in
the sales cycles according to

Gong's data.

They also said competitive
deals are won early when the

battleground is fertile.

Competitive deals are won
with discovery techniques,

not closing techniques.

Can a video have all
three at the same time?

Silence.

You can say yes. Yes? No?

Yes. I'm gonna show
you a case study.

I was excited to have a chance
to help a start up using all

the best practices I
learned from bigger brands.

I was wondering, would it
work for a small start up?

They They did not have a
hundred million dollars for me

to spend, not even
tenth of that,

not even a fraction of that.

So, let's see how it turned out.

In this video, we're gonna show you
how our campaign for Plated dot com

helped them get to a hundred
million dollars in revenue in

just eighteen months time.

New on the scene,

Plated dot com was a
funded startup freshly financed by

Shark Tank investors, so
they needed to scale up fast.

Noble Digital stepped in to
help them launch their national

TV spot.

Plated needed to capture new
trials and long term customers.

It was clear that a video of
just slow motion food shots

would not be compelling enough
for an impactful launch,

so the foundation for creating
the brand response video was

started by interpreting
Plated's data and surveys to

help us find the seed for the
big idea that would position

Plated as uniquely as
In the strategy phase,

I had to channel the
signal from the noise,

sifting through a sea of data until
I zeroed in on a set of

polarizing keywords that helped
me transform Plated's user

profiles into memorable
characters and a storyline that

concerns, the video I designed contained
multiple layers of communication.

So on one layer, the video
eliminated sales objections.

For example, Plated's food is
thoughtfully packed at the source,

but surveys revealed that their
packaging was quite important

to our savvy, health
conscious audience.

So I handled this by
integrating the packaging on

screen without losing
the narrative flow.

The data and keywords also
helped me focus and identify

the pain points of the urban
lifestyle that Plated helped solve.

So everything was strategically
designed so that when potential

customers saw the video,

it would feel as if they were
watching a cinematic story

about themselves,
not an advertisement.

When surveys came back,

it showed that eighty three out
of a hundred people would try

and play it upon seeing
the video just once.

An eighty three percent response

The

The TV metrics platform,
iSpot TV, confirmed this.

ISpot score of eight point six
out of nine point nine maximum

was derived from their formula
which tracks behavioral

patterns from first screen to
second screen searches within a

ten minute window of airing,

all driven by three
different calls to action.

Based on customer actions,

iSpot's listening tools could
attribute searches to our unique links,

and the results clearly show
that we outperformed the

industry average
by almost double.

The most profound impact
according to iSpot TV data is

that our video for Plated
outperformed their much bigger

competitor Blue Apron by twice as much
but only using half the media spend.

The video started as a thirty
day test that continued to

outperform in this category for
an additional eighteen months

straight, running nationally
several times a day.

Plated more than doubled
their working capital from new

investors since the video's
launch in January twenty fifteen.

Proof that even small brands
can use big brand strategies to

succeed and scale.

But the story doesn't end there.

It's the largest exit ever.

They can't tell you what it was,
but I'm an investor, and I will.

Three hundred million dollars.

This is huge, and it just gives you
an idea of how the American dream can

play out on Shark Tank.

These guys are a classic
Shark Tank story.

Excellent in executional
skills and marketing logistics.

You know, we it's been a hell of a
hell of a ride the last five years,

and we wouldn't be here without
supporters like like Kevin and

our early investors.

And, you know, to all the haters
out there, like, we did it.

So a one month test turned
into eighteen months of nonstop

customer acquisition.

It's pretty nice.

I wanna give you a counter
to that just to be fair.

Potato Parcel, which is
another Shark Tank company,

was nice enough to let
me show some numbers.

They're getting a two and a
half return on their investment

and ad spend,

and, they can't run
it all the time.

They have a different business
model. It's not for everybody.

It's very niche, but they
can run around, like,

holidays and certain sales
cycles that they understand,

but they know their
business very well,

and it's working for them.

So it really depends
on your business.

And he said to himself,
video is everything now.

When it comes to ads,

I really run static image
ads on Facebook anymore.

Adwords for us is a
very passive investment.

It's all about grabbing
attention. He said it, not me.

And so how much did you
spend on your video?

I have no idea. I really don't.

But I'll just say
that it should be,

tethered to your business goals.

Okay?

So I want to shatter something,
right now, right here.

The Dollar Shave Club fantasy.

You're gonna spend four
thousand five hundred dollars

and you're gonna make millions
like Dollar Shave Club.

It's just not true.

The CEO was an actor,

pulled the favor from
a production company,

and they said it should cost
fifty thousand dollars actually.

You you don't think twice about
hiring talent when it comes to

your to your company,

so you have to think about your
asset as something that should

drive, performance.

So a salesperson,

you're gonna pay them a
quarter million dollars a year,

they better be bringing in millions
of dollars a year of revenue.

Right? You it's just just math.

In the same respect, so
should your video. Okay?

Video can do this.

I just showed you an example,

and I've been doing
it for a while.

It does work.

The video will work for you
twenty four hours a day,

won't take a vacation.

And what's interesting about video
is this I'm being very

conservative here.

More than one person can
watch video at the same time.

Thousands and millions can
watch at the same time.

When you start doing
it at that scale,

then it becomes like
twenty four cents an hour.

So, this is what
these people are

doing here in this image.

It means something more now that
I've shared some things with you.

They're they're holding
their video accountable.

And at the top is where you
want to invest the most money.

It's got the least friction,

and this is equivalent to,
like, your land you know,

the landing page
of your website.

If people don't get past this,

they're never gonna
get to your website,

so it becomes very important.

Don't confuse videographers
with filmmakers.

A A videographer can be
great at filming, editing,

maybe do some motion
graphics, which is great.

But sometimes you might need
an entire ensemble to create

something very powerful,

and these are the kind
of the crews I work with.

I'm gonna show you real quickly,

I'm gonna stack several workflows
because I'm managing separate teams.

They're all creative,

but they're not talking to each
other until they come to the

day of the set, which is crazy.

Right? So this is
what it looks like.

This guy is doing some
tech research for me.

I'm trying to figure out if I
can map something onto a body.

It's new, and we're
playing with it.

We're having issues with
it, as you're gonna see.

It's not quite fallen, and
we have a latency issue.

You don't need to worry
about what that means.

That's what you hired us for.

But then my choreographer is
taking my story that I want to

tell, interpreting it,

and telling the dancer a story
that she's interpreting from my

story, okay, which I
got from the client.

So the client down to
me, down to the team.

This is my post effects
guys who are also contributing to

the story of how we're gonna use
special effects to enhance that story.

And so when we finally arrive
on the day to shoot everything,

everyone's together, my
cinematographer is working with me,

and the lighting crew is
working with me to make sure

that everything is in alignment
with the story that we wanna tell.

Okay?

And so when you put everything
together and you mar all those

together, you end
up with the story.

And it becomes more powerful
because you have an ensemble of

people looking at it.

And, of course,
besides the video,

we ended up with a bunch
of still imagery too,

so you can repurpose
this as well.

That's why branding is so
important because you start to

see more opportunities.

We didn't even plan to
do any still images,

but we actually pulled it out out
of our test for the graphic design.

It just looked beautiful.

So this is why video
is so powerful.

The one medium that has all
these other artistic mediums

within it, right, and you
have to manage all that.

This is where I want you
to focus your energy.

Story, branding, performances,
emotion. Stay in your lane.

It will it will give you
years back of your life. Okay?

And if you're wondering
how do I start,

this is how you would start.

With data.

I bet you didn't think a
creative guy was gonna talk

about data, but I'm
gonna I'm gonna go there.

Check this out.

So,

this is a flow I'm going
to share that's kind of,

I'm used to from, working
with bigger brands.

And some of you
guys already do it,

some of you do part of this,

but we start with
quantitative data,

and you're just trying
to get insights.

What's going on in
the marketplace?

What are the users doing?

And it might look
like a sea of data,

which you saw in
the plated video.

This is what I was
helping them with.

They came to me, said
we want to make a video.

It was basically like a these
slow motion shots of food.

And I was like, why?

It was not really they weren't
even using the data they had to

figure out what the
story should be.

So you would go through
the CU of that data,

and you would find they they
would create a marketing brief

which would define
what they need to do.

Okay?

That marketing brief would then
need to get some data synthesis

where we're gonna refine,

the qualitative aspects of what
the the data should be doing.

And I'll show you right here,

and this this is a nice
example I just found online,

but quantitative data is the
black and white factual things

that you wanna do.

The qualitative part
is the touchy feely.

So you're taking what the
business strategy wants to do,

and you're turning it to
something outward facing for

users to to feel something.

And then you want
to kind of, like,

you don't wanna show the
the seams, so to speak.

You wanna have this
be seamless. Okay?

Most of the time,
I I never get this.

Unless it's a
really big company,

I get maybe the red part or maybe
just the objective, and that's it.

And so that's what was
happening in the plated thing.

I was like, what what
are we doing here?

Right?

So you go through those
insights and you might find one.

Okay.

Children typically share their bedroom
when they have a single parent.

And it may it's not sexy, is it?

It's not really emotional,
not really a story. Right?

And so someone, somewhere
creative, goes, hey,

what if we captured the moment
when a child got their own room?

Wouldn't that be cool?

And that's where you
talk with the C suite.

You say, hey, I have an idea,
and then you pitch it to them.

They say, oh, that's kinda cool.

But see, our user is actually
the mom. It's not the kid.

Yeah.

But then the creator's
thinking, like,

do you want emotion or not?

The mom is always gonna
take care of your kid.

First, he's gonna whatever.

He's gonna pitch why it
should be that way or not.

It's a it's a discussion.

It's a it's a collaborative
dialogue. Okay?

So I'm gonna show you an
example. This is for Zillow.

Just when you watch it,

notice the emotions
that you're feeling.

Okay? We're gonna talk
about this wheel afterwards.

Here we go.

Today at lunch, me and my
friends You got the notice too?

Looks like we're all moving.

Mama, I don't wanna
move. I know, sweetie.

I don't wanna move either.

See you after
school. I love you.

This is our room?

Nope. This is my room.

Zillow, find your way home.

So the arc there, when people
talk character arc, story arcs,

the arc was going from
this pensive, like,

what's gonna happen,
we don't know, to joy,

and the app kinda helped them
get through that seamlessly.

If you notice, the app
kind of took a back seat,

which is kind of cool, and
they made it about the users.

This is what we mean by
user centric storytelling.

It's not just a term.

It actually means something.

And I'm also showing this
because if you look at this,

there was two people
in an empty room.

That cost nothing.
Natural sunlight.

Okay.

So you can make a connection
without spending a lot of money.

When you see spectacles,

spectacles like Super
Bowl commercials.

There's big explosions.

There's car crashes. You don't
always need that. It's nice.

I like to shoot that.
Don't don't get me wrong.

But, now that you
understand this,

I can I don't even
show the videos?

You know the Snickers ads?

They're going from
aggressiveness to acceptance

based on their key insight,
and then they just go,

they lean into that, and they
make version, after version,

after version of the
same exact key insight,

and do variations on that.

Very creative.

Which major brand dug into
self loathing and towards moved

towards self acceptance as a main
part of their campaign strategy?

Who would do such a thing?

Dove.

They want to feature
real women, never models.

They want to portray women
as they are in real life.

This is really
important to these guys.

I'm gonna show you a
piece, at least part of it.

It's a little it's about three
minutes of my show, half of it.

I'm a forensic artist.

Worked for the San Jose Police
Department from nineteen ninety

five to twenty eleven.

I showed up to a place I'd
never been and there was a guy

with a drafting board.

We couldn't see them.
They couldn't see us.

Tell me about your hair.

I didn't know what he was doing,

but then I could tell
after several questions

about I smile.

Your jaw?

My mom told me I had a big jaw.

What would be your
most prominent feature?

Kinda have a fat, rounder face.

The older I've gotten, the
more freckles I've gotten.

I would say I have a
pretty big forehead.

Once I get a sketch, I
say thank you very much,

and then they leave.

I don't see him.

All I had been told before the
sketch was to get friendly with

this other woman, Chloe.

Today, I'm gonna ask you some questions
about, a person you met earlier,

and I'm gonna ask you some general
questions about their face.

She was thin, so you
could see her cheekbones.

And her chin, it
was a nice, thin

chin.

She had nice eyes. They
lit up when she spoke.

Cute nose.

She had blue eyes,
very nice blue eyes.

So here we are.

This is the sketch that
you helped me create,

and that's a sketch that
somebody described of you.

So, yeah, that's

She looks closed off
and fatter, sadder too.

Mhmm.

The second one looks more
open, friendly, and happy.

Mhmm.

I should be more grateful
of my natural beauty.

It impacts the choices and
the friends that we make,

the jobs we apply for,
how we treat our children.

It impacts everything.

So there's always a bad
guy in a video or a story.

Who's the enemy in this
one? Who's the enemy?

Who's the bad guy?

Right?

Very complex.

If your core value
is love thyself,

then the opposite of
that is self hate,

and then everything in
between is the gray matter.

Right? How extreme.

We're all, we we
all treat ourselves

lesser than when we're,
like, critical of ourselves.

We all are there, but, you know,

to go to the extreme
of self sabotage.

Right?

Which, for example, maybe not
all their audience goes that far.

So you might be thinking, oh,
are all of them in that place?

No.

The person who loves himself,

has no emotional issues that
are perfect, so to speak,

can still watch this and go,
I know someone like that.

That's my mom.

Or so they feel like
they're part of this tribe,

and so they're connecting
everybody together.

That's what you're experiencing.

This is going beyond a video.

This is actual experience. Okay?

And that's what
you want to get to.

So at the end of the day, we're
talking about a bar of soap, people.

Okay? Don't tell me you can't
do this with your brand.

If a bar of soap can
do it, you can do it.

It's just a decision
you have to make.

And just to contrast this,
this is a Unilever product.

Well, so is this.

Completely different message,
completely different user,

completely different story.

This kid's on a
different channel.

His mom's somewhere else. Right?

His mom is the dove mom. Right?

The the dove mom would never be
caught dead buying this stuff.

It's at the end of the day,

it's just pretty
much the same thing.

It's a bunch of chemicals.

Right? But we make these brand
associations. They're powerful.

And are there any b to
b SaaS platforms here?

Yeah?

And any blockchains
people? Yeah.

I see a lot of problems in
this area, especially with b to b's,

because what's happening is you
guys will look you'll focus on

sodium chloride,
and you'll be like,

we have the best
sodium chloride.

It's shipped in from
Utah every day, fresh.

And everyone's
like, I don't care.

Tell me a story, dude.

So

how many people are doing
this with your videos already?

All the stuff I've
kinda covered.

How many feel that you're
doing this already?

Two hands went up. Great.
How many would like to?

How many just a couple more.

Okay. More. Okay. Good.

Focus on that creative
gap. Focus on emotions.

Reconsider, you know,

demanding more from your
video marketing strategy.

And if you guys aren't sure
where to start after this,

I got a little download
you can go and grab,

and get into thinking about
the emotions of your brand,

and how you want
to tell that story.

The bottom line here is I just
want you to think about and

walk away with this, don't
wait for intent, create intent.

Do you remember what the first
car looked like, Model T Ford?

What did it look like?

A horse carriage. It
didn't look like a car.

It didn't look like a Tesla.

I'm trying to help you guys get to
Tesla before everyone else does.

That's, that's all I'm
talking about. Right?

Because, like, both work,

both will get you
somewhere across town,

but one's gonna be kind of nice,

and people are gonna like it,

and they're gonna want to
get in that car with you.

Thank you for your time.
Thank you very much.