Andrew W: This course is about video creation for non-pros like me and
probably like you, if you're in the audience. The course is led by Andrew
Lock. He is one of the world's foremost authorities on creating and
profiting from web-based TV shows and he is the founder of "Help, My
Business Sucks" the number one show for entrepreneurs on iTunes. Let's
bring that up, actually. There he is. We were just talking earlier about
how it shows up on iTunes and there it is. Before we start, I want to go
over what we'll be covering in this program. Let's bring that up. There it
is. Andrew, we're going to show your studio in a moment, and people are
going to see how much more professional your set up is than mine, but the
point of this session is that even if you don't have a professional studio,
even if you just do it in your office like I am, you can still pull it off
and do well. Frankly, I'm proof of that. I don't have the best equipment,
but we're doing pretty well here at Mixergy.

All right, so back to the big board here, we're going to show what Andrew
has done here in the moment so you can see how far he's come with video
production. I know that a lot of people care about equipment, and I know
when I started I cared insanely about what mic I needed. I cared about the
lighting and so on. Even if I couldn't get the right stuff, I at least
wanted to know what the right stuff was and we'll cover that in this
session. We're also going to talk about how to publish your show so that
you can get it up on the internet. Once you publish it, the first question
you are going to ask yourself is, "How do I get anyone to even watch it?"
Well, Andrew will talk about that, too. Distribution, and finally after you
get it all right, that's when we'll get to getting paid. A lot of other
topics. All this and so much more, coming up. The first thing we're going
to cover is Andrew. Where were you before you figured this all out? You had
some of the frustration that people who are watching us are experience
today, right? Can you talk about that?

Andrew L: Oh yeah, absolutely. By the way, I was just curious looking at
your shop there, is that a big pile of books?

Andrew W:  That is a big pile of books. One of the upsides of doing this
kind of work that is do, is authors and publishing companies send you tons
of books. I have boxes below that from all the books that I get.

Andrew L: Oh, that's awesome.

Andrew W:  It is.

Andrew L: I'm a big reader, so I spotted the books there. You asked about
the background and what led me to do this. I was always fascinated by
video. I loved the power of video and, in the most basic form, being able
to persuade people with the visual images. So, even when I was at school, I
was just fascinated by it and I seem to have a leaning towards it. Of
course, in those days, the equipment was pretty crude and basic. There's
been a lot of advances since then. I was using tapes. I was in Best Buy the
other day and they don't even sell camcorders or tapes anymore. That's a
good thing. I had this interest in it and that developed over the years. I
really kind of poured my heart and soul into learning about video
production, which was a kind of parallel path with business and marketing,
which I was also interested in. I got to a point where I decided to create
a show.

This was in the early days of web TV shows just a few years ago when there
was really nothing out there. I had a few viewers, I enjoyed doing it, it
was fun, and I thought the content that I had was good. But just as I
started to gain traction, there was a disaster. It felt like and epic
disaster at the time. iTunes, which was the main point of discovery for
people watching my show, just accidentally, for no reason, deleted my
entire history of episodes and, for want of a better word, my account on
iTunes. iTunes is just a directory. They don't store any episodes. They
basically wiped me off of iTunes for no reason, no explanation. I couldn't
do anything about it. Just as I was getting traction. It was very
disappointing, very frustrating, but, I really saw the power of web TV so I
persisted through it. As you just showed on the slide before, my show,
which is a business show, became the number one show for entrepreneurs on
iTunes since late 2008.

Andrew L:  And it's more than that, that as a result of this, and we're
going to get to how other people can do it, I people care more about
themselves than about me, and they care about themselves more than they
care about your story, but before they trust us to lead them through this
process, they're going to want to know how far you've gone. You talked a
little bit about how far the business has gone, how far the show has gone
on iTunes. Other things had happened, including this. What is this article
that we're looking at, here, "A Museum Improperly..." on it, from Business
Week.

Andrew W:  This was, I think, a couple of years ago. After I had this
success with my show, what happened was people started approaching me and
said "How can I do what you've done?" because I have the number one show on
iTunes in the category Business, Entrepreneurship, and Marketing. A lot of
people have asked how I do what I do. I've started to get a lot of exposure
in the media because of that as well. This is one example of where I
became, and have since been considered, the web TV guy for media like
Business Week. This was an article where they did a feature story about web
TV shows, and I was the main consultant.

Andrew L:  I see. You became their expert. Bloomberg Business Week
considered you the expert that they wanted to talk to for that piece.

Andrew W:  The reality is, it's going to sound like I'm blowing my own
trumpet, but there's no other way to say it. I have created, advised and
coached on the creation of more web TV shows than anyone else in the world.
There isn't anyone else that has come close to producing or advising on as
many shows as I have, well over a hundred now, successful shows and
profitable.

Andrew L:  All right, how many people watch your program?

Andrew W:  The weekly audience is over 111,000 at the last count, which is
pretty amazing, considering that that's more than a lot of cable TV shows.

Andrew L:  Well, onto the audience, now. Now that we've established your
authority here and given them a taste of what's possible, they want it for
themselves. Let's go back to the big board. The first big tactic is you've
got to pick your topic. How does the person that's watching us, Andrew,
pick a topic for himself or for herself, one that's going to propel them
into the stratosphere of iTunes.

Andrew W:  As you say, this is the fundamental starting point of every
show. Initially the idea of having a show appeals, that's why people are
watching this discussion. Beyond that, what are you going to present about?
What's the topic going to be? Well, there's two ways to go. You can look at
the marketplace and say "What's hot right now?" or you can kind of look
internally and say "What am I passionate about?" The latter, as far as I'm
concerned, is the only way to go, because hot topics will come and go. I've
seen people, for example, try to create shows about iPhone apps when they
don't even own an iPhone. Obviously, they're not credible, for a start, on
that topic.

Secondly, they're going to lose interest because they're not passionate
about it. The alternative is creating a show around a topic that you are
truly passionate, excited, and knowledgeable about, and want to share this
with others, even if you weren't paid for it. That is the best fundamental
starting point. When I work with people, and guide them through this
process, that's always the most critical factor. Please, please avoid the
tendency to go after any niche where you think the money is at. Instead,
look inside and make a note. What are all the topics that I'm passionate
about? What books have I got on my bookshelf? What do I daydream about?
Those are the things that people should be looking at as possibilities for
creating a show.

Let's take a look at one example here, and then I'm going to come back
after you tell this story and just add one thing to it that I found that
helps in addition to passion. This is about your experiences and what
you've been able to do, including this one.

Andrew L:  Yes. Here's an interesting one. Bryan, who is the guy behind the
show. I'll tell you more about this show in a second, but Bryan approached
me, and he was a stock broker on Wall Street, with the downturn of the
economy, in talking to him initially, he had talked about doing a show
about finances, investing, and that kind of industry.

Andrew W: He was a stock broker, so he figured "All right, I'm a stock
broker, I should do it."

Andrew L: He's a stock broker. He's very successful actually, and literally
worked on Wall Street.

Andrew W: OK.

Andrew L: In talking with him, I'd sensed he lost his passion for that
industry. He just didn't seem to be that motivated about it. So I asked him
about his hobbies, and as soon as I asked him about hobbies, he just came
alive in telling me that he was an avid guitar player and guitar collector.
It turned out he had about a dozen guitars of all different types. Electric
guitars. When I saw how enthusiastic he was about that topic I sensed that
was the direction to go. Eventually he agreed. He created a show called
"Guitar Shop TV." It's guitarshop.tv if you want to have a look at the
website. That's what we see here on the screen. Basically what the show is,
is Brian now spends his life going to concerts of all the guitar players
that he idolizes. He gets to go backstage and interview them. The
interviews are featured on the show along with tips for collectors and
guitar players. It's a fascinating show. We put together his first 12
episodes and then he took it from there. He's having the time of his life.

Andrew W: What about revenue, Andrew? Where does he bring in revenue with a
website like this?

Andrew L: I don't know what he's up to now. As with all new businesses, he
knew there would be a learning curve and then it would ramp up. The way
that he structured this site, and we brainstormed this, is actually around
a membership community. As well as direct revenue from the show, which
we'll talk a little bit about later, he encourages the viewers of the show.
The show can be viewed for free on the homepage of the site. When people
view the show they are encouraged to become a member of the Guitar Shop TV
community. That's a paid membership. Inside that membership site, just like
Mixergy, he gives access to a lot more content, extra interviews, tips,
articles, downloadable audios, guides, and so on. I'm not sure what he's
charging now for the membership. Through research he established there is
clearly a market there for guitar players and guitar collectors. There is
no other show out there on this theme. Not only is he having the time of
his life, but he's actually created it into a very profitable business.

Andrew W: The idea of doing membership is a great one. It's obviously
working for us here at Mixergy.

Andrew L: Yeah.

Andrew W: Before we go on, the one thing I want to add, when you're finding
your passion is it's very easy to go off on your own little world and
create a show just for you and not for very many other people on the
planet. What I found helps is to keep touching in with the audience and
say, "What do you care about?" or "What problems are you having around my
passion?" For example, we recently started sending emails out to the
audience saying 'I'm about to do an interview on this topic or an interview
with this person; what would you want to know about?' We only send this out
to a small portion of the list, but when they give me feedback on what they
want to know it makes my interviews better and helps it become better for
the audience too.

Andrew L: That's really good advice. I totally agree with that. Obviously
we don't have opportunity to go into every detail of all the steps, but one
other element we didn't talk about that is important in that first step of
choosing a topic, is to do methodical research. You may be interested in a
topic that, first of all, there may be a very small audience of other
people that are interested in it, and secondly it may not be a niche that's
easy to monetize. There are different factors that come into play with it.
By far, the number one starting point should be is it something you're
passionate about versus something that you simply see an opportunity to
make money with it. That was really the main point I wanted to share. Too
many people get drawn into that trap of "I see that there's money to be
made in this niche even though I know nothing about it and I'm not even
that interested in it."

Andrew W: Right, and then the market changes and there isn't any more money
in it and they're stuck with it. All right, and we'll talk in a bit about
revenue and give you an understanding of how maybe you can think of a topic
regarding revenue but first, start with passion. First make sure that it is
something you care about. Man it can be a lot of work, so you want to make
sure it's worth the work for you, that you're interested in it. All right,
next big idea is choose your unique selling proposition. Don't be like
everyone else by doing research and finding that thing that's unique about
you.

Andrew L: Yep.

Andrew: So how do you find that?

Andrew L: Yeah, again this is a critical step. The interesting about web TV
shows is that although they are gaining in popularity and they will
continue to do so with these new TV sets that enable you to access web TV
content and boxes like Roku and Media Center, and we see Netflix, of
course. So the awareness is becoming greater, but we're still in its
infancy as far as web TV show because there are very few topics that have
multiple different show options. Now, as time goes on, having a USP is
going to be far more important. At the moment, you can pretty much create a
good quality content show and you're going to get good traction with it if
you persist at it. But it is important to have a unique USP.

I was in Hollywood a couple of months back for the Grammy's, and while I
was in LA there, I stayed at the, I forgot the name of the hotel, the
Hollywood Roosevelt Hotel, just opposite the Grauman's Chinese Theater, and
I had recorded the previous time I was there which was about five years
ago. They had these star tours, and you may have seen these things
advertised, where they take you around star homes, celebrity homes in
Hollywood. You go in a little bus and they tell you little bits and pieces
about the background of where they live and so on. They point out oh look,
there's Danny DeVito over there doing his gardening or whatever.

So I thought it was a great idea, but interestingly, this time when I was
in Hollywood, I saw these racks of displayed brochures and pamphlets that
advertise these types of tours and to my astonishment, this time, there
must have been a dozen different tour companies advertising. Now the
interesting thing about it, this is the point about USP, is there was a
tour company just for Old Age Pensioners. There was a tour company for gay
people. There was a tour company that just did walking tours. There was a
tour company that only did tours of TV shows celebrities. There was a tour
company that only did tours about celebrities that passed away in
Hollywood. So you get the point. That shows you that it absolutely is
possible to go into any marketplace and do well in the marketplace if you
have a USP. So, many people would have said look at Star Tours which was by
far the, you know, they dominated for years. But then someone obviously
realized, there's room for these niche tours.

So, the same applies with web TV. You have to have that unique selling
proposition. Don't do what everybody else does. And again, this all comes
back to methodical strategic research. The first thing to look at, step
one, in this part of this step, is to look up iTunes. iTunes is the number
directory for web TV shows. Now Apple, because they can, they don't call
them web TV shows. Everybody else does. Apple calls them video podcasts.
Every else in the world, they're called web TV shows. Different
terminology, it's the same thing. You can see Adam Corolla there on the
right hand side on your screen.

Andrew W: Actually you know what, I might have just grabbed the audio
podcast because Adam only does audio.

Andrew L: Yeah, there are two categories. In fact, at the top right hand
side of the screen, you can see that you can split it into audio podcasts
and video. The video podcasts appear, at the time that we recorded this
interview, they will appear on a black background, and the audio podcasts
will appear on a white background as you see here, so you're right there.
So the first thing is . . .

Andrew W: Yeah I mean, this is the more general screenshot, but the point
your making is, you're saying first look at iTunes for video programs, see
what people are doing.

Andrew L: Exactly.

Andrew W: OK.

Andrew L: Look at the marketplace, is there a show already? Because if
there is, and chances are there isn't, but if there is, you want to look
at, is it successful, first of all. Is it appearing in the charts, which
means it's successful. Because you will identify it. Is it that they
present in a round table discussion. Is it the person that presents has a
particular background that gives them the specialty in a certain area.
Whatever it is, obviously you don't want to create a show that is the same,
because then you're not going to stand out from the crowd. So knowledge is
power. Researching what's out there already in the iTunes marketplace which
is the number one directory for discovering these shows, is the best first
step. And then you can at least know is or isn't there a show, and if there
is, then you need to make it different from what's already out there.

Andrew W: OK. All right, so let's say that there already is one, and you
want to make it a little bit different, what do you do to make it
different?

Andrew L: The next step really coming back to what you mentioned earlier
about surveying the audience. In this case, obviously most likely you don't
have an audience yet, but you can go to someone else's audience and the
best way to do that is forums. Forums are user groups online on every
topic. I sometimes, when I'm speaking and training, I ask the audience to
try and suggest a topic where there wouldn't be a forum. And all the years
that I've been doing that, the most obscure topics that you can ever
imagine have forums. There literally is a forum for everything.

Andrew W: So in this case we look up a forum for cooking and, of course, we
come up with a bunch of forums. How does this, then, lead to a show on
cooking?

Andrew L: Just to explain the process for those who aren't familiar with
it. The way we found these forums is literally to type in to Google in the
search: forum, and then a keyword for the [??] that we're considering. So
if we were considering a show about cooking, just type those words in:
forum, cooking, and then we see the forums come up. Obviously on the first
page of results, we're going to see the most popular forums. We would click
through to the forum, have a look at the forum, and simply immerse
ourselves in there for a couple of hours to see what people are talking
about, because those are invaluable clues to tell you what people want.

What you'll see is you'll see people things like, they'll say: does anyone
know how to, or does anyone know of a resource that will? Look for those
types of comments because those are, as they say, invaluable clues about
what type of content that you should be looking up, including in a Webtv
show. Otherwise, the alternative is just to pick ideas off the top of your
head. The real danger of doing that is you don't know for sure that those
ideas that you're thinking of are more universally being considered by the
marketplace. So go where the marketplace is hanging out, your potential
viewers, and immerse yourself in their conversation and you will very
quickly find out what they want.

Andrew W: You know what, I keep thinking about Myspace, and Myspace texts,
startups, and it's very easy to say: Andrew is doing an interview with text
startups. I'm going to do the same thing because if it's working for him,
and I'm passionate about it, so I should copy him. But what I find
actually, now that you've mentioned, if I think about the forums that I'm a
part of, there are a few things that stand out as people just keep talking
over and over, and I'm ignoring them, like jobs. If you look at hacker
news, the forum for text startups. They keep talking about jobs, the job
interview process, getting a job with Facebook versus getting a job with
Google, getting a job as a process as a step towards working at a bigger
company. If you interview all the founders who are dying to hire and give
them an audience to the people who want their first job or one of their
earliest jobs in tech, you'll kill it.

Andrew L: Yeah. It's a great niche. Great example, too. And just again, to
prove that everything that we're talking about and explaining here, this is
what I did, this is what I teach others, and this is what others have done
to create profitable shows. And we have an example here of . . . Taking
that cooking example, this is what we did for a cooking show. What we found
is that, through searching forums on cooking, one thing that came up a lot
was people love collecting recipes. Now, there were, in this instance, a
lot of cooking shows out there. For some reason, cooking is a very, very
popular topic. So we didn't want to do another cooking show.

In this example, this was a woman named Lorie, in her 50's. She came to me
and wanted to do a show. Again, we did the brainstorming process. It
resulted in this show called 'Recipe Runway'. It's not a cooking show, but
it is about food. And it's designed for people who love collecting and
sharing recipes, and also understanding the background to different types
of food.

So this process that we just explained, of researching forums and
understanding what people want, led us to create a show that we knew,
before we even started to create it, would be successful. And that is
having a USP.

Andrew W: All right. Great point. Let's go to the very big board. Today we
have a lot of topics we want to cover. Next is, plan the details of the
program. In details we mean the name, the frequency of episodes, etc. How
are you able to do that?

Andrew L: At this stage of the process, there's a lot of decisions that
need to be made. Just to mention a few of them. The first one is, you need
a name for the show. It sounds obvious, but the name is critical. I always
encourage people to pick a name, or design a name, that inherently says to
the audience what the show is about. I don't like names where people
actually have to go to the site to even discover what the topic is about.

So in my case, I had a challenge with this. I am a fairly creative person.
But I really struggled with the name. Because I wanted the show to be about
business advice. I wanted it to really convey part of my USP, which is that
I give unconventional advice that really goes against business text books
and the traditional schools and colleges. I'm a marketing maverick, if you
like.

So what I did, was I brainstormed with a mastermind group that I belong to.
And it was in that mastermind process that the name was put out there. We
came up with other names, like 'Business Makeover' and 'Turn Your Business
Around', and things like that. But none of them had a real ring to them. I
didn't feel that they were attention grabbing.

Then someone suggested, "Help! My Business Sucks". And as soon as they said
that, I thought, "that's it". It had all of the components that I thought
were important to having a good name. You can see I had the logo designed
there. I use 99 Designs or hatchwise.com to design logos for projects and
businesses. That's a nice resource. And you can see, the name combined with
the logo, really does convey . . . As soon as you see that, and you hear
the name, you don't even need to watch the show to realize this is going to
be unconventional. So, an attention grabbing name that says what the show
is about is a first detail that needs to be considered.

Another detail that needs to be considered is how often are you going to
present the show, or release the show. There are shows out there that are
released everyday. There are shows that are released once a week, twice a
month, or once a month. Those are the most common frequencies. Each of
those frequencies has pros and cons.

A daily show is obviously a lot more work. You need to consider times when
you're ill, when you go away on vacation, and so on. It may sound like a
great idea to do a daily show, but most people that do tend to regret it.
If the frequency is too far between shows, you can lose traction with the
audience. But you know, you need to balance it with what your availability
and your time constraints are. So that's . . .

Andrew W: What's your recommendation for that?

Andrew L: My recommendation is to start off with either weekly or bi-
monthly. So, once a week or twice a month, I feel, is a good sweet spot.
Because, you know, even that comes around pretty quick. And you want to be
in this for the long term. A web TV show by its very definition, as opposed
to videos that are posted online, the difference with web TV shows is that
it is the nearest thing to a real TV show, but it's online that, you know,
you can imagine. So one of those parameters is that the episodes are
released with a regular frequency. If you watch a show like The Apprentice,
for example, and you like The Apprentice, you know that it's on Sunday
evening. You go and watch, you know, you go to the TV, you switch it on at
that time, you know that show is going to be on.

Andrew W: Right.

Andrew L: The same thing happens with web TV. If you release an episode on
a certain day and people know that there's a new episode once a week or
twice a month or whatever it is, especially in the beginning is it critical
to stick to that. For the first three years that I did my show, I never
ever missed an episode. Now that my audience is established, there are
times, when, you know, I travel and so on and I don't stick to the
schedule. But I can do that because it's well established. To begin with,
it is critical to have that schedule.

Andrew W: All right. By the way, I wish that I had gone weekly. I thought
hey, it's so easy, I'm just going to put some video up online .

Andrew L: So easy, yeah.

Andrew W: I should be able to do it daily. I should have started with
weekly, I think. Alright, back to the big board. Let's see what else we got
here. We got to get through these topics quickly because we have some meaty
ones towards the end.

Andrew L: Sure.

Andrew W: Next big idea is expose your personality.

Andrew L: Yeah.

Andrew W: So how do we do that?

Andrew L: Very good to expose your personality. In fact, it is critical.
Everyone has a unique personality. I - not a lot of people know this - but
my original background, when I lived in England, of course by now I'm sure
everybody had detected my accent. I live in Salt Lake City, but I am from
England, originally.

Andrew W: You mean that's not a Texan accent?

Andrew L: Yeah, yeah, that's right.

Andrew W: All right. England.

Andrew L: I used to manage, I used to be the personal manager of a very
famous celebrity. Those in England will know him, his name is Paul Daniels.
Now, he was a TV presenter, a magician and very famous celebrity. In
England he's likened to someone like David Letterman or Johnny Carson,
someone like that because his show was on the BBC for 15 years and
syndicated in 43 countries, one of which was not the States. That's why
people don't know him here. But when I worked with Paul, I realized, one of
the things I learned from him was that he always talked about being true to
who you are because you are unique. You are an individual. And what tends
to happen is that people admire certain presenters and they try to be like
those presenters, whether it's on TV or on the web. Doesn't matter, the
same principle applies. What you should do is be yourself. You are the best
one of you that there is. And you are unique. You are an individual. You
have a very different personality and strengths and background and
experiences . . .

Andrew W: But how do you find that? I remember on camera at first, trying
to find that personality that I knew was deep inside me that I could barely
tap into in my day to day life. But maybe I was doing a decent job of it.
But to to figure it out on camera and to know the aspects of it that you
should bring out on camera is tough. How do we do that?

Andrew L: You know, that's a good question. One of the processes that I
went through that really helped me was to ask friends and family who I
trusted to give me very honest feedback. What the things were that they
thought were my biggest strengths and what also what my biggest skills were
too. And when I combined that feedback and kind of listed it out and
considered it, you know, obviously certain themes came through there about
my manner. I also found it helpful to look at the StrengthsFinder test,
which is a Gallup survey. It's a book that you buy, "StrengthsFinder 2.0".
I also did one of the personality tests that gives you the four letters, I
forget what they call it now. It . . .

Andrew W: Not Meyers-Briggs, is it?

Andrew L: Yeah, like Meyers-Briggs. There's 32 different personality types,
and it is astonishing when you take that test and you read about yourself.
Most people will laugh out loud while reading the description, because it
is scarily accurate. That's how to become aware of those qualities that you
have. Some other things develop; catch phrases and things like that develop
naturally over time. The biggest thing is to try and relax and just have
fun and be authentic with presenting on camera, rather than strategically
trying to design some type of persona. Again, that's something I learned
from Paul while working with him. He made the observation, which I believe
is also true, the best actors and actresses play characters or roles that
are an exaggeration of their true selves. If you think about someone like
Tom Hanks, he always plays roles that are kind of brave.

Andrew W: The friendly guy.

Andrew L: Friendly, solid, plodder, approachable. If you look at someone
like Jim Carrey, he's always zany and pulling facial contortions. That is
good advice, to be an exaggeration of your true self. The reason for saying
an exaggeration is because when you present on camera, for most people, if
you are exactly as you are in real life, it's actually quite boring.
Believe it or not, I am an introvert. I really am an introvert. I am a
situational extrovert, which is what I'm doing now, because I'm
enthusiastic about the topic and I love sharing this information.

If I was to have a conversation with you one-on-one, privately, we were
perhaps sitting at home on the sofa or on the deck, I would be much more
mellow and low key. When you're on camera you really do need to have more
energy. It's more engaging to the viewer when you have more energy. That's
definitely an aspect of that. Again, it comes back to not trying to imitate
someone else, even if you love, admire, and want to be like them. Be true
to who you are. Don't try to create a personality that isn't a reflection
of what you are. Just be yourself. Have fun with it.

Andrew W: All right, on to the big board. The next one is 'expose your
personality.' Actually, we just talked about that, the next one is 'pick
the production equipment.' We're going to talk about production equipment,
but first you want to say something about the importance of production
versus content.

Andrew L: I believe there is a balance. My experience has told me there is
a balance. Viewers do want to see good quality video and sound. Sound is
much more important than the quality of video. For example, think about
this video we're doing here. If the picture quality, because we're doing it
on Skype and I had a low quality internet speed, was very fuzzy and grainy
but the audio quality was crystal clear, would people listen and enjoy the
content?

Andrew W: Surprisingly, if the audio is clear but the video is fuzzy,
people don't complain so much. They might, but not so much. The other way
around, even though it's video, if the video is perfect but the audio has a
little hum in the background, a little noise as there was a moment ago here
on my side, people will tell me about it. It will bother them. It will
drive them bonkers. Frankly, even for me, if the audio is bad it makes me a
little sick when I listen to other people's programs. I didn't know that
going in. You're absolutely right.

Andrew L: It's a time tested proven thing. Whether you believe it or not,
it is true. That is how people judge the overall quality of a video. The
sound quality is critical. Let's just talk about the balance, first of all.
Quality is important, however, it is absolutely not necessary to record a
show with expensive equipment or to go to a TV studio, or anything like
that because more important than the quality, is content. There needs to be
a balance. There needs to be sufficiently good quality video and audio, but
much more important is the content because, ultimately, that's why people
are viewing. They're viewing it because they want to be engaged. They want
to be entertained. They want to learn something.

Andrew W: You got an example in this guy right here. Tell me about his
video equipment. He keeps saying . . .

Andrew L: This is a perfect example to illustrate this point because many
people are familiar now with Gary Vaynerchuk. He presents a show that is
daily, called "Wine Library TV" where he reviews three bottles of wine. He
doesn't drink the whole bottle, but has a taste of each bottle. He is an
expert reviewer of wine, but importantly on this point, he records this
show with one camera in his office, at his desk with a little chalkboard in
the background there. There is no elaborate production whatsoever.
Literally just one video camera for the entire show on the same shot for
about 20 minutes. [??] Gary. I lost your audio. Ironically we were talking
about audio, I lost your audio there for a second, Andrew.

Andrew W: There we go. Sorry. You know what's going on, since audio is so
important? There's some noise outside the office so I've been trying to
correct for it over here as we were talking. So that my mic doesn't pick up
on it. All I'm using to correct it is the built in mic levels, which, on a
Mac, will [??].

Andrew L: The other example that I wanted to share is "Beach Walks," again,
because this is a very successful show. You can see they've got 770
episodes at the time this screenshot was taken, and it is a woman who walks
down the beach. There's a camera that walks in front of her and she talks
to the camera. She shares some motivational, encouraging words each day.
One camera, on the beach, outside, that's the show. It's extremely popular.
It is not about the quality of production. This is something that I find
consistently when I talk to people and train them and coach them on this
topic. Most people believe that they have to spend a lot of money on
equipment. They are obsessed about getting exactly the right equipment. In
fact, it holds people back from even starting because they're paralyzed by,
"Should I get this mic or this mic, or this camera, or this camera? There's
going to be this new model coming out in a few months, should I hold off
and wait?" All of those things are far less critical than the quality of
the content. You can start with even the most basic camera and create a
good quality show, get a following and then adjust cost as you go.

Andrew W: [??] the name of the cameras that you [??]?

Andrew L: [??] equipment hold you back.

Andrew W: By the way, and this is from a person, this is from a man who has
the top setup over here. You could be intimidating everyone by saying,
'This is the only setup. This is your studio. This is what you need, or
else you're really just a poser. You're not meant to be on this space.'
You're saying the truth. You're saying look, "This is not what you need.
This isn't what you need to start out with. Start out simple." In fact, for
many people, like the people whose examples you gave a moment ago, they
might have started out simple and then stayed with the simple format, like
this guy.

Andrew L: That's the truth. Gary Vaynerchuk, great example. "Beach Walks,"
another great example.

Andrew W: Mixergy, another great example. [??].

Andrew L: You don't need to have cutting edge equipment. It just needs to
be good enough and you showed the picture of the studio. Just to explain
that to the viewers, because my background was in TV production, I knew how
to do it professionally, and I just had an ambition to build a TV studio
for myself and to rent out, and that's another business that I have and
it's a first class production facility, but I truly believe and know that
you do not need to have that level of equipment. I started my show in my
garage, in my basement.

Andrew W: Let's take a look at the equipment. If anyone wants to get
started, this is the kind of equipment. You don't need the exact model, the
exact make, but this is the kind of equipment that Andrew [??].

Andrew L: These are good examples.

Andrew W: There it is.

Andrew L: For most people looking at equipment, the majority of questions
that I get are on the lower end of the budget scale. For most people where
budget isn't a problem, they're not as worried about which camera to get.
I'm going to focus my tips on the lower end of the budget scale. For under
$500 having everything that you need to get going.

Andrew W: Makes sense.

Andrew L: This camera is an awesome camera. It will be familiar to many of
you. It's called the Kodak ZI8, or as we say in England, ZI8. I readjusted
my pronunciation as soon as I started watching Sesame Street in the States.
Today's letter, is the letter Z, so I knew how to pronounce it correctly.

Andrew W: The media is how America gets its culture into the rest of the
world.

Andrew L: That's right. The ZI8 is unfortunately no longer in production,
however it is still quite readily available. You can go somewhere like
Amazon. The last time I checked it was about $120 - $150.

Andrew W: What do you like about this camera? Why this camera?

Andrew L: Very good question. The number one thing that makes it special
compared to most cameras of this type... I don't know what they call them,
they're maybe palmcorders; they're literally ones you can put into your
pocket, and obviously a very low price point. The number one distinction
with this camera is that it has a microphone jack. It has an eighth of an
inch, which is the standard size microphone jack. The same size as the
little headphone connection you would plug into an iPod or something like
that. Most cameras don't have a jack where you can plug in an external
microphone. Coming back to what we said about audio, it is essential to
have an external microphone. There is never an instance where you will get
good enough quality sound, professional sound quality, from an internal
mic.

There isn't a camera on the planet that will give you professional quality
sound from the microphone in the camera. For one thing, it's too far back
from the subject. Secondly, it's going to pick up all the ambient noise
around you because it's a general wide pick up pattern, all over the place,
rather than very narrow and focused. Thirdly, the only way to get good
quality sound is to have a mic that's literally right next to your body,
like attached down here. That's what's special about this particular
camera. There are some cameras that are similar that have come out since,
which I haven't tested, but there are alternatives like the Sony Bloggy, I
think it's called. When you're looking and evaluating a camera, that is the
number one thing to evaluate. Does it have the microphone port? If it does,
then the image quality is going to be very similar according to what model
or make you choose. It's much less of a secondary factor.

Andrew W: You were also saying that even an iPhone camera, like the one in
the 4S, even that's fine.

Andrew L: Absolutely. The iPhone 4S camera is really a game changer. I
start sounding like an ad for Apple, but it is the truth. What's happening
is there's been a revolution in the portable camera industry because of
this iPhone. The picture quality, and this applies to video as well, is
superior to a lot of these point and shoot cameras that you would buy for a
couple of hundred dollars at a local electronics store. You can plug a
microphone into that port in the top of the iPhone, too. The other iPhones
have decent cameras as well, but this latest model, at the time that we're
recording this, the camera technology is superb.

Andrew W: Let's take a look quickly at a couple of mics that you suggest we
take a look at or that we buy.

Andrew L: By the way, another important point just to mention on cameras,
is people are obsessed with high definition. With web TV, we are not at a
point yet where the universal population can view high definition video
clearly and without stuttering. That is a fact. So the camera that you get
does not need to be HD. If it does, great. If it isn't, no problem. My show
and all of the most successful shows that I'm aware of, in the market place
across any industry, are all standard definition.

Andrew W: All right. So, let's go back and talk a little bit about
microphones. What mics do people need to get?

Andrew L:  Again, it is important to have that external mic. So what I
recommend is something . . . one of the well-know manufacturers, basically,
like a Sony Audio Technica, Sure [SP] is a good brand as well. I see here
you've got the Sony ECM range. And as you can see by this price on Amazon,
you don't need to spend a lot of money on a mic. You certainly don't need
to spend hundreds of dollars. You can, if you have the budget. But this
type of microphone will give you good quality, and you will be amazed at
how much better the quality is just by having this type of external
microphone. So, very simple, you don't need to break the bank. And . . .

Andrew W:   This is a Sony mic, 35 bucks, ECM-CS10. This is the other one
that you suggested, and I notice of course, there's something that they
both have in common. This is the Audio Technica, $42 for this mic. Of
course, we'll link it all up. The thing that I'm noticing is you recommend
that we have, not the kind of mic that I use here, which . . . of course,
this is the Rode Podcaster and it's . . .

Andrew L:  Yeah. They're great. Yeah.

Andrew W: These are really good mic's. It's good for when you're sitting at
a desk. But what you recommend, though, is the Lavalier mics. Why do you
suggest that we get those instead of . . . Here, let me bring up that and
the Lavalier. Why do you suggest these Da Lapel [SP] mics?

Andrew L:  Well, the main reason is because, when you present a typical web
TV show, you want to be engaged with the audience and the microphone is
something that is not a feature. [laughs] You basically don't want it to be
noticed. I don't know if you know this, but if you watch a show like
Letterman or Leno, and they have the little mic on the desk there . . .

Andrew W:   Uh-hmm.

Andrew L:  . . . those aren't practical mic's. They're props.

Andrew W: You know what? I didn't know those until I started recording my
own, and then I realised, of course that's not the right mic. Of course
that's not what they're using, it's just there for show.

Andrew L:  It's just a prop. I notice that my video has gone fuzzy. Is that
. . [??]

Andrew W:   I see that. I wonder why that has gone fuzzy.

Andrew L:  Let's see. Yeah . . . Let my try something.

Andrew W: Oh, you just disappeared on me. And . . . Oh!

Andrew L:  I do like to have good quality.

Andrew W:   What did you do?

Andrew L:  I just turned it on and off again.

Andrew W:   Oh. That was magic.

Andrew L:  Let's see if that makes a difference.

Andrew W:   Yes.

Andrew L:  So the point about the mic is, in fact, I'm with you in the . .
. Let me bring this, see if I can bring it over here a little bit. I don't
know if it'll stretch that far. Are you able to widen my shot a little?

Andrew W:   Yeah, a little bit here. Let me see if I can do that.

Andrew L:  Oh good. It's the side.

Andrew W:   And here, look, this is the cool thing I can do. I can actually
move your camera.

Andrew L:  Oh, look at that. So here's my mic. So I do use a similar mic as
you when I'm going this type of interview because it's nice quality. This
one is a Samsung C01U.

Andrew W:   OK.

Andrew L:  But for a web TV show, like I said, that you really want to have
a good connection with the audience, and this type of mic isn't suitable
for that scenario. Generally, this type of mic is best for something where
it isn't going to be seen on screen, and as you can tell from the way that
Andrew had the shot set up there, he actually hid the microphone and my
shot was cropped . . .

Andrew W:   [laughs]

Andrew L:   . . . so you could see the mic. So we're getting the good
quality. But for . . .

Andrew W:   And by the way, that thing that you have on the mic, we should
say is a pop filter.

Andrew L:  Yeah.

Andrew W:   I probably should get one on here. When I say 'P', 'pop' . . .

Andrew L:  Yep.

Andrew W:   . . . pop filter, the audience loses a little bit of the sound.
When you say pop filter . . .

Andrew L:  Pop filter.

Andrew W:   Yeah, it sounds so much clearer.

Andrew L:  Clearer, yeah. Just a little thing. In fact this is just very
simple. You could actually do this type of screen with some stockings
stretched over the . . . [??]

Andrew W:   Although it's pretty inexpensive to get those, I've discovered.

Andrew L:  Yeah. You can pick them up at any musical store for about 30
bucks. But it does make a difference on those 'pop' sounds, and even a
little bit on the 'S' sounds as well. It just dampens those down a little
bit, so a little advanced tip there.

Andrew W:   OK.

Andrew L:  So . . .

Andrew W:   And so what you're saying, though, is unless you're sitting at
your desk and are stationary and are willing to have this big equipment in
front of you . . .

Andrew L:  Yes.

Andrew W:   . . . go for the Lavalier. Be more human. Walk around or look,
at least, like you can walk around, and talk to the guest.

Andrew L: Exactly, you got it.

Andrew W:  Lighting. Lighting has been a big issue for me. This is what
I've learned about lighting. I'll show you and then I want to learn from
you because I've noticed how important lighting is here. I'll show myself.
This is the way I used to be. In fact, worse, I used to have overhead. It
was awful and what I've discovered is, if I just put light in front of me.
Big difference. If I put light behind me, and I don't want to mess with my
system too much, but if I put light behind me, it's awful. If I put light
over me, my eyes are dark and you can't really see them and they're weird
shaped. Put it behind me and the camera needs to compensate for it, and the
whole thing is too dark and you can't see any of it. Put light in front of
me and it's a huge help. What else do I need to know about lighting?

Andrew L: What type of light are you using, out of interest?

Andrew W:  I've got to tell you, the thing that is actually working is just
the standard desk lamp that they give me here. I rent from Regis [SP]
office. I pay them about a 1,000 bucks, they give me office, internet,
phone, reception, kitchen and this lamp. All I did was take the shade off
of the lamp and I put it in front of the computer and that's how I get this
light on me.

Andrew L: Yeah, it's cool because you're using, I would guess, is 60 or 100-
watt lamp, no more than that. The danger that you have to look out for is
that any type of bright light directed right at you. First of all it's not
going to be comfortable for you having that light source directed at you,
but secondly, it can actually overexpose you. You can have too much light.

Andrew W:  By overexpose, you mean, where the person looks like a ghost.
Right? That's where the person is really white.

Andrew L: Yes, too bright. Yes, they look washed out. We talked earlier
about the importance of audio and people judging the quality of a video.
The second thing that they judge is the light. Again, people don't
consciously think, 'It's too dark,' but they would subconsciously know it
if it was too dark. Just like the example that you showed. The contrast
between the two was actually quite dramatic. A simple thing like that. It
looks quite dull. It looks flat, to use a technical expression. But as soon
as you turn that little bit of extra light source on. Yeah, we don't see
your features. The whole face looks indistinct. And what a massive
difference a simple desk lamp makes.

I'm glad you gave that example, Andrew, because just like video equipment
and audio equipment, you do not need to spend a lot of money in order to
massively increase the quality of your production. As in this example,
you've used something that anybody can go and buy for $20 or $30 and look
at the difference it makes. So the tip that I'm going to give for lighting
is very similar. The biggest problem with lighting, by far, is not having
enough light. Very rarely, is there too much light. It's very unusual for
that situation. The way to increase the overall lighting in the room is
simply to use a flood light that you can get from Home Depot or any of
those type of hardware stores and a lot of them will sell them for $5, $10.
They are very inexpensive. These are typically used for construction
purposes.

Andrew W:  Is this what you mean by that?

Andrew L: Yeah, perfect. That kind of thing. Sometimes they come in a
yellow housing. They take a 250 watt or 500 watt halogen bulb, that's very
inexpensive. What you want to do is, once you have this type of light, is
position it on the floor, and point it up at the ceiling. Now why would you
do that? Well, most ceilings are painted white, it's unusual for them not
to be painted white. What happens is the light bounces off of the ceiling
and in that process of it bouncing off it diffuses the light and it
basically spreads that light all around the room very evenly. Now what
would happen if you were to point that light at yourself? Well, first of
all you'd be blinded and you'd be seeing stars. But secondly, it would be
too much light, it would be too bright, and you'd appear like a ghost, as
you said. You'd be just washed out. This is a great way to increase the
overall light in the room and it will make a tremendous difference because
it's a nice, soft light and that's what you want.

Andrew W:  Just have that light, point it up at the ceiling. I don't have
to have anything pointed at me to look good?

Andrew L: Yeah exactly, it's kind of a trick of the trade, now, once you
get into lighting and studios and so on, there's two different types of
lighting, just to explain why this works the way it does.

Andrew W: Yeah, please go on.

Andrew L: In film production, you have very complex lighting set ups
because what they want to do is they want to kind of have a sculpted look
to, particularly, the face and the body.

With news style shows and documentaries they want everything to be evenly
lit because it's not about drama it's about "can I see the person
properly?" and it's not about drawing attention to their features as a
person, it's about the message and so what we're trying to create here is
something similar in our own office or home or wherever we record, so the
way that we can do that is by pointing a flood light up at the ceiling and
that creates this very natural, soft light which looks great.

The other alternative for lighting is to shoot outside. Now, outside light
is the best type of light that you can possibly get. You don't want to
shoot at midday, but if you shoot in the morning or afternoon you will get
a beautiful looking shot every time because natural day light is the best
possible type of light. If your show lends itself to shooting outside and
you have the circumstances to do it, that's obviously a very easy way to
overcome the challenge of lighting.

Andrew W: And, by the way, I'm spending so much time on lighting because
most people think, and I did make the same mistake, that it's the camera
that's going to make a big impact. But it's the lighting that's more
important than the camera.

Andrew L: You know, it's interesting, just to prove that point, Canon in
their professional range have cameras that cost about $10,000 and about 4
or 5 years ago they came out with a camera which was $400 and some video
students did some side by side tests of these two cameras and not even the
experts could tell the two shots about. $400 versus 10,000. It is not about
the camera. Spending that much difference on the camera is not going to
make a better show. There's going to be slight differences, but you're
absolutely right, giving attention to having enough light so that the
camera can do its job properly is the critical thing, and of course white
balance plays into that as well, to allow the camera to detect the right
type of light. There's a big difference between day light and artificial
light. Cameras can't tell the difference. They have to be told by you in
the settings whether you're shooting artificially, or under day light or
fluorescent.

Andrew W: In fact lighting is where I think we need to make some more
investments here at Mixergy. Is there a place where you recommend that I
can go and anyone else who wants to learn more about lighting, where can we
go to learn how to find the right lighting, to buy the right lighting?

Andrew L: There's some great resources online, as I mentioned-, well, just
to finish that thought, just if you go to Google and type in "lighting tips
for video" you'll see all kinds of...

Andrew W: OK.

Andrew L: ...free articles that are out there. Because daylight is the best
possible light I actually recommend for people if they have fluorescent
lights in their office, which a lot of people record in, I'm not sure if
you have that scenario but if you have fluorescent lights, change the tubes
to daylight fluorescents because you'll actually get a more natural looking
light and you'll know they're daylight fluorescents if you look at the
color temperature, which is printed on the end of it, and it'll say
something like 5600 or 6000, that's the range that you want to look at. And
it imitates the look of daylight, so that's a very simple tweak that you
can do to make it look more natural. The thing you have to be cautious of
is you don't want to mix light sources. So, if you have fluorescents keep
the fluorescents and change them to daylight tubes. If you don't have
fluorescents, use the strategy of the halogen lamps that I mentioned
because those two types of light are very different color temperatures and
it can confuse the camera when you mix light

Andrew W: All right, that's a good point, good tip. And I do have
fluorescence up there, and I'm going to check afterwards to see what kind I
have.

Andrew L: Yeah, cool.

Andrew W: All right. Anything else about the equipment before we move on to
the next big idea?

Andrew L: Those are the main things. Just to reiterate that you don't need
to break the bank. Certainly for under $500 you can have everything you
need to get started. If you have more money to spend, great. There's plenty
of resources online that will advise you about, you know, what cameras to
use. And there's a great website that reviews every new camcorder that
comes out called, I think it's camcorderinfo.com. Very popular review site
and they do a great job of letting you know, you know, kind of bottom line.
Or you can look at something like Consumer Reports. But absolutely, I
totally agree with you, what you said earlier. Don't fret about the
equipment. Take the tips that we talked about in these last few minutes and
that is good enough. Don't worry about the latest camera that's coming out
in six months. Just get started, you know, right now and you'll soon
discover what you can improve as time goes on. The most important thing is
to get going with it and learn the ropes and improve as you go.

Andrew W:  Alright. Next big idea is to publish a show, get it on your
website.

Andrew L: Yes.

Andrew W:  And of course, people want to know what software they should use
to publish. They want to know why I use one software, one video publishing
platform versus another.

Andrew L: Yeah.

Andrew W:  So let's talk about that. What do we need in order to publish?

Andrew L: This is now the kind of exciting part. What I recommend is . . .
publishing simply means getting, first of all, the footage online.
Publishing the footage that shows the video and also hosting a website for
people to watch the show. So two components, then, they do go together. But
there's also different aspects of each one. So the first aspect to consider
is how do you host the video, how do you publish the video online? Well,
the most obvious resource is YouTube. However, I don't recommend that
people use YouTube for web TV shows. And the reason is, simply, that
YouTube has the worst quality of all the different video distribution
sites. YouTube has so much video uploaded to their site, they have to
compress it very, you know, kind of which reduces the quality. It makes it
look a little bit more pixilated and so on than other sites. So there are
other sites that have sprung up in the last five years that do the same
thing as YouTube, but they allow you to have better quality.

And two in particular that I recommend are Vimeo, which is V-I-M-E-O .com
and Blip.tv, Blip.tv. Both are those are hosting services for video. There
you go, there's Blip. Blip is a particularly nice one because Blip actually
wants web TV shows. Blip is structured around attracting web TV shows. And
so for about $90 a year, last time I checked, you can have a pro account
with them which enables them to host all of your videos. They do
conversions to make it look, you know, nice quality from the original
master. They will also create a feed for iTunes. They will also create a
feed to send it to YouTube on your account and also some other video
distribution services. So I've been using Blip for the last three years and
really like it. Vimeo is another good one too. But those are the reasons
that I recommend those services.

Andrew W:  Yeah, Blip. I'm sorry. I've been paying for Blip also for years.


Andrew L: Yeah.

Andrew W:  The idea that I can post to Blip and send it out to YouTube and
to iTunes. iTunes is a bear to deal with.

Andrew L: It really is because iTunes feeds are actually quite complex.
Outside of Blip, I don't know of any other tools that make it easy to
publish to iTunes.

Andrew W:  And inexpensive.

Andrew L: It is a complex thing.

Andrew W:  Yeah. Yeah, that's a good point. I'm glad you brought this up.

Andrew L: I love Blip for that reason. They do such a great job of that.
They're very easy to work with. I found them good support. And frankly for
$100 a year, it is incredible value. It really is.

Andrew W:  And you can pay for it on a monthly basis, something like 9
bucks a month if you want. I think that's the plan I'm on and they just . .
.

Andrew L: Yeah. Yeah. It's a very good deal for hosting video and having,
you know, making it easy to create the players and so on which they do. So
that's the first aspect, is hosting the video. Then of course you need a
website. And the platform that I recommend, which I'm sure everybody would
be pleased to hear and certainly all of the shows that I create, I use this
platform and every other popular show that I've ever come across uses this
platform, too, so I know that it's proven, is (drum roll)...[laugh] it is
Wordpress.

Andrew W:  Of course, that's what makes [???].

Andrew L: I'm sure most people watching this are familiar with Wordpress,
if you're not, the reasons for Wordpress are, first of all, it's free, you
can't beat that. Secondly, it is rock solid and stable. Thirdly, it
inherently includes the ability for people to interact with you and other
viewers via the comments function. We take that for granted now but to do
that, technically, before Wordpress was a real challenge so Wordpress,
whether it's hosted by Wordpress or you host it yourself on your own
hosting, it doesn't matter.

There are plenty of themes that are great and funny enough, a show that I
was a consultant on, I went to his site, I taught him to use Wordpress and
I went to his site and looked at the site and it was a beautiful looking
site, Fitbiz, it's a show for independent gym owners. Fitbiz.tv and so I
went to the site to see what he'd done, I helped him a little bit with the
show and I loved the look of his site it was nice and clean, and I said
"how did you do this?" I was admiring it. And he used WordPress and he used
a theme called Evid. The letter "E" and "vid" and he tweaked it a little
bit, customized it a little bit and I love the look of his site, it's
perfect for a web TV show and it shows. I learned a few things from
students as well, as in this case. I'm always learning, always, it's a
constantly evolving business so I love Fitbiz as an example of a great
looking show site but bottom line: use Wordpress, have it installed on your
own hosting, and then embed (that's E-M-B-E-D) the video from a service
like Blip, or Vimeo, onto your own site and that's all you need to publish
your new show.

Andrew W:  That's pretty much it. For theme design you don't recommend
people create their own themes from scratch you're saying just go and use
one of the themes that already exists, especially when you're starting.

Andrew L: Yeah, frankly there is no need to create your own theme because
most themes these days come with lots of variations of choices to tweak. I
like Woothemes, Woothemes.com is great. They have plenty of different
themes to choose from, very good resource, very good quality-

Andrew W:  Yep.

Andrew L: Good looking themes, so I definitely recommend them if you're
looking for...and they certainly have themes that are specifically designed
for video. They won't necessarily say "Web TV Shows" but it'll say "For
Video"

Andrew W:  They look really polished.

Andrew L: Yeah, they look great. I've had good experience with Woothemes.

Andrew W:  Also show this, for hosting, you like Bluehost, I've heard good
things about Bluehost too so if you want a Wordpress site hosted cheaply,
they're a great company to use.

Andrew L: I do like Bluehost, particularly because when you call their
support-, first of all, it's inexpensive, but when you call their support
they have a real human answer the phone and they're extremely helpful. I
don't like it when you have to go through all these layers of technical
support. When I call Bluehost with a challenge, I'm actually talking to
someone who's intelligent who can actually fix the problem without having
to escalate it through 18 levels of support which is so frustrating, isn't
it? Other companies they'll say "now, is your computer switched on?" Yes,
I'm not a complete dumbo. [laugh] They treat everybody with the same level
of basic situation so, yeah. I like Bluehost.

Andrew W:  All right, back to the big board. Next big idea is to just-,
well, next big step of course is to distribute your show. To get the show
out there, to get people to watch, how do we do it?

Andrew L: Distribution means enabling as many people as possible to see
your show. Again, just to clarify this because I get a lot of questions
around this. We've talked about having the show on a hosted site, Wordpress
and using a service like Vimeo or Blip so in other words, people would come
to your site to watch the show, that's the ideal circumstance because you
can have ads on the site, you can promote other products, you can interact
with people, you can have the comments and so on, That's the ideal
situation, but we have to remember, how do we get people to that site in
the first place? The key word is "discovery." The beautiful thing is
because there are so many video distribution channels out there, like
YouTube, and there are hundreds of others, if we distribute our video to
those sites, it allows more people to discover the show and then the aim,
which is something that I always encourage you to do, is in the content of
your show always direct people back to your site.

For example, in my show, knowing that people are going to be discovering it
on YouTube and those other channels, iTunes and so on, I always say,
throughout the show I'll say things like, 'What do you think about this?
Leave a comment below this episode at helpmybusiness.com', or 'To get
updates on this show for free, make sure you sign up for that service at
helpmybusiness.com.' I never assume that people are going to be watching it
at helpmybusiness.com, even thought that's where I'd want them to view it,
ultimately, because that's the harp of my business. Like I say, it's a
discovery strategy, so I want people to be able to discover my show in as
many places online as possible. That's why I make it available because I've
heard people say, 'I want people to watch it on my site.' That's all right
and well, but you've got to have the traffic there to begin with. It's a
chicken and egg situation. In order for as many people as possible to know
about your show, get it out there and allow them to discover it. A little
extra tip on that is, an extra way that I encourage people to come back to
the site, this is an advanced strategy, is the version of my show that I
distribute on these other platforms like YouTube and so on, with the
exception of iTunes, is a short version. Normally the show's about 15
minutes.

What I do is I create about a six minute version that's arbitrarily cut off
after about six minutes. The number is not the most important thing. What
is important is the show just cuts off. A message comes on screen and it
says, 'To view the remainder of this episode, visit helpmybusiness.com.'
It's actually a graphic on the screen and that stays on there for about
another ten seconds. The reason I do that is because if someone is engaged
enough after about six minutes with the show, they like me, they like what
the content is and so on, I know that they're going to do that. They're
going to go back to helpmybusiness.com and watch the rest of the show for
free, and someone who's merely curious or not that bothered or interested,
they're not going to do it, which that's fine by me too. I'm not looking
for those people. Doing it that way, I get the benefit of discovery, but I
don't train people to watch the show on a continual basis on those
channels. I don't want that. I don't want people to go to YouTube for each
episode, I want them to come to my site where I have all these other
monetization strategies.

Andrew W: That's good advice. I didn't think to do that, to just chop it
off arbitrarily. I kept thinking, 'You know what, when we were on YouTube
we had to create a whole new video just for YouTube.' It was a lot of work,
but this makes sense. Just, maybe we have somebody cut it off at exactly 20
minutes in, or 10 minutes in.

Andrew L: That's basically what I do. I would say, shorter than 20 minutes.
I would do 10 minutes, or less, and it's a very simple job for an editor.
In fact, with that pre-built graphic, he can turn those out in a minute per
video. It's very, very easy and quick to do that.

Andrew W: To distribute, you recommend a product called, I'm looking at my
notes here, Traffic Geyser. I've never heard of this before. What does
Traffic Geyser do?

Andrew L: Traffic Geyser, I'm sure some people watching this will have
heard of it. It's been out there for a few years. Traffic Geyser is the
gold standard for video distribution. What it does is, you upload your
episodes, one by one, when you're ready for this, to the service. It's an
online service so you have a login and so on. Traffic Geyser has logins, so
you would register accounts on all of the video services that were
appropriate for your niche, like YouTube, and Traffic Geyser distributes to
about 40 different video distribution sites.

Once you've put your login information for those sites into Traffic Geyser
at one time, after uploading your video for the episode, with one push of a
button it will distribute that episode with the description, with the
keywords, with the meta tags that you specify, to all of those video sites
automatically. It's a huge time saver. It does a lot of other things as
well that we haven't got time to discuss. It's a premium service. I can't
remember how much it costs. Maybe 100, or 200 bucks a month, or something
like that, but if you're serious about webTV and getting massive exposure,
Traffic Geyser is a must have tool and you can look at it at . . .

Andrew W: We'll include the link so people can go directly to it.

Andrew L: Try Traffic Geyser.com, is my link for it. G-E-Y-S-E-R. It's
really a phenomenal tool.

Andrew W: You've used it for dentistrysecrets.tv. A video program that you
worked with. What was their results?

Andrew L: Actually it's a good example. "Dentistry Secrets" is a show for
dentists. A great niche show. It's by a dentist, for dentists, to help them
with their marketing. When we put that show on iTunes, we found the iTunes
audience, it makes sense in hindsight, iTunes audience wasn't the best [??]
because it's a very niche specific show. If you think about the audience,
the only people that are really going to be interested in watching that
show are dentists. What we found was after using Traffic Geyser to
distribute the show across relevant video distribution channels, the number
of people that watched "Dentistry Secrets" shot up by seven to eight times
what it was previously. The before and after . . .

Andrew W: Seven to eight times?

Andrew L: Yeah. So it's a massive difference for a tool that took about
less than 10 minutes to use, once a week.

Andrew W: There's one other one that I want to show, another tool called
Pixel Pipeline. What is Pixel Pipeline?

Andrew L: Pixelpipe is . . .

Andrew W: Excuse me. Pixelpipe.

Andrew L: . . . the poor man's Traffic Geyser, if you like. It essentially
does the same thing to a more limited range of video distribution sites. If
you're just starting out, you might like to use Pixelpipe for free, but if
you're serious about it, Traffic Geyser has many, many more features
besides the video distribution, and it's certainly a professional tool that
works extremely well. I can't say enough good things about it.

Andrew W: Back to the big board. Next big idea is 'Get Paid.' Of course,
this is a big one. The last idea and maybe for some people the most
important one. It makes the whole rest of it possible.

Andrew L: The aim, of course, for most people, with doing a show is to make
money from it. In some cases you might be doing it for charity or because
it's a hobby or a passion, which is fine, but I suspect that most people
watching this are going to be more interested in doing it to get some
financial benefit. The sad reality is the most webTV shows out there are
really struggling, and a lot of them give up because they are not making
any money. The way that I approached it in creating a show was as a
marketer. The reason why a lot of people give up is because they think that
monetization, and this is an important point, they think that the way to
monetize a show is by allowing the video sites like Blip, is an example, to
include video ads in the episode.

There's two main types of ads, there's pre-roll ads and there's post-roll
ads. Pre-roll ads mean an ad that is shown before the video, before your
content starts. You can't click away from it, you are forced to watch that
ad. Post-roll ad is the same thing at the end of an episode. Obviously, pre-
roll are the most popular type of ads, but here's what studies have shown.
I discovered this from the most extensive survey that's ever been done,
which was a couple of years ago now. MTV did it. They did a study to
evaluate what is the effect of including pre-roll ads on a piece of
content. They studied no ads, 15-second ads, and 30-second ads that were a
barrier before people watched the content. And they found, this blew my
mind. I figured it would be high, but they found, I forget the exact
figure, but it was in the 40s. It was 40-something percent of people will
click away and refuse to watch the content with a 30 second ad.

To me, that is a disaster. To lose 40% of a perspective audience that had
some level of interest before you even utter a word out of your mouth. Now
that's why a lot of people are frustrated because those ads don't pay a lot
of money anyway. I realized very early on that was a strategy that I wanted
to have no part of. I've never had ads in my shows for that reason. The way
I do it is I integrate sponsored messages in the content of the show. Now
this is interesting because we are actually coming full circle back to the
1950s and '60s. Anybody who watched TV in the States around that time would
remember that you had whole episodes of shows. It was, "This show is
brought to you by Kellogg's," or "This show is brought to you by Ford," and
then they would tell you a little bit about it. You're seeing it even in
shows like American Idol with Coca-Cola. I think even Ford actually
sponsoring American Idol, too. Now you don't see an ad for Coca-Cola in the
commercial break, they are just inherently sponsoring the show with product
placement and occasional mentions and things like that.

That's one big source of revenue is including a sponsor message in the
content of the show. Then the content is just seamless. You don't have a
piece of content and then a break for ads, which encourages people to click
away, and then back to the content. The whole process is perceived by the
viewer as content. So even when I'm talking about a sponsor and I say, "I
just want to give a shout out to our sponsor this week," you know, maybe
it's someone like Infusionsoft, who's a good sponsor of my show. "Just
wanted to let you know that they have a great system for customer
management and marketing. If you're interested in it, they're providing a
free video at the moment that you can download at such-and-such." Now when
people hear that, they do not perceive that, and they don't judge it as an
ad. It's really interesting because they have a relationship with me as the
presenter. The ones that like it, they know they can trust me, so they
perceive it as content. Which is perfect. It serves me and the audience.

Andrew W:  But they do know that you are getting paid for it. There is no
confusion that maybe you're...

Andrew L: Oh, absolutely.

Andrew W:  In fact, you do it so well, I told you before we started
watching, my sponsors have told me to go watch you to learn how to do it
right.

Andrew L: [laughs] I appreciate that. To clarify, again anybody can learn
by watching the show. I start the episode by saying, 'This episode is made
possible by...' and then name the sponsor. Then just one sentence about the
sponsor. When I get to the sponsor promotion part, again, it's critical to
understand this, the audience views it as content. In fact, I have never,
in the whole history of doing the show, ever had one single person write a
negative comment on the comments or email me to say, 'I didn't like the
ad,' or anything like that. They just don't see it as an ad, which really
it is.

Andrew W:  What I notice from those commercials, I love Blip, we talked
about Blip.tv being a great service, and they have this big check box that
says, check here if you want us to run ads for us on your videos and we'll
give you the money that you earn from them. What you notice, if you have
any experience running those kinds of ads and real ads that you do, that
you pitch within your program, is, not only are those pre-roll ads that
they run going to turn people off, and you said 40% of people are going to
not continue watching the video, but they don't work and they don't
generate enough revenue for you. Ads that you pitch yourself are better.
And you actually, you have advice for someone who doesn't know how to call
up an advertiser and sell an ad. And you recommend two services. Can I
bring up one of them on the screen right now?

Andrew L: Yeah, absolutely. Just while you're doing that, the other thing
to mention about, or just to piggyback on what you said, is that when you
have those pre-roll ads and you check the box for whatever video service
that you're using to allow ads, I guarantee you that at this point in time
those ads are not going to be relevant to your content. That will happen
eventually, but, you know, with your show, you'll get ads for things like,
you know, I don't know, a soap powder or, you know, some kind of . . .

Andrew W: Tampons suddenly coming in in front of your video, you have no
idea what they're going to run.

Andrew L: Yeah, you know, some pill or potion. It is - the relevance of an
ad is extremely important to viewers. So if you have any type of ad, if
it's not relevant, they will absolutely hate it even more, because they
just think, well, this is not even relevant to me. Subconsciously, that's
what they're thinking. So for those reasons, I think we've probably labored
the point, but pre-roll ads are an extremely bad idea.

Andrew W: All right. This is one of the services that you recommend. Just
Commission Junction, cj.com. You go on here, you can get affiliate, sign up
for affiliate programs from some of the biggest brands. How do we use an
affiliate program, Andrew Lock, in our video if we can't . . . The way
affiliate programs work, I should say, of course, is - and most people in
the audience know - you just sign up for Commission Junction, you apply to
promote one of the brands and one of these products. Once you're approved,
you get to promote it with a special link and you promote it any way you
want, as long as you deliver the result that the advertiser's looking for.
You get paid.

Andrew L: Right.

Andrew W: So if it's get people to fill out a form, you get paid when they
do that. If it's get them to sign up for Netflix, you get paid when you get
them to do that.

Andrew L: That's it. It's [??] . . .

Andrew W: That makes sense on the web, but how do you do it in a video? How
do you send people to your unique link?

Andrew L: It's actually very easy in video. I explain the process works.
You did a nice job of explaining affiliate programs. And just to clarify,
this is a secondary source of income. So, you know, we talked about
sponsors. This is now another means to make money. So the first thing is to
find an advertiser that you personally like. And, you know, I say that in
all seriousness because . . . please don't promote anything that isn't, you
know, that you don't authentically believe is going to be valuable to the
audience. Because, I tell you what will happen is, first of all, there's a
possibility that it might actually not be any good, perhaps if you're not
familiar with it. And secondly, if the viewer has a bad experience as a
result of your recommendation, who are they going to blame? They're not
going to blame the service provider. They are going to blame you as the
person that recommended it.

Andrew W: Yeah.

Andrew L: So that's kind of a prerequisite that I, when I first started my
show, I made that decision, very strategically and deliberately, that I
would never ever promote anything that I hadn't personally used and love.
And that's . . . [??]

Andrew W: And let's suppose you get . . . I'm sorry to interrupt . . .

Andrew L: That's all right.

Andrew W: . . . but I know that there are a lot of people who buy into this
idea that they're not going to promote anything unless they love it. But
they don't know how to get the companies that they love to take their calls
and then how to get them to sign up and pay some money for advertising.
What do you advise people?

Andrew L: Well, that's the beautiful thing about affiliate programs,
because you haven't even got to talk to anybody. With, to acquire sponsors,
then you need to pick up the phone and, or, you know, if you have a
relationship with someone, it makes it a little easier and so on. And
that's something I go into a lot more detail about how to do that in my
course. But with affiliate programs, if you sign up as an advertiser on a
service like Commission Junction, which is one of the most well known,
because Commission Junction attracts most of the well known brands out
there, it's very easy within a few minutes to become qualified to promote a
well known product or brand. And kind of back to your earlier question, the
way that you do it on a show is simply to register a unique domain name.
So, for example, let's say I'm looking at one on there, on the left hand
side there. Let's say I was promoting Priceline.com. Priceline provides a
service for flights and car rentals and things like that.

Andrew W: Right.

Andrew L: Priceline, if they approve me in commission junction as an
advertiser for their products, they're going to give me a long domain name
with, there's probably about a hundred characters, lots of squiggly letters
and so on.

Andrew W: Right, they want to make sure they give you a unique URL so that
they can track you directly.

Andrew L: It's a unique URL. That's how they track my clicks. What you can
do is register another domain name. So I might register carrentaldeals.com
for example and then, when I go into my dashboard in the settings of the
domain name, I can forward carrentaldeals.com to that unique trackable
link, and then that disguises the long URL, and it's as simple as that. So
then in the show, I can say, I've been using a service from Priceline to
get car deals. I use it every time that I travel now, and I highly
recommend it to you. I love it. I've had a really good experience. If
you're interested in trying it out for yourself, go to carrentaldeals.com,
and the name would appear on the screen down here in the lower third
section, and in addition to appearing on screen, I would also have a
clickable link in the episode notes just below the video. So I get the
benefit of the onscreen visuals plus the fact that they can actually go,
and I'll tell them: or you can just click in the notes for this episodes,
and it'll take you directly there.

Andrew W: That's great advice for that. You know, one thing that works for
me since you recommend it, of course, WordPress. There's a plug-in for
Wordpress called redirection that allows you to create any unique URL that
you want on your site and then redirect that to any other URL, so . . .

Andrew L: What's the extension, or what does the actual domain name show
as?

Andrew W: So it would just be mixergy.com/flights is where I would tell
people to go.

Andrew L: Oh, that's great.

Andrew W: And it would even track how many people click on it and give me a
few other cool features.

Andrew L: What's the plug-in called? I'm going to make . . .

Andrew W: It's called Redirection.

Andrew L: Redirection plug-in for Wordpress. I love that. That's great.

Andrew W: And it does all kinds of other stuff. Like sometimes if you have
a typo on your URL and you fix it, you basically break the link for people
who have the typo in their URL. With Redirection you can redirect the typo
to the fixed URL, and a bunch of other things like that.

Andrew L: That's a great tip, Andrew, thanks.

Andrew W: Oh, thanks. You've given me so many tips that I haven't known
over the years, it kind of feels cool for me to tell you something . . .

Andrew L: Yeah, no, I love these little resources.

Andrew W: Also, the thing about CJ, and you pointed it out a little bit
when you picked out Priceline is a lot of their companies are already well-
known. People already know about Priceline. If you tell them, they may or
may not use your URL. Clickbank, though, and this is another site that
you've used, much more unique products on here. People are much more likely
to need your URL to get to them because they're not going to know another
one. What's Clickbank about?

Andrew L: Hundred percent, yeah. The vast majority of products on Clickbank
are actually information guides, so in other words, it's a report, a guide,
an e-book that you download. There's a couple of nice things: One, you
pointed out already, is that they tend to be much less well-known, and
secondly the amount of money you can earn on them tends to be higher than
products promoted on, or that you find on somewhere like CJ. And the simple
reason is because there's more profit margin in informational products. So,
again, whatever niche that you are in or that you're thinking about
choosing, I guarantee that there will be products available. Clickbank is a
massive marketplace, and so you'll absolutely find information guides that
you can promote from Clickbank. And again it's a very simple process.
Search the marketplace on Clickbank, find some that you think are good,
contact the owner or creator of that product, tell them who you are, what
you're doing or planning to do and ask them for a review copy. Review it,
if you like it, promote it. If you don't like it, don't promote it. It's as
simple as that.

Andrew W: You know, brilliant idea by the way. I didn't even think of that,
and we absolutely need to emphasize that. You can go nuts buying all these
different products from Clickbank, trying to find the one that you love
enough that you're going to promote to people. It's just going to be too
expensive, too time-consuming. To email and say "I want a review copy,"
takes no time at all. Most of these products, in fact, almost all, on
Clickbank are digital products. The makers don't mind giving you another
one, because it doesn't cost them any extra, and it's a good way for you to
sample before you promote.

Another good thing about Clickbank, and I want to hear your story, too,
Andrew, before I finish this section. Another great thing about Clickbank
that I've heard in my interviews is that you're going to make more money if
you create your own product, I've heard, and I've experienced that on
Mixergy, than if you sell others', but creating a product is an unsure
process. You don't know what to create, what's going to sell to your
audience. You don't know how good you are at selling it. What I've heard
people do is, they find a product that others have created, maybe they go
to Clickbank, and try it. Then they try another, and another. Then when
they find one that really works, they say, "Now I understand what my
audience is looking for. I'll create my own product that's similar, but
more customized to my audience." And that's one of the great things about
Clickbank. Of course, once you create your product, you can put it up on
Clickbank and let other people promote it, too.

Andrew L:  Yeah, absolutely. There is definitely more money in creating
your own product. Obviously, there's more work up front and so on. For
starting out, and to get some revenue coming in, Clickbank and Commission
Junction are very easy to use tools that will enable you to get some
income. The one big difference between the two of them, other than that
Clickbank specializes in digital products, is that with Clickbank, there's
no approval process in order to promote something. You can promote
everything on Clickbank, whereas with Commission Junction, some of the
companies are quite choosy, and so some of them will deny you, because
either they don't know you, or they don't think that you have the right
type of site for their products. Most of these are big corporations. That's
another reason why Clickbank is such a great tool to work with.

Andrew W: Can you tell the audience your experience with Clickbank, and how
much of an impact it had early on for you?

Andrew L:  Yeah. As with anytime someone is a trailblazer, which I have
been, you have to try a lot of different things, which I have done over the
years. I've tried tons of different strategies. Some work, some don't.
That's really part of the purpose of this interview, is to share the stuff
that works. My experience with Clickbank was, occasionally, I would
discover a guide that I really liked, and that I found great benefit from,
and that I felt was good value for the money. When I recommended that to my
viewers on the show, even in the early days when I didn't have that many
viewers, I would easily make anywhere from $500 to $1000 to several
thousand dollars by simply recommending something that I liked. I would
have happily made the recommendation anyway, because I like serving people.
But to be able to get paid for it, while that's a nice icing on the cake,
and it definitely proved to me that that's a very easy way of adding an
income stream to a show where you have an audience that trusts your
recommendations. You never want to abuse that trust. Always serve them well
and keep them well-informed with products that you know will be of value to
them, and they will absolutely love you for it.

Andrew W:  That's a huge impact, when you're just getting started, to be
able to not have to make those phone calls, to just sign up to a site, get
it (?), and you're doing hundreds, if not a thousand dollars per product,
which is huge.

Andrew L:  Right.

Andrew W:  Let's go to the big board here. Final word, here's all we've
got. (crosstalk) Final word from me, and then I'm going to get a final word
from you.

Andrew L:  Is more than one word OK?

Andrew W:  I see. Final words, plural, I should say. Here it is. What are
the great things about doing video? I know we hit you with a lot of
different things to do, and I know that it can seem a little overwhelming
to do videos, but I'll tell you: if you keep it really simple and you don't
overwhelm yourself by trying to spend too much money or too much time on
the equipment, you can put it up pretty quickly. And once you put it up,
one of the great things about video, is people really connect with you.
Think about your favorite article yesterday. Can you even remember what it
was? And if you can, can you remember, that favorite article you read
yesterday, can you remember the author of it? Chances are you can't. You
don't connect with authors the way that you do with video creators.

You're going to remember my face, even if you don't like the way I look,
even if you think I did this in an odd way, you're going to remember me. In
time, more and more people get to know me as I do video, and that's
invaluable. It's invaluable when you're going to conferences and meeting
people in your industry. It's invaluable to know that they've already got a
sense of who you are. They have an understanding, and they want to get to
know you even further. It's invaluable when you're calling up someone and
trying to do a business deal with them, to have them kind of get to know
you. It's really a powerful platform. It's worth the effort.

Now, one of the reasons I'm excited to have Andrew Lock teach you this is
that he kept it simple. He's not going to overwhelm you the way other
people do. Other people just love to show you how much they know about the
bit rate and the frame rate and the video cost. It's going to waste your
time. Keep it simple, and then if you want, you can keep improving and
improving. Start off simple, improve, remember the value of this, and come
back and show both me and Andrew your work.

As Andrew mentioned several times, and Andrew, you haven't ever pushed it,
you have a program where if anyone wants to go even deeper, they could go
and learn it. In fact, for maybe four people or so, if they want to come
into your studio if I understand, maybe you don't want to talk about it,
because there probably isn't enough room for them, but there's some kind of
program if they want to come and talk to you personally and get some help
from you personally, that's available to them. Let's give a URL here, for
this. Where's this site if people want to go directly to you and learn
more?

Andrew L:  Thanks for mentioning it. This is StartYourOwnTVShow.com.
StartYourOwnTVShow.com. The simple reason this came about is because I was
being barraged with emails.

Andrew W : Did we give you time to get water? No, we didn't.

Andrew L:  That's OK. I was literally being barraged with emails all the
time from people that would say, "How can I do what you've done with your
show?" I do believe that the knowledge and experience that I have built
over the years has a lot of value, and that people should pay for that, so
I created a course. I spent a lot of time creating the course. It's a home
study course with eight DVDs, home study manuals, it's extremely
comprehensive. It comes in a big box. It literally goes through the
blueprint in far more detail, obviously, than we've had time to do, and
it's step-by-step. Do this, do this, do this, how to plan, produce,
publish, promote, and profit, all the Ps, from a web TV show.

It's the blueprint for people to follow so that they don't make the same
mistakes that I made, and that's why I made that course available. It's
based around an actual live two-day training. That's the home study version
and then, occasionally, like we were discussing the other day, I open up a
few spots. Literally never more than four people who I will work with
directly, and it's a premium service where literally I will produce their
show for them, other than the content. They need to be knowledgeable a
little bit about the subject, but we'll create everything around that, the
graphics, the show design, the names of the segments, the titles, the
audio, the look and the feel of the show. We'll record it, edit it, produce
it, distribute it, everything.

If that is of interest to someone, they can contact me through
support@helpmybusiness.com. Mention you're interested, but it's obviously a
lot of work. I enjoy doing it, but I can only work with a couple of people
at a time on that.

Andrew W: It is a lot of work. It's a lot of creative work, and it's a lot
of them coming up with their ideas and the birthing process of ideas is
really tough.

Andrew L:  It's a very creative process. I want to acknowledge what you
said earlier too, in your concluding words about what video does. First of
all, both of us are proof that we are able to make a living, and I don't
want to speak for you, but I hear you're doing very well.

Andrew W: You know what? I consider myself so freaking lucky to be able to
do well with this.

Andrew L: Isn't that awesome?

Andrew W: Yes. And I know that there are people who do even better and they
keep telling me about all the different ways that I can have. I just feel
lucky to be able to do this at all and I'm happy to be here.

It's to do well in this base field is great and I know that it is possible
and I wouldn't say that people should do this, if I didn't feel it myself.
If I felt eveyday that going in was going to waste my time, it was going to
cost me a lot of money, was just a hellish experience, I would never do it
either. I love this. I love this work.

Andrew L: It's so much fun and the other thing is, I'm sure that you've
experienced this too, is that unquestionably as people get to know you over
time, they really do have a bond with you. They treat you like a celebrity
if they see you in a live event. It's no different to any kind of character
or presenter on a real TV show.

The bond that you get with an audience when they see you, they hear you,
they see your gestures, when they interact with you in those multiple
senses is so much more powerful than just communicating through email or
just through audio.

I always suspected it and I've been doing it for a few years. I built a
massively successful business through a webTV show. Every thing that I've
done in the last five years or so, is as a result of that web TV show.

Andrew W: You know, that's a good point too. Business opportunities just
come to you. People will because they know you. Because they trust you.
Because they've seen you produce consistently.

I always say no to those opportunities because I'm so madly in love with
this specific work but absolutely right. You get business proposals that
you've never would have discovered, that never would have landed in your
lap, if people didn't know who you existed.

Andrew L: Yeah. You become an authority in your niche. I've had speaking
engagements all around the world. I've been flying around first class,
stayed in luxury hotels, literally all over the world.

Last year I was in Asia, London, Singapore, other places in Europe, all on
someone else's dime and I love to travel so for me that's been a beautiful
thing. So you're absolutely viewed as an authority. You're absolutely
viewed as a celebrity and the connection between your viewers and you is
unlike any other type of communication.

So for those reasons I know that this type of format, in a video webTV
shows will always be a central part of anything that I do. It's not just
because I enjoy doing it. It's because it really works in a very powerful
way.

Andrew W: All right. If you're on the fence, you've seen what it's done for
us. You've seen how easy it is for you to get started. Go out there. Try
video and then send us some results. Show us what you've done with it.

I'm Andrew on behalf of myself and Andrew Lock, thank you all for watching.