Episode 49 - The Camera Gear you need to start in sports videography

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iHeart sport Sports speaking of speaking of

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injuries and sports is that do you got your L and your R right I got my L and my R right

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make sure because it makes a big difference I want to make sure that you understand that right now you don't have your glasses so I don't I know I can't

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see a darn thing probably can't see to talk no I can't see a darn thing speaking of seeing uh Pro tip if you

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just want a little bit of Bloom yeah don't waste your money on Bloom filters

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just don't clean your clean your n or your lens or your lens you'll get natural natural Bloom you'll

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have a small ecosystem on the front of your lens yeah there it's hard telling what's on the front of this one um

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probably some small funi between football gyms Sports construction

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sites warehouses I mean you know um speaking of football I am hecking pumped

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because football is back we've actually been out on the grid iron a little bit absolutely

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absolutely I'm digging it I'm digging it yeah I I joked Sports jokingly posted a

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reel the other day said something to the effective do you need a do you need a cinema camera to

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uh to shoot football the answer's

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no the answer is no that hurts but I want it to be yes let me tell you those

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black magic cameras I want it to be yes because I I'd shoot everything on those if I could listen the black

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magic cameras they're they're magical I mean yeah for for for real I I know I

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know we beat that horse to death but enjoy we love them they're also super quirky yeah and you got to

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know you're super plasticky build quality yeah questionable um but I mean truly for

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2500 bucks or less yeah I mean true for real yeah if you get an older or used

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one way less or when black magic runs their crazy sale at random times during the year you get one for like 1800 bucks

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but it's like for that price amount hard to beat hard to beat it's hard to

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complain about a little bit of plastic hard to beat I'll take it I'll take it absolutely so we took ours out to uh I

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think the first game we went to this year was North Green West Green here locally in good old Greenville Tennessee

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here locally got her feet wet you know got her uh got her eyes back on football

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hey and by the way I didn't get a concussion this year not yet I mean the the year's not over but Year's not over

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no concussion th far still time to to to get that uh check or that box checked I

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proactively avoided three plays that were coming my way I actually almost got my legs taken out you did go you did

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almost get your knees taken out but uh Garrett is concussion free thus far which is good because he doesn't have very many left I gotta I gotta shout out

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Dallas Ray Malone because Dall he I have I I still to this day do not understand

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why this block was still going on MH so far away from the play the the the the

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Run literally went left and this I'm on the the right side we on the right side of the Run yeah why this guy's you know

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I mean I guess tenacity and you know doing his job coach but I I'm looking on

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the long end of my 200 M that guy to Africa I mean he took him to another continent yeah runs going the opposite

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way and he's still doing his thing but yeah I about got my legs taken out Dallas pulled me aside I was like I had

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no clue cuz I'm literally focused in on that 200 mil on the other side of the field I don't know who that kid is but I

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would dare say he's not the brains of the team but he is the bronze he's the bulldozer had to have looked good in the

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film in the film room nickname the Dozer that's what we need we need more of that if y'all could block like block like

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Dozer whatever the dude's name is Bruiser Cruiser insert insert tough name

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there we uh anyways we're talking football today we we are uh

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specifically specifically what you do need yeah in the event that you want to start Sports

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videography because that's that's a that's a really good way to start out it's a hot ticket it's a really hot ticket are in uh Falls here um yeah it's

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a really good entry into maybe making some dollars with cameras psls and pig

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skins all those things um so that's what we're going to talk about what do you need specifically with gear yeah um

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because the skills will come but what do you need to get started in sports videography and because it's football

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season we'll probably kind of keep it more tailored towards football I like that but

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first s your sponsor sponsor today's episode none other than us Jared and

4:54

Garrett here at motion Creative Media and our Blue Collar Lut folks if you are looking for a drag and drop plug andplay

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below yeah I would love to see the results that you get from the blue colorl M um you can send that to us in

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an email message DM whatever yeah U but Jared thank you for sponsor golly but

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Jared thank you for sponsoring this episode of faith and Frank hey I appreciate you too sounds like we both did this together sure did sure did meet

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and ters get us the meet and ters we are talking psls pig skins and what you need

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to shoot football so yes what do you need to shoot football and and and Just

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Sports in general this this first one can can just go sports in general okay I know a couple episodes ago we were

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talking about uh frame rates and shutter speeds and frame rates uh and what you

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should shoot and we said the rules 24 yeah that's true for basically anything

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that's not Sports yeah yeah with sports you need a camera that shoots at

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least 60 frames per second why is that Jared well for one if you ever plan on slowing anything

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down which a lot of sports looks really a lot of sports look really good there it is I'll get it I'll get it out at

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some point Sports looks Sports look good in slow motion yeah cuz want to see that

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catch that you made at the back of the end zone where you got one toe down and you're just stretched there reason why

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like at the NFL level broadcasts are done at 60 frames a second because when

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they go to do the replay Booth to to see if obj was in when he got that

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one-handed grab he's always in he's always open they've got the frames to oh

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yep he was in whole time held maintain possession all those things but specifically if going to be doing sports

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videography broadcast is going to prefer 60 frames per second and specifically if

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you're going to be editing anything like if you're going to be writing to an SD card or something and then you're going to be doing something with it in post

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production you're going to want to be able to to slow down to slow it down you need camera and smooth that needs at

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that shoots at least 60 frames per second yeah um bonus Kudos if you can find a frame that shoot or find a camera

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that shoots 120 now 120 does look really nice 120 frames a second I know some of

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the Sony offerings yep uh offer that at pretty affordable rates the the the quick ticket that you'll see or the the

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thing that you'll notice really quickly when you go to start searching

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is price starts to go up the higher the frame rate AV higher the frame rate availability higher resolution AB

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ability as well um yeah those start going up and also too another factor into it that I always tell people to

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consider when they are looking at a camera um specifically for video and specifically in this case with higher

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frame rates is does that camera crop at all as you start increasing those frames like we shoot on the Lumix S5 tws and at

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60 frames in 4k they start cropping a little bit yeah uh all the way up to 120 frames in 1080 we get no crop right so

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be aware of that be aware of those settings for whatever camera you look at which could help you in some settings it could help if you have the lenses right

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like if that crop is going to allow you to get yes better reach then that's a good thing but it can also be a

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crippling thing so like no like okay and perhaps in a gymnasium that crop's not going to help

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you right we utilize it on the football field that may be a that may be a bad thing for you so know that too like um

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know the crop factors of of whatever camera you buy and a lot of them this is especially on the the the prer the the

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lower end level the entry level they are probably going to have some sort of crop

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factor yeah when you get into those higher frame rates it's just a processing power thing it's a it's a it's physically a limitation with the

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tech and the cameras yeah so because they're trying to keep it accessible to to the masses absolutely so yes

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something that shoots at least 60 frames per second for that good buttery slow-mo slow that stuff down moving

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on okay

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Sports you're gonna need a fast lens and what do you mean by fast like it can run

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a 44 4 obviously your lens is not moving and or running so it's not it's not fast

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in that sense but fast in the sense of its aperture right it's f- stop and the reason why that matters is specifically

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with uh football um you may start in the daytime yeah and here soon you won't

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even start in the daytime right but it's going to get dark yeah obviously there are Stadium lights so you're sitting

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here thinking well there's plenty of light but your eye sees it different camer camera does so yeah to a viewer it

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seems perfectly illuminated there's no dark spot there it's great cameras don't

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work just like your ey do um so you're going to need a fast lens preferably

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something that is probably at least f2.8 yeah maybe faster um the only thing I

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would caution with faster and and this is a point that we've not made but just a little sub subreddit here the faster

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the glass you may have trouble keeping things in Focus that's true with things moving quickly so that's I think 28's a

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good happy medium 2 28's probably yeah that's probably as as fast as you're going to get specifically with you don't

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want to you don't want to be out there with like a one two I mean you're going to let all the light in the world in but

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man good luck good keep good luck keeping your subject um and even if you've got really

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good autofocus which you know your canons and your Sony they've got really good reliable autofocus they're going to sit there and it's GNA it's going to

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struggle so you know even if you're lens shoots at 28 MH I would probably say

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shoot it at 32 35 give you your camera a little more leeway I would say even like

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five six until you just need the light you need the available light but what you're going to quickly

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realize in in in in local gymnasiums they're very poorly lit uh and and often

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times nighttime uh stadiums are poorly lit regarding cameras so know that

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you're probably going to need uh a pretty fast lens May really struggle with like a kit lens yeah actually

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you're probably going to strugg You'll prob struggle most of those at the fastest are like a 28 to four yeah it

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varies VAR variable inde most of them though are like a 35 to 56 you're going to be better off if you get something

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that is steady throughout throughout the zoom range so like one of the one of the most versatile lenses that I own is a 24

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to 105 it's only an F4 yep now Canon does make a 24 to 105 F2 28 or 28 and

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it's RF line but it's massive and it's expensive but if you were to get a 24 to

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105 at F4 you're still going to have more consistent results than something

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that varies as you're as you're punching in and out um so yeah probably going to want to get as fast a lens as you can

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possibly afford well and I think as far as Fast Glass goes and glass that is good for sports I think the go-to for

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most people is a 70 to 200 F28 that's kind of like the staple especially in

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football oh yeah um basketball's a little bit different depending on the size of the gym and and where you can

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actually yeah where you can be um but a 70 to 200 especially on the football field is basically the Holy

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Grail yeah you think about how far away it is to the other sideline and you're like oh I can see it right but to to get

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a pleasing composition that's not that's not boring that's not like cluttered with yeah all 22 teammates because

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that's as you know as far as you could get zoomed in 7200 is great um that's going to help you in soccer yeah going

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to be very helpful on even into like softball and baseball because you physically can't get any can't get yeah

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you can't get in the diamond with them now I mean basketball different situation you most of the times you can

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get around the entire Sidelines and probably Rock a 24 to 105 you're never that far away from the action um but

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yeah 70 to 200 so most 70 to 200s offer an F4

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version or an F28 version um four is going to be cheaper four is going to be cheaper F28 is obviously going to be

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more expensive it's going to be faster right we just talked about needing more light that's going to be more helpful

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but it's going to give you one more stop of light if you can't find a 70 to 200

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uh and either of those to make it into your price range I would try to get a 24

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to 105 yeah or I'm I'll throw this one in there as a curveball if if you are a

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Sony shooter or a new Sony shooter um Tamron they make a 35 to 150 that's a 28

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throughout yeah interesting yeah 35 to 150 that's a very usable range that's

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actually a super versatile focal length yes yeah so that that one's fairly new but if you're a Sony shooter and I don't

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know if they make it for any other mounts right now I know that they rolled it out for Sony first so Tamron has an e- Mount that's 35 to 150 that's

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actually super personal yeah that'd be a great lens if you're a Sony person I would I would heavily look into

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that lens and it's actually very affordable um that's awesome actually yeah I wish others would follow or

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Tamron would make it for others well so that's kind of the the the

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if you've got one camera One camera and one lens you you've got to make choices or

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you're that guy on the sideline who's constantly switching and I don't care to switch I'm fine with switching but like

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you're you're you're potentially going to miss out on action if you don't think

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about those in advance and really plan your shots out well especially on the video and I think on the video side it's

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almost dang near impossible depending on how much rigging you do to your camera I

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know for us specifically like I can't C I can't carry a second camera body when I'm shooting no because we we rig our

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cameras out to make them more functional for what we're shooting right so yeah if you're rigging your camera out at all

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like you're probably going to need one lens to rule them all yeah um and for football specifically I would say a

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70200 um or if you're the Sony guy that Tamron Lens that we just mentioned too like I said I do wish that there were

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more versatile focal lengths um but I also understand physical limitations

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optically like why a perfect lens for a football truly

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would be like I don't know 35 to to 600

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yeah that'd be like pipe dream I was going to be somewhat reasonable and stop it at 300 but I mean that just that just

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doesn't doesn't exist it's not feasible the limit is not well the limit does exist there so yeah 70 to 200 you're

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going to be safe very safe even on like a crop sensor camera that's going to be really helpful at like a 100 to 300

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which is nice very nice very helpful um so we actually shoot both um

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when we are on the sidelines I typically have a 70 to 200 on and you had a 24 to

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70 in the last game but last season I shot the whole season on a 50 oo but I

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was in crop mode so my 50 was affec effectively like a 75 that brings up

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another point I normally do really enjoy primes MH prime lens as that is but I would

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recommend a zoom lens yeah you don't want to be like me like I I shot the whole season on a prime um and I I was

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zooming with my feet with my legs yeah which sometimes you physically can't yeah physically you can't I did that my

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my mentality behind that is I'm the guy that's typically like not afraid to go get up in the action which is why I got

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a concussion last year but um you know I'm going up to huddles I'm going up to timeouts I'm getting up in the coach's

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face like those are things stylistically that I do to where I didn't really need a zoom it probably would have been

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helpful this year though I have swapped to a 24 to 70 because sometimes that extra flexibility is Handy yeah being

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able to physically change your focal length when you physically can't move your body that's that's that's super

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helpful and it's already come in handy for me on the sidelines in game one so so yeah 24 to 70 we we collectively

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between the two of us as an entity cover cover from 24 to to 200 which quite a

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few focal links right there yeah but we're two guys if you're just one person again 70 to2 200 safe bet yeah yeah

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you're going to do well with a 7200 so I would suggest getting a good zoom lens

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with very versatile focal lengths yes second one comes in the way of basically

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saving your eyes yeah and this isn't the second thing actually I misspoke this is like the fourth thing but well it's like

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the fourth thing but we kind of combin two and three so that's okay that's okay saving your eyes how do you do that with

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a monitor with a monitor so I need a big computer monitor I mean the bigger the

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better that I'm carrying around on these at these football games the biggest monitor that you can fit on top of your

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camera and still be comfortable yeah um do it to it and and what we mean by

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monitor is literally an external yeah an external display for your

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this question actually came up to us last year we were on the sideline footall game one of the guys that was

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also shoting on the sidelines came up and said hey you know what's that on top of your camera told him that was my monitor let him look at it he's like

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dude that's awesome you can actually see what's going on right you know because most time we're looking at these tiny little tiny little camera

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LCDs um they're not made for things like oh making sure I have critical Focus or

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can even see what I'm composing here yeah I don't think they're really made I'll just I'll go out on limit and say

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they're not really made to consistently look at for hours on end no no not when you've only got a 3in display or a 2in

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display excuse me um so yeah external monitor is key and I would say if we gave like a short little ranking list

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maybe from lowest cost to highest cost um I would say number one go find

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yourself an adamos Shinobi yeah the original they have the they have the Mark I out now but the original shobi

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which is what we still shoot with to this day we've had our shobis for like 400 37 years at this point in time um I

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don't know if they're that old but yeah they're pretty old I I know they're at least 5 years old yeah for sure um so we've had the shinobis now for at least

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five years they are reliable they work they're what a four no they're 5in display yeah uh 5 in display very bright

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even in sunlight um they offer a lot of different exposure tools for you like false really just video specs and and

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and tools right that are going to help Focus peing critical if uh especially if

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you're manual focusing yes you're going to need focus peeking yes I I was explaining that on the sideline uh that

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that that football game actually to Dallas he goes what's this what's this green aura around these folks I was like oh that tells me what's in Focus right

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it's my focus peing yes because otherwise I'm left to my own eyes to try and

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guess that looks sharp yeah only to find out that it wasn't get get yourself a

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good reliable monitor I would say on the expensive end if if you've you know got some extra cash look into the small HDs

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oh yeah those are those are nice those are Honeys cuz a lot of those offer like camera control as well huh um so a lot

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your small HDs you can actually control your camera from the monitor versus us with the shoes they are strictly a monitor um there's even cheaper options

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like your your you got free world you got Port Keys you got all kinds of different you got Lily put all kinds of

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different monitor uh Brands out there as far as brands that I know like and Trust number one would probably be atos um

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small h is obviously a great brand and I I would say a close third place would be like P keys yeah um they're also a good

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brand and basically probably what you would notice with those cheaper ones is is probably just inaccuracies with color

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inaccuracy with colors and I I would say the UI is probably not as intuitive as

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far as the user experience but if that's what you can afford it's still going to be still better than the camera LCD way

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better than looking at the camera LCD for four hours at a time day all day so get yourself a good Monitor and actually

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see what your SHO while you're sh going to yeah because here's the really cool thing about those monitors especially if you have like you

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know a cage or a couple magic arms and stuff you may have noticed already if

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you've shot a football game or two only looking at the LCD your neck hurts yeah your whole body

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hurts ergonomically it's just not meant it's you cannot get that camera in a

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place that's easy to hold right for that long a time and look at the computer so

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like you can you can hold camera way down here raise monitor Place monitor

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however you need to to where you're comfortable and it's just your body's going to thank you in more ways than one

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very helpful very helpful um on the Practical side and and just again you'll like having a monitor listen fall is by

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far my favorite time of the year for plethora of reasons

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um one of the downfalls MH is that that you know Winter's on the

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horizon which means it's getting dark earlier ultimately brings us to this

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final point or this uh the last point I would like to mention regarding camera specs you're probably going to be

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shooting after the sun goes down yeah which means you need a good low light performer you need you need a camera

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that can perform well and and basically what I mean by perform well is not have a whole lot of digital camera noise yeah

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because you had to raise your had to raise your ISO um so you're going to need a camera that can perform well in

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low light situations now I know we kind of talked about that

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on maybe even that same video uh that same topic where we uh we talked about

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settings that photographers get wrong with video yeah yeah we talked about ISO and we talked about is yeah if you're

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which if you don't understand ISO go back to that video back proba one to watch I can specifically about two

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camera manufacturers right here Sony their cameras even probably to like the

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6500 I believe those those also have two Bas I don't know if 6500 does but all of their fullframe options do and then the

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fx30 has two bases so but the 30 is different I do know that so like Sony

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they're they're gosh they are probably the most monstrous in low light yes

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because they literally their first base is 800 MH and their next base is 12,000

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,800 and it's a clean signal and it's clean signal clean signal so you're going to be able to shoot in the

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porously porously the most poorly lit stadiums gyms if you have one of their

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Sony bodies with our Lumix bodies it's pretty good range uh first base is 640

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which is perfect throughout the day and then you bump up to 4,000 ISO once it starts to get

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dark just know you can raise any camera ISO uh um regardless of its manufacturer

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but you the the lower the worst that they are in low light you'll notice it you're going to have more noise more

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noise and it's just GNA it's really hard to visually I mean verbally explain what visually takes place yeah and you know

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digital noise is not the end of the world there is software now to clean it up but it's pain in the butt and it's labor intensive on your computer um even

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if you have a great computer yeah um so yeah if you can budget a good low light

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performance camera I know like again these Lumix cameras um have a 640 and 4,000 I mean the the s52 is a very

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budget friendly option for a lot of people yeah um Sony has the fx30 they

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have their A7 R4 now or their a74 um Canon they've got like the r10 r7s

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they've got the r six R5 all those um low light performers have have dual base

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isos so look into getting a camera that does have dual base um you'll want two isos to work with

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I'll play Devil's Advocate because truthfully the reason why you shoot log

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is to get the most dynamic range out of a camera at

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nighttime the range physically isn't yeah as much yeah you may not even need

25:49

log yeah you if you're if you're shooting with a cannon yeah and you're shooting in standard picture

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profile find out what limit you can push your camera to before it starts to get

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way too noisy and just stay below that like maybe you're shooting standard picture profile and you find that oh

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gosh I can shoot really clean all the way up to 4,000 ISO if that's if that's

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the case shoot that if not you need to compensate in one way or the other or just maybe deal with a slightly darker

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image um so yeah be mindful that you're probably going to be put into some

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you're going to be shooting in some low light scenario I was going to say just plan accordingly and and try to find the

26:31

camera that a fits your budget the best I'm not going to tell you to go out and buy a brand new camera because I don't think everybody needs to do that no um

26:37

but find the one that fits your budget the best and and what you're going to be shooting the best I'll say this too if

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you're someone who like has watched this listen to this and you're like dude this I want to get into sports but this is

26:49

racking up well just I mean I would love to help you yeah like truly reach out and say hey look this is this is what I

26:57

can spend mhm and I'd love to help offer some recommendations there I was going to say I built out a camera kit for a

27:05

man at the beach last week on vacation there you go yeah we ran ran ran into

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each other on the pier I took his portrait and then I built him a camera

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kit listen honorable mention I'm going to say get yourself a

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decent microphone oh curveball I'm G to say get yourself a decent microphone why don't I need a good microphone Jared I'm

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shooting video yeah well you know it's one of those things where when you're first starting out you don't think about

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like oh if I could record decent audio on

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set I'm shooting video well a lot of people are thinking like Instagram reals right they're thinking oh well there's

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not going to be any Stadium noise it's just going to be whatever Instagram or Tik Tok audio I put with this but what

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if there was Stadium noise what if you could have both right so like get yourself a decent shotgun microphone

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external microphone and watch your levels right set it at a

28:02

safe level because stadiums are loud they are they're they're loud you've got whistles you've got hollering you've got

28:08

the band you got the you you got the fans in the stand you may even have in some cases a cannon that goes off when

28:14

they score a touchdown be mindful of your levels so get yourself a decent microphone and and

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there are tons of them that are around a 100 bucks I was going to say the baby

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roads that we've had again for 400 137 years I think they were like 60 bucks and that's good enough and that's good

28:31

enough like it's going to be better than your camera audio first off and you're going to

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eventually learn it's nice to pump a little bit of that into Instagram stuff I think that's

28:44

what separates the men from the boys when it comes to when it comes to sports coverage specifically and and like

28:50

Heroes that I look up to like uh Noah the boa hey here's the other thing too I'll say this you never you never know

28:58

when you're going to be the person who captures something that somebody needs that somebody needs and if you got a

29:04

sound bite let's just I don't know let's just say You Were Somehow found your way onto the sidelines of the Colorado game

29:12

and you for some reason happened to be the only camera that got Dion Sanders saying fill in the blank coach Prime

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talking to Travis Hunter whatever I'd like to be that microphone well it' be nice to know that you got it

29:25

good with your with your audio Yeah Yeah ambient audio is good it just it adds to the effect it adds to the the the

29:32

environment we'll say so that's not a camera spec I know we were talking about what what you know what camera specs and

29:37

stuff do I need that's kind of the whole thing well I mean it's still gear that I think certainly has a place uh on the

29:42

sidelines um is is that good audio like I said it's fun to bleed it in um that way you're not just watching a silent

29:47

video with with music behind it I know we just talked about an

29:53

honorable mention I guess I have a second honorable mention yeah go ahead and then I've got a Bonus tip ooh

30:00

consider a monopod or some stabilization

30:06

stabilization okay because here's the thing if you've got a camera and you've got a 70 to 200 and you maybe have a

30:11

microphone and you maybe have a monitor now your camera rig is not as light as it was when you just picked it up and

30:17

now you may need extra batteries because you're trying to power all that crap you may need extra batteries M so in the

30:23

course of a game fatigue is going to set in yep your back's going to hurt probably going to need a monopod maybe

30:29

don't want to I mean you could even do this with a tripod truly monopod tripod gimbal easy

30:35

rig anything to stabilize something to to Aid you in stabilization uh and also

30:41

just not tiring out yeah I mean and and if you don't want to buy any of those things I guess hit the gemm and build

30:47

those shoulders up because you get biceps ready get that back ready I'm G I'm gonna hit them with a bonus tip real quick Jared before we Before We Say

30:53

Goodbye um this is not gear related but I think one good thing to do and we all forget this because we're all Gearheads

31:00

um one good thing to do before you start shooting any sports go look at some of the greats when it comes to sports video

31:07

Sports Photography look at how the greats are shooting these things and I'm not saying copy it but understand what

31:15

works like with football angles or with football um photos specifically I know

31:20

there's a there's a sports of photographer out there that I listen to and one of his big things whenever he's photographing football he says I always

31:27

watch the eyes I always capture the eyes so like and literally in his photos you can see this

31:33

because as a receiver is about to catch a ball I mean he's got the whites of this guy's eyes just perfectly in focus

31:39

and you see the reaction of what he's about to do catching that football yeah and that that makes his photo stands out

31:45

and the same thing happens in video find angles that work find shots that you like um that will help you separate

31:52

yourself in the game cuz there's a lot of people that shoot Sports yeah um certainly a lot of people that shoot Sports some people do it great some

31:59

people do it not so great you know I would like to think that you can find your place somewhere in between yeah um

32:05

but study the greates and and study people who do it every day I think I name dropped Noah the boa uh about three

32:11

minutes ago Noah Shoots for the University of Tennessee um his football

32:16

video highlights that he that he throws on Instagram um and his other outlets are phenomenal uh Noah is an absolute

32:23

unit yeah when it comes to UT football well so so that's a good that's actually a really good point is do your homework

32:31

regarding compositions learning where their placements are slowly if you didn't grow up playing

32:37

that sport you're going to want to learn you need to learn the game you're going to need to learn and develop some anticipation skills too like you you'll

32:44

start to know like oh it's third down third and eight this may be going to the

32:50

air they may be throwing this ball yeah yeah do your homework so I mean you've got to learn to anticipate and that that

32:56

comes with literally just doing it yeah just doing it time and then again doing your homework studying yeah so yeah that

33:03

right there those pieces of gear MH doing your homework studying the folks who you think oh that's a beautiful shot

33:10

will realize where he was where he she or where he she was when she took that and remember like oh okay this is where

33:16

I need to be that way you're in position and not out of place I think those things will set you up for success in your new football video Journey yeah and

33:25

if you have any questions about how to get started or what to do with football video reach

33:31

out to us hey you know what maybe you're a kid in Green County uh Greenville Tennessee you're like I would love to

33:38

give this a go g Vegas reach out to us you know what we may be able to shoot maybe we can let you shoot for

33:45

a quarter or something truck you along I have no problem doing that yeah get you half under your belt something like that and in return if you are that kid jar

33:51

there are some things that that specific kid and those audience members can do for us that would certainly be helpful

33:56

what are those uh leave us feedback um if this resonated with you if you're like you know what yeah thanks

34:04

this is exactly what I needed stars and bars started yeah just let us know feedback good or bad we read them all

34:09

they do not hurt our feelings and with that Jared here's the hard part uh we will catch you guys on a sideline

34:16

somewhere make that very hard and on that note I've got to say one thing

34:23

down you got on have good we'll see y'all