Reel Success: One Year Strong with Victor Miranda

Have you ever wondered about the beautiful art of filmmaking and how it correlates with the powerful discipline of martial arts? We had an incredible conversation with Victor Miranda, the CEO of Vision Maker, who walks us through his fascinating journey into this world. Victor takes us behind the curtain of his production company, revealing the essence of his leadership style and the importance of communication, transparency, and teamwork in building a successful enterprise.

We ventured into the heart of human nature, exploring how self-development and understanding others' perspectives can shape us as filmmakers and business people. Victor shared insights on his martial arts discipline and how its principles can be implemented in filmmaking, proving how integral it is to be a proficient vision maker. Besides that, we took a deep dive into the difference between videographers and cinematographers, a distinction that can greatly impact the quality of your work.

As we neared the conclusion of our enlightening chat, we underscored the significance of investing in your craft, and the role of self-education in the dynamic world of filmmaking. Victor shared nuggets of wisdom on the importance of keeping abreast with the latest tech and investing in quality equipment. We also touched upon the indispensable basics of lighting and audio, the need for recording redundancy, and the role of humility in this industry. Lastly, we extended our genuine appreciation to all the moms out there for their unwavering support, and ended the podcast with a heartfelt wish for peace and goodnight. Join us for this captivating exploration into the world of filmmaking and leadership with Victor Miranda.

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Episode Transcript

Derlis A Chavarria (00:00):
Hey guys, welcome to the Vision Maker
podcast with your special host,me, Derlis Chavarria, and a
special guest, Victor Miranda.
Victor, tell us about yourselfand how you became the Vision
Maker CEO, as well as the ownersof the last year.
I don't know.
Go ahead, go ahead, oh man yeah.

Victor Miranda (00:24):
I think I'm about to lose my hosting
privileges.
So I'm Victor Miranda.
Yes, I am the owner of VisionMaker Productions, a production
company out here in Hamptons andLong Island, new York, and we
do mostly commercial videography, but we also have a studio and

(00:44):
we have this podcast, of course,where we love talking with
other creators and filmmakers.
And yeah, no, I am asinteresting being on the
opposite side of the sea with myvery good friend and partner.

Derlis A Chavarria (00:57):
Thank you, Thank you, thank you, you're
making me blush over here.
So, vic, you know the peoplewant to know what does it take
to be a Vision Maker?

Victor Miranda (01:06):
The premise of the name really came from, just
like creating other people'svisions, making them come true.
I cannot take care of it forthat, as Eric Casey actually
boldly came up with the name.
Good job, eric, yeah, and.
But I love it and I feel likeit really goes into our, like my
, mission statement.
We're helping others and for meI mean Vision Maker has been

(01:30):
around since the turn of thepandemic, really since I made
that pivot into videography andI was.
It was not a full time thing atall, as most of us you know.
It's like when you're startingout, you're not making much
money, you're just kind oflearning it.
You dive in the deep end.
I have no educationalbackground.

(01:52):
Because you were an audio guybefore this, an audio engineer
for 10 years, yeah, doing liveevents and then, as you probably
have heard, different antidotes, but yeah, no, but then, but
the thing was is just finding agood team and then understanding
though, you know you, you maygo quick on your own, but

(02:14):
there's your cap by yourself,you know.
But you can go far with othersis a good quote that I've heard,
and but it really encompassesthat, because what really like
projected this more than anyother thing I've done in my life
was that I quickly found agroup of people that I can work
with, and people who aretalented but may not have the

(02:35):
connections or the business orthe sales side of things, but
they had the talent, thetechnical expertise.
So I kind of like saw myself asthe position where I can
leverage that, like I can bringpeople and then you, and then
have them leverage yourtechniques so they can get the
work they need, because that'swhere they struggle is getting
the clients, and the clients canstill get quality work.

(02:56):
But then it was just, you know,working hard year, year we
started working together anddifferent things, and I had my,
my full time job outside of thisright, you know, and and just
building it up until eventuallywe got the the right clientele
that justified me leaving mynine to five to be fully working

(03:20):
and dedicated to our clients.
Just to the point where it waslike, okay, if I'm going to take
on this specific client, orjust like I need to be full time
in it.

Derlis A Chavarria (03:29):
Yeah.
So now we'll qualify somebodythen in your eyes to be like yo,
that person you would want inan employee or a fellow worker.

Victor Miranda (03:40):
I think and I think this rings true in any
industry People will alwaysrehire people they enjoyed
working with.
You know it's a yes, if theperson is enjoyable to be around
, but they have no idea whatthey're doing.
It's nice, but they're also notgetting rehired.
It's like there's a certainlevel of competency, of course,

(04:03):
but I don't think that's likethe most rare thing to find.
It's more of like are you ableto work in a team, are you able
to collaborate, are you able totake your responsibility and own
it and are you able to reallybe a partner in whatever you're
doing, or like a valuable asset?
So it's like people we workwith the most are the people.

(04:26):
I feel that like I can set themon a task and I don't really
have to babysit them.
At the same time, I also knowthat like we at least have a
mutual understanding, like I canwork with them really well and
I don't have to also babysitthem around the client, because
they also have that like certainlevel of buffer and respect to

(04:49):
how the relationship is, andthat looks different for
everybody, but I think it'sdefinitely like being able to.
Can you work with people?
You know you have that attitudeand everything.

Derlis A Chavarria (05:00):
And communicate with them.

Victor Miranda (05:02):
Communication, communication, communication,
transparency, transparency.
Don't like try to be like I gotthis when you really have no
idea and you're just like thefire is growing right behind you
and you're trying to hide it,like no, let me know.
Like or whoever it is.
And just because it's like mostof the time, like for me, I

(05:22):
just like I want to put the fireout as soon as possible.
We're here working together.
I'm not going to judge you orit didn't mean you.
I'm not your parent, right, youknow, yeah.
So there's a quote I justthought of when you were saying
that that I love, from JohnMaxwell, a great author, speaker
, and he in one of his books Iremember reading everything

(05:45):
rises and falls on leadership,everything.
At the end of the day, when youare a business owner, a team
lead or whatever you know, oreven a parent, you know it's
like the people in your commandare your responsibility and the
client.
You're the direct point withthe client.
So it's anything that happens,it's on you, regardless.

(06:08):
If it's your fault at all, it'son you, you know right, because
it happened under yoursupervision.
Seriously, you know, bewhatever the actual nuances and
everything like that, but it's abig part about like actually
being able to be a real leaderand moving forward is
understanding that and becausethat gives you a different
mindset when dealing with peoplealso, and then in that sense

(06:32):
too, it's like I'm the one withthe personal rapport with the
client in those cases and allthose cases, and the thing is
like you're both trying to get aproduct and a lot of times that
I find it's just Things happen,things they're kind, inevitably
happen, it's just of course youknow I was dealing with
something today on an editthat's blowing my mind, but it's

(06:54):
besides.
The point is just, things happenand then it causes delays or
this or that, which of course ishard to explain to a client
half the time, because theydon't understand the ins and
outs of you know, something,just an export taking two days
and then I think I thought youfinished the edit.
Yeah, I did, but the computershaving its issues.

(07:15):
I don't know why this one framedoesn't want to be not stuck.
I don't know.
I'm obviously not going to giveyou something jittery, so I'm
trying to figure it out right,and sometimes with computers it
takes a long time.
But that's like one of manythings that, like we as
professionals industry run into.
And you know those kinds.
They're experts in their field,so they only have that, the

(07:37):
reference, and sometimes it'snot a technical field, you know
they.
They have technicality involvedin their field, so they're very
smart, but it's like they don'tknow anything about our world
in that sense where the expertsin it which is why they're
working with us and in that samesense it's understanding that
you You're not doing you likethey don't understand that you

(08:00):
did anything wrong yet they justknow it's delayed.
But if you're coming to themand just being sympathetic and
also just saying, hey, weexperienced some setbacks and
delay, but we are working onresolving them, mainly because
we want to make sure we give youthe best product possible and
it's just not ready yet.

Derlis A Chavarria (08:19):
You make it sound so nice.

Victor Miranda (08:20):
Yeah, and but see, that's what.

Derlis A Chavarria (08:23):
I can't be angry at you already.

Victor Miranda (08:25):
That's the disescalation, you know, because
they're coming ready to fight,or, like you know, because they
they deal you with like anyother employee half the time you
know they're like.
They see you as like anotheremployee.
Right, You're not, but I justunderstanding where they're
coming from.
And then just people Can't stayangry when you're only
responding with respect andkindness.

(08:48):
That's very hard because longerthey stay like they're trying to
be an aggressor.
And they're trying becausesometimes People here in America
too, it's like.
Sometimes you get this cultureof like, if I'm emotional and I
can get you emotional, then Ican justify a refund, or I can
justify whatever you know, or Ican justify you Like if I turn
you into a victim, then you canjust like oh, I'm so sorry, I'll

(09:11):
do this, I'll do this, I'll dothis.
customers always right, it'slike you know, but like, if you
never do that, the longer youprolong it, the right, easier
they sounded themselves Verytrue but as, of course, you're
not doing that maliciously,either You're not trying to like
manipulate the situation,either you know you're just
being honest and you're keepinga co-head now, this, I guess, is

(09:32):
a outside question, but associety in United States, and
like being victimized, do youthink that's, uh, you know, an
ongoing issue?

Derlis A Chavarria (09:42):
or is that just a world issue?
Human being issue?

Victor Miranda (09:45):
I think it's a human being issue.
I do think it manifestsdifferently Depending where you
are culturally and society.
I think on a base level therewas a very interesting study my
wife showed me once, but ittalks about a cycle that people
go through in arguments whenit's a triangular cycle.

(10:07):
You got your victim, youraggressor.
A triangle cycle like I know,but it's a triangle, and then
there's like the you know Iforgot what the third one's like
the judge or so.
It's like you tend to you andin a given argument, if you're
unaware, you can actually flipthe roles consistently.

(10:28):
An argument, okay, first you'relike you're the accuser, you're
the aggressor, right the abuser, in a sense.
You know, tackling someoneabout something right turns that
person into a victim.
The victim, you know, receivesand this and that, but then
eventually can like turn.
It can get flipped during theconversations depending on the

(10:48):
words being thrown back,especially Because then it's
like the cruiser can be like no,I'm being angry because I'm the
victim here, you know.
And and and there, because thenit starts flipping it.
But it was really likenon-progressive, you on a cycle
and it just hurts everyone'sfeelings you know, but I think
like that all comes fromSelf-awareness, self-development

(11:14):
.
I think, like In society ingeneral, human like, at least
here in America, mental healthand self-awareness is becoming
more of.
Thankfully, it seems like it'sbecoming more of a thing that
people should be focusing on andinvesting in, you know, to
develop themselves and justlearn about how they operate

(11:34):
Versus how other people operate,because no two people really
operate the same way.
We are very experienced, ourbrains are backwards, but we
work well together because ofthat.
Yeah, and it's understandingthat it's like the second you
start thinking that People thinkexactly how you think and that,
like this is obvious.
This is how it goes.

(11:54):
It's super plain and clear.
But it's like everyone in theworld, nobody has the same
experiences as you.
This is only like, for example,you could say a spongebob quote
and you can have somebody who'snever seen spongebob before who
hasn't seen spongebob before,though?
Yeah, I know right, I know.

Derlis A Chavarria (12:13):
I feel sorry for them Like exactly.

Victor Miranda (12:17):
And then a little other concert Band was
from Britain and they were likeno idea, what are you guys are
talking about, right, yes, butlike that happens.
So it's like you know, weforget that very easily, right,
just think like, oh, I had thisexperience when I was five years
old.
It's such a.
It was a developmental thing.
So obviously everyone elsedeveloped the same way.

(12:38):
No, there's people who grew upon farms versus people grew up
in the inner city, like they haddifferent lives and learn very
different lessons.
So it's like it's not obvious,but that's when you like, when
you understand how you work andthen you can kind of start to
understand of how other peoplework, right and this, and that
it's like you become less angrybecause you're almost feel like,

(13:00):
wow, how do you not know thatbasic thing?
Like that.
It's so insulting to me, likeyou, literally you can't be that
stupid, like that's what Ithink, but it's not that they're
stupid.
It's like, oh wait, wow, that'svery interesting.
You never actually learned that, okay, so it's like that action
you just did to me that wascompletely inconsiderate to that

(13:20):
fact.
It's because you're just plainunaware.

Derlis A Chavarria (13:23):
So in this stance of self development, what
does a filmmaker, Aside fromyou, know?
A personal like understandingof human nature?
What should a filmmaker developon?
I mean, that's not fromtechniques, obviously.

Victor Miranda (13:39):
I mean you could take it from two sides.
There's the business side,because the better you learn
people and the better you learnyourself, the better you'll be
in sales calls, the moreconfident you'll be in yourself
and Presenting your value,because as filmmakers, we have,
we hold, a ton of value.
We, you know.
We are open and value down.

(14:00):
Yeah, yeah, like you know, ourassets are huge in today's era,
especially with social media andeverything like video stuff.
It's like that's quintessentialcontent is just running one
video on the Super Bowl makes acompany millions of dollars, you
know.
So it's.
It's all very traceable.
There are case studies, you canlean on stuff, but that all
comes from you, knowing that youare in the same field and you

(14:23):
can provide the same products,mm-hmm, and in the same sense.
On the opposite side, we'restorytellers.
How can you be a goodstoryteller if you don't
understand human emotion, howpeople will interact, what
you're trying to make youraudience feel like from a video
like take a 15 second, a 5second, 30 second ad and by

(14:46):
Enduring by the end of the ad,you're just feeling the story,
you're feeling sympathy oryou're laughing hysterically
like there's emotions involved.
Or you ever see like a clip andyou're, like you related Just
instantaneously to it.
You know, and that comes froman understanding of people and
situations and a good movie, youknow, gets you a good movie

(15:07):
takes you into another world,like you are in that world.

Derlis A Chavarria (15:09):
Any good movies that you couldn't like
think of that represent that toyour best feeling of just like
you.
Oh, wow, this movie touched mein.
For what reason?

Victor Miranda (15:19):
That's a hard question.
There's a lot of like, is it?

Derlis A Chavarria (15:22):
doing it is for me the last question.
Pick up the last movie.
I mean yeah yeah the closestone to you.

Victor Miranda (15:28):
I think Movies that like give me that like
immersion effect.

Derlis A Chavarria (15:34):
I would say Good time for it.

Victor Miranda (15:38):
There was one good one.
You know it's ironic as I don'treally remember the movie that
well, but I remember the feeling.

Derlis A Chavarria (15:44):
I think that's that Maya Angelou quote.
At that point like where youdon't remember the details.

Victor Miranda (15:49):
But, like, I know, like for me it always pops
in my head when this questioncomes up.
It was called Red lights, Ibelieve, with Robert De Niro and
ceiling and Murphy.
Yeah, I don't think I've seenthat one.
Yeah, it was.
I remember the synopsis isbasically some music, a magician

(16:11):
, magic, okay, a magician, andand then there was just this big
Flip towards it.
But I just remembered it's oneof those kind of like you don't
like that.
The twists like threw you off,like you never saw that coming
for the second, you saw thetwist.
Everything that happened rightbefore that twist makes sense,
made sense in a completelydifferent way.

(16:32):
Like you, everything in thestory made sense, going in one
direction, but once the twisted,it twisted the entire story.
For me, hmm, I just I justremember that.
I really don't remember, likethe details outside of that.
But I just remember how I'mfeeling and I just remember
every time this question comesup.
For some reason, that's a moviethat keeps popping in my head.
I don't think it's a movie manypeople have seen either.

Derlis A Chavarria (16:54):
I mean like, since it's out right now,
obviously you and I have yet tosee the spider-man across the
spider-verse.
I've heard very good but we'llgo back to the Inter entered the
spider-verse.
I'm sure you've seen the, thefirst one, yeah and we all like
we all enjoyed that movie.
It was amazing and if youhaven't seen it yet, too bad

(17:18):
spoilers, just letting you knowright now.
But I got such an attachmentfrom that movie just to see a
representation of an Afro-LatinoSpider-man come into the mix on
top of that.
Just like how he becamespider-man with his uncle
passing like just I, I, I criedjust just seeing that scene.
I'm sure you remember theprowler when he found out, like

(17:42):
but did you know that theychanged?
You know that entire story ofMiles Morales, like like his
uncle was actually an asshole inthe comic books, comparably to
you know, the movie where he wasa guiding force to him.
Yeah, the cop, yeah, well, thedad was a cop.
Yeah, uncle was working forKingpin and whatever, but you

(18:03):
know yeah, he ended up, justlike you know, refusing to do
the job and that's what ended upkilling him.
So that drove the guiltinessthat you know inspires a lot of
spider-man's in every universe,just because, if you understand
how much guilt they, they, it'sjust like a backbone to them.
It's just a guilt.
We got all this power and we'regreat.

(18:25):
Power comes in responsibilityand now you're just so in tune
with like even that quote, youknow, yeah, and like it just
it's a, it clicks right into youof just like what it is, you
know.

Victor Miranda (18:38):
I mean, speaking is funny enough.
Speaking to that quote, thoughthat Does apply to us too, you
know, on a smaller scale, likebeing spider-man is one of the
most powerful in the Marvel,comments like like his Strength
in the comics at least are likeit's insanity how strong he

(18:58):
actually is.
Oh yeah, she actually holdsback.

Derlis A Chavarria (19:02):
Because he doesn't want to hurt any like
yeah he's very Conscious becausehe doesn't he has.

Victor Miranda (19:07):
He's a good soul , you know.
He's just also a bit clumsywith his decision-making.

Derlis A Chavarria (19:13):
Which is what inevitably ends up
happening with, with half of hisstories, you know, but um, I
think that's part of like the,the, why people are able to
relate, exactly because we'reall just human and we try to do
right and sometimes it comes outwrong, and then we try to
correct the things that we.

Victor Miranda (19:31):
That's that's one thing I appreciate about the
movies like the DC and theMarvel movies is that, like the
criticism of, like most comicbook movies in the day, is that
they're unrelatable because theytake them very straight from
the comics and, especially likethe older comics, they're just
like, you know, superman,superman, there's no problems at

(19:54):
all.
You know he goes on these days.
a friend of mine hates Superman,yeah because he's like he's
such a golden boy, yeah, but butthen in the movies, if you saw
man and Steel and stuff likethat it's like they're really
like well, at least for themovies, trying to even humanize
them more and understand thatthey're Humans, like human
flawed, even if they'retechnically aliens or whatever

(20:15):
they are, but that they stillhave, like you know, they have
that's the common likeweaknesses.
None of them are perfect beings.
You know they have some dealwith addiction, some deal with
this and that narcissisticpersonalities and you got some
are like very anxiety-prone,imposter syndrome, like you see,

(20:37):
all that transpired indifferent ones of them.

Derlis A Chavarria (20:39):
You know, of course, and you also start to
see that the guilt and thegravitas of the situation now,
with that Said, is that what youaspire to do in in your future,
to make not a Marvel film,obviously I mean, if you want to
, obviously it's not nothingwrong with that but something of
the sort of just like an action, like Film, because I know I've

(21:05):
spoken to you and then that'sbeen one of your goals.

Victor Miranda (21:08):
Yeah, something that I saw.
So Bigger film sets, as I'vecome to learn, they also have a
Acting, an action director, likean action DP, which is separate
from the, the regular, the mainDP of the story.
Okay, and some movies that arehave a big action base.

(21:30):
They actually have a separatecamera crew dedicated to that.
That are specialized in that,with their own DP
cinematographers and everythingthat is separate from the
primary DP of the film.
They collaborate.
But for the action scenespecifically, they're
specialized cinematographers inthat and I remember seeing on
behind the scenes of the second,not the golden circle.

Derlis A Chavarria (21:56):
Yeah, you know what I'm talking about.

Victor Miranda (21:59):
On the second one of that, there was an
interview with the action DP forthat film.
Okay, and I'm talking aboutthat and all that specialization
and I Mean I love all thatstuff.
I'm I'll have a martial artsbackground as well and so that.

Derlis A Chavarria (22:15):
But like I didn't know that, different
creativity in.

Victor Miranda (22:18):
That too is like I Mean I don't know I just it's
also just kind of like a funthing to think about.
I also always had like apartial interest.
I do want to get back intomartial arts eventually, but
like even thought about likemaybe I can just go do stuff
work for a while, like figureout, see if I can do it, just
have fun, any particular martialarts that you want to jump into

(22:40):
my background's in Kempo and Idid a little bit of Taekwondo in
Jujitsu, but I Think I wouldwant to like dive into If I had
to pick something to study,probably like another type of
mixed martial art or maybe evenlike kung fu or something like

(23:02):
that.
Mma or yeah, probably likesomething like that.

Derlis A Chavarria (23:06):
Yeah, just to mix it all together and just
see whatever effect goes into it.
Interesting Aside from Martialarts.
Well, actually, this will goalong with martial arts.
It'll be the discipline thattakes.
You know, that's one of thethings that I enjoy about
martial arts is that it trulyallows you to understand that,

(23:27):
yo, this is not One day and thenyou can do back flips or
anything like that.
And this relates back tofilmmaking, where a lot of
people is like one YouTube videoor have a drone and now I can
just like no.
Yeah, like my goodness, bro, howmany times I've heard that is
just a little, it does Poke, itgets me angry, it does get my

(23:51):
blood boiling, just because alot of people mistake the idea
that you know, just because youhave something, or like Now
you're a cinema cinematographer.
Yeah, yeah so what do you thinkit takes to to really hone in
and become one instead of, justlike you know, labeling yourself

(24:13):
?

Victor Miranda (24:15):
Yeah, I think.
Well, one thing we can talkabout is the difference between
a videographer and acinematographer.
The one definition that I'veheard that I like that
simplifies it really is avideographer captures what's
happening.
You know, that's typically likewedding stiff and things like

(24:37):
that, like you're capturing, youknow, that's just what's there
and that's just camera work, youknow a cinematographer Creates
what they capture, because thecinematographer controls the
lighting, controls the sound,like they.
It's not just the camera work,but it's Everything involved

(24:58):
that's happening in front of thecamera.
So it's like think about awedding.
You know weddingcinematographers and
videographers most ofvideographers, just whatever
happening today but as weddingcinematographer, they're
bringing lights.
In addition, you know they arestaking things.

Derlis A Chavarria (25:12):
Yeah okay, that was gonna go into my next
question.
I was just because youmentioned that.
Who is Matt Johnson?
I Gotta think that man he's,he's helped us out.
Yeah, in so many ways love them.
So I would consider him awedding cinematographer, because
he knows his lighting and hesets up shots correctly.
He's in control.

Victor Miranda (25:33):
Of course he's a hundred percent.

Derlis A Chavarria (25:34):
There's nothing wrong with a
videographer there's not.
If you're a videographer,that's fine, but I just see him
separate.
Obviously then the regular ofmost wedding videographers,
where they're just like you know.
You know, even if they do setup just a light, they don't
understand what they're doing.

Victor Miranda (25:52):
But you also got to understand for Matt.
Yes, what is this?
His main thing?
Mm-hmm.
But he doesn't just do weddings.
He has his YouTube, he has hiscourses.
I'm sure he does other thingsin addition to that, but like he
is a business ownerfundamentally, you know, and
growing, and I'm sure he'salready developed Teams for his

(26:15):
weddings to to an extent, youknow right.

Derlis A Chavarria (26:18):
With that being said, what it has been,
some of your favorite projectsthat's come this year Because,
guys, just to let you know, thisis also halfway mark for us to
have this studio, you know.
So this is a big event for us,you know, to reach what we have
reached and we're so grateful tobe here.

(26:39):
I've done a lot of projects,bow, I know sort of my favorites
.
What are yours?

Victor Miranda (26:47):
That's a that's a great question, yeah no, first
of all, I know, I know, I know,like I said, my hosting job
might be in jeopardy, guys, butbut no, well, first I just say
we're proud of us and the teamis definitely a group effort, is

(27:08):
not alone to like maintainEverything that we maintain the
last six months, especiallysince we both pretty much went
full-time last August, lastSeptember August, you know.
So To make it this far is goodfor any business, you know.
And no, yeah, like we've beenvery fortunate, I loved.

(27:28):
There was a couple things.
I did a Conference in thebeginning of the year, which was
that of resort Orlando for abig event, mm-hmm, which was
great, that one I flew solo onand just a lot of running gun
Would you have to do?
Oh, actually, no, I take thatback, that's okay, it's just an

(27:51):
event highlight.

Derlis A Chavarria (27:54):
So tell us what you I'll tell you to.

Victor Miranda (27:56):
There was one that I went to Hawaii for, oh
Okay, and then in this last one,that a series of videos I did
for the, for a local art museum.
So the Hawaii one was anincentive strip held by a major
company for their top performers.
So, and one of those topperformers, they run a

(28:20):
organization that's Developedutilizing this other companies,
products and different things,and so and I work with them,
they're one of my clients and sowhen they were invited out, I
Went out and so this way I cancreate a recap video in the

(28:40):
sense to, because for them, theyuse these videos to incentivize
their other performers andtheir other sales agents.
And and different people intheir organization, because this
is the stuff that's availableto them as well.
You know so, you know withtypical marketing stuff.
So that was in.

Derlis A Chavarria (28:58):
Hawaii.
Could you break that down alittle bit further?
Just cuz I'm, I'm.
So they're doing marketing forthemselves or for so they run an
educational platform.

Victor Miranda (29:09):
Okay for entrepreneurs and the online
space.
All right, all right, so that'show Continue on, sorry and so
and they specialize in aspecific company's product line
so that company with theirproduct line.
They have multipleorganizations that that use
their product line, theirmanufacturer, and, and so they

(29:30):
always take the top performerswho are distributors for them to
on these different incentivestrips around the world.
They're multi-billion dollarcompany, massive, so they have
money to blow and they treattheir and they treat their top
performers very well, being thatmy clients one of these top
performers.
So, yeah, so we go.

(29:54):
I saw I was thrown out, went onthe incentives trip with them
and I didn't get the hundredpercent, but I mean I was there,
I was in white, you know, andgot the tag along.
I went handheld the whole time.
Yeah, because I was gonna becarrying around a ronin For this
, you know, I had it with mejust in case, but I ended up

(30:14):
just because it's getting intothe cars and in and out of cars
and this and that.
So I was like, okay, I'll gohandheld.
I worked up the Sony and in thewhole time I shot most of it in
120, because I know I'm justdoing a recap, don't really have
too much talking head stuff.
I did do some interviews therefor different, different pieces
of content while I was there,because we had access to a lot

(30:37):
of top performing speakers theretoo.
So we were saying, oh hey, theyhave personal connections,
let's get some more content withthese people, right, you know?
And yeah, it's just a lot offun.
It was a crazy experience, I, Iso.
And then one fun part, though,is we went to Kahlua Ranch and

(30:59):
From.
I didn't know this, but this iswhere they filmed Jurassic Park
.
All like most of the JurassicPark films, they film Magnum PI.
They filmed a Journey to thecenter of Earth.
The journey.

Derlis A Chavarria (31:13):
Oh yeah, with the rock.

Victor Miranda (31:14):
Yeah, they filmed Skull Island Kong, do you
think, do you?

Derlis A Chavarria (31:21):
think the rock brings them back to Hawaii
to film that Like, particularlybecause he's a wine too.
Yeah, I'm sure, I'm sure youknow he has some say, but like,
right like.

Victor Miranda (31:31):
I mean I think even the Fast and Furious movie
took Partially placed in Hawaii,not the new one that came out,
but the one where he wasinvolved in the first time.

Derlis A Chavarria (31:40):
Okay, you know.
Apparently he's coming back tothe series.

Victor Miranda (31:43):
Yeah, I'm sure yeah, money.
You know family never dies.

Derlis A Chavarria (31:49):
All right, that's gonna be on.
His grave stood right there,yeah right family.

Victor Miranda (31:56):
But, um, yeah, no, it was a lot of fun, but it
was like you know.
It's also understanding there.
I was there to do a job, so Iwasn't trying to overstep at any
point.
I was making sure that Imaximized my time and it gave a
moment to, because I was onlythere for a set amount of days.
So I, you know, I was takinginitiative, organizing the

(32:19):
people I need to speak to sothey didn't fine, I didn't do
this for you.

Derlis A Chavarria (32:23):
Well, you had to figure out everything for
them for the most part, likethey had there.

Victor Miranda (32:26):
They had the plan because they were also they
weren't in charge of theitinerary, hmm, and it's kind of
like one of those trips whereeach Individual can almost do
whatever they want to do right,so I had that.

Derlis A Chavarria (32:38):
Sounds like such a headache already.

Victor Miranda (32:40):
Where the key people were right.
I had people initially who werehelping me with the initial
logistics, so we had a base plan, but still I needed to take the
initiative to make sure that Iwas getting the key people that
I needed to get.
Of course, that I was capturinglike, oh hey, can you remind me
when you guys are leaving forthis excursion so I could hop on

(33:00):
with you guys this and that?
Right?
I remember a Funny moment thatkind of describes this is that
they weren't sure if they weregonna be able to get me into the
welcome party At all.
Wait, they weren't they weren'tsure I'm, there.

Derlis A Chavarria (33:15):
Yeah, they were welcome party, like where,
like where they were hostinglike a big dinner and outside
hosting.

Victor Miranda (33:21):
They can not.
They weren't the ones hosting.
Oh right, this is so I'm like soit was a little a bit of an
undercover thing, but it wasfunny.
So I, I just like I Basicallywe kind of won it and it was
like I was trying to think it'slike, you know, I'm just gonna,
I see people walking, no one'schecking anything for a say, so

(33:44):
I'm just gonna, yeah, go.
And I remember walking with mycamera, like off to the side,
you know, holding it by thehandle, and I'm trying to stick
to some form a group of people,mm-hmm and and just going.
And I remember passing somestaff right before the entrance
and I remember hearing as Iwalked past them Next thing I
know I hear it, hey and it saidI was like in my direction, I

(34:08):
just was like, I just didn't, Ijust kept moving, I just like.

Derlis A Chavarria (34:15):
That's not to me, that's not to me.

Victor Miranda (34:16):
I was like yeah, I heard a hey, yeah, you.
And I was like I was like notme, I kept going walking.

Derlis A Chavarria (34:22):
I didn't come up, or anything like this
or that.

Victor Miranda (34:25):
And I walked in and I remember seeing the main
guy who hired me, a client.
He's at the buffet tablegetting himself food.
I'm like, hey, I made.
He's like oh, you made it ingreat.

Derlis A Chavarria (34:36):
So they didn't come up to you or
anything after they were likenow they weren't worried.

Victor Miranda (34:41):
He's a very chill dude.

Derlis A Chavarria (34:42):
No, no, not him.

Victor Miranda (34:43):
I'm talking about nobody nobody on staff and
I started to make friends withthere.
There was a.
There was an another productioncompany there and full-fledged
production company that wasworking for the, the main
company who is hostingeverything.
So they had, like all accesspass and like their rigs were,
they had Every guy was on aronin, every guy had a different
millimeter prime lens on it, soyou had one guy dedicated on

(35:05):
the 35, one guy dedicated on an85, on the 100 and then on a 50,
you know, and so there love it,I love it.
Oh, I love it too.
That's goals.

Derlis A Chavarria (35:15):
Yeah, you know the full, you know the big
oh yeah the one, and m yeah no,I know that so Um so yeah, that
was cool to see, so I startedtalking to them, asking them
questions.

Victor Miranda (35:27):
I'm there with my little handheld, but you know
people love the videoafterwards, so that was just
like I feel like that saved youa lot, though, just because it
was a handheld and it wasn'tdone, you know, because it
wouldn't.

Derlis A Chavarria (35:41):
Once you bring out the ronin and you
bring out something bigger, thenthey started like hey, like yo,
uh, are you supposed to bedoing that here?

Victor Miranda (35:49):
Where's your pass?
Right like a new part of thisproduction company.

Derlis A Chavarria (35:52):
Yeah, that's why I love the sony ason s3.

Victor Miranda (35:55):
Yeah, I mean I had like the v-mount attached to
the side of it.

Derlis A Chavarria (35:59):
Oh, okay, and it's shotgun mic.

Victor Miranda (36:00):
So it's like a little rigged out but, um, kind
of looks like how it looks likenow with the monitor and
everything, okay, uh, but yeahno, I kept it simple and it's
just I feel like I was supposedto be there and uh, no, and it
worked out and I got intoeverything pretty much and it's
all fun.
The ranch was just cool to see.
You know, it was in the and itwas an atv, it was a utv utility

(36:24):
vehicle, oh, so it's like a,basically like a tricked out
golf cart I would love for usit's like a heavy thing.

Derlis A Chavarria (36:31):
So we were going through.

Victor Miranda (36:33):
It was so bumpy though.

Derlis A Chavarria (36:34):
Oh, was it?
Because I was about to say,just like, have the ronin and
then just be in the back andthen just take like A tracking
shot backwards.
Think about it.

Victor Miranda (36:42):
You see, like in Jurassic Park it's like fields
and just dirt roads.
That's what we were drivingthrough.
But it was cool to see thatthey leave a lot of props there.
Like there was a triceratopsskull like full life size there
and they had like the like the,the bone yard scene from skull
island.
There you can see like theheads of the, the old Kongs and

(37:03):
stuff.
Like they left, they left movieprops there.
There was, like if you watchmagnum pi, that like burnt down
house there.
Oh so and they had the signsaying like what it was.
And then one other cool fact Ilearned between went up to this
ridge where we saw this like itjust looks like a normal little
lake, right, and then the guidewas telling us how in Jurassic

(37:24):
World, that little lake you see,that's the water stadium where
that big water fish comes andeats the shark that you saw,
that white shot.
He says like the white shot isof that lake, and they did
everything in post, everythingyou saw, the entire park was
Built on top of that.
And then they were like youknow what, let's take those
mountains over there and movethem over here.

(37:45):
And like, yeah, and he was.
I was just like thinking aboutlike that's insane.
And then also, right in thatsame lake Is a little pier and
that's where they shot 51stStates.

Derlis A Chavarria (37:57):
Oh nice, yeah, I love that movie.
Yeah, it's like a little thatlittle pier.

Victor Miranda (38:01):
You know where they they spend like all their
first dates.
Yeah, of course.

Derlis A Chavarria (38:05):
So it was also right down there, so it's
like it was just a cool for meas a filmmaker, if I get to make
a film, that's probably one ofthe spots I want to go to, just
just to get a vacation Plusthat'll be a company vacation
down the line so now that you'vespoken about that, what's the
second Project that you werejust like in love with?

Victor Miranda (38:25):
Yeah, the second that I really enjoyed is this
recent project I did for Forthis art museum local right here
Um doing, we did a series.
Well, we started out with aseries of.
It's going to be eventuallyabout 30 videos give or take,
depending on artistsavailability.

(38:46):
So, like this first part was,for example, this first part was
supposed to be, I think, 12videos.
We ended up doing only eight ofthe artists.

Derlis A Chavarria (38:53):
Oh, so are you gonna go back to it, or?

Victor Miranda (38:56):
so it depends.
Some of the artists delay, someof them just flat out decline.
So I was like you know, it'swhat.
It is fair enough, but it's.
It was a mix of going to theirstudios and capturing.
So I kind of like that on thego, dealing with what I have in
front of me and making thingswork and creating In the moment

(39:18):
you have some good lights andyou know how to shoot.

Derlis A Chavarria (39:22):
Yeah, thank you.

Victor Miranda (39:24):
So it's like that that's a big fun because
it's it keeps you easy, like,yeah, doing studio work, we're
in the studio all the time.
That's just a different type offun.
Yeah, that's a different.

Derlis A Chavarria (39:33):
I really do enjoy, way more than you know,
events.
I I mean I, there is a certainlove for events that I have, but
unfortunately, like, what I'verealized is just the true love
that I have is just likeplanning a shot out, rather than
like, yeah, I'm going to thisevent, I'm taking a bunch of
shots and then I'm just puttingit all together and then praying

(39:54):
it works out.

Victor Miranda (39:56):
I mean, it's so funny.
That's another way we differ.
I'm like I Struggle with thepre-pro.
The pre-pro is a struggle forme.
It's like you know, making ashot list this and that, like my
pre-pro is a Google note, thatI'm like making bullet points
right, you know Real quick.
I like okay, this is like thebasic things, make sure I stay

(40:18):
on track and like make sure Iget the things that are
essential, you know, and thisand that, of course, but I, I
live for, like my creativityjust like opens right up when
I'm in the moment I need to makethis happen.
It's like okay, what am I?

Derlis A Chavarria (40:34):
what's the vision?
Against the wall, like what I'mtrying to make happen.

Victor Miranda (40:38):
It's like, okay, my brain I fly like, and you
see me like in the moment.
It's like, okay, we're gonna dothis, we're gonna do this and
this and that, right like.
Until I'm in that position,none of those juices are flowing
right away, so I'm just like inpre-pro.
Look at it like okay, let memake a shot list that I struggle
with that.
But once I'm like in it, I seeit, my brain starts doing the

(41:00):
calculations.
Like I feel like that me, whereall the calculations are flying
through my oh, yeah, yeah, ofcourse, like from Zaka.

Derlis A Chavarria (41:07):
Yeah, yeah, Rainman, yeah yeah you know,
it's strange when for me it's,it's, I guess, like I only get
questions in my mind with that,where I'm just like where are we
shooting it?
What are we doing?
How are we doing this?
Like, how many people are gonnabe?
What's the idea behind this?
Like I start asking thosequestions that way it reveals to

(41:30):
me, like any boundaries that Iread like Once I have a boundary
, then I know like, okay, let mework within that boundary.
Yeah, like that way it's like Ican't bring a giant softbox
with me because it's on thebeach or whatever it is, and
it's just like it's gonna blowaway.
Okay, so what is thelimitations and what I can work

(41:50):
with?
But that's just how I.

Victor Miranda (41:53):
Well, you know it's funny, it's because I ask
all the same questionsbeforehand.
I think it's for me it comesout a little more naturally in
conversation, like I asked themFor the same reasons, but maybe
not the same intent, and to saythat it's like and Like, like

(42:16):
the way you're saying you'reasking them very specifically
because you're thinkingtechnically what do I need to
bring?

Derlis A Chavarria (42:21):
What do I need to do to accomplish?
The less I bring, the betterfor me and my back.

Victor Miranda (42:27):
You know and and that's totally valid.
For me it's more like, okay,I'm not thinking at all what I
need to bring yet.
I'm only thinking about like,okay, what are the things that
will impact the gig and thevision?
And I know that I need to know,you know and Because, and then

(42:49):
I'll take.
I'm always the I overpacked,typically most of the time, I
agree for that reason, you know,I'm grateful that you do every
time.
Thank you.
Thank you, but at the same time.
So it's like it's just againdifferent way of thinking, you
know, yeah, yeah, I don't thinkit's a right or wrong.

Derlis A Chavarria (43:07):
So those are your two projects that you
enjoyed so much, and now let meask this year yeah yeah, on top
of the interview, shooting itaround, did you have to come up
with any questions or anythingelse for them?
Or was that just for?

Victor Miranda (43:22):
this one I did not.
The curator, who was theexhibition it was for, was with
me and she's the one who had.
She had a direct mission ofwhat you wanted to ask the
artist and what they bring itout, but it was more of a
conversation between them, right, and then I.
It was up to me to Bring downthose interviews into concise

(43:45):
Five to ten minute videos, butthey were like 20 to 50 minute
interviews 20 to 50 minuteinterviews?

Derlis A Chavarria (43:51):
Yeah, and did you mean you had to cut it
down?

Victor Miranda (43:54):
Yeah, my initial goal is bringing down to like
three minutes, but that wasn'thappening.

Derlis A Chavarria (43:59):
Fair enough, they.
They got that knowledge.
You know I gotta share it, butin that I guess how you were
shooting it.
Let me ask you, what was your?
You had to have like somethinglike Premeditated, like when you
go inside every, every time,cuz like you did show me them.
And one of the things I didn'tnotice which I loved and I'd

(44:21):
love anybody that does thisshoot to the corners.
Shoot to the corners, likeRight in the corner.
Oh, yes, yes, that maximumdepth, yes always.

Victor Miranda (44:33):
Yeah, I mean, I guess it's like anyone, you
learn, you pick up things as yougo and you understand what you
like.
One thing I like, and I guess Ifind is a creative challenge,
is how do I create the maximumamount of depth with the space
that I have available.
No right you know, because Ithink it's just, it's a great

(44:53):
look when a scene has like depthand especially when there's
leading lines.

Derlis A Chavarria (44:58):
Yes, you know, yes, absolutely, and an
interesting background.

Victor Miranda (45:02):
Yeah, exactly, you know.
Or like, if it's notinteresting, how can you make it
interesting?
Or like, hide the stuff thatyou don't want people to see?

Derlis A Chavarria (45:09):
like or how do you make somebody pop out
Exactly on top of that becauseyou had you lit it out
beautifully.
Obviously, all them were onelight.
There you go.
That goes to show.
But a powerful light I'm sure,not just some measly like oh I
just bought this, you know, atHome Depot, or something like
that, with a softbox.

(45:30):
I'm gonna see, yeah, yeah.

Victor Miranda (45:32):
It was.
I believe, is this my 48 aboveus?
It is.
So is this softbox and the thatJVM 300 watt, I think okay,
yeah, yeah.

Derlis A Chavarria (45:43):
No, it came out beautifully in that, but one
of the other things that I feelpeople don't take into account
is a wardrobe.

Victor Miranda (45:53):
Yeah, yeah, that comes back and forth and it's
also, like you know, that's partof our responsibility to help
inform the clients right.
Yeah, and because most peopledon't understand that, like,
when you're going for a video,there's a lot of different rules
that are happening that you'reprobably unaware of.

(46:14):
For example, contrast is atypical one, but, like, if
you're wearing a black shirt andthe background so happens to be
black, you all of a sudden turninto a floating head because,
even though you can look at thelike with your eyes, oh yeah,
you like with their eyes.

(46:35):
You see the oh.
I see the person standing infront of the black brown room
with a black shirt and it's veryeasily distinguishable in
horrible lighting.
Like, what's the problem?
Cameras are not as good as oureyes, as as amazing as they are.
They're just not.
And we're color gradingeverything.
If you really want things topop and this and that, when you
have the same color back to back, they will blend or like even

(46:59):
in the same row, dark color ondark, you're not gonna pop as a
subject.
If you start looking atdifferent Symmetography and film
, especially commercials, you'llnotice that like light colors
on a dark background or Darkcolors on a light background
makes the character and reallyseparates you, you know, and

(47:20):
there's obviously in between.
and then there's obviouscreative choices you can make
where it makes sense to do theopposite, right, but I'll break
the rule for whatever reasonexactly, but, like in most cases
, that's what you want you knowone.

Derlis A Chavarria (47:35):
One of the scenes and this is from a
cartoon that I loved when theybroke this rule was Samurai Jack
.
Oh yeah yeah, one of the bestshows I've ever seen.
The creators just, you know.
Powerpuff Girls, dexter'slaboratory.
Yeah, he just he just goes downthe list.
But one of the scenes that Iloved was Samurai Jack came into

(47:56):
confrontation with a ninja andin it it was like he basically
hid in the white, like hedressed up in white and the
ninja wasn't in the black butthe white was.
Like how they did that was soincredible, because you kind of
only see the sliver of his eyesand then it sort of got lost in

(48:16):
it, yeah, and in the white, inthe dark, and then they were
just clashing in between that asthe, as the darkness was
starting to swallow the light,yeah, and so he was running out
of space to you know, hide into,in, in his yeah, there was a
lot of artistic metaphorshappening in there.

Victor Miranda (48:32):
Yeah yeah.

Derlis A Chavarria (48:33):
So it was just very, for, even as a kid,
when I watched that show, I wasjust like blown away by just the
choice that they did and howthey created that scenery.
I was just like, whoa, yeah,you know, like I agree, yeah,
yeah, one of the other thingsthat I wanted to ask you because
it's it's been what, six monthssince we started this, in a

(48:54):
year since we we've opened upthis studio is some of the
initial Investments that you'vemade into this equipment based
what has been your favorites,what has been your least
favorites, that you've been likethis was a waste.
This has been such a gamechanger for me, like whether
it's software, whether it's justyou know hardware or you know

(49:19):
like things that you would.
I wish I could buy another oneof these.

Victor Miranda (49:23):
That's good.
I Think that's a good questionand recently, in this past year,
yeah, just this year, this year.

Derlis A Chavarria (49:32):
Yes, this is my lifetime.
Sorry, buddy.

Victor Miranda (49:35):
Yeah, yeah, yeah , I would say One mm-hmm, which
is is a simple one, femalebatteries.

Derlis A Chavarria (49:44):
Oh, I do love them.

Victor Miranda (49:45):
Yeah, they, they definitely like.
Not having the hotspot anymoreis a is a blessing.
Yeah, you know.
I didn't know that I have youknow, even when I did these long
conferences, like I'll run thatbeam out Empty in one day.
But yeah, my poor camera, Iwork it to the bone, you know.

(50:09):
So that's one Another I wouldsay.
Another thing I'm grateful foris that that meant photo tripod.

Derlis A Chavarria (50:16):
Oh, yeah, I mean we still use it.
Yeah, I bought one just becauseof yours.

Victor Miranda (50:21):
I still, yeah, I still run into it.
It's like there is Nothing thatreplaces a good, fluid head for
tracking.

Derlis A Chavarria (50:28):
But the thing that I love about this one
, I forgot which, what, what,what it's called?
Is it a five or one?
What, what is it?
Well, whatever the name of itis, yeah, it's just the.
The reason why I had to buyyours was because of just that
the center pole, yeah, yeah,where you could just raise it up
versus, versus the, thecounterintuitive.

(50:50):
Like I love how the othertripods are built too, but like
just that.
You can just like oh, I justneed this little bit of raised
instead of messing with the legsand raising it up.
That has been such a gamechanger for me as well, just
like when I take it to othergigs, like corporate gigs.
Oh yeah, saves me so much timebecause save you space yeah.

(51:13):
But just like how people are soimpatient in those seconds of
just like I need to move allthese legs, it just doesn't work
, like you know.
Just me raising it up,unfortunately, you know it's
funny.

Victor Miranda (51:25):
It's like these are some simple pieces of
equipment but and they're alittle on the pricier side, you
know, there's like a couplehundred for each of these types
of piece of equipment, like thetripod itself.
That's a $500 tripod, of course, but it it just it makes a hell
of a difference, because Iremember I used to always think
to it's like I can get one forlike 60 bucks.

(51:45):
You know, you know they're like, they're cheap, they're
inexpensive.
I'm not really making money butit's like you know it's it is.
It's a weird night and dayexperience where it's like you
don't know until you know a typeof thing, but it makes a heck
of a difference.
And then I could say that abouta lot of gear in here.
You know, just getting betterlights has been a great

(52:07):
improvement, Getting a real goodon-camera shotgun mic.
Where I'm that's and has aHeiser that I have it's
beautiful and and the fact thatI can be in post and I'll listen
to that and I'm like, actuallyI'll take this over the lapel.
The roads, yeah, but even theroads having internal recording

(52:28):
that such a save, a lifesaver,yeah tell the people how you
need to have redundancy you needdone in seas.
On redundancy redundancy islike man no it because it
happens too often.

Derlis A Chavarria (52:42):
If you have one, Like one dedicated
recording point, it's like ifthat goes for whatever reason
and it does Happens, it's not oflike, and I love your quote
when it comes down to this it'snot, it won't happen, it's.
It's not about if it happens,is about when it happens, thank
you, thank you, love that quote.

Victor Miranda (53:03):
And it's like, for example good example is
those roadmikes Because thefirst iteration didn't have it,
I'm so happy, the second did,and now so many have followed
suit, like the DJI's version anddifferent Holly and I's version
.
I think too that with theinternal recording, I've had so
many times that I have therecording going into camera, but

(53:24):
two things are happening.
What's going into camera?
It's going through the cameras,internal preamp.

Derlis A Chavarria (53:29):
And they do great.

Victor Miranda (53:30):
Yeah, there's shit, unfortunately, and
Secondly, what's happening alsois sometimes you open up the
world to wireless interference,which I'm very familiar of,
right, and you can have aperfect recording camera and
that's great to have.
But then age, see, you know, inthe middle of the guy's talking
in camera, you hear that you orthat's you know sound, of

(53:50):
course, and uh, but withinternal recording you can just
pop that in and replace thatpart, replace the whole thing
and and thank goodness for road.

Derlis A Chavarria (53:57):
They actually stepped up on top of
that where they Now.
You just plug into the Computerinto the road and it works as a
rocket.

Victor Miranda (54:08):
It works as an interface to now.
Oh, like you can take the roadthe receiver.
Yeah, plug a USB C into yourcomputer.
Your zoom over will recognizeit.
Oh, bs will recognize it as anaudio input.
Lovely and then you put intothat.

Derlis A Chavarria (54:26):
So let me ask you these are things that
you've loved as a purchase.
What is something that you canput like this was a waste of
money?

Victor Miranda (54:34):
Yeah oh man, I am slowly starting to feel like
that about the drone.
Ah, I am.
I am not only because it's justlike it.
I think it's still valuable andI think we will get the value
out of it, because when we douse it it's great.
Yeah, it looks fantastic.
It's just the amount of thatwe're using it.

(54:55):
I feel like it's less and lessand less and less as we're going
, as we're going further.
Yeah, I feel like maybe it's oneof those things that it drops
and then we're gonna get to thislevel of client that it's just
gonna go back up.

Derlis A Chavarria (55:07):
Maybe.
Yeah, no Fingers about that.

Victor Miranda (55:10):
So because it's like you know, we're doing more
things, things that require anaerial Right, and I know people
that, hey, people make entirelivings and just being a drone
pilot, of course.
So it's not the knock, it'sjust for our use cases.
It's a it's a very expensivepaperweight that doesn't leave
the studio very, very often.
Outside of that, I mean,there's been like no trinkets

(55:34):
that I've gotten that were likefor my cannon.
There are different things thatlike little stepping stone
things that were good in themoment.
Mm-hmm and then a second youadvance the primary piece of
gear.
It's like, okay, I don't needthis anymore.
You know Mm-hmm.
So it's not that I regretbuying them.
It's like now they're just kindof obsolete because now we've

(55:57):
advanced past them.

Derlis A Chavarria (55:58):
You know we outgrew them, of course, yeah,
so there's definitely, I feel,like Ways we could have spent
better in the beginning, like ofcourse, yeah, and that's
something that we've and I'veseen with you, like obviously
you guys haven't seen, butyou've guided a lot of Well,

(56:21):
I'll say like this you mentoreda lot of people within this
industry and, from what I'veseen, Appreciate that.
Oh yeah, no, you, from businessto technique, to equipment, to
everything else, and in thatstance of just like making sure
that they had the proper Gear orthe just the proper mentality,

(56:44):
like I just want to ask, likewhat would you Preach to them or
what would you just likeencourage them to do, you know,
yeah, so it's like what would Isay that someone's starting out?
well, not even starting out,just like out here, yeah, yeah,
just like, because I think youyou even talk to intermediates

(57:06):
now, like, yeah, I feel likeeventually you're gonna go into
coaching, like you know,probably.
Yeah, yeah, I feel like that'swhat the industry is as as a
whole, like you become such aprofessional that eventually
every you just turn into a coach, just because it's also a
revenue now.
So, yeah, I mean.

Victor Miranda (57:25):
I personally.
I personally, you know, lovejust helping imparting my
experience and different thingslike that.
So, especially because you knowpeople more talented than they
think, half the time you know,but also realizing that you know
talent won't take you so far,you know, of course, and, yeah,

(57:45):
I think the biggest thing is Behumble enough to know that you
should be self-educating at alltimes.
Like you will never knoweverything.
You will never know enough,like you need to just get on the
train is like not just sayingup to date with the latest tech,
you know, that's like.
I think that's like the catch22.

(58:06):
We can get so lost.
And looking at tech, Right, Iwas like oh, but this camera
just came out and does 8k, 60instead of 30 yeah, you know,
and it's like you know and it'slike it's getting like
ridiculous and it's cool.
I mean it's so cool.
I mean the night comes new.
You know, yeah, with the rawformat that's crazy, but more so

(58:29):
Getting down, making sure youhave a grasp on the basics, like
really have a grasp on it,getting experienced.
Don't be afraid to get youryour hands wet, experiment,
experimenting and just tryingthings and then understand and
value self-education.
You know there's a lot of greatcourses out there, some, yes, or
more expensive, so we're notfinding a mentor that really

(58:53):
helps or someone in your fieldthat's just like hey, he's
working professionally.
Let me at least try to pick asprain and if you don't know
anyone, like, don't be afraid toDM somebody that you respect,
you know in the world, you,you'll be surprised how many
people are likely to respond andbut in, if not, that just hey,

(59:16):
we all done in the beginning,you, to get self-educated.
If you're young and Schoolmakes sense.
You want to be more in theproduction house, maybe, but
like school is really more.
You want that certification,you want that specialization.
In my opinion, Network andnetworking is One of the crucial

(59:36):
like that should be one of yourpriorities is get to know the
right people, get those ins andindustry.
Those are one of those placesto get that is from school and
also chance to find a team thatyou like to work with too.
You know those, those are theopportunities you get from that.

Derlis A Chavarria (59:52):
If I'm from Mr Black, mr Mars black.
Yeah, it was that, yeah, that'sa watch that park watch that
podcast great episode, yeah, allof them, just watch them all.
All of them.
Just watch them all.

Victor Miranda (01:00:04):
But, and then the other side is equipment.
I mean, I think, as long asyou're hitting, you can't
neglect like these three areas.
You know, yeah, you want to hitlighting, you want to hit audio
and then also your visuals withyour camera, you know.
So I Mean nowadays, as long asyour camera can do 4k and can do
At least 60, I would say thatcovers most of your basis in

(01:00:28):
most situations.
You know, of course there'sdifferent price ranges even in
that nowadays, but, and justunderstanding those things that
will help you out most senses,you rather spend more money on a
good lens to pair with yourbody, then something like that,
if the budget's an issue.
And then, and then lighting,you want at least one good,

(01:00:51):
strong light, somethingdefinitely over a minimum of a
hundred watts, and not a panel.
No, no, panels are good foreffects, but they're not a key
light, they're not a primarylight and you can make any C O B
Into a panel like just byputting on the future.
Yeah, 100%, you know.
So if you want somethingversatile, there's definitely on

(01:01:15):
the lower end there's lightsthat have the RGB capabilities,
stuff like that that Gives you akey light power.
But you definitely want thatpower and one layer of diffusion
, you know makes sense that.
So that'll be, and if you getthat and then you also get one
piece of good Audio gear.
Be it like if you're doing alot of talking heads, maybe

(01:01:35):
something like a road or the DJImic or some formal appell, or
if you're doing a variety ofthat and other things like Big
area stuff, then looking into oncamera mics or shotgun mics.

Derlis A Chavarria (01:01:49):
Yeah, as you're speaking, I'm gonna, I'm
gonna be doing the editing tothis, so I'm just gonna put
cha-ching, cha-ching.
Cash registers is going onSaying things yeah, yeah, it's
just, it's only like a fivethousand dollar investment, now
seven thousand, but yeah, nobiggie, yeah but I mean In any

(01:02:10):
creative business, that's whatit is.

Victor Miranda (01:02:11):
I mean, if, as a so as a person who's like a
serial creative, tell them, likein drumming, a drum set, pack
to symbols, sticks, everythingyou need, you're spending, I I
can't imagine you spending lessthan a thousand.
Right, like, unless you getlike an electric kit, that's

(01:02:32):
like three hundred four hundreddollars, but like you want to
gig out, you want to have like areal kit.
You know it's like you'respending money.
Of course, same thing like inphotography you still have to
buy a camera and everything.
You have to buy a flash, thisand that.
Yes, there is definitely waysto build that stuff up and if
you get one of the core three, IRealistically think you can

(01:02:53):
spend less than a thousanddollars.
You know, I know, and if you'restarting any creative field
like this or any side hustle ingeneral, I am a big advocate of
sponsoring yourself, which whatI mean by that is having your
nine to five.
Do not leave your job.
Have your job, kids.
You heard of your first.

(01:03:13):
All right, have a job that hasa predictable schedule, not like
rest, like yes, restaurants,stuff like that can be
predictable.
That's good money can't be butlike having something with a
predictable schedule, that whereyou can, on all your time off,
you can do your side hustle oryour creative venture, because
that will help you sponsor your,your mission, and then you

(01:03:36):
reinvest that money and then youlet that grow till that income
becomes greater than your 9 to 5, thus replacing it.
Then you can leave it and thenyou can continue on.
And that's what also isimportant to just start
understanding Financial literacy, even if it comes down to like
a zero-based budget which youcan Google.
Mm-hmm so, and just having thatWell, that would just help you

(01:04:00):
in life in general, justlearning how to zero-based
budget.
You know Fair enough fairenough.

Derlis A Chavarria (01:04:06):
So, on that note, I think we will end the
podcast here today.
Victor, thank you so much forbeing the guest today and I will
say you can find us at thevision maker podcast, youtube,
instagram and Anything else thatwe you want to add your victory
underscore vision maker.

(01:04:26):
You know, find him there, sofind me at.
At Chavarria diarrheaChronicles.
No, excuse me.
Chavarria diarrhea diary.

Victor Miranda (01:04:39):
Well, thank you so much for having me on this
podcast.

Derlis A Chavarria (01:04:42):
It was such a pleasure.

Victor Miranda (01:04:43):
It's such a long ride to get here.
Yeah and yeah at Victor M Onthis core vision maker you can
find me on Instagram one lastthing.

Derlis A Chavarria (01:04:52):
I got a shout out my mom's.
She's out here.

Victor Miranda (01:04:55):
She's just a monitoring and taking care of us
, thank goodness shout out toall the moms out there holding
us in our lives together, ofcourse.

Derlis A Chavarria (01:05:04):
All right guys, night Peace you.