It can be tough finding time to work on passion projects after spending a day working on a commercial project. Myriad Video has found a way to merge their commercial work with their passion projects.
In this episode, Alysse Campbell, Manager of Orginal Content for Myriad Video, shares how they balance commercial work with narrative filmmaking. Alysse shares about pitching projects, self-funding passion projects, and her favorite gear.
Watch to see how Myriad balances commercial work and narrative filmmaking.
Key Points:
1:20 – Journey to becoming a filmmaker
4:15 – Current agency work
7:54 – Pitching projects
11:06 – Self-funded passion projects
17:43 – Apprenticeship program at Myriad
20:53 – Favorite gear
25:34 – Something going wrong
Links
Myriad Video
Myriad on Instagram
Film Freeway
Transcript
Alysse Campbell (00:00):
We were there from 11:00 AM to 5:00 setting up, getting everything totally perfect. At five o’clock the crowd comes in for our little set, KT comes in and sits down and she strums her guitar and the audio feed that we’re getting is just awful. It’s just humming and we can barely hear her and it’s like-
Tanya Musgrave (00:22):
No.
Alysse Campbell (00:23):
Oh yeah, exactly. We have an audience, we have the performer. Oh my gosh.
Tanya Musgrave (00:29):
Welcome to The Practical Filmmaker, an educational podcast brought to you by the Filmmaker Institute and Sunscreen Film Festival, where industry professionals talk nuts and bolts in the steps they took to find their success today. In this episode, we chat the balance between commercial work and passion projects with Alysse Campbell of Myriad.
Tanya Musgrave (00:44):
Find the full transcripts and more at thepracticalfilmmaker.com. I’m your host, Tanya Musgrave and today we have Alysse Campbell, manager of original content of Myriad, a Raleigh-based video agency that focuses on making a difference through technology and socially impactful films that inspire action. Welcome to the show.
Alysse Campbell (01:01):
Thank you so much, Tanya.
Tanya Musgrave (01:03):
We’re starting to branch off into different types of filmmaking. Obviously narrative is a corner of the industry, but there’s so much more around it and filmmakers that make their living and live and breathe film, but aren’t necessarily in the narrative model, but you have a little bit of both. What has your journey been till now?
Alysse Campbell (01:22):
I grew up in Columbus, Ohio, and I was definitely a theater kid. I loved being on stage and I always thought that’s where my life was going to go. But I remember this moment in middle school touring the auditorium and seeing the big spotlight at the very top of the auditorium and getting to stand behind them and move them back and forth. And I was like, “This is where it’s at. This is the cool stuff. I want to be behind the scenes.”
Alysse Campbell (01:51):
Yeah. And then once I was in college, that was the first time I really took a camera and started shooting things and made a lot of music videos with my friends outside of our dorms and things like that. I also worked as an engineer at our media center, so I was really, really behind the scenes of our game shows and our news division, which was great. Just so much experience there.
Alysse Campbell (02:15):
After college, it was 2008, so it was kind of a recession and tough to get a job. So I did the standard coffee shop life. You do what you got to do.
Tanya Musgrave (02:25):
Yep. Yep. Yep.
Alysse Campbell (02:26):
Then I got a job at a fondue restaurant where I was literally melting cheese for people, but all the while, while I was doing those things, I was shooting video and I was trying to meet people and I was doing jobs for free or for $50 doing passion projects and just trying to meet people, trying to stay active.
Alysse Campbell (02:47):
And honestly it was through one of those random shoots four months later, I got a call from one of the women I worked with and she said, “Hey, I’m about to leave my job. I just told them to hire you and they want you to come in tomorrow for an interview.” And I was like, “Okay. No more cheese for me.” so I was kind of the one-woman band video department at a software company and was shooting, editing, producing there. From there I went to a post house and was working in reality TV. Which was, man, it was the best learning I could have ever gotten. I was thrown to the wolves.
Tanya Musgrave (03:20):
Yeah. Reality editing, post for reality is no joke.
Alysse Campbell (03:26):
Yes, absolutely. And this was stuff that was airing on major networks, airing weekly, and it became pretty clear that it wasn’t a good fit. I felt like I was telling the wrong stories. I mean, I was working my butt off, like 6:00 AM to 9:00, 10:00, midnight each day. And it’s hard to do that when you don’t care about the story that you’re telling.
Tanya Musgrave (03:48):
Yeah.
Alysse Campbell (03:48):
It can be easy to grind when you are passionate and you that’s all you want to tell, but it wasn’t the right place for me. Then I had been friends with some of the guys from Myriad for a while and eventually a producer role opened, so applied and went there.
Tanya Musgrave (04:03):
Wow. Wow. First of all, let’s differentiate. Is it an advertising agency or a video agency that works in conjunction with an ad agency?
Alysse Campbell (04:13):
Yeah, that’s a good question. We are a video agency, so it’s kind of this hybrid space. We don’t consider ourselves a traditional advertising agency. We do strategy, we do creative strategy with our clients to understand what they need, who they’re trying to reach and what’s the message. And then we take that strategy and turn it into video concepts, video campaign, and help our clients release those.
Tanya Musgrave (04:37):
Okay.
Alysse Campbell (04:37):
But I think with the advertising agencies there, sometimes we work with them to execute a video. When we work with them, we play the role of production company, but we have a lot of creative people and we like that strategy and that creative development. When we can, we work directly with clients to do that discovery and strategy that gets us to the end goal.
Tanya Musgrave (04:57):
There’s quite a range when it comes to this kind of thing, like clientele. You could have from one side, “Okay yeah, we will create this video for you and take pictures for you for $500.” And then those are kind of like the locally based, the startups and they’re like, “Okay yeah.” You get this one kid with their camera and they can make something for you. Right?
Tanya Musgrave (05:20):
And then you have other agencies where, well, like other video gigs that will take you up to 50K and that’s low budget. And then there are the other ones that are just like, “Actually we have all of these options, but the agency wants us to shoot all of them so that the client can decide which one. So how about $150K for this 30 second, $150K for this option and then this option?” So where does Myriad kind of live with that, on that scale, on that spectrum?
Alysse Campbell (05:55):
Yeah. Well, Myriad has been around for almost 30 years, so I’d say the days of one person going out and getting $500 bucks, we’re past those days.
Tanya Musgrave (06:04):
Thank goodness.
Alysse Campbell (06:06):
Yeah. Our budgets typically range between $20,000 at a low end to couple hundred thousand for a larger project. And that just depends on the client. We do pro bono work with local charities or local organizations that we believe in. Yeah. So those don’t have any budget and we’re doing it just out of our hearts because we want to.
Alysse Campbell (06:30):
And that being said, then some of the more non-client stuff, so the Myriad originals, those are another range and those are much more, when we’re doing them fully in house, those are much more on the low end. We’re doing those from a few hundred dollars to 10, $15,000 for the full film, but then we’re developing concepts and pitching them that we would hope to get $200,000 for. We know that we can create films that live up to that, so we’re trying.
Tanya Musgrave (06:57):
Yeah. Yeah, yeah, yeah. You had mentioned originals and on your website myriad.video, there was a whole section titled originals under categories, such as racial justice, LGBTQ plus, and also Raleigh, I lived in North Carolina for a good 10 years, so-
Alysse Campbell (07:15):
Oh, nice.
Tanya Musgrave (07:15):
Yeah. My brother’s actually based near Raleigh and I was very surprised to learn that Raleigh is actually one of the most ethnically diverse cities in America. And it’s really awesome to see companies that are working more on the local community level.
Alysse Campbell (07:32):
It’s the South, so people are open to conversations and to meeting. It feels very different from a New York or an LA where nobody feels too good for anyone here. I think if you have something to say or something interesting to talk about people are going to answer your phone call.
Tanya Musgrave (07:49):
When you were talking about taking those projects and pitching them, can you give me an example?
Alysse Campbell (07:54):
Myriad originals, our kind of mantra or thing to think about is we create, we promote and distribute and we pitch, so let’s talk about the pitch aspect. Myriad, about 15 years ago created a full-length documentary with a group called Sustainable Harvest. Sustainable Harvest is a group that empowers low income farmers to implement alternative solutions to agriculture. They do a lot of work in Latin America and that’s where the focus of our film was.
Alysse Campbell (08:25):
So we’re trying to do something new with them and we’ve been collaborating along the lines of something that’s currently called Heartland, but is definitely just a working title, but it’s a five episode series that really tells the story of this family in Latin America and what’s going on with their farm. And with climate change so much is changing down there and it’s completely revolutionizing what they’re farming and their lifestyle and their future, so that is one project that we have in development.
Alysse Campbell (08:54):
So we had this idea and then we brought in a kind of writer, idea person to help us really brainstorm it out and really develop the idea into a greater concept. We have a few different pitch decks. One is very short, but one is more like a series Bible and it explains everything from the series to the specific episodes and how they’re being told and who the characters are. Even the tone and the imagery we include in that deck to give a sense of what this would look like and feel like.
Tanya Musgrave (09:24):
Yeah. Yeah.
Alysse Campbell (09:25):
So now that we have that deck, now we take that to people in our network and just kind of start sharing the idea, break down that log line or synopsis and see who feeds back. Our hope is that someone will be intrigued and want to have another conversation and that will just lead further down the road.
Alysse Campbell (09:46):
But another thing we do with these types of projects is we enter them in labs or grant programs and basically they’re just places where you can, if you’re accepted, you can either get a little bit of money or you can get some mentorship or even just get meetings with different industry people. We had two previous series were accepted into the Gotham or the IFPs, one of their programs and they’re based in New York. They’re all about filmmaking and helping empower filmmakers.
Alysse Campbell (10:20):
So, that was huge. We went to their program, we were mentored by a vice president from Sony Pictures.
Tanya Musgrave (10:27):
Wow.
Alysse Campbell (10:27):
Yeah. There were people from different production companies that were there talking to us. And then ultimately we were pitching the show to Amazon Studios, A24 was there. All these big names. None of them actually took our series, but I have them as connections now and I-
Tanya Musgrave (10:43):
[inaudible 00:10:43] too, yeah.
Alysse Campbell (10:44):
Yeah. And I’m still in touch with a handful of those people, so the Sustainable Harvest piece, I will go to at least five of those people that I pitched to and share it with them and we’ll see what happens.
Tanya Musgrave (10:54):
Yeah. Wow. That is incredible. From a business perspective, are those financial passion projects or have you worked them in a way where you’re not necessarily taking a hit by being able to create those film?
Alysse Campbell (11:09):
Yeah. So we’ve been doing these types of projects the whole 30 years that Myriad’s been around and they’ve always been self-funded and that’s why the budgets have always been on the lower side. But they’re important to our business from a cultural and just a happiness perspective from our employees. They are a chance for us to practice and gain new skills, which is great. But we do use them in sales meetings and to attract new clients because people that are coming to us often want a tech video, but what attracts them is this flashy, interesting original content that makes them really feel something. That’s what they fall in love with.
Alysse Campbell (11:47):
And then when they have a project they’re like, “Oh, okay, let’s go to them. I like them.” So that’s how we’ve used it in the past. Our vision moving forward is that we need to get these things funded. We need to find partners that help us distribute these pieces. We don’t expect that every original that we do will get a hundred thousand dollars in funding. But our hope is that we can find partners that really lift up the video and can help get it seen or just help get it out there in a way that it’s not just dying on YouTube alone.
Tanya Musgrave (12:17):
So is this the dream then, this blend of advertising? Are you guys wanting to go fully in one direction or the other or is this the pretty solid dream?
Alysse Campbell (12:26):
Yeah. I think Myriad will always have both sides of the coin. It’s a great fit of having that client side and having our passion side. I think that’s where it’s going to land and ultimately the goal is really to blend them, to have an entertainment series in partnership with one of our clients. That would be the dream that we’re…
Alysse Campbell (12:46):
Branded content is something that I’m always interested in because it’s a way that the brands can be happy. They’re getting really creative stuff and our teams can be happy because they’re getting to work on something that’s a little more creative. That’s where my mind always lies. Another option for funding could be crowdsourcing and doing a season spark campaign. That’s definitely a path that we could see for this SHI or some of the other ideas that we have.
Alysse Campbell (13:12):
I feel like if you have an idea, it doesn’t have to be supported. You don’t have to sell it out to a brand. You can find a way. It’s just hard, but there are grants available, crowdfunding. There are ways to do it. But I think for an organization like Myriad that has, we have about 15 full-time employees. We work with freelancers all the time. I think we’re going to play both sides of the coin.
Tanya Musgrave (13:41):
Yeah. There are a lot of people that, they’re essentially sole proprietors and freelancers as soon as they graduate and they’re not necessarily aware of the options that they have. It’s either you go with a dream in your pocket to LA or you go into what lots of people would say the soul-sucking side of filmmaking of just creating stuff that pays well, but doesn’t feed you creatively, which is so important for artists. But one of the main focuses of this podcast is to bring attention to opportunities that exist out there, where there are balances.
Alysse Campbell (14:15):
There are different paths, for sure. The freelancer path is something that I feel like has exploded over the last few years. Something shifted and freelancers that’s now the industry out here, at least in Raleigh and in North Carolina. But there are so many, like you said, kind of the more corporate side or the brand side where you could get kind of entry level marketing job out of college and you can start getting experience.
Alysse Campbell (14:41):
This may be hard to hear, but I think it’s very unrealistic for people to graduate and just make that full length narrative film right out of the gate. You got to melt some cheese and you got to be a barista for a little while.
Tanya Musgrave (14:58):
Melt some cheese.
Alysse Campbell (14:59):
Yeah, you got to pay your dues a little bit and that’s good.
Tanya Musgrave (15:02):
Yeah, yeah.
Alysse Campbell (15:02):
I mean being in the reality TV, even though that wasn’t a good fit, man, that is where I learned how good I needed to be. My boss, the third week that I was there, my boss was like, I ran six shows. They all had 10 plus episodes each and my boss would just be like, “Okay, this series, episode two. Where is that? And how about episode seven? Is that in post yet? Okay. What about this show, episode three?”
Alysse Campbell (15:34):
And I was like, “Okay. Let me look at all my notes and everything,” but a couple months later it was like, “I know this stuff. I know that I need to know this stuff,” and that was huge, so every experience is going to teach you something. You’re going to meet people. And you never know who is just going to become a collaborator-
Tanya Musgrave (15:53):
Exactly.
Alysse Campbell (15:53):
… instead of just a coworker.
Tanya Musgrave (15:55):
Exactly. Just meeting people. I feel like that was a huge thing that I realized. And I mean yeah, I did the whole coffee shop job, all that fun stuff as well. And honestly, when people say don’t be at a rush, man, it’s-
Alysse Campbell (16:07):
It’s hard to hear.
Tanya Musgrave (16:09):
Well, but I get it because it’s not for the sake of making coffee or melting cheese. It’s giving yourself a chance to develop the skills that you need. I remember somebody saying, “If you want big shoes, you have to grow into them or you’re going to trip.”
Alysse Campbell (16:28):
Oh, I like that.
Tanya Musgrave (16:30):
And if you wear shoes that are too big for you, you’re going to fall. So, I mean-
Alysse Campbell (16:33):
Yeah. I actually have a great example of this. When I was doing the coffee shop lifestyle, I started a public access TV show with three other people called Sound Situations and it was a live music thing where we interviewed the bands and mixed performance footage with their interview and it aired on public’s access and it was awesome. And it was so fun. No budget, no payments, all volunteer.
Alysse Campbell (16:59):
And now, 15 years later at Myriad, I started with a coworker of mine Window Music, which is a live music series that features musicians performing songs and speaking their minds. And I always think back to Sound Situations, because this is just the like leveled up version.
Tanya Musgrave (17:17):
Yeah, yeah.
Alysse Campbell (17:17):
This is the version where I’m not the DP. We have real legit directors working on this stuff.
Tanya Musgrave (17:23):
Yeah, yeah.
Alysse Campbell (17:25):
But it just, like you’re saying, it’s slow and steady. And these ideas that you have don’t go away and you can always be working on your passion projects slow and steady and you never know where they’re going to come back.
Tanya Musgrave (17:39):
I would love to learn a little bit more about your apprenticeship program.
Alysse Campbell (17:44):
We started our apprenticeship program to really give a leg up to someone who needed it. This field is more accessible than ever now. People can film movies on their iPhones, you can edit on free software, post stuff online for free, but you really, you have to learn somewhere. So this program is for someone who didn’t go to film school, someone whose talented, but just needed a chance to meet people and get on set.
Alysse Campbell (18:10):
We’ve talked about it. It’s all, film is all about experience and making connections and recently a woman named Avi was our apprentice and she had had a handful of shorts that she shot in high school and she was really talented with her point and shoot camera. That was kind of where she was at. She wanted to make movies and she needed the experience. So we brought her on and her first week we were on set in a cold dingy gas station in the middle of nowhere. And it was kind of like, “Okay, Avi, if you can get through this and you enjoyed yourself, you’re going to be just fine. This is the right place for you.”
Tanya Musgrave (18:45):
Dude. That’s awesome.
Alysse Campbell (18:46):
Yeah. So I imagine that we’ll be opening up again later this year or early next year for applicants. So if you follow any of our social on Myriad video, we’ll absolutely post about it and make sure that people know that applications are open.
Tanya Musgrave (19:02):
Amazing. People who have gig job who have families and stuff like that and just kind of wanted to know your perspective in having this particular job, how that affords certain things or how it actually could be better.
Alysse Campbell (19:17):
Yeah. I mean, it’s tough. Having a family is tough if you have a job in any industry, it doesn’t have to be film, but yeah. I mean, with film you’re out on set, you’re out on location for long periods of time or long hours. It can definitely be hard. So I think that is an opportunity to try to find a company that you can work on telling their stories. I think it’s one of those things though that, if you have kids you don’t want them to be your whole life. They may be the most important thing in your life, but you still need to have your own creative outlet or there’s still something for you.
Alysse Campbell (19:54):
So I think for someone who’s creative and a filmmaker, there’s always going to be this desire to create. And so it’s just going to be about finding that and just honestly being realistic about what’s going to work or just finding the right partner-
Tanya Musgrave (20:08):
Yeah. Yeah.
Alysse Campbell (20:09):
… because you may find that partner that’s like, “Well, my husband also does video production and we met in a film class and…”
Tanya Musgrave (20:15):
Yeah. Someone who gets it.
Alysse Campbell (20:17):
Yeah, exactly. He gets it, which is great. And so you may find that person that’s okay with you leaving for a month to go shoot or can cover it or has their own excuse to do the same thing or something like that.
Tanya Musgrave (20:29):
Yeah. Yeah, yeah, yeah. I think just knowing that it is tough, but kids aren’t, they’re not going to end everything.
Tanya Musgrave (20:37):
That’s a good hopeful statement there.
Alysse Campbell (20:41):
Yeah. Hopefully you can still try to be your own person a little bit, you know?
Tanya Musgrave (20:44):
Yeah. yeah, yeah, yeah. So one of the things that I always love to ask is about tools of the trade. And I know that as a producer, tools of the trade is not necessarily the same as a gaffer or something like that.
Alysse Campbell (20:57):
Yeah.
Tanya Musgrave (20:58):
But I was curious about particular resources or even software or connections that is an old, reliable, a good, reliable resource.
Alysse Campbell (21:08):
Okay. I have, I kind of got two things. One is this website called filmfreeway.com.
Tanya Musgrave (21:16):
Oh, okay.
Alysse Campbell (21:16):
And it is basically a one stop shop for submitting your work to film festivals. ll of the major film festivals use this platform. You basically create your profile for your film or your work, whatever. You can add, you add the whole film. Trailer, stills, info credits, all that stuff. And then when you want to submit to Tribeca or to Sundance or your local film festival, they are likely on there and it’s just so easy to submit and it’s kind of just a hub.
Tanya Musgrave (21:48):
Okay. Okay.
Alysse Campbell (21:49):
Yeah. Highly recommend that.
Tanya Musgrave (21:51):
For some reason I remembered Without a Box and that was a dozen years ago.
Alysse Campbell (21:55):
Yeah. I remember that.
Tanya Musgrave (21:59):
But for some reason I don’t think it’s around anymore. I don’t know. Maybe I’m remembering [inaudible 00:22:04].
Alysse Campbell (22:04):
Yeah.
Tanya Musgrave (22:04):
I don’t know.
Alysse Campbell (22:05):
Yeah. I haven’t come across that in a while.
Tanya Musgrave (22:06):
Yeah.
Alysse Campbell (22:06):
But yeah, I’m on FilmFreeway often and I discover new festivals and with film festivals they can seem intimidating because they are, but it’s also, people feel like, “I want to get into Tribeca. I want to get into these major hot dogs.” But there are thousands of film festivals across the country and these smaller ones can be a really special place for a younger or whatever filmmaker and these smaller ones too are places where you can try to do something at the festival. A lot of festivals have panels or little events or just little installations that you could try to work with organizers to share your film or just get involved to meet other filmmakers.
Tanya Musgrave (22:49):
Yeah. Yeah.
Alysse Campbell (22:50):
Yeah. FilmFreeway.
Tanya Musgrave (22:51):
Nice, nice. And your other?
Alysse Campbell (22:53):
My other. This is just going to be silly, but literally just a piece of paper with a giant chart. I pulled out, we had the giant, like the scrim pieces of paper in all different colors. And I pulled out a huge six foot long one and I just made a big chart on it. And I put all of our films that are in development, in production and then just the process along the top. And I just put Xs through the boxes. And it’s like, we’re in film. We’re visual people.
Tanya Musgrave (23:20):
Yes.
Alysse Campbell (23:21):
So I needed a visual way to track where everything is.
Tanya Musgrave (23:25):
Tangible. I cannot tell you how much I relate to this. It’s the same with calendars. Having a calendar, I got made fun of so much because I had this paper calendar that was all on my closet doors that went through the next six months or so and I would just be like, “Yeah, I got to check that calendar.” They’re like, “Oh, you got to run home and check your closet doors?” It was so dumb. Right? Just I understand. I get it. Having that visual is really great. [inaudible 00:23:53] on your phone, but come on, ugh.
Alysse Campbell (23:56):
Yeah. It’s for me and it’s for me to just make sure I’m on track. I had one more that popped into my head.
Tanya Musgrave (24:02):
Yeah.
Alysse Campbell (24:02):
It’s called StudioBinder.
Tanya Musgrave (24:04):
Oh my gosh, yes.
Alysse Campbell (24:05):
Yes. That is the best thing for our producers. I don’t use it much, but our producers use it and it’s just a full call sheet, everything like hub and so whenever I get that little text of, “Your call time is 7:00 AM,” I know that everything I need is in there and it’s just a really great organizational hub.
Tanya Musgrave (24:23):
Yes. That’s amazing. Okay. So for your favorite new gadgets, what revolutionizes how you work?
Alysse Campbell (24:31):
We just purchased a live switcher, which has really revolutionized how we do production. It’s completely eliminated our post-production or eliminated 90% of it because we have a director that’s sitting at the live switcher that’s calling the shots and switching and so at the end of that, we have this live file. And I mean, these are musicians sets, so they’re 20 minutes long.
Alysse Campbell (24:55):
It’s so tedious to edit those things. It’s really hard. The first one that we did, the first two that we did were not live switched and the post just took months. It was just going on and on because it’s just so yeah, so tedious. So that live switcher purchase has been a total game changer for us.
Tanya Musgrave (25:12):
Yeah. Which one did you get?
Alysse Campbell (25:14):
Yeah, so the switcher that we got is the ATEM Mini Pro ISO they’re made by Blackmagic Designs, and then we use these great headsets that were Eartec, which yeah, all just really work together.
Tanya Musgrave (25:26):
Well, another favorite of mine is to know of a story when something went wrong and what you did to fix it [inaudible 00:25:36].
Alysse Campbell (25:36):
Yeah. Just on our window music shoot just a couple weeks ago, we shot KT Tunsdale, a country singer at one of the local music venues. And we were there from like 11:00 AM to 5:00 setting up, getting everything totally perfect. At five o’clock the crowd comes in for our little set, KT comes in and sits down and she strums her guitar and the audio feed that we’re getting is just awful. It’s just humming and we can barely hear her. And it’s like-
Tanya Musgrave (26:08):
Oh no.
Alysse Campbell (26:09):
Oh yeah, exactly. We have an audience, we have the performer. Oh my gosh. And so we were working with her music person and was getting a feed from their board to our board. So we were trying all these last minute things. And ultimately it ended up being, on his board he just turned up the sending volume and that eliminated the buzz. But we were thinking like, “This is a cable that went bad,” or, “Do we have to rewire this stuff?”
Alysse Campbell (26:40):
And it was almost like, “Well, if we don’t have audio, this is about a music show. How are we going to… What are we going to do here?” So it was scary because it was like if that didn’t work, KT needed to go. She had a performance to give, so it would’ve just been all for not, and it would’ve been really, really disappointing that we would’ve just, we probably still would’ve filmed it and hoped maybe one of the cameras was just getting nat audio that was better. But yeah, that was one that was scary, but just ended up magically working.
Tanya Musgrave (27:13):
That’s good.
Alysse Campbell (27:14):
Usually on set, something comes to just work and you figure something out. Things can’t stay wrong when you’re on set. You have to move forward.
Tanya Musgrave (27:21):
Yeah, yeah, yeah. Oh my gosh. Well, I would love to follow your work. How do people find you or follow what Myriad is doing? This is your shameless plug up.
Alysse Campbell (27:32):
Yeah. We are at Myriad Video on all the social platforms. We love a good Instagram. We are also Myriad.video is our website is pretty cool.
Tanya Musgrave (27:42):
All right.
Alysse Campbell (27:43):
Yeah. And from there you can see our Myriad originals. You can see our client work, but there’s lots of good stories and inspiration on there.
Tanya Musgrave (27:48):
Nice. We really appreciate it. Thank you so much for coming on the show. This is really great.
Alysse Campbell (27:54):
You’re welcome. Thank you so much. It was fun and always loved talking video.
Tanya Musgrave (27:59):
If you enjoyed this interview, follow us right here and on Instagram, ask us questions and check out more episodes at thepracticalfilmmaker.com. Be well, and God bless. We’ll see you next time on The Practical Filmmaker.